Apple Soundtrack Pro 2 User Manual

Soundtrack Pro 2User Manual

10 Contents477 About Video Interfaces, Signals, and Connectors477 Video Interfaces480 Video Signals and Connectors485 About Audio Interfaces, Signals,

100 Chapter 3 Setting Up Soundtrack Pro  Tempo value slider: Sets the default tempo for new projects in beats per minute (bpm). The range is 60 t

Chapter 3 Setting Up Soundtrack Pro 101 Synchronization PreferencesThese preferences let you specify synchronization settings.Input Sync To MIDI C

102 Chapter 3 Setting Up Soundtrack Pro Control Surfaces PreferencesThese preferences let you specify settings for communicating with attached cont

Chapter 3 Setting Up Soundtrack Pro 103 Video Out PreferencesThese preferences let you specify settings for video output from Soundtrack Pro. Vide

4 1054 Working with Multitrack ProjectsYou can arrange and mix audio clips in a multitrack project. Multitrack projects include tracks, busses, a

106 Chapter 4 Working with Multitrack Projects Creating a Multitrack Project from Final Cut Pro Clips or SequencesA convenient and powerful audio p

Chapter 4 Working with Multitrack Projects 107 To set the automation mode:m Choose Read, Latch, or Touch from the Automation Mode pop-up menu.For m

108 Chapter 4 Working with Multitrack Projects Overlap ModeThe project overlap mode determines what happens when you move an audio clip so that it

Chapter 4 Working with Multitrack Projects 109 Project Time FormatEach multitrack project has a project time format, which can be either Time (seco

11PrefaceAn Introduction to Soundtrack ProSoundtrack Pro gives you the tools you need to create high-quality soundtracks for your film and video

110 Chapter 4 Working with Multitrack Projects Time Ruler Units and Grid LinesThe number of grid lines drawn will depend on the dominant ruler type

Chapter 4 Working with Multitrack Projects 111 Saving Multitrack ProjectsTo save your project:1 Choose File > Save. 2 In the dialog that appears

112 Chapter 4 Working with Multitrack Projects Setting Default Locations for Saving Media FilesDuring the course of a large sound editing project,

Chapter 4 Working with Multitrack Projects 113 Adding Files to a Multitrack Project Once you’ve located and previewed an audio file you want to add

114 Chapter 4 Working with Multitrack Projects To add an audio file from the Finder:m Drag the file from the Finder to the Timeline (to a track, be

Chapter 4 Working with Multitrack Projects 115 The following properties for the selected clip are displayed and can be edited in the Details tab:Fi

116 Chapter 4 Working with Multitrack Projects Some properties can be changed by editing the clip in the Timeline. For detailed information on edit

Chapter 4 Working with Multitrack Projects 117 To set the color of a clip, do one of the following:m Select the clip in the Timeline or the Bin, ch

118 Chapter 4 Working with Multitrack Projects Enabling and Disabling ClipsIn addition to muting entire tracks, you can disable (mute) individual c

Chapter 4 Working with Multitrack Projects 119 To lock a clip in the Timeline, do one of the following:m Select the clip, then choose Clip > Loc

12 Preface An Introduction to Soundtrack Pro Multitrack projects look and function similarly to Final Cut Pro projects. You arrange a multitrack pr

120 Chapter 4 Working with Multitrack Projects To lock a track, do one of the following:m Select the track, then choose Multitrack > Lock Select

Chapter 4 Working with Multitrack Projects 121 To use the shortcut menu to make a mono channel selection from a stereo clip:m Control-click the cli

122 Chapter 4 Working with Multitrack Projects Separating Channels by Option-DraggingYou can separate the channels of stereo and multichannel clips

Chapter 4 Working with Multitrack Projects 123 Combining Separate Clips to Create Multichannel ClipsIn Soundtrack Pro, you can create a single mult

124 Chapter 4 Working with Multitrack Projects Tracks, Busses, Submixes, and the Master BusMultitrack projects contain tracks, busses, and submixes

Chapter 4 Working with Multitrack Projects 125 For example, you could route every dialogue track for a particular actor to a bus with the actor’s n

126 Chapter 4 Working with Multitrack Projects For information about working with tracks, busses, and submixes in the Timeline, see “Working with T

5 1275 Working in the TimelineThe Timeline is where you arrange audio clips to build your soundtrack. You can also adjust volume and panning, add

128 Chapter 5 Working in the Timeline Moving Around in the Timeline Soundtrack Pro provides several controls that let you change the view of the Ti

Chapter 5 Working in the Timeline 129 Using the Zoom ControlYou can zoom in to make precise edits in the Timeline, or zoom out for a wider view of

Preface An Introduction to Soundtrack Pro 13 Using Soundtrack Pro in Your Post-Production WorkflowOn its own, Soundtrack Pro is a powerful audio ed

130 Chapter 5 Working in the Timeline To zoom in, do one of the following:m Move the Zoom slider to the left.m Click the left side of the Zoom cont

Chapter 5 Working in the Timeline 131 To begin forward playback at normal (1x) speed:m Press L.To begin reverse playback at normal (1x) speed:m Pre

132 Chapter 5 Working in the Timeline For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro Keyboard Shortcuts,

Chapter 5 Working in the Timeline 133 Using the Global Timeline ViewThe Global Timeline view, located above the Time display and Time ruler, shows

134 Chapter 5 Working in the Timeline Working with the Cycle RegionYou can create a cycle region in a project, an area that plays back repeatedly.

Chapter 5 Working in the Timeline 135 To resize the cycle region:m Drag either the In point or Out point handle in the Time ruler to resize the cyc

136 Chapter 5 Working in the Timeline To add a submix, do one of the following:m Choose Multitrack > Add Submix.m Control-click a submix, then c

Chapter 5 Working in the Timeline 137 To group tracks, busses, or submixes:1 Confirm that grouping is enabled by choosing Multitrack > Groups En

138 Chapter 5 Working in the Timeline Managing Track Selections with the Tracks TabThe Soundtrack Pro Tracks tab is a convenient tool for selecting

Chapter 5 Working in the Timeline 139 Groups OutlineThe Groups outline displays an outline view of any grouped tracks, busses, or submixes in the p

14 Preface An Introduction to Soundtrack Pro  To prepare your multitrack project for distribution and final delivery, such as foreign language ver

140 Chapter 5 Working in the Timeline To rename a group in the Groups outline:1 Double-click the name.2 Enter the new name.To delete a group or rem

Chapter 5 Working in the Timeline 141 Moving and Copying Tracks, Busses, and SubmixesAs you work on your project, you may want to rearrange tracks,

142 Chapter 5 Working in the Timeline Using the Track ControlsTracks, busses, and submixes have headers, located along the left side of the Timelin

Chapter 5 Working in the Timeline 143 m In surround mode, drag anywhere inside the black circle to position the puck. For finer panning adjustments

144 Chapter 5 Working in the Timeline Soundtrack Pro supports multiple solo and exclusive solo. Clicking the Solo button for multiple tracks, busse

Chapter 5 Working in the Timeline 145 2 Select a category in the Category list to display the effects for that category in the Effect list.3 In the

146 Chapter 5 Working in the Timeline To show or hide the envelopes for a track, bus, or submix, do one of the following:m Click the envelopes disc

Chapter 5 Working in the Timeline 147 Removing Tracks, Busses, and SubmixesYou can remove a track, bus, or submix if you decide you no longer want

148 Chapter 5 Working in the Timeline To select multiple audio clips in different tracks, do one of the following:m Shift-click the clips in the Ti

Chapter 5 Working in the Timeline 149 Selecting the Entire Contents of a TrackSometimes you may find that you want to select all of the clips on a

Preface An Introduction to Soundtrack Pro 15 Â As you drag clips to the Timeline, to separate the channels of stereo and multichannel clips into in

150 Chapter 5 Working in the Timeline Selecting Partial Contents of One or More Tracks When there are many clips in a multitrack project, it’s diff

Chapter 5 Working in the Timeline 151 If you make this selection in Timeslice tool mode, any existing Timeslice selection is extended to the end of

152 Chapter 5 Working in the Timeline When pasting audio clips, you can choose to paste multiple copies of the clip in succession. Using the Paste

Chapter 5 Working in the Timeline 153 Spotting Clips to the TimelineSoundtrack Pro allows you to easily spot clips to the Timeline. You can spot cl

154 Chapter 5 Working in the Timeline Moving ClipsAs you work in Soundtrack Pro, you may want to move tracks to new positions. There are several wa

Chapter 5 Working in the Timeline 155 Moving Clips NumericallyWhen you want to move clips precisely, you can move them by entering positive or nega

156 Chapter 5 Working in the Timeline Snapping Clips to Clips on Adjacent TracksIf snapping is turned on, you can snap a clip to the edges of a cli

Chapter 5 Working in the Timeline 157 When you resize a clip by shortening its left edge, you change the point in the source audio file at which th

158 Chapter 5 Working in the Timeline Creating Fades and Crossfades in the TimelineOne of the most common tasks of a sound editor is adding fade-in

Chapter 5 Working in the Timeline 159 To adjust the fade type:1 Double-click the fade in the Timeline.The Fade Selector window appears.2 Click one

16 Preface An Introduction to Soundtrack Pro  Tape-style scrubbing: The Scrub tool provides detailed scrubbing that realistically approximates th

160 Chapter 5 Working in the Timeline Creating Crossfades Between Audio ClipsCrossfades let you create smooth transitions between one audio clip an

Chapter 5 Working in the Timeline 161 To adjust the crossfade type:1 Double-click the crossfade.The Fade Selector window appears with two columns o

162 Chapter 5 Working in the Timeline Truncating Overlapping Audio ClipsYou can have Soundtrack Pro truncate the overlapping part of audio clips in

Chapter 5 Working in the Timeline 163 If you prefer, you can also double-click a clip in your multitrack project and its media file opens in the Fi

164 Chapter 5 Working in the Timeline Using the Timeline Editing ToolsThe Timeline includes editing tools you can use to edit and adjust clips in t

Chapter 5 Working in the Timeline 165 Lift and Stamp ToolsThe Lift and Stamp tools provide an efficient way to transfer properties from one clip to

166 Chapter 5 Working in the Timeline Editing in PlaceEditing a clip’s media file in place (directly in the Timeline) is nearly identical to editin

Chapter 5 Working in the Timeline 167 Â If the clip’s audio file format is a flat file such as an AIFF or WAVE file: Soundtrack Pro automatically

168 Chapter 5 Working in the Timeline Using the Multitrack Timeline and the File Editor TogetherOne of the unique advantages of Soundtrack Pro is t

Chapter 5 Working in the Timeline 169 For information on making basic edits, see “Editing Audio Files in the File Editor” on page 198. For informat

Preface An Introduction to Soundtrack Pro 17 Â Conform: You can use the Conform feature in Soundtrack Pro to quickly merge two versions of the sam

170 Chapter 5 Working in the Timeline Spotting Sound Effects from the File Editor to the TimelineA common task for sound editors is adding sound ef

Chapter 5 Working in the Timeline 171 Splitting Clips with the Blade Tool Using the Blade tool, you can perform many splits consecutively without m

172 Chapter 5 Working in the Timeline Note: If you use the Blade All tool in the podcast track, it cuts the podcast track as well as any audio cli

Chapter 5 Working in the Timeline 173 You can split an audio clip into three segments with the Timeslice tool by making a selection in the middle o

174 Chapter 5 Working in the Timeline Editing with the Timeslice ToolYou can use the Timeslice Tool to make time-based selections. Unlike selection

Chapter 5 Working in the Timeline 175 A Timeslice selection rectangle appears over the portion of the clip and the File Editor tab displays the sam

176 Chapter 5 Working in the Timeline To move a Timeslice selection:m Click the center of the Timeslice selection, then drag it to a new location i

Chapter 5 Working in the Timeline 177 Cutting, Copying, and Pasting TimeslicesYou can cut or copy a Timeslice and paste it at a different position

178 Chapter 5 Working in the Timeline To change the In point, Out point, or duration of a Timeslice numerically:1 Make a Timeslice selection in the

Chapter 5 Working in the Timeline 179 Using the Lift and Stamp Tools The Lift and Stamp tools provide a time-saving way to apply work you have done

18 Preface An Introduction to Soundtrack Pro Resources for Learning About Soundtrack ProThis manual describes the Soundtrack Pro interface, command

180 Chapter 5 Working in the Timeline To stamp properties on one or more clips in the Timeline:1 If you are stamping on more than one clip, select

Chapter 5 Working in the Timeline 181 Actions appear in the target clip’s Actions tab for each property listed in the selected template or preset i

182 Chapter 5 Working in the Timeline To name or rename a Sound Palette preset:1 If there are already presets on the left of the Sound Palette, cli

Chapter 5 Working in the Timeline 183 Working with MarkersMarkers have a variety of uses in the Timeline and the File Editor. For example, you can

184 Chapter 5 Working in the Timeline Naming MarkersYou can name time markers and beat markers, so that each marker can provide a unique visual cue

Chapter 5 Working in the Timeline 185 Adjusting a Marker’s DurationBy default, Time markers and Beat markers have a duration of zero, but you can c

186 Chapter 5 Working in the Timeline Using Markers to Align Audio Clips to Timecode You can add a time marker at a specific timecode position in a

Chapter 5 Working in the Timeline 187 The tempo change created when you score a marker to the playhead is always instantaneous; that is, the tempo

188 Chapter 5 Working in the Timeline Working with Tagged and Looping ClipsSoundtrack Pro includes a large selection of Apple Loops that you can us

Chapter 5 Working in the Timeline 189 Replacing the Source Audio in a Clip Each audio clip in the Timeline has a set of properties specific to the

Preface An Introduction to Soundtrack Pro 19 Apple WebsitesThere are a variety of Apple websites that you can visit to find additional information.

190 Chapter 5 Working in the Timeline To replace the source audio file in all clips using the same source file: 1 Select all occurrences of the cli

6 1916 Editing Audio FilesIn Soundtrack Pro, you can edit audio files nondestructively, analyze and fix common audio problems, and create AppleSc

192 Chapter 6 Editing Audio Files And you can do all this while working interactively with same audio file in the multitrack Timeline and while hea

Chapter 6 Editing Audio Files 193 Compressed formats such as MP3 and AAC files are also supported, although these must be internally decompressed t

194 Chapter 6 Editing Audio Files You can view and modify a clip’s media file in the File Editor tab without losing the context of your multitrack

Chapter 6 Editing Audio Files 195 Editing in PlaceEditing an audio file directly in the multitrack Timeline is nearly identical to editing any othe

196 Chapter 6 Editing Audio Files How Media File Editing Works in a Multitrack ProjectWhen you edit a clip in place or open a clip in a new File Ed

Chapter 6 Editing Audio Files 197 Modifying a Clip Without Affecting Its Source MediaAny time you use multiple instances of the same clip in a mult

198 Chapter 6 Editing Audio Files Editing Audio Files in the File EditorYou can edit audio files in many different ways in the File Editor tab and

Chapter 6 Editing Audio Files 199 Playing Audio Files in the File EditorYou can play an audio file in the File Editor so you can hear the file and

K Apple Inc.Copyright © 2007 Apple Inc. All rights reserved.Your rights to the software are governed by the accompanying software license agreement. T

20 Preface An Introduction to Soundtrack Pro For information about seminars, events, and third-party tools used in web publishing, design and print

200 Chapter 6 Editing Audio Files Linking the File Editor Selection and the Cycle RegionYou can link the File Editor tab to the Cycle Region so tha

Chapter 6 Editing Audio Files 201 To scrub an audio file with the playhead:1 Press and hold the triangular part of the playhead.2 While holding the

202 Chapter 6 Editing Audio Files Selecting Part of an Audio FileWhen you apply an action to an audio file in the File Editor, the action is applie

Chapter 6 Editing Audio Files 203 2 Drag the pointer to select the part of the left channel you want to work with.As you drag, the right (lower) ch

204 Chapter 6 Editing Audio Files If you have added markers to an audio file project, you can select the area between two markers.To select the are

Chapter 6 Editing Audio Files 205 Adjusting Selections to a Zero CrossingA zero crossing is a point in an audio file where the amplitude is zero. W

206 Chapter 6 Editing Audio Files Cutting, Copying, and Pasting in the File EditorYou can cut, copy, and paste audio in the File Editor. Cutting, c

Chapter 6 Editing Audio Files 207 6 Click OK.The cut or copied audio is mixed with the existing audio.You can also paste repeat in the File Editor.

208 Chapter 6 Editing Audio Files To zoom in on a selection:1 In the waveform display, select the area you want to zoom in on.2 Choose View > Zo

Chapter 6 Editing Audio Files 209 Sample Edit ToolYou can graphically edit samples in the audio file using the Sample Edit tool. To use the Sample

1 211 Setting Up Your SystemThe way you set up your system depends on the audio equipment you plan to use. You can use your computer’s speaker or

210 Chapter 6 Editing Audio Files Audio Stretching ToolYou can time stretch all or part of an audio file to change the amount of time it occupies.

Chapter 6 Editing Audio Files 211 When you lengthen the selection using the Audio Stretching tool, any audio overlapped by the lengthened selection

212 Chapter 6 Editing Audio Files Choosing the Sample Units in the File EditorAlong the left edge of the File Editor is a scale of sample units for

Chapter 6 Editing Audio Files 213 Selecting and Editing Channels in Multichannel FilesEditing multichannel files in the File Editor is similar to e

214 Chapter 6 Editing Audio Files Creating a New Multichannel Audio FileYou can create a new multichannel file and specify the number of channels a

Chapter 6 Editing Audio Files 215 To view an audio file in Frequency Spectrum view, do one the following:m Choose View > File Editor Display >

216 Chapter 6 Editing Audio Files Using the Spectrum View HUDThe Spectrum View HUD is a floating window that provides extensive controls for Freque

Chapter 6 Editing Audio Files 217 Â Color pop-up menu and gradient slider: Use the menu and slider to customize the gradient for Frequency Spectru

218 Chapter 6 Editing Audio Files You can also choose the number of samples used to calculate the spectrum display.To choose the window size (numbe

Chapter 6 Editing Audio Files 219 Frequency Selection Tool GuidelinesHere are some further guidelines for editing in Frequency Spectrum view with t

22 Chapter 1 Setting Up Your System Hard DisksIt’s also a good idea to have a large hard disk with plenty of available space to store the media (au

220 Chapter 6 Editing Audio Files The advanced settings window contains controls for previewing the effect in the File Editor, bypassing, applying,

Chapter 6 Editing Audio Files 221 NormalizeChoosing this command normalizes (adjusts the gain of) the audio file or selection to the decibel level

222 Chapter 6 Editing Audio Files InsertYou can insert silence, noise, or a waveform in an audio file or selection. When you choose Process > In

Chapter 6 Editing Audio Files 223 To choose the type of noise to insert:m In the Noise Generator dialog, choose the type of noise from the Waveform

224 Chapter 6 Editing Audio Files To set the length of the inserted waveform:1 In the Wave Generator dialog, choose the format you want to use from

Chapter 6 Editing Audio Files 225 Noise ReductionSome audio files contain unwanted noise, making it difficult to hear the voices, music, or other c

226 Chapter 6 Editing Audio Files To set the threshold of the noise reduction:m In the Reduce Noise dialog, drag the Noise Threshold slider left to

Chapter 6 Editing Audio Files 227 Adding Ambient NoiseWhen editing an audio file, you may want to remove some sounds from the file while preserving

228 Chapter 6 Editing Audio Files Equalization MatchingEqualization matching matches the average frequency spectrum of the target clip to that of t

Chapter 6 Editing Audio Files 229 ResampleChoosing this command resamples the audio file to a new sample rate. To choose the new sample rate:1 Choo

Chapter 1 Setting Up Your System 23 Audio MIDI SetupThe Audio MIDI Setup utility is a program that comes with the Mac OS X for adjusting a computer

230 Chapter 6 Editing Audio Files Working with ActionsActions give you an extremely flexible and powerful way to edit audio files in the File Edito

Chapter 6 Editing Audio Files 231 Editing ActionsMany actions have settings that you can edit. When you apply an action that has editable settings,

232 Chapter 6 Editing Audio Files Reordering ActionsYou can reorder actions after applying them to an audio file. The order in which effects and ot

Chapter 6 Editing Audio Files 233 Reversing the Order of the Actions ListYou can reverse the order in which actions are shown in the Actions list,

234 Chapter 6 Editing Audio Files Comparing the Project With and Without ActionsWhen you are adding and adjusting actions, you may want to compare

Chapter 6 Editing Audio Files 235 Deleting ActionsYou can delete an action if you decide you no longer want it in the project.To delete an action:m

236 Chapter 6 Editing Audio Files Analyzing an Audio FileSoundtrack Pro includes a set of audio analysis tools. You can analyze an audio file for c

Chapter 6 Editing Audio Files 237 DC OffsetDC offset is a shift in the audio, causing the positive and negative parts of the signal not to average

238 Chapter 6 Editing Audio Files Setting Analysis ParametersThe Clicks and Pops and Silence analysis types have parameters you can set. Each type

Chapter 6 Editing Audio Files 239 By default, the region shown in red in the waveform display includes some extra time before the first sample with

24 Chapter 1 Setting Up Your System  Video, audio, and remote device control cables: For separate video, audio, and remote device control connect

240 Chapter 6 Editing Audio Files Fixing Analyzed ProblemsYou can select items in the Results list and fix them individually, in groups, or all tog

Chapter 6 Editing Audio Files 241 Opening the File Editor Project ViewYou start working in the File Editor project view by creating an audio file p

242 Chapter 6 Editing Audio Files Setting the Time Ruler Units in the File Editor Project ViewYou can set the Time Ruler units in the File Editor p

Chapter 6 Editing Audio Files 243 Automating Realtime Effects in the File Editor Project ViewOnce you have applied realtime effects to an individua

244 Chapter 6 Editing Audio Files To render realtime effects and envelopes to an action:m Choose Process > Render to Action.Once you render real

Chapter 6 Editing Audio Files 245 Saving Audio File Projects Containing VideoFor audio file projects containing video, the video file is saved as a

246 Chapter 6 Editing Audio Files Saving Audio Files from the File Editor Project ViewYou can also save a project as a standard audio file from the

Chapter 6 Editing Audio Files 247 7 Click Save.When you save an audio file with the same name, location, and extension as the original audio file,

248 Chapter 6 Editing Audio Files Scripting Actions in the File Editor Project ViewYou can save a series of actions in the File Editor project view

Chapter 6 Editing Audio Files 249 Using the Global Waveform ViewThe File Editor includes a Global Waveform view, located directly above the main wa

Chapter 1 Setting Up Your System 25 Video and Audio InterfacesAn interface is a device that adds physical video or audio connectors to your compute

7 2517 Using the Multitake EditorThe Multitake Editor presents a new way of dealing with layered audio clips.About the Multitake Editor You use t

252 Chapter 7 Using the Multitake Editor What Is ADR?Automatic dialogue replacement (ADR) is a process of re-recording dialogue in the studio in sy

Chapter 7 Using the Multitake Editor 253 Overview of the Multitake EditorYou can think of the Multitake Editor as a simplified multitrack Timeline

254 Chapter 7 Using the Multitake Editor Editing in the Multitake EditorFundamentally, there are three steps in making any multitake edit: splittin

Chapter 7 Using the Multitake Editor 255 To adjust a transition point, do one of the following:m Drag the vertical transition point line left or ri

256 Chapter 7 Using the Multitake Editor Adding and Deleting Takes You can easily add audio files to a multitake clip. Added takes can be any audio

Chapter 7 Using the Multitake Editor 257 Reordering Takes You can vertically rearrange the order of takes in a multitake clip.To rearrange the orde

258 Chapter 7 Using the Multitake Editor 8 Using the Blade tool, click just before the waveform for the word “try” in the Take 2 track.A transition

Chapter 7 Using the Multitake Editor 259 13 Do one of the following to adjust any of the transition points:Â Drag a transition point left or right

26 Chapter 1 Setting Up Your System Setting Up a Proper Audio Monitoring EnvironmentRoom shape and material are just as important as the quality of

8 2618 Basic Mixing in Soundtrack ProSoundtrack Pro gives you the tools to create sophisticated audio mixes for your projects.When you have added

262 Chapter 8 Basic Mixing in Soundtrack Pro Steps in MixingMixing a project typically involves the following tasks:Â Balancing relative volume lev

Chapter 8 Basic Mixing in Soundtrack Pro 263 Structuring an Audio Post-Production ProjectTo organize their projects, most video and motion picture

264 Chapter 8 Basic Mixing in Soundtrack Pro Audio post-production projects typically include many tracks and submixes. The following diagram shows

Chapter 8 Basic Mixing in Soundtrack Pro 265 Setting Hardware OutputsUse the Output pop-up menu in each submix to choose an output channel or set o

266 Chapter 8 Basic Mixing in Soundtrack Pro Example: Mixing a Project with Dialogue, Music, and Effects SubmixesA classic audio post-production p

Chapter 8 Basic Mixing in Soundtrack Pro 267 Once the audio signals are organized in this way, you can apply (and automate) volume settings and eff

268 Chapter 8 Basic Mixing in Soundtrack Pro Creating a Separate Music and Effects MixUsing submixes in your workflow becomes very powerful when yo

Chapter 8 Basic Mixing in Soundtrack Pro 269 Signal Routing for a Separate Music and Effects Mix in SurroundWhen you shift from a stereo project to

Chapter 1 Setting Up Your System 27 External Video MonitorsWhen you design and edit a video soundtrack, it’s ideal to watch the video on a monitor

270 Chapter 8 Basic Mixing in Soundtrack Pro Using Sends and BussesYou can use sends to split an audio signal into two or more separate signals. A

Chapter 8 Basic Mixing in Soundtrack Pro 271 As the diagram shows, the new MusicReverb bus represents an alternate version of the Music track audio

272 Chapter 8 Basic Mixing in Soundtrack Pro Example: Combining Track Signals with Sends and BussesYou can also send the signals from multiple tra

Chapter 8 Basic Mixing in Soundtrack Pro 273 Using the MixerWhile most mixing tasks can be accomplished in the Timeline and elsewhere in the Soundt

274 Chapter 8 Basic Mixing in Soundtrack Pro The controls a channel strip contains depend on whether it is a track, bus, or submix channel strip. T

Chapter 8 Basic Mixing in Soundtrack Pro 275 To display the Mixer and Video tabs as separate windows, do one of the following:m Choose Window >

276 Chapter 8 Basic Mixing in Soundtrack Pro Selecting Channel StripsYou can select a channel strip in order to move, copy, or remove it. Selected

Chapter 8 Basic Mixing in Soundtrack Pro 277 Setting Channel Strip Volume LevelsYou set relative volume levels to balance the various parts of the

278 Chapter 8 Basic Mixing in Soundtrack Pro Setting Channel Strip Pan PositionYou pan sounds to different positions to place them in the stereo or

Chapter 8 Basic Mixing in Soundtrack Pro 279 To set the surround pan position of a channel strip:m Drag anywhere inside the black circle to positio

28 Chapter 1 Setting Up Your System Setting Up a System Using a USB Audio InterfaceWith this setup, you can record audio input from microphones and

280 Chapter 8 Basic Mixing in Soundtrack Pro Note: You can create submixes independently of the audio hardware connected to your computer and can

Chapter 8 Basic Mixing in Soundtrack Pro 281 Renaming Channel StripsYou can rename a channel strip to help you remember its content or purpose in t

282 Chapter 8 Basic Mixing in Soundtrack Pro To hide a section of the Mixer:m Choose the section you want to hide from the Show pop-up menu, locate

Chapter 8 Basic Mixing in Soundtrack Pro 283 At the top of each set of level meters is a peak indicator. As the project plays, the value in decibel

284 Chapter 8 Basic Mixing in Soundtrack Pro Working with Effects in the MixerYou can add effects to a channel strip in the Mixer, show effects set

Chapter 8 Basic Mixing in Soundtrack Pro 285 To show advanced settings for an effect, do one of the following:m Double-click the effect name in the

286 Chapter 8 Basic Mixing in Soundtrack Pro Replacing an EffectYou can replace an effect in a channel strip with another effect. When you replace

Chapter 8 Basic Mixing in Soundtrack Pro 287 To make a send a post-fader send:m Click the disclosure triangle for the send in the Effects tab, then

288 Chapter 8 Basic Mixing in Soundtrack Pro Setting the Overall Project Volume LevelAs you finalize a project mix, you set the overall project vol

Chapter 8 Basic Mixing in Soundtrack Pro 289 In each channel’s meter, a white horizontal bar displays the current signal level; bars below the whit

Chapter 1 Setting Up Your System 29 Setting Up a System Using a FireWire Interface and a Control SurfaceWith this setup, you can record audio input

290 Chapter 8 Basic Mixing in Soundtrack Pro Using the Master BusThe Master bus represents the final mix from Soundtrack Pro—what will be heard fro

Chapter 8 Basic Mixing in Soundtrack Pro 291 To listen to a temporary mono mix:1 Start the project playing.2 While the project plays, press and hol

292 Chapter 8 Basic Mixing in Soundtrack Pro Creating Multiple MixesYou might want to create multiple mixes of a project for one of the following r

9 2939 Mixing Surround SoundSoundtrack Pro gives you the tools to create sophisticated surround mixes for your projects.Surround sound uses more

294 Chapter 9 Mixing Surround Sound Creating a Surround ProjectThe following steps outline a general workflow used for editing and mixing surround

Chapter 9 Mixing Surround Sound 295 Using the Surround PannersYou use the panning controls in the track headers to set the pan position of a track

296 Chapter 9 Mixing Surround Sound As far as tracks and busses are concerned, switching between surround mode and stereo mode is that simple. At t

Chapter 9 Mixing Surround Sound 297 Connecting Physical OutputsTo hear the six discrete channels of surround sound that Soundtrack Pro can provide,

298 Chapter 9 Mixing Surround Sound Surround Speaker PlacementThere are several ways you can arrange 5.1 surround speakers for playback. You can fo

Chapter 9 Mixing Surround Sound 299 Note: It isn’t always possible to place the speakers where they’re supposed to go due to obstacles in the room

3 1 Contents Preface 11 An Introduction to Soundtrack Pro11 Overview of Soundtrack Pro 13 Using Soundtrack Pro in Your Post-Production Workflo

30 Chapter 1 Setting Up Your System Setting Up a System Using a Video Output DeviceWith this setup, you can play video and audio through an externa

300 Chapter 9 Mixing Surround Sound The Surround Panner HUDThe Surround Panner HUD offers finer panning adjustments, a graphic representation of th

Chapter 9 Mixing Surround Sound 301 Note: In automation envelopes, this Position parameter is expressed as Surround Pan X and Surround Pan Y. Rot

302 Chapter 9 Mixing Surround Sound  Collapse: Typically, panners are either of a collapsing style (panning folds input signals into output speak

Chapter 9 Mixing Surround Sound 303 Â Speaker Disable: Click a speaker icon once to disable or enable it. If you disable a speaker, its output goe

304 Chapter 9 Mixing Surround Sound Surround MeteringSoundtrack Pro provides a variety of level meters to monitor output levels as you make surroun

Chapter 9 Mixing Surround Sound 305 For more information about output settings, see “Connecting Physical Outputs” on page 297.Mixer MetersEach chan

306 Chapter 9 Mixing Surround Sound Surround Mixing StrategiesThis section includes guidelines and tips for mixing surround projects.Mixing Surroun

Chapter 9 Mixing Surround Sound 307 Converting a Stereo Mix to 5.1 SurroundMany post-production projects require both a stereo mix and a surround m

308 Chapter 9 Mixing Surround Sound In particular, you Control-click the stereo panner in the track header (or Mixer channel strip) of each appropr

Chapter 9 Mixing Surround Sound 309 Placing Dialogue and Voiceover in a Surround MixIn a surround mix, dialogue usually goes directly into the cent

Chapter 1 Setting Up Your System 31 Setting Up a System Using a PCI Video Interface Card with Breakout BoxMany PCI cards aren’t big enough to fit a

310 Chapter 9 Mixing Surround Sound Placing Stereo Music in a Surround MixThe simplest option for stereo music in a surround project is to just lea

Chapter 9 Mixing Surround Sound 311 Using Surround Effect Plug-insSoundtrack Pro includes a collection of professional surround-specific effect plu

312 Chapter 9 Mixing Surround Sound Accommodating Stereo PlaybackEven with the popularity of 5.1 systems, you should always address stereo reproduc

Chapter 9 Mixing Surround Sound 313 Project FilesYou can also deliver either an exported AAF file or a copy of the Soundtrack Pro project file. Â A

10 31510 Working with Video in Soundtrack ProYou can import a video into a multitrack or audio file project, view the video as you work on your p

316 Chapter 10 Working with Video in Soundtrack Pro Adding a Video to a ProjectYou can import a video file by dragging the file from a media tab or

Chapter 10 Working with Video in Soundtrack Pro 317 Playing the VideoWhen you play the project, the video plays in the Video tab in time with the a

318 Chapter 10 Working with Video in Soundtrack Pro Resizing the Video TabYou can detach the Video tab and resize it (to any size, up to filling yo

Chapter 10 Working with Video in Soundtrack Pro 319 You can also play a project’s video externally using Digital Cinema Desktop. Using Digital Cine

32 Chapter 1 Setting Up Your System Setting Up a System for Stereo MixingBy default, Soundtrack Pro is set up for stereo mixing. Stereo Speaker Pla

320 Chapter 10 Working with Video in Soundtrack Pro Viewing Video DetailsYou can view details of a video file, including the video file’s name, dim

Chapter 10 Working with Video in Soundtrack Pro 321 Working with a Video’s AudioYou can edit the audio clip of the video’s audio as with any audio

322 Chapter 10 Working with Video in Soundtrack Pro To choose the video frame rate for projects not containing a video file:1 Choose View > Time

Chapter 10 Working with Video in Soundtrack Pro 323 Opening and Closing the Multipoint Video HUDUse the following methods for opening and closing t

324 Chapter 10 Working with Video in Soundtrack Pro Dragging a Clip Around the Multitrack Timeline When you drag an existing clip around in the Tim

Chapter 10 Working with Video in Soundtrack Pro 325 Dragging the Cycle Region When you modify either end of the Cycle Region, the Multipoint Video

11 32711 Working with Audio Effects You can modify the sound of your project in many ways using audio effects. Soundtrack Pro includes a complete

328 Chapter 11 Working with Audio Effects Applying Processing EffectsYou can apply processing effects to clips and regions of clips in the multitra

Chapter 11 Working with Audio Effects 329 4 Optionally, do any of the following:Â Click the Play button to hear the effect and your adjustments to

2 332 The Soundtrack Pro InterfaceIn Soundtrack Pro, you work in multiple windows and tabs that you can arrange to suit your workflow.Soundtrack

330 Chapter 11 Working with Audio Effects Working with Effect PresetsMany effects come with several combined parameter settings called presets. Pre

Chapter 11 Working with Audio Effects 331 To hide the Presets drawer:m Click the Hide Presets button in the advanced settings window.To apply a pre

332 Chapter 11 Working with Audio Effects Dynamics EffectsDynamics effects let you adjust the dynamic range (the range between the softest and loud

Chapter 11 Working with Audio Effects 333 Compressors can also include parameters for attack and release. These parameters let you set how quickly

334 Chapter 11 Working with Audio Effects EQ and Filter EffectsEQ is likely the most common audio effect used in postproduction. You can use EQ to

Chapter 11 Working with Audio Effects 335 Note: The frequencies shown for each range are approximate. Any division of sound into frequency ranges

336 Chapter 11 Working with Audio Effects Graphic EQsGraphic EQs give you a set of filters (often with 10 or 31 filters), each with a set center fr

Chapter 11 Working with Audio Effects 337 FlangersFlangers work in much the same way as do phase shifters, but additionally change the pitch of the

338 Chapter 11 Working with Audio Effects ReverbReverberation, usually shortened to reverb, simulates the sound of acoustic environments such as ro

Chapter 11 Working with Audio Effects 339 Simple reverb effects provide parameters for the decay time or reverb time, which let you set how long th

34 Chapter 2 The Soundtrack Pro Interface Soundtrack Pro Window OrganizationThe Soundtrack Pro window is arranged into several areas: the project p

340 Chapter 11 Working with Audio Effects MultiMeterThe MultiMeter combines the functions of the Level Meter and Correlation Meter (as described ab

Chapter 11 Working with Audio Effects 341 Clicking the Goniometer button turns on the Goniometer and turns off the Spectrum Analyzer. You can use t

342 Chapter 11 Working with Audio Effects There are three smoothing parameters that you can use to minimize the “glass-noise” effect: Frequency smo

Chapter 11 Working with Audio Effects 343 Working with Realtime EffectsYou can add realtime effects to a track, bus, submix, or the Master bus in a

344 Chapter 11 Working with Audio Effects Adding Realtime EffectsYou can add realtime effects in the Effects tab. You can create effects chains, wh

Chapter 11 Working with Audio Effects 345 To add a realtime effect to a track, bus, or submix in the Mixer, do one of the following:m Control-click

346 Chapter 11 Working with Audio Effects To adjust realtime effect parameters in the advanced settings window:1 Do one of the following to open th

Chapter 11 Working with Audio Effects 347 To adjust realtime effect parameters in the Effect Parameters area of the Effects tab:1 Click the disclos

348 Chapter 11 Working with Audio Effects To add multiple effects to an effects chain, do one of the following:m Double-click the effect you want t

Chapter 11 Working with Audio Effects 349 Bypassing Realtime EffectsYou can turn off an effect in the Effects tab, which “bypasses” the effect in t

Chapter 2 The Soundtrack Pro Interface 35 Or, for example, you may wish to work exclusively in the Timeline or the File Editor project view and ded

350 Chapter 11 Working with Audio Effects Choosing the Bus to Which a Send Is RoutedWhen you add a send, the audio is routed from the send to a bus

Chapter 11 Working with Audio Effects 351 Adjusting Send Pan PositionYou can adjust the pan position for the audio routed through a send.To adjust

352 Chapter 11 Working with Audio Effects To automate a realtime effect parameter:1 In the Effects tab, select the Auto (Automation-enable) checkbo

Chapter 11 Working with Audio Effects 353 Working with Processing EffectsYou can apply processing effects to an audio file or a selected part of a

354 Chapter 11 Working with Audio Effects Automating Processing Effect ParametersFor the effects in the categorized submenus at the top of the Effe

12 35512 Working with AutomationUsing automation, you can create changes over time to volume, pan, effects, and other controls.Automation offers

356 Chapter 12 Working with Automation Track, Bus, and Submix EnvelopesEach track and bus has envelopes for volume and pan, and each submix has a v

Chapter 12 Working with Automation 357  Right Speaker Disable Left Surround Speaker Disable Right Surround Speaker DisableFor a complete descrip

358 Chapter 12 Working with Automation To select multiple envelope points, do one of the following:m Drag from an area in the automation row before

Chapter 12 Working with Automation 359 Selecting and Moving Envelope Points with ClipsBy default, when you select or move a clip in the Timeline, t

36 Chapter 2 The Soundtrack Pro Interface Because hiding and showing different panes of the Soundtrack Pro window is so convenient, you will probab

360 Chapter 12 Working with Automation Viewing and Editing Envelope Point DetailsYou can also view and edit the value, position, and other details

Chapter 12 Working with Automation 361 To change the units shown in the Position value slider:m Choose the units you want to show from the pop-up m

362 Chapter 12 Working with Automation Nudging Envelope PointsThere are several ways in which you can nudge envelope points using the arrow keys:Â

Chapter 12 Working with Automation 363 Deleting Envelope PointsAfter listening to the results of your edits, you may decide to delete some envelope

364 Chapter 12 Working with Automation To remove an envelope for an effect parameter:m Deselect the Auto checkbox for the parameter in the Effect P

Chapter 12 Working with Automation 365 Recording Automation DataIn addition to working with envelopes, you can record automation data in Soundtrack

366 Chapter 12 Working with Automation Thinning Envelope Points in Recorded Automation DataRecording automation data can generate a large number of

13 36713 Recording Audio in Soundtrack ProYou can record your own audio on one or more tracks in the Timeline, the Mixer, or the File Editor proj

368 Chapter 13 Recording Audio in Soundtrack Pro Recording Audio in the TimelineYou record in the Timeline by enabling a track for recording, setti

Chapter 13 Recording Audio in Soundtrack Pro 369 Adjusting Recording SettingsBefore you click the Record button, you may need to configure the inpu

Chapter 2 The Soundtrack Pro Interface 37 Project PaneThe project pane is the central “canvas” where you work on your projects in either the multit

370 Chapter 13 Recording Audio in Soundtrack Pro The Recording tab adjusts the level meter display based on the channel (or set of channels) you ch

Chapter 13 Recording Audio in Soundtrack Pro 371 Recording a Single TakeYou record a single take by setting the playhead to the point where you wan

372 Chapter 13 Recording Audio in Soundtrack Pro 3 Set the playhead to the point where you want recording to start, and click the Record button.The

Chapter 13 Recording Audio in Soundtrack Pro 373 5 To stop recording, do one of the following: Click the Record button. Click the Pause/Play butt

374 Chapter 13 Recording Audio in Soundtrack Pro Recordings LocationWhen you record audio with Soundtrack Pro, the default location for those audio

Chapter 13 Recording Audio in Soundtrack Pro 375 Recording Audio in the File Editor Project ViewYou can record audio to an audio file project in th

14 37714 Creating Podcasts in Soundtrack ProSoundtrack Pro gives you the tools to create professional podcasts of your projects.You can quickly a

378 Chapter 14 Creating Podcasts in Soundtrack Pro Podcasting Media ProductionProducing podcasts has a lot in common with producing any other audio

Chapter 14 Creating Podcasts in Soundtrack Pro 379 Using the Podcast Track and Podcast MarkersYou can add chapter markers, images, and web links to

38 Chapter 2 The Soundtrack Pro Interface ToolbarThe Toolbar is located at the top of the Soundtrack Pro window. When you first open Soundtrack Pro

380 Chapter 14 Creating Podcasts in Soundtrack Pro To view or enter information for a podcast marker:1 Select a podcast marker region in the podcas

Chapter 14 Creating Podcasts in Soundtrack Pro 381 Adding Markers to a PodcastMarkers can provide visual interest and navigational convenience for

382 Chapter 14 Creating Podcasts in Soundtrack Pro Moving Podcast and Chapter MarkersUse the Position value slider to move markers in your podcast.

Chapter 14 Creating Podcasts in Soundtrack Pro 383 To change a chapter marker to a podcast marker:m Deselect the “Marks a chapter” checkbox in the

384 Chapter 14 Creating Podcasts in Soundtrack Pro 4 Choose Mark > Create Podcast Markers from FCP Chapters.The chapter markers from the Final C

Chapter 14 Creating Podcasts in Soundtrack Pro 385 4 Confirm that the podcast track contains the single, default chapter marker region that spans t

386 Chapter 14 Creating Podcasts in Soundtrack Pro Using the Image Source Pop-Up MenuYou can apply images to your podcast in a variety of ways with

Chapter 14 Creating Podcasts in Soundtrack Pro 387 To remove an image from a podcast:1 Select the marker region in the podcast track.2 Choose Episo

388 Chapter 14 Creating Podcasts in Soundtrack Pro Exporting Audio Podcasts as AAC FilesYou can export AAC audio files directly from Soundtrack Pro

Chapter 14 Creating Podcasts in Soundtrack Pro 389 Using this method for exporting video podcasts offers the speed and convenience of exporting dir

Chapter 2 The Soundtrack Pro Interface 39 Â Selection Length value slider: Displays the length of the current Timeslice (in the Timeline) or selec

390 Chapter 14 Creating Podcasts in Soundtrack Pro Using Post-Export Actions for Podcast ProductionThe Soundtrack Pro Export dialog includes post-e

15 39115 Using Control Surfaces with Soundtrack ProYou can connect and use control surfaces to automate recording, mixing, and other tasks in Sou

392 Chapter 15 Using Control Surfaces with Soundtrack Pro Adding and Deleting Control SurfacesWhen you have connected the MIDI interface to your co

Chapter 15 Using Control Surfaces with Soundtrack Pro 393 Premapped ControlsWhen you connect a control surface, many controls are premapped to work

394 Chapter 15 Using Control Surfaces with Soundtrack Pro 3 In the Control Surface Buttons window, drag an action from the Available Commands list

16 39516 Exporting Multitrack ProjectsOnce you have created a final mix of a multitrack project, you can choose from several different ways to de

396 Chapter 16 Exporting Multitrack Projects About the Export DialogThe Export dialog in Soundtrack Pro is a flexible tool that provides numerous a

Chapter 16 Exporting Multitrack Projects 397 Exporting and the Cycle RegionYou can export just a portion of your multitrack project by selecting it

398 Chapter 16 Exporting Multitrack Projects Exporting a Master Mix to a Standard Audio FileYou can export a mixdown of your project to any of the

Chapter 16 Exporting Multitrack Projects 399 5 Choose a bit depth for the exported file from the Bit Depth pop-up menu.6 Choose a sample rate for t

4 Contents 54 Favorites Tab 55 Video Tab 55 Project Tab 57 Details Tab 60 Effects Tab 61 Tracks Tab 62 Actions Tab 63 Analysis Tab 64 HUDs Chapter 3

40 Chapter 2 The Soundtrack Pro Interface  Project controls: Set the project’s sample rate and other properties using these controls. Show pop-u

400 Chapter 16 Exporting Multitrack Projects To export a master mix as an MP3 file:1 Choose File > Export (or press Command-E).The Export dialog

Chapter 16 Exporting Multitrack Projects 401 Â Sample Rate pop-up menu: The sample rate is the number of times an analog signal is measured—or sam

402 Chapter 16 Exporting Multitrack Projects 3 Choose AAC/Podcast File from the File Type pop-up menu.The bottom portion of the Export dialog displ

Chapter 16 Exporting Multitrack Projects 403 5 Choose from the following export options in the Streaming pane:Â Streaming hints enabled checkbox:

404 Chapter 16 Exporting Multitrack Projects 6 Select one of the following buttons in the Podcast pane:Â No Video: Choose this option to export an

Chapter 16 Exporting Multitrack Projects 405 To export a master mix as a Dolby Digital Professional (AC-3) file:1 Choose File > Export (or press

406 Chapter 16 Exporting Multitrack Projects  Audio Coding Mode pop-up menu: Specifies the audio channels of the encoded stream. This setting als

Chapter 16 Exporting Multitrack Projects 407 Â Data Rate pop-up menu: The choices depend on the coding mode and target system. The higher the rate

408 Chapter 16 Exporting Multitrack Projects 5 Choose from the export options in the Bitstream pane.These settings are stored in the finished strea

Chapter 16 Exporting Multitrack Projects 409 6 Choose from the export options in the Preprocessing pane.Preprocessing options are applied to the au

Chapter 2 The Soundtrack Pro Interface 41 Â Arm for Recording button: Enables (or disables) the track for recording when you click the Record butt

410 Chapter 16 Exporting Multitrack Projects  General Apply Digital Deemphasis checkbox: Specifies whether input audio data is pre-emphasized an

Chapter 16 Exporting Multitrack Projects 411 To export a master mix using Compressor from within Soundtrack Pro:1 Choose File > Export (or press

412 Chapter 16 Exporting Multitrack Projects 5 Optionally, for multichannel projects, click the Edit Channel Layout button to change the channel la

Chapter 16 Exporting Multitrack Projects 413 Exporting Multichannel Projects with CompressorWhen you export a multichannel project using Compressor

414 Chapter 16 Exporting Multitrack Projects Exporting Tracks, Busses, and Submixes SeparatelyAs an alternative to exporting a master mix, you can

Chapter 16 Exporting Multitrack Projects 415 Exporting Multiple Mono Files Select the “Export multiple mono files” checkbox to export a separate mo

416 Chapter 16 Exporting Multitrack Projects Using Post-Export ActionsThe Soundtrack Pro Export dialog includes post-export actions that can automa

Chapter 16 Exporting Multitrack Projects 417 Custom ActionsYou can save a series of actions in the File Editor as an AppleScript droplet. Those dro

418 Chapter 16 Exporting Multitrack Projects Using Export PresetsYou can streamline your workflow by saving all export settings (any combination of

Chapter 16 Exporting Multitrack Projects 419 Exporting to AAF Advanced Authoring Format (AAF) is an industry-standard project interchange format fo

42 Chapter 2 The Soundtrack Pro Interface Timeline ControlsThe lower-left corner of the project pane contains controls for various aspects of Timel

420 Chapter 16 Exporting Multitrack Projects 3 Enter a name for the saved project, navigate to the folder in which you want to save the project and

17 42117 Using Soundtrack Pro with Other ApplicationsYou can work with media files and projects from Final Cut Pro, Motion, DVD Studio Pro, and o

422 Chapter 17 Using Soundtrack Pro with Other Applications Methods for Sending Audio from Final Cut Pro to Soundtrack ProYou can take several appr

Chapter 17 Using Soundtrack Pro with Other Applications 423 Sending Clips from Final Cut Pro to the Soundtrack Pro File EditorWhen you send an audi

424 Chapter 17 Using Soundtrack Pro with Other Applications 3 Click Save.A Soundtrack Pro audio file project is created and opened in the Soundtrac

Chapter 17 Using Soundtrack Pro with Other Applications 425 To send multiple Final Cut Pro clips to Soundtrack Pro:1 Select multiple clips in the B

426 Chapter 17 Using Soundtrack Pro with Other Applications To modify one or more clips’ media files using a Soundtrack Pro script:1 Select the cli

Chapter 17 Using Soundtrack Pro with Other Applications 427 Opening a Final Cut Pro Clip’s Media File Directly in Soundtrack ProYou can open a Fina

428 Chapter 17 Using Soundtrack Pro with Other Applications About Soundtrack Pro Multitrack ProjectsMultitrack projects are similar to Final Cut Pr

Chapter 17 Using Soundtrack Pro with Other Applications 429 The Save dialog appears.3 In the dialog that appears, select from the following options

Chapter 2 The Soundtrack Pro Interface 43 File Editor You can edit individual audio files in the File Editor using actions. Actions give you a powe

430 Chapter 17 Using Soundtrack Pro with Other Applications 5 Modify the multitrack project as needed.6 When you finish working on the project in S

Chapter 17 Using Soundtrack Pro with Other Applications 431 In Final Cut Pro, the Import XML dialog appears.6 Use the Destination pop-up menu to ch

432 Chapter 17 Using Soundtrack Pro with Other Applications To update a mixdown clip in your Final Cut Pro sequence:1 Follow the steps above for op

Chapter 17 Using Soundtrack Pro with Other Applications 433 To make a change to a Soundtrack Pro audio file project from a DVD Studio Pro project:1

434 Chapter 17 Using Soundtrack Pro with Other Applications Using Soundtrack Pro with MotionYou can edit a Motion audio track nondestructively by s

Chapter 17 Using Soundtrack Pro with Other Applications 435 Using Soundtrack Pro with Third-Party ApplicationsYou can use Soundtrack Pro to exchang

436 Chapter 17 Using Soundtrack Pro with Other Applications Using OMF and AAF FilesThe OMF and AAF formats provide a way to consolidate all of the

Chapter 17 Using Soundtrack Pro with Other Applications 437 Exporting Audio FilesYou can open an audio file exported from Soundtrack Pro (a project

18 43918 Using Conform with Final Cut ProThe picture editor and sound editor can work in parallel and then use Conform to easily merge the result

44 Chapter 2 The Soundtrack Pro Interface  Transport controls: Control playback and the position of the playhead, and turn recording on or off. (

440 Chapter 18 Using Conform with Final Cut Pro Here is how a picture editor and a sound editor might work together using Conform:Â A Final Cut Pro

Chapter 18 Using Conform with Final Cut Pro 441 3 In the dialog that appears, confirm that the “Save project with latest clip metadata (recommended

442 Chapter 18 Using Conform with Final Cut Pro 7 In the dialog that appears, confirm that the “Save project with latest clip metadata (recommended

Chapter 18 Using Conform with Final Cut Pro 443 The multitrack Timeline displays the new, untitled “result” project (the results of the conform pro

444 Chapter 18 Using Conform with Final Cut Pro Reviewing and Approving the Changes in the Conform Result ProjectOnce you have a Conform worklist,

Chapter 18 Using Conform with Final Cut Pro 445 To use the Project Selector buttons to display a project:m Click the Original, Updated, or Result b

446 Chapter 18 Using Conform with Final Cut Pro Showing Selected Clips in the TimelineIf the Show Selected Clip in the Timeline button (the magnify

Chapter 18 Using Conform with Final Cut Pro 447 4 In the Details section, select an option for the clip.When you select a clip with more than one p

448 Chapter 18 Using Conform with Final Cut Pro To filter out approved clips from the Conform work list:m Select the Hide Approved checkbox.Approve

449AAppendixA Soundtrack Pro Keyboard ShortcutsGeneral and FileKeyboard shortcut FunctionCreates a new, blank multitrack project.Creates a new a

Chapter 2 The Soundtrack Pro Interface 45 Each channel strip includes the following controls:Â Color label: Indicates the track color, which is ap

450 Appendix A Soundtrack Pro Keyboard ShortcutsLayouts, Tabs, and HUDsShows the Soundtrack Pro Preferences window. Opens the Soundtrack Pro User

Appendix A Soundtrack Pro Keyboard Shortcuts 451 Navigating the TimelineProject Playback Keyboard shortcut FunctionMoves the playhead to the beginn

452 Appendix A Soundtrack Pro Keyboard ShortcutsCycle RegionFast-forwards (press L repeatedly).Plays in slow motion. Plays in reverse slow motion.

Appendix A Soundtrack Pro Keyboard Shortcuts 453 General EditingEditing Audio Clips in the TimelineKeyboard shortcut FunctionUndoes the last comman

454 Appendix A Soundtrack Pro Keyboard ShortcutsMoving Audio Clips and Envelope PointsFades in to the playhead on selected clips or tracks.Fades o

Appendix A Soundtrack Pro Keyboard Shortcuts 455 Viewing the TimelineMoves the clip up one track.Moves the clip down one track.Moves the selected e

456 Appendix A Soundtrack Pro Keyboard ShortcutsTimeline ToolsFile Editor Project View Tools and CommandsSets the track height to Medium.Sets the

Appendix A Soundtrack Pro Keyboard Shortcuts 457 Processing and Editing Audio FilesZooms in to the sample level.Zooms in on the current selection.

458 Appendix A Soundtrack Pro Keyboard ShortcutsTracks, Busses, and SubmixesReplaces the audio file or selection with silence. Flattens audible ac

Appendix A Soundtrack Pro Keyboard Shortcuts 459 MarkersSelecting Audio Clips in the TimelineGroups the selected tracks.Enables groups.Keyboard sho

46 Chapter 2 The Soundtrack Pro Interface  Mute button: Click to mute (or unmute) the channel strip. Solo button: Click to solo (or unsolo) the

460 Appendix A Soundtrack Pro Keyboard ShortcutsVideo OutRecording Moves the playhead to the next edit, and reverses the select state of any clip

Appendix A Soundtrack Pro Keyboard Shortcuts 461 Using Arrow Keys to Move the Playhead Working with TimeslicesKeyboard shortcut FunctionMoves the p

462 Appendix A Soundtrack Pro Keyboard ShortcutsExtends the right edge to the next edit.Moves the Timeslice location to the previous edit.Moves th

463BAppendixB Audio FundamentalsWhat Is Sound?All sounds are vibrations traveling through the air as sound waves. Sound waves are caused by the

464 Appendix B Audio FundamentalsAmplitudeAmplitude (or intensity) refers to the strength of a sound wave, which the human ear interprets as volum

Appendix B Audio Fundamentals 465 Frequency Spectrum of SoundsWith the exception of pure sine waves, sounds are made up of many different frequency

466 Appendix B Audio FundamentalsMusical sounds typically have a regular frequency, which the human ear hears as the sound’s pitch. Pitch is expre

Appendix B Audio Fundamentals 467 Musical sounds also typically have a volume envelope. Every note played on a musical instrument has a distinct cu

468 Appendix B Audio FundamentalsBecause the ear responds to sound pressure logarithmically, using a logarithmic scale corresponds to the way huma

Appendix B Audio Fundamentals 469 Decibel UnitsAudio meters are labeled with decibels. Several reference levels have been used in audio meters over

Chapter 2 The Soundtrack Pro Interface 47 ConformThe Conform tool helps sound editors handle picture changes. Conforming a sequence is the act of i

470 Appendix B Audio FundamentalsHeadroom and DistortionIf an audio signal is too strong, it will overdrive the audio circuit, causing the shape o

Appendix B Audio Fundamentals 471 Dynamic sound has drastic volume changes. Sound can be made less dynamic by reducing, or compressing, the loudest

472 Appendix B Audio FundamentalsImportant: All stereo recordings require two channels, but two-channel recordings are not necessarily stereo. Fo

Appendix B Audio Fundamentals 473 Here are some tips for distinguishing stereo from dual mono recordings:Â Stereo recordings must have two independ

474 Appendix B Audio FundamentalsSample RateThe sample rate is the number of times an analog signal is measured—or sampled—per second. You can als

Appendix B Audio Fundamentals 475 When a sample is made, the audio level of the analog signal often falls in the spaces between rungs. In this case

476 Appendix B Audio FundamentalsWhen the number of bits per sample is increased, each sample can more accurately represent the audio signal.To av

477CAppendixC Working with Professional Video and Audio EquipmentAbout Video Interfaces, Signals, and ConnectorsThis section describes common ty

478 Appendix C Working with Professional Video and Audio EquipmentFireWire for Uncompressed Digital VideoInterfaces such as the AJA Io connect to

Appendix C Working with Professional Video and Audio Equipment 479 PCI Video Interface Card with Built-in ConnectorsPCI cards allow you to capture

48 Chapter 2 The Soundtrack Pro Interface BinThe Bin tab lists information about items in all open projects. The Bin provides a hierarchical displa

480 Appendix C Working with Professional Video and Audio EquipmentUSB Video InterfaceUSB video interfaces cannot support the high data rates requi

Appendix C Working with Professional Video and Audio Equipment 481 CompositeComposite is the lowest common denominator of video signals. A composit

482 Appendix C Working with Professional Video and Audio EquipmentBoth component YUV and RGB signals use from three to five connectors. You can us

Appendix C Working with Professional Video and Audio Equipment 483 FireWire 800FireWire 800, also called IEEE 1394b, is the next generation of Fire

484 Appendix C Working with Professional Video and Audio EquipmentSDTISerial Digital Transport Interface (SDTI) is based on SDI, allowing native v

Appendix C Working with Professional Video and Audio Equipment 485 About Audio Interfaces, Signals, and ConnectorsThis section describes common typ

486 Appendix C Working with Professional Video and Audio EquipmentBuilt-in S/PDIF Digital AudioSome computers have built-in S/PDIF optical digital

Appendix C Working with Professional Video and Audio Equipment 487 Tips for Selecting a Third-Party Audio InterfaceWhen you select an audio interfa

488 Appendix C Working with Professional Video and Audio EquipmentFireWire for Digital AudioFireWire is a professional and consumer standard for b

Appendix C Working with Professional Video and Audio Equipment 489 Make sure you don’t exceed the total bandwidth of the USB bus. USB 1.1 has a fai

Chapter 2 The Soundtrack Pro Interface 49 Meters TabThe Meters tab displays mono, stereo, multichannel, and surround level meters that you can use

490 Appendix C Working with Professional Video and Audio EquipmentPCI Audio Interface Card with Breakout BoxThe majority of PCI audio interface ca

Appendix C Working with Professional Video and Audio Equipment 491 Note: Some Macintosh computers and portable audio recorders also use a connecto

492 Appendix C Working with Professional Video and Audio EquipmentXLR ConnectorsThese are the most common professional audio connectors. They almo

Appendix C Working with Professional Video and Audio Equipment 493 Some Macintosh computers have a single interface that combines a TOSLINK connect

494 Appendix C Working with Professional Video and Audio EquipmentAbout Microphone, Instrument, and Line LevelAudio equipment can output line leve

Appendix C Working with Professional Video and Audio Equipment 495 A balanced audio cable sends the same audio signal on two wires, but inverts the

496 Appendix C Working with Professional Video and Audio EquipmentNow, both audio signals are in phase, but the noise is inverted, causing the noi

Appendix C Working with Professional Video and Audio Equipment 497 Frequency Response and Dynamic RangeSpeaker quality varies greatly depending on

498 Appendix C Working with Professional Video and Audio EquipmentAmplifiers and Signal Levels for Unpowered SpeakersUnpowered speakers require si

Appendix C Working with Professional Video and Audio Equipment 499 The following illustration shows a typical SD setup:Following are basic instruct

Contents 5 154 Moving Clips 156 Snapping Clips to Clips on Adjacent Tracks 156 Resizing Audio Clips 157 Changing the Offset of an Audio Clip 158 Crea

50 Chapter 2 The Soundtrack Pro Interface Recording TabThe Recording tab is where you edit a track’s recording settings. When you click a track’s A

500 Appendix C Working with Professional Video and Audio EquipmentTo connect video and audio outputs from your VTR to your third-party video inter

Appendix C Working with Professional Video and Audio Equipment 501 Connecting Professional Component Analog Video DevicesThe most prevalent compone

502 Appendix C Working with Professional Video and Audio Equipment The following illustration shows a typical non-DV-to-DV setup:To connect video

Appendix C Working with Professional Video and Audio Equipment 503 Connecting Professional Audio DevicesThe steps for connecting audio playback and

504 Appendix C Working with Professional Video and Audio EquipmentSynchronizing Equipment with a Blackburst GeneratorWith most professional editin

Appendix C Working with Professional Video and Audio Equipment 505 When you genlock a deck and a video or audio capture interface, one output of th

506 Appendix C Working with Professional Video and Audio Equipment8 If you’re using Final Cut Pro to control your audio deck, make sure that the d

Appendix C Working with Professional Video and Audio Equipment 507 Setting Up the MTC GeneratorSet the MTC generator to receive LTC signals:Â In th

508 Appendix C Working with Professional Video and Audio Equipment8 In the dialog that appears, enter the SMPTE position where you would like the

509DAppendixD Working with Apogee Hardware in Soundtrack ProSoundtrack Pro offers a dedicated control panel that allows you to configure selecte

Chapter 2 The Soundtrack Pro Interface 51 BrowserThe Browser tab displays the disks connected to your computer in a view similar to the Finder’s li

510 Appendix D Working with Apogee Hardware in Soundtrack ProGlobal ParametersThe Global parameters at the top of the Apogee hardware control pane

Appendix D Working with Apogee Hardware in Soundtrack Pro 511 Units ParametersThe Units parameters configure the individual hardware units in your

512 Appendix D Working with Apogee Hardware in Soundtrack Pro Meter Display pop-up menu: This pop-up menu determines the type of metering displa

Appendix D Working with Apogee Hardware in Soundtrack Pro 513 Inputs 1 to 4Inputs 1 to 4 feature built-in pre-amps. These can be configured individ

514 Appendix D Working with Apogee Hardware in Soundtrack ProOutputs TabThis tab is used to configure the outputs of your Apogee hardware. Headpho

515EAppendixE Solutions to Common Problems and Customer SupportIf you run into problems while working with Soundtrack Pro, there are several res

516 Appendix E Solutions to Common Problems and Customer SupportSolutions to Common ProblemsThe following tips address some common issues.Audio Fi

Appendix E Solutions to Common Problems and Customer Support 517 8 Visually compare the original track and the newly recorded track. Zoom in to ide

519FAppendixF Using Apple Loops UtilitySome audio files you use in Soundtrack Pro can include metadata called tags. Tags provide information abo

52 Chapter 2 The Soundtrack Pro Interface Search TabThe Search tab lets you locate audio files using a variety of criteria. You can perform text se

520 Appendix F Using Apple Loops UtilityThe Apple Loops Utility InterfaceThe interface consists of a window with two tabs: the Tags tab and the Tr

Appendix F Using Apple Loops Utility 521 Tags TabThe Tags tab includes areas for different types of tags, and also includes a set of playback contr

522 Appendix F Using Apple Loops UtilitySearch TagsThese tags are used by the Search feature in Soundtrack Pro when you search for files matching

Appendix F Using Apple Loops Utility 523 Transients TabThe Transients tab contains a large waveform display, with a Beat ruler and a horizontal scr

524 Appendix F Using Apple Loops UtilityAssets DrawerThe Assets drawer lists the files open in Apple Loops Utility. The drawer, which is open when

Appendix F Using Apple Loops Utility 525 Playback and File Management ControlsThe bottom of the Apple Loops Utility window contains a set of playba

526 Appendix F Using Apple Loops UtilityOpening Files in Apple Loops UtilityYou can open audio files from within Apple Loops Utility, or directly

Appendix F Using Apple Loops Utility 527 Tagging Files in Apple Loops UtilityTo tag files, you select the files in the Assets drawer, and then make

528 Appendix F Using Apple Loops UtilityTagging Multiple FilesWhen multiple files are selected, only the tags that apply to all the selected files

Appendix F Using Apple Loops Utility 529 To add a new transient:m Click in the darker area above the Beat ruler in the waveform display.To move a t

Chapter 2 The Soundtrack Pro Interface 53  Setup button: Displays the Search Setup dialog, from which you add items to the Search database. Time

530 Appendix F Using Apple Loops UtilitySaving Changes to FilesWhen you save changes in Apple Loops Utility, you can save changes to only the curr

Appendix F Using Apple Loops Utility 531 Apple Loops Utility PreferencesYou can set preferences for the startup behavior and default file saving be

532 Appendix F Using Apple Loops UtilityApple Loops Utility Keyboard ShortcutsGeneral and FileNavigationKey command FunctionCreates a new, blank A

Appendix F Using Apple Loops Utility 533 Key and Scale Type TaggingKey command FunctionTurns on keyboard tagging.Sets the key to A.Sets the key to

534 Appendix F Using Apple Loops UtilityDescriptor Tagging For the following descriptor keyboard shortcuts, pressing the key once selects the firs

Appendix F Using Apple Loops Utility 535 TransientsKey command FunctionIncreases sensitivity.Decreases sensitivity.Increases sensitivity five times

537IndexIndex1/4" phone plug connectors 4911/4" tip-ring-sleeve connectors 4911/4" tip-sleeve connectors 4911/8" mini con

538 Index amplitudeadjusting 221described 464measuring 467zero crossings 205analog audiocapturing 485connecting equipment 503output 514analog v

Index 539 silence threshold 237sound, described 463sound waves 463stereo 471–473summing 263synced 46synchronization preferences 101temporary mo

54 Chapter 2 The Soundtrack Pro Interface Favorites TabYou can store frequently used items in Favorites so that you can easily access them directly

540 Index common problems 516creating 214Cycle Region and 200displaying information 92–93editing in File Editor 198–211exporting projects to 398

Index 541 bandsfrequency ranges 465bandwidth 335, 489base layer video 429bass frequencies 226, 334, 335, 465bass management 311batch processing

542 Index camcordersconnecting 24video capture 24Can’t Find File dialog 96Cancel button 220capture cards. See video cardsCategory list 60Category

Index 543 Component YUV 481–482composite tracks 253composite videocapture interfaces 501inputs 504signals 481compressionaudio formats 193, 399au

544 Index cutting itemsaudio clips 151audio files 206envelope points 362frequencies 335peak levels 332Timeslices 177Cycle button 38, 78, 372Cyc

Index 545 sends 287speakers 303disk space 367displayingaudio file information 92–93effects presets 330envelope point details 360envelopes 146,

546 Index effects 327–354adding 144, 284adding with sends and busses 270–271applying 219, 229, 242automating 243, 363busses 144–145channel strip

Index 547 envelopes disclosure triangle 41episodes 377, 384, 386EPS files 384EQ (equalization)frequency ranges used with 334–335graphic 336Lift a

548 Index Timeline controls and 247working with actions 230–235zooming in/out 207–208file extensions 65file formats. See formatsFile Info area 52

Index 549 frequenciesaverage frequency spectrum 228delay rates 337EQ and 334filtering 401range controls 216reverb 339waveforms 223frequency ban

Chapter 2 The Soundtrack Pro Interface 55 Video TabUse the Video tab to add a video to a project and view the video. Â Video Scale pop-up menu: Ch

550 Index HUDs 64keyboard shortcuts 450Multipoint Video HUD 322Spectrum View HUD 216Surround Panner HUD 300, 304Timeline editing tools HUD 165hu

Index 551 tabs 450Timeline 451, 455Timeslice tool 178, 461tracks 458video out 460window panes 36keyword buttons 52, 53, 84–85keywords 52–53, 8

552 Index naming 184, 382podcast markers 379, 380, 381–384region markers 185scoring 185–187time 183–185, 186types of 183URLs 380uses for 183us

Index 553 example 266–272exporting mixes 397–413final mixes 292guidelines for 292Master bus 290mastering process 292multiple mixes 292sends and

554 Index overlap mode 108playing 71–78properties 106–108reconnecting media files 96recording. See recording audiosaving 111, 246saving with medi

Index 555 project view 241reopening projects 97Soundtrack Pro mixes in Final Cut Pro 431Original button 445out-of-phase material 339out-of-phase

556 Index moving to peaks 289moving to specific times 73positioning with Time ruler 133preferences 98scoring markers to 186–187scrubbing audio 2

Index 557 projectscontrolling playback of 134–135distributing 419–420exporting mixes 397–413importing QuickTime movies into 79, 315importing video

558 Index regeneration 337region markersduration 185multiple 166, 195release parameter 333Remove Effect button 60Remove Unused command 420removi

Index 559 saving itemsactions as AppleScript droplets 248audio file projects 244–247audio file projects with video 245audio files 246–247default l

56 Chapter 2 The Soundtrack Pro Interface The Project tab features the following controls and categories of information:Â General project informati

560 Index signal routing 263signal-to-noise ratio 469silence 222, 237Silence command 221Silence Threshold slider 237sine waves 463Single Folder

Index 561 stereo audio 471–473channel selections 120channels 402converting to mono 228converting to surround sound 307creating stereo mixes 267d

562 Index surround panners 295surround-to-stereo mixdown 297system setup 294surround-to-stereo mixdown 297Swap Channels command 229switchingbetwe

Index 563 snapping options 94tracks and 146Time-based ruler 56timecodealigning audio clips to 133, 186embedded 153external 506format 321items i

564 Index moving audio clips between 154multitrack projects 428muting 143, 199names 90numbered 141overview 124pan envelopes 356pan positions 1

Index 565 supported formats 79, 315Time display and 321time format 321Time ruler and 321time stretching and 324timecode format 109, 321transport

566 Index Time Ruler units 242types of 223zooming in/out 207, 211websitesApple homepage 19Apple Service and Support 19Apple Store 20Apple websit

Chapter 2 The Soundtrack Pro Interface 57 Â Metadata: Use this area to add metadata to your project or to view your project’s metadata. If you exp

58 Chapter 2 The Soundtrack Pro Interface  Enabled checkbox: Enables or disables the selected clip. For more information, see “Enabling and Disab

Chapter 2 The Soundtrack Pro Interface 59 Marker Details Type buttons: Select whether the marker is a beat marker or a time marker. Name field:

6 Contents 214 Using Frequency Spectrum View 219 Processing Audio Files 230 Working with Actions 236 Analyzing an Audio File 240 Using the File Edito

60 Chapter 2 The Soundtrack Pro Interface Effects TabYou add effects and sends to your project and adjust effect parameters in the Effects tab. Whe

Chapter 2 The Soundtrack Pro Interface 61 Tracks TabUse the Tracks tab to easily view, select, and group tracks, busses, and submixes. Groups provi

62 Chapter 2 The Soundtrack Pro Interface Actions TabUse the Actions tab to perform edits nondestructively using actions, which include processing

Chapter 2 The Soundtrack Pro Interface 63 Analysis TabUse the Analysis tab to analyze audio files for a range of common audio problems, including c

64 Chapter 2 The Soundtrack Pro Interface HUDsA heads-up display (HUD) is a semi-transparent floating window with controls and displays that you ca

3 653 Setting Up Soundtrack ProThis chapter describes two kinds of projects you can create in Soundtrack Pro and how to work with windows, use la

66 Chapter 3 Setting Up Soundtrack Pro For more information, see:Â “Creating and Opening Multitrack Projects” on page 105Â Chapter 5, “Working in t

Chapter 3 Setting Up Soundtrack Pro 67 Compressed formats such as MP3 and AAC files are also supported, although these must be internally decompres

68 Chapter 3 Setting Up Soundtrack Pro Using TabsSoundtrack Pro uses tabs so you can quickly access different project views and controls. You can s

Chapter 3 Setting Up Soundtrack Pro 69 To switch to a saved project layout:m Choose Window > Layouts, then choose the layout you want to use fro

Contents 7298 Surround Speaker Placement299 Using Surround Panners to Create a Surround Mix299 The Mini Surround Panner300 The Surround Panner HUD303

70 Chapter 3 Setting Up Soundtrack Pro To show the Customize dialog, do one of the following:m Choose View > Customize Toolbar.m Control-click t

Chapter 3 Setting Up Soundtrack Pro 71 To show only text in the Toolbar, do one of the following:m Control-click the Toolbar, then choose Text Only

72 Chapter 3 Setting Up Soundtrack Pro Setting the Playhead QuicklyThe playhead appears as a thin black line running vertically through the Timelin

Chapter 3 Setting Up Soundtrack Pro 73 Setting the Playhead Using the Time DisplayWhen a project is playing, the Time display constantly updates to

74 Chapter 3 Setting Up Soundtrack Pro Entering Beats-Based UnitsWhen you set the playhead by entering a Beats-based position in the Time display,

Chapter 3 Setting Up Soundtrack Pro 75 About Changing Values and Timecode EntriesSoundtrack Pro includes several types of value entry methods. Most

76 Chapter 3 Setting Up Soundtrack Pro To change values in coarse increments, do one of the following:m Shift-drag in the value field.m Shift-click

Chapter 3 Setting Up Soundtrack Pro 77 Scrubbing AudioYou can scrub a multitrack project in the Timeline or scrub an audio file project in the File

78 Chapter 3 Setting Up Soundtrack Pro  Next Frame: Moves the playhead forward by one frame. Go to End: Sets the playhead to the end of the pro

Chapter 3 Setting Up Soundtrack Pro 79 Supported Audio File FormatsYou can add audio files in the following formats: AIFF, WAVE, Broadcast WAVE, So

8 Contents368 Recording Audio in the Timeline374 Recording Audio in the Mixer375 Recording Audio in the File Editor Project ViewChapter 14 377 Creatin

80 Chapter 3 Setting Up Soundtrack Pro Non-looping files do not adjust to the project tempo and key. You can shorten or lengthen a non-looping file

Chapter 3 Setting Up Soundtrack Pro 81 Using Favorites to Locate FilesFavorites let you store frequently used file locations, so that you can acces

82 Chapter 3 Setting Up Soundtrack Pro Searching for Files in Column ViewIn Column view, the upper area of the Search tab displays two columns: Key

Chapter 3 Setting Up Soundtrack Pro 83 Refining a Search in Column ViewThere are several ways you can refine your searches in Column view. You can

84 Chapter 3 Setting Up Soundtrack Pro To search for files in Button view:1 Choose the type of keywords to display on the keyword buttons from the

Chapter 3 Setting Up Soundtrack Pro 85 To refine your search using multiple keywords:m Click multiple keyword buttons. Adding Custom KeywordsYou ca

86 Chapter 3 Setting Up Soundtrack Pro Adding a Directory to the Search DatabaseSearch looks through all indexed directories (volumes and folders)

Chapter 3 Setting Up Soundtrack Pro 87 Removing a Directory from the Search DatabaseIf you move or change your collection of audio files, you can r

88 Chapter 3 Setting Up Soundtrack Pro The Bin HierarchyThe items in the Bin are organized by project. In this hierarchy, projects contain media fi

Chapter 3 Setting Up Soundtrack Pro 89 Using the Shortcut Menu and the Media Pop-Up Menu in the BinYou can use the shortcut menu and the Media pop-

Contents 9435 Using Soundtrack Pro with Third-Party Applications435 Exchanging OMF and AAF Files with Other Applications437 Exporting Audio FilesChapt

90 Chapter 3 Setting Up Soundtrack Pro Bin Column InformationThe following list describes the contents of the various Bin columns. Many Bin columns

Chapter 3 Setting Up Soundtrack Pro 91 Previewing Audio FilesYou can preview files in the Bin or any of the media tabs. When you preview files, Sou

92 Chapter 3 Setting Up Soundtrack Pro  Play button: Starts playback of the preview file. If the file is playing, stops playback. Volume slider:

Chapter 3 Setting Up Soundtrack Pro 93 For a complete description of the items listed in the Details tab, see “Details Tab” on page 57 and “Viewing

94 Chapter 3 Setting Up Soundtrack Pro Using Snapping When you move and resize clips in the Timeline, or select part of an audio file in the File E

Chapter 3 Setting Up Soundtrack Pro 95 For projects set to Beats-based format, the available Snap To values are:  Ruler ticks 1/4 notes 1/8 note

96 Chapter 3 Setting Up Soundtrack Pro Reconnecting Media FilesBecause Soundtrack Pro multitrack projects contain references to media files, and no

Chapter 3 Setting Up Soundtrack Pro 97 Setting Soundtrack Pro PreferencesYou set preferences for various aspects of both the appearance and operati

98 Chapter 3 Setting Up Soundtrack Pro Timeline Move playhead by clicking pop-up menu: Choose whether you can move the playhead by clicking in bo

Chapter 3 Setting Up Soundtrack Pro 99 Project PreferencesThese preferences let you set project properties and other default settings for new proje