Sonicstudio HD.Book

Sonic Studio HD

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Sonic Studio, LLC

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©2002 Sonic Studio. All rights reserved. SonicStudio High Density User Guide - Sonic Part Number 800127A (4/99) This manual, as well as the software described in it, is furnished under license and may only be used or copied in accordance with the terms of such license. The information in this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Sonic Studio LLC. Sonic Studio LLC assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. Except as permitted by such license, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Sonic Studio LLC. SONIC STUDIO LLC MAKES NO WARRANTIES, EXPRESS OR IMPLIED, INCLUDING WITHOUT LIMITATION THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THE APPLE SOFTWARE. SONIC STUDIO LLC DOES NOT WARRANT, GUARANTEE, OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SONIC STUDIO LLC SOFTWARE IN TERMS OF ITS CORRECTNESS, ACCURACY, RELIABILITY, CURRENTNESS, OR OTHERWISE. THE ENTIRE RISK AS TO THE RESULTS AND PERFORMANCE OF THE SONIC SOFTWARE IS ASSUMED BY YOU. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. IN NO EVENT WILL SONIC STUDIO LLC, ITS DIRECTORS, OFFICERS, EMPLOYEES, OR AGENTS BY LIABLE TO YOU FOR ANY CONSEQUENTIAL, INCIDENTAL, OR INDIRECT DAMAGES (INCLUDING DAMAGES FOR LOSS OF BUSINESS PROFITS, BUSINESS INTERRUPTION, LOSS OF BUSINESS INFORMATION, AND THE LIKE) ARISING OUT OF THE USE OR INABILITY TO USE THE APPLE SOFTWARE EVEN IF SONIC HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. BECAUSE SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF LIABILITY FOR CONSEQUENTIAL OR INCIDENTAL DAMAGES, THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU. SonicStudio, SonicStudio HD, Audio2000 and Varispeed are trademarks of Sonic Studio LLC. NoNOISE is a registered trademark of Sonic Studio LLC. Sonic, Sonic Solutions, the Sonic logo, Sonic DVD Creator, First in DVD, DVD Now, DVD Production Alliance, DVD Ready, Constant Q, High-Density Audio, and TimeTwist are trademarks of Sonic Solutions. Dolby Digital is a trademark of Dolby Laboratories, Inc. Dolby Laboratories encourages use of the Dolby Digital trademark to identify soundtracks that are encoded in Dolby Digital. This is an effective way to inform listeners of the soundtrack format, and the use of a standard logo promotes easy recognition in the marketplace. However, like any trademark, the Dolby Digital logo may not be used without permission. Dolby Laboratories therefore provides a standard trademark license agreement for companies who wish to use Dolby trademarks. This agreement should be signed by the company that owns the program material being produced. Recording studios or production facilities which provide audio production or encoding services for outside clients generally do not require a trademark license. If you would like more information on obtaining a Dolby trademark license, please contact Dolby Laboratories Licensing Corporation. Information on trademark licensing plus instructions for using the Dolby Digital trademark and marking audio formats can also be found online at http://www.dolby.com. QuicKeys is a registered trademark of CE Software, Inc. JL Cooper is a registered trademark of J. L. Cooper Electronics, Inc. Apple, the Apple logo, Finder, Macintosh, Quadra, and Quicktime are registered trademarks of Apple Computer, Inc. Acrobat is a trademark of Adobe Systems, Inc. NuBus is a trademark of Texas Instruments. All other company or product names are either trademarks or registered trademarks of their respective owners. Written and designed at Sonic Studio LLC, 12813 Industrial Park Blvd., Plymouth, MN 55441-3910, USA

Contents

Welcome to SonicStudio HD About This Guide ...... viii Related Documents...... viii Before You Begin...... viii Introduction to SonicStudio HD ...... ix The SonicStudio HD Working Environment...... ix How SonicStudio HD Edits Sound ...... xi Signal Flow in SonicStudio HD...... xiii About SonicStudio HD Disk Files...... xiv Disk Space Requirements ...... xv

1 Getting Started Starting SonicStudio HD ...... 1-2 The Project Window ...... 1-2 Working with EDLs ...... 1-4 Timebase Displays ...... 1-11 Naming EDLs and Segments...... 1-15 EDL Playback ...... 1-16 Synchronized Playback ...... 1-17

II T ABLE OF C ONTENTS

Autoscroll ...... 1-18 EDL Tracks...... 1-19 Controlling Track Size ...... 1-24 Feature Tracks...... 1-25 Navigating in the EDL...... 1-26 Routing and Monitoring ...... 1-30 Solo, Mute and Monitor Mode ...... 1-30 Channel Assignments ...... 1-31 Monitoring Signal Levels ...... 1-42 The Master Fader ...... 1-44

2Working With Sound Opening Sound into Tracks ...... 2-2 Interleaved File Support ...... 2-2 Selecting Sound ...... 2-3 Edit Points...... 2-4 Working with Segments ...... 2-7 Using Selection Reference Points ...... 2-9 Selection Playback ...... 2-17 Scrub Mode...... 2-19 Recording Sound ...... 2-20 Setting the Soundfile Parameters...... 2-20 Readying Tracks for Recording...... 2-22 Basic Recording ...... 2-23 Edit Recording ...... 2-24 Replacing Sound by Recording...... 2-24 Punching In and Out Using SRPs ...... 2-25 Capture Recording ...... 2-26 Edit Groups ...... 2-27 Basic Editing ...... 2-28 Deleting & Clearing Sound ...... 2-30

T ABLE OF C ONTENTS III

Undoing Edits...... 2-30 Nudging Selected Segments ...... 2-32 Moving Segments...... 2-33 Modifying Segment Gain ...... 2-34 Save Reversed ...... 2-36 Editing in Text View...... 2-38 Source-to-Destination Editing...... 2-40 Key Command Edits...... 2-40 Edit State Designators ...... 2-41 Sync to Edit Point ...... 2-51 Sync to Matching ...... 2-51 Loop and Fill ...... 2-52 Drag-and-Drop Edits ...... 2-53 Copy and Paste Editing ...... 2-56

3 Fades Fade Types...... 3-2 Creating Fades...... 3-3 Editing Fades in the EDL...... 3-4 Using Edit Fade Mode ...... 3-9 Fade Editing Controls...... 3-13 Global Fade Edit Modes ...... 3-19 Using the EFM Parameter Controls ...... 3-22 EFM Menu ...... 3-29 EFM Shortcuts ...... 3-30

4 Digital Signal Processing Using Equalization Filters ...... 4-2 Applying Equalization Desk Events...... 4-2 Apply Filter to Selection...... 4-4 The Desk Events Menu...... 4-5

IV T ABLE OF C ONTENTS

Copy and Paste Editing of Desk Events...... 4-7 Filter Types and Parameters ...... 4-8 Choosing a Filter ...... 4-22 Double Precision Desk Filters...... 4-23 Gain Overlay Mode ...... 4-24 Editing in Gain Overlay Mode ...... 4-25 Including Gain Overlay Nodes in Audio Edits ...... 4-30 Locking Gain Overlay Nodes to the Timeline ...... 4-30 Using Dither...... 4-33 What is Dither? ...... 4-33 Applying Dither ...... 4-35 Varispeed/SRC on Input...... 4-40 ...... 4-44

5 Delivery PQ Editing ...... 5-2 About PQ Subcode ...... 5-2 Placing PQ Marks ...... 5-2 Viewing and Editing Mark Information ...... 5-8 PQ Log and Track Info ...... 5-11 Delivering the Project...... 5-16 Writing a Compact Disc ...... 5-16 Dumping to DDP (Exabyte) Tape ...... 5-18 Writing an Adaptec Jam File ...... 5-20 DDP Image File Support ...... 5-22 Writing to Timed Tape ...... 5-24 Flowthrough Delivery...... 5-26 Loadback and Verify Window ...... 5-30 Exporting Audio in AIFF format ...... 5-32 Exporting Audio by the Standard Method ...... 5-32 Exporting Audio by the Fast Export Method...... 5-33

T ABLE OF C ONTENTS V

6Machine Control/Sync The Transport Control Panel ...... 6-2 Setting Up Machine Control ...... 6-4 Controlling 9-Pin devices with an EDL ...... 6-6 Setting Up LTC Timecode...... 6-7 Timecode Reader Preferences ...... 6-8 Timecode Generator Preferences ...... 6-9 Timecode Status Window...... 6-9 Slaving EDLs to LTC ...... 6-10

7 SonicStudio HD Shortcuts Key Command Reference ...... A-2 Projects...... A-2 Edit Decision Lists ...... A-3 Tracks...... A-5 Selections ...... A-6 Editing Sound...... A-8 Nudging Segments and In/Out Points...... A-9 Copy and Paste of Segments...... A-10 Editing Fades in the EDL ...... A-11 Edit Fade Mode ...... A-11 Playing Sound ...... A-12 Windows ...... A-13 Listings...... A-13

Index

VI T ABLE OF C ONTENTS

Welcome to SonicStudio HD - version 1.8

Thank you for choosing SonicStudio HD as your digital audio production tool. SonicStudio HD is the workstation of choice for audio professionals worldwide, offering unmatched sound quality, precision editing and productivity with a streamlined user interface.

SonicStudio HD affords a winning combination of benefits: ¥Fast, precise editing — Real-time, non-destructive, multi-mode editing with infinitely variable crossfades for unprecedented productivity. ¥Format ﬂexibility — SonicStudio HD masters the most popular formats for Compact Disc™ and DVD, with 16- to 24-bit resolution at sample rates from 44.1 kHz to 192 kHz. ¥ Sonic Clarityª digital signal processing — SonicStudio HD is the first audio workstation to offer a true 48-bit signal processing data path, eliminating constraints on processing choices and preserving signal integrity. This exclusive feature delivers an amazing -144 dB noise floor for HDSP operations.

VIII

About This Guide

This User Guide is provided for audio professionals who intend to use SonicStudio HD as their complete audio production tool for Compact Disc, DVD-Audio or DVD-Video.

You should be familiar with the basic operation of an Apple Macintosh computer, and know how to use a mouse, menu commands, and other standard features of the Mac OS interface. If you need to review these skills, please refer to the tutorials and documentation provided by Apple Computer.

Related Documents

Please refer to the following for further information: ¥ SonicStudio HD Installation Guide —This guide provides valuable information on properly installing new software and setting up your hardware. ¥ NoNoise User Guide — This guide provides details on using AutoSonic, and the processing options that are available, including NoNoise.

Before You Begin

Before you begin using SonicStudio HD, be sure you have done the following: ¥ Hardware — Make certain that your hardware is installed correctly and functioning properly (refer to the SonicStudio HD Installation Guide ). ¥ Registration — To use your new software, you must activate your Sonic Keyfile. See pages vii through ix of the SonicStudio HD Installation Guide for details. ¥ Serial Number(s) — Be sure to record your Sonic HDSP board serial numbers in the space provided on page vi of the SonicStudio HD Installation Guide . Sonic Customer Support will need this information should you require assistance with your new system.

Introduction to SonicStudio HD

The SonicStudio HD Working Environment

When you open an existing Project or create a new one, SonicStudio HD opens the Project Window . This is the main view of your Project, where you will do all of your sound recording and editing work. For best flexibility in managing your assets and workflow, SonicStudio HD allows you to open multiple Projects and move material among them.

Timebase Display Soundfile Segment Timeline EDL Name

Track Name

Track Panel

Playhead EDL Pane

EDL Pane Scroll Arrows

Project Window Size Box and Scroll Arrows

EDL Timebase Pop-up

The SonicStudio HD Project Window

This figure shows a typical SonicStudio HD Project Window with an Edit Decision List (EDL) pane. The EDL is a container for Project resources, and it accommodates Track panels that hold references to soundfiles (similar to tracks on a multi-track audio tape recorder). Sounds appear as Segments positioned with reference to a Timeline that displays at the top of the EDL pane in increments of the current time unit.

The Project window can be resized and scrolled using the size box, scroll arrows and scroll box. You can also scroll continuously through multiple Tracks (vertically) and time regions (horizontally) in the EDL. You’ll learn more about the Project window and EDLs in Chapter 1, Getting Started.

When you create a new Project, by default SonicStudio HD opens a Project window containing two EDLs. The first EDL is named Destination, and the second is named Source (you can rename them if you like). This is because SonicStudio HD employs a source-to-destination model for sound editing. You’ll learn more about this way of working in Chapter 2, Working With Sound.

When you splice soundfile Segments together, SonicStudio HD creates Crossfades between adjacent Segments. The crossfade assures a smooth transition between the two sounds, and eliminates audible clicks at the edit point. SonicStudio HD includes powerful tools for editing each individual fade in your Project, providing a rich range of possibilities in tailoring your edits to the characteristics of your sounds. You’ll learn more about editing fades in Chapter 3, Fades.

How SonicStudio HD Edits Sound

SonicStudio HD is a non-linear, non-destructive editing system. ¥ Non-linear editing — Unlike editing on a conventional audiotape system, you can choose at any time to work on any portion of your Project without having to rewind or fast-forward to it. This is because all of your sound resources reside on hard disk and are instantly accessible. ¥ Non-destructive editing — Every editing decision that you make is recorded in the EDL. Edit Decision Lists are so named because they represent a series of edits — decisions that you have made about sonic material — with pointers to the original source soundfiles. SonicStudio HD reads this information and performs your edits in real time, without altering the original soundfiles , using powerful DSP (digital signal processing) hardware in the HDSP Processor card.

XII

Media Drive

HDSP Processor 00:00:00:0000:00:21:02 00:00:00:00

Destination

00:00:20:00 00:00:40:00

D1 L1 M1

D2 L2 M2

Source

00:00:20:00 00:00:40:00 Edited Sound

D1 L1 M1

D2 L2 M2

SonicStudio HD EDL

CD Image File CD-R DDP Tape

As this figure shows, you can output edited sound to a Compact Disc™ recorder, DDP tape, or Timed Tape for delivery to a CD pressing plant. You can also write a CD image file to your hard drive, and use a third party utility, such as Adaptec’s Jam to write that file onto a recordable CD. You’ll learn more about delivering your finished Projects in Chapter 5, Delivery.

XIII

Signal Flow in SonicStudio HD

This figure illustrates the virtual signal-processing path that SonicStudio HD uses to reproduce the sounds in your Project.

M2 Track 1 Mix Gain Filter M3

M4 Track 2 ∑ Av M5

M6 Track 3 Output Panning Matrix Output Panning M7

Desk Strip M8

Global Processing

The heart of the path is the Desk Strip . Here, SonicStudio HD applies all of the digital signal processing that you specify. This can include mixing two or more Tracks together; adjusting the gain; applying filters to shape the sound spectrum, or global processing to optimize the overall sound of the Project; and panning sound to one or more of eight outputs.

Note: Although you can mix more than two Tracks to a single Desk Strip, each Desk Strip can only reproduce sound from two Tracks simultaneously. If you ask the Strip to reproduce three or more separate, simultaneous sounds, some Tracks will not play.

You’ll learn more about Desk Strips in Chapter 1, Getting Started.

XIV

About SonicStudio HD Disk Files

When you save a Project, SonicStudio HD stores all of your Project information in a hierarchy of files and folders within a Project folder. Because they can take up huge amounts of space, it’s best if you store your source soundfiles on a high-capacity external hard drive. As you build Macintosh Internal Hard Drive

Mac OS Project Folder System Files

Project File EDL Folder

SonicStudio HD Application and Related Files EDL Files

High-Capacity External Hard Drive

SonicStudio HD Workstation Soundfile Folder

AIFF File Reduce File

XV your Project, SonicStudio HD saves assets in the correct locations, automatically maintaining your disk files.

Project File — This is the master file for your Project. To open an existing Project, double-click this file or open it in SonicStudio HD.

EDLs — This folder holds EDL files associated with your Project.

Sound files are saved at the location you specify when you record them. When saving soundfiles, SonicStudio HD also saves "reduce files" under the same filename, but with a ".r" extension appended. Reduce files are used to construct the waveform display in the Project window.

Disk Space Requirements

The amount of disk space that you’ll need for source soundfiles depends on the bit depth and sample rate at which you choose to record. SonicStudio HD records at either 16-bit or 24-bit resolution, at sample rates from 44.1 kHz to 192 kHz. This table shows how much disk space you’ll need for one minute of monophonic audio with various sample rate and bit depth combinations.

16 Bits 24 Bits

44.1 kHz 5 MB 7.5 MB

48 kHz 5.4 MB 8.2 MB

88.2 kHz 10 MB 15 MB

96 kHz 10.9 MB 16.3 MB

176 kHz 20 MB 29.9 MB

192 kHz 21.8 MB 32.7 MB

XVI

1 Getting Started

This chapter provides information to get you started with SonicStudio HD, including: ¥ Starting SonicStudio HD ¥ Setting Up a Project ¥ Working With EDLs ¥ Routing and Monitoring

1-2GETTING S TARTED

Starting SonicStudio HD

To start SonicStudio HD:

¥ Double-click the SonicStudio HD icon. SonicStudio HD launches and opens a new Project.

SonicStudio HD Application Icon

To abort the program launch:

¥ Press COMMAND+PERIOD.

To quit SonicStudio HD:

¥ Press COMMAND+Q.

Note: See the NoNoise Guide for details on using SonicStudio HD concurrently with AutoSonic.

The Project Window

To create a new Project:

¥ Choose File > New Project or press COMMAND+N.

S TARTING S ONICS TUDIO HD 1-3

SonicStudio HD Project Document Icon

To open an existing Project:

¥ Choose File > Open Project or press COMMAND+O. You can also double-click a Project file to open the project.

To save your Project:

¥ Choose File > Save Project or press COMMAND+S. You can also rename a previously-saved Project by using File > Save Project As and entering a new name in the Save As dialog.

To close your Project:

¥ Choose File > Close Project or press COMMAND+W.

To save a Project template as the default:

To save a project as a default template, so that at launch, and when creating a new project, the default template is used.

1 Create a project and edit it to contain EDLs with names, track layouts, and sizing as you desire.

2 Save the project with the name “SonicStudio HD Default Project” in the Defaults folder within the Sonic Preferences folder. Whenever you launch SonicStudio HD or create a new project, this template will be used.

1-4GETTING S TARTED

Working with EDLs

A Project Window can hold multiple EDLs, as shown in Figure 1-1, with each EDL acting as a dedicated sync group.

Active EDL (Black)

Track View Pop-Up

Inactive EDL (Light Blue)

Figure 1-1 Project with two open EDLs

Only one EDL is active at a time.The active EDL is identified with a black Name Tab and Timeline. Inactive EDLs are displayed with a light blue Name Tab and Timeline.

Multiple EDLs allow you to manage resources efficiently when editing and assembling Projects. Each EDL can function independently from the others, displaying a different timebase position at its own Zoom level, and you can edit sound within one EDL or between EDLs.

To add a new EDL to your Project:

¥ In the File menu, choose New EDL.

Each successive EDL that you add to the Project is named EDL #n (that is, the third EDL will be named EDL #3).

W ORKING WITH EDLS 1-5

To open an existing EDL into your Project:

¥ Choose File > Open EDL. EDLs open at the bottom of the Project window.

To save the selected EDL in your Project:

¥ Choose File > Save EDL or File > Save EDL As

To rearrange the order of EDLs in a Project:

1 Click anywhere in an EDL to make it the active EDL.

2 Choose EDL > Move EDL Up or EDL > Move EDL Down.

To rearrange the order of Tracks in an EDL:

1 Click in a Track to select it. You can COMMAND-click to select multiple Tracks.

2 Choose Track > Move Track Up or Track > Move Track Down.

To add Tracks to the active EDL:

¥ Choose EDL > Insert Track to add a single Track, or choose EDL > New Tracks and select the number of Tracks you want to add.

To remove Tracks from an EDL:

1 Click in a Track to select it. You can COMMAND-click to select multiple Tracks.

Choose EDL > Delete Track or press COMMAND+OPTION+X

To rename a Track:

1 Double-click the Track name.

2 Type the desired text.

1-6GETTING S TARTED

3 Press RETURN or click outside the field. The track number will remain as a reference.

To navigate between EDLs in your Project:

¥ Use SHIFT+UP/DOWN ARROW to navigate between the Next/Previous open EDLs in the current project.

To navigate between tracks in an EDL:

¥ Use CONTROL+UP/DOWN ARROW to navigate between the next and previous tracks in the current EDL.

To close an EDL in your Project:

¥ Choose File > Close EDL or press COMMAND+SHIFT+W.

Note: When an EDL is closed it is still saved in the EDL folder of the project. To delete the EDL from the project, locate the EDL in the EDL folder of the project and move it to the Trash.

WORKING WITH EDLS FROM SONICSTUDIO 5.4

Importing SonicStudio 5.4 EDLs

You can import SonicStudio 5.4 EDLs and work with them in SonicStudio HD. Here are some points about importing EDLs: ¥ SonicStudio HD renames imported EDLs “Imported EDL” and numbers them consecutively. ¥ SonicStudio HD places the Tracks of each imported sync group into a separate EDL. W ORKING WITH EDLS 1-7

Restoring SonicStudio 5.4 Exabyte Archives

SonicStudio HD restores SonicStudio 5.4 Exabyte archives. The entire contents of the archive will be restored to the selected destination.

To restore a SonicStudio 5.4 archive:

1 Load an archive tape in the Exabyte drive.

2 Choose File > Restore 5.4 Archive.

SonicStudio HD displays a standard Put File dialog.

3 Navigate to a destination volume and click OK.

SonicStudio HD reads the archive and saves it to the selected destination volume.

Note: Restore will abort if a duplicate file is encountered or the disc becomes full. Please ensure that the destination has no files or folders with the same names as the archive.

Exporting EDLs to SonicStudio 5.4

Use File > Export EDL as 5.4 and File > Open 5.4 EDL.

To export SonicStudio HD EDLs and soundfiles to SonicStudio 5.4: ¥ Be sure that your 24-bit soundfiles are recorded in the USP-compatible format. (Older SonicStudio Systems do not support SonicStudio HD’s native 24-bit soundfile format.) To record in USP-compatible format, choose the 24-Bit Compatible option in the New Soundﬁle Parameters dialog. ¥ Note that SonicStudio 5.4 does not support SonicStudio HD waveform files. Once you have exported the EDL, you’ll need to regenerate the waveform files in SonicStudio 5.4. (See the SonicStudio 5.4 User Guide for further information.) 1-8GETTING S TARTED

Note: When you open an exported EDL in SonicStudio 5.4, you may notice that 5.4 reports different values for Segment Start and End times than did SonicStudio HD.

SonicStudio HD calculates Segment Start and End times from the corresponding Fade Edit Points (which are usually in the middle of the fades), while SonicStudio 5.4 calculates them from the beginning of the In Fade and the end of the Out Fade, respectively.

Regardless of this difference in Start and End times, the actual Segment duration remains the same. Exported EDLs play identically in both applications, with the same fades and Segment durations.

OPENING EDLS FROM PREVIOUS VERSIONS OF SONICSTUDIO HD

SonicStudio HD 1.3.1 and later use a new file format for Edit Decision Lists. When opening a Project or EDL created by version earlier than 1.3.1, SonicStudio HD renames the original EDL file EDL_name .v2. SonicStudio HD then creates a copy of the original EDL with its original name, updates it to the new format and opens it.

EDL files created with SonicStudio HD 1.3.1 and later are not backwards-compatible with previous software versions.

MISSING SOUNDFILES

If SonicStudio HD cannot locate a required soundfile when you open a Project, it displays a Mac OS Open File dialog and prompts you to locate the file. ¥ If the file is available, navigate to it, select it and click OK. ¥ If the file is not available, click Cancel.

SonicStudio HD will ask if you want to skip the missing file, skip all missing files or cancel opening the Project.

Should you decide to skip missing files and open the Project, SonicStudio HD will rename EDLs that have missing soundfiles by appending a .old extension to the name. W ORKING WITH EDLS 1-9

Thereafter, when you save the Project, links to any missing soundfiles will be lost. You can restore the original EDL by using the .old file, but any edits you made after the .old file was created will be lost.

RETRIEVING SOUNDFILE INFORMATION

For recorded sound files, SonicStudio HD automatically saves information about the sample rate, bit depth, start time, and duration. This audio information is accessible from the Finder.

To retrieve audio information for sound files recorded in SonicStudio HD: ¥ From the Finder, select the file and choose File > Get Info. The audio information is displayed in the Comments field of the Get Info dialog. .

Soundfile Information

Figure 1-2 Get Info Dialog Box for a SonicStudio sound file 1-10 GETTING S TARTED

REVEALING SOUND FILES

.Reveal Sound in Finder allows locating the parent file for any selected segment.

To reveal sound files recorded in SonicStudio HD: ¥ Select a segment and choose File > Reveal Sound in Finder. The source folder for the file will be brought to the foreground with the file selected.

GROUPING MONO SOUNDFILES

The Reunite Channels command updates the header information of mono soundfiles with numbered tags from SonicStudio USP/SSP systems. This allows you open the files as a multi-channel group in SonicStudio HD.

To update mono soundfiles to open as multi-channel files:

1 Choose File > Reunite Channels.

2 Select the files you want to reunite and click Open.

Note: Files must be non-interleaved and of Sonic origin for the Reunite Channels command to work. W ORKING WITH EDLS 1-11

Timebase Displays At the top of the Project window are the Timebase Display fields. These are fields provided to allow precise feedback and editing of the Selection and In/Out Edit point locations and durations as well as the Edit Point and Playhead positions.

Edit Point/Selection Toggle In Point /Out Point/Duration

Selection Start/End/Duration

Main Timebase Display Now/Local Time Toggle

Figure 1-3 Timebase Displays in the Project window

The Timebase Display at the top center of the Project window indicates the playhead position in the currently selected time format. The displays to the left of the main Timebase Display show the selection start, end and duration times. The displays to the right of the main Timebase Display show the In, Out points and duration. You can edit these locations precisely by editing these fields directly from the keyboard.

To edit a Timebase display: 1 Double-click the display to select the entire timebase value or, in SMPTE displays, drag to select hours, minutes, seconds or frames.

2 Type the new value and press RETURN to confirm the entry, or press TAB to confirm the entry and move to the next Timebase field.

Tip: You can also click in any field and use the +/- keys of the keypad to increment or decrement its value. Click in the hours, minutes, seconds or frames field, then press + to increase the value, or – to decrease it. You can also toggle between hr;min;sec;fr and sub-frames with the decimil key. 1-12 GETTING S TARTED

THE EDIT POINT/SELECTION TOGGLE • Use this toggle to choose between editing the Edit Point or selection boundaries with the Left or Right Selection Timebase displays. When the toggle is in the default Edit Point setting, changes made to either the Left or Right Selection Timebase display will update the Edit Point location. • When the toggle is set to Selection, changes made to the Left or Right Selection Time- base displays will update or create a time selection. •A non-zero number in either duration field indicates that there is a selection. When only a single Edit Point exists, the Left and Right Timebase displays will display the same value and the duration fields will display as zero. • In either mode, editing the Duration Timebase Display will create a selection based on the Left Selection Timebase location.

NOW/LOCAL TIME TOGGLE

You can reset the Timebase Display to reference zero from the current Edit Point location at any time by clicking on the Now Time on the Now Time/Local Time switch. Clicking on the switch again restores the display to absolute EDL time.

CAPTURE PLAYHEAD TIME This feature allows you to capture the current Playhead time, either during play or when stopped, and paste its location to the selected time field.

To capture the playhead location:

1 Make a selection in the time field you want to update.

2 Press SHIFT+SPACEBAR. The current play time will be pasted to the selected time field. W ORKING WITH EDLS 1-13

THE TIMEBASE FORMAT POP-UP MENU

You can elect to display time in a variety of timecode and film formats, in seconds, or in samples. Your selection affects the units displayed in the Timeline as well as all other Timebase displays.

To change the Timebase format:

¥ Click the Timebase pop-up at the lower left corner of the EDL pane and select a format.

Figure 1-4 The Timebase Pop-Up Menu

Timecode Formats

SMPTE/EBU timecode is an electronic method for time-stamping recorded material and synchronizing audio, video and film transports. The timecode signal can be recorded as a continuous audio-frequency track (Longitudinal Time Code, or LTC), or encoded in the vertical blanking interval of a video signal (Vertical Interval Time Code, or VITC). Compatible devices can then read the encoded signal and synchronize with or locate to it.

SMPTE timecode is based upon a twenty-four hour clock, with seconds divided into frames and subframes (eighty subframes = one frame). 1-14 GETTING S TARTED

SMPTE timecode is notated hours:minutes:seconds:frames.subframes.

There are several flavors of timecode for different synchronization tasks. ¥ 30 fps NDF — This timecode divides each second into thirty frames. It originated for use in editing or synchronizing audio to black-and-white television material. It is widely used for audio editing in the United States, as well as for industrial television production. (NDF stands for non-drop-frame ; see the discussion of drop-frame timecode below.) ¥ 29.97 fps NDF — 29.97 frames-per-second timecode is used when editing or synchronizing audio to NTSC color television material. It divides each second into thirty frames. This timecode may be used for short video projects. ¥ 29.97 fps DF — This is known as drop-frame timecode . It is used in professional broadcast environments for precisely synchronizing NTSC color video material, in which the number of frames per second (29.97) is not an integer. The frame rate for this timecode is thirty fps — but, to assure long-term accuracy, two frames are dropped from the count at the start of every minute (except for every tenth minute). Semicolons are used as delimiters between the timecode fields to identify drop-frame timecode:

hours;minutes;seconds;frames.subframes ¥ 25 fps — 25 frames-per-second timecode is used when editing or synchronizing audio to PAL/SECAM video material. It divides each second into twenty-five frames. ¥ 24 fps — This timecode conforms to the film frame rate of twenty-four frames-per-second. It is used when synchronizing audio to film. ¥ 75 fps CD Frames — This timecode uses the Compact Disc frame rate of seventy-five frames-per-second.

Film Time Formats

SonicStudio HD also allows you to measure time in film units (feet of stock and frames) for either 35mm or 16mm film.

Film time is notated feet:frames.subframes ¥ 60 Hz — Use this time format for film in countries where the AC line frequency is 60 Hz. ¥ 59.94 Hz — This time format accommodates film transferred to video. W ORKING WITH EDLS 1-15

¥ 50 Hz — Use this time format for film in countries where the AC line frequency is 50 Hz.

Seconds and Samples

You can also set time displays to show seconds or samples.

HIDING OR DISPLAYING SUBFRAMES

You can control whether subframes are displayed by using SonicStudio HD’s Show Subframes preference.

To display subframes:

1 Press COMMAND+5 or choose Windows > Preferences.

2 Click the Editing Tools tab, and select the Show Subframes option in the Display Autotools area.

Note: If Seconds is chosen as the time base format, Show Subframes increases the precision of the timebase display from two decimal places to eight.

Naming EDLs and Segments

You can name EDLs and Segments to identify them.

To name an EDL or Segment:

1 Double-click the name to select it.

2 Type the new name.

¥ To save the new name, press RETURN or click elsewhere in the Track.

¥ To keep the previous name, press COMMAND+PERIOD. 1-16 GETTING S TARTED

¥ In the case of Segments, you can press TAB to save the new name and automatically select the next Segment name for editing.

EDL Playback

To start playback at the beginning of a Segment:

¥ Click the Segment name tab to select the Segment, then press SPACEBAR or choose Play > From Selection.

SonicStudio HD plays from the beginning of the Segment and continues until you stop playback by pressing SPACEBAR again.

When the cursor is over the active Track during playback, it changes to the Play icon, indicating that SonicStudio HD is in playback mode:

Cursor During Playback

Figure 1-5 The Playhead and Playback Cursor

Tip: You can also click anywhere in the Track, then press SPACEBAR to start play at that point. (Clicking once in the Track places an Edit Point at the click position. You’ll learn more about Edit Points in Chapter 2, Editing Sound .) W ORKING WITH EDLS 1-17

Synchronized Playback

SonicStudio HD provides facilities for playing multiple EDLs synchronously, and for synchronizing EDL playback to an external timecode signal. When synchronizing multiple EDLs, you assign one EDL to be the Master and other EDLs to be Slaves; Slave EDLs play when you play the Master EDL. To synchronize an EDL to external timecode, you designate the EDL to be a timecode Slave.

To set Master and Slave EDLs for synchronous playback:

¥ Click the Master/Slave pop-up and choose Master or Slave.

You can have up to sixteen separate Master/Slave groups, each with a different Master.

To Set a Master Group:

¥ Click the Master Group pop-up for each EDL in the group and select a number from 1 to 16.

You can specify a time offset for each Slave EDL independently by typing a value in the Slave’s Offset field.

Master Group Master/Slave Pop-up Pop-up Offset Field

Figure 1-6 Synchronized Playback Controls 1-18 GETTING S TARTED

Autoscroll

If the length of the Track exceeds the time frame displayed in the EDL, the Playhead may end up moving offscreen during playback. (For example, this can happen if you are zoomed in on the Track to see details in a time region.) When the Playhead is offscreen, SonicStudio HD displays an arrow in the Timeline.

Playhead is offscreen Playhead is offscreen to the left to the right

Figure 1-7 Playhead Offscreen Indicators

You can elect to have the Playhead remain onscreen if you so desire. SonicStudio HD has two ways to do this: Autoscroll Playhead and Autoscroll Track .

To turn on Autoscroll Playhead:

1 Choose Windows > Preferences or press COMMAND+5.

2 Click the Editing Tools tab and select the option labeled Autoscroll Playhead.

When you start playback, the Playhead loops left-to-right across the Track, and the Track display jumps forward each time the Playhead reaches the right edge of the visible time region. W ORKING WITH EDLS 1-19

To turn on Autoscroll Track:

1 Choose Windows > Preferences or press COMMAND+5.

2 Click the Editing Tools tab and select the option labeled Autoscroll Track.

When you start playback, the Playhead remains stationary in the center of the screen and the Track display scrolls continuously beneath it.

Note: Enabling Autoscroll will slow down screen redraws.

TRACK NAMING

SonicStudio HD allows you to edit the Track name display:

To rename a Track:

1 Double-click the Track name.

2 Type the desired text.

3 Press RETURN or click outside the field. The track number will remain as a reference.

TRACK DISPLAY

SonicStudio HD provides facilities for customizing the Track display to accommodate different work requirements: ¥ The Track can be displayed in either Waveform or Bar mode. ¥ A selectable scale provides information on waveform amplitudes. ¥ A selectable Autoscale function makes it easier to examine and edit Track regions in which the sound level is relatively low. 1-20 GETTING S TARTED

¥ Text View lists Segments by name, in order of their position on the Timeline.

WAVEFORM & BAR MODES

In Waveform mode, the Track shows a representation of the actual sampled waveform. This display is derived from a "reduce file" that is saved automatically with the soundfile.

In Bar mode, the Track displays as a blank bar. This mode simplifies the display when dealing with large numbers of Tracks.

To change the Track display mode:

¥ Select the track by clicking anywhere in it. The background behind the soundfile display darkens to indicate that the Track is selected. COMMAND-click to select more Tracks or, choose Track > Select All Tracks or press SHIFT+A to select every Track in the EDL.

¥ For Waveform display, press COMMAND+Y or choose Track > Display Track As > Waveform.

¥ For Bar display, use COMMAND+B or Track > Display Track As > Bar.

¥ To deselect all tracks, choose Track > Deselect All Tracks or press SHIFT+D. W ORKING WITH EDLS 1-21

AMPLITUDE SCALE

SonicStudio provides an amplitude scale to the left of each Track panel.

By default, the scale ranges from +1.0 to -1.0 (the value of 1.0 being equivalent to full-scale digital amplitude). You can also choose to display the scale in dBFS (dB relative to full-scale digital).

Figure 1-8 dBFS (left) and Linear (right) Amplitude Scales

To change the Track amplitude scale to dBFS:

1 Choose Windows > Preferences or press COMMAND+5.

2 Click the Editing Tools tab and select the option labeled Show Scale in db under Display Auto Tools.

AUTOSCALE

When the level of a particular section of sound is very low, it can become difficult to see sufficient detail in the waveform to enable editing. For example, here is a low-level area in a soundfile:

Figure 1-9 Normal Display of Low-Level Sound 1-22 GETTING S TARTED

Notice that the waveform is barely visible. SonicStudio provides an Autoscale function to assist you in such situations. SonicStudio’s Autoscale function incorporates two different modes:

Autoscale On — In standard Autoscale mode, the Track is scaled vertically so that the maximum peak amplitude in the entire Track becomes full-scale for the Track display. Here is the same low-level region displayed with Autoscale on:

Figure 1-10 Low-Level Region with Autoscale On

The waveform is easier to see, but fine details are still lost. This is because there are louder regions of the soundfile that are not displayed in the current, zoomed-in view. SonicStudio HD has autoscaled to the maximum level for the entire Track, rather than the maximum in the current view.

Scale to View — In Scale to View Autoscale mode, the Track display automatically scales to reflect the maximum amplitude in the current view . Here is the same are viewed in Scale To View mode:

Figure 1-11 Low-Level Region with Scale To View On

Now the details of the sound are readily apparent, making it much easier to edit the passage accurately. W ORKING WITH EDLS 1-23

To set the Autoscale mode:

1 Choose Windows > Preferences or press COMMAND+5.

2 Click the Editing Tools tab and select the option labeled Autoscale On. Optionally, you can also select Scale to View.

Caution! Always be aware of the actual recorded levels of your soundfiles. If you are using Autoscale constantly, use SonicStudio HD’s signal level meters to check whether your soundfiles are recorded at too low a level (see "Monitoring Signal Levels" on page 42 of this chapter).

TEXT VIEW

SonicStudio HD provides the facility to view a Track simultaneously in Waveform or Bar mode, and as a text listing. Text View lists Segments by name, in order of their position on the Timeline.

To view a Track in Text View:

1 Click anywhere in the Track to select it. You can COMMAND-click to select multiple Tracks.

2 Choose Track > Show Text View.

SonicStudio HD opens a Text View panel directly under the waveform display. ¥ Segment Name — This column displays the name of each Segment in the Track. ¥ Start — This is the start time for the Segment in the current timebase units. ¥ End — This is the end time for the Segment in the current timebase units. ¥ Duration — This is the length of the Segment in the current timebase units. ¥ Gain — This field shows the gain setting for the Segment. 1-24 GETTING S TARTED

Text View Track Display

Figure 1-12 Text View

For more information, see “Modifying Segment Gain” on page 2-34.

Controlling Track Size

You can change the size of individual tracks in an EDL, minimizing the space they occupy on screen or magnifying them to see waveform details.

To resize Tracks:

1 Click anywhere in the Track to select it. The background behind the waveform darkens to indicate that the Track is selected.

2 COMMAND-click to select additional Tracks.

3 Press OPTION+1. The Track resizes to minimum.

4 Press OPTION+7. The Track resizes to maximum.

5 Use OPTION+2Ð6 to select intermediate Track sizes.

You can also choose Track > Resize Tracks > and select a Track size. W ORKING WITH EDLS 1-25

Feature Tracks

To help you manage large projects with several multi-channel EDLs, SonicStudio HD allows you to collapse EDL views, displaying only the tracks that you want to work on or hiding an EDL’s contents entirely.

To display selected tracks within an EDL:

1 COMMAND-Click the name of a Track that you want to display. The name becomes underlined, indicating that it is selected. You can select any number of Track names by COMMAND-clicking them.

2 Press F or click the Track View pop-up (located under the EDL Name Tab) and choose Feature.

The EDL collapses to show only the Featured Tracks.

Note: Though they are hidden, collapsed Tracks remain active components of the EDL in every way. So, for example, they will play if you press SPACEBAR.

You can also Feature individual Tracks by choosing them by name in the Track View pop-up.

To display all of the tracks in a collapsed EDL:

1 Click anywhere in the EDL to activate it.

2 Press COMMAND+= (EQUAL SIGN) or click the EDL’s Track View pop-up and choose Expand All.

The EDL expands to reveal all of its Tracks.

To hide all of the tracks in an EDL:

1 Click anywhere in the EDL to activate it. 1-26 GETTING S TARTED

2 Press COMMAND+HYPHEN or click the EDL’s Track View pop-up and choose Collapse All.

The EDL collapses, leaving only the EDL Name Tab and its Track View pop-up visible.

Navigating in the EDL

SonicStudio HD provides a number of Zoom commands, available in the View menu, for great flexibility in navigating the EDL.

To move forward:

¥ Press the RIGHT-ARROW key or choose View > Move Forward.

SonicStudio jumps forward to display the next section of audio.

To move backward:

¥ Press the LEFT-ARROW key or choose View > Move Backward.

SonicStudio jumps backward to display the previous section of audio.

To zoom in and out around the center of the Track display:

¥ Press the DOWN-ARROW key to zoom in, or the UP-ARROW key to zoom out. You can also choose View > Zoom In or View > Zoom Out.

To zoom in and out around the Edit Point:

¥ Press COMMAND+DOWN-ARROW to zoom in, or COMMAND+UP-ARROW to zoom out. You can also choose View > Zoom In around Edit Point or View > Zoom Out around Edit Point. W ORKING WITH EDLS 1-27

To zoom in and out around the Playhead:

¥ Press OPTION+DOWN-ARROW to zoom in, or OPTION+UP-ARROW to zoom out. You can also choose View > Zoom In around Playhead or View > Zoom Out around Playhead.

To zoom around the Playhead:

¥ Choose View > Zoom around Playhead > and select a time range from the submenu.

To zoom within a selection:

¥ Choose View > Zoom around Selection Center > and select a time range from the submenu.

To restore the previous view:

¥ Press COMMAND+P or choose View > Zoom to Previous.

To zoom back to the next view:

¥ Press COMMAND+OPTION+P or choose View > Zoom to Next.

Note: SonicStudio HD supports multiple Zoom to Previous levels. Each time you zoom to a Time/Segment selection it is stored in the Zoom to Previous list.

To zoom to In and Out Points:

¥ Press HOME to zoom to the In point, or COMMAND+HOME to zoom to the Out Point. You can also choose View > Zoom to In Point or View > Zoom to Out Point. 1-28 GETTING S TARTED

You can set the zoom time range for these commands in the Time Preferences:

1 Press COMMAND+5 or choose Windows > Preferences.

2 Click the Time Preferences tab.

3 Edit the number shown in the Zoom to In/Out Points or Zoom to Sel Start/End fields.

The default value, expressed in SMPTE timecode, is 00:00:02:15.00.

To zoom to the boundaries of a selection:

¥ With a Time or Segment selection in the Track, choose View > Zoom to Selection Start or View > Zoom to Selection End.

You can set the zoom time range for these commands in the Time Preferences:

1 Press COMMAND+5 or choose Windows > Preferences.

2 Click the Time Preferences tab.

3 Edit the number shown in the Zoom to Sel Start/End field.

The default value, expressed in SMPTE timecode, is 00:00:02:15.00.

To zoom to an arbitrary time range:

1 Make a time selection in the Track.

2 Press COMMAND+G or choose View > Zoom To Selection.

To see the entire length of a Track:

1 Click anywhere in the Track to select it.

2 Choose View > Zoom to Entire Track. W ORKING WITH EDLS 1-29

To see the entire length of an EDL:

1 Click anywhere in the EDL to make it active.

2 Press E or choose View > Zoom to Entire EDL.

EDL ZOOM LOCK OPTION

This option allows you to navigate multiple EDLs within a Project in concert.

Zoom Lock Checkboxes

Figure 1-13 Zoom Lock Option

To set EDLs to Zoom Lock:

¥ Select the Zoom Lock checkbox of two or more EDLs within a Project.

The EDLs will now zoom and scroll in unison.

Tip: You can press the OPTION key when selecting Zoom Lock to select Zoom Lock on all open EDLs in the Project. 1-30 GETTING S TARTED

Routing and Monitoring

Solo, Mute and Monitor Mode

Each Track features a Solo button and a Mute button.

Solo Button

Mute Button

Monitor Mode Button

Figure 1-14 Solo, Mute, and Track Monitor Mode Buttons

¥ When you click the Solo button of a Track, all other Tracks mute, and only the Solo Track plays. You can Solo additional Tracks by clicking on their Solo buttons. To clear a Solo, click the Solo button again. ¥ When you click the Mute button of a Track, the Track’s output does not play. You can Mute any number of Tracks. R OUTING AND M ONITORING 1-31

MONITOR MODE

Each Track also features a Monitor Mode button.

This button controls Track monitoring behavior, and functions similarly to a track monitor control on a multi-track tape recorder. It has three states: ¥ Out — When the button legend displays the letter "O" the Track always monitors output (playback). ¥In — When the button legend displays "IN" the Tracks always monitors its line-input. ¥Auto — When the button legend displays the letter "A" the Track automatically switches its monitoring function:

If the Track is armed for Record and stopped, it monitors the line-input. If the Track is armed for Record and playing, it monitors the output. If the Track is recording, it monitors the input.

(For more information, see Recording Sound in Chapter 2.)

Tip: You can Solo, Mute, or set the Monitor Mode or Record Ready status for all Tracks in an Edit Group by OPTION-clicking on the corresponding button of any Track in the Group.

Channel Assignments

Tracks may be assigned directly to system outputs (Monitor 1–8) or panned across multiple outputs. To assign outputs, you must first select a Desk Strip for each Track, then assign each Desk Strip using either direct channel assignments or a Panner. 1-32 GETTING S TARTED

DESK STRIPS

SonicStudio HD provides eight virtual Desk Strips for output channel assignments. Desk Strips are assigned using a pop-up located to the left of each Track Panel.

Desk Strip Pop-up

Figure 1-15 Desk Strip Assignment Pop-up

To designate a Desk Strip for a Track:

¥ Click the Desk Strip pop-up and choose a strip (D1-D8).

Sounds from all Tracks assigned to a given Desk Strip are summed at equal gain to that Strip’s output.

Note: Each Desk Strip can reproduce no more than two simultaneous soundfiles. If you assign Tracks in such a way that a Desk Strip is called upon at any point to reproduce three or more simultaneous sounds, a prompt will be issued on attempts to play. R OUTING AND M ONITORING 1-33

INPUT ASSIGNMENTS

Each track allows selecting an input for monitoring or recording. L1–8 correspond to line-inputs 1–8 and M1–8 correspond to monitor outputs for “Capture” recording.

Input Channel Pop-up

Figure 1-16 Input Channel Pop-up

To assign an input to a selected track:

¥ Click the Input Channel pop-up and choose a Line-Input (L1–L8) or Output Channel (M1–M8). 1-34 GETTING S TARTED

DIRECT OUTPUT ASSIGNMENTS

Each Desk Strip can be assigned directly to any of eight output channels, designated M1-M8. Desk Strips are assigned to outputs using a pop-up located to the left of each Track Panel.

Output Channel Pop-up

Figure 1-17 Output Channel Pop-up

To assign Desk Strips directly to individual outputs:

¥ Click the Output Channel pop-up and choose an Output Channel (M1–M8).

In the example shown in Figure 1-17, Desk Strip D1 is assigned to Output Channel M1.

MULTIPANª

SonicStudio HD incorporates a simple, elegant, yet comprehensive interface for panning sound among output channels. Each Track in an EDL can be panned separately in stereo or a variety of multi-channel formats.

To pan a Desk Strip:

1 Select the Track assigned to that Strip by clicking anywhere in it. The background behind the waveform display darkens, indicating that the Track is selected. R OUTING AND M ONITORING 1-35

2 Choose Windows > Panner or press COMMAND+2.

SonicStudio HD displays the Panner palette, and the Output Channel pop-up for the selected Track displays “PAN.” Initially, the Panner is off, as shown in Figure 1-18.

Figure 1-18 Panner Palette

3 Click the Type pop-up to select an output format.

Figure 1-19 Choosing a Panner Type

Stereo Panner

The Stereo Panner allows you to pan sound between any two available output channels. ¥ To select left and right output channels, click the corresponding Output Channel Assign pop-ups.

Track Panner Type Pop-Up Pop-Up

Left Output Right Output Channel Assign Channel Assign

Figure 1-20 The Stereo Panner 1-36 GETTING S TARTED

¥ Drag the slider to position sound anywhere between the selected outputs.

You can select a different Track to pan by clicking on the Track pop-up.

Multi-Channel Panners

SonicStudio HD provides six Multi-channel Panner types, accommodating from three to eight output channels. For each Panner type, a red Pan Position indicator controls the position of panned sound among the output channels. ¥ To hard-pan the Desk Strip to an output channel, click the appropriate Output Channel button. ¥ To pan the Track between channels, click the Pan Position indicator and drag it to the desired position.

¥ To constrain the Panner movement, hold the SHIFT key while dragging. ¥ To select another Track for panning, click the Track pop-up. ¥ The center of the Panner soundfield map is a “hot spot.” To center the Track in the soundfield, click the center spot.

Note: As you drag the Pan Position indicator, the Angle display in the Panner Controls window updates to show its angular position. You can edit the Angle value directly by double-clicking it and typing any desired angle, then pressing RETURN.

The Spread field is an indicator of the extent to which sound is panned across multiple available outputs. Spread varies from 1.00 to 99.9, and is at its maximum when the sound is panned equally to all outputs (i.e., when the pan position indicator is in the center).

Panners that include a front Center channel feature a Divergence slider. This slider controls the ratio of center-panned sound that is routed to the Center channel, as opposed to being panned simultaneously to the Left/Right channels. R OUTING AND M ONITORING 1-37

The Divergence value varies from 0 to 100. At 0, the Center channel is off, and center-panned sound is distributed equally to the Left and Right channels. At 100, center-panned sound goes only to the Center speaker. At values in between, center-panned sound appears to a variable degree in all three front channels. 1-38 GETTING S TARTED

Four-Channel Panner Three-Channel Panner

Five-Channel Panner Six-Channel Panner R OUTING AND M ONITORING 1-39

Seven-Channel Panner Eight-Channel Panner 1-40 GETTING S TARTED

Surround Format Panners

SonicStudio HD also provides special Panners for the common surround sound formats (4.1, 5.1 and 7.1 output channels). ¥ In these format names, the “.1” signifies a Low-Frequency Effects channel (also sometimes called a “Boom” channel). The LFE slider controls the level of sound in the effects channel. ¥ Variants of each Surround Format Panner include an integral Stereo Panner to facilitate producing a simultaneous stereo mix.

4.1 Format Panner

4.1 Format Plus Stereo Panner R OUTING AND M ONITORING 1-41

5.1 Format Panner

5.1 Format Plus Stereo Panner

7.1 Format Panner 1-42 GETTING S TARTED

Monitoring Signal Levels

SonicStudio HD incorporates a set of meters for monitoring Desk Strip and output signal levels.

To monitor signal levels:

¥ Choose Windows > Meters or press COMMAND+1.

The Meters window appears as a floating palette. You can position the Meters window on-screen by dragging the palette’s title bar.

Level Display (dBFS)

Peak Power Master Hold Fader

Peak RMS Hold

VU Level

Scale (dBFS) Input/Output Monitor Button

Show Details Peak Reset Button Button

Lock Indicator Figure 1-21 Signal Level Meters

The Meters window indicates signal levels for up to eight Desk Strips in a bar-mode display with a dBFS scale (decibels referred to full-scale digital). The Master Fader controls the level of all Output Channels simultaneously. ¥ The green portion of the bar displays the Peak RMS signal level. ¥ The yellow portion of the bar displays the Peak Power signal level. R OUTING AND M ONITORING 1-43

¥ The silver caret indicates the VU level. ¥ Resettable Peak RMS and Peak Power Hold carets show maximum peak levels.

To reset the Peak indicators, click the Peak Reset button, or choose Windows > Meters > Peak Reset. ¥ When an overload occurs, the Level Display at the top of the channel bar turns red and displays OV.

To clear an overload indication, click once on the corresponding Level Display box.

To clear all overload indications, choose Windows > Meters > Clear All Overs.

By default, the Meters monitor output levels. To monitor Desk Strip inputs, click the button labeled Output. SonicStudio switches to monitor inputs, and the button label changes to Input.

To see signal level details:

¥ Click the Show Details button.

The Meter Details window appears as a floating palette.

Precision Channel Level Display (dBFS)

VU Meter Ballistics Slider

Meter Scaling Slider

Figure 1-22 The Meter Details Window 1-44 GETTING S TARTED

¥ Individual windows show the precise Peak Power, Peak RMS and VU signal levels for each channel in dBFS. ¥ A VU Meter Ballistics slider controls the response time of the VU Level caret in the Meters display. ¥ A Meter Scaling slider controls the vertical scale of the Meters display.

The Master Fader

The Master Fader controls the output of all outputs and incorporates a scale calibrated in dB, a precise gain value window and hot spots for 0 dB, –6 dB and –144 dB. Its response is a standard audio taper. You can also edit the gain manually with 0.1 dB resolution by typing in the gain value window.

Figure 1-23 Master Fader in the Meters Window 2 Working With Sound

This chapter provides information on editing sound in SonicStudio HD, including: ¥ Opening soundfiles ¥ Selecting sound ¥ Recording sound ¥ Edit Groups ¥ Editing Sound 2-2WORKING W ITH S OUND

Opening Sound into Tracks

In addition to dragging soundfiles from the Finder onto the EDL Name Tab, you can also drag a soundfile from the Finder to a specific location.

Drag & Drop — If you simply drag the soundfile onto a Track, it opens at the location where you release the mouse button. As you drag over the Track, the Timebase display updates to show where the sound will start.

Selection — If a time region or Segment is selected in the Track and you drag onto the selection, the soundfile will open at the start time of the selection, replacing the sound in the selection.

Timestamp — If you hold the SHIFT key while you drag the soundfile onto the Track, it will open at its timestamped location.

Edit Point — If you drag your cursor close to the Edit Point (see "Edit Points" on page 5 of this chapter) until it highlights, the soundfile opens at the Edit Point (see "Snap-to-Point Functions" on page 54 of this chapter).

Interleaved File Support

In addition to standard SonicStudio HD soundfiles, you can also drag a DDP, interleaved AIFF, or JAM Image file into an EDL and use it together with SonicStudio HD soundfiles in a single EDL. (You can also open interleaved AIFF files using File > Open Sound File.) Before editing, use File > Build Sound Waveform to create waveforms for the interleaved file. O PENING S OUND INTO T RACKS 2-3

SonicStudio HD supports:

¥ 44.1/48 kHz, 16/24-bit stereo interleaved and split mono AIFF files ¥ 44.1/48 kHz, 16/24-bit stereo interleaved and split mono SDII files ¥ 44.1/48 kHz, 16/24-bit stereo interleaved and split mono WAV files

Note: The Tracks of an interleaved soundfile will appear as two Tracks in the same Edit Group in the EDL, and should be edited together. If the channels are edited such that they become out of sync, playback is not possible.

Note: When dumping EDLs that contain .IMAGE files, be aware that the .IMAGE file may already contain dither or other processing. Dumping a DDP Image file may not create a bit-accurate copy of the source image file.

Note: Manual DeClicking and the Sync to Matching command do not currently work with interleaved files.

Import EDL from Image

The Import EDL from Image comaand, located in the file menu, allows opening a DDP Image File made in SonicStudio HD into a new EDL with it’s associated PQ data.

To import a DDP Image File:

1 Select the Import EDL from Image comaand from the file menu

2 Navigate to the folder that contains the file .IMAGE and select Choose.

A new project will be created with an EDL with the image file and PQ data. The name of the folder that contains the .IMAGE file will be used to name the EDL. 2-4WORKING W ITH S OUND

Selecting Sound

The foundation of sound editing in SonicStudio HD is the ability to select a point or time region in the soundfile. SonicStudio provides four selection methods: ¥ Edit Point — The Edit Point specifies a time location for edits. You can drop the Edit Point from the Playhead during playback, drag it to position it, or type a specified location for it in the Timebase display when stopped. ¥Time Region — You can select a time region within the soundfile for editing purposes. ¥ Segment — Individual Segments can be selected as a whole. ¥ In and Out Points — You can set In and Out Points for key-command edits (see "Where Key Command Edits Go" on page 45 of this chapter). S ELECTING S OUND 2-5

Edit Points

Edit Points select time locations for editing operations. The Edit Point is indicated by a small triangular icon at the top of the Track display attached to a vertical red line that extends across the waveform.

Edit Point

Figure 2-1 The Edit Point

To set the Edit Point:

¥ Click once in the selected Track.

You can also drop the Edit Point at the Playhead location:

¥ Press \ (BACKSLASH) or choose Selection > Drop Edit Point. SonicStudio drops the Edit Point at the current Playhead location. ¥ Drag the triangle to change the Edit Point position.

To attach the Edit Point to the Playhead:

¥ Press COMMAND+\ (BACKSLASH) or choose Selection > Edit Point To Playhead. SonicStudio attaches the Edit Point to the Playhead, where it will "stick" until dropped. 2-6WORKING W ITH S OUND

In the absence of a selection, the Timebase display shows the location of the Edit Point when the EDL is not playing.

Selecting Time Regions

To select a time region:

¥ Drag across the Track. The selected time region highlights. Shift-click and drag to adjust either the start or the end time of the selection. ¥ Drag the Edit Point to where you want to start your selection, then Shift-click the Track to select all of the sound between the Edit Point and the point where you click. ¥ Use Selection Reference Points (see "Using Selection Reference Points" on page 10 of this chapter).

To clear a time region selection, click anywhere in the Track. The selection clears, and the Edit Point moves to the location where you clicked.

Tip: The Selection Start/End and duration fields in the Timebase display are fully editable. You can precisely designate a time selection by double-clicking the numbers in the Timebase displays and typing the desired timecode locations or duration. S ELECTING S OUND 2-7

Selection Start Time

Selection End Time

Selection Duration

Selected Time Range Figure 2-2 Selecting a Time Region 2-8WORKING W ITH S OUND

Working with Segments

CREATING SEGMENTS

You can create new segments based on time region selections in an EDL.

To create a Segment:

1 Select a time region in the track or tracks that you want to capture as a segment.

2 Choose Edit > Create Segment or press CONTROL+G. Segment boundaries appear at the edges of the selected time region, and the name of the new Segment appears in the Segment Name Tab.

SELECTING SEGMENTS

To select a Segment:

¥ Click the Segment Name Tab. The Segment highlights.

¥ SHIFT-click to select additional segments.

¥ COMMAND-click to select discontiguous segments. S ELECTING S OUND 2-9

Selection Start Time Segment Name Tab

Selection End Time

Selection Duration

Selected Segments

Figure 2-3 Selecting a Segment

¥ To clear a Segment selection, click anywhere on the Track. The selection clears, and the Edit Point moves to the point where you clicked. You can also de-select individual Segments by COMMAND-clicking on them.

¥ To select all Segments in an EDL, press COMMAND+A or choose Edit > Select All.

¥ To deselect all Segments in an EDL, press COMMAND+D or choose Edit > Deselect All.

Tip: With a Segment selected, you can select the next or previous Segment in the Track using the LEFT-ARROW key (previous) or RIGHT-ARROW (next) keys. You can also choose View > Select Previous Segment or View > Select Next Segment. 2-10 WORKING W ITH S OUND

Tip: With a segement selected, you can use the SHIFT modifier with the LEFT/RIGHT Arrow keys to select contigous segments in either direction.

USING THE SELECTED SEGMENTS CONTEXTUAL MENU

You can move Segments or change their gain or polarity directly from the EDL by CONTROL-clicking the name tab of a selected segment.

For more information, see Moving Segments and Recording Sound later in this chapter.

Figure 2-4 Selected Segments Contextual Menu

Using Selection Reference Points

Selection Reference Points (SRPs) afford a convenient method for marking positions in the Timeline and quickly setting edit points, selecting time regions, or automating punch-in and punch-out points. SRPs are indicated by small triangular icons at the bottom of the EDL Track. You can have any number of SRPs in any Track.

For more information on automating punch-in and punch-out records, see "Punching In and Out Using SRPs" on page 26 of this chapter. S ELECTING S OUND 2-11

TYPES OF SRPS

There are two types of SRPs: Comment SRPs (which appear as yellow triangles) and Sync SRPs (which appear as green triangles).

Figure 2-5 Comment and Sync Selection Reference Points

SYNC SRP COMMANDS

Sync SRPs provide a tool for moving selected segments based on the location of the Sync SRP to the selected segements. ¥ Sync SRP to Wherever… : This command offsets the selected segments in the current Edit Group using the first Sync SRP in the selection as the reference point for the offset. ¥ Sync SRP to In Point: This command offsets the selected segments in the current Edit Group to the In Point in the selected track using the first Sync SRP in the selection as the reference point for the offset. 2-12 WORKING W ITH S OUND

Note: Sync SRPs currently only support Segment selection. Time selection support will be added in a future release.

To change the type of an SRP:

1 CONTROL-click the SRP that you want to change.

2 Choose Set SRP Type to Comment or Set SRP Type to Sync from the contextual menu that appears.

CREATING SELECTION REFERENCE POINTS

SonicStudio HD allows you to create SRP markers with or without text decriptions.

Selection Reference Point

Figure 2-6 Selection Reference Point with text

To set a Selection Reference Point with Text:

1 Position the Edit Point where you want to locate the SRP, or press SPACEBAR to start playing if you want to set SRPs on-the-fly.

2 Choose Selection > Set SRP with Text or Press F12

SonicStudio drops an SRP at the Playhead position if you are playing, or at the Edit Point if you are stopped. S ELECTING S OUND 2-13

To set a Selection Reference Point without Text:

1 Position the Edit Point where you want the SRP to be or press SPACEBAR to start playing if you want to set SRPs on-the-fly.

2 Press COMMAND+; (SEMICOLON) or choose Selection > Set SRP.

SonicStudio drops an SRP at the Playhead position if you are playing, or at the Edit Point if you are stopped.

To add text to an SRP:

1 Double-click the SRP.

2 Enter the desired text.

Tip: You can also add text to an SRP by dragging and dropping text on the desired SRP.

To place SRPs around a selection:

1 Select a time region or Segment.

2 Press COMMAND+’ (APOSTROPHE) or choose Selection > SRP From Selection.

SonicStudio places SRPs at the start and at the end of the selection.

To place SRPs at Segment starts and ends:

You can place SRPs around any number of selected Segments with a single command.

1 Select the segments, using SHIFT-click for a contiguous selection or COMMAND-click for discontiguous selections.

2 Choose Selection > SRP from Segment Edit Points.

SonicStudio places an SRP at the start and end of each segment. 2-14 WORKING W ITH S OUND

To select a time region using SRPs:

¥ Click an SRP, then SHIFT-click another one. The background behind the waveform highlights to indicate a time region selection between the two SRPs.

Tip: You can also double-click at the base of the Track to select the time region between a pair of adjacent SRPs.

Selected Time Region

Figure 2-7 Selecting a Time Region Using SRPs

To move an SRP:

¥ Hold the OPTION key and drag the SRP. The Timebase display updates as you drag.

Tip: You can also use this method to adjust the length of a time range selection made using SRPs.

To delete SRPs:

1 Select a time region or segment containing the SRPs that you want to delete.

2 Press CONTROL+; (SEMICOLON) or choose Selection > Clear Selected SRP.

SonicStudio HD clears all SRPs contained by the selection. S ELECTING S OUND 2-15

INCLUDING SRPS IN AUDIO EDITS

When editing, you can set SRPs so that they move along with their associated audio, and so that they are included with the audio when it is copied to the clipboard.

To include SRPs in audio edits:

1 Choose Windows > Preferences or press COMMAND+5, and click the EDL tab.

2 In the Edit with Audio area, select Selection Reference Points.

With this option selected, SRPs will copied along with audio when the audio is copied to the clipboard.

LOCKING SRPS TO THE TIMELINE

You can lock SRPs in place so that they will not move with their associated audio when the audio ripples or is deleted.

Figure 2-8 SRP Contextual Menu

To lock an SRP:

1 CONTROL-click directly on the SRP that you want to lock.

2 Choose SRP Locked from the contextual menu that appears. The SRP marker is displayed with a red border to indicate that it is locked. 2-16 WORKING W ITH S OUND

3 To Unlock an SRP, choose SRP Unlocked from the contextual menu.

To lock multiple SRPs:

1 Select a time region or segment containing the SRPs that you want to lock.

2 Choose Selection > Lock SRPs from Selection. The SRP markers are displayed with red borders to indicate that they are locked.

3 To Unlock the SRPs in the Selection, choose Selection > Unlock SRPs from Selection.

To lock all SRPs in a track:

1 CONTROL-click any SRP in the Track containing the SRPs that you want to lock.

2 Choose Lock All SRPs in Track from the contextual menu that appears.

3 To Unlock the SRPs in the Track, choose Unlock All SRPs in Track from the contextual menu.

To lock all SRPs in an Edit Group:

1 CONTROL-click any SRP in the Edit Group containing the SRPs that you want to lock.

2 Choose Lock All SRPs in Edit Group from the contextual menu that appears.

3 To Unlock the SRPs in the Edit Group, choose Unlock All SRPs in Edit Group from the contextual menu.

To toggle multiple SRPs to the opposite lock state:

1 Select a time region or segment containing the SRPs whose lock status you want to change.

2 Choose Selection > Un/Lock SRPs from Selection. All SRPs in the selection toggle to the opposite lock state: locked SRPs are unlocked, and unlocked SRPs are locked. S ELECTING S OUND 2-17

EXPORTING AND IMPORTING SRP INFORMATION

You can export SRP information from selected tracks to a text file. The information can be edited in the text file if desired, and then imported to other tracks.

To export SRP information from tracks in an EDL:

1 In the currently selected EDL, select the tracks from which you want to export SRP information.

2 Choose File > Print System Information > Write SRP Info.

3 Choose a destination for the output file. A file with the suffix ".srp" is created.

T#,INDEX,30fps NDF,LOCK,TEXT

1100:00:32:10.13U 1st Verse

1200:03:14:28.52U Chorus

2100:04:10:21.53U

2200:06:21:00.31L CLICK

3100:07:05:29.34U

3200:09:51:28.49U

4100:17:48:24.28L

4200:20:47:07.72L

5100:04:10:21.53U 2-18 WORKING W ITH S OUND

5200:06:21:00.31U

5300:17:48:24.28U

6100:04:10:21.53U

6200:06:21:00.31U Figure 2-9 Example of exported SRP info.

To import SRP information to an EDL:

¥ Drag an .srp file directly onto the desired track. The SRP information is imported into the destination track or tracks. If the imported information is from multiple tracks, destination track is treated as the first track in the group.

Selection Playback

Four key commands initiate playback of selections to facilitate editing operations:

¥ SPACEBAR — Plays from the beginning of the selection, and continues until you press SPACEBAR again (you can also choose Play > From Selection). If there is no selection, SonicStudio HD plays from the Edit Point.

¥ COMMAND+SPACEBAR — Plays the selection and stops when the selection end is reached (you can also choose Play > Selection).

¥ COMMAND+OPTION+SPACEBAR — Loops the selection until you press SPACEBAR again (you can also choose Play > Loop).

¥ OPTION+SPACEBAR — Plays from the Playhead position (you can also choose Play > From Playhead).

Tip: During loop play, you can press the RIGHT-ARROW key to jump to the next Segment, or the LEFT-ARROW key to jump to the previous one. This feature is very handy for auditioning a series of similar takes. S ELECTING S OUND 2-19

You can also play the region around the center of a selection by choosing Play > around Selection Center > and choosing a time range from the menu. If there is no selection, SonicStudio HD plays the specified interval around the Edit Point.

To play from a specific location:

¥ Choose Play > Move Playhead.

SonicStudio HD displays the Move Playhead dialog.

Figure 2-10 The Move Playhead Dialog

Where — Click this pop-up to select Playhead, In Point or Out Point. SonicStudio HD loads the current location of the selected item into the Timebase display.

SRP — Displays a pull-down menu with locations of Track SRPs in the current timebase units. When you choose from this menu, SonicStudio HD loads the location of the selected SRP into the Timebase display.

Move — Moves the Playhead to the location specified in the Timebase display. You can edit this display in the same manner as any other SonicStudio HD time display.

Cancel — Closes the dialog without changing the location of the Playhead.

¥ Press OPTION+SPACEBAR or choose Play > From Playhead.

SonicStudio HD plays from the new Playhead position. 2-20 WORKING W ITH S OUND

PLAY SELECTED TRACK COMMAND

This command is available with the Shortcut CONTROL+SPACEBAR. When you execute this command, SonicStudio HD plays only the selected Track(s), and does not allocate Desk Strips for non-selected Tracks.

Note: This command is not supported for interleaved files at this time. Attempting to Play Selected on interleaved audio will produce an error.

Scrub Mode

Scrub mode lets you play audio both forward and backward by dragging the cursor.

To enter scrub mode:

¥ OPTION-click a track. The cursor changes to indicate that you are now in scrub mode.

Note: In Edit Fade Mode, you can scrub in the Result Panel only.

Note: Currently, SonicStudio HD only supports jog mode for scrub. In jog mode, playback follows the motion of the mouse as you drag the cursor left or right, much like rocking the tape reels on an analog tape transport. R ECORDING S OUND 2-21

Recording Sound

SonicStudio HD records sound directly into EDL Tracks. To record sound, you will:

1 Set the parameters for new soundfiles, specifying bit depth and a destination disk volume.

2 Arm your Tracks for recording.

3 Initiate the recording.

Setting the Soundﬁle Parameters

Before recording sound, you must specify bit depth and a location where the file will be saved.

To set parameters for a new soundfile:

1 Choose Windows > New Soundﬁle Parameters or press COMMAND+7. SonicStudio HD displays the New Soundfile Parameters dialog.

Figure 2-11 The New Soundfile Parameters Dialog

2 Select a Bit Depth (16 or 24 bits).

When you select 24-bit, you have the option of recording in standard 24-bit mode or in 24-Bit Compatible mode . When 24-Bit Compatible mode is selected, recorded material is compatible with SonicStudio USP systems. 2-22 WORKING W ITH S OUND

3 Double-click the Soundﬁle field and type a name for the new soundfile.

4 Optionally, you can specify a take number. If you don’t, SonicStudio HD will default to take #1, and increment the take number with each successive recording that you make. SonicStudio HD appends the take number to the soundfile name when saving it.

5 Click Set Folder. SonicStudio HD displays the Choose Folder dialog.

Figure 2-12 The Choose Folder Dialog

Navigate to your desired destination disk, click a folder name to highlight it and click Choose. (Optionally, you can click the New Folder button to create a new folder.) SonicStudio HD closes the Choose Folder dialog and displays the New Soundfile Parameters dialog again.

Note: SonicStudio HD chooses the highlighted folder, not the folder that is currently open. If you have opened the folder where you want to save soundfiles, use the pop-up above the file list to back up one level in the drive hierarchy, then click the folder to select it.

6 Close the New Soundfile Parameters dialog by clicking on the close box. R ECORDING S OUND 2-23

Readying Tracks for Recording

To record sound, you must first designate the Tracks you want to use and select inputs from which to record.

To ready Tracks for recording:

1 Be certain that the Audio I/O Setup is correct for your converter box (see the SonicStudio HD Installation Guide ).

2 If necessary, add an EDL to your project by choosing Project > New EDL. You can choose EDL > New Tracks and add Tracks to the EDL to accommodate multi-channel material.

3 Click the Input pop-up for each Track and choose an input channel (Line 1 to Line 8 or Monitor 1 to Monitor 8).

4 Click the Desk Strip pop-up for each Track and choose a Desk Strip (Desk 1 to Desk 8).

5 Click the Output pop-up for each Track and select a monitoring channel (Monitor 1 to Monitor 8).

6 Click the Record Arming button for each Track to arm it for recording. (You can also choose Track > Record Arm or press CONTROL+R.) To arm all Tracks in an Edit Group, OPTION-click the Record Arm button for any Track in the Group.

Record Arming Button

Input Selection Pop-up

Figure 2-13 Track Recording Controls 2-24 WORKING W ITH S OUND

Basic Recording

To record sound into the armed Tracks:

¥ Start your source, then press / (SLASH) or choose EDL > Record.

SonicStudio records the soundfile into the EDL.

Note: You can also press SPACEBAR to play the Track, then punch in at any time by pressing / (SLASH). To punch out, press / again.

¥ To stop recording, press SPACEBAR.

During recording, the cursor changes to a record sound icon to indicate that SonicStudio HD is in record mode. The Track background also highlights red, warning that it is recording.

Cursor During Recording

Figure 2-14 The Record Sound Cursor

When you finish recording, the cursor returns to its original location. If you want SonicStudio to cue to the end of the recorded file, you can enable the Edit Point to Playhead option.

To set the Edit point to follow the Playhead:

¥ Choose Selection > Edit Point to Playhead.

The Edit point will automatically move to the Playhead position after recording or playback. R ECORDING S OUND 2-25

Edit Recording

This option, located in the New Soundfile Parameters window, allows opening of the file being recorded and viewing/editing of the file during the record.

To use the Edit Recording option:

1 Choose Windows > New Soundﬁle Parameters.

2 Select the Edit Recording option in the New Sound File Parameters window.

3 Initiate a record.

4 Open the file in another EDL.

You can now drag the Out fade as the audio is recorded and use the Refresh command to update the waveform display.

This feature also acts like an Autosave function, as the file is updated continuously during recording. If anything happens to interrupt the record, the file will be intact up to that point.

Note: When the Edit Recording option is selected, it uses about 15% more SCSI bandwidth, so hard drive performance may be affected.

Replacing Sound by Recording

To record new sound in place of existing sound:

1 Arm the Tracks for recording.

2 Drag over the sound you want to replace to make a time selection, or select a Segment by clicking on its name tab.

3 Roll your source and press / (SLASH) or choose EDL > Record. 2-26 WORKING W ITH S OUND

SonicStudio HD begins recording at the selection start and continues to the selection end.

Note: If you press SPACEBAR before reaching the selection end, SonicStudio HD stops recording and replaces the entire selection with the new sound. Sound to the right of the selection moves to the end of the new sound Segment.

Punching In and Out Using SRPs

SonicStudio HD enables you to automate multiple punch-in and punch-out records using SRPs.

To punch in and out at designated Track locations:

1 Place SRPs in the Track at the locations where you want punch-ins and punch-outs to occur.

2 Arm the Tracks for recording.

3 Drag across the Track to make a time selection of the area containing the SRPs, or click the Segment name tab to select the Segment containing the SRPs. ¥ To begin playback at the selection start and punch in at the first SRP in the Track, press COMMAND+SPACEBAR.

SonicStudio HD performs punch-ins and punch-outs at successive SRPs and stops at the end of the selection.

Note: SRP record produces a single sound file and places edits in the EDL at the SRP locations. R ECORDING S OUND 2-27

Capture Recording

Capture recording is the process of playing an EDL, with all associated filter and gain overlay processing, and recording the output back into the same EDL in sync. You can record the output to the same tracks that you play the audio from, to other tracks in the EDL, or even wild to a second EDL if desired.

To capture record within an EDL:

1 Arm tracks in the EDL for each intended output and set the inputs to the corresponding output channel numbers [M1-8].

2 Set the monitor mode for these tracks to Output.

3 You can now record with any method you wish.

Note: You may need to bypass any processing that was included in the output following the record. 2-28 WORKING W ITH S OUND

Edit Groups

Tracks within an EDL can be linked together in Edit Groups. Edits committed to any single track in the Edit Group are applied simultaneously to all Tracks in the same group.

For example, when you select a time region by dragging across a Track, that region is selected in all Tracks that belong to the same Edit Group. Similarly, selecting a segment in one Track selects partner Segments (i.e., those having the same start times) in any other Tracks that are in the same Edit Group.

You can designate and display EDL edit group membership using either letters or checkboxes.

To designate Tracks for an Edit Group with letter groups:

1 Press COMMAND+5 or choose Windows > Preferences.

2 Click the EDL tab and select the Editgroup Selection Menu option. The EDL edit groups are displayed as letter groups.

In this mode, edit group membership is shown with letters. allowing you to assign up to 32 different edit groups in each EDL.

3 Select one or more tracks and use the letter group pop-up menu to set the tracks to a group.

Group Letter Pop-up Figure 2-15 EDL Edit Groups – Letter Group option B ASIC E DITING 2-29

To designate Tracks for an Edit Group with checkboxes:

1 Press COMMAND+5 or choose Windows > Preferences.

2 Click the EDL tab and deselect the Editgroup Selection Menu option. EDL edit groups are shown by checkboxes in each track.

When you click in a track to make it active, the checkboxes update to show which tracks belong to the same group. In this mode, only one Edit Group group can be displayed at a time.

3 Click the Edit Group Checkbox for each Track you want to include in the Edit Group.

Edit Group Checkbox Figure 2-16 EDL Edit Groups – Checkbox option

4 To remove a Track from the Edit Group, click again on the Edit Group Checkbox.

Basic Editing

SonicStudio HD provides facilities to perform a variety of sound editing functions. You can perform edits with key commands or by dragging and dropping selections, and edits can occur within a Track, between Tracks or between EDLs. When you edit sound, SonicStudio HD creates Crossfades at edit transitions.

Depending upon the type of edit that you perform, existing sound in the Track may move on the timeline to accommodate the edit. For example, you might choose to insert some new sound in the middle of a soundfile. When you make the edit, the sound to the right of the edit point will move to make space for the new sound. 2-30 WORKING W ITH S OUND

Some edits result in spaces of edited black , or digital silence. In edited black, all of the bits in the PCM digital audio signal are set to zero.

DETERMINING WHAT IS INCLUDED IN EDITS

You can select which attributes of the material in the EDL are edited along with the audio when you Copy and Paste, Drag and Drop, or perform Source/Destination edits.

To select the attributes to be included along with audio edits:

1 Choose Windows > Preferences or press COMMAND+5, and click the EDL tab.

2 In the Edit with Audio area, select from the following attributes to include them with audio edits: Gain Overlay, Desk Events, and Selection Reference Points.

When you perform edits in the EDL that copy audio to the clipboard, these attributes will be copied along with the audio.

Figure 2-17 EDL Preferences B ASIC E DITING 2-31

Deleting & Clearing Sound

To delete sound:

1 Drag to select a time region in a Track or click a Segment Name Tab to select the Segment.

2 Press the DELETE key or choose Edit > Delete Selection.

The selected sound is deleted, and sound to the right of the selection moves left to close up the space.

Tip: You can also delete a selected time region by dragging it to the Finder trash can.

To clear sound:

1 Drag to select a time region in a Track or click a Segment Name Tab to select the Segment.

2 Press OPTION+DELETE or choose Edit > Clear Selection.

The selected sound is replaced with edited black and audio to the left of the edit does not move..

Tip: You can also clear a selected time region by dragging it to the Finder trash can while holding the OPTION key.

Undoing Edits

SonicStudio HD supports multiple levels of Undo. You can Undo and Redo up to 100 edits. 2-32 WORKING W ITH S OUND

To undo the last edit only:

¥ Press COMMAND+Z or choose Edit > Undo Edit.

To redo the last edit that you have undone:

¥ Press COMMAND+SHIFT+Z or choose Edit > Redo Edit. B ASIC E DITING 2-33

Nudging Selected Segments

The +/- keys on the keypad may be used to "nudge" selected Segments forward (+) or backward (-) on the Timeline. Nudge works only with Segment selections, and not with time-range selections. The amount of Nudge is selectable.

To select a nudge value:

¥ Choose Selection > Select Nudge Size and choose Nudge A, Nudge B or Nudge C. You can also press CONTROL+1 for Nudge A, CONTROL+2 for Nudge B or CONTROL+3 for Nudge C.

The default values for Nudge Size, expressed in SMPTE timecode, are:

Name Value

Nudge A 00:00:00:00.01

Nudge B 00:00:00:01.00

Nudge C 00:00:01:00.00

To change the default Nudge Size settings:

1 Press COMMAND+5 or choose Windows > Preferences.

2 Click the Time tab in the Preferences window.

3 Double-click a Nudge Size field to select it and type the desired nudge value followed by RETURN. 2-34 WORKING W ITH S OUND

Moving Segments

You can move selected Segments to a specified timebase location by using the Move Segments command.

To move Segments:

1 Select the Segments that you want to move.

2 Choose Edit > Move Segments, or CONTROL-click the selected Segment’s name tab and choose Move Segments from the contextual menu that appears. SonicStudio HD displays the Move Segments dialog.

Figure 2-18 The Move Segments Dialog

Where — Click this pop-up to choose Playhead, In Point or Out Point. SonicStudio HD loads the current location of the selected item into the Timebase display.

SRP — Displays a pop-up menu with locations of Track SRPs in the current timebase units. When you choose from this menu, SonicStudio HD loads the location of the selected SRP into the Timebase display.

Move — Moves the selected Segments to the location specified in the Timebase display. You can edit this display in the same manner as any other time display.

Cancel — Closes the dialog without changing the location of the Segments. B ASIC E DITING 2-35

Modifying Segment Gain

By default, all Segments recorded into SonicStudio HD are assigned an initial gain of 0 dB. SonicStudio allows you to easily adjust the gain of an individual Segment or set of selected Segments. There are three gain adjustment modes: ¥ Absolute — Sets the gain for the Segment to the selected value, regardless of any previous adjustments . Thus, if you select a Segment whose gain was previously set to +3 dB and select a value of +6 dB, the gain of the Segment will be set to +6 dB. ¥ Relative — Increases/decreases the gain of the Segment by the selected value, relative to any previous adjustments . Thus, if you select a Segment whose gain was previously set to +3 dB and select a value of +6 dB, the gain of the Segment will be set to +9 dB. ¥ Normalize — Adjusts the Segment gain so that the maximum peak amplitude in the Segment becomes the maximum allowable (0 dBFS). ¥Polarity — In addition, the Segment Gain dialog box gives you the option of reversing the polarity of a Segment. This function is useful for correcting signals that are out of phase, or handling MS-encoded audio material.

Segments with reversed polarity are displayed with a small red square in their Name Tab, and in text view, their gain value is displayed in red text.

To adjust Segment Gain:

1 Select a Segment by clicking on its name tab. You can SHIFT-click to select additional contiguous Segments or COMMAND-click to select discontiguous Segments.

2 Press OPTION+G, choose Selection > Segment Gain, or CONTROL-click the selected Segment’s name tab and choose Segment Gain from the contextual menu that appears.

The Segment Gain window appears. 2-36 WORKING W ITH S OUND

Figure 2-19 The Segment Gain Window

3 Select Absolute, Relative or Normalize.

4 For Absolute or Relative gain, you can increment or decrement the value using the 1.0 dB and 0.1 dB arrows, or double-click the number and type a value.

5 Click OK to accept the change, or Cancel to exit without changing the Segment gain.

To reverse Segment signal polarity:

1 Select a Segment by clicking on its name tab. You can SHIFT-click to select additional contiguous Segments or COMMAND-click to select discontiguous Segments.

2 Press OPTION+G or choose Selection > Segment Gain.

3 Select Reverse Polarity in the Segment Gain window. B ASIC E DITING 2-37

4 Click OK to accept the change, or Cancel to exit without changing the Segment polarity.

Alternatively, you can CONTROL-click the selected Segment’s name tab and choose Reverse Polarity directly from the contextual menu that appears.

Tip: You can also reverse the polarity of selected Segments by choosing Edit > Reverse Polarity.

DEFAULT SEGMENT GAIN STATES

The default state of the Segment Gain dialog depends upon the current selection:

If you have selected a single Segment:

¥ The default Segment Gain mode will be Absolute. ¥ The Segment Gain value will reflect the current Gain for the selected Segment.

If you have selected multiple Segments:

¥ The default Segment Gain mode will be Relative. ¥ The Segment Gain value will be 0 dB.

Save Reversed

You can reverse a selection of audio so that the original audio will play backwards. This reverse function is limited to mono or stereo selections.

To save a selection as reversed:

1 Make a time or segment selection

2 Choose File > Save Reversed. 2-38 WORKING W ITH S OUND

3 Select a destination for the reversed file output.

SonicStudio HD creates a reversed, interleaved AIFF [non-native SonicStudio HD] file and replaces the selection with the reversed audio.

You will need to the build waveforms for the reversed selection after processing by choosing File > Build Sound Waveform.

Figure 2-20 Selection of audio before (top) and after (below) reversing

Note: The Save Reversed command is limited to Mono/Stereo. The first two Tracks in the currently selected Edit Group will be used for the Source. To reverse a single Track as mono, set the desired track to a unique Edit Group before processing.

Caution! Though the Save Reversed command works on a maximum of two Tracks, the selected area will be deleted in all Tracks in the current edit group. Therefore, make sure the Tracks you want to reverse are in their own Edit Group to avoid deleting audio from other tracks during this process. B ASIC E DITING 2-39

Editing in Text View

SonicStudio HD’s Text View provides a convenient method for viewing and editing the name, position and gain of Segments in a Track.

To edit Segments in Text View:

1 Click anywhere in the Track to select it. You can COMMAND-click to select additional Tracks.

2 Choose Track > Show Text View.

SonicStudio HD opens the Text View panel.

Selected Segment

Text View Track Display

Selected Segment Highlights

Figure 2-21 The Text View Panel

If you select a Segment in the Track by clicking its name tab, the corresponding entry in the Text View highlights. Similarly, clicking on an entry in the Text view selects the corresponding Segment in the Track. 2-40 WORKING W ITH S OUND

To rename a Segment:

1 Double-click the Segment’s Name field. The name field is highlighted.

2 Enter a new name in the name field and press RETURN.

Figure 2-22 Renaming a Segment

The new Segment name will also appear in the Text listing.

To move a Segment:

1 Double-click the Start or End field for the Segment. SonicStudio HD displays the Move Segments dialog (see “Moving Segments” on page 2-34).

2 Select from the pop-up menus or type a location in the Timebase field, then click Move.

SonicStudio HD moves the Segment start or end to the selected location.

To change the Segment Gain:

1 Double-click the Gain field for the Segment. SonicStudio HD displays the Segment Gain window (see “Modifying Segment Gain” on page 2-35).

2 Edit the Gain setting and click OK.

SonicStudio HD sets the Segment Gain to the new value. S OURCE- TO-DESTINATION E DITING 2-41

Source-to-Destination Editing

SonicStudio HD’s sound editing facilities follow a source-to-destination editing model. In such edits, Tracks are either Source Tracks (sound comes from them) or Destination Tracks (sound moves to them).

You can specify the Source sound and Destination location with edit points, time region selections, Segment selections or In and Out Points. Source-to-destination edits follow Edit Groups: edits committed to one Track in a Group affect all Tracks in the Group simultaneously.

In SonicStudio HD, the Source and Destination Tracks are separate Edit Groups or EDLs. Edits within a single Edit Group are confined to individual Tracks; material may not be moved from one Track to another within an Edit Group.

There are three types of source-to-destination edits:

Constrained edits — The Source is a time range selection or Segment, and Source sound moves to the Destination at its timestamped location.

Three-point edits — Either the Source or the Destination is a time range selection or Segment, and the other is the Edit Point or In Point.

Four-point edits — Both Source and Destination are time range selections or Segments.

Key Command Edits

SonicStudio HD supports two key command source-to-destination edits: Insert and Replace. Key command edits always copy the Source sound.

For key command edits, you must explicitly designate Destination Tracks so that SonicStudio HD knows where you want to move the Source sound. This is done with the Edit State Designator button on each track. 2-42 WORKING W ITH S OUND

Edit State Designators

Tracks in a SonicStudio HD Edit Group can have one of three states for key-command edits: ¥ Source — Selected audio copies from the Track(s) to the Destination selection. ¥ Destination — Source audio inserts, replaces or overlays in the Track(s). ¥ None — The Track is not affected by key command edits.

To make a group of Tracks the Destination, do one of the following:

¥ Click the Edit State Designator button of any Track in the Group. ¥ Click in a track to select it, and press the D key.

SonicStudio HD sets the Track, and all others in its Edit Group, to be the Destination.

To set a single Track to be the Destination:

¥ Click in a track to select it, and press CONTROL+D.

Any other tracks in the same group will remain in their previous state.

Destination Designator

Figure 2-23 Edit State button set to Destination S OURCE- TO-DESTINATION E DITING 2-43

To make a group of Tracks the Source, do one of the following:

¥ OPTION-click the Edit State button of any Track in the Group. ¥ Click in a track to select it, and press the S key.

SonicStudio HD sets the Track, and all others in its Edit Group, to be the Source.

To set a single Track to be the Source:

¥ Click in a track to select it, and press CONTROL+S.

Any other tracks in the same group will remain in their previous state.

Source Designator

Figure 2-24 Edit State button set to Source 2-44 WORKING W ITH S OUND

To set a group of Tracks to None, do one of the following:

¥ COMMAND-click the Edit State button of any Track in the Group. ¥ Click in a track to select it, and press the N key.

SonicStudio HD sets the Track, and all others in its Edit Group, so that they will not be affected by key-command edits.

To set a single Track to None:

¥ Click in a track to select it, and press CONTROL+N.

Any other tracks in the same group will remain in their previous state.

None Designator Figure 2-25 Edit State set to None S OURCE- TO-DESTINATION E DITING 2-45

WHERE KEY COMMAND EDITS GO

SonicStudio HD always edits to selections when executing key command edits.

Your selection can be an Edit Point, a time range selection or a Segment selection. You can also designate specific In and Out Points to define a selection region in the Source, Destination or both. In and Out Points take precedence over the Edit Point and time or Segment selections: if you have set In and Out Points, any other selections in the Track will be ignored when executing the edit. In and Out Points are ignored in drag-and-drop edits.

In Point Out Point

Figure 2-26 In and Out Points

When you have set In and Out Points in a Track, SonicStudio HD identifies the region between them by highlighting the background behind the waveform, as shown in Figure 2-26. The appearance of any other selections changes if In and Out Points are set: the highlight color is gray-blue, signifying that the selection is not active for key command edits. (You can still drag-and-drop the selection, however.)

Segment Selection Not In & Out Points Active For Key Commands Define Active Selection

Figure 2-27 In and Out Points with a Separate Segment Selection 2-46 WORKING W ITH S OUND

Time Selection Not In & Out Points Active For Key Commands Define Active Selection

Figure 2-28 In and Out Points with a Separate Time Selection

To set In and Out Points:

¥ Place the Edit Point where you want to set an In or Out Point.

¥ To set an In Point, press [ (LEFT BRACKET) or choose Selection > Set In Point. SonicStudio HD places an In Point at the Edit Point location.

¥ To set an Out Point, press ] (RIGHT BRACKET) or choose Selection > Set Out Point. SonicStudio HD places an Out Point at the Edit Point location.

You can also use these keys to set In and Out Points on-the-fly in playback.

To place In and Out Points around a selection:

1 Drag in the Track to create a time selection or select a Segment.

2 Choose Selection > Set In and Out Points.

SonicStudio HD places an In Point at the selection start and an Out Point at the selection end.

To adjust the position of an In or Out Point:

¥ Drag the triangle at the bottom of the Point. S OURCE- TO-DESTINATION E DITING 2-47

¥ You can also choose Selection > Move In Point or Selection > Move Out Point. SonicStudio HD will display a Move Point dialog.

Figure 2-29 The Move In Point and Move Out Point Dialogs

Where — Click this pop-up to select Playhead, In Point or Out Point. SonicStudio HD loads the current location of the selected item into the Timebase display.

Move — Moves the Point to the location specified in the Timebase display. You can edit this display in the same manner as any other SonicStudio HD time display.

Cancel — Closes the dialog without changing the location of the Point.

You can also nudge In and Out Points by selecting one of the following:

Menu Item Key Command

Selection > Nudge Right > Nudge In Point Right CONTROL+COMMAND+[ (LEFT BRACKET)

Selection > Nudge Right > Nudge Out Point Right CONTROL+COMMAND+] (RIGHT BRACKET)

Selection > Nudge Right > Nudge In & Out Points Right N/A

Selection > Nudge Left > Nudge In Point Left OPTION+COMMAND+[ (LEFT BRACKET)

Selection > Nudge Left > Nudge Out Point Left OPTION+COMMAND+] (RIGHT BRACKET)

Selection > Nudge Left > Nudge In & Out Points Left N/A 2-48 WORKING W ITH S OUND

The Nudge value for moving In and Out Points is the same as that for nudging Segments (see "Nudging Selected Segments" on page 33 of this chapter).

To move the In Point to the Out Point position:

¥ Choose Selection > Move In Point to Out Point.

To clear In and Out Points:

¥ Press CONTROL+\ (BACKSLASH) or choose Selection > Clear In and Out Points.

¥ To clear the In Point only, press CONTROL+[ (LEFT BRACKET) or choose Selection > Clear In Point.

¥ To clear the Out Point only, press CONTROL+] (RIGHT BRACKET) or choose Selection > Clear Out Point.

AUDITIONING IN AND OUT POINTS

When setting In and Out points for key-command edits, you can audition your edits to fine-tune placement of the edit points.

To audition an In Point:

¥ Choose Play > To In Point or press F5. SonicStudio HD pre-rolls before the In Point and plays, stopping at the In Point. ¥ You can also choose Play > From In Point or press F6. SonicStudio HD starts playing at the In Point and plays to the end of the post-roll interval.

To audition an Out Point:

¥ Choose Play > To Out Point or press F7. SonicStudio HD pre-rolls before the Out Point and plays, stopping at the Out Point. S OURCE- TO-DESTINATION E DITING 2-49

¥ You can also choose Play > From Out Point or press F8. SonicStudio HD starts playing at the Out Point and plays to the end of the post-roll interval.

You can set the length of the pre- and post-roll intervals for these commands:

1 Press COMMAND+5 or choose Windows > Preferences.

2 Click the Time Preferences tab.

3 Edit the number shown in the Play around In Point and Play around Out Point fields.

INSERT EDITS

In an Insert edit, sound in the Destination Track moves to the right (later on the timeline) to make room for the inserted sound.

To make a key command insert edit:

1 Set the Edit Group Designator for the Destination Track to Destination .

2 Place the Edit Point, set an In Point, select a time range (by dragging or by setting In and Out Points), or select a Segment in the Destination Track where you want to insert sound.

3 Select a time range (by dragging or by setting In and Out Points) or a Segment in the Source Track.

4 Press F2 or choose Edit > Insert. The Source sound inserts at the Edit Point.

REPLACE CONSTRAINED EDITS

In Replace Constrained edits, sound from the Source selection replaces sound in the Destination at the time position that it occupied in the Source Track (time constrained). Sound in the Destination does not move. ¥ With a time or Segment selection in the Destination, the audio from the same area in the Source Tracks replaces the selection in the Destination. 2-50 WORKING W ITH S OUND

¥ With a time or Segment selection in the Source, the audio in the Destination Track is replaced with the Source audio at the times dictated by the Source selection.

To make a Replace Constrained edit:

1 Set the Edit Group Designator for the Destination Track to Destination .

2 Select a time range (by dragging or by setting In and Out Points) or a Segment in the Source.

3 Press CONTROL+F1 or choose Edit > Replace Constrained.

The Source sound replaces Destination sound at the same time position as the Source selection.

THREE-POINT KEY COMMAND REPLACE EDITS

In three-point Replace edits, sound in the Destination does not move.

To make a three-point key command Replace edit with a selection in the Source:

1 Set the Edit Group Designator for the Destination Track to Destination .

2 Place the Edit Point or set an In Point in the Destination Track where you want to replace sound.

3 Select a time range (by dragging or by setting In and Out Points) or a Segment in the Source Track.

4 Press F1 (Edit > Replace) or COMMAND+F1 (Edit > Replace Left). ¥ If you press F1 (or choose Edit > Replace), the Source selection replaces the Destination sound beginning at the Edit Point.

¥ If you press COMMAND+F1, the Source selection replaces the Destination sound ending at the Edit Point. S OURCE- TO-DESTINATION E DITING 2-51

To make a three-point key command Replace edit with a selection in the Destination:

1 Set the Edit Group Designator for the Destination Track to Destination .

2 Select a time range (by dragging or by setting In and Out Points) or a Segment in the Destination Track.

3 Place the Edit Point or set an In Point in the Source Track at the beginning or end of the sound with which you want to replace the Destination sound.

4 Press F1 (Edit > Replace) or COMMAND+F1 (Edit > Replace Left). ¥ If you press F1 (or choose Edit > Replace), Source sound beginning at the Edit Point or In Point replaces the selected Destination sound.

¥ If you press COMMAND+F1 (or choose Edit > Replace Left), Source sound ending at the Edit Point or In Point replaces the selected Destination sound.

FOUR-POINT KEY COMMAND REPLACE EDITS

In four-point Replace edits, there is a selection in both the Source and the Destination. Sound to the right of the edit moves to accommodate the edit.

To make a four-point key command Replace edit:

1 Set the Edit Group Designator for the Destination Track to Destination .

2 Select a time range (by dragging or by setting In and Out Points) or a Segment in the Destination Track.

3 Select a time range (by dragging or by setting In and Out Points) or a Segment in the Source Track.

4 Press F1 or choose Edit > Replace.

The Source selection replaces the selected Destination sound. If the Source and Destination selections are not the same duration, sound to the right of the edit in the Destination Track moves to accommodate the edit. 2-52 WORKING W ITH S OUND

Sync to Edit Point

This command appears in the Edit menu. With a single Edit Point or Time Selection in the Source, this command moves all Source audio in the Edit Group to the Destination Edit Point location or the left edge of a selection in the Destination, using the Source Edit Point or left edge of the Time Selection as the reference.

With a Segment selection in the Source, this command moves only the selected Source audio in the Edit Group to the Destination Edit Point location or the left edge of a selection in the Destination, using the Source left edge as the reference.

Sync to Matching

This command appears in the Edit menu. When sections of audio in the Source and Destination groups match each other closely, you can use this command to align matching portions of audio in the groups. This match is performed through DSP auto-correlation, and can be used to match audio that doesn’t match perfectly but is close.

Note: This feature currently does not support interleaved files. Use the Sync to Edit Point command with Image File Source or Destination. S OURCE- TO-DESTINATION E DITING 2-53

Loop and Fill

You can loop a selection of audio from the Source to fill a selected area in the Destination.

This is useful for recreating ambience or lengthening a repetitive passage..

To Loop audio to fill a selection in the Destination:

1 Make a time or segment selection in the Source tracks to represent the audio to be looped.

2 Make a time selection in the Destination tracks representing the duration of the fill.

3 Choose Edit > Loop and Fill.

The Source audio selection will loop until it fills the Destination selection.

Figure 2-30 Looped audio placed using Loop and Fill 2-54 WORKING W ITH S OUND

Note: Loop and Fill supports both time selection and segment selection for Source tracks, and only time selection for Destination tracks.

Drag-and-Drop Edits

SonicStudio HD supports three types of drag-and-drop edits: Overlay, Insert and Replace. Drag-and-drop edits within or between Edit Groups move the Source sound; to copy the Source, hold the OPTION key. Edits between EDLs always copy the Source.

SELECTION HANDLES FOR DRAG-AND-DROP

When you select a time region or a Segment, a bright yellow bar appears across the top of the selection. This area is a “hot spot” handle for drag-and-drop edits. To drag the selection, click on the handle.

Drag Handle

Figure 2-31 Drag Handles for Segment Selections (left) and Time Selections (right)

When you zoom in on a long fade with the Segment selected,

SNAP-TO-POINT FUNCTIONS

To facilitate drag-and-drop edits, SonicStudio HD can "snap" to specific points in your Destination soundfile during a selection drag operation. Snap-to-Point works with Edit Points and with Segment Start/End Points. D RAG- AND-DROP E DITS 2-55

With Snap-to-Point enabled, when you drag a selection’s start or end near the Edit Point or a Segment Start/End Point (SEP), the point will highlight blue. If you drop the selection, it will snap to the highlighted point. This enables you to quickly and easily string Segments end-to-end, insert a selection at a crossfade between two other Segments, or drop a selection precisely at a predefined Edit Point.

To enable Snap-to-Point functions:

1 Press COMMAND+5 or select Windows > Preferences.

2 Click the Editing Tools tab.

3 Select Snap to Edit Point ON and/or Snap to SEP ON in the Editing Auto Tools area.

You can temporarily override the Snap-to-Point functions as chosen in the Editing Auto Tools preferences. If Snap-to-Point is off, override temporarily turns it on (and vice versa).

To override Snap-to-Point functions:

¥ Choose Edit > Editing Tool Override or press CONTROL+A. ¥ To cancel the override, choose Edit > Editing Tool Override or press CONTROL+A a second time.

You can constrain an edit so that a selection is placed in the Destination Track at the same time position it occupied the in the Source track.

To time-constrain a Drag-and-Drop edit:

¥ Hold the C key while dragging the Source selection into the Destination Track. The selection will snap to the same position it occupied in the Source Track.

OVERLAY EDITS

In an Overlay edit, the Source sound is laid on top of the Destination sound so that both are heard when the Track plays. 2-56 WORKING W ITH S OUND

To make a drag-and-drop Overlay edit:

1 Optionally, place the Edit Point in the Destination Track where you want to Overlay sound.

2 Select a time range or Segment in the Source Track.

3 Drag the Source selection onto the Destination Track. The Source Overlays the Destination sound where you drop it.

INSERT EDITS

In an Insert edit, sound in the Destination Track moves to the right (later on the timeline) to make room for the inserted sound.

To make a drag-and-drop Insert edit:

1 Optionally, place the Edit Point in the Destination Track where you want to insert sound.

2 Select a time range or Segment in the Source Track.

3 Hold the SHIFT key and drag the Source selection onto the Destination Track. The Source inserts where you drop it.

REPLACE EDITS

In Replace edits, sound in the Destination does not move.

To make a drag-and-drop Replace edit:

1 Optionally, place the Edit Point in the Destination Track where you want to replace sound.

2 Select a time range or Segment in the Source Track.

3 Hold the COMMAND key and drag the Source selection onto the Destination Track. The Source replaces Destination audio beginning from the point where you drop it. C OPY AND P ASTE E DITING 2-57

FOUR-POINT REPLACE DRAG-AND-DROP EDITS

In four-point Replace edits, there is a selection in both the Source and the Destination. Sound to the right of the edit in the Destination moves to accommodate the edit, if necessary.

To make a four-point drag-and-drop Replace edit:

1 Select a time range or Segment in the Destination Track.

2 Select a time range or Segment in the Source Track.

3 Drag the Source selection onto the Destination selection (your cursor must be within the selection area).

The Source selection replaces the selected Destination sound.

Copy and Paste Editing

SonicStudio HD supports standard Macintosh Cut, Copy, Paste and Clear commands for editing sound.

There are four Paste commands:

Shortcut Edit Type

COMMAND+V Replace

OPTION+V Insert

SHIFT+V Overlay

COMMAND+OPTION+V Paste to In Point

COMMAND+SHIFT+V Constrained Replace*

* Constrained Replace is time-constrained; that is, pasted sound Replaces sound in the Destination at the same timeline location as it was Copied or Cut from. 2-58 WORKING W ITH S OUND 3 Fades

This chapter discusses fade editing in SonicStudio HD, including: ¥ Fade types ¥ Creating fades ¥ Editing fades within the EDL — coarse fade controls ¥ Edit Fade Mode (EFM) — fine fade controls 3-2FADES

Fade Types

There are three types of fades in SonicStudio HD:

In Fades — Each sound Segment begins with an In Fade.

Figure 3-1 An In Fade

Out Fades — Each Segment ends with an Out Fade.

Figure 3-2 An Out Fade

Crossfades — Transitions between adjacent Segments in a Track are made with Crossfades.

Figure 3-3 A Crossfade C REATING F ADES 3-3

In a Crossfade, the sound of the first segment overlaps that of the second, with the first Segment’s Out Fade and the second’s In Fade forming a smooth transition between the two sounds. If there were no Crossfade, an audible click would be heard at the edit.

The maximum number of overlapping Segments in SonicStudio HD is two. Triple overlaps (i.e., three segments occupying the same span of time in a Track) are not allowed, and if you attempt an edit that would result in a triple overlap SonicStudio HD will not execute it.

Creating Fades

By default, every Segment begins with an In Fade and ends with an Out Fade. SonicStudio HD allows you to create new crossfades, in effect creating new Segments that you can then move and edit individually.

To insert a Crossfade in a Segment:

1 Position the Edit Point where you want the Crossfade to occur.

2 Press CONTROL+G or select Edit > Create Crossfade.

SonicStudio HD “cuts” the sound at the Edit Point and inserts a Crossfade, creating two Segments from one.

To create a new Segment from a selection:

1 Drag to make a time range selection.

2 Press CONTROL+G or select Edit > Create Segment.

SonicStudio HD creates Crossfades at each end of the selection, forming a separate Segment. 3-4FADES

Editing Fades in the EDL

SonicStudio HD provides easy-to-use tools for making coarse adjustments to fades directly within the EDL. To use these tools, you can turn on SonicStudio HD’s Fade Tool in the Preferences dialog.

To turn on the Fade Tool:

1 Press COMMAND+5 or select Windows > Preferences.

2 Check the box labeled Fade Tool in the Editing Auto Tools area.

Tip: If you prefer to leave the Fade Tool Preference off, choose Edit > Editing Auto Tool Override or press CONTROL+A to toggle the current Fade Tool setting.

To edit a fade:

1 Zoom in on the fade region to magnify it, if desired. You can do this either by double-clicking near the fade to position the Playhead and pressing OPTION+DOWN ARROW, or by dragging across the fade to create a selection and pressing COMMAND+G.

2 Place your cursor over the fade. If the Fade Tool preference is on, the cursor changes to the Fade Tool, indicating that you are in fade editing mode. ¥ If the fade is an In Fade, it will highlight green. ¥ If the fade is an Out Fade, it will highlight red. ¥ If the fade is a Crossfade, you can select either fade for editing by pressing a modifier key:

COMMAND key selects the In Fade. OPTION selects the Out Fade. E DITING F ADES IN THE EDL 3-5

¥ While holding a modifier key, move the Fade Tool to the top of the affected fade. An up-arrow appears on the Fade Tool cursor, indicating that it affects the inner edge of the fade.

Fade Cursor

Figure 3-4 Moving the Inner Edge of an Out Fade

Drag left if editing an Out Fade or right if editing an In Fade. The inner edge of the fade moves, changing the fade’s duration. ¥ Similarly, while holding a modifier key, when you move the Fade Tool to the bottom of the affected fade, a down-arrow appears on the Fade Tool cursor, indicating that it affects the outer edge of the fade.

Fade Cursor Figure 3-5 Moving the Outer Edge of an Out Fade

Drag right if editing an Out Fade or left if editing an In Fade. The outer edge of the fade moves, changing the fade’s duration. 3-6FADES

¥ Move the cursor to the middle of the fade. The cursor changes to double left-right arrows, indicating that it affects the fade’s position on the timeline.

Fade Cursor

Figure 3-6 Moving the Entire Fade

Drag to move the fade left or right. When you are editing a Crossfade, both fades will move together unless you hold the COMMAND or OPTION key to select the In or Out Fade individually.

¥ With the cursor over the middle of the fade, press SHIFT. The cursor changes to up-down arrows, indicating that it affects the durations of both fades simultaneously.

Fade Cursor

Figure 3-7 Changing the Duration of Both Fades

Drag up or down to adjust the durations of the fades. E DITING F ADES IN THE EDL 3-7

¥ With the cursor over the middle of the fade, press SHIFT+OPTION. The cursor changes to double left-right arrows, with the top arrow red and the bottom arrow green, to indicate that it extends the fade left.

Fade Cursor

Figure 3-8 Extending the Crossfade to the Left

Drag left or right to adjust the left boundary of both fades.

¥ With the cursor over the middle of the fade, press SHIFT+COMMAND. The cursor changes to double left-right arrows, with the top arrow green and the bottom arrow red, to indicate that it extends the fade right.

Fade Cursor

Figure 3-9 Extending the Crossfade to the Right

Drag left or right to adjust the right boundary of both fades. 3-8FADES

DELETING CROSSFADES

The Delete Crossfade command clears an existing Crossfade. The command is only applied to Crossfades that are inserted in continuous audio. To delete a Crossfade:

1 Select a time region that contains the Crossfade you want to delete.

2 Choose Edit > Delete Crossfade. SonicStudio HD deletes the Crossfade contained in the selection.

Note: If the audio on either side of the fade is moved, Delete Crossfade will not function.

SELECTING FADE CURVES AND RECALLING FADE PARAMETERS WITH CONTEXTUAL MENUS

While editing fades in the EDL, you can CONTROL-click directly on a crossfade to bring up bring up a contextual menu that allows you to do the following: ¥ Select the Fade Curve for the crossfade (see "Selecting Fade Curves" on page 24 of this chapter for details). ¥ Recall default parameters for the fade ¥ Recall user-defined parameters from the Fade Library for the fade (see "Fade Library" on page 27 of this chapter for details). ¥ Write information about the selected fade to the Sonic Log file

When you are working with crossfades, you can limit the effect of contextual menu commands to either the In Fade (by holding the OPTION key) or the Out Fade (by holding the COMMAND key). U SING E DIT F ADE M ODE 3-9

Figure 3-10 EDL Fades Contextual Menu

Using Edit Fade Mode

In addition to the coarse controls for editing fades within the EDL, SonicStudio HD also provides a full-featured Edit Fade Mode (EFM). EFM affords powerful facilities to control the length of a fade, its shape, and the relationship of its start and end times to the edit location.

To enter Edit Fade Mode:

1 Drag across a fade to create a time selection or place the Edit Point within a fade or cross-fade.

2 Press COMMAND F or choose Edit > Enter Fade Mode.

The Edit Fade Mode window displays the following tracks: ¥ Out Fade Panel — This panel displays the fade out of a crossfade. Audio to the right of the Out Fade displays against a grayed background, indicating that it occurs after the fade and is not heard. If you are editing a fade-out, only the Out Fade panel will display. ¥ In Fade Panel — This panel displays the fade in of a crossfade. Audio to the left of the In Fade displays against a grayed background, indicating that it occurs before the fade and is not heard.If you are editing a fade-in, only the In Fade panel will display. ¥ Result Panel — This panel displays the Track containing the selected fade so you can see the results of your edits. 3-10 FADES

Result Panel

Out Fade Panel

In Fade Panel

Fade Editing Controls

Figure 3-11 The Edit Fade Mode Window U SING E DIT F ADE M ODE 3-11

SELECTIONS IN THE FADE PANELS

SonicStudio HD allows you to make selections in the Fade Panels for fade positioning, navigation and auditioning.

1 You can click anywhere in the In or Out Fade panel to set an Edit Point.

Edit Point

Figure 3-12 Setting an Edit Point in a Fade panel

You can also drag the Edit Point to position it precisely.

With Edit Points positioned in the panels, you can use the LEFT BRACKET and RIGHT BRACKET keys to move the In Fade or Out Fade, respectively, to the Edit Point positions.

2 You can drag in the In or Out Fade panel to make a time selection.

Time Selection

Figure 3-13 Making a Time Selection in a Fade panel

Time selections are useful for auditioning the underlying audio of a Crossfade. 3-12 FADES

AUDITIONING FADES

To audition either the In or Out Fade audio alone, clear the appropriate checkbox in the Fade Editing Controls area.

To audition selected audio:

1 Make a time selection in either or both Fade panels.

2 Designate a Panel to control the audition by clicking on its amplitude plot in the panel header. SonicStudio HD outlines the panel in red. You can also SHIFT-click to select both panels. When both panels are selected, the In Fade time selection controls the audition, but both panels play.

3 Press COMMAND + SPACEBAR or choose Play > Selection. SonicStudio HD plays the time interval that is selected in the designated panel, ignoring the Fade.

Here is a summary of the commands for auditioning Fades in SonicStudio HD (in all cases except SPACEBAR, the fade is ignored):

Command Shortcut Result

Audition Fade SPACEBAR Prerolls and plays the Fade to the end of the postroll interval.

Selection COMMAND + Plays the time interval that is selected in the designated Track. SPACEBAR

From Playhead OPTION + Plays the postroll interval from the Playhead position. SPACEBAR

Loop CONTROL + Prerolls and plays the Fade to the end of the postroll interval SPACEBAR repetitively. Stop play by pressing SPACEBAR.

To In Point F5 Prerolls and plays, stopping at the In Fade Edit Point.

From In Point F6 Plays the postroll interval, beginning at the In Fade Edit Point.

To Out Point F7 Prerolls and plays, ending at the Out Fade Edit Point.

From Out Point F8 Plays the postroll interval, beginning at the Out Fade Edit Point. U SING E DIT F ADE M ODE 3-13

Fade Editing Controls

SonicStudio HD’s Edit Fade Mode provides controls for direct manipulation of fade parameters by dragging them on-screen.

Fade Curve Fade Edit Point

Inner Edge Duration Control

dB Down Control

Fade Edit Point Outer Edge Overlap Control Duration Control

Figure 3-14 EFM Fade Editing Controls

FADE EDIT POINT

This vertical bar marks the time position in the segment where the fade is located. Normally, the In Fade and Out Fade Edit Points for a crossfade occupy the same timeline position. If they appear at different timeline positions, there is a Time Offset between the fades.

To move the Fade Edit Point:

1 Position the cursor over the Fade Edit Point in either the In Fade or the Out Fade panel. 3-14 FADES

The Fade Tool cursor changes to left-right arrows, indicating that it affects the Fade Edit Point position.

Fade Edit Point Fade Tool

Figure 3-15 Moving The Fade Edit Point

2 Drag to move the Fade Edit Point.

If you are editing a crossfade, both fades move, and the In Fade sound moves to retain its relationship to the Fade Edit Point (unless Lock Sound is selected; see "Global Fade Edit Modes" on page 19 of this chapter). If you hold the SHIFT key while dragging, only the Fade that you have clicked on moves. This establishes a Time Offset between the In and Out Fades.

Note: With Lock Sound off, eliminate any offset between the In and Out Fade when dragging the In Fade (snap In Fade audio to the Out Fade Edit Point) by pressing COMMAND + OPTION while dragging. U SING E DIT F ADE M ODE 3-15

DURATION CONTROLS

EFM provides separate Duration Controls for editing the Inner Edge and Outer Edge positions of the Crossfade.

To edit the inner edge position of a fade:

1 Place the cursor over the Inner Edge Control bead at the top of the fade.

An up-arrow appears on the Fade Tool cursor, indicating that it affects the Inner Edge of the fade.

Inner Edge Fade Tool

Figure 3-16 Moving the Inner Edge of the Fade

2 Drag left if editing an Out Fade or right if editing an In Fade. The Inner Edge of the fade moves, increasing the fade’s duration.

When you are editing either the In or Out fade of an overlapping Crossfade, the Outer Edge of the other fade moves as well, maintaining the same duration for both fades.

¥ To change the duration of each fade individually, hold the OPTION key while dragging.

¥ If you hold the SHIFT key while dragging, the fade duration changes symmetrically around the dB Down point. 3-16 FADES

To edit the outer edge position of a fade:

1 Place the cursor over the Outer Edge Control bead at the bottom of the fade.

A down-arrow appears on the Fade Tool cursor, indicating that it affects the Outer Edge of the fade.

Outer Edge Fade Tool

Figure 3-17 Moving the Outer Edge of the Fade

2 Drag right if editing an Out Fade or left if editing an In Fade. The Outer Edge of the fade moves, increasing the fade’s duration. U SING E DIT F ADE M ODE 3-17

DB DOWN CONTROL

EFM provides the capability to adjust the level at the fade’s dB Down point (located at the center of the fade’s duration).

To edit the dB Down Point:

1 Place the cursor over the dB Down control.

The cursor changes to up-down arrows, indicating that it affects the dB Down level.

dB Down Fade Tool

Figure 3-18 Adjusting the dB Down Value

2 Drag up or down to change the dB Down level.

When you are editing either the In or Out fade of an overlapping Crossfade, the dB Down point of the other fade moves as well, maintaining the same level relationship for both fades.

¥ To change the dB Down level of each fade individually, hold the OPTION key while dragging.

OVERLAP CONTROL

The Overlap control affects the time position of the fade with relation to its Fade Edit Point. 3-18 FADES

To adjust the Fade Overlap:

1 Position the cursor over the Overlap Control.

The cursor changes to left-right arrows, indicating that it affects the Fade Overlap.

Overlap Fade Tool Figure 3-19 Adjusting the Fade Overlap

2 Drag left or right to adjust the Fade Overlap. The fade moves against the Fade Edit Point position. When you are editing either the In or Out fade of an overlapping Crossfade, the position of the other fade moves in the reverse direction by default, preserving the Fade Edit Point. ¥ If you check Align Fades, both fades will move in the same direction, effectively adjusting the position of the crossfade with respect to the Fade Edit Point.

¥ To change the Overlap of each fade individually, hold the OPTION key while dragging. U SING E DIT F ADE M ODE 3-19

Global Fade Edit Modes

EFM provides five global Edit Modes that affect fade editing operations: Auto Zoom , Align Fade , Lock Sound, Power Lock, and Ripple Until Black . You can choose any of these options using the Global Mode checkboxes located at the bottom of the EFM window. You can also set defaults for these options in the Edit Fade Preferences.

Figure 3-20 Global Fade Edit Mode options

AUTO ZOOM

When Auto Zoom is selected, SonicStudio HD automatically zooms to accommodate edits that you make to the fade so as to preserve a consistent display. For example, if you extend the fade’s duration beyond the currently-displayed time range, SonicStudio HD will zoom out to show the entire fade.

ALIGN FADE

Align Fade Mode affects only the fade Overlap. When Align Fade is selected, changes to the Overlap value apply identically to both the In and the Out Fade, effectively changing the degree to which the crossfade overlaps the Fade Edit Point. When it is not selected, changes to the Overlap value cause the fades to move in opposite directions, effectively changing the amount that the fades overlap one another.

LOCK SOUND

Lock Sound mode affects the behavior of In Fade sound during fade edits. ¥ When Lock Sound is not selected, moving the Fade Edit Point causes the In Fade sound (and all sound occurring after it in the Track) to move on the timeline. This preserves the Fade In location on the In Fade segment. 3-20 FADES

¥ When Lock Sound is selected, the In Fade sound is “locked” against the timeline and does not move during fade edits.

POWER LOCK

Power Lock affects only cross-fades of the Exponential fade type. When Power Lock is enabled, the two fades are drawn so that each curve perfectly complements the other. The sum of the gains on each side of the fade equals unity.

RIPPLE UNTIL BLACK

Ripple Until Black mode affects the behavior of sound that occurs later in the In Fade Track. ¥ When Ripple Until Black is not selected, moving the Fade Edit Point moves the In Fade sound and all sound occurring after it in the Track . ¥ When Ripple Until Black is selected, only the sound of the In Fade Segment (and any subsequent Segments that crossfade without silence between them) moves against the timeline during fade edits. Segments that occur after a space of edited black (digital silence) remain locked against the timeline and do not move.

In addition to the global Edit modes, EFM also provides settings for auditioning fade material.:

NUDGE AUTO AUDITION

When Nudge Auto Audition is selected, SonicStudio HD plays the fade each time you nudge it. This allows you to hear the effect of fade edits without having to press play.

AUDITION BOTH

When only the In or Out fade is selected for editing, SonicStudio HD normally auditions only that fade. If Audition Both is selected, SonicStudio HD overrides the state of the In and Out checkboxes and plays both fades. This enables you to hear how edits made on one fade affect the crossfade as a whole. U SING E DIT F ADE M ODE 3-21

SETTING DEFAULT GLOBAL EFM MODES

You can set the default state for these Global Modes in the Edit Fade Preferences.

To set default Global EFM Modes:

1 Choose Windows > Preferences or press COMMAND+5.

2 Click the EFM Tools tab.

3 Select the modes that you want as your defaults when opening EFM. 3-22 FADES

Using the EFM Parameter Controls

When you enter Edit Fade Mode, SonicStudio HD displays controls that enable fine adjustments to the selected fade’s parameters

FADE PARAMETER SLIDER AND NUMERICAL DISPLAYS

SonicStudio HD features a single slider for adjusting multiple fade parameters. The Fade Parameter slider allows you to effect fine adjustments of each parameter by selecting its field in the Controls area.

Fade Parameter Slider

Fade Parameter Fields

Parameter Nudge Button

Figure 3-21 Fade Parameter Controls in the EFM window

¥ Duration — The Duration slider adjusts the length of the selected fade. To lengthen the fade symmetrically around the Fade Edit Point, press OPTION while dragging the slider. Fade Duration is expressed in seconds, and has a minimum value of 0.0021 seconds (2.1 milliseconds). ¥Overlap — The Overlap slider affects the degree to which the In and Out fades overlap one another (normal mode) or the Fade Edit Point (Align Fades mode). ¥ dB Down — The dB Down slider adjusts the amplitude at the dB Down point on the fade. The dB Down parameter affects only the Linear and Cosine fade types. U SING E DIT F ADE M ODE 3-23

¥ Alpha — The Alpha slider affects only Exponential fades, and controls the placement (in time) of the gain change produced by the Exponential envelope. Alpha is a dimensionless variable with a range of -1.0 to +1.0.

To adjust a fade parameter:

1 Click in the corresponding Parameter Field to select it or press TAB to move between fields.

2 Drag the Parameter Slider to adjust the parameter’s value. You can also type a numeric value from the computer keyboard.

To nudge a parameter value up or down by small increments, click + or - on the corresponding Parameter Nudge Button.

IN & OUT FADE SELECTORS

When editing Crossfades, you can choose to work on either the In or the Out Fade individually using these checkboxes in the EFM window. When both are selected, parameter adjustments apply to both the In and the Out fade. Pop-up menus also allow you to choose In & Out Fade curves.

Fade Selectors

Figure 3-22 Fade Selectors in the EFM window 3-24 FADES

SELECTING FADE CURVES

You can select the shape of the fade curves in two ways: by choosing a curve while you are working with the EFM Parameter Controls, or by choosing a curve while working directly on the fade.

To select a Fade Curve from the EFM Parameter Controls:

1 Click on either of the Fade Selector pop-ups in the lower right of the EFM window.

2 Select from the family of available curves:

Figure 3-23 Selecting a Fade Curve

To select a Fade Curve directly from a Fade:

¥ CONTROL-click anywhere on a fade in the EFM window. U SING E DIT F ADE M ODE 3-25

The EFM Contextual Menu appears:

Figure 3-24 The EFM Contextual Menu

In addition to selecting a Fade Curve, this menu also lets you select which Fade to edit, as well as select Global Fade Editing Modes.

TYPES OF FADE CURVES

There are three basic types of fade curves:

Linear Cosine Exponential

Figure 3-25 The Basic Fade Curve Types 3-26 FADES

The Cosine and Linear curves are modified by the dB Down slider, while the Exponential curve is modified by the Alpha slider. The remaining selections are variations of these basic fade curves, derived by changing these parameters: the Root versions of the Linear and Cosine curves are derived from their basic counterparts with dB Down set to 3.0, and the Alpha Exponential curve is an Exponential type with Alpha set to 1.0.

Root-Linear Root-Cosine Alpha-Exponential

Figure 3-26 Root and Alpha Fade Curve Types

NUDGING FADES

SonicStudio HD affords controls for nudging the position of the Fade Edit Point with respect to the Timeline.

Fade Nudge Buttons Nudge Values

SonicStudio HD provides three preset nudge values labeled A, B and C respectively.

The Fade Nudge Buttons for each of the Nudge Values move the selected fade forward and backward by their respective values (labeled A, B and C). U SING E DIT F ADE M ODE 3-27

You can edit these values directly in the EFM window or in the EFM Tools tab of the Preferences window. Nudge Values in the EFM window are edited by clicking in the field and typing, or using the +/- keys on the keypad to increment or decrement the selected value. This does not change the default Nudge A, B and C values in the EFM Preferences.

EDIT POINT OFFSET

Where the In and Out Fade Edit Points in a Crossfade lie at different points on the Timeline, there is an offset between them. You can set the amount of offset precisely by double-clicking in the Edit Point Offset box and typing the desired value. SonicStudio HD moves the In Fade by the specified amount.

SonicStudio HD displays the offset between the In Fade and Out Fade Edit Points in the current timecode units.

To eliminate an offset between fades:

¥ Click the Zero Offset Button next to the Edit Point Offset display.

Zero Offset Button

Figure 3-27 Edit Point Offset controls in the EFM window

Tip: You can also click to place an insertion point in any time field, then use the +/- keys of the keypad to increment/decrement the value.

FADE LIBRARY

SonicStudio HD provides a library for saving and recalling Fades, and includes the ability to save a Fade as the default. 3-28 FADES

Note: To see the new Fade Library functions, trash any existing Fade Library file from previous versions of SonicStudio HD. The Fade Library is stored in System Folder > Preferences > Sonic Preferences.

To save a fade as the Default:

1 In Edit Fade Mode, create a custom fade, then choose Fade Library > Save Custom Fade As

2 SonicStudio HD opens a Save Fade dialog. Type the Default name exactly as it appears in the Fade Library menu: ¥ DefaultCrossFade ¥ DefaultCrossFadeOut — This is the Out Fade of the default Crossfade. ¥ DefaultCrossFadeIn — This is the In Fade of the default Crossfade.

Note: You can save a Fade to or from black and call it DefaultOutFade or DefaultInFade, respectively, but neither Fade will be used as a default. In SonicStudio HD, the only default fade is the DefaultCrossFade and its respective In and Out Fade components. U SING E DIT F ADE M ODE 3-29

EFM Menu

SonicStudio HD has a dedicated EFM menu that has commands for every control in Edit Fade Mode. This menu is designed to facilitate scripting of common editing tasks by giving you access to each EFM control setting in the form of a menu command. This makes it simple to automate your editing steps with a scripting language such as AppleScript.

For details on scripting tasks, refer to the documentation for your scripting software.

Figure 3-28 The EFM menu 3-30 FADES

EFM Shortcuts

Here is a list of keyboard shortcuts for fade editing in SonicStudio HD:

Command Shortcut

Cancel a Fade edit ESCAPE

Edit only the Out Fade O

Edit only the In Fade I

Edit both Fades B

Toggle Lock Sound mode L

Move the In Fade Edit Point to the Edit Point location LEFT BRACKET

Move the Out Fade Edit Point to the Edit Point RIGHT BRACKET location

Nudge left SEMICOLON

Nudge right APOSTROPHE

Set the slider to maximum SLASH

Set the slider to minimum ASTERISK

Home to In and Out Fade Edit Points =

APPLY FADE PARAMETERS FROM THE FADE LIBRARY

To apply fade parameters from the Fade Library to the currently selected fade[s]

¥ OPTION+numerals 0–1 recall fades from the Fade Library.

Zero recalls the default fades and 1–9 correspond to items 1–9 in the user-defined area of the Fade Library. U SING E DIT F ADE M ODE 3-31

Note: This feature works only with the numeric keys along the top of the keyboard, not with the numeric keypad.

EXITING EDIT FADE MODE

To exit Edit Fade Mode:

¥ Click OK in the EFM Window, or press COMMAND+F.

SonicStudio HD exits EFM and commits your fade edits to the EDL. ¥ To exit EFM without saving your changes, click Cancel in the EFM Window or press ESCAPE.

SonicStudio HD exits EFM without saving your changes to the fade. 3-32 FADES 4 Digital Signal Processing

This chapter covers digital signal processing in SonicStudio HD, including: ¥ Using Equalization Filters ¥ Gain Overlay ¥ Applying Dither ¥ Varispeed on Input 4-2DIGITAL S IGNAL P ROCESSING

Using Equalization Filters

SonicStudio HD allows you to apply equalization filters to individual Tracks or groups of Tracks, at any point in the timeline, over any specified duration. Instances of equalization are referred to as Desk Events because filters are inserted in the Desk Strip signal path (see “Signal Flow in SonicStudio HD” on page xiii of the Preface).

Applying Equalization Desk Events

To apply an Equalization Desk Event:

1 Drag in the Track to create a time range selection, or click a Segment to select it. You can SHIFT-click to select contiguous Segments, or COMMAND-click to select discontiguous Segments.

2 Choose Windows > HDSP Manager or press COMMAND+6. SonicStudio HD displays the HDSP Manager window.

3 In the HDSP Processing pane, click the EQ tab. SonicStudio HD lists the available equalization plug-ins.

Available EQ Plug-Ins

Figure 4-1 The HDSP Manager EQ Pane U SING E QUALIZATION F ILTERS 4-3

Click on the plug-in you want to use, then drag it onto the Track. SonicStudio HD opens the Desk Event panel for the Track. SonicStudio HD applies the filter to the selected Track and all others in its Edit Group.

Note: There must be a selection in the Track when you drag the plug-in onto it. If there is no selection, the plug-in will not be applied.

Selected Segment

Bypass Box

Desk Event Panel

Desk Event

Figure 4-2 The Desk Event Panel

Figure 4-2 shows a Track with a single Desk Event applied to a Segment selection. The Event appears as a green bar in the Desk Event Panel. ¥ You can reposition the Desk Event by clicking on it and dragging it to a new location. ¥ You can change the Desk Event’s duration by dragging either of the small red handles that appear at its start and end points. ¥ You can bypass all of the Track’s Desk Events by checking the Bypass All box. 4-4DIGITAL S IGNAL P ROCESSING

To select a Desk Event panel:

¥ Click anywhere in the panel. The background highlights to indicate that it is selected.

¥ COMMAND-click to select multiple panels.

To select a Desk Event:

¥ Click anywhere on the Event. A yellow border appears around it. You can SHIFT-click to select contiguous events, or COMMAND-click to select discontiguous events. ¥ If the Desk Event panel is selected, you can also choose Edit > Select All or press COMMAND+A to select all of the Desk Events in a Track.

To deselect all Desk Events:

¥ With the Desk Event panel selected, choose Edit > Deselect All or press COMMAND+D.

To resize Desk Event Tracks:

1 Click anywhere in the Track to select it. The background behind the waveform darkens to indicate that the Track is selected.

2 COMMAND-click to select additional Tracks.

3 Press OPTION+1. The Track resizes to minimum.

4 Press OPTION+7. The Track resizes to maximum.

5 Use OPTION+2Ð6 to select intermediate Track sizes.

You can also choose Track > Resize Tracks > and select a Track size. U SING E QUALIZATION F ILTERS 4-5

Apply Filter to Selection

This shortcut lets you apply the currently selected filter from the HDSP Manager to the current time or segment selection.

To apply a filter:

1 Select a filter from the EQ tab list in the HDSP Manager.

2 Make a time or segment selection.

3 Press OPTION+F to apply the filter to the selection.

Note: To use this feature, the destination’s wave view track must be selected.

The Desk Events Menu

When you click in a Desk Event panel to select it, the following commands in the Desk Events menu becomes available:

Figure 4-3 The Desk Events Menu 4-6DIGITAL S IGNAL P ROCESSING

Bypass All Events — Choose this to bypass every event in the selected Desk Event panel.

Bypass Event — Choose this to bypass Events that you have selected by clicking on them.

Lock Event — Choose this to lock Events that you have selected by clicking on them. Locked Events cannot be moved, and their parameter settings cannot be changed.

Move Event — This submenu item has four options: ¥To Start of Selection — Moves the start of the Desk Event to the start of a Segment or Time selection in the Track. ¥To End of Selection — Moves the end of the Desk Event to the end of a Segment or Time selection in the Track. ¥ Start and End — These menu items bring up corresponding Move Events dialogs.

Figure 4-4 The Move Events Dialogs

Where — Click this pop-up to select Playhead, In Point or Out Point. SonicStudio HD loads the current location of the selected item into the Timebase display.

Move — Moves the Event Start or End to the location specified in the Timebase display. You can edit this value in the same manner as any other SonicStudio HD time display.

Cancel — Closes the dialog without changing the location of the Event. U SING E QUALIZATION F ILTERS 4-7

Copy and Paste Editing of Desk Events

SonicStudio HD supports standard Macintosh Cut, Copy, Paste and Clear commands for editing Desk Events.

There are four Paste commands for editing Desk Events:

Shortcut Edit Type

COMMAND+V Pastes the copied Desk Event(s) onto selected audio. If the original Desk Event duration is longer than the Selection, the pasted Desk Event duration will be constrained to the Selection duration.

SHIFT+OPTION+V Overlays the copied Desk Event(s) beginning at the start of the Selection. Selection duration is ignored.

COMMAND+SHIFT+V Pastes the copied Desk Event(s) at their original time and duration (time constrained). Any Selection in the audio is ignored.

OPTION+V Stretches the pasted Desk Event(s) duration to the full duration of the Selection.

To copy a Desk Event:

1 Click the Desk Event to select it. COMMAND-Click to select multiple Desk Events.

2 Press COMMAND+C or choose File > Copy.

SonicStudio HD copies the selected Desk Event(s) to the Clipboard.

To paste a Desk Event:

1 Make a Time or Segment Selection, or place the Edit Point where you want to paste the Event (unless you are doing a time-constrained paste).

2 Click in the Desk Event panel under the selected Track to select it.

3 Execute one of the four paste commands.

SonicStudio HD pastes the Desk Event(s) from the Clipboard. 4-8DIGITAL S IGNAL P ROCESSING

Filter Types and Parameters

PARAMETRIC FILTERS

A parametric filter (also sometimes called a presence filter) affects a defined region of the audio spectrum.

BW f

3 dB

Gain

- Frequency Figure 4-5 A Family of Parametric Response Curves

Three parameters define the characteristic of a parametric filter: ¥Frequency — This is the center frequency of the band affected by the filter, expressed in Hertz (Hz, or cycles per second). ¥ Boost/Cut — This is the gain of the filter at the center frequency, expressed in dB. If the value is negative, the filter attenuates (cuts) frequencies within its band; if the value is positive, it boosts them. U SING E QUALIZATION F ILTERS 4-9

¥Q — Q is a numerical value that describes the filter’s bandwidth as a function of its center frequency. Bandwidth is defined as the frequency span between the upper and lower -3 dB points in the filter’s response (expressed in Hz). The equation relating Q to bandwidth is:

f BW = Q

where BW is bandwidth and f is the center frequency.

Figure 4-6 Parametric Filter Parameters

Figure 4-6 shows SonicStudio HD’s Parametric Filter dialog.

Type — This pop-up allows you to choose any available filter type for the selected Desk Event.

Bypass — Clicking this button disables the current Desk Event.

Freq — This slider sets the center frequency of the filter. dB — This slider adjusts the gain of the filter at the center frequency (boost/cut).

Q — This slider adjusts the Q value and, hence, the filter’s bandwidth.

Nudge Buttons — The buttons at the right end of each slider allow you to make fine adjustments in the parameter values.

From/To — These fields display the start and end times for the selected Desk Event in the current timebase units. 4-10 DIGITAL S IGNAL P ROCESSING

SHELVING FILTERS

Shelving filters affect all frequencies above (high shelf) or below (low shelf) a given frequency (called the cutoff frequency). Three parameters define the characteristic of a shelving filter: ¥Frequency — This is the cutoff frequency of the filter. Cutoff frequency is defined as the -3 dB point in the filter’s response. ¥ Boost/Cut — This is the gain of the filter above (high shelf) or below (low shelf) the cutoff frequency, expressed in dB. If the value is negative, the filter attenuates (cuts) frequencies within the range that it affects; if the value is positive, it boosts them. ¥ Order — The order of a shelving filter is an integer value that affects the filter’s steepness. Shelving filters in SonicStudio HD can have an order of 1 (6 dB/octave) to 4 (24 dB/octave).

f f

3 dB 3 dB

0+ 0+

Gain Gain

- Frequency - Frequency Figure 4-7 Low (left) and High (right) Shelving Filters

Figure 4-7 shows the response characteristics of high and low shelving filters at three different orders. The dotted lines indicate the cutoff frequency for the lowest-order (least steep) filter. U SING E QUALIZATION F ILTERS 4-11

Figure 4-8 Shelf Filter Parameters

Figure 4-8 shows SonicStudio HD’s High Shelf Filter dialog (the Low Shelf dialog is identical).

Type — This pop-up allows you to choose any available filter type for the selected Desk Event.

Bypass — Clicking this button disables the current Desk Event.

Freq — This slider sets the cutoff frequency of the filter. dB — This slider adjusts the gain of the filter (boost/cut) above (high shelf) or below (low shelf) the cutoff frequency.

O — This slider sets the order of the filter and, hence, its steepness.

Nudge Buttons — The buttons at the right end of each slider allow you to make fine adjustments in the parameter values.

From/To — These fields display the start and end times for the selected Desk Event in the current timebase units. 4-12 DIGITAL S IGNAL P ROCESSING

HIGH AND LOW PASS FILTERS

High and low pass filters affect all frequencies above (low pass) or below (high pass) a given frequency (called the cutoff frequency). High and low pass filters are cut only: their purpose is to attenuate (or eliminate) spectral energy above or below a given frequency. Three parameters define the characteristic of a high or low pass filter: ¥Frequency — This is the cutoff frequency of the filter. Cutoff frequency is defined as the -3 dB point in the filter’s response. ¥ Cut — This is the gain of the filter above (low pass) or below (high pass) its cutoff, expressed in dB. This value is always negative; in SonicStudio HD it varies from -12 to -108 dB. ¥ Order — The order of a high or low pass filter is an integer value that affects the filter’s steepness. High and low pass filters in SonicStudio HD can have an order of 1 (6 dB/octave) to 4 (24 dB/octave).

f f

0 0 3 dB 3 dB

Attenuation Attenuation

∞ Frequency ∞ Frequency Figure 4-9 Low (left) and High (right) Pass Filter Characteristics

Figure 4-9 shows low and high pass responses for various settings of cut. The effect of the Order parameter on these filters is similar to that shown for shelving filters in Figure 4-7. U SING E QUALIZATION F ILTERS 4-13

Figure 4-10 High Pass Filter Parameters

Figure 4-10 shows SonicStudio HD’s High Pass Filter dialog (the Low Pass dialog is identical).

Type — This pop-up allows you to choose any available filter type for the selected Desk Event.

Bypass — Clicking this button disables the current Desk Event.

Freq — This slider sets the cutoff frequency of the filter. dB — This slider adjusts the attenuation of the filter above (low pass) or below (high pass) the cutoff frequency.

O — This slider sets the order of the filter and, hence, its steepness.

Nudge Buttons — The buttons at the right end of each slider allow you to make fine adjustments in the parameter values.

From/To — These fields display the start and end times for the selected Desk Event in the current timebase units. 4-14 DIGITAL S IGNAL P ROCESSING

BANDPASS FILTER

A bandpass filter passes only frequencies within a defined region of the audio spectrum, and rejects frequencies outside of that range. Three parameters define the characteristic of a bandpass filter: ¥Frequency — This is the center frequency of the band affected by the filter, expressed in Hertz (Hz, or cycles per second). ¥Q — Q is a numerical value that describes the filter’s bandwidth as a function of its center frequency (see "Parametric Filters" on page 8 of this chapter). ¥ Order — The order of a bandpass filter is an integer value that affects the filter’s steepness. Bandpass filters in SonicStudio HD can have an order of 1 (6 dB/octave) to 4 (24 dB/octave).

BW f

3 dB

Attenuation ∞ Frequency Figure 4-11 Bandpass Filter Response

Figure 4-11 shows a typical bandpass filter response curve. The dotted lines indicate the -3 dB frequencies of the filter, which define its bandwidth. U SING E QUALIZATION F ILTERS 4-15

Figure 4-12 Bandpass Filter Parameters

Figure 4-12 shows SonicStudio HD’s Bandpass Filter dialog.

Type — This pop-up allows you to choose any available filter type for the selected Desk Event.

Bypass — Clicking this button disables the current Desk Event.

Freq — This slider sets the center frequency of the filter.

Q — This slider adjusts the Q value and, hence, the filter’s bandwidth.

O — This slider sets the order of the filter and, hence, its steepness.

Nudge Buttons — The buttons at the right end of each slider allow you to make fine adjustments in the parameter values.

From/To — These fields display the start and end times for the selected Desk Event in the current timebase units. 4-16 DIGITAL S IGNAL P ROCESSING

BAND STOP FILTER

A band stop filter is the inverse of a bandpass: it eliminates frequencies within a defined region of the audio spectrum, and passes frequencies outside of that range. Three parameters define the characteristic of a band stop filter: ¥Frequency — This is the center frequency of the band affected by the filter, expressed in Hertz (Hz, or cycles per second). ¥Q — Q is a numerical value that describes the filter’s bandwidth as a function of its center frequency (see "Parametric Filters" on page 8 of this chapter). ¥ Order — The order of a band stop filter is an integer value that affects the filter’s steepness. Band stop filters in SonicStudio HD can have an order of 1 (6 dB/octave) to 4 (24 dB/octave).

Attenuation

3 dB ∞ Frequency

BW Figure 4-13 Band Stop Filter Response

Figure 4-13 shows a typical band stop filter response curve. The dotted lines indicate the -3 dB frequencies of the filter, which define its bandwidth. U SING E QUALIZATION F ILTERS 4-17

Figure 4-14 Band Stop Filter Parameters

Figure 4-14 shows SonicStudio HD’s Band Stop Filter dialog.

Type — This pop-up allows you to choose any available filter type for the selected Desk Event.

Bypass — Clicking this button disables the current Desk Event.

Freq — This slider sets the center frequency of the filter.

Q — This slider adjusts the Q value and, hence, the filter’s bandwidth.

O — This slider sets the order of the filter and, hence, its steepness.

Nudge Buttons — The buttons at the right end of each slider allow you to make fine adjustments in the parameter values.

From/To — These fields display the start and end times for the selected Desk Event in the current timebase units. 4-18 DIGITAL S IGNAL P ROCESSING

NOTCH FILTER

A notch filter eliminates frequencies within a very narrow region of the audio spectrum, and passes frequencies outside of that range. Notch filters are used to attenuate unwanted single-frequency signals such as AC line hum. Two parameters define the characteristic of a notch filter: ¥Frequency — This is the center frequency of the filter, expressed in Hertz (Hz, or cycles per second). ¥Q — Q is a numerical value that describes the filter’s bandwidth as a function of its center frequency (see "Parametric Filters" on page 8 of this chapter).

Attenuation

3 dB ∞ Frequency

BW Figure 4-15 Notch Filter Response

Figure 4-15 shows a typical notch filter response curve. The dotted lines indicate the -3 dB frequencies of the filter, which define its bandwidth. U SING E QUALIZATION F ILTERS 4-19

Figure 4-16 Notch Filter Parameters

Figure 4-16 shows SonicStudio HD’s Notch Filter dialog.

Type — This pop-up allows you to choose any available filter type for the selected Desk Event.

Bypass — Clicking this button disables the current Desk Event.

Freq — This slider sets the center frequency of the filter.

Q — This slider adjusts the Q value and, hence, the filter’s bandwidth.

Nudge Buttons — The buttons at the right end of each slider allow you to make fine adjustments in the parameter values.

From/To — These fields display the start and end times for the selected Desk Event in the current timebase units. 4-20 DIGITAL S IGNAL P ROCESSING

RIAA FILTERS

The RIAA filter characteristic is a pre-emphasis/de-emphasis standard developed for stereophonic vinyl records. RIAA filters are used to add high-frequency emphasis when the record is mastered; an inverse RIAA filter in the phonograph cartridge preamplifier restores flat frequency response when the record is played on a turntable.

In SonicStudio HD, the emphasis (mastering) filter is named RIAA; the de-emphasis (playback) filter is named De-RIAA.

Gain (dB) -10

-20

-30 20 50 100 500 1k 5k 10k 20k Frequency (Hz) RIAA De-RIAA Figure 4-17 RIAA Filter Response Curves

Figure 4-17 shows the response curves for the RIAA and De-RIAA filters. There are no adjustable parameters for these filters. U SING E QUALIZATION F ILTERS 4-21

EMPHASIS AND DE-EMPHASIS FILTERS

Similarly to the RIAA filters, the Emphasis and De-emphasis filters provide complementary high-frequency boost/cut functions for use, respectively, when recording and playing back digital audio signals. Unlike the RIAA filters, however, these filters do not affect low frequencies.

The original intention of pre-emphasis/de-emphasis in digital recording was to enhance signal-to-noise and headroom at the highest frequencies. The quality of modern digital-to-analog converters is so improved, however, that such processing is usually deemed unnecessary. Modern Compact Disc™ players retain the ability to detect an emphasis flag in PQ subcode and apply the corrective de-emphasis filter.

If you want to apply pre-emphasis to a selection, choose the Emphasis filter. If you want to remove pre-emphasis (as, for example, from legacy material), choose the De-Emphasis filter.

There are no adjustable parameters for these filters. 4-22 DIGITAL S IGNAL P ROCESSING

Choosing a Filter

To select a filter for a Desk event, double-click the Event. SonicStudio HD displays the Filter dialog.

Figure 4-18 SonicStudio HD Filter Dialog

Here, you can choose a filter from the Type pop-up.

When you select a filter, set its parameters and close the Filter dialog, SonicStudio HD updates the Desk Event display to show the filter type and parameter settings.

Figure 4-19 A Desk event Showing Filter Settings

To edit a Desk Event, double-click it. SonicStudio HD will re-open the Filter dialog. U SING E QUALIZATION F ILTERS 4-23

Double Precision Desk Filters

This option appears in the Preferences Editing Tools tab.

In addition to the XSonic EQ (Hi-Res), which can be accessed via the Plug-in manager, SonicStudio HD provides a preference for setting standard filters to double precision mode.

Besides the advantage of having the ability to switch between modes without changing parameters, this also allows the flexibility on single board systems to use double precision filters with Dither or use double precision filters with a single channel of Real-Time DeNoise. There is also double the amount of double precision filters available by using this new option in conjunction with the XSonic EQ (Hi-Res) filters that utilize another DSP.

When the preference is switched, the filters will use the selected option on the next playback.

Note: When standard filters are set to double precision mode, the number of available filter orders is halved.

¥ DSP allocation works as follows:

Standard Filters Double Precision Filters

44.1/48 kHz 8 orders per track 8 orders per track 32 orders per DSP: 16 orders per DSP: (32 orders for tracks 1–4, 32 (16 orders for tracks 1–4, 16 orders for tracks 5–8) orders for tracks 5–8)

88.2/96 kHz 8 orders per track 8 orders per track 16 orders per DSP: 8 orders per DSP: (16 orders for tracks 1–4, 16 (8 orders for tracks 1–4, 8 orders orders for tracks 5–8) for tracks 5–8)

176.4/192 4 orders per track Not supported at this time. kHz 8 orders per DSP: (4 orders for tracks 1–4, 4 orders for tracks 5–8) 4-24 DIGITAL S IGNAL P ROCESSING

Gain Overlay Mode

SonicStudio HD allows you to automate dynamic gain changes with Gain Overlay mode.

To enter Gain Overlay mode:

¥ Click in a Track to select it and choose Desk Events > Show Gain Overlay.

SonicStudio HD shows the Gain Overlay display for the selected Tracks.

Gain of Selected Node

Amplitude Gain Scale Overlay Gain Node Selected Node (Yellow)

Figure 4-20 Gain Overlay display in a Track

Gain Overlay affects all Tracks in the Edit Group. While in Gain Overlay mode, Auto Tools and audio editing with the mouse are disabled. You can restore them by choosing Desk Events > Hide Gain Overlay.

A red line indicates gain with reference to an amplitude scale in the Track header. Nodes — inflection points in the Gain line — appear as small white boxes on the line. Selected Nodes are yellow. When a Node is selected, its gain value appears in a small yellow text field above the Segment.

When a track contains Gain Overlay Nodes set to gain values other than zero, the Nodes and the red line change to gray when you hide Gain Overlay. G AIN O VERLAY M ODE 4-25

Editing in Gain Overlay Mode

In Gain Overlay Mode, when you make a Time selection or select a Segment, the selection is shown with a gray background to indicate that edits will apply to the Gain Overlay information. In this mode, Delete and Clear edits are applied to the Gain Overlay, not to the audio.

Figure 4-21 Track with Selection in Gain Overlay Mode active(bottom), and inactive(top).

To create a Gain Node:

1 Position the cursor over the Gain line. The cursor turns into a small circle, indicating that it can create a Node.

2 Click the Gain line. SonicStudio HD creates a new Node at that position.

Circle Cursor for Creating Nodes

Figure 4-22 Creating a Gain Node in Gain Overlay mode 4-26 DIGITAL S IGNAL P ROCESSING

You can also make a time or Segment selection and choose Desk Events > Create Gain Nodes. SonicStudio HD creates a node at each end of the selection.

To delete a Gain Node:

¥ OPTION-click the Node.

You can also drag to create a time selection containing one or more Nodes and press DELETE or choose Edit > Delete Selection.

To select a Gain Node:

¥ Click on the Node.

You can also drag to create a time selection containing one or more Nodes and choose Desk Events > Select Gain Nodes.

To select all Nodes, press COMMAND+A or choose Edit > Select All.

To deselect all Nodes, press COMMAND+D or choose Edit > Deselect All. G AIN O VERLAY M ODE 4-27

To move a Gain Node:

1 Position the cursor over the Node. If the Node can be moved in any direction, the cursor changes to the Move Node cursor.

Move Node Cursor

Figure 4-23 Moving a Gain Node in Gain Overlay mode

2 Click on the Node and drag it.

SonicStudio HD displays the Node’s Gain in a yellow text field above the Segment, and its timeline position in the Project window’s main timecode field. 4-28 DIGITAL S IGNAL P ROCESSING

To change the Gain only:

1 Position the cursor over the Node and hold the SHIFT key. If the Node can be moved, the cursor changes to the Constrained Move Node cursor.

Constrained Move Node Cursor Figure 4-24 Moving a Gain Node vertically

2 Click on the Node and drag it.

SonicStudio HD displays the Node’s Gain in a yellow text field above the Segment, and its timeline position in the Project window’s main timecode field.

¥ Hold the CONTROL key to change the Gain with 0.1 dB resolution. ¥ To nudge the Gain of a selected Node in 1 dB increments, press the +/- keys on the keypad.

¥ To nudge the Gain of a selected Node in 0.1 dB increments, hold the CONTROL key and press the +/- keys on the keypad. G AIN O VERLAY M ODE 4-29

To move two or more Nodes at once:

1 Create a segment or time selection that contains the Nodes.

2 Choose Desk Events > Select Gain Nodes.

3 Position the cursor over any selected Node. The cursor changes to the Constrained Move Node cursor. Click on the Node and drag it.

SonicStudio HD displays the absolute gain of the Node and the relative gain change for all other selected Nodes.

Absolute Gain of Relative Gain of Node Being Moved Other Selected Nodes

Constrained Move Node Cursor

Figure 4-25 Moving multiple Gain Nodes

To bypass Gain Overlay:

¥ Choose Desk Events > Bypass Gain Overlay.

SonicStudio HD displays the Gain Overlay as a gray line and disables gain changes during playback. You can re-activate Gain overlay by choosing Desk Events > Activate Gain Overlay. 4-30 DIGITAL S IGNAL P ROCESSING

Including Gain Overlay Nodes in Audio Edits

When editing, you can set Gain Overlay Nodes so that they are included with the audio when it is copied to the clipboard.

To include Gain Overlay Nodes in audio edits:

1 Choose Windows > Preferences or press COMMAND+5, and click the EDL tab.

2 In the Edit with Audio area, select Gain Overlay.

With this option selected, Gain Overlay Nodes will be included with associated audio when an edit copies the audio to the clipboard..

Locking Gain Overlay Nodes to the Timeline

You can lock Gain Overlay Nodes in place so that they will not move with their associated audio when the audio is deleted, cleared or rippled.

Figure 4-26 Locked and UnLocked Gain Overlay nodes. G AIN O VERLAY M ODE 4-31

To lock one or moreGain Overlay Nodes:

1 Select a time region or segment containing the Gain Overlay Nodes that you want to lock.

2 Choose Desk Events > Lock Nodes from Selection, or CONTROL-click on a Gain Overlay Node in the selection, and choose Lock Nodes from Selection from the contextual menu that appears. The Nodes are displayed with red borders to indicate that they are locked.

3 To Unlock the Gain Overlay Nodes in the Selection, choose Desk Events > Unlock Nodes from Selection, or CONTROL-click on a Node in the selection, and choose Unlock Nodes from Selection from the contextual menu that appears.

To lock all Gain Overlay Nodes in a track:

1 Click in the track containing the Gain Overlay Nodes that you want to lock.

2 Choose Desk Events > Lock All Nodes in Track, or CONTROL-click on a Gain Overlay Node in the track, and choose Lock All Nodes in Track from the contextual menu that appears. The Nodes are displayed with red borders to indicate that they are locked.

3 To Unlock the Gain Overlay Nodes in the Track, choose Desk Events > Unlock All Nodes in Track, or CONTROL-click on a Node in the track, and choose Unlock All Nodes in Track from the contextual menu that appears.

To lock all Gain Overlay Nodes in an Edit Group:

1 Click in any track belonging to the same Edit Group as the track containing the Gain Overlay Nodes that you want to lock.

2 Choose Desk Events > Lock All Nodes in Edit Group or CONTROL-click on a Gain Overlay Node in the Group, and choose Lock All Nodes in Edit Group from the contextual menu that appears. The Nodes are displayed with red borders to indicate that they are locked. 4-32 DIGITAL S IGNAL P ROCESSING

3 To Unlock the Gain Overlay Nodes in the Edit Group, choose Desk Events > Unlock All Nodes in Edit Group, or CONTROL-click on a Node in the group, and choose Unlock All Nodes in Edit Group from the contextual menu that appears.

Note: When playing multiple EDLs, Gain Overlay is only processed in the first EDL to play. When slaving EDLs to each other, only the Master EDL process’ Gain Overlay.

Contextual Menu Support for Gain Overlay Nodes:

The CONTROL modifier when mousing over a node brings up the Contextual Menu for Gain Overlay nodes. From this menu you can: ¥ Set the Lock mode for the node ¥ Lock or Unlock all nodes in a track ¥ Lock or Unlock all nodes in an Edit Group

Figure 4-27 Fig. 01: The Gain Overlay Contextual Menu. G AIN O VERLAY M ODE 4-33

To lock /unlock a Gain Overlay Node:

1 CONTROL-click directly on the Gain Overlay Node that you want to lock.

2 Choose Gain Overlay Node Locked from the contextual menu that appears. The Node is displayed with a red border to indicate that it is locked.

3 To Unlock a Gain Overlay Node, choose Gain Overlay Node Unlocked from the contextual menu.

¥ Gain Overlay in Background: when a track contains Gain Overlay nodes set to gain values other than zero, the overlay is displayed in gray when the Gain Overlay is hidden. ¥ Time/Segment Selection Highlighting: with Gain Overlay displayed, Time/Segment selections in the track are now displayed with a gray background to indicate that the selection does not have precedence for editing. Delete/Clear edits in this state will be applied to the Gain Overlay, not the audio.

Figure 4-28 Fig. 02: Gain Overlay in the foreground and background. 4-34 DIGITAL S IGNAL P ROCESSING

Using Dither

What is Dither?

Dither is noise that is added to a digital audio signal to eliminate quantizing errors and distortions produced by bit-depth truncation.

When sound is converted to the digital domain, a continuously-changing analog signal is represented by a series of discrete steps encoded as digital numbers. This process is called quantizing . Because each digital quantity represents a range of analog values, quantizing introduces errors when the signal is converted back to analog: regardless of the actual input value a particular number represents, the digital-to-analog converter output for that number is always the same.

All voltages in this range...

...are represented by this voltage

01101

01100

01011

01010

Quantizing Nominal Interval Voltage

oltage 01001 oltage V V

Time Time

Analog Signal Quantizing ADC Output

Figure 4-29 Quantizing Error U SING D ITHER 4-35

If the analog input signal is complex (like the sound of an orchestra) and of sufficient amplitude to use most or all of the converter’s bits, the quantizing error is noise-like and is masked by the much stronger music signal. But if the input signal is relatively simple (like a solo flute) and/or low in level, quantizing errors produce distortion products (which are not only objectionable themselves, but can also alias with the sampling rate to produce audible modulation products).

Modulating the LSB (least significant bit) of the digital stream with a random signal substantially eliminates these errors. This process is called dithering . The added noise sets the signal-to-noise ratio of a 16-bit system to approximately 96 dB — but, because we can hear below the noise level, the audible dynamic range of a properly-dithered 16-bit system can be as great as 115 dB. Dither therefore has the effect of preserving fine sonic details, such as reverberation tails, in material mastered for Compact Disc.

Dither must also be applied whenever the bit depth of a digital audio signal is reduced: simply truncating the lowest bits can produce audible artifacts. This can occur not only when mastering 24-bit High-Density Audio™ material to 16-bit Compact Disc, but also when executing any DSP operation such as a crossfade, gain change or equalization. Here, too, adding a small noise signal to modulate the LSB eliminates the problem.

Though it increases the effective dynamic range, dither adds noise at a potentially audible level. For this reason, many dithering techniques shape , or equalize, the dither signal to decrease energy in the mid frequencies, where the ear is most sensitive.

TYPES OF DITHER IN SONICSTUDIO HD

When you activate dither, SonicStudio HD applies output dither to all monitoring and dump operations, including dumping to CD-R, Jam file or DDP-format Exabyte tape. Four dither types are available: ¥ Flat — In flat dither, the noise signal has equal energy at each frequency (white noise). Flat is the most audible type of dither. ¥ Second Order — Second-order dither uses a noise signal that is 3 dB lower than Flat in the low frequencies, and 3 dB hotter than Flat at the highest frequencies. This weighting reduces the audibility of the noise to a degree. 4-36 DIGITAL S IGNAL P ROCESSING

¥Turbo Bitmapping — Turbo Bitmapping, Sonic Solutions’ own dithering algorithm, affords myriad options for fine-tuning the dither to suit particular characteristics of program material. Turbo Bitmapping supports two-channel output at up to 24-bit precision. ¥ Sony Super Bitmapping — SBM is a fixed-level dither generator that uses noise with a fixed spectral response as defined by Sony Corporation. SBM supports only two-channel output at 16-bit precision.

There are no user-adjustable parameters in SBM, merely the choice of SBM 1 or SBM 2. The significant difference between the two is that SBM 1 carries an additional noise component.

Note: Each dither option acts differently with different types of program material. You may need to experiment with them to achieve the results that you desire.

Applying Dither

In SonicStudio HD, dither is available as a global HDSP plug-in.

To apply dither:

1 Choose Windows > HDSP Manager or type COMMAND+6. U SING D ITHER 4-37

SonicStudio HD displays the HDSP Manager window:

Figure 4-30 The HDSP Manager Window

Available plug-ins are listed in the HDSP Processing panel. In Figure 4-30, the only available plug-in is Global Dither.

2 Double-click Global Dither or drag it to the Active Global Plug-Ins panel.

3 When Global Dither appears in the Active Plug-Ins panel, double-click it to select the type of dither you want to use. 4-38 DIGITAL S IGNAL P ROCESSING

SonicStudio HD displays the Dither window:

Figure 4-31 The Dither Window

4 Select a dither type by clicking on its tab at the top of the Dither window.

To remove the dither plug-in:

1 Choose Windows > HDSP Manager or type COMMAND+6.

2 Select the plugin from the Active Global Plug-ins area.

3 Choose delete or drag the plug-in back to the Global plug-in area.

DITHER PARAMETERS

Flat, Second Order and Sonic Turbo Bitmapping feature adjustable parameters that determine how dither affects dumps: ¥ Total dither energy ¥ Turn-off delay ¥ Bit width U SING D ITHER 4-39

Turbo Bitmapping adds a fourth adjustable parameter: ¥ High-frequency weight

Flat Second Order

Sonic Turbo Bitmapping Sony Super Bitmapping 4-40 DIGITAL S IGNAL P ROCESSING

Figure 4-32 Dither Parameters

Total Dither Energy

This parameter controls the level of dither noise. A value of zero turns off dither, and a setting of 100% corresponds to one-half the quantizing interval (theoretically, the ideal value). The maximum dither energy value is 1000%.

Turn-Off Delay

While dither greatly reduces distortion for quiet signals, it is a noise signal that can become audible in periods of silence. SonicStudio HD automatically senses silence and turns off the dither signal after a delay that is determined by this parameter. Turn-Off Delay ranges from zero to 999 seconds.

Bit Width

This parameter sets the precision of the dithered signal. The default is 16 bits, and the parameter ranges from eight to twenty-four bits.

High-Frequency Weight

Available only in Sonic Turbo Bitmapping, this parameter adjusts the frequency contour of the dither noise. The default value of zero is least perceptible to the human ear. As you adjust the slider toward its maximum value of 1.0, Turbo Bitmapping shifts the spectrum of the dither signal toward the hearing range. Through delicate manipulation of this parameter, you can color the dithered sound to your taste.

Bypass

Click this button to toggle the dither function in and out. V ARISPEED/SRC ON I NPUT 4-41

Varispeed/SRC on Input

SonicStudio HD includes options for Sample Rate Conversion on Input/Varispeed on Playback. This option is available in the Windows menu. ¥ SRC on input lets you convert the input sample rate to a different Target Rate. ¥ Varispeed on Playback changes the current sample rate, thus changing the playback speed.

Note: SRC on input is currently limited to line inputs 1-2 only.

To use Varispeed/SRC on Input:

1 Set the Target Rate in the Sample Rate Conversion window to the desired target rate. 4-42 DIGITAL S IGNAL P ROCESSING

Note: This window marks a change in our UI background color. Due to a large number of requests for a less fatiguing color scheme, we have decided to include this new window in a gray background. Please contact us at [email protected] to give us your opinion. We hope to gradually change all windows to this color scheme if it is popular with our users.

2 Click the Sample-Rate Conversion button to toggle it to ON.

These parameters let you control the sample rate conversion process:

Parameter Description

Target Rate The intended output sample rate

Custom Conversion Sets the ratio to a specific value. Ratio Enter the desired ratio and select Custom in the Target Rate pop-up menu.

The sample rate conversion process begins by applying a high-precision digital filter to create a “decimated” version of the original audio data. This version is then resampled at the target sample rate to create an accurate interpolation between data points. V ARISPEED/SRC ON I NPUT 4-43

The following parameters give you precise control over the application of this filter.

Parameter Description

Kaiser-Bessel In the type of digital filter used for sample rate conversion, there is a Parameter trade-off between the sharpness of the filter and the amount of [Filter Sharpness attenuation in the stopband. SonicStudio HD uses a Kaiser window Beta] implementation that has a constant, ß (Beta), which defines this trade-off.

Lower values for the Beta parameter mean a sharper cutoff but less attenuation in the stopband, whereas higher values translate into a more gentle rolloff with more optimal stopband attenuation.

A low value for Beta may result in aliasing problems caused by the reflection of signal components below the Nyquist frequency into the trans-Nyquist region. Setting the Beta to a high value, on the other hand, will broaden the transition band, and could result in problems with frequencies that are near the filter cutoff point but below the Nyquist frequency.

Gain in dB The decimation filter is an FIR type, a multi-tap delay that approximates the [DC Level Gain] response of the ideal filter. Because the decimation calculations must be performed in real time, the number of taps available for the filter is limited, and the theoretically infinite impulse response must be abbreviated.

Even with the Kaiser-Bessel windowing, there may still be some amplitude overshoot for signals with significant high-frequency content. This overshoot is known as the “Gibbs Phenomenon.” It may be necessary to drop the overall amplitude by a few dB to prevent overload during transients. The DC Level Gain parameter reduces gain at the input of the conversion to prevent this clipping. This reduces the overall level of the converted audio.

If the source material does not contain strong high frequencies, you can set the DC Level Gain to a value of “1,” resulting in unity gain, without adversely affecting audio. 4-44 DIGITAL S IGNAL P ROCESSING

Parameter Description

Filter Cutoff The maximum value for the decimation filter’s cutoff frequency is the Frequency source’s Nyquist frequency, which is 1/2 the sample rate. The actual [Filter Frequency 3 dB cutoff frequency used for the filter is expressed as a multiple of the point] Nyquist rate.

Although the system lets you set this parameter from 0 to 1.0, normal values are in the range from .9 to 0.95. For example, the default of 0.9070295 is set for conversion from 48 kHz or 44.1 kHz source material. The minimum cutoff frequency of the filter in kilohertz is then:

(44.1 × 0.5) × 0.9070295 = 20.000 kHz

A slightly lower factor could be used for the 48 kHz sample rate, while keeping the filter cutoff at or above 20 kHz.

Maximum # of The window size presents a three-way trade-off between the accuracy of Multiples conversion ratio, filter response, and signal processing power required. [Window Size] The greatest accuracy of conversion ratios is provided by low window size. Higher values yield better performance in the decimation filter at the expense of a larger error factor (% difference) in the conversion factor realized versus that requested.

In addition, higher values for Maximum # of Multiples consume larger amounts of processing power. Depending on the conversion ratio requested, this can result in the HDSP engine being unable to deliver the requested conversion in real time.

If the HDSP engine falls behind, the resulting audio will have clicks. These maybe eliminated by reducing the number of multiples.

The following status info is reported at the bottom of the window: ¥ Desired Ratio: The intended ratio. ¥ Actual Numerator: In some cases the exact ratio cannot be processed. In these cases the closest possible numerator will be used and reported here. V ARISPEED/SRC ON I NPUT 4-45

¥ Actual Denominator: In some cases the exact ratio cannot be processed. In these cases the closest possible denominator will be used and reported here. ¥ Actual Ratio: In some cases the exact ratio cannot be processed. In these cases the closest possible ratio will be used and reported here. ¥ External Sample Rate: The sample rate of the incoming clock.

There is also a simulated LED next to the ON/OFF button that indicates the state of processing: ¥ Red: SRC/Varispeed is ON but not doing anything ¥ Green: SRC/Varispeed is processing the exact ratio you requested ¥ Yellow: SRC/Varispeed is processing, but it cannot implement the exact ratio you specified

Note: The only situations where SRC/Varispeed would be ON but not processing are: if you have a ratio that simply cannot be implemented (in which case an error message will appear at the top of the window); or if the conversion ratio is exactly one, since that indicates no conversion is required. 4-46 DIGITAL S IGNAL P ROCESSING 5 Delivery

This chapter provides information on delivering a finished Project, including: ¥ Placing and Editing PQ subcode marks ¥ Delivering your Project to CD-R, DDP Tape, Disc Image File or Timed Tape ¥ Flowthrough ¥ Export to AIFF files 5-2DELIVERY

PQ Editing

SonicStudio HD provides a simple and intuitive environment for creating masters for Compact Disc production. Its basic PQ editing tools allow you to place and edit subcode marks for finished CD masters.

About PQ Subcode

The data on a Compact Disc include subcode information that tells the CD player where each Track is located. The cueing and programming features of CD players depend upon this information. The format for PQ subcodes is specified by the Sony/Philips Red Book standard for Compact Discs.

SonicStudio HD supports three basic PQ mark types:

Track Start — The Track Start mark tells the CD player where each track on the CD begins.

Track End — The Track End mark tells the CD player where the pause interval begins.

Index — Index marks can be placed within a track to locate specific points.

Placing PQ Marks

The stereo Tracks for your Compact Disc must be the top two Tracks in the EDL. PQ marks are placed in the Timeline above the Tracks in the Destination EDL.

TRACK START MARKS

Track Start (Index 1) marks indicate the start of the track. Index 1 is where the player will start playing when it skips to the track.

The Red Book standard requires at least 4 seconds between consecutive Track Start marks, so you cannot have a track that is less than 4 seconds long. PQ EDITING 5-3

To place a Track Start mark:

1 Click in the Track to place the Edit Point where you want the mark.

2 Choose EDL > New Mark > Track Start Mark or press F9.

SonicStudio HD places a start mark at the Edit Point location. Track Start Mark

Figure 5-1 A Track Start Mark

TRACK END MARKS

The Track End mark indicates the start of the pause interval between tracks on a CD. When the player encounters the Track End mark, it begins counting backwards until it encounters the next Track Start.

To place a Track End mark:

1 Click in the Track to place the Edit Point where you want the mark.

2 Choose EDL > New Mark > Track End Mark or press F10. 5-4DELIVERY

SonicStudio HD places an end mark at the Edit Point location.

Track End Mark

Figure 5-2 A Track End Mark

DIGITAL BLACK TO MARKS

SonicStudio HD provides a simple means for automatically placing Track Start and Track End marks around Segments in a Track that are separated by areas of edited silence (also called digital black).

To place Track Start and Track End marks:

1 Drag across the desired Segments to make a time range selection that includes them.

2 Select EDL > Digital Black to Marks.

SonicStudio HD places a Track End mark at the beginning, and a Track Start mark at the end, of each digital black area. PQ EDITING 5-5

ANALOG BLACK TO MARKS

The Analog Black to Marks command places Track Start and End PQ marks at the beginning and end of areas of sound in the Track that are separated by analog silence. The command brings up a dialog in which you can set the threshold for determining analog silence boundaries:

Figure 5-3 Analog Black to Marks dialog

INDEX MARKS

You can place a maximum of 99 Index marks in a single track. The Red Book standard requires that the last Index in a track be at least 4 seconds from the track end. There is no restriction on how close together Index marks can be, but some players cannot find Index points that are less than one second apart. Many players do not cue to Index points, so they should not be used to mark essential points in the track.

To place an Index mark:

1 Click in the Track to place the Edit Point where you want the mark.

2 Choose EDL > New Mark > Index Mark or press F11. 5-6DELIVERY

SonicStudio HD places an index mark at the Edit Point location.

Index Mark

Figure 5-4 An Index Mark

Tip: You can also place Start, Index and End Marks during playback by pressing the appropriate Function key where you want the Mark. The Mark will drop at the current Playhead position.

DRAGGING MARKS

You can also drag marks to change their positions in the timeline.

To move a mark:

¥ OPTION-Click on the mark and drag it to the desired location.

DELETING MARKS

To delete a PQ Mark:

1 Drag to make a time range selection that includes the Mark.

2 Choose EDL > Delete Mark or press F12. PQ EDITING 5-7

LOCKING PQ MARKS TO THE TIMELINE

You lock PQ Marks in place in the timeline so that they will not move with their associated audio.

The following commads are available in the EDL menu to edit the lock status for one or more PQ marks: ¥ Lock Marks from Selection ¥ UnLock Marks from Selection ¥ Lock All Marks ¥ UnLock All Marks

PQ Marks Lock Status Display:

PQ Marks in the timeline indicate they are locked with a red border.

Fig. 07: PQ Lock Status highlighting.

Contextual Menu Support for PQ Marks:

The following commands are available when CONTROL+clicking on a PQ mark in the timeline: ¥ PQ Mark Locked: Locks the selected Mark to the timeline. 5-8DELIVERY

¥ PQ Mark UnLocked: UnLocks the selected Mark to the timeline. ¥ Lock Marks from Selection: This command sets the Lock status of all Marks within a selection to Lock. ¥ UnLock Marks from Selection: This command sets the Lock status of all Marks within a selection to UnLock. ¥ Lock All Marks: This command sets the Lock status of all Marks in the EDL to Lock. ¥ UnLock All Marks: This command sets the Lock status of all Marks in the EDL to UnLock.

Figure 5-5 PQ Mark Contextual Menu

To lock a PQ Mark:

1 CONTROL-click directly on the PQ Mark that you want to lock.

2 Choose PQ Mark Locked from the contextual menu that appears.

3 To Unlock a PQ Mark, choose PQ Mark Unlocked from the contextual menu. PQ EDITING 5-9

To lock multiple PQ Marks:

1 Select a time region or segment containing the PQ Marks that you want to lock.

2 CONTROL-click directly on any PQ Mark in the selection and choose Lock Marks from Selection from the contextual menu that appears.

3 To Unlock the PQ Marks in the selection, choose Unlock Marks from Selection from the contextual menu

To lock all PQ Marks in an EDL:

1 CONTROL-click directly on any PQ Mark in the EDL.

2 Choose Lock All Marks from the contextual menu that appears.

3 To Unlock the PQ Marks in the Track, choose Unlock All Marks from the contextual menu.

Viewing and Editing Mark Information

To view the mark information:

1 Use Windows > Show Mark Info, COMMAND+3 or double-click a mark.

2 SonicStudio HD displays the Mark Info window. This window lists all of the marks in the EDL and displays information about them. To display and edit information for a particular mark, click its name in the PQ Log area.

OFFSET CONTROLS

Offsets compensate for the cueing times of CD players. The default values work for almost all applications. 5-10 DELIVERY

Start Offset — It takes a typical CD player between two and twenty frames to start producing sound after it has located the Track Start mark. The Start Offset ensures that the beginning of the track will not be clipped by the player.

End Offset — The End Offset prevents the player from muting too early at the end of the track.

Figure 5-6 The Mark Info Window PQ EDITING 5-11

Splice Offset — The Splice Offset applies to splices between two tracks, and it ensures that neither the end of the first nor the beginning of the second is clipped by the player. The PQ Splice Offset must always be shorter than the Start Offset.

Track 1 Offset — This value sets the offset for Track 1. The sound moves by the value that you set.

Minimum Index Width — This sets the minimum time between Index marks. Index marks should be at least 1 second apart. End marks that are closer to the Start than the Minimum Index Width are ignored.

Display with Offsets — Click this button if you want to see the mark position where it will actually be written to the CD.

Disable Offsets — Click this button if you want to disable offsets and use only the timing information of the EDL.

UPC/EAN CODE

This is the Product Code for the disc. The UPC is an inventory tracking code for retailers. EAN is the European version of the UPC. UPCs are assigned by the Uniform Code Council.

MARK TYPE & LOCATION

This panel displays specific information about the Mark that is highlighted in the PQ Log listing.

Type — The Mark type (Track or Index) displays here, and you can use this pop-up menu to change the Mark type.

Time — This is the Timecode location of the Mark.

Offset — This is the offset setting for the Mark.

Default — This button selects the default offset setting. 5-12 DELIVERY

ISRC Code —International Standard Recording Code. This is a digital number that uniquely identifies the disc, and contains information about the recording (country code, owner code, year of recording and serial number). Commercial releases require an ISRC code.

Copy Enable Flag — Disable this option to enable the copy flag. When the copy flag is set, certain digital recorders (those that respond to the copy flag) will not copy your recording.

Emphasis Flag — Click this to set the emphasis flag. Use the emphasis flag only if you have applied pre-emphasis to the Track.

Lock — This button locks the Mark to the Timeline. Unlocked marks move when the sound in the EDL Track moves; locked marks are locked to their timeline position and do not move.

PQ Log and Track Info

This panel displays a list of all Marks in the Track, together with the number of Tracks in the Group and its total length. To see all the settings for a specific Mark, click its entry in the PQ Log listing.

To print a PQ Log:

1 Select Windows > Show Mark Info or press COMMAND 3.

2 Click the Delivery Info tab.

3 In the Source area of the window, click PQ Listing.

4 SonicStudio HD displays a standard Macintosh Save File dialog. Enter a name for the PQ List file and press RETURN.

5 SonicStudio HD saves the PQ Log in text format, launches SimpleText and opens the file.

6 In SimpleText, edit the PQ Log as you desire, the select File > Print. PQ EDITING 5-13

******************** SONIC STUDIO ******************** ******************** CD Pre-Mastering System ******************** ******************** SonicStudioHD 1.8 ********************

Client : Project : SonicStudio HD Project Title : Destination Tracks Date : WO :

Date Generated: Thursday June 22, 2000 Page Number: 1

PQ Log:

Delivery Type:CD, DDP or Image - (CD Times are 75 fps) Time Format: 30/NDF PQ Track 1 Offset: 00:00:00:10 PQ Start Offset: 00:00:00:10 PQ Splice Offset: 00:00:00:06 PQ End Offset: 00:00:00:02 PQ MinIndex 0 Width: 00:00:01:00 PQ UPC/EAN CODE: 6000000000009

PQ Track / Index Information: ———————————————————————————————————————————————————————————————————————————————— T-X TITLE/ISRC COPY EMPH NO OFFSET OFFSET OFFSET CD TIME TIME DURATION TIME hh:mm:ss:ff hh:mm:ss:ff hh:mm:ss:ff mm:ss:ff ———————————————————————————————————————————————————————————————————————————————— 1 HDTST9900001 • 0 Pause -00:00:02:00 -00:00:02:10 00:00:02:00 00:00:00 1 Tomorrow Never Knows 00:00:00:00 -00:00:00:10 00:02:56:27 00:02:00 Total: 00:02:58:27 ———————————————————————————————————————————————————————————————————————————————— 2 HDTST9900002 • 0 Pause 00:02:56:15 00:02:56:17 00:00:01:12 02:58:69 1 Chicago Is Not Chicago 00:02:58:10 00:02:58:00 00:03:46:26 03:00:25 Total: 00:03:48:08 ———————————————————————————————————————————————————————————————————————————————— 3 HDTST9900003 • 0 Pause 00:06:44:23 00:06:44:25 00:00:02:03 06:47:13 1 Disturbed 00:06:47:08 00:06:46:28 00:03:13:16 06:49:20 Total: 00:03:15:19 ———————————————————————————————————————————————————————————————————————————————— LeadOut 00:10:00:12 00:10:00:14 10:02:60 ———————————————————————————————————————————————————————————————————————————————— Total: 00:10:02:24

Figure 5-7 Sample PQ Listing 5-14 DELIVERY

PQ TRACK AND SOURCE EXPORT LISTINGS

SonicStudio HD generates Track Lists and Source Export Lists. The Source Export List is a tab-delimited text file suitable for importing into third-party applications such as spreadsheets.

To save a Track List:

1 Choose Windows > Mark Info or press COMMAND+3.

2 In the Mark Info window, click the Delivery Setup tab.

3 OPTION-click the PQ List button.

SonicStudio HD displays a Save File dialog.

4 Select a destination for the file and, if desired rename it, then click OK.

SonicStudio HD saves the Track List and opens it in SimpleText.

To save a Source Export List:

1 Choose Windows > Mark Info or press COMMAND+3.

2 In the Mark Info window, click the Delivery Setup tab.

3 SHIFT-click the PQ List button.

SonicStudio HD displays a Save File dialog.

4 Select a destination for the file and, if desired rename it, then click OK.

SonicStudio HD saves the Source Export List and opens it in SimpleText. PQ EDITING 5-15

******************** SONIC STUDIO ******************** ******************** CD Pre-Mastering System ******************** ******************** SonicStudioHD 1.8 ********************

Client : Project : SonicStudio HD Project Title : Destination Tracks Date : WO :

Date Generated: Thursday June 22, 2000 Page Number: 1

Delivery Log:

—————————————————————————————————————————————————————————————————————————————————————————————— EDL START END DURATION COMMENT Track Name hh:mm:ss:ff hh:mm:ss:ff hh:mm:ss:ff —————————————————————————————————————————————————————————————————————————————————————————————— Imported EDL #1 Tracks 00:00:00:00 00:47:46:03 1. Tomorrow Never Knows 00:00:00:00 00:02:56:16 00:02:56:16 2. Chicago Is Not Chicago 00:02:58:09 00:06:44:24 00:03:46:15 3. Disturbed 00:06:47:08 00:10:00:12 00:03:13:04 4. Tanguedia 00:10:03:19 00:13:39:21 00:03:36:02 5. Eleanor Rigby 00:13:40:21 00:15:45:12 00:02:04:21 6. Supra Genius 00:15:46:24 00:19:41:20 00:03:54:26 7. Good Morning 00:19:42:16 00:22:20:29 00:02:38:13 8. Voodoo Chile 00:22:20:29 00:26:48:05 00:04:27:06 9. Room Full of Mirrors 00:26:51:15 00:30:10:27 00:03:19:12 10. A Day in the Life 00:30:10:27 00:35:45:13 00:05:34:16 11. Miles 00:35:48:23 00:41:24:28 00:05:36:05 12. Robbie 00:41:28:01 00:47:44:01 00:06:16:00

Figure 5-8 Sample Track Listing 5-16 DELIVERY