4.0
Table Of Contents
- Title Page
- Contents
- Using This Guide
- Working with the Project Window: Advanced
- User Profiles
- Managing User Profiles
- Folders and Bins
- Using the Info Display to View Memory Information and Access the Hardware Tool
- Usage Information
- Customizing the Avid User Interface
- User-Customized Workspaces
- Working with Bins and Projects in an Avid Unity Environment
- Understanding Avid Unity
- Sharing Only Bins in Avid Unity
- Sharing Bins and Projects in Avid Unity
- Opening a Shared Project
- Locks and Shared Bins
- Working with Locks and Shared Bins
- Restrictions and Limitations for Locked Bins
- Suggestions for Improving Performance When Working with Shared Bins
- Shared Bin and Project Limitations
- Shared Bin Lock Icon Limitation
- Drive Filtering in Networked Workflows
- Using Tools
- Logging: Advanced
- Using Avid Log Exchange to Prepare Log Files for Import
- Converting Log Files with Avid Log Exchange (Windows)
- Using Drag-and-Drop Conversion for Log Files (Windows)
- Converting Log Files with Avid Log Exchange (Macintosh)
- Using Drag-and-Drop Conversion for Log Files (Macintosh)
- Avid Log Exchange Stores ASC Color Decision List (CDL) Parameters
- Log Formats Compatible with Avid Log Exchange
- Avid Log Specifications
- Creating an Avid Log
- Double-Checking Log Files
- Transferring Bins from MediaLog
- Logging Directly into a Bin
- Understanding the Pulldown Phase
- Setting the Pulldown Phase
- Film-Related Log Information
- Using Avid Log Exchange to Prepare Log Files for Import
- Capturing Media: Advanced
- Advanced Capture Settings
- Understanding Drop-Frame and Non-Drop-Frame Timecode
- Preparing for Audio Input: Advanced
- Creating Tone Media
- Using the Passthrough Mix Tool
- Resizing the Passthrough Mix Tool
- Monitoring Audio with the Passthrough Mix Tool
- Changing an Audio Level in the Passthrough Mix Tool
- Adjusting Pan Values in the Passthrough Mix Tool
- Changing Audio Hardware Calibration Settings for Avid Adrenaline
- Calibrating Audio Input Channels for Avid Adrenaline
- Calibrating Audio Output Channels for Avid Adrenaline
- Audio Hardware Calibration for Avid Nitris DX and Avid Mojo DX
- Using the Default Audio Calibration for Avid Nitris DX or Avid Mojo DX
- Using a Tone Generator to Calibrate Audio Input Channels for Avid Nitris DX or Avid Mojo DX
- Using an External Meter to Calibrate Audio Output Channels for Avid Nitris DX and Avid Mojo DX
- Using the Console Window to Check Audio Levels
- Preparing for Video Input: Advanced
- Using Capture Function Keys
- Special Capture Procedures
- Logging Errors to the Console Window
- Opening the Console Window
- Considerations for Creating Subclips While Capturing
- Creating Subclips While Capturing
- Creating Timed Subclips While Capturing
- Understanding Locators On-the-Fly
- Adding Locators On-the-Fly
- Naming a New Tape from the Keyboard
- Controlling Decks from the Keyboard
- Mapping the Record Button
- Ejecting Tapes with a Button or Key
- Returning to the Previous Place in the Select Tape Dialog Box
- Understanding DV Capture Offset
- Delaying Audio
- Live Capture with External Timecode
- Capturing to the Timeline
- Capturing Video Without Pulldown into a 24p NTSC Project
- Remote Play, Capture, and Punch-In
- Relinking Clips by Key Number
- Modifying the Pulldown Phase After Capturing
- DV and HDV Scene Extraction
- Using the Panasonic VariCam
- Importing Files: Advanced
- Working with Bins: Advanced
- Advanced Bin Procedures
- Film Scene Workflow
- Displaying Custom Bin Views
- Customizing Bin Views in Text View
- Saving a Custom Bin View
- Assigning Colors to Bin Objects
- Sifting Clips and Sequences
- Sequence and Clip Information Summary
- Creating a Summary of Effects and Source Information
- Understanding Sifting Timecodes or Keycode Ranges
- Sifting Timecodes or Keycode Ranges
- Locking and Unlocking Items in a Bin
- Selecting Offline Items in a Bin
- Selecting Media Relatives for an Object
- Selecting Sources Used by an Object
- Selecting Unreferenced Clips
- Text View: Advanced
- Manipulating Bin Columns
- Duplicating Bin Columns
- Adding Customized Columns to a Bin
- Changing a Custom Bin Column Heading
- Adding a Metadata Bin Column Heading
- Tracking Frames Based on File Name
- Managing Clip Information in Text View
- Moving Within Column Cells
- Modifying Clip Information
- Modifiable Bin Headings
- Modifying Data Directly
- Using the Modify Command to Modify Data
- Modifying Data with the Modify Command
- Copying Information Between Columns
- Copying Information from Another Cell in a Custom Column
- Selecting a Film Gauge
- Tracking 3-Perf Counts
- Selecting an Edgecode Type
- Sorting Clips in Text View
- Displaying Timecodes in a 24p or 25p Project
- Frame Counting for Timecodes
- Adding Timecode Columns to a Bin or the Media Tool
- Adding Timecode Values to the Timecode Columns
- Bin Column Headings
- Restricted Material
- Printing Bins
- Digital Bars and Tone
- Importing Color Bars and Other Test Patterns
- Leaders
- Advanced Bin Procedures
- File Based Media
- Sony XDCAM Media
- Sony XDCAM EX Media
- Panasonic P2 Media
- Panasonic P2 Formats
- P2 Files and Folders
- Installing the Panasonic P2 Drivers
- Preparing to Mount P2 Cards as Drives
- Setting up a P2 Card Reader (Windows only)
- Mounting P2 Cards as Drives
- Copying P2 Files to a FireWire or Network Drive
- Changing P2 Cards in the Card Reader
- Sharing P2 Clips and Sequences
- Working with Spanned Clips
- Ikegami GFCAM Media
- The Avid Media Access (AMA) Workflow
- Selecting the AMA Settings
- Viewing Installed AMA Plug-ins
- Understanding Linking with AMA
- Linking Media with AMA
- Using Virtual Volumes
- Virtual Volumes and AMA Bins
- Workflow for Editing XDCAM and XDCAM EX Clips with AMA
- Workflow for Editing P2 Clips with AMA
- Workflow for Editing GFCAM Clips with AMA
- Working with Shot Marks and Check Marks with GFCAM Media
- Deleting Clips
- Import and Export Workflow for File-Based Media
- Setting XDCAM Import Options
- Importing XDCAM Media
- Importing XDCAM EX Media
- Automatically Importing Proxy Media from an XDCAM Device
- Importing Proxy Media from an XDCAM Disc
- Copying XDCAM Proxy Media to a Local Drive or a Server
- Manually Importing XDCAM Media from the XDCAM Disc
- Importing Essence Marks as Locators in XDCAM Media
- Editing XDCAM Proxy Media
- Batch Importing High-Resolution XDCAM Media from the XDCAM Disk
- Editing and Finishing High-Resolution XDCAM Media
- Exporting Media to XDCAM Devices
- Exporting to XDCAM
- Workflow for Editing with P2 Media
- Changing P2 Cards in the Card Reader
- Importing P2 Clips and Media
- Dragging P2 Master Clips from the Media Tool to a Bin
- Exporting Your Clip or Sequence to a P2 Card
- Managing Media Files: Advanced
- Script-Based Editing
- Lined Script Basics
- Script Window Basics
- Working with Script Text
- Searching Through Script
- Linking Clips to the Script
- Interpolating Position for Script Integration
- Working with Slates in the Script Window
- Working with Takes in the Script Window
- Script Marks
- Finding Clips and Script
- Editing From the Script Window
- Viewing and Marking Footage: Advanced
- Using the Info Window
- Using the Timecode Window
- Adjusting the Play Delay Offset
- Using the Tool Palette
- Playing Selected Clips in a Loop
- Using Locators
- Suggested Uses for Locators
- Adding Locators While Editing
- Adding Locators On-the-Fly while Playing
- Finding Locators
- Editing Locator Information
- Copying Locators from Source Clips
- Marking an Area Using Locators
- Moving to the Previous or Next Locator
- Deleting Locators
- Using the Locators Window
- Viewing Locators in the Locators Window
- Working in the Locators Window
- Exporting and Importing Locators
- Creating a Locator Text (.txt) File
- Copying and Pasting Locators Using the Locators Window
- Printing the Contents of the Locators Window
- Disabling the Locator Edit Window
- Sequence and Clip Information Summary
- Creating a Summary of Effects and Source Information
- Creating and Editing Sequences: Advanced
- User Preferences for Creating Tracks
- Phantom Marks
- Enabling Phantom Marks
- Adding Comments to Sequence Clips
- Playback Performance Tips
- Playing a Limited Duration of a Sequence
- Autosyncing Clips
- AutoSequence
- Resyncing Subframe Audio
- Managing Sync with Multiple Tracks
- Ganging Footage in Monitors
- Sync Point Editing
- Using MetaSync to Synchronize Metadata
- Using the Timeline: Advanced
- Working in Trim Mode: Advanced
- Working with Audio: Advanced
- Audio Gain Staging and an Audio Editing Workflow
- Using External Fader Controllers
- Using the Digi 002 and the Command|8
- Using the Digi 002 with Avid Input/Output Hardware (Windows Only)
- Using the Command|8 with Your Avid Editing System
- Configuring the Digi 002 or Command|8
- Mapping Buttons and Menu Commands for the Digi 002 or Command|8
- Button Layouts on the Digi 002 and Command|8
- Viewing Different Controller Button Settings
- Mapping Controller Menu Commands for the Digi 002 or Command|8
- Using Digi 002 or Command|8 Buttons to Change Focus in the Avid Editing Application Interface
- Using a Foot Pedal as a Foot Switch with the Digi 002 or Command|8
- Switching Between the Digi 002 and Command|8
- Using a Digi 002 or Command|8 to Record Automation Pan
- Using the Latch Mode Feature on the Digi 002 and Command|8
- Configuring USB-to-MIDI Software for External Controllers
- Using the FaderMaster Pro and MCS-3000X
- Using the Yamaha 01V/96 or the Yamaha 01V
- Initializing the Yamaha 01V/96 or Yamaha 01V
- Configuring the Yamaha 01V/96 or Yamaha 01V to Recognize Control Messages
- Starting the Avid System with the Yamaha 01V/96 or the Yamaha 01V Attached
- Switching Between Audio Mixing and Gain Recording with the Yamaha 01V/96 and Yamaha 01V
- Operating the Yamaha 01V/96 and Yamaha 01V
- Soloing Avid System Channels with the Yamaha 01V/96 and Yamaha 01V
- Using the Audio EQ Tool
- Audio EQ Tool Features
- EQ-Specific Features
- Applying Audio EQ Effects
- Saving Audio EQ Effects
- Removing Audio EQ Effects with the Fast Menu
- Removing Audio EQ Effects with the Remove Effect Button
- Audio EQ Examples
- Low Shelf Example
- Small Octave Range Example
- Using Audio EQ Templates
- Applying an EQ Template
- Creating Your Own Audio EQ Templates
- Adding an EQ Template to the Audio EQ Tool Fast Menu
- Adjusting EQ While Playing an Audio Effect
- Recording Voice-Over Narration
- Connecting Voice-Over Recording Hardware
- Understanding the Audio Punch-In Tool
- Audio Punch-in Tool Features
- Audio Punch-in Tool Scenarios
- Recording Voice-Over Narration Using Audio Punch-in
- Monitoring Previously Recorded Tracks While Recording Voice-Over Narration
- Using Peak Hold While Recording Voice-Over Narration
- Using a GPI Device with the Audio Punch-In Tool
- Displaying Audio Formats in Bins
- Using AudioSuite Plug-Ins
- Understanding Digidesign AudioSuite Plug-Ins
- AudioSuite Plug-Ins Installation
- Using Digidesign AudioSuite Plug-Ins
- Applying an AudioSuite Plug-in to a Clip in the Timeline
- Using an AudioSuite Plug-In Dialog Box
- AudioSuite Fast Menu
- Rendering AudioSuite Plug-in Effects
- Creating New Master Clips with AudioSuite Plug-Ins
- AudioSuite Controls for Creating New Master Clips
- Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins
- Using AudioSuite Plug-ins to Create New Master Clips
- Using AudioSuite Effect Templates
- Using AudioSuite Plug-Ins in Stereo
- AudioSuite Plug-in Limitations
- Troubleshooting AudioSuite Plug-Ins
- Core AudioSuite Plug-Ins
- BF Essential Clip Remover AudioSuite Plug-in
- Bomb Factory BF76 AudioSuite Plug-in
- Chorus AudioSuite Plug-In
- D-Verb AudioSuite Plug-In
- Compressor AudioSuite Plug-In
- Limiter AudioSuite Plug-In
- Expander-Gate AudioSuite Plug-In
- Gate AudioSuite Plug-In
- DeEsser AudioSuite Plug-In
- Compressor/Limiter III (Dynamics III) AudioSuite Plug-In
- Expander/Gate III (Dynamics III) AudioSuite Plug-In
- DeEsser III (Dynamics III) AudioSuite Plug-In
- EQ AudioSuite Plug-Ins
- Flanger AudioSuite Plug-In
- Funk Logic Mastererizer AudioSuite Plug-in
- Invert AudioSuite Plug-In
- Duplicate AudioSuite Plug-In
- Delay AudioSuite Plug-In
- Multi-Tap Delay AudioSuite Plug-In
- Normalize AudioSuite Plug-In
- Gain AudioSuite Plug-In
- Ping-Pong Delay AudioSuite Plug-In
- Reverse AudioSuite Plug-In
- DC Offset Removal AudioSuite Plug-In
- Signal Generator AudioSuite Plug-In
- Time Compression Expansion AudioSuite Plug-In
- Pitch Shift AudioSuite Plug-In
- Time Shift AudioSuite Plug-In
- Non-Core AudioSuite Plug-Ins
- Understanding Digidesign AudioSuite Plug-Ins
- Exporting Frames, Clips, or Sequences and Transferring Material: Advanced
- Exporting With the Send To Templates
- Exporting Using Send To DigiDelivery
- Exporting Using Send To Digidesign Pro Tools
- Exporting Using Send to DVD Authoring
- Exporting Using Send to DVD One Step
- Exporting Using Send to Sorenson Squeeze
- Exporting Using Send To Avid DS
- Creating a Custom Send To Template for Exporting to Third-Party Applications
- Exporting OMFI and AAF Files
- Exporting Projects and Bins Using AFE Files (Windows Only)
- Exporting Video in DV Stream Format
- Exporting QuickTime Movies
- Exporting As an AVI File (Windows Only)
- Installing or Copying the Avid Codecs for QuickTime on Other Systems
- Exporting from a Third-Party QuickTime or AVI Application
- Exporting as Windows Media (Windows Only)
- Exporting as Windows Media Using an Avid Supplied Template (Windows Only)
- Exporting as Windows Media Using an Existing Windows Media Profile (Windows Only)
- Creating a Custom Video Profile for Windows Media Export (Windows Only)
- Creating a Custom Audio Profile for Windows Media Export (Windows Only)
- Exporting as Windows Media Using a VC1 Resolution
- Exporting Tracks As Audio Files
- Exporting Frames As Graphic Files
- Exporting With the Send To Templates
- Generating Output: Advanced
- Advanced Video Output Calibration
- Using an XLR Adapter for Consumer-Level Analog Output
- Using the Digital Cut Tool: Advanced
- Output Mode Resolution Options
- Outputting DV 50 and DVCPRO HD Media Directly to a DV Device
- Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects
- Selecting Output Formats for 23.976p, 24p, and 25p Projects
- Output Format Reference for 23.976p, 24p, and 25p Projects
- Selecting the Timecode Format for Output
- Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding
- Indicating the Destination Timecode Rate
- Selecting the Video Pulldown Cadence
- Performing an Insert Edit with Pulldown
- Digital Cuts and Audio
- Changing the Default Pulldown Phase for Sequences
- Understanding DV Digital Cut Delay
- Delaying the Sequence for a Digital Cut
- Using EDL Manager
- Using FilmScribe
- Understanding Matchback
- Vertical Blanking Information
- Preserving HD Closed Captioning and Ancillary Data
- MultiCamera Editing
- Understanding Grouping and Multigrouping Clips
- Creating Group Clips
- Creating Multigroup Clips
- MultiCamera Displays
- MultiCamera Editing Techniques
- Switching Clips with the Arrow Keys During Multicamera Editing
- Numeric Keypad and Mouse Support for MultiCamera Editing
- Editing and Playing Back a Linecut in MultiCamera Mode
- Using the Add Edit Button During Multicamera Editing
- Understanding the Group Menu for Multicamera Editing
- Using the Group Menu for Multicamera Editing
- Using the Multi-angle View Menus During Multicamera Editing
- Using Match Frame in MultiCamera Editing
- Committing MultiCamera Edits
- Selective Camera Cutting
- Using Settings
- Using the Settings List
- Understanding Settings
- Defining Settings
- Viewing Settings
- Displaying Project Settings
- Working with Settings
- Selecting Another User
- Modifying Settings
- Working with Multiple Settings
- Duplicating Settings
- Naming Settings
- Selecting Among Multiple Settings
- Deleting Settings
- Restoring Default Settings
- Copying Settings Between Settings Files
- Using Site Settings
- Manipulating Settings by Importing User Profiles or Copying Files Manually
- AMA Settings
- Audio Settings
- Audio Project Settings
- Bin Settings
- Capture Settings
- Communication (Serial) Ports Tool Settings
- Composer Settings
- Controller Settings
- Correction Settings
- Deck Configuration Settings
- Deck Settings
- Deck Preferences Settings
- Dynamic Relink Settings
- Effect Editor Settings
- Export Settings
- Export Settings Dialog Box Options
- Export Settings: QuickTime Reference Options
- Export Settings: QuickTime Movie Export Options
- Export Settings: QuickTime Movie Settings
- Export Settings: QuickTime Compression Settings
- Export Settings: HDV
- Export Settings: DV Stream
- Export Settings: OMFI, AAF, and AFE
- Export Settings: AVI (Windows Only)
- Export Settings: AVI Video Compression (Windows Only)
- Export Settings: Windows Media Export Options (Windows Only)
- Windows Media Legacy Template
- Existing Windows Media Custom Profile
- Windows Media Options Video Settings
- Custom Profile Audio Settings for Windows Media Export
- Export Settings: Audio
- Export Settings: Graphic
- Export Settings: Graphic Format
- P2 Export Settings
- Export Settings: XDCAM
- Film and 24P Settings
- Full Screen Playback Settings
- General Settings
- Grid Settings
- Import Settings
- Interface Settings
- Interplay Folder Settings
- Interplay Server Settings
- Interplay User Settings
- Keyboard Settings
- Marquee Title Settings
- Media Creation Settings
- Media Services Settings (Windows Only)
- Mouse Settings
- PortServer Settings
- Remote Play and Capture Settings
- Render Settings
- Safe Colors Settings
- Script Settings
- Sound Card Configuration Settings (Windows Only)
- Timeline Settings
- Trim Settings
- Video Display Settings
- Video Input Tool Settings
- Video Output Tool Settings
- Workspace Settings
- Using the Settings List
- File Format Specifications
- Resolutions and Storage Requirements
- Compression and Avid Editing Applications
- Monitor Display Resolutions
- Compression and Resolutions
- Resolution Specifications
- Resolution Specifications: HD
- Resolution Specifications: JFIF Interlaced
- Resolution Specifications: JFIF Progressive
- Resolution Specifications: Multicam
- Resolution Specifications: Digital Video (DV)
- Resolution Specifications: MPEG
- Resolution Specifications: VC1
- Resolution Specifications: AVC-Intra
- Support for Uncompressed HD Media
- Mixing Resolutions
- Resolution Groups and Image Quality
- Storage Requirements
- Maximizing Drive Space
- Managing Storage to Improve Playback Performance
- Working in a Film Project
- Understanding 24p Media
- Understanding 25p Media
- Planning a 24p or 25p Project
- 24p Workflow: 24-fps Film Source, SDTV Transfer, Multiformat Output
- Offline Workflow: 24-fps Film Source, SDTV Transfer
- Online Workflow: 24-fps Film Source, SDTV Transfer, Multiformat Output
- 24p Workflow: 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output
- Offline Workflow: 24-fps Film or HDTV Source SDTV Downconversion
- Online Workflow: 24-fps Film or HDTV Source, SDTV Downconversion, Multiformat Output
- 25p Workflow: 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output
- Offline Workflow: 25-fps Film or HDTV Source, SDTV Downconversion
- Online Workflow: 25-fps Film or HDTV Source, SDTV Downconversion, Multiformat Output
- Audio Transfer Options for 24p PAL Projects
- Planning a 23.976p NTSC Project
- Creating a 23.976p NTSC Project
- Tools and Settings Information for 23.976p Projects
- 23.976 Workflow: 23.976-fps Film Transfer or HD Video Source, SDTV Downconversion, Multiformat Output
- Offline Workflow: 23.976-fps Film Transfer or HDTV Source, SDTV Downconversion
- Online Workflow: 23.976-fps Film Transfer or HDTV Source, SDTV Downconversion, Multiformat Output
- NTSC Audio and Video Captured Separately (23,976p Project)
- Limitations for 23.976p Projects
- Film Project Considerations
- Understanding the Film-to-Tape Transfer Process
- Transfer of 24-fps Film to NTSC Video
- Transfer of 24-fps Film to PAL Video
- How Avid Editing Applications Store and Display 24p and 25p Media
- Film-to-Tape Transfer Guidelines
- Film-to-Tape Transfer Quality Options and Production Aids
- Working with Stereoscopic Material
- Working with HD Media
- High-Definition Television
- HDTV Workflows
- Editing in HD
- Understanding Options for Changing the Project Format
- Changing the Project Format
- Understanding Options for Modifying the Sequence Format
- Converting a 23.976p NTSC Sequence to 720p/23.976
- Mixing SD and HD Material in a Project
- Displaying Formats in a Bin
- Editing at 60 fps
- Working with True 24 FPS Timecode
- Transcoding HD Media
- Video Color Space for HD
- Working with HDV
- Understanding HDV
- HDV Basic Workflow
- Capturing and Importing HDV
- Capturing HDV
- Importing HDV
- Playing Back HDV Media
- Rendering and Transcoding HDV Media
- Outputting HDV
- Long-GOP Splicing for HDV Encoding
- Exporting to an HDV Device
- Outputting HDV through Avid Input/Output Hardware
- Exporting an HDV Transport Stream
- Exporting HDV as Windows Media
- Finishing HDV on Avid DS
- International Character Support
- Using a Local Language Operating System (Windows Only)
- Choosing a Locale on an English Language Operating System (Windows and Macintosh)
- Non-English Character Support (Macintosh)
- Non-English Character Support (Windows)
- Using Foreign Keyboard Mapping (Windows Only)
- Recommendations and Restrictions for International Character Support
- Tips and Limitations for International Character Support
- Using the MCS3 Controller
- Index
19 Using Settings
652
Audio Project Settings
The following topics describe options available in Audio Project Settings.
You can save multiple Audio Project settings and select one as the active setting. If you edit
an inactive setting, your Avid editing application does not display items that are not saved.
For example, Mix Mode is not displayed in an inactive setting because it can’t be saved in
the Project settings.
n
The Direct Out mode is saved in the Audio settings, not the Audio Project settings. You set it
in the Output tab of the Audio Project window but the system saves the value in the active
Audio settings.
Audio Projects Settings: Main Tab
The following table describes options available in the Audio Projects Settings: Main tab.
Option Description
Sample Rate Allows you to select audio rate settings for the entire system for playing and recording.
The following options are available:
• 32 kHz
• 44.1 kHz
• 48 kHz
• 88.2 kHz
• 96 kHz
The broadcast standard for most high-end video postproduction houses is 48 kHz. Select
the rate based on the requirements of your facility.
For information on changing the sample rate for individual sequences and audio clips, see
“Changing the Sample Rate for Sequences and Audio Clips” in the Help.
Audio File Format Select the file format for the audio:
• WAVE (OMF): Compatible with Windows applications.
• AIFF-C (OMF): Compatible with many third-party applications, including Pro Tools.
• PCM (MXF): Enables easy exchange of material between servers, tape streamers, and
digital archives.
Select the WAVE or AIFF-C for all audio media when you need to transfer audio media
files directly to a Pro Tools system for audio sweetening.
n
Media Composer has limited support for Sound Designer II™ audio. See “Working
with Sound Designer II Audio Files on Macintosh Systems” in the Help.