7.1
Table Of Contents
- Avid Liquid Installation
- Avid Liquid Reference Manual
- Contents
- Introduction
- Documentation
- Basics
- Signup
- High Definition
- Input
- EZ Capture
- Logging and Digitizing (Capture)
- Basics
- The Logging Tool and Its Functions
- Video Inlay, Timecode Fields and Status Field
- Player Source (D)
- Reels and Racks (E, F)
- Controls (Player and Edit Buttons, G)
- A/V Inputs (Selecting Source Tracks, H)
- Stereo or Mono (I)
- 4:3 or 16:9 (I)
- Selecting a Media Format/Codec Preset (J)
- Destination Volumes for Digitizing / Capture Volumes (K)
- Select Audio Monitor /Mute
- Video Tool / Calibration Control /IPB Settings
- Clip Tab: Naming and Numbering Clips
- Audio Tab
- Master Tab
- Media Tab
- Send Clips To Timeline (Direct Insert)
- Properties
- Methods
- File Ingest
- Importing Objects
- Copying/Pasting Objects from Other Projects
- Media Management and Object Import
- Creating Objects
- Voice-Over
- Importing EDL/AVID MediaLog Files
- Exchange
- Administration
- The Project
- The Object
- Media Management
- Edit
- Video Editing
- Audio in the Timeline
- Special Functions
- Finish
- Effects in Avid Liquid: The Basics
- Detailed Description of Classic Effect Editors
- Realtime FX
- Commotion Clip FX
- Special FX
- Timewarps and Color Correction
- Color Correction Editor
- Linear Timewarp
- Timewarp Editor
- Audio
- Titler
- DVD Authoring
- Export
- Record to Tape
- Export to File
- Burn to Disc (VCD, SVCD, DVD)
- Customize Avid Liquid
- Glossary
- Index
820
Chapter 14 Audio
Send Bus Faders are not assigned to Timeline Tracks but instead get their signals from one or more fader
unit(s) or mixer channel(s).
The effect signal is then routed to an output bus and thus inserted in the master signal.
For a full description, see the section on “Working with Insert Effects, Send Effects and Busses” on
page 838.
Faders for Logical Output Busses
A fader is inserted for every Logical Output Bus you define. These faders serve to determine the level at
which the audio signals are routed to the particular output bus. The bus fader’s peak meter indicates the
number and level of the audio signals: Two for Stereo, four for Classic and six for Surround. Output bus
faders are red.
See also “Output Mapping: Assigning Signals” on page 825.
Rubberbanding
The term “rubberbanding” is used to describe the action of moving and adjusting Volume Lines, Pan
Lines and setting Key Frames on volume and pan lines directly on the clip.
You can do this using the mouse or the fader units.
Setting Key Frames
In Audio Timeline editing Key Frames refer to the small blue diamonds on the Volum e / Pa n L in es used for
adjusting an audio clip’s volume level or the pan orientation. In order to “bend” an otherwise straight
volume line, it is necessary to set Key Frames.
1 Activate either Vo l um e or Pan Lines for the relevant Timeline Track (page 797.)
2 Open the Audio Edito (page 811)
3 Position the Playline at a certain location in the clip and adjust the volume at this location in one
of the following ways:
Using the mixer - by moving the Fader of the appropriate fader. (If you locked Faders, you can
adjust several clips on several Tra c k s at once).
Using the mouse - by going into Edit Mode (the mouse pointer turns into a hand with pointing
index finger if placed near the Volume or Pan Line, a plus symbol appears next to it). Set the
mouse pointer to the appropriate position on the volume line and click to insert a Key Frame on
the line.
Once a Key Frame is set, drag the Key Frame horizontally or vertically to change its position. The
corresponding Fader moves as you move the Key Frame vertically and you can read the change
on the dB scale.