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Audio Postproduction and Audio Effects
Inserting Audio Clips on the Timeline
Audio clips can be inserted on the Timeline in three different ways. Each of the methods is described in
detail on the page indicated:
 Drag&drop - Inserts (grouped) clips on Timeline Track ( page 424).
 Send To... - Inserts clips at the Playline position in accordance with the Source Track Mapping
( page 387).
 Source Viewer and Insert Arrow - Inserts clips at the mark-in point or at the Playline position in
accordance with the Source Track Mapping. See also “Source Track Mapping” on page 387.
Assigning Tracks
Depending on the size of your Project, it can be very useful to carefully work out a clear audio editing
concept, especially how you plan to distribute the different audio clips. In terms of mixing, consider
which audio clips should be grouped and which ones you want to keep separate.
Yo u c a n n a m e Timeline Tr a c k s separately so that it is easy to recognize what type of audio is on what
Tr a c k . For example, you could position all ambient recordings (mono) on a Timeline Tr a c k called “Ambi-
ent,” direct sound (mono) on “Direct” and soundtracks (stereo) on “Music”. page 378
Stereo and Mono, Panorama and Balance
The conventional “audio world” (not including surround sound etc.) is two-dimensional: an imaginative
acoustic space is created between “left” and “right” determined by actually existing audio outputs of a
system.
They should not be confused with the Audio Source Tracks. These are already digitized audio signals
labeled A1, A2, A3 and A4 in Avid Liquid.
Denominations
With respect to common work steps, the following convention was determined as output standard:
 Audio output (channel) CH-1 (A1), CH-3 (A3) or Source Track A1, A3 = odd numbers = “left”
 Audio output (channel) CH-2 (A2), CH-4 (A4) or Source Track A2, A4 = even numbers= “right”
Other assignments are always possible with the aid of the appropriate Mapping or Panning.