At sample level, you can also redraw the audio data to get rid of digital spikes and other short-duration artifacts. Zoom tools allow you to home in on sections of interest, and interestingly, you can also toggle between a waveform view and an audio spectrum view. The waveform display also animates to enable you to visualise the results of your processing. Actions and Analysis buttons show either the Actions list or the Analysis Type with relevant parameters and analysis result listings.
The Analysis functions include the ability to check for clipped audio, provided the file has not subsequently been reduced in level — the audio has to hit the end stops to be recognised as clipping. Some analysis types have parameters, such as threshold, that need to be adjusted prior to analysing the file. When Actions is active, you can add real-time effects via the Effects tab. One feature that will make Logic users jealous is that you can also 'flatten' the results to make them permanent, without having to bounce and re-import a new file.
Any actions performed on the audio, such as normalising, are listed in the Actions window with a tick box alongside each action. Unchecking the box reverses that action up until the point where you decide to flatten the file and make your edits permanent. This is a particularly elegant feature and goes far beyond being a simple undo-redo history.
For example, you can reorder actions by clicking and dragging, and you can undo an single action you did several steps ago without having to redo lots of later ones. Additionally, Actions can be temporarily bypassed rather than undone, so this feature really does make for a flexible workflow. What's more, you can save Action sequences as Apple Script droplets to facilitate drag-and-drop batch processing.
Action droplet settings may be edited directly in the Apple Script editor so it's not difficult to make small changes to a multi-stage batch process that you've set up. Soundtrack Pro also ships with a number of 'Automator Actions' that take advantage of the new Automator features in the Tiger operating system. In effect, these make it possible to automate certain audio processing tasks sample-rate conversion, audio trimming, denoising, normalising and so on without having to write your own Apple Scripts.
While the waveform editor might not have quite so much functionality as the most advanced dedicated audio editing packages, it comes pretty close and handles all the essentials such as sample-rate and stereo-to-mono conversion, fades in and out, normalising and gain change, reversing and time-stretching.
It also has a fingerprint noise-reduction system that works reasonably well providing you don't give it anything hopelessly noisy to deal with. This isn't a conventional real-time plug-in: instead, you load in a section of noise, then loop the audio while adjusting the threshold control until you get the best result.
When you've tweaked to your satisfaction, you can then apply the process to the whole file or to the selected region. While not quite state-of-the-art, it's infinitely better than the denoiser in Logic. Track level and pan can be adjusted in the main page using controls in the track header section where you can also mute and solo tracks, add insert effects as plug-ins and send to a reverb buss. Automation is available via a pop-up menu and the now familiar folder content 'swivel arrowheads' allow the automation relevant to any given track to be displayed directly below it, again not unlike the way it is handled within Logic.
Three automation modes are supported — Latch, Touch and Read — and automation data may be input directly from a mouse or hardware controller, or edited graphically using envelopes and breakpoints. Hardware control surfaces that impement the Mackie Control protocol are supported. When you come to mix a project, there's a dedicated Mixer page where each track, buss and output has a channel strip with level meter, level control, mute and solo buttons, slots for adding effects, pan controls and so on.
Each track may be given an icon selected from a list, again rather as you can in Logic, though there is a great choice of colourful icons here that would make most Logic users jealous!
A pop-up menu lets you select an output for the track or buss as well as letting you pick multiple physical output channels for the output audio channels. Conceptually, this isn't dissimilar to the Logic Track Mixer, though it looks a little simpler. Finished projects may be exported as audio files or as a Quicktime movie. There's also a Media and Effects Manager, which comprises five tabbed areas and is designed to allow you to find and preview audio, video and effects.
A Browser window lets you trawl through your hard drives and folders in the usual way, and favourite items can be stored under the Favourites tab. The Search tab lets you locate audio files filtered by criteria and you can also search for specific text or Apple Loop tagging descriptors. Candidates may then be auditioned from within the Search Results list.
The Bin tab contains media files added to the project and you can drag files directly from the Bin onto the timeline. Files not currently added to the project are dimmed, whereas off-line files appear with red text.
Using an Effects tab, you can add plug-in effects and configure effects sends for the project and also call up information on effects already instantiated on tracks, busses, outputs or audio files. Soundtrack Pro now includes over 50 plug-in effects from the Apple range, including high-end reverb, delay, EQ and chorus plus more dramatic sound-mangling processors like Sub Bass, Bitcrusher and Auto Filter.
Many of the effects are ported directly from Logic and they still have their distinctive blue graphical interfaces. Soundtrack Pro 3 does this handsomely. Features like voice level matching and advanced time-stretching algorithms let you easily address common but tricky problems in editing audio for video.
In addition, new multi-track editing tools and a revised File Editor yield faster and better ways to get your audio work done. Dialog levels can often get mismatched in a recorded conversation—someone is further from the microphone than they should be to capture the sound correctly, for instance. While video editing, it is quite common to need to stretch audio to fit a clip or vice versa. Soundtrack Pro offers three different advanced algorithms to time stretch or compress audio without shifting the pitch, while at the same time giving precise feedback about what it is doing.
As of January 10, , the stand-alone product has been dropped again. Soundtrack Pro adds features for professional audio engineers and sound designers, and focuses more on sound editing than the original Soundtrack. Since September Soundtrack Pro also comes as part of the Logic Studio bundle, Apple's own audio and midi sequencing software.
Also see a release history in context with the rest of Final Cut Studio. Multitrack mode is where the royalty-free instrument loops and sound effects can be arranged in synchronisation with the video track, and where narration or other external audio sources can be recorded.
There are both single and multi-take recording features. As with all of Apple's loop arranging software, the project's master key and tempo can be set, and all of the loops will automatically be played at those settings, regardless of the key and tempo at which they were originally recorded. At the same time, the key and tempo for the whole project can be varied over time with the master envelopes.
Envelopes are a sequence of keyframes that can be applied to audio parameters. Each individual track has envelopes for volume and pan by default. Adding keyframes to these envelopes effectively lines that run beneath each track allows the parameters to be varied over time. Each track can also have filters and effects applied to it; these could be Audio Units or Logic Pro plug-ins - examples of those included are Compressor, Multipressor, Flanger, Space Designer and Ringshifter.
Every parameter of these effects can also be automated that is, changed over time. In addition, there is a mixer interface.
Using the 'touch' or 'latch' modes, changes to volume, pan and effects parameters can be recorded in real time as the project plays. Soundtrack Pro also supports external hardware mixers, or control surfaces. The audio editing mode is where individual clips can be edited. The waveform , as well as a frequency spectrum, can be viewed for the clip. The audio can be analyzed for common audio problems such as clicks and pops, power line hum and clipped signals, and then any discovered problems can be fixed.
Audio can be faded in and out, the amplitude can be altered for a selection, noise can be removed and silence, waveforms and ambient noise can be inserted. There is also a selection history tool that cycles between previous selections. After zooming in on the individual samples in the audio waveform, the pen tool can be used to edit the wave directly.
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