Soundtrack Pro 3 User Manual
Copyright © 2009 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 Final Cut Studio or Logic Studio 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.
Contents Preface 11 11 12 12 Welcome to Soundtrack Pro About Soundtrack Pro About the Soundtrack Pro Documentation Additional Resources Chapter 1 15 15 17 21 Setting Up Your System System Considerations Connecting Equipment Example Hardware Setups Chapter 2 27 28 35 36 36 37 41 43 45 46 46 48 49 50 51 53 54 54 58 62 63 64 65 The Soundtrack Pro Interface Soundtrack Pro Window Organization Project Pane Toolbar Transport Controls Timeline File Editor Mixer Multitake Editor Conform Bin Meters Tab Recor
66 HUDs 4 Chapter 3 69 69 72 76 77 78 81 89 93 95 99 101 Basics of Working in Soundtrack Pro About Multitrack and Audio File Projects Setting Up Your Workspace Using Keyboard Shortcuts and Shortcut Menus Undoing and Redoing Changes About Changing Values and Timecode Entries Locating and Adding Audio Files About the Bin Previewing Audio Files Playing Projects Using Snapping Reconnecting Media Files Chapter 4 103 103 105 107 108 109 110 111 Soundtrack Pro Preferences Setting Soundtrack Pro Preferences
154 155 157 160 161 163 163 166 167 173 174 179 179 181 181 184 184 Selecting Partial Contents of One or More Tracks Cutting, Copying, Pasting, and Removing Audio Clips Splitting and Joining Audio Clips Spotting Clips to the Timeline Moving Clips Snapping Clips to Clips on Other Tracks Resizing Audio Clips Changing the Offset of an Audio Clip Creating Fades and Crossfades in the Timeline Truncating Overlapping Audio Clips Working with Markers Transposing Tagged Audio Clips Replacing the Source Audio in a C
231 237 238 242 Working with Actions Overview of Analyzing and Fixing Problems in an Audio File Analyzing and Fixing Problems in an Audio File Using the File Editor Project View Chapter 9 251 252 253 253 253 254 254 254 255 255 257 258 262 263 263 264 264 264 266 Processing Audio Files Choosing Processing Effects Fade In Fade Out Normalize Adjust Amplitude Silence Invert Reverse Insert Time Stretch Noise Reduction Adding Ambient Noise Equalization Matching Convert to Mono Resample Swap Channels Edit
Chapter 12 305 306 306 316 Basic Mixing in Soundtrack Pro Steps in Mixing Structuring an Audio Post-Production Project Using the Mixer Chapter 13 335 335 336 336 341 347 353 Mixing Surround Sound What Is 5.1 Surround? Creating a Surround Project Setting Up Soundtrack Pro for Surround Using Surround Panners to Create a Surround Mix Surround Mixing Strategies Exporting and Delivering 5.
Chapter 18 403 403 404 406 407 408 Using Control Surfaces with Soundtrack Pro Connecting Control Surfaces Adding and Deleting Control Surfaces Premapped Controls Mapping Commands to Control Surface Buttons Recording Control Surface Automation Chapter 19 409 409 421 423 424 425 Using Soundtrack Pro with Other Applications Using Soundtrack Pro with Final Cut Pro Using Soundtrack Pro with DVD Studio Pro Using Soundtrack Pro with Motion Using Soundtrack Pro with Logic Pro Using Soundtrack Pro with Third
476 476 477 477 478 479 480 480 481 482 482 483 484 484 484 485 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 Appendix B 487 Audio Fundamentals 487 What Is Sound?
Preface Welcome to Soundtrack Pro 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. Soundtrack Pro is designed to serve the art of motion picture sound post-production.
Soundtrack Pro features two types of projects: audio file projects and multitrack projects. You use audio file projects to edit individual audio files. This is sometimes known as waveform editing. However, unlike most waveform editing applications, Soundtrack Pro allows you to edit your audio files nondestructively by keeping track of the actions you have performed on your audio file. You can edit down to the file’s individual sample level and perform tasks ranging from audio repair to sound design.
Apple Service and Support Websites For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support web page. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles. • http://www.apple.com/support For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Soundtrack Pro, go to: • http://www.apple.
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.
Processor Speed and RAM Digital audio files require intensive processing by your computer. If you plan to work on longer or more complex projects, or use multiple effects plug-ins in your projects, a computer with a faster processor can facilitate your productivity. Soundtrack Pro is optimized for use with computers that have a multiprocessor architecture.
To select a default input device Do one of the following: µ Double-click Audio MIDI Setup in the Utilities folder, then choose the device from the Default Input pop-up menu. µ Choose Apple menu > System Preferences, click Sound, then click Input. Select the audio interface in the list that appears. Audio MIDI Setup The Audio MIDI Setup utility is a program that comes with Mac OS X for adjusting a computer’s audio input and output settings and managing MIDI devices.
• External video and audio monitors: For viewing and listening to your program in its final image and audio quality • Video and audio interfaces: For connecting professional and non-FireWire devices to your editing system • RS-422 serial device control interfaces: For remote device control during capture and output • Video, audio, and remote device control cables: For separate video, audio, and remote device control connections.
Note: When using external audio devices, it’s a good idea to connect them before opening Soundtrack Pro. 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.
External Audio Speakers and Monitors You can play back audio through your computer’s speakers or headphone jack, but the audio output may not be high enough for you to evaluate your music at a professional level of quality. Connecting external speakers or monitors to your system allows you to hear the audio output with greater fidelity and a wider dynamic range. During the final mix, it is important to monitor your audio so that it matches the listening environment where the final project will be shown.
Mixers Connecting a mixer to your system allows you to record audio from multiple microphones or instruments simultaneously, to play back the output from your computer through connected monitors or speakers, and to control the volume levels of both the audio input and output. Professional-quality mixers have a number of additional features, including equalization (EQ) controls, auxiliary sends and returns for adding external effects, and separate monitor and mix level controls.
Setup with Powered Speakers With this setup, you can monitor the audio output through a set of connected powered speakers. This setup uses the following equipment: • Your computer and display • A set of powered speakers, including speaker wire and a power adaptor Speakers Power cables Speaker cables Computer Setup with 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.
Setup with 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.
• Audio monitors Video monitor Audio monitors Speaker cables FireWire cable Video output device Computer Mixer Setup with a PCI Express Video Interface Card with Breakout Box Many PCI Express 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 Express 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 Express card.
Setup for Stereo Mixing By default, Soundtrack Pro is set up for stereo mixing. 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. Position the speakers as far from your listening position as they are from each other (forming an equilateral triangle).
The Soundtrack Pro Interface 2 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. You can use Soundtrack Pro together with Final Cut Pro as a complete audio post-production solution that is powerful, yet also elegant and flexible. This chapter covers the following: • Soundtrack Pro Window Organization (p. 28) • Project Pane (p. 35) • Toolbar (p. 36) • Transport Controls (p. 36) • Timeline (p.
• Analysis Tab (p. 65) • HUDs (p. 66) Soundtrack Pro Window Organization There are several panes that comprise the Soundtrack Pro window that you’ll use while you are creating audio projects. You may want to open Soundtrack Pro so you can view these panes and familiarize yourself with the interface. µ To open Soundtrack Pro In the Finder, double-click the Soundtrack Pro icon in the Applications folder. You may also choose to add the Soundtrack Pro icon to the Dock for easier access.
Below is the standard, default layout of the Soundtrack Pro window. You can easily rearrange the tabs and resize the panes to suit your needs and then save the custom layouts for future use. Video tab Standard layout Toolbar Meters tab Browser tab Details tab Transport controls Mixer tab Note: At any time, you can revert to the default layout by choosing Window > Layouts > Standard, or pressing F1. Also, you can save any custom layouts you create.
Showing and Hiding the Panes Tabs are grouped by function to optimize your workflow. For example, the media tabs related to input and output functions (Meters, Recording, Search, Browser, and Favorites) are located in the right pane by default. When you are finished with media input, you can close the entire right pane by choosing Window > Toggle Right Pane, and thereby allow more horizontal space for the project pane and the lower pane.
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. Press Control–A to toggle the left pane, Control–S to toggle the bottom pane, and Control–D to toggle the right pane. For more information, see Soundtrack Pro Keyboard Shortcuts. The default toolbar also contains buttons to toggle the appearance of the panes.
Showing and Hiding Tabs In addition to showing and hiding entire panes, you can also choose to show and hide individual tabs in panes. You can toggle the appearance of individual tabs by choosing Window > Tab and then choose the name of the tab you wish to show or hide. A checkmark next to a tab in the menu list indicates the tab is currently showing. If a tab is part of a hidden pane, and you choose to show the hidden tab, the pane holding the tab reappears with all tabs in that pane.
Rearranging Tabs At any time, you can rearrange the layout by tearing off individual tabs and docking them in other panes, or simply have them float over the Soundtrack Pro window. There are numerous possible combinations. Mix and match the tabs to suit your particular workflow needs. The Meters, Search, and Browser tabs have been moved from the right pane and docked in the left pane.
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 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.
• Go to End button: Sets the playhead to the closest of the following items to the right of the playhead: the end of the cycle region, the position of the last playback stop, or the end of the project. • Cycle button: Activates the cycle region, if one is set in the Time ruler. If no cycle region is set, loops the project. • MIDI Sync button: Synchronizes playback with incoming MIDI Clock and MIDI Timecode (MTC) signals.
Overview of Timeline Controls The Timeline is organized into three groups of horizontal rows called tracks, busses, and submixes, as well as a video track, a podcast track, and a Master bus.
• Time ruler: You can precisely position clips, the playhead, and other items to a specific point in time (minutes, seconds, frames) or to a musical beat using the Time ruler. • Track area: Includes horizontal rows for tracks, busses, and submixes. Also includes the playhead, envelopes, and markers. • Headers: Each track, bus, and submix has a header with an icon, name, volume slider, and other controls. (For more information, see Headers.
Headers Each track, bus, and submix in the Timeline has a header that includes the track name, track icon, and a set of track controls. For detailed information on using the track controls, see About the Track Controls.
• Input Routing buttons: Use the Input Routing buttons to confirm or change recording input signal routing. Note: This is visible only when the track height is set to Medium or Large. • Output pop-up menu: Choose the physical outputs for the submix from the menu. Submixes only. (Not shown in the illustration.) • Panner: Sets the pan position of the track or bus. Has two modes: stereo slider or surround panner. Appears in track and bus headers only, not in submix headers or the Master bus header.
• Automation Mode pop-up menu: Choose the automation mode from the pop-up menu. • Previous and Next Selection buttons: Move back and forward through selections you’ve made in the waveform display. • Default Nudge Amount pop-up menu: Sets how far objects are moved when using the nudge command. • Waveform View and Frequency Spectrum View buttons: Change the display between Waveform view and Frequency Spectrum view. • Time display: Shows the current position of the playhead.
Mixer You mix your project in the Mixer. All tracks, busses, and submixes (as well as the Master bus) have channel strips in the Mixer with volume controls, mute and solo buttons, slots for adding effects, and other controls. You can view the levels for tracks, busses, submixes, and the Master bus using level meters in their channel strips. You can also record audio and automate volume and pan changes in the Mixer.
Channel Strip Controls Each channel strip includes the following controls: Color label Name Icon Effects slots Panning controls Solo button Mute button Arm for Recording button Bypass Effects button Volume fader Level meters with peak indicator 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.
• Volume fader and value slider: Set the channel strip’s volume level by dragging the fader or changing the value in the value slider. You can automate volume changes by dragging the slider with the project set to the appropriate automation mode. • Level meters with peak indicator: Show the volume level of the channel strip in real time as the project plays. The peak indicator shows the highest level played and changes color to indicate that clipping has occurred.
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.
For more information about the Bin, see About the Bin. Items pop-up menu Columns pop-up menu Item list Preview controls Media pop-up menu • Item list: Displays the files, clips, markers, and podcasts in the currently open projects. • Items pop-up menu: Choose what types of items (files, clips, markers, or podcasts) to display in the Bin.
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. For information on using the Meters tab, see Setting the Overall Project Volume Level. Level meters Reset button Peaks Value and Location display 2-channel meter 6-channel meter • Level meters: Show the output volume of the overall project as the project plays.
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. For information on using this tab, see Recording Audio in the Timeline.
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. For information on using the Browser, see Using Favorites to Locate Files. Tabs Path pop-up menu Computer button Home button Back and Forward buttons File list Preview controls Media pop-up menu • Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.
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. The Search tab has two views, Column view and Button view.
Keyword buttons • Category pop-up menu: Restricts the available keywords to a particular category. • Setup button: Displays the Search Setup dialog, from which you add items to the Search database. • Keywords list (Column view only): Displays files matching the keyword in the Results list, and displays subcategories in the Matches list. • Matches list (Column view only): Displays subcategories of the selected keywords.
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. For more information, see Using Favorites to Locate Files. 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.
Video Tab Use the Video tab to add a video to a project and view the video. You control playback of the video within the project using the transport controls at the bottom of the Soundtrack Pro window. For more information about the transport controls, see Transport Controls. 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.
• Modified: Displays the modification date. • Size: Displays the file size. • Path: Displays the path where the selected file is located. • Sequence Name: If the project was sent from Final Cut Pro, this displays the name of the Final Cut Pro sequence from which the project was originally sent. Pullup/Pulldown These menus allow you to adjust audio and video playback.
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. For information on setting the project time format, see Choosing the Project Time Format. Project File Management Use these controls to set project preferences for file saving and media management. These controls are available for multitrack projects only.
iXML Metadata Displays iXML fields and corresponding values in a table format. For more information about the iXML metadata specification, see the iXML website at http://ixml.info. Music Settings Use the controls in this area to set music properties (including tempo, time signature, and key) for the currently active project. Tempo, time signature, and key are important for projects set to Beats-based format.
Details Tab The Details tab shows information about the currently selected media file, clip, marker, envelope point, cycle region, or Timeslice selection, and gives you a way to edit details about each. You can also view and edit details for a selection in the File Editor. File and Clip Details The following information is displayed when you select a media file or clip. General Information Displays general information for the clip or file. • Name: Name of the selected clip.
• Clip Speed pop-up menu: Sets the playback speed for a looping clip. • Created: Displays the creation date. • Modified: Displays the modification date. • Size: Displays the file size. • Path: Displays the path where the selected file is located. Properties Displays the following information for the clip or file: duration, sample rate, the timecode for the first frame of the clip or file, bit depth, and channel valence. • Length: Displays the length of the selected clip.
• Lyricist: Displays lyricist metadata. • Engineer: Displays engineer metadata. • Technician: Displays technician metadata. • Keywords: Displays keywords metadata. • Originator Ref: Displays originator reference metadata. • Originator Date: Displays originator date metadata. • Originator Time: Displays originator time metadata. iXML Displays iXML fields and corresponding values in a table format. For more information about the iXML metadata specification, see the iXML website at http://ixml.info.
Marker Details The following information is displayed when you select a marker. • Type buttons: Select whether the marker is a beat marker or a time marker. • Name field: Enter a name for the marker. • Measure in pop-up menu: Sets the units displayed for the position of the selected 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.
File Editor Selection Details The following information is displayed when you make a selection in the File Editor. • Measure in pop-up menu: Sets the units shown in the Beginning, End, and Duration value sliders. • Beginning value slider: Sets the start position of the selection. • End value slider: Sets the end position of the selection. • Duration value slider: Sets the duration (length) of the selection.
• Effect Parameters area: Displays the parameters for effects in the current effects chain. Click an effect’s disclosure triangle to see its parameters. You can adjust effect parameters using the controls in the Effect Parameters area. • Add Send button: Adds a send to the end of the current effects chain for the track. You can add sends only to tracks, not to busses or submixes. • Reset Effect button: Resets the selected parameter or group of parameters to the default value (or values).
• Channel strip: The Tracks tab channel strip is a quick way to access the mixing controls for a particular Mixer object. This channel strip is identical to the corresponding channel strip in the Mixer in every way, including all controls and current settings. 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.
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 semitransparent 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. As you work, you can position HUDs anywhere on the screen. To display a HUD Do one of the following: µ Choose Window > HUDs, then choose Sound Palette, Timecode, or Multipoint Video from the submenu. µ µ To display the Sound Palette HUD, press Command-Shift-C.
Multipoint Video HUD You can use the resizable Multipoint Video HUD as a visual guide for precisely spotting (placing) sound effects and other audio clips to specific frames of a video program. For more information on the Multipoint Video HUD, see Scrubbing and Spotting with the Multipoint Video HUD.
Basics of Working in Soundtrack Pro 3 This chapter describes the kinds of projects you can create in Soundtrack Pro and how to work with windows, use layouts, play projects, and set Soundtrack Pro preferences. This chapter covers the following: • About Multitrack and Audio File Projects (p. 69) • Setting Up Your Workspace (p. 72) • Using Keyboard Shortcuts and Shortcut Menus (p. 76) • Undoing and Redoing Changes (p. 77) • About Changing Values and Timecode Entries (p.
You can mix a multitrack project using track controls for volume, pan, mute, solo, effects, and effect parameters. These controls are available both in the Timeline and in channel strips in the Mixer. You can create additional audio busses for effect sends. You can group audio track outputs together with submixes. Tracks, busses, and submixes can be exported to individual audio files, or a mixdown of all the tracks can be exported to a stereo or multichannel audio file.
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. 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. When you set a sample rate and play a file, Soundtrack Pro plays at the nearest sample rate your hardware can support.
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.
µ To reorder tabs Drag a tab left or right in the window’s tab area. You can also detach a tab from its docked position, which creates a separate resizable window for the tab that can be dragged or resized. For example, you can drag the Favorites tab to a new location so that you can easily move items from the Search tab to the Bin tab. µ To detach a tab Drag the tab out of its docked position in the window to create a separate window for the tab.
3 Click the Remove (-) button to remove 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/. 2 Transfer a copy of the file to the corresponding location in the second computer. Customizing the Toolbar The Toolbar at the top of the Soundtrack Pro window contains buttons for frequently used commands.
2 In the Customize dialog that appears below the Toolbar, make the changes you want. • To add a button to the Toolbar: 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 move a button in the Toolbar: Drag the button to a new location on the Toolbar. • To add space or a separator to the Toolbar: Drag a space, flexible space, or separator from the Customize dialog to the Toolbar.
To show only text in the Toolbar Do one of the following: µ µ Control-click the Toolbar, then choose Text Only from the shortcut menu. 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: µ µ Control-click the Toolbar, then choose Icon & Text from the shortcut menu. In the Customize dialog, choose Icon & Text from the Show pop-up menu. You can also hide the Toolbar to maximize available screen space.
To view and use a shortcut menu 1 Do one of the following: • Press the Control key, then click an item (this is called Control-clicking). • Control-click an area in a window or pane in Soundtrack Pro. • If you have a three-button mouse connected to your computer, you can right-click. 2 In the shortcut menu that appears, choose the command you want, then release the mouse button.
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 Separate slider and numeric entry field • Value sliders that combine the slider with the numeric entry field.
To change values in coarse increments Do one of the following: µ µ Shift-drag in the value field. µ If you have a mouse with a scrollwheel, Shift-scroll in the value field. Shift-click the left arrow to decrease a value, or Shift-click the right arrow to increase a value. 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.
You can scrub audio using either the Scrub tool or the playhead. For information about scrubbing, see Scrubbing Audio Files. Scrubbing Video In projects containing a video file, the video scrubs in the Video tab in sync with the audio as you scrub in the Timeline or the File Editor tab. As you drag audio clips, markers, envelope points, or other items in the Timeline or the File Editor tab, the video scrubs at the start point of the item being dragged.
• Go to End button: Sets the playhead to the closest of the following items to the right of the playhead: the end of the cycle region, the position of the last playback stop, or the end of the project. • Cycle button: If a cycle region is set, clicking the Cycle button toggles whether the cycle region is active or inactive. If no cycle region is set, clicking the Cycle button sets the project to repeat from the beginning when the playhead reaches the end of the project.
Using the Browser to Locate Files The Browser tab shows the hard disks and other storage media connected to your computer and lets you browse through the file hierarchy to find audio files located on disk. µ To locate audio files using the Browser Double-click a volume or folder in the Browser to view its contents. Double-click a folder to view items inside.
µ To locate audio files in Favorites Double-click the disk or folder you want to open. Double-click an item to open it. You can move back through the previous locations in the Favorites tab using the Forward and Back buttons or through the levels of the file hierarchy using the Path pop-up menu. Search Views Using Search, you can search for media files to add to your project. Search has two views—Column view and Button view.
Clicking a keyword displays the files matching that keyword in the Search Results area. You can refine your search results by narrowing the criteria using the subcategories in the Matches column. To search for files in Column view 1 Choose the type of keywords to display in the Keywords list from the Keywords pop-up menu. You can use the Time Signature and Scale Type pop-up menus to restrict matches by those categories.
µ To refine your search using the Matches column Click to select a match category, or Command-click to select multiple match categories. Click a match category to refine your search. Search Text field These are files that match the category selected above. µ To refine your search by selecting multiple keywords Shift-click to select adjacent keywords, or Command-click to select nonadjacent keywords.
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. Search Text field You can also perform text searches, which can be especially helpful for non-tagged files. When you type text in the Search Text field, any files with the text in their file path or filename appear in the Search Results list. µ To search by file path or filename Enter text in the Search Text field.
µ To refine your search using multiple keywords 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 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. For more information about the iXML metadata specification, see the iXML website at http://ixml.info.
• Instrument: Displays instrument type, from Apple Loops tagged information (files, clips). • Genre: Displays genre name, from Apple Loops tagged information (files, clips). • Hint Quality: Displays the quantitative display of the amount of information saved in the file—keywords, beat information, and transients (files, clips). • Project: Displays iXML project data. • Scene: Displays iXML scene data. • Take: Displays iXML take data. • Tape: Displays iXML tape data.
Using the Preview Controls The preview area at the bottom of the Bin and the media tabs contains controls you can use when previewing audio files. Preview on selection button Volume slider Media pop-up menu Play button • 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.
Viewing File and Clip Information You can view information in the Details tab about audio and video files and clips in the Bin, the media tabs, and the Timeline. When you select a file or clip in the Bin, the media tabs, or the Timeline, the Details tab displays the file path and other information about the item. For a complete description of the items listed in the Details tab, see Details Tab and Editing Clip and Track Properties.
Soundtrack Pro lets you set the playhead and control playback of your projects in several different ways. You can use the transport controls or keyboard commands to start and stop playback and set the playhead to different points in time. You can also set a cycle region to repeat playback of a specific part of the project.
When you set the playhead, it snaps to the nearest Snap To position if snapping is turned on. For information on setting the Snap To value, see Using Snapping. You can also set the playhead by using the transport controls or the Playhead Location value slider. Note: If you click the Time ruler, you may accidentally activate the cycle region. Press Option-X to remove the cycle region. Press C to turn the cycle region on or off.
For example: • If you enter 01234321: Soundtrack Pro interprets it as 01:23:43;21. This stands for 1 hour, 23 minutes, 43 seconds, and 21 frames. • If you enter 01.23: Soundtrack Pro interprets it as 00:00:01;23. This stands for 1 second and 23 frames. You can select only part of the position in the Time display and enter a new number for that position. For example, you can select only seconds, or minutes and seconds. The other categories keep their present values.
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.
• 1/8 notes • 1/16 notes • 1/32 notes • 1/64 notes • Markers • Clips on Adjacent Tracks µ To turn snapping on Choose View > Snap (or press N). A checkmark next to the menu item indicates that snapping is turned on. Choose View > Snap again to turn snapping off. µ To set the Snap To value Choose View > Snap To, then choose a value from the submenu. You can temporarily reverse the current snapping state while you work in the Timeline.
Reconnecting Media Files Because Soundtrack Pro multitrack projects contain references to media files, and not the files themselves, a multitrack project cannot play back if the media files it uses are erased or moved. When you open a multitrack project in Soundtrack Pro, the application checks to see if the media files it uses exist in the same location as they did when the project was last opened.
2 In the dialog that appears, locate the file requested by the dialog. If “Use selected path to reconnect other missing files” is turned on in this dialog, Soundtrack Pro will search the same directory for any other missing files. 3 Click Open to reconnect the files.
Soundtrack Pro Preferences 4 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. This chapter covers the following: • Setting Soundtrack Pro Preferences (p. 103) • General Preferences (p. 105) • Project Preferences (p. 107) • Recording Preferences (p.
3 To hide the buttons, click the oval button in the top-right corner. Click it again to show the buttons. 4 When you’re done, click the close button (or press Command-W).
General Preferences The General preferences include settings for program startup behavior and Timeline defaults and options for alerts, saving, fades, and handles. Startup • Open: This set of buttons determines the default Soundtrack Pro behavior on startup. • Last Project: Reopens the last project on startup. • New Multitrack Project: Creates a new, blank multitrack project on startup. This is the default behavior. • New Audio File Project: Creates a new, blank audio file project on startup.
• Off: The playhead moves during playback but does not remain visible if it is outside the visible Timeline area. • 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. Note: Selecting “Use ellipses (...) in clip names” can impact the speed at which the screen is redrawn during playback.
Project Preferences These preferences let you set project properties and other default settings for new projects you create. • Tracks pop-up menu: Sets the default number of tracks for a new multitrack project. • Track Height pop-up menu: Sets the default track height for new multitrack projects. The choices are Mini, Small, Medium, and Large. • Overlap Mode pop-up menu: Sets whether overlapped clips are crossfaded or truncated for new multitrack projects.
• Export Bit Depth pop-up menu: Sets the export bit depth for the current project and new projects. The choices are 16-bit (CD-quality audio) and 24-bit. • Sample Rate pop-up menu: Sets the default sample rate for new projects. The choices range from 32 kHz to 192 kHz. • Audio Pulldown pop-up menu: Sets default audio playback compensation. • Video Pulldown pop-up menu: Sets default video playback compensation. • Tempo value slider: Sets the default tempo for new projects in beats per minute (bpm).
For information on eliminating latency, see Eliminating Recording Latency. • Recordings Location display: Displays the default location to which recording sessions are saved. You can set the save location by clicking the Choose button and navigating to a new location. 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.
Control Surfaces Preferences These preferences let you specify settings for communicating with attached control surfaces. For information about connecting and using control surfaces, see Using Control Surfaces with Soundtrack Pro. Use pop-up menu Control Surfaces display area Add and Delete buttons Summary information Control Surface Buttons button Previous and Next buttons • Control Surfaces field: Shows the control surfaces connected to your computer.
Video Out Preferences These preferences let you specify settings for video output from Soundtrack Pro. • Video Output Device pop-up menu: Choose a video output device, or choose None. • 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.
Working with Multitrack Projects 5 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. This chapter covers the following: • Creating, Opening, and Closing Multitrack Projects (p. 113) • Creating a Multitrack Project from Final Cut Pro Clips or Sequences (p. 114) • Setting Project Properties (p. 114) • Setting the Project Length (p.
You can also open a recently open project by choosing it from the File > Open Recent menu, or open a project by dragging it onto the Soundtrack Pro icon in the Dock. You can have multiple projects open in Soundtrack Pro and cut and paste between them, but you can only play one project at a time. You can open projects created with earlier versions of Soundtrack and Soundtrack Pro, but you can only save them as multitrack projects (with the extension .stmp).
Automation Mode You can automatically record movements you make to faders, sliders, and other onscreen controls using the pointer. You record automation in Soundtrack Pro by selecting either Touch or Latch automation mode in the project controls, then changing volume, pan, and effects settings as the project plays. µ To set the automation mode Choose Read, Latch, or Touch from the Automation Mode pop-up menu.
µ To set the sample rate Choose the sample rate from the Sample Rate pop-up menu. The choices are: • 32.0 • 44.1 • 48.0 • 88.2 • 96.0 • 176.4 • 192.0 Sample Rate pop-up menu Note: If you open your project on a computer that cannot support the project sample rate, the project is resampled to the nearest rate the hardware supports for playback. When you export your project, it is exported at the project sample rate, regardless of hardware limitations.
Setting the Envelope Selection Mode The project selection envelope mode determines whether, when you select or move a clip in the Timeline, the associated envelope points are also selected or moved with the clip. You can set Soundtrack Pro to either the Select Only Clips mode or the Select Envelope Points With Clips mode.
When you import a video file into a Soundtrack Pro project, the Time display and Time ruler adjust to show the timecode format of the video. The Time display and Time ruler can display time in seconds, frames, drop frames, or non-drop frames. You can choose the format for timecode display, and you can set the video frame rate for projects not containing a video file. You can also set the default frame rate for new projects in the Project Preferences pane.
µ To set the project length In the Timeline, place the playhead at the point where you want the project to end, then choose Mark > Set End of Project. End-of-project marker You can move the end-of-project marker to change the length of the project, or delete it if you decide you no longer want it in the project. µ To delete the end-of-project marker Select the marker in the Timeline, then choose Edit > Delete (or press the Delete key.
µ To change the scratch location Choose Soundtrack Pro > Preferences > General, then click Choose to enter a new location. Recordings Location When you record audio in the Soundtrack Pro multitrack Timeline, the default location for those audio recordings is /Users/username/Documents/Soundtrack Pro Documents/Recordings/. µ To change the recordings location Choose Soundtrack Pro > Preferences > Recording, then click Choose to enter a new location.
• Collect Unused Audio Files: Includes media files you have deleted from the project but that remain in the Bin. If you do not want to include these media files, deselect this checkbox. Note: Optionally, you can open the Bin, select the audio files you want to remove, then choose Remove Unused from the Media pop-up menu. • Collect Video File: Saves the project’s video file in the same folder as the project.
µ Drag a file from the File list to a track or to the part of the Timeline below the existing tracks. Drag the file from a media tab to the Timeline. To spot the clip to the playhead Do one of the following: µ µ Select the clip and choose Clip > Spot to Playhead, or press Command–Backslash (\). Control-click the clip, then choose Spot to Playhead from the shortcut menu.
Clip Properties When you create an audio clip by dragging an audio file to the Timeline, the audio clip has a set of properties. These properties are specific to the clip and can be different for two clips created from the same source audio file. Properties for a selected clip are displayed and can be edited in the Details tab. For more information, see Details Tab. Some properties can be changed by editing the clip in the Timeline.
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.
Each submix has a color label, a name, an icon, and a set of controls that appear in the submix’s header in the Timeline and in its channel strip in the Mixer. Submix controls include a volume slider, a pop-up menu where you can choose the physical output channels for the submix, and buttons to mute or solo the submix and add effects. Each submix channel strip includes level meters you can use to watch the submix’s levels and a set of effects slots where you can add and order effects and sends.
The Master Bus The Master bus represents the final mix from Soundtrack Pro: what will be heard from physical output jacks. On a signal routing basis, the Master bus is practically a mirror image of the connected hardware output device. It has a single volume control but does not have panners. You can apply effects to the Master bus, but you cannot automate those effects. Effects applied to the Master bus are placed across all channels. For more information about the Master bus, see Using the Master Bus.
Working in the Timeline 6 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. You can select, cut, copy, and paste clips, move, resize, transpose, split and join them, and edit them in other ways. This chapter covers the mechanics of working with clips, tracks, busses, and submixes in the Timeline.
• Resizing Audio Clips (p. 163) • Changing the Offset of an Audio Clip (p. 166) • Creating Fades and Crossfades in the Timeline (p. 167) • Truncating Overlapping Audio Clips (p. 173) • Working with Markers (p. 174) • Transposing Tagged Audio Clips (p. 179) • Replacing the Source Audio in a Clip (p. 179) • Replacing Audio with Related Files (p. 181) • Making Clip Channel Selections (p. 181) • Combining Separate Clips to Create Multichannel Clips (p. 184) • Editing Clip and Track Properties (p.
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. Selection tool Timeslice Tool You can use the Timeslice tool to make time-based selections.
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. You can select the Lift tool by pressing UU, and the Stamp tool by pressing U.
When you have finished using a Timeline editing tool, it is a good idea to immediately return to the default Selection tool. 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.
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. Timeline zoomed out Timeline zoomed in You can also zoom in and out using menu commands or keyboard shortcuts.
µ µ µ Move the Zoom slider to the left. µ If your portable computer has a Multi-Touch trackpad, use the expand gesture. Click the left side of the Zoom control. 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: µ µ µ µ µ Choose View > Zoom Out, or press Command-Minus (-). µ If your portable computer has a Multi-Touch trackpad, use the pinch gesture. Press the Down Arrow key.
µ To pause playback Press K. µ To double the current playback speed 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. Playback then begins doubling in reverse, starting from 1x.
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. For a complete list of keyboard shortcuts, see Soundtrack Pro Keyboard Shortcuts. Using Multi-Track Gestures to Control Playback If your portable computer has a Multi-Touch trackpad, you can use the rotate gesture to play back audio in the Timeline.
Note: Track header controls for setting up recording appear in the two tallest track heights only. 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.
You also use the cycle region when recording multiple takes. For information on recording, see Recording Audio in Soundtrack Pro. To set the cycle region Do one of the following: µ Drag in the Time ruler from the beginning of where you want the cycle region to the end. Drag in the Time ruler to set the cycle region. µ 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.
Working with Tracks, Busses, and Submixes in the Timeline The Timeline is arranged sets of horizontal rows—tracks, busses, and submixes. You add audio to tracks in your project, use busses to create effect sends, and route audio to physical output channels using submixes. The tracks in a project appear in the upper part of the Timeline. Busses appear below tracks, and submixes appear below busses. The Master bus appears below submixes.
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. You can also select multiple tracks, busses, or submixes in the Timeline. To select a track, bus, or submix Do one of the following: µ µ µ Click in the header for the track, bus, or submix.
• Select any combination of submixes. 3 Choose Multitrack > Group Tracks (or press Command-G). The selected items are grouped. Applying Changes to Selected Groups When multiple tracks, busses, or submixes are selected (whether they are officially grouped or not), you can apply the following changes to all the selected items at once.
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.
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: • Select any combination of tracks. • Select any combination of busses. • Select any combination of submixes. For more information on selecting, see Selecting Tracks, Busses, and Submixes. 3 Choose Multitrack > Group Tracks (or press Command-G).
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.) It is a quick way to access the mixing controls for a particular Mixer object. Note: The channel strip is displayed only if a single track, bus, or submix is selected. For more information about channel strips, see Using the Mixer.
A copy of the track, bus, or submix appears when you release the mouse button. Renaming Tracks, Busses, and Submixes By default, tracks are numbered when created and take the name of the first audio clip you add to them. Busses and submixes are numbered starting from 1 (Bus 1, Submix 1, and so on).
µ To adjust the volume level of a track, bus, or submix Drag the volume slider left or right. Drag the volume slider left or right. The range is -96 dB to +6 dB, with the default at 0 dB. Double-clicking the slider resets it to the 0 dB position. Adjusting Pan Position Tracks and busses also include panning controls. The stereo pan slider controls the stereo pan position (the left-to-right placement in the stereo field) of the track.
Muting and Soloing Tracks, Busses, and Submixes The Mute button mutes (silences) the track, bus, or submix. You can mute multiple tracks, busses, and submixes, which allows you to hear only the remaining, unmuted ones. Muting lets you compare the sound of the project using different combinations of tracks, busses, and submixes, and hear the result of changes you make to them. The Solo button solos the track, bus, or submix, muting all others.
Repeat the operation to unsolo the track, bus, or submix. Click the Solo button to solo the track, bus, or submix. Soloed track µ To exclusively solo a track, bus, or submix Option-click the Solo button. Click the Solo button again to unsolo the track, bus, or submix. When you solo tracks, busses, or submixes, the ones not soloed appear darker in the Timeline, and their clips appear translucent. Adding Effects to a Track, Bus, or Submix You can use the Effects tab to add effects.
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: • Double-click the effect you want to add. • Select the effect name, then click the Add Effect button. • Drag the effect to the Effect Parameters area. Drag the effect from the Effect list... ...to the Effect Parameters area.
Note: If you automate controls or effects using envelopes, you hear the results whether or not the envelopes are visible. To show or hide the envelopes for a track, bus, or submix Do one of the following: µ Click the envelopes disclosure triangle in the header for a track, bus, or submix. Click the disclosure triangle again to hide the envelopes. µ Press E to show envelopes for any selected tracks. Press E again to hide the envelopes. Click the envelopes disclosure triangle.
To remove a track, bus, or submix Do one of the following: µ Select the track, bus, or submix, then choose Multitrack > Remove [item] (or press Command-Shift-T). µ 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. Selecting Audio Clips in the Timeline You select the audio clips you want to edit. You can select a single clip or multiple clips, including clips in different tracks.
µ 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. To deselect an individual clip item within a selection 1 Select the Selection tool in the Tool palette (or press A). 2 Command-click the item you want to deselect.
For more information on selecting tracks, see Selecting Tracks, Busses, and Submixes. 2 Choose Edit > Select > Across Tracks (or press Shift-T). All clips in the track are selected. If you make this selection in Selection tool mode, all clips on currently selected tracks are selected. Any clips that were selected before choosing the menu item are included in the new selection. Note: Double-clicking a track in Selection tool mode selects all clips in that track.
• To select everything to the left of the playhead in the selected tracks: Choose Edit > Select > Backward (or press Shift-Home). The clips at and to the right of the playhead are selected. If you make this selection in Selection tool mode, all clips to the right (Forward) or left (Backward) of the playhead in the selected tracks are selected. Any clips that were selected before choosing the menu item are included in the new selection.
µ Option-drag the clip to the position where you want to copy it. µ To paste an audio clip Set the playhead at the position where you want to paste the clip, then choose Edit > Paste (or press Command-V). The clip is pasted in the currently selected track, starting at the current playhead position. If no track is selected, the clip is pasted in the track from which it was cut or copied.
The copies are pasted in the selected track, starting at the current playhead position. If no track is selected, the copies are pasted in the same track as the cut or copied clip. The copies are pasted in the selected track, starting at the current playhead position. As you work on a project, you may decide that a clip that sounded great on its own no longer fits with the overall composition. You can remove clips from a project by deleting them from the Timeline.
The clip is split at the point where you clicked. Click the clip with the Blade tool to split it. Splitting Clips Across All Tracks with the Blade All Tool Use the Blade All tool to split across all tracks. To split audio clips on all tracks with the Blade All tool 1 Click the Blade All Tool button above the Timeline. Blade All Tool button The pointer changes to the Blade All pointer. Note: To toggle between the Blade and the Blade All tools, hold down the Shift key while either tool is selected.
To split selected audio clips with the playhead 1 Set the playhead at the point where you want to split the clip, then select the clip or clips you want to split. You can split multiple clips in the same operation. Move the playhead to where you want to split the selected clip. 2 Choose Clip > Split (or press S). Every selected clip under the playhead is split into two segments. The first segment ends at the playhead position, and the second segment begins at the playhead position.
To split audio clips while playing a project 1 Do one the following: • Select the clip or clips you want to split. • Select the track or tracks containing the clip or clips you want to split. 2 Play the section of the Timeline containing the clip or clips you want to split. 3 While the project is playing, press S as often as you like. The clip or clips are split at the playhead each time you press S.
2 Do one of the following: • Select the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser, Favorites, or Search tab), then choose Clip > Spot to Timeline, or press Command–Shift–Backslash (\). • Control-click the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser, Favorites, or Search tab), then choose Spot to Timeline from the shortcut menu. The Spot to Timeline dialog appears.
Note: Holding down the Command key while trimming or moving a clip toggles the current snapping state. µ To move an audio clip to a new track Drag the clip up or down to a different track. You can also move an audio clip using the Left Arrow and Right Arrow keys with various modifier keys. Using the Command key with the arrow keys moves the clip the default nudge amount; using the Command and Shift keys with the arrow keys moves the clip to the next gridline in the Timeline.
Snapping Clips to Clips on Other Tracks If Snap To is set to All Edits, you can snap a clip to the edges of a clip in any other track. This is especially useful when the start and end points of clips do not fall on the current Snap To value. µ To snap a clip to a clip on another track Choose View > Snap To > All Edits. Resizing Audio Clips You control the duration of an audio clip (the amount of time the clip plays back) by resizing the clip.
2 Click the edge of the clip and drag left or right to resize it. Note: Holding down the Command key while trimming or moving a clip toggles the current snapping state. When you resize a clip, the edge being resized jumps to the nearest Snap To position if snapping is turned on. If you want to resize the clip independently of the Snap To value, change the Snap To value or turn off snapping before you resize the clip. For information about snapping, see Using Snapping.
The In point of every selected clip under the playhead is moved to the position of the playhead. To trim the Out point of selected audio clips to the playhead 1 Set the playhead at the point where you want the clip to end, then select the clip or clips you want to trim. You can trim multiple clips in the same operation. 2 Choose Clip > Trim Out Point to Playhead (or press G). The Out point of every selected clip under the playhead is moved to the position of the playhead.
To trim the Out point of audio clips on selected tracks 1 Set the playhead at the point where you want the clip or clips to end. 2 Select the track or tracks containing the clip or clips you want to trim. 3 Choose Clip > Trim Out Point to Playhead (or press G). The Out point of every clip under the playhead on the selected tracks is moved to the position of the playhead.
µ To slip (change the offset of) a clip Select the clip, then Command-Option-drag left (toward the beginning of the project). Command-Option-drag left to change the clip’s offset. The waveform moves inside the clip’s boundary to indicate the change in offset. Once you have changed the offset by dragging to the left, you can also drag to the right to change the offset. Note: You can only drag the offset to a later part of the clip’s source audio file, not to a point before the beginning of the file.
Note: The default fade type is +3 dB. Choose Soundtrack Pro > Preferences > Project to change the default fade type. Logarithmic Linear S-curve Exponential • 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.
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. The fade in the Timeline is updated to reflect your choice of fade type. Adding Fades to Audio Clips Soundtrack Pro lets you fade in and fade out to clips in the multitrack Timeline using the Fade command. You can either fade in or fade out clips to the position of the playhead.
Every selected clip under the playhead now fades in from the beginning of the clip to the position of the playhead. To fade out selected audio clips from the playhead 1 Set the playhead at the point where you want the fade out to begin, then select the clip or clips you want to fade out. You can fade out multiple clips in the same operation. 2 Choose Clip > Fade Out from Playhead (or press Option–G).
Note: Any clip selections supersede track selections; if both clips and tracks are selected under the playhead, Soundtrack Pro fades in only the clips. To fade out audio clips on selected tracks 1 Set the playhead at the point where you want the fade out on the clip or clips to begin. 2 Select the track or tracks containing the clip or clips you want to fade out. 3 Choose Clip > Fade Out from Playhead (or press Option–G).
2 Select a timeslice overlapping two clips in the Timeline. Timeslice 3 Choose Clip > Crossfade (or press Command–F). The crossfade appears in the area selected by the Timeslice tool. Note: This command works whether your multitrack project is set to crossfade mode or truncate mode. µ To set the project to crossfade mode Click the Crossfade Mode button, located above the Global Timeline view.
µ To move the crossfade without changing its length Drag the lower area of the crossfade left or right. 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 Types of Fade-Ins and Fade-Outs. 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.
µ To truncate an audio clip In the Timeline, drag another audio clip over part of the clip. Working with Markers Markers have a variety of uses in the Timeline and the File Editor.
µ To insert a time marker Set the playhead to the point where you want to add the marker, then choose Project > Insert Time Marker (or press the M key). µ To insert a beat marker Set the playhead to the point where you want to add the marker, then choose Project > Insert Beat Marker (or press Option-B). 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.
Note: You can also select and drag multiple markers. When you move a marker by dragging, the marker’s position snaps to the nearest Snap To position if snap is turned on. For information on setting the Snap To value, see Creating Fades and Crossfades in the Timeline. 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.
Using Final Cut Pro Scoring Markers When you import a video file from Final Cut Pro or Final Cut Express HD, Soundtrack Pro displays any Final Cut Pro scoring markers included in the video file in the Timeline. Scoring markers have an orange handle in the area above the Time ruler. You cannot move or edit Final Cut Pro scoring markers in Soundtrack Pro.
When you score a marker to the playhead, a set of special envelope points is created in the project’s tempo envelope, from the previous envelope point (or the beginning of the tempo envelope, if no previous envelope point exists) to the position of the marker. These special envelope points are locked and cannot be moved (but can be deleted). The locked envelope points, and the segment of the tempo envelope between them, appear red.
As you drag, the red segment of the tempo envelope moves vertically as the tempo changes. Transposing Tagged Audio 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. When you drag an audio file tagged with key information to the Timeline, Soundtrack Pro transposes the clip to the project key.
2 In any media tab, Control-click the audio file that will replace the selected clip’s audio, then choose Replace Selected Clips With [filename] from the shortcut menu. ...then choose the Replace option from the shortcut menu. Select a clip, Control-click the audio file that will replace the original audio... When you replace the source audio in a clip, the clip’s duration and offset stay the same. Only the portion of the new source audio file equal to the clip’s length plays.
Replacing Audio with Related Files Once an audio clip is in the multitrack Timeline, Soundtrack Pro provides an easy way for you to access other related audio files from a field recorder or other source. Files that represent the same scene, shot, or take as recorded by multiple microphones are gathered together based on a similar base filename or by the iXML Family UID. iXML metadata is displayed in the Project tab, Details tab, and the Bin.
Using the Shortcut Menu to Make a Channel Selection Once a clip is in the Timeline, you can select (solo) an individual channel of a stereo file, or you can select an individual channel or various pairs of channels of a multichannel file. The clip retains this channel selection throughout the life of the multitrack project. If you duplicate the clip, the copy also inherits the same channel selection. Changing any one instance of a clip does not affect any other instance.
µ To use the shortcut menu to make a channel selection from a multichannel clip Control-click the clip in the Timeline, then choose one of the options from the shortcut menu. If you choose a mono option, the clip waveform display changes to a single (mono) waveform, and the clip functions in the project as a mono file. If you pick a stereo option, the clip waveform display changes to a stereo waveform, and the clip functions in the project as a stereo file.
The dragged clip becomes a vertical stack of clips, with the top clip under the pointer and the rest on subsequent tracks. If you dragged a stereo clip, the stack consists of two clips, one for each channel. If you dragged a six-channel clip, the stack consists of six clips, one for each channel. Combining Separate Clips to Create Multichannel Clips In Soundtrack Pro, you can create a single multichannel clip by combining separate clips.
Setting Clip and Track Colors Soundtrack Pro allows you to set colors for clips and tracks. Setting a clip or track color is a useful way to differentiate a set of clips from the rest of the clips or tracks in the Timeline. For example, you could color-code your clips by category: dialogue, music, and effects. This helps you organize your project visually. By default, video clips are set to blue and audio clips are set to green, but you can change the color of audio clips and tracks at any time.
µ µ Select the clip. In the Details tab, choose a color from the Color pop-up menu. Drag the clip to a track that already has a color. The clip takes on the track color. Note: If you have already applied a color to a clip, the clip does not take on the track color. You can set the color for a track, so that any clip you add to the track takes on the track color. To set a track color Do one of the following: µ µ Select the track, choose Multitrack > Track Color, then choose a color from the submenu.
µ µ Control-click the clip in the Timeline, then choose Enable Clip from the shortcut menu. Select the clip. In the Details tab, select the Enable checkbox. Locking and Unlocking Clips and Tracks You can prevent any changes to a clip or a track by locking it. Locking Clips A locked clip cannot be moved, resized, or otherwise modified in the Timeline. A locked clip can be enabled or disabled. A clip can overlap a locked clip.
Locking Tracks When an audio track is locked, the clips on the track cannot be moved, resized, or otherwise modified in the Timeline. Clips and effects cannot be added to or removed from a locked track. Effects and other parameters (such as pan, gain, and output) are not editable on a locked track. To lock a track Do one of the following: µ µ Select the track, then choose Multitrack > Lock Selected Track (or press F5). Control-click the track, then choose Lock Selected Track from the shortcut menu.
Editing Audio in the Multitrack Timeline 7 You can edit the contents of clips with actions and operations in the Process menu, in addition to the operations such as trimming and moving described in Working in the Timeline. You can apply these actions and operations after first making a selection in the Timeline or in the File Editor tab using the Selection tool or the Timeslice tool. This chapter covers the following: • How Selection Type Affects Actions (p. 189) • Editing in Place (p.
In Soundtrack Pro, actions and process menu operations are not applied directly to a clip, but to an audio file project Soundtrack Pro creates that is shared by all clips referencing the original source media. This means that you can apply common cleanup operations—such as noise reduction—to a single source media file that is referenced by multiple clips. If you need to apply actions to a single, specific instance of a clip, you must make an independent copy of that clip.
Multitrack Timeline after an edit is made 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. Editing in Place 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.
• Multiple region markers: Because a media file may be referred to by multiple clips in a multitrack project, you may see multiple region markers above a media file in the File Editor. Each region marker shows the In and Out points of a clip in the Timeline that refers to this media file. This alerts you to the fact that changes you make to this media file may affect multiple clips.
Making an Independent Copy of a Clip 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.
Making Changes in the File Editor and Hearing Them in the Timeline When you arrange a multitrack project, you frequently need to edit and adjust individual audio files, and immediately hear the results in the context of the larger multitrack Timeline. You can do this by using the Timeline and File Editor in tandem. To make changes in the File Editor and hear the results in the Timeline 1 With the File Editor tab active, select a clip in the Timeline that you would like to adjust.
For information on making basic edits, see Working in the File Editor. For information on processing effects, see Processing Audio Files. For information on analyzing files, see Overview of Analyzing and Fixing Problems in an Audio File. 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.
4 Select a portion of the audio file in the File Editor tab. 5 Drag the selection to a track in the Timeline. There are multiple techniques you can use to spot audio. For more information, see Spotting Clips to the Timeline. Optionally, you can open the Multipoint Video HUD to give you visual context for spotting the sound effects to the Timeline. For more information about the Multipoint Video HUD, see Scrubbing and Spotting with the Multipoint Video HUD.
To select a portion of a clip with the Timeslice tool 1 Click the Timeslice tool at the top of the Timeline (or press W). 2 Drag across any portion of the clip with the Timeslice tool. A Timeslice selection rectangle appears over the portion of the clip and the File Editor tab displays the same selection in its waveform view.
µ To move a Timeslice selection Click the center of the Timeslice selection, then drag it to a new location in the Timeline. µ To add a noncontiguous track to a Timeslice selection Command-click anywhere in the track. Note: You can add tracks that are not adjacent to or contiguous with the selection. µ To remove a track from a Timeslice selection Command-click anywhere in the track.
Make sure the Timeline is in Select Envelope Points With Clips mode if you want envelopes to be cut or copied along with a Timeslice. Timeslice copies do not create extra envelope points around the perimeter of your selection. To ensure predictable results when pasting Timeslices, it is a good idea to create extra envelope points at the boundaries of your Timeslice selection. µ To cut a Timeslice Select the Timeslice, then choose Edit > Cut (or press Command-X).
µ To delete the contents of a Timeslice selection Select the Timeslice, then choose Edit > Delete (or press the Delete key). Changing the Timeslice Selection Area You can change the height or the length of a Timeslice selection area to include more of the Timeline, either graphically or numerically. µ To extend the Timeslice selection area graphically Shift-click any track at the point to which you want to extend it. Shift-click the Timeline to extend a Timeslice.
Using the Timeslice Tool with Keyboard Shortcuts Soundtrack Pro provides a variety of keyboard shortcuts to adjust Timeslice selections. µ To extend the left edge of the Timeslice selection by one gridline Press Shift-Left Arrow. µ To extend the right edge of the Timeslice selection by one gridline Press Shift-Right Arrow. For a complete list of Soundtrack Pro keyboard shortcuts, see Soundtrack Pro Keyboard Shortcuts.
To lift properties from a clip in the Timeline 1 Click the Lift tool at the top of the Timeline (or press UU). The Sound Palette appears. As you move the pointer over clips in the Timeline, it changes into the Lift pointer. 2 If you want to limit the type of properties lifted, deselect any of the three checkboxes at the top of the Sound Palette: • Lift Equalization Print: When this checkbox is turned on, the Lift command copies the average frequency spectrum of the selected clip.
3 Choose one of the following from the pop-up menu in the center-bottom portion of the Sound Palette: • Add: Adds the properties selected in the Sound Palette to the list of actions in the target clip’s Actions tab. • Replace: Replaces the actions in the target clip’s Actions tab with the properties selected in the Sound Palette. Choose Add or Replace from the pop-up menu.
µ To save a Sound Palette preset With a template loaded on the right of the Sound Palette, click Save as Preset in the lower-right corner. The template is listed as a preset on the left of the Sound Palette. To enable or disable properties in a Sound Palette preset 1 If there are already presets on the left of the Sound Palette, click the template or a preset to edit it. 2 In the Enabled column, click the checkbox next to the property you want to enable or disable.
2 Do one of the following: • Drag a still image from the Finder or from iPhoto to the image well at the top of the Sound Palette. • Copy an image in an image editing application and paste it into the image well at the top of the Sound Palette. The image appears in the image well each time you select the preset. µ To delete a Sound Palette preset Control-click the preset name in the list on the left of the Sound Palette, then choose Delete from the shortcut menu.
Working in the File Editor 8 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. This chapter covers the following: • About the File Editor (p. 207) • Opening Audio Files in the File Editor Tab (p. 209) • Playing Audio Files in the File Editor (p. 210) • Soloing an Audio File in the File Editor (p. 210) • Linking the File Editor Selection and the Cycle Region (p.
You can open and edit an audio file with up to 24 channels in the File Editor, view it in Waveform or Frequency Spectrum view, process the file using actions, analyze it for common audio problems, fix analyzed problems individually or together, and then save the edited file as an audio file project or as a standard audio file.
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. Important: In order to edit nondestructively and save a file with actions, you need to convert standard audio files (such as AIFF or WAVE files) to Soundtrack Pro audio file projects (with the .stap file extension).
µ Drag a clip into the File Editor tab from one of the media tabs. Note: You can drag from the Bin, Browser, Search, and Favorites tabs. The waveform for the clip appears in the File Editor. If there is already a clip in the File Editor, it is replaced by the new clip. 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.
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. 2 Do one of the following: • Make a selection in the File Editor tab.
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. µ To make a selection while scrubbing with the playhead As you move the playhead with the mouse, hold down the Shift key. For projects containing a video file, dragging to create a selection scrubs the video at the selection point. Shift-drag to create a selection with the Scrub tool.
µ To select part of an audio file 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. µ To select the entire audio file Choose Edit > Select All. You can select one channel (left or right) of a stereo audio file and apply actions to only the selected channel. You can also select only part of one channel.
As you drag, the left (upper) channel of the audio file becomes darker in the waveform display. Part of left channel selected To select the right channel of an audio file 1 Move the pointer near the lower edge of the waveform display. The pointer changes to the letter “R.” 2 Do one of the following: • Double-click in the lower part of the waveform display to select the entire right channel. • Drag the pointer to select the part of the right channel with which you want to work.
If you have added markers to an audio file project, you can select the area between two markers. µ To select the area between two markers in the File Editor project view 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.
To adjust a selection to the zero crossing 1 Make a selection in the File Editor. 2 Choose Edit > Adjust Selection to Zero Crossing and choose one of the following from the submenu: • Inward • Outward • In Point to Left • In Point to Right • Out Point to Left • Out Point to Right The edit point is adjusted to occur at the specified zero-crossing. Moving Between Selections You can select different areas of the audio file to apply different actions or to play different areas.
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. 2 Choose Edit > Copy (or press Command-C). You can paste audio in the File Editor. You can paste at the playhead position, paste mix, or paste repeat.
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. 3 In the Paste Repeat dialog, type the number of copies you want to paste in the field.
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 (or press Option–Z). µ To zoom in to see individual samples Choose View > Zoom to Samples (or press Control–Z). 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. µ To zoom out to see the entire waveform Choose View > Fit to Window.
About the Selection Tool You can use the Selection tool to select part of an audio file, as described in Selecting All or Parts of an Audio File. When you open the File Editor, the pointer is a selection pointer (arrow). When you are done using another waveform editing tool, you can return the pointer to a selection pointer by clicking the Selection Tool button.
3 To graphically edit samples, do one of the following: • Drag a sample up or down to a new value. • Click directly above or below a sample. • Drag left or right to reshape the waveform. You can also edit samples numerically in the waveform display. To edit samples numerically 1 Control-click a sample, then choose Set Value from the shortcut menu. 2 In the dialog that appears, type a new value for the sample. 3 Click OK.
4 Drag the right edge of the selection left to shorten the selected area, or drag it right to lengthen the selected area. Use the Audio Stretching tool to shorten or lengthen the selected area of the waveform. Note: You can edit a graphically performed time stretch by double-clicking the action in the Actions tab. For more information about audio stretching, see Time Stretch.
To zoom in using the Zoom tool 1 Click the Zoom Tool button above the time display. The pointer changes to a Zoom pointer. 2 In the waveform display, do one of the following: • Click to zoom in. • Option-click to zoom out. • Drag horizontally to select the part of the waveform you want to zoom in on. The waveform display zooms in on the selected area. For information on other ways to zoom in and out in the waveform display, see Zooming In and Out in the File Editor.
Editing Multichannel Files In Soundtrack Pro, you can edit multichannel files with up to 24 channels, including the following types of multichannel files: AIFF, WAV, Broadcast Wave, QuickTime, and single folder/multi-mono file AIFF. Each channel row is identified by a number. Selecting and Editing Channels in Multichannel Files Editing multichannel files in the File Editor is similar to editing in a multitrack Timeline.
2 Drag in the channel row over the area you want to select. 3 Command-click in the bottom 10 percent of any nonadjacent channels. Note: Nonadjacent selections must be within the same time range. µ To disable or enable an individual channel Control-click a channel, then choose Enabled from the shortcut menu to turn it on or off. µ To enable all channels Control-click a channel, then choose Enable All from the shortcut menu.
Using Frequency Spectrum View When you first open the File Editor, it shows the audio file in Waveform view. You can also view and edit an audio file in Frequency Spectrum view. Frequency Spectrum view gives you a way to find areas of significant frequency change that aren’t visible in a waveform.
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. In addition, you can make selections of frequency ranges as well as copy, paste, delete, and adjust the amplitude of frequency selections. You can also change the Frequency Spectrum view display to show the frequency spectrum linearly or logarithmically, use different analysis windows, and change the number of samples used to calculate the view.
• Analysis Window pop-up menu: To display the audio file in Frequency Spectrum view, part of the audio data for each given point in time is analyzed. Each method of analysis represents a slightly different compromise between frequency resolution and spectral leakage. You can choose between several different analysis methods, called analysis windows, used to display the frequency spectrum in Frequency Spectrum view. • Window Size pop-up menu: The number of samples used for Frequency Spectrum view.
µ To choose an analysis window for Frequency Spectrum view Control-click the spectrum display, then choose an analysis window from the upper part of the shortcut menu. Frequency Spectrum view changes the display using the analysis window you selected. Experiment with these options to see which one shows the data the best. You can also choose the number of samples used to calculate the spectrum display.
In general, editing in Frequency Spectrum view uses the same conventions as editing in Waveform view. For more information about editing in Waveform view, see Using the Global Waveform View. Frequency Spectrum view selection Guidelines for Using the Frequency Selection Tool Here are some further guidelines for editing in Frequency Spectrum view with the Frequency Selection tool: • All paste edits, including paste, paste mix, and paste repeat, are supported for frequency selections.
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: µ In the Actions list, Control-click the action you want to edit, then choose “Edit Settings For [action name]” from the shortcut menu. µ µ Double-click the action in the Actions list.
µ To turn an action on In the Actions list, select the checkbox next to the action name. 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. µ To reorder actions In the Actions list, drag the actions you want to reorder up or down to new positions.
µ To set the position of the next applied action Drag the Action Insert bar up or down in the Actions list to the position you want. Drag the Action Insert bar to the position you want. 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 flatten all audible actions 1 Move the Action Insert bar directly below the last action you want to flatten. 2 Do one of the following: • Choose Process > Flatten Audible Actions. • Choose “Flatten audible actions” from the Actions pop-up menu. To flatten all actions Do one of the following: µ µ Choose Process > Flatten All Actions. Choose “Flatten all actions” from the Actions pop-up menu.
You hear the first of the two actions. The checkbox of the second action appears deselected in the Actions list. 3 Do one of the following: • Choose Process > A/B Last Two Actions again. • Choose A/B from the Actions pop-up menu (or press Command-F1) again. You hear the second of the two actions. The checkbox of the first action appears deselected in the Actions list. Deleting Actions You can delete an action if you decide you no longer want it in the project.
If a project includes an action that increases the file’s length, and you turn off or reorder that action, any selection that includes audio added by the length–changing action may extend past the end of the shortened file. In this case, the selection applies to the remaining audio in the selected range of time, but has no effect past the end of the file.
On the other hand, the Clicks and Pops, Clipped Signal, and Silence analysis types tend to be momentary and isolated rather than constant. If part of an audio file or selection contains a large number of clicks and pops, for example, the analyzed waveform might display the entire region as being problematic, rather than each individual click or pop. However, when you fix these problems using the Fix button, Soundtrack Pro correctly fixes each individual click or pop.
3 In the Analysis Type list that appears, select the checkboxes next to the types of analysis you want to perform on the audio file. Analysis Type list Analysis tab 4 Click the disclosure triangle for the analysis types for which you want to set parameters (there is a disclosure triangle next to these). 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.
Stage 2: Viewing and Interpreting the Analysis Results When you analyze an audio file, the problems detected through analysis are shown in the Results list in the bottom section of the Analyze tab. Results list For each item, the following information appears in columns: • Status: Shows whether the problem is fixed or not fixed. • Problem: Shows the analysis type to which the problem belongs. • Start: Shows the point at which the problem begins. • Length: Shows the duration of the problem.
If you want, you can narrow the problem area to include only the samples identified as having the problem, with no extra time. µ To narrow the problem area to include only problem samples Option-click the item in the Results list. You can zoom in on an item in the Results list so you can see the problem area of the audio file closely. To zoom in on an item in the Results list 1 In the Results list, select an item.
µ To fix an item Select the item in the Results list, then click the Fix button. The part of the waveform where the item occurs becomes red. To fix multiple items Do one of the following: µ µ Shift-click to select contiguous items you want to fix. Command-click to select noncontiguous items you want to fix. You can also fix all items in a single operation. µ To fix all items in one operation Click the Fix All button.
To open an audio file project in the File Editor project view Do one of the following: µ Choose File > Open (or press Command-O), locate and select the project or file, then click Open. µ µ µ Drag the project or file over the Soundtrack Pro icon in the Dock. In the Timeline, double-click the audio clip. µ In Motion, select an audio track, then choose Edit > Send Audio to Soundtrack Pro. In Final Cut Pro, select a clip, then choose File > Send To > Soundtrack Pro Audio File Project.
Closing Audio File Projects You can close the project when you no longer want to work on it, or close the Soundtrack Pro window and close all open projects (both multitrack and audio file projects). µ To close a project Choose File > Close Tab (or press Command-W). µ To close all open projects and close the Soundtrack Pro window Click the close button in the upper-left corner of the window.
3 Add and adjust envelope points in the effect’s envelope. For information on adding and adjusting envelope points, see Working with Automation. Rendering Realtime Effects to Actions Choosing this command renders any realtime effects applied to the audio file project and the project’s envelopes to an action in the Actions list, letting you turn these effects and envelopes on or off, reorder them in the list, and save them with the audio file project.
• If the clip refers to a standard-format audio file (such as AIFF or WAVE): Soundtrack Pro automatically creates a Soundtrack Pro audio file project for the flat file. When you attempt to save the changes to the audio file project, the default File Type is Audio File Project, which retains the nondestructive changes in the form of an Actions list.
When you open a QuickTime movie in the File Editor as an audio file project, or send an audio clip from Final Cut Pro to an audio file project, by default the source audio is referenced. When you save the project by choosing File > Save As, you can include the source audio in the project. If the source audio is moved or deleted, or if you copy the project to another computer, the audio might not play correctly.
4 Choose the bit depth for the project from the Bit Depth pop-up menu. 5 Choose the sample rate for the project from the Sample Rate pop-up menu. 6 Optionally, select any of the following checkboxes: • Dither: Select to dither the file. Dithering is useful when saving a project at a lower bit depth or sample rate. In general, you should dither a project only when saving it as a standard audio file, and only when you have finished all bit depth or sample rate conversions.
• Track Height control: This sets the height of the envelope rows when you show envelopes in the File Editor. 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.
µ To move to a different part of the audio file using the Global Waveform view Drag the blue visible area rectangle to a new position. Drag this rectangle to a new position. Using Markers in the File Editor Project View You can insert markers in an audio file project in the same way as in a multitrack project. Markers can be useful for indicating where a specific sound, cue, or event begins or ends in the audio file. They can also be useful for indicating an area of an audio file you want to time stretch.
Processing Audio Files 9 You can process audio files in the File Editor in a variety of ways. You can choose processing effects and other operations from the Process menu and apply them to an entire file, or select part of the file and apply the effect to the selection. When you choose an item from the Process menu, the item appears as an action in the Actions list. The Process menu contains the items described in the following sections.
• Edit Channels (p. 264) • Render to Action (p. 266) Choosing Processing Effects The Effects submenu contains an extensive set of professional audio effects you can apply to an audio file or a selection. The audio effects in the Effects submenu are the same as the realtime effects you can apply to tracks, busses, and submixes in the Timeline.
• Bypass button: Bypasses the effect so you can hear the difference in the sound of the audio file or selection with and without the effect. • Reset button: Resets all effect parameters to their default values. • Cancel button: Closes the advanced settings window without applying the effect. • Apply button: Applies the effect to the audio file or selection and closes the advanced settings window. • Show/Hide Presets button: Shows or hides the Presets drawer so you can apply effect presets.
To set the normalization level 1 Choose Process > Normalize. Normalize Method pop-up menu The Normalize dialog appears, showing the Peak Level and RMS Level of the selection. 2 Choose the normalize method from the pop-up menu. 3 Drag the Normalization Level slider or select the value in the Normalization Level field and type a new value. 4 Click OK. You can preview the audio file at the normalization level before closing the Normalize dialog.
Reverse Choosing this command reverses the order of the samples in the audio file or selection so that the first sample becomes the last and vice versa. 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 inserted noise can be white noise (emphasizing higher frequencies) or pink noise (equal distribution of frequencies). µ To choose the type of noise to insert 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.
µ To choose the type of waveform to insert In the Waveform Generator dialog, choose the type of waveform from the Waveform Type pop-up menu. µ To set the frequency of the inserted waveform In the Waveform Generator dialog, drag the Frequency slider left or right to set the frequency. You can also type a frequency (in Hertz) in the Frequency field. To set the length of the inserted waveform 1 In the Waveform Generator dialog, choose the format you want to use from the Duration pop-up menu.
Any third-party time stretch algorithm plug-ins installed appear in the Stretch Using pop-up menu. The default algorithm used for time stretching is set in Soundtrack Pro Preferences. For more information, see General Preferences. 5 In the “Length of selection” value slider, do one of the following: • Click the center of the value slider, then drag the slider that appears left or right to change the length. • Click the left arrow to shorten the length, or click the right arrow to increase the length.
Save a Noise Print Preset In a normal workflow, Soundtrack Pro only stores a single noise print at a time. Every time a new noise print is set, any previous noise print is overwritten. If you wish to work with multiple noise prints, each one must be saved as a preset. To save a noise print preset 1 In the waveform display, select the part of the audio file containing only the noise you want to reduce and save as a preset. 2 Choose Process > Noise Reduction > Set Noise Print.
Load a Saved Noise Print Preset Once a noise print preset has been saved, it can be loaded and reused at any time. To load a saved noise print preset 1 Choose Process > Noise Reduction > Reduce Noise. The Reduce Noise HUD appears. 2 Click the Show Presets button. The Presets pane appears. 3 Select the preset you wish to apply from the Presets list. 4 Press the Apply Preset button. The saved preset is loaded.
3 In the Reduce Noise dialog that appears, you can optionally set the following: • The noise threshold: The noise threshold determines the level below which audio in the noise print is considered to be noise. Lowering the threshold results in only very low signals being reduced, while raising the threshold results in more high-level signals being reduced.
2 In the Presets drawer, select a preset from either the Factory Presets or User Presets list. 3 Click Apply. 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.
To replace existing audio with ambient noise 1 In the waveform display, select the part of the audio file you want to replace with ambient noise. 2 Choose Process > Replace With Ambient Noise. The ambient noise replaces the selected audio. If the selection is longer than the copied ambient noise, the ambient noise repeats to fill the selection. Equalization Matching Equalization matching matches the average frequency spectrum of the target clip to that of the source clip.
To select how a stereo file is converted to mono 1 Choose Process > Convert to Mono. 2 In the Convert to Mono dialog, select the button corresponding to the method by which you want to convert the file to mono. 3 Click OK. The Convert to Mono action converts the entire stereo file to mono. You cannot convert only a selection of a file to mono. The Convert to Mono action flattens the file, removing existing actions from the Actions list. For information about flattening actions, see Flattening Actions.
The Edit Channel dialog appears. 2 Drag the name of the channel to a different location in the channel list. 3 Click OK. To add channels to an audio file 1 Choose Process > Edit Channels. The Edit Channel dialog appears. 2 Click the Add Channel button. 3 Click OK. To remove channels from an audio file 1 Choose Process > Edit Channels. The Edit Channel dialog appears.
2 Select the channel you wish to remove from the file. 3 Click the Remove Channel button. 4 Click OK. Render to Action This command renders realtime effects to actions. It is available in the File Editor project view only. For more information, see Rendering Realtime Effects to Actions.
Working with Audio Effects 10 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. This chapter covers the following: • Processing Effects and Realtime Effects (p. 267) • Working with Effect Presets (p. 269) • Audio Effects Included with Soundtrack Pro (p. 270) • Working with Realtime Effects (p. 283) • Working with Processing Effects (p.
For more information about selecting clips, see Selecting Audio Clips in the Timeline and Editing with the Timeslice Tool. 2 Choose Process > Effects and choose one of the effects from the submenu. The effect’s advanced settings window appears. Advanced settings windows can contain different kinds of controls. Show Presets button Apply button Preview volume slider Reset button Toggle Effect Bypass button Play button 3 Make adjustments in the advanced settings window.
A corresponding action appears in the Actions tab for the clip. For more information about working with processing effects, see Processing Audio Files. For information on working with actions, see Working with Actions. Applying Realtime Effects You can add realtime effects to entire tracks, busses, and submixes in a multitrack project or to an entire audio file project. You can automate realtime effects parameters to create changes over time.
The Presets drawer appears at the bottom of the advanced settings window. To add a preset 1 Click the Add Preset (+) button. A blank, untitled preset appears in the User Preset list. 2 Click the name “Untitled” and type a name for the preset. To apply an effect preset 1 Select the preset you want to apply from either the Factory Preset or User Preset list in the Presets drawer. 2 Click the Apply Preset button.
• EQ and Filter: EQ (short for equalization) effects let you change the level of selected frequencies. EQ provides a powerful way of shaping the sound of your projects. Bundled EQ effects include AutoFilter, Fat EQ, High Cut and Low Cut, High Pass and Low Pass filters, Channel EQ, High and Low Shelving EQ, Linear Phase EQ, Match EQ, Parametric EQ, and Soundtrack Pro Autofilter.
Compressors Compressors work like an automatic volume control, lowering the volume whenever it rises above a certain level, called the threshold. But why would you want to reduce the dynamic level? By cutting the peak levels, the compressor lets you raise the overall volume of the signal. This gives the sound more focus by making the foreground parts stand out while preventing the background parts from becoming lost in the mix. Compression also tends to make sounds tighter or “punchier.
Compressors are typically used on vocal tracks to make the vocals prominent in the overall mix. They can also be used on music and sound effects tracks, but are rarely used on ambience tracks. Limiters Limiters (also called peak limiters) prevent the audio signal from exceeding a maximum volume level. A compressor gradually attenuates levels above the threshold, but a limiter puts a hard limit on any signal louder than the threshold, usually at a high ratio. You use a limiter mainly to prevent clipping.
When the audio signal passes through an EQ filter, the frequencies that pass through can be raised or lowered in volume. Raising and lowering frequencies using EQ is often referred to as boosting and cutting frequencies. You can create many changes to the sound of your project by boosting and cutting various frequencies. Channel EQ plug-in Frequency Ranges Used with EQ Sounds can be categorized into one of three basic frequency ranges: bass, midrange, or high (also called treble).
Name Frequency range Description 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.
Modulation Effects Modulation effects begin with a delayed signal, like time-based effects, but vary (or modulate) the delay time, typically using a low-frequency oscillator (LFO). This can be used to double a sound, making it seem stronger and “fatter,” to simulate a group of voices or instruments playing together, or to add a distinctive character to the sound. Modulation effects include chorus, phase shifters, and flangers.
Reverb and Delay Effects Reverbs and delays work by copying a part of the audio signal, delaying it for a brief period of time, and then playing it back with the original signal. The delayed signal can be played back multiple times and can be modified in a variety of ways. Delay A delay effect stores the audio signal and then plays back each repetition at a regular rate of time after the original signal.
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.
• Predelay time: In an acoustic space, there is a short period of silence between a sound and the time when the initial echoes of the reverb begin. Different spaces have different amounts of predelay, which helps “tell” our ears how large the space is. Longer predelay settings also help separate the original (dry) signal from the effected (wet) signal, making it sound clearer and sometimes larger.
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. MultiMeter with Spectrum Analzyer active Spectrum Analyzer The Spectrum Analyzer divides the audio signal into 31 independent frequency bands. Each frequency band represents one third of an octave. The filter curves comply to IEC document 1260.
Goniometer The Goniometer helps you to determine the coherence of the stereo image. Using the Goniometer, you can see phase problems as trace cancelations along the center line (M=mid/mono). Goniometers developed when early two channel oscilloscopes first appeared. Users would connect the left and right stereo channels to the X and Y inputs while rotating the display by 45 degrees, resulting in a useful visualization of the signal’s stereo phase.
Denoiser Using the Denoiser, you can eliminate or reduce many kinds of low-level noise (noise floor) from an audio signal. The main parameters of the Denoiser are Threshold, Reduce, and Noise Type. The Threshold parameter sets how high the noise floor is for the audio signal. The recommended method for setting the Threshold is to find a passage where you hear only noise, then set the Threshold so that signals at this volume level are filtered out.
Stereo Spread The Stereo Spread plug-in is a useful effect for sound design or audio clean-up. It enhances the perception of stereo by extending the stereo base. Some stereo enhancing algorithms function by changing the phase of the signal, which can distort your mix and produce unpredictable results. Instead, the Stereo Spread plug-in extends the stereo base by distributing a selectable number of bands in the middle frequency range alternately left and right.
To open the Effects tab Do one of the following: µ µ Choose Window > Tabs > Effects (or press Command-5). Click the Effects tab to make it active. The Effects tab becomes active and displays the current effects settings for the track, bus, submix, or project. The upper part of the Effects tab contains lists of available effect categories.
• Select the effect name, then click the Add Effect button. Select a category to display its effects. Select the effect you want to add. Click the Add Effect button, double-click the effect, or drag the effect into the Effect Parameters area to add it. The effect’s advanced settings window appears, and the effect name appears in the Effect Parameters area with its checkbox selected. Note: For information about applying effects to individual audio files, see Applying Processing Effects.
• Drag the effect to the Effect Parameters area. The effect’s advanced settings window appears, and the effect name appears in the Effect Parameters area with its checkbox selected. Important: Some effects, including reverb and delay, add audio that extends past the end of the file. This is called an effect tail.
The effect’s advanced settings window appears. Advanced settings windows can contain different kinds of controls. Show Presets button Toggle Effect Bypass button Reset button 2 Play the audio in the Timeline or the File Editor project view. Optionally, you can apply a cycle region or solo the track, bus, or submix in the Timeline. 3 Make adjustments in the advanced settings window as you play the audio. You can adjust the effect’s parameters by moving the controls in the window.
• Select the checkbox. • Choose an item from the pop-up menu. • Enter a valid value in the field to the right of the parameter’s control. Adjust a parameter by dragging its slider. You can also adjust the parameter by entering a value in the field. Click the disclosure triangle to display the effect’s parameters. Chaining and Reordering Realtime Effects You can add more than one realtime effect to a track, bus, submix, or audio file project.
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. Note: Adding more than a few effects to an effects chain can cause extreme changes to the sound of a project. This may be what you want, but in some cases can produce undesirable results.
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. µ To bypass an effect 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.
3 Drag the pan (y) and pan (lfe) sliders to adjust the surround pan settings. Note: For information on surround panning, see Mixing Surround Sound. Reordering Sends You can reorder sends in the Effects tab or in the Mixer. µ To reorder a send In the Effect Parameters area or in the Mixer, drag the send up or down in the list to change its order. Bypassing Sends You can bypass a send. When you bypass a send, the audio is not routed to the bus for the send and is not heard.
3 Add and adjust envelope points in the effect’s envelope. For information on adding and adjusting envelope points, see Working with Automation. When you automate an effect parameter with units of time (seconds or milliseconds) or beats per minute (BPM) for values, the parameter is linked to the project tempo. If the tempo changes, the value of the parameter changes to keep the same relationship to the new tempo.
When you open an advanced settings window for a processing effect, the window includes controls to play the project with the effect, adjust volume level, apply the effect, reset effect parameters, and cancel applying the effect. For information on using the preview controls in the advanced settings window, see Choosing Processing Effects. Advanced settings windows can contain different kinds of controls.
Using the Multitake Editor 11 The Multitake Editor presents a new way of dealing with layered audio clips. 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 Automatic Dialogue Replacement? 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 focused 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.
You can also record audio directly into the Multitake Editor. For more information, see Recording into the Multitake Editor. • Selection tool: Use the Selection tool to select take regions by clicking them. • Blade tool: Use the Blade tool to split takes into regions. • Scrub tool: Use the Scrub tool to quickly find a particular sound or event in the audio. • Arm for Recording button: Click the Arm for Recording button to enable the Multitake Editor for recording.
2 Click one of the take tracks using the Blade tool pointer. Click a take track using the Blade tool to create a transition point. A transition point appears in the Multitake Timeline at the point where you clicked. Stage 2: Selecting the Active Take for Each Region You can select active regions in the Multitake Editor with the Selection tool.
µ 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. For more information on fade types, see Creating Fade-Ins and Fade-Outs in the Timeline. To delete a transition point 1 Select the vertical transition point line. 2 Press Delete.
Tip: Optionally, you can add a take from the original production audio to use a guide track. The waveform in this original recording can be a good reference point during your multitake editing session. To add a take Do one of the following: µ µ µ Drag a file into the Multitake Editor. Click the Add Take button (+) in the upper-left corner of the Multitake tab. In the dialog that appears, navigate to the audio file you want to add and click Open.
2 Drag the take vertically to a new position in the list. A dark gray bar indicates where the take track will be positioned. Drag a take track header to a new position in the list. Example: A Multitake Editing Workflow The following example demonstrates how you might create a comp from multiple takes of an ADR session using the Multitake Editor.
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 to select it. The take you clicked becomes the active take for the region. The Take 3 track becomes the active take for that region.
• To create a crossfade between two takes: Drag the left or right arrow handle at the top of a transition point. 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. For more information on fade types, see Creating Fade-Ins and Fade-Outs in the Timeline. 14 When you are satisfied with the edit, use the multitake clip in the main multitrack Timeline as you would use any other clip.
Basic Mixing in Soundtrack Pro 12 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.
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. The name of this feature implies its purpose—to mix the audio signals of a subset of the tracks and busses in your project. If you are using external audio hardware that supports multiple physical outputs, you can have multiple submixes in your project and then choose the physical output to which each submix routes its audio.
To add a submix Do one of the following: µ µ Choose Multitrack > Add Submix. Control-click a submix, then choose either Insert Submix Before or Insert Submix After from the shortcut menu. Once you have created multiple submixes, you can route any combination of tracks or busses to any submix. µ To set the submix for a track or bus Choose the submix from the Submix pop-up menu in the track header or at the bottom of the Mixer channel strip for the track or bus.
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.
The following diagram shows how audio signals from tracks in each category are routed into their respective submixes. Tracks Submix bus VO: Debra Dialogue VO: Jacob Stage Mic FX: Foley Effects FX: Background FX: Boom Music: Music 1 Music Music: Music 2 Audio clip Stereo panner 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.
In this case, the left and right channels for each submix are routed to the left and right (1 and 2) channels of the hardware output device. All three submixes are combined into one stereo (left and right) signal. This is a “stereo mixdown,” suitable for any stereo-capable playback device. At this stage, the Master bus presents a (final) opportunity to make volume adjustments and apply effects. For information about the Master bus, see Using the Master Bus.
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.
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.
4 Apply a reverb effect to the MusicReverb bus. Track Music Reverb effect Send Submix bus MusicReverb bus Audio clip Effects Volume fader 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.
In the pre-fader case, adjusting the Volume slider on the Music track would have no effect on the music level in the MusicReverb bus. 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.
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 Mixer features a series of vertically arranged controls called channel strips, like the channel strips in a hardware mixing console.
Track channel strips Bus channel strips Submix channel strips Color label Color label Color label Icon Icon Icon Effects slots Effects slots Effects slots Output pop-up menu Output pop-up menu Output pop-up menu Panners (stereo or surround) Panners (stereo or surround) — Volume fader and value slider Volume fader and value slider Volume fader and value slider Level meters with peak indicator Level meters with peak indicator Level meters with peak indicator Arm for Recording button —
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. Timeline Mixer Once you have resized or moved the windows to a comfortable arrangement, you can save the layout as a custom layout for future use. For information about saving custom layouts, see Using Project Layouts.
µ To select nonadjacent channel strips Command-click the channel strips you want to select. Reordering Channel Strips You can change the order of channel strips in the Mixer. When you open the Mixer, the order of channel strips corresponds to the order of tracks, busses, and submixes in the Timeline. Because channel strips are oriented horizontally in the Mixer, top-to-bottom order in the Timeline corresponds to left-to-right order in the Mixer.
µ Click the center of the volume value slider, then type a new value. The scale is from -96 to +6 dB. The default level is 0 (zero) dB. Volume fader Volume value slider µ To return the volume fader to the default level Double-click the knob in the volume fader. As you adjust track volume, watch the level meters next to the volume fader to make sure that the track is not clipping. For information about preventing clipping, see Setting the Overall Project Volume Level.
To return the stereo pan slider to the default level Do one of the following: µ µ Control-click the slider, then choose Set to Centered from the shortcut menu. Double-click the knob in the stereo pan slider. To switch the panning controls from stereo to surround in the channel strip Do one of the following: µ µ Select a channel strip in the Mixer, then choose Multitrack > Use Surround Panner. Control-click the stereo pan slider, then choose Use Surround Panner from the shortcut menu.
µ To set the output for a submix in the Mixer In the channel strip for the submix, choose the output channel or set of channels from the Output pop-up menu. The options listed in the Output pop-up menu depend on the number of available physical outputs and the number of submixes in your project. For more information about setting the output, see Setting Hardware Outputs.
µ To exclusively solo a channel strip Option-click the Solo button. Click the Solo button again to unsolo the track, bus, or submix. When you export a project, all unmuted tracks, busses, and submixes are included in the exported file. If you export a track, bus, or submix that is muted (including being muted by having another track soloed), the exported file contains no audio. Enabling Track Channel Strips for Recording You can enable a track channel strip for recording.
µ To change a channel strip icon Double-click the icon you want to change, then choose a new icon from the icon menu. Double-click the channel strip icon... ...the icon menu appears. Showing and Hiding Sections of the Mixer You can show or hide sections of the Mixer window and sections of channel strips.
The visible sections of the channel strips appear with a checkmark in the Channel Strips pop-up menu. You can show or hide any of the following sections of the channel strips: • Icons • Effects slots • Output pop-up menus • Pan controls • Volume faders and level meters Using the Channel Strip Level Meters Each channel strip includes level meters to the left of its volume fader. You can use the level meters to observe each channel strip’s level as the project plays.
µ Click the Reset button in the Meters tab. The peak indicators can help identify where clipping occurs in the project. For information about removing clipping, see Setting the Overall Project Volume Level. Removing Channel Strips You can remove a channel strip from the Mixer if you decide you no longer want it in the project. To remove a channel strip Do one of the following: µ µ Select the channel strip, then choose Multitrack > Remove [item].
µ To add an effect to a channel strip Control-click an empty effects slot in the channel strip, choose Add Effect from the shortcut menu, then choose one of the available effects from the categories in the submenu. Showing Channel Strip Effects Settings Once you add an effect, you can view and adjust its settings in the Effects tab. µ To show an effect’s settings in the Effects tab In the channel strip, Control-click the effect, then choose Show [effect name] Settings from the shortcut menu.
µ To reorder an effect in the Mixer Drag the effect up or down in the effects slot area to change its order. Turning Effects Off and On You can turn off a channel strip’s effects. Turning off an effect lets you hear the channel strip without the effect, while preserving the current effects settings. To turn off an effect in a channel strip Do one of the following: µ µ µ Deselect the checkbox to the left of the effect name.
For more information about working with effects, including information on uses of different effects and adjusting effect parameters, see Working with Audio Effects. Working with Sends and Busses in the Mixer This section covers using sends in Mixer channel strips. For more general information about sends and busses, see Using Sends and Busses and Adding Sends to Tracks.
To turn off a send in a channel strip Do one of the following: µ µ µ Deselect the checkbox to the left of the send name. Control-click the send, then choose Disable Send from the shortcut menu. To turn on an effect again Select the checkbox to the left of the effect name. Setting the Overall Project Volume Level As you finalize a project mix, you set the overall project volume to the appropriate level.
As a project plays back, the levels in each channel change constantly with the rising and falling of the audio signal. The level meters show these changes both as bars rising to varying heights and as changes in color from green to yellow. 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).
µ To reset the Peaks Value and Location display values Click the Reset button. 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.
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. This keeps the mono mix active until you click the button again or switch to a different project. µ To latch the Mono Mix button Option-click the Mono Mix button.
Things to Keep in Mind While Mixing The following are intended as guidelines or suggestions to follow when mixing your projects, not as “hard-and-fast” instructions. • Consider the importance of each element in the overall mix. • Keep related tracks close together (in the Timeline and the Mixer). • Don’t create a final mix until the picture is locked. • Listen to the mix with the best possible equipment. • Also listen to the mix as the audience will hear it.
Mixing Surround Sound 13 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. Stage 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. Surround panners Stereo panners For surround playback, you must set the appropriate tracks or busses to use the surround panner.
The surround panner replaces the stereo 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.
To connect physical outputs for monitoring surround sound 1 Connect the audio interface to your computer. For detailed information on connecting your audio interface to your computer, see the documentation that came with the audio interface. 2 Double-click Audio MIDI Setup in the Utilities folder, then choose the audio interface from the Default Output pop-up menu. For more information, see Setting the Audio Input and Output. 3 Connect your 5.
• With the center speaker directly in front, the Left and Right speakers should be positioned 30 degrees away from center at about a 60-degree angle aiming for a spot 3 to 6 inches behind the mixer’s (or listener’s) head. Note: This angle can be reduced to 45 degrees or extended out to 60 or even 90 degrees and still provide satisfactory results. • Place the surround (rear) speakers at about 110 degrees off center (to the sides and somewhat behind the listener).
Using Surround Panners to Create a Surround Mix The following sections explain how to use the surround panners in Soundtrack Pro to create a surround mix. The surround panners provide a straightforward and flexible way to control and monitor panning settings. By changing the panner type in the track header, you can easily switch any track or bus from stereo to surround, or from surround to stereo.
The surround panner HUD appears in a floating window over the Soundtrack Pro window. The dominant feature of the Surround Panner HUD is the black circle that represents the virtual surround space. The puck, a dot inside the circle, is the primary surround pan control. Input channels are represented by color-coded, semi-circular, translucent arcs emanating from the inside of the circle’s circumference.
• 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. To alter the angle from which each signal starts... ...drag the Rotation slider.
• 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 turn it on or off. If you turn off 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 turn it on or off. A dim gray color indicates the speaker is off.
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. Meters Tab The Meters tab displays levels for the current multitrack project.
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. 6-channel meter Surround Mixing Strategies This section includes guidelines and tips for mixing surround projects.
The following are some common approaches to multichannel sound: • Use the surround channels for effects only. Create a stereo mix, then add “sweetening” sound effects in the surround channels. Sound effects and Foley recordings can be placed in stereo space or specifically located where they occur onscreen or offscreen.
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. Note: 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.
Limitations of the LFE Channel Use the LFE (Low Frequency Effects) channel to enhance the low frequencies of a film or video so you get the extra boom out of an explosion, thump in a car crash, and so on in dramatic scenes involving plenty of low frequencies. The low frequency effects (LFE) channel is a separate signal with a limited frequency range (about 25 Hz to 120 Hz). It is created by the mixing engineer and delivered alongside the main channels in the mix.
Exporting and Delivering 5.1 Surround Projects Delivery of your finished surround mix can take many forms. Different clients have different file format requirements. In general terms, your options include two broad categories: mixdowns and project files.
Working with Video in Soundtrack Pro 14 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.
Supported Video File Formats Soundtrack Pro supports standard QuickTime-compatible file formats. You can import a QuickTime movie (.mov) video file into a Soundtrack Pro project and can import an MPEG-2 (.m2v) if you have installed the QuickTime MPEG-2 Playback Component. Video files using NTSC, PAL, HD, and other formats supported by QuickTime can be imported into Soundtrack Pro. Imported video files can be up to four hours in length.
The video is displayed in the Video tab in its correct aspect ratio, and a video clip appears in the video track (the top track in the Timeline), letting you see the duration of the video in the project. The video clip starts at the beginning of the project and cannot be moved to another point in time. Any Final Cut Pro scoring markers included in the video file appear in the Timeline with an orange handle.
• Option–Right Arrow: Moves the playhead forward (closer to the end) one video frame. This is equivalent to clicking the Next Frame button. • J, K, and L keys: You can use the keyboard commands (the J, K, and L keys) to speed playback up to eight times normal speed. For complete information on using these keys, see Using the J, K, and L Keys for Shuttling. For a complete list of keyboard shortcuts, see Soundtrack Pro Keyboard Shortcuts.
Some broadcast-quality video output devices receive both the video and audio from a project. When you use a video output device that supports both video and audio output, Soundtrack Pro automatically routes your audio output to this device to provide the best possible synchronization of the audio and video. You can also play a project’s video externally using Digital Cinema Desktop.
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.
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. Scrubbing and Spotting with the Multipoint Video HUD The Multipoint Video HUD provides context when you are positioning audio clips and making selections in a video-based project.
Working with the Multipoint Video HUD The following sections describe some examples of situations in which the Multipoint Video HUD can provide useful context for your sound editing tasks on a video project. Making a Selection in the Timeline or in the File Editor When you make a selection of multiple clips or a Timeslice selection, the Multipoint Video HUD displays the video frame at the start of the selection and the video frame at the end of the selection.
For example, if you wanted to synchronize a gunshot sound with the frame in the video when the flash from the gun is visible, you would first click the gunshot sound effect at the point where the large transient can be seen in the waveform. Next, you would drag the clip in the Timeline, pressing V while dragging, until you see the flash in the center frame.
Removing a Video from a Project You can remove a video if you decide you no longer want to use it in the project. To remove a video clip from a project Do one of the following: µ µ Select the video clip in the Timeline, then choose Edit > Delete (or press the Delete key). Control-click the video clip, then choose Remove Video from the shortcut menu. When you remove the video from a project, the audio clip of the video’s audio is not deleted, but remains in the project.
Working with Automation 15 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. In Soundtrack Pro, you can manipulate automation manually, or record changes and movements made in either the application itself, or on a control surface.
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.
• Center Bias • LFE • Left Speaker Disable • Center Speaker Disable • 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. Default 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 select multiple envelope points Do one of the following: µ 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. µ Command-click each envelope point you want to select. You can select adjacent or nonadjacent envelope points by Command-clicking.
If you add more than one envelope point to an envelope, you can move envelope points using the corresponding slider. When you move the slider, the envelope points closest to the playhead (the closest before and the closest after) move by the same amount as the slider. 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.
Note: If you change the envelope mode after you have already drawn the Timeslice marquee, the Timeslice will change to match the current setting. For more information about the Timeslice tool, see Cutting, Copying, Pasting, and Removing Audio Clips. 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.
• Click the center of the Position value slider, then drag the slider that appears left or right to change the position. • Click the text in the Position value slider, then type a new value. µ To change the units shown in the Position value slider 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.
µ To move the envelope point to the previous or next gridline Hold down the Command and Option keys and press the Left Arrow or Right Arrow key. µ To move the envelope point left or right by the default nudge amount Hold down the Command key and press the Left Arrow or Right Arrow key. µ To move the envelope point up or down by one coarse value Hold down the Command key and press the Up Arrow or Down Arrow key.
To delete envelope points 1 Select the envelope points. 2 Do one of the following: • Choose Edit > Delete (or press Command–X). • Press the Delete key. When you delete envelope points, the envelope adjusts accordingly, moving evenly from the preceding envelope point to the next envelope point. If there are no other envelope points, the envelope becomes horizontal, maintaining its initial value for the entire project.
Master Bus Each project has a Master bus that includes envelopes for volume, transposition, and tempo. By default, only the Volume envelope is visible because Transposition and Tempo are specifically for projects containing only tagged and looping clips. The Master bus envelopes appear below the Master bus. To show or hide the Master bus envelopes Do one of the following: µ µ Click the Master bus disclosure triangle in the Timeline.
Automation Modes Soundtrack Pro provides three modes for using and recording automation. The automation modes determine whether automation data is recorded and what happens when you release the control. • Read: In Read mode, existing automation data is active when you play the project, but no new automation data is recorded. • Touch: In Touch mode, movements to controls are recorded when you play the project, overwriting any existing automation data until you release the control.
When the slider is set to High, no thinning occurs. The envelope contains every movement of the control. Dragging the slider to any position other than High results in some thinning of envelope points. By default, the slider is set to a moderate amount of thinning. For more information about Soundtrack Pro project preferences, see Project Preferences.
Recording Audio in Soundtrack Pro 16 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.
For more information, see Adjusting Recording Settings. 3 Set the playhead to the point where you want recording to start, and click the Record button (or press Command–R). The audio is recorded to the armed tracks. You can record multiple tracks at once. 4 To stop recording, do one of the following: • Click the Record button again (or press Command–R). • Click the Pause/Play button. • Press the Space bar. Recording Multiple Takes You can record multiple takes in the Timeline.
The playhead advances to the end of the cycle region, then returns to the beginning of the cycle region for the next take. 5 To stop recording, do one of the following: • Click the Record button (or press Command–R). • Click the Pause/Play button. • 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.
• Click the Pause/Play button. • Press the Space bar. The new recording appears at the bottom of the Multitake Editor. If cycling is turned on and a cycle region is set, each new take appears at the bottom of the Multitake Editor. For more information on multiple takes, see Recording Multiple Takes. Note: To record in other tracks or to use the Multitake Editor with another clip, you must first disarm the Multitake Editor for recording.
To change the Recordings location 1 Choose Soundtrack Pro > Preferences. 2 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. For more information, see Saving Multitrack Projects. Recording Audio in the Mixer You can record audio in the Mixer in a similar way to recording audio in the Timeline.
If no part of the file is selected, recording starts at the playhead position and lasts until you stop recording. If your recording extends past the end of the audio file, the file is lengthened to include the recording. To record audio in the File Editor project view 1 Open an audio file project in the File Editor project view. 2 Select the part of the project you want to record to.
Creating Podcasts in Soundtrack Pro 17 Soundtrack Pro gives you the tools to create professional podcasts of your projects. This chapter covers the following: • About Podcasts (p. 389) • Podcasting Media Production (p. 390) • Displaying the Podcast Track and the Details Tab (p. 391) • Podcast Marker Information in the Details Tab (p. 392) • Adding Markers to a Podcast (p. 393) • Adding Images to a Podcast (p. 396) • Exporting Podcasts (p.
Podcasts fall into three broad categories: • Audio-only podcasts: At the very least, a podcast contains an audio file. For information about types of compressed audio files, see Exporting Audio Podcasts. • Enhanced podcasts: The audio content may have one or more associated images and web links that can be synchronized with the audio track. Also, chapter markers can be embedded that allow listeners to jump to specific sections of the content.
Stage 3: Performing Podcast-Specific Editing and Authoring Podcasts range in complexity from a simple audio or video file to enhanced podcasts with chapter markers and associated web links. Besides its many sophisticated audio editing and mixing tools, Soundtrack Pro includes a dedicated podcast track for adding chapter markers, URL links, and images. Stage 4: Compressing the Audio (and Video) Files Soundtrack Pro includes a robust set of export and compression options for both audio and video podcasting.
To make the Details tab active Do one of the following: µ µ Choose Window > Tabs > Details (or press Command-I). Click the Details tab. 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.
• Marks a chapter checkbox: Identifies a region as a podcast chapter. • Position value slider: Sets and displays the time position of the selected marker. • URL: Enter a web link for the marker. • URL Title: Enter a name for the website listed in the URL field. • Image Source pop-up menu: Sets the displayed image for the marker. Note: The image can be a still image added to the project or a frame from a video clip, if there is a video track for the project.
µ To move a podcast marker with the pointer 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. For information on using value sliders, see About Changing Values and Timecode Entries.
For example: http://www.apple.com. 2 Enter a descriptive title in the URL Title field. For example: Apple Inc. Creating Podcast Markers from Final Cut Pro Chapter Markers When you send a Final Cut Pro sequence to a Soundtrack Pro multitrack project, you can create a podcast chapter marker for every Final Cut Pro chapter marker. To create podcast markers from Final Cut Pro chapter markers 1 Confirm that the source Final Cut Pro sequence has chapter markers applied to it.
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. Adding Images to a Podcast Your podcasts can display still images on iTunes and iPod.
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.
2 Click the Image Source pop-up menu in the Details tab and choose one of the following methods for adding a still image: • Episode Image: Drag a still image from the Finder or from iPhoto to the image well or copy an image in an image editing application and paste it into the image well. Choose Episode Image again to clear the current marker image.
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. See Exporting Podcasts for more information. Exporting Podcasts After you have completed editing and mixing your project, including adding any podcast-specific enhancements such as images, chapter markers, or web links, you are ready to export your podcast.
Exporting Video Podcasts Directly from Soundtrack Pro To export a podcast that includes both video and audio, follow the instructions in Exporting to AAC/Podcast Files. In step 6 of those export instructions, choose the third option: Video Track. This option results in an MPEG-4 (.m4v) file containing both video and audio. The properties of the exported podcast file are equivalent to the H.264 for iPod Video 640x480 setting that is included in the Compressor application.
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.
Using Control Surfaces with Soundtrack Pro 18 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. This chapter covers the following: • Connecting Control Surfaces (p.
Stage 1: Connecting the Control Surface to a MIDI Interface Some control surfaces may allow direct connection to a computer with no MIDI interface. Stage 2: Connecting the MIDI Interface to Your Computer Before connecting a MIDI interface, be sure your computer supports the MIDI interface you plan to use. Stage 3: Adding the Control Surface to Soundtrack Pro For details, see Adding and Deleting Control Surfaces.
3 Choose Mackie from the Use pop-up menu. Use pop-up menu 4 Click the Add (+) button to add the control surface. A dialog appears with pop-up menus for Control Surface Type, Input Connection, and Output Connection. 5 Choose the type of control surface you have connected from the Control Surface Type pop-up menu. 6 Choose the MIDI input port to use for the control surface from the Input Connection pop-up menu.
Note: Double-click a Mackie control surface in the Control Surfaces display area to change the Control Surface Type, Input Connections, and Output Connections. To add a connected control surface using the Euphonix Control protocol 1 Choose Soundtrack Pro > Preferences, or press Command–Comma (,). 2 Click the Control Surfaces button. 3 Choose Euphonix from the Use pop-up menu. Preference pane with a Euphonix control surface connected. 4 Click the close button to dismiss the Preferences window.
Control Soundtrack Pro button or command Channel strip solo buttons Track solo button Transport controls Transport controls (Move back, Move forward, Play, Stop, Record) Jog wheel Moves playhead back or forward. Mapping Commands to Control Surface Buttons Many buttons on control surfaces are not directly assigned to a specific command in Soundtrack Pro. Some buttons, such as the bank and channel buttons, are premapped but can also be mapped to other commands.
Recording Control Surface Automation Once you have connected a control surface and mapped the controls you plan to use, you can use the control surface to control volume, pan, and other functions in your Soundtrack Pro projects. Using the automation modes described in Automation Modes, you can record control surface movements while a project plays. To record control surface movements, follow the procedures described in Recording Automation Data. You can thin automation data recorded from a control surface.
Using Soundtrack Pro with Other Applications 19 You can work with media files and projects from Final Cut Pro, DVD Studio Pro, Motion, and other applications in Soundtrack Pro projects. This chapter covers the following: • Using Soundtrack Pro with Final Cut Pro (p. 409) • Using Soundtrack Pro with DVD Studio Pro (p. 421) • Using Soundtrack Pro with Motion (p. 423) • Using Soundtrack Pro with Logic Pro (p. 424) • Using Soundtrack Pro with Third-Party Applications (p.
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. 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.
The Save dialog appears. 2 In the Save dialog, do the following: a Enter a name for the Soundtrack Pro audio file project. b Choose a location to save the Soundtrack Pro audio file project. c Select “Send only referenced media” to copy only the used section of the media (between the In and Out points) to the new Soundtrack Pro audio file project. This is recommended unless you intend to edit the entire source file.
6 Choose one of the following, then click OK. • Include Source Audio: This option copies the original audio media file into the Soundtrack Pro audio file project package. Because the audio file project has its own copy of the original media, it is self-contained and doesn’t rely on any external audio files. This option simplifies media management and makes it easier to transfer the audio file project to other computers. However, this increases the project file size and therefore requires more disk space.
• The script actions are applied to the audio file project or the media file. • The audio file project or the clip’s media file is saved with the changes. If your clip’s media file is a standard audio or video file, you have the option to create a new Soundtrack Pro audio file project so as to process the file nondestructively. If you don’t take advantage of this option, the script processes the source media destructively (permanently).
2 Deselect the Warn on “Send to Soundtrack Pro Script” option, then click OK. Opening a Final Cut Pro Clip’s Media File 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.
Creating Multitrack Projects from Final Cut Pro Clips or Sequences Soundtrack Pro 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: • Open in Soundtrack Pro Multitrack Editor: Select this option to open the multitrack project in Soundtrack Pro after it is created. • 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 When you finish working on the project in Soundtrack Pro, choose File > Save. 6 Modify the multitrack project as needed. When you have followed the steps described above, you can send a mixdown back to Final Cut Pro. For more information about the relationship between Soundtrack Pro multitrack projects and Final Cut Pro sequences, see Creating Multitrack Projects from Final Cut Pro Clips or Sequences.
Soundtrack Pro exports mixdown files from the multitrack project and adds them to a Final Cut Pro XML file containing the original sequence. For your convenience, the audio tracks from the original sequence are moved to other tracks and are muted. 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 earlier) appears in the Browser.
To make changes to a Soundtrack Pro multitrack project that was previously exported to Final Cut Pro as a mixdown clip 1 In your Final Cut Pro sequence, Control-click the mixdown clip, then choose Open in Editor from the shortcut menu. Make sure that the Open in Editor command is set to open audio files in Soundtrack Pro. For information, see Opening a Final Cut Pro Clip’s Media File in Soundtrack Pro.
In Final Cut Pro, the Import XML dialog appears. 8 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. 9 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. 10 Switch to Final Cut Pro and open the sequence containing your mixdown.
• Edit a DVD Studio Pro clip destructively by opening it in the Soundtrack Pro File Editor: Once you have edited and saved the file in Soundtrack Pro, it updates in DVD Studio Pro. You hear the changes in DVD Studio Pro without having to reimport the clip. 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.
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 Logic Pro You can edit a Logic Pro 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 Logic Pro and Soundtrack Pro. When you save your changes in the File Editor, the clip is updated in Logic Pro 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.
Here are some things to keep in mind when using OMF and AAF files: • OMF and AAF exports generally omit unused media to keep the overall file size low. If you want to “steal” a performance from another take, you might be out of luck with an OMF or AAF export. • OMF or AAF exported files are usually truncated. If a music piece was edited into many small clips during the picture edit, the OMF and AAF export process applies those edits permanently on the file level.
The Save dialog appears. 3 In the Save dialog, enter a name for the file, then navigate to the location where you want to save it, then click Save. An audio file project is created with the name you entered. 4 Choose File > Save a Copy As (or press Command–Control–S). The Save dialog appears. 5 In the Save dialog, navigate to the location of the original file, then select the file. 6 Choose the type of the original source file from the File Type pop-up menu. 7 Click Save.
Exporting Multitrack Projects 20 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. This chapter covers the following: • About Exporting (p. 430) • Export File Formats Available in Soundtrack Pro (p. 430) • About Export Options (p. 430) • General Export Options (p. 432) • About Export Options for AIFF, WAVE, and Other Formats (p.
About Exporting 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. And you can create as many mixes of your project as you like by selecting or muting tracks, busses, and submixes; adjusting controls, effects, and envelopes; and then exporting each version as a separate mix.
µ To open the Export dialog for a multitrack project Choose File > Export (or press Command-E). Options available in the Export dialog depend on the nature of the export: • For general export options, see General Export Options. • For export options related to AIFF, WAVE, NeXT, and Sound Designer II formats, see About Export Options for AIFF, WAVE, and Other Formats. • For export options related to the MP3 format, see About MP3 Export Options.
General Export Options There are several export options that are available no matter which format you choose to export. General Options The following options are available for any format you choose to export. • Filename: You can enter a filename for the exported file. • Location: You must choose a location for the exported file. • Preset pop-up menu: You can create custom export presets with any combination of exported items, file types, bit depths, sample rates, and post-export actions.
• All Tracks, Busses, and Submixes: Exports each unmuted track, bus, and submix as a separate file. • All Tracks: Exports each unmuted track as a separate file. • All Busses: Exports each unmuted bus as a separate file. • All Submixes: Exports each unmuted submix as a separate file. • File Type pop-up menu: Choose the file type for the exported audio file or files. For more information, see Exporting a Master Mix.
About Export Options for AIFF, WAVE, and Other Formats In addition to the general options for all export formats (see General Export Options), the following options are available when you export to the AIFF, WAVE, NeXT, or Sound Designer II formats. • Create multiple mono files checkbox: Select this checkbox to export a separate audio file for each output channel in your multitrack project. For more information, see About Exporting Multiple Mono Files.
About MP3 Export Options In addition to the general options for all export formats (see General Export Options), the following options are available when you export as an MP3 file. • Stereo Bit Rate pop-up menu: The higher the mono or stereo kilobits per second (Kbps), the higher the audio quality and the larger the file size. The most common bit rate for stereo MP3 files is between 128 Kbps and 192 Kbps.
• Joint Stereo checkbox: When deselected, your MP3 files contain one track for the right stereo channel and one track for the left. In many cases, the two channels contain related information. When the Joint Stereo checkbox is selected, one channel carries the information that’s identical on both channels, and the other channel carries the unique information. At bit rates of 160 Kbps and below, this can improve the sound quality of your converted audio.
• Quality pop-up menu: Choose one of the following for the audio quality of your output media file: • Low: This allows for fast transcoding, but at the expense of output file quality. • Medium: The audio quality is better than Low, but this takes longer to transcode. • High: This is the best audio quality setting available. Use this setting when the audio quality is important for the output media file and you don’t mind how long it takes to transcode.
About Options in the Podcast Pane for AAC/Podcast Export You can specify which type of podcast you want to export. • No Video button: Select this option to export an audio-only (AAC) file. The resulting podcast file will have the .m4a extension. • Enhanced (images) button: Select this option to export an enhanced podcast containing audio and chapter marker images. The resulting podcast file will have the .m4a extension and will include chapters and web links if you specified them in Soundtrack Pro.
About Dolby Digital Professional (AC-3) Export Options In addition to the general options for all export formats (see General Export Options), there are additional options when you export as Dolby Digital Professional (AC-3) files. The Dolby Digital Professional (AC-3) export options are divided into three separate panes: Audio, Bitstream, and Preprocessing.
• Audio Coding Mode pop-up menu: Specifies the audio channels of the encoded stream. The audio coding mode affects settings such as the available bandwidth and surround channel preprocessing. 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.
• 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.
About 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. The following export options are available in the Bitstream pane: • 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.
About 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. The following export options are available in the Preprocessing pane: • Compression Preset pop-up menu: Specifies one of the dynamic range processing modes built in to the Dolby Digital Professional (AC-3) format.
• Full Bandwidth Channels: You can select two options: • Low-Pass Filter checkbox: Select this option to turn on a low-pass filter with a cutoff near the available audio bandwidth that is applied to the main input channels. If the digital signal fed to the main input channels does not contain information above the available audio bandwidth, you can turn off this filter. Compressor automatically determines the available bandwidth.
• Encode Video button: This allows you to export the video in a different format. Once you select this option, you must then choose an export preset from the adjacent preset pop-up menu. A summary of the preset appears below it in the dialog. For more information, see Using Compressor Export Presets. Encoding the video transcodes it to the new export format. Transcoding the video can take longer than copying and can result in a loss of quality.
Exporting a Master Mix A master mix (or project mixdown) is a single audio file that contains all of the elements and settings in your multitrack project. When you export a master mix, all unmuted tracks, busses, and submixes that are routed to hardware output jacks are included in the exported file. You can exclude any tracks, busses, and submixes from the exported mix by muting them.
For more information, see Using Export Presets. 3 Choose Master Mix from the Exported Items pop-up menu. 4 Use the File Type pop-up menu to choose a file type for the exported audio file. If you choose any of the last four menu items (MP3 File, AAC/Podcast File, Dolby Digital Professional (AC-3) File, or Using Compressor), the central section of the Export dialog displays options for the selected format type. For information about these menu items, see Exporting a Master Mix.
4 Choose MP3 File from the File Type pop-up menu. The bottom portion of the Export dialog displays the MP3 export options. Because 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. MP3 export options 5 Specify additional MP3 export options. For more information, see About MP3 Export Options. 6 If you like, use the After Export pop-up menu to choose a post-export action.
Note: Because 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. AAC Audio export options 5 Click Audio if necessary, then choose options in the Audio pane. For more information, see About Options in the Audio Pane for AAC/Podcast Export. 6 Click Streaming, then choose options in the Streaming pane. For more information, see About Options in the Streaming Pane for AAC/Podcast Export.
9 Enter a name for the exported file, then navigate to the location where you want to save the file. 10 Click Export. Exporting to Dolby Digital Professional (AC-3) Files Dolby Digital Professional format (also known as AC-3) is a very common compressed audio format for DVD-Video discs. AC-3 programs can deliver 5.1-channel surround as well as a variety of other surround configurations. This format is frequently used to encode stereo files to greatly reduce their file size.
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. For more information, see About Options in the Bitstream Pane. AC-3 Bitstream export options 7 Choose Preprocessing, then choose from the export options in the Preprocessing pane. Preprocessing options are applied to the audio data before encoding.
Exporting a Master Mix Using Compressor The Export dialog in Soundtrack Pro offers a direct link to the Compressor application. Compressor is the high-speed video and audio encoding tool for Final Cut Studio. It provides an efficient way to transcode between professional formats, or to convert content so that it can be experienced on many different platforms and devices (including websites, Apple TV, an iPod, CD-ROM discs, DVDs, cell phones, and so on).
When you export a Soundtrack Pro project using Compressor, Compressor export presets appear in the pop-up menus to the right of the Preserve Video and Encode Video buttons. Choose a Compressor Export from the Preserve Video or Encode Video pop-up menus. Click the Edit Presets button to open the Compressor application so that you can modify existing Compressor presets or create new ones. For more information on working with Compressor presets, see the Compressor User Manual.
The Channel Layout dialog appears and includes pop-up menus for Left, Right, Center, LFE, Left Surround, Right Surround, and Center Surround outputs. You can choose the physical output channel (labeled “Channel 1,” “Channel 2,” and so forth) for each submix. 2 Choose the physical output channel for each channel in the exported project.
For more information, see General Export Options. 4 Use the File Type pop-up menu to choose a file type for the exported audio file. If you choose any of the last four menu items (MP3 File, AAC/Podcast File, Dolby Digital Professional (AC-3) File, or Using Compressor), the central section of the Export dialog displays options for the selected format type. For information about these menu items, see Exporting a Master Mix.
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. The letter L is appended to the filename of the left mono file, and the letter R is appended to the right mono file. If the Output pop-up menu is set to Surround >1-6, six mono files are exported, each with the corresponding code appended to its filename: L, R, C, LFE, Ls, and Rs.
To export a project to an AAF file 1 Choose File > Export AAF. 2 In the Save dialog that appears, type a name for the file, then navigate to the location where you want to save it. 3 Click Save. Using Post-Export Actions The 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.
To add your own AppleScript scripts to the After Export pop-up menu 1 Confirm that your AppleScript script uses the following syntax (to ensure that it works in the After Export pop-up menu): on run argv repeat with anItem in argv set posixItem to POSIX file anItem set anItem to alias posixItem try (* Custom AppleScript goes here *) end try end repeat end run 2 Save your AppleScript script to the default Soundtrack Pro AppleScript location: /Users/username/Library/Scripts/Soundtrack Pro Scripts/.
The Export dialog appears. 2 Configure the Export dialog that appears to reflect the export options you want to use for the exported file or files. • For standard audio file types (AIFF, WAVE, NeXT, and SoundDesigner II): The options include Exported Items, File Type, the “Create multiple mono files” checkbox, Bit Depth, Sample Rate, and After Export actions.
3 Enter a name for the exported file, then navigate to the location where you want to save the file. 4 Click Export. Distributing a Multitrack Project and Its Media Files Together You can save a multitrack project with all of the media files it uses together in the same folder. Saving the project and its media files together is useful when you want to move the project from one computer to another to continue working on it or to archive the project and media for later use.
It’s a good idea to save each collected project in its own folder. 6 To include media files you have deleted from the project, select the Collect Unused Audio Files checkbox. If you do not want to include these media files, make sure this checkbox is not selected. 7 If the project includes a video and you want to save the video in the selected folder, select the Collect Video File checkbox.
Using Conform with Final Cut Pro 21 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. Worse, manually conforming a mix distracts a sound editor from the most important job at hand: completing the mix.
• An “updated” send is performed to provide Soundtrack Pro with a new version of the project containing the edits performed in Final Cut Pro. This creates a second Soundtrack Pro multitrack project, referred to as the “updated project.
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. For more information on sending sequences to Soundtrack Pro, see Creating Multitrack Projects from Final Cut Pro Clips or Sequences.
9 Do one of the following: • Choose File > Conform Projects. • Open the Conform tab, then click the Conform Projects button. This initiates the conform process. 10 In the dialog that appears, do the following: a Select the “original” audio mix project (the “sound editor version”) on the left. b Select the “updated” project (the more recent send from Final Cut Pro—the “picture editor version”) on the right.
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. Click a column header to sort. Use the Show pop-up menu to display mini timelines.
Reviewing and Approving Changes in a 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.
Using the Project Selector Buttons Use the Project Selector buttons to select one of three projects to appear in the main multitrack Timeline. This is helpful if you want to go back to your sound edit (the “original” project) to quickly see where a clip or group of clips was, then go to the result project and preview those same clips to verify that they correctly match the picture.
Sliding the group slider to the right will automatically form groups of clips. 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, as clips or groups are selected in the worklist, the main Timeline will scroll and zoom to show the selected group or clips or both.
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. The clip is marked with a green checkmark, indicating that it has been reviewed and approved in the result project.
Approved clips are removed from the worklist. Only clips that are not approved remain in the worklist. 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.
A Appendix Soundtrack Pro Keyboard Shortcuts Keyboard shortcuts let you perform commands in Soundtrack Pro using the keyboard instead of by pointing and clicking. The following are keyboard shortcuts available in Soundtrack Pro, grouped by function. This appendix covers the following: • General and File (p. 474) • Layouts, Tabs, and HUDs (p. 474) • Navigating the Timeline (p. 475) • Project Playback (p. 476) • Cycle Region (p. 476) • General Editing (p. 477) • Editing Audio Clips in the Timeline (p.
General and File Keyboard shortcut Function Creates a new, blank multitrack project. N N shift Opens the Open dialog. O Saves the current project. S shift S control S Opens the Save As dialog to save the project with a new name. Opens the Save As dialog to save a copy of the project with a different name. Adds the selected audio file (in a media tab) to the Bin of the current multitrack project. B If the Project pane contains a single tab, closes the Soundtrack Pro window.
Keyboard shortcut control Function Shows or hides the right pane. D Activates or deactivates the Video tab. 1 Activates the Mixer for the current multitrack project. 2 Activates the Project pane. 3 Activates the Browser tab. 4 Activates the Details tab. I Activates the Effects tab. 5 C shift { Moves to the previous (left) tab. shift } Moves to the next (right) tab. Activates the Multipoint Video HUD. V control Activates the Sound Palette.
Project Playback Keyboard shortcut Starts playing the project. If the project is playing, stops project playback. space return shift Starts playback from the position of the last playback start. Moves the playhead to the closest of the following items to the left of the playhead: the beginning of the last playback start, the beginning of the cycle region, or the beginning of the project.
Keyboard shortcut option I option O shift I shift O Function Removes the cycle region In point. Removes the cycle region Out point. Moves the cycle region playhead to the In point. Moves the cycle region playhead to the Out point. 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.
Keyboard shortcut Function Turns snapping on or off. N Splits selected audio clips under the playhead, or splits clips on selected tracks under the playhead. S option Joins the selected clips. S Trims the In point to the playhead on selected clips or tracks. D Trims the Out point to the playhead on selected clips or tracks. G Crossfades the selected clips across the Timeslice selection. F option D option G option Fades in to the playhead on selected clips or tracks.
Keyboard shortcut option control control B Function B Locks or unlocks the selected clip or clips. Disables or enables the selected clip or clips. Moves the clip to the previous edit. Moves the selected envelope point up by a coarse value. Moves the clip to the next edit. Moves the selected envelope point down by a coarse value. option Moves the clip up one track. Moves the selected envelope point up by a fine value. option Moves the clip down one track.
Keyboard shortcut 6 7 8 9 Function Sets the track height to Mini. Sets the track height to Small. 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 Selects the Blade All tool. B Selects the Timeslice tool. W U Function Selects the (Sound Palette) Lift tool. U Selects the (Sound Palette) Stamp tool. U Selects the Scrub tool.
Keyboard shortcut option Z shift Z control Function Zooms in on the current selection. Fits the waveform in the display size. Sets the ambient noise print. Y Adds ambient noise. Y shift Y shift I shift O Replaces with ambient noise. 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. shift { Adjusts Out point left to zero crossing.
Keyboard shortcut control Function Y Adds ambient noise. Y shift Sets the ambient noise print. Y Replaces with ambient noise. Tracks, Busses, and Submixes Keyboard shortcut Function Adds a new track to the Timeline. T control T option T shift T Adds a new submix to the Timeline. Removes the selected track, bus, or submix from the Timeline. Mutes the selected track. T Solos the selected track. Y Selects the track above the currently selected track.
Keyboard shortcut control M option control option B Function Adds a region marker for the duration of the selection. M Adds time markers at the beginning and end of the selection. Inserts a beat marker at the current playhead position. M option Displays the Details tab for the selected marker.
Video Out Keyboard shortcut control V Function Plays using the external video output device or Digital Cinema Desktop (set in the Soundtrack Pro Preferences window). Recording Keyboard shortcut Function Arms selected track for recording. R R control 1 control 2 control 3 control 4 control 5 control 6 control 7 control 8 control 9 Starts recording on a track or tracks armed for recording. If there are no tracks armed for recording, a new track is created and recording starts.
Keyboard shortcut Function Moves the playhead one gridline to the left. option Moves the playhead one gridline to the right. option Moves the playhead backward by the current nudge amount. Moves the playhead forward by the current nudge amount. Working with Timeslices Keyboard shortcut Function Moves the Timeslice location up one row. Moves the Timeslice location down one row. option Extends the Timeslice location up one row. Extends the Timeslice location down one row.
Keyboard shortcut option option Moves the Timeslice location to the previous frame. Moves the Timeslice location to the next frame. Extends the Timeslice to the previous edit. shift Extends the Timeslice to the next edit. shift Extends the Timeslice to the previous gridline. shift Extends the Timeslice to the next gridline. shift 486 Function shift option shift option Extends the Timeslice to the previous frame. Extends the Timeslice to the next frame.
Appendix B Audio Fundamentals This appendix discusses the broad topics of sound and digital audio in order to provide some background information for using Soundtrack Pro. This appendix covers the following: • What Is Sound? (p. 487) • Digital Audio (p. 497) 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.
Frequency Frequency is the rate, or number of times per second, that a sound wave cycles from positive to negative to positive again. Frequency is measured in cycles per second, or hertz (Hz). Humans have a range of hearing from 20 Hz (low) to 20,000 Hz (high). Frequencies beyond this range exist, but they are inaudible to humans. Amplitude Amplitude (or intensity) refers to the strength of a sound wave, which the human ear interprets as volume or loudness.
Phase cancelation can be a problem when mixing similar audio signals together, or when original and reflected sound waves interact in a reflective room. For example, when the left and right channels of a stereo mix are combined to create a mono mix, the signals may suffer from phase cancelation. Separate signals In phase Out of phase Mixed signals 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.
Note: Different manufacturers and mixing engineers define the ranges of these frequency bands differently, so the numbers described above are approximate. The human voice produces sounds that are mostly in the 250–4000 Hz range, which likely explains why people’s ears are also the most sensitive to this range. If the dialogue in your movie is harder to hear when you add music and sound effects, try reducing the midrange frequencies of the nondialogue tracks using an equalizer filter.
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.
Important: When you mix audio, you don’t need to worry about the mathematics behind logarithms and decibels. Just be aware that to hear incremental increases in sound volume, exponentially more sound pressure is required. What Is a Decibel? The decibel measures sound pressure or electrical pressure (voltage) levels. It is a logarithmic unit that describes a ratio of two intensities, such as two different sound pressures, two different voltages, and so on.
• dBu: This reference level measures voltage instead of power, using a reference level of 0.775 volts. dBu has mostly replaced dBm on professional audio equipment. The u stands for unloaded, because the electrical load in an audio circuit is no longer as relevant as it was in the early days of audio equipment. • dBV: This also uses a reference voltage like dBu, but in this case the reference level is 1 volt, which is more convenient than 0.775 volts in dBu.
0 dB on an analog meter refers to the ideal recording level, but there is some allowance for stronger signals before distortion occurs. This safety margin is known as headroom, meaning that the signal can occasionally go higher than the ideal recording level without distorting. Having headroom is critical when recording, especially when the audio level is very dynamic and unpredictable. Even though you can adjust the recording level while you record, you can’t always anticipate quick, loud sounds.
The goal is to make the quiet sounds (in this case, the crickets) louder so they can compete with the ambient noise in the listening environment. One approach to making the crickets louder is to simply raise the level of the entire soundtrack, but when you increase the level of the quiet sounds, the loud sounds (such as the train) get too loud and distort. Instead of raising the entire volume of your mix, you can compress the loud sounds so they are closer to the quiet sounds.
Examples of dual mono recordings include: • Two independent microphones used to record two independent sounds, such as two different actors speaking. These microphones independently follow each actor’s voice and are never positioned in a stereo left-right configuration. In this case, the intent is not a stereo recording but two discrete mono channels of synchronized sound. • Two channels with exactly the same signal.
Interleaved Versus Split Stereo Audio Files Digital audio can send a stereo signal within a single stream by interleaving the digital samples during transmission and deinterleaving them on playback. The way the signal is stored is unimportant as long as the samples are properly split to left and right channels during playback. With analog technology, the signal is not nearly as flexible. Split stereo files are two independent audio files that work together, one for the left channel (AudioFile.
Audio sample rates When used 192 kHz A multiple of 48 and 96 kHz, this is a very high-resolution sample rate used mostly for professional music recording and mastering. Bit Depth Unlike analog signals, which have an infinite range of volume levels, digital audio samples use binary numbers (bits) to represent the strength of each audio sample. The accuracy of each sample is determined by its bit depth. Higher bit depths mean your audio signal is more accurately represented when it is sampled.
For example, a 1-bit system (a ladder with only two rungs) can represent either silence or full volume, and nothing in between. Any audio sample that falls between these rungs must be rounded to full volume or silence. Such a system would have absolutely no subtlety, rounding smooth analog signals to a square-shaped waveform. Sine Square When the number of bits per sample is increased, each sample can more accurately represent the audio signal.
Bit depth When used 8-bit In the past, 8-bit audio was often used for CD-ROM and web video. Today, 16-bit audio is usually preferred, but available bandwidth and compatibility with your target user’s system are your chief considerations when outputting audio for multimedia use. 1 Many consumer DV camcorders allow you to record four audio channels using 12-bit mode, but this is not recommended for professional work.
C Appendix Working with Professional Video and Audio Equipment This appendix reviews different types of video and audio interfaces, including signals and connectors. It also includes information on basic audio and video setups. This appendix covers the following: • Video Interfaces (p. 501) • Video Signals and Connectors (p. 504) • Setting Up an Audio Interface (p. 508) • Audio Connectors, Cables, and Signal Formats (p. 514) • About Balanced Audio Signals (p.
In this configuration, you only need your computer and a supported DV device. FireWire 400 (6-pin) Computer FireWire 400 (4- or 6-pin) DV VTR FireWire for Uncompressed Digital Video 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.
PCI Express Video Interface Card If you are using professional analog or digital formats (either standard definition or high definition) without native FireWire connectivity, you need to purchase and install a PCI Express video interface card to connect your video deck or camcorder to your computer. Many PCI Express interface cards come with a breakout box where video, audio, and perhaps even 9-pin remote connectors are located (rather than on the PCI Express card itself ).
PCI Express Video Interface Card with Breakout Box Many PCI Express 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 Express card via a multipin connector on a long cable, and the connectors are accessible on the breakout box instead of the back of the PCI Express card.
• Component YUV (Y′CBCR): For more information, see Component YUV and Component RGB. • Component RGB: For more information, see Component YUV and Component RGB. • FireWire (IEEE 1394 or i.LINK): For more information, see FireWire 400 and FireWire 800. • SDI: For more information, see SDI. • HD-SDI: For more information, see HD-SDI. • SDTI: For more information, see SDTI. • HDMI: For more information, see HDMI. • SCART: For more information, see SCART.
Component YUV and Component RGB Professional video equipment, such as Betacam SP decks, has component YUV (Y′CBCR) video inputs and outputs. Component YUV separates color and brightness information into three signals, which keeps the color quality more accurate than that of other systems. Component YUV is as good as analog video gets. High-end consumer devices, such as DVD players and televisions, have increasingly begun to support component YUV.
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.
Built-in Analog Audio You can capture and output audio using the built-in audio ports on your computer. The built-in audio interface on your computer usually uses a stereo miniplug connector. If necessary, you can buy an adapter to connect the miniplug connector to two stereo RCA or 1/4" tip-ring-sleeve (TRS) connectors, which can then be connected to your video or audio device.
Choosing a Third-Party Audio Interface Before you purchase a separate audio interface, consider that most third-party video interfaces may have enough audio connectors to meet your requirements. You should consider a separate audio interface when: • You are trying to capture or output more audio channels than your built-in audio interface or third-party video interface supports.
Important: If you are considering purchasing an interface, make sure it supports Mac OS X Core Audio. Soundtrack Pro supports any audio interface that is compatible with Mac OS X Core Audio. All digital audio interfaces can be susceptible to latency, a noticeable delay between the time the audio signal is produced and the time you hear it.
USB Audio Interfaces There are a wide variety of USB audio interfaces available. USB supports plug-and-play operation and the ability to connect several devices in sequence (daisy-chaining). USB is included on all current Macintosh computers. Most USB audio interfaces support two or four audio channels at one time. USB audio interfaces vary in quality considerably, so take some time to research them before you purchase one.
PCI Express Audio Interface Cards Peripheral Connect Interface (PCI) Express interfaces, unlike FireWire and USB interfaces, require that you install a dedicated sound card in your computer. Of all the audio interfaces, PCI Express audio interfaces provide the maximum transfer speed and can support many channels with high sample rates. Many PCI Express audio interface cards come with a separate breakout box where the audio input and output connectors are located.
Audio Connectors, Cables, and Signal Formats Different audio connectors and cables are suited for different purposes. They are available for professional and consumer audio equipment, at a range of prices and levels of quality. Audio connectors are often indicative of the kind of signal they transmit. However, there are enough exceptions that it’s important to know what kind of audio signal you are connecting, in addition to the connector type.
1/4" Tip-Sleeve Connectors 1/4" tip-sleeve (TS) connectors with a tip and a sleeve are unbalanced connectors often used for musical instruments like electric guitars, keyboards, amplifiers, and so on. 1/4" tip-sleeve (TS) connector 1/4" Tip-Ring-Sleeve Connectors Professional equipment often uses 1/4" tip-ring-sleeve (TRS) audio connectors with +4 dBu line level. 1/4" TRS connectors connect to three wires in an audio cable—hot, neutral, and ground—and usually carry a balanced audio signal.
Connectors for S/PDIF signals are found on most consumer digital equipment, such as DAT recorders, CD players, DVD players, MiniDisc equipment, and some audio interfaces. S/PIDF optical digital connector TOSLINK Optical and ADAT Lightpipe TOSLINK is a connector for optical digital signals. TOSLINK is used for several digital signal formats, although most devices support only one of these formats: • S/PDIF (stereo digital) • AC-3 and DTS (5.
TDIF Connectors Tascam Digital Interface (TDIF) is a signal format for transferring digital audio between Tascam digital multitrack recorders or digital mixers. Connections are made via a 25-pin D-subminiature connector and data is carried on shielded cable. 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.
About Balanced Audio Signals Audio cables can be either balanced or unbalanced, depending on their intended use. For long cable runs, especially when using relatively low microphone levels, a three-wire balanced audio circuit reduces noise. Balanced audio cables use the principle of phase cancelation to eliminate noise while maintaining the original audio signal. A balanced audio cable sends the same audio signal on two wires, but inverts the phase of one signal by 180 degrees.
When the signal arrives at its destination, the inverted signal is put back in phase and both signals are combined. This puts the original and inverted signals back in phase, but it causes the noise signals on each line to be out of phase. Inverted signal (inverted again) 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.
• Placement of the speakers within the room, such as distance from walls and angle of speakers • Listener position between speakers 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.
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.
The following illustration shows a typical SD setup: Audio RS-422 serial USB USB-to-serial adapter Breakout box Amplified speakers Audio Video Video Computer (with PCI Express card) Reference video Analog or digital VTR Blackburst generator Standard definition monitor Reference video Following are basic instructions for connecting a video device to a third-party video interface in your computer, as well as connecting remote device control.
7 Plug in and turn on your blackburst generator. 8 Turn on your deck. 9 If you’re using Soundtrack Pro or Final Cut Pro to control your camcorder or deck, make sure that the device control switch on your VTR is set to Remote. For more information about VTR settings, see the documentation that came with your VTR and your video interface. For information about synchronizing Soundtrack Pro to an external video deck or audio recorder, see Synchronizing Soundtrack Pro to External Timecode.
Connecting Non-DV Devices to a DV Converter You can use a DV converter to convert a device in a non-DV format, such as Betacam SP or Digital Betacam, to DV. This allows you to capture footage using the built-in FireWire port on your computer. However, unlike a complete DV FireWire setup, this kind of deck still requires serial (RS-422 or RS-232) remote device control. This kind of setup is used mainly for low-resolution capture and offline editing.
To connect video and audio outputs from your VTR to your analog-to-DV or digital-to-DV converter 1 With your DV converter turned off, connect the 6-pin connector on the FireWire cable to the FireWire port on your computer. 2 Connect the 4-pin connector on the FireWire cable to the DV converter. 3 Connect the video output of your VTR to the video input of the DV converter. 4 Connect the audio output of your VTR to the audio input of the DV converter.
Connecting Professional Analog Audio Professional analog audio devices use balanced XLR or 1/4" TRS connectors for each audio channel. Most audio interfaces that support multiple audio channels come with a breakout box that contains all the connectors.
Professional VTRs, camcorders, audio devices, and interfaces often have the ability to accept sync signals from an external device. These connectors are labeled “genlock” (short for generator lock), “external sync,” “reference input,” or “reference video.” On some equipment, the normal composite video input of a device can be used to lock to external sync. Important: To synchronize your video or audio devices and interfaces, they must all accept an external clock source (such as a blackburst generator).
6 Plug in and turn on your blackburst generator. 7 If you are using a blackburst generator, choose Final Cut Pro > User Preferences, and in the General tab of the User Preferences window, make sure that “Sync audio capture to video source if present” is selected. 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.
Setting Up the MTC Generator Set the MTC generator to receive LTC signals: • In the case of the MIDI Timepiece, use the Clockworks control panel. • 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. To sync Soundtrack Pro to external timecode 1 Choose Soundtrack Pro > Preferences, then click the Synchronization button at the top of the Preferences window.
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.
D Appendix Working with Apogee Hardware in Soundtrack Pro This appendix provides information on working with Apogee hardware and how to configure settings for Soundtrack Pro. This appendix covers the following: • Using Apogee Hardware with Soundtrack Pro (p. 531) • Creating and Saving a New Apogee Configuration (p. 531) • Specifying Global Parameters in the Apogee Setup Dialog (p. 532) • Specifying Units Parameters in the Apogee Setup Dialog (p. 533) • Using a Previously Saved Configuration (p.
The Apogee Setup dialog appears. 3 In the upper section of the dialog, specify global parameters. Global parameters are relevant only if more than one Apogee device is connected to your system; they define how several devices work together. For more information, see Specifying Global Parameters in the Apogee Setup Dialog. 4 In the main section of the dialog, specify unit parameters in the three tabs: General, Inputs, and Outputs. Unit parameters configure individual hardware units.
Note: Multiple Apogee device configuration (and the way Apogee devices interact) is determined by the Apogee driver version. Refer to the information included with the Apogee driver or device for details. • Unit Select pop-up menu: Use this to define the hardware device when multiple units are connected. The parameters of the selected device are displayed in the Unit tabs below. • Identify Unit checkbox: Select this if you want to illuminate all LEDs on the corresponding hardware interface.
General Tab The settings in this tab control a variety of features, such as the clock source, UV22HR dithering algorithm, and level meter behavior. Clock • Clock Source pop-up menu: Sets the clock source for the chosen unit. Options are Internal, Optical, Coax, and Word Clock. Format • Optical In pop-up menu: Options are ADAT/SMUX and S/PDIF. • Optical Out pop-up menu: Options are ADAT/SMUX and S/PDIF. Dither • UV22HR pop-up menu: This specifies the target signal path for the UV22HR dithering algorithm.
• Hold Overloads checkbox: If you select this checkbox, your hardware displays overloads permanently. • Clear Overloads button: Clicking this button resets the overload LEDs of your meters. Special • CD Mode checkbox: Selecting this checkbox turns on CD mode, which sends a 44.1 kHz, 16-bit stereo signal to the S/PDIF output, regardless of the input. In effect, selecting this checkbox automatically switches the Conversion pop-up menu to S/PDIF Out, the Sample Rate pop-up menu to 44.
• Group pop-up menu: The gain controls of the microphone inputs can be assigned to a group. Groups allow you to link the Gain sliders of the microphone inputs. Changing the Gain slider of any microphone input assigned to a group also changes the Gain sliders of all microphone inputs in this group. Individual gain relationships (relative levels between microphone inputs) at the time the Gain sliders were assigned to the group are retained. Options are Group 1, Group 2, and None.
Headphones Parameters These options configure the output signal for the headphone outputs. • 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. • Level slider: Sets the level of the headphone outputs. Main Parameters You can choose the output channels that you wish to control with the Main Level slider.
3 Click Load Setup and follow the onscreen instructions. Choosing a Configuration Saved with a Project There may be a configuration saved along with a project you are using. If so, you can choose to use that configuration with your Apogee hardware. To use a configuration that is saved with the project 1 Confirm that your Apogee unit is connected and turned on. 2 Choose Soundtrack Pro > Open Apogee Control Panel. The Apogee Setup dialog appears.
E Appendix Solving Problems This appendix provides information to help you solve problems you may encounter while using Soundtrack Pro. This appendix covers the following: • Resources for Solving Problems (p. 539) • Solutions to Common Problems (p. 539) • Contacting AppleCare Support (p. 541) Resources for Solving Problems If you run into problems while working with Soundtrack Pro, there are several resources you can use to find a solution.
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: • Because digital audio files require intensive processing by the computer’s processor, do not perform other processor-intensive tasks while working in Soundtrack Pro.
c 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. d Enter the latency value in the Recording Preferences pane. If the recorded audio is late (to the right), enter a positive value; if it’s early (to the left), enter a negative value. For example, if the location in beats of the selected point in the source loop is 1.2.002 and the location in beats of the corresponding point in the recording is 1.2.
