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AudioDesk 5 User Guide

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Contents at a Glance

Part 1: Getting Started Part 4: Playing and Recording Part 7: Mixing

11 Computer Requirements 119 Audio Bundles 299 Mixing 13 Installing AudioDesk 123 Audio Tracks 319 Mix Automation 15 Configuring Audio Devices 135 Aux Tracks and Master Fader Tracks 25 Hard Disk Recording Concepts 137 Control Panel Part 8: Processing 31 Configuring MIDI Devices 157 Playback 35 User Interface Basics 161 Recording 341 Effects 43 Tutorial 1: Recording Audio 173 Click and Countoff 347 Audio Effects Processing 49 Tutorial 2: Mixing and Finishing 177 Audio Monitor 355 Audio File Conversion 183 Looping 357 PureDSP™ Basics Part 2: Managing Projects 187 Movie Window 361 Background Processing 365 Transposing Audio 57 The AudioDesk Project Part 5: Editing 67 The Consolidated Window Part 9: Mastering 73 Soundbites Window 197 Editing Basics 85 Audio File Management 205 Edit Window 369 Bounce To Disk 89 Import and Export 231 Tools 375 Mastering 95 Project File Interchange 235 Information Windows 245 Selecting Part 10: Synchronization Part 3: Customizing Your 249 Edit 261 Audio Menu 381 Receive Sync 105 Preferences and Settings 269 Fades and Crossfades 387 Transmit Sync 113 Commands 277 Clippings 391 MIDI Machine Control Part 6: Arranging Part 11: Appendices

283 Markers 401 Menus reference 289 Sequences 413 Troubleshooting and Support 417 Frequently Asked Questions 421 Index

III

IV

Contents

Part 1: Getting Started 45 Using built-in audio 74 Quick Reference 45 Completing the audio hardware configuration 74 Soundbites window mini-menu 11 Computer Requirements 45 Choosing an input 75 Opening the Soundbites window 11 Minimum computer requirements 46 Preparing an audio track for recording 75 The Soundbite list 12 Getting started 46 Monitoring the live signal 78 Soundbite Basics 12 Familiarity with your computer 47 Establishing audio input and checking the level 79 Mono and stereo audio 12 Visit motu.com for software updates 47 Recording 79 Importing and exporting audio 12 Technical support 48 Playing back the recorded track 79 Soundbite Management 49 Tutorial 2: Mixing and Finishing 83 Dragging and dropping soundbites 13 Installing AudioDesk 83 Working with multiple sample formats 13 Important! Register your software 49 What’s in this tutorial 83 Converting sample rate or format 13 Running the AudioDesk installer 49 Tutorial checklist 83 Automatic conversions 13 Opening AudioDesk 49 Opening the tutorial file 84 Reload Soundbite 13 Examining VST and AU plug-ins 49 The Mixing Board 84 Replace Soundbite 13 The AudioDesk Welcome Window 50 Start mixing 84 Viewing more Sound File Information 14 Enabling audio I/O 50 Automated mixing 84 Edit in waveform editor 14 Updating AudioDesk 51 Drawing controller data in the Edit window 14 AudioDesk PDF documentation 51 Plug-ins 85 Audio File Management 52 Bouncing to Disk 85 Overview 15 Configuring Audio Devices 85 The Audio Files folder 15 Overview 85 Renaming audio files 15 What is the MOTU Audio System? Part 2: Managing Projects 85 Moving audio files 15 Preparing your computer 85 Working with multiple drives 15 Test your audio hardware first 57 The AudioDesk Project 85 Deleting audio files 16 Supported audio hardware 57 Overview 86 Getting rid of unused audio 16 Configuring the hardware driver 57 Components of an AudioDesk Project 88 Compacting an entire project 20 Controlling monitoring latency 58 Creating a new project 20 Slaving to external sync 58 Creating a new project from a template 89 Import and Export 20 Optimizing performance 58 Opening an existing project 89 Overview 20 Configure Studio Settings 59 Open Recent sub-menu 89 Importing project files in other formats 21 Fine-tuning audio I/O timing 59 Opening files in other formats 89 Exporting a project 22 More ways to enhance performance 59 Saving a project 90 Exporting selections 22 Monitoring system performance 60 Saving a project file under a different name 90 Importing and exporting audio 60 Save a Copy As 94 Bouncing audio files 25 Hard Disk Recording Concepts 25 Overview 60 Using Save a Copy As for incremental backups 95 Project File Interchange 25 How audio is recorded on disk 60 Collecting a project for backup or transfer 95 Overview 25 How hard disk recording differs from tape 61 Closing or quitting a project without saving 95 Introduction to OMF and AAF 27 How much disk space does audio require? 61 Avoiding disaster 95 Importing OMF/AAF files 28 Hard disk requirements and maintenance 61 Exporting a project 96 Exporting OMF/AAF files 28 Digital audio terms 62 Moving a project between Mac and Windows 62 Reverting to a previously saved project 31 Configuring MIDI Devices 62 Creating project templates Part 3: Customizing Your Workspace 31 Overview 64 Loading a sequence from another file 31 Setting up your MIDI equipment 65 Adding project notes 105 Preferences and Settings 33 MIDI software setup for Windows 65 Printing project windows 105 Overview 33 MIDI software Setup For Mac OS 65 Quitting/exiting AudioDesk 105 The Preferences window 106 Audio Files 35 User Interface Basics 65 Setting AudioDesk’s startup preferences 35 Overview 65 Helpful project and disk hints 107 Auto Scroll 35 Learn to use your computer 107 Background Processing 67 The Consolidated Window 107 Control Panel 35 Windows 67 Overview 37 Control Panel 107 Document 68 Quick Reference 107 Automatic Conversions 37 The Window menu 68 Window menu 37 Modifier keys 108 Edit Window 68 Deciding how to work with windows 108 Information Bar 38 Clicking shortcuts 69 Opening the Consolidated Window 38 Using modifier keys with cursor actions 108 Region Commands 69 Going full screen 109 Soundbite List 38 Contextual menus 69 Consolidated Window title bar 39 Standard keyboard shortcuts 109 Tools 69 Other window title bars 109 Audio Options 40 Customizing keyboard shortcuts 69 The Control Panel 40 Changing values by dragging 110 Click 69 The body (center) section 110 Countoff 40 Main counter shortcuts 69 The Sidebars 41 Specification of time units 110 Receive Sync 70 The Mixing Board 110 Transmit Sync 42 Choosing a global time format 71 Using Horizontal Dividers 42 Using the numeric keypad 110 Transport 71 Dragging cells 110 Help menu 43 Tutorial 1: Recording Audio 72 Cell focus 43 Overview 72 Getting rid of a cell 113 Commands 43 How it works 72 Popping windows in and out 113 Overview 43 Creating a new AudioDesk project 113 Opening the commands window 73 Soundbites Window 113 Navigating the commands window 44 Enabling audio hardware 73 Overview 45 Using third-party audio hardware 114 Command groups V

114 Assignments 155 Click 187 Opening movies 114 Sequence Selection 155 Audible Mode 188 Closing movies 114 Export Key Bindings 155 Auto Scroll 188 Movie control bar 114 Import Key Bindings 155 Solo Mode 189 Movie window mini-menu commands 115 Upgrading command bindings 155 Mac keyboard controls 190 Scrubbing the Movie window 157 Playback 190 Improving movie window performance Part 4: Playing and Recording 157 Overview 190 External video hardware output 157 Playback basics 192 FireWire video output 119 Audio Bundles 157 How to play a sequence 119 Overview 157 Monitoring levels Part 5: Editing 119 Audio bundles 157 Editing during playback 120 Three tabs 158 Screen re-display 197 Editing Basics 120 Adding and deleting bundles 158 Muting and unmuting tracks during playback 197 Overview 120 Renaming bundles 158 Soloing Tracks 197 Unlimited Undo/Redo 120 Working with tiles on the grid 159 Looping playback 197 Editing during playback 121 Bundle channel formats 159 Playing the current selection 197 Selecting 122 Reassigning bundles 159 Auto-scroll 197 Region editing 160 Scrubbing 123 198 View menu Audio Tracks 160 Slow and fast forwarding 123 Overview 199 Zooming 123 Types of audio tracks 161 Recording 201 Graphic editing techniques 123 Audio (disk) tracks 161 Overview 202 Audio editing basics 123 Mono tracks versus stereo tracks 161 Choosing a sequence to record into 203 Sample accurate editing 124 Aux tracks 161 Setting tempo and meter 203 Audible mode 124 Master faders 161 Recording to a click 205 Edit Window 124 Creating an audio track 162 Recording with a Countoff 205 Overview 125 Creating several audio tracks at once 162 Preparing a track for recording 206 Quick Reference 125 Audio track settings 164 Audio monitoring (audio patch thru) 208 Tool palette quick reference 125 Track type 166 Using the wait and count-off features 208 Edit window mini-menu 125 Track name 167 Start recording 209 Edit Window title bar 125 Audio input and output 167 Stop recording 209 Sequences and tracks 126 Enable/disable 167 How audio is recorded on disk 209 Edit window basics 127 Monitoring an audio track input 167 Undo record 209 Opening the Edit window 127 Changing audio track settings on the fly 167 Recording stereo audio 209 Switching sequences 127 Making audio assignments for multiple tracks 168 Recording several audio tracks in one pass 209 Sequence management 127 Managing your computer’s system resources 168 Manual punch-in/punch-out on the fly 210 Track management 127 Record-enable 168 Automatic punch-in/punch-out 211 Snap, Cursor, Selection, and Event Information 128 Play-enable button 169 Punch Guard 211 The Time Ruler 128 Takes 169 Overdub recording 212 The Marker Strip 129 The Edit Layer 170 Recording multiple takes 213 Zoom buttons 129 Lock 170 Cycle-recording 213 Zooming techniques 130 Track color 171 Recording in External Sync 213 Audio track settings 132 Automation settings 171 Sample Format 213 Resizing tracks vertically 133 Solo exemption 172 Getting an error message 214 Audio editing basics 133 Track comment 173 Click and Countoff 215 Inserting soundbites 133 Track settings menu 173 Overview 217 Moving soundbites 133 Waveform vertical zoom 173 Click 218 Muting and unmuting soundbites 133 Resize handle 173 Click Preferences 218 Overlapping and layering soundbites 134 Insert menu 175 Countoff 219 Trimming (edge editing) soundbites 134 Level meter 176 Countoff preferences 221 Graphic time stretching of audio 135 Aux Tracks and Master Fader 221 Applying fades and crossfades 177 Audio Monitor 221 Takes Tracks 177 Overview 135 Overview 221 Graphic editing techniques 177 Audio Monitor quick reference 222 Selection techniques 135 Aux tracks 178 Mini-menu quick reference 136 Master Fader tracks 224 Show times 178 Buses in the Audio Monitor 224 Sync points 137 Control Panel 178 Naming a takefile before recording 225 Working with breakpoint mix automation 137 Overview 179 Changing the takefile location before recording 228 Working with loops 138 Control Panel Quick Reference 180 Adjusting the level meter range 228 Working with event flags 139 Control Panel preferences 181 Setting the input level 229 Scrolling during playback 139 Transport Controls 181 Other ways to monitor input levels 229 Scrubbing in the Edit Window 141 Counter 183 Looping 231 Tools 146 Memory buttons 183 Overview 150 Auto-Record button 231 Overview 183 Basics 231 Rotating the Tool palette 151 Overdub record mode 184 Creating a loop 151 Countoff button 231 Palette docking 152 Wait button 187 Movie Window 231 Closing the Tool palette 152 Slave to External Sync button 187 overview 231 Keyboard shortcuts for tools 152 Status Strip 187 Random access digital picture 231 The Pointer Tool 153 Setting the tempo and meter 187 Supported video formats 232 The I-Beam Tool

VI CONTENTS

232 The Pencil Tool 264 Set/clear sync points 311 Mixing in real time 232 The Zoom Tool 264 Duplicate Soundbite 311 Editing your mix graphically 233 The Scrub Tool 264 Reload Soundbite 311 Monitoring 233 Insert Loop Tool 267 Replace Soundbite 311 Audio mixing features 235 Information Windows 267 Reveal in Finder/Show in Explorer 313 Working with effects plug-ins 235 Snap Information 267 Edit in Waveform Editor 315 Narrow view in the Mixing Board 237 Cursor Information 267 Take automation snapshot 316 Working with multiple mixes 237 Event Information 268 Insert mute automation 319 Mix Automation 238 Selection Information 268 Clear mute automation 319 Overview 239 Track Selector 269 Fades and Crossfades 319 Automated mixing basics 240 Sound File Information 269 Overview 320 Mix automation setup 242 Information Bar 269 What is a crossfade? 320 Global automation enable/disable 245 Selecting 270 Creating a single fade or crossfade 320 Automation setup for each track 245 Overview 272 Types of crossfades 322 Automation settings in other windows 245 Selection basics 273 Fade curves 322 Reasons to disable automation 246 Data selection 274 How fades are generated 323 Automation modes 246 Time range selection 274 Fades are anchored to their splice 327 Recording automation 274 Applying multiple fades in one operation 327 Inserting and editing automation 249 275 Reapplying the last fade settings 330 Insert mute automation and clear Mute Automation 249 Overview 275 Deleting fades 330 Tempo locked, beat-based automation 249 Undo/Redo 275 Editing existing fades 331 Snapshot automation 249 Undo Previous Action / Redo Next Action 276 Fades that cannot be fully computed 336 Automation preferences 250 Undo History 276 Trimming soundbites that have a fade or crossfade 337 Removing and restoring plug-ins 251 Cut 276 Clipping when crossfades are calculated 337 Automation and system resources 251 Copy 251 Copy to Clipping window 277 Clippings 251 Paste 277 Overview Part 8: Processing 252 Paste Multiple 277 Clipping window Quick Reference 252 Paste Repeat 277 Clipping windows 341 Effects Window 252 Paste Repeat Multiple 279 Clippings 341 Overview 253 Other Paste commands 341 Effects Window Quick Reference 253 Erase Part 6: Arranging 342 Opening and Closing the Effects window 253 Repeat 343 Bypassing an effect 254 Merge 283 Markers 343 Saving, loading, and editing presets 254 Merge Multiple 283 Overview 345 Editing Effects 254 Merge Repeat 283 Markers window Quick Reference 347 Audio Effects Processing 254 Merge Repeat Multiple 284 Markers window mini-menu 347 Overview 254 Merge Repeat Together 284 Basics 347 Native plug-in processing 254 Merge Together 284 Opening a Markers Window 348 Real-time versus rendered effects 254 Other Merge commands 284 Switching between sequences 348 File-based plug-in processing 255 Snip 284 Creating new markers 349 Working with MAS plug-ins 255 Splice 285 Changing the name of a marker 350 Working with VST and Audio Unit plug-ins 255 Splice Multiple 285 Changing a marker time location 351 Organizing plug-ins 255 Other Splice commands 285 Setting the counter to a marker location 351 Using effect presets 255 Shift 285 Jumping to a marker with a shortcut 351 Busing, master faders & aux tracks 256 Heal Separation 285 Selecting markers 351 Monitoring system performance 257 Split 286 Using markers to define an edit region 351 Copying and pasting effect settings 257 Split at Counter 286 Selecting with markers 351 Plug-ins from other companies 257 Trim 286 Markers in the Edit window 352 Plug-in automation 257 Trim End / Trim Start 286 Locking and unlocking markers 352 Taking an automation snapshot of plug-in parame- 258 Pitch shift 286 Shifting locked markers in time ters 258 Change automation Data 286 Locked markers and the sequence start time 352 Attaching a MIDI controller to plug-in parameters 259 Insert Loop 287 Marker hints 352 Tempo-locked effects 259 Clear Loops 289 352 Side chain inputs 259 Audition Selection Sequences 289 Overview 353 Multiple audio outputs 259 Show/Hide Clipboard 289 Sequences window Quick Reference 353 Making a real-time plug-in effect permanent 259 Select All 290 Basics 353 AudioDesk plug-ins 259 Select All Tracks in Range 294 The Sequence Control buttons 355 259 Deselect All Audio File Conversion 355 Overview 261 Audio Menu 355 Performing conversions 261 Overview Part 7: Mixing 355 Converting the sample rate 261 Dither 356 Converting the sample format 299 261 Fade Mixing 356 Converting the file format 299 Overview 261 Delete fades 356 Converting the interleave format 300 Mixing Board Quick Reference 261 Merge soundbites 356 Converting entire audio files 301 Mixing Board mini-menu 262 Strip Silence 356 Soundbite replacement options 302 Mixing Board window basics 263 Apply Plug-in 356 Automatic Conversions 263 Layering 304 Track strips 263 Time stamps 310 Automated mixing

VII CONTENTS

357 PureDSP™ Basics Part 10: Synchronization Part 11: Appendices 357 Overview 357 PureDSP™ audio processing 381 Receive Sync 401 Menus reference 357 Selecting audio for processing 381 Overview 401 Overview 357 Constructive editing 381 Receive Sync basics 402 AudioDesk menu (Mac only) 357 Audio quality is preserved 381 Basic types of sync 403 357 Handling lengthy processing tasks 382 Using Receive Sync 404 Edit menu 359 Soundbite preferences for PureDSP 382 Choosing a SMPTE format 405 View menu 361 Background Processing 382 Choosing a SMPTE start frame 407 Audio menu 361 Overview 382 Sync to port menu 408 Project menu 361 Background processing 383 Sample-accurate sync 409 Studio menu 361 Background Processing window 384 MTC (MIDI Time Code) 410 Setup menu 362 Background processing and Undo/Redo 385 Slaving to external sync 411 Window menu 362 Background processing preferences 385 Slaving to VITC 412 Help menu 385 Synchronization hints 365 Transposing Audio 413 Troubleshooting and Support 365 Overview 387 Transmit Sync 413 Overview 365 The Pitch Shift command 387 Overview 413 Preventing Catastrophe 365 Fine-tuning audio by cents 387 MIDI Time Code 413 General troubleshooting 365 Selecting audio for pitch-shifting 388 MIDI Beat Clocks 414 Audio troubleshooting 365 Two kinds of pitch-shifting 389 Analog SMPTE Time Code (LTC) 415 Technical support 366 Background processing 389 Turn off Transmit Sync when you don’t need it 417 Frequently Asked Questions 366 Tips for successful pitch shifting 391 MIDI Machine Control 417 Overview 391 Overview 417 Setting up Part 9: Mastering 391 Setting up MMC hardware 418 Recording and playback 393 Setting up AudioDesk 419 Editing 369 Bounce To Disk 393 Setting up a MOTU MTP AV or Digital Timepiece 419 Mixing and Finishing 369 Overview 394 Activating MMC in AudioDesk 420 Plug-ins 369 Setting outputs 421 Index 369 Previewing 369 Bounce to Disk settings 372 Bouncing to Disk 372 Bouncing to MP3 375 Mastering 375 Overview 375 Master fader 375 Allocating processing power 376 Real-time bounce to disk 376 Rendering audio 377 Bounce to disk 377 Delivery

VIII CONTENTS

Part 1 Getting Started

CHAPTER 1 Computer Requirements

MINIMUM COMPUTER REQUIREMENTS 64-bit operation Here are the computer system requirements for For native 64-bit operation, AudioDesk has the AudioDesk: following additional requirements:

■ Mac or PC with Intel Core Duo CPU 1.83 GHz ■ Mac and PC: a 64-bit CPU or faster; multiple processors or a multi-core ■ PC: Windows 8, or a 64-bit version of Windows 7 processor is required. Intel Core 2 Duo CPU 2.0 GHz or faster recommended. Macs with Running in 64-bit or 32-bit mode PowerPC CPUs are not supported. You can run AudioDesk in either 64- or 32-bit ☛ The faster the computer, and the more RAM mode on both Mac OS X and Windows. This can installed in it, the more responsive AudioDesk is. be useful when using 32-bit plug-ins that are 32-bit Scrolling during playback is smoother, the counter only. updates regularly, and actions that you take with On Mac OS X, AudioDesk runs in 64-bit mode by the program are faster — especially during default. To switch to 32-bit mode, select playback. AudioDesk in the Finder, Get Info, then enable

■ 2 GB of RAM is required; 4 GB or more is highly Open in 32-bit mode. recommended. On Windows, there are separate 64- and 32-bit ☛ Since plug-ins are loaded into the computer’s builds of the AudioDesk application. Just run the RAM, add as much RAM as possible to your 32-bit executable instead of the 64-bit executable. computer. ☛ Running in 32-bit mode AudioDesk is 64-bit compatible. When When AudioDesk is operating as a 32-bit running in 64-bit mode, it can take advantage of all application, the Audio Performance window of the RAM installed in your computer. displays a memory meter, which displays how much of the 4GB memory address space (allowed ■ A display with at least 1024 x 768 resolution by Mac OS X for 32-bit applications) is being used (1280 x 1024 resolution or higher is by AudioDesk. If the meter reaches 100%, recommended). AudioDesk has run out of memory and you will ■ Mac OS X (version 10.6.8, 10.7.x, 10.8.x, 10.9 or likely experience performance issues. If the meter 10.10), Windows 8 or Windows 7. approaches 100%, try removing plug-ins from the project. ■ Large hard disk, preferably at least 100 GB. The disk on which tracks are recorded must be a fast Retina display support drive. If you are running AudioDesk on a Mac with a Retina™ display, which offers exceptionally high image resolution, AudioDesk supports the full resolution of your display.

11

GETTING STARTED Follow the directions in the next few chapters of this guide to successfully begin using AudioDesk.

FAMILIARITY WITH YOUR COMPUTER This manual assumes that your are familiar with using your computer. If not, please review your computer’s user guide before proceeding.

VISIT MOTU.COM FOR SOFTWARE UPDATES Software updates are periodically posted on our web site, so check our web site for the latest updates at www.motu.com. You can also check for updates directly using the commands in AudioDesk’s Help menu.

TECHNICAL SUPPORT If you have questions, please review this manual carefully first. You can reach MOTU tech support as follows:

■ 24-hour online tech support database with search engine: www.motu.com/support

■ Online: www.motu.com/support

■ Phone: +1 (617) 576-3066 (9 a.m. – 6 p.m. Eastern)

■ Downloads: www.motu.com/download

12 COMPUTER REQUIREMENTS

CHAPTER 2 Installing AudioDesk

IMPORTANT! REGISTER YOUR SOFTWARE The plug-in examination process MOTU can only provide customer service and The plug-in examination process may take a few technical support to registered users. Therefore, it minutes, depending on the nature and quantity of is very important for you to register your software the plug-ins installed in your system. Each plug-in immediately after purchase. To do so, follow the is examined only once, the first time it is loaded by directions below that apply to you: AudioDesk. On subsequent launches of AudioDesk, plug-ins that have already been Method of purchase How to register: examined will not be examined again. If a problem If you purchased Register online at: AudioDesk www.motu.com/registration is detected with a particular plug-in, it will not be loaded for use in AudioDesk to prevent crashing If you purchased an upgrade You are already registered and from an earlier version of no further action is necessary. and other serious problems. For more details about AudioDesk (or Performer) using VSTs and AUs, see “Working with VST and If you purchased a Follow the directions included Audio Unit plug-ins” on page 350. AudioDesk Competitive with your Competitive Upgrade Upgrade for registering your Competitive Upgrade. THE AUDIODESK WELCOME WINDOW After AudioDesk launches, you’ll see the welcome RUNNING THE AUDIODESK INSTALLER window, which provides a variety of convenient 1 Double-click the AudioDesk installer package resources. The left-hand column provides a menu or setup (.exe) file. of file templates to choose from, for quickly creating new projects; this menu can also display 2 Follow the directions the installer gives you. your own custom file templates. Below the template menu, you’ll see a list of recently opened projects OPENING AUDIODESK for quick access. After a successful installation, you are ready to launch AudioDesk for the first time. The central part of the window displays links to numerous informational and training resources, When you first run the AudioDesk application, you demo and tutorial files, and other extras. The right- will be required to authenticate and activate your hand column displays late-breaking news and copy of the application. Follow the on-screen information directly from the MOTU web site, instructions. with additional links to MOTU’s social media channels. EXAMINING VST AND AU PLUG-INS AudioDesk supports third-party VST plug-ins (on If you prefer not to see the welcome window, you Windows and Mac) and third-party Audio Unit can disable it in the AudioDesk Preferences in the (AU) plug-ins (on Mac). When you first run AudioDesk menu (Mac) or Edit menu (Windows) AudioDesk, it examines third-party plug-ins under the Document>Startup Options. currently installed in your system, checking them for problems.

13 ENABLING AUDIO I/O To enable AudioD esk’s audio recording and playback abilities, choose Setup menu> Audio System> MOTU Audio System. For further details, see chapter 3, “Configuring Audio Devices” (page 15).

UPDATING AUDIODESK AudioDesk can automatically check for updates; see “Checking for updates” on page 111.

AUDIODESK PDF DOCUMENTATION The AudioDesk User Guide PDF and other resources are available directly from AudioDesk’s Help menu. Table of Contents entries, index entries, and cross references are live links that will jump to their destinations. In some cases, you may need to click directly on the page number (rather than the heading).

14 INSTALLING AUDIODESK CHAPTER 3 Configuring Audio Devices

OVERVIEW PREPARING YOUR COMPUTER This chapter helps you get the most out of Here are several things you need to do before using AudioDesk’s audio recording and playback AudioDesk’s native audio recording and playback features. This chapter explains what MAS is, how to features. configure it for your audio hardware, and how to obtain the best performance possible from your Hard drives computer. The performance tips in this chapter can Hard disk recording makes severe demands on have a dramatic effect on how well AudioDesk your computer’s hard drive. The more tuned-up operates, so be sure to review this chapter carefully. your hard drive, the better performance you will get. For conventional drives, 7200 rpm or faster What is the MOTU Audio System? ...... 15 performance is recommended, though it is Preparing your computer...... 15 possible with smaller projects to use a slower drive Test your audio hardware first ...... 15 (such as those found inside some laptops). Solid Supported audio hardware...... 16 state drives, while more expensive, offer an Configuring the hardware driver ...... 16 excellent high-performance alternative to Controlling monitoring latency...... 20 conventional drives. Generally speaking, however, Slaving to external sync...... 20 AudioDesk has no special requirements for hard Optimizing performance ...... 20 disks. Better drive performance means better Configure Studio Settings ...... 20 overall performance from AudioDesk. Fine-tuning audio I/O timing ...... 21 More ways to enhance performance...... 22 Free up as much RAM as possible Monitoring system performance ...... 22 Hard disk recording uses a lot of RAM. In addition, the number of audio tracks you can record and play WHAT IS THE MOTU AUDIO SYSTEM? simultaneously is directly related to the amount of MAS is the hard disk recording engine that drives memory available in your computer. More AudioDesk’s digital audio recording capabilities. available RAM gives you more audio tracks, up to MAS provides a complete audio recording the limits of your hard drive, and smoother environment, including many features previously performance overall. only available on expensive hardware-based systems. Advanced features include an adjustable TEST YOUR AUDIO HARDWARE FIRST number of internal busses, aux tracks, master We recommend that you install and test your audio faders and sends. MAS also provides a plug-in hardware before installing AudioDesk. If possible, architecture for real-time audio effects, such as try using any software that comes with the audio reverb, compression and EQ. Real time effects are hardware — recording and playing audio, if covered in detail in chapter 41, “Audio Effects possible — to verify that the hardware is properly Processing” (page 347). installed and functioning normally. If you experience problems, this will help focus your troubleshooting and eliminate AudioDesk as a possible cause. After you’ve gotten the audio

15 hardware working properly with its own software, your computer’s PCI slots. If you haven’t already you will most likely not have problems with installed the driver for your audio hardware, do so AudioDesk. Contact technical support (or our web now, before proceeding below. site) for late-breaking information about compatibility with other systems. See “Technical To establish the link between AudioDesk and your support” on page 415. audio hardware, you need to activate its driver in AudioDesk. To do so, go to the Setup menu and SUPPORTED AUDIO HARDWARE choose Configure Audio System>Configure AudioDesk supports the built-in audio hardware in Hardware Driver. The Configure Hardware Driver your computer and any Mac or Windows window appears as shown in Figure 3-1: compatible audio hardware that ships with standard ASIO drivers, Mac OS Core Audio drivers, or Windows Audio (WASAPI) drivers. After the device’s driver has been successfully installed (as described in its installation instruc- tions), and it has been chosen for use in AudioDesk (Setup menu> Configure Audio System>Configure Hardware Driver), it will appear as a choice for audio input and output inside AudioDesk, as explained in the next section.

All MOTU audio hardware, including PCI systems, FireWire interfaces, and USB interfaces, ship with Core Audio and ASIO drivers that allow them to operate successfully with virtually all Mac and Windows audio software.

Track count and system performance Regardless of whether you are using the computer’s built-in audio or other audio hardware, the number of audio tracks you can record and play simultaneously depends on your computer system. A faster computer with more RAM and a fast hard drive gives you more tracks. A slower computer with less RAM and a slow hard drive gives you fewer tracks.

CONFIGURING THE HARDWARE DRIVER Figure 3-1: The Configure Hardware Driver window for Mac and A hardware driver is software component of your Windows. On the Mac, you can select multiple drivers to operate computer system that allows AudioDesk to several audio devices simultaneously by command-clicking them. In this example, a MOTU 1248 interface is being used with the communicate with a piece of audio hardware, such computer’s built-in audio. as the audio circuitry inside your computer, a FireWire audio interface, a USB or USB 2.0 audio interface, or an audio PCI card installed in one of

16 CONFIGURING AUDIO DEVICES Enabling the hardware driver If you are operating multiple audio devices (you All Core Audio and/or ASIO drivers currently have two or more devices selected in the list), installed in your computer appear as shown in choose the device that you wish to use as the master Figure 3-1. clock. For further details about this important setting, see “Enabling multiple drivers (Mac only)” Enabling the hardware driver under Windows on page 19. For Windows, choose the ASIO or Windows Audio driver from the menu. Under Windows, only one Sample Rate driver can be active at a time. For ASIO, choose the Choose the desired sample rate for recording and desired ASIO driver (device) from the menu playback. 44.1 kHz is the standard rate for audio provided. For the best audio quality, highest compact discs. If you intend to play audio files that channel counts, and lowest latency, use audio have already been recorded, make sure you match hardware that provides an ASIO driver. their sample rate. If you aren’t sure what their sample rate is, import them into a AudioDesk file The Windows Audio driver option is primarily and look at them in the Soundbites window. intended for situations in which you do not have an ASIO driver installed, or you do not currently have If you are operating multiple devices, this setting access to ASIO-supported audio hardware. applies to all of them. Window Audio is stereo only, but it can sample rate convert on both input and output. If sample rate The choices in the sample rate menu are conversion is engaged, the sample rate setting in determined by the currently chosen audio AudioDesk’s control panel turns red. In addition, hardware, according to the sample rates it AudioDesk uses the default audio device chosen in supports. Sometimes, you may see non-standard the Windows Sound control panel. For best audio sample rates in the menu (44,052 kHz for quality and lowest latency, go to the Advanced example). Consult the manual for your audio of the properties dialog for the default audio device hardware for further details about non-standard and set the sample rate so that it matches the same sample rates. rate as the AudioDesk project. Clock source/modes Enabling the hardware driver under Mac OS For Windows, choose the desired clock source for For Mac OS X, click a driver to enable it. your audio hardware. For Mac OS X, this setting Command-click to enable multiple drivers at one determines the clock source for each audio device. time. This allows you to use multiple audio devices Choose each device from the menu on the left and simultaneously, but there are additional setup choose its clock source from the menu on the right. requirements for reliable operation. See “Enabling multiple drivers (Mac only)” on page 19. Note that The choices in the clock source menu depend on some Macs have separate drivers for their built-in the audio hardware, and the items in the menu are input and built-in output, so to use both simulta- supplied by its driver. Most devices have an neously you must select both as described above. Internal setting, which means the audio device will run off its own clock. This means that audio Master Device (Mac only) playback and recording in AudioDesk will operate If only one driver is enabled (highlighted) in the at the rate set by the hardware, and AudioDesk will list, this menu can be ignored. use the hardware as its master time base.

17 CONFIGURING AUDIO DEVICES If, however, you make AudioDesk slave to external Windows sync while the audio hardware is running on its On Windows, the buffer size can be set by checking internal clock, the audio hardware — and therefore the Override internal buffer size check box and audio playback and recording in general — will not choosing the desired buffer from the menu. If this be resolved to external time code. The result is that option is grayed out, it means that your audio your audio tracks won’t stay in sync with the hardware’s ASIO driver doesn’t allow host external time code. Your best bet in this scenario is applications to change its buffer size setting. In this to slave your audio hardware to the same source case, click the Configure Driver button (Figure 3-1 that is feeding time code to AudioDesk. You can use on page 16) to launch the hardware’s console a synchronizer to resolve to time code and supply software to change the setting there. your audio hardware with resolved digital audio clock via word clock or another digital audio sync The importance of buffer size format. See chapter 84, “Audio Sync” (page 929) A buffer is a small part of computer memory that for complete details. briefly holds digital audio samples as they are passed between the computer and your audio If your audio hardware has digital inputs (such as a hardware. Choosing a smaller buffer size reduces S/PDIF connector), the clock source menu will latency, which is the delay you may hear when probably also provide settings that let you clock off listening to live audio input that you are the digital input source. In general, the audio monitoring through AudioDesk. But lower settings hardware either needs to slave off the external also increase the processing load on your Mac, digital source or vice versa. Or both the audio which impacts the number of real-time effects hardware and the external source need to be plug-ins you can run at one time. resolved via a third device, such as a digital audio synchronizer. If the two devices are not resolved If you won’t be running live inputs through with one another, you’ll hear clicks, pops, AudioDesk, you can choose a higher buffer size to distortion, or other similar artifacts in your digital free up CPU processing bandwidth for plug-ins or transfers. other processor-intensive components of your virtual studio. A typical setting for this scenario is Configure Driver (Windows ASIO only) 512 or 1024 samples. Click the Configure driver button to launch your hardware’s console software for further hardware If you are running live input through AudioDesk, settings, including the very important buffer size choose the lowest setting that your computer can setting (explained below). Some ASIO drivers handle, keeping in mind that you still need to give require that you make this setting in the hardware’s your computer enough processing power to handle own console software, which you can access from the plug-ins you are using with AudioDesk. this button. Settings of 256 or lower produce reasonable monitoring latency: a setting of 256 samples Buffer Size produces round-trip monitoring latency of around Mac OS 12-13 milliseconds (ms), and the delay starts to On Mac OS X, the buffer size is set in the Configure become inaudible. For the lowest possible latency, Hardware Driver window (Figure 3-1 on page 16). you can go as low as 16 or 32 samples, if your audio hardware supports these buffer sizes. If, however, you hear clicks and pops in your audio, or you see

18 CONFIGURING AUDIO DEVICES spikes in the processor meter in the Audio systems from drifting apart from one another Performance window (Studio menu), try raising during playback and recording, you need to resolve the buffer size again. their audio clocks.

Monitoring latency has no effect on recording: it There are two basic methods for resolving two only exists for a live signal as it is being monitored. digital audio devices: slave one device to the other, It has no effect whatsoever on the timing accuracy or slave both devices to a third master clock. If you of the material being recorded to disk. AudioDesk have three or more digital audio devices, you need is precisely calibrated to record and play back hard to slave them all to a single master audio clock, disk audio perfectly on time. such as a word clock distribution device or universal synchronizer. If adjusting the Buffer Size setting just doesn’t allow you to strike the right balance between processor load and acceptable monitoring latency, you can Master Master also try external hardware monitoring, as explained in “Audio monitoring (audio patch thru)” on page 164. Slave Slave Slave Work priority (Mac only) The Work Priority option (Figure 3-1 on page 16) Figure 3-2: To resolve two or more digital audio devices with each other, you need to choose a clock master. lets you set the Mac OS X thread priority for the MOTU Audio System engine. Choose the highest To continue with our earlier example, you could setting your audio hardware allows. Some audio slave the UltraLite AVB interface to the 1248 using devices, such as the Yamaha 01X mixer, require the optical, as demonstrated below: Low setting. If you are experiencing audio performance problems with other third-party Master 1248 Clock source: Internal audio hardware, try the Medium setting. If Optical out problems persist, try the Low setting. When using the Medium and Low settings, you may need to Optical in increase the buffer size for best results. For all Slave UltraLite AVB MOTU audio interfaces, leave this option set to Clock source: Optical High. Figure 3-3: To resolve two or more digital audio devices with each other, you need to choose a clock master. Enabling multiple drivers (Mac only) Specifying the master device As demonstrated in Figure 3-1 on page 16, you can Specify the device that will be the master device by Command-click multiple drivers in the Configure choosing it from the Master Device menu Hardware Driver window. This allows you to use (Figure 3-1 on page 16). two or more audio devices simultaneously, such as a MOTU 1248 Thunderbolt audio interface and a Specifying clock sources MOTU UltraLite AVB USB interface. All devices Use the clock source menus (Figure 3-1 on operate at the chosen sample rate in the Configure page 16) to specify the clock source for each device. Hardware Driver window. To prevent two or more Typically, the master device will be set to Internal — or a similarly named clock mode that implies that it will be operating under its own clock —

19 CONFIGURING AUDIO DEVICES unless you are slaving your entire system to an CONFIGURE STUDIO SETTINGS external clock source of some kind, such as The Configure Studio Settings dialog can be opened synchronizer that is resolving to video, blackburst, by choosing Setup menu> Configure Audio System etc. > Configure Studio Settings.

The clock source setting for all other devices should reflect how they are being slaved to the master device. In our example shown in Figure 3-3, the clock source setting for the UltraLite AVB is Optical, since it is slaved to the 1248 via an optical connection.

Using the Mac’s built-in audio with external audio hardware Figure 3-4: The Configure Studio Settings dialog. The Mac’s built-in audio hardware has no way of sending or receiving a digital audio clock, so it The Configure Studio Settings dialog lets you fine- cannot be resolved with external audio hardware. tune AudioDesk’s audio engine. These settings are Therefore, caution is advised when running built- governed by many factors, including the amount of in audio with external audio, as you are likely to RAM in your computer, the computer’s overall experience drift between the built-in audio and speed and the performance of your hard drive. external audio — and possibly artifacts in the These options are best left at their default settings, audio. but they can be adjusted as described in the following sections. CONTROLLING MONITORING LATENCY There are several computer performance issues Free up as much RAM as possible Before you attempt to adjust your studio configu- that you should know about regarding Audio Patch ration, you should try to free up as much RAM in Thru when running AudioDesk (regardless of your computer as possible. Here are several things whether you are using the computer’s built-in you can do: audio, a MOTU audio interface, or any other audio I/O). For details, see “Buffer Size” on page 18 and ■ Quit all other programs when running “Audio monitoring (audio patch thru)” on AudioDesk. page 164. ■ Buy more RAM SLAVING TO EXTERNAL SYNC In addition, if you plan to slave AudioDesk to Stereo buses external sync (SMPTE time code), be sure to read This setting determines the number of internal chapter 84, “Audio Sync” (page 929) for important audio buses provided by AudioDesk and seen in information. the audio I/O menus throughout the application. This value is fairly arbitrary and does not in itself OPTIMIZING PERFORMANCE affect system performance that much. The number You can further refine the audio performance of of buses you actually use, however, may have an your system with the items in the Configure Audio impact your system resources. System sub-menu (Setup menu). The following sections discuss these features.

20 CONFIGURING AUDIO DEVICES Prime Milliseconds audio to the plug-in early by that same amount, so The Prime Milliseconds setting determines how far that the plug-in has just enough time to process the in advance AudioDesk processes and cues audio audio and play it perfectly on time, with sample- for playback, including any pre-rendering of effects accurate precision. processing output, if any. For example, if Prime Milliseconds is set to 125, when playback is Automatic delay compensation only works with underway, AudioDesk will generate audio 125 audio files being played back from a hard disk. milliseconds ahead of the playback wiper location. Delay compensation cannot be applied to live audio being patched through from an external live If AudioDesk’s playback meter (Figure 3-6 on source (because it cannot be cued early by the page 22) is maxing out, increasing the Prime audio engine). Milliseconds value may help. The downside of doing so is that you may experience more latency AudioDesk automatically determines the delay (delay) when interacting with effects (turning compensation for each plug-in, if any. There is no knobs, interacting with the plug-in window, etc.) additional preparation necessary. In addition, AudioDesk supports delay compensation for any Automatic plug-in latency (delay) MAS, VST, or Audio Unit plug-in. compensation Some plug-ins introduce a small amount of delay Most of the time, you will probably want to leave (latency) to the track on which they are the Automatic Plug-in Latency Compensation instantiated. Here are a few examples of plug-ins option enabled. The only time you would likely that introduce latency: need to disable it is if you are working with a project created in an earlier version of AudioDesk ■ Universal Audio UAD plug-ins in which you set up latency compensation ■ Any plug-in that employs look-ahead manually with delay plug-ins, etc. To make your old file play back exactly like it did in earlier The amount of the delay depends on the plug-in, versions of AudioDesk without making any and the delay is usually unavoidable, due to the changes to it, uncheck this option. If you wish, you nature of the plug-in itself. For example, a look- could then remove your manual latency ahead peak limiter must delay the signal by the compensation and then re-enable automatic amount of the look-ahead in order to do its job compensation. (usually several milliseconds). Hardware accelerated plug-ins, such as UAD-1 plug-ins, FINE-TUNING AUDIO I/O TIMING require an extra loop in their signal path between All audio hardware adds slight timing offsets to the host computer and the acceleration hardware, audio that it records and plays back. AudioDesk and this loop introduces a small amount of delay calibrates itself to compensate for these offsets. (usually on the order of several hundred samples or so). There may be some cases, however, where AudioDesk’s automatic calibration won’t quite be AudioDesk provides automatic compensation for enough. AudioDesk lets you fine-tune the offset for plug-in latency when disk audio is being played the audio for both playback and recording. To do through the plug-in. In essence, AudioDesk knows so, choose Configure Audio System>Fine-tune the exact amount of delay introduced by the plug- in (down to the sample) and simply feeds the disk

21 CONFIGURING AUDIO DEVICES Audio I/O Timing from the Setup menu. Type in an Choosing a lower sample rate offset in samples in the Playback offset option as You can greatly improve audio performance — as shown in Figure 3-5. well as increase the number of simultaneous audio tracks — by using lower sample rates (44.1 kHz instead of 96 kHz for example).

MONITORING SYSTEM PERFORMANCE The Audio Performance window below in Figure 3-6 can be opened from the Studio menu. This window displays a meter for the processor resources of your computer, as well as the playback and recording buffers in MAS.

Figure 3-5: Fine-tuning the timing of audio playback and recording.

MORE WAYS TO ENHANCE PERFORMANCE Here are a few additional ways in which you can improve audio performance:

Get a multi-processor/multi-core computer AudioDesk takes full advantage of multi-processor Figure 3-6: The Audio Performance window shows you how much of your computer system resources are being used. If the meters reach and multi-core processor computers. This is best near the top, you should consider reducing the number of audio way to get the most out of your AudioDesk tracks you are asking it to play. experience. For example, a dual-processor or dual- Processing core machine would effectively double the The Processing meter shows how much of the performance of AudioDesk on its single-CPU or computer’s CPU bandwidth is currently being used single-core counterpart. by AudioDesk. If the meter approaches 100% or Bouncing to play more tracks “spikes”, try increasing the buffer size (Figure 3-1 Another way to play more audio tracks is by using on page 16). Also try the many techniques AudioDesk’s Bounce to Disk feature, which takes discussed earlier in this chapter. any number of selected audio tracks and bounces Playback them down to a single track. For more The Playback meter shows activity in the MOTU information, see chapter 46, “Bounce To Disk” Audio System engine’s playback buffers. If this (page 369). meter is peaking too high, try increasing the Prime Spreading audio files over several disks Milliseconds setting (Figure 3-4 on page 20), Another way to improve audio performance is to which gives AudioDesk more time to process the spread your audio files over several hard disks. This audio. makes it easier on each drive, making your system Memory (32-bit operation only) more responsive and possibly allowing you to be When AudioDesk is operating as a 32-bit able to play more tracks. application, the Audio Performance window displays a memory meter, which displays how

22 CONFIGURING AUDIO DEVICES much of the 4GB memory address space (allowed by Mac OS X for 32-bit applications) is being used by AudioDesk. If the meter reaches 100%, AudioDesk has run out of memory and you will likely experience performance issues. If the meter approaches 100%, try removing plug-ins from the project.

23 CONFIGURING AUDIO DEVICES 24 CONFIGURING AUDIO DEVICES CHAPTER 4 Hard Disk Recording Concepts

OVERVIEW You may also use non-interleaved, or split stereo, This chapter briefly covers several important audio files. If so, recorded stereo audio data is concepts about hard disk-based digital audio stored as separate mono files with the same name recording. You may not feel that you have the time and .L and .R before the file extensions, such as to review the “basics”, but the more you know, the “Guitar-1.L.wav” and “Guitar-1.R.wav.” The more you will be able to accomplish. After you read corresponding soundbites in the track remain this chapter (it will only take a few minutes): perfectly sample-locked, no matter what you do.

■ You will get a better sense of the vast creative Every time you press the record button, record possibilities open to you with this technology. some music, and then stop, AudioDesk automatically creates a new audio file when you ■ You will work more efficiently. start recording, records the audio data into the ■ You will be less likely to make costly mistakes. audio file as you play, and then closes the audio file when you press stop. AudioDesk immediately If you are using an audio interface from another readies another audio file for the next take while company, be sure to consult the owner’s manual, as inserting the last one into the audio track at the the use of third-party hardware can impact appropriate time and adding it to the list in the AudioDesk in many important ways. Soundbites window. How audio is recorded on disk...... 25 How hard disk recording differs from tape...... 25 HOW HARD DISK RECORDING DIFFERS FROM TAPE How much disk space does audio require? ...... 27 Consider for a moment how audio is recorded on a Hard disk requirements and maintenance...... 28 tape deck: it is essentially a linear process. The Digital audio terms ...... 28 audio signal gets recorded in a straight line (on the HOW AUDIO IS RECORDED ON DISK tape) from beginning to end. To play back, the tape AudioDesk and other computer-based digital passes over the head of the tape deck. If you want to audio recording systems record audio data in much start playback at a certain location in the music, the same way. Audio data gets recorded onto the you have to fast-forward or rewind the tape to that hard disk in the form of an audio file: you press location. This is true for traditional analog tape record in AudioDesk, play in some music, and the decks as well as digital tape machines. audio signal is encoded digitally in the audio file.

AudioDesk automatically creates a separate audio Tape Audio recorded on tape file for each record take. By default, AudioDesk uses interleaved audio, which stores all channels for each track in a single file. If you record onto a mono Figure 4-1: On a traditional tape deck, audio is recorded linearly on audio track, a stereo audio track, and a 5.1 audio the tape from beginning to end. track, AudioDesk will create three audio files.

25 Consider, on the other hand, how a computer hard actually modifying the original data. If you disk works: it consists of a round, magnetic platter rearrange the order of a few sections in a digital that spins very fast and stores data. Suspended audio track, AudioDesk simply rearranges above this spinning platter is an extremely fast references to those sections of data without read/write mechanism, which reads and writes affecting the original audio data itself. This data to the platter. The read/write “head” moves process, called non-destructive editing, is possible incredibly fast (faster than the eye can see), because AudioDesk stores the edit points providing virtually instantaneous access to any separately from the audio data. You can always location on the hard disk. revert to the original audio data if you want, up until the time that you decide to permanently erase Hard Sectors on the it from the hard disk. disk hard disk platter Instantaneous editing Non-destructive editing is a virtually instantaneous process because the edit points you create during editing are very small (only a few bytes) and can therefore be handled quickly by the computer. As a result, your edits in AudioDesk take effect immediately as you do them. Digitally encoded audio data Non-linear editing and playback Figure 4-2: With a hard disk recording system, audio is converted into As you can see in Figure 4-3, non-destructive digital form (numbers) and stored on the hard disk platter, much like editing makes it quick and easy to re-arrange the a CD player. The hard disk read/write mechanism moves so fast, it has virtually instantaneous access to any location on the hard disk. order of any portion of the originally recorded audio. You can revert to the original take at any Random access time. This instantaneous access, often called random access, allows you to cue immediately to any Repetition without duplication location in your music, without having to wait for Random access also allows you to repeat the same the hard disk mechanism to locate it. Hard disk section of music as many times as you like within recording systems convert an audio signal into your piece of music without duplicating the actual digital data (basically transforming the audio audio data itself. For example, you could have a signal into a continuous stream of numbers), and one-measure drum loop that repeats for 60 then write the digital data sequentially to the hard measures, but it only consists of one measure’s disk. Because of the extremely high speed of the worth of audio—approximately two seconds. The hard disk read/write mechanism, you have instant loop is simply placed end to end in the track sixty access to any part of the recorded audio. times. (Alternatively, it could be looped with a loop in the track.) You can even play back the same Non-destructive editing region of audio on several tracks at the same time. A With their random access capability, hard disk chorus effect can be created with a vocal passage by recording systems provide other important placing it in four separate tracks and slightly advantages over tape machines. For example, you offsetting the audio in each track. When you do so, can cut, snip, splice, shift, re-arrange, and AudioDesk does not actually create four copies of otherwise edit the original pass of audio without the audio data on your hard disk; instead, the

26 HARD DISK RECORDING CONCEPTS computer references the same passage of audio on The table below shows disk space (in Megabytes) the hard disk four times simultaneously. As a result, for one minute of digital audio at various sample you are actually conserving hard disk space when rates and bit depths: using a single region of audio in multiple places. Bits Ch 44.1 kHz 48 kHz 88.2 kHz 96 kHz 176.4 kHz 192 kHz HOW MUCH DISK SPACE DOES AUDIO 16 1 5.3 5.7 10.5 11.5 21 23 REQUIRE? 24 1 7.9 8.6 15.9 17.3 31.7 34.6

The freedom you enjoy as a result of the benefits 32 1 10.5 11.5 21 23 42.3 46 described above comes at a price: hard disk space. 16 2 10.6 11.5 21.2 23 42.3 46 One mono minute of CD-quality (16-bit, 44.1 kHz) audio takes up about 5 megabytes (MB) 24 2 15.9 17.2 31.7 34.5 63.5 69 of space on your hard disk. A stereo minute takes 32 2 21.1 23 42.3 46 84.7 92 up 10 MB. If you have a MOTU 1248 hard disk recording system, and you have audio playing on Figure 4-4: Hard disk space requirements for one minute of mono and stereo digital audio at various sample rates and bit depths. 24 channels for a five minute tune, that’s 24 channels times 5 minutes, which adds up to 120 Fortunately, AudioDesk’s Audio Monitor always minutes of audio. Multiply that by 5 MB per shows you how much hard disk space you have minute, and your 5 minute song takes up 600 MB available on your hard disk during a session so that of hard disk space! And that doesn’t count you can manage your audio tracks intelligently and alternative takes, overdubs, and other audio that never run out of space at a crucial moment (such as you generate during the course of a recording the middle of a record pass!). session. During a typical session, you can easily fill ☛ upwards of 1 GB (1 gigabyte) of hard disk space in If you anticipate creating audio files larger no time. than 4 GB (about 6.7 hours when recording as 44.1 kHz 16 bit stereo interleaved files), use the Broadcast WAVE file format. For details, see “Wave64” on page 106.

In addition, AudioDesk provides audio management features that let you easily identify unused audio and delete it from the hard disk.

Audio track in AudioDesk with original take: Verse 1 Verse 2 Chorus

Edit points at section boundaries The same track after non-destructive editing: Verse 1 Chorus Verse 2

Figure 4-3: Hard disk recording systems provide non-destructive editing, which gives you instantaneous flexibility, as well as the ability to revert back to the original take at any time. Note that when you do this type of editing in AudioDesk, the audio data stored on hard disk does not move. AudioDesk just rearranges ‘pointers’ to the audio data.

27 HARD DISK RECORDING CONCEPTS HARD DISK REQUIREMENTS AND Audio files come in several different formats. In MAINTENANCE AudioDesk, the default format for recording is AudioDesk itself does not have any special Broadcast WAVE, but you can also record as AIFF requirements with regard to the performance of the (Audio Interchange File Format). hard disks on which you will be recording audio. If you are using AudioDesk without a sound card, the Audio files contain more than just the audio faster your hard drive, the more tracks you will be information. They also contain a list of regions able to play and record simultaneously. (To learn (explained below) in the audio file, as well as any more about getting the most out of your computer’s playlists (also explained below) that have been performance, see “Configure Studio Settings” on created for it using other audio software programs. page 20.)

If you are using an audio interface from another company, it may have certain requirements for Audio data hard disk performance. To avoid problems, be sure

to consult the manual. Regions Playlists

In either case, hard disk maintenance procedures A Broadcast WAVE file such as defragmenting and re-initializing will help improve overall performance. Figure 4-5: An audio file contains the original audio recorded into it, DIGITAL AUDIO TERMS as well as any regions (soundbites) and playlists created by AudioDesk or other audio editing software you might use to edit the Here are some terms and concepts you should be file. familiar with. Region Project This is the term most commonly used to refer to a A project is a folder that AudioDesk creates on your section of audio in an audio file. It could be a one- hard disk when you start a new recording session. second sound effect, a 16-bar phrase, or the entire It includes a AudioDesk file, along with a folder for length of the audio file. You can define an unlimited the audio files you’ll generate while recording. number of regions in an audio file. Technically speaking, a region consists of pointers, which are Audio file (or Sound file) references to the exact location (digital sample) in An audio file is a document on your computer’s the audio file where the region begins and ends. hard disk that contains digital audio data. Its size is These pointers are very small compared to the determined by the duration of the audio data, by amount of audio data they represent. This is why the sample resolution, and by the number of audio region editing is so fast and efficient: it deals with channels (1 for mono files, 2 for stereo files). A the manipulation of pointers, which consist of a one-minute mono audio file recorded at 44.1 kHz very small amount of data. takes up about 5 megabytes of hard disk space. Stereo files are twice as large as mono files. Soundbite Therefore, a one-minute stereo file is about 10 The word Soundbite is synonymous with the word megabytes. Region as described above. In AudioDesk, we call regions soundbites because the word region means something entirely different in AudioDesk: it is a

28 HARD DISK RECORDING CONCEPTS period of time within one or more tracks over which an editing command will take effect. Therefore, to avoid confusion with the word region, we use the term soundbite to describe an audio region. They are one and the same.

Soundbites can be placed in any audio track at any time location. They can be duplicated as many Figure 4-7: Assigning an audio track to an audio output. times as you like with virtually no additional Audio input/output memory overhead, since they are merely pointers An audio input or output refers to the physical input to audio data on the hard disk. With only two or output jack in the recording system you are exceptions, soundbite editing and management in using. If you are running AudioDesk without an AudioDesk is entirely non-destructive. (The audio interface, you will use the microphone and exceptions are the Compact command and speaker jacks (usually in the form of stereo mini deleting the very last soundbite in an audio file, plugs) located directly on the computer itself. If which cause audio data to be deleted from disk.) you are using an audio interface of some kind, the interface will have digital and/or analog input and output connectors. Regardless of the system you Soundbite.1 Soundbite.2 Soundbite.3 have, AudioDesk allows you to freely assign audio tracks to whatever physical inputs and outputs are provided.

MOTU Audio System The MOTU Audio System is the “audio engine” that provides digital audio recording and playback in AudioDesk. The MOTU Audio System can operate Figure 4-6: Soundbites (regions) exist within an audio file. A sound- with no extra audio hardware installed in the bite is any portion of an audio file. It can even be the entire audio file. Soundbites that you record or import into a AudioDesk file are computer, although it also supports all MOTU cataloged in the Soundbites window. They appear as regions of audio interfaces and a wide variety of third-party audio in the Edit Window. audio hardware. Playlist A playlist is a collection of regions played end-to- The MOTU Audio System also supplies real-time end to produce a continuous presentation of music. effects plug-ins that you can use to process audio Some programs can save playlists within the audio tracks in real time with effects like parametric EQ, file itself, just like regions. Playlists stored in audio reverb, chorusing, etc. It is also an open system, files can be imported into AudioDesk as a single supporting real time plug-ins from other audio track in the Edit Window. companies as well. All plug-ins are processed with extremely high fidelity 32-bit, floating point Audio track calculations. An audio track holds audio regions (soundbites), as well as audio volume and pan data. You can view In general, the overall performance of the MOTU the contents of an audio track in the Edit Window. Audio System (the number of audio tracks you can play simultaneously, along with the maximum amount of effects processing you can employ in

29 HARD DISK RECORDING CONCEPTS real time) depends on the overall speed and performance of your computer. Together with these features, the MOTU Audio System also supports all MOTU Audio interfaces, as well as a wide variety of third-party audio hardware. When you use the MOTU Audio System with one of these systems, you get the best of both worlds: you get to take advantage of the large number of possible audio tracks and real-time effects provided by the MOTU Audio System, along with the high-fidelity analog and digital inputs and outputs supplied by the audio hardware.

For the most part, you don’t need to be concerned with the MOTU Audio System. It runs automatically when you use AudioDesk. The only time you would think about it is if you would like to try to optimize its performance with the Configure Audio System in the Setup menu of AudioDesk. For details, see “Configure Studio Settings” on page 20.

30 HARD DISK RECORDING CONCEPTS CHAPTER 5 Configuring MIDI Devices

OVERVIEW necessary for AudioDesk. When you are finished AudioDesk does not support recording and installing the MIDI device as directed, AudioDesk playback of MIDI data. (If you need to work with should be able to “see” the device’s MIDI input and MIDI, please consider upgrading to Digital output channels (and cables). Performer.) However, there are a few features in AudioDesk that involve MIDI, including Connecting MIDI gear using a MIDI interface AudioDesk’s “Wait button” (page 152), “Click and For MIDI equipment that connects to your Countoff” (page 173) and “ Synchronization” computer using a MIDI interface, you will need: features (page 379). ■ Any Mac or PC compatible MIDI interface

This chapter explains how to connect MIDI ■ MIDI cables hardware devices to your computer and successfully establish MIDI input and output with 1 Install the software and driver for your MIDI a controller keyboard and other devices. interface.

☛ AudioDesk does not support inter- 2 Connect your MIDI interface to your computer application MIDI or virtual instruments. If you and connect your MIDI devices to it as shown in require these features, please consider upgrading to the examples on page 32. Digital Performer. ☛ If your hardware situation requires that you Setting up your MIDI equipment ...... 31 daisy-chain your MIDI devices, be sure to see MIDI software setup for Windows...... 33 “Daisy-chaining MIDI devices” on page 31. MIDI software Setup For Mac OS...... 33 3 Turn on the MIDI interface, if it has a power SETTING UP YOUR MIDI EQUIPMENT switch (some devices are bus-powered). MIDI gear connects to your computer in one of two ways: Daisy-chaining MIDI devices In general, daisy-chain MIDI devices (as shown in ■ Directly (via USB) Figure 5-2 on page 32) should be avoided because it is more complicated to set up than connecting OR each device directly, as shown in the other diagrams on that page. ■ Using a MIDI interface

Connecting MIDI gear directly If you have no choice but to daisy-chain, you need For MIDI equipment that connects directly to your to configure each device such that it doesn’t share computer with USB, Thunderbolt, FireWire or any MIDI channels with other devices in the chain. other standard computer peripheral connection, Otherwise, you’ll hear several instruments play at follow the directions for installation, including the once because data sent to one unit is received by all installation of any software (drivers, etc.) that it may require. No special additional procedures are

31 the devices in the daisy chain that are listening to For example, if you daisy chain a Korg Triton and a that same MIDI channel. To avoid this sort of Roland JV-1080, set the Triton to use channels 1-8 unwanted instrument layering: and the JV-1080 to use channels 9-16.

1 Double-click on the first device in your MIDI 3 Now go to the front panel of each MIDI device configuration (Figure 5-6 on page 34) and instrument itself and program it to respond to only disable some channels as shown in Figure 5-7 on the channels that are enabled in your MIDI device page 34; leave others enabled. configuration. Refer to the documentation for the device for details on this last step. 2 Repeat this for the other devices in the daisy chain so that no two devices have the same channels enabled.

IN OUT USB cable OUT IN micro express USB interface MIDI cables

Figure 5-1: An example of connecting a single MIDI device to a MOTU micro express interface. Connect the device’s MIDI OUT and MIDI IN ports to the interface.

IN OUT THRU USB MIDI Interface IN USB IN cable THRU

IN THRU Figure 5-2: Connecting several devices to a simple 1-IN/1-OUT interface. See “Daisy-chaining MIDI devices” on page 31 for special instructions on setting up your MIDI gear for daisy-chaining in this manner. IN OUT

USB cable Connection B

Connection A OUT IN

Figure 5-3: Connecting several MIDI devices to a multi-port interface such as the MIDI Express XT. (Only one device is shown.)

32 CONFIGURING MIDI DEVICES MIDI SOFTWARE SETUP FOR WINDOWS Once you’ve run Setup.exe for your MIDI hardware to install drivers and any other required software for your MIDI hardware, you should be ready to go. No further preparation is necessary. Your MIDI hardware will appear by name within AudioDesk wherever MIDI hardware assignments are made.

MIDI SOFTWARE SETUP FOR MAC OS Once you’ve installed drivers for your MIDI hardware and connected it to your Mac, you are Figure 5-4: In this example, a MOTU FastLane-USB interface as it ready to configure your MIDI hardware in appears in the MIDI tab of Audio MIDI Setup. AudioDesk for use in all of your AudioDesk Adding devices projects. Audio MIDI Setup is a utility included After your MIDI interface appears in Audio MIDI with Mac OS X that provides a graphical interface Setup, you are ready to add devices in Audio MIDI for configuring the MIDI devices connected to Setup, connect them to the interface, and specify your computer. properties they may have for particular purposes. All of this information is shared with AudioDesk Audio MIDI Setup provides: and other Core MIDI compatible applications.

■ A graphical environment with device icons and To add a device in Audio MIDI Setup: “virtual cables” that you can arrange on-screen in a similar fashion to the physical layout in your studio 1 Click the MIDI Devices tab. space 2 Use the Add New External Device command in ■ A single place to configure your MIDI devices the MIDI Devices menu to add a device. for multiple MIDI applications, if you use other MIDI software besides AudioDesk Audio MIDI Setup serves all Core MIDI compatible applications.

Getting started with Audio MIDI Setup 1 Connect your MIDI interface to your Mac and connect your MIDI devices to it as shown in the examples on page 32.

2 Turn on the MIDI interface, if it has a power switch (some devices are bus-powered). Figure 5-5: Adding an external MIDI device.

3 Launch the Audio MIDI Setup utility. 3 Drag on its input and output arrows to draw connections to the MIDI interface that match its This can be found in /Applications/Utilities. physical connection.

4 Confirm that the MIDI interface is present in the MIDI Devices tab of Audio MIDI Setup.

33 CONFIGURING MIDI DEVICES Figure 5-6: Connecting the device to the interface. 4 Double-click the device to make settings, such as input and output channels, that further describe the device.

Figure 5-7: Device settings. 5 Repeat the above steps for each MIDI device connected to the interface.

6 When you are finished, quit Audio MIDI Setup.

Your configuration is automatically saved as the default configuration. You can use the Configuration menu to create, duplicate or delete alternative configurations.

34 CONFIGURING MIDI DEVICES CHAPTER 6 User Interface Basics

OVERVIEW ■ Enter and edit text The user interface encompasses everything that you do to interact with the program: what you see WINDOWS on the screen and how you use the mouse, An example of a AudioDesk window is shown in keyboard, and peripheral devices. In this chapter Figure 6-2 on page 36. you’ll find information about AudioDesk’s Window controls windows, dialog boxes, mouse and keyboard All of AudioDesk’s standard window controls, such actions, and how to specify and change time as the close button, minimize button, zoom button, locations. and scroll bars, work the same way as standard Learn to use your computer ...... 35 window controls. Windows...... 35 Window title Control Panel ...... 37 The window title shows the name of the window, The Window menu ...... 37 and often the track or sequence that it pertains to. Clicking shortcuts...... 38 Using modifier keys with cursor actions ...... 38 Window target Contextual menus ...... 38 Click this tab to switch the window to a different Standard keyboard shortcuts...... 39 track or sequence. Customizing keyboard shortcuts ...... 40 Changing text box values by dragging ...... 40 Window target Main counter shortcuts ...... 40 Window target Using the numeric keypad...... 42 menu LEARN TO USE YOUR COMPUTER Before using AudioDesk, please review the standard user interface conventions for your computer. Be sure you are familiar with how to:

■ Use the mouse and keyboard

■ Open, copy and delete files

■ Drag and drop items Figure 6-1: Click the window target tab to switch the window to a ■ Choose commands from menus different track, sequence., etc.

■ Select options using push buttons, radio buttons and check boxes

■ Respond to dialog boxes

■ Use keyboard shortcuts

35 Mini-menus Tab bar expand/collapse button (Mac only) Many AudioDesk windows have a mini-menu as On the Mac, you can collapse the Tab bar area of a shown in Figure 6-3. Mini-menus operate the same window (Figure 6-2) to reduce the amount of way as menus at the top of the screen. screen space it uses. Click on the Tab bar expand/ Mini-menus contain commands pertinent to that collapse button once to collapse it, and again to particular window. expand it to its original size.

☛ The tab bar expand/collapse button is not Window target available under Mac OS X 10.8.

Track Selector button The Track Selector button shows and hides the track selector list along the left-hand side of the Window target menu window.

Track Selector list Click the track names in the Track Selector list to Figure 6-3: A AudioDesk mini-menu. show/hide them. Tab bar Double-click the Tab bar (Figure 6-2) to pop the window in or out of AudioDesk’s Consolidated Window.

Window Zoom Title bar Window title Tab bar Window Tab bar button (double-click to pop-in/out Target collapse/ of Consolidated window) Minimize button expand Close button Mini-menu

Track selector list

Scroll tab

Scroll bar

Zoom controls

Grow box Track selector show/hide button Figure 6-2: An AudioDesk window.

36 USER INTERFACE BASICS Zoom controls The Show/Hide Left/Right commands These zoom the current window in and out. Some expand or collapse the left and right sidebars in the windows have only horizontal zoom controls, Consolidated window. whereas others have both horizontal and vertical zoom controls. The Set Focus to Next/Previous Cell commands let you move the cell focus in the Consolidated The active window window, for things like keyboard shortcuts and Most of the time, the window in which you are menu commands. Close Cell closes the currently currently working is the active window. The active focused cell. Pop Out of Consolidated Window window is indicated by fully detailed borders; removes the currently focused cell from the when a window is inactive its top border and scroll Consolidated Window and puts it into its own bar are blank. To activate a window so that you can window. work in it, simply click anywhere on it. AudioDesk’s Tool palette is always active; it is not The Windows List displays all of the open necessary to click on it first. windows, with a check next to the active window. Select a window to make it the active window. A single click on an inactive window makes that window active, and in addition, the item in the Closing all windows window that was clicked responds. To close all open windows (except the Control Panel, if it is ), press Command-Control-W (Mac) CONTROL PANEL or Ctrl-Win-W (Win). If you hold down the The Control Panel is the command center for your Command and Control keys (Mac) or Ctrl and AudioDesk project. It contains basic transport Win keys (Windows) when choosing the Close controls like Play, Stop, Record, etc., playback command in the Window menu, it changes to location Counters, and some additional modes and Close All Windows. playback controls such as Memory Cycle, Click, Countoff, and so on. For more information, see Closing all effect windows “Control Panel” on page 76. To close all open effect windows, press Command- Shift-Control-W (Mac) or Control-Shift-Win-W THE WINDOW MENU (Windows). If you hold down the Shift and The Window menu helps you manage the Control/Win keys when choosing the Close AudioDesk windows on your computer screen. command in the Window menu, it changes to Close All Effect Windows. The Close command closes the top-most window. MODIFIER KEYS Bring All To Front brings all AudioDesk windows AudioDesk employs the following modifier keys on in front of all other windows from other Mac and Windows: applications (and the computer desktop). Mac Windows Push Window to Back moves the topmost Shift Shift AudioDesk window behind all other AudioDesk Option Alt windows. Command Ctrl

Control Windows logo (Win)

37 USER INTERFACE BASICS In this manual, references to the Mac Control key events in an Edit window. Command/Ctrl-click spell out the whole word, while references to the also toggles the current grid snapping setting. For Windows Ctrl key use the abbreviated form found example, if grid snapping is turned on, holding on most PC keyboards. down the Command/Ctrl key temporarily disables it. When referring to modifier keys, this manual uses the following conventions: To Shift-click, hold down the Shift key, move the mouse to position the arrow cursor on the object Separator Example What it indicates and click the mouse. Shift-clicking is used for - (dash) Ctrl-Alt-click Indicates modifier keys that should be pressed in selecting contiguous items; for example, to select combination ten consecutive tracks in the Tracks List, click on

/ (slash) Option/Alt-click Serves as a separator the first track, the hold shift and click on the tenth between Mac and Win- dows keys. track. You can also click and drag across items in a list to make a contiguous selection.

CLICKING SHORTCUTS To Shif t-drag, hold down the Shift key while Option/Alt-click: If you hold down the Option/Alt dragging. Doing so extends the current selection key and click on a check box, all check boxes will be — with one exception: in the Edit Window, Shift- unchecked except for the one you Option/Alt- dragging one or more events constrains dragging clicked. vertically or horizontally.

Command/Ctrl-click: If you hold down the To Option/Alt-click, hold down the Option/Alt key, Command/Ctrl key and click on a check box, all move the mouse to position the arrow cursor on check boxes will be checked except for the one you the object and click the mouse. Option/Alt-click is clicked. used to edit the name of a track, sequence or marker for editing. After editing, the new entry can USING MODIFIER KEYS WITH CURSOR ACTIONS be confirmed by pressing the Return key. Some actions are done with the cursor and To Option/Alt-drag , hold down the Option/Alt key keyboard together: while dragging. Doing so makes a copy of what you To Control/Win-click: Hold down the Control/Win are Option/Alt-dragging. This is also a shortcut for key, move the mouse to position the arrow cursor zooming in edit window, if you hold Option/Alt on the object and click the mouse. In many places, before you click and drag. Control/Win-clicking will cause a contextual menu CONTEXTUAL MENUS to appear with convenient shortcuts to relevant Contextual menus appear throughout AudioDesk commands and options. See “Contextual menus”, to provide convenient access to frequently used below. commands and options. To Command/Ctrl-click, hold down the Command/Ctrl key, move the mouse to position the arrow cursor on the object and click the mouse. Command/Ctrl-clicking is used for selecting non- contiguous items; for example, you would use Command/Ctrl-click to select several independent 38 USER INTERFACE BASICS All items that appear in the contextual menus are available elsewhere as regular menu items, mini- menu items, keyboard shortcuts, and so on. That is, the contextual menu is never the only place to find a command or option.

Event selections When there is an event selection (such as soundbites), right-clicking directly on the selected events will open the contextual menu for those events. However, in cases where it is difficult to click directly on a small event, so you may also right-click in the empty space above or below the selection in the same track.

Figure 6-4: The contextual menu for an audio selection in the Edit STANDARD KEYBOARD SHORTCUTS Window The following keyboard commands are applicable to dialog boxes and text boxes. To access the contextual menu, click with the right mouse button or hold the Control/Win key and Pressing on the return key is the same as clicking on click with the left mouse button. OK: it confirms the selection in the . ☛ Existing behaviors which utilize clicking while Pressing on the enter key will also OK a dialog box. holding the Control/Win key take precedence over It is also used when editing a list of names or data, the contextual menu. That is, when Control/ confirming the current one and moving to the Win-click is already used in a particular context for next. a different function, you must use right-click to access the contextual menu. (Mac only) Pressing the command and period keys together is the same as clicking on the Cancel Contextual menu items button: it cancels the selection and leaves the The menu items shown in the contextual menu will previous settings/values unchanged. depend on the context, as the name implies. For example, if you right-click on a selection of audio Pressing the escape key is the same as clicking a data in the Edit Window (as shown in Figure 6-4), Cancel button and (Mac only) pressing you will see contextual menu items for moving and Command-period ( . ). editing audio data, opening the data in other windows, and Edit Window track options. Some Pressing the tab key will confirm the current entry menu items may be unavailable temporarily field, then move to the next field in the box or list (grayed out) depending on the kind of selection and highlight it. Pressing Shift-tab does the same you have made, which layer is active, whether there thing, only it moves to the previous field or box. is any data on the clipboard, and so on. The up arrow will move through a list of names or events, confirming the current selection and moving to the previous one.

39 USER INTERFACE BASICS The down arrow will move through a list of names CHANGING TEXT BOX VALUES BY or events, confirming the current selection and DRAGGING advancing to the next one. You can change number or note values in text edit boxes throughout AudioDesk by pressing on the The left and right arrows move from field to field in text box and dragging up or down. You can also the Info Bar, confirming the current selection and edit text box values in the usual ways (by typing, advancing to the next one in the arrow direction. etc.)

In addition to these, there are many shortcut keyboard commands that will allow you to choose commands from menus very quickly. They are indicated on the menus to the right of the commands themselves and can be used instead of pulling down the menu and selecting the command. To use a shortcut command, hold down the Command/Ctrl key and press the indicated key. For example, Command/Ctrl-X is the shortcut for

the Cut command. Instead of pulling down the Figure 6-6: Examples of editing text quickly by dragging up and Edit menu and selecting Cut, hold down the down. Command/Ctrl key and press the X key. MAIN COUNTER SHORTCUTS The current playback location can be changed at any time by editing the main Counter directly. This is a more precise method for locating than many of the other numerous ways of cueing AudioDesk. You can edit the counter even while the sequence is playing back. There are several ways to edit the current Counter location in AudioDesk, as described below.

By typing Figure 6-5: Examples of keyboard equivalents for menu commands To edit the counter by typing: in AudioDesk. 1 Click on the field in the time display to highlight CUSTOMIZING KEYBOARD SHORTCUTS it. Just about all keyboard shortcuts can be customized. For details, see chapter 16, “Commands” (page 113).

2 Type in a new time value.

40 USER INTERFACE BASICS While a field is highlighted, just type in a new 1 Click in any counter field. value. Use the backspace key to erase an incorrect entry. 2 Press Command/Ctrl-C or choose Edit menu > Copy. Press the Tab key or the decimal key on the numeric keypad to cycle through each field of a 3 Click in the main or aux counter field to time display, highlighting each so that you can type highlight it. in a value. (On Windows, make sure the Num Lock 4 Press Command/Ctrl-V or choose Edit menu > key is engaged before you use the decimal key on Paste. the keypad.) For example, to enter the time 11|1|015 as shown in the example above: SPECIFICATION OF TIME UNITS In AudioDesk, you will always be dealing with time 1 Click on the bars field to highlight it. specifications. AudioDesk gives you the option of 2 Press 11. using measure time (measure|beat|tick), real time (minutes:seconds.hundredths), frame time 3 Press the Tab or decimal key. (hours:minutes:seconds:frames) and samples (digital audio samples). 4 Press 1. Below is a brief explanation of each time format: 5 Press the Tab or decimal key. Measure time (measure|beat|tick) 6 Press 0, 1, and 5.

7 Press the Return key. Figure 6-7: Specifying time in measures, beats, and ticks. As a shortcut, you can press the decimal key on the numeric keypad (with the Num Lock key engaged A specification of measure-oriented musical under Windows). To cancel the edit, press location. The number of beats in the measure Command/Ctrl-period (Mac only) or escape. depends on the specified meter: 4/4 will define 4 beats per measure, for example. Beats are By dragging subdivided into 480 ticks per quarter note. At that This is a great short cut for quickly “yanking” the resolution, a beat in 6/8 time (an eighth note) will counter: have 240 tick subdivisions, a beat in 2/2 time (a half note) will have 960 tick subdivisions and so forth. 1 Press on the desired measure, beat, or tick field Measure time is useful since it is the most musical. (or hour, minute, second, or frame field if you are working with SMPTE). Real time (hours:minutes:seconds:hundredths) 2 Drag up or down.

By pasting Counter values can be copied and pasted from Figure 6-8: Specifying real time in hours, minutes, seconds, and nearly any field where a counter value is displayed: hundredths. the main counter, aux counter, Information Bar, Measurement in standard clock time. This is a and so on. simple, already familiar method for location.

41 USER INTERFACE BASICS Frame time (hours:minutes:seconds:frames) you could view SMPTE time code or real time throughout AudioDesk, such as the Edit Grid in the Edit window.

Figure 6-9: Specifying SMPTE time in hours, minutes, seconds and Time format keyboard shortcuts frames. There are a several command shortcuts for Frame time is a special type of real-time choosing the global time format (Figure 6-11). To measurement. With it, you can synchronize locate them, search in the Commands window for AudioDesk (via a SMPTE to MIDI converter) to a one of their names. The Next Time Format device that uses SMPTE time code as a time command cycles through all global time formats. reference. Unlike measure time, frame time is used when absolute time location is necessary.

SMPTE stands for Society of Motion Picture and Telev ision Eng ineers. Although SMPTE time code is used mostly in film and video work, it is often used for audio applications. One SMPTE frame corresponds to one film or video frame. The Figure 6-11: The time format shortcuts in the Commands window (Setup menu). number of frames per second depends on the equipment you are working with; AudioDesk USING THE NUMERIC KEYPAD supports 23.976, 24, 25, 29.97 drop frame, 29.97 AudioDesk provides many factory default non-drop, and 30 frames per second. Three non- shortcuts on your computer’s standard extended standard frame rates are also supplied: 30 drop, numeric keypad (if it has one), from basic Legacy 29.97 drop frame, and Legacy 29.97 non- transport controls to specialized shortcuts for drop. See “Non-standard frame rates” on page 382. specific features.

SMPTE is useful as a standardized location scheme Windows Num Lock key when synchronizing to production devices such as On Windows, be sure to engage the Num Lock key a tape deck or video deck. See chapter 48, “Receive to enable the numeric keypad shortcuts discussed Sync” (page 381) for a more detailed explanation. in this manual.

Samples

Figure 6-10: Specifying time in samples. The number of samples since the beginning of the project.

CHOOSING A GLOBAL TIME FORMAT The Time Display sub-menu (Setup menu) lets you specify the time format to be displayed throughout AudioDesk in time rulers, dialogs, windows and any place where time is displayed. For example,

42 USER INTERFACE BASICS CHAPTER 7 Tutorial 1: Recording Audio

OVERVIEW record such as an electric guitar or synthesizer. You These instructions show step by step how to record may want to play back an analog tape or even a and play back an audio signal in AudioDesk. vinyl LP and record that audio into the computer. Working through this tutorial is a good way of confirming that you have correctly set up your To record an audio signal into AudioDesk, a path computer audio system. from the origin of that signal into the software must be set up. Conversely, for playback, the How it works...... 43 software settings must be correct and there must be Creating a new AudioDesk project ...... 43 a path for the signal to reach speakers or Enabling audio hardware...... 44 headphones. Using third-party audio hardware ...... 45 Using built-in audio...... 45 CREATING A NEW AUDIODESK PROJECT Completing the audio hardware configuration ...... 45 Launch AudioDesk by double-clicking the Choosing an input ...... 45 application icon. You will then get a dialog box Preparing an audio track for recording ...... 46 asking you to name a new AudioDesk file and to Monitoring the live signal...... 46 choose a location to save the new file. Use this Establishing audio input and checking the level. . . . . 47 dialog box to navigate to where you would like to Recording...... 47 store your AudioDesk files. Name the file and press Playing back the recorded track ...... 48 the Save button. If you can’t think of a better name, AudioDesk will call the file New File by default. HOW IT WORKS The procedure for recording an audio signal into a computer can be broken into two basic steps.

First, hardware must be set up to provide a path for the audio signal into the computer.

Second, software must be set up on the computer to record that information. Playing back digital audio from a computer is a reversal of that process. Software is set up to play back a digital audio file. A path is set up from the digital audio file to ultimately a set of speakers or headphones. Figure 7-1: A new AudioDesk project. An audio signal that you want to record into AudioDesk could come from several different What you see next is the default new file template, sources. You may want to sing, talk or play an as shown above in Figure 7-1. Initially, you see the acoustic instrument and record that signal. You Control Panel and the Edit window. This new file may have an electronic instrument that you want to will have several audio tracks ready to use.

43 The Edit window The Edit window will be empty in a new file because the file does not yet contain any audio. The left side of the window shows the various settings for each track.

ENABLING AUDIO HARDWARE The key to using any audio system is to follow the signal flow. The first step is to get an audio signal into the computer. You can choose which audio inputs and outputs are available to AudioDesk as follows:

1 Choose Setup menu>Configure Audio System>Configure Hardware Driver.

2 The Configure Hardware dialog appears.

This window allows you to select the audio hardware that AudioDesk is currently using and to Note that some Macs have separate drivers for their make changes to that hardware. Refer to your built-in input & and built-in output, so to use both computer platform below. simultaneously you must select both by Command-clicking them. See “Enabling multiple Mac OS When AudioDesk is first installed in the computer, drivers (Mac only)” on page 19. the software defaults to using the computer’s built- Windows in audio for audio input and output. The first time Choose either ASIO or Windows Audio from the you open the Configure Hardware Driver window, menu at the top, depending on the audio hardware it will be set to the built-in audio controller (as you have installed in your system. If you haven’t shown below). If not, make sure that it is: installed a sound card or connected and audio interface, choose Windows Audio to use the built- in audio features of your PC. In the example below, ASIO has been chosen for the MOTU MicroBook audio interface.

44 TUTORIAL 1: RECORDING AUDIO USING THIRD-PARTY AUDIO HARDWARE ☛ WARNING: if you are using the computer’s AudioDesk is compatible with a wide range of built-in microphone and speakers for recording third-party audio hardware. If you have additional and playback, DON’T ENABLE INPUT audio interface hardware connected to your MONITORING by record-enabling or input computer, you can set AudioDesk to use that monitor-enabling the track. Doing so causes an hardware by selecting the appropriate device in the immediate and VERY LOUD feedback loop, due to Configure Hardware Driver window, as shown the close proximity of the mac’s omni-directional above. By doing so, you will use that hardware as microphone and the computer’s built-in speakers. the path for audio record and playback. When you To avoid this feedback loop, plug in a pair of select the driver for your audio interface, the headphones into the computer’s stereo mini- Configure Hardware Driver dialog will show the headphone jack. available settings for that audio hardware, such as clock source and sample rate. The audio driver may COMPLETING THE AUDIO HARDWARE also have additional software used to configure the CONFIGURATION Regardless of what hardware you’re using, the hardware, such as enabling/disabling inputs and important thing to know is that what you choose in outputs, monitoring inputs, and so on. Check the the Configure Hardware Driver window is what will instructions that came with the audio hardware for be available as inputs and outputs to AudioDesk. further details. After you have selected the audio hardware inputs When using audio hardware, you’ll use your audio you want to use, click OK to close the Configure interface for both input to AudioDesk and output Hardware Driver window. from AudioDesk.

USING BUILT-IN AUDIO CHOOSING AN INPUT If there is no additional audio hardware connected Now you will select an input for a mono audio to the computer, AudioDesk can only record and track. Mono audio tracks have a single waveform play back audio via the computer’s built-in audio. icon next to their name. Click in the Input menu for a mono audio track, as demonstrated below in In the Configure Hardware Driver window, the Figure 7-2, and choose the New Mono Bundle sub- computer’s built-in audio driver will be selected by menu. default. In the sub-menu, you will see a choice of whatever Choosing a computer audio input inputs are provided by your MOTU audio Some computers have more than one possible interface. You might also see buss inputs, and input source for built-in audio. Use the Bundles possibly several other selections, depending on window to specify the input. whether you have installed software synthesizers, samplers, or similar applications. Using the computer’s built-in speakers for output For the purposes of this tutorial, choose Analog For the computer to send audio to its internal Input 1. speaker or speaker output jack, the Output volume control must be unmuted and turned up.

45 TUTORIAL 1: RECORDING AUDIO ☛ If the track does not yet display a record- enable button as shown above, it needs to be assigned a valid audio output. To do so, click on the italic text in the Output column next to the track (the italic text probably says something like Out 1-2). Choose the New Stereo Bundle, and choose an available input from the sub-menu.

MONITORING THE LIVE SIGNAL Record-enabling a track also enables audio patch thru for that track, meaning that the audio signal that is present at the input of the track is patched to Drag vertically here to view the output of the track (unless Studio menu > all the track settings. Note, however, that they all are Audio Patch Thru is set to Off). also available in the track setting menu circled above. Additionally, each audio track also has an Input Monitor button:

Figure 7-2: Choosing an audio input bundle. In this example, the New Mono Bundle sub-menu shows inputs from a MOTU 2408mk3 PCI interface. If you wanted to record into a stereo track, you would do the same thing in the input menu for a Figure 7-4: Input monitoring enable/disable. stereo track, except that you would create a new The Input Monitor button enables audio patch thru stereo bundle instead of a mono bundle. for the track the same as record-enabling, but the track will not record from its input when PREPARING AN AUDIO TRACK FOR AudioDesk is recording. This is useful if you want RECORDING to monitor the signal, but not record it. For an audio signal to get recorded into a track, the track must be record-enabled. Look for the circular A track can have both its record and input monitor button next to the track name. Press that button buttons enabled, though only one is necessary to and it will turn red. The track is now record- enable audio patch thru for the track. However, it enabled and ready. can be useful to engage both. For example, enable input monitoring to hear the live signal and practice before recording a pass. Record-enable the track to record a pass, then turn record-enable off after the pass. With input monitoring still enabled, you’ll still be able to hear the input, but the track will be record-safe.

Figure 7-3: Record-enabling the track.

46 TUTORIAL 1: RECORDING AUDIO For more information on monitoring input signals Generally, software generated audio signals, such and the different Audio Patch Thru modes, see as soft synths or samplers, will have optimum level “Audio monitoring (audio patch thru)” on by default. On some soft synths or samplers you page 164. may also have settings available to control output gain. ESTABLISHING AUDIO INPUT AND CHECKING THE LEVEL Note that the Mixing Board in AudioDesk controls Now check the input level of the signal you are playback output from the program. It has no about to record. Go to the Studio menu and open control over input level. the Audio Monitor window. The Audio Monitor shows the level of signal as it gets recorded, as Setting the audio file destination demonstrated below in Figure 7-5. The Audio Monitor window also lets you select where on your computer that new audio files will be created and shows you available recording time on the destination disk.

Double-click here to change Click once here to view the where the audio file to be full path name for the recorded will be placed. current destination.

Figure 7-5: Seeing the input level in the Audio Monitor. It is important that input level is strong enough but not so loud as to overload the input. When a track is record-enabled in the Edit window, it shows up Figure 7-6: If you want, you can change the destination of the audio highlighted in the Audio Monitor window. If there file that is generated by the record operation. is a signal present at the input of the record-enabled For this tutorial, let’s use the location already track, you will see VU activity in the Audio provided. but if you wanted to change it, you would Monitor window. When you see this signal, you are click the take file name to select it and then choose ready to record. Set Take Folder from the Audio Monitor mini- If the input signal is too loud or not loud enough, menu. you must change that level before the signal reaches RECORDING the input of the computer or audio interface. To put AudioDesk into record mode, at least one Matching audio levels is critical to getting a good track must be record-enabled, as you did earlier in recorded sound. this tutorial (Figure 7-3 on page 46). Use the input gain controls on your MOTU Now press the Record button in the Control Panel interface, if any. If it doesn’t have input gain control, and AudioDesk will start to record. As AudioDesk a simple mixer or microphone preamplifier is a records, you should see the green cursor moving in good way to ensure that input levels are strong the Edit window. A red stripe will appear trailing enough without overloading. behind the cursor indicating that audio is being recorded. The Audio Monitor window will show the strength of the signal as it gets recorded.

47 TUTORIAL 1: RECORDING AUDIO Figure 7-7: Recording audio.

PLAYING BACK THE RECORDED TRACK After you have recorded a signal, you can stop the transport and turn off the track’s input monitor- enable and record-enable buttons. Then rewind and play: you should hear what you just recorded. The Mixing Board in AudioDesk will allow you to adjust output level of the recorded track.

48 TUTORIAL 1: RECORDING AUDIO CHAPTER 8 Tutorial 2: Mixing and Finishing

WHAT’S IN THIS TUTORIAL In this tutorial, you will:

■ Mix the project with the Mixing Board

■ Finish and bounce your project You can stop at any time by choosing Quit from the AudioDesk menu.

TUTORIAL CHECKLIST To make the tutorial as clear as possible, we assumed the following:

■ You’ve successfully completed the entire installation section of this guide.

■ It helps if you have gone through the first tutorial, but it is not required.

OPENING THE TUTORIAL FILE Open the Tutorial 2 AudioDesk project included with you AudioDesk download.

You’ll see the Control Panel at the top of the screen, and below that, the Edit window and Mixing Board for Sequence 1 (Seq-1). These windows contain the controls and information you will need to mix your audio. Each strip in the Mixing Board represents one track, and each track has its own controls. These THE MIXING BOARD include inserts, sends, solo, mute, record-enable, AudioDesk’s Mixing Board provides a compre- input monitor-enable, automation play/record, hensive, flexible, and integrated mixing pan, volume fader, and input/output assignments, environment for your audio, with real-time though the available controls vary a little based on processing available with audio plug-ins. track type (audio, aux, etc.).

You can use the Mixing Board in the Consolidated Window body, the Consolidated Window sidebar, or as an independent window. Each one has its benefit:

49 ■ In the Consolidated Window sidebar: this is 2 Start playback by pressing the space bar, and useful as a single-channel inspector while editing. adjust the mix as follows. With the Scroll the Mixing Board to the selection preference enabled (this can be toggled via key To do this Do this Adjust a track’s Drag each track individually. You command if one is assigned in the Commands volume can also press on the plus and minus but- window), the Mixing Board will update to follow tons, or click anywhere on the slider to make a sudden jump. the selected track. Adjust panning Drag a knob up and down or left and ■ In the Consolidated Window body: this is the right. You can also click on the value box below the knob and type in the desired best configuration when mixing is the central task. value (between zero and 127, where 64 is pan center). ■ As an independent window: this is best for Solo or mute tracks Click their solo or mute buttons. Try advanced window layouts. For example, you might “gliding” (dragging) over the solo and mute buttons. (It’s fun.) need to see lots of faders at once, or you may have two monitors with the Edit window on your first Record a fader 1. Record-enable automation on any movement track. monitor and the Mixing Board on the second. 2. Press the Play button. 3. Move the fader you want to record. When you record a fader, it generates a START MIXING stream of automation data in the track. If you are Memory-cycle recording, be First, let’s set initial levels and panning in the aware of where you are in the loop as you record so that you don’t overlap. For Mixing Board. You can adjust as you playback to example, try to start recording in bar 1 and finish in bar 4. To start recording the hear your changes as you make them. You can slider, just grab it’s handle with the adjust faders and pan knobs by clicking and mouse. To stop, just let it go. dragging them, or if your mouse has a scroll wheel, Watch a fader ani- Just play the sequence. by placing your mouse over them and scrolling. mate after recording

Once you have the initial mix, you can start 3 Turn off automation recording by gliding back automating it. over the channels.

AUTOMATED MIXING 4 Once you’ve got the volume level and pan Now let’s do some automated mixing. setting you’d like for each track, stop playback and rewind to the beginning of the sequence. 1 Turn on automation playback for each channel by clicking on the automation playback and gliding 5 Choose Take Automation Snapshot from the across all other channels while holding down the Audio menu. mouse button. Do the same for automation recording. The Automation Snapshot dialog has many possible combinations, but for this step let’s use All Time, Tracks Shown in Mixing Board, and Data Types Visible in Mixing Board.

Doing so causes the Mixing Board to insert volume and pan data events in each track currently being displayed in the Mixing Board (four audio tracks). The data is placed at the current location in the Click and hold down Glide over all automation buttons mouse button here while holding the mouse main counter.

50 TUTORIAL 2: MIXING AND FINISHING For more information on Snapshot Automation, see “Snapshot automation” on page 331.

5 Enter an additional automation point at the end of measure two, on the lower edge of the soundbite, which represents panning to the right side.

6 Open the Edit window to view the volume and pan events just inserted. 6 Press play to hear the resulting pan automation. DRAWING CONTROLLER DATA IN THE EDIT WINDOW PLUG-INS Now we are going to enter and edit some additional Plug-ins allow for real-time processing. You can controller data in the Edit window. add audio plug-ins to any track: audio, aux, and master fader tracks. 1 The first thing we need to do is open up the Edit window. Locate the Guitar Loop in the Edit 1 Like the Edit window, the Mixing Board features window. a track selector that allows you to show and hide specific tracks. To open up the track selector, click the track selector button in the lower left of the Mixing Board.

2 If you have not already done so, enable automation playback by choosing play from the automation menu.

3 Click on the Insert menu. You’ll get a list of all parameters available on that channel including all automatable parameters for any effects inserted on Track selector button the channel. We’ll enter in some pan automation, so choose Pan. 2 Now that the Mixing Board is displaying the track selector, you may see that there are some 4 Your cursor will turn into a Pencil tool. Enter an tracks that are not visible. If the Guitar Loop track is automation point near the top of the soundbite. not visible, locate it in the track selector and select This represents panning to the left side, as it. The Guitar Loop track is now visible in the indicated by the L on the ruler. Mixing Board.

51 TUTORIAL 2: MIXING AND FINISHING Audio track inserts

2 Choose Bounce to Disk from the File menu (or press control-J). You will now see the Bounce to Disk dialog.

3 There are a variety of options available in the Bounce to Disk dialog for File Format, Channels, Sample Format, what to do with the resulting file, and so on.

‘Guitar Loop’ track

3 Locate the insert slots for your Guitar Loop channel and insert a Phaser. While playing the sequence, experiment with different effects settings and effects chains.

BOUNCING TO DISK Bouncing to Disk does exactly as its name implies: it bounces multiple tracks down to a single audio Let’s choose the following settings: file. Original tracks are preserved, and new audio files are created. ■ File Format: Project Format

■ Channels: Same As Source Bounce to Disk is used to create a final mix of your project, or whenever you want to mix multiple ■ Sample Format: Project Default tracks down to a single soundbite. ■ Import: Add to Soundbites Window

1 Make a selection of audio tracks. In this case, ■ Source: Analog 1-2 (or whatever output pair let’s press command-A to Select All. your tracks are assigned to)

■ File name: Tutorial 2 mix 52 TUTORIAL 2: MIXING AND FINISHING You can also Bounce to Disk as an MP3; for details, see chapter 46, “Bounce To Disk” (page 369).

4 Press OK and the Bounce will commence.

5 When finished, you’ll see the new file in the Soundbites window.

6 To audition the bounced file, select it and press option-spacebar: Enjoy! You’re listening to your completed mix.

53 TUTORIAL 2: MIXING AND FINISHING 54 TUTORIAL 2: MIXING AND FINISHING Part 2 Managing Projects

CHAPTER 9 The AudioDesk Project

OVERVIEW COMPONENTS OF AN AUDIODESK PROJECT This chapter reviews basic procedures for handling A typical AudioDesk project consists of the AudioDesk projects. Most are standard Mac File following components: menu procedures; however, AudioDesk is in some ways unique in how it manages projects and their many associated files. Project Folder Components of an AudioDesk Project ...... 57 Creating a new project...... 58 Project Creating a new project from a template ...... 58 document Opening an existing project ...... 58 Open Recent sub-menu ...... 59 Opening files in other formats ...... 59 Saving a project ...... 59 Saving a project file under a different name ...... 60 Save a Copy As...... 60 Using Save a Copy As for incremental backups ...... 60 Collecting a project for backup or transfer...... 60 Closing or quitting a project without saving ...... 61 Avoiding disaster ...... 61 Exporting a project ...... 61 Moving a project between Mac and Windows ...... 62 Reverting to a previously saved project...... 62 Creating project templates ...... 62 Loading a sequence from another file ...... 64 Adding project notes ...... 65 Printing project windows ...... 65 Quitting/exiting AudioDesk ...... 65 Setting AudioDesk’s startup preferences ...... 65 Helpful project and disk hints...... 65

Figure 9-1: The components of an example AudioDesk project.

The Project Folder When you first create a new project, AudioDesk makes a project folder in which it places your new AudioDesk project file. In addition, several

57 additional folders, described below, are created to CREATING A NEW PROJECT store files that AudioDesk may generate as you To create a new project: work on the project. 1 Double-click AudioDesk to launch the program Audio Files folder (if it is not already running). An audio file is a document on your Mac’s hard disk that contains digital audio data. (For further Alternately, you can click once on the AudioDesk explanation, see chapter 4, “Hard Disk Recording program icon to select it and choose Open from Concepts” (page 25)). As you record, AudioDesk the File menu. As a keyboard shortcut, you can places newly generated audio files into the Audio press command-down arrow. Folder, unless you change this default location 2 before you record. (See “Changing the takefile Choose New from the AudioDesk File menu. location before recording” on page 179.) Audio You’ll now see a standard Mac Save dialog. files are not required to be in this folder. An AudioDesk project can use audio files located on 3 Navigate to the hard drive and folder where any available hard drive. AudioDesk keeps track of you’d like to save the new project. them, even if you move them on the Mac OS desktop. The Audio Files folder is primarily 4 Click Save. intended as a default location for new files that you record in the project. For further information, see CREATING A NEW PROJECT FROM A chapter 12, “Audio File Management” (page 85). TEMPLATE If you would like to create a new project based on Analysis Files Folder one of several template files, choose Help menu> An AudioDesk project folder may also includes an Welcome to AudioDesk and then choose the desired Analysis Files folder; AudioDesk generates an template from the New sub-menu. This opens a analysis file for each audio file being used in the new, empty project (with no data in it) formatted project. Analysis files greatly reduce the amount of as prescribed by the template you choose. time it takes AudioDesk to apply PureDSP processing (time stretching and pitch-shifting) to OPENING AN EXISTING PROJECT the audio files. AudioDesk handles analysis files Here are several ways to open an AudioDesk automatically, so you never need to be concerned project:

with them. For further details, see “Audio file Action What happens analysis” on page 358. Drag and drop a project file Launches AudioDesk (if it’s onto the AudioDesk applica- not already running) and The Fades Folder tion icon. opens the project. The Fades folder holds fades and crossfades you Double-click the project file Launches AudioDesk (if it’s icon. not already running) and create in the project. Again, AudioDesk handles opens the project. fades automatically, so you never really need to be Choose Open from A standard Mac open dialog concerned with the Fades folder. For further AudioDesk’s file menu. appears, from which you can details, see “How fades are generated” on page 274. select the project you wish to open. If an unsaved project is open at the time you do this, you’ll be asked if you wish to save the changes before the newly chosen project is opened.

58 THE AUDIODESK PROJECT Only one AudioDesk project can be open at a time, you choose Save from the File menu, AudioDesk although there are many ways to transfer data writes the changes you have made into the original between projects. For details, see “Loading a project file on the disk. If you do not save, the sequence from another file” on page 64 and changes you have made are never written to the chapter 35, “Clippings” (page 277). disk. For example, if you quit without saving changes, the work you have done is not saved on OPEN RECENT SUB-MENU the disk and is permanently deleted from the For convenient access, the Open Recent sub-menu computer’s memory. in the File menu displays the most recent AudioDesk projects you have opened, so you have This is why you should save frequently. If AudioDesk quick access to them. or your Mac should malfunction, all of the work you have accomplished since you last saved may be To clear the list of recent files, choose Clear Menu. lost! (See “Avoiding disaster” on page 61.) However, if the project was recently saved, you can OPENING FILES IN OTHER FORMATS retrieve the latest version from the disk and Use the Open command in AudioDesk’s File menu proceed without having lost much work. to open the following types of files: To save a project: ■ Files created in Digital Performer and Performer

■ Files created in earlier versions of AudioDesk™ 1 Choose Save from AudioDesk’s File menu.

■ OMF Interchange files Your project is saved on disk in its current state, replacing the old version with the same name. If ■ AAF interchange files you want to keep the old version, use the Save As After choosing one of these files in the Open command on the File menu (see below) instead to dialog, a message will appear informing you that save the current version under a different name. AudioDesk is converting file formats, if necessary. The file will open as an AudioDesk file. If you are saving the file for the first time, a dialog box will appear prompting you for a name. Importing OMF/AAF files via drag and drop You can import OMF and AAF interchange 2 Type in the name of your file. documents (with a .omf or .aaf file name extension) by dragging and dropping them into the You can’t use a colon in the name; all other Sequences window. characters are permitted, including spaces. If you enter a name that is already in use, a dialog box will SAVING A PROJECT ask you to confirm your choice. When you open a project from a disk, AudioDesk makes a copy of that project file (not the entire 3 Click Save. project folder, just the project file as shown in Figure 9-1 on page 57) and puts it in the Mac’s temporary memory (called Random Access Memory, or RAM). When you work with the project, you are actually working with the copy that is in RAM, not the original project file on disk. If

59 THE AUDIODESK PROJECT SAVING A PROJECT FILE UNDER A 3 Click Save. DIFFERENT NAME To preserve the last-saved version of the project 4 Continue working on your current project file, and save the current state of the project under a which is still on screen. different name: By choosing Save a Copy As every 15 minutes or so 1 Choose Save As from AudioDesk’s File menu. and incrementing the number, you have a separate copy of your project file that is never more than The Save As dialog appears. around 15 minutes old. This means that if the most current project file is damaged or corrupted 2 Choose the desired location for the new project somehow, you’ve never lost more than 15 minutes file and type in the new name for the project, if of work. desired. COLLECTING A PROJECT FOR BACKUP OR 3 Click Save. TRANSFER The Save As commands described in the last two Your project is saved on the disk in its current state sections only save the project file under a different under the new name. In addition, the project you name. The rest of the files related to the project currently see on your computer screen is the newly (audio files, analysis files, and fades) are not created project. included in the Save As operation.

SAVE A COPY AS There may be times, however, when you need to The Save a Copy As command works exactly the apply the Save As operation to the project as a same way as the Save As command described whole, and include all related audio files, analysis above, except for the very last sentence. When files and fades. you’ve completed the Save a Copy As operation, the project you see on your computer screen is not the There is an option in the Save As and Save a Copy newly created project; instead, it’s the original As windows called Duplicate Audio Data. When project that you were saving from. In addition, it checked, this option makes AudioDesk create an may still be in an unsaved state (if you haven’t saved entire duplicate set of all the audio files being used it since making any changes). by the current project. Also included are all of the PureDSP analysis files and fades, if any. This USING SAVE A COPY AS FOR INCREMENTAL command will “collect” all audio files that are being BACKUPS The Save a Copy As feature as described above is used, even if they are scattered across several hard great for making incremental backups of your drives. project file. To do so:

1 Every 15 minutes (or as often as you can bear), choose Save A Copy As.

2 Type in new name for the backup file.

For example, you might adopt a numbering convention, such as MyProject.1, MyProject.2, etc.

60 THE AUDIODESK PROJECT AVOIDING DISASTER AudioDesk project files often represent many hours of hard work. If something bad should happen to the file, and it’s your only copy, you’ve lost all that hard work forever. So please follow these guidelines and make them habit:

☛ Save early and save often

☛ Make incremental backups with Save As

☛ Backup early and backup often

For details about incremental backups, see “Using Save a Copy As for incremental backups” on page 60. Figure 9-2: The ‘duplicate audio data’ option makes a copy of the entire project folder. EXPORTING A PROJECT The Duplicate audio data option is ideal for AudioDesk can export projects in several other file backing up AudioDesk projects, as well as formats: transferring them to clients or collaborators, because it ensures that all associated audio files, ■ OMF Interchange analysis files and fades are included. ■ AAF Interchange

CLOSING OR QUITTING A PROJECT ■ Digital Performer (Version 3.1, 4.1, 4.5, 4.6, 5.1, WITHOUT SAVING and 5.12) If new audio files have been created in an unsaved project, and you don’t save the project before ■ AudioDesk (Version 1.0 and 2.0) quitting or closing, AudioDesk will alert you to the To export an AudioDesk project to a different file fact that there are unsaved audio files on disk: format:

1 In the Sequences window, play-enable the sequence that you wish to save.

2 Choose Save As from the File menu.

3 Choose the desired file format from the Format menu. Figure 9-3: If you close or quit an unsaved project, AudioDesk warns you about audio files that were created in the unsaved project and lets you either keep them or discard them. 4 Click Save to activate the conversion.

The alert dialog shown above in Figure 9-3 lets you 5 If you are saving an OMF or AAF interchange choose whether you want to delete them or not. document, you’ll now see another window with several options that are specific to that file format.

61 THE AUDIODESK PROJECT Exporting to earlier versions of AudioDesk current version of AudioDesk running on a Mac to AudioDesk is constantly being updated and convert all SDII files to WAV files, as explained in developed. Due to these changes, projects saved in chapter 42, “Audio File Conversion” (page 355). the current version cannot be loaded into earlier versions of AudioDesk. If for some reason you need After checking for SDII files and converting them, to work with a project in an earlier version, if any, save a copy of the project. Doing so creates AudioDesk lets you export projects in any format an updated, cross-platform project file that is fully as far back as AudioDesk Version 1.0. Just use the compatible with the Windows version of procedure described in “Exporting a project” on AudioDesk. In addition, the .addoc file extension is page 61. added to the end of the project file name, which is required by the Windows version of AudioDesk. Exporting to Digital Performer The newly saved copy of the project can then be AudioDesk can export projects to Digital successfully opened by AudioDesk on a Windows Performer Version 3.1 or later via the procedure computer. described in “Exporting a project” on page 61. REVERTING TO A PREVIOUSLY SAVED Exporting to OMF or AAF PROJECT AudioDesk can export projects to OMF and AAF If you’ve made unwanted changes to a project, you files. See “Exporting to OMF or AAF” on page 90. can undo the changes you’ve made by returning to the last saved version. This operation is identical to MOVING A PROJECT BETWEEN MAC AND closing the project and opening it again. WINDOWS AudioDesk runs on Mac OS and Windows. You can 1 Choose Revert to Saved from the File menu. move AudioDesk projects between Mac and PC computers. Remember, however, that Audio Unit A dialog box asks you to confirm this choice. plug-ins are Mac-only, so if they are used in a AudioDesk project on your Mac, they will not be 2 Click on OK to confirm the action, Cancel to available when you open the project in AudioDesk withdraw it. running under Windows. Reverting to the last saved version of the project All plug-ins included with AudioDesk will transfer means that all changes you’ve made since you across platforms just fine. The same is true for any opened or last saved the project will be lost. VST plug-ins, as long as they are installed in both your Mac and PC systems. Check with the plug-in Reverting to a previously saved version is useful developer for information regarding any when experimenting with a project. You can differences that may exist between their Mac and quickly discard all changes by using this command. Windows VSTs. Make sure that you save the file in the state you want it before beginning to experiment. Moving legacy Mac projects to Windows If you have a legacy project created in an earlier CREATING PROJECT TEMPLATES (Mac-only) version of AudioDesk, check to see if it The Save As New Template command, found in the contains audio files in the Sound Designer II file File menu, allows you to customize your copy of format. If so, you’ll need to open the project in the AudioDesk. You control what appears on the screen when you open a new project, by creating

62 THE AUDIODESK PROJECT your own New project template. A template is a To see the effects of Save As New Template, close the “skeleton” project, a framework designed to save current project and choose New from the File you time when building your project. menu. A new, empty, untitled project appears, identical to the last project you saved as the new For example, let’s say you typically work in projects template. with one sequence, the same number of tracks, measure time and SMPTE displays in the Removing a template file from the sub-menu Counters, and a Sequence Start Time of measure - To remove a template from the New command sub- 1. In addition, you arrange AudioDesk’s windows menu, remove it from AudioDesk’s document to suit your screen size and style of working. templates folder, which is located in your user directory preferences folder. Here is the path: You can use the Save As New Template command to give your ‘New’ projects all of these characteristics Platform Path automatically. Mac OS X ~/Library/Preferences/AudioDesk™/ Document Templates

When you choose Save As New Template from the Windows C:\ProgramData\MOTU\AudioDesk\Document Templates File menu, AudioDesk remembers the exact state of the project file and reproduces it next time you request a new project. The New command, also in Creating a default New Template the File menu, will produce an untitled, empty new When you check the Use as default New Template project identical to the source project. option, AudioDesk remembers the exact state of the project file and reproduces it when you request To use the Save As New Template command: a new project. The File menu> New sub-menu command will produce an untitled, empty new 1 If you aren’t already in an AudioDesk project, project identical to the source project. open one or choose New from the File menu. Hints for using Save As New Template 2 Configure AudioDesk’s windows, their contents, Remember that the Save As New Template command and any other features as you find most useful. customizes only the copy of AudioDesk in which it is used. Every copy of the program has its own This file will be your template source project: template; a fresh copy of AudioDesk will yield the AudioDesk will remember your exact track setup, default New project setup. window layout, mix automation settings, and so on. For this reason, make a spare copy of your template source project using the Save As command 3 Choose Save As New Template from the File described earlier in this chapter. Pick a suitably menu. descriptive name for the project, like “AudioDesk Template”. This way you can retrieve your AudioDesk redefines your New template based on preferred setup into any copy of AudioDesk by the current project. All attributes specific to the opening “AudioDesk Template” and immediately current project now comprise a New project in the choosing Save As New Template from the File copy of AudioDesk you are using. menu.

Redefining your New project template is easy. To do so, do the following: 63 THE AUDIODESK PROJECT 1 If an AudioDesk project is currently open, choose Close from the File menu to close it.

If you’ve made any changes to the project, you’ll be Sequence prompted to save them. s list

2 Choose New from the File menu.

A new project opens, identical to the project you saved as New.

3 Make any changes you wish to make to the new project template.

4 Choose Save As New Template from the File Figure 9-4: Loading a sequence from another project into the menu. currently open file.

The changes you made to the existing project will 3 Make sure the Load Sequences option is now become part the new template. checked.

LOADING A SEQUENCE FROM ANOTHER If it is not, click its check box. The Sequences list FILE displays all Sequences in the selected project. When an AudioDesk project is currently open, the Load command in the File menu lets you load 4 Select the sequence you wish to load. sequences from other files directly into the open project without closing it. Click the sequence name to select it. If you wish to load more than one, shift-click or drag to select To load a sequence into an open project: contiguous items and command-click to select non-contiguous items. 1 Choose Load from the File menu. 5 Optional: If you wish to load any other items The standard Mac Open dialog box appears. from the selected project, click the check boxes for the appropriate options. 2 Click the file containing the sequence you wish to load, then click Open. 6 Click OK to confirm your choice or Cancel to withdraw the Load command. Alternately, you can double-click the file name. AudioDesk’s Load dialog box appears, displaying Clicking OK causes the selected sequences to be the project name at the top. placed in the Sequences window of the currently open AudioDesk project. You can change each item’s position in the list by dragging its Type icon.

64 THE AUDIODESK PROJECT ADDING PROJECT NOTES As when closing a project with unsaved changes, if Choose Project menu> Project Notes to type in you quit AudioDesk without saving your project a notes about your project. This is a simple text dialog box may appear asking you if you want to editor that allows you to store text within the save changes made to the file. To save the changes, project itself. press Yes. If you don’t want to save changes, press No. To withdraw the Quit command and return to PRINTING PROJECT WINDOWS your AudioDesk file, press Cancel. You can print the contents of some AudioDesk windows. This includes list windows such as the SETTING AUDIODESK’S STARTUP Markers, Sequences and Commands windows. PREFERENCES When AudioDesk first launches, you have three Printing the contents of a list window choices for what it can do: To print the contents of a list window: ■ Reopen the last project you had open 1 Bring the window you want to print to the front ■ Present you with the Welcome window, which to make it the active window. lets you open either an existing project or a new To do so, click its title bar or choose its name from project with the “New” button the Window menu. ■ Neither of the above, which lets you either choose Open or New from the File menu 2 Choose Page Setup from the File menu, make any desired changes to the page settings, and click To set this preference, choose Preferences from the OK to confirm the settings. AudioDesk menu (Mac OS) or Edit menu (Windows), select the Document pane, and choose The options that appear in this dialog box depend the desired setting. This setting is stored in the on the type of printer you are using. For example, if AudioDesk Preferences file in the Preferences you are printing on a laser printer, you can choose Folder inside your user library directory on your an enlargement or reduction above or below 100%. hard disk.

3 Choose Print from the File menu. HELPFUL PROJECT AND DISK HINTS File menu commands (except Save) cannot be used The standard print setup dialog box appears for during playback. To use a command in the File your printer. menu, press the Stop button beforehand. 4 Set up the printer options as needed, such as the Save your file as often as possible. You should use the number of copies, and click OK. Save command after every significant change to your project. The entire contents of the list is printed. Always keep backup copies of your important QUITTING/EXITING AUDIODESK projects. We cannot emphasize enough the Quitting or Exiting AudioDesk returns you to the importance of this. At the end of a working session, computer desktop. On the Mac, choose Quit from copy to a backup disk all of the files you recorded the AudioDesk menu. On Windows, choose Exit and edited. (The Save A Copy As command is good from the File menu. for this, together with the Duplicate Audio Data

65 THE AUDIODESK PROJECT option.) If anything should happen to your Using the Mac OS stationery feature original, you will have fully updated backup of the AudioDesk supports the Mac OS “Stationery pad” file. feature in the Get Info window for a project file as shown below: Using the Save A Copy As command while working can be useful when you want to keep a record of earlier versions.

Be sure to backup your projects as often as is bearable, at least at the end of every working session and several times during the session if possible. The consequences of not making backups are severe: if your hard disk is damaged, some or all of the projects may be lost forever.

Figure 9-5: Stationery pad option in the Get Info window. When this option is checked, the project file can be opened, but the Finder will prevent you from modifying the original file by forcing you to Save As when you attempt to save the project. This option is great for preserving projects that you do not want to modify and that you use regularly as a “template” from which to build other files. For more information about the Stationery pad option, consult your Mac OS help.

66 THE AUDIODESK PROJECT CHAPTER 10 The Consolidated Window

OVERVIEW Quick Reference...... 68 Many of AudioDesk’s powerful features are Window menu ...... 68 presented in separate windows, such as the Edit Deciding how to work with windows ...... 68 Opening the Consolidated Window...... 69 window, Mixing Board and Markers window. The Going full screen ...... 69 Consolidated Window gives you access to them in Consolidated Window title bar ...... 69 one window. You can quickly access the desired Other window title bars ...... 69 feature by clicking its corresponding tab, without The Control Panel ...... 69 having to switch to a different window. In addition, The body (center) section ...... 69 the Consolidated Window is highly configurable, The Sidebars ...... 69 allowing you to split the window into multiple The Mixing Board ...... 70 different sections for quick access to critical Using Horizontal Dividers ...... 71 Dragging cells...... 71 features conveniently presented in one window. Cell focus ...... 72 The Consolidated Window provides you with a Getting rid of a cell ...... 72 simplified, unified, highly customized work space. Popping windows in and out...... 72

Left sidebar Main body Right sidebar

Sidebar Sidebar Left sidebar Tabs Tab Right sidebar Window Tab Sidebar cells tabs divider bar divider selector bar divider

Horizontal divider Consolidated Window Figure 10-1: The Consolidated Window resize thumb

67 QUICK REFERENCE Show/Hide Left/Right Sidebar: Shows or hides the Main body: This is the main section of the sidebar. Keyboard shortcuts are Shift-[ and Shift-]. Consolidated Window. It displays tabs across the top for switching between the Edit window and Set Focus to Next/Previous Cell: In the Mixing Board. Consolidated Window, the focus is the section of the window with the slightly darker shaded title Tabs: Click the tabs to switch the main body to the bar. Some operations in AudioDesk only apply to desired window. Command-click a tab to close all the section that currently has the focus. It is rows except for the one you clicked on. equivalent to the active (front-most) window when you are working with multiple windows. Use these Left/right sidebar: These are resizable columns commands to set the focus to the next or previous that flank the main body and can be independently cell in the window. Keyboard shortcuts are shown or hidden. In addition, the sidebars can be control-tilde (~), and option-control-tilde. divided horizontally into any number of independent sections. Close Cell: Removes the specified cell (the cell that currently has the focus). Keyboard shortcut is Left/right sidebar dividers: Drag these dividers to control-w. resize the sidebars; double-click the divider to open or close the sidebars. Pop Out of/Into Consolidated Window: Pops the active cell or window out of or back into the Window selector: Lets you choose what is Consolidated Window. Keyboard shortcut is displayed in the sidebar section. Each sidebar cell control-1. has its own window selector. DECIDING HOW TO WORK WITH WINDOWS Sidebar tabs: Each sidebar cell contains one Most of AudioDesk’s primary features can either window by default, but you can add additional float as stand-alone windows or reside as a “pane” windows as tabs. To add another tab, choose the within the Consolidated Window. The best way to “Add tab” item under the Window selector menu, learn how the Consolidated Window might work or hold option while selecting another window. best for you is to try a few different window config- Click the “x” button on a tab to close it, or hold urations for particular purposes. option and click the “x” button to close all other tabs in the cell. For example, open the Edit window in the Consolidated Window body and place the Mixing Tab bar : The tab bar displays tabs for the cell (or Board in the left side bar. When you select a track window). Double-click any empty portion of the for editing, the fader for that track scrolls into view tab bar to remove the window or sidebar cell from in the Mixing Board strip. As another example, the Consolidated Window and makes it a separate open the Edit window in the body, and the window. The tab bar area then turns into a pop- Soundbite window and Sound File Info windows in back-in area, which puts the window back into the the left sidebar. Consolidated Window. You don’t have to use the Consolidated Window if WINDOW MENU you don’t want to. If you would like to work with These items under the Window menu apply to the independent windows as in previous versions of Consolidated Window. AudioDesk, simply pop all windows out of the

68 THE CONSOLIDATED WINDOW Consolidated Window by double-clicking in its OTHER WINDOW TITLE BARS popout area (Figure 10-7 on page 72). To put a When a window is displayed in the Consolidated stand-alone window into the Consolidated Window, its title bar appears at the top of the Window, double-click its pop-back-in area section as a Tab bar, complete with a mini-menu (Figure 10-8 on page 72). and other Tab bar controls that are specific to that window, as demonstrated below in Figure 10-3: OPENING THE CONSOLIDATED WINDOW To open the Consolidated Window, double-click Consolidated window Edit window Tab the pop-back-in area (Figure 10-8 on page 72) on title bar bar an individual window.

GOING FULL SCREEN The Consolidated window supports the full-screen feature in Windows and Mac OS X 10.7 or later. When the Consolidated window is full screen, plug-in windows float above it. Figure 10-3: When the Edit window and other windows are displayed in the Consolidated window, their title bar appears as the Tab bar at the top of the cell. CONSOLIDATED WINDOW TITLE BAR The title bar of the Consolidated Window has the THE CONTROL PANEL same standard close, minimize, and zoom buttons The Control Panel appears across the top of the as other AudioDesk windows, with one addition: Consolidated Window. Like other cells, it can be the name of the project file: popped in or out. It is also highly configurable, allowing you to show and hide sections. A Compact Close, minimize, & Project Height preference conserves even more screen zoom buttons file name space. To access these settings, visit the Control Panel preferences (Figure 15-3 on page 107), or right-click anywhere on its background. When displaying shortcuts and the tool bar, you can further show/hide the desired tools and shortcuts.

THE BODY (CENTER) SECTION The main body (center) section of the Consolidated Window is reserved for AudioDesk’s Edit window and the Mixing Board. These windows have tabs across the top, and you can Figure 10-2: The Consolidated Window title bar. access either of them by clicking their Command-click the project name to reveal a menu corresponding tab. For information about splitting showing the path of the file on disk. If you click on the body into several sections, see “Using any of the folders shown in this menu, a Finder Horizontal Dividers” on page 71. window will open to that folder. THE SIDEBARS Sidebars display list windows and monitors. To open the left-hand or right-hand sidebar, double- click the divider as shown in Figure 10-3, or simply

69 THE CONSOLIDATED WINDOW drag it towards the center of the Consolidated Using multiple tabs in one cell Window. You can also use the keystroke shortcut Each sidebar cell contains one window by default; (shift-[ or shift-]). Likewise, to close a sidebar, choosing a different window from the window double-click the divider, drag it towards the edge of selector menu will change the current window to the Consolidated Window, until it disappears, or the newly selected window. use its keystroke shortcut (shift-[ and shift-]). However, you can also add additional windows Sidebar cell within a single cell, as tabs. To add another tab, menu choose the “Add tab” item under the window selector menu, or hold the option key while selecting another window.

If you add more tabs than there is space to display, a tab with a double chevron on it will appear. Click on this tab to display a menu of the tabs which are not currently visible.

Figure 10-4: The sidebar cell menu lets you choose what is displayed in the cell.

Choosing what to display in a sidebar cell You can choose what is displayed in a sidebar cell via a menu accessed by clicking on the current window’s title, as shown above in Figure 10-4. To close a tab, click the “x” button on that tab. To close all but one tab in the cell, hold option and Resizing the sidebar click the “x” button on the tab that you wish to To resize the sidebar horizontally, drag its divider. remain. Splitting the sidebar For information about splitting the sidebars into THE MIXING BOARD several sections, see “Using Horizontal Dividers” The Mixing Board is a special case because it can be on page 71. displayed either in the main body (center) section of the Consolidated Window or in either sidebar.

70 THE CONSOLIDATED WINDOW The center section is better for viewing many USING HORIZONTAL DIVIDERS channels at a time. For example, you could display To divide the body or the sidebars into two more several dozen faders in the center section below the horizontal sections, grab the horizontal divider at Edit window, as demonstrated below: the bottom of the section and drag up:

Horizontal divider

Figure 10-5: Displaying the Mixing Board in the body section of the Consolidated Window. It can be placed at any vertical position you wish. Figure 10-6: To divide a section of the Consolidated Window horizon- tally, drag the horizontal divider upward. The sidebars are best for showing just one — or several — channel strips at a time, as demonstrated The main body can be divided into a maximum of in the left sidebar in Figure 10-1 on page 67. two rows, but you can divide sidebars into as many horizontal sections (cells) as you like.

In the sidebar, you can also create additional dividers by option-dragging an existing divider.

If you’d like to close all of the rows in the body and display only one row, command-click on the tab for the window you wish to display. The window you command-click doesn’t have to be open already when you click on it.

DRAGGING CELLS You can drag a window from one cell to another by grabbing its tab bar with the hand cursor and dragging it to the desired location. You cannot, however, drag a body section to a sidebar or vice versa, except for the Mixing Board. (The Mixing Board is the only window that can appear in either a sidebar or the body of the window.) But you can freely drag sidebar sections to any new location

71 THE CONSOLIDATED WINDOW within either sidebar. And you can freely drag body Tab bar sections above or below one another in the center section.

You can also drag windows out of the Consolidated Window to make them a separate window. Also see “Popping windows in and out” on page 72.

Figure 10-7: Double-click the Tab bar to extract the cell and make it CELL FOCUS an independent window. In the Consolidated Window, the focus is the cell in the window with the slightly darker shaded title Conversely, when windows are open on their own, (tab) bar. Some operations in AudioDesk only double-click the Tab bar to “pop” the window back apply to the cell that currently has the focus. It is into the Consolidated Window in its original equivalent to the active (front-most) window when location. you are working with multiple windows. Tab bar in a Tab bar separate window show/hide button To apply the focus to a cell, click its Tab bar with the hand cursor. Its Tab bar turns darker. You can also use the Set Focus to Next/Previous Cell Window menu commands, or press control-‘ or option- control-‘. You can now apply cell-related features to Figure 10-8: Double-click the Tab bar to “pop” the window back into that cell, such as removing it as explained in the the Consolidated Window. next section. If you want to pop a window back into the GETTING RID OF A CELL Consolidated Window but its Tab bar is collapsed, To remove a cell from the Consolidated window, use the Tab bar show/hide button to expose it, or give it the focus (as explained in the previous use the keystroke shortcut (control-1). section), and then choose Close Cell from the mini-menu (or press control-w). You can also click its Tab bar close button. The cell can also be moved out of the Consolidated Window by dragging it as explained above or popping it out (see below).

POPPING WINDOWS IN AND OUT The empty space in the Tab bar of each cell constitutes its popout button. Double-click this area to move the cell out of the Consolidated Window and make it a separate window. The keystroke shortcut for this is control-1 (which pops out the cell that currently has the focus).

72 THE CONSOLIDATED WINDOW CHAPTER 11 Soundbites Window

OVERVIEW Quick Reference...... 74 This chapter assumes that you are familiar with Soundbites window mini-menu...... 74 terms like audio file, region, soundbite, playlist and Opening the Soundbites window ...... 75 audio track. If not, review chapter 4, “Hard Disk The Soundbite list ...... 75 Recording Concepts” (page 25). Soundbite Basics ...... 78 Mono and stereo audio ...... 79 As you work with AudioDesk, you’ll create many Importing and exporting audio ...... 79 soundbites. The soundbites window helps you Soundbite Management ...... 79 manage them. Think of the Soundbites window as Dragging and dropping soundbites ...... 83 your “catalog” of audio data. It lists all of the Working with multiple sample formats ...... 83 portions of audio that you are dealing with in the Converting sample rate or format ...... 83 project. It helps you keep the ones you want and Automatic conversions...... 83 throw away the ones you don’t. Reload Soundbite ...... 84 Replace Soundbite ...... 84 Viewing more Sound File Information ...... 84 Edit in waveform editor ...... 84

Soundbite View By Columns list menu

Figure 11-1: The Soundbites window serves as a catalog and “command center” for all of the audio files in a project.

73 QUICK REFERENCE Create New Folder: Lets you add a new folder to the Soundbite list: The soundbite list shows detailed soundbite list. This command is only available settings for each soundbite. when Folders is chosen in the View by menu at the top of the Soundbites window. Columns: Each column displays one piece of information about a soundbite: name, sound file, Select unused soundbites: Highlights all duration, sample rate, sample format, timestamp, soundbites in the list that are not currently being and so on. You can choose which columns to show used in any tracks in any sequence in the file. Once and how they are ordered. highlighted, these soundbites can be removed from the list or deleted entirely from their parent audio View By menu: This controls how the soundbites file. (Note that the audio data itself is not removed how are sorted: by name, sound file, duration, by deleting. See Compact below.) sample rate, and so on. Compact: Caution! Unlike Delete, this command Search box: Searches soundbite names and audio actually removes audio data from the hard disk. file names for the entered text. As you type a search Compact removes all portions of the parent audio term, the window will update in real-time to file of the currently selected soundbite(s) which are display the relevant results. not defined as a region in the audio file region list. This command can be used to remove unused SOUNDBITES WINDOW MINI-MENU audio data in one or more audio files to free up New Audio File...: Creates an empty mono or stereo space on the hard disk. audio file on your hard drive. Convert Audio File: Opens a dialog box that lets New Audio File from Selection: Creates a new, you change the sample rate, sample format, file separate audio file on your hard drive based on the format, and/or interleaved format of the currently currently selected soundbite. In other words, the selected soundbites in the list. Several levels of new audio file will contain a copy of the currently quality are provided. For more information, see selected audio. “Converting sample rate or format” on page 83. Import Audio: Opens a dialog box that allows you Automatic Conversions Settings: Opens the to audition and load audio files and/or individual Automatic Conversions preferences where you soundbites (regions). This is the same as the Import configure how AudioDesk automatically converts Audio command in the File menu. audio data, wherever necessary, to make it conform Export Selected Bites: Lets you save the currently to the current project’s sample rate. selected stereo soundbite(s) in a variety of file Remove From List: Deletes the soundbite from the formats, including AIFF, WAVE, Sound Designer Soundbites window list without deleting its II, and MP3. corresponding region in the audio file region list. Columns Setup: Lets you shown and hide the Delete: Removes the selected soundbites from the columns in the Soundbite list. list, removing AudioDesk’s reference to the data from the Soundbites window. If the soundbite is

74 SOUNDBITES WINDOW the last one in the parent audio file to be deleted, AudioDesk asks if you would like to delete the parent audio file entirely.

OPENING THE SOUNDBITES WINDOW To open the Soundbites window, choose Project menu>Soundbites, or press its keystroke shortcut, shift-B. Figure 11-3: Double-click or option-click any column title in the Soundbites window to open the Columns Setup dialog. THE SOUNDBITE LIST The Soundbite list (Figure 11-2) provides a Rearranging soundbite list columns complete list of all soundbites in the AudioDesk To rearrange the order of the columns, drag the project, along with detailed information about label at the top of a column to the left or right. each soundbite. AudioDesk saves your customized column arrangement in the AudioDesk preferences file, so Showing/hiding columns in the soundbite list it is remembered in all of your AudioDesk files. Figure 11-1 at the beginning of this chapter (page 73) shows the default information shown in Soundbite list quick reference the soundbite list. The Columns Setup mini-menu Here is a brief explanation of each column in the item lets you show and hide columns as desired. soundbite list. (As a shortcut, double-click or option-click the label at the top of one of the columns to open this Move Handle: Drag up or down to reposition the dialog.) Figure 11-2 below shows all of the soundbite in the list. Also use it to drag and drop columns. the soundbite into other windows or the Mac OS desktop. When dropping it into an audio track in the Edit window, hold down the command key while dragging to make it “snap” to the end of the previous soundbite in the track. A question mark icon on the move handle means that AudioDesk does not currently know the location of the audio file containing the soundbite. The soundbite can’t

Figure 11-2: The soundbite list with all detail columns shown.

75 SOUNDBITES WINDOW be played and its waveform can’t be displayed. An Interleaved Format: Displays the interleaved ‘X’ icon on the move handle means that AudioDesk format (mono, non-interleaved, or interleaved) of cannot currently play the soundbite for some the sound file the soundbite is from. reason. For example, it may be located on a hard disk that isn’t supported by your hard disk Creation Time: Displays the date and time that the recording hardware, or it may not match the soundbite was created. current sample rate setting of your audio hardware. Source: Explains briefly how the soundbite was For details, see “Lost soundbites” and “Finding lost created. soundbites” on page 80. DSP: The DSP column shows the soundbite’s Name: Displays the name of the soundbite preference settings for transposing and time (region). Click the name to select it. To hear it play scaling. These settings determine what happens (or back, turn on Audible Mode in the Control Panel does not happen) when you attempt to pitch-shift and then click it. Option-click to pop-edit the to time-scale the soundbite. Each soundbite can name. Double-click the name to edit the soundbite have its own unique settings. For complete in a third-party audio editor such as Bias Peak™. information about these preferences, how to set Original time: The time at which the soundbite was them, and what the results will be, see “Soundbite originally recorded (or created), regardless of preferences for PureDSP” on page 241. where it currently resides. If a soundbite does not File: This is the name of the audio file that contains have an original time stamp (perhaps it was created the soundbite. Double-click to replace or relocate in an earlier version of AudioDesk that didn’t the soundbite. Option-click to change the name of support time stamping), then no time is shown. the audio file. For details, see “Show times” on page 224. Disk: Shows the name of the disk on which the User time: Displays the soundbite’s user time audio file resides. stamp, if it has one. A user time stamp can be applied to a soundbite at any time with the Time Shortcuts for finding soundbites in the Stamps command in the Audio menu. If a Soundbite list soundbite does not have a user time stamp, then no The shortcut for selecting a soundbite in a track in time is shown. For details, see “Show times” on the Edit window and then viewing that soundbite page 224. in the Soundbites window is command-option- control-L. Duration (real time): Indicates the length of the soundbite in hours, minutes, seconds, and A keystroke shortcut is also available for viewing hundredths of a second. the selected soundbite in the Sound File Information window, command-option-control- Sample Rate: Indicates the rate in samples per A. second at which the audio data making up the soundbite was sampled. View By menu The View By menu at the top of the Soundbites Format: Displays the bit depth (e.g. 16-bit or window is a powerful sorting feature that allows 24-bit) of the audio data in the soundbite. you to view soundbites hierarchically by the characteristics shown below in Figure 11-4:

76 SOUNDBITES WINDOW Here are a few other examples: you could sort by Time Created to find a soundbite you recorded during a particular recording session. Or you could sort by Channel Format to view all stereo soundbites currently being used.

Organizing soundbites into folders The Soundbites window allows you to create your own folders and then view soundbites By Folder. To create a folder, first view By Folder and then choose Create New Folder from the Soundbites window mini-menu. A new Folder appears, either at the bottom of the list or just below the currently selected item in the list. You can then drag Figure 11-4: Hierarchical sorting in the Soundbite list. soundbites into it using their move handles. When you choose an item from the View By menu, the Soundbites window sorts all soundbites alpha- ☛ When creating a new folder, you may need to betically and/or numerically based on what you scroll to the bottom of the list to see the new folder. choose, displaying soundbites hierarchically ☛ beneath the attribute that you choose, with Command-double-click a folder (or any other disclosure triangles so that you can show/hide all of ‘view by’ container) to select all soundbites in it. the soundbites for a certain attribute. For example, Soundbite source if you sort by soundfile, audio files will be listed The Soundbites window displays the source of each alphabetically with a disclosure triangle that shows soundbite (as shown in Figure 11-6), to provide the soundbites indented to the right beneath it, as you with information about where it came from. demonstrated below in Figure 11-5: For example, the source might say “Transpose from Guitar.1” or “Bounce”. This setting can often help you trace the relationships between soundbites.

Viewing soundbite sources hierarchically with ‘By Folder’ view The By Folder view has one additional feature over other views: it displays the sources of soundbites and newly generated audio files hierarchically, so that you can trace their origins. For example, if you use the Edge Edit Copy feature to make a new soundbite from an existing soundbite, the new soundbite will be listed below the original with an indentation to the right. If you make yet a third soundbite from the second, it will be listed below the second and further indented to the right. This Figure 11-5: Sorting by soundfile. is demonstrated in Figure 11-7:

77 SOUNDBITES WINDOW ■ by dragging the soundbite’s move handle onto the folder name in the name column. In this case, the soundbite will be put at the top of the list inside the folder. ☛ If you drag the soundbite’s move handle onto the folder icon, the soundbite will not be placed in Figure 11-7: The ‘By Folders’ view shows the origins of soundbites by displaying them below their source soundbite or audio file. In this the folder. Instead, it will be placed below the folder example, ‘JF #1 Scat.2’ was created by duplicating ‘JF #1 Scat.’ And ‘JF in the list. #1 Scat.3’ was created by edge-editing ‘JF #1 Scat.2’. There is no limit to the number of possible levels in SOUNDBITE BASICS the hierarchical display shown in Figure 11-7. And A new soundbite is created in AudioDesk every this sort of hierarchical grouping only occurs for time you record audio. For example, when you audio files generated from existing files by record-enable an audio track, hit the record operations (such as PureDSP time-stretching, file- button, play in some audio, and press stop, you based plug-in processing from the plug-ins menu have just created a soundbite in the track. In in the Audio menu, etc.) or from soundbite editing addition, the soundbite gets added to the list in the operations (such as Edge Edit Copy) where there is Soundbites window. New soundbites are also a clearly defined source soundbite. generated when you apply file-based DSP operations to existing soundbites, or perform a You can separate hierarchically related items by bounce to disk operation. Any time you create new dragging them elsewhere in the list, but the visual audio, a soundbite is added to the soundbite list. representation of their relation to one another cannot be later restored once you’ve done so. Generating soundbites while editing Soundbites can also be created in AudioDesk with Dragging soundbites into folders soundbite editing commands like Trim and Split. In ‘By Folder’ view, there are two ways to put a For example, when you select a portion of the soundbite into a folder: existing soundbite and choose Trim, the unselected portions get stripped away, and the ■ by dragging the soundbite’s move handle into highlighted portion that you are left with is a new the name column to manually determine its soundbite. As always, the new soundbite gets position in the list, or added to the list in the Soundbites window.

Figure 11-6: The Soundbites window displays where a soundbite came from in the Source column. In this example, the soundbite list is being sorted by source, as well. 78 SOUNDBITES WINDOW MONO AND STEREO AUDIO portions of audio that you are dealing with in the Soundbites may be mono or stereo. AudioDesk file. It helps you save the ones you want to keep and does not support multi-channel (surround) audio throw away the ones you don’t. files. If you need to work in surround, upgrade to Digital Performer. Sorting the soundbites list The View by menu at the top of the Soundbites When using interleaved audio files, a stereo window lets you sort soundbites by any criterion soundbite stores all of its channels in one file. shown in the list. For details, see “View By menu” on page 76. When using non-interleaved, a stereo soundbite comes from a stereo pair of files that have the same Auditioning soundbites with Audible Mode name (except that one contains ‘.L’ and the other There are two ways to audition (play back) a ‘.R’, as in “Guitar-1.L.wav” and “Guitar-1.R.wav”), soundbite in the Soundbites window: the same length, the same sample rate, and the 1 same sample format. Click the Audible mode button in the Control Panel so that it is highlighted. When using the non-interleaved format, you can’t 2 really tell the difference from within the program. Click the name of the soundbite you wish to You can think of a stereo soundbite as a single hear. soundbite that just happens to have individual 3 To stop playback, wait for the soundbite to finish channel components. But the channels are tightly playing, or click the mouse. linked; there is no way to accidentally shift one relative to the other. Even AudioDesk’s pitch- Alternately, you can do the following, regardless of shifting and time-scaling features preserve the whether the Audible mode button is highlighted or phase relation between the left and right channels not: of stereo soundbites. 1 Highlight the name of the soundbite you wish to IMPORTING AND EXPORTING AUDIO hear. AudioDesk provides a variety of methods for importing and export audio to and from the 2 Option-click the Audible Mode button. Soundbites window. See chapter 13, “Import and Export” (page 89). 3 To stop playback, wait for the soundbite to finish playing, or click the mouse. SOUNDBITE MANAGEMENT As you work with AudioDesk, you’ll create many Changing the audio output for auditioning soundbites. The Soundbites window helps you See “Specifying audio output for auditioning” on manage them. Think of the Soundbites window as page 204. your “catalog” of audio data. It lists all of the

79 SOUNDBITES WINDOW Renaming a soundbite To rename a soundbite in the soundbites window, option-click its name.

Figure 11-9: AudioDesk displays this icon when it does not currently know the location of the audio file containing the soundbite.

Finding lost soundbites If AudioDesk does not know the location of a soundbite as shown in Figure 11-9, you can remind Audio file AudioDesk where it is using the Replace Soundbite command in the Audio menu. Click the name of Audio data the soundbite to highlight it and choose Replace Soundbite from the Audio menu. For more Regions Playlists information, see “Replace Soundbite” on page 267. Phasor Loop Phasor Loop-02 Soundbites that cannot be played If a soundbite cannot be played back for some reason (perhaps its sample rate doesn’t match the Figure 11-8: Renaming a soundbite. current sample of the project), AudioDesk displays When you change the name of a soundbite, an “X” icon as shown below: AudioDesk updates the name of the corresponding region in the audio file. For example, if you use the Split command to create a new soundbite, it appears in the Soundbites window with a name like Soundbite.3. AudioDesk adds a new region to the Figure 11-10: AudioDesk displays this icon when it cannot play back audio file region list called Soundbite.3 as well. At the soundbite for some reason. this point, if you viewed the audio file’s region list with third-party waveform editing software, you If necessary, you can convert the soundbite’s would see Soundbite.3 in the audio file’s region list. sample rate using the Convert Sample Rate or If you change the name of Soundbite.3 to Low Format mini-menu item. whistle in AudioDesk’s Soundbites window, Selecting unused soundbites AudioDesk updates the name of Soundbite.3 to While you work with AudioDesk, you may find Low whistle in the audio file region list as well. that you have many soundbites in the list, but some Lost soundbites of them are not going to be used in the sequence At times, AudioDesk may lose track of the location and are no longer needed for any other purpose. of an audio file. For example, the audio file may The Select unused soundbites command searches have been dragged to the trash since the through every track in every sequence in the file to AudioDesk file was last saved. Or the hard disk on determine which soundbites are being used in a which the audio file is located may be off line at the track and which ones are not. It then highlights all moment. In this case, AudioDesk displays the move handle of the soundbite with a question mark as shown below: 80 SOUNDBITES WINDOW the soundbites that are not being used. Once Deleting soundbites that are currently being highlighted, you can inspect, audition, delete, or used in a track group them as desired to clean up the list. If a soundbite you are deleting is being used in a track, AudioDesk presents a warning box as shown To select unused soundbites, choose Select unused below. soundbites from the Soundbites window mini- menu. All soundbites that are not being used in a track become highlighted in the Soundbites window list.

Deleting soundbites The Delete command in the Soundbites window mini-menu removes currently selected soundbites Figure 11-12: Hold down the option key while choosing Delete from the mini-menu to bypass this warning. from the list. In addition, the soundbite’s corresponding region is removed from the audio Removing soundbites from the soundbites list file region list as shown in Figure 11-13 below without deleting their corresponding region in (unless the region is being used as part of a playlist the audio file in the audio file). There may be times that you wish to delete a soundbite from the list, but you do not want to Note that the Delete command will only delete the delete its corresponding region in the audio file actual audio data when the last soundbite referring region list as shown in Figure 11-13 on page 82. For to an audio file is deleted. If you want to delete just a example, the region might be part of a sequence in portion of the audio data from an audio file, use the another AudioDesk project. In this situation, use Compact command. See “Compacting audio files” the Remove from list command. on page 86. If you do not want AudioDesk to remove the region from the audio file region list Once this command severs the connection (because it is used in another AudioDesk project, between the soundbite and the region in the audio for example), use the Remove from list command file, you won’t have access to the region unless you described in the next section. import it again. (See “Importing and exporting

Audio file (before deleting) Audio file (after deleting)

Audio data Audio data

Regions Playlists Regions Playlists Gruve Fill Mini Fill

Figure 11-11: Deleting soundbites removes their corresponding region in the audio file. Just the region and its pointers are removed; not the actual audio data.

81 SOUNDBITES WINDOW audio” on page 79.) Also, after removing a Bypassing warning dialogs when deleting soundbite from the list, you cannot compact its audio files audio data without first importing it and then You can bypass warning dialog boxes by holding deleting the soundbite. (See “Compacting audio down the option key while you choose Delete or files” on page 86 for more information.) Remove from list from the mini-menu. AudioDesk proceeds as if you answer Yes to the alerts. Deleting the last soundbite in an audio file If you delete a soundbite, and it is the last soundbite Deleting an audio file that contains regions belonging to a particular audio file, AudioDesk If an audio file contains regions, but you are asks you if you wish to completely remove (delete) absolutely sure that you want to throw away the file, the audio file from the hard disk: you can do so by dragging the file into the trash in the Finder.

Getting rid of unused soundbites after a session After a recording session with AudioDesk, you can quickly get rid of all the soundbites that you did not use in a track as follows:

1 Choose Select unused soundbites from the Remember, AudioDesk is cautious about deleting Soundbites window mini-menu. audio data: it never deletes audio data that is This highlights all soundbites that are not being possibly being used in other files. Therefore, if an used in a track. audio file has regions in its regions list, AudioDesk won’t allow you to accidentally delete it. 2 Hold down the option key and choose Delete from the Soundbites window mini-menu.

All of the highlighted soundbites are removed from the list, and their parent audio files are deleted from the hard disk.

Audio file Audio file (before ‘Remove from list’) (after ‘Remove from list’)

Audio data Audio data

Regions Playlists Regions Playlists Gruve Fill Gruve Fill Mini Fill Mini Fill

Figure 11-13: The Remove from list command leaves the region list in the audio file untouched. You can re-import the soundbites later, if desired.

82 SOUNDBITES WINDOW Compacting audio files WORKING WITH MULTIPLE SAMPLE The Compact command in the Soundbites window FORMATS mini-menu deletes portions of an audio file that are AudioDesk can use 16-bit integer and 24-bit not part of a soundbite and then closes the gaps integer audio files together in the same project, between the leftover regions. For more without any conversions. information, see “Compacting audio files” on page 86. CONVERTING SAMPLE RATE OR FORMAT The Convert Sample Rate or Format command in DRAGGING AND DROPPING SOUNDBITES the Soundbites window mini-menu allows you to You can “drag and drop” soundbites into the Edit change the sample rate, sample format (bit depth), window, the Mac desktop or any window in the file format (AIFF, Broadcast WAVE, or Sound Finder. To do so, grab the move handle of the Designer II), or interleave format of an audio file or soundbite as shown below in and drop it into the soundbite. Like AudioDesk’s other file-based desired window. “constructive” DSP processes, these operations can occur in the background. For complete details, see In the Edit window the soundbite is placed at the chapter 42, “Audio File Conversion” (page 355). point in the track you drop it onto. If you hold down the command key while dragging, the AUTOMATIC CONVERSIONS soundbite will “snap” to the end of the previous AudioDesk can automatically convert audio data soundbite from the drop point or to the beginning wherever necessary to make it conform to the of the track. For more information, see “Dragging current project’s sample rate. Because processing is and dropping audio into the Edit Window” on initiated automatically and carried out via page 216. background processing (for lengthy operations), these auto-conversion features greatly streamline For more information about dragging and the process of importing audio quickly into your dropping soundbites to and from the Mac OS projects, or the process of converting the entire Finder (to import and export them), see project to a different sample rate. For complete “Importing and exporting audio by drag & drop” details, see “Automatic Conversions” on page 107. on page 91.

Figure 11-14: Dragging and dropping Soundbites into the Edit window. .

83 SOUNDBITES WINDOW RELOAD SOUNDBITE VIEWING MORE SOUND FILE INFORMATION Reload Soundbite (Audio menu) updates a To view more information for a soundbite or sound soundbite to match its corresponding region in the file, such as the length in samples, the creation or audio file. For example, if you trim the edges of a last edited date & time, Automatic Conversions region with other software, the Reload Soundbite settings, sync point, and more, use the Sound File command updates the soundbite in your Information window. AudioDesk project to use the new edge boundaries. This command is useful after using the For details on the Sound File Information window, Edit in Waveform Editor command (see below). For see “Sound File Information” on page 240. more information, see “Reload Soundbite” on page 264. EDIT IN WAVEFORM EDITOR The Edit in Waveform Editor command (Audio REPLACE SOUNDBITE menu) switches you directly into a third-party Replace Soundbite replaces a soundbite with a waveform editor for pencil tool editing of the completely different region. For example, if you waveform and other tasks. For details, see “Edit in have inserted a soundbite called Riff in many places Waveform Editor” on page 267. throughout your sequence, but later you record a better-sounding riff, you can quickly replace the old one with the new one using Replace Soundbite. For more information, see “Replace Soundbite” on page 267.

84 SOUNDBITES WINDOW CHAPTER 12 Audio File Management

OVERVIEW RENAMING AUDIO FILES This chapter tells you: You can rename audio files at any time by editing the file name on the computer desktop or by ■ Where audio files are stored on disk Option/Alt-clicking its name in the Soundbites

■ How to manage the audio files associated with a window. In either case, AudioDesk automatically AudioDesk project updates the name in the other location so that they always match. ■ How to get rid of unused audio MOVING AUDIO FILES ■ How to reclaim hard disk space using the You can freely move audio files to any location you Compact command want and AudioDesk will automatically keep track The Audio Files folder...... 85 of them. You can even place them on a different Renaming audio files ...... 85 hard drive. If you are not sure where an audio file is, Moving audio files ...... 85 and you would like to find out, click one of its Working with multiple drives ...... 85 soundbites in the Soundbites window and look at Deleting audio files ...... 85 the information for the parent audio file in the Getting rid of unused audio ...... 86 Sound File Information window. If necessary, you Compacting an entire project...... 88 can make the window larger to see the entire path.

THE AUDIO FILES FOLDER If you copy a file onto another volume and delete As explained in “Components of an AudioDesk the original, AudioDesk will not know about it and Project” on page 57, each AudioDesk project will ask you to find it. includes an Audio Files folder (Figure 9-1 on page 57). WORKING WITH MULTIPLE DRIVES Since AudioDesk does not care on which hard The Audio Files folder keeps track of all of the drive you record and store your audio files, you can audio files for a AudioDesk project. In a new store audio files for a single AudioDesk project on project, takefiles are placed in the Audio Files folder several different hard drives. This can help improve by default. You can record an entire AudioDesk the overall disk performance of your system session without concern for the location of the because it distributes the intensive disk accessing audio files you record because AudioDesk will burden across more than one disk. automatically store them by default in this folder. However, audio files do not have to be located in DELETING AUDIO FILES this folder. For example, you might import an You can delete audio files by dragging them into the audio file into the project that is located on another trash or recycle bin. The only drawback to this hard drive. Or you might want to record audio on method is that you can’t view or audition the another hard drive that has much more free space regions that the file contains to verify that you don’t on it. (See “Checking the current takefile location” need them. If you want to inspect the soundbites in on page 179.) the audio file before deleting it, use AudioDesk’s

85 Soundbites window. Open the AudioDesk file aware that they permanently remove audio data, so associated with the audio file (or import its be careful when choosing what to delete. The next soundbites into AudioDesk) and do the following: few sections cover these techniques.

1 View by file name (using the View by menu the Selecting and deleting unused soundbites top of the window). The Soundbites window mini-menu has an item called Select Unused Soundbites. This command This groups the soundbites together by audio file. highlights all soundbites in the list that are not being used in any track in any sequence in the file. 2 If you want to check the soundbites by listening (For more information, see “Selecting unused to them, turn on the Audible Mode button (in the soundbites” on page 80.) Control Panel) and click them.

3 Drag over their names to highlight them.

4 Choose Delete from the mini-menu and answer Yes when asked if you would like to delete the audio file.

As a shortcut, hold down the Option/Alt key when selecting the Delete mini-menu command to bypass the warning dialog. You can delete the highlighted soundbites by choosing Delete from the mini-menu. GETTING RID OF UNUSED AUDIO AudioDesk provides several simple techniques for Compacting audio files permanently removing unused audio data from the After a recording session, you may wish to get rid hard drive. You can employ these techniques at any of all the data that ended up not being used in any time to generate more free hard disk space. Just be of the tracks to reclaim significant amounts of free space on the hard disk. Compacting is a process

All unused audio gets removed.

Audio file before compacting: Soundbite A Soundbite B Soundbite C

Audio file after compacting: Soundbite A Soundbite B Soundbite C

Figure 12-1: Compacting removes all audio data that doesn’t fall within an existing region. Depending on how much unused audio gets removed, this process can free up large amounts of space on the hard disk. 86 AUDIO FILE MANAGEMENT that deletes portions of an audio file that are not AudioDesk does not delete any regions in the audio part of a soundbite and then closes the gaps file, even if they are not used in the currently open between the leftover regions. AudioDesk file.

As shown in Figure 12-1, the unused data between Since compacting results in the erasure of audio soundbites is removed, and the remaining data on the hard disk, and possibly very large soundbites are placed end to end. Compacting amounts of audio data, this operation may take a conserves disk space by removing unwanted data few moments, depending on how much audio data from within a file, while preserving data being used is being removed. for soundbites. To compact one or more audio files: You can compact all audio files at once or individually. 1 (Optional) Choose Select unused soundbites from the Soundbites window mini-menu. When compacting occurs, there is only one criterion for determining if data is thrown out: This highlights all of the soundbites that are not being used in any track in the file. These are likely ☛ Is the data part of a region in the audio file’s candidates for disposal. region list? 2 Delete all soundbites from the Soundbites If the data is part of a region in the audio file’s window that you want to discard using the Delete region list, it is not deleted. command in the mini-menu.

If the data is not part of a region, it is deleted. If necessary, you can audition ones that you aren’t sure about using Audible mode. To delete the The key to successfully compacting a file is to make soundbite, highlight its name and choose Delete sure that the region list in the audio file contains from the mini-menu. Don’t use the Remove from list regions that you want to keep, and only those command—it will not remove the regions from their regions that you want to keep. audio files.

How do you do this? With the Soundbites window. 3 Highlight a soundbite from each audio file that If you delete a soundbite that you want to discard, you wish to compact. AudioDesk removes the soundbite’s corresponding region in the audio file’s region list (see “Deleting If you want to compact all the audio files, choose soundbites” on page 81), and the remaining audio Select All from the Edit menu (or press Command/ data is deleted when compacted. Conversely, Ctrl-A). soundbites that are not deleted are not compacted. 4 Choose Compact from the Soundbites window If any audio data in the audio file is being used by mini-menu. other AudioDesk files, it is not deleted by these commands as long as you have not deleted the The compacting operation may take some time. region from the audio file’s region list with After compacting, an alert box informs you that AudioDesk or other sample editing software. disc space won’t actually be reclaimed until after you flush the undo history, which permanently discards the data removed by the compact

87 AUDIO FILE MANAGEMENT operation. If you click Don’t Flush, then the they might take up hard disk space without you compacted data is preserved in the undo history, even knowing it. If this is the case, import the and you’ll still have a chance to recover it if you region into AudioDesk and then delete the change your mind. If you click Flush, then the undo soundbite with the Delete command. history is flushed, and the data removed by the compact operation is permanently discarded (and COMPACTING AN ENTIRE PROJECT therefore becomes unrecoverable). The Compact Project command (File menu) provides a unified, comprehensive way to discard unused audio, flush the undo history and reduce a project’s overall size on disk. Compact Project is specially designed to eliminate the items you choose in the dialog in the optimum order to achieve maximum efficiency in compacting the project.

Compacting won’t work if… You can use this feature at any time you wish There is one condition in which compacting won’t during the course of a project, but it flushes the do the right thing for you: if the data you want to entire undo history, so beware. This feature is get rid of exists as a region in the audio file and particularly useful for project archiving, as it can there is no corresponding soundbite for it in significantly reduce the amount of disk space used AudioDesk’s Soundbites window. This situation by the project, making it much easier to archive. can arise if: ☛ Warning: Compact Project affects the original ■ the region wasn’t created in the current project, and it permanently discards data that is AudioDesk file flushed during the compacting process. OR

■ at some point you highlighted the region and chose the Remove from list mini-menu command, which removes the soundbite name from the Soundbites window but doesn’t delete the corresponding region from the audio file region list. The first case is rare. It isn’t often that you want to delete a region from anywhere other than the file it was first created in. Otherwise, the region is probably there for a purpose — and therefore you don’t really want to delete it.

To avoid the second case, only use the Remove from list command with soundbites you are absolutely Figure 12-2: The Compact Project command. sure that you will never want to discard. Otherwise,

88 AUDIO FILE MANAGEMENT CHAPTER 13 Import and Export

OVERVIEW EXPORTING A PROJECT This chapter provides a summary of the numerous AudioDesk can export projects in several other file importing and exporting features in AudioDesk. formats:

Importing project files in other formats...... 89 ■ OMF interchange Exporting a project ...... 89 ■ AAF interchange Exporting selections ...... 90 Importing and exporting audio...... 90 ■ Digital Performer Bouncing audio files ...... 94 ■ AudioDesk (earlier versions) IMPORTING PROJECT FILES IN OTHER FORMATS To export a AudioDesk project to a different file Use the Open command in AudioDesk’s File menu format: to open the following types of files: 1 In the Sequence window, play-enable the sequence that you wish to save. ■ Files created in earlier versions of AudioDesk and Performer 2 Choose Save A Copy As from the File menu. ■ Files created in AudioDesk™ 3 Choose the desired file format from the Format ■ OMF interchange files menu.

■ AAF interchange files 4 Click Save to activate the conversion. After choosing one of these files in the Open dialog, a message will appear informing you that 5 If you are saving an OMF/AAF interchange AudioDesk is converting file formats, if necessary. document, you’ll now see another window with The file will open as a AudioDesk file. several options that are specific to that file format.

Importing OMF/AAF files via drag and drop Exporting to earlier versions of AudioDesk You can import OMF and AAF interchange AudioDesk is constantly being updated and documents (with the .omf or .aaf file name developed. Due to these changes, projects saved in extension) by dragging and dropping them into the the current version cannot be opened in earlier Sequence window. versions of AudioDesk. If for some reason you need to work with a project in an earlier version, AudioDesk lets you export projects in any format as far back as AudioDesk Version 1.0. Just use the procedure described in “Exporting a project” on page 89.

89 When saving to older versions of AudioDesk, the To import using the Import Audio command, audio files in your project may need to be choose Import Audio from the File menu (or the converted if they are not compatible with that Soundbites window mini-menu). You’ll see the version of AudioDesk you are saving to. If this is the standard file window (as shown below in case, a dialog will prompt you that the audio must Figure 13-1). In this window, you can import be copied and converted to a supported format. individual regions from an audio file (unlike drag & drop into the Soundbite list, which imports all The following audio file formats are not supported regions), and you can audition them before in AudioDesk 5.13 or earlier: importing. (See “Specifying audio output for auditioning” on page 204.) ■ AIFF

■ Broadcast WAVE

■ interleaved

■ 32-bit floating point

Exporting to Digital Performer AudioDesk can export projects to Digital Performer via the procedure described in “Exporting a project” on page 89.

Exporting to OMF or AAF AudioDesk can export projects to OMF and AAF files. See chapter 14, “Project File Interchange” (page 95).

EXPORTING SELECTIONS

Exporting a selection as a clipping file To export the currently selected audio as a clipping, choose File menu > Export > Selection As Clipping File. See chapter 35, “Clippings” (page 277) for more information about clippings.

IMPORTING AND EXPORTING AUDIO The Soundbites window (chapter 11, “Soundbites Window” (page 73)) provides many features for exporting and importing digital audio into and out of AudioDesk. Many audio file formats are Figure 13-1: Importing audio. On Mac OS X, click the audition button supported. (circled) to turn on auditioning. This allows you to hear individual audio regions when you click them. Click the Add button to add them to the list of regions you would like to import. As you can see, this Importing audio with the Import Audio window lets you import individual audio regions. command The Import Audio command lets you to browse audio files and soundbites before importing.

90 IMPORT AND EXPORT Video sound tracks, MP3 files and many other Loading soundbites from other AudioDesk types of audio files can be auditioned in the Import files Audio dialog. You may encounter a situation in which you have created soundbites in another AudioDesk file and AudioDesk can natively use interleaved or you would like to work with them in the current deinterleaved 16-bit, 24-bit, or 32-bit floating point AudioDesk file. To load soundbites from another audio files in AIFF and WAVE formats. AudioDesk file, use the Load command in the File menu and check the Soundbites option. For Other types of audio files are converted into the details, see “Loading a sequence from another file” project audio file format for use in AudioDesk. For on page 64. a list of audio file types that can be imported, see “Audio file formats that can be imported” on Converting soundbites that cannot be played page 91, and for details on the conversion settings, When you import soundbites into AudioDesk, it see “Automatic Conversions” on page 356. may be the case that they cannot be played properly. For example, the imported audio’s sample Importing and exporting audio by drag & drop rate might not match the playback sample rate AudioDesk supports standard drag and drop currently chosen in the Configure Hardware dialog techniques for importing audio files from the box. In this case, AudioDesk can automatically computer desktop into any window in AudioDesk convert the audio to the project’s sample rate, that holds audio, such as the Soundbites window. sample format and even tempo. For complete This is true for all of the supported file formats details, see “Automatic Conversions” on page 356. listed in “Audio file formats that can be imported” on page 91. If the imported file does not match one If an audio file has a sample rate that does not of AudioDesk’s supported native formats, match the current sample rate setting in the AudioDesk can automatically convert the file for Configure Audio System > Configure Hardware you. Driver command in the Setup menu, it appears with an “X” on its move handle in the Soundbites Soundbites can be exported in a similar fashion by window, as shown in Figure 11-10 on page 80. You grabbing their move handle in the Soundbites can play the audio file either by changing the window and dragging them to the computer sample rate setting in the Configure Hardware desktop (or any window on the computer dialog to match the audio file, or by changing the desktop). sample rate of the audio file itself with the Convert Audio File command in the Soundbites window Importing an entire audio file mini-menu. For more information, see chapter 42, The easiest way to import an entire audio file is to “Audio File Conversion” (page 355). drag and drop it into a track in AudioDesk’s Edit Window. Make sure the track type (mono or Audio file formats that can be imported stereo) matches the audio file. You can also import AudioDesk is able to import the following audio an entire audio file using the Import Audio File file formats: menu command as described in the previous few sections. ■ AIFF

■ WAV

■ Broadcast WAV (non-MPEG)

91 IMPORT AND EXPORT ■ Sound Designer II Importing REX files Recycle 1.0 and 2.0 REX files can be imported into ■ mp3 AudioDesk, either by dragging and dropping them ■ Acid from the computer desktop into a mono or stereo audio track, or by using the Import Audio ■ REX (and RCY) command (File menu). Recycle 1.0 RCY files can ■ Apple Loops (AIFF or CAF) also be imported.

■ Core Audio Format (CAF) Importing a REX file into a track ■ QuickTime movies When you drag and drop a REX file into a track, be sure that the track format (mono or stereo) ■ AV I m o v i e s matches the REX loop. As shown in Figure 13-2,

■ Audio CD files the individual audio slices in the REX loop are placed in the track at the appropriate measure, beat ■ MuLaw files and tick location to preserve the feel of the loop at You can import any of the file formats above by the current tempo of the sequence. After dragging the file into AudioDesk and dropping it importing, each slice of the REX loop is treated as into the Soundbites window or — in most cases — in individual soundbite, both in the track and in any window that holds audio. the Soundbites window.

If you drag and drop an audio file into AudioDesk’s If you change the tempo, the REX slices will Soundbites window, all of the regions in the audio “breath” with the tempo, staying precisely in time file are imported. with the time line. When they are first imported, REX slice soundbites are given the Don’t time scale attribute in the Soundbites window, so each

Figure 13-2: Importing a REX file into a track. Each slice is placed as a separate soundbite to conform to the sequence’s meter and tempo.

92 IMPORT AND EXPORT individual slice won’t be automatically time- Acid file and Apple Loop import stretched when the tempo is changed. However, AudioDesk can import Acid WAV and Apple Loop you can easily change this attribute to Time Scale in AIFF files. To do so, drag and drop the Acid or the Soundbites window, as explained below. Apple Loop file into the Soundbites window or into an audio track of the same format (mono or Importing REX files into the Soundbites window stereo). Or import them as usual using the Import You can import REX files using the Import Audio Audio command in the Soundbites window mini- command in the Soundbites window mini-menu menu (or the File menu). If the file has a tempo, the (or the File menu). This opens the audio import tempo will be imported with the audio so that it window, in which the REX file can be auditioned will automatically conform to the sequence tempo before importing. Just enable auditioning by when placed in a track, as long as automatic tempo clicking the speaker button and the click on the conversion (as explained in “Automatic REX file in the file list. After importing, all of the Conversions” on page 107) is enabled. REX file’s individual slices are handled as individual soundbites, with no further grouping or Audio file exporting association. Therefore, it is better to drag and drop The Export Selected Soundbites command in the a REX file into a track, where you can then loop, Soundbites window mini-menu can export any repeat or cut/paste it as a whole loop. soundbite in the file formats shown in Figure 13-3 for Mac and Windows. Viewing REX loop slices and changing their time- stretch attribute You can easily view all of the soundbite slices that belong to a REX file with the Soundbite window’s sorting features. Just view by file name, and the REX file will appear with a disclosure triangle next to its name that lists all slices below it. If you wish to change the time scale attribute of the slices, select them and open the Sound File Information window, and choose either Time Scale or Don’t Time Scale for the Time Compress/Expand soundbite attribute. You can do so for multiple selected soundbites (REX slices) at one time. If you don’t time scale the slices, you might (but are unlikely to) hear gaps between the slices when using the loop at a tempo that is considerably less Figure 13-3: The audio export file formats. than its original tempo. Most of the time, however, For the Mac OS X Core Audio Export formats, you will get better results with the Don’t Time Scale stereo soundbites are exported in the interleaved setting, which preserves the audio slices in their stereo version of these formats. original form (tempo). For more details, see “Sound File Information” on page 240. For further information about exporting to the MP3 file format, see “Bouncing to MP3” on page 372, as MP3 export works the same way for bouncing as it does for exporting.

93 IMPORT AND EXPORT Saving an audio export preset To create and save an audio export preset, check the Save Settings as Audio Export Format option in the audio export dialog (Figure 13-3). If there are any additional settings required, they will appear in subsequent dialogs. Then, you’ll be asked to name your export preset. After a preset has been saved, it appears in the audio export file format menu (shown in Figure 13-3) for your convenience, as well as the Bounce to Disk format menu. To use an export preset, simply choose it from the menu when bouncing or exporting. These presets are saved as a preference, so they are not project- specific. They are global to all projects.

BOUNCING AUDIO FILES AudioDesk’s Bounce to Disk feature is a powerful and convenient way to export material, from small phrases to entire mixes. See “Bouncing to Disk” on page 372.

94 IMPORT AND EXPORT CHAPTER 14 Project File Interchange

OVERVIEW ■ Dragging to the Sequence window AudioDesk can exchange projects with other When you open an OMF or AAF file, you will be applications using industry-standard formats such prompted to choose a project name and location as OMF, AAF, and Final Cut Pro XML. AudioDesk’s for the project files. Any audio files which need to support for import and export of these formats is be extracted (such as with OMF or AAF files built-in — no additional software is needed containing embedded audio) will be copied to the (though the other application you’re interchanging project’s Audio Files folder. with may require additional plug-ins or add-ons to import the files). General recommendations for import First and foremost, please read all documentation Introduction to OMF and AAF ...... 95 regarding OMF and AAF interchange for the Importing OMF/AAF files ...... 95 application you will be interchanging with. In Exporting OMF/AAF files ...... 96 many cases, a broad choice of compatible settings INTRODUCTION TO OMF AND AAF are available; understanding those settings will OMF interchange (Open Media Framework assist you in creating the best OMF or AAF file for Interchange, sometimes abbreviated as OMFI) and use in AudioDesk. AAF (Advanced Authoring Format) are file formats used to interchange projects and their Keeping your files organized and properly labeled audio files between different applications. prior to exporting will make interchange much easier — files will have descriptive names and you AudioDesk has the ability to import and export won’t need to worry about missing files. However, AAF 1.0 and OMF 2.0 session files for interchange note that some applications may rename audio files with other OMF and AAF-compliant applications. when exporting as OMF or AAF. You should be able to exchange both AAF and OMF sessions with any application that supports Guidelines for creating OMF and AAF files for use in AudioDesk AAF (1.0) or OMF (1.0 or 2.0) session interchange. ■ AudioDesk can import OMF and AAF files using AudioDesk’s implementation has been mostly WAVE, AIFF, Sound Designer II, or embedded tested with Pro Tools, Logic Pro, Cubase and Avid audio. AudioDesk does not import MXF audio. Xpress. ■ AudioDesk can import OMF & AAF files using IMPORTING OMF/AAF FILES 16 and 24 bit audio. OMF and AAF files can be opened like a regular ■ Video files embedded in or referenced by OMF AudioDesk project: and AAF files are ignored when imported into

■ Using File menu > Open AudioDesk.

■ Double-clicking the file on your computer ■ AudioDesk can accept OMF or AAF files at any desktop of the frame rates AudioDesk can use as its project frame rate: 23.976, 24, 25, 29.97 (drop & non- ■ Dragging to the AudioDesk dock icon drop), and 30 (drop & non-drop). Files at HD

95 frame rates of 50, 59.94 (drop & non-drop), and 60 EXPORTING OMF/AAF FILES (drop & non-drop) can also be imported, but the To export an OMF or AAF file, choose Save As or frame rate is set to the corresponding half rate. Files Save a Copy As from the File menu, and then at other frame rates can also be imported, but their choose OMF Interchange or AAF Interchange from frame rates are not supported and you must choose the Format menu (Figure 14-1). The OMF/AAF one of AudioDesk’s supported frame rates. Export Options window appears (Figure 14-2).

■ When exporting OMFs for use in AudioDesk, choose OMF 2.0 over 1.0 whenever possible. If no choice is provided, check the application’s documentation to find out which OMF version is exported. Though OMF 1.0 files will generally import into AudioDesk without issue, OMF 2.0 is strongly recommended for the most robust OMF interchange.

■ Fades can be saved as part of the OMF/AAF file; however, different host applications may handle this fade data differently (including ignoring them entirely). To ensure consistent fades between hosts, choose to export the fades as separate regions. This Figure 14-1: AudioDesk can import and export OMF and AAF files. is somewhat less flexible, as those fades are now OMF/AAF export options regular audio regions, but it ensures consistent Other applications support varying degrees of results. Most hosts will include enough extra audio OMF and AAF interchange support, depending on around the abutting regions to allow you to delete the application and version. For example, some the fade and trim out the original audio regions, older versions of Pro Tools only support OMF files should you wish to change your fade. Check your with 16-bit audio, but newer versions support 16- application’s documentation to see how it handles or 24-bit. Similarly, other applications that support fades. If it supports fades as OMF/AAF effects, OMF and AAF interchange also have varying make a short test file to ensure that they translate degrees of support for these interchange files into AudioDesk as intended. formats. As a result, AudioDesk provides numerous interchange options to give you the broadest possible compatibility across the board. Here is a brief explanation of the OMF/AAF export options shown in Figure 14-2.

96 PROJECT FILE INTERCHANGE Because the AudioDesk Project and OMF/AAF file refer to the same set of audio, use this option when you are making permanent (“destructive”) changes to the audio data in the audio files that you would like to be reflected in both AudioDesk and the program you are interchanging with. For example, you might be removing clicks and pops, normalizing, etc. It can also help to simply save disk space when you are interchanging with another application on the same computer.

The References existing audio files option will be unavailable if:

■ Yo u’ v e c h o s e n t h e Quantize edits to frame

Figure 14-2: The OMF/AAF Export Options. boundaries option, which requires you to use the Consolidate audio files option. The ‘Enforce Compatibility’ options ■ Your project contains Sound Designer II audio The Enforce options at the top of the window files and you are exporting as AAF (as AAF does enable or disable various settings below so that you not support Sound Designer II audio files). won’t inadvertently enable an option that is not supported by the third-party application. For ■ Your project contains 32-bit floating point audio example, Pro Tools does not support clip-based files. pan; therefore, when you chose the Enforce Pro ■ Your project contains a mix of interleaved and Tools compatibilit y check box at the top of the deinterleaved files, or a mix of mono files and window, the Export clip-based pan check box at the interleaved stereo files. All audio files must be bottom of the window becomes grayed out interleaved OR deinterleaved OR a mix of (unavailable). deinterleaved and mono to be exported as ☛ Pro Tools version 9 and later can import OMF references. and AAF files without additional tools, but earlier Even when using Reference existing audio files is versions require DigiTranslator (a separately permitted, note that some applications may not purchased add-on). For further information, refer support all audio file format combinations that to your Pro Tools documentation or contact Avid. AudioDesk does, such as mixed file formats (e.g. WAVE and AIFF) or mixed sample formats (e.g. 16 References existing audio files and 24 bit). Check your target application’s Reference existing audio files will reference the documentation, and if necessary convert the file existing audio files in the current location; it does format or sample format of your files before not create new audio files (with some exceptions – exporting as OMF or AAF, or use Copy all audio see below). Choose Reference existing audio files if files or Consolidate audio files instead. you want the OMF or AAF file to refer to the same set of audio files on disk as the AudioDesk project that you are exporting from. This option saves disk space because it does not duplicate audio data.

97 PROJECT FILE INTERCHANGE Reference existing audio files exceptions The Copy all audio files option is grayed out if When the Reference existing audio files option is you’ve chosen the Quantize edits to frame selected, AudioDesk will try to reference the boundaries option, which requires you to use the existing files if possible. However, there are some Consolidate audio files option (explained in the cases where your choices for the other export next section). options will force the creation of new audio: Consolidate audio files ■ When the export format (OMF or AAF) does Like Copy all audio files above, the Consolidate not support audio files in the file format of those in audio files option leaves no references to the your project, any files in non-supported formats original project and instead copies the original are exported as audio files. OMF supports AIFF, audio. However, it only copies audio that is actually WAVE, and SDII, whereas AAF supports only AIFF used in soundbites. Portions of audio files that fall or WAVE. So for example, if you are exporting as outside of soundbite boundaries are not copied. AAF and your AudioDesk project contains mostly This option is useful because it can save a WAVE files, but also contains some SDII files, significant amount of disk space in some projects. AudioDesk will export references to the WAVE files If you are looking to economize on the project size, (i.e., they will not be copied) but the SDII files will perhaps for archival purposes, this option is a good be converted to WAVE files. choice.

■ When converting from 24-bit to 16-bit, the The Handle Size option specifies the amount of converted files are exported as audio files. extra audio (in milliseconds) to include before and ■ When using Export fades as precomputed regions, after each soundbite. This is useful if you will be the fade regions are exported as audio. trimming (edge editing) the soundbites in the destination application. When additional audio must be created, the new audio will be embedded (when exporting as OMF) Embed audio data in OMF or created as additional WAVE files (when This option applies to audio being copied during exporting as AAF). the export operation, if any.

Copy all audio files Choose Embed audio data in OMF file to place the Choose Copy all audio files to make a completely copied audio directly into the OMF file itself. This self-contained copy of the entire project, including makes a single, completely self-contained all audio files. All audio files that are listed in the document that consists of a copy of the entire Soundbites window are included, even if they are project, including all audio files. See “Copy all not used in any tracks in the project. This option is audio files” on page 98 and “Consolidate audio ideal for transferring the project to another hard files” on page 98 for further information about drive or computer as it ensures that all associated what audio gets copied and when this option is audio files are “collected” and included in the useful. interchange document. When you use this option, the exported project will have no references to your original project. This makes it completely independent, and it will not be affected by any changes made to the original project.

98 PROJECT FILE INTERCHANGE Export audio data as Sound Designer II/AIFF/ Export sample-accurate edits/Quantize edits to WAV E fi l e s frame boundaries These options apply to audio being copied during For Avid Xpress and other applications that require the export operation, if any. Choose the desired file OMF/AAF files to specify all timing in SMPTE format for the audio files being copied to the AAF time code frames, choose Quantize edits to frame or OMF project. boundaries. AudioDesk’s current frame rate setting (Setup menu> Frame Rate) is used. This frame rate The Sound Designer II file option is disabled (not setting must match the frame rate in the Avid available) when you are exporting to an AAF file Xpress session into which you will import the because AAF files do not support Sound OMF/AAF file. Designer II files. In general, exporting as WAVE or AIFF is recommended. Also, when using the Quantize edits to frame boundaries option, you are forced to use the ‘Export fades as’ options Consolidate audio files and Export fades as The Export fades as OMF/AAF effects option precomputed regions options. All of your produces fades and crossfades that can be fully soundbites will get trimmed so that they start and modified in the target application after the transfer, end on frame boundaries. To maintain timing and if desired. The Export fades as precomputed regions ensure that all audio is properly included, option renders each fade as an audio region, AudioDesk then generates one-frame audio preserving the exact nature of the fade or crossfade regions placed before and after the trimmed as it was programmed in AudioDesk but rendering soundbite, containing the audio that was trimmed. it un-modifiable. For example, if you like the way your fades and crossfades sound already in For all other applications (that don’t require frame- AudioDesk, and do not need to further modify based timing), choose Export sample-accurate them in the target application, use this option. edits. Consult the documentation for your editing application to determine if it requires frame-based If you’ve chosen the Quantize edits to frame timing for audio. boundaries option, then the Export fades as OMF/ AAF effects option is not available (grayed out). Export clip-based volume/pan Because the OMF and AAF interchange formats Exporting 24-bit audio support a clip-based automation model, The Convert 24 bit audio to 16 bits option converts automation data between clips is lost when all 24-bit audio in the project to 16-bit audio. Most exporting, but automation data within the third-party audio applications support 24-bit boundaries of every audio region is preserved audio, so it is recommended that you enable this during transfers. option only if you must. If you are exporting 24-bit audio and wish to maintain this bit depth, choose The Export clip-based volume and Export clip-based Export 24 bit audio directly. pan options determine whether volume and/or pan ☛ automation data will be included in the resulting One notable 16-bit–only example is OMF or AAF interchange document. OMFTool/DigiTranslator 1.0. If you intend to open the OMF file in DigiTranslator 1.0, enable the Convert 24 bit audio to 16 bits option.

99 PROJECT FILE INTERCHANGE If the Enforce Pro Tools compatibility or Enforce OMF/AAF export summary Logic compatibility options are checked, then the Here is a summary of OMF and AAF export: Export clip-based pan option is grayed out because OMF/AAF Pro Tools and Logic do not support pan export option Summary automation interchange via OMF or AAF. When Disables Reference existing audio files (when exporting AAF using SDII files) If you are exporting an OMF file intended for use Disables Export audio data as SDII files with DigiTranslator 1.0, leave both options Pro Tools Disables Export clip-based pan compatibility Disables Export all sequences unchecked as these options are not supported by Disables Export all takes DigiTranslator 1.0. Logic Disables Export fades as OMF/AAF effects compatibility Disables Export clip-based pan Disables Export all sequences Export original timestamps Disables Export all takes Check the Export original timestamps option to Avid Xpress Requires Quantize edits to frame boundaries include the original timestamps in each audio file. compatibility If your destination application does not support Quantize edits Requires Consolidate audio files them, you can turn them off. For a complete to frame Requires Export fades as precomputed regions explanation of timestamps, refer “Time stamps” on boundaries page 263. General OMF/AAF export recommendations If you are exporting an OMF file intended for use If the application you are interchanging with is not with DigiTranslator 1.0, leave this option covered by the OMF/AAF Export dialog’s Enforce unchecked as this option is not supported by compatibility modes, use the following generic DigiTranslator 1.0. settings as a starting point. There are two basic groups of OMF/AAF settings: those intended for Export soundbite names DAWs (digital audio workstations, such as Check the Export soundbite names option to export AudioDesk), and those intended for NLEs (non- each audio region with its given soundbite name in linear video editing applications, such as Final Cut AudioDesk. Pro). Export all sequences Exporting to DAWs If the AudioDesk project you are exporting has two AudioDesk’s default settings are a good starting or more sequences, check the Export all sequences point for interchange with any DAW. To return to option if you wish to include all sequences, even the default settings, press the Default button in the the ones that are not currently play-enabled. This OMF/AAF Export Options window at any time. option is grayed out if you are enforcing any The default settings are: compatibility modes other than Avid Xpress.

■ Enforce Pro Tools compatibility Export all takes If the tracks in the sequences you are exporting ■ Enforce Logic compatibility have multiple takes, check the Export all takes ■ Copy all audio files option if you wish to include them in the export operation. Each take is saved in the OMF/AAF ■ Export audio as WAVE or AIFF export document as a separate track. ■ Deinterleaved audio (interleaved unchecked)

■ Export 24 bit audio directly 100 PROJECT FILE INTERCHANGE ■ Export fades as pre-computed regions ■ Quantize edits to frame boundaries

■ Export sample-accurate edits ■ Export soundbite names

■ Export soundbite names Using embedded audio In the above recommendations, we recommend Exporting to NLEs using copied or consolidated WAVE or AIFF audio. Non-linear video editing applications, such as Avid Depending on the target application, you may also Xpress and Final Cut Pro, require that edits are be able to use embedded audio, but it is aligned with frame boundaries; this means that the recommended that you do not embed the audio if Quantize edits to frame boundaries option must be you are unsure. enabled, which in turn forces Consolidate audio files and Export fades as precomputed regions. If there is a problem importing the file when the audio is embedded, you may be unable to open the AudioDesk’s Avid Xpress compatibility mode is the file or access its associated audio; but if you use recommended starting point for interchange with copied audio, in a worst case scenario you may be any NLE: able to manually re-create the project using the

■ Consolidate audio files, 1000 ms handle timestamped audio files. Check with your target application’s documentation to see if embedded ■ Export audio as WAVE or AIFF audio is permitted. You may also want to create a

■ Deinterleaved audio (interleaved unchecked) small test file to verify that it works before sending large projects when time is sensitive. ■ Export 24 bit audio directly OMF version ■ Export fades as pre-computed regions AudioDesk always creates OMF version 2.0 files.

101 PROJECT FILE INTERCHANGE 102 PROJECT FILE INTERCHANGE Part 3 Customizing Your Workspace

CHAPTER 15 Preferences and Settings

OVERVIEW The Preferences command in the AudioDesk menu (Mac OS) or Edit menu (Windows) lets you further customize your AudioDesk workspace.

The Preferences window...... 105 Audio Files ...... 106 Auto Scroll ...... 107 Background Processing...... 107 Control Panel ...... 107 Document ...... 107 Automatic Conversions ...... 107 Edit Window ...... 108 Information Bar...... 108 Region Commands ...... 108

Soundbite List ...... 109 Figure 15-1: AudioDesk preferences. Tools ...... 109 Audio Options ...... 109 Restoring factory default settings Click ...... 110 To restore factory default settings for the current Countoff ...... 110 preferences being displayed in the window (as Receive Sync ...... 110 indicated by what is currently selected in the list), Transmit Sync...... 110 click the Defaults button. Transport ...... 110 Help menu...... 110 Reverting If you have made changes to the current THE PREFERENCES WINDOW preferences being displayed in the window (as To view a set of preferences, click their name in the indicated by what is currently selected in the list), list. The settings are displayed on the right. and you change your mind and wish to go back to Fly-over help is supplied in the Description section the settings as they were before you made changes, below: when you move the cursor over a setting, a click the Revert button. brief explanation of it appears below. Closing the Preferences window Changes you make in the Preferences and Settings window go into effect as soon as you make them. To close the window, click its close button, or click the Done button.

105 AUDIO FILES When using Broadcast WAVE, if a file will be smaller than 4 GB at the end of an audio recording pass, the resulting file will be a regular Broadcast WAVE file. If the resulting file will be larger than 4 GB, it will use the industry standard Wave64 extension to the Broadcast WAVE file format.

Audio file defaults Default Author / Default Copyright determine the default text for these items in new audio files. These fields are saved in the audio files and can be view in the Sound File Information window.

Broadcast Wave Organization Code is the three- character organization code that AudioDesk Figure 15-2: The Audio Files preferences includes in the Unique Source Identifier field of all Broadcast WAVE format files. Refer to EBU Project File Format and Default File Format document I30-1997 or www.ebu.ch for more AudioDesk supports a variety of audio formats: information.

■ File Formats: AIFF, Broadcast WAVE, Sound Audio File Locations Designer II AudioDesk provides several global preferences

■ Sample Formats: 16-bit integer and 24-bit (that apply across all projects) for choosing where integer imported or converted audio is stored on disk.

■ Interleaved Formats: interleaved and non- Copy Audio to Project Folder options interleaved These options control where imported audio files are stored, including audio files that do not need to Here you can specify the default settings for new be converted into AudioDesk’s native file format. projects and the settings for the current project. These settings affect newly recorded or created AudioDesk supports a variety of native audio file files; they do not affect existing files in your project. formats: mono and stereo AIFF, Broadcast WAVE, and Sound Designer II files, interleaved or non- Wave64 interleaved, in 16-bit and 24-bit integer formats. If If you anticipate creating audio files larger than you import audio that is already in one of these 4 GB, choose the Broadcast WAVE file format. formats, it does not need to be converted. However, ☛ How quickly you create a 4 GB file depends on you may find it to be convenient for AudioDesk to the channelization, sample rate, and sample automatically copy the imported file into the format. When recording a mono 16 bit 44.1 kHz project’s Audio Files folder anyway, so that all audio file, it takes about 13.4 hours to create a 4 GB file, for the project, imported and otherwise, is but less than an hour when recording an consolidated in one place. If so, choose the Always interleaved stereo 24 bit 192 kHz file. copy Imported Audio To Project Folder option. If you only want this to happen when the imported audio is in non-native format and needs to be

106 PREFERENCES AND SETTINGS converted, choose the Only when format is not a DOCUMENT playable file format option. If, however, you want The Document preferences are shown in even converted files to remain in the same folder as Figure 15-1 on page 105. their originals (instead of the project’s Audio Files folder), choose the Never option. Startup options Choose how you would like AudioDesk to open Store converted or processed files options when you first launch the application. AudioDesk These options control where converted or can do one of three things: processed files are stored. The In Project folder option refers to the Audio Files folder in the project ■ Open the Welcome to AudioDesk window, which folder. This option ensures that the audio files are lets you open a new blank project or a new project always consolidated together in the project folder. based on a template file of your choosing.

The With Original File option stores converted files ■ Open the project you last had open. in the same folder as the original file. ■ Neither of the above. In this case, no window or AUTO SCROLL dialog box appears. Instead, AudioDesk’s menu bar For details about the Auto Scroll settings, see appears at the top of the screen, and the only menu “Auto-scroll” on page 159. available is the File menu, from which you can choose New or Open. BACKGROUND PROCESSING For details about the background processing Upgrading command bindings preferences, see chapter 44, “Background These preferences let you choose what to do with Processing” (page 361). your Command key bindings when upgrading to a new version of AudioDesk. For details, see CONTROL PANEL “Upgrading command bindings” on page 115. The Control Panel has options to float as a separate window or to appear across the top of the AUTOMATIC CONVERSIONS Consolidated Window. There are many options for AudioDesk can automatically convert audio data what to show and hide in the Control Panel. These wherever necessary to make it conform to the settings are controlled in the Control Panel current project’s sample rate. Because processing is preferences pane. initiated automatically and carried out via background processing (for lengthy operations), these auto-conversion features greatly streamline the process of importing audio quickly into your projects, or the process of converting the entire project to a different sample rate, file format or interleaved format.

The Automatic Conversions preferences (Figure 15-4) provides a global switch (the Enable Automatic Conversions option), and it also allows you to further specify your preferences for how Figure 15-3: The Control Panel Preferences audio is automatically converted.

107 PREFERENCES AND SETTINGS EDIT WINDOW

Figure 15-4: The automatic audio file conversion preferences. Figure 15-5: The Edit Window preferences. Enabling and disabling automatic conversions Use the Enable Automatic Conversions check box to Track Selector button turn automatic conversions on or off for the This preference determines the behavior of the current project. This setting is saved with the track selector button found in the Edit window and project. You can also toggle this setting with a key Mixing Board. For details, see “Track Selector” on binding. page 239.

Automatic conversion settings Edit Window guides The following settings let you customize how files The Show marker grid lines and Show edit grid lines are automatically converted. options toggle (show or hide) the display of lines extending downwards from the Edit Window time On Import rulers through the data grid from markers in the This option converts audio when it is first imported marker strip or beats in the time ruler (for the Edit into AudioDesk. Grid).

Whenever File Doesn’t Match Project INFORMATION BAR These options do the same thing as the On Import This preference pane is used to configure how the option, plus they automatically convert audio Information Bar will appear in each edit window. whenever circumstances arise where the audio no For more information, see “Information Bar” on longer matches the project. For example, if you page 242. decide to change the project’s sample rate, say from 48 kHz to 44.1 kHz, all audio will automatically be REGION COMMANDS sample rate converted. Needless to say, you need to The Region Commands preferences determines be mindful of making changes like this, as very the behavior of audio plug-in windows when you large amounts of audio data can be generated as a apply them as offline region commands. You can result of using these options. choose one of the following three options:

Never Choose this option when you don’t want audio files to be automatically converted for this file charac- teristic.

Figure 15-6: Region window preferences.

108 PREFERENCES AND SETTINGS Apply closes window: Makes the window close If you resize the Edit window with the zoom button when you click the Apply button or press Enter. in its title bar, it will automatically leave room for the docked Tool palette. Apply sends window to back: Causes the window to go to the back when you click the Apply button or press the Enter key.

Apply with Enter key sends window to back: Causes the window to stay in front when you click the Apply button and go to the back when you press the Enter key.

SOUNDBITE LIST For details about the Soundbite list column setup preferences, see “Showing/hiding columns in the Figure 15-7: The Tool palette docked to the upper left corner of the Edit window. The palette automatically docks itself to the Edit soundbite list” on page 75. window (if the docking option is enabled).

TOOLS AUDIO OPTIONS These two preferences for the Tool palette allow The audio preferences apply to AudioDesk’s audio you to automatically dock the Tool palette to the recording features. edge of the Edit window, either vertically or horizontally.

Vertical Tool palette This check box option, when enabled, causes the Tool palette to assume a vertical orientation.

Auto Position Tool Palette This check box option, when enabled, allows you to “dock” the tool palette to the outside edge of the Edit window. Just drag the Tool Palette near the desired edge of the Edit window, and it will snap to Figure 15-8: Audio options. the outside edge, justified to the nearest corner. Press control-‘ (tilde) to toggle the Tool palette Show alert when playback overloads the processor(s) between a vertical or horizontal orientation. When When this preference option is checked, it is vertical, it will snap to the left or right edge of AudioDesk will display an alert dialog when the Edit window. When it is horizontal, it will snap system resources do not allow it to play back audio to the top or bottom edge. without interruption. In other words, if the clip light in the Performance Monitor (Studio menu) Once the Tool palette is docked, it will remain at its lights up, this option will also cause an alert dialog docked position until you move it. If the docking to appear. This option is useful for circumstances position is off-screen when you first bring the Edit where you want to be sure that playback is window to the front, the palette will automatically completely uninterrupted, such as when you are jump to the opposite edge, if currently visible. transferring your final mix to a DAT tape. To

109 PREFERENCES AND SETTINGS alleviate processor load, bounce effects to disk and TRANSMIT SYNC quit other applications, which can add additional For details about the Transmit Sync settings, see strain to your computer's CPU resources. “Transmit Sync” on page 387.

Show alert when disk(s) can’t keep up with TRANSPORT record The Transport preference controls the behavior of When this preference option is checked, the Wait button. AudioDesk will display an alert dialog when system resources do not allow it to record audio without interruption.

Show alert when available memory is running low When this preference option is checked, AudioDesk will display an alert dialog when your computer’s memory resources are almost full. When your computer runs out of memory, this can lead to sluggish performance and even a system crash. Figure 15-9: Transport preferences. When a note is played MultiRecord is always on for audio tracks If the When a note is played option is chosen, the Causes audio tracks to always be in this mode. main transport will start moving when a MIDI Punch Guard note-on is received. When Always record pre-roll is chosen, AudioDesk always records extra time before any record pass, as When a note or controller is played If this option is chosen, the transport will start specified by the pre-roll duration option provided. when a MIDI note-on or MIDI controller event is When Only record pre-roll when punching in is received. enabled, pre-roll is only recorded when either manually or automatically punching in on the fly. On any MIDI activity This is the default behavior. For details, see “Punch If this option is chosen, the transport will start Guard” on page 169. moving when any MIDI data is received, except for active sensing or MIDI clock. CLICK For details about the click options, see “Click HELP MENU Preferences” on page 173. AudioDesk Help viewer COUNTOFF The AudioDesk Help viewer provides quick For details about the countoff options, see answers to some questions. “Countoff preferences” on page 176.

RECEIVE SYNC For details about the Receive Sync settings, see “Receive Sync” on page 381.

110 PREFERENCES AND SETTINGS Help Tags There is a Show Help Tags checkable item under the Help menu.

When checked, you can hover over most items for a second or two and a “” description of the item will appear.

˙

Checking for updates AudioDesk can automatically check for new versions. When a new version is available, a dialog will prompt you with options to download or skip the update.

This automatic check can be disabled by deselecting Help menu > Check for Updates Automatically. To check for updates manually, choose Help menu > Check for Updates Now.

Additional Help menu resources The help menu also provides additional resources, including a direct links to PDF files for the AudioDesk User Guide, Plug-in Guide, and additional PDF documentation files. There are also menu items that provide direct web links for on- line product registration, technical support, and downloads.

111 PREFERENCES AND SETTINGS 112 PREFERENCES AND SETTINGS CHAPTER 16 Commands

OVERVIEW NAVIGATING THE COMMANDS WINDOW The Commands window lets you assign keyboard There are several ways to search and browse in the shortcuts to AudioDesk functions. This allows you Commands window. to use your computer’s keyboard to quickly execute AudioDesk operations. Searching for commands Type in a text string at the top of the window. As Opening the commands window...... 113 you type a search term, the window will update in Navigating the commands window ...... 113 real-time to display the relevant results. Command groups ...... 114 Assignments...... 114 Sequence Selection...... 114 Export Key Bindings ...... 114 Import Key Bindings ...... 114 Upgrading command bindings ...... 115 OPENING THE COMMANDS WINDOW The Commands window is opened by choosing it from the Setup menu. The window contains a list of all assignable commands in AudioDesk. It is arranged in columns that display two keyboard assignments and master group designation.

Figure 16-1: To search for a command, type in a text string and click Search. To clear the search results and return to the regular view, click the “x” button at the right side of the search field, or press the Escape key.

Browsing with the list navigation commands You can use the List Navigation Commands to navigate the Commands window, select any command and give it a key binding.

Figure 16-2: Use the List Navigation

113 COMMAND GROUPS other existing Commands, skipping letters as Commands are visually organized into logical needed so the sequence won’t have the same letter groups. For example, all menu items found under as another command. the File menu are grouped together. Each group can be displayed or hidden by clicking the EXPORT KEY BINDINGS disclosure triangle to the left of the group name. Commands are stored in the “Command Bindings” Option/Alt-clicking a disclosure triangle will show file inside the AudioDesk Preferences folder. Key or hide all groups. bindings can also be exported to a file which can be imported at a later date.

This allows you to: closed disclosure triangle open disclosure triangle ■ Create libraries of key binding sets with different personalities.

■ Back up your key bindings. ASSIGNMENTS To assign a key binding to a given Command, ■ Export your key bindings for use on another simply click in the ‘Key’ column of a command and AudioDesk system. a field will appear indicating it is ready to receive a ■ Save your key bindings before importing key stroke from the keyboard. The key or another set. combination of key and modifiers you press at this time will be entered into the field. To export a set of key bindings, select Export Key Bindings from the Commands window mini- There are two key bindings available for any given menu. command. For example, the Slave to External Sync command could be mapped to both Command/ Ctrl-7 and Option/Alt-s.

You can use any key you want, except for the delete key, which removes the current key binding, if any.

For your convenience, keyboard shortcut key Figure 16-3: The Commands window mini-menu. assignments are displayed in AudioDesk’s menus. This will bring up the standard save dialog box SEQUENCE SELECTION where you can name your key bindings file and When you create new sequences, AudioDesk choose a location where it will be saved. automatically gives them control assignments if Add Sequence selection commands automatically is IMPORT KEY BINDINGS checked in the Commands window mini-menu. Key bindings can be imported from previously The first sequence in a file is assigned to the ‘a’ key exported files. AudioDesk comes with a set of key on your computer keyboard. The second is binding files that match the operation of other assigned to the letter ‘b’, then ‘c’, and so on. sequencing and digital audio packages. If you are AudioDesk automatically avoids all conflicts with upgrading to AudioDesk from another software package, you may find it helpful to import the key bindings from your old software to ease the 114 COMMANDS transition. Be sure to check the MOTU web site Merge new commands (www.motu.com) for updated and additional key This option merges any new commands included binding sets. with a new version of AudioDesk with your current set of commands. If you have customized any key To import a set of key bindings, select Import Key bindings, they will be preserved. Bindings from the Commands window mini-menu (Figure 16-3). Merge new commands and save the old ones This option does the same as the option above, but This will bring up the standard open dialog box it also saves a copy of your old command set on where you can choose a key bindings file to import. disk in your user directory, in case you wish to revert back to the old set using the Commands When importing commands, AudioDesk gives you window mini-menu Import command. the option of merging the new shortcuts (ones that differ from your current shortcuts) with your Ask when upgrading commands current set, and you can save or print a list of Check this option if you would like to be asked bindings that don’t match. what to do with your commands when upgrading to a new version of AudioDesk. UPGRADING COMMAND BINDINGS There are several startup preferences in the Preferences and Settings window in the AudioDesk menu (Mac OS) or Edit menu (Windows) for the Commands window. These preferences let you decide what to do with your Command key bindings when upgrading to a new version of AudioDesk:

Figure 16-4: Startup options for the Commands window.

Ignore new commands This option does not add new commands introduced in a new version of AudioDesk (if any) to the Commands window.

115 COMMANDS 116 COMMANDS Part 4 Playing and Recording

CHAPTER 17 Audio Bundles

OVERVIEW AUDIO BUNDLES The Audio Bundles window serves as the crucial Inputs, outputs and busses are all accessed via link between the virtual mixing world in audio bundles. An audio bundle groups together a AudioDesk and the audio hardware that is set of ins, outs or busses, then lets you refer to that physically connected to your computer. The Audio group as a single entity. Audio bundles provides a Bundles window provides a convenient layer layer of indirection between the audio assignment between them that lets you effectively manage menus and the inputs, outputs and busses they audio inputs and outputs. contain. This is similar to how style sheets work in word processing programs. Instead of defining Audio bundles ...... 119 “Times, 12pt” for sections of text, you define a style Three tabs ...... 120 called ‘Body Text” whose properties are “Times, Adding and deleting bundles...... 120 12pt” This way, you can re-format your entire Renaming bundles ...... 120 document by simply redefining what “Body Text” Working with tiles on the grid ...... 120 means. Bundle channel formats ...... 121 Reassigning bundles...... 122 In AudioDesk, you could have a large project consisting of many sequences with complex output and bussing assignments. Should you decide to

Tabs

Available inputs, Bundle type menu outputs or busses

Bundle type (model)

Handle to rearrange the order of bundles A mono bundle

Add/delete bundle buttons Figure 17-1: The Bundles window (Studio menu).

119 switch a bus from an outboard reverb to an internal plug-in, the Audio Bundles window allows you to rewire your entire project in a single operation.

You can even change the behavior of existing bundles. If you decide you want to make a mono mix of your stereo project, simply change your primary output assignment from a stereo bundle to a mono bundle.

Bundles allows you to clean up your assignment menus, choosing only to display bundles that you’ll actually use. For example, you might not need to look at 24 outputs from a single audio interface. Figure 17-2: Creating a new output bundle from the Edit window. Once a bundle is defined, it is available on the input Once a bundle is defined, it will remain available and output assignments menus throughout until the bundle is deleted. AudioDesk. RENAMING BUNDLES THREE TABS By renaming a bundle, you can create your own The Bundles window has three tabs that display names for audio inputs, outputs and buses. For inputs, outputs, and busses. Click on a tab to view example, instead of generic terms like “Analog 1”, the type of bundle you wish to edit. Before adding you could name an audio input in your system “My or removing bundles, be sure you are looking at the U87 Mic”. The customized bundle name will correct tab. appear in all menus that display audio inputs, ADDING AND DELETING BUNDLES outputs and/or virtual buses. At the bottom of the Audio Bundles window, you To name a bundle, double click or option click on a will find four buttons (Figure 17-1). Click the Add bundle name. When you’re done, hit the return key. button to add a single bundle, or if you need to The enter key moves the edit field to the next create a number of bundles, click the Add multiple bundle name. button. Bundles can be deleted by selecting a bundle and clicking the delete button. Use the Del. WORKING WITH TILES ON THE GRID Unused button to get rid of all bundles shown in the The Audio Bundles window consists a grid where list that are not currently being used in the project. you can place and move tiles that route audio bundles that you define to their sources or Creating an audio bundle from assignment menus destinations. You make a connection by placing a Anywhere in AudioDesk where you can choose an tile in the grid square that intersects the bundle input or output assignment, such as in the Edit (row) with its source or destination (column). window, you can also create a new bundle. Most sources or destinations are the physical inputs and outputs on an audio interface, but they can also be busses inside of AudioDesk.

120 AUDIO BUNDLES The sources and destinations available are This same principle applies when switching displayed in the upper right corner of the audio between different MAS drivers (such as from the bundles window. You may have to scroll left to right PCI-424 driver to the MOTU FireWire driver). to see the entire list. Audio bundles are defined in the list on the left side of the screen. Bundles and panners The output bundle assigned to a track determines BUNDLE CHANNEL FORMATS the type of panner it has. There are two types of Once you’ve created a bundle, choose a channel panners: stereo panners and mono (direct). Stereo format for it (mono or stereo) from the menu to its panners look and operate exactly like stereo pan right, as shown below. knobs on a normal mixing console. Mono bundles remove the panner altogether, offering a direct path from the channel to the bus or output.

Figure 17-3: Choosing a channel format for a bundle. This determines what type of bundle it is (mono or stereo) and the number of tiles available for output and bus assignments to the right. Stereo panner Mono panner (no panner) Audio bundle properties are bound to a hardware driver Figure 17-4: The output bundle assigned to a track determines what type of panner it has in the Mixing Board. When you create bundles, the following properties are bound to the audio hardware driver currently A mixing board can contain multiple types of active in the Configure Hardware Driver dialog bundles. You can mix in stereo, send multiple (under Setup menu>Configure Audio System): mono outputs to a digital mixing board and create a stereo mix simultaneously. ■ the bundle model (mono or stereo) Direct line outputs ■ the bundle’s physical output assignments (the Mono audio bundles allow you to bypass panners if arrangement of the channel tiles in the grid) you wish to use AudioDesk like a tape recorder. If you switch to a different hardware driver, the This is useful if you use an external mixing board to bundles you’ve created remain, but you can mix. In Figure 17-5 below, see eight mono bundles completely reconfigure the properties listed above are routed to eight analog outputs on a MOTU without disturbing these same properties for the 2408mk3 audio interface. original hardware driver. For example, if you are working with a MOTU 2408mk3 (or other PCI-424 based audio interface), and you then switch to a FireWire interface like the 828mkII, you can change the physical output assignments (move the tiles) for a bundle for the 828mkII without disturbing your 2408mk3 output assignments.

121 AUDIO BUNDLES Stereo bundles can be split over non-adjacent destination pairs.

Figure 17-5: A direct line out configuration for external mixing. ☛ Hint: if your mixing board consists entirely of mono bundle outputs, you can choose to disable the display of panners in the mixing board by using the mixing board’s mini menu.

REASSIGNING BUNDLES Once a bundle is defined, you can move the assignment to another location. This is a powerful feature of bundles.

To reassign the reverb send of an entire project to a new set of busses, simply grab the bundle tiles and move to the new assignment.

Figure 17-6: Moving a bundle to a different set of outputs. To swap the left right output of a stereo bundle, drag the bundle tile onto its opposite channel.

122 AUDIO BUNDLES CHAPTER 18 Audio Tracks

OVERVIEW TYPES OF AUDIO TRACKS Types of audio tracks ...... 123 AudioDesk provides these audio track types: Audio (disk) tracks ...... 123 Mono tracks versus stereo tracks ...... 123 ■ Audio (disk) tracks Aux tracks ...... 124 ■ Aux tracks Master faders ...... 124 Creating an audio track ...... 124 ■ Master faders Creating several audio tracks at once ...... 125 Audio tracks are used for recording and playing Audio track settings ...... 125 hard disk audio. Aux tracks and master faders, Track name ...... 125 described later in this chapter, are used for signal Track type icon...... 125 routing and mixing. Audio input and output ...... 125 Enable/disable...... 126 AUDIO (DISK) TRACKS Monitoring an audio track input ...... 127 An audio track (disk track) is where digital audio Changing audio track settings on the fly...... 127 data is recorded, edited, and played back. It could Making audio assignments for multiple tracks . . . . . 127 be a recording of a single instrument, containing Managing your computer’s system resources ...... 127 any number of punch-ins and overdubs for the Record-enable button ...... 127 instrument. Or it could contain a wide variety of Play-enable button ...... 128 sounds occurring at different times, such as sound Takes ...... 128 effects. You can record any audio you want into an The Edit Layer...... 129 audio track, including speech, vocals, sound Lock ...... 129 effects, etc. Track color ...... 130 Automation settings...... 132 Audio (disk) tracks are the only type of audio track Solo exemption...... 133 into which you can record or place audio. They can Track comment ...... 133 be mono or stereo. Track settings menu ...... 133 Waveform vertical zoom...... 133 MONO TRACKS VERSUS STEREO TRACKS Resize handle ...... 133 A mono track uses up one channel’s worth of Insert menu...... 134 audio. A stereo track uses two channel’s worth of Level meter ...... 134 audio. Stereo tracks are designed to support stereo recording and editing. Mono audio tracks can only hold mono soundbites, while stereo audio tracks can only hold stereo soundbites. Stereo audio tracks have an input pair (i.e. in 1-2) instead of a single input, like mono tracks.

123 AUX TRACKS An Aux track is a special kind of audio track that routes an input directly to an output. Think of it as an individual signal path within AudioDesk’s virtual mixing environment. You cannot record Figure 18-2: A master fader as it appears in the Edit window. Master audio into an Aux track, nor can you place pre- faders do not have a record button, and you cannot record audio into recorded audio into it. But you can insert and them (or place soundbites in them). They are meant to serve purely as a ‘virtual’ level control mechanism for outputs and busses. Notice record mix automation data into an Aux track (as that the track ‘Master-1’ has stereo outputs. well as loops). Like Aux tracks, master fader tracks have no record Aux tracks are primarily intended as a routing button (or pan knob), and you cannot place audio mechanism. Aux tracks allow you to route audio in them. Instead, the master fader track provides from any source to any destination. Here are just a an output assignment and volume control and few examples: you can route audio tracks to an Aux automation over the output or bus you assign to it. track via a bus; you can route an input on a external The most common way to use a master fader is as a audio interface (such as a MOTU 2408mk3) sub-mix fader for an output (or a bus) to which you directly to an output. You can route several audio have assigned a group of audio tracks. You can then tracks to a single effects plug-in that you have control (automate, process, etc.) them as a group placed on an Aux track effects insert. with the master fader. This is a great way to automate the level of a group of tracks without having to create a fader group.

CREATING AN AUDIO TRACK Choose Add Track from the Project menu, and then from the Add Track sub-menu choose the desired Figure 18-1: Aux tracks as they appear in the Edit window. They do type of audio track you wish to create (mono or not have a record button, and you cannot record audio into them (or place soundbites in them). They are meant to serve purely as a stereo audio, aux track, or master fader). If you ‘virtual’ routing mechanism. Notice that the track ‘reverb’ has stereo choose stereo, you’ll see the inputs for the track inputs. shown as pairs (e.g. 1-2, 3-4, etc.) You can create as You can add as many Aux tracks as you like, and, as many audio tracks as you like, although the mentioned earlier, you can use them in many maximum number that you’ll be able to simulta- situations to get audio from here to there in your neously play and record depends on your system using the Aux track’s input and output computer. assignments. For details about bussing and aux tracks, see chapter 38, “Mixing” (page 299). New tracks are added to the Edit window and a fader strip is added to the Mixing Board. MASTER FADERS A master fader track controls the overall level of a New audio tracks are named Audio-1, Audio-2, etc. output or bus bundle. You can change the name by option-clicking the name to pop-edit it.

124 AUDIO TRACKS CREATING SEVERAL AUDIO TRACKS AT TRACK TYPE ICON ONCE AudioDesk provides the following types of tracks, If you want to add several audio tracks at once, with the following icons to identify them in the hold down the option key while accessing the Edit window: Project menu and choose one of the multiple track options from the Add Track sub-menu. Icon Track type Mono audio track AUDIO TRACK SETTINGS In the Edit window, the panel to the left of each Stereo audio track track shows all of the settings for the track. Audio Aux track track settings are as follows:

Master fader Input Play/ Record- Track Level Waveform monitor mute enable settings meter vertical Track name menu zoom Click the track icon to change the track’s color. For Track type icon/ color selector further details, see “Track color” on page 130. Edit layer Audio input TRACK NAME Audio output New audio tracks are named Audio-1, Audio-2, etc. Automation Track names offer the following features: settings

Take ■ Click or command-click a track name to select the track for deleting, duplicating and other track Insert menu Resize handle management tasks. See “Track management” on Figure 18-3: Audio track settings. The display of these controls changes depending on the vertical size of the track. page 210.

Track type icon...... 125 ■ Option-click the track name to rename it. Use Track name ...... 125 the Enter or down arrow key to OK the name Audio input and output ...... 125 change and move to the next track in the list. Use Enable/disable...... 126 the up arrow key to OK the name change and move Record-enable button ...... 127 to the previous name in the list. Play-enable button ...... 128 ■ Command-double-click a track name to open Takes ...... 128 the Mixing Board with that track’s channel The Edit Layer...... 129 showing. Lock ...... 129 Track color ...... 130 ■ Track names highlight if there is a selection in Automation settings...... 132 the track. Solo exemption...... 133 Track comment ...... 133 AUDIO INPUT AND OUTPUT For each audio track, you choose an input source Track settings menu ...... 133 and output destination as shown in Figure 18-3. Waveform vertical zoom...... 133 The available choices reflect the physical input and Resize handle ...... 133 output jacks on the MOTU audio hardware Insert menu...... 134 installed in or connected to your computer. The Level meter ...... 134

125 AUDIO TRACKS Audio Bundles window determines what you see in ENABLE/DISABLE these menus. See chapter 17, “Audio Bundles” Audio tracks require varying amounts of (page 119). computing resources, depending on the amount of mix automation data in the track, what plug-ins are You can choose an existing input or output (or instantiated on the track and other factors. The input or output pair), or you can create a New audio track Enable/Disable option allows you to mono bundle or New stereo bundle to assign the temporarily take an audio track off line to free up track to a new input or output. Or you can assign it its computing resources. Note, however, that doing to an input or output bundle that you created in the so causes AudioDesk to re-allocate its audio engine Bundles window, as explained in chapter 17, resource. Track enabling/disabling is not designed “Audio Bundles” (page 119). A red dot in the input to produce totally smooth transitions during menu indicates that the input is currently record- playback or recording. Therefore it is best done enabled. when AudioDesk is stopped. You can certainly do it during playback, but it is strongly recommended Input monitoring button, that you avoid doing so in critical listening Play-enable button, and Record-enable button situations.

If you wish to simply mute and unmute a track during playback (or recording), leave it enabled and use its play button to mute and unmute it. Doing so preserves the track’s system resources and ensures a completely smooth transition.

Track Enable Each audio track has its own Enable setting (Figure 18-5). In the Edit window, Mixing Board and other windows that display track settings in menus, this setting is a checkable menu item. When a track is disabled, it relinquishes all of its Input and output system resources. But note that bringing it back on destinations line is not instantaneous.

Figure 18-4: A red dot next to an input indicates that a track assigned to that input is currently record-enabled.

Output assignments The track in Figure 18-4 above is assigned to —and panned across — outputs 1 and 2. To play a track on a single output, pan hard left or right (where the Audio track odd numbered output is left and even is right). enable Alternatively, you can create a mono bundle and assign the output to that bundle. Figure 18-5: Audio track enable.

126 AUDIO TRACKS MONITORING AN AUDIO TRACK INPUT Skipping master faders AudioDesk lets you listen to the live input signal Typically, you’ll quickly select all tracks when using being fed to a track via its chosen hardware input the audio assignments feature. But master faders by “patching thru” the input signal to the track’s usually have their own special output assignment output destination. See “Audio monitoring (audio and should therefore be excluded from the audio patch thru)” on page 164. assignment operation. For your convenience, the Skip Master Fader tracks option, when checked, CHANGING AUDIO TRACK SETTINGS ON causes master faders to be left alone. If, for some THE FLY reason, you would like them to be included, you You can change audio track input, output, and send can unchecked this option. assignments while playing. However, as noted above, enabling or disabling a track entirely to free MANAGING YOUR COMPUTER’S SYSTEM up its system resources is best done when RESOURCES AudioDesk is stopped. The number of tracks you can play or record at the same time depends on the computing resources MAKING AUDIO ASSIGNMENTS FOR provided by your Mac. MULTIPLE TRACKS The Audio Assignments command in the Studio See “Optimizing performance” on page 20 to menu provides a convenient way to reassign audio optimize your system for the maximum number of inputs and outputs. Just select the tracks you wish audio tracks. to assign and then choose this command. Track bouncing with the Bounce command One way to hear more tracks at once is to mix many tracks down to one track. You can do this freely in AudioDesk because in the realm of digital audio, there is no noise accumulation as a result of digital mixing. Another great advantage to digital mixing is that the original tracks remain intact, so you can always go back to them if you want (or you can delete them to free up space on your hard disk). You can even create multiple versions of a mix and quickly A/B the mixes. For more information Figure 18-6: The Audio Assignments feature. about using the Bounce command, see chapter 46, “Bounce To Disk” (page 369). Assigning inputs and outputs You can choose to include or exclude inputs or RECORD-ENABLE BUTTON outputs with the check boxes provided. You can The record-enable button arms the track for either assign them to the same input/output pair or recording. When the track is armed, the button is assign them to consecutive input/output pairs (1-2, red. Multiple audio tracks may be record-enabled then 3-4, etc., for example), starting with the pair at one time. that you choose in the menu. Record-enable buttons are only present if the sequence is selected for playback in the Sequences window.

127 AUDIO TRACKS To arm several adjacent audio tracks, glide the The original data is preserved in its own take, cursor over their record buttons (with the mouse which you can always return to by choosing it by button held down). name from the Take menu.

PLAY-ENABLE BUTTON Takes are great for cycle-recording. If you’d like to The Play-Enable button engages a track for try recording again the next time through the loop, playback. When the button is green, the track just choose New Take from the menu. Your plays; when the button is white, the track is muted. previous take is saved, and a new, empty take is If muted, the data for the track is still there; you are ready to be recorded into. After you are done, you just silencing the track during playback. Click the can either pick the best take, or even build a final button to toggle between these two states. composite take made of the best parts of several takes by cutting and pasting. Any number of tracks may be play-enabled at one time, but your computer ultimately determines Take menu how many tracks you can truly play all at once. The Take menu has several commands to help you manage your takes: When Solo mode is engaged, clicking the play button toggles between play-enabled (green) and muted (orange) or disabled (white), depending on its state before entering solo mode.

Here are a few shortcuts for play-enabling tracks: to toggle the status of several tracks at one time, just drag (“glide”) over their play buttons. To Play- enable all tracks except for one, command click its play-enable button. To play-enable only one track and unplay-enable all others, option-click the track’s play-enable button. This convention also applies throughout AudioDesk to similar toggle buttons. Figure 18-7: A take stores the entire contents of a track. Takes are great for recording multiple versions of the track. You can create an For important information about track soloing and unlimited number of takes for each track. how it relates to the play-enable buttons, see New Take “Soloing Tracks” on page 158. Creates a new, empty take for the track.

TAKES Rename Take A take stores the contents of the track. Each track Let’s you rename the current take. The current take can have an unlimited number of takes. If you want is the one with the check mark next to it in the top to keep what is already in a track, but you want to portion of the menu. try an alternative version of it (either recorded from scratch or based on the current take), choose Duplicate Take Creates an exact duplicate of the current take, New Take or Duplicate Take from the Take menu. including all of the data in the track. The current take is the one with the check mark next to it in the top portion of the menu. 128 AUDIO TRACKS Delete Take Gets rid of the current take.

Delete all except ‘current take’ Gets rid of all takes except the current take.

Takes interact with multiple mixdowns See “How mix mode impacts your sequencing” on page 316 for an important discussion about how working with multiple mixdowns in the Mixing Board interacts with takes.

THE EDIT LAYER In the Edit window, tracks can display multiple Figure 18-8: Choosing the edit layer. types of data at the same time (soundbites, volume Choosing the edit layer for all tracks at once mix automation, pan automation, etc.), Hold down the option key when choosing what to superimposed on top of one another. Each type of display to change all tracks at once. You can do so data resides in its own display layer, which you can from any track. make active (bring to the front) while other layers remain dimmed but visible in the background. Shortcuts for changing the edit layer Here are a few shortcuts for choosing the edit layer: The Edit layer menu (Figure 18-3 on page 125) lets you choose what type of data you would like to ■ To activate soundbites for editing, click the title “bring to the front” as shown below in Figure 18-8. bar of any soundbite. In audio tracks, mix automation data (volume, pan, etc.) and loops are displayed directly on top of ■ To activate any type of automation data, click on the soundbites, which are dimmed in the any control point. background. When soundbites are made active, ■ To activate any event flag (explained in they cover automation data. Mix automation lines chapter 28, “Edit Window” (page 205)), click it. remain dimmed and visible in the background See Figure 39-14 on page 328 for an illustration of when soundbites are chosen as the edit layer. these techniques. When a data type is made active, it can be inserted Hiding background layers and edited independently of other data types. You can temporarily hide all mix automation layers that are currently background layers (not the edit layer) with the Show Edit Layer Only item in the Edit window’s mini-menu.

LOCK The Lock setting locks or unlocks the track. When a track is locked, its name is underlined and all data in the track stays anchored to its current SMPTE frame location, even if you change the tempo of the sequence.

129 AUDIO TRACKS TRACK COLOR Changing the color scheme AudioDesk allows you to choose any display color To switch to a different color scheme, go to the you want for each track. Coloring tracks can help Setup menu, choose Colors and choose the desired you to distinguish them more easily in the Edit scheme from the sub-menu. window, Mixing Board and elsewhere in the program. You can use preset colors or choose any Editing color schemes color you want from the Mac OS . To edit a color scheme, go to the Setup menu, AudioDesk also provides many different color choose Colors>Edit Color Schemes. Doing so opens schemes (sets of colors) for you to choose from. You the Edit Color Schemes dialog as shown below in can even create your own schemes. Figure 18-9. The scheme currently being used is highlighted. Where the color gets displayed The color for a track is displayed in several places throughout the program:

■ On the color swatch and track name in the Edit window

■ On soundbites in the Edit window

Figure 18-9: The Color Schemes dialog. Here is a summary of what you can do with color ■ On audio cross fades (and fades) schemes in this dialog:

To do this Do this To choose a different scheme Click it once to select it and then click Done.

To edit a scheme Double-click it. Or click it once to highlight it and click the Edit button.

To delete a scheme Click it once to highlight it and click the Delete button. ■ On tracks in the Mixing Board To rename a scheme Click it once to highlight it and Working with color schemes click the Rename button. A color scheme is a set of related colors that can be To duplicate a scheme Click it once to highlight it and easily interchanged with a different set of related click the Duplicate button. colors. For example, you could have a “Metallic” To make a new color scheme Duplicate an existing one (as scheme and a “Earthy Pastels” scheme. AudioDesk described above), rename it, and edit it as desired. provides several preset schemes, and you can freely change between them at any time. You can also create your own schemes.

130 AUDIO TRACKS Modifying a color scheme Using the Color Picker To modify a color scheme, double-click it in the The color palette (as shown in Figure 18-10 on Edit Color Schemes dialog (shown in Figure 18-9). page 131) also lets you create your own colors When you do, the color palette appears as shown using the Mac OS Color Picker. To open the color below in Figure 18-10. picker for a swatch, just double-click the swatch. Remember, only the swatches in the left-most and The swatches in these two right-most columns of the palette can be modified. columns can be changed to any color you want. Notice The swatches in the middle of each row are that they have a heavier automatically filled with a gradual blend between border to indicate that they can be changed. the colors on either end of the row.

The swatches in the middle of each row are a gradual blend from the left-most color to the right-most color in the row.

Figure 18-10: A color scheme palette. The 12 swatches in the in left- most and right-most columns — the ones with the heavier borders — can be changed. The swatches in-between are automatically filled with a gradual blend of the colors on either end of the row. Here is a summary of what you can do in this window: Figure 18-11: Double-click any swatch with a heavy border to open To do this Do this the standard Mac OS color picker. Use the magnifying glass tool (circled) to “eye-dropper” any color on your screen. To open the Mac OS Double-click on any swatch in the color picker left-most or right-most columns. Using the color picker to “import” colors To fill a swatch using the Click once on the swatch to select it The color picker (as shown in Figure 18-11 above) eyedropper tool and then move the cursor over any color on your screen — even colors lets you import any color you like using the outside of AudioDesk and its win- dows. magnifying glass tool. Just click the magnifying glass, and then move the cursor over any object on To move a row up or Drag the swatch on either end of the down row. your computer screen — even windows, dialogs, icons, and other items outside of AudioDesk (on To flip a row (switch the Drag either swatch to the other side left- and right-most of the row. the Mac OS desktop or in other applications swatches) running at the same time as AudioDesk). To change which swatch Use the arrow keys, or click the is currently selected (with desired swatch. For example, you could open a graphic image of a heavy border) some kind in Adobe Photoshop (or other graphics program) and then use the magnifying glass tool to import any color that is currently visible in the

131 AUDIO TRACKS graphic image on your screen. You might find it To use the Assign Colors command, select one or helpful in this situation to close all of AudioDesk’s more tracks and then choose Setup menu > Colors other windows before opening the color picker so > Assign Colors. Choose the option as desired and that they will not cover up parts of the image you the click OK. Below is a summary of the assign would like to click with the magnifying glass tool. color options:

Choosing a color for a track Option Explanation To choose a color for a track, click on the color according to Color Assigns colors to each track according to Preferences the settings in the Color Preferences dia- swatch next to the track name in the Edit window, log. as shown below in Figure 18-12. Or control-click to all different colors Assigns a color to each track from the any part of the track name in the Edit window or currently selected color scheme (palette). When the “Pick Colors Randomly” check Mixing Board. box is not checked, this option starts at the beginning of the palette and works its way towards the end as needed according to the number of tracks selected. If “Pick Colors Randomly” is checked, it will assign colors randomly from the palette.

to different shades Lets you choose a specific color from the of the same color color palette and then only uses the vari- ous shades of that color (from the same row in the palette).

to colors in a range Lets you choose a start color and an end color from the color palette and then cycles through all the colors in between as needed according to the number of tracks selected.

to the same color Lets you assign all currently selected tracks to a single color of your choice (as Figure 18-12: Choosing a color for a track. specified by the swatch provided). Assigning colors The Assign Colors sub-menu command (Setup The ‘Pick Colors Randomly’ option menu) lets you assign colors to multiple tracks at The Pick colors randomly option appears for several one time. Numerous options are provided, as of the choices above it in the Assign Colors dialog. shown below in Figure 18-13: When it is checked, it assigns the specified colors at random to all currently selected tracks. When it is unchecked, colors are assigned from the current color scheme palette starting with the first color specified and then proceeding to the right and then down to the beginning of the next row.

AUTOMATION SETTINGS The automation settings menu (Figure 18-3 on page 125) lets you specify various mix automation settings for the track. For details, see “Automation settings in other windows” on page 322.

Figure 18-13: Assigning colors to many tracks at one time.

132 AUDIO TRACKS SOLO EXEMPTION When you solo a track, the track you solo plays and all other tracks are muted. However, there are often tracks that should never be muted, even during soloing, such as master faders and aux returns. In addition, there might be disk tracks that you wish to always hear as you work (such as a tempo reference of some kind). For cases like these, a setting called Solo Exempt appears in the Track Figure 18-14: Even when a track is reduced vertically to its smallest settings menu (Figure 18-14 on page 133). size, the Track Settings menu gives you access to all track settings. Checking this menu item means that the track will not be muted when other tracks are soloed. To WAVEFORM VERTICAL ZOOM The vertical zoom menu (Figure 18-15) vertically further indicate this, the track’s solo button in the shrinks or expands the waveform display. In audio Mixing Board disappears. Master faders are always tracks, it has no effect on the actual amplitude of solo exempt; therefore, their setting cannot be the audio in the track; it is for display purposes toggled. Aux tracks are always Solo Exempt by only. Option-drag to vertically zoom all tracks. default (although you can defeat their exempt status, if you wish). Solo exempt status can also be toggled in the track settings menus in the Mixing Board (below the track name).

TRACK COMMENT The Comment is a remark that you can save for each track. It is simply a space for text that you can use for whatever purposes you wish. To enter or change a comment, choose Comment from the Track Settings menu and enter or edit the text. Click OK or the Enter key to confirm your entry, or press Cancel or command-period to cancel it. Figure 18-15: Waveform/note grid vertical zoom. TRACK SETTINGS MENU The Track Settings menu provides all of the track’s RESIZE HANDLE settings in menu form. Since tracks can be resized The Track Info Panel (Figure 18-3 on page 125) vertically (see “Resizing tracks vertically” on can be resized horizontally by dragging the handle page 213), their panel settings get covered up when on its right-hand edge. The menu items for each their vertical size is reduced. However, the Track track automatically rearrange themselves in the Settings menu remains visible, even at a track’s panel as its width changes. By dragging it further to smallest vertical height, so that you always have the right, you have more direct access to the menus access to the track’s settings. when viewing many tracks at once with small vertical track settings.

133 AUDIO TRACKS INSERT MENU The insert menu in each track lets you choose any type of data to insert into the track, except soundbites. You can insert volume, pan, send levels, track mutes and plug-in parameter automation for any plug-ins currently assigned to the track. For complete details, see “Inserting and editing automation” on page 327.

Figure 18-16: The Insert menu.

LEVEL METER Each audio track displays a mono or stereo level meter (with red clip indicator). These level meters function identically to the level meters in the Mixing Board. For details, see “Level meters” on page 309.

134 AUDIO TRACKS CHAPTER 19 Aux Tracks and Master Fader Tracks

OVERVIEW system using the Aux track’s input and output Aux tracks and Master Fader tracks are special assignments. For details about bussing and aux kinds of audio tracks for routing and grouping tracks, see Part 7 , “ Mixing” on page 297. audio signals in the AudioDesk project. Conserving CPU resources with aux tracks Aux tracks ...... 135 If you would like to apply the same plug-in to two Master Fader tracks ...... 136 or more audio tracks, consider assigning the plug-in to a single Aux track insert instead. Then, AUX TRACKS apply it to multiple audio tracks by bussing them to An Aux track is a special kind of audio track that the Aux track, using either their main output routes an input directly to an output. Think of it as assignment, a send, or both (if you’d like a a bit of an individual signal path within AudioDesk’s the original signal mixed in with the affected one). virtual mixing environment. You cannot record Having one plug-in with multiple inputs requires audio into an Aux track, nor can you place pre- far less processing resources than applying the recorded audio into it. But you can insert and plug-in on multiple tracks. record mix automation data into an Aux track (as well as loops). Using aux tracks for live inputs such as synthesizers Aux tracks are primarily intended as a routing You can use Aux tracks to feed live inputs (synths, mechanism. Aux tracks allow you to route audio etc.) into your mix. However, you may need to from any source to any destination. Here are just a compensate for your system’s monitoring latency. few examples: you can route disk tracks to an Aux See “Audio monitoring latency” on page 165. track via a bus; you can route an input on a external audio interface (such as a MOTU 1248) directly to Monitoring with Aux tracks present an output. You can route several audio tracks to a Here’s a problem you may encounter when single effects plug-in that you have placed on an monitoring inputs: you keep hearing an input, even Aux track effects insert. though you don’t have any tracks record-enabled. Or, you keep hearing an input, no matter which track you record-enable.

The most likely cause of these situations is the presence of an Aux track. If you have created an Aux track that patches an input directly to an Figure 19-1: Aux tracks as they appear in the Edit Window. They do not have a record button, and you cannot record audio into them (or output, you’ll always hear the signal from the Aux place soundbites in them). They are meant to serve purely as a track’s assigned input — unless you un-play- ‘virtual’ routing mechanism. enable the Aux track altogether. So if you encounter You can add as many Aux tracks as you like, and, as monitoring problems, check your Aux tracks. mentioned earlier, you can use them in many situations to get audio from here to there in your

135 Aux track shortcut MASTER FADER TRACKS You can create an aux track while assigning a track A master fader track controls the overall level of a output or a send to a bus. The bus will then feed the output or bus bundle. track’s signal to the newly created aux track.

Figure 19-3: A master fader as it appears in the Edit Window. Master faders do not have a record button, and you cannot record audio into them (or place soundbites in them). They are meant to serve purely as a ‘virtual’ level control mechanism for outputs and busses. Notice that the track ‘Master-1’ has stereo outputs. Like aux tracks, master fader tracks have no record

Figure 19-2: Shortcut for routing a track to an aux track via a bus. button (or pan knob), and you cannot place audio in them. Instead, the master fader track provides Aux track settings an output assignment and volume control and Each aux track has the following universal track automation over the output or bus you assign to it. settings: The most common way to use a master fader is as a sub-mix fader for an output (or a bus) to which you ■ Name have assigned a group of audio tracks. You can then ■ Track t y pe icon control (automate, process, etc.) them as a group with the master fader. This is a great way to ■ Play/mute automate the level of a group of tracks without ■ Solo exemption having to create a fader group.

■ Output assignment Master Fader track settings ■ Take Each master fader track has the following universal track settings: ■ Automation settings ■ Name ■ Lock ■ Track t y pe icon ■ Color ■ Play/mute ■ Comment ■ Solo exemption For further details on these universal settings, see “Audio track settings” on page 125. Each aux track ■ Output assignment also has the following setting, discussed in ■ Take chapter 18, “Audio Tracks”: ■ Automation settings ■ Input source (page 125) ■ Lock ■ Enable/disable (page 126) ■ Color

■ Comment

136 AUX TRACKS AND MASTER FADER TRACKS CHAPTER 20 Control Panel

OVERVIEW Control Panel Quick Reference ...... 138 AudioDesk’s Control Panel contains all the Control Panel preferences...... 139 functions that make AudioDesk “go”: buttons to Transport Controls ...... 139 record, play, rewind, set tempo, and more. The Counter ...... 141 Transport controls look and act just like the Memory buttons ...... 146 transport controls for a tape recorder. Additional Auto-Record button...... 150 buttons provide immediate access to many of Overdub record mode ...... 151 AudioDesk’s significant features. To open it, choose Countoff button...... 151 Control Panel from the Studio menu. Wait button ...... 152 Slave to External Sync button ...... 152

Transport Controls Main Time Aux Audio settings: Counters Format Counters Clock Mode, Sample Rate, menu Sample Format, Frame Rate

Memory Bar Sequence Bar / Auto Record Bar Current tempo Current beat value Tempo slider Current meter Sequence menu

Wait Slave to Click Audible external sync mode Auto Auto Link Playback to Auto- Countoff Rewind Stop Memory Record

Memory Link Selection Overdub Cycle to Memory Record Link Playback to Auto Solo Memory Scroll Pre/Post-Roll

Figure 20-1: AudioDesk’s Control Panel.]

137 Status Strip ...... 152 Link Selection to Memory: Causes the Memory Setting the tempo and meter...... 153 Start and End locations to be set by the current Click ...... 155 time range selection. Audible Mode ...... 155 Auto Scroll ...... 155 Auto-Record button: Causes automatic punch in Solo Mode ...... 155 and punch out during recording at the start and Mac keyboard controls ...... 155 end times specified in the Auto Record Bar.

CONTROL PANEL QUICK REFERENCE Overdub record button: Tog g les overdub record Transport Controls: These are AudioDesk’s main mode, in which newly recorded audio data is controls for playback, recording, etc. recover as a new layer on top of existing data instead of completely replacing it. Main Counter: Displays the current playback position in one of AudioDesk’s four time formats: Countoff button: Causes a number of measures to measures|beats|ticks, real time, SMPTE time, or countoff before playback or recording. The button samples. Use the time format menu to the right to denotes the number of measures, which can be set cycle through the four formats. Click the numbers in the Countoff preferences by option-clicking the and type to change the playback location. For more button. information about editing times in the Main Counter, see “Main counter shortcuts” on page 40. Wait button: Causes AudioDesk to wait for a keystroke (or any other MIDI event) from a MIDI Sub Counter: Displays the current playback or Mac keyboard as a signal to start playing back or position in an alternate time format. recording. Wait can also be used together with Time format menus: Independently for each Countoff to create an indefinite countoff. counter, choose from the four time display formats: Slave to external sync: When engaged, AudioDesk measures|beats|ticks, real time, SMPTE time and will wait for external sync. Option-click to open samples. the Receive Sync preferences to set sync options. Auto-Rewind button: Causes automatic rewinding Status Strip: The Status Strip has two sections that to the Memory Start location any time playback is display information. The left side displays the stopped (for any reason). Memory Bar, which contains the locations for Auto-Stop button: Causes playback or recording to Memory functions. The right side displays the automatically stop at the Stop location in the name of the project, the name of the current Memory Bar. sequence, and the Sequences menu, or if enabled, the AutoRecord punch-in and punch-out times. Memory-Cycle button: Causes the region between the Memory Start and Stop points to seamlessly Current Meter: Displays the meter. To change the repeat. In the Edit window, repeat barlines appear meter, you must use the Change Sequence Meter in the time ruler to indicate the repeat points. command in the Project menu.

Link Playback to Memory: Causes playback to Tempo Slider : Lets you control the tempo of the start at the Memory Start location and end at the sequence. Drag the slider to change the tempo. Memory End location.

138 CONTROL PANEL Current Beat Value: Displays which note value gets preferences (Figure 15-3 on page 107), or right- the beat in the beats-per-minute tempo indicator. click anywhere on its background (Figure 20-2 Click on it to change it. below). When displaying shortcuts and the tool bar, you can show/hide individual tools and Current Tempo: Displays the current tempo in shortcuts. beats per minute. Click on it and type in a new tempo.

Clock Mode: Provides quick access to the master clock source for your system.

Sample Rate: Lets you set the sample rate of your project.

Sample Format: Lets you set the sample format of your project.

Frame rate: Sets the SMPTE frame rate for your project. Figure 20-2: The Control Panel preferences. Click (metronome) button: Turns the audible metronome click on or off. Option-click to open TRANSPORT CONTROLS The Transport Controls are the buttons that make the Click preferences. AudioDesk “go”: with them you can record, play, Audible mode: Enables/disables Audible mode. rewind and more. The Transport Controls are enabled by clicking on them. When a button is Auto Scroll: Enables/disables auto scrolling for the enabled, it is highlighted and its function is active: active window. the Record button records, the Pause button pauses, etc. Most buttons can be disabled by Solo Mode button: Engages and disengages solo clicking a second time. To disable the Play and mode. Record buttons, press the Stop button.

Pre/Post Roll: Adds a “lead-in” and “lead-out” Think of AudioDesk’s transport controls as similar when using Link Playback to Memory. These are to tape recorder or CD player transport controls. available only when Link Playback to Memory is But AudioDesk’s transport controls are more enabled. flexible than their hardware counterparts in that they are programmable via the Memory buttons CONTROL PANEL PREFERENCES (on the left of the window), utility buttons (on the The Control Panel appears across the top of the right) and menu commands. Consolidated Window. Like other cells, it can be popped in or out (see “Popping windows in and out” on page 72). It is also highly configurable, allowing you to show and hide sections. A Compact Height option conserves even more screen space. To access these settings, visit the Control Panel

139 CONTROL PANEL The Play button and playback For details about rewinding automatically, see Clicking the Play button starts playback of the “The Auto-Rewind button” on page 146. currently play-enabled sequence. Playback will begin from the current time specified in the The Stop button Counter. Playback can be delayed by the Countoff Clicking on the Stop button stops playback and button and held by the Pause and Wait buttons. recording. It also turns off the Pause button. All notes sounding when the Stop button is clicked will cease (unlike pause). If the Auto-Rewind feature is on, AudioDesk will rewind to the Memory Start location when the Stop button is clicked. Figure 20-3: AudioDesk’s play button. The Play button turns green while the sequence is playing. It flashes when waiting for synchroni- zation in the External Sync mode or when the wait Figure 20-5: AudioDesk’s Stop button. button is on. The Pause button During playback, most AudioDesk features remain Clicking on the Pause button once turns it on; accessible, including the Save command and all clicking on it a second time turns it off. The Pause editing commands. As a general rule, commands button is highlighted when it is on. that cannot be used will either appear greyed out during playback or they will have no effect.

The Rewind button Clicking on the Rewind button sets the current Figure 20-6: AudioDesk’s Pause button. location to the start of the sequence. If a memory Turning on the Pause button during playback will mode is enabled, clicking on the Rewind button cause playback to be suspended. Turning it off will will rewind to the Memory Start location. Double- cause playback to resume. clicking the button will always rewind to the start of the sequence. If the Pause button is turned on before playback, playback will be suspended until the Pause button is turned off.

While the Pause button is on, you can use the Figure 20-4: AudioDesk’s Rewind button. Rewind button and Counter to adjust the current If the Rewind button is clicked during playback, playback location. You may also set times in the playback is held for a moment while the sequence Edit, Memory, and Auto-Record bars. rewinds. Playback then resumes from the rewind location. The Record button and recording Clicking on the Record button turns it on and If the Rewind button is clicked during recording, begins recording in the currently play-enabled the record button is turned off. The sequence sequence from the current location in the counter. rewinds normally. When it is on, the Record button is red and can be turned off by clicking on it again. This disables the record function while continuing playback. You

140 CONTROL PANEL can also turn on and off the record button during pause while cueing backwards until the arrow is playback for manual punch-in and punch-out, as released. If used during recording, the Record many times as you like. A more general way to button will be turned off before cueing. think of the Record button is as an on/off that you control manually. COUNTER The Counter displays the current playback position in the currently play-enabled Sequence, expressed in four different forms: measure time (measure|beat|tick), real time Figure 20-7: AudioDesk’s Record button. (hours:minutes:seconds.hundredths), frame time At least one track must be record-enabled before (hours:minutes:seconds:frames) and samples the record button is pressed. This is done by (digital audio samples). Two of these formats can clicking on the record-enable button for the be displayed at the same time: one as a main desired track (or tracks). Record-enabling a track counter and the other as an auxiliary counter. makes it the destination for incoming recorded These time standards are explained in detail in the data. next few sections.

If the Auto-Record button is enabled, the Record You can edit the counter fields to change the button will flash red when enabled. It will then turn current location. You can change which time red when the Punch In location is reached. When formats are displayed by selecting the time format the Punch Out location is reached, the Record from the Time Format menu next to each counter. button returns to “record-ready” mode. Measure Time If the Record button is flashing in “record-ready” mode due to Auto Record, clicking on it will turn it off, cancelling the punch-in.

When slaved to external sync, stopping or Measure time is the most musical of the time rewinding the master device will turn off the formats. Locations are displayed in standard record button. measures and beats, with an additional unit called the tick. Unless you are doing film or video work, it Overdub Record See “Overdub record mode” on page 151. is probably the only time representation you will need (though you may want to use real time for an Undo Record objective measurement of the length of your Recording can be undone at any time with sequence). The three units are separated by vertical AudioDesk’s multiple undo features. For details, bars. The example shown below shows measure 1, see “Undo/Redo” on page 249. beat 1, tick 0.

Fast/Slow Forward & Rewind AudioDesk’s display resolution is 480 ticks per These four buttons scan through your sequence – quarter note. Event times can thus be viewed and fast or slow, forward or backwards. The right set of edited with an accuracy of 1/480 of a quarter note arrows cues forward in time, the left set cues at this setting. backwards. The inner arrows cue slowly, the outer ones cue faster. The left arrows cause playback to

141 CONTROL PANEL Real Time Samples

Real time is clock time, i.e. time expressed in The samples time format displays the number of hours:minutes:seconds.hundredths of a second. digital audio samples since the beginning of the Real time is useful to measure elapsed time for your project. AudioDesk places digital audio in audio sequence. By default, the sequence begins at time tracks with sample-accurate precision. 0:00:00.00; this can be changed with the Set Using the Counter to change the current Sequence Start command described later in this playback location chapter. The current playback location is the position where the Sequence will next play or record from. You can Frame Time edit the counter fields to change the current location.

You can change the current location in the currently play-enabled Sequence by editing the Frame time is a visual display of SMPTE (Society of counter numbers. This can be done while the Motion Picture and Television Engineers) time Sequence is stopped or playing. If you edit the code. It is generally used in film and video work, counter while the Sequence is playing, it will but is increasingly used for synchronization in continue to play while you enter the values and will audio production. It is displayed similarly to real cue to the new location after you confirm your edit. time, in hours, minutes, seconds, and frames. To edit the counter: Frames are subdivisions of a second. The first frame number in a second is zero. AudioDesk 1 Click on the time value you wish to change. supports these frame formats: 23.976 frames per second (fps), 24 fps, 25 fps, 29.97 fps, 29.97 drop- The number field will highlight. frame, and 30 fps. Additionally, there are three “non-standard” frame rates available: Legacy 29.97 2 Enter the number you want. fps, Legacy 29.97 drop-frame, and 30 drop-frame. You can only enter valid values (e.g. you can’t enter See “Non-standard frame rates” on page 382 for 27 frames if you’ve chosen a 25-frame standard). more details. Use the Tab key to move from one value field to the When synchronizing to an external time code next. The decimal point on the keypad can also be source, the counter will always display the same used to cycle through fields. If you make a mistake frame time that is being received from the external in entering a value, press the delete key or click on source. You may specify the SMPTE location at the field again and re-enter the value. which the first measure of the sequence starts. 3 Click outside the highlighted number field or hit the Return key.

142 CONTROL PANEL Using the decimal key or Command-T to edit Playback dashes SMPTE main counter If you would like for the last field of the counter to The decimal key on the Mac keypad will now be displayed as dashes, instead of numbers quickly highlight the main counter, even if it is SMPTE rolling by, enable the Playback Dashes option time, Real time or samples. (Figure 20-8). You can set this independently for each counter. There is a shortcut for setting the measure time: using command-T or the decimal point on the Round on Entry keypad will select the measure field and set the beat By default, the Round on Entry option field to 1 and the tick field to 000. You may then (Figure 20-8), found under the Time Format enter the number of the measure you want to move menu, is enabled and edits to larger time fields will to. As soon as you click outside the highlighted field clear smaller time fields. When the “Round on or press the Return key, the specified value will be Entry” is disabled, smaller time fields are preserved entered. when editing larger fields.

These keys will always edit the main counter, even Setting the start time when it is set to SMPTE time, Real time or samples. The start time of the sequence is what you see in the counter when you rewind to the very beginning. Setting the Counter Display Normally, the default start time for a sequence is To change which time format is shown in the Main measure time 1|1|000, real time 0:00:00.00 and or Auxiliary Counter, click the Time Format menu frame time 0:00:00:00. buttons to the right of each counter. You can, however, use the “Set Sequence Start Time” command under the Sequence menu in the Status Strip.

Figure 20-8: Use the Time Format menus to choose which of AudioDesk’s various time formats you would like to display in the counter. The Counter displays dashes when no sequence is play-enabled in the file. To display numbers, play- enable a Sequence in the Sequences window.

During playback, the measure time counter is updated each time a metronome click would occur. Figure 20-9: Set Sequence Start Time allows you to choose the start time at the beginning of the sequence for all of AudioDesk’s time If the click value is set to a half note in 4/4 time, formats. only beats 1 and 3 will display in each measure. The click value can be set with the Change Sequence If you are synchronizing AudioDesk to SMPTE Meter command in the Project menu. time code, you’ll need to set the SMPTE start time according to SMPTE frame at which you want the AudioDesk to begin playing. For example, you may

143 CONTROL PANEL want the downbeat of the first measure in the sequence to begin playing when the time code reaches 1:00:20:00.

You might also want to change the sequence start time because you would like to create one or more pickup measures before measure 1 (1|1|000).

The start times you enter for measure and real time are arbitrary and only affect the display of time locations. The SMPTE time code start time, however, determines the frame at which the sequence will actually begin playing while AudioDesk is slaved to external time code.

Figure 20-11: The Set Sequence Start dialog lets you choose To set the start times of a sequence: completely different start times for each of AudioDesk’s various time formats. This is where you determine the sequence’s SMPTE start time 1 If you have more than one sequence in the file, (offset). make sure it is the currently play-enabled 4 Click on the value(s) you wish to change. sequence. 5 Enter the new value(s). To do so, look at the current sequence name in the Control Panel. If you need to switch sequences, You may enter a value for each of the various time choose the desired sequence from the Sequence formats. Measure values range from -9999 to 9999. menu in the Control Panel, or use the Skip buttons Real time ranges from 0:00:00.00 to 23:59:59.99. in the Sequences window. Frame time ranges from 0:00:00:00 to 23:59:59:30.

6 Click on OK to confirm your choice or Cancel to cancel it.

Figure 20-10: The current sequence name is displayed in the informa- Using SMPTE timecode bits tion bar. In addition to the start frame, you may offset the 2 Click the Sequence menu and choose “Set SMPTE start time by a number of bits. There are 80 Sequence Start Time.” bits per frame. Although AudioDesk does not have single bit time resolution, it does offer sub-frame 3 A dialog box appears. The current sequence time resolution. Use the bit offset to finely adjust name is displayed near the top of the dialog box. the start time.

Setting the SMPTE frame rate The SMPTE frame rate can be set with Frame Rate command in the Setup menu.

144 CONTROL PANEL Preserving locked markers when changing the 4 Highlight all track names in the Edit window start time and double-click the “Load Selection” button in the If your project contains locked markers, you can Selection Information window. either preserve their location relative to the start of the sequence or preserve their absolute frame time This selects the entire sequence. when changing the sequence’s SMPTE start time. For details, see “Locked markers and the sequence 5 Choose Shift from the Edit menu. start time” on page 286. 6 Choose the Later option and type in the number Creating pickup measures before 1|1|000 of pickup measures that you previously added. Normally, when you rewind AudioDesk back to the beginning of the sequence, the measure counter If you added 1 pickup measure by setting the start reads 1|1|000. But sometimes you may have several time to 0|1|000, shift by 1 measure here. pickup beats (or measures) in your music, and you may still want the music at measure 1 to remain at measure 1. If so, you can create as many pickup measures before 1|1|000 as you need.

To create a pickup measure:

1 As described in the previous section, set the measure start time of the sequence to 0 to create 1 pickup measure.

If you need two pickup measures, set the Measure start time to -1. If you need 4 bars, set it to -3. 7 Click OK.

2 Now, when you press Rewind back to the You have now successfully restored all data back to beginning of the sequence, the Counter window its original location before changing the measure will read 0|1|000. start time, and you also have several empty pickup measures in which to record. If you set up two or four pickup measures instead of only one, the counter would read -1|1|000 or The accuracy of the counter display -3|1|000 respectively. AudioDesk’s first priority is to keep up with the flow of audio data. If it encounters a great deal of 3 If you already had data recorded in the data, it selectively ignores its graphic display until sequence, shift the data back to its original the microprocessor load decreases. This may keep location. the counters from updating and they may skip beats during these times. This is AudioDesk’s way When you change the Measure start time, data that of keeping up, and does not necessarily mean that used to be at 1|1|000 is now at 0|1|000, and so on. data is being played inaccurately. All data has changed to match the new start time. To restore all data to its original position before you changed the start time, use the Shift command to shift it back to where it was before.

145 CONTROL PANEL A side effect of this is that the counter may not The Auto-Rewind button always be accurate. It should therefore not be used Enabling the Auto-Rewind button causes the as a metronome. In general, the counter display sequence to automatically rewind to the Start should not be used as a visual indication of tempo. location on the memory bar. This occurs when the Stop button is pressed or when playback reaches Controlling how often the counter updates the end position in the memory bar in Auto-Stop During playback, the measure time counter is mode. Clicking on the Auto-Rewind button updated each time a metronome click would occur. enables and highlights it. For example, if the click value of the current meter in the sequence is set to a half note in 4/4 time, only beats 1 and 3 will display in each measure. The click value can be set with the Change Sequence Meter command in the Project menu. Figure 20-13: The Auto-rewind button. Auto-Rewind is useful for returning to a particular Negative numbers in the counter display location after stopping. It saves you from having to When using an external sync source, AudioDesk stop and rewind manually. may run for a little while before the sequence actually starts. During this time, you may see The Memory-Cycle button negative bar numbers. These increase in value The Memory-Cycle button is a cycle-playback and (towards zero) until the start measure is reached. cycle-recording feature that causes a portion of the entire sequence to be played repeatedly until the MEMORY BUTTONS stop button is pressed, just like drum machines and The Memory buttons (Auto-Rewind, Auto-Stop hardware sequencers. Cyclic playback begins when and Memory-Cycle) allow you to automate the the sequence reaches the specified Memory-Cycle primary transport controls. By using the Memory region. When the Counter reaches the end of the buttons, you can program the transport controls to region, it seamlessly returns to the beginning and activate at times specified in the Status Strip. will continue to do so until you press the stop The Auto-Stop button button, unhighlight the Memory-Cycle button, or Enabling the Auto-Stop button causes playback of cue past the end time. the sequence to automatically stop at the Stop location on the memory bar. Clicking on the Auto- Stop button enables it; when enabled, it is

highlighted. Figure 20-14: The Memory-Cycle button allow you to seamlessly cycle any portion of a sequence. Use Memory-Cycle for multiple consecutive playbacks of a particular region. This can be very Figure 20-12: The Auto-stop button. useful for cycle-recording a loop section or drum pattern, mixdowns, rehearsing a part that you plan The Memory-Cycle button and the Auto-Stop to record, or for scrutinizing a particular region of button cannot be enabled at the same time. a performance.

You can also record successive takes when cycling.

146 CONTROL PANEL If you want to permanently loop a region in one or resolution check box is checked, the barlines snap more tracks and specify the number of times the to the current resolution setting (such as 8th notes, loop will repeat, insert a loop as described in for example) as you drag them. For an explanation chapter 25, “Looping” (page 183). of edit resolution, see “Setting the Edit Grid Resolution” on page 235. Click on the Memory-Cycle button to enable it. The next section discusses several ways to set the You can adjust the cycle points at any time, even start and end times in the Memory Bar as shown in during playback. This lets you build loops and Figure 20-15. other tasks without ever having to stop the music.

The Memory-Cycle button and the Auto-Stop Setting Memory-Cycle points button cannot be enabled at the same time. The Memory-Cycle region is defined by the start and end times in the memory bar. You can set these Viewing Memory-Cycle points graphically points by: When Memory Cycle is enabled, the start and end times appear graphically as repeat barlines in the ■ typing (use the tab key as usual) Time Ruler of the Edit window at the start and end ■ dragging on the numbers vertically time as shown Figure 20-15. ■ choosing the desired command from the Playback cycles between these points seamlessly. Memory Bar menu You can drag the repeat barlines left and right with the mouse to change the cycle points. If the edit ■ using several clicking shortcuts

Memory-Cycle button is activated.

Memory bar start and end times are displayed here. You can change them by typing, dragging their values up/down, or by loading times with the menu shown to the right.

Edit resolution

Repeat barlines are displayed in the time ruler. They can be dragged left and right; when dragging, they snap to the current edit resolution, if any.

Figure 20-15: Playback and recording loop seamlessly between the Memory-Cycle start and end markers, which you can drag with Snap To Grid turned on or off.

147 CONTROL PANEL ■ loading them with commands and end of the region you highlighted. Now AudioDesk will cycle between them during ■ linking them to selection (as explained in “Link playback and recording. Memory to Selection” on page 149)

■ loading them with the Remembered Times Selecting the Memory-Cycle region for editing command If you would like to quickly select the region within the Memory-Cycle repeat barlines to insert a loop, These same techniques are also used for selections, or other editing operation, click one of the two and they are described in detail in “Selection repeat barlines. Information” on page 238.

Figure 20-16: Setting Memory-Cycle points with the shortcuts in the memory bar menu. Figure 20-17: Selecting what is being cycled by clicking one of the Memory-cycle markers. To automatically set the times to the current selection bounds, see “Link Memory to Selection” Link Playback to Memory on page 149 To do so manually: When enabled, the Link Playback to Memory button (Figure 20-18) causes playback to begin 1 Set the Edit resolution in the time ruler. and end at the times prescribed in the Memory Bar (below the main transport buttons). If you want the end points to land directly on beat or measure boundaries, the easiest way to do so is to set the edit resolution to an appropriate value, such as eighth notes or quarter notes. If you want to be able to set the loop points with no constraints Figure 20-18: Link Playback to Memory button. whatsoever, uncheck the edit resolution box. In addition, the playback wiper is only visible during playback. When this mode is enabled, 2 Drag over the desired region in any time ruler. memory start and stop indicators appear in the 3 Highlight the Memory-Cycle button if it is not time rulers of the Edit window: already highlighted.

4 Choose “Set to Selection Bounds” from the memory bar menu. Figure 20-19: Memory start and end indicators show where playback will begin and stop with the ‘Link Playback to memory’ mode is The region is loaded into the Memory start and enabled. end times. In addition, the Memory-Cycle repeat If Memory Cycle is also enabled (see “The barlines appear in the time rulers at the beginning Memory-Cycle button” on page 146), playback will continuously loop within the Memory-Cycle

148 CONTROL PANEL points, and the memory start and stop indicators If AutoRecord is enabled, then the AutoRecord Bar appear with brackets to indicate that looping will determines the punch-in and punch-out times, occur: and separate punch-in and punch-out indicators appear in the time ruler.

Figure 20-20: If Memory Cycle is also enabled, the memory start/stop indicators appear with brackets to indicate that playback will loop. Figure 20-22: With AutoRecord enabled, separate punch in/out Preroll and Postroll points are provided by the AutoRecord bar. When Link Playback to Memory is enabled, the Link Memory to Selection Preroll and Postroll buttons become enabled. Click When enabled, the Link Memory to Selection them to add the specified amount of preroll and button (Figure 20-23) causes the Memory Start postroll before and after the memory start and stop and Stop times to always match the current indicators. Preroll and postroll are displayed in selection start and end times. By combining this time ruler as shown below in Figure 20-21. You can mode with other memory modes, playback will drag these indicators to change the amount of pre/ always begin, end and loop over the current postroll, or type in the desired amount in the text selection. For example, if you enabled Memory boxes provided next to the buttons. Cycle, the memory cycle start and end times will always match the time range that is currently ☛ If Memory-Cycle is enabled, there is no selected. Postroll because playback never makes it past the end of the looped region.

Figure 20-23: Link Memory to Selection button.

Figure 20-21: The Preroll and Postroll indicators. Linking playback to the current selection By enabling both Link Playback to Memory and The Preroll and Postroll text boxes adhere to the Link Memory to Selection, you essentially link current global time format. This allows you to playback to selection. In other words, playback will specify the amount of Preroll and Postroll in any always begin and end at the start and stop of the time format you wish, including SMPTE frames, current time range selection, with preroll and milliseconds, etc. For further information about postroll, if any. If Memory Cycle is also enabled, time formats, see “Choosing a global time format” playback will loop indefinitely within the current on page 42. time range selection. In this mode, the current selection can be changed by editing the memory Punching in and out bar, and vice versa. If a track is record-enabled, and AutoRecord is disabled, the memory start and stop indicators turn red and serve as punch-in and punch-out points.

149 CONTROL PANEL The Auto-Record button will remain on until you click on it again to disable it. Remember to disable it when you finish using it.

Viewing the punch-in and punch-out points graphically When Auto-Record is enabled, the punch-in and punch-out times are displayed graphically as arrows in the time ruler of the Edit window as shown in Figure 20-26.

You can drag the arrows left and right with the mouse to change the punch-in and punch-out Figure 20-24: To always play (or loop) the current time range selec- points. If the edit grid check box is checked, the tion, enable both memory link buttons, and Memory Cycle. If you include Memory Cycle, there is no postroll. arrows snap to the current resolution setting (such as 8th notes, for example) as you drag them. For an Looping a soundbite explanation of edit resolution, see “Setting the Edit To quickly begin looping playback around a Grid Resolution” on page 235. selected soundbite, double-click the soundbite with the I-Beam tool (in the Tool palette). To You can adjust the arrows at any time, even during temporarily get the I-Beam tool (without having to playback or recording. This lets you adjust punch- go to the Tool palette), hold down the “ i ” key. in and punch-out on the fly without having to stop AUTO-RECORD BUTTON the music. Auto-Record causes recording to automatically Setting the punch-in and punch-out points turn on and off in a specific region. This allows you The Auto-Record region is defined by the in and to record without having to manually enable and out times in the Auto-Record Bar. You can set these disable the Record button. points by:

■ typing (use the tab key as usual)

■ dragging on the numbers vertically Figure 20-25: The Auto-Record button allows you to precisely program punch-in and punch-out points for recording. ■ choosing the desired command from the Auto- Record Bar menu Clicking on the Auto-Record button enables and highlights it. Clicking on the Auto-Record button ■ using several clicking shortcuts also causes the Auto Record punch in and punch ■ loading them with commands out times to appear in the Status Strip. Punch in and punch out times are specified in the Auto ■ loading them with the Remembered Times Record Bar: Punch in is the time where recording command begins; Punch out is where recording ends. Auto- These same techniques are also used for selections, Record can be used while AudioDesk is slaved to and they are described in detail in “Selection external sync; see chapter 48, “Receive Sync” Information” on page 238. (page 381) for details on recording while slaved to each type of sync. 150 CONTROL PANEL Quickly selecting what you have recorded COUNTOFF BUTTON You can quickly select the region between the Enabling the Countoff button causes a countoff of a punch points by clicking one of the arrows. This is specified number of measures before playback or a handy shortcut for editing what you have just recording. The Counter does not move forward recorded with auto-record. until after the countoff. Clicking on the Countoff button enables and highlights it. You must enable OVERDUB RECORD MODE the Click (in the Studio menu) to hear the countoff. If you click the Overdub button, AudioDesk goes into Overdub record mode. Overdub mode causes all new audio data to be layered on top of existing data, rather than erasing and replacing existing data. Figure 20-28: The Countoff button produces any number of bars of countoff that you wish. To set the number of countoff measures, option- click on the Countoff button. The Countoff preferences will open, where you can enter the Figure 20-27: AudioDesk’s Overdub Record mode button. number of measures and specify whether the For further information, see “Overdub recording” countoff should occur only when recording. If the on page 169. Countoff only when recording option is chosen, there will be a countoff before recording, but not before playback or any other function. For further details, see “Recording to a click” on page 161.

Auto-record button is activated.

Auto-record bar start and stop times are displayed here. You can change them by typing, dragging their values up/down, or by loading times with the menu shown to the right.

Punch points are displayed in the time ruler. They can be dragged left and right; when you drag them, they snap to the current edit resolution.

Figure 20-26: Punch-in and Punch-out points are depicted graphically with the Auto-Record markers, which you can drag with Snap to grid turned on or off.

151 CONTROL PANEL The countoff bars are in the same meter as the Use Wait to give yourself a moment to ready sequence. See “Countoff” on page 110. yourself at your keyboard or other input instrument before recording. Using Countoff and Use the Countoff button to give yourself time to Wait together allows you as much time as you need adjust to the current tempo and prepare for to prepare for recording. recording. Using the Countoff and Wait buttons allows ample preparation for a recording pass; this If you turn on the Wait button together with the is particularly useful in situations where the Countoff button, you create an indefinite countoff computer and keyboard are not adjacent. — the countoff keeps going until you start playing.

Indefinite countoff SLAVE TO EXTERNAL SYNC BUTTON For an indefinite countoff (the countoff keeps When engaged, AudioDesk follows an external going until you start playing), turn on the Wait clock source, as specified in the Receive Sync button (discussed in the next section) at the same command (Setup menu). Double click this button time as the countoff button. to open Receive Sync window. For details, see chapter 48, “Receive Sync” (page 381). WAIT BUTTON Enabling the Wait button causes AudioDesk to wait until it receives a MIDI event before it begins to play back or record. Figure 20-30: The Slave to External Sync button.

STATUS STRIP The Status Strip has two sections that display

Figure 20-29: The Wait button causes AudioDesk to wait for an information. The left side displays the Memory incoming MIDI event before it begins to play or record. Bar, which contains the locations for Memory To enable the Wait button, click on it; it will functions. The right side displays the name of the highlight. Then, press either the Record or Play project and the sequence, or the AutoRecord buttons. The wait button will then begin to flash, punch-in and punch-out times, if enabled. signaling that it is waiting for a keystroke. To start The Memory and Auto Record Bars playback or recording, press the enter key on the The Memory Bar is always visible on the left-hand Mac keyboard or your MIDI controller side of the Status Strip. The Auto-Record bar instrument. appears on the right-hand side of the Status Strip The Wait button will remain enabled until it is when you enable the Auto-Record button. clicked off. Thus, it will be in effect every time the Record or Play button is clicked on.

Figure 20-31: The status strip. The sequence menu

152 CONTROL PANEL The Memory Bar selection panel and the Memory-Cycle bar. For The Memory Bar displays the start and stop times complete information, see “The ‘Remember Times’ for Auto-Stop, Auto-Rewind, and Memory-Cycle command” on page 248. (see above). To deactivate the Memory Bar, turn off the currently enabled Memory button by clicking The Project and sequence info it. The right half of the status strip (Figure 20-31) shows you the name of the project you currently have open, followed by the currently play-enabled sequence. Just to the right of the sequence name is the Sequences menu, which lets you add, delete, Figure 20-32: The Memory Bar. rename and otherwise manage multiple sequences For details about editing the start and end times in in your project. the Memory bar, see “Setting Memory-Cycle points” on page 147.

The Rewind button works differently when the Memory Bar is visible: clicking on the Rewind button once will rewind to the Start time in the Memory Bar; clicking on it again will rewind to the beginning of the sequence.

Memory bar times can also be loaded by selecting the region graphically. See “Setting Memory-Cycle points” on page 147.

Figure 20-34: The Sequence menu also provides commands for creat- The Auto Record Bar ing, naming, and deleting sequences, as well as copying the current The Auto Record Bar will appear when the Auto selection to its own, new sequence. Record button is enabled. When it is visible, Auto Record is in effect. SETTING THE TEMPO AND METER The Control Panel displays the tempo and meter of the currently play-enabled Sequence.

Figure 20-33: The Auto-record bar lets you set precise, automated punch-in and punch-out points during recording. You can enter the start and end times numerically Current Tempo Beat Current in the Auto Record Bar. See “The Memory and meter Slider value Tempo Auto Record Bars” on page 152. You can also set Figure 20-35: AudioDesk’s Tempo Controls. them up graphically. “Viewing the punch-in and punch-out points graphically” on page 150. Setting the tempo Tempo is expressed in beats per minute (bpm). The The Remember Times command (control-R), beat value can be any standard musical duration allows you to save any time range selection, so that between a sixteenth and whole note. All beat values you can load it into the Auto-Record bar later on. can be dotted. A dotted value is equivalent to one You can also load remembered times into the and a half times the value of the duration. (A

153 CONTROL PANEL dotted quarter note is equivalent to one and a half AudioDesk, the numerator can be a value between quarter notes, for example.) Tempos are displayed 1 and 99. The denominator must be a power of 2 (1, and entered with an accuracy of a hundredth of a 2, 4, 8, 16, 32, or 64). beat per minute. This allows you to specify tempos with two numbers to the right of the decimal point, Numerator e.g. 104.78 beats per minute. In addition to providing you with a high degree of resolution, this also allows you to easily enter tempos that match standard frame click metronome values (for film scoring applications).

To set the tempo, edit the tempo box in one of the Denominator following ways: The metronome click versus the ‘beat value’ ■ typing (use the tab key as usual) The beat value (Figure 20-35 on page 153) is the ■ dragging on the numbers vertically note duration that “gets the beat” in a given meter. In ■ drag the tempo slider 4/4, for example, the quarter note usually gets the You can change the tempo at any time, even during beat: in this case, the beat value is a quarter note. In playback. 6/8, the beat generally falls on the first and fourth eighth notes in the measure, thus the dotted Setting the meter quarter is the beat value. The Control Panel displays the meter for your reference. To change meter, choose Project menu> The beat value you set does not necessarily Change Sequence Meter. correspond to the value you set for the metronome click. The metronome click value is set when specifying the meter with the Change Sequence Meter command (Figure 20-36). For example, in 6/ 8 meter, you may set a tempo of an eighth note = 220, but, set the metronome click to a dotted quarter note (standard in 6/8 time). Quite often though, the beat value will be the same as the meter denominator (the lower number of the meter marking). Figure 20-36: Changing the meter. Tempo Control during external A meter consists of a beat value and the number of synchronization beats per measure. The beat value is generally the When slaving to external time code (such as rhythmic pulse or beat of the music; a measure SMPTE) using MTC sync mode, AudioDesk consists of a certain number of these beats. follows its own internal tempo. Set the desired AudioDesk displays meters in the standard musical tempo in the normal fashion. fashion as a fraction, with the beat value in the denominator (on the bottom) and the number of beats per measure in the numerator (on top). In

154 CONTROL PANEL AudioDesk automatically adjusts real time and MAC KEYBOARD CONTROLS frame locations when the current tempo is The Control Panel functions can be operated from changed. the numeric keypad on the Mac extended keyboard. CLICK This buttons toggles the Click on and off. For more details on the Click and its options, see “Recording to a click” on page 161. Memory AUDIBLE MODE Toggle When engaged, Audible Mode allows you to listen to notes and soundbites one at a time as you highlight them. For details, see “Audible mode” on page 203.

AUTO SCROLL Auto Scroll controls if and how windows will scroll during playback, recording, and cueing. For details, see “Auto-scroll” on page 159.

SOLO MODE Figure 20-37: The Mac extended keypad assignments for AudioDesk’s This button toggles Solo Mode on and off. For Transport controls. more details on Solo Mode, see “Soloing Tracks” on page 158 In addition, the space bar acts as a play/stop toggle. These key assignments are provided for your convenience. However, you can create your own customize key assignments using the Commands window. See chapter 16, “Commands” (page 113) for more information.

155 CONTROL PANEL 156 CONTROL PANEL CHAPTER 21 Playback

OVERVIEW 3 Play-enable the tracks you wish to play back. Playback basics ...... 157 How to play a sequence...... 157 In the Edit window, click the Play-enable button to Monitoring levels ...... 157 the right of the track name(s) you wish to hear. If Editing during playback ...... 157 the track is not play enabled, you will hear nothing Screen re-display ...... 158 from the track. Muting and unmuting tracks during playback...... 158 4 Soloing Tracks ...... 158 For each track, choose an audio output Looping playback...... 159 destination as explained in “Audio input and Playing the current selection ...... 159 output” on page 125. Auto-scroll ...... 159 5 Set the location from which you want playback Scrubbing ...... 160 to begin. Slow and fast forwarding ...... 160 PLAYBACK BASICS There are many ways to cue AudioDesk. Here are When AudioDesk plays tracks, it reads audio data just a few: to simply rewind to the beginning of the from the hard disk and sends the digitally encoded sequence, click the Rewind button. To start at a audio signal to your MOTU audio interface. The specific location other than the beginning, type in digital-to-analog (D-to-A) converters in the audio the location in the main counter. Or click the hardware then convert the digital audio signal into “wiper” cursor at the desired playback location in an analog one that plays from the speaker(s) you any time ruler in the Edit window. have attached to the audio hardware. Because the 6 Press the Play button or press the space bar. audio data is stored on the hard disk, AudioDesk has random access to the audio and can cue The sequence will begin to play. The Counter virtually instantaneously to any location in the advances. stream of audio. For more information about these basic hard disk recording concepts, see chapter 4, 7 When finished playing back, press the Stop “Hard Disk Recording Concepts” (page 25). button.

HOW TO PLAY A SEQUENCE MONITORING LEVELS To play an AudioD esk sequence: Long throw metering is available in the Mixing Board; see “Level meters” on page 309. 1 Open an AudioDesk project. EDITING DURING PLAYBACK 2 If the project contains more than one sequence, Many of AudioDesk’s features, such as windows, choose Sequences from the Project menu and play- dialog boxes, edit region selection, edit commands, enable the sequence that you wish to play back. and other features can be used during playback. You do not have to press the Stop button Only one sequence can play at a time. beforehand. As you listen to your music and find

157 that would like to make a change, don’t reach for MUTING AND UNMUTING TRACKS DURING the Stop button. Just execute the command while PLAYBACK the music is playing. Tracks can be muted and unmuted during playback by using solo mode or by clicking their Here are some examples of things you can do play-enable button in the Edit window. You can during playback: also record the action of muting and unmuting tracks (for details, see chapter 39, “Mix ■ Select a region for editing Automation” (page 319)).When muting a track,

■ Edit a region with the Edit or Audio menu the response is instantaneous. commands SOLOING TRACKS ■ Cut, copy, drag, option-drag (copy), etc. audio Soloing tracks allows you to isolate tracks for data in the Edit window playback. This is a quick way to temporarily mute or unmute many tracks at once without having to ■ Choose a different output destination for a track click on the Play-Enable buttons of each. Think of ■ Add, delete, rename, or reposition a track soloing as a second, independent play-enable state for all tracks. Any combination of tracks can be ■ Access a mini-menu command play-enabled when solo is turned on — even tracks Some features, because of their nature, cannot be that have been muted when solo is off. accessed during playback. These features are either greyed out (inaccessible) during playback or will The color of the play-enable button tells you its play have no effect unless you press the Stop button status: before using them. ■ Green — means the track will play in the current SCREEN RE-DISPLAY mode (solo or not soloed) During playback, AudioDesk does its best to ■ White — means the track is muted and will not update items on the Mac screen, such as the play Counter and scrolling windows. However, audio recording and playback can often place a high ■ Orange — means that the track is muted when demand on the computing power of the machine, soloing is on but play-enabled (blue) when soloing and AudioDesk makes playback a much higher is turned off priority than refreshing the screen display. Click a play-enable button to change its status at Therefore, you may find at times that AudioDesk any time, regardless of whether solo is turned on or must devote all of the computer’s resources towards off. this end and thus may not be able to keep the screen display completely smooth and current. In Solo is turned on and off by pressing the solo addition, editing commands may sometimes take button (labelled “S’) in the Control Panel. Solo longer due to the amount of processor time status can be changed during playback. You may required to deal playback. Rest assured, however, mute and unmute tracks at any time during that your data is playing back accurately. playback.

Both the soloed play state and the un-soloed play state are remembered until you change them, and both are also saved with the project. 158 PLAYBACK When tracks are muted during soloing, AudioDesk computer, or if your sequences tend to contain continues to process the audio data contained in large amounts of dense data, this option will ensure them. This allows tracks to be soloed and un- responsive scrolling and smooth screen redisplay. soloed during playback without pauses or glitching. When you choose either of the All windows follow the counter options, all windows will scroll together LOOPING PLAYBACK during playback or recording, and they will even Playback of the entire sequence can be looped stay together when you cue AudioDesk when it is seamlessly between any two points — see “The stopped. For example, if AudioDesk is stopped and Memory-Cycle button” on page 146. you press Rewind, all Auto-Scrolling windows will scroll to the new location indicated in the counter. PLAYING THE CURRENT SELECTION Auto-Scrolling occurs when pressing the cueing To play back the current selection, choose Play buttons, typing a new location into the counter, Selection from the Edit menu (or press option- cueing to a marker in the Markers window, or any spacebar). other cueing method.

AUTO-SCROLL If you also want all windows to scroll together Auto-Scroll (View menu) lets you control if and when you scroll one of them manually (with their how windows will scroll during playback, horizontal scroll bar), choose the top-most option: recording, and cueing. You can choose whether all All Windows follow the counter and stay together windows on the screen will scroll, or only the top when you scroll them manually. window. You can also choose to display or not display the scrolling wiper in any window. Finally, Paging versus continuous scrolling you can choose between “paging” or “continuous AudioDesk provides two types of window scrolling”. scrolling:

■ Paging

■ Continuous scrolling Paging When the Continuous Scroll option is unchecked, all AudioDesk windows proceed one windowful at a time during playback. That is, when playback reaches the last measure or event in the current time range being displayed in the window, the window jumps to the next windowful of data, just Figure 21-1: The Auto Scroll preferences allows you to configure how like clicking in the grey area of a scroll bar. AudioDesk windows scroll during recording, playback and cueing.

All windows versus the top window Continuous Scroll Choose Only the top window follows the counter to When the Continuous Scroll option is checked, the improve scrolling performance in the top-most contents of the top-most window scroll smoothly (active) window when you have more than one from right to left, with the current playback window open on the screen. This option reduces location centered (left to right) in the window. If AudioDesk’s processing load. If you have a slow the wiper is being displayed in the window, the

159 PLAYBACK wiper remains centered in the middle of the pull down to zoom in, and you want to zoom in window, except when it is close enough to the further but you’re getting close to the bottom of the beginning of the sequence that it must first travel screen, release control, move back up to the top of from the left-hand side of the window to the center. the wiper (doing so maintains the current zoom level), press control, and then pull down to Initially, the playback position is centered (left to continue zooming in further. right) in the window. You can change it to show more of the sequence before or after the current You can also drag the wiper horizontally as you position by option-dragging the wiper. zoom with it to move the focus of the zooming. For example, you can drag left or right as you drag Because continuous scrolling requires a great deal down to further zero in on a particular location. more of the computer’s processing resources, it Hold down the command key to temporarily only applies to the top-most (active) window. suspend horizontal wiper movement.

Enabling/disabling Auto Scroll Wiper zooming is an extremely useful zooming You can temporarily enable and disable Auto Scroll shortcut. It works particularly well when used hand in the Edit window using the Auto Scroll button in in hand with Zoom Back (command-[). the Control Panel as shown below. Auto-scrolling with multiple sequences Auto-scrolling will only occur in windows related to the currently play-enabled sequence.

Suspending auto-scrolling Figure 21-2: Enabling and disabling Auto Scroll. You can temporarily suspend auto-scrolling by simply clicking on the Auto Scroll button. The Cueing with the wiper window will stop for a moment before it resumes There are several ways to cue the current playback auto-scrolling. This lets you view or edit things location with the wiper, either when AudioDesk is quickly without having to stop playback. Auto stopped or playing: scrolling resumes after you leave the window alone for about 5 seconds. You can manually resume auto ■ Double-click any time ruler at the desired location scrolling by clicking the Auto Scroll button. When Auto-Scroll is enabled, windows that contain time ■ Click once in the upper half of the time ruler rulers open to the current playback location. with the “wiper” cursor SCRUBBING ■ Drag the wiper tab in the time ruler You can scrub the audio in a soundbite in the Edit Zooming with the wiper window. For information, see “Scrubbing audio You can zoom in and out by control-dragging inside a popped-up soundbite” on page 223. vertically on the playback wiper itself. Control- drag down to zoom in; drag up to zoom out. SLOW AND FAST FORWARDING Fast forward advances the counter at four times Release the control key to temporarily suspend normal speed and skips audio like a CD player. wiper zooming. This allows you to continue Slow forward advances the counter at half speed zooming, even after you’ve reached the top or and slows audio down without skipping. bottom of the computer screen. For example, if you

160 PLAYBACK CHAPTER 22 Recording

OVERVIEW CHOOSING A SEQUENCE TO RECORD INTO AudioDesk records very much like a multi-track If you have more than one sequence in the project, tape deck: you connect inputs, specify tracks to be sure to play-enable the one that you wish to record into and push the record button. record into. To do so, look at the current sequence AudioDesk, however, has a great deal more indicator in the Control Panel. flexibility than a tape deck. There are many features you can use while recording that affect which types of data are recorded, control the time span in which recording takes place, manage multiple takes on the fly, automate loop-recording, and much more. Figure 22-1: The current sequence. Choosing a sequence to record into ...... 161 If you need to switch sequences, use the Sequences Setting tempo and meter...... 161 menu in the Control Panel, or use the Sequences Recording to a click ...... 161 window. Recording with a Countoff...... 162 Preparing a track for recording ...... 162 SETTING TEMPO AND METER Audio monitoring (audio patch thru) ...... 164 If the material you are recording is musical in Using the wait and count-off features ...... 166 nature, then it is best to match it with the tempo Start recording...... 167 and meter in the sequence, if any. Then it will be Stop recording...... 167 much easier to edit and mix the material musically How audio is recorded on disk...... 167 with reference to measures and beats. To align live- Undo record ...... 167 recorded audio data with the beats and barlines in Recording stereo audio ...... 167 AudioDesk, record to existing material (such as a Recording several audio tracks in one pass ...... 168 drum loop) or to a click, as covered in the next Manual punch-in/punch-out on the fly ...... 168 section. Automatic punch-in/punch-out ...... 168 Punch Guard...... 169 Setting the tempo and meter Overdub recording ...... 169 To set the tempo and meter, see “Setting the tempo Recording multiple takes ...... 170 and meter” on page 153. If your music involves a Cycle-recording ...... 170 tempo map (a series of tempo changes, including, Recording in External Sync ...... 171 perhaps, ones that change smoothly over time), Sample Format ...... 171 you need to upgrade to Digital Performer. Getting an error message...... 172 RECORDING TO A CLICK AudioDesk lets you record to a click. To learn more about AudioDesk’s advanced click settings, see “Click” on page 173.

161 RECORDING WITH A COUNTOFF AudioDesk can help you start a recording pass with Press on the current a programmable countoff. For further audio input assignment information, see “Countoff” on page 175. to change it.

PREPARING A TRACK FOR RECORDING To prepare an audio track for recording (see “Audio (disk) tracks” on page 123):

1 Activate the desired input for the MOTU audio interface you are using.

The red dot in For details, see “Configuring the hardware driver” the menu on page 16. indicates the currently record- enabled input. 2 Choose an audio input to record from.

This is a physical input jack (or pair of jacks) on your MOTU audio hardware, a virtual input from a software synthesizer or sampler, or one of Figure 22-2: Choosing an audio input in the Edit window. You can AudioDesk’s internal virtual busses as the input. also choose an audio track input in the Mixing Board. This means that you can record output from any 3 Record-enable the audio track. other track—or combination of tracks—that are assigned to the bus you choose. In the Edit This can be done in several different windows in window, choose the input by clicking on the Input AudioDesk. In the Edit window, click the menu for the track as shown below in Figure 22-2. record-enable button next to the track name as You can also choose the track input from the shown in Figure 18-3 on page 125. In the Mixing Mixing Board from the menu below the track Board, click the record button below the solo and name. mute buttons. More than one track can be record- enabled at a time.

☛ Record-enabling must be done before you actually begin recording; audio tracks cannot be record-enabled during playback or recording. You can, however, punch in and out on the fly. See “Manual punch-in/punch-out on the fly” on page 168 and “Automatic punch-in/punch-out” on page 168 later in this chapter.

☛ If the track’s record button is missing, you need to choose an input first (Step 2 above).

4 In the Audio Monitor, confirm the current record input, as shown in Figure 22-3 on page 163.

162 RECORDING When you record-enable an audio track, the It’s a good idea to give yourself extra space (several corresponding input row in the Audio Monitor hundred megabytes at least) because hard disk turns red. In addition, the takefile name switches to fragmentation is more likely to adversely affect plain text (instead of being italicized) as shown in audio recording when the hard disk is almost full. Figure 22-3. Plain text indicates that the takefile has been created on disk and that the system is ready to If you are recording multiple tracks at once, you record. can record them on separate hard drives (as described in the next step). 5 In the Audio Monitor, check for free hard disk space as shown in Figure 22-3. 6 In the Audio Monitor, check the location of the current takefile as shown in Figure 22-3. The Audio Monitor displays free hard disk space in either minutes or megabytes (click to toggle the When AudioDesk records audio, it places the audio display as shown in Figure 22-3). One mono data in an audio file on your hard disk with a name minute of audio at 44.1 kHz (CD quality) takes up that matches the track being recorded into, approximately 5 megabytes of disk space. One followed by a dash and a take number. We refer to stereo minute of audio takes up twice that (10 this destination audio file as a takefile. By default, megabytes). (For other sampling rates, see “How takefiles are located in the same place on your hard much disk space does audio require?” on page 27.) disk as the last takefile recorded for that input. For Plan your session accordingly. If necessary, you new projects, takefiles are initially located in a may need to back up and remove audio files left folder called Audio Files, which is located in the over from other projects from the hard drive. Or project folder. (See “Components of an AudioDesk you may need to record onto a different hard drive Project” on page 57.) than the currently selected one (see the next two The current takefile location is displayed in the sections). Audio Monitor as shown below in Figure 22-3.

Check how much record time is avail- able on your hard disk (click to toggle between min/sec or MB/GB).

Play some sample input to Confirm that the take file for the record input is on Confirm the location of the audio file. Is it located make sure the input level standby (not italicized). This means that the file where you want it (or where your hard disk recording meter reads as close to zero has been created on the hard disk. If it isn’t, record- system requires it to be)? Click to toggle between full dB as possible. enable the audio track in the Edit window. and abbreviated path display.

Figure 22-3: The Audio Monitor (Studio menu) is an important component of the audio recording process. Always check the settings shown above before recording. In this example, recording is being done on inputs 3-4.

163 RECORDING If desired, you can change the current takefile location. For details, see “Changing the takefile location before recording” on page 179. You can Mixing Board also rename the current takefile. For details, see “Naming a takefile before recording” on page 178. Edit window 7 Check the audio input level. Figure 22-4: The input monitor button in the Mixing Board and Edit window. Check Retain Clip in the Audio Monitor mini- menu, play the input signal at its peak levels, and ☛ If you don’t see the Input Monitor button for a watch the level meter and adjust the input so that track, you need to choose an input for the track. the peaks occur as close to 0 dB as possible without See “Audio input and output” on page 125. triggering the Clip indicator shown below. Input monitoring can be enabled or disabled independently of the track’s record-enable state.

The record button Clip indicator When you record-enable a track (Figure 22-2 on page 162), input monitoring is enabled and you Digital clipping is much harsher than analog will begin to hear the live signal being received on clipping. Therefore, it’s better to err on the low side. the track’s chosen hardware input. This is true, Use discretion. regardless of whether or not the track’s input AUDIO MONITORING (AUDIO PATCH THRU) monitor button is engaged. Audio input monitoring is the process of listening to ☛ If you don’t hear live input when the track is the live input signal being fed to a track via its record-enabled, audio patch thru might be turned chosen hardware input. AudioDesk lets you do this off, as explained in the next section. by “patching thru” the input signal to the track’s output destination (see “Audio input and output” Input monitoring modes on page 125). So be sure to choose an output AudioDesk provides four input monitoring modes destination assignment that is patched to a that govern when you hear live input and how the listening device. For example, you might choose a live input signal interacts with disk audio (existing pair of audio outputs on your audio interface that audio material in the track) during playback and are connected to a set of speakers, or a pair of Auto Record. In addition, input monitoring can be outputs that are patched to the headphone outs on disabled entirely. To access them, go to the Studio your audio interface. The output assignment can menu> Audio Patch Thru sub-menu: also be a bus that is being routed via an aux track to your speakers.

The input monitor button To monitor an audio track’s input, click its input monitor button to enable it (make it turn blue). There are several ways to enable input monitoring, as summarized below:

164 RECORDING Input Audio monitoring latency monitoring mode Explanation You might hear a slight delay when monitoring Off The track input is never audible, regard- audio input. For example, if you have a sequence less of the input monitor or record button that already has several tracks of audio recorded, state. and you then try to record along with it while Input Only When the track is either record-enabled monitoring your input via Audio Patch Thru, you or the input monitor button is enabled (or both), you hear the track input only, might hear a slight delay in what you are playing. and you will not hear any disk audio dur- This delay is commonly referred to as monitoring ing playback. latency. Fortunately, however, the audio will be Auto Same as Input Only, except that during recorded into the sequence accurately and in sync Auto Record, when you are playing but with the other previously recorded audio tracks (as not yet punched in, you will still hear disk long as you managed to play it in sync with the audio (until punch in occurs). sequence). But what you hear while you are Blend When the track is either record-enabled recording will be noticeably and consistently or the input monitor button is enabled (or both), during playback, you hear both behind. In other words, what you hear during the input and the disk audio. recording will not be what you get: during recording, the input signal will sound late, but Monitoring input levels when you play it back after recording it, it will be In addition to the level meters in the Audio fine (again, as long as you managed to play it in Monitor (Figure 22-3 on page 163), long throw time with the sequence). metering is available in the Mixing Board (see “Level meters” on page 309 “Level meters” on Again, audio is always recorded accurately. Latency page 309). is only an issue for monitoring (the live audio input that you listen to while recording). Monitoring outside of AudioDesk If you are using AudioDesk with an external mixer, There are several ways to minimize monitoring or via the hardware-based CueMix monitoring latency. Some of them are specific to certain features in your MOTU audio interface, you might hardware. choose to monitor in the external hardware instead of through AudioDesk. In this scenario, or any ■ Monitor outside of AudioDesk entirely (with a situation in which you do not need to monitor the mixing console, for example). incoming audio via the outputs of the audio ■ Use your MOTU audio hardware’s built-in interface connected to your computer, disable near-zero CueMix monitoring. Set input Audio Patch Thru. monitoring mode (Figure 22-5) to Direct hardware playthough. You will not be able to monitor Applying real-time effects processing to live through MAS effects, but monitoring latency will audio input You can apply AudioDesk’s native effects be completely eliminated. See “Hardware processing to the live input signal by assigning monitoring versus monitoring with effects” below effects plug-ins to the track in the Mixing Board. for more information. (See “Inserts” on page 304.) However, you should read the following sections first, which discuss several important issues surrounding audio input monitoring.

165 RECORDING Hardware monitoring versus monitoring with Direct hardware playthrough effects Direct hardware playthrough provides accurate When you use your audio hardware’s built-in monitoring with no delays, but if you have real time “hardware-based” monitoring feature (if any), effects (EQ, reverb, etc.) assigned to the track being there is little or no audible delay. However, the recorded into, you will not hear them during trade-off is that the input signal is not routed monitoring. Effects will, however, be applied to the through the MOTU Audio System. This means that recorded material during subsequent playback. if you have effects such as EQ or reverb assigned to the track that is currently record-enabled, you will When this option is chosen, the input signal not hear the effects applied to the input signal. currently being monitored can always be heard, i.e. it will be patched through when AudioDesk is In summary, your two choices for monitoring stopped, playing or recording. input are: 1) delayed input with effects, or 2) dry input with no delay. This option is required to enable the Cue Mix™ monitoring feature. You also have a third option: turn off your audio hardware’s “hardware-based” monitoring and Monitor record-enabled tracks through effects lower the Buffer Size setting. The default settings is Monitor record-enabled tracks through effects lets 1024 samples. Try lowering it to 512, 256 or even you apply effects to the input signal (via the effects 128 samples. This gives you the best of both worlds: inserts of the currently record-enabled track), but very low monitoring latency (3-6 ms) with effects you might hear a delay during recording. If, processing. The trade-off in this scenario is that the however, the input signal is actually received by the lower buffer settings put more strain on your Mac in sync with the rest of the sequence, the input computer. signal with be recorded properly (with no delay).

Setting the input monitoring mode When this option is chosen, the input signal The two choices for input monitoring described in currently being monitored can always be heard the previous section are provided by choosing when AudioDesk is either stopped or recording. Configure Audio System > Input Monitoring Mode During playback, however, the input signal being from the Setup menu, which opens the dialog monitored will never be summed with existing shown below in Figure 22-5. track contents. Instead, you will hear either one or the other.

USING THE WAIT AND COUNT-OFF FEATURES The Wait feature holds recording until you hit a key on your MIDI keyboard or the Mac keyboard. Countoff gives you a number of measures of countoff in the starting tempo before recording begins. For details, see “Wait button” on page 152, Figure 22-5: AudioDesk provides two input monitoring modes. ‘Direct hardware playthrough’ provides monitoring without delays, but it “Click” on page 173 and “Countoff” on page 175. does not provide effects on the monitored signal. ‘Monitoring record- enabled tracks through effects’ lets you monitor input with effects applied to it, but there could be a noticeable delay in the signal.

166 RECORDING START RECORDING record, change audio track record-enables as After making the preparations already discussed in desired, and then press record again to drop back this chapter, you are ready to begin recording: into record. If you have already recorded some material, and you change record enables on the fly 1 Set the Counter to the location in the sequence in this manner, the previous material is “put away” at which you want to begin recording. (the red, temporary waveform bars turn into normal, editable soundbites). If you are recording into a new sequence, you’ll probably want to start at the beginning of the STOP RECORDING sequence. To do so, click the Rewind button. To To stop recording, stop AudioDesk by clicking the start at a specific location other than the beginning, Stop button, pressing the space bar, or pressing the type in the location in the Counter. [0] key on the keypad.

2 To begin recording, press the Record button in AudioDesk stops recording and takes a moment to the Control Panel. process the audio data.

The Record button will turn red, indicating that For audio tracks, each record pass gets placed in AudioDesk is recording in real-time. You can also the audio track as a single soundbite. The soundbite trigger recording by pressing the 3 key on the Mac also gets added to the list in the Soundbites keypad. window. You can view the soundbite by opening the Edit window. ☛ To achieve the fastest response possible when you begin recording, use pause-record. That is, HOW AUDIO IS RECORDED ON DISK press the pause button first and then record. For a detailed explanation, see “How audio is AudioDesk allocates record buffers as needed and recorded on disk” on page 25. then waits for you to press pause again to begin recording. UNDO RECORD You can undo what you record at any time. The Display update during recording audio will be preserved in AudioDesk’s 10-step During recording, AudioDesk displays audio data undo history, until it is bumped off the undo as it is being recorded. For audio, you’ll see a history list by subsequent actions. continuously updating red bar. This bar appears temporarily during the record pass; it is for display RECORDING STEREO AUDIO purposes only and cannot be edited. However, as Stereo recording is done in the same fashion as soon as recording stops, the bar is replaced by a already described in this chapter, except that you fully editable soundbite. record into a stereo track instead of a mono track. To add a stereo track, choose Add track > Stereo Record-enabling audio tracks on the fly Track from the Project menu. Then just record- You can record-enable (and disable) audio tracks enable the track and prepare for recording as usual. while playing (but not while actually recording). In other words, you can toggle audio track record- ■ If your project interleave format is interleaved, enable buttons as long as the record button is not the stereo audio will be recorded to a single file. red or flashing red. Therefore, to change record- enabled audio tracks during a record pass, just press the record button to temporarily drop out of 167 RECORDING ■ If your interleave format is non-interleaved, most accurate results possible when punching in. recorded audio data is stored as two separate mono When you punch-in manually, there may be a brief files, each with the same name and .L or .R in the delay—on the order of a few hundred milliseconds file names (e.g., “Guitar-1.L.wav” and “Guitar- for audio tracks—before recording actually begins. 1.R.wav”). The corresponding soundbites in the track will remain perfectly sample-locked, no matter what you do. Figure 22-7: The Auto-Record button allows you to precisely program RECORDING SEVERAL AUDIO TRACKS IN punch-in and punch-out points for recording. ONE PASS To punch in automatically, set up AudioDesk’s Auto AudioDesk lets you record as many audio tracks at Record feature in the Control Panel as shown below one time as your computer and audio hardware in Figure 22-8. allow. Just record-enable the tracks as needed.

The total number of audio tracks you can record into at one time depends on your hard disk recording hardware. For example, a MOTU 2408mk3 can record up to 24 inputs at one time.

Figure 22-8: Use the Auto Record button in the Control Panel to MANUAL PUNCH-IN/PUNCH-OUT ON THE automate punch-ins. FLY You can punch in and punch out on the fly as many Clicking on the Auto-Record button (below the times as you need during a single record pass, main transport controls) enables and highlights it. regardless of how many tracks are record-enabled. Clicking on the Auto-Record button also causes the Auto Record punch in and punch out times to appear in the Status Strip. Punch in and punch out times are specified in the Auto Record Bar: Punch in is the time where recording begins; Punch out is where recording ends. Auto-Record can be used while AudioDesk is slaved to external sync; see Figure 22-6: To punch in manually, use the record button in the main chapter 48, “Receive Sync” (page 381) for details. transports. To manually punch in, press play and then press the record button in the main transports at the desired time. Press record again to punch out. You Figure 22-9: The Auto-record bar lets you set precise, automated can also use the [3] key on the Mac extended punch-in and punch-out points during recording. keypad. The Auto-Record button will remain on until you click on it again to disable it. Remember to disable AUTOMATIC PUNCH-IN/PUNCH-OUT it when you finish using it. AudioDesk’s Auto-Record feature allows you to automate recording at precise punch-in and To use Auto-Record: punch-out points. This feature allows you to record without having to manually enable and disable the 1 Arm the track(s) you wish to record into. Record button. Automatic punch-in produces the

168 RECORDING 2 Press the Auto-Record button, which is located late, you can edge-edit the recorded soundbite to below the transport controls. expose several extra seconds of audio before the beginning. If you clicked stop while the reverb was The button highlights to signify that Auto-Record still decaying, you can edge edit past the end of the is on. recorded soundbite to expose the rest of the reverb tail. By default, Punch Guard only happens when 3 Enter the Punch In and Punch Out locations. manually or automatically punching in, and the pre- and post-roll times are 4 and 1 seconds, The Punch In location is where recording will respectively, but you can customize these settings begin. The Punch Out location is where recording as desired, and configure the pre-roll recording will end. You can enter them in numerically in the behavior. See “Punch Guard” on page 110. Auto Record Bar. You can also set them up graphically. See “The Memory and Auto Record OVERDUB RECORDING Bars” on page 152 and “Viewing the punch-in and Overdub recording preserves existing data in the punch-out points graphically” on page 150. track. 4 Move to a location in the sequence before the Punch In point.

This location should be a spot that will give you Figure 22-10: AudioDesk’s Overdub Record mode button. plenty of time to prepare to enter the new material, When overdub record mode is enabled, punched- anywhere from a whole section to a few bars before in audio is layered on top of existing audio. The the Punch In point. existing audio remains beneath it, but only he newly overdubbed soundbite will play (i.e. what 5 Get ready to record. you see is what you’ll hear. See “Overlapping and 6 Press the Record button. layering soundbites” on page 218 for more information about how multiple, overlapping The sequence plays from the current location in the soundbites play back in a track.) If you change your Counter. The Record button starts flashing. When mind about the punch-in and wish to remove it, the Punch In time is reached, the record button just delete the overdubbed soundbite, which becomes continuously highlighted. When this uncovers the original audio beneath. happens, AudioDesk is recording and you can play ☛ new material. When the Punch Out time is When overdub recording over existing reached, the Record button will return to flashing. material, the new material is not merged with the existing material. Instead, it is overlaid on top. To 7 Press the Stop button when you are finished. merge soundbites together into one soundbite, place them into separate tracks first and then use PUNCH GUARD the Bounce to Disk command in the Audio menu. When recording audio tracks, AudioDesk can capture several extra seconds of audio before and When overdub record mode is disabled, and you after record passes. This feature is called Punch punch-in over existing audio in a track, the existing Guard, and it applies to both manual and audio is completely replaced by the newly recorded automatic punch-ins (on audio tracks). For audio. This record behavior prevents multiple example, if you clicked the record button a little layers of soundbites from piling up on top of one

169 RECORDING another when you are overdubbing. Instead, punching in will never create overlapping soundbites. Wherever there is a punch-in, the current soundbite is trimmed and a new soundbite begins. However, only those parts of existing

soundbites you recorded over are erased. For Memory-cycle Overdub example, if you record over the beginning of a Figure 22-11: To cycle-record, turn on the Memory-Cycle and soundbite, only the portion recorded over is Overdub record modes. replaced. The Memory-Cycle button causes AudioDesk to If you change your mind about the punch-in and loop a section indefinitely. To prevent accidental wish to remove it, go back in the Undo History, or erasure of the previous record pass, AudioDesk remove the punched in soundbite and use the new falls out of record mode when it hits the cycle end Heal Separation command (“Heal Separation” on point, unless overdub mode is enabled. page 256) to close the gap. 2 Set the start and end times of the region you Overdub record mode lets you choose either want to loop in the Memory bar. method (replacing or layering) for punch-in recording. For a two bar loop, make the stop time 3|1|000. For a four bar loop, make the stop time 5|1|000. Stop RECORDING MULTIPLE TAKES time is always the downbeat of the measure after A take stores the contents of the track. Each track the last one in the loop. You can set the loop points can have an unlimited number of takes. Takes are graphically by dragging the loop repeat barlines in an ideal way to record, store, edit, and combine the time ruler of the Edit window, as shown below: multiple versions of the material in a track. For details, see “Takes” on page 128. Memory-cycle start and end points (can be dragged)

CYCLE-RECORDING Several of AudioDesk’s features can be combined to provide comprehensive cycle-recording.

Setting up for cycle-recording To c ycle-record: 3 Set the tempo in the Control Panel.

1 Click the Memory-Cycle and Overdub record 4 If needed, make sure that the Click is enabled in buttons in the Control Panel. the Studio menu.

5 Cue AudioDesk to the beginning of the loop region.

6 Click the record button in the Control Panel and begin recording.

170 RECORDING Cycle-recording generates takes RECORDING IN EXTERNAL SYNC When you cycle-record into an audio track with When recording in external sync, the Record Overdub Record mode turned on as shown in button is turned off every time the master device Figure 22-11, AudioDesk automatically creates a stops or rewinds. This is a safety precaution, to new take for each record pass. For example, if you prevent accidental erasure of previously recorded record a bass line into Take 1, the track will data. Refer to chapter 48, “Receive Sync” automatically switch to take 2 immediately at the (page 381) for details on recording while slaved to end of take 1. This allows you to play a second take external sync. that is completely different than the first. SAMPLE FORMAT Capturing the perfect take AudioDesk supports two sample formats: 16-bit By automatically creating takes during audio cycle- integer and 24-bit integer. recording, AudioDesk allows you to continuously record multiple independent passes into an audio 24-bit digital audio recording uses a 24-bit word to track inside the current Memory-Cycle loop describe each sample recorded. 16-bit recording points. For example, you could set up the Memory- provides 2 to the 16th — or 65,536 — values to Cycle points around a solo section and then record the level of audio for any given sample. continuously play in multiple passes of the solo, 24-bit recording supplies 8 more bits (2 to the one after the other, without ever stopping. 24th), providing over 16 million separate values AudioDesk saves each pass separately during (16,777,216 to be exact) with which to record the recording. When you stop recording, AudioDesk level of any given sample. As you can see, 24-bit then splits each pass into its own take. You can then recording provides 256 times the resolution — or choose among takes, or even build a composite “fineness” — of 16-bit recording. take based on parts from each pass. 24-bit recording has several advantages over 16-bit Audio cycle-recording with punch-in/punch-out recording. One is signal-to-noise ratio. In digital Audio cycle-recording can also be used together recording, each bit provides approximately 6 dB of with AudioDesk’s Auto-Record punch in/out signal-to-noise ratio (SNR). So 16-bit recording feature. You can set up an Auto-Record region provides a theoretical 96 dB of SNR, 20-bits inside the Memory-Cycle region and perform provide 120 dB, and 24-bits provide 144 dB. With multiple record passes in Overdub Mode as medium to loud audio material, such as a pop described earlier. Each pass inside the Auto-Record music recording, this extra 48 dB of SNR is not a region is stored in a separate take. This allows you significant advantage. On quiet recordings, to give yourself a bit of pre-roll and post-roll when however, with long instrument decays or reverb recording multiple passes. tails, the extra SNR can become much more of an important advantage over 16-bit recording. Creating a permanent loop Once you are satisfied with a loop that you’ve The more significant difference between 16 and 24 created, you can make it permanent by inserting a bit recording is the resolution, and this factor loop into one or more tracks. Use the loop tool in impacts sound at all levels, soft and loud, even to the Tool palette (Studio menu). the untrained ear. As mentioned earlier, 24-bit recording has 256 times the resolution of 16-bit recording. You can readily hear the difference when A/B-ing material recording at the two different

171 RECORDING sample formats. 24-bit audio has a noticeably GETTING AN ERROR MESSAGE enhanced detail, tightness in the low end, and AudioDesk keeps close track of whether or not it overall depth. had any trouble processing the audio data during recording. If conditions prevent it from All MOTU audio hardware supports 24-bit successfully encoding all the digital audio recording. information, you will be presented with an error message letting you know that an error occurred. Choosing the sample format These errors can be due to conditions such as: AudioDesk allows you to choose the sample format

you want for each project. You can freely import ■ Other background software interruptions files at different sample formats and use them without first converting them. ■ A highly fragmented hard disk

■ A hard disk that has an access time that is too The project’s sample format setting (Preferences > slow Audio Files) applies only to newly recorded or created files; existing files are not affected when you ■ Other interruptions change that setting. See “Audio troubleshooting” on page 414 for more information about how to handle error messages. The sample format is saved with the AudioDesk project, and it can be different from project to project. You can also set a default sample format to be used for new projects. You can change the sample format of a project at any time.

Figure 22-12: Choosing the sample format for an AudioDesk project.

172 RECORDING CHAPTER 23 Click and Countoff

OVERVIEW The Click & Countoff Options described in the AudioDesk provides flexible, programmable click next section provide many options for customizing and countoff features to help you achieve optimal the click. results during recording. CLICK PREFERENCES You can use the click and countoff in any recording The Click Preferences command (Studio menu) situation, from personal record passes to the provides many settings for the click. You can also Hollywood scoring stage. open this dialog by Option/Alt-clicking the Click button in the Control Panel, or by opening the Click ...... 173 Preferences from AudioDesk menu (Mac OS) or Click Preferences...... 173 Edit menu (Windows) and clicking the Click list Countoff ...... 175 entry (Figure 23-1). Countoff preferences ...... 176 CLICK The Click is the audible indication of the Metronome beat. The Click can “click” on the beat, or you can customize it to click in any pattern that you prefer. When it clicks on the beat, we refer to the click pattern as a beat click. For the beat click, the beat is determined by the meter (or the default 4/4 beat if no meter has been specified). If the Click is on, AudioDesk will click at the beginning of every measure. The first beat of every measure is slightly accented. The subsequent clicks in the Figure 23-1: Click preferences. measure depend on how the metronome click Type of click value is set in the current meter. To learn more There are three choices for the type of click: Audio, about setting the meter, see “Setting the meter” on MIDI and Visual Punches. page 154. Audio click Enabling the click The audio click plays back with sample-accurate To turn on the Click, choose Click from the Studio precision. You can assign the click to play on any menu or press Command/Ctrl-5. To turn off the available audio output bundle in your system. A click, choose it again. When the Click is on, the variety of preset click sounds are provided, and you Click menu item will be checked. can add an unlimited number of your own custom You can also toggle the click on and off by pressing click sounds. the Click button (which looks like a metronome) in Audio output AudioDesk’s Control Panel. Choose the desired audio output bundle for the click sound from the menu provided.

173 Adding your own click sounds To add your own clicks to the click sound menus, save them as a mono AIFF, or WAVE audio file, give the file the name you wish to see in the menu, and then drop it into the Clicks folder below. You can add as many click sounds as you wish.

Figure 23-2: Choosing an audio output bundle for the audio click. Platform Path Click sounds Mac OS X /Library/Application Support/MOTU/AudioDesk/ Clicks Choose the desired accented and normal click sounds from the menus provided (Figure 23-3). A Windows C:\ProgramData\MOTU\AudioDesk\Clicks\ variety of preset sounds are provided, including the ubiquitous Urei metronome click sound. Or Playing the audio click on the computer internal you can use any compatible audio file you wish speaker (Mac only) using the Choose File menu item. You can play the audio click on the computer’s internal speaker, even when you are using a third- party audio interface product general audio input and output. Just Command/Ctrl-click the Built-in Audio option in the Configure Hardware Driver dialog to select it (along with your third-party hardware driver), as shown in Figure 3-1 on page 16. Then choose Built-in Audio from the audio click’s output menu (Figure 23-2).

Disabling the audio click To disable the audio click, uncheck the Audio check box (Figure 23-1).

MIDI Click The MIDI click (Figure 23-1) sends a MIDI note for every click. For this option, you must set up an MIDI instrument to receive these notes and play a ‘click’ sound of your choosing. For example, you could use an external hardware drum machine to Figure 23-3: Choosing a click sound. play a side stick or rim shots. Audio click volume control Use the Master Volume slider (Figure 23-1) to Data for MIDI click control the overall volume of both the accented and These options define what notes are played if the normal clicks. Use the individual volume knobs to MIDI option is selected. The Accented note is played the right of each click sound menu to adjust their on the first beat of each measure; the Normal note is volume relative to each other. played at all other times. Each note has four parameters:

174 CLICK AND COUNTOFF First, you specify the device that will play the COUNTOFF accented and unaccented click by choosing it from Enabling the Countoff button causes a countoff of a the menu provided. The list of devices in the menu specified number of measures and/or beats before shows any external instruments provided by your playback or recording. Clicking on the Countoff MIDI device configuration (Setup menu > Bundles button enables and highlights it. You must enable > MIDI Devices tab). the Click (in the Studio menu) to hear the countoff.

Pitch is the pitch of the note, expressed as a scale letter (A-G) (use the number sign # to represent a sharp, or a small letter ‘b’ to represent a flat) and an Figure 23-4: The Countoff button produces any number of bars octave number. For example, C3 means middle C. (measures) and/or beats of countoff that you wish.

Velocity is the attack (on) velocity, expressed as a To set the number of countoff measures and/or number from 0-127. beats, Option/Alt-click on the Countoff button. The Countoff preferences will open, where you can Gate specifies the length of the note in milliseconds enter the number of measures and beats. Several (thousandths of a second). other options are also provided. For further details, see “Countoff preferences” on page 176. Click options Always click makes the click audible whenever If you choose a countoff that is not simply a whole AudioDesk is counting off, playing or recording. number of measures, the Countoff button in the Control Panel displays the number of beats in the makes the click audible only Only during countoff countoff that you have chosen. For example, the during countoff measures. When playback or countoff button displays 2 Bars if you have chosen 2 recording begins, the click will fall silent. See measures and 0 beats. But it displays 9 Beats if you “Countoff preferences” on page 176 for more have chosen 2 measures and 1 beat (in 4/4 time). information about the countoff. Use the Countoff button to give yourself time to makes the click audible only Only when recording adjust to the current tempo and prepare for when AudioDesk is in record mode. If the Countoff recording. Using the Countoff and Wait buttons button is enabled, AudioDesk will also click during allows ample preparation for a recording pass; this the countoff in this mode. is particularly useful in situations where the computer and keyboard are not adjacent. No accent removes the accent from the first click in each measure. This option affects both the audio The counter runs during countoff click and the MIDI click. The counter updates during the countoff. For example, if you have a two-measure countoff, and Audition Click you begin playback at 1|1|000, then the counter If the Audition Click option is enabled, AudioDesk begins the countoff at -1|1|000 and counts the two will audition the metronome sound as it is measures leading up to 1|1|000. If you begin currently configured, at the current tempo. playback at 9|1|000, the counter starts at 7|1|000 Master click volume and counts the two measures leading up to 9|1|000. The Master Click Volume slider (Figure 23-1) controls the volume of the click.

175 CLICK AND COUNTOFF The movie window and countoff Countoff length The movie window runs during countoff. This The length of the countoff (Figure 23-5) can be allows you to see what is happening in the movie specified in a number of whole measures. during the countoff so that you can better prepare Accordingly, the Countoff button in the Control for the downbeat when the countoff is over. Panel (“Countoff button” on page 151) displays the number of measures. For example, the countoff Indefinite countoff button displays 2 Bars if you have chosen 2 For an indefinite countoff (the countoff keeps measures. going until you start playing), turn on the Wait button (discussed in the next section) at the same Countoff only when recording time as the countoff button. The Countoff only when recording option causes the countoff to occur only before recording, not before COUNTOFF PREFERENCES playback or any other function. To access t he Countoff preferences, Option/Alt- click the Countoff button in the Control Panel. You can also choose Preferences from the AudioDesk menu (Mac OS) or Edit menu (Windows) and click the Countoff list entry (Figure 23-5).

Figure 23-5: Countoff options.

176 CLICK AND COUNTOFF CHAPTER 24 Audio Monitor

OVERVIEW page 309.) The Level Range mini-menu command The Audio Monitor (Studio menu) displays allows you to change the range of the meters from 6 important information about the recording dB to 42 dB. settings for each digital audio input. Takefiles Audio Monitor quick reference ...... 177 The Takefile column displays the name of the audio Mini-menu quick reference ...... 178 file that will contain the next portion of audio to be Buses in the Audio Monitor ...... 178 recorded on each input. As soon as you record- Naming a takefile before recording...... 178 enable an audio track, AudioDesk automatically Changing the takefile location before recording. . . . 179 creates an audio file with a name that matches the Adjusting the level meter range ...... 180 name of the track being recorded into, followed by Setting the input level ...... 181 a take number (e.g. Guitar-3). These automatically Other ways to monitor input levels ...... 181 generated audio files are referred to as takefiles. Here’s a brief summary of what you can do with AUDIO MONITOR QUICK REFERENCE takefile names: Input (IN) To do this Do this to the takefile name The leftmost column in the Audio Monitor To rename the takefile Uncheck the mini-menu indicates each audio input provided by your option called ‘Base file names on track names’ and then hardware. Option/Alt-click the takefile name. Level meters To relocate the takefile Double-click The level meters work like a standard VU meter on a mixing console. They indicate the amplitude of To select one or more takefiles Click to select a single takefile; for mini-menu commands Shift-drag to select a range; audio being recorded on each input. The meters in Command/Ctrl-click to select or deselect multiple non-con- the Audio Monitor show input levels only. Playback tiguous takefiles levels are displayed in the level meters in the Mixing Board window. (See “Level meters” on

Figure 24-1: The Audio Monitor window.

177 Available record time causes takefile names to be derived from the name Displays the total amount of time available for of the input of the track currently being recorded recording on the hard disk where the take file is into. Use “Custom” to choose your own names. currently located. Time is displayed in minutes and seconds. Click the value to toggle between Scroll to Record Enabled Inputs: When checked, minutes:seconds and megabytes (MB). Option/ the Audio Monitor will automatically scroll to the Alt-click to toggle all inputs at once. One minute of record-enabled inputs. audio at 44.1 kHz takes up about 5 MB of hard disk space. For other sample rates, see “How much disk BUSES IN THE AUDIO MONITOR space does audio require?” on page 27. The Audio Monitor shows both inputs and busses. For example, under the MOTU Audio System, Take Folder typically you’ll have several hardware inputs, along Displays the current location on disk of the takefile. with sixteen or more buses. (Under the MOTU Click to toggle the display between showing the full Audio System, the number of available buses is path name and the abbreviated path name; hold adjustable. See “Stereo buses” on page 20.) Bus option to toggle the display for all takefiles at once. inputs are displayed in the Audio Monitor because you can assign a bus to the input of a track, which MINI-MENU QUICK REFERENCE you can then record. When you record a track that Set Take Folder: Lets you change the location of the has a bus as its input, the audio input from the bus currently selected takefiles in the Audio Monitor gets recorded onto your hard drive into the takefile window. Click, Shift-click, or use Select All to shown for the bus in the Audio Monitor window. highlight the take file names before choosing this To help you identify them, takefiles for bus inputs command. are given a default name that includes the word bus.

Level Range: Lets you choose among several NAMING A TAKEFILE BEFORE RECORDING different level ranges for the meters in the Audio If the Base file names on >Track mini-menu item is Monitor, from 6 dB to 42 dB. checked (Figure 24-3 on page 180), then AudioDesk will automatically derive the audio file Retain Clip: When checked, this command causes name from the name of the track currently being the clip indicators to remain lit after clipping has recorded into. occurred (instead of only remaining lit as clipping occurs). Click the clip indicator to turn it off. If the Base file names on >Input mini-menu item is checked (Figure 24-3 on page 180), then Base file names on… menu: When the “Track” AudioDesk will automatically derive the audio file option is checked, this command causes takefile name from the name of the input of the track names to be derived from the name of the track currently being recorded into. currently being recorded into. For example, When this option is checked, and the currently record- If you want, you can choose the Base file names on enabled track is named Guitar, the takefile name >Custom mini-menu item and give the takefile any will be called Guitar-x, where x is a take number name you wish. To manually set the takefile name automatically assigned by AudioDesk. Likewise, before recording, choose the Base file names on when the “Input” option is checked, this command >Custom mini-menu item and Option/Alt-click

178 AUDIO MONITOR the takefile name in the Audio Monitor. To rename 4 If you want to select an existing folder, click the the audio file after it has been recorded, Option/ folder’s name in the list to highlight it, and click Alt-click its name in the Soundbites window. Choose.

CHANGING THE TAKEFILE LOCATION Changing the takefile location for several (or BEFORE RECORDING all) inputs once AudioDesk automatically keeps track of the audio To change the takefile location for all inputs at one files associated with the project, regardless of time, click and Shift-click the takefiles you want to where you store them on your hard disk. (For more change and then choose Set Take Folder from the information, see chapter 12, “Audio File Audio Monitor mini-menu. Management” (page 85).) There might be times, however, when you would like to change the Organizing audio files into folders as you go takefile location. Let’s say you’re currently adding the following to a sequence: backup vocals on input 1 and acoustic By default, AudioDesk places takefiles into a folder guitar on input 2. You also know you will be named Audio Files, which it automatically creates recording at least several takes for each part, thus in the project folder when you first open a new creating several audio files for each. project. If necessary or desired, you can move the takefile to a different disk or folder. For example, In this situation, you might find it handy to place you may want to organize your takefiles into folders the vocal takes into one folder and guitar takes as you record them for convenience. Each input (record files) into another so that you don’t get the can be assigned a different location, allowing you vocal audio files mixed up with the guitar audio to record into separate folders and even hard files. (It isn’t absolutely necessary to separate drives. For general tips about audio file record files like this, but the more takes you record, management, see chapter 12, “Audio File the easier it will be to sort through them later on, if Management” (page 85). necessary.)

To change the location where a takefile will be Checking the current takefile location The current location of the takefile for each input is recorded: shown in the Take Folder column in the Audio 1 Double-click the takefile name in the Audio Monitor as shown below. Monitor. The abbreviated take file location. Click it to display the full path name of the take file location, which is Alternatively, you can click the takefile name once shown with single colons. to highlight it and choose Set take folder from the mini-menu. The Change Directory window appears.

2 If necessary, use the Change Directory window to go to the desired folder or location on your hard disk. To view the full path to the takefile’s location: 3 If you want to create a new folder, click New 1 Click the take folder location. Folder.

179 AUDIO MONITOR 2 Click the window’s zoom button in the title bar ☛ The Level Range setting here in the Audio to expand the window so you can see the full path Monitor also controls the dynamic range of the name. input level meters in the Mixing Board window.

Using the clip indicator to avoid clipping Each sample in a digital audio signal is expressed as a number within a certain range. (In 16-bit audio, the value of each sample is expressed as a binary Figure 24-2: Click the zoom button to expand the window. number containing 16 bits, which provides a range 3 Click the zoom button again to return the of over sixty five thousand values.) If the level of window to its original size and position. audio being recorded or played back exceeds the range that can be expressed, the result is clipping. You can also double-click the path to open a Those portions of the audio waveform that exceed window to that location. the maximum value of the dynamic range get cut off at the maximum value that can be expressed. Remembering takefile locations This causes the top of the waveform to get chopped AudioDesk remembers the takefile location off, giving it a shape more like a square wave, as settings when you save the file so that it will shown below. The clipped audio signal on the left remember to put takefiles in the same folder the will sound distorted: next time you record. If you like, you can save takefile locations in your new template file using the Save As Template command.

ADJUSTING THE LEVEL METER RANGE By default, the level meters have a full range from - 42 dB to zero dB (clip). The Level Range mini- Clipped Not clipped menu command lets you adjust the range to as small as 6 dB. Just choose the desired range from When clipping occurs, the level meter’s clip the menu. You can even change it during recording. indicator will light up as shown below: For a signal with a wide dynamic range, use a larger value; for a signal with a fairly consistent and Clip indicator narrow dynamic range, use a smaller value and record it as close to zero as possible. But be sure not to clip. (See the next section.)

Retain clip If Retain Clip is checked in the Audio Monitor mini-menu, the clip indicator lights up at the first occurrence of clipping and remains lit as a reminder that clipping has occurred. To clear the

Figure 24-3: The Audio Monitor mini-menu.

180 AUDIO MONITOR clip indicator, click it. This is a convenient way to SETTING THE INPUT LEVEL keep track of clipping without having to stare When recording, get as high a level as possible continuously at the meter. without any clipping. Before you record, always sample the entire range of the audio input you will ☛ The Retain Clip setting here in the Audio be recording and adjust the input level accordingly. Monitor also affects the clip indicators of the level Ideally, the loudest part of the signal should peak meters in the Mixing Board window. just below zero dB (when the meter is all the way up without the clip light). Digital clipping is harsh, Clearing the clip indicators with virtually no headroom, so try to avoid it as Click an indicator to clear it. Double-click it to much as possible. clear all indicators, or choose Clear all clipping indicators from the Studio menu. OTHER WAYS TO MONITOR INPUT LEVELS In addition to the level meters in the Input Monitor Scrolling to the record-enabled inputs (Figure 24-1 on page 177), long throw metering is If the Audio Monitor has a lot of channels showing, available in both the Mixing Board (“Level meters” this menu item can come in handy. When it is on page 309). checked, the Audio Monitor will always scroll to the record-enabled inputs so you can easily see activity on the input without having to scroll the window manually.

181 AUDIO MONITOR 182 AUDIO MONITOR CHAPTER 25 Looping

OVERVIEW After the loop finishes, the Counter will be at A loop is a region of data in a track that is played measure 13 (four times three measures is twelve: repeatedly. The result is similar to using the Repeat measure 13 comes after measure 12). The data in command on the Edit menu to insert multiple the track continues playing from measure 13, not copies of a region (see “Repeat” on page 253). from measure 4. If there is any data in measures 4 Instead of actually copying the data, however, the through 12, it is skipped. The loop takes loop feature simply replays the region over and precedence over any intervening data. over. Looping is thus more memory-efficient than making repeated copies of a region. Also, making a When moving to a location in a sequence, change in a looped section is easy: instead of AudioDesk figures out whether any tracks are in changing every repeat of the data as you would if the middle of a loop and keeps count of where in you had copied and pasted it, you simply change the looping process these tracks are. This allows the data in the looped region. Tracks or sections of you to begin playing or recording from any tracks can be looped independently; it is thus location and be sure that the loops will all play possible to build a complex sequence out of a small correctly. number of events. Independent track looping A loop is different from the Memory-Cycle button Each track has its own set of loops. This means that because a loop is a permanent addition to a track. each track can be looped independently of others. In addition, the loop only loops one track, whereas (You can, however, temporarily loop the entire Memory-Cycle loops the entire sequence. For sequence using the Memory-Cycle button) information about Memory-cycle looping, see A loop starts right on its Start time and ends just “The Memory-Cycle button” on page 146. before its End time. For example, a loop set from Basics ...... 183 1|1|000 to 4|1|000 would play the data from 1|1|000 Creating a loop ...... 184 to 3|4|479 (at 480 ticks-per-quarter-note resolution); the next repetition would play the BASICS same data immediately at 4|1|000. The number of A loop has three components: a start point, an end repetitions equals the total number of times you point and a number of repetitions. When a loop want the region to play; this includes the first pass. starts, it plays through its data normally. When the end point is reached, the region is played again A loop need not be set on measure boundaries (i.e. from the start point. This cycle repeats for the on beat one, tick zero of the measure). They can specified number of repetitions, or indefinitely if start anywhere in a measure. We’ll use loops an infinite loop is specified. starting on measure boundaries as examples to keep things clear. In practice, any location is fine. When the loop finishes its number of repetitions, the next data played will correspond to the location on the Counter. For example, the region from measure 1|1|000 to 4|1|000 is looped four times.

183 Nested loops Bars 1 to 3 are played eight times, lasting until bar Each track may can contain multiple loops. You can 17. Then the “outer” loop (the one with the later even have nested loops in a track, i.e. loops within end time) takes over, terminating the “inner” loop. loops. Here’s an example of nested loops, all in the This returns to bar 1, playing the inner loop eight same track: times again. This cycle repeats four times until the outer loop is finished. At that point, the sequence is ■ Bars 1 to 3 played 8 times (lasting from bar 1 to at bar 65 and it continues playing from there, all 17) previous loops done.

■ Bars 17 to 19 played 4 times (lasting from bar 17 ■ Bars 1 to 5 played four times, bars 5 to 7 played to 25) eight times. ■ Bars 25 to 27 played 4 times (lasting from bar 25 The second loop is completely ignored since its to 33) time is skipped while executing the first loop. ■ Then the whole 32 bar section is looped: When a loop begins at a time that is skipped after executing a previous loop, that loop is ignored (like ■ Bars 1 to 33 played 4 times (lasting from bar 1 to 129) all other data in the skipped region). When bar 33 is reached, bars 1 to 3 will be played CREATING A LOOP another 8 times, bars 17 to 19 another 4 times, and Loops can be inserted directly into a track in the bars 25 to 27 another four times. Then this whole Edit window as follows: process will repeat twice more until bar 129 is reached. 1 Choose the Insert Loop tool in the Tool palette.

When loops conflict It is possible to set up loops such that they overlap with each other or otherwise conflict in the same track. When this happens, the first loop in the track Figure 25-1: Use the Loop Tool to insert loops. takes precedence. When two conflicting loops start 2 If desired, enable the edit grid and choose a grid at the same time, the one that has a later ending size. time takes precedence. 3 Click at the desired start location directly in the Here are some examples of the effects of conflicting track strip, drag to the right to draw the desired loops: length, and release the mouse at the end location.

■ Bars 1 to 9 played four times, bars 5 to 13 played A loop appears. Use the cursor tracking in the Time four times. Ruler to align the beginning and end of the loop The first loop takes precedence. Bars 1 to 9 are while inserting it. Information about the loop will played and the loop repeats back to bar 1. The appear in the Information Bar. second loop is ignored. For further information about inserting loops in ■ Bars 1 to 17 played four times, bars 1 to 3 looped the Edit window, see “Working with loops” on infinitely. page 228.

184 LOOPING Inserting a loop using the Set Loop command Removing loops To insert a loop using the Set Loop command (Edit Loops can be deleted like any other type of data. menu): Select the loop and press the delete key, or use the Cut or Erase commands. 1 In the Edit window, select the data you would like to loop. Loop recording “Loop recording” is the process of overdub 2 Choose Set Loop from the Edit menu. recording into a region over and over again. This is best done with the Memory-Cycle feature in A dialog pops up. AudioDesk. See “Cycle-recording” on page 170 for detailed information.

Inserting and editing loops during playback Loops can be inserted and edited during playback as described throughout this chapter. Just remember that it may take AudioDesk a moment to cue up data after you’ve made a change, depending on the magnitude of what you did with your edit or insertion.

3 The start and end locations of the current selection are entered as the start and end locations in the dialog, but you can edit them if you would like to adjust them.

Choose the number of repetitions for the loop, or choose “Infinite”.

4 To enter the loop, press Return. To cancel, press Escape or command-period.

Editing loops with the Edit menu Loops can be edited like any other event with the commands on the Edit menu. If you Cut, Paste, or otherwise edit a region that contains loops, the loops will be edited along with the other events.

To edit loops with the commands in the Edit menu select the track(s) to be edited in the Edit window, define the region using the Selection Bar Start and End times, and choose the desired command from the Edit menu.

185 LOOPING 186 LOOPING CHAPTER 26 Movie Window

OVERVIEW OPENING MOVIES Random access digital picture ...... 187 Only one movie can be open at a time for a Supported video formats ...... 187 sequence. The Movie command in the Project Opening movies ...... 187 menu opens a movie in AudioDesk. To open a Closing movies ...... 188 movie for a sequence: Movie control bar...... 188 Movie window mini-menu commands ...... 189 1 Play-enable a sequence in the Sequence window. Scrubbing the Movie window ...... 190 2 Improving movie window performance ...... 190 Choose Project menu> Movie to open a movie. External video hardware output ...... 190 A standard file browser appears, allowing you to FireWire video output ...... 192 navigate to the movie file you wish to open. For a RANDOM ACCESS DIGITAL PICTURE discussion of supported video formats, see AudioDesk’s Movie Window provides “Supported video formats” above. synchronized playback of video clips with audio tracks in a sequence. Digital video provides Working with multiple sequences random access to picture, just like digital audio. If you are working with multiple sequences, you For example, you can: can either use the same movie for all sequences, or use a different movie for each sequence. There is a ■ Instantly locate to any spot in the movie checkable menu item in the Movie Window mini- menu called Use Same Movie for All Sequences. This ■ Advance forwards or backwards one frame at a menu item also appears in the movie track menu in time through the picture and music the Edit Window. When it is checked, you get the ■ Scrub forward or backward (with or without following behavior: audio scrubbing) ■ Every sequence in the project uses the same ■ Seamlessly loop both picture and music movie.

All of this can be done without the hassles of ■ Each sequence can have its own unique sequence slaving to external time code. start time, but the movie start time is the same for all sequences. Changing the sequence start time SUPPORTED VIDEO FORMATS will make the movie begin earlier or later in the Generally speaking, AudioDesk can play any video sequence. file that is supported by your computer system. More specifically, if the video file plays successfully ■ The movie window is placed at the same in Mac OS X QuickTime Player or Windows Media position and size for every sequence. Player, the it should work with AudioDesk as well. ■ Closing the movie window closes it for all sequences.

■ Choosing a new movie for one sequence chooses that same movie for all sequences.

187 If you have two or more sequences in the project If you have a movie open and want to choose a and you wish to open a separate movie for each different movie, choose Open Movie from the sequence, uncheck the Use Same Movie for All mini-menu. Only one movie can open at a time for Sequences mini-menu command and do the each sequence. (But each sequence can have its following: own movie, as explained earlier.)

1 Play-enable a sequence in the Sequence window. MOVIE CONTROL BAR The movie control bar (Figure 26-1) appears in the 2 Choose Project menu> Movie to open a movie movie window when you move the mouse over the for it. window. Drag the bar to reposition it as desired.

3 Play-enable a different sequence in the Sequence Volume Play/Stop Full window. screen

The movie window for the first sequence disappears at this point.

Time Scroll bar Frame Transport Time 4 Choose Project menu> Movie to open a movie elapsed backward/ lock remaining for the second sequence. forward Figure 26-1: The Movie control bar. 5 Repeat this procedure for as many sequences as you wish. Volume The volume control allows you to set the playback When you switch from one sequence to another volume for the movie’s audio track. (by clicking its play-enable button in the Sequence window), the movie window will update itself to Play/Stop show the movie you chose for that sequence. Each The Play/Stop button starts and stops movie sequence also stores a separate location for the playback. movie window on the screen. So you can reserve a Full screen different spot on screen for each movie. Or you can Click the full screen control to enter or exit full- place them all in the same location, if you wish. screen mode. If you have multiple monitors, place CLOSING MOVIES the movie window on the monitor you wish to fill You may close the Movie window, and AudioDesk before entering full-screen mode. If the movie will still remember which movie file you opened at window is full screen when you save and close the the time you last saved the project. To reopen the file, it will reopen in full screen mode when the movie, just play-enable the same sequence choose project is reopened. To exit, press the escape key as Movie from the Project menu again. To close the a shortcut. movie permanently so that AudioDesk forgets Time elapsed/remaining about it, choose Clear Movie from the mini-menu. Displays the amount of time already played (elapsed) and yet to be played (remaining).

188 MOVIE WINDOW Scroll bar Reveal Movie in Finder / Show Movie in Explorer: The scroll bar shows where in the movie you are, Switches out of AudioDesk and onto your and can be used to “scrub” the movie or to set your computer desktop to show you the location of the location in the movie. movie on your computer hard drive.

Frame backward/forward Set Movie Start Time: Allows you to set the SMPTE The frame backward/forward buttons move time which corresponds to the beginning of the through the movie one frame at a time. Note that movie. If you want the movie to start at the this means movie frames, not SMPTE frames. A beginning of the sequence, this should be set to the movie may have 15 fps, 30 fps, or even a number same time as the SMPTE start time. You may need which varies throughout the movie. The left/right to try adjusting the start time by ±40 time code bits arrow keys will also work if the window is active. if you find that the frames in the movie don’t precisely line up with the frame numbers in Window resizing AudioDesk’s counter. Drag the bottom right corner to resize the movie window, while maintaining its original aspect ratio. Import Movie Audio: If the movie has an audio Shift-drag to resize and change aspect ratio of the track, this command creates a new track in the window, which will add black bars (pillar box or current sequence and places the movie’s audio into letter box) above or below the movie as needed. the new track. If the movie has no audio track, this Drag again without the shift key to remove the command is grayed out. black bars. Lock to Transport: (Movie window mini-menu Popping in and out of the Consolidated only) If this mini-menu item is checked, the movie Window is locked to AudioDesk’s transport. The movie will Double-click anywhere on the movie to pop it in or slave to AudioDesk as you play, stop, and locate. out of a cell in the Consolidated Window. For Conversely, you can use the movie controls to example, you may want to edit with the movie control AudioDesk. If the Lock to Transport is displayed in a window cell, then pop it out and go unchecked, you can control the movie and full-screen to review your edits. Exit full-screen AudioDesk’s sequences independently. This is mode and double-click it again to pop it back into useful if you want to preview a movie without the original window cell. synths blaring, wipers scrolling, and so on. MOVIE WINDOW MINI-MENU COMMANDS Chase Graphical Edits: (Movie window mini- The Movie window mini-menu can be accessed by menu only) When enabled, any graphical edits right-clicking anywhere on the movie. such as moving, trimming or stretching a Set Movie: Presents you with a standard file dialog soundbite or editing the placement of automation to choose the movie file you wish to open. points will be chased by the movie window. This allows you to make edits quickly and see instantly Use Same Movie for All Sequences: Forces all how they relate to picture. sequences in the project to use one movie. Chase Numeric Edits: (Movie window mini-menu Clear Movie: Closes the movie. only) When enabled, any numeric edits are chased by the movie window instantly.

189 MOVIE WINDOW Half Size, Normal Size, and Double Size: Resize the ■ Movies with higher frame rates window. One of these may be checked if the ■ Playing the movie from slower drives window is already that size. ■ Resizing the window to non-optimal sizes (not Movie Floats On Top: This causes the Movie double, full, or half size) window to “float” on top of other windows. This makes it possible to always have the Movie window ■ Having many other open windows with scrolling visible because it will always be on top of other wipers, auto scroll, level meters, etc. windows, even the active edit window. Avoiding these things will help your movies play back more smoothly. Audio Output: Lets you route the movie’s embedded audio track to an audio output, bus, or EXTERNAL VIDEO HARDWARE OUTPUT aux track. From there, you can fully route, mix, and The Movie window can output SD or HD video to process it as desired within AudioDesk’s mixing a video interface to view it as standard definition environment. (SD) or high definition (HD) video on one or more external video monitors. MOTU video hardware No External Video Output: Choose this menu item and some third-party video hardware is supported. to disable video output to an external video device, such as a FireWire camera or a MOTU video MOTU video interfaces interface. Supported MOTU video devices include:

HDX-SDI/HD Express/V4HD: If you have a MOTU ■ V4HD video interface connected to your computer, ■ HDX-SDI choose it by name from the menu to output video to one or more video monitors connected to the ■ HD Express interface.

FireWire: Lets you play back a DV-formatted MOTU QuickTime movie via a FireWire-based video video interface hardware device such as a camera. video Video Output Playback Offset: Lets you cable compensate for the inherent playback delay in Mac or PC some video hardware devices.

TV SCRUBBING THE MOVIE WINDOW or You can “scrub” playback with the Movie window video monitor scroll bar. Figure 26-2: Connections for external video hardware output. IMPROVING MOVIE WINDOW PERFORMANCE Each interface provides legacy SD output in all The following things may hinder the computer’s standard NTSC and PAL formats, including ability to play a movie back smoothly: composite, component, S-video, and SD-SDI. They also provide high definition (HD) 720 and ■ Larger movies (in pixels)

190 MOVIE WINDOW 1080 output in component, HDMI and HD-SDI, an error message regarding frame rate, make sure except the HD Express, which does not supply the video hardware is set to the same frame rate as HD-SDI. the format you are choosing.

All interfaces provide at least sixteen channels of If you choose Auto-Detect Video Mode, AudioDesk simultaneous audio output. MOTU video automatically chooses the video format that best interfaces serve as capable video and audio I/O matches the frame rate and format of the current hardware solutions for film scoring and post movie. production workflows. Once a format is chosen, AudioDesk conforms the Third-party video hardware movie to the chosen output format, adding letter Under OS X 10.7 or later, video interfaces from AJA box or pillar box formatting as required to best Video Systems and Blackmagic Designs are also reconcile the movie’s aspect ratio with the chosen supported. output format.

Enabling external video hardware output Turning off external video output Install your video interface as instructed in the user To disable external video output, choose No guide. Be sure to check www.motu.com or the External Video Output from the mini-menu. third-party manufacturer’s web site for the latest up-to-date video driver installer. Run the MOTU External video playback offset Video Setup software (or third-party video setup Some video monitors introduce a small delay utility) to ensure that the software can successfully during playback, from the time they receive a video communicate with the hardware. Consult the video frame to the time it actually appears on screen. The interface’s user guide for any troubleshooting tips, specific amount of delay depends on the monitor, if necessary. with most devices in the range of a few frames. AudioDesk can automatically compensate for this Once you’re video interface is running successfully, offset, so that external video playback remains open a movie in AudioDesk. Then, display the frame-accurate with audio, both when the movie track in the Edit Window (see “The Track transport is stopped and during playback. This Selector” on page 210). offset feature supports video hardware output and FireWire video output. Choosing a video format Choose the desired output format from the MOTU To set the external video playback offset, choose video interface sub-menu. Video Output Playback Offset> Other from the Movie window mini-menu (Figure 26-3): ☛ The only requirement for choosing a format is that the frame rate of the movie must match the frame rate of the chosen output format. If you get

191 MOVIE WINDOW DV camera or FireWire-to-video converter

video FireWire cable cable FireWire equipped Mac or PC TV or video monitor

Figure 26-3: Setting the external video device playback offset. Figure 26-4: Connections for FireWire video output. ☛ Choosing an offset FireWire video output is limited to standard Specify the number of frames and timecode bits definition only. If you need HD video output, use a (there are 80 timecode bits per frame). You can MOTU video interface as described earlier. experiment with different values to determine the FireWire video converters correct offset. Enter a frame amount (and There are numerous choices for FireWire video timecode bit value, if needed), and then try playing devices that can convert FireWire video to NTSC back your video. Sharp audio hits or time code or PAL for viewing on a standard TV screen or burn in are quite useful for judging the offset video monitor. Most camcorders provide either amount. legacy SD video output (component, composite or Creating offset presets S-video) and/or digital output in the form of The Set Playback Offset dialog (Figure 26-3 above) HDMI (or in some cases, SDI-SDI). Dedicated lets you create named presets for different devices. FireWire video converters are also available. This lets you conveniently save and recall multiple Enabling FireWire video output offsets by name, in situations where you are using Connect a FireWire DV camera or converter as multiple devices for playback. Use the Add, Delete, shown in Figure 26-4. Turn it on, and, if it’s a Change and Rename buttons to manage your camera, put it in playback mode. Open a movie in playback offset presets. AudioDesk. Then, display the movie track in the FIREWIRE VIDEO OUTPUT Edit Window (see “The Track Selector” on The Movie window has the ability to output page 210). standard definition (SD) video to a FireWire video Choosing a video format output device. You can then use a FireWire- Choose the desired output format from the equipped camcorder or FireWire video converter FireWire sub-menu. The only requirement for to view it as standard definition (SD) video (either choosing a format is that the frame rate of the NTSC or PAL) on a television or video monitor as movie must match the frame rate of the chosen shown below in Figure 26-4: output format. If you get an error when choosing

192 MOVIE WINDOW the format, make sure the video hardware frame FireWire video playback offset rate (NTSC or PAL) matches the output format you FireWire video devices introduce a small amount are choosing. of delay during playback. The specific amount of delay depends on the device, with most devices in If you choose Auto-Detect Video Mode, AudioDesk the range of 4-5 frames. AudioDesk can automatically chooses the video format that best automatically compensate for this offset, so that matches the frame rate and format of the current video playback remains frame-accurate both when movie. the transport is stopped and during playback.

Turning off external video output To set the FireWire video playback offset, see To disable external video output, choose No “External video playback offset” on page 191. External Video Output from the mini-menu.

FireWire video output does not support audio FireWire video output from AudioDesk only supports video; it does not transfer audio. Therefore, this feature cannot be used to transfer a complete movie (sound and picture) to a video camera.

193 MOVIE WINDOW 194 MOVIE WINDOW Part 5 Editing

CHAPTER 27 Editing Basics

OVERVIEW then use the Undo/Redo command as the music AudioDesk provides extensive features for editing continues playing to compare the original and audio data. This chapter provides a introduction to modified data. editing in AudioDesk and covers several general features than can be employed universally while SELECTING editing. To edit anything in AudioDesk, you must first select it. AudioDesk provides many useful ways to Unlimited Undo/Redo ...... 197 make selections, from a single event—or event Editing during playback ...... 197 parameter—to the entire project. After you’ve Selecting...... 197 made a selection, you can apply AudioDesk’s many Region editing ...... 197 powerful Edit menu commands to whatever is View menu ...... 198 selected. Be sure to learn all of the ways to make Zooming...... 199 selections by reading chapter 31, “Selecting” Graphic editing techniques ...... 201 (page 245). which contains many shortcuts that Audio editing basics ...... 202 will speed up your work. Sample accurate editing ...... 203 Audible mode ...... 203 REGION EDITING A region is a span of time across one or more UNLIMITED UNDO/REDO tracks. AudioDesk’s Edit Window provides flexible AudioDesk supports unlimited Undo/Redo. It can region editing across one or more tracks, allowing remember everything you have ever done to a you to edit data within that region with a wide project, even after you close and quit, across any range of edit operations. The process of region number of sessions, all the way back to the moment editing consists of the following basic steps: the project was first created. There are several commands in the Edit menu to support a simple, 1 Select a region. single-step undo behavior, plus several commands to step forward and backward through the undo 2 Apply the desired operation from the Edit or history. The Undo History window provides a Audio menus. complete log of actions and numerous features for navigating through the undo history and jumping These steps are discussed briefly in the following to any point. or complete details, see “Undo sections. History” on page 250. Selecting regions EDITING DURING PLAYBACK There are many ways to select regions. For a Almost all edit operations in AudioDesk can be summary, see “Time range selection” on page 246. done during playing back so that you don’t have to stop and start to hear the result. For example, you could Transpose while the sequence is playing and

197 Show Tracks The Show Tracks command “unhides” the type of Applying Edit menu operations track you choose from the sub-menu. The visibility After you’ve selected a region, you can choose any of any other tracks remains unchanged. This command from the Edit menu. See chapter 32, command is good for adding tracks to the display. “Edit Menu” (page 249) for details about these basic commands. Show Only Tracks The Show Only Tracks command “unhides” the VIEW MENU type of track you choose from the sub-menu and The View menu provides many useful shortcuts for hides all other tracks. This command is good for controlling what you see in AudioDesk’s windows “soloing” the type of track you choose from the and how information is displayed. sub-menu.

Show/Hide Tracks Hide Tracks The View menu provides several commands for The Hide Tracks command hides the type of track showing and hiding tracks in the Edit Window and you choose from the sub-menu. The visibility of Mixing Board. any other tracks remains unchanged. This command is good for hiding tracks you don’t want When using these commands, it can be useful to to see, while leaving other track types visible. open the Track Selector to get an overview of the results. Track Layouts A track layout is a “snapshot” of which tracks are ☛ To zero in on just the tracks you want, it can be currently shown and hidden at the time it is useful to start out with all tracks hidden: choose created. The commands in the Track Layouts sub- View menu > Hide Tracks > All. menu let you create, name, rename and delete track Each Show/Hide Track command provides a sub- layouts. To create one, show and hide tracks as menu that allows you specify which tracks you desired and then choose View menu > Track wish to show or hide. For example, if you choose Layouts > Save Track Layout As. The resulting track Show Tracks > Play Enabled, all currently play- layout appears by name at the bottom of the Track enabled tracks will be shown. Layouts sub-menu, where you can choose it to recall the layout. Saved track layouts also appear in Showing and hiding is a one-shot operation; in the Commands window (Setup menu), where you other words, these commands are not checkable can assign them to keyboard shortcuts. To view (i.e. “sticky”). Instead, they produce a result for the them, type Track Layout into the Commands currently active (focused) window, at the moment window search field. you choose the command. You can then further adjust what is shown or hidden using additional Show Only consecutive show/hide command(s), or by using The Show Only… commands in the View menu the track selector. control the display of automation data in the Edit Window. When using several show/hide commands consec- utively, the effect is cumulative, which allows you to When Show Only the Active Edit Type is checked, fine-tune the track display. the Edit Layer menu (in the Edit Window track settings pane as shown in Figure 28-13 on

198 EDITING BASICS page 213) and the Edit Window insert menu ZOOMING control the type of automation data that will be Zooming in the Edit Window is similar to the visible. zooming found in most computer graphics programs. When zooming in, objects become To use the Show Only Selected Types (Quick Filter) larger as the display magnifies a portion of the command (to make it not grayed out), the screen. When zooming out, objects shrink as the following two conditions must be met: display encompasses a larger region.

■ the Show Only Active Edit Type command is There are many ways to zoom the Edit Window, as unchecked, and explained in the following sections. Individual windows may also have additional zoom abilities; ■ at least one automation event must be selected refer to the chapters on each window for more If these two conditions are met, then choosing this details. command will “solo” the selected data type, temporarily hiding all others. Zoom buttons The Time zoom buttons appear in the bottom right Show/Hide Lanes corner of the window. Zooming out ( - ) gives you The view menu provides several commands for an overview by compressing more time into the showing and hiding automation lanes in the Edit window; zooming in ( + ) focuses on a shorter Window (“Displaying automation lanes” on period of time at a higher viewing resolution. page 226). To activate these commands (make them not grayed out), make the Edit Window Some windows, such as the Edit Window, also have visible and active. Choose Show All Lanes with vertical zoom buttons to increase the height of the Data to expose any automation lanes that contain data you’re viewing. data of any kind. Choose Show/Hide Lanes to show all lanes or hide any currently visible lanes. Zooming quickly by pressing If you press continuously on a zoom button, the Grid display will zoom continuously until you release The commands in the Grid sub-menu show and the mouse. hide various types of grid lines in the Edit Window (see “Edit Window guides” on page 108). Wiper zooming In many windows that display the playback wiper, Colors you can very quickly and conveniently zoom in The Colors sub-menu in the View menu lets you and out by Control/Win-dragging vertically on the control track colors in AudioDesk. See “Track green playback wiper handle. For details, see color” on page 130. “Zooming with the wiper” on page 160.

Auto Scroll Keyboard zooming shortcuts Auto Scroll controls how windows with time lines Below are several keyboard shortcuts for zooming. scroll during playback. See “Auto Scroll” on In addition, all of the zooming shortcuts discussed page 107. in the next section (“Mini-menu zoom shortcuts”)

199 EDITING BASICS have keyboard shortcuts, which are available in the Zoom Back and Zoom Forward Commands window (see chapter 16, “Commands” As discussed in “Zoom history and Zoom (page 113). Forward/Backward” on page 201, the Zoom Back and Zoom Forward commands keep track of every Shortcut What it does zoom operation that you do since you first opened Command/Ctrl-left Zoom out horizontally. the edit window. Therefore, they allow you to step arrow backwards and forwards through all of the Command/Ctrl-right Zoom in horizontally. arrow different scrolling and zooming actions you’ve taken. Just keep choosing them over and over to Command/Ctrl-up Zoom in vertically (track height or arrow note grid). work your way backwards or forwards.

Command/Ctrl-down Zoom out vertically (track height or arrow the note grid). Working with the zoom settings The zoom settings let you store favorite zoom Option/Alt key When added to the above shortcuts, the Option/Alt key zooms all the way. settings and easily restore them by choosing them from the menu (or pressing their key binding). To store a zoom setting: Mini-menu zoom shortcuts The Zoom mini-menu item provides many useful 1 Zoom the display the way you want. options for magnifying or reducing the data displayed in the Edit Window. AudioDesk offers 2 Choose the desired Set Zoom Setting command completely unlimited zooming between the in the menu. minimum and maximum horizontal zoom levels. To restore the zoom setting, choose the desired Zoom to Setting command.

Switching among 2 or 3 zoom settings The zoom settings commands discussed above are ideal for zooming among several different zoom settings. For example, you might want to switch back and forth between the sample level and an overview level to consecutively make small sample edits and then audition them.

Zoom tool Figure 27-1: The Zoom menu in Edit Window mini-menus. The Zoom tool (magnifying glass) in the Tool Zoom in/out palette lets you zoom in on a portion of the edit Zooming in (either vertically or horizontally) window by dragging a zoom box over it. In the enlarges the data; zooming out reduces it. time ruler or continuous data grid, drag horizontally to zoom the time axis only. Zoom to selection Zoom to Selection fits the current selection to the See “Zoom tool shortcuts” on page 233 for many left and right edges of the window. Zoom tool shortcuts.

200 EDITING BASICS Zoom history and Zoom Forward/Backward The sections below describe basic features that you AudioDesk remembers consecutive zoom will find helpful when working in AudioDesk’s operations in a window. For example, if you zoom graphic environment. in three times consecutively to get a closer look at some data, AudioDesk remembers each zoom Shift-drag to constrain setting. You can then use Zoom Backward and If you hold down the Shift key before you begin to Zoom Forward shortcuts to move forwards and drag a selection, the pointer’s movement on the backwards through these remembered zoom screen will be constrained to either the horizontal settings. or vertical axis, depending on the initial direction of movement. For example, if you click the mouse, Zooming, Edit Resolution and nudging hold down the Shift key, and drag upwards, the Editing is allowed at any zoom setting. However, mouse will only move up or down: it will not stray the current zoom level may affect the resolution at left or right. which events can be edited by dragging. For example, let’s say that the Edit Resolution unit is set Constraining mouse movement in this way is often to 20 ticks. If you zoom way out, you will not be extremely helpful. For example, if you want to able to drag a note by only 20 ticks because one modify just the pitch of a note without changing its screen pixel, which is the smallest unit of location, the Shift key allows you to do so by movement on the computer screen, will equal a preventing the mouse from moving left or right. time value greater than 20 ticks. So, even if you move the note as little as possible, you will still have Option/Alt-drag to duplicate Option/Alt-dragging an event (or several selected moved it more than 20 ticks. events) leaves the original data unchanged and In the example above, AudioDesk handles the places a copy of the data at the destination. Option/ situation by constraining location to multiples of 20 Alt-dragging is a convenient shortcut for copying ticks. When you move the note, its new location and pasting. will become the nearest multiple of 20 ticks, such as Shift-clicking to select non-adjacent events 80, 140, or 420 ticks. Holding down the Shift key also serves as a useful If you need more precision, zoom in. Or, you can way to select more than one event. For example, if nudge data in precise increments at any zoom level you have already selected a soundbite and you want use the arrow keys and the Nudge Amount to select another, scroll to the other soundbite (if window. See “Nudge” on page 237. necessary) and Shift-click it (but don’t drag). It will highlight, and the first soundbite will remain GRAPHIC EDITING TECHNIQUES highlighted. AudioDesk has many powerful editing features. Most editing can be done with the mouse using Other selection techniques familiar actions like clicking, dragging, and Shift- There are many other useful selection techniques. dragging. Such actions can shift data, change note See chapter 31, “Selecting” (page 245). pitch and duration, reshape continuous data Dragging multiple data types curves, and more. The Shift-click method of selection allows you to simultaneously select and drag multiple data types.

201 EDITING BASICS For example, to move a loop containing audio and and re-arrange a soundbite in a track as much as automation data, select both by Shift-clicking and you want without affecting or duplicating its drag them to a new location. original in the Soundbites window. On the other hand, if you change the soundbite’s name or length, Nudging all instances will change, including the original. The Nudge Amount (Snap Information window) lets you move selected data with the left and right arrow keys by any amount in any unit of measurement that you choose. See “Nudge” on page 237.

Using Edit Resolution When the Snap to Grid check box is selected in the Snap Information window, data that is moved or inserted will ‘snap’ to positions corresponding to the current edit resolution setting. For example, if the current grid resolution unit is 240 ticks, events that are moved with the mouse will snap to positions at every 240 ticks on the grid. If the Snap to Grid check box is not checked, events will move freely. You can temporarily override the current

grid setting by holding down the Command/Ctrl Figure 27-2: Soundbites in tracks are merely references, or “clones”, of key as you drag. For further review, see “Snap the original soundbite in the Soundbites list. In turn, the Soundbites there are references to the original audio data in the audio file on the Information” on page 235. hard disk.

Using Undo Interestingly, the original soundbite is itself merely The Undo command in the Edit menu will undo a reference to something else: it is a pointer to the the last action you executed. For example, if you original audio data in the audio file, as shown move a note and then change your mind, you can above in Figure 27-2. As a result, the amount of choose Undo Move from the Edit menu and the data that you generate by duplicating soundbites is note will return to its original position. insignificant, since soundbite data is merely a pointer to the actual audio data. AUDIO EDITING BASICS The following sections explain several important concepts to keep in mind when editing digital audio.

Soundbites in a track are ‘clones’ of the original It is important to understand that soundbites in a track are “clones” of the original soundbite in the Soundbites window as shown below in Figure 27-2. They do not actually consist of the soundbite itself; they are a reference to the original soundbite. As a result, you can freely cut, copy, paste, duplicate,

202 EDITING BASICS Non-destructive, destructive and constructive dependent on the project’s overall sample rate. For audio editing example, if the sample rate for the project is When you edit audio, your edit operation is either 44.1 kHz, and you cue the counter to 1 second, the non-destructive, destructive or constructive. A sample counter will display 44,100 samples. clear understanding of these terms will help you make better decisions about how to edit your audio. Here is a brief explanation:

Type of Figure 27-3: AudioDesk’s sample counter. audio editing Explanation Zooming in to the sample level for editing, Non-destructive Original audio data is preserved. Only pointers to the original audio data are mod- trimming, nudging, etc. by sample ified. Example: trimming the edge of a soundbite in the Edit Window. The Edit Window allows you to zoom in to the sample level to perform sample-accurate editing Destructive Original waveform data is permanently modified. tasks. For example, you could place a soundbite at an exact sample location. You can also trim the Constructive Original audio data is preserved on disk while being replaced in the AudioDesk edges of soundbites at the sample level, or select project by new audio generated by the con- structive editing operation. Example: apply- them and nudge them one sample at a time with ing an audio effect via the Audio menu. the arrow keys. Audio playback is sample accurate, and you can even perform sample-accurate digital Non-destructive Edit menu editing transfers to other devices, if your hard disk Edit menu operations are non-destructive when recording hardware supports this feature. applied to audio that has been selected in the Edit Window, except for the Transpose command in AUDIBLE MODE some cases. When using Transpose with the Audible Mode allows you to listen to notes and “Transpose audio by creating new soundbites”, soundbites one at a time, or phrase by phrase, as audio data is processed constructively, (where the you highlight them in a AudioDesk track. This original audio is replaced by newly processed feature appears as a speaker icon in the Control audio.) See “Constructive editing” on page 357. Panel. Audible Mode provides an easy, intuitive way to see and hear an individual note, phrase or SAMPLE ACCURATE EDITING soundbite while you are working in AudioDesk’s AudioDesk provides sample-accurate editing of editing windows. Notes and soundbites can be audio data. This capability affects AudioDesk’s played back one at a time by clicking on them interface in several ways, as explained in the individually or as a phrase by highlighting a region. following sections. For audio tracks, see “Specifying audio output for The Samples time format auditioning” on page 204. AudioDesk has a samples time format, which can be chosen for display in the program’s main Enabling audible mode counter and auxiliary counters. It is also available To toggle Audible Mode on and off, click the as a time ruler in the editor windows. speaker icon in the Control Panel.

If you display samples in the counter, it shows the number of digital audio samples from the beginning of the project. This number is, of course, Figure 27-4: The Audible mode button.

203 EDITING BASICS Playing individual soundbites To audition a soundbite in the Edit Window, click the soundbite and hold down the mouse button. The soundbite will only play until you release the button.

To audition a soundbite in the Soundbites window, click it (but don’t hold down the mouse button).

Specifying audio output for auditioning When you audition a mono soundbite, AudioDesk plays it via the first mono output bundle that it encounters in the Bundles window (i.e. the highest one in the list). Similarly, when you audition a stereo soundbite, it plays via the highest stereo bundle in the Bundles window list. To change which bundle is used, make it the highest bundle in the list using the move handle. For complete information about audio bundles, see chapter 17, “Audio Bundles” (page 119).

Playing phrases Using the Audition Selection command in the Edit menu, it is also possible to audition any selection of audio data.

To audit ion a selec t ion:

1 Select the data. (See chapter 31, “Selecting” (page 245) for details.)

2 Choose Audition Selection from the Edit menu, or press Option/Alt-spacebar.

Alternatively, you can Option/Alt-click the Audible Mode speaker icon in the Control Panel. The speaker icon does not have to be highlighted.

When you audition the current selection, the tempo of the phrase is determined by the current tempo setting in the Control Panel. Auditioning can be stopped at any time by clicking or striking a key on the computer keyboard.

204 EDITING BASICS CHAPTER 28 Edit Window

OVERVIEW Quick Reference...... 206 The Edit Window provides a multitrack graphic Tool palette quick reference...... 208 environment for editing audio tracks side by side. Edit window mini-menu...... 208 You can view one or more tracks at a time using Edit Window title bar ...... 209 AudioDesk’s standard track selector to show and Sequences and tracks ...... 209 hide tracks as desired. Edit window basics...... 209 Opening the Edit window ...... 209 Audio tracks display waveform data with Switching sequences...... 209 automation data overlaying it. You can switch Sequence management...... 209 layers in each track independently to bring any Track management ...... 210 type of data to the front for editing. Snap, Cursor, Selection, and Event Information ...... 211 The Time Ruler ...... 211 The Edit Window provides sample-accurate The Marker Strip ...... 212 editing of audio. Zoom buttons...... 213 Zooming techniques ...... 213 The Edit Window includes basic track Audio track settings ...... 213 management features, such as adding, duplicating Resizing tracks vertically ...... 213 and deleting tracks and sequences. The Edit Audio editing basics...... 214 Window provides “one-stop shopping” for editing Inserting soundbites ...... 215 and managing a AudioDesk project. Moving soundbites ...... 217 Muting and unmuting soundbites ...... 218 Overlapping and layering soundbites...... 218 Trimming (edge editing) soundbites ...... 219 Graphic time stretching of audio ...... 221 Applying fades and crossfades ...... 221 Takes ...... 221 Graphic editing techniques ...... 221 Selection techniques ...... 222 Show times...... 224 Sync points...... 224 Working with breakpoint mix automation ...... 225 Working with loops ...... 228 Working with event flags...... 228 Scrolling during playback ...... 229 Scrubbing in the Edit Window...... 229

205 QUICK REFERENCE

Track Cursor Event Marker Time Selection Edit Mini- selector coordinates Information strip ruler Information grid menu

Vertical waveform zoom

Track name Show/hide Track Track Scrolling Selected Zoom Snapshot Loop Audio wiper track Settings settings mix automation soundbite buttons selector panel menu data

Pointer Zoom Insert loop I-Beam Scrub Pencil Tool Palette Figure 28-1: The Edit window

206 EDIT WINDOW Track selector: Click or drag over the names of the Mini-menu: Provides features specific to the Edit tracks in this list to show or hide them in the Edit Window. See “Edit window mini-menu” on Window. Option/Alt-click to hide all except the page 208. one you click; Command/Ctrl-click to show all except the one you click. Use the commands in the Ver t ica l wavefor m zo om: Controls the height of View menu to show/hide tracks. the audio waveform within the track strip.

Cursor Coordinates: Displays the mouse pointer’s Show/hide track selector: Opens and closes the current location in the unit of measurement for the track selector. currently active layer in the track (dB for audio Automation Snapshot: Takes a snapshot of the volume, the name of the soundbite the cursor is current automation settings you specify for the currently over , etc.) tracks you specify over the time range you specify. Event Information: Displays parameters for the The snapshot operation inserts automation events currently selected soundbite, audio automation in each included track. This can be done while control point, or other type of event and allows you AudioDesk is stopped or playing back. to edit the event’s parameters, such as its name and Track settings panel: Displays information and location. track settings. The amount of information Marker Strip: Displays markers, meter changes, displayed depends on the track’s current vertical and key changes. No audio data appears in the size. All settings are always available in the Track Marker Strip. settings menu.

Time Ruler: Measures time in any combination of Track settings menu: Contains all settings for the AudioDesk’s various time formats. Double-click track. Some of these settings might also be on the ruler to place the playback wiper. Drag displayed in the Track settings panel, depending on within the ruler to make a time range selection. the track’s current vertical size. Shift-click in the ruler to extend or shorten the Loop: You can insert loops, , automation or any existing time range selection. other type of track data by choosing it from the Edit Grid: If the Edit Grid box is turned on, data Insert sub-menu in the Track settings menu. snaps to the edit grid. If it is turned off, data doesn’t Audio mix automation data: Mix automation snap to grid. Edit Resolution can be changed by events (volume, pan, plug-in parameters, etc.) are typing in a different number of beats|ticks, or by viewed by choosing Volume from the Track’s Active choosing a duration from the note menu. Layer menu in the track’s information panel. Mix Beat Grid: Snaps actions to the beats within the automation data is displayed as a line waveform. superimposed on top of the audio waveform, with automation events appearing as breakpoints on the Snap to Marker: Snaps actions to markers. line, which can be inserted, dragged, and selected.

Nudge amount: Specifies how far selected events Scrolling wiper: Indicates the current playback are moved by the Left Arrow and Right Arrow keys. location. Drag it to change it or double-click in the See “Nudge” on page 237. time ruler.

207 EDIT WINDOW Selected soundbite: Soundbites can be EDIT WINDOW MINI-MENU manipulated directly (and inserted) when they are chosen as the active layer for the track. Use the Pointer tool for most soundbite editing operations.

Zoom buttons: Reduce and enlarge the display vertically or horizontally. Click the plus sign to zoom in; click on the minus sign to zoom out. Press to zoom continuously. Zooming out gives you an Figure 28-2: The Edit window mini-menu. overview; zooming in focuses on a shorter period of time at higher resolution. Editing can be done at Sequences: The Edit window displays one any zoom level. Option/Alt-click to zoom in or out sequence at a time. That is, it displays all tracks in a to minimum or maximum zoom level. single sequence. This sub-menu provides several features for working with multiple sequences, if TOOL PALETTE QUICK REFERENCE your AudioDesk project has them. See “Sequence Pointer: Use the pointer to select data, move data, management” on page 209. and trim soundbites. Zoom: Provides many shortcuts for zooming in the I-Beam: Use the I-Beam tool to make time range Edit window. See “Mini-menu zoom shortcuts” on selections. page 213.

Pencil: Use the pencil tool to insert data. Go To Counter: Scrolls the Edit window to the time currently displayed in the Counter. The counter Zoom: Click to zoom in the time ruler (for all location will appear at the left-most position in the tracks). Option-click to zoom the time ruler out. window. Option-shift-click to zoom backwards (through previous zoom settings). Option-shift-control Go To...: Scrolls the Edit window to a time you click to zoom forwards. specify, which will appear at the left-most position in the window. Scrub: Plays back the audio contained in a soundbite as you drag horizontally over it. Hold Show Active Layer Only: Hides all data that is not down the shift key to select while scrubbing. in the current active layer for each track. (Soundbites must be the active layer in the track.) Show Times: this menu item produces a sub-menu, Insert Loop: Inserts a loop in a track when you from which you can choose which time stamp to drag horizontally. display on soundbites: none, the current time, the original time stamp (if any) or the user time stamp (if any).

Edge Edit Copy: This item affects soundbite trimming (edge editing). When checked, this item causes a new soundbite to be created when you trim (edge edit) any soundbite, preserving the original. When Edge Edit Copy is unchecked,

208 EDIT WINDOW trimming a soundbite affects the original OPENING THE EDIT WINDOW soundbite (and all instances of it in elsewhere in the To open the Edit window, choose Edit window project). Option-drag to override the current Edge from the Project menu or press shift-E. Edit Copy setting (checked or unchecked). SWITCHING SEQUENCES EDIT WINDOW TITLE BAR The Edit Window allows you to switch to other The Edit Window title bar contains the standard sequences by clicking its Window Target tab. See edit window elements discussed in “Window “Window target” on page 35. target” on page 35. SEQUENCE MANAGEMENT SEQUENCES AND TRACKS The Edit Window displays one sequence at a time. AudioDesk is modeled after the straightforward, That is, it displays all tracks in a single sequence, if conventional concept of a multitrack recorder. For your AudioDesk project has multiple sequences in a multitrack tape recorder, the basic unit of musical it. organization is a reel of tape. Typically, one song would be recorded on one reel of tape. Use the Sequences sub-menu in the Edit Window mini-menu (Figure 28-2 on page 208) to view a In AudioDesk, the basic unit of organization is different sequence in the Edit Window window, to called a sequence. A sequence holds a set of tracks. create a new sequence, or to conduct other (Think of a sequence as a reel of tape — or one sequence management tasks. section of the tape, like the chorus or the first verse.) Each track, in turn, holds an individual stream of Making the Edit window display a different sequence audio data. Typically, a track is the recording of an You can create an unlimited number of sequences individual instrument or voice. But tracks are very in a AudioDesk project. You can make the Edit flexible and allow you to organize your work in window display any sequence you want by many different ways. choosing it from the Sequence sub-menu in the Unlike analog tape, AudioDesk sequences can hold Edit window mini-menu (Figure 28-2 on as many tracks you like. page 208). Doing so causes AudioDesk to display the sequence’s tracks; in addition, the sequence EDIT WINDOW BASICS name is displayed in the title bar of the Edit The Edit window serves as a multitrack waveform window. It also play-enables the sequence being editor for audio tracks. There is one Edit window viewed. If the Edit window is displaying a sequence window for each sequence. In projects with more that is not play-enabled, then this menu will appear than one sequence, you can open multiple Edit blank. windows (one for each sequence). Using the title bar to switch sequences You can also use the Edit window title bar to change which sequence is displayed. To do so, just click the sequence name in the Window Target menu as shown below. Note, however, that this method of switching sequences is slightly different than using the Sequence menu as described above because it doesn’t play-enable the sequence; it only

209 EDIT WINDOW switches the display. If you want to hear the Making a new, separate sequence based on the sequence you are switching to, use the Sequence current selection menu. The Copy Selection to New Sequence command (as shown in Figure 28-4 on page 210) creates a new, separate sequence based on the current selection. For details see “Splitting up an existing sequence into separate sequences” on page 291.

Opening two or more Edit windows at once As mentioned earlier, you can freely switch which sequence is displayed in the Edit window. If you’d like, you can also open multiple Edit windows so Figure 28-3: You can also switch the sequence being displayed in a that you can view two or more sequences at the Edit window by clicking the Window Target menu. same time. Just double-click its name in the Creating new sequences in the Edit window Sequences window. When you choose New from the File menu to create a new AudioDesk project, the newly created TRACK MANAGEMENT project that appears on your screen contains a The Edit Window provides many features for single empty sequence named “Seq-1”, which is managing audio tracks in your project. displayed in the Edit window. You can use the The Track Selector Sequence menu to create other new sequences. Just Like other AudioDesk editors, the Edit Window choose either New Sequence or Copy Selection to has a track selector that lets you show and hide New Sequence (as explained in “Making a new, tracks as desired. See “Track Selector” on page 239. separate sequence based on the current selection” on page 210.) Moving tracks up or down To move tracks up or down in the Edit Window, drag them by the left edge of their information panel as shown below in the Edit Window, or you can grab the area just to the right of its name, as shown in Figure 28-5.

Reposition cursor Figure 28-4: The Sequence sub-menu menu also provides commands for creating, naming, and deleting sequences, as well as copying the current selection to its own, new sequence. Figure 28-5: Move the cursor over the left edge of the Track settings panel until you see this cursor. Then drag it up or down ad desired. Renaming and deleting a sequence in the Edit window Creating a new track The Sequence menu shown above lets you also To create a new, empty track, choose Add Track rename or delete any sequence. Just choose the from the Project menu and choose the type of track sequence by name from the menu, and then choose desired from the sub-menu (mono audio track, the desired command. stereo audio track, etc.) The new track is added to the bottom of the Edit window with the name

210 EDIT WINDOW “Track-n”, where n is a number. If you would like to For complete details about these information add the track somewhere in the middle of the Edit windows and the Information Bar, see chapter 30, window, click an existing track name first to “Information Windows” (page 235). highlight it. The new track is added just below the highlighted track. THE TIME RULER The Time Ruler measures time horizontally for all Selecting tracks audio data in the Edit Window tracks displayed To select tracks for the track management below it. operations discussed in the next three sections, click or Command/Ctrl-click their names to select them.

Adding, duplicating and deleting tracks Use the track-related menu items in the Project menu to add, duplicate, delete and otherwise Figure 28-6: The Time Ruler gives you a visual indication of where manage tracks in the Edit Window. Select the data is. It can display time in any of AudioDesk’s various time tracks you wish to duplicate or delete. You can also formats. select a track to add a new track just below it. Cursor tracking To help align the mouse pointer with the Time Making audio track input/output assignments The Track Assignments command in the Studio Ruler, a line appears inside the Time Ruler to menu is a convenient shortcut for making input indicate the current position of the mouse. The and output assignments to many tracks in one cursor location is displayed numerically in the quick operation. Select the tracks you wish to Cursor Information section of the Information Bar. assign and then choose the Track Assignments from Choosing time formats the Studio menu. For further details, see “Making The Time Ruler can display time in any of audio assignments for multiple tracks” on AudioDesk’s various time formats. You can choose page 127. which format to display with the Time Display sub- menu (Setup menu). SNAP, CURSOR, SELECTION, AND EVENT INFORMATION Zooming the Time Ruler The Snap, Cursor, Selection, Event Information See “Zooming techniques” on page 213. windows (Studio menu) display information about the current cursor position, selection range, and Using the Time Ruler to cue playback selected event. These windows update as you work, You can double-click the time ruler as shown below providing constant feedback. to make AudioDesk jump to that location.

This information can optionally be displayed directly in the Edit Window in the Information Bar Click once near the top of the ruler with the cue cursor... area just above the time ruler. The Information Bar ...or double-click in the lower preferences let you choose which information you half with I-beam cursor. would like to display. Figure 28-7: Cueing playback in the Time Ruler.

211 EDIT WINDOW Using the Time Ruler to select a time range Working with markers in the Marker strip A region can be selected by dragging horizontally The Time Ruler lets you display and edit Markers. in the lower half of the Main Time Ruler with the Here is a summary: I-beam cursor as shown below. For more similar techniques, see “Time Ruler selection techniques” To accomplish this Do this on page 247. Create a new marker Click on the “marker well” to the right of the Time Ruler and then drag and drop a marker onto the marker strip. Marker Drag in the lower well half with I-beam cursor.

Figure 28-8: Selecting a time range in the Time ruler.

THE MARKER STRIP The Marker Strip appears just below the Time Ruler (Figure 28-9). It displays markers and the Select everything from Click the icon of the first marker. Shift- sequence meter (at the beginning of the sequence). one marker to the next click to extend the selection. It is always visible and is not affected by vertical one scrolling. Lock (or unlock) a Option-click its icon. marker

Figure 28-9: The Marker strip. If markers occur very close together (based on the The Marker Strip shares the Time Ruler with the current zoom setting) or at the same location, they tracks below it. Therefore, the location of items in are displayed with a menu icon, shown below in the Marker Strip will always correspond with data Figure 28-11. Press the menu to view the events at displayed below. that location.

Markers In the Marker Strip, a marker appears as a marker icon, followed by the marker’s name. The marker icon indicates the marker’s exact location. If the marker is locked, a lock icon will appear between the pointer and the marker name.

Figure 28-11: When items in the Marker Strip occur very close to one another (or even on the same exact tick), the Marker Strip displays the menu icon shown here. Click the menu to see the events; you can select them by choosing them from the menu.

Figure 28-10: A locked marker. Showing marker grid lines The Show marker grid lines Edit window preferences (see “Edit Window” on page 108) toggles the appearance of a yellow line that extends

212 EDIT WINDOW downwards from each marker through the Edit Mini-menu zoom shortcuts window grid. This line is can be used to align data The Zoom mini-menu item provides many useful to the marker location. options for magnifying or reducing the data displayed in the Edit Window. See “Mini-menu Making a time-range selection with markers zoom shortcuts” on page 200. Click the marker to make a time range selection that extends to the next marker. AUDIO TRACK SETTINGS The panel to the left of each track shows all of the Editing markers settings for the track. Audio track settings are as To move, delete or otherwise edit the marker, use follows: the Markers window as explained in chapter 36, “Markers” (page 283). Input Play/ Record- Track Level Waveform monitor mute enable settings meter vertical menu zoom ZOOM BUTTONS Track name The Edit Window lets you zoom all tracks both Track type icon/ color selector horizontally and vertically. Zoom in using the ‘plus’ Edit layer button to get more detail. Zoom out with the Audio input ‘minus’ to get more of an overview. If you press Audio output continuously, the window zooms continuously. Automation Shortcut: Option/Alt-click to zoom to the settings maximum or minimum setting. When zooming Take vertically, tracks proportionally maintain their Insert menu Resize handle relative vertical sizes. Figure 28-13: Audio track settings. The display of these controls changes depending on the vertical size of the track. For complete details, see “Audio track settings” on page 125.

RESIZING TRACKS VERTICALLY Audio tracks can be resized vertically. Position the Figure 28-12: The Edit Window Zoom buttons. mouse over the bottom edge of the track settings ZOOMING TECHNIQUES panel until you see the hand cursor. Then drag up In addition to the zoom buttons shown above, or down as desired. AudioDesk provides many other ways to zoom in and out, including many useful zooming shortcuts. In particular, you can very quickly and conveniently zoom in and out by Control/Win- dragging vertically on the green playback wiper. For details, see “Zooming with the wiper” on page 160. For general zooming techniques, see “Zooming” on page 199.

213 EDIT WINDOW Figure 28-15: Resizing tracks from the track settings menu.

AUDIO EDITING BASICS This section explains several important concepts to keep in mind when you work with audio tracks in the Edit Window. Figure 28-14: Resizing tracks vertically. Working with waveforms Shortcuts for vertical track resizing The Edit Window displays soundbites — and the Use the following shortcuts to resize tracks: audio data within them — as a waveform in a standard time-versus-amplitude display as shown Hold down this key To do this: while dragging: in Figure 28-16. The waveform shown inside To make all tracks the same height Option/Alt key soundbites is a representation of the sound in graphical form. Time is expressed on the To enlarge one track and make all Control/Win key other tracks scale their height to fit horizontal axis. Amplitude (loudness) is expressed in the window on the vertical axis, and the waveform oscillates up To zoom back to the previous Press command-[ (left and down over a center axis which represents zero, state after either of the above oper- bracket), or choose Zoom ations Back from the Zoom sub- or no sound at all. The louder the sound is at a menu in the Edit Window mini-menu. certain point, the greater the deviation is from zero. Silence is represented by a straight line. the point at To make tracks snap to fixed sizes Command/Ctrl key vertically which the waveform crosses zero is called a zero- crossing. These modifier key shortcuts can also be used A soundbite is represented as a “block” of when vertically resizing from track setting menus waveform data with adjustable boundaries. The as shown below: waveform inside it represents the actual audio data

+100% zero crossing

0

Amplitude Time

-100%

Figure 28-16: A simple audio waveform displayed on a time versus amplitude scale.

214 EDIT WINDOW in the audio file on disk. This graphic display allows Graphic editing is nondestructive you to make edit decisions based on what you see, All of the editing procedures described in this as well as what you hear. chapter are non-destructive. For an explanation of non-destructive editing, see “Non-destructive, destructive and constructive audio editing” on page 203.

Soundbites that cannot play Soundbites that cannot be played (because they don’t match the project’s global sample rate, for example) are displayed in the Edit Window with a Figure 28-17: A soundbite is represented as a block of audio with a red outline and a grayed waveform, in addition to a waveform inside. red ‘X’ in their icon in the Soundbite list, to alert Stereo versus mono waveforms you to the fact that they cannot currently play back. In stereo tracks, paired left/right soundbites appear Viewing Edit Window soundbites in the in the Edit Window as two smaller waveforms Soundbites window joined together as shown in Figure 28-18. A stereo If you are looking at a soundbite in the Edit soundbite shows both channels connected together Window, and you would like to find it in the as one unit, so that they can always be edited simul- Soundbite list, use the Command in the taneously, with sample-accurate phase lock Commands window called Select this soundbite in between the channels. the Soundbite list. Use the search feature in the Commands window to find the command and then assign it to any desired keyboard shortcut. There is a similar command called Display this soundbite in Waveform Editor. See “Searching for commands” on page 113.

Reveal In Finder/Show in Explorer command The Reveal In Finder/Show in Explorer command Figure 28-18: A stereo soundbite is represented as two audio channels joined together, which always remain phase-locked. shows you the location on your computer desktop of the parent audio file for the currently selected Soundbites are clones soundbite or clippings. By default, the keyboard An important thing to realize about soundbites in shortcut for this command is Option/Alt-R. the Edit Window is that they are “clones” of their original soundbite in the Soundbites window as INSERTING SOUNDBITES shown in Figure 27-2 on page 202. For further The following sections explain several different explanation, see “Soundbites in a track are ‘clones’ ways to insert soundbites into the Edit Window. of the original” on page 202. The soundbite must be present in the Soundbites window list before doing so. If it isn’t, you must import it beforehand. See “Importing and exporting audio” on page 79.

215 EDIT WINDOW Dragging and dropping audio into the Edit 2 Select the desired soundbite from the list that Window appears. The soundbite’s number of channels You can also place audio in the Edit Window by (mono or stereo) must match the number of dragging soundbites from the Soundbites window, channels for the track you wish to insert it into. a Clipping window or the computer desktop. In the Soundbites window, just grab the move handle of the soundbite and drop it on top of the open Edit Window. The soundbite is placed at the exact location displayed in the cursor information box at the moment you drop it. Control/Win-drag the soundbite to make it “snap” to the end of the previous one (or the beginning of the track if it is empty). In the Mac OS Finder or Windows Explorer, just drag the audio file icon from the desktop or any window into the Edit Window. The soundbite’s number of channels (mono or stereo) must match the number of channels for the track you wish to insert it into. Figure 28-20: Click the soundbite name and then click OK, or—as a shortcut— simply double-click the soundbite. You can also select the desired soundbite by typing the first letter of its name. When the list disappears, the cursor turns into a cross-hair. Click the cross-hair cursor in the Edit Window at the location where you want to place the soundbite, using the cursor information (see page 237) to help determine the location.

Figure 28-19: Dragging and dropping Soundbites into the Edit Building a playlist Window from the Soundbites window: grab the move handle and drop it on top of the Edit Window. Use the Cursor Information for You can quickly build a playlist in the Edit Window precise placement. Control/Win-drag the soundbite to make it “snap” by Control/Win-dragging soundbites into it from to the end of the previous one. You can also drag and drop audio into the Edit Window from the computer desktop. the Soundbites window. Holding down the Control/Win key when you first grab the soundbite Using the Insert Audio command causes it to “snap” to the end of the previous To insert a soundbite in the Edit Window with the soundbite when you drop it. Insert Audio command: Changing a soundbite name 1 Press Shift-F1. To change a soundbite name in the Edit Window, Option/Alt-click its name. This is the default key binding for the Insert Audio command, but this may be reassigned in the Replacing a soundbite with another Commands window. To replace a soundbite with a another one from the soundbites window, click it once to select it and click its name in the Event Information window as shown in Figure 28-1 on page 206.

216 EDIT WINDOW MOVING SOUNDBITES “Throwing” soundbites to the next or previous Soundbites can be moved earlier or later in time by soundbite simply dragging them left or right, respectively. If There is a shortcut for making a soundbite “snap” the Edit Resolution check box is off, they move to the next or previous soundbite in the window: freely at the highest resolution allowed by the click the soundbite first to select it, and then current zoom level. Control/Win-drag the soundbite in the direction you want it to snap. For example, if you want a Moving soundbites vertically from one track to soundbite to be placed end-to-end with the next another soundbite to the right as shown below, select it and You can freely drag soundbites from one track to then control-drag it to the right. You only have to another simply by dragging them vertically — as drag a short distance—enough to determine the long as the tracks involved are currently being direction. displayed, of course.

Constraining dragging operations You can vertically or horizontally constrain dragging operations in the Edit Window by holding down the Shift key while dragging. This applies to soundbites, automation data and other events.

Moving multiple soundbites at the same time You can move several soundbites together by selecting them and dragging them together as a unit. Shift-click to select multiple soundbites. Also see “Selection techniques” on page 222.

Snapping to the edit grid When the Snap to Grid check box is checked in the Snap Information window, soundbites “snap” to the Edit Resolution grid when you drag them. See “Snap to Grid” on page 235 and the edit grid Figure 28-21: Control/Win-dragging a selected soundbite a short distance in either direction causes the soundbite to “snap” to the next controls in Figure 28-1 on page 206. or previous soundbite.

Nudging soundbites with the arrow keys Option/Alt-dragging to make a copy Select one or more soundbites in the Edit Window To quickly make a copy of a soundbite while and type the left or right arrow keys on your dragging, Option/Alt-drag it. The new soundbite is computer keyboard to nudge the data forward or an exact clone of the original; in other words, they backward in time. Use the Nudge Amount in the both refer to the same original soundbite listed in Snap Information window (or Information Bar) to the Soundbites window. For example, if you control the resolution. See “Nudge” on page 237. rename either copy, they will both change to the new name.

217 EDIT WINDOW MUTING AND UNMUTING SOUNDBITES To temporarily mute a soundbite, select it and choose Insert Mute Automation from the Audio menu. This inserts mute automation data at the beginning and end of the soundbite. To unmute, select it again and choose Clear Mute Automation from the Audio menu.

Figure 28-22: Option/Alt-dragging to make a copy of a soundbite.

Option/Alt-Control/Win-dragging to copy Figure 28-25: When using the Insert Mute Automation command soundbites & place them end to end (Audio menu), mute automation data is inserted in the track. By holding down both the Option/Alt key and the Control/Win key when dragging soundbites, you OVERLAPPING AND LAYERING SOUNDBITES can copy and place soundbites end-to-end at the AudioDesk allows two or more soundbites—or same time. This is a great shortcut for building portions thereof—to occupy the same location in playlists made up of many repeating soundbites, as an audio track. Each soundbite is handled in a shown in the example below. separate layer that can be manipulated independently of other soundbites. However, only the visible portion of each soundbite plays back. A simple, intuitive rule of thumb is: what you see is what you hear. In other words, when one soundbite Figure 28-23: Option/Alt-Control/Win-drag soundbites to quickly covers up another, it also takes over playback in the place them end to end. track. Creating a stutter effect Use the Layering commands in the Audio menu You can easily make a stutter effect by Option/Alt- (Move Forward/Backward and Move to Front/ dragging a soundbite several times and Back) to control how overlapping soundbites are overlapping the copies. For rhythmic precision, it is layered as you edit them. easiest to do so with edit resolution turned on and set to a fairly small increment, such as 16th notes.

Figure 28-24: This 16th-note stutter effect was created by Option/Alt- dragging copies of a soundbite with edit resolution turned on.

218 EDIT WINDOW TRIMMING (EDGE EDITING) SOUNDBITES Affecting all copies of a soundbite versus one As explained in Figure 4-6 on page 29, a soundbite copy represents a portion of audio from its parent audio The Edge Edit Copy command in the Edit Window file stored on disk. For example, a soundbite can be mini-menu allows you to choose whether you want as short as a fraction of a second or as long as many to modify the original soundbite you are dragging hours. A soundbite can represent a portion of the or preserve the original by making a copy of it parent audio file, or it can represent the entire file. when you drag.

AudioDesk allows you to drag the edges of Edge editing all copies soundbites to change their boundaries. Just click When Edge Edit Copy is unchecked, dragging a the edge of the soundbite with the trim cursor soundbite edge affects the original soundbite, as (shown below in Figure 28-26) and drag left or well as every other instance of it. For example, if right. The current edit resolution applies. When you edge edit a soundbite called Drum Fill that has doing so, you “uncover” or “cover up” the audio in been placed many times throughout a percussion the audio file as illustrated in Figure 28-26 below. track, all copies of it in the track will change. To override the current edit grid setting (on or off), Edge editing one copy command-drag the edge instead. When Edge Edit Copy is checked, it causes a soundbite to be copied when you drag one of its If the edge stops when you drag it, preventing you edges, which preserves all original copies of the from going any further, then you have reached the soundbite. The result is a new soundbite that is end of the audio file. identical to the original except for the new boundary and a slightly different name. You probably won’t even notice that a copy is being made. Instead, it will seem like you just moved the edge of the soundbite. The only noticeable change is a number appended to the soundbite (or, if it

Soundbite boundaries

Soundbite as it appears in Parent audio file the Edit window (stored on disk) New boundary Old boundary

Trim cursor

Figure 28-26: Edge-editing a soundbite by dragging its boundaries.

219 EDIT WINDOW already has a number, it will increment by 1). The If you would like all edges to snap to the same new soundbite is also added to the list in the location, hold down the Control/Win key while Soundbites window. dragging an edge as shown below:

Original soundbite New soundbite after Option/Alt-dragging its edge

Figure 28-27: Edge Edit Copy.

Option/Alt-dragging to override Edge Edit Copy Option/Alt-dragging a soundbite edge temporarily overrides the current setting of the Edge Edit Copy command. This allows you to set it the way you prefer most of the time, and the Option/Alt-drag to Figure 28-29: To make the edges of multiple soundbites snap to the temporarily override it when necessary. For same location, hold down the Control/Win key while trimming. example, if you may want to edit all instances of a Edge editing when soundbites overlap soundbite most of the time, uncheck the Edge Edit When soundbites overlap one another, you may Copy command so you can simply drag soundbite not have direct access to the soundbite edge you boundaries, and use the Option/Alt key to override wish to edit because it may be covered up by this setting when needed. another soundbite, and you may not want to change how they overlap with the layering Edge editing multiple soundbites command in the Audio menu. In this situation, you To trim (edge edit) multiple soundbites together at can edit the hidden edge by Shift-clicking the the same time, select them, and then trim either the opposite, visible edge. Doing so gives you control left edge or right edge of any selected soundbite. over the edge you didn’t shift-click.

Trim opposite edge cursor. Mutron bass.2 ends here, but its right edge is covered.

Grab the right edge of Mutron bass.2 by Shift-clicking its left edge.

Figure 28-30: Edge editing when the edge you want to drag is covered by another soundbite.

Figure 28-28: To trim multiple soundbites together in one operation, select them and drag an edge. 220 EDIT WINDOW Using the edit grid when edge editing APPLYING FADES AND CROSSFADES The edit grid does not affect edge editing. You can apply fades and crossfades to the However, if you would like your edge edit to snap to boundaries of soundbites using fade handles or the edit grid, hold down the Command/Ctrl key time range selections. For complete details, see while clicking on the soundbite edge to move it. “Fades and Crossfades” on page 269.

Scrubbing while trimming soundbites Fade/crossfade handles If Audible Mode is turned on (the button in the Control Panel with the speaker icon), audio scrubs as you drag the edge of a soundbite to trim it. This allows you to hear your trim edits as you make them.

GRAPHIC TIME STRETCHING OF AUDIO You can time-stretch audio graphically by grabbing TAKES the edge of a soundbite with the hand tool and Takes are a way to store multiple versions of a track dragging it to the desired length. To get the hand within a single track. You can add, delete, expand, tool, position the cursor over the edge of the absorb, and comp takes using the Takes menu and soundbite, just below the crossfade handle as the Comp tool. For complete details, see “Takes” shown in Figure 28-31. When time-stretching a on page 128. soundbite that has a sync point, audio stretches or GRAPHIC EDITING TECHNIQUES shrinks around the sync point, which remains All of AudioDesk’s powerful editing features are anchored to its original location. For details, see available in the Edit window. Most editing can be “Time-stretching and sync points” on page 225. done with the mouse using familiar actions like clicking, dragging, and shift-dragging. Such actions can shift data, reshape mix automation data curves, and more.

The sections below describe basic features that you will find helpful when working in AudioDesk’s graphic environment.

Shift-drag to constrain If you hold down the shift key before you begin to drag a soundbite or other data event (or a group of selected data events), the pointer’s movement on the screen will be constrained to either the horizontal or vertical axis, depending on the initial direction of movement. For example, if you click Figure 28-31: To graphically time-stretch a soundbite, position the cursor over the edge of the soundbite just below the crossfade handle the mouse, hold down the shift key, and drag and grab it with the hand cursor. upwards, the mouse will only move up or down: it will not stray left or right.

221 EDIT WINDOW Constraining mouse movement in this way is often temporarily override the current grid setting by extremely helpful. For example, if you want to holding down the command key as you drag. For modify just the value of a automation control point further review, “Setting the Edit Grid Resolution” without changing its location, the Shift key allows on page 235. you to do so by preventing the mouse from moving left or right. Using Undo The Undo command in the Edit menu will undo Option-drag to duplicate the last ten actions you performed in the Edit Similar to the Mac OS Finder and Mac graphics window. programs, option-dragging a data event (or several selected data events) leaves the original data SELECTION TECHNIQUES unchanged and places a copy of the data at the AudioDesk offers a variety of ways to select audio destination. Option-dragging is a convenient data in the Edit window. Once audio is selected, shortcut for copying and pasting. you can apply one of AudioDesk’s many powerful editing operations. For a complete discussion of Other selection techniques selecting techniques in the Edit window, see There are many other useful selection techniques. chapter 31, “Selecting” (page 245). See chapter 31, “Selecting” (page 245). Shift-clicking to select non-adjacent events Dragging multiple data types Holding down the shift key also serves as a useful The shift-click method of selection allows you to way to select more than one event. For example, if simultaneously select and drag multiple data types. you have already selected a soundbite and you want to select another, scroll to the other soundbite (if For example, to move a loop containing necessary) and shift-click on it (but don’t drag). It soundbites, volume automation data, and a pan will highlight, and the first soundbite will remain automation data, select all four data types by shift- highlighted. clicking (or shift-dragging over them) and drag them to a new location. Selecting a time range in the time ruler over one or more tracks Nudging To select any time range, regardless of the audio The Nudge Amount (Snap Information window) data contained within that range, drag in the time lets you move selected data with the left and right ruler as shown below. A time ruler selection affects arrow keys by any amount in any unit of all visible tracks. Be sure to hide tracks and data measurement that you choose. See “Nudge” on types you don’t wish to include. Mix automation page 237. data in the time range will also become selected. Shift-click to extend or shorten the current Using Edit Resolution selection. You can also turn on the edit grid when When the Snap to Grid check box is selected, data dragging. that is moved or inserted will ‘snap’ to positions corresponding to the current edit resolution setting. For example, if the current Edit Resolution unit is 240 ticks, events that are moved with the mouse will snap to positions at every 240 ticks on the grid. If the Edit Resolution check box is not checked, events will move freely. You can 222 EDIT WINDOW Pasting into a time ruler selection Controlling scrubbing speed If there is data in the clipboard, you can use the To speed up scrubbing — up to two times normal Paste or Merge commands. Doing so pastes the speed — move the “scrub wheel” cursor further clipboard contents into the same track (or tracks) it away from the scrub wiper. To slow down, move was copied or cut from starting at the beginning of the scrub wheel cursor closer to the scrub wiper. the selected region. For a finer degree of control, zoom in the display horizontally. Scrubbing audio inside a popped-up soundbite Scrubbing while selecting To scrub audio inside a soundbite, use the Scrub When dragging to make and adjust selections tool (in the Tool Palette). You can also double-click inside a soundbite, you can scrub the audio while the soundbite with the Arrow tool to pop-edit it selecting by holding down the Command/Ctrl and and then Command/Ctrl-drag in either direction Shift keys together as shown below in Figure 28-34. to scrub forwards or backwards as shown below. This lets you hear what you are selecting as you The scrub wiper indicates the current scrub drag. For example, if you have made a selection location. already, and you want to extend its edge and scrub at the same time, hold down both the Command/ Scrub wiper Ctrl and Shift keys while you drag.

“Scrub wheel” cursor Figure 28-34: Scrubbing while selecting. Figure 28-33: Command/Ctrl-drag to scrub audio within a pop- edited soundbite. In this example, the audio is being scrubbed forwards. Be sure to hide the tracks Drag in the time ruler. Use you don’t want to include in the edit grid if desired. the selection.

Figure 28-32: Selecting a time region using the time ruler.

223 EDIT WINDOW Editing selected audio data (perhaps it was created in an earlier version of After you have selected audio data using one of the AudioDesk that didn’t support time-stamping), methods described in the previous sections, you then no times will be shown. can employ AudioDesk’s numerous editing commands. For complete information, see If a soundbite has an original timestamp, you can chapter 32, “Edit Menu” (page 249) and chapter 33, move the soundbite to its original time with the “Audio Menu” (page 261). Time Stamps command in the Audio menu.

SHOW TIMES User Time Stamp The Edit Window mini-menu has a command When you choose User Time Stamp in the Show called Show Times, with several sub-menu options, menu, soundbites display their user timestamp, if that display the SMPTE time code start and end they have one. If a soundbite does not have a user times of each soundbite. The time locations are timestamp, then no times will be shown. displayed in the upper left-hand corner of each soundbite as shown below in Figure 28-35. If a soundbite has a user timestamp, you can move the soundbite to its user timestamp location with the Time Stamps command in the Audio menu.

For applying user timestamps to soundbites, see “Setting a user time stamp” on page 264.

SYNC POINTS A sync point can be placed inside a soundbite as positional reference point for the soundbite instead of its beginning (left edge). For example, if you have a soundbite that consists of a hinge squeak Figure 28-35: The Show Times menu lets you choose how to display followed by a door slam, followed by a hollow echo, the location of each soundbite. you could put the sync point right at the door slam. Current Time When you choose Current Time in the Show menu, Sync points can also be very important for all soundbites display their current location. percussive hits that have a small bit of sound before the hit, such as a “ruff” snare hit. The example

SMPTE start time below in Figure 28-37 shows a cymbal crash with a small snare roll going into it. The Sync point has been placed at the cymbal crash, which is the SMPTE end time highest point of rhythmic interest.

Figure 28-36: SMPTE start and end time.

Original Time Stamp When you choose Original Time Stamp in the Show Times menu, soundbites display the time at which they were originally recorded (or created), regardless of where they currently reside. If a soundbite does not have an original timestamp 224 EDIT WINDOW Time-stretching and sync points The location of sync points are preserved when you time stretch soundbites by dragging in the Edit Window as demonstrated below in Figure 28-38.

Figure 28-37: A soundbite sync point. The sync point determines how the soundbite will be positioned when doing things like quantizing the soundbite or dragging it.

Creating a sync point Figure 28-38: When you time-stretch a soundbite that has a sync To create a sync point: point, the sync point anchors the time stretch, which extends out from the sync point in both directions. 1 Double-click the soundbite in the Edit Window WORKING WITH BREAKPOINT MIX to pop-edit it. AUTOMATION The Edit window lets you display, insert, and edit 2 Click at the desired location inside the pop- volume, pan, plug-in parameters, send levels, track edited soundbite to place the flashing cursor. Use mutes and other mix automation data in the form scrubbing, if necessary, to find the desired location of breakpoints (dots) on a continuous line. In audio in the audio. tracks, mix automation data is stored in the form of 3 After you’ve placed the flashing cursor as sample-accurate control points that generate desired, choose Set Sync Point from the Audio sample-accurate ramps during playback. The menu. The sync point triangle appears. following sections discuss the specific techniques of working with breakpoint-style automation lines Importing sync points and points. If you export audio regions with sync points from Pro Tools, you can import them with their sync For complete details about working with audio mix points into AudioDesk. automation, see “Inserting and editing automation” on page 327. Clearing sync points To clear the sync point from one or more soundbites, select them and choose Clear Sync Points from the Audio menu.

Moving a sync point You can move a soundbite’s sync point to the first Figure 28-39: In the Edit Window, audio tracks display mix automa- audio beat in the audio file. For details, see “Sound tion data with break-point automation curves. File Information” on page 240.

225 EDIT WINDOW Choosing the active data layer Zooming for a better resolution To view, insert or edit mix automation data in a When inserting controllers, it helps to get a zoom track, you must first make it the active layer as level that best suits what you are doing. For explained in “The Edit Layer” on page 129. example, if you are making fine adjustments to the Alternately, you can choose to show a separate track level, use a large vertical zoom level for better automation lane as described below. resolution. If you need to check out the overall level throughout a track, zoom out. Displaying automation lanes To display automation data in a separate lane below Inserting mix automation data its parent track, choose Show Lanes from the Edit To insert mix automation data in the Edit Window: Layer menu, or click the expansion triangle at the bottom of the track settings pane. Click the plus 1 Choose the data type you wish to insert from (+) and minus (-) buttons, as shown below in the active layer menu (Figure 28-13 on page 213) Figure 28-40, to add and remove additional lanes. and then click the Pencil tool in the Tool palette Use the lane menu to choose the data type for the (Studio menu). lane. To hide all lanes for a track, choose Hide Lanes from its Edit Layer menu. Pencil

☛ The Edit menu> Continuous Data sub-menu provides numerous commands for working with Figure 28-41: The Pencil Tool. automation lanes. The Commands window provides keyboard shortcuts. 2 If the desired data type does not yet have a layer, choose the desired automation data type from the ☛ The View menu provides shortcuts for track’s insert menu. This creates a layer and turns showing and hiding automation lanes. See “Show/ the cursor into the Pencil tool. Hide Lanes” on page 199.

Figure 28-42: Creating a new automation data layer for insertion. 3 Insert data as follows:

To do this: Do this: To insert a single data Click in the track with the Pencil. event

Figure 28-40: Automation lanes. To insert a stream of Drag the Pencil. A stream of data is data events inserted.

226 EDIT WINDOW Reshaping an existing curve Use the same procedure as in the previous section to reshape an existing line or curve. Just drag over the existing data with the Reshape tool.

Selecting mix automation data control points To select mix automation data: Moving the control point to the left 1 Click the Pointer tool in the Tool palette (Studio menu). Moving the control 2 Make a selection as follows: point to the right (and down) To do this: Do this: To select a single Click it with the finger cursor. event Figure 28-43: Dragging control points. To select several Drag over the events in the grid with the events lasso cursor. Selecting multiple data types at one time To select a continu- Drag over the curve with the lasso cursor. To select several data types at one time: ous data curve 1 Click the Pointer tool in the Tool palette (Studio To select all events of Double-click a control point of that type. a data type menu).

To add to the current Hold down the Shift key while using any selection of the selection techniques above. 2 Hold down the Option/Alt and Control/Win keys to get the cross-hair cursor and then drag over To deselect events Hold down the Shift key while using any of the above techniques on selected data. the desired time range in the track. Time range

To deselect all data Choose Deselect All from the Edit menu selections select all data within selected area, or press its keyboard shortcut. Or click including audio and other types of automation once in any empty area in the Edit Win- dow. data. (Lasso selection with the Pointer tool by itself only selects the active data type.) Dragging control points You can drag any control point on a line anywhere Another way to make time range selections is to within the track strip. Notice that you can even switch the active layer to Soundbites first, and then drag it past events on either side of it as shown simply drag horizontally with the cross-hair below. When you do, you delete the events that you cursor. drag over. This is a convenient shortcut for Selecting control points with soundbites removing a curve. Use the procedure described in the previous section.

Removing control points To remove a single control point, click it to select it and the press the delete key. To remove a curve, drag over it horizontally in the track to select all of the points and then press the delete key.

227 EDIT WINDOW Cutting, copying, and pasting control points Deleting a loop To cut, copy and paste audio mix automation in the To delete a loop, click the loop icon to select it and Edit Window, select it first (as described earlier in then press delete. “Selecting mix automation data control points” on page 227), and then cut, copy and paste them as Duplicating a loop usual. When pasting, you might find it useful to To duplicate a loop, Option/Alt-drag the loop icon. insert a control point at the location you wish to WORKING WITH EVENT FLAGS paste. Be sure it is selected before you paste. If you An event flag is a data event that is considered to be wish to preserve soundbites at the location where a discrete event, rather than a control point on a you are pasting, use Merge instead of Paste. line, or one of a stream of events that change Disabling automation temporarily gradually over time. Here are a few examples of To temporarily disable the automation data in an event types that appear as event flags in the Edit audio track, turn off automation playback as Window: explained in “Global automation enable/disable” ■ Track mutes on page 320. ■ Audio plug-in parameter automation events for WORKING WITH LOOPS parameters that are not continuous (i.e. they have Inserting a loop discrete values, such as LFO type — sine, square, To insert a loop in the Edit Window: triangle, etc.)

1 Click the Loop tool in the Tool Palette.

2 Turn on edit resolution as desired.

3 Drag over the region you wish to loop.

4 To set the number of repetitions in the loop, edit the loop parameters in the Event Info window, or in the Event Info section of the Information Bar.

Changing the loop points by dragging To change an existing loop’s location or duration, drag either end of the loop’s bracket. Figure 28-44: Event flags. Changing the loop numerically in the Event Info window Event flags are handled just like other data types in To change the loop numerically, click the loop icon the Edit Window: they have their own layer, they to make the loop’s information appear in the Event can be inserted using the Pencil tool and the Insert Info window, then edit the values. menu, and so forth. To change the setting for an event flag, press on it and choose the desired Changing the number of repetitions in a loop setting from the menu as shown above in To change the number of repetitions in the loop, Figure 28-44. To move an event flag, simply drag it. edit the loop numerically as described in the To delete it, click to select it and press delete. previous section.

228 EDIT WINDOW When event flags are displayed very close together (due to their proximity and the current horizontal zoom level), they are combined into a single flag. Click the flag to see a menu of the separate events at that location.

SCROLLING DURING PLAYBACK The Auto Scroll command in the View menu controls how the Edit Window scrolls during playback. For example, the playback wiper can travel across the window, or the window can scroll beneath a stationary wiper that remains anchored in the middle of the window. See “Auto Scroll” on page 107.

SCRUBBING IN THE EDIT WINDOW There are several ways to scrub in the Edit Window:

■ With the scrub tool (Figure 28-1 on page 206) — drag horizontally on a soundbite with the scrub cursor to pop-edit and scrub the soundbite.

■ While trimming — if Audible Mode is turned on, soundbites scrub while being trimmed.

229 EDIT WINDOW 230 EDIT WINDOW CHAPTER 29 Tools

OVERVIEW PALETTE DOCKING The tools in the Tool palette (Studio menu) are There are two preferences (in the Preferences used for inserting, selecting, editing, zooming, command in the AudioDesk menu) for the Tool looping and scrubbing data the Edit window. palette that allow you to dock the Tool palette to the edge of Edit Window, either vertically or horizontally. See “Tools” on page 109.

Pointer Zoom Insert loop I-Beam Scrub CLOSING THE TOOL PALETTE Pencil Press shift-o, or click the close button in the upper left corner of the Tool palette title bar.

KEYBOARD SHORTCUTS FOR TOOLS Hold down the following keys for tool selection: Figure 29-1: The Tool palette

Rotating the Tool palette ...... 231 A I P Z S L Palette docking ...... 231 Closing the Tool palette...... 231 Keyboard shortcuts for tools...... 231 The Pointer Tool ...... 231 Figure 29-3: Tool shortcuts. The I-Beam Tool...... 232 Tool shortcuts can be “sticky” The Pencil Tool ...... 232 If you double-tap the keys shown in the tool The Zoom Tool...... 232 shortcuts shown above in Figure 29-3, the tool will The Scrub Tool ...... 233 remain selected until you select another tool. Insert Loop Tool...... 233 ROTATING THE TOOL PALETTE Cycling tools Shift-tilde (~) cycles to the next tool. The Tool palette can be rotated to a vertical orientation by pressing shift-option-‘ (tilde). THE POINTER TOOL The Pointer Tool produces the standard ‘cross-hair’ selection cursor for ‘marquee’ selections over multiple data events and and ‘finger’ selection cursor for selecting and editing individual data events. For example, you could select several bars of data by positioning the

Figure 29-2: Press shift-option-‘ (tilde) to toggle the Tool palette between a horizontal and vertical orientation.

231 cross-hair cursor over an empty portion of the data even the parts that are covered. However, if you grid and dragging out a selection box over the hold down the option key while double-clicking it desired data events. Here’s a summary: with the I-Beam tool, you’ll only select the portion of it that you clicked, as determined by soundbites To do this: Do this with the Pointer Tool: that cover it on either side of where you click. To select a data event Click it with the ‘finger’ cursor.

To select several data events Shift-click each one. Double-clicking a soundbite with the I-Beam tool can also cause AudioDesk to immediately begin To select a region of data Drag a selection box over them events with the cross-hair cursor. To looping playback around that soundbite. For get the cross-hair, position the cursor over an empty cell. details, see “Looping a soundbite” on page 150.

To select all data events within Drag in the time ruler. I-Beam cursor a time range Click the I-Beam tool at any location in the Edit To duplicate a data event Option/Alt-drag it. window to place an I-Beam cursor (flashing

To move a data event Drag it with the finger cursor. vertical line) wherever you click. The I-Beam cursor serves two basic purposes: To move several data events Select them, grab one with the together finger tool and drag. ■ An insertion point for a paste or merge operation THE I-BEAM TOOL The I-Beam Tool allows you to make time ■ An anchor point for selection commands range selections in the Edit window, For further information about making selections regardless of the material you are with the insertion point, see “Initiating time range dragging over to make the selection. Time range selections with an insertion point” on page 247 and selections in the Edit window are much easier with “Modifying a time-range selection using the this tool, especially when you are making computer keyboard” on page 247. selections that begin in the middle of soundbites. As usual, you can hold down the shift key while THE PENCIL TOOL using the I-Beam tool to extend or shorten the The Pencil Tool lets you insert data using current selection. Shift-click other tracks to add the following techniques: them to the current selection without changing the start and end times. To make a time range selection To do this: Do this with the Pencil Tool: that matches the duration of a soundbite, double- To insert a data event Click

click the soundbite or note with the I-Beam. To To insert data curve Drag temporarily get the I-Beam cursor when another tool is selected, hold down the “ i ” key. THE ZOOM TOOL Here are some further details about double- The Zoom Tool (magnifying glass) in the clicking with the I-Beam to create time range Tool palette lets you zoom in on a portion selections. of the Edit window by dragging a zoom

Selecting soundbites with the I-Beam tool If, using the I-Beam tool, you double-click a portion of a soundbite that is partially covered by other soundbites, you’ll select the entire soundbite, 232 TOOLS box over it. Click to zoom in and option-click to zoom out. In the time ruler or continuous data grid, drag horizontally to zoom the time axis only.

Zoom tool shortcuts Here are some zooming shortcuts:

Shortcut What it does

Click once To zoom in horizontally.

Option-click To zoom out horizontally.

Option-shift click To zoom backward through zoom history

Option-shift-control click To zoom forward through zoom history

Drag in the time ruler To fill the window with the region you select without affect- ing the pitch zoom

Option-click the zoom out To zoom all the way out button

Option-click the zoom in but- To zoom all the way in ton

Command-click the zoom To toggle between the last two buttons zoom levels

For other zooming features and shortcuts, see “Zoom buttons” on page 213.

THE SCRUB TOOL The Scrub Tool lets you scrub data inside a soundbite. Make sure that soundbites are the active layer in the track, and then scrub directly on the soundbite.

INSERT LOOP TOOL The Insert Loop tool lets you graphically insert a loop in a track by dragging in the Edit window. For details, see chapter 25, “Looping” (page 183).

233 TOOLS 234 TOOLS CHAPTER 30 Information Windows

OVERVIEW Snap to Grid The Information windows provide feedback about The edit grid determines the minimum time unit a wealth of parameters, events, controls, and more. for editing. The minimum time unit consists of a Each Information window has its own particular duration, such as 240 ticks. Soundbites, loops, display or purpose, but they all behave similarly in region boundaries, automation data, Memory- several ways: Cycle repeat barlines, or any object that can be dragged horizontally will only move in time ■ The contents of the Information windows increments equal to the value of the edit grid unit. update to the current window, selection, cursor position, etc. while you work; in this way, they Using Snap to Grid serve as central locations for feedback about your The Snap to Grid box can be enabled or disabled project. with the check box provided. The current edit grid resolution unit is shown as a note duration and a ■ When popped out of the Consolidated Window, number of beats and ticks. the Information windows “float” (except for the Sound File Information window).

■ The key command associated with each Information window (except for the Sound File Figure 30-2: Snap to Grid. Information window) is a show/hide toggle: press If the Snap to Grid box is turned on, data snaps to the key command once to show the window, then the edit grid. If it is turned off, data doesn’t snap to press it again to hide the window. grid. The Edit Grid Resolution determines the Snap Information ...... 235 amount of time between grid points. Cursor Information ...... 237 Event Information ...... 237 Setting the Edit Grid Resolution Selection Information...... 238 To change the Edit Grid Resolution, use the value Track Selector...... 239 field provided to type in the desired grid duration, Sound File Information ...... 240 or choose a preset length from the unit= menu. Information Bar...... 242 SNAP INFORMATION The Snap Information window contains information pertaining to snapping and nudging.

Figure 30-3: The edit grid menu for measures and beats provides triplet and dotted triplet values.

Figure 30-1: The Snap Information window.

235 When you type in a value, the note displayed next Snap to Grid and selecting to the ticks box will grey out (or text will be Snap to Grid applies to selection, too, so it is an displayed in italics) if the tick value does not equal effective way to constrain selection operations. one of the presets in the menu. Edit resolution when the grid is turned off Triplet and dotted triplet grid editing When Snap to Grid is turned off, data can be The edit grid menu also provides choices for triplet dragged freely. The smallest unit of resolution is and dotted triplet values. one screen pixel, the exact resolution of which is determined by the current zoom level. Edit grid supports all time formats The Setup menu > Time Display sub-menu lets you Temporarily overriding Snap to Grid choose any time format you wish. This time format The command key temporarily overrides the will also be used for the edit grid (measures, current Snap to Grid enable/disable state. For frames, real time or samples). example, if Snap to Grid is currently enabled, the holding down the command key while dragging For example, if you choose SMPTE frames as the overrides the current edit grid. Conversely, if Snap global time format, the Edit Grid switches to frame to Grid is currently disabled, the command key time, and grid editing can be done at SMPTE time forces dragging to snap to the current Snap to Grid code increments such as one frame, 10 frames, etc. grid setting. The same is true for selection A significant by-product of this feature is that the operations. real-time grid, SMPTE frame grid and sample edit grid preserve the real-time relationship of events Don’t let the edit grid fool you with respect to each other during edits. For When you zoom in, the edit grid may cause data to example, if you move several sound effects events seem like it is “stuck”; that is, data will not move to a location in the sequence that is at a different when you try to drag it. This is because the edit grid tempo, their spacing with respect to one another is larger than the distance you are dragging. To will not expand or contract due to the different “unstick” the data, deselect the Snap to Grid check tempo; instead, their relation to one another will be box, or hold down the command key while maintained. This is similar to the editing behavior dragging. Doing so overrides the edit grid in locked tracks. temporarily.

Displaying edit grid lines You can display lines extending downwards from the time ruler through the data grid to indicate the current edit grid. See “Edit Window guides” on page 108 for details.

Snap to Grid and nudging with the arrow keys Snap to Grid only affects dragging operations. It is independent of nudging data with the arrow keys (except when Nudge is set to Use Edit Grid – see “Nudge” below). Figure 30-4: The Time Display window affects the edit grid, allowing you to edit it SMPTE frames, real time values (such as milliseconds) and even samples.

236 INFORMATION WINDOWS Nudge Window. Values in this box are continually updated The Nudge Amount lets you to choose the unit of as the mouse cursor moves around the edit time by which you can nudge any selected data window, giving you immediate, numerical with the arrow keys. Many different time formats accuracy when inserting and manipulating data are supported, including SMPTE frames, SMPTE with the mouse. sub-frames, samples, and milliseconds. Choose the desired time format from the menu and then enter the amount of time. You can change the nudge amount at any time.

Figure 30-6: The Cursor Information window

Time The pointer’s horizontal coordinate, Time, displays the time of the current cursor location.

Value The cursor’s vertical coordinate, Value, depends on its location, and the Edit window’s active layer. It Figure 30-5: Setting the Nudge Amount. will display audio volume when over audio track When you choose a mensural time format (one volume automation, soundbite names when over that involves measures, beats and/or ticks), data is soundbites, and so on. nudged in the same manner as using the Shift command (Edit menu) with the Preserve Real-time Performance option unchecked. This means that the data being nudged maintains its metrical relationship to the sequence. Figure 30-7: The vertical value of the cursor updates to the type of data under the cursor When you choose any other time format (real time, SMPTE frames, sub-frames, milliseconds, or EVENT INFORMATION samples), the real time performance of the data is The Event Information window displays numerical preserved, regardless of any tempo changes. details about a single event that has been selected. For example, a selected soundbite appears with its When you choose the Use Edit Grid menu item, the location, name, duration, original time stamp, and nudge amount is determined by the edit grid user time stamp. setting above. If the edit grid is currently disabled, then nudging occurs in the same manner as in the window itself (by one screen pixel).

CURSOR INFORMATION The Cursor Information window displays the current location of the mouse cursor with respect to the horizontal and vertical axis in the Edit

237 INFORMATION WINDOWS ■ typing (use the tab key as usual)

■ dragging on the numbers vertically

■ choosing a command from the Set To menu

■ using several clicking shortcuts

■ loading them with keyboard shortcuts

Figure 30-8: When you click a note, its numerical information can be ■ loading them with the Remember Times displayed and edited in the Event Information window. Command Information displayed in the Event Information These techniques are discussed below. section can be edited by clicking it. You can use the Tab key and arrow keys to move from field to field Editing the selection bar numbers directly and press return to confirm any changes you have To enter a start or end time, click in a field and enter made. The event’s graphic display will change to a value. You can use the Tab key (or decimal point reflect the modifications. key on the keypad) to cycle through the measure|beat|tick fields. Or simply press on any SELECTION INFORMATION field and drag up or down to change its value. The Selection Information window holds the start and end times for any region that you wish to edit Using the Set To menu shortcuts in any currently highlighted tracks. The Set To menu holds several great shortcuts for loading times into the Selection Information window:

Figure 30-9: The Selection Information window.

You can set these times by: Figure 30-10: The Set To menu provides several useful shortcuts for ■ making a time range selection in an edit window entering start and end times in the Selection Info window.

Command What it does Set to Loads the beginning and end of the currently selected Selection Bounds region into the Selection Information window.

Set to Loads the very beginning and end of the entire Sequence Bounds sequence.

Set Start to Counter Loads the current counter location into the start time.

Set End to Counter Loads the current counter location into the end time.

238 INFORMATION WINDOWS For the last two commands, AudioDesk loads the Load Selection counter location at the time you click the menu, not The Load Selection button provides additional when you actually choose the command. This shortcuts. Click the Load Selection button once to helps you load start and end times on the fly during Set Selection to Remembered Times, or double- playback. Click the menu at the desired instant, click the button to Set Selection to Sequence and then take as much time as you need to choose Bounds. either “Set Start…” or “Set End…”. Making a selection in an edit window Clicking the start and end buttons You can make a Time Range selection in an edit The buttons to the right of the Selection Start and window to set the Selection times. For example, Selection End values let you load times as follows: you could click one of the Memory-Cycle markers in the Edit window to select the Memory-Cycle Click the button to load the current counter region. The selection is automatically loaded into location – even on the fly during playback. the Selection Information window.

Command/Ctrl-click the button to load the Preroll and Postroll beginning or end of the sequence into the start These text fields set the Preroll and Postroll for Link time or end time, respectively. Playback to Memory mode. See “Preroll and Postroll” on page 149. Control/Win-click the button to load the beginning or end of the Remembered Times (previously TRACK SELECTOR retrieved from a selection with the Remembered The Track Selector window is much like the Track Times command) into the start time or end time, Selector which is a part of the Edit window and respectively. Mixing Board. However, rather than being a part of a window, it is a separate window which updates to The selection bar shortcuts the current active edit window. In this way, you can There are two shortcuts for loading the current use a single Track Selector for all windows. counter location into the Selection start and end times. By default, they are assigned to the F5 and F6 Additionally, since it is a separate window, it can be keys on your Mac keyboard. You can change these resized and positioned anywhere on screen, rather key assignments if you like. See chapter 16, than being a fixed size in a fixed location. “Commands” (page 113) for details.

The “Remember Times” command The Remember Times command (control-R), allows you to save any time range selection, so that you can load it into the Selection Information window later on. You can also load remembered times into the Memory Bar and the Auto-Record Bar. For complete information, see “The ‘Remember Times’ command” on page 248.

239 INFORMATION WINDOWS SOUND FILE INFORMATION Sound File Information window (Studio menu) gives you detailed information about the currently selected soundbite.

Figure 30-11: The Track Selector window.

Track Selector button preferences You can determine what happens when you click the Track Selector button in an edit window by changing the Track Selector button preference. Open AudioDesk menu > Preferences and choose Edit Window from the list on the left. The Track Figure 30-12: The Sound File Information window shows information Selector button has three options: about the currently selected soundbite and its parent sound file.

■ Always open Track Selector window Choosing an audio file or soundbite To view information in the Sound File Information ■ Always open the edit window’s Track Selector window, click a soundbite in the Soundbite ■ Opens Track Selector window for editors inside Window or in your sequence to select it. When you the Consolidated Window do, the Sound File Information window shows information about the currently selected soundbite and its parent audio file.

The Sound File section The Sound File section at the top of the window shows information about the soundbite’s parent sound file, such as its location, sample rate, length and the date it was created and last modified.

240 INFORMATION WINDOWS “Time stamps” on page 263. The Transpose and Time compress/expand are the same as the information displayed in the Soundbite list (see “Soundbite preferences for PureDSP”, below).

Soundbite preferences for PureDSP As shown in Figure 30-13, the popup menus in the status area at the top of the Soundbites window show the Transpose preference and the Time Compress/Expand preference for the selected soundbite or soundbites. You can even type in comments about the sound file that are stored with the file itself (so they will appear in this window when you import the audio file into other AudioDesk projects). The menu at the top of the section allows you to switch to a different sound file, if you like.

The Soundbite section The Soundbite section in the middle of the window show details about the currently selected soundbite, such as its start time, end time and length (in samples).

Figure 30-13: The PureDSP pitch-shifting and time-stretching prefer- ences are found in the Info pane for each soundbite. Standard versus PureDSP™ pitch shift The Transpose preference determines what will happen if the soundbite is selected when you use the Transpose command with the Transpose Audio The menu at the top of the Sound Bite section lets box checked. If it is set to Use PureDSP™ Pitch Shift, you display the information for any soundbite you the soundbite will be shifted with the PureDSP™ wish. algorithm. This is best for pitched monophonic sounds such as solo vocals (preferably recorded The start, end and length of the soundbite are dry) or solo monophonic instruments. Set it to Use displayed in number of samples, while the Length Standard Pitch Shift if you’d like the bite to be in Time is a real-time measurement. The Original transposed with the Standard pitch shift algorithm. Time Stamp is the location at which the soundbite Soundbites that should never be transposed, such was originally recorded, if any. This setting, as well as drum sounds, should be set to Don’t Pitch Shift. as the User Time Stamp, are explained further in This feature allows you to select your entire 241 INFORMATION WINDOWS sequence and Transpose, without having to worry Information Bar settings about which soundbites should be shifted and The Information Bar is configured using the which shouldn’t. For more information about Information Bar preferences (AudioDesk menu > PureDSP pitch shifting, see chapter 45, Preferences > Information Bar) and the “Configure “Transposing Audio” (page 365). Info Bar” command (Information window mini- menus.) Time scale versus don’t time scale There are only two options for the Time Compress/ Expand preference: Allow Time Scale and Don’t Time Scale. This determines the behavior of graphical time-stretching. You may want to mark soundbites that contain a single note or sound effect, for instance, as Don’t Time Scale. A soundbite that contains multiple notes, such as a two-bar drum loop, would typically be set to Allow Time Scale, so that its tempo will always match that of the rest of the sequence.

Setting PureDSP prefs for multiple soundbites Showing/hiding the Information Bar To set the PureDSP preferences for two or more To show the Information Bar for the Edit window, soundbites at one time: open the Information Bar preferences and enable at least one of the sections. To hide the Information 1 Select the soundbites. Bar for the Edit window, disable all sections.

2 Open the Sound File Information window. The Configuring the Information Bar Sound File menu will now say “Selected files”. There are two parts to configuring the Information Bar: Choose the desired PureDSP preferences in the Soundbite section. If the Soundbite section’s details ■ Choosing which sections are visible are not visible, click the triangle next to the ■ Choosing which fields are shown within each Soundbite section to expand it. section INFORMATION BAR To choose which sections are visible, open the The Information Bar (Figure 30-14) is a Information Bar preferences and enable the desired configurable strip available in the the Edit window. sections. It can contain some or all of the information shown in each of the Information windows (excluding the Sound File Information windows).

Figure 30-14: The Information Bar 242 INFORMATION WINDOWS Opening the Information windows To open an Information window from the Information Bar, click the circled letter at the left of

Enabled Disabled the section.

To choose which fields from the Information windows appear in the Information Bar, open an Information window and choose Configure Info Bar from its mini-menu: the Information window will enter configuration mode.

Additionally:

■ Option-clicking the circled letter will open the Information window in configuration mode.

■ Command-clicking the circled letter will open the Information Bar preferences.

To enable a field so that it will be shown in the Information Bar, check the circle next to the field; to disable a field so that it will not be shown in the Information Bar, uncheck the circle next to the field.

243 INFORMATION WINDOWS 244 INFORMATION WINDOWS CHAPTER 31 Selecting

OVERVIEW then use the Snip command to remove them and Before you can edit anything in AudioDesk, you move up everything else in the track to replace must first select it. AudioDesk provides many them. useful and powerful ways to make selections. Once you’ve made a selection, you can apply Edit operations that require time range AudioDesk’s many powerful Edit menu and Audio selection There are a few commands in the Edit menu that menu commands to whatever is selected. require time range selection: Snip, Repeat, Paste Selection basics...... 245 Repeat and Merge Repeat. These commands Data selection ...... 246 wouldn’t be able to do anything useful without a Time range selection ...... 246 clearly defined end time for the selection, which data event selections don’t provide. Therefore, SELECTION BASICS these commands are grayed out if the current There are two ways to make selections in selection is a data selection. To use them, make a AudioDesk: time range selection as shown later on in “Time range selection” on page 246. ■ Data selection — Selects specific data events

■ Time range selection — Selects a region of time, Selections are global regardless of what is in the region Once you have made any type of selection, the selection remains in effect until you either deselect Selecting data events or make another selection. Data selection involves clicking (or dragging over) actual data events themselves in one AudioDesk’s ☛ The current selection remains in effect even if Edit window. The events become highlighted to you close the Edit window. So be careful not to indicate they are selected, and they can then be inadvertently edit a hidden data selection. Always edited or otherwise modified. be certain about what the current selection is before using Edit and Audio menu operations. Selecting a time range A time range selection spans a certain period of Applying successive edits to the selection time in one or more tracks, regardless of what data Data remains selected even after you apply an edit is in the region. In fact, time range selections can operation to it. This lets you easily apply successive even be empty. For example, you could select four edits to the same data. empty measures and actually copy them into the Clipboard — perhaps to splice the empty space Playing the current selection To play back the current selection, choose Play somewhere in a track. Or, you could select two Selection from the Edit menu. empty measures at the beginning of a track and

245 DATA SELECTION Pointer The Pointer tool in the Tool palette (Studio menu) I-Beam is used for data selections. Hold down the “a” key as a temporary shortcut for enabling the pointer tool. Or double-tap the “a” key to permanently switch to Figure 31-3: Use the pointer tool and I-Beam tools make time range the pointer tool. selections.

Pointer Time range selections with the pointer tool Below is a summary of time range selection techniques:

To accomplish this Do this Figure 31-1: Use the pointer tool to make data selections. To get a cross-hair cursor Move the cursor to the top half of Place the cursor over the item you wish to select so over a soundbite the soundbite.

that the cursor turns into an arrow or a pointing To make a time range selec- Drag diagonally over one or finger, and click the object to select it. Soundbites tion more tracks with the cross-hair cursor. have to “hot-spot” regions: the upper portion is reserved for data selection (arrow cursor) and the To make several non-adja- Shift-drag with the cross-hair lower portion is reserved for time range selection cent time range selections cursor. (cross-hair cursor): To extend or reduce the cur- Shift-drag with the cross-hair rent time range selection cursor.

To select any time range in all Drag in the Time Ruler. Data selection tracks

To select everything between Click the first marker in the time Time range two markers ruler. selection

Figure 31-2: Position the cursor over the top half of a soundbite with To select everything between Click either the punch-in or the arrow tool to select the soundbite. Position the cursor over the the auto-record punch in/ punch-out arrow marker in the bottom half to initiate a time range selection with the cross-hair out points or the Memory time ruler. Cycle repeat bars cursor.

To deselect all current selec- Click in the area below the over- TIME RANGE SELECTION tions view or press command-D. Time range selections in the Edit window are affected by the edit grid, if enabled. For details, see Time range selections with the I-Beam tool “Setting the Edit Grid Resolution” on page 235 and The I-Beam tool is ideal for “surgical” selection the edit grid controls in Figure 28-1 on page 206. operations, such as selecting tracks that are not The Pointer and I-Beam tools in the Tool palette adjacent to one another. As you drag the I-Beam (Studio menu) can both be used to make time tool to make a time range selection, it constrains range selections. The I-Beam tool restricts time the operation to a single track. You can then shift- range selections to one track at a time, while the click other tracks above and below the selected pointer tool lets you select across several track in region to add them to the selection. one operation. To remove a track from the current selection, shift- click the track name.

246 SELECTING Initiating time range selections with an insertion point If you click the I-Beam tool or the Pointer tool cross-hair anywhere in the Edit window, an insertion point appears:

Figure 31-4: Using the I-Beam tool to select non-adjacent tracks.

Time Ruler selection techniques There are several time-saving techniques for selecting data in the Edit window Time Ruler: Figure 31-5: The insertion point in the Edit window. ■ Drag horizontally in the lower half of the Time There are numerous keyboard shortcuts for ruler with the I-Beam cursor. Shift-click to extend controlling the placement of the insertion point, as the selection. (If Edit Resolution is turned on, shown below in Figure 31-6. dragging will “snap” to the Edit Resolution grid.) Once you’ve placed the insertion point, you can use Drag in the lower it as a starting point for making and extending a half with I-beam selection, by shift-clicking and other selection cursor. modification techniques, including the keyboard shortcuts discussed in the next section. ■ Click one of the Memory-Cycle markers (to select the region between them). Modifying a time-range selection using the computer keyboard The Commands window (Setup menu) has a large selection of shortcuts for manipulating selections.

■ Click the Auto-Record punch-in or punch-out marker (to select the region between them).

■ Click any marker to select the region between it and the next marker.

247 SELECTING To use Remember Times:

1 Make any selection.

2 Press Control-R.

The start and end time of the current selection is stored by Remember Times.

To load the Remember Times into the Selection Bar, Memory Bar, or Auto-Record Bar, use the “Set to Remembered Times” command under the Selection, Memory, or Auto-Record menus.

Figure 31-6: selection commands.

Modifying a time-range selection using the mouse Shift-click (or shift-drag) near the edge of the selection you want to adjust.

Listening to the current selection To listen to the currently selected region, press command-spacebar or option-click the Audible mode button. Doing so causes the selected region to play in its entirety.

The ‘Remember Times’ command The Remember Times command (control-R), allows you to save a time range selection, so that you can load it into the Selection bar later on. You can also load remembered times into the Memory Bar and the Auto-Record Bar.

248 SELECTING CHAPTER 32 Edit Menu

OVERVIEW Audition Selection ...... 259 For a general explanation of how to use Edit menu Show/Hide Clipboard ...... 259 operations, see chapter 27, “Editing Basics” Select All ...... 259 (page 197). Select All Tracks in Range...... 259 Deselect All...... 259 Undo/Redo ...... 249 Undo Previous Action / Redo Next Action ...... 249 UNDO/REDO Undo History ...... 250 The Undo command will undo the effects of most Cut...... 251 commands and actions that add, delete, move, or Copy ...... 251 otherwise modify data. Copy to Clipping window...... 251 The Undo/Redo command either takes away the Paste...... 251 current action or restores the action that was just Paste Multiple ...... 252 undone. In essence, these two commands switch Paste Repeat...... 252 between the last two places you’ve been in the Paste Repeat Multiple ...... 252 Undo History (see page 250). Other Paste commands...... 253 Erase...... 253 Both Undo and Redo give you a brief description of Repeat ...... 253 the action they are undoing or restoring, such as Merge...... 254 Undo drag soundbite or Redo paste into track ‘Lead Merge Multiple ...... 254 Guitar’. As in past versions of AudioDesk, you can Merge Repeat...... 254 use this command as a simple, one-step undo/ Merge Repeat Multiple ...... 254 redo. AudioDesk, however, is carefully keeping Merge Repeat Together...... 254 track of your last ten actions. At any time, you can Merge Together...... 254 choose to go back into that history as far as you Other Merge commands...... 254 like. For complete details, see “Undo History” on Snip...... 255 page 250. Splice ...... 255 Splice Multiple ...... 255 UNDO PREVIOUS ACTION / REDO NEXT Other Splice commands ...... 255 ACTION Shift ...... 255 These two commands allow you to step repeatedly Heal Separation...... 256 backwards and forwards through the project’s Split...... 257 current history of actions (the “undo history”). For Split at Counter ...... 257 example, if you choose Undo Previous Action three Trim...... 257 times, you’ll go back three actions. If you then Trim End / Trim Start ...... 257 choose Redo Next Action three times, you’ll be back Pitch shift ...... 258 where you started. For further details, see “Undo Change automation Data...... 258 History” on page 250. Insert Loop ...... 259 Clear Loops ...... 259

249 UNDO HISTORY The Undo History window AudioDesk supports ten steps of Undo/Redo. In The project Undo History window (Edit menu) other words, it can remember the last ten actions shows the last ten actions taken in a project. Each you’ve taken in a project, even after you close and action taken appears as a line of information in the quit, across any number of sessions. There are list, including its name (a brief description of the several commands in the Edit menu to support a action), the time it occurred, the amount of simple, single-step undo behavior, plus several memory (RAM) it takes to remember it, and the commands to step forward and backward through amount of disk space, if any, required to keep it as the undo history. The Undo History window an action that can be undone later. Disk space only provides a list of the ten actions and numerous applies to actions that require disk space to begin features for navigating through the undo history with (such as recording). For example, if you and jumping to any point. An undo time line is also record 20 MB of audio data, and then undo the provided. record pass, the record pass item stored in the undo history takes 20 MB of disk space. Summary of Undo commands in the Edit menu The Edit menu has these Undo-related commands: The Now column The Now column, on the very left of the history Default Command: key binding: What it does: window, displays a dot next to the most recent action taken or redone. It truly is “now” in the sense Undo [action] command-Z Undoes the last action. that its location represents the current state of the Redo [action] command-Z Restores what has just document. Double-click this column next to any been undone. action to immediately jump to that point in the Undo Previous option-command-Z Goes one step back in undo history. Action the Undo History.

Redo Next shift-command-Z Goes one step forward Action in the Undo History.

Actions on the A selected undo time line action Undo time line

Time line zoom buttons The current action marker

Elapsed time (dark gray area) The current action

Selected action Undone actions (shaded blue) Figure 32-1: The Undo History window (Edit menu).

250 EDIT MENU Actions that have been undone are displayed with a Before measure 3 is cut: blue highlight. To redo (jump to) an undone Track-1 Clipboard action, double-click the Now column to the left of 1 2 3 4 5 its name.

The Undo history time line After measure 3 is cut: The Time column in the undo history list gives you (The length of the music is the same.) Track-1 Clipboard the exact time at which each action was taken. The 1 2 3 4 5 time line at the top of the window provides a linear 3 representation of the undo history. The Time of COPY Day strip provides a time reference. Drag it left or The Copy command copies the data from the right to move backwards or forwards in time. selected region and places it on the Clipboard. The Zoom buttons are provided to the left. The current original data is not affected at all. The Copy action marker is represented as a green vertical command is undoable. line. This marker corresponds to the current action dot in the Now column. To move the current action Before measure 3 is copied: marker, move the current action dot as explained in the previous section. Track-1 Clipboard 1 2 3 4 5 The Editing strip just below Time of Day displays individual actions as small vertical lines. The white After measure 3 is copied: area represents the elapsed time from ten actions (The length of the music is the same.) ago up to the most recent action. To go to a Track-1 Clipboard 1 2 3 4 5 particular location in the time line and identify the 3 actions there, you can click directly on the action lines in this strip to highlight them, both in the COPY TO CLIPPING WINDOW strip itself and in the undo history list below. The The Copy to Clipping Window command places the list will provide all of the details. current selected data into the clipping window that you choose from the sub-menu as a single clipping. ☛ Here’s a zooming shortcut for the undo time For details, see chapter 35, “Clippings” (page 277). line: click on the Editing strip and drag vertically. Drag down to zoom in and drag up to zoom out. PASTE The Paste command inserts the contents of the CUT Clipboard (i.e. whatever was most recently cut or The Cut command removes data in the selected copied) into a track at the location that you specify. region and places it on the Clipboard. This does When you paste, you need to tell AudioDesk where not remove the time region specified; instead, it you want the Clipboard data to go. AudioDesk leaves the measures blank (silent), without data needs to know: events. The Cut command is undoable. ■ What track (or tracks)

■ What time in the track (or tracks)

251 EDIT MENU Choosing a track (or tracks) to paste into Measure 3 from Track-1 is copied into the clipboard: To cho ose the track you want to paste into, you can Track-1 Clipboard either click the track’s name in Edit window to 1 2 3 4 5 3 highlight it, or you can create an insertion point by clicking in a track with the Pointer tool or I-Beam Track-2 before measure 3 is pasted: tool (see “Initiating time range selections with an Track-2 insertion point” on page 247). To paste into several 8 9 10 11 12 tracks at once, highlight their names (see “Selecting tracks” on page 211). Track-2 after measure 3 is pasted: Track-2 If the Edit window is currently displaying multiple 8 9 10 11 12 tracks (and there is no currently selected data), PASTE MULTIPLE data will be pasted into the track it was copied This variation of the Paste command can be from. accessed by holding down the option key while accessing the Edit menu. Paste Multiple allows you Indicating the time at which you want to paste There are several useful ways to choose the time at to paste data from a single track into multiple which you want to paste: tracks in a single operation. For example, if you copied track A, and you wish to paste it into tracks ■ If there is already a current selection in any track, X, Y and Z, select tracks X, Y and Z, hold down the AudioDesk will use the beginning of the selection option key, and then choose Paste Multiple from (either the first event of a data selection or the start the Edit menu. time of a time range selection) to determine where it pastes. PASTE REPEAT The Paste Repeat command fills the current time ■ If there is no current selection, AudioDesk pastes range selection with the contents of the clipboard, into the location currently displayed in the main repeating the clipboard data to fill up the selection. counter (and also indicated by the playback wiper). For example, if you would like to fill a section of a Choosing tracks and location at the same time track with material on the clipboard, repeating it as You can use any of the selection techniques in the many times as necessary to fill the section, just Edit window to choose the track and the location at make a time range selection over the section and which you want to paste with one easy selection. choose Paste Repeat. In cases like this, Paste Repeat See “Time range selection” on page 246. is more convenient than the Repeat command because you don’t have to figure out how many What happens when you paste times to repeat the data. Paste Repeat fills the The length of the pasted region is exactly that of the selection for you, automatically repeating the data data in the Clipboard (including any blank space at as many times as necessary. the beginning and end of the region that was placed on the Clipboard). PASTE REPEAT MULTIPLE This variation of the Paste Repeat command can be Pasting data always replaces what was previously accessed by holding down the option key while there. The Paste command is undoable. accessing the Edit menu. Paste Repeat Multiple allows you to paste data from a single track into multiple tracks in a single operation. For example,

252 EDIT MENU if you copied data from track A, and you wish to best to select entire measures or groups of paste repeat the data into tracks X, Y and Z, select measures to repeat; this ensures that the repetitions tracks X, Y and Z, hold down the option key, and will line up correctly with measure boundaries. choose Paste Repeat Multiple from the Edit menu.

OTHER PASTE COMMANDS Several additional variations on the Paste command can be found in the Commands window (Figure 16-1 on page 113). If you search the Commands list for the word Paste, you can find them and assign your own custom keystrokes to them. Included are Paste At Wiper, Paste At Wiper Multiple, Paste At Original Time, and Paste At Figure 32-2: The Repeat command. Original Time Multiple. The Repeat command requires a time range selection instead of a data selection. For a further ERASE explanation, see “Edit operations that require time The Erase command works like the Cut command range selection” on page 245. except that no data is put on the Clipboard: all data in the selected region is removed and the region is Using the Paste option in the Repeat dialog box, the left blank. The Erase command is undoable. repeated data replaces the data in the repeated region: the pre-existing data is erased. Using the Before measure 3 is erased: Merge option in the Repeat dialog box, the Track-1 Clipboard repeated data is merged with the data in the 1 2 3 4 5 repeated region. Using the Splice option in the Repeat dialog box, the repeated data moves the After measure 3 is erased: (The clipboard remains empty.) pre-existing data to a later time in order to make room for the data in the repeated region. Track-1 Clipboard 1 2 3 4 5 Repeat vs. looping REPEAT The Repeat command is useful for repeating The Repeat command makes an internal copy sections of music, creating the same effect as (which does not go on the Clipboard) of the data in looping. The advantage of using the Repeat the selected region, then pastes, splices or merges command over looping is that you can make each this data repetitively immediately following the of the repeats slightly different. Loops take less selected region. For example, repeating bars 1-3 memory (which is an advantage) and each copy is three times places a copy of bars 1-3 in bars 4-6, 7- exactly the same. Choose between them according 9, and 10-12. Regardless of the events in the region, to your needs at the time. the entire selected region is repeated. In the above Repeat can also be used to create stutter effects example, the start and end locations in the with soundbites (by rapidly repeating the Selection bar would be set to 1|1|000 and 4|1|000, beginning of the soundbite). respectively. The entire three bar region is repeated, with each repetition starting on the down beat of the following measure. In most cases, it is

253 EDIT MENU MERGE MERGE REPEAT MULTIPLE The Merge command combines the contents of the This variation of the Merge Repeat command can clipboard with pre-existing data in the selected be accessed by holding down the option key while tracks. The merged audio is layered on top of any accessing the Edit menu. Merge Repeat Multiple existing audio at that time, but the actual waveform allows you to merge data from a single track into data is not merged. Instead, the result is two multiple tracks in a single operation. For example, soundbites layered on top of one another. if you copied data from track A, and you wish to merge repeat the data into tracks X, Y and Z, select You need only specify a Start time when merging; tracks X, Y and Z, hold down the option key, and the End time has no effect. The Merge command is choose Merge Repeat Multiple from the Edit menu. undoable. MERGE REPEAT TOGETHER

Track-1 There is a third variation of the Merge Repeat 1 2 3 4 5 command: Merge Repeat Together. This command ‘merge repeats’ data on the clipboard from multiple Track-2 1 2 3 4 5 tracks into a single track in one operation. To use

Merged Track this command, copy data from two or more tracks, 1 2 3 4 5 make a time range selection in a single track, and then hold down the option key while accessing the MERGE MULTIPLE Edit menu. If all of these conditions are met, the This variation of the Merge command can be Merge Repeat command turns into Merge Repeat accessed by holding down the option key while Together. accessing the Edit menu. Merge Multiple allows you to merge data from a single track into multiple MERGE TOGETHER tracks in a single operation. For example, if you This variation of the Merge command requires that copied track A, and you wish to merge it into tracks there be two or more tracks of data already on the X, Y and Z, select tracks X, Y and Z, hold down the clipboard. If so, Merge Together can be accessed by option key, and then choose Merge Multiple from holding down the option key while accessing the the Edit menu. Edit menu. Merge Together allows you to merge data from two or more tracks on the clipboard into MERGE REPEAT a single track in one operation. For example, if you The Merge Repeat command fills the current time copied tracks A, B and C onto the clipboard, and range selection with the contents of the clipboard, you then wished to merge them all into track Z, repeating the clipboard data to fill up the selection. select track Z, hold down the option key, and then For example, if you would like to merge clipboard choose Merge Together from the Edit menu. data into a section of a track, repeating it as many times as necessary to fill the section, just make a OTHER MERGE COMMANDS time range selection over the section and choose Several additional variations on the Merge Merge Repeat. Merge Repeat is convenient because command can be found in the Commands window you don’t have to merge many times by hand. (Figure 16-1 on page 113). If you search the Merge Repeat fills the selection for you, Commands list for the word Merge, you can find automatically repeating the data as many times as them and assign your own custom keystrokes to necessary.

254 EDIT MENU them. Included are Merge At Wiper, Merge At Wiper Before measure A is spliced: Multiple, Merge At Original Time, and Merge At Original Time Multiple. Track-1 Clipboard 1 234 5 A SNIP The Snip command removes data in the selected After measure A is spliced: region and places it on the Clipboard. The time (Measures 3 & 4 are shifted to 4 & 5.) region containing the data is removed as well, Track-1 Clipboard closing up the gap between the beginning and end 1 2 3 (A) 4 5 A of the region: events at the End time are moved to the Start time. The Snip command is undoable. SPLICE MULTIPLE This variation of the Splice command can be The Snip command requires a time range selection accessed by holding down the option key while instead of a data selection. For a further accessing the Edit menu. Splice Multiple allows you explanation, see “Edit operations that require time to splice data from a single track into multiple range selection” on page 245. tracks in a single operation. For example, if you copied track A, and you wish to splice it into tracks Before measure 3 is snipped: X, Y and Z, select tracks X, Y and Z, hold down the option key, and then choose Splice Multiple from Track-1 Clipboard 1 2 3 4 5 the Edit menu. OTHER SPLICE COMMANDS After measure 3 is snipped: Several additional variations on the Splice (Measures 4 & 5 are shifted to 3 & 4.) command can be found in the Commands window Track-1 Clipboard (Figure 16-1 on page 113). If you search the 1 234 5 3 Commands list for the word Splice, you can find SPLICE them and assign your own custom keystrokes to The Splice command inserts data on the Clipboard them. Included are Splice At Wiper, Splice At Wiper in the selected region, making a gap for the new Multiple, Splice At Original Time, and Splice At data and moving pre-existing data later in time to Original Time Multiple. make room for the new material. The event just SHIFT after the Start time moves forward the amount of The Shift command moves the selected region time of the region on the Clipboard. Thus, if a one- ahead or back in time. The shift distance can be measure section is copied to the Clipboard and specified in one of two ways: spliced at measure 3, the old events starting at measure 3 shift to measure 4. The Splice command ■ Shift by amount — lets you specify a number of is undoable. measures and/or a quarter notes|ticks duration, entered into a dialog box. Measures are computed based upon the meter marking at the start point of the selected region.

255 EDIT MENU ■ Shift to time — lets you specify an exact Separation command to rejoin the resulting location, in any time format you wish, to which you soundbites, as shown below in Figure 32-4. would like to move the data. However, if you move the soundbites relative to each other, Heal Separation cannot rejoin them. Heal Separation can be done across multiple soundbites.

Original soundbite :

Remaining soundbites after the middle section has been cut:

Figure 32-3: The Shift command. To move the region ahead, choose Earlier; to move it back, choose Later. The region will be shifted in Original soundbite restored by Heal Separation command: time by the amount you enter. The Shift command is undoable.

Preserve realtime performance The Preserve realtime performance option, when checked, will shift the selected data to the new location based on the first selected event. All of the rest of the selected events will be shifted relative to the first in a manner that preserves the realtime If you move the soundbites relative to each other, they can’t be healed performance at their original location. (use Merge Soundbites instead):

HEAL SEPARATION Heal Separation rejoins adjacent soundbites that currently have a gap between them. Soundbites must belong to the same parent audio file, and their position in the track relative to each other must match their relative positions in the parent audio file. For example, if you remove a section from the Figure 32-4: Heal Separation. middle of a soundbite, you can use the Heal

256 EDIT MENU SPLIT Data is split or trimmed as shown in Figure 32-6. In Split allows you to break up audio soundbites into the case of splitting, data is divided into three separate, smaller soundbites. Split makes divisions separate parts. For a split soundbite, there is no at the boundaries of the region you select. audible gap between the three parts at this point (unless you move them). Split, Cut, and Erase all do a similar thing: they split out a section of the soundbite. The difference is 3 To change the name of the resulting soundbites, that Split leaves behind the resulting piece, whereas option-click the name. Cut and Erase remove it. Once split, soundbites can be dragged and edited SPLIT AT COUNTER independently. Split at Counter splits all currently selected soundbites at the current main counter location (as Selecting a region: indicated by the playback wiper). The default key binding for this command is option-Y, but you can customize this binding in the Commands window.

After using Split:

Figure 32-5: Using the Split at Counter command (Edit menu) to split soundbites at the wiper location.

TRIM Trim allows you to select a portion of a soundbite and remove the parts of it that are not selected. For After using Trim: example, you might want to extract a single measure from a soundbite that is 8 measures long. It is also very useful for removing silence at the beginning and/or end of a recorded soundbite.

Using Split and Trim To split or trim a soundbite:

1 Select the region you wish to split or trim. Figure 32-6: Using Split and Trim. TRIM END / TRIM START 2 Choose Split or Trim from the Edit menu. The Trim End command (Edit menu) removes any portion of a soundbite between what is currently selected and the end of the soundbite, if any. To

257 EDIT MENU change this menu command to Trim Start, hold negative number if you wish to decrease them. If a down the shift key while accessing the Edit menu. value exceeds the limit of its data type, it will be Trim Start removes any portion of the soundbite truncated at the limit value. between what is selected and the beginning of the soundbite. Limit to a range from ___ to ___ Events in the selected region whose values are outside the range of values that you enter (lower than the from value and higher than the to value) are changed to those values. Original Change to ___% of current value The values of all events in the selected region are scaled by the entered percentage value. Thus, specifying 50% halves the values, while 200% doubles the values. If a value exceeds the limit of the its data type, it will be truncated at the limit value. Trim End Create Stairsteps AudioDesk supports ramp automation with Audio Unit plug-ins. If you open a project created in a version of AudioDesk before Audio Unit ramp automation was supported, the project may contain “stair-stepped” automation. If that data is Trim Start ramp-compatible, it will be converted into a ramp when you first open the project. If, for some reason, a situation calls for stair stepping, but the automation data has been converted into a ramp, Figure 32-7: Trim End and Trim Start. you can convert it back into stair steps using the Create Stairsteps option. PITCH SHIFT The Pitch Shift command transposes the pitch of Optionally, you could use the Create Stairsteps monophonic audio. For complete details, see option with any ramp data, if you wanted to make chapter 45, “Transposing Audio” (page 365). it choppier and more abrupt as an effect.

CHANGE AUTOMATION DATA The Randomize option With the Change Automation Data command, you The Randomize option allows you to generate can modify existing automation data by scaling it variability in automation data that you select. or limiting it to a specific range. Notice that the Randomize option is a check box, which means that it can be used with any of the Add ___ to all values options above. Check the box to The entered value is added to all automation data randomize; uncheck it for no randomization. in the selected region. Enter a positive number if When this command randomizes, it chooses you wish to increase the values in the region or a random values within the range that you specify.

258 EDIT MENU Emphasis AudioDesk’s Clipboard also lets you cut, copy and The Emphasis sub-option causes the tendency of paste text between AudioDesk and other the randomization to be higher or lower within the programs. specified range. Thus, if you wish to randomize the automation data events within a certain range, but SELECT ALL you wish them to tend to be higher, use a positive The Select All command generally selects all visible emphasis; use a negative emphasis if you wish them tracks in the Edit window for the entire range of the to tend to be towards the lower end of the range. A sequence. value of zero equals no emphasis, which causes the randomization to occur evenly within the range. SELECT ALL TRACKS IN RANGE To access t he Select All Tracks in Range command, INSERT LOOP hold down the option/shift key while accessing the Insert Loop creates a loop over the selected Edit menu, or press option-command-A. region(s). This is the same as inserting a loop with the loop tool in the tool palette. The Select All Tracks in Range command selects all tracks, as its name implies, but it only selects a CLEAR LOOPS certain time range, rather than the entire length of Clear Loops removes all loops within the current the sequence. The time range is determined either selection. by the selection start and end times currently chosen in the Selection Information window AUDITION SELECTION (“Selection Information” on page 238), or by the Plays the current selection. The keyboard shortcut current selection, if any. for this command is option-spacebar. DESELECT ALL SHOW/HIDE CLIPBOARD The Deselect All command makes all currently Choosing Show Clipboard from the Edit menu selected data not selected. brings up a window which describes the contents of the Clipboard (in text). When the Clipboard is showing, the menu entry changes to Hide Clipboard. When you choose this, the Clipboard window is closed.

The Clipboard is a temporary storage place that holds data that is cut or copied. All data that is cut or copied is put on the Clipboard. When you paste, the data to be pasted comes from the Clipboard.

The Clipboard retains data until a new cut or copy action is made. This means that you can cut or copy a region of data once and paste this same information as many times as you like. The Clipboard retains its data between project files. Yo u can therefore copy data from one project file and paste it into another.

259 EDIT MENU 260 EDIT MENU CHAPTER 33 Audio Menu

OVERVIEW DITHER The Audio menu is, in part, an extension of the Edit AudioDesk’s mixing and processing engine menu, providing further editing operations. The employs 32-bit resolution. When 16-bit or 24-bit Audio menu has a combination of non-destructive, digital audio first enters AudioDesk, its bit depth destructive and constructive editing operations. (resolution) is raised to 32-bits. From then on, as (See “Non-destructive, destructive and the audio is mixed and processed, it remains at 32 constructive audio editing” on page 203.) bits until it leaves AudioDesk. The Dither command, when checked, makes AudioDesk use The Audio menu also contains soundbite dither whenever it must reduce the bit depth of management features and other audio-related audio. For example, if you bounce your mix to disk operations and settings. as a 16-bit, 44.1 kHz AIFF audio file to later burn a CD, AudioDesk converts your mix, which Dither...... 261 internally is being processed in 32 bits, to 16 bits Fade ...... 261 during the bounce operation. If the Dither Delete fades ...... 261 command is checked, dither is employed to help Merge soundbites ...... 261 reduce the inherent quantization distortion that Strip Silence ...... 262 occurs when audio bit resolution is reduced. Apply Plug-in ...... 263 Layering ...... 263 FADE Time stamps ...... 263 The Fade command lets you create fades and Set/clear sync points...... 264 crossfades at the boundaries of soundbites to Duplicate Soundbite...... 264 eliminate undesirable artifacts. For complete Reload Soundbite ...... 264 details, see “Fades and Crossfades” on page 269. Replace Soundbite...... 267 Reveal in Finder/Show in Explorer ...... 267 DELETE FADES Edit in Waveform Editor...... 267 See “Deleting fades” on page 275. Take automation snapshot ...... 267 Insert mute automation ...... 268 MERGE SOUNDBITES Clear mute automation ...... 268 Use Merge Soundbites to quickly create a single, new soundbite out of several adjacent soundbites. To do so, select the adjacent soundbites and choose Merge Soundbites from the Audio menu. This operation creates a new audio file, sort of like a “mini-bounce”. But it does not include any volume, pan or other automation data. It is meant for joining audio regions on a small, local scale.

261 STRIP SILENCE 4 Play back the new soundbites to check for clicks, Strip Silence breaks up a soundbite into several pops, or cutoffs. smaller soundbites by removing all of the portions that consist of silence. If the parameters you chose do not produce soundbite regions that are satisfactory, choose Before: Undo from the Edit menu and try again with different parameters.

5 When you get soundbite regions you are satisfied with, option-click their names to rename them, if desired.

Setting the Strip Silence options After: When you remove silence in a soundbite, AudioDesk needs a precise definition of silence from you, since there is always some noise in a recorded audio signal. The three options in the Strip Silence dialog box define silence. Together, they act just like a noise gate. They define a volume threshold, an Attack period, and a Release period. Figure 33-1: Strip Silence. For example, you can use Strip Silence to remove Threshold the silence between words to separate them. The Threshold is a cut off point for the (amplitude) level of the audio. If audio falls below the threshold, To use Strip Silence: it will be cut. If it rises above the threshold, it won’t be cut. 1 Click the soundbite in the Edit window to select it. The Threshold is expressed in percent of amplitude; values range from 1 to 100%. What 2 Choose Strip Silence from the Audio menu. value you should use depends on the nature of the audio and the signal to noise ratio. The rule of A dialog box appears asking for several parameters. thumb is to try to set it as low as possible without See the discussion below for more information. generating unwanted soundbites (that are merely “noisy silence”) or extensions at either end of soundbites. Using a low setting results in less clicks, pops, or clipping at the beginnings and ends of the soundbites created. But if you set the threshold too low, then hardly any audio will be removed, and you may still have unwanted low portions of the signal.

Figure 33-2: The Strip Silence dialog. For “clean” audio with a high signal to noise ratio, 3 Set the options accordingly and Click OK. use a Threshold value below 5%. You may be able to go as low as 1%, which will reduce a possible

262 AUDIO MENU clipping effect at the beginning or end of each new TIME STAMPS soundbite and still produce individual soundbites A time stamp is the SMPTE time code location at that do not have an excessive amount of near which a soundbite starts and ends. AudioDesk silence at either end. With more noisy audio, you provides a host of features for creating, importing, may have to select a higher Threshold to avoid displaying, modifying and using time stamps. creating lots of short, unnecessary soundbites. Original Time Stamp Attack There are three ways in AudioDesk to create a The Attack is the minimum amount of time in soundbite with an original time stamp: milliseconds that audio must remain above the Threshold in order not to be cut. If the audio ■ Record it contains percussive attacks, such as drum sounds, ■ Bounce it you can set this fairly low (less than 10 milliseconds) to obtain a clean attack on the ■ Create it with the Merge Soundbites command resulting soundbites. If the audio contains longer, You can also import soundbites with time stamps. sloping attacks, or irregular attacks, you might need to set this higher to avoid a clipped effect at User Time Stamp the beginning of the soundbite. A user time stamp can be applied to a soundbite at any time with the Time Stamps command in the Release Audio menu. The Release is the period of time in milliseconds in which the audio must remain below the threshold Time stamps and editing in order to be cut. If the audio stays below the Time stamps are preserved when you perform threshold for as long as the duration, it will be cut. non-destructive soundbite edits. For example, if If it rises above the threshold before the duration you trim the beginning of a soundbite, the time has passed, it will not be cut. Try values around 100 stamp changes to reflect the new location of the left milliseconds. Set this value higher if the soundbites edge of the soundbite. If you split a soundbite, each sound clipped at the end. resulting soundbite has a time stamp consistent with the original soundbite’s time stamp. APPLY PLUG-IN Apply Plug-in provides non-real-time versions of Moving soundbites to their original or user your MAS, AU or VST plug-ins, allowing you to time stamp apply them constructively as region operations on Regardless of their current location, you can always audio selected in any window. For more move soundbites to their original or user time information, see “File-based plug-in processing” stamp location by selecting them and choosing one on page 348. of the commands from the Time Stamps sub-menu in the Audio menu as shown below in Figure 33-3. LAYERING In audio tracks, soundbites can overlap one another, giving you a great deal of flexibility when working with audio in the audio graphic editing environment in the Edit window. See “Overlapping Figure 33-3: The Time Stamps commands in the Audio menu. and layering soundbites” on page 218.

263 AUDIO MENU Setting a user time stamp DUPLICATE SOUNDBITE To apply a user time stamp to one or more The Duplicate Soundbite command creates an soundbites, place the soundbites at the desired entirely new soundbite based on the currently location in the sequence, select them, and then selected soundbite. The new soundbite is given a choose Time Stamps>Set User Time Stamp from different name from the original by adding a Sequence in the Audio menu. number extension to the end of the original name. For example, if you duplicate a soundbite with the If you have the same soundbite positioned at name Snare Hit, Duplicate creates an identical different locations in your project, and you then soundbite with the name Snare Hit.2. The apply a user time stamp, AudioDesk notifies you important thing to realize here is that you now have that the soundbite is being used at more than one two separate soundbites that are not connected to location. It then gives you the option of duplicating each other. As a result, you can freely modify Snare the soundbite so that each occurrence can be given Hit.2 (trim its edge, for example) without affecting the correct time stamp. the original soundbite, Snare Hit.

Editing time stamps Duplicating is different from copying a soundbite, You can change time stamps in the soundbite’s Info which produces a “clone” of the original that is still pane in the Soundbites window. For details, see connected to it. If you modify a copied soundbite, “Sound File Information” on page 240. the original is modified, too (and vice versa).

Displaying time stamps ☛ The Duplicate command does not duplicate You can view a soundbite’s original and user time the actual audio data; it duplicates pointers to the stamp in the Soundbites window, if desired. See audio data. Therefore, destructive editing that you “The Soundbite list” on page 75. perform on the duplicate soundbite will affect the You may also view the original or user time stamp original soundbite. So be careful when editing on your soundbites in the Edit window. See “Show duplicate soundbites with a third-party waveform times” on page 224 editor.

Exchanging time-stamped audio with Pro RELOAD SOUNDBITE Tools When a soundbite is created, AudioDesk adds a AudioDesk stores both its user time stamp and the corresponding region in the audio file with the original time stamp with the region data in the same name as the soundbite. AudioDesk does this parent audio file itself, just like Pro Tools. so that other applications can access and use the Therefore, you can freely transfer time stamped regions. Most importantly, it prevents the region audio files between AudioDesk and Pro Tools. from being deleted when using the Compact Other programs that support the way Pro Tools command. (The Compact command never deletes time stamps audio files should also work. audio data that falls within a region in the audio file’s region list.) SET/CLEAR SYNC POINTS A sync point can be placed inside a soundbite as Use Reload Soundbite any time that you have made positional reference point for the soundbite instead changes to a region in an audio file using software of its beginning (left edge). See “Sync points” on other than AudioDesk and wish those changes to page 224. be reflected in the region’s corresponding soundbite in AudioDesk.

264 AUDIO MENU For example, let’s say that you have changed a By using the Reload Soundbite command on the region’s boundaries in an audio file using a third- soundbites, you can properly re-align the party waveform editor such as BIAS Peak, and you soundbites in AudioDesk with their original then switch back into AudioDesk. But now a regions of audio data: discrepancy exists between the region in the audio file and the soundbite in the AudioDesk file: the To reload a soundbite: soundbite still consists of the original region, not 1 Select the soundbite you wish to reload. the modified one. To make the soundbite match the region again, use the Reload Soundbite command. You can do so by highlighting it in the Soundbites window or Edit window. To reload a soundbite, select the soundbite. (The Reload Soundbite command operates on only one 2 Choose Reload Soundbite from the Audio menu. soundbite at a time. If you select more than one in the Soundbites window, it replaces the highest one AudioDesk searches in the parent audio file for a in the list. If you select more than one soundbite in region that matches the name of the soundbite and the Edit window, it replaces only the earliest one.) loads the parameters for the region into the Choose Reload Soundbite from the Audio menu. soundbite. AudioDesk searches in the parent audio file for a region that matches the name of the soundbite and The Reload Soundbite command can be used any loads the parameters for the region into the time that you need to refresh the boundaries of a soundbite. Reload Soundbite affects all instances of soundbite. a soundbite in an AudioDesk file. In general, always use Reload Soundbite after Reloading after destructive editing in an audio modifying an audio file with other software besides file AudioDesk. As another example, let’s say that you have created several soundbites in AudioDesk. ☛ Reload Soundbite affects all instances of a soundbite in an AudioDesk file. In other words, If you open the audio file with a third-party reloading affects the soundbite and all “clones” of waveform editor and cut a region of audio data at that soundbite wherever they may exist in audio the beginning, all of the regions after the cut are tracks. shifted earlier, as shown in Figure 33-4 on page 266. AudioDesk, which may not even be Yo u’ l l n o t i c e t h a t Reload Soundbite isn’t really going running at the time, has no indication that to be used much if you don’t use any other anything has changed in the audio file. programs besides AudioDesk to work with the audio file. However, any time that you edit regions The soundbites in AudioDesk no longer or audio data in an audio file, think about what correspond correctly with the original regions of impact the editing has on any AudioDesk files that audio data, which have shifted earlier in the audio contain soundbites from that audio file. file due to the removed data. In fact, as you can see in Figure 33-4, AudioDesk is pointing to Soundbite.3 in a portion of the audio file that no longer even exists!

265 AUDIO MENU Reloading all soundbites in an audio file at one time These soundbites all Often, you’ll have several — and usually many — belong to the same soundbites that originated the same audio file, and parent audio file called “Drum Loop”. you’ll need to reload all of them. Certainly a tedious task if you had to do so one at a time. But Command-double click the audio file name to there is a shortcut for reloading all of them at once: reload all soundbites from the file. 1 Command-double-click the name of the parent audio file next to one of the soundbites in the 2 In the dialog box that appears, locate and select Soundbites window. the parent audio file.

It doesn’t matter which soundbite you choose, as If you are doing this procedure after having moved long as its from the parent audio file you need to the entire project from one hard disk location to reload from. another, be sure to select the newly copied version of the audio file — not the original.

AudioDesk soundbites as regions in an audio file

Audio file: Soundbite.1 Soundbite.2 Soundbite.3 Audio data that will be cut in a waveform editor

AudioDesk soundbite pointers remain the same after audio has been cut with other audio software.

Audio file: Soundbite.1 Soundbite.2 Soundbite.3

The Reload Soundbite command realigns soundbite pointers with their original regions of audio data.

Audio file: Soundbite.1 Soundbite.2 Soundbite.3

Figure 33-4: Using Reload after destructively editing an audio file with another program.

266 AUDIO MENU That’s it. AudioDesk automatically reloads all of the one in the list. If you select more than one soundbites in the file. soundbite in the Edit window, it replaces only the earliest one. If reloading fails The Reload Soundbite command fails if AudioDesk 2 Choose Replace Soundbite from the Audio cannot find a region with the same name as the menu. soundbite in its parent audio file. Or, it may not be able to find the parent audio file. If so, AudioDesk The open audio file dialog box appears. warns you that this is the case and asks you to select another region to replace the soundbite. For 3 Select the audio file and region you want to information about replacing soundbites, refer to replace the soundbite with. the next section. After you click the Done button, the new region REPLACE SOUNDBITE takes the place of the old region. Likewise, all The Replace Soundbite command is similar to instances (“clones”) of the old region in all the Reload Soundbite but gives you more flexibility. It tracks are replaced as well. allows you to replace a soundbite with any audio REVEAL IN FINDER/SHOW IN EXPLORER file region—even an entirely different region from The Reveal In Finder/Show in Explorer command another audio file. In addition to updating the shows you the location (in the Mac OS Finder or soundbite’s start and end pointers, Replace Windows Explorer) of the parent audio file for the Soundbite also updates the name if the soundbite is currently selected soundbite or clippings. By being replaced by a region with a different name. default, the keyboard shortcut for this command is Just like Reload Soundbite, Replace Soundbite Option/Alt-R. replaces all instances of a soundbite in an EDIT IN WAVEFORM EDITOR AudioDesk file. Here’s an example. Let’s say that The Choose Waveform Editor command (Setup you recorded a vocal soundbite, named it Ye ah ! , menu) lets you choose a third-party waveform and are using it as an effect in a mix. You have editor, such as BIAS Peak™, to perform destructive placed it fifteen or twenty times throughout the waveform editing on the currently selected mix. During the course of the session, you decide soundbite. Whenever you invoke the Edit in that you would like to replace all the Ye ah ! ’s with a Waveform Editor command (Audio menu), different soundbite that you recorded and named AudioDesk automatically launches the third-party Hey! Replace Soundbite makes substitutions like waveform editor and opens the audio file with the this easy. region selected for editing. To replace a soundbite: TAKE AUTOMATION SNAPSHOT 1 Select the soundbite that you wish to replace. An automation snapshot is the process of inserting mix automation data for multiple mix parameters The Replace Soundbite command operates on only in one step at a particular location — or over a one soundbite at a time. If you select more than one specified time range. For complete details about in the Soundbites window, it replaces the highest how to use this Audio menu command, see “Snapshot automation” on page 331 in chapter 39, “Mix Automation” (page 319).

267 AUDIO MENU INSERT MUTE AUTOMATION The Insert Mute Automation command lets you insert mute automation data over a selected time range in a track. For details, see “Insert mute automation and clear Mute Automation” on page 330.

CLEAR MUTE AUTOMATION The Clear Mute Automation command lets you remove mute automation data in a track. For details, see “Insert mute automation and clear Mute Automation” on page 330.

268 AUDIO MENU CHAPTER 34 Fades and Crossfades

OVERVIEW WHAT IS A CROSSFADE? AudioDesk allows you to apply fades and A crossfade occurs at the boundary — what we’ll crossfades to the edges of soundbites. call the splice point — between two soundbites. It fades out the volume of the first soundbite while What is a crossfade? ...... 269 fading in the volume of the second. A crossfade’s Creating a single fade or crossfade ...... 270 main purpose is to produce a smooth transition Types of crossfades ...... 272 between the soundbites, preventing clicks and Fade curves ...... 273 pops and other undesirable artifacts that can How fades are generated ...... 274 sometimes occur. Crossfades are general in nature, Fades are anchored to their splice ...... 274 however, and they can also be used for volume Applying multiple fades in one operation ...... 274 effects and other purposes. Reapplying the last fade settings ...... 275 Deleting fades ...... 275 A fade is similar to a cross fade, except that it occurs Editing existing fades ...... 275 at the start or end of a single soundbite, and it fades Fades that cannot be fully computed ...... 276 between the soundbite and silence. Trimming soundbites that have a fade or crossfade 276 Clipping when crossfades are calculated ...... 276 Fades and crossfades do not modify the original audio in any way, and you can remove the fade or crossfade at any time.

Figure 34-1: To create a fade or crossfade, select one or more sound- bite boundaries and choose Fade from the Audio menu.

269 CREATING A SINGLE FADE OR CROSSFADE To create a fade at the boundary of two soundbites There are two ways to create a fade or crossfade: that are touching, hold down the Command/Ctrl key while dragging one handle or the other: ■ Drag the fade/crossfade handles on a soundbite

■ Make a selection and apply a fade with the Fade command (Audio menu).

Creating a fade/crossfade with fade handles Fades and crossfades can be applied directly to soundbites by pulling fade or crossfade handles

directly on the soundbites, as shown below in Figure 34-3: Hold down the Command/Ctrl key to create a fade Figure 34-2: (instead of a crossfade) where two soundbites touch. Fades and crossfades are inserted with the shape Fade/crossfade handles most recently specified in the Fade dialog (Audio menu).

By default, fades and crossfades are inserted and edited symmetrically. To shorten or lengthen just one side of a crossfade while pinning the other side where it is, hold down the Option/Alt key while dragging the fade handle as shown below: Fade/crossfade cursor Original crossfade:

Option drag to edit one side only Select/Edit Fade/crossfade cursor

Figure 34-2: Position the cursor over a fade or crossfade handle until Figure 34-4: Option drag to move just one side of the fade. The other you see the fade/crossfade cursor shown above. Then just pull out a handle remains pinned to its original location. fade of the desired length. Double-click the fade or crossfade to edit its shape further.

270 FADES AND CROSSFADES To edit multiple fades together in one operation, You can use your selection to define the length of select the soundbites that contain the fades, and the crossfade, or you can create a fixed-length fade then grab the fade handle of one of the selected that is different from your selection. soundbites: Splice point (boundary between Before: touching soundbites)

Selection for the crossfade

Figure 34-6: Making a selection over a soundbite boundary to apply a fade. 2 Choose Fade from the Audio menu to open the Create Fades dialog, as shown in Figure 34-1.

3 Set the fade-out and fade-in curves as desired. After: These curves are explained later in the chapter.

4 To create a fade over the exact length of your original selection, choose the Fade selected time ranges option from the menu at the bottom of the dialog. To create a fade of a specific length, choose Create fixed-length fades and then enter the desired length for the fade (in milliseconds) in the before splice and after splice text boxes.

5 Click OK to apply the fade.

fade-out Crossfade fade-in curve curve Figure 34-5: Editing multiple fades in one operation. For example, if you needed to make all fades in a track a little longer, you can select all soundbites and then grab one fade to change them all.

Applying a fade/crossfade to a selection To apply a single fade or cross fade to a selection:

1 In the Edit Window, make a selection over a Figure 34-7: A crossfade. splice point (the soundbite boundary that defines the fade or crossfade you wish to create).

271 FADES AND CROSSFADES TYPES OF CROSSFADES Crossfades use material beyond the splice When you apply a crossfade, the selection you All three types of crossfade discussed in the make relative to the splice point determines the previous section use “hidden” material in each type of crossfade. If you make a selection with the region beyond the splice point. In the centered splice point somewhere in the middle, you will crossfade shown below, the fade-out starts in ‘Bass create a standard, centered crossfade as shown riff 1’ and extends into the beginning of ‘Bass riff 2’; below in Figure 34-8. the portion of the fade-out to the right of the splice point is actually calculated from material in Bass riff’s parent audio file — material that is currently not visible.

Soundbite ‘Bass riff 1’

Figure 34-8: A centered crossfade. If you make a selection to the left of the splice point, you create a pre-crossfade before the splice point as fade-out Material beyond Bass riff 1 shown below in Figure 34-9. This will let you from its parent audio file used to calculate the fade-out maintain the volume of the beginning of Soundbite 2 without fading across it. This is especially useful if there is a percussive downbeat at the beginning of Soundbite 2 that you want to preserve.

Bass riff 1’s parent audio file

Figure 34-11: The area beyond ‘Bass riff 1’ in its parent audio file is used to calculate the fade-out curve of the crossfade. The same is also true for the area preceding ‘Bass riff 2’ in its parent audio file. If there isn’t enough additional material in the Figure 34-9: A pre-crossfade. parent audio file for the fade-out (or fade-in) If you make a selection to the right of the splice calculation, the fade will drop to zero at that point. point, you create a post-crossfade as shown below. Fades mix with silence This is useful if you want to maintain the volume of Fades, on the other hand, do no use material Soundbite 1 right up to the splice point. beyond the edges of the soundbite from the parent audio file. Instead, they mix with silence to create a smooth transition to (or from) zero volume.

Figure 34-10: A post-crossfade. 272 FADES AND CROSSFADES Fade types FADE CURVES The fade dialog box offers three types of crossfades and two types of fades:

For all of the fade types discussed in the previous section, you can choose between a standard fade curve or an S-shaped curve. If you are using an Equal gain crossfades are recommended for equal power or equal gain crossfade, both the fade- material that is phase coherent or nearly phase- in and fade-out curve must be the same curve type. coherent, as in crossfades between soundbites from (The curve buttons in the window enforce this for the same audio source material (the same you.) However, if you are using independent instrument, for example). Equal gain crossfades curves, you can choose a different curve type for help avoid clipping that can occur when using the fade-in and fade-out. equal power crossfades (described below). Equal gain fades are available for both fades and Regardless of which fade type you create, you are crossfades. given handles on the curves in the diagram to further adjust the curve. The standard fade curve offers a single handle; it creates a smooth, continuous general-purpose fade. The one exception to this is when you are using Equal power crossfades are recommended for independent curves, in which the standard curve material that is not phase coherent, such as also gives you two end points that let you modify completely different musical instruments. Equal where the curve starts and ends. power crossfades help you to avoid the volume drop that can sometimes occur with equal gain crossfades. Equal gain fades are available for both fades and crossfades.

Independent crossfades are recommended for special circumstances in which you cannot achieve the desired results with the equal gain or equal Figure 34-12: Here is an example of an equal gain crossfade with a power curves — or when you specifically need to standard curve. create entirely different fade-out and fade-in S-shaped curves give you several handles, curves. This option only applies to crossfades; it is including one at the crossover point where it not available for fades (since a fade consists of only inverts its shape. S-curves are particularly useful one curve). for material that is hard to crossfade with a standard curve.

273 FADES AND CROSSFADES volume of the fade-in or fade-out constant — either full volume or zero volume — for the entire length of the fade.

HOW FADES ARE GENERATED When you make a fade (or crossfade), AudioDesk computes the fade on-the-fly — no files are created on disk. Fades are applied non-destructively, just as with volume automation or real-time effect inserts. Figure 34-13: Here is the same equal gain crossfade shown in Figure 34-12 with an S-shaped curve instead of a standard curve. FADES ARE ANCHORED TO THEIR SPLICE In general, fades and crossfades are preserved When you choose independent S-shaped curves, during editing operations such as dragging, you can get as elaborate as you need. shifting, compacting or setting the soundbite start time. For example, if you trim the edge of a soundbite, and it has a fade on it, the fade will remain after the trim operation. If the audio data within the range of the fade or crossfade changes, it will be recomputed automatically.

There are a few situations in which crossfades cannot be preserved, due to their nature. Crossfades are defined by the splice to which they

Figure 34-14: Here is a crossfade with independent S-shaped curves. were applied. If the splice point changes, the fade may no longer be valid because the original Fade curve presets arrangement of audio data from which the fade was On each side of the Fades dialog, below the fade- computed no longer exists. As a result, crossfades out and fade-in sections, there is a row of buttons always remain anchored to the soundbite edge (or that provides you with several useful fade curve boundary between two soundbites) to which they presets. These presets are commonly useful curves were originally applied. They cannot be moved provided as a convenience to you. They are by no independently of their splice point — although means “magical” in any way. These curves will they can move with their splice point (as long as it cover most of the situations you encounter. You can doesn’t change in the process). For example, if you also use them as a starting point and then further move one of the two soundbites that define a tweak them with the handles in the curve diagram. crossfade, the crossfade will disappear. If you move them together, the crossfade will move with them.

APPLYING MULTIPLE FADES IN ONE OPERATION For the most part, the icons on the buttons give you Often, you’ll need to apply several — and possibly a pretty good idea of the shape of the curve and the many — crossfades at one time. Rather than effect it will have on your audio. The “square having to painstakingly apply them one at a time, corner” presets are notable because the keep the AudioDesk allows you to apply as many fades as you want in one operation. One way to do this is to

274 FADES AND CROSSFADES use the Shift key to select several splice points at 6 If you would like to apply fades to all soundbite one time before entering the Fades dialog. You can edges (e.g. edges that are not touching another then apply the same fade to all of them, using your soundbite), check the Create new fade-ins or fade- selections to define the length of each fade. Or you outs option. If not, leave it unchecked. can apply fixed-length fades. 7 Enter the length of the fade by entering times in Another way to apply multiple fades at one time is the before splice and after splice value boxes to make one large selection that contains any provided. Values are in milliseconds (100 = one number of splice points and then apply fixed- tenth of a second). length fades to all of them in one operation. This technique is especially useful when you’ve made 8 Click OK to generate the fades. many detailed edits — perhaps dozens or even When you click OK, AudioDesk’s applies the fades. hundreds — and you need to apply crossfades to all Use the Background Processing window to of them. monitor its progress. You can, of course, proceed To apply fixed-length fades and/or crossfades to with other work when the fades are being many splice points in one operation: processed, if you like. Fades that are not calculated yet are displayed in gray; fades that are done appear 1 In the Edit Window, select the region that in the same color as the soundbite. contains the splice points you would like to fade and/or crossfade. For example, if you want to apply REAPPLYING THE LAST FADE SETTINGS fades and crossfades to all soundbite boundaries in To apply another fade using the same settings you the entire sequence, display all tracks in the Edit last used, hold down the Option/Alt key while Window and Select All. choosing Fade from the audio menu.

2 Choose Fade from the Audio menu to open the DELETING FADES Fades dialog. To delete a single fade, click it and choose Delete Fades from the Audio menu. 3 Choose Create fixed-length fades from the menu at the bottom of the window. To delete all fades within a region, select the region and choose Delete Fades from the Audio menu. 4 If the region you selected contains existing fades, and you would like to replace them with new To delete all fades in the entire sequence, use Select fades, check the Update existing fades option. If you All in the Edit Window with all tracks showing and want to preserve existing fades, leave it unchecked. choose Delete Fades from the Audio menu.

5 If you would like to apply crossfades to all EDITING EXISTING FADES eligible splice points (ones that consist of To modify an existing fade, double-click it. boundaries between two touching soundbites), To modify several existing fades at one time, select check the Create new crossfades option. If you don’t them and choose Fade from the Audio menu. want to create any crossfades where soundbites touch, leave it unchecked.

275 FADES AND CROSSFADES In either case, after you’ve made the changes you TRIMMING SOUNDBITES THAT HAVE A would like in the Fades dialog, make sure that the FADE OR CROSSFADE Update existing fades option is checked before If a soundbite edge has a fade or crossfade on it, you clicking OK. have to delete the crossfade in order to change it. This makes sense because as soon as you change it, FADES THAT CANNOT BE FULLY the crossfade is no longer valid anyway (since the COMPUTED splice point has changed). You can reapply the If AudioDesk computes a fade or crossfade and the crossfade after you modify the soundbite edge. level of the mixed audio in it exceeds unity gain (0 dB), the fade appears bright red to alert you to CLIPPING WHEN CROSSFADES ARE the fact that it is clipping. CALCULATED If clipping occurs when AudioDesk calculates a If, for some reason, a fade or crossfade doesn’t have crossfade, the crossfade is drawn in red instead of enough audio for AudioDesk to compute the the soundbite’s color. In this case, you will probably complete fade, it appears bright blue. For example, want to re-apply the crossfade, adjusting the you might draw a crossfade that is two seconds curves. Try using the equal gain curves (since it is long, but one of the soundbites involved may not impossible for clipping to occur when using equal have a full extra second of audio in the parent audio gain). file beyond the edge of the soundbite. In this case, the crossfade appears bright blue to indicate that it cannot be fully computed.

276 FADES AND CROSSFADES CHAPTER 35 Clippings

OVERVIEW CLIPPING WINDOW QUICK REFERENCE A clipping is anything useful that you’d like to Clipping window title bar conveniently stash for future use. It could be a Bundled effects clipping single soundbite, a four-bar phrase, or an entire sequence — with any number of tracks. It can even be an effects chain or a word processing document An effects clipping on your hard drive with some song lyrics in it. A clipping can consist of AudioDesk data in a portion of any size. It can also consist of any item found on your MacOS file system, including folders, An audio clipping documents from other applications, and so on.

AudioDesk gives you Clipping windows to put all of this material at your fingertips. Clipping windows are meant to be convenient repositories for bits of stuff — audio or otherwise — that you’d like to A text document stash conveniently and recall later at your Figure 35-1: A clippings window. fingertips. You can store clipping windows with a particular AudioDesk file, or you can store them CLIPPING WINDOWS independently the file you have open, so that their The following sections show you how to create, contents are always available. rename, use, and otherwise get the most out of clipping windows. Clipping window Quick Reference...... 277 Clipping windows ...... 277 Creating a new clipping window Clippings ...... 279 To create a clipping window, choose Project menu> Clippings>New AudioDesk Clipping Window or Clippings>New Project Clipping Window.

Here’s the difference: an AudioDesk clipping window will be available regardless of the file you have open. A project clipping window is specific to the file you create it in; it will save and close with the file.

277 Renaming a clippings window To rename a clippings window, option click its name, or change the name of its corresponding folder in the Mac OS Finder.

To rename the clippings window, option-click the name.

Figure 35-2: The Clippings menu. Opening & closing existing clipping windows To open a clipping window or bring it to the front, A new clippings window appears. select it by name from the bottom part of the clippings menu as shown in Figure 35-2. To close a clipping window, click the close box.

Clipping windows remember their position on the screen.

You can create as many clipping windows as you Opening a clipping window’s folder like. To open the corresponding Finder window for a given clipping window, command-click on the title Clippings windows are actually folders bar of the window and choose the desired folder Each clipping window actually consists of a folder from the pop-up list. in either the Clippings folder in your AudioDesk project folder (for project-specific clipping Deleting a clipping window windows) or a MOTU Clippings folder in ~/ To delete a clipping window: Library/Preferences (for global clipping windows). 1 Make it the active window. Since Clippings windows are simply folders in the above-mentioned locations, you can also make 2 Choose Clippings > Delete Clipping Window clipping windows by simply creating folders (with from the Project menu. any name you want) in those locations. They will then appear as clippings windows in AudioDesk Or you can trash the window’s corresponding the next time you open the project or start folder in the Finder. AudioDesk. Viewing by name or large/small icon The View by options in the Clippings sub-menu as shown in Figure 35-2 let you display clippings by name only, a small icon or a large icon.

278 CLIPPINGS CLIPPINGS Track data clippings The following sections show you how to create, Anything that you can put in a track can be stored rename, use, and otherwise get the most out of as a track data clipping. This includes audio, clippings. sequences, automation data, etc.

Making a clipping Track data clippings appear with a note icon when To make a clipping, select some data and choose the clippings window is in small icon display mode. the Copy to Clipping Window command in the Edit These types of clippings can be dropped anywhere menu. Or you can press command-option-c to in the Edit window. copy to the last clipping window that you copied to. Soundbite and audio file clippings You can also drag items from the Finder or from Soundbite clippings, when dragged from a clipping any location from which soundbites can be window, become soundbites. They can be dropped dragged (such as the Soundbites window and other anywhere in AudioDesk that soundbites can be clipping windows). dropped. Both Soundbites and audio files show up with a single-waveform icon in the clippings Dragging clippings into other AudioDesk window for mono files or a dual-waveform icon for windows stereo files. Once you’ve made a clipping by copying it to a Clippings window, you can drag it into any other Plug-in effects clippings eligible window in AudioDesk. Eligible windows You can select one or more plug-ins for a track in are windows that can accept the type of data the Mixing Board (they must be instantiated on the included in the clipping. For example, you can’t same track) then turn them into a clipping (as drag an audio clipping into the Mixing Board. But shown in Figure 38-18 on page 315) by either you can drag an effect preset clipping into the insert dragging and dropping them into a clipping section of the Mixing Board. window (as explained in “Plug-ins as clippings” on page 315) or by choosing Edit menu> Copy to To drag and drop a clipping, drag it by its icon (to Clipping Window. the left of its name) and drop it into the desired window. Or, you can click it first to select it and Saving sequences as clippings then click on it anywhere to grab it. You can select a sequence in the Sequences window and turn it into a clipping by choosing Edit menu> When you drag and drop a clipping, you are Copy to Clipping Window. actually making a copy of it. (The original remains in the Clippings window.) Selecting clippings To select a single clipping, click its name. To select ☛ If the Clippings window is in Show by name several clippings, drag across their names, or shift mode, there is no icon to grab. In this case, click each one. AudioDesk lets you click anywhere on a clipping to drag it. Because of this, however, AudioDesk Auditioning clippings disallows you from dragging over multiple To audition a clipping, double click the clipping. To clippings to select them. If you would like to do so, audition multiple clippings, select them as simply switch to one of the show by icon modes. described above and then double-click one of the highlighted clippings.

279 CLIPPINGS If you are auditioning audio clippings and don’t Launching other documents from the here anything, you may have soundbites whose clippings window parent audio file has been deleted, or they might Double clicking on files and folders in the clippings not match the current sample rate. window to open the folder or open a document in its native application. If auditioning from the clippings window is not working out, you can always drop the clipping into Dragging items in from the Finder a track and set up the playback settings exactly the A clipping window can contain any item that the way you want. Finder can contain.

Deleting a clipping Dragging clipping files in from the Finder To delete a clipping, drag it to the trash, or select it Clippings files (located in one of AudioDesk’s and press the delete key. clipping folders) can be dragged from the Finder to any window in AudioDesk that accepts clippings. Renaming a clipping To rename a clipping, option click the name of a Alias clippings clipping. Alias clippings work just like the original file — with two exceptions: rename and delete operate on Re-ordering clippings in the Clippings window the alias and not on the original file. Otherwise, You can re-arrange items in the clipping window by AudioDesk handles the alias just like the original grabbing their icon to the left of their name and file. dragging up or down in the list as desired.

280 CLIPPINGS Part 6 Arranging

CHAPTER 36 Markers

OVERVIEW MARKERS WINDOW QUICK REFERENCE The Markers window allows you to display and edit Position Marker name the markers for a sequence. A marker is a name indicator attached to a particular location. The Markers window can be used as a sophisticated autolocator, allowing you to move to a location instantly. The Markers window provides an easy way to organize your music; markers are visible in the Edit window, and are useful in quickly specifying editing regions.

Markers window Quick Reference ...... 283 Locked Markers window mini-menu...... 284 indicator Basics ...... 284 Marker Opening a Markers Window ...... 284 location Switching between sequences ...... 284 Figure 36-1: AudioDesk’s Markers window. Creating new markers ...... 284 Position indicator: Displays the current location in Changing the name of a marker ...... 285 the Sequence. Drag on the indicator to move it. Changing a marker time location ...... 285 Click anywhere in the grey region to move the Setting the counter to a marker location...... 285 indicator to a marker. Moving the indicator Jumping to a marker with a shortcut ...... 285 changes the current location in the Sequence. Selecting markers ...... 285 Using markers to define an edit region ...... 286 Marker name: Click on a marker’s name to select it. Selecting with markers ...... 286 Option-click on the name to change it. Drag over Markers in the Edit window...... 286 several names to select several markers. Use Locking and unlocking markers ...... 286 Command-click to select or deselect several non- Shifting locked markers in time...... 286 contiguous markers. Locked markers and the sequence start time ...... 286 Marker hints ...... 287 Marker location: Displays the marker locations in your choice of AudioDesk’s various time formats, including SMPTE time code. Click on a location to change it. Select the format you wish to see in the Time Display sub-menu (Setup menu).

Locked indicator: Indicates that the marker is locked to SMPTE frame time. Toggle from locked to unlocked and back by clicking in the lock column next to the marker name.

283 MARKERS WINDOW MINI-MENU OPENING A MARKERS WINDOW New Marker: Adds a new marker at the current To open the Markers window, choose Markers location. Hold down the option key while choosing from the Project menu, or press Shift-K. Add to add several markers at once. If the project contains multiple sequences, each Lock Marker: Locks the highlighted markers to sequence has its own set of markers, and the real/frame time. A small lock icon appears by the Markers window displays markers that belong to marker’s location to indicate that it is locked. the currently play-enabled sequence. In addition, the Window Target tab displays the name of the Unlock Marker: Unlocks the highlighted markers. sequence to which the markers belong.

Shift locked markers: Shifts all highlighted locked SWITCHING BETWEEN SEQUENCES markers by a time offset. The Markers window shows the markers for an individual sequence. If you are working with Deletes the highlighted markers. Delete Marker: multiple sequences in an AudioDesk project, you may often work with just one Edit window and one BASICS Markers window open at a time. If you switch the The Markers window is used to display and sequence being viewed in the Edit window (by manipulate markers. Each sequence listed in the clicking on the sequence name in the Window Sequences window has its own set of markers. The Target menu), the Markers window automatically Window Target tab in the title bar of the Markers switches to show the markers of the newly chosen window displays the sequence to which the sequence. The result is that the markers being markers belong. Each marker consists of a name shown in the Markers window match the sequence and a time location it is associated with. Markers being viewed in the Edit window. This only are listed in chronological order. You can display happens when one Markers window is open. the location of a marker in measure time, real time, frame time or samples. You can manually switch the Markers window from one sequence to another by clicking the name Measure location versus SMPTE location Normally a marker remains at the same measure of the sequence in the Window Target tab as shown location when you change the tempo of the below: sequence. In this case, changes in tempo or structure will affect the SMPTE frame location of the marker. However, there may be times when you want a marker to remain anchored to a SMPTE frame location. AudioDesk lets you ‘lock’ markers to a SMPTE frame location. When you change the CREATING NEW MARKERS sequence tempo or make edits, the SMPTE frame To add a new marker, choose New Marker from the location of locked markers will not change and, Markers window mini-menu, or press the instead, the measure location will change to reflect keyboard shortcut (assigned in the Commands the new tempo or edit. window). The marker’s location will be the same as that showing in the Counter. To add several markers at once, hold down the Option/Alt key while choosing New Marker from the mini-menu.

284 MARKERS CHANGING THE NAME OF A MARKER To move to the location of a marker, press on the To change the name of a marker, option-click the position indicator and drag it to the marker you marker name. Use the Enter or the down arrow key want. You can scroll the list up or down by dragging to approve the entry and move to the next marker the position indicator slightly past the top or name, or the up arrow key to approve the entry and bottom of the marker list. move to the previous marker name. JUMPING TO A MARKER WITH A SHORTCUT CHANGING A MARKER TIME LOCATION In the Commands window (Setup menu), there is a To change the time location of a marker, click the command called Go To Marker (in the Transport time location you wish to change to pop-edit the commands group). By default, the keyboard value. Use the Tab key to move between time fields. shortcut for this command is Shift-Control-M, but You can use the Enter or down arrow key to you can reassign it to any key you wish (that doesn’t approve the change and move to the time location conflict with another assignment, of course). of the next marker; use the up arrow key to approve the change and move to the time location of the After invoking the Go To Marker command, type in previous marker. the desired marker number.

If you change the measure time of a marker, even a There are also commands for Go to Previous locked marker, the real and frame times will also Marker and Go to Next Marker. These commands change. Changing the real or frame time of a move the counter to the next or previous marker in marker will cause the measure time location to the sequence from the current counter location. change. SELECTING MARKERS Since the markers are listed in chronological order, To select a marker in the Markers window list, a marker may seem to vanish when you edit its highlight it by clicking on its name. There are location. In such cases, the marker has simply been several methods for selecting several markers at moved out of the visible portion of the marker list. once:

SETTING THE COUNTER TO A MARKER To select several adjacent markers, press on a LOCATION marker name and drag over the desired names. All You can easily set the current location displayed in markers dragged over will highlight. the counter to the location of a marker. This lets you to move to a location by its name instead of To select several non-adjacent markers, hold down time, making it unnecessary for you to keep track the Command key and click on the names of the of a number of arbitrary measures and times. markers you wish to select. They will highlight.

To deselect markers when more than one are highlighted, hold down the Command key and click on the markers you wish to deselect. They will unhighlight.

To extend the currently selected region, shift-drag over the desired end location.

285 MARKERS USING MARKERS TO DEFINE AN EDIT When a marker is unlocked, it remains anchored to REGION a specific measure/beat/tick, and its SMPTE frame You can use markers to define a region to be edited: location is flexible. instead of typing the Start and End locations in the Selection Information window, you can use the To toggle a single marker between locked and Markers window and the Selection Set To menu. unlocked states, click in the lock column next to the marker’s name, or option-click it in the Edit To define a region using the Markers window: window. To lock or unlock several markers at once, select them and choose Lock or Unlock from the 1 Select a group of markers such that the Markers window mini-menu. beginning and end marker of the group are at the starting and end times of the region to be edited. SHIFTING LOCKED MARKERS IN TIME The Shift Locked Markers command on the If the marker with the start time you want for the Markers window mini-menu lets you shift the edit region and the marker with the end time for times of highlighted locked markers by the amount the region are not adjacent, you must select all you specify. Unlocked markers which are selected markers in between. Click on the starting marker are unaffected by this command. and drag down until you reach the ending one. To shift the times of locked markers, select them 2 Choose Set to Selection Bounds from the Set To and choose Shift Locked Markers from the Markers menu in the Selection Information window. window mini-menu.

You can now use one of the commands from the LOCKED MARKERS AND THE SEQUENCE Edit or Audio menus. You can also use this START TIME procedure to transfer marker times to the Memory There are several options in the Set Sequence Start and Auto Record bars in the Control Panel. dialog that affect the location of locked markers when changing the sequence start time. SELECTING WITH MARKERS When you click a marker in the Edit window, it The Preserve current frame time option, when creates a time-range selection that extends to the checked, lets you preserve the absolute frame next marker or end-of-sequence. location of locked markers when changing the SMPTE start time of the sequence. In other words, MARKERS IN THE EDIT WINDOW locked markers won’t move; they will remain Markers appear in the Edit Window, where they anchored to their SMPTE time code frame. can be locked or unlocked (by option-clicking). However, commands on the Edit menu cannot be If the new SMPTE start time causes a locked applied to markers. marker to shift before the beginning of the sequence, the marker will be placed at the LOCKING AND UNLOCKING MARKERS beginning of the sequence. If you would rather get Markers can be connected to a SMPTE frame rid of such markers altogether, check the Delete if location such that they will retain that location if before start of sequence option. the tempo is changed: they can be “locked” to the location. If the tempo is changed, the measure time location of the marker will change.

286 MARKERS If you wish to leave locked markers in the same afterwards or markers can be entered first to lay out position relative to the start of the sequence, use the structure of the sequence before recording. In the Preserve length of time from start of sequence the latter case, markers can be used as a kind of option. musical outline for the structure of the piece.

Markers can be used to quickly rewind to the beginning of a section. They can also be used as structural place holders to mark the ends of unfinished sections.

Film and video scoring Markers make an excellent cue sheet for planning out or displaying the structure of your sequence. They can show you the relationship between time locations in the film and measure locations in the music. You can then find the tempo that best lines up metrical beats of the sequence with important visual events. This can all be done before recording a note of music.

Figure 36-2: These Set Sequence Start options either preserve locked markers or shift them relative to the beginning of the sequence when In addition to using markers to define the structure changing the SMPTE time code start frame. and tempo of your sequence, you may want to add markers for visual cues and hit points. These MARKER HINTS markers should be locked since their time location Below are some helpful hints for using Markers. corresponds to a frame location. Once locked, the Composing and arranging measure time location of the marker will be Markers provide a useful tool for labeling updated if you change the tempo and meter. The structural sections of a piece of music. The music frame location will not change. can be recorded first and markers added

287 MARKERS 288 MARKERS CHAPTER 37 Sequences

OVERVIEW S# (Song Select Number): Displays the song select A sequence is a set of tracks, which are listed in that number that will play-enable the sequence when sequence’s Edit window. received from a MIDI controller. Song select numbers range from 0-127. If a sequence has no The Sequences window displays the sequences in song number assigned, the column displays a an AudioDesk file. A sequence is a collection of single dash (-). tracks. An AudioDesk file can contain as many sequences as you wish. Sequences can be cued for If AudioDesk receives a song select number that is playback, either automatically or manually, in assigned to two or more sequences, AudioDesk will order or at random. cue the sequence that appears highest in the list. For this reason, it is best to assign a unique Song Many essential operations in a sequence are done Select number to each sequence. in the Edit window: tracks are added and deleted, editing regions within tracks are specified and End time: Displays each sequence’s End time. In much more. See chapter 28, “Edit Window” automatic mode, End time is the downbeat of the (page 205) for complete details. Each sequence also measure following the last complete measure in the has its own Markers window. See chapter 36, sequence. When a sequence’s End time is in manual “Markers” (page 283) for details. mode, it is bold and can be edited to any length.

Sequences window Quick Reference ...... 289 Name: Displays the name of the sequence. Click the Basics ...... 290 name to select the sequence. Option-click the The Sequence Control buttons ...... 294 name to change it. Double-click the name to open the Edit window belonging to the sequence. SEQUENCES WINDOW QUICK REFERENCE Comments: Displays as much as possible of your comments for each sequence. View and edit the comments by clicking them.

Next/Previous Sequence buttons: If you have more than one sequence or song in the file, these buttons skip to the next or previous one, much like the skip Figure 37-1: The sequences window lists all sequences in the AudioDesk file. buttons on a CD player.

Type: This icon is used to change the order of Chain Sequences button: When highlighted, starts sequences in the list. playback of the next sequence in the list after the current playback sequence reaches its End time. Play: Shows the play-enable button for each sequence. When a sequence’s play-enable button is Cue Sequences button: When highlighted, it play- blue, the sequence is play-enabled. Only one enables the next sequence in the sequences list after sequence can be play-enabled at a time. the current playback sequence reaches its End time

289 and stops. To begin playback of the next sequence, Opening the Sequences window press the Play button, or a command for the Play To open the Sequences window, choose Sequences button. from the Project menu. The sequences window will appear, displaying a list of all sequences in the The Sequences window mini-menu project. The Sequences window mini-menu contains the following commands: Selecting sequences There are several methods of selecting sequences: Add sequence: Adds a sequence to the sequence list. To add several sequences at once, press the To select a single sequence, click on its name. The Option key while choosing Add. name will highlight.

Duplicate Track Layout: Creates a new, empty To select several adjacent sequences, click a sequence with the same track layout as the selected sequence name and drag over the desired names. sequence. Select an existing sequence before All sequences dragged over will highlight. choosing this command. To select several non-adjacent sequences, hold down Open sequences: Opens the Edit window for each the Command key and click on the names of the highlighted sequence. sequences you wish to select. They will highlight.

Auto/manual end time: Tog g les t he Auto/manua l To deselect sequences when more than one are status of the selected sequences. Automatic mode highlighted, hold down the Command key and locks the sequence’s End time at the downbeat of click on the sequences you wish to deselect. They the measure following the last complete measure in will unhighlight. the sequence. Manual mode changes the time to boldface and allows it to be edited. Creating new sequences To create a new, empty sequence, choose Add Set Sequence Start: Establishes the start times of sequence from the sequences window mini-menu. the currently selected sequence(s) in each of To add several new sequences at once, hold down AudioDesk’s four time formats: measures, real the Option key while choosing Add sequence. You time, SMPTE time and samples. The start times are will be prompted for the number of sequences to what you see in the counter when you rewind back add. to the beginning of the sequence. To create a new sequence with the same track Delete: Deletes the selected sequences. layout as an existing sequence, highlight the existing sequence and select Duplicate Track BASICS Layout from the sequences window mini-menu. A The Sequences window lists the sequences in a file new sequence will be added with the same name as and provides useful features to manage them, such the sequence you highlighted preceded by the as adding, deleting, and other operations. words Copy of. It will have the same track layout as Sequences can also be automatically cued to the highlighted sequence: the number of tracks, the playback in the order in which they are listed in the track names, and the track playback channel sequences window. For more information about assignments will be identical to the original. cueing, see “The Sequence Control buttons” on page 294. 290 SEQUENCES Duplicating existing sequences Sometimes you may want to duplicate a sequence to experiment with changes or for some other reason. To duplicate a sequence:

1 Highlight the sequence’s name in the sequences window. Figure 37-2: Copying the current selection to a new, separate 2 Choose Copy from the Edit menu. sequence. To create a sequence from the Edit window: 3 Choose Paste from the Edit menu. 1 Make any selection that you wish. An exact copy of the sequence, including all the data in the tracks, will be placed at the end of the 2 Choose Copy Selection to New sequence from the list in the sequences window. Rename it Edit window mini-menu (from the Sequences sub- immediately so that you do not get the copy and the menu as shown in Figure 37-2). original mixed up. A dialog box appears. Loading sequences from another file AudioDesk’s Load command (File menu) allows you to quickly import sequences into an open file from another, unopened AudioDesk file. See “Loading a sequence from another file” on page 64.

Copying and pasting sequences between projects You can copy and paste entire sequences that have been selected in the sequences window. When copying and pasting sequences, all soundbites and sequences used in them are also copied and pasted 3 Type in a name for the sequence. into the destination project. 4 Type in an End Time to determine the length of Splitting up an existing sequence into separate the sequence. sequences The Copy selection to new sequence command in By default, the end time is determined by the the Edit window’s mini-menu sequence sub-menu length of the selected region. (Figure 37-2) takes the current selection in the Edit window and turns it into a new, separate sequence 5 (Optional) Type in any other information you in the Sequences window. wish.

6 Press OK to confirm your choice or Cancel to withdraw the command.

291 SEQUENCES Deleting sequences Playing-enabling by remote control To delete a sequence, click its name to highlight it AudioDesk also provides two different methods of and choose Delete from the sequences window play-enabling sequences from a remote device. mini-menu. To delete several sequences at once, highlight the name of each one as described in the Sequence Selection commands Selecting sequences section above. You can Undo The first method is with the sequence select this command. commands found in the Commands window (Setup menu), where each sequence is assigned a Choosing the current playback sequence Mac key binding. You play-enable a sequence by At any given time, one sequence is designated as pressing its corresponding Mac key binding. Please the current playback sequence. This sequence is refer to chapter 16, “Commands” (page 113) for the only one you can play and record into. Certain more information. functions, such as recording, are available only to the currently play-enabled sequence. For example, Song Select messages if a sequence is play-enabled, its Edit window has The second method is sequence select, which allows record-enable buttons by its tracks. Only that you to cue sequences for playback by sending a sequence’s Edit window will have record-enable MIDI Song Select message from a MIDI controller. buttons. The sequences window column S# displays the Song Select number that, when received, will cue You may edit any sequence in the file at any time the corresponding sequence for playback. If a regardless of whether it is play-enabled or not. sequence has no Song number assigned, the S# column displays a single dash (-). To play-enable a sequence: Most hardware sequencers and some MIDI ■ Click the play-enable button to the left of the keyboard controllers can send and receive Song sequence name. It will turn blue. The play-enable Select messages. Simply send a Song Select message buttons of the other sequences will be gray. as instructed in that module’s documentation. If OR the open file contains a sequence assigned to the Song number in the message, that sequence will be ■ Click the Next/Previous Sequence buttons as play-enabled. If more than one sequence has the needed until the sequence’s name is displayed in same Song number assigned, the one highest in the the Info bar in the Control Panel sequences list will be cued.

When used in combination with the Sequence Chaining buttons in the Sequences window, a Song Select message cues the corresponding sequence to be play-enabled or played back. OR Opening sequences Each sequence has its own Edit window. To see a ■ Select the sequence from the sequence menu in sequence’s Edit window, click the sequence’s name the Edit window mini-menu to highlight it and choose Open sequences from the sequence window mini-menu. Or just double-click the sequence name.

292 SEQUENCES Rearranging the order of sequences A box appears. If you’ve already entered a comment You may rearrange the sequences in whatever order for the sequence, the entire comment appears is most meaningful to you. To change the position highlighted in the box. of a sequence in the sequences list: 2 Enter or edit the comment 1 Press the type icon of the sequence you want to move. 3 Click OK to confirm the changes you’ve made and close the comments box, or click Cancel to The cursor changes into that sequence icon. discard the changes.

2 Drag and drop the mouse to the position where Press the down arrow key or the Enter key to you want the sequence. approve the changes you’ve made and move to the comment for the next sequence. The up arrow key Rearranging the order of the sequences is a useful likewise moves to the comment for the previous organizational tool. In addition, it lets you sequence. determine the sequences’ default cueing order when using the Next/Previous Sequence, Cue When entering or editing a comment, the Return Sequences, and Chain Sequences buttons key starts a new line of text instead of approving the described later in this chapter. changes as usual in AudioDesk’s user interface.

Changing the name of a sequence Auto versus manual end time To change the name of a sequence: The sequences window field End Time displays either the automatic, AudioDesk-generated ending 1 Option-click the name of the sequence. time of the sequence, or a time that you have entered manually. It’s important to understand A small box will pop up. how this time affects your music. 2 Type the sequence name in the box. When using the sequence controls in the 3 Press the Return key or click outside the box to Sequences window, you’ll find that each sequence’s confirm the name or Command-period to cancel End time does affect its playback length. For it. example, clicking Play with the Chain Sequences button enabled causes playback of one sequence You can use the Enter or down arrow key to after another, each sequence playing until the approve the change and edit the next sequence counter reaches that sequence’s End time. Reverb name in the list. You can also use the up arrow key tails or other playback artifacts that normally to approve the change and edit the previous would last through the End time will be cut off. You sequence name in the list. can avoid this by setting a sequence’s End time to be later, thereby building sustain into the Entering comments sequence’s play length. To enter or modify comments for a sequence: For more information about sequence cueing, see 1 Click in the comments field to the right of the “The Sequence Control buttons”, below. sequence name.

293 SEQUENCES THE SEQUENCE CONTROL BUTTONS For example, the sequence control buttons are The Next Sequence and Previous Sequence buttons perfect for live performance. Before a set, you play-enable the next or previous sequence listed in could organize the sequences list in the order you the Sequences window. The Cue Sequences button wish for the set. Then, before you begin, you could play-enables the next sequence in the list after the enable the Wait button. To begin the set, you simply current sequence plays to its end time and stops. press play. When the first song ends, the next song The Chain Sequences button causes the next automatically cues up, and you can trigger it at sequence in the list to automatically begin playing your leisure from your MIDI keyboard. Or, when the current sequence finishes playback. without the Wait button, you can have AudioDesk go right into the next song without waiting. Chaining using the Sequences window The Sequence cueing buttons in the Sequences It is also possible to cue and play sequences window allow automatic and real-time cueing of remotely from your MIDI controller. For more sequences, and automatic playback of cued information, see chapter 16, “Commands” sequences. The Cue Sequences, Chain Sequences, (page 113). and Next Sequence, and Previous Sequence buttons let you play sequences from the Sequences When the Cue Sequences or Chain Sequences window, moving up or down the list at your button is enabled, the Stop time displayed in the command. Memory Bar indicates the measure time at which the current sequence will stop playing and the next Sequence cueing does not yield seamless sequence will be cued. This time appears transitions between sequences. Use them for automatically when a sequence is cued; it cueing situations where a pause between sequences corresponds to the sequence’s End time in the — either brief or indefinite — is acceptable or Sequences window. preferred.

Chain Sequences (or Cue Sequences) button is activated.

Figure 37-3: When either the Cue Sequences or Chain Sequences button is activated, the end of the sequence is graphically depicted in all time rulers with the end barline marker, which you can drag with Snap to Grid turned on or off. This is the point at which it will stop before the next sequence will be cued.

294 SEQUENCES You can edit the Memory Bar time by clicking it, but this change lasts only until the next sequence is enabled. If you wish a different End time to appear in the Memory Bar automatically for a particular Figure 37-5: The Chain Sequences button makes AudioDesk cue up sequence, pop-edit the End time in the Sequences and start playing the next sequence in the Sequences window when it reaches the end of the current one. window. Simply click the sequence name and choose Auto/manual end time from the Sequences Chaining with this button does not yield seamless window mini-menu. The time becomes bold and transitions between sequences. Use it for cueing editable. Remember that the End time only affects a situations where a brief pause between sequences is sequence’s playback length when using the sequence acceptable or preferred. control buttons. Viewing the Sequence End Time The Cue Sequences button When the Cue Sequences or Chain Sequences The Cue Sequences button, when highlighted, button is highlighted, the end time of the sequence play-enables the next sequence in the sequences list is graphically displayed as a final barline in the time after the current playback sequence reaches its end ruler of the Edit window. time and stops. The Next Sequence and Previous Sequence buttons The Next/Previous Sequence buttons enable the next or previous sequence for playback. Clicking these buttons is similar to pressing the skip buttons Figure 37-4: The Cue Sequences button makes AudioDesk play- enable the next sequence in the Sequences window when it reaches on a typical audio compact disc player: AudioDesk the end of the current one. stops playback of the current sequence and starts To begin playback of the next sequence, press the playback of the next or previous sequence. Play button, or a command for the Play button. Chaining sequences in this manner does not yield seamless transitions between sequences. The Chain Sequences button The Chain Sequences button, when highlighted, starts playback of the next sequence in the list after the current playback sequence reaches its End time. This is a simple way of automatically chaining sequences in their sequences list order.

295 SEQUENCES 296 SEQUENCES Part 7 Mixing

CHAPTER 38 Mixing

OVERVIEW The Mixing Board will seem familiar because it is AudioDesk’s Mixing Board window provides a modeled after standard hardware consoles. powerful integrated mixing environment your Lurking under the hood, however, are many AudioDesk projects. It also provides access to real- powerful features, as well as many time-saving time effects processing. shortcuts. This chapter covers them all.

Audio effects processors Track Selector

Track Insert Section

Audio track sends

Solo/mute/rec/ input

Automa- tion Pan

Faders and level meters

Track I/O Track name / assign- ments

Audio Master fader Aux tracks Show/Hide Track Selector

Snapshot Mix Mode menu

Figure 38-1: The Mixing Board gives you a fully automated mixing environment.

299 Mixing Board Quick Reference...... 300 Audio track sends: Allow you to bus the track’s Mixing Board mini-menu ...... 301 signal, either pre- or post-fader, to other tracks. Mixing Board window basics ...... 302 Track strips...... 304 Solo/Mute/Rec: These buttons perform standard Automated mixing ...... 310 solo, mute and record enable functions. “Glide” Mixing in real time ...... 311 horizontally across these buttons with the mouse to Editing your mix graphically ...... 311 quickly toggle several tracks at once. Monitoring ...... 311 Audio mixing features ...... 311 Automation: Enables playback and recording of Working with effects plug-ins...... 313 automation data and sets the automation mode. Narrow view in the Mixing Board ...... 315 For more information, see chapter 39, “Mix Working with multiple mixes ...... 316 Automation” (page 319). MIXING BOARD QUICK REFERENCE Pan: The pan knob pans an audio track across its Track Selector: Click or drag over the names of the pair of outputs, as assigned in the Edit window. For tracks in this list to show or hide them in the example, if a track is assigned to outputs 3 and 4, Mixing board. Option-click to hide all except the pan hard left sends the track to output 3; pan hard track you click; command-click to show all except right sends it to 4. Double-click the pan knob to go the track you click. to pan center. If pan automation data has been recorded, knobs animate during playback (when Show/Hide Track Selector: Shows and hides the list the Automation play button is enabled). of tracks at the left side of the window. Faders: Control volume for each track by Snapshot button: Takes a snapshot of the current generating audio volume events, which can be mix automation settings you specify for the tracks recorded into the track for automation. If you specify over the time range you specify. The automation data has been recorded, faders animate snapshot operation inserts mix automation events during playback (when the Automation play in each included track at the current main counter button is enabled). location. This can be done while AudioDesk is stopped or playing back. Level Meters: The level meters display the audio output level for each audio track. Track Insert Section: Displays real-time processing inserts for each track. Choose the Track I/O: These menus give you direct access to desired effect from the insert menu, or click a menu each track’s input and output assignments. to open an effects window for the insert. Insert effects consist of plug-ins such as EQ, dynamics, Track name and assignment: Double-click the reverbs, delays, and any 3rd-party plug-ins you track name to open the track in the Edit window. currently have installed in your system. You can Drag it left or right to move the track in Mixing change the number of inserts per track with the Set Board. Number of Inserts mini-menu item. Tracks: Each strip in the Mixing Board represents Audio effects processors: These are real-time, an disk track, aux track or master fader track in the non-destructive audio processing inserts that can currently play-enabled sequence. Show or hide be applied to audio tracks.

300 MIXING them as desired using the Show/Hide Track Use Narrow View: When checked, this menu item Selector (described above). Drag the track strip reduces the mixer channels horizontally, enabling name horizontally to re-order them. you to display more channels in the same space.

Mix Mode menu: Lets you create and manage Enable Mouse Wheel for Sliders and Knobs: When multiple mixes for a sequence. A mix consists of all enabled, the mouse scroll wheel can be used to of the volume pan and effects automation data in adjust the volume fader, pan knob, and other all tracks. You can duplicate a current mix and then sliders and knobs; when disabled, the mouse scroll modify it, or start from scratch by creating a new, wheel only scrolls the Mixing Board window. blank mix. Volume and pan automation data for the current mix is recorded into tracks as usual Set Number of Effect Inserts...: Lets you determine with the Mixing Board controls, or with the other how many insert slots you need per channel. Up to continuous controller features in AudioDesk. Once 20 insert slots can be specified. you’ve created more than one mix, you can Automatically Add Inserts: When checked, the instantly switch between mixes by choosing them Mixing Board adds another row of inserts from this menu. automatically when you fill the last (bottom-most) Window Target: Change which sequence you’re insert slot. viewing in the Mixing Board window. Set Number of Sends...: Lets you determine the MIXING BOARD MINI-MENU number of sends per channel. Up to five sends can Mixer section show/hide: This section of the mini- be specified. menu displays checkable menu items that show Rearranges the window with and hide each section of the console. Checked Load Board Layout: the mixing board layout that you choose from the items are visible. Unchecked items are hidden. sub-menu. A layout consists of which tracks and Hold down the option key to hide all sections sections are currently showing in the window. except the one you choose; use the command key There are several preset layouts, such as Show to show all sections except the one you choose. If Everything, which shows all tracks and sections. the Auto Resize command is checked, the console You can also load a layout that you have previously window will automatically resize itself when sections are shown or hidden. You can use these created with the Save Board Layout command. A options to customize your mixing board and save shortcut for this command is to option-click the title bar of the Mixing Board window. screen real-estate.

☛ By default, sends are not shown. If you would Save Board Layout: Saves the tracks and mixer like to use sends in your project, be sure to check sections currently being shown in the window as a off ‘Sends’ in the mini menu. customized board layout, which you can name, save, and recall at later time using the Load Board Auto Resize: When checked, this menu item causes Layout command described above. the Mixing Board window to resize itself when sections or tracks are shown or hidden. Delete Board Layout: Discards the customized board layout that you choose.

301 MIXING Lock Layout to Track Order: Causes the left-to- Track Selector Track Selector button right order of tracks in the Mixing Board to match the top-to-bottom order of tracks in the Edit window. When it is unchecked, tracks in the Click, option-click, Mixing Board can be ordered independently. and command-click Min Time and Value Change: Allows you to set the in this list. minimum amount of time between volume and pan events that the mixing board controls will generate when you move them. Also lets you choose the minimum value change. Raising these values can prevent unnecessarily high data density. But raising them too high can result in zipper Figure 38-1: Showing and hiding tracks. noise, or audible “stepping” during smooth Changing the order of the track strips changes. To move tracks left or right, drag them by their name at the bottom of the strip. MIXING BOARD WINDOW BASICS The Mixing Board is a track-based mixing console Showing and hiding sections for all tracks in your AudioDesk project. It has one Use the section names at the top of the Mixing strip for each track in the sequence. Board window mini-menu to show and hide console sections, such as the Inserts section. Opening the Mixing Board Checked items are visible. Unchecked items are To open the Mixing Board, choose the Mixing hidden. This allows you to optimize the console Board command from the Project menu. If you appearance for your screen size. Hold down the have tracks selected at the time, the mixing board option key to hide all sections except the one you will appear with only those tracks showing. If you choose; use the command key to show all sections have multiple sequences in the file, it chooses the except the one you choose. If the Auto Resize sequence to open by the front-most window on the command is checked, the console window will screen, or alternately, by which sequence is automatically resize itself when sections are shown currently play-enabled. or hidden. Showing and hiding tracks To choose which tracks you want to display, click the Track Selector button in the title bar as shown below to open the Track Selector. Then just click tracks to either show them or hide them. Option- click to hide all except the track you click; command-click to show all except the track you click.

302 MIXING Figure 38-3: Saving and loading customized board layouts.

Renaming board layouts To change the order of the tracks, drag them by To rename a board layout, choose the Rename their name section at the Board Layout sub-menu item from the Load Board bottom of each strip. Layout mini-menu command.

Figure 38-2: A simplified Mixing Board layout with several sections Manually resizing the Mixing Board window hidden, including inserts. You may notice that the Mixing Board window Saving custom board layouts automatically resizes itself when you add or remove If you have favorite board layouts that you use tracks, show or hide sections, or switch board frequently, you can save them and later recall them layouts. This is because the Auto Resize mini-menu by name. To create a custom board layout: command is checked. If you would prefer to resize the window manually using the grow box in the 1 Using the track selector, show the tracks you lower right corner, uncheck Auto Resize. want to include in the layout; hide tracks you don’t. Switching sequences 2 Using the show/hide section mini-menu To quickly switch the sequence you are looking at commands, show the sections you want to include in the Mixing Board window, click the window’s and hide the ones you don’t. Window Target tab and choose the desired sequence from the menu. The tracks shown in the 3 Choose Save Board Layout from the mini-menu. Mixing Board will change when you change the play-enabled sequence. 4 Type in a name for the layout and click OK.

Switching board layouts There are several ways to change board layouts:

■ Choose the layout you want from the Load Board Layout mini-menu command

■ Option-click the Mixing Board’s Window Target tab and choose the layout you want from the menu

303 MIXING TRACK STRIPS mini-menu option. When you select the desired Each audio track strip has the sections shown processor type from a menu, the Effects window below in Figure 38-4. opens to display the selected processor’s parameters. See “Working with effects plug-ins” on Audio Track Strip page 313 for more information.

The signal for a track passes through the inserts Inserts from top to bottom. Accordingly, inserts are pre/post fader labelled A, B, C, etc. from top to bottom. Similar to effects line hardware mixing consoles, the order in which Sends effects are applied makes a difference, so keep this in mind when employing multiple inserts. Insert settings apply globally to the entire track and are remembered until you change them. Solo / Mute / Rec / Input Configuring the number of insert slots

Automation controls If you find yourself running out of insert slots, you can add insert slots with the Set Number of Effect Inserts... command located in the mini menu of the Pan and pan readout Mixing Board. You can configure up to 20 inserts

Clip indicators per channel.

Level meter Volume fader

Track I/O assignments Configuring inserts as pre- or post-fader Track name AudioDesk allows you to graphically configure In/out/bus assign Track move handle inserts as either pre- or post-fader inserts with the Figure 38-4: A Mixing Board track strip. pre/post fader divider line as shown below in Inserts Figure 38-5. Inserts above the line are pre fader. An insert is a real-time effect that is non- Inserts below the line are post fader. A pre-fader destructively applied to the data in the track on insert is applied to the signal running through the playback. Tracks can be processed with audio plug- channel before it reaches the channel’s fader; ins. similarly, a post-fader insert effect is applied to the signal after the channel’s fader. Each insert in the track is represented as a menu from which you can choose the desired effect. Up You can grab the handle on either side of the pre/ to 20 inserts can be simultaneously applied to an post fader divider to move the location of the individual track, depending on how many inserts divider in the inserts chain. are configured with the Set number of inserts...

304 MIXING Effects versus presets pre fader effect The plug-in chooser provides two buttons at the top, which let you browse plug-ins by name or by pre/post fader divider their presets. The window functions in a similar post fader effect fashion, either way.

Figure 38-5: Configuring pre- and post-fader effects with the pre/post Searching fader divider line. To search for a particular effect or preset, type its Be careful when boosting gain name into the search field above the list. All Some plug-ins provide volume controls of their matches appear in the list. own. By default, AudioDesk’s effects inserts are Folders and categories pre-fader, so it is possible to boost level above unity The left-hand list provides organized folders and gain with a plug-in’s volume control. So be careful categories for your effects plug-ins. Factory- when setting levels for plug-ins that have been supplied folders include Categories, Manufac- configured pre-fader. turers, and Formats. Use the plus (+), minus (-) Choosing a plug-in for an insert and folder buttons above the list to create your Click the insert slot to open the plug-in chooser own. Or right-click anywhere in the list. User- (Figure 38-6). This window lets you quickly find created categories can be dragged into user-created the effect you are looking for, and you can then folders. Folder can also be dragged into other click Select to place it in the insert. folders to create hierarchical organization.

Figure 38-7: Organizing plug-ins and presets in the chooser. To organize your plug-ins, drag and drop them from the right-hand list into the categories in the left-hand list. Shift-click and Command/Ctrl-click Figure 38-6: Click an audio track insert to open the plug-in chooser. to select and drag multiple plug-ins at a time. If an insert already holds a plug-in, right-click or Command/Ctrl-click the existing plug-in to open The same organizational techniques apply to both the plug-in chooser. effects plug-ins and presets.

305 MIXING You can also right-click in the right-hand list to Mono, or stereo sends access several shortcuts (Figure 38-8). Use the Send assignment menu (Figure 38-9) to route the send to any desired bus or output destination. Sends can be assigned to a mono or stereo destination:

Figure 38-8: Right-click the plug-in list to access these shortcuts. Save As Menu Category When choosing plug-ins in the Mixing Board inserts, as a shortcut, you can right-click an insert to access a menu of the category you have designated as the Menu Category. To do, right-click Figure 38-10: In this example, the send is being assigned to a stereo the desired category and choose Save As Menu bus. Category (Figure 38-7). Send level Use the Send level knob (Figure 38-9) to control the Sends The Mixing Board provides up to five sends per amount of signal going to the send destination. The ∞ track. A send can be routed to a physical output in range is from - to +6.02dB. Option-double-click your system or to any virtual bus that you configure the send level knob to set the send level to unity in the Audio Bundles window. gain (0 dB), as indicated by the blue dot at the 2 o’clock position. Each send has the following controls: When you turn the send level knob, AudioDesk displays the send amount (in dB) in a pop-up box, Send Unity gain dot. level Mute as demonstrated below: Pre/post fader

Mono send Send assignment

Stereo panner Stereo send Figure 38-11: Send level is displayed as shown here as you adjust the send knob. Send mute/unmute switch Figure 38-9: Send controls. Click the “M” button to mute or unmute the send. When viewing the Mixing Board in Narrow Mode When engaged (on/illuminated), the send is (“Narrow view in the Mixing Board” on page 315), muted. the send mute buttons and pre/post fader buttons are converted into a checkable menu command in the send menu.

306 MIXING Pre-fader button For stereo send destinations, choose Stereo from The “P” Pre-fader button (Figure 38-9) determines the Send From Channel sub-menu to feed the stereo whether the signal is passed to the send bus before source signal to the stereo send. Or you can choose the channel fader (pre) or after the channel fader an individual component channel (left, right, etc.) (post). When disengaged (off/dark), the send is to go to the send (in stereo). For example, you post-fader. When engaged (on/illuminated), the could feed only the left channel of the source signal send is pre-fader. When set to pre-fader, the send to the left and right channels of the send. level is not affected by the main volume fader of the track. When set to post-fader, it is affected by the Configuring the number of sends main volume fader. If you find yourself running out of sends, you can add more with the Set Number of Sends... Send panners command located in the mini menu of the Mixing If you have assigned a send to a stereo destination, Board. You can configure up to five sends per a stereo panner appears, as shown in Figure 38-9, channel. to control send panning. As a shortcut, double- click the panner to return to pan center.

Send From Channel For stereo tracks (or tracks whose signal has been split into stereo by insert plug-ins), the Send From Channel menu item (Figure 38-10) lets you choose how the source signal is fed to the send. Replicating active sends using drag & drop For mono send destinations, the Send From To replicate an active send (one that already has a Channel sub-menu lets you choose which send assignment) to any other send slot in the individual source channel (left, right, etc.) goes to Mixing Board, Option/Alt-drag it to any other the send. Or you can choose Mono Sum to send all empty or occupied send slot. source channels merged down to one channel: Solo and Mute buttons Solo and Mute buttons perform standard soloing and muting functions for each track. In fact, they correspond directly to the soloing and muting features throughout AudioDesk. For example, if you mute a track in the Mixing Board, its play- enable button becomes disabled in the Edit window.

Figure 38-12: The ‘Send From Channel’ sub-menu for stereo tracks. In the first example, only the left channel of a stereo track is going to the send.

307 MIXING When soloing and muting, the volume fader Panning background color changes to indicate the playback The data range for panning tracks is <64 (hard left) state of the track as follows: to 63> (hard right) with zero as pan center.

Fader background color Meaning Pan pots pan an audio track across its pair of Blue Track can play outputs. For example, if a track is assigned to outputs 3 and 4, pan left sends the track to output Yellow Track cannot play because at least 3; pan right sends it to 4. one other track is soloed Below is a summary of techniques for pan knobs: Gray Track is muted To do this Do this Record / Input (monitor) buttons Change panning Drag the pan knob up and down or smoothly over time left and right, or click on the number The Record button puts the track into record. The in the value readout and drag up or Input button engages input monitoring. These down buttons function identically to their counterparts Go directly to pan center Double-click the knob in the Edit window. See “The record button” on Increment or decrement Click the left or right arrow button page 164 and “Audio monitoring (audio patch the pan setting by one thru)” on page 164.

Automation play buttons When the Automation play button is turned off, all automation data in the track is temporarily disabled, allowing you to override the automation data with the current settings.

Button shortcuts The table below describes several shortcuts for the Solo, Mute, and automation play buttons:

To do this Do this To solo or mute all tracks except Command-click the track’s the one you click solo or mute button

To unsolo or unmute all tracks Option-click the track’s except the one you click solo or mute button

To change the solo, mute, or auto Drag across the buttons setting for several adjacent tracks horizontally with the cursor quickly

Figure 38-13: Gliding across the Solo, Mute, and automation play buttons. You can combine gliding with the command and option key modifiers as described in the table above. 308 MIXING Stereo panning The background color of volume faders changes The following chart demonstrates the results of depending on the solo and mute state of the track. stereo panning. In general, center the knob for full See “Solo and Mute buttons” on page 307 for separation of the stereo signal. details.

Stereo pan knob position Left signal Right signal Below is a summary of mousing techniques for changing the values of Mixing Board volume faders:

Click anywhere on the bar to snap the slider to that position. Drag the handles to change the slider’s value smoothly.

Click the +/- buttons to Press the +/- buttons to move the slider by one. move the slider smoothly.

Drag up and down on the Click the fader value fader value to change the directly to type in a ☛ The Trim plug-in can be used to invert the number smoothly. number. phase of an audio signal or constrain the stereo Figure 38-14: The many ways to control a fader. image of a stereo track. Level meters Volume faders The level meters display the audio output level in The volume faders control the output level for each dB for the track as determined by the volume track by generating audio volume events, which automation data in the track. The Level Range can be recorded into the track for automation. If mini-menu command in the Audio Monitor automation data has been recorded, faders will window controls the dynamic range displayed in animate during playback (when the Automation the Mixing Board level meters. For details, see play button is enabled). “Adjusting the level meter range” on page 180. For even more detailed metering, you can use the Trim Volume is expressed in decibels (dB) where zero is plug-in. unity gain. Audio faders provide an additional +6 dB of boost above zero dB. For example, if you On stereo audio tracks or tracks that have been move a fader in the Mixing Board as high as it can made stereo by the application of a stereo (or go, it will be set at 6.02 dB above unity gain. This mono-to-stereo) effects plug-in, the level meter range is provided throughout the program, displays the signal with true stereo meters. wherever audio volume data values are displayed. Clip indicators Audio tracks display a clip indicator above their level meter. If the Retain Clip mini-menu command in the Audio Monitor window is

309 MIXING checked (see “Retain clip” on page 180 for details), these clip indicators will remain illuminated until you click them. Double-click to clear all clip indicators, or choose Clear all clipping indicators from the Studio menu.

Making the Mixing Board look like a meter bridge Option-selecting the level meter mini-menu command in the Mixing Board window creates a meter bridge, which you can save as a custom board layout. Figure 38-15: Input/output assignments can be made in the Mixing Board with the menu under the track name.

Track name AUTOMATED MIXING Track names appear here, with an ellipsis for long The Mixing Board is a powerful environment in names, if necessary. You can drag a name which to automate your mixes. This section horizontally to reposition its channel strip in the explains how to accomplish basic mixing tasks with Mixing Board window. Option-clicking on a name the Mixing Board. allows you to rename the track from the Mixing Board. Setting initial levels with the Mixing Board Regardless of whether you plan to automate your You can open the Edit window from the Mixing mixing directly in AudioDesk or externally using Board by double-clicking any track name. an automated mixing console or other hardware automation system, it is always best to set initial Input/Output/Bus Assignment menu The menu below the track name lets you make mix automation settings in all of your tracks. This assignments for input and output, bus ensures consistency in your mix, gives AudioDesk assignments, and audio track enable/disable. Solo an initial setting to chase to, and gives you a basis Exempt status is also provided. These are the same for any changes made later in each track. assignments that you can make for the track in the AudioDesk’s snapshot feature is a powerful and Edit window. They are provided here in the Mixing convenient way to create initial values. Snapshots Board for your convenience. can include any mix automation parameters, including volume, pan, plug-in parameters, mutes, For more information about the I/O menus, see solos, etc. See “Snapshot automation” on page 331. and chapter 18, “Audio Tracks” (page 123).

Figure 38-16: The Snapshot button.

Viewing initial settings To view initial settings, open the Edit window and select volume or pan from one of the track display menus with the option key held down (which

310 MIXING switches all tracks to display volume). To make monitoring, see “Audio monitoring (audio patch changes graphically, drag the control points up or thru)” on page 164. Also see “Effects can be down as desired. applied to Patch Thru” on page 313.

Making snapshots elsewhere in the mix AUDIO MIXING FEATURES You can make snapshots as described above The Mixing Board and Effects windows gives you anywhere in your AudioDesk mix. access to AudioDesk’s sophisticated digital audio mixing and routing environment. Audio is handled Changing initial levels (or any snapshot) internally in the MOTU Audio System engine in You can change your initial settings at any time, or 32-bit floating point resolution. The following any snapshot for that matter, by queuing to the sections discuss several topics that are specific to same tick location in the main counter and audio mixing. repeating the procedure described earlier in “Setting initial levels with the Mixing Board”. The Audio mixing features snapshot feature will never duplicate controller AudioDesk’s virtual mixing environment provides data on the same tick, replacing existing data with the following features: the new snapshot value if data already exists at that location. Just make sure the main counter is exactly ■ Mixing at 1|1|000 (or wherever your initial settings are ■ Automation located). ■ Bussing MIXING IN REAL TIME ■ Audio track sends Mix automation is control data that changes the behavior of the effects and mixing board over time. ■ Mono and stereo Aux tracks Automation data can be recorded, edited and ■ Master faders played back using the sophisticated set of tools that AudioDesk provides. Automation data can be used ■ Real time effects plug-ins to control volume, pan, sends and most effects parameters. For complete information on Bussing automation, see chapter 39, “Mix Automation” A bus is an internal signal path. AudioDesk’s (page 319). virtual bussing is modeled after a conventional mixing board. AudioDesk provides up to 99 stereo EDITING YOUR MIX GRAPHICALLY busses. You can set the number of busses in the You can edit your mix graphically in the Edit Studio Configuration dialog as shown in window. See “Inserting and editing automation” Figure 3-4 on page 20. on page 327. A bus routes signal from one place to another. It MONITORING can also combine several signals as a sub-mix and An important part of mixing is the process of route them together. To use a bus, you assign as bus monitoring live inputs. A live input could be a bundle as an input or output of an audio track or an signal that you are currently recording, such as a aux track (explained in the next section). You can microphone. For complete information about also assign a bus bundle as the output of a master fader. Audio track sends can also be assigned to a bus.

311 MIXING There are many useful ways to employ this Aux tracks powerful bussing architecture. For example, you In the Mixing Board, Aux tracks look just like can save large amounts of your system’s processing audio tracks, with effects inserts, four sends, solo, resources by applying effects plug-ins to an aux mute, etc. The only difference is that aux tracks track and then bussing multiple audio tracks to it, have no input monitoring button and no record- rather than applying the same plug-in multiple enable button. If the Aux track has stereo inputs, it times to each individual audio track. By applying will only display stereo effects plug-ins in the the plug-in only once on the aux track, you effects insert menus. If the track has mono inputs, conserve processing resources. it will only display mono or mono-to-stereo plug- ins in the insert menus. The impact of mixing and bussing on MOTU Audio System resources Conserving CPU resources with aux tracks The MOTU Audio System relies on the main CPU If you would like to apply the same plug-in to two in your Mac for all of its processing. Mixing and or more audio tracks, consider assigning the plug- bussing require a certain amount of CPU power; in to a single Aux track insert instead. Then, apply the more you mix, split, route, and merge tracks it to multiple audio tracks by bussing them to the using input, output and bus assignments, the more Aux track, using either their main output CPU power you’ll use up. You can keep an eye on assignment, a send, or both (if you’d like a a bit of how much by viewing the Performance window as the original signal mixed in with the affected one). shown in Figure 3-6 on page 22. Each time you Having one plug-in with multiple inputs requires make a connection, split a signal, or merge two or far less processing resources than applying the more signals together in AudioDesk’s virtual plug-in on multiple tracks. mixing environment, you’ll use a tiny bit more CPU power. However, the amount of bandwidth Using aux tracks for live inputs such as taken up by such a connection is relatively small synthesizers compared to the amounts required by MOTU You can use Aux tracks to feed live inputs (synths, Audio System effects plug-ins—even low-overhead etc.) into your mix. However, you may need to ones like the EQ plug-ins. You won’t need to be very compensate for monitoring latency. See “Audio concerned about CPU power for basic mixing and monitoring latency” on page 165. routing. But you will need to be a lot more Monitoring with Aux tracks present conscious of your CPU resources as soon as you Here’s a problem you may encounter when start using effects plug-ins. monitoring inputs: you keep hearing an input, even though you don’t have any tracks record-enabled. Multi-processor support When operating AudioDesk on a multi-processor Or, you keep hearing an input, no matter which or multi-core Mac, you can take full advantage of track you record-enable. distributed processing. A dual-processor or dual- The most likely cause of these situations is the core computer, for example, effectively doubles the presence of an Aux track. If you have created an amount of processing available for mixing and Aux track that patches an input directly to an plug-in processing (over its single-CPU or single- output, you’ll always hear the signal from the Aux core counterpart). If you have a multi-processor/ track’s assigned input — unless you un-play- core computer, AudioDesk takes full advantage of enable the Aux track altogether. So if you encounter the multiple processors/cores. monitoring problems, check your Aux tracks.

312 MIXING Aux track shortcut WORKING WITH EFFECTS PLUG-INS You can create an aux track while assigning a track output or a send to a bus. The bus will then feed the How effects settings apply to a track Effects settings apply globally to the entire track. To track’s signal to the newly created aux track. apply an effect to just a portion of a track, you can use bypass automation to disable, enable and then disable again the effect. Or you can apply the effect ‘constructively’ using one of the following procedures. Make a time range selection in the track and then do one of the following:

■ Bounce to disk

■ Save the plug-in settings as a preset, remove the real-time plug-in from the track (delete the plug-in Figure 38-17: Shortcut for routing a track to an aux track via a bus. from the insert) and then apply it ‘constructively’ Master faders from the Audio menu > Audio plug-ins sub-menu In the Mixing Board, the only way master faders using the same preset you just saved. differ from other types of audio tracks is that they do not have a pan knob. In their place, master Effects can be applied to Patch Thru faders have built in fold-down menu. The fold- Effects can be applied to any audio input that you down menu allows you to ‘fold down’ your mix to are Patching Thru. To real-time process a patched mono if you need to generate a mono mix or to thru signal: check for mono compatibility. Note that you can 1 Assign the desired effects insert to a track in the apply plug-ins to the inserts of a master fader to Mixing Board window insert section. apply the plug-in effect to your entire mix (or all tracks being sub-mixed to that master fader). 2 Record-enable the track in the Edit window.

3 Feed live audio to its input.

Patch thru effects work even when playback is stopped Plug-in effects can be applied to a live input signal, even when playback is stopped.

Audio monitoring settings When monitoring live audio through MAS effects, be sure to enable Monitor record-enabled tracks through effects in the Input Monitoring Mode window which is accessed from the Configure Audio System (Setup menu). For details, see “Audio monitoring (audio patch thru)” on page 164.

313 MIXING Missing plug-ins in effects inserts If an effect plug-in is missing when you open a AudioDesk project that uses it, an alert window appears, and you are given the option of remembering or forgetting the missing plug-in. If you choose to remember it, the missing effect will be displayed in parentheses in any inserts in the Mixing Board where it was being used. This allows Copying and pasting parameters from one you to preserve missing effects assignments in a insert to another project when they are not present. For example, You can copy and paste effects parameters from you might copy a project from the main computer one insert to another. Just choose Copy from the in your studio onto your laptop for tweaking on the Edit menu while a specific insert’s effect is being road. And perhaps your laptop doesn’t have all the displayed, switch to a different insert with that same plug-ins installed. You can now work on the same effect, and choose Paste. project, save it, and then open it again in the studio without losing plug-in assignments in the Mixing Plug-in insert assignments and effects settings are remembered Board. Effects settings are saved with the file. In addition, Drag & Drop plug-ins the settings for each insert and track are After you choose a plug-in for an insert, it fills the remembered even if you temporarily remove the socket as shown in the Insert section of the channel effect and re-apply later on. Settings are also strip shown in Figure 38-4 on page 304. You can remembered if you switch audio hardware. now treat the plug-in as an object that can be Mono and stereo effects selected, deleted, dragged to a different insert, Audio plug-ins come in mono and stereo variants. duplicated, or drag & dropped into a Clipping When using a stereo mix bus destination, effects window. Here is a summary of drag and drop plug-ins can be mono-to-mono, stereo-to-stereo techniques for plug-ins in the Mixing Board: or mono-to-stereo. If a mono audio tracks is assigned to a stereo bundle, it is panned across the bundle’s output pair. If you assign mono plug-in, the track remains mono. However, as soon as you choose a mono-to-stereo plug-in, the track’s output becomes stereo. In addition, all plug-ins on subsequent inserts will dynamically switch to stereo as well. If you remove the stereo plug-in, the track output will revert to mono.

When DSP resources are exceeded AudioDesk will warn you if it cannot successfully allocate resources as a result of something that you do, such as add more audio tracks or choose a new type of effect.

314 MIXING To do this Do this folders on the Mac desktop. This is a handy way to To change to a differ- Command/Win-click the plug-in insert. store your favorite plug-in settings. If you want to ent plug-in on the same insert keep the settings you’ve made in a plug-in for general use, just drag it into a Clipping window. To open the Double-click it. plug-in’s window The same applies for groups of plug-ins. If you drag several plug-ins together into a Clipping window, To select a plug-in Click it. they will be stored as a single clipping. When you drag them back into the insert section of the To remove a plug-in Select it and press the delete key. Mixing Board window, they will expand back into To move a plug-in to Position the cursor over the left edge of the original number of plug-ins (taking up one another insert the plug-in until you see the hand cursor, and then drag it. insert for each plug-in, as usual).

When creating the plug-in clipping, you can also use the Copy to Clipping Window command in the Edit menu, as explained in “Plug-in effects clippings” on page 279.

To duplicate a plug- Hold down the Option/Alt key while in on another insert dragging, as above.

To select several Shift-click them. Several plug-ins plug-ins stored as a group in a single clipping. To move several Select them and drag them with the hand plug-ins to other cursor. inserts Figure 38-18: Storing plug-in settings in a Clipping window. You can store individual plug-ins or store several plug-ins together as a single clipping.

NARROW VIEW IN THE MIXING BOARD The Mixing Board also has a “narrow” view that displays more tracks at one time, as shown to the right in Figure 38-19. This feature is a checkable item called Use Narrow View in the Mixing Board mini-menu. Everything works the same way in narrow view as it does in the normal view, with the following exception: the mute buttons and pre/post fader buttons for sends are transformed into a checkable item in each send menu. To duplicate several Hold down the option key and then drag plug-ins them with the hand cursor. There is also a keyboard shortcut that toggles the Plug-ins as clippings narrow view and its default key binding is Using the hand-grabbing technique described in command-shift-n. the previous section, you can drag and drop plug-ins in and out of Clipping windows—or even

315 MIXING WORKING WITH MULTIPLE MIXES The Mixing Board window has a very powerful feature called the Mix Mode menu, which is located in the lower left-hand corner of the window as shown below. This feature allows you to create an unlimited number of independent mixes in a In narrow mode, the mute buttons sequence. for the sends are transformed into checkable items in each send menu.

Figure 38-20: The Mix Mode menu.

What is a mix? A mix consists of all of the volume, pan and other Figure 38-19: To see more tracks at one time in the Mixing Board window, check the ‘Use Narrow View’ mini-menu item. mix automation data in all tracks in the sequence, as well as all of the current effects insert assignments and their settings. The Mix Mode menu allows you to create, save, and recall any number of mixes. Each mix can be completely different than the others. You can also create alternative mixes that are slightly different from each other by starting with the Duplicate Mix command. You can even copy and paste data between mixes by simply switching between them.

How mix mode impacts your sequencing When Mix Mode is off, mix automation data “belongs” to the Track and Take in which it was recorded or inserted. If you switch takes, the mix automation data switches along with the take, just like the rest of the data in the take. (For an explanation of takes, see “Takes” on page 128.)

316 MIXING When Mix Mode is on, however, mix automation current mix (that is, the current volume and pan in data “belongs” to the current mix. If you switch all tracks, as well as the current effects insert takes, the mix automation data in the track remains assignments in the Mixing Board). behind as part of the current mix. If, however, you switch to a different mix, the current mix Renaming or deleting a mix automation data goes along with the mix, To rename or delete a mix, choose it by name from temporarily disappearing from all tracks. (You can the Mix Mode menu and then choose either restore the data, of course, simply by reselecting the Rename Mix or Delete Mix from the same menu. Mix from the Mix Mode menu.) Recalling a mix Mixes include initial track settings To recall a mix, just choose it by name from the Mix Each mix includes the following initial track Mode menu Figure 38-20 on page 316. settings, regardless of whether there is currently Copying and pasting data between mixes any automation data in the track: You can easily copy and paste data between mixes by switching between them (as described in ■ Track volume “Recalling a mix” above). Copy data from the ■ Pan desired tracks in one mix, recall a different mix, and paste into the same or different tracks in the ■ Send levels second mix. ■ Send mute states

■ Track automation mode

■ Track play-enable/disable state By including these track attributes to each saved mixdown, the Mix Mode menu provides complete independence among separate mixes, even if they don’t have any automation data in them. For example, you could simply set initial volume and pan settings for each track, create a mix, duplicate it, adjust the faders and then switch back and forth between the two mixes. You can then freely switch between them, comparing the fader settings, without the need to insert or print any automation data. In general, you will find it very easy to create and use multiple mixdowns because they include initial track settings.

Creating a new or duplicate mix To create a new, empty mix (with no mix automation data in any of the tracks), choose New Mix from the Mix Mode menu (as shown in Figure 38-20 on page 316). Or you can choose Duplicate Mix to create a new mix based on the

317 MIXING 318 MIXING CHAPTER 39 Mix Automation

OVERVIEW AUTOMATED MIXING BASICS AudioDesk’s mixing environment offers complete Audio tracks can automate every mix parameter, automation of effects plug-in parameters, track including: muting/unmuting, effects send levels, send mutes/ unmutes and more. ■ Volu m e a n d p a n

■ Track mute/unmute Automated mixing basics...... 319 Mix automation setup ...... 320 ■ Plug-in automation Global automation enable/disable ...... 320 ■ Plug-in bypass/unbypass Automation setup for each track ...... 320 Automation settings in other windows ...... 322 ■ All other mix parameters Reasons to disable automation ...... 322 AudioDesk provides continuous break-point Automation modes ...... 323 automation for all audio mixing parameters, Recording automation...... 327 including volume, pan, and plug-in parameters. Inserting and editing automation ...... 327 Audio mix automation data can be inserted, Insert mute automation and clear Mute Automation . . . .330 generated, drawn and reshaped. Automation Tempo locked, beat-based automation ...... 330 events calculate a smooth, sample-accurate ramp Snapshot automation ...... 331 from one event to the next. This effect is often Automation preferences...... 336 referred to as “ramp” automation because Removing and restoring plug-ins...... 337 graphically, audio volume events produce lines that Automation and system resources...... 337 ramp from one event to the next, as shown below in

Figure 39-1: AudioDesk’s ramp automation features are depicted as sloping lines connecting volume, pan and effects events as shown here.

319 . Several volume events can be used together to create volume curves, as shown by the bottom track.

MIX AUTOMATION SETUP The Automation Setup window (Setup menu) provides dynamic control over automation, from a global level to the most detailed level in specific tracks. The Automation Setup window stays open so that you can easily access its features as you work. Figure 39-3: The global automation enable/disable settings. To temporarily disable automation altogether, uncheck the Enable Automation check box. Doing so disables the playback or recording of all automation data (including volume and pan), although the data in each track remains unchanged (Figure 39-4), ready for reactivation. To re-enable automation, check the Global Automation check box.

Figure 39-2: Automation Setup window (Setup menu).

GLOBAL AUTOMATION ENABLE/DISABLE As you work with automation, there will be times Enabled Disabled when you want to temporarily enable automation, Figure 39-4: When you disable automation data, it appears as a and later re-enable it. Automation features can be dashed line in the Edit window. enabled and disabled at any time on several levels: Enabling/disabling globally by data type Similarly, the Global Automation section ■ Globally (all automation) (Figure 39-3) has individual enable/disable check ■ Globally by type of automation boxes for categories of automation data, including mute, volume, pan, send mutes, send levels, and ■ Per track plug-in effects parameters. For example, you might ■ Per individual effect parameters in a track want to temporarily disable plug-in automation, while maintaining volume and pan automation. The global automation settings let you enable or disable automation altogether, or individually by AUTOMATION SETUP FOR EACH TRACK several types of automation. The Automation Setup window (Figure 39-2) also provides independent automation settings for each track (Figure 39-5). You can enable/disable automation recording, playback, and even individual plug-in parameters. In addition, you

320 MIX AUTOMATION can choose one of five different automation changes you make to enabled automation recording modes. For convenience, some of these parameters in the track — plug-in settings, settings are duplicated in each track’s channel strip panning, volume, etc. — will be recorded. So pay in the Mixing Board, as well as the track settings careful attention to this button and only enable it section in the Edit window (Figure 39-6). when you’re sure you want to record your moves.

Automation record mode The mode menu lets you choose one of five different ways to record automation data into the track. You can change the mode at any time from the Automation Setup window, the track’s channel strip in the Mixing Board or the track settings in the Edit window. For details, see “Automation modes” on page 323.

Enabling automation by data type Initially, any plug-in parameter can be automated as soon as you begin using the plug-in.

However, you can be very specific regarding the types of data you wish to automate for each track, as shown previously in Figure 39-5. This allows you to automate certain controls, while leaving others ‘free’ to be tweaked at will. In the example Figure 39-5: Automation setup for an individual track. In this example, the ‘Gtr Leads’ track has three plug-ins assigned to it: Echo, shown in Figure 39-5, The ‘Gtr Leads’ track Reverb and PreAmp-1™. currently has three plug-ins assigned to it in the mixing board (as inserts): Echo, Reverb and The track menu Use this menu to choose the track for which you PreAmp-1. These plug-ins appear in the Add wish to make automation settings. All of the menu, along with Volume, Pan, Send Level, Send settings below this menu apply to the track Mute, and track Mute. Each plug-in displays a sub- currently chosen in the menu. menu for each one of its automatable parameters. Use the Add menu to add automatable parameters Enable automation playback to the list, and then use the radio buttons above the Check this box to enable automation during list to specify All Except (what’s in the list), or Only playback. Uncheck it to disable automation during (what’s in the list). To remove items from the list, playback. This option is a great way to temporarily click them to select them and click Remove. listen to the material in a track without its Choosing All enables all plug-in parameters, automation data, while the rest of the mix is still regardless of what is currently displayed in the list. fully automated. ‘Apply to selected audio tracks’ button Enable automation recording If you’d like to apply the automation types you’ve Check this box to allow the recording of specified in the list to other tracks, select the automation data during playback. This is an desired tracks first and then click the Apply to All important control because when it is enabled, any selected audio Tracks button. This operation applies

321 MIX AUTOMATION the current track settings to all currently selected enables. You can also ‘glide’ over the automation tracks (depending on what type of track is play-enable and record-enable buttons to quickly currently being displayed). toggle a series of adjacent tracks.

‘Save as Default for Audio tracks’ button The ‘Auto’ menu (automation menu) If you’d like to apply the automation types you’ve As shown in Figure 39-6, the automation menu in specified in the list to new tracks automatically the Edit window contains the same basic when you add them, click the Save as Default for automation mode settings as the Mixing Board and Audio Tracks button. Automation Setup window. In addition, the ‘Auto’ menu changes color to further indicate the current AUTOMATION SETTINGS IN OTHER automation record and playback settings as WINDOWS follows: The Mixing Board displays several track-based automation settings directly in the channel strip for ‘Auto’ menu color What it means each track, just above the pan pot. These settings Clear Automation playback and recording match the corresponding track settings in the are both disabled. Automation Setup window, the Edit window, and Green Automation playback is enabled. the Effects window, as shown in Figure 39-6. If you Red Automation playback and recording change them in one location, they’ll change in the are both enabled. others as well. REASONS TO DISABLE AUTOMATION Why would you ever want to disable automation, either globally, per track or even on the basis of individual plug-in parameters? Here are a few common reasons.

Automation settings One of the main reasons to disable automation, or to enable only a particular plug-in parameter, is that often you are only automating one or two controls in a plug-in. You don’t want to worry about accidentally recording changes you make to other controls that you are not automating. By not activating them for automation in the first place, this will never happen, regardless of the track’s record mode setting. This menu is also available in the Effects window. Sometimes, you’ll want to temporarily experiment Figure 39-6: Each track has its own controls for enabling/disabling with automatable parameters, such as plug-in automation recording and playback. These settings are available in a variety of windows, shown here. controls, without accidentally recording your moves as you experiment. For example, you might In the Mixing Board, the same option-click and want to adjust the EQ for a track to get it just right, command-click conventions apply to the but you don’t want to record your moves as you’re automation play-enable buttons as for track play- doing so. You can use the Automation Setup

322 MIX AUTOMATION window to temporarily disable plug-in automation The automation modes are summarized below: — or even just the EQ control you are adjusting — Automation When it When it while you experiment. mode punches in punches out Overwrite As soon as Never Here’s another case where you might want to playback begins (When playback temporarily disable automation: when you need to stops)* do A/B comparisons with and without it. For Touch As soon as you As soon as you grab the fader or release the fader or example, you might want to listen to a passage knob knob without the automation you’ve programmed for it, Latch As soon as you Never and then listen to it again with automation the re- grab the fader or (when playback enabled. knob stops)* Trim Touch ----- Same as Touch ------AUTOMATION MODES Trim Latch ----- Same as Latch ------AudioDesk’s automation modes provide different ways to record automation. For example, Overwrite Range Touch -- See “The Range modes” on page 326-- mode starts recording immediately when playback Range Latch -- See “The Range modes” on page 326-- begins, overwriting any existing automation in the track. Touch mode, on the other hand, waits for you Range Trim Touch -- See “The Range modes” on page 326-- to grab a knob or fader before it begins recording. Range Trim Latch -- See “The Range modes” on page 326--

Each track in the Mixing Board can be *In Overwrite or Latch modes, there are actually independently assigned to one of the modes. The two ways you can punch out of recording on the fly: automation mode menu for each track is located just above the fader as shown below. ■ Disable automation recording (using any available method for disabling it) OR

■ Switch to a different automation mode

Playing versus recording For all automation modes, the track can be either play-enabled for automation or record-enabled for automation. Except for Overwrite mode, the Figure 39-7: The automation modes for each track. behavior of the controls you modify during playback is the same either way. The only difference is that automation data is or is not written into the track. For example, let’s say that a track is play-enabled for automation (but not record-enabled). If you place the track in Touch mode, and you move its volume fader, the fader will return to tracking any existing automated volume levels in the track as soon as you let go of it. On the other hand, if the track is in Latch mode, the

323 MIX AUTOMATION fader will remain where you leave it until playback Overwrite mode stops. The next time playback begins, the fader will As shown by the table above, Overwrite mode is then return to tracking any existing automated special because it overwrites all of the parameters volume levels in the track. Since the track is not currently being automated in the track. In a sense, record-enabled, no automation data would be this a way of ‘wiping over’ them all at once with the written in either case. settings that you choose before you begin playback.

Scaling volume data with the Trim modes Trimming is the process of scaling existing volume or send level automation data in the track, instead of overwriting it entirely. This process is explained in further detail later in “The Trim modes” on page 325.

Overwrite, Latch and Touch modes overwrite existing automation data in the track, whereas Trim Before Touch and Trim Latch scale existing data. Only track volume and send levels can be trimmed. Other types of automation data are overwritten according to the mode chosen. Here’s a summary:

Automation Overwrite mode or scale? Data that’s affected Overwrite Overwrites All parameters currently being automated in the track (except those that you’ve After temporarily disabled). Figure 39-8: Overwrite mode ‘wipes over’ all currently enabled automation data in the track. The current data is replaced by data Touch Overwrites Only the parameter that reflects the current knob, fader or other control setting for each currently being adjusted. parameter. So be sure to set every control you are overwriting to the desired setting before overwriting. Latch Overwrites Only the parameter currently being adjusted.

Trim Touch Scales Track volume or a send level existing data (whichever item is currently being adjusted).

Trim Latch Scales Track volume or a send level existing data (whichever item is currently being adjusted).

324 MIX AUTOMATION Selective overwriting Touch and Latch modes You can selectively overwrite automation data With the Touch, Latch, Trim Touch and Trim Latch while preserving other data by temporarily modes, only the parameter you are adjusting is disabling certain effects parameters in the track overwritten (or scaled, in the case of the two trim beforehand. The disabled parameters will not be modes). In addition, recording only takes place overwritten, as shown below in Figure 39-9. when you adjust the knob, fader or other control item for the parameter. These modes are the safest because you won’t accidentally overwrite existing automation data; they’ll only record when you deliberately adjust a control. Just be careful not to record adjustments during playback that are not meant to be inserted. See “Reasons to disable automation” on page 322.

The Trim modes Before Trim Touch and Trim Latch modes scale existing volume data or send level data in the track, rather than overwriting it. The two trim modes allow you to increase or decrease volume or send level while maintaining the existing contour in the track. For example, you might painstakingly program a detailed, dynamic volume mix for a track, but later decide that you want to raise the whole thing by 1 dB. After Accordingly, when you switch from a non-trim Figure 39-9: In this example, everything except volume automation has been temporarily disabled. In Overwrite mode, volume data is mode to a trim mode, the scale of the volume fader overwritten with the current positions of the fader. for the track changes from the normal scale where Switching to Touch mode after overwriting zero dB is unity gain to a relative scale where zero is Overwrite mode is generally used once in one pass, the current volume level in the track, whatever it usually at the start of the mixing stage of your may be at any given moment. The two scales are project, or perhaps to wipe over a section that you shown below in Figure 39-10: want to remix entirely. After overwriting, you generally want to touch up the mix from there with the other automation modes (Touch, Latch, etc.) For your convenience, the Automation Setup Normal Trim window (Figure 39-2) has a check box option scale scale called Overwrite mode changes to touch after pass. Check this option if you’d like tracks currently in Overwrite mode to automatically switch back to Touch mode after you do an overwrite record pass, so that you don’t keep overwriting again and again. Figure 39-10: Latch mode displays the usual volume scale, where 0 dB is unity gain. Trim Latch mode (and Trim Touch) show a relative scale where zero dB is the current automation level in the track at any given location. The send knobs also go into trim mode, as shown.

325 MIX AUTOMATION In Figure 39-11 below, the volume curve is being Range Latch and Range Touch scaled up by 8 dB using Trim Touch mode. With the Range Latch and Range Touch modes, the value of the automation data within the defined \ time range will become constant according to the setting of the control. Therefore, these modes are useful for adjusting automation data that is already flat, or for leveling a data curve that you wish to flatten.

Range Trim Latch and Range Trim Touch With the Range Trim latch and Range Trim Touch modes, the current shape of the automation data Punch-out curve within the time range (if any) is preserved, Punch-in Return ramp and the entire curve is moved up or down. Therefore, these two trim modes are ideal when there is already a shape to the automation data within the time range, and you wish to preserve that shape and simply raise it or lower it altogether.

scaled data Using the range automation modes Figure 39-11: Trim Touch and Trim Latch modes scale existing All four range automation modes are useful when automation data in the track, maintaining its original contour. The mixing groups of tracks, such as background return ramp after punch-out is automatically inserted by AudioDesk to produce a smooth transition between the punch-out level and the vocals or horn sections, within a specific time remaining automation data. range, where you want to jump in and change the The Range modes mix just for that range without changing it before The Range Touch, Range Latch, Range Trim Touch, or after. and Range Trim Latch modes behave similarly to These modes provide the following additional the regular Touch, Latch, Trim Touch, and Trim benefits: Latch modes, but when recording automation using the Range modes, moving controls will ■ The range automation modes allow you to use change automation data only within a defined time the same control for modifying the data as you did range. The settings for the data on either side of the for entering it. For example, if you automated a affected time range will be preserved. plug-in filter sweep using the knob in the plug-in window, you can use that same knob to adjust your Determining a time range To specify a time range for the range automation original sweep, without having to do by some other modes, use one of the following methods, which means (such as editing the automation data in the are listed in order of their priority: track). The range automation modes allow you to make 1 an event or time range selection in the track changes to automation data without having to switch to display the automation data. Instead, you 2 a time range selection in another track can continue viewing the data you are currently 3 the Memory Cycle range viewing, such as soundbites (or automation data of another type). 326 MIX AUTOMATION Return ramps cause zipper noise or “stair-stepping”. When A return ramp (Figure 39-11) is an automation experimenting with data density, factors such as ramp automatically inserted by AudioDesk after playback tempo also come into play. you punch out from an automation edit. The return ramp makes a smooth transition between INSERTING AND EDITING AUTOMATION the level you were at when you punched out and the All of the various types of automation data (plug-in the level of the any existing automation in the track automation, mute automation, send levels, etc.) just after the point where you punched out. can be inserted and edited in the Edit window. Use the Insert menus or the Pencil Tool to insert and The default length for return ramps is 500 edit automation data. For complete details, see milliseconds (half a second). You can change it to “Working with breakpoint mix automation” on any length you prefer in the Automation Setup page 225. window (Figure 39-2 on page 320), and you can change it at any time. Plug-ins currently assigned to the track. RECORDING AUTOMATION Automation data can be recorded in real time during playback. To do so, enable the automation record button for the track you wish to record (as shown in Figure 39-6), and choose the desired mode (Overwrite, Touch, Latch, etc.) You do not need to put AudioDesk into record mode to record automation. Just start playback and adjust volume, pan, plug-in settings, send levels, and mutes as desired during playback. Figure 39-13: In this example, automation data is being inserted in the Edit window. The automation data is recorded directly into the track, replacing existing automation data of the Viewing automation in the Edit window same kind, if any. To view automation data in the Edit window, choose the desired type of automation from the Active Layer menu as shown below in Figure 39-14. When you do, every type of automation data that currently exists in the track will be displayed together, superimposed over the audio waveform. Figure 39-12: Automation data can be recorded or inserted directly The specific type of data that you chose from the into each audio track. menu will be activated (its ramps and control Controlling data density points will appear in bold). When activated, a The Min Time and Value Range mini-menu parameter’s control points can be edited, and new command in the Mixing Board window lets you points can be added by clicking anywhere on its control the density of the automation data events line. In addition, some parameters display guides generated by the Mixing Board faders and knobs. (faint horizontal lines) that indicate values of Higher minimum values produce lower density, interest. For example, when you activate Volume, which generally ensures smoother playback you’ll see a guide at unity gain (0 dB) and the top of performance. But densities that are too low can the scale (6.02 dB). And when you activate pan,

327 MIX AUTOMATION you’ll see guides at pan center and pan hard left/ Ramps right. For complete details, see “Working with automation control points” on page 329.

Single events

Stair-step

Figure 39-15: The three kinds of automation data: ramps, stair-steps, and single events. Click on a single event to access a menu of settings. Sample-accurate ramps Figure 39-14: Choose any form of automation data from the Active AudioDesk’s ramp automation produces a smooth Layer menu to display all automation data that currently exists in the track, superimposed over the waveform. To ‘activate’ (make bold) a change from one control point to the next. Ramps particular data parameter, choose it from the Active Layer menu or click one of its control points. are calculated with sample-accurate, 32-bit floating point processing. Sample-accurate processing The three types of plug-in automation data ensures that the ramp will be perfectly smooth, Plug-ins have a wide variety of controls that fall with no zipper noise or other unwanted artifacts. into three general types of data: Stair steps Automation type What it does Examples Stair-step automation produces a sudden change at Ramp Produces a smooth • Volume each control point. Stair-step automation is used change between • Pan control points. • Send level for plug-in parameters that by nature don’t call for • Mix gain smooth changes but instead provide discrete Stair-step Produces sudden • LFO phase changes among several various states. A good changes among sev- • Mute/unmute eral possible states. • Bypass/unbypass example are the LFO phase controls in Sonic

Single event Changes the setting • LFO waveform type Modulator, which provide eight phase settings in of a parameter that (sine, sawtooth, etc.) 45-degree increments. Stair steps are also used for has only a few set- • Note values for tings or non- beat-based effects. parameters that would be too “expensive” from a numeric settings DSP bandwidth standpoint for calculating ramps. A good example of this is LFO rate. All three types of automation are displayed together in the Edit window as shown below in Discrete events Figure 39-15. Discrete events are used for any parameter that consists of two or more non-numeric settings (or just a few numeric ones). A good example is the waveform for an LFO: it could be a sine wave, square wave, sawtooth, triangle, etc. Rather than displaying these values as cryptic dots on a line, 328 MIX AUTOMATION AudioDesk provides single automation events, as Working with automation control points shown previously in Figure 39-15. Here is a Here’s a summary of techniques for inserting and summary of what you can do with single editing automation control points in the Edit automation events like these: window, including a new techniques for selecting and dragging multiple control points at one time: To do this: Do this: Insert an event Choose it from the insert menu as shown To do this: Do this: in Figure 39-13 on page 327 and click at the desired location. To activate a data type* Click one of its control points or (make it bold) choose it from the Active Layer menu (Figure 39-14). To delete an event Click it to select it and press delete. Note: activating is necessary for all of the To change its setting Press on its menu triangle and choose the following techniques. desired setting from the menu as shown in Figure 39-15. To insert Activate the desired data type and a control point then click anywhere. To move an event Drag it. To insert a ramp Activate the desired data type. Then click anywhere on the line as many times as needed to create two or more One important thing to realize about discrete control points, positioning the con- trol points as needed to make the parameters is that they don’t display their current ramp. value continuously throughout the track the way To insert a curve Activate the desired data type. Select that ramps and stair steps do. To determine the Pencil Tool and drag. current setting for a discrete parameter, you need To remove Click it to select it and press delete. to scroll backwards in the track to find the last a control point discrete event of the type you’re concerned with, To remove a curve Select the control points (as described and then look at its setting there. (multiple control below) and press the delete key. points)

Units of measurement To select a curve Activate it and then drag horizontally In AudioDesk’s included plug-ins, the numeric (multiple control over its control points. points) value for each plug-in effect parameter (displayed To move a curve Select them as described above and in the event info bar) is displayed with the (multiple control drag one of the selected control appropriate format (percent, milliseconds, etc.) for points) points. the parameter. This is also true for most third- party plug-ins. Some third-party plug-ins, ☛ *To activate any types of data other than however, may have their own schemes for volume and pan, you must first insert some data displaying parameter values. Check their (via the Insert menu or by recording) in order for documentation for details. the data to appear in the Active Layer menu (and be available for activation).

329 MIX AUTOMATION INSERT MUTE AUTOMATION AND CLEAR Tempo lock MUTE AUTOMATION Plug-ins that support tempo-based automation The Insert Mute Automation and Clear Mute provide a global tempo lock menu for the plug-in, Automation commands in the Audio menu allow as demonstrated below in the Echo plug-in: you to quickly apply and clear mute automation on a region by region basis in the Edit window. Just make a selection, such as an individual soundbite or any time range selection over any combination of audio tracks, and then choose of these two commands from the Audio menu to mute or unmute the selection.

Before:

After:

Figure 39-17: Choosing what type of tempo lock you would like. The choices for tempo lock shown above in Figure 39-17 are explained below.

Figure 39-16: Muting a region with the Mute Region command. Note that two mute automation events are inserted at the beginning of Real time the region to produce the proper stair-step effect. Lock to real time if you don’t need to synchronize the plug-in’s parameters to the tempo of your TEMPO LOCKED, BEAT-BASED sequence and instead need to work with them a real AUTOMATION time format such as milliseconds. Many of AudioDesk’s included audio plug-ins have the ability to lock various parameters to the tempo Beats and beat of your sequence. For example, you could Lock to beats when you want the effect to follow the lock an LFO filter sweep to quarter notes or lock “pulse” of your music. Use this mode for 4/4-based delay taps to triplet sixteenth notes. dance music (or similar meters like 3/4, 2/4, etc.)

330 MIX AUTOMATION Figure 39-18: The beats menu displays note durations that are refer- enced to 4/4 time. A quarter note represents 1 beat; an eighth note represents a half a beat, and so on. Figure 39-19: Specifying tempo-based automation by a number of ☛ The rule of thumb when using Beats mode is bars, such as 1 bar, 2 bars or half a bar. Experiment with the fractional this: a quarter equals one beat, whatever the beat measure lengths for interesting effects. happens to be (as determined by the meter). It SNAPSHOT AUTOMATION could be a dotted quarter (in 6/8 time) or a half An automation snapshot is the process of inserting note (in 4/2 time) and so on. Use Beats mode when automation data for multiple mix parameters in you want automation to follow ‘the beat’. one step at a particular location — or over a specified time range. For example, you might want Note value Lock to Note value when you want the plug-in to to set initial values at the very beginning the project pulse at a particular note duration value, regardless (e.g. bar 1) for all mix parameters you’ll be of meter. For example, if you choose a 16th note, automating. Or, you might like to reset all values the effect will pulse to a 16th note pattern (120 ticks for an entire section of a mix, regardless of the at 480 PPQ) regardless of the meter in the automation data currently there. AudioDesk lets sequence. you take a snapshot at a particular point in time or apply it to any time range of your choice. You also Bars have complete control over which parameters to Lock to Bars when you want an effect to pulse include in a snapshot. Snapshot automation can be according to measure (bar) boundaries. This is a applied from the Mixing Board, Edit window or convenient way to align effects automation on a Effects window. Different default settings can be slightly larger musical scale than beats. For stored for taking snapshots from these different example, you might program a filter sweep to finish windows. on the downbeat of every measure. Taking a snapshot The Bars menu has standard settings you’d expect, To take a snapshot: like 1 bar, half a bar, and two bars. But it also has 1 fractional bar lengths that can produce very Prepare for the snapshot as discussed in the next interesting syncopated and poly-rhythmic effects. few sections. 2 Choose Take Automation Snapshot from the Audio menu, or press the Snapshot button in the Edit window, Mixing Board, or Effects window

331 MIX AUTOMATION ■ by positioning the playback wiper (the current counter location)

■ by making a time range selection

Doing so opens the Automation Snapshot dialog The options in the Time Range menu (shown below shown below in Figure 39-20: in Figure 39-21) determine which method to use. AudioDesk then applies the snapshot by placing automation control points at the start and end of the time range (to maintain the existing automation levels beyond the time range).

When applying a snapshot to all time or a selected range, any existing automation data within the time range is removed.

Figure 39-20: Taking an automation snapshot. 3 Choose the desired settings and click OK.

Preparing for a snapshot Before you take a snapshot, there are several preparations to make that determine the following characteristics of the snapshot:

■ The time range to be affected Figure 39-21: Specifying a time range for the snapshot. ■ The tracks to be included All Time ■ The automation data types to be included Use All Time if you wish to apply the snapshot to Specifying a location or a time range your entire mix, start to finish. The current counter Even though automation data consists of discrete location or current selection does not matter for events (control points), it is important to realize this option. that they actually affect your mix over a range of time. For example, if you click on a volume Selected Range If you would like to apply the snapshot to a automation line in an audio track to insert a particular range of time, make a time range volume control point, ramps are created between selection in any AudioDesk window before you the new point and the two points before it and after take the snapshot and then choose the Selected it. So you’ve actually affected the entire time range Range option in the Automation Snapshot dialog between all three points. (Figure 39-21). Similarly, when working with automation snapshots, you need to think about the time range that the snapshot will affect and specify it before inserting the snapshot. AudioDesk lets you specify a snapshot’s time range in two ways:

332 MIX AUTOMATION From Counter to Sequence End/Start include in the snapshot. If you wish to use the This option applies the snapshot from the current Selected Tracks option, select the desired tracks counter location all the way to the end or start of before taking the snapshot. If you wish to use one the sequence. To use this option, place the playback of the window display options, be sure to show and wiper at the desired location, or type it into the hide tracks as desired before taking the snapshot. main counter, before taking the snapshot. When using the Edit window and Mixing Board options, all tracks currently highlighted in the From Counter to Next/Previous Change (Flat or track selector list are included in the snapshot, even Ramp) if they are not currently visible in the window itself. This option applies the snapshot to the range of time from the current counter location to the next or previous automation control point. It does so independently for each parameter being included in the snapshot. The Flat option produces a constant parameter value throughout the time range being affected by the snapshot; the Ramp option produces an standard automation ramp from the control point inserted at the wiper location to the next or previous control point for each automation parameter. Note that the Ramp Figure 39-22: Specifying the tracks to be included in the snapshot. option only applies to ramp-style data types, such as volume and pan. See “‘Morphing’ between Specifying data types presets” on page 334 for an interesting way to use The Data Types menu in the Automation Snapshot this option. dialog gives you several convenient ways (Figure 39-23 below) for determining which types From Previous Change to Next Change of automation data to write to each track with the Use this option to apply the snapshot to the entire snapshot operation. range of time between two existing snapshots (or any other arrangement of consecutive automation control points). Just place the playback wiper (or counter location) anywhere between them. Use this option to quickly adjust an existing snapshot by placing the wiper anywhere just to the right of it, rather than tediously attempting to place the wiper directly at the location of existing automation data.

If you situate control points at the beginning and end of a section, this option gives you a way to alter Figure 39-23: Specifying the data types to be included in the snapshot. the automation in the section in one step. All Enabled Data Types Specifying tracks This option causes the snapshot to write all of the The Tracks menu in the Automation Snapshot automation data types that are currently enabled in dialog gives you several convenient options the Automation Setup window (Setup menu). This (Figure 39-22 below) for choosing which tracks to includes the global enables and the automation

333 MIX AUTOMATION enable/disable settings for each individual track. 1 In the Automation Setup window (Setup menu), Be sure to enable and disable automation as desired enable all automation types you wish to include in before taking a snapshot using this option. the operation.

Current Data Types in Edit window 2 Position the playback wiper (or main counter) This option inserts automation data being at the location in the mix you wish to capture. displayed in the Edit window. More specifically, the Doing so causes all automation-enabled knobs, snapshot only writes automation data that is faders and other settings in the Mixing Board to currently ‘active’ (as demonstrated in Figure 39-14 update to their correct values at that point in the on page 328) for each included audio track. Notice mix. that only one data type can be active at a time. This option is good for quickly inserting snapshots for 3 Back in the Automation Setup window, globally the data you are currently viewing in the Edit disable all automation by unchecking the global window. For example, if you are currently automation check box. Doing so ‘freezes’ all knob displaying volume automation in all audio tracks and fader settings in the Mixing Board, so that they (volume automation is the active data type for all will not move when you change the current tracks), use this option to quickly insert a volume- playback location. only snapshot. 4 Scroll to the location in the mix at which you’d Data Types Visible in Mixing Board like to apply the Mixing Board’s current This option inserts automation data for all automation settings. automatable controls currently visible in the Mixing Board window. For example, if the Inserts 5 In the Automation Setup window, check the section is currently hidden, no insert level or pan global automation check box to re-enable data will be inserted by the snapshot. If you wish to automation globally. use this option, be sure to use the Mixing Board ☛ At this point, make absolutely sure that the window mini-menu to show/hide each section as current playback location does not change. desired before taking the snapshot. Otherwise, the current settings in the Mixing Data types for Current Effect in Effects Window Board will be lost. This option inserts automation data for all 6 Take an automation snapshot as usual. automatable parameters of the plug-in currently being shown in the Effects window. This is a great ‘Morphing’ between presets way to automate plug-in presets (by inserting them The Ramp option in the Automation Snapshot as snapshots). Also see “‘Morphing’ between Time Range menu (Figure 39-21 on page 332) is a presets” on page 334. great way to “morph” from one plug-in preset to another as follows: Using snapshots to capture automation and apply it elsewhere 1 Position the playback wiper (or main counter). You can use AudioDesk’s snapshot feature to capture automation settings from one part of your 2 Choose a plug-in preset. mix and apply them somewhere else. To do so: 3 Take a snapshot of the plug-in parameters.

334 MIX AUTOMATION 4 Move the playback wiper forward to the next AudioDesk also stores a generic set of snapshot location at which you’d like insert a preset. settings for all other windows. As a result, if you take a snapshot with the Take Automation Snapshot 5 Choose the next preset. command in the Audio menu when the Edit window, Mixing Board or Effects window is not the 6 Take a snapshot of the plug-in parameters using front-most active window, the settings you see in the From Counter to Previous Change (Ramp) Time the Automation Snapshot dialog (Figure 39-20 on Range option. page 332) will be remembered independently from the settings for those three windows. 7 Repeat as desired. A shortcut for taking snapshots Alternately, you could start with the final preset in To take a snapshot from within a window with the series you are inserting and work backwards same settings last used for that window (as with the From Counter to Next Change (Ramp) explained in the previous section), make it the Time Range option. active (front-most window), and then hold down Snapshot settings are remembered the command key while clicking the Snapshot You can take a snapshot from within the following button in the window’s title bar, or press windows (when the window is the front-most, command-control-single quote ( ’ ). Alternately, active window): you can hold down the command key while choosing Take Automation Snapshot from the ■ Edit window Audio menu. Doing so changes the menu command into Take Automation Snapshot (no ■ Mixing Board dialog). ■ Effects window Making the transition to an automated mix AudioDesk remembers the snapshot settings you When you first begin working on an AudioDesk last used in each context. For example, you might project, there is no existing automation data in only include visible mix parameters when taking a each track until you record it, insert it by hand or snapshot in the Edit window, while including only insert it via a snapshot. Beforehand, your mix plug-in parameters when taking a snapshot from simply consists of the current fader, knob and the Effects window. In addition, you might like to insert settings in the Mixing Board. If you record or always include all mix parameters when taking a insert an automation control point for the first time snapshot from the Mixing Board. You can specify in an audio track, somewhere in the middle of the snapshot settings for each window the first time sequence, AudioDesk automatically extends a line you take a snapshot from within the window. from the control point back to the beginning of the AudioDesk then remembers the settings and will sequence to maintain the initial setting for that use them the next time you take a snapshot from parameter in the Mixing Board. As a result, you get the window. what you would expect: the initial setting you had made in the Mixing Board (before automation), To reinforce this concept visually, the Automation followed by the automation data you recorded or Snapshot window (Figure 39-20 on page 332) inserted. opens directly on top of the window from which it is being invoked.

335 MIX AUTOMATION Before you begin to automate the mix, you might Auto return ramp length want to insert initial values for all mix parameters At the end of an automation record pass, when you you’ll be automating so that you have a convenient punch out by either releasing the fader or stopping reference point to start from. This step is not recording altogether, AudioDesk automatically necessary, but it you might find it helpful to have inserts a return ramp at the punch-out point. This initial values before you begin automating. You can ramp produces a smooth transition from the level always go back and change the initial values at any you were at when you punched out and the existing time, either by tweaking them individually in the data in the track at the punch out point. The Auto edit window of your choice or by retaking the return ramp length preference determines the snapshot at the beginning of the sequence. length of this ramp. For further details and an example, see “Return ramps” on page 327 and AUTOMATION PREFERENCES Figure 39-11 on page 326. The Automation Setup window offers several preferences. Auto punch out delay This automation preference is useful when you are controlling AudioDesk automation parameters from an external control surface, such as a control surface or a MIDI fader box of some kind. The Auto punch out delay is the amount of time (in milliseconds) after the last event is received from the external knob or fader and the instant when AudioDesk drops out of record (stops recording moves from the external device). Figure 39-24: Automation preferences Control surfaces send data with different degrees of Overwrite mode changes to touch after pass sensitivity. With some, you may find that punch This automation preference, when checked, causes out occurs too frequently; with others, you might tracks in Overwrite mode to automatically change find that punch-out takes too long. To avoid punch over to Touch mode after you record a pass in outs that stutter, raise the punch-out delay. To Overwrite mode. This option helps you to avoid reduce punch-outs that take too long, lower it (but unnecessary or unwanted consecutive overwriting. be careful not to lower it so much that it begins to For details, see “Switching to Touch mode after stutter). overwriting” on page 325. Minimum time between recorded points Solo & Play Phrase override mute automation This automation preference determines how When this option is checked, soloing a track causes frequently control points will be generated during mute automation in the track to be ignored, real-time recording. Lower settings generate more allowing you to always hear the audio in the track. control points that result in finer tracking of your Similarly, if you press option-spacebar to audition moves. Higher settings produce fewer control some audio, it will play, even if it is currently being points that result in courser tracking of your muted by mute automation data. If instead, you moves. would like soloing and auditioning to reflect the track’s current mute automation, uncheck this option.

336 MIX AUTOMATION Minimum change between recorded points This automation preference determines how frequently control points will be generated during real-time recording. Lower percentages generate more control points that result in finer tracking of your moves. Higher percentages produce fewer control points that result in courser tracking of your moves.

REMOVING AND RESTORING PLUG-INS If you remove a plug-in from a track entirely, its automation data remains in the track, and it can still be edited. If you later restore the plug-in (on any insert), the automation data will once again automate the plug-in. Orphaned automation data is displayed in the Track Display menu with italic text, along with the word missing, as demonstrated earlier in Figure 39-14 on page 328.

AUTOMATION AND SYSTEM RESOURCES Automation adds to overall CPU processing overhead. If your mix is taxing your computer, you can conserve CPU overhead by enabling automation only for data types and plug-in parameters that you need. For example, don’t enable automation for an effect parameter and then insert only one setting for the parameter in the track. Only enable automation for parameters that need to change over time.

337 MIX AUTOMATION 338 MIX AUTOMATION Part 8 Processing

CHAPTER 40 Effects Window

OVERVIEW EFFECTS WINDOW QUICK REFERENCE The Effects window is a like a virtual effects rack Below are the basic controls in the Effects window. for AudioDesk’s real-time, non-destructive signal The controls for each specific effect will, of course, processing effects. It displays all of the controls for vary. a given effect on a given insert on a certain track. You can quickly and easily switch the effect, insert, Track Insert Effect The Effects window with no menu menu menu effect currently being displayed. and track you are viewing in the Effects window at Window target menu any time. Mini-menu Bypass The Effects window settings modify the track’s Use the menus to playback only. The original data in the track is not switch the track, insert, and/or changed. As a result, effects settings can be Next/ Preset Automation effect being previous menu menu displayed. adjusted or turned off (bypassed) at any time. preset

AudioDesk provides a full complement of effects such as EQ, compression, delay, reverb and any third-party MAS plug-ins you have installed in your system.

This chapter provides general information about the Effects window. For details on using audio effects, see chapter 41, “Audio Effects Processing” (page 347), and for complete details about the wide variety of plug-ins that are included with AudioDesk, see the AudioDesk Plug-in Guide (Help An effect plug-in menu).

Effects Window Quick Reference...... 341 Opening and Closing the Effects window...... 342 Effect-specific Bypassing an effect ...... 343 controls Saving, loading, and editing presets ...... 343 Editing Effects ...... 345 Learn Controller Snapshot button Figure 40-1: The Effects window. Window Target menu: This menu is used to change the sequence that the Effects window is showing. The name of the selected sequence is displayed.

341 Track menu: This menu is used to change the track that Snapshot button: Takes an automation snapshot of the Effects window is showing. The name of the the settings in the plug-in window. See “Taking an selected track is displayed. automation snapshot of plug-in parameters” on page 352. Insert menu: This menu is used to change the insert that the Effects window is showing. The name of the Effects window mini-menu selected insert is displayed. The Effects window mini-menu contains the following commands: When the Insert menu is open, all inserts for the track are shown, with each occupied insert also Floating: When checked, this menu item causes the including the name of plug-in loaded in that insert. window to stay in front of all other windows.

Effect menu: This menu is used to change the plug- Float Effects by Default: When checked, plug-in in for the selected insert. The name of the selected windows are set to float when they are first opened. plug-in is displayed. Run open instances of this plug-in in real-time: By Preset menu: This menu is used to save and recall default, effects are pre-rendered. When this is presets. The name of the currently loaded preset is checked (enabled), the plug-in output will not be displayed. If you have made changes to the plug-in pre-rendered when the plug-in window is open. after loading a preset, the name becomes italicized Pre-rendering will resume when the window is to indicate that the preset’s settings have been closed, to conserve precious computer processing altered. resources. See “Real-time versus rendered effects” on page 348. Next/previous preset: These buttons load the next or previous preset. OPENING AND CLOSING THE EFFECTS WINDOW Automation menu: This menu is used to change Opening the Effects window the automation play-enable/record-enable state There are several ways to open the effects window: and automation mode for the track the effect is on.

■ Choose Effects from the Project menu (or press Bypass: Temporarily disables the plug-in. shift-F)

Effect-specific controls: Controls for the specific ■ In the Mixing Board, choose an effect from any plug-in are displayed here. These will be different, insert menu, or double-click an insert that already depending on the selected plug-in. has an effect

Learn Controller: Lets you assign a knob, slider or You can have many Effects windows open at once, button from an external MIDI controller to a if you’d like. parameter in the plug-in window for MIDI remote control (“MIDI Learn”). See “Attaching a MIDI Choosing a new effect for an insert To choose an effect for an insert, select the desired controller to plug-in parameters” on page 352. effect from the Mixing Board insert menu. When creating a new effect, AudioDesk uses the most recent settings for that effect. For example, if you

342 EFFECTS WINDOW tweak quantize parameters on one track until they If you modify the settings, the name of the preset are just right, adding the quantize effect to another will become italic to let you know that you are now track will initially apply the same settings. working with a modified preset. If you like, you can save the modified preset as a new preset with the Floating effects windows Save Settings Preset menu command. Effects windows can be made to “float” (stay in front of) other windows. This can be done on a per-window basis by checking the Floating mini- menu item of the Effects window itself. There is also a global preference to make all newly opened effects windows float.

Closing the Effects window Figure 40-2: The current preset being used is displayed in the Preset You can close the Effects window by: menu. If you modify the settings of the effect, the preset name becomes italic to indicate that it is now modified.

■ Clicking its close button Where presets are stored

■ With the standard ‘Close window’ key binding Plug-in ‘factory’ presets are stored with the plug-in (command-w) itself, so they are always available in any AudioDesk project. ■ With the Window menu > Close command Hold shift-option/alt while closing an Effect window in any of those ways to close all open Effect windows.

BYPASSING AN EFFECT An effect can be bypassed by clicking the Bypass button in the Effect window. As a shortcut, you can bypass an effect directly in the Mixing Board by option clicking the effect insert with the finger cursor.

SAVING, LOADING, AND EDITING PRESETS Presets are found in the Preset menu in the Effects window when the desired effect is being displayed in the window. For example, when the Effects window is showing the Reverb plug-in, you’ll see Figure 40-3: Effects presets are located in the Effects window Preset Reverb presets in the Preset menu. menu. The menu only displays presets for the type of effect currently displayed in the Effects window. This example shows the eVerb plug- The current preset in and eVerb effects presets in the menu. When you choose a plug-in preset from the Preset User presets are stored in separate folders for each menu, the preset name is displayed in the Preset plug-in, with each preset saved as a separate file. menu, as shown in Figure 40-2. It also gets a check See “Saving plug-in settings as a user preset” below. mark next to the name when the menu is open. If no preset has been loaded, “None” is displayed.

343 EFFECTS WINDOW Saving plug-in settings as a user preset Loading plug-in user presets To save the current plug-in settings as a preset, To load a user preset, choose it from the User choose Save Settings from the Preset menu and Presets sub-menu in the Presets menu. Like type in the desired name. You can save the settings clippings, user presets can also be dragged and anywhere you wish on disk, but if you would like dropped from the Finder or Explorer directly to them to appear in the User Presets sub-menu inserts in the Mixing Board. (Figure 40-4), save them in the plug-in’s presets folder. For example, the Chorus presets are stored here:

Mac OS X /Library/Audio/Presets/AudioDesk/Chorus

Windows User\Documents\MAS Presets\MOTU\Chorus

If it is saved in this location, the new preset appears in the User Presets sub-menu (Figure 40-4).

Use the Show Presets in Finder/Explorer mini-menu command to go to the folder where user presets are stored for a plug-in. There, you can rename, duplicate, delete, etc. your preset files.

VST and Audio Unit presets Figure 40-4: The User Presets sub-menu. Some VST and Audio Unit plug-ins have the ability Changing a preset to save presets as a standard preset file on disk. To change an existing preset: AudioDesk supports these preset files. You can save them and load them in the same way as MAS plug- 1 Choose the preset. in presets, including the ability to drag and drop them to inserts in the Mixing Board. 2 Modify it as desired.

3 Choose Save Settings from the plug-in mini- menu.

4 Save it with the same name. An alert dialog will confirm that you wish to change the existing preset.

Accessing user presets in other projects Because user presets are stored independently from AudioDesk documents or the AudioDesk application itself, they automatically appear in projects other than the one in which you created the preset. You can also drag and drop them from their folder into any project at any time.

344 EFFECTS WINDOW Storing and recalling presets as clippings As soon as you modify a plug-in parameter, the You can save and recall presets—and even groups Compare menu item becomes ungrayed, indicating of presets—as clippings. For details, see “Drag & that the preset has been modified. Drop plug-ins” on page 314. If you now choose Compare, it becomes checked, Next/Previous Preset and the original preset settings are restored. In You can quickly cycle through the available presets addition, your modified settings are stored by the by: Compare feature, ready for recall.

■ Click the Next Preset/Previous Preset buttons If you choose the Compare menu item again, it becomes unchecked, and your modified preset is ■ Choosing Next Preset/Previous Preset from the Preset menu restored. You can then freely switch back and forth between the original preset (checked) and the ■ Using the Next Preset/Previous Preset key modified preset (unchecked). commands (control-shift-equal and control-shift- minus) Here is a summary of the compare feature:

‘Compare’ Preset menu item Compare mini-menu item: Meaning: The Compare Preset menu item lets you compare a Grayed Unmodified preset (or no preset) modified preset with the original, unmodified Active (not grayed) Modified preset is active. preset. You can freely switch back and forth between them to make a thorough A/B Checked Original preset is active. comparison. EDITING EFFECTS When you first call up a preset from the Effects The controls provided for the effect itself depend window Presets menu (either a factory preset or a on the plug-in. Refer to the documentation user preset you created), the Compare menu item included with the plug-in for information on how is grayed to indicate that the preset is currently to edit the plug-in. For information on automation unmodified. plug-ins, see chapter 39, “Mix Automation” (page 319).

345 EFFECTS WINDOW 346 EFFECTS WINDOW CHAPTER 41 Audio Effects Processing

OVERVIEW NATIVE PLUG-IN PROCESSING An audio effects plug-in is a piece of peripheral Almost all MOTU Audio System plug-in effects can software (developed by MOTU or another be processed dynamically during playback. They company) that can be used from within do not require extra hardware installed inside your AudioDesk. AudioDesk serves as a host program computer because their processing is handled by for the plug-in, allowing you to apply its processing the computer itself (referred to as native to your audio. Depending on the type of plug-in, processing). AudioDesk includes dozens of MOTU you can either use the plug-in as an offline Audio System plug-ins, from basics (such as operation, selecting individual soundbites and 8-band parametric EQ, reverb, and dynamics) to then choosing the plug-in from the Audio menu, or vintage gear emulations to exotic forms of you can apply it to an entire track as a real-time processing that are unique to AudioDesk. See insert for the track in the Mixing Board. “AudioDesk plug-ins” on page 353 for a list, and consult the separate AudioDesk plug-ins guide Native plug-in processing...... 347 PDF in the Help menu for complete information Real-time versus rendered effects ...... 348 about each plug-in. File-based plug-in processing...... 348 Working with MAS plug-ins...... 349 Many third-party plug-ins are also available. Working with VST and Audio Unit plug-ins ...... 350 Organizing plug-ins...... 351 The amount of effects processing you can apply at Using effect presets...... 351 one time has no inherent limit in AudioDesk. Busing, master faders & aux tracks...... 351 Instead, it depends on how fast your computer is: Monitoring system performance ...... 351 the faster the computer, the more real time effects Copying and pasting effect settings ...... 351 you can use simultaneously. Plug-ins from other companies ...... 351 Plug-in automation ...... 352 Using effects plug-ins Applying audio effects plug-ins to your audio Taking an automation snapshot of plug-in parameters...... 352 tracks is straightforward: just choose the desired Attaching a MIDI controller to plug-in parameters. . 352 plug-in from one of the inserts for the track in the Tempo-locked effects...... 352 Mixing Board as shown in Figure 41-1 on Side chain inputs ...... 352 page 348. Once you choose the effect (either from Multiple audio outputs ...... 353 the plug-in chooser window or the menu Making a real-time plug-in effect permanent...... 353 provided), the Effects window appears with the AudioDesk plug-ins...... 353 settings for the plug-in. If the Effects window is already open, you can choose the effect from the menu provided at the top of the window.

347 To fine-tune the responsiveness of plug-ins, go to Setup menu > Configure Audio System > Configure Studio Settings and adjust the Prime Milliseconds setting (see “Prime Milliseconds” on page 21).

Pre-gen operation with 3rd-party plug-ins MOTU works hard to ensure a high level of compatibility with 3rd-party effects. There may be cases where pre-generation may not work as expected with a given 3rd-party plug-in. These cases should be reported to MOTU and the plug-in vendor so that compatibility can be fully established. In the meantime, you can run the plug-in in real time. To force an audio track’s effects into real time, the track can either be record- enabled or monitor-enabled. Alternately, the effect Figure 41-1: AudioDesk provides real time effects plug-ins for audio tracks. can be placed on an aux track with bussing used to access the effect. Aux track effects are always All of the features in the Effects window apply to rendered in real-time. audio effects, including using the Bypass button to temporarily remove the effect. See chapter 40, FILE-BASED PLUG-IN PROCESSING “Effects Window” (page 341) for details about the File-based processing does not occur in real time. Effects window. Instead, it is applied similarly to AudioDesk’s PureDSP time-stretching features: you select Automatic latency (delay) compensation soundbites to be processed (using one of AudioDesk provides automatic latency AudioDesk’s many methods for selecting compensation for all real-time audio plug-ins. For soundbites), and then you apply the plug-in by details, see “Automatic plug-in latency (delay) choosing it from the Audio menu. A window compensation” on page 21. appears for the plug-in, you make settings, preview the settings (if previewing is available), and then REAL-TIME VERSUS RENDERED EFFECTS click OK. When you do, a new audio file is created By default, AudioDesk transparently pre-renders on your hard drive that consists of the original audio output from audio tracks with plug-ins soundbites with the effect applied to them (plus instantiated on them to dramatically reduce their any bite gain, if any has been applied to the original CPU load. This is called pre-generation, and it soundbite). Like PureDSP, processing occurs in the greatly enhances AudioDesk’s CPU performance, background. All MAS plug-ins can be applied as allowing you to instantiate many times the number file-based processing. of plug-ins that you would be able to run in real time. Reverse There is one plug-in that is provided as a file-based AudioDesk seamlessly manages transitions plug-in only (in the Audio menu only): Reverse. between pre-generated audio and live audio as needed.

348 AUDIO EFFECTS PROCESSING Previewing a file-based plug-in Installing MAS plug-ins When applying audio plug-ins from the Audio AudioDesk looks for MAS plug-ins in these menu> Apply Plug-in sub-menu, you can preview locations on your computer’s hard drive: the effect before applying it permanently: Platform Path Mac OS X startup disk/users/current user/library/ audio/plug-ins/MAS and startup disk/library/audio/plug-ins/MAS

Windows* C:\Program Files\Common Files\MOTU\ Plug-ins\MAS

*If you are running the 32-bit version of Figure 41-2: When you apply a plug-in as a n offline operation from AudioDesk on a 64-bit Windows system, the root the Audio menu Plug-ins sub-menu, use the controls at the bottom of the window to preview the effect before applying it. of the path is: C:\Program Files (x86).

When you click the Preview button, the currently MAS plug-ins in Mac OS X selected region loops continuously until you click For Mac OS X, the user library directory refers to the Stop button (or click anywhere outside the the user who is currently logged in to Mac OS X. effect window). Parameter adjustments can be heard in real time as you change them. A preroll Depending on how they were installed, plug-ins for and postroll amount can be added to the beginning AudioDesk are placed in one of the two locations and end of the currently selected region for shown above. If plug-ins are installed into the user previewing purposes. library directory, they are installed for the user who is currently logged in to Mac OS X at the time of These previewing features can also be used for installation. VSTs and Audio Units being applied as region operations. Organizing MAS plug-ins in Mac OS X You can organize the plug-ins across the system WORKING WITH MAS PLUG-INS and user library directory locations as you prefer, AudioDesk can host MOTU Audio System (MAS) with the following rules in mind: plug-ins. The MAS specification is a plug-in standard developed by MOTU that has been ■ Plug-ins are bound to log-in access. For adopted by audio plug-in developers to optimize example, plug-ins that are placed in a user their products for use with AudioDesk. You can directory are available only when that user is install MAS plug-ins on your computer and use logged in. This allows you to maintain different sets them from within AudioDesk. The plug-in may of AudioDesk plug-ins in multi-user also be supplied and installed in other plug-in environments. formats as well for use with other host applications. ■ Never duplicate a plug-in across the system and user directories (although you could duplicate a plug-in across multiple user directories, since only one user directory is active at a time).

349 AUDIO EFFECTS PROCESSING ■ You can organize plug-ins into folders, as directory, they are installed for the user who is explained in the next section. currently logged in to Mac OS X at the time of installation. WORKING WITH VST AND AUDIO UNIT PLUG-INS Third-party plug-in compatibility AudioDesk can host VST plug-ins on both Audio plug-in specifications continue to evolve, Windows and Mac and Audio Unit (AU) plug-ins and developers are modifying and improving their on Mac. The VST and AU specifications are a plug- plug-ins on an on-going basis to conform to each in standards that are widely adopted by music and specification as it develops. MOTU has worked audio software developers. You can install VSTs and closely with many developers to ensure AUs on your computer, and use them from within compatibility and smooth performance. Always AudioDesk or other host applications that support try to stay current with the latest versions of the them. plug-ins you use.

Installing VSTs and AUs Plug-in examination AudioDesk looks for VST and AU plug-ins in these When you run AudioDesk for the first time, or after locations on your computer’s hard drive: installing one or more new plug-ins, AudioDesk examines them during the loading process, Platform Format Path checking them for problems. On Mac OS, Mac OS X AU Startup disk/Users/Current user/ Library/Audio/Plug-ins/Components AudioDesk will first ask you to choose a primary and external plug-in format (VST or AU) to examine and use as your preferred format. This process may Startup disk/Library/Audio/ Plug-ins/Components take a few minutes, depending on the nature and quantity of the plug-ins installed in your system. Mac OS X VST Startup disk/Users/Current user/ Each plug-in is examined only once, the first time it Library/Audio/Plug-ins/VST is loaded by AudioDesk. On subsequent launches, and plug-ins that have already been examined will not Startup disk/Library/Audio/ Plug-ins/VST be examined again. If a problem is detected with a particular plug-in, it will not be loaded for use in Windows* VST C:\Program files\Vstplug-ins\ AudioDesk to prevent crashing and other serious and problems.

C:\Program files\Steinberg\VstPlugins\ You can choose to skip the examination of a and particular plug-in, in which case it is not loaded C:\Program files\Common Files\VST2 and will not be available for use in that particular session. Skipped plug-ins can be examined later, *If you are running the 32-bit version of the next time you launch AudioDesk. AudioDesk on a 64-bit Windows system, the root of the path is: C:\Program Files (x86). If you wish to completely remove a plug-in so that it will not be examined or loaded, simply remove it For Mac OS X, the user library directory refers to from the folder where it is installed. the user who is currently logged in to Mac OS X. If AU plug-ins are installed into the user library

350 AUDIO EFFECTS PROCESSING If a problem is detected with a particular plug-in, it will not be loaded for use in AudioDesk to prevent crashing and other serious problems. In the event that problems are found, the plug-in will be disabled and will not be loaded by AudioDesk. Contact the developer for information about updates for the plug-in.

Figure 41-3: The ‘CPU’ meter in the Audio Performance window ORGANIZING PLUG-INS shows you how much of your computer processing power is being AudioDesk’s plug-in chooser provides flexible and used by the MOTU Audio System and the real-time effects plug-ins that are currently active. If any of the meters reach yellow, you should convenient plug-in organization and browsing. For consider reducing the number of plug-ins you are using. details, see “Choosing a plug-in for an insert” on The Audio Performance window can be opened by page 305. choosing Audio Performance from the Studio USING EFFECT PRESETS menu. Many audio effect plug-ins provide factory presets, For tips on conserving the processing resources of and you can also save and recall your own presets. your computer, see “Optimizing performance” on See “Bypassing an effect” on page 343. page 20 and “More ways to enhance performance” BUSING, MASTER FADERS & AUX TRACKS on page 22. The MOTU Audio System provides a flexible COPYING AND PASTING EFFECT SETTINGS virtual mixing environment. You can take As with MIDI effects, you can copy and paste audio advantage of features like the internal audio buses effect parameters from one insert to another. Just to apply effects as needed and even conserve your choose Copy from the Edit menu while a specific computer’s processing power by busing multiple insert’s effect is being displayed, switch to a tracks to the same effect insert. You can also apply different insert with another effect, and choose effects to aux tracks and master faders as pre or Paste. Even if the destination plug-in is completely post fader effects. For details, see chapter 38, different, any parameters of the same kind are “Mixing” (page 299) for more ideas about how to pasted. work with real time audio effects within AudioDesk’s virtual mixing environment. PLUG-INS FROM OTHER COMPANIES The three plug-in architectures (MAS, VST and MONITORING SYSTEM PERFORMANCE AU) are open systems. Many other companies have Plug-ins can require a significant amount of CPU developed plug-ins that are compatible with these bandwidth (your computer’s processing power). plug-in formats, running in real time on your The speed of your computer determines how many computer with no extra hardware required. effects you will be able to apply at one time. Use the Audio Performance window to keep an eye on how much of your CPU bandwidth you are using up with your plug-ins.

351 AUDIO EFFECTS PROCESSING PLUG-IN AUTOMATION 3 Move, turn or press the desired control on your Plug-ins can be automated in real time. For MIDI device. To cancel the operation before complete information, see chapter 39, “Mix completing it, choose Learn Controller (or click Automation” (page 319). the icon) again at any time during the process.

This process creates a MIDI Custom Console with a value box object in it that establishes the connection between the external MIDI controller and the plug-in parameter. You can further inspect and adjust how the parameter responds to the controller by double-clicking the value box object in the console, which opens the Control Assignment window.

TEMPO-LOCKED EFFECTS Figure 41-4: Click the Auto (automation) button to access the automation settings menu for this track. The menu has checkable Many plug-ins allow you to lock certain items that enable/disable automation playback and recording. It parameters, like their LFOs, to the tempo of your also lets you choose the current automation mode for the track. sequence. This allows the effect to stay in sync with TAKING AN AUTOMATION SNAPSHOT OF the beat of your music, even if there are tempo PLUG-IN PARAMETERS changes. Use the automation snapshot button (Figure 40-1 on page 341) to capture the current settings of the For details on tempo-locking effects included with plug-in in the track at the current playback AudioDesk, see “Tempo Lock” on page 1 of the location. For more information about snapshots AudioDesk Plug-in Guide (Help menu). For details and automation, see “Snapshot automation” on on tempo-locking third-party effects, refer to their page 331. documentation.

ATTACHING A MIDI CONTROLLER TO SIDE CHAIN INPUTS PLUG-IN PARAMETERS A side chain input allows you to route any audio The Learn Controller command (Project menu> directly into the plug-in itself to control a Consoles) allows you to map controls on your MIDI parameter with the side chain input signal. It controller to plug-in parameters. appears in a plug-in window as a menu that shows a list of AudioDesk’s virtual busses. For many MAS ☛ Learn Controller can also be used to map your plug-ins, the menu appears within the plug-in MIDI controller to Mixing Board sends and send itself: pan.

To attach a MIDI controller:

1 Choose Project menu> Consoles> Learn Controller, or click the Learn Controller icon at the bottom of the plug-in window (Figure 40-1 on page 341). Figure 41-5: The side chain input in a MAS plug-in (Dynamics). 2 Click the desired plug-in parameter.

352 AUDIO EFFECTS PROCESSING For some plug-ins, the side chain input menu ■ Echo appears in the Effects window: ■ eVerb

■ Flanger

■ Invert Phase

■ MS Decoder

■ Multimode Filter Figure 41-6: The side chain input in the Effects window. ■ ParaEQ To use the side chain input, choose an audio input ■ Phaser or bus from the menu and then route a signal to the bus from any source you want in AudioDesk’s ■ Plate mixing environment (a track, a live aux input, etc.). ■ PreAmp-1 Several included plug-ins have side chain inputs, including Dynamics, Ring Modulator, and ■ Quan Jr Multimode Filter. Refer to the AudioDesk Plug-in ■ Reverb Guide (Help menu). ■ Reverse MULTIPLE AUDIO OUTPUTS ■ Ring Modulator Some effects plug-ins provide multiple audio outputs. You can access them in the Outputs tab in ■ Sonic Modulator the Bundles window. ■ Spatial Maximizer

MAKING A REAL-TIME PLUG-IN EFFECT ■ Tremolo PERMANENT All real-time plug-ins that appear in the Mixing ■ Trigger Board window effects inserts also appear in the ■ Trim Audio menu > Plug-ins sub-menu. To apply them, you can select audio in any window you prefer.

AUDIODESK PLUG-INS For details on the following plug-ins included with AudioDesk, see the AudioDesk Plug-in Guide (Help menu).

■ AutoPan

■ Buffy

■ Chorus

■ DC Notch

■ Delay

■ Dynamics

353 AUDIO EFFECTS PROCESSING 354 AUDIO EFFECTS PROCESSING CHAPTER 42 Audio File Conversion

OVERVIEW PERFORMING CONVERSIONS The Convert Audio File command in the To open the Audio File Conversion window, select Soundbites window mini-menu allows you to a soundbite or audio file and choose Convert Audio change the sample rate, sample format (bit depth), File from the Soundbite window mini-menu. file format, and interleave format of an audio file or soundbite.

You can change:

■ sample rate: any sample rate between 1 kHz and 200 kHz

■ sample format: 16-bit integer, 24-bit integer, or 32-bit floating point

■ file format: Broadcast WAVE, AIFF, or Sound Designer II

■ interleave format: interleaved or deinterleaved Like AudioDesk’s other “constructive” DSP processes, these conversions can occur in the background.

Performing conversions ...... 355 Converting the sample rate...... 355 Converting the sample format...... 356 Converting the file format ...... 356 Figure 42-1: The Audio File Conversion dialog Converting the interleave format ...... 356 Converting entire audio files...... 356 Using the next to each section, each Soundbite replacement options ...... 356 conversion operation can be turned on or off to Automatic Conversions ...... 356 perform any combination of operations.

CONVERTING THE SAMPLE RATE AudioDesk uses a highly precise, efficient, and transparent sample rate conversion algorithm, with a 138 dB signal-to-noise ratio.

355 To sample rate convert some audio, select one or Note that if a file’s sample format is 32-bit floating more soundbites in the Soundbites window and point, when converting the file format to Sound choose Convert Audio File from the Soundbites Designer II the resulting file’s sample format will be window mini-menu. The Audio File Conversion converted to 24-bit integer (32-bit floating point is dialog appears. not supported with Sound Designer II files).

Changing the recognized sample rate for an CONVERTING THE INTERLEAVE FORMAT audio file Interleaved audio uses one file for all channels, When checked, the Only change the file’s recognized whereas deinterleaved uses one file for each sample rate but do not process the file’s audio option channel. In the Interleave Format section of the changes the sample rate attribute for the audio file, Audio File Conversion window, you can convert but it does not actually process or otherwise alter the interleave format of your audio files between the audio data in the file. Use this command in interleaved and deinterleaved. situations where the sample rate being reported by the file (as listed in AudioDesk’s Soundbites CONVERTING ENTIRE AUDIO FILES window, or the info window in other audio When you choose a soundbite for conversion, you applications) erroneously does not match the can choose between converting only the soundbite actual sample rate of the audio contained in the file. itself (the portion of the audio file that falls within the soundbite) or the entire parent audio file. If you CONVERTING THE SAMPLE FORMAT will need to use other parts of a audio file (edge The Convert Sample Format section of the Audio editing the converted soundbites, for example), File Conversion, as shown below in Figure 42-1, you should choose to convert the whole file. allows you to change the sample format of an audio file or soundbite. You can change to 16 bit integer, SOUNDBITE REPLACEMENT OPTIONS 24 bit integer, or 32 bit floating point. Like In AudioDesk, sample rate and sample format AudioDesk’s other file-based “constructive” DSP conversion is a “constructive” editing process, processes, sample format conversion can occur in which means that it always generates new audio the background. files and preserves the original ones. Several options are provided to specify what to do with the Dither old audio, and how to replace existing soundbites. AudioDesk incorporates dither when converting to a lower bit depth— rather than truncating the If the Replace soundbites and Convert entire audio extra bits — to ensure the smoothest possible file options are chosen, you may also enable the conversion. Move the original file to the trash option.

CONVERTING THE FILE FORMAT AUTOMATIC CONVERSIONS In the File Format section of the Audio File AudioDesk can perform certain conversions Conversion window, you can convert the file automatically. For more information, see format of your audio files between Broadcast “Automatic Conversions” on page 107. WAVE, AIFF, and Sound Designer II. You can convert from any format to any other.

356 AUDIO FILE CONVERSION CHAPTER 43 PureDSP™ Basics

OVERVIEW In order to help you work faster, AudioDesk doesn’t This chapter gives you a brief overview of waste your time with dialog boxes asking you AudioDesk’s audio time-scaling and pitch-shifting where you want to put the new files, and what you capabilities. It then discusses the following want to call them. Audio files are automatically important topics that are common to all of created in the same folder as the original, with a AudioDesk’s Digital Signal Processing (DSP) tasks: name that indicates which soundbite or audio file it is based on. If you want to rename or move the file, PureDSP™ audio processing...... 357 you can feel free to do so at your leisure. Selecting audio for processing...... 357 Constructive editing ...... 357 AUDIO QUALITY IS PRESERVED Audio quality is preserved ...... 357 AudioDesk keeps track of where a soundbite came Handling lengthy processing tasks ...... 357 from. For example, if you time-stretch a soundbite, Soundbite preferences for PureDSP ...... 359 creating a new audio file at the new tempo, AudioDesk remembers its original soundbite. If PureDSP™ AUDIO PROCESSING you then time-stretch the already stretched AudioDesk’s PureDSP capabilities give you the soundbite, instead of just stretching the already- ability to: stretched soundbite again, AudioDesk refers back

■ Change the pitch of audio without changing its to the original soundbite to create the very latest tempo (see “The Pitch Shift command” on version. The same is true for pitch-shifting. This page 365) allows you to freely time-stretch and pitch-shift audio consecutively as many times as you like ■ Change the length or tempo of audio without without worry about artifacts that may arise due to affecting the pitch (see “Graphic time stretching of multiple time-stretch or pitch-shift operations audio” on page 221) applied to the same audio. The results will always be the same as if you time-stretched or pitch- SELECTING AUDIO FOR PROCESSING shifted the original soundbite. Most of the DSP commands allow you to select audio data in all of the usual ways. as discussed in The link between soundbites and their original chapter 31, “Selecting” (page 245). source soundbites can be viewed in the Soundbites window. For details, see “Viewing soundbite CONSTRUCTIVE EDITING sources hierarchically with ‘By Folder’ view” on All of AudioDesk’s DSP functions are page 77. “constructive” edits. AudioDesk never modifies your original audio files. When you pitch-shift or HANDLING LENGTHY PROCESSING TASKS time-scale an audio selection, AudioDesk creates AudioDesk’s DSP processing requires a great deal new audio files to hold the new audio data. This of computation, and may be applied to audio files means you can always go back to the original if containing millions of samples, so it may take need be; it’s always your decision, if you want to many seconds or even minutes to complete a single delete original source material. command. However, to prevent you from staring at

357 progress bars, AudioDesk has several features that When processing is complete, the waveform fills in allow you to be as productive as possible during solid to indicate that it is finished and ready to be lengthy processing tasks: played back. You can do just about any type of editing on a hollow waveform, such as cut, copy, ■ Background processing paste, split, and even edge-editing. The only

■ Audio file analysis that is done separately before commands that don’t work are ones that require the actual processing and saved on disk so that it knowledge of the sample data, such as Merge does not need to be recalculated every time you Soundbites. invoke a DSP task Editing audio that is “under construction” The following sections further discuss these After the new constructed soundbites appear, the features. Background Processing window will open so that you can see the progress of the transposition. Background Processing However, you do not need to wait; you can Because audio processing can take time, continue editing, recording, playing back, or AudioDesk does all of its PureDSP processing in whatever. It is perfectly fine to move, duplicate, the background, allowing you to continue editing, split, trim, or even edge-edit these unfinished playing, or even recording while it’s working. soundbites. However, commands such as Bounce to Disk, which need to know the actual sample When you use one of the commands that initiates data, will not work on these soundbites until they background processing, such as Pitch Shift, are done being constructed. This will be described AudioDesk immediately creates new Soundbites in more detail in chapter 44, “Background for the resulting audio. As long as the new Processing” (page 361). soundbites are “under construction,” their waveforms appear as an empty outline in the Edit The Background Processing window window as shown in Figure 43-1, so you can tell at The Background Processing window shows the a glance when they are finished. status of tasks being completed by background processing. You can see the queue of tasks waiting to be done. For more information, see chapter 44, “Background Processing” (page 361).

Audio file analysis Before pitch-shifting or time-stretching a soundbite, AudioDesk needs to perform a sophisticated analysis of the audio data. The actual pitch-shifting or time-stretching is relatively fast, but the analysis can take a while. Therefore, AudioDesk saves the results of the analysis in an analysis file, so that any given audio file only needs to be analyzed once. Analysis files are created automatically, and are kept in a folder called Figure 43-1: Audio that is being processed in the background is “Analysis Files” in the project folder. drawn with a hollow waveform.

358 PUREDSP™ BASICS Automatic background analysis If you use the same audio file in multiple projects, By default, AudioDesk will analyze audio only you should be aware that AudioDesk knows not to when needed. However, analysis can be set to create multiple analyses for the same audio file. automatically analyze any audio files used by your project that have not been analyzed yet. This AudioDesk attempts to delete the analysis file when analysis goes on in the background, so it does not you delete a audio file. However, if you delete audio interfere with your work. And by the time you need files in the Finder, rather than with the Delete to pitch-shift or time-scale a soundbite, it will command in the Soundbites window, AudioDesk probably already be analyzed, so the processing has no way of knowing this. In this case, you will will take a fraction of the time. probably want to delete the analysis file yourself. Since AudioDesk can always reanalyze a audio file, In the Background Processing preferences, you there is no harm in throwing out an analysis file, have the option of turning on automatic analysis, except that you may need to wait for the audio file which may be desirable if you do a lot of pitch shift to be analyzed again later. and/or time-stretching. See “Background processing preferences” on page 362 for details. SOUNDBITE PREFERENCES FOR PureDSP As shown in Figure 30-13 on page 241, the popup Analysis Files menus in the Sound File Information window For the most part, you don’t need to think much show the Transpose preference and the Time about analysis files. AudioDesk creates them Compress/Expand preference for the selected automatically, and uses them to do DSP functions. soundbite or soundbites. For complete They are stored in a folder called Analysis Files in information about setting these preferences, see your project folder. “Soundbite preferences for PureDSP” on page 241.

359 PUREDSP™ BASICS 360 PUREDSP™ BASICS CHAPTER 44 Background Processing

OVERVIEW This chapter explains what background processing is, how to control it with the Background Progress Processing window, and, finally, how to set it up the bar way you like and then forget about it. Cancel task button Background processing...... 361 Background Processing window...... 361 Background processing and Undo/Redo ...... 362

Background processing preferences...... 362 Figure 44-1: The Background Processing window displays a queue of tasks that are being processed or analyzed. Tasks are automatically BACKGROUND PROCESSING prioritized: “preemptive” analysis tasks, for example, are placed at the end of the list, behind higher priority tasks such as processing you’ve As explained in “Handling lengthy processing initiated with editing commands such as pitch-shifting. tasks” on page 357, all of AudioDesk’s DSP processing is done in the background. This means Background Tasks that the computer is splitting its time up between There are many types of background processing working on the background task, responding to tasks: analyzing audio files (for future PureDSP your commands, and playing or recording. effects processing), generating new audio files from AudioDesk tries to be as responsive as possible “constructive” audio edits such as sample-rate while you are actively editing, playing or recording, conversion, copying audio files, and more. and tries to give as much time as possible to Task priority background tasks when you are not. Tasks for “preemptively” analyzing audio files are BACKGROUND PROCESSING WINDOW less important that those that are working on a The main purpose of the Background Processing command that you initiated. For this reason, window is to show you how many tasks are AudioDesk will always work on these higher- pending, which task is being processed, and how priority commands first. AudioDesk is capable of much work is left to do for that task. You may also interrupting the analysis of a audio file and see a list of all pending tasks, and cancel or reorder continuing it later. So if you use the Pitch-Shift the tasks. command to transpose a soundbite while another audio file is being analyzed, AudioDesk will interrupt the analysis to do your transposition first.

The task list You can enlarge the window with the grow box or the zoom button to see a list of tasks being processed, or waiting to be processed. There is one line for each task, which gives the name of the soundbite or audio file to be processed. (Some tasks only affect one soundbite, but if the selection

361 contains soundbites that overlap or are background processing operation to fit your exact neighboring within the audio file, AudioDesk is needs. Therefore, several background processing able to process them all in a single task.) preferences have been added.

Tasks in progress Choose Background Processing Preferences from Tasks that are currently in progress are displayed at the Background Processing window mini-menu. the top of the list in black text. In addition, a The Background Processing preferences dialog has proceeds from left to right behind the the following options: task name, as shown in Figure 44-1. Even when low-priority preemptive tasks are being processed, they will be temporarily suspended until all high- priority tasks are completed.

Queued tasks Tasks waiting to be processed are displayed in lavender.

Cancelling tasks The cancel task buttons (Figure 44-1 on page 361) allow you to cancel the execution of a background Analyze audio files for DSP as soon as possible task. vs. Wait until analysis is needed AudioDesk can be set to “preemptively” analyze all Running stopped tasks audio files for which there are soundbites in the If a task was stopped due to an error, you can click Soundbites window. This option is off by default. If it in the Background Processing list to select it and you intend to do a lot of pitch shifting and time choose Run Stopped Task Again from the mini- stretching, you may want to consider switching to menu to restart the task. “Analyze soundfiles for DSP as soon as possible.”

BACKGROUND PROCESSING AND UNDO/ vs. REDO Mute Soundbites under construction Play the old, unprocessed Soundbites The Undo/Redo command works as usual with By default, AudioDesk will not play any audio for a background processing: if you do something that soundbite that is still under construction by initiates background processing, you can undo and Background Processing. In general, this is redo it as much as you like — until you do preferable, since the old audio is likely in the wrong something else. key or at the wrong tempo to be played with the rest of the sequence. However, if you would prefer to BACKGROUND PROCESSING PREFERENCES AudioDesk’s background processing features are hear the old, unprocessed audio, you can choose fine-tuned for Mac OS X’s advanced real-time the appropriate button. thread priority management features. Therefore, Open and close Background Processing background processing tasks never have an impact window automatically on AudioDesk’s overall performance. You may, This preference is off by default. If enabled, however, still wish to fine tune AudioDesk’s AudioDesk will open the Background Processing window whenever there are tasks to be done, and close it automatically when there are no tasks. If 362 BACKGROUND PROCESSING you would rather keep the window closed all the time, or open all the time, you may want to leave this feature disabled.

363 BACKGROUND PROCESSING 364 BACKGROUND PROCESSING CHAPTER 45 Transposing Audio

OVERVIEW TWO KINDS OF PITCH-SHIFTING The Pitch Shift command ...... 365 AudioDesk can do two different kinds of pitch Fine-tuning audio by cents ...... 365 shifting. Before you transpose, you may use the Selecting audio for pitch-shifting ...... 365 Transpose preference in the Sound File Two kinds of pitch-shifting ...... 365 Information window as shown in Figure 30-13 on Background processing...... 366 page 241 to choose either PureDSP™ or Standard Tips for successful pitch shifting ...... 366 pitch-shifting, depending on the type of sound. (Or you can choose the Don’t Pitch Shift preference THE PITCH SHIFT COMMAND for soundbites that should not be transposed, such The Pitch Shift command (in the Edit menu) as drums.) allows you to pitch-shift soundbites. Any soundbites or portions of soundbites selected will Standard pitch shifting be pitch-shifted. Standard pitch shifting is similar to what most pitch-shifting hardware and software does (although the sound quality of our standard pitch shifting is superior to that of many other products that do this). It changes the pitch of a sound without changing the length. However, it does this by changing all the frequencies within the sound. If you shift by more than a whole step or so, this leads to the well-known “chipmunk” or “munchkin” effect when shifting up, or a “Darth Vader” effect Figure 45-1: The Pitch Shift command in the Edit menu can be used to when shifting down. transpose audio.

FINE-TUNING AUDIO BY CENTS PureDSP™ pitch shifting PureDSP™ pitch shifting uses a proprietary The cents text box lets you pitch-shift microtonally. algorithm to change the pitch of a sound without You may fine-tune the transposition interval by up changing the character of the sound. It does this by to 100 cents in either direction. (A cent is a 100th of changing the fundamental frequency and a half-step.) harmonics of the sound, while preserving the SELECTING AUDIO FOR PITCH-SHIFTING “formants” or resonances of the sound. You may use any of the methods of selection noted If PureDSP™ is so much better than Standard pitch in “Selecting audio for processing” on page 357, shifting, why do we provide Standard pitch including selections made in the Soundbites shifting? Because PureDSP™ pitch shifting only window. works on pitched, monophonic sounds. It works beautifully for vocals and solo monophonic instruments. But if you try to transpose drums, or polyphonic guitar or piano for instance, the results

365 are not musically useful. In this case, Standard ■ Set your record level high enough to get a good pitch shifting will still munchkinize, but it is more signal-to-noise ratio, but not so high that it clips. likely to lead to a musically useful result (for small (Of course, you should always do this anyway!) intervals, in any case). Standard pitch shifting works over a range of at How to choose between PureDSP™ and least an octave in either direction, but the munch- standard pitch shifting kinization effect is clearly audible even at a whole- See “Soundbite preferences for PureDSP” on step or less. AudioDesk’s interface doesn’t impose page 359 to learn how to choose between the two any arbitrary limits on how far you can transpose, types of pitch shifting. but bear in mind that just because we allow you to try it doesn’t mean it’ll be musically useful. (That’s BACKGROUND PROCESSING what Undo is for.) As soon as you OK the Transpose dialog, the selected soundbites (or pieces of soundbites, for a PureDSP™ pitch shifting has a usable range that is time-ruler selection) are replaced with new significantly larger than that of Standard pitch soundbites, which are analyzed and processed in shifting, for sounds for which it is appropriate. Dry the background as described in “Background solo vocals usually sound great shifted up by a Processing” on page 358. third, a fifth, or even an octave. The useful range when shifting down is smaller. Shifting a voice TIPS FOR SUCCESSFUL PITCH SHIFTING down an octave often works if doubled with the In general, if you can use PureDSP™, you should, original, but may not be good enough to stand on but if it doesn’t produce desirable results, try its own. Standard pitch shifting. If you are going to record audio that you think you might need to pitch-shift, We recommend that you experiment with it’s a good idea to make sure not to do anything that AudioDesk’s pitch shifting, and push it to (and will make it harder for PureDSP™ to do a good job: past) its limits. You should be able to develop a feeling for what sort of sounds it works best for, and ■ Don’t mix down multiple tracks before pitch- over how big of a range, and what might be more shifting. iffy.

■ Record the audio dry. Effects such as echo, reverb, and distortion do not have a truly monophonic output, even if the input is monophonic.

366 TRANSPOSING AUDIO Part 9 Mastering

CHAPTER 46 Bounce To Disk

OVERVIEW PREVIEWING Bounce to Disk does exactly as its name implies: it After making the necessary output settings (if bounces multiple audio tracks down to a single needed), bouncing to disk is a simple two step sound file (or set of sound files). Original tracks are process: select any portion of one or more audio preserved, and new audio files are created. tracks and then choose Bounce to Disk from the Audio menu. The results of the bounce will sound Bouncing allows you to play back many more exactly the same as what you selected, including tracks than you can play simultaneously on your volume/pan automation, mute/solo settings, real system by mixing them down to a single track (or time effects, EQ and any other real time effects that stereo track pair). It is especially useful for creating are applied to the selected tracks. Basically, what a final mix of a project for mastering to CD or you hear when you play the sequence back is what exporting to multimedia or internet applications. you will get in the resulting mixdown. Bouncing is also a great way to create a single, contiguous sound file out of a track composed of To preview the results of the bounce, solo the tracks many smaller ones. And since bouncing occurs in you wish to include in the bounce and play back the the digital realm, no noise or sonic degradation is sequence. introduced. You can bounce as many times as you like without introducing any artifacts as a result of You can also use the Play Selection command in the bouncing. Edit menu to preview the bounce command. But if you do, be aware that the Play Selection command Setting outputs ...... 369 may ignore the current mute and solo settings of Previewing...... 369 the selected tracks (“Solo & Play Phrase override Bounce to Disk settings ...... 369 mute automation” on page 336), so only select the Bouncing to Disk ...... 372 tracks you actually want to play. Bouncing to MP3 ...... 372 BOUNCE TO DISK SETTINGS SETTING OUTPUTS Once you’ve made the preparations already All of the tracks you wish to combine in the bounce discussed, selected the tracks you wish to bounce, operation must be assigned to the same output or and chosen the Bounce to Disk command from the bus pair. The Bounce operation will include Audio menu, the Bounce to Disk dialog appears everything being routed to the output pair or bus (Figure 46-1 on page 370). pair you choose, including sends that are bussed in from tracks assigned to other outputs. So be sure to assign all the tracks (and sends) you wish to include in the bounce to the same output pair or bus pair before bouncing.

369 Mac OS X

Windows Destination

Figure 46-1: AudioDesk’s Bounce to Disk feature (in the Audio menu).

File Format The File Format menu (Figure 46-1) lets you Figure 46-2: The Bounce to Disk File Format menu. bounce to variety of file formats or destinations (Figure 46-2). Channels The Channels menu (Figure 46-1) lets you choose To use the project’s current file format and the channel format for the bounced material with interleaved format, choose Project Format. four choices (Figure 46-3):

The Core Audio file formats, which are supplied by Mac OS X, always create interleaved files.

For details about bouncing to the MP3 format, see “Bouncing to MP3” on page 372. Figure 46-3: The Bounce to Disk Channels menu.

Mono (no attenuation) Mono creates a single monophonic audio file. AudioDesk simply sums the left and right channels of the outputs of the source tracks, so there is a possibility that the resulting mono mix might clip, even when the source material does not. If this is the case, undo the bounce operation, adjust the levels of the source tracks and bounce again.

370 BOUNCE TO DISK Mono (with 3.5 dB attenuation) Supported resolutions When bouncing to mono, this option preserves the 8-bit resolution it typically applied to audio that level when bouncing a signal that is panned center. will be used in multimedia and internet The attenuation compensates for the 3.5 dB boost applications because it significantly reduces the you get from summing the left and right channels size of the sound files, halving the bandwidth of a centered signal with equal-power panning. required to deliver the sound. When you are bouncing down to 8-bit audio, you may want to Stereo apply AudioDesk’s Dynamics/Compressor (or a The Stereo option (Figure 46-3) creates a stereo file. third-party dynamics plug-in of your choice) to If an interleaved format is chosen, Stereo creates an the mix to counteract the effect of halving the interleaved stereo file. If a non-interleaved format is dynamic range that results from going to 8 bits. chosen, Stereo creates two mono audio files with the same file name, but with “.L” or “.R” appended 16-bit resolution is the standard resolution for to the end of the file names. compact disc audio.

Same as Source 24-bit audio provides greater resolution and The Same as Source option (Figure 46-3) creates a headroom and is used by many mastering systems. file with the same channelization as the Source bundle. The resulting file can be interleaved or 32-bit floating point audio file resolution is an deinterleaved, depending on the format chosen. emerging standard used for high-end recording, mixing and mastering applications. AudioDesk’s Sample Format mix engine employs 32-bit floating point precision The Sample Format menu (Figure 46-1) lets you throughout, as do other advanced digital audio choose the bit depth for the bounced audio workstation systems. If you plan to use the (Figure 46-4): bounced material with AudioDesk or another system that supports 32-bit floating point processing, this option is a good way to preserve and carry over the floating point precision employed by these systems.

Import Figure 46-4: The Bounce to Disk Sample Format menu. The Import menu lets you choose what to do with Supported fixed bit depths include 8, 16 or 24 bit the audio file(s) generated by the bounce integer. You can also choose 32 bit Floating Point, if operation. If you choose Do not import, the file will the format you’ve chosen (Figure 46-2) supports be created on the hard drive but it will not be this resolution. If not, this menu choice is grayed imported into AudioDesk. Otherwise, you can out. import the audio file into the Soundbites window or into the current sequence as a new audio track. If Choose Project Default to use the current project you have chosen a format not supported by sample format. If you choose 8 bits (a sample AudioDesk, you will not be allowed to choose format not supported by AudioDesk for playback), either of these import options. the Import option below will force you to choose the Do not import setting.

371 BOUNCE TO DISK Source Processing occurs faster than real time in most The Source menu (Figure 46-1) displays all output situations and there is therefore no playback and bus bundles currently defined in the during bouncing. The speed of the processing, AudioDesk project (see chapter 17, “Audio however, not only depends on how fast your Bundles”). Use the Source menu to indicate the computer is, it also depends on how many tracks output or bus bundle that you wish to capture in you have selected for bouncing. If what you have the bounce. All tracks that are currently selected selected can be played by your computer, then and routed to — or bussed to — the source bundle processing during bouncing will probably occur you choose will be included in the bounce faster than real time. If you have selected more operation. tracks than you can play at one time, then processing speed may not necessarily occur faster File name than real time. In the File Name field (Figure 46-1), type in the desired name for the resulting audio file(s). If multiple files are generated (due to a non- interleaved stereo bounce operation), appropriate file extensions will be appended to the end of each file name to indicate its channel (.L and .R).

Destination Figure 46-5: The progress window for the Bounce command. The destination (Figure 46-1) displays the disk location for the resulting sound file(s) created by BOUNCING TO MP3 the bounce operation. Click the Choose button to As shown in the menus in Figure 46-2 on page 370, change it. AudioDesk can export audio to the MP3 audio file format, either using the Bounce to Disk command Overwrite Existing Files or the Export Selected Bites command in the Normally when you Bounce to Disk, AudioDesk Soundbites window mini-menu. generates a new file name — one that does not conflict with existing files on your disk. However, if MP3 export options you check the Overwrite Existing Files option To bounce or export an MP3, choose the L.A.M.E. (Figure 46-1), then AudioDesk will overwrite any audio export: MP3 format, as shown in Figure 46-2 file (or set of files for split stereo files) of the same and Figure 13-3 on page 93. When you choose this name. format, you will see the following MP3 export options: If the “Import” option on page 371 is currently set to Add to sequence or Add to soundbites window, then the OverWrite Existing Files option is grayed out.

BOUNCING TO DISK After you’ve made the settings discussed above, click OK to begin the bounce. AudioDesk displays a progress window that shows the progress of the bounce operation.

372 BOUNCE TO DISK match the source material sample rate automati- cally. The sample rate is the number of times per second that the music waveforms are captured digitally. The higher the sample rate, the higher the quality and the larger the file size. Be sure to choose a sample rate that is no higher than the rate used to originally store the music, or you’ll waste disk space and streaming bandwidth. CD quality, for example, is 44.1 kHz, so choosing a higher rate when you’re encoding from a CD is unnecessary.

Figure 46-6: The MP3 export options. Encode quality: The choices here are High, If you don’t have any specific needs or Standard and Fast. The High setting produces the requirements for your MP3 file, the default settings best results, and the Fast setting will encode most in the MP3 export options window will give you quickly. The Standard setting is a trade-off very good results. If you have specific needs, the somewhere in the middle between quality and export options give you the following choices: speed of encoding.

Channels: The choices here are Mono, Stereo or Encoding mode: This option lets you specify the Auto. This option lets you force the MP3 to be bit rate (number of bits per second). This is an either Mono or Stereo. If you want the MP3 to important setting because it has a high degree of automatically match the channel format (mono or impact on both the file size and quality of the stereo) of the source material, use the Auto setting. sound. The four choices are summarized below: Mono files are about half the size of stereo files. Encoding mode What it does Explanation Mono is appropriate if you don’t have stereo Variable Bit Rate Varies the bit rate In general, you’ll get speakers or if your audio files are monaural. If (VBR) Standard as needed, depend- the best results with ing on the material. this option (the best you’ll be listening to your MP3 files using your sound and the small- stereo system, choose Stereo or Auto. est file).

Variable Bit Rate Same as above, The results will still be Stereo mode: The two choices here are Normal and (VBR) Fast except that the good, but perhaps not encoding process quite as good as the Joint Stereo. In Normal mode, your MP3 files will be faster. standard VBR above. contain one track for the right stereo channel and Average Bit Rate The bit rate is still Use this encoding one track for the left. In many cases, the two variable, but the method if you need to encoder restricts restrict the file size or channels contain related information. In Joint the overall average overall bandwidth. bit rate of the entire Stereo mode, one channel carries the information file to the specific that is identical on both channels, and the other value you specify in the Bit Rate channel carries the unique information. At bit rates menu. of 128 kbps and below, this can improve the sound Constant Bit Forces the same bit This gives you the quality of your converted audio. Generally, Joint Rate rate throughout most control over the the file, regardless file size and streaming Stereo mode is the best choice. of the material. bandwidth.

Output Sample Rate: The choices here are Auto, and a list of specific bit rates. The best choice is usually the Auto setting, which makes the MP3

373 BOUNCE TO DISK VBR (variable bit rate) quality: This option appears if you’ve chosen one of the two VBR encoding modes above. If so, this option lets you control the quality of VBR encoding on a scale from 10 (good) to 100 (best).

Bit Rate: This option appears if you’ve chosen either the average or constant bit rate encoding modes above. If so, this option lets you specify the desired bit rate in kilo bits per second (kbps). The range is from 16 kbps (lowest quality but smallest file size) to 320 kbps (best quality but largest file size). For internet distribution of reasonably high- quality music, 128-160 kbps are common bit rates.

Filter frequencies below 10 hz: Humans can’t hear frequencies below 10 hertz (cycles per second). But these inaudible frequencies can unnecessarily increase the file size and adversely affect quality, so you’ll get better results when these frequencies are filtered out.

374 BOUNCE TO DISK CHAPTER 47 Mastering

OVERVIEW 1 Set the master fader at unity gain (0.0 dB). Mastering is the process of preparing your mix for final delivery on audio compact disc, in MP3 2 Lower the Limiter ceiling to -0.5dB. format, or any other delivery medium of your 3 Set the release to 0.10ms. choice. This chapter discusses several topics related to mastering that are specific to AudioDesk. 4 Press play in AudioDesk. However, there is much more to know about the art of mastering and the many engineering techniques 5 Gradually bring the threshold down until you involved. The internet is an excellent resource for see gentle gain reduction in the area of –2 to –4dB. further information. As you learn more about You may have to use the input gain to bring the mix general mastering principles, keep in mind that into the range of the limiter. AudioDesk provides all of the tools you need to achieve even the most advanced mastering At this point, you have accomplished a gentle objectives. normalization of your audio.

Master fader ...... 375 Experiment with the threshold control to bring up Allocating processing power ...... 375 the overall average level of your mix. Real-time bounce to disk ...... 376 Rendering audio...... 376 ALLOCATING PROCESSING POWER Bounce to disk ...... 377 When using a native audio system such as MOTU Delivery...... 377 Audio System, you may find it necessary to juggle buffer settings depending on what you wish to MASTER FADER accomplish. When finalizing a mix and then The master fader is the most important element in mastering it, your goal should be to maximize the your mix. If you are not using a master fader on amount of processing power available for real time your mix and are encountering distortion, chances MOTU Audio System effects. One way to do this is are, you are overloading the mix bus. The solution to raise the buffer setting (“Buffer Size” on for this is very simple. Create a master fader and page 18). 1024 is a good setting at which to mix. assign its output to the same output as the rest of your faders. This allows you to pull down the over Higher buffer settings free up more processing all level of your mix to avoid distortion. power for mixing at the expense of increased input monitoring latency. This may or may not be an Limiter issue for you, depending on how go about mixing The next step is to apply a limiter to the master and mastering your project. In many cases, input fader to control the overall average level of your monitoring latency only comes into play at the mix. For complete details, refer to the Dynamics beginning of a recording project when you are first plug-in in the AudioDesk Plug-in Guide (Help laying down tracks. While monitoring live input menu). Here is a brief overview of how to get during recording, you can reduce the buffer size to started:

375 eliminate monitoring delay and afterwards raise it 3 One final touch: rename the new audio track again for increased processing power during ‘final mix’. When AudioDesk writes the new file to mixing and mastering. disk, the file will assume the track name.

While mastering, however, your mix may include If you open up the Audio Monitor and hit play in real-time elements (external effects, for example) the transport, you should see level representing that require that you maintain low buffer settings. your mix on your mix bus. Now you can rewind to In this case, you need to do the best you can to the beginning, and record the entire mix. balance your system resources with the demands of these real-time elements of your mix. External effects compensation Externally processed tracks can benefit from If your project contains only audio (e.g. no real- latency compensation using the Shift command. time input from aux tracks from external sources), For example, you may decide to send a drum then you are ready to bounce your project to disk. submix out to a vintage compressor and feed the If your project contains any external real-time result back into AudioDesk’s mixing board. If the sources (live inputs, effects processors, etc.), you input buffers are set at 256 samples, for example, have two strategies for finishing your mix: you can used the Shift command (Edit menu) to advance your drum tracks by 256 samples. ■ Real-time bounce to disk RENDERING AUDIO ■ Rendering Another strategy for finishing your mix is to render These techniques are discussed in the next few all elements of your mix as audio. While this sections. procedure requires more disk space, these commodities are quite affordable these days. One REAL-TIME BOUNCE TO DISK strong advantage of this approach is complete Let’s say you have a fairly complex project with portability. For example, you may open up the external sources entering AudioDesk via an aux project in the future and find that you don’t have track. If your mix sounds good at this point, you access to the same outboard processing gear. If this can perform a real time bounce to disk as follows: is a concern for you, it may be a good idea to render these elements. Once all the elements of your mix 1 Reassign the outputs of all your audio and aux are rendered as audio, then you can perform a tracks to an unused stereo bus. You may have to normal, non-real time bounce to disk. create one if one does not exist. It might help to use an audio bundle and give it a name such as ‘my mix Rendering external processors bus’. Recording the output of a signal processor does not require any latency compensation as discussed 2 Create a new stereo audio track and set the input earlier because it does not involve real-time of the audio track to the newly created bus (‘my monitoring. This is another advantage to mix bus’). You may also set the output of your rendering, as it leaves you with one less thing to audio track to your original monitor outs so you worry about. can monitor the progress.

376 MASTERING If you feed an AudioDesk disk track to an external signal processor and then feed the processor output back into AudioDesk as a live input, you can precisely compensate for the delay. See “External effects compensation” on page 376.

BOUNCE TO DISK Now that you have rendered all elements of your mix to audio tracks, you can now touch up your final mix and bounce to disk. See chapter 46, “Bounce To Disk” (page 369) for complete details. Be sure the Add to soundbites window option is enabled. Name your mix something memorable, such as ‘final mix’.

DELIVERY AudioDesk supports a variety of native file formats: interleaved and non-interleaved Broadcast WAVE, AIFF, and Sound Designer II files, at 16-bit or 24-bit. When you need to export your mix out of AudioDesk, open the Soundbites window, select your ‘final mix’ file and choose Export selected bites… from the mini-menu. You can export the mix in all of AudioDesk’s supported formats and more.

Create an MP3 file Use AudioDesk’s Bounce feature or the Export Selected Bites feature mentioned above to export directly to MP3 file format.

Burn a CD You can export interleaved files for use with most audio CD burning software, such as Roxio’s Toast or Apple’s iTunes.

377 MASTERING 378 MASTERING Part 10 Synchronization

CHAPTER 48 Receive Sync

OVERVIEW external synchronization features. Then, go to the The Receive Sync command (Setup menu) allows Setup menu and choose Configure Audio you to ‘slave’ AudioDesk to a variety of ‘master’ System>Configure Hardware Driver and set the timing sources. AudioDesk supports MIDI Clock Mode setting to Internal Timecode, the standard MIDI synchronization format. With a SMPTE-to-MIDI converter such as BASIC TYPES OF SYNC MOTU’s MIDI Express XT, AudioDesk can sync to AudioDesk supports Sample Accurate Sync and audio tape, video, or film, ensuring that events in SMPTE Time Code (via MIDI Time Code or an your sequence happen at exactly the same spot on analog input on your MOTU audio interface). tape or film every time. AudioDesk also supports These modes are selected in the Receive Sync sample-accurate digital audio synchronization settings window. The mode you use depends on with devices that support the ADAT and Tascam the equipment to which you are synchronizing. sample-accurate digital audio synchronization Sample Accurate protocols. Sample-accurate synchronization is the tightest Receive Sync basics ...... 381 possible synchronization between two devices. It Basic types of sync ...... 381 offers the strong advantage of exactly preserving Using Receive Sync ...... 382 the phase relationship between digital audio tracks Choosing a SMPTE frame format ...... 382 in a multitrack project, even when they are not Choosing a SMPTE start frame...... 382 transferred at the same time. For example, if you Sync to port menu ...... 382 transfer 8 tracks from the ADAT into AudioDesk, Sample-accurate sync ...... 383 sample accurate sync ensures that they will MTC (MIDI Time Code) ...... 384 maintain their exact phase relationship to one Slaving to external sync...... 385 another, even if you record them into AudioDesk Slaving to VITC...... 385 one at a time. Synchronization hints ...... 385 SMPTE time code RECEIVE SYNC BASICS SMPTE time code is an international standard that AudioDesk can run under its own transport was developed for film and video work but has control or slave to an external sync source, such as proven to be very useful in normal audio work as SMPTE time code or ADAT sync (sample address). well. This is an absolute time code, expressing hours, minutes, seconds and divisions of the Do you need to synchronize? second in digital form. Because of its accuracy and If you don’t have any digital audio devices wide-spread acceptance, SMPTE is the most connected to your MOTU audio hardware, and powerful of the time code formats. you have no plans to synchronize AudioDesk to SMPTE or MIDI Time Code, you do not have to be AudioDesk can slave to SMPTE Time Code by concerned with synchronization. Just leave the either: Slave to External Sync command in the Setup menu unchecked. Doing so disables AudioDesk’s

381 ■ slaving directly to an analog SMPTE Time Code ■ 30 drop: Use only when you must accommodate signal via an analog input on your MOTU audio this frame rate. You’ll nearly always want to use one interface of the more common frame rates, such as 29.97 drop or 30 non-drop. OR ■ Legacy 29.97 drop and Legacy 29.97 non-drop: ■ slaving to MIDI Time Code via a special device Use these only with old projects which open that can convert it to MIDI assigned to these frame rates. For new projects, For the first option, consult your MOTU Audio always use the standard 29.97 drop and 29.97 non- interface user guide. For the latter, see “MTC drop frame rates. (MIDI Time Code)” on page 384. Use these frame rates only in the cases described above; otherwise, use one of the standard frame USING RECEIVE SYNC rates. The following sections explain the Receive Sync settings (opened from the Setup menu). CHOOSING A SMPTE START FRAME When slaving AudioDesk to SMPTE Time Code CHOOSING A SMPTE FRAME FORMAT (via MTC or LTC), you need to specify a SMPTE If you are slaving to any sync type that involves start time for the sequence. This is the frame SMPTE time code, or if the work you are doing in location at which the sequence begins to play. See AudioDesk requires that you reference SMPTE “Setting the start time” on page 143. time code, be sure to choose the correct SMPTE frame format at the top of the Receive Sync settings SYNC TO PORT MENU window as shown below in Figure 48-1. This The Sync to Port menu lets you choose the source to setting is the same setting as the Frame Rate from which AudioDesk will receive MIDI timing selection in the Setup menu. information (for MIDI Time Code).

All standard SMPTE frame rates are provided: 23.976, 24, 25, 29.97 drop, 29.97 non-drop, and 30 fps. There are also some non-standard frame rates available (see below).

Figure 48-1: Choosing a SMPTE time code frame format. Figure 48-2: The Sync to Port menu.

Non-standard frame rates Any device in your Audio MIDI Setup Three non-standard frame rates are available: 30 configuration that has the MIDI Time Code drop, Legacy 29.97 drop, and Legacy 29.97 non- attribute checked will appear in this menu. Choose drop. Any Port to allow AudioDesk to slave to any timecode that it receives, regardless of its source.

382 RECEIVE SYNC (assuming you don’t move it while it’s in AudioDesk). You could transfer audio back and forth digitally between AudioDesk and the other device as many times as you like, and the audio will not drift even one sample earlier or later, no matter how many times it is transferred between the two devices.

Sample-accurate transfers like this can also be achieved with Tascam family tape decks (such as the DA-38, DA-88, or DA-98) via a 2408mk3/PCI- 424 system. A MOTU Digital Timepiece is required. Figure 48-3: Any device that has the ‘Transmits MIDI Time Code’ properties checked will appear in the Sync to Port menu in AudioDesk’s Receive Sync settings window. Digital audio I/O is required Sample-accurate digital transfers require a digital SAMPLE-ACCURATE SYNC audio interface such as a MOTU 2408mk3, which ] supports sample-accurate sync. The MOTU 2408mk3 supports the following digital audio formats: ADAT optical (8 channels in and out), Tascam T/DIF (8 channels in and out), and S/PDIF (2 channels in and 4 channels out). Other MOTU audio interfaces provide a variety of additional digital audio formats, including AES/EBU and optical S/PDIF. Figure 48-4: Sample-accurate sync settings. Notice that there is no ‘Sync to Port’ setting for sample-accurate sync, since AudioDesk directly accesses the audio hardware for sample address informa- MOTU PCI-424/FireWire hardware setup tion. If you have MOTU PCI-424 or FireWire Audio If you are using AudioDesk with a MOTU audio system, refer to your hardware manual for specific interface with sample-accurate sync capabilities, details about how to connect your system for AudioDesk can achieve sample-accurate synchro- sample-accurate sync to an ADAT or Tascam tape nization with ADATs or any external recording deck. device that supports sample-accurate synchroni- zation. AudioDesk settings For sample-accurate sync, choose the Sample- This allows you to transfer digital audio — entirely accurate sync setting as shown above in in the digital domain — between AudioDesk and Figure 48-4. No additional sync settings are an ADAT (or similar ADAT-compatible digital required. Notice that the Sync to Port setting audio recorder) via ADAT optical cables (or other disappears when you choose Sample-accurate digital audio format) with single-sample accuracy. sync. This is because AudioDesk access the sample For example, if you record some audio from the address information directly in the hardware (via ADAT into AudioDesk, and then send it back to the the hardware driver, e.g. the PCI-424 driver for the ADAT, it will be placed at exactly the same location — to the very sample — from where it originated

383 RECEIVE SYNC MOTU 2408mk3, or the MOTU FireWire Audio Optical input/output settings driver for the MOTU 828mk3 FireWire audio To transfer audio digitally from another device to interface). AudioDesk, be sure to choose a digital input for the track you will be recording into. Conversely, when Hardware driver settings you want to transfer audio from AudioDesk to the Choose Setup menu>Configure Audio other device, make sure you’ve chosen digital System>Configure Hardware Driver and make the output assignment of the track you want to appropriate clock source setting for the hardware transfer. you are using. For the 2408mk3, choose PCI-424: ADAT from the Clock Source menu as shown below. MTC (MIDI TIME CODE)

Figure 48-6: Slaving to MIDI time code. As you can see, there are no extra options for MIDI timecode sync. Use the MTC mode when you are slaving AudioDesk to SMPTE time code via a converter that supports MTC (MIDI Time Code).

SMPTE time code (an analog audio signal) is fed from a master source such as a audio tape recorder, video tape recorder, or SMPTE generator into a SMPTE-to-MIDI converter such as a MOTU MIDI Express XT, which translates the SMPTE time code into MIDI timing information. This MIDI timing information is produced in the form of MIDI time Figure 48-5: The clock source setting for sample-accurate sync. If you have multiple interfaces, make sure that these two settings match. code (MTC), an industry standard format.

Transport control from AudioDesk via MMC MTC sync mode is a simple and direct way to slave If you have a MIDI Timepiece AV or other MMC- AudioDesk to an external source generating capable ADAT synchronizer and would like to SMPTE time code. AudioDesk is able to lock to the control everything from AudioDesk’s transport frame times of the master, insuring precise controls via MMC, open the MMC window and synchronization between devices. In addition, enable MMC. This puts AudioDesk in Slave to AudioDesk remains under its own tempo control, External Sync mode. Make sure your MIDI allowing you to program sophisticated tempo Timepiece AV (or other MMC synchronizer) is on- maps while slaved to time code. line.

384 RECEIVE SYNC To use MTC sync mode, you must have a SMPTE- 4 To terminate the lock up with the master, click to-MIDI converter that supports MTC, such as a on the Stop button. MIDI Express XT from MOTU. Clicking on the Stop button will both stop There are no special options to select in the Receive AudioDesk and remove it from the master’s Sync settings window: when in MTC mode, control. This can be done at any time. To return to AudioDesk simply responds to timing data normal operation, turn off Slave to External Sync directly. by reselecting it from the Studio menu.

Once AudioDesk is locked to the master, there is no SLAVING TO VITC need to use AudioDesk’s main transport controls VITC (Vertical Interval Time Code) is SMPTE time unless you wish to record. AudioDesk will start, code that is recorded directly in the video signal, stop and locate under control of the master. Also freeing up both audio tracks and allowing lockup upon lockup, if Click is enabled, AudioDesk will to be maintained while freeze-framing or frame- click in the meter specified at 1|1|000 or will default advancing the video. To slave to VITC, you need a to 4/4. VITC synchronizer, such as a MOTU Digital Timepiece. You can put AudioDesk into play or record either before or after you start rolling tape. In either case, SYNCHRONIZATION HINTS AudioDesk will lock up quickly. When locking to external SMPTE synchroni- zation, you can shift parts forward and backward SLAVING TO EXTERNAL SYNC in time to compensate for the numerous time Once you have chosen one of the desired sync delays in a complex system (each device used in a modes already discussed in this chapter, slave MIDI path introduces at least 2 milliseconds of AudioDesk to an external source as follows: delay).

1 Select Slave to External Sync from the Setup When recording in external sync, the Record menu. button is turned off every time the master device stops or rewinds. This is a safety precaution, to This puts AudioDesk into slave mode, waiting for prevent accidental erasure of previously recorded sync information from an external device. data. To record in external sync, start the master device, wait for AudioDesk to lock up, and then 2 Click on the Play or Record button in the main press the record button. transport controls. Setting a countoff before sequence start while The Play button will flash on and off, meaning that slaved to tape AudioDesk is waiting for sync information to start. If you are working in a studio situation where you need a countoff before the beginning of the 3 To start AudioDesk, start the external device. sequence while slaved to tape, here is how you can When AudioDesk is locked and playing, the Play set up the AudioDesk’s countoff feature: button will turn blue. Once locked, AudioDesk will 1 Choose an option in the Click preferences that follow, start, stop and rewind under control of the will enable the click during AudioDesk’s countoff. master.

385 RECEIVE SYNC For example, choose the Always Click or Only The Click item on the Studio menu must be during countoff option. checked.

2 Set the number of measures you would like for If you now rewind well before the sequence start the Countoff. time and roll the tape, AudioDesk, as it counts down, will begin the countoff at the appropriate Do so by option-clicking the Countoff button and number of measures before the downbeat of the typing in the number of measures. first measure.

3 Make sure that the Click is enabled.

386 RECEIVE SYNC CHAPTER 50 MIDI Machine Control

OVERVIEW device supports via MMC. Also, check for “Read MIDI Machine Control (MMC) is a recent and Me” files and update booklets that accompany your significant addition to the original MIDI specifi- AudioDesk manual; they may include further cation. MMC consists of an extensive set of system information about specific devices. exclusive commands that allow multiple recording Setting up MMC hardware ...... 391 devices to be remotely controlled from a single Setting up AudioDesk...... 393 source. MMC expands AudioDesk’s ability to serve Setting up a MOTU MTP AV or Digital Timepiece . . . .393 as “a recording studio at your fingertips” by Activating MMC in AudioDesk ...... 394 allowing you to control the transport and recording functions of your recording hardware SETTING UP MMC HARDWARE entirely from within AudioDesk. MIDI Machine Control requires two-way MIDI communication between AudioDesk and the This chapter explains how to use AudioDesk with MMC device. AudioDesk sends control commands hardware devices that support the MIDI Machine (in the form of system exclusive messages) to the Control (MMC) specification, such as: MMC hardware, and the MMC hardware sends SMPTE time code back to AudioDesk. ■ The Alesis ADAT™ digital multitrack recorder (with the BRC or other MMC interface) Some MMC devices can generate SMPTE time ■ The Tascam DA-88™ or MX-2424™ digital hard code in the form of MIDI Time Code (MTC). disk recording systems Other devices generate SMPTE time code in the form of longitudinal time code (LTC), an audio ■ Any other MMC-compatible device signal that can be converted to MIDI Time Code by AudioDesk serves as a computer-based front end way of a SMPTE-to-MIDI converter such as the for MMC devices, causing them to play, stop, MIDI Express XT. These two hardware setups are rewind, and otherwise follow AudioDesk’s control shown below. Other devices generate Sample- panel functions. In addition, you can record- accurate time code (for example the Alesis enable tracks on a MMC device remotely from ADAT™). See “Sample-accurate sync” on within AudioDesk (for MMC devices that support page 383. this capability). Connecting multiple MMC devices ☛ As you begin working with AudioDesk and If you have more than one piece of MMC gear, your MMC gear, keep the following in mind. decide which one will be the time code master. AudioDesk provides features that are supported by Hook up the master device as shown in either most MMC devices. However, not all MMC Figure 50-1 or Figure 50-2 (whichever is required devices support every feature explained here. In by the device), and then feed the time code from addition, there can be slight variations in the way the master device to the other MMC devices in each device handles MMC that cause it to behave your setup. Doing so establishes one time code differently than described. Try to familiarize source, which keeps all devices (and AudioDesk) in yourself as much as possible with the features your

391 sync with one another. Connect the remaining devices to your MIDI interface as shown in Figure 50-3.

IN OUT MMC Device USB cable OUT IN MIDI cables Micro express USB interface

Figure 50-1: If the MMC device can generate MIDI Time Code (MTC), the MIDI connections shown here are all that are necessary. Be sure the MIDI interface internally routes the MTC to the computer.

Micro express USB interface using it’s SMPTE converter

OUT IN MMC Device USB cable MIDI cables SMPTE time code IN

Audio cable

Figure 50-2: If the MMC device generates SMPTE Time Code, connect its time code output to a SMPTE-to-MIDI converter like the Micro express USB as shown here, which converts it to MTC. Route the resulting MTC to the computer.

IN OUT MMC Master Device OUT IN USB cable OUT Micro express USB interface OUT IN MMC Device

Figure 50-3: Connecting multiple MMC devices for remote MMC control from AudioDesk. IN MMC Device

392 MIDI MACHINE CONTROL Open-loop versus closed-loop systems 8 Make sure that both the MIDI IN and MIDI The hardware setups shown in Figure 50-1 and OUT ports of the MMC device are connected to Figure 50-2 support open-loop MMC configura- the MIDI interface. tions. AudioDesk does not currently support closed-loop MMC communication. Closed-loop If not, connect them by dragging a patch cord from communication is not necessary for accurate the MIDI interface port to the device icon. synchronization between AudioDesk and MMC hardware. The presence of a MMC device in the MIDI configuration activates the MMC features in SETTING UP AUDIODESK AudioDesk. Setting up AudioDesk for MMC is simple. All you need to do is create a MMC device in your Audio SETTING UP A MOTU MTP AV OR DIGITAL TIMEPIECE MIDI Setup configuration. The MOTU MIDI Timepiece AV and Digital 1 Open the Audio MIDI Setup utility. Timepiece universal synchronizer have ADAT sync out ports on them. This allows them to serve as an If you are currently running AudioDesk, choose MMC master of an ADAT sync chain (a series of Open Audio MIDI Setup from the Setup menu. ADATs or ADAT-compatible devices that are Otherwise, double-click the Audio MIDI Setup chained together via their ADAT sync ports). The icon in the Mac OS Finder. The Audio MIDI Setup Digital Timepiece provides this feature for Tascam application launches and your current studio DA-88 sync as well. For details about how to set up configuration appears. the hardware, consult the MIDI Timepiece AV or Digital Timepiece manuals. 2 If the MMC device already exists in your Audio MIDI Setup configuration, double-click it. If not, If AudioDesk sees a MIDI Timepiece AV or Digital add it using the Create Device command in the Timepiece in your Audio MIDI Setup configu- Configuration menu. ration, it now automatically scans the ADAT and Tascam sync ports for any connected ADAT- and The device properties appear. Tascam-compatible devices. Any devices that are found are then displayed in AudioDesk’s MMC 3 If necessary, click the More Properties button. window automatically. This means that you do not need to create a separate device in Audio MIDI 4 Make sure that “MIDI Machine Control” option Setup for each device connected to the Digital is checked, as well as the “Receives MIDI Time Timepiece or MIDI Timepiece AV. Instead, just Code” and “Transmits MIDI Time Code” make sure that the Digital Timepiece (or AV) is properties. included in your Audio MIDI Setup. Then, in 5 Make sure that the SysEx ID setting correctly AudioDesk, the Digital Timepiece (or AV) appears matches the setting in the device itself. as a single panel in the list of MMC devices. The Digital Timepiece (or AV) panel then displays each 6 If you are creating the device for the first time in connected ADAT or Tascam device, along with Audio MIDI Setup, set the rest of the device record-enable buttons for each track. information as needed.

7 Click OK.

393 MIDI MACHINE CONTROL ACTIVATING MMC IN AUDIODESK The Record mode Each MMC device that you have defined in your There are three Record mode options: Safe, Audio MIDI Setup configuration appears in Rehearse, and Record. AudioDesk’s MIDI Machine Control window, which can be opened from the Studio menu. ■ Safe: no recording can occur in any MMC device

■ Rehearse: this mode depends on the MMC The MMC master button device. Usually, it causes the device to act as if it is recording, punching in, punching out, etc. but no recording actually occurs. ☛ Make sure that your deck supports rehearse mode before attempting to use this record feature. If it doesn’t, rehearse mode may actually record. On-line button ■ Record: allows recording on the currently record-enabled track(s) for any MMC device. To actually record, press the record button in AudioDesk’s main Control Panel. Preroll When this option is checked, MIDI Machine Control devices get cued to 5 seconds before the location you specify with AudioDesk’s transport functions. Click the preroll value in the box to change it (1-99 seconds). The MIDI Machine Control window The area at the top of the window contains several Preroll saves you the trouble of figuring out preroll important MMC-related controls. time in your head. Preroll lets you cue AudioDesk to musically intuitive locations or hit points while The MMC master button giving the hardware and AudioDesk enough time The MMC master button activates all of to fully synchronize by the time they reach the cue AudioDesk’s MMC features. To activate these location you chose. MMC features, click the MMC button. When this button is on, MMC is activated. In addition, Auto Record Advance AudioDesk is placed in Slave to External Sync When the Auto Record Advance button is checked, mode. For more information about external sync AudioDesk will automatically record-enable the mode, see “Setting AudioDesk’s Receive Sync next higher track (or set of tracks for stereo options” on page 396. recording) during Memory-Cycle recording. As AudioDesk loops the same section over and over, each pass is recorded on a new track (or set of tracks), preserving all previous takes. For example, when you begin cycle-recording, you could record a section on track 1. The second time around the loop, AudioDesk releases track 1 and record- enables track 2, and the second pass gets recorded 394 MIDI MACHINE CONTROL on track 2. The third time around, AudioDesk Bringing a MMC device on line record-enables track 3, and the third pass gets When the On line button is selected, the device is recorded there. AudioDesk will continue to record- on line, which means that it will respond to enable the next track until it records on the highest AudioDesk’s control panel commands. When a available track. device is off line, AudioDesk won’t drive the device.

☛ Make absolutely sure that the consecutive Specifying the number of tracks tracks in line for recording do not have material on The Set number of tracks… mini-menu command them that you wish to keep. sets the number of tracks that the MMC device has. Keep in mind that in some situations, a single When this check box is unchecked, the same track device in AudioDesk’s MIDI Machine Control (or tracks) remain record-enabled until you window actually represents several physical change them manually by clicking the record- devices. For example, an Alesis BRC may be enable buttons in the MIDI Machine Control connected to several ADAT’s, each with 8 tracks. In window. this example, you’d want to include the tracks for all of the ADAT’s. Be sure to set the number of tracks The Auto Record Advance option requires the accordingly. following preparations in AudioDesk:

1. Memory-Cycle must be enabled. 2. Auto-Record must be enabled. 3. The Record mode setting in the MIDI Machine Control window must be set to Record mode. (It does not advance in Safe or Rehearse mode.) 4. AudioDesk must punch-in at some point before cycling back to the beginning of the Memory-Cycle Setting a time code track loop. The time code track option in the Set number of Setting up each MMC device tracks command lets you specify one of the tracks The MIDI Machine Control window provides a list as a time code track. The time code track becomes of MMC devices in your Audio MIDI Setup config- record-protected, and it cannot be record-enabled uration. Any connected device that has the MIDI by the arrow keys (discussed below) or Auto Machine Control option checked appears in this Record Advance. You can record-enable the time window. Several settings are provided for each code track manually by clicking it, but a warning device. appears to confirm that you would like to do so.

Device name and icon Changing the order of the devices in the window The name and icon of the device comes from its To change the order of the devices in the window, name in your Audio MIDI Setup configuration. drag the panels up or down. You can change the name using the Audio MIDI Ejecting a tape Setup utility. The Eject mini-menu command ejects the tape from the currently selected MIDI Machine Control device in the list. To select a device, click its name. 395 MIDI MACHINE CONTROL The device must be on line and the master MIDI Setting AudioDesk’s Receive Sync options Machine Control button must be active for this to While controlling external MMC devices, work. AudioDesk actually slaves to time code generated by the MMC hardware to remain synchronized Keyboard shortcuts for record-enabling tracks with the hardware during playback and recording, Option-click a track to record-enable it and at the as explained in Figure 50-4. same time turn off all other record-enabled tracks. Command-click a track to turn it off and record- AudioDesk governs the transport control enable all others. functions, and the MMC device serves as the master timing source to keep them synchronized. User the up and down arrow keys to record-enable the next or previous track. This works with As a result, when you activate MMC control in adjacent pairs as well. AudioDesk, AudioDesk is automatically placed in Slave to external sync mode, in which AudioDesk Selecting a MMC device in the MMC window slaves to external time code. To successfully slave To select a device, click its name. AudioDesk to the time code, make sure that the settings in AudioDesk’s Receive Sync command in Digital Timepiece option the Setup menu match the time code being There is a mini-menu command in the MIDI generated by the MMC master device. For Machine Control window called DTP Adat force- complete information on the Receive Sync dialog detect. If your Digital Timepiece is connected settings, see chapter 48, “Receive Sync” (page 381). directly to an ADAT-sync compatible audio interface, such as an 828, 828mkII, PCI-324 system or PCI-424 system, make this mini-menu item checked. If your Digital Timepiece is connected to one or more ADATs, make it unchecked.

AudioDesk sends play, stop, rewind, and other transport commands to the MMC hardware (in the form of MIDI system exclusive messages). MMC Device

During playback and recording, the MMC devices sends MIDI time code back to AudioDesk to keep AudioDesk in sync with the hardware.

Figure 50-4: When AudioDesk controls the transport functions of MMC hardware, AudioDesk simulta- neously slaves to time code from the MMC hardware.

396 MIDI MACHINE CONTROL the longer the wait will be. Once the MMC device has finished cueing, AudioDesk will resume at the same time as the MMC device.

Transport features that are supported include: Play, Stop, Rewind, Pause, Record and Auto-punch in/ out.

Figure 50-5: Make sure that AudioDesk’s Receive Sync dialog box Cueing functions include the following: settings (Setup menu) match the time code generated by the master MMC device. ■ Typing a time into the Main Counter Setting AudioDesk’s SMPTE start time (offset) ■ Using fast-forward and rewind cueing buttons Because MMC control involves SMPTE synchroni- below the main transports zation, be sure to set AudioDesk’s SMPTE start time (SMPTE offset) to a value that is appropriate ■ Clicking a marker in the Markers window for the time code being generated by the MMC ■ Double-clicking in any time ruler device. To set the start time, click the start time button in the Tempo panel in the Control Panel ■ Memory bar features such as Auto-Stop, Auto- slideout drawer, or select Set Sequence Start from Rewind, Memory-Cycle the Sequences window mini-menu. For more ■ Dragging the scrolling wiper information, see “Setting the start time” on page 143. All of these functions behave normally, except for the waiting period mentioned above. Using AudioDesk’s transports to control MMC devices Using AudioDesk to record a track on a MMC Once you activate MMC and set up each device as device described in the previous sections, AudioDesk will To record to a track on a MMC device: shuttle the transport controls on each on-line 1 Make sure that the device you wish to record on MMC device in sync with AudioDesk’s own is on line in the MIDI Machine Control window. Control Panel. For example, when you press play, stop, and rewind in AudioDesk’s main control If not, click the Off Line button to bring it on line. panel, each MMC device will do the same. 2 Choose either Record or Rehearse from the All of AudioDesk’s transport control functions are menu in the MIDI Machine Control window. supported. For example, if you use Memory-Cycle to loop over a region, the MMC device will follow. For details about Rehearse mode, see “The Record Keep in mind, however, that AudioDesk’s transport mode” on page 394. functions are virtually instantaneous, whereas MMC hardware devices are mechanical devices 3 Record-enable one or more tracks on the device that take time to cue. As a result, AudioDesk will by clicking the appropriate track button(s) in the stop and wait at times when the MMC device is MIDI Machine Control window. cueing to a new location. The longer the cue time,

397 MIDI MACHINE CONTROL ☛ Note: some devices do not support remote You can even set punch locations while looping a record-enabling. If so, record-enable the track section with Memory-Cycle. The punch location directly on the device. can be set independently from the loop points. If you want, you can set the in and out times on the fly Until you actually begin recording, the record- by clicking the In and Out buttons in the Memory enable button flashes. When you begin recording, bar during playback. For more information, see it becomes solid. “Auto-Record button” on page 150.

7 To begin recording, cue AudioDesk’s counter to Record - a point that is at least 5 seconds before the punch-in enable buttons point, or set the pre-roll time in the MIDI Machine Control window to at least 5 seconds.

4 If you would like to loop a section to record The amount of pre-roll depends on the device; several passes, click the Memory-Cycle button in some may require longer. the Control Panel and set the Start and End points 8 Press AudioDesk’s record button, record at the in the Edit window. punch in location, and press stop to end recording. For information about using Memory-Cycle, see “The Memory-Cycle button” on page 146.

Memory Cycle

5 If you are going to loop a section with Memory- Cycle as described in the previous step, and you would like to record each pass on a new track to preserve each take, check the Auto Record Advance box in the MIDI Machine Control window.

For details, see “Auto Record Advance” on page 394. Make sure that Auto-record and Memory-cycle are enabled. Also, make sure that the record mode in the MIDI Machine Control window is set to Record. Auto Record Advances doesn’t work in Rehearse or Safe mode.

6 If you would like to set punch-in and punch-out points, click AudioDesk’s Auto-Record button below the main transports, and set the punch-in and out times in the Memory bar.

398 MIDI MACHINE CONTROL Part 11 Appendices

APPENDIX A Menus reference

OVERVIEW This chapter provides a list of all AudioDesk main menu commands and the page in this User Guide where you can find more information.

Items display in italics represent dynamic menu choices that depend on your system or the circumstances (such as recent files opened).

AudioDesk menu (Mac only)...... 402 File menu ...... 403 Edit menu...... 404 View menu ...... 405 Audio menu ...... 407 Project menu ...... 408 Studio menu...... 409 Setup menu ...... 410 Window menu...... 411 Help menu...... 412

401 AUDIODESK MENU (MAC ONLY) Menu item Sub-menu Notes More information

About AudioDesk… - Preferences… page 105 Services (Mac only) list of Mac OS X services Not applicable to AudioDesk n/a Hide AudioDesk Switches out of AudioDesk and hides all AudioDesk - windows in the background Hide Others Hides the windows of all other open applications, - except AudioDesk Show All Unhides all open windows in all currently open - applications Quit AudioDesk page 65

402 APPENDIX A: MENUS REFERENCE FILE MENU Menu item Sub-menu Notes More information

New page 58 Open… page 58 Open Recent recent files page 59 Clear Menu page 59 Load… page 64 Close ‘project name’ page 61 Save page 59 Save As… page 60 Save A Copy As… page 60 Revert to Saved page 62 Save As New Template… page 62 Compact Project… page 88 Bounce to Disk… page 369 Import Audio… page 89 Page Setup… page 65 Print Window… page 65 Exit… Windows only page 65

403 APPENDIX A: MENUS REFERENCE EDIT MENU Menu item Sub-menu Notes More information

Undo/Redo page 249 Undo Previous Action / page 249 Redo Next Action Undo History page 250 Cut page 251 Copy page 251 Copy to Clipping Window list of clipping windows page 251 Paste page 251 Paste Multiple Hold down Option/Shift key to see this command page 252 Paste Repeat page 252 Paste Repeat Multiple Hold down Option/Shift key to see this command page 252 Erase page 253 Repeat… page 253 Merge page 254 Merge Multiple Hold down Option/Shift key to see this command page 254 Merge Together page 254 Merge Repeat page 254 Merge Repeat Multiple Hold down Option/Shift key to see this command page 254 Merge Repeat Together page 254 Snip page 255 Splice page 255 Splice Multiple Hold down Option/Shift key to see this command page 255 Shift… page 255 Heal Separation page 256 Split page 257 Split at Counter page 257 Trim page 257 Trim End page 257 Trim Start page 257 Pitch Shift… page 365 Change Automation Data… page 258 Insert Loop… page 183 Clear Loops page 183 Audition Selection page 259 Show Clipboard page 259 Select All page 259 Select All Tracks in Range Hold down Option/Shift key to see this command page 259 Deselect All page 259 Preferences… Windows only page 105

404 APPENDIX A: MENUS REFERENCE VIEW MENU Menu item Sub-menu Notes More information

Show Tracks All page 198 Selected page 198 Empty page 198 Soundbites page 198 Play Enabled page 198 Record Enabled page 198 Input Monitored page 198 Enabled page 198 Audio page 198 Aux page 198 Master Fader page 198 Show Only Tracks Selected page 198 Empty page 198 Soundbites page 198 Play Enabled page 198 Record Enabled page 198 Input Monitored page 198 Enabled page 198 Audio page 198 Aux page 198 Master Fader page 198 Hide Tracks All page 198 Selected page 198 Empty page 198 Soundbites page 198 Play Enabled page 198 Record Enabled page 198 Input Monitored page 198 Enabled page 198 Audio page 198 Aux page 198 Master Fader page 198 Track Layouts Save Track Layout As… page 198 Edit Track Layouts… page 198 Show Only the Active Edit Type page 198 Show Only Selected Types page 198 (Quick Filter)

405 APPENDIX A: MENUS REFERENCE Show All Lanes with Data page 198 Show/Hide Lanes page 199 Grid Edit Lines page 199 Edit Lines While Snapping page 199 Marker Lines page 199 Beat Lines page 199 Colors Edit Track Color Schemes… page 130 Assign Track Colors… page 130 List of color schemes page 130 Auto Scroll… page 159

406 APPENDIX A: MENUS REFERENCE AUDIO MENU Menu item Sub-menu Notes More information

Dither page 261

Fade… page 270

Fade Again Hold down Option/Shift key to see this command page 270

Delete Fades page 275

Merge Soundbites page 261

Strip Silence… page 262

Apply Plug-in… List of audio effects plug-ins page 348

Layering Move Forward page 218

Move to Front page 218

Move Backward page 218

Move to Back page 218

Timestamps Move to Original Timestamp page 263

Move to User Timestamp page 263

Set User Timestamp from page 263 Sequence

Set/Clear Sync Points page 264

Set Sync Point at First Beat page 264

Duplicate Soundbite page 264

Reload Soundbite page 264

Replace Soundbite… page 267

Reveal in Finder page 267 Show in Explorer

Edit in Waveform Editor page 267

Take Automation Snapshot… page 267

Take Automation Snapshot Hold down command/Win key to see this com- page 267 Again mand

Insert Mute Automation page 268

Clear Mute Automation

407 APPENDIX A: MENUS REFERENCE PROJECT MENU Menu item Sub-menu Notes More information

Add Track Mono Audio Track page 124

Multiple Mono Audio Tracks… Hold down Option/Shift key to see this command page 125

Stereo Audio Track page 124

Multiple Stereo Audio Tracks… Hold down Option/Shift key to see this command page 125

Aux Track page 124

Multiple Aux Tracks… page 124

Master Fader Track page 124

Add Similar Tracks page 124

Duplicate Tracks page 124

Delete Tracks page 124

Sequences New Sequence page 290

Rename Sequence page 290

Set Sequence Start Time… page 143

Copy Selection to New Sequence… page 291

Duplicate Track Layout page 291

Duplicate Sequence page 291

Delete Sequence page 292

List of sequences -

Change Sequence page 154 Meter…

Edit Window page 205

Sequences page 289

Mixing Board page 299

Effects page 341

Markers page 283

Project Notes page 65

Soundbites page 73

Clippings New AudioDesk page 277 Clipping Window

New Project page 277 Clipping Window

Delete Clipping Window page 278

View By Large Icon page 278

View By Small Icon page 278

View By Name page 278

List of clippings windows page 278

Movie page 187

408 APPENDIX A: MENUS REFERENCE STUDIO MENU Menu item Sub-menu Notes More information

Control Panel page 137

Tools page 231

Background Processing page 361

Performance page 351

Snap Information page 235

Cursor Information page 237

Event Information page 237

Selection Information page 238

Sound File Information page 240

Track Selector page 239

Audio Monitor page 177

MIDI Machine Control page 391

Audio Bundles page 119

Track Assignments… page 127

Click page 173

Click Preferences… page 173

Audio Patch Thru Auto page 164

Blend page 164

Input Only page 164

Off page 164

Clear All Clipping Indicators page 181

409 APPENDIX A: MENUS REFERENCE SETUP MENU Menu item Sub-menu Notes More information

Commands page 113

Automation Setup… page 320

Frame Rate 23.976 fps page 382

24 fps page 382

25 fps page 382

29.97 fps Drop page 382

29.97 fps Non-Drop page 382

30 fps Non-Drop page 382

Use Nonstandard Frame Rate… page 382

Receive Sync… page 381

Transmit Sync… page 387

Slave to External Sync page 385

Time Display Show Measures page 42

Show Realtime page 42

Show Frames page 42

Show Samples page 42

Open Audio MIDI Setup… Mac only page 33

Configure Audio System Configure Hardware Driver… page 16

Configure Studio Settings… page 20

Input Monitoring Mode… page 166

Fine-tune Audio page 21 I/O Timing…

Audio System Clock List of clock sources for selected page 17 hardware driver

Restart Audio Driver page 16

410 APPENDIX A: MENUS REFERENCE WINDOW MENU Menu item Sub-menu Notes More information

Enter Fullscreen page 69

Close Mac only page 37

Close All Windows Mac only page 37

Close All Effect Windows page 37

Bring All to Front page 37

Push Window to Back Mac only page 37

Show/Hide Left Sidebar page 69

Show/Hide Right Sidebar page 69

Set Focus to Next Cell page 72

Set Focus to Previous Cell page 72

Close Cell page 72

Pop Out of Consolidated page 72 Window

Pop Into Consolidated page 72 Window

List of open windows page 37

411 APPENDIX A: MENUS REFERENCE HELP MENU Menu item Sub-menu Notes More information

About AudioDesk… Windows only

Search Mac only

AudioDesk Help

Contextual Help Provides help for the currently focused cell or window.

Show Help Tags page 111

Check for Updates Now page 111

Check for Updates page 111 Automatically

Welcome to AudioDesk page 13

AudioDesk User Guide n/a

AudioDesk Plug-ins Guide n/a

New Features in AudioDesk n/a

Visit motu.com Opens motu.com in default web browser n/a

Register AudioDesk n/a

Open Source Credits n/a

Download AudioDesk Opens the motu.com downloads web page. n/a Updates

Upgrade to Digital Performer Opens the motu.com web store where you can learn more and order your upgrade.

Get Technical Support Opens the motu.com tech support web page. n/a

412 APPENDIX A: MENUS REFERENCE APPENDIX B Troubleshooting and Support

OVERVIEW Genuine bugs in application software like Preventing Catastrophe ...... 413 AudioDesk are almost always consistent in their General troubleshooting ...... 413 manifestation: the same set of actions under the Audio troubleshooting ...... 414 same conditions invariably brings about the same Technical support...... 415 results. Determining the exact cause of a bug often requires experiments which replicate the problem PREVENTING CATASTROPHE situation with one factor changed: working with a Keep up-to-date backups of your sequences as you new sequence instead of an existing one, trying a work, so that you always have copies of the most different plug-ing, etc. recent work you have done. Almost any software problem is survivable as long as you have kept If the problem is truly inconsistent, then it is likely backups of your work. Refer to “Helpful project and to be a hardware problem: improper disk drive disk hints” on page 65 for detailed suggestions alignment, a loose connection, overlong cables, about file management. signal ‘aliasing’, etc. At this point you will want to experiment with changes in your hardware Keep plenty of free space on any disk containing configuration (where possible) to attempt to isolate sequences which you are actually working on. This the source of the problem. will prevent the computer from running out of disk space. Running out of disk space can result in an Isolate the problem unreadable and irretrievable sequence. One of the best troubleshooting techniques is to try to isolate the problem. If you can whittle down a GENERAL TROUBLESHOOTING complicated setup or scenario to a much simpler Troubleshooting is always simplest and most case, chances are you’ll zero in on the problem effective when the exact problem can be specified more quickly. clearly and concisely. If you are surprised by an error message or by seemingly erratic behavior in Simplify your setup the program, take a moment to jot down the One of the most common causes of problems is a relevant details: exactly what the error message said conflict with other software in the system. Run (including any error ID numbers), what actions AudioDesk by itself, with no other plug-ins, and were done on-screen just before the problem see if the problem you are having still happens. occurred, what kind of file you were working with, how you recovered from the problem, and any Check the ‘Read Me First’ unusual conditions during the occurrence of the It’s human nature to blow right past the Read Me problem. This may not enable you to solve the First, but you’ll probably be glad you took the time. problem at once, but will greatly aid in isolating the If you experience problems with AudioDesk, check problem should it reoccur. the Read Me notes that ship with the current version you are using. If the problem you are encountering seems inconsistent, try to determine what the necessary pattern of actions are that will cause it to occur.

413 If you cannot open a particular file prevent AudioDesk from successfully handling all First try opening other existing files, or a new file, of the digital audio information, it presents an to be sure AudioDesk is working at all. If a file is error message letting you know how many errors opened and seems damaged, will not let you save occurred. These errors can be due to conditions changes, etc., you still may be able to save some or such as these: all of its musical information by using the Clipboard to copy the tracks and paste them into ■ Highly fragmented audio files on the hard disk another file. ■ A hard disk with an access time that is too slow

AUDIO TROUBLESHOOTING ■ Other background software interruptions Here are some additional issues related specifically ■ Other third party software to audio recording and playback. If you are running under the MOTU Audio System, If AudioDesk can’t find the audio card you may also get an error message if available RAM If you launch AudioDesk and see a warning box is tight. that says that there is no audio hardware, when actually there is, quit AudioDesk, shut down your If you get such an error message, try optimizing the computer, and make sure that the audio recording hard disk with defragmentation software. You can card is seated properly in its slot. Make sure you also try adjusting the buffer size of the MOTU have the correct versions of the drivers. Audio System as described below.

If you record and get nothing Adjusting buffer sizes to avoid playback error If you record but don’t get anything, the track you messages are recording on may be set to the wrong channel. Sometimes adjusting the size of the MOTU Audio Set it to another channel and try again. System disk buffers can help. For details, see “Configure Studio Settings” on page 20. If you don’t hear sound If you don’t hear sound, check the following things: If you experience a crash or other interruption while playing or recording ■ Make sure the volume is turned up on the audio When AudioDesk begins recording or playback, it hardware units. allocates a large amount of the free space on your audio hard disk to the current take files in the ■ Make sure you have cables connected to the Audio Monitor. If audio recording (or playback correct plugs on inputs and outputs for the audio with at least one track record-enabled) is ever recording hardware interrupted at this point due to a power failure or ■ Try setting the volume in the Mixing Board. See system error, this free space will remain allocated chapter 38, “Mixing” (page 299) for details. to the interrupted takefiles. When this happens, The next time AudioDesk is launched, it displays ■ If you don’t hear sound while recording, make the Rescued Takefiles dialog. sure the Audio Patch Thru is on. If you see an error message after playback or This dialog shows partially recorded takefiles and recording allows you to recover or delete these files. You can AudioDesk keeps close track of whether or not it click the takefile to audition it and determine had any trouble processing the audio data during whether there is useful audio data in it. In most the last record or playback pass. If conditions cases, you should choose to delete the files. If you

414 APPENDIX B: TROUBLESHOOTING AND SUPPORT believe that important audio data exists in the files, Registered users who are unable, with their dealer’s use the Recover button to move the file into the help, to solve problems they are encountering with Trash. You can then drag the file out of the Trash AudioDesk may contact our technical support and then use a waveform editor application to department in one of the following ways: extract the important audio data from the file. You should choose to either recover or delete these files. ■ Phone: (617) 576-3066

Otherwise, they will needlessly take up hard disk ■ Online: www.motu.com/support space. ■ Web site (for information, tech support database ☛ Before auditioning soundbites in this window, and downloads): www.motu.com turn down the volume of your sound system or Technical support is staffed Monday through headphones, as the results can sometimes be Friday 9 AM to 6 PM, Eastern Time. random noise at full volume (0 dB). If you decide to contact technical support, please If you suddenly have very little hard disk space free See the previous section regarding the rescue of have your AudioDesk manual at hand, and be takefiles after a crash or other interruption during prepared to provide the following information to playback and recording. help us solve your problem as quickly as possible:

If the screen redisplay gets jerky ■ The serial number of the program. This is During playback, AudioDesk does its best to printed on the cardboard page at the front of the update items on the computer screen, such as the User Guide. (If you purchased AudioDesk as an Counter and scrolling windows. However, audio upgrade, your manual won’t have this cardboard recording, playback and effects processing can page. Instead, MOTU will have notified you place a high demand on the computing power of separately of your serial number.) Be sure to retain the machine, and AudioDesk makes playback a this page in the manual for your reference. You must higher priority than refreshing the screen display. be able to supply this number to receive technical Therefore, you may find at times that the counter support. will stop and start during playback or recording. ■ The version of AudioDesk you are working with. This effect is minimized on faster computers. This is displayed briefly in the start-up screen when AudioDesk is started; it is also available through If you run out of disk space the About AudioDesk command in the AudioDesk If you run out of hard disk space, compact existing menu from within AudioDesk. audio files and delete unused audio files. For details, see “Compacting audio files” on page 86. ■ A brief explanation of the problem, including the exact sequence of actions which cause it, and TECHNICAL SUPPORT the contents of any error messages which appear on We are happy to provide customer support to our the screen. It is often very helpful to have brief registered users. If you haven’t already done so, written notes to refer to. please take a moment to visit motu.com/ registration (or complete and mail the Competitive ■ The pages in the manual which refer to the parts Upgrade envelope if you purchased the AudioDesk of the program which you are having trouble with.

Competitive Upgrade). Then you’ll be properly ■ The version of the system software. registered for technical support.

415 APPENDIX B: TROUBLESHOOTING AND SUPPORT We’re not able to solve every problem immediately, hear from you. Please visit motu.com/other/ but a quick call to us may yield a suggestion for a feedback/suggestions, or write to the AudioDesk problem which you might otherwise spend hours Development Team, MOTU Inc., 1280 trying to track down. Massachusetts Avenue, Cambridge, MA 02138.

Our technical support telephone line is dedicated Although we do not announce release dates and to helping registered users solve their problems features of new versions of our software in advance, quickly. In the past, many people have also taken we will notify all registered users immediately by the time to write to us with their comments, mail as soon as new releases become available. If criticism and suggestions for improved versions of you move or otherwise change your mailing our software. We thank them; many of those ideas address, please send us a note with your change of have been addressed in this version of AudioDesk. address so that we can keep you informed of future If you have features or ideas you would like to see upgrades and releases. implemented in our music software, we’d like to

416 APPENDIX B: TROUBLESHOOTING AND SUPPORT CHAPTER 51 Frequently Asked Questions

OVERVIEW there are no outputs enabled. Open the Configure This chapter provides answers to frequently asked Hardware Driver dialog and enable both the input questions, organized by topic. and output drivers.

Setting up ...... 417 ☛ See “Enabling multiple drivers (Mac only)” on Recording and playback ...... 418 page 19. Editing ...... 419 Mixing and Finishing ...... 419 How do I hear a click or countoff? Plug-ins ...... 420 To config ure a met ronome click: SETTING UP 1 Choose Click preferences from the Studio On Windows, the buffer size setting is grayed out in menu, or Option/Alt-click the Click button in the the Configure Hardware Driver dialog (Setup Control Panel. menu). Why? Some ASIO drivers don’t allow host applications to 2 Choose the type of click you want to hear: MIDI change their buffer size setting. In this case, click click or audio click. You can enable one or the the Configure Driver button (Figure 3-1 on other, or both. page 16) to launch the hardware’s console software to make the setting there. For a MIDI click, choose a MIDI device, channel, and note; for an audio click, choose the audio How do I configure my audio inputs and outputs? output and click file (mono AIFF, WAVE, or SDII). Use the Bundles window (Studio menu). See chapter 17, “Audio Bundles” (page 119). ☛ If you are using MIDI Only mode, the audio click routing option is not available; the click & How do I change the input and/or output on countoff will then be automatically routed to a multiple tracks simultaneously? Select the desired tracks, then choose Studio > device in your MIDI configuration (in the Bundles Track Assignments (or press Option/Alt-A). If you window MIDI Devices tab). don’t see the inputs or outputs available that you 3 To audition the click to hear what it will sound wish to use, go to the Bundles window and create like, check the Audition click option in the lower bundles for them. left; it will audition at the current tempo. ☛ See “Making audio assignments for multiple 4 Close the Preferences window, then enable the tracks” on page 127. Click button in the Control Panel. Why do I get a “no outputs enabled” error when launching AudioDesk? To configure a Countoff: If your computer has separate drivers for input and 1 Open the Preferences and choose Countoff from output, and only the input driver has been enabled the list on the left, or Option/Alt-click the Countoff in AudioDesk, you’ll get an error telling you that button in the Control Panel.

417 2 First, set the number of measures and beats for ■ Try using a different input on your interface. If your countoff; the default is 2 measures, 0 beats. you have one, try a different interface.

3 Next, choose whether you want to have a ■ Check that the audio interface is properly Countoff all of the time, or only when recording. configured. For example, if you can enable or disable inputs on the interface, make sure that the 4 Audition the Countoff in the same way as the input you want to use is enabled. Click: enable the Audition Countoff box in the lower ■ Make sure that the inputs your tracks are left. assigned to are the inputs you are recording from. For example, if your microphone is connected to 5 Close the Preferences window, then enable the Mic/Guitar 1 on an 828mk3, make sure your audio Countoff button in the Control Panel. track is assigned to Mic/Guitar 1.

How do I view or change key commands? ■ Are your input assignments in italics? Make sure Open the Commands window from the Setup that your audio interface is being seen in the Setup menu (or press Shift-L). You can scroll the list to > Configure Audio System > Configure Hardware find the command you are looking for, or you can Driver window, and that it is the selected driver. If it search using the text box at the top. To enter a new is being seen, open Studio > Bundles and make sure key command, click in the Key 1 column, and press that the bundles you have are assigned the inputs the desired key combination. you want.

You can save or load sets of key bindings via the ■ Is the track record-enabled? mini-menu’s Export and Import commands. ■ Is the track enabled? Make sure the Enable To Print the key commands, open the Commands column in the Tracks Overview is enabled (the window and choose Print from the File menu. Note Enable item is also accessible under the Track that you can collapse any section by clicking its Settings menu in the Edit Window, and from the disclosure triangle (holding option while clicking a track pop-up menu available at the bottom of the disclosure triangle collapses or expands all sections channel strip in the Mixing Board). at once). I press play and I do not hear anything. ■ Make sure that the outputs your tracks are For more information, see “Commands” on assigned to are the outputs you are monitoring page 113. from. For example, if you are monitoring from an 828mk3’s Main Outs, make sure your tracks are RECORDING AND PLAYBACK assigned to Main Out 1-2. Audio input is not recording. ■ Make sure the input meters on your audio ■ Are your output assignments in italics? Make interface are lighting up when you send input. If sure that your audio interface is being seen in the they’re not, check that you have audio cables Setup > Configure Audio System > Configure connected properly. Hardware Driver window, and that it is the selected driver. If it is being seen, open Studio > Bundles and ■ Try a different cable or microphone. For make sure that the bundles you have are assigned condenser microphones, make sure that you have the outputs you want. phantom power enabled. ■ Are the tracks muted in the Mixing Board?

418 FREQUENTLY ASKED QUESTIONS ■ Is Solo Mode engaged? MIXING AND FINISHING Why are the meters in the Mixing Board labeled as ■ Are the tracks enabled? Make sure the Enable +/-48 dB? column in the Tracks Overview is enabled (the When an audio track’s meter scale is labeled as +/- Enable item is also accessible under the Track 48 dB instead of -48 to +6 dB, the track is in Trim Settings menu in the Edit Window, and from the Touch or Trim Latch automation mode. For more track pop-up menu available at the bottom of the information, refer to “The Trim modes” on channel strip in the Mixing Board). page 325.

■ Is the Master Fader and main outs of your audio How do I mixdown my project to a stereo file? interface or mixer turned up? Use the Bounce to Disk command. See “Bouncing ■ Speakers on? Volume turned up on your to Disk” on page 52 for a quick introduction, and speakers and/or amplifier? see “Bounce To Disk” on page 369 for in-depth detail. ■ Everything plugged in the way it should be? Try different cables, headphones, or speakers. How do I export as an MP3? To take a finished mix done in AudioDesk and ■ Try bypassing plug-ins to see if an effect is altering your audio in a way that it cannot be heard. convert it to an MP3, follow these steps:

EDITING 1 Prepare the project as if you were bouncing Why is my track name underlined in the Edit down to any other format, such as WAVE, AIFF, etc. Window? See “How do I mixdown my project to a stereo When a track name is underlined, it indicates that file?” the track is frame-locked. This is also indicated by a lock icon in the Tracks List. 2 After choosing File menu>Bounce to Disk, select LAME Audio Export: MP3 as the Format. Give the Why do my crossfades have a blue or red outline? file a name, and choose the location where you’d Fades and crossfades are normally the same color like the file to be saved. When you press OK, you’ll as the soundbites underneath, as are the fade see a second dialog with some options for the MP3 outlines. Two special colors are used to indicate you are creating. If you don’t have any preference problems: for these settings, just use the default settings. Press OK in this dialog, and the file will begin bouncing. ■ Blue fade outlines mean that there is not enough audio to compute the fade 3 After the bounce is complete, you can open this file in your MP3 player software of choice, such as ■ Red fade outlines mean that the faded audio is clipping. iTunes. For more information, see “Fades that cannot be You can also export any soundbite in the fully computed” and “Clipping when crossfades Soundbites List as an MP3. Select the desired are calculated” in chapter 34, “Fades and soundbites and choose Export Selected Soundbites Crossfades” (page 269). from the mini-menu. Choose LAME Audio Export: MP3 from the File Format menu.

419 FREQUENTLY ASKED QUESTIONS How do I back-up a AudioDesk project? PLUG-INS To backup the data for your entire AudioDesk How do I use MAS, VST and Audio Unit (AU) plug- project, use the File > Save A Copy As command. ins? Make sure to check the Duplicate audio and copy See chapter 41, “Audio Effects Processing” shared samples to project option. This will take all of (page 347). the audio files that your project is using and make a How do I force AudioDesk to rescan my Audio Unit copy of them into the new project’s Audio Files plug-ins? folder, and also copy any samples you are using Open the Plug-in Preferences, select the desired with nanosampler or Model12. plug-ins, and hit Reexamine. For more information on managing your plug-ins, see “Plug- AudioDesk supports WAVE and AIFF files. For the in examination” on page 350. most broadly compatible back-ups, using WAVE files is recommended. How do I use RTAS or AAX plug-ins? RTAS and AAX plug-ins are not supported.

420 FREQUENTLY ASKED QUESTIONS Index

“Working with breakpoint mix automa- Audio Bundles window 119 Scroll to Record Enabled Inputs 178 Indextion” on page 139 327 Audio data setting up for recording 162 16-bit 106, 171, 371 amount of recording time 27 Take Folder 178 24-bit 106, 171, 371 how it is recorded 25, 167 Takefiles 177 32-bit 371 selecting 222 Audio Monitor window 178 32-bit operation 11 Audio file defaults 106 Audio Performance window 22 64-bit 11 Audio files MAS 351 64-bit operation 11 Audio Monitor 177 Audio System 8-bit 371 compacting 83 MOTU Audio System 14 creation of 25, 167 Audio System Clock (see Clock Source) 17 A defined 28 Audio track AAF interchange 95–97 deleting 82, 85 bouncing 127 exporting 62, 90, 96–97 editing basics 202 channel assignment 162 importing 59, 89, 95 exporting 74, 93 creating 124 About AudioDesk folder 85 defined 29 Version number 415 hard disk requirements 28 enable/disable 126 Acid files how recorded 25, 167 explained 123 importing 92, 93 importing 91 max you can hear at once 127 ADAT™ 391 managing 85–88 muting & unmuting 158 Add moving 85 naming 125 Edit window 210 record file (takefile) 177 playback 123–134 Add Sequence 290, 290 region editing 197 record channel 163 Add sequence selection commands auto- renaming 85 record-enabling 162 matically 114 scrubbing 223 Audio Units 350 Add Track 124, 167, 210 size on disk 27 delay compensation 21 Adding measures 255–256 stereo 79 multiple outputs 353 Advanced Authoring Format (see AAF in- stereo file size 28 presets 344 terchange) Audio menu 261–268 scanning 13 AIFF 106 Apply Plug-in sub-menu 263, 348 AudioDesk AIFF files Bounce to Disk 369–374 as master sync device 387–389 exporting 93 Clear Mute Automation 268 exporting projects to 62, 90 importing 91 Clear Sync Point 264 importing projects from 59, 89 Alesis ADAT™ 391 Delete Fades 261 opening files 59 Always click option 175 Dither 261 opening files created in earlier ver- Analysis Files Folder 58 Duplicate 264 sions 89 Any Port 382 Edit in Waveform Editor 84, 267 version number 415 Apple Fade 261, 269 AudioDesk files retina display support 11 Merge Soundbites 261 opening 59 Apple Loops 92 Reload 264–267 AudioDesk menu Apply Plug-in sub-menu 263, 348 Replace 267 Quit 65 ASIO drivers 17 Reveal In Finder 267 Audition Click option 175 Ask when upgrading commands 115 Set Sync Point 264 Audition Selection 204 AU (see Audio Units) Show in Explorer 267 Auditioning 203 Audible Mode 203, 203 Split 257 importing audio 91 scrubbing Movies with 189 Strip Silence 262–263 Auto (patch thru) 164 Soundbites window 79 Take Automation Snapshot 267 Auto Record speaker icon 204 time stamps 224 Punch Guard 169 Audio Time Stamps sub-menu 263 Auto Record (see Auto-Record) 150 (see also Soundbites) Trim 257 Auto Record Advance option 395 click 173 Audio MIDI Setup Auto Resize command 301 converting on import 83 Device properties 393 Auto Rewind button 140 export presets 94 Audio Monitor Auto/Manual end time 289, 290, 293, 295 exporting 74, 93 available record time (rec time) 178 Auto-Detect Video Mode 191, 193 importing 90 Base file names on input names 178 Auto-locating 40 input/output timing 21 Base file names on track names 178 Automated mixing 310, 319 interleaved 25 checking hard disk space 163 Automatic Conversions 74, 83 MIDI Setup utility 33 clip indicator 180 Automatic Plug-in Latency Compensation Monitor 177–181 Custom take names 178 21, 348 Patch Thru 164, 181 Level Range 178 Automatically Add Inserts 301 region (see Soundbites) mini-menu 178 Automation 207 troubleshooting 414–415 naming takefiles 178 modes 323 Audio Assignments command 127 Patch Thru 164 Show Lanes 226 Audio bundles 119 Retain Clip 178 volume and pan data 207

421 INDEX Automation Setup window 320, 336 Change Continuous Data 258 Composite tracks 127 AutoPan (see AudioDesk Plug-ins Guide) Change Meter Configure Audio System Auto-Record 141, 150, 152–153 denominator 154 Configure Hardware Driver 16 Bar 152, 153 numerator 154 Configure Studio Settings 20 button 138 Change Sequence Meter 154 Fine-tune Audio I/O Timing 21 loading remembered times 248 Channel 209 Input Monitoring Mode 166 Auto-Rewind button 138, 140, 146, 152– audio 123–134 Configure Hardware Driver 16 153 Audio Monitor 177 Buffer Size 18 Auto-Scroll 159–160 takefile 177 Clock Source 17 Auto-Stop button 138, 146, 152–153 Chase Graphical Edits 189 enabling multiple drivers 19 Aux tracks 124, 135–136, 312 Chase Numeric Edits 189 Master Device 17 applying effects to 351 Choose Waveform Editor 267 Sample Rate 17 Auxiliary Time rulers 211 Chorus plug-in (see AudioDesk Plug-ins Work Priority 19 Available rec time 178 Guide) Configure Studio Settings 20 Average Bit Rate 373 Chunks window Automatic plug-in latency (delay) Avid Xpress printing 65 compensation 21 exporting to 95 Clear all clipping indicators 181, 310 Prime Milliseconds 21 Clear Loops 259 Stereo buses 20 B Clear Movie 189 Consolidated Window 67–72 Backup copies of files 60, 413 Clear Mute Automation 218, 330 Close Cell 68 Base 178 Clear Mute Automation command 268 Pop Out of/Into Consolidated Win- Base file names on input names 178 Clear Sync Point 264 dow 68 Base file names on track names 178 Click 153–155, 173 Set Focus to Next/Previous Cell 68 Beat click accented 173, 175 Show/Hide Left/Right Sidebar 68 defined 173 Audio click 173 Constant Bit Rate 373 Beat clocks (see MIDI beat clocks) beat value 154 Contextual menu 38 Beat Grid 207 button 139 Continuous data Beat value 154 MIDI click 174 Change Continuous Data 258 counter 146 sound 173 Continuous Scroll 159 meters 154 value 173 Control Panel 37, 137–146 BIAS Peak (waveform editor) 267 volume 175 Audible mode button 139 Bit depth 76, 83, 106, 261, 371 Click preferences 173 Auto Scroll button 139 Blend (patch thru) 164 audition click 175 Auto-Record 141, 150, 152–153 Bounce to Disk 369–374 gate 175 Auto-Rewind 138, 146, 152–153 in real time 376 No accent 175 Auto-Stop button 138, 146, 152–153 MP3 format 372 pitch 175 Countoff 138, 139, 151–152, 175 track bouncing with 127 velocity 175 Current Beat 139 bpm 153 Clipboard 259 Current Meter 138 Bring All To Front (Window menu) 37 Show/Hide Clipboard 259 Current Tempo 139 Broadcast WAVE 91, 106 Clipping Frame rate 139 Organization Code 106 avoiding 180 keypad controls 155 Unique Source Identifier 106 indicator in Audio Monitor 180 Link Playback to Memory button Buffer Size 18 indicators in Mixing Board 309 138 Buffy (see AudioDesk Plug-ins Guide) Clippings 277–280 Link Selection to Memory 138 Built-in audio plug-in presets 345 Main Counter Display 138 improving performance 15 Clock Source 17 Memory Bar 138, 146–147, 152–153 input/output timing 21 Cloning 215 Memory-Cycle 146 Bundles 119 Close 64 Overdub 151, 169–170 Bus Close All Effect Windows command 37, Pause button 140 applying audio effects to 351 343 Play button 140 defined 311 Close All Windows command 37 Pre/Post Roll 139 viewing level in Audio Monitor 178 Close Cell 68 Record button 140–141, 150 Buses Close command (Window menu) 37 Remote Controls for 155 setting number of 20 Closed-loop (MIDI Machine Control) 393 Rewind button 140 Column setup Sample Format 139 C Soundbites window 74 Sample Rate 139 Calibrating audio input/output 21 Comments Set Countoff 151–152, 175 CD Edit Window 133 Solo Mode button 139 burning 377 Sequences window 289, 293 Stop button 140, 141 importing 92 Compact 74, 83, 86–88 Sub Counter Display 138 Chaining Compact disc (see CD) Tempo Slider 138 Sequences 289, 294–295 Compact Project 88 Wait button 138 sequences and songs 289, 294–295 Compare 345 Control points 225

422 INDEX deleting 227 ins Guide) Change Automation Data 258 dragging 227 Default Author 106 Clear Loops 259 Convert Default Copyright 106 Copy 251 file format 355 Default File Format 106 Copy to Clipping window 251 interleaved format 355 Delay compensation 21, 348 Cut 251 sample format 355 Delay plug-in (see AudioDesk Plug-ins Deselect All 259 sample rate 355 Guide) Erase 253 Convert Audio File command 355 Delete Heal Separation 256 Convert Sample Rate or Format command Markers window 284 Merge 254 74 Sequences window 290, 292 At Original Time 255 Copy 251 Soundbites window 74, 81 At Original Time Multiple 255 text between AudioDesk and other Delete Board Layout command 301 At Wiper 255 programs 259 Delete Fades command 261 At Wiper Multiple 255 Copy selection to new sequence 291 Delete if before start of sequence option Merge Multiple 254 Copy to Clipping Window 251 286 Merge Repeat 254 plug-in effects 315 Delete Mix command 317 Merge Repeat Together 254 Copy to New Sequence 291 Denominator 154 Merge Together 254 Edit window 210 Deselect All 259 Paste 251–252 Core MIDI 33 Digital video (see Movie Window) At Original Time 253 Counter 138, 141–146 Direct hardware playthrough option 166 At Original Time Multiple 253 display 143 Direct line outs 121 At Wiper 253 during countoff 175 Disks At Wiper Multiple 253 formats 141–142 keeping enough free space 413 Paste Multiple 252 frame time 42, 143–144 Distortion (See Clipping) Paste Repeat 252 Looping 183 Dither command 261 Paste Repeat Multiple 252 measure time 41, 143–144 Do not import option 371 Pitch Shift 258 real time 41, 143–144 Dragging & dropping soundbites 83, 216 Play Selection 159, 245, 369 Round on Entry 143 Drop frame Redo Next Action 249 screen update 145–146 29.97 382 Repeat 253 Set Sequence Start 143–144 DTP Adat force-detect 396 versus looping 183, 253 Counter window Duplicate Select All 259 editing 40 Audio menu 264 Select All in Range 259 Countoff 151–152, 175 Track Layout 290, 290 Set Loop 259 indefinite 152, 176 Duplicate Mix command 317 Shift 255–256 length 176 Duplicate Take 128 Show/Hide Clipboard 259 movie window 176 Duration Snip 255 only when recording 176 soundbites 76 Splice 255 preferences 176 DV video playback offset 190, 191, 193 At Original Time 255 While slaved to tape 385–386 Dynamics At Original Time Multiple 255 Create fixed-length fades option 275 audio 319 At Wiper 255 Create new crossfades option 275 Dynamics plug-in (see AudioDesk Plug- At Wiper Multiple 255 Create new fade-ins/outs options 275 ins Guide) Splice Multiple 255 Create New Folder 74 Split at Counter 257 Crossfades 269, 319 E Trim 257 Cue Mix™ 166 EBU 106 Trim Start/Trim End 257 Cue sheet 283, 287 Echo Undo History 197, 250 Cueing 292 synchronization 389 Undo Previous Action 249 sequences 289–290, 292, 294–295 Echo plug-in (see AudioDesk Plug-ins Undo/Redo 249 using the counter 142–143 Guide) Edit resolution 222, 235–236 Cursor Coordinates 207 Edge Edit Copy 208, 219 Edit resolution box 202 Cursor Information 237 Edit Edit Window 205–229 Custom take names 178 grid 207 Edit window Customer support 13, 415 Resolution 207 adding audio track 124 contacting 12 Edit Bar adding tracks 210 Customizing looping 185 comments 133 New file 62–63, 64 Edit commands Copy to New Sequence 210 Cycle (see Memory-cycle) Clipboard 259 creating a new sequence 210 Cycle to Next Tool 231 Edit window 202, 222 editing 201–202, 221–222 Cycle-recording 170 Markers 286 enable/disable track 126 Cycle-recording (Memory-cycle) 146 selecting region 221–222 Go to 208 Edit in Waveform Editor 84, 267 Go to Counter 208 D Edit menu 249–259 loops 225 DC Notch plug-in (see AudioDesk Plug- Audition Selection 204 Master faders 124

423 INDEX mini-menu 208 Export Selected Soundbites 93 Edit window 208 mix automation data 225 Exporting Go To Marker 285 opening a new edit window 210, 290 audio export presets 94 Play-Enable button 128, 158–159 MP3 files 93, 372 H Record-Enable button 127–128 project 61, 89 Hard disk selecting 246 access time 172, 414 selecting a region 238–239 F checking available space 163 Set Rulers 211 Factory presets (plug-ins) 343 compacting audio files 86–88 Shift key 201 Fade command 261 deleting audio files 85–86 shift key 221–222 Fades command 269 fragmentation 172, 414 soloing 158 Fades folder 58 managing audio files 85–88 switching sequences 209 FAQs 417 optimizing 15 Takes 128 Figure 36-15 on page 205 279 recommendations 28 Time ruler 212 File Format 106 recording explained 25 viewing initial track settings 310 conversion 355 requirements 28 Editing File menu running out of space 415 audio 29 Close 64 size of files on disk 27 Counter 40, 138 Compact Project 88 spreading audio over several drives during playback 65, 140, 157–158, Exit 65 85 197 Import Audio 74 Hardware Markers 284–285, 286 Load 64, 291 requirements 31 selecting data for editing 245 New 63, 63, 64 setup 31 Sequences 291–292, 293 Open Recent 59 HD Express sequences 290–291 Page Setup 65 video playback 190 tracks 246 Print 65 HD Express video playback 190 Effects Revert to Saved 62 HDX-SDI accessing 305 Save 59 video playback 190 Next/Previous Preset 345 Save A Copy As 60 HDX-SDI video playback 190 side chain input 352 Save As 60 Heal Separation 256 window 348 Save As ‘New’ Template 62–64 Hide Clipboard 259 Effects window 341 Save As Template 63 Hide Lanes 226 applying effects 313 Files 65–66 Hide Left/Right Sidebar command 37 closing 343 errors 65–66, 413, 414 Hit points 287 compare presets 345 loading copying & pasting parameters 314 sequences 64, 291 I opening 342 opening new file 58 I-Beam tool 232 plug-ins 347 Revert to Saved 62 Ignore new commands 115 Presets menu 343 Save As 60 Import Audio command 74 quick reference 341 Save As ‘New’ Template 62–64 Import key bindings 114 User Presets 344 Save As MIDI File 89 Import Movie Audio 189 Eject command 395 Save As Template 63 Import option 371 Enable Mouse Wheel for Sliders and Film/video Importing Knobs 301 hit points 287 Acid files 92, 93 Encode quality 373 Markers 283–287 AIFF files 91 Encoding mode 373 synchronization 381–382 Apple Loops 92 End time Filter frequencies below 10 hz 374 audio (entire file) 91 Auto/Manual 293, 295 Fine-tune Audio I/O Timing command 21 audio (Soundbites) 74, 90–93 Sequences window 289, 291, 293 FireWire CD audio 92 sequences window 290 video playback 190, 192 MP3 files 92 Equal Gain fade 273 video playback offset 190, 191, 193 REX files 92 Equal power fade 273 Flanger (see AudioDesk Plug-ins Guide) Sound Designer II files 92 Erase 253 Float Effects by Default 342 WAVE files 91 Error messages 65–66, 413, 414 Floating 342 Importing audio 90 audio playback/recording 414 Frame click metronome values 154 Information Bar Errors Frame Rate 382 Edit resolution box 202 disk 65–66 Frame time 42, 142, 143–144 Information bar file 65–66, 413, 414 Edit grid 235 system 413, 415 G Edit resolution 222 Event Information 237–238 Gate Information windows 235–243 eVerb plug-in (see AudioDesk Plug-ins Click preferences 175 Input monitoring 125, 164, 213 Guide) Go to Input Monitoring Mode 166 Export key bindings 114 Edit window 208 Input Only (patch thru) 164 Export Selected Bites 74, 377 Go to Counter Inputs (IN) 177

424 INDEX Insert Loop 259 repetitions 183 Merge Repeat 254 Insert Mute Automation 218, 268, 330 start time 183 Merge Repeat Multiple 254 Inserting measures 255–256 versus Repeat 253 Merge Repeat Together 254 Inserts 304 LTC 389 Merge Soundbites 261 choosing an effect 342 Merge Together 254 Inspectors (see Information windows) M Meter Interface 31 Mac display 154 Interleaved Format 106 built-in audio performance 15 MIDI conversion 355 keyboard equivalents 155 beat clocks (see MIDI beat clocks) Interleaved format 25 multi-processor support 312 click 173 Invert Phase (see AudioDesk Plug-ins requirements 11 files Guide) Mac Keyboard Controls 153 exporting 89 Mac OS X hardware K Audio MIDI Setup 33 requirements 31 Keyboard commands 39–40 Core MIDI 33 setup 31 Customizing 40 Magnifying glass tool (see Zoom tool) interface 31 Keypad 143 Manual end time 289, 290, 293, 295 Learn 341, 342, 352 troubleshooting 42 Marker strip Song Select 289, 292 Keypad controls 155 Sequence Editor 207, 212 Time Code (see MIDI Time Code) Markers 283–287 MIDI beat clocks 388–389 L adding 284 start/stop clocks 389 Latch mode 323 changing location 285, 286 transmitting 388–389 Latency compensation 21, 348 Deleting 284 MIDI click 174 Layering soundbites 263 Edit window 286 MIDI Express XT Learn controller 341, 342, 352 Graphic Editing window 286 SMPTE sync with 385 Length in Time 241 locating with 285 MIDI Machine Control 391–398 Level meters 177 Lock 283, 284, 286 Auto Record Advance option 395 adjusting range 180 mini-menu 284 MIDI Time Code 381–382 setting input level 181 naming 283, 285 transmitting from AudioDesk 387 Level Range 178 New 284 MIDI Time Piece AV Level Range mini-menu command 309 opening Markers window 284 SMPTE sync with 385 Link Memory to Selection 149 position indicator 283, 285 Min Time and Value Change command Link Playback to Memory 148 printing 65 302 Live performance selecting 285 Min Time and Value Range command 327 cueing Sequences 292, 294–295 setting Counter location 285 Mini-menu 36 Load 291 Shift locked markers 284, 286 Audio Monitor 180 sequences 64 time display 283 Markers 284 Soundbites 91 Unlock 284, 286 Mixing Board window 301 Load Board Layout command 301 unlocking 284 Sequences window 290 Lock 283, 284, 286 MAS plug-ins 349 Soundbites window 74 Lock Layout to Track Order command delay compensation 21 Mini-menus 302 Master faders 124, 313 Audio Monitor 178 Lock to Transport 189 applying effects to 351 Movie Window 189 Locking tracks 136 Mix automation 319 Markers 283, 284, 286 Mastering 375 taking a snapshot 331 Logic Pro Measure time 41, 141 Mix Mode exporting to 95 Edit window 211 pop-up menu 299 Loop recording (Memory-cycle) 146 Memory Bar 138, 146–147, 152–153 Mix mode 316 Loop tool 233 loading Remembered Times 248 Mixdowns (see Mix mode) Loops 183–185 Memory-cycle 146 Mixing 299–317 changing end points graphically 228 compared to loops 183 Mixing Board compared to Memory-cycle 183 repeat barlines 147 Enable Mouse Wheel for Sliders and conflicting 184 selecting the region 148 Knobs 301 deleting graphically 228 setting end points 147, 150 Master faders 124 duplicating 228 Merge 254 Mixing Board window 299–317 editing during playback 185 At Original Time 255 audio plug-ins 347 end time 183 At Original Time Multiple 255 auto(mation) buttons 308 graphic editing of 225 At Wiper 255 automated mixing 310 inserting 184 At Wiper Multiple 255 inserts 304 inserting during playback 185 Merge Multiple 254 mute buttons 307 inserting graphically 228 Merge new commands 115 opening 302 nested 184 Merge new commands and save the old quick reference 300 recording (See Cycle-recording) ones 115 renaming board layouts 303

425 INDEX re-ordering tracks 302 importing files 92 saving custom layouts 303 MS Decoder (see AudioDesk Plug-ins P showing/hiding sections 301, 302 Guide) Page Setup 65 showing/hiding tracks 302 MTC (see MIDI Time Code) Panning solo buttons 307 Multimode Filter plug-in (see AudioDesk curve, removing 227 switching board layouts 303 Plug-ins Guide) curves, reshaping 227 switching sequences 303 Multi-processor support 312 cut, copy, paste 228 track strip described 304 Multirecord is always on for audio tracks deleting and event (point) 227 volume faders 309 110 disabling automation temporarily MMC (see MIDI Machine Control) Muting 228 Modifier keys 38 audio tracks 158 graphic editing of 207, 225 Monitor record-enabled tracks through mute buttons in mixing board 307 ParaEQ effects option 166 MXF 95 (see also AudioDesk Plug-ins Monitoring Guide) button 125, 213 Parametric EQ (see ParaEQ) N Parts per quarter note 41 problems 135, 312 Naming Paste 251–252 Mono (no attenuation) 370 Files 59–60 At Original Time 253 Mono (with 3.5 dB attenuation) 371 Markers 283, 285 At Original Time Multiple 253 Mono Sum 307 sequences 289 At Wiper 253 MOTU Tracks 125 At Wiper Multiple 253 video hardware playback 190 New 63, 63, 64 Paste Multiple 252 MOTU Audio System 15–23 Marker 284 Paste Repeat 252 Audio Performance window 351 New Marker 284 Paste Repeat Multiple 252 defined 29 New Mix command 317 Patch Lists Fine-tune Audio I/O Timing 21 New Take 128 printing 65 improving performance 15 Next/Previous Preset 345 Patch Thru input monitoring 164 No accent option 175 Audio (Audio Monitor) 164 input/output timing 21 No External Video Output 190 Patterns (see Memory-cycle) System requirements 11 Non-destructive editing 29, 215 Pause button 140 Mouse techniques 38, 201–202, 221–222 defined 26 Peak (see BIAS Peak) Move handle explained 203 Pencil tool 232 Sequences window 289, 293 Non-interleaved 25 Performance (see Audio Performance Movie Window 187–193 Nudge Amount 207 window) Audio Output 190 Nudging 237 Performer files Chase Graphical Edits 189 Sequence Editor 207 opening 89 Chase Numeric Edits 189 Num Lock Key (Windows) 42 Phaser plug-in (see AudioDesk Plug-ins Clear Movie 189 Numerator 154 Guide) controls 188 Numeric Base 285 phrases during countoff 176 Numericals 40 FireWire output 192 auditioning 204 FireWire video playback 192 Pick-up measure(s) 145 O Pitch Import Movie Audio 189 Offset (see Set Sequence Start) improving performance 190 Click preferences 175 OMF interchange 95–97 Pitch Shift 258 Lock to Transport 189 exporting 62, 90, 96–97 mini-menu 189 Plate plug-in (see AudioDesk Plug-ins import via drag & drop 59, 89 Guide) Movie Floats On Top 190 importing 59, 89, 95 multiple 187 Play button 140 OMFI (see OMF interchange) Play Selection 159, 245, 369 No External Video Output 190 On any MIDI activity option 110 opening Playback 128, 157–160 Only during countoff option 175 audio 123–134 opening & closing 187 Only when recording option 175 Reveal Movie in Finder 189 channels 157 Open in 32-bit mode 11 features active during 140, 157–158 Set Movie 189 Open Media Framework Interchange (see Set Movie Start Time 189 locating with mouse 211 OMF interchange) sequence 292 Show Movie in Explorer 189 Open Recent sub-menu 59 Use Same Movie for All Sequences Playback Dashes 143 Open Sequences 290, 292 Playback offset option 22 187, 189 Open-loop (MIDI Machine Control) 393 video hardware playback 190 Play-Enable button 128, 157, 157, 158–159 Original time 76 Sequences window 289, 292 Video output 190 Original Time Stamp 224, 241, 263 Video output playback offset 190, Play-enabling sequences 289–290 Overdub 151, 169–170 Playlists 191, 193 button 138 MP3 377 building in Sequence Editor 216 Override internal buffer size 18 defined 29 bounce to disk 372 Overwrite Existing Files option 372 file export 93 Plug-ins 347 Overwrite mode 323 (see also AudioDesk Plug-ins 426 INDEX Guide) exporting 61, 89 time available 178 accessing 305 opening 58 Undoing 141 Audio Units (see Audio Units)VST saving 59 Recover Takefiles dialog 414 plug-ins Project File Format 106 Recycle delay compensation 21, 348 Project folder 57 importing files 92 effects presets 343 defined 28 Red outline (soundbites) 215 latency compensation 21, 348 Project menu Redo Next Action 249 Learn controller 341, 342, 352 Add Track 124, 167, 210 Redo/Undo 249 MAS 349 Change Sequence Meter 154 Edit window 202, 222 MIDI Learn 341, 342, 352 Clippings 277 Region scanning Audio Units Edit Window 205–229 audio (see Soundbites) VST (see VST plug-ins) Effects 341, 347 defined 28 Pointer Coordinates 237 Markers 283 Region selection Pointer tool 231 Mixing Board 299 Edit window 212 Pop Out of Consolidated Window 37 Movie 187 using Markers 286 Pop Out of/Into Consolidated Window 68 Project Notes 65 with the edit window 246 Position tool palette automatically 109 Sequences 289 Registration Post-fader sends 307 Soundbites 73–84 card 415 Postroll 149 Project Notes 65 number 415 file-based plug-in previewing 349 Punch Guard 169 Rehearse mode 394 Link Playback to Memory option preferences 110 Reload 84, 264, 264–267 239 Punch-In Remember Times 248, 286 PreAmp-1 plug-in (see AudioDesk Plug- Punch Guard 169 Remote Controls ins Guide) Punch-in (see Auto-Record) cueing with 292 Predelay Push Window to Back command (Win- Enter Counter options 239 Reverb 353 dow menu) 37 Play-enabling sequences 294 Pre-fader sends 307 Play-enabling with 292 Preferences 105 Q printing 65 Audio file defaults 106 Quan Jr. plug-in (see AudioDesk Plug-ins Remove from list 74, 81–82, 88 Click 173 Guide) Rename Mix command 317 Control Panel 107 Question mark icon (on move handle) 75 Rename Take 128 Countoff 176 QuickTime video (see Movie Window) Repeat 253 Default File Format 106 Quitting AudioDesk 65 versus looping 183, 253 Project File Format 106 Repeat barlines 147 Punch Guard 110 R Replace 84, 267 Startup options 65 RAM Resolution (see Sample Format) Tool palette 109 freeing up RAM for AudioDesk 15 Retain Clip 164, 178, 180 transport 110 increasing available RAM 20 Retina display support 11 Preferences & Settings command 105 recommendations/requirements 11 Reveal In Finder 215, 267 Pre-generation (pre-gen) 348 Random Access Reveal Movie in Finder 189 Preroll 149 defined 26 Reverb (see AudioDesk Plug-ins Guide) file-based plug-in previewing 349 Range Latch mode 323, 326 Reverb plug-in (see AudioDesk Plug-ins Link Playback to Memory option Range Touch mode 323, 326 Guide) 239 Range Trim Latch mode 323 Reverse plug-in (see AudioDesk Plug-ins Preroll option 394 Range Trim Touch mode 323 Guide) Preserve current frame time option 286 Real time 41, 142 Revert to Saved 62 Preserve length of time from start of se- editing 65, 140, 157–158, 197 Rewinding 140, 146–147, 152–153 quence option 287 Receive Sync 381–386 Markers 283, 285 Preserve realtime performance option 256 MIDI Machine Control 396 REX files Presets Record time (Audio Monitor) 178 importing 92 effects 343 Recording 140–141, 150, 152–153, 161– Right-click menu (see Contextual menu) Prime Milliseconds 21 171 Ring Modulator (see AudioDesk Plug-ins Printing 65 audio 162–172 Guide) list windows 65 Auto-Record 138, 141, 150, 152–153 Round on Entry 143 Pro Tools Bar 141, 150, 152–153 Run Stopped Task Again 362 exporting projects to 95 button 141, 150, 152–153 importing AAF file 59, 89 in a sequence 292 S importing OMF file 59, 89 in external sync 171 Safe option in MMC window 394 sync points 225 Punch Guard 169 Sample Time stamps 264 record channel 163 format conversion 355, 356 Project 57 Record-Enable button 127–128 rate conversion 91, 355 creating a new AudioDesk project Sequences 292 Sample Format 74, 83, 106, 139, 171–172 58 stereo 167 Bounce to Disk option 371

427 INDEX Sample Format Conversion 356 Sequence controls 294–295 Automation Setup 320, 336 Sample Rate 17 Sequence Editor Choose Waveform Editor 267 Sample rate Auxiliary Time rulers 211 Commands 113 column in Soundbites window 76 Information Bar 211 Configure Audio System 166 Sample Rate Conversion 355 marker strip 212 Frame Rate sub-menu 382 Sample-accurate moving soundbites vertically 217 Preferences 65, 105 editing 203 moving tracks 210 Receive Sync 381–386 Save 59 pop-editing soundbites 223 Slave to External Sync 385 Settings as Audio Export Format 94 quick reference 206 Time Display 42 Save a Copy As 60 replacing a soundbite 216 Transmit Sync 387–389 Save As 60 Time ruler 211 Shift 255–256 Menu CategoryMenu Category 306 track display 207 Shift locked markers 284, 286 MIDI File 89 Sequences window 289–295 Shortcut commands 40 Save As ‘New’ Template 62–64 adding sequences 290, 290 Show Save Board Layout command 301 Auto/Manual end time 289, 290, Active Layer Only 208 Save Settings command 343 293, 295 edit grid lines options 108 Screen updating 145–146, 415 comments 289, 293 marker grid lines 108 Scroll to Record Enabled Inputs 178, 181 Copy to new sequence 291 Show Clipboard 259 Scrolling (see Auto-Scroll) copying 291 Show in Explorer 215, 267 Scrub tool 233 current playback sequence 289, 292 Show Lanes 226 Scrubbing 223 Delete 290, 292 Show Left/Right Sidebar command 37 with Movie window slider 189 Duplicate Track Layout 290, 290 Show marker grid lines 212 SD2 (see Sound Designer II) End time 289, 290, 291, 293 Show Movie in Explorer 189 SDII (see Sound Designer II) loading sequences 64, 291 Show Presets in Finder/Explorer 344 Seamless chaining 295 mini-menu 290 Show Times 208, 224 Seamless sequence chaining 294–295 naming 289, 293 Show/Hide Clipboard 259 Select All 259 Open Sequences 290, 292 Show/Hide Left/Right Sidebar 68 Select All Tracks in Range 259 opening 290, 290, 292 Side chain input 352 Select unused soundbites 74 opening a new edit window 292 Skip buttons 138, 294, 295 Selecting 245 play-enabling 289, 289–290, 292, Skip Master Fader tracks 127 events 294–295 Slave to External Sync 385 Note grid 201 rearranging Sequences 293 in the Control Panel 138 Markers 285 selecting 290 SMPTE 42, 381–382 sequences 290 sequence control buttons 289–290, 29.97 drop & non-drop 382 Tracks 246 294–295 bit offset 144 Selecting a region Set Sequence Start 290 bits per frame 144 Edit window 246 song select message 289, 292 converters 381–382 Markers 286 type icon 289, 293 Drop frame 382 Selection Bar 286 Serial number 415 Frame Rate 382 Selection Information 238–239 Session (see project) frame time display 42, 146, 211 Sends Set Countoff 151–152, 175 offset 144, 146 assigning 306 Set Display 146 Set Sequence Start 143–144 configuring number of 307 Set Focus to Next/Previous Cell 68 start time 397 level 306 Set Focus to Next/Previous Cell command time code 389 mono sum 307 37 Snap Information 235–237 muting 306 Set Movie 189 Snap to Grid 235 panning 307 Set Movie Start Time 189 Snap to Markers 207 pre/post fader 307 Set Nudge Amount 237 Snapshot automation 331 Send From Channel 307 Set Number of Effect Inserts 301 Snapshot button 300 Sequence Set Number of Sends 301 to set initial levels with 310 Add chunk selection commands au- Set number of tracks command 395 Snip 255 tomatically 114 Set Rulers 211 Solo & Play Phrase override mute automa- Control Buttons 289–290, 294–295 Set Sequence Start 143–144 tion 336 Controls 289–290, 294–295 preserving locked markers 286 Solo button creating a new sequence 210 sequences window 290 exemption 133, 310 deleting 210 Set Sync Point 264 in Mixing Board 307 duplicating 210 Set Take Folder 178 Solo exemption 133, 310 loading 64, 291 Set Zoom Setting 200 Soloing tracks 158–159 naming 289, 293 Setup menu exemption 133, 310 play-enabling 289, 289–290, 292, Audio Performance 351 Song Select 289, 292 294–295 Audio System Sonic Modulator (see AudioDesk Plug-ins renaming 210 MOTU Audio System 14 Guide) skipping 294, 295 Auto Scroll 159 Sort by name

428 INDEX Soundbites 79 snapping to next/previous 217 Sync to Port menu 382 Sort by size 79 Sort by name 79 Synchronization Sort by soundfile 79 Sort by size 79 MIDI beat clocks Sound Designer II 106 Sort by soundfile 79 start/ stop clocks 389 exporting interleaved 74 stutter effect 218 transmitting 388–389 Sound Designer II files that can’t be played 80 recording in external sync 171 exporting interleaved 93 time stamping 263 Slave to External Sync 385 importing 92 trimming 219 SMPTE 42, 381–382 Sound effects Soundbites window VITC 385 stutter 218 Audible Mode 79 System Sound file (see Audio file) renaming audio files 85 troubleshooting 413 Sound File Information 240–242 Soundfile locations 106 System errors 413, 415 Soundbites 73–84 Spatial Maximizer (see AudioDesk Plug- System Requirements 11 "throwing" 217 ins Guide) ‘X’ icon 80 Speaker button 203 T applying Region operations 198 Speaker icon (See Audible Mode) Tab bar 36 Automatic Conversions 83 Splice 255 expand/collapse button 36 compacting 83 At Original Time 255 Take Automation Snapshot (no dialog) converting ones that can’t play 91 At Original Time Multiple 255 335 copying while dragging 217 At Wiper 255 Take Automation Snapshot command creating 78 At Wiper Multiple 255 267 defined 28 Splice Multiple 255 Take Folder 178 definition 28 Split 257 Takefiles deleting 81 Split At Counter 257 Audio Monitor 177 dragging and dropping 83 Split stereo 25 changing location before recording dragging and dropping in Sequence Standard beat clocks (see MIDI beat 179 Editor 216 clocks) checking current location 163, 179 Duplicating 264 Standard MIDI files definition 177 duplicating end to end 218 exporting 89 folder 178 edge editing 219 Startup options 65 naming 178 editing basics 202 Stereo relocating 177 exporting 74, 93 creating a stereo track 124 removing unwanted 82 extending a selection 248 recording 167 renaming 85, 177, 178 icon for lost soundbites 80 soundbites 79 selecting in Audio Monitor 177 in audio tracks 202 Stereo audio files Takes 128 inserting in Edit window 216 converting 91 Duplicate Take command 128 layering 263 size on disk 28 New Take command 128 loading 91 Stereo buses setting (Configure Studio Set- Rename Take command 128 looping 150 tings dialog) 20 while cycle recording 146 managing 79–82 Stop button 140, 146 Technical support 12, 415 moving 217 Strip Silence 262–263 contacting 12 moving multiple 217 Studio menu Template files 62–63, 64 moving vertically in Sequence Edi- Audio Assignments 127 Tempo 153–155 tor 217 Audio Bundles 119 resolution 154 name 76 Audio Monitor 177–181 Text naming 80 Audio Patch Thru 164 copy between AudioDesk and other playback 123–134 Audio Performance 22 programs 259 playing with Audible mode 79 Background Processing 361 Ticks 41–42 pop-editing 223 Clear all clipping indicators 181, 310 Time question mark icon 80 Click 173 display 143 red outline 215 value 173 formats 141–142 region editing 197 volume 175 frame time 42, 143–144 Reloading 264–267 Click Preferences 173 measure|beat|tick time 41, 141 removing from list 81–82 Control Panel 137 real time 41 renaming in Sequence Editor 216 Cursor Information 237 Sequence Editor 211 Replacing 267 Event Information 237–238 specification 41–42 replacing in Sequence Editor 216 MIDI Machine Control 391 Time Display menu 42 scrubbing 223 Selection Information 238–239 Time ruler 207 selecting 222 Snap Information 235–237 Edit window 212 selecting regions of 197 Sound File Information 240–242 locating playback 211 selecting unused 80–81 Tools 231 Sequence Editor 211 Sequence Editor 208 Track Selector 239–240 Time stamps 224, 263 snapping to grid while moving 217 Sync points 224, 264 Original Time Stamp 263

429 INDEX Show Times 224 Undo/Redo 249, 251 User Time Stamp 263 Edit window 202, 222 W Timecode bits 144 Record 141 Wait button 138 Timecode track option 395 Unique Source Identifier 106 indefinite countoff 152 Timing resolution Unlock 284, 286 preferences 110 beats per minute 154 Unlocking markers 284, 286 WASAPI 17 frames 144 Unmuting WAVE files ticks 41 audio tracks 158 importing 91 Tool palette 206, 231, 246 Update existing fades option 275, 276 Wave64 106 Edit window 208, 226 Updates 12 Waveforms Studio menu 231 Upgrading command bindings 115 explained 214 Tool palette preferences 109 Urei metronome click 174 Welcome to AudioDesk window 13 Tools USB Welcome window 13 Cycle to Next Tool 231 MIDI hardware (installing) 31 When a note I-beam tool 232 Use Narrow view 301 is played 110 Loop tool 233 Use Same Movie for All Sequences 187, or controller is played 110 palette 231 189 Window controls 35 Pencil tool 232 User Interface 158 Window menu 37 Pointer tool 231 User interface 35–42 Bring All to Front 37 Scrub tool 233 User Presets 344 Close 37 Zoom tool 232 User time 76 Close All Effect Windows 37 Touch mode 323 User Time Stamp 241, 263 Close All Windows 37 Track Hide Left/Right Sidebar 37 display 207 Pop Out of Consolidated Window V 37 Track Selector 207, 239, 240 V4HD Push Window to Back 37 Track selector video playback 190 Set Focus to Next/Previous Cell 37 button 36 V4HD video playback 190 Show Left/Right Sidebar 37 list 36 Variable Bit Rate (VBR) Fast 373 Show/Hide Left/Right Sidebar 68 Tracks (see Audio tracks) Variable Bit Rate (VBR) Standard 373 Window target 35 Transmit Sync 387–389 VBR (variable bit rate) quality 374 Window title 35 echoing sync 389 Velocities Windows 35–37 generate sync 389 Click preferences 175 active window 37 generating MIDI beat clocks 388 Version numbers Audio driver 17 generating MIDI Time Code 387 AudioDesk 416 Num Lock key 42 Transport Vertical Interval time code (see VITC) WASAPI 17 preferences 110 Vertical Tool palette 109 Windows menu Tremolo plug-in (see AudioDesk Plug-ins Video Close All Effect Windows 343 Guide) FireWire video playback 192 Close Cell 68 Trigger plug-in (see AudioDesk Plug-ins hardware playback 190 Pop Out of/Into Consolidated Win- Guide) Video Output command 190 dow 68 Trim 257 Video Output playback offset 190, 191, Set Focus to Next/Previous Cell 68 Trim Latch mode 323 193 Wiper Trim plug-in (see AudioDesk Plug-ins Video Window (See Movie Window) zooming 160 Guide) View by menu (Soundbites window) 76 Work Priority 19 Trim Start/Trim End 257 View menu 198–199 Trim Touch mode 323 Visual punches 173 Trimming soundbites 219 VITC 385 X Troubleshooting 413–416, 417 Volume X icon (on soundbite move handle) 76 audio 414–415 Click 175 XMPT (solo exemption) 133, 310 buffer size option grayed out 18 curve, removing 227 disk errors 65–66, 413 curves, reshaping 227 Z error messages 65–66, 413, 415 cut, copy, paste 228 Zoom 213, 226 file errors 65–66, 413, 414 deleting an event (point) 227 back/forward 200 input monitoring delays 165 disabling automation temporarily Edit window 199–201 Keypad on Windows 42 228 in/out 200 monitoring problems 135, 312 faders 309 mini-menu shortcuts 200 system errors 413, 415 graphic editing of 207, 225 Sequence Editor 208 Type icon 289, 293 VST plug-ins settings 200 Type of click 173 delay compensation 21 to selection 200 scanning tool 200 U VU meter 177 Zoom (mini-menu item) 208 Undo History 197, 250 Zoom box 36 Undo Previous Action 249 Zoom buttons 37

430 INDEX Zoom tool 232 Zooming playback wiper 160 shortcuts 233

431 INDEX 432 INDEX