get is the new kid on the block — an almost magical piece of software that searches your audio files looking for words you type into a typical text entry window. If you know “you’ve got the file around here somewhere,” but haven’t a clue where it is, get is for you, as this product review explains.
Adobe Premiere can create text transcripts of your media files. prEdit takes those transcripts and allows you to edit a rough cut for either Premiere or Final Cut just using those transcripts. For editors wading through a ton of material trying to find just the right quotes, this software can make your life VERY easy, as this product review explains.
Transcriptize is a new piece of software that takes the text transcripts automatically generated by Adobe Premiere or Adobe Soundbooth and formats them so people, rather than computers, can read them. PLUS, it allows you to a great trick to import those text transcripts into Final Cut Pro to speed your editing.
In this article Larry handles a question regarding whether a series of continuous time code cuts will translate into the OMF or be ignored.
During my recent seminar tour, I had a lot of fun showing how to take advantage of the audio clean-up power in Soundtrack Pro.
In this article Larry fields a question from a subscriber having trouble exporting a multitrack and directs him to the suggestion of another subscriber.
Mixing audio files in Soundtrack Pro is like editing video files in Final Cut Pro — there are lots and lots of files involved. Which means that if you don’t pay attention, things are going to get lost. This article explains what you need to know to keep track of everything.
Moving multi-track files from Final Cut Pro to Soundtrack Pro for mixing can cause problems, unless you understand how Soundtrack Pro handles linked files. This article explains.
I’ve done hundreds of hours of audio editing in Soundtrack and have discovered a wealth of features that make editing audio in it a breeze.
This technique occurred to me while I was developing my training DVD for Lynda.com on Soundtrack Pro because scripts in Soundtrack Pro have a quirky, potentially dangerous, behavior that surprised me until I did some research on them.
Stuttery audio generally is a problem with bad preference files. But, on a MacPro, it can be caused by putting your capture card in the wrong slot. This article describes the problem and what you need to do to fix it.
Surround sound mixing is even more of an art than standard stereo mixing. In this article, we take a quick look at channel allocations and some general thoughts to getting the right mix.
Audio that slowly drifts out of sync is often due to a mismatch between the sample rate at which you shot the video and the sample rate at which you captured the audio.
In this article Larry advises a subscriber who downloaded a beta version of Soundbooth and believes there may have been an error in his workflow.
Through edits are marked by red “bow-ties” which indicate cuts in a track where there’s no change in video or audio. This brief technique provides three different ways to get rid of these edits.
You may not know it, but there’s a fiber optic audio connection built into every Mac. This article describes what it is, where it is, and how to use it.
Audio distortion means disaster for your project. This article shows you a new technique in Soundtrack Pro that can guarantee to increase audio gain without distortion.
Way over on the left side of the Timeline are a set of gray buttons that very few people understand. However, when you know how to use the Patch Panel properly, you’ll be able to edit any clip to any track instantly. I use this ALL the time and can’t imagine editing without it. This tool is also essential when you want to make a video-only, or audio-only edit.
Track gaps are pesky things that sneak around and flash black at the worst possible moments. This article shows you how to find and delete them.
MS microphones are popular in documentary recording because they avoid problems with phase-cancellation. However, there is not an easy way to use them in Final Cut Pro — until now, that is, using this very simple technique.
When your audio mix is more complex than Final Cut can handle, this technique shows you how to export your audio using OMF, while keeping all your clips and handles intact.
Audio files are never lost, they’re just, um, misplaced. Soundtrack Pro automatically records files to a temporary location. Which means you can find your source files, even if there’s a crash. This article shows you how.
Does this happen to you? The audio waveforms don’t display in a Final Cut Pro 7 sequence when they should. Hitting option-apple-W simply brings up a series of Xs instead of a waveform. How do you get these back? By reading this article, which explains the problem and what you need to know to fix it.
Normally, audio is monitored off your deck or camera. However, if you need to listen to the audio during capture, Final Cut turns it off by default. This short tip shows you how to turn it on.
Final Cut Pro is two audio channels in, but up to 24 audio channels out. This article shows you how to get more than stereo from FCP.
By default, Final Cut outputs all audio as a stereo pair. However, Final Cut supports up to 24 discrete audio channels out — provided you know what to adjust and where to click. This article shows you how.
Increasingly, audio is being recorded in more than two tracks. However, Soundtrack Pro has a problem when dealing with more than two tracks. This article describes the problem, and a work-around that fixes it.
Multicam clips are new with FCP 5 and provide the ability to see multiple camera angles at the same time. However, while they are easy to use, they can be tricky to set up. This technique explains the steps you need to follow to get everything working smoothly.
In order to create a multiclip in Final Cut Pro, all the clips in it MUST match for codec, frame rate, and image size. They must also contain continuous, uninterrupted timecode.
Nesting is the process of placing one sequence inside another sequence. There are many reasons why this technique is useful. This article highlights several of them, including ways to fix problems when your nested audio does not appear.
Here’s a quick little shortcut that just appeared in the latest version of Final Cut Pro that is almost impossible to find.
Normalizing is one way to raise the gain of an entire clip without creating any over-modulation. Prior to FCP 6, only Soundtrack Pro could normalize. Now, FCP can, too. Here’s how.
All DV audio is not created the same. A client had a problem with the NS light lighting; finding the solution took a few days of phone calls. Here’s the scoop.
Understanding the Media Manager is critical to successfully recapturing media, whether for creating the highest quality final master, or for resurrecting an old project. But the Media Manager is not that intuitive. This article walks you through what you need to know for successfully recapturing your project.
Panning balances audio playback between the left and right speaker to position the audio in space. In this quick technique, learn three ways you can pan multiple clips in Final Cut Pro.
This is a quick tip illustrating how to make your dialog sound like it is coming over the telephone.
A good question regarding soundtrack transfer is submitted in this article and Larry explains the problem with how scripts process – or fail to process – clips
Here’s a technique you can use to slightly modify a voice so that it is no longer recognizable, yet still understandable. This is useful for disguising speakers, or commercial effects.
You have probably used Final Cut’s audio mixer to mix your audio tracks in real-time. Did you know you can do the same thing with audio filters? This technique shows you how.
Soundtrack Pro has the amazing ability to reduce the background noise in a clip – like air conditioners or other machine noise. In this tutorial, I’ll show you a step-by-step procedure you can use to reduce the noise in your audio. (Note: For a video tutorial of this process, click here.)
Sometimes, especially when merging clips, you get more audio tracks in a Final Cut Pro timeline than you want. This article describes a couple of different ways you can get rid of them.
When you are working with multiple tracks of video, trimming clips on several tracks at once is essential. This article shows you how to trim multiple tracks quickly and accurately.
Even though Soundtrack Pro is, at its core, a surround-sound audio editing system, sometimes you just need mono (single-channel) audio out. The only problem is… how? This quick article explains what you need to know.
As we gear up for the 2010 NAB Show – where the Digital Production Buzz is the Official Podcast of the event – I thought you’d be interested in the gear we are using and how we are using it. Next month, I’ll report on what we did.
Creating good voice over recordings is part art, part craft, and part technology. In this short article, Ben Balser provides some suggestions on what kind of gear you need to make great-sounding recordings.
Have you ever wondered what that thin green line means at the top of some of your audio clips? Well, this short article let’s you in on the secret.
Here is a very slick technique to find audio in your sequence that’s distorting. It won’t fix it — but it will find it; and much, much faster than real-time.
The more I work with Soundtrack Pro 2, the more I like it. Recently, I spoke with Apple about STP and learn some quick facts I wanted to share with you here, including what gear you need to hear surround sound.
One of the hardest emails to read starts: “After years of work, I’m finally ready to submit my project to a festival. All I need to do is get rid of the audio echoes and I’m done.” The sad part is that is not a lot that can be done to reduce echoes — except for the ideas in this article.
It drives me nuts! The Link Selection tool is right there in the Timeline. But using it is likely to slip your audio and video out of sync. There’s a better way, and this article explains it.
