Soundtrack Pro 2 User Manual
K Apple Inc. Copyright © 2007 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Soundtrack Pro software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services.
1 Contents Preface 11 11 13 15 18 18 19 An Introduction to Soundtrack Pro Overview of Soundtrack Pro Using Soundtrack Pro in Your Post-Production Workflow Notable Features in Soundtrack Pro Resources for Learning About Soundtrack Pro About This Soundtrack Pro Onscreen User Manual Apple Websites Chapter 1 21 21 23 24 25 25 27 32 32 Setting Up Your System System Considerations Connecting Equipment Video and Audio Input and Output Devices Video and Audio Interfaces External Audio and Video Monitoring Ex
54 55 55 57 60 61 62 63 64 Favorites Tab Video Tab Project Tab Details Tab Effects Tab Tracks Tab Actions Tab Analysis Tab HUDs Chapter 3 65 65 67 71 75 78 91 93 94 96 97 Setting Up Soundtrack Pro Two Kinds of Projects Setting Up Your Workspace Playing Projects About Changing Values and Timecode Entries Locating and Adding Audio Files Previewing Audio Files Using Undo and Redo Using Snapping Reconnecting Media Files Setting Soundtrack Pro Preferences Chapter 4 105 105 106 106 106 110 111 112 113 11
Chapter 6 154 156 156 157 158 162 162 164 165 166 166 166 167 168 170 170 174 179 183 185 188 189 Moving Clips Snapping Clips to Clips on Adjacent Tracks Resizing Audio Clips Changing the Offset of an Audio Clip Creating Fades and Crossfades in the Timeline Truncating Overlapping Audio Clips Editing Audio Clips in the Multitrack Timeline Using the Timeline Editing Tools Timeline Editing Tools HUD Editing in Place How Clips Are Affected by Media File Editing How Source Audio File Editing Works in a Soundtr
214 219 230 236 240 Using Frequency Spectrum View Processing Audio Files Working with Actions Analyzing an Audio File Using the File Editor Project View Chapter 7 251 251 252 252 252 253 254 255 256 256 257 257 Using the Multitake Editor About the Multitake Editor What Is ADR? Multitake Clips Creating Multitake Clips Overview of the Multitake Editor Editing in the Multitake Editor Slipping Take Regions Adding and Deleting Takes Renaming Takes Reordering Takes Example: A Multitake Editing Workflow Ch
298 299 299 300 303 303 304 306 306 307 309 310 310 310 311 311 312 312 312 313 Surround Speaker Placement Using Surround Panners to Create a Surround Mix The Mini Surround Panner The Surround Panner HUD Surround Panner Automation Modifier Keys for Moving the Puck Surround Metering Surround Mixing Strategies Mixing Surround Files Converting a Stereo Mix to 5.
368 374 375 Recording Audio in the Timeline Recording Audio in the Mixer Recording Audio in the File Editor Project View Chapter 14 377 378 379 379 380 381 384 387 387 388 390 Creating Podcasts in Soundtrack Pro Podcasting Media Production Using the Podcast Track and Podcast Markers Displaying the Podcast Track and the Details Tab Podcast Marker Information in the Details Tab Adding Markers to a Podcast Adding Images to a Podcast Exporting Podcasts Exporting Audio Podcasts Exporting Video Podcasts Us
435 435 437 Using Soundtrack Pro with Third-Party Applications Exchanging OMF and AAF Files with Other Applications Exporting Audio Files Chapter 18 439 439 439 444 Using Conform with Final Cut Pro About Conforming Manually Using Soundtrack Pro Conform Reviewing and Approving the Changes in the Conform Result Project Appendix A 449 449 450 451 451 452 453 453 454 455 456 456 457 458 459 459 460 460 461 461 Soundtrack Pro Keyboard Shortcuts General and File Layouts, Tabs, and HUDs Navigating the Timel
477 477 480 485 485 490 494 496 497 497 498 498 498 501 501 501 503 503 503 503 504 506 About Video Interfaces, Signals, and Connectors Video Interfaces Video Signals and Connectors About Audio Interfaces, Signals, and Connectors Setting Up an Audio Interface Audio Connectors, Cables, and Signal Formats About Balanced Audio Signals Tips for Choosing Speakers and an Amplifier Frequency Response and Dynamic Range Self-Powered Versus Passive Speakers Amplifiers and Signal Levels for Unpowered Speakers Con
Preface An Introduction to Soundtrack Pro Soundtrack Pro gives you the tools you need to create high-quality soundtracks for your film and video productions. Most experienced film and television producers know that “audio is more than half the picture.” The art and techniques of sound recording, dialogue editing, sound effect recording and placement, mixing, and sound design play a substantial role in how audiences perceive the (visual) quality of a film or video.
Multitrack projects look and function similarly to Final Cut Pro projects. You arrange a multitrack project’s audio clips on the tracks in the Timeline. Multitrack projects contain the features you expect from a high-performance and professional-quality audio editor, including features to synchronize audio and video, work with ADR and multitake editing, and automate volume, pan, and other changes over time using envelopes.
Using Soundtrack Pro in Your Post-Production Workflow On its own, Soundtrack Pro is a powerful audio editing application. As part of Final Cut Studio, Soundtrack Pro becomes an integral part of your post-production workflow. You can easily share media projects between Final Cut Pro and Soundtrack Pro. When you send a sequence from Final Cut Pro, your audio files and a compiled video file arrive in a Soundtrack Pro multitrack project, ready for you to edit.
 To prepare your multitrack project for distribution and final delivery, such as foreign language versions (for example, to create separate submixes for dialogue, sound effects, and music) For more information, see “What Is a Submix and How Do You Use It?” on page 263 and “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on page 266.
 As you drag clips to the Timeline, to separate the channels of stereo and multichannel clips into individual clips, or combine separate clips into single stereo or multichannel clips For more information, see “Separating Channels by Option-Dragging” on page 122 and “Combining Separate Clips to Create Multichannel Clips” on page 123.  To arrange background music or add FX and Foley in stereo or surround sound For more information, see Chapter 18, “Using Conform with Final Cut Pro,” on page 439.
 Tape-style scrubbing: The Scrub tool provides detailed scrubbing that realistically approximates the “rock-the-reels” scrubbing on analog tape decks to help you quickly find a particular sound or event in a long audio file.  Multichannel support: You can edit up to 24 channels in a single audio file, and play back and record up to six channels in a single audio file in the Timeline.
 Conform: You can use the Conform feature in Soundtrack Pro to quickly merge two versions of the same sequence: the picture edit (from Final Cut Pro) and the sound edit/mix (from Soundtrack Pro).  Automatic mixdown return: When you export a mixdown of the multitrack project originally sent from Final Cut Pro, you can choose to open a new copy of the Final Cut Pro sequence that looks just like the original sequence but has additional audio tracks that contain your mixdown.
Resources for Learning About Soundtrack Pro This manual describes the Soundtrack Pro interface, commands, and menus, and gives step-by-step instructions for creating Soundtrack Pro projects and for accomplishing specific tasks. It also includes information on setting up your system and on audio basics. It is designed to provide the information you need to get up to speed quickly so you can take full advantage of the intuitive interface and powerful features of Soundtrack Pro.
Apple Websites There are a variety of Apple websites that you can visit to find additional information. Soundtrack Pro Website For general information and updates, as well as the latest news on Soundtrack Pro, go to: Â http://www.apple.com/finalcutstudio/soundtrackpro Apple Service and Support Website Go here for software updates and answers to the most frequently asked questions for all Apple products, including Soundtrack Pro.
For information about seminars, events, and third-party tools used in web publishing, design and print, music and audio, desktop movies, digital imaging, and the media arts, go to: Â http://www.apple.com/pro For resources, stories, and information about projects developed by users in education using Apple software, including Soundtrack Pro, go to: Â http://www.apple.
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 Disks 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. Hard disk performance is a critical aspect of your editing system: the storage capacity and data rate of your disks must match or exceed the requirements of the audio (and video) formats you are using.
Audio MIDI Setup The Audio MIDI Setup utility is a program that comes with the Mac OS X for adjusting a computer’s audio input and output settings and managing MIDI devices. You can select audio channel input and output devices, configure output speakers, set clock rates, and control levels. You may also be able to open a configuration utility provided by your audio device. For more information, go to: http://www.apple.
 Video, audio, and remote device control cables: For separate video, audio, and remote device control connections. Unlike a basic DV editing system that uses a solitary FireWire cable to transfer video, audio, and remote control signals, many professional configurations require separate cables for each of these signals.
Video and Audio Interfaces An interface is a device that adds physical video or audio connectors to your computer so that you can connect your Final Cut Studio system to other professional equipment (such as video or audio decks and monitors). Interfaces provide input and output connectors that aren’t included with your computer.
Setting Up a Proper Audio Monitoring Environment Room shape and material are just as important as the quality of the speakers themselves. Every surface in a room potentially reflects sound, and these reflections mix together with the sound originating from the speakers. Rooms with parallel walls can create standing waves, which are mostly low-frequency sound waves that reinforce and cancel each other as they bounce back and forth.
External Video Monitors When you design and edit a video soundtrack, it’s ideal to watch the video on a monitor similar to the one you will use for the final screening. An external video monitor can display color, frame rate, and interlaced scanning more accurately than your computer display. (For information on connecting professional video devices, see “Connecting Professional Video Devices” on page 498.
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.
Setting Up a System Using a PCI Video Interface Card with Breakout Box Many PCI cards aren’t big enough to fit all of the necessary video and audio connectors. In these situations, a breakout box is connected to the PCI card via a multipin connector on a long cable, and the connectors are accessible on the breakout box instead of on the back of the PCI card.
Setting Up a System for Stereo Mixing By default, Soundtrack Pro is set up for stereo mixing. Stereo Speaker Placement and Listening Position Most video editing suites use nearfield monitors, which are speakers designed to be listened to at fairly close range. Speakers should be at least a foot or two away from any walls to prevent early reflections of sound that combine with and muddy the original sound.
2 2 The Soundtrack Pro Interface In Soundtrack Pro, you work in multiple windows and tabs that you can arrange to suit your workflow. Standard layout Toolbar Video tab Meters tab Details tab Browser tab Mixer tab Transport controls Soundtrack Pro is designed to handle every aspect of creating audio for a video or film project, from multitrack recording to advanced audio processing and mixing.
Soundtrack Pro Window Organization The Soundtrack Pro window is arranged into several areas: the project pane and three surrounding panes: the left pane, the lower pane, and the right pane. The project pane is reserved as the central “canvas” for the multitrack Timeline and for individual audio file projects. Use the transport controls at the bottom of the window to play back projects that you open in the project pane. Task-specific tabs are docked in the left, lower, and right panes.
Or, for example, you may wish to work exclusively in the Timeline or the File Editor project view and dedicate the entire Soundtrack Pro window to that view.
Because hiding and showing different panes of the Soundtrack Pro window is so convenient, you will probably use this feature frequently during the course of a project. Here are the keyboard shortcuts for hiding and showing the various panes.
Project Pane The project pane is the central “canvas” where you work on your projects in either the multitrack Timeline or the File Editor project view. Use the Timeline (shown below) to arrange audio clips in multitrack projects. Use the File Editor project view for individual audio file projects. Toolbar Tabs Monitor Volume slider Mono Mix button Playhead Location value slider Transport controls Selection Length value slider  Toolbar: Includes tools for common functions.
Toolbar The Toolbar is located at the top of the Soundtrack Pro window. When you first open Soundtrack Pro, the Toolbar includes buttons for creating a new project, creating a new audio file, creating a new track, 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 69.
 Selection Length value slider: Displays the length of the current Timeslice (in the Timeline) or selection (in the File Editor). You can change the Timeslice or selection length by clicking the arrows, dragging, or typing a value. For information on using the transport controls, see “Controlling Playback with the Transport Controls” on page 77. Timeline The Timeline gives you a visual representation of a multitrack project, showing the position of clips, the playhead, and other items in time.
 Project controls: Set the project’s sample rate and other properties using these controls.  Show pop-up menu: Choose whether the video track, podcast track, audio tracks, busses, submixes, and master envelopes are visible in the Timeline.  Global Timeline view: Shows a miniature view of the entire Timeline and the playhead position, and lets you move quickly to different parts of a project.  Time display: Shows the current playhead position in both Time-based and Beats-based formats.
 Arm for Recording button: Enables (or disables) the track for recording when you click the Record button. Only tracks have Arm for Recording buttons, not busses or submixes.  Mute button: Mutes (or unmutes) the track, bus, or submix.  Solo button: Solos (or unsolos) the track, bus, or submix. Soundtrack Pro supports both multiple solo and exclusive solo.  Envelopes disclosure triangle: Shows the track, bus, or submix envelopes in the area directly below the track.
Timeline Controls The lower-left corner of the project pane contains controls for various aspects of Timeline display and operation. Snap to Value pop-up menu Master Envelopes button Zoom control Snapping button Height control  Master Envelopes button: In the Timeline, shows or hides the master envelopes. In the File Editor project view, shows or hides the envelopes for the current audio file project.  Snapping button: Turns snapping on or off.
File Editor You can edit individual audio files in the File Editor using actions. Actions give you a powerful and flexible way to edit audio files nondestructively using professional audio processing effects and other operations. You can turn individual actions on or off, reorder actions, flatten actions, and compare the project with and without actions. You can also analyze audio files in the File Editor and fix common audio problems, including clicks and pops, hum, and phase problems.
 Transport controls: Control playback and the position of the playhead, and turn recording on or off. (For more information, see “Transport Controls” on page 38.)  Playhead: Shows the part of the audio file currently playing.  Monitor Volume slider: Adjusts the overall monitor volume when you play the project. The volume level defaults to 0 dB when you create a project. Adjusting the monitor volume slider does not affect the mix signal or the export volume.
Each channel strip includes the following controls: Color label Name Icon Effects slots Panning controls Arm for Recording button Level meters and peak indicator Mute button Solo button Volume fader Volume value slider Submix pop-up menu  Color label: Indicates the track color, which is applied to any clips on the track (unless you choose to override the color for individual clips).  Name field: You can type a new name for the channel strip.
 Mute button: Click to mute (or unmute) the channel strip.  Solo button: Click to solo (or unsolo) the channel strip.  Submix pop-up menu: Choose a submix for the track or bus from the menu. (Tracks and busses only.)  Output pop-up menu: Choose the outputs for the submix from the menu. Submixes only. (Not shown in the illustration.
Conform The Conform tool helps sound editors handle picture changes. Conforming a sequence is the act of incorporating changes sent from the picture editor into a different, changed version of a sequence being used by the sound editor. The sound editor revisits all of the audio edits, ensuring that they line up with new video footage and inserting or deleting any added or deleted media. Soundtrack Pro Conform makes this merging procedure more efficient and less tedious.
Bin The Bin tab lists information about items in all open projects. The Bin provides a hierarchical display of projects, their media files, and other information about each item, including duration, timecode, sample rate, Timeline information, and so on. You can drag files from the Bin tab to the Timeline. You can add files to the Bin for easy access at any time. The Bin also features sort and search functions to help you locate an item in any open project.
Meters Tab The Meters tab displays mono, stereo, multichannel, and surround level meters that you can use to observe the volume of all submixes assigned to physical outputs or the overall output for an audio file project. Reset button Peaks Value and Location display Level meters 2-channel meter 6-channel meter  Level meters: Show the output volume of the overall project as the project plays.  Peaks Value and Location display: Displays the highest (peak) value played for each jack, and its timecode.
Recording Tab The Recording tab is where you edit a track’s recording settings. When you click a track’s Arm for Recording button, the Recording tab appears, displaying the track’s current recording settings. Peak indicator Track pop-up menu Input device pop-up menu Input Routing buttons Input channel pop-up menu Configure Device button Level meter Monitor Device pop-up menu Mute Project checkbox  Peak indicator: Shows the highest level reached by the recording input signal.
Browser 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.  Computer button: Displays your computer’s hard disk and other storage media connected to your computer.
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.
 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 non-looping files.  Scale Type pop-up menu: Restricts search results to audio files using the selected scale.  Keyword buttons (Button view only): Displays files matching the keyword in the Results list.
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. Button and Column View buttons Path pop-up menu 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.
Video Tab Use the Video tab to add a video to a project and view the video. Video Scale pop-up menu Video viewing area  Video Scale pop-up menu: Choose the scale of the video in the Video tab from the pop-up menu.  Video viewing area: You add a video by dragging it into the viewing area, where you may also watch it play. Note: You control playback of the video within the project using the transport controls at the bottom of the Soundtrack Pro window.
The Project tab features the following controls and categories of information: Â General project information: This information includes file size, creation and modification dates, and location on the hard drive. Â Pullup/Pulldown pop-up menus: Use these menus to adjust the video and audio playback to compensate for film-to-video and video-to-film conversions as well as international television standards conversions. Â Project properties: Includes project length (duration) and sample rate.
 Metadata: Use this area to add metadata to your project or to view your project’s metadata. If you export this project to certain output formats (such as a podcast), Soundtrack Pro passes through the metadata to the target output file. Metadata categories include Name, Copyright, Origination Date, Keywords, and so on.  Music settings: Use the controls in this area to set music properties (including tempo, time signature, and key) for the currently active project.
 Enabled checkbox: Enables or disables the selected clip. For more information, see “Enabling and Disabling Clips” on page 118.  Locked checkbox: Locks or unlocks the selected clip. For more information, see “Locking and Unlocking Clips and Tracks” on page 118.  Transpose pop-up menu: Sets the number of semitones to transpose a looping clip.  Clip Speed pop-up menu: Sets the playback speed for a looping clip.  Created: Displays the creation date.  Modified: Displays the modification date.
Marker Details  Type buttons: Select whether the marker is a beat marker or a time marker.  Name field: Enter a name for the marker.  Position value slider: Sets the time position of the selected marker.  Duration value slider: Sets the duration for the selected marker.  Comment: Enter comments or notes for the marker. Envelope Point Details  Position value slider: Sets the time position of the selected envelope point.  Measure in pop-up menu: Sets the units shown in the Position value slider.
Effects Tab You add effects and sends to your project and adjust effect parameters in the Effects tab. When you select a track or a bus in the Timeline or the Mixer, you can add and adjust the following effects and send settings. You can also apply effects to audio file projects. Category list Effect list Add Effect button Remove Effect button Effect Parameters area Add Send button Reset Effect button  Category list: Lists the categories of available effects.
Tracks Tab Use the Tracks tab to easily view, select, and group tracks, busses, and submixes. Groups provide another layer of organization and a way to easily make changes (such as volume adjustments) to many tracks, busses, or submixes at once. Mixer Objects outline Channel strip Groups outline  Mixer Objects outline: Displays an outline view of the Timeline.  Groups outline: Displays an outline view of any grouped tracks, busses, or submixes in the project.
Actions Tab Use the Actions tab to perform edits nondestructively using actions, which include processing effects and other operations. You can also turn off or completely reorder actions.  Actions list: You can add, select, and reorder actions in the list. Actions list Action Insert bar Actions pop-up menu  Actions pop-up menu: Choose menu items to flatten actions, delete actions, and perform other operations.  Actions list: Shows the actions you apply to the project.
Analysis Tab Use the Analysis tab to analyze audio files for a range of common audio problems, including clicks and pops, hum, and phase issues. You can fix the problems detected by analysis either individually or in a single operation. Selected problems are highlighted in the File Editor waveform display for easy viewing.
HUDs A heads-up display (HUD) is a semi-transparent floating window with controls and displays that you can use to accomplish specific tasks. All of these windows float over the main Soundtrack Pro window. To open any of these windows, choose Window > HUDs. Timecode HUD The resizable Timecode HUD makes reading current timecode very easy, particularly from a distance.
3 Setting Up Soundtrack Pro 3 This chapter describes two kinds of projects you can create in Soundtrack Pro and how to work with windows, use layouts, play projects, and set Soundtrack Pro preferences. Two Kinds of Projects Soundtrack Pro has two native project file formats to support state-of-the-art multitrack audio editing and powerful nondestructive audio waveform editing. Project File extension Description Multitrack project .
For more information, see: Â “Creating and Opening Multitrack Projects” on page 105 Â Chapter 5, “Working in the Timeline,” on page 127 Â Chapter 8, “Basic Mixing in Soundtrack Pro,” on page 261 Audio File Projects Soundtrack Pro allows you to edit individual audio files (sometimes known as waveform editing) using Soundtrack Pro audio file projects.
Compressed formats such as MP3 and AAC files are also supported, although these must be internally decompressed to a linear PCM format. Soundtrack Pro supports audio files with any sample rate between 8 kHz and 192 kHz and any of the following bit depths: 8, 16, 24, 32, and 32-bit floating point. Up to 24 audio channels are supported in a single file. Audio files can be a maximum of 4 hours in length.
Using Tabs Soundtrack Pro uses tabs so you can quickly access different project views and controls. You can switch between projects and between different tabs. Clicking the tab you want makes it active and brings it to the front. You can rearrange and reorder the tabs to easily access the ones you use frequently. To reorder tabs: m Drag a tab left or right in the window’s tab area.
To switch to a saved project layout: m Choose Window > Layouts, then choose the layout you want to use from the submenu. To delete a saved layout: 1 Choose Window > Manage Layouts. 2 In the Manage Layouts dialog, select the layout you want to delete. 3 Click the – (minus) button to delete the layout, then click Done. To transfer a saved project layout file to another computer: 1 Locate the layout file in /Users/username/Library/Application Support/Soundtrack Pro/ Layouts/.
To show the Customize dialog, do one of the following: m Choose View > Customize Toolbar. m Control-click the Toolbar, then choose Customize Toolbar from the shortcut menu. The Customize dialog appears, and spaces between buttons in the Toolbar are outlined in gray. To add a button to the Toolbar: m Drag a button from the Customize dialog to the Toolbar. If you drag a button between two existing buttons, the buttons move to make room for the new button.
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 dialog, choose Text Only from the Show pop-up menu. To show both icons and text in the Toolbar, do one of the following: m Control-click the Toolbar, then choose Icon & Text from the shortcut menu. m In the Customize dialog, choose Icon & Text from the Show pop-up menu.
Setting the Playhead Quickly 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.
Entering Beats-Based Units When you set the playhead by entering a Beats-based position in the Time display, you enter periods between numbers to separate measures, beats, and beat divisions. Soundtrack Pro fills out the digits in the beat division category with zeros. For example: Â If you enter 123, Soundtrack Pro interprets it as 123.1.000. This stands for the 123rd measure, 1st beat, with no added beat divisions. Â If you enter 12.3, Soundtrack Pro interprets it as 12.3.000.
About Changing Values and Timecode Entries Soundtrack Pro includes several types of value entry methods. Most of them have features that can make changing the values or timecode fields easy to do. Using Value Sliders There are two methods used to enter general numeric values: traditional sliders with separate numeric entry fields and value sliders that combine the slider with the numeric entry field.
To change values in coarse increments, do one of the following: m Shift-drag in the value field. m Shift-click the left arrow to decrease a value, or Shift-click the right arrow to increase a value. m If you have a mouse with a scrollwheel, Shift-scroll in the value field. When a value slider or value field is active (highlighted), press Tab to move to the next field. Using Timecode Value Sliders Soundtrack Pro uses timecode value sliders for timecode entry fields.
Scrubbing Audio You can scrub a multitrack project in the Timeline or scrub an audio file project in the File Editor. Scrubbing the project 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. You can scrub audio using either the Scrub tool or the playhead. For information about scrubbing, see “Scrubbing Audio Files” on page 200.
 Next Frame: Moves the playhead forward by one frame.  Go to End: Sets the playhead to the end of the project. If the cycle region is active, and the playhead is before the end of the cycle region in time, the playhead is set to the end of the cycle region.  Cycle: If a cycle region is set, clicking the Cycle button toggles whether the cycle region is active or inactive.
Supported Audio File Formats You can add audio files in the following formats: AIFF, WAVE, Broadcast WAVE, Sound Designer II, NeXT, QuickTime (.mov) audio files, and CAF (Apple Core Audio Format). Compressed formats such as MP3 and AAC (except protected AAC) files are also supported, although these must be internally decompressed to a linear PCM format. You can also add the following types of multichannel files: AIFF, WAV, Broadcast WAVE, QuickTime, and Single Folder Multi-mono AIFF and WAV.
Non-looping files do not adjust to the project tempo and key. You can shorten or lengthen a non-looping file, but lengthening it beyond the size of the original file adds only silence to the lengthened part. You can search for non-looping files in the Search tab using the Search text field. Both looping and non-looping files can contain tags with information about the file, including mood, genre, and musical instrument.
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 lower-right corner of the Favorites tab. To locate audio files in Favorites: m Double-click the disk or folder you want to open. Double-click an item to open it.
Searching for Files in Column View In Column view, the upper area of the Search tab displays two columns: Keywords shows the categories of files that meet the search criteria, and Matches shows the total number of matching files and any subcategories containing matching files, with the number of matching files in each. Clicking a keyword displays the files matching that keyword in the Search Results area.
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.
To search for files in Button view: 1 Choose the type of keywords to display on the keyword buttons from the Keywords pop-up menu. 2 You can optionally use the File Type, Time Signature, and Scale Type pop-up menus to restrict matches by those categories. 3 Click a keyword button to display matching files in the Search Results area. Click a button to display the matching files in the Search Results area.
To refine your search using multiple keywords: m Click multiple keyword buttons. Select additional keywords to refine your search. These are files that match both of the keywords selected above. 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.
Adding a Directory to the Search Database Search looks through all indexed directories (volumes and folders) for files that match your search criteria. Before a file can appear in Search, you must add the directory containing the file to the Search database and index the directory. Note: The Search database does not update automatically. If you add files to an indexed directory, you must index the directory again before the files will appear in the Search tab.
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.
The Bin Hierarchy The items in the Bin are organized by project. In this hierarchy, projects contain media files, and media files contain clips. Objects Description Contents Projects Projects make up the top level of the hierarchy. You can view multiple projects at once. Media files Project markers Media files Audio and video source files Clips Markers (File Editor only) Clips If the source media file is used ten different times in the Timeline, it will have ten clips nested in the Bin.
Using the Shortcut Menu and the Media Pop-Up Menu in the Bin You can use the shortcut menu and the Media pop-up menu in the Bin for a variety of tasks. One of the most common tasks involves removing unused items from a project. This simple step will keep the media associated with a project to a minimum. You can also rename clips, markers, and podcast region markers that you’ve selected in the Bin.
Bin Column Information The following list describes the contents of the various Bin columns. Many Bin columns change their display style to match the settings of the dominant ruler (such as drop frame, non-drop frame, and so on). Much of this information can also be seen in the Details tab. Â Name: Displays the icon and name for the various objects (projects, files, clips, markers, and podcast marker regions). Â Position: Displays the position of the object, in the dominant ruler setting.
Previewing Audio Files You can preview files in the Bin or any of the media tabs. 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 Bin or any of the media tabs. The selected file starts playing.
 Play button: Starts playback of the preview file. If the file is playing, stops playback.  Volume slider: Sets the playback volume of the preview file.  Preview on selection button: When activated, triggers immediate playback of the selected clip.  Media pop-up menu: Choose whether to add the file to Favorites, open it in the File Editor or Apple Loops Utility, or reveal it in the Finder. To preview an audio file with a project: 1 Click the Play button in the transport controls to play the project.
For a complete description of the items listed in the Details tab, see “Details Tab” on page 57 and “Viewing and Editing Clip and Track Properties” on page 114. Note: The information that is displayed depends on whether or not the file is tagged. Untagged files may not display information for all categories. Using Undo and Redo As you edit clips and perform other operations in both multitrack and audio file projects, you might need to use the Undo and Redo commands.
Using Snapping When you move and resize clips in the Timeline, or select part of an audio file in the File 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 snapping on: m Choose View > Snap (or press G). A checkmark next to the menu item indicates that snapping is turned on. Choose View > Snap again to turn snapping off. To set the Snap To value: m Choose View > Snap To, then choose a value from the submenu.
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 both the appearance and operation of Soundtrack Pro 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 Soundtrack Pro > Preferences.
Timeline  Move playhead by clicking pop-up menu: Choose whether you can move the playhead by clicking in both the Timeline and the Time ruler or only in the Time ruler.  Scrollwheel pop-up menu: Choose whether an attached mouse with a scrollwheel scrolls the Timeline or zooms in or out at the playhead position.  Use ellipses(...) in clip names checkbox: When selected, clips in the Timeline with long names are center-truncated with an ellipsis. “Use ellipses (...) in clip names” is deselected by default.
Project Preferences These preferences let you set project properties and other default settings for new projects you create. Â Tracks pop-up menu: Sets the default number of tracks for a new multitrack project. Â Track Height pop-up menu: Sets the default track height for new multitrack projects. The choices are Mini, Small, Medium, and Large. Â Snapping: Sets the default snapping mode for a new project. Â Move Envelope Points with Clips checkbox: Sets the default envelope selection mode.
 Tempo value slider: Sets the default tempo for new projects in beats per minute (bpm). The range is 60 to 200 bpm.  Key pop-up menu: Sets the default key for new projects. The range is any key in the chromatic scale from A to G#, or None.  Time Signature pop-up menu: Sets the default time signature for new projects. The choices are 3/4, 4/4, 5/4, 6/8, and 7/8. Recording Preferences These preferences let you specify settings for recording audio.
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 submixes you can use to create sophisticated signal routing and mixes. Creating and Opening Multitrack Projects When you open Soundtrack Pro, a new, blank project appears. You can change the default startup behavior in the Preferences window. For information about setting preferences, see “Setting Soundtrack Pro Preferences” on page 97.
Creating a Multitrack Project from Final Cut Pro Clips or Sequences A convenient and powerful audio post-production workflow for any film or video project is sending a Final Cut Pro sequence or clip to a Soundtrack Pro multitrack project. For example, when the picture edit in a Final Cut Pro sequence is near completion, you simply choose File > Send To > Soundtrack Pro Multitrack Project.
To set the automation mode: m Choose Read, Latch, or Touch from the Automation Mode pop-up menu. Automation Mode pop-up menu For more information about the automation mode, see “Recording Automation Data” on page 365. Sample Rate The project sample rate determines the number of samples per second Soundtrack Pro uses for audio playback and export.
Overlap Mode The project overlap mode determines what happens when you move an audio clip so that it partially or completely overlaps another clip in the Timeline. There are two overlap modes: crossfade mode and truncate mode. 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.
Project Time Format Each multitrack project has a project time format, which can be either Time (seconds)–based or Beats-based. Setting the time format controls the appearance of the Time display, Time ruler, Timeline gridlines, and available Snap To values. For projects set to Time-based format, time is displayed using the Time Ruler units chosen in the View menu. For projects set to Beats-based format, the time is displayed in measures, beats, and beat divisions. The default format is Time-based.
Time Ruler Units and Grid Lines The number of grid lines drawn will depend on the dominant ruler type and zoom level. For example, when the dominant ruler is Seconds and the Timeline is zoomed out, grid lines appear only on the hour marks. As you zoom in, grid lines are drawn on the minute mark. Zoom in more, and grid lines are drawn on the second marks, and so on. Setting the Project Length By default, the length of a project depends on the media in the project.
Saving Multitrack Projects To save your project: 1 Choose File > Save. 2 In the dialog that appears, enter a name for the project in the Save As field. 3 Navigate to the folder in which you want to save the project. 4 Select any of the following checkboxes: Â Save Compacted: Saves the project without display data, which can save disk space, but the project may take longer to open. Â Collect Audio Files: Saves a copy of every audio file the project uses to the selected location.
Setting Default Locations for Saving Media Files During the course of a large sound editing project, you may generate numerous project files, clips, render files, and audio recordings. Soundtrack Pro helps you manage all this media by saving the files to default scratch locations. You can change the scratch locations using Soundtrack Pro preferences.
Adding Files to a Multitrack Project Once you’ve located and previewed an audio file you want to add, you drag the file to the Timeline to add it to the project. When you drag an audio file to the Timeline, Soundtrack Pro creates an audio clip from the audio file and adds the clip to the project. An audio clip does not contain the actual audio data; instead, it contains a reference to the file stored on disk. Editing an audio clip in the Timeline does not change the source audio file.
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 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.
The following properties for the selected clip are displayed and can be edited in the Details tab: File and Clip Details  Name: Name of the selected clip.  Position value slider: Sets the position (start point) of the selected clip.  Duration value slider: Sets the duration (length) of the selected clip.  Offset value slider: Sets the offset of the selected clip.  Measure in pop-up menu: Sets the units shown in the Position, Duration, and Offset value sliders.
Some properties can be changed by editing the clip in the Timeline. For detailed information on editing audio clips, see “Selecting Audio Clips in the Timeline” on page 147. The name of an audio clip appears on the clip in the Timeline. By default, the entire name appears on the clip if the clip is long enough to display it. You can change the default behavior in the General pane of the Preferences window, so that long clip names are truncated from the center.
To set the color of a clip, do one of the following: m Select the clip in the Timeline or the Bin, choose Clip > Color, then choose a color from the submenu. m Control-click the clip in the Timeline or the Bin, then choose Color from the shortcut menu and choose a color from the submenu. Choose a clip color from the shortcut menu. m Select the clip. In the Details tab, choose a color from the Color pop-up menu. m Drag the clip to a track that already has a color. The clip takes on the track color.
Enabling and Disabling Clips In addition to muting entire tracks, you can disable (mute) individual clips in the Timeline in Soundtrack Pro. To disable a clip in the Timeline, do one of the following: m Select the clip, then choose Clip > Disable Clip. m Control-click the clip in the Timeline, then choose Disable Clip from the shortcut menu. Choose Disable Clip from the shortcut menu. m Select the clip. In the Details tab, deselect the Enable checkbox.
To lock a clip in the Timeline, do one of the following: m Select the clip, then choose Clip > Lock Clip. m Control-click the clip in the Timeline, then choose Lock Clip from the shortcut menu. Choose Lock Clip from the shortcut menu. m Select the clip. In the Details tab, select the Locked checkbox. To unlock a clip in the Timeline, do one of the following: m Select the clip, then choose Clip > Unlock Clip. m Control-click the clip in the Timeline, then choose Unlock Clip from the shortcut menu.
To lock a track, do one of the following: m Select the track, then choose Multitrack > Lock Selected Track. m Control-click the track, then choose Lock Selected Track from the shortcut menu. Choose Lock Selected Track from the shortcut menu. To unlock a track, do one of the following: m Select the track, then choose Multitrack > Unlock Selected Track. m Control-click the track, then choose Unlock Clip from the shortcut menu.
To use the shortcut menu to make a mono channel selection from a stereo clip: m Control-click the clip in the Timeline, then choose one of the following options from the shortcut menu: Â Channel Select > Mono > 1 Â Channel Select > Mono > 2 Choose a channel from the shortcut menu. The clip waveform display changes to a single (mono) waveform, and the clip functions in the project as a mono file. The clip’s waveform display updates to a single (mono) waveform.
Separating Channels by Option-Dragging You can separate the channels of stereo and multichannel clips into individual clips as you drag them to the Timeline. When adding a clip to the Timeline from either the Browser, Bin, or Finder, holding down the Option key while dragging will automatically generate mono clips from a stereo or multichannel file. The dragged clip becomes a vertical stack of clips, with the first under the pointer and the rest on subsequent tracks.
Combining Separate Clips to Create Multichannel Clips In Soundtrack Pro, you can create a single multichannel clip by combining separate clips. To create a single multichannel clip from separate clips: 1 Select up to 24 separate source clips in any one of the Soundtrack Pro media tabs (Bin, Browser, Search, or Favorites). 2 Drag the clips to a track in the Timeline. The clips are combined into a single multichannel clip. Drag multiple mono source files into the Timeline to create a multichannel clip.
Tracks, Busses, Submixes, and the Master Bus Multitrack projects contain tracks, busses, and submixes. Tracks, busses, and submixes appear as horizontal rows in the Timeline and as vertical channel strips in the Mixer. In both the Timeline and Mixer, tracks, busses, and submixes are grouped together, with a separator between each category. You can move each type within its own category but cannot move it to either of the other categories.
For example, you could route every dialogue track for a particular actor to a bus with the actor’s name. You could adjust the volume of all the actor’s dialogue using the bus volume fader and add an EQ effect that brings out the actor’s voice in the mix. You could then route that audio bus to a particular submix. The main reason to apply effects this way (rather than directly on the track) is so you can control the amount and characteristics of the effect on multiple tracks using one set of controls.
Tracks, busses, and submixes in the Timeline Tracks, busses, and submixes in the Mixer For information about working with tracks, busses, and submixes in the Timeline, see “Working with Tracks, Busses, and Submixes in the Timeline” on page 135. For information about working with tracks, busses, and submixes in the Mixer, see “Using Sends and Busses” on page 270. The Master Bus The Master bus represents the final mix from Soundtrack Pro: what will be heard from physical output jacks.
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. Note: This chapter covers the mechanics of working with clips, tracks, busses, and submixes in the Timeline. For strategies on setting up a sound-for-picture post-production project, see “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on page 266.
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 project 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.
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 Command-plus (+). m If the mouse connected to your computer has a scrollwheel, position the pointer over the Zoom control and move the scrollwheel. To zoom out, do one of the following: m Move the Zoom slider to the right. m Click the right side of the Zoom control. m Choose View > Zoom Out. m Press the Down Arrow key. m Press Command-minus (–).
To begin forward playback at normal (1x) speed: m Press L. To begin reverse playback at normal (1x) speed: m Press J. To pause playback: m Press K. To double the current playback speed: m Press L or J again. You can play back up to eight times normal speed, switching from 1x to 2x to 4x to 8x normal speed (pressing either key a total of four times). Pressing the key for playback in the opposite direction halves the playback speed, slowing down playback in that direction until it reaches 1x playback.
For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449. Note: The gridlines correspond to the divisions of time in the Time ruler. The units of time the gridlines display change depending on the Ruler Units setting in the Project tab and the current zoom level. Setting Track Height You set the height of tracks, busses, and submixes in the Timeline using the Track Height control. The Track Height control has four settings.
Using the Global Timeline View The Global Timeline view, located above the Time display and Time ruler, shows a miniature view of the entire project. The playhead appears as a black vertical line with a triangular handle. The part of the project currently visible in the Timeline is indicated by a blue rectangle in the Global Timeline view. To move to a new area of the Timeline using the Global Timeline view: m Drag the visible area rectangle to a new position. Drag this rectangle to a new position.
Working with the Cycle Region You can create a cycle region in a project, an area that plays back repeatedly. This is sometimes called cycling or looping playback. A project has only one cycle region, but you can move and resize it as often as you want. Additionally, for selecting, marking, and exporting purposes, the cycle region functions much like In and Out points in Final Cut Pro. You also use the cycle region when recording multiple takes.
To resize the cycle region: m Drag either the In point or Out point handle in the Time ruler to resize the cycle region. To remove the cycle region, do one of the following: m Choose Edit > Cycle Region > Remove Cycle Region (or press Option-X). m Control-click the cycle region, then choose Cycle Region from the shortcut menu and Remove Cycle Region from the submenu. Working with Tracks, Busses, and Submixes in the Timeline The Timeline is arranged sets of horizontal rows: tracks, busses, and submixes.
To add a submix, do one of the following: m Choose Multitrack > Add Submix. m Control-click a submix, then choose either Insert Submix Before or Insert Submix After from the shortcut menu. Selecting Tracks, Busses, and Submixes You can select a track, bus, or submix in order to move, copy, or remove it, and you can also select tracks, busses, and submixes to export. The headers of selected tracks, busses, and submixes appear darker in the Timeline.
To group tracks, busses, or submixes: 1 Confirm that grouping is enabled by choosing Multitrack > Groups Enabled. 2 Do one of the following: Â Select any combination of tracks. Â Select any combination of busses. Â Select any combination of submixes. 3 Choose Multitrack > Group Tracks (or press Command-G). The selected items are grouped.
Managing Track Selections with the Tracks Tab The Soundtrack Pro Tracks tab is a convenient tool for selecting and grouping tracks, busses, and submixes. The Tracks tab consists of three sections: the Mixer Objects outline, the Groups outline, and a channel strip for the currently selected item. Mixer Objects Outline The upper left of the Tracks tab displays an outline view of the Timeline, including all tracks, busses, and submixes.
Groups Outline The Groups outline displays an outline view of any grouped tracks, busses, or submixes in the project. You can use the Groups outline to group Mixer objects, disable or enable groups, rename groups, delete groups, and delete items from groups. To group tracks, busses, or submixes in the Groups outline: 1 Confirm that grouping is enabled by choosing Multitrack > Groups Enabled. 2 In the Mixer Objects outline, do one of the following: Â Select any combination of tracks.
To rename a group in the Groups outline: 1 Double-click the name. 2 Enter the new name. To delete a group or remove an item from a group: 1 Select the group or item in the Groups outline. 2 Press Delete. Channel Strip The right side of the Tracks tab displays a single channel strip for the currently selected track, bus, or submix. (This channel strip is identical to the corresponding channel strip in the Mixer in every way, including all controls and current settings.
Moving and Copying Tracks, Busses, and Submixes As you work on your project, you may want to rearrange tracks, busses, and submixes. You can move and copy them to change their vertical arrangement in the track, bus, or submix section of the Timeline. You cannot move one to the area for another (as indicated by the rows labeled “Tracks,”“Busses,”“Submixes,” and “Master” in the Timeline). You can only move or copy one track, bus, or submix at a time.
Using the Track Controls Tracks, busses, and submixes 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 submix, 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 submix.
m In surround mode, drag anywhere inside the black circle to position the puck. Drag the puck to pan the sound. For finer panning adjustments and other surround controls, double-click the surround panner to open the Surround Panner HUD. For more information about using surround panners, see “Using Surround Panners to Create a Surround Mix” on page 299. For more information about the Surround Panner HUD, see “The Surround Panner HUD” on page 300.
Soundtrack Pro supports multiple solo and exclusive solo. Clicking the Solo button for multiple tracks, busses, or submixes solos them and mutes all others. When you exclusively solo a track, bus, or submix, all others are muted, regardless of whether they are soloed. To solo a track, bus, or submix (multiple solo): m Click the Solo button. Click the Solo button again to unsolo the track, bus, or submix. Click the Solo button to solo the track, bus, or submix.
2 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.
To show or hide the envelopes for a track, bus, or submix, do one of the following: m Click the envelopes disclosure triangle in the header for a track, bus, or submix. Click the disclosure triangle again to hide the envelopes. m Press E to show envelopes for any selected tracks. Press E again to hide the envelopes. Click the envelopes disclosure triangle. The envelopes appear below the track in the Timeline.
Removing Tracks, Busses, and Submixes You can remove a track, bus, or submix if you decide you no longer want it in a project. To remove a track, bus, or submix, do one of the following: m Select the track, bus, or submix, then choose Multitrack > Remove [item] (or press Command-Shift-T). m Control-click the track, bus, or submix, then choose Remove [item] from the shortcut menu. The [item] changes depending on whether a track, bus, or submix is selected.
To select multiple audio clips in different tracks, do one of the following: m Shift-click the clips in the Timeline. All clips between those two tracks are selected as well. m Command-click the clips in the Timeline. m Drag across multiple tracks to select the clips. Note: If there is no track background available because the tracks in your project are too dense, you can also make the selection by dragging in the track separator.
Selecting the Entire Contents of a Track Sometimes you may find that you want to select all of the clips on a track in order to drag them to close a gap or to create space to accommodate new clips in your project. After selecting a track’s contents, you can perform different operations on all the track’s items at once, such as moving, copying, or deleting them. This feature also works with multiple tracks. To select all the clips on selected tracks: 1 Select one or more tracks.
Selecting Partial Contents of One or More Tracks When there are many clips in a multitrack project, it’s difficult to see and select many of them at once, especially if you don’t want to zoom in and out frequently. The Select Forward and Select Backward commands let you easily select all clips before or after the playhead. To select all the clips to the right or the left of the playhead on selected tracks: 1 Select one or more tracks.
If you make this selection in Timeslice tool mode, any existing Timeslice selection is extended to the end of the project (for the Forward option) and to the beginning of the project (for the Backward option). If there is not an existing Timeslice, Soundtrack Pro creates a Timeslice across selected tracks starting at the playhead and extending to the end of the project (for the Forward option) and to the beginning of the project (for the Backward option).
When pasting audio clips, you can choose to paste multiple copies of the clip in succession. Using the Paste Repeat command, you can paste any number of copies of a clip in the selected track. To paste multiple copies of a clip: 1 Cut or copy the clip. 2 Set the playhead to the point where 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).
Spotting Clips to the Timeline Soundtrack Pro allows you to easily spot clips to the Timeline. You can spot clips to the playhead location or you can spot clips to the Timeline based on timecode information inherent in the clip or that you enter in the Spot to Timecode dialog. To spot a clip to the playhead: 1 Position the playhead where you would like to spot the clip. 2 Select the track on which you would like to spot the clip.
Moving Clips As you work in Soundtrack Pro, you may want to move tracks to new positions. There are several ways to do this: dragging clips, entering timecode values, and using keyboard shortcuts. Moving Audio Clips You can move an audio clip in the Timeline by dragging the clip to a new position. You can also move the clip to a different track. To move an audio clip to a new time position: m Drag the clip left or right to a new position in the Timeline.
Moving Clips Numerically When you want to move clips precisely, you can move them by entering positive or negative timecode values. To move an item by entering a timecode value: 1 In the Timeline, select the clip item or items you want to move. 2 Type a relative timecode value for where you want the clip to be positioned. For example, type +48 (or simply 48) to move the item 48 frames forward. To move 48 frames backward in time, type –48.
Snapping Clips to Clips on Adjacent Tracks If snapping is turned on, you can snap a clip to the edges of a clip in an adjacent track (the track either directly above or directly below the track containing the clip). This is especially useful when the start and end points of clips do not fall on the current Snap To value. To snap a clip to adjacent clips: m Choose View > Snap To > Adjacent Tracks.
When you resize a clip by shortening its left edge, you change the point in the source audio file at which the clip starts playing, making the earlier part of the source audio inaudible. When you resize a clip by shortening its right edge, the part you shorten becomes inaudible. You cannot lengthen the left edge of a clip with non-looping playback mode beyond the beginning of the source audio file. When you resize a clip, the edge being resized jumps to the nearest Snap To position if snapping is turned on.
Creating Fades and Crossfades in the Timeline One of the most common tasks of a sound editor is adding fade-ins and fade-outs to individual clips and crossfades between clips to smooth the overall sound of a video or motion picture soundtrack. Creating Fade-Ins and Fade-Outs in the Timeline Soundtrack Pro lets you easily add fades and crossfades and adjust the fade type directly in the multitrack Timeline.
To adjust the fade type: 1 Double-click the fade in the Timeline. The Fade Selector window appears. 2 Click one of the four buttons on the left side of the Fade Selector to select a fade type. Â Â Â Â Linear: The rate of attenuation stays constant over the length of the fade. Logarithmic: Starts quickly, then slowly tapers off toward the end. Exponential: Starts slowly, then moves quickly toward the end. S-curve: Eases in and out of the fade, with the midpoint at 0 dB.
Creating Crossfades Between Audio Clips Crossfades let you create smooth transitions between one audio clip and the next and avoid clicks or sudden changes in loudness that can result when placing audio files one after another. To create a crossfade between audio clips, you set the project to crossfade mode, then drag an audio clip so that it overlaps another clip. A crossfade is created for the length of the overlapped area.
To adjust the crossfade type: 1 Double-click the crossfade. The Fade Selector window appears with two columns of the four fade type choices. Note: For descriptions of the four fade types, see “To adjust the fade type:” on page 159. 2 Click one of the four buttons in the column on the left to select a fade-out type for the left clip. The crossfade in the Timeline is updated to reflect your choice of fade type.
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.
If you prefer, you can also double-click a clip in your multitrack project and its media file opens in the File Editor project view, ready for waveform editing. Changes you make to the file are instantly reflected in the multitrack project.
Using the Timeline Editing Tools The Timeline includes editing tools you can use to edit and adjust clips in the Timeline. Selection Tool When you open the Timeline, the pointer is a selection pointer (arrow). You can use the Selection tool to select clips and tracks by clicking them and use it to make marquee selections across multiple tracks. When you are done using another Timeline editing tool, you can return the pointer to a selection pointer by clicking the Selection Tool button or by pressing A.
Lift and Stamp Tools The Lift and Stamp tools provide an efficient way to transfer properties from one clip to one or more other clips. Use the Lift tool to copy properties from selected clips and create a processing template in the Sound Palette that can be applied to other clips. Use the Stamp tool to apply those properties to the other clips. For more information about the Lift and Stamp tools, see “Using the Lift and Stamp Tools” on page 179.
Editing in Place Editing a clip’s media file in place (directly in the Timeline) is nearly identical to editing any other media file in the Soundtrack Pro File Editor. All of the same effects, editing tools, and waveform views are available.
 If the clip’s audio file format is a flat file such as an AIFF or WAVE file: Soundtrack Pro automatically creates a Soundtrack Pro audio file project for the flat file and relinks all clips in the project to the new audio file project. This allows you to work with this media nondestructively. Each time you save your multitrack project, any newly created audio file project media files are saved to the Edited Media Location on your hard disk.
Using the Multitrack Timeline and the File Editor Together One of the unique advantages of Soundtrack Pro is the combination of nondestructive waveform editing in the context of a multitrack Timeline. This section focuses on how you can exploit this powerful toolset in your sound editing project.
For information on making basic edits, see “Editing Audio Files in the File Editor” on page 198. For information on processing effects, see “Processing Audio Files” on page 219. For information on analyzing files, see “Analyzing an Audio File” on page 236. 3 As you make changes to the clip in the File Editor, the Actions tab records the changes. You can adjust, edit, and reorder the actions as needed. For information on using actions, see “Working with Actions” on page 230.
Spotting Sound Effects from the File Editor to the Timeline A common task for sound editors is adding sound effects or ambient clips to a multitrack project. Often you will use one or more small sections from a longer source file. You can make quick work of this by using the File Editor tab in conjunction with the Timeline. To add small sections of a longer audio file to a multitrack project: 1 Open the multitrack project in the Timeline. 2 Drag an audio file to the File Editor tab.
Splitting Clips with the Blade Tool Using the Blade tool, you can perform many splits consecutively without moving the playhead each time. To split audio clips with the Blade tool: 1 Click the Blade Tool button above the Timeline. Blade Tool button The pointer changes to the Blade All pointer. 2 Click a clip at the point where you want to split it. The clip is split at the point where you clicked. Click the clip with the Blade tool to split it.
Note: If you use the Blade All tool in the podcast track, it cuts the podcast track as well as any audio clips that are also under the Blade All tool. However, if you use the Blade All tool in an audio track, it does not make a cut in the podcast track. Use the Blade All tool to split clips across all tracks. Splitting Clips with the Playhead Using the playhead, you can split clips while a project is playing, split clips on selected tracks, and split clips without having to use the mouse.
You can split an audio clip into three segments with the Timeslice tool by making a selection in the middle of the audio clip (any part not including either the beginning or the end), and then pressing the S key. The clip is split into three segments, defined by the beginning and end of the selection. For more information about the Timeslice tool, see “Editing with the Timeslice Tool” on page 174.
Editing with the Timeslice Tool You can use the Timeslice Tool to make time-based selections. Unlike selections of multiple clips with the default Selection tool (which can only select whole clips), Timeslice tool selections are entirely time-based. This means you can use the Timeslice tool to select portions of clips or portions of multiple clips. You can also easily move and adjust the size of a Timeslice tool selection and add or remove entire tracks from the selection.
A Timeslice selection rectangle appears over the portion of the clip and the File Editor tab displays the same selection in its waveform view. By default, the selection includes all of the clip’s envelopes. Timeslice selection File Editor selection To adjust the size of a Timeslice selection, do one of the following: m Drag any of the four edges of the selection to extend or shorten that side of the selection rectangle.
To move a Timeslice selection: m Click the center of the Timeslice selection, then drag it to a new location in the Timeline. To add a noncontiguous track, bus, or submix to a Timeslice selection: m Command-click anywhere in the track, bus, or submix. Note: You can add tracks, busses, and submixes that are not adjacent to or contiguous with the selection. To remove a track, bus, or submix from a Timeslice selection: m Command-click anywhere in the track.
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). To paste a Timeslice: m Set the playhead at the position where you want to paste the Timeslice, then choose Edit > Paste (or press Command-V).
To change the In point, Out point, or duration of a Timeslice numerically: 1 Make a Timeslice selection in the Timeline. The Details tab displays Timeslice controls. 2 In the Details tab, type a new value in the In value slider, the Out value slider, or the Duration value slider. 3 Press Tab or Enter to confirm the new value. Note: To the right of the Timeline transport controls is the Selection Length value slider.
Using the Lift and Stamp Tools The Lift and Stamp tools provide a time-saving way to apply work you have done on one clip to one or more other clips. Use the Lift tool to copy properties from selected clips and create a processing template in the Sound Palette that can be applied to other clips. Use the Stamp tool to apply those properties to the other clips.
To stamp properties on one or more clips in the Timeline: 1 If you are stamping on more than one clip, select the target clips in the Timeline. 2 In the Sound Palette, select the template or preset containing the properties you want to stamp. (This is only necessary if there are already presets on the left side of the Sound Palette.
Actions appear in the target clip’s Actions tab for each property listed in the selected template or preset in the Sound Palette. They appear in the same order as they appear in the Sound Palette. Note: By default, Soundtrack Pro applies equalization every time you use the Lift and Stamp feature. This equalization automates the Match EQ effect, which matches the average frequency spectrum of the target clip to that of the source clip.
To name or rename a Sound Palette preset: 1 If there are already presets on the left of the Sound Palette, click the template name or a preset name that you want to name or rename. The template or preset details are loaded on the right of the Sound Palette. 2 Click the name field at the top-right corner of the Sound Palette. 3 Enter the new name. 4 Press Return or Tab to confirm the new name.
Working with Markers Markers have a variety of uses in the Timeline and the File Editor. For example, you can use markers to:  Mark the start and end points of major sections in your project  Indicate places you want to come back to and work on later  Mark points where you want to synchronize the audio with the picture in a video  Indicate where particular sounds begin and end in an audio file Markers extend vertically through the Timeline, like the playhead.
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 File 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).
Adjusting a Marker’s Duration By default, Time markers and Beat markers have a duration of zero, but you can create Time or Beat region markers by changing the duration of any marker. You adjust a marker’s duration either by entering a new duration for the marker in the Details tab, or, if it is already a region marker, by dragging the ends of a marker handle.
Using Markers to Align Audio Clips to Timecode You can add a time marker at a specific timecode position in a video clip, and align audio clips with the time marker or with a Final Cut Pro scoring marker. To add a time marker at a specific timecode position in a video clip, do one of the following: m Type the timecode position where you want to add the marker in the Time display, press Return, then choose Mark > Insert Time Marker (or press M).
The tempo change created when you score a marker to the playhead is always instantaneous; that is, the tempo changes from the previous tempo immediately, without ramping. The distance between the two envelope points determines whether the resulting tempo change can be heard easily. If the resulting change in tempo sounds too abrupt, you can edit the tempo envelope to make the tempo change less noticeable.
Working with Tagged and Looping Clips Soundtrack Pro includes a large selection of Apple Loops that you can use to add Foley effects, background ambience, sound effects, and music transitions to your projects. Apple Loops tagged as looping files automatically match the tempo and key of the project. 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.
Replacing the Source Audio in a Clip Each audio clip in the Timeline has a set of properties specific to the clip, including duration, speed, and transposition. You can replace the source audio in the clip while preserving the clip’s properties. This feature has a variety of uses, such as letting you try out similar audio files (for example, music beds or sound effects) while maintaining the clip’s duration, position in the Timeline, and transposition.
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 in the Timeline” on page 147. Every clip using the same source audio file is selected. 2 In the Timeline, select the clip for which you want to replace the source audio.
6 Editing Audio Files 6 In Soundtrack Pro, you can edit audio files nondestructively, analyze and fix common audio problems, and create AppleScript documents to batch process other audio files. The Soundtrack Pro File Editor gives you extensive audio file editing capabilities.
Spectrum view And you can do all this while working interactively with same audio file in the multitrack Timeline and while hearing (and seeing) the file in the context of other audio files in a multitrack project. In addition, the File Editor project view includes realtime effects and effects automation, AppleScript droplet creation, and other useful features. For more information about the File Editor project view, see “Using the File Editor Project View” on page 240.
Compressed formats such as MP3 and AAC files are also supported, although these must be internally decompressed to a linear PCM format. Soundtrack Pro supports audio files with any sample rate between 8 kHz and 192 kHz and any of the following bit depths: 8, 16, 24, 32, and 32-bit floating point. You can edit up to 24 tracks in a single file. You can play back up to six channels in a single file in the multitrack Timeline. Audio files can be a maximum of 4 hours in length.
You can view and modify a clip’s media file in the File Editor tab without losing the context of your multitrack Timeline. This is called editing in place. Simply select a clip in the Timeline and it appears in the File Editor tab below. The playheads in the Timeline and the File Editor tab are synchronized so you can play the media file within the context of your whole multitrack project. Any changes you make to the media file are updated in the Timeline immediately.
Editing in Place Editing an audio file directly in the multitrack Timeline is nearly identical to editing any other audio file in the Soundtrack Pro File Editor. All of the same effects, editing tools, and waveform views are available. However, there are several differences: Â Timeline and File Editor playhead synchronization: When you edit a clip’s media file in place, the Timeline and File Editor playheads are synchronized so you can work with the media file within the context of your multitrack project.
How Media File Editing Works in a Multitrack Project When you edit a clip in place or open a clip in a new File Editor tab, the way the media file is handled depends on its file format. Â If the clip’s audio file format is a native Soundtrack Pro audio file project: The audio file project is opened directly in the File Editor tab, allowing you to make nondestructive changes to the media. When you save the multitrack project, Soundtrack Pro automatically saves all of the associated audio file projects.
Modifying a Clip Without Affecting Its Source Media Any time you use multiple instances of the same clip in a multitrack project, the clip refers to the same source media file. This means that any time you modify the media file, all of the clips that refer to the media file are affected.
Editing Audio Files in the File Editor You can edit audio files in many different ways in the File Editor tab and File Editor project view. You can edit the entire file or select part of the file to edit. You can cut, copy, and paste audio, and graphically edit audio files using a variety of tools in the File Editor. Opening Audio Files in the File Editor Tab You can play an audio file in the File Editor so you can hear the file and any changes you make to it.
Playing Audio Files in the File Editor You can play an audio file in the File Editor so you can hear the file and any changes you make to it. To play an audio file: m Click the Play button in the transport controls (or press the Space bar). Click the Play button (or press the Space bar) again to stop playback.
Linking the File Editor Selection and the Cycle Region You can link the File Editor tab to the Cycle Region so that when you make selections in the File Editor tab (or selections of clips in the Timeline with the Timeslice tool), Soundtrack Pro automatically adjusts the Cycle Region to match the selection. To link the Cycle Region to File Editor and Timeslice selections: 1 Click the Link button in the File Editor tab.
To scrub an audio file with the playhead: 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. Scrubbing is useful to help identify the part of an audio file that you want to edit. While you are scrubbing an audio file, you can also select the part of the file that you want to edit. To make a selection while scrubbing with the playhead: m As you move the playhead, press and hold the Shift key.
Selecting Part of an Audio File When you apply an action to an audio file in the File 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 part of an audio file: m In the waveform display, drag horizontally across the part of the waveform you want to select. Selected area Some actions can only be applied to a selection. The selection can contain the entire audio file.
2 Drag the pointer to select the part of the left channel you want to work with. Left channel selected As you drag, the right (lower) channel of the audio file becomes darker in the waveform display. You can also double-click in the upper part of the waveform display to select the entire left channel. 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.
If you have added markers to an audio file project, you can select the area between two markers. To select the area between two markers in the File Editor project view: m Double-click the waveform display in the area between the two markers. If there are additional markers, you can expand the selection by dragging toward them. To select the entire contents of one or more channels: 1 Click the File Editor tab or the File Editor project view to make it the active window.
Adjusting Selections to a Zero Crossing A zero crossing is a point in an audio file where the amplitude is zero. When you edit an audio file in the File Editor, if the beginning or end points of your edit do not occur at a zero crossing, the edited audio file can have unwanted noise at the beginning and/or end of the edited area. Subsequent editing of the file, such as normalizing or increasing the gain, can increase this unwanted noise.
Cutting, Copying, and Pasting in the File Editor You can cut, copy, and paste audio in the File Editor. Cutting, copying, and pasting can change the length of an audio file. To cut part of an audio file in the File Editor: 1 Select the part of the file you want to cut. 2 Choose Edit > Cut (or press Command-X). The selected part of the file is removed, and the file shortens by the cut amount. To copy audio in the File Editor: 1 Select the part of the file you want to copy.
6 Click OK. The cut or copied audio is mixed with the existing audio. You can also paste repeat in the File Editor. When you paste repeat, the cut or copied audio is pasted the number of times you specify in succession, so that each copy starts at the end of the previous one. To paste repeat in the File Editor: 1 Set the playhead to the point where you want to paste the audio. 2 Choose Edit > Paste Special > Paste Repeat.
To zoom in on a selection: 1 In the waveform display, select the area you want to zoom in on. 2 Choose View > Zoom to Selection. To zoom in to see individual samples: m Choose View > Zoom to Samples. Note: 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 > Fit to Window. To return to the original zoom level: m Choose View > Zoom Normal.
Sample Edit Tool You can graphically edit samples in the audio file using the Sample Edit tool. To use the Sample Edit tool, the waveform display must be zoomed in enough to see individual samples, which appear as small squares connected by a thin line. Sample Edit Tool button To edit samples using the Sample Edit tool: 1 Click the Sample Edit Tool button above the time display. The pointer becomes a Sample Edit pointer. 2 Zoom in on the part of the waveform you want to edit.
Audio Stretching 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.
When you lengthen the selection using the Audio Stretching tool, any audio overlapped by the lengthened selection area is deleted. Lengthening the selection past the end of the file changes the length of the audio file. If you hold down the Option key while dragging the selection with the Audio Stretching tool, the audio following the selection area ripples forward when you lengthen the selection and ripples backward when you shorten the selection.
Choosing the Sample Units in the File Editor Along the left edge of the File Editor 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 > Sample Ruler Units, then choose a format from the submenu.
Selecting and Editing Channels in Multichannel Files Editing multichannel files in the File Editor is similar to editing in a multitrack Timeline. To make a selection across all channels: m Drag in the bottom 90 percent of any channel. To make a selection in an individual channel: 1 Move the pointer to the top 10 percent of a channel row. The pointer changes to indicate the channel name or number. 2 Drag in the channel row over the area you want to select.
Creating a New Multichannel Audio File You can create a new multichannel file and specify the number of channels and the sample rate. To open a new multichannel audio file: 1 Do one of the following: Â Choose File > New > Audio File (or press Command-Shift-N). Â Click New Audio File in the Toolbar. 2 Choose an option from the Channels pop-up menu: Â Â Â Â Mono Stereo Surround (5.1) Other Note: If you choose Other, use the value slider to enter the number of channels for the new audio file.
To view an audio file in Frequency Spectrum view, do one the following: m Choose View > File Editor Display > Show Spectrum. m Click the Frequency Spectrum View button in the upper-right corner of the File Editor tab or the File Editor project view. Waveform View button Frequency Spectrum View button The display changes to show the audio file’s frequency spectrum. You can select parts of the audio file, apply actions, and edit the audio file in Frequency Spectrum view in the same way as in Waveform view.
Using the Spectrum View HUD The Spectrum View HUD is a floating window that provides extensive controls for Frequency Spectrum view. Â Preemphasis: Applies gain per octave. Drag the slider to the right to emphasize high frequency content. Â Minimum Frequency: Allows you to view a subset of the frequency range (for example, only the frequencies over 1 kHz). Â Maximum Frequency: Allows you to view a subset of the frequency range (for example, only the frequencies under 9 kHz).
 Color pop-up menu and gradient slider: Use the menu and slider to customize the gradient for Frequency Spectrum view.  Reset button: Resets all controls to their default values. To open the Spectrum View HUD: 1 Turn on Frequency Spectrum view. 2 Do one of the following:  Choose View > File Editor Display > Show Spectrum Controls.  Control-click the spectrum display, then choose Show Spectrum Controls from the shortcut menu.
You can also choose the number of samples used to calculate the spectrum display. To choose the window size (number of samples used) for Frequency Spectrum view: m Control-click the spectrum display, then choose a number from the lower part of the shortcut menu. Editing in Frequency Spectrum View Use the Frequency Spectrum view and the Frequency Selection tool to select frequency ranges as well as to copy, paste, delete, and adjust the amplitude of frequency selections.
Frequency Selection Tool Guidelines Here are some further guidelines for editing in Frequency Spectrum view with the Frequency Selection tool: Â All paste edits, including paste, paste mix, and paste repeat, are supported for frequency selections. Â Pasting to an ordinary (full frequency range) selection follows the same conventions as in the Waveform view. Â Pasting to a narrow frequency range causes the contents of the Clipboard to be filtered before being pasted.
The advanced settings window contains controls for previewing the effect in the File Editor, bypassing, applying, or canceling the effect, resetting effect parameters, and applying effect presets. Show/Hide Presets button Reset button Bypass button  Play button: Plays the audio file or selection with the effect.  Volume slider: Controls the volume of the audio file or selection as you play it.
Normalize Choosing this command normalizes (adjusts the gain of ) the audio file or selection to the decibel level shown in the Normalization Level field. The highest peak in the file is raised or lowered to the level you set, and the rest of the audio file is raised or lowered by the same amount. When you choose Process > Normalize, the level is set to 0 dB. To set the normalization level: 1 Choose Process > Normalize.
Insert You can insert silence, noise, or a waveform in an audio file or selection. When you choose Process > Insert, then choose one of the three items from the Insert submenu, the silence, noise, or waveform is inserted at the current playhead position. The remainder of the audio file ripples so that it continues after the inserted silence, noise, or waveform. Inserting Silence When you choose Process > Insert, then choose Silence from the Insert submenu, the Insert Silence sheet appears.
To choose the type of noise to insert: m In the Noise Generator dialog, choose the type of noise from the Waveform Type pop-up menu. To set the length of the inserted noise: 1 In the Noise Generator dialog, choose the format you want to use from the Duration pop-up menu. 2 In the Duration value slider, do one of the following: Â Click the left arrow to shorten the length of the inserted noise, or click the right arrow to increase the length.
To set the length of the inserted waveform: 1 In the Wave Generator dialog, choose the format you want to use from the Duration pop-up menu. 2 In the Duration value slider, do one of the following: Â Click the left arrow to shorten the length of the inserted waveform, 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 the inserted waveform.
Noise Reduction 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 set the amount of noise reduction: m Drag the Reduction slider left to decrease the amount of noise reduction, or drag it right to increase the amount of noise reduction.
Adding Ambient Noise When editing an audio file, you may want to remove some sounds from the file while preserving the room tone or other ambient background noise in the file. Soundtrack Pro features commands you can use to set a selection as an ambient noise print and add the noise print to existing audio or replace the audio with the noise print.
Equalization Matching Equalization matching matches the average frequency spectrum of the target clip to that of the source clip. Set Equalization Print The Set Equalization Print command lets you select part of an audio file and create an equalization print from it. The equalization print provides an equalization signature that you can apply to other files. To set an equalization print: 1 Select the audio file (or part of the audio file) containing the equalization you want to match.
Resample Choosing this command resamples the audio file to a new sample rate. To choose the new sample rate: 1 Choose Process > Resample. 2 In the Resample sheet, choose a sample rate from the Sample Rate pop-up menu. You can also type a sample rate (in Hertz) in the Sample Rate field. 3 Click OK. The Resample action flattens the file, removing existing actions from the Actions list. For information about flattening actions, see “Flattening Actions” on page 233.
Working with Actions Actions give you an extremely flexible and powerful way to edit audio files in the File Editor. You can apply an action to an entire file or a selected part of the file, including applying an action to only one channel of a stereo audio file. You can turn individual actions on or off and reorder actions in the Actions list, changing the sequence in which the actions change the audio file. You can adjust action settings after applying the action, and can flatten actions.
Editing Actions Many actions have settings that you can edit. When you apply an action that has editable settings, a dialog appears, letting you edit the action’s settings. You can edit an action’s settings any time you are working in the File Editor. To show an action’s settings, do one of the following: m In the Actions list, Control-click the action you want to edit, then choose “Edit Settings For [action name]” from the shortcut menu. m Double-click the action in the Actions list.
Reordering Actions You can reorder actions after applying them to an audio file. The order in which effects and other actions occur can drastically change the resulting sound of the audio file. Depending on the length of the file, reordering actions can take time. To reorder actions: m In the Actions list, drag the actions you want to reorder up or down to new positions. You hear the change when you play the audio file. The waveform display updates to show the change to the audio file.
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. Click the triangle to reverse the order of the Actions list.
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. To hear the file with all actions: 1 Choose “Play with all 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 File Editor, click the Analysis button.
DC Offset DC offset is a shift in the audio, causing the positive and negative parts of the signal not to average to zero. DC offset can limit the dynamic range of an audio file. Phase Issues Phase issues can result from a distorted or inaccurate stereo image, caused by poor microphone placement or other issues. When converting a stereo file to mono, the presence of phase issues can cause the left and right channels to cancel each other out partially or completely.
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.
By default, the region shown in red in the waveform display includes some extra time before the first sample with the problem and some extra time after the last sample with the problem. This extra time is included so that when you play or loop the problem area, you can hear the problem in context. You can narrow the problem area to include only the samples identified as having the problem, with no extra time.
Fixing Analyzed Problems You can select items in the Results list and fix them individually, in groups, or all together. When you select a single item, the part of the waveform where the item occurs becomes red. To fix an item: m Select the item in the Results list, then click the Fix button. You can select multiple items to fix by Shift-clicking or Command-clicking. You can also fix all items in a single operation. To fix all items in one operation: m Click the Fix All button.
Opening the File Editor Project View You start working in the File Editor project view by creating an audio file project, opening an existing audio file project, or opening an audio file in the File Editor. To create a new, blank audio file project: m Choose File > New > Audio File. You can create an audio file project from a clip and open it in the File Editor. Audio file (.stap) projects let you edit nondestructively.
Setting the Time Ruler Units in the File Editor Project View You can set the Time Ruler units in the File Editor project view to any format in the Time Ruler Units submenu. To set the Time Ruler units in the File Editor project view: m Choose View > Time Ruler Units, then choose a format from the submenu. For more information, see “Setting the Project Ruler Units” on page 109.
Automating Realtime Effects in the File Editor Project View Once you have applied realtime effects to an individual audio file project, you can automate those effects in the File Editor project view. To automate a realtime effect parameter: 1 In the Effects tab, select the Auto checkbox next to the parameter’s control. 2 In the File Editor project view, click the Master Envelope button (in the lower-left corner of the project pane) to show the envelopes for the audio file project.
To render realtime effects and envelopes to an action: m Choose Process > Render to Action. Once you render realtime effects and envelopes to an action, the realtime effects are deleted from the project, and the envelopes are reset to their default values. Some effects, including reverb and delay, add audio that extends past the end of the file. This is called an effect tail.
Saving Audio File Projects Containing Video For audio file projects containing video, the video file is saved as a reference movie. If the video file is moved or deleted, or if you copy the project to another computer, the video may be missing when you open the project. To add the video to the project again, drag the video file into the Video tab or the video track of the Timeline.
Saving Audio Files from the File Editor Project View You can also save a project as a standard audio file from the File Editor project view. In this case, the edits you have made are rendered into the audio file and cannot be changed or undone the next time you open the audio file in the File Editor. To save a project as an audio file: 1 Choose File > Save. 2 In the Save dialog, type a name for the file and browse to the location where you want to save it.
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. Using the Timeline Controls in the File Editor Project View You can use the Timeline controls, located at the lower-left corner of the project pane, while working in the File Editor project view. Some of these controls have slightly different functions in the File Editor than they do in the Timeline.
Scripting Actions in the File Editor Project View You can save a series of actions in the File Editor project view as an AppleScript droplet and use the droplet to modify other audio files. You can apply the actions in a saved droplet while you are working in Final Cut Pro using the Send To shortcut menu. You can also drag files or folders onto a droplet, making it easy to batch process files. You can edit the droplet in the AppleScript Script Editor to adjust action settings.
Using the Global Waveform View The File Editor includes a Global Waveform view, located directly above the main waveform display. The Global Waveform view displays a miniature view of the entire audio file and shows the current playhead position. The part of the audio file visible in the waveform display appears inside a blue rectangle. You can quickly move to different parts of the audio file by dragging the visible area rectangle.
7 Using the Multitake Editor 7 The Multitake Editor presents a new way of dealing with layered audio clips. About the Multitake Editor You use the Multitake Editor to edit multitake (multiple-take), synchronized audio that is created by performing multiple-take recordings (such as in automatic dialogue replacement, or ADR). With this flexible tool, you can mix and match parts of different takes and make adjustments at any time.
What Is ADR? Automatic dialogue replacement (ADR) is a process of re-recording dialogue in the studio in synchronization with the picture. There are at least three roles in the ADR process: the actor, the recording engineer, and the sound editor. The actor has to recreate his or her performance and perfectly match up his or her speech to that of the film. The recording engineer has to recreate acoustic spaces so that it doesn’t sound like an actor is in a recording studio.
Overview of the Multitake Editor You can think of the Multitake Editor as a simplified multitrack Timeline that is focussed entirely on the contents of a single multitake clip. In the Multitake Editor, you can audition and choose which take will be used for each section of dialogue. The top row in the Multitake Editor is the comp (or composite) track. This track represents a combination of all of the edits that you make in the Multitake Editor. The other tracks represent individual takes.
Editing in the Multitake Editor Fundamentally, there are three steps in making any multitake edit: splitting, selecting, and adjusting. First, you split the takes into regions using the Blade tool. To split a take using the Blade tool: 1 Select the Blade tool by clicking the Blade tool in the upper-left corner of the Multitake Editor or by pressing B. 2 Click one of the take tracks using the Blade tool pointer. A transition point appears in the Multitake Timeline at the point where you clicked.
To adjust a transition point, do one of the following: m Drag the vertical transition point line left or right to adjust the timing of the cut. m Drag the left or right arrow handle at the top of a transition point to create a crossfade between two takes, then double-click the fades to use the Fade Selector. Drag the transition point handles to create a crossfade between takes. You can also adjust the fade type by double-clicking either part of the crossfade.
Adding and Deleting Takes You can easily add audio files to a multitake clip. Added takes can be any audio files that Soundtrack Pro supports and that match the sample rate and channel valence of the takes already in the Multitake Editor. The takes do not have to be from the same recording session. It is just as easy to remove takes from a multitake clip. ∏ Tip: Optionally, you can add a take from the original production audio to use a guide track.
Reordering Takes You can vertically rearrange the order of takes in a multitake clip. To rearrange the order of takes in a multitake clip: 1 Click the track header of the take you want to move. 2 Drag the take vertically to a new position in the list. A blue bar indicates where the take track will be positioned. Drag a take track header to a new position in the list.
8 Using the Blade tool, click just before the waveform for the word “try” in the Take 2 track. A transition point appears in the Multitake Editor Timeline at the point where you clicked. Click the waveform with the Blade tool to create a transition point. 9 Click the Selection tool in the upper-left corner of the Multitake Editor. 10 In the Take 3 track, click the waveform for the word “try” to select it. The take you clicked becomes the active take for the region.
13 Do one of the following to adjust any of the transition points: Â Drag a transition point left or right to adjust the timing of the cut. Â Drag the left or right arrow handle at the top of a transition point to create a crossfade between two takes. Drag the transition point handles to create a crossfade between takes. Note: You can also adjust the fade type by double-clicking either part of the crossfade.
8 Basic Mixing in Soundtrack Pro 8 Soundtrack Pro gives you the tools to create sophisticated audio 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.
Steps in Mixing Mixing a project typically involves the following tasks:  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.
Structuring an Audio Post-Production Project To organize their projects, most video and motion picture sound editors combine the signals of related tracks and busses into submixes (also known as stem mixes). Then they combine these submixes to build a final mix. Soundtrack Pro is designed with this workflow in mind. What Is a Submix and How Do You Use It? In Soundtrack Pro, you use a submix to combine (or “sum”) the audio from different tracks and busses, and route the audio to physical outputs.
Audio post-production projects typically include many tracks and submixes. The following diagram shows the signal flow of multiple tracks to just one submix. While this is an unlikely scenario, it illustrates the fact that you can route as many tracks to a submix as you like. See “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on page 266 for a typical example.
Setting Hardware Outputs Use the Output pop-up menu in each submix to choose an output channel or set of output channels. Your choice defines the output of that submix as either mono, stereo, or surround. To select the hardware output jacks for a submix: m Click None, Surround, Stereo, or Mono from the Output pop-up menu in the track header of each submix, then choose a channel or set of channels from the submenu.
Example: Mixing a Project with Dialogue, Music, and Effects Submixes A classic audio post-production practice for film and video is creating separate submixes for the dialogue, the music, and the sound effects. This provides an appropriate degree of flexibility, both in the mixing phase and in distributing the final product. Creating Submixes In this example project, all tracks containing dialogue are routed to a submix called “Dialogue.
Once the audio signals are organized in this way, you can apply (and automate) volume settings and effects on any of the submixes, rather than on the individual tracks or busses. You might, for example, add a compressor or EQ effect to a Dialogue submix to enhance all of the dialogue signals at once. Obviously, this saves a lot of time and effort (when compared with applying all of these settings to each dialogue track individually).
Creating a Separate Music and Effects Mix Using submixes in your workflow becomes very powerful when you consider the many different ways you might be delivering the final program. One common practice is creating a separate music and effects (M & E) submix for foreign distribution. This gives distributors the option to create versions of the program with the dialogue dubbed in foreign languages but to still include the program’s original music and effects in the dubbed versions.
Signal Routing for a Separate Music and Effects Mix in Surround When you shift from a stereo project to surround, you need to keep in mind some minor signal routing consequences. This section discusses what changes you would make to the submix and output settings. (For information about creating a surround version of a stereo project, see “Converting a Stereo Mix to 5.1 Surround” on page 307.
Using Sends and Busses You can use sends to split an audio signal into two or more separate signals. A send taps a track’s audio signal and routes it down a separate but parallel path. In Soundtrack Pro, these separate paths are known as busses. (Some might call these auxiliary busses.) This process is analogous to diverting a portion of a river to an alternate (but parallel) stream. Busses are like alternate streams of audio. They can be processed or combined independently of the “main river.
As the diagram shows, the new MusicReverb bus represents an alternate version of the Music track audio signal. Once created, this bus appears as a row in the Timeline and a channel strip in the Mixer. It becomes a resource to draw from during the final mix. Rather than having to tweak the effects settings of individual tracks in the mix, you can simply adjust the volume fader on the MusicReverb bus to increase or decrease the amount of reverb on that music track. By default, new sends are pre-fader sends.
Example: Combining Track Signals with Sends and Busses You can also send the signals from multiple tracks to a single bus, creating “intermediate submixes.” For example, you could route every dialogue track for a particular actor to a bus with the actor’s name. You could adjust the volume of all the actor’s dialogue using the bus volume fader and add an EQ effect that brings out the actor’s voice in the mix. You could then send (route) the bus to a particular submix.
Using the Mixer While most mixing tasks can be accomplished in the Timeline and elsewhere in the Soundtrack Pro interface, the Mixer offers an interface analogous to hardware mixing consoles found in most audio post-production facilities. Another advantage of the Mixer is that you can view levels on all (or at least many) tracks simultaneously in real time.
The controls a channel strip contains depend on whether it is a track, bus, or submix channel strip.
To display the Mixer and Video tabs as separate windows, do one of the following: m Choose Window > Layouts > Separate Mixer and Video (or press F2). m Using the pointer, drag the Mixer and Video tabs out of their docked positions. The Mixer and the Video tabs float over the Soundtrack Pro window as separate windows. Another useful layout to consider is one showing just the Timeline and the Mixer. This arrangement is convenient for visually positioning the playhead during a mix.
Selecting Channel Strips You can select a channel strip in order to move, copy, or remove it. Selected channel strips appear darker in the Mixer. To select a channel strip, do one of the following: m Click any empty part of the channel strip. You can select multiple channel strips in the Mixer. To select adjacent channel strips: m Shift-click the channel strips you want to select. To select nonadjacent channel strips: m Command-click the channel strips you want to select.
Setting Channel Strip Volume Levels You set relative volume levels to balance the various parts of the project. You set the volume level of a channel strip using the channel strip volume fader or value slider. Different sounds can have different apparent loudness at the same volume level, so perceived loudness does not precisely correspond to numeric values on the volume faders. You determine the appropriate volume level by listening to the track and adjusting its level in the overall mix.
Setting Channel Strip Pan Position You pan sounds to different positions to place them in the stereo or the surround field. You set the pan position of a track or bus channel strip using the stereo pan slider and value slider or the surround panner. You can’t pan a submix or the Master channel strip. To set the stereo 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.
To set the surround pan position of a channel strip: m Drag anywhere inside the black circle to position the puck. To return the surround panner to the default level: m Control-click the panner, then choose Set to Centered from the shortcut menu. For finer surround panning adjustments and other surround controls, double-click the surround panner to open the Surround Panner HUD. For more information about using surround panners, see “Using Surround Panners to Create a Surround Mix” on page 299.
Note: You can create submixes independently of the audio hardware connected to your computer and can route audio to an output that does not correspond to a physical output. In most situations, each submix in a project should correspond to a physical output on the audio interface or other hardware connected to your computer. Submixes that do not correspond to a physical output will not be heard. You may set as many submixes in a project to the same physical output device or output channel as you like.
Renaming Channel Strips You can rename a channel strip to help you remember its content or purpose in the overall mix. To rename a channel strip: m Click the channel strip’s name (at the top of the channel strip) to select it, then type a new name. Changing a Channel Strip Icon You can change the icon of a channel strip. Icons do not affect the sound, but are useful as a quick visual reference for the channel strip, particularly for projects with many tracks, busses, or submixes.
To hide a section of the Mixer: m Choose the section you want to hide from the Show pop-up menu, located at the upper right of the Mixer. Show (Mixer) pop-up menu Channel Strip pop-up menu To hide sections of channel strips: m Choose the section you want to hide from the Channel Strip pop-up menu. The visible sections of the channel strips appear with a checkmark in the Channel Strips pop-up menu.
At the top of each set of level meters is a peak indicator. As the project plays, the value in decibels of the highest level reached appears in the peak indicator. If the level rises above 0 dB, the peak indicator becomes red. The values shown in each peak indicator remain until you play the project again, close the project, or reset the peak indicator. Peak indicator Level meters To reset a peak indicator: m Click the peak indicator.
Working with Effects in the Mixer You can add effects to a channel strip in the Mixer, show effects settings, turn effects on and off, replace an effect, and delete effects. You can also adjust effects settings in the Effects tab or in the effect’s advanced settings window. Adding Effects to a Channel Strip You can add effects, turn effects off and on, and reorder effects in a channel strip.
To show advanced settings for an effect, do one of the following: m Double-click the effect name in the channel strip. m Control-click the effect, then choose Show [effect name] Advanced Settings from the shortcut menu. The effect’s advanced settings window appears. For information on working in the advanced settings window, see “Automating Realtime Effect Parameters” on page 351. Reordering Effects in the Mixer You can reorder effects in the Mixer as well as in the Effects tab.
Replacing an Effect You can replace an effect in a channel strip with another effect. When you replace an effect with another effect, the new effect has its own default settings, regardless of the settings of the previous effect. To replace an effect in a channel strip: m Control-click the effect, choose Replace [effect name] from the shortcut menu, then choose a new effect from the submenu.
To make a send a post-fader send: m Click the disclosure triangle for the send in the Effects tab, then select the On button next to Post-Fader. Reordering Sends in the Mixer You can reorder sends in the Mixer as well as in the Effects tab. When you reorder sends, you change which effects are routed to the send, which can change the sound drastically. To reorder a send in the Mixer: m Drag the send up or down in the effects slot area to change its order.
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.
In each channel’s meter, a white horizontal bar displays the current signal level; bars below the white bar display successive levels in a scale that rises from green to yellow as the signal increases. The meters peak at red when the signal clips (rises above 0 dB). Note: The meters can be configured via Soundtrack Pro preferences to display either surround order (Ls, L, C, R, Rs, LFE) or output order (channels 1-n). To change this setting, choose Soundtrack Pro > Preferences > General.
Using the Master Bus The Master bus represents the final mix from Soundtrack Pro—what will be heard from the physical output jacks. On a signal routing basis, the Master bus is practically a mirror image of the connected hardware output device. It is as wide as either the hardware device or the number of channels used in the project, whichever number is smaller. Master Bus Details The Master bus includes envelopes for volume, transposition, and tempo. By default, only the Volume envelope is visible.
To listen to a temporary mono mix: 1 Start the project playing. 2 While the project plays, press and hold the Mono Mix button, located to the right of the Monitor volume slider below the Mixer. Mono Mix button The Mono Mix button becomes darker to indicate that it is active. When you are finished listening to the temporary mono mix, release the button to hear the project mix. In addition to listening to a temporary mono mix by holding down the Mono Mix button, you can “latch” the Mono Mix button.
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 subm
9 Mixing Surround Sound 9 Soundtrack Pro gives you the tools to create sophisticated surround mixes for your projects. Surround sound uses more than two speakers to expand the spatial experience of audio playback to three dimensions. Surround systems can be found in movie theaters, home entertainment systems, video games, and a growing number of other applications.
Creating a Surround Project The following steps outline a general workflow used for editing and mixing surround sound files. Step 1: Acquiring the sound As with any audio track, the first step is finding and recording the sound that you want. Soundtrack Pro is flexible in terms of what kinds of files you can use in the surround mix. Input files can be mono, stereo, or surround.
Using the Surround Panners You use the panning controls in the track headers to set the pan position of a track or a bus. By default, the panning controls are set to stereo. You can easily switch between stereo panners and surround panners. Stereo panners Surround panners For surround playback, you must set the appropriate tracks or busses to use the surround panner.
As far as tracks and busses are concerned, switching between surround mode and stereo mode is that simple. At this point, you are mixing this particular track or bus in surround. Any surround panning adjustments and automation that you apply are saved with the current project. Important: To hear these changes through your speakers, make sure you also set the submix outputs to surround and connect the physical outputs.
Connecting Physical Outputs To hear the six discrete channels of surround sound that Soundtrack Pro can provide, you need external audio hardware that supports multiple physical outputs. At a minimum, this would include a multichannel audio interface and a 5.1-channel surround sound speaker system (totaling six speakers). For more information about audio interfaces, see “Setting Up an Audio Interface” on page 485.
Surround Speaker Placement There are several ways you can arrange 5.1 surround speakers for playback. You can follow the International Telecommunications Union Operational Bulletin No. 775 or the “ITU Standard” for 5.1 surround sound. Here are the basic points of this recommendation: Â Place all the speakers on the same plane. In other words, if you place some speakers on the floor and mount some on the ceiling, you will defeat the psychoacoustical benefit of having surround speakers in the first place.
Note: It isn’t always possible to place the speakers where they’re supposed to go due to obstacles in the room (doors, furniture, and so on). You can overcome some bad speaker placement by calibrating your system with a sound pressure meter and a calibration DVD. This way, you can make sure each speaker is providing the appropriate volume. Using Surround Panners to Create a Surround Mix This section explains how to use the surround panners in Soundtrack Pro to create a surround mix.
The Surround Panner HUD The Surround Panner HUD offers finer panning adjustments, a graphic representation of the current surround setting for the selected track, and other surround controls. To display the surround panner HUD, do one of the following: m Double-click the surround panner in the track header of the track or bus you want to adjust. m Double-click the surround panner in the Mixer channel strip of the track or bus you want to adjust.
Note: In automation envelopes, this Position parameter is expressed as Surround Pan X and Surround Pan Y. Â Rotation: Use this slider to alter the angle at which each signal starts out. This slider ranges from -180 degrees to 180 degrees and affects the input signal. For example, with no other panning, the right channel emanates from a location 45 degrees to the right. With rotation at +65 degrees, the signal appears at 110 degrees—directly out of the right surround speaker. ...
 Collapse: Typically, panners are either of a collapsing style (panning folds input signals into output speakers) or an attenuating style (panning simply turns down the gain of speakers further from the pan location). The Collapse slider goes from a fully attenuating style, through a hybrid style, to a fully collapsing style. At full attenuate (0% on the slider), no input bleeds to any other output; each channel remains at its original speaker position. The only change is to output gain.
 Speaker Disable: Click a speaker icon once to disable or enable it. If you disable a speaker, its output goes to adjacent speakers. Each speaker supports a single-click on/off for that speaker’s output. Click a speaker to disable or enable it. A dim gray color indicates the speaker is off.
Surround Metering Soundtrack Pro provides a variety of level meters to monitor output levels as you make surround panning adjustments. Surround Panner HUD Meters The Surround Panner HUD includes level meters that show volume information from the specific track or bus that you are panning. These meters can be hidden or displayed by using the disclosure triangle. Track-specific meters are a useful reference given the possible psychoacoustical “illusions” in surround mixing, such as the phantom center.
For more information about output settings, see “Connecting Physical Outputs” on page 297. Reset button Peak Value and Location display Level meters 2-channel meter 6-channel meter Mixer Meters Each channel strip in the Mixer includes a levels meter capable of displaying up to all six channels. The Mixer is the only place you can view the levels for each track, bus, and submix as well as the Master bus.
Surround Mixing Strategies This section includes guidelines and tips for mixing surround projects.
Converting a Stereo Mix to 5.1 Surround Many post-production projects require both a stereo mix and a surround mix. This section reviews some best practices for converting projects from stereo to surround. You can reverse the steps below to convert a project from surround to stereo. Important: When you switch between stereo and surround panners, panning automation (envelope) settings are not automatically copied over to the new panning mode.
In particular, you Control-click the stereo panner in the track header (or Mixer channel strip) of each appropriate track or bus and choose Use Surround Panner from the shortcut menu. Set all panners to surround panners. ∏ Tip: To save time, you can select or group all tracks or busses in the Tracks tab. When you change the panning settings of one of the tracks or busses, the panning settings on all the grouped items change as well.
Placing Dialogue and Voiceover in a Surround Mix In a surround mix, dialogue usually goes directly into the center channel. This is particularly true for voiceover narration, which is best left out of the left and right channels. (This is called stereo plus center.) Soundtrack Pro allows you to place sounds exclusively in a specific channel or just outside that channel, which would allow some of the sound to leak into the other speakers.
Placing Stereo Music in a Surround Mix The simplest option for stereo music in a surround project is to just leave it in stereo. If you just use the stereo panner for a music track, the left and right signals remain in their respective channels. However, some surround mixes include a hint of music in the rear channels as well. With the Surround Panner HUD, you can place the right music channel somewhere between the right front and right rear position, with more emphasis on the front speaker.
Using Surround Effect Plug-ins Soundtrack Pro includes a collection of professional surround-specific effect plug-ins for shaping your surround mix, including Surround Compressor, Delay Designer, Space Designer, and Multichannel Gain. For a complete list of these true surround effects and a full description of each, see the Soundtrack Pro Effects Reference document, available in the Help menu.
Accommodating Stereo Playback Even with the popularity of 5.1 systems, you should always address stereo reproduction. There are three basic ways to do this: Â Prepare a new stereo mix from the original multitrack elements (using conventional stereo-mixing sessions). Â Prepare a studio-adjusted downmix from the multichannel mix. This method takes advantage of the work that has gone into mixing the 5.1 version.
Project Files You can also deliver either an exported AAF file or a copy of the Soundtrack Pro project file. Â AAF: Like the Final Cut Pro XML Interchange Format, Advanced Authoring Format (AAF) is an industry-standard project interchange format that contains the editing decisions of nonlinear editing projects. Â Soundtrack Pro project file: For the greatest flexibility, you could deliver the entire project file with its associated media.
10 Working with Video in Soundtrack Pro 10 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. When you import a video into a multitrack project, a video clip also 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 a media tab 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 a media tab or the Finder to the Video tab. m Drag the video file from a media tab or the Finder to the video track in the Timeline. Drag a video file to the Video tab to import it into the project. The video appears in the Video tab.
Playing the Video When you play the project, the video plays in the Video tab in time with the audio in your project. You can also control playback using keyboard shortcuts. To view the video, you can make the Video tab active or detach it and move it to another location onscreen. You can also view the video using an external video output device. 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.
Resizing the Video Tab You can detach the Video tab and resize it (to any size, up to filling your entire screen). To resize the Video tab: 1 Detach (undock) the Video tab by clicking the tab at the top of the video frame and dragging it from its pane. 2 Drag the resize control at the lower-right corner of the Video tab until the tab is the size you want. Use the window’s resize control to make the video larger.
You can also play a project’s video externally using Digital Cinema Desktop. Using Digital Cinema Desktop, you can connect an Apple Cinema Display to your computer and play the video full-screen through the Cinema Display while using another monitor for editing. To play the video through a video output device, you must configure Soundtrack Pro to use the device in Soundtrack Pro Video Out Preferences.
Viewing Video Details You can view details of a video file, including the video file’s name, dimensions, length, frame rate, and other information. You can view details of a video file that has been added to a project or of a video file in a media tab. To view details of a video file: 1 If the Details tab is not visible, click Details to make it active. 2 Select a video file in a media tab, or select the video clip in the Timeline. The video file’s information appears in the Details tab.
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 File Editor for processing or analysis. You can also change the name or icon of the track containing the video’s audio and use the controls in the track header to adjust volume and pan, mute or solo the track, change the time format, or enable the track for recording.
To choose the video frame rate for projects not containing a video file: 1 Choose View > Time Ruler Units > Set Video Frame Rate. 2 In the dialog that appears, choose a frame rate from the Frame Rate pop-up menu. The Time display adjusts to the video’s timecode. The Time ruler units adjust to the video’s format. For more information on the Time ruler, see “Using the Time Ruler” on page 133.
Opening and Closing the Multipoint Video HUD Use the following methods for opening and closing the Multipoint Video HUD. To open the Multipoint Video HUD: m Choose Window > HUDs > Multipoint Video (or press V). To close the Multipoint Video HUD, do one of the following: m Choose Window > HUDs > Multipoint Video (or press V). m Click the close box in the HUD.
Dragging a Clip Around the Multitrack Timeline When you drag an existing clip around in the Timeline, the Multipoint Video HUD displays the video frame at the start of the clip on the left, the video frame at the end of the clip on the right, and the video frame at the current pointer position in the middle.
Dragging the Cycle Region When you modify either end of the Cycle Region, the Multipoint Video HUD displays the video frame at the start of the Cycle Region and the video frame at the end of the cycle region. You can quickly remove the Cycle Region at any time by pressing Option-X. Dragging Markers When you drag a single marker, the Multipoint Video HUD displays the video frame at the marker position. When you drag two markers, the Multipoint Video HUD displays the video frames at both marker positions.
11 Working with Audio Effects 11 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.
Applying Processing Effects You can apply processing effects to clips and regions of clips in the multitrack Timeline and well as to audio file projects (or regions thereof ) in the File Editor. 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.
4 Optionally, do any of the following: Â Â Â Â Click the Play button to hear the effect and your adjustments to it. Click the Reset button to reset the parameters to their default values. Click the Toggle Effect Bypass button to hear the audio without the effect. Click the Show Presets button to display the available presets. For more information about presets, see “Working with Effect Presets” on page 330. 5 Click Apply. A corresponding action appears in the Actions tab for the clip.
Working with Effect Presets Many effects come with several combined parameter settings called presets. Presets are a handy way to get up and running with Soundtrack Pro effects without having to learn a lot of details about their various parameters. 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.
To hide the Presets drawer: m Click the Hide Presets button in the advanced settings window. To apply a preset to an effect from the Effects tab: m In the Effect Parameters area, choose the preset from the Presets pop-up menu. Audio Effects Included with Soundtrack Pro Soundtrack Pro includes the following types of audio effects: Â Dynamics: Dynamics effects let you shape the volume of your projects over time.
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.
Compressors can also include parameters for attack and release. These parameters let you set how quickly the compressor reacts once the threshold is reached (for attack) or once the signal falls below the threshold again (for release). Use these parameters to make the compressor’s effect more subtle or more pronounced.
EQ and Filter Effects EQ is likely the most common audio effect used in postproduction. You can use EQ to shape the sound of a project by adjusting specific frequencies or frequency ranges. Using EQ, you can create both subtle and extreme changes to the sound of your projects. Most EQ effects make use of filters. As the name suggests, a filter allows certain frequencies to “pass through” to the output while stopping or attenuating other frequencies.
Name Frequency range Description High Midrange 1.2–2.5 kHz Includes the consonants of voices and the high harmonics of musical instruments, especially brass instruments. Excessive boosting in this range can create a pinched, nasal sound. Midrange 750 Hz–1.2 kHz Includes the vowels of voices and the harmonics of musical instruments that create tone color.
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.
Flangers Flangers work in much the same way as do phase shifters, but additionally change the pitch of the delayed signal slightly. Flanging is typically used to create a more extreme change than phase shifting, sometimes described as adding a “spacey” or “underwater” effect.
Reverb Reverberation, usually shortened to reverb, simulates the sound of acoustic environments such as rooms, concert halls, caverns, or the sound of infinite space. In any acoustic space, sounds echo off the surfaces of the space (the floor, walls, and ceiling) over and over, gradually dying out until they become inaudible. Reverb effects consist of thousands of delays, of varying lengths and intensities, that simulate these natural echoes.
Simple reverb effects provide parameters for the decay time or reverb time, which let you set how long the reverb lasts before dying away, and the mix or level, which you use to set the ratio of the effected signal (called the wet signal) to the original (the dry signal). More sophisticated reverbs can include the following parameters: Â Room type: Lets you set the type of space the reverb will simulate: a small or large room, a hall, or another type of acoustic space.
MultiMeter The MultiMeter combines the functions of the Level Meter and Correlation Meter (as described above) with several other analysis tools:  A Spectrum Analyzer  A Goniometer for judging the phase coherency in the stereo sound field The control panel to the left of the display allows you to switch between the Analyzer and Goniometer and contains parameter controls for the MultiMeter. The Stereo Level and Correlation Meter are always visible.
Clicking the Goniometer button turns on the Goniometer and turns off the Spectrum Analyzer. You can use the Auto Gain display parameter in order to obtain a higher readout on low-level passages. Auto Gain allows the display to automatically compensate for low input levels. You can set the amount of compensation with the Auto Gain parameter, or set Auto Gain by dragging directly in the display area of the Goniometer.
There are three smoothing parameters that you can use to minimize the “glass-noise” effect: Frequency smoothing, Time smoothing, and Level smoothing. Raising the Frequency smoothing slider results in a smoother transition of denoising to the neighboring frequencies. When the Denoiser recognizes that only noise is present in a certain frequency band, the higher the Frequency Smoothing parameter is set, the more it will also change the neighboring frequency bands to avoid glass noise.
Working with Realtime Effects You can add realtime effects to a track, bus, submix, or the Master bus in a multitrack project, or to an audio file project, and then adjust the effect parameters to control the way in which the effects alter the sound of the track or project.
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 submix in the Timeline: 1 Select a track, bus, submix, or the Master bus in the Timeline. 2 Do one of the following to open the Effects tab: Â Choose Window > Tabs > Effects (or press Command-5).
To add a realtime effect to a track, bus, or submix in the Mixer, do one of the following: m Control-click an effects slot in the channel strip of the track, bus, or submix, then choose Add Effect from the shortcut menu and an effect from one of the submenus. m Select the channel strip in the Mixer for the track, bus, or submix and follow the steps in the previous task.
To adjust realtime effect parameters in the advanced settings window: 1 Do one of the following to open the window: Â Apply the effect to a track, bus, or submix and the effect’s advanced settings window appears automatically. Â In the Effects tab, click the Advanced button for the effect. Â In the Mixer, Control-click the effect name, then choose Show [effect name] Advanced Settings from the shortcut menu. Â In the Mixer, double-click the effect name. The effect’s advanced settings window appears.
To adjust realtime effect parameters in the Effect Parameters area of the Effects tab: 1 Click the disclosure triangle next to the effect in the Effect Parameters area to display its parameters. 2 Adjust the effect parameter by dragging the slider, selecting the checkbox, or choosing an item from the pop-up menu. You can also adjust the parameter by entering a valid value in the field to the right of the parameter’s control. Click the disclosure triangle to display the effect’s parameters.
To add multiple effects to an effects chain, do one of the following: m Double-click the effect you want to add in the Effects list. m Select the effect in the Effects list, then click the Add Effect button. The effect appears in the Effect Parameters area below any previously added effects. You can now set the parameters of the added effect. Select the effect you want to add, then click the Add Effect button. You can also drag the effect to the Effect Parameters area.
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. This lets you hear how each effect in a chain alters the sound. Deselect the checkbox next to the effect name to bypass the effect. To bypass an effect: m In the Effects tab, deselect the checkbox next to the effect.
Choosing the Bus to Which a Send Is Routed When you add a send, the audio is routed from the send to a bus. By default, the first send you add to a track is routed to Bus 1, the second send is routed to Bus 2, and so on, if the bus exists. Once you add a send, you can choose the bus to which the send is routed. Send pop-up menu Add Send button To choose the bus to which a send is routed, do one of the following: m In the Effect Parameters area of the Effects tab, choose a bus from the Send pop-up menu.
Adjusting Send Pan Position You can adjust the pan position for the audio routed through a send. To adjust send pan position: 1 If the send pan sliders are not visible, click the disclosure triangle for the send. 2 Drag the send pan (x) slider left to pan the send to the left, or drag it right to pan the send to the right. Drag the pan (y) and pan (lfe) sliders to adjust the surround pan settings. Note: For information on surround panning, see Chapter 9, “Mixing Surround Sound,” on page 293.
To automate a realtime effect parameter: 1 In the Effects tab, select the Auto (Automation-enable) checkbox next to the parameter’s control. 2 In the Timeline or in the File Editor project view, show the envelopes for the track, bus, submix, or audio file project. In the Timeline, you show the envelopes for the track, bus, or submix with the effect. In the File Editor, you show the envelopes for the audio file project. 3 Add and adjust envelope points in the effect’s envelope.
Working with Processing Effects You can apply processing effects to an audio file or a selected part of a file in the File Editor. In the File 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 230. Processing effects are applied as actions and appear in the Actions menu of the File Editor.
Automating Processing Effect Parameters For the effects in the categorized submenus at the top of the Effects submenu of the Process menu (not including Mac OS effects), you can add an envelope for an effect parameter by Control-clicking the parameter in the advanced settings window. You can add envelope points to the envelope to automate changes to the effect parameter.
12 Working with Automation 12 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 submixes 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 Submix Envelopes Each track and bus has envelopes for volume and pan, and each submix has a volume envelope. By default, the envelopes are hidden. When you show the envelopes, they appear in rows below the track, bus, or submix in the Timeline. Click the envelope disclosure triangle. The envelopes are displayed below the track, bus, or submix.
 Right Speaker Disable  Left Surround Speaker Disable  Right Surround Speaker Disable For a complete description of each of these surround parameters, see “The Surround Panner HUD” on page 300. Surround envelopes Adding Envelope Points You create changes to an envelope by adding envelope points to the envelope, and moving them to different values. To add an envelope point to an envelope: m Double-click the envelope at the position where you want to add 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. m If the envelope points are adjacent, Shift-click the first envelope point, then the last envelope point you want to select. All envelope points in between are also selected. m Command-click each envelope point you want to select.
Selecting and Moving Envelope Points with Clips By default, when you select or move a clip in the Timeline, the associated envelope points are not selected, and they do not move with the clip. You can set Soundtrack Pro to do the opposite: to select associated envelope points when you select a clip. In this case, if you move the clip, the envelope points move with it. To select and move clips and envelope points together: m Click the Select Envelope Points With Clips button at the top of the Timeline.
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 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.
Nudging Envelope Points There are several ways in which you can nudge envelope points using the arrow keys: Â Hold down the Command and Option keys and press the Left or Right Arrow key to move the envelope point to the previous or next video frame. Â Hold down the Command key and press the Left or Right Arrow key to move the envelope point to the previous or next gridline. Â Hold down the Command key and press the Up or Down Arrow key to move the envelope point up or down by one coarse value.
Deleting Envelope Points After listening to the results of your edits, you may decide to delete some envelope points. To delete envelope points: 1 Select the envelope points. 2 Do one of the following: Â Choose Edit > Delete. Â Press the Delete key. Â Press Command-X. When you delete envelope points, the envelope adjusts accordingly, moving evenly from the preceding envelope point to the next envelope point.
To remove an envelope for an effect parameter: m Deselect the Auto checkbox for the parameter in the Effect Parameters area of the Effects window. The range of values for an effect or send parameter envelope is the same as the range for the parameter in the Effects tab. For detailed information on adjusting effect parameters, see “Adjusting Realtime Effect Parameters” on page 345. Master Bus Each project has a Master bus that includes envelopes for volume, transposition, and tempo.
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 and faders 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.
13 Recording Audio in Soundtrack Pro 13 You can record your own audio on one or more tracks in the Timeline, the Mixer, or the File Editor project view as a mono, stereo, or multichannel file. 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.
Adjusting Recording Settings Before you click the Record button, you may need to configure the input device, the choice of input channels, and other device and monitor settings. To adjust recording settings: 1 In the Recording tab, choose the input device from the Input Device pop-up menu. The available choices include your computer’s Built-in Audio, plus any other installed audio interfaces.
The Recording tab adjusts the level meter display based on the channel (or set of channels) you choose. For example, for the default Stereo setting, the Recording tab displays the Left and Right level meters. If you choose the 4-channel setting, the Recording tab displays level meters 1 through 4. If you choose the Surround 5.1 setting, the Recording tab displays the standard surround level meters.
Recording a Single Take You record a single take by setting the playhead to the point where you want recording to start, then clicking the Record button. Recording starts at the playhead position, and ends when you click either the Record or Play/Pause button. To record a single take: 1 If you want to record to an existing track, enable the track for recording. 2 Set the playhead to the point where you want recording to start.
3 Set the playhead to the point where you want recording to start, and click the Record button. The audio is recorded to the armed tracks. You can record multiple tracks at once. 4 To stop recording, do one of the following: Â Click the Record button again. Â Click the Pause/Play button. Â Press the Space bar. Recording Multiple Takes You can record multiple takes in the Timeline.
5 To stop recording, do one of the following: Â Click the Record button. Â Click the Pause/Play button. Â Press the Space bar. When you record multiple takes, the takes are recorded sequentially to an audio file in the recording location set in Recording preferences. The takes appear in a single multitake clip in the Timeline. The current take number appears in the lower-right corner of the clip.
Recordings Location When you record audio with Soundtrack Pro, the default location for those audio recordings is: /Users/username/Documents/Soundtrack Pro Documents/Recordings/. To change the Recordings location: m Choose Soundtrack Pro > Preferences. Click the Recording button, then click Choose to enter a new location. Note: When you save a multitrack project and select the Collect Audio Files option, a copy of every audio file the project uses (including recordings) is saved with the project file.
Recording Audio in the File Editor Project View You can record audio to an audio file project in the File Editor project view. When you record audio in the File Editor, you replace (overwrite) any existing audio in the audio file or selection you record to. You can select part of the file in the File Editor to record to. When you record to a selection, recording starts at the beginning of the selection and ends at the end of the selection. The part of the file after the end of the selection is unchanged.
14 Creating Podcasts in Soundtrack Pro 14 Soundtrack Pro gives you the tools to create professional podcasts of your projects. You can quickly and easily produce audio and video podcasts directly from within Soundtrack Pro projects. And you can take video projects from Final Cut Pro and make podcasts from them using Soundtrack Pro. Podcasts are audio and video broadcasts available on the Internet.
Podcasting Media Production Producing podcasts has a lot in common with producing any other audio or video program. Soundtrack Pro can help you with the audio production, editing, and mixing steps as well as with some other tasks unique to podcasting. There are two main ways to create podcasts: Â Take a Final Cut Pro project and create a podcast from it in Soundtrack Pro. Â Create a podcast from scratch in Soundtrack Pro.
Using the Podcast Track and Podcast Markers You can add chapter markers, images, and web links to your podcasts using the podcast track and the Details tab in Soundtrack Pro. Note: If you want to make a simple audio or video podcast with no markers, images, or web links, skip to “Exporting Podcasts” on page 387. Displaying the Podcast Track and the Details Tab You use the podcast track in conjunction with the Details tab to add enhanced podcast features to your podcast.
To view or enter information for a podcast marker: 1 Select a podcast marker region in the podcast track. Select the podcast marker region. 2 Enter or view the information in the Details tab. Podcast Marker Information in the Details Tab Use the Details tab to enter and display podcast marker information and attributes. The Details tab sets properties for the podcast marker region (e.g. what image will be shown until the next marker in an enhanced podcast) and optionally sets a chapter marker.
Adding Markers to a Podcast Markers can provide visual interest and navigational convenience for your podcast audience. Podcast markers are frames in a podcast that can display an image or a web link synchronized to the audio in the podcast. Chapter markers are podcast markers that provide enhanced navigation. Chapter markers make it easy for listeners and viewers to skip ahead to the section they want. Chapter markers appear in the chapter list in both iTunes and QuickTime Player.
Moving Podcast and Chapter Markers Use the Position value slider to move markers in your podcast. To move a podcast marker with the pointer: m In the podcast track, drag the edit point between any two marker regions. Drag the edit point to adjust the podcast marker. To move a podcast marker or a chapter marker using the Details tab: 1 In the podcast track, click any marker region. 2 In the Details tab, use the Position value slider to adjust the marker position.
To change a chapter marker to a podcast marker: m Deselect the “Marks a chapter” checkbox in the Podcast Marker section of the Details tab. To change a podcast marker to a chapter marker: m Select the “Marks a chapter” checkbox in the Podcast Marker section of the Details tab. To enter web link information for a marker: 1 Enter a web address in the URL field. For example: http://www.apple.com/. 2 Enter a descriptive title in the URL Title field. For example: Apple Inc.
4 Choose Mark > Create Podcast Markers from FCP Chapters. The chapter markers from the Final Cut Pro sequence are inserted in the podcast track as podcast chapter markers. The markers have the same names they did in Final Cut Pro. By default, this operation sets the Image Source pop-up menu to Video at Start of Section. For more information about the Image Source pop-up menu, see “Using the Image Source Pop-Up Menu” on page 386.
4 Confirm that the podcast track contains the single, default chapter marker region that spans the entire length of the project. 5 Click the podcast track to select it. 6 In the Image Source pop-up menu in the Details tab, select Episode Image. The image is applied to the entire podcast. If there are no subsequent markers with images, this initial image will be shown for the duration of the podcast.
Using the Image Source Pop-Up Menu You can apply images to your podcast in a variety of ways with the Image Source pop-up menu. To apply an image to a marker region: 1 Select the marker region in the podcast track. 2 Click the Image Source pop-up menu in the Details tab.
To remove an image from a podcast: 1 Select the marker region in the podcast track. 2 Choose Episode Image from the Image Source pop-up menu. The image is removed and no image is displayed for that marker region. The image for the podcast chapter has been removed. Note: Enhanced podcasts (using still images) and video podcasts are mutually exclusive. Information for enhanced and video podcasts can co-exist in your multitrack project, but you must choose one or the other when you export.
Exporting Audio Podcasts as AAC Files You can export AAC audio files directly from Soundtrack Pro by choosing File > Export and selecting AAC/Podcast File from the File Type menu. For complete information on exporting to the AAC format, see “Exporting to AAC/Podcast Files” on page 401. In step 6 of those export instructions, you are presented with the following options: Â No Video: Choose this option to export an audio-only (AAC) file. The resulting podcast file will have the.m4a extension.
Using this method for exporting video podcasts offers the speed and convenience of exporting directly from Soundtrack Pro. A tradeoff of this method is you don’t have as much control over the various details of the transcoding process. For complete control over all aspects of the transcode, including the various video parameters, use Compressor (instead of this Export dialog). See “Exporting Video Podcasts Using Compressor,” next.
Using Post-Export Actions for Podcast Production The Soundtrack Pro Export dialog includes post-export actions that can automate parts of your podcasting workflow and save you time and effort. You can use the feature to automatically trigger your own AppleScript documents as a part of any export operation. You can link your Soundtrack Pro podcast export to custom AppleScript documents that would execute at the end of an export.
15 Using Control Surfaces with Soundtrack Pro 15 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 Master fader Master volume (physical output channels 1-2) Channel strip volume faders Track volume slider Channel strip rotary knobs Track pan slider Channel strip record-ready buttons Track Arm for Recording 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.
16 Exporting Multitrack Projects 16 Once you have created a final mix of a multitrack project, you can choose from several different ways to deliver it. You can export the project mix or export individual tracks, busses, or submixes to a wide variety of formats. You can export a project to a mono, stereo, or multichannel audio file. You can export all, or selected, tracks, busses, or submixes to either stereo or multichannel audio files, or to groups of mono files.
About the Export Dialog The Export dialog in Soundtrack Pro is a flexible tool that provides numerous alternatives for your workflow and distribution needs. To open the Export dialog for a multitrack project: m Choose File > Export.
Exporting and the Cycle Region You can export just a portion of your multitrack project by selecting it with the cycle region. To select a portion of a multitrack project with the cycle region, do one of the following: m Drag in the bottom half of the Time ruler from the beginning of where you want the cycle region to the end. m Position the playhead and press I to set the cycle region In point. Position the playhead and press O to set the cycle region Out point.
Exporting a Master Mix to a Standard Audio File You can export a mixdown of your project to any of the following standard (uncompressed) audio formats: AIFF, WAVE, NeXT, and SoundDesigner II. To export a master mix as a standard audio file: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose Master Mix from the Exported Items pop-up menu. Note: You can also use an export preset to export a master mix.
5 Choose a bit depth for the exported file from the Bit Depth pop-up menu. 6 Choose a sample rate for the exported file from the Sample Rate pop-up menu. The sample rate is the number of times an analog signal is measured—or sampled— per second. The higher the sample rate, the higher the quality and the larger the file size, but don’t choose a sample rate higher than the rate used in your multitrack project or you’ll waste space.
To export a master mix as an MP3 file: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose Master Mix from the Exported Items pop-up menu. Note: You can also use an export preset to export a master mix. For more information about using export presets and the Preset pop-up menu, see “Using Export Presets” on page 418. 3 Choose MP3 File from the File Type pop-up menu. The bottom portion of the Export dialog displays the MP3 export options.
 Sample Rate pop-up menu: The sample rate is the number of times an analog signal is measured—or sampled—per second. The higher the sample rate, the higher the quality and the larger the file size, but don’t choose a sample rate higher than the rate used in your multitrack project or you’ll waste space.  Channels pop-up menu: If your project is monaural or if the target playback device is mono, choose Mono. (Mono files are about half the size of stereo files.
3 Choose AAC/Podcast File from the File Type pop-up menu. The bottom portion of the Export dialog displays the AAC/Podcast export options. Since Soundtrack Pro can tap the power of Compressor as a background process, these export options are identical to the corresponding options in the Compressor application. The AAC/Podcast export options are divided into three separate panes: Audio, Streaming, and Podcast.
5 Choose from the following export options in the Streaming pane: AAC Streaming export options  Streaming hints enabled checkbox: Make sure that this box is selected if you want the MPEG-4 Part 2 output format streaming settings to be applied.  QuickTime Streaming Server Compatibility (pre v4.1) checkbox: Select this checkbox if you want your exported file to work with an older QuickTime Streaming Server (version 4.1 or earlier).
6 Select one of the following buttons in the Podcast pane: AAC Podcast export options  No Video: Choose this option to export an audio-only (AAC) file.  Enhanced (images): Choose this option to export an enhanced podcast containing audio and chapter marker images. For more information, see Chapter 14, “Creating Podcasts in Soundtrack Pro,” on page 377.  Video Track: Choose this option to export an MPEG-4 (.m4v) file containing both audio and video.
To export a master mix as a Dolby Digital Professional (AC-3) file: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose Master Mix from the Exported Items pop-up menu. Note: You can also use an export preset to export a master mix. For more information about using export presets and the Preset pop-up menu, see “Using Export Presets” on page 418. 3 Choose Dolby Digital Professional (AC-3) File from the File Type pop-up menu.
 Audio Coding Mode pop-up menu: Specifies the audio channels of the encoded stream. This setting also has an Automatic button. Choose the audio channel grouping for the encoded stream from the Audio Coding Mode pop-up menu. For example, “3/2 (L, C, R, Ls, Rs)” means three front channels (left, center, right) and two rear (surround) channels. “2/0 (L, R)” is essentially a standard stereo file. The audio coding mode affects settings such as the available bandwidth and surround channel preprocessing.
 Data Rate pop-up menu: The choices depend on the coding mode and target system. The higher the rate, the better the quality. Dolby Digital Professional (AC-3) streams have a constant data rate. At 448 kbps, which is the default for 5.1 encoding, one minute of AC-3 audio takes about 3.3 MB of storage space. For stereo encoding, rates of 192 kbps and 224 kbps are typical and will produce good results.  Bit Stream Mode pop-up menu: Defines the purpose of the encoded audio material.
5 Choose from the export options in the Bitstream pane. These settings are stored in the finished stream for use by the playback device. Leave them at their default values unless you have a specific technical reason for changing them. AC-3 Bitstream export options  Center Downmix and Surround Downmix pop-up menus: If your encoded audio has these channels, but the player does not, the channels are mixed into the stereo output at the specified level.
6 Choose from the export options in the Preprocessing pane. Preprocessing options are applied to the audio data before encoding. With the exception of the Compression Preset setting, leave these settings at their default values unless you have a specific technical reason for changing them. AC-3 Preprocessing export options  Compression Preset pop-up menu: Specifies one of the dynamic range processing modes built in to the Dolby Digital Professional (AC-3) format.
 General  Apply Digital Deemphasis checkbox: Specifies whether input audio data is pre-emphasized and needs to be de-emphasized before encoding.  LFE Channel  Low-Pass Filter checkbox: Select this option to apply a 120 Hz low-pass filter to the Low Frequency Effects (LFE) channel. Turn off this filter if the digital signal fed to the LFE’s input does not contain information above 120 Hz.
To export a master mix using Compressor from within Soundtrack Pro: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose Master Mix from the Exported Items pop-up menu. Note: You can also use an export preset to export a master mix. For more information about using Soundtrack Pro export presets and the Preset pop-up menu, see “Using Export Presets” on page 418. 3 Choose Using Compressor from the File Type pop-up menu.
5 Optionally, for multichannel projects, click the Edit Channel Layout button to change the channel layout for the exported file. For information on exporting multichannel projects, see “Exporting Multichannel Projects with Compressor” on page 413. 6 Click Export. Using Compressor Export Presets Compressor includes a large number of export presets for a variety of target formats and playback devices.
Exporting Multichannel Projects with Compressor When you export a multichannel project using Compressor, you can edit the channel layout. By default, Soundtrack Pro uses the SMPTE/ITU standard for routing surround output channels.
Exporting Tracks, Busses, and Submixes Separately As an alternative to exporting a master mix, you can export the component parts of your multitrack project as individual files or as groups of files. These options are available for AIFF, WAVE, NeXT, and SoundDesigner II export files. Note: Muted tracks, busses, and submixes are excluded from all of the following export combinations.
Exporting Multiple Mono Files Select the “Export multiple mono files” checkbox to export a separate mono audio file for each output channel in your multitrack project. Selecting this checkbox results in a separate audio file for each hardware output (jack). For example, by default, all tracks are routed to Submix 1, and Submix 1 is routed to the Stereo 1, 2 outputs. With this setup, selecting the “Export multiple mono files” checkbox exports two mono files.
Using Post-Export Actions The Soundtrack Pro Export dialog includes post-export actions that can automate parts of your workflow and save you time and effort. The post-export actions range from opening the exported files in a Final Cut Pro sequence to bouncing mixes to new tracks. You can also use the feature to automatically trigger your own AppleScript documents as a part of any export operation.
Custom Actions You can save a series of actions in the File Editor as an AppleScript droplet. Those droplets will appear as actions in the After Export pop-up menu (provided you save them to the default location: /Users/username/Library/Scripts/Soundtrack Pro Scripts/). For more information about creating your own AppleScript droplets in Soundtrack Pro, see “Scripting Actions in the File Editor Project View” on page 248.
Using Export Presets You can streamline your workflow by saving all export settings (any combination of export objects, formats, and actions) into a collection of presets for future use. Custom export presets can include any combination of exported items, file type, bit depth, sample rates, and post-export actions. To create a new export preset: 1 Choose File > Export (or press Command-E). The Export dialog appears.
Exporting to AAF Advanced Authoring Format (AAF) is an industry-standard project interchange format for sharing projects and editing decisions between different video and audio editing applications. To export a project to an AAF file: 1 Choose File > Export AAF. The Save dialog appears. 2 In the Save dialog, type a name for the file and browse to the location where you want to save it. For more information on using OMF and AAF files, see “Exchanging OMF and AAF Files with Other Applications” on page 435.
3 Enter a name for the saved project, navigate to the folder in which you want to save the project and its audio files, and click Save. The project file and a copy of every audio file the project uses are saved in the selected location. 4 You can optionally create a new folder for the collected project. To create a new folder for the project, click the triangle next to the Save As field to expand the Save dialog, then click New Folder. It’s a good idea to save each collected project in its own folder.
17 Using Soundtrack Pro with Other Applications 17 You can work with media files and projects from Final Cut Pro, Motion, DVD Studio Pro, and other applications in Soundtrack Pro projects. Soundtrack Pro gives you several ways to work with files from Final Cut Pro, Motion, and DVD Studio Pro, as well as third-party applications.
Methods for Sending Audio from Final Cut Pro to Soundtrack Pro You can take several approaches to working with your Final Cut Pro project’s audio in Soundtrack Pro. The method you choose depends on your situation: Â Do you need to make specific changes to audio clips in your project? Final Cut Pro allows you to open one or more clips in the Soundtrack Pro File Editor, where you can analyze and process the audio using a variety of powerful tools.
Sending Clips from Final Cut Pro to the Soundtrack Pro File Editor When you send an audio clip from Final Cut Pro to the Soundtrack Pro File Editor, a Soundtrack Pro audio file project is created with the file extension “.stap.” This file can be edited nondestructively. The Final Cut Pro clip is reconnected to the new Soundtrack Pro audio file project, so the original media file is not affected by what you do in the File Editor.
3 Click Save. A Soundtrack Pro audio file project is created and opened in the Soundtrack Pro File Editor. The Final Cut Pro clip is reconnected to the new Soundtrack Pro audio file project instead of its original media file. 4 Modify the audio as needed. 5 Choose File > Save to save the project with the changes. A dialog appears allowing you to choose whether the Soundtrack Pro audio file project should include a copy of the original audio media file or simply refer to it.
To send multiple Final Cut Pro clips to Soundtrack Pro: 1 Select multiple clips in the Browser or Timeline. 2 Do one of the following: Â Choose File > Send To > Soundtrack Pro Audio File Project. Â Control-click the selection, then choose Send To > Soundtrack Pro Audio File Project from the shortcut menu. 3 In the Save dialog, choose a location to save the new Soundtrack Pro audio file projects. 4 To create a new folder, press Command-Shift-N, enter a name for the folder, then click Create. 5 Click OK.
To modify one or more clips’ media files using a Soundtrack Pro script: 1 Select the clips in the Final Cut Pro Browser or Timeline. 2 Do one of the following: Â Choose File > Send To > Soundtrack Pro Script. Â Control-click the selection, then choose Send To > Soundtrack Pro Script from the shortcut menu. 3 Choose the script you want to use from the submenu.
Opening a Final Cut Pro Clip’s Media File Directly in Soundtrack Pro You can open a Final Cut Pro clip’s media file directly in the Soundtrack Pro File Editor by choosing the Open in Editor command, or by opening the file from the Finder. Important: In either of these cases, if you make changes in the Soundtrack Pro File Editor and save those changes to the original file, your changes will be destructive and permanent.
About Soundtrack Pro Multitrack Projects Multitrack projects are similar to Final Cut Pro projects: they contain multiple audio tracks in a timeline that you can use to arrange clips in sequence. Like Final Cut Pro sequences, clips in a multitrack project refer to media files stored elsewhere, so the project file size stays small. Multitrack projects also contain a single video track for synchronizing your audio to picture.
The Save dialog appears. 3 In the dialog that appears, select from the following options: Â Open in Soundtrack Pro Multitrack Editor: Select this option to open the multitrack project in Soundtrack Pro after it is created. Â Include Background Video: Select this option to render the video in your Final Cut Pro sequence. The Soundtrack Pro multitrack project will refer to this file in its video track so you can see your video while you edit.
5 Modify the multitrack project as needed. 6 When you finish working on the project in Soundtrack Pro, choose File > Save. When you have followed the steps described above, you can send a mixdown back to Final Cut Pro. Sending a Mixdown Back to Final Cut Pro Automatically When you create a Soundtrack Pro multitrack project from within Final Cut Pro, all of the sequence clip information is stored in the multitrack project.
In Final Cut Pro, the Import XML dialog appears. 6 Use the Destination pop-up menu to choose your original project, then click OK. A copy of your original sequence (with the name you specified in step 5) appears in the Browser. 7 Double-click the new sequence in the Browser to open it in the Timeline. The sequence opens with the mixdown audio correctly synchronized to your clips in the Timeline and the original audio tracks muted.
To update a mixdown clip in your Final Cut Pro sequence: 1 Follow the steps above for opening a Soundtrack Pro multitrack project file from a mixdown clip in Final Cut Pro. 2 Once the multitrack project opens in Soundtrack Pro, make changes to the multitrack project, then choose File > Save to save the project. 3 Choose File > Export. 4 Save the mixdown file with the same name, in the same file format, and in the same location as the previous mixdown file.
To make a change to a Soundtrack Pro audio file project from a DVD Studio Pro project: 1 Import a Soundtrack Pro audio file project into DVD Studio Pro. Note: If you import a Soundtrack Pro audio file project that includes more than two channels, DVD Studio Pro only uses the first two channels. 2 Do one of the following to open the audio file project in Soundtrack Pro: Â Select the file in the Assets tab, then choose File > Asset > Open In Editor.
Using Soundtrack Pro with Motion You can edit a Motion audio track nondestructively by sending it to the File Editor as an audio file project. Sending an audio track to the File Editor as an audio file project lets you exchange audio media and projects between Motion and Soundtrack Pro. When you save your changes in the File Editor, the clip is updated in Motion without having to be reimported.
Using Soundtrack Pro with Third-Party Applications You can use Soundtrack Pro to exchange media and project files with third-party applications. Exchanging OMF and AAF Files with Other Applications When you “send” a Final Cut Pro sequence to a Soundtrack Pro multitrack project, you are using the Final Cut Pro XML Interchange Format to transfer the data between the two applications.
Using OMF and AAF Files The OMF and AAF formats provide a way to consolidate all of the audio files and audio edits from a third-party video or audio editing application into one portable package. The picture editor can choose to include handles (extra footage beyond the In and Out points of a clip that provides a safety margin in case you need it during the sound edit and mix).
Exporting Audio Files You can open an audio file exported from Soundtrack Pro (a project mix; an exported track, bus, or submix; or an audio file project) in any application that supports audio files. If you save an audio file project as an AIFF file or a QuickTime movie, a link is included in the AIFF file or movie, letting you reopen the project in Soundtrack Pro and make changes to action settings and other edits.
18 Using Conform with Final Cut Pro 18 The picture editor and sound editor can work in parallel and then use Conform to easily merge the results of their work. One of the biggest hurdles faced by sound editors is dealing with picture changes. When a picture editor moves clips or changes edit durations, the sound editor receives the new edit and then must manually conform the sound mix to the new picture edit. This process is time-consuming and it’s easy to make mistakes.
Here is how a picture editor and a sound editor might work together using Conform: Â A Final Cut Pro sequence is sent to a Soundtrack Pro multitrack project. Â Changes and edits are made in parallel to both the Final Cut Pro sequence and the Soundtrack Pro multitrack project. The Soundtrack Pro project that the sound editor uses is referred to as the “original” audio mix.
3 In the dialog that appears, confirm that the “Save project with latest clip metadata (recommended)” checkbox is selected. This ensures an accurate change history by having Final Cut Pro automatically save the project after the sequence is sent to Soundtrack Pro. If you are planning to use Conform frequently, the “Save project with latest clip metadata (recommended)” checkbox should always be selected. 4 Click Save.
7 In the dialog that appears, confirm that the “Save project with latest clip metadata (recommended)” checkbox is selected, then enter a new name for the multitrack project and click Save. This creates a new Soundtrack Pro project that will be referred to as the “updated” project. 8 Make sure that both the “original” audio mix project and the “updated” project are open in Soundtrack Pro. 9 Do one of the following: Â Choose File > Conform To Project.
The multitrack Timeline displays the new, untitled “result” project (the results of the conform process). The Conform tab displays the Conform worklist: a list of clips that may have moved or changed. The selected clip is highlighted. Project Selector buttons Use the Show pop-up menu to display mini timelines. Click column header to sort.
Reviewing and Approving the Changes in the Conform Result Project Once you have a Conform worklist, you can inspect the changes, reviewing the playback in the original, updated or result projects, and can change and accept choices for each clip individually or multiple clips or groups of clips all at once.
To use the Project Selector buttons to display a project: m Click the Original, Updated, or Result button. The corresponding project appears in the multitrack Timeline. Click a Project Selector button to display the corresponding project in the Timeline. Grouping Clips in the Conform Work List It can be useful to group clips together in the Conform work list. You can use the Group slider to control how clips are grouped together.
Showing Selected Clips in the Timeline If the Show Selected Clip in the Timeline button (the magnifying glass zoom button to the right of the project selector) is selected, then as clips or groups are selected in the work list, the main Timeline will scroll and zoom to show the selected group and/or clips.
4 In the Details section, select an option for the clip. When you select a clip with more than one position, duration, or media option, the clip will immediately move to that selected location so that you can audition that choice in the main Timeline. Approve button Clip options Note: When the clip moves, any automation that might exist on the track will move with the clip. 5 Once you are satisfied with your choice, click the Approve button.
To filter out approved clips from the Conform work list: m Select the Hide Approved checkbox. Approved clips are removed from the work list. Only clips that are not approved remain in the work list. Approved clips Select the Hide Approved checkbox. Finishing the Conform Process Once you are satisfied that all the clips in the Result project are in the correct place, you can click the Finish button to end the Conform process. You are not required to approve every single clip.
Soundtrack Pro Keyboard Shortcuts A Appendix A General and File Keyboard shortcut Function Creates a new, blank multitrack project. N shift N Opens the Open dialog. O Saves the current project. S shift control S S Opens the Save As dialog to save a copy of the project with a different name. Â If the Project pane contains a single tab, closes the Soundtrack Pro window. Â If the Project pane contains multiple tabs, closes the active tab. Â If a particular tab is active, closes the tab.
Keyboard shortcut Function Shows the Soundtrack Pro Preferences window. , shift ? Opens the Soundtrack Pro User Manual. Layouts, Tabs, and HUDs Keyboard shortcut Function Switches the project layout to the Standard layout. F1 Switches the project layout to the Separate Mixer and Video layout. F2 control A control S control D Activates or deactivates the left pane. Activates or deactivates the lower pane. Activates or deactivates the right pane. Activates or deactivates the Video tab.
Navigating the Timeline Keyboard shortcut Function Moves the playhead to the beginning of the project, or to the beginning of the cycle region if it is active. return option Moves the playhead to the position of the preceding marker. M shift M Moves the playhead to the position of the next marker. option Moves the playhead to the position of the previous frame in the video clip. option Moves the playhead to the position of the next frame in the video clip.
Keyboard shortcut Fast-forwards (press L repeatedly). L K L J K option Function Plays in slow motion. Plays in reverse slow motion. space Starts or stops preview playback. Cycle Region Keyboard shortcut Activates the cycle region, or deactivates it if it is active. C Creates a cycle region around the selected audio clip under the playhead or the uppermost audio clip under the playhead. X option Removes the cycle region. X A shift Creates a cycle region from the current selection.
General Editing Keyboard shortcut Function Undoes the last command. Z shift Redoes the last undone command. Z Cuts the selected item. X shift Ripple cuts the selected item. X Copies the selected item. C Pastes the cut or copied item. V Ripple deletes the selected item. delete shift Duplicates the selected item. D Selects all items in the window. A shift A shift option option shift delete Deselects all items in the window. X Ripple cuts to the next edit.
Keyboard shortcut option D option G Function Fades in to the playhead on selected clips or tracks. Fades out from the playhead on selected clips or tracks. Trims the clip to the Timeslice selection. option Z option drag Slips (offsets) a clip. Spots the selected clip or File Editor selection to the playhead. Opens the Spot to Timeline dialog for spotting the selected clip or File Editor selection. shift shift X shift delete Performs a ripple delete.
Keyboard shortcut Function Moves the clip up one track. option Moves the clip down one track. option Moves the selected envelope point up by a coarse value. Moves the selected envelope point down by a coarse value. Moves the selected envelope point up by a fine value. option Moves the selected envelope point down by a fine value. option shift E Adds envelope points at the edges of selected clips. Viewing the Timeline Keyboard shortcut Function Zooms out horizontally to the next zoom level.
Keyboard shortcut 8 9 Function Sets the track height to Medium. Sets the track height to Large. Timeline Tools Keyboard shortcut Selects the Selection (arrow) tool. A Selects the Blade (razor) tool. B B B Selects the Blade All tool. Selects the Timeslice tool. W U Function U U H Selects the (Sound Palette) Lift tool. Selects the (Sound Palette) Stamp tool. Selects the Scrub tool.
Keyboard shortcut control Z option Z shift Function Zooms in to the sample level. Zooms in on the current selection. Fits the waveform in the display size. Z control Sets the ambient noise print. Y Adds ambient noise. Y Replaces with ambient noise. shift Y shift I shift O Adjusts selection inward to zero crossing. Adjusts selection outward to zero crossing. Adjusts In point left to zero crossing. [ Adjusts In point right to zero crossing.
Keyboard shortcut Function Replaces the audio file or selection with silence. delete control Flattens audible actions, as indicated by the position of the Action Insert bar. F shift control F Flattens all actions. A/B last actions. F1 control Sets the ambient noise print. Y Adds ambient noise. Y Replaces with ambient noise. Y shift Tracks, Busses, and Submixes Keyboard shortcut Function Adds a new track to the Timeline.
Keyboard shortcut Function Groups the selected tracks. G control Enables groups. G Markers Keyboard shortcut Function Inserts a time marker at the current playhead position. M Adds a region marker for the duration of the selection. control M option control option B Adds time markers at the beginning and end of the selection. M Inserts a beat marker at the current playhead position. option Displays the Details tab for the selected marker.
Keyboard shortcut Function Moves the playhead to the next edit, and reverses the select state of any clip ending at that edit. shift shift option Moves the playhead to the previous edit, and reverses the select state of any clip starting at that edit, on selected track(s) only. shift option Moves the playhead to the next edit, and reverses the select state of any clip ending at that edit, on selected track(s) only.
Using Arrow Keys to Move the Playhead Keyboard shortcut Function Moves the playhead to the previous edit. Moves the playhead to the next edit. Moves the playhead to the previous edit on the selected track. option Moves the playhead to the next edit on the selected track. option Moves the playhead one video frame to the left. option Moves the playhead one video frame to the right. option Moves the playhead one gridline to the left. Moves the playhead one gridline to the right.
Keyboard shortcut Function Extends the right edge to the next edit. shift Moves the Timeslice location to the previous edit. Moves the Timeslice location to the next edit. option option Moves the Timeslice location up a track. Moves the Timeslice location down a track. Moves the Timeslice location to the previous gridline. Moves the Timeslice location to the next gridline. option option Moves the Timeslice location to the next frame. Extends the Timeslice to the previous edit.
Appendix B Audio Fundamentals What Is Sound? All sounds are vibrations traveling through the air as sound waves. Sound waves are caused by the vibrations of objects and radiate outward from their source in all directions. A vibrating object compresses the surrounding air molecules (squeezing them closer together) and then rarefies them (pulling them farther apart). Although the fluctuations in air pressure travel outward from the object, the air molecules themselves stay in the same average position.
Amplitude Amplitude (or intensity) refers to the strength of a sound wave, which the human ear interprets as volume or loudness. People can detect a very wide range of volumes, from the sound of a pin dropping in a quiet room to a loud rock concert. Because the range of human hearing is so large, audio meters use a logarithmic scale (decibels) to make the units of measurement more manageable. Phase Phase compares the timing between two similar sound waves.
Frequency Spectrum of Sounds With the exception of pure sine waves, sounds are made up of many different frequency components vibrating at the same time. The particular characteristics of a sound are the result of the unique combination of frequencies it contains. Sounds contain energy in different frequency ranges, or bands. If a sound has a lot of low-frequency energy, it has a lot of bass. The 250–4000 Hz frequency band, where humans hear best, is described as midrange.
Musical sounds typically have a regular frequency, which the human ear hears as the sound’s pitch. Pitch is expressed using musical notes, such as C, E flat, and F sharp. The pitch is usually only the lowest, strongest part of the sound wave, called the fundamental frequency. Every musical sound also has higher, softer parts called overtones or harmonics, which occur at regular multiples of the fundamental frequency.
Musical sounds also typically have a volume 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 instruments, start at a high volume level but quickly decrease to a much lower level and die away to silence.
Because the ear responds to sound pressure logarithmically, using a logarithmic scale corresponds to the way humans perceive loudness. Audio meters and sound measurement equipment are specifically designed to show audio levels in decibels. Small changes at the bottom of an audio meter may represent large changes in signal level, while small changes toward the top may represent small changes in signal level.
Decibel Units Audio meters are labeled with decibels. Several reference levels have been used in audio meters over the years, starting with the invention of the telephone and evolving to present day systems. Some of these units are only applicable to older equipment. Today, most professional equipment uses dBu, and most consumer equipment uses dBV. Digital meters use dBFS. Â dBm: The m stands for milliwatt (mW), which is a unit for measuring electrical power.
Headroom and Distortion If an audio signal is too strong, it will overdrive the audio circuit, causing the shape of the signal to distort. In analog equipment, distortion increases gradually the more the audio signal overdrives the circuit. For some audio recordings, this kind of distortion can add a unique “warmth” to the recording that is difficult to achieve with digital equipment. However, for audio post-production, the goal is to keep the signal clean and undistorted.
Dynamic sound has drastic volume changes. Sound can be made less dynamic by reducing, or compressing, the loudest parts of the signal to be closer to the quiet parts. Compression is a useful technique because it makes the sounds in your mix more equal. For example, a train pulling into the station, a man talking, and the quiet sounds of a cricket-filled evening are, in absolute terms, very different volumes.
Important: All stereo recordings require two channels, but two-channel recordings are not necessarily stereo. For example, if you use a single-capsule microphone to record the same signal on two tracks, you are not making a stereo recording. Identifying Two-Channel Mono Recordings When you are working with two-channel audio, it is important to be able to distinguish between true stereo recordings and two tracks used to record two independent mono channels. These are called dual mono recordings.
Here are some tips for distinguishing stereo from dual mono recordings: Â Stereo recordings must have two independent tracks. If you have a tape with only one track of audio, or a one-channel audio file, your audio is mono, not stereo. Note: It is possible that a one-channel audio file is one half of a stereo pair. These are known as split stereo files, because the left and right channels are contained in independent files. Usually, these files are labeled accordingly: AudioFile.L and AudioFile.
Sample Rate The sample rate is the number of times an analog signal is measured—or sampled— per second. You can also think of the sample rate as the number of electronic snapshots made of the sound wave per second. Higher sample rates result in higher sound quality because the analog waveform is more closely approximated by the discrete samples.
When a sample is made, the audio level of the analog signal often falls in the spaces between rungs. In this case, the sample must be rounded to the nearest rung. The bit depth of a digital audio sample determines how closely the rungs are spaced. The more rungs available (or, the less space between rungs), the more precisely the original signal can be represented.
When the number of bits per sample is increased, each sample can more accurately represent the audio signal. 1-bit 2-bit 4-bit 16-bit To avoid rounding errors, you should always use the highest bit depth your equipment supports. Most digital video devices use 16- or 20-bit audio, so you may be limited to one of these bit depths. However, professional audio recording devices usually support 24-bit audio, which has become the industry standard.
Working with Professional Video and Audio Equipment C Appendix C About Video Interfaces, Signals, and Connectors This section describes common types of video interfaces, signal formats, and connectors. Video Interfaces Final Cut Studio allows you to use a wide variety of video interfaces for capture and output. The following section shows examples of the most common types of video interfaces available.
FireWire for Uncompressed Digital Video H Interfaces such as the AJA Io connect to your computer via FireWire. However, instead of transferring compressed DV signals, the AJA Io transfers an uncompressed component 4:2:2 signal via FireWire. The AJA Io has a wide range of digital and analog connectors, as well as RS-422 device control. Important: Although this type of video interface uses FireWire, it is not used to connect DV devices.
PCI Video Interface Card with Built-in Connectors PCI cards allow you to capture and output video with high data rates, such as uncompressed standard definition (SD) and high definition (HD) video. PCI cards are necessary for high-end applications such as compositing, online editing, and uncompressed video editing. Many PCI cards have BNC or RCA connectors mounted directly on the back of the card.
USB Video Interface USB video interfaces cannot support the high data rates required for professional video use, so they are not commonly used. USB video interfaces are usually used for converting analog video sources to a digital signal for capture. USB Computer RCA connector USB interface Analog VTR Video Signals and Connectors When you capture and output, the type of video signal you use to connect your equipment is a critical factor that goes into determining the quality of your video.
Composite Composite is the lowest common denominator of video signals. A composite signal runs all color and brightness information on a single cable, resulting in lower-quality video compared to the quality of other formats. Nearly all video devices have a composite input and output. This format uses a single RCA or BNC connector. In professional editing environments, composite video signals are most commonly used for troubleshooting, for menu outputs, and for low-quality preview monitoring.
Both component YUV and RGB signals use from three to five connectors. You can use three BNC connectors, plus a fourth (typically labeled “genlock” or “house sync”) to send a timing signal. Sync can also be embedded in the Y or G part of the signal (using three connectors), a separate composite signal on a fourth connector, or separate H and V drive signals (using five connectors). See your equipment’s documentation for more information.
FireWire 800 FireWire 800, also called IEEE 1394b, is the next generation of FireWire after IEEE 1394a, a higher-bandwidth version capable of data transfer speeds of up to 800 Mbps. FireWire 800 is also capable of supporting cable distances of up to 100 meters. In addition to the standard 9-pin-to-9-pin FireWire 800 cables, 9-pin-to-4-pin and 9-pin-to-6-pin FireWire 400 to FireWire 800 cables are also available to connect older devices to a FireWire 800 interface.
SDTI Serial Digital Transport Interface (SDTI) is based on SDI, allowing native video formats to be sent in real time within an SDI video stream. SDTI does not define a specific video signal format but instead uses the structure of SDI to carry any kind of data. This allows video facilities to use their existing SDI patchbays and routers to transfer other native video formats, or transfer any kind of data.
About Audio Interfaces, Signals, and Connectors This section describes common types of audio interfaces, signal formats, and connectors. Setting Up an Audio Interface By default, Soundtrack Pro uses one of the built-in audio interfaces included with your Macintosh computer, such as a stereo headphone jack or a stereo speaker output. If you need to capture audio from a professional device, you may need a separate third-party interface.
Built-in S/PDIF Digital Audio Some computers have built-in S/PDIF optical digital ports (sometimes called TOSLINK) that you can connect to some CD players, DAT recorders, and other digital audio devices. TOSLINK optical digital connector Computer Audio or video device DV FireWire If your post-production project uses a DV codec, you can output audio via the FireWire port on your computer. This allows you to use a DV deck, DV camcorder, or DV-to-analog converter as an audio interface.
Tips for Selecting a Third-Party Audio Interface When you select an audio interface, make sure it has the following:  Connectors that match your audio equipment, such as XLR, 1/4" TRS, RCA, or TOSLINK  Support for audio signal formats that your audio equipment uses, such as AES/EBU, S/PDIF, or ADAT Lightpipe  Enough audio inputs and outputs to connect your equipment  Sample rate and bit depth at least as high as your audio equipment.
FireWire for Digital Audio H 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.
Make sure you don’t exceed the total bandwidth of the USB bus. USB 1.1 has a fairly low data rate, so be careful not to add too many USB items to the bus. Ideally, USB audio interfaces are always directly connected to your computer, not connected via a hub or to the computer’s display, keyboard, or another peripheral. If you are having audio problems with a USB interface connected to a hub, try removing USB devices and eliminating the hub from the connection. USB 2.0 audio interfaces are also available.
PCI Audio Interface Card with Breakout Box The majority of PCI audio interface cards have a breakout box with a large number of XLR or 1/4" TRS connectors. The breakout box is attached to the PCI card via a long cable with a multipin connector. The long cable allows you to place the breakout box in a convenient location, so you can easily connect and disconnect your video and audio devices without going behind your computer.
Note: Some Macintosh computers and portable audio recorders also use a connector that combines both a stereo miniplug and a 1/8" optical digital connection (see “S/PDIF” on page 492) in a single jack. RCA Connectors Most consumer equipment uses RCA connectors, which are unbalanced connectors that usually handle –10 dbV (consumer) line levels. RCA connectors are used on consumer audio equipment such as home stereo systems and videocassette recorders.
XLR Connectors These are the most common professional audio connectors. They almost always carry a balanced signal. Many cables use an XLR connector on one end and a 1/4" TRS connector on the other. The signal may be microphone level (when using a microphone) or +4 dBu/dBm (professional) line level. XLR connector Digital Audio Connectors, Cables, and Signal Formats Although digital audio signals are completely different from analog signals, the same connectors are often used for convenience.
Some Macintosh computers have a single interface that combines a TOSLINK connector with an analog stereo miniplug. TOSLINK connector ADAT Lightpipe is an eight-channel digital audio format developed by Alesis. This signal format uses TOSLINK optical connectors. Eight channels are supported at sample rates of 44.1 and 48 kHz using 24 bits per sample. Higher sample rates are available by pairing channels (this format is sometimes called sample multiplexing, or S/MUX).
About Microphone, Instrument, and Line Level Audio equipment can output line level at –10 dBV (consumer level), +4 dBm/dBu (professional level), or microphone level, which is around 50 or 60 dB less than line level. When you use a microphone, the level is very low, requiring a preamplifier to raise the signal to line level before it can be recorded or processed. Most audio mixers, cameras, and professional portable recording devices have built-in preamplifiers.
A balanced audio cable sends the same audio signal on two wires, but inverts the phase of one signal by 180 degrees. Original signal Inverted signal (reverse phase) When noise is introduced into the cable, it is introduced equally to both the original and the inverted signal. Noise on line (affects both signals) When the signal arrives at its destination, the inverted signal is put back in phase and both signals are combined.
Now, both audio signals are in phase, but the noise is inverted, causing the noise to be canceled. At the same time, the original signal gets a little stronger because it is sent on two wires and combined. This helps compensate for the reduction in signal strength that occurs naturally on a long cable run. Combined signals (noise eliminated) Any noise introduced into the cable across its long run is almost completely eliminated by this process.
Frequency Response and Dynamic Range Speaker quality varies greatly depending on their purpose as well as their price. For example, speakers in a portable stereo or television are designed to play audio that has already been mastered by a mixing engineer. Mastered audio such as audio CD, radio, television, and movie sound has a compressed dynamic range (meaning levels are fairly consistent and loud).
Amplifiers and Signal Levels for Unpowered Speakers Unpowered speakers require signals with higher voltage than consumer and professional equipment can provide directly. These levels are known as speaker level audio signals, while audio devices such as tape recorders and audio mixers usually provide line level signals. An audio amplifier boosts line level signals to speaker levels to properly drive speakers.
A Recommended System Using a Third-Party Video Interface To set up a system using a third-party video interface, you need the following equipment:  Your computer and display  A non-DV format video device (a camcorder or deck)  Audio and video cables for your system  A third-party capture interface installed in or connected to your computer Note: Some third-party video interfaces have a breakout box connected to the card with a special cable, which is included.
To connect video and audio outputs from your VTR to your third-party video interface: 1 Install a supported third-party PCI video interface in your computer or connect a FireWire or USB video interface. For detailed information, see the documentation that came with your video interface and your computer. 2 If you are using a PCI card video interface that came with a breakout box, connect the breakout box to the PCI card using the cables provided.
Connecting Professional Component Analog Video Devices The most prevalent component analog video format still in use today is Betacam SP. It is an SD video format, but because it is analog, your video interface must have analog-todigital converters to digitize the analog signal before encoding it and writing a digital media file to the computer hard disk.
A Recommended Non-DV-to-DV System Using Serial Device Control You need the following equipment:  Your computer and display  A non-DV format playback device, such as a Betacam SP or Digital Betacam deck  An analog-to-DV or digital SDI-to-DV converter Note: Some DV camcorders and VTRs can also act as an analog-to-DV converter.
Connecting Professional Audio Devices The steps for connecting audio playback and recording devices are similar to the steps for connecting professional video devices. (For information on connecting professional video devices, see “Connecting Professional Video Devices” on page 498.) Many professional audio-only devices such as DAT recorders and Tascam DA-88/DA-98 multitracks also support remote device control and audio insert editing.
A Recommended Audio System Using a Third-Party Audio Interface To set up a system using a third-party audio interface, you need the following equipment:  Your computer and display  A device-controllable audio deck, such as a DAT or multitrack deck  Appropriate analog cables for your system  An audio interface Note: Some third-party PCI interface cards have a breakout box connected to the card with a special cable.
When you genlock a deck and a video or audio capture interface, one output of the blackburst generator should be connected to the external sync input of the video or audio deck, and another output should be connected to the external sync input of your audio interface.
8 If you’re using Final Cut Pro to control your audio deck, make sure that the device control switch on the equipment is set to Remote. 9 Once your deck and video capture interface are genlocked together, you still need to calibrate the timecode capture offset (found in the Device Control Presets tab in the Audio/Video Settings window) prior to capture. For more information about calibrating timecode for capture, see the Final Cut Pro User Manual.
Setting Up the MTC Generator Set the MTC generator to receive LTC signals: Â In the case of the MIDI Timepiece, use the “Clockworks” control panel. Â In the case of the Unitor 8 MkII, use the “Unitor Control” application. Setting Up Soundtrack Pro to Sync to External Timecode You can set up Soundtrack Pro to sync to external timecode.
8 In the dialog that appears, enter the SMPTE position where you would like the sequence to start. This often is the same as the tape offset. If your timecode source is drop frame, be sure to select the Drop Frame checkbox. 9 Click the MIDI Sync button in the transport controls. MIDI Sync button Soundtrack Pro will now “chase” (synchronize to) timecode sent by the tape deck or other LTC sources.
Working with Apogee Hardware in Soundtrack Pro D Appendix D Soundtrack Pro offers a dedicated control panel that allows you to configure selected Apogee hardware. Currently, this control panel supports the Apogee Ensemble only. Refer to the Apogee website for details on supported hardware models. To open the Apogee control panel: 1 Confirm that your Apogee unit is connected and turned on. 2 Choose Soundtrack Pro > Open Apogee Control Panel.
Global Parameters The Global parameters at the top of the Apogee hardware control panel define how multiple Apogee hardware devices work together. Unit Selection The Unit Select pop-up menu defines the hardware device (when multiple units are connected). The parameters of the selected device are displayed in the Unit tabs below. Selecting the Identify Unit checkbox next to the Unit Select pop-up menu illuminates all LEDs on the corresponding hardware interface.
Units Parameters The Units parameters configure the individual hardware units in your system. They are spread over three tabs: General, Inputs, and Outputs. General Tab The settings in this tab control a variety of features, such as the clock source, UV22HR dithering algorithm, and level meter behavior. Â Clock Source pop-up menu: Sets the clock source for the chosen unit. Options are Internal, Optical, Coax, and Word Clock.
 Meter Display pop-up menu: This pop-up menu determines the type of metering displayed by your units. Options are input level, output level, or no signal at all. If you select the Hold Overloads checkbox, your hardware displays overloads permanently. Clicking the Clear Overloads button (alongside the Meter Display pop-up menu) resets the overload LEDs of your meters.  CD Mode checkbox: Selecting this checkbox turns on CD mode, which sends a 44.
Inputs 1 to 4 Inputs 1 to 4 feature built-in pre-amps. These can be configured individually via the four identical sets of Pre-Amp parameters. Â Level pop-up menu: This pop-up menu allows you to switch the respective channel between microphone and line inputs. If you choose the Line option, the +4 dBu and –10 dBV options shown in the pop-up menu below are used to set the reference level of the line input. All microphone-related settings (Gain, Group, 48V Phantom Power, and Phase Invert) will be dimmed.
Outputs Tab This tab is used to configure the outputs of your Apogee hardware. Headphone Parameters These options configure the output signal for the headphone outputs. Â Source pop-up menu: Determines which output pair is sent to the headphone outputs. Options are Analog Out 1–2, Analog Out 3–4, Analog Out 5–6, Analog Out 7–8, Optical Out 1–2, Optical Out 3–4, Optical Out 5–6, Optical Out 7–8, and S/PDIF Out. Â Level slider: Sets the level of the headphone outputs.
Solutions to Common Problems and Customer Support E Appendix E 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 Release Notes: 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 The following tips address some common issues. 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.
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.
Using Apple Loops Utility F Appendix F 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 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 Collection: Displays the name of the collection the file is affiliated with, if one exists. You can enter new data by typing in the field. Â Theme: Displays the name of the theme the file is affiliated with, if one exists. You can enter new data by typing in the field. Â Genre pop-up menu: Displays choices for the musical genre of the file.
Transients Tab The Transients tab contains a large waveform display, with a Beat ruler and a horizontal scroll bar. Markers indicate the position of transients in the file. Typically, transients correspond to the peaks or most pronounced amplitude changes in a sound’s waveform. The Transients tab includes controls for the beat division and sensitivity with which Apple Loops Utility detects transients in the file.
Assets Drawer The Assets drawer lists the files open in Apple Loops Utility. The drawer, which is open when you open Apple Loops Utility, contains a Name column with the name of each open file, and a Changes column, which indicates any files to which you have applied changes.
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 add a new transient: m Click in the darker area above the Beat ruler in the waveform display. 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.
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 N Creates a new, blank Apple Loops Utility window and opens the Open dialog. O Opens the Open dialog, from which you open files in Apple Loops Utility. Closes the current window. W shift W Saves changes to the currently selected files. If any of the files are WAV files, a dialog appears asking if you want to continue editing the files as WAV files or save them as AIFF files. S shift option Closes the 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 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 534 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. Selects the previous marker. Selects the next marker.
1/4" phone plug connectors 491 1/4" tip-ring-sleeve connectors 491 1/4" tip-sleeve connectors 491 1/8" mini connectors 490 3 dB attenuation 410 3rd-party applications 435–436 3rd-party effects 23 3rd-party interfaces audio interfaces 486, 504 uses for 25 video interfaces 498 5.1 surround sound.
amplitude adjusting 221 described 464 measuring 467 zero crossings 205 analog audio capturing 485 connecting equipment 503 output 514 analog video composite 481 connecting equipment 498–500, 501 consumer devices 501 analog-to-digital capture cards 481 analog-to-digital converters 501 analog-to-DV converters 502 analog-to-DV systems 498–500 Analysis Results list 63, 236 Analysis tab 63 analysis tools 236–240 Analysis tab 63 fixing analyzed problems 240 parameters 238 results 238 windows 216, 217 zooming in o
silence threshold 237 sound, described 463 sound waves 463 stereo 471–473 summing 263 synced 46 synchronization preferences 101 temporary mono mix 290–291 in video clips 321 volume.
common problems 516 creating 214 Cycle Region and 200 displaying information 92–93 editing in File Editor 198–211 exporting projects to 398–413 finding 52, 78–87 formats for 79, 192 Frequency Spectrum view 214 gain of 221 graphically editing 164–165, 208–211 information in Bin 88 inserting noise in 222 length of 235 looping 79, 188 matching equalization 228 missing files 96 moving between selections 205 multichannel files 212–214 non-looping 79, 188 normalization 221 opening in Apple Loops Utility 526 openi
bands frequency ranges 465 bandwidth 335, 489 base layer video 429 bass frequencies 226, 334, 335, 465 bass management 311 batch processing 422 batch tagging 519 Beat display 73 beats beat divisions 56, 109 beat markers 59, 183–185 displaying time 56, 109, 133 items in Bin 90 Beats-based format entering units 74 metronome 146 multitrack projects 56 playhead and 73 project format 109 scoring markers 186 snapping to notes 95 Time ruler and 133 Beats-based ruler 56 Beginning value slider 59 bels.
camcorders connecting 24 video capture 24 Can’t Find File dialog 96 Cancel button 220 capture cards.
Component YUV 481–482 composite tracks 253 composite video capture interfaces 501 inputs 504 signals 481 compression audio formats 193, 399 audio mixing 471 compressors 332 podcasts 387 results of 332 settings 409 sound waves and 463 Compression Preset pop-up menu 409 Compressor 410–413 export presets 412 exporting files and 398 exporting master mixes 410–413 exporting podcasts with 389 multichannel projects in 413 compressors 332–333 Computer button 51 Configure Device button 50 Conform To Project command
cutting items audio clips 151 audio files 206 envelope points 362 frequencies 335 peak levels 332 Timeslices 177 Cycle button 38, 78, 372 Cycle Region 72 dragging 325 exporting items and 397 keyboard shortcuts 452 linking to selections 200 cycling playback 134–135 D daisy-chaining 487 DAT devices 24, 503 Data Rate pop-up menu 407 data rates 407 dates 58, 115 dB.
sends 287 speakers 303 disk space 367 displaying audio file information 92–93 effects presets 330 envelope point details 360 envelopes 146, 243 file information 88 Frequency Spectrum view 214 markers 184 Mixer in separate window 274 Mixer options 281–282 podcast tracks 379 video frames 323 Video tab in separate window 274 window elements 36 distortion 333 distortion effects 331 distortion, audio 470 distributing projects 419–420 dithering 246, 511 Dock, minimizing windows to 67 docked tabs, detaching 68 doc
effects 327–354 adding 144, 284 adding with sends and busses 270–271 applying 219, 229, 242 automating 243, 363 busses 144–145 channel strips 284–286 chorus 336 delay 331, 337 deleting 286 Denoiser effect 341 described 327 diagnostic 331, 339–341 distortion 331, 333 dynamics 331, 332–333 effects chains 344 envelopes and 356, 363 EQ 331, 334–336 filter 331, 334–336 included with Soundtrack Pro 331–342 meters 331, 339–341 miscellaneous 331, 341–342 Mixer 284–286 modulation 331, 336–337 music and effects submi
envelopes disclosure triangle 41 episodes 377, 384, 386 EPS files 384 EQ (equalization) frequency ranges used with 334–335 graphic 336 Lift and Stamp tools 181 matching 228 overview 334–336 parametric 336 prints 228 EQ effects 331, 334–336 equipment See also audio equipment, video equipment connecting audio equipment 23–26 connecting video devices 498–502 consumer devices 501 example hardware setups 27–29 non-DV devices 501 professional audio equipment 503 setting up.
Timeline controls and 247 working with actions 230–235 zooming in/out 207–208 file extensions 65 file formats.
frequencies average frequency spectrum 228 delay rates 337 EQ and 334 filtering 401 range controls 216 reverb 339 waveforms 223 frequency bands 340, 341, 342 frequency ranges 334–335 described 463, 465 editing 218–219 effects 334 narrow 219 paste edits 219 selecting 218 frequency response 497 Frequency Scale setting 216 Frequency Selection tool 208, 219 Frequency smoothing slider 342 frequency spectrum 214–219, 228 Frequency Spectrum view 43, 191, 214–219 editing in 218–219 shortcut menu 217 Spectrum View H
HUDs 64 keyboard shortcuts 450 Multipoint Video HUD 322 Spectrum View HUD 216 Surround Panner HUD 300, 304 Timeline editing tools HUD 165 hum 236 hyperlink URLs 380 I i.
tabs 450 Timeline 451, 455 Timeslice tool 178, 461 tracks 458 video out 460 window panes 36 keyword buttons 52, 53, 84–85 keywords 52–53, 82–85 adding 85 multiple 83, 85 Keywords list 52, 53, 82 knee parameter 333 L labels 45 Latch automation mode 106, 291, 365 latency described 487 eliminating 516 increased 30 Latency Compensation slider 100 layouts choosing 69 deleting 69 described 68 keyboard shortcuts 450 saving 68 length of files 235 Level menu 513 level meters channel strips 282, 288 effects 340 Mete
naming 184, 382 podcast markers 379, 380, 381–384 region markers 185 scoring 185–187 time 183–185, 186 types of 183 URLs 380 uses for 183 using in File Editor 249 using with video 185–187 video frames and 325 working with 183–187 MAS plug-in 23 Master bus about 290 defined 126 envelopes in 364 routing signals to physical outputs 263 in Timeline 39 master envelopes 42, 364 Master Envelopes button 42, 247 master mixes 397–412 master Timeslice 176 mastering process 292 Match EQ effect 181 Matches list 52, 53,
example 266–272 exporting mixes 397–413 final mixes 292 guidelines for 292 Master bus 290 mastering process 292 multiple mixes 292 sends and 270–272 setting output 265 signal routing in 263 Soundtrack Pro features 17 surround sound 299–306 temporary mono mixes 290–291 workflow 262 modification dates 58, 115 modulation effects 331, 336–337 Monitor Device pop-up menu 50, 370 Monitor pop-up menu 100 Monitor Volume slider 37, 44 monitors amplifiers and 26 audio 26, 496 external video monitors 27 quality 496 set
overlap mode 108 playing 71–78 properties 106–108 reconnecting media files 96 recording.
project view 241 reopening projects 97 Soundtrack Pro mixes in Final Cut Pro 431 Original button 445 out-of-phase material 339 out-of-phase sounds 464 outline views 61 output devices about 24 video 318–319 Output pop-up menu 41, 46, 265, 279 output ports 487 Output synchronization settings 101 outputs.
moving to peaks 289 moving to specific times 73 positioning with Time ruler 133 preferences 98 scoring markers to 186–187 scrubbing audio 201 setting 72–74 splitting audio clips with 164, 171, 172, 173 spotting clips to 113, 153 synchronization 166, 195 Playhead Position value slider 37, 38, 44, 74 playing projects 71–78 plug-ins Audio Units 23, 327 effects 21, 23 included with Soundtrack Pro 23 Stereo Spread 342 surround sound 311 unsupported 23 PNG files 384 podcast markers 379, 380, 381–384 Podcast pane
projects controlling playback of 134–135 distributing 419–420 exporting mixes 397–413 importing QuickTime movies into 79, 315 importing video into 315, 316 information about 56 miniature view of 133 overall volume of 288–290 playing 71–78 preferences 99–100 properties 56 removing video clips from 325 saving as audio file projects 244–245 saving with media files 419–420 scrolling through 128 scrubbing 77 undoing and redoing changes 93 properties audio clips 114–116 busses 124 copying 165, 179 enabling or dis
regeneration 337 region markers duration 185 multiple 166, 195 release parameter 333 Remove Effect button 60 Remove Unused command 420 removing.
saving items actions as AppleScript droplets 248 audio file projects 244–247 audio file projects with video 245 audio files 246–247 default locations 112 file formats supported 246 layouts 68 multitrack projects 111 multitrack projects and files 419–420 preferences 98 rendering files 246 scratch locations 112 Sound Palette presets 181 scale type 533 Scale Type pop-up menu 53 scale, musical 90 SCART connector 484 scoring markers 185, 185–187 scratch locations 98, 112 Script Editor 248 scripts actions 248 aft
signal routing 263 signal-to-noise ratio 469 silence 222, 237 Silence command 221 Silence Threshold slider 237 sine waves 463 Single Folder Multi-mono audio files 79, 212 size of files 58, 115 slideshows in podcasts 385 slipping take regions 255 Smart Encoding Adjustments setting 401 SMPTE (Society of Motion Picture and Television Engineers) 101 Snap button 247 Snap option 94–95 Snap To button 247 Snap To pop-up menu 253 Snap To Value pop-up menu 42 Snap To values 42, 94–95 snapping clips to adjacent clips
stereo audio 471–473 channel selections 120 channels 402 converting to mono 228 converting to surround sound 307 creating stereo mixes 267 data rate 407 delays 337 enhancing 342 envelopes 356 equipment setup 32 music in surround sound mixes 310 separating channels 122 setting output 265 soloing channels 120 spread 342 stereo image 32 stereo mixdowns 267 stereo playback 312 stereo plus center 309 surround-to-stereo mixdown 297 swapping channels 229 switching to surround sound 295 Stereo Bit Rate pop-up menu
surround panners 295 surround-to-stereo mixdown 297 system setup 294 surround-to-stereo mixdown 297 Swap Channels command 229 switching between looping and non-looping mode 188 between surround and stereo audio 296 between Waveform view and Frequency Spectrum view 215 Sync To MIDI Clock settings 101 Sync To MIDI Time Code settings 101 synchronization automatic dialogue replacement 252 blackburst generators and 504 external timecode and 506 markers and 186 OMF and AAF files 436 podcast images 384 preferences
snapping options 94 tracks and 146 Time-based ruler 56 timecode aligning audio clips to 133, 186 embedded 153 external 506 format 321 items in Bin 90 MIDI Timecode 38 moving clips to specific 155 spotting clips to 153 starting timecode 99 synchronizing to 506 time markers and 185 Time ruler units and 109, 315, 321 Time-based format 73 Timecode HUD 64 value sliders 76 Timecode HUD 64 timecode value sliders 76 Timeline adding audio files to 113–114 Conform projects in 445 controls 40, 42, 247 cutting, copying
moving audio clips between 154 multitrack projects 428 muting 143, 199 names 90 numbered 141 overview 124 pan envelopes 356 pan positions 142–143, 278 podcast tracks 379 preferences 99 removing 147 renaming 141 routing signals to physical outputs 263 routing to busses 125 selecting 136 selecting all clips on 149 selecting items forward or backward 150 setting submixes for 264 soloing 143–144 splitting 381 splitting takes 254 in submixes 125, 263 time format 146 in Timeline 39 video tracks 316 volume 142 wor
supported formats 79, 315 Time display and 321 time format 321 Time ruler and 321 time stretching and 324 timecode format 109, 321 transport controls 317 viewing area 55 working with 315–325 working with audio in 321 video cards analog-to-digital 481 connecting 478 connecting analog equipment to 498–500 video interface cards 478 video clips in Bin hierarchy 88 colors 116 deselecting 148 importing into projects 316 information in Bin 88 removing from projects 325 timecode position 185, 186 viewing details of
Time Ruler units 242 types of 223 zooming in/out 207, 211 websites Apple homepage 19 Apple Service and Support 19 Apple Store 20 Apple websites 20 AppleCare Support 517 Dolby Laboratories 311 FireWire 19 podcast markers and 380 QuickTime 19 Soundtrack Pro 19 wet signals 337, 339 white noise 222, 341 width (depth) 337 Width slider 301 windows analysis windows 216, 217 closing 67 custom mixing layouts 274 floating or docking tabs 36 keyboard shortcuts 36, 450 minimizing to Dock 67 moving 67 rearranging tabs 3
