1. SmartSound Pro Music Scoring SoftwareHow is SmartSound different?| 00:02 |
What makes Smart Sound different than
other royalty free music libraries is
| | 00:05 |
that you can customize the sound.
You can customize your clips in length,
| | 00:10 |
you can customize the variation within
the same title.
| | 00:14 |
It's like being a music arranger, you get
to change the mood, which is the
| | 00:18 |
instrument mix, and I'm going to be
showing you throughout this entire title
| | 00:22 |
all of the different variations and the
different ways that you can access the
| | 00:26 |
libraries, how you can customize the
music for your particular needs.
| | 00:32 |
And as Will has shown you how to do that
with Quick Tracks here on the website
| | 00:36 |
I'll be able to show you how to use Sonic
Fire Pro for real professional music
| | 00:40 |
construction, mixing and development.
So taking a look at their website, you'll
| | 00:46 |
be able to see that there's a demo here
that you can just start with and we can
| | 00:49 |
look at different variations in the
length.
| | 00:54 |
So let's say I want something that's 0.13
seconds long instead of 0.15 seconds long.
| | 00:58 |
It's going to give us what our options
are here.
| | 01:00 |
We've got different variations.
These two here, and then we've got our
| | 01:04 |
different instrument mixes.
Were going to leave it on full now so you
| | 01:07 |
can hear what the whole arrangement
sounds like at 0.13 seconds.
| | 01:11 |
>> SmartSound
| | 01:15 |
(music playing)
| | 01:19 |
SmartSound
| | 01:23 |
(music playing)
| | 01:27 |
>> So, you can hear it has an actual
beginning, a middle and an end, it
| | 01:30 |
doesn't just fade out at 13 seconds.
Like most of your music libraries out
| | 01:36 |
there you've got maybe 15 seconds 30
seconds, 60 seconds, those are all pre-cut.
| | 01:41 |
And the only thing you can do is actually
fade in and out to adjust for the length
| | 01:45 |
and to adjust for your partiuclar need.
If you've got voiceover or whatever, you
| | 01:50 |
have to bring it down in the mix.
But it's the full mix.
| | 01:53 |
So something like this that has the
trumpet in there.
| | 01:57 |
And the drums and everything, that still
kind of cuts through, even when you bring
| | 01:59 |
it down.
Well, this is what's really nice with
| | 02:03 |
both the quick tracks and the sonic fire
pro software, is you can choose your mood mix.
| | 02:09 |
I can choose dialog, and I can play
this back.
| | 02:17 |
>> Smart SoundMUSIC Smart Sound.
>> And we hear the smart sound
| | 02:24 |
watermark in there just because this is
the demo that's on the website and once
| | 02:30 |
you purchase one of the tracks of course
that watermark is taken out.
| | 02:37 |
But you could hear the difference there
it brought everything down.
| | 02:40 |
An it brought the drums down a bit so
that the cymbals didn't cut through.
| | 02:44 |
It took out the trumpet, but it left the
rest of the trio in there.
| | 02:48 |
So you could, still get the feeling.
And when you combine that, with the
| | 02:52 |
ability to change the lengths, and even
change your musical arrangement some You
| | 02:56 |
can see how much flexibility and
creativity, and a lot of fun you can have
| | 03:01 |
playing with these different
arrangements, for your specific piece.
| | 03:08 |
And then when you're done, you download
it, and you use it.
| | 03:11 |
Let me show you the Sonic Fire Pro real
quick.
| | 03:14 |
And that way you get an idea of what your
working with there.
| | 03:18 |
Now this is a much more intense software
application that you purchased and
| | 03:22 |
download and instead of going through the
web to select all of your.
| | 03:27 |
Content you'll use the express track, and
that is very similar.
| | 03:31 |
You type in a keyword, it brings up a
bunch of choices for you, you get to
| | 03:34 |
preview them, set different lengths, set
the different moods and variations there
| | 03:38 |
before you even bring it into the
timeline.
| | 03:42 |
We'll I've already brought one into the
timeline here for a quick demo and I've
| | 03:47 |
got something that's at 15 seconds here
that's at full mood mapping so let me
| | 03:53 |
just play that for ya.
(music playing) So you can hear again, that's got
| | 04:03 |
a beginning, a middle, and an end, it's
musically constructed very well.
| | 04:15 |
Now, if I want to change that length, say I
want to bring it out here to oh, 22
| | 04:19 |
seconds, that's an odd length, actually
it's 21 something.
| | 04:24 |
I'll just drag that out.
And you can see that it totally
| | 04:26 |
restructures the musical construction
here in the timelines.
| | 04:31 |
Let's take a listen to that.
(music playing) And you can see over here, that
| | 04:45 |
it's going through different phases as we
drag through, the timeline here.
| | 05:01 |
You can see different instruments are
turning on and off and different tracks.
| | 05:05 |
And that kind of gives you a visual cue
of what's being added, so it's kind of
| | 05:08 |
like a mixing console here.
And we can change these a long time.
| | 05:14 |
We can add in mood markers.
We can have it go from full to dialog
| | 05:17 |
to just a couple instruments.
We can really have a lot of fun in here.
| | 05:23 |
And it does make you feel like you are a
music director, because you really are.
| | 05:27 |
You get to choose.
You get to mix and you get to add things
| | 05:29 |
to where you want them to.
You can import your video that you've
| | 05:33 |
already edited.
And you're just ready to slap in your music.
| | 05:37 |
You can set markers along your time, when
you got people talking or when you just
| | 05:40 |
have visuals.
We're going to have a lot of fun going
| | 05:43 |
through this title and showing you just
how powerful all of this software is and
| | 05:46 |
how much fun your going to have being
your own musical director.
| | 05:50 |
| | Collapse this transcript |
| Browsing the SmartSound website for custom music libraries| 00:02 |
There are many ways to search the Music
Library on the SmartSound website.
| | 00:06 |
One is to just click through from the
front page.
| | 00:10 |
Another is to come up here to the Music
Library tab, and come down to selecting
| | 00:14 |
Royalty Free Music.
Or Royalty Free Sound Effects.
| | 00:19 |
Or selecting Your Free Music.
Now, you get free music just for
| | 00:23 |
registering on the SmartSound site and
that's where you're going to get five
| | 00:27 |
free tracks.
You register and those five free tracks
| | 00:32 |
are yours to use and keep.
Now, I'm going to go ahead and log in, so
| | 00:36 |
that'll be just as if I had registered.
So, once you've registered, you'll be
| | 00:41 |
able to log in.
(audio playing) Then I can come in and, My Free Music.
| | 00:51 |
And you'll see that these first five
different tracks on the Core Foundations
| | 00:55 |
album are unlocked and free for you to
start customizing.
| | 01:00 |
Now, with this particular title, From
Video To Brain, we have an arrangement of SmartSound.
| | 01:05 |
Sound where you get five additional free
tracks and that completes the whole core
| | 01:10 |
foundations album.
So you basically get a whole album to be
| | 01:14 |
able to work with here right on the Smart
Sound website, so, follow the directions
| | 01:20 |
to get those five free tracks, and
they'll be unlocked and available to you
| | 01:24 |
as well.
We'll get into that a little further on
| | 01:29 |
down the line.
But just so you can see, this is where
| | 01:32 |
you can get your free tracks.
And you're also, once you're in, you're
| | 01:36 |
logged in and you're accessing everything
on the site that you have paid access to.
| | 01:41 |
Let's go look through the Royalty Free
Music Library.
| | 01:45 |
And you can see they've got new releases
all the time.
| | 01:48 |
They're always coming up with new stuff,
which is great.
| | 01:50 |
They're always bringing new items to the
library.
| | 01:53 |
And you can come down and look for a
genre.
| | 01:56 |
You can look at them by the series.
There are some that have voice and, and
| | 02:00 |
vocals in them as well, where you can pull
those in and out.
| | 02:05 |
Let's just look at Corporate here real
quick.
| | 02:07 |
And you can look through and there's all
these different albums.
| | 02:10 |
Now these aren't tracks.
These are albums.
| | 02:11 |
That means every one of these albums has
a whole bunch of tracks, there's ten
| | 02:15 |
tracks in here.
And you'll see it once I click into an
| | 02:19 |
album I get this auto play over here, and
I think by default it's on.
| | 02:24 |
So you're probably listening to music now
if you're following along and it's your
| | 02:27 |
first time on the site.
I click that off, because I like to hear
| | 02:31 |
the music when I click on it, not when
it's just automatically playing.
| | 02:35 |
But you may be different, you may like
that.
| | 02:37 |
Now there's an album medley here so you
can kind of get an idea of what type of
| | 02:41 |
music style is going to be on the album,
and it plays a few seconds of different tracks.
| | 02:47 |
Let me just play a few seconds of this
| | 02:52 |
(music playing)
| | 02:54 |
So you can see, it just does, kind of, a
nice, smooth transition from one track to another.
| | 03:07 |
I typically like to go right to the
tracks and do a quick play.
| | 03:11 |
You don't have to open up the track if
you don't want to.
| | 03:14 |
There's a little play right next to the
name of each track.
| | 03:17 |
(music playing) So you can just kind of get an idea
of the type of style in each track.
| | 03:34 |
(MUSICMUSIC) And then they've got a
text description for each track as well.
| | 03:43 |
And they're really pretty right on.
A lotta times, I'll just go by the name.
| | 03:47 |
Because that's like oh, that kind of speaks
to me, this is something that I really
| | 03:51 |
want to identify with.
And so I'll listen to it (music playing)
| | 03:56 |
There is a one more feature I'd like to
show you that is really helpful, and that
| | 04:05 |
is the search, right here in the music
library.
| | 04:13 |
So if I write in corporate.
And hit Enter.
| | 04:18 |
Then it's going to give me, all the
different corporate style albums, that
| | 04:23 |
are in here.
And you can see it goes on for like 20 pages.
| | 04:28 |
And I say, well I want to, drill down a
little more.
| | 04:30 |
I'm going to go to my advanced search, an
now I can put in, okay, corporate.
| | 04:36 |
And you can see that I've already done
this once before.
| | 04:39 |
Let's just go with this one.
Corporate, energy and strings.
| | 04:41 |
I want strings in there, but I want some
high energy.
| | 04:44 |
Let me go ahead and click Search Site,
and here we go.
| | 04:47 |
There's all of these different albums
that are available here, brings it down
| | 04:52 |
about six pages worth here.
So I'm going to go back here to corporate
| | 04:56 |
ambition album, and I see I've got all of
these so I can again listen to the Medley
| | 05:01 |
or I can come right in
| | 05:02 |
(music playing)
| | 05:04 |
Grab each thing.
So, you can see I can come over here and
| | 05:07 |
listen to the album medley, or come in to
listen to a preview of each track that's
| | 05:11 |
in here.
Now, one more way that you can search the
| | 05:16 |
music library is to come up to Software
and then Quicktracks.
| | 05:21 |
Now, we're going to be covering Quicktracks
in depth in another movie.
| | 05:24 |
But this just shows you one more way to
search.
| | 05:27 |
Coming down here to try QuickTracks.
Now you don't have to install anything,
| | 05:30 |
this is all run right from the website.
I can come down here and choose either
| | 05:35 |
Style, Keywords, Instruments, Tempos,
there's a lot of ways that I can start to
| | 05:40 |
search for what I'm looking for.
Let's go to Keyword, and let's look for Cool.
| | 05:48 |
Now we'll start that, and then we can
come over here to Style or Other
| | 05:51 |
Instruments, you'll see some of these
selections here.
| | 05:57 |
And say let's come down here to Blues,
and that narrows it down quite a bit.
| | 06:09 |
(music playing) And then you can go on to
customize using the Quicktracks, we'll
| | 06:12 |
cover that in another movie.
But just wanted to show you there are so
| | 06:15 |
many ways, right from the website here,
that you can search the music library to
| | 06:19 |
find exactly what you're looking for
before you even start to edit.
| | 06:23 |
| | Collapse this transcript |
| Using Quicktracks to build custom tracks| 00:00 |
I'm going to show you how to use the
Quicktracks on the SmartSound website to
| | 00:05 |
create your custom soundtrack.
And we're going to use the Core
| | 00:10 |
Foundations Free Music so you can follow
long.
| | 00:13 |
I'm going to use the track Future
Progress, going to open that up.
| | 00:18 |
And if you are signed in, you've
registered, and you've got your account
| | 00:21 |
is showing here, it'll show that you're
logged in.
| | 00:25 |
You should have access to this and it
won't give you the SmartSound
| | 00:28 |
watermarking on the audio track.
So, I'm going to say I want something
| | 00:34 |
that's 20 seconds long, and I can see
here that my choices here are all of the
| | 00:39 |
different styles that are within this
track.
| | 00:45 |
And again, my instrument mix is full and
all these others, so let's just listen to
| | 00:50 |
the full default here for 20 seconds.
It's going to build.
| | 01:01 |
(music playing) Okay, and that gave us a kind of
a abrupt ending there.
| | 01:19 |
Let's listen to one of these other styles
in here.
| | 01:23 |
Let's try Microbe, see what that sounds
like.
| | 01:26 |
(music playing)
| | 01:30 |
Had a little smoother ending.
It had a little more filling pads in the keyboards.
| | 01:52 |
Let's listen to one more style here.
It's the, let's try Hundreds.
| | 01:56 |
And again, we're leaving these at full
instrument mixes at this point.
| | 02:00 |
(music playing)
| | 02:03 |
Okay, we've just listened to three
different styles within the same track.
| | 02:25 |
And the arrangements have the same basic
bass undertone, the same kind of pattern there.
| | 02:30 |
But they all have a little different mix
in there, they've got a little different
| | 02:34 |
beginning and a different ending to them
as well.
| | 02:38 |
So, if I wanted to just keep that just
the way it was, I didn't have any voice
| | 02:41 |
over or anything.
I would just come over here and choose
| | 02:45 |
which format I wanted to save this as.
I typically, if I'm working in Adobe
| | 02:49 |
Premiere, I like to save as WAV.
Even though I'm working on a Mac, I like
| | 02:54 |
to save as a WAV file, it keeps really
good information.
| | 02:58 |
It's probably one of the largest files of
all, but it has the least amount of compression.
| | 03:04 |
And it also doesn't give me any kind of
problems with skipping or tracking or any resetting.
| | 03:10 |
There's some issues with AIF files in
Adobe Premiere that sometimes cause some
| | 03:14 |
sync problems.
So, I typically like to save out as a WAV.
| | 03:19 |
And then I just click Download, and that
downloads it to my download folder that
| | 03:22 |
I've selected.
So, you can see that it's saving that
| | 03:26 |
down there now.
And then, it's done.
| | 03:28 |
Okay, now if I wanted to change my
orchestration to something that I needed
| | 03:33 |
this to go under, you know, dialog or
even in background.
| | 03:38 |
Background leaves more instruments in.
But it lowers the volume, where dialog
| | 03:43 |
actually removes some of the
instrumentation that may get in the way
| | 03:47 |
of dialog overplay.
So, let's listen to what this sounds like
| | 03:51 |
just in Dialog mode.
It's going to be a little softer, and
| | 03:55 |
there's going to be a few instruments
missing.
| | 03:58 |
We hear it builds out.
(music playing) So, you can hear some of the
| | 04:03 |
instrumentations dropped down a bit.
they were dropped out entirely.
| | 04:11 |
It's been mixed out.
And I can talk over this cuz it's in
| | 04:15 |
Dialog mode.
So, you can see that's really hopeful there.
| | 04:20 |
And if you want to get creative, you want
to just have drums and bass or just the rhythm.
| | 04:24 |
You want just a light mix that may pull
some of the bass out, lets hear what that
| | 04:27 |
sounds like.
(music playing) I could play all the way through that.
| | 04:50 |
You could hear that, that it, that even
though it left the bass in there, it
| | 04:52 |
brought it way down.
But it left some of the other lighter
| | 04:55 |
instrumentation and sounds to come up a
little higher in the mix.
| | 04:59 |
So, you don't have to be an audio mixer
necessarily, to use this.
| | 05:03 |
But you just want to select some things
that will work with your particular project.
| | 05:08 |
And sometimes, it's just experimenting
with the different settings here.
| | 05:20 |
(music playing) So, you can hear in this one that
the precaution and the different
| | 05:25 |
sequenced beats, that bring up the energy
are gone.
| | 05:30 |
We just have the soft rumbling bass and
the atmospheric types of pads and sound
| | 05:35 |
coming through there.
When you want to change the settings, as
| | 05:40 |
far as your length, say we want to make
this only, you know, a ten seconds long.
| | 05:46 |
Let's go to ten seconds, and it gives us
a different selection of choices here.
| | 05:52 |
We don't have nearly as many choices as
far as our arrangements.
| | 05:58 |
We will still have our full instrument
mix here.
| | 06:01 |
So, if I go to full.
(music playing) Then it doesn't just clip it
| | 06:09 |
off, it actually recreates an entire
piece for us.
| | 06:20 |
That's why we have a limited amount of
our choices here for the different mixes.
| | 06:24 |
Because the shorter you go, the less
chance it has of actually reaching some
| | 06:28 |
of those arrangements where it puts in
all the different instruments.
| | 06:32 |
So, depending on the length of time, go
ahead and play around with the different lengths.
| | 06:37 |
Try some different arrangements.
Try some different orchestration settings.
| | 06:42 |
Play them, download them.
Try them with some sample videos, and
| | 06:46 |
it's really a lot of fun to feel like
you're actually creating something.
| | 06:51 |
Because with the amount of options, and
alternate edits and points that you can
| | 06:55 |
do in here, you really are kind of
creating something that's very unique for
| | 06:58 |
your needs.
Okay, so let's say we are wanting to edit
| | 07:05 |
one of the other albums that don't have
the multi-track controls in there.
| | 07:12 |
So, let's go back to our Music Library
here and let's look at one of these new ones.
| | 07:16 |
Let's go to Indie Score.
And you see here that it's only got one
| | 07:20 |
red line on it instead of three different
length red lines on it.
| | 07:24 |
That means it's a single layer track.
Well, what does that mean specifically?
| | 07:27 |
Well, let's listen to one of these.
And we'll play the track.
| | 07:38 |
(music playing)
| | 07:41 |
Can go and stop the track.
Now, while we still have all of our
| | 07:54 |
length options here that we can change,
and that's not a problem.
| | 07:58 |
We have a few different styles here that
we can change.
| | 08:02 |
Notice we don't have any instrument mix.
That's because it's a single flattened track.
| | 08:07 |
Now, in this case, it will make different
lengths, but we aren't able to do any of
| | 08:11 |
the mood mapping or taking out any of the
instruments out of here.
| | 08:17 |
We can just change the arrangements and
that's pretty much it.
| | 08:21 |
So, in this case, there aren't as many of
these as there are the, the
| | 08:25 |
multi-layered, multi-track type of albums
in there.
| | 08:29 |
But do know that you are still able to
change the length.
| | 08:35 |
And of course, as you get to shorter
lengths, you're going to have fewer
| | 08:38 |
choices in here.
Say, I want one that's seven seconds long.
| | 08:43 |
(music playing) So, see it still actually builds
it.
| | 08:47 |
It creates the custom length that you
need.
| | 08:50 |
You just aren't able to pull out
different instruments or set the
| | 08:55 |
different settings in those.
I've just wanted to show you that there
| | 09:01 |
are some, just always look for this
little icon next to the album.
| | 09:05 |
And you'll be able to determine right
away when you go and look at the
| | 09:09 |
different albums.
Say we look in here, you'll be able to
| | 09:12 |
tell, actually we're looking down the
list, these have multiple layers in them
| | 09:16 |
and some of them don't.
You can see that most of them do.
| | 09:20 |
There's only some that don't.
Like, here's one that only has one layer
| | 09:24 |
in it.
So, any time it's called Single Layer,
| | 09:26 |
just know that you won't be able to do
the multiple instruments in that kind of
| | 09:30 |
editing out of there.
They're still fully customizable in any
| | 09:34 |
other regard.
But that's just one difference between them.
| | 09:37 |
So by using Quicktracks, all you need is
a computer with an Internet connection.
| | 09:43 |
You log in, search the Music Libraries,
and you can get right to customizing your
| | 09:47 |
soundtrack no matter where you are.
If you're editing off-site, if you're
| | 09:53 |
edit at client's, no matter what, you
have access to the content that you own
| | 09:57 |
right here on the website.
| | 09:59 |
| | Collapse this transcript |
| Purchasing tracks vs. using subscription plans| 00:02 |
Okay, so we've seen how to use
QuickTracks to edit our custom tracks
| | 00:05 |
from the tracks that we've already got
from the library.
| | 00:10 |
And I want to add some more music, so I'm
going to purchase some and show you how
| | 00:14 |
this process works.
I'm just going to click one I know that I
| | 00:18 |
don't already own.
Notice that I am logged into my account.
| | 00:22 |
And I can look, I can choose to either
buy individual tracks.
| | 00:27 |
Or I can buy the actual album itself.
In this case, I want to have all of these
| | 00:32 |
elements in here, plus, I've already paid
for this 10-pack of albums.
| | 00:38 |
So I want to use some of the credits toward
that.
| | 00:41 |
So once you pay for the albums, which is,
actually, a killer deal when you look at,
| | 00:45 |
$24.92 versus $99.95.
I'm not here to sell you music.
| | 00:50 |
That you can do, fine on your own from
the website.
| | 00:53 |
But just to show you, you buy the
10-pack, and I just click Add to Cart here.
| | 01:00 |
And you'll see that it's going to walk me
through the process.
| | 01:02 |
There's some upgrade options for
different things, and you'll see that
| | 01:05 |
it's actually in my cart and $99.95.
Well, I've already paid for the 10-pack,
| | 01:09 |
why is it showing me a price?
I just have to enter the coupon code.
| | 01:14 |
Now, they give you a coupon, but once you
pay for that 10-pack, they send it to you
| | 01:18 |
by email, and you just have to enter it
in.
| | 01:21 |
I'm going to enter mine in right now.
And click Add Coupon Code.
| | 01:26 |
And then I come back down to my
selections in my cart here, and we'll see
| | 01:30 |
a zero price in there.
Now I can do that up to ten times, of course.
| | 01:36 |
Once I hit the end of my 10-pack, it's
going to be asking me to either update with
| | 01:40 |
another 10-pack or, or buy them
individually.
| | 01:44 |
And that's when I would have to make
separate purchases.
| | 01:46 |
So, now I can proceed to checkout.
And it's going to tell me here, your cart's
| | 01:51 |
zero, no payment will be required to
complete your order.
| | 01:54 |
It's going to check your billing address, I
say use this billing address.
| | 01:58 |
And then it says Review Your whole Order,
and we'll say Place Your Order Now, so I
| | 02:03 |
place my order, there's a copy of my
original invoice and all of the
| | 02:07 |
information is in there.
So you can print it, return to
| | 02:13 |
SmartSound, which is what I'm going to
do.
| | 02:16 |
I'm going to come back to the Royalty Free
Music...
| | 02:19 |
And click on Horizons, and now notice
that it doesn't say Buy anymore, it says Customize.
| | 02:24 |
I can now go in and start customizing my
tracks.
| | 02:30 |
Now another way that you can have access
to the library, is to buy a, a subscription.
| | 02:35 |
And that's a little bit different.
So if we go down to pricing here, we'll
| | 02:39 |
see that of course, that they've got all
the coupons for the different ways that
| | 02:42 |
you can buy music.
But there is now unlimited download in a subscription.
| | 02:48 |
You could do monthly or an annual.
That unlocks the entire library.
| | 02:53 |
So if you are a business that needs to
have access to a lot of content all the
| | 02:57 |
time and you can budget in the
subscription rate, that works really good.
| | 03:04 |
Now one thing to note about that, that
only works with the QuickTracks online.
| | 03:10 |
So if you were to download the SonicFire
Pro software, it won't access it from
| | 03:16 |
that point.
But what it will do, is it'll allow you
| | 03:20 |
to access the library just like you do
here, at the royalty free music library.
| | 03:24 |
Yeah, you go through here.
You go in, you make your edits.
| | 03:28 |
You can do all of that here.
Anywhere from one to four minutes long,
| | 03:32 |
and you can do that all day long, make as
many changes as you want to everything in
| | 03:35 |
the whole entire library.
You just won't be able to download the
| | 03:41 |
master library items and run them from
SonicFire Pro.
| | 03:47 |
you will be able to download an
indefinite amount of your edited pieces
| | 03:50 |
that are done here in QuickTracks, but
you just won't be able to download the
| | 03:54 |
master files and use them in SonicFire
Pro.
| | 03:59 |
So if you do go for the subscription
rate, just do know that it does expire at
| | 04:03 |
the end of that time, but the pieces that
you've already created for your projects,
| | 04:08 |
those are still yours to use as long as
you want to, so that's indefinite.
| | 04:15 |
You just won't be able to create new
stuff after the end of your subscription.
| | 04:19 |
So, if you purchase an item, such as I've
done here, I've already purchased these.
| | 04:25 |
So, no matter what, these never expire.
This is a lifetime ownership.
| | 04:30 |
Once you buy it, it's a lifetime
customization, lifetime ownership.
| | 04:34 |
You buy it, you can edit it here in the
QuickTracks online, or you can use the
| | 04:38 |
SonicFire Pro software and edit it there.
| | 04:42 |
| | Collapse this transcript |
| Licensing your music tracks| 00:02 |
Now, one thing that is always a big
question for royalty-free music libraries
| | 00:06 |
is the licensing issues.
Where can I use my tracks?
| | 00:11 |
I customize my tracks.
I put them in my project.
| | 00:15 |
How far can I use it?
Where can I use it?
| | 00:17 |
And it really depends on the actual track
and that's something to look at.
| | 00:21 |
Before you buy the track before you put
it in your project so say this one here
| | 00:24 |
I've already bought this one I just click
this licensing info here and we'll see
| | 00:28 |
that all the different songs all the
different tracks that are in here there
| | 00:32 |
all written by one composer.
And you can see that too, that this is a
| | 00:38 |
great way for the musicians to get paid
because there's really good tracking with
| | 00:41 |
this kind of music library.
They're actually getting paid for their
| | 00:46 |
production and that's wonderful.
So, do know that nobody's getting ripped
| | 00:50 |
off by buying music through Smart Sound,
because everybody's tracked and
| | 00:54 |
everybody's paid.
What they're supposed to.
| | 00:58 |
But if we look here at this track
licensing here, this one is royalty free.
| | 01:03 |
And as long as you're in the US and
Canada, you can read the End Uder License
| | 01:06 |
Agreement, it gives you all the
boilerplate.
| | 01:09 |
But basically, these tracks are all able
to be used in pretty much anything you
| | 01:13 |
can put it in.
And not have a problem.
| | 01:17 |
If you're outside the US you do have to
check with your local authorities.
| | 01:20 |
So if you have something that does say
that this is free to use in here, it will
| | 01:24 |
be very evident.
If we go back out and look at the library
| | 01:29 |
here, Royalty Free Music Library, and say
there's one in here I do know that's,
| | 01:34 |
say, down here.
Now these are a little bit different.
| | 01:41 |
These are licensed for private,
non-commercial use.
| | 01:44 |
You can't use these for broadcast.
You can't use these for anything that
| | 01:48 |
goes on the Internet.
And that even means that Youtube video of
| | 01:51 |
your dog running around the yard.
Don't do it because you will get in
| | 01:56 |
trouble not smart sad.
So if you want to use these for your own
| | 02:00 |
personal use or a private viewing then
its great to use these but do know that
| | 02:05 |
that is a licensing issue.
So if we do go through another, if we did
| | 02:12 |
a, a search and we came up with a
particular track.
| | 02:16 |
And say, oh wow, yeah, I really want to
use this one here, from this Clint
| | 02:19 |
Eastwood movie.
It sounds great.
| | 02:22 |
(MUSICMUSIC)
| | 02:26 |
.
And even though this was recreated from
| | 02:30 |
that original this isn't the original
music from the actual movie soundtrack
| | 02:35 |
it's been recreated.
There still is a licensing issue here,
| | 02:40 |
and you do need to go in here and check
it out the licensing information.
| | 02:44 |
So when in doubt check it out.
Gotta always check that license information.
| | 02:48 |
There's always this big red box here if
you can't use it for something that gets redistributed.
| | 02:54 |
If you're just doing a presentation for
your office or something that doesn't get
| | 02:58 |
broadcast or, or put out there then you
can use it.
| | 03:02 |
But just do pay attention to that because
if you throw it out there and they come
| | 03:05 |
back to you they'll remove your video off
YouTube.
| | 03:09 |
Or will come after you with lawyers and
big guns.
| | 03:12 |
>> That's just the real nuts and bolts
on licencing.
| | 03:16 |
Do keep an eye on that.
It's pretty obvious if you recognize it's
| | 03:20 |
a movie, or a TV show, or something like
that.
| | 03:23 |
That's going to be an issue.
Now there are situations where there's
| | 03:26 |
something out there.
We'll just type in, Christmas here.
| | 03:39 |
(NOISE) So there are, pieces for,
Christmas music that are recognizable
| | 03:43 |
standards, but those are under the public
domain, so you're not going to have the same
| | 03:47 |
kind of, problems.
So the, you know, everybody understands
| | 03:51 |
that these are all, Christmas carols, an
you can use those.
| | 03:56 |
So, do know that there are some
recognizable tunes out there, that you
| | 04:00 |
may want to use.
And just don't assume that you aren't
| | 04:05 |
licensed to be able to redistribute those
in a broadcast.
| | 04:09 |
So do always check the license info.
Very, very important.
| | 04:11 |
| | Collapse this transcript |
|
|
2. Sonicfire Pro 5 Scoring EditionDownloading and installing the software| 00:00 |
SmartSound has a standalone software
application that runs on your desktop
| | 00:05 |
called Sonicfire Pro.
And you can download this from their website.
| | 00:12 |
Go to Software, then Sonicfire Pro.
And you can choose to either purchase it
| | 00:17 |
for 99.95 or try it for free.
Well, if you try it for free, you'll be
| | 00:22 |
able to follow along with some of our
instructions here on this title and it's
| | 00:26 |
fully unlocked, it's fully usable and
there are no features that are hidden.
| | 00:32 |
It's just timed out after 21 days.
So you can choose either Windows or Mac
| | 00:36 |
and when you download it, it gives you a
zip archive, if you open up, it gives you
| | 00:40 |
an install from that point and then you
just follow the instructions to install
| | 00:43 |
it on your machine.
It won't ask you for a serial number
| | 00:48 |
until you launch the application and
then.
| | 00:51 |
You just enter in your serial number if
you purchased it and get the instructions
| | 00:55 |
for that from your email, or continue on
with the demo mode and it will just give
| | 00:59 |
you a time every time you launch it, how
many more days you have to use the application.
| | 01:06 |
So, it's a very easy download and
install, and if you do choose to purchase
| | 01:10 |
Sonicfire Pro 5 and get the full
installation you can also purchase the
| | 01:15 |
Sonicfire Pro plugins.
Now if you go to the plugins, you'll see
| | 01:21 |
that they are now announcing that they're
supporting Adobe CS6, so if you're using
| | 01:24 |
AfterEffects or Premiere.
This will run in CS 5, 5.5, and 6.
| | 01:31 |
So the same plug-in will work in all
three versions.
| | 01:35 |
You can also get it for the older Final
Cut Pro 6 and 7.
| | 01:40 |
At the time of this recording, there are
no plans at all to support Final Cut 10.
| | 01:46 |
And then the avid studio.
And Pinnacle Studio plug-ins as well.
| | 01:52 |
So, the plug-ins allow you to work a
little more of a round trip work flow.
| | 01:58 |
So, if you're working in Sonicfire Pro,
you create your soundtrack then you want
| | 02:02 |
to go directly to your project say in
Premiere.
| | 02:06 |
And you want to have a direct connection
to that project, you can say send to that
| | 02:10 |
project and it will put it into your
project bin and you'll be able to then
| | 02:14 |
put it into your timeline directly
without having to.
| | 02:20 |
Save your soundtrack with an export, then
go back in to Premiere and have to pull
| | 02:25 |
it in from there as well.
It just saves a couple steps, so it's
| | 02:29 |
definitely worth it.
And if you hunt around on their website
| | 02:32 |
they do have bundle pricing, which will
save you a little bit of money if you're
| | 02:35 |
going to be using especially more than
one plug in.
| | 02:39 |
You can save some money with some of the
bundles, so that's just a real quick view
| | 02:43 |
of being able to download and install the
software.
| | 02:47 |
At least download the demo version of
Sonicfire Pro.
| | 02:52 |
It's free for 21 days, go ahead and use
it and you'll be able to follow along
| | 02:55 |
with the tutorial.
It's much easier.
| | 02:58 |
| | Collapse this transcript |
| Using the Express Track window| 00:02 |
When you first launch Sonicfire Pro 5,
you'll notice there are a lot of
| | 00:05 |
different windows and panels to try to
look at and digest what they all do.
| | 00:10 |
Well, we're going to really focus on the
Express Track because that's where
| | 00:14 |
everything starts.
Now your screen will probably look a
| | 00:17 |
little less congested than mine does
because I'm recording at a lower resolution.
| | 00:21 |
So that you'll still be able to read all
the labels, buttons that I'm clicking on
| | 00:25 |
and everything.
So, you'll have a little more real estate
| | 00:28 |
to work with.
In fact, if you do open up in a very low
| | 00:31 |
resolution, it will come up with a popup
dialog saying, hey, you need to have a
| | 00:35 |
larger resolution to really be able to
work with this.
| | 00:40 |
But just know that you can work in a
lower resolution.
| | 00:43 |
If you have to, it's just it will have to
move things around to be able to see them.
| | 00:47 |
Well, let's look at the SmartSound
Express Track now.
| | 00:50 |
And this is where everything starts.
This is where we get to find our playlists.
| | 00:55 |
This is where we look through the albums.
We can keyword search for various types
| | 00:59 |
of music.
We can preset our links and do all of
| | 01:02 |
that in here while we're still searching
before we can commit to anything and put
| | 01:06 |
it up into the timeline.
So, lets take a look at the the Express Track.
| | 01:11 |
I've got a lot of content down here
available to me because I don't have
| | 01:15 |
anything selected here.
If I just click the Owned Titles, the
| | 01:19 |
ones that I own, then I'll be able to
see, well I own all of this content.
| | 01:23 |
I can go ahead and access it and use it
because I already have access to it
| | 01:27 |
locally here.
I can also drill down.
| | 01:30 |
So, if I just wanted sound effects, then
I can see these are just my sound effects
| | 01:35 |
that are all in here.
Well, I'm going to un-click that.
| | 01:40 |
What I do want to look for now is the
multi-layer music clips.
| | 01:45 |
And if we look, there's two different
kinds of icons here.
| | 01:47 |
One has three bars on it and one has one.
Well, if it just has one bar on it, that
| | 01:52 |
means there's not multi-layers, it's just
a single layer.
| | 01:57 |
So, it will just edit that in linear
fashion and create our soundtrack that way.
| | 02:02 |
And we would then be able to work with
the variations of the volume in each of
| | 02:07 |
those clips.
But with a multi-layer, we can take out
| | 02:11 |
instruments and use the mood mapping
features within the Express Track here.
| | 02:17 |
And also, with the timeline, we can
select multiple, multi-layer mood mapping
| | 02:21 |
along the timeline, which is really
amazing.
| | 02:25 |
So, let's just select the multi-layer at
this point, and this shows me all of the
| | 02:29 |
different titles, all the different clips
that I have access to.
| | 02:36 |
Well, I'm going to look here through
Album, and I'm going to look for my core foundations.
| | 02:41 |
Which is the same set that you should be
able to have access to downloading for
| | 02:44 |
free with the purchase of this title.
So, I'm going to look at my core foundations.
| | 02:50 |
I see that I have all of these different
titles in here and I'm going to just
| | 02:54 |
click on one.
And right now, my length is set for 12 seconds.
| | 03:01 |
I'm just going to let it play through.
(music playing) We can hear that has a purposeful
| | 03:12 |
beginning and end to it.
Now, if I change my length here and say I
| | 03:21 |
change that to 17 seconds.
Now I can play it again.
| | 03:28 |
(music playing) So, you hear how it modified that
to stretch out that time.
| | 03:35 |
It gave a little more interest to it.
It didn't just make one repeating loop
| | 03:42 |
over the one section.
It actually brought in more
| | 03:47 |
instrumentation and rearranged the whole
segment to really match that.
| | 03:55 |
And that's the power of the Sonicfire Pro
5 capability of editing and really giving
| | 04:02 |
you a custom result.
I can change my variation on this.
| | 04:07 |
This is the default, which is parallel.
So, I can change to any of these others,
| | 04:11 |
say click Soar, and let's hear what that
variation would sound like.
| | 04:15 |
(music playing) So, you can hear it still gave us
an ending on that even though it was much
| | 04:28 |
more of a fuller sound than the original.
Now, I can also choose my mood.
| | 04:42 |
So, say I needed that to be a background.
So, let's hear what that sets it to.
| | 04:51 |
(music playing) Okay, and we can keep going
through here, all the different variations.
| | 05:07 |
But it just selects specific
instrumentation.
| | 05:10 |
It really pulls it down for dialogs so
that you can speak over it.
| | 05:15 |
But we'll be able to do a lot more of
that customization later on when we get
| | 05:18 |
into some of the other features of the
Sonicfire Pro software.
| | 05:22 |
But let's continue on with the different
features in the Express Track.
| | 05:26 |
Let's say we want to actually search for
a specific feel or a mood that we want to
| | 05:31 |
find a title that'd be best suited for
it.
| | 05:35 |
So, I come up here to the search window
and let me type in just TV Drama and see
| | 05:39 |
what it brings up.
We can see that by keyword searching, I
| | 05:44 |
can find a lot of different tracks within
my library that I can choose from.
| | 05:49 |
So, you can see here Edgy Drama TV, well
that sounds right.
| | 05:52 |
So, let's hear what that sounds like.
(music playing) That's pretty edgy alright.
| | 06:05 |
So, you can see that using keywords
actually helps you find something that's
| | 06:08 |
a little more specific for what you're
looking for.
| | 06:12 |
Let me try something else.
Let's try Classic or just Classical, see
| | 06:17 |
what that brings up.
And now we should have something in our selections.
| | 06:22 |
It's really limited, our selections here,
but we can see even just by the title
| | 06:26 |
here we've got some Cinema Standards.
(music playing) So, using keywords is one of the
| | 06:34 |
first places I go if I've got say a
documentary or it's about something
| | 06:41 |
that's thematic.
I'll just start with, just out of the
| | 06:48 |
blue, just some kind of crazy keywords
and see what it brings me back.
| | 06:53 |
And that really helps me a lot.
If I put in here we'll just type in Rock.
| | 06:58 |
It's a genre.
And then, we'll come down here to the
| | 07:00 |
Intensity Window.
Say, I want something that's really a
| | 07:04 |
strong, rock feel, very intense.
We can see it's got these five pluses,
| | 07:09 |
for the amount of intensity.
I scroll down here, I can see it goes all
| | 07:12 |
the way down to one.
So, even though this is rock, it may be
| | 07:16 |
fairly light or slower in its pace.
We can see our tempo here too is 62.
| | 07:22 |
So, this is going to be very slow.
(music playing) So, that's like a real slow
| | 07:31 |
ballad, but yet still rock.
Like a rock ballad, Moody Blues type of thing.
| | 07:36 |
So, we can choose our intensity for how
hard it's going to be, and then also by
| | 07:41 |
our tempo.
Well, this has high intensity but it's a
| | 07:44 |
low tempo, so let's hear what that's
like.
| | 07:47 |
(music playing) So, that's like super hard rock,
heavy ballad.
| | 08:00 |
So, if we go to our Tempo, we can see
that our tempos are the highest kind of
| | 08:04 |
range in their intensity here.
So if we funky country, well that, you
| | 08:11 |
know, that's going to be.
(music playing) Yeah, it's a country rock kind of feel.
| | 08:20 |
So, you can use so many ways of defining
exactly what it is you're looking for,
| | 08:24 |
either by searching the albums.
Looking at your own titles.
| | 08:28 |
Looking through the SmartSound Store if I
open it up to that.
| | 08:32 |
Then you can see these that are grayed
out, mean I don't own those, so I can
| | 08:36 |
still preview them and it takes a second
for it to go online.
| | 08:41 |
Find that track.
There we go.
| | 08:50 |
And now I can.
(music playing) See, I can preview the sample of
| | 08:55 |
it, but I won't be able to drill down and
find all my different variations or my
| | 08:58 |
moods or anything like that.
I'll just be able to preview it.
| | 09:03 |
And then, I can click here to buy it if I
want to.
| | 09:06 |
And it will take me online to the place
where I can do that.
| | 09:10 |
So, there's a lot of ways to really look
through your library.
| | 09:13 |
What you own, what you want to buy, the
different types of music and the
| | 09:17 |
different genres.
And this is really where it all starts.
| | 09:21 |
And this is where we're going to be
starting.
| | 09:23 |
To build all of our elements is right
here in the Express Track.
| | 09:27 |
| | Collapse this transcript |
| Creating custom-length tracks| 00:02 |
Unlike typical music libraries that you
can purchase or download, that have
| | 00:06 |
segments of, say, 30 seconds, 60 seconds,
90 et cetera, that you have to fade in
| | 00:11 |
and fade out to match your production.
The beauty of the SmartSound products is
| | 00:18 |
that you can customize in so many
different ways.
| | 00:22 |
What we're going to look at making custom
lengths of clips, and right now I've got
| | 00:26 |
my Express track up, I'm selecting,
Julie's Place, which is part of the core
| | 00:30 |
foundations that you have access to
download.
| | 00:34 |
So you can follow along if you'd like.
My default is 30 seconds.
| | 00:38 |
This is my variation, which is meanwhile,
that's the main feature that they have.
| | 00:43 |
I'm just going to play this through for
30 seconds.
| | 00:45 |
So we can hear all the instrumentation.
Now they use real instruments.
| | 00:48 |
It isn't all just MIDI or keyboard stuff.
They use real instrumentation in the way
| | 00:54 |
they break it down, so that we can
customize it.
| | 00:57 |
So let's hear what it sounds like just
playing straight through for the 30 seconds.
| | 01:13 |
(music playing) Okay, so before I actually select
that and put it into my timeline, say I
| | 01:23 |
only wanted that to be 15 seconds long,
well I can just come up here and change
| | 01:32 |
that to 15, hit Enter.
And notice that it changed the variation
| | 01:45 |
to Cool Beans.
That means that it's using different
| | 01:49 |
segments from the library to make this
work, because again they are using real instruments.
| | 01:55 |
They're not just going to crop things off
and make it sound weird, so this should
| | 01:58 |
still have a full functioning 15 seconds
with a beginning, a middle and an end, so
| | 02:01 |
let's hear what they just selected for
us.
| | 02:05 |
(music playing)
| | 02:17 |
.
Seeing here they used totally different
| | 02:23 |
instrumentation, segments in there,
different ending, different melody in
| | 02:26 |
there, so they actually selected
something for us.
| | 02:30 |
Let's go ahead and insert this.
I'm just going to click Insert.
| | 02:34 |
And now, it's right here on my timeline.
And I can zoom in and zoom out of my
| | 02:38 |
timeline here.
So let me zoom in a little bit here, so
| | 02:42 |
we've got a little more length we can
look at.
| | 02:45 |
And I can play this back, I can click on
Start.
| | 02:48 |
(music playing) Okay, so we can see that it
really didn't end right at 15 seconds, it
| | 02:56 |
ended here at about, we can look at our
spectral data, around 13, little after 13.
| | 03:10 |
Say we really wanted this to go out
closer than 15.
| | 03:17 |
Let's see what happens if we try to
stretch this out.
| | 03:20 |
Pull this out a little bit.
There we go.
| | 03:22 |
Now, let's listen and hear what it did.
It should and right around 15 seconds for
| | 03:28 |
us here, there may be a little fade out
there but, let's play this back and hear
| | 03:35 |
how it sounds.
(music playing)
| | 03:41 |
Seeing here, there's a little bit of drum
ring beyond 15 seconds there, but that's
| | 03:47 |
easier to fade out, a drum ring, than it
is to fade out something that's actually
| | 03:54 |
you're playing through.
So you can hear again, just that little
| | 04:01 |
bit of alteration I did changed our
instrumentation.
| | 04:05 |
So they really do change up the contents
when you stretch this out.
| | 04:09 |
Say I only wanted something that was
about 12 seconds long, well I can just
| | 04:12 |
pull this down and it will automatically
move everything for me.
| | 04:16 |
I can see that my spectral data ends
here.
| | 04:20 |
A little soon so I'll just pull this up a
little more and just keep tweaking it to
| | 04:23 |
see what it's going to give me.
This ends a little closer to 12 seconds
| | 04:27 |
so let me hear what it does here.
(music playing) So you can see that just by doing
| | 04:35 |
a little bit of shifting and tweaking in
there, it will, automatically regenerate,
| | 04:45 |
a custom length soundtrack for us.
No matter how odd the timing or the size,
| | 04:56 |
the length of the pieces that we need, it
will automatically adjust all that for us.
| | 05:02 |
And we'll be able to dig deeper into, all
of the further customization.
| | 05:06 |
In some of the other movies.
Eh, this is the core of how SmartSound
| | 05:09 |
works, is that it you know, it allows you
to customize your specific length of
| | 05:13 |
music that you need without it sounding
like your just fading in or fading out or
| | 05:16 |
just cropping or cutting.
Canned loops, and that's what makes the
| | 05:22 |
sound more real.
And it works so much better with your
| | 05:26 |
productions, because you have real
endings, and real content within your soundtracks.
| | 05:32 |
| | Collapse this transcript |
| Mood mapping| 00:02 |
Typically with a soundtrack, the way that
you want to adjust your volume or the
| | 00:06 |
feel of your soundtrack throughout time,
to make adjustments for voice overs, or
| | 00:11 |
other sounds, real sounds that you're
mixing in is to just go through and
| | 00:15 |
change the volume along the timeline.
Now, when you have soundtracks even in
| | 00:22 |
SmartSound that are just single layer
soundtracks, that's pretty much all you
| | 00:25 |
can do.
You can come over here to the Volume
| | 00:28 |
icon, and this gives us our grid.
Now, what we can do is we can set the
| | 00:33 |
volume globally just by grabbing this bar
and dragging it down.
| | 00:38 |
Or we can actually set keyframes along
the way here.
| | 00:41 |
Say we want to come out here, we know at
10 seconds we'll be ramping up, so we'll
| | 00:46 |
set that keyframe there.
We may start at 100%, a few seconds out
| | 00:51 |
we come here.
We can pull that down.
| | 00:55 |
Just grab some little keyframes.
And that way we can just select these,
| | 00:59 |
and pull them down as we need to.
And that would adjust our volume.
| | 01:04 |
Again, that would be.
If we're just doing a real rough mix here
| | 01:07 |
before going into our video editing
program.
| | 01:10 |
Typically I won't do much of my volume
adjustments here, I'll just do them when
| | 01:13 |
I get to my video editor, but if I know
exactly where I need to work on something
| | 01:17 |
then I'll go ahead and do, at least a
rough here and then I can just do global
| | 01:20 |
volume corrections later.
But let me just play that back and you'll
| | 01:26 |
hear that first part.
(music playing) So we could have voice over say
| | 01:32 |
coming through here, and then the voice
over ends right about here.
| | 01:42 |
(music playing) And so on, and that's typically
what we would do.
| | 01:45 |
If we have a multilayer, like we have
with this particular segment.
| | 01:51 |
I'm going to close this up.
And we have something that's called mood-mapping.
| | 01:55 |
Now this is another, really deep editing
smart feature that SmartSound provides
| | 02:00 |
for you.
So, not only do we have control of our
| | 02:03 |
custom links, we have control over
instrumentation, and other elements that
| | 02:08 |
could be changed a long time with the
mood mapping feature.
| | 02:13 |
Let me just select this segment here.
And I can come over here to my mood.
| | 02:18 |
And you see we've got this different
selections here.
| | 02:21 |
So say I've got it on full now that's the
default, I can come over here to
| | 02:25 |
background and that will do a global
change.
| | 02:29 |
(music playing) See, here we pulled out the
trumpet, but kept our basic volume pretty
| | 02:40 |
much where it is.
Now, if I set the whole thing to
| | 02:47 |
dialog, we'll hear that it'll do even
more.
| | 02:50 |
(music playing) We can hear that it's pulled it
back enough so I can talk over it.
| | 02:57 |
more of the instrumentation is pulled
back.
| | 02:59 |
But the feel is still there, we still get
that vibe going the volume has been
| | 03:04 |
lowered little bit, but it is definitely
set for background.
| | 03:09 |
Well, that's really nice and that's a
cool effect but what if we don't want the
| | 03:13 |
whole 30 seconds to be that way, what do
we do?
| | 03:17 |
This is where it's really cool.
We've got these Add Mood Segments up here.
| | 03:21 |
There's markers that we can put along the
line here, so say going back to our
| | 03:26 |
original plan, if we start at full we can
come over here and say out here at about
| | 03:31 |
two, three seconds, we can add a Mood
marker and then we can come over here to
| | 03:36 |
say around 12 seconds or so, add another
Mood marker.
| | 03:44 |
Bring one here.
Let me just add a few down the line.
| | 03:49 |
And add another one.
Now I start at full, because I know I
| | 03:53 |
want full in a few different places, I
want it at the beginning the middle and
| | 03:57 |
the end, so I just start at my full.
Now I can select any one of these
| | 04:01 |
segments and change the mood.
So say here I've got voice over coming in.
| | 04:05 |
So here I'll go to Dialog, and say in
here I've just got some other sounds
| | 04:11 |
coming in, so I want that to go to
Background.
| | 04:18 |
And now listen to what this did for us
automatically without doing any other
| | 04:25 |
customization or tweeking on it.
(music playing)
| | 04:31 |
(music playing)
| | 04:33 |
So you can hear that it brought the
volume down here during the dialog phase.
| | 04:59 |
Brought the instrumentation out.
Brought it all the way back up here where
| | 05:02 |
we heard the trumpet playing, all the
instrumentation here in the middle.
| | 05:06 |
And it slowly faded into this segment
here.
| | 05:09 |
When it went background the trumpet
dropped out.
| | 05:11 |
We just hear the rythym section, then it
came back towards the end.
| | 05:13 |
Where everything was full.
Now, this I think is probably the most
| | 05:17 |
mind blowing of all of the features in
SmartSound is that we have this capability.
| | 05:24 |
There's a little more fine-tuning and
tweaking we can do here, say this
| | 05:27 |
transition here going into background is
a little too soft, a little too slow
| | 05:31 |
getting there.
We can actually change that.
| | 05:35 |
So I can select that segment, and click
my transition time, default is two seconds.
| | 05:40 |
So I can say, I want it down here at
about one second.
| | 05:44 |
An that actually effected my transition
out.
| | 05:46 |
So if I want it to transition in, I have
to go to the previous segment, and do my
| | 05:50 |
transition time down to one.
An we'll see that little bar will change
| | 05:55 |
there, little, guide going in there.
So now if I listen to this back, hear my
| | 06:02 |
transitions in and out of that segment
will be a little snappier,
| | 06:10 |
(music playing)
| | 06:14 |
Now, doesn't that give that just a real
natural feel to it?
| | 06:18 |
You don't hear things.
They don't sound like they're really just
| | 06:20 |
fading in and out, or that you're
adjusting the volume over time there.
| | 06:24 |
They really sound like somebody's changed
the arrangement, that they're re-recorded
| | 06:28 |
it entirely different.
And what we're doing here is basically
| | 06:32 |
we're doing multitrack recording and
mixing, just like you would in a
| | 06:36 |
professional sound studio.
So if we look at the elements here of the
| | 06:41 |
full resolution or the full volume mix,
we can see that we have some sliders here
| | 06:45 |
we can customize these even as we go.
So, if we want to drop out in
| | 06:51 |
instruments, say we want to pull the
piano and vibes out all together there,
| | 06:54 |
and we just want the bass drums and
trumpet.
| | 06:59 |
We can pull that up or just pull it down
a little bit.
| | 07:02 |
So you can see at least a little asterisk
there.
| | 07:05 |
So let's take a look here and see what
that sounds like.
| | 07:13 |
(music playing) You can hear that it comes back
in when it comes up in the background.
| | 07:19 |
So, there's a lot of customization, a lot
of versatility here that you can play with.
| | 07:25 |
The, mood mapping, and, I do this a lot.
I will.
| | 07:29 |
Because I'm also a musician, I tend to
really tweak things a little more than
| | 07:33 |
letting them go by default.
So I'll come in and I'll, if I want to
| | 07:37 |
kick up the bass a little more.
Or pull up a guitar or a trumpet, or
| | 07:41 |
whatever elements that I have in there.
Some of these will have, you know, maybe
| | 07:45 |
a dozen different instruments in there,
if it's a really complex arrangement.
| | 07:50 |
This just gives you a lot of versatility,
a lot of customization.
| | 07:53 |
That really allows you to make every
single soundtrack that you create in
| | 07:57 |
Sonicfire Pro, very custom, very unique
and very original.
| | 08:02 |
| | 08:02 |
| | Collapse this transcript |
| Adding a track to a video| 00:02 |
In this video, I want to show you how we
can use Sonicfire Pro 5 to mix a custom
| | 00:06 |
soundtrack to a video that we've got with
a voice-over in it and our edits in already.
| | 00:15 |
And select our timing controls and our
mood mapping together to create a whole
| | 00:20 |
project, so to speak.
So, let me start with selecting my video.
| | 00:27 |
Come up here to File > Choose Video.
And I'm going to grab the Yosemite for
| | 00:32 |
soundtrack movie and this is already
edited.
| | 00:37 |
It already has the voice over in it.
First thing I'd like to do is make sure
| | 00:40 |
that I've got my volume set up.
It's high as it goes because the
| | 00:44 |
soundtrack always seems to drown out the
video otherwise.
| | 00:48 |
So, we see that it adds it in here.
Says video, and here I'm going to zoom in
| | 00:52 |
just one click.
There we go.
| | 00:54 |
And it stretches it out along our
timeline here.
| | 00:56 |
So, I see that my video is about 47
seconds long.
| | 01:02 |
If we play it back here, we can go to the
beginning.
| | 01:06 |
And there's silence there for a bit.
And for the voice over comes in right
| | 01:15 |
about here.
>> Yosemite National Park, one of the
| | 01:18 |
first wilderness parks in the United
States, is best known for its waterfalls.
| | 01:24 |
But within its nearly 1200 square miles,
you can find deep valleys, grand meadows,
| | 01:29 |
ancient giant sequoias, a vast wilderness
area, and much, much more.
| | 01:35 |
>> Okay.
Then we've got some space here for some
| | 01:37 |
music to come in.
And then the closer.
| | 01:41 |
>> So, make your plans to visit The
Yosemite National Park today.
| | 01:47 |
>> And then ends with music, then fade
out.
| | 01:53 |
Okay.
So, what I'll do is, first, I'd like to
| | 01:56 |
set my markers in here.
And I'm going to just come in here, find
| | 02:01 |
the beginning of the voice over.
>> You'll.
| | 02:05 |
>> So, there.
Add a marker in there.
| | 02:08 |
These don't have to be exact.
There just want to have an idea about
| | 02:12 |
where my voice over comes in and out.
And some right here.
| | 02:16 |
>> And much, much more.
>> Oops, didn't mean to move my marker.
| | 02:20 |
I just wanted to move my timeline.
So, just undo that.
| | 02:25 |
>> Is a vast wilderness area, and much,
much more.
| | 02:28 |
>> Add a marker, and I know I've gotta
come down here.
| | 02:32 |
>> So, make your plans to visit The
Yosemite National Park today.
| | 02:40 |
>> And one more marker.
So, I've got a marker now for my in and
| | 02:43 |
out points of both of the voiceovers.
Those are just a visual for me to edit to
| | 02:49 |
that I can use.
And now that I know I've got about 47
| | 02:54 |
seconds here, I'm going to come down to
my express track and I'm going to set
| | 02:59 |
this to 47 seconds, 47 and hit enter.
Now, I've got to choose a soundtrack.
| | 03:08 |
Well, to speed up time here, I'm going to
just use feature presentation from the
| | 03:13 |
core foundations, a library that's one
that you have too.
| | 03:20 |
So, I mean, listen to a little bit of it.
(music playing)
| | 03:25 |
So, that will work really well for this.
It kind of has a cinematic feel to it,
| | 03:32 |
very nature-like, so I'm just going to go
ahead and insert it.
| | 03:40 |
Do note that before I came to my express
track, I did set my playback head all the
| | 03:46 |
way to frame zero because wherever that
is, and you hit insert, that's where it
| | 03:52 |
will insert your sound track.
So, let's listen to this a little bit
| | 04:01 |
here before it gets to the voice over and
see how it matches.
| | 04:08 |
(music playing)
>> Yosemite National Park, one of the first.
| | 04:13 |
>> Okay.
Well, what we can do first is to go ahead
| | 04:16 |
and set our mood mapping points.
So, I'm going to just set them here where
| | 04:21 |
the track marks are already.
So, I just, from here add mood map
| | 04:25 |
marking, and add mood there.
Add mood here at this marker.
| | 04:32 |
And add one right here at this marker.
Now, they're all full right now.
| | 04:37 |
I know that I'm going to have dialog
here.
| | 04:41 |
So, I'm just going to select that segment.
Come here from full to dialog.
| | 04:46 |
And then, I come over here, where I know
there's more dialog here.
| | 04:50 |
Select that one and select that one and
select Dialog.
| | 04:54 |
And then, I can play around a little bit
with these transitions in here, how they work.
| | 05:01 |
(music playing)
>> Yosemite National Park, one of the
| | 05:04 |
first wilderness parks.
>> Okay.
| | 05:08 |
I would like to shorten up this
transition just a bit, so I'm going to
| | 05:11 |
select that.
Move that down about one second from my transition.
| | 05:17 |
And I'll probably do the same thing for
the end of my dialog here.
| | 05:22 |
Let me listen.
>> Area and much, much more.
| | 05:26 |
(music playing)
>> So I may shorten out one up just a
| | 05:28 |
little bit too.
So, that it doesn't come in too soon.
| | 05:34 |
And then, I'll do the same for these as
well because I know that they're fairly abrupt.
| | 05:42 |
It's a very booming voice-over and I want
the music to butt up against this as soon
| | 05:46 |
as possible, so that it matches that same
energy.
| | 05:51 |
Okay.
So, let me have a listen here with this,
| | 05:54 |
just with our mood mapping, and hear how
some of this works over the dialog.
| | 06:00 |
(music playing)
>> Yosemite National Park, one of the
| | 06:03 |
first wilderness parks in the United
States.
| | 06:08 |
Okay.
That's a bit too much of a drop-off.
| | 06:11 |
So, I'm going to select my dialog here.
I'm going to bring up my strings a bit
| | 06:16 |
and my woodwinds a little bit, and maybe
even the trumpet just a bit, so there's a
| | 06:20 |
hint of that melody going underneath.
I'll bring up the low brass just a little
| | 06:27 |
bit and see if that kind of fills that up
a little bit.
| | 06:30 |
So, let's hear how that works.
(music playing)
| | 06:32 |
>> Yosemite National Park, one of the
first wilderness parks in the United
| | 06:36 |
States, is best known for its water-.
>> So, I like that.
| | 06:41 |
It gives a little more of a hint of the,
the movement of the strings and
| | 06:43 |
everything around there.
We can-, could always come back and
| | 06:46 |
sweeten that up a little bit.
I'm going to do the same thing with this
| | 06:49 |
dialog here because it's the same level
of energy there.
| | 06:53 |
So, let's listen to that.
Let's move that up a little bit.
| | 06:57 |
A little bit of trumpet, a little more
woodwinds, and a little more strings even.
| | 07:03 |
And let's hear how that sounds.
(music playing)
| | 07:07 |
>> So make your plans to visit The
Yosemite National Park today.
| | 07:13 |
>> Okay.
There was a couple things going on here
| | 07:16 |
that I'm not extremely thrilled about,
the decisions that Smart Sound has made
| | 07:21 |
for me, just on this first pass through.
But there's something that we can do to
| | 07:28 |
change the arrangement in here without
necessarily having to change the length.
| | 07:34 |
Well, the first thing that I'm going to
do is probably try to change the length
| | 07:37 |
and see if that gives me a little bit
different option here.
| | 07:41 |
This ends a little too soon.
I would have really liked it to end out
| | 07:44 |
here, where it fades out.
So, first thing I'm going to do is pull
| | 07:48 |
this out just a little bit.
See if it'll come.
| | 07:52 |
Come on.
Have to go a little farther.
| | 07:54 |
There we go.
Now, I'm going to listen to this ending.
| | 07:57 |
That's going to be key.
>> Today.
| | 08:02 |
(music playing)
>> So that's a little better.
| | 08:06 |
I I still think this is a little sleepy
in the beginning here.
| | 08:10 |
(music playing)
So, what we can do is use the timing control.
| | 08:14 |
And if we click this button here, it says
timing control, notice how it tells us,
| | 08:19 |
there's a couple words up here.
Starts with remember, ends with joy.
| | 08:24 |
Well, that means that it's using the
musical segment the variation of remember
| | 08:29 |
through, pretty much, the whole thing
which doesn't give me much variety in there.
| | 08:37 |
I would like it to move from one segment
to another a little more.
| | 08:40 |
So, I can choose some variations on this.
And just like we did in our Express Track
| | 08:48 |
in earlier movies, where we can change
our variation while we're listening and
| | 08:52 |
previewing before we insert, well we can
come over here to our Timing Control and
| | 08:56 |
I can select this, which is our first
point here, which just says, remember, I
| | 09:00 |
can change that to something else.
let me see what this is like if I go to
| | 09:08 |
First Dawn.
Wanna notice that it also changed our
| | 09:12 |
length here too.
So that may be a, a problem.
| | 09:14 |
But let's see what First Dawn sounds
like.
| | 09:17 |
(music playing)
| | 09:20 |
>> Yosemite National Park, one of the first
wilderness park.
| | 09:31 |
>> Okay, I'm not sure that's exactly
what I'm looking for.
| | 09:33 |
Let me hear what it does here where it
came to embrace.
| | 09:37 |
>> Area and much much more.
(music playing)
| | 09:43 |
>> That's a little too epic for right
there.
| | 09:46 |
>> Yosemite National Park today.
(music playing)
| | 09:49 |
>> That ending's pretty nice but it's
still, just a little bit too soon.
| | 09:55 |
So, let's try a different approach here
back here at first dawn, let's see what
| | 09:58 |
else we've got.
Let's go to Current, well, that's not
| | 10:02 |
going to work at all.
That chopped off everything.
| | 10:06 |
So, let's try Majesty.
There we go.
| | 10:09 |
Now, we've got some different variations
here.
| | 10:11 |
Let's here what this is like.
(music playing)
| | 10:14 |
>> Yosemite National Park, one of the
first wilderness parks in the United
| | 10:22 |
States, is best known for its waterfalls.
But within its nearly 1200 square miles,
| | 10:33 |
you can find deep valleys, grand meadows,
ancient giant sequoias, a vast wilderness
| | 10:38 |
area, and much, much more.
(music playing)
| | 10:53 |
So, make your plans to visit The Yosemite
National Park today.
| | 10:58 |
(music playing)
>> Okay.
| | 11:03 |
I like most of that.
I do like how this kind of gets quieter
| | 11:06 |
here while the deer is eating.
That's kind of a nice effect.
| | 11:11 |
I'd like how it starts better.
But I'm not so sure from this point here,
| | 11:15 |
Whisper Forward.
I'm not really thrilled with that.
| | 11:19 |
But what I can do here is, if I come over
here, I like this segment.
| | 11:23 |
So, I'm going to click on this and I can
click this button here.
| | 11:27 |
It says Protect Softly.
So, if I protect that, then actually
| | 11:31 |
that's going to protect everything after
that.
| | 11:35 |
So, I don't want to do that.
I'm going to deselect that.
| | 11:39 |
It only works if you protect the ending.
It doesn't protect everything before it.
| | 11:45 |
So, that's not going to work in this
case.
| | 11:47 |
So, what I'm going to do is actually
select one of these, say, Current.
| | 11:51 |
Actually, let's start with Whisper.
See if we can select Whisper and then,
| | 11:55 |
change that to something else.
I like, let's see what Regal sounds like there.
| | 12:02 |
(music playing)
>> So make your plans to vi-.
| | 12:06 |
>> Okay, that's too short, too, that's
not going to work.
| | 12:11 |
So, let's try Touched and see what
happens there.
| | 12:16 |
(music playing)
>> So, make your plans to visit The
| | 12:18 |
Yosemite National Park today.
(music playing)
| | 12:22 |
>> Of course, that ended way too soon.
So, let's try another one.
| | 12:27 |
.
| | 12:30 |
(music playing)
Okay?
| | 12:33 |
>> So.
>> That's not going to work either.
| | 12:35 |
Let's go to, there we go.
Let's see if this works.
| | 12:41 |
(music playing)
>> So make your plans to visit The Yosemite.
| | 12:48 |
>> Okay that's a little abrupt.
>> So.
| | 12:52 |
>> So, that's not going to work.
So, I can come down here and click Whisper.
| | 13:02 |
And I'm going to just change that to what
I wanted to end on, which is Joy.
| | 13:07 |
And even though it comes up short here,
what I can do is grab this little key
| | 13:11 |
frame and just drag it down here toward
the end, where I want it to show up.
| | 13:16 |
And it will fill in automatically for me
here.
| | 13:19 |
(music playing)
So, make your plans to visit The Yosemite
| | 13:23 |
National Park today.
>> There we go.
| | 13:27 |
So, there's my ending and I can tweak
that just a little bit more if I want to
| | 13:33 |
get my timing, just nail it right on.
I might be a beat or two off there, but I
| | 13:39 |
can kind of fudge that just a little bit
in there.
| | 13:43 |
So, you can see how I can take what they
give me.
| | 13:47 |
Customize it in so many different ways
using the mood mapping, tweaking all of
| | 13:51 |
the controls of our sliders in there for
the different instrumentation come in
| | 13:55 |
here, and really mess around with the
timing controls.
| | 14:00 |
And get it to produce an actual
arrangement that I'm really happy with,
| | 14:04 |
that's going to work with my video.
I've got my video preview down here.
| | 14:09 |
So, I don't need to go back and forth,
back and forth with my Video Editor.
| | 14:14 |
I am ready now that I can then export
this and take it right to my Video Editor
| | 14:18 |
and be able to use that right away.
So, I hope that this encourages you to
| | 14:24 |
really experiment with these project
files that we've got here.
| | 14:28 |
And come up with your own piece that
works for you.
| | 14:32 |
Everybody's going to have something a little
bit different.
| | 14:35 |
Come up with your own special custom
music piece, cuz you'll never do the same
| | 14:40 |
thing twice, I'll guarantee you.
| | 14:44 |
| | Collapse this transcript |
| Exporting your edited soundtrack| 00:02 |
Okay, we've got a file here that is
already mixed and ready to export.
| | 00:07 |
You can open this up, as well.
It's in the assets for this chapter.
| | 00:11 |
And it's the Yosemite soundtrack, Sonic
Fire Pro file.
| | 00:15 |
You can see that it's got all our mix
marks in there from our Mood Mapping and
| | 00:19 |
timing changes, and the video is sucked
into there, as well.
| | 00:24 |
So I just want to export this audio file so
that I can edit that in my video editor,
| | 00:30 |
so I'm going to go to File > Export
Soundtrack.
| | 00:36 |
I'm going to select WAV, it's a little
bigger file.
| | 00:39 |
It is kind of a force of habit, because
of past experiences with some video
| | 00:43 |
editors, the AIFF file sometimes lose
syncing along the way when you're going
| | 00:47 |
back to play back over and over again.
So you can choose whatever you like, I'm
| | 00:53 |
just going to choose WAV for this
example.
| | 00:56 |
Click Export, give it a name and just
going to leave this here as mixed, so
| | 01:01 |
that it will be distinguishable.
So click Save and it only takes a second
| | 01:06 |
or two and it's done.
Now I can actually quit SonicFire Pro 5.
| | 01:12 |
Quit it, and now I'm back out into my
media folder.
| | 01:16 |
Now here's my SonicFire Pro 5 file, the
mixing file that I just had open, but
| | 01:21 |
here's the WAV file.
Now I can import that into my video
| | 01:26 |
editor and start working away, but say I
wanted to make a change or something to it.
| | 01:32 |
I can now open that back up in SonicFire
Pro 5 without going to the actual
| | 01:36 |
SonicFire Pro file, I can right-click on
this, Open With > SonicFire Pro 5.
| | 01:42 |
I get my low resolution message there,
cuz I'm recording in a very low
| | 01:46 |
resolution, so you can see what I'm
working on.
| | 01:52 |
And there is everything.
I opened up the WAV file, now it creates
| | 01:56 |
a new file, it creates kind of a copy of
it, but it retains all of that metadata
| | 02:00 |
that was in the original file.
So if I was to hand this project off to
| | 02:06 |
somebody else and they had SonicFire Pro
5, and they had their video editor.
| | 02:11 |
But they had the WAV file, they had the
video file, they had everything there but
| | 02:15 |
they didn't have the original SonicFire
profile, then they'd still be able to do
| | 02:18 |
an edit, or you would be, if you pulled
this out of an archive you saved and, or
| | 02:21 |
you had it on a different hard drive or
whatever.
| | 02:27 |
Wherever that WAV file is, all of this
metadata information stays with it.
| | 02:32 |
So you can then re-edit it and then of
course re-export it.
| | 02:37 |
Give it another name or overwrite the
original file, either way.
| | 02:40 |
You'll be able retain it.
This is a wonderful workflow.
| | 02:44 |
It's great that they do this, because so
much of the time, assets lose all of the
| | 02:48 |
original metadata, and you have to start
all over again.
| | 02:51 |
This way you never have to start over
again.
| | 02:54 |
It retains all the breadcrumbs, all the
metadata's in there, and I think that's a
| | 02:59 |
marvelous feature of SonicFire Pro 5.
| | 03:03 |
| | Collapse this transcript |
| Project example: Mood mapping and the Timing Control feature| 00:02 |
I'd like to show you a great example of
combining editable, multi-mood, mood
| | 00:06 |
mapping, and timing control, and all of
our markers and everything.
| | 00:12 |
All in one project.
And this project's a little over a
| | 00:15 |
minute, about a minute, not quite a
minute and a half long.
| | 00:19 |
This is a, teaser or a bumper for a
program, and what I've done is I've
| | 00:24 |
customized my different mood mapping
settings.
| | 00:29 |
You can see along the line here they got
asterisks by them, they have been
| | 00:32 |
customized, so I've got a full mix that's
not customized.
| | 00:37 |
A dialog mix that is not customized, and
then I go into an area where I had to
| | 00:42 |
actually tweak dialog a little more by
mixing with the controls over here, and
| | 00:46 |
then going on down the line here.
We can see that I've, mixed, a little
| | 00:53 |
more, changed transition times.
So you can really tweak these along the
| | 00:57 |
line to make it work for you.
Now I've also come in here and, changed
| | 01:01 |
some of my timing controls, so that I
could really modify my soundtrack, to be
| | 01:05 |
customized for this particular project,
an work better with the flow of the video.
| | 01:12 |
And with the voice over and the dialog
that's going on.
| | 01:16 |
So let's take a listen to this whole
project.
| | 01:18 |
The video audio is a little bit low on
here, but I think you'll at least get the
| | 01:22 |
idea of where this is going.
(music playing)
| | 01:30 |
>> This week on DV tech week, it's all
about compositing.
| | 01:33 |
(music playing) We talked with producer Bob
Cortez about doing live compositing on TV.
| | 01:37 |
>> the infamous hologram from the CNN
election night coverage, I put that thing
| | 01:41 |
on the air, of the two 90 second moments
it was there, I was working 14 straight
| | 01:45 |
days, working on it.
Much to my surprise, we pulled it off.
| | 01:52 |
>> And then we take a good look at the
reflect media, LED projection system.
| | 01:56 |
(music playing) Which allows you to take your
green screen with you anywhere.
| | 01:59 |
We'll show you the best practices for
using this system, as well as some of the pitfalls.
| | 02:05 |
Next, we'll be talking with Panavision
Senior Vice President John Galt about big
| | 02:08 |
budget studio production workflow, and
just where all that money goes.
| | 02:12 |
>> When you're a televisual effects
supervisor, you can.
| | 02:17 |
(music playing)
>> Basically, help him do his
| | 02:18 |
composites, you know, and eliminate those
hundred people roto'ing (LAUGH)
| | 02:23 |
It doesn't necessarily go down well if he
happens to be employed by the, facility
| | 02:26 |
who's going to be doing that.
>> And then we'll take a tour of the
| | 02:30 |
live green screen weather map set at KSBY
TV to see how it's done.
| | 02:34 |
(music playing) All this and more on the next DV
Tech Week.
| | 02:43 |
>> So you can see there's more to it
than just squishing the timeline and
| | 02:47 |
making your adjustments when you've got a
more complex editing job like this.
| | 02:54 |
So, what I've done is I've edited my
video, I had an idea for my music.
| | 03:00 |
I was able to render out from my video
editor the actual editing keys, their
| | 03:04 |
components for the voice over and the
interviews.
| | 03:09 |
And now I'm able to build my soundtrack
from that.
| | 03:13 |
So, you can see because I can customize
this so much.
| | 03:18 |
Using all the different timing controls
and the mood mapping, I can really,
| | 03:22 |
really tweak my soundtrack to be specific
for the project that I'm working on, and
| | 03:27 |
now I can export it or bring it back in
to my editor directly from here.
| | 03:33 |
| | Collapse this transcript |
| Spotting| 00:02 |
Sonicfire Pro 5 has a really cool feature
to help you get, kind of, some ideas and
| | 00:06 |
some creativity flowing, when you've just
got a video you need to add a soundtrack to.
| | 00:12 |
Now, I've got a project here that I've
already added some markers to.
| | 00:16 |
It's a video that I shot with six
different cameras.
| | 00:20 |
And just edit it, so it shows all six
camera just in various points that get
| | 00:25 |
edited in here.
So, I want something that's going to work
| | 00:29 |
with this, and kind of meet the different
edit points and kind of have that same
| | 00:33 |
kind of tempo and energy.
Well, the spotting feature does just
| | 00:39 |
exactly that.
I come down here to my Bin Spotting
| | 00:42 |
panel, click on Spotting, and it looks at
all of my markers that I've placed in my
| | 00:46 |
project here.
And it gives me the best calculated
| | 00:50 |
variables of the different tempos that
might work well with that pacing of the
| | 00:54 |
markers that I've placed.
Well by a long shot it looks like 197
| | 00:59 |
wins out here.
So I can either double-click that, or hit
| | 01:03 |
the Express Track buttonMUSIC and it
starts with the very first one that is in
| | 01:06 |
the list that, that comes closest to the
tempo rating that it suggests.
| | 01:12 |
Well, we don't have one that's exactly
197, but it gives us a range of about 10,
| | 01:16 |
5 in each direction or so, that gives us
a few to choose from.
| | 01:21 |
I don't think that Fiesta Siesta is going
to really match our video here well, just
| | 01:24 |
because it's the closest tempo, but we
can sort by intensity.
| | 01:29 |
If we want something a little more
energetic.
| | 01:32 |
Or we can go by some of the descriptions.
Right here, this looks interesting.
| | 01:35 |
Free wheelin'.
That's kind of a southern rock type of sound.
| | 01:39 |
This is an off road vehicle.
So let's give this a shot.
| | 01:43 |
(music playing) 'Kay, I think that might be
interesting.
| | 01:56 |
I'm going to insert that, and let's see
how this matches with our video.
| | 02:00 |
Click start.
| | 02:01 |
(music playing)
| | 02:10 |
Okay, that's pretty close.
I would probably want to come in here and
| | 02:45 |
change some of my timing control and
maybe even a little bit of length here.
| | 02:51 |
It ends just a little bit too soon for
me, so I might kind of pull this out, see
| | 02:54 |
if I can get that to end a little closer.
(music playing) There we go.
| | 03:01 |
So what I may do here is come in here and
look at my timing control, and see if I
| | 03:05 |
can move this up a little sooner.
Cuz it seems to start in with a little of
| | 03:11 |
the excitement a little late, so let's
see if that helps it.
| | 03:25 |
(music playing) So, just using a few different
clicks, I've come up with something that
| | 03:29 |
works well with the pace of the video
edits, with the pace of the action and it
| | 03:33 |
automated a lot of that workflow for me.
They got me into something that's
| | 03:39 |
creative, I go in using a little bit of
the timing control to really tweak it,
| | 03:42 |
make it match and boom I'm done I'm ready
to export this and make my sound track
| | 03:45 |
for my video.
| | 03:48 |
| | Collapse this transcript |
| Working with Hit files| 00:00 |
Well, sometimes, you've got projects
where you've got all of your soundtrack,
| | 00:03 |
you've got your graphics and images are
all in there, but you need something that
| | 00:07 |
really enhances some visual impact.
And that's where the Hit files come in
| | 00:12 |
handy here in Sonicfire Pro 5.
Let me show you this project I've got.
| | 00:16 |
It's a bumper for a reality show and
we've got all our soundtrack in here.
| | 00:22 |
But we need just a little more emphasis
here when this explosion happens, the
| | 00:26 |
text comes in, and then, there's a
percussion that actually makes that shake.
| | 00:31 |
So we want something in there.
Let's hear what it sounds like.
| | 00:34 |
We've got a really energetic soundtrack
already, but we need just a little more.
| | 00:45 |
(music playing)
Okay, so the soundtrack already has
| | 00:48 |
somewhat of an explosion there, but they
want this, enhanced a bit, and we need
| | 00:53 |
something that shakes this up just a
little bit there as well.
| | 01:00 |
So, kind of a repercussion.
So, let's see what we've got to work with.
| | 01:04 |
I'm going to move my timeline right
there.
| | 01:06 |
And come up here to Timeline, and then,
Add Hit File.
| | 01:11 |
And the default is this symbol swell, of
course, that's not going to work because
| | 01:15 |
it's just a swelling symbol.
(music playing)
| | 01:19 |
And it gets buried anyway.
So let's mute our soundtrack here.
| | 01:24 |
And that way, we can hear just our Hit
files.
| | 01:29 |
(audio playing)
So of course, we're not going to be
| | 01:31 |
interested in that.
Here's something, Heavy Hits, and here,
| | 01:34 |
we've got some different things that can
be really percussive here, so let's hear
| | 01:37 |
what a couple of these sound like.
(audio playing)
| | 01:39 |
That's too much like a rolling rumble or
an explosion.
| | 01:50 |
(audio playing) 'Kay, that one's good, but it's
only a single Hit, and we kind of need
| | 01:54 |
something that has a rolling swell.
So let's see what happens here.
| | 02:05 |
(audio playing)
Now that would work really well for that
| | 02:08 |
first impact, and I could come in and add
another one and adjust with it.
| | 02:13 |
But I think there's one in here in
another area, under Impact, and here's
| | 02:16 |
one that's called a Hit Swell, so it's
kind of a two stage.
| | 02:21 |
Okay, that one would work well, because
it would go well with the music.
| | 02:30 |
And I think our timing's just off a
little bit.
| | 02:33 |
What we can do is just modify this a bit.
Pull this up, we don't need as much
| | 02:37 |
impact on that initial blast, because the
music soundtrack already has that in
| | 02:41 |
there, we can line this up, the Swell.
(audio playing)
| | 02:46 |
Okay, that might work well.
Let's hear it with the music and see how
| | 02:50 |
it sounds.
Okay, the timing is fine.
| | 02:58 |
I'm going to bring it up just a few dB.
Go up to 3, see how that works.
| | 03:07 |
And let's listen to the whole soundtrack
with it.
| | 03:19 |
(music playing)
Okay, that works well.
| | 03:21 |
I might add a few more layers.
I could add some more Hits to it, make it
| | 03:24 |
a little deeper, a little more resonance.
And so on and so on, I can just build on that.
| | 03:30 |
But these Hit files are built into
Sonicfire Pro 5, so you'll be able to
| | 03:33 |
access those easily, and experiment with
them on some of your soundtracks and see
| | 03:37 |
what you can do to enhance the music, the
soundtrack, and the visual effects that
| | 03:40 |
you're trying to achieve in your project.
| | 03:45 |
| | Collapse this transcript |
| Using SmartSound tracks with vocals| 00:02 |
Smart Sound has some of their albums with
lyrics.
| | 00:05 |
They've got vocals in there that they've
developed and they've recorded these so
| | 00:08 |
you can actually have some vocals that
may enhance your project, whether it's a
| | 00:12 |
commercial project.
One thing you do have to realize is that
| | 00:16 |
there are little stricter guidelines on
some of the licensing.
| | 00:20 |
So, when you do select a track that's a
multi-layer track that has lyrics and
| | 00:24 |
that does have some vocals, make sure you
read your licensing agreement here.
| | 00:29 |
They don't allow you to go back in and
rerecord new vocals over top of these, or
| | 00:33 |
change the lyrics in any way because
that's part of the licensing with the artist.
| | 00:40 |
They do include the lyrics here.
So, if you'd like a catchy tune, you're
| | 00:44 |
not sure it's going to go with your
project or not.
| | 00:47 |
Check out the lyrics, make sure that they
don't totally conflict with you project.
| | 00:51 |
(LAUGH) Or that they some how enhance it,
and in some cases, you may just like the
| | 00:55 |
chorus and not the verse because it's
catchy.
| | 00:58 |
You can mix those in and out, and I'm
going to show you how to do that as well.
| | 01:03 |
So, here's a clip.
This track has some vocals in it, it's
| | 01:07 |
kind of a catchy pop, rock type tune.
It starts in with a bunch of instruments
| | 01:13 |
and then it, the lyrics kick in the
vocals little ways ends.
| | 01:19 |
So, let me play this for you.
| | 01:31 |
(music playing)
| | 01:34 |
Seeing here how that goes along.
Now, before I actually select this and
| | 01:54 |
use this in my timeline, I have an
opportunity to mix out some of the
| | 01:58 |
instruments or some of the vocals.
So, I can click this Mix button here,
| | 02:04 |
pops up a little mixer.
And just like we can inside Sonic Fire
| | 02:09 |
Pro, I can do a little bit of premixing
before I commit to the track itself.
| | 02:15 |
I can do this live, so let me back tho
sup a little bit, and I'll play it and
| | 02:19 |
I'll just move some of the sliders.
You can hear how the variation works in
| | 02:33 |
live situation here.
(music playing) So, if I wanted to pull out the
| | 02:50 |
vocals all together and then bring my
track in, I could do that.
| | 03:06 |
So, let me go ahead and pull these out,
and insert this track into the timeline.
| | 03:14 |
Then I can come up here and I can twirl
this down and see, here are all of my
| | 03:18 |
instruments, and yet here are my two
vocal tracks as well.
| | 03:24 |
They're still there but the volume has
just been set to zero so we won't hear
| | 03:31 |
them when we play this back.
(music playing) So instead of vocals there, I'm
| | 03:38 |
just hearing the instrumentation.
There's a couple things that I might
| | 03:41 |
choose to do here.
Say, I wanted to change the time on this,
| | 03:45 |
I've got it set for a minute 30.
And let's say I really only want it to
| | 03:51 |
be a minute long.
Well, by seeing all of our instruments
| | 03:54 |
and how they're constructed here, and all
of our different layers, I can move this
| | 03:59 |
to one minute.
And we'll see that it totally
| | 04:03 |
reconstructs an entirely different piece
for us here.
| | 04:07 |
So, I can go in there and see where it
made the changes, and how my ending is,
| | 04:12 |
if I'm happy with it.
(music playing) So, I can do a couple different
| | 04:17 |
things here.
Say I want to bring my volume back up, of
| | 04:22 |
my vocals, I do want to have them in
there.
| | 04:28 |
I can do a couple different things.
I can either just bring the volume up, I
| | 04:32 |
can mix out different parts of the
vocals, just like I would in any other instrumentation.
| | 04:38 |
(music playing) So, say I just want the chorus
here, I don't want the verses.
| | 04:44 |
Well then, of course, I can come in here,
add some keyframes.
| | 04:47 |
And then I can just mix these out, and I
could pull the volume down and do it that way.
| | 04:57 |
So, I can do that or I can actually come
in here and delete some of these blocks.
| | 05:04 |
Just delete those so that the only thing
I have is the chorus itself.
| | 05:10 |
And of course, bring the volume back up
on that.
| | 05:13 |
And then give that a listen.
(music playing) So, you can see there's a lot of
| | 05:28 |
flexibility just by coming in and doing
various types of editing on the
| | 05:36 |
individual instruments.
On the individual vocal channels.
| | 05:46 |
We can come in and just mute certain
things, or change the levels on the
| | 05:50 |
different instrumentation here.
We can do it a long time.
| | 05:54 |
And we use this just like an actual
mixing console in a recording studio.
| | 05:58 |
It's kind of nice that we're given this
flexibility.
| | 06:01 |
So, utilizing the lyrical content of the
vocal tracks with some of the offerings
| | 06:06 |
that Smart Sound has on some of these.
Does give you a lot more flexibility in
| | 06:13 |
producing really nice quality commercial
sounding projects.
| | 06:18 |
| | Collapse this transcript |
| Building songs and soundtracks with blocks from the bin| 00:02 |
There's a really fun way to build your
own soundtrack.
| | 00:06 |
Not just relying on what Smart Sound or
Sonifier Pro feeds, you but to be able to
| | 00:10 |
build it with little blocks.
And I'm going to show you how this works,
| | 00:16 |
by breaking down an existing piece that
comes in as a soundtrack.
| | 00:21 |
I'm going to use the core foundation.
So I'm going to use Julie's place, which
| | 00:25 |
is kind of a jazz combo.
And then we can see this and understand
| | 00:28 |
how this works.
Well I'm just going to select it, I don't
| | 00:31 |
really care about the length at this
point, I just want to insert it at the Timeline.
| | 00:35 |
So now it's in there.
And you'll also notice, in this window
| | 00:38 |
here, you've got the Bin, and that tells
you the different pieces that you've,
| | 00:42 |
input into your Timeline to sample or
work on, during your current session.
| | 00:48 |
So this one shows this, an you'll see all
these little blocks in here.
| | 00:51 |
And what do those blocks mean?
Well those are little blocks that build
| | 00:55 |
up the time that the musical elements
that actually construct your soundtrack,
| | 01:01 |
on your Timeline.
So let's take a look up here.
| | 01:05 |
Let's troll this down.
We can see here is all of our different
| | 01:08 |
elements, because we got multi-layered
piece of music here.
| | 01:11 |
But if we have our soundtrack selected,
we come over to Timing Control, and turn
| | 01:17 |
that on.
We can see all of these different
| | 01:21 |
elements are added in here, for Set, Cool
Beats, et cetera.
| | 01:26 |
What does that mean?
Well, each one of these blocks in here,
| | 01:29 |
you'll see that they correlate along the
Timeline.
| | 01:32 |
We've got all these little blocks going
in here, well, they correlate to these
| | 01:35 |
blocks down here.
So, these right here, between here and
| | 01:40 |
here, those are the same blocks, as down
here in the Bin, first set.
| | 01:46 |
So that whole first set, is this
particular set of blocks all in here,
| | 01:51 |
with all of the instrumentation.
So when we are changing any of these
| | 01:57 |
selections, in the Timing Control then we
are actually just reordering how the
| | 02:02 |
blocks all assemble...
So if we want to create something from
| | 02:08 |
scratch, we don't want to rely on using
Express Track, or using Timing Control,
| | 02:13 |
or any of that.
We want to build our own song so to speak,
| | 02:18 |
just from the building blocks.
Well we can do that.
| | 02:21 |
Let me just Delete this off, from the
Timeline, and return our playback head here.
| | 02:27 |
Now I can actually start building, and I
want to start with the first set, because
| | 02:31 |
that really is the beginning of the song.
So I'm going to grab that, Drag it up
| | 02:37 |
here to the Timeline, move it into
position, and then I've got my first setting.
| | 02:44 |
Now, what can I add next to that?
Well, we'll see that it's going to
| | 02:49 |
suggest, well the next one in line is
going to be Cool Beans.
| | 02:52 |
We don't have to use Cool Beans, we can
use one of these others.
| | 02:56 |
Well notice there is a little triangular
icon, on some of these blocks.
| | 03:01 |
And that means that's the beginning of
another set of blocks, that would work to
| | 03:06 |
but up against, the end the last
sequence, that you put in there.
| | 03:12 |
We also have some, if we come down here,
that have a triangle on the right side.
| | 03:17 |
That means that's an ending block.
That's a block that can be used at the
| | 03:21 |
very end of your song, or your
soundtrack.
| | 03:24 |
And in this case, we've just got a few
quick little jolts.
| | 03:28 |
One's just drums.
(NOISE)
| | 03:35 |
(NOISE)
And two different horns.
| | 03:36 |
Okay, so in some cases, depending on the
sound track you're working on, there
| | 03:39 |
maybe, like a slow fade, or something.
And you'll just see one triangle, on the
| | 03:44 |
right side of the end of a block.
That would be, like, here where Bud is.
| | 03:50 |
You got Bud 1 2 3.
Then at the end of 3, there'd be a fade
| | 03:53 |
out or something.
But in this case we just have those endings.
| | 03:57 |
So those endings we'll be using.
But we can also see what might sound
| | 04:00 |
good, because some of this is, there's
song structure to consider, too.
| | 04:05 |
And if you, kind of, break the rules with
that then, it's going to not sound good.
| | 04:09 |
So, you try to follow along the best that
you can using the guides.
| | 04:13 |
But also use your own judgement and
what's going to sound good.
| | 04:16 |
Well this kind of ends with some horns
here.
| | 04:18 |
(music playing) Now I could throw in an ending
there, and just be done with it, or I
| | 04:22 |
could use one of these other groups in
here, so.
| | 04:26 |
(music playing) So, I could do that.
I could try one of these others.
| | 04:35 |
(music playing) Let me try meanwhile here.
Grab that whole section, put it up here,
| | 04:43 |
and move it into position.
(music playing)
| | 04:46 |
There we go.
And then lets see how this comes up.
| | 04:55 |
(music playing)
So it need a little bit of something here.
| | 05:00 |
(music playing) Let's try this.
And I'm going to show you another little
| | 05:06 |
trick here.
So I'll grab these guys.
| | 05:09 |
So instead of actually ending, with, the
ones, that I told you about earlier that
| | 05:14 |
we could use.
We could use those, or we can just Fade Out.
| | 05:19 |
And in this case, we may just Fade Out.
>> (music playing) So instead of another clomp
| | 05:25 |
or something at the end, we could just go
up here, and say starting about here.
| | 05:37 |
We'll add Keyframe and then here, another
Keyframe.
| | 05:44 |
And that, may work well, as our Fade Out.
(music playing)
| | 05:49 |
So, that's an alternative ending that you
can create yourself.
| | 05:59 |
Now there's a lot of things you've really
got to play with, but this is just kind
| | 06:03 |
of a creative building block way of
approaching your soundtrack creation.
| | 06:08 |
It's not necessarily, you know, perfect
as far as setting your time.
| | 06:12 |
You have to go in, there's a lot of
tweaking.
| | 06:15 |
There may be some areas where you want to
Fade In, and then Fade Out, different instruments.
| | 06:20 |
Like, in here, where these come in, I may
want to, you know, Fade Out my trumpe,t
| | 06:24 |
or do kind of a fix in between a couple
of the instruments.
| | 06:28 |
But as long as you are staying within the
rules of the song structure itself.
| | 06:33 |
And you're getting everything on the
beat, and there's nothing really
| | 06:36 |
noticable in the way that you're putting
all your blocks together on building your
| | 06:40 |
own soundtrack.
Using your own creative process in having
| | 06:45 |
a lot of fun with this, and making
something that's going to be unique, and
| | 06:48 |
something that nobody else will really
come up with.
| | 06:52 |
| | Collapse this transcript |
|
|
3. Round-Trip Editing Workflows with Nonlinear Editing ApplicationsPremiere Pro and After Effects CS6 SmartSound plugins| 00:02 |
SmartSound has created a plugin that
streamlines the round-trip process of
| | 00:06 |
taking a project that you're working on
in either Premiere or After Effects, or
| | 00:11 |
older versions of Final Cut Pro, and a
couple others.
| | 00:16 |
And it let's you create the soundtrack
and bring it right back in and it
| | 00:20 |
streamlines it a little bit.
I will show you how this work in Premiere
| | 00:26 |
Pro CS6.
I've got a sequence here that I've
| | 00:29 |
already edited.
I've got my text in there, my titling,
| | 00:32 |
I've got some voice over in there, and
then I've got a lot of dead space here,
| | 00:36 |
that we want to add some music.
So I've already rendered out this portion
| | 00:41 |
of my clip without any sound track.
It just has the voice over.
| | 00:45 |
So I can use that in Sonicfire Pro.
So now, I just go up to File > New, and
| | 00:49 |
then down to SmartSound and that launches
the plugin which will then launch
| | 00:54 |
Sonicfire Pro, and that starts the
process.
| | 00:59 |
I'm going to choose the video that I
rendered out already.
| | 01:02 |
So I'll go down to Choose Video.
And then I'm going to grab the actual
| | 01:06 |
video that has the elements for the
soundtrack.
| | 01:09 |
I want to make sure my volume is up here on
that video clip, so I can hear it back.
| | 01:14 |
And I always make sure that my playback
head is back here at frame 0.
| | 01:19 |
I'm going to zoom in just a little bit more,
so I see more of my timeline here, it
| | 01:21 |
gives me a little more room to work.
Okay, so I'm ready to pick some music, I
| | 01:26 |
already know what I want in this.
I'm going to go down to our Core
| | 01:30 |
Foundations Library and I'm going to pick
Feature Presentation.
| | 01:35 |
Well, I want to make sure that I've got
the right length here and my default is
| | 01:38 |
30 seconds.
So I'm going to put in, we'll say 49
| | 01:42 |
seconds, so it gives me a couple extra.
And I know that I want to use the
| | 01:48 |
variation of Majesty.
So, I can go right now and click Send,
| | 01:53 |
and that would send it right back to
Premiere Pro unaltered, and then, I could
| | 01:57 |
just mess with it from there if I wanted
to, but there's a option here.
| | 02:04 |
I can click this little arrow, and click
Insert At Timeline Locator, which is why
| | 02:08 |
I set it to frame 0, so I click that and
here we are on the Timeline.
| | 02:14 |
I want to come down to where the voice
over starts and set a Mood marker.
| | 02:21 |
So I'm just going to play back some of this
| | 02:24 |
(music playing)
| | 02:27 |
(NOISE)
| | 02:32 |
So right about in here.
I'm going to add a Mood marker.
| | 02:35 |
So I select the actual layer there, click
Add Mood, and then I want to come down to
| | 02:40 |
where it ends.
Or, (music playing) okay, Add Mood, and then it
| | 02:45 |
picks up again here.
(NOISE)
| | 02:49 |
(music playing)
| | 02:51 |
There we go, and then, one more before it
goes out.
| | 02:58 |
(music playing)
There we go.
| | 03:00 |
Okay, so I want nice full sound when
there is no voice over.
| | 03:04 |
So I'm just going to select the elements
that I want to change.
| | 03:09 |
And I'll come in here to my full, to
Dialog.
| | 03:12 |
And then, down here, I know I have more
voice over.
| | 03:18 |
I'm going to click that and select
dialog.
| | 03:22 |
Now, I can hear the whole thing back
(music playing)
| | 03:26 |
>> Yosemite National Park, one of the
first wilderness parks in the United
| | 03:33 |
States, is best known for its waterfalls.
But within its nearly 1,200 square miles,
| | 03:41 |
you can find deep valleys, grand meadows,
ancient giant sequoias, a vast wilderness
| | 03:47 |
area, and much, much, more.
(music playing)
| | 03:53 |
So make your plan to visit the Yosimite
National Park today.
| | 04:11 |
(music playing)
>> Okay, so, I could do some further
| | 04:12 |
tweaking with that.
But for the sake of this demo, I'm going to
| | 04:15 |
say I'm pretty happy with that.
I'm ready to go right back to Premiere
| | 04:19 |
Pro, so I come up here to File, and then
Send To Plug-In Host, and then, Adobe Premiere.
| | 04:25 |
That's the one I have open and that's
what sent it.
| | 04:28 |
So now, it's going to export that.
It's going to bring it right back into my
| | 04:34 |
project, and we'll see here it is,
Feature Presentation, that's all ready to go.
| | 04:43 |
I just drag it down here to the timeline
(music playing)
| | 04:47 |
>> Yosemite National Park.
>> Okay, so there's one more really
| | 04:52 |
cool feature here.
I can either double-click this right on
| | 04:57 |
the timeline or over here in my Project
panel.
| | 05:01 |
I can just double-click this file and
it's going to open it right back into
| | 05:06 |
Sonicfire Pro 5.
I can do some further editing and
| | 05:10 |
tweaking, and then again, go right back
to Send To Plug-In Host replace the
| | 05:14 |
existing file.
So, it's just a really clean and quick
| | 05:18 |
way of getting in and out of Sonicfire
Pro 5 while you're working on a project.
| | 05:24 |
And the plugin is a little more
additional money than the Sonicfire Pro 5
| | 05:28 |
software itself, but you can get a bundle
deal on their website if you buy them at
| | 05:32 |
the same time.
So it's a really cool workflow and if you
| | 05:37 |
find it of value, then definitely check
it out.
| | 05:41 |
| | Collapse this transcript |
| Premiere Pro CS6 round-trip workflow| 00:00 |
So I'd like to show you how to create a
round-trip workflow using Premiere Pro
| | 00:06 |
CS6 and Sonicfire Pro 5.
Now, what do I mean by round-trip workflow?
| | 00:12 |
Well, I've got a project that I need to
add a soundtrack to.
| | 00:16 |
So I'll go into Sonicefire Pro 5.
I'll create my soundtrack.
| | 00:19 |
I'll import it into Premiere Pro.
I'll put it in my Timeline.
| | 00:24 |
I'll see that I need to make an
adjustment or an edit.
| | 00:28 |
I'll go out and edit that file in
Sonicfire Pro 5.
| | 00:31 |
Save it back over itself as an export,
and then, it will automatically pull it
| | 00:36 |
back into the project here.
So, let me get started with this.
| | 00:41 |
I've got this project in Premiere Pro.
And I've got a multicam shot here that
| | 00:45 |
I've got.
Now I'd like to add a soundtrack to it,
| | 00:48 |
so I'm going to go to Sonicfire Pro 5.
And of course, I've already brought the
| | 00:51 |
video in.
I've created the soundtrack that I like
| | 00:54 |
for it.
Let's hear a first few seconds of it, so
| | 00:56 |
we see what we've got to work with.
| | 00:57 |
(music playing)
| | 01:01 |
Okay, so now, I just need to export this.
So to Export and I'm going to just save
| | 01:19 |
it over top of this self.
All right?
| | 01:26 |
And then I go to my Premiere Pro project.
And I will now import it, select it, and
| | 01:38 |
then drag it into the timeline and we can
hear how it works with the whole production.
| | 02:05 |
(music playing)
| | 02:07 |
Okay.
It ends a little bit soon.
| | 02:13 |
I also have an issue here where it's a
little bit too loud, so I'm going to have
| | 02:19 |
to adjust my overall volume before it
comes it's, it's peaking here, it's
| | 02:25 |
pegging my meters.
So, there's two things I need to do,
| | 02:32 |
adjust the volume and to change the
ending to stretch it out a little more.
| | 02:39 |
So I'm going to go back out to the Finder
and open up this file.
| | 02:45 |
I'll right-click on it, Open With
Sonicefire Pro 5.
| | 02:50 |
And then, hide everything else, Hide
Others.
| | 02:53 |
There we go.
So, I'm going to come over here and make
| | 02:55 |
sure that I've got my Timing Control set.
And I want to change this last ending
| | 03:00 |
here, because it ends a little short.
So I'm going to look at my Bin, move this over.
| | 03:08 |
Not a lot of real estate here on a small
monitor.
| | 03:10 |
So the ending we have right now is we go,
which is fairly short.
| | 03:15 |
(music playing)
And if I can extend that out, that would
| | 03:19 |
definitely help.
Here's another ending they have.
| | 03:22 |
(music playing)
| | 03:25 |
..
(music playing)
| | 03:26 |
And it ends with a little bit of the
organ there.
| | 03:29 |
So, we're going to, come up here into our
Timing Control and we're going to select Union.
| | 03:35 |
There we go.
And now, it should extend that ending out
| | 03:40 |
a little longer.
(music playing)
| | 03:44 |
Okay, we also have to change our volume
down little bit.
| | 03:49 |
So I'm going to bring it down just about 3
dB.
| | 03:52 |
Oh, 3.1 is fine.
And that will keep it from peaking when
| | 03:58 |
we bring it in to our Premiere projects.
So, we're going to Export this out, and
| | 04:03 |
I'm going to Save right over itself.
Now we'll go back to Premier.
| | 04:17 |
And this should automatically update
itself.
| | 04:20 |
So lets listen to the ending.
(music playing)
| | 04:22 |
There we go.
We managed to fix the audio level and add
| | 04:34 |
a new ending on it, and just by going
back out to the Finder.
| | 04:39 |
Editing the original wave file, saving on
top of itself, Premiere Pro automatically
| | 04:43 |
updates the, the Content, the Media
Content, and brings it back into the Timeline.
| | 04:50 |
So, anything that we've done to that
content in Premiere Pro.
| | 04:53 |
If we faded in and faded out, all of that
would automatically be updated right in there.
| | 04:58 |
So, that's just a quick look at a
round-trip workflow using Adobe Premiere
| | 05:05 |
Pro CS6 and Sonicfire Pro 5.
| | 05:09 |
| | Collapse this transcript |
| Final Cut Pro X round-trip workflow| 00:00 |
I'd like to show you a round trip
workflow with Final Cut Pro 10 and
| | 00:05 |
Sonicfire Pro 5.
We want to add a soundtrack to an edited
| | 00:10 |
clip, we want to be able to go back and
change something with that soundtrack.
| | 00:17 |
And come back into Sonicfire Pro 5, make
the change, save it and have it
| | 00:21 |
automatically updated into Final Cut Pro
10, so I'm going to start with creating
| | 00:26 |
the soundtrack.
I've got my video clip here, I've created
| | 00:31 |
a soundtrack that I like for it and I'm
going to play just a few seconds for you.
| | 00:35 |
(music playing) It's kind of a fun, country road
feel to it.
| | 00:41 |
So, I'm going to export this to put into
my project.
| | 00:49 |
Let's go to Export > Soundtrack and
Video.
| | 00:55 |
Can keep it as an AIF.
I'm going to overwrite my existing file there.
| | 01:04 |
We'll go to Final Cut Pro 10.
And here's our project with our edited
| | 01:09 |
clip in here.
And we're going to import our file in here.
| | 01:14 |
AIF.
And import, and so here is my audio file
| | 01:17 |
here that I just created, my soundtrack,
and I'll just going to drag it down here,
| | 01:22 |
line it up and listen to the whole thing,
make sure everything is matched up fine.
| | 01:29 |
MUSIC...
| | 01:33 |
(music playing)
| | 01:35 |
That ends just a little soon so what I'd
like to do is go back and change that
| | 01:56 |
ending a little bit in Sonicfire Pro 5.
Now when you import items into Final Cut
| | 02:19 |
Pro 10.
It copies them over to a new directory.
| | 02:23 |
So what we have to do is find that
directory.
| | 02:26 |
So I'm going to right-click here and
click on reveal in finder and we can see
| | 02:32 |
that it has a new folder, original media,
that this AIF has been created in.
| | 02:40 |
So I have to look and see where that is
exactly so I right-click on it and see
| | 02:44 |
it's in my user moviesUNKNOWN events.
The, event that I created, and then,
| | 02:50 |
original media.
So, I can right-click on this, Open with
| | 02:55 |
Sonicfire Pro 5.
And now, it opens up, and it opens up
| | 03:00 |
with the Timeline panel, here, so we have
to go up here, and select Hide Others.
| | 03:07 |
Now we can see all of our panels.
Now I've got my Timing Control already selected.
| | 03:13 |
I want to change this ending to a
different ending.
| | 03:16 |
I can come down here and look around, see
what other endings we have.
| | 03:19 |
We've got one here that's longer.
The one we've got right now is this one.
| | 03:26 |
(music playing) Well here's another ending here.
And play those.
| | 03:32 |
(music playing)
Ends with a little organ at the back, so.
| | 03:38 |
We'll swap that one out.
Select the Key Frame and go to Union.
| | 03:45 |
And it does stretch that out a little
bit.
| | 03:47 |
So I'm going to, go ahead and overwrite
that file by exporting, and then instead
| | 03:52 |
of going back to my project file, I have
to go to my actual User Account > Movies.
| | 04:01 |
Final cut events.
And then, in my event, my original media
| | 04:06 |
folder, and there it is there.
So I'm going to, overwrite that, replace.
| | 04:17 |
And now when I go back to Final Cut Pro
10, the clip is automatically updated
| | 04:21 |
when I've replaced it in the original
media folder.
| | 04:25 |
So I'm going to go back and play just a
little bit at the end here, so we can
| | 04:27 |
hear the new ending.
| | 04:28 |
(music playing)
| | 04:33 |
There we go.
So now I've got a new ending on there.
| | 04:43 |
So that's just a really quick look at a
round trip using Final Cut Pro 10 and
| | 04:47 |
Sonicfire Pro 5 to create the soundtrack,
go back and edit the soundtrack and have
| | 04:52 |
it automatically updated in Final Cut Pro
X.
| | 04:57 |
| | Collapse this transcript |
| iMovie HD round-trip workflow| 00:02 |
Now when you're working with a project in
iMovie, there's some limitation as to how
| | 00:06 |
you get audio in just using their normal
methods.
| | 00:11 |
If you look at the music and sound
effects, listening, you get only whatever
| | 00:16 |
is in your iTunes or in through
GarageBand or anything you have saved in
| | 00:20 |
your Music folders.
That's kind of a tough way to get
| | 00:25 |
customized music in.
Well, we want to use Sonicfire Pro 5 with iMovie.
| | 00:29 |
It's actually a fairly simple process of
just dragging and dropping from the desktop.
| | 00:33 |
So, we're going to go to Sonicefire Pro
5.
| | 00:38 |
And I've got a clip here.
Got an off-road clip, and then I've added
| | 00:41 |
a soundtrack for it.
So I'll just play a few seconds of it.
| | 00:44 |
(music playing)
Okay, so what I'll do is I will save this
| | 00:49 |
out or I'll export this as an AIF, so
I'll go to Export Soundtrack Video, it's
| | 00:58 |
an AIF.
And I'm going to overwrite the last sample.
| | 01:08 |
Okay, so now I'll go back to iMovie and
I'm going to drag this file, this AIF
| | 01:14 |
file from My Project folder into the
Project panel in iMovie.
| | 01:22 |
And it automatically adds it to my
edited video projects, so let's go ahead
| | 01:28 |
and play it through.
| | 01:41 |
(music playing)
| | 01:47 |
Okay, so that ended a little early.
So I want to make a change in Sonicfire Pro
| | 02:16 |
5 and then update my audio here in
iMovie.
| | 02:19 |
So I just simply opened up my original
file that I saved out, AIF, and select
| | 02:25 |
Open with Sonicfire Pro 5.
It creates a new untitled document and it
| | 02:31 |
opens up my Timing Control.
However, my other panels don't
| | 02:36 |
automatically open up here, so I'm going
to Hide Others.
| | 02:41 |
There we go.
And now, I can select this file.
| | 02:45 |
And I want to see what my options are
here.
| | 02:47 |
Here is my last piece going out, my
ending.
| | 02:50 |
I can come down here and look and see if
I have any other endings that I can use.
| | 02:55 |
That's (UNKNOWN) looks like Union works
here.
| | 02:59 |
Let me just play that.
(music playing)
| | 03:02 |
Okay, so that's a little longer, I'm
going to change this in my Timing Control.
| | 03:09 |
So select that keyframe and go to Union,
and that will stretch that out, so we can
| | 03:15 |
hear that.
(music playing)
| | 03:19 |
Okay, that ends with a little organ at
the end there.
| | 03:24 |
So, I'm going to replace my file, my
original file by Exporting.
| | 03:31 |
And then, I'm just going to overwrite
that file again.
| | 03:34 |
So now, we'll go to iMovie.
It doesn't always automatically update
| | 03:44 |
your file for you.
What I end up doing is coming up here to
| | 03:48 |
my window, and audio adjustments, and I
just click on here revert to original.
| | 03:56 |
And a lot of times that will refresh it,
so let's hear if that did the trick.
| | 04:05 |
(music playing)
There we go.
| | 04:09 |
That ends a little bit early.
I probably have to do a little trimming
| | 04:12 |
on the, the fade out of my original
edited piece there.
| | 04:16 |
But that's how you can make this work.
We can actually add custom music, custom
| | 04:21 |
soundtracks to your iMovie projects.
And have a lot of fun creating something
| | 04:26 |
with a little more appeal than just a
fade-out from a music track that you have
| | 04:30 |
in your iTunes.
Plus, because this is royalty-free music,
| | 04:34 |
you're licensed to be able to distribute
this and put it up on the Internet.
| | 04:39 |
Where if you used like a commercial song
that was recorded by an artist, you're
| | 04:42 |
going to have problems with that.
So here's another reason to use
| | 04:46 |
SmartSound soundtracks for even your
iMovie projects and home movie projects.
| | 04:50 |
| | Collapse this transcript |
|
|
4. Tips, Tricks, and Custom WorkflowsCreating loopable music tracks| 00:02 |
We're going to create a looping
soundtrack, in Sonicfire Pro 5.
| | 00:08 |
And we're going to take that into both
After Effects and Premiere Pro CS6,
| | 00:11 |
because they manage looping sounds a
little bit differently.
| | 00:16 |
That way, you can see how these are
utilized, in a, project.
| | 00:20 |
Well, this is also going to assume that
you've already watched the other video in
| | 00:25 |
this title for, building soundtracks with
blocks.
| | 00:30 |
And that's done differently than just
using Express Track and creating a, soundtrack.
| | 00:36 |
But we are going to start with Express
Track.
| | 00:38 |
I'm going to utilize our core foundations
that are available to you as a download
| | 00:41 |
when you purchase this title.
And I'm going to start with Introspective.
| | 00:46 |
And it doesn't matter what length that
I'm using, because I'm just going to add
| | 00:50 |
it to my project, just so that I can get
the building blocks in the bin.
| | 00:55 |
So I'm just going to click Insert.
And now I've got my blocks in the bin,
| | 01:00 |
and it doesn't matter where on the
timeline I was, because I am going to
| | 01:03 |
actually delete that insertion.
Bring this back to zero.
| | 01:08 |
And then I want to build this
specifically with looping in mind.
| | 01:13 |
And that doesn't nessecarily mean that I
want a block that's going to start with
| | 01:17 |
the beginning.
And end with an end.
| | 01:19 |
I just want to make sure that when I
finish, my first block and my last block
| | 01:24 |
sound good when they're played butt to
butt.
| | 01:29 |
So I'm actually going to start with.
The middle of this Lucid.
| | 01:34 |
Because if I start with the beginning,
there's too much of a, a separation
| | 01:38 |
between the last block I tend to use and
this one.
| | 01:42 |
So if I listen to the, just this block
alone.
| | 01:48 |
(music playing) You can hear there's a little bit
of a build up of the pads and, and the
| | 01:53 |
other instruments, so I'm actually going
to start with 2.
| | 01:59 |
(music playing) And don't let the guitar fool
you, because that will work fine with
| | 02:02 |
where we're ending up.
Because I'm going to remove some of the
| | 02:06 |
guitar in certain places.
So, let me start with just adding these in.
| | 02:10 |
I'm going from Lucid 2 through Lucid 7.
I'm going to click and drag those up here
| | 02:15 |
into the timeline.
And then I'm going to Duplicate.
| | 02:22 |
I can either copy and paste 2 an 3, or I
can just grab, 2 and 3.
| | 02:27 |
Down here again, I'm going to duplicate
those two, for my beginning, and I'm
| | 02:31 |
going to pull out the guitar.
So this will give me a nice structure here.
| | 02:41 |
And I control this down, I can look at my
instruments, and I'm going to get rid of
| | 02:45 |
the guitar, lead guitar here.
And now I can listen, see how this sounds.
| | 02:59 |
(music playing)
| | 03:01 |
Okay, and I want to come down here.
I know that this Transparent Group works
| | 03:16 |
good here.
So, I'm going to grab transparent all the
| | 03:20 |
way through Transparent 3.
Bring those blocks up here and drag them
| | 03:26 |
in until they butt up.
There we go.
| | 03:32 |
Now, I can listen to that transition.
| | 03:41 |
(music playing)
| | 03:45 |
Okay, I know there are a couple of
instrument things I need to deal with here.
| | 03:49 |
And this is why this is a little bit of a
subjective process.
| | 03:53 |
It doesn't necessarily mean that
everything is going to loop perfectly.
| | 03:56 |
This is kind of a process of
experimenting and trying things out, see
| | 04:00 |
which blocks work really well together.
Which ones you can modify so that they'll
| | 04:06 |
seamlessly, or at least somewhat
transparently go back into the first block.
| | 04:11 |
So to really test this last block that we
have here out to see how well it goes
| | 04:16 |
into our first block, I just select the
first block, Copy.
| | 04:21 |
Bring my indicator down here and Paste
and then drag it in until butts up.
| | 04:27 |
And now I can hear what differences the
different instruments will have going
| | 04:32 |
into this first block.
So if I look, I know that I don't want
| | 04:37 |
the lead guitar In this first block.
That's just like my very first block here.
| | 04:43 |
What did I do to modify that, I got rid
of the lead guitar.
| | 04:47 |
So now, I want to hear what I need to
alter in this last block of transparent
| | 04:51 |
so that it blends in with the first block
of Transparent.
| | 04:57 |
So let's listen.
(music playing) Okay, so I know definitely I want
| | 05:03 |
to get rid of this lead guitar or at
least fade it out.
| | 05:06 |
And I just need to go back and hear if
there's a break there that I can just
| | 05:09 |
delete it in that block.
(music playing) Okay so if I just click it and
| | 05:15 |
delete it that should work.
(music playing)
| | 05:20 |
Okay, there's a little bit of guitar
sound there so I need to look at my
| | 05:25 |
rhythm guitar, if I solo it.
Okay there's just a, a lead-in for
| | 05:32 |
another beginning block.
So I'm going to modify this particular
| | 05:37 |
block here.
Turn down the volume here, and I need to
| | 05:43 |
add another keyframe here, I'm sure.
To get rid of that, so I'm going to come
| | 05:48 |
in over here, and add another keyframe,
drag this down, and drag this over.
| | 05:58 |
And that way, I can be sure that I'm
going to be fading out before it gets to
| | 06:01 |
that other stroke of the guitar.
So, let's listen.
| | 06:07 |
(music playing) Good, now that's silenced.
So, that is okay there.
| | 06:13 |
I'm going to unsolo that track, and now I
can listen back.
| | 06:17 |
(music playing) So that's a pretty smooth
transition, I like that.
| | 06:23 |
So now what I want to do is actually
delete this.
| | 06:27 |
>> First block that I created there,
because I've got my loop made now.
| | 06:31 |
I've got my first block and my last
block.
| | 06:34 |
This is what I want to Export, so I'm
going to Export this.
| | 06:38 |
(audio playing) Okay, I'm going to save over my
existing WAV file so that we can Go right
| | 06:46 |
into Premiere Pro.
Got that loaded in here, now I'm in
| | 06:53 |
Premiere Pro and I'm going to add this to
my timeline.
| | 07:02 |
And in premier pro, there's no way to set
a specific wave file or audio file of any
| | 07:07 |
kind to a loop, automatically loop.
So the only way we can do this, and it's
| | 07:13 |
pretty quick, to actually select the the
loop in the sequence.
| | 07:19 |
And just copy and then paste, paste,
paste, paste, paste for as long as you
| | 07:22 |
need it to loop.
So, that will allow you to do that.
| | 07:26 |
So, we'll go back and listen to it
| | 07:35 |
(music playing)
| | 07:40 |
So, we've got a fairly seamless loop
there, that has a little bit of interest.
| | 07:53 |
Of course, if you want something that's,
needs to be repeated a lot, I would
| | 07:56 |
suggest making a much longer loop so that
it doesn't get too monotonous or boring.
| | 08:01 |
Let's go into aftereffects and see how we
can modify this.
| | 08:08 |
So in here, I'm going to just reload that
footage to make sure that it's got the
| | 08:11 |
latest version that we created.
Now, in After Effects, I've got this
| | 08:16 |
added to my timeline down here, and it
plays through and it ends right here.
| | 08:21 |
So I'm going to come in here and
right-click on Introspective Loop Wave.
| | 08:28 |
And I'm going to Interpret Footage, go to
Main.
| | 08:32 |
And in here, this allows me to actually
set how many times I want it to loop.
| | 08:37 |
Well, this in After Effects, usually
don't do very long comps.
| | 08:42 |
In this case, my clip is, you know, just
under 30 seconds.
| | 08:47 |
I'm going to just loop it two times.
And we'll see that it stretches out here.
| | 08:52 |
We'll see that bar gets grey all the way
out here.
| | 08:54 |
But I still need to come in here drag
this out, so that it's utilizing that
| | 08:58 |
whole piece.
And now, to play it back, let me shorten
| | 09:04 |
up my, preview area here, so I can do
around Preview.
| | 09:14 |
(music playing) Okay, so there you have it.
That's how you can create a looping
| | 09:19 |
soundtrack in Sonicfire Pro 5.
Have fun experimenting with that, make
| | 09:23 |
different lengths of loops.
Practice your skills of editing in
| | 09:27 |
Sonicfire Pro 5.
And come up with some really interesting
| | 09:31 |
loops, and this is really a fun way to
create a soundtrack for any project.
| | 09:37 |
Especially if it's going to be really low
and in the background and, you just need
| | 09:42 |
to loop because you have no idea how long
it's going to be in your final composition.
| | 09:48 |
So this is a great way to make a loop.
| | 09:51 |
| | Collapse this transcript |
| Creating soundtracks for timing edits and graphics| 00:00 |
Well, sometimes I need a little
inspiration for editing components if I'm
| | 00:04 |
given a bunch of content that I need to
edit together and I know I have to add a
| | 00:08 |
soundtrack to it.
Sometimes I work backwards a little when
| | 00:13 |
it comes to pulling everything together.
Now, I've got a 15 second show opener
| | 00:19 |
here to create.
I've got a bunch of content that I need
| | 00:23 |
to work in here.
I don't have to use all of it but I need
| | 00:27 |
to use some of it and I don't want to
just pound right through it and then put
| | 00:30 |
some driving music.
This is something that's going to have to
| | 00:34 |
have kind of a pleasant outdoor type of
feel to and the music is really going
| | 00:38 |
help set the pace.
So, I've got images I need to edit in here.
| | 00:43 |
And then I've got an animated title here.
It's a 3D title that's got to be animated
| | 00:48 |
overlapping the images.
So, that's where I would start, is going
| | 00:53 |
into Smart Sound creating my sound track.
I know I've got 15 seconds to fill.
| | 00:59 |
So, I'll find something that I really
like there and then come back into
| | 01:02 |
Premiere and do my editing from there.
So let's see how this process works.
| | 01:07 |
I'll go to Sonicfire Pro 5 and I'm just
going to start by using my express track
| | 01:13 |
and I'll type in Garden.
And we've got a bunch of different
| | 01:27 |
gardeny type of things here.
♪ (music playing) ♪ That one might work.
| | 01:46 |
Let's look at dream home here, that's
interesting.
| | 01:54 |
♪ (music playing) ♪ Okay, I really like that
because it has some definite down beats,
| | 02:00 |
it has a rhythm to it and it has a nice
kind of a swell at the end where the
| | 02:06 |
title could come in.
So let's try this one.
| | 02:14 |
Bring that to my time line.
And I'm going to go right out to
| | 02:17 |
exporting this just as it is.
Now, I'll go to Premiere Pro and I'll
| | 02:32 |
import it here.
Can I just drag that to my timeline?
| | 02:41 |
And that's going to set the pace for all
of my edits.
| | 02:45 |
Now I can, if I've got a lot of real
estate, of course here recording this
| | 02:49 |
screen cast, I don't have much real
estate here to work with but sometimes it
| | 02:52 |
helps if you can expand this.
You can see where all of your down beats
| | 02:59 |
are in your specular data.
So we can kind of take a look at that.
| | 03:06 |
♪ (music playing) ♪ So what I would do is
probably set markers here at some of
| | 03:08 |
these points.
♪ (music playing) ♪ I can just use the specular
| | 03:17 |
data there and go right on down the line.
Okay, so I've got a few markers in here.
| | 03:31 |
I can choose to use them as they are or
at least just as suggestion points for
| | 03:34 |
some of my edits.
Now, I can close this back up and bring
| | 03:39 |
my audio back down here, so I've got more
room to work in my real estate here.
| | 03:45 |
Now I just have to choose which images I
want to come in and at what point.
| | 03:51 |
So, I'm going to go ahead and do that and
then come back and share with you how I'm
| | 03:55 |
going to finish up the, all of my edit
points.
| | 03:59 |
Okay.
So, all the edits have been made to my
| | 04:02 |
video and because I used the sound track
first to edit to, it gave me some ideas
| | 04:08 |
as I went along.
So, I've got my markers here and those
| | 04:14 |
are set right on the down beat and
because the down beat's predominant in
| | 04:19 |
this music, I decided to use just cuts
between most of the edits between these images.
| | 04:27 |
I've also got a bit of a, a swelling
effect on the glow that comes in here.
| | 04:33 |
So that kind of help differentiate the
different shots as well.
| | 04:36 |
It takes some of the shock out of it
without doing a smooth transition.
| | 04:40 |
However, I did do a crossover fade here
at the end because that's when everything
| | 04:44 |
kind of sweetens up and we have that swell
in the music.
| | 04:48 |
And then the text comes in and, and on
it's way out.
| | 04:52 |
So, now lets look at the final render and
see just exactly how it all comes together.
| | 05:05 |
♪ (music playing) ♪ So, using the music really
helped me determine how I was going to
| | 05:14 |
create all of these images and make them
work.
| | 05:23 |
I had kind of a maybe an emotional
attachment to the music which helped me
| | 05:27 |
select the right images at the right
place and I was really happy to be able
| | 05:30 |
to edit with the soundtrack ahead of
time.
| | 05:35 |
| | Collapse this transcript |
| Mixing tracks with live instrumentation| 00:01 |
Now, another cool workflow with the
Sonicfire Pro 5 software is that we can
| | 00:06 |
use a multi-layer track and pull out
instruments.
| | 00:10 |
And put in our own live instruments
using, oh let's say, like audition or,
| | 00:15 |
you know, even a garage band.
You can kind of build on something that,
| | 00:20 |
that you start here.
Now, I'm going to actually show you a
| | 00:23 |
workflow using Adobe Audition CS6, along
with a track that I start with here in SmartSound.
| | 00:30 |
So, I'm going to select this one.
I, I kind of like the blues.
| | 00:34 |
This is a nice kind of a blues-rock feel.
So, let's hear how it sounds just in its
| | 00:38 |
raw format.
(music playing) Okay, so I'm going to start with this.
| | 01:11 |
I'm going to insert it into my timeline.
And then, I can zoom in on it a little
| | 01:15 |
bit here.
And if I play this back, I'll hear just
| | 01:19 |
exactly what I just listened to.
So, what I'm going to do is I'm going to
| | 01:23 |
replace the baseline in here.
I think it's a little bit drab.
| | 01:27 |
And I'm a bass player, so it gives me a
chance to be a little creative.
| | 01:30 |
So if we hear it back without the
baseline in it, we'll see that, that
| | 01:40 |
part's actually out.
(music playing) So, we can hear all the other
| | 01:52 |
instrumentation's in there.
We've just dropped the baseline out of it.
| | 02:00 |
And now, I can export this.
So, export the soundtrack and I'll just
| | 02:04 |
let it overwrite my existing one there,
there we go.
| | 02:08 |
And now, I'm going to open up Adobe
Audition CS6, and I've got a multi-track
| | 02:14 |
session here started.
I'm just going to insert this track and I
| | 02:20 |
will select my AIF that I created.
It will now convert it.
| | 02:26 |
Now I can play it back in here.
(music playing) So, we can hear that that's just
| | 02:31 |
playing back what I created.
I'm going to bring this down a little bit
| | 02:37 |
because it looks like it's spiking a
little bit.
| | 02:42 |
So, I'll just bring it down under six for
now just so it doesn't spike our input.
| | 02:48 |
Now, I've got my base hooked up here.
(music playing) And I should be able to have this
| | 02:53 |
play through, and I'll monitor it while
I'm playing.
| | 02:58 |
And that way I can record live and play
along with my track and record at the
| | 03:02 |
same time here.
| | 03:05 |
(music playing)
| | 03:10 |
Okay, so now I can go back and listen to
this, what I just recorded.
| | 04:00 |
(music playing) Okay, so that's just to show you
how quick and easy it is to do this workflow.
| | 04:18 |
Just pull out the instruments you want to
replace, or if you want, to embellish
| | 04:21 |
with, say more guitars.
Or you want to bring horns or something
| | 04:25 |
like that in, whatever you're instrument
du jour is, this gives you the capability
| | 04:28 |
to do that.
You can add vocals and lyrics.
| | 04:31 |
You can do all kinds of stuff.
But it's a great baseline to lay down to
| | 04:35 |
start creating some custom music for your
particular projects.
| | 04:40 |
| | Collapse this transcript |
| Mixing tracks with live vocals| 00:01 |
Now it's possible in some of the multi
layer tracks from SmartSound that you can
| | 00:06 |
pull out some of the lead instruments and
in its place put in some vocals or vocal arrangements.
| | 00:14 |
Now before we start with that I do want
to bring you to the License Agreement.
| | 00:19 |
Now this does not mean that you can use,
any of the smart sound, tracks as
| | 00:24 |
backgrounds for, a vocal album or to
redistribute these in any way, or to use
| | 00:28 |
them in a commercial, sense that will, go
against your license.
| | 00:35 |
So be sure to read this license
thoroughly, and understand that before
| | 00:39 |
you proceed.
With any of these techniques that I'm
| | 00:43 |
going to show you and in this case I've
got a couple jazz clips here that I've
| | 00:47 |
got a singer for.
This happens to be Ellen Johnson who is
| | 00:53 |
also working on another title for video
to brain for presentations and you can
| | 00:58 |
find out more about her at
ellenjohnson.net.
| | 01:05 |
She is a Jazz singer, a well known vocal
coach and you can check out her
| | 01:09 |
information at both of her websites,
elynjohnson.net and vocalvisions.net, and
| | 01:15 |
so with that I'm going to show you how we
constructed this project...
| | 01:23 |
I've got this, 30 second clip I'll use as
an example, and we've got a trumpet and a
| | 01:28 |
sax, which we're going to do a couple of
variations with here.
| | 01:33 |
So let me just play this through for you.
| | 01:36 |
(music playing)
| | 01:38 |
Okay, so using that melody line that the
trumpet is carrying, we can just mute
| | 01:59 |
that and then export this and use it.
So, let's hear, just a little bit of,
| | 02:18 |
just the sax.
And we'll be replacing the trumpet, in
| | 02:22 |
another application, which we'll be using
Adobe Audition CS 6, to take, both the
| | 02:27 |
exported file out of here, and the live
recording that we do.
| | 02:33 |
We'll put them together, and mix them in
Audition.
| | 02:36 |
But let me play just a few seconds of
this with just the Sacs so we'll have
| | 02:41 |
something to compare it to.
(music playing) Okay, and now we'll go into Adobe
| | 02:50 |
Audition and we'll be able to hear this
that was exported out of Sonic FirePro
| | 03:01 |
and combined with the live vocal
recording, and we'll see what that sounds like.
| | 03:17 |
(music playing)
| | 03:49 |
(music playing) Okay, so now we'll go back to
Sonic FirePro 5, and we'll take out the
| | 03:54 |
saxophone and we'll have Just the rhythm
section playing.
| | 04:00 |
And we'll then go back in and Ellen will
be performing just some basic lyrics and
| | 04:05 |
she may be changing the melody up a
little bit.
| | 04:09 |
But this shows you that you can create
something that is the basis or the song
| | 04:14 |
structure, or the The, the section
structure here, so let's hear what it
| | 04:19 |
sounds like with just the rhythm section.
(music playing) Okay, so now, let's go back to
| | 04:30 |
Adobe Audition, and lets hear what this
sounds like with the vocals and the
| | 04:39 |
lyrics in.
| | 04:45 |
(music playing)
| | 04:48 |
Okay, that made a beautiful base track
for adding these vocals to.
| | 05:21 |
Now there's one more example I'd like to
share with you on another track that
| | 05:26 |
we've got here in Smart Sound.
I've got another jazz piece here which I
| | 05:33 |
will be pulling the lead instruments out
of, but just so you can hear it with the
| | 05:40 |
lead instruments.
(music playing) Now taking the last idea that we
| | 05:52 |
did, where Ellen had added lyrics and
actual words to it, and came up with a
| | 06:06 |
new melody line.
Now we're just going to export the rhythm
| | 06:20 |
section and I'll play a few seconds of
that for you.
| | 06:27 |
(music playing) So now she's going to do some
improvisation over top of the rhythm
| | 06:35 |
section, just some scat.
Improvisation over this so when we go
| | 06:42 |
back over to Adobe Audition, this is what
we'll be able to put together with just
| | 06:47 |
the rhythm section that we exported out
of Sonic Fire Pro and brought in the live vocals.
| | 06:55 |
(music playing) So you can see how much
flexibility you have with these
| | 07:04 |
multi-layer tracks out of Sonicfire Pro
using the, the SmartSound tracks as a, as
| | 07:16 |
a basis to coming in and bringing in a
different melody, bringing in some
| | 07:27 |
vocals, and having some really creative
results out of this.
| | 07:45 |
And again, I do need to bring to your
attention the License Agreement.
| | 07:48 |
Make sure that you are using this
appropriately, correctly and within the
| | 07:52 |
confines of that but it does show you
just a little bit more flexibility in
| | 07:56 |
customizing these tracks to get the
project that you need out of it.
| | 08:03 |
| | Collapse this transcript |
|
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