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soundBlade HD User Manual

1. occcccnnccconcccnccccnnnccanncnnnncnnnnconannonanconancnnannanas 79 4 7 SIRE DN M T 79 Page 4 4 8 4 8 1 4 8 2 4 9 4 9 1 4 9 2 4 9 3 4 9 4 4 9 5 4 10 4 10 1 4 10 2 4 10 3 4 10 4 4 11 4 12 4 12 1 4 12 2 4 12 3 4 12 5 Chapter 5 5 1 gt A C N 5 2 5 2 1 5 2 2 5 2 3 5 2 4 Dial EDE Mode UTD ETE TERMIN 80 The Master Slave Men ls t rc 81 RAVNO BOM EDS a ci tes aa alo eds 82 Source to Destination Editing ccccseeceeeecsecceeeceeecseccseecseecaeeeegeeeeeseaeesasesaeees 83 Manipulating In amp Out Edit Points cooccccncnccccnccncnnnncnnnnnncnnnnnonancnnnnnononconannnnannrnnnnrnnnnnenannnnaness 84 cel elelljocME UR NT Cr oi 85 Edit Target o a m PUR 85 Insert versus Replace usc dd 97 Types ot Source Destination EGItS unii io o e eo cue ovi re queo ee ee 87 WIGHT CIENT CN IV OOO nn 88 Edit Targets Tor Multi Channel a aa d tore iba Decade lost Ren acad 89 Edit Groups for Multi GCHanrnel z i aerea er EUIS ee i 89 Other Controls aaa seen ee 91 Mutichannel Applications core o Dese 93 Project Sample Rate menean ia add 94 Adv nced PO m 94 PANU MNO eane a a uanasseniesuetace dens 96 Mack INTO Getic escent acs ead 96 ANVOrQADOUL FO Sy iR 98 eX III ol aaah aes 100 Recording PA rero n 104 A SLEDS to BecordiDigce sucede liada 104 Opena NeW Pro Ec Ud d sr pH EE eer i p
2. 3 9 3 Splitting a segment into new segments Occasionally existing segments need to be split in separate segments before further editing can be performed This can be achieved by manually creating a new Crossfade within a segment To create a new Crossfade simply place your cursor at the desired location and double click This moves the Edit Point to the click location Then select Edit Create Crossfade from the main menu A new Crossfade is created at the location of the Edit point Also see section 3 8 2 above for information on deleting segments 3 9 4 Manipulating Fades With Crossfades the FadeTool can also be used to modify or move the fades either as a complete Crossfade or as individual Black Fades When the cursor is moved over a Crossfade it changes into a pair of parallel horizontal arrows The Fade Out changes to red while the Fade In changes to green To move the whole Crossfade either left or right once again hiding and revealing audio on either side simply click and drag the Crossfade to the desired location Release the mouse button to drop the Crossfade at a specific spot To modify the fades individually press the option key while modifying the Fade Out and the Apple or command key while modifying the Fade In With these modifier keys the Fade Tool works as if the fades were isolated as described in section 3 8 1 above While operating on one fade of a Crossfade individually with modifier keys the fade not
3. 8 5 15 To Out Point This command plays a section of sound up to the Out Point The duration of playback is preset by the Play Around Out Point preference See section 8 8 5 below for more information on the Time Display preferences 8 5 16 From Out Point This command plays a section of sound starting at the Out Point The duration of playback is preset by the Play Around Out Point preference See section 8 8 4 below for more information on the Time Display preferences 8 5 17 Play Between In amp Out Points This command starts playback at the In Point and continues to the Out Point 8 5 18 Move Playhead This command lets you place the Playhead at a specific location on the time line When you select this menu item the Move Playhead modal dialog appears Page 180 Move Playhead 00 00 01 22 22 Figure 8 9 The Move Playhead dialog When you enter a new time code address in the Move Playhead dialog and click Move the Playhead will jump to the new location Besides manually entering a new location you can also use the Where button to load the address of the In or Out Point if present while the SRP button loads the locations of any existing SRPs Clicking the Cancel button leaves the Playhead at its original location Note that when the Playhead is visible by disabling the Play Hide Playhead When Stopped toggle you can hover the cursor over the Playhead s location either in the time line or Panels the cursor c
4. Page 88 4 10 1 Edit Targets for Multi Channel With soundBlade HD s Multi Channel Feature you are given a more generalized editorial environment in which to work In a standard Project as discussed in section 4 9 3 1 above EditTargets default to a vertical blue stereo Source bar for the bottom two Panels and a vertical yellow stereo Destination bar for the top two Panels Whereas in multichannel mode EditTargets are assignable to any individual Panel and can be applied to up to 16 Panels simultaneously Edit Targets in multichannel mode are more generalized than with a standard Project In multichannel mode they visually transform into small round buttons matching the other Panel controls and retaining their functional color coding They can be either a blue Source a yellow Destination or a gray None an inactive state The None EditTarget simply indicates that the designated Panels are neither Source nor Destination and are inactive for most editing commands Source and Destination Edit Targets control in Edit Point editing what Panels and associated tracks are used as source material for Insert or Replace commands and which Panels and tracks will be Destinations receiving a copy from the Source or some other modification In Edit Point editing Sources Panels are never modified An exception to this is Cut Copy Paste and drag amp drop editing which unlike Edit Point editing do not honor EditTargets 4 10 2 Edit Groups
5. i M2 E Co LLL Figure 6 13 The Master Section 6 5 2 Master Fader The Master Section resembles a master fader section of a typical mixing desk and features a number of elements Most important of these at right is a Master fader Page 129 Figure 6 14 Master Fader of the Master Section The Master Fader controls output amplitude across all buses As with the Strip faders discussed in section 6 1 1 1 it has an amplitude scale at the left with three triangular hot spots for rapid gain setting Clicking on a hot spots instantly moves the fader to the corresponding preset position Below the fader is a gain call out field where the gain setting of the fader can be manually entered as a numerical value To alter the master fader s position a new value can be manually entered in this field and after confirming the new value with the Enter key the fader will move to the corresponding position Also at the bottom a dim button is found Clicking the dim button immediately moves the fader to the predefined position of 20 dB returning to it s original position when the dim button Is disengaged When the dim button is engaged it s label color changes to red to indicate that dim mode is active 6 5 3 Additional Indicators Above the master fader are additional useful indicators The top field represents your interface s current sample rate It can be changed via the Audio I O Preferences window discussed in section 5
6. u p wm o oe I MLLULIIJ E EE n KA EE a I eT Est PA 7 E a E L m m LI T a 73 7 z a I 11 LE 1 pa EOD n m b om mr cen x a rai i m EEH HHE HH Bc mmt MCI ii A E E O k a E L Li LI le www sonicstudio com r a 3 m i FI 34 Hg JH Hull EPI i momo mom mom z a li BE li ena A EI ema LN j m c E a a a ISI EN A k L E L a LT E i i pt rt soundBlade HD User Manual Table of Contents studioCare Support Program eseeseeeeeneee nne nne nini nni ana nnn nan 15 Why Do You Need studioCare eeseeseeeseeeeeen nnne nnne nnnm nenne nnne nnus nnns nans 15 WhatisstudioCare ssl allioli 15 Annual Support Maintenance Programs occcoccccccncccanoncncnnccancnanonnnranocanennnrnnncanennnennronnrnnnenanenars 15 On Demand SUDD ORO Me MNOS nessitvestesite i uM eus ee a geratur iaa a 16 Chapter T Introduction icsoso vct osi or i eb Fd al cnn N UR bed E UV EED ENEVA IR EEFUE 17 Chapter2 Quick Start ooo cives t iaa cil 18 2 1 Berore You BE Met iio 18 2 1 1 ReGUNEMEN S 2 A AAA A 18 2 1 2 INS TIS RENTE OE TEL TU eoo 18 2 2 Creating CDs With sounaBlade HD itr eee bid 20 First ASSEMBIS YOU Wero c RU 20 Second Edit and process segments and Tracks aa 20 Third AUIUSEIETPOSSIQ
7. Editing sequencing and delivering your material for a variety of distribution formats e Composing and manipulating your material while adding AU and VST based plug ins to perform EQ dynamic processing and other effects e Restoring compromised audio to a marketable state e Premastering and creating a reliable replication master for a CD title soundBlade HD runs on any Apple Macintosh with 10 5 8 or newer including laptops making it highly portable The optional Series 300 DSP I O Processors are high fidelity FireWire attached audio interfaces and signal processors and are an excellent fit for soundBlade HD So you can take your studio with you whenever and wherever needed 00 soundBlade for graphics Project eoo Meters Output eoo Mark Info soundBlade Project AQ rr STU T7 eras 00 14 57 28 90 00 01 00 00 14 57 28 00 00 00 00 00 00 01 00 00 00 00 00 00 00 00 00 Compress Track 1 p Master Track 2 Track 3 Track 4 gt Mastering bands soundBlade HD User Interface windows Page 17 Chapter 2 eere QUICK Start 2 1 Before You Begin 2 1 1 Hequirements At a minimum soundBlade HD requires the following Apple Macintosh Intel 2 6 GHz minimum or faster preferred 1024 x 768 pixel or larger display e 4 GB RAM minimum 8 GB or more preferred o OS 10 5 8 or newer e spare USB port for iLok Smart Key optional Series 300 DSP 1 0 Processor or other Fir
8. To use the Edit Recording option choose Windows New Soundfile Preferences Select the Edit Recording option and initiate a recording Open the sound file in another Project from the one in which you are recording it You can now drag the Out fade as the audio is recorded and use the EDL gt Refresh command to update the waveform display This feature provides an auto save function as the file is updated continuously during recording If anything happens to interrupt the record the file will be intact up to the moment of interruption Page 112 Note that when the Edit Recording option is selected soundBlade HD uses about 1596 more disk bandwidth for a stereo recording so hard drive performance may be affected 5 3 Automated Punches When the length of a recording is known in advance soundBlade HD can be set to record for a preset duration This timed recording can be used for unattended recording conserving disk space or to replace parts of pre existing material in one or more Panels To automate a recording a number of options are available 5 3 1 Recording a selection or segment Select a region of the desired length in the Panel s where recording should take place then initiate the recording When the recording is started it will commence at the start of the selected region and stop automatically at the end of the selected region This is useful for a quick pick up or one shot timed recording Alternatively
9. warning will appear This warning indicates that for one reason or another Page 131 soundBlade HD cannot operate in real time As soon as SSE is once again able to operate in real time the saturation indicator will extinguish One reason you may see this warning is that on start up the SSE was not immediately able to run in real time due to housekeeping chores This can be ignored as things should run smoothly once all the required internal setup is completed Another situation that can easily cause SSE overload is large amounts of channel monitoring plug in processing or some combination of the two If this occurs you may have to export the audio with the instantiated plug ins to consolidate the processing See section 8 1 12 for more information on exporting Note that contrary to Strip plug ins Master Section plug ins cannot be linked because only stereo plug ins should be used 6 5 7 Details Button Finally at the top left of the Master Section are four more buttons Clicking on the Details button opens or closes the Meter Details window Meter Detail 1 2 5 4 10 83 13 23 15 20 12 80 SERE NEC 24 40 E INF mr INF IMF 5 6 T amp aL EU 19 16 12 57 EL 21 48 26 69 20 12 23 52 NFL IMF imr INF eo Figure 6 15 The Meter Details window The Meter Details window has three rows at the top with as many columns as you have output buses The three row
10. A1 4 6 3rd Party Applications We recommend that you do not run non audio applications while performing audio production Microsoft s Office suite is poor at multitasking with audio applications as is Retrospect and other chatty applications that routinely scan or address volumes or network ports Such activity can cause drop outs in you finished material A1 4 7 iLoks Your License Your iLok is your soundBlade license f it is lost stolen or broken your license is lost and can only be replaced by purchasing a new copy PACE s zero downtime insurance is your best choice for protecting your soundBlade license A1 5 Delivering DDPs DDP file sets created by soundBlade always in their enclosing folder can be copied to any writable medium you choose DVD R or hard disk for transport to your replicator Check that the medium you choose has enough space to hold the file set Also check with your replicator to determine which medium they can handle and whether they are even capable of using DDP as an premastering format Many bargain companies are not ready to handle DDP deliveries so Page 237 we at Sonic Studio suggest you find a reputable facility that does accept DDP file sets of your valuable masters Here are some specific suggestions First use DVD R blanks rather than CD Rs to deliver your DDP file set That way the replicator is less likely to confuse your CD R with DDP files as a CD ROM job and replicate 1000 CD ROM
11. Page 107 X Internal WC 44 17 46 WC 88 296 WC 176 192 WCEx2 56 44 1 48 W x255 98 296 WCx25b5 175 192 AES 1 1x AES 1 2x AES 1 4x AES 2 1x AES 2 2x AES 2 4x AES 3 1x AES 3 2x AES 3 4x AES 4 1x AES 4 2x AES 4 4x Internal Figure 5 3 Clock source selection In addition due to Mac OS restrictions the sample rate must be set to match the incoming clock source even when an external clock source is selected X Internal 44100 0 Hz Internal 48000 0 Hz Internal 88200 0 Hz Internal 96000 0 Hz Internal 176400 0 Hz Internal 192000 0 Hz Figure 5 4 Sample rate selection The settings in the Audio l O Preferences window reflect the settings in Audio MIDI Setup at the instant you open the Audio I O Preferences window However the information in Audio I O Preferences are not dynamically updated if anything in Audio MIDI Setup are changed while the Audio I O Preferences window is open To make sure that the Audio I O Preferences window accurately reflects the current setting of Audio MIDI Setup press the Re Scan I O button This updates the Audio l O Preferences and re loads the current settings from Audio MIDI Setup To open Audio MIDI Setup from within soundBlade HD click the Audio MIDI Setup button in the Audio l O Preferences window Page 108 Note that any new settings in the Audio l O Preferences window come into effect immediately However only
12. and the Track Bar discussed in section 3 9 The data underlying the whole of the two Panels with Marks and all data describing the audio program is also referred to as the EDL and is saved as a separate file within each Project s folder at State Good Bad Gat My Heart Is Heav mae Figure 3 3 Waveform display with Marks above the Panels To the left of the time line a drop down menu is located for selection of the Project default sample rate It will be discussed in section 4 9 below Page 25 Above the time line and Marks are the transport controls They offer dedicated buttons for play stop fast forward rewind and record Also along this bar are the SRB Deliver or Burn and Marks buttons The function of these are explained in sections 4 7 4 9 4 7 and 4 5 respectively Figure 3 4 A Project s Transport Controls Finally at the top of the main window are time displays on the left for the Playhead and on the right for edit locations In the middle is a display showing the current location of the Playhead and other time information related to that Project 3 3 Starting a Project Opening Files 3 3 1 Opening Projects To create a new Project select File New Project from the menu bar A blank default Project opens Alternatively you can open an existing Sonic Studio Project by selecting File Open Project from the menu bar This brings up a standard Mac OS browser dialog for finding and selecti
13. A Crossfade is placed to transition across the deletion Note that as with all editing in soundBlade HD if both an In and Out Point are present and the Out point is after the In Point then they take precedents over both selected region and segments If only an In Point is present then the command will not work Finally if both an In and Out Point are present the Out point is after the In Point and the edit points are inside Edited Black the empty area between segments then that region defined by the edit points will be deleted and downstream audio will be moved left 8 3 8 Clear Selection Clear Selection works similarly to the Delete Selection command The Clear Selection command clears the selected segment region or area defined by Edit Points but does not move any other audio on the time line Page 167 8 3 9 Replace The Replace command replaces a selection or area between In and Out Points with a selection or Segment from another Panel If the selection from the source Panel is empty or no selection Is made as a source the destination will be replaced with digital silence The Replace command will replace the contents of the destination Panel s with exactly the same time length as the selected source material All audio within the selection to be replaced will be discarded and replaced with the source material The replace command joins the audio material before and after the replace with a default cr
14. and click Save Multiple files are created based on theTrack Start End PO marks in the EDL The Start of Track name info is used to name each file Exports selection as a 16 or 24 bit AIFF or BWF file Show Console Log 364 Print EDL Sound File Paths Print Segment Info Print Selected Segment Info Formatted Print Selected Segment Info Print SRP Info Write SRP Info to File Send Crash Report Print Desk Info Enable Debugging Export AIFF Fast Export EDL As r 24 bit AIFF 16 bit AIFF 24 bit BWF 16 bit BWF 8 2 25 Quit Selecting Quit from the File menu begins the process of closing the application Any open Projects that have been modified will produce a modal dialog asking you to determine the Project s fate See section 8 1 6 above for more information on this dialog Note that your iLok is your soundBlade HD license If it is lost stolen or broken your license is lost and can only be replaced by purchasing a new copy PACE s Zero Downtime insurance is your best choice for protecting your soundBlade HD license Page 164 3 3 The Edit Menu Undo Select Segenents X2 Cut MX Copy xc Select All X A Deselecr All xD Delete Selection e Clear Selection X Replace Fi Insert Fl Replace Convirained g Move Segments n Segment Gain Reverse Polanty Nudge Hamen Edit Segment Name Syrie ERP bo Wherever xr Swe SEP To In Paint Hera Edit Fade Mode HE Loca and Fill Editing Auto Tool Ov
15. called VST Sonic is created when installing Sonic EQ 2 6 1 or later and is located at Maclntosh HD Library Audio Plug ins Sonic Studio recommends that all soundBlade users installl Sonic EQ prior to use On Launch soundBlade 2 0 2 will look for a VST Sonic folder in your System Plugins folder If this folder is found then the Standard VST folder is not scanned during launch Sonic Studio recommends that any VST plug ins necessary for use in soundBlade be duplicated from the VST folder to the VST Sonic folder in your Audio Plug ins folder Page 75 4 6 1 1 Plug In Maintenance Due to the rather poorly defined nature of the VST plug in architecture we recommend that all soundBlade HD users review their complement of plug ins prior to installation User feedback suggests that many problems when launching soundBlade HD can be traced to incompatibility with a particular plug in If you notice instability on start up a plug in may be to blame A quick way to test this is to hold down your option key on start up which disables all plug ins If you find that a particular plug in causes problems please e mail us at support 2sonicstudio com and let us know the specifics so we can work with the vendor to fully support your plug in for future releases Our Support FAO provides details about disabling plug ins If both an AU and a VST version of a plug in is available from a vendor we highly recommend that you disable any VST vers
16. not numerical keypad Page 243 Desk Select Desk Setup A Select Desk Setup B CD Prep Create Track Start Mark Create Track End Mark Delete Marks Edited Black to Marks Edited Black to Start Marks Mark Info window System Audio I O Setup Preferences Select Nudge Size A Select Nudge Size B Select Nudge Size C page up page down F9 F10 command F12 command option F9 command F9 command M option A command comma control 1 control 2 control 3 Page 244 Page 245 Appendix 3 Contextual Menus Control Clicking In the Waveform With a selection active Export Sound File Export Sound File command Create Segment Create Segment from Selection command Zoom To Selection Zoom To Selection command List of available plug ins select plug in to instantiate On a segment sTitle Bar or a selected segment s Drag Bar Help not implemented Move Segments Move Segment command Segment Gain Segment Gain command Reverse Polarity Reverse Polarity command Set Polarity flips polarity from current state Reset Polarity forces polarity to parent sound file state Build Waveforms Build Waveform command Export Sound File Export Sound File command Reveal Selected Segment Files in Finder shows the location of the selected segment with Mac OS browser Selection from Selected Segments creates a time region selecti
17. removable drives as well near line optical drives That said not all mountable storage devices are suitable for reliable real time or higher speed reads and writes of sound files Always run soundBlade SE from the boot volume Always store all files involved in your jobs on direct attached local volumes internal ATA FireWire FC SATA or SAS are acceptable USB attached Page 235 storage peripherals of any kind should never be used Also disks must have more than enough free space to store record and playback all of your sound files 1 Although you may find it will actually work never use LAN or WAN networked flexible media or optical drives to record or playback sound files due to their excessive latency Always copy files from those storage types to a dedicated local direct attached hard disk or FC networked storage Fibre Channel first then use that disk for all soundBlade SE work 2 When creating copying or moving files consider the file name and path name Use short path names and employ only alphanumeric characters The only non alohanumeric characters that should be used are the hyphen and underscore characters Other characters such as Q 4 8 C L and will very likely cause problems in your work A1 4 3 Permissions Check that you have read and write permissions for the entire application package Holding down the control key and highlighting the application will spawn a contextu
18. will need to be used More in depth information on how to use and setup the Desk is given in Chapter 6 After coverage of the Desk Chapter 6 also provides examples of bouncing audio through the Desk and back to disk When setting up a recording you need to patch the Desk Think of M1 2 as sends routed to the Core Audio or Series 300 outputs while M3 4 act as a bus internal to soundBlade HD though they are available at the output of your Series 300 l O Processor or Core Audio device if it supports more than 1 stereo output pair To record audio from Panel to Panel it is also necessary to understand that sound can only be bounced from Panels 3 and or 4 with Panels 1 and or 2 acting as recording destinations Page 114 5 4 1 Simple Bounce To perform a stereo bounce from Panels 3 and 4 into Panels 1 and 2 do the following Edit the audio to be captured and or processed in Panels 3 and 4 Select Panels 1 and 2 and arm those Panels for recording Remember to set or change the desired New Soundfile Parameters if necessary If using Multiple EDLs define the top EDL as Master and the bottom EDL as Slave from the Master Slave pull down menu labeled None by default This forces both EDLs to play in sync If not using multiple EDLs no definition of Master or Slave is necessary since the tracks are already synced oet up the Desk to perform a bounce from Panels 3 and 4 into Panels 1 and 2 Patch the Desks inputs for M3 M4 M
19. 00 00 00 30 fos nor Source Track 10 80090909 e 00 00 20 00 00 00 40 00 00 04 00 01 AI Track 2 90900 30 fps NDF 3 PF Figure 4 19 Dual EDL mode This dual EDL mode means that each EDL has Its own time line and own independent zoom amount One limitation of dual EDL mode is that since the Desk s state is linked to currently active Project the Desk will switch configurations as either EDL is selected 4 8 1 The Master Slave Menu When soundBlade HD is in dual EDL mode an additional menu appears in the upper left corner of each EDL the Master Slave menu Page 81 F 1 e Mone Master Slave LIC Movie Figure 4 20 The Master Slave menu This pop up defaults to None with four additional choices 1 Master The Master setting will allow the designated EDL to command a Slave EDL to play in sync 2 Slave Conversely the Slave setting will cause the designated EDL to follow a Master EDL when playing 3 LTC Slave The LTC Slave setting in conjunction with appropriate Series 300 hardware and an enabled LIC reader will cause the designated EDL to follow incoming longitudinal SMPTE EBU time code when running See section 8 9 12 for information on the LTC time code reader 4 Movie Quicktime Interlock Slaves the EDL to the timecode stamp of an opened Quicktime movie 4 8 2 Playing Both EDLs When the Multiple EDLs preference is enabled an
20. 79 Loop And Fill 171 LTC see time code 212 213 LTC Slave 82 215 M 1 4 47 114 119 123 133 160 Mac OS 235 maintenance DiskWarrior 235 file systems 235 permissions 236 plug ins 236 storage systems 235 Mark Info PO Delivery Tab 54 100 Marks Analog Black to Marks 183 Delete Mark 183 Edited Black to Marks 184 End Mark 182 Index Mark 182 locking Marks 183 Mark Info 182 Start Mark 182 Start of Track 97 184 unlocking Marks 183 Mark Info 52 94 97 182 200 Extended Listing 99 Total Tracks 53 99 Track Listing 53 Mark menu 182 Master 82 Master Slave menu 81 Master1 4 123 Page 260 Master Section 128 Clear button 133 Details button 132 dim 130 hot spots 130 Lock indicator 130 Master plug ins 131 Output button 133 plug ins 131 Reset button 133 max sample finding 191 metadata 234 BWF 27 156 CD Text 210 238 PO 183 206 Project 156 159 waveform 160 meters 200 overloads 131 peak hold mode 131 Meters window 128 Meter Details 132 Minimum Index Width 210 Model 302 141 Sonic Console 145 monitor controls 122 Mute 122 Solo 122 mono editing mode 196 Move Edit Point to submenu 190 Move Forward Backward 193 Move In Out Point 188 Move In Point to Out Point 188 Move Playhead 180 Move Segments 169 Move Track Up Down 175 Move View mode 33 moving PO Marks 49 MP3 23 Multi Channel 16 channel Page 261 16 channel 77 88 90 207 Mute Track 178 New Project 153 154 N L toggle
21. 92 New Project 155 New Soundfile Preferences 217 New Track 172 NoNOISE II 219 Normalize 72 Now Local Time toggle 92 Nudge A B C 205 Nudge Auto Audition 65 Nudge Right Left 187 Nudge Segment 170 Offsets 97 210 Disable Offsets 210 End Offset 210 Minimum Index Width 210 Restore Defaults 210 Splice Offset 210 Start Offset 210 Track 1 Offset 210 Track Start 210 Open DDP Image 156 opening Broadcast WAV 27 156 DDP file sets 156 157 Open DDP Image 157 Open Desk Setup 127 197 Open Desk Setup A B 197 Open From File 197 Open Project 156 Open Recent 156 Open Sound File 156 Orange Book 23 OUT field 44 45 Output button 133 Out Edit Point 84 Page 262 OUT field 32 overloads 131 Panels Show Hide Gain Overlay 173 Show Hide Text 173 standard large size 175 Panner 127 200 Paste 166 Paste Constrained 166 Paste Insert 166 Paste Overlay 167 Paste Replace 166 peak hold mode 131 peak level finding 191 Percent field 150 permissions 236 playback 29 Around Selection Center 179 Between In and Out Points 180 From In Point 180 From Out Point 180 From Selection 179 Move Playhead 180 Repeat Play 178 Stop All 178 to End of Selection 179 to In Point 180 Playhead 29 hiding the Playhead when stopped 181 moving the Playhead 180 Playing Auto Tools 208 Play Around In Out Point 205 Play Between In and Out Points 180 Play From In Point 180 Play From Out Point 180 Play menu 177 Play to End of Selection 179 P
22. Button sd 133 6 5 9 ROset 0 06 fee re c c 133 6 5 10 Output BUON me ttc cm 133 6 6 Bounce ExaBples cveecact seni en aer diver a date NU mUE EN UM RE Un OA IE 133 Chapter7 The Background Manager ooccocccoccocccoccconconaconccanccnnconcranconaronnnas 147 7 1 The Audio CHN uon too extat duc euet itid epa dote out Lam Mc dd 148 7 1 1 ADDIVING PFOCCSSES uisa sri hase dk i RR t Eo a par CU E eT Ox e Eon AR e DU UD Fs da dedo Pra m aps fran uu i 148 7 2 The Queue Manager Tabs A AAA 150 Chapters MenUSiunrrineraniia asa 153 8 1 The sourndBlade HD Mens decir ici 153 Page 6 8 1 1 8 1 2 8 1 4 8 1 5 8 1 6 8 1 7 8 2 8 2 1 8 2 2 8 2 3 8 2 4 8 2 5 8 2 6 8 2 8 8 2 9 8 2 10 8 2 11 8 2 12 8 2 13 8 2 16 8 2 17 8 2 18 8 2 19 8 2 20 8 2 21 8 2 22 8 2 23 8 2 24 8 2 25 8 3 8 3 1 ADOUT SOUNGBIAGC AD RE 153 m ci gae pem oO aaa ta 153 Hide soundbBlade EI dessous eris tete ceo n dU stes eGo eet EE LEES Ret aS 154 Pide A 154 Snow Alsace P M RPUNITEE UNE 154 OUI SOUNG BAG A erre 154 MET ES MONU cieie aaas orar beis 155 NEW POLO ca 155 Pe E O pics dusp p qM ducto esed unl dedd 156 Open RECEN AR e LLL 156 Open sound mE RE Tm 156 Open Dial ere ia ei ETT LIT Mmm 156 GIOI E 157 NOW ED NE 158 Open ex B me e PO O a e ean err Pee 158 Cose oD m EE 158 vi oie el BURG dC RET 159 ODER IO
23. C 196 ANDES al Fey a 18 tmt tectus e SCIO D ME ES 196 zB qol bloc 196 Open Des torii o RE 197 Page 11 8 9 3 Bypass AIL EV CIES tailandia 198 8 9 4 PV ASS PACU moreno ia Neto EE 198 8 9 5 Mare o A PP OP 198 8 9 6 MOVOIEVON iio Ls 198 8 9 7 SNOW GAM OV CH a A Ceev itae vom Du cr M E cia d MUS RE cama EL Ed 198 8 9 8 Snow Hide Galt OVERLAY isdem etit o is 198 8 9 9 Bypass Gall BIN PETRO d 198 8 9 10 Create Gan Nodes isa a 198 8 9 11 Select Gan Node A eee enter aie here 199 8 9 12 Lock Unlock Nodes From Selection sidra di cis Coins 199 8 9 13 LOCK UDIK all INOGOS IM rack iii ncn 199 8 10 The VV INCOWS MENU eii 199 8 10 1 EDL Desi A E RS A E AI 200 8 10 2 SONIC EC m EE 200 8 10 3 Mus eme ET 200 8 10 4 A EAr E E E ET A E TEATRET T 200 8 10 5 Matk IN On T T E EE 200 8 10 7 A eS narnia a a a DID M ILIUM 201 8 10 8 Setting Preferences Editing Tools Tab ooccccnncccocccconnccccnccnnncnnnncnnnnnonnnconanconancnnanconannnnaninnas 201 8 10 9 Setting Preferences Time Display Tab eeeeseeeseeeeeeeee enne nennen nnne nenne nnne nnn nnns 204 8 10 10 Setting Prererences EDL TabDoussesecsi inte ext a ae saeua vase dun Usadas educi ut us 206 8 10 11 Setting Preferences Delivery Tab 1lsseessseeseeeeseeee nennen nennen nnne nnn ranas nnn nnn 209 8 10 14 Setting Preferences DESK aiii nda 216 8 10 15 New Soundfile Preferences ccc
24. Gain Overlay function can only be selected when Gain Overlay is shown Option clicking on a Gain Overlay Button will also bypass the Gain Overlay function Page 173 8 4 8 Shovv Hide Desk Events This command shows or hides plug ins in the Panels 8 4 9 Show Hide Gain Overlay The Show Hide Gain Overlay command shows or hides the Gain Overlay in the selected Panel s 8 4 10 Bypass Desk Events When one or more plug ins are selected this command disables the selected plug ins If no plug ins are selected all inserted plug ins will be bypassed Selecting this command again re enables all or the selected plug ins See section 4 6 for more detailed information on plug ins Note that enabled or active plug ins show up as green slots in the Desk Overlay and that disabled plug ins show up as red slots 8 4 11 Create Gain Nodes With Gain Overlay enabled and a region of the time line selected this command creates Gain Overlay nodes at the boundaries of the region To use this function first click drag within the waveform display to select a region Then select Edit Create Gain Nodes to add two nodes at the edges of the Gain Overlay and the selected region Because the Edit Point is really a zero duration selection it can also be used to create a single gain node with the Create Gain Nodes command For more detailed information on working with the Gain Overlay see section 4 5 above 8 4 12 Select Gain Nodes This comm
25. Group letter designators This simplified mode is more commonly used than the letter designations and can be toggled on and off in the Preferences gt Editing Tools tab The default EditTarget mode is stereo as indicated by the stereo panels being in their own Edit Group In Figure 4 21 below the Edit Group for both Panel 1 and Panel 2 are set to A on the left and as a check box on the right See section Page 85 ES Edit Group Selection Menu Edit Group Selection Menu Figure 4 22 Stereo editing mode showing Explicit A and simplified Edit Group V selection modes Mono Edit Group mode 0 05 pdbts A 0 05 0 05 dbfs IA rc 0 05 Edit Group Selection Menu Figure 4 23 Mono editing mode showing Explicit A and simplified Edit Group V selection modes IA 0 05 ES Edit Group Selection Menu Page 86 4 9 3 2 Dual EDL Edit Targets With the Preferences EDL Multiple EDL preference enabled Edit Targets become more generalized The bars of a single EDL Project become round EditTarget buttons Panels in an Edit Group can have one of three states for Edit Target e Source Designated audio is copied from these Source Panel s to the designated Destination location e Destination Source material is inserted or replaces or overlays in these Panel s e None he Panel is not affected by Source Destination editing comman
26. In addition to that when the inputs are selected as source for the meters the numerical value indicators above the meters have a green background to indicate the different meter mode Note that though the master fader is attached to the Master Section as a whole its function does not change with the source selector 6 6 Bounce Examples Overview This section combines information from previous sections into basic recipes providing four variations on re recording or capturing edited sound with processing to a new sound file The first two examples involve built in audio while the last covers external or outboard processing forcing the use of an optional Series 300 I O Processor or Core Audio device One thing you should remember throughout this section Regardless of source always record to Panels 1 and 2 the top two Panels of your Project Keeping that dictum in mind you should plan your Project layout Since the resulting audio will be dropped into Panels 1 and 2 when recording stops you may want to place a sync copy of the original or dry material in Panels Page 133 3 and 4 to Panels 1 and 2 so the newly processed material will be edited in sync for you when you drop out of record To do this start with a basic two point edit with both edit points in the Source Always include handles or extra material on either side of the section to be worked on This assures some latitude when editing in the final piece
27. In the Window Preferences Delivery pane you will find that soundBlade HD has a default preference to always redither the data when delivering either a CD DDP or when simply playing back audio This is necessary whenever any audio data is modified as with a fade or gain change in order to linearize or reduce subtle distortion in the resulting data Redithering is always a trade off between lower distortion and a slightly but audibly elevated noise floor soundBlade HD uses an exclusive spectrally shaped 2nd order or triangular PDF redithering scheme PDF or Probability Density Function describes the amplitude versus frequency plot of the dither generator Our shaped dither is an excellent trade off between audibility and optimal linearity Important Note It s a good practice to prepare all source material needed before Y moving forward with sequencing editing and finishing a new replication master By organizing your source material and storing all relevant data in the same directory your projects will be highly portable easy to archive and you ll avoid situations where files have gone missing from a job because they were not included in the Project subfolder See figure A1 2 below as an example Page 234 ADA soundBlade Project Anatomy Audio files contains original audio files for this project LA DDPs contains all DDPs for this project LA Exports contains all Exports for this project L3 Lists conta
28. LED p cU M DIO Mc IM DUE INE 104 Set New Sound File Parameters e A A Pans viene nin EE E a Au Dep VEO e UN EUR METUS 104 Record Enable zio p a 104 Start YOUP RECOFGING 24i iiciiis uisi iios o sinit idua Lib sica di dede esen oso oti vaeste te cito siete leida 104 Audio RECON Sisa 105 Selecting external input Sa A A elt 105 New Sounatile Par Mets as 109 Track arming and enabling recording cibo ei Insee ni ater teer aeo seo b anie zur E ross pie E SpavED Reb ER UEE 111 jarlaioe aceerelins E E IO SIL II EE 111 Page 5 5 2 6 EGE ROCOMOING E E D lara 112 5 3 AULOMALEG PUNCH Sandi 113 5 3 1 Recording a selection or SEMEN etic sede ss 113 5 3 2 Recording USING OASIS 113 5 4 DONACIONES 114 5 4 1 SIMPE BOUNCE ara iUe o MIU M M LI LEE 115 5 5 Recording and time stamps ssessessesseesees eene nenne nnn nnn rne nne na rne rains 116 Chapter 6 The Desk and Meters oooooccccconocccccoocccconcnoncncononanancnnnnannnennnanos 118 6 1 SINALOA as 118 6 2 Ne EDL DOS ui O ia 118 6 3 Desk SETUD Sai daria 126 6 4 TAC RIN Met dt HN TERES 127 6 5 Meters Window The Master Section cessere enne 128 6 5 1 iUum 128 6 5 2 Mri c 129 6 5 3 ACGILIOMAl INGICATOl cete Em 130 6 5 4 Master IWIGTCI cet 131 6 5 5 Master lud p coat citan CELERE 131 6 5 6 O 131 6 5 7 Detalls BUMOM AAA Ao A saat ananeceaacaantbasaacduutexeenaaauntenceareamnacdiareanays 132 6 5 8 Clear
29. LOSS OF BUSINESS INFORMATION AND THE LIKE ARISING OUT OF THE USE OR INABILITY TO USE THE SONIC STUDIO SOFTWARE EVEN IF SONIC STUDIO HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES BECAUSE SOME STATES DO NOT ALLOWTHE EXCLUSION OR LIMITATION OF LIABILITY FOR CONSEQUENTIAL OR INCIDENTAL DAMAGES THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU Sonic Studio Sonic Clarity SSE soundBlade HD and the Sonic Studio logo are trademarks of Sonic Studio LLC All other company or product names are either trademarks or registered trademarks of their respective owners Chapter 11 PDF contents Copyright O 2007 2012 by Wholegrain Digital Systems LLC All rights reserved All features and specifications described within chapter 11 of this manual are subject to change Wholegrain Digital Systems LLC makes no warranty of any kind regarding the accuracy correctness or sufficiency of the information in this document However we will make every reasonable effort to keep the document accurate correct and sufficient in response to your feedback DynPEO Quartet DynPEO Trio DynPEO and the binary spike device are trademarks of Wholegrain Digital Systems LLC soundBlade HD is a trademark of Sonic Studio LLC Page 16 Chapter 1 Introduction soundBlade HD is an easy to operate yet surprisingly feature rich general purpose application tool for audio production on your desktop soundBlade HD is ideal for
30. Link Pair Link Pairs UnLink All Reset All Figure 6 10 Contextual menu for linking of plug ins in the Desk As with faders selecting one of the letters assigns a group to the individual slot This can be used to link multiple plug ins across all Desk Strips Also plug ins can be linked in pairs When Link Pair is selected from the contextual menu the adjacent plug in slot is selected and linked as a pair If no plug in was present in the slot selected and a plug in was present in the adjacent slot the plug in and the current settings are copied to the slot selected and both are linked To indicate linked slots the slot buttons are labeled with the corresponding letter Page 125 Figure 6 11 Linked plug in slots As with the faders the Link Pairs option in the contextual menu links the slots in Strips 1 and 2 and 3 and 4 into paired slots To unlink a single plug in slot open the contextual menu and select None to unlink the corresponding slot To unlink all slots simultaneously select Unlink All from the menu Notice that the contextual menu also allows you to bypass an individual Strip or group as option clicking does or reset a group or all Strips Note that unlike plug ins inserted in the master Meters section discussed in section 6 4 below plug ins added to a Strip always work as monaural plug ins Although identical plug ins can be paired in the Desk this will not render two paired mono plug ins into
31. Mark Info window for metacharacters such as amp and as well as extended ASCII characters like O A et cetera Mac OS which soundBlade HD uses to write CD Rs does not handle extended ASCII and metacharacters properly Page 51 Finally when delivering a DDP file set we recommend that you always create a new empty folder to contain each DDP file set On the Desktop is a reasonable place for that That makes it easier to archive and seems to prevent common problems 3 11 2 The Mark Info Window To begin the PO Delivery process select the Windows Mark Info command This opens the Mark Info window which displays all the P through W subcode metadata you have defined 3 11 2 1 Global Metadata At the top of the Mark Info dialog are three fields that define global information about the disc The Album Title and Artist generate the disc s global information that when placed in a transport that reads CD Text data will appear on the transport s display CD Text a subset of the CD G specification provides for the embedding of textual information about the overall disc and tracks in the R through W codes of the PO subcode stream of a Compact Disc Many portable and in dash car players can read CD Text data off of a disc but few home players can CD Text should not be confused with network services such as Gracenote s CDDB or FreeDB that attempt to match CDs inserted into a computer drive with an on line datab
32. PO Marks in the Project along with their timings Selecting one of the entries in the drop down list moves the Edit Point to the selected PO Marks without changing the zoom level This allows for a quick and accurate check of the position of all PO Marks 3 11 Delivery After completing the necessary editing of sound and PO Marks the next and final step in your production workflow is to start a Delivery This process creates a new DPP image file set first incorporating all edits and changes ready to be sent to a replication service for glass mastering The DDP file set is then used by soundBlade HD to generate your CD in the background DDP or Disc Description Protocol is the industry standard method for delivering all the data and metadata needed for disc replication to a pressing plant Unlike audio CDs DDP file sets contain error protected audio data plus all ancillary metadata or data about the data DDP file sets when used for replication avoid potential errors that can crop up between the time you create a replication master and the moment that a glass master is created during replication CD DA discs or audio CDs do not protect the audio data from errors since they assume that the CD player will hide or conceal any errors during playback This situation leads to errors in replication when recordable CDs formatted as Red Book audio discs are used as replication masters Note that the DDP files created by soundBlad
33. Point 169 Create Gain Nodes 174 198 Page 252 Create Segment 168 Create Segment from In amp Out Points 169 Create Waveforms Manually 207 crossfade 61 Crossfades 44 deleting 169 Cut 166 DAO Disc at Once discs 56 DDP 23 53 57 100 157 Anatomy of a DDP 157 158 DDPID file 157 DDPMS file 157 DDPPO file 157 Delivery 51 118 file sets opening 26 27 156 157 IMAGE DAT files 157 SD file 157 DDP 2 0 52 157 DDPID file 157 DDPMS file 157 DDPPO file 157 Default Fade 202 default Project 159 combo Text Waveform 72 default time code format 35 Delete Crossfade 169 Delete intermediate files 149 Delete Mark 183 Delete Selected Plug ins 78 Delete Selection 167 Delete Track 173 deleting part of a sound file 43 delivering multiple CDs 102 Delivery 51 209 CD Rs from existing DDPs 101 CD Write Speed 210 Emulation Mode 209 Keep DDP Image 209 Use button 102 Page 253 Write CD Text 210 Delivery preferences 209 Desk Desk A B 126 Desk components 119 Desk preferences 216 opening Desk setups 197 Open Desk Setup 127 Save Desk Setup 126 saving Desk Setups 196 216 setups 126 Desk A B 126 Desk Events also see plug ins Bypass Desk Events 174 Show Hide Desk Events 174 Desk Menu 196 Desk Setups 126 Details button 132 Details window 132 Device CD R DVD R 54 100 122 dim 130 Disable Offsets 210 disc replication 51 DiskWarrior 235 Display Auto Tools 207 dither 2nd order 234 PDF 234 triangular 234 dither 211 Di
34. Project display additional time code subframe information Page 205 8 10 10 Setting Preferences EDL Tab Preferences View EM Show Track Bar M Show Segment Names BB Multiple EDLs Multi Channel EDLs niit J Show NoNOISE Tools EFM Tools Zoom Factor 30 00 Editing Tools Time Display Waveforms Create Waveforms Manually LTC Timecode Desk Foreground Waveforms Background Waveforms Remove Waveforms on close Display Auto Tools E AutoScale On ES Scale to View EM Show Track Scale in dB B Scroll Mouse Down Playing Auto Tools AutoScroll Playhead B AutoScroll Track Play Mode MN Single Play Mode Figure 8 23 The Preference window showing the EDL tab 8 10 10 1 View The View section has the following options e Show Track Bar When checked an additional layer of visual feedback is enabled in the Project This alternate view provides a graphical approach to evaluating and manipulating your PO metadata Existing metadata is displayed from an object oriented perspective whereby each CD Track that will result from your current PO Page 206 placement is shown in grey while the pause between tracks is shown in blue Section 3 9 5 above discusses the Track Bar e Show Segment Names When checked segment names will show in the Title Bar When unchecked the Title Bar of segments remains empty Multiple EDLs When checked new Projects are created with two separate
35. Red Book specifications and shows the result at the bottom of the PO Window Note that Index Marks are infrequently used as most CD players available do not offer the ability to locate to Indexes 4 12 1 Album Info 4 12 1 1 Album Title In this field the title of the album can be entered 4 12 1 2 Album Artist In this field the artists name can be entered 4 12 1 3 UPC EAN Code This is the product s Universal Product Code European Article Number usually displayed as a barcode on the package UPC EAN barcodes are 13 digits and in the United States the leading digit or country code should be set to zero before entering the additional 12 trailing digits 4 12 2 Track Info 4 12 2 1 Track Title and Track Artist These text fields directly represent the title and artist of the selected track in the list below These fields are used to generate CD Text metadata Page 96 soundBlade HD assigns default names to marks and the tracks they generate The Start Marks are numbered and named based on their associated segment s name The End Marks and Index Marks are not numbered and are called End and Index respectively You can assign your own names to the Marks Just select a Mark from the Track Info list type a new name into the TrackTitle field and hit the enter key The new name will appear in the list in the CD Text metadata and also in the Track Bar if visible All this information is saved as part of the Project T
36. Reset Emphasis Delete Mark Move Edit Point To Mark This command moves the Edit Point to the current Mark Lock UnLock Mark commands These commands are discussed above in this section Set Reset Emphasis Also available in the Mark Info window these commands flip the state of the AES EBU emphasis bit for the current mark Delete Mark This command deletes the current mark Page 185 8 7 The Selection Menu set In Point Set Out Point Set In amp Out Points Sl Clear In Point Clear Out Point E ga i m a H 1 P ri z E La LEA 10 XM A PLA Lg Lol Nudge Right gt Nudge Left Ie Move In Point X Move Qut Point X Move In Point to Qut Point A Find amp Set Points ae V Select Nudge 5ize P Set SRP db Set SRP with Text F12 Set Sync SRP F11 SRP from Segment Edit Points Set SRPs from Selection a Lock SRPs from Selection Unlock SRPs from Selection Clear Selected SRPs ee Drop Edit Point at Play Head Edit Point to Playhead X 36 Move Edit Point to k Edit Point to Next Peak E z ox Ht dn Km me amp E LIE E Select start EO Edit P ont Select Edit Point to End A Selection from Selected Segments Select Segments To End DE Select Segments To Start Q 36 select Segments from Selection Figure 8 11 The Selection menu Page 186 8 7 1 Set In Point The Set In Point command drops an In Point at the location of the Edit Point There can only be one In Point in a Pan
37. See section 4 9 4 for more information on Replace edits Note that playing material at 1x speed will not improve the quality during an export so it is recommended that unless real time playback is needed you use either the 8x or Max speed setting as it has better temporal resolution Also during high speed exports the time display and Playhead do not operate in real time and audio is not available at the outputs 8 2 22 Export Tracks This command exports sound files in either AIFF or BWF format in 16 or 24 bit word length based on the Start Mark and End Mark It exports the audio with amplitude changes from segment gain plus any Gain Overlay or plug ins To use this function create a selection by either clicking on a segment s Title Bar or by click dragging in the top Panel to create a time region selection Make sure the top two Panels are assigned on the first two Desk Strips to M1 Out and M2 Out Then choose the destination directory with the Set File button Then set the file type word length and speed Page 160 Optionally you can specify that the newly created material replace the existing The Edit after Export check box performs a Replace edit synchronously replacing the material existing prior to the export with consolidated material created from the export function Once all options are set clicking on the Export button causes soundBlade HD to play the selected region exporting the audio as it plays See sect
38. The Start Offset back times the Track Start time that the player reads to ensure that the beginning of the track will not be cut off by the player End Offset The End Offset prevents the player from muting too early at the end of the track This offset value applies to all End of Track marks including the last Track 1 Offset This setting allows the Start of Track Mark for Track 1 to have it s own offset value This is because Track 1 on a Compact Disc is different from the remaining tracks and requires an extra long offset to allow CD transports to initialize prior to the onset of audio data recovery Splice Offset If a Start of Track mark is not preceded by an End of Track mark from the previous track it is considered to be a splice or segue The Splice Offset applies only to the special case of splices The Splice Offset must always be equal to or less than the Start Offset Splice Offsets are typically a bit more than half of the normal Start of Track offset Minimum Index Width This field sets the minimum time between Index marks According to the Red Book standard Index marks should be at least 1 second apart End marks that are closer to the Start than the Minimum Index Width are ignored Disable Offsets If this button is enabled the offsets shown in the offset windows will not be subtracted from the PO mark times either for display or for delivery Restore Defaults As a fail safe this button will restore all PO offsets to
39. a stereo plug in For plug ins like EO the effect may be that two paired mono plug ins effectively work as a stereo plug in as the control values of the two plug ins will be modified together when linked However plug ins that derive a steering signal from the input signal compressors expanders or generally use a stereo input reverb will continue to work as two separate mono plug ins Only the controls of two paired plug ins will be linked not the actual audio path of the plug ins 6 3 Desk Setups Desk setups static snapshots of the Desk s state are always saved within a Project Thus when opening a previously saved Project the desk s state will be restored to the settings when last the Project was saved Not saved with a Project are two special desk states called Desk A and Desk B These separate desk setups provide two distinct states for A B comparison or recording and playback routing To save the current setup as either Desk A or Desk B first make sure the Desk is open Then select Desk gt Save Desk Setup gt Save Desk A B to save the current state To recall Setup A or B select Desk Open Desk Setup Desk Setup A or Desk Setup B from the main menu Note that desk setups A and B are available in any open Project only during the current run and do not persist across application restarts In addition to this the desk setup including all plug in settings and positions can be saved to a file as well To do t
40. after saving the settings with the save button will the new settings be stored as defaults used for subsequent soundBlade HD sessions 5 2 2 Nevv Soundfile Parameters You must specify where recorded files will be stored and in what format and resolution the recordings will be made To set the sound file parameters or to change the current parameters select Windows New Soundfile Preferences The New Soundfile Parameters window appears e O C New Soundfile Parameters Set Folder Figure 5 5 The New Soundfile Parameters window To select the destination folder for recorded sound files click on Set Folder to open a standard Mac OS browser and select the target destination folder Then click OK to confirm your choices and return to the New Sound file Settings window Note that although it is possible to select a destination for your sound files on external direct attached or network attached volumes this is no guarantee it will work flawlessly Please check that the necessary Quality of Service is supported throughout the entire virtual path to the selected volume This is especially true of USB attached mechanism USB is not suitable for audio production Next the default sound file prefix can be set in the Soundfile field Recorded sound files will be collectively placed in a folder carrying the same name as the sound file prefix Additionally in the Take field a numeric take number suffix can be entered that
41. an entry in the track list to a new location to resequence Tracks Page 68 4 3 1 3 Snap to Zone The third method entails manually dragging and snapping segments to a pre defined song timing It is best to drag segments if you have not created PO Marks to prevent unwanted Mark relocation This drag and snap segments method of resequencing requires that the Snap to Zone preference in the Editing Tools tab of Windows Preferences be enabled Once the Snap Zone preference is set click on a segment sTitle Bar to select it After it s selected all you have to do is click drag on its Drag Bar as you move its head close to another segment s tail You will see either a vertical red or blue bar appear visually indicating you are in the snap zone San Franciscan TT Figure 4 8 The Title Bar and Drag Bar Figure 4 10 The blue flush snap indicator The bold blue bar indicates a flush snap where if you drop at that location the two segments will be tightly butted with no space no Edited Black in between The bold red bar indicates an Page 69 auto spaced snap where if you drop atthat location the two segments will have a precise preset space between The duration of the inter segment spacing is determined by the AutoSpacing Duration selector in the Editing Tools tab of the Windows gt Preferences window Drag and drop with autospacing is useful in conjunction with the Edit Clear Delete Selection commands to start with o
42. be saved discarded or offering to cancel the close window operation 8 2 16 Save Project This will save the current state of the active Project It is saved with its current name and path This command will overwrite any previously saved Project file with that name and path 8 2 17 Save Project As This command lets you save a copy of the active Project under a new file name or different path soundBlade HD allows you to choose either a destination folder or you can navigate to an existing folder If the destination is empty soundBlade HD simply writes the audio and or metadata files as directed If however the destination folder is not empty soundBlade HD alerts you that a potential conflict exists to overwrite files and asks for more direction 8 2 18 Save As Default Project This command save the foreground Project as the default document layout when new Projects are created Since this is a literal save as you should always deploy an empty Project without any sound files opened into the Project before you invoke this command Page 159 8 2 19 Reveal Sound In Finder This command requires a single selected segment As the name implies Reveal Sound In Finder switches context to the Finder and opens a new window with the source sound file highlighted 8 2 20 Build Waveform Files originating from a non Sonic Studio product includes sample values but do not contain the amplitude specific metadata needed to draw o
43. being manipulated will deselect indicated by its color changing to black If you decide that default duration of your crossfade is not right simply hold down the shift key and place the cursor over the center of the crossfade until the cursor changes into the pair of parallel horizontal arrows Click drag up or down and the duration will increase or decrease respectively Note that to be able to do any of the above fade manipulations with accuracy it may be necessary to zoom in until the Crossfade extends over a significant proportion of the waveform display The View Zoom To Previous command will zoom you out to your previous view quickly after such fine adjustments Page 45 3 9 5 Changing the order of songs It is not uncommon that the order in which tracks or songs appear on the final CD needs to be changed There are two scenarios that are applicable to this need The simple case is where PO metadata is already present This would apply if either the command key is held down when audio is dragged into the top Panel of a Project which automatically creates CD Tracks or PO Marks are added manually See section 3 10 1 for more information on manually adding PO metadata in order to use the Track Bar For more information on automatically creating CD Tracks see section 3 10 4 below For more information on CD Track re ordering with the Track Bar the quick and easy method see section 3 10 5 If PO metadata is not present the s
44. beyond the scope of this manual In this appendix we d like to provide some guidelines in order to get the best out your software and establish a smooth and efficient production flow A1 2 Source Material Considerations soundBlade HD handles a variety of source file formats It is therefore very tempting to grab what you need and add it to your Project However some source material might be in formats other than the final 44 1 kHz sample rate and 16 bits word length necessary for CD production soundBlade HD determines the characteristics of the files you import based on the metadata they contain It will warn you if the sample rate is not the required 44 1 kHz where necessary while resolutions longer than 16 bits are rounded down and redithered to 16 bits during the delivery stage Although the word length conversion implemented by soundBlade HD is of very high quality you may consider modifying your audio material beforehand with your favorite utilities Because all your material destined for inclusion in a final CD replication master will eventually be rounded off where necessary to a 16 bit word length any material using 17 to 24 bits must be word length reduced to match the CD DA standard This is usually accomplished by rounding down longer length words to 16 bits Because the audio data is being modified it must also be redithered or subtly randomized with an injection of tiny amounts of shaped noise in order to prevent distortion
45. consolidated type is far more common and that is the type that soundBlade HD saves Note that if you enter CDText metadata in the Mark Info window and the CD Text TS check box is selected in the Mark Info window s PO Delivery tab soundBlade HD creates 2 additional files CDTEXT BIN andTS in the DDP file set The CDTEXT BIN file is used by replicators for the addition of CD Text on glass masters for replication The CDTEXT BIN is created specifically for DDP 2 0 Image file set compliance See Figure 8 1 6a The TS file in the DDP file set is only used by soundBlade HD to add CD Text to CD Rs created by soundBlade HD For more information on delivering CD Text to replication see section A1 5 below See Figure 8 1 6b A OLJUDDP with CDTEXT metadata CDTEXT bin DDPID DDPMS IMAGE DAT SD TS Figure 8 2 6a Anatomy of a DDP folder with CDTEXT Note CDTEXT bin file Page 157 O OLJDDP without CDTEXT metadata DDPID DDPMS IMAGE DAT 5D ajo Figure 8 2 6b Anatomy of a DDP folder without CDTEXT 8 2 7 Make Secure Player soundBlade HD can create Secure Player encryted files Selecting Make Secure Player from this menu invokes a standard Mac OS browser allowing you to create a password protected stand alone Amarra Player with your DDP content securely embedded in the player Nevv Feature Secure Player allows a user to create encrypted passwo
46. e Foreground Waveforms When selected waveforms will be generated in the foreground upon opening sound files for which waveform metadata has not been generated e Background Waveforms When selected waveforms will be generated in the background upon opening sound files for which waveform metadata has not been generated 8 10 10 3 Display Auto Tools The Display Auto Tools has the following options e AutoScale On When enabled the display is scaled vertically so that the maximum peak within the entire Panel becomes full scale This preference provides overall amplitude scaling while maintaining visual context between loud and soft passages Page 207 e Scale to View When enabled the display is scaled vertically so that the maximum peak within the currently visible waveform becomes full scale This preference provides local magnification excellent for fine editing but requires that you refer to the numeric vertical scale to determine the general amplitude Show Track Scale in dB When enabled the amplitude scale is shown in dBFS or dB full scale referenced to a full 24 bit AES EBU data word When off the Panel s amplitude scale is shown as a non dimensional normalized value ranging from O to 1 equating to or silence or full scale respectively 8 10 10 4 Playing Auto Tools The Playing Auto Tools section has the following settings e AutoScroll Playhead When selected the Playhead will move as normal until it reaches the
47. here This allows for quick navigation from one Project to another 8 10 2 The EFM Menu SonicStudio HD has a dedicated EFM menu that has commands for every control in Edit Fade Mode This menu is designed to facilitate scripting of common editing tasks by giving you access to each EFM control setting in the form of a menu command This makes it simple to automate your editing steps with a scripting language such as AppleScript For details on scripting tasks refer to the documentation for your scripting sofware Page 217 Page 218 Chapter 9 eee NONOISE II Sonic Studio s NoNOISE Il is the world s premier tool for restoring vintage and problematic audio recordings The Manual DeClick option precisely removes impulse noise analog or digital overloads harmonic and intermodulation distortion and provides a unique solution to obscenity masking The Broadband DeNoise option is the highest fidelity single ended noise reducer avallable today and can rescue both old and new recordings alike User Manuals for NoNOISE Il FX NoNOISE Il FR and NoNOISE II SR can be found in the Documentation folder of your soundBlade HD application Page 219 Chapter 10 SONIC EQ The Sonic EQ feature provides seventeen different types of filtering with some best used for restoration and damage control while other are excellent for changing color or timbre The EO is available in two forms 1 as a global EO functi
48. in place of an imprecise and potentially colored analog filter network in a phono preamplifier EQ Transfer Furctian Figure 10 13 RIAA de emphasis Page 229 The Emph and DeEmph selection are for 44 1 kHz AES EBU audio The de emphasis type is quite useful when archival material was emphasized during recording but the Emphasis flag was not set The No DC type is a special form of high pass filter designed for archival recordings made with EIAJ adapters so called F1 recorders which were short lived consumer digital audio recorders manufactured by Sony Matsushita and others They employed very simple low cost converters and often injected a large amount of DC offset into the signal to overcome crossover distortion This filter will remove that DC offset Lastly the NoDC DeEmp type is again a special filter for recordings made with an EIAJ adapter that both removes DC offset and applies de emphasis EC Transfer Function Figure 10 14 DC reject plus RIAA de emphasis the NoDC DeEmp 10 2 Sonic EQ Plug in The Sonic EQ feature also provides a plug in version of the same EQ seen in the pre processor form The only difference is that it appears as a single section and applies to wherever in the signal path it is instantiated Page 230 Sonic EQ S EDL 1 1 20 922 Hi Shelf Lo Shelf Hi Pass Lo Pass Band Pass Band Stop Notch RIAA DeRIAA Emph DeEmph NoDC NoDC DeE
49. incremented for each new recording creating unique file names for subsequent recordings Finally the word length and file type for the recording can be set via the appropriate corresponding drop down menu You do not have to close the New Soundfile Parameters window to save your settings When recording in the BWF file format the New Soundfile Parameters window will show additional metadata fields This metadata information will be stored in the recorded BWF file s and subsequently carried to other applications that can read out this kind of information thus providing additional information and identification possibilities 3 8 1 Edit Hecording This option located in the New Soundfile Settings window allows opening viewing and editing of the file being recorded during the recording Page 39 To use the Edit Recording option choose Windows New Soundfile Settings Select the Edit Recording option and initiate a recording Open the sound file in a Project You can now drag the Out fade as the audio is recorded and use the EDL Refresh command to update the waveform display This feature provides an auto save function as the file is updated continuously during recording If anything happens to interrupt the record the file will be intact up to that point Note that when the Edit Recording option is selected it uses about 15 more disk bandwidth for a stereo recording so hard drive performance may be affected 3 8 2 Initiati
50. information on theTime Display preferences 8 7 8 Move In Point Out Point When you select either of these commands this brings up the Edit In Out Point modal dialog Edit In Point 00 00 5 25 02 Figure 8 13 The Edit In Point dialog When you enter a new time code address in the Edit In Out Point dialog and click Move the appropriate Edit Point will move to the new location Besides manually entering a new location you can also use the Where button to load the address of the Playhead or other Edit Point if present The SRP button loads the locations of any existing SRP while clicking the Cancel button leaves the Edit Point at its original location 8 7 9 Move In Point to Out Point This command forces the In Point to replace the Out Point 8 7 10 Find amp Set Points This command places an In Point at the beginning and an Out Point at the end of a selected segment More specifically this command places Edit Points at the edit events for the black fades defining the boundaries of the segment s If multiple segments are selected the In Point is placed at the beginning of the first selected segment and the Out Point is placed at the end of the last selected segment Page 188 Note that this command does not operate on selected regions Also note that edit event locations can affect Mark placement See section 4 1 4 above for more information on edit events inside fades 8 7 11 Select Nudge Size This command al
51. is set a CD player will de emphasize the track on playback The Emphasis flag is set when the button is red Note that digital emphasis is rarely if ever used in modern production This flag provides backward compatibility with archival material that employed emphasis as a form of perceived noise reduction at the expense of reduced high frequency headroom Do not set the Emphasis flag unless you are sure that emphasis was applied to the original data and that it has not been de emphasized prior to use in your soundBlade HD Project 4 12 3 A Word About PO Offsets In the Mark Info dialog the Track Offset field is non editable This because PO Offsets are applied globally based on your Windows Preferences Delivery Offsets preferences PO Offsets are correction factors subtracted from absolute song timing to compensate for deficiencies in real world CD transports They attempt to correct for the variation found with a CD transport s ability to locate to an address fill its audio data buffer unmute the audio output and commence playback Less expensive transports typically require back timing hence the PO Offset to make sure the buffer is full prior to track start so audio is not cut off by the transport s muting circuit With Offsets enabled the factory defaults are very conservative and will produce satisfactory results with even the lowest quality transport but always deliver a copy of your CD and check a range of target trans
52. multi session Track At Once discs in soundBlade HD but this is not recommended as TAO disc are not universally interoperable That is they will not play in all CD players Again unless you have a very good reason you should leave Close Session check box selected With a Track At Once disc the disc s TOC orTable of Contents is left open and a temporary TOC stand in the Program Memory Area is used until the TOC is closed and the disc is no longer writable 3 11 2 7 3 securePlayer Button The third button is securePlayer soundBlade 2 0 includes our securePlayer client approval software which allows you to create a DDP type master file wrapped in an encrypted version of our Sonic Studio Engine music player With securePlayer you deliver a self contained password protected player application that includes their finished master It even supports CDTEXT and allows you to burn a reference CD And because securePlayer is uses the Sonic Studio Engine for playback the client will hear their music exactly as you intended them to hear it To prepare a securePlayer 1 With secure player button selected in Mark Info PO Delivery tab click on the Execute button 2 In the Flnder window that appears navigate to the DDP File set that you want to use Click OK 3 A CD Delivery Dialog box may appear that says Folder contains a DDP Image Would you like to use this image or create a new image for delivery to CD If this box appears selec
53. on a Fade so that more than about 1096 of the waveform display is occupied by the fade you will see the thin blue vertical line that represents the edit event and a diagonal line or curve that represents the gain law or change in amplitude dictated by the fade Situated in the middle of the diagonal curve and attached to that line is a square bead the Control Point for the fade curve Figure 4 1 Anatomy of a Fade Figure 4 1 above shows the major parts of a Fade and the various contextual shapes that the cursor assumes based on location Note the Control Point and edit event discussed in upcoming sections On the left the 1 cursor is set for an inboard duration change Placing the cursor at that location and click dragging will increase or decrease the duration of the fade without changing the edit event location or gain law This is the preferred handle to use when changing duration Page 59 Next is the 2 cursor shape displayed when the cursor is set to change the overall location of the fade Placing the cursor in that location and click dragging will re locate the fade sliding it earlier or later on the time line without changing the duration edit event or gain law Remember that you cannot move a fade past the head or tail of the underlying audio In position 3 the cursor is set for a duration change toward the outside of the Fade Placing the cursor in that location and click dragging will increase or decrea
54. on the Background Waveforms preference Computing Waveform Display Sound 120 6 Entrada CM amp P 2k7 audio picts file0043 wav Cancel Figure 3 7 The building of waveform metadata in progress Once the waveforms are visible the arrow keys control the viewing window and a quick tap of the E key always zooms out to view the entire Project In section 3 6 below navigating your Project is discussed in more detail Page 28 3 5 Auditioning Sound 3 5 1 Playback When you press the keyboard s Space Bar the cursor changes to a speaker note and playback begins A thin vertical red line the Playhead spans the Panels and time line and moves horizontally to indicate the location of playback Bone J C Track 1 E TIA a 0G al i DACIE E 0 ee Di EES Sos Un Track 2 TER IDayD2bC L 0 8 S ooo E Cree E pz ELE Figure 3 8 The cursor changes into a speaker amp note shape during playback When you first open a sound file and begin listening playback once started will begin at the left edge of the audio The Playhead will move to the right across the file When you hit the Space Bar again playback ends and the Playhead halts its motion When you hit the space bar a third time the Playhead will jump back to the left side of the waveform display the beginning of the sound file and playback will begin again Note the Edit Point to Playhead command located in the Selection menu
55. other members of the group will update accordingly 10 1 2 5 Bypass To the right of the Track menu and all sections are Bypass buttons As expected they disable or bypass processing The Bypass button to the right of the Track menu is global and bypasses the entire EQ The individual Bypass buttons to the right of each section are local and apply only to that Panel track and that section 10 1 2 6 Parameters The bottom half of the Sonic EQ window contains the parametric controls The controls are context sensitive and apply to the selected filter section Available filter types are e 1st Ath Order Parametric e High amp Low Shelf e High amp Low Pass e Bandpass Bandstop e Notch RIAA Emphasis and De emphasis AES EBU Emphasis and De emphasis e DC Removal e DC Removal amp AES EBU De emphasis The parametric filters are classic three parameter versions with Resonant Frequency gain and O O or Quality Factor is defined as the resonant frequency or center frequency in the case of a symmetrical filter divided by the bandwidth The bandwidth is in turn defined as the one or two frequencies at which the filter response is 3 dB up or down from unity gain Expressing the width of a filter as a Ouality Factor rather than bandwidth provides a more intuitive sense of the filter s subjective sound since the same value of O will produce different bandwidths at different frequencies The higher the frequency the wider
56. possible to save all characteristics of a plug in including the type and parameters into a separate file To do so option click on a specific plug in instantiation and drag the resulting settings file to the Desktop A file will be created on the Desktop The file name takes the form of sB plug in name setting nnn and contains all relevant information for that plug in instance Dropping a settings file onto a plug in slot will create a plug in from the pre defined saved state Dropping a parameter file back onto a plug in will force that plug in to the type and parameters as saved in the settings file If you need stereo instantiations of a monaural plug in set your plug in to taste then simply option drag from that instantiation to the channel next to it 4 7 SRP s SRPs or Selection Reference Points are persistent placeholders that are saved in a Project SRP commands are under the Selection menu and are placed either with the Edit Point the Playhead or at the leading edge of a selected region They can be locked to the time line unlocked and deleted Option clicking allows you to drag them to a new location on the time line They also carry an optional comment label that s useful to jog your or someone else s memory at a later date As with many objects in soundBlade HD SRPs have their own contextual menu Control clicking on an SRP brings up the following menu Lock SRP v Unlock SRP Lock All SRPs in Track Figure 4 18 Th
57. recording can replace one or more segments Simply select the segments to be replaced then initiate the recording Recording commences at the start of the first segment and end at the end of the last selected segment Note that if multiple segments are selected the recorded sound file will appear as one continuous sound file If the selected segments are consecutive but not contiguous the non selected segments in between will be replaced as well See the end of section 5 2 1 above for more information 5 3 2 Recording using SRPs Another method of automated recording is by using SRPs This function is useful to allocate a recording interval ahead of time so you can attend to other tasks It is also useful for re recording or pickups or when you want to only record a particular section of a performance To use SRPs to automate your recording record arm the Panels in which you want to record Place SHPs via the Selection Set SRP command at the exact start and end locations where recording should punch in and out If multiple consecutive recordings are required set as many even numbered SPRs as required to define those actions e Select the top armed Panel then click drag to select a region that extends from before the first SRP to the last SRP placed for recording e Start the recording by selecting Play Selection from the main menu Page 113 Red Rovin Gaz Ta 30 fps NDF i B Figure 5 8 Panel with selecti
58. right edge of the waveform display Then the Move Forward command automatically takes place moving the waveform view to the right e AutoScroll Track When selected the Playhead stays centered in the waveform display while the underlying waveform display continuously scrolls 8 10 10 5 Play Mode Single Play Mode selection stops the playback of the current EDL when you select another EDL and start playback Page 208 8 10 11 Setting Preferences Delivery Tab r Preferences Editing Tools Delive ry Time Display al Keep DDF Image Emulation Mode hd Write CD Text MA Auto Increment ISRC EDL Delivery EFH Tools Delivery Speed BX LTC Timecode Desk Ofis ets Start Offset 00 00 00 25 End Offset 00 00 00 05 Track1 Offset 00 00 00 25 Splice Offset 00 00 00 15 Min Index Width 00 00 01 00 O MEEA Restore Defaults Dither Enable on Output Dither Type Bit Resolution 34 A Turn Off Delay Figure 8 24 The Preference window showing the Delivery tab 8 10 11 1 Delivery e Keep DDP Image This check box retains the directory or folder containing the DDP files set that forms that basis for all CD R deliveries See section A1 4 for information on using the DDP file set for replication e Emulation Mode The Emulation Mode check box causes soundBlade HD to emulate a CD R burn allowing you to validate your Project s settings without writing to a disc Page 209 While disabling writes to
59. segment names along with editable start and end times An editable Gain value see section below along with a non editable Duration value are also shown To view Text Mode select the EDL gt Show Text View command To switch back to Waveform mode select the EDL gt Hide Text View command 4 4 1 Gain Adjustment Compiling audio from different sources usually makes it necessary to alterthe amplitude ofsome of your source material The last column in Text Mode displays the current gain of all segments Page 70 When Segments are opened or added to the EDL the segment gain is nominally set to zero dB By double clicking on the Gain value of the selected segment the Segment Gain modal dialog opens The Segment Gain dialog is also available via the Edit Segment Gain command for selected segments and also via a segment sTitle Bar contextual menu Control click on any Title Bar to invoke the Segment Gain dialog Other functions like Reverse Polarity and Build Waveforms are also available As with other modal dialogs in soundBlade HD gain changes will not be applied unless the OK button is clicked i Segment Gain Norm Figure 4 11 The Segment Gain dialog The Segment Gain dialog offers several options for altering segment gain lt also provides polarity inversion The large central field lets you enter gain directly Alternatively course and fine adjustments are available via up down arrows Simply click the arr
60. segments from the first segment in the Project to the selected segment 8 7 29 Select Segments from Selection This command selects all segments that are part of the selected region including the segments in which the start and end of the selection is located Page 192 3 8 The View Menu Move Forward Move Backward Zoom In l Zoom Qut T Zoom In around In Point d Zoom In around Out Point Zoom In around Edit Point d Zoom Out around Edit Point de T Zoom In around Playhead Xl Zoom Qut around Playhead XT Zoom To Previous d P Zoom around Playhead E Zoom around Selection Center p Zoom To Entire Project E Zoom To Entire Track Figure 8 16 The View menu 8 8 1 Miove Forvvard Backvvard These commands move the contents of the Panel forward and backward along the time line The zoom factor or magnification stays the same 8 8 2 Zoom In Out The zoom commands change the zoom factor or magnification expanding or reducing the time scale by 9096 with 1096 overlap from the previous view for visual context Zooming in provides more detail while zooming out lets you see more of the overall program 8 8 3 Zoom In Around In Out Point These commands change the magnification of the waveform display while centering the waveform display on the In Point or Out Point The amount of time shown around the In or Out Page 193 Point is defined by the Zoom to In Out setting in theTime Display tab of Windows Pre
61. selected region for plug in insertion Alternatively select one or more segments with which to associate the plug in Move the cursor over the region or selected segments then over to one of the event plug in slots into which plug ins can be inserted Once a plug in is assigned to any slot that slot is reserved for that plug in type Other plug in types cannot be added to that slot until all instances of the original plug in are removed Note that when plug ins are shown a selected region will show as a green area instead of yellow Also over the time period of the selection or selected segment s the event plug in slot becomes highlighted with a blue frame to indicate the selected Region and plug in row Also Note that if you edit a plug in while in mono edit mode you will break or disconnect the parameter control between stereo plug ins To reconnect the plug ins hold the option key down while moving a plug in control acc iioc CTS k yr Tai 0 0 E Doppler 5 SAMACHAR 4 Doppler m gt s MN te j TrioDynPEQ QuartetDynPEO esser m Lp er DeEsser 5 50090 Detailer m ler DYNAM IZER BLUE Figure 4 16 Control Click on a selection to reveal the Contextual Menu that contains your audio plug ins Control clicking on a slot produces a contextual menu similar to the normal menu that appears when control clicking on a segment or region but in this mode avallable plug ins are listed as we
62. soundBlade HD time stamps are honored when sound files are shift dragged into a Panel Page 117 Chapter 6 Thne Desk and Meters 6 1 Signal Flow To provide some perspective on this and later sections it is useful to look at the signal flow through soundBlade HD Figure 6 1 is a simplified block diagram of the internal flow of data through the application as managed by the SSE the engine that powers Sonic Studio products QA Line Input Simplified Signal Flow soundBlade Audio streams to Project Gain Fade gt Disk Desk Sonic EQ then IS 4 d on E he LE 1 gt Project Export ie Bounce Master l Gain Gain Plug ins Project A E o A then Desk Strip gt SSA J Project amp Desk Strip Project amp Desk Strip ins Re gt Master dithering E SS SS a gt i Master Meters Figure 6 1 Flow diagram for soundBlade HD Notice that the line inputs apply audio to both the pan matrix and directly to disk Also notice that Project bounces exports and DDP deliveries bypass the pan matrix and subsequent signal processing blocks 6 2 The EDL Desk soundBlade HD offers a compact and convenient solution for mixing audio signals from the Panels the EDL Desk In addition to level adjustment routing panning and monitoring the Desk offers the possibility to add plug ins for sound manipulation and modification The Desk is made visible by s
63. such as fade ins or outs crossfades or gain adjustments dither will be applied if dither is enabled Page 211 8 10 12 Setting Preferences EFM Tools Tab Preferences Editing Tools Zoom kd Auto Zoom Zoom Factor Edit Y Lock Sound In Place a B Fipple until black LTC Timecode Es Align Fades B Power Lock Time Display EDL Delivery Desk Nudge Nudge 00 00 00 00 37 Nudge B 00 00 00 03 75 Nudge 00 00 00 37 50 Audition Nudge Auto Audition Audition Both Pre ran 00 00 02 37 50 Post 00 00 02 30 00 Figure 8 25 The Preference window showing the EFM Tools tab You can set the default state for these Global Modes for the Edit Fade Preferences To set default Global EFM Modes 1 Choose Windows gt Preferences or press COMMAND 2 Click the EFM Tools tab 3 Select the modes that you want as your defaults when opening Edit Faded Mode EFM Page 212 8 10 13 Setting Preferences LTC Timecode Tab Preferences Editing Tools Time Code Reader Time Display Enable Time Code Reader EDL Frame Hate Offset 00 00 00 00 00 Delivery added to TimeCode Play Trigger 00 00 00 00 00 EFM Tools earliest play time LTC Timecode TimeCode Input Desk Figure 8 26 The Preference window showing the LTC Timecode tab 8 10 13 1 Time Code Reader Preferences Enable Time Code Reader This check box enables or disables the longitudinal SMPTE EBU time c
64. the data stream will be uninterrupted regardless of host overhead but the jitter on the resulting disc is much lower Note Write your DDP Images at 8x or Highest Page 103 Chapter 5 Recording Audio In addition to assembling audio from existing sound files soundBlade HD offers the functionality of recording audio from external audio sources Supported file formats for recording are AIFF and broadcast WAV or BWF Sample rate and resolution are limited by the capabilities of the available Core Audio hardware or your Series 300 I O Processor Audio can be recorded directly into any Panel in either mono or stereo Note that audio is recorded as non interleaved files when recording in AIFF or BWF format Also note that USB attached Core Audio interfaces are not supported in soundBlade HD 5 1 4 Steps to Recording 1 Open a new Project Audio can only be recorded in Panels so a Project must be open Choose File New to create a new Project or File Open to open an existing Project By default soundBlade HD records external audio from the first two input channels of the active interface as defined in OS X s Audio MIDI Setup utility 2 Set Nevv Sound File Parameters Choose Windows New Sound file Preferences Set the destination directory filename word length and file type for the sound file you wish to record See section 5 2 1 below for more information 3
65. the overload display for individual channels with peak hold engaged click on the indicator and the red surround will disappear 6 5 5 Master Plug ins Above the meters is a small section which contains slots for plug ins As with the Strips plug ins can be inserted here An important difference however is that stereo plug ins in this Master Section work as true cross linked stereo plug ins For plug ins such as compressors limiters and reverbs that require a stereo input for normal operation the Master Section is the correct place to insert and use them To insert a plug in in any slot click on the slot and a menu appears Select the desired plug in to add it to the slot To change the settings of a plug in right click on the slot and a contextual menu appears Select Open Plugin from the menu to open the plug in for modification Via the same menu all or individual plug ins can be bypassed or reset by selecting the appropriate menu option To bypass a plug in option clicking on the appropriate slot performs the same task 6 5 6 CPU Meter Just above the plug in slots is a meter marked CPU This engine utilization meter displays how much of the host CPU and soundBlade HD s SSE or Sonic Studio Engine s real time capability is being used When the meter reaches about 100 the round saturation indicator just to the right of the meter will turn red and a Processing Overload Processing will be disabled until audition has stopped
66. the Move button the segment s shift to the new location The SRP button lets you load the current position of any extant SRPs also from a drop down menu The Move button moves the defined item to the location shown in the dialog s time code address Clicking the Cancel button leaves the selected segments at their original position 8 3 17 Segment Gain This command invokes the Segment Gain dialog For more detailed information on the Segment Gain dialog see section 4 4 1 8 3 18 Reverse Polarity The Reverse Polarity command inverts the polarity of the selected segment s in all selected Panels Segments with inverted polarity acquire a small bright red dot in the upper left corner of their Title Bar to visually remind you of their inverted status Page 169 Note that to change the polarity relationship between a stereo pair this command must be applied to only one channel of the pair To do this change the EditTarget selector of one Panel located on the left edge of both Panels from the default stereo setting to mono To read more about Edit Group Selectors refer to section 4 6 for more information 8 3 19 Nudge Segment Left Right The Nudge Segment commands move or nudge the selected segment s left or right earlier or later respectively on the time line by a predefined value The default Nudge B value used is defined in the Time Display tab of Preferences window See section 8 9 7 for more information on t
67. the phase response would be improved Page 226 EC Transfer Fursctaan Figure 10 8 3rd order high pass with 6 dB of passband ripple amp 120 dB of attenuation Compare the response in figure 10 8 with the next figure which shows a 3rd order high pass with 0 10 dB of passband ripple amp 10 dB of stopband attenuation This time the stopband ripple would allow some material below the resonant frequency to leak into the filter s output Again however because the ripple spec has been relaxed the phase response would be improved EQ Transfer Furctian Figure 10 9 3rd order high pass with 0 1 dB of passband ripple amp 10 dB of attenuation Page 227 The bandpass and band stop filters are straightforward three parameter forms and the notch filter has only two parameters as the gain is implied to be o The next two figures once again include quality factors Q of 0 5 2 and 10 EG Transfer Function Figure 10 10 1st order bandpass with f of 1000 Hz EQ Transfer Furctian Figure 10 11 3rd order bandpass with f of 1000 Hz Page 228 EC Transfer Functia Figure 10 12 Notch filter with f of 1000 Hz The RIAA filters provide emphasis for creating cutting masters for lacquer and de emphasis for correcting material that is digitized flat from 33 1 3 RPM phonograph record This approach means that the excellent minimal phase characteristics of this digital RIAA de emphasis implementation can be used
68. through the pan matrix discussed in section 6 3 below Page 123 6 2 1 4 Inserting plug ins At the top of each Strip eight slots are available for inserting plug ins soundBlade HD supports both VST and AU plug ins and either type can be freely intermixed in the slots Figure 6 8 Slots for plug in selection To insert a plug in into one of the slots simply click on the slot button and a drop down menu appears showing all valid plug ins available Then select the desired plug in from the list The plug in will be inserted in the slot and the selected plug in will open for manipulation of its parameters off decimate Cl comp sc m C1 comp m Cl comp gate m Finis ChannelStrip C4 m DeEsser m Q1 m Q2 m Q3 m Q4 m Q6 m Q8 m Q10 m Egium Figure 6 9 A partial Plug in List Page 124 The slot with its inserted plug in willturn green to indicate the presence ofa plug in Additionally the name of the plug in will appear on the slot s button To bypass a plug in option click on a slot The slot turns red To deselect a plug in from any slot click on the slot and select off from the plug in list As with faders plug in slots can be linked to stereo pairs or larger groups effectively linking the controls of the plug in Hold down the control key and click on the slot you want to link The following contextual menu drops down Bypass Bypass Strip w Mone Il cim mmo p
69. to Playhead command discussed in section 8 7 18 below is disabled unchecked 8 7 21 Edit Point to Playhead This command toggles a mode on or off whereby when playback is stopped the Edit Point jumps to the location of the Playhead 8 7 22 Miove Edit Point to This command has a submenu with ten possible choices Next PO Mark F6 Previous PO Mark it F6 Next Segment Edit Point t r5 Previous Segment Edit Point tr3 amp rs In Point EF Qut Point it d F7 Next SRP FLO Previous SRP ir a F10 End of Track Start of Track Figure 8 14 The Move Edit Point to submenu With this set of choices the Edit Point can be quickly moved to a number of predefined positions o The next PO mark o The previous PQ mark o The next Segment Edit Point the Black Fade or Crossfade The previous Segment Edit Point the previous Black Fade or Crossfade The In Point Page 190 e he Out Point The next SRP The previous SRP The End of Track the last Fade Out of the Project e The Start of Track the first Fade In of the Project 8 7 23 Edit Point to Next Peak This command examines the amplitude of all audio samples in the selected region or segments and moves the Edit Point to the location of the maximum sample within the selection If there are more than one equal amplitude maximum samples then the command moves the Edit Point to the location of the first then next maximum samples in turn 8 7 2
70. two Panel EDLs or Edit Decision Lists rather than one four Panel EDL that makes up a default Project This dual EDL mode means that each EDL has its own time line and own independent zoom amount which facilitates Source to Destination editing One limitation of dual EDL mode is that since the Desks state is linked to currently active Project the Desk will switch configurations as either EDL is selected Multichannel standard feature Multi Channel EDLs When checked new Projects are created with eight Panels in one EDL In addition all the additional functionality discussed in section 4 10 is now available Note that you must restart soundBlade HD after enabling this option You should also resize both the Desk and the Master section after restart e oom Factor 96 When zooming in or out the display will be zoomed by the factor defined in this field The default 9096 means that 9096 of the current waveform view will be zoomed with 1096 overlap for visual context This preference only applies to selections 8 10 10 2 Waveforms Waveform metadata is created by soundBlade HD to allow the operator to visualize amplitude variations over time in order to aid in editing The Waveforms section has the following options e Create Waveforms Manually When checked all automatic waveform metadata generation is disabled lo create waveforms with this preference enabled select the segment and use the File Build Waveform command
71. well Track Start and Track End are generated by your Mark placement Though editable you should assume that they are correct Likewise the Copy and Emphasis buttons generate the SCMS Serial Copy Management Scheme Copy flag and AES EBU Emphasis flag in the PO stream and should in general be left turned off Section 4 10 below discussing PO parameters in more detail 3 11 2 3 Track Listing The next section in the Mark Info dialog provides a list of details about each defined track Name start and end times as well as duration are shown Double clicking on an entry in the list will start playback at that location in the Project This gives you a quick method for double checking Mark placement See section 4 10 4 for details about the Track Listing Total Tracks and extended listing HINT if you have placed your text insertion point in the TRACKTITLE ARTIST and ISRC fields the up down arrow keys on the keyboard will move you up and down through each entry in the list of PO details 3 11 2 4 PO Status amp Validation Below the Track Details section is a single field with an indicator to its left This is the PO Validation field a non editable status field that indicates whether your metadata as defined is valid and meets the Red Book specification for Compact Discs A green indicator means everything is valid while a red indicator mean you should inspect your PO information for non Red Book compliant entries The accompany
72. will be incremented for subsequent recordings creating unique names for each file The word length and file type for the recording should also be set via the appropriate drop down menu You do not have to close the New Soundfile Parameters window to save your settings When selecting BWF as recording format the New Sound file Parameters window is extended by some extra fields Page 109 arm New Soundfile Parameters Set Folder MAME Untitled Recording EM Edit Recording TAKE 1 Incr Skip Bit 24 ids File BWF bts JTake Ad Take M Resolution Type Originator Your Name Here Reference soundBlade Date Today Time Now Description Lorem Epson salt Coding History Figure 5 6 The New Sound file Parameters window for BWF recording format The Originator Reference and Date Time fields can be filled with up to 22 characters The Description and Coding History fields each hold up to 120 characters The standardized contents of these metadata fields are stored in the header of the BWF file e Originator an ASCII string containing the name of the originator producer of the audio file e Reference Technically known as the OriginatorReference an ASCII string containing a non ambiguous reference allocated by the originating organization The EBU has defined a format for the OriginatorReference field For more information see EBU Recommendation R99 199912 e Date Technically known
73. you want to remove Then select Mark gt Delete Mark and all Marks within the selected region will be deleted If you are working in the Windows gt Mark Info window and have a Mark selected you can also use the Mark gt Delete Mark command to remove the Mark The Mark Info window ts discussed in detail in section 3 11 1 below A third method is to use the contextual menu to delete or otherwise modify a Mark Simply control click on a Mark and make your selection from the menu 3 10 4 Inserting PO Marks Automatically 3 10 4 1 Command Dragging The fastest and easiest way to generate PO metadata is to simply drag and drop By holding down the command key before dropping one or more sound files onto the top Panel of your Project soundBlade HD automatically creates CD Track definitions by generating Start and End of Track Marks for each file These Track definitions can later be rearranged or modified to taste See section 3 10 5 below for more information of resequencing 3 10 4 2 Edited Black To Marks Apart from placing PO Marks manually at the desired positions soundBlade HD has the ability to generate PO Marks automatically If the entire Project was created by editing each song or segment the most efficient way to generate PO Marks automatically is to Edit gt Select All selecting all segments then select the Mark Edited Black To Marks command You can also click drag to select a region then select the Mark Edited BlackTo Mar
74. 00 220 Bypass 222 Group menu 222 Open Param 221 parameters 222 plug in 230 pre processor 220 Q or Quality Factor 222 Save Param 221 sections 221 stopband ripple 226 Track Menu 221 sound begins more than 2 frames 53 100 Sound Designer files 203 sound files adding the 1st sound file 27 importing 23 opening 23 26 156 Sound Designer Il 203 source material 234 source material considerations 234 spacing tracks AutoSpace 47 Speed menu 55 Splice Offset 210 split DDP file sets 157 SRC 149 SRPs 79 113 156 auto punch 40 clearing 190 printing SRP info to a file 162 setting 189 SRP contextual menu 79 Sync SRP to In Point 171 Sync SRP to Wherever 170 SRP from Segment Edit Points 189 SRP from Selection 189 SSE 131 Standard Large Track Size 175 Page 269 Start Offset 210 Status CD R DVD R 54 100 stereo dynamics 136 Stop All 178 storage systems 235 Sync SRP to In Point 171 Sync SRP to Wherever 170 Sync to Edit Point 170 Sync to Matching 170 System Information Console Log 76 162 163 TAO Track at Once discs 56 Target Sample Rate 149 Text Mode Gain 71 Show Hide Text View 70 173 time code 82 212 Timecode Status 217 timed records 113 time code 32 34 35 213 Status 217 time code reader 214 time code address 32 34 46 Time Code Status 217 time display 32 92 Time Display preferences 204 time line 24 31 33 48 moving forward backward 193 time stamps 27 156 Title Bar 37 71 160 169 170 207 T
75. 00 05 00 00 00 06 00 X Track 1 Cat miae 7b ail Rn wor I J L I PA AE MUN ut E QooQ s mF B CP agg at pate Tb aif Track 2 D DES 4 00000 LE fea ent O Pda pem ae A dba fo m META Ma ELE Zoom Lock 30 fps NEW Figure 6 18 Readying the Project Notice that the Master and Slave tabs are used Also remember that plug ins in the Desk and Project are monaural or mono linked and not true stereo If you want true stereo dynamics processing or reverberation applied across the 2 Mix or stereo mix bus use Setup 2 below Step 2 Set up the Master Section and the Desk with I O patching as shown below Page 136 EDL Desk soundBlade Projectl e P Meters Output S MH 44100 Clear Reset Dutputz TU Mia Ld pE La fa ESQ amp zz IM 2 E 2x Ee i i i 4 i h He i F i F i P i F F l zu 0 0 4 4 onli onl nar oll old oll nlt oll LI J neer Track 1 Track 2 Track 3 ack A HM HS 4 M5 M Hi Master 4 Figure 6 19 Set up of the Desk and master section If you select the destination segment on which you re working you can use the Play Repeat Play command and get everything set up to taste Remember to check the Desk and Master Sections carefully as any gain changes pans mutes etc that you ve added to either section will affect the bounce Note that in this example there are no plug ins in either th
76. 1 Manipulating In amp Out Edit Points 4 9 1 1 Placing In amp Out Edit Points To set In and Out Points place the Edit Point where you want to set an In or Out Point Choose Selection Set In Point or Selection Set Out Point Point to place In or Out Edit Points respectively soundBlade HD places an Out Point at the Edit Point location You can also use the command key equivalents to set In and Out Edit Points on the fly during playback Atime region selection can also be used to place In and Out Edit Points using the aforementioned commands or their keyboard equivalents 4 9 1 2 Moving In or Out Edit Points To adjust the position of an In or Out Edit Point drag the yellow triangle at the bottom of the Edit Point You can also choose Selection Move In Point or Selection Move Out Point soundBlade HD will display a Move Point dialog In that dialog the following choices are available 1 Where Use this menu to select Playhead In Point or Out Point soundBlade HD loads the current location of the selected item into the time field 2 SRP This menu displays locations of SRPs in the current time base units 3 When you choose from this menu soundBlade HD loads the location of the selected SRP into the time field 4 Move Moves the In or Out Edit Point to the location specified in the time field You can edit this field in the same manner as any other time display 5 Cancel Closes the dialog without chang
77. 2 1 above The Lock indicator is green when the host system is locked to the indicated clock and yellow when locking is in progress When red a proper lock to your selected clock source is not established a serious situation that cannot be ignored Page 130 Note that this unlocked status indicates that you should determine the cause and rectify the situation before continuing Damage to your monitoring signal chain and data corruption during recording can result The third indicator shows green when dither on output is enabled and grey when dither is disabled To disable dither control click on the Dither label and a contextual menu appears allowing dither to be enabled or disabled Dither parameters can be set via soundBlade HD s Windows Preferences Delivery Tab 6 5 4 Miaster Meters To the left of the Master fader is a section from which the window gets its name the bus meters All four output buses have their own individual peak program meter Above each meter is a field showing the numerical value of the current instantaneous amplitude When an overload occurs these boxes turn red soundBlade HD considers 3 or more consecutive samples an overload Above the scale at left is a small round unlabeled button It selects the peak hold mode for the meters and numerical call outs and turns red when enabled lf peak hold mode is engaged and an overload has occurred the frame surrounding a numerical display turns red To clear
78. 2s de Rp 170 Edit Segmentos liderar iii ica 170 VNC dO Edit eenn e a cupis LR cR s RED MES P Eee 170 ev ares fam CRIN Oer eTe ios 170 SNE SAR to VVDBIeVBE ossi eub Prae R e a a aa cr o a 170 OVNC ORE to In POM tin dd MED MAU Id 171 Edit RAGE MOO t c 171 LOODAN uite UE 171 Auto Space All SeQgments TrackS ccccscccsecesseeecseeeeeeeseeeeeeseeeeaeeesaueesaeeesseeeseueeseeeeseseeenaees 171 Te EDEMA dono e S uq iae ics 172 NEW ITACKS sd 172 Delete gre qme EE 173 Show WV a Velo RMS sico 173 SNOW BaF WI Wii lactato liada 173 Show Hide Toxt VEW caian PH 173 Snow ide Gal OVerlay adi 173 Page 8 9 4 7 8 4 9 8 4 10 8 4 11 8 4 12 8 4 13 8 4 14 8 4 15 8 4 16 8 4 17 8 4 19 8 4 20 8 4 21 8 4 22 8 4 23 8 4 24 8 5 8 5 1 8 5 2 8 5 3 8 5 4 8 5 5 8 5 6 8 5 7 8 5 8 8 5 9 8 5 10 8 5 11 8 5 12 8 5 13 8 5 14 8 5 15 Bypass Enable Galil OVerl avisar ade bicis 173 Snow Hide Gan OVerlady daran leidas irnos iron 174 Bypass DESK EVOM Siro ac 174 Create Galo des caidas EE 174 Select Gal Node id 174 Reire S Mundi NEM 174 Tiny Small Standard Large Full Track SiZe cccccsscccseeceseeeeseeeeaeeeeeeeesaeeesaeeeseeeesaeeeseeeeesaees 175 Select Deselect All Tracks ua ale 175 Select NEX IEA Cua A eeu ennai aie hae 175 Selec CPrevious A nnde mi n a iua eese Mec IM i cisiectiet M roni ere 175 moder esi er PC eM NN IUS A 175 COMAS
79. 3 M4 and the outputs as M1 Out M2 Out M3 out M4 our Also notice that the monitor mode for Strip 1 and 2 is set for IN or input while otrips 3 and 4 are set for O or output oet up the Master Section as desired by selecting Windows Meters Because this bounce is a round trip out of buses 3 and 4 back in 3 and 4 and to disk from buses 1 and 2 both the Desk and the Master Section are in the signal path This configuration processes all plug ins in the path oelect Panel 1 and start the recording by selecting Play Record from the main menu or by clicking the Record button in the Transport Panel Stop the recording by clicking on the Stop button in the Transport Panel Page 115 soundBlade Project sonic loop EDL Desk soundBlade Project LEFT 00 00 01 00 00 00 01 00 in LOCK gt 44100 y Richt 00 00 01 00 00 00 59 ERA 00 00 01 00 our DITHER gt 24 pur 00 00 00 00 e E en 00 00 00 00 purk L I MEX ET FE ee a soundBlade Project MTI i l i i 00 10 00 00 00 20 00 00 00 30 00 00 Track 1 909 8 r CART MA Track 2 ib Y SS Track 3 SUGGS LB rM S INGEA Automation Track 4 9 Y 9 e EE Pap arg F 500 dB 4 00 AR 00 0 1 po Bo ya e Ani Para Sonic Param F 50 SoricEQ Param F sE Stang Prah Sonic Parana 5j Sar ick ParamF MESITA MEA 30 fps NOF Figure 5 9 Panels and Desk prepare
80. 4 1 Show Console Log Invoking thiscommand launches the Console utility and opens the log associated with soundBlade HD Console is the central repository for reports from running processes and applications While soundBlade HD is running it outputs information to Console and that information such as details on installed options system status and actions undertaken then appears in the log Also at the command of the user certain information regarding EDLs or Projects can be output to the log as well See the following sections for more information on user selectable printing to the log file 8 2 24 2 Print EDL Sound File Paths This commands outputs a list of all locations of all sound files in use in the current Project The output is written into the Console Log This command is useful if you work in a facility with multiple drives or network attached storage on which some of your material resides Printing the explicit path allows you to keep track of the location of all source material for both documentation and backup 8 2 24 3 Print Segment Info This command prints highly detailed information on all segments in the current EDL The output is written into the Console Log 8 2 24 4 Print Selected Segment Info Formatted This command prints user information on the currently selected segment s The output is written to the Console Log in the form of a table showing the file name start and end time duration and gain in dB 8 2 24 5 P
81. 4 Select Start to Edit Point This command selects a region from the first Fade In of the Project to the location of the Edit Point 8 7 25 Select Edit Point to End This command selects a region from location of the Edit Point to the last Fade Out of the Project 8 7 26 Selection from Selected Segments This command selects a region from the first Fade In of the first selected segment to the last Fade Out of the last selected segment 8 7 27 Select Segment to End This command selects all segments from the Edit Point to the last segment in the Project including the segment in which the Edit Point is located If the Edit Point has not been placed the command selects all segments from the first selected segment to the last segment in the Project Note that to quickly determine if the Edit Point is placed somewhere in the Project regardless of zoom level simply check the left DUR or duration field at the top of the Project Since the Edit Point is really a zero duration selection the DUR field will show a zero value whenever the Edit Point is present even though it may not currently be in view Page 191 00 00 00 00 00 Figure 8 15 The DUR field showing the presence of the Edit Point 8 7 28 Select Segment to Start This command selects all segments from the first segment in the Project to the Edit Point including the segment in which the Edit Point is located If the Edit Point has not been placed the command selects all
82. 64 Lock Sound 64 Nudge Auto Audition 65 nudging fades 66 Power Lock 65 Ripple Until Black 64 selecting fade shape 66 Edit Groups 85 178 199 simplified Edit Group 85 90 175 Edit menu 165 Edit Point Selection toggle 92 Edit Points 73 auditioning 84 clearing 84 In amp Out Edit Points 84 Move Edit Point to submenu 190 moving 84 190 placing 190 Sync to Edit Point 170 Edit Point Offset 67 Edit Point to Next Peak 191 Edit Point to Playhead 190 Edit Recording 112 Page 256 Edit Segment Name 170 EditTargets 85 89 91 94 170 Edit with Audio 202 EDL 80 93 Auto Set Edit Group Selection 175 Delete Track 173 dual EDL mode 80 207 LTC Slave 82 215 Master 82 Master Slave menu 81 Move Irack Up Down 175 Multiple EDLs 82 207 New Track 172 Select Deselect All Tracks 175 Set To Next Available Edit Group 176 Slave 82 EDL Desk 200 EDL menu 172 EDL preferences 206 Eight Channel option 77 85 87 88 89 92 93 Multi Channel EDLs 207 Eject 119 Emphasis flag 53 98 Emulation Mode 209 End Offset 210 Execute 57 101 exponential Fades 61 exporting audio 118 Edit after Export 43 48 160 161 167 Selections amp Segments 47 Export EDL As 5 4 163 extended Track listing 53 99 faders hot spots 120 Link Pair s 122 126 Reset Fader 122 Unlink All 122 126 Fades 42 edit events 59 62 188 shape Page 257 changing 60 gain laws 60 Fade Library 67 Fade Tool 41 59 changing parameters 59 changing the shape 60 ch
83. 8 3 Default Fade These selectors determines the default fade curve used when any new fades are created soundBlade HD The five curve options are e Cosine e Root Cosine e Linear Page 202 e Root Linear e Exponential Linear fades the default are the most broadly applicable choice Section 4 1 2 briefly discusses the five curve shape options Import Fade determines whether fades created by soundBlade HD are added as a crossfade or as an in out fade 8 10 8 4 Import e SDII Regions Into Segments When on Sound Designer ll regions if present will automatically be converted to separate segments upon opening in soundBlade HD When off the entire SDII image will be imported as one continuous segment e SDII Regions To Marks When on Sound Designer ll regions if present will force soundBlade HD to put marks at the region s start points When off the entire SDII image will be imported as one continuous segment Page 203 8 10 9 Setting Preferences Time Display Tab r Preferences Editing Tools Time Display Time Display EEE TS fps CD Frames y EDL Hudge A 00 00 00 00 37 Hudge B 00 00 00 03 5 Nudge C 90 00 00 37 50 Zoom to InfOut 90 00 02 37 50 Delivery EFH Tools LTC Timecode Zoom to Sel Start 00 00 02 37 50 dE Play around In Point 00 00 04 00 00 Play around Out Point 00 00 03 00 00 id Show Subframes Figure 8 22 The Preference window showing the Tim
84. All Marks This command unlocks all PO marks on the time line 8 6 10 Analog Black to Marks This function measures the amplitude and duration of the audio in a selected region placing End of Track and Start of Track marks in locations that approximate the end of one track and beginning of the next Both amplitude and duration are user defined The default amplitude is set in the Editing Tools tab of the Windows Preferences window When invoking this function the Analog Black to Marks modal dialog appears In the dialog the default parameters can be changed after which the Analog Black to Marks function is started by selecting OK By clicking on the Cancel button the operation is stopped without further action Page 183 Note thatthe results ofthe Analog Blackto Marks function is never as accurate as the Edited Black to Marks function discussed in section 8 6 11 below The accuracy of the mark placement depends entirely on the accuracy of the parameters used SO you may want to zoom in and with the Show Track Scale in dB preference set Editing Tools tab of the Windows Preferences window visually estimate amplitudes of your fade outs and noise floor The result of the Analog Black to Marks function should always be checked for errors and unintended placement 8 6 11 Edited Black to Marks The Edited Black to Marks command automatically places Start and End ofTrack PO marks at the beginning and end of all Fade Ins and Fade Ou
85. Around Selection Center discussed in section 8 5 6 above this command requires that you first select a region Also this command offers a submenu with duration choices for playback Unlike Play Around Selection Center this command begins playback at the left edge of the selection and continues for the specified duration Play from Selection k Play 0 5 Sec Play 1 0 Play 2 0 Play 5 0 Play 10 0 Play 30 0 Figure 8 7 Play from Selection 8 5 12 Play to End of Selection This command is the opposite of the Play from Selection command discussed in section 8 5 7 above except that playback ends at the trailing edge or right side of a selected region If there is not a selected region playback ends at the Edit Point This command also offers a submenu with a number of choices for the duration of the playback Page 179 Play 0 5 Sec Play 1 0 Play 2 0 Play 5 0 Play 10 0 Play 30 0 Play to End of Selection Figure 8 8 Play to End of Selection submenu 8 5 13 To In Point This command plays a section of sound up to the In Point The duration of playback is preset by the Play Around In Point preference See section 8 8 5 below for more information on the Time Display preferences 8 5 14 From In Point This command plays a section of sound starting at the In Point The duration of playback is preset by the Play Around In Point preference See section 8 8 5 below for more information on the Time Display preferences
86. Blade HD can be changed to adhere to your preferred values or behavior All of these preferences can be adjusted in the Windows Preference Window The Preference window is displayed by selecting the Windows Preferences command 8 10 8 An Editing Tools Time Display EDL Delivery EFM Tools LTC Timecode Desk Setting Preferences Editing Tools Tab Preferences Editing Auto Tools Fade Tool 4 Snap to Edit Point Kj Snap to Zone M Edit Group Selection Menu Auto Spacing Duration 0 seconds Q 2 seconds 1 second 3 seconds Analog Black Threshold 46 00 dB below O dBfs Edit with Audio Y Selection Reference Points EEN Desk Events Fade Shape Cosine lies Import Fade Fade In Out Import kd SDII Regions into Segments E SDII Regions to Marks Figure 8 21 The Preference window showing the Editing Tools tab Page 201 8 10 8 1 Editing Auto Tools The Editing Auto Tools section has the following options e Fade lool When checked the Fade Tool will be enabled for editing To learn more about the Fade Tool and its properties see section 3 8 1 and 4 1 for a full description Snap to Edit Point ON When checked dragging a segment near the position of the Edit Point will cause the segment to auto snap This feature is really only applicable when dragging audio into a Project from the Finder or another open Project e Snap lo Zone When the zone snap is checked dragging a segment near th
87. DAW 4 DAW 5 DAW E DAW 8 Oo Figure 5 1a The Audio I O Preferences window with Sonic Studio Series 300 hardware attached The bottom half of this window shows the currently active audio interface as selected in Audio MIDI Setup Note that virtualized or aggregated devices as defined in OS version 10 4 and higher appear as one recording interface Also after 10 5 8 an aggregate device in no longer needed for most hardware Note Note The Use Core Audio on launch button when enabled will allow soundBlade to Change output devices when you change it in Audio MIDI Set Up If you leave it unchecked then soundBlade will not change outputs if you change them in Audio MIDI Set Up window Page 106 In the area of the audio interface icon the line inputs L1 to Ln are shown together with a drop down menu selector When one of the line input selectors are clicked a list of all available inputs for that selected audio interface are shown Selecting any available input from the audio interface re maps that input to soundBlade HD s inputs used for recording external sources It also relabels the output bus assigns on the Desk None Y FW 1 FW 2 FW 3 FW 4 FW 5 FW 6 FW 7 FW amp FW 9 FW 10 FW 11 FW 12 FW 13 FW 14 In 1 FW 15 In 2 FW 16 Figure 5 2 Input selectors soundBlade HD s clock source should be checked as well To do so select either internal or external from the Master Clock source selectors
88. Destination Bone J A a i y Ed OO 700 0 IN O00 00 30 00 tardust vzrzc aif 0 05 o SAP T 0 05 z 5 Ue o o Figure 6 16 Setting up the 2 point edit Then an Edit gt Replace command will add a copy of the source to the destination The result should like the figure below with both source and destination in sync Page 134 I PA Stardust v2rze aif wzrzc alf 00 07 00 00 WL LS UL UL oo a a m mm a a 30 fos NDF Figure 6 17 Result of the 2 point edit Setup 1 Bouncing from source to destination Panels using Built In Audio Now you are ready to capture whatever gain changes and plug ins are in the bottom Panels of your Project to a new sound file This bounce pass will also consolidate any edits that may be present As bouncing from one Panel to another is performed entirely within the host computer system only Built In Core Audio is required for this action However your converter will work as well Step 1 Set up your Project as desired with any modification necessary Page 135 Destination Sree 00 00 00 00 a 1 I i i 1 i 1 E Se dl PEN qe 00 04 0000 i ca are dE VENDIT ET UNIS IRI A A A LI LA PO AS A LA A LA 00 05 00 00 LEES nap Track mw a NETT A Trask AN 5 Zoom Lock 30 fps HOF Ts 4 L i E i i i L L i I i a E 00 01 00 00 00 02 00 00 00 03 00 00 00 04 00 00
89. FSET UPC EAN MIN INDEX WIDTH 00 00 01 00 4 E TED z F A A TO Es __00 00 00 10 00 a Lock Y Default a cage 2 TOTAL TRACKS Ej SHOW END DURATION Figure 4 28 The Mark Info window Apart from the PO information this window contains additional fields for Album Title Album Artist Track Title and for compilations Track Artist These fields provide input for the generation of CD Text metadata Additionally ISR Codes or ISRC and a Universal Product Code European Article Number or UPC EAN code can be entered as well ISRC or International Standard Recording Codes are unique machine readable identifiers for each track on a disc On the other hand UPC EAN identifies the entire disc Page 95 Creation of PO Marks must follow a few simple rules laid down in the Red Book or Compact Disc Digital Audio CD DA specification The most important of these rules are e here is a maximum of 99 tracks allowed on a CD e here is a maximum of 99 indexes allowed within each track e ndex Markers are not allowed between End of Irack and Start of Irack marks e The minimum duration of a track the minimum distance between Start of Track and End of Track marks or two consecutive Start of Track marks must be 4 seconds including offsets e Two consecutive End of Track marks are not allowed but two consecutive Start of Track marks are allowed soundBlade HD validates the PO Marks against
90. Mark IA tts o Mn 182 MACKEN A ce aa aE TO 182 Tafel Marko A A AAA 182 Delete eee TM 183 More Marks from Selection it 183 Unlock Marks from Selection iaa 183 Ae LS TUN 183 A E DES ETC 183 Analog Black TOMA KS paraa ER CR N 183 Edited BlaCK LO IWAIKS LEEREN 184 Edited Blaok to StartiMarkS iii 184 segments To Start Marks O o dd 184 Read P OBUISE AO i 184 The Mark Contextual Men ad 184 The Selecion mm 186 A a LA PD LAUDE EE 187 DOL OUL POM S scite A EU pU PE dn Ie UE tig eal 187 vsque rcp DT 187 eur valo ollas RENE 187 ClO air UG Olli tt 02 55 15 05562d 6902d scuto DURO IO oi CH SERE T So Mtem sca seeds 187 Clarins eld olt M E ao 187 Ni A EL T R 187 Move In Porn OUT POIs iei vite ocu A tui ustedes E 188 Move In Polnbto QUECPOITEsus i reciba is co ou 188 mille N dbor digo oie 188 Selec Nudge SIZE ERC OO PO PEO Ddaesiccteaeeen educa San ON See tee ees 189 Page 10 8 7 12 8 7 13 8 7 14 8 7 15 8 7 16 8 7 17 8 7 18 8 7 19 8 7 20 8 7 21 8 7 22 8 7 23 8 7 24 8 7 25 8 7 26 8 7 27 8 7 28 8 7 29 8 8 8 8 1 8 8 2 8 8 3 8 8 4 8 8 5 8 8 6 8 8 7 8 8 8 8 8 9 8 8 10 8 8 11 8 9 8 9 1 8 9 2 Y E AEE E E ES E N A T E AEA TTA 189 o AA 189 o d ma Ms ie dd qai RE ED ic SM ED aUa s aM nad EE Das CERE 189 SRP From oegmentEdit POINTS cion Ru Mc M DETUR AUE asa 189 DEL OM MOM Selecion Aids 189 Lock ShPsdrom SeleetlObr rc
91. Note that when linking faders the relative gain settings of the individual faders are preserved Alternatively faders 1 and 2 and faders 3 and 4 can be quickly linked in pairs To do so again hold down the control key and click on one of the faders to be linked As the drop down menu appears select Link Pair If either fader 1 or 2 was clicked fader 1 and 2 will be assigned the first available unused group letter and thus linked The same applies to faders 3 and 4 To link all faders in pairs simultaneously choose the plural Link Pairs from the drop down menu To unlink individual faders from their assigned groups control click on the fader and select None from the drop down menu To unlink all faders simultaneously select Unlink All from the drop down menu Finally to reset a fader to its default unity gain position removing it from any group or link select Reset Fader from the drop down menu To reset and unlink all faders on the Desk select Reset All Main Faders from the drop down menu 6 2 1 2 Monitor Controls Directly above the faders are four buttons arranged in a square the monitor control buttons Figure 6 6 The monitor controls The four buttons replicate the corresponding buttons to the left of each Panels in the Project When selected each button will light up in its own color Otherwise the buttons remain grey The S or Solo button provides exclusive monitoring for its associated Strip W
92. Record Enable Panels Record Enable the desired tracks for recording To do this click on the R button in the upper left corner of Panel 3 and 4 See section 5 2 2 for more explanation 4 Start Your Recording Initiate the recording of audio To do this use the Transport Controls at the top center of the Project Clicking on the green record button will start a recording See chapter 5 2 3 for more information Page 104 5 2 Audio Recordings 5 2 1 Selecting external input s By default soundBlade HD can record audio from the first four available inputs of the interface currently configured as input in Audio MIDI Setup However soundBlade HD can be configured to record from any valid input source by means of the Windows gt Audio I O Preferences window Multichannel standard feature Note that the Multichannel standard feature adds the ability to send and receive from 16 buses instead of the default four is de Audio IO Preferences Re Scan N v Lsa Core Audio an launch Audio MIDI Setup Master Clock Frequency 192000 0 Hz Device Model 304 Board 1 Address 6 Internal 192000 Set All XE Sonic Studio series 300 H1 8 FW 2 FW 6 DAW 2 DAW 6 Figure 5 1 The Audio l O Preferences window Page 105 e AAA MM e Audio IO Preferences Audio MIDI Setup Master Clock Frequency 44100 0 Hz Device Model 304 Board 1 Address 1 Internal XE Sonic Studio H1 8 DAW 1 DAW 2
93. To Process e EE y m gt 0 0 0 0 0 0 i 0 0 N 0 0 i 0 0 Track 1 Track 2 Track 3 Track 4 4 Figure 6 23 Set up of the Desk Notice the Record Ready settings on Strips 1 and 2 Also notice the Monitor settings on those Strips as well This lets you hear the return from the signal processing chain On to soundBlade HD s Audio I O Preferences which are patched to Line In 3 and 4 for the return from the signal processing chain That s why in Figure 6 23 above Strips 1 and 2 have FW3 and FW4 as their inputs Page 143 ADO Audio IO Preferences a100 Set All q aw epe 7 amp c Built in Digital Inpu o i fav ve fz l Built in Dutpu gem m pawi y M2 pwz amp c Built in Line Outpu D E mi Dawi v M2 pawz Y c Built in Digital Dutpu pu M pawi e paz Re ld Sonic Studia GEES M aries H1 8 L1 12 wz vjus L5 Ls ws el Dawi y M2 paw Hi ro Figure 6 24 Set up of the Audio I O Notice that in the Audio l O Preferences line inputs L3 and L4 have the Model 304 FW 1 and FW 2 selected Again the idea is to send on M3 and 4 DAW 3 and 4 while returning from external processing to soundBlade HD on FW returns 3 and 4 leaving M1 and 2 as your dedicated stereo monitor bus Page 144 Once soundBlade HD is set up consider your Model 304 and the Sonic Console Due to the extensive rout
94. UBS meh iuit Quse to eres ee er ee 20 Fourth Burm the Projecto a CD E 21 2 3 Step By Step Make QUICK CD it e De ceri 21 Step 1 Gl A to a a Bee 21 Step 2 o freee p E M M E TERN TEN 21 Step 3 COO nist tt quM E e M MEE M eM dcdit ME 21 Step 4 SUNSET E 22 Chapters Basic Operation isaac ti ias 23 3 1 General Workflow amp Explanation of Terms Used eese 23 3 2 Project Eay OU c S 24 3 3 Stalling a Projecte Openingi PICS s een tatto lee ota en ao 26 3 3 1 OPENING Pro eS io 26 3 3 2 Opening Sound tiles o a UI EI E A autos 27 33 3 Adding Your First Sound File i ee Bin ode oe ete ea ed ees a ee 27 Page 2 3 4 3 5 3 5 1 3 5 2 3 5 3 3 5 4 3 6 3 6 1 3 6 2 3 7 3 7 1 3 7 2 3 8 3 8 1 3 8 2 3 8 3 3 9 3 9 1 3 9 2 3 9 3 9 4 3 9 5 3 9 6 3 9 7 3 10 3 10 1 3 10 2 3 10 3 3 10 4 3 10 5 3 10 6 3 11 NV ON CTO MN Sect ea a tes ee o ID E CLR ELI DNI EA 28 e AP D S TE EU 29 PVDA toca NEED S ODmOIM MISC NO ORA IE 29 Playpack Trom the EOIE POITIE sou co xir ioc caus aii 31 miii ierse eigo tti lay Riccio TEN TE D T TUI EE 31 Time DISPARA cbammacidausies 32 Navigating the Waveform Display occccccoconcocncoonnonnnonononanonancnannonnnennnonanenanenano 32 o H 32 Ae A er PEDEM 33 SCOGGINS suscite a unisce soe qdus quM N 33 oelecurng d Beglobl aryere ara OE euo ESSE RcO Ru Dee qoc cc 2 u cc dee EE ee ams cn ED P
95. VIO EE E UN ERN 159 Close MO VIBsciin PE 159 A 159 DAVE ProJecbAS ose ttp Dm ERI RIC IM II D 159 odve As Default Projetos E Ee En NM E 159 Reveal Sound Finda israel 160 Buda aveo lesson otero ded eco alce edoran eaten crol ense ne cd 160 EXDOIt SOUNA AMO ii tai ds 160 mb do Sl E 160 Soave REVerSe U c bd 161 ovsrtemlrnfoblmistilori eei e bu a a a a Dh Caleta ei 161 Spe v 164 li q endu aver tt d 165 Nao tacita E 165 Page 7 8 3 2 8 3 3 8 3 4 8 3 5 8 3 6 8 3 7 8 3 8 8 3 9 8 3 10 8 3 11 8 3 12 8 3 13 8 3 14 8 3 15 8 3 16 8 3 17 8 3 18 8 3 19 8 3 20 8 3 21 8 3 22 8 3 23 8 3 24 8 3 25 8 3 26 8 3 28 8 4 8 4 1 8 4 2 8 4 3 8 4 4 8 4 5 8 4 6 A O 166 A A 166 Paste COMMMaMGS Em 166 Selec Deselec tA n a a P 167 Delete Selectos il 167 er bero Un 167 REDAC EET T m E 168 MSC A io 168 FAG OAC 4 E y 10 ER RRE O E O 168 Replace Constrall Casi tato 168 Create Crossfade Create Segment cccccccccesccceececeeeeceeeeceeseeeeeeseeeesseeesaeeessueesseeessueeseeesags 168 Create Crossfade from In Point Create Segment from In amp Out Point s 169 Delete COS SACS na on LM EN III CL LI M MM MM UA na O 169 Mov SEG Raid eR cH 169 SE BOT TRE 677 1 o eco 169 heverse FO Visas eiii 169 Nudge Segment Left Right micro roer 5 20xE aaa Rd ERR TES DA ERR 9
96. When off or disabled the Gain turns grey Note that while in Gain Overlay Mode all normal editing functions are disabled and only the gain nodes can be manipulated Reverting to normal Editing can only be achieved by selecting the Hide Gain Overlay command 4 6 Desk Events 4 6 1 Plug In Overview In addition to Gain Overlay soundBlade HD offer the option to add Desk Events or plug ins to a Project or bus soundBlade HD hosts both VST and AU plug ins When plug ins are instantiated in a Project they provide time based snapshot automation Also in Projects plug ins are constant latency and are seamlessly cross faded even within an individual segment This means settings change smoothly free of audible discontinuities even for plug ins with high latency All plug in instantiations are fully latency compensated unless the plug in itself cannot or does not report latency Note that if you use a plug in with latency that changes based on the settings AUPitch is one example you need to instantiate the plug in with particular care In order for soundBlade HD to provide correct latency compensation you must use an individual slot for any instance of that plug in This will allow each instance to have its own latency compensation that will not change during playback VST NOTE To improve stability with VST plug ins soundBlade 2 0 2 makes use of a new folder to store VST plug ins that are used within the application This folder
97. a Model 304 Sonic Studio s Series 300 DSP I O Processors provide powerful and high fidelity routing recording mixing and processing in compact FireWire attached packages The Model 304 is an eight channel example and is a perfect fit for soundBlade HD This setup outlines the use of a Model 304 as an interface to outboard gear specifically an analog processing chain This example uses soundBlade HD s M3 and M4 as the send to external processing and firewire return inputs FW3 and FW4 as the returns Remember that monaural plug ins in the Project and Desk and stereo plug ins in the Master Section will be in the signal path Step 2 Set up the Project and the Desk as shown below Track 1 MEA eee frack 2 999 09 EDL Send 00 00 20 00 Track 1 1400000a Vr ETA Nm 0 0 Track 2 SODOM r goons db fs mpm Fr Figure 6 22a Set up of the Project in Multiple EDL Mode Multiple EDLs selected in Preferences Page 141 Track i SEVE A ME PAP opa rack 2 00 00 20 00 HU IE Track 1 4 O O O0 libre A ud 1 1 mm s a um NE Dc 005 Track 2 SOOO r dbiz E E J Im y GA ee WIL a SENE NN pied AT me IIA pem opm MERA m 0 05 AadA4EEEELEEELERREAGGGAG Figure 6 22a Set up of the Project in 4 Track Mode Multiple EDLs deselected in Preferences Page 142 input Tabs Return From Process LE ioo Qn II Tabs Send
98. about your CD R mechanism When multiple CD R mechanisms are connected there is a selector represented as a white disclosure triangle to the right of the Device label This selector allows you to toggle between the available target mechanisms soundBlade HD can only address one mechanism at a time The Status field below the device field provides an indication of the status of your delivery media and progress of the delivery Note that soundBlade HD is designed to address Apple supplied built in CD R and DVD R mechanisms as well as most third party FireWire attached drives supported by the operating system USB attached products as well as some third party drives do not function with Apple s optical disc frameworks so always test new mechanisms prior to use Page 54 3 11 27 Delivery Options In this section of the PO Delivery tab there are four buttons a speed menu and check boxes that control various aspects of your delivery Let s go over what they do 3 11 2 7 1 DDP Image Button The first button DDP Image defines the parameters of DDP delivery We suggest that you write DDP images at 8x or Max from the Speed pull down menu Make sure that the Write PO and Write Audio checkboxes are selected If you want to include CDTEXT metadata in the DDP select CD Text TS Note that this must be selected if you want CDTEXT in your deliverables To deliver a DDP in soundBlade 1 Select the EDL you wantto deliver All audio routed
99. al menu with the choice to Show Package Contents Showing the package contents allows you to set yourself as read write the group should be admin also with read write privileges You should also boot from the Apple supplied install disc that came with your computer Run the Disk Utility application and perform a Repair Permissions pass on your host This is a routine maintenance task that along with DiskWarrior should be run about once a month A1 4 4 Plug ins We recommend that you disable any VST plug ins for which you have an AU equivalent To do that locate all plug in folders One is located at your home directory Library Audio Plug Ins Another is at boot volume Library Audio Plug Ins You may have others so search for VST in Spotlight Once you find all VST directories you need to create VST Disabled folders next to the existing VST folders Drag the VST plug ins into the disabled folder Generally speaking if a vendor provides both VST and AU versions always use the AU version After disabling your redundant VST plug ins have soundBlade SE recreate the plug in cache by deleting the your home directory Library Preferences com sonicstudio plugincache plist file soundBlade will recreate a new plug in cache next time you run it If you have plug ins which are currently inactive though you would expect them to be functioning it may be because of the plug in cache The plug in cache may have l
100. al space between according to the Preference gt Editing Tools gt AutoSpacing Duration setting If you have PO marks already placed in the Project the command name changes contextually from Auto Space All Segments to Auto Space All Tracks See sections 3 8 5 and 4 2 1 above for practical discussions about the autospacing function Page 171 8 4 The EDL Menu Mew Tracks Delete Track CIEN Show Waveforms ey Show Bar View jeg Show Text View YT Show Gain Overlay XG Show Desk Events xD Bypass Desk Events Refresh de R Tiny kE Small Track Size X4 Standard Track Size X9 Large Track 5ize 6 Full Li Select All Tracks iA Deselect All Tracks iD Move Track Down Expand All Collapse All a6 Feature Tracks Move EDL Down Auto Set Edit Group Selection Set To Next Available Edit Group t Figure 8 4 The EDL menu 8 4 1 New Tracks Multi Channel Feature The New Tracks command adds up to eight additional Panels to the bottom of the currently active EDL providing additional tracks with which you can work New tracks can be added either to the Edit Group to which the currently selected Panel belongs or to the None Edit Group with the In New Edit Groups choice Page 172 8 4 2 Delete Track Multichannel standard feature The Delete Tracks command removes selected Panels from the currently active EDL soundBlade HD will warn you before deleting Panels Because the Delete Track command
101. amics processors project lines in different directions DynPEO retains the two lines and projects a plane of signal processing possibilities going through the lines It creates an extra dimension of audio processing Try your EQ and dynamics ear training drills with both EQ and dynamics active The internals of Quartet DynPEO can be described as deliberate By this we mean the dynamics of this plugin are designed to avoid over reaction which can be audible whether applied to a single band or the entire spectrum So while Quartet DynPEO can be set up to de ess and other Page 232 functions of specialized dynamics processors you will likely find that the specialty processors are very good at their specialty By the same token we don t think you will find that the specialty processors sound as good as Quartet DynPEO We at Wholegrain hope that you will find the plugin powerful yet transparent A toast to the pursuit of the golden tone Cheers from Wholegrain Digital Systems LLC User Manuals for Trio DynPEO and Quartet DynPEQ can be found in the Documentation folder of your soundBlade HD application Page 233 Appendix 1 Best Practices amp Maintenance A1 1 Introduction Although versatile in many ways not every function that soundBlade HD offers is the best way of structuring your CD creation and replication workflow Some solutions are better than others either for quality reasons or other reasons
102. amount of time shown in the display after the Zoom Around Playhead command is selected The amount of time will be equally divided between the area to the left and right of the Playhead position 8 8 8 Zoom around Selection Center This command is similar to Zoom around Playhead except that instead the display is centered around the centre of a selected region or selected segments 0 5 Second 1 Second 2 Seconds 5 Seconds 10 Seconds Zoom To Entire Project 3PE 30 Seconds Zoom To Entire Track 60 Seconds M A Zoom around Selection Center 2 Minutes 5 Minutes 10 Minutes Figure 8 18 The Zoom around Selection menu 8 8 9 Zoom to Selection Start End This command zooms the waveform display to the start or end of the current selection with the start or end of the selection centered in the waveform display and is very handy for refining a selection s boundaries The amount of time shown around the selection boundaries is defined by the Zoom to Sel Start setting in the Time Display tab of Windows Preferences See section 8 8 4 below for information on theTime Display tab 8 8 10 Zoom to Selection This command zooms to the currently selected region such that the selection is centered in the waveform display and covers a preset percentage of the waveform display area The amount of time shown around the selection boundaries is defined by the Zoom to Sel Start settin
103. and selects all Gain Nodes contained within the currently selected segment s or region Selected Gain Nodes can then be subject to simultaneous changes such as gain setting lock state or deletion For more information on working with Gain Overlay mode see section 4 5 above 8 4 13 Refresh he Refresh command redraws the current waveform display for the selected Panel This command is especially useful after rebuilding the waveform files of one or more segments to force the waveform display to display the updated information Page 174 8 4 14 Tmy Small Standard Large Full Track Size The Tiny and Small Track Size command re sizes the selected Panel s to a very compact vertical size allowing you to pack more Panels into the same amount of screen real estate The Standard and Large Track Size commands resize the selected Panel s to standard or large vertical size Large sized Panels are two times as tall as standard size offering a better display with larger display or desktop settings A Large Panel also lists more segments in Text Mode The Full Track Size commands resize the selected Panel s to full vertical size Full sized Panels are four times as tall as standard size offering a better display with larger display or desktop settings A Full Panel also lists more segments in Text Mode 8 4 15 Select Deselect All Tracks The Select All Tracks and Deselect All Tracks commands select or deselect all Panels 8 4 16 Select N
104. anging the type 62 File menu 153 155 file systems 235 Finding the maximum sample 191 Finding the peak level 191 Find amp Set Points 188 FLAC 23 Forground Waveforms 207 freezing 48 Gain 71 Absolute 71 changing multiple segments 72 Normalize 72 Relative 72 Segment Gain 169 Gain Adjustment 70 Gain Nodes creating 174 198 locking unlocking Gain Nodes 199 locking amp unlocking 74 selecting 174 199 Gain Overlay 72 160 198 Bypass Activate 173 bypassing Gain Overlay 198 Show Hide 173 174 showing hiding Gain Overlay 198 Gain Overlay Mode 72 General practice 20 HH MM SS FF 32 Hide Gain Overlay 198 Hide Playhead When Stopped 181 host Page 258 saturation 48 hot spots 120 130 iLok 18 237 IMAGE DAT 157 Import 203 Importing sound file types 23 156 AIFC 23 27 importing SD2 files 203 Import 5 4 EDL 163 Index Mark 182 IN field 44 45 187 Insert 87 168 inserting PO Marks automatically 49 manually 49 installation 18 In Edit Point 84 IN field 32 ISRC 95 97 Mark Info 97 the IFPI 97 JAM Image 56 jitter 55 Keep DDP Image 209 LEFT RIGHT time fields 92 LEFT field 32 34 linear Fades 60 Link Pair 122 126 Listings 99 PO List 102 Lock Unlock 198 Lock Unlock All Nodes In Edit Group 199 Page 259 Lock Unlock all Nodes In Track 199 Lock Unlock All SRPs in Track 80 Lock Unlock Nodes From Selection 199 Lock All Marks 183 Lock Gain Node 74 Lock Marks from Selection 183 Lock Sound 64 Lock SRP
105. ar set the fade curve to be 6dB down in the center of the Fade Root linear set the fade curve to be 6dB down in the center of the Fade Cosine default 3 dB down in the center Root Cosine default 6 dB down in the center Exponential provides very rapid reduction in gain across the Fade Set Fade to Fade In Out Crossfade change the Fade type to one of the default Fade types Set FadeTo Selection Sets the Fade duration to match the current selection Set Fade To Default Fade In Out Crossfade changes all Fade s parameters to the default Fade s characteristics Page 247 Appendix 4 Additional Resources Below is a list of internet resources on subjects relating to soundBlade HD and it s intended field of use A4 1 Professional Organizations International Federation of Phonographic Industries Assigns ISRC label codes http www ifpi com The P amp E wing of the National Academy of Recording Arts Sciences provides recommended practices for production and interchange formats http www grammy com Recording_Academy Producers_and_Engineers The Audio Engineering Society promotes select industry recommendations in the field of professional audio http www aes org The Society of Motion Picture Television Engineers sets standards and guides the industries involved in all technical aspects of film and television production including audio http www smp
106. area 148 SRC 149 Target Sample Rate 149 varispeed 149 Background Waveforms 28 207 Bouncing 114 118 examples 115 133 printing Master section effects 138 139 141 Broadcast WAV 27 156 Build Waveforms Build Sound Waveform 160 Build Waveforms Background Mgr 150 Built In audio 135 burning CDs 20 21 51 101 BWF 23 27 38 39 47 104 109 110 111 116 156 160 163 164 246 Bypass Activate Gain Overlay 173 Bypass Unbypass Event 78 Bypass All Events 198 Bypass Desk Events 174 Bypass Gain Overlay 198 Carbon 217 CD Album Artist 95 Album Title 95 ISR Codes 95 Page 251 Track Artist 95 Track Title 95 UPC EAN 95 CD DA discs 53 100 CD G 52 CD DA discs 35 51 CD R delivery 101 DAO Disc at Once discs 56 delivering multiple CDs 102 Jitter 55 Speed menu 55 TAO Track at Once discs 56 using multiple mechanisms 100 CD R delivery 20 21 23 51 CD Text 52 96 CDTEXT BIN 52 157 CD Track metadata 52 CD Write Speed 210 changing Fade parameters 59 changing Fade shape 60 changing Fade type 62 changing track order 46 Clear All 149 Clear button 133 Clear Files 149 Clear In amp Out Points 187 Clear In Point 187 Clear List on Execute 149 Clear Out Point 187 Clear Selected SRPs 190 Clear Selection 167 Close Session check box 56 Cocoa 217 combo Text Waveform Project 72 Console Log 76 162 163 consolidated DDP file sets 157 Copy 166 Copy Enabled 98 cosine Fades 61 Create Crossfade 168 Create Crossfade from In
107. as the OriginationDate ASCII characters containing the date of creation of the audio file The format is yyyy mm dd year month day Year is defined from 0000 to 9999 month is define from 1 to 12 day is defined from 1 to 28 29 30 or 31 while the separator between the items can be anything but it is recommended that one of the following characters is used 1 hyphen Page 110 underscore colon space m e oe e stop or period e Time Technically known as the OriginationTime ASCII characters containing the time of creation of the audio file The format is HH MM SS hours minutes seconds Hour is defined from 0 to 23 while minute and second are defined from 0 to 59 The separator between the items can be anything but it is recommended that one of the above characters e Description An ASCII string containing a un formatted description of the sequence To help applications which only display a short description it is recommended that a resum of the description is contained in the first 64 characters and the last 192 characters are use for details e Coding History The Coding History field is usually filled in and appended by any application that creates and subsequently modifies a BWF sound file Finally the optional Edit Recording check box enables files to be opened while their recording is in progress This feature allows you to begin marking and making other editing decisions whi
108. ase of extant CD titles Such network services are used by iTunes and other applications for user convenience but have no relationship to the possibly embedded CD Text information on individual CD s Note that soundBlade HD 2 0 will produce CD Text metadata on both the DDP image and on CD R media when the CD Text TS is selected in the Mark Info window soundBlade HD s DDP 2 0 compliant DDP image file sets contain properly formatted CD Text information in the form of the CDTEXT BIN file that is included in the DDP file setif the CD Text TS checkbox is enabled in the Mark Info window Reference discs on CD R media created with soundBlade HD do contain the CD Text information However given the loose specification for CDTEXT support these disks may not display the information on a CD R properly on all players Note also that due a current limitation of Mac OS the current version of Y soundBlade HD does not support open session CDs with CD Text 3 11 2 2 Track Metadata This section provides information about individual track attributes The next two fields Track Title and Track Artist are also part of the CD Text specification and data entered into these fields will also appear on CD players equipped to read this metadata soundBlade HD auto populates Page 52 theTrackTitle based on the segment name and if you have provided an Album Artist prior to PO creation soundBlade HD will also auto populate the Track Artist metadata as
109. at right When the Edit Point is present playback will always start from the Edit Point When you stop playback and start again the Playhead will jump to the Edit Point and start playback from there You can move the Edit Point by clicking on a new location in the waveform display The Edit Point will jump to the click location Alternatively you can click and drag the Edit Point s yellow triangle to move it to a new location 3 5 3 Playback from Playhead The Playhead itself can also be manipulated directly By double clicking in the lower half of the black time line banner the Playhead is moved to the click location Once the Playhead is moved you can use the Play button in the Transport Controls to begin playing from that location The Transport Controls above the top Panel provide tape transport emulation so you can play stop and continue playing from the current location You can also select the Play From Playhead command By holding down the option key before tapping the space bar soundBlade HD will play from the current Playhead location rather that from the Edit Point which is the default behavior This is equivalent to clicking on the Play button in theTransport Controls By double clicking in the upper half of the time line on the numbers the Playhead is moved to the click location and playback begins You can also hold down the option key while moving your cursor to any location in the waveform and while holding down the m
110. ates a tab delimited text file suitable for importing into third party applications such as spreadsheets 3 11 2 12 The PO List Button This button generates a Sonic Studio standard PO List the industry s standard text representation of a compact disc s table of content This file is typically printed and a hard copy sent along with the DDP data set to your replicator Page 57 dea ic Mio RITA TT une iode 2 8 AS Clbeet g Project prila Project Tithe sourdllade Project PG Log arte E wt UPC TAM lola Generated Thuriday December 33 2610 Page Humber 1 P Les Deitwery Tree DOE TD times are 75 fps Time Format Hip CD From PQ Track 1 Sffgpst 0a 06 25 PQ Short Off gs 000p 5 P 3elice Of fasts B3 rh 115 P End Offset Ba e n6 PQ minindes B widts ie OL Pi Track inde Enfprmotipn T x TTE tory Erf nO OF PS reer DET tb TEAL TERI EAT OA 5m A A O A TE cff 1 Cot do ait 8B Poe fe a Mr AL SS L EE i w W AE Potol 05243347 Flor vire if i 529337 m1 05 52 54 Bet Pendle es a T i an Fronciscon Hae 18 01 i EJ os irm ei ES E fetal 07 14 00 4 Good Ged D ot Dt Good Lib dif L 15 43 37 15 43 23 SO pee aT Petal fib Lb cn My Hace be Hee wire sk i Puti Y EE T iz Mo 26 13 47 2 a a Pa ELE WH 1M115 7 Fetal 06 56 ERE BE EEE AAA EERE eee EER Be eR BBE EEE 6 Pel kin Los Tor 15 91 a Sa X2 41 12 Wii iti i 12 53 11 12 55 Meith Hales 2 TEN E 1E 17 ALAS FFs P
111. ault Auto mode the otrip outputs the audio from the corresponding Panel When playback is stopped or when Record Mode is engaged the Strip outputs switches to sending the audio from the selected input This can be thought of as sel sync mode Note that Automatic only works in the described manner for tracks that are Record Enabled If not Auto mode replicates Output mode 6 2 1 3 Input and output routing panning Above the four monitor control buttons are two selectors for input assigns on the top row and output routing on the bottom row Figure 6 7 input and output routing selectors The input assigns on the top row select the input source for routing through the Strip and Panel By default they are assigned line in L1 to L4 for Panels 1 to 4 Alternatively the output buses of the individual Strips labeled Master1 through 4 can be assigned to be recorded or bounced as well The selector can also be set to None so no audio will be routed to the input of the corresponding Strip Note that the inputs of the Desk are hard wired or virtually routed directly to the output of each corresponding Panel The output routing on the bottom row controls the destination of each Strip By default each Strip is routed to an individual output labeled M1 to M4 Alternatively outputs can be set to none disconnecting the Strip from any output bus To allow for panning the selector can be set to Pan which routes the Strip output
112. ay with the menu command or by hitting the Spacebar 8 5 5 Stop This command stops playback and or recording and is equivalent to tapping the Spacebar during playback or clicking on the Stop button in theTransport Bar 8 5 6 Mute Track This command mutes playback from a track and is equivalent to selecting the M button to the left of a Panel 8 5 7 Solo Track This command solos a track and is equivalent to selecting the S button to the left of a Panel 8 5 8 Hecord Arm This command arms a track to record ready state This command is equivalent to selecting the R button to the left of a Panel 3 5 9 Record The Record command starts soundBlade HD in recording mode Tracks armed for recording start recording while other tracks in the same Edit Group Edit Target will simultaneously perform playback Page 178 For more information on recording see Chapter 5 8 5 10 Around Selection Center This command plays a section of sound centered around a selected region When you choose Play Around Selection Center a submenu appears allowing you to select the length of playback time Around Selection Center w Play 0 5 Sec Play from Selection Play 1 0 Play to End of Selection Play 2 0 Play 5 0 Play Around 10 0 To In Poit 5 h Play 30 0 gum 7 F rt Tr a i 1 FOIT x 1 L I i Figure 8 6 Play Around Selection Center submenu 8 5 11 Play from Selection Like the Play
113. be moved on the time line with equal space between according to the Preference gt Editing Tools gt AutoSpacing Duration setting In Preferences the length of the AutoSpace can be set to 1 2 or 3 seconds Note that ifa song is composed of morethan one segment then the AutoSpace command should be used with care as the command will break apart the song autospacing its component segments Also the AutoSpace command should be used before you place PO marks to prevent unwanted mark re location Also Note that if segments have had their fade durations lengthened from the default setting the AutoSpace command will not necessarily result in a desirable spacing This is because the fade duration at the head and or tail of one or more segments may be longer that the minimum 1 seconds spacing that is required between PO Marks on a CD If you use the fade tool to lengthen fades at the head or tail of a segment you should manually space your segments by using the Selection Select Edit Point to End command and the Drag Bar 3 9 7 Exporting Selections amp Segments Selections including both selected segments and selected regions can be exported as AIFF or BWF files with source resolution of up to 192 kHz sample rate and 16 or 24 bit word length To do this use the File gt Export Sound File command It exports the audio with amplitude changes from segment gain plus any Gain Overlay and plug in processing To use this functio
114. ces Supported file formats for recording are AIFF and BWF Sample rate and resolution are limited by the capabilities of the available hardware Audio can be recorded directly into any Panel and will be stored in mono AIFE WAV or BWF files To indicate the Panel in which a sound file was initially recorded it is assigned extensions 1 to 4 respectively First you must specify where the recorded file will be stored and in what format and resolution the recording will be made To do this select Windows New Soundfile Settings The New Soundfile Settings window appears AON New Soundfile Parameters et Folder Figure 3 16 The New Soundfile Settings window AIFF file type Page 38 New Soundfile Parameters Folder Set Folder Soundfile Untitled Recording A Edit Recording e 1 Incr Skip Bit x File Es AA E EA UI Type C Originator Reference Date Time Description Figure 3 17 The New Soundfile Settings window BWF file meta data To select the destination folder for the recorded sound file and subsequent recordings click on Set Folder to open a standard Mac OS browser and select the target destination folder Then click OK to confirm your choices and return to the New Soundfile Settings window Next the default sound file prefix can be set in the Soundfile field Additionally in the Take 4 field a starting take number suffix can be entered that will be
115. cesses are available in the Background Manager depending upon the purchased package of soundBlade HD 1 1 1 1 Sample Rate Conversion The SRC varispeed background process has thirteen choices of target sample rate As with any SRC process if the target sample rate matches the clock rate of the playback system then the process is considered a sample rate conversion If however the target sample rate does not match the clock rate of the playback system then the process is considered a varispeed In either case the actual processed data in the file is identical only the sample rate flag is different SRC preserves pitch and duration while varispeed produces modified pitch and duration from the original TheTarget Sample Rate menu includes the following choices in kiloHertz e 8 e 44 056 44 1 kHz referenced to 59 97 Hz e 44 1 e 47952 48 kHz referenced to 59 97 Hz Page 149 e 48 e 88 112 88 2 kHz referenced to 59 97 Hz e 88 2 e 95 904 96 kHz referenced to 59 97 Hz e 96 e 176 4 e 192 e 352 8 e 384 In addition to theTarget Sample Rate menu a Percent field is provided to set a target sample rate as specified by a percentage of the source or original sample rate With either the Target Sample Rate menu or the Percent field the actual sample rate in Hertz is provided in the Processes list for that entry Y Add a Process Add Sample Rate Conversion Add PCM to DSD Conversion Add DSD to PCM Conversion Ad
116. ckslash command backslash Y backslash 1 command option backslash 1 shift F6 command shift F6 shift F5 Move Edit Point to Previous Segment Edit Pointshift command F5 Move Edit Point To In Out Point Move Edit Point to Next SRP Move Edit Point to Previous SRP Select Start to Edit Point Select Edit Point to End Select Segments to End Select Segments To Start Select between SRPs Set SRP Set SRPs from Selection Set Sync SRP Set SRP with Text Change Crossfade duration Viewing Show Text View Show Gain Overlay Refresh Standard Track Size Large Track Size Move Forward Move Forward Backward Move Backward Zoom In Zoom Out Zoom In Around In Point shift F7 shift F10 command shift F10 option dash option equal to command shift right arrow arrow keys command shift left arrow arrow keys double click at bottom of waveform display command semicolon command prime F11 F12 shift click drag with Crossfade Tool option T option G command R option 5 option 6 right arrow command option control click drag on waveform left arrow arrow keys down arrow arrow keys up arrow arrow keys command left arrow arrow keys Page 242 Zoom Around Out Point Zoom Around Edit Point Zoom Out Around Edit Point Zoom In Around Playhead Zoom Out Around Playhead Zoom to Previous Zoom to Next Zoom to Selection Zoom to Sele
117. clicking on one of the loudspeaker symbols moves the panner to that position instantly At the bottom of the multichannel panner two call outs and one selector are located The Angle call out at left shows the angular position of the panner on a 360 degree polar coordinate scale To manually input the angle of the panner directly as a numerical value click in the Angle field and enter the desired value and confirming it by hitting the Enter key The Method selector in the center should be kept at the default Standard setting as the Soundfield re matrixing choice is not yet operational The Spread field is an call out showing the extent to which sound is panned across multiple available outputs Spread varies from 1 00 to 99 9 and is at its maximum when the sound is panned equally to all outputs with the position indicator is in the center and equal amplitude appearing on all outputs 6 5 Mieters Window The Master Section 6 5 1 Overview In a separate window from the Desk the Meters window provides a Master Section the final output control for both the Project and Desk The Master Section window can be opened by selecting the Windows gt Meters command Page 128 Meters Output EM 44100 Reset Outputs Lock S Dither r2 m h IP 3 1 1 CH l E LL E COO w M Mi M Co HMS M M7 M Haster ja LJ I I dg E rg I d I I J a
118. coccocccccconconccancnnccnnonncnnconncanonaronnranrnaronarnnos 240 Windows 240 File amp Project 240 Playback 240 Recording 241 Editing 241 Viewing 242 Edit Fade Mode243 Desk 244 CD Prep 244 System 244 Appendix 3 Contextual IVIenusS c ooccoocccccocconconncanonnccanonaronconncanrnaronaranrnaronnrnnss 246 Page 13 CONTO Ee lt i O EET E T D DET TE PR NER 246 In the Waveform 246 Va d eEGIESIT dP ACUTE 246 In the Track Bar 247 Ir the wWaveroFmi dIspIdys sesiveecutdisus atu ides oOx Data A des cue EE me es 247 Appendix 4 Additional Resources ococcoccocconcoconconcancancnconconcancnncaronconcanenaranonos 248 soundBlade HD User Manual Index eere een 250 Page 14 studioCare Support Program Why Do You Need studioCare Sometimes things don t quite go as expected usually with a deadline looming Sonic Studio s studioCare program gives you fast access to highly skilled and experienced engineers with a passion for audio as well as the capability to provide a solution studioCare compliments the 30 day tech support that s included with your software extending and enhancing the value your product with high priority response to your software and hardware questions From the casual home studio to the largest corporate facility you can count on studioCare to keep you ahead of the curve What Is studioCare studioCare is Sonic Studio LLC s professional prio
119. conccncooccnocononocononcncnnnnononanononanoncnnnrononanononnrenonnnrnnnnanenonarannnnaninnns 217 8 10 16 WANIME COME Status rS 217 8 10 18 background Manager s x otia aeta idotuedc e Gece Gee ato cred el asad teh cries mantels 218 8 10 19 Micl eg oc N 218 O o O S The EFM Menu 218 Chapter 9 NONOIMSE loca 219 Chapter 10 Sonia 220 10 1 Sonic EO Pre DEOCOSSOU ismael ea 220 10 1 1 AP 220 Page 12 10 1 2 Operational dos 220 10 2 SONICEQ FUG i a 230 Chapter 11 Trio amp Quartet DynPEQYM Lose nnn nnn nnns 232 11 1 Introductrorm To Vll EO isse tadiit a dad 232 Appendix 1 Best Practices amp Maintenance cooccocccocconconccnncanccaronarancnannanonaso 234 A1 1 NINO Cl UG LON ERE A A LET 234 A1 2 Source Material Considerations iia aii 234 A1 4 Hardware Considerations amp Routine Maintenance esses 235 A1 4 1 SI LEM EM ME ERR EE 235 A1 4 2 Storage SUSTO cesta tob ti mter e ar cA dee ELEM Ree EIS 235 A1 4 3 mi UR IO RETE T T LIT 236 A1 4 4 O A 236 A1 4 5 3rd Party Configuration Management cerent tette teen 237 A1 4 6 3rd Party Applications nens 237 A1 4 7 HEOKS Sy OUI IEIC C MSC paccn aceite tat ta ac atacand ca pte eia 237 A1 5 Denver O DIES 237 A1 6 DIVENI Sart eds 238 A1 7 Delivering CD Tex Aer NE e UE O O O a AUSSER um SUME DM DEMOS AR E NE 238 Appendix 2 Keyboard ShortcutsS ooc
120. cross with left right and up arrows indicating you can change the duration Figure 3 20 Fade tool symbol while moving top inside edge of the Fade Of course the length of a fade can also be changed by moving the lower or outside edge of a fade leaving the inside edge in place To do so move the cursor over the fade near the bottom of the display until the cursor changes into the Fade Tool again This time the cursor changes into a cross with left right and down arrows Figure 3 21 Fade tool symbol indicating you are changing the outside edge of the fade Click hold and drag the bottom end of the fade to the desired position Release the button to confirm the change Remember that modifying the outside edge is only possible within the limits of the actual samples of audio data represented by the segment If the cursor is moved over the middle portion of a fade the Fade Tool cursor also appears but this time as a horizontal arrow with a vertical center line In this trim mode you are able to move the entire fade left or right changing its location without changing its duration This allows you to hide or reveal portions of the underlying segment by shortening or lengthening the segment duration trimming the segment as you go Click hold on the fade and drag the fade Page 42 left or right Releasing the mouse button fixes the fade in that location While you are moving or changing a fade with the Fade Tool the waveform i
121. ction Zoom to Entire EDL Zoom to Time Line Selection Zoom to Waveform selection Edit Fade Mode Enter exit Edit Fade Mode EFM Exit EFM without saving changes revert Invoke EFM contextual menu Drag edit In or Out Fade individually Drag edit fade duration symmetrically Zoom to the In fade Zoom to the Out fade Lock sound when Lock Sound is off Move In Fade to Edit Point Move Out Fade to Edit Point Edit the Out Fade parameters only Edit the In Fade parameters only Edit the parameters of both fades Increment numeric field value Decrement numeric field value Play Sound Toggle Lock Sound Set the parameter slider to minimum Set the parameter slider to maximum Home to the In and Out Fade Edit Points Recall Default Fades Recall User Fades command right arrow arrow keys command down arrow arrow keys command up arrow arrow keys option down arrow arrow keys option up arrow arrow keys command P command option P command G command option click drag on waveform command E command click drag right on time line command option click drag on waveform command 4 F escape esc control click on fade option drag fade shift drag home command home command drag left curly bracket right curly bracket O B highlight field plus highlight field minus spacebar L forward slash asterisk equals option O not numerical keypad option 1 9
122. d To change the EditTarget for a group of Panels do one of the following Click to select any Panel in an Edit Group then press the S D or N key to set one of the three Source Destination None states respectively soundBlade HD sets the Panel to the appropriate Edit Target and all other Panels in its Edit Group follow To change Panels from Destination to Source hold down the option key then click on the Edit State button of any Panel in the Group To change Panels from Destination to None hold down the command key then click on the Edit State button of any Panel in the Group To change Panels from either Source or None simply click on the Edit State button of any Panel in the Group Multi Channel Feature With the Multiple EDLs preference enabled you can set a single Panel to a desired EditTarget hold down the control key then press the S D or N key Any other Panels in the same Edit Group will remain in their previous state Note that the Sync Group is forced to a new group when you use the control key so unless you are in Multi Channel mode you may not be able to undo your forced Edit Target setting Multi Channel Feature Holding down the control key when pressing S D or N causes the selected Panels to switch to the next available Edit Group and then sets the Edit Target 4 9 4 Insert versus Heplace soundBlade HD supports two Source to Destination editing commands Insert and Replace These commands always copy t
123. d Build Waveforms Add DeCrackle Figure 7 1 1 showing available processes 1 1 1 2 Build Waveforms As the name implies this process creates waveform metadata for the queued sound files The resulting files with a r extension are placed in the same directory as the parent file from which they were derived 7 2 The Queue Manager tab To monitor and manage queued processes the Oueue Manager tab offers status information and limited options to influence the queued jobs and tasks being performed Page 150 BOO Background Manager js d a MA Walting Jobs LL 1 5ample Rate Conversion Runn ng 50 Jim my Users jamessanileskta p E eratuma Stabe 1 Job Sample Rate Conversion Files 1 of 3 Processes 1 1 File 0 Progress Files Processes E File Current File Figure Z2 The Queue Manager tab In the top half of the window all processing jobs in the Queue are listed In the bottom half the active jobs are listed The progress bars below this area show which file is being processes and which process of the total number of processes to be applied is currently being applied To suspend currently running processes click the Pause Resume button The current process is halted and queued processes are held in the queue To resume processing click the Pause Resume button again To abort the current process click the Abort button and the current process will be aborted initiating the next
124. d for Capture Captures can be done manually starting and stopping at any point of choice Capturing can also be done from different time areas in Panels 3 and 4 than the time area into which the capturing takes place This can be done by setting both EDLs to None Master Slave pull down menu in the Project window allowing you to start the recording first then selecting Panels 3 and 4 and playing back from any location in those Panels Also capturing can be performed using SRPs allowing for exact time predefined insertion of sound material To set up a capture using SPRs first prepare for a normal capture as described above Then before initiating the Capture setup SRPs and a necessary selection then start the capture as if performing a recording using SRPs Note that as bounces include all processing in the entire signal path Dither may or may not be applied according to the settings of soundBlade HD s preferences and any external processors used Also resolution of the recorded bounces can be set to 16 or 24 bits in the New Soundfile Parameters window 5 5 Recording and time stamps When recording a sound file in WAV or BWF format a time stamp is added to the sound file The time stamp added is the time of the corresponding position in the Panel s This allows for the sound files to be placed in the exact original location on the time line in any application that Page 116 recognizes and is able to handle this feature In
125. d the EDLs set to None the two EDLs are completely independent precluding their ability to play audio simultaneously If you have Multiple EDLs on setting the upper destination EDL to Master using the Master Slave menu and the lower source EDL to Slave will allow both EDLs to play in sync Page 82 Destination Figure 4 21 Dual EDL playback 4 9 Source to Destination Editing soundBlade HD includes several ways to edit audio including cut copy paste drag and drop and for really precise work Edit Point Editing using Source to Destination With this model Panels are either Source where material is copied from them or Destination where copied material is placed in them You can specify the time line location of the Source and Destination material with In and Out Edit Points or with selected segments In and Out Edit Points take precedence over the Edit Point or segment selections If you have set In and Out Points any other selections in the Panel will be ignored when executing the edit In and Out Points are ignored in drag and drop edits When you have set In and Out Points in a Panel soundBlade HD identifies the region between them by highlighting the background behind the waveform The appearance of any other selections changes if In and Out Points are set the highlight color is gray blue signifying that the selection is not active for key command edits You may still drag and drop selections however Page 83 4 9
126. dB down in the center Page 60 e Cosine default 3 dB down in the center e Root Cosine default 6 dB down in the center e Exponential provides very rapid reduction in gain across the Fade soundBlade HD provides five fade shapes to allow you to produce a pleasing edit or transition no matter what sort of material you have available You can also use fades for less obvious purposes such as applying a new Crossfade on an unwanted sound changing the gain law to exponential and adjusting the duration to drop out or suppress the unwanted sound Though each gain law is useful in certain situations the linear fade shape is the most widely applicable 4 1 3 Changing the Fade Duration In the Fade Tool contextual menu the Set Fade to Selection forces the fade duration to match the duration of a selected region that encloses the fade When a region is selected this option stretches or shrinks the length of the Fade to match the position and length of the selected region The contextual menu changes to reflect the currently selected FadeType The Fade Tool functions also apply to a Crossfade Figure 4 3 below shows the Fade Tool in Crossfade Mode Notice that the cursor assumes a double horizontal arrow shape and both fades are highlighted both green and red Figure 4 3 Movie The Fade Tool in Crossfade Mode showing command key variables Click to play By click dragging left or right the overall Crossfade location can be alt
127. de Audio to the right of the Out Fade displays against a grayed background indicating that it occurs after the fade ends and is not heard If you are editing only an Out Fade then only Out Fade Panel will display e n Fade Panel This Panel displays the fade in or From Black Fade of a crossfade Audio to the left of the In Fade displays against a grayed background indicating that it occurs before the fade and is not heard If you are editing only a In Fade then only the In Fade Panel will display Note that in the In and Out Fade Panels the edit events are distinctive shown as orange vertical lines while in the Result Panel at top edit events are blue to match their appearance in non EFM mode Panels elsewhere in the Project Figure 4 4 Edit Fade Mode 4 2 1 Selections in the Edit Fade Panels soundBlade HD allows you to make selections in the Fade Panels for fade positioning navigation and auditioning Page 63 You can click anywhere in the In or Out Fade Panel to set move an Edit Point You can also drag the Edit Point to position it precisely With In or Out Edit Points positioned in the Panels you can use the right bracket key for the Out Fade Panel and the left bracket key for the In Fade Panel to move the Out or In Fade respectively to the Edit Point position You can also click drag in the In or Out Fade Panel to make a time selection Time selections are useful for auditioning the underlying audio
128. de In Out forces parameters to the appropriate default Black Fade e Set Fade to CrossFade forces parameters to a default Crossfade e Set In Out Fade s to Selection forces either a Black Fade or Crossfade to the duration and overall location of a selected region e Set Fade lo Default changes the Fade s based on user defined pre sets from the EDL Edit Fade Mode When the Fade Tool is active any change you make using the tool to a Fade or to the underlying audio is real time The default fade shape can be selected in the Editing Tools tab in Windows Preferences 4 2 Edit Fade While the FadeTool provides quick but coarse fade controls soundBlade HD also incorporates a full featured Edit Fade Mode or EFM window The EFM window provides powerful and accurate facilities to control the duration shape and relationship of its start and end times relative to the edit event To enter Edit Fade Mode 1 Click drag across a fade to create a time selection or place the Edit Point within a fade or cross fade 2 Choose Edit gt Enter Fade Mode If multiple fades are within region selections then soundBlade HD uses the top or uppermost selected Panel The Edit Fade Mode window displays the following Panels Page 62 e Result Panel This Panel displays the resulting audio in real time so you can see the results of your manipulations e Out Fade Panel This Panel displays the fade out or To Black Fade of a crossfa
129. e Desk or the Master Section Of course it is possible to set plug ins in either or both positions as the resulting sound file from the bounce will include all processing in the signal path Note also that as in all other situations true stereo plug ins should be inserted in the Master Section only since the plug ins in the Desk are pre pan matrix Although they may appear to behave as stereo plug ins in fact they will not process the mix bus properly Step 3 To execute the bounce set the Edit Point in the Destination ahead of your punch in point to afford some pre roll Start a play and click the record button in the transport controls Whatever you are hearing will be captured to the new sound file Once you drop out of record and you have cleared the Desk and Project of processing you should have a Project with the bounced material in the destination ready for further editing or archiving The Desk Open Desk Setup is useful for nulling the Desk assuming you have saved a default Desk setup Page 137 Setup 2 Bouncing in place or back to the same Panel using Built In Audio As with Setup 1 above this setup will bounce back whatever desk events gain changes and plug ins are in the Panel to a sound file in the exact same location as the source to the same Panel This kind of bounce pass will also consolidate any edits that may be present In this example we will show how to capture audio in the destination Pan
130. e Display tab 8 10 9 1 Time Display TheTime Display time code format selector allows you to preset the display time code format to 75 frames per second 30 fos NDF seconds or samples Compact Discs use a special time code format 75 fps not used elsewhere while 30 fps NDF or 30 non drop 30 frames per second non drop frame is the legacy standard used by the original 1600 1610 1630 series of video cassette based CD preparation systems Page 204 8 10 9 2 Nudge A B C The values in these fields define the amount of time that segments will be nudged when the Edit Nudge Left Right commands are applied For a complete description of the working of these commands see section 8 2 13 8 10 9 3 Zoom to In Out The time value entered here defines the amount of time in the total display after a View Zoom Around In Out Point command See chapter 8 7 3 for a full description of these commands 8 10 9 4 Zoom to Sel ection Start End The time value in this field defines how much time will be displayed when the View Zoom to Selection command is applied For a full description of this command see section 8 7 10 8 10 9 5 Play Around In Out Point The values in these fields define how much time will be auditioned when the Play Play To From In Out Point commands are invoked For a full description of these commands please see sections 8 4 10 and 8 4 11 8 10 9 6 Show Subframes When enabled all time fields at the top of the
131. e Editing Tools tab and enable the Edit Group Selection Menu preference lf you started soundBlade HD in stereo mode with Preferences EDL Multi Channel EDLs disabled then you will have to enable that preference and restart for the Edit Group Selection Menu preference to be visible Once the Edit Group Selection Menu preference is enabled Edit Group membership is shown with letters allowing you to assign up to 32 different Edit Groups within each EDL Select one or more tracks and use the letter menu to set the Panels to a group To designate Panels to an Edit Group with check boxes choose Windows Preferences Click the EDL tab and deselect the Edit Group Selection Menu option Once that preference is deselected Edit Groups are shown by check boxes in each Panel When you click in a Panel to make it active the check boxes update to show which Panels belong to the same Group In this mode only one Edit Group can be displayed at a time Click the Edit Group check box for each Panel you want to include in the simplified Group To remove a Panel from the Group simply click again on its Edit Group check box Page 90 Figure 4 24 above shows the explicit Edit Group and Target mode with an Edit Group menu and an Edit Target designator to its right See section 8 3 for specifics about the additional menu commands and section 8 9 for the specifics about the additional preferences soundBlade HD has 16 track 32 voice capability To us
132. e HD always in their enclosing folder can be copied to any writable medium you choose DVD R data tape or hard disk for transport to the replicator Of course the medium you choose must have enough space to hold the file set Also always check with your replicator to determine which physical medium and format they can handle and whether they are even capable of using DDP as an premastering format Many bargain companies are not ready to handle DDP deliveries so we at Sonic Studio suggest you find a reputable facility that does accept DDP file sets of your valuable masters Check the Support section of the Sonic Studio web site lt www sonicstudio com gt for a list of DDP friendly replication facilities worldwide 3 11 1 A Check List for Delivery First when burning CD R check discs always put the unwritten blank disc in the drive before starting the delivery process Second when delivering a DDP file set use DVD R blanks rather than CD R blanks to deliver your DDP file set That way the replicator cannot confuse a CD R with DDP files as a CD ROM job and replicate 1000 CD ROMs of your DDP file set Third when delivering a DDP file set the entire DDP folder or directory must be sent to the replicator We suggest you ZIP the whole thing and generate a check sum for the resulting ZIP file For more information see the Checksums for DDP section of our Knowledgebase page http www son icstudio com support Fourth check your
133. e SRP contextual menu The menu offers the following options Lock SRP Page 79 o Unlock SRP Lock All SRPs in Track Unlock All SRPs in Track Note that the last two options are global in nature and will change the state of all SRPs present regardless of region selection Also note that if an unlocked SRP is enclosed within or touches a segment it will become associated with that segment and will move if the segment is moved 4 8 Dual EDL Mode soundBlade HD creates new Projects with a behind the scenes construct call an EDL or Edit Decision List soundBlade HD EDLs as with those of its predecessors are plain text documents that detail the way sound files should be assembled and handled when opened into a Project EDLs are stored in an EDI folder at the same directory level as their parent Project With earlier versions of Sonic editors Panels had their own time lines and zoom amounts The Multiple EDL Preference in soundBlade HD provides that same functionality When checked the Multiple EDLs check box in the Preferences EDL pane creates new Projects with separate two Panel EDLs or Edit Decision Lists within one Project rather than one four Panel EDL that makes up a default Project Two EDLs with their own time line and zoom controls facilitate Source to Destination editing Page 80 soundBlade Projectl 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00 00
134. e inserted If you have an existing DDP file set you can deliver a CD R from that DDP file set Simply place a blank CD R in your drive and set the desired CD R options in the PO Delivery tab Then click on Execute soundBlade HD will open a Mac OS file browser asking you to specify the location of the file set Once that is defined soundBlade HD will begin the delivery Note that once a delivery has started the Execute button changes to an Abort button allowing you to halt the delivery process Aborting a delivery in the midst of the delivery process will render the resulting disc or DDP file set unusable When you insert a blank CD R into your target drive you may see a dialog asking You inserted a blank CD Choose an action Clicking on the Ignore button will close this dialog and release Page 101 the mechanism for soundBlade HD s use This behavior results from the settings in the CDs amp DVDs pane of the Mac OS System Preferences You may want to set your CDs 8 DVDs preferences to Ignore so as to eliminate that extra step 4 12 5 3 The Track List Button Clicking on the Track List button saves a text document with detailed information about the tracks in your project This list should be included when sending your project to a replacator 1 Click on the Track List button 2 soundBlade displays a Save File dialog 3 Select a destination for the file and if desired rename it then click OK SonicStudio HD saves t
135. e of an event can now be applied to all selected events simultaneously Note that though it is possible to place plug ins in the same slot and have them overlapping this will effectively not work as overlapping Plug ins are not supported in soundBlade HD If more than one plug in has to be applied to the same time region simply place the necessary plug ins in different horizontal slots When control clicking on an event whether selected or not a contextual menu appears The choices are e Select All Plug ins in Row Selects all the plug ins on the selected row Select All Plug ins Selects all plug ins in the Desk Event window e Delete Selected Plug ins deletes all selected plug ins e oom lo Desk Event Zooms in or out to the selected Desk Event e Bypass All Bypasses all plug ins in the Desk Event window Page 78 e Bypass Event Bypasses the selected Desk Event e Add This adds another instance of the Desk Event at another selection in the same row Finally as with Gain Overlay active Desk events events that are not bypassed are always active regardless of whether the overlay is visible or not To bypass all events regardless of visibility control click the P button at left in a Panel When events are active the P button turns green whereas when all events are bypassed it turns red When yellow some Events are bypassed and other are still active 4 6 3 Saving plug in settings to a separate file It is
136. e soundBlade in it s multi channel mode open Window gt Preferences and select the Desk Tab Check the box labeled 16 Channel Desk restart required The next time soundBlade HD is launched 16 channel Meters EDL Desk and 16 Desk Strips appear 4 10 3 Other Controls 4 10 3 1 I O amp Desk In Waveform mode Panels always have the five S M G R and D buttons at left as described in section 3 2 above In addition to the Edit Group menu already discussed in the preceding sections multichannel EDL mode reveals three additional controls at the far left side of each Panel Below the Edit Group menu is the Input Assign followed by the Output Assign with the Desk Strip Assign immediately to the right of the Output Assign Solo Mute Gain Overlay Record Ready Plug in Overlay Edit Target Edit Group i m EN 1 Input Assign ae 299 a m o dbfz Output Assign Ir Strip Assign 4 Bed Left _ letal 032218 Figure 4 25 Multichannel Project s controls The Input and Output Assigns duplicate the controls found on the Desk Strips discussed in section 6 2 1 below and are provided to speed the process of recording These assigns allow you to select the input to and the output from each Desk Strip In turn the Desk Strip is assigned with the Strip Assign next to the Output Assign Page 91 Note that only one or two Panels can typically be assigned to the same Strip This assumes an edit occurs in both Panels at the
137. e start or end of another segment will cause the segment to auto snap to the red or blue snap locations See section 4 2 for more information on the drag amp drop auto snap function Edit Group Selection Menu When checked the A z grouping of Panels is changed to an easier to use checkbox selection method AutoSpacing Duration As described in section 4 2 AutoSpace uses a pre selected time value to space the segments Here this value can be selected between 1 and 3 seconds Alternatively AutoSpace can be turned off as well Analog Black Threshold This field shows the default value used by the Mark gt Analog Black to Marks command for the amplitude threshold This value expressed as dB below O dBFS sets the loudness threshold below which a Start of Track or End of Track mark will be placed See section 3 9 4 for more information on automatically placing PQ Marks 8 10 8 2 Edit with Audio e Selection Reference Points When editing this setting causes SRPs to move along with their associated segment They are also included with the audio when it is copied to the clipboard Gain Overlay When editing this setting causes gain nodes to move along with their associated segment They are also included with the audio when it is copied to the clipboard e Desk Events When Editing this setting causes plug ins to move along with their associated segment They are also included with the audio when it is copied to the clipboard 8 10
138. e triangle pointing left mv Figure 3 23 In Point and Out Point with highlighted area in between Page 43 There can be only one In Point and one Out Point in a Panel at any time If both an In Point and Out Point are present and if the In Point is to the left of the Out Point in the waveform display then the area between the In and Out Point will be highlighted in yellow The Selection Set In Point command drops an In Point at the location of the Edit Point Note that the IN OUT and DUR time fields at the top right of the main Project window are always active and fully editable These fields allow you to precisely alter the location of and duration between the In and Out Points a functionality which comes out handy when the exact points are well known by their time value Once the region is defined it can be modified in two different ways The region can be either deleted or cleared To clear the defined region leaving an empty area select the Edit Clear Selection command Figure 3 24 A cleared selection the circled material has not moved The selected region now is cleared of its contents leaving the audio before and after the selected region in the same place The In and Out Points also stay in place Effectively you have now created two new segments that can be further edited and or moved independently Alternatively the selection can be deleted To do so select Edit Delete Selection from the main me
139. eWire Core Audio interface For delivery of the final DPP files for replication a data storage device such as a CD R DVD R or data tape drive is required as well Since soundBlade HD uses OS X s Core Audio the quality of audio playback will be entirely dependent on the hardware and driver s used Note that soundBlade 2 0 2 and later is not supported on PPC G4 or G5 hardware 2 1 2 Installation To install soundBlade HD please click on the soundBlade HD 202 Installer pkg Follow the on screen instructions to install your software Once installed you can duplicate the folder containing the application This enables you to run within the capabilities of your particular host multiple instances ofsoundBlade SE on the same machine which in turn allows you to have two completely different jobs in progress running in parallel Also run the installers for Sonic EQ Trio DynPEO and the TT Dynamic Range Meter plug ins These installers are located in the Extras folder of your soundBlade app 2 1 2 1 soundBlade HD NoNOISE II Option Installation soundBlade HD requires the installation of both an iLok license and a Sonic Studio Options File for NoNOISE Il FX NoNOISE Il FR or NoNOISE II SR to be enabled for use Running the appropriate Options Installer located in your soundBlade app folder s Sonic Options folder installs the necessary software Page 18 This does not install the actual option software it merely enables specific o
140. ease include your iLok user account 5 Options are installed on the Boot Volume at Library Application Support Sonic Studio Sonic Options 6 Use Remove SonicOptions mpkg for removing options NOTE Only install options that you have licenses for on your iLok Installing options that are not on your iLok will make soundBlade launch very slowly Page 19 2 2 Creating CDs With soundBlade HD soundBlade HD makes it easy to quickly create professional quality Red Book formatted CD Rs In four steps you can make an audio CD Here is an overview First Assemble your audio Start by creating a new Project see Appendix for more on Project management and adding audio files to the Project When you command drag an audio file s into the Project it is imported as a segment auto spaced based Preferences selection and added as a CD track You can arrange and edit your audio in the Waveform View A track is created for each new segment and you can edit the track order with the Track Bar or the Mark Info list HINT As a general practice if you need to perform advanced editing such as topping tailing or Fade In Fade Out modification to any tracks place your Track ID marks as the last step before making a CD MOTE As a general practice create a new folder in each project folder called Audio Drag all of the sound files for each project into the Audio folder see Appendix for more on Project management Second Edit and p
141. eave or place VST and AU plug ins in any order on the time line The minimum plug in duration is 0 02 seconds or 20 milliseconds In addition plug ins are constant latency with latency compensation and regions cross faded allowing settings changes to happen smoothly without audible discontinuities even for plug ins with high latencies 4 6 2 Displaying Plug ins in Panels As with Gain Overlay plug ins can be visible or hidden and the two can be used simultaneously By default plug ins are hidden and can only be made visible in the Waveform display To show plug ins in a Panel select the EDL Show Desk Events command Alternatively the P or Plug Page 76 in Desk Events Overlay button at the left of each Panel shows or hides the plug ins Overlay as well Added as an extra layer in standard Panel size several horizontal rows appear delineated as dotted lines These are plug in slots or placeholders for plug ins to be inserted Audio passing through plug in slots is applied first to the top slot then to each slot below in vertical order So the top slot is pre slot two while slot three is post slot two et cetera Multi Channel Feature When the Windows Preferences EDL View Multi Channel EDLs preference is enabled the Plug in Overlay mode is not available The EDL Show Desk Events command instead creates a sub Panel that displays the plug in slots To inserta plug in into a Panel click drag to define a
142. el at any time Note that the IN OUT and DUR time fields at the top right of the Project window are always active and fully editable These fields allow you to precisely set the location of and duration between the In and Out Points 8 7 2 Set Out Point This command places an Out Point at the location of the Edit Point There can only be one In Point in an EDL at any time 8 7 3 Set In Out Points If there is a selected region in the Panel then Set In amp Out Points will create an In Point at the start of the selected region and an Out Point at the end 8 7 4 Clear In Point Clear In Point will if present remove the In Point 8 7 5 Clear Out Point Clear Out Point will if present remove the Out Point 8 7 6 Clear In amp Out Points Clear In amp Out Points will if either is present remove both the In Point and the Out Point from the Project 8 7 7 Nudge Right Left These commands makes it easy to slightly move or nudge an In and or Out Point to the right or left When you select this command a submenu comes up allowing you to advance or retard an In Point an Out Point or both simultaneously Page 187 b Nudge In Point Right l Nudge Left p Nudge Out Point Right 3 Move In Point xl Nudge In amp Out Points Right Figure 8 12 The Nudge Right command and submenu The nudge amount is set in the Time Display tab of the Windows Preferences window See section 8 8 4 for more
143. el back to the same Panel Step 1 Set up your Project and Desk as desired with any signal modifications necessary Step 2 Set the Desk and Master Section to look something like figure 6 20 The example shown is without plug ins in either section the green slot 1 in Strip 2 indicating a recently deselected plug in Plug ins could be added as desired EDL Desk Multichannel Afr Meters Output F 96000 Reset Outputs Lock d I m ou Dither E 24 36 42 E 60 3 m 72 m mim JT Y 9 7 A E 56 ool oolli oolli oolli ooli onl li nn i Ji Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track Track F p ud o 4 5o o dim M3 M4 M5 M6 M7 MS Master m r E I e ps ss e Y E E a es ss Y Py Figure 6 20 Setting up the Desk and Master Section for a capture in place The routing for track 3 and 4 is not essential to this example and can be ignored Otherwise make sure the output of track 3 and 4 in the EDL desk are not set to Mix 1 and Mix 2 Step 3 To execute the bounce set the Edit Point in the Destination ahead of your punch in point to afford some pre roll Start a play and click the record button in the Transport Controls Whatever you are hearing will be rerecorded Once you drop out of record and you have cleared the Desk and Project of processing you should have a Project with the bounced material in the destination ready for further editing o
144. elect All Delete Selection Clear Selection Create Crossfade Create Crossfade from In In amp Out Point Replace Insert Replace Left Replace Constrained Set In Point Set Out Point Set In amp Out Points Clear In Point Clear Out Point Clear In Out Points Nudge In Point Right Nudge Out Point Right me A command control F5 option P control O control M control R forward slash command Z command shift Z command A command D command 4 X command C command 4 V command option V command shift V option V command A command D delete backspace option delete backspace control G control option G F1 F2 command 4 F1 control F1 left bracket right bracket control option left bracket control left bracket control right bracket control backslash Y command control left bracket command control right bracket Page 241 Nudge In Point Left Nudge Out Point Left Nudge Selected Segment s Move In Point Move Out Point Move In Point to Out Point Find amp Set Points Drop Edit Point Edit Point to Playhead Move Edit Point to Next PO Mark Move Edit Point to Previous PO Mark Move Edit Point to Next Segment Edit Point command option left bracket command option right bracket plus or minus numeric keypad option left bracket option right bracket option ba
145. electing the Windows gt Desk command Page 118 EDL Desk Multichannel MED CETT CEITA CEITA MEDID 02033 MB CEINA Hi Fu Fu i o ai Bu du ja E i E ui EE m a al T i E 1 if Track 4 Track 5 Figure 6 2 The Desk 6 2 1 The Desk Components The Desk resembles a typical in line mixing console with four Strips one for each output bus Inputs are either line ins or Master used as returns for bouncing and external processing For outputs M1 and M2 send signal to the designated physical audio interface and are typically used for monitoring while M3 and M4 are usually used as dedicated sends for bouncing and external processing 6 2 1 1 The Faders In the bottom half faders are provided that control the level of the audio signal sent from the Project s four Panels and sent to the input of the Desk To the right of each fader is a Peak Program meter with an overload indicator above it signalling in red when overloads occur Page 119 Figure 6 3 A fader with gain scale and meter The fader s scale ranges from 144 dB to 6 dB Alongside each scale three white triangles or hot spots provide quick gain changes Clicking on a hot spot commands a preset gain of from top to bottom 0 dB 6 dB and 144 dB Below the fader is a gain call out field where the gain setting of the fader can be manually entered as a numerical value Additionally next to the gain call out are plus and
146. election as the reference point for the offset Page 170 8 3 24 Sync SRP to In Point This command offsets the selected segments in the current Edit Group to the In Point in the selected track using the first SRP in the selection as the reference point for the offset 8 3 25 Edit Fade Mode When a selection contains one or more Fades this command invokes the Edit Fade Mode window See section 4 2 for a detailed description of Edit Fade Mode 8 3 26 Loop And Fill This command repeats the audio contents of the clipboard and fills a selection repeating the contents of the clipboard as many time as necessary To invoke Loop and Fill first copy a selection or segment to the clipboard Then make a selection in the desired Panel where the looped audio should appear Finally invoke the Loop And Fill command The selection will be filled with as many times the duration of the contents of the clipboard to match the duration of the selection The contents of the clipboard will be joined by a default crossfade 8 3 27 Editing Auto Tool Override This commands toggles the Editing Auto Tools state either enabled or disabled See section 8 9 6 for more information on the EDL preferences 8 3 28 Auto Space All Segments Tracks The AutoSpace function offers a simple but effective tool to change all pauses between tracks to a pre defined value Simply select Edit gt AutoSpace all Segments and all segments will be moved on the time line with equ
147. ellow Note that the Bypass Enable Gain Overlay function can only be selected when Gain Overlay is shown Option clicking on a Gain Overlay Button will also bypass the Gain Overlay function Also this command is not active while plug ins are visible 8 9 9 Bypass Gain Overlay This command bypasses the Gain Overlay function and renders it inactive Note that while Desk plug ins are visible this command is not active 8 9 10 Create Gain Nodes With Gain Overlay enabled and a region of the time line selected this command creates Gain Overlay nodes at the boundaries of the region To use this function first click drag within the Page 198 waveform display to select a region Then select Edit Create Gain Nodes to add two nodes at the edges of the Gain Overlay and the selected region Because the Edit Point is really a zero duration selection it can also be used to create a single gain node with the Create Gain Nodes command For more detailed information on working with the Gain Overlay see section 4 4 8 9 11 Select Gain Nodes This command selects all Gain Nodes contained within the currently selected segment s or region Selected Gain Nodes can then be subject to simultaneous changes such as gain setting lock state or deletion For more information on working with Gain Overlay mode see section 4 4 8 9 12 Lock Unlock Nodes From Selection These commands lock or unlock all Nodes in the Gain Overlay enclosed
148. er this text can be typed into the Terminal Application sudo mdutil a i off Page 239 Appendix 2 Keyboard Shortcuts Windows toggle EDL Desk toggle Sonic EQ pre processor toggle Master Section Meters toggle Panner Console Log toggle Mark Info toggle Preferences toggle New Soundfile Parameters QuickTime Status Time Code Status Audio I O Preferences Background Manager File amp Project New Project Open Project Save Project Close Window Open DDP file set image Open Sound File Export Sound File Quit soundBlade HD Playback Stop Start Playback Play Selection Play from Playhead Repeat Play Play to In Point Play from In Point Play to Out Point Play from Out Point command O control O command 1 command 2 command 4 command M command comma command 7 command 8 command 9 option A option B command N command O command S command W command option O command shift O command E command Q spacebar command spacebar option spacebar command option spacebar F5 F6 F7 F8 Page 240 Play between In amp Out Points Hide Playhead When Stopped Solo Track Mute Track Recording Record Arm Stop Start Recording Editing Undo last Edit Redo last Undo Select All Deselect All Cut Copy Paste Paste Replace Insert Paste Constrained Paste Overlay Select All Des
149. ered By shift click dragging notice the cursor shape changes to a vertical arrow the Crossfade duration can be symmetrically altered Holding the command key allows you to override symmetrical mode Page 61 and alter duration with the left edge anchored while holding the option key provides the same override mode for the right edge 4 1 4 Changing the Fade Type The Fade Tool contextual menu also offers two choices for fade type These choices accessed by holding the control key while using the Fade Tool allow you to change the context in which the fade will be used For the purpose of CD preparation Fade Ins and Fade Outs are fundamentally different from Crossfades The difference is where the actual edit event occurs in the underlying audio andthis subtly but profoundly effects the accuracy of your PO Marks and resulting metadata since the edit event is where soundBlade HD places the PO marks in any of the automatic modes With a Crossfade the edits occur at the very center of the two Black Fades see section 3 9 1 Fade Ins and Fade Outs on the other hand are designed to be used as the transition to or from Edited Black where no audio is present on the time line Use the Set Fade to Crossfade option when you expect to connect its associated segment to another segment for a seamless edit between segments The Set Fade to Default options force all fade parameters back to their appropriate defaults e Set Fade to Fa
150. erride zA Auti SEHE All Segments Figure 8 3 The Edit menu 8 3 1 Undo action This command reverts the last command executed For clarification the Undo command also appends the last action performed to the menu name soundBlade HD provide an almost unlimited number of undos The only limiting factor is the amount of RAM which when completely used will force the operating system to use virtual memory This will slow down the operation of soundBlade HD Note that some individual commands actually perform several functions behind the scenes though to you the user it appears to be only one function For that reason you may have to Undo several times to recover a state that was reached with a single user command Page 165 8 3 2 Redo action This command reverts the last undo command reinstating the last command performed Additionally for clarification the Undo command in this menu shows the last action undone 8 3 3 Cut The Cutcommand operates on aregion within Edit Points as well as selected regions or segments removing the defined item from the Project and placing it in soundBlade HD s Clipboard The Clipboard is a temporary memory location reserved by the operating system for each running application 8 3 4 Copy The Copy command operates on a region within Edit Points as well as selected regions or segments copying the defined item from the Project and placing itin soundBlade HD s Clipboard Unl
151. ext Track 8 4 17 Select Previous Track 8 4 18 Move Track Up Down The Move Track commands relocate the selected track into an adjacent Panel allowing you to better organize the contents of your Project 8 4 19 Expand AII 8 4 20 Collapse All 8 4 21 Feature Tracks 8 4 23 Auto Set Edit Group Selection Multichannel standard feature The Auto Set Edit Group Selection command is a toggle between explicit and simplified Edit Group amp Target choices as discussed briefly in section 4 10 Page 175 above The explicit setting is enabled by the Windows gt Preferences gt Editing Tools gt Edit Group Selection Menu preference With that preference off the Panel defaults to a simplified check box only mode where the Edit Group is inactive and Edit Target setting are based solely on a check box just to the left of the EditTarget designator 8 4 24 Set To Next Available Edit Group Multichannel standard feature This command forces all selected Panels to the next Edit Group letter in the sequence and is useful for configuring a Project for complex editing tasks This command is applicable only when the Windows Preferences Editing Tools Edit Group Selection Menu preference is enabled Page 176 8 5 The Play Menu From Selection Selection He From Playhead 2d Repeat Play X 35 stop Mute Track M Solo Track o Monitor Input t Monitor Output t Record Arm R Record Around Selection Cen
152. ferences See section 8 8 4 for information on theTime Display tab 8 8 4 Zoom In Out around Edit Point These commands change magnification while keeping the waveform display centered on either the Edit Point and is very handy for determining context The amount of time shown around the In or Out Point is defined by the Zoom to In Out setting in the Time Display tab of Windows Preferences See section 8 8 4 for information on theTime Display tab 8 8 5 Zoom In Out around Playhead These commands combine a Zoom In Out command while keeping the waveform display centered on the Playhead also very handy for determining context 8 8 6 Zoom to Previous Next These commands are like Undo Redo for zoom commands soundBlade HD remembers the last lower resolution out zoom level o return to an prior zoomed out level choose Zoom to Previous To return to the more recent zoom level choose Zoom to Next 8 9 7 Zoom around Playhead This command zooms with the Playhead in the center of the waveform display and is very handy for determining context The level of zoom is determined by a submenu Zoom around Playhead M 0 5 Second Zoom around Selection Center gt 1 Second 2 Seconds 5 Seconds 10 Seconds arti 30 Seconds Zoom To Entire Project E 60 Seconds Zoom To Entire Track Minutes 5 Minutes 10 Minutes Figure 8 17 The Zoom around Playhead menu Page 194 The amount of time chosen in the submenu indicates the total
153. for Multi Channel 4 10 2 1 Introduction Another additional function provided by the Multi Channel Feature is the addition of Edit Groups a mechanism for organizing multiple Panels and their tracks into collections or members of a group Edit Groups are assigned as letters in the Edit Group menu at the far left side of a Panel In addition Edit Groups can be simplified to a check box in place of the more complex Edit Group letter designators This simplified mode is more commonly used than the letter designations Page 89 Track 1 Pa E Track 2 o Track 2 4 Edit Group Selection Menu Edit Group Selection Menu Figure 4 24 Explicit versus simplified Edit Group amp Target 4 10 2 2 Specifics Panels and their accompanying tracks within an EDL can be assigned arbitrary Edit Groups linking all Panels together that share an Edit Group assignment Edits applied to any Panel in the Edit Group are applied simultaneously to all Panels in that same group For example when you select a time region by dragging across a Panel that region is selected in all Panels of that same Edit Group Similarly selecting a segment in one Panel selects corresponding Segments those having the same start time in any other Panels of that same Edit Group As mentioned above you can designate and display EDL edit group membership using either letters or check boxes To designate Panels as a letter Edit Group choose Windows Preferences Click th
154. formation about the configuration of the Desk When a Project is reopened after having been saved with this option enabled soundBlade HD will attempt to recreate the Desk state when the Project was last saved Page 215 e Pure Gain This preference alters the way soundBlade HD calculates gain coefficients when using the volume control Gain steps are based on one bit changes in amplitude rather than arbitrary gain as is available when this preference is disabled e Hard Limit This preference also alters how soundBlade HD handles gain and is most useful for music with compressed dynamic range Specifically it changes the way floating point values are handled after decoding VST NOTE To improve stability with VST plug ins soundBlade 2 0 2 makes use of a new folder to store VST plug ins that are used within the application This folder called VST Sonic is created when installing Sonic EQ 2 6 1 or later and is located at Maclntosh HD Library Audio Plug ins Sonic Studio recommends that all soundBlade users installl Sonic EQ prior to use On Launch soundBlade 2 0 2 will look for a VST Sonic folder in your System Plugins folder If this folder is found then the Standard VST folder is not scanned during launch Sonic Studio recommends that any VST plug ins necessary for use in soundBlade be duplicated from the VST folder to the VST Sonic folder in your Audio Plug ins folder e Skip Cocoa Plugins This checkbox bypasses plug ins wr
155. g check box mentioned in section 4 12 4 1 above is checked then End of Track and Indexes are also listed along with their times Any individual Mark can be selected by clicking on that row in the list A selected Track is highlighted in yellow while information on the highlighted Mark will appear in the fields above within the Track Info section See section 4 12 2 above for more information on Track Info If you double click on a Track Start entry in the list soundBlade HD will automatically begin playing that Track based on the current timings This provides a quick way to confirm your Mark locations The Track Listing also provides the ability to resequence CD Tracks If you click hold on any Start of Track entry and drag it to a new location in the list you can drop it and the audio implicit in theTrack definition will also shuffle to the new location This allows you to quickly resequence CD Tracks See section 4 3 for a more general discussion of auto snapping including resequencing 4 12 4 4 PO Validator soundBlade HD validates your PO entries against the Red Book specifications If they meet the requirements the indicator at the lower left corner will be green and the status field will show Page 99 PO Information is valid If the PO marks violate the Red Book requirements the button will be yellow and a message will appear describing what is wrong with the entered parameters Note that you may see a Sound begins
156. g in the Time Display tab of Windows Preferences See section 8 8 4 for more information on theTime Display tab Page 195 8 8 11 Zoom to Entire Project Track Under normal operation with a stereo Project these two menu commands work identically These commands zoom so that the entire program is shown across the entire waveform display However if one of the two Panels contains more audio information stretching over a longer duration on the time line than the other channel the Zoom to Entire Track command will zoom to the length of the selected track This situation typically occurs if the two Panels contain dual mono material or a wildly stereo program created in mono editing mode 8 9 The Desk Menu soundBlade HD offers a compact mixing console called the EDL Desk It can be brought up by choosing the Windows EDL Desk command The Desk provides traditional routing patching muting and gain adjustment Save Desk Setup p Open Desk Setup p Reset Desk 3 9 1 Save Desk Setup The Save Desk Setup command opens a submenu Page 196 Save To File dS Desk Setup A Desk Setup B Figure 8 19 the Desk Save Desk submenu 8 9 1 1 Save To File The Save To File command saves the current desk Setup to a single file The command initiates a standard Mac OS Save file window to name and save the desk setup file See section 6 2 for more information on saving Desk Setups 8 9 1 2 Save Desk Setup A B As sou
157. h 12th places must all be numeric Although often supplied with them dashes or hyphens should be removed from the ISR Codes prior to entry in the Mark Info window See Appendix 4 1 for more information on IFPI 4 12 2 5 Lock Check Box The Lock check box locks the PO times for the selected CD Track to prevent inadvertent changes When aTrack is locked its appearance in the Track Bar changes from the normal shape and color to a red right pointing triangle Page 97 4 12 2 6 Default Check Box The Default check box forces an individual CD Track back to the default timings setting 4 12 2 7 Copy Enabled Check Box This check box displays and controls the state of the Copy Enable bit the flag of the SCMS or serial Copy Management Scheme The flag is set and copying is enabled when the Copy Enable check box is selected The default state for this button is off That is copying is not allowed SCMS or scums flags implemented for consumer digital recording devices are generally ignored by professional audio equipment Consumer digital audio equipment however broadly recognizes the SCMS bit and inhibits the possibility of making digital copies from CD s with the SCMS flag set Hence it is common practice to disable the SCMS on CD Rs or DDP masters intended for duplication 4 12 2 8 Emphasis Check Box This check box shows and controls the state of the AES EBU Emphasis flag or bit of the selected track When the Emphasis flag
158. hanges shape to a sine wave with vertical line Once in that mode you can click drag the Playhead to a new location 8 5 19 Hide Playhead When Stopped This command is somewhat of a misnomer in that it toggles on or off the ability to drag the Playhead to a new location when stopped A check mark appears next to this menu item when this function is disabled This command applies to relocating the Playhead in either a Panel or on the time line and is useful if you find yourself grabbing the Playhead accidentally while attempting to edit or modify some other object in a Project Even with this command enabled checked you can always double click in the time line to relocate the Playhead and begin playback at that location Page 181 8 6 The Mark Menu Mark Info Destination M Track Start Mark FO Track End Mark F10 Index Mark t All Mark Analog Black to Marks Edited Black to Marks FS Edited Black to Start Marks F9 Segments to Start Marks Read POBurst File Figure 8 10 The Mark menu 8 6 1 Mark Info Destination The Mark Info command opens the Mark Info window This command is equivalent to the Windows Mark Info command See section 3 9 for more information on the Mark Info window 8 6 2 Track Start Mark TheTrack Start Mark command inserts a Start of Track PO mark at the location of the Edit Point 8 6 3 Track End Mark The Track End Mark command inserts an End of Track PO mark at the locat
159. he Selection Set SRP command at the punch in and out locations Then make a time region selection that includes the SRPs To start the recording hold the command key and Page 4O tap the space bar The Panel background turns red immediately and the recording starts and stops as the Playhead crosses any pairs of SRPs 3 9 Simple Editing There will be occasions where raw sound files need modifications soundBlade HD offers advanced editing features as well as simple tools to change amplitude and transitions 3 9 1 The Fade Tool The head start or tail end of segments are represented in the display by a thin black vertical line When zooming in this line will reveal itself to be a curve representing a fade or amplitude versus time envelope Each segment starts with an Fade In and ends with an Fade Out Fade Ins and Outs are both Black Fades where black refers to Edited Black the absence of audio data in the Panel Figure 3 19 End of a segment with fade out glyph Page 41 Fades have a specific starting location and duration Both parameters can be easily adjusted with the Fade Tool First the duration or length of the fade can be changed To do so zoom in so you can see what you re doing and have reasonable control of the fade Then click hold and drag on the upper inside edge of the fade to the desired location Note that with the cursor on the upper inside edge the cursor changes into a
160. he Time Display preferences 8 3 20 Edit Segment Name When a segment is selected choosing the Edit Segment Name command allows the user to edit the name of the segment as it appears in theTitle Bar and inText Mode view As with all actions in a Project changing the Segment name has no effect on the underlying referenced sound file This command is equivalent to double clicking on the Title Bar to change a segment s name 8 3 21 Sync to Edit Point The Sync to Edit Point command provides a simple visual method for sync ing material in the Source and Destination If you have similar material in the two Edit Targets but one of them is misaligned in time you can visually place the Edit Point in what you consider simultaneous events in each Panel Executing the command will cause the contents of the entire Source Panel to slip on the time line to line up the Source Edit Point with the Destination Edit Point so both are time coincident 8 3 22 Sync to Matching When sections of audio in the Source and Destination groups match each other closely you can use this command to align matching portions of audio in the groups This match is performed through a numeric auto correlation function and can be used to match audio that doesn t match perfectly but is similar such as alternate takes of the same performance 8 3 23 Sync SRP to Wherever This command offsets the selected segments in the current EditTarget using the first SRP in the s
161. he Track List and opens it in SimpleText 4 12 5 4 The Export List Button Clicking on the Source Export List creates a tab delimited text file suitable for importing into third party applications such as spreadsheets 4 12 5 5 Delivering Multiple CDs From An Existing DDP It is easy to deliver multiple identical CDs once you have an existing DDP file set Click on the Use button when specifying delivery to a folder that already contains a DDP file set This will re use the existing file set burning another CD Open a new empty Project before reusing an existing DDP file set 4 12 5 6 The Eject Button The Eject button will cause the host to eject an inserted disc 4 12 5 7 The PO List Button This button generates a PO List the industry standard text representation ofthe current Compact Disc s content This file is typically printed and the hard copy is sent along with the appropriate DDP data set saved to your blank medium of choice to the replicator Mote Purchase high quality CD R blank media optimized for low speed writing Commodity media optimized for high speed writing are designed for CD ROM use and has a dye layer designed for the high speed writing regime commonly found in PC s today Sonic Studio products are designed to write at relatively low speeds and high speed media will not write reliably at low speeds of 8x and below Page 102 Note Write your disc at lower speeds 4x Not only does this ensure that
162. he designated Source material and you must explicitly designate Destination Panels so that soundBlade HD knows where you want to place the copy This is done with the EditTarget for each Panel With an Insert edit sound in the Destination is moved to the right later on the time line to make room for the inserted material With a Replace edit the designated Source material replaces the designated Destination material As with all editing in soundBlade HD editing is non destructive Only the EDL is updated during editing and no source sound files are changed during this process 4 9 5 Types of Source Destination Edits There are four types of Source to Destination edits Page 87 1 Two point edits 2 Three point edits 3 Four point edits 4 Constrained edits When referring to Two Three or Four Point editing we simply mean how many explicit places on the Source or Destination time line are given so as to define the material being copied in the case of Source or the location of where the copy will go in the case of Destination With two point edits there are several variations The Destination can be marked with an In or Out Edit Point or in the absence of these the edit Point will stand in their place Either way the Source material will have its head placed at the marked location The Edit gt Replace Left Command will place the tail rather than the head of the Source material at the marked location Source material for
163. he files We recommend you get in the habit of holding down the command key when dropping sound files as it make performing basic pre mastering chores and resequencing much easier Note that command dropping only applies to drag and drop not to the Open Sound File command Later in this chapter section 3 8 discusses these topics in more detail Page 27 3 4 Waveforms A waveform display provides visual reinforcement of audible cues when editing Normally the audio file types that soundBlade HD opens contain metadata such as sample rate and related information but no information on visualization Waveform shape information therefore has to be generated by soundBlade HD itself The application generates individual waveform files one for each channel in order to display high resolution waveforms in the Panels at any zoom level NOTTE Prack um _ Track 1 Lat State sade 9 s ARA E Figure 3 6 Display of a sound file without waveform metadata T rr Waveform files identified by their r extension are placed in the same folder as the audio files and can be read by any other Sonic Studio product If waveform files are absent from one or more audio files included in the Project soundBlade HD can automatically start generating those files in the background The generation of waveform files can be performed in the background so normal operation is not interrupted See section 8 9 10 1 for information
164. he new recording with a default Crossfade Note that any existing SRPs Track Marks or Gain Overlay nodes will be deleted by a recording Since recording is non destructive any existing audio segments in a Panel that seem to be overwritten during recording are not physically erased from your designated volume only the Edit Decision List has been modified They can be reopened at any time Alternatively the original state of the Panels before the recording was started can easily be restored with the Edit gt Undo command 5 2 5 Manual punch in It is also possible to punch in audio at any desired location within a Panel while playback is in progress To punch into record first arm the Panel s where the punch in is needed Then locate the Edit Point or Playhead in advance of the punch in point providing 1 to 3 seconds of pre roll and commence playback by pressing the spacebar or the Play button on theTransport Controls When the Playhead arrives at the desired punch in point select Play Record or click the Record button from the Transport Panel and the punch will start To stop the recording either tap the space bar select Play Record or click the Record button again and the recording will stop leaving the Playhead at the location where the punch out occurred 5 2 6 Edit Hecording This option located in the New Sound file Parameters window allows opening viewing and editing of the file being recorded during the recording
165. henever a solo is engaged all Strips with disabled solo buttons will be muted on output and their associated M or Mute button will highlight in yellow Multiple tracks can be soloed simultaneously When engaged directly by the user rather than by the solo function the Mute buttons turn green This indicates they will not unmute when an active Solo is disengaged Below the solo button is the R or Record Enable button Only tracks that are record enabled will drop into record when recording When a Strip is record enabled and soundBlade HD is not in record mode the Record Enable button highlights green to indicate the track is in record ready or armed Only when Record Mode is engaged will the Record Enable button turn red signaling a recording in progress on that Strip and corresponding Panel Finally to the right of the R button is M or Monitor button This button has 3 states Page 122 1 O or output During playback with monitor set to Output the Strip always routes the audio from the corresponding Panel When playback is paused or stopped the Strip outputs silence or digital null data This can be thought of as repro mode 2 IN or input During playback with monitor set to Input the Strip always outputs the selected input signal routed to that Strip regardless of playback status See section 6 1 1 3 below for more information on selecting inputs 3 A or automatic During playback with monitor set to the def
166. his select Desk Save Desk Setup Save To File A standard Mac OS save dialog appears allowing you to enter an appropriate file name and destination directory for the desk setup file Page 126 Note that by default soundBlade HD directs the save file dialog to the Library Preferences Sonic Preferences Defaults directory in your home directory as this is the directory where Desk Setup A and B are stored automatically Desk setups can be recalled or opened from a stored Desk Setup file To open a stored Desk Setup file select Desk Open Desk Setup Open from File which will bring up a standard Mac OS file browser Navigate to and select the desired file 6 4 The Panner From the output routing selectors the output of a Strip can be sent to either one of the four output buses available to soundBlade HD In addition to this one to one routing output can be panned between any or all of the four outputs by means of the panner To assign a Strip output to the panner open the panner by selecting Windows Panner which brings up the Panner window Panner Destination Figure 6 12 The Panner in 7 1 mode Page 127 By default the panner opens in stereo mode In the upper left corner the channel to which the panner currently applies is indicated As this Track indicator is also a drop down menu it operates as a Strip selector for the panner as well In the upper right corner the Type indicator menu is visib
167. icitei cites tata a ce ates cabal 189 Unlock SRPS from SelectOE udi iei tea estan er oi ER oet ee cnt nico pee e iu cs eaten a ls 189 Clear Selected SHES ucciso aca 190 Drop Edit Poit at PIayDedadsosieisesveseut A AAA 190 EOI OIL CO FIAV MCG datar 190 MOVE POMO Rarer per serene tc Sears et Serene O aie a ry eee ener 190 EOI FONO INOX ri M 191 Select otat to Edit POIN dsd is ii ia 191 Selec EGIL Fonto ENA nerea o en e boa na eS MD a OOO 191 Selection from Selected SEGMENMS cccccccccsscccsececeececeececeeeeceeeeeeeeeeeseeeeeeeeseeesseeesseeesseeesaes 191 Select Segment to EN 191 Select Se gmentilo o tall escasos e leia ceva calcio dial lides 192 Select Segments from Selection cccccccescccssceceeeeceeeeceeeeceeeeceeeeeceeeeseeeesaueessueeeageesseeeseeeesags 192 THEVIEW MENU sararan as a lil 193 Move Forward BackWald taa 193 ZOONIMO U oet a M 193 ZOOonmrmnrounmd MOUT FON oepa acre corecaoceaeeseaaase sina sexecesenanrecanecacgeeneesuaresduncesn 193 ZOOM Ih OUE around Edit po fnm 194 Zoom ln Out around Playliead csi tii arta E DEEP idas 194 LOOM rdi qe m 194 ZOOm around IOV Wea a ds 194 Zoom around Selection Center 3 25 areae e cod oe eon Wi ee 195 Zoom ro 5election Start ENG ctas 195 ZOOM FO SOIL LT LE ST T 195 ZOOM 10 Entre FEROIGCEGIEACK ossi ael SU RU ERE A DUXERI CAU OREE TE EE avi DAD XE oe eI d vox S EORR UE CoUePUE
168. icon in the doc will return that application to view 8 1 6 Show All The Show All menu item unhides all running programs in Mac OS X 8 1 7 Quit soundBlade HD Use the Quit soundBlade HD menu item to quite soundBlade HD and close all open documents You will be prompted to save any unsaved work before soundBlade HD exits Page 154 8 2 The File Menu New Project a6 N Open Project 0 Open Recent p Open Sound File GEO Open Dual Sound File Open DDP Image 0 Make Secure Player New EDL XN Open EDL Close EDL MEW Save EDL As Open Movie Close Window EW Close Project i 38W Save Project a6 5 Save Project As Save As Default Project Reveal Sound in Finder Build Waveform tr eB Export Sound File iE Export Tracks Save Reversed System Information P Apple Scripts P Quit 0 Figure 8 2 The File menu 8 2 1 Nevv Project Selecting New Project from the File menu will open a new empty Project Any currently active Projects are unaffected but moved to the background soundBlade HD allows you to have as many open Projects but when the application runs out of RAM it will begin to use virtual memory significantly slowing down the application Page 155 8 2 2 Open Project A Project file lets you save your editing work in a set of files along with most of the editing metadata you ve added An additional feature of a Project is that you can save your edit decisions with
169. ied in accordance with the terms of such license The information in this manual is furnished for informational use only is subject to change without notice and should not be construed as a commitment by Sonic Studio LLC Sonic Studio LLC assumes no responsibility or liability for any errors or inaccuracies that may appear in this document Except as permitted by such license no part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical recording or otherwise without the prior written permission of Sonic Studio LLC SONIC STUDIO LLC MAKES NO WARRANTIES EXPRESS OR IMPLIED INCLUDING WITHOUT LIMITATION THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE REGARDING THE APPLE SOFTWARE SONIC STUDIO LLC DOES NOT WARRANT GUARANTEE OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SONIC STUDIO LLC SOFTWARE IN TERMS OF ITS CORRECTNESS ACCURACY RELIABILITY CURRENTNESS OR OTHERWISE THE ENTIRE RISK AS TO THE RESULTS AND PERFORMANCE OF THE SONIC STUDIO SOFTWARE IS ASSUMED BY YOU THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES THE ABOVE EXCLUSION MAY NOT APPLY TO YOU IN NO EVENT WILL SONIC STUDIO LLC ITS DIRECTORS OFFICERS EMPLOYEES OR AGENTS BE LIABLE TO YOU FOR ANY CONSEQUENTIAL INCIDENTAL OR INDIRECT DAMAGES INCLUDING DAMAGES FOR LOSS OF BUSINESS PROFITS BUSINESS INTERRUPTION
170. ike the Cut command the Copy command leaves the defined item intact instead of deleting it after copying the selection to the Clipboard 8 3 5 Paste Commands The Paste command inserts the content of the Clipboard into the Project replacing in order of choice either 1 A region within Edit Points 2 selected regions or segments 3 From the Edit Point position for the duration of the audio currently on the Clipboard The inserted content is placed between Crossfades and the Edit Point is moved for visual reference to the end of the inserted material 8 3 5 1 Paste Replace The basic Paste command behaves as one would now expect in the world of Mac OS with the data in the Clipboard replacing the material in the Panel s 8 3 5 2 Paste Insert The basic Paste Insert command inserts the data in the Clipboard into the Panel s moving the existing audio downstream No material is lost it is simply pushed right out of the way on the pasted audio 8 3 5 3 Paste Constrained Unlike the other three paste variations the Paste Constrained command ignores the Edit point location selected region or segment etc Instead it pastes the data from the Clipboard into the Page 166 Panel s based on the time stamp or location on the time line from which the copied material originally came This command is useful for maintaining sync when editing sound for picture 8 3 5 4 Paste Overlay The fourth variation on the Pas
171. in a active selection 8 9 13 Lock Unlock all Nodes In Track These commands lock or unlock all Nodes in the Gain Overlay regardless of any active selection 8 9 14 Lock Unlock All Nodes In Edit Group These commands lock or unlock all Nodes in the Gain Overlay They apply to all tracks within the current Edit Group 8 10 The Windows Menu The Windows menu provides quick access to all available windows within soundBlade HD and an active Project Page 199 EDL Desk de U sonic EQ D Meters Output 61 Panner db 7 Mark Info te M Preferences 3 New Soundfile Preferences 7 QuickTime Status 68 TimeCode Status 69 Audio I O Preferences XA Background Manager XB 8 10 1 EDL Desk This command toggles the Desk on or off See section 6 1 for a detailed description of this window 8 10 2 Sonic EQ Sonic EO feature This command toggles the Sonic EO window See section 10 1 for a detailed description of this window 8 10 3 Mieters This command toggles the Meters window or Master Section See section 6 4 for a detailed description of this window 8 10 4 Panner This command toggles the Panner window See section 6 4 for a detailed description of this window 8 10 5 Mark Info For more information on the Mark Info window see sections 8 5 discussing the Mark Menu and section 3 10 discussing the specifics of the Mark Info window Page 200 8 10 7 Preferences Some of the functions and commands within sound
172. ing and patching capabilities of the Model 304 there are many ways to accomplish the same task The following information is presented only as a guide so you can better learn the capabilities of your own Series 300 unit NOTE There is a template for this type of external loop called Sonic Loop included with Sonic Console This set up can be loaded from File gt Open Template in Sonic Console NOTE Refer to the Sonic Console User Manual for more specific information Y j regarding using and connecting your Series 300 FireWire Interface Step 3 Execute the bounce as in Setup 1 To execute the bounce set the Edit Point in the Destination ahead of your punch in point to afford some pre roll Start a play and click the record button in the transport controls Whatever you are hearing will be captured to a new sound file Once you drop out of record and you have cleared the Desk and Project of processing you should have a Project with the bounced material in the destination ready for further editing or archiving The Desk Open Desk Setup is useful for nulling the Desk assuming you have saved a default Desk setup Just as the Desk Open Desk Setup is useful for nulling the Desk the Sonic Console s Save Parameters As command in the Mix Output Routing tab allows you to quickly null or reset your Model 304 Page 145 Page 146 Chapter 7 The Background Manager To increase your productiv
173. ing field calls out the problem entry making it easy to rectify the problem Note that you may see a Sound begins more than 2 frames before Start Mark message This a reminder to check that you are not unintentionally truncating any audio at the head of your Project Remember that according to the Red Book specification for CD DA discs the first 2 seconds or 150 CD frames are pregap and the first track start is at 2 seconds Any audio before the 2 second mark will be replaced by 150 CD frames of digital zeroes on any CDs delivered and in DDP file sets Pregap is a logical region of the disc reserved for mode changes and other non audio functions The Sound begins more than 2 frames before Start Mark message is normal when opening a DDP file set because DDP files contain 2 seconds of pregap in the IMAGE DAT file Page 53 3 11 2 5 PQ Delivery Tab The second of the two tabs in the Mark Info window is the PO Delivery tab This pane controls the delivery speed and destination as well as other options like CD Text Mark Info Destination Device CD ROD OPTIARC DVD RW AD 7170A ATAPI Status Insert media for delivery DDP image CD R secure Player JAM image e S e e Speed CD Text TS V Close Session BJ p Execute Eject TrackList Exportlist PQ List Figure 4 17 The PQ Delivery tab of the Mark Info window 3 11 2 6 Destination Device Selection amp Status The Device field provides details
174. ing the location of the In or Out Edit Point You can nudge or move In or Out Edit Points by some pre defined amount using one of the Nudge command in the Selection menu The Nudge value for moving In and Out Edit Points is the same as that for nudging segments You can also move the In Edit Point to the current location of the Out Edit Point This is useful for precisely appending new material in the Destination To do this choose Selection Move In Point to Out Point 4 9 1 3 Clearing In amp Out Edit Points To clear In and Out Edit Points choose Selection Clear In and Out Points To clear only the In or Out Edit Point choose Selection Clear In Point or Clear Out Point respectively 4 9 1 4 Auditioning In amp Out Edit Points When setting In and Out Edit points you can audition your edits to fine tune the placement To audition the current In Edit Point location choose Play To In Out Point soundBlade HD pre Page 84 rolls before the In or Out Edit Point and plays stopping at the In Edit Point You can also choose Play From In Out Point in which case soundBlade HD starts playing at the In or Out Edit Point and plays to the end of the post roll interval In either case the pre post roll duration is set by the preference defined in the Preferences gt Time Display Play around In Out Point settings 4 9 2 Edit Groups Source to Destination edits follow Edit Groups Edits applied to one Panel in a Group affect al
175. ins Track PO and Export lists LA NoNOISE contains soundfiles and NoNOISE Estimates Projects contains all Project files for this project ET Y F FF F rr pato Figure A1 2 The Anatomy Of A soundBlade HD Project A1 3 Naming Conventions 1 Do not use audio files with the same file name within a Project Rename beforehand where necessary with a descriptive name for later ease of archiving restoration and project interchange 2 he P amp E wing of the National Academy of Recording Arts amp Sciences has published recommendation for naming conventions and other workflow methods to improve project interchange and archiving See section A4 1 below A1 4 Hardware Considerations amp Routine Maintenance In this day and age of a BSD based operating system and a journaling self healing file system it still is incumbent upon the cautious and wise engineer to perform routine maintenance on any host computers Here are some tips we recommend A1 4 1 File Systems If you own a copy of DiskWarrior lt www alsoft com gt run it monthly or when you host behaves strangely If you don t own a copy you should Periodic maintenance is still needed with OS 10 and there is no better file system maintenance utility than DiskWarrior A1 4 2 Storage Systems soundBlade is fully compliant with Mac OS 10 4 3 and higher Therefore sound material can be used from any drive that your computer can access This includes network attached and
176. ion 4 9 4 for more information on Replace edits Note that exporting material at 1x speed will not improve the quality during an export so it is recommended that unless real time playback is needed you use either the 8x or Max speed setting as it has better temporal resolution Also during high speed exports the time display and Playhead do not operate in real time and audio is not available at the outputs 8 2 23 Save Reversed This command saves one or more selected segments or regions in reversed time order creating a new sound file and segment that plays backwards After invoking the command a Mac OS file browser appears in order to select the location and file name of the new reversed file to be created After the operation is complete the reversed material will be edited back into the Project replacing the original segment s or region s Note that this operation may take a lot of time depending upon your system configuration and the length of the selected file s or region during which time soundBlade HD may appear to be inactive 8 2 24 System Information Show Console Log 364 Print EDL Sound File Paths Print Segment Info Print Selected Segment Info Formatted Print Selected Segment Info Print SRP Info Write SRP Info to File Send Crash Report Print Desk Info Enable Debugging Export AIFF Fast Export EDL As TF Page 161 Figure 8 2 The File System Information submenu 8 2 2
177. ion of the Edit Point 8 6 4 Index Mark The Index Mark command inserts an Index PO mark at the location of the Edit Point Page 182 8 6 5 Delete Mark The Delete Mark command is used to remove existing PO marks If a region is selected in a Panel all of the PO marks inside the selection are deleted If no region is selected this command will remove a PO mark if the Edit Point is at the exact time location of that mark 8 6 6 Lock Marks from Selection The Lock Marks from Selection command is used to lock PO marks to the time line This command locks all PO marks inside a selected region Once locked mark locations cannot be modified until they are unlocked This command is equivalent to clicking the Lock button if disabled in the PO Info tab of the Windows Mark Info window Note that this command does not affect the ability to change Title emphasis state ISRC or SCMS metadata associated with a Mark Also note that this command does not attach marks to audio segments Editing any audio with locked PO marks will change the time relationship between those marks and the associated audio 8 6 7 Unlock Marks from Selection The Unlock Marks from Selection command is used to unlock PO marks within a selected region 8 6 8 Lock All Marks This command locks all PO marks on the time line regardless of selected regions or segments Once locked the location of PO marks cannot be altered until they are unlocked 3 6 9 Unlock
178. ion that you have To do this simply search for all folders named VST Be advised that there may be two or even three Library Audio Plug Ins VST directories in your file system Once you have located all VST directories create a VST Disabled folder at the same level as the VST folder and drag duplicate VST plug ins to the VST Disabled folder Log out then in again or restart When first started soundBlade HD validates all plug ins Any plug in that does not validate correctly is disabled to prevent instability or future problems The Console Log available by selecting File System Information Console Log provides a log of plug in status when soundBlade HD starts up soundBlade HD also caches or stores information about all your plug ins to speed subsequent startups The cache is stored in the com sonicstudio plugincache plist file in the Library Preferences folder a human readable file with either the Plist Editor or TextEdit If you change your plug in complement or a particular plug in is inactive simply throw that cache file in the Trash The absence of the cache will force soundBlade HD to re scan and re cache your plug in collection 4 6 1 2 Plug In Automation While soundBlade HD does not support dynamic automation of parameters of plug ins it does support snapshot automation of plug ins inserted into a Project each plug in is a snapshot and parameters are updated as you move from event to event You can interl
179. is destructive you may want to Save As prior to using this function 8 4 3 Show Waveforms In Waveform mode the Track shows a representation of the actual sampled waveform This display is derived from a reduce file that is saved automatically with the soundfile 8 4 4 Show Bar View In Bar mode the Track displays as a blank bar This mode simplifies the display when dealing with large numbers of Tracks 8 4 5 Show Hide Text Vievv The Show Hide Text View command toggles the display of the selected Panel between Text Mode and Waveform Mode views 8 4 6 Show Hide Gain Overlay This command forces the selected Panel to show or hide the Gain Overlay feature The Gain Overlay is only visible in Waveform Mode and is shown as a thin red line superimposed on the waveform display Projects saved with Gain Overlay will open with Gain Overlay visible upon reopening Note that although Gain Overlay may not be visible when activated it is always active in the audio output signal path Only the EDL Bypass Gain Overlay command will bypass any Gain Overlay functionality See section 8 4 3 below for more information on the Bypass Gain Overlay command 8 4 7 Bypass Enable Gain Overlay This command bypasses or engages the Gain Overlay function When in bypass the Gain Overlay line in the waveform display turns grey and the corresponding Gain Overlay Button s on the left side of each Panel turn yellow Note that the Bypass Enable
180. isc that allows you to check the completed program These check discs or refs are perfect for approvals but not for replication The audio data on these CD Rs technically CD DA formatted Orange Book discs contain error protected metadata but not error protected audio data So errors can propagate through premaster to replication resulting in costly rework For disc replication you should save your changes to the Project and deliver a DDP file set a reliable error protected file format specifically designed for interchange between facilities and optical disc replication Page 23 3 2 Project Layout 00 12 41 38 25 soundBlade Project 00 00 01 00 00 00 18 55 38 25 00 47 21 64 27 00 00 01 00 00 00 06 14 00 00 ted kowin Gas Tank 7 Francizcan Mouse Good God Gat Pen ap DS ind hy Heart ls Heavy ERed Fovin Gas San Francisca Good God I Bat Re 00 00 00 00 00 M Dd Fo js o hes yes Gain kenia es iiy Heart Is Hea Souls For Sal haara Franciscan M1 F Stard Fly Heart ls Hea Souls For Sal San Franciscan M 2 m Figure 3 1 Main components of a Project window In soundBlade HD all tasks are performed in or via a Project The bottom half of a new Project shows four empty Panels two stereo containers for sound The top two Panels are yellow Destination containers where finished material is as
181. iscussed in section 4 1 4 above and select a fade type 4 2 7 Nudging Fades soundBlade HD provides controls for nudging or incrementally changing the position of the edit event with respect to the time line soundBlade HD provides three preset nudge values labeled A B and C respectively Figure 4 6 The nudge controls Page 66 The Fade Nudge buttons for each of the nudge values advance or retard the selected fade moving the fade earlier or later by their respective A B or C values You can edit these values directly in the EFM window or set the default values in theTime Display tab of the Preferences window Nudge values in the EFM window are edited by clicking in the field and typing or using the keys on the keypad to increment or decrement the selected value This does not change the default Nudge A B and C values in theTime Display preferences 4 2 8 Edit Point Offset Where the In and Out edit events in a Crossfade are located at different locations on the time line there is an offset between them You can set the amount of offset precisely by double clicking in the Edit Point Offset box in the upper left corner and typing the desired value soundBlade HD moves the In Fade by the specified amount soundBlade HD displays the offset between the In Fade and Out edit events using the default time code units To eliminate an offset between fades click the unmarked button immediately to the right of the Edit Point Offse
182. isted them as inactive so imply quit soundBlade delete the cache as described above and relaunch soundBlade Page 236 VST NOTE To improve stability with VST plug ins soundBlade 2 0 2 makes use of a new folder to store VST plug ins that are used within the application This folder called VST Sonic is created when installing Sonic EQ 2 6 1 or later and is located at Maclntosh HD Library Audio Plug ins Sonic Studio recommends that all soundBlade users installl Sonic EQ prior to use On Launch soundBlade 2 0 2 will look for a VST Sonic folder in your System Plugins folder If this folder is found then the Standard VST folder is not scanned during launch Sonic Studio recommends that any VST plug ins necessary for use in soundBlade be duplicated from the VST folder to the VST Sonic folder in your Audio Plug ins folder A1 4 5 3rd Party Configuration Management As with OS 9 OS 10 employs extensions to the operating system that extend and sometimes complicate your life Mac OS 9 had the Extensions Manager but OS 10 does not ship with such a utility Fortunately several vendors provide shareware or freeware versions of an Extensions Manager equivalent for OS 10 One is White Box s free Diablotin available from lt http s sudre free fr gt and the other is Teng Chou Ming amp Scott Mitchell s X Overload2 a shareware utility available from http www xoverload com Neither of these products can manage audio plug ins
183. itten in Apple s Cocoa language Some Cocoa plug ins do not function as expected in soundBlade at this time Sonic Studio recommends that users revert to a Carbon version e Desk Bypass Bypasses the EDL desk and its processing e 4 Channel Desk restart required Stremlines processing to just 4 channels on the EDL Desk Useful for hight sample rate work e 16 channel Desk restart required Enables channels 9 16 on the EDL Desk and Meters window 8 10 15 Nevv Soundfile Preferences This command opens the New Soundfile window For more information on the New Soundfile Preferences Window see section 3 8 for a detailed description 8 10 16 Timecode Status This command opens the Time Code Status window The Time Code Status window shows the current state of both the LTC reader and generator including their time base and counting method and whether or not they are disabled It also includes enable disable check boxes in the right corners as a convenience See section 8 9 12 for more information on setting time code reader and generator preferences 8 10 17 Audio I O Preferences This command opens the Audio I O Preferences window For more information on the Audio O Preferences Window see section 5 2 1 for a detailed description Page 216 8 10 18 Background Manager This command opens the Background Manager For more information on the Background Manager see section 7 1 8 10 19 Project Any open Projects will be listed
184. ity and to free up soundBlade HD from task that are time consuming and suited for unattended execution soundBlade HD is equipped with the Background Manager The Background Manager consists of two sections each represented by its own tab The first section is the Audio Client In this section sound files can be selected for processing and processes can be assigned to them The second section of the Background Manager is the Queue Manager Once sound files have been assigned a process processes can be managed via the Oueue Manager Background Manager Add Sound File ITI a a md c d cca dec Red Roavin Gas Tank 13b 31f M iud duh bud Oo Oe AC Cat Statg17b ail OUCCOCGEOCEOO DOE OS 37 159 Sample Asia 44100 Bii Depth 24 Channels 2 Target Fader Detwit Taget Folder is same folder as mpul soundile Processes 4 Queue oo a A T as E B EIC III E Ceiew intermedia Fiiss Cy Cisar Lists on Execute Figure Z1 The Background Manager showing the Audio Client tab Page 147 7 1 The Audio Client tab To open the Background Manger select the Windows Background Manager command By default the Audio ClientTab is selected when the Background Manager opens It largely consists of 2 areas the Soundfiles area and the Processes area topped by the Target Folder field In the Target Folder field the target folder for newly created sound files is specified To select a target folder click on the Cho
185. ive time line positions directly via the Move Segments window Select the desired segments then select the Edit Move Segments command The Move Segments modal dialog appears showing the current position of the first or only selected segment The desired new segment start time can now be entered directly into the time code address shown Once the Move button is clicked the segment moves to the new location Page 46 The Move Segments dialog offers three extra options By clicking on the Where button you can select via a drop down menu the new start time for the segment The current position of the Playhead e The location of the In Point or e The location of the Out Point There is also an SRP button that provides a list of any SRPs placed in the Project By choosing one of these four options the time display of the move segment window changes to the relevant time SRPs persistent markers you can place anywhere in time are discussed later in section 4 7 below After choosing your option clicking the Move button will move the segment and close the dialog Clicking Cancel leaves the segment at its original position and closes the dialog 3 9 6 Simple Track Spacing AutoSpace Once all your segments are placed in the right order the AutoSpace function offers a simple but effective tool to change all pauses between songs to a pre defined value Simply select Edit gt AutoSpace All Segments and all segments will
186. ks 2 and 4 to M2 2 Assign Tracks 1 and 2 as Destination tracks 3 and 4 set to Source or None elf all 4 tracks were set as Destination a 4 channel export would occur For a 5 1 export of 6 channels 1 Set outputs of channels to M 1 M6 2 Assign Tracks 1 through 6 as Destination See section 4 9 3 2 about Source Destination and None EditTargets 3 10 PQ Marks Defining Metadata Once all of your tracks for the CD are put in the right order and spaces between the tracks are adjusted to taste the PO Marks can be created PO Marks generate the TOC orTable of Contents for the final replication master PO Marks are shown in the black banner just below the time line My Heart ls Heav Rel Figure 3 27 The Track Bar and its PO Marks Page 48 With the Track Bar visible Start of Track marks are indicated by a arrow pointing to the right while End of Track marks are indicated by a arrow pointing left Index marks are indicated by a yellow arrow pointing down 3 10 1 Inserting PQ Marks Manually To insert a new PO Mark place the Edit Point at the location where you want the new Mark to appear Then select Mark gt Track Start Mark which adds the new Start of Track mark 3 10 2 Moving PQ Marks It s easy to relocate PO Marks Simply click drag on a Mark to move it to the desired location 3 10 3 Removing PQ Marks To remove one or more PO Marks click drag in the waveform display to select a region that includes the Mark s
187. ks command soundBlade HD automatically places Start and End ofTrack marks at the outside edges of all segments using the location of Black Fades The final result is a collection of marks accurately placed at the begin or end of each Black Fade Page 49 3 10 4 3 Analog Black To Marks If you ve done a fair amount of fancy editing and track timing then Edited Black To Marks may not be the ideal choice Also if your material consists of one long consolidated file with few or no edits then you may want to automatically place PO Marks with the Analog Black to Marks function instead This function measures the amplitude of your audio and places PO Marks at the edges of long duration quiet passages Both amplitude and duration are user adjustable To use first click drag to select a region on which to work Then select the Mark gt Analog Black To Marks command In the resulting modal dialog specify the amplitude and duration of the selected region you want to mark The results of the Analog BlackTo Marks function are not as accurate as Digital Black to Marks but will provide quite usable PO Mark placement even with un edited material The placement accuracy is dependent on the settings used as well as the assumption that tracks always start and end with an increase then decrease in amplitude and quiet in between However it is very likely that those same criteria also apply to other moments in the course of a musical piece so the resu
188. l Panels in the Group simultaneously The Source and Destination Panels can be separate Edit Groups or separate EDLs Edits within a single Edit Group are confined to individual Panels By definition material cannot be moved from one Panel to another within an Edit Group by a Source Destination edit command 4 9 2 1 Simple Edit Groups For basic four Panel Projects Edit Groups are preset and pre defined No user intervention is needed The top two Panels are always in the same Edit Group the bottom two are in another and no change is possible 4 9 2 2 Edit Groups for Complex Editing When more complex multitrack editing is required Edit Groups can become user defined allowing for more free form editing Section 4 10 2 below discusses the more generalized user adjustable Edit Groups available with the Multi Channel Feature 4 9 3 Edit Targets 4 9 3 1 Simple Edit Targets For the most basic default four Panel Project sometimes a monaural edit is needed on a stereo pair soundBlade HD provides a simple Edit Group control to depart from the default behavior of performing edits on both channels of a stereo pair when you operate on only one Edit Groups are a mechanism for organizing multiple Panels and their tracks into collections or members of a group Edit Groups are assigned as letters in the Edit Group menu at the far left side of a Panel In addition Edit Groups can be simplified to a check box in place of the more complex Edit
189. l change according to the current Panel s state It either creates a new crossfade from the current In Points position when no Out Point is seen or it creates a new segment at the area included by a set In and Out Point This command uses crossfade defaults when creating crossfades 8 3 15 Delete Crossfade The Delete Crossfade command deletes all frivolous Crossfades ones that cause no audible change in the underlying audio from the selected region Superfluous Crossfades are usually created with the Create Crossfade command discussed in the previous section and after an extensive editing session the Delete Crossfade command will clear any visual clutter making it easier to see the operative edits 8 3 16 Move Segments The Move Segment command allows the user to move one or more segments to another location on the time line Selecting this command opens the Move Segments modal dialog which shows the current position of the Playhead or start of the first selected segment Entering a new start time and clicking the Move button causes the head of the first selected segment to move to the new location All selected segments will also more by the same amount maintaining their relative position to each other Additionally this dialog offers three extra options By clicking the Where button you can load either the current position of the Playhead or the location of extant In point or Out Points all from a drop down menu Then by clicking
190. lay to In Point 180 plug ins 48 75 76 124 131 236 Page 263 AU 75 automation 76 Bypass Unbypass Event 78 bypassing 198 Bypass Desk Events 174 displaying 76 inserting in a Project 77 latency compensation 75 locking unlocking 198 maintenance 76 plug in cache 76 236 saving plug in settings 79 Select All Plug ins 78 79 slots 77 VST 75 236 Power Lock 65 PO 27 206 Copy Enabled 98 emphasis 185 Emphasis Flag 98 Listings 99 offsets 98 PO Delivery Tab 54 100 PO Marks 49 Analog BlackTo Marks 50 Edited BlackTo Marks 49 Inserting automatically 49 manually 49 moving 49 removing 49 P through W metadata 94 UPC EAN Codes 96 validating 99 PO Delivery Tab 54 100 PO List 102 PO Listing Listing 99 PO Marks 25 96 PO Validator 99 Preferences Playing Auto Tools 208 Preferences Page 264 Audio I O Preferences 217 Default Fade 202 Delivery 209 Display Auto Tools 207 Dither 211 Editing Auto Tools 202 Edit with Audio 202 Import 203 New Soundfile Preferences 217 Nudge A B C 205 Offsets 210 Playing Auto Tools 208 Play Around In Out Point 205 Show Subframes 205 Time Display 204 View 206 Zoom to In Out 205 Zoom to Sel ection Start End 205 Print EDL Sound File Paths 162 Segment Info 162 SRP Info 162 printing effects 48 printing Master section effects to disk 138 139 Processing Overload warning 131 Project combo Text Waveform 72 default 72 159 DUR time field 92 E S toggle 92 layou
191. le a recording progresses See section 5 2 6 below for more information Note that the sample rate of the sound file to be recorded is not set via this window lt is set in your host s Audio MIDI Setup See section 5 2 1 above for more information 5 2 3 Track arming and enabling recording To prepare audio for recording any track you want to record audio into must be enabled or armed first To arm the desired Panel s click on the Record Ready button labeled R on the left of the corresponding Panel To disarm a Panel simply click the Record Ready button again and the Panel will return to Safe mode again 5 2 4 Initiating a recording To initiate a recording click the green Record button in the Transport Controls to start the recording The Playhead starts at the beginning of the time line or at the Edit Point if present The Record buttons turns red recording begins and the backgrounds of the Panels in record along with their corresponding Record Ready buttons turn red while the cursor changes to a microphone symbol Page 111 Figure 5 7 A Panel in record mode showing the microphone cursor Once the recording is stopped by either hitting the space bar or the Stop button in theTransport Controls the newly recorded audio segment s are shown in the Panel s while soundBlade HD generates waveforms in the background If recordings replace any existing segments in the Panel the original segment will be joined to t
192. le and offers three options 1 Off In this state the panner is turned off and the selected Strip is restored to the state it was in before the Strip was routed through the panner 2 Stereo In this state if either Strip 1 or 2 is set to stereo the other desk Strip is bus paired to it as a stereo panner The same behavior applies to Strips 3 and 4 3 MultiChannel In this state the panner unfolds to show a circular joystick panner with multichannel buses each bus indicated by a loudspeaker symbol Note that the multichannel plus LFE choices in this menu are not operational Next to each loudspeaker symbol an output selector is located This allows for a completely flexible assignment of outputs from the panner Any output can be assigned to any panner position As only one output can be assigned to a single panner position attempting to patch an already assigned Strip output to another panner output will re assign that Strip output to the new choice swapping positions with the Strip output formerly assigned to that output To change the panner state click hold on the red dot and drag it towards effect the desired output The output level fields located next to each loudspeaker symbol indicates the panner output level in dB and are updated continuously during panner movement Alternatively simply click on the location in the Panner circle where you want to place the panner and the panner moves to it instantly Additionally
193. le when optional packages for soundBlade HD are purchased When a process is selected in the space below the Processes area details and available parameters are shown for the selected Process This enables adjustment or selection of further options depending upon the Process selected Processes can be deleted from the processes list by clicking on the process and then hitting the backspace or delete key To clear all processes from the Processes list click the Clear All button to the right of the Processes list Once all necessary processes have been selected and placed in the right processing order they can be automatically performed upon the selected sound files by clicking the Execute button The sound files and the processes to be applied upon them are then queued and processing Page 148 commences To indicate this action the Queue indicator to the right of the Execute button shows the number of sound files and processes queued Once the processes are being executed all sound files and processes remain in their respective lists This allows for a quick method of applying different processes to the same file s or visa versa To erase both lists and start new lists for sound files and processes simply click the Clear Files or Clear All buttons next to the lists and the Audio Client is cleared from its current list of sound files and processes respectively To remove all items in the lists automatically enable
194. li i _ Lock Gain Node v Unlock Gain Node Delete Nodes from Selection Lock Nodes from Selection Unlock Nodes from Selection Lock All Nodes in Track Unlock All Nodes In Track Figure 4 15 The Gain Node contextual menu By default the Unlock Gain Node option will be checked To lock the selected Gain Nodes click on the GainOverlayNode Locked option The selected Gain Nodes will now turn red to indicate their locked status Unlocking the Gain Nodes simply requires selecting the GainOverlayNode Unlocked option In the same contextual menu Nodes can also be locked and unlocked for the whole Panel by selecting the Lock Unlock All Nodes In Track options Delete Nodes from Selection deletes all Gain Nodes in the current selection If no selection is made but one or more segments are selected all nodes within the selected segment s will be deleted Page 74 Once Gain Overlay is used the gain changes stay active in the output of soundBlade HD both during playback and Delivery To temporarily bypass the Gain Overlay select the EDL Bypass Gain Overlay command Also the Gain Overlay can be put into bypass mode by option clicking the G or Gain button on the left side of each Panel In both cases the Gain Overlay line will turn grey and the Gain button will turn yellow both indicating the bypass state Once in Bypass Gain Overlay can only be activated again by selecting the same command which changes to Activate Gain Overlay
195. lication process we recommend that you generate a PO List and include a printed copy with your replication master whether your job includes CD Text or not Use the PO List button in the Windows Mark Info PO Delivery tab This file is an essential check list for your replicator so their quality control can be maintained In addition a PO List is a perfect way to ensure that CD Text information is delivered to replication Since CD Text metadata does not appear in DDP file sets generated by soundBlade the PO List is the vehicle to move this information into replication The PO listing uses the information you enter in the Mark Info dialog to generate a plain text or ASCII text file so before you create Page 238 a PO list and a CD R with CD Text double check your information in Mark Info Remember to avoid metacharacters in CD Text strings like and just as you would if you were naming computer files Click on the PO List button to save and open a soundBlade PO Log Then review edit and append any information missing or in need of expansion Fill in the Client name Date Work Order WO number and the UPC EAN Edit the Project name and disc Title to make sure it s correct Add the disc Artist under discTitle Check each track name and make any corrections necessary If yourjob isa compilation be sure to addTrack Artistto your listing preferably after the individual track names Finally be sure to indicate on both the printed
196. ll Select the desired plug in from the contextual menu The selected plug in drops in as an event into the selected region or segments and shows in the events overlay as a green bar soundBlade HD supports both VST and AU plug ins and either type can be freely intermixed in the event plug in slots Page 77 Track 1 Lr ov NET MA Lu Figure 4 17 Plug in inserted in the Desk Event window Once a plug in is in place its settings and location can be modified To modify the plug ins settings double click on the plug in name and the plug in will open Close the opened plug in window to save its settings Another feature available once a plug in is placed is its name appears at the bottom of the contextual menu when control clicking on an empty slot To change the location and duration of an event first select the event by clicking on it The selected plug in is marked by two red squares at its lower left and upper right edges By click holding either of the two red boxes the plug in location can be moved earlier or later thus changing the location and duration of the event To move the entire event without changing its length click hold on the middle of the event and drag it to the desired new location To move an event from one row to another click hold it and move it up or down to the desired event plug in slot Multiple events can be selected by shift click holding them and dragging All actions changing the length or plac
197. lows you to select one of the three nudge presets used by the Selection Nudge Right Left and Edit Nudge Segment commands The presets are defined in the Time Display tab of the Windows Preferences window See section 8 8 4 for more information on the Time Display preferences 8 7 12 Set SRP This command places an SRP or Selection Reference Point in the selected Panel at the location of the Playhead 8 7 13 Set SRP with Text This command places an SRP or Selection Reference Point in the selected Panel at the location of the Playhead and places a cursor for text entry 8 7 14 Set Sync SRP This command places a Sync SRP or Selection Reference Point in the selected Panel at the location of the Playhead 8 7 15 SRP From Segment Edit Points This command places an SRPs or Selection Reference Points in the selected Panel atthe location of Segment Edit Points 8 7 16 Set SRP from selection This command places two SRP to mark the start and end of a active selection 8 7 17 Lock SRPs from Selection This command locks all SRPs within a selected region 8 7 18 Unlock SRPs from Selection This command unlocks all SRPs within a selected region Page 189 8 7 19 Clear Selected SRPs This command removes all SRPs within a selected region whether they are locked or not 8 7 20 Drop Edit Point at Playhead This command moves the Edit Point to the current location of the Playhead and is typically used when the Edit Point
198. lts of the Analog Black To Marks function should always be checked for acceptable accuracy You may also try the command check the result and adjust the parameters prior to undoing or deleting marks and using the function again See section 3 10 6 below for useful information on checking mark accuracy 3 10 5 Tracks soundBlade HD allows you to display and manipulate CD Tracks The Windows Preferences EDL gt Show Track Bar preference enables or disables the Track Bar Each CD Track that will result from your current PO placement is shown in grey while the pause between tracks is shown in blue 3 10 5 1 Moving Tracks amp Resequencing A Track always with its associated pause from the previous End of Track mark can be selected by clicking on itsTrack Bar the top bar between theTrack Marks Selecting aTrack also selects the underlying audio that is associated with thatTrack When you move a Track you move both its PO infomation and you also move the associated audio This means that you can quickly resequence your deliverable by dragging and dropping Tracks TheTrack with its Marks can be moved by click holding aTrack sTrack Bar dragging left or right to a new position in the Track sequence and dropping when a vertical blue Insert line appears TheTrack Bar updates to graphically display the new Track definition 3 10 6 The Marks Button In the Transport Controls the Marks Button can be seen Clicking on it reveals a list of all
199. m to Previous Next 194 Zoom to Sel ection Start End 205 Zoom to Selection 195 Zoom to Selection Start End 195 2012 Sonic Studio LLC 330 Sir Francis Drake Blvd Suite A San Anselmo CA 94960 2552 1 415 944 7642 soundBlade soundBlade HD sonicstudio com the Sonic Studio logo and type are trademarks of Sonic Studio LLC in the United States and other countries All other trademarks trade names service marks and logos referenced herein belong to their respective companies Comments corrections and suggestions regarding this manual are always welcome Please contact us at support O sonicstudio com soundBlade HD UM 202v1r05 Page 272
200. minus buttons Clicking these increases or decreases the gain setting of the fader in 0 1 dB steps Below the fader gain call out is a text field or scribble strip in which a descriptive label can be entered To change the contents of the scribble strip simply click on it and enter the desired text string from the keyboard Save the new label by hitting the Return key By default all faders work independently As the primary intended use for soundBlade HD is stereo editing or four channel work faders can be conveniently linked in pairs or groups To do so hold down the control key and click a fader A contextual drop down menu appears Page 120 e EDL Desk soundBlade Project Link Pair Link Pairs Link All UnLink AII Reset Fader Reset Gain Fader Reset All Main Faders Reset Gain All Faders Figure 6 4 Linking faders in groups or pairs via pull down menu There are two ways faders can be linked to other faders First a fader can be assigned to a group identified by the letters a through h To assign a fader to a group simply select the desired group letter Figure 6 5 Fader assigned to fader group indicated by group letter superimposed on fader This method of linking faders allows faders to be linked in any combination As a result if one of the linked faders is now moved all linked faders will move as well with the same velocity applying the same relative gain changes Page 121
201. more than 2 frames before Start Mark message This a reminder to check that you are not unintentionally truncating any audio at the head of your Project Remember that according to the Red Book specification for CD DA discs the first 2 seconds or 150 CD frames are pregap and the first track start is at 2 seconds Any audio before the 2 second mark will be replaced by 150 CD frames of digital zeroes on any CDs delivered and in DDP file sets Pregap is a logical region of the disc reserved for mode changes and other non audio functions 4 12 5 PO Delivery Tab The second of the two tabs in the Mark Info window is the PO Delivery tab This pane controls the delivery speed and destination as well as other options like CD Text gt Mark Info Destination Device CD ROD OPTIARC DVD RW AD 7170A ATAPI Status Insert media for delivery DDP mage CD R securePlayer JAM image e g e Speed CD Text TS Close Session O i iE ii nUIAG iA d Execute Eject TrackList Exportlist PQ List Figure 4 17 The PO Delivery tab of the Mark Info window 4 12 5 1 Destination Device Selection amp Status The Device field provides details about your CD R mechanism When multiple CD R mechanisms are connected there is a selector represented as a white disclosure triangle to the right of Page 100 the Device label This selector allows you to toggle between
202. mph Figure 10 15 Sonic EQ Plug In User Interface In the plug in menu two versions are available One is monaural while the other SonicEQ S is stereo Otherwise the controls and parameters are the same asthe pre processor form discussed in section 10 1 above with one exception The plug in version has an added convenience feature Tip When adjusting controls with the sliders hold down the shift key reduces the scaling and provides greater control NOTE Sonic EQ S is for stereo instantiations Sonic EO is for Mono instantiations Page 231 Chapter 11 Trio amp Quartet DynPEQ M 11 1 Introduction to DynPEQ DynPEO refers to dynamic parametric equalization What then is dynamic parametric equalization Audio professionals and enthusiasts alike are familiar with dynamics processors compressors expanders etc and parametric equalizers Dynamic parametric equalization is an integrated combination of the two processors That is to say it is a dynamics processor a parametric equalizer and a dynamically controlled parametric equalizer rolled into one package Quartet DynPEO an option for soundBlade HD offers four bands of dynamic parametric equalization bands Each band has controls normally associated with a parametric equalizer and a dynamics processor The parametric equalizer and dynamics processor portions of a band can be individually bypassed which disables its respecti
203. n first click drag in the top Panel to create a selected region and make sure the top two Panels are assigned via the first two Desk Strips to M1 Out and M2 Out Then choose the destination directory with the Set file button Finally set the file type word length and speed then click the Export button soundBlade HD will play the selected region exporting the audio Page 47 as it plays and as you hear it The Edit after Export check box causes soundBlade HD to replace edit the exported segment back into the Project Another use for the export command is consolidation of a complex edit or processing The export command will cleanly freeze or print to disk a collection of instantiated plug ins that will not play in real time due to host saturation or overload This is because export operates out of real time and so is not constrained by real time timing and buffering issues Note that playing the material at 1x speed during export will not improve the quality so it is recommended that unless real time playback is needed you use the highest speed setting as it has better temporal resolution Also during high speed exports the time display and Playhead do not operate in real time Note About Exports Ihe Destination Track settings define the number of channels that will be exported For example if you have a 4 track Project that you want to export to a stereo file 1 Set outputs of Track 1 and 3 to M1 Set output of Trac
204. n will be applied to all selected segments equally as described above This implies that in relative mode the gain changes will retain any relative loudness differences between selected segments In normal use Segment Gain is used on individual segments to make them play seamlessly or as desired Once the entire show has been gain adjusted then all segments can be selected and normalized thus maximizing the amplitude for the whole program 4 4 2 Combo Project Configuration Note that if you find that you use Text Mode a fair amount you may want to create a special default Project that combines both Waveform and Text mode To do this open a new empty Project Now click on the bottom Panel to select it and change it to Text Mode with the EDL gt Show Text View command Finally save it as the default Project with the File Save As Default Project command Once this is set all new Projects will have a left and right waveform with an additional right channel Text Mode 4 5 Gain Overlay Mode As described in section 4 4 1 above the gain of individual segments can be easily changed with the Segment Gain dialog soundBlade HD offers another global time line oriented approach to changing amplitude Gain Overlay Mode can be used to change level independent of segments and fades and works as a master automated fader Gain Overlay Mode is enabled by clicking on the G button to the left of a Panel and is available only when in Waveform Di
205. ndBlade HD has two predefined Desk Setups Desk Setup A and B this command allows for immediate storage of the current Desk Setup under one of those two presets 8 9 2 Open Desk Setup The Open Desk Setup command opens a submenu Open From File 380 Desk Setup A Desk Setup B 36 i Figure 8 20 the Desk Open Desk submenu 8 9 2 1 Open From File The Open From File command opens a file containing soundBlade HD Desk Setup information The command initiates a standard Mac OS Open file window to select locate and open a Desk Setup File See section 6 2 for more information on saving Desk Setups 8 9 2 2 Open Desk Setup A B As soundBlade HD has two predefined Desk Setups Desk Setup A and B this command allows for immediate recall of either one of those Desk Setups Note that this command discards the current Desk Setup Page 197 8 9 3 Bypass All Events This command bypasses Desk plug ins 8 9 4 Bypass Active This command is currently inactive 8 9 5 Lock Unlock This command locks or unlocks Desk plug ins 3 9 6 Miove Event This command is currently inactive 8 9 7 Show Gain Overlay This command Toggles Gain Overlay display in the selected Panels 8 9 8 Show Hide Gain Overlay his command bypasses or engages the Gain Overlay function When in bypass the Gain Overlay line in the waveform display turns grey and the corresponding Gain Overlay Button s on the left side of each Panel turn y
206. ne long continuous segment such as a consolidated complete mix and quickly segment space and resequence the individual songs Note that when using this fully manual method sequencing should be performed prior to Mark placement This will prevent erroneous repositioning of Marks as your segments are shuffled 4 3 2 Drag Overlay When you drag and drop one segment on top of another with no modifier keys employed one segment will overlay another when you drop it on top The two segments coexist in the same location on the time line and sum together during playback This feature is useful when used in conjunction with Text Mode discussed in the next section so you can individually control the overlapping segments Also see section 4 4 2 below for creating a combination waveform plus text Project layout 4 3 3 Drag Insert amp Ripple Shift dragging segments is another useful editing feature With the shift key held down the dragged segment is inserted when you drop it on top In addition downstream segments those later on the time line are pushed or rippled to the right making room for the inserted segment 4 3 3 Drag Replace When you command drag and drop one segment on top of another then the dragged segment replaces the existing audio where it s dropped As with all editing in Sonic Studio s products this move is non destructive 4 4 Text Mode Text Mode provides a playlist view of the Panel s contents with editable
207. ng the desired Project file es P em porem a SAM Greatest Hits vlrD Project x i EIUS k DEVICES i ALCO E EDIL o A T Previna b SHARED Eu DOP Folder Li 1 SAM Grear 00 Project E ES Lists t Y PLACES EE NoNOISE folder ES Current Builds ix SAM Great _ r0 Project jamica Applications Decktop n Dooruments Mame 34M Greatezt cala Pictures 1 Hits wird Project El Movies Kind Project Files In Music Size 4 KE on disk Created Today ar 12 59 v Lirilities basso a NI P SEARCH FOR Maditied Today ar 1 05 PM Last opened m More info Figure 3 5 Mac OS browser dialog for opening a Project Page 26 After highlighting your selection and clicking Choose the Project will be opened together with any available metadata already saved in the Project folder A third way to open an existing Project is by simply drag the file from any folder onto the application icon or the application s Dock icon 3 3 2 Opening Sound Files Once your Project is open you need to open your sound files into the Project As with Projects using either the File menu or dragging and dropping will work By holding down the command key when dragging in sound files soundBlade HD will autospace the new segment as well as auto generate PO metadata Section 3 9 5 discusses the auto generated PO metadata while sections 3 9 6 and 4 2 below will discuss autospacing functions in more detail By
208. ng a Hecording To initiate a recording arm the desired Panel s by clicking on the Record Ready button labeled R on the left of the corresponding Panel After arming click the green Record button in the Transport Controls to start the recording The Playhead starts at the beginning of the time line to record audio To start recording at another place on the time line simply place the Edit Point at the desired position and click the Record button The Record buttons turns red recording begins and the Panel backgrounds that are in record along with their corresponding record arm buttons turn red while the cursor changes to a microphone symbol Hi nta Figure 3 18 A Panel in Record Mode Once recording is finished by either hitting the space bar or the Stop button in the Transport Controls the newly recorded audio segments are shown in the Panel s while soundBlade HD generates the waveform files Note that as recording is non destructive any existing audio segments in a Panel that seem to be overwritten during recording are not physically erased from your computer s hard disk They are merely replaced in the waveform display and can be reopened at any time Alternatively the original state of the Panels before the recording was started can easily be restored by selecting Undo from the Edit menu 3 8 3 AutoPunch To set up an automatic punch in and out of recording first arm the desired tracks Next place SRPs with t
209. nu Hitting the delete or backspace key on the keyboard will perform the same action Lovelv EIT 1 Figure 3 25 A deleted selection the circled area has moved As a result the selected region will be deleted and all audio to the right of the selected region will be moved left to the beginning of the now deleted section closing the hole Again the In and Out Points stay in place Similar to clearing the selected region you now have two new segments When deleting the selection however the two new segments are joined together with a Crossfade It is represented in the waveform display as an overlapping Fade In and Out Page 44 The delete functions mentioned above also work with one or more selected regions Simply click drag to select a region and hit delete or option delete Note that when you have both Edit Points and region selections soundBlade HD always defers to Edit Points rather than selections This can easily lead to erroneous edits when IN and OUT Points are beyond the displayed area and the selected segments or regions are visible leading to the user s perception of a non performing edit meanwhile audio out of view has been modified Because of that it is always a good idea to either choose Selection Clear In amp Out Points or check for the presence of Edit Points by glancing at the IN and OUT fields at the top right of the Project Non zero positive values indicate the location of an Edit Point
210. o document production processes and control how the file is handled during editorial soundBlade HD will honor BWF time stamps and all existing BWF metadata is conserved during editing and on export To force soundBlade HD to honor an existing time stamp hold down the shift key when dragging The sound file will open on the time line at its time stamp Once a BWF is open by control clicking on the segment a contextual menu provides a Show BWF Meta Data command to display the metadata contained in the file s header 8 2 5 Open Dual Soundfile This command opens the Mac OS file browser allowing you to select and open dual or multi channel mono files into separate panels Page 156 8 2 6 Open DDP Image In addition to sound files soundBlade HD can open DDP file sets Selecting Open DDP Image from this menu invokes a standard Mac OS browser To open a DDP file set select its containing folder and choose Open from the browser window soundBlade HD will open the IMAGE DAT audio file and metadata into a new Project The DDP metadata consists of three files the DDPID DDPMS and the DDPPO or SD files soundBlade HD parses or reads then validates these files and adds PO Marks when the DDP file set Is opened soundBlade HD can open both consolidated and split DDP file sets These labels refer to the audio files with a consolidated file set employing a single audio file while the split file sets has two or more audio files The
211. o the global modes discussed above EFM also provides settings for auditioning fades 4 2 4 1 Audition Both When only the In or Out fade is selected for editing soundBlade HD normally auditions only that fade If Audition Both is selected soundBlade HD overrides the state of the In and Out check boxes and plays both fades This enables you to hear how changes made to one fade affect the sound of the crossfade as a whole 4 2 4 2 Nudge Auto Audition When Nudge Auto Audition is selected soundBlade HD plays the fade each time you nudge it using the A B and C nudge controls at upper right of the EFM This allows you to hear the effect of fade edits without having to manually play 4 2 5 Additional Fade Parameters soundBlade HD features a single slider for adjusting multiple fade parameters The Fade Parameter slider allows you to effect fine adjustments of each parameter by clicking to select its field To adjust a fade parameter click in the desired parameter field to select it or press the tab key to move between fields Drag the Parameter slider to adjust the parameter s value You can also type a numeric value from the computer keyboard To nudge a parameter value up or down by small increments click or on the adjacent Parameter nudge button e Duration The Duration slider adjusts the duration of the selected fade Fade Duration is expressed in seconds and has a minimum value of 0 0021 seconds or 2 1 milliseconds e Overla
212. ode reader If you are not using the LTC time code reader function it is best to leave this feature disable to reduce processor overhead Frame Rate This menu provides the common time standards and counting methods Page 213 A Sl 4 30 fps time base NonDrop Frame NDE 60 Hz referenced 29 fps time base Drop Frame DE 59 9 Hz referenced 2b fps time base 50 Hz referenced 24 fps time base 60 Hz referenced as well as two less used choices 29 97 NDF and 30 fps DF Offset This field provides a mechanism for adding an offset to all incoming time addresses Play Trigger This field provides a mechanism for defining a threshold address before which LTC Slave playback will not commence Timecode Input Defines the analog input channel on your audio interface that LTC is connected to Choices are 1 2 8 and LTC Note soundBlade HD does not support 23 976 frame rate Page 214 8 10 14 Setting Preferences Desk Tab F 1 Preferences Editing Tools Desk Use EDL Desk Copy Save with Time Display as Project EDL a Pure Gain BB Desk Bypass Hard Limit eg Skip Cocoa Plugins LTC Timecode 4 Channel Desk restart required Delivery Desk 16 Channel Desk restart required Figure 8 27 The Preference window showing the Desk tab The Desk preferences has the following options e Save Desk Setup with Project This check box causes as the name implies the Project file to include in
213. of a Crossfade using the command in the Play menu To audition either the In or Out Fade audio alone clear the appropriate check box to the left of the Duration field To audition both while working only one Black Fade enable the Audition Both check box discussed below 4 2 3 Global Modes EFM provides five global Edit Modes that affect fade editing operations Auto Zoom Align Fade Lock Sound Power Lock and Ripple Until Black You can enable any of these options using the appropriate check boxes located at the bottom of the EFM window 4 2 3 1 Lock Sound Lock Sound mode affects the behavior of the underlying sound during fade adjustment When Lock Sound is not enabled moving the edit event the orange vertical line causes the audio under the In Fade to slip on the time line This preserves the In or From Black Fade location relative to the audio When Lock Sound is disabled the In Fade audio is locked to the time line and cannot move during fade edits This mode is of particular interest when editing sound against picture or conforming audio to pre existing visual material 4 2 3 2 Ripple Until Black Ripple Until Black mode affects the behavior of sound that occurs later on the time line from the current fade in EFM When Ripple Until Black is disabled moving the edit event moves the In Fade sound and all sound occurring after it in the Panel When Ripple Until Black is enabled only the sound of the In Fade s segment and any
214. of that node is continuously shown in the yellow Gain call out When moving Gain Nodes vertically the gain changes in steps of 1 dB By holding the option key while dragging a Gain Node the resolution of the gain change increases to 0 1 dB to provide fine control Note that gain changes between Gain Nodes follow a linear gain law By adding multiple Nodes other curves can be emulated Unwanted Gain Nodes can be deleted by holding down the option key while clicking on the Node You can make changes to a group of Gain Nodes simultaneously To do so select a region that includes the Node on which you want to work Then select the EDL Select Gain Nodes Page 73 command All selected Gain Nodes will fill with yellow to indicate their state You can also shift click to gather a collection of grouped Nodes When grouped only the gain can be modified When changing the gain of grouped Nodes the Gain call out shows both the current value and gain delta or difference from the original value Also when grouped holding the option key for fine gain adjustment is disabled Figure 4 14 The Gain call out for grouped Nodes Once your Gain Overlay is configured according to taste all or some Gain Nodes can be locked against unwanted changes To do so first click drag to select a region containing the Gain Nodes you want to lock Then move the mouse over one of the selected Gain Nodes and control click to invoke a contextual menu
215. older should be specified to contain the newly created or modified DDP file set Once the destination is specified soundBlade HD begins the delivery process with progress shown in the validation field at the bottom of the PO Delivery window During delivery to a CD R when no media is present in the selected drive soundBlade HD will prompt you to insert media and wait for a blank disc to be inserted Note that once a delivery has started the Execute button changes to an Abort button allowing you to halt the delivery process If a delivery is aborted the resulting CD R or DDP image file set is not usable for either duplication or playback purposes When a DDP image creation is aborted the resulting folder files should be moved to the Trash and a new folder created for additional DDP deliveries of the same Project 3 11 2 9 The Eject Button The Eject button will cause the host to eject an inserted disc from the selected CD writer 3 11 2 10 The Track List Button Clicking on the Track List button saves a text document with detailed information about the tracks in your project This list should be included when sending your project to a replacator 1 Click on the Track List button 2 soundBlade displays a Save File dialog 3 Select a destination for the file and if desired rename it then click OK SonicStudio HD saves the Track List and opens it in SimpleText 3 11 2 11 The Export List Button Clicking on the Source Export List cre
216. on Show BWF meta data for BWF files only Shows the BWF meta data for files recorded in BWF file format List of available AU plug ins select plug in to instantiate With Gain Overlay on On a Gain Node Lock Gain Node locks the selected Gain Node s Unlock Gain Node unlocks the selected Gain Node s Delete Nodes From Selection deletes all nodes within the current selection Lock Nodes from Selection locks all nodes within the current selection Unlock Nodes from Selection unlocks all nodes within the current selection Page 246 Lock All Nodes in Track locks all nodes in the Panel Unlock All Nodes in Track unlocks all nodes in the Panel In the Track Bar Hovering over a PO Start End or Index Mark Move Edit Point to Mark Move Mark to Edit Point PO Mark Locked Locks the selected PO Mark PO Mark Unlocked unlocks the selected PO Mark Lock marks From Selection Locks all PO Marks in a selected Region or Segments Unlock marks From Selection Unlocks all PO Marks in a selected Region or Segments Lock All Marks Locks all PO marks in a track Unlock All Marks unlocks all PO marks in a track Set Emphasis sets emphasis flag for the selected PO Mark Reset Emphasis flag resets emphasis flag for the selected PO mark Delete Mark deletes selected PO mark In the waveform display Hovering over a fade in fade out or crossfade with Fade Tool enabled Line
217. on based on the LEFT selection time value The other toggle controls Now Local time You can reset the entire Time Display to reference zero from the current Edit Point location at any time by clicking on the N or Now Time Clicking on the L or Local setting restores the display to showing the default or absolute time Page 92 4 10 4 MuthChannel Applications a NN NC NCC N TESCEECHN OYONE Wo e et Msc Multitrack Proj 00 09 38 2 00 01 03 08 00 07 18 29 00 00 00 00 00 0 00 01 00 00 00 00 00 01 58 21 m Ga n D TO L i L i I i L E i r E I i 1 0000 34 100 DO X XS DO OO DD Rs DD 000037 00 VPF TAE p nif ir IR221 8 7 HALE pen Figure 4 27 An example multichannel Project The above illustrations conveys some idea of the uses possible with the Multi Channel Feature The top 5 Panels are one EDL or Edit Decision List and the bottom two Panels are another EDL For the top EDL the Sync Groups are A B B C C from top to bottom In other words a monaural Page 93 voice over track in the top Panel a stereo bed in the next two Panels and stereo effects in Panels 4 and 5 Panel one of the top EDL has the EditTarget set to yellow D or destination Sync Group controls the setting of Edit Targets so the above mentioned A B B C C settings mean that the mono track in the top Panel edits in mono while the two stereo
218. on enclosing SRPs armed for recording Playback commences at the start of the selection At the first SRP soundBlade HD will drop into recording punching out at the next SRP This repeats itself until the end of the selection is reached Playback stops and the areas marked by SRPs are replaced by newly created sound files If recording was still active when the end of the selection was reached an uneven number of SRPs was included in the selection recording will stop at the end of the selection as well Note that for this method of timed recording soundBlade HD only uses the SRPs in the top Panel being played and recorded If SRPs are set in any other Panel that is armed for recording they will be ignored and recording in those Panels will take place at the same position as in the top Panel being played After recording the SRPs will be erased and in their place default crossfades will connect the newly recorded segments to any existing audio segments 5 4 Bouncing Apart from recording from external sources it is also possible to bounce or play audio from one Panel while recording into another meanwhile applying processing with internally or externally available processing options As soundBlade HD normally records from external sources soundBlade HD needs to be set up to record from an internal source the Panel s containing sound material to be re recorded To perform a bounce an extra feature of soundBlade HD called the EDL Desk
219. on in its own window 2 as a VST plug in for the Project Desk or Master Section 10 1 Sonic EQ Pre processor 10 1 1 Overvievv The first instance of Sonic EQ processing to be discussed is the separate Sonic EO form in a stand alone window As shown in figure 6 1 the processing for this form appears very early in the signal path just after segment and fade gain and before plug ins and the gain overlay It can be thought of as pre processing for your Project A Project must be open to use this form since It is intimately associated with the Project 10 1 2 Operation To start the separate Sonic EQ form select the Sonic EO command from the Windows menu You may open a Projects either before or after you open Sonic EQ but you must have a Project open for the pre processor to work The name of the Project will appear in the Title Bar of the Sonic EQ window Page 220 Figure 10 1a Sonic EQ pre Processor form Figure 10 1b Sonic EQ VST Plug in form Note that Sonic EQ is also available for use as a plug in This plug in can be used as a Desk Event in an EDL as a plug in in the Mixer window or in the Meter window This plug in is accessed from the contextual menu for plug ins 10 1 2 1 Open amp Saving Parameters At upper left are the Open Param and Save Param buttons These allow you to save and recall parameters or settings and function by via a standard Mac OS file browser mechanism 10 1 2 2 Track Menu TheTrack menu
220. ongs or group of songs you want to move need to be present as separate segments This can be achieved by either manually creating a new Crossfade or by deleting the space between tracks in an existing sound file meanwhile creating new segments that can be moved and edited independently To create a new Crossfade simply move your cursor to the desired location and double click This will move the Edit Point to the click location Then select Edit Create Crossfade Also see section 3 8 2 above for information on deleting segments Once the material is divided in the required number of segments the re ordering can be done There are several ways this can be achieved First segments can be selected then dragged and dropped into place This allows you to change the track order very quickly but may be inaccurate when placing the files with precision on the time line Section 4 3 below discusses an autospacing option that helps with precise track timings To drag a segment first select the segment by clicking on the white Title Bar at the top of any segment See figure 3 7 2 above Notice the bright yellow Drag Bar that appears under the Title Bar in any selected segment Figure 3 26 The Drag Bar Click drag the Drag Bar to move the segmentto the desired location Remember that shift clicking or command clicking on multiple segments will select contiguous or segments respectively Secondly segments can be moved by altering their respect
221. ose button at upper right A standard Mac OS browser opens allowing you to navigate create and or choose the desired destination folder Option clicking on the Choose button forces soundBlade HD to use the input file s folder also as the target folder Note that upon initiating a process the Background Manager will ask to confirm the destination folder In the Soundfiles area sound files can be selected and added by the clicking Add Sound File button A standard Mac OS browser opens allowing you to navigate to the location of the desired sound file s Once a sound file is selected it is placed in the Soundfiles list When a sound file is selected in the list the black status bar below the list displays the sample rate word length and number of channels of the selected file Multiple sound files can be added to the list by repeating this action To remove sound files from the list click to select the list entry and delete it by hitting the backspace or delete key To clear the list of all sound files click the Clear All button to the right of the Soundfiles list 7 1 1 Applying Processes Once all sound files have been selected one or more processes to be applied to them in the Processes area An Add a Process menu allows for selection of the desired process es Note that for basic versions of soundBlade HD only the ability to create waveform metadata or sample rate convert is available More background Processes are availab
222. ossfade 8 3 10 Insert The Insert command works similar to the Replace command Instead of replacing the audio material in the selection made in the destination Panel s it inserts the selected source material and moves the audio to the right of the insert point with exactly the same time as the source material s length The insert command joins the audio material before and after the insert with a default crossfade 8 3 11 Replace Left Like the replace command Replace left replaces the selection with the source material only not to the right but to the left of the Edit Point in the destination material 8 3 12 Replace Constrained Replace constrained replaces the destination material with the selected source material at exactly the same time position in the destination Panel s as the selected source material has in it s own Panel s 8 3 13 Create Crossfade Create Segment This command is context sensitive and it s appearance in the menu will change according to the current Panel s state It either creates a new crossfade from the current Cursor s position when no selection is made or it creates a new segment at the place of the selection when a selection is made This command uses crossfade defaults when creating crossfades Page 168 8 3 14 Create Crossfade from In Point Create Segment from In amp Out Point s As with the previous commands this command is context sensitive and it s appearance in the menu wil
223. ostal 56 23 3 ALEA Add Ad LEER BEE ELE BEEBE BBE ELE Be LEB EBLE BBE ELE AAA Ada LAA 7 Souls For Sale atf L 3 21 er Er EET Wai ja Total 05242 14 erga viride aif i Ann s 1 H Msi AAA Portals E Lect a o ez Bar EIL HER Total amp 3 58 14 Figure 3 28 A PO List open in TextEdit app Page 58 Chapter 4 s Advanced Editing 4 1 Fade Tool Options 4 1 1 Changing Fade Parameters soundBlade HD offers a simple and intuitive tool for changing a fade s gain characteristics the FadeTool In the previous chapter we have seen how to use this to perform simple operations The Fade Tool offers additional possibilities to alter fades according to your needs and preferences The Fade Tool is enabled by default By holding the control key and typing A you can quickly disable or enable the FadeTool Alternately you can force the FadeTool off by default In the EDL tab of the Windows gt Preferences window the Fade Tool check box keeps the Fade Tool enabled until you choose to disable it manually When moving the cursor over a fade with the FadeTool enabled the default cursor changes into the FadeTool and the selected fade turns either green for an Fade In red for an Fade Out or both Depending on cursor location relative to the fade the FadeTool modifies the start end length or position of the fade See section 3 9 1 for basic information about the Fade Tool If you zoom in
224. otal Duration 99 Total Tracks 53 99 Track 1 Offset 210 Track Artist 96 Track Bar 25 50 68 206 Track End Mark 182 Track List 57 102 Track Listing 53 Track Start 97 210 Track Start Mark 182 Page 270 TRACKTITLE 53 Track Title 95 96 transport controls 26 137 145 triangular dither 234 Trio Trio DynPEQ 16 232 233 Turn Off Delay 211 Undo 165 Universal Product Code European Article Number 96 Unlink All 122 126 Unlock All Marks 183 Unlock Gain Node 74 Unlock Marks from Selection 183 Unlock SRP 80 UPC EAN 95 96 Updating your Key File 164 Use button 102 Use Core Audio on launch 106 utilization meter 131 varispeed 149 View Background Waveforms 207 Show Segment Names 207 Zoom Factor 207 View menu 193 VST Sonic 75 217 237 VST Virtual Studio Technology 75 236 VU Volume Indicator 132 W WAV 23 27 104 156 Waveform Mode 72 waveforms 28 32 160 193 207 background 207 building new waveforms 160 Page 271 creating waveforms manually 207 foreground 207 moving forward backward 193 refresh 174 scrolling 32 zooming 33 193 195 Waveform Mode 173 Windows EDL Desk 200 Mark Info 200 Meters 200 Panner 200 Project 218 Windows Menu 199 Write CDText 210 Write SRP Info to File 162 zooming 33 193 195 196 Zoom around Playhead 194 Zoom Factor 207 Zoom In Out 193 Zoom In Out around Edit Point 194 Zoom In Out around Playhead 194 Zoom In Around In Out Point 193 Zoom to In Out 205 Zoo
225. ouse button click and hold The Playhead will move to the click location playback begins and continues as long as the mouse button is held down Page 31 3 5 4 Time Display The large central time code display in the center top of the Project window is live and editable as are the LEFT RIGHT IN OUT and DUR fields where applicable Click on any subdivision or click drag on the entire central time code display to select and modify the current address of the Playhead For all editable time code addresses a single click in any HH MM SS FF subdivision will highlight that subdivision allowing you to type in a value By click holding and dragging up or down the cursor will change to an arrow and the numeric value displayed will increase or decrease respectively Click hold for more than two seconds and the rate of change increases The arrow keys also let you move to a particular subdivision and increment or decrement the current value Option dragging a time code address allows you to quickly clone that value into another editable field 00 00 05 13 20 00 01 00 00 00 05 13 00 17 4 04 00 00 01 00 00 00 00 00 00 00 00 00 Figure 3 11 Click dragging down to edit a time code address All modifiable time code fields in soundBlade HD support cut copy and paste Double clicking on any time field will select the entire field allowing you to enter a complete time code address 3 5 4 1 Capturing Playhead Time soundBlade HD allow
226. out committing them back to a DDP file set The Project file saves all segment names SRPs marks and edits and they are all restored upon re opening that Project Selecting File Open Project brings up a standard Mac OS file browser Locate the requested Project file and select it to open the Project in a new window 8 2 3 Open Recent With this menu a list of recently opened Projects and sound files is shown Selecting one of those files will re open it If you hold down the option key prior to accessing this menu command it divides the resulting list into Project files first and sound files second with a divider in between The files appear in the list with the most recently used files at the top in the order they were opened Finally if you select a sound file from this menu without any target Projects open soundBlade HD will create a new default Project and open the sound file into that Project 8 2 4 Open Sound File This command opens a Mac OS file browser allowing you to select any sound file recognized by soundBlade HD This includes AIFF WAV AIFC 32 bit floating point files and BWF files along with SD2 or Sound Designer II files with region definitions See section 8 9 4 1 for more information on importing SD2 files soundBlade HD is also able to open audio files by dragging and dropping the files into the top Panel of a Project 8 2 4 1 Opening Broadcast WAV Files Broadcast WAV or BWEF files can contain metadata t
227. ow it running the entire length of the segment to indicate that the segment has been selected Page 36 WA ID avv zbC L EE Figure 3 14 A selected segment indicated by the yellow highlight By holding down the shift key and simultaneously clicking in other segment s Title Bars a selection of contiguous segments can be made Also while holding down the Apple or command key and clicking anyTitle Bars a group of non contiguous or random segments can be selected simultaneously AllDayO2bC L amp llbayO02 amp llbayOzbC7L AlIbayO2bc L amp llDa Vest AlDavO2bC L ta Ms ODIAN amp llDa AlIDayO2bC AL m I Dav Le Il Da Dn ATID AlDayO2bC L O f ID as OzbC L ID as OzbC L a NT Eri Figure 3 15 Multiple selected segments If you have an existing selected segment several additional segment selection choices are available By tapping the left or right arrow key you can select prior or latter segments respectively By holding down the shift key you can tap the left or right arrow key to contiguous select prior or latter segments respectively Note that when one or more segments are selected and playback is started the Playhead moves to the head of the first selected segment and playback commences from there Page 37 3 8 Hecording Audio In addition to assembling audio from existing sound files soundBlade HD offers the possibility of recording audio from external audio sour
228. ows to increment or decrement gain in 1 0 or 0 1 dB steps Segment Gain can be applied in two different ways First it can be applied as an Absolute value meaning that the entry in the gain field will be applied in place of any previous value The value entered in the gain field will replace any previous state ignoring the existing gain of that segment Page 71 Alternatively the gain can be applied as a Relative value In relative mode the entry in the gain field will be added to or subtracted from the previous value Positive values will be added to the previous state while negative values will be subtracted from the previous gain state A third Normalize radio button is available Choosing this option will cause the segment s absolute sample amplitude to be evaluated after which the amount of headroom or surplus level below 0 dBFS will be entered in the central gain field In other words this function shows how much gain can be added before digital clipping will occur The value given is relative to the current gain state so the normalize function is a subset of a relative gain adjustment Though not a gain function a Reverse Polarity check box is available This check box inverts the polarity of the selected segments Segment gain can be applied to multiple segments at once Simply command click on the desired segments in the Text View list then open the Segment Gain window to make a change Changes in Segment Gai
229. p The Overlap slider affects the degree to which the In and Out fades overlap one another in normal mode or the edit event in Align Fades mode Page 65 e dB Down The dB Down slider adjusts the amplitude at the center of the fade The dB Down parameter affects only the Linear and Cosine fade variations e Alpha The Alpha slider affects only Exponential fade types and controls the placement in time of the gain change produced by the Exponential envelope Alpha Is a dimensionless variable with a range of 1 0 to 1 0 and can be thought of simply as a shape adjustment 4 2 6 Fade Selectors When editing crossfades you can choose to work on either the In or the Out Fade individually using these check boxes to the left of the Duration field When both are selected parameter adjustments apply to both the In and the Out Fade Drop down menus to the right allow you to choose In amp Out Fade types Fade Library Figure 4 5 The fade selector menus above the Fade Library menu 4 2 6 1 Selecting Fade Shape You can select the shape of the fade gain law or shape in two ways by choosing a curve while you are working with the EFM Parameters or by choosing a curve while working directly on the fade To select a Fade Curve from the EFM Parameters click on either of the Fade Selectors to the right of the EFM window then select from the family of available curves To select a Fade Curve directly control click on a fade as d
230. pad Page 67 4 2 10 Exiting Edit Fade Mode To exit Edit Fade Mode click OK in the EFM window or select the Edit Edit Fade command soundBlade HD exits EFM and commits your fade modification to the Project To exit EFM without saving your changes click the Cancel button soundBlade HD exits EFM without saving your changes made in the EFM 4 3 Drag Drop 4 3 1 Resequencing For rapid assembly of program material soundBlade HD provides three easy methods for automatically snapping to either 1 2 or 3 seconds of Edited Black between segments 4 3 1 1 AutoSpace All Segments The first method is the Edit gt AutoSpace All Segments command discussed in section 3 9 6 above 4 3 1 2 Drag amp Drop The second method entails manually dragging CDTracks DraggingTracks requires thatthe Show Track Bar preference in the EDL tab of Windows gt Preferences be enabled Once Track Bars are visible click hold on any song s Track Bar to select it and drag it to the desired location Existing Tracks shuffle into place and the dragged Track takes its place where dropped in the CD track sequence The audio associated or attached to the Marks shuffles along with the Marks The pause between an End of Track Mark and a subsequent Start of Track Mark are always considered to be part of that Track Figure 4 7 The Track Bar This same drag to resequence behavior is also available in the Windows Mark Info dialog Simply drag
231. ports for an optimal setting Page 98 Note that as a rule offsets are applied during the delivery of an original CD or DDP file set TheWindows Preferences Delivery Offsets Disable Offsets check box will enable or disable offset compensation Offsets are applied globally to an entire Project 4 12 4 PQ Track Info 4 12 4 1 Total Tracks amp Extended Listing This field shows the total number of Start Marks that will appear on the disc To the left of the Total Tracks field is an unmarked Extended Listing check box that when unchecked simplifies the Track Listing by hiding End ofTrack Marks and Indexes This mode showing only the essential CD Track information is designed for resequencing Tracks by dragging and dropping as discussed In section 4 12 4 3 below 4 12 4 2 Total Duration This field shows the total playing time of the CD The total playing time includes all pauses between the individual tracks as well as the pregap mode changing pause before the start of Track 1 The inclusion of pregap results in a different duration than would result from simply adding the disc running times and complies with the method CD players use to calculate and display Total Duration as specified by the CD DA Red Book 4 12 4 3 Track Listing This field shows a list of all Tracks present For Start of Track marks each entry shows the track number and name the start and end times along with the duration If the Extended Listin
232. process in the Queue Page 151 Page 152 Chapter A MENUS For all menus the keyboard equivalents for all commands are listed in Appendix 1 Also note that the word folder is used to describe disk directories in keeping with Mac OS tradition Finally all edits in soundBlade HD are both instantaneous and non destructive The only exception is the File Save Reversed command which renders or creates a new sound file of the reversed material 8 1 The soundBlade HD Menu About soundBlade HD Preferences Services E Hide soundBlade HD 36H Hide Others Show All Quit soundBlade HD Figure 8 1 The File menu 8 1 1 About soundBlade HD Opens a dialog box describing the version and build numbers of your soundBlade HD application Clicking on the dialog box closes it 8 1 2 Preferences Opens the soundBlade HD preferences window See Section 8 10 for more information on setting Preferences 8 1 3 Services The Services menu item provides access to Mac OS X s system wide services Page 153 8 1 4 Hide soundBlade HD Use the Hide soundBlade HD menu item to hide soundBlade HD and all of its open windows allowing you access to other programs running in Mac OS X Clicking on the soundBlade HD icon in your Dock returns soundBlade HD to view 8 1 5 Hide Others Use the Hide Others menu item to hide all visible applications except soundBlade HD allowing you to focus on soundBlade HD alone Clicking on any
233. ptions you have licenses for on your iLok soundBlade HD Options Notes 1 Options are installed on the Boot Volume at Library Application Support Sonic Studio Sonic Options 2 0 2 Use the Remove soundBlade HD Options utility for removing options NOTE Only install NoNOISE II options that you have licenses on your iLok for Installing options that are not on your iLok will make soundBlade launch very slowly 2 1 2 2 soundBlade Broadband DeNOISE and Manual DeClick Options Installation soundBlade 2 0 no longer uses Key Files to enable Manual DeClick BroadBand DeNoise and reNOVAtor Instead iLok licenses are used and require the installation of additional software using the provided InstallSonicOptions mpkg Installer This installer is located in the soundBlade HD gt Sonic Options folder Double click on InstallSonicOptions mpkg A dialog box comes up for you to select which options you want to install Select check only the options you are licensed to use deselecting all others This does not install the actual option software it merely enables specific options you have licenses for on your ILok soundBladeOptions Notes 1 Requires soundBlade 2 0 or later 2 Legacy Sonic Key Files are no longer supported in soundBlade 2 0 and later 3 To enable options using iLok please use the Install SonicOptions installer 4 If your iLok has not been authorized for your options please write us support 2sonicstudio com Pl
234. r archiving Note that bouncing in place will only work in the top Panel Page 138 Setup 3 Bouncing through external sound processors using Built In Audio Added to or instead of using plug ins in the Desk and Master Section or Desk Events it may be required to process the edited material in one of the Panels with external sound processors This example focuses on such a scenario commonly referred to in Classic Sonic parlance as a Sonic Loop Depending on the type of host computer you are using it is almost always necessary to add an extra Core Audio device such as a Series 300 DSP I O Processor to allow soundBlade HD to output and record sound at a quality matched to the standards of its internal SSE audio engine To set up the re recording loop using external sound processors first the Audio I O must be set up properly to send and receive audio at the desired physical outputs Then the physical inputs and outputs of the designated Core Audio device must be patched to the correct inputs and outputs of soundBlade HD The working of the Audio l O Preferences window is described in detail in section 5 2 1 above For this example it is assumed that the designated Core Audio device in use sends out through its first four outputs which are assigned to Mix 1 to Mix 4 in soundBlade HD Also we assume that outputs 3 and 4 of the Core Audio device are patched as send to the external processing chain The returns from the e
235. rack Artist is entered in a like manner Select a mark from the Track Info list type an artist into the Track Artist field and hit the enter key The artist s name will appear in the list and also in the resulting CDText metadata If prior to Mark generation you enter an Album Artist as mentioned in section 4 12 1 above soundBlade HD will automatically use that text string for the Track Artist Note You should always check your Mark Info window for metacharacters such as 8 and 96 as well as extended ASCII characters like a O n et cetera Mac OS which soundBlade HD uses to write CD Rs does not handle extended ASCII and metacharacters properly 4 12 2 2 Track Start This field displays the location of individual Marks The location can be edited by typing directly into this field The corresponding PO mark will be moved accordingly 4 12 2 3 Track Offset This field shows the offset if any that is applied to the selected Mark If the default offset is not appropriate you can enter a custom offset for every Mark 4 12 2 4 ISR Code ISRC This field shows the International Standard Recording Code or ISRC if any that is associated with the selected Start of Track mark When a record label provides ISR Codes for a title as is usually the case check the following guidelines to insure that the ISRC is valid There must be exactly 12 characters The first 5 places must be numeric or uppercase letters The 6th throug
236. rd protected DDPs that can be safely delivered electronically to clients for reference and approval 8 2 8 New EDL This command opens a new EDL into the current Project window Multiple EDLs must be selected in Preferences for this command to work 8 2 9 Open EDL This command invokes a standard Mac OS browser allowing you to open previously saved EDLs into an open Project Multiple EDLs must be selected in Preferences for this command to work 8 2 10 Close EDL This command closes the currently selected EDL Page 158 8 2 11 Save EDL As This command invokes a standard Mac OS browser allowing you to save the currently selected EDL under a different name 8 2 12 Open Movie This command invokes a standard Mac OS browser allowing you to open QuickTime movies Movies open into a separate window and can be locked to the EDL from the EDL Master button 8 2 13 Close Movie This command closes the movie window 8 2 14 Close Window This command closes the currently active window This can be a Project the Mark Info window or the Preferences window Upon closing a Project that contains unsaved changes soundBlade HD will open a dialog asking for changes to be saved discarded or offering to cancel the close window operation 8 2 15 Close Project This command closes the currently open Project window Upon closing a Project that contains unsaved changes soundBlade HD will open a dialog asking for changes to
237. rint Selected Segment Info This command prints highly detailed information on all selected segments in the current EDL The output is written into the Console Log 8 2 24 6 Print SRP Info This command prints detailed information on all SRPs in the active Panel The output is written into the Console Log 8 2 24 7 Write SRP Info to File This command prints detailed information on all SRPs in the active Panel to a new file The output is formatted in a table with details on track location ordinal number lock status and type as well as any textual label added to the SRPs Lock status is indicated by an L for locked and Page 162 a U for unlocked Standard SRPs have a C type indication while Sync SRPs used on other Sonic Studio products show an S type SRP files can be opened by dragging them directly onto the desired Panel If the imported information is from multiple Panels Destination Panel is treated as the first track in the group Note that though the default name of the file created with this command has a srp suffix you should manually remove that suffix and replace it with a txt file extension 8 2 24 8 Send Crash Report This command is designed to help Sonic Studio to diagnose problem you may be experiencing with your installation It collects the most recent crash report for soundBlade HD and sends it via your internet connection to Sonic Studio 8 2 24 9 Print Desk Info This command outp
238. rity support program Designed with your needs in mind it s like having a technician on call reducing downtime by prioritizing your incoming support requests As a studioCare user you can rest assured with Priority support during regular Sonic Studio business hours Scheduled support sessions 7 days a week e Access to pre release software updates and patches Remote diagnosis and problem solving Getting answers No question too simple or complex Recurring billing keeps your coverage current Annual Support amp Maintenance Programs studioCare Programs At a Glance Priority Software Telephone Remote Cost Year Email Updates Support Log On USD studioCare HD 495 00 studioCare will cost more in regions outside USA Click here to purchase studioCare HD NOW Page 15 On Demand Support Offerings studioCare QuickStart for Sonic Studio products 1 hour of remote setup assistance and training for soundBlade NoNOISE or Series 300 Hardware Price is per product 125 00 one time charge Click here to purchase studioCare QuickStart NOW On Demand Support Get help from trained Sonic Studio support techs with expert troubleshooting and usage experience No annual contract 85 00 Incident Click here to purchase On Demand Support NOW 02006 2012 Sonic Studio LLC All rights reserved This manual as well as the software described in it is furnished under license and may only be used or cop
239. rocess segments and tracks You can edit segments and tracks in a variety of ways working either graphically in the Waveform View or numerically in the Text View and Mark Info window You can copy reorder trim split adjust gain invert polarity and normalize segments It s also possible to combine several segments into one track or create several tracks with only one segment As you work you can play all or any part of the Project to immediately hear the result of your work With the help of AU and VST plug ins the sound of tracks segments or even your entire mix can be altered according to your taste or requirements Processing can be applied per time selection segment s or during the entire mix on the output signal Also per channel or stereo processing IS supported Third Adjust Crossfades When you add a segment soundBlade HD creates a CD track and adds track marks to define the pause between tracks You can create crossfades between overlapping segments and adjust the crossfades in the Waveform View You can also insert Index Marks to create subdivisions within a track Page 20 Fourth Burn the Project to a CD When you burn your Project soundBlade HD uses supported CD burning hardware that is connected to or installed in your Macintosh The following section walks you through the creation of a simple CD in six easy steps using individual audio files and default settings for pauses and crossfades 2 3 Step By S
240. rovide minutes and seconds at non pull down and pull down 59 9 Hz rates referenced to 60 Hz for North America and Japan Also included are versions with a 50 Hz reference for Europe The Seconds setting shows all times in multiples and fractions of seconds Finally Samples displays all times in absolute samples based on the selected sample rate These same selections appear in the Windows Preference Time Display tab where the Project default is set See section 4 9 for more information on time standard settings Note that because soundBlade HD is designed among other functions to create the metadata necessary for Compact Disc replication all of your PO marking decisions are directly tied to the 75 frame standard If you are using soundBlade HD for CD preparation you should always use the 75 fps CD Frames standard Page 35 Note also that when a region is selected and playback is invoked the Playhead relocates and playback starts at the beginning of the selection Note soundBlade HD does not support 23 976 frame rate 3 7 2 Selecting Segments An entire sound file segment the representation of contiguous samples from a single sound file can be chosen as a selection Click on the white Title Bar at the top of any segment which displays the source sound file name AID AUDayO2bC L h m O2bC eL o0 0m Figure 3 13 The Title Bar The waveform highlights yellow orange and a bright yellow bar appears bel
241. s live continuously changing visually to reflect the modifications you are making Figure 3 22 Dragging the inside edge to lengthen a Fade Note that the maximum duration of a fade is equal to the underlying sound file duration As mentioned above it is not possible to move a fade past the actual start or end of an underlying sound file Also moving Black Fades so more than two overlap is not allowed as well A modal CheckForTripleOverlap dialog will pop up telling you that your command would result in three Black Fades lying on top of each other To overcome this click drag to select a region that includes the area of interest then select File Export Sound File and select the Edit after Export check box This will consolidate the edits allowing you to continue with your editorial 3 9 2 Deleting Part of a Sound File It may be necessary to edit out some part of a sound file soundBlade HD allows you to do so quickly or with great precision To easily cut out a portion of a sound file simply select the region that you want to remove Then select Edit Delete Selection or hit the delete key to remove the selected region and slip all downstream segments left to close the gap More on this later More precise editing can be performed with In points and Out edit points special marks you can place in the Panel An In Point is shown as a vertical line with a triangle at the bottom pointing right while an Out Point has th
242. s R CORTO Sep c OSEE ESSE 33 Selecta Se qments usd leia lia 36 PEC OLGING AU O isa 38 EdICRECOTOINO A E E OE aaa E 39 dd A SO 40 A A 40 SIMPE EITITIC natacion 41 The Fade Oo e iicbi s 41 Deleting Partol d Sound File asoci aaeE c ano I Ene Rc Ama DAS 20 ds Ron CERO DA OORSR aas 220000030 Gu E 43 Splitting a segment into new segments sseessessseeeeee eene nennen nn nnns n nnn nasus anui s rna n nnn 45 IManipulaurig Fade Sutra tail nlsi eet nico REDE Nu S ES E 45 Changing the order Ol SONS acid cus 46 Simple Track Spacing AUTO DD ACE ii oda 47 Exporting Selections amp Segmento 47 PO Marks Defining Metadata es 48 Inserting PO Marks TVlanmudllyusstixiomu d eni Ma aince A A x Cose ERA doRUED 49 MOVING O NM ak a cdo eed 49 Removing PFO Marks a A 49 Inserting PO Marks Automatically nia iaa 49 TACK S EE 50 TH reid euo ASIDE EU I I ILL feerererr eae nde Cesc et 50 BIDUO cT 51 Page 3 3 11 1 P CHECK Eist TOr DellVely sisissuieloss aevi et e chon t evbo tetur ein eeu ied bove t aora dub aste Fable dec fuvpe Oa due ubdade 51 3 11 2 ERG MarK ITO VVINCIOW secconadaanccl 52 Chapter4 Advanced Editing oiiccccccesetiecstoerccesianwevensstotetscauthbasht cenade deen eansededeentent 59 4 1 Fade 1OOL ODT OI Sac 59 4 1 1 Changing Fade Parametros meee od 59 4 1 2 Changing the shape of the Fade cccccsscccesececeeeeneeeececeseeeesseeeseeeeeasece
243. s of your DDP file set Second the entire DDP folder or directory is usually sent to the replicator A few replicators expect the file set at the root level of the delivered disc Always check with your replicator before sending your master to make sure they receive just what they expect For best file integrity we suggest you ZIP the whole thing and generate a check sum for the resulting ZIP file For more information see the Checksums for DDP section of our Knowledgebase page http www son icstudio com support Always check with your replicator before sending ZIP d file sets Also clearly identify the master disc and Jewel case as DDP Files Finally we recommend that you always create a new empty folder to contain each DDP file set On the Desktop is a reasonable location for that new folder making it easier to archive and helping to prevent common problems A1 6 Delivering CD Rs When delivering a CD DA formatted CD R consider these recommendations e Do set the System Preferences gt CDs amp DVDs gt When you insert a blank CD to Ignore e Always use a high quality burner running the latest official firmware e Always use a high quality blank media specifically designed for audio CDs e Always record at low speed for lowest jitter e Never write on or mark up the CD blank with a hard stylus such a ball point pen e Always use a manufacturer approved label and marker A1 7 Delivering CD Text To insure a smooth rep
244. s show the current instantaneous values for Peak Power Peak RMS and VU Volume Indicator scaling respectively for each output bus Page 132 Below the numeric fields is the Meter Scaling adjustment With the Meter Scaling slider the scaling of the Master meters can be adjusted to provide more resolution at higher amplitudes or a very wide range so you can see activity at very low amplitude At the bottom of the window is the Meter Ballistics adjustment This slider adjusts the time constants for the Master meters However since there are no hot spots or scale to reset or calibrate this adjustment it is usually not changed from its default setting 6 5 8 Clear Button Next in line to the right is the Clear button Clicking the Clear button clears the peak values for the numerical level indicators as well as any overloads indicated 6 5 9 Heset Button Next in line to the right is the Clear button Clicking Reset resets the peak hold of the meters as well as any peak hold value in the Meters Details window discussed above 6 5 10 Output Button The last button at the top of the Master Section is the Output button The Outputs button acts as a source selector for the Master Section toggling between output and input buses as source for the meters By default soundBlade HD shows outputs M1 to 4 but in input mode line inputs L1 to L4 can be metered as well The label below the button indicates the current input source for the meters
245. s you to capture the current Playhead time either during playback or when stopped and push its location into a selected time display field To capture the Playhead location make a selection in the particular time display field you want to update Then press the space bar while holding down the shift key The current play time will be dropped into the selected time display field 3 6 Navigating the Waveform Display There are many tools for quickly moving around inside of the waveform display This section covers scrolling and zooming in general and on selections 3 6 1 Scrolling If you are zoomed all the way out the entire waveform will be displayed If you are not zoomed out entirely some of the waveform will be off the edges of the Panel You can move the window view left or right by moving the slider control at the bottom of the waveform display You can also move the window view left and right by using the Left and Right Arrow key respectively Page 32 Finally you can drag the view left or right by simultaneously holding the control option and command keys When you click hold the cursor changes to a hand to indicate you are in Move View mode 3 6 2 Zooming You can zoom in using the Down Arrow key and zoom out using the Up Arrow key To zoom all the way out hit the E for entire key 3 6 2 1 Zoom around Edit Point As you zoom in and out it is likely that you will want to keep the Edit Point in view To do
246. same time which implies four streams of data are being combined at the input node of the Strip If you had four Panels containing audio with no edits whatsoever you could assign these to the same Strip and they should play since this situation would also result in four streams of data being combined at the input node of the Strip 4 10 3 2 Time Display In Multi Channel mode the Project acquires two new controls the Edit Point Selection toggle and the Now Local Time toggle These controls help to manage the time displays for more complex editorial 00 00 00 00 l Figure 4 26 The Project s time display in Multi Channel mode The Edit Point Selection toggle chooses between editing the Edit Point or selection boundaries with the LEFT or RIGHT time fields When the toggle is in the default E or Edit Point setting changes made to either the LEFT or RIGHT time fields will update the Edit Point s location When the toggle is set to S or Selection changes made to the LEFT or RIGHT time fields will update or create a time region selection If either an In or Out Edit Point is present changes to the right DUR field will locate relocate the Out Edit Point A non zero number in the DUR or duration field indicates that there is a selection When only a single Edit Point exists the LEFT and RIGHT time field will display the same value and the duration fields will display as zero In either mode editing the DUR time field will create a selecti
247. se the duration of the fade without changing the overall location or gain law These outboard handles do effect the location of the edit event so it s recommended that you not use the outboard handle employing the inboard handle instead as mentioned above Section 4 1 4 below discusses edit events as they relate to controlling fade parameters 4 1 2 Changing the shape of the Fade By clicking the Control Point bead shown in Figure 4 1 and dragging it up or down you can adjust the rate of change setting for the fade Specifically for all fade types except exponential moving the Control Point adjusts the dB down while for an exponential fade the Control Point adjusts the Alpha or shape In either case as you make this change the fade curve will dynamically change in response and the underlying audio will also change since you are affecting the gain across the fade event When the Fade Tool is active holding the control key brings up a contextual menu Linear Root Linear v Cosine Root Cosine Exponential Set Fade to Fade In Out Set Fade to CrossFade Set Out Fade To Selection Set Fade to Default Fade In Set Fade to Default Fade Out Set Fade to Default CrossFade Set Fade to Default CrossFadeOut Set Fade to Default CrossFadeln Figure 4 2 The Fade Tool contextual menu The Fade Tool contextual menu offers the following choices for gain law or curve e inear default 6 dB down in the center e Root Linear 3
248. selecting File Open Sound File from the menu bar you will bring up a standard Mac OS browser dialog for finding and selecting the desired audio file soundBlade HD will open AIFF WAV BWF AIFC 32 bit floating point files and SD2 files with regions Confirm your selection with Choose and the sound file opens into your Project Broadcast WAV or BWF files can contain metadata to document production processes and control how the file is handled during editorial soundBlade HD will honor BWF time stamps on open To force soundBlade HD to honor an existing time stamp hold down the shift key when dragging The sound file will open on the time line at its time stamp See section 8 1 5 1 for more information 3 3 3 Adding Your First Sound File In addition to the Open Sound File command you may also drag and drop sound files into a Project soundBlade HD makes the job of CD assembly easy by providing a special behavior for adding your sound files to a Project Drag your first sound file into the top Panel of an empty Project and before you let go move your cursor to 00 00 02 00 or 2 seconds on the time line soundBlade HD will display a vertical snap indicator when you cursor is near 2 seconds Drop the sound file and soundBlade HD will snap its head to 2 seconds See section 4 3 1 3 for more information on snap zones By holding down the command key before dropping all files soundBlade HD will also automatically create PO metadata for all t
249. sembled while the bottom two Panels are blue Source containers that supply raw segments of audio to the Destination Panels The first and third Panel shows the left channel while the second and fourth Panel represents the right channel A slider appears at the bottom of the Project directly beneath the lower Panel allowing you to scroll across the time line To the left of this slider a drop down menu is available where the time standard can be selected The function of this time standard control is discussed further in section 3 7 1 Page 24 To the left of each Panel are solo and mute buttons labeled with an S and M respectively To the right of the mute button is a gain overlay button labeled G When activated the buttons will light up in color otherwise they are grey The function of this button and the application feature it brings up will be discussed later in section 4 5 To the right of these three buttons are the ready record or record arm button and the Desk Events P or plug in enable button which will be discussed in sections 5 2 and 4 6 respectively NOTTE A Tz Expandir Track 1 50000 o ibis 0 05 MIETTA mom 005 Figure 3 2 Area to the left of the Panels with function buttons Immediately above the waveforms is a black banner with time code values in yellow At the top of the black area is the time line for the waveforms The bottom of the black area is reserved for PO Marks
250. soundBlade PO Log and the text file accompanying the DDP file set that you want CDText to appear on the final replicated Compact Disc Include your contact information right on the soundBlade PO Log in case any questions arise A1 8 Apple s Spotlight Utility We have found that on certain OS X systems Apple s Spotlight can seriously affect not only soundBlade HD and soundBlade HD s performance but other audio applications as well We recommend disabling Spotlight as a step to resolving problems related to sound skipping on playback record export and DDP CDR delivery To turn off Spotlight for a specific folder volume or drive e From the Apple menu in the top left corner of your screen select System Preferences e In the Personal section select Spotlight then select the Privacy tab Click the button in the lower left corner and select the folder volume or drive to be excluded You can also drag the desired item to the list Start by preventing Spotlight from searching these locations Your Home Folder Your internal or external audio drives e Any back up drives connected While disabling Spotlight completely on your Home Folder is an effective step in troubleshooting it may not be the best permanent solution for some users There is an excellent article from the folks at MacFixlt com with more specific instructions on troubleshooting Spotlight http www macfixit com article php story 20061109235901299 For OS 10 6 and lat
251. splay Mode When enabled a red line appears superimposed on the waveform display The waveform display s amplitude scale along the left edge switches to a different standard that ranges from 144 to 24 dB the range of gain change available Initially the Gain Overlay is flat at the O dB setting Page 72 Figure 4 12 Gain Overlay function activated showing the red Overlay and Nodes To change gain simply point at the desired time location and click on the Overlay The cursor changes to a round shape and a square Node will appear Nodes can only be added deleted or modified while playback is stopped You can also place gain nodes with region selections or the Edit Point To use this function first click drag within the waveform display to select a region Then select EDL Create Gain Nodes to add two nodes at the edges of the Gain Overlay and the selected region Because the Edit Point is really a zero duration selection it can also be used to create a single gain node with the Create Gain Nodes command When you add a node a yellow highlighted Gain call out appears in theTitle Bar of the associated segment ed kowin Gas Tank 1 Sb aif Figure 4 13 A newly created Gain Node with its Gain call out If you click drag a Gain Node it can be moved both horizontally and vertically Dragging a Gain Node horizontally moves it to a different time location while dragging it vertically changes the gain The current gain value
252. sseeesaeeesaueeseesseeeesags 60 4 1 3 Changing the Fade Duration ccm 61 4 1 4 Changing tlie Fade ly De maintain scents heed cabtecaecnensatesaccdanbaceaatacaseandeeatesancedtasCandice 62 4 2 q o A sutnenoesteusmbeatxsaeustaeaeanncenean 62 4 Zal Selecti ns mine Edit Fade Panels ena 63 A Gi 0 9721 OGE S earner nnn rer Te RP eT nen Rene eee O O CLP eer rer ere 64 AZ A PUGIVION COMUOIS E nnn 65 42 5 Additiorial Fade Parameter S A a 65 4 26 lo A o tuus cH EDENDI NE 66 ELIANA DIA RAC NR E T Etc 66 AZ GH A m d 67 4 2 9 Fade Library 67 42 NOE XII Ge Gi Fade MOA sunset cocodrilo dese Dese ac amc cement do nome ssl osu RE c uBaE 68 4 3 DEIA RE aviansies tenes lubes teow necat oad eu ue eaneticeioucseneneteaweet 68 4 3 1 FROSCOUICNIGIING es e M 68 4 3 2 Drag OVER e T 70 4 3 3 Draostnselt o RID DC caesis eife tere diae PIE eI Resto IOS frena ERO IRAN SIME E SEC LEES 70 4 3 3 PAGS A O A EE a 70 4 4 TEX EMOS sarria 70 4 4 1 Gar AdIUStIMeN Casta stated 70 44 2 COMDO PrOJect CONG UTALION 52 5 5 5 0 5523 8 09 022 tSt PUES oC E SaR FED asea dose odes C Ian POR RL USO PRESSO ICM SS LRROEE 72 4 5 Gain Overlay IVI OG Eurasia id 72 4 6 DESEAS do 75 4 6 1 AU A OVE AE td dado titi 75 4 6 2 Displaying PVG SINS My alle lS lei oLe cmd PLE INE D tas od DEC 76 4 6 3 Saving plug in settings to a separate file
253. subsequent segments that crossfade without silence between them slips on the time line during fade edits Segments that occur after a space of Edited Black or edited silence remain locked to the time line and do not move This control is useful for conforming sound to picture locally on the time line without affecting sync downstream 4 2 3 3 Align Fades Align Fade Mode affects the fade s 96 overlap or position relative to its edit event When Align Fade is selected changes to the overlap value apply reciprocally to both the In and Out Fade keeping them aligned relative to the edit event When it is not selected changes to the overlap value cause the fades to move in opposite directions effectively changing the amount that the fades overlap one another This control allows you to position the entire crossfade event relative to the underlying audio Page 64 4 2 3 1 Power Lock Power Lock affects only exponential fades When Power Lock is enabled crossfades are controlled such that each curve perfectly complements the other The sum of the gains of the Black Fades equals unity 4 2 3 5 AutoZoom When Auto Zoom is selected soundBlade HD automatically zooms to accommodate edits that you make to the fade so as to preserve a consistent display For example if you extend the fade s duration beyond the currently displayed time range soundBlade HD will auto zoom out to show the entire fade 4 2 4 Audition Controls In addition t
254. switches the user interface for each Panel and its track in the current EDL As you select a Panel in the Project its track number will show in that menu so if you have an 8 Panel track EDL then that menu will show 1 through 8 Notice that the window s Title Bar shows the Track number and EDL number in parenthesis next to the Project name to remind you of which track in which EDL you are controlling 10 1 2 3 Sections Each track can have up to four sections of EO assigned to it Sections appear in the central section of the window Each section has a Type menu that lets you assign a filter topology parametric shelf etc as discussed in section 10 1 2 6 below To the right of the Type menu is a parameter call out field that shows the current settings and to the right of that is the Group menu Clicking on theType menu the call out field or the Group menu selects the respective section Page 221 10 1 2 4 Group Menu The Group menu lets you group or link sections together This allows you to apply the same processing to more than one track without recreating redundant settings Say you want a 1st order Parametric across 6 tracks in an EDL Set up the parametric in the top section then assign it to Group A Then using the Track menu go through all the other tracks and assign their top sections to Group A as well The settings for your 1st order parametric will appear for all tracks and if you change any member of the Group all the
255. t Use 4 Enter a password and select OK The DDP file is encrypted this will take a few minutes NOTE This is the password you will give out to authorize and decrypt the securePlayer 5 Navigate to the Extras Folder located inside the folder that contains your soundBlade app Select it and click OK 6 Specify a folder to save your securePlayer in We recommend it be placed in your master project folder for the project you are working on Select OK A YourProject player app is created ZIP that app and send to your clients that have Mac computers securePlayer will not open in Windows environment at this time 3 11 2 7 4 JAM Image Button The fouth button is JAM Image To write a disc image in Adaptec Jam format 1 Select the EDL you want to deliver All audio routed to Monitor Outputs 1 2 will be delivered to the Image File 2 Select Windows gt Show Mark Info soundBlade displays the Mark Info window Click the PO Delivery Info tab Page 56 3 Click the JAM button 4 Click Execute Choose a location for the file and click Save soundBlade plays your EDL and writes the Jam file 3 11 2 8 The Execute Button Once the above options are set this button starts the process of creating a new delivery written to the location shown in the Path Device field When you click the Execute button a standard Mac OS file browser opens where appropriate allowing you to specify the location that will be used A new or empty f
256. t 24 LEFT RIGHT time fields 92 LTC Slave 82 215 Master 82 Master Slave menu 81 new 26 153 154 155 adding the 1st sound file 27 Now Local Time toggle 92 open 26 156 Panel 16 25 31 sample rate 94 Slave 82 Page 265 time display 32 time display Eight Channel 92 punch in 112 Q Quality Factor 222 Quality Factor 222 Quartet Quartet DynPEQ 16 232 233 Queue Manager 147 150 recording 104 178 automatic punch in out 40 Edit Recording 112 punch in 112 recording and time stamps 116 recording using SRPs 113 Record Enable 122 sel sync mode 123 timed 113 Record Arm 178 Red Book 53 100 redithering 211 234 Redo 166 Red Book 51 99 210 Refresh 174 Relative 72 removing PO Marks 49 Repeat Play 178 Replace 87 160 161 168 Replace Constrained 168 Replace Left 168 Resequence 50 68 99 Reset button 133 Reset Fader 122 Restore Defaults 210 Reveal Sound In Finder 160 reverberation 136 reversed sound 160 Reverse Polarity 72 169 Page 266 RIGHT field 32 34 Ripple Until Black 64 root cosine Fades 61 root linear Fades 60 Sample Rate Conversion 149 Percent 150 Target Sample Rate 149 Save Desk Setup 126 196 197 Save Desk Setup with Project 216 Save Project 159 Save Project As 159 Save Reversed 160 161 Save To File 197 SCMS 53 98 Scrolling 32 SD2 23 27 156 SD file 157 securePlayer 56 Segments Auto space 27 47 changing order 46 deleting 43 Drag Bar 46 Mo
257. t field You can also click to place an insertion point in any time field then use the keys of the keypad to increment decrement the value 4 2 9 Fade Library soundBlade HD provides a library for saving and recalling fades and includes the ability to save a Fade as the default To save a fade as the default In EFM create a custom fade then choose Fade Library Save Custom Fade As soundBlade HD opens a Save Fade dialog Type the Default name exactly as it appears in the Fade Library menu e DefaultCrossFade This defines the Default Crossfade e DefaultCrossFadeOut This defines the Out Fade component of the Default Crossfade e DefaultCrossFadeln This defines the In Fade component of the Default Crossfade Note that you can save a To or From Black Fade and call it DefaultOutFade or DefaultinFade respectively but neither Fade will be used as a default In soundBlade HD the only default fade is the DefaultCrossFade and its respective In and Out Fade components 4 2 9 1 Applying Fade Parameters From the Library To apply fade parameters from the Fade Library to the currently selected fade s hold down the option key and type a number This recalls fades from the Fade Library Zero recalls the default fades and numeric keys 1 through 9 corresponds to items 1 9 in the user defined area of the Fade Library Note that this feature works only with the numeric keys along the top of the keyboard not with the numeric key
258. tala DM I 175 m itig a d le t er 175 Move EDU UDIDOWIHsu senex co 175 Auto Set Edit Group Selector e 175 set lo Next Available EITC 176 TERAV MEM eer 177 From Selecione Da oO AED eto OO 177 A C c 178 A mt 178 HeDGSE PI Vcc 178 vire C T M 178 MUTE A A IR 178 SOO RACK qe EE ER 178 RECO ilgg M T M M 178 RECO a dd NOE 178 Arouna Selection Center 34 e Ec ea oec IR e e coc etuer ee ieee eu eae P eU ete 179 Play froni Seele CLIOT esce sex onu oiRS ten notes a As 179 Play to ENT Or 5SelectioDlloSensvetst euo etauteo beo doped a do 179 eoa ET UU LII T UH ES 180 meom agen eer eR cR RS 180 A aietcuets cect anaecazeaeeseieacsascantancabsagantaniveenccanteacastiede 180 Page 9 8 5 16 8 5 17 8 5 18 8 5 19 8 6 8 6 1 8 6 2 8 6 3 8 6 4 8 6 5 8 6 6 8 6 7 8 6 8 8 6 9 8 6 10 8 6 11 8 6 12 8 6 13 8 6 14 8 6 15 9 7 8 7 1 9 7 2 8 7 3 8 7 4 8 7 5 8 7 6 8 7 7 8 7 8 8 7 9 8 7 10 8 7 11 FFOM O O a a dd a o ado dd ta do dd do 180 Play Between In amp Out Points sisarensa asnar a O aa a i 180 MOVE FINCA eras oup EE MAPS CSS ro eor Hbi dia 180 Hide Playhead When Stopped eeeseessseeseeeeeee nennen nnne nennen nnne nnn nnne nnne ranura 181 The Wark MEMU cm 182 Maricinto Destination ouednti EN 182 Mack otare
259. te command places the data in the Clipboard into the Panel s without moving or removing the existing audio The new material overlays the old lying on top of the existing material When you play the result both old and new are heard together Because the segments now occupy the same region of the time line it is sometimes difficult to select and manipulate these segments For this special case the Text view is perfect It allows you to select rename gain adjust or move each individual segment at will Because two segments occupy the same region of the time line it is possible that a triple overlap would occur when you tell soundBlade HD to paste the material such that three Black Fades touch each other This is not legal and a modal CheckForTripleOverlap dialog will pop up To overcome this prior to a Paste Overlap click drag to select a region that includes the area of interest then select File gt Export Sound File and select the Edit after Export check box This will consolidate any existing edits allowing you to continue with the desired Paste Overlap command 8 3 6 Select Deselect All These commands select or deselect all segments or regions in the current Project 8 3 7 Delete Selection If a region or segment is selected this command will delete the defined item It will then slip or move left any audio after the deleted region or segment filling in the space formerly occupied by the selected segment or region
260. te org A4 2 Commercial Businesses Doug Carson Associates creators of the DDP protocol and related industry standards http www dcainc com Philips Intellectual Property amp Standards is responsible for the maintenance of the Red and Scarlet Books along with related standards http www licensing philips com Page 248 Page 249 Note that for the PDF version of this Index only the page numbers not the preceding descriptive subJect text are hyperlinked soundBlade HD User Manual Index Symbols 4 Channel Desk 217 16 channel desk 88 16 channel Desk 217 AAC 23 Absolute 71 Adaptec Jam format 56 address time code 46 AES EBU longitudinal time code 32 34 46 AIFC 23 27 156 AIFF 27 38 104 116 160 AIFF export 47 Album Artist 95 96 Album Info 96 AlbumTitle 95 96 Align Fades 64 Analog BlackTo Marks 50 183 Around Selection Center 179 Audio Client 147 148 Audio I O Preferences 144 217 Audio MIDI Setup 104 105 108 111 Audition Both 65 AutoSpace All Segments 68 171 AutoSpacing 70 AutoZoom 65 Auto Set Edit Group Selection 175 Auto Space All Segments 171 AU Audio Units 75 Page 250 Background Manager 147 218 Abort 151 Add a Process 148 Audio Client 147 148 Clear All 148 149 Clear Files 149 Clear List on Execute 149 Delete intermediate files 149 Execute 148 Pause Resume 151 Percent 150 Processes area 148 Queue 149 Queue Manager 147 150 sample rate conversion 148 149 Soundfiles
261. tep Make A Quick CD This section covers four basic quick steps to create a CD Step 1 Open Open soundBlade HD and choose File New to create a new Project Step 2 Drag Collect the desired audio files drag them and holding down the command key drop the files onto the top Panel in the order that you want them to appear on the CD The command key is only needed just before you drop the files soundBlade HD will automatically create CD Tracks shown in the Track Bar from your audio files Figure 2 1 A Project showing the Track Bar and top Panel Step 3 Check Choose Window Mark Info select PO Delivery tab and click on the CD R radio button Page 21 The button turns red and the name of the CD burner is shown in the DEVICE field If there is no blank disc in your CD burner s tray the STATUS field prompts you to Insert media for delivery Step 4 Burn Insert a blank CD R disc if you have not already done so The STATUS field will tell you Media ready for delivery If you have an external FireWire attached burner you d like to use click on the white triangle to the right of the Device label to switch to your external burner Click the Execute button in the Mark Info window soundBlade HD will ask you to Specify Folder for DDP Image CD will be replicated from DDP image Using the Finder browser specify a New or existing folder and click the OK button soundBlade HD begins delivering your Project
262. ter ES Play from Selection Play to End of Selection E Move Playhead v Hide Playhead When Stopped lt P Figure 8 5 The Play menu 8 5 1 From Selection This command starts playback from the beginning of a selected region If no region is selected then playback starts at the Edit Point If the Edit Point is not available playback commences at the start of the first segment in the Project This command is equivalent to tapping the Spacebar on the keyboard The Play From Selection command will continue to play until either the Spacebar Is hit again or the Playhead reaches midnight 23 59 59 74 Page 177 8 5 2 Selection This command plays a selected region or segments Whereas the Play From Selection command mentioned in section 8 5 1 above will continue to play until stopped the play Selection command stops automatically at the end of the selection 8 5 3 From Playhead In normal operation when you tap the Spacebar to start playback the Playhead will jump to the Edit Point or the start of the file if there is no Edit Point and begin playback The Play From Playhead command emulates a tape transport with playback instead starting at the current Playhead location 8 5 4 Repeat Play If there is a selected region the Repeat Play command will repeatedly play the region until stopped If there is not a selected region soundBlade HD will repeatedly play the entire Panel Repeat playback continues until you stop pl
263. the Clear List on Execute option Note that the order in which sound files are processed is fixed and dependant upon the order in which sound files and processes are listed in their respective areas The primary processing order is defined top to bottom by the order in which the sound files are listed in the Soundfiles area The secondary processing order is given by the order of processes in the Processes list So in practice if more than one sound file is listed and multiple processes are listed as well first the initial sound file in the Soundfiles list is processed by all processes listed in the Processes list in the order in which they are listed Be aware that each process is performed upon the resulting file of the previous process When all listed processes are performed upon the first listed sound file the following sound file is processed with the same processing in the same order This is repeated until all sound files are processed with all listed processes The end result of this is one resulting sound file per process per sound file To avoid the creation of superfluous sound files select Delete intermediate files at the bottom left of the Processes area This causes the Background Manager to delete all intermediate sound files creating only one final resulting sound file per input sound file If disk space is not at a premium it is recommended that intermediary files are retained until the Job is finished The following pro
264. the available target mechanisms soundBlade HD can only address one mechanism at a time The Status field below the device field provides an indication of the status of your delivery media and progress of the delivery i AAN Mark Info PQ Info Destination e e e Figure 4 29 Device field with white disclosure triangular for selecting multiple CD R mechanisms Note that soundBlade HD is designed to address Apple supplied built in CD R and DVD R mechanisms as well as most third party FireWire attached drives supported by the operating system USB attached products as well as some third party drives do not function with Apple s optical disc frameworks so always test new mechanisms prior to use 4 12 5 2 The Execute Button Once the above options are to your liking this button starts a new delivery writing to the location shown in the Device field When you click the Execute button a standard Mac OS file browser opens where appropriate allowing you to specify the target location for a DDP file set A new or empty folder should be specified to contain the newly created file set that will form the basis for your CD R delivery Once the destination is specified soundBlade HD begins the delivery process with progress shown in the validation field at the bottom of the PO Delivery window During delivery to a CD R when no media is present in the selected drive soundBlade HD will prompt you to insert media and wait for a blank disc to b
265. the bandwidth will be for a given O value which roughly corresponds to our auditory mechanism s ability to perceive a filter s action As an example a parametric filter with a Q of 1 has a bandwidth of 100 Hz when Page 222 its center frequency is set to 100 Hz but it has a bandwidth of 1000 Hz when the center frequency Is set to 1000 Hz The order or slope of the filter is controllable with 1st through 4th order or 6 to 24 dB per octave slope respectively Each of the four orders are separate menu choices The family of curves shown below include a wide Q of 0 5 a medium O of 2 0 and a narrow O of 10 EC Transfer Fursctaan Figure 10 2 1st order parametric with f of 1000 Hz EC Transfer Furctaan Figure 10 3 2nd order parametric with f of 1000 Hz Page 223 EC Transfer Funta Figure 10 4 3rd order parametric with f of 1000 Hz EC Transfer Furet Page 224 EO Transfer Function Figure 10 5 4th order parametric with f of 1000 Hz The high and low shelves are also three parameter filters with Resonant Frequency gain and order The family of curves below include 1st through 4th order The 4th order response is practically vertical in the transition region EQ Transfer Furctian Figure 10 6 High shelf with f of 1000 Hz Page 225 The high and low pass filters also have three parameters However in this case stopband ripple labeled Stop has taken the place of gain As with
266. the shelving filter above the family of curves below include 1st through 4th order Figure 10 7 High pass with f of 1000 Hz Stopband ripple describes the amount of amplitude variation or ripple in a filter s out of band response Indirectly it describes two more important parameters One is out of band suppression or how much leakage of unwanted signal you receive and the other is phase shift and group delay The stopband ripple parameter provides a range of 12 to 108 At the 12 setting only 12 dB of loss will occur out of band no much for a filter of this type However because the stopband ripple value is so low the phase response and resultant temporal response of the filter will be excellent At the other extreme of its range stopband ripple will be 108 dB down from the unity passband gain but the phase response will suffer the group delay will be severe and the resulting temporal smearing may be unacceptable As with any filter careful listening will determine the tradeoff between stopband suppression and side effects Figure 10 8 below shows an typical 3rd order high pass filter Superimposed on that curve is another 3rd order high pass with 6 dB of passband ripple amp 120 dB of stopband attenuation Notice the rippling bouncing ball amplitude response in the region above the resonant frequency This passband ripple would create some possibly undesirable amplitude effects but because the ripple spec has been relaxed
267. their factory defaults Page 210 8 10 11 3 Dither Dither Type Shaped PDF This radio button selects Sonic Studios proprietary spectrally shaped triangular PDF probability density function dithering Dither Type Shaped Dither This radio button selects Sonic s proprietary Shaped dithering The Shape is preset Enable Dither On Output When on dither will be applied to the output at all times redithering the output to 16 bits of resolution When off both the monitor and delivery outputs will be bit transparent The DITHER indicator in the upper right of the Project window reflects the current state of the Dither on Output preference Section A1 2 includes a discussion of redithering Turn Off Delay defines the time in seconds before dither is turned off after the last moment audio has been played Bit Resolution this selector allows for rounding off of the output signal to either 16 or 24 bits Note that for CD delivery 16 bit resolution is the only correct setting as the program on an audio Compact Disc is stored as 16 bit data Setting 24 bit resolution for final CD masters will result in drastic truncation of the 17th through 24th bit resulting in audibly reduced quality and unexpected noise Note Dither is only applied when the file s wordlength exceeds the bit depth settings For example if you are playing back an unaltered 16 bit file dither is not applied even if selected However if you make a change
268. ther On Output 211 Turn Off Delay 211 Dither On Output 211 Drag Insert amp Ripple 70 Drag Overlay 70 Drag Replace 70 drag amp drop 68 ReSequence 68 Drag Bar 46 69 Drop Edit Point at Playhead 190 Dual EDL Mode 80 207 DUR field 32 34 44 192 Page 254 DUR time field 92 Edit after Export 161 Edited Black to Marks 184 editing Edit Point 191 Edit Points 191 EditTargets 170 EDL 112 Move Track Up Down 175 Select Deselect All Tracks 175 Eject 57 102 E S toggle 92 Edit Insert 87 Replace 87 Edited Black to Marks 184 editing 169 Auto Space All Segments 171 Auto Tool Override 171 Create Crossfade 168 Create Segment 168 Create Segment from In amp Out Points 169 Crossfades 44 deleting 43 Drag Insert amp Ripple 70 Drag Overlay 70 Drag Replace 70 drag amp drop 68 DUR field 192 Edit Fade Mode 171 Edit Point placing amp moving 190 Fade Tool 41 Insert 168 Loop And Fill 171 Replace 168 Replace Constrained 168 Replace Left 168 ReSequence 68 selecting Regions 33 Page 255 selecting Segments 36 Source to Destination 83 SRPs 79 Editing Auto Tools 202 Editing Auto Tool Override 171 Editing Tools preferences 201 Edit after Export 43 48 160 167 Edit Decision List 93 edit event 59 62 188 Edit Fade Mode 62 171 additional fade parameters 65 Align Fades 64 Audition Both 65 Audition Controls 65 AutoZoom 65 Edit Point Offset 67 exiting Edit Fade Mode 68 fade library 67 fade selectors 66 global modes
269. this hold down the Apple or command key as you use the Up Arrow or Down arrow keys This will keep the Edit Point centered in the middle of the display 3 6 2 2 Zoom to Selection Clicking and dragging on the waveform itself selects a region highlighted in yellow orange Typing command G or selecting View Zoom to Selection will zoom around that selected region See section 3 7 for more information on region selection You can also zoom to a selection while making the selection By holding down the command and option keys while click dragging on the waveform will define a selection and zoom to that selection as well 3 6 2 3 Zoom Around Time Selection If you click and drag in the black time line banner above the top Panel while holding down the Apple or command key the Panel will zoom to display the region of the time line that your click drag defined 3 7 Selections Selections let you highlight a portion of the audio where you want to perform a desired operation 3 7 1 Selecting a Region To select a region click drag on the waveform display At the point that you want the selection to start click and hold down the mouse button then drag to complete your selection An area will be highlighted in yellow orange indicating the selected region Page 33 Figure 3 12 A region selected indicated by the yellow highlight You can click drag either left or right to define a selection In addition you can fine tune the bo
270. to Monitor Outputs 1 2 will be delivered to the DDP 2 Select Windows Show Mark Info or press COMMAND M 3 soundBlade displays the Mark Info window Click the PO Info tab soundBlade displays the Delivery panel 4 Click the DDP button 5 Select a write speed from the Speed pop up 8x or Max 6 Click Execute Define the location to save your DDP image to soundBlade plays your EDL out of real time and writes the DDP image Abort Click to abort the session 3 11 2 7 2 CD R Button The second button CD R defines the parameters of CDR delivery We suggest that you e set the Speed menu to 4x e if you want to include CDTEXT metadata in your CDR select CD Text TS select Close Session The Speed menu that lets you select the burn or writing speed Though most commodity media is optimized for high speed writing this is not optimal for audio disc creation High write speeds usually produce lowers detectable error rates but jitter performance is degraded Since in a player detectable errors are corrected they are not an issue However jitter performance affect the subjective quality of disc playback Lower write speeds produces less jitter so always write at the lowest speed available for your mechanism and use blank media optimzed for low speed audio disc creation Page 55 The Close Session check box controls whether is the CD R is a TAO Track at Once or a DAO Disc at Once disc lt is possible to create
271. to the blank CD The STATUS field shows the progress of the burn process When the burn process is complete the CD is ejected from the CD burner ready to play Page 22 Chapter 3 sssss BASIC Operation 3 1 General Workflovv amp Explanation of Terms Used In order to prepare your finished master soundBlade HD offers fast simple audio editing along with creation and modification of metadata Though soundBlade HD is designed to primarily create finished stereo programs it also includes CD R and DDP file creation as well DDP or Disc Description Protocol is the professional s preferred method of delivery of production masters for optical disc replication When opening a sound file into soundBlade HD you are creating a copy of the file in memory that you can manipulate This copy is placed into a Project the workspace created by soundBlade HD Within the Project you can add sound create and edit Marks that will generate PO codes and place SRPs persistent editing related placeholders inside the Project All this information can be saved and later recalled Raw sound files can be imported from various file formats including AIFF WAV BWE AIFC 32 bit floating point files MP3 AAC FLAC and SD2 or Sound Designer ll with regions These files are edited allowing you to compile a new program from various sources When you are satisfied that your Project is acceptable you can create a Compact D
272. toggles a mode on or off whereby when playback is stopped the Edit Point jumps to the location of the Playhead This is emulates the functionality of an analog tape machine Page 29 By default one stereo pair in two Panels will play back simultaneously based on their Edit Group setting The Edit Group setting in each Panel defines which of the Panels will be played back For example in a Default Project the top Panel pair are defined as Edit Group A Figure 9a and the bottom panel pair is set to B Figure 9b Figure 3 9a The A Edit Group Setting on the Figure 3 9b With all four Panels selected to A all top two Panels will play back those tracks four panels play simultaneously simultaneously Page 30 You can also force soundBlade HD to repeatedly play the same material over and over via the Play Repeat Play command By holding down the command and option keys before tapping the space bar soundBlade HD will repeat play a time region selection until you press the space bar again 3 5 2 Playback from the Edit Point When you click anywhere inside the waveform display the entire Panel or rectangle containing the waveform display is selected The selected Panel has a medium blue background Once selected a click anywhere in that Panel produces a thin vertical red line with an inverted yellow triangle on top This is the Edit Point amp llbawvzbt Figure 3 10 Panels with Edit Point at left and Playhead
273. tracks edit in stereo 4 11 Project Sample Rate To the left of a Project s time line a drop down menu is located for selection of the Project default sample rate This menu has a simple function to set the sample rate when making address calculations on the time line Since under the hood soundBlade HD uses samples per second as the counting method for all time code time line and address calculations sample rate becomes the basis on which all the above calculations are made soundBlade HD converts all thirteen of the alternate non samples time standard choices discussed in section 3 7 1 to samples when constructing a Project Note that the Project default sample rate has nothing to do with the sample rate of any audio interface used nor does it impact the clocking of your system It is only for locating segments on a Project s time line 4 12 Advanced PQ Section 3 10 above covers the basics of PO creation and manipulation This section delves into some arcana of the P through W metadata functionality in soundBlade HD All PO information and additional metadata can be viewed and modified with the help of the Mark Info window It can be opened by selecting the Windows Mark Info command Page 94 Mark Info Destination 30 l E ne iv Display Offsets Wl Disable Offsets START OFFSET _ 00 00 01 SPLICE OFFSET END OFFSET 0 TRACK 1 OF
274. ts respectively To use the Edited Black to Marks command you must first select either segments or a region 8 6 12 Edited Black to Start Marks The Edited Black to Start Marks command automatically places Start and End of Track PO marks at the beginning and end of all Fade Ins and Fade Outs respectively To use the Edited Black to Marks command you must first select either segments or a region Because only Start ofTrack Marks are created it makes it very easy to resequence using theTrack Bar On the other hand the absence of End ofTrack Marks means that there will be no countdown on the CD player s display when the resulting disc is played back 8 6 13 Segments To Start Marks The Segments To Start Marks command automatically places Start of Track PO marks at the beginning of all Segments respectively To use the Segments to Marks command you must first select segments 8 6 14 Read POBurst File The Read POBurst File command opens a Finder window to navigate to and read a POBurst sound file generated from a Sony 1630 or equivalent source 8 6 15 The Mark Contextual Menu By control clicking on a mark a contextual menu appears This menu provides choices similar to the Mark main menu and allows you to modify the behavior of a mark Page 184 Move Edit Point To Mark Move Mark To Edit Point Lock Mark v UnLock Mark Lock Marks From Selection UnLock Marks From Selection Lock All Marks UnLock All Marks Set Emphasis
275. two point edits can be as mentioned above either Edit Points or a selected segment With three point edits either the Source or the Destination is a time region defined by Edit Points or a selected segment Since three places are defined two of them can be in the Source to delineate both head and tail of the Source material or they can be in the Destination to delineate the absolute location into which the copy will be placed Four point edits though possible to set up are ambiguous unless both Source and Destination are exactly the same duration In that case then a three point edit will suffice Constrained edit will keep audio in sync on the time line which is useful for editing sound against picture With constrained edits using the Edit Replace Constrained command Source sound is copied to the Destination at its timestamped location 4 10 Multi Channel Mode soundBlade HD defaults to 4 tracks in 4 Panels with 4 mix buses lf more tracks and more mix buses are needed the Preferences gt EDL Tab Multi channel EDLs mode increases the number of tracks and the number of buses to 8 making multichannel production possible Selecting 16 Channel Desk in Preferences gt Desk enables tracks 9 16 Tip selecting 16 channel desk in Preferences gt Desk enables tracks and busses 9 16 Note that you must restart soundBlade HD after enabling this option You should also resize both the Desk and the Master section after restart
276. undaries of a selected region Hold down the shift key and click on either side of the selected region then while continuing to hold the shift key drag left or right to expand or contract the selection While selecting regions the LEFT RIGHT and DUR fields at the top of the Project are active and editable See section 3 5 5 above for more information on manipulating time code addresses Note that the format in which all time fields are represented in soundBlade HD is user selectable By clicking in the time standard display to the left of the time line slider a drop down menu offering four choices becomes available Page 34 e 30 fps NDF 29 97 fps NDF 29 97 fps DF 25 fps 24 fps 75 fps CD Frames 35mm Film 60Hz 35mm Film 59 94Hz 35mm Film 50Hz 16mm Film 60Hz 16mm Film 59 94Hz 16mm Film 50Hz Seconds Samples Figure 3 12 The time standard menu Figure 3 12 above shows the time standard choices 30 fps NDF is the default setting and signifies non drop frame time code the default time code format typically used by DAWs to prepare material for CD release when compact disc preparation was video tape based 29 97 drop and non drop are pull down rates for NTSC video while 25 fps is for PAL video The 24 fps setting is for general motion picture work while 75 fps CD Frames is the internal time code format for CD DA discs audio CDs When mastering for CD release 75 fps is the best choice The 35 and 16 mm setting p
277. ur very detailed audio time versus amplitude waveforms If you would like to add waveforms while working with your sound files and have unchecked the defaultWindows Preferences EDL View Background Waveforms preference you must select the Build Sound Waveform command First select the parent sound file by clicking on the segment s Title Bar The Title Bar will turn yellow to show that it is selected Then select the File Build Sound Waveform command 8 2 21 Export Sound File This command exports sound files in either AIFF or BWF format in 16 or 24 bit word length It exports the audio with amplitude changes from segment gain plus any Gain Overlay or plug ins To use this function create a selection by either clicking on a segment s Title Bar or by click dragging in the top Panel to create a time region selection Make sure the top two Panels are assigned on the first two Desk Strips to M1 Out and M2 Out Then choose the destination directory with the Set File button Then set the file type word length and speed Optionally you can specify that the newly created material replace the existing The Edit after Export check box performs a Replace edit synchronously replacing the material existing prior to the export with consolidated material created from the export function Once all options are set clicking on the Export button causes soundBlade HD to play the selected region exporting the audio as it plays
278. uts all Desk and Output Desk settings to the Console Log 8 2 24 10 Enable Debugging This command outputs all Desk and Output Desk settings to the Console Log 8 2 24 11 Export AIFF With this method you can export audio from asingletime orsegmentselectioninatrack orfroman EDL Ineithercase no DeskEvent Gain Overlay or Dither processing isappliedtothe exported audio Exports selection as a 16 or 24 bit AIFF or BWF file Show Console Log 364 Print EDL Sound File Paths Print Segment Info Print Selected Segment Info Formatted Print Selected Segment Info Print SRP Info Write SRP Info to File Send Crash Report Print Desk Info Enable Debuaging Export AIFF 7 24 bit AIFF Fast Export EDL As p 16 bit AIFF ee 24 bit BWF 16 bit BWF Page 163 8 2 24 12 Fast Export EDL As Fast Export EDL as exports the contents of an EDL without processing in AIFF or BWF formats and16 or 24 bit depths 1 Select an EDL that includes the audio you want to export The amount of tracks in the selected edit group determines if the export is mono or stereo When two tracks are in the current Edit Group material from the first two tracks of the group will be exported If there is only a single track in the current Edit Group the exported material will be mono 2 Choose File System Information Fast Export EDL as AIFF and choose a file type and bit resolution for the exported files 3 Choose a destination for the file s
279. ve Segments 169 moving segments 170 Nudge Segment 170 nudging segments 170 Reverse Polarity 169 Segment Gain 71 segment gain 169 segment names 170 snapping 69 snap zone 69 Title Bar 37 71 Segment Gain 169 Absolute 71 Normalize 72 relative 72 Reverse Polarity 72 Page 267 Select Deselect AllTracks 175 sel sync mode 123 Select Deselect 167 Clear Selection 167 Delete Selection 167 selecting a Region 33 selecting Segments 36 192 select Regions 192 Select Deselect AllTracks 175 Selections 33 zooming to selections 195 Selection from Selected Segments 191 Selection menu 186 Selection Reference Points 79 Select All Plug ins 78 79 Select Edit Point to End 191 Select Gain Nodes 174 199 Select Nudge Size 189 Select Segments from Selection 192 Select Segment to End 191 Select Segment to Start 192 Select Start to Edit Point 191 Sending a Crash Report 163 Serial Copy Management Scheme 53 98 Series 300 DSP I O Processors 18 104 114 133 139 Set File 160 Set In amp Out Points 187 Set In Point 187 Set Out Point 187 Set SRP 189 Set SRP from selection 189 Set SRP from selection 189 SetTo Next Available Edit Group 176 Show Hide Desk Events 174 Show Hide Gain Overlay 173 174 Show Hide Text View 70 173 Show Gain Overlay 198 Show Segment Names 207 Show Subframes 205 Show Track Bar 68 206 signal flow 118 Slave 82 Page 268 snapshot automation 75 snap zone 27 69 SoloTrack 178 Sonic Console 145 Sonic EQ 2
280. ve functionality Trio DynPEO a lite version of Quartet now included with soundBlade HD offers three bands of dynamic parametric equalization bands Each band has controls normally associated with a parametric equalizer and a dynamics processor The parametric equalizer and dynamics processor portions of a band can be individually bypassed which disables its respective functionality Shutting off the dynamics of a band turns it into a traditional parametric filter Upon finding an appropriate parametric setting for a source you may notice that the setting does not sound as appropriate for pianissimo or fortissimo portions of the source In addition you may find that details within the parametric band are too emphasized punchy or under emphasized washed out This is where the dynamics portion of the band can be of assistance The dynamics control of the band will operate only within the parametric band that you have tuned Compression and or expansion can help bring out the details or dynamic consistency that is sought after Similarly shutting off the equalizer portion of a band turns it into a traditional dynamics processor You may have experienced the ear fatigue that is associated with compression pumping By reactivating the equalizer band you may find that dynamics applied only to the spectral bands In need is easier on the ears To use an analogy the signal processing capabilities of traditional parametric equalizers and dyn
281. xternal processing chain are assigned to inputs L3 and L4 of soundBlade HD To set up the external processing loop setup your Desk and Master Section as follows Page 139 Input Tabs Return From Process ae E M Qu aaO utput Tabs Send To Process a A O E E z wis p 0 0 L 0 0 i 0 0 i 0 0 0 0 i 0 0 L 0 0 i 0 0 Track 1 Track 2 Track 3 Track 4 4 Figure 6 21 setting up the Desk and Master Section for an external effects loop Of course the Project Desk and Master Section may contain plug ins all being re recorded to the final processed sound file After setting up the Core Audio device Audio l O Preferences Desk and Master Section audio from track 3 and 4 can now be played back and rerecorded in track 1 and 2 During the bounce the audio being recorded can be monitored at output 1 and 2 as configured in the Audio I O Preferences Special care should be taken towards synchronization when the external loop is constructed via an all digital signal path In principal soundBlade HD should always be set to use internal sync for all bouncing setups be it for Built In Audio or an external Core Audio device When passing audio through an all digital effects loop as described in this example all external sound processors should be set to sync to the incoming AES signal Page 140 Setup 4 Bouncing through external analog processors using
282. your optical mechanism in this mode soundBlade HD does write a CD s worth of data approximately 650 MB to your hard disk Write CD Text This check box causes soundBlade HD to write CD Text specific CD G metadata to a delivered CD R CD Text metadata is not included in DDP file sets See section 3 10 1 for specifics about CD Text Auto Increment ISRC When selected this feature automatically increments the first trackl s ISRC by a value of one with each press of the down arrow This is usefull for CDs that have a contiguous set of ISRCs USHRS0000001 USHRS0000002 USHRSO0000003 for example It does not create ISRCs for you you must get your own ISRC CD Write Speed The speed selector calls out the speeds that the target mechanism and host are capable of providing for your delivery When choosing CD R delivery speed remember that the speed is inversely proportional to pit jitter That is higher speeds will induce more jitter in the CD s physical pit structures while lower speeds will result in less jittery pit structures Lower jitter is generally better in terms of subjective audio quality because it requires less vigorous clock regeneration in the digital to analog converter or DAC to attain a reasonable amount of jitter in the final analog output 8 10 11 2 Offsets otart Offset It takes a typical CD player about two to twenty frames to fill its buffer and start producing valid audio data after it has located the correct Track Start

soundBlade HD User Manual

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