Apple Soundtrack PRO Manual
Apple Soundtrack PRO, size: 6.9 MB
Apple Soundtrack PRO 2 New Features Manual
Apple Soundtrack PRO Effects Reference
Apple Soundtrack PRO 2 Getting Started
Apple Soundtrack PRO 2
By Mary Plummer - Peachpit Press (2005) - Paperback - 505 pages - ISBN 0321357574
Soundtrack Pro, Apple's exciting sound design software, is the newest member of the Final Cut Pro Studio digital video suite-And whether you're musically impaired or musically gifted, the Soundtrack Pro guide will help you get up to speed quickly. In this Apple-certified book/DVD combo, readers will find a complete, self-paced course in all aspects of Soundtrack Pro. Author Mary Plummer guides you through the secrets of editing, repairing, mixing, and arranging multi-track audio files, a... Read more
Working with the Interface: 1
Creating and Arranging a Multitrack Project: 41
Creating Suspense with Sound Design: 81
Building Suspense with Editing Techniques: 119
Designing Sound in the Waveform Editor: 163
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To detach a tab from the Utility window or the Media and Effects Manager: m Drag the tab out of its docked position in the window to create a separate window for the tab. To reattach a tab: m Drag the tab back to its original location at the top of its originating window.
Using Project Layouts
Soundtrack Pro lets you save and recall preset window arrangements called layouts, so that you can optimize your workspace for different tasks and different display sizes. You can show, hide, and resize windows, then save each window arrangement as a layout. To save a project layout: 1 Arrange the application windows as you want them to appear. 2 Choose Window > Save Layout. 3 In the Save dialog, type a name for the layout, then click Save. The layout is saved, and appears in the Layouts submenu. To switch to a saved project layout: m Choose Window > Layouts, then choose the layout you want to use from the submenu. To delete a saved layout: 1 Choose Window > Manage Layouts. 2 In the Manage Layouts dialog, select the layout you want to delete. 3 Click the (minus) button to delete the layout, then click Done.
Customizing the Toolbar
The Toolbar at the top of the Project window contains buttons for frequently used commands. You can customize the Toolbar, adding buttons for the actions you use most often, and can return to the default set later.
The default set of Toolbar buttons includes buttons for creating new projects, opening project windows and tabs, adding markers, and other common commands. You can customize the Toolbar with additional buttons for adding fade ins and fade outs, processing an audio file, playing the current project through a video output device, and other commands. You can also hide the Toolbar to maximize available screen space. You customize the Toolbar by dragging items from the Customize sheet to the Toolbar. To show the Customize sheet, do one of the following: m Choose View > Customize Toolbar. m Control-click the Toolbar, then choose Customize Toolbar from the shortcut menu. The Customize sheet appears, and spaces between buttons in the Toolbar are outlined in gray. To add a button to the Toolbar: m Drag a button from the Customize sheet to the Toolbar. If you drag a button between two existing buttons, the buttons move to make room for the new button. To move a button in the Toolbar: m Command-drag the button to a new location on the Toolbar. You can also rearrange the Toolbar using set-width spaces, flexible spaces, and separators. To add space or a separator to the Toolbar: m Drag a space, flexible space, or separator from the Customize sheet to the Toolbar. To return the Toolbar to the default set of buttons: m Drag the default button set, located at the bottom of the Customize sheet, to the Toolbar. You can also change the Toolbar so that it shows only icons or only text.
To paste multiple copies of a clip: 1 Cut or copy the clip. 2 Set the playhead to the point you want to paste the first copy of the clip. 3 If you want to paste the copies in a different track, select the track. 4 Choose Edit > Paste Special > Paste Repeat (or press Option-Command-V). 5 In the Paste Repeat sheet, 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 sheet.
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.
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: m Drag 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.
To move an audio clip to a new track: m Drag the clip up or down to a different track. You can also move an audio clip using the Left and Right Arrow keys with various modifier keys. Using the Option key with the Arrow keys moves the clip by one pixel at a time; using the Option and Shift keys with the Arrow keys moves the clip to the next gridline in the Timeline. When you move a clip by one pixel, the amount the clip moves in time depends on the current zoom setting. To nudge an audio clip in pixel increments: m Hold down the Option key while you press the Left or Right Arrow key. To nudge an audio clip to the next gridline: m Hold down the Option and Shift keys while you press the Left or Right Arrow key.
Snapping Clips to Clips on Adjacent Tracks
If snap is turned on, you can snap a clip to the edges of a clip in an adjacent track (the track either directly above or directly below the track containing the clip). This is especially useful when the start and end points of clips do not fall on the current Snap To value. To snap a clip to adjacent clips: m Choose View > Snap To > Adjacent Tracks.
Resizing Audio Clips
You control the duration of an audio clip (the amount of time the clip plays back) by resizing the clip. When you add a clip to the Timeline, the clip has the same duration as the source audio file. You can shorten clips to play back only a part of the source file. When you lengthen a clip with looping playback mode, it repeats the source file multiple times.
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: 1 Move the pointer over the left or right edge of the crossfade. The pointer becomes a crossfade pointer. 2 Drag the edge of the crossfade to adjust the crossfade boundary. To move the crossfade without changing its length: m Drag the lower area of the crossfade left or right. As with other edits you make in the Timeline, creating a crossfade between two audio clips does not change the source audio files.
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: m Click the Overlap Mode button, located above the Global Timeline view. In truncate mode, when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline, the overlapped part of the clip is truncated. To truncate an audio clip: m In the Timeline, drag another audio clip over part of the clip.
Splitting and Joining Audio Clips
You may want to use only part of the source audio file in an audio clip. Soundtrack Pro lets you split the clip into segments and use the segments in the Timeline as independent clips. You can move the segments, edit them, and split each one into additional segments. There are two ways to split clips: using the Split (razor) tool, or using the Split menu item in the Edit menu with the playhead. Each method has advantages, depending on the situation. Using the Split tool, you can perform many splits consecutively without moving the playhead each time. Using the playhead, you can split clips in several tracks at once. To split audio clips with the Split tool: 1 Click the Split Tool button above the Timeline.
Split Tool button
2 Click a clip at the point where you want to split it.
To split audio clips with the playhead: 1 Set the playhead at the point where you want to split the clip, then select the clip or clips you want to split. You can split multiple clips in the same operation.
The following table shows the correspondence between semitones and musical intervals for transposing clips:
Number of semitones (+/) Musical interval Minor second Major second Minor third Major third Perfect fourth Tritone (diminished fifth) Perfect fifth Minor sixth Major sixth Minor seventh Major seventh Octave
Changing the Offset of an Audio Clip
When you add an audio clip to the Timeline, the clip plays back from the beginning of the source audio file. The point in the audio file where the clip starts playing is called the offset. By default, a clips 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. This allows you to use the audio from a later part of the source file without splitting the clip. To change the offset of a clip: m Select the clip, then Command-Option-drag left (toward the beginning of the project).
Command-Option-drag left to change the clips offset.
The waveform moves inside the clips 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 clips 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 clips boundary to indicate the change in offset. The length of the clip stays the same. If the clip has not been resized, it will reach the end of the source audio file and start looping. As you move the offset by dragging, the clips notches move to show the point at which the clip will start looping.
Changing a Clips Playback Mode
Audio files you add to the Timeline can be either looping or non-looping. Looping files are special audio files that can be used to create repeating patterns, and include musical phrases useful for creating music beds. Audio files containing discrete, nonrhythmic sounds, sound effects, and other non-musical sounds such as dialogue or sound effects should be used as non-looping files in most cases. When you add an audio file to the Timeline, the audio file is added as a clip with nonlooping playback mode unless the audio file is tagged as a looping file. You can change the playback mode of a clip after you add it to the Timeline. To convert the playback mode to looping, do one of the following: m Select the clip, then choose Clip > Convert to Looping. m Control-click the clip in the Timeline, then choose Convert to Looping from the shortcut menu. To convert the playback mode to non-looping, do one of the following: m Select the clip, then choose Clip > Convert to Non-Looping. m Control-click the clip in the Timeline, then choose Convert to Non-looping from the shortcut menu.
Replacing the Source Audio in a Clip
Each audio clip in the Timeline has a set of properties specific to the clip, including duration, speed, and transposition. You can replace the source audio in the clip while preserving the clips 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 clips duration, position in the Timeline, and transposition. For information about properties of audio clips, see Reconnecting Media Files on page 74.
Types of Markers
Soundtrack Pro displays Final Cut Pro HD scoring markers, and lets you add your own markers to a project. You can add two kinds of markers: time markers and beat markers. The two types can be distinguished by their handles: Time markers have green handles, and beat markers have purple handles. Final Cut Pro HD scoring markers have orange handles. This section discusses how to work with time markers and beat markers in a project. For information about working with Final Cut Pro HD scoring markers, see Using Final Cut Pro Scoring Markers on page 191.
Time marker (green) End-of-project marker (red)
Beat marker (purple)
Final Cut Pro HD scoring marker (orange)
You can insert a beat marker or time marker at any point in the Timeline or Waveform Editor. To insert a beat marker: m Set the playhead to the point where you want to add the marker, then choose Project > Insert Beat Marker (or press the B key). To insert a time marker: m Set the playhead to the point where you want to add the marker, then choose Project > Insert Time Marker (or press the M key).
You can name time markers and beat markers, so that each marker can provide a unique visual cue to a specific point in the Timeline or Waveform Editor. For example, you can name markers to define sections of your project (Introduction, Verse, or Chorus), to reflect whats happening in the music (Latin Rhythm or Fast Groove), or to serve as reminders for your workflow (Add Horns Here, Transpose to D, Insert Delay Effect). To name a beat marker or time marker, do one of the following: m Control-click the marker handle, choose Edit from the shortcut menu, type a name in the Marker Name field of the dialog that appears, then click OK. m Make 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: m Choose View > Show Marker Titles.
You can move a marker either by dragging the markers handle, or by entering a new position for the marker in an Edit dialog. To move either a beat marker or time marker, do one of the following: m Drag the marker by its handle, located in the area above the Time ruler, to a new position in the Timeline. m Show the Details tab, click the marker you want to move, then enter a new position in the Position field. m Control-click the marker handle, choose Edit from the shortcut menu, then type a new position in the Time field. You can also select and drag multiple markers. When you move a marker by dragging, the markers position snaps to the nearest Snap To position if snap is turned on. For information on setting the Snap To value, see Creating Crossfades Between Audio Clips on page 111.
When you first open the Waveform Editor, it shows the audio file in Waveform view. You can also view and edit an audio file in Spectrum view. In Spectrum view, the display shows the frequency spectrum of each channel of a stereo audio file on a scale from 0 Hertz (Hz) to half the sample rate of the file. For example, for a 48 kHz audio file, the scale progresses from 0 Hz to 24 kHz. To view an audio file in Spectrum view: m Click the Spectrum View button above the right corner of the Global Waveform view.
Waveform View button Spectrum View button
The display changes to show the audio files frequency spectrum.
You can select parts of the audio file, apply actions, and edit the audio file in Spectrum view in the same way as in Waveform view. You can also change the Spectrum view display to show the frequency spectrum linearly or logarithmically, use different window functions, and change the number of samples used to calculate the view.
To show the frequency spectrum on a logarithmic scale: m Control-click the Sample ruler along the left edge of the display, then choose Logarithmic from the shortcut menu. To show the frequency spectrum on a linear scale: m Control-click the Sample ruler along the left edge of the display, then choose Linear from the shortcut menu. To display the audio file in Spectrum view, part of the audio data for each given point in time is analyzed. Each method of analysis represents a slightly different compromise between frequency resolution and spectral leakage. You can choose between several different analysis methods, called window functions, used to display the frequency spectrum in Spectrum view. To choose a window function for Spectrum view: m Control-click the spectrum display, then choose a window function from the upper part of the shortcut menu. You can also choose the number of samples used to calculate the spectrum display. To choose the number of samples used for Spectrum view: m Control-click the spectrum display, then choose a number from the lower part of the shortcut menu. To return to Waveform view: m Click the Waveform View button.
Playing Audio Files in the Waveform Editor
You can play an audio file in the Waveform Editor, so you can hear the file and any changes you make to it. To play an audio file: m Click the Play button in the transport controls (or press the Space bar). Click the Play button (or press the Space bar) again to stop playback. You can set the playhead in the Waveform Editor in the same way as you set it in the Timeline, by clicking in the waveform display or in the Time ruler, using the transport controls, or using the Playhead Position value slider. For more information, see Setting the Playhead on page 51.
Scrubbing Audio Files in the Waveform Editor
You can also scrub the audio file in the Waveform Editor. Scrubbing the audio file lets you hear the audio at the playhead position as you drag the playhead, so you can find a particular sound or event in the audio file. To scrub an audio file: 1 Press and hold the triangular part of the playhead. 2 While holding the playhead, drag left or right at the speed you want to scrub the audio file. Scrubbing is useful to help identify the part of an audio file that you want to edit. While you are scrubbing an audio file, you can select the part of the file that you want to edit. To make a selection while scrubbing: m As you move the playhead, press and hold the Shift key.
Using the Timeline Controls in the Waveform Editor
You can use the Timeline controls, located at the lower-left corner of the Project window, while working in the Waveform Editor. Some of these controls have slightly different functions in the Waveform Editor than they do in the Timeline. Master Envelopes button: You can show or hide the envelopes for the audio file. Snap button: You can turn snap on or off in the Waveform Editor. Snap To button: You can choose the Snap To value that the playhead and other items snap to. In the Waveform Editor, the choices for snap are Ruler Ticks and Zero Crossings. Track Height control: Sets the height of the envelope rows when you show envelopes in the Waveform Editor.
Editing Audio Files in the Waveform Editor
You can edit audio files in many different ways in the Waveform Editor. You can edit the entire file, or select part of the file to edit.
Selecting Part of an Audio File
When you apply an action to an audio file in the Waveform Editor, the action is applied to the entire file unless you select part of the file. You can select different parts of the audio file and apply different actions to each selection. To select part of an audio file: m In the waveform display, drag horizontally across the part of the waveform you want to select.
Some actions can only be applied to a selection. The selection can contain the entire audio file.
To select the entire audio file: m Choose 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. To select the left channel of an audio file: 1 Move the pointer near the upper edge of the waveform display. The pointer changes to the letter L. 2 Drag the pointer to select the part of the left channel you want to work with.
Choosing this command normalizes (adjusts the gain of ) the audio file or selection to the decibel level shown in the Normalization Level field. The highest peak in the file is raised or lowered to the level you set, and the rest of the audio file is raised or lowered by the same amount. When you choose Process > Normalize, the level is set to 0 dB. To set the normalization level: 1 Choose Process > Normalize. 2 In the Normalize dialog, drag the Normalization Level slider or select the value in the Normalization Level field and type a new value. 3 Click OK. You can preview the audio file at the normalization level before closing the Normalize dialog. This makes it easy to set the level before normalizing the file. To preview the file at the normalization level: m In the Normalize dialog, select the Preview checkbox.
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: 1 Choose Process > Adjust Amplitude. 2 In the Adjust Amplitude dialog, drag the Amplitude Level slider or select the value in the Amplitude Level field and type a new value. 3 Click OK.
Choosing this command replaces the audio file or selection with complete silence.
Choosing this command inverts the phase of each sample in the audio file or selection. Each samples amplitude is unchanged, but the phase is inverted. In the waveform display, the waves crests become troughs and vice versa.
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.
Choosing this command swaps the left and right channel of a stereo audio file or selection. If the file is mono, Swap Channels is disabled.
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 sheet appears. You can set the length of silence to insert, and choose the format for setting the length of the silence (any of the Time Ruler Units formats).
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 the Media and Effects Manager or from the Finder. You can import only one video file into a project. To import a video file into a project, do one of the following: m Drag the video file from the Media and Effects Manager or the Finder to the Video tab of the Utility window. m Drag the video file from the Media and Effects Manager or the Finder to the video track in the Timeline.
Drag a video file to the Video tab to import it into the project.
A video clip appears on the video track. The videos audio appears in a new audio track. The video appears in the Video tab.
The video is displayed in the Video tab in its correct aspect ratio, and a video clip appears in the video track (the top track in the Timeline), letting you see the duration of the video in the project. The video clip starts at the beginning of the project and cannot be moved to another point in time. Any Final Cut Pro scoring markers included in the video file appear in the Timeline with an orange handle. If the video contains audio, new audio tracks are added below the video track for each audio track in the movie, and the videos 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.
Chapter 8 Working With Video in Soundtrack Pro
Playing the Video
When you play the project, the video plays in time with the audio in your project. You can also control playback of the video and the project using the video transport controls in the Video tab, or using keyboard shortcuts.
You can apply processing effects to an audio file project. The Process menu includes an Effects submenu where you choose processing effects to add to your project. Processing effects are added as actions, which you can turn on or off, reorder, and adjust in the Actions list. For information about working with processing effects in the Waveform Editor, see Working With Processing Effects on page 216. For information on working with actions, see Working With Actions on page 170.
Audio Effects Included With Soundtrack Pro
Soundtrack Pro includes the following types of audio effects: Dynamics: Dynamics effects let you shape the volume of your projects over time. Bundled dynamics effects include Compressor, Multipressor, Adaptive Limiter, and Noise Gate. Distortion: Distortion effects change the tone of the audio signal to recreate the sound of overdriven tube amplifiers or digital distortion. Bundled distortion effects include Bitcrusher, Clip Distortion, Distortion, Exciter, and Phase Distortion. 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 High Cut and Low Cut, High Pass and Low Pass filters, Channel EQ, Linear Phase EQ, Match EQ, and Parametric EQ. Modulation: Modulation effects delay an audio signal and shift (modulate) when the delayed signal plays back relative to the original signal. Bundled modulation effects include Chorus, Flanger, Modulation Delay, Phaser, Scanner Vibrato, and Tremolo. Reverb and Delay: Reverb effects can be used to simulate the sound of acoustic spaces, both realistic and unnatural. Delay effects can be used to add echoes and other recurring sounds. Bundled reverb and delay effects include PlatinumVerb, Soundtrack Pro Reverb, Stereo Delay, Tape Delay, and Space Designer, a powerful tool for sound design. Meters and Diagnostic: You can use realtime diagnostic effects to clean up audio files in a variety of ways, including pitch, intensity, and phase problems. Bundled diagnostic effects include Correlation Meter, MultiMeter, Test Oscillator, and Tuner. These are only available as realtime effects, not processing effects. Miscellaneous: Miscellaneous effects fall outside the other categories, providing additional ways to modify your audio. Bundled miscellaneous effects include Denoise, PitchShifter, Spectral Gate, Stereo Spread, SubBass, and Vocal Transformer.
Select a category to display its effects. Select the effect you want to add. Click the Add Effect button, double-click the effect, or drag the effect into the Effect Parameters area to add it.
To add a realtime effect to a track, bus, or output in the Mixer: m Control-click an effects slot in the channel strip of the track, bus, or output, choose Add Effect from the shortcut menu, then choose an effect from one of the submenus.
To add a realtime effect to an audio file project in the Waveform Editor: 1 In the Waveform Editor, click the Effects button, located next to the Actions and Analysis buttons. 2 In the Effects tab, select a category in the Category list to display the effects for that category in the Effect list. 3 In the Effect list, do one of the following: 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. Some effects, including reverb and delay, add audio that extends past the end of the file. This is called an effect tail. When you export a project mix, or export a track, bus, or output with an effect that produces a tail, the exported file is lengthened to include the effect tail until the point at which the tail falls below 96 dB. Also, when you choose Process > Bounce Realtime to Action for an audio file project with a realtime effect that produces a tail, the rendered project is lengthened to include the effect tail until the point at which the tail falls below 96 dB.
Adjusting Realtime Effect Parameters
Once youve added a realtime effect, you can adjust the effect parameters to change the way the effect alters the sound of the track, bus, output, or audio file project. Each type of effect has its own parameters, as discussed earlier. Effect parameters are displayed in the Effect Parameters area of the Effects tab as a set of sliders, checkboxes, and pop-up menus. To adjust realtime effect parameters: 1 Click the disclosure triangle next to the effect in the Effect Parameters area to display its parameters. 2 Adjust the effect parameter by dragging the slider, selecting the checkbox, or choosing an item from the pop-up menu. You can also adjust the parameter by entering a valid value in the field to the right of the parameters control.
Saving Recorded Clips
You can save your recordings in the Timeline. When you save a clip, you can name the clip, choose where to save it, and save it as either a looping or non-looping file. To save a recorded clip: 1 Do one of the following: Select the clip in the Timeline, then choose Clip > Save Clip As. Control-click the clip in the Timeline, then choose Save Clip As from the shortcut menu. 2 In the Save As dialog, type a name for the clip and browse to the location where you want to save it. 3 Select the Looping button to save the clip as a looping file, or click the Non-looping button to save the clip as a non-looping file. 4 Click Save. You can use Apple Loops Utility, a companion application included with Soundtrack Pro, to add tags to your saved recordings to make them easier to find using the Search tab in Soundtrack Pro.
You can record audio in the Mixer in a similar way to recording audio in the Timeline. You can record a single take or record multiple takes. If you want to record multiple takes using a playback region, you must set the playback region in the Timeline before you start recording in the Mixer. To record audio in the Mixer, you follow the procedures described in Recording Audio in the Timeline on page 236, with the following differences: To enable a track for recording in the Mixer, click the Record Enable button (the red circle) in the tracks channel strip. In the Mixer, you can set the playhead using the transport controls or the Playhead Position value slider. Because the playhead is not visible in the Mixer, you cannot set it by clicking or dragging.
Recording Audio in the Waveform Editor
You can record audio to an audio file project in the Waveform Editor. When you record audio in the Waveform Editor, you replace (overwrite) any existing audio in the audio file or selection you record to. You can select part of the file in the Waveform Editor to record to. When you record to a selection, recording starts at the beginning of the selection and ends at the end of the selection. The part of the file after the end of the selection is unchanged. If no part of the file is selected, recording starts at the playhead position, and lasts until you stop recording. If your recording extends past the end of the audio file, the file is lengthened to include the recording. To record audio in the Waveform Editor: 1 Select the part of the project you want to record to. If no part of the audio file is selected, recording starts at the current playhead position and proceeds until you stop recording. 2 Click the Record button in the transport controls.
Chapter 13 Exporting Multitrack Projects
To export individual tracks, busses, or outputs: 1 In the Timeline or the Mixer, select the tracks, busses, or outputs you want to export, then choose File > Export > Export Selected [item]. The [item] shown in the menu changes depending on whether tracks, busses, or outputs are selected. If nothing is selected, each unmuted track, bus, and output in the project is exported as an individual AIFF file. 2 In the Export dialog, choose the sample rate for the exported files from the Sample Rate pop-up menu.
3 Choose the bit depth for the exported files from the Bit Depth pop-up menu. 4 Optionally, select the Output dual mono files checkbox to export the selected tracks, busses, and outputs as dual mono files, then click Save. 5 Browse to the location where you want to save the exported files. 6 Click Export. Each selected track, bus, or output is exported as a single stereo AIFF file or as a pair of dual mono AIFF files. Muted and unselected tracks, busses, or outputs are not exported. When you export a project, track, bus, or output that includes an effect (for example, a reverb or delay) that produces a tail that extends past the end of the project, the exported file lengthens to include the tail. You can also select part of an audio file and add an effect to a selection. When you add an effect that produces a tail to a selection, the tail is blended with the audio following the selection until the effect level falls below 96 dB. The project lengthens to include the tail if necessary.
Exporting With Compressor
You can export a project using the Apple Compressor application. When you export using Compressor, you can use the presets included with Compressor for your exported file. When you export a project using Compressor, you can preserve or encode the video. Preserving the video copies it to the exported file without transcoding. Encoding the video transcodes it to the new export format. Transcoding the video can take longer than copying, and can result in a loss of quality. In most cases, when the video format of the exported file is the same as the source video, you should preserve the video when exporting. If the video format of the exported file is different than the source video, you should encode the video when exporting. To export a project using Compressor from within Soundtrack Pro: 1 Choose File > Export > Export with Compressor. The Compressor Export Options dialog appears.
Soundtrack Pro, Apple's exciting sound design software, is the newest member of the Final Cut Pro Studio digital video suite-And whether you're musically impaired or musically gifted, the Soundtrack Pro guide will help you get up to speed quickly. In this Apple-certified book/DVD combo, readers will find a complete, self-paced course in all aspects of Soundtrack Pro. Author Mary Plummer guides you through the secrets of editing, repairing, mixing, and arranging multi-track audio files, as well as how to create original soundtracks, score to video, add effects, and more. Step-by-step exercises and lesson files will have readers taking advantage of Soundtrack's thousands of audio loops to create perfectly synched scores in no time. Also included are dozens of advanced sound editing tips for professional users who want to take their video, DVD, and Web projects to the next level.
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