Apple Soundtrack Pro 3 Operating instructions

Soundtrack Pro 3

User Manual

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Apple

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Apple, the Apple logo, Apple Cinema Display, AppleScript,

Apple TV, DVD Studio Pro, Final Cut, Final Cut Pro,

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Logic Studio, Mac, Macintosh, Mac OS, QuickTime, and

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Production stills from the film “Koffee House Mayhem”

provided courtesy of Jean-Paul Bonjour. “Koffee House

http://www.jeanpaulbonjour.com

Welcome to Soundtrack Pro11Preface

About Soundtrack Pro11

About the Soundtrack Pro Documentation12

Additional Resources12

Setting Up Your System15Chapter 1

System Considerations15

Connecting Equipment17

Example Hardware Setups21

The Soundtrack Pro Interface27Chapter 2

Soundtrack Pro Window Organization28

Project Pane35

Toolbar36

Transport Controls36

Timeline37

File Editor41

Mixer43

Multitake Editor45

Conform46

Bin46

Meters Tab48

Recording Tab49

Browser50

Search Tab51

Favorites Tab53

Video Tab54

Project Tab54

Details Tab58

Effects Tab62

Tracks Tab63

Actions Tab64

Analysis Tab65

3

Contents

HUDs66

Basics of Working in Soundtrack Pro69Chapter 3

About Multitrack and Audio File Projects69

Setting Up Your Workspace72

Using Keyboard Shortcuts and Shortcut Menus76

Undoing and Redoing Changes77

About Changing Values and Timecode Entries78

Locating and Adding Audio Files81

About the Bin89

Previewing Audio Files93

Playing Projects95

Using Snapping99

Reconnecting Media Files101

Soundtrack Pro Preferences103Chapter 4

Setting Soundtrack Pro Preferences103

General Preferences105

Project Preferences107

Recording Preferences108

Synchronization Preferences109

Control Surfaces Preferences110

Video Out Preferences111

Working with Multitrack Projects113Chapter 5

Creating, Opening, and Closing Multitrack Projects113

Creating a Multitrack Project from Final Cut Pro Clips or Sequences114

Setting Project Properties114

Setting the Project Length118

Setting Default Locations for Saving Media Files119

Saving Multitrack Projects120

Adding Files to a Multitrack Project121

Clip Properties123

Tracks, Busses, Submixes, and the Master Bus124

Working in the Timeline129Chapter 6

About the Timeline130

Using the Timeline Editing Tools130

Timeline Editing Tools HUD132

Moving Around in the Timeline133

Working with Tracks, Busses, and Submixes in the Timeline140

Selecting Audio Clips in the Timeline152

Selecting the Entire Contents of a Track153

4 Contents

Selecting Partial Contents of One or More Tracks154

Cutting, Copying, Pasting, and Removing Audio Clips155

Splitting and Joining Audio Clips157

Spotting Clips to the Timeline160

Moving Clips161

Snapping Clips to Clips on Other Tracks163

Resizing Audio Clips163

Changing the Offset of an Audio Clip166

Creating Fades and Crossfades in the Timeline167

Truncating Overlapping Audio Clips173

Working with Markers174

Transposing Tagged Audio Clips179

Replacing the Source Audio in a Clip179

Replacing Audio with Related Files181

Making Clip Channel Selections181

Combining Separate Clips to Create Multichannel Clips184

Editing Clip and Track Properties184

Editing Audio in the Multitrack Timeline189Chapter 7

How Selection Type Affects Actions189

Editing in Place191

How Clips Are Affected by Media File Editing192

How Source Audio File Editing Works in a Multitrack Project192

Making an Independent Copy of a Clip193

Using the Multitrack Timeline and the File Editor Together193

Editing with the Timeslice Tool196

Processing Audio Clips201

The Lift and Stamp Tools and the Sound Palette201

Working in the File Editor207Chapter 8

About the File Editor207

Opening Audio Files in the File Editor Tab209

Playing Audio Files in the File Editor210

Soloing an Audio File in the File Editor210

Linking the File Editor Selection and the Cycle Region211

Scrubbing Audio Files211

Selecting All or Parts of an Audio File212

Cutting, Copying, and Pasting in the File Editor216

Zooming In and Out in the File Editor218

Editing Audio Files Graphically with Waveform Editing Tools219

Choosing the Sample Units in the File Editor223

Editing Multichannel Files224

Using Frequency Spectrum View226

5Contents

Working with Actions231

Overview of Analyzing and Fixing Problems in an Audio File237

Analyzing and Fixing Problems in an Audio File238

Using the File Editor Project View242

Processing Audio Files251Chapter 9

Choosing Processing Effects252

Fade In253

Fade Out253

Normalize253

Adjust Amplitude254

Silence254

Invert254

Reverse255

Insert255

Time Stretch257

Noise Reduction258

Adding Ambient Noise262

Equalization Matching263

Convert to Mono263

Resample264

Swap Channels264

Edit Channels264

Render to Action266

Working with Audio Effects267Chapter 10

Processing Effects and Realtime Effects267

Working with Effect Presets269

Audio Effects Included with Soundtrack Pro270

Working with Realtime Effects283

Working with Processing Effects293

Using the Multitake Editor295Chapter 11

What Is Automatic Dialogue Replacement?296

Multitake Clips296

Creating Multitake Clips296

Overview of the Multitake Editor297

Editing in the Multitake Editor298

Slipping Take Regions300

Adding and Deleting Takes300

Renaming Takes301

Reordering Takes301

Example: A Multitake Editing Workflow302

6 Contents

Basic Mixing in Soundtrack Pro305Chapter 12

Steps in Mixing306

Structuring an Audio Post-Production Project306

Using the Mixer316

Mixing Surround Sound335Chapter 13

What Is 5.1 Surround?335

Creating a Surround Project336

Setting Up Soundtrack Pro for Surround336

Using Surround Panners to Create a Surround Mix341

Surround Mixing Strategies347

Exporting and Delivering 5.1 Surround Projects353

Working with Video in Soundtrack Pro355Chapter 14

Supported Video File Formats356

Adding a Video to a Project356

Playing the Video357

Viewing Video Details360

Working with a Video’s Audio361

Using the Time Display and Time Ruler with Video361

Scrubbing and Spotting with the Multipoint Video HUD362

Removing a Video from a Project365

Working with Automation367Chapter 15

Working with Envelopes367

Recording Automation Data376

Recording Audio in Soundtrack Pro379Chapter 16

Getting Ready to Record379

Recording Audio in the Timeline380

Recording Audio in the Mixer387

Recording Audio in the File Editor Project View387

Creating Podcasts in Soundtrack Pro389Chapter 17

About Podcasts389

Podcasting Media Production390

Displaying the Podcast Track and the Details Tab391

Podcast Marker Information in the Details Tab392

Adding Markers to a Podcast393

Adding Images to a Podcast396

Exporting Podcasts399

7Contents

Using Control Surfaces with Soundtrack Pro403Chapter 18

Connecting Control Surfaces403

Adding and Deleting Control Surfaces404

Premapped Controls406

Mapping Commands to Control Surface Buttons407

Recording Control Surface Automation408

Using Soundtrack Pro with Other Applications409Chapter 19

Using Soundtrack Pro with Final Cut Pro409

Using Soundtrack Pro with DVD Studio Pro421

Using Soundtrack Pro with Motion423

Using Soundtrack Pro with Logic Pro424

Using Soundtrack Pro with Third-Party Applications425

Exporting Multitrack Projects429Chapter 20

About Exporting430

Export File Formats Available in Soundtrack Pro430

About Export Options430

General Export Options432

About Export Options for AIFF, WAVE, and Other Formats434

About MP3 Export Options435

About AAC/Podcast Export Options436

About Dolby Digital Professional (AC-3) Export Options439

About Export Options Using Compressor444

Exporting Part of a Multitrack Project445

Exporting a Master Mix446

Exporting Tracks, Busses, and Submixes Separately454

About Exporting Multiple Mono Files455

Exporting to AAF456

Using Post-Export Actions457

Using Export Presets458

Distributing a Multitrack Project and Its Media Files Together460

Using Conform with Final Cut Pro463Chapter 21

About Conforming Manually463

About Soundtrack Pro Conform463

Conforming a Soundtrack Pro Multitrack Project464

Reviewing and Approving Changes in a Conform Result Project468

Soundtrack Pro Keyboard Shortcuts473Appendix A

General and File474

Layouts, Tabs, and HUDs474

Navigating the Timeline475

8 Contents

Project Playback476

Cycle Region476

General Editing477

Editing Audio Clips in the Timeline477

Moving Audio Clips and Envelope Points478

Viewing the Timeline479

Timeline Tools480

File Editor Project View Tools and Commands480

Processing and Editing Audio Files481

Tracks, Busses, and Submixes482

Markers482

Selecting Audio Clips in the Timeline483

Video Out484

Recording484

Using Arrow Keys to Move the Playhead484

Working with Timeslices485

Audio Fundamentals487Appendix B

What Is Sound?487

Digital Audio497

Working with Professional Video and Audio Equipment501Appendix C

Video Interfaces501

Video Signals and Connectors504

Setting Up an Audio Interface508

Audio Connectors, Cables, and Signal Formats514

About Balanced Audio Signals518

Tips for Choosing Speakers and an Amplifier519

Connecting Professional Video Devices521

Connecting Professional Audio Devices525

Working with Apogee Hardware in Soundtrack Pro531Appendix D

Using Apogee Hardware with Soundtrack Pro531

Creating and Saving a New Apogee Configuration531

Specifying Global Parameters in the Apogee Setup Dialog532

Specifying Units Parameters in the Apogee Setup Dialog533

Using a Previously Saved Configuration537

Choosing a Configuration Saved with a Project538

Solving Problems539Appendix E

Resources for Solving Problems539

Solutions to Common Problems539

Contacting AppleCare Support541

9Contents

Most experienced film and television producers know that “audio is more than half the

picture.” The art and techniques of sound recording, dialogue editing, sound effect

recording and placement, mixing, and sound design play a substantial role in how

audiences perceive the (visual) quality of a film or video. Soundtrack Pro is designed to

serve the art of motion picture sound post-production. Like the other applications in

Final Cut Studio, Soundtrack Pro was created for the film and video industry. Soundtrack Pro

gives you many specialized tools and powerful features that you can use to create

high-quality audio.

Most audio applications focus on multitrack editing or waveform editing, but not both.

Furthermore, most waveform editing applications handle media destructively—making

permanent changes to your media files. Soundtrack Pro provides the best of both worlds:

nondestructive waveform editing while working in a multitrack project.

This preface covers the following:

• About Soundtrack Pro (p. 11)

• About the Soundtrack Pro Documentation (p. 12)

• Additional Resources (p. 12)

About Soundtrack Pro

Soundtrack Pro provides film and video professionals streamlined workflows for editing

everything from individual audio files to large multitrack sound projects, including

synchronizing audio and video, editing sound in place, working with automatic dialogue

replacement (ADR), analyzing and fixing common audio problems like clicks and pops,

and creating stereo and surround sound design. Add interoperability with the other

applications in Final Cut Studio to this list of features, and you have a professional-quality

audio application designed to meet the needs of the most discerning audio editors and

mixers.

11

Welcome to Soundtrack Pro

Preface

Soundtrack Pro features two types of projects: audio file projects and multitrack projects.

You use audio file projects to edit individual audio files. This is sometimes known as

waveform editing. However, unlike most waveform editing applications, Soundtrack Pro

allows you to edit your audio files nondestructively by keeping track of the actions you

have performed on your audio file. You can edit down to the file’s individual sample level

and perform tasks ranging from audio repair to sound design. You can perform edits

nondestructively using actions, which include processing effects and other operations.

You can analyze audio files for a range of common audio problems, including clicks and

pops, hum, and phase issues, and automatically fix problems that are found.

Multitrack projects look and function similarly to Final Cut Pro projects. You arrange a

multitrack project’s audio clips on the tracks in the Timeline. Multitrack projects contain

the features you expect from a high-performance and professional-quality audio editor,

including features to synchronize audio and video, work with ADR and multitake editing,

and automate volume, pan, and other changes over time using envelopes. You can record

over multiple channels to the Timeline or the File Editor or to multiple tracks in the

Timeline.

About the Soundtrack Pro Documentation

Soundtrack Pro comes with various documentation that will help you get started as well

as provide detailed information about the application.

• Soundtrack Pro User Manual: This is a comprehensive document that describes the

Soundtrack Pro interface, commands, and menus, and gives step-by-step instructions

for creating Soundtrack Pro projects and for accomplishing specific tasks. It is written

for users of all levels of experience.

• Soundtrack Pro Effects Reference: Soundtrack Pro includes a comprehensive collection

of powerful effect plug-ins. This document introduces you to the individual effects and

their parameters.

Additional Resources

Along with the documentation that comes with Soundtrack Pro, there are a variety of

other resources you can use to find out more about Soundtrack Pro.

Soundtrack Pro Website

For general information and updates, as well as the latest news on Soundtrack Pro, go

to:

• http://www.apple.com/finalcutstudio/soundtrackpro

12 Preface Welcome to Soundtrack Pro

Apple Service and Support Websites

For software updates and answers to the most frequently asked questions for all Apple

products, go to the general Apple Support web page. You’ll also have access to product

specifications, reference documentation, and Apple and third-party product technical

articles.

• http://www.apple.com/support

For software updates, documentation, discussion forums, and answers to the most

frequently asked questions for Soundtrack Pro, go to:

• http://www.apple.com/support/soundtrackpro

For discussions forums for all Apple products from around the world, where you can

search for an answer, post your question, or answer other users’ questions, go to:

• http://discussions.apple.com

13Preface Welcome to Soundtrack Pro

The way you set up your system depends on the audio equipment you plan to use. You

can use your computer’s speaker or headphone jack to monitor the audio output from

Soundtrack Pro. For better results, you may want to connect external monitors or speakers

to your system, so that you can monitor the audio output at a higher level of quality. You

may want to connect other external audio equipment such as an audio interface or a

mixer, particularly if you plan to record your own audio in Soundtrack Pro.

For information on system and hardware requirements, see the Read Before You Install

document on the installation DVD.

For information on installing the software, see the Installing Your Software booklet.

This chapter covers the following:

• System Considerations (p. 15)

• Connecting Equipment (p. 17)

• Example Hardware Setups (p. 21)

System Considerations

To achieve the most effective results, you should consider the following issues when

setting up your system:

• Editing and managing digital audio files can require intensive processing by your

computer. For more information, see Processor Speed and RAM.

• Storing digital audio files can require a large amount of hard disk space. For more

information, see Hard Disks.

• To make the most of Soundtrack Pro, you may wish to use a variety of audio input and

output devices. For more information, see Setting the Audio Input and Output and

Audio MIDI Setup.

• Audio units plug-ins from other manufacturers can extend the capabilities of

Soundtrack Pro. For more information, see Adding Audio Units Plug-ins to Your

Computer.

15

Setting Up Your System

1

Processor Speed and RAM

Digital audio files require intensive processing by your computer. If you plan to work on

longer or more complex projects, or use multiple effects plug-ins in your projects, a

computer with a faster processor can facilitate your productivity.

Soundtrack Pro is optimized for use with computers that have a multiprocessor

architecture. Working with Soundtrack Pro projects on a multiprocessor-equipped

computer can make your workflow more efficient, especially when creating longer or

more complex projects.

If you plan to work on large projects, it’s useful to have extra random-access memory, or

RAM, installed in your computer. Additional RAM allows you to play back more files

simultaneously, use a greater number of effects plug-ins, and keep several multimedia

applications open at the same time.

Hard Disks

In addition to having a computer with a fast processor and a lot of extra RAM, it’s also a

good idea to have a large hard disk with plenty of available space to store the media

(audio and video) files you use with Soundtrack Pro. As you work with the application,

you’ll likely want to acquire a large collection of sounds to use in your Soundtrack Pro

projects. Hard disk performance is a critical aspect of your editing system: the storage

capacity and data rate of your disks must match or exceed the requirements of the audio

(and video) formats you are using.

If you store media files on an external hard disk, make sure the disk has a fast enough

seek time and a high enough sustained data transfer rate for use with video and audio

files. Consult the manufacturer’s specifications.

Important: Every minute of stereo digital audio (recorded using a 44.1 kHz sample rate

and 16-bit depth) requires roughly 10 MB of hard disk space. If you plan to record large

amounts of audio in Soundtrack Pro, you may want to record to a hard disk dedicated to

storage for your Soundtrack Pro projects.

Setting the Audio Input and Output

You can set the default input and output devices for Soundtrack Pro with the Audio MIDI

Setup utility.

To select a default output device

Do one of the following:

µ

Double-click Audio MIDI Setup in the Utilities folder, then choose the device from the

Default Output pop-up menu.

µ

Choose Apple menu > System Preferences, click Sound, then click Output. Select the

audio interface in the list that appears.

16 Chapter 1 Setting Up Your System

To select a default input device

Do one of the following:

µ

Double-click Audio MIDI Setup in the Utilities folder, then choose the device from the

Default Input pop-up menu.

µ

Choose Apple menu > System Preferences, click Sound, then click Input. Select the audio

interface in the list that appears.

Audio MIDI Setup

The Audio MIDI Setup utility is a program that comes with Mac OS X for adjusting a

computer’s audio input and output settings and managing MIDI devices. You can select

audio channel input and output devices, configure output speakers, set clock rates, and

control levels. You may also be able to open a configuration utility provided by your audio

device.

For more information, go to http://developer.apple.com/audio/overview.html.

Adding Audio Units Plug-ins to Your Computer

Soundtrack Pro includes an extensive set of professional-quality effects plug-ins.

Soundtrack Pro uses effects in the Audio Units plug-in format, the native plug-in format

of Mac OS X.

Audio Units plug-ins are also available from third-party manufacturers. When adding

third-party effects to your computer, be sure to read the documentation, including any

Read Me and installation files, that came with the plug-in. Supported Audio Units effects

plug-ins appear in the Effects window under the manufacturer’s name.

Soundtrack Pro does not support VST, ASIO, MAS, or RTAS effects plug-ins.

Connecting Equipment

You can use a variety of audio equipment with Soundtrack Pro for both recording and

playback. For information on connecting a specific piece of equipment to your computer,

read the documentation that came with the equipment. For general information about

connecting a control surface to your computer, see Connecting Control Surfaces.

Final Cut Studio editing systems can be configured to meet the most demanding

professional requirements. An advanced editing system can be built by expanding the

basic system described in the Final Cut Pro User Manual. The following list includes

equipment commonly used in Final Cut Studio editing systems:

• Macintosh computer with Final Cut Studio installed: The core of your editing system

• Professional video and audio devices: For capturing footage and outputting finished

projects. (For more information about video and audio devices, see Working with

Professional Video and Audio Equipment.)

17Chapter 1 Setting Up Your System

• External video and audio monitors: For viewing and listening to your program in its final

image and audio quality

• Video and audio interfaces: For connecting professional and non-FireWire devices to

your editing system

• RS-422 serial device control interfaces: For remote device control during capture and

output

• Video, audio, and remote device control cables: For separate video, audio, and remote

device control connections. Unlike a basic DV editing system that uses a solitary FireWire

cable to transfer video, audio, and remote control signals, many professional

configurations require separate cables for each of these signals.

• Additional scratch disks: One or more internal or external hard disks, a RAID, or a

connection to a storage area network (SAN)

• Control surfaces: Hardware controls that let you mix and edit your projects with greater

flexibility and precision than using a mouse to move onscreen controls

Video and Audio Input and Output Devices

An input device is used to transfer footage into your computer. For output, you record

your finished movie to an output device. Basic editing systems use a DV camcorder or

deck as both an input and output device. Professional editing systems may use multiple

video decks to capture and output to different video formats. Although Soundtrack Pro

does not support video capture from devices such as camcorders or VTRs, it does support

recording from a variety of digital audio devices.

To connect non-FireWire devices to your computer, you also need a third-party video or

audio interface. For more information, see Video Interfaces.

Video Device

This is a VTR or camcorder you connect to your computer to capture and output media.

The connectors and signal format on your video device determine what kind of video

interface your computer needs to connect to your device.

Audio Device

This is a device, such as a digital audio tape (DAT) recorder or multitrack audio recorder,

that lets you capture or output audio independently from video.

18 Chapter 1 Setting Up Your System

Note: When using external audio devices, it’s a good idea to connect them before opening

Soundtrack Pro.

Video and Audio Interfaces

An interface is a device that adds physical video or audio connectors to your computer

so that you can connect your Final Cut Studio system to other professional equipment

(such as video or audio decks and monitors).

Interfaces provide input and output connectors that aren’t included with your computer.

For example, if you want to output multiple audio channels to an analog audio mixer or

digital multitrack, you need an audio interface that has XLR, 1/4" tip-ring-sleeve (TRS),

AES/EBU, or ADAT Lightpipe output connectors.

You may also want to consider adding a third-party interface to your system if:

• You need to capture or output many audio channels at once

• You are integrating Final Cut Studio into a professional broadcast environment that

requires SDI, HD-SDI, or other non-FireWire video and audio connections

• You need to capture, edit, and output full-resolution, uncompressed video signals

instead of DV video (which is compressed)

• You are digitizing video from an older analog VTR (such as a Betacam SP deck) that

does not have digital video outputs or remote control via FireWire

Third-party video and audio interfaces can be installed in one of your computer’s PCI

Express slots, connected to the USB port, or connected via FireWire.

For more information about selecting and connecting an audio interface for use with

Soundtrack Pro, see Setting Up an Audio Interface.

External Audio and Video Monitoring

In the final stages of post-production, external video and audio monitors are essential to

ensure the quality of your movie. Editing systems focused on these final phases of

post-production are often called finishing systems.

19Chapter 1 Setting Up Your System

External Audio Speakers and Monitors

You can play back audio through your computer’s speakers or headphone jack, but the

audio output may not be high enough for you to evaluate your music at a professional

level of quality. Connecting external speakers or monitors to your system allows you to

hear the audio output with greater fidelity and a wider dynamic range. During the final

mix, it is important to monitor your audio so that it matches the listening environment

where the final project will be shown. For detailed information on connecting external

speakers to your audio interface, see the documentation that came with the speakers.

Setting Up a Proper Audio Monitoring Environment

Room shape and material are just as important as the quality of the speakers themselves.

Every surface in a room potentially reflects sound, and these reflections mix together

with the sound originating from the speakers. Rooms with parallel walls can create standing

waves, which are mostly low-frequency sound waves that reinforce and cancel each other

as they bounce back and forth.

Standing waves cause some frequencies to be emphasized or attenuated more than

others, depending on your listening position. When you mix in a room that creates

standing waves, you may adjust certain frequencies more than necessary. However, you

may not notice until you play back your audio in a different listening environment, in

which those frequencies may sound overbearing or nonexistent.

Tip: A much cheaper alternative to building new walls is to mount angled pieces of

material to the existing walls to eliminate parallel surfaces.

If the material in a room is very reflective, the room sounds “brighter” because high

frequencies are easily reflected. Mounting absorbing material (such as acoustic foam) on

the walls can reduce the brightness of a room. A “dead room” is one that has very little

reflection (or reverberation). Try to cover any reflective surfaces in your monitoring

environment.

Amplifiers

If you are recording audio from microphones and are not running the microphone’s signal

through a mixer with a microphone pre-amplifier, you need to connect an amplifier to

boost the microphone’s signal before sending it to the computer. If you are connecting

monitors or speakers that are not self-powered, you also need to connect them through

an amplifier.

20 Chapter 1 Setting Up Your System

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