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Soundtrack Pro User Manual

1. mo aa OMO A OA n Soundtrack Pro gives you professional mixing capabilities including the ability to create submixes and to send audio to multiple physical outputs The Mixer provides a visual representation of your project in a virtual mixing console with channel strips where you control different aspects of the sound You can adjust volume and pan mute and solo tracks choose track outputs add effects and observe levels as the project plays 123 124 Steps in Mixing Mixing a project typically involves the following steps e Balancing relative volume levels e Panning tracks to create perspective e Adding EQ compression and other processing using effects e Using automation to create changes over time Setting the overall project volume and eliminating clipping You can perform these steps in any order and move back and forth between them as you create the mix In most situations you finish mixing the individual tracks before making changes to the overall project The following suggested order provides a guideline that may be useful for common situations Step 1 Mix main voice tracks Solo the main voice tracks and pan to center Add any EQ compression or other processing Adjust relative volume leaving some headroom typically around 6 dB in case you need to raise levels later Step 2 Mix other voice and middle ground tracks
2. These are files that match the category selected above a nems 7 To refine your search by selecting multiple keywords Shift click to select adjacent keywords or Command click to select nonadjacent keywords Chapter 3 Getting Started With Soundtrack Pro Searching for Files in Button View In Button view the upper area of the Media and Effects Manager displays a grid of buttons each of which is labeled with a keyword The keywords displayed are determined by the Keywords pop up menu the choices are Best Mix Instruments Genre Descriptors and Custom The keywords for each choice are fixed and appear whether or not matching files for the keyword exist Keywords for which no matching files exist are dimmed To search for files in Button view 1 Choose the type of keywords to display on the keyword buttons from the Keywords pop up menu 2 You can optionally use the File Type Time Signature and Scale Type pop up menus to restrict matches by those categories 3 Click a keyword button to display matching files in the Search Results area fo eYe Search TE Caen J Click a button to display Drums Percussion Guitars Bass 7 the matching files in the Piano Synths Organ Textures x Strings Horn Wind Vocals Search Results area Cinematic Rock Blues Urban World Single Cl
3. Chapter 12 Using Control Surfaces With Soundtrack Pro 245 246 3 In the Control Surface Buttons window drag an action from the Available Commands list on the right to a button in the Control Surface Buttons list on the left to map the command to the button Optionally you can search for commands and control surface buttons by typing text in the Search field located at the upper right corner of the window Recording Control Surface Automation Once you have connected a control surface and mapped the controls you plan to use you can use the control surface to control volume pan and other functions in your Soundtrack Pro projects Using the automation modes described in Automation Modes on page 228 you can record control surface movements while a project plays To record control surface movements follow the procedures described in Recording Automation Data on page 228 You can thin automation data recorded from a control surface For information on thinning automation data see Thinning Envelope Points in Recorded Automation Data on page 229 Chapter 12 Using Control Surfaces With Soundtrack Pro Exporting Multitrack Projects 1 Once you have created a final mix of a multitrack project you can export the project mix You can also export individual tracks busses or outputs and export a multitrack project using Compressor You can export a project to a stereo audio file and set the exported fil
4. Moves to the previous left tab Ze Moves to the next right tab Switches the project layout to the Basic layout Project Playback and Setting the Playhead Key command Function Starts playing the project If the project is playing stops project playback Moves the playhead to the beginning of the project or to the beginning of the playback region if it is active en Starts playback from the beginning of the project pion Moves the playhead to the position of the preceding marker ae Moves the playhead to the position of the next marker apie Wien playhead to the position of the previous frame in the amp elt Vien playhead to the position of the next frame in the Appendix B_ Soundtrack Pro Keyboard Shortcuts General Editing Key command Function 4 Undoes the last command 42 4 Redoes the last undone command 4 Cuts the selected item 4 x Ripple cuts the selected item 4 Copies the selected item 4 Pastes the cut or copied item Ripple deletes the selected item o Duplicates the selected item Selects all items in the window 2 R Deselects all items in the window Turns snap on or off Editing Audio Clips in the Timeline Key command Function Opens the Paste Mix dialog so that you can paste audio and mix it i t with the existing audio Opens the Paste Repeat dialog so that you can paste multiple t copies of the c
5. Startup Show Open Panel On Launch When selected an Open dialog appears each time you open Apple Loops Utility Saving e When Converting a WAV to AIFF e Show Conversion Alert Shows the conversion alert dialog when you try to save a WAV file e Close WAV and Edit AIFF Automatically converts the WAV to an AIFF closes the WAV file and opens the AIFF for editing e Keep Working in WAV Leaves the WAV file open Appendix A Using Apple Loops Utility Apple Loops Utility Keyboard Shortcuts General and File Key command Function Creates a new blank Apple Loops Utility window and opens the ie Open dialog Opens the Open dialog from which you open files in T e Apple Loops Utility Closes the current window f6 2 hih w Closes the selected files 5 Saves changes to the currently selected files If any of the files are il gla WAV files a dialog appears asking if you want to continue editing the files as WAV files or save them as AIFF files Opens the Save As dialog to save the currently selected file with a o stl s O new name Saves all open files 6 a l s Selects the file above the current file in the Assets drawer Selects the file below the current file in the Assets drawer v g x ih Selects all files in the Assets drawer Shii Navigation Makes the Tags tab active Makes the Transients tab active Makes the Assets drawer
6. Production stills from the films Koffee House Mayhem and A Sus Ordenes provided courtesy of Refuge Films Koffee House Mayhem 2004 Jean Paul Bonjour A Sus Ordenes 2004 Eric Escobar http www refugefilms com Other company and product names mentioned herein are trademarks of their respective companies Mention of third party products is for informational purposes only and constitutes neither an endorsement nor a recommendation Apple assumes no responsibility with regard to the performance or use of these products Preface Chapter 1 Chapter 2 Chapter 3 Chapter 4 13 13 15 19 23 24 33 40 45 45 47 50 56 68 71 72 74 75 81 81 82 82 86 86 87 Contents An Introduction to Soundtrack Pro What Is Soundtrack Pro Resources for Learning About Soundtrack Pro Soundtrack Pro Onscreen User Manual Apple Websites Setting Up Your System System Considerations Connecting Audio Equipment Example Hardware Setups The Soundtrack Pro Interface Project Window Media and Effects Manager Utility Window Getting Started With Soundtrack Pro Two Kinds of Projects Setting Up Your Workspace Playing Projects Locating and Adding Audio Files Previewing Audio Files Using Undo and Redo Using Snap Reconnecting Media Files Setting Soundtrack Pro Preferences Working With Multitrack Projects Creating and Opening Multitrack Projects Closing Multitrack Projects Setting Proj
7. To copy a channel strip Option click the channel strip s drag handle then drag it left or right A copy of the channel strip appears when you release the mouse button Setting Channel Strip Volume Levels You set relative volume levels to balance the various parts of the project You set the volume level of a channel strip using the channel strip volume fader or value slider Different sounds can have different apparent loudness at the same volume level so perceived loudness does not precisely correspond to numeric values on the volume faders You determine the appropriate volume level by listening to the track and adjusting its level in the overall mix Chapter 6 Working in the Mixer 127 128 Volume fader To set the volume level of a channel strip do one of the following Drag the volume fader up to raise increase the volume or drag it down to lower decrease the volume Click along the length of the volume fader at the point you want to set the volume level Click the left or right arrows on the edges of the volume value slider With the pointer over the center of the volume value slider hold down the mouse button and drag left or right Click the center of the volume value slider then type a new value The scale is from 96 to 6 dB The default level is O zero dB m o Volume value slider To return the volume fader to the default level Double click the knob in the volume
8. Return Sets the playhead to the beginning of the video If the playback region is active pressing Return sets the playhead to the beginning of the playback region This is equivalent to clicking the Go to Beginning button in the transport controls Command Left arrow Moves the video back closer to the beginning one frame This is equivalent to clicking the Previous Frame button Command Right arrow Moves the video forward closer to the end one frame This is equivalent to clicking the Previous Frame button For a complete list of Soundtrack Pro keyboard shortcuts see Appendix B Soundtrack Pro Keyboard Shortcuts on page 279 Resizing the Video Tab You can resize the Video tab to any size up to filling your entire screen and can detach the Video tab To resize the Video tab do one of the following Drag the Resize handle at the lower right corner of the Video tab until the tab is the size you want Drag the edge of the Video tab to resize it along with the other windows Click the Resize button at the upper left of the Utility window while the Video tab is active The Video tab resizes to fill the screen Chapter 8 Working With Video in Soundtrack Pro Using Video Output Devices You can connect an external video output device to your computer and play your project through the video output device This can be especially useful in cases where you are using Soundtrack Pro as the final step in producing the overall p
9. Soundtrack Pro Website For general information and updates as well as the latest news on Soundtrack Pro go to http www apple com soundtrackpro Apple Service and Support Website For software updates and answers to the most frequently asked questions for all Apple products including Soundtrack Pro go to http www apple com support soundtrackpro You ll also have access to product specifications reference documentation and Apple and third party product technical articles Preface An Introduction to Soundtrack Pro Other Apple Websites Start at the Apple homepage to find the latest and greatest information about Apple products http www apple com QuickTime is industry standard technology for handling video sound animation graphics text music and 360 degree virtual reality VR scenes QuickTime provides a high level of performance compatibility and quality for delivering digital video Go to the QuickTime website for information on the types of media supported a tour of the QuickTime interface specifications and more http www apple com quicktime FireWire is one of the fastest peripheral standards ever developed which makes it great for use with multimedia peripherals such as video camcorders and the latest high speed hard disk drives Visit this website for information about FireWire technology and available third party FireWire products e http www apple com firewire For information abo
10. To change the value of an envelope point in the Details tab With the Details tab active select the envelope point In the Details tab do one of the following Click the left arrow in the Value value slider to decrease the value or click the right arrow to increase the value e Click the center of the value slider then drag the slider that appears left or right to change the value e Click the text in the value slider to select it then type a new value To change the position of an envelope point in the Details tab With the Details tab active select the envelope point In the Details tab do one of the following e In the Position value slider click the left arrow to move the envelope point back toward the start of the project or click the right arrow to move the envelope point forward toward the end of the project e Click the center of the Position value slider then drag the slider that appears left or right to change the position e Click the text in the Position value slider then type a new value Chapter 10 Working With Automation To change the units shown in the Position value slider Choose the units you want to show from the pop up menu next to the Position value slider To copy the value of the previous envelope point 1 With the Details tab active select the envelope point to which you want to copy the value 2 In the Details tab click Copy From Previous Point To copy the value of the next envel
11. Click the name Untitled and type a name for the preset Chapter 9 Working With Audio Effects 217 To apply an effect preset 1 Select the preset you want to apply from either the Factory Preset or User Preset list in the Presets drawer 2 Click the Load Preset button To adjust effect preset parameters Adjust the controls in the advanced settings window for the preset To delete a preset 1 Select the preset in the Presets drawer 2 Click the Delete Preset button To hide the Presets drawer Click the Hide Presets button in the advanced settings window 218 Chapter 9 Working With Audio Effects Working With Automation Using automation you can create changes over time to volume pan effects and other controls Automation offers a powerful way to add drama and interest to your projects You can automate volume and pan changes to tracks busses and outputs and automate changes to effect and effect send parameters in multitrack projects You can also automate volume pan and effects changes in audio file projects Soundtrack Pro gives you three ways to work with automation You can add and adjust envelope points on envelopes in the Timeline and in the Waveform Editor You can record changes to sliders faders and other controls in the Timeline the Mixer and the Effects tab You can record movements to controls on a control surface connected to your computer and mapped to Soundtrack Pro commands a
12. Soundtrack Pro To view the user manual click a topic in the drawer on the side Otherwise click a link below Late Breaking News Soundtrack Pro Support Soundtrack Pro on the Web Apple Training Centers Feedback Apple Computer Inc 2005 Apple Computer Inc All rights reserved Under the copyright laws this manual may not be copied in whole or in part without the written consent of Apple Your rights to the software are governed by the accompanying software license agreement The Apple logo is a trademark of Apple Computer Inc registered in the U S and other countries Use of the keyboard Apple logo Option Shift K for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws Every effort has been made to ensure that the information in this manual is accurate Apple Computer Inc is not responsible for printing or clerical errors Apple Computer Inc 1 Infinite Loop Cupertino CA 95014 2084 408 996 1010 www apple com Apple the Apple logo AppleScript DVD Studio Pro iTunes Final Cut Final Cut Pro FireWire Logic Mac Mac OS Macintosh QuickTime and Soundtrack are trademarks of Apple Computer Inc registered in the U S and other countries Finder is a trademark of Apple Computer Inc Apple Care is a service mark of Apple Computer Inc registered in the U S and other countries
13. The Toolbar is located at the top of the Project window When you first open Soundtrack Pro the Toolbar includes buttons for creating a new project creating a new audio file showing the Mixer and the Utility window managing layouts adding markers and other common functions You can customize the Toolbar adding buttons for functions you want to access frequently For information about customizing the Toolbar see Customizing the Toolbar on page 49 annA Untitied a A T a 8 6B m New Project New Audio File New Track Add Time Marker Add Beat Marker Fitin Window Crossfade fadein Fade Out Inspectors Mixer Layouts meS Transport Controls You use the transport controls to control playback set the position of the playhead start recording and activate the playback region Play from Beginning Go to Beginning Cycle Record Play Go to End MIDI Sync Record button Starts and stops the recording process Play from Beginning button Starts playback from the beginning of the project Go to Beginning button Moves the playhead to the beginning of the project or to the beginning of the playback region if it is active Play Pause button Starts playback at the current playhead position If the project is playing stops playback Go to End button Moves the playhead to the end of the project or to the end of the playback region if it is active Cycle button Activates the playback region if one is
14. To replace the source audio file for a clip 1 In the Timeline select the clip for which you want to replace the source audio 2 Do one of the following e In the Media and Effects Manager select the audio file you want to replace the selected clip s audio with then choose Clip gt Replace Selected Loops With filename In the Media and Effects Manager Control click the audio file you want to replace the selected clip s audio with then choose Replace Selected Loops With filename from the shortcut menu e e e Bin Browser Favorites Search Bin Effects Files used In Project Name 2 What is this LZ Appl FX 01 2 Applause Fx 05 Cafe sounds 01 Door opening Espresso machine 2 intro voiceover Master shot Debra 1 CU Scene 1 Debra dialog dialog tart Fil Street noise Add to Favorites Open in Editor Open in Apple Loops Utility Reveal in Finder Reveal in Browser Show File Information Remove Unused O Tips with Scene 1 Jack d aios Select All Occurrences of Scene 1 Jack dialog ja EET aah ok 14 items then choose the replace option in the shortcut menu When you replace the source audio in a clip the clip s duration and offset stay the same Only the portion of the new source audio file equal to the clip s length plays If the new source audio file is shorter than the clip s le
15. You can set the envelope point to the same value as the previous or next envelope point on the envelope from the shortcut menu Changing the Position of Envelope Points Numerically You can change the position of an envelope point in the Timeline numerically To change the position of an envelope point numerically Control click the envelope point then choose Set Position from the shortcut menu In the dialog that appears click the left or right arrow click the center of the value slider and drag left or right or double click the value slider and type a new position The envelope point moves to the new position Chapter 10 Working With Automation 223 224 Viewing and Editing Envelope Point Details You can also view and edit the value position and other details for an envelope point in the Details tab To view envelope point details In the Utility window click the Details tab Select the envelope point for which you want to view details The details for the envelope point appear in the Details tab including its value and position You can edit the value and position in the Details tab change the format for the position and copy the value of the previous or next envelope point if one exists fo e e Details Video Recording Meters Details Position 00 00 05 00 gt HH MM SS 3 Value 8 42 Minimum value 96 Maximum value 6 _ Copy from Previous Point
16. advanced settings window have an Advanced button at the top of the Effect Parameters area in the Effects tab ADD Street scene 3 Scene 3 start dialog Expander Advanced settings windows can contain different kinds of controls To show the advanced settings window for a realtime effect do one of the following In the Effects tab click the Advanced button for the effect n the Mixer double click the effect name In the Mixer Control click the effect name then choose Show effect name Advanced Settings When you show an advanced settings window you can adjust the effect s parameters by moving the controls in the window Each advanced settings window may have unique controls in addition to sliders buttons and value fields To adjust advanced effect controls 1 In the advanced settings window drag the sliders type text and operate the controls 2 Click Apply Chapter 9 Working With Audio Effects 215 216 Working With Processing Effects You can apply processing effects to an audio file or a selected part of a file in the Waveform Editor In the Waveform Editor you apply a processing effect by choosing the effect from the Effects submenu of the Process menu as described in Applying Actions on page 171 Processing effects are applied as actions and appear in the Actions menu of the Waveform Editor You can reorder processing effects turn them on or off and perform all of the operations for actions d
17. amp Text from the shortcut menu In the Customize sheet choose Icon amp Text from the Show pop up menu To dismiss the Customize sheet When you are finishing customizing the Toolbar click Done To hide the Toolbar Choose View gt Hide Toolbar When the Toolbar is hidden the menu item becomes Show Toolbar Playing Projects You can play both multitrack and audio file projects as you work so you can hear the audio in the project along with the changes you ve made To play the project Click the Play button in the transport controls or press the Space bar Click the Play button or press the Space bar again to stop playback As the project plays the playhead shows the point in the project currently playing Soundtrack Pro lets you set the playhead and control playback of your projects in several different ways You can use the transport controls or keyboard commands to start and stop playback and set the playhead to different points in time You can also set a playback region to repeat playback of a specific part of the project Chapter 3 Getting Started With Soundtrack Pro Setting the Playhead The playhead appears as a thin black line running vertically through the Timeline in multitrack projects and through the waveform display in audio file projects Where it crosses the Time ruler the top of the playhead has a triangular handle that makes it easier to see its position onscreen and drag the playhead To set the playh
18. d Choose a bit depth for the exported file from the Bit Depth pop up menu Choose a sample rate for the exported file from the Sample Rate pop up menu Type a name for the exported file and browse to the location where you want to save the file Click Export Remember that you can create as many mixes of your project as you like by muting tracks adjusting controls effects and envelopes and then exporting each version as a separate mix Exporting Selected Tracks Busses and Outputs You can export selected tracks busses or outputs in a project When you export selected tracks busses or outputs each is exported to a stereo AIFF file The output file is given the same name as the track bus or output being exported You can also export a track bus or output to a pair of mono files in this case the letter L is appended to the filename of the left mono file and the letter R is appended to the right mono file Chapter 13 Exporting Multitrack Projects To export individual tracks busses or outputs 1 In the Timeline or the Mixer select the tracks busses or outputs you want to export then choose File gt Export gt Export Selected item The item shown in the menu changes depending on whether tracks busses or outputs are selected If nothing is selected each unmuted track bus and output in the project is exported as an individual AIFF file 2 In the Export dialog choose the sample rate for the exported
19. interprets it as 00 00 01 23 This stands for 1 second and 23 100 of a second e If you enter 0 12 34 Soundtrack Pro interprets it as 00 00 12 34 This stands for 12 seconds and 34 100 of a second You can select only part of the position in the Time display and enter a new number for that position For example you can select only seconds or minutes and seconds The other categories keep their present values You can enter a time position in timecode format in a way similar to the way you enter timecode in Final Cut Pro Entering Beats Based Units When you set the playhead by entering a Beats based position in the Time display you enter periods between numbers to separate measures beats and beat divisions Soundtrack Pro fills out the digits in the beat division category with zeros For example e If you enter 123 Soundtrack Pro interprets it as 123 1 000 This stands for the 123rd measure 1st beat with no added beat divisions e If you enter 12 3 Soundtrack Pro interprets it as 12 3 000 This stands for the 12th measure the 3rd beat with no added beat divisions e If you enter 1 2 3 Soundtrack Pro interprets it as 1 2 300 This stands for the 1st measure the 2nd beat and 300 1000ths of a beat because each beat division is 1 1000 of a beat You can select only part of the position in the Time display and enter a new number for that position For example you can select only measures or measures and beats The other cate
20. options and Timeline defaults for new multitrack projects A General amp Lam 2 General Project Recording Synchronization Control Surfaces Video Out Startup Open C Last Project New Project Timeline Double Clicking Clip Opens New audio file project CO Existing audio file Scrollwheel Zooms at playhead J Use ellipses in clip names Automation Recording Sensitivity oh JL ee High Low Scratch Location Macintosh HD private tmp 501 Temporaryitems Startu These PETR let you set the startup behavior when you open Soundtrack Pro Open Last Project button Reopens the last project on startup e Open New Project button Creates a new blank multitrack project on startup This is the default behavior Timeline These preferences let you set the default Snap To value default track height and other aspects of the Timeline e Double clicking Clip Opens New audio file project When selected double clicking a clip in the Timeline creates a new audio file project for the clip Double clicking Clip Opens Existing audio file When selected double clicking a clip in the Timeline opens the audio file in the Waveform Editor Use ellipses in clip names checkbox When selected clips in the Timeline with long names are center truncated with an ellipsis Use ellipses in clip names is deselected by default Note Selecting Use ellipses in clip names can i
21. see Changing Track Time Format on page 104 Sample Rate The project sample rate determines the number of samples per second Soundtrack Pro uses for audio playback and export When you add audio files to your project their sample rate is matched upsampled or downsampled on the fly to the project sample rate The available sample rates are 32 kHz 44 1 kHz 48 kHz 88 2 kHz and 96 kHz The default is 44 1 kHz which is the standard for CD quality audio recording Note Digital video projects including video for DVD often use a 48 kHz sample rate When creating a score for a video be sure you save and export your project at the same sample rate the final video project will use To set the sample rate Choose the sample rate from the Sample Rate pop up menu J Afai G Sample Rate pop up menu Note If you open your project on a computer that cannot support the project sample rate the project is resampled to the nearest rate the hardware supports for playback When you export your project it is exported at the project sample rate regardless of hardware limitations For more information on hardware sample rates see Chapter 1 Setting Up Your System on page 13 Chapter 4 Working With Multitrack Projects 83 84 Tempo The tempo sets the rate of the basic beat value for the project When you add looping files to a project their tempo is matched to the project tempo The tempo range is from 60 to 200 beats per minut
22. the Position field Control click the marker handle choose Edit from the shortcut menu then type a new position in the Time field You can also select and drag multiple markers When you move a marker by dragging the marker s position snaps to the nearest Snap To position if snap is turned on For information on setting the Snap To value see Creating Crossfades Between Audio Clips on page 111 Chapter 5 Working in the Timeline 121 Deleting Markers To delete a marker Click the marker handle to select the marker then choose Edit gt Delete or press Delete You can t delete Final Cut Pro scoring markers in Soundtrack Pro 122 Chapter 5 Working in the Timeline Working in the Mixer The Mixer gives you the tools to create sophisticated mixes for your projects When you have added audio clips to your project and placed them in the Timeline you mix the project Mixing is where you balance different elements such as dialogue music and sound effects bring focus to key moments and events in the project and create a sense of perspective by placing sounds in space When you finish mixing you have one or more final mixes that you can export eve Mixer Street scene 3 ove CED CEAD CEO EAD C 75 wife o AG 179 Vf 28 A 0 Fil ile 0 E 4 79 cao ocam oam oam oao am Gm Aee E ea Truck d Bus
23. 9 Working With Audio Effects on page 195 To show the envelopes for a track bus or output Click the envelopes disclosure triangle in the header for a track bus or output Click the disclosure triangle again to hide the envelopes The envelopes appear below the track in the Timeline Note If you automate controls or effects using envelopes you hear the results whether or not the envelopes are visible For information on automating changes to volume pan and other settings see Chapter 10 Working With Automation on page 219 Removing Tracks Busses and Outputs You can remove a track bus or output if you decide you no longer want it in a project To remove a track bus or output do one of the following Select the track bus or output then choose Multitrack gt Remove item or press Commanc Shift T Control click in the track bus or output then choose Remove item from the shortcut menu The item changes depending on whether a track bus or output is selected Chapter 5 Working in the Timeline Editing Audio Clips in the Timeline You can edit audio clips in a variety of ways in the Timeline You can select cut copy and paste clips move resize transpose split and join them and edit them in other ways Selecting Audio Clips You select the audio clips you want to edit You can select a single clip or multiple clips including clips in different tracks When you select a clip it a
24. DVD Studio Pro clips in 260 editing Final Cut Pro clips in 253 255 editing Motion audio tracks in 258 259 moving between selections 157 opening projects 144 145 overview 31 33 playing audio file projects in 152 processing audio files in 161 170 recording audio in 240 241 Sample units 149 saving projects 146 148 scripting actions in 181 scrubbing audio files in 153 scrubbing projects selections in 54 selecting channels in 155 156 selecting parts of audio files 154 156 159 selection details 44 supported audio formats 144 Time Ruler units 148 using markers in 181 using Timeline controls in 153 views 150 152 working with actions 170 176 zooming in out 149 150 waveforms clip offset and 117 frequency of 165 inserting in audio 165 length of 165 Waveform view button 32 WAV files 56 144 263 278 websites AppleCare Support 295 Apple homepage 11 Apple Service and Support 10 Apple Store 11 Index Apple websites 11 FireWire 11 QuickTime 11 Soundtrack Pro 10 wet signal 203 white noise 164 windows 23 44 closing 47 keyboard shortcuts 279 280 minimizing to Dock 47 moving 47 resizing 47 workspace setting up 47 50 X XLR cables 17 XLR connectors 17 Z Zoom control 28 95 96 149 zooming in out on analyzed problems 180 with scroll wheel 96 149 waveform display 160 Waveform Editor 149 150 with Zoom control 95 96 Zoom tool 160 311
25. Different spaces have different amounts of predelay which helps tell our ears how large the space is Longer predelay settings also help separate the original dry signal from the effected wet signal making it sound clearer and sometimes larger e Early reflections The first echoes to arrive from the surrounding surfaces in a space are determined by the size and shape of the space and tell our ears what type of space it is e Diffusion Lets you set the number of the echoes in the reverb Hall reverbs typically have low diffusion settings while plate reverbs typically have high diffusion settings Chapter 9 Working With Audio Effects 203 204 e High frequency and low frequency reverb time These parameters let you specify the decay of higher and lower frequencies separately Different surfaces such as wood floors and concrete walls absorb high and low frequencies at different rates and these parameters let you simulate the sound of different environments more closely e Reverb envelope Lets you control how much the volume of the reverb changes over time In natural acoustic situations the reverb echoes decay gradually over time You can re create this gradual decay or gate the reverb so that it cuts off more abruptly Meters and Diagnostic Effects Diagnostic effects help you analyze and clean up audio in a variety of ways Each type of diagnostic effect provides a different way to look at an audio clip or file
26. Drag the Clipboard Level slider to set the mix level of the pasted audio Optionally you can crossfade the pasted audio by selecting the Crossfade In and Out Points checkbox and typing crossfade values in milliseconds in the Fade In Length and Fade Out Length fields Click OK The cut or copied audio is mixed with the existing audio You can also paste repeat in the Waveform Editor When you paste repeat the cut or copied audio is pasted the number of times you specify in succession so that each copy starts at the end of the previous one To paste repeat in the Waveform Editor Set the playhead to the point where you want to paste the audio Choose Edit gt Paste Special then choose Paste Repeat from the submenu In the Paste Repeat sheet type the number of copies you want to paste in the field Click OK The copies are pasted starting at the playhead position The audio after the playhead in the file moves to accommodate the pasted audio and the file lengthens by the pasted amount Chapter 7 Working in the Waveform Editor Graphically Editing Audio Files The Waveform Editor includes four waveform editing tools you can use to graphically edit the audio file in the waveform display Selection Tool You can use the Selection tool to select part of an audio file as described in Selecting Part of an Audio File on page 154 When you open the Waveform Editor the pointer is a selection pointer arrow When you are done usin
27. Finder Multitrack projects and audio file projects appear as tabs in the Project window Multitrack Projects Multitrack projects let you arrange audio clips in tracks in the Timeline and synchronize them to a video clip You add clips to the Timeline from the Media and Effects Manager or from the Finder and can also record audio directly into tracks Each track has controls you can use to adjust volume and pan mute or solo the track add effects and adjust effect parameters The Timeline also includes busses and outputs with similar controls You can automate volume pan and other controls using envelopes in the Timeline You mix a multitrack project in the Mixer which features a channel strip for each track bus and output in the Timeline You can adjust volume and pan mute and solo channel strips record audio and record automation in the Mixer As you work on a multitrack project you can view it in both the Timeline and the Mixer and switch between the two 45 46 You can export a project mix to an audio file which you can import into Final Cut Pro or another application You can also export selected tracks busses and outputs or export a project using the Compressor application For information about creating saving and working with multitrack projects see Chapter 4 Working With Multitrack Projects on page 81 For information about working in the Timeline see Chapter 5 Working in the Timeline on page
28. Formats You can add AIFF WAV MP3 and AAC except protected AAC files to a project You can also add QuickTime mov audio files You can import audio files with any combination of the following sample rates and bit depths Sample Rates e Any sample rate from 8 kHz to 192 kHz Bit Depths e 8 bit e 16 bit 24 bit 32 bit both integer and floating point Note Files with lower bit depths or sample rates do not have the same playback quality as do higher rate formats Chapter 3 Getting Started With Soundtrack Pro Looping and Non Looping Files Soundtrack Pro supports two types of audio files looping and non looping files Most audio files are non looping files unless they contain tags for tempo key and other information Many of the Apple Loops that come with Soundtrack Pro as well as other tagged audio files can be looping files Looping files may contain music rhythmic sounds or other repeating patterns You can resize a looping file to fill any amount of time Looping files adjust to the project tempo and key letting you use loops recorded in different keys and at different tempos in the same project Non looping files do not adjust to the project tempo and key You can shorten or lengthen a non looping file but lengthening it beyond the size of the original file adds only silence to the lengthened part You can search for non looping files in the Search tab using the Search text field Both looping and non loopi
29. Getting Started With Soundtrack Pro 66 To add a directory to the Search database 1 Click the Setup button at the top of the Search tab Click here to display the Setup dialog Banjo Cheerful 68 Bass Acoustic 36 Beats Acoustic Guitar 4 Bell Bass 32 Cheerful Clean 68 Cinematic Country Folk 31 Clave Drum Kit 31 2 In the Setup dialog click the Add Directory button Click the Add Directory status tate button then select a directory to add _ Use Directories being indexed Size Macintosh HD Library rageBand Apple Loops 2621 indexed Macintosh HD Users gary projects Dialog clips 8 indexed Macintosh HD Users ts Sound Effects 13 indexed Click here to index 3 the directory index now Sion indexing 3 In the file dialog navigate to the directory you want to add then click Open The directory appears in the list in the Setup dialog You can resize the Search dialog if you need to see more items in the list 4 Select the directory in the list then click the Index Now button Note Indexing a large collection of files may take several minutes The bottom of the Add Directory dialog displays the progress of the directory being indexed If you need to interrupt the indexing process click the Stop Indexing button You can re index the directory later You can deselect items you do not
30. Other Applications Using Apple Loops Utility What Is Apple Loops Utility The Apple Loops Utility Interface Opening Files in Apple Loops Utility Tagging Files in Apple Loops Utility Working With Transients Saving Changes to Files Removing Files From the Assets Drawer Apple Loops Utility Preferences Apple Loops Utility Keyboard Shortcuts Contents Appendix B Appendix C Appendix D Index 279 279 279 280 281 281 282 282 283 284 284 285 287 287 289 293 294 295 297 Soundtrack Pro Keyboard Shortcuts General and File Windows Tabs and Layouts Project Playback and Setting the Playhead General Editing Editing Audio Clips in the Timeline Adjusting Audio Clips in the Timeline Navigating in the Timeline Editing Audio Files in the Waveform Editor Tracks and Markers Video Out Recording Audio Basics Basic Audio Concepts Recording Sound Solutions to Common Problems and Customer Support Solutions to Common Problems Calling AppleCare Support Contents An Introduction to Soundtrack Pro Preface Soundtrack Pro gives you the tools you need to create high quality soundtracks for your video productions Recent years have seen a revolution in working with digital audio matching the revolution in digital video editing and postproduction Now using a personal computer with a fast processor and enough RAM video editors and other creative professionals can manipulate the audio for their vi
31. Selected area Some actions can only be applied to a selection The selection can contain the entire audio file 154 Chapter 7 Working in the Waveform Editor To select the entire audio file Choose Edit gt Select All You can select one channel left or right of a stereo audio file and apply actions to only the selected channel You can also select only part of one channel To select the left channel of an audio file 1 Move the pointer near the upper edge of the waveform display The pointer changes to the letter L 2 Drag the pointer to select the part of the left channel you want to work with Left channel selected As you drag the right lower channel of the audio file becomes darker in the waveform display You can also double click in the upper part of the waveform display to select the entire left channel Chapter 7 Working in the Waveform Editor 155 156 To select the right channel of an audio file 1 Move the pointer near the lower edge of the waveform display The pointer changes to the letter R 2 Drag the pointer to select the part of the right channel you want to work with ies B Right channel selected As you drag the left upper channel of the audio file becomes darker in the waveform display You can also double click in the lower part of the waveform display to select the entire right channel
32. Set the time position of the selected marker Measure in pop up menu Choose the units for setting the marker position Envelope Point Details Position value slider Set the time position of the selected envelope point e Value value slider Set the value of the selected envelope point e Measure in pop up menu Sets the units shown in the Position value slider Copy from Previous Point button Set the value of the selected envelope point to the value of the preceding one in the envelope e Copy from Next Point button Set the value of the selected envelope point to the value of the next one in the envelope Waveform Editor Selection Details e Measure in pop up menu Sets the units shown in the Beginning End and Duration value sliders e Beginning value slider Set the start position of the selection End value slider Set the end position of the selection e Duration value slider Set the duration length of the selection Chapter 2 The Soundtrack Pro Interface Getting Started With Soundtrack Pro This chapter describes the two kinds of projects you can create in Soundtrack Pro and describes how to work with windows use layouts play projects and set Soundtrack Pro preferences Two Kinds of Projects You can use Soundtrack Pro to create and work with two kinds of projects multitrack projects and audio file projects The two project types have different project properties and appear with different icons in the
33. Surface Type Mackie Control Input Connection MT4 Port 1 Output Connection MT4 Port 1 Control Surface Buttons 3 Choose the type of control surface you are adding from the Control Surface Type pop up menu 4 Choose the MIDI input port to use for the control surface from the Input Connection pop up menu 5 Choose the MIDI output port to use for the control surface from the Output Connection pop up menu 6 Click the Close button to dismiss the Preferences window You can delete a control surface if you decide you don t want to use it any longer To delete a control surface 1 Choose Soundtrack Pro gt Preferences then click the Control Surfaces button 2 Select the control surface in the Control Surfaces display area 3 Click the Delete button 244 Chapter 12 Using Control Surfaces With Soundtrack Pro Premapped Controls When you connect a control surface many controls are premapped to work with specific Soundtrack Pro buttons and commands Premapped controls include the following Control Soundtrack Pro button or command Channel strip volume faders Track volume slider Channel strip rotary knobs Track pan slider Channel strip record ready Track Record Enable button buttons Channel strip select buttons Select the track Channel strip mute buttons Track mute button Channel strip solo buttons Track solo button Transport controls Transport controls Move back Move forward Pla
34. Timeline ew position in the Timeline Drag a clip up or down to move it to a different track 109 110 To move an audio clip to a new track Drag the clip up or down to a different track You can also move an audio clip using the Left and Right Arrow keys with various modifier keys Using the Option key with the Arrow keys moves the clip by one pixel at a time using the Option and Shift keys with the Arrow keys moves the clip to the next gridline in the Timeline When you move a clip by one pixel the amount the clip moves in time depends on the current zoom setting To nudge an audio clip in pixel increments Hold down the Option key while you press the Left or Right Arrow key To nudge an audio clip to the next gridline Hold down the Option and Shift keys while you press the Left or Right Arrow key Snapping Clips to Clips on Adjacent Tracks If snap is turned on you can snap a clip to the edges of a clip in an adjacent track the track either directly above or directly below the track containing the clip This is especially useful when the start and end points of clips do not fall on the current Snap To value To snap a clip to adjacent clips Choose View gt Snap To gt Adjacent Tracks Resizing Audio Clips You control the duration of an audio clip the amount of time the clip plays back by resizing the clip When you add a clip to the Timeline the clip has the same duration as the source audio file You can sho
35. When you play a selected left or right channel the audio from that channel plays in both the left and right output channels of the output The other channel is not heard If you have added time or beat markers to an audio file project you can select the area between two markers To select the area between two markers Double click the waveform display in the area between the two markers If there are additional markers you can expand the selection by dragging toward them Chapter 7 Working in the Waveform Editor Moving Between Selections You can select different areas of the audio file to apply different actions or to play different areas Any selection can include the same part of an audio file as another selection As you work on the audio file you can move back and forth between selections Waveform View button Sii Next Selection button To move to the previous selection Click the Previous Selection button above the waveform display The previous selection becomes the current selection The selection area appears darker than the rest of the waveform To move to the next selection Click the Next Selection button above the waveform display The next selection becomes the current selection The selection area appears darker than the rest of the waveform Cutting Copying and Pasting in the Waveform Editor You can cut copy and paste audio in the Waveform Editor Cutting copying and pasting can change the leng
36. With main voice tracks still soloed solo the other dialogue ADR and voiceover tracks one at a time and adjust volume and pan relative to the main voice tracks Add any processing if needed Step 3 Mix background tracks With the previously mixed tracks still soloed solo the background tracks one at a time and adjust volume and pan relative to the other tracks Add any processing if needed Step 4 Make changes to the overall mix Once you have mixed all the individual tracks in your project add any EQ compression or other processing to the overall project Adjust the overall volume to an appropriate level and remove any clipping before exporting the project Chapter 6 Working in the Mixer Working With Channel Strips in the Mixer The Mixer features a series of vertically arranged controls called channel strips like the channel strips in a hardware mixing console The channel strips in the Mixer correspond to the tracks busses and outputs in the project Timeline Channel strip The controls a channel strip contains depend on whether it is a track bus or output channel strip The controls for each type are as follows Track channel strips Bus channel strips Output channel strips Drag handle Drag handle Drag handle Icon Icon Icon Effects slots Effects slots Effects slots Output pop up menu Output pop up menu Output pop up menu Pan slider and value slider Pan slider and value slider
37. a clip you can name the clip choose where to save it and save it as either a looping or non looping file To save a recorded clip Do one of the following e Select the clip in the Timeline then choose Clip gt Save Clip As e Control click the clip in the Timeline then choose Save Clip As from the shortcut menu In the Save As dialog type a name for the clip and browse to the location where you want to save it Select the Looping button to save the clip as a looping file or click the Non looping button to save the clip as a non looping file Click Save You can use Apple Loops Utility a companion application included with Soundtrack Pro to add tags to your saved recordings to make them easier to find using the Search tab in Soundtrack Pro Chapter 11 Recording Audio in Soundtrack Pro 239 Recording Audio in the Mixer You can record audio in the Mixer in a similar way to recording audio in the Timeline You can record a single take or record multiple takes If you want to record multiple takes using a playback region you must set the playback region in the Timeline before you start recording in the Mixer To record audio in the Mixer you follow the procedures described in Recording Audio in the Timeline on page 236 with the following differences e To enable a track for recording in the Mixer click the Record Enable button the red circle in the track s channel strip e In the Mixer you can set the playhea
38. a mono mix can also help identify phase issues that can occur when a stereo project is played in mono Soundtrack Pro makes it easy to listen to a temporary mono mix of the project so you can hear how it will sound in mono To listen to a temporary mono mix Start the project playing While the project plays press and hold the Mono Mix button located to the right of the master volume slider below the Mixer c Mono Mix button The Mono Mix button becomes darker to indicate that it is active When you are finished listening to the temporary mono mix release the button to hear the project mix Recording Audio in the Mixer You can record audio while working in the Mixer When you record audio in the Mixer recording starts from the current playhead position Although the playhead is not visible in the Mixer you can set the playhead position using the transport controls or the Playhead Position value slider located at the bottom of the Project window For more information about recording see Chapter 11 Recording Audio in Soundtrack Pro on page 235 Recording Automation in the Mixer You can record automation for volume and pan changes in the Mixer You record automation in the Mixer by choosing either Touch or Latch automation mode in the project controls then changing volume or pan settings as the project plays You can record automation either using the onscreen volume and pan controls or using a control surface connected to y
39. active Appendix A Using Apple Loops Utility 275 276 Key and Scale Type Tagging Key command Function Turns on keyboard tagging esc Sets the key to A m Sets the key to A A sharp Sets the key to B Sets the key to C Sets the key to C C sharp fo Sets the key to D 2 Sets the key to D D sharp Sets the key to E Sets the key to F Gs Sets the key to F F sharp Sets the key to G oa Sets the key to G G sharp Sets the scale type to Major ire Sets the scale type to Minor le Sets the scale type to Both Sets the scale type to Neither Appendix A Using Apple Loops Utility Descriptor Tagging For the following descriptor keyboard shortcuts pressing the key once selects the first left item pressing the key again selects the second right item and pressing the key a third time selects Neither the center button Key command Function C Single Ensemble Part Fill C Acoustic Electric Dry Processed CJ Clean Distorted Cheerful Dark C Relaxed Intense CJ Grooving Arrhythmic Melodic Dissonant Sets Batch Tagging to All E Sets Batch Tagging to None a Appendix A Using Apple Loops Utility 277 Transients Key command Function E Increases sensitivity g Decreases sensitivity Increases sensitivity five times E Decreases s
40. ae General Project Recording Synchronization Control Surfaces Video Out Input Default Monitor None A Latency Compensation 1 00 milliseconds Sessions Location Macintosh HD Soundtrack Pro projects e Input pop up menu Displays the available devices for audio input Choose an input device from the pop up menu e Monitor pop up menu Displays the available devices for monitoring audio output Choose an output device from the pop up menu e Latency Compensation slider Sets the amount of latency compensation in milliseconds If recorded audio is late drag the slider right If the recorded audio is early drag the slider left For information on eliminating latency see Eliminating Recording Latency on page 294 e Sessions Location display Displays the default location to which recording sessions are saved You can set the save location by clicking the Choose button and navigating to a new location Chapter 3 Getting Started With Soundtrack Pro 77 Synchronization Preferences These preferences let you specify synchronization settings OAA Synchronization m 2 ey General Project Recording Synchronization Control Surfaces Video Out Input F Sync To MIDI Clock M sync To MIDI Time Code Output MIDI Clock None B V MIDI Clock Virtual MIDI Device MIDI Time Code None 3 V MIDI Time Code Virtual MIDI Device Frame Rate 30 29 97 Drop
41. affect the file s tags only the playback of the selected file Go to Beginning button Stop button Tempo slider Play button Volume slider Go to Beginning button Starts playback from the beginning of the selected file e Play button Plays back the selected file Stop button Stops playback of the selected file Key pop up menu Transposes the selected file to a new key for playback e Tempo slider Sets the playback tempo of the selected file You can also enter a value in the field e Volume slider Sets the playback volume of the selected file You can also enter a value in the field When multiple files are selected the playback controls are not available You cannot play more than one file at a time There are two additional buttons at the bottom of the window the Assets button and the Save button e Assets button Shows and hides the Assets drawer e Save button Saves your changes to the currently selected files in the Assets drawer Appendix A Using Apple Loops Utility Opening Files in Apple Loops Utility You can open audio files from within Apple Loops Utility or directly from a Soundtrack Pro project You can have up to 2000 files open at the same time When you open files in Apple Loops Utility the files are displayed in the File list of the Assets drawer To open an audio file in Apple Loops Utility do one of the following Choose File gt Open then select the file in the Open d
42. again to unsolo the track bus or output When you solo tracks busses or outputs the ones not soloed appear darker in the Timeline Chapter 5 Working in the Timeline 103 104 Changing Track Time Format By default tracks use the same time format as the project Time based or Beats based You can change the time format of a track which changes the behavior of tagged clips when you change the project tempo When the track time format is Time based clips remain at the same time position the same second or frame when you change the project tempo When the track time format is Beats based clips remain at the same beat position the same measure beat and beat division when you change the project tempo When you set a track to Beats based time format a metronome appears in the corner of the track icon To change a track s time format Select the track Choose Multitrack gt Track Time Base then choose a format from the submenu Adding Effects to a Track Bus or Output Clicking the Effects button in the header for a track bus or output displays the Effects tab which you use to add effects The Effects tab also displays any effects currently assigned to the track bus or output To add effects to a track bus or output 1 Click the Effects button in the header for the track bus or output Click the Effects button to show the Effects tab Chapter 5 Working in the Timeline Select the category of effe
43. an audio file project in the same way as in a multitrack project Markers can be useful for indicating where a specific sound cue or event begins or ends in the audio file They can also be useful for indicating an area of an audio file you want to time stretch When an audio file project has two or more markers you can select the area between two markers by double clicking in the waveform display For more information see Selecting Part of an Audio File on page 154 For information about inserting naming moving and deleting markers see Working With Markers on page 119 Scripting Actions in the Waveform Editor You can save a series of actions in the Waveform Editor as an AppleScript droplet and use the droplet to modify other audio files You can apply the actions in a saved droplet while you are working in Final Cut Pro using the Send To shortcut menu You can also drag files or folders onto a droplet making it easy to batch process files You can edit the droplet in the AppleScript Script Editor to adjust action settings This is especially helpful when you want to apply the same series of actions to multiple files or when you want to apply actions repeatedly changing one or several settings each time You can apply a droplet to another audio file or group of files by dragging files or folders containing a group of files onto the droplet To save a series of actions as a droplet Open an audio file in the Waveform Ed
44. and each has a unique set of parameters These effects are available only as realtime effects in the Effects tab and the Mixer not as processing effects Correlation Meter The Correlation meter displays the phase relationship of a stereo signal A correlation of 1 plus one the far right position means that the left and right channels correlate 100 that is they are completely in phase A correlation of 0 zero the center position indicates the widest permissible left right divergence often audible as an extremely wide stereo effect Correlation values less than zero indicate that out of phase material is present which can lead to phase cancellations if the stereo signal is combined into a monaural signal MultiMeter The MultiMeter combines the functions of the Level Meter and Correlation Meter as described above with several other analysis tools A Spectrum Analyzer e A Goniometer for judging the phase coherency in the stereo sound field The control panel to the left of the display allows you to switch between the Analyzer and Goniometer and contains parameter controls for the MultiMeter The Stereo Level and Correlation Meter are always visible Chapter 9 Working With Audio Effects Spectrum Analyzer The Spectrum Analyzer divides the audio signal into 31 independent frequency bands Each frequency band represents one third of an octave The filter curves comply to IEC document 1260 You turn on the Spectrum Analy
45. appear darker in the Mixer To select a channel strip do one of the following Click the drag handle at the top of the channel strip Click any empty part of the channel strip You can select multiple channel strips in the Mixer To select adjacent channel strips Shift click the channel strips you want to select To select nonadjacent channel strips Command click the channel strips you want to select Chapter 6 Working in the Mixer Reordering Channel Strips You can change the order of channel strips in the Mixer When you open the Mixer the order of channel strips corresponds to the order of tracks busses and outputs in the Timeline Because channel strips are oriented horizontally in the Mixer top to bottom order in the Timeline corresponds to left to right order in the Mixer Reordering channel strips in the Mixer also changes their order in the Timeline In the Mixer as in the Timeline channel strips of the same type track bus or output are grouped together You can reorder a channel strip within its own group but cannot move it to a group of a different type You can only move one channel strip at a time To reorder a channel strip Drag the channel strip by its drag handle left or right to a new position Copying Channel Strips You can copy channel strips in the Mixer You can copy a channel strip within its own group but cannot copy it to a group of a different type You can only copy one channel strip at a time
46. audio file projects sent from Final Cut Pro or Motion and for reference movies the original source media file whether video or audio is not saved in the project by default but instead a reference to the media file is saved You can save the source media file in the project Saving the source media file in the project allows you to move the project to another computer or storage device and continue working but can significantly increase project size To collect the original source media in the project In the Save As dialog select the Collect Source File checkbox You can save a project to any of the audio file formats listed in Supported Audio File Formats on page 144 except MP3 and AAC To save a project as an audio file Choose File gt Save In the Save dialog type a name for the file and browse to the location where you want to save it Choose the file type for the project from the File Type pop up menu The available choices in the Save dialog change depending on whether you choose Audio File Project or an audio file format as the file type Choose the bit depth for the project from the Bit Depth pop up menu Choose the sample rate for the project from the Sample Rate pop up menu Optionally select the Dither checkbox to dither the file Dithering is useful when saving a project at a lower bit depth or sample rate In general you should dither a project only when saving it as an audio file and only when you have fin
47. audio interface you should connect the interface directly to the computer rather than connecting it through a hub or daisy chaining it through another device Connecting an audio interface through a hub or an intermediary device can cause an unacceptable amount of latency particularly with slower protocols such as USB Soundtrack Pro supports input from digital audio interfaces up to a maximum sample rate of 96 kHz and a maximum bit depth of 24 bits If you connect an interface that uses sample rates or bit depths outside the range supported by Soundtrack Pro an alert message appears telling you that data from the audio interface is not compatible with the application Chapter 1 Setting Up Your System 15 16 FireWire IEEE 1394 FireWire is a professional and consumer standard for both audio and video equipment The combination of fast data transfer rates high storage capacities and plug and play connection makes FireWire an attractive choice for working with digital audio files FireWire is included on all current Macintosh computers and a number of FireWire audio interfaces are available There are two kinds of FireWire connectors a 4 pin connector typically found on video equipment and a 6 pin connector used for computer and audio equipment F Eal USB Universal Serial Bus USB is a consumer standard used on computer peripherals and other devices USB offers a lower data transfer rate than FireWire but supports plug a
48. audio quality For detailed information on connecting external speakers to your audio interface see the documentation that came with the speakers Chapter 1 Setting Up Your System Amplifiers If you are recording audio from microphones and are not running the microphone s signal through a mixer with a microphone pre amplifier you need to connect an amplifier to boost the microphone s signal before sending it to the computer If you are connecting monitors or speakers that are not self powered you also need to connect them through an amplifier Mixers Connecting a mixer to your system allows you to record audio from multiple microphones or instruments simultaneously to play back the output from your computer through connected monitors or speakers and to control the volume levels of both the audio input and output Professional quality mixers have a number of additional features including equalization EQ controls auxiliary sends and returns for adding external effects and separate monitor and mix level controls Mixers may also include inboard pre amplification for microphones making the use of a separate amplifier unnecessary Control Surfaces Soundtrack Pro supports control surfaces that use the Mackie Control and Logic Control protocols For information on connecting and using control surfaces see Chapter 12 Using Control Surfaces With Soundtrack Pro on page 243 Example Hardware Setups The following sections provide
49. automation 219 233 described 219 envelopes 219 227 modes for 228 processing effects 216 realtime effects 213 recording automation data 228 229 recording in Mixer 140 Timeslices 229 233 Automation Mode pop up menu 26 29 31 automation modes Latch 228 Read 228 Touch 228 automation recording sensitivity 76 automation sensitivity 229 B Back button 34 35 bandpass filters 200 bandwidth 200 bass frequency range 200 batch tagging 263 Beat display 52 beat divisions 82 beat markers 120 122 beats 82 84 98 Beats based format 82 83 98 104 233 Beats based time 52 53 192 Beginning value slider 44 Bin tab adding audio files from 89 described 38 storing files in 67 68 bit depths 15 56 144 291 boost 19 198 200 Browser tab 34 58 bus controls 91 102 106 busses adding 100 adjusting pan position 102 adjusting volume 102 changing icon for 101 Index copying 101 described 93 effects 104 105 envelopes for 106 exporting 248 249 moving 101 muting 103 numbered 101 overview 91 removing 106 renaming 101 selecting 100 sends routed to 212 setting height of 97 soloing 103 working with 99 106 buttons control surface 245 246 mapping commands to 245 246 Toolbar 49 Button view 36 37 60 63 65 Button View button 37 60 bypass 211 213 Bypass button 161 C cables audio 17 18 camcorders 15 Can t Find File dialog 74 Cancel button 161 Category list 39 Category pop up menu 37 CD ROM discs 14 CDs audio 76 291 distribu
50. button button Media and Effects Manager The Media and Effects Manager is where you locate and preview media audio and video to add to your project It has five tabs The Browser Favorites and Search tabs give you three different ways to find media files the Bin gives you quick access to media files for the current project and the Effects tab is where you add and adjust effects Chapter 2 The Soundtrack Pro Interface 33 34 Browser Tab The Browser tab displays the disks connected to your computer in a view similar to the Finder s list view You can also preview files in the Browser tab and drag them to the Timeline Tabs AAA Browser Browser Favorites Search Bin Effects Back and Forward 4 lt computer gt S Computer and buttons _ Name bs Home buttons File list 4 Gary Work Wizard s Keep Il Network Path pop up menu Preview controls J MA G o 3items Media pop up menu e Back and Forward buttons Move through previously viewed levels of the folder hierarchy e Computer button Displays your computer s hard disk and other storage media connected to your computer e Home button Displays the contents of your home directory e Path pop up menu Displays the levels of the file path to the current location letting you move back to a previous level e File list Displays the files and folders at the
51. current location e Preview controls Include Play and Mute buttons and a volume slider For information on using the Preview controls see Using the Preview Controls on page 69 Media pop up menu Choose menu items to add a Favorite add a file to the Bin open a file in the Waveform Editor and perform other functions Chapter 2 The Soundtrack Pro Interface Favorites list Favorites Tab You can store frequently used items in Favorites so that you can easily access them directly You can also preview files in Favorites and drag them to the Timeline o e e Favorites Browser Favorites Search Bin Effects gt Al Favorites Name amp Dialog clips G Dv NTSC G FX for Video and Film amp Loops Music Sound Effects Soundtrack Pro projects Voiceover clips Preview controls 4 gt Chapter 2 The Soundtrack Pro Interface gt o Bitems hierarchy Media pop up menu Back and Forward buttons Move through previously viewed levels of the folder Path pop up menu Displays the levels of the file path to the current location letting you move back to a previous level Favorites list Displays the files and folders at the current location Preview controls Include Play and Mute buttons and a volume slider For information on using the Preview controls see Using the Preview Controls on page 69 Media po
52. e Level meters Show the output volume of the overall project as the project plays Peak Value and Location display For each channel displays the highest peak value played and its location Go to Peak buttons Move the playhead to the channel s peak e Reset button Resets the Peak Value and Location display and the peak indicator to their default values Chapter 2 The Soundtrack Pro Interface Details Tab The Details tab shows information about the currently selected media file clip marker or envelope point and gives you a way to edit clip marker and envelope point details You can also view and edit details for a selection in the Waveform Editor 000 Details AAL Details Video Recording Meters Details Video Recording Meters Details gt Scene 1 Debra dialog a Scene 1 Debra dialog a C cip eefiesd op Fie Genre Cinematic New Age pu Author PowerFX com Copyright PowerFX Systems AB Playback O Looping Path Gary Work Usersigary Music Soundtrack Q on looping Soundtrack Pro projects Dialog clips Scene 1 Measure in HH MM SS g Debra dialog SE ED rn gt Duration 4 00 00 33 52 gt Offset 4 00 00 00 00 gt Transpose 0 Cip Spee normal Tempo 135 8PM Sample Rate 44 1 kHz Time Signature 4 4 Bit Depth 16 bit Beats 64 Channels stereo Key None Size 4 79 MB File Details Clip Details Audio File Details When
53. enter new data by typing in the field Comment field Displays any comments about the file You can enter comments by typing in the field Appendix A Using Apple Loops Utility 265 266 Search Tags These tags are used by the Search feature in Soundtrack Pro when you search for files matching specific criteria Genre pop up menu Displays choices for the musical genre of the file e Instrumentation list Displays choices for the musical instrument or instrument category recorded in the file Selecting an instrument category in the left column displays the list of instruments in that category in the right column File Info This area of the Tags tab includes rows with Kind Length Date Modified Sample Rate Channels Tempo and File Location information This information is for viewing only and cannot be edited in the Tags tab Descriptors Descriptors are complementary pairs of keywords describing the mood or character of the music recorded in the file Each pair of keywords has a row of buttons allowing you to choose either one keyword from the pair or neither keyword Transients Tab The Transients tab contains a large waveform display with a Beat ruler and a horizontal scroll bar Markers indicate the position of transients in the file Typically transients correspond to the peaks or most pronounced amplitude changes in a sound s waveform The Transients tab includes controls for the beat division and sensitivity with wh
54. f Distortion gt Add Send Enable All Effects Disable All Effects Remove All Effects Modulation gt Reverb Delay gt Meters and Diagnostics gt Miscellaneous gt Mac OS Chapter 6 Working in the Mixer Showing Channel Strip Effects Settings Once you add an effect you can view and adjust its settings in the Effects tab To show an effect s settings in the Effects tab In the channel strip Control click the effect then choose Show effect name Settings from the shortcut menu The Effects tab becomes active and shows the selected effect s settings To show an effect s settings in the Effects tab In the channel strip Control click the effect then choose Show effect name Settings from the shortcut menu The Effects tab becomes active and shows the selected effect s settings Some effects have a floating advanced settings window with sliders and other controls you can use to adjust effect parameters To show advanced settings for an effect do one of the following Double click the effect name in the channel strip Control click the effect then choose Show effect name Advanced Settings from the shortcut menu The effect s advanced settings window appears For information on working in the advanced settings window see Advanced Settings for Realtime Effects on page 215 Reordering Effects in the Mixer You can reorder effects in the Mixer as well as in
55. fader As you adjust track volume watch the level meters next to the volume fader to make sure that the track is not clipping For information about preventing clipping see Setting the Overall Project Volume Level on page 138 Chapter 6 Working in the Mixer Setting Channel Strip Pan Position You pan sounds to different positions to place them in the stereo field from left to right You set the pan position of a track or bus channel strip using the channel strip pan slider or value slider You can t pan an output channel strip To set the pan position of a channel strip do one of the following Drag the pan slider left or right to the pan position you want Click along the length of the pan slider at the point you want to set the pan position Click the left or right arrow on the edges of the pan value slider With the pointer over the center of the pan value slider hold down the mouse button and drag left or right Click the center of the pan value slider then type a new value The scale is from 100 to 100 with 0 zero as the center value Negative values are left of center and positive values are right of center The default is 0 Pan slider To return the pan slider to the default level Double click the knob in the pan slider Setting Channel Strip Output On a hardware mixing console you can send signals to different physical outputs You can create outputs in Soundtrack Pro assign tracks and busses
56. field Record Enable button Effects button Envelopes disclosure Mute button triangle Solo button Drag handle Output pop up menu Icon Volume slider Pan slider Drag handle Click to select the track bus or output and drag to reorder it in the Timeline e Icon You can choose an icon for the track bus or output making it easy to quickly distinguish them in a large project e Name field You can type a new name for the track bus or output in the name field e Record Enable button Enables or disables the track for recording when you click the Record button Only tracks have Record Enable buttons not busses or outputs e Mute button Mutes or unmutes the track bus or output e Solo button Solos or unsolos the track bus or output Soundtrack Pro supports both multiple solo and exclusive solo Effects button Displays the Effects tab of the Media and Effects Manager with the track bus or output effects settings e Envelopes disclosure triangle Shows the track bus or output envelopes in the area directly below the track Chapter 2 The Soundtrack Pro Interface 27 28 Master Envelopes button e Volume slider Sets the track bus or output relative volume in the overall mix Output pop up menu Choose an output for the track or bus or choose the physical output channels for the output from the menu e Pan slider Sets the pan position of the track or bus Appears in track and bus
57. from the File Type pop up menu Locate and select the project then click Open You can also open a recently open project by choosing it from the File gt Open Recent menu and can open a project by dragging it onto the Soundtrack Pro icon in the Dock You can have multiple projects open in Soundtrack Pro and cut and paste between them but you can only play one project at a time You can open projects created with earlier versions of Soundtrack with the extension loop but can only save them as multitrack projects with the extension stmp 81 Closing Multitrack Projects To close a project Select the project s tab in the Project window then choose File gt Close Project or press Command Shift W Setting Project Properties Each project has a set of project properties which include time format sample rate tempo time signature key and overlap mode Each project property has a default setting described below You can change the project properties using the project controls in the Project window in the Timeline Read Ws 120 elas Hic 3 faa 3 ee elas The most important project properties are time format and sample rate The remaining properties tempo time signature and key are important for projects set to Beats based format For projects set to Time based format you can usually leave the tempo time signature and key properties at their default settings You can change the default project
58. header with its icon name and a set of controls Tracks Tracks contain the audio you add to your project in the Timeline Each track has a drag handle a name an icon and a set of controls that appear in the track s header in the Timeline and in its channel strip in the Mixer Track controls include a volume slider a pan control an output pop up menu and buttons to mute or solo the track add effects and enable the track for recording In addition each channel strip includes stereo level meters you can use to watch the track s levels and a set of effects slots where you can add and order track effects and sends Chapter 4 Working With Multitrack Projects Busses Using busses you can create submixes letting you adjust volume and pan and add effects to groups of related tracks You use busses by adding sends to effects chains in the Effects tab or the Mixer then routing audio from each send to a bus Each bus has a drag handle a name an icon and a set of controls that appear in the bus s header in the Timeline and in its channel strip in the Mixer Bus controls are the same as track controls except that a bus does not have a Record Enable button because you can t record audio to a bus The bus controls affect the audio of every track sent to that bus For example you could route every dialogue track for a particular actor to a bus with the actor s name You could adjust the volume of all the actor s dialogue using the bus v
59. importing QuickTime movies into 183 importing video into 183 184 miniature view of 97 multitrack See multitrack projects overall volume of 138 139 playing 50 56 preferences 76 77 removing video clips from 193 saving as audio file projects 146 147 saving with media files 252 scrolling through 94 scrubbing 54 types of 45 46 undo redo changes to 71 Project window 23 24 33 145 properties audio clips 89 90 multitrack projects 82 85 property tags 265 Q quarter size frames 80 187 QuickTime 11 QuickTime audio files 56 QuickTime movie files 144 QuickTime movies 183 260 QuickTime MPEG 2 Playback Component 183 R RAM 13 RCA connectors 18 Read Before You Install document 13 Read mode 228 realtime effects 207 215 See also effects adding 208 209 adjusting parameters 209 advanced settings 215 automation 213 bouncing 170 bypassing 211 chaining 210 211 overview 195 parameters 213 presets 217 removing 214 reordering 211 resetting to defaults 214 sends and 212 213 showing 170 working with 207 215 Record button 25 55 237 238 Record Enable button 27 31 236 240 recording audio 235 241 analog recording 290 digital recording 290 291 disk space and 235 eliminating latency 294 enabling channel strips for 131 enabling tracks for recording 236 keyboard shortcuts 285 in Mixer 140 240 multiple takes 238 239 preferences 77 preparing for 235 procedure for 289 292 saving recorded clips 239 ses
60. in the chromatic scale from A to G or None Time Signature pop up menu Sets the default time signature for new projects The choices are 3 4 4 4 5 4 6 8 and 7 8 Sample Rate pop up menu Sets the default sample rate for new projects The choices are 32 kHz 44 1 kHz CD quality audio 48 kHz DVD quality audio and 96 kHz Export Bit Depth pop up menu Sets the export bit depth for the current project and new projects The choices are 16 bit CD quality audio and 24 bit Timescale pop up menu Choose whether the overall project uses Time based or Beats based time format Video Frames per Second pop up menu Choose which video frame rate to use for new projects e Tracks slider Sets the default number of tracks for new multitrack projects Snap buttons Turn snap on or off for new multitrack projects Chapter 3 Getting Started With Soundtrack Pro e Snap To pop up menu Sets the default Snap To value for new multitrack projects The choices are Ruler Ticks Quarter notes 8th notes 16th notes 32nd notes 64th notes and Clips on Adjacent Tracks e Track Height pop up menu Sets the default track height for new multitrack projects The choices are Reduced Small Medium and Large e Overlap Mode pop up menu Sets whether overlapped clips are crossfaded or truncated for new multitrack projects Recording Preferences These preferences let you specify settings for recording audio AnA Recording wA O
61. in the Actions list Do one of the following e Choose Process gt A B Last Two Actions again Choose A B from the Actions pop up menu or press Command F1 again You hear the second of the two actions The checkbox of the first action appears deselected in the Actions list Chapter 7 Working in the Waveform Editor 175 176 Deleting Actions You can delete an action if you decide you no longer want it in the project To delete an action Select the action in the Actions list then press Delete Limitations of Actions That Change the File s Length Some actions change the overall length of the audio file by inserting or deleting audio These include inserting silence noise or a waveform time stretching and deleting part of a file Recording audio pasting and adding an effect with a tail can also change the file s length In the Actions list the selection checkbox for each action that changes the file s length appears red making it easy to visually distinguish those actions Each selection you make in the Waveform Editor applies to a specific range of time and each action applies to a range of time defined by the selection at the time the action is applied Because selections and actions apply to a range of time changing the file s length can change the audio to which a selection or action applies In the Waveform Editor you see the selection remain in the same place the same range of time as shown in the Time rule
62. is displayed in seconds Offset value slider Sets the number of beats for looping files or seconds for non looping files from the beginning of the source file at which the clip begins playing e Transpose pop up menu Sets the transposition in semitones for looping files the range is 12 to 12 semitones e Clip Speed pop up menu Sets the playback speed for looping files which can be Quadruple Double Normal Half or Quarter Some properties can be changed by editing the clip in the Timeline For detailed information on editing audio clips see Editing Audio Clips in the Timeline on page 107 The name of an audio clip appears on the clip in the Timeline By default the entire name appears on the clip if the clip is long enough to display it You can change the default behavior in the General pane of the Preferences window so that long clip names are truncated from the center For information on setting preferences see Setting Soundtrack Pro Preferences on page 75 Tracks Busses and Outputs Multitrack projects contain tracks busses and outputs Tracks busses and outputs appear as horizontal rows in the Timeline and as vertical channel strips in the Mixer In both the Timeline and Mixer tracks busses and outputs are grouped together with a separator between each category You can move each type within its own category but cannot move one to either of the other categories Each track bus and output has a
63. many splits consecutively without moving the playhead each time Using the playhead you can split clips in several tracks at once To split audio clips with the Split tool 1 Click the Split Tool button above the Timeline E Split Tool button 2 Click a clip at the point where you want to split it Chapter 5 Working in the Timeline 113 To split audio clips with the playhead 1 Set the playhead at the point where you want to split the clip then select the clip or clips you want to split You can split multiple clips in the same operation POREH AI Move the playhead to ja Sa where you want to split the selected clip 2 Choose Edit gt Split or press S Every selected clip under the playhead is split into two segments The first segment ends at the playhead position and the second segment begins at the playhead position o Li sa The clip is split into two segments each of i which plays part of the source audio file You can join clips from the same original audio file including segments of split clips Clips being joined must be adjacent to each other and in the same track To join audio clips 1 Place the clips next to each other in the same track 2 Select the clips then choose Edit gt Join or press J When you join looping files or segments of looping files the joined file plays to the end of the source audio file before looping The notches in the joined file indicate the end of the sour
64. matching files in each Clicking a keyword displays the files matching that keyword in the Search Results area You can refine your search results by narrowing the criteria using the subcategories in the Matches column Chapter 3 Getting Started With Soundtrack Pro To search for files in Column view 1 Choose the type of keywords to display in the Keywords list from the Keywords pop up menu You can use the Time Signature and Scale Type pop up menus to restrict matches by those categories 2 Select a keyword in the Keywords list to display matching files in the Search Results area DOO Search Oo S ar B Setup Keywords Bass Beats Bell Cheerful Select a keyword Ginematie k Clave to display the ERA matching files in the a Search Results area Country Folk i E sa 3 S anrites 5 Any B a D o Name Tempo Key Beats Hints 2 Crowd sounds aiff 2 Door opening aiff 2 Espresso machineaiff Scene 1 Debra dialog aiff 2 Scene 1 Jack dialog aiff Scene 2 Ray dialogaiff Scene 3 Debra start dialog aiff Traffic noises aiff PGFs gt o Sitems The hints tempo key and number of beats for each matching file are also displayed You can also perform text searches which can be especially helpful for non tagged files When you type text in the Search Text field any files with the text in the
65. noise the ambient noise repeats to fill the selection Convert to Mono Choosing this command converts a stereo audio file to mono You can choose whether to convert the file to mono by using only the left channel using only the right channel or combining the two channels Combining the left and right channels sums them as an equal gain mix To select how a stereo file is converted to mono Choose Process gt Convert to Mono In the Convert to Mono dialog select the button corresponding to the method by which you want to convert the file to mono Click OK The Convert to Mono action converts the entire stereo file to mono You cannot convert only a selection of a file to mono The Convert to Mono action flattens the file removing existing actions from the Actions list For information about flattening actions see Flattening Actions on page 174 Resample Choosing this command resamples the audio file to a new sample rate To choose the new sample rate Choose Process gt Resample In the Resample sheet choose a sample rate from the Sample Rate pop up menu You can also type a sample rate in Hertz in the Sample Rate field Click OK The Resample action flattens the file removing existing actions from the Actions list For information about flattening actions see Flattening Actions on page 174 Chapter 7 Working in the Waveform Editor 167 168 Reducing Noise Some audio files contain unwanted noise ma
66. of the Actions list As you apply actions the Action Insert bar moves below the last action applied Gators anaras Jue On Action M Scene 1 Debra dialog v Parametric EQ Fade In Reduce Noise M M m Action Insert bar You can move the Action Insert bar up or down to a new position in the Actions list Only actions before the Action Insert bar are heard when you play the project so you can control which actions are heard by moving the bar The purple strip to the left of the checkboxes in the Actions list indicates the actions that are heard when you play the project When you choose an item from the Process menu it is applied directly following the Action Insert bar By moving the bar you set where in the list the next action is applied To set the position of the next applied action Drag the Action Insert bar up or down in the Actions list to the position you want Actions Analysis a On Action adi N 4 Scene 1 Debra dialog Mm m Parametric EQ m Fade In m Reduce Noise Normalize O Chapter 7 Working in the Waveform Editor 173 174 Reversing the Order of the Actions List You can reverse the order in which actions are shown in the Actions list so the last action applied appears at the top of the list This is useful when your project has a large number of actions To reverse the order of the Actions list Click the triangle at the upper ri
67. or down to change its value As you drag an envelope point up or down its value appears to the right of the pointer You can drag an envelope point left or right to change its position in time You can also select and move multiple envelope points When you move envelope points the position of the envelope points snaps to the closest Snap To position if snap is turned on For information on setting the Snap To value see Using Snap on page 72 Chapter 10 Working With Automation To move an envelope point Select the envelope point then drag it to a new position Each envelope has an envelope point at the beginning of the Timeline You can adjust the envelope by moving this envelope point up or down If no envelope points have been added dragging the envelope s handle adjusts the envelope for the entire project If you add more than one envelope point to an envelope you can move envelope points using the corresponding slider When you move the slider the envelope points closest to the playhead the closest before and the closest after move by the same amount as the slider Changing the Values of Envelope Points Numerically You can also change the value of an envelope point numerically To change the value of an envelope point numerically Control click the envelope point then choose Set Value from the shortcut menu Type a new value for the envelope point in the dialog that appears The envelope point moves to the new value
68. or selection to the decibel level shown in the Normalization Level field The highest peak in the file is raised or lowered to the level you set and the rest of the audio file is raised or lowered by the same amount When you choose Process gt Normalize the level is set to 0 dB To set the normalization level Choose Process gt Normalize In the Normalize dialog drag the Normalization Level slider or select the value in the Normalization Level field and type a new value Click OK You can preview the audio file at the normalization level before closing the Normalize dialog This makes it easy to set the level before normalizing the file To preview the file at the normalization level In the Normalize dialog select the Preview checkbox Chapter 7 Working in the Waveform Editor Adjust Amplitude Choosing this command raises or lowers the gain of the audio file or selection by the amount shown in the Amplitude Level field When you choose Process gt Adjust Amplitude the level shown in the field is zero 0 dB or unity gain To set the amplitude level Choose Process gt Adjust Amplitude In the Adjust Amplitude dialog drag the Amplitude Level slider or select the value in the Amplitude Level field and type a new value Click OK Silence Choosing this command replaces the audio file or selection with complete silence Invert Choosing this command inverts the phase of each sample in the audio file or selection
69. position 55 280 playback region 98 99 Play button 50 55 69 161 237 238 Play From Beginning button 25 55 playhead changing position 54 described 32 keyboard shortcuts 280 positioning with Time ruler 98 scoring marker to 192 193 setting 51 54 splitting audio clips with 113 114 Playhead Position value slider 24 53 54 84 playing projects 50 56 plug ins Audio Units 14 195 effects 13 14 included with Soundtrack Pro 14 Stereo Spread 207 unsupported 14 pops 178 Position value slider 43 44 postproduction 7 198 power line hum 178 preferences Apple Loops Utility 274 Recording 235 Soundtrack Pro 75 80 Preferences window 75 presets effect 217 218 Presets drawer 162 217 218 preview controls 34 35 37 38 69 previewing items audio files 68 69 in Media and Effects Manager 68 69 preview file information 70 71 video files 68 189 Index Previous Selection button 31 processing effects See also effects advanced settings 216 applying 216 automation 216 overview 196 presets 217 218 working with 216 processor speed 13 project controls 26 project key 85 project length setting 86 Project pop up menu 29 Project preferences 76 77 project properties 82 85 key 85 overlap mode 85 sample rate 83 tempo 84 time format 82 83 time signature 84 projects audio file See audio file projects collecting original source media in 147 controlling playback of 98 99 distributing 252 exporting mixes 248 exporting to audio files 248
70. press the M key Chapter 5 Working in the Timeline Naming Markers You can name time markers and beat markers so that each marker can provide a unique visual cue to a specific point in the Timeline or Waveform Editor For example you can name markers to define sections of your project Introduction Verse or Chorus to reflect what s happening in the music Latin Rhythm or Fast Groove or to serve as reminders for your workflow Add Horns Here Transpose to D Insert Delay Effect To name a beat marker or time marker do one of the following Control click the marker handle choose Edit from the shortcut menu type a name in the Marker Name field of the dialog that appears then click OK Make the Details tab active select the marker then type a name in the Name field of the Details tab Marker Name Start Type a name in the i 00 00 10 20 Marker Name field Enter a time position here to move the marker to that position To view marker titles in the Timeline Choose View gt Show Marker Titles Moving Markers You can move a marker either by dragging the marker s handle or by entering a new position for the marker in an Edit dialog To move either a beat marker or time marker do one of the following Drag the marker by its handle located in the area above the Time ruler to a new position in the Timeline Show the Details tab click the marker you want to move then enter a new position in
71. samples used for Spectrum view Control click the spectrum display then choose a number from the lower part of the shortcut menu To return to Waveform view Click the Waveform View button Playing Audio Files in the Waveform Editor You can play an audio file in the Waveform Editor so you can hear the file and any changes you make to it To play an audio file Click the Play button in the transport controls or press the Space bar Click the Play button or press the Space bar again to stop playback You can set the playhead in the Waveform Editor in the same way as you set it in the Timeline by clicking in the waveform display or in the Time ruler using the transport controls or using the Playhead Position value slider For more information see Setting the Playhead on page 51 Chapter 7 Working in the Waveform Editor Scrubbing Audio Files in the Waveform Editor You can also scrub the audio file in the Waveform Editor Scrubbing the audio file lets you hear the audio at the playhead position as you drag the playhead so you can find a particular sound or event in the audio file To scrub an audio file Press and hold the triangular part of the playhead While holding the playhead drag left or right at the speed you want to scrub the audio file Scrubbing is useful to help identify the part of an audio file that you want to edit While you are scrubbing an audio file you can select the part of the file that you wan
72. send In the Effect Parameters area or in the Mixer drag the send up or down in the list to change its order Choosing the Bus to Which a Send Is Routed When you add a send the audio is routed from the send to a bus By default the first send you add to an effects chain is routed to Bus 1 the second send is routed to Bus 2 and so on if the default bus exists Once you add a send you can choose the bus to which the send is routed Show Scene 3 start dialog 3 C Name Parameter Auto gt M Linear Phas gt My Expander Y Msend Send pop up menu level pan x i Add Send button add send en To choose the bus to which a send is routed n the Effect Parameters area of the Effects tab choose a bus from the Send pop up menu 212 Chapter 9 Working With Audio Effects Adjusting Send Volume You can adjust the volume level for the audio routed through a send To adjust send volume If the send volume slider is not visible click the disclosure triangle for the send Drag the send volume slider left to lower the volume level or drag it right to raise the volume level Adjusting Send Pan Position You can adjust the pan position for the audio routed through a send To adjust send pan position If the send pan slider is not visible click the disclosure triangle for the send Drag the send pan slider left to pan the send to the left or drag it right to pan
73. several examples of different hardware setups Setting Up a System Using Powered Speakers With this setup you can monitor the audio output through a set of connected powered speakers This setup uses the following equipment e Your computer and display A set of powered speakers including speaker wire and a power adaptor Speakers O gt O Power cables Speaker cables Computer Chapter 1 Setting Up Your System 19 20 Setting Up a System Using a USB Audio Interface With this setup you can record audio input from microphones and musical instruments and monitor audio output through a USB audio interface This setup uses the following equipment e Your computer and display USB audio interface from 2 to 8 channels with USB cable to connect to your computer e Microphone e Musical instruments guitar bass and keyboard e Cables to connect microphones and instruments to the audio interface e Set of monitors or speakers Monitors O O Microphone g m Speaker cables USB cable TIM TTT a wooo oo oe OMe Audio interface Computer Instrument Chapter 1 Setting Up Your System Setting Up a System Using a FireWire Interface and a Control Surface With this setup you can record audio input from several sources simultaneously and monitor audio output channels independent
74. the Effects tab When you reorder effects you change the order in which the audio is processed by each effect which can change the sound drastically To reorder an effect in the Mixer Drag the effect up or down in the effects slot area to change its order Chapter 6 Working in the Mixer 135 136 Turning Effects Off and On You can turn off a channel strip s effects Turning off an effect lets you hear the channel strip without the effect while preserving the current effects settings To turn off an effect in a channel strip do one of the following Deselect the checkbox to the left of the effect name Control click the effect then choose Disable effect name from the shortcut menu To turn off all effects in a channel strip Control click an effects slot then choose Disable All Effects from the shortcut menu To turn on an effect again do one of the following Select the checkbox to the left of the effect name Control click the effect then choose Enable effect name from the shortcut menu To turn on all effects in a channel strip Control click an effects slot then choose Enable All Effects from the shortcut menu Replacing an Effect You can replace an effect in a channel strip with another effect When you replace an effect with another effect the new effect has its default settings regardless of the settings of the previous effect To replace an effect in a channel strip Control click the effect choose Rep
75. the effect parameters to change the way the effect alters the sound of the track bus output or audio file project Each type of effect has its own parameters as discussed earlier Effect parameters are displayed in the Effect Parameters area of the Effects tab as a set of sliders checkboxes and pop up menus To adjust realtime effect parameters 1 Click the disclosure triangle next to the effect in the Effect Parameters area to display its parameters 2 Adjust the effect parameter by dragging the slider selecting the checkbox or choosing an item from the pop up menu You can also adjust the parameter by entering a valid value in the field to the right of the parameter s control Show Scene 3 start dialog B Name Parameter Auto Click the disclosure M Expander triangle to display the Presets None 3 Threshold ie O 20 000 oO Adjust a parameter by dragging its slider effect s parameters Ratio 2 O Jo80 O Attack ms O 0 0000 M Release ms O 98 000 M Gain dB o 0 0000 Q Softknee Ono You can also adjust the Peak RMS eea parameter by entering a Auto Gain on Oof o value in the field Chapter 9 Working With Audio Effects 209 210 Chaining and Reordering Realtime Effects You can add more than one realtime effect to a track bus output or audio file project Adding mult
76. the envelope at the position where you want to add the envelope point You may want to zoom in to work more precisely Double click an envelope to add an envelope point When you add envelope points they snap to the closest Snap To position if snap is turned on For information on setting the Snap To value see Using Snap on page 72 Chapter 10 Working With Automation 221 222 Selecting Envelope Points You can select a single envelope point or a group of adjacent or nonadjacent envelope points To select an envelope point Click the envelope point To select multiple envelope points do one of the following Drag from an area in the automation row before the first envelope point you want to select to an area after the last envelope point you want to select If the envelope points are adjacent Shift click the first envelope point then the last envelope point you want to select All envelope points in between are also selected Commana click each envelope point you want to select You can select adjacent or nonadjacent envelope points by Command clicking Drag in the envelope s row to select multiple envelope points To deselect a selected envelope point do one of the following Command click the selected envelope point Click in the automation row or somewhere else in the Timeline to deselect all selected envelope points Moving Envelope Points Once you add an envelope point you can drag it up
77. to action settings and other edits Chapter 14 Using Soundtrack Pro With Apple Professional Applications Using Soundtrack Pro With Other Applications You can open an audio file exported from Soundtrack Pro a project mix an exported track bus or output or an audio file project saved as an AIFF file or a QuickTime movie in any application that supports audio files When you save an audio file project using the Save As command be sure the Render checkbox is selected in the Save As dialog If you save an audio file project as an AIFF file or a QuickTime movie a link is included in the AIFF or movie letting you reopen the project in Soundtrack Pro and make changes to action settings and other edits When you reopen the AIFF or QuickTime movie in Soundtrack Pro a dialog appears asking if you want to open the audio file or the original project In the dialog click Open Project The audio file project opens in the Soundtrack Pro Waveform Editor so you can continue working When you are finished working in Soundtrack Pro be sure to save the audio file project before saving it as an AIFF or QuickTime movie so your changes are retained If you export a saved multitrack project using Export gt Export Mix a link is included in the exported file letting you reopen the multitrack project in Soundtrack Pro and make changes The project must have been previously saved at least once before you export the project mix When you reopen the
78. to different outputs and assign outputs to physical output channels on connected audio devices You can send audio from as many tracks and busses to the same output as you want To set the output for a track or bus In the channel strip for the track or bus choose the output from the Output pop up menu For outputs in the Mixer the Output menu lists the available physical output channels and channel pairs for audio output devices connected to your computer n H Output pop up menu Chapter 6 Working in the Mixer 129 130 Record Enable button To set the physical output channel for an output in the Mixer In the channel strip for the output choose the physical output channel or pair of channels from the Output pop up menu Note You can create outputs independently of the audio hardware connected to your computer and route audio to an output that does not correspond to a physical output In most situations each output in a project should correspond to a physical output on the audio interface or other hardware connected to your computer Outputs that do not correspond to a physical output will not be heard You may set as many outputs in a project to the same physical output device or output channel as you like Muting and Soloing Channel Strips You can mute and solo channel strips in the Mixer in order to hear or silence specific tracks busses or outputs To mute a channel strip Click the channel strip s Mute but
79. track or project sound fuller Parametric EQs can also be used to remove specific unwanted frequencies from a mix Modulation Effects Modulation effects begin with a delayed signal like time based effects but vary or modulate the delay time typically using an LFO This can be used to double a sound making it seem stronger and fatter to simulate a group of voices or instruments playing together or to add a distinctive character to the sound Modulation effects include chorus phase shifters and flangers Chorus Chorus effects play back multiple repetitions of the delayed signal like reverbs but vary the delay time for each one using an LFO As the name implies this effect can strengthen the sound and create the impression that the sound is being played by many instruments or voices in unison The slight variations in delay time created by the LFO simulate the subtle differences in timing and pitch heard when several people play together Using chorus also adds fullness or richness to the signal and can add movement to low or sustained sounds Chapter 9 Working With Audio Effects 201 202 Phase Shifters Phase shifters produce a characteristic whooshing sound by combining the original signal with a copy of the signal that is slightly out of phase with the original This means that the amplitudes of the two signals sound waves reach their highest and lowest points at slightly different times The time between the
80. truncated To set the project overlap mode Click the Crossfade Mode button to set the project to crossfade mode or click the Truncate Mode button to set the project to truncate mode Crossfade Mode button o A K Truncate Mode ee button Chapter 4 Working With Multitrack Projects 85 86 Setting the Project Length By default the length of a project depends on the media in the project The project length is set to the end of the last clip in the project If the project uses a time based effect and the effect extends past the end of the last clip the project length extends to include the effect s tail Adding a clip to the end of the project or adding an effect that produces a tail extends the project length to include the new clip or the effect s tail You can optionally set the project to a definite length To set the project length In the Timeline place the playhead at the point where you want the project to end then choose Mark gt Set End of Project End of project marker You can move the end of project marker to change the length of the project or delete it if you decide you no longer want it in the project To delete the end of project marker Select the marker in the Timeline then choose Edit gt Delete or press the Delete key Saving Multitrack Projects To save your project Choose File gt Save Multitrack projects are saved as documents with the extension stmp Import
81. view the video and control video playback Fitto window Video Scale pop up menu Video viewing area Video transport controls Video Playback value slider Move the video to a specific frame by dragging clicking the left or right arrow or double clicking and typing a value in the value slider Video Scale pop up menu Choose the scale of the video in the Video tab from the pop up menu Video viewing area You add a video by dragging it into the viewing area and watch it play in the viewing area Video transport controls You control playback of the video with the project using the Play from Beginning Previous Frame Play Pause Next Frame and Cycle buttons Chapter 2 The Soundtrack Pro Interface Recording Tab The Recording tab is where you edit a track s recording settings When you click a track s Record Enable button the Recording tab appears displaying the track s current recording settings Recording Meters Peak indicator Sam input Input pop up menu Level meters Device Built in Audio Gain o 000 Gain slider and field Ml Stereo 11 __ stereo checkbox Monitor Device Built in Audio H Monitor pop up menu Mute Project ee Mute Project checkbox Disk Space 178 9GB Free k x eU Disk space indicator e Peak indicator Shows the highest level reached by the recording
82. volume and pan changes in the Mixer Automation Mode Channel Strip and Mixer pop up menu pop up menus Project pop up menu Channel strips 4 Project pop up menu Choose which project to work on from the pop up menu Automation Mode pop up menu Choose the automation mode from the pop up menu e Channel Strip and Mixer pop up menus Show or hide different sections of the channel strips and of the Mixer window e Channel strips Each track bus and output has a channel strip with controls and level meters Chapter 2 The Soundtrack Pro Interface 29 30 Drag handle Each channel strip includes the following controls Icon Effects slots foura Output pop up menu Pan sliderand value slider 4 t 0 a LIG o gt T z Volume fader and value slider Level meters and peak indicator 4 0 gt Record Enable button Gm Mute and Solo buttons Scene 1 Name Drag handle Click to select the channel strip and drag to reorder it in the Mixer e Icon Icons let you visually distinguish channel strips in the Mixer Click an icon to change it Effects slots Show the effects and sends for the channel strip and let you add effects and sends Output pop up menu Choose an output for the track or bus channel strip or choose the physical output channels for the output channel strip from the menu e Pan slider and value slider Set the channe
83. want to set the playhead Working With the Playback Region You can create a playback region in a project an area that plays back repeatedly This is sometimes called cycling or looping playback A project has only one playback region but you can move and resize it as often as you want You also use the playback region when recording multiple takes For information on recording see Chapter 11 Recording Audio in Soundtrack Pro on page 235 To set the playback region Drag in the bottom half of the Time ruler from the beginning of where you want the playback region to the end a 020 MOR ins Drag in the Time ruler to 1 9 1 set the playback region Playback region The playback region is lighter in color than the rest of the Time ruler with triangular markers indicating its start and end points If a playback region already exists you can drag anywhere in the Time ruler outside of the current playback region to set the playback region to a new position If cycling is turned off you must turn it on for the playback region to be active The Cycle button darkens to indicate that the playback region is activated Chapter 5 Working in the Timeline To activate the playback region Click the Cycle button in the transport controls To move the playback region Click in the bottom half of the playback region and drag it to a new position in the Timeline To resize the playback region Select either t
84. wish to re index 5 When Soundtrack Pro is finished indexing the directory click Done to return to the Media and Effects Manager Chapter 3 Getting Started With Soundtrack Pro Removing a Directory From the Search Database If you move or change your collection of audio files you can remove a folder from the Search database Removing unneeded folders from the database can shorten search times and eliminate extraneous results To remove a folder from the Search database 1 Click the Setup button at the top of the Search tab 2 In the Setup dialog select the directory you want to remove then click the Remove Directory button status tate Click the Remove eh Use Directories being indexed Size Index Status Directory button to Li Macintosh HD Library rageBand Apple Loops 2621 indexed Macintosh HD Users gary projects Dialog clips 8 indexed remove the selected V Macintosh HD Users gary rojects Sound Effects 13 indexed directory 3 Click Done to return to the Media and Effects Manager Once you have added the folders containing your audio files to the Search database and indexed them you can use Search to find the files In both Column view and Button view the audio files that match the search criteria appear in the Search Results area in alphabetical order You can preview files in the File list and drag them to the Timeline You can also add a folder to your Favorites from the S
85. with attached control surfaces ano Control Surfaces S TARO General Project Recording Synchronization Control Surfaces Video Out E 4 4 Summary Control Surface Type Mackie Control Input Connection MT4 Port 1 Output Connection MT4 Port 1 Control Surfaces field Shows the control surfaces connected to your computer Channels and banks are assigned to control surfaces in the order they appear in the field starting from the left Add and Delete buttons Add or delete the selected control surface so that Soundtrack Pro no longer connects to it e Previous and Next buttons Change the order of the selected control surface in the Control Surfaces field e Summary information Displays information about the selected control surface including type input port and output port Control Surface Buttons button Click to show the Control Surface Mapping window where you can assign control surface buttons and other controls to specific commands and operations For information about connecting and using control surfaces see Chapter 12 Using Control Surfaces With Soundtrack Pro on page 243 Chapter 3 Getting Started With Soundtrack Pro 79 80 Video Out Preferences These preferences let you specify settings for video output from Soundtrack Pro D BBL Video Out of m ml Video Out General Project Recording Synchronization Control Surfaces Video Output Device
86. 0000000 00000000 00000000 Computer Mixer Chapter 1 Setting Up Your System The Soundtrack Pro Interface In Soundtrack Pro you work in four main windows the Project window the Mixer the Media and Effects Manager and the Utility window Project window Utility window 00 00 Master shot Debra 1 CU B 720x 480 lt lt lt lt lt S aie QHOIGIO gt mersa Gn a Pmi OOAD s A Favorites Jl one A oni C Apple Loops for Soundtrack Pro P Scene 1 Jack dialog 0e C Dialog cips E ovne oni Media and Effects fabri Eero O am Manager Sssmistecs w omi k E Soundtrack Pro projects gt Gast ot 00 ore x sa ses LELL If V Outputs Poni oa P Master Envelopes e g aE DN gt G 00000000 The Project window includes the Timeline where you arrange audio clips and the Waveform Editor where you edit audio files The Mixer is where you mix multitrack projects It includes channel strips for each track bus and output as well as other controls The Media and Effects Manager is where you locate and preview audio and video files to add to your project and also where you add and adjust realtime effects The Utility window has tabs where you can add and view a video in a project see the master level meters get details on clips and other items and set up recording 23 24 Pr
87. 05 206 207 frequency ranges 199 200 frequency spectrum 151 152 fundamental 288 G gain 163 198 200 205 Gain field 41 gain slider 41 General preferences 75 Global Timeline view 26 97 Global Waveform view 32 150 Goniometer 205 Go to Beginning button 25 55 Go to End button 25 55 Go to Peak buttons 42 139 graphic EQs 201 gridlines 93 H hard disk 14 hardware requirements 13 sample rates 83 harmonics 288 headers 27 28 help keyboard shortcuts 280 onscreen 10 high frequency range 199 highpass filters 200 hints 43 61 70 hiss 294 Home button 34 hubs 15 hum power line 178 l icons busses 27 101 changing for channel strips 131 channel strips 30 headers 27 outputs 27 101 showing in Toolbar 50 tracks 27 101 IEEE 1394 See FireWire importing items QuickTime movies 183 video from Final Cut Pro 183 video into projects 183 184 indexed directories 65 67 input devices 14 input signal 238 Input synchronization settings 78 Insert command 163 165 inserting noise 164 inserting silence 163 164 inserting waveforms 165 interface 23 44 Invert command 163 K key musical 263 265 268 276 Index key project 85 keyboard shortcuts Apple Loops Utility 275 278 listed 279 285 playback 56 186 keyword buttons 36 37 64 65 keywords 36 37 60 65 Keywords list 36 37 60 L Latch mode 228 latency described 15 eliminating 294 increased 22 layouts choosing 48 deleting 48 described 48 keyb
88. 1 external video output device 188 F Fade In command 162 Fade Out command 162 fading audio in out 162 Favorites 59 Favorites list 35 Favorites tab 35 59 feedback 202 203 File Browser See Browser tab file formats See formats File Info area 266 File list 34 38 files audio See audio files dual mono 248 249 finding See finding items keyboard shortcuts 279 Index looping 57 114 117 239 media See media files mono 167 248 249 non looping 57 117 239 source 107 117 119 stereo 167 248 249 supported formats 56 tagged 60 263 278 unable to find 74 video See video files File Type pop up menu 37 filter effects 196 198 201 filters 200 Final Cut Pro exporting multitrack projects to 258 importing video from 183 saving droplets to clips in 182 scoring markers 191 193 Soundtrack Pro and 8 using Soundtrack Pro with 253 258 Waveform Editor and 146 Final Cut Pro clips creating multitrack projects with 256 258 editing clips in Waveform Editor 253 255 editing with Soundtrack Pro scripts 256 Finder adding audio files from 89 finding items with Browser tab 58 with Favorites tab 59 keywords 36 37 with Search tab 60 67 FireWire audio interface 21 FireWire connectors 16 FireWire technology 16 FireWire website 11 Fix All button 33 Fix button 33 flangers 202 formats audio 56 144 audio file project 144 time 190 video 183 Forward button 34 35 frame rates 190 frequencies 165 198 204 287 frequency bands 2
89. 104 105 turning off 136 turning on 136 137 types of 196 207 Effects button 27 32 104 105 effects chains 195 210 211 effects slots 30 Effects submenu 161 162 Effects tab adding effects to channel strips 135 adding effects to tracks busses outputs 104 105 overview 39 realtime effects 207 215 enabling track for recording 131 236 end of project marker 86 End value slider 44 envelope points 221 226 adding 221 changing position of 223 224 changing values of 223 copying 225 cutting 225 deleting 225 226 editing 224 225 information about 44 moving 219 222 nudging 225 pasting 226 reducing number of 229 scoring markers and 192 selecting 222 viewing details 224 envelopes 219 229 adding 227 bus 106 301 302 described 289 effects and 220 227 hiding 106 master 219 220 221 output 106 overview 219 220 percussive 289 removing 227 sends and 227 showing 106 220 sustained 289 Timeslices 229 232 track 106 220 track pan 220 volume 220 envelopes disclosure triangle 28 EQ equalization frequency ranges used with 199 200 graphic 201 overview 198 201 parametric 201 EQ effects 196 198 201 equipment connecting audio equipment 15 19 example hardware setups 19 21 setting up See system setup exclusive solo 103 exporting items busses 248 249 multitrack projects to Final Cut Pro 258 outputs 248 249 project mixes 248 projects with Compressor 250 251 projects to audio files 248 tracks 248 249 export presets Compressor 25
90. 2 An Fies aE Good for both a Scale Type pop up menu Nearby Keys button File Type pop up menu Media pop up menu The Search tab has two views Column view and Button view Column view features a Keywords list containing keywords and a Matches list with subcategories you can use to refine your searches Button view displays a matrix of keyword buttons you can click to see matching files Percussion Guitars Textures 00 Best mix B Setup Vocals Keyword buttons IP 60s Shuffle Fill 10 aif Chapter 2 The Soundtrack Pro Interface Button and Column view buttons Change the view to either Button or Column view Category pop up menu Restricts the available keywords to a particular category Setup button Displays the Search Setup dialog from which you add items to the Search database Time Signature pop up menu Restricts search results to files with the selected time signature File Type pop up menu Choose whether to display all files or only looping or non looping files Scale Type pop up menu Restricts search results to audio files using the selected scale Keyword buttons Button view only Displays files matching the keyword in the Results list Keywords list Column view only Displays files matching the keyword in the Results list and displays subcategories in the Matches list Matches list Column view only Displays subcategories of the selected
91. 30 copying 101 described 93 effects 104 105 envelopes for 106 exporting 248 249 moving 101 muting 103 numbered 101 overview 91 92 removing 106 renaming 101 selecting 100 setting height of 97 soloing 103 working with 99 106 Output synchronization settings 78 Overlap mode 85 113 overloaded signals 178 overtones 288 P pan controls 102 129 panning 102 124 pan position 213 pan positions 102 129 pan slider 28 30 102 Parameters list 32 parametric EQs 201 Paste Mix command 158 Paste Repeat command 158 pasting items audio clips 108 109 audio in Waveform Editor 158 envelope points 226 Timeslices 231 Path pop up menu 34 35 PCI Peripheral Connect Interface 17 PCI interfaces 17 PCMCIA 17 peak 287 peak indicators 30 41 42 139 peak information 205 peak levels 197 peak limiters 198 Peak Location display 139 peaks 149 150 162 178 266 289 Peak Value display 42 139 performance 294 Peripheral Connect Interface See PCI phase 163 phase issues 178 Phaser effect 196 phase relationships 289 305 306 phase shifters 202 289 phone plug connectors 17 physical output channels 28 30 91 92 129 251 pink noise 164 pitch 288 Play Pause button 25 playback 50 56 audio files in Wave Editor 152 changing mode 117 controlling 25 50 54 98 99 cycling 98 99 keyboard shortcuts 56 186 280 looping 87 98 99 117 MPEG 2 183 non looping 87 117 starting 50 video 185 188 Playback buttons 43 playback mode 117 playback
92. 5 Select an audio file in the Media and Effects Manager to preview it Audio files tagged as loops play back repeatedly when previewed You can control the playback of the file being previewed using the preview controls You can only preview one audio file at a time You can also preview video files When you double click a video file in the Media and Effects Manager the video appears in a small window in the Details tab To preview a video file Click the Details tab in the Utility window to make the tab active Select the video file in the Media and Effects Manager Click the Play button in the Preview controls at the bottom of the Media and Effects Manager To stop playback click the Play button again For more information on working with video files see Chapter 8 Working With Video in Soundtrack Pro on page 183 Chapter 3 Getting Started With Soundtrack Pro Using the Preview Controls The preview area at the bottom of the Media and Effects Manager contains controls you can use when previewing audio files Mallets Dry 43 fe e a Search Browser Favorites Search sin effects 00 ar Setup Keywords _ Matches Harmonica Acoustic 66 Hi hat Acoustic Bass 10 Horn Wind Bass 10 Intense Clean 56 Jazz Drum Kit 56 Keyboards s Drums 56 E 4 4 AN Files ZE Good for both iG 6 8 Jazzy D
93. 81 283 dry signal 203 dual mono files 248 249 Duration value slider 43 44 DVDs audio 76 291 distributing projects on 247 sample rate 76 291 video for 83 DVD Studio Pro editing clips from 260 dynamic range 18 178 197 205 292 dynamics 196 dynamics effects 196 197 198 E editing items actions 172 audio clips 107 119 audio files in Waveform Editor 154 160 channel layout 251 clip properties 89 90 destructive edits 253 255 260 DVD Studio Pro clips in Waveform Editor 260 envelope points 224 225 Final Cut Pro clips in Waveform Editor 253 255 keyboard shortcuts for 281 284 Motion audio tracks in Waveform Editor 258 259 nondestructive edits 253 255 258 samples 159 with Soundtrack Pro scripts 256 education users 11 Effect list 39 105 207 208 effect parameters 39 207 Effect Parameters area 39 105 effect presets 217 218 effects 195 214 adding 134 bus 104 105 channel strips 134 136 chorus 201 delay 196 202 deleting 136 Denoiser effect 206 described 195 Index diagnostic 196 204 205 distortion 196 198 dynamics 196 197 198 envelopes and 220 227 EQ 196 198 201 filter 196 198 201 included with Soundtrack Pro 196 207 miscellaneous 196 206 207 Mixer 134 136 modulation 196 201 202 output 104 105 processing See processing effects realtime See realtime effects reordering 135 replacing 136 reverb 196 203 204 settings 135 Stereo Spread plug in 207 tail 170 171 third party 14 time based 202 204 track
94. 84 playback of 185 188 preserving 250 removing from projects 193 supported formats 183 time format 190 transport controls 185 186 using markers with 190 193 using Time display with 190 using Time ruler with 190 working with 183 193 working with audio in 189 videocassette decks 15 video clips importing into projects 184 reconnecting 74 removing from projects 193 Index timecode position 190 191 viewing details of 188 189 video files previewing 68 189 reconnecting 74 saving with projects 87 size of 252 viewing details about 43 188 189 video frame rate choosing 76 190 video out device 187 Video Out preferences 80 video output 80 video output devices 22 187 188 284 Video Playback value slider 40 Video Scale pop up menu 40 Video tab 40 184 186 video timecode format 190 video transport controls 40 video viewing area 40 viewing area 40 volume adjusting for busses 102 adjusting for outputs 102 adjusting for tracks 102 channel strips 127 128 described 288 overall 138 139 sends 213 volume envelopes 220 volume fader 30 volume slider 28 69 102 161 VST plug in 14 W waveform display described 32 sample units 149 Time Ruler units 148 zooming in out 149 160 waveform editing tools 31 Waveform Editor 143 182 adding realtime effects in 209 analyzing audio files in 177 180 closing projects 145 copying audio in 157 creating projects 145 cutting pasting in 157 158 editing audio files in 8 154 160 editing
95. 93 For information about working in the Mixer see Chapter 6 Working in the Mixer on page 123 Note For multitrack projects the audio files used in a project are not stored as part of the project file The project file only saves references pointers to their location on disk This keeps the size of the project file relatively small and lets you use an audio file in multiple projects Audio File Projects Audio file projects let you edit individual audio files using the powerful actions feature in the Soundtrack Pro Waveform Editor Actions let you process an audio file or a selection nondestructively using a set of professional audio effects perform noise reduction add ambient noise and perform other tasks You can turn individual actions on or off reorder actions and bounce realtime effects to an action You can analyze audio files for common problems including clicks and pops hum and clipped signals and have Soundtrack Pro fix the analyzed problems automatically You can also cut copy and paste audio in the Waveform Editor You can save an audio file as an audio file project which lets you change action settings when you reopen the project in Soundtrack Pro For information about creating saving and working with audio file projects in the Waveform Editor see Chapter 7 Working in the Waveform Editor on page 143 Chapter 3 Getting Started With Soundtrack Pro Setting Up Your Workspace There are several ways y
96. Analysis e e Actions menu On Action X a Scene 1 Debra dialog Parametric EQ M Action Insert bar R Fade In M m Reduce Noise When the Analysis button is selected the following items replace the Actions list Analysis Type list Lists the types of analysis you can select Parameters list Some analysis types Click Pop and Silence have parameters you can adjust before analyzing the file The parameters appear in this list Analyze button Click to analyze the file for the problems selected in the Analysis Type list Analysis Results list Lists items found by analyzing the file Chapter 2 The Soundtrack Pro Interface e Clear Fixed button Removes fixed items from the Analysis Results list e Magnify button Zooms in on the selected item in the Analysis Results list for as long as you hold down the button Fix All button Fixes all items in the Analysis Results list e Fix button Fixes the selected items in the Analysis Results list Analysis Analysis Type Parameter gt _ Clicks and Pops Power Line Hum _Actions C Parameter list Analysis Type list M Clipped Signal gt M Silence Analyze button Status Problem Start Length Ch Clipped Signa 9 71 0 00 L Silence 0 00 0 01 LR Analysis Results list Clear fixed Fix a_ _ Fix Fix button Clear Fixed button Magnify Fix All
97. Basics Appendix You can create professional sounding music projects in Soundtrack Pro without any background or training in music This chapter describes the basic audio and music concepts you need to know to get started Basic Audio Concepts In order to understand how you can work with audio files and use the controls effects and envelopes included in Soundtrack Pro it s helpful to know some basic terms and concepts about audio Sound Waves What we hear as sounds are vibrations traveling through the air as sound waves Sound waves move through the air like ripples in a pond radiating outward from the sound s source in a regular pattern of compression and rarefaction Frequency and Amplitude The rate at which a sound wave repeats the time between two peaks of the wave is called its frequency Frequency is expressed in cycles per second or Hertz Hz We hear a sound s frequency as being relatively high like a flute a child s voice or a train whistle or low like a bass guitar a man s voice or the rumble of a train on the tracks The range of frequencies audible to human beings is roughly 20 Hz 20 kilohertz kHz Frequency Amplitude Time The depth or intensity of a sound is called its amplitude and is expressed in decibels dB We hear amplitude as the volume or loudness of a sound The range of audible loudness is roughly 0 130 dB Higher decibel levels are painful to human hearing 287 288 Mu
98. Control click the Toolbar then choose Customize Toolbar from the shortcut menu The Customize sheet appears and spaces between buttons in the Toolbar are outlined in gray To add a button to the Toolbar Drag a button from the Customize sheet to the Toolbar If you drag a button between two existing buttons the buttons move to make room for the new button To move a button in the Toolbar Command drag the button to a new location on the Toolbar You can also rearrange the Toolbar using set width spaces flexible spaces and separators To add space or a separator to the Toolbar Drag a space flexible space or separator from the Customize sheet to the Toolbar To return the Toolbar to the default set of buttons Drag the default button set located at the bottom of the Customize sheet to the Toolbar You can also change the Toolbar so that it shows only icons or only text Chapter 3 Getting Started With Soundtrack Pro 49 To show only icons in the Toolbar do one of the following Control click the Toolbar then choose Icon Only from the shortcut menu In the Customize sheet choose Icon Only from the Show pop up menu To show only text in the Toolbar do one of the following Control click the Toolbar then choose Text Only from the shortcut menu In the Customize sheet choose Text Only from the Show pop up menu To show both icons and text in the Toolbar do one of the following Control click the Toolbar then choose Icon
99. Each sample s amplitude is unchanged but the phase is inverted In the waveform display the wave s crests become troughs and vice versa Reverse Choosing this command reverses the order of the samples in the audio file or selection so that the first sample becomes the last and vice versa Swap Channels Choosing this command swaps the left and right channel of a stereo audio file or selection If the file is mono Swap Channels is disabled Insert You can insert silence noise or a waveform in an audio file or selection When you choose Process gt Insert then choose one of the three items from the Insert submenu the silence noise or waveform is inserted at the current playhead position The remainder of the audio file ripples so that it continues after the inserted silence noise or waveform Inserting Silence When you choose Process gt Insert then choose Silence from the Insert submenu the Insert Silence sheet appears You can set the length of silence to insert and choose the format for setting the length of the silence any of the Time Ruler Units formats Length of silence to insert 00 00 01 00 HH MMSS _ Cancel GOD Chapter 7 Working in the Waveform Editor 163 164 To set the length of the inserted silence In the Insert Silence sheet choose the format you want to use from the Format pop up menu In the Length of silence to insert value slider do one of the following e Click
100. Editor You can edit the audio file project in the Waveform Editor using the commands and functions described in Chapter 7 Working in the Waveform Editor on page 143 You can apply actions or analyze the file and fix analyzed problems When you are finished editing the clip choose File gt Save Click Save You can also save the clip by choosing File gt Save As If you save the clip using the Save As command be sure the name location and file type in the Save As dialog are the same as for the clip s source file You can also save the clip as an audio file project If you save the clip as an audio file project you can reopen the project in the Waveform Editor and make further changes To use the updated clip in Final Cut Pro you must save it as an audio file and import the audio file replacing the existing clip Chapter 14 Using Soundtrack Pro With Apple Professional Applications 255 Editing a Clip Using a Soundtrack Pro Script You can edit a Final Cut Pro clip destructively using a Soundtrack Pro script while working in Final Cut Pro When you send a clip to a Soundtrack Pro script the clip opens in the Waveform Editor the actions in the script are performed the clip is saved with the changes and the Waveform Editor moves to the background so you can continue working in Final Cut Pro To edit a clip using a Soundtrack Pro script Control click the clip in the Final Cut Pro Timeline or Bin choose Send To gt Soun
101. Frame 3 With Virtual MIDI Device enabled Soundtrack will send sync to other MIDI applications as Soundtrack Sync Source Time Code Offset Bar 1 At 00 00 00 00 HH MM SS FF Input e Sync To MIDI Clock checkbox Sets Soundtrack Pro to receive MIDI Clock signals from a MIDI application or external device e Sync To MIDI Time Code checkbox Sets Soundtrack Pro to receive MIDI Time Code MTC signals from a MIDI application or external device Output MIDI Clock pop up menu Choose the device to send MIDI Clock to or choose None MIDI Clock Virtual MIDI Device checkbox Sets Soundtrack Pro to send MIDI Clock signals to MIDI applications as Soundtrack Sync Source MIDI Time Code pop up menu Choose a device to send MTC signals to or choose None MIDI Time Code Virtual MIDI Device checkbox Sets Soundtrack Pro to send MTC signals to MIDI applications as Soundtrack Sync Source Frame Rate pop up menu Sets the frame rate for outgoing MTC signals Note that Soundtrack Pro automatically detects the frame rate for incoming MTC signals Time Code Offset e Bar 1 At field Sets the offset of Measure 1 of your Soundtrack Pro project in SMPTE format The offset affects both incoming and outgoing MTC signals This should be set to the same value in all applications and devices 78 Chapter 3 Getting Started With Soundtrack Pro Control Surfaces Preferences These preferences let you specify settings for communicating
102. None Muse Quarter size Frames e Video Output Device pop up menu Choose a video output device or choose None e Use Quarter size Frames checkbox Select to send video to the output device as quarter size frames Quarter size frames require less data throughput and can be sent more efficiently than full size frames Chapter 3 Getting Started With Soundtrack Pro Working With Multitrack Projects You can arrange and mix audio clips in a multitrack project Multitrack projects include tracks busses and outputs you can use to create sophisticated mixes When you create a multitrack project you can set the project s properties and the project length You locate and add media to your project using the Media and Effects Manager Creating and Opening Multitrack Projects When you open Soundtrack Pro a new blank project appears You can change the default startup behavior in the Preferences window For information about setting preferences see Setting Soundtrack Pro Preferences on page 75 To create a new multitrack project Choose File gt New gt Multitrack Project or press Command N A new untitled project appears You can name the project when you save it For information on saving projects see Saving Multitrack Projects on page 86 To open an existing project Choose File gt Open or press Command O Optionally to view only multitrack projects in the dialog choose Multitrack Document
103. S connectors 17 tone 198 tone color 288 tonic 85 Toolbar 24 25 49 Touch mode 228 TR tip ring connectors 17 Track area 27 track controls 27 28 90 102 106 track envelopes 220 Track Height control 28 97 track pan envelopes 220 tracks adding 99 adding sends to 212 adjusting pan position 102 adjusting volume 102 changing icon for 101 copying 101 described 93 effects 104 105 enabling for recording 236 envelopes for 106 exporting 248 249 keyboard shortcuts 284 Motion 258 259 moving 101 moving audio clips between 110 muting 103 numbered 101 overview 90 pan positions 129 removing 106 renaming 101 routing to busses 91 selecting 100 309 selecting audio clips in 107 setting height of 97 showing 220 soloing 103 time format 104 working with 99 106 transducers 289 transients 263 266 271 272 278 Transients tab 264 266 267 271 transport controls 24 25 32 55 56 185 186 Transpose pop up menu 43 treble 169 199 288 troubleshooting 180 293 295 TRS tip ring sleeve connectors 17 truncate mode 85 Type buttons 44 U Undo command 71 Universal Serial Bus See USB upsampling 83 USB Universal Serial Bus 15 16 USB audio interface 20 294 USB cables 16 USB connectors 16 USB devices 16 294 USB hubs 16 294 User Manual 10 Utility window 23 40 44 V Value display 139 value slider 30 Value value slider 44 video 183 193 for DVDs 83 encoding 250 frame rates 190 importing into projects 183 1
104. TSC PAL HD and other formats supported by QuickTime can be imported into Soundtrack Pro Imported video files can be up to four hours in length 183 Adding a Video to a Project You can import a video file by dragging the file from the Media and Effects Manager or from the Finder You can import only one video file into a project To import a video file into a project do one of the following Drag the video file from the Media and Effects Manager or the Finder to the Video tab of the Utility window Drag the video file from the Media and Effects Manager or the Finder to the video track in the Timeline Drag a video file to the Video tab to import it into the project A video clip appears on the video track The video s audio appears in a new audio track The video appears in the Video tab The video is displayed in the Video tab in its correct aspect ratio and a video clip appears in the video track the top track in the Timeline letting you see the duration of the video in the project The video clip starts at the beginning of the project and cannot be moved to another point in time Any Final Cut Pro scoring markers included in the video file appear in the Timeline with an orange handle If the video contains audio new audio tracks are added below the video track for each audio track in the movie and the video s audio tracks appear as audio clips in the new tracks You can mov
105. Volume fader and value slider Volume fader and value slider Volume fader and value slider Level meters with peak indicator Level meters with peak indicator Level meters with peak indicator Record Enable button Mute button Mute button Mute button Solo button Solo button Solo button Name Name Name Chapter 6 Working in the Mixer 125 126 The channel strips in the Mixer make it easy to see the settings for all the tracks busses and outputs in your project at once and to adjust those settings relative to each other as you create the overall mix In the Mixer the channel strips appear in order corresponding to their order in the Timeline Top to bottom order in the Timeline corresponds to left to right order in the Mixer You can reorder tracks in the Mixer and have the new order reflected in the Timeline Changes you make to controls such as volume and pan also show up in the track controls when you open the project in the Timeline Adding Channel Strips to the Mixer You can add a channel strip for a track bus or output in the Mixer in the same way you add a track bus or output in the Timeline To add a track channel strip Choose Multitrack gt Add Track To add a bus channel strip Choose Multitrack gt Add Bus To add an output channel strip Choose Multitrack gt Add Output Selecting Channel Strips You can select a channel strip in order to move copy or remove it Selected channel strips
106. WAVE MP3 AAC except protected AAC files Sound Designer II NeXT Sound File QuickTime Movie You can open audio files with any combination of the following sample rates and bit depths Sample Rates e Any rate between 8 kHz and 192 kHz Bit Depths e 8 bit integer e 16 bit integer e 24 bit integer e 32 bit integer e 32 bit floating point You can open audio files up to four hours in length in the Waveform Editor Note You can open audio files with any sample rate between 8 kHz and 192 kHz When you edit the file in the Waveform Editor it maintains its sample rate When you play the file it plays at the nearest sample rate your hardware can support The audio file project format is the native format of the Soundtrack Pro Waveform Editor Audio files saved in this format have some special features which are described in this chapter 144 Chapter 7 Working in the Waveform Editor Creating and Opening Audio File Projects You start working in the Waveform Editor by creating an audio file project opening an existing audio file project or opening an audio file in the Waveform Editor To create a new blank audio file project Choose File gt New gt Audio File To open an audio file project or audio file in the Waveform Editor do one of the following Choose File gt Open or press Command O locate and select the project or file then click Open Drag the project or file over the Soundtrack Pro icon in th
107. a Chapter 11 Recording Audio in Soundtrack Pro 241 Using Control Surfaces With Soundtrack Pro You can connect and use control surfaces to automate recording mixing and other tasks in Soundtrack Pro Control surfaces provide a set of hardware controls that let you mix and edit your projects with greater flexibility and precision than using a mouse to move onscreen controls You can also change multiple parameters at once using a control surface There are a variety of control surfaces available for use with video and audio production applications Most control surfaces include faders knobs and buttons similar to those found on a hardware mixing console including channel strip controls for volume pan mute solo and track selection and a set of transport controls Control surfaces also typically provide buttons for selecting parameters to edit and for selecting different tracks or banks of tracks a jog wheel for moving the playhead precisely and other controls When you use a control surface with Soundtrack Pro some controls are premapped to common functions You can map other controls to Soundtrack Pro commands and functions in the Control Surfaces Preferences pane To use a control surface you connect it to your computer add it to Soundtrack Pro map the controls you want to use to Soundtrack Pro commands then record control surface automation data in your project Recorded control surface automation data appears in the cor
108. a name for the new project and browse to a location to save the project A new audio file project containing the audio track opens in the Soundtrack Pro Waveform Editor Edit the audio file project in the Waveform Editor You can use the commands and functions described in Chapter 7 Working in the Waveform Editor on page 143 You can graphically edit the file apply actions analyze the file and fix analyzed problems When you are finished editing the audio file project of the audio track you save the project in Soundtrack Pro In Soundtrack Pro choose File gt Save When you save an audio file project sent from Motion a render file is included in the project which Motion uses to update the audio track If you save the project using the Save As command be sure to leave the Render checkbox selected each time you save the project so the clip will be updated in the Motion project If you deselect the Render checkbox you will not be able to reconnect the audio file project with the audio track and your changes will be lost When you have followed the steps described above the clip is updated in Motion You hear the clip with the changes you made in the Waveform Editor without having to reimport the clip You can make roundtrips between Motion and Soundtrack Pro by opening the saved audio file project making changes then saving the project Each time you save the project the clip is updated in Motion Chapter 14 Using So
109. a recording session to record your own audio Play from Beginning Play Cycle Record Go to Go to End MIDI Sync Beginning Record Starts recording at the playhead position on the track you have enabled for recording If no track is enabled a new track is created when recording starts Play from Beginning Starts playback from the beginning of the project Playback begins immediately whether the project is playing or is stopped when you click the button Go to Beginning Sets the playhead to the beginning of the project If the playback region is active and the playhead is after the beginning of the playback region in time the playhead is set to the beginning of the playback region Play Starts playing back the project from the current playhead position Clicking the Play button again stops playback at the current playhead position Go to End Sets the playhead to the end of the project If the playback region is active and the playhead is before the end of the playback region in time the playhead is set to the end of the playback region Cycle If a playback region is set clicking the Cycle button toggles whether the playback region is active or inactive If no playback region is set clicking the Cycle button sets the project to repeat from the beginning when the playhead reaches the end of the project For information on setting the playback region see Working With the Playback Region on page 98 MIDI Sync Syn
110. about working in the Mixer see Chapter 6 Working in the Mixer on page 123 When you are finished working on the project choose File gt Save to save your changes When you have followed the steps described above you can export a project mix of the multitrack project and replace the group of clips or sequence with the exported project mix in Final Cut Pro Note When you send Final Cut Pro clips to the Timeline the clips volume level and any keyframes or crossfades are sent with the clip For mono clips the pan position is also sent Clip based Final Cut Pro effects such as filters and speed changing envelopes and Final Cut Pro generators are not included in the Soundtrack Pro multitrack project Chapter 14 Using Soundtrack Pro With Apple Professional Applications 257 To update a Soundtrack Pro multitrack project sent from Final Cut Pro In Soundtrack Pro choose Export gt Export Mix Import the exported project mix into the Final Cut Pro Timeline replacing the original clips or sequence When you want to work on the project in Soundtrack Pro again Control click the clip of the exported mix then choose Open in Editor from the shortcut menu A dialog appears asking if you want to open the audio file or the original project In the dialog click Open Project The multitrack project opens in the Soundtrack Pro Timeline so you can continue working When you are finished working in Soundtrack Pro be sure to save the
111. ack Pro matches audio clips to the project key it transposes the clips using the smallest appropriate interval For instance when matching a clip recorded in the key of D with a project in the key of A the clip is transposed down five semitones 5 rather than being transposed up seven semitones 7 although either transposition would put the clip in the project key Transposing clips can lead to undesirable results such as when the sound of the instrument recorded in the clip is moved outside its natural range If the sound of a clip changes in an unsatisfactory way you can try transposing the clip up or down by an octave 12 semitones and see if you like the result better Chapter 5 Working in the Timeline 115 116 The following table shows the correspondence between semitones and musical intervals for transposing clips Number of semitones Musical interval 1 Minor second 2 Major second 3 Minor third 4 Major third 5 Perfect fourth 6 Tritone diminished fifth 7 Perfect fifth 8 Minor sixth 9 Major sixth 10 Minor seventh Nl Major seventh 12 Octave Changing the Offset of an Audio Clip When you add an audio clip to the Timeline the clip plays back from the beginning of the source audio file The point in the audio file where the clip starts playing is called the offset By default a clip s offset is zero the beginning of the source audio file You can change the offset so th
112. add a realtime effect to a track bus or output in the Mixer Control click an effects slot in the channel strip of the track bus or output choose Add Effect from the shortcut menu then choose an effect from one of the submenus Chapter 9 Working With Audio Effects To add a realtime effect to an audio file project in the Waveform Editor 1 In the Waveform Editor click the Effects button located next to the Actions and Analysis buttons 2 In the Effects tab select a category in the Category list to display the effects for that category in the Effect list 3 In the Effect list do one of the following e Double click the effect you want to add to the track Select the effect name then click the Add Effect button e Drag the effect to the Effect Parameters area Some effects including reverb and delay add audio that extends past the end of the file This is called an effect tail When you export a project mix or export a track bus or output with an effect that produces a tail the exported file is lengthened to include the effect tail until the point at which the tail falls below 96 dB Also when you choose Process gt Bounce Realtime to Action for an audio file project with a realtime effect that produces a tail the rendered project is lengthened to include the effect tail until the point at which the tail falls below 96 dB Adjusting Realtime Effect Parameters Once you ve added a realtime effect you can adjust
113. ailable for other devices Most current Macintosh laptop computers support PCMCIA connections via a built in card slot Audio Cabling There are several types of audio cables and connectors used on professional and consumer audio equipment at a range of prices and levels of quality When connecting microphones and musical instruments to an audio interface or a mixer make sure the interface has the proper input jacks for the type of connectors and cables you plan to use XLR XLR cables and connectors are used on professional quality microphones monitors and other musical equipment They provide a high quality balanced signal at 4 dB level my A XLR connector balanced Lin 5 1 4 Inch Audio 1 4 inch connectors sometimes called phone plugs are used on a wide variety of professional and consumer musical equipment including musical instruments and amplifiers speakers and external effects devices They can be either balanced 4 dB or unbalanced 10 dB Some devices require Tip Ring Sleeve TRS connectors to transfer the audio signal 1 4 inch Tip Ring Sleeve TRS connector 1 4 inch Tip Ring TR connector Chapter 1 Setting Up Your System 17 18 RCA RCA connectors are used on consumer audio equipment such as home stereo systems and videocassette recorders Hq Je RCA connector unbalanced Optical Digital AES EBU and S PDIF AES EBU and S PDIF are both used to provide an optical digital co
114. ample Ruler Units gt Snap To am v Ruler Ticks Seconds K Show gt Frames v Markers Adjacent Tracks You can temporarily defeat snap while you work in the Timeline When you defeat snap you reverse the current snap state To defeat snap Select the item in the Timeline then hold down the Command key as you drag the item If snap is turned on Command dragging lets you move the item without having it snap to the nearest Snap To position If snap is turned off the item snaps to the nearest Snap To position When you release the Command key items moved in the Timeline follow the normal snap state Chapter 3 Getting Started With Soundtrack Pro 73 Reconnecting Media Files Because Soundtrack Pro multitrack projects contain references to media files and not the files themselves a multitrack project cannot play back if the media files it uses are erased or moved When you open a multitrack project in Soundtrack Pro the application checks to see if the media files it uses exist in the same location as they did when the project was last opened If the media files are not in the expected location Soundtrack Pro displays a Can t Find File dialog with three choices e Skip File Opens the project without reconnecting the missing file e Cancel Cancels the Open command e Find File Presents a dialog that lets you locate the missing file and reconnect it to the project If you choose to open the project without reconnecting its file
115. ant When you save a project the audio files used by the project are not saved as part of the project file To play a project on another computer you must install the audio files the project uses on that computer or on a disk it can access If you remove the audio files used in a project so that your computer cannot access them you cannot play back the project You can save a project and the media files the project uses together This makes it easy to move projects between computers and ensures that all needed audio files are available for playback e When you select Collect Audio Files the project file and all the audio files the project uses are saved in the same folder e When you select Collect Video File the video file is included with the project and its audio files Chapter 4 Working With Multitrack Projects To save a project and its audio files together Choose File gt Save In the dialog that appears select the Collect Audio Files checkbox Navigate to the folder in which you want to save the project and its audio files then click Save The project file and a copy of every audio file the project uses are saved to the selected location You can optionally click the New Folder button to create a new folder for the collected project It s a good idea to save each collected project in its own folder If the project includes a video file you can optionally select the Collect Video File checkbox to save the video t
116. arametric EQ Modulation Modulation effects delay an audio signal and shift modulate when the delayed signal plays back relative to the original signal Bundled modulation effects include Chorus Flanger Modulation Delay Phaser Scanner Vibrato and Tremolo Reverb and Delay Reverb effects can be used to simulate the sound of acoustic spaces both realistic and unnatural Delay effects can be used to add echoes and other recurring sounds Bundled reverb and delay effects include PlatinumVerb Soundtrack Pro Reverb Stereo Delay Tape Delay and Space Designer a powerful tool for sound design Meters and Diagnostic You can use realtime diagnostic effects to clean up audio files in a variety of ways including pitch intensity and phase problems Bundled diagnostic effects include Correlation Meter MultiMeter Test Oscillator and Tuner These are only available as realtime effects not processing effects Miscellaneous Miscellaneous effects fall outside the other categories providing additional ways to modify your audio Bundled miscellaneous effects include Denoise PitchShifter Soectral Gate Stereo Spread SubBass and Vocal Transformer Chapter 9 Working With Audio Effects Dynamics Effects Dynamics effects let you adjust the dynamic range the range between the softest and loudest sounds of your projects You can use dynamics effects to make sounds more focused and to optimize the sound for specific playback situations Dynamics
117. are recorded at a sample rate of 44 1 kHz and a bit depth of 16 bits some CDs use a higher 20 or 24 bit depth Audio for DVDs is often recorded using a slightly higher sample rate of 48 kHz Soundtrack Pro lets you record and play back digital audio files at sample rates of up to 96 kHz and at bit depths of up to 24 bits Appendix C Audio Basics 291 292 Digital Distortion To record sound with the widest possible dynamic range the input level must be set high enough to capture the complete audio signal When the input level of the signal is set too high however the signal exceeds the maximum level that can be sampled or reproduced accurately resulting in digital distortion Digital distortion is defined for most digital audio applications including Soundtrack Pro as any time the signal rises above 0 dB Even a single sample above 0 dB can produce noticeable distortion which you hear as a sharp crackling sound in the audio output Digital distortion is nearly always undesirable and Soundtrack Pro includes level meters and other controls so that you can identify and remove distortion from your projects Time Appendix C Audio Basics Solutions to Common Problems and Customer Support Appendix If you run into problems while working with Soundtrack Pro there are several resources you can use to find a solution e This appendix Thi
118. asal sound Midrange 750 Hz 1 2 kHz Includes the vowels of voices and the harmonics of musical instruments that create tone color Low Midrange 250 750 Hz Includes the fundamentals and lower harmonics of voices and musical instruments careful EQing of each can keep them from competing Excessive boosting in this range can result in muddy and unclear audio excessive cutting can produce thin sounding audio Chapter 9 Working With Audio Effects 199 200 Name Frequency range Description Bass 50 250 Hz Corresponds roughly to the bass tone control on a stereo Includes the fundamental frequencies of voices and of musical instruments Excessive boosting in this range can sound boomy and thick Low Bass 50 Hz and below Also called sub bass Very little of the sound of voices or musical instruments falls in this range Many sound effects used in movies such as explosions and earthquakes fall in this range Note The frequencies shown for each range are approximate Any division of sound into frequency ranges is somewhat arbitrary and is meant only to give a general indication of each range Roll Off Filters The simplest types of EQ effects are roll off filters which include lowpass highpass bandpass and shelf filters Lowpass filters affect all frequencies above a specific frequency called the cutoff frequency Frequencies above the cutoff are attenuated or rolled off gradually usually by a fixed nu
119. at the clip starts playing from a later point in the source audio file This allows you to use the audio from a later part of the source file without splitting the clip To change the offset of a clip Select the clip then Command Option drag left toward the beginning of the project F Command Option drag left to change the clip s offset The waveform moves inside the clip s boundary to indicate the change in offset Once you have changed the offset by dragging to the left you can also drag to the right to change the offset Note You can only drag the offset to a later part of the clip s source audio file not to a point before the beginning of the file Chapter 5 Working in the Timeline When you change the offset of a clip the waveform moves inside the clip s boundary to indicate the change in offset The length of the clip stays the same If the clip has not been resized it will reach the end of the source audio file and start looping As you move the offset by dragging the clip s notches move to show the point at which the clip will start looping Changing a Clip s Playback Mode Audio files you add to the Timeline can be either looping or non looping Looping files are special audio files that can be used to create repeating patterns and include musical phrases useful for creating music beds Audio files containing discrete non rhythmic sounds sound effects and other non musical sounds such as dialogue o
120. audio Getting Ready to Record Before you start recording also make sure that any audio equipment you plan to use in your recording session such as microphones musical equipment mixers or external processors is connected to your computer and is working When you record the recorded audio is saved to disk at the location set in the Recording pane of the Preferences window Audio files while smaller than video files of comparable duration can be quite large each minute of 16 bit 44 1 kHz stereo audio requires roughly 10 MB of disk space so you should make sure you have enough free disk space to store your recordings before you start You can set the input device and output monitoring device for recording in the Preferences Recording pane or change them in the Recording tab For detailed information on Recording preferences see Recording Preferences on page 77 235 236 Recording Audio in the Timeline You record in the Timeline by enabling a track for recording setting the playhead then clicking Record You can record a single take or record multiple takes by turning on cycling before you start recording When you finish recording your recorded audio appears in a track in the Timeline If you record multiple takes you can audition each take to choose which one you want to use in your project You can also assemble composite takes by splitting and combining your recorded takes Enabling a Track for Recording Before
121. audio files in Waveform Editor 153 described 153 307 308 projects 54 selections 54 Search database 65 67 searches keyword 36 37 searching See finding items Search Results list 37 Search tab 36 37 60 67 search tags 266 Search Text field 37 61 segments 113 114 Selection Length value slider 24 selections audio files in Waveform Editor 154 156 moving between 157 next 157 previous 157 Selection tool 159 semitones 115 116 sends adding to tracks 212 busses routed to 212 bypassing 213 channel strips 137 envelopes and 227 pan position 213 realtime effects and 212 213 reordering 137 212 settings 137 turning on off 137 volume level 213 Set Ambient Noise Print command 166 Set Noise Print command 168 setting up system See system setup Setup button 37 shelf filters 200 Show Hide Presets button 162 Show pop up menu 26 39 Silence command 163 silence threshold 178 SMPTE Society of Motion Picture and Television Engineers 78 Snap button 28 Snap option 72 73 snapping clips to adjacent clips 110 clips to markers 191 envelope points 222 Snap To Value pop up menu 28 Snap To values 28 72 73 Society of Motion Picture and Television Engineers SMPTE 78 Solo button 27 31 103 soloing channel strips 130 soloing tracks busses outputs 103 sound See also audio Index musical sounds 288 recording See recording audio volume See volume sound design 7 8 195 196 207 Sound Designer Il files 144 Soundtrack Loop Utility Se
122. audio tracks busses outputs and master envelopes are visible in the Timeline e Global Timeline view Shows a miniature view of the entire Timeline and the playhead position and lets you move quickly to different parts of a project Time display Shows the current playhead position in both Time based and Beats based formats You can set the playhead by typing a new playhead position in the time display Chapter 2 The Soundtrack Pro Interface e Level meters As the project plays the level meters show the volume level of the first output Output 1 Time ruler You can precisely position clips the playhead and other items to a specific point in time minutes seconds frames or to a musical beat using the Time ruler e Track area Includes horizontal rows for tracks busses and outputs Also includes the playhead envelopes and markers e Headers Each track bus and output has a header with an icon name volume slider and other controls For more information see Headers on page 27 e Timeline controls Includes controls to show the master envelopes turn snap on or off set the track height and zoom in or out For more information see Timeline Controls on page 28 e Scroll bar Moves the Timeline horizontally so you can see different parts of the project Headers Each track bus and output in the Timeline has a header that includes the track name track icon and a set of track controls Name
123. aveform Editor 161 170 recording See recording audio saving 146 148 saving projects as 146 147 scrubbing 54 audio files AAC 56 adding to multitrack projects 87 89 adding to Timeline 87 89 AIFF 56 ambient noise in 166 167 amplitude 163 analyzing in Waveform Editor 177 180 on CD ROM discs 14 on hard disks 14 common problems 294 editing in Waveform Editor 154 160 exporting projects to 248 finding See finding items formats for 56 gain of 163 graphically editing 159 160 information about 43 inserting noise in 164 length of 176 looping 57 117 moving between selections 157 MP3 56 non looping 57 117 normalization 162 opening in Apple Loops Utility 269 opening in Waveform Editor 144 145 phase of 163 playing in Waveform Editor 152 previewing 68 69 processing in Waveform Editor 161 170 QuickTime 56 reconnecting 74 reducing noise in 168 169 sample rates 83 saving 147 148 saving with projects 87 252 scrubbing in Waveform Editor 153 selecting in Waveform Editor 154 157 selecting parts of 154 156 159 silence in 163 164 size of 235 source 107 117 119 storing in Bin 67 68 supported formats 144 tagged 60 tagging with Apple Loops Utility 263 278 time stretching 160 166 unable to find 74 WAV 56 audio input 14 audio interfaces 15 audio output 14 18 19 audio postproduction 7 198 audio repair See analysis tools audio tracks See tracks Audio Units plug ins 14 195 Auto Gain parameter 205
124. ay Shows the current position of the playhead Global Waveform view Shows you a miniature view of the entire waveform and the playhead position and lets you move quickly to different parts of an audio file Waveform display and editing area Shows the waveform of the audio file or its frequency spectrum in Spectrum view You can select parts of the audio file to apply different actions to Level meters Show the levels of the audio file as it plays Transport controls Control playback and the position of the playhead and turn recording on or off For more information see Transport Controls on page 25 Playhead Shows the part of the audio file currently playing Actions and Analysis buttons Shows either the Actions list and related controls or the Analysis Type Parameter and Analysis Results lists and related controls When the Actions button is active the following items are available Actions Analysis buttons Actions Effects button Shows the Effects tab where you can add realtime effects to the project Actions pop up menu Choose menu items to flatten actions delete actions and perform other operations Actions list Shows the actions you apply to the project Action Insert bar Shows where new actions will be added in the Actions list and which actions are heard when you play the project Actions list You can add select and reorder actions in the list Effects button L Actions
125. bus or output do one of the following Click the icon then select a new icon from the icon grid that appears Drag a graphics file from the Finder to the icon Chapter 5 Working in the Timeline 101 102 Using the Track Controls Tracks busses and outputs have headers located along the left side of the Timeline Each header contains track controls that you can use to mute or solo the track bus or output adjust its volume level and pan position add effects and show or hide its envelopes Adjusting Volume The volume slider controls the volume the loudness relative to other tracks of the track bus or output To adjust the volume level of a track bus or output Drag the volume slider left or right gt Scene 1 Debra dialog ORES Drag the volume slider left or right The range is 96 dB to 6 dB with the default at 0 dB Double clicking the slider resets it to the 0 dB position Adjusting Pan Position Tracks and busses also include a pan slider The pan slider controls the pan position the left to right placement in the stereo field of the track To adjust the pan position of a track or bus Drag the pan slider left or right Drag the pan slider left or right The range is 100 full left to 100 full right with the default at 0 center position Double clicking the slider resets it to the center position Chapter 5 Working in the Timeline Muting and Soloing Tracks Busses an
126. can be modified in a variety of ways Delay A delay effect stores the audio signal and then plays back each repetition at a regular rate of time after the original signal Delays can be used for doubling individual sounds for example making it sound as if a group of instruments is playing the same melody to achieve echo effects making it sound as though the sound was occurring in an immense space and to enhance the stereo position of tracks in a mix Delay effects are not commonly used on an overall mix except to achieve special effects such as to create an otherworldly sound Chapter 9 Working With Audio Effects Delay effects let you set the delay time the time between the original signal and the delayed signal Delays often provide parameters for feedback also called regeneration which let you set how much of the delayed signal is fed back into the delay s input creating more repetitions of the delay like the number of bounces in an echo Specific types of delay have other parameters Tap tempo delays let you set the delay time by physically tapping a key or controller stereo delays include parameters for the pan position of the output signal which can be shifted over time using a low frequency oscillator called an LFO Reverb Reverberation usually shortened to reverb simulates the sound of acoustic environments such as rooms concert halls caverns or the sound of infinite space In any acoustic space s
127. causing the positive and negative parts of the signal not to average to zero DC offset can limit the dynamic range of an audio file Phase Issues Phase issues can result from a distorted or inaccurate stereo image caused by poor microphone placement or other issues When converting a stereo file to mono the presence of phase issues can cause the left and right channels to cancel each other out partially or completely Clipped Signal A clipped or overloaded signal can result from several causes including poor gain staging in a preamp during recording bad electrical cables or surface damage to an analog recording Silence Silence detects parts of the audio file at which the audio signal falls to zero 0 You can set the threshold below which Soundtrack Pro considers the signal to be silence To select the types of analysis to perform In the Analysis Type list select the checkboxes next to the types of analysis you want to perform on the audio file 2 To analyze the file click Analyze Chapter 7 Working in the Waveform Editor Setting Analysis Parameters The Clicks and Pops and Silence analysis types have parameters you can set Each type has a Threshold slider you can drag to set the threshold for detecting clicks and pops or detecting silence To set analysis parameters In the Analysis Type list click the disclosure triangle for the analysis types for which you want to set parameters Drag the Threshold slider left to l
128. ce audio file Chapter 5 Working in the Timeline Transposing Tagged Audio Clips When you drag an audio file tagged with key information to the Timeline Soundtrack Pro transposes the clip to the project key You can transpose tagged clips to another key to create chord progressions from the same audio file or to achieve other musical effects You can transpose a tagged clip to any interval from one octave above 12 semitones to one octave below 12 semitones its current key Note Soundtrack Pro uses the key tag in the audio file to transpose it In order to be correctly transposed the file must be tagged To transpose a tagged audio clip do one of the following Select the clip choose Clip gt Transpose then choose the number of semitones by which you want to transpose the clip up or down Control click the clip in the Timeline choose Transpose from the shortcut menu then choose the number of semitones by which you want to transpose the clip up or down Clip Speed Take Convert to Non looping Transpose the clip up from 1 to 12 semitones Reveal In Browser Reveal In Finder Add to Favorites Open in Apple Loops Utility Open in Editor Open as Project Show File Information Select All Occurrences of Intro voiceover Reconnect Save Clip As from 1 to 12 semitones Delete Duplicate Split 1 2 3 4 5 6 Transpose the clip down 7 8 9 1 1 L eke When Soundtr
129. center of the value slider then drag the slider that appears left or right to change the length e Click the value in the value slider then type a new value Click OK Adding Ambient Noise When editing an audio file you may want to remove some sounds from the file while preserving the room tone or other ambient background noise in the file Soundtrack Pro features two commands Set Ambient Noise Print and Apply Ambient Noise that you can use together to add ambience to the file Set Ambient Noise Print The Set Ambient Noise Print command lets you copy part of an audio file containing only ambient noise that you want to add to another part of the file or another file To copy part of an audio file to ambient noise In the waveform display select the part of the audio file containing only ambient noise Choose Process gt Set Ambient Noise Print The ambient noise is stored in a special buffer separate from the Clipboard and is saved to the project Chapter 7 Working in the Waveform Editor Apply Ambient Noise The Apply Ambient Noise command applies the ambient noise stored in the ambient noise buffer to the audio file or selection To apply ambient noise to an audio file In the waveform display select the part of the audio file to which you want to apply the ambient noise Choose Process gt Apply Ambient Noise The ambient noise replaces the selected part of the file If the selection is longer than the copied ambient
130. ch any of the selected problems apply become red Chapter 7 Working in the Waveform Editor 179 180 Zooming In on Analyzed Problems You can zoom in on an item in the Results list using the Magnify button so you can see the problem area of the audio file closely To zoom in on an item in the Results list In the Results list select the item Press and hold the Magnify button located at the bottom of the Results list go am Magnify button The waveform display zooms in on the problem area for as long as you hold the Magnify button To zoom in and stay at the new zoom level In the Results list select the item Command click the Magnify button Fixing Analyzed Problems You can select items in the Results list and fix them individually in groups or all together When you select a single item the part of the waveform where the item occurs becomes red To fix an item Select the item in the Results list then click the Fix button You can select multiple items to fix by Shift clicking or Command clicking You can also fix all items in a single operation To fix all items in one operation Click the Fix All button Once you have fixed a problem you can remove it from the Results list so that you can focus on remaining problems To clear fixed items from the Results list Click the Clear Fixed button Chapter 7 Working in the Waveform Editor A WN Using Markers in the Waveform Editor You can insert markers in
131. changes By Option dragging a marker you can synchronize the marker s position with the Beats based units Note If you score a marker to the playhead and the tempo change resulting from the scoring operation sounds too noticeable or extreme you can undo the scoring operation After undoing the scoring operation add an envelope point to the tempo envelope at a point after any audio clips you do not want to be affected by the tempo change but before the marker to be scored then repeat the scoring operation Chapter 8 Working With Video in Soundtrack Pro 193 Removing a Video From a Project You can remove a video if you decide you no longer want to use it in the project To remove a video clip from a project do one of the following Select the video clip in the Timeline then choose Edit gt Delete or press the Delete key Control click the video clip then choose Remove Video from the shortcut menu When you remove the video from a project the audio clip of the video s audio is not deleted but remains in the project You can delete the clip separately if you want to remove it For information about using Soundtrack Pro with Final Cut Pro including transferring a project back and forth between Soundtrack Pro and Final Cut Pro see Chapter 14 Using Soundtrack Pro With Apple Professional Applications on page 253 Working With Audio Effects You can modify the sound of your project in many ways using audio effects Sou
132. channel strips 127 envelope points 225 Timeslices 231 Correlation meter 204 crossfade mode 85 112 crossfades adjusting 112 creating 85 111 112 Index moving 112 customer support 293 295 Customize sheet 49 50 cutoff frequency 200 cuts 204 281 cutting items audio clips 108 audio files 157 envelope points 225 frequencies 198 199 peak levels 197 Timeslices 231 Cycle button 25 55 238 cycling playback 98 99 D daisy chaining 15 DC offset 178 decay time 203 delay 196 delay effects 196 202 delay rate 202 delay time 203 deleting items actions 176 audio clips 108 119 beat markers 122 busses 106 channel strips 134 control surfaces 244 effects 136 envelope points 225 226 layouts 48 markers 122 outputs 106 realtime effects 214 scoring markers and 122 time markers 122 Timeslices 231 232 tracks 106 unable to delete scoring markers 122 video clips from projects 193 Denoiser effect 206 depth 202 descriptors 266 277 Details tab 43 44 188 189 diagnostic effects 196 204 205 digital audio 14 See also audio digital audio connectors 18 digital audio interfaces 15 Digital Cinema Desktop 187 digital recording 290 291 digital video 83 See also video directories 65 67 disk space 14 41 235 disk space indicator 41 distortion 196 198 292 distortion effects 196 distributing projects 247 252 dithering 147 Dock minimizing windows to 47 downsampling 83 drag handles 27 30 91 92 drop frames 190 droplets 1
133. chronizes playback with incoming MIDI Clock and MIDI Timecode MTC signals Chapter 3 Getting Started With Soundtrack Pro 55 Controlling Playback Using Keyboard Shortcuts There are a number of keyboard shortcuts you can use to control playback of your project To use keyboard shortcuts the pointer cannot be in a text field Space bar Plays back the project from the current playhead position If the project is playing pressing the Space bar sets the playhead back to the point from which the project started playing This is equivalent to clicking the Play button Return Sets the playhead to the beginning of the project If the playback region is active pressing Return sets the playhead to the beginning of the playback region This is equivalent to clicking the Go to Beginning button Shift Return Sets the playhead to the beginning of the project and starts playback if it is stopped This is equivalent to clicking the Start from Beginning button For a complete list of Soundtrack Pro keyboard shortcuts see Appendix B Soundtrack Pro Keyboard Shortcuts on page 279 Locating and Adding Audio Files You can locate media files to use in a project using the Media and Effects Manager or drag files from the Finder The Media and Effects Manager gives you three ways to locate audio files the Browser Favorites and Search tabs You can also store media files for a project in the Bin for easy access in a project Supported Audio File
134. ck controls Volume envelopes The range is from 96 dB to 6 dB e Track pan envelope The range is from 100 Left to 100 Right pan with Centered at the midpoint 0 zero When you add effects to a track bus or output you can automate the effect parameters by adding an envelope for any parameter to the envelopes for the track bus or output The envelopes are different for each type of effect For information on adjusting effect parameters see Working With Audio Effects on page 195 Master Envelopes Each project has master envelopes for transposition and tempo When you display the master envelopes they appear below the outputs in the Timeline The master envelopes appear below the Outputs section Chapter 10 Working With Automation To show or hide the master envelopes do one of the following Choose View gt Show Master Envelopes Click the Master Envelopes button in the lower left corner of the Project window Click the Master Envelopes disclosure triangle in the Timeline Repeat the procedure to hide the master envelopes The ranges of the master envelopes are as follows e Master transpose envelope Ranges from 12 semitones to 12 semitones Master tempo envelope Ranges from 60 bpm to 200 bpm Adding Envelope Points You create changes to an envelope by adding envelope points to the envelope and moving the envelope points to different values To add an envelope point to an envelope Double click
135. ctangle to a new position You can quickly move to different parts of the Timeline by dragging the blue rectangle This is especially useful when working on longer projects You can also drag the rectangle up or down to move vertically in the Global Timeline view This is useful if your project contains more tracks busses and outputs than can be displayed in the Project window Chapter 5 Working in the Timeline 97 98 Using the Time Ruler The Timeline has a Time ruler that shows the divisions of time in a project You can set the playhead to a precise frame point in time or sample number using the Time based units on the Time ruler or to a specific musical measure or beat using the Beats based units to synchronize playback of audio clips in the Timeline The Time ruler changes depending on the time format of the project and the Time ruler units If the project is currently set to Time based format Time based units appear in the upper part of the ruler If the project is set to Beats based format Beats based units appear in the upper half of the ruler 0 00 00 0100 10 Op020 0 00 30 0 00 40 0 00 50 0 01 0 LI s1 a na 17 211 251 291 You can use the Time ruler to position clips or the playhead at a precise point in time including synchronizing them to a specific timecode reference in a video file To set the playhead to a specific point in the Time ruler Click the Time ruler at the point where you
136. cts you want to use from this list In the Effects tab select a category in the Category list to display the effects for that category in the Effect list In the Effect list do one of the following e Double click the effect you want to add e Select the effect name then click the Add Effect button Drag the effect to the Effect Parameters area Drag the effect from the Effect list to the Effect Parameters area The effect now appears in the Effect Parameters area with its checkbox selected When you add effects to a track bus or output the Effects button changes color to indicate that the track bus or output contains effects For detailed information about adding and adjusting effects see Chapter 9 Working With Audio Effects on page 195 Chapter 5 Working in the Timeline 105 106 Click the envelopes disclosure triangle Showing and Hiding Track Bus and Output Envelopes Clicking the automation disclosure triangle for a track or bus shows the volume and pan envelopes which you can use to automate changes to pan position and volume level over the course of the project Clicking the triangle for an output shows the output s volume envelope The envelopes appear in the Timeline below the track bus or output You can also add envelopes for effect parameters which appear below the other envelopes For information on adding envelopes for effect parameters see Chapter
137. d Outputs The Mute button mutes silences the track bus or output You can mute multiple tracks busses and outputs allowing you to hear only the remaining unmuted ones Muting lets you compare the sound of the project using different combinations of tracks busses and outputs and hearing the result of changes you make to them To mute a track bus or output Click the Mute button Click the Mute button again to unmute the track bus or output Muted tracks busses and outputs appear darker in the Timeline making it easy to identify which tracks are currently audible Click the Mute button to mute the track bus or output The Solo button solos the track bus or output muting all others Soloing a track bus or output lets you quickly isolate it from the rest of the project so you can adjust the sound of the soloed track bus or output and make changes Soundtrack Pro supports multiple solo and exclusive solo Clicking the Solo button for multiple tracks busses or outputs solos them and mutes all others When you exclusively solo a track bus or output all others are muted regardless of whether they are soloed To solo a track bus or output multiple solo Click the Solo button Click the Solo button again to unsolo the track bus or output Click the Solo button to solo the track bus or output To exclusively solo a track bus or output Option click the Solo button Click the Solo button
138. d using the transport controls or the Playhead Position value slider Because the playhead is not visible in the Mixer you cannot set it by clicking or dragging Recording Audio in the Waveform Editor You can record audio to an audio file project in the Waveform Editor When you record audio in the Waveform Editor you replace overwrite any existing audio in the audio file or selection you record to You can select part of the file in the Waveform Editor to record to When you record to a selection recording starts at the beginning of the selection and ends at the end of the selection The part of the file after the end of the selection is unchanged If no part of the file is selected recording starts at the playhead position and lasts until you stop recording If your recording extends past the end of the audio file the file is lengthened to include the recording To record audio in the Waveform Editor 1 Select the part of the project you want to record to If no part of the audio file is selected recording starts at the current playhead position and proceeds until you stop recording 2 Click the Record button in the transport controls Chapter 11 Recording Audio in Soundtrack Pro As you record the recorded area appears red in the waveform display The level meters in the Recording tab show the levels of the input signal being recorded If the input signal clips rises above 0 dB the peak indicator lights red Recorded are
139. data in Soundtrack Pro You can record movements you make to faders sliders and other onscreen controls using the pointer You can also connect a supported control surface to your computer and record movements to controls on the control surface When you record movements to onscreen controls or control surface controls the corresponding envelope in the Timeline or Waveform Editor changes to display the recorded automation data You can edit the envelope to fine tune the automation data after recording Automation Modes Soundtrack Pro provides three modes for using and recording automation The automation modes determine whether automation data is recorded and what happens when you release the control being recording e Read In Read mode existing automation data is active when you play the project but no new automation data is recorded e Touch In Touch mode movements to controls are recorded when you play the project overwriting any existing automation data until you release the control When you release a control in Touch mode the control returns to the value it previously had at the point in the Timeline where you release the control No envelope points after that point are added or changed e Latch In Latch mode movements to controls are recorded when you play the project overwriting any data from the point you start recording until you stop playing the project When you release a control in Latch mode the control maintains t
140. dds a new bus to the Timeline below the selected bus l a contrat 7 Adds a new output to the Timeline below the selected output S option a p j Removes the selected track bus or output from the Timeline l a shit J r P Inserts a beat marker at the current playhead position Inserts a time marker at the current playhead position Adds time markers at the beginning and end of selection conor w J iil Video Out Key command Function Play using external video output device E E ees i 284 AppendixB Soundtrack Pro Keyboard Shortcuts Recording Key command Function i Makes Take 1 the active take for the selected clip g ae option 1 Makes Take 2 the active take for the selected clip S option 2 4 N Makes Take 3 the active take for the selected clip option 3 Makes Take 4 the active take for the selected clip SJ option Makes Take 5 the active take for the selected clip e x o x o o s ooon fo x fo x ee PE Makes Take 6 the active take for the selected clip option e T Makes Take 7 the active take for the selected clip option 7_ Makes Take 8 the active take for the selected clip option 8_ Makes Take 9 the active take for the selected clip 3 option 2 AppendixB Soundtrack Pro Keyboard Shortcuts 285 Audio
141. de boundary To move the crossfade without changing its length Drag the lower area of the crossfade left or right As with other edits you make in the Timeline creating a crossfade between two audio clips does not change the source audio files Chapter 5 Working in the Timeline Truncating Overlapping Audio Clips You can have Soundtrack Pro truncate the overlapping part of audio clips in the Timeline instead of crossfading them To truncate audio clips you set the project to truncate mode then drag an audio clip so that it overlaps another clip To set the project to truncate mode Click the Overlap Mode button located above the Global Timeline view In truncate mode when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline the overlapped part of the clip is truncated To truncate an audio clip In the Timeline drag another audio clip over part of the clip Splitting and Joining Audio Clips You may want to use only part of the source audio file in an audio clip Soundtrack Pro lets you split the clip into segments and use the segments in the Timeline as independent clips You can move the segments edit them and split each one into additional segments There are two ways to split clips using the Split razor tool or using the Split menu item in the Edit menu with the playhead Each method has advantages depending on the situation Using the Split tool you can perform
142. deo projects with the same power and flexibility as the video What Is Soundtrack Pro Soundtrack Pro is a new professional audio application for Macintosh computers that gives you the tools to perform a wide range of audio postproduction tasks Using Soundtrack Pro you can edit audio files repair field recordings perform multitrack arranging and mixing synchronize audio and video analyze and fix common audio problems and perform creative sound design You can work in two kinds of projects in Soundtrack Pro multitrack projects and audio file projects In multitrack projects you add and arrange audio clips on the Timeline where you can edit audio clips synchronize audio and video and automate volume pan and other changes over time using envelopes You can also record audio directly to a track in the Timeline You mix multitrack projects in the Mixer which includes a channel strip for each track bus and output in the project In both the Timeline and the Mixer you can add and adjust professional quality realtime effects including compression EQ and reverb You can export your project mix to an audio file or to a QuickTime movie export using Compressor and also export individual tracks busses and outputs In audio file projects you can edit audio files in the Waveform Editor for tasks ranging from audio repair to sound design In the Waveform Editor you can perform precise edits down to the individual sample level You can p
143. dio appears as a clip in an audio track in the Timeline and can be moved and edited like other audio clips You can mute solo and adjust the volume and pan of the video s audio add effects and automate changes You can also open the video s audio in the Waveform Editor and perform actions or analysis on it When you import a video from Final Cut Pro you can set the Time ruler units to match the timecode format of the video Any Final Cut Pro scoring markers contained in the video appear as markers in the Timeline You can also add markers in Soundtrack Pro and export them to Final Cut Pro with the video file You can score markers to the playhead using them to synchronize your soundtrack to the action in the video You can work with video in Soundtrack Pro in several ways You can add audio clips for dialogue and voiceover music ambience and sound effects to the Timeline You can make roundtrips between Final Cut Pro and Soundtrack Pro as you work on both the video and the soundtrack or bring the final video into Soundtrack Pro to finalize the project When your soundtrack is complete you can export it as an AIFF file or save it as part of the video Supported Video File Formats Soundtrack Pro supports standard QuickTime compatible file formats You can import a QuickTime movie mov video file into a Soundtrack Pro project and can import an MPEG 2 m2v if you have installed the QuickTime MPEG 2 Playback Component Video files using N
144. dtrack Pro Script from the shortcut menu then choose the script you want to use from the submenu Soundtrack Pro opens and the clip appears in the Waveform Editor The actions in the script are performed and the clip is saved with the changes The Soundtrack Pro window moves to the background and the Final Cut Pro windows return to the foreground You can select multiple clips in Final Cut Pro to edit using a script When you send multiple clips to a Soundtrack Pro script each clip is opened edited saved and closed in sequence You can also repeat the last script you used to edit a clip making it easy to edit several clips with the same set of actions To edit a clip using the last script Control click the clip in the Final Cut Pro Timeline or Bin then choose Send To gt Last Soundtrack Pro Script from the shortcut menu For information about creating and saving AppleScripts in the Waveform Editor see Scripting Actions in the Waveform Editor on page 181 Creating a Multitrack Project From Final Cut Pro Clips or Sequences You can create a Soundtrack Pro multitrack project from a group of Final Cut Pro clips or a sequence When you send a group of clips or a sequence to a Soundtrack Pro multitrack project the clips open in the Soundtrack Pro Timeline You can arrange and edit the clips in the Timeline and mix them in the Mixer then export the multitrack project 256 Chapter 14 Using Soundtrack Pro With Apple Professi
145. e bpm The default tempo is 120 bpm which equals two beats per second You set the project tempo using the Tempo value slider in the project controls To set the project tempo do one of the following Click the left arrow in the Tempo value slider to decrease the tempo or click the right arrow to increase the tempo Click the value in the value slider then drag the slider that appears left or right to change the tempo Double click the value in the value slider to select it then type a new value B 4 120 Tempo value slider You can change the project tempo over time using the Master Tempo envelope For information about creating tempo changes see Master Envelopes on page 220 Time Signature The time signature controls how measures and beats appear in the Time display and Time ruler A project can have only one time signature which lasts from the beginning to the end of the project The default time signature is 4 4 four beats per measure with a quarter note as the beat value To set the project time signature Choose a time signature from the Time Signature pop up menu If you want to use a time signature not included in the list choose Other enter the time signature in the dialog that appears then click OK alae Time Signature pop up menu Note The project time signature affects the format of the Playhead Position value slider For projects using Beats based time format it also affects th
146. e resize and edit these audio clips like any audio clip in the Timeline and can use the track controls to control volume and pan mute or solo the track and add effects or automation 184 Chapter 8 Working With Video in Soundtrack Pro Playing the Video When you play the project the video plays in time with the audio in your project You can also control playback of the video and the project using the video transport controls in the Video tab or using keyboard shortcuts Video transport controls Play from Beginning Starts playback from the beginning of the video Previous Frame Moves the video back one frame Play Plays the video from the current playhead position Next Frame Moves the video forward one frame Cycle Cycles playback of the video so that it repeats from the beginning each time the playhead reaches the end of the video To view the video you can make the Video tab active or detach it from the Utility window and move it to another location onscreen You can also view the video using an external video output device Chapter 8 Working With Video in Soundtrack Pro 185 186 Controlling Video Playback Using Keyboard Shortcuts There are a number of keyboard shortcuts you can use to control playback of the video in the Video tab To use keyboard shortcuts the pointer cannot be in a text field Space bar Plays the video from the current playhead position This is equivalent to clicking the Play button
147. e Apple Loops Utility Soundtrack Pro education users and 11 features 8 9 Final Cut Pro and 8 getting started with 45 80 interface 23 44 keyboard shortcuts 279 285 learning about 9 11 onscreen help 10 overview 7 9 preferences 75 80 resources 9 setting up See system setup software installation 13 specifications 11 system considerations 13 14 using with DVD Studio Pro 260 using with Final Cut Pro 253 258 using with Motion 258 259 using with other applications 260 website for 10 Soundtrack Pro scripts 181 256 Soundtrack Pro User Manual 10 sound waves 287 289 290 source audio files 107 117 119 source media 147 speakers 15 18 19 specifications 11 Spectrum Analyzer 205 Spectrum view 32 151 152 Spectrum View button 32 Split menu item 113 114 splitting audio clips 113 114 Split tool 113 stap extension 146 254 startup preferences 75 stereo enhancing 207 stereo channels 138 Stereo checkbox 41 stereo delays 203 stereo files converting to mono 167 Stereo Spread plug in 207 stmp extension 81 86 stretching technique 271 Stretch tool 160 submixes 91 Swap Channels command 163 synchronization 78 Synchronization preferences 78 system requirements 13 system setup 13 21 connecting audio equipment 15 19 control interface 21 example hardware setups 19 21 FireWire audio interface 21 overview 13 powered speakers 19 software installation 13 system considerations 13 14 USB audio interface 20 video output devices 22 T tab
148. e Dock In the Multitrack window or the Media and Effects Manager Control click a project or file then choose Open in Editor from the shortcut menu When you open a clip from the Multitrack window if the clip is part of a larger audio file the Waveform Editor zooms in to the length of the clip A marker is added to mark the start and end points of the clip When you open a stereo audio file in the Waveform Editor the left channel appears in the upper part of the waveform display and the right channel appears in the lower part You can have multiple audio file projects open in Soundtrack Pro and cut and paste between them but only one project can play back at a time Closing Audio File Projects You can close the project when you no longer want to work on it or close the Project window and close all open projects both multitrack and audio file projects To close a project Choose File gt Close Project To close all open projects and close the Project window Choose File gt Close Window Chapter 7 Working in the Waveform Editor 145 146 Saving Audio File Projects You can save a project as an audio file project or as a standard audio file and can choose other options when you first save the file Audio file projects are saved with the extension stap Saving a project as an audio file project lets you make changes to actions and other edits when you reopen the project in the Waveform Editor You can also save a pr
149. e Threshold Reduce and Noise Type The Threshold parameter sets how high the noise floor is for the audio signal The recommended method for setting the Threshold is to find a passage where you hear only noise then set the Threshold so that signals at this volume level are filtered out The Reduce parameter sets the level to which amount the noise floor is reduced You use the Noise Type parameter to set the type of noise that the Denoiser reduces There are three choices of noise type e Setting the Noise Type to 0 zero causes the Denoiser to reduce white noise all frequencies reduced equally e Setting the Noise Type to a positive value causes the Denoiser to reduce pink noise harmonic noise greater bass response e Setting the Noise Type to a negative value causes the Denoiser to reduce blue noise hiss sibilants tape noise The Denoiser recognizes frequency bands with a lower volume and less complex harmonic structure and then reduces them to the desired dB value This method is not completely precise and neighboring frequencies are also reduced Using the Denoiser at too high settings can produce the glass noise effect which is usually less desirable than the existing noise There are three smoothing parameters that you can use to minimize the glass noise effect Frequency smoothing Time smoothing and Level smoothing Raising the Frequency smoothing slider results in a smoother transiti
150. e Timeline 99 100 To add a bus do one of the following Choose Multitrack gt Add Bus Control click a bus then choose either Add Bus Above or Add Bus Below from the shortcut menu To add an output do one of the following Choose Multitrack gt Add Output Control click an output then choose either Add Output Above or Add Output Below from the shortcut menu Selecting Tracks Busses and Outputs You can select a track bus or output in order to move copy or remove it and can also select tracks busses and outputs to export The headers of selected tracks busses and outputs appear darker in the Timeline To select a track bus or output do one of the following Click the drag handle along the left edge of the header for the track bus or output Click anywhere in the row for the track bus or output in the Timeline gt Scene 1 Debra dialog 9 You can select multiple tracks busses or outputs in the Timeline To select adjacent tracks busses or outputs Shift click the drag handle in the header of each track bus or output To select nonadjacent tracks busses or outputs a Command click the drag handle in the header of each track bus or output Chapter 5 Working in the Timeline Moving and Copying Tracks Busses and Outputs As you work on your project you may want to rearrange tracks busses and outputs You can move and copy them to change their vertical arrangement in
151. e Wave Generator dialog choose the format you want to use from the Duration pop up menu In the Duration value slider do one of the following e Click the left arrow to shorten the length of the inserted waveform or click the right arrow to increase the length e Click the center of the value slider then drag the slider that appears left or right to change the length of the inserted waveform e Click the value in the value slider then type a new value Click OK Chapter 7 Working in the Waveform Editor 165 166 Time Stretch You can time stretch an audio file or selection When you time stretch an audio file you change the duration length of the file without changing the frequency pitch of the file For example for a file containing music the tempo of the music is changed but not the pitch When you time stretch an audio file you can choose the format for time values you enter To time stretch an audio file Select the part of the file you want to time stretch it can be the entire file Choose Process gt Time Stretch The Time Stretch sheet appears Length of selection 289140 gt Samples In the Time Stretch sheet choose the format for setting the amount to time stretch the file from the Format pop up menu In the Length of selection value slider do one of the following Click the left arrow to shorten the length or click the right arrow to increase the length e Click the
152. e appearance of the Time ruler and the gridlines in the Timeline It does not affect the rhythm of audio clips If your project uses audio clips with music in a definite time signature make sure that the project time signature matches the time signature of the clips used in the project Chapter 4 Working With Multitrack Projects Key The project key sets the root note or tonic for the project When you add looping files to a project their key is matched to the project key You can set the project key to any note of the chromatic scale from A through G or to None The default key is A Note The key does not determine the scale used major minor or another scale only the tonic or root note of the project To set the project key Choose a key from the Key pop up menu A gamy Key pop up menu Overlap Mode The project overlap mode determines what happens when you move an audio clip so that it partially or completely overlaps another clip on the Timeline There are two overlap modes crossfade mode and truncate mode In crossfade mode when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline a crossfade is created for the overlapped part of the two audio files You can adjust the boundaries of the crossfade in the Timeline In truncate mode when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline the overlapped part of the clip is
153. e audio following the selection until the effect level falls below 96 dB The project lengthens to include the tail if necessary Chapter 13 Exporting Multitrack Projects 249 250 Exporting With Compressor You can export a project using the Apple Compressor application When you export using Compressor you can use the presets included with Compressor for your exported file When you export a project using Compressor you can preserve or encode the video Preserving the video copies it to the exported file without transcoding Encoding the video transcodes it to the new export format Transcoding the video can take longer than copying and can result in a loss of quality In most cases when the video format of the exported file is the same as the source video you should preserve the video when exporting If the video format of the exported file is different than the source video you should encode the video when exporting To export a project using Compressor from within Soundtrack Pro Choose File gt Export gt Export with Compressor The Compressor Export Options dialog appears Save As Export compressedmp4 IC Ca m Soundtrack Pro projects 3 a iDisk Compressor Help Scene 3 start dia Network L Developer Lg Sequence 1 JAWS stmp i MacintoshHD 1 0 port P f Sound Effects P Library Ln Street scene 3 Desktop Soundtrack Pro projects Takin it Slow 9 21 04 e
154. e multiple files to the same directory Choose File gt Save As Navigate to the directory where you want to save the files then click Save When you save multiple files using the Save As dialog the files are saved to the selected directory and their names are unchanged When you save changes to files in the WAV format by default they are converted to the AIFF format and saved in the same location as the original WAV files The new AIFF files have the same name as the WAV files but with the aiff file suffix You can change this default behavior in the Apple Loops Utility Preferences window See the following section Apple Loops Utility Preferences for more information Removing Files From the Assets Drawer You can remove files from the Assets drawer To remove files Select the file or files in the Assets drawer then click the Remove File button at the top of the drawer or press the Delete key If you remove files to which you have applied changes a dialog appears letting you choose whether to save or discard your changes Appendix A Using Apple Loops Utility 273 274 Apple Loops Utility Preferences You can set preferences for the startup behavior and default file saving behavior in the Apple Loops Utility Preferences window oog Preferences Startup F Show Open Panel On Launch Saving When Converting a WAV to AIFF G Show Conversion Alert O Close WAV and Edit AIFF O Keep Working in WAV
155. e s bit depth and sample rate You can export selected tracks busses or outputs to either a stereo audio file or paired mono files If your project includes a video you can also export a project to a variety of formats using the Compressor application You can import an exported audio file into Final Cut Pro or another video application to add to a video project or into a digital audio application for further processing You can also burn it on a CD or DVD or open it in iTunes and convert it to MP3 or AAC format that you can distribute over the Internet 247 248 Exporting a Project Mix When you export a mix all unmuted tracks routed to the first output Output 1 are included in the exported file You can exclude any tracks from the exported mix by muting those tracks To export a project to a stereo audio file Choose File gt Export gt Export Mix The Export dialog appears Save As Scene 3 stereo mixaif IG 47 gt MD Soundtrack Pro projects 3 iDisk n Applications gt Scene 3 start di G Network Applications MacOS 9 Boi MacintashHDL Compressor Help 0 Deskt _ Developer gt i Sound Effects a ee an jy WO port e Street 5 il Takin it A Applications aby a m Documents __ Soundtrack Pro projects a i Movies gt System TwelveStrum Music System Folder P Voiceover dips Pictures a Depths Sampie rare Gam Cra
156. e where the audio file repeats when you resize the clip Chapter 4 Working With Multitrack Projects 87 88 To add an audio file from the Media and Effects Manager do one of the following Drag the file from the File list in the Media and Effects Manager to a track in the Timeline Drag the file from the File list between two existing tracks A new track is created and the clip is added to the track Drag the file from the File list to the empty part of the Timeline below the outputs A new track is created and the clip is added to the track Drag a file from the File list to a track or to the part of the Timeline below the existing tracks Drag the file from the Media and Effects Manager to the Timeline If you have adjusted the preview volume the track volume is automatically set to the preview volume of the file Chapter 4 Working With Multitrack Projects To add an audio file from the Finder Drag the file from the Finder to the Timeline to a track between two existing tracks or to the area below all existing tracks When the Bin tab of the Media and Effects Manager is active the Bin shows all of the audio clips in the project You can drag a clip from the list to the Timeline to add a new clip from the same audio file at a different point in time or to a different track To add an audio file from the Bin tab Drag the file from the Bin tab to the Timeline either to a track or to the area below the existin
157. e x om L Zooms in on the current selection Appendix B_ Soundtrack Pro Keyboard Shortcuts Key command Function Ret to th fault level fs x o eturns to the default zoom leve Fits the project in the display size ae fe Reduced track height ae Small track height l Medium track height 5 4 fo Large track height Editing Audio Files in the Waveform Editor Key command Function Normalizes the audio file or selection Adjusts the amplitude of the audio file or selection t shit J 2 p Replaces the audio file or selection with complete silence o a ee i j Saves the current actions in the Actions list as an AppleScript s x pron s droplet Flattens audible actions as indicated by the position of the Action l s E Insert bar Flattens all actions in the project l x shift e prel Adjusts selection inward to zero crossing shift J 9 Adjusts selection outward to zero crossing sn J Adjusts in point left to zero crossing on JE pistsin 9 Adjusts in point right to zero crossing shift Adjusts out point left to zero crossing wen L i Adjusts out point right to zero crossing shift option J p g 9 AppendixB Soundtrack Pro Keyboard Shortcuts 283 Tracks and Markers Key command Function Adds a new track to the Timeline below the selected track i A
158. ead do one of the following Click anywhere in the Timeline in a multitrack project or the waveform display in an audio file project to set the playhead to that position Drag the triangular handle at the top of the playhead to the position you want to set it As you drag the playhead you hear the audio at the current playhead position Drag the playhead where you want it or click in the Timeline re 00 00 04 96 Drag the playhead where you want it or click in the waveform display When you set the playhead it snaps to the nearest Snap To position if snap is turned on For information on setting the Snap To value see Using Snap on page 72 You can also set the playhead using the transport controls or using the Playhead Position value slider Chapter 3 Getting Started With Soundtrack Pro 51 52 Setting the Playhead Using the Time Display When a project is playing the Time display constantly updates to show the current position of the playhead in both Time based and Beats based formats You can also set the playhead to a new position by entering the position in the Time display The arrangement of the Time based and Beats based positions in the Time display changes depending on the time format of the project The position matching the time format of the project appears in large white numerals in the upper part of the Time display and the other position appears below it in smaller gray numerals Each positi
159. ean Acoustic Relaxed Ensemble Distorted Electric Intense 4s 3 A A Files 3 Any B A TTOo Name Tempo Key Beats Hints 2 12 8 Afro Cuban Conga 03 aif 107 Thon 4 Ema k Fil 12 8 Afro Cuban Conga 04 aif 107 Non 4 gna 2 12 8 Afro Cuban Conga 05 aif 107 Non 4 ena 12 8 Afro Cuban Conga 06 aif 107 Non 4 ena 2 Beachside Claveaif 90 Non 8 yma Z Beachside Conga 01 aif 90 Non 8 ywa Beachside Conga 02 aif 90 Non 4 yma 2 Beachside Shaker aif 90 Non 8 yna Big City Tambourineaif 110 Non 8 yma 2 Big Maracas OLaif 110 Non 4 na Big Maracas 02 aif 110 Non 8 yma 2 Big Maracas 03 aif 110 Non 8 gna 2 Big Maracas 04 aif 110 Non 8 emal 2 Big Maracas 05 aif 110 Non 8 Ema j gt o 93 items 7 You can also perform text searches which can be especially helpful for non tagged files When you type text in the Search Text field any files with the text in their file path or filename appear in the Search Results list To search by file path or filename Enter text in the Search Text field As you type files matching the characters you type appear in the Search Results field Chapter 3 Getting Started With Soundtrack Pro 64 Refining a Search in Button View There are several ways you can refine your searches in Button view You can select multiple keyword buttons to narrow your search results to files matching all the selected keywords and you can enter text in the Search Text field to narrow your
160. earch tab Storing Files in the Bin The Bin shows all of the clips added to the project You can add audio files to the Bin for easy access to files you may want to add to the current project Audio files appear in the Bin in alphabetical order To add a file to the Bin do one of the following Drag the file from the Finder to the Bin Drag the file from the Browser Favorites or Search tab to the Bin Files added to the Bin but not included in the project appear dimmed in the Bin Chapter 3 Getting Started With Soundtrack Pro 67 Previewing Audio Files Once you locate an audio file you want to use in your project you can preview the file in the Media and Effects Manager When you preview files Soundtrack Pro matches the sample rate of the file to the project sample rate When you preview looping files Soundtrack Pro matches their tempo and key to the project tempo and key To preview an audio file Select the file in the Media and Effects Manager The selected file starts playing If the project is playing when you preview a file Soundtrack Pro starts playback of the previewed file on the downbeat of the next measure of the project You can turn preview playback on and off by holding down Option and pressing the Space bar Name Tempo 2 6 8 Jazzy Dr set OLaif 152 T 6 8 Jazzy Dr set O2aif 152 J 6 8 Jazzy Dr set O4 aif 152 I 6 8 Jazzy Fill 03 aif 152 I7 Bebop Drumset OLaif 135 J Bebop Drumset O2 aif 13
161. ect Properties Setting the Project Length Saving Multitrack Projects Adding Audio Files to a Multitrack Project Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 89 90 93 94 99 107 119 123 124 125 134 138 140 140 140 141 141 143 144 152 154 161 170 177 181 181 183 183 184 185 188 189 190 191 194 195 195 196 207 Viewing and Editing Clip Properties Tracks Busses and Outputs Working in the Timeline Moving Around in the Timeline Working With Tracks Busses and Outputs in the Timeline Editing Audio Clips in the Timeline Working With Markers Working in the Mixer Steps in Mixing Working With Channel Strips in the Mixer Working With Effects and Sends in the Mixer Setting the Overall Project Volume Level Listening to a Temporary Mono Mix Recording Audio in the Mixer Recording Automation in the Mixer Creating Multiple Mixes Things to Keep in Mind While Mixing Working in the Waveform Editor Getting Started With Audio File Projects Playing Audio Files in the Waveform Editor Editing Audio Files in the Waveform Editor Processing Audio Files Working With Actions Analyzing an Audio File Using Markers in the Waveform Editor Scripting Actions in the Waveform Editor Working With Video in Soundtrack Pro Supported Video File Formats Adding a Video to a Project Playing the Video Viewing Video Details Working With a Video s Audio Using the Time Display and Time Ru
162. ect a file or group of files and make one or several changes and then select another file or group of files and make different changes Apple Loops Utility remembers all the changes you make as you work with different files When you finish making changes you can save changes to only the currently selected files or save changes to all files marked in the Changes column of the Assets drawer Note Changing a file s tags has no effect on the actual audio data recorded in the file Changing the tag for the number of beats for example only changes the information used when Soundtrack Pro searches for files not the actual number of beats recorded in the audio file Similarly changing the tag for key has no effect on the actual musical key of the audio file To tag a single audio file Select the file in the Assets drawer If the drawer is closed click the Assets button to open it Note When a single file is selected you can use the Up and Down Arrow keys to move up and down the files in the Assets drawer You can listen to the file using the playback controls Make the changes you want to the file s tags in the Tags tab See Tags Tab on page 265 for information about the options in the Tags tab 3 Click Save to save changes to the selected file or click Save All to save all changes Appendix A Using Apple Loops Utility Tagging Multiple Files When multiple files are selected only the tags that apply to all the selected fi
163. ed or lowered in volume while being sustained This volume curve is called the sound s envelope and acts like a signature to help our ears recognize what instrument is producing the sound e Percussive envelope Sustained envelope ily i Phase Relationships When two instruments or voices are playing the same pitch the sound waves may have the exact same frequency and amplitude but the peaks and troughs of the wave reach our ears or a microphone recording the sound at slightly different times This is referred to as a difference in the phase of the sound waves When two sound waves are completely in phase the volume of the sound is doubled When two sound waves are completely out of phase they cancel each other out and we hear silence Certain effects such as phase shifters make use of these properties of phase relationships to alter the sound of an audio signal Time Recording Sound When a sound is recorded the sound waves traveling through the air are converted to an electrical signal using a device called a transducer Sound can be recorded using either analog or digital recording technology Appendix C Audio Basics 289 290 Analog Recording When a sound is recorded using analog technology the sound waves are recorded as a continuous electrical signal Typically the vibrations in the air contact the diaphragm of a microphone setting the diaphragm in motion A transducer in the micro
164. educe Noise Parameters LA Noise Threshold 70 Q gt 12 1600 as Tone Control Preserve Bass Preserve Treble O 41 O C Noise Only _ Show Presets a The noise threshold determines the level below which audio in the noise print is considered to be noise Lowering the threshold results in only very low signals being reduced while raising the threshold results in more high level signals being reduced Chapter 7 Working in the Waveform Editor To set the threshold of the noise reduction In the Reduce Noise dialog drag the Noise Threshold slider left to lower the threshold or drag it right to raise the threshold You can also type a value in decibels in the Noise Threshold field To change the tone of the noise reduction In the Reduce Noise dialog drag the Tone Control slider left to preserve more low frequency content bass or drag it right to preserve high frequency content treble during noise reduction You can preview noise reduction with the Reduce Noise dialog open and adjust the threshold and tone of noise reduction You can also hear the audio file or selection with and without noise reduction and hear only the noise to be removed To preview the file with noise reduction Click the Play button in the lower part of the Reduce Noise dialog To set the preview volume level Drag the Volume slider in the lower part of the Reduce Noise dialog left to lower the volume or right to
165. effects include compressors limiters and noise gates Compressors Compressors work like an automatic volume control lowering the volume whenever it rises above a certain level called the threshold But why would you want to reduce the dynamic level By cutting the peak levels the compressor lets you raise the overall volume of the signal This gives the sound more focus by making the foreground parts stand out while preventing the background parts from becoming lost in the mix Compression also tends to make sounds tighter or punchier Because the peaks are lower the maximum volume is reached more quickly In addition a compressor can make a project sound better when played back in different situations For example the speakers on a television set or in a car sound system typically reproduce a narrower dynamic range than does the sound system in a theater Compressing the overall mix can help make the sound reproduce more clearly in lower fidelity situations Compressors have two main parameters The threshold lets you set the amplitude above which the compressor lowers the volume The ratio lets you control the amount by which sounds above the threshold will be lowered as a percentage of the original signal For example if you set the threshold to 12 dB and the ratio to 2 1 a sound at 7 dB 5 dB above the threshold is reduced by 2 5 dB and a sound at 2 dB 10 dB above the threshold is reduced by 5 dB Compressors can a
166. eline Control click the clip then choose Send To gt Soundtrack Pro Audio File Project from the shortcut menu A new audio file project is created for the clip and a Save As dialog appears In the Save As dialog type a name for the new project and browse to a location to save the project The new audio file project opens in the Soundtrack Pro Waveform Editor If the clip includes video the video appears in the Video tab You can control playback of the video using the video transport controls in the Video tab or at the bottom of the Project window Edit the audio file project in the Waveform Editor You can use the commands and functions described in Chapter 7 Working in the Waveform Editor on page 143 You can graphically edit the file apply actions analyze the file and fix analyzed problems When you are finished editing the clip in the Waveform Editor choose File gt Save When you save an audio file project sent from Final Cut Pro a render file is included in the project which Final Cut Pro uses to update the clip in the Timeline By default saving a project sent from Final Cut Pro includes the render file If you save the project using the Save As command be sure to leave the Render checkbox selected each time you save the project so the clip will be updated in the Final Cut Pro project If you deselect the Render checkbox you will not be able to reconnect the audio file project with the clip and your chan
167. em to the current effects chain The lower part of the Effects tab shows the effects and sends in the current effects chain You can show and edit effect and send parameters in the Effect Parameters area Chapter 9 Working With Audio Effects 207 208 Select a category to display its effects Adding Realtime Effects You can add realtime effects in the Effects tab You can create effects chains which are a series of effects in a specific order You can reorder effects in an effects chain at any time and hear the results immediately To add a realtime effect to a track bus or output in the Timeline 1 Click the Effects button in the header of the track bus or output in the Timeline 2 In the Effect list select a category in the Category list to display the effects for that category in the Effect list 3 In the Effect list do one of the following e Double click the effect you want to add Select the effect name then click the Add Effect button Drag the effect to the Effect Parameters area fe e e ee eta d Mac OS Soundtrack a Show Scene 3 start dialog B Effect DeEsser Denoiser Distortion Distortion II Ensemble Exciter Expander Fat EQ Flanger High Cut Name Parameter Select the effect you want to add Click the Add Effect button double click the effect or drag the effect into the Effect Parameters area to add it To
168. ensitivity five times E Nudges the selected marker by one pixel to the left Nudges the selected marker by one pixel to the right gt Selects the previous marker f Selects the next marker 278 Appendix A Using Apple Loops Utility Soundtrack Pro Keyboard Shortcuts Appendix General and File Key command Function Creates a new blank multitrack project 6 x v i ea Creates a new audio file o Opens the Open dialog a t lile Closes all open projects Saves the current project Opens the Save As dialog to save the project with a new name le a r s Opens the Save As dialog to save a copy of the project with a le a i lomo a different name Adds the selected audio file to the Bin e Closes all projects and quits Soundtrack Pro ania e Windows Tabs and Layouts Key command Function Opens the Mixer for the current multitrack project Opens the Video tab of the Utility window 6 e P me Opens the Project window 279 280 Key command Function Opens the Browser tab of the Media and Effects Manager i i di Opens the Effects tab of the Media and Effects Manager Minimizes Soundtrack Pro ea Hides Soundtrack Pro Hides all other windows 6 option a Shows the Preferences window i Opens the Soundtrack Pro User Manual t shit J 7 E 5 aoton
169. er already contains any of the media files an alert appears asking if you want to replace the existing files Note Because video files are typically very large files saving a copy of the video file may take several minutes and may require a large amount of disk space For information on making roundtrips between Final Cut Pro and Soundtrack Pro see Chapter 14 Using Soundtrack Pro With Apple Professional Applications on page 253 Chapter 13 Exporting Multitrack Projects Using Soundtrack Pro With 1 4 Apple Professional Applications You can work with media files from Final Cut Pro Motion DVD Studio Pro and other applications in Soundtrack Pro projects Soundtrack Pro gives you several ways to work with media files from Final Cut Pro Motion DVD Studio Pro and other Apple professional applications You can edit individual audio files including QuickTime movies in the Waveform Editor and you can open a group of clips or a sequence as a multitrack project Using Soundtrack Pro With Final Cut Pro You can edit a Final Cut Pro clip nondestructively in the Waveform Editor by sending the clip from Final Cut Pro to the Waveform Editor as an audio file project Sending a clip to the Waveform Editor as an audio file project lets you edit the clip nondestructively then update the clip with your changes in Final Cut Pro without reimporting the clip You can edit a Final Cut Pro clip destructively in the Waveform Editor by openin
170. erform edits nondestructively using actions which include processing effects and other operations and can turn off or completely reorder actions You can analyze audio files in the Waveform Editor for a range of common audio problems including clicks and pops hum and phase issues and automatically fix problems detected by analysis Soundtrack Pro is designed to work with Final Cut Pro and with other Apple professional applications allowing you to send video and audio files back and forth between the applications as you work on both the video and the audio Soundtrack Pro also includes a large selection of Apple Loops that you can use to add Foley effects background ambience sound effects and music transitions to your projects Apple Loops tagged as looping files automatically match the tempo and key of the project allowing you to use them in the same project Soundtrack Pro includes the following features e Powerful audio editing You can edit audio files nondestructively in the Waveform Editor You can edit audio files graphically with sample accurate precision and process files using actions which can be reordered and turned on or off individually e Analysis and repair of common audio problems The Waveform Editor features analysis of audio files You can choose which problems to analyze the file for then fix the problems detected by analysis either individually or in a single operation Selected problems are highlighted in the wavef
171. escribed in Working With Actions on page 170 Advanced Settings for Processing Effects You adjust processing effect parameters in the advanced settings window for the processing effect When you apply a processing effect by choosing the effect from the Process gt Effects submenu the advanced settings window for the effect appears in front of the Project window You can also show the advanced settings window if you want to adjust processing effect parameters To show the advanced settings window for a processing effect Double click the effect in the Actions list When you open an advanced settings window for a processing effect the window includes controls to play the project with the effect adjust volume level apply the effect reset effect parameters and cancel applying the effect Onn Scene 1 Debra dialog stap Track Parametric EQ Audio Unit Parametric EQ Manufacturer Emagic Parameters Gain d8 0 0 pr 72 0 36 0 dB Frequency Hz 0 nn 119 67 Q Factor 0 0 pr 30 0 13 0 gt o iQ Show Presets Cis For information on using the preview controls in the advanced settings window see Effects Submenu on page 161 Automating Processing Effect Parameters For the effects in the categorized submenus at the top of the Effects submenu of the Process menu not including Mac OS effects you can add an envelope for an effect parameter by Control clicking the parameter in the advanced settings w
172. exported file a dialog appears asking if you want to open the audio file or the original project In the dialog click Open Project The multitrack project opens in the Soundtrack Pro Timeline so you can continue working When you are finished working in Soundtrack Pro be sure to save the multitrack project before exporting a project mix so your changes are retained Chapter 14 Using Soundtrack Pro With Apple Professional Applications 261 Using Apple Loops Utility Appendix Some audio files you use in Soundtrack Pro can include metadata called tags Tags provide information about the audio recorded in a file Soundtrack Pro uses tags in one of two ways e To help locate files using the Search feature in Soundtrack Pro To provide information that Soundtrack Pro uses when matching the file s tempo and key to the project tempo and key for the best possible playback quality Both AIFF and WAV file formats can include tags Libraries of audio files created for use with loop based music software are usually tagged and Soundtrack Pro recognizes the tags used in most popular file formats What Is Apple Loops Utility Apple Loops Utility is a companion application to Soundtrack Pro that you can use to view and manage tags in audio files You can add and change tags using Apple Loops Utility you can also tag multiple files a process known as batch tagging Apple Loops Utility can read both AIFF and WAV file formats When you sa
173. exported project Chapter 13 Exporting Multitrack Projects 251 252 Distributing a Multitrack Project and its Media Files Together You can save a multitrack project with all of the media files it uses together in the same folder Saving the project and its media files together is useful when you want to move the project from one computer to another in order to continue working on it or to archive the project and media for later use To save a project and its audio files together 1 Choose File gt Save 2 In the dialog that appears select the Collect Audio Files checkbox 3 Navigate to the folder in which you want to save the project and its audio files then click Save The project file and a copy of every audio file the project uses are saved in the selected location 4 You can optionally create a new folder for the collected project To create a new folder for the project click the triangle next to the Where pop up menu to expand the Save window then click New Folder It s a good idea to save each collected project in its own folder 5 If the project includes a video you can optionally select the Collect Video File checkbox Select this option to save the project and its audio files together to save the video in the selected folder Oo Save Compressed Collect Audio Files F Collect Video File C hide eefasion Select this option to save the video file with the project If the fold
174. f the cut or copied envelope in the pasted area gt Transition from Scene 2 9 UM z aw E as La Pasting envelope points into an envelope replaces the existing area of the envelope with the cut or copied area When pasting envelope points the following conditions apply e Envelope points can only be pasted into an envelope of the same type as the envelope from which they were cut or copied For example envelope points from a volume envelope can only be pasted into a volume envelope not a pan or tempo envelope Envelope points for an effect parameter can only be pasted into an envelope for exactly the same effect parameter in exactly the same type of effect You cannot paste envelope points from one effect into another even if they have parameters with the same name Deleting Envelope Points After listening to the results of your edits you may decide to delete some envelope points To delete envelope points Select the envelope points then choose Edit gt Delete or press the Delete key When you delete envelope points the envelope adjusts accordingly moving evenly from the preceding envelope point to the next envelope point If there are no other envelope points the envelope becomes horizontal maintaining its initial value for the entire project Chapter 10 Working With Automation Automating Effect and Send Parameters You can automate effect parameters for tracks busses and outp
175. f time between the last tempo change and the marker s position in the Time ruler When you score a marker to the playhead a set of special envelope points is created in the project s tempo envelope from the previous envelope point or the beginning of the tempo envelope if no previous envelope point exists to the position of the marker These special envelope points are locked and cannot be moved but can be deleted The locked envelope points and the segment of the tempo envelope between them appear red The tempo change created when you score a marker to the playhead is always instantaneous that is the tempo changes from the previous tempo immediately without ramping The distance between the two envelope points determines whether the resulting tempo change can be heard easily If the resulting change in tempo sounds too abrupt you can edit the tempo envelope to make the tempo change less noticeable 192 Chapter 8 Working With Video in Soundtrack Pro To score a marker to the playhead Select the marker s handle at the top of the Timeline above the Time ruler Click the marker handle at the top of the Timeline sme 00 00 16 00 Choose Mark gt Score Marker to Playhead The marker is scored to the playhead xe 00 00 10 00 You can also adjust the tempo relative to a marker s position by Option dragging the marker in the Timeline As you drag the red segment of the tempo envelope moves vertically as the tempo
176. files from the Sample Rate pop up menu lt 1 m Soundtrack Pro projects perennem Q iDisk Applications gt he Bala Applications MacOS 9 gt padi Macintosh HD _ Compressor Help ay Desktop Ly Developer gary 1 5 MO port gt A Applications Ubrary gt ie 4 Documents _ Soundtrack Pro projects P i Movies System gt amp Music System Folder rh E pi i User Guides And Informatio gt Pictures Pil cows aa H Write 4 Users i 0 H C Export dual mono files soe Gem Sample Rate 44 1 kHz 3 Choose the bit depth for the exported files from the Bit Depth pop up menu 4 Optionally select the Output dual mono files checkbox to export the selected tracks busses and outputs as dual mono files then click Save 5 Browse to the location where you want to save the exported files 6 Click Export Each selected track bus or output is exported as a single stereo AIFF file or as a pair of dual mono AIFF files Muted and unselected tracks busses or outputs are not exported When you export a project track bus or output that includes an effect for example a reverb or delay that produces a tail that extends past the end of the project the exported file lengthens to include the tail You can also select part of an audio file and add an effect to a selection When you add an effect that produces a tail to a selection the tail is blended with th
177. g a clip in the Waveform Editor making your changes and saving the clip as an audio file or by sending the clip to a Soundtrack Pro script either a script included with Soundtrack Pro or one you create You can also send a select a group of clips or a sequence in Final Cut Pro and send them to Soundtrack Pro as a multitrack project 253 254 Editing a Final Cut Pro Clip Nondestructively in the Waveform Editor You edit a Final Cut Pro clip nondestructively by sending it to the Waveform Editor as an audio file project Sending a clip to the Waveform Editor as an audio file project lets you make roundtrips between Final Cut Pro and Soundtrack Pro When you save your changes in the Waveform Editor the clip is updated in Final Cut Pro without having to be reimported In order to edit a Final Cut Pro clip nondestructively in the Waveform Editor you send the clip to the Waveform Editor as a new audio file project edit the clip in the Waveform Editor then save the audio file project After following these steps you can make roundtrips between Final Cut Pro and Soundtrack Pro so you can keep working in both applications When you send a clip from the Final Cut Pro Timeline to the Waveform Editor Soundtrack Pro creates a new audio file project with the file type stap for the clip The clip can contain video and audio or contain only audio To edit a Final Cut Pro clip nondestructively in the Waveform Editor In the Final Cut Pro Tim
178. g another waveform editing tool you can return the pointer to a selection pointer by clicking the Selection Tool button Selection Tool button Sample Edit Tool You can graphically edit samples in the audio file using the Sample Edit tool To use the Sample Edit tool the waveform display must be zoomed in enough to see individual samples which appear as small squares connected by a thin line Sample Edit Tool button EASES To edit samples using the Sample Edit tool Click the Sample Edit Tool button above the time display The pointer becomes a Sample Edit pointer Zoom in on the part of the waveform you want to edit To graphically edit samples do one of the following e Drag a sample up or down to a new value e Click directly above or below a sample e Drag left or right to reshape the waveform You can also edit samples numerically in the waveform display To edit samples numerically Control click a sample then choose Set Value from the shortcut menu In the sheet that appears type a new value for the sample Click OK Chapter 7 Working in the Waveform Editor 159 160 Stretch Tool You can time stretch all or part of an audio file to change the amount of time it occupies When you stretch an audio file the length of time changes but not the pitch letting you fill dialogue music or other audio to a specific amount of time For audio files with music or other repeating patterns stretching the file changes
179. g tracks Note When you drag an audio file to the Timeline the file snaps to the nearest Snap To position if snap is turned on For information on setting the Snap To value see Using Snap on page 72 Viewing and Editing Clip Properties When you create an audio clip by dragging an audio file to the Timeline the audio clip has a set of properties These properties are specific to the clip and can be different for two clips created from the same source audio file AAA ee Scene 1 Debra dialog a Clip File Playback C Looping Non looping Measure in HH MM SS aa N Position 00 00 40 95 gt Duration 4 00 00 00 00 gt Offset 00 00 00 00 Transpose 0 B Clip Speed Normal B The following properties for the selected clip are displayed and can be edited in the Clip tab of the Details tab Playback buttons Set whether the clip is looping or non looping When you add an audio file to the Timeline the clip will be non looping unless the audio file is tagged as a looping file Measure in pop up menu Sets the units shown in the Position Duration and Offset value sliders Position value slider Sets the start point for the clip in the Timeline Chapter 4 Working With Multitrack Projects 89 90 e Duration value slider Sets the duration of the clip The duration of looping files is displayed in number of beats the duration of non looping files
180. ges will be lost Chapter 14 Using Soundtrack Pro With Apple Professional Applications For any audio file project regardless of whether it originated in Final Cut Pro or another application you can select the Render checkbox when you save the project to save a render file with the project When you have followed the steps described above the clip is updated in Final Cut Pro You hear the clip with the changes you made in the Waveform Editor without having to reimport the clip You can make roundtrips between Final Cut Pro and Soundtrack Pro by Control clicking the clip in Final Cut Pro and choosing Open in Editor from the shortcut menu editing the audio file project in Soundtrack Pro then saving the project Each time you save the project the clip is updated in Final Cut Pro Editing a Final Cut Pro Clip Destructively in the Waveform Editor You can edit a Final Cut Pro clip destructively by opening it in the Waveform Editor When you edit a clip destructively you hear the clip with the changes you made in the Waveform Editor without having to reimport the clip You can save the clip as an audio file project in the Waveform Editor so you can reopen it later and continue editing To edit a clip destructively in the Waveform Editor Control click the clip in the Final Cut Pro Timeline or Bin then choose Open in Editor from the shortcut menu Soundtrack Pro opens and the clip appears in the Waveform Editor Edit the clip in the Waveform
181. ght corner of the Actions list Click the triangle again to return the list to its default order Actions Analysis C gt On Action a ae Normalize g Reduce Noise Fade In Parametric EQ RIRIA a Scene 1 Debra dialog M When you reverse the order of the Actions list the Action Insert bar appears at the top of the list instead of at the bottom You hear actions below the Action Insert bar in the list rather than above it When you choose an item from the Process menu it is applied directly above the position of the Action Insert bar Reversing the order of the Actions list affects only the visual appearance of the list The order in which actions are applied to the audio file is unchanged Flattening Actions You can flatten the actions in a project to a single action Flattening actions renders the actions into the file reducing the complexity of the file and the file size When you flatten actions all existing actions are removed from the Actions list and you can no longer reorder the actions or edit their action settings unless you undo flattening the actions Some items in the Process menu including Convert to Mono and Resample flatten all actions in the project To flatten all audible actions Move the Action Insert bar directly below the last action you want to flatten Do one of the following Choose Process gt Flatten Audible Actions Choose Flatten audible act
182. gories keep their present values Setting the Playhead Using the Playhead Position Value Slider Below and to the left of the transport controls is the Playhead Position value slider When a project is playing the Playhead Position value slider constantly updates to show the current position of the playhead You can set the playhead by entering a new position in the Playhead Position value slider The units shown in the Playhead Position value slider depend on the project time format For projects set to Time based time format the units appear as timecode using the currently selected Time ruler units For projects set to Beats based format the units appear as measures beats and beat divisions at the current tempo You can change the value in a value slider in one of several ways you can enter a new value by changing the value incrementally using the Decrement and Increment arrows or by dragging the slider left or right Chapter 3 Getting Started With Soundtrack Pro 53 To change the playhead position by entering a value Double click the value slider The value slider becomes a value field with the current value selected Type a new value into the field using appropriate punctuation Press Tab or Enter to confirm the new value C364 00 00 04 96 gt To change the playhead position in increments Click the Decrement arrow to move the playhead left earlier in time in increments or click the Increment arrow to move the
183. gt 2 Some actions have a dialog that appears when you choose the item from the Process menu Adjust the settings in the dialog then click Apply The action is added to the Actions list and the waveform display updates to show the change to the audio file You can hear the change when you play the project Some actions may take a moment to apply In this case a progress bar appears indicating that the action is being applied Some effects including reverb and delay add audio that extends past the end of the file This is called an effect tail When you apply a processing effect that produces an effect tail to an audio file in the Waveform Editor the file is lengthened to include the tail until the point at which the tail falls below 96 dB If you apply a processing effect that produces a tail to a selection the tail is mixed with the audio following the selection If the tail extends past the end of the file the file is lengthened to include the effect tail until the point at which the tail falls below 96 dB Chapter 7 Working in the Waveform Editor 171 172 Editing Actions Many actions have settings that you can edit When you apply an action that has editable settings a dialog or sheet appears letting you edit the action s settings You can edit an action s settings at any time you are working in the Waveform Editor To show an action s settings do one of the following In the Actions list select the acti
184. h note position based on the file s tags for tempo and the number of beats You can change the beat value at which Apple Loops Utility detects transients using the Transient Division pop up menu To display a file in the Transients tab Select the file in the Assets drawer then click the Transients tab The Transients window can display only one file If multiple files are selected no waveform is displayed in the window The waveform display in the Transients tab displays both the transients detected by Apple Loops Utility and transients you add to the file You can add transients and move existing transients in the Transients tab To add a new transient Click in the darker area above the Beat ruler in the waveform display Appendix A Using Apple Loops Utility 271 272 To move a transient marker Drag the marker by its handle in the area above the Beat ruler To change the beat value of detected transients Choose a beat value from the Transient Division pop up menu Choosing a larger beat value results in fewer transients being detected Choosing a smaller beat value results in more transients being detected if they are present in the audio recorded in the file an V Whole Notes Ss 1 2 Notes me 1 4 Notes E 1 16 Notes R 1 32 Notes 1 64 Notes Sometimes transients occur at points in the audio file other than on a beat value You can have Apple Loops Utility detect additional transients in the file using the Sens
185. h realtime effects in both multitrack and audio file projects see Working With Realtime Effects on page 207 195 196 Processing Effects You can apply processing effects to an audio file project The Process menu includes an Effects submenu where you choose processing effects to add to your project Processing effects are added as actions which you can turn on or off reorder and adjust in the Actions list For information about working with processing effects in the Waveform Editor see Working With Processing Effects on page 216 For information on working with actions see Working With Actions on page 170 Audio Effects Included With Soundtrack Pro Soundtrack Pro includes the following types of audio effects Dynamics Dynamics effects let you shape the volume of your projects over time Bundled dynamics effects include Compressor Multipressor Adaptive Limiter and Noise Gate Distortion Distortion effects change the tone of the audio signal to recreate the sound of overdriven tube amplifiers or digital distortion Bundled distortion effects include Bitcrusher Clip Distortion Distortion Exciter and Phase Distortion EQand Filter EQ short for equalization effects let you change the level of selected frequencies EQ provides a powerful way of shaping the sound of your projects Bundled EQ effects include High Cut and Low Cut High Pass and Low Pass filters Channel EQ Linear Phase EQ Match EQ and P
186. he audio with the picture in a video e Indicate where particular sounds begin and end in an audio file Markers extend vertically through the Timeline like the playhead Each marker has a handle in the area above the Time ruler letting you position the marker precisely in the Timeline Chapter 5 Working in the Timeline 119 120 Types of Markers Soundtrack Pro displays Final Cut Pro HD scoring markers and lets you add your own markers to a project You can add two kinds of markers time markers and beat markers The two types can be distinguished by their handles Time markers have green handles and beat markers have purple handles Final Cut Pro HD scoring markers have orange handles This section discusses how to work with time markers and beat markers in a project For information about working with Final Cut Pro HD scoring markers see Using Final Cut Pro Scoring Markers on page 191 End of project Time marker green marker red Beat marker purple Final Cut Pro HD scoring marker orange Inserting Markers You can insert a beat marker or time marker at any point in the Timeline or Waveform Editor To insert a beat marker Set the playhead to the point where you want to add the marker then choose Project gt Insert Beat Marker or press the B key To insert a time marker Set the playhead to the point where you want to add the marker then choose Project gt Insert Time Marker or
187. he same value at which you released it To record automation data for movements to controls Choose either Touch or Latch from the Automation Mode pop up menu Set the playhead to a position before the point where you want to start recording Click Play or press the Space bar to start the project playing While the project plays move the control you want to record Once you have recorded automation data you can show the envelope for the control and add and adjust envelope points on the envelope to fine tune the automation For information on working with envelopes see Working With Envelopes on page 219 For more information on working with control surfaces see Chapter 12 Using Control Surfaces With Soundtrack Pro on page 243 Chapter 10 Working With Automation Thinning Envelope Points in Recorded Automation Data Recording automation data can generate a large number of envelope points The number of envelope points recorded can make editing envelopes difficult and in some cases affect playback performance You can reduce or thin the number of envelope points recorded from a control surface in the Project Preferences You set the amount of thinning using the Automation Recording Sensitivity slider The automation data is thinned when you finish recording automation To set the amount of thinning Choose Soundtrack Pro gt Preferences then click the Project button In the Project pane drag the Automation Rec
188. he start point or end point handle in the Time ruler and drag to resize the playback region To remove the playback region Click in any part of the Time ruler outside of the current playback region Working With Tracks Busses and Outputs in the Timeline The Timeline is arranged into three groups of horizontal rows tracks busses and outputs You add audio to tracks in your project use busses to create and control submixes and send audio to physical output channels using outputs Tracks busses and outputs are described in greater detail in Tracks Busses and Outputs on page 90 The tracks in a project appear in the upper part of the Timeline Busses appear below tracks and outputs appear below busses A separator between each group helps visually distinguish them and disclosure triangles on each separator let you show or hide the groups Tracks busses and outputs in the Timeline correspond to channel strips in the Mixer When you add a track bus or output adjust its controls or add effects the same changes appear in the corresponding channel strip when you open the Mixer Adding Tracks Busses and Outputs To add a track do one of the following Choose Multitrack gt Add Track or press Command T Control click an open area of the Timeline then choose Add Track from the shortcut menu Control click a track then choose either Add Track Above or Add Track Below from the shortcut menu Chapter 5 Working in th
189. headers only not in output headers For detailed information on using the track controls see Using the Track Controls on page 102 Timeline Controls The lower left corner of the Timeline contains controls for various aspects of Timeline display and operation Snap button Track Height control Zoom control Snap To Value pop up menu e Master Envelopes button Shows or hides the master envelopes e Snap button Turns snap on or off Snap To Value pop up menu Sets the value to which items in the Timeline snap e Track Height control Sets the height of tracks busses and outputs to one of four settings from Reduced to Large e Zoom control Click the control or drag the slider to change the zoom level You can zoom in to edit clips precisely or zoom out to display more of the Timeline For information about using master envelopes see Master Envelopes on page 220 For information about snap see Using Snap on page 72 For information about using the Track Height control and zoom control see Moving Around in the Timeline on page 94 Chapter 2 The Soundtrack Pro Interface Mixer You mix your project in the Mixer Each track bus and output has a channel strip in the Mixer with volume controls mute and solo buttons slots for adding effects and other controls You can view the levels for each track bus and output using level meters in its channel strip You can also record audio and automate
190. her operations You can turn individual actions on or off reorder actions flatten actions and compare the project with and without actions You can also analyze audio files in the Waveform Editor and fix common audio problems including clicks and pops hum and phase problems Automation Mode Previous and Next Global Waveform pop up menu Selection buttons view aaka Li Scene 1 Debra dialogstap SI Waveform New Project New Audio File Now Track Eunn Ecate soenen 3 scene 1 Debra iatogstan editing tools ela sa Waveform View and Spectrum View buttons 00 00 00 00 0 Ain Time display j Level meters Actions list 4 Waveform display Fon DAA AMO Master volume slider 1 e DNE Giorno Playhead Position Transport controls value slider e Waveform editing tools Includes the Selection Sample Edit Audio Stretching and Zoom tools that you can use to graphically edit audio files e Automation Mode pop up menu Choose the automation mode from the pop up menu e Previous and Next Selection buttons Move back and forward through selections you ve made in the waveform display Chapter 2 The Soundtrack Pro Interface 31 32 Waveform View and Spectrum View buttons Change the display between Waveform view and Spectrum view Time displ
191. ialog Choose File gt Open Recent then choose a file from the submenu Click the Add File button in the Assets drawer Drag files from the Finder to the Assets drawer To open an audio file from Soundtrack Pro into Apple Loops Utility Control click the file in Soundtrack Pro then choose Open in Apple Loops Utility from the shortcut menu To open multiple files in Apple Loops Utility do one of the following Choose File gt Open then Shift click the files in the Open dialog Drag the volume or folder containing the files from the Finder to the Assets drawer You can have multiple Apple Loops Utility windows open at the same time so that you can compare different files Each time you open an Apple Loops Utility window an Open dialog appears letting you choose the file or files to open in that window You can change the open window behavior in the Apple Loops Utility Preferences window See Apple Loops Utility Preferences on page 274 for more information Appendix A Using Apple Loops Utility 269 270 Tagging Files in Apple Loops Utility To tag files you select the files in the Assets drawer and then make changes to the selected files tags in the Tags tab When you change the settings in the Tags tab the changes are applied only to the currently selected files When you make changes to a file s tags a dot appears in the Changes column next to the filename to indicate that the file has been changed You can sel
192. iceable delay between the time the audio signal is produced and the time it reaches the computer Some hardware and software manufacturers offer guidelines for reducing the amount of latency for their equipment Be sure to read the documentation that came with your audio interface e If you are using a USB audio interface make sure the audio interface is directly connected to your computer Do not connect a USB audio interface through a USB hub or chain it through another USB device e If you experience unwanted noise or hiss check the connections between your computer and any external audio devices Refer to the documentation that came with each device for any additional instructions on dealing with noise Eliminating Recording Latency You can use the Latency Compensation setting in the Preferences Recording pane to eliminate any latency inherent in your recording device You calculate the latency by playing a loop and recording it at the same time as described below Use an appropriate cable to connect the audio output port you are using to the input port for the device from which you plan to record Choose a loop with a large number of transients such as a drum loop Set the tempo to 60 bpm to simplify the latency calculation 4 Click the Record Enable button in the header of the track to which you want to record 5 6 294 In the Recording tab set the Input device to the recording device Set Monitor to None and e
193. ich Apple Loops Utility detects transients in the file You can also listen to the file using the playback controls to help determine where transients occur Transient Division pop up menu Sensitivity slider Transient marker i Waveform of audio file AAM Co Go J ec o ooj 4 O ooa Appendix A Using Apple Loops Utility The Transients tab includes the following controls Transient Division pop up menu Sets the beat value at which Apple Loops Utility detects transients e Sensitivity slider Sets the degree of sensitivity at which Apple Loops Utility detects transients Assets Drawer The Assets drawer lists the files open in Apple Loops Utility The drawer which is open when you open Apple Loops Utility contains a Name column with the name of each open file and a Changes column which indicates any files to which you have applied changes Add File and Remove File buttons e Name Changes 2 Crowd sounds aift Changes column 1J Door opening aiff TP Espresso machine aiff T5 Looping Mus ed 09 aiff IA Street noise aiff O savea Appendix A Using Apple Loops Utility 267 268 Assets button Assets Key pop up menu a___ l amp Playback and File Management Controls The bottom of the Apple Loops Utility window contains a set of playback controls so that you can listen to the file in Apple Loops Utility The playback controls do not
194. ick the left arrow to lengthen the beginning of the Timeslice in increments or click the right arrow to move the end of the Timeslice in increments To lengthen the Timeslice dynamically Click the center area of the field where the numbers are then drag left to lengthen the beginning of the Timeslice or drag right to lengthen the end of the Timeslice For projects using Time based format the left and right arrows lengthen the Timeslice in seconds For projects using Beats based format the arrows lengthen the Timeslice in beats Chapter 10 Working With Automation 233 Recording Audio in Soundtrack Pro You can record your own audio in a track in the Timeline as well as recording audio in the Mixer and the Waveform Editor You get ready to record by setting recording preferences and checking that your audio equipment is working For multitrack projects you enable a track for recording or record audio in a new track You can record a single take or record multiple takes If you record multiple takes you can review them after recording and choose which one to use in your project or assemble a composite take using segments of each recorded take For audio file projects you record in the Waveform Editor When you record in the Waveform Editor the recording replaces overwrites any audio over which you record If you record for a longer duration than the current length of the file the file is lengthened to include the recorded
195. ider view Choose View gt Zoom In to zoom in one level Choose View gt Zoom Out to zoom out one level If you have a mouse with a scrollwheel connected to your computer you can set Soundtrack Pro to zoom in or out when you move the scrollwheel You can select part of the audio file and zoom in on the selected area zoom in to see individual samples in the waveform or zoom out to peaks To set Soundtrack Pro to zoom the waveform display when you move the scrollwheel Choose Soundtrack Pro gt Preferences If the General Preferences pane is not visible click the General button In the Timeline section of the General Preferences pane choose Zooms at playhead from the Scrollwheel pop up menu To zoom in or out using a scrollwheel Move the scrollwheel up to zoom in or move it down to zoom out To zoom in on a selection In the waveform display select the area you want to zoom in on Choose View gt Zoom to Selection Chapter 7 Working in the Waveform Editor 149 150 To zoom in to see individual samples Choose View gt Zoom To Samples If you have previously zoomed in to a level where individual samples are visible in the waveform display choosing Zoom To Samples zooms in to the same zoom level To zoom out to see the entire waveform Choose View gt Zoom To Peaks If you have previously zoomed out to a level where waveform peaks are visible in the waveform display choosing Zoom To Peaks zooms out to the
196. iew the file You can also preview a video file using the preview controls For information about previewing a video file see Playing the Video on page 185 Chapter 3 Getting Started With Soundtrack Pro 69 70 Viewing Audio File Information You can view information about an audio file in the Media and Effects Manager the Timeline or the Waveform Editor in the Details tab of the Utility window When you select an audio file in the Media and Effects Manager the Details tab displays the file path and other information about the file The following information is displayed in the File tab of the Details tab tails AE ee _ Scene 3 start dialog Recording 1 Genre Instrument Author Copyright Path Macintosh HD Soundtrack Pro projects Scene 3 star dialog Recording Laiff Tempo 117 8PM Sample Rate 44 1 kHz Time Signature 4 4 Beats 16 Key C Scale Type Neither Name The name of the file Hints The hints provided for the file Hints are file tags that are used to search for files or for tempo and key matching Instrument The instrument or instrument category to which the file belongs Author The author of the file Copyright The copyright information for the file Path The path to the file s location on disk Tempo The original tempo of the file Time Signature The time signature of the file Beats The number of beats recorded in the file For non looping fi
197. ime effects are deleted from the project and the envelopes are reset to their default values Some effects including reverb and delay add audio that extends past the end of the file This is called an effect tail When you bounce realtime effects to an action if any of the effects creates an effect tail that extends past the end of the audio file the file lengthens to include the effect tail Working With Actions Actions give you an extremely flexible and powerful way to edit audio files in the Waveform Editor You can apply an action to an entire file or a selected part of the file including applying an action to only one channel of a stereo audio file You can turn individual actions on or off and reorder actions in the Actions list changing the sequence in which the actions change the audio file You can adjust action settings after applying the action and can flatten actions Chapter 7 Working in the Waveform Editor Applying Actions You start working with actions by applying an action to the audio file or the currently selected part of the file To apply an action 1 With the file open in the Waveform Editor choose an item from the Process menu The item appears in the Actions list Effects button Actions menu Actions Analysis buttons Actions Analysis E3 On Action a Scene 1 Debra dialog Parametric EQ A M Actions Fade In M m Reduce Noise Action Insert bar
198. indow You can add envelope points to the envelope to automate changes to the effect parameter Chapter 9 Working With Audio Effects Working With Effect Presets Some effects have several combined parameter settings called presets For example the MatrixReverb effect in the Mac OS category has presets for various sizes of room hall and chamber settings as well as Plate reverb and Cathedral settings If an effect has presets the presets appear in a Factory Presets pop up menu in the list of effect parameters Realtime Effect Presets For realtime effects you can choose effect presets in the Effect Parameters area of the Effects tab To apply a preset to an effect In the Effect Parameters area choose the preset from the Presets pop up menu Processing Effect Presets For processing effects you can select presets in the advanced settings window You can show an effect s presets add and delete presets apply a preset adjust preset parameters and create your own presets Presets Factory Presets gt User Presets To show effect presets for a realtime effect Click the Show Presets button in the advanced settings window To show effect presets for a realtime effect Click the Show Presets button in the advanced settings window The Presets drawer appears to the right of the advanced settings window To add a preset Click the Add Preset button A blank untitled preset appears in the User Preset list
199. ines number of frequency bands into which the signal is divided The Upper Intensity parameter controls the intensity of the base extension of the upper frequency bands The Lower Intensity parameter controls the intensity of the base extension of the lower frequency bands Human beings perceive stereo placement of sounds mainly in the middle and high frequencies If very low frequencies are distributed between the left and right speakers the energy distribution for both speakers will be significantly worse Therefore it is always best to select a lower intensity setting for the lower frequency bands and avoid setting the Lower Freq below 300 Hz Working With Realtime Effects You can add realtime effects to a track bus or output in a multitrack project or to an audio file project and then adjust the effect parameters to control the way in which the effects alter the sound of the track or project Working in the Effects Tab The Effects tab is where you add realtime effects and adjust realtime effect parameters When you click the Effects button in the header of a track bus output or in the Waveform Editor the Effects tab becomes active and displays the current effects settings for the track bus output or project The upper part of the Effects tab contains lists of available effect categories When you click an item in the Category list the available effects in that category appear in the Effect list where you can select and add th
200. input signal If the level rises above 0 dB the peak indicator becomes red to indicate clipping e Level meters Show the input volume for the selected track during recording Input pop up menu Choose the input device and input channel or channels for recording e Gain slider and field Drag the slider or type a number in the field to set the input gain for recording Stereo checkbox Select to record to a stereo file or deselect to record to a mono file e Monitor pop up menu Choose the output device and output channel or channels for monitoring during recording e Mute Project checkbox Select to mute the project during recording so you hear only the sound being recorded e Disk space indicator Shows the available disk space on the recording sessions location set in Recording Preferences Chapter 2 The Soundtrack Pro Interface 41 42 Meters Tab The Meters tab displays stereo level meters that you can use to observe the volume of the first output in a multitrack project or the overall output for an audio file project Peak indicator sm peaks C resa gt Reset button Level meters Value Location Left O5dB 8 3 4 Go F Go to Peak buttons Right 0 5 dB 83 4 Go ian Peak Value and Location display e Peak indicator Shows the highest level reached as the project plays If the level rises above 0 dB the peak indicator becomes red to indicate clipping
201. ional tracks Chapter 10 Working With Automation 231 232 Deleting Timeslices To delete a Timeslice Select the Timeslice then choose Edit gt Delete or press the Delete key Changing the Timeslice Selection Area You can change the length of a Timeslice selection area to include more of the Timeline either graphically or numerically To extend the Timeslice selection area graphically Shift click in any track included in the Timeslice at the point to which you want to extend it Shift click in the Timeline to extend a Timeslice Below and to the right of the transport controls is the Selection Length value slider When a Timeslice is active the Selection Length value slider shows the length of the active Timeslice The units shown in the Selection Length value slider depend on the project time format For projects using Time based format the value slider shows the current Time ruler units using the current frame rate For projects using Beats based time format the value slider shows measures beats and beat divisions at the current tempo To change the length of a Timeslice numerically Click the value slider The field becomes a value field with the current value selected 2 Type a new value into the field using appropriate punctuation 3 Press Tab or Enter to confirm the new value Es 00000700 gt Chapter 10 Working With Automation To lengthen the Timeslice in increments Cl
202. ions from the Actions pop up menu Chapter 7 Working in the Waveform Editor To flatten all actions do one of the following Choose Process gt Flatten All Actions Choose Flatten all actions from the Actions pop up menu Comparing the Project With and Without Actions When you are adding and adjusting actions you may want to compare the results of your changes to the original file To hear the file without actions Choose Play without actions from the Actions pop up menu Click Play or press the Space bar To hear the file with all actions Choose Play with all actions from the Actions pop up menu Click Play or press the Space bar To hear the file with only selected actions In the Actions list deselect the checkboxes for the actions you do not want to hear Click Play or press the Space bar When you deselect an action its settings are saved and are available when you select the action again Comparing the Last Two Actions You can quickly compare the last two actions applied to an audio file or selection This is helpful when you want to try out two similar actions and hear which one you like better To compare the last two actions Do one of the following e Choose Process gt A B Last Two Actions e Choose A B from the Actions pop up menu or press Command F 1 Click Play or press the Space bar You hear the first of the two actions The checkbox of the second action appears deselected
203. iple effects to an effects chain is called chaining effects When you add multiple effects the effects are applied in sequence meaning that the output of the first effect becomes the input for the next effect and so on for each effect in the chain The order in which effects are applied is important because each alters the input signal which includes the output of previous effects in the chain You can reorder effects and hear the difference in the way they alter the sound To add multiple effects to an effects chain do one of the following Double click the effect you want to add in the Effect list Select the effect in the Effect list then click the Add Effect button The effect appears in the Effect Parameters area below any previously added effects You can now set the parameters of the added effect ee Mac OS Fat EQ Soundtrack Category m Effect Flanger High Cut High Pass Filter High Shelving EQ Limiter Select the effect you want to add then click Linear Phase EQ the Add Effect button Low Cut Show Scene 3 start dialog g c E Name Parameter Auto You can also drag the expander Caavanced J effect to the Effect Linear Phase EQ X j Parameters area Note Adding more than a few effects to an effects chain can cause extreme changes to the sound of a project This may be what you want but in some cases can produce undesirable results Listen to the project as
204. ir file path or filename appear in the Search Results list The number of files appears in the Matches column under No Category To search using the Search Text field Enter text in the Search Text field As you type files matching the characters you type appear in the Search Results field Chapter 3 Getting Started With Soundtrack Pro 61 62 Refining a Search in Column View There are several ways you can refine your searches in Column view You can select items in the Matches column to add the matching files for each category to the search results and you can enter text in the Search Text field to narrow your search to files that include the text in their file path Selecting multiple keywords in the Keywords list narrows the search results to files matching all the selected keywords To refine your search using the Matches column Click to select a match category or Command click to select multiple match categories DOO 5 m S an Setup Cheerful Cinematic Clave Clean Conga Country Folk 4 4 3 A Files Any A Name Tempo 2 Crowd sounds aiff 1 2 Door opening aiff 2 Espresso machine aiff Scene 1 Debra dialog aiff 2 Scene 1 Jack dialog aiff x Z Scene 2 Ray dialogaiff Scene 3 Debra start dialogaiff Traffic noises aiff FEFEREF ES Beats Hints Click a match category to refine your search
205. is routed Reordering Sends in the Mixer You can reorder sends in the Mixer as well as in the Effects tab When you reorder sends you change which effects are routed to the send which can change the sound drastically To reorder a send in the Mixer Drag the send up or down in the effects slot area to change its order Showing Send Settings You can show the settings for a send in the Effects tab Send settings include volume pan and the bus to which the send is routed To show settings for a send In the Mixer Control click the send then choose Show Send Settings from the shortcut menu The Effects tab becomes active with the settings for the send visible in the Effect Parameters area Turning Sends Off and On You can turn sends off and turn them back on When you turn off a send the audio is not routed to the send bus and is not heard To turn off a send in a channel strip do one of the following Deselect the checkbox to the left of the send name Control click the send then choose Disable Send from the shortcut menu To turn on an effect again Select the checkbox to the left of the effect name Chapter 6 Working in the Mixer 137 138 Setting the Overall Project Volume Level As you finalize a project mix you set the overall project volume to the appropriate level Certain formats or methods of distribution may require that the project conform to a particular maximum level In general you set the overall vol
206. ished all bit depth or sample rate conversions Chapter 7 Working in the Waveform Editor 147 7 Click Save a 6 4 a 4a When you save an audio file with the same name location and extension as the original audio file you overwrite the existing audio file Setting the Time Ruler Units in the Waveform Display You can set the Time Ruler units in the waveform display to any format in the Time Ruler Units submenu To set the Time Ruler units in the waveform display Choose View gt Time Ruler Units then choose a format from the submenu 148 Chapter 7 Working in the Waveform Editor Choosing the Sample Units in the Waveform Display Along the left edge of the waveform display is a scale of sample units for the audio file You can set this scale to any of the following sample units e Sample Value e Normalized e Percent Decibels To set the sample units in the waveform display do one of the following Choose View gt Time Ruler Units then choose a format from the submenu Control click along the left edge of the waveform display where the sample units appear then choose the sample units you want from the shortcut menu Zooming In and Out in the Waveform Editor You can zoom in on a specific part of an audio file to make precise edits and perform other tasks To zoom in or out do one of the following Drag the Zoom control left to zoom in for a closer view or drag right to zoom out for a w
207. item to open it You can move back through the previous locations in the Favorites tab using the Forward and Back buttons or through the levels of the file hierarchy using the Path pop up menu Chapter 3 Getting Started With Soundtrack Pro 59 60 Using Search to Locate Files Using Search you can search for media files to add to your project Search has two views Column view and Button view You choose which view to display by clicking the Columns View or Button View button in the upper left area of the window In both views the files matching your search criteria appear in the Search Results area along with columns displaying additional information for tagged files You can sort these columns by clicking the heading on top of each column You can also perform text searches in both views and refine your searches If you use Apple Loops or other tagged audio files in a project you can search based on a variety of criteria including musical instrument genre time signature mood descriptor and scale type You can also search using specific keywords Click Search to display the Search tab in the Media and Effects Manager Searching for Files in Column View In Column view the upper area of the Media and Effects Manager displays two columns Keywords shows the categories of files that meet the search criteria and Matches shows the total number of matching files and any subcategories containing matching files with the number of
208. itivity slider When you increase the sensitivity of transient detection Apple Loops Utility considers points of higher amplitude in the waveform as transients regardless of whether or not they occur at a beat value To change the sensitivity of transient detection Drag the Sensitivity slider to the left to decrease the sensitivity or to the right to increase the sensitivity of transient detection Loop Utility sensitivi _q L4 21 To remove a transient do one of the following Click the transient s handle in the area above the Beat ruler then press the Delete key Drag the transient out of the area above the Beat ruler Appendix A Using Apple Loops Utility Saving Changes to Files When you save changes in Apple Loops Utility you can save changes to only the currently selected files or to all files marked in the Changes column of the Assets drawer Any other file tags are unchanged This is especially useful when working with a large group of files When saving multiple files the checkbox next to the tag must be selected if changes to that tag are to be saved For information about tagging multiple files see Tagging Files in Apple Loops Utility on page 270 To save changes to the currently selected files Click the Save button Saving changes to a large number of files may take several minutes To save all changes Click the Save All button in the Assets drawer To sav
209. itor Apply the actions to the audio file Choose File gt Save as AppleScript In the Save dialog type a name for the droplet By default droplets are saved to the location user Library Scripts Soundtrack Pro Scripts Do not change the location or Soundtrack Pro and Final Cut Pro may not be able to find and use your saved droplets Chapter 7 Working in the Waveform Editor 181 182 Applying a Saved Droplet to a Clip in Final Cut Pro You can apply a series of actions saved as a droplet to a clip in Final Cut Pro To apply a saved droplet to a clip in Final Cut Pro In the Final Cut Pro Timeline or Bin Control click the clip choose Send To gt Soundtrack Pro Script from the shortcut menu then choose the droplet you want to apply from the submenu Soundtrack Pro opens with the clip visible in the Waveform Editor The actions are applied to the clip the clip is saved with the changes and the Waveform Editor moves to the background behind the Final Cut Pro windows Chapter 7 Working in the Waveform Editor Working With Video in Soundtrack Pro You can import a video into a multitrack or audio file project view the video as you work on your project edit the video s audio and use markers to synchronize audio and video When you import a video the video appears in the Video tab of the Utility window When you import a video into a multitrack project a video clip appears in a video track in the Timeline The video s au
210. keywords Search Text field Type text in the field to display matching files whose filename or path contains the search text Nearby Keys button Restricts search results to keys within two semitones above or below the project key Search Results list Displays the files matching the selected search criteria in alphabetical order Includes columns displaying the tempo key and number of beats of each file You can click files to preview them Add Favorite button Adds the selected item to Favorites Preview controls Include Play and Mute buttons and a volume slider For information on using the Preview controls see Using the Preview Controls on page 69 Media pop up menu Choose menu items to add a Favorite add a file to the Bin open a file in the Waveform Editor and perform other functions Chapter 2 The Soundtrack Pro Interface 37 Bin Tab The Bin tab lists the media files added to the project You can drag files from the Bin tab to the Timeline You can also add files to the Bin for easy access in a project Files not currently added to the project appear dimmed and offline files appear in red text Files used In Project Name TH What is this IA Applause FX 01 P Applause FX 05 Cafe sounds 01 Door opening Espresso machine Intro voiceover ISSN Me 5 gR T E 8 Scene 1 Jack dialog Scene 3 Debra start dialog II A Scene 3 start dialog TA shout IP Street noise File
211. king it difficult to hear the voices music or other content of the file Soundtrack Pro features two commands Set Noise Print and Reduce Noise that you can use together to reduce noise in an audio file or selection Set Noise Print The Set Noise Print command lets you select part of an audio file containing only the noise that you want to remove as a noise print The noise print provides a signature of the frequencies to reduce or remove from the file Setting the noise print before reducing noise is optional If you do not set a noise print before using the Reduce Noise command Soundtrack Pro will extract a noise print from the selected part of the audio file To set part of an audio file as a noise print In the waveform display select the part of the audio file containing only the noise you want to reduce Choose Process gt Set Noise Print The selected noise is stored as a noise print Reduce Noise The Reduce Noise command uses the frequency content of the noise print to reduce noise in the audio file or selection To reduce noise using the noise print In the waveform display select the part of the audio file in which you want to reduce noise Choose Process gt Reduce Noise The Reduce Noise dialog appears In the Reduce Noise dialog you can optionally set the noise threshold and tone for noise reduction You can also preview the noise reduction with the dialog open A Scene 1 Debra dialog stap Track R
212. l Strip Icon You can change the icon of a channel strip Icons do not affect the sound but are useful as a quick visual reference for the channel strip particularly for projects with many tracks busses or outputs To change a channel strip icon Press and hold the icon you want to change then choose a new icon from the icon menu g Channel strip icon att OF Chapter 6 Working in the Mixer 131 132 Showing and Hiding Sections of the Mixer You can show or hide sections of the Mixer window and of the channel strips Hiding sections of the Mixer and the channel strips can be helpful especially when using Soundtrack Pro with a smaller computer display or when working on projects with a large number of tracks busses or outputs You can show or hide any of the following sections of the Mixer e Navigation display Time display and Global Timeline view e Transport controls e Tracks e Busses e Outputs To hide a section of the Mixer Choose the section you want to hide from the Show pop up menu located at the upper right of the Mixer A Show Show Mixer pop up menu Channel Strip pop up menu You can show or hide any of the following sections of the channel strips e Icons e Effects slots e Output pop up menus e Pan controls e Volume faders and level meters To hide a section of the channel strips Choose the section you want to hide from the Channel Strip pop up menu The visible sec
213. l strip s pan position by dragging the slider or changing the value in the value slider You can automate pan changes by dragging the slider with the project set to the appropriate automation mode Appear in track and bus channel strips only not in output channel strips Volume fader and value slider Set the channel strip s volume level by dragging the fader or changing the value in the value slider You can automate volume changes by dragging the slider with the project set to the appropriate automation mode e Level meters with peak indicator Show the volume level of the channel strip in real time as the project plays The peak indicator shows the highest level played and changes color to indicate that clipping has occurred Chapter 2 The Soundtrack Pro Interface e Record Enable button Click to enable the track for recording When you click a track s Record Enable button the Recording tab of the Utility window appears showing the track s current recording settings Appears in track channel strips only not in bus or output channel strips e Mute button Click to mute or unmute the channel strip e Solo button Click to solo or unsolo the channel strip e Name field You can type a new name for the channel strip Waveform Editor You can edit audio files in the Waveform Editor using actions Actions give you a powerful and flexible way to edit audio files nondestructively using professional audio processing effects and ot
214. lace effect name from the shortcut menu then choose a new effect from the submenu Deleting Effects From a Channel Strip You can delete an effect if you decide you don t want to use it in a channel strip You can also delete all effects from a channel strip To delete an effect from a channel strip do one of the following Select the effect then choose Edit gt Delete or press the Delete key Control click the effect then choose Delete effect name from the shortcut menu To delete all effects from a channel strip Control click an effects slot then choose Delete All Effects from the shortcut menu For more information about working with effects including information on uses of different effects and adjusting effect parameters see Chapter 9 Working With Audio Effects on page 195 Chapter 6 Working in the Mixer Adding Sends to a Channel Strip You can add sends to a channel strip show send settings in the Effects tab bypass a send or remove a send in the Mixer To add a send to a channel strip Control click an empty effects slot in the channel strip choose Add Send from the shortcut menu then choose one of the available effects from the categories in the submenu When you add a send the audio is routed from the send to a bus By default the first send you add to an effects chain is routed to Bus 1 the second send is routed to Bus 2 and so on if the default bus exists You can choose the bus to which a send
215. le for common problems such as clicks and pops hum phase issues and clipping and fix them individually or in a single operation When you analyze an audio file you can select which types of analysis to perform To show the analysis lists and tools n the Waveform Editor click the Analysis button The Analysis Type list Parameter list and Analysis Results list replace the Actions list in the window Analysis Type list Analysis Type gt M Clicks and Pops Power Line Hum C DC Offset Phase Clipped Signal gt Silence Parameter list ea Analyze button Status Problem Start Analysis Results list i Clear Fixed Fix all Fix i Fix buttons and Magnify button To analyze an audio file Click the Analyze button located below the Parameter list Chapter 7 Working in the Waveform Editor 177 178 Types of Audio Analysis The following types of analysis can be performed in the Waveform Editor Clicks and Pops Sudden short peaks in the audio file can result from a variety of causes including mechanical defects in analog recordings You can set the threshold above which Soundtrack Pro considers peaks to be clicks or pops Power Line Hum Power lines and other electrical equipment can produce a steady hum often at 50 or 60 Hz The hum can also include low order harmonics of the fundamental frequency DC Offset DC offset is a shift in the audio
216. ler With Video Using Markers With Video Removing a Video From a Project Working With Audio Effects Realtime and Processing Effects Audio Effects Included With Soundtrack Pro Working With Realtime Effects Contents Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Appendix A 216 217 219 219 228 229 235 235 236 239 240 240 243 243 244 245 245 246 247 248 248 250 252 253 253 258 260 261 263 263 264 269 270 271 273 273 274 275 Working With Processing Effects Working With Effect Presets Working With Automation Working With Envelopes Recording Automation Data Working With Timeslices Recording Audio in Soundtrack Pro Getting Ready to Record Recording Audio in the Timeline Saving Recorded Clips Recording Audio in the Mixer Recording Audio in the Waveform Editor Using Control Surfaces With Soundtrack Pro Connecting Control Surfaces Adding and Deleting Control Surfaces Premapped Controls Mapping Commands to Control Surface Buttons Recording Control Surface Automation Exporting Multitrack Projects Exporting a Project Mix Exporting Selected Tracks Busses and Outputs Exporting With Compressor Distributing a Multitrack Project and its Media Files Together Using Soundtrack Pro With Apple Professional Applications Using Soundtrack Pro With Final Cut Pro Using Soundtrack Pro With Motion Using Soundtrack Pro With DVD Studio Pro Using Soundtrack Pro With
217. les this field shows the duration length of the file in seconds Key The original key of the file Sample Rate The sample rate at which the file was recorded Bit Depth The bit depth at which the file was recorded Channels The number of audio channels the file contains Size The file size in kilobytes Genre The musical category to which the file belongs Length The duration of the file in seconds Looping file Indicates whether the file is a looping file Yes or a non looping file No Chapter 3 Getting Started With Soundtrack Pro Note The information that is displayed depends on whether or not the file is tagged Untagged files may not display information for all categories For more information on file tags see Appendix A Using Apple Loops Utility on page 263 You can also view and edit audio clip properties in the Details tab For information about viewing and editing clip properties see Viewing and Editing Clip Properties on page 89 Using Undo and Redo As you edit clips and perform other operations in both multitrack and audio file projects you might need to use the Undo and Redo commands For example if you don t like the last change you ve made to a project it can usually be undone Then if you decide you prefer to keep the change you just undid you can redo the command immediately after using Undo You can also use the Undo and Redo commands as a quick way of trying out changes to your project Yo
218. les can be changed Items in the Tags tab that do not apply to all the currently selected files are dimmed and unavailable Each tag has a checkbox Select the checkbox next to the tags for which you want to save changes To tag multiple files Select the files in one of the following ways e Shift click to select adjacent files in the Assets drawer e Command click to select nonadjacent files in the Assets drawer e Press Command Shift A to select all files in the Assets drawer Make the changes you want to the available tags for the selected files in the Tags tab See Tags Tab on page 265 for information about the options in the Tags tab Select the checkboxes next to the tags for which you want to save changes Click Save to save changes to the selected files or click Save All to save all changes There are many keyboard shortcuts to simplify the task of tagging files For a complete list of keyboard shortcuts see Apple Loops Utility Keyboard Shortcuts on page 275 Working With Transients Transients are the points in an audio file where beats occur Typically transients occur at the widest areas of a waveform in the waveform display During playback Soundtrack Pro adjusts looping files using a technique called stretching to achieve the best audio quality based on the loop s transients Non looping files are not affected by stretching When you open a file in Apple Loops Utility it looks for transients at every 16t
219. list Preview controls gt o 14 items Media pop up menu e File list Displays the media files in the current project e Preview controls Include Play and Mute buttons and a volume slider For information on using the Preview controls see Using the Preview Controls on page 69 Media pop up menu Choose menu items to add a Favorite add a file to the Bin open a file in the Waveform Editor and perform other functions Chapter 2 The Soundtrack Pro Interface Effects Tab You add effects and sends to your project and adjust effect parameters in the Effects tab When you click the Effects button on a track bus output or audio file project the Effects tab appears showing the item s current effects settings and sends 00 Effects Browser Favorites Search Bin effects Category Effect Mac OS Distortion u F Category list Soundtrack Ensemble Exciter 0 Expander Effect list Fat EQ Flanger High Cut k High iter Show pop up menu L Ws dake Add Effect button Show Out 1 2 H Remove Effect button Name Parameter Auto eae Advanced Presets None sf Threshold i8 OQ 20 000 Ratio 1 O 0 800 Oo Attack ms 0 0000 M Release ms O 98 000 M Gain dB 0 0000 o Softknee 010 E Effect parameters area 4 sera feck Auto Gain on Oort im Add Se
220. lso include parameters for attack and release These parameters let you set how quickly the compressor reacts once the threshold is reached for attack or once the signal falls below the threshold again for release Use these parameters to make the compressor s effect more subtle or more pronounced Another parameter on some compressors is the knee or soft knee which lets you control how gradually the compressor transitions between no compression and the compression ratio at the threshold Compressors are typically used on vocal tracks to make the vocals prominent in the overall mix They can also be used on music and sound effects tracks but rarely on ambience tracks Chapter 9 Working With Audio Effects 197 198 Limiters Limiters also called peak limiters prevent the audio signal from exceeding a maximum volume level A compressor gradually attenuates levels above the threshold but a limiter puts a hard limit on any signal louder than the threshold You use a limiter mainly to prevent clipping Noise Gates A noise gate alters the signal in the opposite direction from a compressor While a compressor lowers the volume of sounds above the threshold a noise gate lowers the sounds below the threshold Loud signals pass through unchanged but softer signals such as the decay of a loud instrument are cut off Noise gates can be used to eliminate low level noise or hum from an audio signal Distortion Effects Distortion effects
221. ly through a mixer connected to a FireWire audio interface This setup uses the following equipment e Your computer and display e FireWire audio interface with FireWire cable to connect to your computer e Control surface and MIDI interface with USB cable to connect MIDI interface to your computer e MIDI cables to connect control surface to MIDI interface Set of powered monitors or speakers e Speaker cables Monitors O Power cables O O E rE N Audio interface e lt M M WHET FireWire Sees Speaker cables cable oo0oo0o00000 0 Midi interface eeel Z Computer Control surface Chapter 1 Setting Up Your System 22 Setting Up a System Using a Video Output Device With this setup you can play video and audio through an external video output device Because using a video output device can result in increased latency you may want to combine this setup with an audio only setup as shown in the preceding pages and switch between the two setups This setup uses the following equipment e Your computer and display e Video output device Firewire device or PCI card e High quality video monitor e Audio speakers Video monitor Audio monitors 05 O5 ZN Speaker cables FireWire cable LL N 222299999 o o 00000000 Video output device 3833333838 0
222. mber of decibels per octave Highpass filters by contrast affect all frequencies below their cutoff frequency Bandpass filters exclude all frequencies close to their center frequency You can set the center frequency and also set the bandwidth or Q which specifies how wide a range of frequencies around the center frequency are affected These EQs include parameters for setting the cutoff frequency Shelf filters add parameters to control the gain the amount of boost or cut You can use roll off filters as broad brush effects to boost or cut a large range of frequencies Chapter 9 Working With Audio Effects Graphic EQs Graphic EQs give you a set of filters often with 10 or 31 filters each with a set center frequency and bandwidth Using a graphic EQ you can shape a wide variety of frequencies throughout the frequency range Graphic EQs can be used to shape the sound of the overall project mix OAN Scene 1 Debra dialog stap Track GraphicEQ Apple Computer Graphic Equalizer Flatten EQ 31Bands Aim i wit 3 dB 6 dB 12 dB 20 dB 0 4 gt Show Presets C reser _ Parametric EQs Parametric EQs are similar to bandpass EQs but provide a greater amount of control and can be used for extremely precise adjustments With a parametric EQ you can set the center frequency the gain and the bandwidth Used carefully a parametric EQ can help a track cut through the mix or help a
223. me slider a pop up menu where you can choose the physical output channels for the output and buttons to mute or solo the output and add effects Each output channel strip includes stereo level meters you can use to watch the output s levels and a set of effects slots where you can add and order effects and sends Outputs do not have pan controls or Record Enable buttons Tracks busses and outputs in the Timeline Tracks busses and outputs in the Mixer For information about working with tracks busses and outputs in the Timeline see Working With Tracks Busses and Outputs in the Timeline on page 99 For information about working with tracks busses and outputs in the Mixer see Working With Channel Strips in the Mixer on page 125 Chapter 4 Working With Multitrack Projects Working in the Timeline The Timeline is where you arrange audio clips to build your soundtrack You can also adjust volume and panning add effects and edit envelopes to control automation The Timeline displays a visual representation of a project showing the point in time when audio clips start playing and their duration You control when and how long clips play by moving and resizing them in the Timeline The Timeline is arranged in three sets of horizontal rows tracks busses and outputs You add audio clips to tracks create submixes using busses and send audio to physical output devices using outputs For information about wo
224. meline including recording multiple takes Integrated workflow with Final Cut Pro You can send a clip from the Final Cut Pro Timeline to Soundtrack Pro and edit the clip in the Waveform Editor When you save the clip it is automatically updated in your Final Cut Pro project You can also send clips or sequences to a Soundtrack Pro multitrack project Resources for Learning About Soundtrack Pro This manual describes the Soundtrack Pro interface commands and menus and gives step by step instructions for creating Soundtrack Pro projects and for accomplishing specific tasks It also includes information on setting up your system and on audio basics It is designed to provide the information you need to get up to speed quickly so you can take full advantage of the intuitive interface and powerful features of Soundtrack Pro If you want to start by learning how to set up audio hardware to use with Soundtrack Pro read Chapter 1 Setting Up Your System on page 13 If you want to learn about the features and controls in the Soundtrack Pro interface read Chapter 2 The Soundtrack Pro Interface on page 23 If you want to jump right in and start using the application skip ahead to Chapter 3 Getting Started With Soundtrack Pro on page 45 If you want to read about editing audio files in the Waveform Editor turn to Chapter 7 Working in the Waveform Editor on page 143 In addition to this manual Soundtrack Pro provides othe
225. mpact the speed at which the screen is redrawn during playback Chapter 3 Getting Started With Soundtrack Pro 75 76 e Scrollwheel pop up menu Choose whether an attached mouse with a scrollwheel scrolls the Timeline or zooms in or out at the playhead position e Automation Recording Sensitivity slider Drag to set the level of sensitivity with which onscreen and control surface movements are recorded Setting the slider to High results in all movements being recorded e Scratch Location button and display Click then browse to the location of the disk or folder you want to use as the location for storing scratch files The current location is shown in the Scratch Location display Project Preferences These preferences let you set project properties and other default settings for new projects you create 0AA Project ml A o General Project Recording Synchronization Control Surfaces Video Out Tempo 4 120 gt BPM Key Time Signature 4 4 Sample Rate 44100 3 He Export Bit Depth 24 Bit B Timescale Seconds Video Frames per Second 29 97 t Tracks aa cane L lt 2 wW 18 36 22 Snap 0On orf Snap To Ruler Ticks V Markers Track Height Small B Overlap Mode Crossfade gt e Tempo value slider Sets the default tempo for new projects in beats per minute bpm The range is 60 to 200 bpm Key pop up menu Sets the default key for new projects The range is any key
226. multitrack project before exporting a project mix so your changes are retained By following the steps described in this procedure you can make multiple roundtrips between Soundtrack Pro and Final Cut Pro Using Soundtrack Pro With Motion You can edit a Motion audio track nondestructively by sending it to the Waveform Editor as an audio file project Sending an audio track to the Waveform Editor as an audio file project lets you make roundtrips between Motion and Soundtrack Pro When you save your changes in the Waveform Editor the clip is updated in Motion without having to be reimported In order to edit a Motion audio track nondestructively in the Waveform Editor you send the clip to the Waveform Editor as a new audio file project edit the clip in the Waveform Editor then save the audio file project After following these steps you can make roundtrips between Motion and Soundtrack Pro so you can keep working in both applications When you send an audio track from Motion to the Waveform Editor a new audio file project with the file type stap is created for the track Chapter 14 Using Soundtrack Pro With Apple Professional Applications _ To send an audio track from Motion to the Waveform Editor In the Motion Audio tab or Timeline Layer list select the audio track Choose Edit gt Send Audio to Soundtrack A new audio file project is created for the audio track and a Save As dialog appears In the Save As dialog type
227. n both recording and playback stop Chapter 11 Recording Audio in Soundtrack Pro 237 Recording Multiple Takes You can record multiple takes in the Timeline You can record multiple takes using the playback region to define where each take starts and ends or record for the duration of the project When you record multiple takes the takes are stacked in a single clip in the Timeline You can audition each take and can create composite takes by splitting the clip and choosing the take for each split segment To record multiple takes 1 If you want to record to an existing track enable the track 2 If cycling is turned off click the Cycle button in the transport controls to turn it on 3 Set the playback region to the part of the Timeline where you want recording to start and end For information on setting the playback region see Working With the Playback Region on page 98 If no playback region is set recording starts at the beginning of the project and lasts until the end of the last clip in the project If the project contains no clips a single take is recorded starting at the current playhead position 4 Click the Record button in the transport controls to start recording As you record the level meters in the Recording tab show the levels of the input signal being recorded If the input signal clips rises above 0 dB the peak indicator lights red The playhead advances to the end of the playback region then
228. n choose Edit gt Cut or press Command x The clip is removed from the Timeline and placed on the Clipboard To copy an audio clip do one of the following Select the clip in the Timeline then choose Edit gt Copy or press Command C Option drag the clip to the position where you want to copy it To paste an audio clip Set the playhead at the position where you want to paste the clip then choose Edit gt Paste or press Command V The clip is pasted in the currently selected track starting at the current playhead position If no track is selected the clip is pasted in the track from which it was cut or copied When pasting clips cut or copied from different positions in the Timeline or from multiple tracks the following conditions apply e Pasting clips from different Timeline positions The clip closest to the beginning of the project is pasted at the current playhead position and the remaining clips are pasted at the same positions in time relative to the first clip as when they were cut or copied e Pasting clips from multiple tracks The clip from the topmost track is pasted in the currently selected track and the remaining clips are pasted at the same positions relative to the first clip as when they were cut or copied If there are not enough tracks to accommodate the clips being pasted a dialog appears asking if you want to create new tracks for the clips If you choose not to create new tracks only the clips for
229. n drag the slider that appears left or right to change the length of inserted noise e Click the value in the value slider then type a new value Click OK Chapter 7 Working in the Waveform Editor To set the volume level of the inserted noise In the Noise Generator dialog drag the Volume slider left or right to set the noise level You can also type a level in decibels in the Volume field Inserting a Waveform When you choose Process gt Insert then choose Waveform from the Insert submenu the Wave Generator dialog appears You can set the type of waveform to insert set the length of the inserted waveform choose the format for setting the waveform length any of the Time Ruler Units formats and set the volume of the inserted waveform The inserted waveform can be a sine sawtooth square or triangle wave a Waveform Audio Unit Soundtrack Wave Generator Manufacturer Apple Parameters Waveform Type Sine st Frequency 0 0 Q gt _ 22000 440 Hz Duration 1 00 gt Second Volume Q olde To choose the type of waveform to insert In the Wave Generator dialog choose the type of waveform from the Waveform Type pop up menu To set the frequency of the inserted waveform In the Wave Generator dialog drag the Frequency slider left or right to set the frequency You can also type a frequency in Hertz in the Frequency field To set the length of the inserted waveform In th
230. nalog technology for recording sound including lower noise wider frequency response and less distortion if the sound is recorded at the proper level In addition digital recordings can be reproduced any number of times without any loss of audio quality These advantages combined with the popularity of personal computers have led to the rapid development of digital audio as a leading technology for music production Sample Rate and Bit Depth The audio quality of any digital recording depends on two factors the sample rate and the bit depth used to record the signal The sample rate is the number of samples recorded per second The bit depth is the number of digital bits each sample contains Together these two factors determine the amount of information contained in a digital audio recording The higher the sample rate and bit depth of a recording the more accurately the recording reproduces the original sound Time Low sample rate High sample rate Recording music digitally requires a very high sample rate and bit depth to reproduce the nuances in the music satisfactorily The Nyquist theorem states that sounds must be recorded at no less than double the rate of the highest frequency being sampled to accurately reproduce the original sound Audio CDs
231. nd button s ssn Crese etea Reset Effect button e Category list Lists the categories of available effects which are categorized by manufacturer Click a category to see the effects for that category in the Effect list e Effect list Lists the effects in the selected category Double click an effect to add it to the track bus or output Show pop up menu Choose an item a track bus or output from the Show pop up menu to display its effects settings Add Effect button Adds the selected effect to the current effects chain Remove Effect button Removes the selected effect from the current effects chain Effect Parameters area Displays the parameters for effects in the current effects chain Click an effect s disclosure triangle to see its parameters You can adjust effect parameters using the controls in the Effect Parameters area Add Send button Adds a send to the end of the current effects chain for the track You can add sends only to tracks not to busses or outputs Reset Effect button Resets the selected parameter or group of parameters to its default value or values Chapter 2 The Soundtrack Pro Interface 39 40 Video Playback value slider Utility Window The Utility window features tabs for viewing a video in a project observing project levels viewing details and setting up recording Video Tab The Video tab is where you add a video to a project
232. nd functions Working With Envelopes In the Timeline each track bus and output has a set of envelopes The envelopes appear as horizontal lines stretching across the length of the project directly below the track bus or output You adjust an envelope by adding envelope points and moving the envelope points to new values at different points in the Timeline The Timeline also includes master envelopes for tempo and transposition When you show the master envelopes they appear below the last output in the Timeline For video editors accustomed to working in Final Cut Pro envelopes provide the same type of functionality as keyframes The difference is that you can edit envelopes at a finer level of precision than you can using keyframes allowing extremely powerful control over automated changes 219 220 Click the envelope disclosure triangle Track Bus and Output Envelopes Each track and bus has envelopes for volume and pan and each output has a volume envelope By default the envelopes are hidden When you show the envelopes they appear in rows below the track bus or output in the Timeline The envelopes are displayed below the track bus or output To show the envelopes for a track bus or output Click the envelope disclosure triangle in the track header Click the disclosure triangle again to hide the envelopes The ranges of volume and pan envelopes are equivalent to the ranges of the corresponding tra
233. nd play operation and the ability to connect several devices in sequence daisy chaining Some USB devices draw their power over the USB cable while others require a separate power connection USB is included on all current Macintosh computers S Noy FireWire 400 6 pin Sometimes labeled iLINK S no FireWire 400 4 pin There are two kinds of USB connectors an A connector typically used to connect a device to a USB hub and a B connector typically used to connect devices together and also to connect a device to a computer USB audio interfaces should always be directly connected to your computer not connected via a hub or to the computer s display keyboard or another peripheral S USB Universal Serial Bus Chapter 1 Setting Up Your System PCI Peripheral Connect Interface PCI interfaces unlike FireWire and USB interfaces require that you install a dedicated sound card in your computer PCI provides high bandwidth and fast data transfer rates allowing you to record and play back large numbers of files at the highest possible sample rates and bit depths PCMCIA PCMCIA is a consumer standard for connecting devices to a laptop computer PCMCIA provides a lower data transfer rate than FireWire or USB but provides a compact affordable solution for connecting an audio interface to your computer while keeping your USB and FireWire ports av
234. ndtrack Pro includes a complete set of professional quality audio effects you can use in your projects You can use audio effects to add both subtle and dramatic changes to audio clips in a multitrack project or to an audio file project Soundtrack Pro includes effects for equalization compression reverb and other effects you can use to clean up audio perform sound design and enhance the sound of your audio You can also use third party Audio Units effects plug ins in both multitrack and audio file projects Realtime and Processing Effects Soundtrack Pro gives you two ways to use audio effects in your projects realtime effects and processing effects Realtime Effects You can add realtime effects to tracks busses and outputs in a multitrack project or to an audio file project Realtime effects modify the audio as it passes through them so you hear any changes you make or any new audio you add through the sound of the effect Each realtime effect has effect parameters you can adjust to control how the effect modifies the audio You can also automate effect parameters to create changes over time You can create effects chains on a track bus output or audio file using realtime effects An effects chain is a series of effects that modify the audio in a set order Using busses in the Timeline and Mixer you can create submixes and apply the effect to all the tracks in a submix with one set of controls For information on working wit
235. ne are the Timeline controls including the Track Height control and Zoom control Chapter 5 Working in the Timeline Using the Zoom Control You can zoom in to make precise edits in the Timeline or zoom out for a wider view of your project using the Zoom control The Zoom control features a slider on a graduated scale Moving the slider to the left or clicking the left side of the control zooms in for a closer view displaying a smaller area of the Timeline close up Moving the slider to the right or clicking the right side of the control zooms out for a wider view displaying a wider area of the Timeline Timeline zoomed in Timeline zoomed out Chapter 5 Working in the Timeline 95 96 You can also zoom in and out using menu commands or keyboard shortcuts If your mouse has a scroll wheel you can use it to zoom in and out You can also fit the entire project in the visible area of the Timeline To zoom in do one of the following Move the Zoom slider to the left Click the left side of the Zoom control Choose View gt Zoom In Press the Up Arrow key Press Command plus If the mouse connected to your computer has a scroll wheel move the scroll wheel To zoom out do one of the following Move the Zoom slider to the right Click the right side of the Zoom control Choose View gt Zoom Out Press the Down Arrow key Press Command minus If your mouse has a scr
236. ng files can contain tags with information about the file including mood genre and musical instrument Soundtrack Pro recognizes tags in audio files intended for use with loop based music applications You can open an audio file in Apple Loops Utility and add tags and can convert a looping file to a non looping file or convert a non looping file to a looping file For information about tagging audio files using Apple Loops Utility see Appendix A Using Apple Loops Utility on page 263 Chapter 3 Getting Started With Soundtrack Pro 57 58 Using the Browser to Locate Files The Browser tab shows the hard disks and other storage media connected to your computer and lets you browse through the file hierarchy to find audio files located on disk To locate audio files using the Browser Double click a volume or folder in the Browser to view its contents You can move back through the previous locations in the Browser using the Forward and Back buttons or through the levels of the file hierarchy using the Path pop up menu Chapter 3 Getting Started With Soundtrack Pro Using Favorites to Locate Files Favorites let you store frequently used file locations so that you can access them directly You can add and remove Favorites from the Media pop up menu at the lower right corner of the Media and Effects Manager To locate audio files in Favorites Double click the disk or folder you want to open Double click an
237. ng to varying heights and as changes in color from green to yellow In each stereo channel s meter a white horizontal bar displays the current signal level colored bars below the white bar display successive levels in a scale that rises from green through yellow to orange as the signal increases The meters peak at red when the signal clips rises above 0 dB Chapter 6 Working in the Mixer The Meters tab also includes peak indicators Value and Location displays and Go to Peak buttons for each stereo channel and a Reset button You can use these controls to locate and remove clipping from your project Using the Peak Indicators At the top of the level meters is a rectangular peak indicator which lights red when that channel clips exceeds 0 dB The peak indicators are sticky meaning that if clipping occurs in either channel the peak indicator lights red and stays red until you reset it or reset all peak indicators To reset a peak indicator Click the peak indicator To reset all peak indicators do one of the following Option click any peak indicator in any of the level meters Click the Reset button in the Meters tab of the Viewer Peak Value and Peak Location Display To the right of the level meters in the Meters tab the levels of each stereo channel are displayed in decibels dB As the project plays back the Peak Value display shows the highest level reached by each channel since the start of playback The Peak L
238. ngth the clip loops when it reaches the end of the new source audio file Notches appear on the clip to indicate the point at which the clip starts looping You can replace the source audio in all clips using the same source audio file with another source audio file by using the Select All Occurrences and Replace Selected Loops commands together Chapter 5 Working in the Timeline To replace the source audio file in all clips using the same source file Select all occurrences of the clip for which you want to replace the source audio file following the steps described in Selecting Audio Clips on page 107 Every clip using the same source audio file is selected Replace the source audio file with another source audio file following the steps described in Replacing the Source Audio in a Clip on page 117 Removing Audio Clips As you work on a project you may decide that a clip that sounded great on its own no longer fits with the overall composition You can remove clips from a project by deleting them from the Timeline To remove an audio clip Select the clip then choose Edit gt Delete or press the Delete key Working With Markers Markers have a variety of uses in the Timeline and the Waveform Editor For example you can use markers to e Mark the start and end points of major sections in your project e Indicate places you want to come back to and work on later e Mark points where you want to synchronize t
239. nnection to professional and consumer audio equipment including audio interfaces DAT digital audio tape machines hardware samplers Both carry a stereo digital signal AES EBU is balanced and has an operating level of 5 volts while S PDIF is unbalanced and has an operating level of roughly 1 2 volt There are adapter cables available to convert between the two protocols S PDIF carries additional information with the audio signal including SCMS copy protection information n e gt S PIDF optical digital connector 1 8 Inch Miniplug Miniplug connectors are used for audio input and output to computers and on some consumer electronic devices particularly portable ones Stereo miniplug connector unbalanced Audio Output Being able to monitor the audio output of your projects at a high level of quality is crucial to achieving professional results In general you should use the best output equipment your budget allows Speakers and Monitors You can play back audio through your computer s speakers or headphone jack but the audio output may not be high enough for you to evaluate your music at a professional level of quality Connecting external speakers or monitors to your system allows you to hear the audio output with greater fidelity and a wider dynamic range In general you should use the highest quality speakers or monitors you can afford in order to hear your projects at the highest level of
240. nnel strip from the Mixer if you decide you no longer want it in the project To remove a channel strip Select the channel strip Choose Multitrack gt Remove item The term indicated by item changes in the menu depending on whether a track bus or output is selected Note If audio from a track is sent to a bus or output and you remove the bus or output the audio from the track will not be heard when you play the project Working With Effects and Sends in the Mixer You can add effects to a channel strip in the Mixer show effects settings turn effects on and off replace an effect and delete effects You can also adjust effects settings in the Effects tab or in the effect s advanced settings window Adding Effects to a Channel Strip You can add effects turn effects off and on and reorder effects in a channel strip Note Before adding an effect to a track its a good idea to solo the track so that you can hear how the effect changes its sound separate from the other tracks in the project To add an effect to a channel strip Control click an empty effects slot in the channel strip choose Add Effect from the shortcut menu then choose one of the available effects from the categories in the submenu AutoFilter Channel EQ Fat EQ High Cut High Pass Filter k High Shelving EQ Linear Phase EQ Low Cut Low Pass Filter Low Shelving EQ Match EQ Parametric EQ Soundtrack Autofilter jy 4 b H Dynamics gt
241. nsure that hardware monitoring on your recording device is turned off You may also need to reduce input or output volumes of your devices in order to avoid feedback Click the Record button and let the loop play for a few seconds Then click Stop Appendix D Solutions to Common Problems and Customer Support 8 10 Visually compare the original track and the newly recorded track Zoom in to identify a place where the tracks have identical waveforms but are not lined up Set the playhead at the corresponding identical points on the two waveforms and subtract the two Beats field values This is the latency in milliseconds If the recorded audio is late to the right you enter a positive value if it s early to the left you enter a negative value For example if the location in beats of the selected point in the source loop is 1 2 002 and the location in beats of the corresponding point in the recording is 1 2 008 the latency is 6 milliseconds Enter the latency value in the Recording Preferences pane Mute the recorded track and test record the loop again to make sure the latency is eliminated Calling AppleCare Support Included in your Soundtrack Pro package is documentation about the support options available from Apple Several levels of support are available depending on your needs Whatever your issue it s a good idea to have the following information immediately available The more of this information you have ready t
242. nt to watch the level meters and set the input level to assure a high enough signal level and to avoid clipping Recording a Single Take You record a single take by setting the playhead to the point where you want recording to start then clicking the Record button Recording starts at the playhead position and ends when you click either the Record or Play button To record a single take If you want to record to an existing track enable the track Set the playhead to the point where you want recording to start You can set the playhead using any of the procedures described in Setting the Playhead on page 51 Click the Record button in the transport controls to start recording As you record the level meters in the Recording tab show the levels of the input signal being recorded If the input signal clips rises above 0 dB the peak indicator lights red To stop recording do one of the following e Click the Record button again e Click the Play button You can punch in and punch out while recording a single take using the Record button For example you can start the project playing then punch in at the point where you want to start recording by clicking the Record button To punch out click the Record button again When you click the Record button while recording recording stops but the project continues playing You can punch in and punch out multiple times while the project is playing When you click the Play butto
243. nu To delete a saved layout Choose Window gt Manage Layouts In the Manage Layouts dialog select the layout you want to delete Click the minus button to delete the layout then click Done Use the current window layout as a basis to create a new layout GC Layouts Editor layout Mixer layout Small screen Timeline layout Basic Cane Chapter 3 Getting Started With Soundtrack Pro Customizing the Toolbar The Toolbar at the top of the Project window contains buttons for frequently used commands You can customize the Toolbar adding buttons for the actions you use most often and can return to the default set later AAA Untitled E t i y y r weg O m E New Project New Audio File New Track Add Time Marker Add Beat Marker Fitin Window Crossfade Fadein Fade Out Inspectors Mixer Layouts The default set of Toolbar buttons includes buttons for creating new projects opening project windows and tabs adding markers and other common commands You can customize the Toolbar with additional buttons for adding fade ins and fade outs processing an audio file playing the current project through a video output device and other commands You can also hide the Toolbar to maximize available screen space You customize the Toolbar by dragging items from the Customize sheet to the Toolbar To show the Customize sheet do one of the following Choose View gt Customize Toolbar
244. o Timecode You can add a time marker at a specific timecode position in a video clip and align audio clips with the time marker or with a Final Cut Pro scoring marker To add a time marker at a specific timecode position in a video clip do one of the following Type the timecode position where you want to add the marker in the Time display press Return then choose Mark gt Insert Time Marker or press M Add a time marker Control click the marker s handle then type the timecode position in the Edit dialog Make the Details tab active add a time marker select the marker handle then enter a new position in the Position value slider in the Details tab In order to add a marker at a specific timecode position the Time ruler units must be set to the timecode format of the video in your project Chapter 8 Working With Video in Soundtrack Pro 191 To align an audio clip with a marker Make sure that snap is turned on and that Markers is selected in the View gt Snap to menu then drag the clip to the position of the marker in the Timeline With Markers selected you can align a clip with a marker Scoring a Marker to the Playhead For tracks set to Beats based time format you can score a time marker or Final Cut Pro scoring marker to the playhead so that you can synchronize the audio with the video Scoring a marker to the playhead adjusts the tempo so that the required number of beats exactly fills the amount o
245. o clip in the project You can move and resize the video s audio split and join it or open it in the Waveform Editor for processing or analysis You can also change the name or icon of the track containing the video s audio and use the controls in the track header to adjust volume and pan mute or solo the track change the time format or enable the track for recording You can adjust the video s The video s audio using the controls in the audio track track s header If you remove the video from the project the audio clip of the video s audio is not deleted but remains in the project You can delete the clip separately if you want to remove it Chapter 8 Working With Video in Soundtrack Pro 189 190 Using the Time Display and Time Ruler With Video When you import a video file into a Soundtrack Pro project the Time display and Time ruler adjust to show the timecode format of the video The Time display and Time ruler can display time in seconds frames drop frames or non drop frames You can choose the format for timecode display and can set the video frame rate for projects not containing a video file You can also set the default frame rate for new projects in the Project Preferences pane To choose the units shown in the Time display and Time ruler Choose View gt Time Ruler Units then choose a time format from the submenu To choose the video frame rate for projects not containing a video file Choose View gt Time R
246. o give to the support agents the faster they will be able to address your issue The registration number that came with Soundtrack Pro This number is different from the software serial number that is used to activate your copy of Soundtrack Pro Which version of Mac OS X you have installed This information is available by choosing About This Mac from the Apple menu The version of Soundtrack Pro you have installed including updates if applicable The version number can be viewed by choosing Soundtrack Pro gt About Soundtrack Pro The model of computer you are using How much RAM is installed in your computer and how much is available to Soundtrack Pro You can find out how much RAM is installed by choosing About This Mac from the Apple menu in the Finder What other third party hardware is connected to or installed in the computer and who are the manufacturers Include hard disks video cards and so on Any third party plug ins or other software installed along with Soundtrack Pro AppleCare Support can be reached online at http www apple com support soundtrackpro Appendix D Solutions to Common Problems and Customer Support 295 Index 1 3 Octave Analyzer 205 4 pin connectors 16 6 pin connectors 16 A AAC files 56 144 ACID music application 263 Action Insert bar 32 173 actions applying 171 bouncing realtime effects 170 comparing 175 deleting 176 described 31 46 170 editing 172 file length and 176 fla
247. o the selected location If the folder already contains any of the media files an alert appears asking if you want to replace the existing files Note Because video files are typically very large files saving a copy of the video file may take several minutes and may require a large amount of disk space You can also save a compressed version of the project When you save a project compressed the data used to draw the audio waveforms in the Timeline is not saved This reduces the size of the project but means that the waveforms must be redrawn each time the project is opened To save a project compressed In the Save dialog select the Save Compressed checkbox Adding Audio Files to a Multitrack Project Once you ve located and previewed an audio file you want to add you drag the file to the Timeline to add it to the project When you drag an audio file to the Timeline Soundtrack Pro creates an audio clip from the audio file and adds the clip to the project An audio clip does not contain the actual audio data instead it contains a reference to the file stored on disk Editing an audio clip in the Timeline does not change the source audio file Each audio clip has a playback mode For untagged files and files tagged as non looping files the clip playback mode is non looping For files tagged as looping files the clip playback mode is looping If the playback mode of a clip is looping the clip appears with notched edges to indicat
248. o the selection When you choose an item from the Process menu the item appears as an action in the Actions list The Process menu contains the following items Effects Submenu The Effects submenu contains an extensive set of professional audio effects you can apply to an audio file or a selection The audio effects in the Effects submenu are the same as the realtime effects you can apply to tracks busses and outputs in the Timeline For information about individual effects in the Effects submenu see Audio Effects Included With Soundtrack Pro on page 196 The effects included with Soundtrack Pro are categorized by type in the Effects submenu Below these effect categories is a submenu for Mac OS effects If you have installed third party Audio Units effects on your computer additional submenus for the third party effects appear at the bottom of the Effects submenu When you apply a processing effect from the Effects submenu the floating advanced settings window for the effect appears The advanced settings window contains controls for previewing the effect in the Waveform Editor bypassing applying or canceling the effect resetting effect parameters and applying effect presets onn Scene 1 Debra dialog stap Track Parametric EQ Audio Unit Parametric EQ Manufacturer Emagic Parameters Gain dB 0 0 pn 72 0 36 0 dB Frequency Hz OQ 119 67 Q Factor 0 0 pn 30 0 13 0 t Show Hide Presets button Pla
249. oard shortcuts 279 280 saving 48 Level Meter 204 level meters channel strips 133 138 Meters tab 42 Mixer 30 Recording tab 41 Timeline 27 Waveform Editor 32 LFO low frequency oscillator 201 202 203 limiters 198 linear scale showing frequency spectrum on 152 location buttons 139 Location display 42 logarithmic scale showing frequency spectrum on 152 Logic Control protocol 19 loop extension 81 Looping button 239 looping files 57 114 117 239 looping playback 87 98 99 looping playback mode 87 low frequency oscillator LFO 201 202 203 lowpass filters 200 M m2v files 183 Mackie Control protocol 19 Mac OS version of 295 Magnify button 33 manual 10 markers aligning audio clips to Timeline with 191 beat 120 122 deleting 122 303 Final Cut Pro 191 193 information about 44 inserting 120 keyboard shortcuts 284 naming 121 scoring 190 193 time 120 122 190 191 types of 120 uses for 119 using in Waveform Editor 181 using with video 190 193 working with 119 122 marker titles viewing 121 MAS plug in 14 master envelopes 28 219 220 221 Master Envelopes button 28 mastering process 141 master Timeslice 230 231 master volume slider 24 Matches list 36 37 60 62 Measure in pop up menu 43 44 measures 82 84 98 Media and Effects Manager 33 39 adding audio files from 88 described 23 locating files in 56 67 previewing files in 68 69 viewing audio file information in 70 71 media files reconnecting 74 saving
250. ocation display shows the location in the Timeline where the peak occurs Go to Peak Buttons The Go to Peak buttons move the playhead to the point in the Timeline where the highest level for each channel is reached This makes it easy to find the point in the project where clipping occurs and should be removed Reset Button The Reset button located in the upper right corner of the Meters tab display resets the Peak Value to a minimum value 96 dB and resets the Peak Location to the beginning of the project To reset the Peak Value and Peak Location displays Click the Reset button The steps you take to remove clipping depend on the cause of the clipping You can lower the master volume of a project by the amount the highest point in the project as shown in the Value display exceeds 0 dB You can also use the Go buttons to locate where clipping occurs and use a different audio clip or lower the volume of individual tracks until clipping no longer occurs Sometimes removing or adjusting effects can remove occurrences of clipping as well Chapter 6 Working in the Mixer 139 140 Listening to a Temporary Mono Mix In some situations even where the final mix is stereo you may want to listen to the mix in mono as well as stereo If the final project is likely to be viewed using equipment with mono audio output for example many television sets have mono output you may want to make sure the mix is suitable for mono output Listening to
251. oject Window The Project window is the canvas where you work on your projects For multitrack projects the Timeline is where you arrange and edit audio clips For audio file projects the Waveform Editor is where you edit audio files Tabs Mono Mix button Master volume slider Playhead Position Selection Length value slider controls value slider e Toolbar Includes tools for common functions You can customize which tools appear in the Toolbar e Tabs You can switch between any projects open in the Timeline or Waveform Editor Transport controls Control playback and the position of the playhead and turn recording on or off For more information see Transport Controls on page 25 Master volume slider Adjusts the overall volume when you play the project The volume level defaults to 0 dB when you create a project Adjusting the master volume slider does not affect export volume e Mono Mix button Click to listen to a temporary mono mix of the project Playhead Position value slider Displays the current playhead position You can move the playhead by clicking the arrows dragging or typing a value Selection Length value slider Displays the length of the current Timeslice in the Timeline or selection in the Waveform Editor You can change the Timeslice or selection length by clicking the arrows dragging or typing a value Chapter 2 The Soundtrack Pro Interface Toolbar
252. oject as a standard audio file In this case the edits you have made are rendered into the audio file and cannot be changed or undone the next time you open the audio file in the Waveform Editor To save a project as an audio file project Choose File gt Save In the Save dialog type a name for the file and browse to the location where you want to save it Choose the file type for the project from the File Type pop up menu The available choices in the Save dialog change depending on whether you choose Audio File Project or an audio file format as the file type Optionally select the Flatten checkbox to flatten the project Flattening a project flattens or coalesces the actions in the project reducing project complexity and file size Once you flatten a project you can no longer edit existing action settings Optionally select the Render checkbox to create a render file in the project If you are working with a clip sent from Final Cut Pro be sure this checkbox is selected Click Save Save As Scene 1 Debra dialog stap_ J 4 m Dialog clips oq A iDisk network 1 Macintosh HD SE Desktop 4 an A Applications I 3 Documents ea Movies 6 Music Pictures g j Wene ii File Type Audio File Project Bit Depth 1 eger 3 Sample Rate 44100 He f Dither Fl Render Flatten FM Collect Source File C Hide extension Cae Chapter 7 Working in the Waveform Editor For
253. oll wheel move the scroll wheel By default when you zoom in or zoom out using the scroll wheel the playhead remains in the same position on your screen and the Timeline zooms in or out on both sides of the playhead You can change the default scrollwheel behavior in the General Preferences pane To fit the project in the visible area of the Timeline Choose View gt Fit in Window or press Shift Z Chapter 5 Working in the Timeline Setting Track Height You set the height of tracks busses and outputs in the Timeline using the Track Height control The Track Height control has four settings The smallest rectangle sets the track height to a minimized setting with each track and track header reduced to half height allowing more tracks to be displayed in the Timeline To set the height of tracks busses and outputs Click one of the four rectangles on the Track Height control Reduced track height Large track height Using the Global Timeline View The Global Timeline view located above the Time display and Time ruler shows a miniature view of the entire project The playhead appears as a black vertical line with a triangular handle The part of the project currently visible in the Timeline is indicated by a blue rectangle in the Global Timeline view To move to a new area of the Timeline using the Global Timeline view Drag the visible area rectangle to a new position Drag this re
254. olume fader and add an EQ effect that brings out the actor s voice in the mix You could then send route the bus to a particular output You route audio from a track to a bus by adding a send to the track in the Effects tab or in the Mixer When you add a send the send is assigned to a bus You can change the bus to which a send is assigned and can adjust the volume and pan for the send Outputs Outputs let you route the audio from tracks and busses to physical outputs If you are using external audio hardware that supports multiple physical outputs you can add outputs to a project and choose the physical output to which each Mixer output sends its audio You can also send audio from multiple tracks or busses to a single output control volume and pan for all the tracks using the output s controls and add effects to the output For example you could have a bus with the dialogue tracks for each actor and route all the dialogue busses to a single output You could route all sound effects tracks to another output and adjust the volume or add effects to each output For a final stereo mix you could route both outputs to the same pair of physical output channels channels 1 and 2 for example Chapter 4 Working With Multitrack Projects 91 92 Each output has a drag handle a name an icon and a set of controls that appear in the output s header in the Timeline and in its channel strip in the Mixer Output controls include a volu
255. omate an effect parameter with units of time seconds or milliseconds or beats per minute BPM for values the parameter is linked to the project tempo If the tempo changes the value of the parameter changes to keep the same relationship to the new tempo Resetting Realtime Effects to Their Default Settings Every realtime effect has default parameter settings that are displayed in the Effect Parameters area when you first add the effect You can reset an effect to its default parameter settings or reset an individual parameter to its default setting To reset a realtime effect to its default settings In the Effects tab select the effect name in the Effect Parameters area then click the Reset button To reset an individual effect parameter to its default settings Select the parameter in the Effect Parameters area to select the parameter then click the Reset button Removing Realtime Effects You can remove a realtime effect from an effects chain To remove an effect Select the effect name in the Effect Parameters area then click the Remove Effect button on the right edge of the Effects tab or press the Delete key Chapter 9 Working With Audio Effects Advanced Settings for Realtime Effects Many realtime effects have an advanced settings window The advanced settings window appears as a floating window with related controls grouped together and may provide an appearance that simulates a hardware effects device Effects with an
256. on is labeled for quick visual recognition For information on setting the project time format see Setting Project Properties on page 82 To set the playhead using the Time display Select either the Time or Beats position in the Time display then enter a new position You can select the entire position or part of the position TME 00 04 96 Enter a time position in the Time area BEATS 3 2 92 1 i Enter a beat position in the Beats area am Entering Time Based Units When you set the playhead by entering a Time based position in the Time display you don t need to enter all of the punctuation Soundtrack Pro automatically adds the correct punctuation for the format of the Time display For example e If you enter 01234321 and the Time ruler units are set to seconds Soundtrack Pro interprets it as 01 23 43 21 This stands for 1 hour 23 minutes 43 seconds and 21 100 of a second If you enter a partial number Soundtrack Pro formats it with the rightmost pair of numbers as fractions of a second or frames if a timecode format is selected and with each successive pair of numbers to the left as seconds minutes and hours Numbers omitted from a complete time position are interpreted as zeros For best results always enter delimiters to separate each division of time Chapter 3 Getting Started With Soundtrack Pro For example e If you enter 01 23 and the Time ruler units are set to seconds Soundtrack Pro
257. on of denoising to the neighboring frequencies When the Denoiser recognizes that only noise is present ina certain frequency band the higher the Frequency Smoothing parameter is set the more it will also change the neighboring frequency bands to avoid glass noise By adjusting the Time smoothing slider you can set the amount of time the Denoiser takes to reach maximum noise reduction By adjusting the Level smoothing slider you can set a factor for a smoother transition between adjacent volume levels When the Denoiser recognizes that only noise is present in a certain volume range the higher the Transition smoothing parameter is set the more it will also change similar level values to avoid glass noise Chapter 9 Working With Audio Effects Stereo Spread The Stereo Spread plug in is a useful effect for sound design or audio clean up It enhances the perception of stereo by extending the stereo base Some stereo enhancing algorithms function by changing the phase of the signal which can distort your mix and produce unpredictable results Instead the Stereo Spread plug in extends the stereo base by distributing a selectable number of bands in the middle frequency range alternately left and right This increases the perception of stereo without causing unnatural sounding distortion of the mix The main parameters of the Stereo Spread plug in are Order Upper Intensity Upper Int and Lower Intensity Lower Int The Order parameter determ
258. on you want to edit then choose Edit Settings For action name from the Actions pop up menu In the Actions list Control click the action you want to edit then choose Edit Settings For action name from the shortcut menu Double click the action in the Actions list If the action has no editable settings the Edit Settings menu item appears dimmed Turning Actions On and Off You can turn individual actions on and off in the Actions list and hear the result when you play the audio file The waveform display updates to show the change to the audio file Depending on the length of the file turning actions on and off can take time To turn an action off In the Actions list deselect the checkbox next to the action name To turn an action on In the Actions list select the checkbox next to the action name Reordering Actions You can reorder actions after applying them to an audio file The order in which effects and other actions occur can drastically change the resulting sound of the audio file Depending on the length of the file reordering actions can take time To reorder actions In the Actions list drag the actions you want to reorder up or down to new positions You hear the change when you play the audio file The waveform display updates to show the change to the audio file Chapter 7 Working in the Waveform Editor Using the Action Insert Bar The Action Insert bar appears as a purple bar along the left side
259. onal Applications To create a multitrack project from a group of clips or a sequence Do one of the following e Select the clips in the Final Cut Pro Timeline Control click one of the clips then choose Send To gt Soundtrack Pro Multitrack Project from the shortcut menu e Control click a sequence in the Bin then choose Send To gt Soundtrack Pro Multitrack Project from the shortcut menu Anew multitrack project is created for the clips or sequence and a Save As dialog appears If you selected a group of clips a sequence for the selected clips is created in Final Cut Pro In the Save As dialog type a name for the multitrack project and browse to a location to save the project If you want to open the project in the Soundtrack Pro Timeline select the Open in Multitrack Editor checkbox If you want to include the video from the region of the Final Cut Pro Timeline where you selected the clips select the Include Background Video checkbox Click Save If you selected the Open in Multitrack Editor checkbox the new multitrack project containing the clips opens in the Soundtrack Pro Timeline If you selected the Include Background Video checkbox the video appears in the Video tab and a video clip appears in the video track You can arrange and edit the clips in the Timeline and mix the project in the Mixer For information about working in the Timeline see Chapter 5 Working in the Timeline on page 93 For information
260. ope point 1 With the Details tab active select the envelope point to which you want to copy the value 2 In the Details tab click Copy From Next Point Nudging Envelope Points There are several ways in which you can nudge envelope points using the arrow keys Hold down the Option key and press the Left or Right Arrow key to move the envelope point by one pixel Hold down the Option and Shift keys and press the Left or Right Arrow key to move the envelope point to the previous or next gridline Hold down the Option key and press the Up or Down Arrow key to move the envelope point up or down by one pixel Hold down the Option and Shift keys and press the Up or Down Arrow key to move the envelope point up or down by five pixels Cutting Copying and Pasting Envelope Points You can cut and copy selected envelope points and paste them at a different position in the automation row To cut envelope points Select the envelope point then choose Edit gt Cut or press Command x To copy envelope points Select the envelope points then choose Edit gt Copy or press Command C Chapter 10 Working With Automation 225 226 To paste envelope points Set the playhead to the point where you want to paste the envelope points then choose Edit gt Paste or press Command V When you paste envelope points into an automation row the new envelope points replace any existing envelope points and the automation takes the shape o
261. or levels while mixing e Mix by what you hear not what you see Chapter 6 Working in the Mixer 141 Working in the Waveform Editor 7 You can edit audio files nondestructively in the Waveform Editor and analyze and fix common audio problems The Soundtrack Pro Waveform Editor gives you extensive audio file editing capabilities You can open an audio file in the Waveform Editor view it in Waveform or Spectrum view process the file using actions analyze it for common audio problems fix analyzed problems individually or together then save the edited file as an audio file project or as a standard audio file The Waveform Editor includes a set of graphical waveform editing tools a Time display a Global Waveform view an Actions list and a waveform display ci TE PON B amp O m amp ea ict New Audo es Tn AMA Time Marker AMA Besi arhar FtinWndow Cine fade Fade Out Inspecrs Me Layouts Eiscene 1 Debra dialog PEN Tela aed 2 ae em PEEGRRE REE GEES 5m 143 Getting Started With Audio File Projects You can create audio file projects open audio files in the Waveform Editor create a new audio file and save an audio file as an audio file project Supported Audio File Formats You can open the audio files in the following formats in the Waveform Editor Audio file project e AIFF e
262. ording Sensitivity slider to adjust the amount of thinning When the slider is set to High no thinning occurs The envelope contains every movement of the control Dragging the slider to any position other than High results in some thinning of envelope points By default the slider is set to a moderate amount of thinning For more information about Soundtrack Pro project preferences see Project Preferences on page 76 Working With Timeslices Timeslices let you select the contents of a track or of multiple tracks and the track s envelopes for a section of time When you select a Timeslice the Timeslice selection area is highlighted in blue Selecting Timeslices To select a Timeslice from a single track Drag in the selection bar along the top of the track Drag in the selection bar to create a Timeslice The selection snaps to the nearest Snap To position if snap is turned on For information about setting the Snap To value see Using Snap on page 72 Chapter 10 Working With Automation 229 To select a Timeslice from multiple tracks 1 Click in the selection bar of the topmost track you want to include in the Timeslice at one end of the area you want to select Click in the selection bar of the topmost track you want to include in the Timeslice 2 Shift click in the selection bar of the bottom track you want to include in the Timeslice at the opposite end of the area you want to
263. orm Editor 157 DC offset 178 digital 14 effects See effects fading in out 162 gain 162 205 297 298 inserting noise in 164 inserting waveforms in 165 normalizing 162 overloaded signal 178 pasting in Waveform Editor 158 phase issues 178 pops 178 power line hum 178 recording See recording audio reducing noise in 168 169 silence in 163 164 silence threshold 178 temporary mono mix 140 in video clips 189 volume See volume audio analysis tools 177 180 audio cables 17 18 audio clips aligning with markers 191 changing offset of 116 117 copying 108 crossfades between 111 112 cutting 108 described 87 duration of 110 111 editing 107 119 joining 114 keyboard shortcuts 281 282 moving 109 110 name of 90 overlapped 113 pasting 108 109 playback mode 117 properties 89 90 redoing changes 71 removing 108 119 replacing source audio in 117 119 resizing 110 111 saving recorded clips 239 selecting 107 snapping 72 73 110 splitting 113 114 transposing 115 116 truncating 113 undoing changes 71 zooming in out 95 96 audio connectors 16 17 18 audio effects See effects audio equipment connecting 15 19 audio file project format 144 audio file projects See also projects closing 145 creating 145 editing in Waveform Editor 154 160 exporting See exporting items Index getting started with 144 152 importing video into 183 184 opening in Waveform Editor 144 145 overview 8 46 playing 50 56 152 processing in W
264. orm display for easy viewing e Advanced mixing capabilities You can mix multitrack projects in the Mixer which displays a virtual mixing console for a project Using the channel strips in the Mixer you can adjust levels mute and solo tracks and add realtime effects You can create submixes using busses and send audio to multiple physical outputs using outputs e Add professional quality effects Soundtrack Pro includes high quality effects plug ins from the Logic Pro effects library that you can use in your projects including the Space Designer convolution reverb You can also install third party effects in the Audio Units plug in format e Record and edit automation You can record movements to sliders and other onscreen controls play back the automation and edit it in the Timeline e Support for control surfaces In addition to recording movements of onscreen controls you can connect a supported control surface and record automation of control surface movements Preface An Introduction to Soundtrack Pro Synchronized video display You can add a video to a project and view it in the Video tab or display the video on an external video monitor Audio video synchronization is accurate both onscreen and on the external monitor up to HD resolutions You can accurately place audio clips to sync with specific frames or points in time in the video Audio recording capability You can record audio directly in tracks in the Soundtrack Pro Ti
265. ou can set up the Soundtrack Pro workspace to suit your display size and workflow whichever type of project you are creating You can arrange windows reorder and detach tabs in the Utility window and the Media and Effects Manager and add and reorder buttons in the Toolbar You can create layouts for different tasks and switch between them Basic Window Controls You can move resize or minimize a project s windows Most windows feature tabs which give you flexibility in arranging the visual elements of a project To move a window Drag the window by its title bar to a new location To resize a window do one of the following Drag the Size control in the lower right corner of the window until the window is the desired size Hold the pointer near the edge of a window until it becomes a Resize Window pointer then drag the window edge left or right to resize adjacent windows together To minimize a window to the Dock Click the minimize button in the window s title bar To close a window Click the window s close button or press Command W with the window active Using Tabs Soundtrack Pro uses tabbed windows so you can quickly access different project views and controls You can switch between projects and between different controls in the Media and Effects Manager and the Utility window Clicking the tab you want makes it active and brings it to the front You can reorder the tabs in a window to easily access the tabs you use f
266. ounds echo off the surfaces of the space the floor walls and ceiling over and over gradually dying out until they become inaudible Reverb effects consist of thousands of delays of varying lengths and intensities that simulate these natural echoes Reverb helps define the sense of space in which sounds take place and can be used to simulate both realistic and fantastic acoustic environments The first form of reverb actually used a room with hard surfaces called an echo chamber to add echoes to the signal Mechanical devices including plates and springs were also used to add reverberation to the output of instruments and microphones Digital sound recording has made it possible to use digital reverbs which use complex algorithms sets of equations to simulate various acoustic environments with greater accuracy and flexibility Simple reverb effects provide parameters for the decay time or reverb time which let you set how long the reverb lasts before dying away and the mix or level which you use to set the ratio of the effected signal called the wet signal to the original the dry signal More sophisticated reverbs can include the following parameters e Room type Lets you set the type of space the reverb will simulate a small or large room a hall or another type of acoustic space e Predelay time In an acoustic space there is a short period of silence between a sound and the time when the initial echoes of the reverb begin
267. our computer For more information about working with automation see Chapter 10 Working With Automation on page 219 Chapter 6 Working in the Mixer Creating Multiple Mixes You might want to create multiple mixes of a project for one of the following reasons To optimize the project for different playback situations e To try out different settings of the various track and master controls using the same arrangement To try out changes to the arrangement using the same basic material You can easily create multiple mixes by giving the project a slightly different name when you save each mix or by using different combinations of tracks busses and outputs for each mix If you are saving the project and its media files together the different versions can be saved to the same location if they all use the same media files For information about saving projects and their media files together see Saving Multitrack Projects on page 86 Things to Keep in Mind While Mixing The following are intended as guidelines or suggestions to follow when mixing your projects not as hard and fast instructions e Consider the importance of each element in the overall mix e Keep related tracks close together in the Timeline and the Mixer e Don t create a final mix until the picture is locked e Listen to the mix with the best possible equipment e Listen to the mix as the audience will hear it Don t change output monit
268. ower the threshold or right to raise the threshold You can also type a value in the Threshold field Reading Analysis Results When you analyze an audio file the problems detected through analysis are shown in the Results list For each item the following information appears in the Results list D aa Scene 1 Debra dialog stap B A fi y Y GB F 8 amp m amp Mixer New Project New Audio File New Track Add Time Marker Add Best Marker Fitin Window Crovafade fadein Fade Out Inspectors Ha d LASALLS Not Fixed Click Pop 566 021 Not Fixed Click Pop 616 008 Not Fixed Click Pop 675 0 02 0204 B B Cerearriea CJ Can C jA QOH AMO e Status Shows whether the problem is fixed or not fixed e Problem Shows the analysis type to which the problem belongs e Start Shows the point at which the problem begins e Length Shows the duration of the problem e Channels Shows whether the problem occurs in the left channel L the right channel R or both channels LR of a stereo audio file You can select items in the Results list When you select an item in the Results list the part of the audio file to which the problem applies becomes red in the waveform display making it easy to see where in the audio file the problem occurs If you select multiple items the parts of the audio file to whi
269. p up menu Choose menu items to remove a Favorite add a file to the Bin open a file in the Waveform Editor and perform other functions 35 36 buttons Keywords list Time Signature pop up menu Search Text field 7 8 Search Results list Preview controls J A o 1193 items gt Search Tab The Search tab lets you locate audio files using a variety of criteria You can perform text searches and search for Apple Loops and other tagged file formats using keywords for instrument genre mood descriptors and other categories Matching files are displayed in the Search Results list Once you locate the files you want to use you can preview them in the Search Results list or drag them to the Timeline Category pop up menu Matches i Acoustic 1017 Acoustic Bass 5 Acoustic Guitar 18 Bass 160 Cheerful 68 Clave 1 Conga 19 H p 12 8 Afro C ga 02 aif 107 Non Non 12 8 Afro C ga 03 aif 107 Non 12 8 Afro C ga O4 aif 107 Non Non Non A A A 12 8 Afro C ga OS aif 107 12 8 Afro C ga 06 aif 107 12 8 Electr gio 04 aif 90 12 8 Electr gio OS aif 90 12 8 Electr gio 10 aif 90 12 8 Jazzy set Olaif 152 Non 12 8 Jazzy set 03 aif 152 Non 12 8 Jazzy set O4 aif 152 Non o wowa anaana alan a SISISISISISSISISSS 4 i Setup button Matches list
270. phone converts the diaphragm s motion into an electric signal The compressed parts of the sound wave are recorded as positive electrical voltages and the rarefied parts of the wave are recorded as negative voltages The voltage of the recorded signal is an analog of the wave s frequencies and their relative amplitudes at any point in time Time Analog recording technology was originally developed using mechanical means to etch the sound signal directly onto wax cylinders or lacquer disks Its simplicity and the rapid development of electronics during the twentieth century led to its widespread use for recording music and for adding sound to motion pictures However analog audio recording is subject to several problems in achieving high fidelity reproduction of sound These include noise distortion and loss of quality each time the audio signal is copied or reproduced Digital Recording When a sound is digitally recorded the sound waves are recorded as a series of samples onto a hard disk or other digital storage medium A sample stores the voltages corresponding to the wave s frequencies and their relative amplitudes as a series of binary numbers or bits Each sample is like a snapshot of the sound at a particular instant in time Time Appendix C Audio Basics Digital recording technology offers several advantages over a
271. playhead right later in time in increments To change the playhead position by dragging Click in the center area of the value slider where the numbers are then drag left to move the playhead left earlier in time or drag right to move it right later in time For projects set to Time based time format the Decrement and Increment arrows move the playhead in seconds For projects using Beats based time format the arrows move the playhead in beats Scrubbing a Project You can scrub a multitrack project in the Timeline or scrub an audio file project in the Waveform Editor Scrubbing the project lets you hear the audio at the playhead position as you drag the playhead so you can find a particular sound or event in the audio file To scrub a project In the Timeline or the Waveform Editor drag the playhead left or right at the speed you want to scrub the audio file You can also scrub a selection in the Waveform Editor which is useful for determining where you want the selection to end To scrub a selection in the Waveform Editor Hold down the Control key as you select part of an audio file As you drag you hear the selection Chapter 3 Getting Started With Soundtrack Pro Controlling Playback With the Transport Controls You use the transport controls to control playback of your project The transport controls let you set the playhead to various points in time start and stop playback activate the playback region and start
272. ppears darker than unselected clips To select an audio clip Click the clip in the Timeline To select multiple audio clips in the same track do one of the following Command click the clips in the Timeline Drag from a point in the track before the first clip you want to select to a point after the last clip you want to select encompassing the clips If the clips are adjacent Shift click the clips in the Timeline To select multiple audio clips in different tracks Shift click or Command click the clips in the Timeline To select all clips using the same source audio file do one of the following Select the clip in the Timeline or the Bin tab then choose Clip gt Select All Occurrences of filename Control click the source audio file in the Bin tab then choose Select All Occurrences of filename from the shortcut menu IEEE li li H If iot Transpose gt Clip Speed gt Take gt Convert to Looping Reveal In Browser Reveal In Finder lt Add to Favorites Open in Apple Loops Utility Open in Editor Open as Project Show File Information l j b enea aF talk e Reconnect x Save Clip As Delete Duplicate G Split Chapter 5 Working in the Timeline 107 108 Cutting Copying and Pasting Audio Clips You can cut copy and paste audio clips in the Timeline You can also paste multiple copies of a clip To cut an audio clip Select the clip in the Timeline the
273. properties for new projects in the Project pane of the Preferences window For information on setting preferences see Setting Soundtrack Pro Preferences on page 75 Time Format Each multitrack project has a project time format which can be either Time based or Beats based format Setting the time format controls the appearance of the Time display Time ruler Timeline gridlines and available Snap To values For projects set to Time based format time is displayed using the Time ruler units chosen in the View menu For projects set to Beats based format the time is displayed in measures beats and beat divisions The default format is Time based Setting the format to Time based lets you align clips and other items in the Timeline with specific points in time for example specific frames in a video file Setting the format to Beats based lets you align items in the Timeline with measures beats and other musical units of time regardless of tempo You can switch between Time based and Beats based format while working on a project Chapter 4 Working With Multitrack Projects To set the time format Click the Time Format button to set the format to Time based or click the Beats Format button to set the format to Beats based Time based Format button 3 ae 5 Beats based button You can also set individual tracks to use a different time format than the project s time format For information on setting a track s time format
274. r set OLaif 6 8 Jazzy Dr set O2 aif P 6 8 Jazzy Dr_ set 04 aif J 6 8 Jazzy Fill 03 aif SBS IP Bebop Drumset 02 aif Bebop Drumset 03 aif Bebop Drumset 05 aif Bebop Drumset 06 aif J Bebop Drumset 08 aif P Bebop Drumset 09 aif Bebop Drumset 10 aif TESE 2 Bebop Drumsetorait 135 152 Non 4 in La 152 Non 4 152 Non 4 L 152 Non 4 135 Non 16 135 Non 16 135 Non 16 Play button 4 al 66 items gt Mute button sine slider Media pop up menu e Play button Starts playback of the preview file If the file is playing stops playback e Mute button Mutes playback of the preview file without stopping project playback Clicking the button again unmutes the preview file Volume slider Sets the playback volume of the preview file Media pop up menu Choose whether to add the file to Favorites open it in the Waveform Editor or Apple Loops Utility or reveal it in the Finder To preview an audio file with a project 1 Click the Play button in the transport controls to play the project 2 When the project reaches the point in time where you want to hear the preview file select the file in the Media and Effects Manager To preview a file without the project solo 1 If the project is playing click the Stop button in the transport controls to stop playback of the project 2 Select the file in the Media and Effects Manager to prev
275. r and see the waveform under the selection change When you apply an action that changes the file s length any existing selections apply to the same range of time but the audio occupying that range of time may be different than when you applied the action For example if you select a range of time beginning five seconds after the start of an audio file then insert one second of silence at the beginning of the file the selection still begins five seconds after the start of the file but the audio at the beginning of the selection corresponds to what was previously four seconds after the start of the file If a project includes an action that increases the file s length and you turn off or reorder that action any selection that includes audio added by the length changing action may extend past the end of the shortened file In this case the selection applies to the remaining audio in the selected range of time but has no effect past the end of the file For example if you have a five second project that includes a one second Insert Silence action at the beginning of the project and you select the last half second of the project then turn off the Insert Silence action the selection applies to the last half second of the project However the remaining half second of the selection is empty Chapter 7 Working in the Waveform Editor Analyzing an Audio File Soundtrack Pro includes a set of audio analysis tools You can analyze an audio fi
276. r sound effects should be used as non looping files in most cases When you add an audio file to the Timeline the audio file is added as a clip with non looping playback mode unless the audio file is tagged as a looping file You can change the playback mode of a clip after you add it to the Timeline To convert the playback mode to looping do one of the following Select the clip then choose Clip gt Convert to Looping Control click the clip in the Timeline then choose Convert to Looping from the shortcut menu To convert the playback mode to non looping do one of the following Select the clip then choose Clip gt Convert to Non Looping Control click the clip in the Timeline then choose Convert to Non looping from the shortcut menu Replacing the Source Audio in a Clip Each audio clip in the Timeline has a set of properties specific to the clip including duration speed and transposition You can replace the source audio in the clip while preserving the clip s properties This feature has a variety of uses such as letting you try out similar audio files for example music beds or sound effects while maintaining the clip s duration position in the Timeline and transposition For information about properties of audio clips see Reconnecting Media Files on page 74 Chapter 5 Working in the Timeline 117 118 Select a clip 4 A Control click the audio file that will replace the original audio
277. r sources of support Preface An Introduction to Soundtrack Pro Soundtrack Pro Onscreen User Manual The Soundtrack Pro onscreen user manual allows you to access information directly onscreen while you re working in Soundtrack Pro To view this information choose Help gt Soundtrack Pro User Manual The Soundtrack Pro onscreen user manual is a fully hyperlinked version of the Soundtrack Pro User Manual enhanced with many features that make locating information quick and easy e The homepage provides quick access to various features including Late Breaking News the index and the Soundtrack Pro website e A comprehensive bookmark list allows you to quickly choose what you want to see and takes you there as soon as you click the link In addition to these navigational tools the Soundtrack Pro onscreen user manual gives you other means to locate information quickly All cross references in the text are linked You can click any cross reference and jump immediately to that location Then you can use the Preview Back button to return to where you were before you clicked the cross reference e The table of contents and index are also linked If you click an entry in either of these sections you jump directly to that section of the user manual e You can also use the Find dialog to search the text for specific words or a phrase Apple Websites There are a variety of Apple websites that you can visit to find additional information
278. raise the volume To compare the file with and without noise reduction Click the Bypass button to hear the file without noise reduction Click the button again to hear the file with noise reduction To hear only the noise to be removed Select the Noise Only checkbox To use a noise reduction preset In the Reduce Noise dialog click Show Presets The Presets drawer appears In the Presets drawer select a preset from either the Factory Presets or User Presets list Click Apply Chapter 7 Working in the Waveform Editor 169 170 Show Realtime Effects In addition to processing effects you can apply realtime effects to an audio file project The Show Realtime Effects command shows the Effects tab with any realtime effects applied to the current audio file project You can apply realtime effects to the project in the Effects tab and can automate realtime effect parameters in the Waveform Editor To show realtime effects for the current audio file project Choose Process gt Show Realtime Effects Bounce Realtime to Action Choosing this command bounces any realtime effects applied to the audio file project and the project s envelopes to an action in the Actions list letting you turn these effects and envelopes on or off and reorder them in the list To show realtime effects and envelopes to an action Choose Process gt Bounce Realtime to Action Once you bounce realtime effects and envelopes to an action the realt
279. reate crossfades between two audio clips in the Timeline Crossfades let you create smooth transitions between one audio clip and the next and avoid clicks or sudden changes in loudness that can result when placing audio files one after another To create a crossfade between audio clips you set the project to crossfade mode then drag an audio clip so that it overlaps another clip A crossfade is created for the length of the overlapped area Chapter 5 Working in the Timeline 111 112 To set the project to crossfade mode Click the Crossfade Mode button located above the Global Timeline view Crossfade Mode button Truncate Mode button ej In crossfade mode when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline a crossfade is created for the overlapped part of the two audio files You can adjust the boundaries of the crossfade in the Timeline To create a crossfade In the Timeline drag an audio clip so that it overlaps another audio clip The crossfade appears in the overlapped area of the two clips Crossfade You can adjust crossfades in several ways You can change the edges of the crossfaded clips or move the position of the crossfade without changing its length To adjust crossfade boundaries Move the pointer over the left or right edge of the crossfade The pointer becomes a crossfade pointer Drag the edge of the crossfade to adjust the crossfa
280. requently To reorder tabs Drag a tab left or right in the window s tab area AAA Favorites Browser Favorijgs arch Bin Effects e alt Favorites sg You can also detach a tab from its docked position in the Utility window or the Media and Effects Manager which creates a separate draggable resizeable window for the tab For example you can drag the Bin tab to a new location so that you can easily move items from the Browser tab to the Bin tab Chapter 3 Getting Started With Soundtrack Pro 47 To detach a tab from the Utility window or the Media and Effects Manager Drag the tab out of its docked position in the window to create a separate window for the tab To reattach a tab Drag the tab back to its original location at the top of its originating window Using Project Layouts Soundtrack Pro lets you save and recall preset window arrangements called layouts so that you can optimize your workspace for different tasks and different display sizes You can show hide and resize windows then save each window arrangement as a layout To save a project layout Arrange the application windows as you want them to appear Choose Window gt Save Layout In the Save dialog type a name for the layout then click Save The layout is saved and appears in the Layouts submenu To switch to a saved project layout Choose Window gt Layouts then choose the layout you want to use from the subme
281. responding envelope in the Timeline Connecting Control Surfaces Soundtrack Pro supports control surfaces that use the Mackie Control and Logic Control protocols to communicate with your computer In order to use a control surface you must first connect the control surface to a MIDI interface and connect the MIDI interface to your computer unless the control surface allows direct connection to the computer Before connecting a MIDI interface be sure your computer supports the MIDI interface you plan to use Read the installation instructions included with the MIDI interface and install the latest version of any appropriate firmware or driver software if needed For more information refer to the documentation that came with the control surface and with the MIDI interface 243 Adding and Deleting Control Surfaces When you have connected the MIDI interface to your computer and connected the control surface to the MIDI interface you add the control surface in Soundtrack Pro Control Surface Preferences To add a connected control surface 1 Choose Soundtrack Pro gt Preferences then click the Control Surfaces button 2 Click the Add button to add the control surface The visual representation of the control surface appears in the panel in the upper part of the window ana Control Surfaces mo e General Project Recording Synchronization Control Surfaces Video Out Summary Control
282. returns to the beginning of the playback region for the next take 5 To stop recording click the Play button When you record multiple takes the takes are recorded sequentially to an audio file in the recording location set in Recording Preferences The takes appear in a single clip in the Timeline The current take number appears in the lower right corner of the clip You can choose which take you hear when you play the project When you finish recording the current take number corresponds to the number of completed takes 238 Chapter 11 Recording Audio in Soundtrack Pro To choose a take do one of the following Select the clip choose Clip gt Recording Take then choose the take number from the submenu Control click the clip choose Take from the shortcut menu then choose the take number from the submenu Transpose Clip Speed Convert to Looping Reveal In Browser Reveal In Finder Add to Favorites Open in Apple Loops Utility Open in Editor Open as Project Show File Information Select All Occurrences of Scene 1 Jack dialog Recording 2 Reconnect Save Clip As Delete Duplicate Split You can split a recorded clip and choose the take for each segment of the split clip to create a composite take You can also copy a clip onto several tracks split the copies and choose the take for each split copy of the clip Saving Recorded Clips You can save your recordings in the Timeline When you save
283. rking with tracks busses and outputs see Tracks Busses and Outputs on page 90 The Timeline also displays vertical gridlines that make it easy to position clips precisely in time The gridlines correspond to the divisions of time in the Time ruler The units of time the gridlines display change depending on the time format and the current zoom level 93 94 Moving Around in the Timeline Soundtrack Pro provides several controls that let you change the view of the Timeline and move to different parts of your project You can zoom in or out for a closer or wider view of the Timeline control how many tracks are displayed in the Timeline and change which part of the project is currently visible using the scroll bars and Timeline controls You can split the Timeline view and use the Global Timeline view to quickly move to different parts of your project Using the Scroll Bars If the entire project cannot be displayed in the Timeline you can scroll through the project using the horizontal scroll bar located at the bottom of the Timeline Drag the horizontal scroll bar left or right to move the visible part of the Timeline If your project contains more tracks than can be displayed in the Timeline a vertical scroll bar appears along the right edge of the Timeline Drag the vertical scroll bar up or down to change which tracks are visible Vertical scroll bar Horizontal scroll bar In the lower left of the Timeli
284. roject or when you want to show the current version of the project to a client or other party while working on the project in Soundtrack Pro When you use an external video output device the quality of the output is as high as the device can support If you connect an output device capable of broadcast quality output the video is displayed with more accurate colors than possible on a computer display with true interlacing correct pixel sizes the correct aspect ratio and broadcast quality refresh rates Broadcast quality video output devices receive both the video and audio from a project so you can connect high quality monitors or speakers to hear the audio However using a video output device can introduce a greater amount of latency into the audio signal The amount of latency may be higher than is acceptable for audio editing You can also play a project s video externally using Digital Cinema Desktop Using Digital Cinema Desktop you can connect an Apple Cinema Display to your computer and play the video full screen through the Cinema Display while using another monitor for editing To play the video through a video output device you must configure Soundtrack Pro to use the device in Soundtrack Pro Video Out Preferences To configure Soundtrack Pro for a video out device Choose Soundtrack Pro gt Preferences then click the Video Out button In the Video Out pane choose the device you want to use from the Video Output De
285. roperty Tags File Info V Number of Beats 32 2 Kind AIFF D File Type O non tooping Looping Length 17 455 Mi key oF Date Modified Saturday May 3 2003 D Scale Type Both G Bit Depth 16 bit V Time Signature 4 4 Sample Rate 44 1 kHz I Author MusicBytecom Channels stereo D Copyright MusicByte Soundfiles Tempo 110 8PM I Comment perne File Location Gary Work Users gary Music Loops Apple Loops for Soundtrack PowerFX Loops Complete Music Beds Tanning Music Red 09 Search Tags Descriptors D Genre Vi singe O O Ensemble V Instrument Mm Part O Orin Drums vi Acoustic O O electric Guitars ic Dry O O Processed sitar W Clean O O Distorted Mallets Vi Cheerful O O dark Mixed Wi Relaxed O O intense p i comms Oman Sound Effect Y Melodic O O Dissonant e mer AOA Eat D a 1200008 a a 0 00 48 Property Tags e Number of Beats field Displays the number of beats in the file File Type buttons Set the file type which can be Non looping or Looping e Key pop up menu Sets the key of the file Scale Type pop up menu Sets the file s scale type The choices are Major Minor Good for Both and Neither e Time Signature pop up menu Sets the file s time signature The choices are 4 4 3 4 5 4 6 8 and 7 8 Author field Displays the name of the file s author You can enter a new name by typing in the field e Copyright field Displays the file s copyright data if it exists You can
286. rten clips to play back only a part of the source file When you lengthen a clip with looping playback mode it repeats the source file multiple times Chapter 5 Working in the Timeline To resize an audio clip 1 Place the pointer at either the left or right edge of the audio clip The pointer changes to a Clip Resize pointer 2 Click the edge of the clip and drag left or right to resize it When you lengthen a clip with looping playback mode the notches at the top and bottom of the clip indicate the end of each repetition of the source audio file Drag the clip to the left or right to resize it l Notches indicate the points where a looping clip repeats When you resize a clip by shortening its left edge you change the point in the source audio file at which the clip starts playing making the earlier part of the source audio inaudible When you resize a clip by shortening its right edge the part you shorten becomes inaudible You cannot lengthen the left edge of a clip with non looping playback mode beyond the beginning of the source audio file When you resize a clip the edge being resized jumps to the nearest Snap To position if snap is turned on If you want to resize the clip independently of the Snap To value change the Snap To value or turn off snap before you resize the clip For information about snap see Using Snap on page 72 Creating Crossfades Between Audio Clips Soundtrack Pro lets you easily c
287. s described 24 detaching reattaching 48 keyboard shortcuts 279 280 reordering 47 tagged audio clips 115 116 tagged audio files 60 263 278 tags 263 265 266 Tags tab 264 265 266 tail effect 86 170 171 takes See recording audio Tap tempo delays 203 tempo 84 192 193 263 temporary mono mix 140 text showing in Toolbar 50 threshold 197 timbre 288 time based effects 202 204 Time based format 52 53 82 83 98 104 233 timecode aligning audio clips to 98 191 MIDI Timecode 25 Time based format 53 time markers and 190 Time ruler units and 183 190 timecode format 190 Time Code Offset synchronization settings 78 Time display 26 32 52 53 190 time format described 190 projects 98 setting 82 83 tracks 104 Timeline adding audio files to 87 89 controls 28 editing audio clips in 107 119 Global view 97 headers 27 28 keyboard shortcuts 282 283 moving audio clips in 109 110 navigating in 94 99 Index overview 26 27 preferences 75 76 recording audio in 236 239 scrubbing projects in 54 setting track height in 97 track controls 27 28 working in 93 122 zooming in out 95 96 Timeline controls 27 28 153 Timeline editing tools 26 time markers 120 122 190 191 Time ruler 27 98 190 Time Ruler units 148 time signature 37 84 Time Signature pop up menu 37 Timeslices 229 233 Timeslice selection area changing 232 233 Time Stretch command 166 time stretching audio files 160 166 tip ring TR connectors 17 tip ring sleeve TR
288. s effects plug ins appear in the Effects window under the manufacturer s name Soundtrack Pro does not support VST ASIO MAS or RTAS effects plug ins Chapter 1 Setting Up Your System Connecting Audio Equipment You can use a variety of audio equipment with Soundtrack Pro for both recording and playback For information on connecting a specific piece of equipment to your computer read the documentation that came with the equipment When using external audio devices it s a good idea to connect them before opening Soundtrack Pro Soundtrack Pro does not support video input from devices such as camcorders or videocassette decks Audio Interfaces You can connect an audio interface to your computer and then connect microphones and musical instruments to the audio interface for recording You can also connect output devices such as monitors or speakers a mixer or an amplifier to the audio interface When choosing an audio interface check the manufacturer s specifications to make sure the interface is compatible with Mac OS X v10 3 Some audio interfaces require driver software while others are supported without the need for a driver If the device requires a driver make sure an up to date driver is included with the device or is available from the manufacturer All digital audio interfaces can be susceptible to latency a noticeable delay between the time the audio signal is produced and the time you hear it When connecting an
289. s you can reconnect individual audio files from the Bin tab and reconnect a video file in the video track in the Timeline To reconnect an audio file Do one of the following e Control click the audio file in the Bin tab then choose Reconnect filename from the shortcut menu Select the clip in the Bin tab then choose Reconnect filename from the Media pop up menu e Select the clip in the Timeline then choose Clip gt Reconnect e Control click the clip in the Timeline then choose Reconnect from the shortcut menu In the dialog that appears locate the audio file you want to reconnect Click Open to reconnect the file To reconnect a video file Control click the video clip in the video track then choose Reconnect offline source from the shortcut menu In the dialog that appears locate the video file Click Open to reconnect the file Chapter 3 Getting Started With Soundtrack Pro Setting Soundtrack Pro Preferences You set preferences for various aspects of Soundtrack Pro that affect both the appearance and operation of the application in the Preferences window Some preferences apply to the current project and some apply to new projects you create You may want to specify some preferences before you begin working in Soundtrack Pro To open the Preferences window Choose File gt Preferences General Preferences The General preferences include program startup behavior Media and Effects Manager
290. s appendix includes information about some of the most frequent issues users encounter e Late Breaking News A late breaking news page in the Soundtrack Pro Help menu provides last minute information that didn t make it into the manual Be sure to consult this help page as soon as you install or upgrade Soundtrack Pro AppleCare Knowledge Base AppleCare Support maintains a database of common support issues that is updated and expanded to include new issues as they arise This is an excellent free resource for Soundtrack Pro users To access the AppleCare Knowledge Base go to the AppleCare support page at http www apple com support AppleCare Support There are a variety of support options available to Soundtrack Pro customers For more information see the Apple Professional Software Service amp Support Guide that comes with your Soundtrack Pro documentation 293 _ 2 3 Solutions to Common Problems Audio Files and Audio Interfaces There are several factors that can affect performance when working with digital audio files Observing the following guidelines will help you maintain the highest possible performance when working with Soundtrack Pro projects e Because digital audio files require intensive processing by the computer s processor do not perform other processor intensive tasks while working in Soundtrack Pro e External audio interfaces connected to your computer can be susceptible to latency a not
291. same zoom level To return to the original zoom level Choose View gt Zoom Normal You can also zoom in on a selected area using the Zoom tool For information about using the Zoom tool see Zoom Tool on page 160 Using the Global Waveform View The Waveform Editor includes a Global Waveform view located directly above the main waveform display The Global Waveform view displays a miniature view of the entire audio file and shows the current playhead position The part of the audio file visible in the waveform display appears inside a blue rectangle You can quickly move to different parts of the audio file by dragging the visible area rectangle To move to a different part of the audio file using the Global Waveform view Drag the blue visible area rectangle to a new position Drag this rectangle to a new position Chapter 7 Working in the Waveform Editor Viewing an Audio File in Spectrum View When you first open the Waveform Editor it shows the audio file in Waveform view You can also view and edit an audio file in Spectrum view In Spectrum view the display shows the frequency spectrum of each channel of a stereo audio file on a scale from 0 Hertz Hz to half the sample rate of the file For example for a 48 kHz audio file the scale progresses from 0 Hz to 24 kHz To view an audio file in Spectrum view Click the Spectrum View button above the right corner of the Global Waveform view Waveform View b
292. scopes first appeared Users would connect the left and right stereo channels to the X and Y inputs while rotating the display by 45 degrees resulting in a useful visualization of the signal s stereo phase The signal trace slowly fades to black imitating the glow of the tubes found in older Goniometers and at the same time enhancing readability Clicking the Goniometer button turns on the Goniometer and turns off the Spectrum Analyzer You can use the Auto Gain display parameter in order to obtain a higher readout on low level passages Auto Gain allows the display to automatically compensate for low input levels You can set the amount of compensation with the Auto Gain parameter or set Auto Gain by dragging directly in the display area of the Goniometer Note Auto Gain is a display parameter only and increases the display for better readability The actual audio levels are not touched by this parameter Chapter 9 Working With Audio Effects 205 206 Miscellaneous Effects Miscellaneous effects don t fall into any of the other categories They include denoising effects pitch shifting effects stereo enhancers bass enhancers and effects used to transform the sound of vocals Each effect gives you a different way to modify the audio and includes a unique set of parameters Denoiser Using the Denoiser you can eliminate or reduce many kinds of low level noise noise floor from an audio signal The main parameters of the Denoiser ar
293. search to files that include the text in their file path To refine your search using multiple keywords Command click multiple keyword buttons Select additional keywords to refine your search These are files that match both of the keywords selected above Chapter 3 Getting Started With Soundtrack Pro Adding Custom Keywords You can add custom keywords which appear in the Keywords list in Column view and on the keyword buttons in Button view Custom keywords can be added only in Button view To add a custom keyword 1 Choose Custom from the Keyword Type pop up menu 2 Control click one of the buttons in the grid then choose a custom keyword from the shortcut menu Choose Custom from this pop up menu Control click a button then Keyboards gt choose the desired keyword Mallets gt Percussion gt from the submenu Strings gt Vocals FX Mixed Textures Other Inst Adding a Directory to the Search Database Search looks through all indexed directories volumes and folders for files that match your search criteria Before a file can appear in Search you must add the directory containing the file to the Search database and index the directory Note The Search database does not update automatically If you add files to an indexed directory you must index the directory again before the files will appear in the Media and Effects Manager Chapter 3
294. select or Command click in nonadjacent tracks to add those tracks to the Timeslice Shift click in the selection bar of the bottom track you want to include in the Timeslice You can select a master Timeslice that includes the audio content and the envelopes of all tracks including the video s audio track 230 Chapter 10 Working With Automation To select a master Timeslice Drag in the selection bar of the video track located above the Time ruler Drag in the selection bar of the video track to create a master Timeslice Cutting Copying and Pasting Timeslices You can cut or copy a Timeslice and paste it at a different position in the Timeline To cut a Timeslice Select the Timeslice then choose Edit gt Cut or press Command x To copy a Timeslice Select the Timeslice then choose Edit gt Copy or press Command C To paste a Timeslice Set the playhead at the position where you want to paste the Timeslice then choose Edit gt Paste or press Command V If the Timeslice is from a single track it is pasted in the same track at the current playhead position If the Timeslice includes multiple tracks the topmost track of the Timeslice is pasted in the currently selected track and the remaining tracks are pasted in the tracks below the selected track If not enough tracks exist for the number of tracks in the Timeslice a dialog appears asking if you want to create addit
295. set in the Time ruler MIDI Sync button Synchronizes playback with incoming MIDI Clock and MIDI Timecode MTC signals For information on using the transport controls see Controlling Playback With the Transport Controls on page 55 Chapter 2 The Soundtrack Pro Interface 25 26 Timeline The Timeline gives you a visual representation of a multitrack project showing the position of clips the playhead and other items in time The Timeline is organized into three groups of horizontal rows called tracks busses and outputs You can add and arrange audio clips in tracks use busses to create submixes and send audio to physical output channels using outputs You can control the sound of each track bus and output using the controls in its header Automation Global Timeline Mode pop up Project controls view Timeline editing tools Time display Audio tracks 4 Timeline controls Scroll bar Level meters Time ruler L Track area e Timeline editing tools Select items using the Selection arrow tool or split audio clips using the Split razor tool e Automation Mode pop up menu Choose the mode for recording automation using either the onscreen controls or an external control surface e Project controls Set the project s time signature tempo key sample rate time format and other properties using these controls e Show pop up menu Choose whether the video track
296. sets for a variety of media including audio video and motion graphics When you export a Soundtrack Pro project using Compressor you can select an export preset in the Compressor Export Options dialog Export presets appear in the pop up menus to the right of the Preserve Video and Encode Video buttons For more information on working with Compressor presets see the Compressor User Manual The manual is available from the Compressor Help menu and is included in the Documentation folder installed with Soundtrack Pro Exporting Multichannel Projects With Compressor You can export multichannel projects with up to seven output channels When you export a multichannel project using Compressor you can edit the channel layout to assign outputs in the project to physical output channels To edit the channel layout 1 In the Compressor Export Options dialog click the Edit Channel Layout button Channel Layout Left Channel 1 Right Channel 2 Center Channel 3 gt LFE Channel 4 Left Surround Channel 5 Right Surround Channel 6 Center Surround Channel 7 es The Channel Layout dialog appears The Channel Layout dialog includes pop up menus for Left Right Center LFE Left Surround Right Surround and Center Surround outputs You can choose the physical output channel labeled Channel 1 Channel 2 and so forth for each output 2 Choose the physical output channel for each channel in the
297. sical Sounds Musical sounds typically have a regular frequency which we hear as the sound s pitch Pitch is expressed using musical notes such as C Eb and F What we hear as the pitch is only the lowest strongest part of the sound wave called the fundamental Every musical sound also has higher softer parts called overtones or harmonics which occur at regular multiples of the fundamental frequency We don t hear the harmonics as distinct pitches but rather as the tone color also called the timbre of the sound which lets us distinguish one instrument or voice from another even when both are playing the same pitch When you turn up the treble on your stereo or adjust an EQ effect you raise the volume of some of the harmonics in the music but don t change the fundamental frequencies Time Sahni Time First harmonic Time Second harmonic Appendix C Audio Basics Envelopes Another aspect of sound that helps us to distinguish between instruments and voices playing the same pitch is a sound s envelope Every note played on a musical instrument has a distinct curve of rising and falling volume over time Sounds produced by some instruments particularly drums and other percussion start at a high volume level but quickly decrease to a much lower level and die away to silence quickly Sounds produced by other instruments for example a violin or a trumpet can be sustained at the same volume level and can be rais
298. simulate the sound of analog and digital distortion After working to eliminate the digital distortion caused by clipping from a project why would you add distortion as an effect The distortion produced by overdriven vacuum tubes which were used in amplifiers and music recording equipment before the development of digital recording technology produces an effect which many people find pleasing and which is integral to many styles of popular music Analog tube distortion adds a distinctive warmth and bite to the signal There are also distortion effects which intentionally cause clipping and digital distortion of the signal These can be used to modify vocal music and other tracks to produce an intense unnatural effect or for creating sound effects Distortion effects include parameters for tone which let you shape the way in which the distortion alters the signal and for gain which let you control how much the distortion increases the output level of the signal EQ and Filter Effects EQ is likely the most common audio effect used in postproduction You can use EQ to shape the sound of a project by adjusting specific frequencies or frequency ranges Using EQ you can create both subtle and extreme changes to the sound of your projects Most EQ effects make use of filters As the name suggests a filter allows certain frequencies to pass through to the output while stopping or attenuating other frequencies EQ effects include highpa
299. sions location 77 single takes 237 in Timeline 236 239 in Waveform Editor 240 241 recording automation in Mixer 140 recording control surface automation 246 Recording pane 235 Recording preferences 77 235 recording sessions save location 77 Recording tab 41 236 238 Redo command 71 Reduce Noise command 168 169 reference movies 147 regeneration 202 203 Index Remove Effect button 39 Render checkbox 146 254 255 259 260 render file for Final Cut Pro 254 rendering 146 Resample command 167 Reset button 42 139 161 Reset Effect button 39 resources 9 reverb 196 reverb effects 196 203 204 reverberation 203 reverb time 203 Reverse command 163 ripple cut 281 ripple delete 281 roll off filters 200 root note 85 roundtrips 183 254 255 258 259 RTAS plug in 14 S Sample Edit tool 159 sample rates audio files 83 choosing 167 described 83 291 digital video 83 hardware 83 importing audio files 56 multiframe projects 83 Soundtrack Pro and 15 Waveform Editor 144 167 Sample ruler 152 samples described 290 editing 159 reversing 163 sample units 149 saving items actions as AppleScript droplets 181 audio file projects 146 148 audio files 147 148 compressed project versions 87 multitrack projects 86 87 project and audio files together 87 252 recorded clips 239 scale type 276 Scale Type pop up menu 37 scoring markers 122 190 193 scripting actions 181 scripts 181 256 scroll bars 27 94 scrubbing
300. sk has a fast enough seek time and a high enough sustained data transfer rate for use with multimedia files Consult the manufacturer s specifications Dedicated Hard Disk If you plan to record your own audio in Soundtrack Pro remember that every minute of stereo digital audio recorded using a 44 1 kHz sample rate and 16 bit depth requires roughly 10 MB of hard disk space If you plan to record large amounts of audio you may want to record to a dedicated hard disk Setting the Audio Input and Output By default Soundtrack Pro uses the input and output devices set in your computer s System Preferences for audio input and output You can set the default input and output devices for Soundtrack Pro in the Recording pane of the Soundtrack Pro Preferences window and change them for individual recording sessions in the Recording tab For information on changing the default input and output devices Soundtrack Pro uses see Setting Soundtrack Pro Preferences on page 75 Adding Audio Units Plug Ins to Your Computer Soundtrack Pro includes an extensive set of professional quality effects plug ins Soundtrack Pro uses effects in the Audio Units plug in format the native plug in format of Mac OS X Audio Units plug ins are also available from third party manufacturers When adding third party effects to your computer be sure to read the documentation including any Read Me and installation files that came with the plug in Supported Audio Unit
301. ss lowpass and band pass filters When the audio signal passes through an EQ filter the frequencies that pass through can be raised or lowered in volume Raising and lowering frequencies using EQ is often referred to as boosting and cutting frequencies You can create many changes to the sound of your project by boosting and cutting various frequencies Chapter 9 Working With Audio Effects Frequency Ranges Used With EQ All musical sounds can be categorized into one of three basic frequency ranges bass midrange or high also called treble These can be further divided to include low bass low and high midrange and low and high highs The following table describes some of the sounds affected by each range Name Frequency range Description High High 8 20 kHz Includes cymbal sounds and highest harmonics of instruments Boosting frequencies in this range slightly can add sparkle and presence High 5 8 kHz This range corresponds roughly to the treble tone control on a stereo Boosting frequencies in this range can add brightness and shine Low High 2 5 5 kHz Includes the higher harmonics of voices and musical instruments This range is important for adding presence Excessive boosting in this range can sound shrill or harsh High Midrange 1 2 2 5 kHz Includes the consonants of voices and the high harmonics of musical instruments especially brass instruments Excessive boosting in this range can create a pinched n
302. t playing through a video output device Soundtrack Pro releases control of the output device Viewing Video Details You can view details of a video file including the video file s name dimensions length frame rate and other information You can view details of a video file that has been added to a project or a video file in the Media and Effects Manager To view details of a video file 1 If the Details tab is not visible click Details to make it active 2 Select the video file in the Media and Effects Manager or select the video clip in the Timeline The video file s information appears in the Details tab if Recording Meters 2 Truck drives by front shot Dimensions 720 x 480 Size 93 63 MB Length 31 seconds Frame Rate 23 98 fps Audio Tracks 1 Kind QuickTime Created 12 15 04 Modified 12 15 04 Path Macintosh HD Soundtrack Pro projects DV NTSC Truck drives by front shot You can preview a video file in the Details tab before you add it to a project 188 Chapter 8 Working With Video in Soundtrack Pro To preview a video file in the Details tab If the Details tab is not visible click the Details button to make it active In the Media and Effects Manager select the video file you want to preview In the Preview controls at the bottom of the window click Play Working With a Video s Audio You can edit the audio clip of the video s audio as with any audi
303. t to edit To make a selection while scrubbing As you move the playhead press and hold the Shift key Using the Timeline Controls in the Waveform Editor You can use the Timeline controls located at the lower left corner of the Project window while working in the Waveform Editor Some of these controls have slightly different functions in the Waveform Editor than they do in the Timeline Master Envelopes button You can show or hide the envelopes for the audio file Snap button You can turn snap on or off in the Waveform Editor Snap To button You can choose the Snap To value that the playhead and other items snap to In the Waveform Editor the choices for snap are Ruler Ticks and Zero Crossings Track Height control Sets the height of the envelope rows when you show envelopes in the Waveform Editor Chapter 7 Working in the Waveform Editor 153 Editing Audio Files in the Waveform Editor You can edit audio files in many different ways in the Waveform Editor You can edit the entire file or select part of the file to edit Selecting Part of an Audio File When you apply an action to an audio file in the Waveform Editor the action is applied to the entire file unless you select part of the file You can select different parts of the audio file and apply different actions to each selection To select part of an audio file In the waveform display drag horizontally across the part of the waveform you want to select
304. th of an audio file To cut part of an audio file in the Waveform Editor 1 Select the part of the file you want to cut 2 Choose Edit gt Cut or press Command xX The selected part of the file is removed and the file shortens by the cut amount To copy audio in the Waveform Editor 1 Select the part of the file you want to copy 2 Choose Edit gt Copy or press Command C 3 You can paste audio in the Waveform Editor You can paste at the playhead position paste mix or paste repeat Chapter 7 Working in the Waveform Editor 157 BR W N To paste audio in the Waveform Editor Set the playhead to the point where you want to paste the audio Choose Edit gt Paste or press Command V The cut or copied audio is pasted starting at the playhead position The audio after the playhead in the file moves to accommodate the pasted audio and the file lengthens by the pasted amount You can also paste mix in the Waveform Editor When you paste mix the pasted audio is mixed or blended with the existing audio in the audio file You can control the mix of the pasted audio and existing audio and can crossfade the pasted audio To paste mix audio in the Waveform Editor Set the playhead to the point where you want to paste the audio Choose Edit gt Paste Special then choose Paste Mix from the submenu In the Paste Mix sheet drag the Original Material Level slider to set the mix level of the existing audio in the pasted area
305. the left arrow to shorten the length of the inserted silence or click the right arrow to increase the length e Click the center of the value slider then drag the slider that appears left or right to change the length of inserted silence e Click the value in the value slider then type a new value Click OK Inserting Noise When you choose Process gt Insert then choose Noise from the Insert submenu the Noise Generator dialog appears You can set the type of noise to insert set the length of the inserted noise choose the format for setting the noise length any of the Time Ruler Units formats and set the volume of the inserted noise The inserted noise can be white noise emphasizing higher frequencies or pink noise equal distribution of frequencies A Noise Audio Unit Soundtrack Noise Generator Manufacturer Apple Parameters Waveform Type White Duration 4 100 Second Volume O ld Coenen To choose the type of noise to insert In the Noise Generator dialog choose the type of noise from the Waveform Type pop up menu To set the length of the inserted noise In the Noise Generator dialog choose the format you want to use from the Duration pop up menu In the Duration value slider do one of the following Click the left arrow to shorten the length of the inserted noise or click the right arrow to increase the length e Click the center of the value slider the
306. the send to the right Bypassing Sends You can bypass a send When you bypass a send the audio is not routed to the bus for the send and is not heard To bypass an effect In the Effects tab deselect the checkbox next to the send Automating Realtime Effect Parameters You can automate realtime effect parameters using envelopes When you automate an effect parameter you can change the value of the parameter over time Show Scene 3 start dialog B TG Name Parameter Auto gt Linear Phas Y Ml expander Presets Threshold a8 O 20 000 M Ratio 1 O o s00 ft Attack ms O 0 0000 M Release ms O 28 000 M cris Ey 2 Auto checkboxes Softknee Ono H Peak RMS Peak 3 Auto Gain on Oor g gt M send Ees tl Chapter 9 Working With Audio Effects 213 214 To automate a realtime effect parameter In the Effects tab select the Auto checkbox next to the parameter s control In the Timeline or in the Waveform Editor show the envelopes for the track bus output or audio file project In the Timeline you show the envelopes for the track bus or output with the effect In the Waveform Editor you show the envelopes for the audio file project Add and adjust envelope points in the effect s envelope For information on adding and adjusting envelope points see Chapter 10 Working With Automation on page 219 When you aut
307. the tempo of the music without changing the key Stretch Tool button To graphically time stretch an audio file Click the Stretch Tool button above the time display In the waveform display drag horizontally across the waveform to select the part you want to time stretch The pointer becomes a Stretch pointer Drag the right edge of the selection left to shorten the selected area or drag it right to lengthen the selected area Note Stretching an audio file by a large amount can degrade the sound quality of the audio file Zoom Tool You can zoom in on a specific part of the waveform display to make precise edits Zoom Tool button kN 4 p To zoom in using the Zoom tool Click the Zoom Tool button above the time display The pointer changes to a Zoom pointer In the waveform display do one of the following e Click to zoom in Option click to zoom out Drag horizontally to select the part of the waveform you want to zoom in on The waveform display zooms in on the selected area For information on other ways to zoom in and out in the waveform display see Zooming In and Out in the Waveform Editor on page 149 Chapter 7 Working in the Waveform Editor Processing Audio Files You can process audio files in the Waveform Editor in a variety of ways You can choose processing effects and other operations from the Process menu and apply them to an entire file or select part of the file and apply the effect t
308. the track bus or output section of the Timeline You cannot move one to the area for another as indicated by the rows labeled Tracks Busses and Outputs in the Timeline You can only move or copy one track bus or output at a time To move a track bus or output Drag the track bus or output drag handle up or down to a new vertical position A light blue horizontal line in the header area indicates the place the track bus or output will be moved to when you release the mouse button To copy a track bus or output Option click the drag handle in the header for the track bus or output then drag it up or down A copy of the track bus or output appears when you release the mouse button Renaming Tracks Busses and Outputs By default tracks are numbered when created and take the name of the first audio clip you add to them Busses and outputs are numbered starting from one Bus 1 Out 1 and so on You can rename a track bus or output and use the names to distinguish the type of audio it contains for example dialogue voiceovers music or sound effects its part in the overall project or to identify it in some other way To rename a track bus or output Click the name field in the header for the track bus or output and type a new name Changing a Track Bus or Output Icon You can choose a new icon from the icon grid or add your own image to the grid To change the icon for a track
309. ting 81 creating from Final Cut Pro clips sequences 256 258 distributing 252 exporting See exporting items importing video into 183 184 length of 86 opening 81 overlap mode 85 overview 7 45 46 playing 50 56 properties 82 85 recently open 81 reconnecting media files 74 recording See recording audio saving 86 87 saving with media files 87 252 scrubbing 54 unable to find files 74 music basic concepts 287 292 musical instruments 15 musical intervals 115 116 musical sounds 288 Mute button 27 31 69 103 Mute Project checkbox 41 muting channel strips 130 muting tracks busses outputs 103 N Name field 27 31 44 navigation keyboard shortcuts 280 282 283 playhead 280 scroll bars 94 Timeline 94 99 282 283 Zoom control 95 96 Nearby Keys button 37 Next Selection button 31 NeXT sound files 144 noise ambient 166 167 Denoiser effect 206 eliminating 206 294 glass noise effect 206 inserting in audio 164 pink 164 reducing 168 169 206 white 164 noise gates 198 Noise Generator dialog 164 non drop frames 190 non looping files 57 117 239 non looping playback mode 87 normalization level 162 Normalize command 162 notch frequencies 202 Nyquist theorem 291 O offset 116 117 Offset value slider 43 onscreen help 10 optical digital connectors 18 output controls 92 102 106 output devices 14 187 188 Output pop up menu 28 30 outputs adding 100 adjusting volume 102 Index changing icon for 101 channel strips 129 1
310. ting projects on 247 sample rate 76 291 center frequency 200 chaining effects 210 211 channel layout editing 251 channels selecting in Waveform editor 155 156 swapping 163 Channel Strip pop up menu 29 channel strips 29 30 adding to Mixer 126 changing icon for 131 copying 127 described 125 effects 134 136 enabling for recording 131 muting 130 pan position 129 removing 134 renaming 131 299 300 reordering 127 selecting 126 sends 137 setting outputs for 129 130 soloing 130 stereo level meters 133 volume levels 127 128 working with 125 134 chorus effects 201 Clear Fixed button 33 clicks 178 Clip display 43 clipped signals 178 clipping 138 139 198 clipping indicators 139 clips See audio clips video clips Clip Speed pop up menu 43 Collect Source File checkbox 147 Column view 36 37 60 60 62 Column View button 37 60 compressed saving projects 87 compression 87 197 Compressor application 46 250 251 compressors 197 Computer button 34 connectors 17 18 controls 125 245 control surfaces 243 246 adding 244 automation modes 246 connecting 243 deleting 244 described 243 FireWire audio interface 21 mapping commands to 245 246 preferences 79 premapped controls 245 recording movements 246 support of 19 types of 243 using 243 Control Surfaces preferences 79 Convert to Mono command 167 Copy from Next Point button 44 Copy from Previous Point button 44 copying items audio clips 108 audio in Waveform Editor 157
311. tions e Dragging audio clips to the Timeline e Moving audio clips e Resizing audio clips e Setting the playhead e Setting the playback region e Inserting markers e Moving markers e Selecting Timeslices e Adding envelope points e Moving envelope points e Moving crossfade edges You can use snap to ensure that audio clips are synchronized to a measure or beat that they begin playing back at a precise point in time and that they are precisely aligned with other clips in the Timeline When you turn on snap the item you are moving snaps to the nearest Snap To position in the Timeline The available Snap To values depend on the time format of the project For projects set to Time based format the available Snap To values are e Ruler ticks e Seconds Frames e Clips on Adjacent Tracks e Markers Chapter 3 Getting Started With Soundtrack Pro For projects set to Beats based format the available Snap To values are e Ruler ticks e 1 4 notes e 1 8 notes e 1 16 notes e 1 32 notes e 1 64 notes e Markers e Clips on Adjacent Tracks To turn snap on Choose View gt Snap or press G A checkmark next to the menu item indicates that snap is turned on Choose View gt Snap again to turn snap off To set the Snap To value Choose View gt Snap To then choose a value from the submenu Zoom In Zoom Out 38 Vertical Zoom In a Vertical Zoom Out _ Zoom Normal 0 Track Height gt Time Ruler Units gt S
312. tions of the channel strips appear with a checkmark in the Channel Strips pop up menu Chapter 6 Working in the Mixer Using the Channel Strip Level Meters Each channel strip includes stereo level meters to the right of its volume fader You can use the level meters to observe each channel strip s level as the project plays The level meters range from 96 dB to 0 dB moving from bottom to top as the level increases The segments of the level meters run from green through yellow to orange as the level increases At the top of each set of level meters is a peak indicator As the project plays the value in decibels of the highest level reached appears in the peak indicator If the level rises above 0 dB the peak indicator becomes red and shows the value 0 zero The values shown in each peak indicator remain until you play the project again close the project or reset the peak indicator Peak indicator H Level meters f4 o my To reset a peak indicator Click the peak indicator To reset all peak indicators do one of the following Option click the peak indicator in any channel Click the Reset button in the Meters tab of the Utility window The peak indicators can help identify where clipping occurs in the project For information about removing clipping see Setting the Overall Project Volume Level on page 138 Chapter 6 Working in the Mixer 133 134 Removing Channel Strips You can remove a cha
313. ton Click the button again to unmute the channel Strip To solo a channel strip Click the channel strip s Solo button Click the button again to unsolo the channel strip Mute button es aN Solo button Channel strip name Scene 3 To exclusively solo a channel strip Option click the Solo button Click the Solo button again to unsolo the track bus or output When you export a project all unmuted tracks busses and outputs are included in the exported file If you export a track bus or output that is muted including being muted by having another track soloed the exported file will contain no audio Chapter 6 Working in the Mixer Enabling Track Channel Strips for Recording You can enable a track channel strip for recording When you enable a track channel strip for recording audio will be recorded on the track when you click the Record button in the transport controls You can t record to a bus or output channel strip To enable a track channel strip for recording Click the Record Enable button in the channel strip Click the button again to disable the channel strip for recording You can record only to a track not to a bus or an output Renaming Channel Strips You can rename a channel strip to help you remember its content or purpose in the overall mix To rename a channel strip Click the channel strip s name at the bottom of the channel strip to select it then type a new name Changing a Channe
314. ttening 174 limitations of 176 reordering 172 scripting in Waveform Editor 181 settings 172 turning on off 172 working with in Waveform Editor 170 176 Actions button 32 Actions list 32 171 173 174 Actions pop up menu 32 Add Effect button 39 Add Favorite button 37 adding effects to busses 104 105 to channel strips 134 to outputs 104 105 to tracks 104 105 Add Send button 39 Adjust Amplitude command 163 AIFF files 56 144 248 249 263 278 ambient noise adding 166 167 amplifiers 15 19 amplitude 288 amplitude level 163 analog recording 290 Analysis button 32 33 analysis parameters 179 Index analysis results 179 Analysis Results list 32 33 analysis tools 177 180 Analysis Type list 32 analysis types 178 clicks pops 178 clipped signal 178 DC offset 178 phase issues 178 power line hum 178 silence 178 Analyze button 32 analyzed problems fixing 180 AppleCare Knowledge Base 293 AppleCare Support 293 295 Apple Cinema Display 187 Apple Loops files 60 Apple Loops Utility 57 239 263 278 AppleScript droplets 181 283 AppleScript Script Editor 181 Apple Store 11 Apple websites 10 11 applications distortion in 292 using Soundtrack Pro with 253 261 Apply Ambient Noise command 166 Apply button 161 ASIO plug in 14 Assets drawer 264 267 271 273 audio See also sound basic concepts 287 292 cleaning up 207 clicks 178 clipped signal 178 clipping 138 139 198 copying in Waveform Editor 157 cutting in Wavef
315. two signals is modulated typically using an LFO As the two signals go in and out of phase certain frequencies called notch frequencies are created which give phase shifters their distinctive sound The main difference between chorus and phase shifting is the amount of delay time Chorus effects typically use delay times between 20 and 30 milliseconds ms while phase shifters and flangers discussed next typically use shorter delay times between 1 and 10 ms Flangers Flangers work in much the same way as do phase shifters but additionally change the pitch of the delayed signal slightly Flanging is typically used to create a more extreme change than phase shifting sometimes described as adding a spacey or underwater effect All of the modulation effects include parameters for the delay rate also called speed or frequency which let you set the minimum delay time depth also called width or intensity which you use to set how much the LFO modulates the delay time and mix which you use to control the ratio of the effected wet signal to the original dry signal They can also include parameters for feedback or regeneration which add part of the output back into the input signal Reverb and Delay Effects Reverbs and delays work by copying a part of the audio signal delaying it for a brief period of time and then playing it back with the original signal The delayed signal can be played back multiple times and
316. u can make changes to any aspect of the project then use Undo to step back through changes you don t like to the project s previous state If you change your mind after undoing a change or set of changes you can always use Redo to recover the changes At any point you can save a new version of the project using the File gt Save As command You can use the Undo command repeatedly to undo every change made since the project was last saved To undo the last change Choose Edit gt Undo item or press Command Z The item in the menu changes to show the last command or operation You can use the Redo command repeatedly to redo every undone change since the project was last saved To redo the last change Choose Edit gt Redo item or press Command Shift Z The item in the menu changes to show the last command or operation Chapter 3 Getting Started With Soundtrack Pro 71 Using Snap When you move and resize clips in the Timeline or select part of an audio file in the Waveform Editor you usually want them to start and end at a specific point in time To synchronize clips with a video you may want to position them in line with a specific frame In a music based project you may want to align clips with measures and beats Soundtrack Pro includes a snap feature that causes clips the playhead and other items in the Timeline and Waveform Editor to snap to the nearest Snap To position Snap applies to the following opera
317. uler Units gt Set Video Frame Rate In the dialog that appears choose a frame rate from the Frame Rate pop up menu The Time display adjusts to the video s timecode The Time ruler units adjust to the video s format For more information on the Time ruler see Using the Time Ruler on page 98 Chapter 8 Working With Video in Soundtrack Pro Using Markers With Video Soundtrack Pro displays Final Cut Pro scoring markers included in a video file imported from Final Cut Pro You can add time markers at points in time corresponding to specific timecode positions in the video clip and align audio clips with markers using the snap feature When you add a marker to a project containing a video the video clip displays the frame of the video that occurs at the marker s position in time For more information about adding and moving markers see Working With Markers on page 119 You can score both Final Cut Pro scoring markers and time markers to the playhead letting you synchronize the audio with specific points in the video Using Final Cut Pro Scoring Markers When you import a video file from Final Cut Pro or Final Cut Express HD Soundtrack Pro displays any Final Cut Pro scoring markers included in the video file in the Timeline Scoring markers have an orange handle in the area above the Time ruler You cannot move or edit Final Cut Pro scoring markers in Soundtrack Pro Using Markers to Align Audio Clips t
318. ume of the project to the highest level at which no clipping occurs at any point in the project Clipping occurs when the digital audio signal exceeds the maximum level that can be reproduced accurately Unlike analog audio digital audio is completely unforgiving of clipping which creates sharp distortion of the audio signal Soundtrack Pro projects clip whenever the output displayed in the level meters exceeds zero decibels 0 dB It s important to eliminate clipping from projects before exporting the final mix For more information about digital distortion see Appendix C Audio Basics on page 287 You can monitor audio output levels using the level meters in the Mixer the Project window and the Meters tab In the Mixer each channel strip has stereo level meters that show the levels for that channel strip In the Project window and the Meters tab the level meters show the levels for the first output Output 1 The Meters tab includes additional controls and displays to help you maintain proper audio levels and eliminate clipping Video Recording Meters Peak indicator 3 Peaks lt Value Location Left 0 508 834 Lao T Righ O5d8 83 4 co t Go buttons Value and Location display As a project plays back the levels in each stereo channel change constantly with the rising and falling of the audio signal The level meters show these changes both as bars risi
319. undtrack Pro With Apple Professional Applications 259 260 Using Soundtrack Pro With DVD Studio Pro You can edit a DVD Studio Pro clip destructively by opening it in the Waveform Editor When you edit a clip destructively you hear the clip with the changes you made in the Waveform Editor without having to reimport the clip You can save the clip as an audio file project in the Waveform Editor so you can reopen it later and continue editing To edit a clip destructively in the Waveform Editor In DVD Studio Pro Control click the clip then choose Open in Editor from the shortcut menu Soundtrack Pro opens and the clip appears in the Waveform Editor Edit the clip in the Waveform Editor You can edit the audio file project in the Waveform Editor using the commands and functions described in Chapter 7 Working in the Waveform Editor on page 143 You can apply actions or analyze the file and fix analyzed problems When you are finished editing the clip choose File gt Save Click Save You can also save the clip by choosing File gt Save As If you save the clip using the Save As command be sure the name location and file type in the Save As dialog are the same as for the clip s source file You can also save the clip as an audio file project If you save an audio file project as an AIFF file or a QuickTime movie a link is included in the AIFF file or movie letting you reopen the project in Soundtrack Pro and make changes
320. ut or copied audio clip Splits the selected audio clips under the playhead Joins the selected clips Crossfades the selected clips b s P AppendixB Soundtrack Pro Keyboard Shortcuts 281 282 Key command Function Trims the selected clips l e Double click an audio clip Opens the selected audio clip in the Waveform Editor as a new audio file project Adjusting Audio Clips in the Timeline Key command Function f Nudges the clip or envelope point to the left by one pixel option fe Nudges the clip or envelope point to the right by one pixel option gt tn ek g Nudges the envelope point up by one pixel Nudges th l int d b ixel ae a udges the envelope point down by one pixe Shifts the clip or envelope point to the left by one gridline option shift T k i ip VE SPEpOI gisi Shifts the cli l int to the right idline P an as Fl ifts the clip or envelope point to the right by one gridline Shifts th int up by five pixels een pe me m ifts the envelope point up by five pixels Shifts th l int d by five pixels pn E me i ifts the envelope point down by five pixels Navigating in the Timeline Key command Function Zooms in horizontally to the next zoom level Do EA Zooms out horizontally to the next zoom level De GO Zooms in vertically to the next zoom level e_x 6 J Zooms out vertically to the next zoom level
321. ut seminars events and third party tools used in web publishing design and print music and audio desktop movies digital imaging and the media arts go to http www apple com pro For resources stories and information about projects developed by users in education using Apple software including Soundtrack Pro go to http www apple com education Go to the Apple Store to buy software hardware and accessories direct from Apple and to find special promotions and deals that include third party hardware and software products http www apple com store Preface An Introduction to Soundtrack Pro Setting Up Your System The way you set up your system depends on the audio equipment you plan to use You can use your computer s speaker or headphone jack to monitor the audio output from Soundtrack Pro For better results you may want to connect external monitors or speakers to your system so that you can monitor the audio output at a higher level of quality You may want to connect other external audio equipment such as an audio interface or a mixer particularly if you plan to record your own audio in Soundtrack Pro e For information on system and hardware requirements see the Read Before You Install document on the installation DVD e For information on installing the software see the Installing Your Software booklet System Considerations To achieve the most effective results you should consider the follo
322. uts and for audio file projects by adding envelopes for the effect parameters then adding and adjusting envelope points You can also automate send parameters for tracks by adding an envelope for the send parameters then adding and adjusting envelope points To add an envelope for an effect or send parameter 1 Open the Effects tab and select the effect you want to automate 2 Inthe Effect Parameters area select the Auto checkbox for the parameter Show Scene 3 start dialog 3 CJC Name Parameter Auto P Linear Phas Y expander Presets None e tee SO 20 000 Click the Auto checkbox for Ratio 1 O os s an effect parameter to add an Attack ms 0 0000 envelope for the parameter Release ms O 98 000 M P p Gain dB O 0 0000 oO Softknee __ 1 000 E Peak RMS Peak B Auto Gain on Oof g gt M Send Bus 1 To remove an envelope for an effect parameter Deselect the Auto checkbox for the parameter in the Effect Parameters area of the Effects window The range of values for an effect or send parameter envelope is the same as the range for the parameter in the Effects tab For detailed information on adjusting effect parameters see Adjusting Realtime Effect Parameters on page 209 Chapter 10 Working With Automation 227 228 BW N Recording Automation Data In addition to working with envelopes you can record automation
323. utton Spectrum View button The display changes to show the audio file s frequency spectrum You can select parts of the audio file apply actions and edit the audio file in Spectrum view in the same way as in Waveform view You can also change the Spectrum view display to show the frequency spectrum linearly or logarithmically use different window functions and change the number of samples used to calculate the view Chapter 7 Working in the Waveform Editor 151 To show the frequency spectrum on a logarithmic scale Control click the Sample ruler along the left edge of the display then choose Logarithmic from the shortcut menu To show the frequency spectrum on a linear scale Control click the Sample ruler along the left edge of the display then choose Linear from the shortcut menu To display the audio file in Spectrum view part of the audio data for each given point in time is analyzed Each method of analysis represents a slightly different compromise between frequency resolution and spectral leakage You can choose between several different analysis methods called window functions used to display the frequency spectrum in Spectrum view To choose a window function for Spectrum view Control click the spectrum display then choose a window function from the upper part of the shortcut menu You can also choose the number of samples used to calculate the spectrum display To choose the number of
324. v System a Takin it Slow w Horns A sate System Folder gt Twelvestrum PETET h User Guides And Informatio Voiceover clips ly re Misk 4 Users P ul wave test 1afp ti I Compressor J Preserve Video p sa Encode Video AAC Audio High Bit Rate High Quality Download B Summary Name AAC Audio High Bit Rate High Quality Download Description 44 1kHz Stereo 192Kbps File Extension mp4 Audio Encoder Format MPEG4 Sample Rate 44 100kHz Channels 2 Bits Per Sample 16 AAC encoder quality high A 2 Type a name for the exported file in the Save As field 3 Browse to the location where you want to save the exported file Chapter 13 Exporting Multitrack Projects 4 Doone of the following To export the video in its original format select Preserve Video then choose an export preset from the adjacent preset pop up menu To export the video in a different format select Encode Video then choose an export preset from the adjacent preset pop up menu For information about using Compressor export presets see Using Compressor Export Presets on page 251 5 Optionally for multichannel projects click the Edit Channel Layout button to change the channel layout for the exported file For information on exporting multichannel projects see Exporting Multichannel Projects With Compressor on page 251 6 Click Export Using Compressor Export Presets Compressor includes a large number of export pre
325. ve changes you make to either type of file the file is saved as an AIFF file the default file format for Soundtrack Pro The set of tags you can work with using Apple Loops Utility includes all of the tags in WAV files tagged for use with Sony s ACID music application as well as additional tags Tagged audio files can also contain information about transients Transients indicate where beats occur in the file and Soundtrack Pro uses transients to play back audio files at the highest level of quality Apple Loops Utility can detect transients present in an audio file and you can use Apple Loops Utility to add markers for additional transients and move them to new locations 263 264 The Apple Loops Utility Interface The Apple Loops Utility interface consists of a window with two tabs the Tags tab and the Transients tab The bottom of the window includes a set of playback controls and file management buttons Apple Loops Utility also includes an Assets drawer located to the right of the main window where you manage open files Tabs Main window Playback controls Assets drawer Appendix A Using Apple Loops Utility Tags Tab The Tags tab includes areas for different types of tags and also includes a set of playback controls you can use to listen to a file open in Apple Loops Utility Listening to a file can help you decide which tags are appropriate for the file CIEI Apple Loops Utili Tags P
326. vice pop up menu The menu lists only devices that are connected to your computer Optionally select the Use Quarter size Frames checkbox to reduce the frames sent to the video output device Sending quarter size frames can result in better performance especially for devices using FireWire DV output Click the Close button at the upper left corner of the Preferences window to close the window You can switch the output to the video output device on or off when the project is not playing The video appears in the Video tab whether output to the video output device is switched on or off Chapter 8 Working With Video in Soundtrack Pro 187 To switch off output to an external video output device Choose View gt Show gt Show External Video If you have added the Video Out button to the Toolbar you can also click the button to switch off the device To switch on output to an external video output device Choose View gt Show gt Show External Video If you have added the Video Out button to the Toolbar you can also click the button to switch on output to the device A video output device can only be controlled by one application at a time If you hide Soundtrack Pro or bring another application to the foreground while playing video through a video output device Soundtrack Pro maintains control of the output device and continues playing If you hide Soundtrack Pro or bring another application to the foreground when video is no
327. which tracks already exist are pasted When pasting audio clips you can choose to paste multiple copies of the clip in succession Using the Paste Repeat command you can paste any number of copies of a clip in the selected track Chapter 5 Working in the Timeline wu A WwW N To paste multiple copies of a clip Cut or copy the clip Set the playhead to the point you want to paste the first copy of the clip If you want to paste the copies in a different track select the track Choose Edit gt Paste Special gt Paste Repeat or press Option Command V In the Paste Repeat sheet ente r the number of times you want to paste the clip Enter the number of times to perform the paste 2 C cance e Type the number of times you want to paste the clip in the Paste Repeat sheet The copies are pasted in the se no track is selected the copies lected track starting at the current playhead position If are pasted in the same track as the cut or copied clip The copies are pasted in the selected track starting at the current playhead position Moving Audio Clips You can move an audio clip in the Timeline by dragging the clip to a new position You can also move the clip to a different track To move an audio clip to a new time position Drag the clip left or right to an CTT TT 1 Drag a clip left or right to move it to a new position Chapter 5 Working in the
328. wing issues when setting up your system Processor Speed and RAM Digital audio files require intensive processing by your computer If you plan to work on longer or more complex projects or use multiple effects plug ins in your projects a computer with a faster processor can facilitate your productivity Soundtrack Pro is optimized for use with computers that have a multiprocessor architecture Working with Soundtrack Pro projects on a multiprocessor equipped computer can make your workflow more efficient especially when creating longer or more complex projects If you plan to work on large projects it s useful to have extra random access memory or RAM installed in your computer Additional RAM allows you to play back more files simultaneously use a greater number of effects plug ins and keep several multimedia applications open at the same time 14 Hard Disk Space It s also a good idea to have a large hard disk with plenty of available space to store the media audio and video files you use with Soundtrack Pro As you work with the application you ll likely want to acquire a large collection of sounds to use in your Soundtrack Pro projects You can use audio files stored on a CD ROM disc or other external media but playback performance may not be as good as if the audio files are installed on a local hard disk especially when using a large number of files If you store media files on an external hard disk make sure the di
329. with projects 87 252 storing 14 unable to find 74 Media pop up menu 34 35 37 38 69 memory 13 meters diagnostic 196 Meters tab 42 138 139 microphones 15 19 MIDI Clock signal 25 55 MIDI input port 244 MIDI interface 21 243 MIDI output port 244 MIDI Sync button 25 55 MIDI Timecode MTC signal 25 55 midrange frequency range 199 mini plug connectors 18 miscellaneous effects 206 207 Mixer 123 141 adding channel strips to 126 adding realtime effects in 208 described 123 hiding 132 mixing multitrack projects in 7 overview 23 29 31 recording audio in 240 showing 132 Index working in 123 141 working with channel strips 125 134 working with effects 134 136 Mixer pop up menu 29 mixers 15 19 mixes exporting 248 final 141 multiple 141 temporary mono mix 140 mixing projects described 123 exporting mixes 248 guidelines for 141 mastering process 141 procedure for 124 modulation 196 modulation effects 196 201 202 Monitor pop up menu 41 monitors 15 18 19 mono files 167 248 249 mono mix 140 Mono Mix button 24 140 Motion using Soundtrack Pro with 258 259 Waveform Editor and 147 mov extension 56 183 movies QuickTime 144 183 260 reference 147 MP3 files 56 144 MPEG 2 files 183 MPEG 2 playback 183 MTC MIDI Timecode signal 25 55 MultiMeter 204 205 multiple solo 103 multitrack projects 81 92 See also projects adding audio files to 87 89 audio clip properties 89 90 closing 82 compressed version of 87 crea
330. y Stop Record Jog wheel Moves playhead back or forward Mapping Commands to Control Surface Buttons Many buttons on control surfaces are not directly assigned to a specific command in Soundtrack Pro Some buttons such as the bank and channel buttons are premapped but can also be mapped to other commands You can map these buttons in the Control Surface Buttons window and save the mappings or modify them later To map a command to a control surface button Choose Soundtrack Pro gt Preferences then click the Control Surfaces button Click the Control Surface Buttons button to show the Control Surface Buttons window e eWe Control Surface Buttons Assign buttons by dragging them from Available Commands Search rc Control Surface Buttons Assigned Commands Available Commands Bank Left Previous Bank Go to previous marker Bank Right Next Bank Show Hide Marker Line Command Nudge Right Control File Browser Cycle Toggle Cycle Loop mode Left Down Down Vertical Zoom in Enter Enter key Enter key Al Record F2 Nudge Down F3 Show Hide Marker Titles F4 No Action F5 Undo F6 Nudge Left F7 Toggle Cycle Loop mode F8 Play Fast Forward Fast Forward Down Flip Preferences Left Left Fast Forward Locate Left Go to previous marker Nudge Up Locate Right Go to next marker Next Bank Marker Horizontal Zoom out Nudge Stop Option Right y i Play Play Set Marker at Playhead a Record Record o E i A
331. y button O ema Reset button Apply button Volume slider eee button Cancel button e Play button Plays the audio file or selection with the effect Volume slider Controls the volume of the audio file or selection as you play it Bypass button Bypasses the effect so you can hear the difference in the sound of the audio file or selection with and without the effect Chapter 7 Working in the Waveform Editor 161 162 e Reset button Resets all effect parameters to their default values Cancel button Closes the advanced settings window without applying the effect Apply button Applies the effect to the audio file or selection and closes the advanced settings window e Show Hide Presets button Shows or hides the Presets drawer so you can apply effect presets For information about applying effect presets in the Waveform Editor see Working With Effect Presets on page 217 For information about the effects in the Effects submenu see Chapter 9 Working With Audio Effects on page 195 Fade In Choosing this command fades in the audio file or selection The fade in progresses in linear fashion from the beginning to the end of the audio file or selection Fade Out Choosing this command fades out the audio file or selection The fade out progresses in linear fashion from the beginning to the end of the audio file or selection Normalize Choosing this command normalizes adjusts the gain of the audio file
332. you add effects to be sure you are satisfied with the results Chapter 9 Working With Audio Effects To reorder effects in an effects chain In the Effect Parameters area drag the effect up or down in the list to change its order Drag effects up or down in the list to reorder them Bypassing Realtime Effects You can turn off an effect in the Effects tab which bypasses the effect in the effects chain When you bypass an effect the effect is not heard but all effect parameters are retained To hear the effect again reselect the effect s checkbox This lets you hear how each effect in a chain alters the sound Deselect the checkbox next to the effect name to bypass the effect To bypass an effect In the Effects tab deselect the checkbox next to the effect Chapter 9 Working With Audio Effects 211 Adding Sends to Tracks You can add sends to a realtime effects chain When you add a send the send is added at the end of the current effects chain You can move the send to another place in the effects chain choose the bus for a send adjust send volume and pan and bypass a send To add a send to a track n the Effects tab click the Add Send button A send appears below the last effect in the track s effects chain You can assign the send to a bus in the Effects tab or the Mixer Reordering Sends You can reorder sends in the Effects tab or in the Mixer To reorder a
333. you select an audio file the Details tab displays information about the file including the file icon hints tags for Apple Loops and other tagged audio files sample rate bit depth file size and whether the file is a looping or non looping file Video File Details When you select a video file the Details tab displays information about the file including the dimensions of the video file size length in seconds frame rate and other information You can preview the video file in the Details window by clicking the Play button in the Media and Effects Manager preview controls Clip Details e Clip display Displays the waveform of the selected clip e Playback buttons Set the clip playback mode to looping or non looping e Measure in pop up menu Sets the units shown in the Position Duration and Offset value sliders e Position value slider Set the position start point of the selected clip Duration value slider Set the duration length of the selected clip Offset value slider Set the offset of the selected clip Transpose pop up menu Choose the number of semitones to transpose a looping clip from the pop up menu Clip Speed pop up menu Choose the clip playback speed for a looping clip from the pop up menu Chapter 2 The Soundtrack Pro Interface 44 Marker Details e Type buttons Select whether the marker is a Beat marker or a Time marker Name field Type a name for the marker e Position value slider
334. you start recording you enable the track you want to record to You can record audio only to a track not to a bus or output If no track is enabled for recording a new track is created below the existing tracks and the take appears on the new track when you click the Record button To enable a track for recording Click the Record Enable button the red circle in the track s header or Mixer channel strip The Recording tab becomes active and shows the current recording settings You can adjust recording settings before you start recording or between recordings avels Recording Video Recording Meters Details input Device Built in Audio 3 Gain O 0 00 Mi stereo Monitor Device Built in Audio B C Mute Project Disk Space 178 968 Free Chapter 11 Recording Audio in Soundtrack Pro To adjust recording settings In the Recording tab choose the input device and channel or pair of channels from the Input Device pop up menu Choose the device and channel or pair of channels to use for monitoring the recorded audio from the Monitor pop up menu If you want to record without hearing the existing audio clips in the project select the Mute Project checkbox If you want to record in mono deselect the Stereo checkbox The level meters in the Recording tab show the level of the audio signal in the input channel Before recording you may wa
335. zer by clicking the Analyzer button Turning on the Spectrum Analyzer turns off the Goniometer The four buttons below determine what portion of the input signal the Analyzer is displaying You can choose between Left or Right channel only LR max shows the maximum band levels of either channel while Mono displays the levels of the stereo signal summed to mono The View options determine the level represented by the top line of the scale in the display Top range 40 to 20 dB and the overall dynamic range of the Spectrum Analyzer Range range 20 to 80 dB These two parameters can also be set directly in the display By dragging directly on the bar graph you can shift the top line of the display Dragging directly on the dB scale allows you to compress or expand the scale s range The View options are useful when analyzing highly compressed material as you can identify smaller level differences more easily by moving and or reducing the display range There are three display respond modes RMS Slow RMS Fast and Peak RMS Slow and RMS Fast modes show the effective signal average Root Mean Square and offer a good representation of the perceived volume levels Peak mode shows level peaks accurately Goniometer The Goniometer helps you to determine the coherence of the stereo image Using the Goniometer you can see phase problems as trace cancellations along the center line M mid mono Goniometers developed when early two channel oscillo

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