Apple Soundtrack Pro User Manual
Soundtrack Pro
User Manual
Apple Computer, Inc.
© 2005 Apple Computer, Inc. All rights reserved.
Under the copyright laws, this manual may not be
copied, in whole or in part, without the written consent
of Apple. Your rights to the software are governed by
the accompanying software license agreement.
The Apple logo is a trademark of Apple Computer, Inc.,
registered in the U.S. and other countries. Use of the
“keyboard” Apple logo (Option-Shift-K) for commercial
purposes without the prior written consent of Apple
may constitute trademark infringement and unfair
competition in violation of federal and state laws.
Every effort has been made to ensure that the
information in this manual is accurate. Apple Computer,
Inc. is not responsible for printing or clerical errors.
Apple Computer, Inc.
1 Infinite Loop
Cupertino, CA 95014-2084
408-996-1010
www.apple.com
Apple, the Apple logo, AppleScript, DVD Studio Pro,
iTunes, Final Cut, Final Cut Pro, FireWire, Logic, Mac,
Mac OS, Macintosh, QuickTime, and Soundtrack are
trademarks of Apple Computer, Inc., registered in the
U.S. and other countries.
Finder is a trademark of Apple Computer, Inc.
Apple Care is a service mark of Apple Computer, Inc.,
registered in the U.S. and other countries.
Production stills from the films “Koffee House Mayhem”
and “A Sus Ordenes” provided courtesy of Refuge Films.
“Koffee House Mayhem”
“A Sus Ordenes”
http://www.refugefilms.com
Other company and product names mentioned herein
are trademarks of their respective companies. Mention
of third-party products is for informational purposes
only and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with
regard to the performance or use of these products.
© 2004 Jean-Paul Bonjour;
© 2004 Eric Escobar.
1
Contents
Preface 7 An Introduction to Soundtrack Pro
7
What Is Soundtrack Pro?
9
Resources for Learning About Soundtrack Pro
10
Soundtrack Pro Onscreen User Manual
10
Apple Websites
Chapter 1 13 Setting Up Your System
13
System Considerations
15
Connecting Audio Equipment
19
Example Hardware Setups
Chapter 2 23 The Soundtrack Pro Interface
24
Project Window
33
Media and Effects Manager
40
Utility Window
Chapter 3 45 Getting Started With Soundtrack Pro
45
Two Kinds of Projects
47
Setting Up Your Workspace
50
Playing Projects
56
Locating and Adding Audio Files
68
Previewing Audio Files
71
Using Undo and Redo
72
Using Snap
74
Reconnecting Media Files
75
Setting Soundtrack Pro Preferences
Chapter 4 81 Working With Multitrack Projects
81
Creating and Opening Multitrack Projects
82
Closing Multitrack Projects
82
Setting Project Properties
86
Setting the Project Length
86
Saving Multitrack Projects
87
Adding Audio Files to a Multitrack Project
3
89
Viewing and Editing Clip Properties
90
Tracks, Busses, and Outputs
Chapter 5 93 Working in the Timeline
94
Moving Around in the Timeline
99
Working With Tracks, Busses, and Outputs in the Timeline
10 7
Editing Audio Clips in the Timeline
11 9
Working With Markers
Chapter 6 123 Working in the Mixer
12 4
Steps in Mixing
12 5
Working With Channel Strips in the Mixer
13 4
Working With Effects and Sends in the Mixer
13 8
Setting the Overall Project Volume Level
14 0
Listening to a Temporary Mono Mix
14 0
Recording Audio in the Mixer
14 0
Recording Automation in the Mixer
141
Creating Multiple Mixes
141
Things to Keep in Mind While Mixing
Chapter 7 143 Working in the Waveform Editor
14 4
Getting Started With Audio File Projects
15 2
Playing Audio Files in the Waveform Editor
15 4
Editing Audio Files in the Waveform Editor
161
Processing Audio Files
17 0
Working With Actions
17 7
Analyzing an Audio File
181
Using Markers in the Waveform Editor
181
Scripting Actions in the Waveform Editor
Chapter 8 183 Working With Video in Soundtrack Pro
183
Supported Video File Formats
18 4
Adding a Video to a Project
185
Playing the Video
18 8
Viewing Video Details
18 9
Working With a Video’s Audio
19 0
Using the Time Display and Time Ruler With Video
191
Using Markers With Video
19 4
Removing a Video From a Project
Chapter 9 195 Working With Audio Effects
19 5
Realtime and Processing Effects
19 6
Audio Effects Included With Soundtrack Pro
207
Working With Realtime Effects
4
Contents
216
Working With Processing Effects
217
Working With Effect Presets
Chapter 10 219 Working With Automation
219
Working With Envelopes
228
Recording Automation Data
229
Working With Timeslices
Chapter 11 235 Recording Audio in Soundtrack Pro
235
Getting Ready to Record
236
Recording Audio in the Timeline
239
Saving Recorded Clips
240
Recording Audio in the Mixer
240
Recording Audio in the Waveform Editor
Chapter 12 243 Using Control Surfaces With Soundtrack Pro
243
Connecting Control Surfaces
244
Adding and Deleting Control Surfaces
245
Premapped Controls
245
Mapping Commands to Control Surface Buttons
246
Recording Control Surface Automation
Chapter 13 247 Exporting Multitrack Projects
248
Exporting a Project Mix
248
Exporting Selected Tracks, Busses, and Outputs
250
Exporting With Compressor
252
Distributing a Multitrack Project and its Media Files Together
Chapter 14 253 Using Soundtrack Pro With Apple Professional Applications
253
Using Soundtrack Pro With Final Cut Pro
258
Using Soundtrack Pro With Motion
260
Using Soundtrack Pro With DVD Studio Pro
Using Soundtrack Pro With Other Applications
261
Appendix A 263 Using Apple Loops Utility
263
What Is Apple Loops Utility?
264
The Apple Loops Utility Interface
269
Opening Files in Apple Loops Utility
270
Tagging Files in Apple Loops Utility
271
Working With Transients
273
Saving Changes to Files
273
Removing Files From the Assets Drawer
274
Apple Loops Utility Preferences
275
Apple Loops Utility Keyboard Shortcuts
Contents
5
Appendix B 279 Soundtrack Pro Keyboard Shortcuts
279
General and File
279
Windows, Tabs, and Layouts
280
Project Playback and Setting the Playhead
281
General Editing
281
Editing Audio Clips in the Timeline
282
Adjusting Audio Clips in the Timeline
282
Navigating in the Timeline
283
Editing Audio Files in the Waveform Editor
284
Tracks and Markers
284
Video Out
285
Recording
Appendix C 287 Audio Basics
287
Basic Audio Concepts
289
Recording Sound
Appendix D 293 Solutions to Common Problems and Customer Support
294
Solutions to Common Problems
295
Calling AppleCare Support
Index 297
6
Contents
An Introduction to Soundtrack Pro
Soundtrack Pro gives you the tools you need to create
high-quality soundtracks for your video productions.
Recent years have seen a revolution in working with digital audio, matching the
revolution in digital video editing and postproduction. Now, using a personal computer
with a fast processor and enough RAM, video editors and other creative professionals
can manipulate the audio for their video projects with the same power and flexibility as
the video.
What Is Soundtrack Pro?
Soundtrack Pro is a new professional audio application for Macintosh computers that
gives you the tools to perform a wide range of audio postproduction tasks. Using
Soundtrack Pro, you can edit audio files, repair field recordings, perform multitrack
arranging and mixing, synchronize audio and video, analyze and fix common audio
problems, and perform creative sound design.
Preface
You can work in two kinds of projects in Soundtrack Pro:
file projects
where you can edit audio clips, synchronize audio and video, and automate volume,
pan, and other changes over time using envelopes. You can also record audio directly
to a track in the Timeline. You mix multitrack projects in the Mixer, which includes a
channel strip for each track, bus, and output in the project. In both the Timeline and
the Mixer you can add and adjust professional-quality realtime effects, including
compression, EQ, and reverb. You can export your project mix to an audio file or to a
QuickTime movie, export using Compressor, and also export individual tracks, busses,
and outputs.
. In multitrack projects, you add and arrange audio clips on the Timeline,
multitrack projects
and
audio
7
In audio file projects, you can edit audio files in the Waveform Editor for tasks ranging
from audio repair to sound design. In the Waveform Editor, you can perform precise
edits down to the individual sample level. You can perform edits nondestructively
using actions, which include processing effects and other operations, and can turn off
or completely reorder actions. You can analyze audio files in the Waveform Editor for a
range of common audio problems, including clicks and pops, hum, and phase issues,
and automatically fix problems detected by analysis.
Soundtrack Pro is designed to work with Final Cut Pro and with other Apple
professional applications, allowing you to send video and audio files back and forth
between the applications as you work on both the video and the audio. Soundtrack Pro
also includes a large selection of Apple Loops that you can use to add Foley effects,
background ambience, sound effects, and music transitions to your projects. Apple
Loops tagged as looping files automatically match the tempo and key of the project,
allowing you to use them in the same project.
Soundtrack Pro includes the following features:
 Powerful audio editing: You can edit audio files nondestructively in the Waveform
Editor. You can edit audio files graphically with sample accurate precision, and
process files using actions, which can be reordered and turned on or off individually.
 Analysis and repair of common audio problems: The Waveform Editor features analysis
of audio files. You can choose which problems to analyze the file for, then fix the
problems detected by analysis either individually or in a single operation. Selected
problems are highlighted in the waveform display for easy viewing.
 Advanced mixing capabilities: You can mix multitrack projects in the Mixer, which
displays a virtual mixing console for a project. Using the channel strips in the Mixer,
you can adjust levels, mute and solo tracks, and add realtime effects. You can create
submixes using busses, and send audio to multiple physical outputs using outputs.
 Add professional-quality effects: Soundtrack Pro includes high-quality effects plug-ins
from the Logic Pro effects library that you can use in your projects, including the
Space Designer convolution reverb. You can also install third-party effects in the
Audio Units plug-in format.
 Record and edit automation: You can record movements to sliders and other
onscreen controls, play back the automation, and edit it in the Timeline.
 Support for control surfaces: In addition to recording movements of onscreen
controls, you can connect a supported control surface, and record automation of
control surface movements.
8 Preface An Introduction to Soundtrack Pro
 Synchronized video display: You can add a video to a project and view it in the Video
tab, or display the video on an external video monitor. Audio/video synchronization is
accurate both onscreen and on the external monitor, up to HD resolutions. You can
accurately place audio clips to sync with specific frames or points in time in the video.
 Audio recording capability: You can record audio directly in tracks in the
Soundtrack Pro Timeline, including recording multiple takes.
 Integrated workflow with Final Cut Pro: You can send a clip from the Final Cut Pro
Timeline to Soundtrack Pro and edit the clip in the Waveform Editor. When you save
the clip, it is automatically updated in your Final Cut Pro project. You can also send
clips or sequences to a Soundtrack Pro multitrack project.
Resources for Learning About Soundtrack Pro
This manual describes the Soundtrack Pro interface, commands, and menus, and gives
step-by-step instructions for creating Soundtrack Pro projects and for accomplishing
specific tasks. It also includes information on setting up your system and on audio
basics. It is designed to provide the information you need to get up to speed quickly so
you can take full advantage of the intuitive interface and powerful features of
Soundtrack Pro.
If you want to start by learning how to set up audio hardware to use with
Soundtrack Pro, read Chapter 1, “Setting Up Your System,” on page 13. If you want to
learn about the features and controls in the Soundtrack Pro interface, read Chapter 2,
“The Soundtrack Pro Interface,” on page 23. If you want to jump right in and start using
the application, skip ahead to Chapter 3, “Getting Started With Soundtrack Pro,” on
page 45. If you want to read about editing audio files in the Waveform Editor, turn to
Chapter 7, “Working in the Waveform Editor,” on page 143.
In addition to this manual, Soundtrack Pro provides other sources of support.
Preface An Introduction to Soundtrack Pro 9
Soundtrack Pro Onscreen User Manual
The Soundtrack Pro onscreen user manual allows you to access information directly
onscreen while you’re working in Soundtrack Pro. To view this information, choose
Help > Soundtrack Pro User Manual. The Soundtrack Pro onscreen user manual is a fully
hyperlinked version of the Soundtrack Pro User Manual, enhanced with many features
that make locating information quick and easy.
 The homepage provides quick access to various features, including Late-Breaking
News, the index, and the Soundtrack Pro website.
 A comprehensive bookmark list allows you to quickly choose what you want to see
and takes you there as soon as you click the link.
In addition to these navigational tools, the Soundtrack Pro onscreen user manual gives
you other means to locate information quickly:
 All cross-references in the text are linked. You can click any cross-reference and jump
immediately to that location. Then, you can use the Preview Back button to return to
where you were before you clicked the cross-reference.
 The table of contents and index are also linked. If you click an entry in either of these
sections, you jump directly to that section of the user manual.
 You can also use the Find dialog to search the text for specific words or a phrase.
Apple Websites
There are a variety of Apple websites that you can visit to find additional information.
Soundtrack Pro Website
For general information and updates, as well as the latest news on Soundtrack Pro, go to:
 http://www.apple.com/soundtrackpro
Apple Service and Support Website
For software updates and answers to the most frequently asked questions for all Apple
products, including Soundtrack Pro, go to:
 http://www.apple.com/support/soundtrackpro
You’ll also have access to product specifications, reference documentation, and Apple
and third-party product technical articles.
10 Preface An Introduction to Soundtrack Pro
Other Apple Websites
Start at the Apple homepage to find the latest and greatest information about Apple
products:
 http://www.apple.com
QuickTime is industry-standard technology for handling video, sound, animation,
graphics, text, music, and 360-degree virtual reality (VR) scenes. QuickTime provides a
high level of performance, compatibility, and quality for delivering digital video. Go to
the QuickTime website for information on the types of media supported, a tour of the
QuickTime interface, specifications, and more:
 http://www.apple.com/quicktime
FireWire is one of the fastest peripheral standards ever developed, which makes it great
for use with multimedia peripherals, such as video camcorders and the latest highspeed hard disk drives. Visit this website for information about FireWire technology and
available third-party FireWire products:
 http://www.apple.com/firewire
For information about seminars, events, and third-party tools used in web publishing,
design and print, music and audio, desktop movies, digital imaging, and the media arts,
go to:
 http://www.apple.com/pro
For resources, stories, and information about projects developed by users in education
using Apple software, including Soundtrack Pro, go to:
 http://www.apple.com/education
Go to the Apple Store to buy software, hardware, and accessories direct from Apple
and to find special promotions and deals that include third-party hardware and
software products:
 http://www.apple.com/store
Preface An Introduction to Soundtrack Pro 11
1 Setting Up Your System
1
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.
System Considerations
To achieve the most effective results, you should consider the following issues when
setting up your system.
Processor Speed and RAM
Digital audio files require intensive processing by your computer. If you plan to work on
longer or more complex projects, or use multiple effects plug-ins in your projects, a
computer with a faster processor can facilitate your productivity.
Soundtrack Pro is optimized for use with computers that have a multiprocessor
architecture. Working with Soundtrack Pro projects on a multiprocessor-equipped
computer can make your workflow more efficient, especially when creating longer or
more complex projects.
If you plan to work on large projects, it’s useful to have extra random-access memory,
or RAM, installed in your computer. Additional RAM allows you to play back more files
simultaneously, use a greater number of effects plug-ins, and keep several multimedia
applications open at the same time.
13
Hard Disk Space
It’s also a good idea to have a large hard disk with plenty of available space to store
the media (audio and video) files you use with Soundtrack Pro. As you work with the
application, you’ll likely want to acquire a large collection of sounds to use in your
Soundtrack Pro projects. You can use audio files stored on a CD-ROM disc or other
external media, but playback performance may not be as good as if the audio files are
installed on a local hard disk, especially when using a large number of files.
If you store media files on an external hard disk, make sure the disk has a fast enough
seek time and a high enough sustained data transfer rate for use with multimedia files.
Consult the manufacturer’s specifications.
Dedicated Hard Disk
If you plan to record your own audio in Soundtrack Pro, remember that every minute of
stereo digital audio (recorded using a 44.1 kHz sample rate and 16-bit depth) requires
roughly 10 MB of hard disk space. If you plan to record large amounts of audio, you
may want to record to a dedicated hard disk.
Setting the Audio Input and Output
By default, Soundtrack Pro uses the input and output devices set in your computer’s
System Preferences for audio input and output. You can set the default input and
output devices for Soundtrack Pro in the Recording pane of the Soundtrack Pro
Preferences window, and change them for individual recording sessions in the
Recording tab. For information on changing the default input and output devices
Soundtrack Pro uses, see “Setting Soundtrack Pro Preferences” on page 75.
Adding Audio Units Plug-Ins to Your Computer
Soundtrack Pro includes an extensive set of professional-quality effects plug-ins.
Soundtrack Pro uses effects in the Audio Units plug-in format, the native plug-in format
of Mac OS X.
Audio Units plug-ins are also available from third-party manufacturers. When adding
third-party effects to your computer, be sure to read the documentation, including any
Read Me and installation files, that came with the plug-in. Supported Audio 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.
14 Chapter 1 Setting Up Your System
Connecting Audio Equipment
You can use a variety of audio equipment with Soundtrack Pro for both recording and
playback. For information on connecting a specific piece of equipment to your
computer, read the documentation that came with the equipment.
When using external audio devices, it’s a good idea to connect them before opening
Soundtrack Pro.
Soundtrack Pro does not support video input from devices such as camcorders or
videocassette decks.
Audio Interfaces
You can connect an audio interface to your computer, and then connect microphones
and musical instruments to the audio interface for recording. You can also connect
output devices, such as monitors or speakers, a mixer, or an amplifier to the audio
interface.
When choosing an audio interface, check the manufacturer’s specifications to make
sure the interface is compatible with Mac OS X v10.3. Some audio interfaces require
driver software, while others are supported without the need for a driver. If the device
requires a driver, make sure an up-to-date driver is included with the device, or is
available from the manufacturer.
All digital audio interfaces can be susceptible to latency, a noticeable delay between
the time the audio signal is produced and the time you hear it. When connecting an
audio interface, you should connect the interface directly to the computer, rather than
connecting it through a hub or daisy-chaining it through another device. Connecting
an audio interface through a hub or an intermediary device can cause an unacceptable
amount of latency, particularly with slower protocols such as USB.
Soundtrack Pro supports input from digital audio interfaces up to a maximum sample
rate of 96 kHz and a maximum bit depth of 24 bits. If you connect an interface that
uses sample rates or bit depths outside the range supported by Soundtrack Pro, an
alert message appears, telling you that data from the audio interface is not compatible
with the application.
Chapter 1 Setting Up Your System 15
FireWire (IEEE 1394)
FireWire is a professional and consumer standard for both audio and video equipment.
The combination of fast data-transfer rates, high storage capacities, and plug-and-play
connection makes FireWire an attractive choice for working with digital audio files.
FireWire is included on all current Macintosh computers, and a number of FireWire
audio interfaces are available.
There are two kinds of FireWire connectors: a 4-pin connector (typically found on
video equipment) and a 6-pin connector (used for computer and audio equipment).
FireWire 400 (6-pin)
(Sometimes labeled iLINK)
FireWire 400 (4-pin)
USB (Universal Serial Bus)
USB is a consumer standard used on computer peripherals and other devices. USB
offers a lower data-transfer rate than FireWire, but supports plug-and-play operation
and the ability to connect several devices in sequence (daisy-chaining). Some USB
devices draw their power over the USB cable, while others require a separate power
connection. USB is included on all current Macintosh computers.
There are two kinds of USB connectors: an A connector, typically used to connect a
device to a USB hub, and a B connector, typically used to connect devices together, and
also to connect a device to a computer. USB audio interfaces should always be directly
connected to your computer, not connected via a hub or to the computer’s display,
keyboard, or another peripheral.
USB (Universal Serial Bus)
16 Chapter 1 Setting Up Your System
PCI (Peripheral Connect Interface)
PCI interfaces, unlike FireWire and USB interfaces, require that you install a dedicated
sound card in your computer. PCI provides high bandwidth and fast data-transfer rates,
allowing you to record and play back large numbers of files at the highest possible
sample rates and bit depths.
PCMCIA
PCMCIA is a consumer standard for connecting devices to a laptop computer. PCMCIA
provides a lower data-transfer rate than FireWire or USB, but provides a compact,
affordable solution for connecting an audio interface to your computer, while keeping
your USB and FireWire ports available for other devices. Most current Macintosh laptop
computers support PCMCIA connections via a built-in card slot.
Audio Cabling
There are several types of audio cables and connectors used on professional and consumer
audio equipment, at a range of prices and levels of quality. When connecting microphones
and musical instruments to an audio interface or a mixer, make sure the interface has the
proper input jacks for the type of connectors and cables you plan to use.
XLR
XLR cables and connectors are used on professional-quality microphones, monitors, and
other musical equipment. They provide a high-quality, balanced signal at +4 dB level.
XLR connector (balanced)
1/4-Inch Audio
1/4-inch connectors (sometimes called “phone plugs”) are used on a wide variety of
professional and consumer musical equipment, including musical instruments and
amplifiers, speakers, and external effects devices. They can be either balanced (+4 dB)
or unbalanced (–10 dB). Some devices require Tip-Ring-Sleeve (TRS) connectors to
transfer the audio signal.
1/4-inch Tip-Ring Sleeve (TRS) connector
1/4-inch Tip-Ring (TR) connector
Chapter 1 Setting Up Your System 17
RCA
RCA connectors are used on consumer audio equipment such as home stereo systems
and videocassette recorders.
RCA connector (unbalanced)
Optical Digital (AES-EBU and S/PDIF)
AES-EBU and S/PDIF are both used to provide an optical digital connection to
professional and consumer audio equipment, including audio interfaces, DAT (digital
audio tape) machines, hardware samplers. Both carry a stereo digital signal. AES-EBU is
balanced, and has an operating level of 5 volts, while S/PDIF is unbalanced and has an
operating level of roughly 1/2 volt. There are adapter cables available to convert
between the two protocols. S/PDIF carries additional information with the audio signal,
including SCMS copy-protection information.
S/PIDF optical digital connector
1/8-Inch Miniplug
Miniplug connectors are used for audio input and output to computers and on some
consumer electronic devices, particularly portable ones.
Stereo miniplug connector (unbalanced)
Audio Output
Being able to monitor the audio output of your projects at a high level of quality is
crucial to achieving professional results. In general, you should use the best output
equipment your budget allows.
Speakers and Monitors
You can play back audio through your computer’s speakers or headphone jack, but the
audio output may not be high enough for you to evaluate your music at a professional
level of quality. Connecting external speakers or monitors to your system allows you to
hear the audio output with greater fidelity and a wider dynamic range. In general, you
should use the highest-quality speakers or monitors you can afford in order to hear
your projects at the highest level of audio quality.
For detailed information on connecting external speakers to your audio interface, see
the documentation that came with the speakers.
18 Chapter 1 Setting Up Your System
Amplifiers
If you are recording audio from microphones, and are not running the microphone’s
signal through a mixer with a microphone pre-amplifier, you need to connect an
amplifier to boost the microphone’s signal before sending it to the computer. If you are
connecting monitors or speakers that are not self-powered, you also need to connect
them through an amplifier.
Mixers
Connecting a mixer to your system allows you to record audio from multiple
microphones or instruments simultaneously, to play back the output from your
computer through connected monitors or speakers, and to control the volume levels of
both the audio input and output. Professional-quality mixers have a number of
additional features, including equalization (EQ) controls, auxiliary sends and returns for
adding external effects, and separate monitor and mix level controls. Mixers may also
include inboard pre-amplification for microphones, making the use of a separate
amplifier unnecessary.
Control Surfaces
Soundtrack Pro supports control surfaces that use the Mackie Control and Logic
Control protocols. For information on connecting and using control surfaces, see
Chapter 12, “Using Control Surfaces With Soundtrack Pro,” on page 243.
Example Hardware Setups
The following sections provide several examples of different hardware setups.
Setting Up a System Using Powered Speakers
With this setup, you can monitor the audio output through a set of connected
powered speakers.
This setup uses the following equipment:
 Your computer and display
 A set of powered speakers, including speaker wire and a power adaptor
Speakers
Power cables
Speaker cables
Computer
Chapter 1 Setting Up Your System 19
Setting Up a System Using a USB Audio Interface
With this setup, you can record audio input from microphones and musical
instruments, and monitor audio output, through a USB audio interface.
This setup uses the following equipment:
 Your computer and display
 USB audio interface (from 2 to 8 channels) with USB cable to connect to your
computer
 Microphone
 Musical instruments (guitar, bass, and keyboard)
 Cables to connect microphones and instruments to the audio interface
 Set of monitors or speakers
Monitors
Microphone
Speaker
Computer
USB
cable
cables
Computer
Audio interface
Instrument
20 Chapter 1 Setting Up Your System
Setting Up a System Using a FireWire Interface and a Control Surface
With this setup, you can record audio input from several sources simultaneously, and
monitor audio output channels independently, through a mixer connected to a
FireWire audio interface.
This setup uses the following equipment:
 Your computer and display
 FireWire audio interface with FireWire cable to connect to your computer
 Control surface and MIDI interface with USB cable to connect MIDI interface to your
computer
 MIDI cables to connect control surface to MIDI interface
 Set of powered monitors or speakers
 Speaker cables
Monitors
Power cables
Audio interface
Computer
FireWire
cable
Speaker cables
Midi interface
Control surface
Chapter 1 Setting Up Your System 21
Setting Up a System Using a Video Output Device
With this setup, you can play video and audio through an external video output device.
Because using a video output device can result in increased latency, you may want to
combine this setup with an audio-only setup (as shown in the preceding pages), and
switch between the two setups.
This setup uses the following equipment:
 Your computer and display
 Video output device (Firewire device or PCI card)
 High-quality video monitor
 Audio speakers
Computer
FireWire
cable
Video monitor
Video output device
Audio monitors
Speaker
cables
Mixer
22 Chapter 1 Setting Up Your System
Utility window
2 The Soundtrack Pro Interface
2
In Soundtrack Pro, you work in four main windows:
the Project window, the Mixer, the Media and Effects
Manager, and the Utility window.
Project window
Media and Effects
Manager
 The Project window includes the Timeline, where you arrange audio clips, and the
Waveform Editor, where you edit audio files.
 The Mixer is where you mix multitrack projects. It includes channel strips for each
track, bus, and output, as well as other controls.
 The Media and Effects Manager is where you locate and preview audio and video
files to add to your project, and also where you add and adjust realtime effects.
 The Utility window has tabs where you can add and view a video in a project, see the
master level meters, get details on clips and other items, and set up recording.
23
Project Window
The Project window is the “canvas” where you work on your projects. For multitrack
projects, the Timeline is where you arrange and edit audio clips. For audio file projects,
the Waveform Editor is where you edit audio files.
Tabs
Mono Mix button
Master volume slider
Toolbar
Playhead Position
value slider
Transport
controls
Selection Length
value slider
 Toolbar: Includes tools for common functions. You can customize which tools appear
in the Toolbar.
 Tabs: You can switch between any projects open in the Timeline or Waveform Editor.
 Transport controls: Control playback and the position of the playhead, and turn
recording on or off. (For more information, see “Transport Controls” on page 25.)
 Master volume slider: Adjusts the overall volume when you play the project. The
volume level defaults to 0 dB when you create a project. Adjusting the master
volume slider does not affect export volume.
 Mono Mix button: Click to listen to a temporary mono mix of the project.
 Playhead Position value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
 Selection Length value slider: Displays the length of the current Timeslice (in the
Timeline) or selection (in the Waveform Editor). You can change the Timeslice or
selection length by clicking the arrows, dragging, or typing a value.
24 Chapter 2 The Soundtrack Pro Interface
Toolbar
The Toolbar is located at the top of the Project window. When you first open
Soundtrack Pro, the Toolbar includes buttons for creating a new project, creating a
new audio file, showing the Mixer and the Utility window, managing layouts, adding
markers, and other common functions. You can customize the Toolbar, adding buttons
for functions you want to access frequently. For information about customizing the
Toolbar, see “Customizing the Toolbar” on page 49.
Transport Controls
You use the transport controls to control playback, set the position of the playhead,
start recording, and activate the playback region.
Go to End
Cycle
MIDI Sync
Play from Beginning
Record
Go to Beginning
Play
 Record button: Starts and stops the recording process.
 Play from Beginning button: Starts playback from the beginning of the project.
 Go to Beginning button: Moves the playhead to the beginning of the project, or to
the beginning of the playback region if it is active.
 Play/Pause button: Starts playback at the current playhead position. If the project is
playing, stops playback.
 Go to End button: Moves the playhead to the end of the project, or to the end of the
playback region if it is active.
 Cycle button: Activates the playback region, if one is set in the Time ruler.
 MIDI Sync button: Synchronizes playback with incoming MIDI Clock and MIDI
Timecode (MTC) signals.
For information on using the transport controls, see “Controlling Playback With the
Transport Controls” on page 55.
Chapter 2 The Soundtrack Pro Interface 25
Timeline
The Timeline gives you a visual representation of a multitrack project, showing the
position of clips, the playhead, and other items in time. The Timeline is organized into
three groups of horizontal rows called tracks, busses, and outputs. You can add and
arrange audio clips in tracks, use busses to create submixes, and send audio to physical
output channels using outputs. You can control the sound of each track, bus, and
output using the controls in its header.
Timeline editing tools
Time display
Audio tracks
Automation
Mode pop-up
Timeline controls
Project controls
Global Timeline
view
Level meters
Time ruler
Track area
Scroll bar
 Timeline editing tools: Select items using the Selection (arrow) tool, or split audio
clips using the Split (razor) tool.
 Automation Mode pop-up menu: Choose the mode for recording automation using
either the onscreen controls or an external control surface.
 Project controls: Set the project’s time signature, tempo, key, sample rate, time
format, and other properties using these controls.
 Show pop-up menu: Choose whether the video track, audio tracks, busses, outputs,
and master envelopes are visible in the Timeline.
 Global Timeline view: Shows a miniature view of the entire Timeline and the playhead
position, and lets you move quickly to different parts of a project.
 Time display: Shows the current playhead position in both Time-based and Beats-
based formats. You can set the playhead by typing a new playhead position in the
time display.
26 Chapter 2 The Soundtrack Pro Interface
 Level meters: As the project plays, the level meters show the volume level of the first
output (Output 1).
 Time ruler: You can precisely position clips, the playhead, and other items to a specific
point in time (minutes, seconds, frames) or to a musical beat using the Time ruler.
 Track area: Includes horizontal rows for tracks, busses, and outputs. Also includes the
playhead, envelopes, and markers.
 Headers: Each track, bus, and output has a header with an icon, name, volume slider,
and other controls. (For more information, see “Headers” on page 27.)
 Timeline controls: Includes controls to show the master envelopes, turn snap on or
off, set the track height, and zoom in or out. (For more information, see “Timeline
Controls” on page 28.)
 Scroll bar: Moves the Timeline horizontally so you can see different parts of the
project.
Headers
Each track, bus, and output in the Timeline has a header that includes the track name,
track icon, and a set of track controls.
Envelopes disclosure
triangle
Drag handle
Name field
Record Enable button
Volume sliderIcon
Effects button
Mute button
Solo button
Output pop-up menu
Pan slider
 Drag handle: Click to select the track, bus, or output and drag to reorder it in the
Timeline.
 Icon: You can choose an icon for the track, bus, or output, making it easy to quickly
distinguish them in a large project.
 Name field: You can type a new name for the track, bus, or output in the name field.
 Record Enable button: Enables (or disables) the track for recording when you click the
Record button. Only tracks have Record Enable buttons, not busses or outputs.
 Mute button: Mutes (or unmutes) the track, bus, or output.
 Solo button: Solos (or unsolos) the track, bus, or output. Soundtrack Pro supports
both multiple solo and exclusive solo.
 Effects button: Displays the Effects tab of the Media and Effects Manager with the
track, bus, or output effects settings.
 Envelopes disclosure triangle: Shows the track, bus, or output envelopes in the area
directly below the track.
Chapter 2 The Soundtrack Pro Interface 27
 Volume slider: Sets the track, bus, or output relative volume in the overall mix.
 Output pop-up menu: Choose an output for the track or bus, or choose the physical
output channels for the output from the menu.
 Pan slider: Sets the pan position of the track or bus. Appears in track and bus
headers only, not in output headers.
For detailed information on using the track controls, see “Using the Track Controls” on
page 102.
Timeline Controls
The lower-left corner of the Timeline contains controls for various aspects of Timeline
display and operation.
Master Envelopes button
Snap button
Track Height control
Snap To Value pop-up menu
Zoom control
 Master Envelopes button: Shows or hides the master envelopes.
 Snap button: Turns snap on or off.
 Snap To Value pop-up menu: Sets the value to which items in the Timeline snap.
 Track Height control: Sets the height of tracks, busses, and outputs to one of four
settings, from Reduced to Large.
 Zoom control: Click the control or drag the slider to change the zoom level. You can
zoom in to edit clips precisely, or zoom out to display more of the Timeline.
For information about using master envelopes, see “Master Envelopes” on page 220.
For information about snap, see “Using Snap” on page 72. For information about using
the Track Height control and zoom control, see “Moving Around in the Timeline” on
page 94.
28 Chapter 2 The Soundtrack Pro Interface
Mixer
You mix your project in the Mixer. Each track, bus, and output has a channel strip in
the Mixer with volume controls, mute and solo buttons, slots for adding effects, and
other controls. You can view the levels for each track, bus, and output using level
meters in its channel strip. You can also record audio and automate volume and pan
changes in the Mixer.
Project pop-up menu
Channel strips
Automation Mode
pop-up menu
Channel Strip and Mixer
pop-up menus
 Project pop-up menu: Choose which project to work on from the pop-up menu.
 Automation Mode pop-up menu: Choose the automation mode from the pop-up
menu.
 Channel Strip and Mixer pop-up menus: Show or hide different sections of the channel
strips and of the Mixer window.
 Channel strips: Each track, bus, and output has a channel strip with controls and
level meters.
Chapter 2 The Soundtrack Pro Interface 29
Each channel strip includes the following controls:
Drag handle
Icon
Effects slots
Pan slider and
value slider
Volume fader and
value slider
Record Enable button
Output pop-up menu
Level meters and
peak indicator
Mute and Solo buttons
Name
 Drag handle: Click to select the channel strip and drag to reorder it in the Mixer.
 Icon: Icons let you visually distinguish channel strips in the Mixer. Click an icon to
change it.
 Effects slots: Show the effects and sends for the channel strip, and let you add effects
and sends.
 Output pop-up menu: Choose an output for the track or bus channel strip or choose
the physical output channels for the output channel strip from the menu.
 Pan slider and value slider: Set the channel strip’s pan position by dragging the slider
or changing the value in the value slider. You can automate pan changes by dragging
the slider with the project set to the appropriate automation mode. Appear in track
and bus channel strips only, not in output channel strips.
 Volume fader and value slider: Set the channel strip’s volume level by dragging the
fader or changing the value in the value slider. You can automate volume changes by
dragging the slider with the project set to the appropriate automation mode.
 Level meters with peak indicator: Show the volume level of the channel strip in real
time as the project plays. The peak indicator shows the highest level played, and
changes color to indicate that clipping has occurred.
30 Chapter 2 The Soundtrack Pro Interface
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