Apple SoundtrackPro3.0 Soundtrack Pro 3 User Manual Pro3

User Manual: Apple SoundtrackPro3.0 SoundtrackPro3-UserManual

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Soundtrack Pro 3
User Manual
Copyright © 2009 Apple Inc. All rights reserved.
Your rights to the software are governed by the
accompanying software license agreement. The owner or
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Apple
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Apple, the Apple logo, Apple Cinema Display, AppleScript,
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Production stills from the film “Koffee House Mayhem”
provided courtesy of Jean-Paul Bonjour. “Koffee House
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http://www.jeanpaulbonjour.com
Welcome to Soundtrack Pro11Preface
About Soundtrack Pro11
About the Soundtrack Pro Documentation12
Additional Resources12
Setting Up Your System15Chapter 1
System Considerations15
Connecting Equipment17
Example Hardware Setups21
The Soundtrack Pro Interface27Chapter 2
Soundtrack Pro Window Organization28
Project Pane35
Toolbar36
Transport Controls36
Timeline37
File Editor41
Mixer43
Multitake Editor45
Conform46
Bin46
Meters Tab48
Recording Tab49
Browser50
Search Tab51
Favorites Tab53
Video Tab54
Project Tab54
Details Tab58
Effects Tab62
Tracks Tab63
Actions Tab64
Analysis Tab65
3
Contents
HUDs66
Basics of Working in Soundtrack Pro69Chapter 3
About Multitrack and Audio File Projects69
Setting Up Your Workspace72
Using Keyboard Shortcuts and Shortcut Menus76
Undoing and Redoing Changes77
About Changing Values and Timecode Entries78
Locating and Adding Audio Files81
About the Bin89
Previewing Audio Files93
Playing Projects95
Using Snapping99
Reconnecting Media Files101
Soundtrack Pro Preferences103Chapter 4
Setting Soundtrack Pro Preferences103
General Preferences105
Project Preferences107
Recording Preferences108
Synchronization Preferences109
Control Surfaces Preferences110
Video Out Preferences111
Working with Multitrack Projects113Chapter 5
Creating, Opening, and Closing Multitrack Projects113
Creating a Multitrack Project from Final Cut Pro Clips or Sequences114
Setting Project Properties114
Setting the Project Length118
Setting Default Locations for Saving Media Files119
Saving Multitrack Projects120
Adding Files to a Multitrack Project121
Clip Properties123
Tracks, Busses, Submixes, and the Master Bus124
Working in the Timeline129Chapter 6
About the Timeline130
Using the Timeline Editing Tools130
Timeline Editing Tools HUD132
Moving Around in the Timeline133
Working with Tracks, Busses, and Submixes in the Timeline140
Selecting Audio Clips in the Timeline152
Selecting the Entire Contents of a Track153
4Contents
Selecting Partial Contents of One or More Tracks154
Cutting, Copying, Pasting, and Removing Audio Clips155
Splitting and Joining Audio Clips157
Spotting Clips to the Timeline160
Moving Clips161
Snapping Clips to Clips on Other Tracks163
Resizing Audio Clips163
Changing the Offset of an Audio Clip166
Creating Fades and Crossfades in the Timeline167
Truncating Overlapping Audio Clips173
Working with Markers174
Transposing Tagged Audio Clips179
Replacing the Source Audio in a Clip179
Replacing Audio with Related Files181
Making Clip Channel Selections181
Combining Separate Clips to Create Multichannel Clips184
Editing Clip and Track Properties184
Editing Audio in the Multitrack Timeline189Chapter 7
How Selection Type Affects Actions189
Editing in Place191
How Clips Are Affected by Media File Editing192
How Source Audio File Editing Works in a Multitrack Project192
Making an Independent Copy of a Clip193
Using the Multitrack Timeline and the File Editor Together193
Editing with the Timeslice Tool196
Processing Audio Clips201
The Lift and Stamp Tools and the Sound Palette201
Working in the File Editor207Chapter 8
About the File Editor207
Opening Audio Files in the File Editor Tab209
Playing Audio Files in the File Editor210
Soloing an Audio File in the File Editor210
Linking the File Editor Selection and the Cycle Region211
Scrubbing Audio Files211
Selecting All or Parts of an Audio File212
Cutting, Copying, and Pasting in the File Editor216
Zooming In and Out in the File Editor218
Editing Audio Files Graphically with Waveform Editing Tools219
Choosing the Sample Units in the File Editor223
Editing Multichannel Files224
Using Frequency Spectrum View226
5Contents
Working with Actions231
Overview of Analyzing and Fixing Problems in an Audio File237
Analyzing and Fixing Problems in an Audio File238
Using the File Editor Project View242
Processing Audio Files251Chapter 9
Choosing Processing Effects252
Fade In253
Fade Out253
Normalize253
Adjust Amplitude254
Silence254
Invert254
Reverse255
Insert255
Time Stretch257
Noise Reduction258
Adding Ambient Noise262
Equalization Matching263
Convert to Mono263
Resample264
Swap Channels264
Edit Channels264
Render to Action266
Working with Audio Effects267Chapter 10
Processing Effects and Realtime Effects267
Working with Effect Presets269
Audio Effects Included with Soundtrack Pro270
Working with Realtime Effects283
Working with Processing Effects293
Using the Multitake Editor295Chapter 11
What Is Automatic Dialogue Replacement?296
Multitake Clips296
Creating Multitake Clips296
Overview of the Multitake Editor297
Editing in the Multitake Editor298
Slipping Take Regions300
Adding and Deleting Takes300
Renaming Takes301
Reordering Takes301
Example: A Multitake Editing Workflow302
6Contents
Basic Mixing in Soundtrack Pro305Chapter 12
Steps in Mixing306
Structuring an Audio Post-Production Project306
Using the Mixer316
Mixing Surround Sound335Chapter 13
What Is 5.1 Surround?335
Creating a Surround Project336
Setting Up Soundtrack Pro for Surround336
Using Surround Panners to Create a Surround Mix341
Surround Mixing Strategies347
Exporting and Delivering 5.1 Surround Projects353
Working with Video in Soundtrack Pro355Chapter 14
Supported Video File Formats356
Adding a Video to a Project356
Playing the Video357
Viewing Video Details360
Working with a Video’s Audio361
Using the Time Display and Time Ruler with Video361
Scrubbing and Spotting with the Multipoint Video HUD362
Removing a Video from a Project365
Working with Automation367Chapter 15
Working with Envelopes367
Recording Automation Data376
Recording Audio in Soundtrack Pro379Chapter 16
Getting Ready to Record379
Recording Audio in the Timeline380
Recording Audio in the Mixer387
Recording Audio in the File Editor Project View387
Creating Podcasts in Soundtrack Pro389Chapter 17
About Podcasts389
Podcasting Media Production390
Displaying the Podcast Track and the Details Tab391
Podcast Marker Information in the Details Tab392
Adding Markers to a Podcast393
Adding Images to a Podcast396
Exporting Podcasts399
7Contents
Using Control Surfaces with Soundtrack Pro403Chapter 18
Connecting Control Surfaces403
Adding and Deleting Control Surfaces404
Premapped Controls406
Mapping Commands to Control Surface Buttons407
Recording Control Surface Automation408
Using Soundtrack Pro with Other Applications409Chapter 19
Using Soundtrack Pro with Final Cut Pro409
Using Soundtrack Pro with DVD Studio Pro421
Using Soundtrack Pro with Motion423
Using Soundtrack Pro with Logic Pro424
Using Soundtrack Pro with Third-Party Applications425
Exporting Multitrack Projects429Chapter 20
About Exporting430
Export File Formats Available in Soundtrack Pro430
About Export Options430
General Export Options432
About Export Options for AIFF, WAVE, and Other Formats434
About MP3 Export Options435
About AAC/Podcast Export Options436
About Dolby Digital Professional (AC-3) Export Options439
About Export Options Using Compressor444
Exporting Part of a Multitrack Project445
Exporting a Master Mix446
Exporting Tracks, Busses, and Submixes Separately454
About Exporting Multiple Mono Files455
Exporting to AAF456
Using Post-Export Actions457
Using Export Presets458
Distributing a Multitrack Project and Its Media Files Together460
Using Conform with Final Cut Pro463Chapter 21
About Conforming Manually463
About Soundtrack Pro Conform463
Conforming a Soundtrack Pro Multitrack Project464
Reviewing and Approving Changes in a Conform Result Project468
Soundtrack Pro Keyboard Shortcuts473Appendix A
General and File474
Layouts, Tabs, and HUDs474
Navigating the Timeline475
8Contents
Project Playback476
Cycle Region476
General Editing477
Editing Audio Clips in the Timeline477
Moving Audio Clips and Envelope Points478
Viewing the Timeline479
Timeline Tools480
File Editor Project View Tools and Commands480
Processing and Editing Audio Files481
Tracks, Busses, and Submixes482
Markers482
Selecting Audio Clips in the Timeline483
Video Out484
Recording484
Using Arrow Keys to Move the Playhead484
Working with Timeslices485
Audio Fundamentals487Appendix B
What Is Sound?487
Digital Audio497
Working with Professional Video and Audio Equipment501Appendix C
Video Interfaces501
Video Signals and Connectors504
Setting Up an Audio Interface508
Audio Connectors, Cables, and Signal Formats514
About Balanced Audio Signals518
Tips for Choosing Speakers and an Amplifier519
Connecting Professional Video Devices521
Connecting Professional Audio Devices525
Working with Apogee Hardware in Soundtrack Pro531Appendix D
Using Apogee Hardware with Soundtrack Pro531
Creating and Saving a New Apogee Configuration531
Specifying Global Parameters in the Apogee Setup Dialog532
Specifying Units Parameters in the Apogee Setup Dialog533
Using a Previously Saved Configuration537
Choosing a Configuration Saved with a Project538
Solving Problems539Appendix E
Resources for Solving Problems539
Solutions to Common Problems539
Contacting AppleCare Support541
9Contents
Most experienced film and television producers know that “audio is more than half the
picture.” The art and techniques of sound recording, dialogue editing, sound effect
recording and placement, mixing, and sound design play a substantial role in how
audiences perceive the (visual) quality of a film or video. Soundtrack Pro is designed to
serve the art of motion picture sound post-production. Like the other applications in
Final Cut Studio, Soundtrack Pro was created for the film and video industry. Soundtrack Pro
gives you many specialized tools and powerful features that you can use to create
high-quality audio.
Most audio applications focus on multitrack editing or waveform editing, but not both.
Furthermore, most waveform editing applications handle media destructively—making
permanent changes to your media files. Soundtrack Pro provides the best of both worlds:
nondestructive waveform editing while working in a multitrack project.
This preface covers the following:
•About Soundtrack Pro (p. 11)
•About the Soundtrack Pro Documentation (p. 12)
•Additional Resources (p. 12)
About Soundtrack Pro
Soundtrack Pro provides film and video professionals streamlined workflows for editing
everything from individual audio files to large multitrack sound projects, including
synchronizing audio and video, editing sound in place, working with automatic dialogue
replacement (ADR), analyzing and fixing common audio problems like clicks and pops,
and creating stereo and surround sound design. Add interoperability with the other
applications in Final Cut Studio to this list of features, and you have a professional-quality
audio application designed to meet the needs of the most discerning audio editors and
mixers.
11
Welcome to Soundtrack Pro
Preface
Soundtrack Pro features two types of projects: audio file projects and multitrack projects.
You use audio file projects to edit individual audio files. This is sometimes known as
waveform editing. However, unlike most waveform editing applications, Soundtrack Pro
allows you to edit your audio files nondestructively by keeping track of the actions you
have performed on your audio file. You can edit down to the file’s individual sample level
and perform tasks ranging from audio repair to sound design. You can perform edits
nondestructively using actions, which include processing effects and other operations.
You can analyze audio files for a range of common audio problems, including clicks and
pops, hum, and phase issues, and automatically fix problems that are found.
Multitrack projects look and function similarly to Final Cut Pro projects. You arrange a
multitrack project’s audio clips on the tracks in the Timeline. Multitrack projects contain
the features you expect from a high-performance and professional-quality audio editor,
including features to synchronize audio and video, work with ADR and multitake editing,
and automate volume, pan, and other changes over time using envelopes. You can record
over multiple channels to the Timeline or the File Editor or to multiple tracks in the
Timeline.
About the Soundtrack Pro Documentation
Soundtrack Pro comes with various documentation that will help you get started as well
as provide detailed information about the application.
•Soundtrack Pro User Manual: This is a comprehensive document that 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 is written
for users of all levels of experience.
•Soundtrack Pro Effects Reference: Soundtrack Pro includes a comprehensive collection
of powerful effect plug-ins. This document introduces you to the individual effects and
their parameters.
Additional Resources
Along with the documentation that comes with Soundtrack Pro, there are a variety of
other resources you can use to find out more about Soundtrack Pro.
Soundtrack Pro Website
For general information and updates, as well as the latest news on Soundtrack Pro, go
to:
•http://www.apple.com/finalcutstudio/soundtrackpro
12 Preface Welcome to Soundtrack Pro
Apple Service and Support Websites
For software updates and answers to the most frequently asked questions for all Apple
products, go to the general Apple Support web page. You’ll also have access to product
specifications, reference documentation, and Apple and third-party product technical
articles.
•http://www.apple.com/support
For software updates, documentation, discussion forums, and answers to the most
frequently asked questions for Soundtrack Pro, go to:
•http://www.apple.com/support/soundtrackpro
For discussions forums for all Apple products from around the world, where you can
search for an answer, post your question, or answer other users’ questions, go to:
•http://discussions.apple.com
13Preface Welcome to Soundtrack Pro
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.
For information on system and hardware requirements, see the Read Before You Install
document on the installation DVD.
For information on installing the software, see the Installing Your Software booklet.
This chapter covers the following:
•System Considerations (p. 15)
•Connecting Equipment (p. 17)
•Example Hardware Setups (p. 21)
System Considerations
To achieve the most effective results, you should consider the following issues when
setting up your system:
• Editing and managing digital audio files can require intensive processing by your
computer. For more information, see Processor Speed and RAM.
• Storing digital audio files can require a large amount of hard disk space. For more
information, see Hard Disks.
• To make the most of Soundtrack Pro, you may wish to use a variety of audio input and
output devices. For more information, see Setting the Audio Input and Output and
Audio MIDI Setup.
• Audio units plug-ins from other manufacturers can extend the capabilities of
Soundtrack Pro. For more information, see Adding Audio Units Plug-ins to Your
Computer.
15
Setting Up Your System 1
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.
Hard Disks
In addition to having a computer with a fast processor and a lot of extra RAM, 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. Hard disk performance is a critical aspect of your editing system: the storage
capacity and data rate of your disks must match or exceed the requirements of the audio
(and video) formats you are using.
If you store media files on an external hard disk, make sure the disk has a fast enough
seek time and a high enough sustained data transfer rate for use with video and audio
files. Consult the manufacturer’s specifications.
Important: 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 in Soundtrack Pro, you may want to record to a hard disk dedicated to
storage for your Soundtrack Pro projects.
Setting the Audio Input and Output
You can set the default input and output devices for Soundtrack Pro with the Audio MIDI
Setup utility.
To select a default output device
Do one of the following:
µDouble-click Audio MIDI Setup in the Utilities folder, then choose the device from the
Default Output pop-up menu.
µChoose Apple menu > System Preferences, click Sound, then click Output. Select the
audio interface in the list that appears.
16 Chapter 1 Setting Up Your System
To select a default input device
Do one of the following:
µDouble-click Audio MIDI Setup in the Utilities folder, then choose the device from the
Default Input pop-up menu.
µChoose Apple menu > System Preferences, click Sound, then click Input. Select the audio
interface in the list that appears.
Audio MIDI Setup
The Audio MIDI Setup utility is a program that comes with Mac OS X for adjusting a
computer’s audio input and output settings and managing MIDI devices. You can select
audio channel input and output devices, configure output speakers, set clock rates, and
control levels. You may also be able to open a configuration utility provided by your audio
device.
For more information, go to http://developer.apple.com/audio/overview.html.
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 Units 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.
Connecting 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. For general information about
connecting a control surface to your computer, see Connecting Control Surfaces.
Final Cut Studio editing systems can be configured to meet the most demanding
professional requirements. An advanced editing system can be built by expanding the
basic system described in the Final Cut Pro User Manual. The following list includes
equipment commonly used in Final Cut Studio editing systems:
•Macintosh computer with Final Cut Studio installed: The core of your editing system
•Professional video and audio devices: For capturing footage and outputting finished
projects. (For more information about video and audio devices, see Working with
Professional Video and Audio Equipment.)
17Chapter 1 Setting Up Your System
•External video and audio monitors: For viewing and listening to your program in its final
image and audio quality
•Video and audio interfaces: For connecting professional and non-FireWire devices to
your editing system
•RS-422 serial device control interfaces: For remote device control during capture and
output
•Video, audio, and remote device control cables: For separate video, audio, and remote
device control connections. Unlike a basic DV editing system that uses a solitary FireWire
cable to transfer video, audio, and remote control signals, many professional
configurations require separate cables for each of these signals.
•Additional scratch disks: One or more internal or external hard disks, a RAID, or a
connection to a storage area network (SAN)
•Control surfaces: Hardware controls that let you mix and edit your projects with greater
flexibility and precision than using a mouse to move onscreen controls
Video and Audio Input and Output Devices
An input device is used to transfer footage into your computer. For output, you record
your finished movie to an output device. Basic editing systems use a DV camcorder or
deck as both an input and output device. Professional editing systems may use multiple
video decks to capture and output to different video formats. Although Soundtrack Pro
does not support video capture from devices such as camcorders or VTRs, it does support
recording from a variety of digital audio devices.
To connect non-FireWire devices to your computer, you also need a third-party video or
audio interface. For more information, see Video Interfaces.
Video Device
This is a VTR or camcorder you connect to your computer to capture and output media.
The connectors and signal format on your video device determine what kind of video
interface your computer needs to connect to your device.
Audio Device
This is a device, such as a digital audio tape (DAT) recorder or multitrack audio recorder,
that lets you capture or output audio independently from video.
18 Chapter 1 Setting Up Your System
Note: When using external audio devices, it’s a good idea to connect them before opening
Soundtrack Pro.
Video and Audio Interfaces
An interface is a device that adds physical video or audio connectors to your computer
so that you can connect your Final Cut Studio system to other professional equipment
(such as video or audio decks and monitors).
Interfaces provide input and output connectors that aren’t included with your computer.
For example, if you want to output multiple audio channels to an analog audio mixer or
digital multitrack, you need an audio interface that has XLR, 1/4" tip-ring-sleeve (TRS),
AES/EBU, or ADAT Lightpipe output connectors.
You may also want to consider adding a third-party interface to your system if:
• You need to capture or output many audio channels at once
• You are integrating Final Cut Studio into a professional broadcast environment that
requires SDI, HD-SDI, or other non-FireWire video and audio connections
• You need to capture, edit, and output full-resolution, uncompressed video signals
instead of DV video (which is compressed)
• You are digitizing video from an older analog VTR (such as a Betacam SP deck) that
does not have digital video outputs or remote control via FireWire
Third-party video and audio interfaces can be installed in one of your computer’s PCI
Express slots, connected to the USB port, or connected via FireWire.
For more information about selecting and connecting an audio interface for use with
Soundtrack Pro, see Setting Up an Audio Interface.
External Audio and Video Monitoring
In the final stages of post-production, external video and audio monitors are essential to
ensure the quality of your movie. Editing systems focused on these final phases of
post-production are often called finishing systems.
19Chapter 1 Setting Up Your System
External Audio 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. During the final
mix, it is important to monitor your audio so that it matches the listening environment
where the final project will be shown. For detailed information on connecting external
speakers to your audio interface, see the documentation that came with the speakers.
Setting Up a Proper Audio Monitoring Environment
Room shape and material are just as important as the quality of the speakers themselves.
Every surface in a room potentially reflects sound, and these reflections mix together
with the sound originating from the speakers. Rooms with parallel walls can create standing
waves, which are mostly low-frequency sound waves that reinforce and cancel each other
as they bounce back and forth.
Standing waves cause some frequencies to be emphasized or attenuated more than
others, depending on your listening position. When you mix in a room that creates
standing waves, you may adjust certain frequencies more than necessary. However, you
may not notice until you play back your audio in a different listening environment, in
which those frequencies may sound overbearing or nonexistent.
Tip: A much cheaper alternative to building new walls is to mount angled pieces of
material to the existing walls to eliminate parallel surfaces.
If the material in a room is very reflective, the room sounds “brighter” because high
frequencies are easily reflected. Mounting absorbing material (such as acoustic foam) on
the walls can reduce the brightness of a room. A “dead room” is one that has very little
reflection (or reverberation). Try to cover any reflective surfaces in your monitoring
environment.
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.
20 Chapter 1 Setting Up Your System
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 preamplification
for microphones, making the use of a separate amplifier unnecessary.
Control Surfaces
Soundtrack Pro supports control surfaces that use the Mackie Control, Logic Control, and
Euphonix EuCon protocols. For information on connecting and using control surfaces,
see Using Control Surfaces with Soundtrack Pro.
External Video Monitors
When you design and edit a video soundtrack, it’s ideal to watch the video on a monitor
similar to the one you will use for the final screening. An external video monitor can
display color, frame rate, and interlaced scanning more accurately than your computer
display. (For information on connecting professional video devices, see Connecting
Professional Video Devices.)
If you are working on an NTSC or a PAL project, you should watch it on an external video
monitor that shows the video interlaced. For more information about external video
monitoring, see the Final Cut Pro User Manual.
Example Hardware Setups
The following sections provide several examples of different hardware setups:
•Setup with Powered Speakers
•Setup with a USB Audio Interface
•Setup with a FireWire Interface and a Control Surface
•Setup with a Video Output Device
•Setup with a PCI Express Video Interface Card with Breakout Box
•Setup for Stereo Mixing
•Setup for Surround Mixing
21Chapter 1 Setting Up Your System
Setup with Powered Speakers
With this setup, you can monitor the audio output through a set of connected powered
speakers.
This setup uses the following equipment:
• Your computer and display
• A set of powered speakers, including speaker wire and a power adaptor
Speakers
Speaker cables
Power cables
Computer
Setup with 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:
• Your computer and display
• USB audio interface (from 2 to 8 channels) with USB cable to connect to your computer
• Microphone
• Musical instruments (guitar, bass, and keyboard)
• Cables to connect microphones and instruments to the audio interface
• Set of monitors or speakers
Monitors
Audio interface
USB
cable
Speaker
cables
Microphone
Instrument
Computer
Power cables
22 Chapter 1 Setting Up Your System
Setup with a FireWire Interface and a Control Surface
With this setup, you can record audio input from several sources simultaneously and
monitor audio output channels independently, through a mixer connected to a FireWire
audio interface.
This setup uses the following equipment:
• Your computer and display
• FireWire audio interface with FireWire cable to connect to your computer
• Control surface and MIDI interface with USB cable to connect MIDI interface to your
computer
• MIDI cables to connect control surface to MIDI interface
• Set of powered monitors or speakers
• Speaker cables
Monitors
Control surface
Audio interface
FireWire
cable
Speaker cables
Computer
Power cables
Midi interface
Setup with 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, and switch between the two setups.
This setup uses the following equipment:
• Your computer and display
• Video output device (FireWire device or PCI Express card)
• High-quality video monitor
23Chapter 1 Setting Up Your System
• Audio monitors
Computer
Video output device
FireWire
cable
Audio monitors
Speaker
cables
Mixer
Video monitor
Setup with a PCI Express Video Interface Card with Breakout Box
Many PCI Express cards aren’t big enough to fit all of the necessary video and audio
connectors. In these situations, a breakout box is connected to the PCI Express card via
a multipin connector on a long cable, and the connectors are accessible on the breakout
box instead of on the back of the PCI Express card. A breakout box is also useful because
it allows you to place the connectors somewhere more convenient than the back of your
computer, such as on an equipment rack or a desktop.
This setup uses the following equipment:
• Your computer and display
• Video interface (PCI Express card with breakout box)
• High-quality video monitor
• Audio speakers
Breakout boxComputer
(with PCI Express card)
Analog or digital VTR
BNC
connector
24 Chapter 1 Setting Up Your System
Setup for Stereo Mixing
By default, Soundtrack Pro is set up for stereo mixing. Most video editing suites use
nearfield monitors, which are speakers designed to be listened to at fairly close range.
Speakers should be at least a foot or two away from any walls to prevent early reflections
of sound that combine with and muddy the original sound.
Position the speakers as far from your listening position as they are from each other
(forming an equilateral triangle). For example, if the distance between the speakers is six
feet, you should place yourself six feet from each speaker. The apparent width of the
sound stage,orstereo image, increases as the distance between the speakers increases.
However, if the two speakers get too far apart, sound information appearing in the center
(between both speakers) starts to disappear.
Setup for Surround Mixing
For complete instructions on setting up the surround mixing tools in Soundtrack Pro, see
Setting Up Soundtrack Pro for Surround.
25Chapter 1 Setting Up Your System
Soundtrack Pro is designed to handle every aspect of creating audio for a video or film
project, from multitrack recording to advanced audio processing and mixing. You can
use Soundtrack Pro together with Final Cut Pro as a complete audio post-production
solution that is powerful, yet also elegant and flexible.
This chapter covers the following:
•Soundtrack Pro Window Organization (p. 28)
•Project Pane (p. 35)
•Toolbar (p. 36)
•Transport Controls (p. 36)
•Timeline (p. 37)
•File Editor (p. 41)
•Mixer (p. 43)
•Multitake Editor (p. 45)
•Conform (p. 46)
•Bin (p. 46)
•Meters Tab (p. 48)
•Recording Tab (p. 49)
•Browser (p. 50)
•Search Tab (p. 51)
•Favorites Tab (p. 53)
•Video Tab (p. 54)
•Project Tab (p. 54)
•Details Tab (p. 58)
•Effects Tab (p. 62)
•Tracks Tab (p. 63)
•Actions Tab (p. 64)
27
The Soundtrack Pro Interface 2
•Analysis Tab (p. 65)
•HUDs (p. 66)
Soundtrack Pro Window Organization
There are several panes that comprise the Soundtrack Pro window that you’ll use while
you are creating audio projects. You may want to open Soundtrack Pro so you can view
these panes and familiarize yourself with the interface.
To open Soundtrack Pro
µIn the Finder, double-click the Soundtrack Pro icon in the Applications folder.
You may also choose to add the Soundtrack Pro icon to the Dock for easier access. For
more information, see Mac Help.
The Soundtrack Pro window is arranged into several areas.
Left pane
Project pane
Lower pane
Transport controls (project pane)
Right pane
•Project pane: This is reserved as the central “canvas” for the multitrack Timeline and
for individual audio file projects.
•Left, lower, right panes: Task-specific tabs are docked in the left, lower, and right panes.
By default, the tabs are grouped by function and are laid out for a streamlined audio
post-production workflow.
•Transport controls: Use these controls at the bottom of the window to play back projects
that you open in the project pane.
28 Chapter 2 The Soundtrack Pro Interface
Below is the standard, default layout of the Soundtrack Pro window. You can easily
rearrange the tabs and resize the panes to suit your needs and then save the custom
layouts for future use.
Video tab
Details tab
Toolbar
Standard layout
Meters tab
Browser tab
Transport controls Mixer tab
Note: At any time, you can revert to the default layout by choosing Window > Layouts
> Standard, or pressing F1. Also, you can save any custom layouts you create. For more
information on managing layouts, see Using Project Layouts.
29Chapter 2 The Soundtrack Pro Interface
Showing and Hiding the Panes
Tabs are grouped by function to optimize your workflow. For example, the media tabs
related to input and output functions (Meters, Recording, Search, Browser, and Favorites)
are located in the right pane by default. When you are finished with media input, you
can close the entire right pane by choosing Window > Toggle Right Pane, and thereby
allow more horizontal space for the project pane and the lower pane. If you hide a pane,
then later choose to show a tab that is in the hidden pane, the pane reappears and shows
all tabs in that pane.
30 Chapter 2 The Soundtrack Pro Interface
Or, for example, you may wish to work exclusively in the Timeline or the File Editor project
view and dedicate the entire Soundtrack Pro window to that view.
Timeline view
File Editor view
31Chapter 2 The Soundtrack Pro Interface
Because hiding and showing different panes of the Soundtrack Pro window is so
convenient, you will probably use this feature frequently during the course of a project.
Press Control–A to toggle the left pane, Control–S to toggle the bottom pane, and
Control–D to toggle the right pane. For more information, see Soundtrack Pro
Keyboard Shortcuts. The default toolbar also contains buttons to toggle the appearance
of the panes.
If your portable computer has a Multi-Touch trackpad, you can use the swipe gesture to
show and hide panes. A swipe is quickly sliding one or more fingers across a Multi-Touch
trackpad. Swipe left and right to show and hide the left pane or right pane. The pane
affected by horizontal swipe gestures is determined by the Horizontal Swipe Gesture
Affects preference setting in Soundtrack Pro Preferences. For more information, see
General Preferences. Using the swipe gesture up or down shows or hides the bottom
pane.
32 Chapter 2 The Soundtrack Pro Interface
Showing and Hiding Tabs
In addition to showing and hiding entire panes, you can also choose to show and hide
individual tabs in panes. You can toggle the appearance of individual tabs by choosing
Window > Tab and then choose the name of the tab you wish to show or hide. A
checkmark next to a tab in the menu list indicates the tab is currently showing. If a tab
is part of a hidden pane, and you choose to show the hidden tab, the pane holding the
tab reappears with all tabs in that pane.
Tab menu
33Chapter 2 The Soundtrack Pro Interface
Rearranging Tabs
At any time, you can rearrange the layout by tearing off individual tabs and docking them
in other panes, or simply have them float over the Soundtrack Pro window. There are
numerous possible combinations. Mix and match the tabs to suit your particular workflow
needs.
The Meters, Search, and
Browser tabs have been
moved from the right
pane and docked in
the left pane.
34 Chapter 2 The Soundtrack Pro Interface
Project Pane
The project pane is the central “canvas” where you work on your projects in either the
multitrack Timeline or the File Editor project view. Use the Timeline (shown below) to
arrange audio clips in multitrack projects. Use the File Editor project view for individual
audio file projects.
Tabs
Playhead Location
value slider
Monitor Volume slider
Mono Mix button
Transport
controls
Toolbar
Selection Length
value slider
•Tabs: You can switch between any projects open in the Timeline or File Editor project
view.
•Toolbar: Includes tools for common functions. You can customize which tools appear
in the Toolbar.
•Monitor Volume slider: Adjusts the overall monitor volume when you play the project.
The volume level defaults to 0 dB when you create a project. Adjusting the Monitor
Volume slider does not affect the mix signal or the export volume.
•Mono Mix button: Click to listen to a temporary mono mix of the project.
•Playhead Location value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
•Transport controls: Control playback and the position of the playhead, and turn recording
on or off. (For more information, see Transport Controls.)
•Selection Length value slider: Displays the length of the current Timeslice (in the Timeline)
or selection (in the File Editor). You can change the Timeslice or selection length by
clicking the arrows, dragging, or typing a value.
35Chapter 2 The Soundtrack Pro Interface
Toolbar
The Toolbar is located at the top of the Soundtrack Pro window. When you first open
Soundtrack Pro, the Toolbar includes buttons for creating a new project, creating a new
audio file, creating a new track, 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.
Transport Controls
You use the transport controls to control playback, set the position of the playhead, start
recording, and activate the cycle region. For information on using the transport controls,
see Controlling Playback with the Transport Controls.
Go to End
Record
Play from Beginning
Play/Pause
Playhead Location
value slider
Go to Beginning
Previous Frame
Cycle
MIDI Sync
Next Frame
Selection Length
value slider
•Playhead Location value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
•Record button: Starts and stops the recording process, and arms tracks for recording
when no tracks are pre-armed.
•Play from Beginning button: Starts playback from the beginning of the last playback
start.
•Go to Beginning button: Sets the playhead to the closest of the following items to the
left of the playhead: the beginning of the last playback start, the beginning of the cycle
region, or the beginning of the project.
•Previous Frame button: Click this to move the playhead to the previous frame.
•Play/Pause button: Starts playback at the current playhead position. If the project is
playing, stops playback.
•Next Frame button: Click this to move the playhead to the next frame.
36 Chapter 2 The Soundtrack Pro Interface
•Go to End button: Sets the playhead to the closest of the following items to the right
of the playhead: the end of the cycle region, the position of the last playback stop, or
the end of the project.
•Cycle button: Activates the cycle region, if one is set in the Time ruler. If no cycle region
is set, loops the project.
•MIDI Sync button: Synchronizes playback with incoming MIDI Clock and MIDI Timecode
(MTC) signals.
•Selection Length value slider: Displays the length of the current Timeslice (in the Timeline)
or selection (in the File Editor). You can change the Timeslice or selection length by
clicking the arrows, dragging, or typing a value.
Timeline
The Timeline gives you a visual representation of a multitrack project, showing the position
of clips, the playhead, and other items in time. You can add and arrange audio clips in
the audio tracks, use sends to create auxiliary busses, and route audio to physical output
channels using submixes. You can control the sound of each audio track, bus, and submix
using the controls in its header.
Timeline controls
Scroll bar
Audio tracks, busses,
and submixes
Track area
Headers
37Chapter 2 The Soundtrack Pro Interface
Overview of Timeline Controls
The Timeline is organized into three groups of horizontal rows called tracks,busses, and
submixes, as well as a video track, a podcast track, and a Master bus.
Time display
Previous and Next
Selection buttons
Timeline editing tools
Time ruler
Show pop-up menu
Automation Mode
pop-up menu
Project controls
Global Timeline view
Default Nudge Amount
pop-up menu
•Previous and Next Selection buttons: Move backward and forward through Timeslice
selections you’ve made in the waveform display.
•Timeline editing tools: Select items using the Selection (arrow) tool, make time-based
selections with the Timeslice tool, split audio clips using the Blade and Blade All tools,
copy and paste attributes with the Lift and Stamp tools, and scrub the Timeline with
the Scrub tool. For more information, see Using the Timeline Editing Tools.
•Automation Mode pop-up menu: Choose the mode for recording automation using
either the onscreen controls or an external control surface.
•Project controls: Set the project’s sample rate and other properties using these controls.
•Show pop-up menu: Choose whether the video track, podcast track, audio tracks, busses,
submixes, and master envelopes are visible in the Timeline.
•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.
38 Chapter 2 The Soundtrack Pro Interface
•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.
•Track area: Includes horizontal rows for tracks, busses, and submixes. Also includes the
playhead, envelopes, and markers.
•Headers: Each track, bus, and submix has a header with an icon, name, volume slider,
and other controls. (For more information, see Headers.)
•Additional Timeline controls: Include controls to show the master envelopes, turn
snapping on or off, set the track height, and zoom in or out. For more information, see
Additional Timeline Controls.
•Scroll bar: Moves the Timeline horizontally so you can see different parts of the project.
Additional Timeline Controls
The lower-left corner of the project pane contains controls for various aspects of Timeline
display and operation.
Master Envelopes button
Height control
Zoom control
Snapping button
Snap to Value
pop-up menu
•Master Envelopes button: In the Timeline, shows or hides the master envelopes. In the
File Editor project view, shows or hides the envelopes for the current audio file project.
For information about using master envelopes, see Master Bus.
•Snapping button: Turns snapping on or off. For information about snapping, see Using
Snapping.
•Snap To Value pop-up menu: Sets the value to which items in the Timeline snap.
•Height control: Sets the height of tracks, busses, and submixes to one of four settings,
from Reduced to Large. In the File Editor project view, sets the height of the envelopes
for the current audio file project to one of four settings, from Reduced to Large. For
more information, see Setting Track Height.
•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 more
information, see Using the Zoom Control.
39Chapter 2 The Soundtrack Pro Interface
Headers
Each track, bus, and submix in the Timeline has a header that includes the track name,
track icon, and a set of track controls. For detailed information on using the track controls,
see About the Track Controls.
Name field
Mute
button
Color label
Submix pop-up menu
Solo button
Envelopes disclosure
triangle
Panner
Icon
Arm for Recording
Bypass
Effects
Input Routing buttons
Volume
slider
Input menu
•Color label: Indicates the track color, which is applied to any clips on the track (unless
you choose to override the color for individual clips).
•Icon: You can choose an icon for the track, bus, or submix, making it easy to quickly
distinguish it in a large project.
•Name field: You can type a new name for the track, bus, or submix in the name field.
You cannot rename the Master bus.
•Bypass Effects button: Select this button to hear the track without any of the applied
realtime effects.
•Arm for Recording button: Enables (or disables) the track for recording when you click
the Record button. Only tracks have Arm for Recording buttons, not busses or submixes.
•Mute button: Mutes (or unmutes) the track, bus, or submix.
•Solo button: Solos (or unsolos) the track, bus, or submix. Soundtrack Pro supports both
multiple solo and exclusive solo.
•Envelopes disclosure triangle: Shows the track, bus, or submix envelopes in the area
directly below the track.
•Volume slider: Sets the track, bus, or submix relative volume in the overall mix.
•Submix pop-up menu: Choose a submix for the track or bus from the menu. (Tracks and
busses only.)
•Input Device pop-up menu: Use the Input Device pop-up menu to choose the recording
input device, and its Channels submenu to choose the channel (or set of channels).
Note: This is visible only when the track height is set to Medium or Large.
40 Chapter 2 The Soundtrack Pro Interface
•Input Routing buttons: Use the Input Routing buttons to confirm or change recording
input signal routing.
Note: This is visible only when the track height is set to Medium or Large.
•Output pop-up menu: Choose the physical outputs for the submix from the menu.
Submixes only. (Not shown in the illustration.)
•Panner: Sets the pan position of the track or bus. Has two modes: stereo slider or
surround panner. Appears in track and bus headers only, not in submix headers or the
Master bus header.
File Editor
You can edit individual audio files in the File Editor using actions. Actions give you a
powerful and flexible way to edit audio files nondestructively using professional audio
processing effects and other 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 File Editor and fix common audio problems, including clicks and
pops, hum, and phase problems. The File Editor can take two forms: the File Editor project
view, for detailed work on individual audio files, and the File Editor tab, for convenient
editing within the context of a multitrack project.
Waveform editing tools
Time display
Playhead Location
value slider
Monitor volume slider
Waveform View and
Frequency Spectrum
View buttons
Global Waveform
view
Default Nudge Amount
pop-up menu
Actions tab
Waveform display
Previous and Next
Selection buttons
Transport controls
Automation mode
pop-up menu
Playhead
•Waveform editing tools: Include the Selection, Sample Edit, Audio Stretching, and Zoom
tools that you can use to graphically edit audio files.
41Chapter 2 The Soundtrack Pro Interface
•Automation Mode pop-up menu: Choose the automation mode from the pop-up menu.
•Previous and Next Selection buttons: Move back and forward through selections you’ve
made in the waveform display.
•Default Nudge Amount pop-up menu: Sets how far objects are moved when using the
nudge command.
•Waveform View and Frequency Spectrum View buttons: Change the display between
Waveform view and Frequency Spectrum view.
•Time display: 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 Frequency Spectrum view). You can select parts of the audio
file to apply different actions to.
•Transport controls: Control playback and the position of the playhead, and turn recording
on or off. (For more information, see Transport Controls.)
•Playhead: Shows the part of the audio file currently playing.
•Monitor Volume slider: Adjusts the overall monitor volume when you play the project.
The volume level defaults to 0 dB when you create a project. Adjusting the monitor
volume slider does not affect the mix signal or the export volume.
•Mono Mix button: Click to listen to a temporary mono mix of the project.
•Playhead Location value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
•Actions tab: Displays the currently applied actions.
42 Chapter 2 The Soundtrack Pro Interface
Mixer
You mix your project in the Mixer. All tracks, busses, and submixes (as well as the Master
bus) have channel strips in the Mixer with volume controls, mute and solo buttons, slots
for adding effects, and other controls. You can view the levels for tracks, busses, submixes,
and the Master bus using level meters in their channel strips. You can also record audio
and automate volume and pan changes in the Mixer.
Channel strips
Channel Strip and Mixer
pop-up menus
Automation Mode
pop-up menu
Mixer Controls
The Mixer controls are located at the top of the Mixer window.
•Automation Mode pop-up menu: Choose the automation mode from the pop-up menu.
•Channel Strip and Mixer pop-up menus: Show or hide different sections of the channel
strips and of the Mixer window.
•Channel strips: Each track, bus, and submix has a channel strip with controls and level
meters.
43Chapter 2 The Soundtrack Pro Interface
Channel Strip Controls
Each channel strip includes the following controls:
Icon
Effects slots
Solo button
Panning controls
Color label
Arm for Recording
button
Name
Mute button
Bypass Effects button
Volume fader
Volume value slider
Level meters with
peak indicator
Submix pop-up menu
•Color label: Indicates the track color, which is applied to any clips on the track (unless
you choose to override the color for individual clips).
•Name field: You can type a new name for the channel strip.
•Icon: Icons let you visually distinguish channel strips in the Mixer. Double-click an icon
to change it.
•Effects slots: Show the effects and sends for the channel strip, and let you add effects
and sends.
•Panning controls: Set the pan position of a track or bus. In surround mode, drag
anywhere inside the black circle to position the puck. In stereo mode, drag the pan
slider left or right or change the value in the value slider. You can automate pan changes
by setting the appropriate automation mode for the project. These appear in track and
bus channel strips only, not in submix channel strips.
44 Chapter 2 The Soundtrack Pro Interface
•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.
•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.
•Arm for Recording button: Click to enable the track for recording. When you click a
track’s Arm for Recording button, the Recording tab appears, showing the track’s current
recording settings. The button appears in track channel strips only, not in bus or submix
channel strips.
•Mute button: Click to mute (or unmute) the channel strip.
•Solo button: Click to solo (or unsolo) the channel strip.
•Submix pop-up menu: Choose a submix for the track or bus from the menu. (Tracks and
busses only.)
•Output pop-up menu: Choose the outputs for the submix from the menu. Submixes
only. (Not shown in the illustration.)
Multitake Editor
Use the Multitake Editor to edit multitake and synced audio that is created by performing
multitake recording (such as in automatic dialogue replacement, or ADR). This tool allows
you to easily mix and match parts of different takes. Once you are done editing a multitake
clip, you can collapse it into a single clip, hiding the constituent edits that are not relevant
to the surrounding multitrack Timeline.
For more information about the Multitake Editor, see Using the Multitake Editor.
Take editing tools
Comp track
Take tracks
45Chapter 2 The Soundtrack Pro Interface
Conform
The Conform tool helps sound editors handle picture changes. Conforming a sequence
is the act of incorporating changes sent from the picture editor into a different, changed
version of a sequence being used by the sound editor. The sound editor revisits all of the
audio edits, ensuring that they line up with new video footage and inserting or deleting
any added or deleted media. Soundtrack Pro Conform makes this merging procedure
more efficient and less tedious.
For more information about the Conform tool, see Using Conform with Final Cut Pro.
Bin
The Bin tab lists information about items in all open projects. The Bin provides a
hierarchical display of projects, their media files, and other information about each item,
including duration, timecode, sample rate, Timeline information, and so on. You can drag
files from the Bin tab to the Timeline. You can add files to the Bin for easy access at any
time. The Bin also features sort and search functions to help you locate an item in any
open project.
46 Chapter 2 The Soundtrack Pro Interface
For more information about the Bin, see About the Bin.
Item list
Preview controls Media pop-up menu
Items pop-up menu Columns pop-up menu
•Item list: Displays the files, clips, markers, and podcasts in the currently open projects.
•Items pop-up menu: Choose what types of items (files, clips, markers, or podcasts) to
display in the Bin.
•Columns pop-up menu: Choose what types of columns of information (Timeline
information, audio clip information, file information, metadata tags, music information,
or iXML metadata) to display in the Bin. For more information about the iXML metadata
specification, see the iXML website at http://ixml.info.
•Preview controls: Include a Play button, a volume slider, and a “Preview on selection”
button. For information on using the preview controls, see Using the Preview Controls.
•Media pop-up menu: Choose menu items to Show in Timeline, Spot to Timeline, open
a file in the File Editor, and perform other functions.
47Chapter 2 The Soundtrack Pro Interface
Meters Tab
The Meters tab displays mono, stereo, multichannel, and surround level meters that you
can use to observe the volume of all submixes assigned to physical outputs or the overall
output for an audio file project. For information on using the Meters tab, see Setting the
Overall Project Volume Level.
Reset button
Peaks Value and Location
display
Level meters
6-channel meter
2-channel meter
•Level meters: Show the output volume of the overall project as the project plays.
•Peaks Value and Location display: Displays the highest (peak) value played for each jack
and its timecode. Double-click any item in the Peaks Value and Location display to
move the playhead to that point in the Timeline.
•Reset button: Resets all items in the Peaks Value and Location display.
48 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
Arm for Recording button, the Recording tab appears, displaying the track’s current
recording settings. For information on using this tab, see Recording Audio in the Timeline.
Level meter
Peak indicator
Input device pop-up menu
Monitor Device pop-up menu
Configure Device button
Input channel pop-up menu
Mute Project checkbox
Input Routing buttons
Track pop-up menu
•Peak indicator: Shows the highest level reached by the recording input signal. If the
level rises above 0 dB, the peak indicator becomes red to indicate clipping.
•Track pop-up menu: Displays the recording settings for the selected track.
•Level meters: Show the input volume for the selected track during recording. Adjust
automatically to the number of channels and the channel valence selected in the Input
Channel pop-up menu.
•Input Device pop-up menu: Choose the input device for recording.
•Input Channel pop-up menu: Choose the input channel (or channels) for recording.
•Input Routing buttons: Use the Input Routing buttons to route the input signal to
different channels.
•Configure Device button: Opens the Audio MIDI Setup utility for adjusting the computer’s
audio input and output configuration settings, or setting up software specific to your
audio interface.
•Monitor Device pop-up menu: Choose the output device and output channel (or channels)
for monitoring during recording.
•Mute Project checkbox: Select to mute the project during recording, so you hear only
the sound being recorded.
49Chapter 2 The Soundtrack Pro Interface
Browser
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. For information on using the Browser, see Using Favorites to Locate Files.
Preview controls
Path pop-up menu
Media pop-up menu
Tabs
Back and Forward
buttons
File list
Computer button
Home button
•Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.
•Computer button: Displays your computer’s hard disk and other storage media connected
to your computer.
•Home button: Displays the contents of your home directory.
•Path pop-up menu: Displays the levels of the file path to the current location, letting
you move back to a previous level.
•File list: Displays the files and folders at the current location.
•Preview controls: Include a Play button, a volume slider, and a “Preview on selection”
button. For information on using the Preview controls, see Using the Preview Controls.
•Media pop-up menu: Choose menu items to add a Favorite, add a file to the Bin, open
a file in the File Editor, and perform other functions.
50 Chapter 2 The Soundtrack Pro Interface
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. The Search tab has two views,
Column view and Button view. For more information, see Search Views.
Matches list
Scale Type pop-up menu
Setup button
Keywords list
Column View button
Time Signature
pop-up menu
File Type pop-up menu
Category pop-up menu
Button View button
Search Text field
Nearby Keys button
Search Results list
Preview controls
Media pop-up menu
•Button and Column View buttons: Change the view to either Button or Column view.
Column view (shown above) features a Keywords list containing keywords and a Matches
list with subcategories you can use to refine your searches. Button view (shown below)
displays a matrix of keyword buttons you can click to see matching files.
51Chapter 2 The Soundtrack Pro Interface
Keyword buttons
•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.
•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 keywords.
•Keyword buttons (Button view only): Displays files matching the keyword in the Results
list.
•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 nonlooping
files.
•Scale Type pop-up menu: Restricts search results to audio files using the selected scale.
•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.
•Preview controls: Include a Play button, a volume slider, and a “Preview on selection”
button. For information on using the preview controls, see Using the Preview Controls.
•Media pop-up menu: Choose menu items to add a Favorite, add a file to the Bin, open
a file in the File Editor, and perform other functions.
52 Chapter 2 The Soundtrack Pro Interface
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. For more
information, see Using Favorites to Locate Files.
Media pop-up menu
Path pop-up menu
Button and Column
View buttons
Preview controls
Favorites list
•Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.
•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 button, a volume slider, and a “Preview on selection”
button. For information on using the preview controls, see Using the Preview Controls.
•Media pop-up menu: Choose menu items to remove a Favorite, add a file to the Bin,
open a file in the File Editor, and perform other functions.
53Chapter 2 The Soundtrack Pro Interface
Video Tab
Use the Video tab to add a video to a project and view the video. You control playback
of the video within the project using the transport controls at the bottom of the
Soundtrack Pro window. For more information about the transport controls, see Transport
Controls.
Video Scale
pop-up menu
Video viewing area
•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, where you
can also watch it play.
Project Tab
This tab contains controls and information for the currently active project as well as any
metadata (tags) associated with the project.
General Project
information
Pullup/Pulldown
information
Properties information
Project File Management
information
General Project Information
Displays general information about the project.
•Created: Displays the creation date.
54 Chapter 2 The Soundtrack Pro Interface
•Modified: Displays the modification date.
•Size: Displays the file size.
•Path: Displays the path where the selected file is located.
•Sequence Name: If the project was sent from Final Cut Pro, this displays the name of
the Final Cut Pro sequence from which the project was originally sent.
Pullup/Pulldown
These menus allow you to adjust audio and video playback.
•Audio pop-up menu: Use this menu to adjust the audio playback to compensate for
film-to-video and video-to-film conversions as well as international television standards
conversions.
•Video pop-up menu: Use this menu to adjust the video playback to compensate for
film-to-video and video-to-film conversions as well as international television standards
conversions.
Properties
Displays various properties of the project.
•Length: Displays the length, or duration, of the project.
•Sample Rate: Displays the sample rate of the project.
•Initial Timecode value slider: Use this slider to set the timecode for the first frame of the
project. For more information about value sliders, see About Changing Values and
Timecode Entries.
•Ruler Units pop-up menu: Use this menu to set the project ruler to be either Time-based
or Beats-based; the default format is Time-based. Each multitrack project has a project
time format, which can be either Time (seconds)-based or Beats-based. Setting the time
format controls the appearance of the Time display, Time ruler, Timeline gridlines, and
available Snap To values.
55Chapter 2 The Soundtrack Pro Interface
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. For information on setting the project time
format, see Choosing the Project Time Format.
Project File Management
Use these controls to set project preferences for file saving and media management.
These controls are available for multitrack projects only. For more information, see Saving
Multitrack Projects.
Metadata
Use this area to add metadata to your project or to view your project’s metadata. If you
export this project to certain output formats (such as a podcast), Soundtrack Pro passes
through the metadata to the target output file. Metadata categories include Name,
Copyright, Origination Date, Keywords, and so on.
56 Chapter 2 The Soundtrack Pro Interface
iXML Metadata
Displays iXML fields and corresponding values in a table format. For more information
about the iXML metadata specification, see the iXML website at http://ixml.info.
Music Settings
Use the controls in this area to set music properties (including tempo, time signature,
and key) for the currently active project. 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. For
more information, see Setting Project Properties.
57Chapter 2 The Soundtrack Pro Interface
Details Tab
The Details tab shows information about the currently selected media file, clip, marker,
envelope point, cycle region, or Timeslice selection, and gives you a way to edit details
about each. You can also view and edit details for a selection in the File Editor.
File and Clip Details
The following information is displayed when you select a media file or clip.
General Information
Displays general information for the clip or file.
•Name: Name of the selected clip.
•Position value slider: Sets the position (start point) of the selected clip.
•Duration value slider: Sets the duration (length) of the selected clip.
•Offset value slider: Sets the offset of the selected clip.
•Measure in pop-up menu: Sets the units shown in the Position, Duration, and Offset
value sliders.
•Color pop-up menu: Sets the color of the selected clip.
•Enabled checkbox: Enables or disables the selected clip. For more information, see
Enabling and Disabling Clips.
•Locked checkbox: Locks or unlocks the selected clip. For more information, see Locking
and Unlocking Clips and Tracks.
•Transpose pop-up menu: Sets the number of semitones to transpose a looping clip.
58 Chapter 2 The Soundtrack Pro Interface
•Clip Speed pop-up menu: Sets the playback speed for a looping clip.
•Created: Displays the creation date.
•Modified: Displays the modification date.
•Size: Displays the file size.
•Path: Displays the path where the selected file is located.
Properties
Displays the following information for the clip or file: duration, sample rate, the timecode
for the first frame of the clip or file, bit depth, and channel valence.
•Length: Displays the length of the selected clip.
•Sample Rate: Displays the sample rate of the selected clip.
•Initial Timecode: Displays the starting timecode of the selected clip.
•Bit Depth: Displays the bit depth of the selected clip.
•Channels: Displays the number of channels in the selected clip.
Metadata
Displays the metadata for a file or a clip, if such metadata is present. Metadata categories
include Name, Copyright, Origination Date, Keywords, and so on.
•Title: Displays title metadata.
•Description: Displays description metadata.
•Artist: Displays name metadata.
•Copyright: Displays copyright metadata.
•Genre: Displays genre metadata.
•Track: Displays track metadata.
•Year: Displays year metadata.
•Composer: Displays composer metadata.
59Chapter 2 The Soundtrack Pro Interface
•Lyricist: Displays lyricist metadata.
•Engineer: Displays engineer metadata.
•Technician: Displays technician metadata.
•Keywords: Displays keywords metadata.
•Originator Ref: Displays originator reference metadata.
•Originator Date: Displays originator date metadata.
•Originator Time: Displays originator time metadata.
iXML
Displays iXML fields and corresponding values in a table format. For more information
about the iXML metadata specification, see the iXML website at http://ixml.info.
Music
Displays the music information for a clip or file, primarily music loops in the Search tab.
•Tempo: Displays the tempo of the clip, in beats per minute.
•Time Signature: Displays time signature data.
•Key: Displays the musical key of the clip.
•Scale Type: Displays the musical scale type of the clip.
•Looping file: Displays whether the clip loops or not.
•Beats: Displays the number of beats in the clip.
•Instrument: Displays the instrument type, from Apple Loops tagged information.
•Loop Genre: Displays the genre name, from Apple Loops tagged information.
60 Chapter 2 The Soundtrack Pro Interface
Marker Details
The following information is displayed when you select a marker.
•Type buttons: Select whether the marker is a beat marker or a time marker.
•Name field: Enter a name for the marker.
•Measure in pop-up menu: Sets the units displayed for the position of the selected marker.
•Position value slider: Sets the time position of the selected marker.
•Duration value slider: Sets the duration for the selected marker.
•Comment: Enter comments or notes for the marker.
Envelope Point Details
The following information is displayed when you select an envelope point.
•Position value slider: Sets the time position of the selected envelope point.
•Measure in pop-up menu: Sets the units shown in the Position value slider.
•Value value slider: Sets the value of the selected envelope point. In some cases, this
control is a pop-up menu (for envelope types that only allow specific values).
•Min. and Max. value: Displays minimum and maximum values for the selected envelope
point.
•Copy from Prev. Point button: Sets the value of the selected envelope point to the value
of the preceding one in the envelope.
•Copy from Next Point button: Sets the value of the selected envelope point to the value
of the next one in the envelope.
61Chapter 2 The Soundtrack Pro Interface
File Editor Selection Details
The following information is displayed when you make a selection in the File Editor.
•Measure in pop-up menu: Sets the units shown in the Beginning, End, and Duration
value sliders.
•Beginning value slider: Sets the start position of the selection.
•End value slider: Sets the end position of the selection.
•Duration value slider: Sets the duration (length) of the selection.
Effects Tab
You add effects and sends to your project and adjust effect parameters in the Effects tab.
When you select a track or a bus in the Timeline or the Mixer, you can add and adjust the
following effects and send settings. You can also apply effects to audio file projects.
Effect Parameters area
Category list
Effect list
Reset Effect button
Add Effect button
Remove Effect button
Add Send button
•Category list: Lists the categories of available effects. Click a category to see the effects
for that category in the Effect list.
•Effect list: Lists the effects in the selected category. Double-click an effect to add it to
the track, bus, or submix.
•Add Effect (+) button: Adds the selected effect to the current effects chain.
•Remove Effect (-) button: Removes the selected effect from the current effects chain.
62 Chapter 2 The Soundtrack Pro Interface
•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 submixes.
•Reset Effect button: Resets the selected parameter or group of parameters to the default
value (or values).
Tracks Tab
Use the Tracks tab to easily view, select, and group tracks, busses, and submixes. Groups
provide another layer of organization and a way to easily make changes (such as volume
adjustments) to many tracks, busses, or submixes at once.
Mixer Objects outline
Groups outline
Channel strip
•Mixer Objects outline: Displays an outline view of the Timeline.
•Groups outline: Displays an outline view of any grouped tracks, busses, or submixes in
the project. You can use the Groups outline to group Mixer objects, disable or enable
groups, rename groups, delete groups, and delete items from groups.
63Chapter 2 The Soundtrack Pro Interface
•Channel strip: The Tracks tab channel strip is a quick way to access the mixing controls
for a particular Mixer object. This channel strip is identical to the corresponding channel
strip in the Mixer in every way, including all controls and current settings.
Actions Tab
Use the Actions tab to perform edits nondestructively using actions, which include
processing effects and other operations. You can also turn off or completely reorder
actions.
Actions list
Actions pop-up menu
Action Insert bar
•Actions list: Shows the actions you apply to the project. You can add, select, and reorder
actions in the list.
•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 pop-up menu: Choose menu items to flatten actions, delete actions, and perform
other operations.
64 Chapter 2 The Soundtrack Pro Interface
Analysis Tab
Use the Analysis tab to analyze audio files for a range of common audio problems,
including clicks and pops, hum, and phase issues. You can fix the problems detected by
analysis either individually or in a single operation. Selected problems are highlighted in
the File Editor waveform display for easy viewing.
Parameter list
Analysis Results list
Analyze button
Magnify button
Fix All button
Fix button
Clear Fixed button
Analysis Type list
•Analysis Type list: Lists the types of analysis you can select.
•Parameter 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.
•Clear Fixed button: Removes fixed items from the Analysis Results list.
•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.
•Fix button: Fixes the selected items in the Analysis Results list.
65Chapter 2 The Soundtrack Pro Interface
HUDs
A heads-up display (HUD) is a semitransparent floating window with controls and displays
that you can use to accomplish specific tasks. All of these windows float over the main
Soundtrack Pro window. As you work, you can position HUDs anywhere on the screen.
To display a HUD
Do one of the following:
µChoose Window > HUDs, then choose Sound Palette, Timecode, or Multipoint Video from
the submenu.
µTo display the Sound Palette HUD, press Command-Shift-C.
µTo display the Multipoint Video HUD, press V.
To close a HUD
Do one of the following:
µChoose Window > HUDs, then choose a HUD with a checkmark next to it from the
submenu.
µClick the close box on the HUD.
Sound Palette HUD
You can use the Sound Palette HUD to lift attributes from selections in the Timeline and
apply them to one or more clips (or regions of clips). For more information on the Sound
Palette HUD, see The Lift and Stamp Tools and the Sound Palette.
Timecode HUD
The resizable Timecode HUD makes reading current timecode very easy, particularly from
a distance. You can also use the Timecode HUD to navigate in the Timeline or the File
Editor by dragging the displayed hours, minutes, seconds, or frames up or down. The
Timecode HUD displays timecode with subframe accuracy.
66 Chapter 2 The Soundtrack Pro Interface
Multipoint Video HUD
You can use the resizable Multipoint Video HUD as a visual guide for precisely spotting
(placing) sound effects and other audio clips to specific frames of a video program. For
more information on the Multipoint Video HUD, see Scrubbing and Spotting with the
Multipoint Video HUD.
67Chapter 2 The Soundtrack Pro Interface
This chapter describes the kinds of projects you can create in Soundtrack Pro and how
to work with windows, use layouts, play projects, and set Soundtrack Pro preferences.
This chapter covers the following:
•About Multitrack and Audio File Projects (p. 69)
•Setting Up Your Workspace (p. 72)
•Using Keyboard Shortcuts and Shortcut Menus (p. 76)
•Undoing and Redoing Changes (p. 77)
•About Changing Values and Timecode Entries (p. 78)
•Locating and Adding Audio Files (p. 81)
•About the Bin (p. 89)
•Previewing Audio Files (p. 93)
•Playing Projects (p. 95)
•Using Snapping (p. 99)
•Reconnecting Media Files (p. 101)
About Multitrack and Audio File Projects
Soundtrack Pro has two native project file formats to support state-of-the-art multitrack
audio editing and powerful nondestructive audio waveform editing:
•Multitrack project (.stmp): Similar to a Final Cut Pro project, this file contains multiple
tracks with clips that refer to media files elsewhere on your disk.
•Audio file project (.stap): This format allows nondestructive editing of audio files.
Multitrack Projects
Multitrack projects contain multiple audio tracks in the Timeline. As in a Final Cut Pro
project, importing a media file creates a clip in Soundtrack Pro that then refers to the
original media file. You can arrange audio clips within tracks and synchronize them to a
single video clip in the video track.
69
Basics of Working in
Soundtrack Pro 3
You can mix a multitrack project using track controls for volume, pan, mute, solo, effects,
and effect parameters. These controls are available both in the Timeline and in channel
strips in the Mixer. You can create additional audio busses for effect sends. You can group
audio track outputs together with submixes. Tracks, busses, and submixes can be exported
to individual audio files, or a mixdown of all the tracks can be exported to a stereo or
multichannel audio file. These exported files can then be imported into Final Cut Pro.
Audio File Projects
Soundtrack Pro allows you to edit individual audio files (sometimes known as waveform
editing) using Soundtrack Pro audio file projects. However, unlike most waveform editing
applications, Soundtrack Pro allows you to edit your audio files nondestructively by
keeping track of the actions you have performed on your audio file. For more information
about Soundtrack Pro audio file projects, see Working in the File Editor.
You can remove, disable, or reorder past actions at any time or save actions as AppleScript
documents that you can use to batch process other audio files. Actions you can perform
include trimming audio, copying and pasting parts of the waveform, normalizing or
amplifying levels, applying effects, and applying noise, pop, and click reduction.
Soundtrack Pro audio file projects are stored in Mac OS X packages (or bundles). A package
appears to be a single file in the Finder but actually contains a collection of files such as
the original audio file, temporary render files, and the list of actions applied to your audio
file.
Important: So that you benefit from nondestructive editing, the default option for saving
edited audio files is as a Soundtrack Pro audio file project. Soundtrack Pro usually does
this automatically any time you apply any command or effect from the Process menu to
a clip in the Timeline. For more information on when Soundtrack Pro automatically creates
audio file projects, see How Source Audio File Editing Works in a Multitrack Project.
Supported Audio File Formats
You can open and add audio files in the following formats:
• AIFF
• WAVE
• Broadcast WAVE
• Sound Designer II
• NeXT
• QuickTime (.mov) audio files
• CAF (Apple Core Audio Format)
• Soundtrack Pro audio file project
70 Chapter 3 Basics of Working in Soundtrack Pro
Compressed formats such as MP3 and AAC (except protected AAC) files are also supported,
although these must be internally decompressed to a linear PCM format.
Soundtrack Pro supports audio files with any sample rate between 8 kHz and 192 kHz
and any of the following bit depths: 8, 16, 24, 32, and 32-bit floating point. Up to 24 audio
channels are supported in a single file.
When you set a sample rate and play a file, Soundtrack Pro plays at the nearest sample
rate your hardware can support.
Note: Files with lower bit depths or sample rates do not have the same playback quality
as formats with higher bit depths or sample rates.
You can also open and add the following types of multichannel files:
• AIFF
• WAVE
• Broadcast WAVE
• QuickTime
• Single Folder Multi-mono AIFF and WAV
Supported Video File Formats
Soundtrack Pro supports the following file formats:
• Standard QuickTime-compatible file formats. You can import a QuickTime movie (.mov)
file into a Soundtrack Pro project, and you can import an MPEG-2 (.m2v) file if you have
installed the QuickTime MPEG-2 Playback Component.
• Video files using NTSC, PAL, HD, and other formats supported by QuickTime
For more information about importing video files, see Working with Video in
Soundtrack Pro.
About 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.
71Chapter 3 Basics of Working in Soundtrack Pro
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-looping 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 the Apple Loops Utility User Manual.
Setting Up Your Workspace
You can choose from several ways to set up the Soundtrack Pro workspace to suit your
display size and workflow, depending on the type of project you are creating. You can
arrange, reorder, and detach tabs throughout Soundtrack Pro and add and reorder buttons
in the Toolbar. You can show and hide different panes (areas) of the Soundtrack Pro
window. You can also 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
µDrag the window by its title bar to a new location.
To resize the Soundtrack Pro window
µDrag the resize control in the lower-right corner of the window until the window is the
desired size.
To minimize the Soundtrack Pro window to the Dock
µClick the minimize button in the window’s title bar.
To close the Soundtrack Pro window
Do one of the following:
µWith the window active, choose File > Close (or press Command-W).
µClick the window’s close button.
Using Tabs
Soundtrack Pro uses tabs so you can quickly access different project views and controls.
You can switch between projects and between different tabs. Clicking the tab you want
makes it active and brings it to the front. You can rearrange and reorder the tabs to easily
access the ones you use frequently.
72 Chapter 3 Basics of Working in Soundtrack Pro
To reorder tabs
µDrag a tab left or right in the window’s tab area.
You can also detach a tab from its docked position, which creates a separate resizable
window for the tab that can be dragged or resized. For example, you can drag the Favorites
tab to a new location so that you can easily move items from the Search tab to the Bin
tab.
To detach a tab
µDrag the tab out of its docked position in the window to create a separate window for
the tab.
To attach (dock) a tab
µDrag the tab to the top of any pane of the Soundtrack Pro window (except the top center
project pane, which is reserved for the Timeline and the File Editor project view).
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
1Arrange the application windows as you want them to appear.
2Choose Window > Save Layout.
3In the Save dialog, type a name for the layout, then click Save.
The layout is saved and appears in the Layouts submenu.
Note: By default, layouts are saved to the location /Users/username/Library/Application
Support/Soundtrack Pro/Layouts/. Do not change the location or Soundtrack Pro may
not be able to find and use your saved layouts.
To switch to a saved project layout
µChoose Window > Layouts, then choose the layout you want to use from the submenu.
To remove a saved layout
1Choose Window > Manage Layouts.
2In the Manage Layouts dialog, select the layout you want to remove.
73Chapter 3 Basics of Working in Soundtrack Pro
3Click the Remove (-) button to remove the layout, then click Done.
To transfer a saved project layout file to another computer
1Locate the layout file in /Users/username/Library/Application
Support/Soundtrack Pro/Layouts/.
2Transfer a copy of the file to the corresponding location in the second computer.
Customizing the Toolbar
The Toolbar at the top of the Soundtrack Pro window contains buttons for frequently
used commands. You can customize the Toolbar, adding buttons for the actions you use
most often; you can return to the default set at any time.
Default set of buttons
The default set of Toolbar buttons includes buttons for:
• Creating new projects
• Opening project tabs
• Adding markers
• Other common commands
You can customize the Toolbar by including 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 rearrange the Toolbar using set-width spaces,
flexible spaces, and separators.
To customize the Toolbar
1Do one of the following:
• Choose View > Customize Toolbar.
• Control-click the Toolbar, then choose Customize Toolbar from the shortcut menu.
74 Chapter 3 Basics of Working in Soundtrack Pro
2In the Customize dialog that appears below the Toolbar, make the changes you want.
•To add a button to the Toolbar: Drag a button from the Customize dialog 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: Drag the button to a new location on the Toolbar.
•To add space or a separator to the Toolbar: Drag a space, flexible space, or separator
from the Customize dialog to the Toolbar.
3When you’re finished customizing the Toolbar, click Done in the Customize dialog.
To move a button in the Toolbar
µCommand-drag the button to a new location on the Toolbar.
To return the Toolbar to the default set of buttons
1Do one of the following:
• Choose View > Customize Toolbar.
• Control-click the Toolbar, then choose Customize Toolbar from the shortcut menu.
2Drag the default button set, located at the bottom of the Customize dialog, to the Toolbar.
You can also change the Toolbar so that it shows only icons or only text.
To show only icons in the Toolbar
Do one of the following:
µControl-click the Toolbar, then choose Icon Only from the shortcut menu.
µIn the Customize dialog, choose Icon Only from the Show pop-up menu.
75Chapter 3 Basics of Working in Soundtrack Pro
To show only text in the Toolbar
Do one of the following:
µControl-click the Toolbar, then choose Text Only from the shortcut menu.
µIn the Customize dialog, choose Text Only from the Show pop-up menu.
To show both icons and text in the Toolbar
Do one of the following:
µControl-click the Toolbar, then choose Icon & Text from the shortcut menu.
µIn the Customize dialog, choose Icon & Text from the Show pop-up menu.
You can also hide the Toolbar to maximize available screen space.
To hide the Toolbar
µChoose View > Hide Toolbar.
When the Toolbar is hidden, the menu item becomes Show Toolbar.
Using Keyboard Shortcuts and Shortcut Menus
Soundtrack Pro offers several methods for performing commands. You can choose
commands from the menu bar at the top of the screen or from contextual shortcut menus,
or you can use keyboard shortcuts to perform many commands. Most people work fastest
using keyboard shortcuts; others prefer to use shortcut menus or the mouse to access
commands in the menu bar. Experiment to find out which method best suits your editing
style.
Using Keyboard Shortcuts
Keyboard shortcuts let you perform commands in Soundtrack Pro by using the keyboard
instead of by pointing and clicking. These shortcuts can help you work more efficiently.
For example, to create a new audio file project, you’d press Command-Shift-N; to zoom
in, you’d press Command–Equal Sign (=).
Note: The default keyboard shortcuts for tasks are presented throughout this volume as
well as in menu commands and tooltips (tooltips appear when you move the pointer
over a control in Soundtrack Pro and show the name of the control, as well as the current
shortcut key or keys assigned to that control).
Using Shortcut Menus
Shortcut menus (also called contextual menus) are available in nearly every window or
pane and offer a quick way to perform various tasks. The commands available in a shortcut
menu depend on the location of the pointer. For example, a shortcut menu in the File
Editor shows options different from those available in a shortcut menu in the Timeline.
76 Chapter 3 Basics of Working in Soundtrack Pro
To view and use a shortcut menu
1Do one of the following:
• Press the Control key, then click an item (this is called Control-clicking).
• Control-click an area in a window or pane in Soundtrack Pro.
• If you have a three-button mouse connected to your computer, you can right-click.
2In the shortcut menu that appears, choose the command you want, then release the
mouse button.
Undoing and Redoing Changes
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. You 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 > 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
µChoose Edit > 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
µChoose Edit > Redo [item] (or press Command-Shift-Z).
The [item] in the menu changes to show the last command or operation.
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About Changing Values and Timecode Entries
Soundtrack Pro includes several types of value entry methods. Most of them have features
that can make changing the values or timecode fields easy to do.
Using Value Sliders
There are two methods used to enter general numeric values:
• Traditional sliders with separate numeric entry fields
Separate slider and
numeric entry field
• Value sliders that combine the slider with the numeric entry field. Value sliders allow
you to enter a specific number in the value field or to drag in the value field to set a
value. When using the value sliders, you can use a modifier key to make normal, small,
or large value adjustments. Dragging in the middle area (where the number is) works
the same as an ordinary slider; dragging to the right increases the value and dragging
to the left decreases the value. Additionally, you can click the right or left arrow to
change the value one step at a time. You can also double-click the number itself and
type a new number to enter a specific number in the value field.
Value slider with
combined slider and
numeric entry field
To change values in normal increments
Do one of the following:
µDrag left or right in the value field.
µClick the left arrow to decrease a value, or click the right arrow to increase a value.
µIf you have a three-button mouse with a scrollwheel, click in the value field and use the
scrollwheel on the mouse.
To change values in fine increments
Do one of the following:
µOption-drag in the value field.
µOption-click the left arrow to decrease a value, or Option-click the right arrow to increase
a value.
µIf you have a mouse with a scrollwheel, Option-scroll in the value field.
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To change values in coarse increments
Do one of the following:
µShift-drag in the value field.
µShift-click the left arrow to decrease a value, or Shift-click the right arrow to increase a
value.
µIf you have a mouse with a scrollwheel, Shift-scroll in the value field.
When a value slider or value field is active (highlighted), press Tab to move to the next
field.
Using Timecode Value Sliders
Soundtrack Pro uses timecode value sliders for timecode entry fields. In addition to being
able to enter timecode values directly, you are able to scrub the timecode value by
dragging.
If you place the pointer over a segment of the timecode, small arrows appear above and
below that segment.
You can drag up or to the right to increase the value in that segment (values in segments
to the left also increment if your dragging causes the selected segment to roll over).
Dragging to the left or down decreases the value. You can hold down the Option key to
make the value changes slower or the Shift key to make them faster.
Alternatively, you can click the up and down arrows on each side of the timecode value
or press the keyboard’s Up Arrow and Down Arrow keys to increase or decrease the
timecode value.
You can control which segment is affected by the up and down arrows by selecting a
segment so that a caret (^) appears below the segment. You can also use the keyboard’s
Left Arrow and Right Arrow keys to select other segments.
Scrubbing Audio
You can scrub a multitrack project in the Timeline or scrub an audio file project in the
File 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.
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You can scrub audio using either the Scrub tool or the playhead. For information about
scrubbing, see Scrubbing Audio Files.
Scrubbing Video
In projects containing a video file, the video scrubs in the Video tab in sync with the audio
as you scrub in the Timeline or the File Editor tab.
As you drag audio clips, markers, envelope points, or other items in the Timeline or the
File Editor tab, the video scrubs at the start point of the item being dragged. Dragging
multiple items scrubs the video at the start point of the item under the pointer.
You can use the Multipoint Video HUD as a visual tool for precisely positioning sound
effects and other audio clips in a video program. For more information, see Scrubbing
and Spotting with the Multipoint Video HUD.
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
cycle region, and start a recording session to record your own audio.
MIDI Sync
Go to Beginning
Play
Next Frame
Record
Cycle
Play from Beginning
Previous Frame
Go to End
•Record button: Starts recording at the playhead position on the track or tracks you have
enabled for recording. If no track is enabled, a new track is created when recording
starts.
•Play from Beginning button: Starts playback from the position of the last playback start.
Playback begins immediately, whether the project is playing or is stopped when you
click the button.
•Go to Beginning button: Sets the playhead to the closest of the following items to the
left of the playhead: the beginning of the last playback start, the beginning of the cycle
region, or the beginning of the project.
•Previous Frame button: Moves the playhead backward by one frame.
•Play button: Starts playing back the project from the current playhead position. Clicking
the Play button again stops playback at the current playhead position.
•Next Frame button: Moves the playhead forward by one frame.
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•Go to End button: Sets the playhead to the closest of the following items to the right
of the playhead: the end of the cycle region, the position of the last playback stop, or
the end of the project.
•Cycle button: If a cycle region is set, clicking the Cycle button toggles whether the cycle
region is active or inactive. If no cycle 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 cycle region, see Working with the Cycle Region.
•MIDI Sync button: Synchronizes playback with incoming MIDI Clock and MIDI Timecode
(MTC) signals.
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 stops project playback. This is equivalent to clicking
the Play button.
•Return: Sets the playhead to the closest of the following items to the left of the playhead:
the beginning of the last playback start, the beginning of the cycle region, or the
beginning of the project. This is equivalent to clicking the Go to Beginning button.
•Shift–Return: Sets the playhead to the closest of the following items to the left of the
playhead: the beginning of the last playback start, the beginning of the cycle region,
or the beginning of the project, and starts playback if it is stopped. This is equivalent
to clicking the Start from Beginning button.
•Option–Right Arrow or Option–Left Arrow: Moves the playhead forward/backward by
one gridline.
•Right Arrow or Left Arrow: Moves the playhead forward/backward by the current nudge
amount. For information on how to set the nudge amount, see Nudge Amount and
Project Preferences.
For more tips on keyboard shortcuts for playback, see Using the J, K, and L Keys for
Shuttling. For a complete list of Soundtrack Pro keyboard shortcuts, see Soundtrack Pro
Keyboard Shortcuts.
Locating and Adding Audio Files
You can locate audio files to use in a project using the media tabs, or drag files from the
Finder. There are three media tabs for locating 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. The Bin also features a search function to help you locate an item in any open
project.
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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
µDouble-click a volume or folder in the Browser to view its contents.
Double-click a folder
to view items inside.
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.
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 Favorites tab.
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To locate audio files in Favorites
µDouble-click the disk or folder you want to open.
Double-click an 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.
Search Views
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.
To search for items
µClick the Search tab.
The Search tab becomes active.
Searching for Files in Column View
In Column view, the upper area of the Search tab 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
matching files in each.
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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.
To search for files in Column view
1Choose 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.
2Select a keyword in the Keywords list to display matching files in the Search Results area.
Search Text field
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 their 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
µEnter text in the Search Text field.
As you type, files matching the characters you type appear in the Search Results field.
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.
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To refine your search using the Matches column
µClick to select a match category, or Command-click to select multiple match categories.
Click a match category
to refine your search.
These are files that
match the category
selected above.
Search Text field
To refine your search by selecting multiple keywords
µShift-click to select adjacent keywords, or Command-click to select nonadjacent keywords.
Searching for Files in Button View
In Button view, the upper area of the Search tab 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 Music Beds, 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
1Choose the type of keywords to display on the keyword buttons from the Keywords
pop-up menu.
2You can optionally use the File Type, Time Signature, and Scale Type pop-up menus to
restrict matches by those categories.
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3Click a keyword button to display matching files in the Search Results area.
Click a button to display
the matching files in
the Search Results area.
Search Text field
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
µEnter text in the Search Text field.
As you type, files matching the characters you type appear in the Search Results field.
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 search to files that include
the text in their file path.
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To refine your search using multiple keywords
µClick multiple keyword buttons.
These are files that
match both of the
keywords selected
above.
Select additional
keywords to refine
your search.
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
1Choose Custom from the Keyword Type pop-up menu.
2Control-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 choose the
desired keyword
from the submenu.
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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 Search
tab.
To add a directory to the Search database
1Click the Setup button at the top of the Search tab.
Click here to display
the Setup dialog.
2In the Setup dialog, click the Add Directory button.
Click the Add Directory
button, then select a
directory to add.
Click here to index
the directory.
3In 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.
4Select 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 wish to re-index.
5When Soundtrack Pro is finished indexing the directory, click Done to return to the Search
tab.
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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
1Click the Setup button at the top of the Search tab.
2In the Setup dialog, select the directory you want to remove, then click the Remove
Directory button.
Click the Remove
Directory button
to remove the
selected directory.
3Click Done to return to the Search tab.
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 Search tab.
About the Bin
The Bin is a hierarchical list of all of the items in each open project. You can also add files
to the Bin for easy access at a later time. Files appear in the Bin alphabetically by project
and hierarchically within each project.
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The items in the Bin are organized by project. In this hierarchy, projects contain media
files, and media files contain clips.
ContentsDescriptionObjects
Media files
Project markers
Projects make up the top level
of the hierarchy. You can view
multiple projects at once.
Projects
Clips
Markers (File Editor only)
Audio and video source filesMedia files
NoneIf the source media file is used
ten different times in the
Timeline, it will have ten clips
nested in the Bin.
Clips
To add a file to the Bin
Do one of the following:
µDrag the file from the Finder to the Bin.
µDrag the file from the Browser, Favorites, or Search tab to the Bin.
Viewing and Editing Projects in the Bin
The Bin can display the following categories of information:
•Audio clip information: Looping, transposition, and so on
•File information: Timecode, sample rate, file size, and so on
•Timeline information: Duration, position, and so on
•Metadata tags: Author, copyright, and so on
•Music information: Beats, key, and so on
•iXML information: Project, scene, take, tape, and so on
To control the display of information categories in the Bin
µChoose a category from the Columns pop-up menu.
Searching Bin Information
You can search across all information displayed in the Bin. Matching text and numbers
from any of the fields causes that item to appear in the list.
To search information categories in the Bin
1Click the Bin’s Search field.
2Enter the search text.
3Press Return.
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Using the Shortcut Menu and the Media Pop-Up Menu in the Bin
You can use the shortcut menu and the Media pop-up menu in the Bin for a variety of
tasks. One of the most common tasks involves removing unused items from a project.
This simple step will keep the media associated with a project to a minimum. You can
also rename clips, markers, and podcast region markers that you’ve selected in the Bin.
To use the shortcut menu or the Media pop-up menu to affect an entire project
1Select a project file in the Bin.
2Do one of the following:
• Control-click the item, then choose Remove Unused from the shortcut menu.
• Choose Remove Unused from the Media pop-up menu.
To use the shortcut menu or the Media pop-up menu to affect an individual item in
the Bin
1Select an item in the Bin.
2Do one of the following:
• Choose an option from the Media pop-up menu.
• Control-click the item, then choose an option from the shortcut menu.
The following are options available from the shortcut menu when you Control-click an
item in the Bin:
•Show in Timeline: Selects the corresponding clip in the Timeline.
•Spot to Timeline: Spots the clip to the Timeline with the Spot to Timecode dialog.
•Spot to Playhead: Spots the clip to the playhead position in the Timeline.
•Open in Editor: Opens the file in the File Editor project view.
•Reconnect: Allows you to locate and reconnect any offline files.
•Rename: Selects the item in the Bin so that you can enter a new name.
•Reveal in Browser: Selects the item in the Browser tab.
•Show in Finder: Selects the item in the Finder.
•Replace Selected Clips with: Replaces the clip with a clip of your choosing.
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Bin Column Information
The following list describes the contents of the various Bin columns. Many Bin columns
change their display style to match the settings of the dominant ruler (such as drop frame,
non-drop frame, and so on). Much of this information can also be seen in the Details tab.
For more information about the iXML metadata specification, see the iXML website at
http://ixml.info.
•Name: Displays the icon and name for the various objects (projects, files, clips, markers,
and podcast marker regions).
•Position: Displays the position of the object, in the dominant ruler setting. Displays
values for projects, clips, markers, and podcasts. Some items do not have a position.
Others do not always display a position. (For example, a multitrack document only
shows the position when the Initial Timecode value in the Project tab has been changed
from the default 0 value.)
•Duration: Displays the duration information for projects, files, clips, markers, and
podcasts.
•Track name: Lists the current track name for audio clips.
•Offset: Shows the slip offset value: the difference between the start of the original file
and the start of the clip (using the dominant ruler setting). Clips that start from the
beginning show 0; others have a positive time value.
•Sample rate: Shows the native sample rate of the item, in Hz (projects, files, and clips).
•Timecode: This is the embedded timecode of the file, if present (in the dominant ruler
setting). Displays the initial timecode for items (projects, files, clips).
•Channels: The number of channels in the item (files, clips)
•Takes: The number of takes in the item (files, clips)
•File size: The disk size of the item (projects, files)
•Path: The path to the item on disk (projects, files)
•Annotation: Displays annotation metadata (projects, files, clips).
•Author: Displays author metadata (projects, files, clips).
•Copyright: Displays copyright metadata (projects, files, clips).
•Tempo: The tempo of the item, in beats per minute (projects, files, clips)
•Time Signature: Displays time signature data (projects, files, clips).
•Key: Displays the musical key of the item, being the letter (A, A#, B, and so on), or None
(projects, files, clips).
•Scale: Displays musical scale type (projects, files, clips).
•Looping: Indicates a looping file with Yes or No (files, clips).
•Beats: Displays the number of beats in the file (projects, files, clips).
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•Instrument: Displays instrument type, from Apple Loops tagged information (files, clips).
•Genre: Displays genre name, from Apple Loops tagged information (files, clips).
•Hint Quality: Displays the quantitative display of the amount of information saved in
the file—keywords, beat information, and transients (files, clips).
•Project: Displays iXML project data.
•Scene: Displays iXML scene data.
•Take: Displays iXML take data.
•Tape: Displays iXML tape data.
•Circled: Displays whether the take is marked as circled in the iXML metadata.
•Ch. Index: Lists the channels as indicated by the iXML metadata.
•Ch. Name: Lists the names of the channels indicated by the iXML metadata.
•Note: Displays the contents of the iXML note field.
Previewing Audio Files
You can preview files in the Bin or any of the media tabs. 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
µSelect the file in the Bin or any of the media tabs.
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.
Select an audio file
in the Search tab
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.
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Using the Preview Controls
The preview area at the bottom of the Bin and the media tabs contains controls you can
use when previewing audio files.
Play button
Preview on selection
button
Media pop-up menu
Volume slider
•Play button: Starts playback of the preview file. If the file is playing, stops playback.
•Volume slider: Sets the playback volume of the preview file.
•Preview on selection button: When activated, triggers immediate playback of the selected
clip.
•Media pop-up menu: Choose whether to add the file to Favorites, add to the bin, spot
to the playhead, spot to the timeline, open it in the File Editor, or reveal it in the Finder.
To preview an audio file with a project
1Click the Play button in the transport controls to play the project.
2When the project reaches the point in time where you want to hear the preview file,
select the file in the Search tab.
To preview a file without the project (solo)
1If the project is playing, click the Stop button in the transport controls to stop playback
of the project.
2Select the file in the Search tab to preview the file.
You can also preview a video file using the preview controls. For information about
previewing a video file, see Playing the Video.
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Viewing File and Clip Information
You can view information in the Details tab about audio and video files and clips in the
Bin, the media tabs, and the Timeline. When you select a file or clip in the Bin, the media
tabs, or the Timeline, the Details tab displays the file path and other information about
the item.
For a complete description of the items listed in the Details tab, see Details Tab and
Editing Clip and Track Properties.
Note: The information that is displayed depends on whether or not the file is tagged.
Untagged files may not display information for all categories.
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
µClick 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.
To play the project from the beginning of the last playback start
µClick the Play from Beginning button in the transport controls (or press Shift-Return).
As the project plays, the playhead shows the point in the project currently playing.
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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 cycle
region to repeat playback of a specific part of the project.
Setting the Playhead Quickly
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 playhead
Do one of the following:
µClick anywhere in the Timeline (in a multitrack project) or the File Editor (in an audio file
project) to set the playhead to that position.
Note: You can set Soundtrack Pro to require a click in the Ruler to move the playhead.
For more information, see General Preferences.
µDrag 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.
Drag the playhead
where you want it
or click in the
waveform display.
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When you set the playhead, it snaps to the nearest Snap To position if snapping is turned
on. For information on setting the Snap To value, see Using Snapping. You can also set
the playhead by using the transport controls or the Playhead Location value slider.
Note: If you click the Time ruler, you may accidentally activate the cycle region. Press
Option-X to remove the cycle region. Press C to turn the cycle region on or off. For more
information about using the cycle region, see Working with the Cycle Region.
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 position is labeled for
quick visual recognition.
For information on setting the project time format, see Setting Project Properties.
To set the playhead using the Time display
µSelect 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.
Enter a time position
in the Time area.
Enter a beat position
in the Beats area.
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.
If you enter a partial number, Soundtrack Pro formats it with the rightmost pair of numbers
as frames 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.
97Chapter 3 Basics of Working in Soundtrack Pro
For example:
•If you enter 01234321: Soundtrack Pro interprets it as 01:23:43;21. This stands for 1 hour,
23 minutes, 43 seconds, and 21 frames.
•If you enter 01.23: Soundtrack Pro interprets it as 00:00:01;23. This stands for 1 second
and 23 frames.
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:
•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.
•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.
•If you enter 1.2.3: Soundtrack Pro interprets it as 1.2.300. This stands for the 1st measure,
the 2nd beat, and 300/1000 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 categories keep their present values.
Setting the Playhead Using the Playhead Location Value Slider
Below and to the left of the transport controls is the Playhead Location value slider. When
a project is playing, the Playhead Location 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 Location value slider.
98 Chapter 3 Basics of Working in Soundtrack Pro
Using Snapping
When you move and resize clips in the Timeline, or select part of an audio file in the File
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 snapping feature that causes clips, the playhead, and other items in the Timeline
and File Editor to “snap” to the nearest Snap To position.
Snapping applies to the following operations:
• Dragging audio clips to the Timeline
• Moving audio clips
• Resizing audio clips
• Setting the playhead
• Setting the cycle region
• Inserting markers
• Moving markers
• Selecting Timeslices
• Adding envelope points
• Moving envelope points
• Moving crossfade edges
You can use snapping 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 snapping, 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:
• Ruler ticks
• Seconds
• Frames
• Clips on Adjacent Tracks
• Markers
For projects set to Beats-based format, the available Snap To values are:
• Ruler ticks
• 1/4 notes
99Chapter 3 Basics of Working in Soundtrack Pro
• 1/8 notes
• 1/16 notes
• 1/32 notes
• 1/64 notes
• Markers
• Clips on Adjacent Tracks
To turn snapping on
µChoose View > Snap (or press N).
A checkmark next to the menu item indicates that snapping is turned on. Choose View
> Snap again to turn snapping off.
To set the Snap To value
µChoose View > Snap To, then choose a value from the submenu.
You can temporarily reverse the current snapping state while you work in the Timeline.
When snapping is turned on and Markers is chosen in the Snap To submenu, clips in the
Timeline snap to the playhead as well as to markers.
To temporarily reverse the snapping state
µSelect the item in the Timeline, then hold down the Command key as you drag the item.
If snapping is turned on, Command-dragging lets you move the item without having it
snap to the nearest Snap To position. If snapping 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 snapping state.
100 Chapter 3 Basics of Working in Soundtrack Pro
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:
•Skip All: Opens the project without reconnecting any missing files.
•Skip File: Opens the project without reconnecting the missing file.
•Locate: 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 files, you can reconnect
individual audio files from the Timeline or the Bin tab and reconnect a video file in the
video track in the Timeline. You can also use the Reconnect Offline Files command to
reconnect multiple files.
Important: When reconnecting media files that include QuickTime movies, the reconnect
operation obeys the Referential QuickTime Movies option set in the Soundtrack Pro
Preferences window. For more information, see General Preferences.
To reconnect an audio file
1Do one of the following:
• Select the clip in the Timeline, then choose Clip > Reconnect [filename].
•Control-click the clip in the Timeline, 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.
• Control-click the audio file in the Bin tab, then choose Reconnect [filename] from the
shortcut menu.
2In the dialog that appears, locate the audio file you want to reconnect.
3Click Open to reconnect the file.
To reconnect a video file
1Control-click the video clip in the video track, then choose Reconnect Media Files from
the shortcut menu.
2In the dialog that appears, locate the video file.
3Click Open to reconnect the file.
To reconnect all offline files
1Choose File > Reconnect Offline Files.
101Chapter 3 Basics of Working in Soundtrack Pro
2In the dialog that appears, locate the file requested by the dialog.
If “Use selected path to reconnect other missing files” is turned on in this dialog,
Soundtrack Pro will search the same directory for any other missing files.
3Click Open to reconnect the files.
102 Chapter 3 Basics of Working in Soundtrack Pro
You set preferences for various aspects of both the appearance and operation of
Soundtrack Pro 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.
This chapter covers the following:
•Setting Soundtrack Pro Preferences (p. 103)
•General Preferences (p. 105)
•Project Preferences (p. 107)
•Recording Preferences (p. 108)
•Synchronization Preferences (p. 109)
•Control Surfaces Preferences (p. 110)
•Video Out Preferences (p. 111)
Setting Soundtrack Pro Preferences
All preferences for Soundtrack Pro are set in the Preferences window.
To change preferences
1Choose Soundtrack Pro > Preferences.
2Click a button at the top to view or modify those preferences.
The following are the Soundtrack Pro preferences panes. See the following sections for
details about each preferences pane.
•General Preferences
•Project Preferences
•Recording Preferences
•Synchronization Preferences
•Control Surfaces Preferences
•Video Out Preferences
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Soundtrack Pro Preferences 4
3To hide the buttons, click the oval button in the top-right corner.
Click it again to show the buttons.
4When you’re done, click the close button (or press Command-W).
104 Chapter 4 Soundtrack Pro Preferences
General Preferences
The General preferences include settings for program startup behavior and Timeline
defaults and options for alerts, saving, fades, and handles.
Startup
•Open: This set of buttons determines the default Soundtrack Pro behavior on startup.
•Last Project: Reopens the last project on startup.
•New Multitrack Project: Creates a new, blank multitrack project on startup. This is the
default behavior.
•New Audio File Project: Creates a new, blank audio file project on startup.
Timeline
•Move playhead by clicking pop-up menu: Choose whether you can move the playhead
by clicking in both the Timeline and the Time ruler or only in the Time ruler.
•Scrollwheel pop-up menu: Choose whether an attached mouse with a scrollwheel scrolls
the Timeline or zooms in or out at the playhead position.
•Playhead Auto-scrolling pop-up menu: Choose the behavior of the playhead during
playback.
•On: The playhead scrolls from left to right across the portion of the Timeline that is
visible, then jumps back to the left and the next portion of the Timeline is displayed.
•Centered: The playhead remains centered in the Timeline, and the Timeline scrolls
beneath the playhead.
105Chapter 4 Soundtrack Pro Preferences
•Off: The playhead moves during playback but does not remain visible if it is outside
the visible Timeline area.
•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 impact the speed at which the
screen is redrawn during playback.
•Meters Channel Display pop-up menu: Choose whether meters display labeled channels
in surround order (Ls, L, C, R, Rs, LFE) or output order (1, 2, 3, 4, 5, 6).
•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.
•Horizontal Swipe Gesture Affects pop-up menu: Choose the pane affected by horizontal
swipe gestures. Choose Left Pane or Right Pane.
•Default Time Stretch pop-up menu: Choose the default algorithm used to perform time
stretches in Soundtrack Pro. Choose from Apple Time Stretch Universal, Apple Time
Stretch Complex, and Apple Time Stretch Percussive. If you have third-party time stretch
plug-ins installed, additional choices appear in this menu.
Alerts and File Management
•Show Alerts pop-up menu: Choose whether to show the alerts when various conditions
occur (such as disk overload, and so on).
•Referential QuickTime Movies pop-up menu: Choose whether referenced QuickTime
movies are searched for locally or across the network.
•Save Audio File Project pop-up menu: Choose whether copies of source audio are saved
with each audio project or are referenced by the audio project. Note that if you move
or delete the source audio file from a project that references source audio, the project
cannot play.
•Scratch Location button and display: Click this button, then browse to the location of
the disk or folder you want to use as the location for storing temporary files. The current
location is shown in the Scratch Location display.
•Edited Media Location button and display: Click this button, then browse to the location
of the disk or folder you want to use as the location for edited media such as audio file
projects. The current location is shown in the Edited Media Location display.
Replace with Independent Audio File Project
•Handle Length value slider: Enter a handle length (in seconds) for files created by the
Replace with Independent Audio File Project command. For more information, see
Making an Independent Copy of a Clip.
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Project Preferences
These preferences let you set project properties and other default settings for new projects
you create.
•Tracks pop-up menu: Sets the default number of tracks for a new multitrack project.
•Track Height pop-up menu: Sets the default track height for new multitrack projects.
The choices are Mini, Small, Medium, and Large.
•Overlap Mode pop-up menu: Sets whether overlapped clips are crossfaded or truncated
for new multitrack projects.
•Default Fade Type pop-up menu: Sets default fade type.
•Default Nudge Amount pop-up menu: Sets how far objects are moved when using the
nudge command.
•Move Envelope Points with Clips checkbox: Sets the default envelope selection mode.
•Snapping buttons: Sets snapping mode for new projects.
•On: Sets the default snapping mode for a new project to be on.
•Off: Sets the default snapping mode for a new project to be off.
•Multitrack Document pop-up menu: Sets snapping behavior in multitrack documents.
•Audio File Document pop-up menu: Sets snapping behavior in audio files.
•Starting Timecode field: You can set the starting timecode for new projects to a value
other than 00:00:00;00 by entering a timecode value in the Starting Timecode field.
You can only enter positive values in the field. When you open the project, the Time
ruler and time display start from the starting timecode value.
•Video Frames per Second pop-up menu: Choose which video frame rate to use for new
projects.
107Chapter 4 Soundtrack Pro Preferences
•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.
•Sample Rate pop-up menu: Sets the default sample rate for new projects. The choices
range from 32 kHz to 192 kHz.
•Audio Pulldown pop-up menu: Sets default audio playback compensation.
•Video Pulldown pop-up menu: Sets default video playback compensation.
•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 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.
•Timescale pop-up menu: Choose whether the overall project uses Time-based or
Beats-based time format.
Recording Preferences
These preferences let you specify settings for recording audio.
•Input pop-up menu: Displays the available devices for audio input. Choose an input
device from the pop-up menu.
Note: For more information about setting inputs and outputs, see Setting the Audio
Input and Output.
•Channels: Use these buttons to confirm or change default input signal routing settings.
•Monitor pop-up menu: Displays the available devices for monitoring audio output.
Choose an output device from the pop-up menu.
•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.
108 Chapter 4 Soundtrack Pro Preferences
For information on eliminating latency, see Eliminating Recording Latency.
•Recordings 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.
Synchronization Preferences
These preferences let you specify synchronization settings.
Input
•Sync To MIDI Clock checkbox: Sets Soundtrack Pro to receive MIDI Clock signals from a
MIDI application or external device.
•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
•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.
109Chapter 4 Soundtrack Pro Preferences
Control Surfaces Preferences
These preferences let you specify settings for communicating with attached control
surfaces. For information about connecting and using control surfaces, see Using Control
Surfaces with Soundtrack Pro.
Use pop-up menu
Previous and Next buttons
Control Surface Buttons
button
Summary information
Control Surfaces display
area
Add and Delete buttons
•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.
•Previous and Next buttons: Change the order of the selected control surface in the
Control Surfaces field.
•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.
110 Chapter 4 Soundtrack Pro Preferences
Video Out Preferences
These preferences let you specify settings for video output from Soundtrack Pro.
•Video Output Device pop-up menu: Choose a video output device, or choose None.
•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.
111Chapter 4 Soundtrack Pro Preferences
You can arrange and mix audio clips in a multitrack project. Multitrack projects include
tracks, busses, and submixes you can use to create sophisticated signal routing and mixes.
This chapter covers the following:
•Creating, Opening, and Closing Multitrack Projects (p. 113)
•Creating a Multitrack Project from Final Cut Pro Clips or Sequences (p. 114)
•Setting Project Properties (p. 114)
•Setting the Project Length (p. 118)
•Setting Default Locations for Saving Media Files (p. 119)
•Saving Multitrack Projects (p. 120)
•Adding Files to a Multitrack Project (p. 121)
•Clip Properties (p. 123)
•Tracks, Busses, Submixes, and the Master Bus (p. 124)
Creating, Opening, and Closing 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.
To create a new multitrack project
µChoose File > New > 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.
To open an existing project
1Choose File > Open (or press Command-O).
2Optionally, to view only multitrack projects in the dialog, choose Multitrack Document
from the File Type pop-up menu.
3Locate and select the project, then click Open.
113
Working with Multitrack Projects 5
You can also open a recently open project by choosing it from the File > Open Recent
menu, or 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 and Soundtrack Pro, but you can only save them as multitrack
projects (with the extension .stmp).
At any time while you are working, you can close a multitrack project.
To close a project
µSelect the project’s tab in the project pane, then choose File > Close Project (or press
Command-W).
Creating a Multitrack Project from Final Cut Pro Clips or
Sequences
A convenient and powerful audio post-production workflow for any film or video project
is sending a Final Cut Pro sequence or clip to a Soundtrack Pro multitrack project. For
example, when the picture edit in a Final Cut Pro sequence is near completion, you simply
choose File > Send To > Soundtrack Pro Multitrack Project. Soundtrack Pro opens a new
multitrack project with the tracks, clips, and edits from the Final Cut Pro sequence,
including the synchronized video.
For information on sending Final Cut Pro sequences and clips to Soundtrack Pro, see
Using Soundtrack Pro with Final Cut Pro.
Setting Project Properties
Each project has a set of project properties that include sample rate, overlap mode,
selection mode, timecode, file management, and music-related properties. You can change
the project properties for a particular project using the multitrack project controls at the
top of the project pane or the Project tab.
Each project property has a default setting. You can also change the default project
properties for new projects in the Project pane of the Preferences window. For information
on setting preferences, see Setting Soundtrack Pro Preferences.
114 Chapter 5 Working with Multitrack Projects
Automation Mode
You can automatically record movements you make to faders, sliders, and other onscreen
controls using the pointer. You record automation in Soundtrack Pro by selecting either
Touch or Latch automation mode in the project controls, then changing volume, pan,
and effects settings as the project plays.
To set the automation mode
µChoose Read, Latch, or Touch from the Automation Mode pop-up menu.
Automation Mode
pop-up menu
For more information about the automation mode, see Recording Automation Data.
Nudge Amount
The nudge amount determines how far your selection is moved when you use the Nudge
command.
To set the nudge amount
µChoose the nudge amount from the Nudge Amount pop-up menu. The choices are:
• 1 Second
• 10 Frames
• 1 Frame
• 1/4 Frame
• 1 Subframe
Nudge Amount
pop-up menu
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 with
no change to their pitch or file duration. The available sample rates are 32 kHz, 44.1 kHz,
48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz. The default is 48 kHz, which is the
standard for digital video and DVD projects.
Note: When creating a soundtrack for a video, be sure you save and export your project
at the same sample rate the final video project will use.
115Chapter 5 Working with Multitrack Projects
To set the sample rate
µChoose the sample rate from the Sample Rate pop-up menu. The choices are:
• 32.0
• 44.1
• 48.0
• 88.2
• 96.0
• 176.4
• 192.0
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 Setting Up
Your System.
Overlap Mode
The project overlap mode determines what happens when you move an audio clip so
that it partially or completely overlaps another clip in 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 truncated.
To set the project overlap mode
µClick the Crossfade Mode button to set the project to crossfade mode, or click the Truncate
Mode button to set the project to truncate mode.
Truncate Mode button
Crossfade Mode button
116 Chapter 5 Working with Multitrack Projects
Setting the Envelope Selection Mode
The project selection envelope mode determines whether, when you select or move a
clip in the Timeline, the associated envelope points are also selected or moved with the
clip. You can set Soundtrack Pro to either the Select Only Clips mode or the Select Envelope
Points With Clips mode.
Select Only Clips button
Select Envelope Points
With Clips button
To select and move clips and envelope points together
µClick the Select Envelope Points With Clips button at the top of the Timeline.
To select and move clips and envelope points independently of each other
µClick the Select Only Clips button at the top of the Timeline.
To toggle between envelope selection modes
µPress Option-E.
For more information about the envelope selection mode, see Selecting and Moving
Envelope Points with Clips.
Choosing the Project Time Format
Each multitrack project has a project time format, which can be either Time (seconds)-based
or Beats-based. 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
formats while working on a project. 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, see Changing Track Time Format.
Setting the Project Ruler Units
You can switch the ruler units for a project in the Project tab and define the details for
the ruler units in the View menu.
To choose the ruler units for a project
µIn the Project tab, use the Ruler Units pop-up menu to choose either Seconds or Beats.
117Chapter 5 Working with Multitrack Projects
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 you 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 specify the details of the units shown in the Time display and Time ruler
1Choose View > Time Ruler Units, then choose one of the following time formats from the
submenu:
• HH:MM:SS
• Seconds
• Samples (Audio file projects only)
• Frames
• Drop frame (timecode)
• Non-drop frame (timecode)
2If your project does not contain video, you can also specify the following settings:
•Set Video Frame Rate: Choose from the following: 23.98, 24, 25, 29.97, 30, 59.94, 60.
•Set Starting Timecode: Enter the timecode for the first frame of your project.
Time Ruler Units and Gridlines
The number of gridlines drawn will depend on the dominant ruler type and zoom level.
For example, when the dominant ruler is Seconds and the Timeline is zoomed out, gridlines
appear only on the hour marks. As you zoom in, gridlines are drawn on the minute mark.
Zoom in more, and gridlines are drawn on the second marks, and so on.
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.
118 Chapter 5 Working with Multitrack Projects
To set the project length
µIn the Timeline, place the playhead at the point where you want the project to end, then
choose Mark > 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
µSelect the marker in the Timeline, then choose Edit > Delete (or press the Delete key.)
Setting Default Locations for Saving Media Files
During the course of a large sound editing project, you may generate numerous project
files, clips, render files, and audio recordings. Soundtrack Pro helps you manage all this
media by saving the files to default scratch locations. You can change the scratch locations
using Soundtrack Pro preferences.
Edited Media Location
When Soundtrack Pro saves audio file projects created automatically in the multitrack
Timeline, the default location for those files is /Users/username/Documents/Soundtrack Pro
Documents/Edited Media/Multitrack Project Name/.
To change the edited media location
Do one of the following:
µChoose Soundtrack Pro > Preferences > General, then click Choose to enter a new location.
µIn the Project tab, choose one of the following in the Create Media section:
• In Edited Media (from Preferences)
• In Media folder with project
Scratch Location
When Soundtrack Pro automatically creates audio file projects for edited media in the
multitrack Timeline, the default location for those files is
/Users/username/Documents/Soundtrack Pro Documents/Temporary Files/. These files
are moved to the Edited Media Location when the multitrack project is saved.
119Chapter 5 Working with Multitrack Projects
To change the scratch location
µChoose Soundtrack Pro > Preferences > General, then click Choose to enter a new location.
Recordings Location
When you record audio in the Soundtrack Pro multitrack Timeline, the default location
for those audio recordings is /Users/username/Documents/Soundtrack Pro
Documents/Recordings/.
To change the recordings location
µChoose Soundtrack Pro > Preferences > Recording, then click Choose to enter a new
location.
Collecting Media for a Project
When you save a Soundtrack Pro multitrack project, you have the option to collect the
associated audio and video files in one folder, alongside the multitrack project. You can
make these choices at the time you save a project, or in the Project tab in the Project File
Management section. For more information on these options, see Saving Multitrack
Projects.
Saving Multitrack Projects
At any time while you are working, you can save your multitrack project.
To save your project
1Choose File > Save.
2In the dialog that appears, enter a name for the project in the Save As field.
3Navigate to the folder in which you want to save the project.
4Select any of the following checkboxes:
•Save Compacted: Saves the project without display data, which can save disk space,
but the project may take longer to open.
•Collect Audio Files: Saves a copy of every audio file the project uses to the selected
location. This makes it easy to move projects between computers, and ensures that all
needed audio files are available for playback. When you select this checkbox, the setting
is retained for any subsequent saves. In other words, the File > Save menu option
changes to File > Save (Collected), and any new media you add to the project is collected
the next time you save the project.
Note: 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, missing files will not play.
120 Chapter 5 Working with Multitrack Projects
•Collect Unused Audio Files: Includes media files you have deleted from the project but
that remain in the Bin. If you do not want to include these media files, deselect this
checkbox.
Note: Optionally, you can open the Bin, select the audio files you want to remove, then
choose Remove Unused from the Media pop-up menu.
•Collect Video File: Saves the project’s video file in the same folder as the project.
•Save Edited Media Locally: Saves the project’s edited audio files in the same folder as
the project (in a subfolder named Media). If this checkbox is not selected, edited media
is saved to the edited media location defined in Soundtrack Pro preferences.
Note: Multitrack projects are saved as documents with the extension.stmp.
5You can optionally click the New Folder button to create a new folder for the collected
project.
6Click Save to save the project.
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 can be very large, if you save a multitrack project collected (by
selecting the Collect Audio Files or Collect Video File checkbox in the Save As dialog), it
may take several minutes and may require a large amount of disk space to save the
project.
Adding 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.
To add an audio file from the media tabs
Do one of the following:
µDrag the file from one of the media tabs to a track in the Timeline.
µDrag the file from the File list to the strip between two existing tracks.
A new track is created and the clip is added to the track.
µDrag the file from the File list to the empty part of the Timeline below the Master bus.
A new track is created and the clip is added to the track.
121Chapter 5 Working with Multitrack Projects
µDrag a file from the File list to a track or to the part of the Timeline below the existing
tracks.
Drag the file from
a media tab to
the Timeline.
To spot the clip to the playhead
Do one of the following:
µSelect the clip and choose Clip > Spot to Playhead, or press Command–Backslash (\).
µControl-click the clip, then choose Spot to Playhead from the shortcut menu.
To spot the clip to the Timeline
Do one of the following:
µSelect the clip and choose Clip > Spot to Timeline, or press Command–Shift–Backslash
(\).
µControl-click the clip, then choose Spot to Timeline from the shortcut menu.
For more information, see Spotting Clips to the Timeline.
To add an audio file from the Finder
µDrag 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 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
µDrag the file from the Bin tab to the Timeline, either to a track or to the area below the
existing tracks.
Note: When you drag an audio file to the Timeline, the file snaps to the nearest Snap To
position if snapping is turned on. For information on setting the Snap To value, see Using
Snapping.
122 Chapter 5 Working with Multitrack Projects
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. Properties for a selected clip are
displayed and can be edited in the Details tab. For more information, see Details Tab.
Some properties can be changed by editing the clip in the Timeline. For detailed
information on editing audio clips, see Selecting Audio Clips in the Timeline. Other clip
properties, such as color, can be applied to clips directly. For more information, see Editing
Clip and Track Properties.
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.
123Chapter 5 Working with Multitrack Projects
Tracks, Busses, Submixes, and the Master Bus
Multitrack projects contain tracks, busses, and submixes. Tracks, busses, and submixes
appear as horizontal rows in the Timeline and as vertical channel strips in the Mixer. In
both the Timeline and Mixer, tracks, busses, and submixes are grouped together, with a
separator between each category. You can move each type within its own category but
cannot move it to either of the other categories. Each track, bus, and submix has a header
with its icon, name, and a set of controls. The Master bus represents the final mix that
goes to physical outputs. The Master bus has no icon or editable name.
Tracks
Tracks contain the audio you add to your project in the Timeline. Each track has a color
label, 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,
a submix pop-up menu, and buttons to mute or solo the track, bypass effects, and enable
the track for recording. In addition, each channel strip includes 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.
Busses
In Soundtrack Pro, a bus is a separate but parallel audio signal created with a send. A send
can tap an audio signal and create a separate signal known as a bus. (Some might call
this an auxiliary bus.) Busses can be processed or combined independently of the main
signal. They can be combined with other signals in a submix or at the final mix, or they
can be routed to altogether separate outputs.
Send
Track
Submix bus
Bus
1
Audio clip Effects Volume fader
Each bus has a color label, 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 an Arm for Recording button (because
you can’t record audio to a bus). The bus controls affect the audio of every track sent
(routed) to that bus.
124 Chapter 5 Working with Multitrack Projects
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 volume
fader and add an EQ effect that brings out the actor’s voice in the mix. You could then
route that audio bus to a particular submix. The main reason to apply effects this way
(rather than directly on the track) is so you can control the amount and characteristics of
the effect on multiple tracks using one set of controls.
For more information about using busses and sends, see Using Sends and Busses.
Submixes
Submixes let you combine the audio from different tracks and busses and route the audio
to physical outputs. If you are using external audio hardware that supports multiple
physical outputs, you can add submixes to a project and choose the physical output to
which each submix routes its audio. For more information about signal routing in
Soundtrack Pro, see Basic Signal Routing in Soundtrack Pro.
For example, you could route the audio from the dialogue tracks for each actor to a
submix called “Dialogue” and then route all of the dialogue from that submix to a single
output jack. You could route all music tracks to another submix and all effects tracks to
a third submix. Then you could adjust the volume or add effects separately to each submix.
For a final stereo mix, you could route all submixes to the same pair of physical output
channels (channels 1 and 2, for example), or to separate outputs. In the case of a surround
mix, you could route all submixes to channels 1–6. For a detailed explanation of this
example, see Example: Mixing a Project with Submixes.
125Chapter 5 Working with Multitrack Projects
Each submix has a color label, a name, an icon, and a set of controls that appear in the
submix’s header in the Timeline and in its channel strip in the Mixer. Submix controls
include a volume slider, a pop-up menu where you can choose the physical output
channels for the submix, and buttons to mute or solo the submix and add effects. Each
submix channel strip includes level meters you can use to watch the submix’s levels and
a set of effects slots where you can add and order effects and sends. Submixes do not
have pan controls or Arm for Recording buttons.
Tracks, busses, and submixes in the Timeline
Tracks, busses, and submixes in the Mixer
For information about working with tracks, busses, and submixes in the Timeline, see
Working with Tracks, Busses, and Submixes in the Timeline. For information about working
with tracks, busses, and submixes in the Mixer, see Using Sends and Busses.
126 Chapter 5 Working with Multitrack Projects
The Master Bus
The Master bus represents the final mix from Soundtrack Pro: what will be heard from
physical output jacks. On a signal routing basis, the Master bus is practically a mirror
image of the connected hardware output device. It has a single volume control but does
not have panners. You can apply effects to the Master bus, but you cannot automate
those effects. Effects applied to the Master bus are placed across all channels.
For more information about the Master bus, see Using the Master Bus.
127Chapter 5 Working with Multitrack Projects
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. You
can select, cut, copy, and paste clips, move, resize, transpose, split and join them, and
edit them in other ways.
This chapter covers the mechanics of working with clips, tracks, busses, and submixes in
the Timeline.
For details on how to process the contents of audio clips, see Editing Audio in the
Multitrack Timeline.
For strategies on setting up a sound-for-picture post-production project, see
Example: Mixing a Project with Submixes.
For information on signal routing in Soundtrack Pro, see Basic Signal Routing in
Soundtrack Pro.
This chapter covers the following:
•About the Timeline (p. 130)
•Using the Timeline Editing Tools (p. 130)
•Timeline Editing Tools HUD (p. 132)
•Moving Around in the Timeline (p. 133)
•Working with Tracks, Busses, and Submixes in the Timeline (p. 140)
•Selecting Audio Clips in the Timeline (p. 152)
•Selecting the Entire Contents of a Track (p. 153)
•Selecting Partial Contents of One or More Tracks (p. 154)
•Cutting, Copying, Pasting, and Removing Audio Clips (p. 155)
•Splitting and Joining Audio Clips (p. 157)
•Spotting Clips to the Timeline (p. 160)
•Moving Clips (p. 161)
•Snapping Clips to Clips on Other Tracks (p. 163)
129
Working in the Timeline 6
•Resizing Audio Clips (p. 163)
•Changing the Offset of an Audio Clip (p. 166)
•Creating Fades and Crossfades in the Timeline (p. 167)
•Truncating Overlapping Audio Clips (p. 173)
•Working with Markers (p. 174)
•Transposing Tagged Audio Clips (p. 179)
•Replacing the Source Audio in a Clip (p. 179)
•Replacing Audio with Related Files (p. 181)
•Making Clip Channel Selections (p. 181)
•Combining Separate Clips to Create Multichannel Clips (p. 184)
•Editing Clip and Track Properties (p. 184)
About the Timeline
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 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 Ruler Units setting in the Project tab
and the current zoom level. The Timeline is arranged in three sets of horizontal
rows—tracks, busses, and submixes. You add audio clips to tracks, create submixes using
busses, and send audio to physical output devices using submixes. For information about
working with tracks, busses, and submixes, see Tracks, Busses, Submixes, and the Master
Bus.
Using the Timeline Editing Tools
The Timeline includes editing tools you can use to edit and adjust clips in the Timeline.
130 Chapter 6 Working in the Timeline
Selection Tool
When you open the Timeline, the pointer is a selection pointer (arrow). You can use the
Selection tool to select clips and tracks by clicking them and use it to make marquee
selections across multiple tracks. When you are done using another Timeline editing tool,
you can return the pointer to a selection pointer by clicking the Selection Tool button or
by pressing A.
Selection tool
Timeslice Tool
You can use the Timeslice tool to make time-based selections. Timeslice tool selections
are entirely time-based, so you can use the Timeslice tool to select portions of clips or
portions of multiple clips. (This is unlike selections across multiple tracks with the default
Selection tool, which can only select whole clips.) Timeslice selections in the Timeline will
also appear as selections in the File Editor tab. You can select the Timeslice tool by pressing
W. For more information about the Timeslice tool, see Editing with the Timeslice Tool.
Timeslice tool
Blade and Blade All Tools
Using the Blade tool, you can perform many splits consecutively without moving the
playhead each time. Use the Blade All tool to split across all tracks. You can select the
Blade tool by pressing B, and the Blade All tool by pressing BB. For more information
about the Blade and Blade All tools, see Splitting and Joining Audio Clips.
Blade All toolBlade tool
131Chapter 6 Working in the Timeline
Lift and Stamp Tools
The Lift and Stamp tools provide an efficient way to transfer properties from one clip to
one or more other clips. Use the Lift tool to copy properties from selected clips and create
a processing template in the Sound Palette that can be applied to other clips. Use the
Stamp tool to apply those properties to the other clips. You can select the Lift tool by
pressing UU, and the Stamp tool by pressing U. For more information about the Lift and
Stamp tools, see The Lift and Stamp Tools and the Sound Palette.
Stamp toolLift tool
Scrub Tool
The Soundtrack Pro Scrub tool provides detailed scrubbing that realistically approximates
the “rock-the-reels” scrubbing on analog tape decks. You can select the Scrub tool by
pressing H. For more information about the Scrub tool, see Scrubbing Audio Files.
Scrub tool
Timeline Editing Tools HUD
The Timeline includes a handy HUD that provides all of the graphical Timeline editing
tools at the stroke of a single keyboard shortcut. This saves you the time and effort of
having to move the pointer up to the top of the Timeline whenever you need to select
(or deselect) a Timeline editing tool.
To use the Timeline Editing Tools HUD
1Press the grave accent key (`).
The Timeline Editing Tools HUD appears at the pointer location.
2In the HUD, do one of the following to choose the Timeline editing tool that you want
to use:
• Click the tool’s icon.
• Press the corresponding number key (1–7, left to right).
• Use the Left Arrow and Right Arrow keys and press Enter.
132 Chapter 6 Working in the Timeline
When you have finished using a Timeline editing tool, it is a good idea to immediately
return to the default Selection tool.
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, create an
area in the Timeline that plays back repeatedly, and change which part of the project is
currently visible using the scroll bars and project 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.
In the lower left of the project pane are the Timeline controls, including the Track Height
control and Zoom control.
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.
133Chapter 6 Working in the Timeline
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 out
Timeline zoomed in
You can also zoom in and out using menu commands or keyboard shortcuts. If your
mouse has a scrollwheel, 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:
µChoose View > Zoom In, or press Command-Plus (+).
134 Chapter 6 Working in the Timeline
µMove the Zoom slider to the left.
µClick the left side of the Zoom control.
µIf the mouse connected to your computer has a scrollwheel, position the pointer over
the Zoom control and move the scrollwheel.
µIf your portable computer has a Multi-Touch trackpad, use the expand gesture.
To zoom out
Do one of the following:
µChoose View > Zoom Out, or press Command-Minus (-).
µPress the Down Arrow key.
µMove the Zoom slider to the right.
µClick the right side of the Zoom control.
µIf your mouse has a scrollwheel, position the pointer over the Zoom control and move
the scrollwheel.
µIf your portable computer has a Multi-Touch trackpad, use the pinch gesture.
Note: You can change the default scrollwheel behavior in the General pane in
Soundtrack Pro Preferences to zoom in or out at the playhead position or scroll the
Timeline.
To fit the project in the visible area of the Timeline
µChoose View > Fit in Window (or press Shift-Z).
Using the J, K, and L Keys for Shuttling
You can use the keyboard commands (the J, K, and L keys) to speed playback up to eight
times normal speed. When you use the keyboard shortcuts, the only speed available
under 1x is 1/2x.
Moves through
reverse speeds
Pause Moves through
forward speeds
To begin forward playback at normal (1x) speed
µPress L.
To begin reverse playback at normal (1x) speed
µPress J.
135Chapter 6 Working in the Timeline
To pause playback
µPress K.
To double the current playback speed
µPress L or J again.
You can play back up to eight times normal speed, switching from 1x to 2x to 4x to 8x
normal speed (pressing either key a total of four times).
Pressing the key for playback in the opposite direction halves the playback speed, slowing
down playback in that direction until it reaches 1x playback. Playback then begins doubling
in reverse, starting from 1x.
To immediately reverse the playback direction
µPress K to pause, then press the key for the direction you want.
To move the playhead one frame at a time
µHold down the K key, then press J or L.
To move the playhead at below 1/2x speed
µHold down the K key, then press and hold down J or L.
Moving the Playhead with Keyboard Shortcuts
Soundtrack Pro provides a variety of keyboard shortcuts to move the playhead.
To move the playhead to the previous edit
µPress the Up Arrow key.
To move the playhead to the next edit
µPress the Down Arrow key.
To move the playhead to the previous edit and toggle the clip selection
µPress Shift–Up Arrow.
To move the playhead to the next edit and toggle the clip selection
µPress Shift–Down Arrow.
To move the playhead one frame to the left
µPress the Left Arrow key.
To move the playhead one frame to the right
µPress the Right Arrow key.
To move the playhead one gridline to the left
µPress Option–Left Arrow.
To move the playhead one gridline to the right
µPress Option–Right Arrow.
136 Chapter 6 Working in the Timeline
Note: The gridlines correspond to the divisions of time in the Time ruler. The units of
time the gridlines display change depending on the Ruler Units setting in the Project tab
and the current zoom level.
For a complete list of keyboard shortcuts, see Soundtrack Pro Keyboard Shortcuts.
Using Multi-Track Gestures to Control Playback
If your portable computer has a Multi-Touch trackpad, you can use the rotate gesture to
play back audio in the Timeline. The speed of playback is determined by the speed of
the rotate gesture. For example, a very slow clockwise rotate gesture scrubs the audio
forward from the position of the playhead. For more information on scrubbing audio,
see Scrubbing Audio Files.
To move the playhead to the right
µUse the rotate gesture clockwise.
To move the playhead to the left
µUse the rotate gesture counterclockwise.
Setting Track Height
You set the height of tracks, busses, and submixes 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 submixes
Do one of the following:
µClick one of the four rectangles on the Track Height control.
µPress Command-6, Command-7, Command-8, or Command-9.
Reduced track
height
Large track height
137Chapter 6 Working in the Timeline
Note: Track header controls for setting up recording appear in the two tallest track heights
only.
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
µDrag the visible area rectangle to a new position.
Drag this rectangle
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 submixes than can be displayed in the project pane.
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.
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
µClick the Time ruler at the point where you want to set the playhead.
Working with the Cycle Region
You can create a cycle region in a project, an area that plays back repeatedly. This is
sometimes called cycling or looping playback. A project has only one cycle region, but
you can move and resize it as often as you want. Additionally, for selecting, marking, and
exporting purposes, the cycle region functions much like In and Out points in Final Cut Pro.
138 Chapter 6 Working in the Timeline
You also use the cycle region when recording multiple takes. For information on recording,
see Recording Audio in Soundtrack Pro.
To set the cycle region
Do one of the following:
µDrag in the Time ruler from the beginning of where you want the cycle region to the end.
Drag in the Time ruler
to set the cycle region.
µPosition the playhead and press I to set the cycle region In point. Position the playhead
and press O to set the cycle region Out point.
µPress X to set the cycle region In and Out points at the boundaries of the clip that currently
intersects the playhead. The clip on the uppermost track is used.
Note: For a complete list of keyboard shortcuts, see Soundtrack Pro Keyboard Shortcuts.
The cycle region is lighter in color than the rest of the Time ruler, with triangular markers
indicating its start and end points. If a cycle region already exists, you can drag anywhere
in the Time ruler outside of the current cycle region to set the cycle region to a new
position.
If cycling is turned off, you must turn it on for the cycle region to be active. The Cycle
button darkens to indicate that the cycle region is activated.
To activate or deactivate the cycle region
Do one of the following:
µClick the Cycle button in the transport controls.
µPress C.
To move the cycle region
µClick in the bottom half of the cycle region and drag it to a new position in the Timeline.
To resize the cycle region
µDrag either the In point or Out point handle in the Time ruler to resize the cycle region.
To remove the cycle region
Do one of the following:
µChoose Edit > Cycle Region > Remove Cycle Region (or press Option-X).
µControl-click the cycle region, choose Cycle Region from the shortcut menu, then choose
Remove Cycle Region from the submenu.
139Chapter 6 Working in the Timeline
Working with Tracks, Busses, and Submixes in the Timeline
The Timeline is arranged sets of horizontal rows—tracks, busses, and submixes. You add
audio to tracks in your project, use busses to create effect sends, and route audio to
physical output channels using submixes.
The tracks in a project appear in the upper part of the Timeline. Busses appear below
tracks, and submixes appear below busses. The Master bus appears below submixes. The
Master bus represents the final mix that will be heard from physical output jacks. It has
a single volume control and no panners or meters. You can apply effects to the Master
bus.
A separator between each set of Timeline rows helps visually distinguish them, and
disclosure triangles on each separator let you show or hide the different sets. Tracks,
busses, and submixes in the Timeline correspond to channel strips in the Mixer. When
you add a track, bus, or submix, adjust its controls, or add effects, the same changes
appear in the corresponding channel strip when you open the Mixer.
Tracks, busses, and submixes are described in greater detail in Tracks, Busses, Submixes,
and the Master Bus.
Adding Tracks, Busses, and Submixes
There are several ways to add tracks, busses, and submixes.
To add a track
Do one of the following:
µChoose Multitrack > Add Track (or press Command-T).
µControl-click an open area of the Timeline, then choose Add Track from the shortcut
menu.
µControl-click a track, then choose either Add Track Above or Add Track Below from the
shortcut menu.
To add a bus
Do one of the following:
µChoose Multitrack > Add Bus.
µControl-click a bus, then choose either Insert Bus Before or Insert Bus After from the
shortcut menu.
To add a submix
Do one of the following:
µChoose Multitrack > Add Submix.
µControl-click a submix, then choose either Insert Submix Before or Insert Submix After
from the shortcut menu.
140 Chapter 6 Working in the Timeline
Selecting Tracks, Busses, and Submixes
You can select a track, bus, or submix in order to move, copy, or remove it, and you can
also select tracks, busses, and submixes to export. The headers of selected tracks, busses,
and submixes appear darker in the Timeline. You can also select multiple tracks, busses,
or submixes in the Timeline.
To select a track, bus, or submix
Do one of the following:
µClick in the header for the track, bus, or submix.
µClick anywhere in the row for the track, bus, or submix in the Timeline.
µPress Control–Up Arrow or Control–Down Arrow.
The selected track
is highlighted.
To select adjacent tracks, busses, or submixes
Do one of the following:
µShift-click in the header of each track, bus, or submix.
µPress Shift-Control-Up Arrow or Shift-Control-Down Arrow.
You can select multiple tracks, busses, or submixes in the Timeline.
To select nonadjacent tracks, busses, or submixes
µCommand-click in the header of each track, bus, or submix.
Grouping Tracks, Busses, and Submixes
You can create groups of tracks, groups of busses, and groups of submixes. Groups provide
a way to easily select and make changes (such as volume, mute, solo, and lock adjustments)
to many tracks, busses, or submixes at once. When Mixer objects are grouped, selecting
one item in the group selects all items in that group.
Note: It is not possible to group Mixer objects from different categories. For example,
you cannot group tracks with busses or tracks with submixes.
To group tracks, busses, or submixes
1Confirm that grouping is enabled by choosing Multitrack > Groups Enabled.
2Do one of the following:
• Select any combination of tracks.
• Select any combination of busses.
141Chapter 6 Working in the Timeline
• Select any combination of submixes.
3Choose Multitrack > Group Tracks (or press Command-G).
The selected items are grouped.
Applying Changes to Selected Groups
When multiple tracks, busses, or submixes are selected (whether they are officially grouped
or not), you can apply the following changes to all the selected items at once.
Changes in the Track Header or the Shortcut Menu
• Toggling the envelopes
• Volume
• Effect bypass
• Mute
• Solo
• Setting track color
• Track locking
• Removing a track
• Switching between stereo/surround panner
Changes in the Timeline
• Blade tool
• Creating a Timeslice selection
• Marquee-selecting multiple clips with the Selection tool
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Managing Track Selections with the Tracks Tab
The Soundtrack Pro Tracks tab is a convenient tool for selecting and grouping tracks,
busses, and submixes. The Tracks tab consists of three sections: the Mixer Objects outline,
the Groups outline, and a channel strip for the currently selected item.
Mixer Objects Outline
The upper left of the Tracks tab displays an outline view of the Timeline, including all
tracks, busses, and submixes. Use this outline to quickly manage, select, and group Mixer
objects (track, bus, or submix) without having to view the entire Timeline.
To select an individual Mixer object (track, bus, or submix) in the Tracks tab
µClick the track, bus, or submix in the Mixer Objects outline.
You can also use the Up Arrow and Down Arrow keys to navigate through individual
Mixer objects.
To select adjacent Mixer objects in the Tracks tab
µShift-click the adjacent tracks, busses, or submixes in the Mixer Objects outline.
To select nonadjacent tracks, busses, or submixes
µCommand-click the nonadjacent tracks, busses, or submixes in the Mixer Objects outline.
Groups Outline
The Groups outline displays an outline view of any grouped tracks, busses, or submixes
in the project. You can use the Groups outline to group Mixer objects, disable or enable
groups, rename groups, delete groups, and delete items from groups.
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To group tracks, busses, or submixes in the Groups outline
1Confirm that grouping is enabled by choosing Multitrack > Groups Enabled.
2In the Mixer Objects outline, do one of the following:
• Select any combination of tracks.
• Select any combination of busses.
• Select any combination of submixes.
For more information on selecting, see Selecting Tracks, Busses, and Submixes.
3Choose Multitrack > Group Tracks (or press Command-G).
The selected items are grouped and the new group appears in the Groups outline.
To enable or disable groups in the Groups outline
µClick the checkbox next to the group in the Groups outline to enable or disable it.
Note: Three standard groups (All Tracks, All Busses, and All Submixes) are disabled by
default.
To rename a group in the Groups outline
1Double-click the name.
2Enter the new name.
To delete a group or remove an item from a group
1Select the group or item in the Groups outline.
2Press Delete.
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Channel Strip
The right side of the Tracks tab displays a single channel strip for the currently selected
track, bus, or submix. (This channel strip is identical to the corresponding channel strip
in the Mixer in every way, including all controls and current settings.) It is a quick way to
access the mixing controls for a particular Mixer object.
Note: The channel strip is displayed only if a single track, bus, or submix is selected.
For more information about channel strips, see Using the Mixer.
Moving and Copying Tracks, Busses, and Submixes
As you work on your project, you may want to rearrange tracks, busses, and submixes.
You can move and copy them to change their vertical arrangement in the track, bus, or
submix section of the Timeline. You cannot move one to the area for another (as indicated
by the rows labeled “Tracks,” “Busses,” “Submixes,” and “Master” in the Timeline).
You can only move or copy one track, bus, or submix at a time.
To move a track, bus, or submix
µDrag the track, bus, or submix header up or down to a new vertical position.
A light blue horizontal line in the header area indicates the place the track, bus, or submix
is moved to when you release the mouse button.
To copy a track, bus, or submix
µOption-click in the header for the track, bus, or submix, then drag it up or down.
145Chapter 6 Working in the Timeline
A copy of the track, bus, or submix appears when you release the mouse button.
Renaming Tracks, Busses, and Submixes
By default, tracks are numbered when created and take the name of the first audio clip
you add to them. Busses and submixes are numbered starting from 1 (Bus 1, Submix 1,
and so on). You can rename a track, bus, or submix 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 submix
µClick the name field in the header for the track, bus, or submix and type a new name.
Note: You cannot rename the Master bus.
Changing a Track, Bus, or Submix 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, bus, or submix
Do one of the following:
µDouble-click the icon, then select a new icon from the icon grid that appears.
µDrag a graphics file from the Finder to the icon.
About the Track Controls
Tracks, busses, and submixes have headers, located along the left side of the Timeline.
Each header contains various controls that perform the following functions:
•Adjust volume: For more information, see Adjusting Volume.
•Adjust pan position: For more information, see Adjusting Pan Position.
•Mute and solo tracks, busses, and submixes: For more information, see Muting and Soloing
Tracks, Busses, and Submixes.
•Add effects: For more information, see Adding Effects to a Track, Bus, or Submix.
•Show and hide tracks, busses, and submixes: For more information, see Showing and
Hiding Track, Bus, and Submix Envelopes.
•Change track time format: For more information, see Changing Track Time Format.
•Remove tracks, busses, and submixes: For more information, see Removing Tracks, Busses,
and Submixes.
Adjusting Volume
The volume slider controls the volume (the loudness relative to other tracks) of the track,
bus, or submix.
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To adjust the volume level of a track, bus, or submix
µDrag the volume slider left or right.
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 panning controls. The stereo pan slider controls the stereo
pan position (the left-to-right placement in the stereo field) of the track. The surround
panner controls the surround pan position, placing sounds in a multidimensional space
defined by 5.1-surround speaker systems.
To adjust the pan position of a track or bus
Do one of the following:
µIn stereo mode, drag the pan slider left or right.
Drag the slider to
pan the sound.
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.
µIn surround mode, drag anywhere inside the black circle to position the puck.
Drag the puck to
pan the sound.
For finer panning adjustments and other surround controls, double-click the surround
panner to open the Surround Panner HUD.
For more information about using surround panners, see Using Surround Panners to
Create a Surround Mix. For more information about the Surround Panner HUD, see The
Surround Panner HUD.
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Muting and Soloing Tracks, Busses, and Submixes
The Mute button mutes (silences) the track, bus, or submix. You can mute multiple tracks,
busses, and submixes, which allows you to hear only the remaining, unmuted ones.
Muting lets you compare the sound of the project using different combinations of tracks,
busses, and submixes, and hear the result of changes you make to them.
The Solo button solos the track, bus, or submix, muting all others. Soloing a track, bus, or
submix lets you quickly isolate it from the rest of the project, so you can adjust the sound
of the soloed track, bus, or submix and make changes.
Soundtrack Pro supports multiple solo and exclusive solo. Clicking the Solo button for
multiple tracks, busses, or submixes solos them and mutes all others. When you exclusively
solo a track, bus, or submix, all others are muted, regardless of whether they are soloed.
To mute a track, bus, or submix
Do one of the following:
µChoose Multitrack > Mute Selected Track (or press T).
µClick the Mute button.
Repeat the same operation to unmute the track, bus, or submix.
Muted tracks, busses, and submixes appear darker in the Timeline and their clips appear
translucent, making it easy to identify which tracks are currently audible.
Click the Mute button
to mute the track, bus,
or submix.
Muted track
To solo a track, bus, or submix (multiple solo)
Do one of the following:
µChoose Multitrack > Solo Selected Track (or press Y).
µClick the Solo button.
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Repeat the operation to unsolo the track, bus, or submix.
Click the Solo button
to solo the track, bus,
or submix.
Soloed track
To exclusively solo a track, bus, or submix
µOption-click the Solo button. Click the Solo button again to unsolo the track, bus, or
submix.
When you solo tracks, busses, or submixes, the ones not soloed appear darker in the
Timeline, and their clips appear translucent.
Adding Effects to a Track, Bus, or Submix
You can use the Effects tab to add effects. The Effects tab also displays any effects currently
assigned to the track, bus, or submix.
To add effects to a track, bus, or submix
1Do one of the following:
• Control-click the header for the track, bus, or submix, then choose Show Track, Bus, or
Submix Effects from the shortcut menu.
This activates the Effects tab.
• Click the header for the track, bus, or submix to select it. If it is not already active, click
the Effects tab to activate it.
149Chapter 6 Working in the Timeline
2Select a category in the Category list to display the effects for that category in the Effect
list.
Select the category
of effects you want
to use from this list.
3In the Effect list, do one of the following:
• 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.
...to the Effect
Parameters area.
Drag the effect from
the Effect list...
The effect’s advanced settings window appears, and the effect name appears in the Effect
Parameters area with its checkbox selected.
For detailed information about adding and adjusting effects, see Working with Audio
Effects.
Showing and Hiding Track, Bus, and Submix 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 a submix shows the submix’s
volume envelope. The envelopes appear in the Timeline below the track, bus, or submix.
You can also add envelopes for effect parameters, which appear below the other
envelopes. For information on adding envelopes for effect parameters, see Working with
Audio Effects.
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Note: If you automate controls or effects using envelopes, you hear the results whether
or not the envelopes are visible.
To show or hide the envelopes for a track, bus, or submix
Do one of the following:
µClick the envelopes disclosure triangle in the header for a track, bus, or submix. Click the
disclosure triangle again to hide the envelopes.
µPress E to show envelopes for any selected tracks. Press E again to hide the envelopes.
Click the envelopes
disclosure triangle.
The envelopes
appear below the
track in the Timeline.
For information on automating changes to volume, pan, and other settings, see Working
with Automation.
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
1Select the track.
2Choose Multitrack > Track Time Base, then choose a format from the submenu.
Removing Tracks, Busses, and Submixes
You can remove a track, bus, or submix if you decide you no longer want it in a project.
151Chapter 6 Working in the Timeline
To remove a track, bus, or submix
Do one of the following:
µSelect the track, bus, or submix, then choose Multitrack > Remove [item] (or press
Command-Shift-T).
µControl-click the track, bus, or submix, then choose Remove [item] from the shortcut
menu.
The [item] changes depending on whether a track, bus, or submix is selected.
Selecting Audio Clips in the Timeline
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 appears darker than unselected
clips, and it has a white border. Selecting individual clips is as straightforward as clicking,
as long as you are clicking with the right tool. Also included here are the tricks you need
to know for selecting multiple contiguous and noncontiguous clips quickly.
To select an individual clip
1Click the Selection tool at the top of the Timeline (or press A).
2In the Timeline, click anywhere in a clip.
To select multiple audio clips in the same track
1Click the Selection tool at the top of the Timeline (or press A).
2Do one of the following:
• Hold down the Command key while selecting the desired clips using the Selection tool.
• 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, select a clip item, then hold down the Shift key and select
another clip item farther down on the Timeline. All of the clips between the two are
selected.
To select multiple audio clips in different tracks
Do one of the following:
µShift-click the clips in the Timeline.
All clips between those two tracks are selected as well.
µCommand-click the clips in the Timeline.
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µDrag across multiple tracks to select the clips.
Note: If there is no track background available because the tracks in your project are too
dense, you can also make the selection by dragging in the track separator.
To deselect an individual clip item within a selection
1Select the Selection tool in the Tool palette (or press A).
2Command-click the item you want to deselect.
To select all clips using the same source audio file
Do one of the following:
µSelect the clip in the Timeline or the Bin tab, then choose Clip > Select All Occurrences
of [filename].
µControl-click the source audio file in the Bin tab, then choose Show in Timeline from the
shortcut menu.
Selecting the Entire Contents of a Track
Sometimes you may find that you want to select all of the clips on a track in order to drag
them to close a gap or to create space to accommodate new clips in your project. After
selecting a track’s contents, you can perform different operations on all the track’s items
at once, such as moving, copying, or deleting them. This feature also works with multiple
tracks.
To select all the clips on selected tracks
1Select one or more tracks.
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For more information on selecting tracks, see Selecting Tracks, Busses, and Submixes.
2Choose Edit > Select > Across Tracks (or press Shift-T).
All clips in the track are selected.
If you make this selection in Selection tool mode, all clips on currently selected tracks are
selected. Any clips that were selected before choosing the menu item are included in the
new selection.
Note: Double-clicking a track in Selection tool mode selects all clips in that track. Any
previously selected clips are not included in the new selection. Triple-clicking a track
selects all clips in the Timeline.
If you make this selection in Timeslice tool mode, any existing Timeslice selection is
extended horizontally to cover the entire duration of the project. If there is no existing
Timeslice, Soundtrack Pro creates a Timeslice across the entire length of all selected tracks
(or all tracks if none are selected).
Note: Double-clicking a track in Timeslice tool mode creates a timeslice over the
double-clicked area (either a clip or the gap between two clips). Triple-clicking a track
creates a Timeslice across the entire track.
Selecting Partial Contents of One or More Tracks
When there are many clips in a multitrack project, it’s difficult to see and select many of
them at once, especially if you don’t want to zoom in and out frequently. The Select
Forward and Select Backward commands let you easily select all clips before or after the
playhead.
To select all the clips to the right or the left of the playhead on selected tracks
1Make sure no clips are selected by clicking in the Timeline in a space between clips.
2Select one or more tracks.
For more information on selecting tracks, see Selecting Tracks, Busses, and Submixes.
3Position the playhead in the Timeline.
4Do one of the following:
•To select everything to the right of the playhead in the selected tracks: Choose Edit > Select
> Forward (or press Shift-End).
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•To select everything to the left of the playhead in the selected tracks: Choose Edit > Select
> Backward (or press Shift-Home).
The clips at and
to the right of
the playhead
are selected.
If you make this selection in Selection tool mode, all clips to the right (Forward) or left
(Backward) of the playhead in the selected tracks are selected. Any clips that were selected
before choosing the menu item are included in the new selection.
If you make this selection in Timeslice tool mode, any existing Timeslice selection is
extended to the end of the project (for the Forward option) and to the beginning of the
project (for the Backward option). If there is not an existing Timeslice, Soundtrack Pro
creates a Timeslice across selected tracks starting at the playhead and extending to the
end of the project (for the Forward option) and to the beginning of the project (for the
Backward option).
Note: If you hold down the Option key, the menu items read Select > All Forward and
Select > All Backward and behave the same as described above except the selection is
across all tracks instead of just the selected tracks.
Cutting, Copying, Pasting, and Removing Audio Clips
You can cut, copy, paste, and remove audio clips in the Timeline. You can also paste
multiple copies of a clip.
To cut an audio clip
µSelect the clip in the Timeline, then choose Edit > 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:
µSelect the clip in the Timeline, then choose Edit > Copy (or press Command-C).
155Chapter 6 Working in the Timeline
µOption-drag the clip to the position where you want to copy it.
To paste an audio clip
µSet the playhead at the position where you want to paste the clip, then choose Edit >
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:
•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.
•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 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.
To paste multiple copies of a clip
1Cut or copy the clip.
2Set the playhead to the point where you want to paste the first copy of the clip.
3If you want to paste the copies in a different track, select the track.
4Choose Edit > Paste Special > Paste Repeat (or press Option-Command-V).
5In the Paste Repeat dialog, enter the number of times you want to paste the clip.
Type the number of
times you want to paste
the clip in the Paste
Repeat dialog.
156 Chapter 6 Working in the Timeline
The copies are pasted in the selected track, starting at the current playhead position. If
no track is selected, the copies 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.
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
µSelect the clip, then choose Edit > Delete (or press the Delete key).
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.
You can also easily (re)join clips.
You can split clips by using the Split command or by using the Blade (razor) and Blade
All tools. Each method has advantages, depending on the situation.
Splitting Clips with the Blade Tool
Using the Blade tool, you can perform many splits consecutively without moving the
playhead each time.
To split audio clips with the Blade tool
1Click the Blade Tool button above the Timeline.
Blade Tool button
The pointer changes to the Blade tool pointer.
2Click a clip at the point where you want to split it.
157Chapter 6 Working in the Timeline
The clip is split at the point where you clicked.
Click the clip with the
Blade tool to split it.
Splitting Clips Across All Tracks with the Blade All Tool
Use the Blade All tool to split across all tracks.
To split audio clips on all tracks with the Blade All tool
1Click the Blade All Tool button above the Timeline.
Blade All Tool button
The pointer changes to the Blade All pointer.
Note: To toggle between the Blade and the Blade All tools, hold down the Shift key while
either tool is selected.
2Click anywhere in the Timeline where you want to split clips on all tracks.
Note: If you use the Blade All tool in the podcast track, it cuts the podcast track as well
as any audio clips that are also under the Blade All tool. However, if you use the Blade All
tool in an audio track, it does not make a cut in the podcast track.
Use the Blade All tool
to split clips across
all tracks.
Splitting Clips with the Playhead
Using the playhead, you can split clips while a project is playing, split clips on selected
tracks, and split clips without having to use the mouse.
Note: If no clips or tracks are selected, using the Split command splits all clips under the
playhead.
158 Chapter 6 Working in the Timeline
To split selected audio clips with the playhead
1Set 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.
Move the playhead to
where you want to split
the selected clip.
2Choose Clip > 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.
The clip is split into two
segments, each of which
plays part of the source
audio file.
You can split an audio clip into three segments with the Timeslice tool by making a
selection in the middle of the audio clip (any part not including either the beginning or
the end), and then pressing the S key. The clip is split into three segments, defined by
the beginning and end of the selection. For more information about the Timeslice tool,
see Editing with the Timeslice Tool.
To split audio clips on selected tracks
1Set the playhead at the point where you want to split the clip or clips.
2Select the track or tracks containing the clip or clips you want to split.
3Choose Clip > Split (or press S).
Every clip under the playhead on the selected tracks is split into two segments. The first
segment ends at the playhead position, and the second segment begins at the playhead
position.
Note: Any clip selections will supersede track selections; if both clips and tracks are
selected under the playhead, Soundtrack Pro will split only the clips.
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To split audio clips while playing a project
1Do one the following:
• Select the clip or clips you want to split.
• Select the track or tracks containing the clip or clips you want to split.
2Play the section of the Timeline containing the clip or clips you want to split.
3While the project is playing, press S as often as you like.
The clip or clips are split at the playhead each time you press S.
Joining Audio Clips
You can rejoin split clips from the same original audio file that have been split using the
blade tool or the Split command. Clips being joined must be adjacent to each other and
in the same track.
To join audio clips
1Place the clips next to each other in the same track.
2Select the clips, then choose Clip > Join (or press Option-S).
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 source audio file.
Spotting Clips to the Timeline
Soundtrack Pro allows you to easily spot clips to the Timeline. You can spot clips to the
playhead location or you can spot clips to the Timeline based on timecode information
inherent in the clip or that you enter in the Spot to Timecode dialog.
To spot a clip to the playhead
1Position the playhead where you would like to spot the clip.
2Select the track on which you would like to spot the clip.
3Do one of the following:
• Select the clip in the Timeline or one of the Soundtrack Pro media tabs (such as the
Bin, Browser, Favorites, or Search tab), then choose Clip > Spot to Playhead, or press
Command–Backslash (\).
• Control-click the clip in the Timeline or in one of the Soundtrack Pro media tabs (such
as the Bin, Browser, Favorites, or Search tab), then choose Spot to Playhead from the
shortcut menu.
The clip is moved or added to the Timeline at the specified playhead location.
To spot a clip to the Timeline using timecode
1Select the track on which you would like to spot the clip.
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2Do one of the following:
• Select the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Clip > Spot to Timeline, or press
Command–Shift–Backslash (\).
• Control-click the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Spot to Timeline from the shortcut menu.
The Spot to Timeline dialog appears.
3Do one of the following:
• Select Use Embedded Timecode if the clip contains timecode intended to place it in
the proper location in the Timeline.
• Enter the target Timeline timecode location.
4Click Spot.
The clip is added to the Timeline at the specified timecode location.
Moving Clips
As you work in Soundtrack Pro, you may want to move tracks to new positions. There are
several ways to do this: dragging clips, entering timecode values, and using keyboard
shortcuts.
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
µDrag the clip left or right to a new position in the Timeline.
Drag a clip up or
down to move it
to a different track.
Drag a clip left or
right to move it to
a new position.
161Chapter 6 Working in the Timeline
Note: Holding down the Command key while trimming or moving a clip toggles the
current snapping state.
To move an audio clip to a new track
µDrag the clip up or down to a different track.
You can also move an audio clip using the Left Arrow and Right Arrow keys with various
modifier keys. Using the Command key with the arrow keys moves the clip the default
nudge amount; using the Command and Shift keys with the arrow keys moves the clip
to the next gridline in the Timeline.
You can lock the horizontal (time) position of an audio clip when moving the clip between
tracks in the Timeline. This makes it easy to keep the clip’s start point when moving the
clip or copying it by Option-dragging.
If the Timeline is in Select Only Clips mode, envelope points are not moved along with
clips. If you wish to move envelope points and clips together, the Timeline must be in
Select Envelope Points With Clips mode. For more information, see Selecting and Moving
Envelope Points with Clips.
To lock the time position of a clip as you move it between tracks
µHold down the Shift key while dragging the clip up or down to a different track.
Moving Clips Numerically
When you want to move clips precisely, you can move them by entering positive or
negative timecode values.
To move an item by entering a timecode value
1In the Timeline, select the clip item or items you want to move.
2Type a relative timecode value for where you want the clip to be positioned.
For example, type +48 (or simply 48) to move the item 48 frames forward. To move
48 frames backward in time, type -48. When you type a number, a Move field appears at
the top of the Timeline.
Note: Don’t click in the Current Timecode field before you do this, or you’ll move the
playhead instead.
Moving Clips with Keyboard Shortcuts
Soundtrack Pro provides a variety of keyboard shortcuts to move selected clips. For more
information, see Moving Audio Clips and Envelope Points.
For a complete list of keyboard shortcuts, see Soundtrack Pro Keyboard Shortcuts.
162 Chapter 6 Working in the Timeline
Snapping Clips to Clips on Other Tracks
If Snap To is set to All Edits, you can snap a clip to the edges of a clip in any other track.
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 a clip on another track
µChoose View > Snap To > All Edits.
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 shorten clips to play back only a part of the source file. 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 lengthen a regular, non-looping clip beyond its original length, Soundtrack Pro
adds blank space at the end of the clip.
A blank space appears
when a non-looping clip
is lengthened beyond
its original length.
When you lengthen a looping clip, it repeats the source file multiple times. The notches
at the top and bottom of the clip indicate the end of each repetition of the source audio
file.
Notches indicate the
points where a looping
clip repeats.
Drag the clip to the left
or right to resize it.
To resize an audio clip
1Place the pointer at either the left or right edge of the audio clip.
The pointer changes to a Clip Resize pointer.
163Chapter 6 Working in the Timeline
2Click the edge of the clip and drag left or right to resize it.
Note: Holding down the Command key while trimming or moving a clip toggles the
current snapping state.
When you resize a clip, the edge being resized jumps to the nearest Snap To position if
snapping is turned on. If you want to resize the clip independently of the Snap To value,
change the Snap To value or turn off snapping before you resize the clip. For information
about snapping, see Using Snapping.
To resize an audio clip to the boundaries of adjacent clips
1Place the pointer at either the left or right edge of the audio clip.
The pointer changes to a Clip Resize pointer.
2Click the edge of the clip.
3Hold down the Shift key and drag left or right to resize the clip.
Resizing clips is limited to the boundaries of adjacent clips.
Using the Trim Command
Soundtrack Pro lets you adjust the In and Out points of clips in the multitrack Timeline
using the Trim command. You can either trim the In point of a clip to the playhead or
trim the Out point of a clip to the playhead.
Note: If no clips or tracks are selected, using the Trim command applies the trim to all
clips under the playhead.
To trim the In point of selected audio clips to the playhead
1Set the playhead at the point where you want the clip to begin, then select the clip or
clips you want to trim.
You can trim multiple clips in the same operation.
2Choose Clip > Trim In Point to Playhead (or press D).
164 Chapter 6 Working in the Timeline
The In point of every selected clip under the playhead is moved to the position of the
playhead.
To trim the Out point of selected audio clips to the playhead
1Set the playhead at the point where you want the clip to end, then select the clip or clips
you want to trim.
You can trim multiple clips in the same operation.
2Choose Clip > Trim Out Point to Playhead (or press G).
The Out point of every selected clip under the playhead is moved to the position of the
playhead.
To trim the In point of audio clips on selected tracks
1Set the playhead at the point where you want the clip or clips to begin.
2Select the track or tracks containing the clip or clips you want to trim.
3Choose Clip > Trim In Point to Playhead (or press D).
The In point of every clip under the playhead on the selected tracks is moved to the
position of the playhead.
Note: Any clip selections supersede track selections; if both clips and tracks are selected
under the playhead, Soundtrack Pro splits only the clips.
165Chapter 6 Working in the Timeline
To trim the Out point of audio clips on selected tracks
1Set the playhead at the point where you want the clip or clips to end.
2Select the track or tracks containing the clip or clips you want to trim.
3Choose Clip > Trim Out Point to Playhead (or press G).
The Out point of every clip under the playhead on the selected tracks is moved to the
position of the playhead.
Note: Any clip selections supersede track selections; if both clips and tracks are selected
under the playhead, Soundtrack Pro trims only the clips.
To trim the In point of audio clips while playing a project
1Do one the following:
• Select the clip or clips you want to trim.
• Select the track or tracks containing the clip or clips you want to trim.
2Play the section of the Timeline containing the clip or clips you want to trim.
3While the project is playing, press D as often as you like.
The In point of the clip or clips are moved to the position of the playhead each time you
press D.
To trim the Out point of audio clips while playing a project
1Do one the following:
• Select the clip or clips you want to trim.
• Select the track or tracks containing the clip or clips you want to trim.
2Play the section of the Timeline containing the clip or clips you want to trim.
3While the project is playing, press G.
The Out point of the clip or clips is moved to the position of the playhead.
Note: If playback is moving backwards, if you press G multiple times, each time G is
pressed the Out point of the clip or clips is moved to the position of the playhead.
You can also trim clips by resizing them.
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 that the clip starts playing from a later point in the source audio file.
(In Final Cut Pro, this is known as a slip.) This allows you to use the audio from a later part
of the source file without splitting the clip.
166 Chapter 6 Working in the Timeline
To slip (change the offset of) a clip
µSelect the clip, then Command-Option-drag left (toward the beginning of the project).
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.
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 you slip past the
end of the media, looping files repeat and non-looping files play silence. For looping
clips, notches appear to show the point at which the clip starts looping.
Creating Fades and Crossfades in the Timeline
One of the most common tasks of a sound editor is adding fade-ins and fade-outs to
individual clips and crossfades between clips to smooth the overall sound of a video or
motion picture soundtrack.
Tip: Fades and crossfades can be applied using keyboard shortcuts. For more information,
see Soundtrack Pro Keyboard Shortcuts.
Types of Fade-Ins and Fade-Outs
This list describes the different types of fade-ins. The reverse behavior is true for fade-outs
in the logarithmic and exponential cases.
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Note: The default fade type is +3 dB. Choose Soundtrack Pro > Preferences > Project to
change the default fade type.
Linear
Logarithmic
Exponential
S-curve
•Linear: The rate of attenuation stays constant over the length of the fade.
•Logarithmic: Starts quickly, then slowly tapers off toward the end.
•Exponential: Starts slowly, then moves quickly toward the end.
•S-curve: Eases in and out of the fade, with the midpoint at 0 dB.
Creating Fade-Ins and Fade-Outs in the Timeline
Soundtrack Pro lets you easily add fades and crossfades and adjust the fade type directly
in the multitrack Timeline.
To create a fade-in or fade-out on a clip in the Timeline
1Move the pointer Over the top-left edge of the clip (for a fade-in) or top-right edge of
the clip (for a fade-out).
The pointer becomes a fade pointer.
2Drag from the corner toward the center of the clip.
A fade is superimposed over the clip.
3Drag the edge of the fade left or right to adjust the fade duration.
168 Chapter 6 Working in the Timeline
To adjust the fade type
1Double-click the fade in the Timeline.
The Fade Selector window appears.
2Click one of the four buttons on the left side of the Fade Selector to select a fade type.
The fade in the Timeline is updated to reflect your choice of fade type.
Adding Fades to Audio Clips
Soundtrack Pro lets you fade in and fade out to clips in the multitrack Timeline using the
Fade command. You can either fade in or fade out clips to the position of the playhead.
You can also use the mouse to create and adjust fades in individual clips. For more
information on creating and adjusting individual clip fades, see Creating Fade-Ins and
Fade-Outs in the Timeline.
Note: If no clips or tracks are selected, using the Fade command applies the fade to all
clips under the playhead.
To fade in selected audio clips to the playhead
1Set the playhead at the point where you want the fade in to end, then select the clip or
clips you want to fade in.
You can fade in multiple clips in the same operation.
2Choose Clip > Fade In to Playhead (or press Option–D).
169Chapter 6 Working in the Timeline
Every selected clip under the playhead now fades in from the beginning of the clip to
the position of the playhead.
To fade out selected audio clips from the playhead
1Set the playhead at the point where you want the fade out to begin, then select the clip
or clips you want to fade out.
You can fade out multiple clips in the same operation.
2Choose Clip > Fade Out from Playhead (or press Option–G).
Every selected clip under the playhead now fades out from the position of the playhead
to the end of the clip.
To fade in audio clips on selected tracks
1Set the playhead at the point where you want the fade in on the clip or clips to end.
2Select the track or tracks containing the clip or clips you want to fade in.
3Choose Clip > Fade In to Playhead (or press Option–D).
Every clip under the playhead on the selected tracks now fades in from the beginning of
the clip to the position of the playhead.
170 Chapter 6 Working in the Timeline
Note: Any clip selections supersede track selections; if both clips and tracks are selected
under the playhead, Soundtrack Pro fades in only the clips.
To fade out audio clips on selected tracks
1Set the playhead at the point where you want the fade out on the clip or clips to begin.
2Select the track or tracks containing the clip or clips you want to fade out.
3Choose Clip > Fade Out from Playhead (or press Option–G).
The Out point of every clip under the playhead on the selected tracks is moved to the
position of the playhead.
Note: Any clip selections supersede track selections; if both clips and tracks are selected
under the playhead, Soundtrack Pro fades out only the clips.
To fade in audio clips while playing a project
1Do one the following:
• Select the clip or clips you want to fade in.
• Select the track or tracks containing the clip or clips you want to fade in.
2Play the section of the Timeline containing the clip or clips you want to fade in.
3While the project is playing, press Option–D.
The clip or clips are faded in to the position of the playhead.
To fade out audio clips while playing a project
1Do one the following:
• Select the clip or clips you want to fade out.
• Select the track or tracks containing the clip or clips you want to fade out.
2Play the section of the Timeline containing the clip or clips you want to fade out.
3While the project is playing, press Option–G.
The clip or clips are faded out from the position of the playhead.
Creating Crossfades Between Audio Clips
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.
One of the ways to create a crossfade between audio clips is to use the Timeslice tool to
select a timeslice, then use the crossfade command. Another way is to 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.
To use the crossfade command
1Choose the Timeslice tool (or press W).
171Chapter 6 Working in the Timeline
2Select a timeslice overlapping two clips in the Timeline.
Timeslice
3Choose Clip > Crossfade (or press Command–F).
The crossfade appears in the area selected by the Timeslice tool.
Note: This command works whether your multitrack project is set to crossfade mode or
truncate mode.
To set the project to crossfade mode
µClick the Crossfade Mode button, located above the Global Timeline view.
Crossfade Mode button
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
µIn 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
As with other edits you make in the Timeline, creating a crossfade between two audio
clips does not change the source audio files.
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
1Move the pointer over the left or right edge of the crossfade.
The pointer becomes a crossfade pointer.
2Drag the edge of the crossfade to adjust the crossfade boundary.
172 Chapter 6 Working in the Timeline
To move the crossfade without changing its length
µDrag the lower area of the crossfade left or right.
To adjust the crossfade type
1Double-click the crossfade.
The Fade Selector window appears with two columns of the four fade type choices.
Note: For descriptions of the four fade types, see Types of Fade-Ins and Fade-Outs.
2Click one of the four buttons in the column on the left to select a fade-out type for the
left clip.
The crossfade in the Timeline is updated to reflect your choice of fade type.
3Click one of the four buttons in the column on the right to select a fade-in type for the
right clip.
The crossfade in the Timeline is updated to reflect your choice of fade type.
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
µClick 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.
173Chapter 6 Working in the Timeline
To truncate an audio clip
µIn the Timeline, drag another audio clip over part of the clip.
Working with Markers
Markers have a variety of uses in the Timeline and the File Editor. For example, you can
use markers to:
• Mark the start and end points of major sections in your project
• Indicate places you want to come back to and work on later
• Mark points where you want to synchronize the audio with the picture in a video
• 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.
Types of Markers
Soundtrack Pro displays Final Cut Pro 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 scoring markers have orange handles. By
default, time and beat markers can only occupy a single frame of time, but their duration
can be extended to any length.
The following sections discuss how to work with time markers and beat markers in a
project. For information about working with Final Cut Pro scoring markers, see Using
Final Cut Pro Scoring Markers.
End-of-project
marker (red)
Time marker (green)
Final Cut Pro scoring
marker (orange)
Beat marker (purple)
Inserting Markers
You can insert a beat marker or time marker at any point in the Timeline.
174 Chapter 6 Working in the Timeline
To insert a time marker
µSet the playhead to the point where you want to add the marker, then choose Project >
Insert Time Marker (or press the M key).
To insert a beat marker
µSet the playhead to the point where you want to add the marker, then choose Project >
Insert Beat Marker (or press Option-B).
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 File 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 time marker or beat marker
µMake the Details tab active, select the marker, then type a name in the Name field of the
Details tab.
Type a name in the
Marker Name field.
Enter a time position
here to move the
marker to that position.
To view marker titles in the Timeline
µChoose View > 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 the Details tab.
To move either a beat marker or time marker
Do one of the following:
µDrag the marker by its handle, located in the area above the Time ruler, to a new position
in the Timeline.
µShow the Details tab, click the marker you want to move, then enter a new position in
the Position field.
175Chapter 6 Working in the Timeline
Note: 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 Fades and Crossfades in
the Timeline.
Adjusting a Marker’s Duration
By default, Time markers and Beat markers have a duration of zero, but you can create
Time or Beat region markers by changing the duration of any marker. You adjust a marker’s
duration either by entering a new duration for the marker in the Details tab, or, if it is
already a region marker, by dragging the ends of a marker handle.
To adjust a marker’s duration
Do one of the following:
µShow the Details tab, click the marker you want to adjust, then enter a new duration in
the Duration field.
µAdjust a region marker by dragging the end of its handle.
Deleting Markers
If you decide you don’t want a time or beat marker that you’ve added, you can delete it
at any time.
To delete a marker
µClick the marker handle to select the marker, then choose Edit > Delete (or press Delete).
Note: You cannot delete Final Cut Pro scoring markers 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 snapping
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.
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.
176 Chapter 6 Working in the Timeline
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 to 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.
Note: 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.
To add a time marker at a specific timecode position in a video clip
Do one of the following:
µType the timecode position where you want to add the marker in the Time display, press
Return, then choose Mark > Insert Time Marker (or press M).
µMake 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.
To align an audio clip with a marker
µMake sure that snapping is turned on and that Markers is selected in the View > 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.
Note: You can temporarily turn snapping on or off by pressing N.
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 of time between the last tempo change and the marker’s position
in the Time ruler.
177Chapter 6 Working in the Timeline
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.
To score a marker to the playhead
1Select the marker’s handle at the top of the Timeline, above the Time ruler.
Click the marker
handle at the top
of the Timeline.
2Choose Mark > Score Marker to Playhead.
The marker is scored
to the playhead.
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.
You can also adjust the tempo relative to a marker’s position, so you can synchronize the
marker’s position with the Beats-based units.
To adjust the tempo relative to a marker’s position
µOption-drag the marker in the Timeline.
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As you drag, the red segment of the tempo envelope moves vertically as the tempo
changes.
Transposing Tagged Audio Clips
Soundtrack Pro 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.
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:
µSelect the clip, choose Clip > Transpose, then choose the number of semitones by which
you want to transpose the clip up or down.
µSelect the clip, open the Details tab, then use the Transpose pop-up menu to choose the
number of semitones by which you want to transpose the clip up or down.
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.
To replace the source audio file for a clip
1In the Timeline, select the clip for which you want to replace the source audio.
179Chapter 6 Working in the Timeline
2In any media tab, Control-click the audio file that will replace the selected clip’s audio,
then choose Replace Selected Clips With [filename] from the shortcut menu.
Select a clip, Control-click
the audio file that will
replace the original
audio...
...then choose the
Replace option from
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 a music loop and it is shorter than the clip’s length, 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.
To replace the source audio file in all clips using the same source file
1Select all occurrences of the clip for which you want to replace the source audio file,
following the steps described in Selecting Audio Clips in the Timeline.
Every clip using the same source audio file is selected.
2In the Timeline, select the clip for which you want to replace the source audio.
3In any media tab, Control-click the audio file that will replace the selected clip’s audio,
then choose Replace Selected Clips With [filename] from the shortcut menu.
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Replacing Audio with Related Files
Once an audio clip is in the multitrack Timeline, Soundtrack Pro provides an easy way for
you to access other related audio files from a field recorder or other source. Files that
represent the same scene, shot, or take as recorded by multiple microphones are gathered
together based on a similar base filename or by the iXML Family UID. iXML metadata is
displayed in the Project tab, Details tab, and the Bin. For more information on viewing
iXML metadata, see Project Tab,Details Tab, and Viewing and Editing Projects in the Bin.
For more information about the iXML metadata specification, see the iXML website at
http://ixml.info. Soundtrack Pro looks for related recordings in the media folder, the
location of individual clips, and in the Bin.
You can easily select any related files in the multitrack Timeline on a per clip basis.
To replace a clip with a related file
µIn the Timeline, Control-click the audio file you want to replace, choose Replace with
Related File from the shortcut menu, then choose the audio file from the submenu that
will replace the selected clip’s audio.
If the file contains the iXML channel name, it is displayed next to the filename. The full
path to the file is shown as a tooltip if you hover over the filename.
Making Clip Channel Selections
A production sound recording often results in a stereo file or a multichannel file that
contains distinct data on different channels (for example, a lapel microphone on one
channel and a boom microphone on another channel). In such cases, you may want to
adjust a stereo clip so that it represents just one of its two channels in the Timeline. You
can also adjust a multichannel clip to represent just one of its channels, an adjacent pair
of its channels, or six channels. Soundtrack Pro provides two different ways to make these
channel selections in a clip.
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Using the Shortcut Menu to Make a Channel Selection
Once a clip is in the Timeline, you can select (solo) an individual channel of a stereo file,
or you can select an individual channel or various pairs of channels of a multichannel file.
The clip retains this channel selection throughout the life of the multitrack project. If you
duplicate the clip, the copy also inherits the same channel selection. Changing any one
instance of a clip does not affect any other instance. For stereo files, there are two
options—channel 1 and channel 2. For six-channel files, there are nine different options.
If you select a number of clips that have been separated with the Blade tool, you are able
to make the same channel selections as if the clips were still attached. If you select multiple
clips, each with a different number of channels, and try to make a channel selection, you
can choose from any available mono options or choose All from the shortcut menu to
enable all of the channels in your selection.
Note: You can change the channel selection at any time by repeating the following steps.
To use the shortcut menu to make a mono channel selection from a stereo clip
µControl-click the clip in the Timeline, then choose one of the following options from the
shortcut menu:
• Channel Select > Mono > 1
• Channel Select > Mono > 2
Choose a channel from
the shortcut menu.
The clip waveform display changes to a single (mono) waveform, and the clip functions
in the project as a mono file.
The clip’s waveform
display updates to a
single (mono) waveform.
182 Chapter 6 Working in the Timeline
To use the shortcut menu to make a channel selection from a multichannel clip
µControl-click the clip in the Timeline, then choose one of the options from the shortcut
menu.
If you choose a mono option, the clip waveform display changes to a single (mono)
waveform, and the clip functions in the project as a mono file. If you pick a stereo option,
the clip waveform display changes to a stereo waveform, and the clip functions in the
project as a stereo file.
Separating Channels by Option-Dragging
You can separate the channels of stereo and multichannel clips into individual clips as
you drag them to the Timeline. When adding a clip to the Timeline from either the Browser,
Bin, or Finder, holding down the Option key while dragging will automatically generate
mono clips from a stereo or multichannel file. The dragged clip becomes a vertical stack
of clips, with the first under the pointer and the rest on subsequent tracks.
To convert the channels of a stereo or multichannel clip into individual clips as you
add it to the Timeline
1Option-click the clip in any of the Soundtrack Pro media tabs.
2Continue to press the Option key as you drag the clip to the Timeline.
Option-drag a stereo
file from the Browser
to the Timeline.
The stereo file is split
into two mono
files—each in its
own track.
183Chapter 6 Working in the Timeline
The dragged clip becomes a vertical stack of clips, with the top clip under the pointer
and the rest on subsequent tracks. If you dragged a stereo clip, the stack consists of two
clips, one for each channel. If you dragged a six-channel clip, the stack consists of six clips,
one for each channel.
Combining Separate Clips to Create Multichannel Clips
In Soundtrack Pro, you can create a single multichannel clip by combining separate clips.
To create a single multichannel clip from separate clips
1Select up to 24 separate source clips in any one of the Soundtrack Pro media tabs (Bin,
Browser, Search, or Favorites).
2Drag the clips to a track in the Timeline.
The clips are combined into a single multichannel clip.
Drag multiple mono
source files into the
Timeline to create a
multichannel clip.
Note: This feature is available for mono source files only.
Editing Clip and Track Properties
In Soundtrack Pro, you can easily view and adjust the specific details about individual
clips and tracks.
184 Chapter 6 Working in the Timeline
Setting Clip and Track Colors
Soundtrack Pro allows you to set colors for clips and tracks. Setting a clip or track color
is a useful way to differentiate a set of clips from the rest of the clips or tracks in the
Timeline. For example, you could color-code your clips by category: dialogue, music, and
effects. This helps you organize your project visually. By default, video clips are set to blue
and audio clips are set to green, but you can change the color of audio clips and tracks
at any time.
You can change the
colors of audio clips
and tracks.
There are four ways to set the color of a clip or a selection of clips.
To set the color of a clip
Do one of the following:
µSelect the clip in the Timeline or the Bin, choose Clip > Color, then choose a color from
the submenu.
µControl-click the clip in the Timeline or the Bin, choose Color from the shortcut menu,
then choose a color from the submenu.
Choose a clip color from
the shortcut menu.
185Chapter 6 Working in the Timeline
µSelect the clip. In the Details tab, choose a color from the Color pop-up menu.
µDrag the clip to a track that already has a color.
The clip takes on the track color.
Note: If you have already applied a color to a clip, the clip does not take on the track
color.
You can set the color for a track, so that any clip you add to the track takes on the track
color.
To set a track color
Do one of the following:
µSelect the track, choose Multitrack > Track Color, then choose a color from the submenu.
µControl-click the track, choose Color from the shortcut menu, then choose a color from
the submenu.
Enabling and Disabling Clips
In addition to muting entire tracks, you can disable (mute) individual clips in the Timeline
in Soundtrack Pro.
To disable a clip in the Timeline
Do one of the following:
µSelect the clip, then choose Clip > Disable Clip.
µControl-click the clip in the Timeline, then choose Disable Clip from the shortcut menu.
Choose Disable Clip
from the shortcut menu.
µSelect the clip. In the Details tab, deselect the Enable checkbox.
To enable a clip in the Timeline
Do one of the following:
µSelect the clip, then choose Clip > Enable Clip.
186 Chapter 6 Working in the Timeline
µControl-click the clip in the Timeline, then choose Enable Clip from the shortcut menu.
µSelect the clip. In the Details tab, select the Enable checkbox.
Locking and Unlocking Clips and Tracks
You can prevent any changes to a clip or a track by locking it.
Locking Clips
A locked clip cannot be moved, resized, or otherwise modified in the Timeline. A locked
clip can be enabled or disabled. A clip can overlap a locked clip. The envelope points
under a locked clip are locked based on the envelope mode: if attached to a clip, envelope
points are locked; if not attached to a clip, envelope points are unlocked. For more
information about attaching envelope points, see Adding Envelope Points.
To lock a clip in the Timeline
Do one of the following:
µSelect the clip, then choose Clip > Lock Clip.
µControl-click the clip in the Timeline, then choose Lock Clip from the shortcut menu.
Choose Lock Clip from
the shortcut menu.
µSelect the clip. In the Details tab, select the Locked checkbox.
To unlock a clip in the Timeline
Do one of the following:
µSelect the clip, then choose Clip > Unlock Clip.
µControl-click the clip in the Timeline, then choose Unlock Clip from the shortcut menu.
µSelect the clip. In the Details tab, select the Locked checkbox.
187Chapter 6 Working in the Timeline
Locking Tracks
When an audio track is locked, the clips on the track cannot be moved, resized, or
otherwise modified in the Timeline. Clips and effects cannot be added to or removed
from a locked track. Effects and other parameters (such as pan, gain, and output) are not
editable on a locked track.
To lock a track
Do one of the following:
µSelect the track, then choose Multitrack > Lock Selected Track (or press F5).
µControl-click the track, then choose Lock Selected Track from the shortcut menu.
Choose Lock Selected
Track from the
shortcut menu.
To unlock a locked track
Do one of the following:
µSelect the locked track, then choose Multitrack > Unlock Selected Track (or press F5).
µControl-click the locked track, then choose Unlock Selected Track from the shortcut menu.
188 Chapter 6 Working in the Timeline
You can edit the contents of clips with actions and operations in the Process menu, in
addition to the operations such as trimming and moving described in Working in the
Timeline. You can apply these actions and operations after first making a selection in the
Timeline or in the File Editor tab using the Selection tool or the Timeslice tool.
This chapter covers the following:
•How Selection Type Affects Actions (p. 189)
•Editing in Place (p. 191)
•How Clips Are Affected by Media File Editing (p. 192)
•How Source Audio File Editing Works in a Multitrack Project (p. 192)
•Making an Independent Copy of a Clip (p. 193)
•Using the Multitrack Timeline and the File Editor Together (p. 193)
•Editing with the Timeslice Tool (p. 196)
•Processing Audio Clips (p. 201)
•The Lift and Stamp Tools and the Sound Palette (p. 201)
How Selection Type Affects Actions
The region of media affected by actions and operations in the Timeline is determined by
the type of selection:
• When using the Selection tool, the operation affects the media from the In point to
the Out point of the selected clip in the Timeline.
• When using the Timeslice tool, the operation affects the selected regions of the media
of the clips in the Timeslice.
•When making a selection in the File Editor tab, the operation affects the selected region
of the media.
189
Editing Audio in the Multitrack
Timeline 7
In Soundtrack Pro, actions and process menu operations are not applied directly to a clip,
but to an audio file project Soundtrack Pro creates that is shared by all clips referencing
the original source media. This means that you can apply common cleanup
operations—such as noise reduction—to a single source media file that is referenced by
multiple clips. If you need to apply actions to a single, specific instance of a clip, you must
make an independent copy of that clip. For more information, see Making an Independent
Copy of a Clip.
Multitrack Timeline before an edit is made
190 Chapter 7 Editing Audio in the Multitrack Timeline
Multitrack Timeline after an edit is made
If you prefer, you can also double-click a clip in your multitrack project and its media file
opens in the File Editor project view, ready for waveform editing. Changes you make to
the file are instantly reflected in the multitrack project.
Editing in Place
You can view and modify a clip’s media file in the File Editor tab without losing the context
of your multitrack Timeline. This is called editing in place. Simply select a clip in the Timeline
and it appears in the File Editor tab below. The playheads in the Timeline and the File
Editor tab are synchronized so you can play the media file within the context of your
whole multitrack project. Any changes you make to the media file are updated in the
Timeline immediately.
Editing a clip’s media file in place (directly in the Timeline) is nearly identical to editing
the same media file in the Soundtrack Pro File Editor. All of the same effects, editing tools,
and waveform views are available. However, there are a few differences:
•Timeline and File Editor playhead synchronization: When you edit a clip’s media file in
place, the Timeline and File Editor playhead are synchronized so you can work with
the media file within the context of your multitrack project.
191Chapter 7 Editing Audio in the Multitrack Timeline
•Multiple region markers: Because a media file may be referred to by multiple clips in a
multitrack project, you may see multiple region markers above a media file in the File
Editor. Each region marker shows the In and Out points of a clip in the Timeline that
refers to this media file. This alerts you to the fact that changes you make to this media
file may affect multiple clips.
Multiple In and
Out points
How Clips Are Affected by Media File Editing
When you modify a media file in a multitrack project, all clips that refer to that media file
are updated simultaneously. For example, if you have ten clips referring to the same
media file and you double-click one of the clips to modify its underlying media file, any
changes you make to the media file affect all ten clips.
How Source Audio File Editing Works in a Multitrack Project
When you edit a clip in place or open a clip in the File Editor tab, the way the source
audio file is handled depends on its file format.
•If the clip’s audio file format is a native Soundtrack Pro audio file project: The audio file
project is opened directly in the File Editor tab, allowing you to make nondestructive
changes to the media.
•If the clip’s audio file format is a flat file such as an AIFF or WAVE file: Soundtrack Pro
automatically creates a Soundtrack Pro audio file project for the flat file and relinks all
clips in the project to the new audio file project. This allows you to work with this media
nondestructively. Each time you save your multitrack project, any newly created audio
file project media files are saved to the Edited Media Location on your hard disk. (You
can change this location by choosing Soundtrack Pro > Preferences and then clicking
General.)
192 Chapter 7 Editing Audio in the Multitrack Timeline
Making an Independent Copy of a Clip
Any time you use multiple instances of the same clip in a multitrack project, the clip refers
to the same source media file. This means that any time you modify the media file, all of
the clips that refer to the media file are affected. How do you edit just one clip without
editing its source media? In cases where you only want to make changes to a single clip,
you can make a new copy of the clip’s media file in a new audio file project and link this
clip to the new audio file project.
To create a copy of a clip’s media file and link the clip to the new audio file project
1Select the clip whose source media file you want to copy.
2Control-click the clip in the Timeline, then choose Replace with Independent Audio File
Project from the shortcut menu.
A new Soundtrack Pro audio file project is created that includes a copy of the original
audio file. Only media between the clip’s In and Out points is copied, plus handles on
either side for later trimming, if necessary.
The new audio file project opens in the File Editor tab and the clip now links to the new
audio file project.
Note: The default handle duration is 5 seconds. To adjust the handle duration, go to
Soundtrack Pro > Preferences > General.
Using the Multitrack Timeline and the File Editor Together
One of the unique advantages of Soundtrack Pro is the combination of nondestructive
waveform editing in the context of a multitrack Timeline. This section focuses on how
you can exploit this powerful toolset in your sound editing project.
193Chapter 7 Editing Audio in the Multitrack Timeline
Making Changes in the File Editor and Hearing Them in the Timeline
When you arrange a multitrack project, you frequently need to edit and adjust individual
audio files, and immediately hear the results in the context of the larger multitrack
Timeline. You can do this by using the Timeline and File Editor in tandem.
To make changes in the File Editor and hear the results in the Timeline
1With the File Editor tab active, select a clip in the Timeline that you would like to adjust.
The waveform for the clip appears in the File Editor.
2Make adjustments and edits to the clip in the File Editor.
194 Chapter 7 Editing Audio in the Multitrack Timeline
For information on making basic edits, see Working in the File Editor. For information on
processing effects, see Processing Audio Files. For information on analyzing files, see
Overview of Analyzing and Fixing Problems in an Audio File.
3As you make changes to the clip in the File Editor, the Actions tab records the changes.
You can adjust, edit, and reorder the actions as needed.
For information on using actions, see Working with Actions.
Note: Any time you apply a command from either the Edit menu or the Process menu,
Soundtrack Pro creates an audio file project (.stap) for the source audio file if one doesn’t
exist already. Clips that reference the audio source file all have their audio source replaced
with that audio file project.
4Play the clip.
Soundtrack Pro plays the clip together with any other active tracks in the Timeline.
5Make any other adjustments and edits to the clip in the File Editor (or to the actions in
the Actions tab) and play the clip again. Repeat as necessary.
Using the File Editor to Add Part of a File to the Timeline
A common task for sound editors is adding sound effects or ambient clips to a multitrack
project. Often you will use one or more small sections from a longer source file. In addition
to the normal cut or copy and paste operations used to add part of a file to the Timeline,
you can use the File Editor tab in conjunction with the Timeline.
To add small sections of a longer audio file to a multitrack project
1Open a multitrack project in the Timeline.
2Select a file in the Browser, Search tab, or Favorites tab.
3Drag the selected audio file to the File Editor tab.
195Chapter 7 Editing Audio in the Multitrack Timeline
4Select a portion of the audio file in the File Editor tab.
5Drag the selection to a track in the Timeline.
There are multiple techniques you can use to spot audio. For more information, see
Spotting Clips to the Timeline.
Optionally, you can open the Multipoint Video HUD to give you visual context for spotting
the sound effects to the Timeline. For more information about the Multipoint Video HUD,
see Scrubbing and Spotting with the Multipoint Video HUD.
Editing with the Timeslice Tool
You can use the Timeslice Tool to make time-based selections. Unlike selections of multiple
clips with the default Selection tool (which can only select whole clips), Timeslice tool
selections are entirely time-based. This means you can use the Timeslice tool to select
portions of clips or portions of multiple clips. You can also easily move and adjust the
size of a Timeslice tool selection and add or remove entire tracks from the selection. This
is most important for processing effects.
Note: The currently active channel selections are the only channels affected by the
Timeslice tool.
Use the Timeslice tool to select any combination of the following:
• One or more clips or tracks and their envelopes
• Portions of one or more clips or tracks and their envelopes
To make a selection with the Timeslice tool
1Click the Timeslice tool at the top of the Timeline (or press W).
2Drag across any portion of the Timeline to make a Timeslice selection.
A Timeslice selection rectangle appears over the area.
196 Chapter 7 Editing Audio in the Multitrack Timeline
To select a portion of a clip with the Timeslice tool
1Click the Timeslice tool at the top of the Timeline (or press W).
2Drag across any portion of the clip with the Timeslice tool.
A Timeslice selection rectangle appears over the portion of the clip and the File Editor
tab displays the same selection in its waveform view.
Timeslice selection
File Editor selection
To adjust the size of a Timeslice selection
Do one of the following:
µDrag any of the four edges of the selection to extend or shorten that side of the selection
rectangle.
µShift-click any track you want to include in the Timeslice at the opposite end of the area
you want to select.
197Chapter 7 Editing Audio in the Multitrack Timeline
To move a Timeslice selection
µClick the center of the Timeslice selection, then drag it to a new location in the Timeline.
To add a noncontiguous track to a Timeslice selection
µCommand-click anywhere in the track.
Note: You can add tracks that are not adjacent to or contiguous with the selection.
To remove a track from a Timeslice selection
µCommand-click anywhere in the track.
You can select a master Timeslice that includes the audio content and the envelopes of
all tracks, busses, and submixes, including the video’s audio track. (Only a master Timeslice
contains busses and submixes.)
To make a master Timeslice selection
1If the Timeline is in Select Only Clips mode, enable Select Envelope Points With Clips
mode (or press Option–E).
2Using the Timeslice tool, 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.
198 Chapter 7 Editing Audio in the Multitrack Timeline
Make sure the Timeline is in Select Envelope Points With Clips mode if you want envelopes
to be cut or copied along with a Timeslice. Timeslice copies do not create extra envelope
points around the perimeter of your selection. To ensure predictable results when pasting
Timeslices, it is a good idea to create extra envelope points at the boundaries of your
Timeslice selection.
To cut a Timeslice
µSelect the Timeslice, then choose Edit > Cut (or press Command-X).
If you want envelopes to be cut along with your Timeslice, enable Select Envelope Points
With Clips mode (or press Option–E if the Timeline is in Select Only Clips mode).
To copy a Timeslice
µSelect the Timeslice, then choose Edit > Copy (or press Command-C).
If you want envelopes to be copied along with your Timeslice, enable Select Envelope
Points With Clips mode (or press Option–E if the Timeline is in Select Only Clips mode).
To paste a Timeslice
µSet the playhead at the position where you want to paste the Timeslice, then choose Edit
> Paste (or press Command-V).
The topmost track of the Timeslice is pasted in the currently selected track, and any
remaining tracks are pasted in the tracks below the selected track. If there is no track
selected, the Timeslice is pasted on the first track of the project. If not enough tracks exist
for the number of tracks in the Timeslice, a dialog appears asking if you want to create
additional tracks.
To paste insert a Timeslice
µSet the playhead at the position where you want to paste insert the Timeslice, then choose
Edit > Paste Special > Paste Insert.
If the Timeslice is from a single track, it is inserted in the first selected track at the current
playhead position. If the Timeslice is from multiple tracks, the Timeslice is inserted in the
first selected track, and any remaining tracks are pasted in the tracks below the selected
track. In both cases, audio at the position of the playhead is rippled along the Timeline
the length of the pasted audio. If not enough tracks exist for the number of tracks in the
Timeslice, a dialog appears asking if you want to create additional tracks.
Note: The Paste Insert command works only with Timeslices.
Any tracks that you want to be rippled must be included in the original Timeslice selection.
Important: Because the Paste Insert command shifts audio, care must be taken to ensure
your project remains in sync.
Deleting the Contents of Timeslices
You can delete the contents of a Timeslice if you want.
199Chapter 7 Editing Audio in the Multitrack Timeline
To delete the contents of a Timeslice selection
µSelect the Timeslice, then choose Edit > Delete (or press the Delete key).
Changing the Timeslice Selection Area
You can change the height or the length of a Timeslice selection area to include more of
the Timeline, either graphically or numerically.
To extend the Timeslice selection area graphically
µShift-click any track at the point to which you want to extend it.
Shift-click the Timeline to
extend a Timeslice.
To change the In point, Out point, or duration of a Timeslice numerically
1Make a Timeslice selection in the Timeline.
The Details tab displays Timeslice controls.
2In the Details tab, type a new value in the In value slider, the Out value slider, or the
Duration value slider.
3Press Tab or Enter to confirm the new value.
Note: To the right of the Timeline transport controls is the Selection Length value slider.
When a Timeslice is active, the Selection Length value slider shows the length (duration)
of the active Timeslice. You can use this value slider the same way you use the Duration
value slider in the Timeslice section of the Details tab.
For more information on how to use value sliders, see About Changing Values and
Timecode Entries.
200 Chapter 7 Editing Audio in the Multitrack Timeline
Using the Timeslice Tool with Keyboard Shortcuts
Soundtrack Pro provides a variety of keyboard shortcuts to adjust Timeslice selections.
To extend the left edge of the Timeslice selection by one gridline
µPress Shift-Left Arrow.
To extend the right edge of the Timeslice selection by one gridline
µPress Shift-Right Arrow.
For a complete list of Soundtrack Pro keyboard shortcuts, see Soundtrack Pro
Keyboard Shortcuts.
Processing Audio Clips
You can process audio files in the Multitrack Timeline in a variety of ways. You can choose
processing effects and other operations from the Process menu and apply them to part
or all of the clips visible in the Multitrack Timeline. When you choose an item from the
Process menu, the item appears as an action in the Actions list. Each of the processing
effects available in the File Editor is also available in the Multitrack Timeline. For more
information on processing effects and other operations from the Process menu, see
Processing Audio Files.
The Lift and Stamp Tools and the Sound Palette
The Lift and Stamp tools provide a time-saving way to apply work you have done on one
clip to one or more other clips. Use the Lift tool to copy properties from selected clips
and create a processing template in the Sound Palette that can be applied to other clips.
Use the Stamp tool to apply those properties to the other clips.
Using the Lift and Stamp Tools
When you first lift properties with the Lift tool, Soundtrack Pro creates a temporary
template in the Sound Palette named Lifted Data (Track Name), with Track Name being
the track holding the source clip.
201Chapter 7 Editing Audio in the Multitrack Timeline
To lift properties from a clip in the Timeline
1Click the Lift tool at the top of the Timeline (or press UU).
The Sound Palette appears. As you move the pointer over clips in the Timeline, it changes
into the Lift pointer.
2If you want to limit the type of properties lifted, deselect any of the three checkboxes at
the top of the Sound Palette:
•Lift Equalization Print: When this checkbox is turned on, the Lift command copies the
average frequency spectrum of the selected clip.
•Lift Voice Level: When this checkbox is turned on, the Lift command copies the average
amplitude of the selected clip. The algorithm used when this option is turned on is
designed to focus on vocal qualities only; non-dialogue artifacts like loud crashes or
coughs are ignored when calculating the average amplitude.
•Lift Process Items: These include processing effects in these categories: Dynamics,
Distortion, EQ and Filter, Modulation, Reverb/Delay, Miscellaneous, and Mac OS.
3Click a clip in the Timeline whose properties you want to lift.
Soundtrack Pro creates a temporary template named Lifted Data (Track Name) with Track
Name being the track holding the source clip. The clip properties appear in the list on
the right of the Sound Palette HUD. The pointer immediately changes to the Stamp
pointer, ready for you to stamp the template of lifted properties to another clip. The
properties in the Sound Palette template appear in the same order they appear in the
Actions tab for the source clip.
To stamp properties on one or more clips in the Timeline
1If you are stamping on more than one clip, select the target clips in the Timeline.
2In the Sound Palette, select the template or preset containing the properties you want
to stamp. (This is only necessary if there are already presets on the left side of the Sound
Palette.)
202 Chapter 7 Editing Audio in the Multitrack Timeline
3Choose one of the following from the pop-up menu in the center-bottom portion of the
Sound Palette:
•Add: Adds the properties selected in the Sound Palette to the list of actions in the
target clip’s Actions tab.
•Replace: Replaces the actions in the target clip’s Actions tab with the properties selected
in the Sound Palette.
Choose Add or Replace
from the pop-up menu.
4Do one of the following:
• Click the Stamp tool at the top of the Timeline (or press U), then click the target clip or
clips in the Timeline.
•If the target clip is already selected in the Timeline, click Stamp in the lower-right corner
of the Sound Palette.
Actions appear in the target clip’s Actions tab for each property listed in the selected
template or preset in the Sound Palette. They appear in the same order as they appear
in the Sound Palette.
Note: By default, Soundtrack Pro applies equalization every time you use the Lift and
Stamp feature. This equalization automates the Match EQ effect, which matches the
average frequency spectrum of the target clip to that of the source clip.
Working with Sound Palette Presets
You can use the Sound Palette to customize the processing template by enabling and
disabling various properties, naming the template, and saving it as a preset. You can also
add a thumbnail image to represent the preset. Presets are saved in the Sound Palette
so that you can select and edit them and apply them in multiple multitrack projects.
203Chapter 7 Editing Audio in the Multitrack Timeline
To save a Sound Palette preset
µWith a template loaded on the right of the Sound Palette, click Save as Preset in the
lower-right corner.
The template is listed as a preset on the left of the Sound Palette.
To enable or disable properties in a Sound Palette preset
1If there are already presets on the left of the Sound Palette, click the template or a preset
to edit it.
2In the Enabled column, click the checkbox next to the property you want to enable or
disable.
To name or rename a Sound Palette preset
1If there are already presets on the left of the Sound Palette, click the template name or
a preset name that you want to name or rename.
The template or preset details are loaded on the right of the Sound Palette.
2Click the name field at the top-right corner of the Sound Palette.
3Enter the new name.
4Press Return or Tab to confirm the new name.
To attach a thumbnail image to a Sound Palette preset
1Click the preset name in the list on the left of the Sound Palette.
204 Chapter 7 Editing Audio in the Multitrack Timeline
2Do one of the following:
• Drag a still image from the Finder or from iPhoto to the image well at the top of the
Sound Palette.
• Copy an image in an image editing application and paste it into the image well at the
top of the Sound Palette.
The image appears in the image well each time you select the preset.
To delete a Sound Palette preset
µControl-click the preset name in the list on the left of the Sound Palette, then choose
Delete from the shortcut menu.
205Chapter 7 Editing Audio in the Multitrack Timeline
In Soundtrack Pro, you can edit audio files nondestructively, analyze and fix common
audio problems, and create AppleScript documents to batch process other audio files.
This chapter covers the following:
•About the File Editor (p. 207)
•Opening Audio Files in the File Editor Tab (p. 209)
•Playing Audio Files in the File Editor (p. 210)
•Soloing an Audio File in the File Editor (p. 210)
•Linking the File Editor Selection and the Cycle Region (p. 211)
•Scrubbing Audio Files (p. 211)
•Selecting All or Parts of an Audio File (p. 212)
•Cutting, Copying, and Pasting in the File Editor (p. 216)
•Zooming In and Out in the File Editor (p. 218)
•Editing Audio Files Graphically with Waveform Editing Tools (p. 219)
•Choosing the Sample Units in the File Editor (p. 223)
•Editing Multichannel Files (p. 224)
•Using Frequency Spectrum View (p. 226)
•Working with Actions (p. 231)
•Overview of Analyzing and Fixing Problems in an Audio File (p. 237)
•Analyzing and Fixing Problems in an Audio File (p. 238)
•Using the File Editor Project View (p. 242)
About the File Editor
The Soundtrack Pro File Editor gives you extensive audio file editing capabilities. You can
edit audio files in many different ways in the File Editor tab and File Editor project view.
You can edit the entire file or select part of the file to edit. You can cut, copy, and paste
audio, and graphically edit audio files using a variety of tools in the File Editor.
207
Working in the File Editor 8
You can open and edit an audio file with up to 24 channels in the File Editor, view it in
Waveform or Frequency Spectrum view, process the file using actions, analyze it for
common audio problems, fix analyzed problems individually or together, and then save
the edited file as an audio file project or as a standard audio file. And you can do all this
while working interactively with same audio file in the multitrack Timeline and while
hearing (and seeing) the file in the context of other audio files in a multitrack project.
Waveform view
Spectrum view
The Frequency Spectrum view HUD allows you to customize the appearance of the
Frequency Spectrum view. For more information, see Using the Spectrum View HUD.
208 Chapter 8 Working in the File Editor
In addition, the File Editor project view includes realtime effects and effects automation,
AppleScript droplet creation, and other useful features. For more information about the
File Editor project view, see Using the File Editor Project View.
Important: In order to edit nondestructively and save a file with actions, you need to
convert standard audio files (such as AIFF or WAVE files) to Soundtrack Pro audio file
projects (with the .stap file extension). You can easily do this by opening an AIFF or a
WAVE file in Soundtrack Pro and then saving it as a Soundtrack Pro audio file project.
Keep in mind the following:
• You can edit up to 24 tracks in a single file.
• You can play back up to six channels in a single file in the multitrack Timeline.
• Audio files can be a maximum of four hours in length.
Opening Audio Files in the File Editor Tab
You can play an audio file in the File Editor so you can hear the file and any changes you
make to it.
To open an audio file in the File Editor tab
Do one of the following:
µWith the File Editor tab active, select a clip in the Timeline.
Select a clip in
the Timeline...
...to work with it
in the File Editor.
209Chapter 8 Working in the File Editor
µDrag a clip into the File Editor tab from one of the media tabs.
Note: You can drag from the Bin, Browser, Search, and Favorites tabs.
The waveform for the clip appears in the File Editor. If there is already a clip in the File
Editor, it is replaced by the new clip.
Playing Audio Files in the File Editor
You can play an audio file in the File Editor so you can hear the file and any changes you
make to it.
To play an audio file
Do one of the following:
µClick the Play button in the transport controls.
µPress the Space bar.
Click the Play button (or press the Space bar) again to stop playback.
You can set the playhead in the File Editor in the same way 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 Location value slider. For more information, see Setting the Playhead Quickly.
Soloing an Audio File in the File Editor
You can use the Solo button in the File Editor tab to mute all other tracks so that you can
hear the audio file outside the context of the multitrack project.
To solo an audio file in the File Editor tab
1With the File Editor tab active, select a clip in the Timeline.
The waveform for the clip appears in the File Editor tab.
2Click the Solo button in the File Editor tab.
All other tracks in the Timeline are muted and the Preview Volume slider next to the Solo
button becomes active.
Solo button
Preview Volume slider
Link button
3Play the file and adjust the volume using the Preview Volume slider, as needed.
210 Chapter 8 Working in the File Editor
Linking the File Editor Selection and the Cycle Region
You can link the File Editor tab to the Cycle Region so that when you make selections in
the File Editor tab (or selections of clips in the Timeline with the Timeslice tool),
Soundtrack Pro automatically adjusts the Cycle Region to match the selection.
To link the Cycle Region to File Editor and Timeslice selections
1Click the Link button in the File Editor tab.
2Do one of the following:
• Make a selection in the File Editor tab.
• Using the Timeslice tool, select a portion of a clip in the Timeline.
The Cycle Region adjusts accordingly.
Scrubbing Audio Files
Scrubbing an audio file lets you hear the audio at the playhead position as you drag the
playhead so you can quickly find a particular sound or event in the audio file. The
Soundtrack Pro Scrub tool provides detailed scrubbing that realistically approximates the
“rock-the-reels” scrubbing on analog tape decks.
To scrub an audio file with the Scrub tool
1In the Timeline or the File Editor, click the Scrub tool (or press H).
Scrub tool
2Drag the Scrub tool left or right across a clip in the Timeline or across the File Editor.
Use the Scrub tool
to scrub through
an audio file.
When you use the Scrub tool in the multitrack Timeline, you can only scrub one clip at a
time. To scrub multiple tracks at once, scrub with the playhead.
To scrub an audio file with the playhead
1Press and hold the triangular part of the playhead.
2Drag left or right at the speed you want to scrub the audio file.
211Chapter 8 Working in the File Editor
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 also select the part of the file that you want to
edit.
To make a selection while scrubbing with the playhead
µAs you move the playhead with the mouse, hold down the Shift key.
For projects containing a video file, dragging to create a selection scrubs the video at the
selection point.
Shift-drag to create
a selection with the
Scrub tool.
To scrub using keyboard shortcuts
µAs you move the playhead using a keyboard shortcut, hold down the Shift key.
For projects containing a video file, using keyboard shortcuts to create a selection scrubs
the video at the selection point.
Selecting All or Parts of an Audio File
When you apply an action to an audio file in the File 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.
212 Chapter 8 Working in the File Editor
To select part of an audio file
µIn the waveform display, drag horizontally across the part of the waveform you want to
select.
Selected area
Some actions can only be applied to a selection. The selection can contain the entire
audio file.
To select the entire audio file
µChoose Edit > 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.
If you have selected part of an audio file in the File Editor tab, you can edit the selection
to the multitrack Timeline. For more information, see Using the File Editor to Add Part of
a File to the Timeline.
To select the left channel of an audio file
1Move the pointer near the upper edge of the waveform display.
The pointer changes to the letter “L.”
2Do one of the following:
• Double-click in the upper part of the waveform display to select the entire left channel.
• Drag the pointer to select the part of the left channel you want to work with.
213Chapter 8 Working in the File Editor
As you drag, the left (upper) channel of the audio file becomes darker in the waveform
display.
Part of left
channel selected
To select the right channel of an audio file
1Move the pointer near the lower edge of the waveform display.
The pointer changes to the letter “R.”
2Do one of the following:
•Double-click in the lower part of the waveform display to select the entire right channel.
• Drag the pointer to select the part of the right channel with which you want to work.
As you drag, the right (lower) channel of the audio file becomes darker in the waveform
display.
Part of right
channel selected
214 Chapter 8 Working in the File Editor
If you have added markers to an audio file project, you can select the area between two
markers.
To select the area between two markers in the File Editor project view
µDouble-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.
To select the entire contents of one or more channels
1Click the File Editor tab or the File Editor project view to make it the active window.
2Choose Edit > Select > Across Channels (or press Shift-T).
If there is an existing selection, it is extended across the entire duration of the file (but
only for the currently selected channels). If there is not an existing selection, Soundtrack Pro
creates a new selection across active channels for the entire length of the file.
To select the partial contents of one or more channels
1Click the File Editor tab or the File Editor project view to make it the active window.
2Position the playhead.
3Do one of the following:
•To select everything to the right of the playhead in the active channels: Choose Edit >
Select > Forward (or press Shift-End).
•To select everything to the left of the playhead in the active channels: Choose Edit > Select
> Backward (or press Shift-Home).
If there is an existing selection, the selection is extended to the end of the audio file (for
Forward) or to the beginning of the audio file (for Backward).
If there is not an existing selection, Soundtrack Pro creates a new selection across active
channels from the end of the audio file (for Forward) or from the beginning of the audio
file (for Backward).
Note: If you hold down the Option key, the menu items will read Select > All Forward
and Select > All Backward, and behave the same as described earlier except the selection
will be across all channels instead of just the selected channels.
Adjusting Selections to a Zero Crossing
A zero crossing is a point in an audio file where the amplitude is zero. When you edit an
audio file in the File Editor, if the beginning or end points of your edit do not occur at a
zero crossing, the edited audio file can have unwanted noise at the beginning or end of
the edited area or both. Subsequent editing of the file, such as normalizing or increasing
the gain, can increase this unwanted noise.
Once you have made a selection in the File Editor, you can fine-tune the selection so that
it begins or ends at the nearest zero-crossing point.
215Chapter 8 Working in the File Editor
To adjust a selection to the zero crossing
1Make a selection in the File Editor.
2Choose Edit > Adjust Selection to Zero Crossing and choose one of the following from
the submenu:
• Inward
• Outward
• In Point to Left
• In Point to Right
• Out Point to Left
• Out Point to Right
The edit point is adjusted to occur at the specified zero-crossing.
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.
Next Selection button
Previous Selection button
To move to the previous selection
µClick 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
µClick 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 File Editor
You can cut, copy, and paste audio in the File Editor. You can also copy, cut, and paste
or paste mix from any single channel to another single channel in the same or different
file. For more information about selecting channels, see Selecting and Editing Channels
in Multichannel Files. Cutting and pasting changes the length of an audio file.
216 Chapter 8 Working in the File Editor
To cut part of an audio file in the File Editor
1Select the part of the file you want to cut.
2Choose Edit > Cut (or press Command-X).
The selected part of the file is removed, and the file shortens by the cut amount.
To copy audio in the File Editor
1Select the part of the file you want to copy.
2Choose Edit > Copy (or press Command-C).
You can paste audio in the File Editor. You can paste at the playhead position, paste mix,
or paste repeat.
To paste audio in the File Editor
1Set the playhead to the point where you want to paste the audio.
2Choose Edit > 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 File 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 File Editor
1Set the playhead to the point where you want to paste the audio.
2Choose Edit > Paste Special > Paste Mix.
3In the Paste Mix dialog, drag the Original Material Level slider to set the mix level of the
existing audio in the pasted area.
4Drag the Clipboard Level slider to set the mix level of the pasted audio.
5If you want to crossfade the pasted audio, do the following:
aSelect the Crossfade In checkbox, then enter a crossfade value (in milliseconds) in the
Fade In Length field.
bSelect the Crossfade Out checkbox, then enter a crossfade value (in milliseconds) in
the Fade Out Length field.
217Chapter 8 Working in the File Editor
6Click OK.
The cut or copied audio is mixed with the existing audio.
You can also paste repeat in the File 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 File Editor
1Set the playhead to the point where you want to paste the audio.
2Choose Edit > Paste Special > Paste Repeat.
3In the Paste Repeat dialog, type the number of copies you want to paste in the field.
4Click 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.
Zooming In and Out in the File 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:
µDrag the Zoom control left to zoom in for a closer view, or drag right to zoom out for a
wider view.
µChoose View > Zoom In to zoom in one level, or press Command–Equal Sign (=).
µChoose View > Zoom Out to zoom out one level, or press Command–Minus (-).
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
1Choose Soundtrack Pro > Preferences.
2If the General preferences pane is not visible, click the General button.
3In 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
µMove the scrollwheel up to zoom in, or move it down to zoom out.
218 Chapter 8 Working in the File Editor
To zoom in on a selection
1In the waveform display, select the area you want to zoom in on.
2Choose View > Zoom to Selection (or press Option–Z).
To zoom in to see individual samples
µChoose View > Zoom to Samples (or press Control–Z).
Note: 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
µChoose View > Fit to Window.
To return to the original zoom level
µChoose View > Zoom Normal.
You can also zoom in on a selected area using the Zoom tool. For information, see Using
the Zoom Tool.
Zooming In and Out of Waveforms
In addition to changing the zoom level of the Timeline, you can also change the relative
height of the waveforms displayed in the File Editor without changing the height of the
tracks.
To increase the height of waveforms
µChoose View > Waveform Zoom In, or press Command–Shift–Equal Sign (=).
To decrease the height of waveforms
µChoose View > Waveform Zoom Out, or press Command–Shift–Minus (-).
To return to the default waveform height
µChoose View > Default Waveform Zoom (or press Command–Shift–0).
Editing Audio Files Graphically with Waveform Editing Tools
The File Editor includes waveform editing tools you can use to graphically edit the audio
file in the waveform display.
219Chapter 8 Working in the File Editor
About the Selection Tool
You can use the Selection tool to select part of an audio file, as described in Selecting All
or Parts of an Audio File. When you open the File Editor, the pointer is a selection pointer
(arrow). When you are done using another waveform editing tool, you can return the
pointer to a selection pointer by clicking the Selection Tool button.
Selection Tool button
About the Frequency Selection Tool
You can use the Frequency Selection tool to make selections in Frequency Spectrum View
not just of time ranges but also of frequency ranges. You can copy, paste, and delete
frequency selections as well as adjust the amplitude of frequency selections. For more
information, see Viewing an Audio File in Frequency Spectrum View.
Using the 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
To edit samples using the Sample Edit tool
1Click the Sample Edit Tool button above the time display.
The pointer becomes a Sample Edit pointer.
2Zoom in on the part of the waveform you want to edit.
Use the Sample Edit
tool to reshape
the waveform.
220 Chapter 8 Working in the File Editor
3To graphically edit samples, do one of the following:
• Drag a sample up or down to a new value.
• Click directly above or below a sample.
• Drag left or right to reshape the waveform.
You can also edit samples numerically in the waveform display.
To edit samples numerically
1Control-click a sample, then choose Set Value from the shortcut menu.
2In the dialog that appears, type a new value for the sample.
3Click OK.
Using the Audio Stretching 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 the tempo of the music without
changing the key. The range of the Audio Stretching tool is limited to between 25 percent
to 400 percent of the length of the original audio.
Audio Stretching
tool button
To graphically time stretch an audio file
1Click the Audio Stretching Tool button above the time display.
2In the waveform display, drag horizontally across the waveform to select the part you
want to time stretch.
3Move the pointer over the right edge of the selection.
The pointer becomes a Stretch pointer.
221Chapter 8 Working in the File Editor
4Drag the right edge of the selection left to shorten the selected area, or drag it right to
lengthen the selected area.
Use the Audio Stretching
tool to shorten or
lengthen the selected
area of the waveform.
Note: You can edit a graphically performed time stretch by double-clicking the action in
the Actions tab. For more information about audio stretching, see Time Stretch.
When you shorten a selection of an audio file using the Audio Stretching tool in the File
Editor, the empty part of the selection area is filled with ambient noise if an ambient
noise print exists. If no ambient noise print exists, the empty part of the selection area is
filled with silence. Shortening a selection using the Audio Stretching tool does not change
the length of the audio file.
When you lengthen the selection using the Audio Stretching tool, any audio overlapped
by the lengthened selection area is deleted. Lengthening the selection past the end of
the file changes the length of the audio file.
If you hold down the Option key while dragging the selection with the Audio Stretching
tool, the audio following the selection area ripples forward when you lengthen the
selection and ripples backward when you shorten the selection. In both cases, using the
Option key changes the length of the audio file.
Note: Stretching an audio file by a large amount can degrade the sound quality of the
audio file.
For information about stretching an audio file numerically using the Process menu, see
Time Stretch.
Using the Zoom Tool
You can zoom in on a specific part of the waveform display to make precise edits.
Zoom Tool button
222 Chapter 8 Working in the File Editor
To zoom in using the Zoom tool
1Click the Zoom Tool button above the time display.
The pointer changes to a Zoom pointer.
2In the waveform display, do one of the following:
• 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 File Editor.
Choosing the Sample Units in the File Editor
Along the left edge of the File Editor is a scale of sample units for the audio file. You can
set this scale to any of the following sample units:
• Sample Value
• Normalized
• Percent
• Decibels
To set the sample units in the waveform display
Do one of the following:
µChoose View > Sample Ruler Units, then choose a format from the submenu.
µControl-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.
223Chapter 8 Working in the File Editor
Editing Multichannel Files
In Soundtrack Pro, you can edit multichannel files with up to 24 channels, including the
following types of multichannel files: AIFF, WAV, Broadcast Wave, QuickTime, and single
folder/multi-mono file AIFF.
Each channel row is
identified by a number.
Selecting and Editing Channels in Multichannel Files
Editing multichannel files in the File Editor is similar to editing in a multitrack Timeline.
To make a selection across all channels
µDrag in the bottom 90 percent of any channel.
To make a selection in an individual channel
1Move the pointer to the top 10 percent of a channel row.
The pointer changes to indicate the channel name or number.
2Drag in the channel row over the area you want to select.
To make a selection in multiple, adjacent channels
1Move the pointer to the top 10 percent of a channel row.
The pointer changes to indicate the channel name or number.
2Drag in the channel row to the area you want to select.
3Continue dragging up or down to include the adjacent channels.
To make a selection in multiple, nonadjacent channels
1Move the pointer to the top 10 percent of a channel row.
The pointer changes to indicate the channel name or number.
224 Chapter 8 Working in the File Editor
2Drag in the channel row over the area you want to select.
3Command-click in the bottom 10 percent of any nonadjacent channels.
Note: Nonadjacent selections must be within the same time range.
To disable or enable an individual channel
µControl-click a channel, then choose Enabled from the shortcut menu to turn it on or off.
To enable all channels
µControl-click a channel, then choose Enable All from the shortcut menu.
To disable all channels
µControl-click a channel, then choose Disable All from the shortcut menu.
To add, subtract, or reorder channels
µChoose Process > Edit Channels, then use the dialog that appears to add, subtract, or
change the channel order.
For more information, see Edit Channels.
Creating a New Multichannel Audio File
You can create a new multichannel file and specify the number of channels and the
sample rate.
To open a new multichannel audio file
1Do one of the following:
• Choose File > New > Audio File (or press Command-Shift-N).
• Click New Audio File in the Toolbar.
2Choose an option from the Channels pop-up menu:
• Mono
• Stereo
• Surround (5.1)
• Other
Note: If you choose Other, use the value slider to enter the number of channels for the
new audio file.
3Enter a sample rate in the Sample Rate field or choose one from the pop-up menu.
4Click OK.
225Chapter 8 Working in the File Editor
Using Frequency Spectrum View
When you first open the File Editor, it shows the audio file in Waveform view. You can
also view and edit an audio file in Frequency Spectrum view. Frequency Spectrum view
gives you a way to find areas of significant frequency change that aren’t visible in a
waveform.
Viewing an Audio File in Frequency Spectrum View
In Frequency 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 Frequency Spectrum view
Do one of the following:
µChoose View > File Editor Display > Show Spectrum.
µClick the Frequency Spectrum View button in the upper-right corner of the File Editor
tab or the File Editor project view.
Frequency Spectrum
View button
Waveform View button
The display changes to show the audio file’s frequency spectrum.
226 Chapter 8 Working in the File Editor
You can select parts of the audio file, apply actions, and edit the audio file in Frequency
Spectrum view in the same way as in Waveform view. In addition, you can make selections
of frequency ranges as well as copy, paste, delete, and adjust the amplitude of frequency
selections. You can also change the Frequency Spectrum view display to show the
frequency spectrum linearly or logarithmically, use different analysis windows, and change
the number of samples used to calculate the view.
To return to Waveform view
Do one of the following:
µChoose View > File Editor Display > Show Waveform.
µClick the Waveform View button.
Using the Spectrum View HUD
The Spectrum View HUD is a floating window that provides extensive controls for
Frequency Spectrum view.
•Preemphasis slider and value field: Applies gain per octave. Higher values emphasize
high frequency content.
•Minimum Frequency slider and value field: Allows you to view a subset of the frequency
range (for example, only the frequencies over 1 kHz).
•Maximum Frequency slider and value field: Allows you to view a subset of the frequency
range (for example, only the frequencies under 9 kHz).
•Minimum Power slider and value field: Defines the bottom of the scale (where the blue
portion of the gradient starts).
•Maximum Power slider and value field: Defines the top of the scale (where the red portion
of the gradient ends).
227Chapter 8 Working in the File Editor
•Analysis Window pop-up menu: To display the audio file in Frequency 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 analysis
windows, used to display the frequency spectrum in Frequency Spectrum view.
•Window Size pop-up menu: The number of samples used for Frequency Spectrum view.
This parameter trades off frequency resolution for time resolution. Smaller window
sizes are more accurate timewise, but smear frequency information across adjacent
frequencies (vertical lines, or transients, appear sharper). Larger window sizes provide
a more accurate frequency display, but will smear things horizontally (horizontal lines
appear sharper, but transients are smeared).
•Frequency Scale buttons: Use Frequency Scale to switch between linear display (in which
harmonics appear evenly spaced) and logarithmic display (in which octaves appear
evenly spaced).
•Color pop-up menu and gradient slider: Use the menu and slider to customize the gradient
for Frequency Spectrum view.
•Reset button: Resets all controls to their default values.
To open the Spectrum View HUD
1Turn on Frequency Spectrum view.
2Do one of the following:
• Choose View > File Editor Display > Show Spectrum Controls.
• Control-click the spectrum display, then choose Show Spectrum Controls from the
shortcut menu.
Adjusting the Frequency Spectrum View with the Shortcut Menu
You can also Control-click the Frequency Spectrum view to change the settings.
To show the frequency spectrum on a logarithmic scale
µControl-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
µControl-click the Sample ruler along the left edge of the display, then choose Linear from
the shortcut menu.
To display the audio file in Frequency 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 analysis windows, used to display the frequency
spectrum in Frequency Spectrum view.
228 Chapter 8 Working in the File Editor
To choose an analysis window for Frequency Spectrum view
µControl-click the spectrum display, then choose an analysis window from the upper part
of the shortcut menu.
Frequency Spectrum view changes the display using the analysis window you selected.
Experiment with these options to see which one shows the data the best.
You can also choose the number of samples used to calculate the spectrum display.
To choose the window size (number of samples used) for Frequency Spectrum view
µControl-click the spectrum display, then choose a number from the lower part of the
shortcut menu.
Editing in Frequency Spectrum View
Use the Frequency Spectrum view and the Frequency Selection tool to select frequency
ranges as well as to copy, paste, delete, and adjust the amplitude of frequency selections.
You can also select parts of the audio file, apply actions, and edit the audio file in
Frequency Spectrum view in the same way as in Waveform view.
To select a frequency range
1Turn on Frequency Spectrum view.
2Click the Frequency Selection Tool button at the top of the File Editor tab or the top of
the File Editor project view.
Frequency Selection
Tool button
229Chapter 8 Working in the File Editor
In general, editing in Frequency Spectrum view uses the same conventions as editing in
Waveform view. For more information about editing in Waveform view, see Using the
Global Waveform View.
Frequency Spectrum
view selection
Guidelines for Using the Frequency Selection Tool
Here are some further guidelines for editing in Frequency Spectrum view with the
Frequency Selection tool:
•All paste edits, including paste, paste mix, and paste repeat, are supported for frequency
selections.
• Pasting to an ordinary (full frequency range) selection follows the same conventions
as in the Waveform view.
• Pasting to a narrow frequency range causes the contents of the Clipboard to be filtered
before being pasted. This filtered result is added to the result of applying the
complementary filter to the original audio with any necessary truncation or zero-padding
if the length of the selection is greater than or less than, respectively, the length of the
Clipboard audio data.
• When you switch between Frequency Spectrum view and Waveform view, ordinary
(full frequency range) selections are preserved, but any narrow frequency range
selections are reset.
230 Chapter 8 Working in the File Editor
Working with Actions
Actions give you an extremely flexible and powerful way to edit audio files in the File
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.
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
1With the file open in the File Editor, choose an item from the Process menu.
The item appears in the Actions list.
Action Insert bar
Actions
Resulting waveform
Actions tab
2Some 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 File 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.
When you apply an action that adds a short (0.1 second or less) tail to an Apple Loops
audio loop, the tail is shortened to preserve the overall length of the loop.
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Editing Actions
Many actions have settings that you can edit. When you apply an action that has editable
settings, a dialog appears, letting you edit the action’s settings. You can edit an action’s
settings any time you are working in the File Editor.
To show an action’s settings
Do one of the following:
µIn the Actions list, Control-click the action you want to edit, then choose “Edit Settings
For [action name]” from the shortcut menu.
µDouble-click the action in the Actions list.
µIn the Actions list, select the action you want to edit, then choose “Edit Settings For [action
name]” from the Actions pop-up menu.
If the action has no editable settings, the Edit Settings menu item appears dimmed.
Adjusting and Applying Action Selections
You can adjust the selection for an action or set the current selection in the File Editor to
an action’s selection.
To adjust an action’s selection
Do one of the following:
µMake a selection in the File Editor, then in the Actions list, Control-click the action, then
choose “Set Selection For [action name]” from the shortcut menu.
µMake a selection in the File Editor, then in the Actions list, choose “Set Selection For
[action name]” from the Actions pop-up menu.
The action is shifted to the selected region.
To set the File Editor’s current selection to the action’s selection
Do one of the following:
µIn the Actions list, Control-click the action, then choose “Selection For [action name]” from
the shortcut menu.
µIn the Actions list, choose “Selection For [action name]” from the Actions pop-up menu.
The action’s selection becomes the current selection in the File Editor.
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
µIn the Actions list, deselect the checkbox next to the action name.
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To turn an action on
µIn 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
µIn 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.
Using the Action Insert Bar
The Action Insert bar appears as a purple marker along the left side of the Actions list
with an associated bar that extends across the list. As you apply actions, the Action Insert
bar moves below the last action applied.
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.
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To set the position of the next applied action
µDrag the Action Insert bar up or down in the Actions list to the position you want.
Drag the Action Insert
bar to the position
you want.
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
µClick the triangle at the upper-right corner of the Actions list. Click the triangle again to
return the list to its default order.
Click the triangle to
reverse the order of
the Actions list.
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.
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To flatten all audible actions
1Move the Action Insert bar directly below the last action you want to flatten.
2Do one of the following:
• Choose Process > Flatten Audible Actions.
• Choose “Flatten audible actions” from the Actions pop-up menu.
To flatten all actions
Do one of the following:
µChoose Process > Flatten All Actions.
µChoose “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
1Choose “Play without actions” from the Actions pop-up menu.
2Click Play or press the Space bar.
To hear the file with all actions
1Choose “Play with all actions” from the Actions pop-up menu.
2Click Play or press the Space bar.
To hear the file with only selected actions
1In the Actions list, deselect the checkboxes for the actions you do not want to hear.
2Click 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
1Do one of the following:
• Choose Process > A/B Last Two Actions.
• Choose A/B from the Actions pop-up menu (or press Command-F1).
2Click Play or press the Space bar.
235Chapter 8 Working in the File Editor
You hear the first of the two actions. The checkbox of the second action appears deselected
in the Actions list.
3Do one of the following:
• Choose Process > 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.
Deleting Actions
You can delete an action if you decide you no longer want it in the project.
To delete an action
µSelect 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 File 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 File Editor, you see the
selection remain in the same place (the same range of time as shown in the Time ruler)
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.
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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.
Overview of Analyzing and Fixing Problems in an Audio File
Soundtrack Pro includes a set of audio analysis tools. You can analyze an audio file for
common problems and fix them individually or in a single operation.
There are different types of analysis you can perform:
•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, 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. If analysis identifies a clipped signal, Soundtrack Pro gives you
the option to soften the abrasive nature of the truncation.
•Silence: Silence detects the 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.
The Power Line Hum, DC Offset, and Phase analysis types determine whether the audio
file or selection exhibits these problems. Because hum, DC offset, and phase issues tend
to last for long times, up to the entire length of the file, better results might be achieved
when analyzing the entire audio file or the part of the file you think has the problem.
237Chapter 8 Working in the File Editor
On the other hand, the Clicks and Pops, Clipped Signal, and Silence analysis types tend
to be momentary and isolated rather than constant. If part of an audio file or selection
contains a large number of clicks and pops, for example, the analyzed waveform might
display the entire region as being problematic, rather than each individual click or pop.
However, when you fix these problems using the Fix button, Soundtrack Pro correctly
fixes each individual click or pop.
Analyzing and Fixing Problems in an Audio File
There are three steps in fixing problems in an audio file.
•Stage 1: Analyzing an Audio File
•Stage 2: Viewing and Interpreting the Analysis Results
•Stage 3: Fixing Analyzed Problems
Stage 1: Analyzing an Audio File
When you analyze an audio file, you can select which types of analysis to perform.
To analyze an audio file
1In the File Editor, select the audio clip you want to analyze.
Note: When analyzing an audio file in the File Editor, some analysis types might produce
better results if you select a part of the audio file instead of the entire audio file. For more
information, see Selecting All or Parts of an Audio File.
2Click the Analyze tab.
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3In the Analysis Type list that appears, select the checkboxes next to the types of analysis
you want to perform on the audio file.
Analysis tab
Analysis Type list
4Click the disclosure triangle for the analysis types for which you want to set parameters
(there is a disclosure triangle next to these).
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.
5In the Parameter list on the right, do one of the following:
• Drag the Threshold slider left to lower the threshold or right to raise the threshold.
• Type a value in the Threshold field.
The Clicks and Pops Threshold slider uses an algorithm to detect transients that are clicks
or pops. Moving the slider to the right results in fewer clicks or pops being detected.
The Silence Threshold slider ranges from 0% to 10% of the full-scale level of the audio
file, which corresponds to a range of -infinity dB to -20 dB.
Parameter list
Analyze button
6When you’re ready to analyze the file, click the Analyze button, located below the
Parameter list.
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Stage 2: Viewing and Interpreting the Analysis Results
When you analyze an audio file, the problems detected through analysis are shown in
the Results list in the bottom section of the Analyze tab.
Results list
For each item, the following information appears in columns:
•Status: Shows whether the problem is fixed or not fixed.
•Problem: Shows the analysis type to which the problem belongs.
•Start: Shows the point at which the problem begins.
•Length: Shows the duration of the problem.
•Ch: Shows whether the problem occurs in the left channel (L), the right channel (R), or
both channels (LR) of a stereo audio file. If you analyze all or part of a monaural file, a
dash (-) appears in the column.
To view analysis results
µIn the Results list, select one or more items.
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 which any of the selected problems apply
become red.
By default, the region shown in red in the waveform display includes some extra time
before the first sample with the problem and some extra time after the last sample with
the problem. This extra time is included so that when you play or loop the problem area,
you can hear the problem in context.
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If you want, you can narrow the problem area to include only the samples identified as
having the problem, with no extra time.
To narrow the problem area to include only problem samples
µOption-click the item in the Results list.
You can zoom in on an item in the Results list so you can see the problem area of the
audio file closely.
To zoom in on an item in the Results list
1In the Results list, select an item.
2Do one of the following:
•To zoom in and return to the regular display: Press and hold the Magnify button at the
bottom of the Results list.
The waveform display zooms in on the problem area for as long as you hold the Magnify
button.
The problem area
is highlighted in
the File Editor.
Select an item in
the Results list, then
press and hold the
Magnify button.
Magnify button
•To zoom in and stay at the new zoom level: Option-click the Magnify button at the bottom
of the Results list.
Stage 3: Fixing Analyzed Problems
You can select items in the Results list and fix them individually, in groups, or all together.
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To fix an item
µSelect the item in the Results list, then click the Fix button.
The part of the waveform where the item occurs becomes red.
To fix multiple items
Do one of the following:
µShift-click to select contiguous items you want to fix.
µCommand-click to select noncontiguous items you want to fix.
You can also fix all items in a single operation.
To fix all items in one operation
µClick 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
µClick the Clear Fixed button.
Using the File Editor Project View
You can open the File Editor so that it appears in the top-center pane of the Soundtrack Pro
window (in place of the Timeline). The File Editor project view has several unique properties
that allow you to:
• Apply realtime effects and automation to an individual file and render those effects to
actions
• Save an individual audio file as an audio file project
• Save an audio file project as a standard audio file
• Create AppleScript droplets from Soundtrack Pro actions
• View and navigate the Global Waveform view
• Add and edit markers in an audio file project
Opening the File Editor Project View
You start working in the File Editor project view by creating an audio file project, opening
an existing audio file project, or opening an audio file in the File Editor.
To create a new, blank audio file project
µChoose File > New > Audio File.
You can create an audio file project from a clip and open it in the File Editor. Audio file
(.stap) projects let you edit nondestructively.
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To open an audio file project in the File Editor project view
Do one of the following:
µChoose File > Open (or press Command-O), locate and select the project or file, then click
Open.
µDrag the project or file over the Soundtrack Pro icon in the Dock.
µIn the Timeline, double-click the audio clip.
µIn Final Cut Pro, select a clip, then choose File > Send To > Soundtrack Pro Audio File
Project.
µIn Motion, select an audio track, then choose Edit > Send Audio to Soundtrack Pro.
You can also open the original file in its native format in the File Editor. Editing the original
audio file means that when you save your changes, you overwrite (replace) the original
file with the edited one.
To open an audio file in its native format in the File Editor project view
Do one of the following:
µSelect the clip, then choose Clip > Open in Editor.
µIn the Timeline or in one of the media tabs, Control-click a project or file, then choose
Open in Editor from the shortcut menu.
µIn Final Cut Pro or Motion, Control-click an audio clip, 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 File 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 File 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.
Setting the Time Ruler Units in the File Editor Project View
You can set the Time Ruler units in the File Editor project view to any format in the Time
Ruler Units submenu.
To set the Time Ruler units in the File Editor project view
µChoose View > Time Ruler Units, then choose a format from the submenu.
For more information, see Setting the Project Ruler Units.
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Closing Audio File Projects
You can close the project when you no longer want to work on it, or close the
Soundtrack Pro window and close all open projects (both multitrack and audio file
projects).
To close a project
µChoose File > Close Tab (or press Command-W).
To close all open projects and close the Soundtrack Pro window
µClick the close button in the upper-left corner of the window.
Applying Realtime Effects in the File Editor Project View
Using the File Editor project view, you can apply realtime effects to an individual audio
file project and automate those effects. You can also render realtime effects to actions.
To add a realtime effect to an audio file project in the File Editor project view
1Open an audio file or audio file project in the File Editor project view.
2In the Effects tab, select a category in the Category list to display the effects for that
category in the Effect list.
3In the Effect list, do one of the following:
• Double-click the effect you want to add to the track.
• Select the effect name, then click the Add Effect button.
• Drag the effect to the Effect Parameters area.
The effect’s advanced settings window appears, and the effect name appears in the Effect
Parameters area with its checkbox selected.
For more information on applying realtime effects, see Working with Realtime Effects.
Automating Realtime Effects in the File Editor Project View
Once you have applied realtime effects to an individual audio file project, you can
automate those effects in the File Editor project view.
To automate a realtime effect parameter
1In the Effects tab, select the Auto checkbox next to the parameter’s control.
2In the File Editor project view, click the Master Envelope button (in the lower-left corner
of the project pane) to show the envelopes for the audio file project.
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3Add and adjust envelope points in the effect’s envelope.
For information on adding and adjusting envelope points, see Working with Automation.
Rendering Realtime Effects to Actions
Choosing this command renders 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, reorder them in the list, and save them with the audio file project.
To render realtime effects and envelopes to an action
µChoose Process > Render to Action.
Once you render realtime effects and envelopes to an action, the realtime 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 render 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.
How Files Are Saved in the File Editor Project View
When you edit an audio file in the File Editor project view, the source audio file is handled
as follows:
•If the clip’s audio file format is a native Soundtrack Pro audio file project: Any changes you
make are saved to the audio file project, allowing you to make nondestructive changes
to the media.
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•If the clip refers to a standard-format audio file (such as AIFF or WAVE): Soundtrack Pro
automatically creates a Soundtrack Pro audio file project for the flat file. When you
attempt to save the changes to the audio file project, the default File Type is Audio File
Project, which retains the nondestructive changes in the form of an Actions list. If you
change the File Type in the Save dialog to a flat file format (such as AIFF or WAVE), you
lose the nondestructive characteristics of a Soundtrack Pro audio file project.
Saving Audio File Projects from the File Editor Project View
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 File Editor.
To save a project as an audio file project
1Choose File > Save.
2In the Save dialog, type a name for the file and browse to the location where you want
to save it.
3Choose 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.
4Click Save.
Saving Audio File Projects Containing Video
For audio file projects containing video, the video file is saved as a reference movie. If
the video file is moved or deleted, or if you copy the project to another computer, the
video may be missing when you open the project. To add the video to the project again,
drag the video file into the Video tab or the video track of the Timeline.
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When you open a QuickTime movie in the File Editor as an audio file project, or send an
audio clip from Final Cut Pro to an audio file project, by default the source audio is
referenced. When you save the project by choosing File > Save As, you can include the
source audio in the project. If the source audio is moved or deleted, or if you copy the
project to another computer, the audio might not play correctly.
The first time you save an audio file project with referenced audio, a dialog appears asking
if you want to include or reference the source audio. Your choice becomes the default
behavior for new audio file projects and can be changed in the General preferences pane.
About Saving QuickTime Movies and File Size
When you lengthen or shorten the duration of a QuickTime movie in the File Editor by
adding or deleting audio, the file size of the movie might be larger than expected when
you save the movie. For example, if you shorten the duration of the movie by deleting
audio, the file size of the movie does not decrease.
When you change the sample rate, bit depth, or number of channels in a QuickTime
movie, the file size of the saved movie might be larger than expected. Also, when saving
to a QuickTime movie that uses a compressed audio format, the audio is saved
uncompressed and the file size might be larger than expected.
In all of the above cases, saving the movie to a different location results in the file being
saved at the correct file size.
Saving Audio Files from the File Editor Project View
You can also save a project as a standard audio file from the File Editor project view. 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 File Editor.
To save a project as an audio file
1Choose File > Save As.
2In the Save dialog, type a name for the file and browse to the location where you want
to save it.
3Choose the file type for the project from the File Type pop-up menu.
You can save a project to any of the following standard audio file formats:
• AIFF
• WAVE
• NeXT
• Sound Designer II
• Core Audio File
• QuickTime Movie
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4Choose the bit depth for the project from the Bit Depth pop-up menu.
5Choose the sample rate for the project from the Sample Rate pop-up menu.
6Optionally, select any of the following checkboxes:
•Dither: Select 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 a
standard audio file, and only when you have finished all bit depth or sample rate
conversions. Dithering is not appropriate for 32-bit files.
•Include Source Audio: Select to include the source audio in the project. If you don’t
select this checkbox, the project refers to the external source audio file. Referenced
files must be present to open the project correctly.
•Save Flattened Copy: Select to additionally update the linked flat file. Saving a flattened
copy enables integration with applications that do not support .stap files.
7Click Save.
Note: When you save an audio file with the same name, location, and extension as the
original audio file, you overwrite the existing audio file.
Using the Timeline Controls in the File Editor Project View
You can use the Timeline controls, located at the lower-left corner of the project pane,
while working in the File Editor project view.
Some of these controls have slightly different functions in the File Editor than they do in
the Timeline.
•Master Envelopes button: You can show or hide the envelopes for the audio file.
•Snapping button: You can turn snapping on or off in the File Editor.
•Snap To button: You can choose the Snap To value that the playhead and other items
snap to. In the File Editor, the choices for snap are Ruler Ticks and Zero Crossings.
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•Track Height control: This sets the height of the envelope rows when you show envelopes
in the File Editor.
Scripting Actions in the File Editor Project View
You can save a series of actions in the File Editor project view 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
1Open an audio file in the File Editor.
2Apply the actions to the audio file.
3Choose File > Save as AppleScript.
4In the Save dialog, type a name for the droplet.
By default, droplets are saved to the location
/Users/username/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.
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
µIn the Final Cut Pro Timeline or Bin, Control-click the clip, choose Send To > 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 File Editor. The actions are applied to
the clip, the clip is saved with the changes, and the File Editor moves to the background,
behind the Final Cut Pro windows.
Using the Global Waveform View
The File 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.
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To move to a different part of the audio file using the Global Waveform view
µDrag the blue visible area rectangle to a new position.
Drag this rectangle
to a new position.
Using Markers in the File Editor Project View
You can insert markers in 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 All or Parts of an Audio File.
For information about inserting, naming, moving, and deleting markers, see Working
with Markers.
250 Chapter 8 Working in the File Editor
You can process audio files in the File 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 to 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 items described in the following sections.
Note: In addition to processing effects, you can apply realtime effects to an audio file
project. You can apply realtime effects in the Effects tab, and you can automate realtime
effect parameters in the File Editor project view. For more information, see Applying
Realtime Effects in the File Editor Project View.
This chapter covers the following:
•Choosing Processing Effects (p. 252)
•Fade In (p. 253)
•Fade Out (p. 253)
•Normalize (p. 253)
•Adjust Amplitude (p. 254)
•Silence (p. 254)
•Invert (p. 254)
•Reverse (p. 255)
•Insert (p. 255)
•Time Stretch (p. 257)
•Noise Reduction (p. 258)
•Adding Ambient Noise (p. 262)
•Equalization Matching (p. 263)
•Convert to Mono (p. 263)
•Resample (p. 264)
•Swap Channels (p. 264)
251
Processing Audio Files 9
•Edit Channels (p. 264)
•Render to Action (p. 266)
Choosing Processing Effects
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 submixes in the Timeline. For
information about individual effects in the Effects submenu, see Audio Effects Included
with Soundtrack Pro and the Soundtrack Pro Effects Reference document, available in the
Help menu.
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. Processing effects windows are nonmodal, allowing
you to click a window behind the effects window (for instance, the Timeline or File Editor
window) to move the playhead or adjust the selection range.
The advanced settings window contains controls for previewing the effect in the File
Editor, bypassing, applying, or canceling the effect, resetting effect parameters, and
applying effect presets.
Show/Hide Presets
button
Bypass button
Reset button
•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.
252 Chapter 9 Processing Audio Files
•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.
•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.
•Show/Hide Presets button: Shows or hides the Presets drawer so you can apply effect
presets.
For information about the effects in the Effects submenu, see Working with Audio Effects.
For information about applying effect presets in the File Editor, see Working with Effect
Presets.
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 or selection to the
decibel level shown in the Normalization Level field. There are two different methods
you can use to normalize an audio file or selection: Peak (the default) or RMS (root mean
square). If you choose the peak method, the highest peak in the file or selection is raised
or lowered to the level you set, and the rest of the audio file is raised or lowered by the
same amount. If you choose the RMS method, the average level in the file or selection is
raised or lowered to the level you set. In general, use the peak method if you wish to set
the loudest part of your selection to a particular value, and use RMS if you wish to set the
average decibel level to a more consistent perceived volume. When you choose Process
> Normalize, the level is set to 0 dB by default.
253Chapter 9 Processing Audio Files
To set the normalization level
1Choose Process > Normalize.
Normalize Method
pop-up menu
The Normalize dialog appears, showing the Peak Level and RMS Level of the selection.
2Choose the normalize method from the pop-up menu.
3Drag the Normalization Level slider or select the value in the Normalization Level field
and type a new value.
4Click 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
µIn the Normalize dialog, select the Preview checkbox.
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 > Adjust Amplitude,
the level shown in the field is zero (0) dB, or unity gain.
To set the amplitude level
1Choose Process > Adjust Amplitude.
2In the Adjust Amplitude dialog, drag the Amplitude Level slider or select the value in the
Amplitude Level field and type a new value.
3Click 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.
Each sample’s amplitude is unchanged, but the phase is inverted. In the waveform display,
the wave’s crests become troughs and vice versa.
254 Chapter 9 Processing Audio Files
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.
Insert
You can insert silence, noise, or a waveform in an audio file or selection. When you choose
Process > 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 > Insert, then choose Silence from the Insert submenu, the
Insert Silence dialog 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).
To set the length of the inserted silence
1In the Insert Silence dialog, choose the format you want to use from the Format pop-up
menu.
2In the “Length of silence to insert” value slider, do one of the following:
• Click the left arrow to shorten the length of the inserted silence, or click the right arrow
to increase the length.
• Click the center of the value slider, then drag the slider that appears left or right to
change the length of inserted silence.
• Click the value in the value slider, then type a new value.
3Click OK.
Inserting Noise
When you choose Process > 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.
255Chapter 9 Processing Audio Files
The inserted noise can be white noise (emphasizing higher frequencies) or pink noise
(equal distribution of frequencies).
To choose the type of noise to insert
µIn the Noise Generator dialog, choose the type of noise from the Waveform Type pop-up
menu.
To set the length of the inserted noise
1In the Noise Generator dialog, choose the format you want to use from the Duration
pop-up menu.
2In 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.
• Click the center of the value slider, then drag the slider that appears left or right to
change the length of inserted noise.
• Click the value in the value slider, then type a new value.
3Click OK.
To set the volume level of the inserted noise
µIn 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 > Insert, then choose Waveform from the Insert submenu, the
Waveform 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.
256 Chapter 9 Processing Audio Files
To choose the type of waveform to insert
µIn the Waveform Generator dialog, choose the type of waveform from the Waveform
Type pop-up menu.
To set the frequency of the inserted waveform
µIn the Waveform 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
1In the Waveform Generator dialog, choose the format you want to use from the Duration
pop-up menu.
2In the Duration value slider, do one of the following:
• Click the left arrow to shorten the length of the inserted waveform, or click the right
arrow to increase the length.
• Click the center of the value slider, then drag the slider that appears left or right to
change the length of the inserted waveform.
• Click the value in the value slider, then type a new value.
3Click OK.
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. You can select seconds, timecode, samples, frames, or a percentage.
To time stretch an audio file
1Select the part of the file you want to time stretch (it can be the entire file).
2Choose Process > Time Stretch.
The Time Stretch dialog appears.
3In the Time Stretch dialog, choose the format for setting the amount to time stretch the
file from the Format pop-up menu.
4Choose the type of algorithm to use to perform the time stretch from the Stretch Using
pop-up menu.
257Chapter 9 Processing Audio Files
Any third-party time stretch algorithm plug-ins installed appear in the Stretch Using
pop-up menu. The default algorithm used for time stretching is set in Soundtrack Pro
Preferences. For more information, see General Preferences.
5In the “Length of selection” value slider, do one of the following:
• Click the center of the value slider, then drag the slider that appears left or right to
change the length.
• Click the left arrow to shorten the length, or click the right arrow to increase the length.
• Click the value in the value slider, then type a new value.
6Click OK.
For information on stretching a file graphically using the Audio Stretching tool, see Using
the Audio Stretching Tool.
Noise Reduction
Some audio files contain unwanted noise, making 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 extracts a noise print from the
selected part of the audio file. If there is an existing noise print, it will be used, even if it
is from a different audio file, unless you set a new noise print.
To set part of an audio file as a noise print
1In the waveform display, select the part of the audio file containing only the noise you
want to reduce.
2Choose Process > Noise Reduction > Set Noise Print.
The selected noise is stored as a noise print.
Note: The noise print is saved along with the Soundtrack Pro project, allowing you to use
different noise prints in different projects without saving presets. If you wish to work with
multiple noise prints in a single project, or across multiple projects, see Save a Noise Print
Preset.
258 Chapter 9 Processing Audio Files
Save a Noise Print Preset
In a normal workflow, Soundtrack Pro only stores a single noise print at a time. Every time
a new noise print is set, any previous noise print is overwritten. If you wish to work with
multiple noise prints, each one must be saved as a preset.
To save a noise print preset
1In the waveform display, select the part of the audio file containing only the noise you
want to reduce and save as a preset.
2Choose Process > Noise Reduction > Set Noise Print.
3Choose Process > Noise Reduction > Reduce Noise.
The Reduce Noise HUD appears.
4Click the Show Presets button.
The Presets pane appears.
5Click the Add (+) button at the bottom of the Presets pane.
A new, untitled preset appears under User Presets.
6Type a name for the preset, and press Enter.
259Chapter 9 Processing Audio Files
Load a Saved Noise Print Preset
Once a noise print preset has been saved, it can be loaded and reused at any time.
To load a saved noise print preset
1Choose Process > Noise Reduction > Reduce Noise.
The Reduce Noise HUD appears.
2Click the Show Presets button.
The Presets pane appears.
3Select the preset you wish to apply from the Presets list.
4Press the Apply Preset button.
The saved preset is loaded.
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
1In the waveform display, select the part of the audio file in which you want to reduce
noise.
2Choose Process > Noise Reduction > Reduce Noise.
The Reduce Noise HUD appears.
260 Chapter 9 Processing Audio Files
3In the Reduce Noise dialog that appears, you can optionally set the following:
•The noise threshold: 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.
•The tone for noise reduction: The Tone Control slider controls whether low-frequency
content (bass) or high-frequency content (treble) is preserved during noise reduction.
You can also preview the noise reduction with the dialog open.
To set the threshold of the noise reduction
µIn 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 set the amount of noise reduction
µDrag the Reduction slider left to decrease the amount of noise reduction, or drag it right
to increase the amount of noise reduction.
To change the tone of the noise reduction
µIn 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, or hear only the noise to be removed.
To preview the file with noise reduction
µClick the Play button in the lower part of the Reduce Noise dialog.
To set the preview volume level
µDrag the Volume slider in the lower part of the Reduce Noise dialog left to lower the
volume or right to raise the volume.
To compare the file with and without noise reduction
µClick 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
µSelect the Noise Only checkbox.
To use a noise reduction preset
1In the Reduce Noise dialog, click Show Presets.
The Presets drawer appears.
261Chapter 9 Processing Audio Files
2In the Presets drawer, select a preset from either the Factory Presets or User Presets list.
3Click Apply.
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 commands you can use to set a selection as an ambient noise print and add the
noise print to existing audio or replace the audio with the noise print.
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 set part of an audio file as an ambient noise print
1In the waveform display, select the part of the audio file containing only ambient noise.
2Choose Process > Set Ambient Noise Print.
The ambient noise is stored in a special buffer separate from the Clipboard and is saved
to the project.
If you have copied audio to the Clipboard, you can set the contents of the Clipboard as
an ambient noise print.
To set the contents of the Clipboard as an ambient noise print
µChoose Process > Set Ambient Noise From Clipboard.
Add Ambient Noise
The Add Ambient Noise command adds the ambient noise stored in the ambient noise
buffer to the audio file or selection.
To add ambient noise to an audio file
1In the waveform display, select the part of the audio file to which you want to add the
ambient noise.
2Choose Process > Add Ambient Noise.
The ambient noise is added to the selected audio. If the selection is longer than the copied
ambient noise, the ambient noise repeats to fill the selection.
Replace With Ambient Noise
The Replace With Ambient Noise command replaces the selected audio with the ambient
noise stored in the ambient noise buffer.
262 Chapter 9 Processing Audio Files
To replace existing audio with ambient noise
1In the waveform display, select the part of the audio file you want to replace with ambient
noise.
2Choose Process > Replace With Ambient Noise.
The ambient noise replaces the selected audio. If the selection is longer than the copied
ambient noise, the ambient noise repeats to fill the selection.
Equalization Matching
Equalization matching matches the average frequency spectrum of the target clip to that
of the source clip.
Set Equalization Print
The Set Equalization Print command lets you select part of an audio file and create an
equalization print from it. The equalization print provides an equalization signature that
you can apply to other parts of the same file. To match parts of a different file, use the
Multitrack Editor. For more information on using equalization prints in the Multitrack
Editor, see The Lift and Stamp Tools and the Sound Palette.
To set an equalization print
1Select the part of the audio file containing the equalization you want to match.
2Choose Process > Equalization Matching > Set Equalization Print.
The selection is stored as an equalization print.
Note: Only one equalization print can be saved at a time. If you set a new equalization
print, the last one is overwritten.
Apply Equalization
The Apply Equalization command uses the average frequency spectrum of the equalization
print to match the equalization in the audio file or selection.
To match equalization using the equalization print
1Select another part of the audio file in which you want to match the equalization.
2Choose Process > Equalization Matching > Apply Equalization.
The equalization print is applied to 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.
263Chapter 9 Processing Audio Files
To select how a stereo file is converted to mono
1Choose Process > Convert to Mono.
2In the Convert to Mono dialog, select the button corresponding to the method by which
you want to convert the file to mono.
3Click 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.
Resample
Choosing this command resamples the audio file to a new sample rate.
To choose the new sample rate
1Choose Process > Resample.
2In the Resample dialog, 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.
3Click OK.
The Resample action flattens the file, removing existing actions from the Actions list. For
information about flattening actions, see Flattening Actions.
Swap Channels
Choosing this command swaps the left and right channel of a stereo audio file or selection.
If the file is mono or multichannel (more than two channels), Swap Channels is disabled.
Edit Channels
This command opens a dialog that allows you to add channels, remove channels, and
rearrange the order of channels in an audio file.
Note: Some operations, such as the Edit Channels command, are only available in the
File Editor, not in the multitrack Timeline.
To reorder channels in an audio file
1Choose Process > Edit Channels.
264 Chapter 9 Processing Audio Files
The Edit Channel dialog appears.
2Drag the name of the channel to a different location in the channel list.
3Click OK.
To add channels to an audio file
1Choose Process > Edit Channels.
The Edit Channel dialog appears.
2Click the Add Channel button.
3Click OK.
To remove channels from an audio file
1Choose Process > Edit Channels.
The Edit Channel dialog appears.
265Chapter 9 Processing Audio Files
2Select the channel you wish to remove from the file.
3Click the Remove Channel button.
4Click OK.
Render to Action
This command renders realtime effects to actions. It is available in the File Editor project
view only. For more information, see Rendering Realtime Effects to Actions.
266 Chapter 9 Processing Audio Files
You can modify the sound of your project in many ways using audio effects. Soundtrack Pro
includes a complete set of professional-quality audio effects you can use in your projects.
This chapter covers the following:
•Processing Effects and Realtime Effects (p. 267)
•Working with Effect Presets (p. 269)
•Audio Effects Included with Soundtrack Pro (p. 270)
•Working with Realtime Effects (p. 283)
•Working with Processing Effects (p. 293)
Processing Effects and Realtime Effects
Soundtrack Pro gives you two ways to use audio effects in your projects: processing effects
and realtime effects. Audio effects can be applied as processing effects to entire audio
clips or regions of audio clips, resulting in nondestructive actions that can be adjusted
at any time. Audio effects can also be applied to tracks, submixes, and busses as realtime
effects, enabling parameters of the effects to be automated so that they change over
time.
The same audio effect can be applied either as a realtime effect or a processing effect,
with different results.
Applying Processing Effects
You can apply processing effects to clips and regions of clips in the multitrack Timeline
as well as to audio file projects (or regions thereof) in the File Editor. 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.
To apply a processing effect to a clip in the Timeline
1In the Timeline, select one or more clips, or portions of one or more clips.
267
Working with Audio Effects 10
For more information about selecting clips, see Selecting Audio Clips in the Timeline and
Editing with the Timeslice Tool.
2Choose Process > Effects and choose one of the effects from the submenu.
The effect’s advanced settings window appears.
Advanced settings
windows can contain
different kinds of
controls.
Apply button
Show Presets button
Preview volume slider
Play button
Reset button
Toggle Effect Bypass
button
3Make adjustments in the 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.
For detailed information on adjusting the parameters of specific effects, see the
Soundtrack Pro Effects Reference document, available in the Help menu.
4Optionally, do any of the following:
• Click the Play button to hear the effect and your adjustments to it.
• Click the Reset button to reset the parameters to their default values.
• Click the Toggle Effect Bypass button to hear the audio without the effect.
• Click the Show Presets button to display the available presets.
For more information about presets, see Working with Effect Presets.
5Click Apply.
268 Chapter 10 Working with Audio Effects
A corresponding action appears in the Actions tab for the clip.
For more information about working with processing effects, see Processing Audio Files.
For information on working with actions, see Working with Actions.
Applying Realtime Effects
You can add realtime effects to entire tracks, busses, and submixes in a multitrack project
or to an entire audio file project. You can automate realtime effects parameters to create
changes over time. 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 create effects chains on a track, bus, submix, 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 with realtime effects in both multitrack and audio file projects,
see Working with Realtime Effects.
Note: This chapter describes the various categories of effects included with Soundtrack Pro.
For complete information on the details of each realtime effect, see the Soundtrack Pro
Effects Reference document, available in the Help menu.
Rendering Realtime Effects to Actions
You can also convert any realtime effect that you have applied in the File Editor project
view to an action in the Actions list, which enables you to turn these effects on or off,
reorder them in the list, and save them with the audio file project. For more information,
see Working with Realtime Effects.
Working with Effect Presets
Many effects come with several combined parameter settings called presets. Presets are
a handy way to get up and running with Soundtrack Pro effects without having to learn
a lot of details about their various parameters. 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.
You can show an effect’s presets, add and delete presets, apply a preset, adjust preset
parameters, and create your own presets.
To show effect presets from the advanced settings window
µClick the Show Presets button in the advanced settings window.
269Chapter 10 Working with Audio Effects
The Presets drawer appears at the bottom of the advanced settings window.
To add a preset
1Click the Add Preset (+) button.
A blank, untitled preset appears in the User Preset list.
2Click the name “Untitled” and type a name for the preset.
To apply an effect preset
1Select the preset you want to apply from either the Factory Preset or User Preset list in
the Presets drawer.
2Click the Apply Preset button.
To adjust effect preset parameters
µAdjust the controls in the advanced settings window for the preset.
To delete a preset
1Select the preset in the Presets drawer.
2Click the Delete Preset (–) button.
To hide the Presets drawer
µClick the Hide Presets button in the advanced settings window.
To apply a preset to an effect from the Effects tab
µIn the Effect Parameters area, choose the preset from the Presets pop-up menu.
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, Noise
Gate, Expander, and Limiter.
•Distortion: Distortion effects change the tone of the audio signal to re-create the sound
of overdriven tube amplifiers or digital distortion. Bundled distortion effects include
Bitcrusher, Clip Distortion, Distortion, Distortion II, Exciter, Overdrive, and Phase
Distortion.
270 Chapter 10 Working with Audio Effects
•EQ and 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 AutoFilter, Fat EQ, High Cut and Low Cut, High Pass and Low Pass
filters, Channel EQ, High and Low Shelving EQ, Linear Phase EQ, Match EQ, Parametric
EQ, and Soundtrack Pro Autofilter.
•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, Ensemble, 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 Delay
Designer, Denoiser, Direction Mixer, Enveloper, Gain, Multichannel Gain, PitchShifter II,
Ringshifter, Spectral Gate, Stereo Spread, SubBass, Surround Compressor, and Vocal
Transformer.
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 effects
include compressors, limiters, and noise gates.
271Chapter 10 Working with Audio Effects
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.
Compressor plug-in
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 also 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.
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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 are rarely used on
ambience tracks.
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, usually at a high ratio. 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 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 that 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 post-production. 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 highpass, lowpass, and band pass filters.
273Chapter 10 Working with Audio Effects
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.
Channel EQ plug-in
Frequency Ranges Used with EQ
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:
DescriptionFrequency rangeName
Includes cymbal sounds and highest harmonics
of instruments. Boosting frequencies in this range
slightly can add sparkle and presence.
8–20 kHzHigh High
This range corresponds roughly to the treble tone
control on a stereo. Boosting frequencies in this
range can add brightness and shine.
5–8 kHzHigh
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.
2.5–5 kHzLow High
Includes the consonants of voices and the high
harmonics of musical instruments, especially brass
instruments. Excessive boosting in this range can
create a pinched, nasal sound.
1.2–2.5 kHzHigh Midrange
Includes the vowels of voices and the harmonics
of musical instruments that create tone color.
750 Hz–1.2 kHzMidrange
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DescriptionFrequency rangeName
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.
250–750 HzLow Midrange
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.
50–250 HzBass
Also calledsub 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.
50 Hz and belowLow Bass
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 number 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 is
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.
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.
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 track or project sound fuller. Parametric EQs can
also be used to remove specific, unwanted frequencies from a mix.
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Modulation Effects
Modulation effects begin with a delayed signal, like time-based effects, but vary (or
modulate) the delay time, typically using a low-frequency oscillator (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.
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.
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.
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 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.
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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 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 to double 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).
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).
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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,
sounds 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.
Space Designer plug-in
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:
•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.
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•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. 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.
•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.
•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.
•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.
•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, 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 cancelations 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
• A Goniometer for judging the phase coherency in the stereo sound field
279Chapter 10 Working with Audio Effects
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.
MultiMeter with Spectrum Analzyer active
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 Analyzer by clicking the Analyzer button. Turning on the
Spectrum Analyzer turns off the Goniometer. The four buttons under the Analyzer button
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 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.
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Goniometer
The Goniometer helps you to determine the coherence of the stereo image. Using the
Goniometer, you can see phase problems as trace cancelations along the center line
(M=mid/mono). Goniometers developed when early two channel oscilloscopes 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.
MultiMeter with Goniometer active
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.
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.
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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 are 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 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:
• Setting the Noise Type to 0 (zero) causes the Denoiser to reduce “white noise” (all
frequencies reduced equally).
• Setting the Noise Type to a positive value causes the Denoiser to reduce “pink noise”
(harmonic noise; greater bass response).
• 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 transition of denoising to the neighboring
frequencies. When the Denoiser recognizes that only noise is present in a 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.
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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 determines 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, submix, or the Master bus 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.
Track
Submix bus
Bus
1
Effects
Master bus
For more information about signal flow in Soundtrack Pro and the various points in the
signal flow where you can add effects, see Basic Signal Routing in Soundtrack Pro and
Using Sends and Busses.
Working in the Effects Tab
The Effects tab is where you add realtime effects and adjust realtime effect parameters.
283Chapter 10 Working with Audio Effects
To open the Effects tab
Do one of the following:
µChoose Window > Tabs > Effects (or press Command-5).
µClick the Effects tab to make it active.
The Effects tab becomes active and displays the current effects settings for the track, bus,
submix, 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 Effects
list, where you can select and add them 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.
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 submix in the Timeline
1Select a track, bus, submix, or the Master bus in the Timeline.
2Do one of the following to open the Effects tab:
• Choose Window > Tabs > Effects (or press Command-5).
• Click the Effects tab to make it active.
3In the Effects list, select a category in the Category list to display the effects for that
category in the Effects list.
4In the Effects list, do one of the following:
• Double-click the effect you want to add.
• Drag the effect to the Effect Parameters area.
284 Chapter 10 Working with Audio Effects
• Select the effect name, then click the Add Effect button.
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.
Select a category to
display its effects.
The effect’s advanced settings window appears, and the effect name appears in the Effect
Parameters area with its checkbox selected.
Note: For information about applying effects to individual audio files, see Applying
Processing Effects.
To add a realtime effect to a track, bus, or submix in the Mixer
Do one of the following:
µControl-click an effects slot in the channel strip of the track, bus, or submix, choose Add
Effect from the shortcut menu, then choose an effect from one of the submenus.
µSelect the channel strip in the Mixer for the track, bus, or submix and follow the steps in
the previous task.
To add a realtime effect to an audio file project in the File Editor project view
1Open an audio file or audio file project in the File Editor.
2In the Effects tab, select a category in the Category list to display the effects for that
category in the Effects list.
3In the Effect list, do one of the following:
• Double-click the effect you want to add to the track.
• Select the effect name, then click the Add Effect button.
285Chapter 10 Working with Audio Effects
• Drag the effect to the Effect Parameters area.
The effect’s advanced settings window appears, and the effect name appears in the Effect
Parameters area with its checkbox selected.
Important: 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 submix 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 > Render 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 the effect parameters to change the
way the effect alters the sound of the track, bus, submix, or audio file project. Each type
of effect has its own parameters, as discussed earlier. 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 advanced settings window have an Advanced
button at the top of the Effect Parameters area in the Effects tab.
Note: Generally, you use the advanced settings window to make adjustments to the
effect. While you can also make adjustments in the Effect Parameters area of the Effects
tab, its primary purpose is to enable automation, to chain, reorder and bypass effects,
and to add and adjust sends.
To adjust realtime effect parameters in the advanced settings window
1Do one of the following to open the window:
• Apply the effect to a track, bus, or submix and the effect’s advanced settings window
appears automatically.
• In the Effects tab, click the Advanced button for the effect.
• In the Mixer, Control-click the effect name, then choose Show [effect name] Advanced
Settings from the shortcut menu.
• In the Mixer, double-click the effect name.
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The effect’s advanced settings window appears.
Toggle Effect Bypass
button
Advanced settings
windows can contain
different kinds of
controls.
Show Presets button
Reset button
2Play the audio in the Timeline or the File Editor project view.
Optionally, you can apply a cycle region or solo the track, bus, or submix in the Timeline.
3Make adjustments in the advanced settings window as you play the audio.
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.
For detailed information on adjusting the parameters of specific effects, see the
Soundtrack Pro Effects Reference document in the Help menu.
4Optionally, do any of the following:
• Click the Reset button to reset the parameters to their default values.
• Click the Toggle Effect Bypass button to hear the audio without the effect.
• Click the Show Presets button to display the available presets.
For more information about presets, see Working with Effect Presets.
5When you are finished, close the advanced settings window.
The changes are applied.
To adjust realtime effect parameters in the Effect Parameters area of the Effects tab
1Click the disclosure triangle next to the effect in the Effect Parameters area to display its
parameters.
2Adjust the effect parameter by doing one of the following:
• Drag the slider.
287Chapter 10 Working with Audio Effects
• Select the checkbox.
• Choose an item from the pop-up menu.
• Enter a valid value in the field to the right of the parameter’s control.
Adjust a parameter by
dragging its slider.
You can also adjust the
parameter by entering
a value in the field.
Click the disclosure
triangle to display the
effect’s parameters.
Chaining and Reordering Realtime Effects
You can add more than one realtime effect to a track, bus, submix, or audio file project.
Adding multiple 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:
µDouble-click the effect you want to add in the Effects list.
µSelect the effect in the Effects list, then click the Add Effect button.
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The effect appears in the Effect Parameters area below any previously added effects. You
can now set the parameters of the added effect.
Select the effect you
want to add, then click
the Add Effect button.
You can also drag the
effect to the Effect
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 you add effects to be sure you are satisfied
with the results.
To reorder effects in an effects chain
µIn 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.
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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
µIn the Effects tab, deselect the checkbox next to the effect.
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.
For more general information about sends and busses, see Using Sends and Busses.
To add a send to a track
Do one of the following:
µControl-click the track in the Timeline or the Mixer, then choose Add Send from the
shortcut menu.
µIn 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.
290 Chapter 10 Working with Audio Effects
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 a track is routed to Bus 1, the second send is routed to Bus 2, and so on,
if the bus exists. Once you add a send, you can choose the bus to which the send is routed.
Add Send button
Send pop-up menu
To choose the bus to which a send is routed
Do one of the following:
µIn the Effect Parameters area of the Effects tab, choose a bus from the Send pop-up menu.
µIn the Mixer, Control-click an effects slot in the channel strip, choose Add Send from the
shortcut menu, then choose one of the available busses in the submenu.
Note: If no bus exists, the menus will read “Unconnected.” You must first create a bus by
choosing Multitrack > Add Bus.
Adjusting Send Volume
You can adjust the volume level for the audio routed through a send.
To adjust send volume
1If the send volume slider is not visible, click the disclosure triangle for the send.
2Drag 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
1If the send pan sliders are not visible, click the disclosure triangle for the send.
2Drag the send pan (x) slider left to pan the send to the left, or drag it right to pan the
send to the right.
291Chapter 10 Working with Audio Effects
3Drag the pan (y) and pan (lfe) sliders to adjust the surround pan settings.
Note: For information on surround panning, see Mixing Surround Sound.
Reordering Sends
You can reorder sends in the Effects tab or in the Mixer.
To reorder a send
µIn the Effect Parameters area or in the Mixer, drag the send up or down in the list to
change its order.
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
µIn 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. You are basically
“recording” effect parameter changes into parameter automation envelopes that can
then be edited and re-recorded. For more information about automation, see Working
with Automation.
To automate a realtime effect parameter
1In the Effects tab, select the Auto (Automation-enable) checkbox next to the parameter’s
control.
Automation-enable
checkboxes
2In the Timeline or in the File Editor project view, show the envelopes for the track, bus,
submix, or audio file project.
In the Timeline, you show the envelopes for the track, bus, or submix with the effect. In
the File Editor, you show the envelopes for the audio file project.
292 Chapter 10 Working with Audio Effects
3Add and adjust envelope points in the effect’s envelope.
For information on adding and adjusting envelope points, see Working with Automation.
When you automate 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
µIn 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
µSelect the parameter in the Effect Parameters area, then click the Reset button.
Removing Realtime Effects
You can remove a realtime effect from an effects chain.
To remove an effect
µSelect 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).
Working with Processing Effects
You can apply processing effects to an audio file or a selected part of a file in the File
Editor. In the File Editor, you apply a processing effect by choosing the effect from the
Effects submenu of the Process menu, as described in Applying Actions. Processing effects
are applied as actions and appear in the Actions menu of the File Editor. You can reorder
processing effects, turn them on or off, and perform all of the operations for actions
described in Working with Actions.
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 > Effects submenu, the advanced settings window for the effect appears in front
of the Soundtrack Pro 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
µDouble-click the effect in the Actions list.
293Chapter 10 Working with Audio Effects
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. For information on using the preview
controls in the advanced settings window, see Choosing Processing Effects.
Advanced settings
windows can contain
different kinds of
controls.
Toggle Effect Bypass
button
Apply button
Show Presets button
Preview volume slider
Play button
Reset button
294 Chapter 10 Working with Audio Effects
The Multitake Editor presents a new way of dealing with layered audio clips. You use the
Multitake Editor to edit multitake (multiple-take), synchronized audio that is created by
performing multiple-take recordings (such as in automatic dialogue replacement, or ADR).
With this flexible tool, you can mix and match parts of different takes and make
adjustments at any time. Once you are done editing a multitake clip, you can collapse it
into a single (composite) clip, hiding the constituent edits that are not relevant to the
surrounding multitrack Timeline, and move it anywhere in your project as a single item.
This chapter covers the following:
•What Is Automatic Dialogue Replacement? (p. 296)
•Multitake Clips (p. 296)
•Creating Multitake Clips (p. 296)
•Overview of the Multitake Editor (p. 297)
•Editing in the Multitake Editor (p. 298)
•Slipping Take Regions (p. 300)
•Adding and Deleting Takes (p. 300)
•Renaming Takes (p. 301)
•Reordering Takes (p. 301)
•Example: A Multitake Editing Workflow (p. 302)
295
Using the Multitake Editor 11
What Is Automatic Dialogue Replacement?
Automatic dialogue replacement (ADR) is a process of re-recording dialogue in the studio
in synchronization with the picture. There are at least three roles in the ADR process: the
actor, the recording engineer, and the sound editor. The actor has to recreate his or her
performance and perfectly match up his or her speech to that of the film. The recording
engineer has to recreate acoustic spaces so that it doesn’t sound like an actor is in a
recording studio. The sound editor has to pick and choose the best parts of multiple
takes, combine them into one composite clip, and keep everything synchronized to the
picture. The Multitake Editor in Soundtrack Pro was created to address the needs of the
sound editor in this scenario.
Multitake Clips
A multitake clip is a “layered” audio clip. This means it contains multiple versions or “takes”
of the same audio material, such as a line of dialogue. Generally, these takes represent
overlapping spans of time in your program. In an ADR recording session, an actor may
repeat the same line many times. A single multitake clip can contain all of those takes as
distinct items.
Creating Multitake Clips
You can create a multitake clip by either recording one or converting a standard clip to
a multitake clip.
Recording Multitake Clips
For information about recording multitake clips, see Recording Multiple Takes.
Converting Standard Clips to Multitake Clips
You can convert any clip to a multitake clip.
To convert a standard clip to a multitake clip
1Select a clip in the Timeline.
2Do one of the following:
• Control-click the clip, then choose Convert to Multitake Clip from the shortcut menu.
• Select the Multitake tab and click the Make Multitake Clip button that appears in the
center of the Multitake tab.
The new multitake clip appears in the Multitake Editor.
3Add any additional takes, as needed.
For information on adding takes, see Adding and Deleting Takes.
296 Chapter 11 Using the Multitake Editor
Overview of the Multitake Editor
You can think of the Multitake Editor as a simplified multitrack Timeline that is focused
entirely on the contents of a single multitake clip. In the Multitake Editor, you can audition
and choose which take will be used for each section of dialogue. The top row in the
Multitake Editor is the comp (or composite) track. This track represents a combination of
all of the edits that you make in the Multitake Editor. The other tracks represent individual
takes. You use the Blade tool to split the takes into regions. Use the Selection tool to
select the active take for each region. Use transition points to adjust the timing and to
create crossfades between the selected portions of takes.
Take tracks
Comp track
Multitake Editor
Blade tool Scrub tool
Selection tool
Solo button
Add/Remove Take
buttons
Arm for Recording
button
Track Height
Snap To pop-up menu
Zoom slider
Snapping button
297Chapter 11 Using the Multitake Editor
You can also record audio directly into the Multitake Editor. For more information, see
Recording into the Multitake Editor.
•Selection tool: Use the Selection tool to select take regions by clicking them.
•Blade tool: Use the Blade tool to split takes into regions.
•Scrub tool: Use the Scrub tool to quickly find a particular sound or event in the audio.
•Arm for Recording button: Click the Arm for Recording button to enable the Multitake
Editor for recording.
•Add/Remove Take button: Click to add a take to or remove a take from the Multitake
Editor.
•Comp track: Represents combined edits that you made in the Multitake Editor.
•Take tracks: Represent individual takes.
•Solo button: Solos the take track.
•Snapping button: Turns snapping on and off for the Multitake Editor.
•Snap To pop-up menu: Sets multitake snapping to Ruler Ticks, Seconds, or Frames.
•Track Height: Sets the height of tracks in the Multitake Editor.
•Zoom slider: Drag the slider to change the zoom level.
Note: When a multitake clip is displayed in the Multitake Editor, the Action Insert bar is
moved to the top of the Actions list. When you deselect the clip or you click a different
tab, the Action Insert bar is restored to its original position. For more information about
the Actions tab, see Working with Actions.
Editing in the Multitake Editor
Fundamentally, there are three steps in making any multitake edit: splitting, selecting,
and adjusting.
•Stage 1: Splitting the Takes into Regions Using the Blade Tool
•Stage 2: Selecting the Active Take for Each Region
•Stage 3: Adjusting the Timing and Creating Crossfades
Stage 1: Splitting the Takes into Regions Using the Blade Tool
When you use the Multitake Editor, a take must be divided into regions.
To split a take using the Blade tool
1Select the Blade tool by clicking the Blade tool in the upper-left corner of the Multitake
Editor (or by pressing B).
298 Chapter 11 Using the Multitake Editor
2Click one of the take tracks using the Blade tool pointer.
Click a take track using
the Blade tool to create
a transition point.
A transition point appears in the Multitake Timeline at the point where you clicked.
Stage 2: Selecting the Active Take for Each Region
You can select active regions in the Multitake Editor with the Selection tool.
To select an active take for a region
1Select the Selection tool by clicking the Selection tool in the upper-left corner of the
Multitake Editor (or by pressing A).
2In the region, click the take track you want to select.
Select the take track
to make it the active
take for that region.
The take you clicked becomes the active take for that region.
Stage 3: Adjusting the Timing and Creating Crossfades
In this stage, you’ll use transition points to adjust the timing and to create crossfades
between the selected portions of takes. Slip (offset) take regions to synchronize them
with the picture.
To adjust a transition point
Do one of the following:
µDrag the vertical transition point line left or right to adjust the timing of the cut.
299Chapter 11 Using the Multitake Editor
µDrag the left or right arrow handle at the top of a transition point to create a crossfade
between two takes, then double-click the fades to use the Fade Selector.
Drag the transition point
handles to create a
crossfade between takes.
You can also adjust the fade type by double-clicking either part of the crossfade. For more
information on fade types, see Creating Fade-Ins and Fade-Outs in the Timeline.
To delete a transition point
1Select the vertical transition point line.
2Press Delete.
Slipping Take Regions
Because it’s common for a particular take to be good but out of sync, you can slip (offset)
an individual take region.
To slip a take region
1Command-Option-click the take region.
2Without releasing the mouse button, drag to the left or to the right.
For more information about slipping (the offset of) a take region, see Changing the Offset
of an Audio Clip.
Adding and Deleting Takes
You can easily add audio files to a multitake clip. Added takes can be any audio files that
Soundtrack Pro supports. The takes do not have to be from the same recording session.
It is just as easy to remove takes from a multitake clip. The sample rate and the channel
valence (mono, stereo, surround, and so on) of the files you want to add must match the
sample rate and the channel valence of the files already in the Multitake Editor.
300 Chapter 11 Using the Multitake Editor
Tip: Optionally, you can add a take from the original production audio to use a guide
track. The waveform in this original recording can be a good reference point during your
multitake editing session.
To add a take
Do one of the following:
µDrag a file into the Multitake Editor.
µClick the Add Take button (+) in the upper-left corner of the Multitake tab. In the dialog
that appears, navigate to the audio file you want to add and click Open.
To remove a take
µClick the Remove Take button (-) in the upper-left corner of the Multitake tab and choose
the take you want to remove from the pop-up menu.
Renaming Takes
By default, Soundtrack Pro names takes according to the order in which they were recorded
and the track in which they were recorded, for example, “Take 3 - Track 1 Recording 3.aiff.”
You can easily rename any take to suit your needs.
To rename a take in a multitake clip
µClick the name field in the header for the take and enter a new name.
Reordering Takes
You can vertically rearrange the order of takes in a multitake clip.
To rearrange the order of takes in a multitake clip
1Click the track header of the take you want to move.
301Chapter 11 Using the Multitake Editor
2Drag the take vertically to a new position in the list.
Drag a take track
header to a new
position in the list.
A dark gray bar indicates
where the take track
will be positioned.
Example: A Multitake Editing Workflow
The following example demonstrates how you might create a comp from multiple takes
of an ADR session using the Multitake Editor. In this case, there are four takes of the same
line: “Would you like to try a sample of our organic Peruvian blend?”
To edit multiple takes of a line of dialogue using the Multitake Editor
1Select the multitake clip in the Timeline.
2Control-click the ruler at the top of the multitrack Timeline, then choose Cycle Region
from the shortcut menu and Create Cycle Region from Selection from the submenu (or
press Shift-A).
3Click the Multitake Editor tab to open it.
The comp track and, in this example, four take tracks, appear in the Multitake Editor.
4Click the Solo button on the Take 1 track and click the Play button to listen to the first
take.
Take 1 plays.
5Repeat this playback for each take to familiarize yourself with how they sound.
6Optionally, you can choose to add a take from the original sync-sound production audio
to use a guide track. (See Slipping Take Regions for more information.)
7When you are ready to make the first cut, click the Blade tool in the upper-left corner of
the Multitake Editor (or press B).
In this example, Take 3 contains the best version of the first couple of words.
8Using the Blade tool, click just after the waveform for the second word in the Take 2 track.
302 Chapter 11 Using the Multitake Editor
A transition point appears in the Multitake Editor Timeline at the point where you clicked.
Click the waveform with
the Blade tool to create a
transition point.
9Click the Selection tool in the upper-left corner of the Multitake Editor.
10 In the Take 3 track, click the waveform to select it.
The take you clicked becomes the active take for the region.
The Take 3 track
becomes the active
take for that region.
11 Repeat steps 6 to 9, selecting the best takes for each of the other phrases or words in the
line of dialogue.
12 Slip (offset) individual take regions, as needed, to synchronize them with the picture. (For
more information, see Example: A Multitake Editing Workflow.)
13 Do one of the following to adjust any of the transition points:
•To adjust the timing of the cut: Drag a transition point left or right.
303Chapter 11 Using the Multitake Editor
•To create a crossfade between two takes: Drag the left or right arrow handle at the top
of a transition point.
Drag the transition point
handles to create a
crossfade between takes.
Note: You can also adjust the fade type by double-clicking either part of the crossfade.
For more information on fade types, see Creating Fade-Ins and Fade-Outs in the Timeline.
14 When you are satisfied with the edit, use the multitake clip in the main multitrack Timeline
as you would use any other clip.
If you need to make additional edits or adjustments to the multitake clip, repeat steps 1
to 3.
304 Chapter 11 Using the Multitake Editor
Soundtrack Pro gives you the tools to create sophisticated audio 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.
Soundtrack Pro offers you professional mixing capabilities, including the abilities to create
busses and 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 submixes, add effects, and observe levels as the project
plays. This chapter covers basic mixing. For information about mixing surround sound,
see Mixing Surround Sound.
This chapter covers the following:
•Steps in Mixing (p. 306)
•Structuring an Audio Post-Production Project (p. 306)
•Using the Mixer (p. 316)
305
Basic Mixing in Soundtrack Pro 12
Steps in Mixing
Mixing a project typically involves the following tasks:
• Balancing relative volume levels
• Panning tracks to create perspective
• Adding EQ, compression, and other processing using effects
• 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:
Stage 1: Mixing Main Dialogue Tracks
Solo the main voice tracks and pan to your liking. Add any EQ, compression, or other
processing. Adjust relative volume, leaving some headroom (typically around -6 dB) for
peaks in the signal, in case you need to raise levels later.
Stage 2: Mixing Other Dialogue and Middle Ground Tracks
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.
Stage 3: Mixing 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.
Stage 4: Making 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.
Structuring an Audio Post-Production Project
To organize their projects, most video and motion picture sound editors combine the
signals of related tracks and busses into submixes (also known as stem mixes). Then they
combine these submixes to build a final mix. Soundtrack Pro is designed with this workflow
in mind.
306 Chapter 12 Basic Mixing in Soundtrack Pro
What Is a Submix and How Do You Use It?
In Soundtrack Pro, you use a submix to combine (or “sum”) the audio from different tracks
and busses, and route the audio to physical outputs. The name of this feature implies its
purpose—to mix the audio signals of a subset of the tracks and busses in your project.
If you are using external audio hardware that supports multiple physical outputs, you
can have multiple submixes in your project and then choose the physical output to which
each submix routes its audio. By default, all tracks are routed to Submix 1, and Submix 1
is routed to the Stereo 1, 2 outputs. You can easily add more submixes, reroute audio,
and change the hardware output setting using the Output pop-up menu in each submix.
Basic Signal Routing in Soundtrack Pro
At a minimum, any audio that you edit in the Soundtrack Pro Timeline passes through
the following “mixer objects” on its way out to the physical audio outputs: a track, a
submix, and the Master bus.
1
Master bus
Hardware
output
Submix busTrack
Audio clip Effects Volume fader
Audio post-production projects typically include many tracks and submixes. The following
diagram shows the signal flow of multiple tracks to just one submix. While this is an
unlikely scenario, it illustrates the fact that you can route as many tracks to a submix as
you like. See Example: Mixing a Project with Submixes for a typical example.
1
2
3
4
Tracks Submix bus
Stereo panner
Setting the Submixes for Tracks and Busses
To be included in a project, the audio signal of each track and each bus must be routed
to a submix. By default, in new multitrack projects, there is only one submix (Submix 1)
and all tracks are routed to Submix 1. You can add as many submixes as you like and
route as many signals from tracks and busses to those submixes as you want.
To create a more elaborate project (as described in Example: Mixing a Project with
Submixes), you create additional submixes.
307Chapter 12 Basic Mixing in Soundtrack Pro
To add a submix
Do one of the following:
µChoose Multitrack > Add Submix.
µControl-click a submix, then choose either Insert Submix Before or Insert Submix After
from the shortcut menu.
Once you have created multiple submixes, you can route any combination of tracks or
busses to any submix.
To set the submix for a track or bus
µChoose the submix from the Submix pop-up menu in the track header or at the bottom
of the Mixer channel strip for the track or bus.
If you choose None from the pop-up menu, you are effectively removing that track or
bus from the mix and from the final output.
Setting Hardware Outputs
Use the Output pop-up menu in each submix to choose an output channel or set of
output channels. Your choice defines the output of that submix as either mono, stereo,
or surround.
To select the hardware output jacks for a submix
µClick None, Surround, Stereo, or Mono from the Output pop-up menu in the track header
of each submix, then choose a channel or set of channels from the submenu.
The available choices within each of these output categories depend on the number of
available physical outputs and number of submixes in your project.
If you choose None from the Output pop-up menu, you are effectively removing that
submix from the mix and from the final output.
308 Chapter 12 Basic Mixing in Soundtrack Pro
Note: You can create submixes independently of the audio hardware connected to your
computer and can route audio to an output that does not correspond to a physical output.
In most situations, each submix in a project should correspond to a physical output on
the audio interface or other hardware connected to your computer. Submixes that do
not correspond to a physical output will not be heard. You may set as many submixes in
a project to the same physical output device or output channel as you like.
For more information about system output settings, see Setting the Audio Input and
Output. For more information about connecting an audio interface, see Setting the Audio
Input and Output.
For more information about working with tracks, busses, and submixes in the Timeline,
see Tracks, Busses, Submixes, and the Master Bus and Working with Tracks, Busses, and
Submixes in the Timeline.
Example: Mixing a Project with Submixes
A classic audio post-production practice for film and video is creating separate submixes
for the dialogue, the music, and the sound effects. This provides an appropriate degree
of flexibility, both in the mixing phase and in distributing the final product.
Creating Submixes
In this example project, all tracks containing dialogue are routed to a submix called
“Dialogue.” The tracks containing sound effects are routed to a submix called “FX.” The
tracks containing music are routed to a submix called “Music.”
Dialogue tracks
Effects tracks
Music track
309Chapter 12 Basic Mixing in Soundtrack Pro
The following diagram shows how audio signals from tracks in each category are routed
into their respective submixes.
Submix bus
Music
Effects
Dialogue
VO: Debra
VO: Jacob
Stage Mic
FX: Foley
Tracks
FX: Background
FX: Boom
Music: Music 1
Music: Music 2
Audio clip Stereo panner
Once the audio signals are organized in this way, you can apply (and automate) volume
settings and effects on any of the submixes, rather than on the individual tracks or busses.
You might, for example, add a compressor or EQ effect to a Dialogue submix to enhance
all of the dialogue signals at once. Obviously, this saves a lot of time and effort (when
compared with applying all of these settings to each dialogue track individually). Using
submixes to segment your project provides you with greater control over all aspects of
your final mix.
Creating a Stereo Mix
The next routing decision is the choice of hardware outputs. The following example
diagram shows the routing for a traditional final product: a stereo mix. To do this, you
would simply choose the Stereo 1,2 output for each of the three submixes. (This also
happens to be the default output for every submix in Soundtrack Pro.)
1
2
3
4
Tracks Submix bus
Channels 1, 2
Channels 1, 2
Channels 1, 2
5
6
7
8
Right
Left
Hardware
outputs
Master
bus
Music
Effects
Dialogue
Stereo panner
Audio clip
4
3
2
1
6
7
8
5
310 Chapter 12 Basic Mixing in Soundtrack Pro
In this case, the left and right channels for each submix are routed to the left and right
(1 and 2) channels of the hardware output device. All three submixes are combined into
one stereo (left and right) signal. This is a “stereo mixdown,” suitable for any stereo-capable
playback device. At this stage, the Master bus presents a (final) opportunity to make
volume adjustments and apply effects. For information about the Master bus, see Using
the Master Bus.
Creating a Separate Music and Effects Mix
Using submixes in your workflow becomes very powerful when you consider the many
different ways you might be delivering the final program. One common practice is creating
a separate music and effects (M&E) submix for foreign distribution. This gives distributors
the option to create versions of the program with the dialogue dubbed in foreign
languages but to still include the program’s original music and effects in the dubbed
versions.
4
3
2
1
6
7
8
5
Hardware
outputs Output
device
Master
bus
Submix bus
Channels 3, 4
Music
Channels 3, 4
Effects
Channels 1, 2
Dialogue
1
2
3
4
Tracks
5
6
7
8
Audio clip Stereo panner
As in the stereo mixdown example, the Dialogue submix is routed to the Stereo 1,2 output.
But the Music and Effects submixes are routed to the Stereo 3,4 output channels, isolating
the dialogue signal from the music and effects signals. Technically, only one output
channel is required for the dialogue, because the Dialogue submix is made up of mono
signals. But in practice, it is usually routed as two identical mono signals to channels 1
and 2. Most likely, producers making the foreign language version will use the original
dialogue as a guide track and then replace it with their edited foreign language track in
the final mix.
This M & E case is just one simple example of how you can structure a project for an
efficient workflow. Each mix project comes with its own particular quirks. The good news
is that Soundtrack Pro has a lot of flexibility. For example, the sends and busses features
in Soundtrack Pro offer additional options for structuring a project. For more information,
see Working with Sends and Busses in the Mixer.
311Chapter 12 Basic Mixing in Soundtrack Pro
Signal Routing for a Separate Music and Effects Mix in Surround
When you shift from a stereo project to surround, you need to keep in mind some minor
signal routing consequences. This section discusses what changes you would make to
the submix and output settings. (For information about creating a surround version of a
stereo project, see Converting a Stereo Mix to 5.1 Surround.) First, assuming that the
music and effects are mixed over six surround channels, those submixes must be routed
to the Surround 1-6 output. The Dialogue submix could either remain routed to the Stereo
1,2 output jacks to be added to the Surround 1-6 mix or routed to the center channel at
the submix, or could be panned to the center channel in a surround signal, as shown
below.
1
2
3
4
Tracks
5
6
7
8
Right
Left
Center
Right
surround
Left
surround
LFE
Hardware
outputs
Master
bus
4
3
2
1
6
7
8
5
Master
bus
Audio clip Surround panner
Submix bus
Channels 1–6
Channels 1–6
Music
Channels 1–6
Effects
Dialogue
To create the surround version of the separate music and effects mix (as described earlier),
you route the Dialogue submix to any output channels other than 1-6. This example uses
channels 7 and 8, the last two available output channels, thus isolating the dialogue from
the music and effects.
1
2
3
4
Tracks Submix bus
Channels 7, 8
Dialogue
5
6
7
8
Output
device
Hardware
outputs
Master
bus
4
3
2
1
6
7
8
5
Stereo panner
Audio clip Surround panner
Channels 1–6
Music
Channels 1–6
Effects
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Using Sends and Busses
You can use sends to split an audio signal into two or more separate signals. A send taps
a track’s audio signal and routes it down a separate but parallel path. In Soundtrack Pro,
these separate paths are known as busses. (Some might call these auxiliary busses.) This
process is analogous to diverting a portion of a river to an alternate (but parallel) stream.
Busses are like alternate streams of audio. They can be processed or combined
independently of the “main river.” They can rejoin the main signal further “downstream,”
at the final mix, or they can be routed to altogether separate outputs.
Send
Track
Submix bus
Bus
1
Audio clip Effects Volume fader
By preparing these alternate versions and combinations of track audio signals, you give
yourself more options at the final mix stage, when all of your project’s media elements
and adjustments are in place.
For an example of adding effects with sends and busses, see Example: Adding Effects
with Sends and Busses.
For an example of combining track signals with busses, see Example: Combining Track
Signals with Sends and Busses.
Example: Adding Effects with Sends and Busses
The following example shows how you could add a reverb effect to a music track using
a bus. The main reason to apply effects this way (rather than directly on the track) is so
you can control the amount and characteristics of the effect (in this case, reverb) on
multiple tracks using one set of controls.
For more information on using sends and busses, see Using Sends and Busses.
To add a reverb effect to a music track using a bus
1Create a new bus. (In this example, the new bus is named “MusicReverb.”)
2Add a send to the music track.
For specific information about how to add sends to tracks and route them to busses, see
Adding Sends to Tracks.
3Route the new send to the MusicReverb bus.
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4Apply a reverb effect to the MusicReverb bus.
Send
Track
Submix bus
MusicReverb bus
Music
Reverb effect
Audio clip Effects Volume fader
As the diagram shows, the new MusicReverb bus represents an alternate version of the
Music track audio signal. Once created, this bus appears as a row in the Timeline and a
channel strip in the Mixer. It becomes a resource to draw from during the final mix. Rather
than having to tweak the effects settings of individual tracks in the mix, you can simply
adjust the volume fader on the MusicReverb bus to increase or decrease the amount of
reverb on that music track.
By default, new sends are post-fader sends. This means the signal is tapped after the
track’s output fader. In this example, adjusting the Volume slider on the Music track would
have a direct effect on the music level in the MusicReverb bus.
Post-fader sendTrack
Submix bus
Bus
1
Audio clip Effects Volume fader
In contrast, a pre-fader send taps the track signal before a track’s output fader. You can
change a send to a pre-fader send.
To make a send a pre-fader send
µClick the disclosure triangle for the send in the Effects tab, then choose Pre-Fader from
the Send Type pop-up menu.
Pre-fader send
Track
Submix bus
Bus
1
Audio clip Effects Volume fader
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In the pre-fader case, adjusting the Volume slider on the Music track would have no effect
on the music level in the MusicReverb bus.
Example: Combining Track Signals with Sends and Busses
You can also send the signals from multiple tracks to a single bus, creating “intermediate
submixes.” 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 volume 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 submix.
For more information on using sends and busses, see Using Sends and Busses.
Submix bus
1
2
3
4
Tracks
Jacob bus
Audio clip Effects Volume fader
In the above diagram, tracks 1 and 4 contain dialogue from the actor, Jacob. Each of these
tracks has a send applied to it that taps the signal and routes it to a bus (named “Jacob”).
This bus is effectively an intermediate submix. Now, any effects and fader adjustments
applied to this bus will be available during the final mix as a single channel strip (named
“Jacob”).
For more information about using sends and busses in the Mixer, see Working with Sends
and Busses in the Mixer.
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Using the Mixer
While most mixing tasks can be accomplished in the Timeline and elsewhere in the
Soundtrack Pro interface, the Mixer offers an interface analogous to hardware mixing
consoles found in most audio post-production facilities. Another advantage of the Mixer
is that you can view levels on all (or at least many) tracks simultaneously in real time.
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 horizontal tracks, busses, and submixes in the project Timeline.
Channel strip
The controls a channel strip contains depend on whether it is a track, bus, or submix
channel strip. The controls for each type are as follows:
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Submix channel stripsBus channel stripsTrack channel strips
Color labelColor labelColor label
IconIconIcon
Effects slotsEffects slotsEffects slots
Output pop-up menuOutput pop-up menuOutput pop-up menu
—Panners (stereo or surround)Panners (stereo or surround)
Volume fader and value sliderVolume fader and value sliderVolume fader and value slider
Level meters with peak indicatorLevel meters with peak indicatorLevel meters with peak indicator
——Arm for Recording button
Mute buttonMute buttonMute button
Solo buttonSolo buttonSolo button
NameNameName
The channel strips in the Mixer make it easy to see the settings for all the tracks, busses,
and submixes 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.
Using Custom Layouts for Mixing
You can rearrange the Soundtrack Pro layout to suit your particular mixing workflow.
There are numerous possible combinations. You can tear off tabs and have them float
over the Soundtrack Pro window or show them on a second display. One default layout
(in addition to the standard layout) floats the Mixer and the Video tabs as separate
windows. This allows you to further resize the Mixer and the Video windows to an
arrangement that is convenient for mixing.
To display the Mixer and Video tabs as separate windows
Do one of the following:
µChoose Window > Layouts > Separate Mixer and Video (or press F2).
µUsing the pointer, drag the Mixer and Video tabs out of their docked positions.
The Mixer and the Video tabs float over the Soundtrack Pro window as separate windows.
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Another useful layout to consider is one showing just the Timeline and the Mixer. This
arrangement is convenient for visually positioning the playhead during a mix.
Timeline
Mixer
Once you have resized or moved the windows to a comfortable arrangement, you can
save the layout as a custom layout for future use. For information about saving custom
layouts, see Using Project Layouts.
Adding Channel Strips to the Mixer
You can add a channel strip for a track, bus, or submix in the Mixer in the same way you
add a track, bus, or submix in the Timeline.
To add a track channel strip
µChoose Multitrack > Add Track.
To add a bus channel strip
µChoose Multitrack > Add Bus.
To add an output channel strip
µChoose Multitrack > Add Output.
Selecting Channel Strips
You can select a channel strip in order to move, copy, or remove it. Selected channel
strips appear darker in the Mixer.
To select a channel strip
µClick any empty part of the channel strip.
You can select multiple channel strips in the Mixer.
To select adjacent channel strips
µShift-click the channel strips you want to select.
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To select nonadjacent channel strips
µCommand-click the channel strips you want to select.
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 submixes 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 submix)
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
µDrag the channel strip 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.
To copy a channel strip
µOption-click the channel strip, 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.
To set the volume level of a channel strip
Do one of the following:
µDrag the volume fader up to raise (increase) the volume, or drag it down to lower
(decrease) the volume.
µClick along the length of the volume fader at the point you want to set the volume level.
µClick the left or right arrows on the edges of the volume value slider.
µWith the pointer over the center of the volume value slider, hold down the mouse button
and drag left or right.
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µClick the center of the volume value slider, then type a new value.
The scale is from -96 to +6 dB. The default level is 0 (zero) dB.
Volume value slider
Volume fader
To return the volume fader to the default level
µDouble-click the knob in the volume 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.
Setting Channel Strip Pan Position
You pan sounds to different positions to place them in the stereo or the surround field.
You set the pan position of a track or bus channel strip using the stereo pan slider and
value slider or the surround panner. You can’t pan a submix or the Master channel strip.
To set the stereo pan position of a channel strip
Do one of the following:
µDrag the pan slider left or right to the pan position you want.
µClick along the length of the pan slider at the point you want to set the pan position.
µClick the left or right arrow on the edges of the pan value slider.
µWith the pointer over the center of the pan value slider, hold down the mouse button
and drag left or right.
µClick 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
Pan value slider
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To return the stereo pan slider to the default level
Do one of the following:
µControl-click the slider, then choose Set to Centered from the shortcut menu.
µDouble-click the knob in the stereo pan slider.
To switch the panning controls from stereo to surround in the channel strip
Do one of the following:
µSelect a channel strip in the Mixer, then choose Multitrack > Use Surround Panner.
µControl-click the stereo pan slider, then choose Use Surround Panner from the shortcut
menu.
To set the surround pan position of a channel strip
µDrag anywhere inside the black circle to position the puck.
To return the surround panner to the default level
µControl-click the panner, then choose Set to Centered from the shortcut menu.
For finer surround panning adjustments and other surround controls, double-click the
surround panner to open the Surround Panner HUD. For more information, see Using
Surround Panners to Create a Surround Mix and The Surround Panner HUD.
Setting Channel Strip Output
On a hardware mixing console, you can send signals to different busses and physical
outputs. You can create submixes and busses in Soundtrack Pro, assign tracks and busses
to different submixes, and assign submixes 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 submix for a track or bus
µChoose the submix from the Submix pop-up menu at the bottom of the channel strip
for the track or bus.
Submix pop-up menu
For submixes in the Mixer, the Output pop-up menu lists the available output channels.
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To set the output for a submix in the Mixer
µIn the channel strip for the submix, choose the output channel or set of channels from
the Output pop-up menu.
The options listed in the Output pop-up menu depend on the number of available physical
outputs and the number of submixes in your project. For more information about setting
the output, see Setting Hardware Outputs.
Note: You can create submixes independently of the audio hardware connected to your
computer and can route audio to an output that does not correspond to a physical output.
In most situations, each submix in a project should correspond to a physical output on
the audio interface or other hardware connected to your computer. Submixes that do
not correspond to a physical output will not be heard. You may set as many submixes in
a project to the same physical output device or output channel as you like.
To select an audio interface as the output device
µChoose Apple menu > System Preferences, click Sound, then click the Output button.
Select the audio interface in the list that appears.
For more information about these settings, see Setting the Audio Input and Output.
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 submixes.
Solo button
Mute button
Arm for Recording
button
Bypass Effects button
To mute a channel strip
µClick the channel strip’s Mute button. Click the button again to unmute the channel strip.
To solo a channel strip
µClick the channel strip’s Solo button. Click the button again to unsolo the channel strip.
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To exclusively solo a channel strip
µOption-click the Solo button. Click the Solo button again to unsolo the track, bus, or
submix.
When you export a project, all unmuted tracks, busses, and submixes are included in the
exported file. If you export a track, bus, or submix that is muted (including being muted
by having another track soloed), the exported file contains no audio.
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
µClick the Arm for Recording 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
µClick the channel strip’s name (at the top of the channel strip) to select it, then type a
new name.
Changing a Channel 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 submixes.
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To change a channel strip icon
µDouble-click the icon you want to change, then choose a new icon from the icon menu.
Double-click the
channel strip icon...
...the icon menu appears.
Showing and Hiding Sections of the Mixer
You can show or hide sections of the Mixer window and sections of 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 submixes.
You can show or hide any of the following sections of the Mixer:
• Audio tracks
• Busses
• Submixes
To hide a section of the Mixer
µChoose the section you want to hide from the Show pop-up menu, located at the upper
right of the Mixer.
Show (Mixer)
pop-up menu
Channel Strip
pop-up menu
To hide sections of channel strips
µChoose the section you want to hide from the Channel Strip pop-up menu.
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The visible sections of the channel strips appear with a checkmark in the Channel Strips
pop-up menu. You can show or hide any of the following sections of the channel strips:
• Icons
• Effects slots
• Output pop-up menus
• Pan controls
• Volume faders and level meters
Using the Channel Strip Level Meters
Each channel strip includes level meters to the left 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 +6 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.
Note: For surround signals, the channel strip meters show the signals in this order: Ls, L,
C, R, Rs, LFE. This matches the surround order in the Meters tab. (See Setting the Overall
Project Volume Level for more information.)
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. The values shown in each peak indicator
remain until you play the project again, close the project, or reset the peak indicator.
Level meters
Peak indicator
To reset a peak indicator
µClick the peak indicator.
To reset all peak indicators
Do one of the following:
µOption-click the peak indicator in any channel.
325Chapter 12 Basic Mixing in Soundtrack Pro
µClick the Reset button in the Meters tab.
The peak indicators can help identify where clipping occurs in the project. For information
about removing clipping, see Setting the Overall Project Volume Level.
Removing Channel Strips
You can remove a channel strip from the Mixer if you decide you no longer want it in the
project.
To remove a channel strip
Do one of the following:
µSelect the channel strip, then choose Multitrack > Remove [item].
µControl-click the channel strip, then choose Remove [item] from the shortcut menu.
The term indicated by [item] changes in the menu depending on whether a track, bus,
or submix 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 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, it’s 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.
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To add an effect to a channel strip
µControl-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.
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
µIn 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:
µDouble-click the effect name in the channel strip.
µControl-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 Automating Realtime
Effect Parameters.
Reordering Effects in the Mixer
You can reorder effects in the Mixer as well as in 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.
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To reorder an effect in the Mixer
µDrag the effect up or down in the effects slot area to change its order.
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:
µDeselect the checkbox to the left of the effect name.
µControl-click the effect, then choose Disable [effect name] from the shortcut menu.
To turn off all effects in a channel strip
µControl-click an effects slot, then choose Disable All Effects from the shortcut menu.
To turn on an effect again
Do one of the following:
µSelect the checkbox to the left of the effect name.
µControl-click the effect, then choose Enable [effect name] from the shortcut menu.
To turn on all effects in a channel strip
µControl-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 own default settings, regardless of the
settings of the previous effect.
To replace an effect in a channel strip
µControl-click the effect, choose Replace [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:
µSelect the effect, then choose Edit > Delete (or press the Delete key.)
µControl-click the effect, then choose Delete [effect name] from the shortcut menu.
To delete all effects from a channel strip
µControl-click an effects slot, then choose Delete All Effects from the shortcut menu.
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For more information about working with effects, including information on uses of different
effects and adjusting effect parameters, see Working with Audio Effects.
Working with Sends and Busses in the Mixer
This section covers using sends in Mixer channel strips. For more general information
about sends and busses, see Using Sends and Busses and Adding Sends to Tracks.
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
µControl-click an empty effects slot in the channel strip, choose Add Send from the shortcut
menu, then choose one of the available busses in the submenu.
The new send is added. 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 is routed.
By default, new sends are post-fader sends. You can change a send to a pre-fader send.
To make a send a pre-fader send
µClick the disclosure triangle for the send in the Effects tab, then select the On button next
to Pre-Fader.
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
µDrag 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
µIn 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.
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To turn off a send in a channel strip
Do one of the following:
µDeselect the checkbox to the left of the send name.
µControl-click the send, then choose Disable Send from the shortcut menu.
To turn on an effect again
µSelect the checkbox to the left of the effect name.
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 volume 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 Audio Fundamentals.
You can monitor audio output levels using the level meters in the Mixer, the Meters tab,
and in individual track headers. In the Mixer, each channel strip has level meters that
show the levels for that channel strip. In the Meters tab, the level meters show the levels
for all submixes assigned to physical output channels. For more information about setting
up physical outputs, see Setting the Audio Input and Output.
The Meters tab includes additional controls and displays to help you maintain proper
audio levels and eliminate clipping.
Level meters
Reset button
Peak Value and
Location display
6-channel meter
2-channel meter
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As a project plays back, the levels in each channel change constantly with the rising and
falling of the audio signal. The level meters show these changes both as bars rising to
varying heights and as changes in color from green to yellow.
In each channel’s meter, a white horizontal bar displays the current signal level; bars
below the white bar display successive levels in a scale that rises from green to yellow
as the signal increases. The meters peak at red when the signal clips (rises above 0 dB).
Note: The meters can be configured via Soundtrack Pro preferences to display either
surround order (Ls, L, C, R, Rs, LFE) or output order (channels 1-n). To change this setting,
choose Soundtrack Pro > Preferences > General.
To change the channel order in the meter display
1Choose Soundtrack Pro > Preferences.
2Select the General pane.
3In the Timeline section, select your preferred channel display order from the Meters
Channel Display pop-up menu.
For more information about Soundtrack Pro preferences, see Soundtrack Pro Preferences.
Using the Peak Indicators in the Mixer Channel Strips
At the top of the level meters in the Mixer channel strips is a rectangular peak indicator
that 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
µClick the peak indicator.
To reset all peak indicators
µOption-click any peak indicator in any of the Mixer level meters.
Using the Peaks Value and Location Display in the Meters Tab
The Peaks Value and Location display in the Meters tab displays the highest (peak) value
played in each output channel in decibels (dB) and its timecode. The Time column shows
the location in the Timeline where the peak occurs. You can use the Peaks Value and
Location display to quickly locate a section of your project that is clipping or peaking.
To move the playhead to the highest (peak) value played in a channel
µDouble-click any item in the Peaks Value and Location display.
The playhead moves to the corresponding point in the Timeline.
The Reset button located in the upper-right corner of the Meters tab display resets the
Peaks Value and Location display to a minimum value (-96 dB) and resets the Time column
to the beginning of the project.
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To reset the Peaks Value and Location display values
µClick the Reset button.
Using the Master Bus
The Master bus represents the final mix from Soundtrack Pro—what will be heard from
the physical output jacks. On a signal routing basis, the Master bus is practically a mirror
image of the connected hardware output device. It is as wide as either the hardware
device or the number of channels used in the project, whichever number is smaller.
Master Bus Details
The Master bus includes envelopes for volume, transposition, and tempo. By default, only
the Volume envelope is visible. For more information, see Master Bus. The Master bus
does not have panners or meters.
You can apply effects to the Master bus, but you cannot automate those effects. Effects
applied to the Master bus are placed across all channels. You can bypass effects on the
Master bus. For more information about bypassing effects, see Bypassing Realtime Effects.
Adjusting the Master Volume
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 adjusting the gain on effects can remove
occurrences of clipping as well.
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 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
1Start the project playing.
2While the project plays, press and hold the Mono Mix button, located to the right of the
Monitor volume slider below the Mixer.
Mono Mix button
332 Chapter 12 Basic Mixing in Soundtrack Pro
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.
In addition to listening to a temporary mono mix by holding down the Mono Mix button,
you can “latch” the Mono Mix button. This keeps the mono mix active until you click the
button again or switch to a different project.
To latch the Mono Mix button
µOption-click the Mono Mix button.
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
Location value slider located at the bottom of the Soundtrack Pro window.
For more information about recording, see Recording Audio in Soundtrack Pro.
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 your computer.
For more information about working with automation, see Working with Automation.
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
• 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 submixes
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.
333Chapter 12 Basic Mixing in Soundtrack Pro
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.
• Consider the importance of each element in the overall mix.
• Keep related tracks close together (in the Timeline and the Mixer).
• Don’t create a final mix until the picture is locked.
• Listen to the mix with the best possible equipment.
• Also listen to the mix as the audience will hear it.
• Don’t change output/monitor levels while mixing.
• Mix by what you hear, not by what you see.
334 Chapter 12 Basic Mixing in Soundtrack Pro
Soundtrack Pro gives you the tools to create sophisticated surround mixes for your projects.
Surround sound uses more than two speakers to expand the spatial experience of audio
playback to three dimensions. Surround systems can be found in movie theaters, home
entertainment systems, video games, and a growing number of other applications.
Soundtrack Pro offers an easy-to-use approach to surround panning, mixing, and
automation, including a high degree of flexibility with surround sources and the ability
to easily switch between stereo and surround mixes. Soundtrack Pro also includes
numerous surround sound effects and surround music beds, as well as a collection of
professional surround-specific effect plug-ins for shaping your surround mix.
This chapter covers the following:
•What Is 5.1 Surround? (p. 335)
•Creating a Surround Project (p. 336)
•Setting Up Soundtrack Pro for Surround (p. 336)
•Using Surround Panners to Create a Surround Mix (p. 341)
•Surround Mixing Strategies (p. 347)
•Exporting and Delivering 5.1 Surround Projects (p. 353)
What Is 5.1 Surround?
The most common surround format is a six-channel system called 5.1 surround. This format
is the standard surround configuration in major motion pictures, music, and digital
television. The format consists of three speakers across the front and two speakers in the
rear. The .1 is a sixth channel for low-frequency effects (LFE). A typical 5.1 surround layout
features left and right speakers (from a traditional stereo system) plus a center speaker,
a left surround (rear) speaker, a right surround (rear) speaker, and an LFE speaker, more
commonly known as the subwoofer.
There are other surround standards that range from three channels to seven channels
and nonstandard surround formats that use as many as ten channels.
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Mixing Surround Sound 13
Creating a Surround Project
The following steps outline a general workflow used for editing and mixing surround
sound files.
Stage 1: Acquiring the Sound
As with any audio track, the first step is finding and recording the sound that you want.
Soundtrack Pro is flexible in terms of what kinds of files you can use in the surround mix.
Input files can be mono, stereo, or surround. While Soundtrack Pro also includes numerous
surround clips for music and sound effects, the production audio for most film and video
projects is typically either mono or stereo files.
Stage 2: Editing and Arranging a Multitrack Project
The workflow for editing audio files and arranging them in the multitrack Timeline is very
similar for stereo and surround projects. For more information, see Working with Multitrack
Projects,Working in the Timeline, and Working in the File Editor.
Stage 3: Mixing Surround
Soundtrack Pro provides a flexible toolset for creating and adjusting a surround mix. For
more information, see Surround Mixing Strategies.
Stage 4: Exporting and Delivering Surround Projects
Soundtrack Pro supports a variety of workflows and formats for delivering your final
surround mix. These include separate audio files for each channel or single multichannel
sound files for the entire mix.
Setting Up Soundtrack Pro for Surround
In order to hear your surround project through a surround speaker system, you need to
adjust settings in Soundtrack Pro and set up the related hardware.
In Soundtrack Pro, the difference between mixing in stereo and mixing in surround hinges
on three different elements: the panner type, the submix output, and the number of
physical output channels. All three of these items must be configured correctly to achieve
surround playback. If one of these three conditions is not met, playback will be in stereo.
(For more information about stereo mixdown, see Stereo Mixdown.) Use the instructions
that follow to start using the surround mixing tools in Soundtrack Pro.
336 Chapter 13 Mixing Surround Sound
Using the Surround Panners
You use the panning controls in the track headers to set the pan position of a track or a
bus. By default, the panning controls are set to stereo. You can easily switch between
stereo panners and surround panners.
Surround panners
Stereo panners
For surround playback, you must set the appropriate tracks or busses to use the surround
panner.
To switch the panning controls from stereo to surround
Do one of the following:
µSelect a track or bus in the Timeline, then choose Multitrack > Use Surround Panner.
µSelect a channel strip in the Mixer, then choose Multitrack > Use Surround Panner.
µControl-click the stereo pan slider in a track header, then choose Use Surround Panner
from the shortcut menu.
Control-click the stereo
panner, then choose Use
Surround Panner from
the shortcut menu.
µControl-click the stereo pan slider in a Mixer channel strip, then choose Use Surround
Panner from the shortcut menu.
337Chapter 13 Mixing Surround Sound
The surround panner replaces the stereo panner.
As far as tracks and busses are concerned, switching between surround mode and stereo
mode is that simple. At this point, you are mixing this particular track or bus in surround.
Any surround panning adjustments and automation that you apply are saved with the
current project.
Important: To hear these changes through your speakers, make sure you also set the
submix outputs to surround and connect the physical outputs. For more information, see
Setting the Submix Outputs to Surround and Connecting Physical Outputs.
Setting the Submix Outputs to Surround
In Soundtrack Pro, you route the audio from tracks and busses to physical outputs using
submixes. By default, all tracks are routed to Submix 1, and Submix 1 is routed to the
Stereo 1, 2 outputs. You can easily change this hardware output setting using the Output
pop-up menu.
To switch the hardware output setting from stereo to surround
µChoose Surround from the Output pop-up menu in the track header, then choose 1-6
from the submenu.
The menu displays 1-6, indicating that the audio is now routed to the physical output
jacks 1 through 6. At this point, the signal is routed to those six outputs, whether or not
the hardware to support those channels is connected.
Important: To hear these surround signals through loudspeakers, you must also connect
the physical outputs. For more information, see Connecting Physical Outputs.
Connecting Physical Outputs
To hear the six discrete channels of surround sound that Soundtrack Pro can provide, you
need external audio hardware that supports multiple physical outputs. At a minimum,
this would include a multichannel audio interface and a 5.1-channel surround sound
speaker system (totaling six speakers). For more information about audio interfaces, see
Setting Up an Audio Interface.
338 Chapter 13 Mixing Surround Sound
To connect physical outputs for monitoring surround sound
1Connect the audio interface to your computer.
For detailed information on connecting your audio interface to your computer, see the
documentation that came with the audio interface.
2Double-click Audio MIDI Setup in the Utilities folder, then choose the audio interface from
the Default Output pop-up menu.
For more information, see Setting the Audio Input and Output.
3Connect your 5.1-channel surround sound speakers to the appropriate outputs of your
audio interface.
Soundtrack Pro uses the SMPTE/ITU standard for routing output channels.
SpeakerAudio interface output
Left1
Right2
Center3
LFE4
Left Surround (Ls)5
Right Surround (Rs)6
For detailed information on connecting external speakers to your audio interface, see the
documentation that came with the speakers.
Stereo Mixdown
If you have set up a project for surround mixing, including surround panners and surround
channel assignments, but you do not have sufficient output jacks for surround playback,
Soundtrack Pro automatically provides a surround-to-stereo mixdown of what would
otherwise be sent to jacks 1-6. This stereo mixdown follows the Dolby guidelines: the Ls
and Rs channels are attenuated by 3 dB and mixed into the Left and Right channels. The
Center channel is also attenuated by 3 dB and mixed evenly into the Left and Right
channels. The LFE channel is discarded.
Surround Speaker Placement
There are several ways you can arrange 5.1 surround speakers for playback. You can follow
the International Telecommunications Union Operational Bulletin No. 775 or the “ITU
Standard” for 5.1 surround sound. Here are the basic points of this recommendation:
• Place all the speakers on the same plane. In other words, if you place some speakers
on the floor and mount some on the ceiling, you will defeat the psychoacoustical
benefit of having surround speakers in the first place.
339Chapter 13 Mixing Surround Sound
• With the center speaker directly in front, the Left and Right speakers should be
positioned 30 degrees away from center at about a 60-degree angle aiming for a spot
3 to 6 inches behind the mixer’s (or listener’s) head.
Note: This angle can be reduced to 45 degrees or extended out to 60 or even 90 degrees
and still provide satisfactory results.
• Place the surround (rear) speakers at about 110 degrees off center (to the sides and
somewhat behind the listener). To ensure one cohesive soundfield, do not position
these speakers too far to the rear.
L
R
LFE
C
Ls
Rs
80˚
30˚
30˚
80˚
PlacementSpeaker typeAbbreviation
Place to the left and slightly behind your listening
position.
Left surround speakerLs
Place in front and to the left.Left speakerL
Place on top of or below your viewing screen.Center speakerC
Place in front and to the right.Right speakerR
Place to the right and slightly behind your
listening position.
Right surround speakerRs
Can be placed anywhere.(LFE) SubwooferLFE
Note: It isn’t always possible to place the speakers where they’re supposed to go due to
obstacles in the room (doors, furniture, and so on). You can overcome some bad speaker
placement by calibrating your system with a sound pressure meter and a calibration DVD.
This way, you can make sure each speaker is providing the appropriate volume.
340 Chapter 13 Mixing Surround Sound
Using Surround Panners to Create a Surround Mix
The following sections explain how to use the surround panners in Soundtrack Pro to
create a surround mix. The surround panners provide a straightforward and flexible way
to control and monitor panning settings. By changing the panner type in the track header,
you can easily switch any track or bus from stereo to surround, or from surround to stereo.
Soundtrack Pro offers two different versions of the surround panner: the mini surround
panner and the surround panner HUD.
The Mini Surround Panner
Use the mini surround panner to switch between stereo and surround mixing, to make
simple surround adjustments, and to quickly check the pan setting for a track or a bus.
To switch the panning controls from stereo to surround
Do one of the following:
µSelect the track or bus, then choose Multitrack > Use Surround Panner.
µControl-click the stereo pan slider in the track header, then choose Use Surround Panner
from the shortcut menu.
The surround panner replaces the stereo panner. This is the smaller of two different views
of the surround panner. To use the larger Surround Panner HUD, see The Surround Panner
HUD.
The Surround Panner HUD
The Surround Panner HUD offers finer panning adjustments, a graphic representation of
the current surround setting for the selected track, and other surround controls.
To display the surround panner HUD
Do one of the following:
µDouble-click the surround panner in the track header of the track or bus you want to
adjust.
µDouble-click the surround panner in the Mixer channel strip of the track or bus you want
to adjust.
341Chapter 13 Mixing Surround Sound
The surround panner HUD appears in a floating window over the Soundtrack Pro window.
The dominant feature of the Surround Panner HUD is the black circle that represents the
virtual surround space. The puck, a dot inside the circle, is the primary surround pan
control. Input channels are represented by color-coded, semi-circular, translucent arcs
emanating from the inside of the circle’s circumference. These arcs indicate the input
channel’s gain (by the height of the arc), the channel’s spread (by the width of the arc),
and location. Overlapping sounds are represented by overlapping arcs, summing
(combining) to white where all channels overlap.
Rotation slider
Puck (pan position)
Width slider
Collapse slider
Center bias slider
LFE balance slider
•Position: The puck is the main control in the panner. To pan the audio, move the puck
by clicking anywhere inside the black circle or by dragging the puck to a different
position in the circle. The speaker icons around the edge of the circle represent the
five main surround channels: L (left), C (center), R (right), Ls (left surround), and Rs (right
surround). The closer you move the puck to one of the speaker icons, the louder the
sound will be from that speaker. For more information about moving the puck to adjust
the position parameter, see Modifier Keys for Moving the Puck.
Note: In automation envelopes, this Position parameter is expressed as Surround Pan
X and Surround Pan Y.
342 Chapter 13 Mixing Surround Sound
•Rotation: Use this slider to alter the angle at which each signal starts out. This slider
ranges from -180 degrees to 180 degrees and affects the input signal. For example,
with no other panning, the right channel emanates from a location 45 degrees to the
right. With rotation at +65 degrees, the signal appears at 110 degrees—directly out of
the right surround speaker.
To alter the angle from
which each signal starts...
...drag the Rotation slider.
Note: This setting interacts with the position parameter when the panner mode is not
fully attenuating.
•Width: Use the Width slider to create a widened surround image. This slider is intended
primarily for stereo sources in that it spreads the left and right inputs into adjacent
channels. This creates the illusion of a widened sound stage without the hole at the
center that moving the puck rearward would create. For some movie theaters, it may
be necessary to use the Width slider to bleed the center signal in to the left and right
speakers. At 0%, all inputs go to their respective outputs. As you drag the Width slider
to the right, L and R inputs start to bleed into Ls and Rs respectively, and to a lesser
extent, L and R bleed into C, C bleeds slightly into L and R, and Ls and Rs start to merge.
343Chapter 13 Mixing Surround Sound
•Collapse: Typically, panners are either of a collapsing style (panning folds input signals
into output speakers) or an attenuating style (panning simply turns down the gain of
speakers further from the pan location). The Collapse slider goes from a fully attenuating
style, through a hybrid style, to a fully collapsing style. At full attenuate (0% on the
slider), no input bleeds to any other output; each channel remains at its original speaker
position. The only change is to output gain. At full collapse (100% on the slider), no
input gain is changed—instead, inputs have their output divided over adjacent channels.
At 50%, a given input channel panned away has its input attenuated by 50% and
distributed between the two adjacent channels.
Collapse at 0 Collapse at 95Collapse at 50
•Center Bias: Use this slider to determine how the center channel interacts with the left
and right channels. At 0%, all sound that would have gone to the center speaker is
equally distributed to the left and right speaker. At 100%, the center is used fully, just
like any other speaker. This means that if you move the puck directly in front of the
center speaker, all sound emanates exclusively from that speaker. If you move the puck
halfway between the center channel and an adjacent channel (yet still on the perimeter
of the black circle), the sound is equally and exclusively divided between those two
speakers.
•LFE Balance: Use this slider to balance control between LFE and the other five channels.
At -100, nothing is output from the LFE speaker, even if there was LFE input, and all
other channels pass through at unity gain. At its midpoint (0), all six channels pass
through at unity gain to their respective speakers, meaning that LFE input passes
directly to LFE output. At +100, all six signals get summed to the LFE speaker.
344 Chapter 13 Mixing Surround Sound
•Speaker Disable: Click a speaker icon once to turn it on or off. If you turn off a speaker,
its output goes to adjacent speakers. Each speaker supports a single-click on/off for
that speaker’s output.
Click a speaker to turn
it on or off. A dim gray
color indicates the
speaker is off.
Surround Panner Automation
Automating surround pan settings is very similar to automating stereo pan settings: a
track or bus set to use the surround panner has at least seven different panning envelopes,
and a stereo track or bus has only one pan envelope. Automation for the Position
parameter (the puck) is reflected in two envelopes: Surround Pan X and Surround Pan Y.
These are Cartesian X & Y values referring to the puck position within the black panning
circle. All other surround panning parameters are expressed with one envelope each,
except for Collapse and Speaker Disable, which cannot be automated. For more
information about automation, see Working with Automation.
Modifier Keys for Moving the Puck
Hold down any of the following keys as you move the puck to constrain its movement.
These modifier keys offer finer control as you make adjustments to the position parameter.
•Shift: Fine adjustment
•Option-click: Reset control
•Option-drag: Straight movement, restricted to diversity, constant angle
•Command: Circular movement, restricted to angle, constant diversity
•Command-Option-drag: Restricted to either X or Y movement
Surround Metering
Soundtrack Pro provides a variety of level meters to monitor output levels as you make
surround panning adjustments.
345Chapter 13 Mixing Surround Sound
Surround Panner HUD Meters
The Surround Panner HUD includes level meters that show volume information from the
specific track or bus that you are panning. These meters can be hidden or displayed by
using the disclosure triangle. Track-specific meters are a useful reference given the possible
psychoacoustical “illusions” in surround mixing, such as the phantom center.
Meters Tab
The Meters tab displays levels for the current multitrack project. The channels displayed
in the Meters tab and in the Mixer meters (described in Mixer Meters) depend on the
audio interface connected to your computer, the current panner settings, and the current
output settings in System Preferences.
For more information about output settings, see Connecting Physical Outputs.
Level meters
Reset button
Peak Value and Location
display
6-channel meter
2-channel meter
346 Chapter 13 Mixing Surround Sound
Mixer Meters
Each channel strip in the Mixer includes a levels meter capable of displaying up to all six
channels. The Mixer is the only place you can view the levels for each track, bus, and
submix as well as the Master bus.
6-channel meter
Surround Mixing Strategies
This section includes guidelines and tips for mixing surround projects.
Mixing Surround Files
The basic steps in mixing are almost the same for stereo and surround projects:
• Balancing relative volume levels between tracks
• Panning tracks to create a balanced stereo spread
• Adding EQ, compression, and other final processing effects
• Setting the project’s final volume and eliminating clipping
• Creating a sense of perspective by placing sounds in space
While the creating a sense of perspective step is also a part of stereo mixing, it is what
really sets surround apart from stereo. When mixing, you can enhance the video action
by dynamically moving the sounds within the surround field. To give your listeners a
“surrounding” audio experience, your sound must be created with that goal in mind. For
example, if you want the sound of an explosion coming from behind the listener, you
need to put the sound in the rear channels during mixing. Surround mixing adds not
only two rear channels, but also includes the subwoofer or LFE channel, which would
probably play a part in any onscreen explosion. You’ll have to spend some time planning
what elements go where and how much boom you want in your soundtrack.
347Chapter 13 Mixing Surround Sound
The following are some common approaches to multichannel sound:
• Use the surround channels for effects only. Create a stereo mix, then add “sweetening”
sound effects in the surround channels. Sound effects and Foley recordings can be
placed in stereo space or specifically located where they occur onscreen or offscreen.
• Create special sounds for the rear and low-frequency channels (the rumble of an
earthquake, the pounding of drums, an airplane buzzing overhead, and so on) and add
them to a standard stereo mix. (To create sound for the LFE channel, you can extract
low frequencies from the rest of your sound using band-pass filters.)
• Position instruments, effects, and voices anywhere in the sound field.
Converting a Stereo Mix to 5.1 Surround
Many post-production projects require both a stereo mix and a surround mix. This section
reviews some best practices for converting projects from stereo to surround. You can
reverse the steps below to convert a project from surround to stereo.
Important: When you switch between stereo and surround panners, panning automation
(envelope) settings are not automatically copied over to the new panning mode. Volume
information is automatically copied over between stereo and surround panners. The
recommended workflow for making a surround version of a stereo mix is to maintain at
least two separate versions of the project: a stereo version and a surround version.
To create a separate copy of your stereo mix for surround mixing
1Choose File > Save As in your stereo project to save a separate copy.
In the dialog that appears, indicate in the filename that this is the surround version; for
example, “My Great Mix_surround.”
2Use this copy of the project to make all the necessary surround panning adjustments.
348 Chapter 13 Mixing Surround Sound
In particular, you Control-click the stereo panner in the track header (or Mixer channel
strip) of each appropriate track or bus and choose Use Surround Panner from the shortcut
menu.
Set all panners to
surround panners.
Note: To save time, you can select or group all tracks or busses in the Tracks tab. When
you change the panning settings of one of the tracks or busses, the panning settings on
all the grouped items change as well.
3If you previously applied any left-right panning to any tracks or busses in the stereo
version of the project, do the following:
aSelect the tracks or busses.
bControl-click the panner in the track header, then choose Replace Surround L/R with
Stereo L/R from the shortcut menu.
Any panning automation (envelope) information is copied from the stereo left-right pan
to the surround left-right pan (specifically, to the Surround Pan X parameter) in the
selected tracks and busses. These settings can be used to provide a starting point for
your surround mix.
Note: If you are converting a surround project to a stereo project, you can choose Replace
Stereo L/R with Surround L/R from the shortcut menu to do the reverse of step 3.
349Chapter 13 Mixing Surround Sound
Placing Dialogue and Voiceover in a Surround Mix
In a surround mix, dialogue usually goes directly into the center channel. This is particularly
true for voiceover narration, which is best left out of the left and right channels. (This is
called stereo plus center.) Soundtrack Pro allows you to place sounds exclusively in a
specific channel or just outside that channel, which would allow some of the sound to
leak into the other speakers. As you get more comfortable with surround mixing, you
may want to experiment with alternative placements to further reinforce the voices that
you place within your mix.
To place dialogue and narration in the center channel
1If you haven’t already done so, Control-click the stereo pan slider in the track header of
the dialogue track (or bus), then choose Use Surround Panner from the shortcut menu.
2Double-click the surround panner.
The Surround Panner HUD appears.
3Drag the puck to the center speaker icon.
Note: You can hold down the Option key as you drag the puck to constrain its movement
to a straight line.
Depending on the current Collapse slider setting, the arc at the center speaker icon either
turns white to indicate exclusive output or is elongated to indicate the increased gain.
350 Chapter 13 Mixing Surround Sound
Placing Stereo Music in a Surround Mix
The simplest option for stereo music in a surround project is to just leave it in stereo. If
you just use the stereo panner for a music track, the left and right signals remain in their
respective channels. However, some surround mixes include a hint of music in the rear
channels as well. With the Surround Panner HUD, you can place the right music channel
somewhere between the right front and right rear position, with more emphasis on the
front speaker. Do the same with the left side and listen to the mix. Make adjustments as
needed.
Using the Center Channel
In a multichannel system, there are three ways to achieve a centrally placed sound image:
Create a “phantom center” (mix sound to the left and right equally, as with stereo)
This is a common strategy, but it assumes the listener is seated exactly between the
speakers. The timbre of sound is not the same as from a direct speaker because of
cross-cancelation effects.
Use the center channel alone
This creates a stable center image for listeners in any location. (To prevent the audio from
sounding too focused or narrow, its reverb can be spread to the left and right channels.)
Use all three front channels equally or in various proportions
This method allows for greater control of the range of spatial depth and width. The
phantom center can be reinforced by additional signals in the center channel, which can
be enhanced by signal spread into the left/right pair. The disadvantage is that sound
from all three speakers may not blend well or may not arrive at the listener at the same
time, causing side effects such as comb filtering, shifts in tone color, or smearing. To
counteract these side effects, you can first process the additional signals to change their
spatial character, timbre, or prominence relative to the main center signal.
Using Surround Channels
Subtle surround effects can greatly enhance the listener’s sense of depth compared to
conventional stereo. Popular music often benefits from creative use of surround. But
don’t overdo it. The film industry guideline for visual effects applies equally well to
surround effects—don’t let effects distract the listeners from the story.
Using Surround Effect Plug-ins
Soundtrack Pro includes a collection of professional surround-specific effect plug-ins for
shaping your surround mix, including Surround Compressor, Delay Designer, Space
Designer, and Multichannel Gain.
For a complete list of these true surround effects and a full description of each, see the
Soundtrack Pro Effects Reference document, available in the Help menu. For information
about using processing and realtime effect plug-ins, see Working with Audio Effects.
351Chapter 13 Mixing Surround Sound
Limitations of the LFE Channel
Use the LFE (Low Frequency Effects) channel to enhance the low frequencies of a film or
video so you get the extra boom out of an explosion, thump in a car crash, and so on in
dramatic scenes involving plenty of low frequencies. The low frequency effects (LFE)
channel is a separate signal with a limited frequency range (about 25 Hz to 120 Hz). It is
created by the mixing engineer and delivered alongside the main channels in the mix.
In soundtracks comprised entirely of music, the LFE channel is not necessary. (An exception
to this rule might be the famous cannon shots in Tchaikovsky’s “1812 Overture.”) The LFE
signal is also discarded in the downmix process, so that intense bass signals do not stress
small stereo systems. Be sure not to include vital information (such as dialogue) in the
LFE channel that would be missed in mono or stereo playback.
Because LFE is separate from other channels, its ability to blend with higher frequencies
can be affected by filters used to generate the LFE signal. To ensure a cohesive audio
signal, keep the entire signal together in the main channel or channels.
Note: If you are creating Dolby Digital Professional (AC-3) output, avoid creating an LFE
channel for material originally produced without one. Dolby Digital Professional’s five
main channels are all full-range, and the LFE channel does not increase the frequency
response. Dolby Digital Professional decoders offer bass management, directing low
frequencies to a subwoofer or other suitable speakers. An LFE track may interfere with
bass management. For more information about Dolby Digital Professional, see the Dolby
Laboratories Inc. website at http://www.dolby.com.
Accommodating Stereo Playback
Even with the popularity of 5.1 systems, you should always address stereo reproduction.
There are three basic ways to do this:
• Prepare a new stereo mix from the original multitrack elements (using conventional
stereo-mixing sessions).
• Prepare a studio-adjusted downmix from the multichannel mix. This method takes
advantage of the work that has gone into mixing the 5.1 version. It retains flexibility in
the exact proportions of each channel represented in the final stereo mix.
• Let the decoder derive a stereo downmix, based on preset formulas in the decoder.
Downmix options and dynamic range control effects can be previewed and adjusted
in the production studio, and a range of adjustments is possible.
Tip: Always check the mix on an inexpensive surround system to evaluate how well it
sounds on modest playback systems.
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Exporting and Delivering 5.1 Surround Projects
Delivery of your finished surround mix can take many forms. Different clients have different
file format requirements. In general terms, your options include two broad categories:
mixdowns and project files.
Mixdowns
In this scenario, you would export one of the following:
• Six audio files, one for each of the six surround output channels
• An interleaved multichannel audio file containing all six surround output channels
• A single flat mixdown file either as an exported file or one sent to Final Cut Pro or
Motion
Soundtrack Pro supports the following file formats for six-channel audio export (either
as a set of mono files, or as an interleaved multichannel file):
• AIFF
• WAVE
• NeXT
• Sound Designer II
You can also encode your surround mix directly to the Dolby Digital Professional (AC-3)
format, which is a very common compressed audio format for DVD-Video discs.
For more information about exporting projects, see Exporting Multitrack Projects.
Project Files
You can also deliver either an exported AAF file or a copy of the Soundtrack Pro project
file.
•AAF: Like the Final Cut Pro XML Interchange Format, Advanced Authoring Format (AAF)
is an industry-standard project interchange format that contains the editing decisions
of nonlinear editing projects.
•Soundtrack Pro project file: For the greatest flexibility, you could deliver the entire project
file with its associated media. This would allow for further adjustments in Soundtrack Pro,
as needed.
For information on saving projects, see Saving Multitrack Projects and Distributing a
Multitrack Project and Its Media Files Together.
353Chapter 13 Mixing Surround Sound
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. When you import a video
into a multitrack project, a video clip also appears in a video track in the Timeline. The
video’s audio 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 File Editor and perform actions or analysis on it.
When you import a video, you can set the Time Ruler units to match the timecode format
of the video. Any Final Cut Pro markers contained in the video appear as markers in the
Soundtrack Pro 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 exchange files 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.
This chapter covers the following:
•Supported Video File Formats (p. 356)
•Adding a Video to a Project (p. 356)
•Playing the Video (p. 357)
•Viewing Video Details (p. 360)
•Working with a Video’s Audio (p. 361)
•Using the Time Display and Time Ruler with Video (p. 361)
•Scrubbing and Spotting with the Multipoint Video HUD (p. 362)
•Removing a Video from a Project (p. 365)
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Working with Video in
Soundtrack Pro 14
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
NTSC, 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.
Adding a Video to a Project
You can import a video file by dragging the file from a media tab 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:
µDrag the video file from a media tab or the Finder to the video track in the Timeline.
µDrag the video file from a media tab or the Finder to the Video tab.
Drag a video file to the
Video tab to import it
into the project.
The video’s audio
appears in a new
audio track.
A video clip appears
on the video track.
The video appears
in the Video tab.
356 Chapter 14 Working with Video in Soundtrack Pro
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 move, 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.
Note: When you add a QuickTime movie containing video or a Broadcast Wave (BWF)
file to the File Editor, the Time ruler shows the file’s timecode format if the Time Ruler
Units menu item is set to either Frame or Non-drop Frame.
Playing the Video
When you play the project, the video plays in the Video tab in time with the audio in your
project. You can also control playback using keyboard shortcuts.
To view the video, you can make the Video tab active or detach it and move it to another
location onscreen. You can also view the video using an external video output device.
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.
•Return: Moves the playhead to the closest of the following items to the left of the
playhead: the beginning of the last playback start, the beginning of the cycle region,
or the beginning of the project. This is equivalent to clicking the Go to Beginning button
in the transport controls.
•Option–Left Arrow: Moves the playhead back (closer to the beginning) one video frame.
This is equivalent to clicking the Previous Frame button.
357Chapter 14 Working with Video in Soundtrack Pro
•Option–Right Arrow: Moves the playhead forward (closer to the end) one video frame.
This is equivalent to clicking the Next Frame button.
•J, K, and L keys: You can use the keyboard commands (the J, K, and L keys) to speed
playback up to eight times normal speed. For complete information on using these
keys, see Using the J, K, and L Keys for Shuttling.
For a complete list of keyboard shortcuts, see Soundtrack Pro Keyboard Shortcuts.
Resizing the Video Tab
You can detach the Video tab and resize it (to any size, up to filling your entire screen).
To resize the Video tab
1Detach (undock) the Video tab by clicking the tab at the top of the video frame and
dragging it from its pane.
2Drag the resize control at the lower-right corner of the Video tab until the tab is the size
you want.
Use the window’s resize
control to make the
video larger.
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 project, 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 on a computer display, with true
interlacing, correct pixel sizes, the correct aspect ratio, and broadcast-quality refresh rates.
358 Chapter 14 Working with Video in Soundtrack Pro
Some broadcast-quality video output devices receive both the video and audio from a
project. When you use a video output device that supports both video and audio output,
Soundtrack Pro automatically routes your audio output to this device to provide the best
possible synchronization of the audio and video.
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 output device
1Choose Soundtrack Pro > Preferences, then click the Video Out button.
2In the Video Out pane, choose the device you want to use from the Video Output Device
pop-up menu.
The menu lists only devices that are connected to your computer.
3Optionally, 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.
4Click 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.
To switch off output to an external video output device
µChoose View > Show > 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
µChoose View > Show > 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 not playing through a video output device, Soundtrack Pro
releases control of the output device.
359Chapter 14 Working with Video in Soundtrack Pro
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 of a video file in a media tab.
To view details of a video file
1If the Details tab is not visible, click Details to make it active.
2Select a video file in a media tab, or select the video clip in the Timeline.
The video file’s information appears in the Details tab.
360 Chapter 14 Working with Video in Soundtrack Pro
Working with a Video’s Audio
You can edit the audio clip of the video’s audio as with any audio clip in the project. You
can move and resize the video’s audio, split and join it, or open it in the File 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.
The video’s
audio track
You can adjust the
video’s audio using
the controls in the
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.
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
µChoose View > Time Ruler Units, then choose a time format from the submenu.
To choose the video frame rate for projects not containing a video file
1Choose View > Time Ruler Units > Set Video Frame Rate.
361Chapter 14 Working with Video in Soundtrack Pro
2In the dialog that appears, choose a frame rate from the Frame Rate pop-up menu.
The Time ruler units
adjust to the video’s
format.
The Time display adjusts
to the video’s timecode.
For more information on the Time ruler, see Using the Time Ruler.
Scrubbing and Spotting with the Multipoint Video HUD
The Multipoint Video HUD provides context when you are positioning audio clips and
making selections in a video-based project. The window intelligently tracks the movements
of your pointer as you work in the Timeline and the File Editor, and it shows multiple
frames of video, each labeled with its timecode.
Opening and Closing the Multipoint Video HUD
Use the following methods for opening and closing the Multipoint Video HUD.
To open the Multipoint Video HUD
µChoose Window > HUDs > Multipoint Video (or press V).
To close the Multipoint Video HUD
Do one of the following:
µChoose Window > HUDs > Multipoint Video (or press V).
µClick the close button in the HUD.
362 Chapter 14 Working with Video in Soundtrack Pro
Working with the Multipoint Video HUD
The following sections describe some examples of situations in which the Multipoint
Video HUD can provide useful context for your sound editing tasks on a video project.
Making a Selection in the Timeline or in the File Editor
When you make a selection of multiple clips or a Timeslice selection, the Multipoint Video
HUD displays the video frame at the start of the selection and the video frame at the end
of the selection.
Dragging a Clip into the Multitrack Timeline
When you drag a new clip into the Timeline, the Multipoint Video HUD displays the video
frame at the start of the clip and the video frame at the end of the clip.
Tip: You can also press the V key while dragging a clip to show the Multipoint Video HUD
just until you release the clip. Once you release the clip, the Multipoint Video HUD closes
automatically.
Dragging a Clip Around the Multitrack Timeline
When you drag an existing clip around in the Timeline, the Multipoint Video HUD displays
the video frame at the start of the clip on the left, the video frame at the end of the clip
on the right, and the video frame at the current pointer position in the middle. In the
case of dragging multiple clips, the first frame of video would be from the leading edge
of the earliest clip in time and the last frame of video would be for the trailing edge of
the last clip in time.
363Chapter 14 Working with Video in Soundtrack Pro
For example, if you wanted to synchronize a gunshot sound with the frame in the video
when the flash from the gun is visible, you would first click the gunshot sound effect at
the point where the large transient can be seen in the waveform. Next, you would drag
the clip in the Timeline, pressing V while dragging, until you see the flash in the center
frame.
Resizing a Clip in the Multitrack Timeline
When you resize a clip in the Timeline, the Multipoint Video HUD displays the video frame
at the start of the clip and the video frame at the end of the clip. As you resize one edge
of the clip, that frame updates.
Nudging a Clip in the Multitrack Timeline
When you use the nudge keys to nudge a clip, the Multipoint Video HUD displays the
video frame at the start of the clip and the video frame at the end of the clip.
Horizontally Moving an Envelope Point in the Timeline and File Editor Project View
When you move an envelope point horizontally, the Multipoint Video HUD displays the
video frame at the current envelope point position. If you select multiple envelope points,
two or three frames are shown: one for the first envelope point, one for the last envelope
point, and one for the envelope point you are dragging, if it is not the first or last point.
Time Stretching in the File Editor
When you use the Time Audio Stretching tool, the Multipoint Video HUD displays a single
frame of video that follows the pointer location.
Dragging the Cycle Region
When you modify either end of the Cycle Region, the Multipoint Video HUD displays the
video frame at the start of the Cycle Region and the video frame at the end of the cycle
region. You can quickly remove the Cycle Region at any time by pressing Option-X.
Dragging Markers
When you drag a single marker, the Multipoint Video HUD displays the video frame at
the marker position. When you drag two markers, the Multipoint Video HUD displays the
video frames at both marker positions. When you drag three or more markers, the
Multipoint Video HUD displays three video frames: the first marker, the marker being
dragged, and the last marker.
364 Chapter 14 Working with Video in Soundtrack Pro
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:
µSelect the video clip in the Timeline, then choose Edit > Delete (or press the Delete key).
µControl-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 Using Soundtrack Pro
with Other Applications.
365Chapter 14 Working with Video in Soundtrack Pro
Automation offers a powerful way to add drama and interest to your projects. You can
automate volume and pan changes to tracks, busses, and submixes 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.
In Soundtrack Pro, you can manipulate automation manually, or record changes and
movements made in either the application itself, or on a control surface. You can manually
add and adjust envelope points on envelopes in the Timeline and in the File Editor. You
can record changes over time to sliders, faders, and other controls in the Timeline, the
Mixer, and the Effects tab. You can also record movements with faders on a control surface
connected to your computer and mapped to Soundtrack Pro commands and functions.
This chapter covers the following:
•Working with Envelopes (p. 367)
•Recording Automation Data (p. 376)
Working with Envelopes
In the Timeline, each track, bus, and submix has a set of envelopes. The envelopes appear
as horizontal lines stretching across the length of the project directly below the track,
bus, or submix. You adjust an envelope by adding envelope points and moving the
envelope points to new values at different points 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.
367
Working with Automation 15
Track, Bus, and Submix Envelopes
Each track and bus has envelopes for volume and pan, and each submix has a volume
envelope. By default, the envelopes are hidden. When you show the envelopes, they
appear in rows below the track, bus, or submix in the Timeline.
Click the envelope
disclosure triangle.
The envelopes are
displayed below the
track, bus, or submix.
When you add effects to a track, bus, or submix, you can automate the effect parameters
by adding an envelope for any parameter to the envelopes for the track, bus, or submix.
The envelopes are different for each type of effect. For information on adjusting effect
parameters, see Working with Audio Effects.
To show the envelopes for a track, bus, or submix
µClick the envelope disclosure triangle in the track header.
Click the disclosure triangle again to hide the envelopes.
Default Stereo Envelopes
The default envelopes for tracks using stereo panners are Volume and Pan. The ranges
of Volume and Pan envelopes are equivalent to the ranges of the corresponding track
controls:
•Volume envelopes: The range is from –96 dB to +6 dB.
•Track pan envelope: The range is from 100% Left to 100% Right pan, with Centered at
the midpoint, 0 (zero).
Default Surround Envelopes
The default envelopes for tracks using surround panners are as follows:
• Volume
• Surround Pan X
• Surround Pan Y
• Rotation
• Width
• Collapse
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• Center Bias
• LFE
• Left Speaker Disable
• Center Speaker Disable
• Right Speaker Disable
• Left Surround Speaker Disable
• Right Surround Speaker Disable
For a complete description of each of these surround parameters, see The Surround
Panner HUD.
Default Surround
envelopes
Adding Envelope Points
You create changes to an envelope by adding envelope points to the envelope, and
moving them to different values.
To add an envelope point to an envelope
µDouble-click 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 snapping is
turned on. For information on setting the Snap To value, see Using Snapping.
Selecting Envelope Points
You can select a single envelope point or a group of adjacent or nonadjacent envelope
points.
To select an envelope point
µClick the envelope point.
369Chapter 15 Working with Automation
To select multiple envelope points
Do one of the following:
µIf 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.
µCommand-click each envelope point you want to select. You can select adjacent or
nonadjacent envelope points by Command-clicking.
µDrag 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.
Drag in the envelope’s
row to select multiple
envelope points.
To deselect a selected envelope point
Do one of the following:
µCommand-click the selected envelope point.
µClick 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 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 at the same time.
When you move an envelope point, the position of the envelope point snaps to the
closest Snap To position if snapping is turned on. For information on setting the Snap To
value, see Using Snapping.
To move an envelope point
µSelect the envelope point, then drag it to a new position.
To move an envelope point adjacent to another envelope point
1Select the envelope point.
2Hold down the Shift key and drag the envelope point to a position near another envelope
point.
Each envelope has an envelope point, at the beginning of the Timeline. You can make
adjustments 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.
370 Chapter 15 Working with Automation
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.
Selecting and Moving Envelope Points with Clips
By default, when you select or move a clip in the Timeline, the associated envelope points
are not selected, and they do not move with the clip. You can set Soundtrack Pro to do
the opposite: to select associated envelope points when you select a clip. In this case, if
you move the clip, the envelope points move with it.
To select and move clips and envelope points together
µClick the Select Envelope Points With Clips button at the top of the Timeline.
To select and move clips and envelope points independently of each other
µClick the Select Only Clips button at the top of the Timeline.
Select Envelope Points
with Clips button
Select Only Clips button
Note: If you have the Select Envelope Points With Clips mode turned on, and you overlap
a clip with envelope points on another clip with envelope points to create a crossfade,
the moved clip’s envelope points will overwrite the static clip’s envelope points.
The Timeslice Tool and the Envelope Selection Mode
If Soundtrack Pro is in Select Envelope Points With Clips mode, any Timeslice selection
rectangle includes all envelope rows within the selection.
Select Envelope Points
With Clips mode
If Soundtrack Pro is in the Select Only Clips mode, no envelope rows are included in the
Timeslice selection.
Select Only Clips mode
371Chapter 15 Working with Automation
Note: If you change the envelope mode after you have already drawn the Timeslice
marquee, the Timeslice will change to match the current setting.
For more information about the Timeslice tool, see Cutting, Copying, Pasting, and
Removing Audio Clips.
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
1Click the Details tab.
2Select 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).
To change the value of an envelope point in the Details tab
1With the Details tab active, select the envelope point.
2In 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.
• Click the center of the value slider, then drag the slider that appears left or right to
change the value.
• 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
1With the Details tab active, select the envelope point.
2In the Details tab, do one of the following:
•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).
372 Chapter 15 Working with Automation
• Click the center of the Position value slider, then drag the slider that appears left or
right to change the position.
• Click the text in the Position value slider, then type a new value.
To change the units shown in the Position value slider
µChoose 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
1With the Details tab active, select the envelope point to which you want to copy the
value.
2In the Details tab, click Copy From Previous Point.
To copy the value of the next envelope point
1With the Details tab active, select the envelope point to which you want to copy the
value.
2In the Details tab, click Copy From Next Point.
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
1Control-click the envelope point, then choose Set Value from the shortcut menu.
2Enter a new value for the envelope point in the dialog that appears.
The envelope point moves to the new value. 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
1Control-click the envelope point, then choose Set Position from the shortcut menu.
2In the dialog that appears, click the left or right arrow in the value slider, 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.
For more information about value sliders, see About Changing Values and Timecode
Entries.
Nudging Envelope Points
There are several ways in which you can nudge envelope points using the arrow keys.
373Chapter 15 Working with Automation
To move the envelope point to the previous or next gridline
µHold down the Command and Option keys and press the Left Arrow or Right Arrow key.
To move the envelope point left or right by the default nudge amount
µHold down the Command key and press the Left Arrow or Right Arrow key.
To move the envelope point up or down by one coarse value
µHold down the Command key and press the Up Arrow or Down Arrow key.
To move the envelope point up or down by one fine value
µHold down the Command and Option keys and press the Up Arrow or Down Arrow key.
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.
When pasting envelope points, the following conditions apply:
• 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.
To cut envelope points
µSelect the envelope point, then choose Edit > Cut (or press Command-X).
To copy envelope points
µSelect the envelope points, then choose Edit > Copy (or press Command-C).
To paste envelope points
µSet the playhead to the point where you want to paste the envelope points, then choose
Edit > 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 of the cut or
copied envelope in the pasted area.
Pasting envelope points
into an envelope
replaces the existing area
of the envelope with the
cut or copied area.
Deleting Envelope Points
After listening to the results of your edits, you may decide to delete some envelope points.
374 Chapter 15 Working with Automation
To delete envelope points
1Select the envelope points.
2Do one of the following:
• Choose Edit > Delete (or press Command–X).
• 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.
Automating Effect and Send Parameters
You can automate effect parameters for tracks, busses, and submixes and for audio file
projects by adding envelopes for the effect parameters and 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
1Open the Effects tab and select the effect you want to automate.
2In the Effect Parameters area, select the Auto checkbox for the parameter.
Click the Auto checkbox
for an effect parameter
to add an envelope for
the parameter.
To remove an envelope for an effect parameter
µDeselect 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.
375Chapter 15 Working with Automation
Master Bus
Each project has a Master bus that includes envelopes for volume, transposition, and
tempo. By default, only the Volume envelope is visible because Transposition and Tempo
are specifically for projects containing only tagged and looping clips.
The Master bus
envelopes appear
below the Master bus.
To show or hide the Master bus envelopes
Do one of the following:
µClick the Master bus disclosure triangle in the Timeline.
µChoose Master Envelopes from the Show pop-up menu at the upper-right corner of the
Timeline.
Repeat the procedure to hide the Master bus envelopes.
To show the Transpose or Tempo envelopes
µChoose Transpose or Tempo from the Show Envelopes pop-up menu in the Master bus
track header.
The ranges of the master envelopes are as follows:
•Master transpose envelope: Ranges from –12 semitones to +12 semitones.
•Master tempo envelope: Ranges from 60 bpm to 200 bpm.
For more information about the Master bus, see Using the Master Bus.
Recording Automation Data
In addition to working with envelopes, you can record automation 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 and faders on the control surface. When you record
movements to onscreen controls or control surface controls, the corresponding envelope
in the Timeline (or File Editor) changes to display the recorded automation data. You can
edit the envelope to fine-tune the automation data after recording.
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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.
•Read: In Read mode, existing automation data is active when you play the project, but
no new automation data is recorded.
•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.
•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 the same
value at which you released it.
To record automation data for movements to controls
1Choose either Touch or Latch from the Automation Mode pop-up menu.
2Set the playhead to a position before the point where you want to start recording.
3Click Play (or press the Space bar) to start the project playing.
4While 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. For more information
on working with control surfaces, see Using Control Surfaces with Soundtrack Pro.
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
1Choose Soundtrack Pro > Preferences, then click the General button.
2In the General pane, drag the Automation Recording Sensitivity slider to adjust the amount
of thinning.
377Chapter 15 Working with Automation
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.
378 Chapter 15 Working with Automation
You can record your own audio on one or more tracks in the Timeline, the Mixer, or the
File Editor project view as a mono, stereo, or multichannel file. 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 with the Multitake Editor.
This chapter covers the following:
•Getting Ready to Record (p. 379)
•Recording Audio in the Timeline (p. 380)
•Recording Audio in the Mixer (p. 387)
•Recording Audio in the File Editor Project View (p. 387)
Getting Ready to Record
Before you start recording, 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.
For audio file projects, you record in the File Editor. When you record in the File 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 audio.
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Recording Audio in Soundtrack Pro 16
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 Tracks for Recording
Before you start recording, you enable the tracks you want to record to. You can record
audio only to tracks, not to busses or submixes. 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.
Note: For details on multitrack recording, see Multitrack Recording.
To enable a track for recording
Do one of the following:
µChoose Multitrack > Arm Selected Track for Recording (or press R).
µClick the Arm for Recording button (the red letter R) in the track’s header (or Mixer channel
strip).
Arm for Recording
button
The Recording tab becomes active and shows the current recording settings. You can
adjust recording settings before you start recording or between recordings.
Input routing buttons
Input Device pop-up menu
Configure Device button
Monitor pop-up menu
Mute Project checkbox
Track pop-up menu
Input Channel pop-up menu
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Adjusting Recording Settings
Before you click the Record button, you may need to configure the input device, the
choice of input channels, and other device and monitor settings.
To adjust recording settings
1In the Recording tab, choose the input device from the Input Device pop-up menu.
The available choices include your computer’s Built-in Audio, plus any other installed
audio interfaces.
Note: You can also access the Input pop-up menus from the track header, but only if the
Timeline Track Height is set to either medium or large.
Choose a recording
device from the Input
Device pop-up menu.
2Use the Input Channel pop-up menu to choose the channel (or set of channels).
The available choices are Mono (one channel), Stereo (two channels), 3 channels, 4
channels, 5 channels, 6 channels, and Surround 5.1.
Choose the channel
from the Input Channel
pop-up menu.
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The Recording tab adjusts the level meter display based on the channel (or set of channels)
you choose. For example, for the default Stereo setting, the Recording tab displays the
Left and Right level meters. If you choose the 4-channel setting, the Recording tab displays
level meters 1 through 4. If you choose the Surround 5.1 setting, the Recording tab displays
the standard surround level meters.
Stereo Surround
4-channel
3Confirm the channel routing in the input routing buttons below the Input Channel pop-up
menu. If necessary, click any of the active input routing buttons and use the pop-up
menus to route a different channel from the input device to the channel in the recorded
audio file.
Input routing buttons
If your audio interface allows labeled inputs, the input routing button pop-up menus
display the names.
4Optionally, you can click the Configure Device button to open the Audio MIDI Setup
utility. For more information, see Audio MIDI Setup.
5Use the Monitor Device pop-up menu to choose the device for monitoring the recorded
audio.
6If you want to record without hearing the existing audio clips in the project, select the
Mute Project checkbox.
The level meters in the Recording tab show the level of the audio signal in the input
channels. Before recording, you may want to watch the level meters and set the input
level to ensure a high enough signal level and to avoid clipping.
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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/Pause button.
To record a single take
1If you want to record to an existing track, enable the track for recording.
2Set 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
Quickly.
3Click the Record button in the transport controls to start recording (or press Command–R).
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.
4To stop recording, do one of the following:
• Click the Record button again (or press Command–R).
• Click the Play/Pause button.
• Press the Space bar.
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 Pause/Play button, both recording and playback stop.
Multitrack Recording
You can record audio to multiple tracks simultaneously.
To record to multiple tracks simultaneously
1Click the Arm for Recording button on each track you want to record to.
2For each track you want to record to, choose the track from the Track pop-up menu at
the top of the Recording tab and follow these steps:
aIn the Recording tab, choose the input device from the Input Device pop-up menu.
bUse the Input Channel pop-up menu to choose the channel (or set of channels).
cConfirm the channel routing in the input routing buttons below the Input Channel
pop-up menu. If necessary, click any of the active input routing buttons and use the
pop-up menus to route a different channel from the input device to the channel in the
recorded audio file.
383Chapter 16 Recording Audio in Soundtrack Pro
For more information, see Adjusting Recording Settings.
3Set the playhead to the point where you want recording to start, and click the Record
button (or press Command–R).
The audio is recorded to the armed tracks.
You can record multiple
tracks at once.
4To stop recording, do one of the following:
• Click the Record button again (or press Command–R).
• Click the Pause/Play button.
• Press the Space bar.
Recording Multiple Takes
You can record multiple takes in the Timeline. You can record multiple takes using the
cycle region to define where each take starts and ends, or you can record for the duration
of the project. When you record multiple takes, the takes are “stacked” in a single multitake
clip in the Timeline. You can audition each take and create composite takes using the
Multitake Editor. For information about the Multitake Editor, see Using the Multitake
Editor. You can also record directly into the Multitake Editor. For more information about
recording in the Multitake Editor, see Recording into the Multitake Editor.
To record multiple takes
1If you want to record to an existing track, enable the track.
2If cycling is turned off, click the Cycle button in the transport controls to turn it on.
3Set the cycle region to the part of the Timeline where you want recording to start and
end.
For information on setting the cycle region, see Working with the Cycle Region.
If no cycle 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.
4Click the Record button in the transport controls to start recording (or press Command–R).
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.
384 Chapter 16 Recording Audio in Soundtrack Pro
The playhead advances to the end of the cycle region, then returns to the beginning of
the cycle region for the next take.
5To stop recording, do one of the following:
• Click the Record button (or press Command–R).
• Click the Pause/Play button.
• Press the Space bar.
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 multitake
clip in the Timeline.
The current take
number appears in
the lower-right corner
of the clip.
Recording into the Multitake Editor
Soundtrack Pro allows you to record audio directly into the Multitake Editor. For more
information on the Multitake Editor, see Using the Multitake Editor. Recording preferences
for the multitake recording are taken from the track upon which the multitake clip resides.
To change recording settings, use the Recording tab set to the armed track. For more
information, see Adjusting Recording Settings.
Note: You may not change the number of channels of an existing multitake clip.
To record audio into the Multitake Editor
1In the Multitake Editor, click the Arm for Recording button.
When the Multitake Editor is armed for recording, the track containing the multitake clip
is also armed for recording. Other tracks in your project cannot be armed for recording
while the Multitake Editor is armed for recording.
2Click the Record button in the transport controls to start recording.
3To stop recording, do one of the following:
• Click the Record button (or press Command–R).
385Chapter 16 Recording Audio in Soundtrack Pro
• Click the Pause/Play button.
• Press the Space bar.
The new recording appears at the bottom of the Multitake Editor. If cycling is turned on
and a cycle region is set, each new take appears at the bottom of the Multitake Editor.
For more information on multiple takes, see Recording Multiple Takes.
Note: To record in other tracks or to use the Multitake Editor with another clip, you must
first disarm the Multitake Editor for recording. As long as the Multitake Editor is armed
for recording, the current multitake clip stays visible in the Multitake Editor.
Editing Multitake Clips
You can do some simple multitake editing directly in the Timeline, for example, splitting
the clip and choosing the take for each split segment.
Note: For sophisticated editing of multitake clips, see Using the Multitake Editor.
To choose a take in the Timeline
Do one of the following:
µSelect the clip, choose Clip > Recording Take, then choose the take number from the
submenu.
µControl-click the clip, choose Take from the shortcut menu, then choose the take number
from the submenu.
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.
Recordings Location
When you record audio with Soundtrack Pro, the default location for those audio
recordings is: /Users/username/Documents/Soundtrack Pro Documents/Recordings/.
386 Chapter 16 Recording Audio in Soundtrack Pro
To change the Recordings location
1Choose Soundtrack Pro > Preferences.
2Click the Recording button, then click Choose to enter a new location.
Note: When you save a multitrack project and select the Collect Audio Files option, a
copy of every audio file the project uses (including recordings) is saved with the project
file. For more information, see Saving Multitrack Projects.
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.
To record audio in the Mixer, you follow the procedures described in Recording Audio in
the Timeline, with the following differences.
To enable a track for recording in the Mixer
µClick the Arm for Recording button (the red letter R) in the track’s channel strip.
Depending on the layout you are using, the playhead may not be visible as you record
in the Mixer. In this case, you can set the playhead using the transport controls or the
Playhead Location value slider. If you want to record multiple takes using a cycle region,
you may need to set the cycle region in the Timeline before you start recording in the
Mixer.
Transport controls
Arm for Recording
button
Recording Audio in the File Editor Project View
You can record audio to an audio file project in the File Editor project view. When you
record audio in the File 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 File 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.
387Chapter 16 Recording Audio in Soundtrack Pro
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 File Editor project view
1Open an audio file project in the File Editor project view.
2Select 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.
3Click the Record button in the transport controls (or press Command–R).
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.
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Soundtrack Pro gives you the tools to create professional podcasts of your projects.
This chapter covers the following:
•About Podcasts (p. 389)
•Podcasting Media Production (p. 390)
•Displaying the Podcast Track and the Details Tab (p. 391)
•Podcast Marker Information in the Details Tab (p. 392)
•Adding Markers to a Podcast (p. 393)
•Adding Images to a Podcast (p. 396)
•Exporting Podcasts (p. 399)
About Podcasts
You can quickly and easily produce audio and video podcasts directly from within
Soundtrack Pro projects. And you can take video projects from Final Cut Pro and make
podcasts from them using Soundtrack Pro. Podcasts are audio and video broadcasts
available on the Internet. Unlike traditional radio and television shows with set schedules,
podcasts can be listened to at any time in the iTunes application or on an iPod. You can
even publish your podcast to iTunes and reach a potential audience of millions. Besides
democratizing what used to be known as radio, the podcasting movement provides new
avenues of distribution for recorded lectures and educational materials, audio tours of
museums, conference meeting updates, and so on.
Soundtrack Pro provides professional and prosumer podcasters the tools to create
extremely high-quality podcasts. And with the podcasting workflow built right into
Soundtrack Pro, audio post-production personnel can easily create versions of their sound
for picture mix or edit that are ready for iPod. This way, a small audience of clients and
colleagues can enjoy the convenience of listening to or watching the programs using
iPod or iTunes.
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Creating Podcasts in
Soundtrack Pro 17
Podcasts fall into three broad categories:
•Audio-only podcasts: At the very least, a podcast contains an audio file. For information
about types of compressed audio files, see Exporting Audio Podcasts.
•Enhanced podcasts: The audio content may have one or more associated images and
web links that can be synchronized with the audio track. Also, chapter markers can be
embedded that allow listeners to jump to specific sections of the content.
•Video podcasts: Video podcasts typically include both video and audio content. The
technical requirements for video podcasts are more specific. For information about
video file formats for podcasting, see Exporting Video Podcasts.
Podcasts are typically published in a series of episodes. Soundtrack Pro supports the
creation of episodes.
You can add chapter markers, images, and web links to your podcasts using the podcast
track and the Details tab in Soundtrack Pro.
Note: If you want to make a simple audio or video podcast with no markers, images, or
web links, skip to Exporting Podcasts.
Podcasting Media Production
Producing podcasts has a lot in common with producing any other audio or video
program. Soundtrack Pro can help you with the audio production, editing, and mixing
steps as well as with some other tasks unique to podcasting.
There are two main ways to create podcasts:
• Take a Final Cut Pro project and create a podcast from it in Soundtrack Pro.
• Create a podcast from scratch in Soundtrack Pro.
Both of these scenarios involve some version of the following stages:
Stage 1: Recording the Sound (and Video)
There are many different ways to record a podcast, ranging from one-person shows, to
conference calls, to live events on location, to studio recordings. You can record multitrack
and multichannel sound directly into Soundtrack Pro, or you can import prerecorded files.
Stage 2: Editing and Mixing the Sound, Video, and Images
Soundtrack Pro gives you many specialized tools and powerful features that you can use
to create high-quality audio. And the ability to exchange projects and information between
Soundtrack Pro and Final Cut Pro makes video podcasting a very streamlined process.
390 Chapter 17 Creating Podcasts in Soundtrack Pro
Stage 3: Performing Podcast-Specific Editing and Authoring
Podcasts range in complexity from a simple audio or video file to enhanced podcasts
with chapter markers and associated web links. Besides its many sophisticated audio
editing and mixing tools, Soundtrack Pro includes a dedicated podcast track for adding
chapter markers, URL links, and images.
Stage 4: Compressing the Audio (and Video) Files
Soundtrack Pro includes a robust set of export and compression options for both audio
and video podcasting. For complete information about exporting from Soundtrack Pro,
see Exporting Multitrack Projects.
Stage 5: Uploading the Compressed Files
Once your podcast is complete, you upload the file to your web host using a file transfer
protocol (FTP) utility. You can trigger post-export actions (AppleScript documents) to do
this automatically as a part of the export process. For more information, see Using
Post-Export Actions.
Displaying the Podcast Track and the Details Tab
You use the podcast track in conjunction with the Details tab to add enhanced podcast
features to your podcast. Any Soundtrack Pro multitrack project can include information
on how to output the project as a podcast. This podcast-specific information can be
viewed and edited by showing the podcast track.
To display the podcast track
µChoose Show > Podcast Track from the Show pop-up menu in the upper-right corner of
the Timeline.
Choose Podcast Track
from the Show pop-up
menu.
The podcast track appears near the top of the Timeline, just above the audio tracks.
By default, the podcast track appears just below the video track (if you have one in your
project) with a single blue podcast marker “region” that spans the entire length of the
project.
Podcast track
Video track
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To make the Details tab active
Do one of the following:
µChoose Window > Tabs > Details (or press Command-I).
µClick the Details tab.
To view or enter information for a podcast marker
1Select a podcast marker region in the podcast track.
Select the podcast
marker region.
2Enter or view the information in the Details tab.
Podcast Marker Information in the Details Tab
Use the Details tab to enter and display podcast marker information and attributes. The
Details tab sets properties for the podcast marker region (for example, what image will
be shown until the next marker in an enhanced podcast) and optionally sets a chapter
marker.
Name field
Measure In pop-up menu
Marks a chapter
checkbox
Position value slider
URL field
URL Title field
Image Source pop-up
menu
•Name field: Enter a name for the marker.
•Measure In pop-up menu: Sets the units shown in the Position value slider.
392 Chapter 17 Creating Podcasts in Soundtrack Pro
•Marks a chapter checkbox: Identifies a region as a podcast chapter.
•Position value slider: Sets and displays the time position of the selected marker.
•URL: Enter a web link for the marker.
•URL Title: Enter a name for the website listed in the URL field.
•Image Source pop-up menu: Sets the displayed image for the marker.
Note: The image can be a still image added to the project or a frame from a video clip,
if there is a video track for the project.
Adding Markers to a Podcast
Markers can provide visual interest and navigational convenience for your podcast
audience. Podcast markers are frames in a podcast that can display an image or a web
link synchronized to the audio in the podcast. Chapter markers are podcast markers that
provide enhanced navigation. Chapter markers make it easy for listeners and viewers to
skip ahead to the section they want. Chapter markers appear in the chapter list in both
iTunes and QuickTime Player. To adjust markers, including their respective web links and
images, see Podcast Marker Information in the Details Tab.
Using Podcast and Chapter Markers
Using the podcast track, you can add as many markers as you like. By default, the podcast
track makes the first frame of the project a chapter marker.
To add a marker
1To display the podcast track, choose Show > Podcast Track from the Show pop-up menu
in the upper-right corner of the Timeline.
2Click the Blade tool at the top of the Timeline (or press B).
The pointer changes to the Blade tool.
3Using the Blade tool, click anywhere in the podcast track.
The podcast track is split, creating a new chapter marker at the point you clicked.
Deleting Podcast and Chapter Markers
Deleting markers is as easy as adding them.
To delete a podcast marker or a chapter marker
1In the Podcast track, click any marker region.
2Press Delete.
The marker is removed from the podcast track.
Moving Podcast and Chapter Markers
Use the Position value slider to move markers in your podcast.
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To move a podcast marker with the pointer
µIn the podcast track, drag the edit point between any two marker regions.
Drag the edit point
to adjust the
podcast marker.
To move a podcast marker or a chapter marker using the Details tab
1In the podcast track, click any marker region.
2In the Details tab, use the Position value slider to adjust the marker position.
For information on using value sliders, see About Changing Values and Timecode Entries.
Editing Podcast and Chapter Markers
By default, all new podcast markers are chapter markers named “Untitled Chapter.” You
can rename markers at any time. You can also easily change chapter markers into regular
podcast markers or podcast markers into chapter markers with the “Marks a chapter”
checkbox in the Podcast Marker section of the Details tab.
Note: Chapter markers are special markers that tell the playback software (iTunes and
QuickTime Player) to list navigational and image marker information in the chapter list.
To name a chapter or podcast marker
1In the podcast track, click any marker region to select it.
2To make the Details tab active, do one of the following:
• Choose Window > Tabs > Details (or press Command-I).
• Click the Details tab.
3In the Details tab, enter a name in the Name field.
To change a chapter marker to a podcast marker
µDeselect the “Marks a chapter” checkbox in the Podcast Marker section of the Details tab.
To change a podcast marker to a chapter marker
µSelect the “Marks a chapter” checkbox in the Podcast Marker section of the Details tab.
To enter web link information for a marker
1Enter a web address in the URL field.
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For example: http://www.apple.com.
2Enter a descriptive title in the URL Title field.
For example: Apple Inc.
Creating Podcast Markers from Final Cut Pro Chapter Markers
When you send a Final Cut Pro sequence to a Soundtrack Pro multitrack project, you can
create a podcast chapter marker for every Final Cut Pro chapter marker.
To create podcast markers from Final Cut Pro chapter markers
1Confirm that the source Final Cut Pro sequence has chapter markers applied to it.
See the Final Cut Pro User Manual for information on Final Cut Pro chapter markers.
2Send the Final Cut Pro sequence to a Soundtrack Pro multitrack project.
For information on sending Final Cut Pro sequences to a Soundtrack Pro multitrack project,
see Creating Multitrack Projects from Final Cut Pro Clips or Sequences.
The Final Cut Pro sequence loads into the Soundtrack Pro Timeline, with its markers
arrayed along the top of the Time ruler.
3In Soundtrack Pro, reveal the podcast track by choosing Show > Podcast Track from the
Show pop-up menu in the upper-right corner of the Timeline.
The podcast track appears just below the video track.
4Choose Mark > Create Podcast Markers from FCP Chapters.
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The chapter markers from the Final Cut Pro sequence are inserted in the podcast track
as podcast chapter markers. The markers have the same names they did in Final Cut Pro.
By default, this operation sets the Image Source pop-up menu to Video at Start of Section.
For more information about the Image Source pop-up menu, see Using the Image Source
Pop-Up Menu.
Adding Images to a Podcast
Your podcasts can display still images on iTunes and iPod. Using the podcast track together
with the Details tab, you can add a single image for an entire podcast or create a slideshow
of images that plays in sync with the audio portion of your podcast. If your project has a
video track, you can use frames of the video as still images in your podcast. You can also
add other still images to your podcast.
Setting an Episode Image for an Entire Podcast
A common podcasting practice is to insert a single, representative image for an audio
podcast so that it displays (in iTunes and on iPod) during the entire episode.
To set an episode image for a podcast
1In the Project tab, scroll down to the Metadata section.
2Do one of the following:
• Drag a still image from the Finder or from iPhoto to the Episode Image image well.
• Copy an image in an image editing application and paste it into the image well.
• Click Choose and in the dialog that appears, navigate to the image file you want to
add and click Open.
Note: You can add any of the following image types: PDF, EPS, TIFF, JPG, GIF, PNG, PICT,
BMP, ICO, and ICNS.
3To display the podcast track, choose Show > Podcast Track from the Show pop-up menu
in the upper-right corner of the Timeline.
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4Confirm that the podcast track contains the single, default chapter marker region that
spans the entire length of the project.
5Click the podcast track to select it.
6In the Image Source pop-up menu in the Details tab, select Episode Image.
The image is applied to the entire podcast. If there are no subsequent markers with
images, this initial image will be shown for the duration of the podcast.
Note: Once you set the episode image in the Project tab, you can apply the episode
image to any podcast marker region using the Image Source pop-up menu in the Details
tab.
For more information on the Image Source pop-up menu, see Using the Image Source
Pop-Up Menu.
Creating a Slideshow in a Podcast
By adding multiple markers to a podcast and adding an image to each marker, you can
create a slideshow that plays in sync with the audio portion of your podcast.
To add a series of images to a podcast
1To display the podcast track, choose Show > Podcast Track from the Show pop-up menu
in the upper-right corner of the Timeline.
2Using the Blade tool, click the podcast track at each point where you want to add an
image.
For more information about adding markers, see Using Podcast and Chapter Markers.
3Select a marker region and use the Image Source pop-up menu to apply an image.
For more information on the Image Source pop-up menu, see Using the Image Source
Pop-Up Menu.
4Repeat step 3 for each marker in your slideshow.
Using the Image Source Pop-Up Menu
You can apply images to your podcast in a variety of ways with the Image Source pop-up
menu.
To apply an image to a marker region
1Select the marker region in the podcast track.
397Chapter 17 Creating Podcasts in Soundtrack Pro
2Click the Image Source pop-up menu in the Details tab and choose one of the following
methods for adding a still image:
•Episode Image: Drag a still image from the Finder or from iPhoto to the image well or
copy an image in an image editing application and paste it into the image well. Choose
Episode Image again to clear the current marker image.
•Video at Start of Section: If the multitrack project has a video in it, choose this option
to have Soundtrack Pro insert the corresponding video frame from the same Timeline
location.
•Video at: Use the value slider to manually choose a video frame from the video track.
•Other: Click Choose and, in the dialog that appears, navigate to the image file you want
to add and click Open.
Note: You can add any of the following image types using the Image Source pop-up
menu: PDF, EPS, TIFF, JPG, GIF, PNG, PICT, BMP, ICO, and ICNS.
To remove an image from a podcast
1Select the marker region in the podcast track.
2Choose Episode Image from the Image Source pop-up menu.
The image is removed and no image is displayed for that marker region.
The image for the
podcast chapter has
been removed.
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Note: Enhanced podcasts (using still images) and video podcasts are mutually exclusive.
Information for enhanced and video podcasts can co-exist in your multitrack project, but
you must choose one or the other when you export. See Exporting Podcasts for more
information.
Exporting Podcasts
After you have completed editing and mixing your project, including adding any
podcast-specific enhancements such as images, chapter markers, or web links, you are
ready to export your podcast.
Compression is an important step in exporting any audio or video podcast file. While it
is technically possible to distribute a podcast using standard (uncompressed) file formats,
it is not very practical nor very common. That’s because podcast files inevitably encounter
bandwidth bottlenecks as they travel to the far reaches of the Internet. So, when it comes
to podcasting, small is beautiful.
Exporting Audio Podcasts
Almost all audio-only podcasts use one of two compressed formats: AAC or MP3. In fact,
a podcast must use either the AAC or the MP3 format to be included in the iTunes Store.
AAC (also known as Advanced Audio Coding codec or MPEG-4/AAC) is a newer, more
efficient format. It provides more clarity than MP3 audio at the same bit rate with smaller
file sizes or files of the same size at higher quality.
For additional general information about exporting audio files see Exporting Multitrack
Projects.
Exporting Audio Podcasts as AAC Files
You can export AAC audio files directly from Soundtrack Pro by choosing File > Export
and choosing AAC/Podcast File from the File Type pop-up menu. For complete information
on exporting to the AAC format, see Exporting to AAC/Podcast Files.
Exporting Audio Podcasts as MP3 Files
You can export MP3 audio files directly from Soundtrack Pro. For complete information
on exporting to the MP3 format, see Exporting as MP3 Files.
Exporting Video Podcasts
While iTunes can play a wide variety of video formats, iPod only plays videos that are
created to exact specifications. The specifications include AAC for the audio portion and
one of two related formats (H.264 or MPEG-4) for the video portion. You want to make
sure that your video podcast is encoded correctly so that it will sync to iPod without issue.
Through links to its associated application, Compressor, Soundtrack Pro includes encoding
presets to make video podcasts that can play on iTunes, on a video iPod, or with Apple TV.
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Exporting Video Podcasts Directly from Soundtrack Pro
To export a podcast that includes both video and audio, follow the instructions in Exporting
to AAC/Podcast Files. In step 6 of those export instructions, choose the third option: Video
Track.
This option results in an MPEG-4 (.m4v) file containing both video and audio. The properties
of the exported podcast file are equivalent to the H.264 for iPod Video 640x480 setting
that is included in the Compressor application. The resulting podcast file includes chapters
and web links if you specified them in Soundtrack Pro.
Using this method for exporting video podcasts offers the speed and convenience of
exporting directly from Soundtrack Pro. A tradeoff of this method is you don’t have as
much control over the various details of the transcoding process. For complete control
over all aspects of the transcode, including the various video parameters, use Compressor
(instead of this Export dialog). See Exporting Video Podcasts Using Compressor.
Exporting Video Podcasts Using Compressor
Compressor is the high-speed video and audio encoding tool for Final Cut Studio. You
can use it to convert content so that it can be experienced on many different platforms
and devices (including iTunes, Apple TV, and an iPod, among others).
The Export dialog in Soundtrack Pro offers a direct link to the Compressor application.
When you export using Compressor, you can use the presets included with Compressor
for your exported file or use custom presets that you create in Compressor. For detailed
information, see Exporting a Master Mix Using Compressor.
To export a video podcast using Compressor
1Choose File > Export (or press Command-E).
2Choose Master Mix from the Exported Items pop-up menu.
3Choose Using Compressor from the File Type pop-up menu.
4Select Encode Video.
5In the associated pop-up menu, choose H.264 for Video Podcasting.
6Click Export.
Note: You could also export your podcast project using the Preserve Video option
(retaining the video’s original format and exporting the audio as a standard, uncompressed,
AIFF file) and then import those files into Compressor for final transcoding. This method
gives you the most options in terms of transcoding decisions. For more information about
the Preserve Video option, see Exporting a Master Mix Using Compressor. Once you create
customized versions of the Compressor iPod presets, they are available in the
Soundtrack Pro export via Compressor options. For more information on working with
Compressor presets, see the Compressor User Manual.
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Using Post-Export Actions for Podcast Production
The Soundtrack Pro Export dialog includes post-export actions that can automate parts
of your podcasting workflow and save you time and effort. You can use the feature to
automatically trigger your own AppleScript documents as a part of any export operation.
You can link your Soundtrack Pro podcast export to custom AppleScript documents that
would execute at the end of an export. For example, at the end of an overnight video
podcast transcode, Soundtrack Pro could automatically trigger a custom AppleScript
document that would transfer the exported podcast to a web server via scriptable FTP
software and send you (or a client) an email notification.
For more information about using post export-actions see Using Post-Export Actions.
401Chapter 17 Creating Podcasts in 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.
This chapter covers the following:
•Connecting Control Surfaces (p. 403)
•Adding and Deleting Control Surfaces (p. 404)
•Premapped Controls (p. 406)
•Mapping Commands to Control Surface Buttons (p. 407)
•Recording Control Surface Automation (p. 408)
Connecting Control Surfaces
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.
Soundtrack Pro supports control surfaces that use the Mackie Control, Logic Control, and
Euphonix EuCon protocols to communicate with your computer.
To use a control surface, follow the process outlined below.
Important: When connecting a control surface or MIDI interface to your computer, read
the instructions included with the hardware, 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 hardware.
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Using Control Surfaces with
Soundtrack Pro 18
Stage 1: Connecting the Control Surface to a MIDI Interface
Some control surfaces may allow direct connection to a computer with no MIDI interface.
Stage 2: Connecting the MIDI Interface to Your Computer
Before connecting a MIDI interface, be sure your computer supports the MIDI interface
you plan to use.
Stage 3: Adding the Control Surface to Soundtrack Pro
For details, see Adding and Deleting Control Surfaces.
Stage 4: Mapping the Controls You Want to Use to Soundtrack Pro Commands
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.
For more information, see Premapped Controls and Mapping Commands to Control
Surface Buttons.
Stage 5: Recording Control Surface Automation Data in Your Project
Recorded control surface automation data appears in the corresponding envelope in the
Timeline. For more information, see Recording Control Surface Automation.
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.
Preference pane with no
control surface
connected.
To add a connected control surface using the Mackie Control protocol
1Choose Soundtrack Pro > Preferences, or press Command–Comma (,).
2Click the Control Surfaces button.
404 Chapter 18 Using Control Surfaces with Soundtrack Pro
3Choose Mackie from the Use pop-up menu.
Use pop-up menu
4Click the Add (+) button to add the control surface.
A dialog appears with pop-up menus for Control Surface Type, Input Connection, and
Output Connection.
5Choose the type of control surface you have connected from the Control Surface Type
pop-up menu.
6Choose the MIDI input port to use for the control surface from the Input Connection
pop-up menu.
7Choose the MIDI output port to use for the control surface from the Output Connection
pop-up menu.
8Click OK.
A visual representation of the control surface appears in the display area in the upper
part of the window.
Use pop-up menu
Previous and Next buttons
Control Surface Buttons
button
Summary information
Control Surfaces display
area
Add and Delete buttons
9Click the close button to dismiss the Preferences window.
405Chapter 18 Using Control Surfaces with Soundtrack Pro
Note: Double-click a Mackie control surface in the Control Surfaces display area to change
the Control Surface Type, Input Connections, and Output Connections.
To add a connected control surface using the Euphonix Control protocol
1Choose Soundtrack Pro > Preferences, or press Command–Comma (,).
2Click the Control Surfaces button.
3Choose Euphonix from the Use pop-up menu.
Preference pane with a
Euphonix control surface
connected.
4Click 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
1Choose Soundtrack Pro > Preferences, then click the Control Surfaces button.
2Select the control surface in the Control Surfaces display area.
3Click the Delete (–) button.
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:
Soundtrack Pro button or commandControl
Master volume (physical output channels 1-2)Master fader
Track volume sliderChannel strip volume faders
Track pan sliderChannel strip rotary knobs
Track Arm for Recording buttonChannel strip record-ready
buttons
Select the track.Channel strip select buttons
Track mute buttonChannel strip mute buttons
406 Chapter 18 Using Control Surfaces with Soundtrack Pro
Soundtrack Pro button or commandControl
Track solo buttonChannel strip solo buttons
Transport controls (Move back, Move forward, Play, Stop, Record)Transport controls
Moves playhead back or forward.Jog wheel
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
1Choose Soundtrack Pro > Preferences, then click the Control Surfaces button.
2Click the Control Surface Buttons button to show the Control Surface Buttons window.
3In 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.
4Optionally, 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.
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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,
you can record control surface movements while a project plays.
To record control surface movements, follow the procedures described in Recording
Automation Data.
You can thin automation data recorded from a control surface. For information on thinning
automation data, see Thinning Envelope Points in Recorded Automation Data.
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You can work with media files and projects from Final Cut Pro, DVD Studio Pro, Motion,
and other applications in Soundtrack Pro projects.
This chapter covers the following:
•Using Soundtrack Pro with Final Cut Pro (p. 409)
•Using Soundtrack Pro with DVD Studio Pro (p. 421)
•Using Soundtrack Pro with Motion (p. 423)
•Using Soundtrack Pro with Logic Pro (p. 424)
•Using Soundtrack Pro with Third-Party Applications (p. 425)
Using Soundtrack Pro with Final Cut Pro
You can use Soundtrack Pro for every aspect of creating audio for a project, from multitrack
recording to advanced audio processing and mixing. For example, you can send a clip’s
media file directly from Final Cut Pro to Soundtrack Pro, modify it, and then immediately
see the changes to your clip back in Final Cut Pro. You can also batch process audio files
using AppleScript documents created in Soundtrack Pro. However, one of the most
powerful advantages of using Soundtrack Pro is the ability to send entire sequences to
Soundtrack Pro and automatically conform them each time you make editorial changes
to a sequence in Final Cut Pro. For more information, see Using Conform with Final Cut Pro.
About Soundtrack Pro Audio File Projects
A Soundtrack Pro audio file project allows you to edit and process an audio media file
nondestructively, which means you can always alter or remove all of the actions you
applied and even get back to the original state of the audio. A Soundtrack Pro audio file
project is stored in a special Mac OS X format called a package (or bundle). A Mac OS X
package appears to be a single file in the Finder but actually contains a collection of files,
such as the original audio file, render files, and the list of actions applied to your audio
file. To take advantage of nondestructive editing, you can create a Soundtrack Pro audio
file project by either saving one from Soundtrack Pro or sending a clip or clips from
Final Cut Pro to a Soundtrack Pro audio file project.
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Using Soundtrack Pro with Other
Applications 19
Methods for Sending Audio from Final Cut Pro to Soundtrack Pro
You can take several approaches to working with your Final Cut Pro project’s audio in
Soundtrack Pro. The method you choose depends on your situation.
Do you need to make specific changes to audio clips in your project?
Final Cut Pro allows you to open one or more clips in the Soundtrack Pro File Editor, where
you can analyze and process the audio using a variety of powerful tools.
Do you need to batch process multiple audio files?
Using customizable Soundtrack Pro scripts, you can automate repetitive audio processing
tasks such as removing clicks, adding fades, or normalizing levels.
Do you need a complete audio post-production solution for your movie, including
sound editing, sweetening, and mixing?
You can send multiple Final Cut Pro clips—or even an entire sequence—to a
Soundtrack Pro multitrack project, where you can complete your final mix by adding
additional tracks of sound effects, voiceover, and music. Both stereo and surround sound
mixing are supported.
Sending Audio Clips from Final Cut Pro to Soundtrack Pro
There are three methods you can use to open a clip in the Soundtrack Pro File Editor:
•Send a clip item or items to Soundtrack Pro as a Soundtrack Pro audio file project: A
Soundtrack Pro audio file project is created for each item. This allows you to
nondestructively make changes to the audio in the Soundtrack Pro File Editor. The
original clips in Final Cut Pro are automatically reconnected to the new Soundtrack Pro
audio file projects. You have the option to copy the entire media file for each clip item,
or you can create trimmed versions with handles. For more information, see Sending
Clips from Final Cut Pro to the Soundtrack Pro File Editor.
•Process a clip with a Soundtrack Pro script: The clip opens in the File Editor, the actions
in the script are performed automatically, the clip is saved with the changes, and the
File Editor moves to the background so you can continue working in Final Cut Pro. If
your clip’s media file is a standard audio or video file, you have the option to create a
new Soundtrack Pro audio file project, so as to process the file nondestructively. If you
don’t take advantage of this option, the script processes the source media destructively
(permanently). If your clip’s media file is already a Soundtrack Pro audio file project,
the changes are nondestructive. For more information, see Processing a Clip’s Media
File with a Soundtrack Pro Script.
•Open a clip’s media file destructively in the Soundtrack Pro File Editor: If you do not use a
Soundtrack Pro audio file project for editing and you save the changes to the file in its
native format, or in any flat audio file format (such as AIFF, WAVE, and so on), any
changes you make to the audio file are destructive (permanent). For more information,
see Opening a Final Cut Pro Clip’s Media File in Soundtrack Pro.
410 Chapter 19 Using Soundtrack Pro with Other Applications
Sending Clips from Final Cut Pro to the Soundtrack Pro File Editor
When you send an audio clip from Final Cut Pro to the Soundtrack Pro File Editor, a
Soundtrack Pro audio file project is created with the file extension “.stap.” This file can be
edited nondestructively. The Final Cut Pro clip is reconnected to the new Soundtrack Pro
audio file project, so the original media file is not affected by what you do in the File
Editor. You can send single clips or multiple clips to Soundtrack Pro audio file projects.
Sending Linked Clips from Different Media Sources
You cannot send one or more audio clips from Final Cut Pro to Soundtrack Pro as audio
file projects that contain audio linked from different media sources.
Examples of audio linked from different media sources include:
• Audio captured in Final Cut Pro as mono clips that are later linked as stereo pairs or
multichannel clips
• An audio clip linked to video from a different media file
• An audio clip linked to audio from a different audio file
With linked media, you must either send the clip or clips from Final Cut Pro to
Soundtrack Pro as a multitrack project, or you must first unlink the media files in
Final Cut Pro. For more information on sending clips from Final Cut Pro to Soundtrack Pro
as a multitrack project, see Sending a Final Cut Pro Sequence or Clip Selection to a
Multitrack Project. For more information on modifying linked media in Final Cut Pro,
see the Final Cut Pro User Manual.
To send a single Final Cut Pro clip to the Soundtrack Pro File Editor
1Do one of the following:
• Select the clip in the Final Cut Pro Browser or Timeline, then choose File > Send To >
Soundtrack Pro Audio File Project.
• Control-click the clip in the Final Cut Pro Browser or Timeline, then choose Send To >
Soundtrack Pro Audio File Project from the shortcut menu.
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The Save dialog appears.
2In the Save dialog, do the following:
aEnter a name for the Soundtrack Pro audio file project.
bChoose a location to save the Soundtrack Pro audio file project.
cSelect “Send only referenced media” to copy only the used section of the media
(between the In and Out points) to the new Soundtrack Pro audio file project.
This is recommended unless you intend to edit the entire source file.
dTo add media handles when the “Send only referenced media” option is selected, enter
handle durations in the In Handle and Out Handle fields.
3Click Save.
A Soundtrack Pro audio file project is created and opened in the Soundtrack Pro File
Editor. The Final Cut Pro clip is reconnected to the new Soundtrack Pro audio file project
instead of its original media file.
4Modify the audio as needed.
5Choose File > Save to save the project with the changes.
A dialog appears allowing you to choose whether the Soundtrack Pro audio file project
should include a copy of the original audio media file or simply refer to it.
412 Chapter 19 Using Soundtrack Pro with Other Applications
6Choose one of the following, then click OK.
•Include Source Audio: This option copies the original audio media file into the
Soundtrack Pro audio file project package. Because the audio file project has its own
copy of the original media, it is self-contained and doesn’t rely on any external audio
files. This option simplifies media management and makes it easier to transfer the audio
file project to other computers. However, this increases the project file size and therefore
requires more disk space.
•Reference Source Audio: This option creates a link to the original source audio file,
resulting in a smaller project file. However, to use this project file, you always need to
keep track of the original source audio file. If you accidentally delete the original media
file, the Soundtrack Pro audio file project can no longer play back. Choose the Reference
Source Audio option only if the media is in a shared location accessible from any
computer you might use to access the Soundtrack Pro audio file project.
When you return to Final Cut Pro, the clip now connects to the new Soundtrack Pro audio
file project.
To send multiple Final Cut Pro clips to Soundtrack Pro
1Select multiple clips in the Final Cut Pro Browser or Timeline.
2Do one of the following:
• Choose File > Send To > Soundtrack Pro Audio File Project.
• Control-click the selection, then choose Send To > Soundtrack Pro Audio File Project
from the shortcut menu.
3In the Save dialog, choose a location to save the new Soundtrack Pro audio file projects.
To create a new folder, press Command-Shift-N, enter a name for the folder, then click
Create.
4Click OK.
A Soundtrack Pro audio file project is created for each clip selected in Final Cut Pro. Each
Soundtrack Pro audio file project is then opened in a File Editor tab in Soundtrack Pro.
Processing a Clip’s Media File with a Soundtrack Pro Script
Soundtrack Pro scripts are AppleScript droplets containing Soundtrack Pro File Editor
actions. Scripts can be created in Soundtrack Pro or a script editing application such as
Script Editor, the AppleScript application included with Mac OS X.
When you send a Final Cut Pro clip’s media to a Soundtrack Pro script, the following steps
occur for each unique file:
• With your consent, Final Cut Pro generates a Soundtrack Pro audio file project and
replaces the clip’s media file with it.
• The audio file project or the clip’s media file opens in the Soundtrack Pro File Editor.
413Chapter 19 Using Soundtrack Pro with Other Applications
• The script actions are applied to the audio file project or the media file.
• The audio file project or the clip’s media file is saved with the changes.
If your clip’s media file is a standard audio or video file, you have the option to create a
new Soundtrack Pro audio file project so as to process the file nondestructively. If you
don’t take advantage of this option, the script processes the source media destructively
(permanently). If your clip’s media file is already a Soundtrack Pro audio file project, the
changes are nondestructive.
To modify one or more clips’ media files using a Soundtrack Pro script
1Select the clips in the Final Cut Pro Browser or Timeline.
2Do one of the following:
• Choose File > Send To > Soundtrack Pro Script.
• Control-click the selection, then choose Send To > Soundtrack Pro Script from the
shortcut menu.
3Choose the script you want to use from the submenu.
Note: If you have not created custom Soundtrack Pro scripts and saved them to the
default Soundtrack Pro script location, no scripts appear in the submenu.
By default, a dialog appears offering to convert each clip’s media file to a Soundtrack Pro
audio file project, which allows for nondestructive editing.
4Choose one of the following options:
•Yes: Creates a Soundtrack Pro audio file project for each clip and then prompts you for
a location to save these project files. You can create a new folder by pressing
Command-Shift-N.
•No: This option edits the files destructively, making permanent changes to the original
media files.
•Cancel: Cancels the script operation.
Soundtrack Pro opens and each clip is automatically opened, edited, saved, and closed
in the File Editor.
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 with the last script used
µControl-click the clip in the Final Cut Pro Browser or Timeline, then choose Send To > Last
Soundtrack Pro Script from the shortcut menu.
To disable the dialog that appears when you use the Send To Soundtrack Pro Script
command
1Choose Final Cut Pro > User Preferences, then click the Editing tab.
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2Deselect the Warn on “Send to Soundtrack Pro Script” option, then click OK.
Opening a Final Cut Pro Clip’s Media File in Soundtrack Pro
You can open a Final Cut Pro clip’s media file directly in the Soundtrack Pro File Editor by
choosing the Open in Editor command or by opening the file from the Finder.
Important: In either of these cases, if you make changes in the Soundtrack Pro File Editor
and save those changes to the original file, your changes will be destructive and
permanent. To edit nondestructively, you can save the file as a Soundtrack Pro audio file
project and import that file into Final Cut Pro.
You can specify that audio clips open in Soundtrack Pro when you choose the Open in
Editor command. This ensures that Final Cut Pro automatically opens Soundtrack Pro
when you choose the command and that, when you return to Final Cut Pro, the clip is
automatically reconnected to the updated media file. You can also choose Soundtrack Pro
for editing video files if you work with a lot of linked video and audio clip items. For more
information, see the Final Cut Pro User Manual.
To set Soundtrack Pro as the default application to open Final Cut Pro audio clips
1In Final Cut Pro, choose Final Cut Pro > System Settings, then click the External Editors
tab.
2Make sure that Soundtrack Pro is the application set to open audio files.
To open a Final Cut Pro audio clip’s media file directly in the Soundtrack Pro File Editor
1Control-click the audio clip in the Final Cut Pro Browser or Timeline, then choose Open
in Editor from the shortcut menu.
The audio clip’s media file opens in the Soundtrack Pro File Editor.
2In Soundtrack Pro, modify the audio as needed.
3Choose File > Save to save the file with the changes.
The Save dialog appears.
4By default, the File Type pop-up menu is set to Audio File Project, which saves the changes
nondestructively. If you wish to permanently modify the original file, choose the original
file type and filename. Soundtrack Pro will ask if you’re sure you want to overwrite the
file. Click OK only if you’re sure that you no longer need your unedited media.
5Click Save.
6If you saved the file with a different filename or different file type, you must manually
add the new file to your Final Cut Pro sequence.
Important: Unless you save a Soundtrack Pro audio file project, this is a destructive process
that permanently modifies the original file.
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Creating Multitrack Projects from Final Cut Pro Clips or Sequences
Soundtrack Pro multitrack projects are similar to Final Cut Pro projects: they contain
multiple audio tracks in a Timeline that you can use to arrange clips in sequence. Like
Final Cut Pro sequences, clips in a multitrack project refer to media files stored elsewhere,
so the project file size stays small. Multitrack projects also contain a single video track for
synchronizing your audio to picture.
Multitrack projects have track controls for volume, pan, mute, solo, effects, and effect
parameters. You can create additional audio busses and submixes for grouping signals
from audio tracks together or for effect sends. Tracks, busses, and submixes can be
exported to individual audio files or to a stereo or multichannel mixdown. These
Soundtrack Pro features are particularly useful for creating stem mixes that you can send
back to Final Cut Pro.
You can create a Soundtrack Pro multitrack project from a selection of Final Cut Pro clips
or an entire sequence. The multitrack project opens automatically in the Soundtrack Pro
Timeline, and clips appear just as they did in your Final Cut Pro sequence, complete with
level and pan settings and crossfades. The project tab in Soundtrack Pro displays the
name of the Final Cut Pro sequence from which the project was exported. In
Soundtrack Pro, you can arrange your clips, add effects, and create a finished mix. The
final mix can be exported from Soundtrack Pro and automatically imported into
Final Cut Pro in sync with your original sequence.
Note: Some information from Final Cut Pro is not included in the multitrack project, such
as pan settings for stereo pairs, generators, and effects applied to clips.
Sending a Final Cut Pro Sequence or Clip Selection to a Multitrack Project
Creating a Soundtrack Pro multitrack project from within Final Cut Pro is a simple process.
To create a multitrack project from a sequence or a group of clips
1Select a sequence in the Final Cut Pro Browser, or select multiple clips in the Timeline.
2Do one of the following:
• Choose File > Send To > Soundtrack Pro Multitrack Project.
• Control-click the selection, then choose Send To > Soundtrack Pro Multitrack Project
from the shortcut menu.
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The Save dialog appears.
3In the dialog that appears, select from the following options:
•Open in Soundtrack Pro Multitrack Editor: Select this option to open the multitrack project
in Soundtrack Pro after it is created.
•Include Background Video: Select this option to render the video in your Final Cut Pro
sequence. The Soundtrack Pro multitrack project will refer to this file in its video track
so you can see your video while you edit. Select what kind of background video you
want to export:
•Fully Rendered Video (slow): Your entire sequence is rendered at full quality to a
QuickTime movie file. This option is recommended if the project is to be moved to
another computer.
•Base Layer Video (fast): Any sequence segment that requires rendering in Safe RT
mode (in other words, any segment with a red render bar) is exported without effects.
These files are not portable to a different computer. For more information, see the
Final Cut Pro User Manual.
•Save project with latest clip metadata (recommended): Select this option to ensure an
accurate change history by having Final Cut Pro automatically save the project after
the send process.
4Enter a project name or keep the default name, then click Save.
A Soundtrack Pro multitrack project file is created with the file extension “.stmp.”
Note: This is a small file that refers to the media files used by your Final Cut Pro sequence
clips. Make sure those media files are available when the Soundtrack Pro multitrack project
opens.
If you selected Open in Soundtrack Pro Multitrack Editor, the multitrack project opens in
the Soundtrack Pro Timeline.
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5When you finish working on the project in Soundtrack Pro, choose File > Save.
6Modify the multitrack project as needed.
When you have followed the steps described above, you can send a mixdown back to
Final Cut Pro.
For more information about the relationship between Soundtrack Pro multitrack projects
and Final Cut Pro sequences, see Creating Multitrack Projects from Final Cut Pro Clips or
Sequences.
Sending a Mixdown Back to Final Cut Pro Automatically
When you create a Soundtrack Pro multitrack project from within Final Cut Pro, all of the
sequence clip information is stored in the multitrack project. When you export a mixdown
of the multitrack project in Soundtrack Pro, you can also choose to open a new copy of
the Final Cut Pro sequence that looks just like the original sequence but has additional
audio tracks that contain your mixdown.
Note: Clip information is sent from Soundtrack Pro to Final Cut Pro using the Final Cut Pro
XML Interchange Format.
To export a mixdown and open a new copy of a Final Cut Pro sequence containing the
mixdown
1In Soundtrack Pro, open the multitrack project you want to mix down.
2Choose File > Export.
3If you wish, choose options from the following pop-up menus:
•Exported Items: Choose an entire mix, or individual tracks, busses, or submixes, or some
combination thereof.
•File Type: The default (AIFF File) is appropriate for Final Cut Pro use.
•Bit Depth: Choose the setting appropriate for your Final Cut Pro project.
•Sample Rate: Choose the setting appropriate for your Final Cut Pro project.
•Preset: Optionally, you can save a preset combining all of the above settings, for future
exports.
4Choose “Send files to Final Cut Pro sequence” from the After Export pop-up menu.
5Enter a name for the exported file and click Export.
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Soundtrack Pro exports mixdown files from the multitrack project and adds them to a
Final Cut Pro XML file containing the original sequence. For your convenience, the audio
tracks from the original sequence are moved to other tracks and are muted.
In Final Cut Pro, the Import XML dialog appears.
6Use the Destination pop-up menu to choose your original project, then click OK.
A copy of your original sequence (with the name you specified earlier) appears in the
Browser.
7Double-click the new sequence in the Browser to open it in the Timeline.
The sequence opens with the mixdown audio correctly synchronized to your clips in the
Timeline and the original audio tracks muted.
When you want to work on the project in Soundtrack Pro again, you can reopen it from
the Final Cut Pro Timeline.
To open a Soundtrack Pro multitrack project from a mixdown clip in Final Cut Pro
1In your Final Cut Pro sequence, Control-click the mixdown clip, then choose Open in
Editor from the shortcut menu.
Make sure that the Open in Editor command is set to open audio files in Soundtrack Pro.
For information, see Opening a Final Cut Pro Clip’s Media File in Soundtrack Pro. A dialog
appears with the following options:
•Open Audio File: Opens the mixdown audio file in the Soundtrack Pro File Editor.
•Open Project: Opens the Soundtrack Pro multitrack project linked to the mixdown audio
file.
2Click Open Project.
The Soundtrack Pro multitrack project linked to the mixdown audio file opens in
Soundtrack Pro.
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To make changes to a Soundtrack Pro multitrack project that was previously exported
to Final Cut Pro as a mixdown clip
1In your Final Cut Pro sequence, Control-click the mixdown clip, then choose Open in
Editor from the shortcut menu.
Make sure that the Open in Editor command is set to open audio files in Soundtrack Pro.
For information, see Opening a Final Cut Pro Clip’s Media File in Soundtrack Pro. A dialog
appears with the following options:
•Open Audio File: Opens the mixdown audio file in the Soundtrack Pro File Editor.
•Open Project: Opens the Soundtrack Pro multitrack project linked to the mixdown audio
file.
2Click Open Project.
The Soundtrack Pro multitrack project linked to the mixdown audio file opens in
Soundtrack Pro.
3Once the multitrack project opens in Soundtrack Pro, make changes to the multitrack
project, then choose File > Save to save the project.
4Choose File > Export.
5If you wish, you may choose options in the following pop-up menus:
•Exported Items: Choose an entire mix, or individual tracks, busses, or submixes, or some
combination thereof.
•File Type: The default (AIFF File) is appropriate for Final Cut Pro use.
•Bit Depth: Choose the setting appropriate for your Final Cut Pro project.
•Sample Rate: Choose the setting appropriate for your Final Cut Pro project.
•Preset: Optionally, you can save a preset combining all of the above settings to use for
future exports.
6In the After Export pop-up menu, choose “Send files to Final Cut Pro sequence.”
7Enter a name for the exported file and click Export.
Soundtrack Pro exports mixdown files from the multitrack project and adds them to a
Final Cut Pro XML file containing the original sequence. For your convenience, the audio
tracks from the original sequence are moved to other tracks and are muted.
420 Chapter 19 Using Soundtrack Pro with Other Applications
In Final Cut Pro, the Import XML dialog appears.
8Use the Destination pop-up menu to choose your original project, then click OK.
A copy of your original sequence (with the name you specified in step 5) appears in the
Browser.
9Double-click the new sequence in the Browser to open it in the Timeline.
The sequence opens with the mixdown audio correctly synchronized to your clips in the
Timeline and the original audio tracks muted.
10 Switch to Final Cut Pro and open the sequence containing your mixdown.
The mixdown clip remains in the same location, but the media file it refers to has been
replaced by your new mixdown file, so the mixdown is now updated in Final Cut Pro.
Note: For information about using the Soundtrack Pro Conform feature to merge a picture
edit and the sound edit of the same Final Cut Pro sequence, see Using Conform with
Final Cut Pro.
For more information about the relationship between Soundtrack Pro multitrack projects
and Final Cut Pro sequences, see Creating Multitrack Projects from Final Cut Pro Clips or
Sequences.
Using Soundtrack Pro with DVD Studio Pro
Soundtrack Pro and DVD Studio Pro offer two possible workflows for editing
DVD Studio Pro audio clips.
•Import two-channel Soundtrack Pro audio file projects into DVD Studio Pro projects: This
allows you to take advantage of the powerful features of the Soundtrack Pro File Editor
to nondestructively modify the original audio source file. You can import and use
Soundtrack Pro audio file projects in your DVD Studio Pro projects like any other audio
files. When you need to make a change to an audio file project, it opens in
Soundtrack Pro. Once you save the project in Soundtrack Pro, it automatically updates
in DVD Studio Pro.
421Chapter 19 Using Soundtrack Pro with Other Applications
•Edit a DVD Studio Pro clip destructively by opening it in the Soundtrack Pro File Editor: Once
you have edited and saved the file in Soundtrack Pro, it updates in DVD Studio Pro. You
hear the changes in DVD Studio Pro without having to reimport the clip.
To make a change to a Soundtrack Pro audio file project from a DVD Studio Pro project
1Import a Soundtrack Pro audio file project into DVD Studio Pro.
Note: If you import a Soundtrack Pro audio file project that includes more than two
channels, DVD Studio Pro only uses the first two channels.
2Do one of the following to open the audio file project in Soundtrack Pro:
• Select the file in the Assets tab, then choose File > Asset > Open In Editor.
• Control-click the file in the Assets tab, then choose Open In Editor from the shortcut
menu.
Soundtrack Pro opens with this audio file project in its File Editor.
3Make the needed changes to the audio file project in Soundtrack Pro and save the project.
4Switch back to DVD Studio Pro.
The Asset Refresh dialog appears, letting you know that the audio file project has changed.
Play the file to hear the changes in DVD Studio Pro. You can click Show Log in the dialog
to see a list of elements that use this file.
To edit an audio clip destructively in the File Editor
1In DVD Studio Pro, Control-click the clip, then choose Open With from the shortcut menu.
2In the dialog that appears, select Soundtrack Pro and click Choose.
Soundtrack Pro opens and the clip appears in the File Editor.
3Edit the clip in the File Editor.
You can edit the audio file project in the File Editor using the commands and functions
described in Working in the File Editor. You can apply actions or analyze the file and fix
analyzed problems.
4When you are finished editing the clip, do one of the following:
• Choose File > Save.
• Choose File > Save As.
Make sure the name, location, and file type in the Save As dialog are the same as for
the clip’s source file.
5Click Save.
Note: You can also save the clip in Soundtrack Pro as an audio file project, which lets you
use the workflow described in Working in the File Editor.
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Using Soundtrack Pro with Motion
You can edit a Motion audio track nondestructively by sending it to the File Editor as an
audio file project. Sending an audio track to the File Editor as an audio file project lets
you exchange audio media and projects between Motion and Soundtrack Pro. When you
save your changes in the File Editor, the clip is updated in Motion without having to be
reimported.
To edit a Motion audio track nondestructively in the File Editor, you send the clip to the
File Editor as a new audio file project, edit the clip in the File 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 File Editor, a new audio file project
(with the file type .stap) is created for the track.
To send an audio track from Motion to the File Editor
1In the Motion Audio tab or Timeline Layer list, do one of the following:
• Select the audio track, then choose Edit > Send Audio to Soundtrack Pro.
• Control-click the audio track, then choose Send to Soundtrack Pro from the shortcut
menu.
A new audio file project is created for the audio track, and a Save As dialog appears.
2In the Save As dialog, enter a name for the new project, then navigate to a location to
save the project.
A new audio file project containing the audio track opens in the Soundtrack Pro File
Editor.
3Edit the audio file project in the File Editor.
You can use the commands and functions described in Working in the File Editor. 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.
4In Soundtrack Pro, choose File > Save.
The clip is updated in Motion. You hear the clip with the changes you made in the File
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.
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Using Soundtrack Pro with Logic Pro
You can edit a Logic Pro audio track nondestructively by sending it to the File Editor as
an audio file project. Sending an audio track to the File Editor as an audio file project lets
you exchange audio media and projects between Logic Pro and Soundtrack Pro. When
you save your changes in the File Editor, the clip is updated in Logic Pro without having
to be reimported.
To edit a Logic Pro audio track nondestructively in the File Editor, you send the track to
the File Editor as a new audio file project, edit the clip in the File Editor, then save the
audio file project. After following these steps, you can make roundtrips between Logic Pro
and Soundtrack Pro so you can keep working in both applications.
When you send a Logic Pro project to the Soundtrack Pro File Editor, a copy of the original
file is made, and a new Soundtrack Pro audio file project (with the file type .stap) is created
and linked to the original file.
To send a project from Logic Pro to the File Editor
1In Logic Pro, select the track you wish to edit in Soundtrack Pro.
2Choose Options > Audio > Open in Soundtrack Pro (or press Shift–W).
A copy of the original audio file is made, and a new audio file project is created in
Soundtrack Pro. The new audio file project is automatically named the name of the sent
track, with the file extension .stap.
3Edit the audio file project in the File Editor.
You can use the commands and functions described in Working in the File Editor. 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.
4In Soundtrack Pro, do one of the following:
• Choose File > Save to save the audio file project along with a flattened version of the
source audio clip in the same location as the source audio clip.
• Choose File > Save As, then navigate to a location to save the project to a different
location.
When you return to Logic Pro, the clip is updated. You hear the clip with the changes
you made in the File Editor, without having to reimport the clip. You can make roundtrips
between Logic Pro 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
Soundtrack Pro.
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Using Soundtrack Pro with Third-Party Applications
You can use Soundtrack Pro to exchange media and project files with third-party
applications.
Exchanging OMF and AAF Files with Other Applications
When you “send” a Final Cut Pro sequence to a Soundtrack Pro multitrack project, you
are using the Final Cut Pro XML Interchange Format to transfer the data between the two
applications. Open Media Framework (OMF) and Advanced Authoring Format (AAF) are
two industry-standard project interchange formats that Soundtrack Pro can use to share
projects and import the editing decisions from other (third-party) video and audio editing
applications. You can also export a multitrack project from Soundtrack Pro as an AAF file.
For more information on sending Final Cut Pro sequences to Soundtrack Pro multitrack
projects, see Using Soundtrack Pro with Final Cut Pro.
Importing OMF and AAF Files
You can import OMF and AAF Files into Soundtrack Pro.
To import an OMF file
1Choose File > Import OMF.
The Import OMF dialog appears.
2Use the dialog to select the file and click Import OMF.
A progress bar shows that the file is being translated and the project opens in
Soundtrack Pro.
To import an AAF file
1Choose File > Import AAF.
The Import AAF dialog appears.
2Use the dialog to select the file and click Import AAF.
A progress bar shows that the file is being translated and the project opens in
Soundtrack Pro.
The multitrack projects created from importing OMF and AAF files include any available
pan and volume information.
Using OMF and AAF Files
The OMF and AAF formats provide a way to consolidate all of the audio files and audio
edits from a third-party video or audio editing application into one portable package.
The picture editor can choose to include handles (extra footage beyond the In and Out
points of a clip that provides a safety margin in case you need it during the sound edit
and mix).
425Chapter 19 Using Soundtrack Pro with Other Applications
Here are some things to keep in mind when using OMF and AAF files:
• OMF and AAF exports generally omit unused media to keep the overall file size low. If
you want to “steal” a performance from another take, you might be out of luck with
an OMF or AAF export.
• OMF or AAF exported files are usually truncated. If a music piece was edited into many
small clips during the picture edit, the OMF and AAF export process applies those edits
permanently on the file level. Sound editors usually prefer to have one original piece
of music with (nondestructive) edits referring to it.
• It is always a good idea to have single-frame “sync pops” at the top and tail of the video
and every single audio track to verify synchronization.
• OMF and AAF files do not include video, so usually a video file needs to be exported
separately.
• To exchange OMF and AAF files with ProTools, you will need DigiTranslator, the
Digidesign interchange application, which is sold separately.
• Volume automation and panning automation are not always included in OMF and AAF
files.
• OMF and AAF exports often include audio files with very long and complicated
filenames.
• OMF and AAF exports support a single sample rate. All the audio files in a single export
must have the same sample rate.
• OMF packages (that contain media) are limited to a 2 GB maximum file size.
Exporting to AAF
You can export Soundtrack Pro multitrack projects as AAF files.
To export a project to an AAF file
1Choose File > Export AAF.
The Save dialog appears.
2In the Save dialog, enter a name for the file, then navigate to the location where you
want to save it, then click Save.
Manually Creating Audio File Project and File Links
When working with applications that do not link to Soundtrack Pro audio file projects, it
is useful to manually create a relationship between an audio file and an audio file project.
Once this is done, every time you save the audio file project, a new copy of the flat file is
saved at the same time.
To manually create a link between an audio file and an audio file project
1Open the audio file you wish to link to an audio file project.
2Choose File > Save (or press Command–S).
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The Save dialog appears.
3In the Save dialog, enter a name for the file, then navigate to the location where you
want to save it, then click Save.
An audio file project is created with the name you entered.
4Choose File > Save a Copy As (or press Command–Control–S).
The Save dialog appears.
5In the Save dialog, navigate to the location of the original file, then select the file.
6Choose the type of the original source file from the File Type pop-up menu.
7Click Save.
8Choose File > Save As (or press Command–S).
The Save dialog appears.
9In the Save dialog, navigate to the location of the original audio file project.
10 Select the Update Flat Copy checkbox.
11 Click Save.
Every time the audio file project is saved, a new copy of the flat file is saved at the same
time.
Using Exported Audio Files with Other Applications
You can open an audio file exported from Soundtrack Pro (a project mix; an exported
track, bus, or submix; or an audio file project) in any application that supports audio files.
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
to action settings and other edits.
If you export a saved multitrack project using File > Export, 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 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.
427Chapter 19 Using Soundtrack Pro with Other Applications
Once you have created a final mix of a multitrack project, you can choose from several
different ways to deliver it. You can export the project mix or export individual tracks,
busses, or submixes to a wide variety of formats.
This chapter covers the following:
•About Exporting (p. 430)
•Export File Formats Available in Soundtrack Pro (p. 430)
•About Export Options (p. 430)
•General Export Options (p. 432)
•About Export Options for AIFF, WAVE, and Other Formats (p. 434)
•About MP3 Export Options (p. 435)
•About AAC/Podcast Export Options (p. 436)
•About Dolby Digital Professional (AC-3) Export Options (p. 439)
•About Export Options Using Compressor (p. 444)
•Exporting Part of a Multitrack Project (p. 445)
•Exporting a Master Mix (p. 446)
•Exporting Tracks, Busses, and Submixes Separately (p. 454)
•About Exporting Multiple Mono Files (p. 455)
•Exporting to AAF (p. 456)
•Using Post-Export Actions (p. 457)
•Using Export Presets (p. 458)
•Distributing a Multitrack Project and Its Media Files Together (p. 460)
429
Exporting Multitrack Projects 20
About Exporting
You can export a project to a mono, stereo, or multichannel audio file. You can export
all, or selected, tracks, busses, or submixes to either stereo or multichannel audio files, or
to groups of mono files. And you can create as many mixes of your project as you like by
selecting or muting tracks, busses, and submixes; adjusting controls, effects, and envelopes;
and then exporting each version as a separate mix.
The Soundtrack Pro Export dialog includes a variety of post-export actions that can
automatically open the exported files in a Final Cut Pro sequence or in File Editor project
view, place exported files on new tracks, or export a mix to Motion, Logic, or Waveburner.
You can also add your own custom AppleScript actions using the Export dialog.
To streamline your workflow, you can create custom export presets with any combination
of exported items, file types, bit depths, sample rates, and post-export actions.
Export File Formats Available in Soundtrack Pro
Export file formats include the following standard audio file types:
• AIFF
• WAVE
• NeXT
• Sound Designer II
• MP3
• AAC/Podcast
• Dolby Digital Professional (AC-3)
Note: Dolby Digital Professional encoding is available only on computers that have
Final Cut Studio installed.
• AAF
You can also export a project to a variety of formats using Compressor, the Final Cut Studio
transcoding application. And you can save a multitrack project with all of the media files
it uses together in the same folder.
About Export Options
The Export dialog in Soundtrack Pro is a flexible tool that provides numerous alternatives
for your workflow and distribution needs.
430 Chapter 20 Exporting Multitrack Projects
To open the Export dialog for a multitrack project
µChoose File > Export (or press Command-E).
Options available in the Export dialog depend on the nature of the export:
• For general export options, see General Export Options.
• For export options related to AIFF, WAVE, NeXT, and Sound Designer II formats, see
About Export Options for AIFF, WAVE, and Other Formats.
• For export options related to the MP3 format, see About MP3 Export Options.
• For export options related to AAC and podcast formats, see About AAC/Podcast Export
Options.
• For export options related to the Dolby Digital Professional (AC-3) format, see About
Dolby Digital Professional (AC-3) Export Options.
• For export options using Compressor, see About Export Options Using Compressor.
431Chapter 20 Exporting Multitrack Projects
General Export Options
There are several export options that are available no matter which format you choose
to export.
General Options
The following options are available for any format you choose to export.
•Filename: You can enter a filename for the exported file.
•Location: You must choose a location for the exported file.
•Preset pop-up menu: You can create custom export presets with any combination of
exported items, file types, bit depths, sample rates, and post-export actions. For more
information about using export presets and the Preset pop-up menu, see Using Export
Presets.
•Exported Items pop-up menu: Choose to export a master mix or export the component
parts of your multitrack project as individual files or as groups of files.
For more information about exporting the component parts of your multitrack project,
see Exporting Tracks, Busses, and Submixes Separately.
•Master Mix: Also called a project mixdown. This is a single audio file that contains all
of the elements and settings in your multitrack project. When you export a master
mix, all unmuted tracks, busses, and submixes that are routed to hardware output
jacks are included in the exported file. You can exclude any tracks, busses, and
submixes from the exported mix by muting them. For more information about
exporting a master mix, see Exporting a Master Mix.
•Selected Tracks, Busses, and Submixes: Exports selected tracks, busses, and submixes
only. If nothing is selected, each unmuted track, bus, and submix is exported as a
separate file.
432 Chapter 20 Exporting Multitrack Projects
•All Tracks, Busses, and Submixes: Exports each unmuted track, bus, and submix as a
separate file.
•All Tracks: Exports each unmuted track as a separate file.
•All Busses: Exports each unmuted bus as a separate file.
•All Submixes: Exports each unmuted submix as a separate file.
•File Type pop-up menu: Choose the file type for the exported audio file or files. For more
information, see Exporting a Master Mix.
Additional Export Options
Depending on the format you choose to export, additional options appear in the center
section of the Export dialog. For more information, see About Export Options for AIFF,
WAVE, and Other Formats,About MP3 Export Options,About AAC/Podcast Export Options,
About Dolby Digital Professional (AC-3) Export Options,orAbout Export Options Using
Compressor.
After Export Options
These options determine an action to be executed once the export is complete.
•After Export pop-up menu: You can choose a post-export action to be executed once
the export is complete. These actions automate parts of your workflow and can save
you time and effort. Soundtrack Pro includes several default actions. For more
information, see Using Post-Export Actions.
•Send files to Final Cut Pro sequence: Opens Final Cut Pro and allows you to quickly
create a new sequence, and insert the exported file in the sequence. If you originally
sent the project from Final Cut Pro to Soundtrack Pro, the new sequence looks just
like the original sequence but has additional audio tracks that contain your mixdown.
•Send files to File Editor: Opens the exported file in the File Editor project view.
•Send files to new tracks: Inserts the exported file into a new track in the Timeline.
•Send files to iTunes: Opens the exported file in iTunes.
•Send files to Logic: Opens the exported file in Logic.
•Send files to Motion: Opens the exported file in Motion.
•Send files to Waveburner: Opens the exported file in Waveburner.
433Chapter 20 Exporting Multitrack Projects
About Export Options for AIFF, WAVE, and Other Formats
In addition to the general options for all export formats (see General Export Options), the
following options are available when you export to the AIFF, WAVE, NeXT, or Sound
Designer II formats.
•Create multiple mono files checkbox: Select this checkbox to export a separate audio
file for each output channel in your multitrack project. For more information, see About
Exporting Multiple Mono Files.
•Bit Depth pop-up menu: Choose a bit depth for the exported file.
•Sample Rate pop-up menu: The sample rate is the number of times an analog signal is
measured—or sampled—per second. The higher the sample rate, the higher the quality
and the larger the file size, but don’t choose a sample rate higher than the rate used
in your multitrack project or you’ll waste space.
434 Chapter 20 Exporting Multitrack Projects
About MP3 Export Options
In addition to the general options for all export formats (see General Export Options), the
following options are available when you export as an MP3 file.
•Stereo Bit Rate pop-up menu: The higher the mono or stereo kilobits per second (Kbps),
the higher the audio quality and the larger the file size. The most common bit rate for
stereo MP3 files is between 128 Kbps and 192 Kbps. Lower bit rates are more appropriate
for sound files containing voice recordings (as opposed to music).
Some example settings and uses include:
•32 kbps: AM radio quality, suitable for medium-quality speech
•96 kbps: FM radio quality, suitable for high-quality speech or medium-quality music
•128 kbps: Suitable for good-quality music
•256 kbps and 320 kbps: Suitable for music that is near audio CD quality
•Use Variable Bit Rate Encoding (VBR) checkbox: This setting varies the number of bits
used to store the music depending on the complexity of the music. This can help keep
file size to a minimum.
•Sample Rate pop-up menu: The sample rate is the number of times an analog signal is
measured—or sampled—per second. The higher the sample rate, the higher the quality
and the larger the file size, but don’t choose a sample rate higher than the rate used
in your multitrack project or you’ll waste space.
•Channels pop-up menu: If your project is monaural or if the target playback device is
mono, choose Mono. (Mono files are about half the size of stereo files.) If your project
output is in stereo and the target playback device is stereo, choose Stereo.
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•Joint Stereo checkbox: When deselected, your MP3 files contain one track for the right
stereo channel and one track for the left. In many cases, the two channels contain
related information. When the Joint Stereo checkbox is selected, one channel carries
the information that’s identical on both channels, and the other channel carries the
unique information. At bit rates of 160 Kbps and below, this can improve the sound
quality of your converted audio.
•Smart Encoding Adjustments checkbox: Select this to have Compressor analyze your
encoding settings and music source, and then adjust settings to maximize quality.
•Filter Frequencies Below 10 Hz checkbox: Filtering inaudible frequencies results in smaller,
more efficient files without perceptible loss of quality.
About AAC/Podcast Export Options
In addition to the general options for all export formats (see General Export Options),
there are additional options when you export as AAC/Podcast files. The AAC/Podcast
export options are divided into three separate panes: Audio, Streaming, and Podcast.
About Options in the Audio Pane for AAC/Podcast Export
The following export options are available in the Audio pane:
•Channels pop-up menu: Choose either mono or stereo for the exported media file.
•Sample Rate pop-up menu: Choose from one of the following sample rates: 8, 11.025,
12, 16, 22.050, 24, 32, 44.1, or 48 kHz. You can also choose Recommended to have
Soundtrack Pro automatically choose a sample rate that is suitable for the Channels
and Bit Rate settings.
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•Quality pop-up menu: Choose one of the following for the audio quality of your output
media file:
•Low: This allows for fast transcoding, but at the expense of output file quality.
•Medium: The audio quality is better than Low, but this takes longer to transcode.
•High: This is the best audio quality setting available. Use this setting when the audio
quality is important for the output media file and you don’t mind how long it takes
to transcode.
•Bit Rate slider and field: Move the slider to set the overall audio bit rate for an exported
media file between the range of 16 Kbps (2 KB/sec.) to 256 Kbps (32 KB/sec.), or enter
a specific number in the accompanying field.
About Options in the Streaming Pane for AAC/Podcast Export
The following export options are available in the Streaming pane:
•Streaming hints enabled checkbox: Make sure that this box is selected if you want the
MPEG-4 Part 2 output format streaming settings to be applied.
•QuickTime Streaming Server Compatibility (pre v4.1) checkbox: Select this checkbox if
you want your exported file to work with an older QuickTime Streaming Server (version
4.1 or earlier). You don’t need to select this box if you are using a newer version of
QuickTime, because any streaming compatibility issues are automatically resolved.
•Maximum Packet Size field: Enter a number to specify the largest file size allowable (in
bytes) for a streaming packet in your output media file. The packet size you choose
should be no larger than the largest packet used on any network between the streaming
server and the viewer.
•Maximum Packet Duration field: Enter a number to specify the longest duration allowable
(in milliseconds) for a streaming packet in your output media file. The duration affects
MPEG-4 Part 2 audio only. It limits the maximum amount of audio (in milliseconds) in
any packet, which limits the audio dropout created by the loss of a packet.
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About Options in the Podcast Pane for AAC/Podcast Export
You can specify which type of podcast you want to export.
•No Video button: Select this option to export an audio-only (AAC) file. The resulting
podcast file will have the .m4a extension.
•Enhanced (images) button: Select this option to export an enhanced podcast containing
audio and chapter marker images. The resulting podcast file will have the .m4a extension
and will include chapters and web links if you specified them in Soundtrack Pro.
Note: “Enhanced (images)” is the only option that allows for still images to appear in
the resulting podcast.
For more information, see Creating Podcasts in Soundtrack Pro.
•Video Track button: Select this option to export an MPEG-4 (.m4v) file containing both
audio and video. For more details, see Exporting Video Podcasts Directly from
Soundtrack Pro.
For complete control over the various video parameters, use Compressor (instead of
this Export dialog). For more information, see Exporting a Master Mix Using Compressor.
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About Dolby Digital Professional (AC-3) Export Options
In addition to the general options for all export formats (see General Export Options),
there are additional options when you export as Dolby Digital Professional (AC-3) files.
The Dolby Digital Professional (AC-3) export options are divided into three separate panes:
Audio, Bitstream, and Preprocessing.
About Options in the Audio Pane
The following export options are available in the Audio pane:
•Target System pop-up menu: Available settings are limited to those appropriate for the
selected target system. If you’re encoding for use with DVD Studio Pro, choose DVD
Video. Choose DVD Audio only if you are encoding for use in a DVD Audio authoring
application. Choose Generic AC-3 to remove the setting limits.
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•Audio Coding Mode pop-up menu: Specifies the audio channels of the encoded stream.
The audio coding mode affects settings such as the available bandwidth and surround
channel preprocessing.
Choose the audio
channel grouping for
the encoded stream
from the Audio Coding
Mode pop-up menu.
For example, “3/2 (L, C, R, Ls, Rs)” means three front channels (left, center, right) and
two rear (surround) channels. “2/0 (L, R)” is essentially a standard stereo file. If you
choose the Automatic setting, Compressor makes its best guess at the intended audio
coding mode, based on available source audio files.
Note: “S” stands for a single rear “Surround” channel.
3/1 channels 3/0 channels
2/2 channels 1/0 channels
2/1 channels 2/0 channels
(LFE option not available) (LFE option not available)
3/2 channels
L C
LFE
LFE LFE LFE LFE
R
Ls Rs
L R
Ls Rs
L R L R
S
L C
LFE
R
S
L C
C
LFE
R
•Enable Low Frequency Effects checkbox: Select this option to include the LFE channel in
the encoded stream.
Note: This option is not available for 1/0 mono or 2/0 stereo.
•Sample Rate pop-up menu: Specifies the sample rate. All files intended for video and
audio DVD authoring must have a 48 kHz sample rate as per the DVD specification. The
32 kHz and 44.1 kHz sample rates are only available when Generic AC-3 is the target
system.
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•Data Rate pop-up menu: The choices depend on the coding mode and target system.
The higher the rate, the better the quality. Dolby Digital Professional (AC-3) streams
have a constant data rate. At 448 kbps, which is the default for 5.1 encoding, one minute
of AC-3 audio takes about 3.3 MB of storage space. For stereo encoding, rates of 192 kbps
and 224 kbps are typical and will produce good results.
•Bit Stream Mode pop-up menu: Defines the purpose of the encoded audio material. The
information is included in the finished stream and can be read by some decoding
systems.
•Dialog Normalization field: Specifies the average volume of the dialogue, using decibels
of full scale (dBFS), in your sound files relative to full modulation. The playback device
uses this information to maintain similar volume among different AC-3 streams. The
goal is to make all AC-3 encoded audio files have the same listening level, regardless
of the source file.
It is especially important to properly use the Dialog Normalization feature if you have
different audio files (with different volume levels) going on to a DVD. If you know the
average level for each of them, enter that number in the Dialog Normalization field for
each file. For example, if the dialogue in your project averages around –12 dB on the
level meter, enter –12 in the Dialog Normalization field.
Note: This normalization is between the audio streams on the DVD, not within an
individual audio stream itself.
You can enter values from –1 dBFS to –31 dBFS. The louder the source file, the smaller
the value you enter, and the more the audio in the encoded file is attenuated during
playback.
The difference between the value you enter and 31 dBFS (which represents the normal
dialogue listening level) is the amount that the source audio is attenuated. For example:
•If you enter –31 dBFS: The attenuation is 0 dB (31 dBFS–31 dBFS), and the source
audio levels are not affected at all.
•If you enter –27 dBFS: The attenuation is 4 dB (31 dBFS–27 dBFS).
•If you enter –12 dBFS: The attenuation is 19 dB (31 dBFS–12 dBFS).
Important: It is critical that you have set the Dialog Normalization setting correctly if
you intend to use any of the Compression Preset settings. The Compression Preset
settings assume that the audio, after the dialogue has been normalized, is at the normal
listening level of 31 dBFS. Levels that are consistently louder than that result in distorted
sound and erratic levels.
If you want to ensure that the AC-3 encoder does not affect your sound levels, enter
–31 for the Dialog Normalization and choose None from the Compression Preset pop-up
menu (located in the Preprocessing pane).
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About Options in the Bitstream Pane
These settings are stored in the finished stream for use by the playback device. Leave
them at their default values unless you have a specific technical reason for changing
them. The following export options are available in the Bitstream pane:
•Center Downmix and Surround Downmix pop-up menus: If your encoded audio has these
channels, but the player does not, the channels are mixed into the stereo output at
the specified level.
•Dolby Surround Mode pop-up menu: When encoding in 2/0 (stereo) mode, specifies
whether the signal uses Dolby Surround (Pro Logic).
•Copyright Exists checkbox: Select this option to specify that a copyright exists for this
audio.
•Content is Original checkbox: Select this option to specify that this audio is from the
original source and not a copy.
•Include Audio Production Information: Select this checkbox and fill in the fields below
to specify how the encoded audio content was mixed. Playback devices may use this
information to adjust output settings.
•Peak Mixing Level field: Specifies peak sound pressure level (SPL) (between 80 dB and
111 dB) in the production environment when this mix was mastered.
•Room Type pop-up menu: Specifies information about the mixing studio.
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About Options in the Preprocessing Pane
Preprocessing options are applied to the audio data before encoding. With the exception
of the Compression Preset setting, leave these settings at their default values unless you
have a specific technical reason for changing them. The following export options are
available in the Preprocessing pane:
•Compression Preset pop-up menu: Specifies one of the dynamic range processing modes
built in to the Dolby Digital Professional (AC-3) format. The default of Film Standard
Compression should only be used when you are encoding an original mix intended for
cinema. In almost all cases, you should choose None.
Choose a compression
setting from the
Compression Preset
pop-up menu.
Important: It is critical that you have set the Dialog Normalization setting correctly in
the Audio pane if you intend to use any of these Compression Preset settings. The
Compression Preset settings assume that the audio, after the dialogue has been
normalized, is at the normal listening level of 31 dBFS. Levels that are consistently
louder than that result in distorted sound and erratic levels.
Note: If you are building a Dolby Digital Professional 5.1 channel surround sound DVD,
you will use Film Standard Compression.
•General: Select the Digital Deemphasis checkbox to specify whether input audio data
is pre-emphasized and needs to be de-emphasized before encoding.
•LFE Channel: Select the Low-Pass Filter checkbox to apply a 120 Hz low-pass filter to
the Low Frequency Effects (LFE) channel. Turn off this filter if the digital signal fed to
the LFE’s input does not contain information above 120 Hz.
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•Full Bandwidth Channels: You can select two options:
•Low-Pass Filter checkbox: Select this option to turn on a low-pass filter with a cutoff
near the available audio bandwidth that is applied to the main input channels. If the
digital signal fed to the main input channels does not contain information above the
available audio bandwidth, you can turn off this filter. Compressor automatically
determines the available bandwidth.
•DC Filter checkbox: Select this option to turn on a DC high-pass filter for all input
channels as a simple way to remove DC offsets. Most mixed audio material is already
free of DC offsets.
•Surround Channels: You can select two options:
•90° Phase-Shift checkbox: Select this option to generate multichannel AC-3 streams
that can be downmixed in an external 2-channel decoder to create true Dolby
Surround-compatible output.
•3 dB Attenuation checkbox: Select this option to apply a 3 dB cut to the surround
channels of a multichannel film soundtrack being transferred to a consumer home
theater format. Cinema surround channels are mixed 3 dB “hot” (higher) relative to
the front channels to account for cinema amplifier gains.
About Export Options Using Compressor
In addition to the general options for all export formats (see General Export Options),
there are additional options when you export using Compressor.
Note: Because Soundtrack Pro can tap the power of Compressor as a background process,
many of these export options are identical to the corresponding options in the Compressor
application.
•Format to Export Video: These settings allow you to choose settings for your video
export.
•Preserve Video button: This allows you to export the video in its original format. Once
you select this option, you must then choose an export preset from the adjacent
preset pop-up menu. A summary of the preset appears below it in the dialog. When
you export, the video is copied unchanged to the exported file. For more information,
see Using Compressor Export Presets.
444 Chapter 20 Exporting Multitrack Projects
•Encode Video button: This allows you to export the video in a different format. Once
you select this option, you must then choose an export preset from the adjacent
preset pop-up menu. A summary of the preset appears below it in the dialog. For
more information, see Using Compressor Export Presets. 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.
•Edit Channel Layout button: If you are exporting a multichannel project and want to
change the channel layout for the exported file, click this button and the Channel
Layout dialog appears. For more information, see Exporting Multichannel Projects with
Compressor.
•Edit Presets button: If you wish to edit Compressor presets used for export, click this
button and Compressor opens. For more information, see Using Compressor Export
Presets and the Compressor User Manual.
Exporting Part of a Multitrack Project
You can export just a portion of your multitrack project by selecting it with the cycle
region.
To select a portion of a multitrack project with the cycle region
Do one of the following:
µDrag in the bottom half of the Time ruler from the beginning of where you want the cycle
region to the end.
µPosition the playhead and press I to set the cycle region In point. Position the playhead
and press O to set the cycle region Out point.
µPress X to set the cycle region In and Out points at the boundaries of the clip that currently
intersects the playhead. The clip on the uppermost selected track is used.
If you want to export the entire multitrack project, be sure to first remove the cycle region.
To remove the cycle region
Do one of the following:
µChoose Edit > Cycle Region > Remove Cycle Region (or press Option-X).
µControl-click the cycle region, choose Cycle Region from the shortcut menu, then choose
Remove Cycle Region from the submenu.
For more information about using the cycle region, see Working with the Cycle Region.
445Chapter 20 Exporting Multitrack Projects
Exporting a Master Mix
A master mix (or project mixdown) is a single audio file that contains all of the elements
and settings in your multitrack project. When you export a master mix, all unmuted tracks,
busses, and submixes that are routed to hardware output jacks are included in the
exported file. You can exclude any tracks, busses, and submixes from the exported mix
by muting them. For more information about routing to hardware output jacks, see
Setting Hardware Outputs and Setting the Submix Outputs to Surround.
Setting Submix Outputs
By default, all submix outputs in Soundtrack Pro are set to Surround 1-6. This setting
affects how audio signals are routed and how files are exported from multitrack projects.
Use the Output pop-up menu in each submix to choose an output channel or set of
output channels. Your choice defines the output of that submix (and any files exported
from that submix) as either mono, stereo, or surround.
If you export a master mix using multiple submixes, the output channel or set of output
channels of the first submix defines the channels used for the output of the exported file
as either mono, stereo, or surround.
Exporting a Master Mix to a Standard Audio File
You can export a mixdown of your project to any of the following standard (uncompressed)
audio formats: AIFF, WAVE, NeXT, and SoundDesigner II.
To export a master mix as a standard audio file
1Choose File > Export (or press Command-E).
The Export dialog appears.
2If you want, choose an export preset to export a master mix from the Preset pop-up
menu.
446 Chapter 20 Exporting Multitrack Projects
For more information, see Using Export Presets.
3Choose Master Mix from the Exported Items pop-up menu.
4Use the File Type pop-up menu to choose a file type for the exported audio file.
If you choose any of the last four menu items (MP3 File, AAC/Podcast File, Dolby Digital
Professional (AC-3) File, or Using Compressor), the central section of the Export dialog
displays options for the selected format type. For information about these menu items,
see Exporting a Master Mix.
5To export a separate mono audio file for each output channel in your multitrack project,
select the “Create multiple mono files” checkbox.
For more information, see About Exporting Multiple Mono Files.
6Choose a bit depth for the exported file from the Bit Depth pop-up menu.
7Choose a sample rate for the exported file from the Sample Rate pop-up menu.
8If you like, use the After Export pop-up menu to choose a post-export action.
For more information, see Using Post-Export Actions.
9Enter a name for the exported file, then navigate to the location where you want to save
the file.
10 Click Export.
Note: When you bounce or export a project with an effect tail (sound that extends past
the end of the audio file, usually caused by reverb or another effect), the length of the
tail is limited to a maximum of 30 seconds. If the tail extends beyond this amount of time,
it is cut off after 30 seconds in the bounced or exported file.
Exporting as MP3 Files
MP3 is a specific type of MPEG encoding known formally as MPEG audio layer 3. MP3 uses
perceptual audio coding and psychoacoustic compression to remove all superfluous
information (specifically the redundant and irrelevant parts of a sound signal that the
human ear doesn’t hear anyway). The result is that MP3 encoding shrinks the original
sound data from a CD (with a data rate of 1411.2 kilobits per one second of stereo music)
by a factor of 12 (down to 112–128kbps) without sacrificing very much sound quality.
Proponents of MP3 claim there is no sacrifice in sound quality, but audio professionals
can usually hear the difference on good equipment.
To export a master mix as an MP3 file
1Choose File > Export (or press Command-E).
The Export dialog appears.
2If you want, choose an export preset from the Preset pop-up menu.
For more information, see Using Export Presets.
3Choose Master Mix from the Exported Items pop-up menu.
447Chapter 20 Exporting Multitrack Projects
4Choose MP3 File from the File Type pop-up menu.
The bottom portion of the Export dialog displays the MP3 export options. Because
Soundtrack Pro can tap the power of Compressor as a background process, these export
options are identical to the corresponding options in the Compressor application.
MP3 export options
5Specify additional MP3 export options.
For more information, see About MP3 Export Options.
6If you like, use the After Export pop-up menu to choose a post-export action.
For more information, see Using Post-Export Actions.
7Enter a name for the exported file, then navigate to the location where you want to save
the file.
8Click Export.
Exporting to AAC/Podcast Files
AAC (Advanced Audio Coding) provides audio encoding that compresses much more
efficiently than older formats, such as MP3, yet delivers higher-quality results with smaller
file sizes. AAC is the default audio format for the iPod and iTunes, as well as the default
audio codec for the .m4v format used in all video files sold on iTunes.
To export a master mix as an AAC/Podcast file
1Choose File > Export (or press Command-E).
The Export dialog appears.
2If you want, choose an export preset from the Preset pop-up menu.
For more information, see Using Export Presets.
3Choose Master Mix from the Exported Items pop-up menu.
4Choose AAC/Podcast File from the File Type pop-up menu.
The bottom portion of the Export dialog displays the AAC/Podcast export options, which
are divided into three separate panes—Audio, Streaming, and Podcast.
448 Chapter 20 Exporting Multitrack Projects
Note: Because Soundtrack Pro can tap the power of Compressor as a background process,
these export options are identical to the corresponding options in the Compressor
application.
AAC Audio
export options
5Click Audio if necessary, then choose options in the Audio pane.
For more information, see About Options in the Audio Pane for AAC/Podcast Export.
6Click Streaming, then choose options in the Streaming pane.
For more information, see About Options in the Streaming Pane for AAC/Podcast Export.
AAC Streaming
export options
7Click Podcast, then select an option in the Podcast pane.
For more information, see About Options in the Podcast Pane for AAC/Podcast Export.
AAC Podcast
export options
8If you like, use the After Export pop-up menu to choose a post-export action.
For more information, see Using Post-Export Actions.
449Chapter 20 Exporting Multitrack Projects
9Enter a name for the exported file, then navigate to the location where you want to save
the file.
10 Click Export.
Exporting to Dolby Digital Professional (AC-3) Files
Dolby Digital Professional format (also known as AC-3) is a very common compressed
audio format for DVD-Video discs. AC-3 programs can deliver 5.1-channel surround as
well as a variety of other surround configurations. This format is frequently used to encode
stereo files to greatly reduce their file size.
Note: Dolby Digital Professional (AC-3) encoding is available only on computers that also
have Final Cut Studio installed.
To export a master mix as a Dolby Digital Professional (AC-3) file
1Choose File > Export (or press Command-E).
The Export dialog appears.
2If you want, choose an export preset from the Preset pop-up menu.
For more information, see Using Export Presets.
3Choose Master Mix from the Exported Items pop-up menu.
4Choose Dolby Digital Professional (AC-3) File from the File Type pop-up menu.
The bottom portion of the Export dialog displays the Dolby Digital Professional (AC-3)
File export options, which are divided into three separate panes: Audio, Bitstream, and
Preprocessing.
Note: Because Soundtrack Pro can tap the power of Compressor as a background process,
these export options are identical to the corresponding options in the Compressor
application.
AC-3 Audio
export options
5Click Audio if necessary, then choose options in the Audio pane.
For more information, see About Options in the Audio Pane.
6Click Bitstream, then choose options in the Bitstream pane.
450 Chapter 20 Exporting Multitrack Projects
These settings are stored in the finished stream for use by the playback device. Leave
them at their default values unless you have a specific technical reason for changing
them. For more information, see About Options in the Bitstream Pane.
AC-3 Bitstream
export options
7Choose Preprocessing, then choose from the export options in the Preprocessing pane.
Preprocessing options are applied to the audio data before encoding. With the exception
of the Compression Preset setting, leave these settings at their default values unless you
have a specific technical reason for changing them. For more information, see About
Options in the Preprocessing Pane.
AC-3 Preprocessing
export options
8If you like, use the After Export pop-up menu to choose a post-export action.
For more information, see Using Post-Export Actions.
9Enter a name for the exported file, then navigate to the location where you want to save
the file.
10 Click Export.
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Exporting a Master Mix Using Compressor
The Export dialog in Soundtrack Pro offers a direct link to the Compressor application.
Compressor is the high-speed video and audio encoding tool for Final Cut Studio. It
provides an efficient way to transcode between professional formats, or to convert content
so that it can be experienced on many different platforms and devices (including websites,
Apple TV, an iPod, CD-ROM discs, DVDs, cell phones, and so on).
When you export using Compressor, you can use custom presets that you create in
Compressor or the presets included with Compressor.
To export a master mix using Compressor from within Soundtrack Pro
1Choose File > Export (or press Command-E).
The Export dialog appears.
2If you want, choose an export preset from the Preset pop-up menu.
For more information, see Using Export Presets.
3Choose Master Mix from the Exported Items pop-up menu.
4Choose Using Compressor from the File Type pop-up menu.
The center portion of the Export dialog displays the Compressor export options.
Using Compressor
export options
Note: Because Soundtrack Pro can tap the power of Compressor as a background process,
many of these export options are identical to the corresponding options in the Compressor
application.
5Choose options for exporting your video.
For information, see About Export Options Using Compressor.
6Click Export.
Using Compressor Export Presets
Compressor includes a large number of export presets for a variety of target formats and
playback devices.
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When you export a Soundtrack Pro project using Compressor, Compressor export presets
appear in the pop-up menus to the right of the Preserve Video and Encode Video buttons.
Choose a Compressor
Export from the Preserve
Video or Encode Video
pop-up menus.
Click the Edit Presets button to open the Compressor application so that you can modify
existing Compressor presets or create new ones. For more information on working with
Compressor presets, see the Compressor User Manual.
Exporting Multichannel Projects with Compressor
When you export a multichannel project using Compressor, you can edit the channel
layout. By default, Soundtrack Pro uses the SMPTE/ITU standard for routing surround
output channels.
SpeakerAudio interface output
Left1
Right2
Center3
LFE4
Left Surround (Ls)5
Right Surround (Rs)6
If you are exporting to a file format that uses a different standard for routing output
channels, use the Channel Layout interface to reassign the channels and outputs.
To edit the channel layout
1In the Export Options dialog, click the Edit Channel Layout button.
453Chapter 20 Exporting Multitrack Projects
The Channel Layout dialog appears and 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 submix.
2Choose the physical output channel for each channel in the exported project.
Exporting Tracks, Busses, and Submixes Separately
As an alternative to exporting a master mix, you can export the component parts of your
multitrack project as individual files or as groups of files. These options are available for
AIFF, WAVE, NeXT, and SoundDesigner II export files.
Note: Muted tracks, busses, and submixes are excluded from all of the following export
combinations.
To export component parts of a multitrack project
1Choose File > Export (or press Command-E).
The Export dialog appears.
2If you want, choose an export preset from the Preset pop-up menu to export a master
mix.
For more information, see Using Export Presets.
3Choose any option from the Exported Items pop-up menu, except Master Mix.
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For more information, see General Export Options.
4Use the File Type pop-up menu to choose a file type for the exported audio file.
If you choose any of the last four menu items (MP3 File, AAC/Podcast File, Dolby Digital
Professional (AC-3) File, or Using Compressor), the central section of the Export dialog
displays options for the selected format type. For information about these menu items,
see Exporting a Master Mix.
5To export a separate mono audio file for each output channel in your multitrack project,
select the “Create multiple mono files” checkbox.
For more information, see About Exporting Multiple Mono Files.
6Choose a bit depth for the exported file from the Bit Depth pop-up menu.
7Choose a sample rate for the exported file from the Sample Rate pop-up menu.
8If you like, use the After Export pop-up menu to choose a post-export action.
For more information, see Using Post-Export Actions.
9Enter a name for the exported file, then navigate to the location where you want to save
the file.
Output files are given the same names as the tracks, busses, or submixes being exported.
For example, “Track 1” results in “Track 1.aif.” If you select the “Create multiple mono files”
checkbox, the Mixer object name (for example, “Track 1”) serves as the base name to
which channel codes are appended (for example, “Track 1.R.aif” and “Track 1.L.aif”). For
more information, see About Exporting Multiple Mono Files.
10 Click Export.
When you export a project, track, bus, or submix 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 the audio following
the selection until the effect level falls below –96 dB. The project lengthens to include
the tail if necessary.
About Exporting Multiple Mono Files
You can select the “Export multiple mono files” checkbox to export a separate mono
audio file for each output channel in your multitrack project. If you do this, a separate
audio file for each hardware output (jack) is created.
455Chapter 20 Exporting Multitrack Projects
For example, by default, all tracks are routed to Submix 1, and Submix 1 is routed to the
Stereo 1, 2 outputs. With this setup, selecting the “Export multiple mono files” checkbox
exports two mono files. The letter Lis appended to the filename of the left mono file,
and the letter Ris appended to the right mono file.
If the Output pop-up menu is set to Surround >1-6, six mono files are exported, each
with the corresponding code appended to its filename: L, R, C, LFE, Ls, and Rs.
For more information about routing to hardware output jacks, see Connecting Physical
Outputs and Setting the Submix Outputs to Surround.
Exporting to AAF
Advanced Authoring Format (AAF) is an industry-standard project interchange format
for sharing projects and editing decisions between different video and audio editing
applications. For more information on using AAF files, see Exchanging OMF and AAF Files
with Other Applications.
456 Chapter 20 Exporting Multitrack Projects
To export a project to an AAF file
1Choose File > Export AAF.
2In the Save dialog that appears, type a name for the file, then navigate to the location
where you want to save it.
3Click Save.
Using Post-Export Actions
The Export dialog includes post-export actions that can automate parts of your workflow
and save you time and effort. The post-export actions range from opening the exported
files in a Final Cut Pro sequence to bouncing mixes to new tracks. You can also use the
feature to automatically trigger your own AppleScript documents as a part of any export
operation. Soundtrack Pro comes with a set of default actions (see General Export Options).
You can save a series of actions in the File Editor as an AppleScript droplet. Those droplets
will appear as actions in the After Export pop-up menu (provided you save them to the
default location: /Users/username/Library/Scripts/Soundtrack Pro Scripts/). For more
information about creating your own AppleScript droplets in Soundtrack Pro, see Scripting
Actions in the File Editor Project View.
You can also add your own AppleScript scripts (that you create outside of Soundtrack Pro)
to this default location, and they will appear in the After Export pop-up menu. Such
custom actions could include an AppleScript script to send an email notification or to
automatically transfer the exported file to a web server.
Custom actions
appear here.
For information about writing AppleScript scripts, go to the following websites:
•Apple developers: Go to http://developer.apple.com/applescript.
•General Apple customers: Go to http://macscripter.net.
457Chapter 20 Exporting Multitrack Projects
To add your own AppleScript scripts to the After Export pop-up menu
1Confirm that your AppleScript script uses the following syntax (to ensure that it works in
the After Export pop-up menu):
on run argv
repeat with anItem in argv
set posixItem to POSIX file anItem
set anItem to alias posixItem
try
(*
Custom AppleScript goes here
*)
end try
end repeat
end run
2Save your AppleScript script to the default Soundtrack Pro AppleScript location:
/Users/username/Library/Scripts/Soundtrack Pro Scripts/.
Using Export Presets
You can streamline your workflow by saving all export settings (any combination of export
objects, formats, and actions) into a collection of presets for future use. Custom export
presets can include any combination of exported items, file type, bit depth, sample rates,
and post-export actions.
To create a new export preset
1Choose File > Export (or press Command-E).
458 Chapter 20 Exporting Multitrack Projects
The Export dialog appears.
2Configure the Export dialog that appears to reflect the export options you want to use
for the exported file or files.
•For standard audio file types (AIFF, WAVE, NeXT, and SoundDesigner II): The options include
Exported Items, File Type, the “Create multiple mono files” checkbox, Bit Depth, Sample
Rate, and After Export actions.
•For compressed audio file types (MP3, AAC/Podcast, Dolby Digital Professional/AC-3): The
options include the detailed settings for each of those formats, the choice of Compressor
presets, and After Export actions.
For more information, see About Export Options.
3Choose Save Preset from the Preset pop-up menu.
4In the Save Export Preset dialog that appears, type a name for the new preset and click
OK.
To apply a saved export preset
1Choose File > Export (or press Command-E).
The Export dialog appears.
2Choose an export preset from the Preset pop-up menu.
The Export dialog displays the corresponding export options.
459Chapter 20 Exporting Multitrack Projects
3Enter a name for the exported file, then navigate to the location where you want to save
the file.
4Click Export.
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 to continue working on it or to archive the
project and media for later use.
To save a project and its audio files together
1Choose File > Save As.
2In the dialog that appears, select the Collect Audio Files checkbox.
This option saves the project file and a copy of every audio file the project uses to the
selected location.
Note: When you check this box, the setting is retained for any subsequent saves. In other
words, the File > Save menu option changes to File > Save (Collected), and any new
media you add to the project will be collected the next time you save the project.
Select this option to
save the video file
with the project.
Select this option to
save the project and
its audio files together.
3Enter a name for the saved project.
The project file and a copy of every audio file the project uses are saved in the selected
location.
4Navigate to the location where you want to save the project and its audio files.
5Do one of the following:
• Select the folder where you want to save the project and its audio files.
• Create a new folder for the collected project. To do this, click the triangle next to the
Save As field to expand the Save dialog, then click New Folder.
460 Chapter 20 Exporting Multitrack Projects
It’s a good idea to save each collected project in its own folder.
6To include media files you have deleted from the project, select the Collect Unused Audio
Files checkbox.
If you do not want to include these media files, make sure this checkbox is not selected.
7If the project includes a video and you want to save the video in the selected folder, select
the Collect Video File checkbox.
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.
8If the project includes edited audio files, you can optionally select the Save Edited Media
Locally checkbox to save the project’s edited audio files in the same folder as the project.
If this box is not selected, edited media is saved to the Edited Media Location defined in
Soundtrack Pro preferences.
9When you’re ready, click Save.
To remove deleted audio files from a project
Do one of the following:
µIn the Bin, select one of the audio files you want to remove, then choose Remove Unused
from the Media pop-up menu.
µIn the Bin, Control-click one of the audio files you want to remove, then choose Remove
Unused from the shortcut menu.
461Chapter 20 Exporting Multitrack Projects
One of the biggest hurdles faced by sound editors is dealing with picture changes. When
a picture editor moves clips or changes edit durations, the sound editor receives the new
edit and then must manually conform the sound mix to the new picture edit. This process
is time-consuming and it’s easy to make mistakes. Worse, manually conforming a mix
distracts a sound editor from the most important job at hand: completing the mix.
This chapter covers the following:
•About Conforming Manually (p. 463)
•About Soundtrack Pro Conform (p. 463)
•Conforming a Soundtrack Pro Multitrack Project (p. 464)
•Reviewing and Approving Changes in a Conform Result Project (p. 468)
About Conforming Manually
When manually conforming a sound mix to a new picture cut, a sound editor imports
the picture editor’s new audio clips into an existing multitrack project on new tracks.
Next, the sound editor has to walk through the new edits one by one, comparing the old
placement of clips to the new ones. Clips in the old mix must be adjusted so that they
line up with new cuts in the video. Clips may also need to be deleted or added because
a shot was cut or added.
About Soundtrack Pro Conform
Soundtrack Pro Conform makes conforming multitrack projects much more efficient. The
picture editor and sound editor can work in parallel and then use Conform to easily merge
the results of their work.
Here is how a picture editor and a sound editor might work together using Conform:
• A Final Cut Pro sequence is sent to a Soundtrack Pro multitrack project.
• Changes and edits are made in parallel to both the Final Cut Pro sequence and the
Soundtrack Pro multitrack project. The Soundtrack Pro project that the sound editor
uses is referred to as the “original” audio mix.
463
Using Conform with Final Cut Pro 21
• An “updated” send is performed to provide Soundtrack Pro with a new version of the
project containing the edits performed in Final Cut Pro. This creates a second
Soundtrack Pro multitrack project, referred to as the “updated project.”
• When you initiate Conform, Soundtrack Pro analyzes both the “original” audio mix and
the “updated” send from Final Cut Pro, including all possible clip moves and media
changes and generates a third project, referred to as the “result” project, that has every
change made with the highest confidence. For more information, see Conforming a
Soundtrack Pro Multitrack Project.
• You can use the Conform interface to review, modify, and approve all the changes
needed to best perform the process of editing the audio mix to match the new project.
For more information, see Reviewing and Approving Changes in a Conform Result
Project.
Conforming a Soundtrack Pro Multitrack Project
This section shows you how to conform a multitrack project to changes that were made
to the source sequence in Final Cut Pro.
To conform a Soundtrack Pro multitrack project to changes made to the source
sequence in Final Cut Pro
1Select a sequence in the Final Cut Pro Browser.
2Do one of the following:
• Choose File > Send To > Soundtrack Pro Multitrack Project.
• Control-click the selection, choose Send To from the shortcut menu, then choose
Soundtrack Pro Multitrack Project from the submenu.
3In the Save dialog that appears, confirm that the “Save project with latest clip metadata
(recommended)” checkbox is selected.
Select the “Save project
with latest clip metadata
(recommended)” checkbox.
464 Chapter 21 Using Conform with Final Cut Pro
This ensures an accurate change history by having Final Cut Pro automatically save the
project after the sequence is sent to Soundtrack Pro. If you are planning to use Conform
frequently, the “Save project with latest clip metadata (recommended)” checkbox should
always be selected.
4Click Save.
For more information on sending sequences to Soundtrack Pro, see Creating Multitrack
Projects from Final Cut Pro Clips or Sequences.
5At this point, changes and edits are made in parallel to both the Final Cut Pro sequence
and the Soundtrack Pro multitrack project:
•Sound editor: Makes changes to the Soundtrack Pro multitrack project. This project is
referred to as the “original” audio mix project.
•Picture editor: Makes changes to the Final Cut Pro sequence.
6In Final Cut Pro, do one of the following:
• Choose File > Send To > Soundtrack Pro Multitrack Project.
• Control-click the selection, choose Send To from the shortcut menu, then choose
Soundtrack Pro Multitrack Project from the submenu.
7In the Save dialog that appears, confirm that the “Save project with latest clip metadata
(recommended)” checkbox is selected, then enter a new name for the multitrack project
and click Save.
Select “Save project
with latest clip metadata
(recommended)” checkbox.
This creates a new Soundtrack Pro project that will be referred to as the “updated” project.
8Make sure that both the “original” audio mix project and the “updated” project are open
in Soundtrack Pro.
465Chapter 21 Using Conform with Final Cut Pro
9Do one of the following:
• Choose File > Conform Projects.
• Open the Conform tab, then click the Conform Projects button.
This initiates the conform process.
10 In the dialog that appears, do the following:
aSelect the “original” audio mix project (the “sound editor version”) on the left.
bSelect the “updated” project (the more recent send from Final Cut Pro—the “picture
editor version”) on the right.
Note: Only projects that have embedded Final Cut Pro clip metadata (projects sent from
Final Cut Pro or opened via XML documents) appear in this dialog.
11 Determine whether Soundtrack Pro should make comparisons during the conform to
filenames only, then do one of the following:
• If the conform should make comparisons based the filename only, make sure the “Only
Compare Backing File Filenames (instead of full path names)” checkbox is selected.
• If the conform should follow full pathnames, make sure the “Only Compare Backing
File Filenames (instead of full path names)” checkbox is deselected.
If the “Only Compare Backing File Filenames (instead of full path names)” checkbox is
deselected, Soundtrack Pro makes comparisons against the files and file path names as
well. For example, an original Soundtrack Pro audio mix file is located in
/users/username/Documents/ and the filename is “conform (sent).stmp.” If the checkbox
is selected, Soundtrack Pro ignores the full path name, and just compares the filename
itself. If the checkbox is deselected, Soundtrack Pro follows the full path name during the
conform.
12 Click Continue.
Soundtrack Pro analyzes the clip positions in your “original” audio mix and the clip
positions in the “updated” picture edit from Final Cut Pro, and determines the best
position/duration and media to use for each clip. Soundtrack Pro will attempt to conform
the audio mix from the “original” project to match the video from the “updated” project.
466 Chapter 21 Using Conform with Final Cut Pro
The multitrack Timeline displays the new, untitled “result” project (the results of the
conform process).
The Conform tab displays the Conform worklist: a list of clips that may have moved or
changed.
Selected clip
Details for
selected clip
Click a column
header to sort.
The selected clip
is highlighted.
Use the Show pop-up
menu to display
mini timelines.
467Chapter 21 Using Conform with Final Cut Pro
Reviewing and Approving Changes in a Conform Result Project
Once you have a Conform worklist, you can inspect the changes, reviewing the playback
in the original, updated, or result projects, and can change and accept choices for each
clip individually or multiple clips or groups of clips all at once. The goal is to walk through
the changes made to generate the result project and verify that all the clips have been
moved into the correct positions and that the correct choices have been made to satisfy
the artistic goals for the audio mix. At any time, you are free to accept all the changes
made by Soundtrack Pro and finish the conform process.
Filtering Out Unchanged Clips
For many clips, the Position/Duration and Media may be unchanged (the clips were the
same in both versions of the project). These show up as “Not Changed” in the Conform
worklist. It can be useful to filter out all the unchanged clips so that you can concentrate
on reviewing the clips that actually moved or had media changes.
To filter out unchanged clips from the Conform worklist
µSelect the Hide Unchanged checkbox.
Select Hide Unchanged.
Hide Unchanged selected.
Unchanged clips are removed from the worklist. Only clips that have changed remain in
the worklist.
468 Chapter 21 Using Conform with Final Cut Pro
Using the Project Selector Buttons
Use the Project Selector buttons to select one of three projects to appear in the main
multitrack Timeline. This is helpful if you want to go back to your sound edit (the “original”
project) to quickly see where a clip or group of clips was, then go to the result project
and preview those same clips to verify that they correctly match the picture. By default,
once the Conform process starts, the multitrack Timeline will show the untitled result
project, ready for you to review each clip or group of clips in the worklist.
To use the Project Selector buttons to display a project
µClick the Original, Updated, or Result button.
Click a Project Selector
button to display the
corresponding project
in the Timeline.
The corresponding project appears in the multitrack Timeline.
Grouping Clips in the Conform Worklist
It can be useful to group clips together in the Conform worklist. You can use the Group
slider to control how clips are grouped together. When you click clips or groups, the
selected clips (or clips in the selected group) are highlighted in the mini timelines.
Groups in the
Conform work list
To automatically form groups in the worklist
µDrag the Group slider to the right.
To reduce or remove groups from the worklist
µDrag the Group slider to the left.
If you drag the slider all the way to the left, you will remove all groups and you can work
with individual clips.
469Chapter 21 Using Conform with Final Cut Pro
Sliding the group slider to the right will automatically form groups of clips.
Showing Selected Clips in the Timeline
If the Show Selected Clip in the Timeline button (the magnifying glass zoom button to
the right of the project selector) is selected, as clips or groups are selected in the worklist,
the main Timeline will scroll and zoom to show the selected group or clips or both.
Show Selected Clip in
the Timeline button
Approving Changes and Clips
The objective of this part of the conform process is to work through all of the clips on
the worklist and verify that the clips are in the correct position.
It can be useful to start with the clips that have the lowest confidence value. To do this,
you can click the header of the Confidence column and sort in ascending order. This way,
you’ll get the clips with the lowest confidence at the top. You can then click a clip and
see the different options for position/duration and media.
To audition and approve changes and clips in the result project
1Select the “Show selected clip in the Timeline” button.
For details, see Showing Selected Clips in the Timeline.
2Click Result in the Project Selector buttons to display the result project in the main
multitrack Timeline.
3Click a clip in the worklist and audition the clip in the main Timeline of the result project
to verify the correct position.
4In the Details section, select an option for the clip.
470 Chapter 21 Using Conform with Final Cut Pro
When you select a clip with more than one position, duration, or media option, the clip
will immediately move to that selected location so that you can audition that choice in
the main Timeline.
Approve button
Clip options
Note: When the clip moves, any automation that might exist on the track will move with
the clip.
5Once you are satisfied with your choice, click the Approve button.
The clip is marked with a green checkmark, indicating that it has been reviewed and
approved in the result project.
Note: The process of reviewing and approving changes is simply a tool to help you go
through the worklist of clips.
6Optionally, you can select multiple clips or select a group and then click Approve to
approve all selected clips.
Filtering Out Approved Clips
Once you have a number of clips or groups that you have approved, you may find it
useful to select the Hide Approved filter. With this filter selected, clips will pop off the
worklist as you approve them, helping you focus attention on the clips that need to be
reviewed and approved.
To filter out approved clips from the Conform worklist
µSelect the Hide Approved checkbox.
Approved clip
Select the Hide
Approved checkbox.
Approved clips
471Chapter 21 Using Conform with Final Cut Pro
Approved clips are removed from the worklist. Only clips that are not approved remain
in the worklist.
Finishing the Conform Process
Once you are satisfied that all the clips in the result project are in the correct place, you
can click the Finish button to end the Conform process. You are not required to approve
every single clip. In fact, the approvals do not change the outcome of the Conform process:
the updated project will have all the clips set to their currently selected position, duration,
and media regardless of whether the selection is approved or not. The approval process
is more of a tool to help you manage your progress through the worklist.
To finish the Conform process
µClick Finish.
The result is an Untitled project containing the conform results. This project can be saved
and edited just like any other project. Typically, you will use this result project for
subsequent audio edits in Soundtrack Pro. If more changes are made in Final Cut Pro, the
result project from your first conform (plus any edits you’ve made in Soundtrack Pro) can
be used as the “Original” project in a subsequent conform process. It will be conformed
to an even more recent send from Final Cut Pro.
472 Chapter 21 Using Conform with Final Cut Pro
Keyboard shortcuts let you perform commands in Soundtrack Pro using the keyboard
instead of by pointing and clicking. The following are keyboard shortcuts available in
Soundtrack Pro, grouped by function.
This appendix covers the following:
•General and File (p. 474)
•Layouts, Tabs, and HUDs (p. 474)
•Navigating the Timeline (p. 475)
•Project Playback (p. 476)
•Cycle Region (p. 476)
•General Editing (p. 477)
•Editing Audio Clips in the Timeline (p. 477)
•Moving Audio Clips and Envelope Points (p. 478)
•Viewing the Timeline (p. 479)
•Timeline Tools (p. 480)
•File Editor Project View Tools and Commands (p. 480)
•Processing and Editing Audio Files (p. 481)
•Tracks, Busses, and Submixes (p. 482)
•Markers (p. 482)
•Selecting Audio Clips in the Timeline (p. 483)
•Video Out (p. 484)
•Recording (p. 484)
•Using Arrow Keys to Move the Playhead (p. 484)
•Working with Timeslices (p. 485)
473
Soundtrack Pro
Keyboard Shortcuts
Appendix
A
General and File
FunctionKeyboard shortcut
Creates a new, blank multitrack project.
N
Creates a new audio file project.
shift
N
Opens the Open dialog.
O
Saves the current project.
S
Opens the Save As dialog to save the project with a new name.
shift
S
Opens the Save As dialog to save a copy of the project with a
different name.
control
S
Adds the selected audio file (in a media tab) to the Bin of the current
multitrack project.
B
If the Project pane contains a single tab, closes the Soundtrack Pro
window. If the Project pane contains multiple tabs, closes the active
tab. If a particular tab is active, closes the tab.
W
Minimizes Soundtrack Pro.
M
Hides Soundtrack Pro.
H
Hides all other windows.
option
H
Closes all projects and quits Soundtrack Pro.
Q
Shows the Soundtrack Pro Preferences window.
,
Opens Soundtrack Pro Help.
shift
?
Layouts, Tabs, and HUDs
FunctionKeyboard shortcut
Switches the project layout to the Standard layout.
F1
Switches the project layout to the Separate Mixer and Video layout.
F2
Shows or hides the left pane.
control
A
Shows or hides the lower pane.
control
S
474 Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Shows or hides the right pane.
control
D
Activates or deactivates the Video tab.
1
Activates the Mixer for the current multitrack project.
2
Activates the Project pane.
3
Activates the Browser tab.
4
Activates the Details tab.
I
Activates the Effects tab.
5
Activates the Sound Palette.
shift
C
Moves to the previous (left) tab.
shift
{
Moves to the next (right) tab.
shift
}
Activates the Multipoint Video HUD.
V
Activates or deactivates the video output device or Digital Cinema
Desktop.
control
V
Navigating the Timeline
FunctionKeyboard shortcut
Moves the playhead to the closest of the following items to the left
of the playhead: the beginning of the last playback start, the
beginning of the cycle region, or the beginning of the project.
return
Moves the playhead to the position of the preceding marker.
option
M
Moves the playhead to the position of the next marker.
shift
M
Moves the playhead to the position of the previous frame in the
video clip.
option
Moves the playhead to the position of the next frame in the video
clip.
option
475Appendix A Soundtrack Pro Keyboard Shortcuts
Project Playback
FunctionKeyboard shortcut
Starts playing the project.
space
If the project is playing, stops project playback.
Starts playback from the position of the last playback start.
shift
return
Moves the playhead to the closest of the following items to the left
of the playhead: the beginning of the last playback start, the
beginning of the cycle region, or the beginning of the project.
home
Moves the playhead to the closest of the following items to the left
of the playhead: the beginning of the last playback start, the
beginning of the cycle region, or the beginning of the project.
return
Moves the playhead to the closest of the following items to the
right of the playhead: the end of the cycle region, the position of
the last playback stop, or the end of the project.
end
Plays in reverse. If pressed repeatedly, plays in reverse faster.
J
Stops playback.
K
Plays forward. If pressed repeatedly, plays forward faster.
L
Plays in slow motion.
K
L
Plays in reverse slow motion.
J
K
Starts or stops preview playback.
option
space
Cycle Region
FunctionKeyboard shortcut
Activates the cycle region, or deactivates it if it is active.
C
Creates a cycle region around the selected audio clip under the
playhead or the uppermost audio clip under the playhead.
X
Removes the cycle region.
option
X
Creates a cycle region from the current selection.
shift
A
Sets the cycle region In point.
I
Sets the cycle region Out point.
O
476 Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Removes the cycle region In point.
option
I
Removes the cycle region Out point.
option
O
Moves the cycle region playhead to the In point.
shift
I
Moves the cycle region playhead to the Out point.
shift
O
General Editing
FunctionKeyboard shortcut
Undoes the last command.
Z
Redoes the last undone command.
shift
Z
Cuts the selected item.
X
Ripple cuts the selected item.
shift
X
Copies the selected item.
C
Pastes the cut or copied item.
V
Ripple deletes the selected item.
shift
delete
Duplicates the selected item.
D
Selects all items in the window.
A
Deselects all items in the window.
shift
A
Ripple cuts to the next edit.
shift
option
X
Ripple deletes to the next edit.
shift
option
delete
Editing Audio Clips in the Timeline
FunctionKeyboard shortcut
Opens the Paste Repeat dialog so that you can paste multiple copies
of the cut or copied audio clip.
option
V
477Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Turns snapping on or off.
N
Splits selected audio clips under the playhead, or splits clips on
selected tracks under the playhead.
S
Joins the selected clips.
option
S
Trims the In point to the playhead on selected clips or tracks.
D
Trims the Out point to the playhead on selected clips or tracks.
G
Crossfades the selected clips across the Timeslice selection.
F
Fades in to the playhead on selected clips or tracks.
option
D
Fades out from the playhead on selected clips or tracks.
option
G
Trims the clip to the Timeslice selection.
option
Z
Slips (offsets) a clip.Command-Option-drag
Spots the selected clip or File Editor selection to the playhead.
\
Opens the Spot to Timeline dialog for spotting the selected clip or
File Editor selection.
shift
Performs a ripple cut.
shift
X
Performs a ripple delete.
shift
delete
Shows or hides envelopes for the selected track or tracks.
E
Switches envelope selection mode (between the Select Only Clips
mode and the Select Envelope Points With Clips mode).
option
E
Moving Audio Clips and Envelope Points
FunctionKeyboard shortcut
Moves the clip or envelope point to the previous gridline.
option
Moves the clip or envelope point to the next gridline.
option
Moves the clip or envelope point one nudge increment to the left.
Moves the clip or envelope point one nudge increment to the right.
478 Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Locks or unlocks the selected clip or clips.
option
control
B
Disables or enables the selected clip or clips.
control
B
Moves the clip to the previous edit.
Moves the selected envelope point up by a coarse value.
Moves the clip to the next edit.
Moves the selected envelope point down by a coarse value.
Moves the clip up one track.
option
Moves the selected envelope point up by a fine value.
Moves the clip down one track.
option
Moves the selected envelope point down by a fine value.
Adds envelope points at the edges of selected clips.
shift
E
Viewing the Timeline
FunctionKeyboard shortcut
Zooms out horizontally to the next zoom level.
Zooms in horizontally to the next zoom level.
=
Increases the track height to the next level.
shift
+
Decreases the track height to a lower level.
shift
Zooms in on the current selection.
option
Z
Returns to the default zoom level.
0
Zooms to the sample level.
control
Z
Zooms to the current cycle region.
shift
option
Z
Fits the project in the display size.
shift
Z
Increases the height of displayed waveforms.
shift
+
Decreases the height of displayed waveforms.
shift
Returns displayed waveforms to their default height.
shift
0
479Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Sets the track height to Mini.
6
Sets the track height to Small.
7
Sets the track height to Medium.
8
Sets the track height to Large.
9
Timeline Tools
FunctionKeyboard shortcut
Selects the Selection (arrow) tool.
A
Selects the Blade (razor) tool.
B
Selects the Blade All tool.
B
B
Selects the Timeslice tool.
W
Selects the (Sound Palette) Lift tool.
U
U
Selects the (Sound Palette) Stamp tool.
U
Selects the Scrub tool.
H
File Editor Project View Tools and Commands
FunctionKeyboard shortcut
Selects the Selection (arrow) tool.
A
Selects the Frequency Selection tool.
W
Selects the Sample Edit (pencil) tool.
P
Selects the Audio Stretching tool.
T
Selects the Zoom tool.
Z
Selects the Scrub tool.
H
Zooms in to the sample level.
control
Z
480 Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Zooms in on the current selection.
option
Z
Fits the waveform in the display size.
shift
Z
Sets the ambient noise print.
control
Y
Adds ambient noise.
Y
Replaces with ambient noise.
shift
Y
Adjusts selection inward to zero crossing.
shift
I
Adjusts selection outward to zero crossing.
shift
O
Adjusts In point left to zero crossing.
[
Adjusts In point right to zero crossing.
]
Adjusts Out point left to zero crossing.
shift
{
Adjusts Out point right to zero crossing.
shift
}
Processing and Editing Audio Files
FunctionKeyboard shortcut
Creates a new file from the current selection.
control
N
Creates a new file from the contents of the Clipboard.
shift
control
N
Opens the Normalize dialog for the audio file or selection.
L
Opens the Adjust Amplitude dialog for the audio file or selection.
shift
L
Opens the Paste Mix dialog so that you can paste audio and mix it
with the existing audio.
shift
V
Replaces the audio file or selection with silence.
delete
Flattens audible actions, as indicated by the position of the Action
Insert bar.
control
F
Flattens all actions.
shift
control
F
A/B last actions.
F1
481Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Sets the ambient noise print.
control
Y
Adds ambient noise.
Y
Replaces with ambient noise.
shift
Y
Tracks, Busses, and Submixes
FunctionKeyboard shortcut
Adds a new track to the Timeline.
T
Adds a new bus to the Timeline.
control
T
Adds a new submix to the Timeline.
option
T
Removes the selected track, bus, or submix from the Timeline.
shift
T
Mutes the selected track.
T
Solos the selected track.
Y
Selects the track above the currently selected track.
control
Selects the track below the currently selected track.
control
Adds the track above to the current selection.
shift
control
Adds the track below to the current selection.
shift
control
Locks the selected track.
F5
Shows or hides envelopes for the selected items.
E
Groups the selected tracks.
G
Enables groups.
control
G
Markers
FunctionKeyboard shortcut
Inserts a time marker at the current playhead position.
M
482 Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Adds a region marker for the duration of the selection.
control
M
Adds time markers at the beginning and end of the selection.
option
control
M
Inserts a beat marker at the current playhead position.
option
B
Displays the Details tab for the selected marker.
option
M
Selecting Audio Clips in the Timeline
FunctionKeyboard shortcut
Selects all clips between the playhead and the end of the project,
on selected tracks only. If no tracks are selected, selects clips across
all tracks.
shift
end
Selects all clips on all tracks between the playhead and the end of
the project.
shift
option
end
Selects all the clips between the playhead and the beginning of the
project, on selected tracks only. If no tracks are selected, selects
clips across all tracks.
shift
home
Selects all clips on all tracks between the playhead and the
beginning of the project.
shift
option
home
Selects all clips on selected tracks.
shift
T
Selects all clips on all tracks.
shift
option
T
Creates a timeslice from the selection on selected tracks.
option
A
Moves the playhead to the previous edit, and reverses the select
state of any clip starting at that edit.
shift
Moves the playhead to the next edit, and reverses the select state
of any clip ending at that edit.
shift
Moves the playhead to the previous edit, and reverses the select
state of any clip starting at that edit, on selected track or tracks only.
shift
option
Moves the playhead to the next edit, and reverses the select state
of any clip ending at that edit, on selected track or tracks only.
shift
option
483Appendix A Soundtrack Pro Keyboard Shortcuts
Video Out
FunctionKeyboard shortcut
Plays using the external video output device or Digital Cinema
Desktop (set in the Soundtrack Pro Preferences window).
control
V
Recording
FunctionKeyboard shortcut
Arms selected track for recording.
R
Starts recording on a track or tracks armed for recording. If there
are no tracks armed for recording, a new track is created and
recording starts.
R
Makes Take 1 the active take for the selected clip.
control
1
Makes Take 2 the active take for the selected clip.
control
2
Makes Take 3 the active take for the selected clip.
control
3
Makes Take 4 the active take for the selected clip.
control
4
Makes Take 5 the active take for the selected clip.
control
5
Makes Take 6 the active take for the selected clip.
control
6
Makes Take 7 the active take for the selected clip.
control
7
Makes Take 8 the active take for the selected clip.
control
8
Makes Take 9 the active take for the selected clip.
control
9
Using Arrow Keys to Move the Playhead
FunctionKeyboard shortcut
Moves the playhead to the previous edit.
Moves the playhead to the next edit.
Moves the playhead to the previous edit on the selected track.
option
Moves the playhead to the next edit on the selected track.
option
484 Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Moves the playhead one gridline to the left.
option
Moves the playhead one gridline to the right.
option
Moves the playhead backward by the current nudge amount.
Moves the playhead forward by the current nudge amount.
Working with Timeslices
FunctionKeyboard shortcut
Moves the Timeslice location up one row.
Moves the Timeslice location down one row.
Extends the Timeslice location up one row.
option
Extends the Timeslice location down one row.
shift
Moves the Timeslice location left one frame, or by the Default Nudge
Amount.
Moves the Timeslice location right one frame, or by the Default
Nudge Amount.
Extends the left edge one gridline.
shift
Extends the right edge one gridline.
shift
Extends the left edge to the next edit.
shift
Extends the right edge to the next edit.
shift
Moves the Timeslice location to the previous edit.
Moves the Timeslice location to the next edit.
Moves the Timeslice location up a track.
option
Moves the Timeslice location down a track.
option
Moves the Timeslice location to the previous gridline.
Moves the Timeslice location to the next gridline.
485Appendix A Soundtrack Pro Keyboard Shortcuts
FunctionKeyboard shortcut
Moves the Timeslice location to the previous frame.
option
Moves the Timeslice location to the next frame.
option
Extends the Timeslice to the previous edit.
shift
Extends the Timeslice to the next edit.
shift
Extends the Timeslice to the previous gridline.
shift
Extends the Timeslice to the next gridline.
shift
Extends the Timeslice to the previous frame.
shift
option
Extends the Timeslice to the next frame.
shift
option
486 Appendix A Soundtrack Pro Keyboard Shortcuts
This appendix discusses the broad topics of sound and digital audio in order to provide
some background information for using Soundtrack Pro.
This appendix covers the following:
•What Is Sound? (p. 487)
•Digital Audio (p. 497)
What Is Sound?
All sounds are vibrations traveling through the air as sound waves. Sound waves are
caused by the vibrations of objects and radiate outward from their source in all directions.
A vibrating object compresses the surrounding air molecules (squeezing them closer
together) and then rarefies them (pulling them farther apart). Although the fluctuations
in air pressure travel outward from the object, the air molecules themselves stay in the
same average position. As sound travels, it reflects off objects in its path, creating further
disturbances in the surrounding air. When these changes in air pressure vibrate your
eardrum, nerve signals are sent to your brain and are interpreted as sound.
Fundamentals of a Sound Wave
The simplest kind of sound wave is a sine wave. Pure sine waves rarely exist in the natural
world, but they are a useful place to start because all other sounds can be broken down
into combinations of sine waves. A sine wave clearly demonstrates the three fundamental
characteristics of a sound wave: frequency, amplitude, and phase.
0
–
+
1 ms
Amplitude
Time
487
Audio Fundamentals
Appendix
B
Frequency
Frequency is the rate, or number of times per second, that a sound wave cycles from
positive to negative to positive again. Frequency is measured in cycles per second,orhertz
(Hz). Humans have a range of hearing from 20 Hz (low) to 20,000 Hz (high). Frequencies
beyond this range exist, but they are inaudible to humans.
Amplitude
Amplitude (or intensity) refers to the strength of a sound wave, which the human ear
interprets as volume or loudness. People can detect a very wide range of volumes, from
the sound of a pin dropping in a quiet room to a loud rock concert. Because the range
of human hearing is so large, audio meters use a logarithmic scale (decibels) to make the
units of measurement more manageable.
Phase
Phase compares the timing between two similar sound waves. If two periodic sound
waves of the same frequency begin at the same time, the two waves are said to be in
phase. Phase is measured in degrees from 0 to 360, where 0 degrees means both sounds
are exactly in sync (in phase) and 180 degrees means both sounds are exactly opposite
(out of phase). When two sounds that are in phase are added together, the combination
makes an even stronger result. When two sounds that are out of phase are added together,
the opposing air pressures cancel each other out, resulting in little or no sound. This is
known as phase cancelation.
488 Appendix B Audio Fundamentals
Phase cancelation can be a problem when mixing similar audio signals together, or when
original and reflected sound waves interact in a reflective room. For example, when the
left and right channels of a stereo mix are combined to create a mono mix, the signals
may suffer from phase cancelation.
In phase
Separate signals
Mixed signals
Out of phase
Frequency Spectrum of Sounds
With the exception of pure sine waves, sounds are made up of many different frequency
components vibrating at the same time. The particular characteristics of a sound are the
result of the unique combination of frequencies it contains.
Sounds contain energy in different frequency ranges, or bands. If a sound has a lot of
low-frequency energy, it has a lot of bass. The 250–4000 Hz frequency band, where humans
hear best, is described as midrange. High-frequency energy beyond the midrange is called
treble, and this adds crispness or brilliance to a sound. The graph below shows how the
sounds of different musical instruments fall within particular frequency bands.
Time
Bass Mid High
Cymbal crash
20 Hz
300 Hz
4 kHz
20 kHz
Violin and flute
Cello
Bass line
Frequency
489Appendix B Audio Fundamentals
Note: Different manufacturers and mixing engineers define the ranges of these frequency
bands differently, so the numbers described above are approximate.
The human voice produces sounds that are mostly in the 250–4000 Hz range, which likely
explains why people’s ears are also the most sensitive to this range. If the dialogue in
your movie is harder to hear when you add music and sound effects, try reducing the
midrange frequencies of the nondialogue tracks using an equalizer filter. Reducing the
midrange creates a “sonic space” in which the dialogue can be heard more easily.
Musical sounds typically have a regular frequency, which the human ear hears as the
sound’s pitch. Pitch is expressed using musical notes, such as C, E flat, and F sharp. The
pitch is usually only the lowest, strongest part of the sound wave, called the fundamental
frequency. Every musical sound also has higher, softer parts called overtones or harmonics,
which occur at regular multiples of the fundamental frequency. The human ear doesn’t
hear the harmonics as distinct pitches, but rather as the tone color (also called the timbre)
of the sound, which allows the ear to distinguish one instrument or voice from another,
even when both are playing the same pitch.
Fundamental
First harmonic
Second harmonic
Time
Time
Time
490 Appendix B Audio Fundamentals
Musical sounds also typically have a volume 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 instruments, start at a high
volume level but quickly decrease to a much lower level and die away to silence. Sounds
produced by other instruments, for example, a violin or a trumpet, can be sustained at
the same volume level and can be raised or lowered in volume while being sustained.
This volume curve is called the sound’s envelope and acts like a signature to help the ear
recognize what instrument is producing the sound.
Percussive volume envelope Sustained volume envelope
Measuring Sound Intensity
Human ears are remarkably sensitive to vibrations in the air. The threshold of human
hearing is around 20 microPascals (μP), which is an extremely small amount of atmospheric
pressure. At the other extreme, the loudest sound a person can withstand without pain
or ear damage is about 200,000,000 μP: for example, a loud rock concert or a nearby jet
airplane taking off.
Because the human ear can handle such a large range of intensities, measuring sound
pressure levels on a linear scale is inconvenient. For example, if the range of human
hearing were measured on a ruler, the scale would go from 1 foot (quietest) to over
3000 miles (loudest)! To make this huge range of numbers easier to work with, a
logarithmic unit—the decibel—is used. Logarithms map exponential values to a linear
scale. For example, by taking the base-ten logarithm of 10 (101) and 1,000,000,000 (109),
this large range of numbers can be written as 1–9, which is a much more convenient
scale.
Because the ear responds to sound pressure logarithmically, using a logarithmic scale
corresponds to the way humans perceive loudness. Audio meters and sound measurement
equipment are specifically designed to show audio levels in decibels. Small changes at
the bottom of an audio meter may represent large changes in signal level, while small
changes toward the top may represent small changes in signal level. This makes audio
meters very different from linear measuring devices like rulers, thermometers, and
speedometers. Each unit on an audio meter represents an exponential increase in sound
pressure, but a perceived linear increase in loudness.
491Appendix B Audio Fundamentals
Important: When you mix audio, you don’t need to worry about the mathematics behind
logarithms and decibels. Just be aware that to hear incremental increases in sound volume,
exponentially more sound pressure is required.
What Is a Decibel?
The decibel measures sound pressure or electrical pressure (voltage) levels. It is a
logarithmic unit that describes a ratio of two intensities, such as two different sound
pressures, two different voltages, and so on. A bel (named after Alexander Graham Bell)
is a base-ten logarithm of the ratio between two signals. This means that for every
additional bel on the scale, the signal represented is ten times stronger. For example, the
sound pressure level of a loud sound can be billions of times stronger than a quiet sound.
Written logarithmically, one billion (1,000,000,000 or 109) is simply 9. Decibels make the
numbers much easier to work with.
In practice, a bel is a bit too large to use for measuring sound, so a one-tenth unit called
the decibel is used instead. The reason for using decibels instead of bels is no different
from the reason for measuring shoe size in, say, centimeters instead of meters; it is a more
practical unit.
Relative increase in powerNumber of decibels
10
1.261
23
1010
10020
100030
100,00050
10,000,000,000100
Decibel Units
Audio meters are labeled with decibels. Several reference levels have been used in audio
meters over the years, starting with the invention of the telephone and evolving to present
day systems. Some of these units are only applicable to older equipment. Today, most
professional equipment uses dBu, and most consumer equipment uses dBV. Digital meters
use dBFS.
•dBm: The mstands for milliwatt (mW), which is a unit for measuring electrical power.
(Power is different from electrical voltage and current, though it is related to both.)
This was the standard used in the early days of telephone technology and remained
the professional audio standard for years.
492 Appendix B Audio Fundamentals
•dBu: This reference level measures voltage instead of power, using a reference level of
0.775 volts. dBu has mostly replaced dBm on professional audio equipment. The u
stands for unloaded, because the electrical load in an audio circuit is no longer as
relevant as it was in the early days of audio equipment.
•dBV: This also uses a reference voltage like dBu, but in this case the reference level is
1 volt, which is more convenient than 0.775 volts in dBu. dBV is often used on consumer
and semiprofessional devices.
•dBFS: This scale is very different from the others because it is used for measuring digital
audio levels. FS stands for full-scale, which is used because, unlike analog audio signals
that have an optimum signal voltage, the entire range of digital values is equally
acceptable when using digital audio. 0 dBFS is the highest-possible digital audio signal
you can record without distortion. Unlike analog audio scales like dBV and dBu, there
is no headroom past 0 dBFS.
Signal-to-Noise Ratio
Every electrical system produces a certain amount of low-level electrical activity called
noise. The noise floor is the level of noise inherent in a system. It is nearly impossible to
eliminate all the noise in an electrical system, but you don’t have to worry about the noise
if you record your signals significantly higher than the noise floor. If you record audio too
low, you raise the volume to hear it, which also raises the volume of the noise floor,
causing a noticeable hiss.
The more a signal is amplified, the louder the noise becomes. Therefore, it is important
to record most audio around the nominal (ideal) level of the device, which is labeled 0 dB
on an analog audio meter.
The signal-to-noise ratio, typically measured in dB, is the difference between the nominal
recording level and the noise floor of the device. For example, the signal-to-noise ratio
of an analog tape deck may be 60 dB, which means the inherent noise in the system is
60 dB lower than the ideal recording level.
Headroom and Distortion
If an audio signal is too strong, it will overdrive the audio circuit, causing the shape of the
signal to distort. In analog equipment, distortion increases gradually the more the audio
signal overdrives the circuit. For some audio recordings, this kind of distortion can add a
unique “warmth” to the recording that is difficult to achieve with digital equipment.
However, for audio post-production, the goal is to keep the signal clean and undistorted.
493Appendix B Audio Fundamentals
0 dB on an analog meter refers to the ideal recording level, but there is some allowance
for stronger signals before distortion occurs. This safety margin is known as headroom,
meaning that the signal can occasionally go higher than the ideal recording level without
distorting. Having headroom is critical when recording, especially when the audio level
is very dynamic and unpredictable. Even though you can adjust the recording level while
you record, you can’t always anticipate quick, loud sounds. The extra headroom above
0 dB on the meter is there in case the audio abruptly becomes loud.
Dynamic Range and Compression
Dynamic range is the difference between the quietest and loudest sound in your mix. A
mix that contains quiet whispers and loud screams has a large dynamic range. A recording
of a constant drone such as an air conditioner or steady freeway traffic has very little
amplitude variation, so it has a small dynamic range.
You can actually see the dynamic range of an audio clip by looking at its waveform. For
example, two waveforms are shown below. The top one is a section from a well-known
piece of classical music. The bottom one is from a piece of electronic music. From the
widely varied shape of the waveform, you can tell that the classical piece has the greater
dynamic range.
Waveform from a
well-known classical
piece
Waveform from an
excerpt of electronic
music
Notice that the loud and soft parts of the classical piece vary more frequently, as compared
to the fairly consistent levels of the electronic music. The long, drawn-out part of the
waveform at the left end of the top piece is not silence—it’s actually a long, low section
of the music.
Dynamic sound has drastic volume changes. Sound can be made less dynamic by reducing,
or compressing, the loudest parts of the signal to be closer to the quiet parts. Compression
is a useful technique because it makes the sounds in your mix more equal. For example,
a train pulling into the station, a man talking, and the quiet sounds of a cricket-filled
evening are, in absolute terms, very different volumes. Because televisions and film
theaters must compete with ambient noise in the real world, it is important that the quiet
sounds are not lost.
494 Appendix B Audio Fundamentals
The goal is to make the quiet sounds (in this case, the crickets) louder so they can compete
with the ambient noise in the listening environment. One approach to making the crickets
louder is to simply raise the level of the entire soundtrack, but when you increase the
level of the quiet sounds, the loud sounds (such as the train) get too loud and distort.
Instead of raising the entire volume of your mix, you can compress the loud sounds so
they are closer to the quiet sounds. Once the loud sounds are quieter (and the quiet
sounds remain the same level), you can raise the overall level of the mix, bringing up the
quiet sounds without distorting the loud sounds.
When used sparingly, compression can help you bring up the overall level of your mix
to compete with noise in the listening environment. However, if you compress a signal
too far, it sounds very unnatural. For example, reducing the sound of an airplane jet
engine to the sound of a quiet forest at night and then raising the volume to maximum
would cause the noise in the forest to be amplified immensely.
Different media and genres use different levels of compression. Radio and television
commercials use compression to achieve a consistent wall of sound. If the radio or
television becomes too quiet, the audience may change the channel—a risk advertisers
and broadcasters don’t want to take. Films in theaters have a slightly wider dynamic range
because the ambient noise level of the theater is lower, so quiet sounds can remain quiet.
Stereo Audio
The human ear hears sounds in stereo, and the brain uses the subtle differences in sounds
entering the left and right ears to locate sounds in the environment. To re-create this
sonic experience, stereo recordings require two audio channels throughout the recording
and playback process. The microphones must be properly positioned to accurately capture
a stereo image, and speakers must also be spaced properly to re-create a stereo image
accurately.
If any part of the audio reproduction pathway eliminates one of the audio channels, the
stereo image will most likely be compromised. For example, if your playback system has
a CD player (two audio channels) connected to only one speaker, you will not hear the
intended stereo image.
Important: All stereo recordings require two channels, but two-channel recordings are
not necessarily stereo. For example, if you use a single-capsule microphone to record the
same signal on two tracks, you are not making a stereo recording.
Identifying Two-Channel Mono Recordings
When you are working with two-channel audio, it is important to be able to distinguish
between true stereo recordings and two tracks used to record two independent mono
channels. These are called dual mono recordings.
495Appendix B Audio Fundamentals
Examples of dual mono recordings include:
• Two independent microphones used to record two independent sounds, such as two
different actors speaking. These microphones independently follow each actor’s voice
and are never positioned in a stereo left-right configuration. In this case, the intent is
not a stereo recording but two discrete mono channels of synchronized sound.
• Two channels with exactly the same signal. This is no different than a mono recording,
because both channels contain exactly the same information. Production audio is
sometimes recorded this way, with slightly different gain settings on each channel.
This way, if one channel distorts, you have a safety channel recorded at a lower level.
• Two completely unrelated sounds, such as dialogue on track 1 and a timecode audio
signal on track 2, or music on channel 1 and sound effects on channel 2. Conceptually,
this is not much different than recording two discrete dialogue tracks in the example
above.
The important point to remember is that if you have a two-track recording system, each
track can be used to record anything you want. If you use the two tracks to record properly
positioned left and right microphones, you can make a stereo recording. Otherwise, you
are simply making a two-channel mono recording.
Identifying Stereo Recordings
When you are trying to decide how to work with an audio clip, you need to know whether
a two-channel recording was intended to be stereo or not. Usually, the person recording
production sound will have labeled the tapes or audio files to indicate whether they were
recorded as stereo recordings or dual-channel mono recordings. However, things don’t
always go as planned, and tapes aren’t always labeled as thoroughly as they should be.
As an editor, it’s important to learn how to differentiate between the two.
Here are some tips for distinguishing stereo from dual mono recordings:
• Stereo recordings must have two independent tracks. If you have a tape with only one
track of audio, or a one-channel audio file, your audio is mono, not stereo.
Note: It is possible that a one-channel audio file is one half of a stereo pair. These are
known as split stereo files, because the left and right channels are contained in
independent files. Usually, these files are labeled accordingly: AudioFile.L and AudioFile.R
are two audio files that make up the left and right channels of a stereo sound.
• Almost all music, especially commercially available music, is mixed in stereo.
• Listen to a clip using two (stereo) speakers. If each side sounds subtly different, it is
probably stereo. If each side sounds absolutely the same, it may be a mono recording.
If each side is completely unrelated, it is a dual mono recording.
496 Appendix B Audio Fundamentals
Interleaved Versus Split Stereo Audio Files
Digital audio can send a stereo signal within a single stream by interleaving the digital
samples during transmission and deinterleaving them on playback. The way the signal
is stored is unimportant as long as the samples are properly split to left and right channels
during playback. With analog technology, the signal is not nearly as flexible.
Split stereo files are two independent audio files that work together, one for the left
channel (AudioFile.L) and one for the right channel (AudioFile.R). This mirrors the traditional
analog method of one track per channel (or in this case, one file per channel).
Digital Audio
Digital audio recording works by recording, or sampling, an electronic audio signal at
regular intervals (of time). An analog-to-digital (A/D) converter measures and stores each
sample as a numerical value that represents the audio amplitude at that particular moment.
Converting the amplitude of each sample to a binary number is called quantization. The
number of bits used for quantization is referred to as bit depth. Sample rate and bit depth
are two of the most important factors when determining the quality of a digital audio
system.
Sample Rate
The sample rate is the number of times an analog signal is measured—or sampled—per
second. You can also think of the sample rate as the number of electronic snapshots
made of the sound wave per second. Higher sample rates result in higher sound quality
because the analog waveform is more closely approximated by the discrete samples.
Which sample rate you choose to work with depends on the source material you’re
working with, the capabilities of your audio interface, and the final destination of your
audio.
For years, the digital audio sample rate standards have been 44,100 Hz (44.1 kHz) and
48 kHz. However, as technology improves, 96 kHz and even 192 kHz sample rates are
becoming common.
When usedAudio sample rates
These lower sample rates are used strictly for multimedia files.8 kHz-22.225 kHz
32 kHz is generally used with 12-bit audio on DV.32 kHz
This sample rate is used for music CDs and some DAT recorders.44.1 kHz
Almost all digital video formats use this sample rate.48 kHz
A multiple of 44.1 kHz. This is useful for high-resolution audio that
needs to be compatible with 44.1 kHz. For example, if you eventually
plan to burn an audio CD, this sample rate is a good choice.
88.2 kHz
A multiple of 48 kHz. This is becoming the professional standard
for audio post-production and music recording.
96 kHz
497Appendix B Audio Fundamentals
When usedAudio sample rates
A multiple of 48 and 96 kHz, this is a very high-resolution sample
rate used mostly for professional music recording and mastering.
192 kHz
Bit Depth
Unlike analog signals, which have an infinite range of volume levels, digital audio samples
use binary numbers (bits) to represent the strength of each audio sample. The accuracy
of each sample is determined by its bit depth. Higher bit depths mean your audio signal
is more accurately represented when it is sampled. Most digital audio systems use a
minimum of 16 bits per sample, which can represent 65,536 possible levels (24-bit samples
can represent over 16 million possible levels).
To better understand bit depth, think of each digital audio sample as a ladder with equally
spaced rungs that climb from silence to full volume. Each rung on the ladder is a possible
volume that a sample can represent, while the spaces between rungs are in between
volumes that a sample cannot represent.
When a sample is made, the audio level of the analog signal often falls in the spaces
between rungs. In this case, the sample must be rounded to the nearest rung. The bit
depth of a digital audio sample determines how closely the rungs are spaced. The more
rungs available (or, the less space between rungs), the more precisely the original signal
can be represented.
Quantization errors occur when a digital audio sample does not exactly match the analog
signal strength it is supposed to represent (in other words, the digital audio sample is
slightly higher or lower than the analog signal). Quantization errors are also called rounding
errors because imprecise numbers represent the original analog audio. For example,
suppose an audio signal is exactly 1.15 volts, but the analog-to-digital converter rounds
this to 1 volt because this is the closest bit value available. This rounding error causes
noise in your digital audio signal. While quantization noise may be imperceptible, it can
potentially be exacerbated by further digital processing. Always try to use the highest
bit depth possible to avoid quantization errors.
The diagram on the far right shows the highest bit depth, and therefore the audio samples
more accurately reflect the shape of the original analog audio signal.
Analog waveform Audio sample
498 Appendix B Audio Fundamentals
For example, a 1-bit system (a ladder with only two rungs) can represent either silence
or full volume, and nothing in between. Any audio sample that falls between these rungs
must be rounded to full volume or silence. Such a system would have absolutely no
subtlety, rounding smooth analog signals to a square-shaped waveform.
Sine Square
When the number of bits per sample is increased, each sample can more accurately
represent the audio signal.
2-bit1-bit
16-bit4-bit
To avoid rounding errors, you should always use the highest bit depth your equipment
supports. Most digital video devices use 16- or 20-bit audio, so you may be limited to
one of these bit depths. However, professional audio recording devices usually support
24-bit audio, which has become the industry standard.
When usedBit depth
This allows audio calculations, such as fader levels and effects
processing, to be performed at very high resolution with a minimum
of error, which preserves the quality of your digital audio.
32-bit floating point
This has become the audio industry standard for most audio
recording formats. Most professional audio interfaces and computer
audio editing systems can record with 24-bit precision.
24-bit
Used in some video formats such as Digital Betacam and audio
formats such as ADAT Type II.
20-bit
DAT recorders, Tascam DA-88 and ADAT Type I multitracks, and
audio CDs all use 16-bit samples. Many digital video formats, such
as DV, use 16-bit audio.1
16-bit
499Appendix B Audio Fundamentals
When usedBit depth
In the past, 8-bit audio was often used for CD-ROM and web video.
Today, 16-bit audio is usually preferred, but available bandwidth
and compatibility with your target user’s system are your chief
considerations when outputting audio for multimedia use.
8-bit
1 Many consumer DV camcorders allow you to record four audio channels using 12-bit mode, but this is not
recommended for professional work.
500 Appendix B Audio Fundamentals
This appendix reviews different types of video and audio interfaces, including signals and
connectors. It also includes information on basic audio and video setups.
This appendix covers the following:
•Video Interfaces (p. 501)
•Video Signals and Connectors (p. 504)
•Setting Up an Audio Interface (p. 508)
•Audio Connectors, Cables, and Signal Formats (p. 514)
•About Balanced Audio Signals (p. 518)
•Tips for Choosing Speakers and an Amplifier (p. 519)
•Connecting Professional Video Devices (p. 521)
•Connecting Professional Audio Devices (p. 525)
Video Interfaces
Final Cut Studio allows you to use a wide variety of video interfaces for capture and output.
The following sections show examples of the most common types of video interfaces
available.
FireWire for DV
You can use the built-in FireWire port on your computer to capture and output to almost
any DV device, including DV, DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD devices.
501
Working with Professional Video
and Audio Equipment
Appendix
C
In this configuration, you only need your computer and a supported DV device.
FireWire 400
(6-pin)
FireWire 400
(4- or 6-pin)
DV VTRComputer
FireWire for Uncompressed Digital Video
Interfaces such as the AJA Io connect to your computer via FireWire. However, instead
of transferring compressed DV signals, the AJA Io transfers an uncompressed component
4:2:2 signal via FireWire. The AJA Io has a wide range of digital and analog connectors,
as well as RS-422 device control.
Important: Although this type of video interface uses FireWire, it is not used to connect
DV devices. If you want to capture or output DV video, you can connect your DV device
directly to the FireWire port on your computer.
Analog or digital VTRComputer AJA Io
FireWire 400
(6-pin) BNC connector
502 Appendix C Working with Professional Video and Audio Equipment
PCI Express Video Interface Card
If you are using professional analog or digital formats (either standard definition or high
definition) without native FireWire connectivity, you need to purchase and install a PCI
Express video interface card to connect your video deck or camcorder to your computer.
Many PCI Express interface cards come with a breakout box where video, audio, and
perhaps even 9-pin remote connectors are located (rather than on the PCI Express card
itself). Interface cards are also referred to as video cards or capture cards. This is not the
same as the video graphics card used to send signals to your main computer display.
Note: Some broadcast-quality video output devices receive both the video and audio
from a project. When you use a video output device that supports both video and audio
output, Soundtrack Pro automatically routes your audio output to this device to provide
the best possible synchronization of the audio and video.
PCI Express Video Interface Card with Built-in Connectors
PCI Express cards allow you to capture and output video with high data rates, such as
uncompressed standard definition (SD) and high definition (HD) video. PCI Express cards
are necessary for high-end applications such as compositing, online editing, and
uncompressed video editing. Many PCI Express cards have BNC or RCA connectors
mounted directly on the back of the card. In this configuration, you connect your video
equipment directly to the PCI Express card connectors on the back of your computer.
Analog or digital VTR
BNC
connector
Computer
(with PCI Express card)
503Appendix C Working with Professional Video and Audio Equipment
PCI Express Video Interface Card with Breakout Box
Many PCI Express cards aren’t big enough to fit all of the necessary video and audio
connectors. In these situations, a breakout box is connected to the PCI Express card via
a multipin connector on a long cable, and the connectors are accessible on the breakout
box instead of the back of the PCI Express card. A breakout box is also useful because it
allows you to place the connectors somewhere more convenient than the back of your
computer, such as on an equipment rack or a desktop.
Breakout boxComputer
(with PCI Express card)
Analog or digital VTR
BNC
connector
USB Video Interface
USB video interfaces cannot support the high data rates required for professional video
use, so they are not commonly used. USB video interfaces are usually used for converting
analog video sources to a digital signal for capture.
USB interface
USB RCA connector
Analog VTRComputer
Video Signals and Connectors
When you capture and output, the type of video signal you use to connect your equipment
is a critical factor that goes into determining the quality of your video. Video camcorders,
decks, and monitors can use different types of signals, depending on the environment
they are intended for. Consumer equipment usually has limited video signal choices;
professional equipment gives you the greatest range of options.
Here are the most common video signals used on today’s video devices:
•Composite: For more information, see Composite.
•S-Video (Y/C): For more information, see S-Video.
504 Appendix C Working with Professional Video and Audio Equipment
•Component YUV (Y
′
CBCR): For more information, see Component YUV and Component
RGB.
•Component RGB: For more information, see Component YUV and Component RGB.
•FireWire (IEEE 1394 or i.LINK): For more information, see FireWire 400 and FireWire 800.
•SDI: For more information, see SDI.
•HD-SDI: For more information, see HD-SDI.
•SDTI: For more information, see SDTI.
•HDMI: For more information, see HDMI.
•SCART: For more information, see SCART.
Composite
Composite is the lowest common denominator of video signals. A composite signal runs
all color and brightness information on a single cable, resulting in lower-quality video
compared to the quality of other formats. Nearly all video devices have a composite input
and output. This format uses a single RCA or BNC connector.
In professional editing environments, composite video signals are most commonly used
for troubleshooting, for menu outputs, and for low-quality preview monitoring. For
consumer and home use, composite signals are often used to connect VCRs or DVD
players to televisions.
RCA connector
BNC connector
S-Video
S-Video, also known as Y/C, is a higher-quality video signal used by high-end consumer
video equipment. The image looks sharper and has better color than a composite video
image because S-Video keeps the color and brightness information separate on two
cables. Most low-cost analog-to-digital video interfaces have S-Video as their
highest-quality video connector. Use care when working with S-video connectors; the
four delicate pins can be bent easily.
S-Video connector
505Appendix C Working with Professional Video and Audio Equipment
Component YUV and Component RGB
Professional video equipment, such as Betacam SP decks, has component YUV (Y′CBCR)
video inputs and outputs. Component YUV separates color and brightness information
into three signals, which keeps the color quality more accurate than that of other systems.
Component YUV is as good as analog video gets. High-end consumer devices, such as
DVD players and televisions, have increasingly begun to support component YUV.
Note: Another form of component video, component RGB, is not as widespread on
professional equipment as component YUV.
Both component YUV and RGB signals use from three to five connectors. You can use
three BNC connectors, plus a fourth (typically labeled “genlock” or “house sync”) to send
a timing signal. Sync can also be embedded in the Y or G part of the signal (using three
connectors), a separate composite signal on a fourth connector, or separate H and V drive
signals (using five connectors). See your equipment’s documentation for more information.
Component
Y or green
YUV
RGB
R or red On some equipment,
you can switch between
RGB and YUV modes.
B or blue
FireWire 400
FireWire 400, also called IEEE 1394a or i.LINK, is the consumer and professional standard
for formats such as DV, DVCAM, DVCPRO, DVCPRO 50, DVCPRO HD, and HDV. FireWire is
an inexpensive and easy way to capture and output high-quality digital video using a
variety of camcorders and decks and is capable of data rates as high as 400 Mbps. Standard
FireWire cables can be up to 4.5 meters long.
There are two kinds of FireWire connectors: a 4-pin connector (typically found on video
equipment such as camcorders or decks) and a 6-pin connector (used for computer
equipment). However, some newer video equipment uses the 6-pin connector, and some
video interfaces use the 4-pin connector. See your equipment’s documentation for more
information.
FireWire 400 (4-pin)
FireWire 400 (6-pin)
506 Appendix C Working with Professional Video and Audio Equipment
FireWire 800
FireWire 800, also called IEEE 1394b, is the next generation of FireWire after IEEE 1394a, a
higher-bandwidth version capable of data transfer speeds of up to 800 Mbps. FireWire
800 is also capable of supporting cable distances of up to 100 meters.
In addition to the standard 9-pin-to-9-pin FireWire 800 cables, 9-pin-to-4-pin and
9-pin-to-6-pin FireWire 400 to FireWire 800 cables are also available to connect older
devices to a FireWire 800 interface.
FireWire 800 (9-pin)
Note: FireWire 800 is commonly used to connect hard disks and other data peripherals
to your computer, but this connector is rarely used to connect video devices.
SDI
Serial Digital Interface (SDI) is the standard for high-end, uncompressed digital video
formats such as D1, D5, and Digital Betacam. If you want to capture digital video from
these formats at the highest possible quality, you need a video interface with an SDI input
and output, as well as a high-performance disk array (a set of disk drives grouped together
to read and write in parallel), to accommodate the high data rates you’ll work with. Many
devices can send both video and audio data through a single SDI connection.
BNC connector
HD-SDI
High Definition Serial Digital Interface (HD-SDI) is a higher-bandwidth version of SDI
designed for the extremely high data rates required by uncompressed HD video. Like
SDI, HD-SDI is capable of sending both video and audio through a single connection. The
following decks have HD-SDI interfaces: DVCPRO HD, D-5 HD, and HDCAM decks.
Some devices provide even higher data rates by pairing two HD-SDI channels together
(known as dual-link HD-SDI). Uncompressed HD RGB video and other digital cinema
formats can be transmitted using dual-link HD-SDI.
507Appendix C Working with Professional Video and Audio Equipment
SDTI
Serial Digital Transport Interface (SDTI) is based on SDI, allowing native video formats to
be sent in real time within an SDI video stream. SDTI does not define a specific video
signal format but instead uses the structure of SDI to carry any kind of data. This allows
video facilities to use their existing SDI patchbays and routers to transfer other native
video formats, or transfer any kind of data. For example, some DV decks can transfer DV
via SDTI, which means native DV can be transferred long distances over existing coaxial
cable instead of the usual FireWire connection. Other formats, such as HDCAM and MPEG,
can also be transferred via packets within an SDTI transport stream.
HDMI
High-Definition Multimedia Interface (HDMI) supports both digital television and computer
signals and can also include multiple digital audio channels. HDMI devices are compatible
with single-link digital DVD signals via an adapter, although no audio or additional
metadata can be included. Many HD display devices and digital television set-top boxes
include HDMI connectors.
HDMI connector
SCART
Consumer PAL equipment sometimes has a special connector called a SCART connector.
A SCART connector has multiple pins that run composite, component RGB, and stereo
audio in one bundle. SCART input or output can be broken up into individual connections
using special adapters available from video and home electronics stores.
SCART connector
Setting Up an Audio Interface
By default, Soundtrack Pro uses one of the built-in audio interfaces included with your
Macintosh computer, such as a stereo headphone jack or a stereo speaker output. If you
need to capture audio from a professional device, you may need a separate third-party
interface. You can connect a third-party 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 third-party audio interface.
Built-in Audio Interfaces
The following audio interfaces are included with your Macintosh computer (though some
computer models may not include all interfaces).
508 Appendix C Working with Professional Video and Audio Equipment
Built-in Analog Audio
You can capture and output audio using the built-in audio ports on your computer. The
built-in audio interface on your computer usually uses a stereo miniplug connector. If
necessary, you can buy an adapter to connect the miniplug connector to two stereo RCA
or 1/4" tip-ring-sleeve (TRS) connectors, which can then be connected to your video or
audio device.
Computer Analog audio or video device
Stereo miniplug
connector
RCA connector (2)
For basic mixing, you can connect the built-in audio output on your computer to a pair
of external speakers. This gives you two output channels, which can be configured for
dual mono or stereo playback.
Built-in S/PDIF Digital Audio
Some computers have built-in S/PDIF optical digital ports (sometimes called TOSLINK)
that you can connect to some CD players, DAT recorders, and other digital audio devices.
TOSLINK optical
digital connector
Audio or video device
Computer
DV FireWire
If your post-production project uses a DV codec, you can output audio via the FireWire
port on your computer. This allows you to use a DV deck, DV camcorder, or DVtoanalog
converter as an audio interface. In this case, you connect your FireWire cable to your DV
device and then connect the audio outputs of the DV device to external speakers or a
television monitor.
509Appendix C Working with Professional Video and Audio Equipment
Choosing a Third-Party Audio Interface
Before you purchase a separate audio interface, consider that most third-party video
interfaces may have enough audio connectors to meet your requirements. You should
consider a separate audio interface when:
• You are trying to capture or output more audio channels than your built-in audio
interface or third-party video interface supports.
• You need to capture or output in a format not supported by your existing interfaces
(for example, if you need to capture audio at a sample rate of 96 kHz but your video
interface only supports a sample rate of 48 kHz).
Benefits of a Third-Party Audio Interface
Third-party audio interfaces can provide many more features than your computer’s built-in
interfaces, such as:
• More than two audio channels—eight channels is common, but some interfaces have
24 or more input and output channels
• Professional connectors such as XLR or 1/4" TRS
•High-quality analog-to-digital and digital-to-analog converters supporting sample rates
as high as 192 kHz and 24 bits per sample
• Support for analog and digital audio formats
• Stable, “jitter-free” digital audio clocks
Tips for Selecting a Third-Party Audio Interface
When you select an audio interface, make sure it has the following:
• Connectors that match your audio equipment, such as XLR, 1/4" TRS, RCA, or TOSLINK
• Support for audio signal formats that your audio equipment uses, such as AES/EBU,
S/PDIF, or ADAT Lightpipe
• Enough audio inputs and outputs to connect your equipment
• Sample rate and bit depth at least as high as your audio equipment. For example, if
you have an audio device with a sample rate of 96 kHz and 24 bits, your audio interface
should at least match this. 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.
• Mac OS X compatibility. When choosing an audio interface, check the manufacturer’s
specifications to make sure the interface is compatible with Mac OS X.
• Up-to-date driver software, if needed. If the device requires a driver, make sure an
up-to-date driver is included with the device, or is available from the manufacturer.
510 Appendix C Working with Professional Video and Audio Equipment
Important: If you are considering purchasing an interface, make sure it supports Mac OS X
Core Audio. Soundtrack Pro supports any audio interface that is compatible with Mac OS X
Core Audio.
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 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.
FireWire for Digital Audio
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 most current Macintosh computers, and a number of FireWire audio
interfaces are available. These third-party interfaces are not DV devices, but merely devices
that use FireWire as a means of transferring digital audio data. FireWire interfaces are
more convenient to switch between computers than PCI Express cards, and they can be
used with both desktop and portable computers. A FireWire interface typically supports
ten or more inputs, and at least eight outputs.
Important: Although a FireWire bus supports a very high data rate, connecting too many
devices, such as a DV video device, a FireWire hard disk, and a FireWire audio interface,
could potentially exceed the bus speed, resulting in audio with missing samples.
Computer Breakout box
FireWire 400
(6-pin)
XLR connector (2)
Analog or digital VTR
511Appendix C Working with Professional Video and Audio Equipment
USB Audio Interfaces
There are a wide variety of USB audio interfaces available. USB supports plug-and-play
operation and the ability to connect several devices in sequence (daisy-chaining). USB is
included on all current Macintosh computers.
Most USB audio interfaces support two or four audio channels at one time. USB audio
interfaces vary in quality considerably, so take some time to research them before you
purchase one. The connectors on USB interfaces vary; some interfaces have RCA connectors
and others have both XLR and 1/4" TRS connectors. Very inexpensive USB audio interfaces
may only have a stereo miniplug.
Computer
USB
RCA connector (2)
Analog or digital VTR
Audio interface
Make sure you don’t exceed the total bandwidth of the USB bus. USB 1.1 has a fairly low
data rate, so be careful not to add too many USB items to the bus. Ideally, USB audio
interfaces are always directly connected to your computer, not connected via a hub or
to the computer’s display, keyboard, or another peripheral. If you are having audio
problems with a USB interface connected to a hub, try removing USB devices and
eliminating the hub from the connection.
USB 2.0 audio interfaces are also available. Because USB 2.0 devices can handle high data
rates (similar to FireWire 400), you can treat them similarly to FireWire audio interfaces
(see FireWire for Digital Audio).
512 Appendix C Working with Professional Video and Audio Equipment
PCI Express Audio Interface Cards
Peripheral Connect Interface (PCI) Express interfaces, unlike FireWire and USB interfaces,
require that you install a dedicated sound card in your computer. Of all the audio interfaces,
PCI Express audio interfaces provide the maximum transfer speed and can support many
channels with high sample rates. Many PCI Express audio interface cards come with a
separate breakout box where the audio input and output connectors are located.
PCI Express Audio Interface Card with Built-in Connectors
Some PCI Express audio interface cards have audio connectors attached directly to the
card. Because there is limited space on a PCI Express card to mount audio connectors,
RCA connectors are typically used.
Audio or video device
RCA connector (2)
Computer
(with PCI Express card)
PCI Express Audio Interface Card with Breakout Box
The majority of PCI Express audio interface cards have a breakout box with a large number
of XLR or 1/4" TRS connectors. The breakout box is attached to the PCI Express card via
a long cable with a multipin connector. The long cable allows you to place the breakout
box in a convenient location, so you can easily connect and disconnect your video and
audio devices without going behind your computer.
Breakout boxComputer
(with PCI Express card)
XLR connector (2)
Analog or digital VTR
513Appendix C Working with Professional Video and Audio Equipment
Audio Connectors, Cables, and Signal Formats
Different audio connectors and cables are suited for different purposes. They are available
for professional and consumer audio equipment, at a range of prices and levels of quality.
Audio connectors are often indicative of the kind of signal they transmit. However, there
are enough exceptions that it’s important to know what kind of audio signal you are
connecting, in addition to the connector type. An important distinction is whether an
audio connector carries a balanced or an unbalanced signal. 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.
Analog Audio Connectors, Cables, and Signal Formats
The following is a cross-section of available industry-standard analog audio connectors,
cables, and signal formats.
1/8" Mini Connectors
These are very small, unbalanced audio connectors. Many computers have 1/8" mini
inputs and outputs at -10 dBV line level, and many portable audio devices such as CD
players, iPod digital music players, and MP3 players use these connectors for headphone
outputs. Portable MiniDisc and DAT recorders often use 1/8" mini connectors for
connecting microphones.
Mono miniplug connector
Stereo miniplug connector
Note: Some Macintosh computers and portable audio recorders also use a connector
that combines both a stereo miniplug and a 1/8" optical digital connection (see the
information about S/PDIF in Digital Audio Connectors, Cables, and Signal Formats) in a
single jack.
RCA Connectors
Most consumer equipment uses RCA connectors, which are unbalanced connectors that
usually handle –10 dbV (consumer) line levels. RCA connectors are used on consumer
audio equipment such as home stereo systems and videocassette recorders.
RCA connector
1/4" Audio Connectors
1/4" 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.
514 Appendix C Working with Professional Video and Audio Equipment
1/4" Tip-Sleeve Connectors
1/4" tip-sleeve (TS) connectors with a tip and a sleeve are unbalanced connectors often
used for musical instruments like electric guitars, keyboards, amplifiers, and so on.
1/4" tip-sleeve (TS) connector
1/4" Tip-Ring-Sleeve Connectors
Professional equipment often uses 1/4" tip-ring-sleeve (TRS) audio connectors with +4
dBu line level. 1/4" TRS connectors connect to three wires in an audio cable—hot, neutral,
and ground—and usually carry a balanced audio signal. In some situations, the three
wires may be used to send left and right (stereo) signals, making the signals unbalanced.
1/4" tip-ring-sleeve (TRS) connector
Note: Tip-sleeve and tip-ring-sleeve connectors look almost identical. Some audio devices
(especially mixers) accept a TS connector in a TRS jack, but you should always check the
equipment documentation to be sure. Remember that most 1/4" TS connectors connect
to –10 dBV line level equipment, whereas 1/4" TRS connectors usually expect a +4 dBu
line level.
XLR Connectors
These are the most common professional audio connectors. They almost always carry a
balanced signal. Many cables use an XLR connector on one end and a 1/4" TRS connector
on the other. The signal may be microphone level (when using a microphone) or +4
dBu/dBm (professional) line level.
XLR connector
Digital Audio Connectors, Cables, and Signal Formats
Although digital audio signals are completely different from analog signals, the same
connectors are often used for convenience. For example, an XLR connector can be used
to carry an analog audio signal or an AES/EBU digital audio signal. The following is a
cross-section of available industry-standard digital audio connectors, cables, and signal
formats.
S/PDIF
Sony/Philips Digital Interface Format (S/PDIF) is a consumer-level variation of the AES/EBU
digital audio protocol. S/PDIF audio data can be transmitted several ways, including:
• Via coaxial cables with an RCA connector
• Via optical TOSLINK
515Appendix C Working with Professional Video and Audio Equipment
Connectors for S/PDIF signals are found on most consumer digital equipment, such as
DAT recorders, CD players, DVD players, MiniDisc equipment, and some audio interfaces.
S/PIDF optical digital connector
TOSLINK Optical and ADAT Lightpipe
TOSLINK is a connector for optical digital signals. TOSLINK is used for several digital signal
formats, although most devices support only one of these formats:
• S/PDIF (stereo digital)
• AC-3 and DTS (5.1-channel surround)
• ADAT Lightpipe (an 8-channel digital signal)
Some Macintosh computers have a single interface that combines a TOSLINK connector
with an analog stereo miniplug.
TOSLINK connector
ADAT Lightpipe is an eight-channel digital audio format developed by Alesis. This signal
format uses TOSLINK optical connectors. Eight channels are supported at sample rates
of 44.1 and 48 kHz using 24 bits per sample. Higher sample rates are available by pairing
channels (this format is sometimes called sample multiplexing, or S/MUX). For example, a
sample rate of 192 kHz is possible, but the number of channels is reduced to two. However,
not all equipment supports channel pairing and increased sample rates.
AES/EBU
The AES/EBU (Audio Engineering Society/European Broadcasting Union) standard for
transferring digital audio typically uses XLR connectors in professional studio environments.
The data protocol is essentially identical to S/PDIF.
XLR connector
516 Appendix C Working with Professional Video and Audio Equipment
TDIF Connectors
Tascam Digital Interface (TDIF) is a signal format for transferring digital audio between
Tascam digital multitrack recorders or digital mixers. Connections are made via a 25-pin
D-subminiature connector and data is carried on shielded cable. Eight channels are
supported at sample rates of 44.1 and 48 kHz using 24 bits per sample. Higher sample
rates are available by pairing channels. The TDIF standard is currently one of two major
formats (the other being ADAT optical) widely used in professional products for digital
transfer of more than two tracks of audio simultaneously using only one cable.
TDIF connector
About Microphone, Instrument, and Line Level
Audio equipment can output line level at –10 dBV (consumer level), +4 dBm/dBu
(professional level), or microphone level, which is around 50 or 60 dB less than line level.
When you use a microphone, the level is very low, requiring a preamplifier to raise the
signal to line level before it can be recorded or processed. Most audio mixers, cameras,
and professional portable recording devices have built-in preamplifiers.
Instrument level is between microphone and line level, around –20 dBV or so. Guitars
and keyboards usually output at instrument level.
Signal Differences Between Pro and Consumer Equipment
Professional audio equipment typically uses higher voltage levels than consumer
equipment, and it also measures audio on a different scale.
• Professional analog devices measure audio using dBu (or dBm in older equipment).
0 dB on the audio meter is usually set to +4 dBu, which means optimal levels are 4 dB
greater than 0 dBu (.775 V), or 1.23 V.
• Consumer audio equipment measures audio using dBV. The optimal recording level
on a consumer device is –10 dBV, which means the levels are 10 dB less than 0 dBV
(1 V), or 0.316 V.
Therefore, the difference between an optimal professional level (+4 dBu) and consumer
level (–10 dBV) is not 14 dB, because they are referencing different signals. This is not
necessarily a problem, but you need to be aware of these level differences when
connecting consumer and professional audio equipment together.
517Appendix C Working with Professional Video and Audio Equipment
About Balanced Audio Signals
Audio cables can be either balanced or unbalanced, depending on their intended use.
For long cable runs, especially when using relatively low microphone levels, a three-wire
balanced audio circuit reduces noise. Balanced audio cables use the principle of phase
cancelation to eliminate noise while maintaining the original audio signal.
A balanced audio cable sends the same audio signal on two wires, but inverts the phase
of one signal by 180 degrees.
Original signal
Inverted signal
(reverse phase)
When noise is introduced into the cable, it is introduced equally to both the original and
the inverted signal.
Noise on line
(affects both signals)
518 Appendix C Working with Professional Video and Audio Equipment
When the signal arrives at its destination, the inverted signal is put back in phase and
both signals are combined. This puts the original and inverted signals back in phase, but
it causes the noise signals on each line to be out of phase.
Inverted signal
(inverted again)
Now, both audio signals are in phase, but the noise is inverted, causing the noise to be
canceled. At the same time, the original signal gets a little stronger because it is sent on
two wires and combined. This helps compensate for the reduction in signal strength that
occurs naturally on a long cable run.
Combined signals
(noise eliminated)
Any noise introduced into the cable across its long run is almost completely eliminated
by this process.
Note: Unbalanced cables have no way of eliminating noise and are therefore not as robust
for long-distance cable runs, microphone signals, and other professional applications.
Tips for Choosing Speakers and an Amplifier
Professional audio engineers have to be able to trust the sound coming from their
speakers. When you mix your audio, you need audio monitors that can handle the full
range of audio intensities and frequencies. Ideally, your monitors will have a flat frequency
response from 20 Hz to 20,000 Hz (or 20 kHz). This means that they neither attenuate nor
amplify any frequencies. Flat frequency response is important for critical listening because
the speakers themselves are not “coloring” the sound.
In addition to the speaker quality itself, additional factors affect your audio monitoring
environment:
• Size and materials of the room
519Appendix C Working with Professional Video and Audio Equipment
• Placement of the speakers within the room, such as distance from walls and angle of
speakers
• Listener position between speakers
Frequency Response and Dynamic Range
Speaker quality varies greatly depending on their purpose as well as their price. For
example, speakers in a portable stereo or television are designed to play audio that has
already been mastered by a mixing engineer. Mastered audio such as audio CD, radio,
television, and movie sound has a compressed dynamic range (meaning levels are fairly
consistent and loud).
Speakers and amplifiers that are designed for mastered audio often intentionally emphasize
certain frequencies, as is done with the bass enhancement feature found on many systems.
This may make an audio CD sound better, but it is not recommended for mixing production
sound because you get a false impression of the audio signal. For example, if your speakers
overemphasize frequencies around 2 kHz, you may compensate during mixing by reducing
the intensity of audio around 2 kHz. If you then play your mix on a different set of speakers
with a flat frequency response, the frequencies around 2 kHz will sound too muffled.
Flat Not flat
20 Hz 200Hz
– dB
+ dB
– dB
+ dB
1 kHz 5 kHz 20 kHz 5 kHz 20 kHz20 Hz 200 Hz 1 kHz
Self-Powered Versus Passive Speakers
Speakers powered by an external amplifier are called passive speakers. When you use
separate amplifiers and passive speakers, a number of factors affect the overall frequency
response and quality of your audio. Instead of using a separate amplifier and speakers, a
simpler option is to use self-powered speakers (speakers with built-in amplifiers). These
have become increasingly popular, especially for studio monitoring and video editing.
Self-powered speakers deliver more consistent performance because both components
are designed to work together and are housed in a single enclosure. For video editing
systems, self-powered speakers are a good, easy-to-use solution. Self-powered speakers
accept line level inputs, so it’s fairly easy to connect them to your audio interface.
520 Appendix C Working with Professional Video and Audio Equipment
Amplifiers and Signal Levels for Unpowered Speakers
Unpowered speakers require signals with higher voltage than consumer and professional
equipment can provide directly. These levels are known as speaker level audio signals,
while audio devices such as tape recorders and audio mixers usually provide line level
signals. An audio amplifier boosts line level signals to speaker levels to properly drive
speakers. Wide-gauge speaker cables that can handle the higher electrical strength of
speaker levels are used to connect the amplifier to speakers.
Connecting Professional Video Devices
Regardless of what format or video interface you use, the same basic steps apply when
you connect a VTR or camcorder to your computer.
Connecting Professional SD Video Devices
If you’re using a format other than DV, such as Betacam SP or Digital Betacam, you need
to install a third-party video interface that supports the proper signal for the format you’re
using. Some video interfaces can digitize analog video input and output (for analog
formats like Betacam SP), while others capture video only if it is already digital. In either
case, the video interface encodes the video information using a codec, which may or may
not apply compression to the video data to make it smaller while stored on disk.
Compression settings used by video interfaces are typically controlled by software and
use a variation of the M-JPEG codec (although the name of the codec itself may not reflect
this).
Unlike DV video devices (which use a single FireWire cable), third-party interfaces send
and receive video, audio, and device control data on separate cables. For remote device
control connections on professional equipment, 9-pin (DB9) connectors are used.
A Recommended System Using a Third-Party Video Interface
To set up a system using a third-party video interface, you need the following equipment:
• Your computer and display
• A non-DV format video device (a camcorder or deck)
• Audio and video cables for your system
• A third-party capture interface installed in or connected to your computer
Note: Some third-party video interfaces have a breakout box connected to the card
with a special cable, which is included.
• A USB-to-serial adapter or internal modem serial port adapter
• An RS-422 video deck control cable
• A blackburst generator, with the appropriate cables to connect it to both your
third-party video interface and your video and audio devices
521Appendix C Working with Professional Video and Audio Equipment
The following illustration shows a typical SD setup:
USB-to-serial
adapter
Video
Reference video
Breakout box
Video
Audio
USB RS-422 serial
Amplified speakers
Audio
Blackburst
generator
Reference video
Analog
or digital VTR
Standard definition
monitor
Computer
(with PCI Express card)
Following are basic instructions for connecting a video device to a third-party video
interface in your computer, as well as connecting remote device control.
To connect video and audio outputs from your VTR to your third-party video interface
1Install a supported third-party PCI Express video interface in your computer or connect
a FireWire or USB video interface.
For detailed information, see the documentation that came with your video interface and
your computer.
2If you are using a PCI Express card video interface that came with a breakout box, connect
the breakout box to the PCI Express card using the cables provided.
3Connect the video output of your VTR or camcorder to the video input of your video
interface.
4Connect the audio outputs of your VTR or camcorder to the audio inputs of your video
or audio interface.
5Connect the 9-pin remote device control cable to your deck, and to your breakout box
or serial port adapter.
6To genlock your video interface with your camcorder or deck:
aConnect one of the blackburst generator’s outputs (there should be several) to the
genlock or external sync input on your deck (usually you use a cable with a BNC
connector).
bConnect another of the blackburst generator’s outputs to the genlock or external sync
connector on your video interface.
522 Appendix C Working with Professional Video and Audio Equipment
7Plug in and turn on your blackburst generator.
8Turn on your deck.
9If you’re using Soundtrack Pro or Final Cut Pro to control your camcorder or deck, make
sure that the device control switch on your VTR is set to Remote.
For more information about VTR settings, see the documentation that came with your
VTR and your video interface.
For information about synchronizing Soundtrack Pro to an external video deck or audio
recorder, see Synchronizing Soundtrack Pro to External Timecode.
Note: Some broadcast-quality video output devices receive both the video and audio
from a project. When you use a video output device that supports both video and audio
output, Soundtrack Pro automatically routes your audio output to this device to provide
the best possible synchronization of the audio and video.
Connecting Professional Component Analog Video Devices
The most prevalent component analog video format still in use today is Betacam SP. It is
an SD video format, but because it is analog, your video interface must have
analog-to-digital converters to digitize the analog signal before encoding it and writing
a digital media file to the computer hard disk. Unlike digital capture interfaces,
analog-to-digital interfaces often allow you to adjust luma and chroma levels (using
controls in the Final Cut Pro Log and Capture window) when you digitize.
The steps for connecting an analog VTR to a video interface are essentially the same as
for digital SD and HD devices. The main difference is that you need to make three physical
connections, one for each of the three analog video components: Y, R-Y, and B-Y (also
called YUV or Y′CBCR, depending on the country and the specifics of the format). For more
information, see the Final Cut Pro User Manual. To connect equipment, see Connecting
Professional SD Video Devices.
Connecting Consumer Analog Video Devices
If you want to digitize video from an analog consumer format, such as VHS or 8 mm video,
you need a video interface that has an analog composite video input. Also, older consumer
decks rarely support remote device control, which means you can’t remotely control the
deck or capture timecode from these formats. If you need the ability to recapture the
video accurately using timecode, it’s often easiest to dub (copy) the video to a digital
format like DV, or a professional format you are using for your project.
There are fairly inexpensive capture interfaces that can accept an analog composite input
and convert it to a DV video signal transferred via FireWire. Some more expensive interfaces
may also accept an analog component input.
523Appendix C Working with Professional Video and Audio Equipment
Connecting Non-DV Devices to a DV Converter
You can use a DV converter to convert a device in a non-DV format, such as Betacam SP
or Digital Betacam, to DV. This allows you to capture footage using the built-in FireWire
port on your computer. However, unlike a complete DV FireWire setup, this kind of deck
still requires serial (RS-422 or RS-232) remote device control.
This kind of setup is used mainly for low-resolution capture and offline editing. Because
Final Cut Pro can edit DV video natively, you can capture your video as if it were DV
footage, edit at DV resolution, and then recapture only the necessary media files for your
finished movie at full resolution using one of the third-party video interface solutions
described earlier.
Important: If you plan to recapture footage later, make sure timecode is captured
accurately.
A Recommended Non-DV-to-DV System Using Serial Device Control
You need the following equipment:
• Your computer and display
• A non-DV format playback device, such as a Betacam SP or Digital Betacam deck
• An analog-to-DV or digital SDI-to-DV converter
Note: Some DV camcorders and VTRs can also act as an analog-to-DV converter.
• A 4-to-6-pin FireWire cable, available at an electronics store or an Apple Authorized
Reseller
• A USB-to-serial adapter or internal modem serial port adapter
• An RS-422 video deck control cable
The following illustration shows a typical non-DV-to-DV setup:
FireWire
USB
Analog or digital VTRComputer
USB-to-serial
adapter
DV converter Standard definition
monitor
Video
Audio
RS-422 serial
Audio
Video
Amplified speakers
524 Appendix C Working with Professional Video and Audio Equipment
To connect video and audio outputs from your VTR to your analog-to-DV or
digital-to-DV converter
1With your DV converter turned off, connect the 6-pin connector on the FireWire cable to
the FireWire port on your computer.
2Connect the 4-pin connector on the FireWire cable to the DV converter.
3Connect the video output of your VTR to the video input of the DV converter.
4Connect the audio output of your VTR to the audio input of the DV converter.
Note: The DV converter mentioned above could possibly be a DV VTR that can convert
analog video and audio input to DV FireWire. Some decks need to be in record mode to
allow this conversion. Other decks may not support this.
5Connect the remote device control.
Connecting Professional Audio Devices
The steps for connecting audio playback and recording devices are similar to the steps
for connecting professional video devices. (For information on connecting professional
video devices, see Connecting Professional Video Devices.) Many professional audio-only
devices such as DAT recorders and Tascam DA-88/DA-98 multitracks also support remote
device control and audio insert editing.
If you plan to capture footage using separate video and audio interfaces, you may need
to set up additional synchronization between your audio device and audio interface. For
more information, see Synchronizing Equipment with a Blackburst Generator as well as
the documentation that came with your audio interface.
Connecting Professional Digital Audio Devices
Professional digital audio devices often use balanced XLR connectors. Each XLR carries
two AES/EBU digital audio channels. Connect the digital audio outputs of your video or
audio device to your audio interface (or its breakout box). If your video interface has the
appropriate connectors, you can also connect the audio outputs of your device to the
audio inputs on the video interface.
Note: Professional analog audio devices also use XLR connectors, but the signal is
incompatible with AES/EBU digital audio.
Connecting Consumer Digital Audio Devices
Consumer devices such as CD players, MiniDisc recorders, and some DAT recorders use
either an optical or RCA (coax) connector for S/PDIF digital audio. S/PDIF carries two
channels of digital audio, usually at a sample rate of 44.1 or 48 kHz and a bit depth of
16 bits. Connect the S/PDIF output of your audio device to the S/PDIF input on your audio
or video interface, if available.
525Appendix C Working with Professional Video and Audio Equipment
Connecting Professional Analog Audio
Professional analog audio devices use balanced XLR or 1/4" TRS connectors for each audio
channel. Most audio interfaces that support multiple audio channels come with a breakout
box that contains all the connectors.
To connect multiple analog audio channels from a VTR or audio device to a multichannel
audio interface
µConnect each audio output channel on the VTR or audio device to each audio input
channel on the audio interface or corresponding breakout box, if included.
A Recommended Audio System Using a Third-Party Audio Interface
To set up a system using a third-party audio interface, you need the following equipment:
• Your computer and display
• A device-controllable audio deck, such as a DAT or multitrack deck
• Appropriate analog cables for your system
• An audio interface
Note: Some third-party PCI Express interface cards have a breakout box connected
to the card with a special cable.
• A USB-to-serial adapter or internal modem serial port adapter
• A blackburst generator, with the appropriate cables to connect it to both your
third-party audio interface and your audio deck. (For more information, see
Synchronizing Equipment with a Blackburst Generator.)
• An RS-422 video deck control cable
Synchronizing Equipment with a Blackburst Generator
With most professional editing systems, you capture video, audio, and timecode via
separate cables. It’s important that when you capture, the VTR and the video and audio
interfaces are synchronized via a common video timing signal. If digital audio samples
and video lines and frames are not precisely synchronized, they eventually drift apart
because they are captured at slightly different rates.
Using a common sync source is especially important when you are independently
capturing long segments of video and audio to synchronize together later. If your audio
deck and capture interface are not both receiving the same timing information, the sync
between the audio and video portions of clips might drift over time.
A blackburst generator provides a common timing signal (or clock) to lock together the
timing clocks of all devices in a system. This is sometimes referred to as external sync or
house sync because every device in an entire facility can be timed to this common
reference.
526 Appendix C Working with Professional Video and Audio Equipment
Professional VTRs, camcorders, audio devices, and interfaces often have the ability to
accept sync signals from an external device. These connectors are labeled “genlock” (short
for generator lock), “external sync,” “reference input,” or “reference video.” On some
equipment, the normal composite video input of a device can be used to lock to external
sync.
Important: To synchronize your video or audio devices and interfaces, they must all
accept an external clock source (such as a blackburst generator).
When you genlock a deck and a video or audio capture interface, one output of the
blackburst generator should be connected to the external sync input of the video or
audio deck, and another output should be connected to the external sync input of your
audio interface.
Analog or digital VTR
Video
Reference videoReference video
Audio
Blackburst
generator
Breakout boxComputer
(with PCI Express card)
To connect your audio deck outputs to a third-party audio interface for synchronized,
genlocked audio capture
1Install a supported audio interface card in your computer, or connect a supported audio
interface.
For more information, see the documentation that came with the audio interface and
your computer.
2If you are using a PCI Express card audio interface that came with a breakout box, connect
the breakout box to the PCI Express card using the included cable.
3Connect the audio outputs of your audio device to the audio inputs of your audio interface.
4Connect the remote device control cable.
5To genlock your audio deck to your audio or video interface:
aConnect one of the blackburst generator’s outputs (there should be several) to the
genlock or external sync input on your audio deck.
bConnect another of the blackburst generator’s outputs to the genlock or external sync
connector on your video or audio capture interface (depending on which one you are
using to capture audio).
For more information, see Synchronizing Equipment with a Blackburst Generator.
527Appendix C Working with Professional Video and Audio Equipment
6Plug in and turn on your blackburst generator.
7If you are using a blackburst generator, choose Final Cut Pro > User Preferences, and in
the General tab of the User Preferences window, make sure that “Sync audio capture to
video source if present” is selected.
8If you’re using Final Cut Pro to control your audio deck, make sure that the device control
switch on the equipment is set to Remote.
9Once your deck and video capture interface are genlocked together, you still need to
calibrate the timecode capture offset (found in the Device Control Presets tab in the
Audio/Video Settings window) prior to capture.
For more information about calibrating timecode for capture, see the Final Cut Pro
User Manual.
Synchronizing Soundtrack Pro to External Timecode
There may be times when you will wish to synchronize Soundtrack Pro to an external
video deck or audio recorder. Soundtrack Pro can “chase” (synchronize to) timecode sent
by an external video deck or other LTC sources.
Note: This is not the same thing as device control, which allows you to remotely control
a video or audio device for capturing and output. See the Final Cut Pro User Manual for
information on device control.
There are two types of signal involved in this process. LTC (Linear Time Code) is an audio
signal sent by a video deck or audio recorder. This signal can’t be read directly by the
computer; it must be converted to MIDI Time Code (MTC) first. MTC can send via USB to
the computer, and via MIDI cables for distribution to other connected MIDI compatible
devices.
You will need the following equipment to synchronize Soundtrack Pro to external
timecode:
• A video deck or audio recorder capable of sending LTC time code
• A device capable of converting LTC to MTC, such as the MotU MIDI Timepiece AV or
Emagic Unitor 8 MKII
• An RCA-to-1/4-inch audio cable, or a 1/4-inch-to-1/4-inch audio cable
• A USB connection to the MIDI device
• Possibly, a BNC-to-RCA female adapter
Setting Up the LTC Source Device
The LTC generator should be set up as the master sync device. All timecode settings
should be set to “internal.” If available, Jog should be turned off. See the documentation
for your particular video deck or audio recorder for specific instructions.
528 Appendix C Working with Professional Video and Audio Equipment
Setting Up the MTC Generator
Set the MTC generator to receive LTC signals:
• In the case of the MIDI Timepiece, use the Clockworks control panel.
• In the case of the Unitor 8 MkII, use the Unitor Control application.
Setting Up Soundtrack Pro to Sync to External Timecode
You can set up Soundtrack Pro to sync to external timecode.
To sync Soundtrack Pro to external timecode
1Choose Soundtrack Pro > Preferences, then click the Synchronization button at the top
of the Preferences window.
2In the Input section, select the Sync to MIDI Time Code checkbox.
3In the Output section, choose the frame rate for your project from the Frame Rate pop-up
menu.
4In the Time Code Offset section, enter your tape’s offset in the Bar 1 At field. This is typically
01:00:00;00.
5Close the Preferences window.
6Depending on your timecode source, choose either View > Time Ruler Units > Drop Frame
or View > Time Ruler Units > Non-Drop Frame.
7Choose View > Time Ruler Units > Set Starting Timecode.
8In the dialog that appears, enter the SMPTE position where you would like the sequence
to start.
This often is the same as the tape offset. If your timecode source is drop frame, be sure
to select the Drop Frame checkbox.
529Appendix C Working with Professional Video and Audio Equipment
9Click the MIDI Sync button in the transport controls.
MIDI Sync button
Soundtrack Pro will now “chase” (synchronize to) timecode sent by the tape deck or other
LTC sources.
530 Appendix C Working with Professional Video and Audio Equipment
This appendix provides information on working with Apogee hardware and how to
configure settings for Soundtrack Pro.
This appendix covers the following:
•Using Apogee Hardware with Soundtrack Pro (p. 531)
•Creating and Saving a New Apogee Configuration (p. 531)
•Specifying Global Parameters in the Apogee Setup Dialog (p. 532)
•Specifying Units Parameters in the Apogee Setup Dialog (p. 533)
•Using a Previously Saved Configuration (p. 537)
•Choosing a Configuration Saved with a Project (p. 538)
Using Apogee Hardware with Soundtrack Pro
Soundtrack Pro offers a dedicated control panel that allows you to configure selected
Apogee hardware. Currently, this control panel supports the Apogee Duet and Apogee
Ensemble. Refer to the Apogee website for details on supported hardware models.
There are several setups you can use:
• A configuration that you specify
• A configuration you’ve already saved
• The configuration saved with the project
Creating and Saving a New Apogee Configuration
You may want to create new configurations to use with your Apogee hardware. You can
then save them and load them later.
To create a new Apogee configuration
1Confirm that your Apogee unit is connected and turned on.
2Choose Soundtrack Pro > Open Apogee Control Panel.
531
Working with Apogee Hardware in
Soundtrack Pro
Appendix
D
The Apogee Setup dialog appears.
3In the upper section of the dialog, specify global parameters.
Global parameters are relevant only if more than one Apogee device is connected to your
system; they define how several devices work together. For more information, see
Specifying Global Parameters in the Apogee Setup Dialog.
4In the main section of the dialog, specify unit parameters in the three tabs: General, Inputs,
and Outputs.
Unit parameters configure individual hardware units. For more information, see Specifying
Units Parameters in the Apogee Setup Dialog.
5When you’re finished specifying settings, click Save Setup, then follow the onscreen
instructions.
Specifying Global Parameters in the Apogee Setup Dialog
The Global parameters at the top of the Apogee hardware control panel define how
multiple Apogee hardware devices work together.
532 Appendix D Working with Apogee Hardware in Soundtrack Pro
Note: Multiple Apogee device configuration (and the way Apogee devices interact) is
determined by the Apogee driver version. Refer to the information included with the
Apogee driver or device for details.
•Unit Select pop-up menu: Use this to define the hardware device when multiple units
are connected. The parameters of the selected device are displayed in the Unit tabs
below.
•Identify Unit checkbox: Select this if you want to illuminate all LEDs on the corresponding
hardware interface.
•Loop Sync Master pop-up menu: Loop Sync facilitates the proper clocking of multiple
units. It allows simple reconfiguration of clock signals, accommodating nonsynchronous
digital inputs on all connected units. Choose the hardware unit that you want to use
as the clock master. Once a device is designated as master, all other units are
automatically locked to its word clock.
•Disable Loop Sync checkbox: Select this if you want to manually adjust synchronization
settings.
Specifying Units Parameters in the Apogee Setup Dialog
The Units parameters configure the individual hardware units in your system. They are
spread over three tabs: General, Inputs, and Outputs.
533Appendix D Working with Apogee Hardware in Soundtrack Pro
General Tab
The settings in this tab control a variety of features, such as the clock source, UV22HR
dithering algorithm, and level meter behavior.
Clock
•Clock Source pop-up menu: Sets the clock source for the chosen unit. Options are Internal,
Optical, Coax, and Word Clock.
Format
•Optical In pop-up menu: Options are ADAT/SMUX and S/PDIF.
•Optical Out pop-up menu: Options are ADAT/SMUX and S/PDIF.
Dither
•UV22HR pop-up menu: This specifies the target signal path for the UV22HR dithering
algorithm. Options are Off, Analog In 1–2, Analog In 3–4, Analog In 5–6, Analog In 7–8,
Optical In 1–2, Optical In 3–4, Optical In 5–6, Optical In 7–8, S/PDIF In, and S/PDIF Out.
Sample Rate Conversion
•Conversion pop-up menu: This allows you to enable sample rate conversion for the
S/PDIF Input or Output signal path.
•Sample Rate pop-up menu: If you decide to engage sample rate conversion on the
S/PDIF Out channel, you can set the destination sample rate using this pop-up menu.
Sample rate options are 44.1, 48, 88.2, and 96 kHz.
Level Meters
•Level Meter Display pop-up menu: This pop-up menu determines the type of metering
displayed by your units. Options are input level, output level, or no signal at all.
534 Appendix D Working with Apogee Hardware in Soundtrack Pro
•Hold Overloads checkbox: If you select this checkbox, your hardware displays overloads
permanently.
•Clear Overloads button: Clicking this button resets the overload LEDs of your meters.
Special
•CD Mode checkbox: Selecting this checkbox turns on CD mode, which sends a 44.1 kHz,
16-bit stereo signal to the S/PDIF output, regardless of the input. In effect, selecting
this checkbox automatically switches the Conversion pop-up menu to S/PDIF Out, the
Sample Rate pop-up menu to 44.1 kHz, and the UV22HR pop-up menu to S/PDIF Out.
If any of these automatically set parameters are then changed manually, the CD Mode
checkbox is automatically disabled.
Inputs Tab
This tab is used to configure the inputs of your Apogee hardware. The tab contains four
identical parameter sets for microphone inputs 1 to 4 and a parameter section for line
inputs 5 to 8.
Pre-Amp Parameters for Inputs 1 to 4
Inputs 1 to 4 feature built-in pre-amps. These can be configured individually via the four
identical sets of Pre-Amp parameters.
•Level pop-up menu: This pop-up menu allows you to switch the respective channel
between microphone and line inputs. If you choose the Line option, the +4 dBu and
–10 dBV options shown in the Group pop-up menu below are used to set the reference
level of the line input. All microphone-related settings (Gain, Group, 48V Phantom
Power, and Phase Invert) will be dimmed.
•Gain slider: Sets the gain level of the chosen input (only available for microphone
channels).
535Appendix D Working with Apogee Hardware in Soundtrack Pro
•Group pop-up menu: The gain controls of the microphone inputs can be assigned to a
group. Groups allow you to link the Gain sliders of the microphone inputs. Changing
the Gain slider of any microphone input assigned to a group also changes the Gain
sliders of all microphone inputs in this group. Individual gain relationships (relative
levels between microphone inputs) at the time the Gain sliders were assigned to the
group are retained. Options are Group 1, Group 2, and None. The Group pop-up menu
is only available to channels used as microphone inputs.
•Soft Limit checkbox: Select to apply Apogee’s soft limiting to the inputs.
•Phase Invert checkbox: Select this checkbox to reverse the phase of the input signal
(available only if the channel is used as microphone input).
•48V Phantom Power checkbox: Select to activate a 48-volt phantom power supply for
inputs 1 to 4. This checkbox is available only if the channel is used as a microphone
input.
Analog Line Parameters for Inputs 5 to 8
The Analog Line Inputs section offers the following parameters for line inputs 5 to 8:
•Level pop-up menu: Sets the input level of line inputs 5 to 8. Options are +4 dBu and
–10 dBV.
•Soft Limit checkbox: Select to apply Apogee’s soft limiting to the analog line inputs.
Outputs Tab
This tab is used to configure the outputs of your Apogee hardware.
536 Appendix D Working with Apogee Hardware in Soundtrack Pro
Headphones Parameters
These options configure the output signal for the headphone outputs.
•Source pop-up menu: Determines which output pair is sent to the headphone outputs.
Options are Analog Out 1–2, Analog Out 3–4, Analog Out 5–6, Analog Out 7–8, Optical
Out 1–2, Optical Out 3–4, Optical Out 5–6, Optical Out 7–8, and S/PDIF Out.
•Level slider: Sets the level of the headphone outputs.
Main Parameters
You can choose the output channels that you wish to control with the Main Level slider.
•Format pop-up menu: Values are Stereo, 5.1 Surround, and 7.1 Surround.
Analog Line Output Level Settings
You can set the reference level for each of your eight analog line outputs.
•Channel 1-8: Choose either the +4 dBu or –10 dBV option from the respective Channel
pop-up menu to determine the reference level for each of your eight analog line outputs.
Using a Previously Saved Configuration
If you’ve already specified and saved a configuration, you can choose to use that for your
Apogee hardware setup.
To use a saved Apogee configuration
1Confirm that your Apogee unit is connected and turned on.
2Choose Soundtrack Pro > Open Apogee Control Panel.
The Apogee Setup dialog appears.
537Appendix D Working with Apogee Hardware in Soundtrack Pro
3Click Load Setup and follow the onscreen instructions.
Choosing a Configuration Saved with a Project
There may be a configuration saved along with a project you are using. If so, you can
choose to use that configuration with your Apogee hardware.
To use a configuration that is saved with the project
1Confirm that your Apogee unit is connected and turned on.
2Choose Soundtrack Pro > Open Apogee Control Panel.
The Apogee Setup dialog appears.
3Click the Recall Setup From Project button at the bottom of the dialog and follow the
onscreen instructions.
This loads the configuration saved with the project.
538 Appendix D Working with Apogee Hardware in Soundtrack Pro
This appendix provides information to help you solve problems you may encounter while
using Soundtrack Pro.
This appendix covers the following:
•Resources for Solving Problems (p. 539)
•Solutions to Common Problems (p. 539)
•Contacting AppleCare Support (p. 541)
Resources for Solving Problems
If you run into problems while working with Soundtrack Pro, there are several resources
you can use to find a solution.
•This appendix: This appendix includes information about some of the most frequent
issues users encounter.
•Release Notes: This document, available via the Soundtrack Pro Help menu, provides
last-minute information that didn’t make it into the user 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 AppleCare Service & Support Guide that comes
with your Soundtrack Pro documentation.
Solutions to Common Problems
The following sections address some common issues:
•Audio Files and Audio Interfaces
•Eliminating Recording Latency
539
Solving Problems
Appendix
E
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:
• Because digital audio files require intensive processing by the computer’s processor,
do not perform other processor-intensive tasks while working in Soundtrack Pro.
• External audio interfaces connected to your computer can be susceptible to latency, a
noticeable 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.
•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.
•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.
To calculate the latency by playing a loop and recording it at the same time
1Use 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.
2Choose a loop with a large number of transients, such as a drum loop.
3Set the tempo to 60 bpm (to simplify the latency calculation).
4Click the Arm for Recording button in the header of the track to which you want to record.
5In the Recording tab, set the Input device to the recording device.
6Set Monitor to None and ensure 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.
7Click the Record button (or press Command–R) and let the loop play for a few seconds.
Then click Stop.
8Do the following:
aVisually compare the original track and the newly recorded track.
bZoom in to identify a place where the tracks have identical waveforms but are not lined
up.
540 Appendix E Solving Problems
cSet the playhead at the corresponding identical points on the two waveforms and
subtract the two Beats field values.
This is the latency in milliseconds.
dEnter the latency value in the Recording Preferences pane.
If the recorded audio is late (to the right), enter a positive value; if it’s early (to the left),
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.
9Mute the recorded track and test record the loop again to make sure the latency is
eliminated.
Contacting 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 to give to the support agents, the
faster they will be able to address your issue.
• The Support ID number that came with Soundtrack Pro. This number is different from
the product serial number that is used to activate your copy of Soundtrack Pro.
• The version of Mac OS X you have installed. To find the version, choose Apple menu >
About This Mac.
• The version of Soundtrack Pro you have installed, including updates if applicable. To
find the version of Soundtrack Pro on your computer, choose Soundtrack Pro > About
Soundtrack Pro.
• The model of computer you are using.
• The amount of RAM installed in your computer, and how much is available to
Soundtrack Pro. To find out how much RAM is installed, choose Apple menu > About
This Mac.
• What other third-party hardware is connected to or installed in the computer, and who
the manufacturers are. Include hard disks, graphics cards, and so on.
• Any third-party plug-ins or other software installed along with Soundtrack Pro.
To access AppleCare Support for Soundtrack Pro, go to
http://www.apple.com/support/soundtrackpro.
541Appendix E Solving Problems

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