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Table Of Contents
- Soundtrack Pro User Manual
- Contents
- An Introduction toSoundtrackPro
- Setting Up Your System
- System Considerations
- Connecting Equipment
- Example Hardware Setups
- Setting Up a System Using Powered Speakers
- Setting Up a System Using a USB Audio Interface
- Setting Up a System Using a FireWire Interface andaControlSurface
- Setting Up a System Using a Video Output Device
- Setting Up a System Using a PCI Video Interface Card withBreakoutBox
- Setting Up a System for Stereo Mixing
- Setting Up a System for Surround Mixing
- The SoundtrackPro Interface
- Setting UpSoundtrackPro
- Working with MultitrackProjects
- Creating and Opening Multitrack Projects
- Creating a Multitrack Project from FinalCutPro ClipsorSequences
- Closing Multitrack Projects
- Setting Project Properties
- Setting the Project Length
- Saving Multitrack Projects
- Setting Default Locations for Saving Media Files
- Adding Files to a Multitrack Project
- Viewing and Editing Clip and Track Properties
- Tracks, Busses, Submixes, and the Master Bus
- Working in the Timeline
- Working in the Timeline
- Moving Around in the Timeline
- Working with Tracks, Busses, and Submixes in the Timeline
- Adding Tracks, Busses, and Submixes
- Selecting Tracks, Busses, and Submixes
- Grouping Tracks, Busses, and Submixes
- Applying Changes to Groups of Selected Tracks, Busses, and Submixes
- Managing Track Selections with the Tracks Tab
- Moving and Copying Tracks, Busses, and Submixes
- Renaming Tracks, Busses, and Submixes
- Changing a Track, Bus, or Submix Icon
- Using the Track Controls
- Removing Tracks, Busses, and Submixes
- Selecting Audio Clips in the Timeline
- Selecting the Entire Contents of a Track
- Selecting Partial Contents of One or More Tracks
- Cutting, Copying, and Pasting Audio Clips
- Spotting Clips to the Timeline
- 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 SoundtrackPro Multitrack Project
- Modifying a Clip Without Affecting Its Source Media
- Using the Multitrack Timeline and the File Editor Together
- Spotting Sound Effects from the File Editor to the Timeline
- Splitting and Joining Audio Clips
- Editing with the Timeslice Tool
- Using the Lift and Stamp Tools
- Working with Markers
- Using Markers with Video
- Working with Tagged and Looping Clips
- Replacing the Source Audio in a Clip
- Working in the Timeline
- Editing Audio Files
- Audio File Projects
- Editing Audio Files Directly in a MultitrackProject
- Editing Audio Files in the File Editor
- Opening Audio Files in the File Editor Tab
- Playing Audio Files in the File Editor
- Soloing an Audio File in the File Editor
- Linking the File Editor Selection and the Cycle Region
- Scrubbing Audio Files
- Selecting Part of an Audio File
- Cutting, Copying, and Pasting in the File Editor
- Zooming In and Out in the File Editor
- Editing Audio Files Graphically with Waveform Editing Tools
- Choosing the Sample Units in the File Editor
- Editing Multichannel Files
- Using Frequency Spectrum View
- Processing Audio Files
- Working with Actions
- Applying Actions
- Editing Actions
- Adjusting and Applying Action Selections
- Turning Actions On and Off
- Reordering Actions
- Using the Action Insert Bar
- Reversing the Order of the Actions List
- Flattening Actions
- Comparing the Project With and Without Actions
- Comparing the Last Two Actions
- Deleting Actions
- Limitations of Actions That Change the File’s Length
- Analyzing an Audio File
- Using the File Editor Project View
- Opening the File Editor Project View
- Setting the Time Ruler Units in the File Editor Project View
- Closing Audio File Projects
- Applying Realtime Effects in the File Editor Project View
- Automating Realtime Effects in the File Editor Project View
- Rendering Realtime Effects to Actions
- Saving Audio File Projects from the File Editor Project View
- Saving Audio Files from the File Editor Project View
- Using the Timeline Controls in the File Editor Project View
- Scripting Actions in the File Editor Project View
- Using the Global Waveform View
- Using Markers in the File Editor Project View
- Using the Multitake Editor
- Basic Mixing in SoundtrackPro
- Steps in Mixing
- Structuring an Audio Post-Production Project
- Using the Mixer
- Working with Channel Strips in the Mixer
- Using Custom Layouts for Mixing
- Adding Channel Strips to the Mixer
- Selecting Channel Strips
- Reordering Channel Strips
- Copying Channel Strips
- Setting Channel Strip Volume Levels
- Setting Channel Strip Pan Position
- Setting Channel Strip Output
- Muting and Soloing Channel Strips
- Enabling Track Channel Strips for Recording
- Renaming Channel Strips
- Changing a Channel Strip Icon
- Showing and Hiding Sections of the Mixer
- Using the Channel Strip Level Meters
- Removing Channel Strips
- Working with Effects in the Mixer
- Working with Sends and Busses in the Mixer
- Setting the Overall Project Volume Level
- Using the Master Bus
- Listening to a Temporary Mono Mix
- Recording Audio in the Mixer
- Recording Automation in the Mixer
- Creating Multiple Mixes
- Things to Keep in Mind While Mixing
- Working with Channel Strips in the Mixer
- Mixing Surround Sound
- Working with Video inSoundtrackPro
- Working with Audio Effects
- Processing Effects and Realtime Effects
- Working with Effect Presets
- Audio Effects Included with SoundtrackPro
- Working with Realtime Effects
- Working in the Effects Tab
- Adding Realtime Effects
- Adjusting Realtime Effect Parameters
- Chaining and Reordering Realtime Effects
- Bypassing Realtime Effects
- Adding Sends to Tracks
- Choosing the Bus to Which a Send Is Routed
- Adjusting Send Volume
- Adjusting Send Pan Position
- Reordering Sends
- Bypassing Sends
- Automating Realtime Effect Parameters
- Resetting Realtime Effects to Their Default Settings
- Removing Realtime Effects
- Working with Processing Effects
- Working with Automation
- Working with Envelopes
- Track, Bus, and Submix Envelopes
- Adding Envelope Points
- Selecting Envelope Points
- Moving Envelope Points
- Selecting and Moving Envelope Points with Clips
- The Timeslice Tool and the Envelope Selection Mode
- Viewing and Editing Envelope Point Details
- Changing the Values of Envelope Points Numerically
- Changing the Position of Envelope Points Numerically
- Nudging Envelope Points
- Cutting, Copying, and Pasting Envelope Points
- Deleting Envelope Points
- Automating Effect and Send Parameters
- Master Bus
- Recording Automation Data
- Working with Envelopes
- Recording Audio inSoundtrackPro
- Creating Podcasts inSoundtrackPro
- Using Control Surfaces withSoundtrackPro
- Exporting Multitrack Projects
- About the Export Dialog
- Exporting and the Cycle Region
- Exporting a Master Mix
- Exporting Tracks, Busses, and Submixes Separately
- Exporting Multiple Mono Files
- Using Post-Export Actions
- Using Export Presets
- Exporting to AAF
- Saving Multitrack Projects
- Distributing a Multitrack Project and Its Media FilesTogether
- Using SoundtrackPro withOtherApplications
- Using SoundtrackPro with FinalCutPro
- Using SoundtrackPro with DVDStudioPro
- Using SoundtrackPro with Motion
- Using SoundtrackPro with Third-Party Applications
- Using Conform with FinalCutPro
- SoundtrackPro KeyboardShortcuts
- General and File
- Layouts, Tabs, and HUDs
- Navigating the Timeline
- Project Playback
- Cycle Region
- General Editing
- Editing Audio Clips in the Timeline
- Moving Audio Clips and Envelope Points
- Viewing the Timeline
- Timeline Tools
- File Editor Project View Tools and Commands
- Processing and Editing Audio Files
- Tracks, Busses, and Submixes
- Markers
- Selecting Audio Clips in the Timeline
- Video Out
- Recording
- Using Arrow Keys to Move the Playhead
- Working with Timeslices
- Audio Fundamentals
- Working with Professional Video and Audio Equipment
- About Video Interfaces, Signals, and Connectors
- About Audio Interfaces, Signals, and Connectors
- Tips for Choosing Speakers and an Amplifier
- Connecting Professional Video Devices
- Connecting Professional Audio Devices
- Working with Apogee Hardware in SoundtrackPro
- Solutions to Common Problems andCustomer Support
- Using AppleLoopsUtility
- Index
Chapter 11 Working with Audio Effects 335
Note: The frequencies shown for each range are approximate. Any division of sound
into frequency ranges is somewhat arbitrary, and is meant only to give a general
indication of each range.
Roll-Off Filters
The simplest types of EQ effects are roll-off filters, which include lowpass, highpass,
bandpass, and shelf filters. Lowpass filters affect all frequencies above a specific
frequency, called the cutoff frequency. Frequencies above the cutoff are attenuated or
“rolled off” gradually, usually by a fixed number of decibels per octave. Highpass filters,
by contrast, affect all frequencies below their cutoff frequency. Bandpass filters exclude
all frequencies close to their center frequency. You can set the center frequency, and also
set the bandwidth or Q, which specifies how wide a range of frequencies around the
center frequency is affected.
These EQs include parameters for setting the cutoff frequency. Shelf filters add
parameters to control the gain (the amount of boost or cut). You can use roll-off filters
as “broad brush” effects to boost or cut a large range of frequencies.
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.
Low Midrange 250–750 Hz Includes the fundamentals and lower harmonics
of voices and musical instruments; careful EQing
of each can keep them from competing.
Excessive boosting in this range can result in
muddy and unclear audio; excessive cutting can
produce thin-sounding audio.
Bass 50–250 Hz Corresponds roughly to the bass tone control
on a stereo. Includes the fundamental
frequencies of voices and of musical
instruments. Excessive boosting in this range
can sound boomy and thick.
Low Bass 50 Hz and below Also called sub bass. Very little of the sound of
voices or musical instruments falls in this range.
Many sound effects used in movies, such as
explosions and earthquakes, fall in this range.
Name Frequency range Description