1. IntroductionIntroducing Adobe Soundbooth CS4| 00:00 | (Music plays.)
| | 00:05 | Hi! My name is Sven-Erik Seaholm, and this
is Soundbooth CS4 Essential Training.
| | 00:10 | As a record producer and recording
artist, I'm all about presenting the audio
| | 00:14 | vision in the most effective way possible.
| | 00:16 | With Soundbooth, Adobe gives you the
tools to do it like a professional.
| | 00:20 | If you're brand-new to Soundbooth,
this is the perfect course for you.
| | 00:23 | If you've been working with the
program for a while, you might want to check
| | 00:26 | out the Soundbooth New Features title to
catch up on the latest upgrades to Soundbooth.
| | 00:30 | In this course, you'll learn
the program from the ground up,
| | 00:33 | starting with the basics of digital
audio, to scoring video, to using audio
| | 00:38 | effects and mastering your project.
| | 00:40 | Along with the recording and editing and
sweetening of your audio, Soundbooth is
| | 00:44 | also a powerful tool for
collecting data and cataloging your files.
| | 00:48 | So whether you're recording hit songs or
transcribing doctor's notes, Soundbooth
| | 00:52 | will make your life easier.
| | 00:54 | Now let's dive into
Soundbooth CS4 Essential Training.
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| What is digital audio?| 00:00 | Digital audio is basically sound
captured as data, making it easier to edit,
| | 00:05 | affect, manipulate and more portable
as well. Just as each sound has its own
| | 00:10 | unique sonic signature it has its own
unique visual display in the digital ROM as well.
| | 00:16 | This for instance is how a
human voice looks and sounds.
| | 00:21 | (Recording/Man 1: One more rabbit out of my hat.)
| | 00:24 | The bass meanwhile looks and
sounds a little bit different.
| | 00:31 | (Bass guitar being strummed.)
| | 00:35 | Drums, due to their explosive nature,
| | 00:38 | often appear as brief, intermittent but
rhythmically oriented spikes in sounds
| | 00:45 | like this.
| | 00:47 | (Drum beat.)
| | 00:52 | Taking things even a little further
that way we can see that the
| | 00:56 | electric guitar has a very unique look and sound.
| | 01:01 | (Electric guitar being strummed.)
| | 01:06 | Soundbooth offers an alternate
visual display via the Spectral Frequency
| | 01:11 | Display, which is up in the upper left
hand corner of the screen here and if we
| | 01:15 | just click on this icon you can see it
come up here and if you look all the way
| | 01:20 | to the right side of the screen and
your vertical ruler is engaged you'll see
| | 01:26 | all of these numbers on the side
from the bottom to the top here.
| | 01:30 | These represent frequencies in the audio itself.
| | 01:35 | From all the way down at the bottom
here up into the base range of a 100,
| | 01:40 | 200, 300 and then we'll move into the
midrange from 500 up to 2 or 3k and above that
| | 01:49 | at high frequencies or treble. This
can help you find different problem areas
| | 01:56 | in your audio like muddiness or hisses
and you can even find things like chair
| | 02:02 | squeaks or intermittent pops and
other noises that you may not be able to
| | 02:07 | easily find using the waveform display.
| | 02:10 | We are going to go ahead and click
that again, take that back here and go to
| | 02:17 | the Zoom Navigator at the top here and
pull that all the way over, so we can
| | 02:20 | see the entire frequency display. Okay.
I need to talk to you just for a second
| | 02:26 | about bit depths and sample rates and
what they are. This is a simple SIN wave.
| | 02:31 | While it is not as complex as some of
the things we are just looking at,
| | 02:34 | it's a great example of how this all works.
| | 02:37 | Basically a sound starts at a zero
crossing point, goes to its highest
| | 02:42 | amplitude, past the zero crossing point
to its lowest amplitude and back again
| | 02:48 | to the zero crossing point. That is
known as a cycle and the amount of these per
| | 02:53 | second is the frequency that is
eventually captured. So in other words if
| | 02:58 | something is 500 Hz in frequency
that has happened 500 times in a single second.
| | 03:07 | Similarly things can be captured audio
wise by the Nyquist theorem, which
| | 03:13 | means that it is sampled at roughly
double what the eventual audio output is.
| | 03:19 | So in other words when you sample
something at 44.1 kilohertz the audio that
| | 03:26 | eventually comes from that is at 22
kilohertz or just slightly above the range
| | 03:34 | of human hearing.
| | 03:35 | Now with bit depth what we are doing
is we're using digital resolution to
| | 03:41 | control how accurately those wave
forums are then replicated. Along the top
| | 03:48 | here you see this 16 bit resolution
and it's kind of like a little screen
| | 03:53 | doors, some little rectangles here and
inside there you can see these little Legos.
| | 03:57 | This is basically the approximation
of that waveform at 16 bit, whereas
| | 04:04 | at the bottom you see quite a few more
and smaller pixels basically and what
| | 04:10 | these are doing is allowing you
an even finer and more accurate
| | 04:16 | representation of your audio file.
| | 04:20 | Of course these extra pixels mean
extra size, so a lot of times your files
| | 04:26 | will be much bigger if they are 24bit
rather than 16 bit. So knowing not only
| | 04:31 | what you're listening to but what you're
looking at and how sample rates and bit
| | 04:35 | depths work can allow you to choose
the right balance of sound quality versus
| | 04:39 | portability when
integrating audio in to your projects.
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2. Exploring the Soundbooth CS4 WorkspaceUsing the Editor panel and the Zoom navigator| 00:00 | The Editor panel is where all the
action is in Soundbooth. Anytime you are
| | 00:04 | working with your file, whether you are
editing or checking the results of your
| | 00:07 | edits, the visual display is
going to be in this area right here.
| | 00:11 | Up along the top here you can see
the Timeline Ruler and currently that's
| | 00:14 | displayed in Hours, Minutes and Seconds,
but if I right-click on it you can see
| | 00:19 | that you can change it to Decimal or by
the Sample, or if you are working with
| | 00:24 | animations or video, frames per second.
We are just going to leave that how it
| | 00:28 | is right now.
| | 00:29 | If you prefer while you are working
to not be looking up all the time, you'd
| | 00:33 | rather look at the bottom down towards
the Transport controls down here,
| | 00:36 | just go up to View and you can select the
Bottom Timeline Ruler here, and it shows a
| | 00:43 | Timeline Ruler along the bottom as well.
| | 00:45 | Over to the right we have the Vertical
Ruler and what that is showing is the
| | 00:49 | relative volume of your audio here in decibels.
| | 00:54 | Now there is an interesting thing about
digital audio versus analog audio which
| | 00:59 | is that 0 means the loudest. It can
go no louder than 0 dB; everything over
| | 01:06 | that is digital clipping or overs. So
everything underneath that is like
| | 01:11 | -3 dB, -6 dB, -12, on down to
infinity, which is silence.
| | 01:18 | Over towards the bottom left here
you'll see another display, which is an even
| | 01:23 | more accurate display of where you are
within the file. So if I click here
| | 01:29 | you can see that I am pretty close to 5
seconds, and if I look down here at the
| | 01:33 | bottom left you can see that it's 04:25.
Just to the right of that is the Fade In function.
| | 01:42 | Let's say I want to click right here
about-- I want 4 second fade in. I can
| | 01:47 | just click at 4 seconds hit the Fade
In button and it makes a professional
| | 01:52 | fade in, just like that.
| | 01:54 | I am going to go ahead and hit Ctrl+Z
to undo that and show you the Fade Out
| | 01:58 | button which let's say I want to start
my Fade Out from right there, and then
| | 02:03 | fade it out. I just go down here to the
Fade Out button and to press that,
| | 02:08 | it'll automatically give you a
professional fade out, which is great.
| | 02:13 | Ctrl+Z undoes that.
| | 02:16 | If you are working with specific sorts
of editing as far as looping or cutting
| | 02:23 | and editing, perhaps you'll want to
set an In Point using this function and
| | 02:29 | what that does is it basically says
I want to start my selection here and
| | 02:34 | it's going to select the rest of the
file all the way to the end from there.
| | 02:39 | In just the same way we can say we want
to make our file eight seconds long, we
| | 02:45 | want it to end right here. I can just
say Set Out Point and it selects the
| | 02:50 | entire file from the
beginning to that point there.
| | 02:54 | Next we have some basic Transport
controls you may already be familiar with.
| | 02:58 | The square box is Stop, the triangle is
Play and just to its right is the Loop
| | 03:04 | Playback function. Now if I depress
that what will happen is every time
| | 03:08 | this file plays through it's going to
go all the way to the end and then start
| | 03:13 | over again at the beginning. I can also
make a selection with the Loop Playback
| | 03:20 | and hit Play--
| | 03:21 | (Man 1 singing: I've been waiting for you...
I've been waiting for you...)
| | 03:25 | And it will just loop that selection,
which is really handy when you are
| | 03:28 | trying to make loops. I'll just turn
that off so that it won't do that and I
| | 03:34 | can show you the next button, which is
the Open Record Dialog. Now when I click
| | 03:38 | the red button here, let's say you
need to make a new recording. You'll click
| | 03:43 | that and it will bring up a little
dialog box here where you can set your input
| | 03:47 | for your device, sample rate and the like.
| | 03:51 | Just to the right of that we have the
Go To Previous, which sends your cursor
| | 03:57 | back to the previous marker if you
have them or just to the beginning of the file.
| | 04:02 | Conversely, if I click to the one on
the right it will go all the way to the
| | 04:06 | end of the file as you can
see by the little icon here.
| | 04:10 | Next we have the Louder function,
which couldn't be more simple. Click this
| | 04:15 | button and it makes your whole file
louder. I am going to hit Ctrl+Z here to
| | 04:19 | undo that.
| | 04:21 | The next button over is the Equalize
Volume Levels. Let's say you have a
| | 04:25 | narration where some of the words are
kind of dropping out a little bit or you
| | 04:29 | have some loud ones. It's going to
take all of the words or phrases and
| | 04:35 | equalize the volume levels so they
are all evened out for you, so you don't
| | 04:39 | have to go through and do all that by hand.
| | 04:41 | In the center top of the Editor panel
here you'll see an interesting volume
| | 04:47 | feature where if I place the cursor
over it, it turns into a little finger with
| | 04:52 | two arrows. If I click it and I drag it
to the right it increases the volume as
| | 04:59 | you can see by the shaded area, and if I
drag it over to the left it decreases the volume.
| | 05:05 | I am going to go ahead and hit Ctrl+Z
here. Maybe you are more used to a knob
| | 05:13 | type interface. Let's just click the
knob and turn it to the right to turn it
| | 05:17 | up or to turn it down, bring it to the
left. And again, we'll hit Ctrl+Z here.
| | 05:25 | Finding your way around the file is
really easy due to the Zoom Navigator up at
| | 05:30 | the top here in this yellow bounding
box. Now what this is signifying is
| | 05:35 | everything within this yellow
bounding box here is what's currently being
| | 05:39 | displayed in the Editor panel. So if I
were to move the mouse up to the upper
| | 05:45 | right-hand side of the Zoom
Navigator and it turns into two arrows with a
| | 05:51 | magnifying glass. Now if I click that
and drag it over to the left you can see
| | 05:56 | this is sort of kind of crunching
down and actually zooming in on your
| | 06:01 | waveform, so you can just drag it all
the way over until you are looking at
| | 06:05 | right about the resolution you'd like
to be looking at your audio at , you can
| | 06:10 | let go of it.
| | 06:11 | But let's say this isn't where you want
to work on it. Where you want to work
| | 06:15 | on your file is somewhere over here.
We'll just move the mouse over to that,
| | 06:19 | it turns into a little hand icon as you
can see. Click on it and you can navigate
| | 06:24 | your way over to the area that you
would like to work on. It makes it so easy
| | 06:30 | to find your way around here. If you
want to get back out of there, just grab
| | 06:35 | one side, pull it that way, grab the
other side, pull it that way and you have
| | 06:41 | the entire waveform displayed in the panel.
| | 06:45 | Becoming familiar with the Editor panel
and the Zoom Navigator is invaluable in
| | 06:49 | finding your way around the audio you
are working with. You should take some
| | 06:52 | time to make yourself comfortable
with it and you'll be rewarded with even
| | 06:55 | greater efficiency.
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| Using the Tools and Files panels| 00:00 | In order to make a variety of
selections to an audio file, Adobe Soundbooth's
| | 00:04 | interface provides a somewhat familiar
set of tools for doing so. Of course the
| | 00:08 | first step towards editing an audio file
in Soundbooth is to open it in Soundbooth.
| | 00:11 | So let's start by looking at the
Files panel up here on the upper left.
| | 00:15 | I click on that, the yellow bounding box
signifies that this is the active panel,
| | 00:21 | and you can see a variety of icons in
the upper left here. The farthest left
| | 00:25 | is Open File, which is the one we want.
I am going to go ahead and open our
| | 00:29 | waiting_for_you_intro_file from the 02
folder, say Open and it loads it into the
| | 00:36 | Editor panel here, pretty simple.
| | 00:39 | But let's say you want to work with a
variety of files at one time, you are
| | 00:44 | going to be cutting and pasting
from various ones into another one for
| | 00:48 | instance. We just go back over to the
Import File icon just to the right of the
| | 00:53 | Open File. Click on that and then go
ahead and hold down the Shift key and
| | 00:58 | select these four files here, say Open.
And as you can see they have all been
| | 01:04 | loaded into the Files panel. Now what
this signifies is that these are all
| | 01:08 | ready and waiting to be worked on and
you can navigate amongst them just by
| | 01:13 | double-clicking on them. So there is
one of them, another, another and another,
| | 01:21 | just like that.
| | 01:22 | Let's say you want to see a little bit
more information about them. Just move
| | 01:26 | your mouse over to this border here,
and as you can see it will turn into
| | 01:30 | little two arrows and a couple of
lines here. If we click on that and drag it
| | 01:35 | over to the right it expands that
panel out and we can see what type of media
| | 01:41 | it is; it's audio or video. Its
Channels, these are all Mono files expect for
| | 01:47 | our waiting_for_you_intro which is a
Stereo file. Its Sample Rate, how long it is
| | 01:53 | and where you actually got it from.
| | 01:57 | Now if you don't want to drag that
around all the time messing with your
| | 02:01 | interface there is a little scroll bar
down here at the bottom and you can just
| | 02:07 | move that over as well.
| | 02:09 | Okay, well, what else do we have over
here? We have got a New File button where
| | 02:15 | if we click on that a few functions
come up here. We've got a grayed out one
| | 02:20 | that we'll get to in a moment. Let's
say we've got some audio in the Clipboard.
| | 02:23 | We have been copying and pasting and we
have something that we are going to be
| | 02:27 | using in a lot of different files and
it's loaded into the Clipboard already.
| | 02:32 | We can just say New Audio File From
Clipboard. We have actually pasted that
| | 02:36 | audio directly into a new file all its
own. So it's ready for you to grab it
| | 02:43 | any time you need it. We're going to
go ahead and close that by going to the
| | 02:48 | Close Selected Files thing here.
Now don't be confused by its trash can
| | 02:52 | appearance. It's not deleting
anything that you don't want to; it's only
| | 02:55 | closing it and it will ask you if you
want to save it, if it's something new.
| | 02:59 | Like when it says Untitled Audio here,
that's obviously a new file that you
| | 03:03 | have yet to name. So we are going
to close that and not save changes.
| | 03:07 | Let's go ahead and take a look again
at the New File icon. You have New Empty
| | 03:15 | Audio File so you can pretty much put a
blank canvas out for yourself. It gives
| | 03:20 | you the ability to change whatever the
Sample Rate of your new file will be.
| | 03:26 | Let's make it 44100 and Mono, say OK,
and now we have kind of a blank canvas.
| | 03:34 | Now what we can do is we can right-
click that and paste and just as we add a
| | 03:42 | new file from what was in the
Clipboard we can also paste what's in the
| | 03:45 | Clipboard into a new file just like that.
| | 03:49 | So there are many different ways of
doing similar tasks. I am going to go ahead
| | 03:54 | and select that file and say Close
Selected Files and say No. Let's go back up
| | 04:01 | to it a couple more times here. Now
what we are going to do first is make a
| | 04:05 | selection with the i-beam cursor here
and when we hit the New File icon you'll
| | 04:14 | see that some of those previously
grayed out selections are now available to you.
| | 04:18 | So here's one, New Audio File From
Selection. Let's say that that was a little
| | 04:22 | section of a drum performance perhaps
that we wanted to make a loop from we
| | 04:27 | could select that audio and say New
Audio File, and now it's basically done all
| | 04:32 | of the tasks of copying and pasting
that into a new file in one click.
| | 04:38 | I am going to go ahead and close that,
say No to the dialog here, and let's
| | 04:45 | just check this out. What else do we
have in here? We can make a New Multitrack
| | 04:49 | File. We'll get more into multitrack
functionality in another chapter so we'll
| | 04:53 | just move along for right now here.
| | 04:56 | Above that we have some familiar and
maybe some unfamiliar tools to you.
| | 05:02 | The farthest to the left here is the
Spectral Frequency Display. If we click on
| | 05:08 | that suddenly it shows all of the
spectral energy of the frequencies involved
| | 05:16 | in this file. So all of this yellow
here is base frequencies as you can tell by
| | 05:21 | the Vertical Ruler which has turned
from dB in the Editor panel for the
| | 05:27 | waveform display and the spectral
display is now showing frequencies. So your
| | 05:32 | base is 100 Hz, 200 Hz and those are
signified by yellow here. Little higher
| | 05:40 | you have 400 to 1k up to 2k. This is all
your mid-range here and it's more of an
| | 05:47 | orangy color, and up in the top you
have your high-end or your treble which is
| | 05:52 | more of a violet look.
| | 05:54 | If you don't want to see that all the
time of course all you have to do is go
| | 05:57 | back up to the Spectral Frequency
Display icon and click that again, it goes
| | 06:01 | away, and of course you have the
Time Selection tool which we touched on
| | 06:06 | briefly there, but that just makes this
little i-beam cursor that you can click
| | 06:10 | into your waveform in the Editor panel.
Drag that over to the right to make any
| | 06:17 | selection that you would like.
| | 06:20 | Now we were talking about multitrack
functionality before. Let's show you what
| | 06:25 | that does. We'll go ahead and right-
click on this waveform here, and this is
| | 06:28 | stereo of course and if we right-click
on it you can see that we have Insert
| | 06:34 | Channels Into New Multitrack File. Now
what that's going to do is it's going to
| | 06:39 | take the right and left of your stereo
signal and actually break that out into
| | 06:47 | multiple mono versions, just like so.
| | 06:51 | So now instead of having a single
stereo file you have two files, one that is
| | 06:56 | the left side of that stereo file and
one that is the right side of that stereo
| | 07:01 | file. If we wanted this to sound
exactly like the stereo version we would just
| | 07:07 | pan each of these in the same way, so
in other words here is your left and if
| | 07:13 | we pan it to 100% left by going to the
Track Pan here, and go down to our next
| | 07:20 | file which is of course the right
and pan that all the way to the right,
| | 07:25 | we pretty much have the same playback
as we would if we where just listening to
| | 07:30 | the stereo file. But what's interesting
about the Multitrack Display is that we
| | 07:35 | can mute one side of that file, for
instance, or solo another side. We can also
| | 07:42 | affect the volume and like I said
panning information of each side of that
| | 07:48 | stereo file independently.
| | 07:50 | All right, well may be we've gone down
the proverbial rabbit hole with the
| | 07:54 | multitrack functionality here and we
don't really want our stereo files split up
| | 07:59 | that way, we can just go back up to the
Files panel here, click on the Untitled
| | 08:04 | Multitrack and Close Selected Files.
We don't want to save the changes there,
| | 08:10 | and now we are back to our original files here.
| | 08:14 | Okay, let's go back to the Spectral
Frequency Display here, click on that
| | 08:18 | again, and as you can see these
tools to the right here are certainly not
| | 08:22 | grayed out and we can use them
to make a variety of selections.
| | 08:27 | We can select using the Frequency
Selection tool, which is also I believe known
| | 08:32 | as the Vertical Selection tool, and we
can select just frequency ranges if we'd
| | 08:39 | like. So let's say we have a lot of
bass in something, but we want to lose it all.
| | 08:43 | We can just select just the bass
and maybe compress that or can turn the
| | 08:50 | volume down with this handy tool here,
which takes the volume at the base.
| | 08:57 | (Woman singing in background.)
You can hear it's a bit tinier now.
| | 09:00 | If I hit Ctrl+Z that comes back.
| | 09:03 | (Man 1 singing: My friends...)
| | 09:06 | And if we want to take all the high-end
information and maybe boost it we can
| | 09:12 | do that by using this tool here,
and when we listen to it now--
| | 09:18 | (Man 1 singing: My friends, my friends...)
| | 09:23 | I am going to hit Ctrl+Z here and
play it and you'll hear what I am saying.
| | 09:26 | (Man 1 singing: My friends, my friends...)
| | 09:32 | Okay. Or the mid-range, perhaps you
would like to make a pretty interesting
| | 09:37 | effect here.
| | 09:38 | Let's go ahead and select the mid-range
here between 2k and 1k and we'll really
| | 09:45 | spike that up about 6 dB here, and
let's hear what that sounds like.
| | 09:49 | (Man 1 singing: My friends,
my friends. I've been waiting...)
| | 09:56 | So as you can see there is a variety
of ways of selecting and affecting your audio.
| | 10:01 | If we wanted to do something even more
interesting that I have never seen in
| | 10:05 | any other program we can use the
Lasso tool, similar to the one used in
| | 10:09 | Photoshop and other programs, and we
can make a selection in the Frequency
| | 10:15 | Display, that's kind of sweeping up
and down and back up again and back down
| | 10:24 | like this, and then we are going to
come right back around. And let's just say
| | 10:28 | we are going to make
something that sounds like this.
| | 10:34 | Now we have selected all those
frequencies all kind of sweeping up and down,
| | 10:39 | and if I were to hit Delete for
instance and then play it, over time you are
| | 10:46 | going to hear what this did to the audio.
| | 10:49 | (Man 1 singing: My friends, my friends.
I've been waiting for you to come down.)
| | 11:00 | (Man 1 singing: What took you so long?
Did you take a wrong turn now?)
| | 11:08 | Isn't that a cool little trick? Okay,
I am going to hit Ctrl+Z few times here
| | 11:14 | just to be sure and obviously there is
a Rectangular Marquee if you just wanted
| | 11:20 | to select all of the base that way,
or mid-range this way you could do that
| | 11:27 | too, and let's select that and just for
a drastic example hit Delete here and
| | 11:34 | then of course hit Play.
| | 11:36 | (Man 1 quietly: My friends, my friends.
I've been waiting for you to come down.)
| | 11:43 | As you can hear there are a lot of different
things you can do with all these handy tools.
| | 11:47 | You can navigate around with
the Zoom tool, similar to the other
| | 11:51 | tools, so you can get way in on
those frequencies if you'd like.
| | 11:56 | The Files panel is a great way to keep
the file as you need close at hand, and
| | 12:00 | knowing which tools to grab as well as
where to reach for them is essential to
| | 12:03 | your Soundbooth editing experiences.
You should try to take some time to become
| | 12:07 | familiar with them as you'll
probably be reaching for them quite often.
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| Using the Tasks and Effects panels| 00:00 | Soundbooth provides quick access to
several of the more often used processes,
| | 00:04 | including pitch and time editing as well
as cleaning up audio and creating loops.
| | 00:08 | In addition, Soundbooth users have a
potpourri of professional great effects
| | 00:12 | that can be applied to their audio
files taking them even further in their
| | 00:15 | quest for high quality results.
| | 00:17 | Adobe has made accessing these tools
even easier by including dedicated panels
| | 00:21 | for them, such as the Tasks panel over
here. As you can see a lot of the more
| | 00:26 | commonly used tasks are right there at
your fingertips ready to go, including
| | 00:31 | changing pitch and timing, cleaning
up your audio such as taking out the
| | 00:36 | rumble, the clicks & pops and the
noise, creating a loop, removing a sound
| | 00:44 | using the Spectral Frequency
Display and Volume Correction.
| | 00:49 | Also many of these processes you may
notice are in the File menu bar itself at
| | 00:55 | the top. So if you didn't want to see
the Tasks panel you could simply close it
| | 01:01 | and access them that way.
| | 01:02 | There is also a lot of great effects
and if you just go to the Effects panel
| | 01:08 | the first thing you may notice is
that there is a Stereo Rack Preset that's
| | 01:11 | currently empty. If we click on this
little triangle here a little menu flies out,
| | 01:16 | and as you can see Adobe has already
designed a whole host of presets with
| | 01:22 | specific purposes in mind. For instance,
there is an EQ Preset addressing your
| | 01:27 | Muddy Low End or may be you would like
to add little High End Sparkle or remove
| | 01:31 | some 60 Cycle Hum.
| | 01:32 | There is also some down and dirty quick
mastering presets for you. If you just
| | 01:37 | want to get your stuff loud and clean
sounding quickly without a whole lot of
| | 01:42 | muss and fuss, you can just go ahead
and grab any of these presets that you
| | 01:46 | like. I think for our purposes here
we are going to grab some Smooth Chorus
| | 01:50 | here and you can see that now it's
loaded in one of the effects that's already
| | 01:57 | set up and if we click on this little
green button it turns the effect on and off.
| | 02:05 | So let's turn it off here and
listen to our file for a moment.
| | 02:08 | (Man 1 singing: My friends, my friends.)
| | 02:13 | And our Smooth Chorus there is going
to actually add another person to that
| | 02:19 | lead vocal there.
| | 02:21 | (Man 1 singing: My friends, my friends.
I've been waiting for you...)
| | 02:29 | OK. Let's say we want to add maybe another
effect, maybe a little bit of reverb.
| | 02:33 | We'll go down to the bottom of the
panel here and click on the Effects button,
| | 02:37 | which adds an effect to the rack. So
here we go with our Convolution Reverb,
| | 02:43 | click on that and it pulls up something
here called the Convolution Reverb.
| | 02:48 | And as you can see we still have our
Chorus/Flanger in the rack and now we have
| | 02:52 | something else in there, the reverb.
| | 02:54 | Now let's go over to their menu
here and as you can see we've got some
| | 03:00 | Roller-Disco reverb here. Now if we hit Play --
| | 03:03 | (Man 1 singing: My friends, my friends.)
All skate...
| | 03:09 | (Man 1 singing: I've been
waiting for you to come down.)
| | 03:14 | If you look further into this Effects
panel you will notice that there is a
| | 03:17 | master on and off button for all of
the effects. Or perhaps we don't like the
| | 03:24 | Chorus/Flanger. We can go over to
this little trash can icon here after we
| | 03:29 | select it, it'll actually take it
out of there. So now we don't have the
| | 03:34 | Chorus, but we do have the Reverb.
| | 03:37 | (Man 1 singing: My friends, my friends.)
| | 03:40 | And we can always turn that off to check it out.
| | 03:43 | (Man 1 singing: ...waiting for you
to come down. What took you so long?)
| | 03:49 | Let's say that we are satisfied with
that sound because we have a Roller-Disco
| | 03:54 | setting in our movie for instance. We
can apply to file a couple of different
| | 03:59 | ways. One way is to just close the
file and say Yes when it asks us if we'd
| | 04:04 | like to save the changes or we can
just apply these effects right now by
| | 04:10 | hitting Apply To File.
| | 04:13 | As you can see it's doing it, and
now it's not on there and they have
| | 04:18 | conveniently taken those effects out
of the rack for you so that you are not
| | 04:23 | hearing two instances of
Reverb now. When you hit Play --
| | 04:27 | (Man 1 singing: My friends...)
| | 04:28 | -- the Reverb is actually still on there.
| | 04:30 | (Man 1 singing: ...my friends...)
| | 04:32 | Being able to quickly access these
often reached for tasks helps to streamline
| | 04:37 | your workflow even more making for a
very efficient audio editing environment,
| | 04:41 | and with the addition of the Soundbooth
effects suite, this is a very powerful
| | 04:46 | program indeed.
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| Using the History panel and snapshots| 00:00 | Soundbooth provides a powerful tool in
the form of the History panel. Just as
| | 00:04 | you can with many of the products in
the Creative Suite, you can go to any
| | 00:08 | point in time in your audio editing
process and selectively undo any number of
| | 00:12 | those processes.
| | 00:14 | Snapshots are similarly useful tool
that make these leaps in time a snap to
| | 00:18 | accomplish. Let me show you. First
off let's look at the History panel down
| | 00:23 | here at the bottom and as you can see
it's kind of hard to see what's going on
| | 00:26 | down there. So I am going to go ahead
and click and drag that panel up to the
| | 00:31 | top, that way we can see what's going on,
and as you can see not much is going
| | 00:35 | on, because there is only the word
Open, because that's all we have done to
| | 00:38 | this file so far.
| | 00:40 | But if I go into the Editor panel here,
and start making some invasive edits,
| | 00:44 | maybe a fade out, couple of other
things here, change the volume, then you can
| | 00:52 | see that each of the things I have
just done are now listed in the History
| | 00:56 | panel. And if I decide, oh, I liked
it better when I was at the Fade Out
| | 01:01 | section there, I can do that and
continue forward from there. I can go
| | 01:06 | backward in time, all the way back to
the opening, or forward in time all the
| | 01:11 | way to the point where I left off.
Let's say that we just want to leave it
| | 01:14 | right here for right now and then we
want to do a few more edits to it. But we
| | 01:20 | really like this space
where we are at right now.
| | 01:22 | So I am going to go ahead and see this
little camera icon at the bottom of the
| | 01:25 | History panel, this is the Snapshots
button. If I click that, it will come out
| | 01:30 | with a little menu here, and I'll say
New Snapshot, and I am going to name it
| | 01:34 | WAIT 2. Now what that does, is it's
going to make a little place in time that
| | 01:39 | we can go back to quickly, without
going through all these steps. We'll just be
| | 01:44 | able to go right to the snapshot as
I'll show you in just a moment here, okay.
| | 01:48 | So we are going to do a few more edits
to it, really creepy things to it, take
| | 01:53 | off that fade and all the stuff, and
now I am really getting worried that oh,
| | 01:59 | maybe I have gone too far and how can
I get back? Well, let's try to go back
| | 02:05 | to our Snapshot here. So we'll click on
the camera tool again, and you can see
| | 02:08 | WAIT 2 is there, that's the snapshot
that we just took. So If I click on that,
| | 02:13 | it's going to ask me if I want to save
a new snapshot before I go back, because
| | 02:18 | this clears the undo history. I'm going
to say yeah. I want to call it WAIT 3
| | 02:24 | and say OK.
| | 02:26 | So now it's gone back to two. And I go
okay, that's cool. But then I can A/B
| | 02:32 | it with three if I would like. I can
go back and forth between the two of them.
| | 02:37 | Let's say I really like these snapshots,
and I like the ability, and I
| | 02:41 | have got to go right now. The phone is
ringing and I need to close my computer.
| | 02:46 | If I just save this file as it is now,
because it's in the wave format,
| | 02:52 | it won't remember all of these snapshots.
But if I save it in the Adobe Sound
| | 02:56 | Document format, it will. We do that
just by going over to File here, going
| | 03:02 | down to Save As, and as you can see
there is Save as type here, we'll go to
| | 03:08 | Adobe Sound Document, and I am
going to call this Wait 4, and say Save.
| | 03:17 | It's going to ask me one last question
here which is, would you like to make an
| | 03:23 | original version, which means that it
will actually save the original version
| | 03:28 | we first started with into the Adobe
sound file, just like the wave version.
| | 03:36 | I do want that. I want to able to go all
way back in time, so I am going to say yes.
| | 03:39 | And if you look at the top up
here, you can see that we are actually
| | 03:42 | working in the Adobe Sound Document file,
which means that all of our snapshots
| | 03:47 | are still with in here. We can go
back to the very beginning, or any of the
| | 03:55 | other states.
| | 03:56 | Now it's asking me these questions,
and I don't really need to make another
| | 03:59 | snapshot, because this is basically
snapshot 3. So I am just going to say, no.
| | 04:05 | So I can go back to the Original
Snapshot, I can go to WAIT 3, or back to WAIT
| | 04:10 | 2, and this is a great way of saving
your history with your files. So if you
| | 04:17 | make a series of edits, and you're
still not sure if you have decided on
| | 04:22 | whether or not those are the right
thing for your file, you can save those
| | 04:26 | options with the file, and return to them later.
| | 04:29 | The History panel is like a virtual
time machine that can save you hours or
| | 04:33 | unnecessary work with the click of the
mouse, and this Snapshot tool similarly
| | 04:37 | lets you leap forward and backward in time,
saving you a lot of headaches in the future.
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| Using the Metadata and Properties panels| 00:00 | Metadata provides a customizable
method of cataloging, sorting, and searching
| | 00:04 | through the files you need quickly
and in a way that's most specific to your
| | 00:08 | project. Its integration with Adobe Bridge
makes it invaluable to all users of Soundbooth,
| | 00:13 | while the Properties panel provides a
great deal of information of the current
| | 00:16 | audio file at a glance, such as type,
sample rate, duration, and size.
| | 00:21 | We're currently looking at the default
workspace in Soundbooth and as you can see,
| | 00:24 | we don't actually have a Metadata
panel available to us. But if we go up here
| | 00:28 | to the menu bar to Window and down to
Metadata and select that, you can see
| | 00:35 | that it comes up here, and there are
quite a few different types of metadata
| | 00:39 | that you can actually embed with your audio.
| | 00:41 | There is the Dublin Core standard,
which has been developed for consistency of
| | 00:46 | data exchange regardless of platform or
application. There is also Basic and a
| | 00:53 | lot of different other kinds, but
maybe you don't need all of these types of
| | 00:57 | metadata available to you.
| | 00:59 | You can just go into your Preferences,
which is down here at the bottom of the Edit,
| | 01:03 | and there is Metadata and go to
the Metadata Display button. And as you
| | 01:10 | can see these are selected, but let's
take these, and just to have this off.
| | 01:17 | And let say you work in the medical
field and you would like to have the DICOM
| | 01:27 | standard available to you. We will go
ahead and select that, and say OK, and
| | 01:33 | OK again. Now in our Metadata panel,
you see that we have the Basic fields,
| | 01:40 | including Rating, and we have the
DICOM standard and if we click on that you
| | 01:45 | can see that there are fields
for Patient Name, ID, and so on.
| | 01:53 | Now just to the left of the Metadata
panel here is the Properties panel, and as
| | 01:59 | you can see all of the information
that you need most quickly is here for you
| | 02:04 | at a glance. The type of the audio
file it is and in this case it is a WAVE file.
| | 02:09 | The Sample Rate, the Duration or
length of the file, its actual Size in
| | 02:14 | megabytes or gigabytes, if you have
huge audio files, and then last time it was
| | 02:20 | modified, date and time. You also have
the actual path where this audio file
| | 02:27 | currently resides.
| | 02:29 | Now there is also that information
available to you in the Files panel up here,
| | 02:34 | if I go ahead and scroll over, you can
see that there is information regarding
| | 02:40 | Stereo or Mono, its Sample Rate,
Duration, and the like up there. But if you
| | 02:46 | don't want to do all that scrolling
around, well then the Properties panel is
| | 02:49 | where you are going to want to be.
| | 02:51 | The Metadata and Properties panels are
great time saving tools, allowing you to
| | 02:56 | find what you need quickly and easily,
as well as allowing you to catalog
| | 03:00 | different types of audio files with a
large amount of customized criteria.
| | 03:04 | And quick and easy access to your files
putting the technical details gives you
| | 03:08 | pretty much all the info you are going to need.
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| What is Resource Central?| 00:00 | While Adobe Soundbooth comes with an
assortment of scores and sound effects,
| | 00:04 | clicking on the Resource Central panel
provides registered users access to a
| | 00:08 | veritable plethora of additional
files for using your Soundbooth related
| | 00:12 | projects, as well as news and
forums specific to Soundbooth.
| | 00:16 | So we'll go to the Resource Central tab
here to bring up the panel and as you
| | 00:20 | can see, we come up to News and there
are quite a few different things that we
| | 00:25 | can go through. Events and other
things that are new to Soundbooth, which is
| | 00:32 | great. You can stay right
up-to-date on Soundbooth.
| | 00:35 | If you need specific sound effects, you
would be surprised how many free sound
| | 00:40 | effects have come bundled with
Soundbooth via the Internet. And we can skip
| | 00:45 | through these pages here and you can
see there's quite a few there. Let's say
| | 00:49 | I need something to do with feet. I can
just search for it and here all these
| | 00:54 | sound effects that we can then
download for use in our files.
| | 00:58 | There are several scores available
in that same regard, as well as Score
| | 01:02 | Bundles, which you can
optionally purchase from Adobe online.
| | 01:06 | Adobe's Resource Central raises the
already formidable value of Soundbooth
| | 01:11 | exponentially, by the inclusion of its
access to a huge library of sounds and
| | 01:15 | scores, as well as providing a very convenient
user knowledge base specific to Soundbooth.
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| Using the Markers panel| 00:00 | Markers provide valuable sign posts
and placeholders within the file you are
| | 00:03 | editing, so that you can easily
demarcate trouble spots or find specific areas
| | 00:07 | more easily. They can also be an
essential element in the integrating of your
| | 00:11 | audio into Flash projects.
| | 00:13 | Now as you can see here we have loaded
up our voice_comp_markers WAVE file from
| | 00:18 | the Exercise_02 folder. And if we go
right over here to the Markers panel, we
| | 00:23 | can see that all of the markers, and
their names, and where they occur, and
| | 00:27 | what type of marker they are, are
listed in the Markers panel here.
| | 00:33 | You can also look just above the
timeline over here and see where they are
| | 00:38 | set and what they are named. This is
probably where we'll be adding them most
| | 00:44 | of the time. Now if we want it to find
our way through the file, we would just
| | 00:51 | double-click here on each marker name,
and as you can see from the cursors
| | 00:58 | position there, it's
jumping to the next area, okay.
| | 01:05 | If we want to add a marker, we are
going to go right over here. We wanted to
| | 01:11 | add one right around seven seconds, so
we are going to click over there, and we
| | 01:18 | go to the plus sign on the Marker panel.
And as you can see a new marker is made
| | 01:23 | and it's called Marker 01. We are
just going to call this one demo for
| | 01:28 | now so that we can easily find it
again. We wanted it to be exactly at 7
| | 01:33 | seconds, but it's at 6:28 as you can
see. But if we just double-click this
| | 01:38 | little time marker here, we can change
it to 7, hit Enter, and it automatically
| | 01:45 | lines up exactly to where we want it to go.
| | 01:48 | Let's say we wanted to make this a
Navigation cue point, we just click on that
| | 01:53 | and it becomes that type in the
markers view. If you want it to go to a
| | 01:59 | specific part of the file and listen to
that section, you could easily do that
| | 02:04 | by going to this little icon here,
the Auto Play Toggle, and engaging that.
| | 02:11 | Let's just go to Line 3, which is just
down here a little bit. I am going to
| | 02:16 | double-click it.
| | 02:17 | (Recording/Man 1: One more rabbit out of my hat.)
| | 02:20 | And as you can see, it plays from that point. Okay.
| | 02:25 | Let's add another marker here really
quickly, and decide, oh, you know what?
| | 02:30 | We didn't really want that marker after
all. So we just find that marker by
| | 02:36 | navigating to it, there is Marker 02,
we'll double-click it --
| | 02:42 | (Recording/Man 1: How did he do that?)
| | 02:44 | And then we'll hit the minus sign to remove it.
| | 02:49 | As you can see the Markers panel is a
great time saving tool allowing you to
| | 02:53 | find your way around the waveforms
display even more quickly and efficiently,
| | 02:57 | and its Flash integration makes it
a powerful multimedia tool as well.
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| Using the Scores and Video panels| 00:00 | Scores provide a unique and useful tool
for adding music to projects by adding
| | 00:04 | music that can be subsequently edited
and customize for your specific needs.
| | 00:08 | When working with video, it's good
to be able to have a real time visual
| | 00:11 | representational referred to and that's
where the Video panel comes into play.
| | 00:15 | So what we have loaded into our Adobe
workspace here is our surfx video and we
| | 00:21 | have it displayed right here.
We are just going to play it.
| | 00:25 | (Waves crashing.)
| | 00:26 | You can see that we have several thumbnails along
the Timeline giving you a rough approximation of
| | 00:32 | the action and you can hear
the associated video/audio file.
| | 00:36 | (Waves crashing.)
| | 00:39 | That's sounds a little dry with just
the surf sound behind it. I think we can
| | 00:43 | spice it up with a little bit of music
or something, so let's go to the Scores
| | 00:47 | panel right over here and you can
see a couple of scores are ready and
| | 00:51 | waiting for you. First we have
CityStreet. Let's listen to that one.
| | 00:56 | (Cars driving by, rain falling.)
| | 01:02 | Okay, that probably isn't as applicable to
our situation here as maybe a musical bed.
| | 01:08 | I am going to put the Autoplay on. Now
anytime I click on one of these scores
| | 01:15 | in the panel,
(Music plays.)
| | 01:17 | it's going to automatically start
playing and I kind of like that one.
| | 01:21 | So that's good. Why don't we take
the AquaVisit and use this button here to
| | 01:28 | add the score to our multi-track project?
| | 01:31 | As you can see it's put in a score,
which is customizable music, and we'll get
| | 01:38 | into all these parameters a little bit
later on. If you didn't quite find what
| | 01:45 | you are looking for in the Scores
panel here, there's a handy link there to
| | 01:49 | Resource Central and you can probably
find what you are looking for there.
| | 01:54 | For now we are going to go ahead and
stay with this and I think we would like
| | 01:58 | to see the actual real time video being
displayed as we play it back though. So
| | 02:02 | I am going to go ahead up to the menu
bar here to Window > Workspace and as you
| | 02:08 | can see, Adobe has already made a
preset for editing scores to video. I am
| | 02:14 | going to click on that and as you can
see now our Video panel has come up right
| | 02:19 | center-top of our display here
and when I hit Play at the bottom--
| | 02:25 | (Music plays over sound of waves crashing.)
| | 02:28 | It's all playing.
| | 02:30 | (Music playing over sound of waves crashing.)
| | 02:34 | That gives us a great idea of just
exactly how our music is matching up to the
| | 02:39 | action. Being able to integrate musical
backdrops into your projects has never
| | 02:43 | been easier to do and the video display
is like having a little video monitor to
| | 02:47 | referred to right there inside of Soundbooth.
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|
|
3. Customizing Your WorkspaceWorking with panels and dockable palettes| 00:00 | Adobe Soundbooth's panels and dockable
palettes provide an instinctual way of
| | 00:04 | finding your way through the many
features that reside in the program's
| | 00:07 | interface. Let's take a look at how they work.
| | 00:10 | As you can see we're pretty much set
into our default workspace. But let's say
| | 00:15 | we don't want to have all these
different panels cluttering up our workspace
| | 00:20 | like for instance, we are probably
not going to be working with Resource
| | 00:23 | Central or Scores in this
project and Tasks as well.
| | 00:28 | However, we would like to take the
Effects and keep them up next to our files.
| | 00:33 | So if I click on the Tab of the Effects
panel and move it up, you can see that
| | 00:40 | it's making this little purple shape
here. And what this means is, that if I
| | 00:45 | move it to the top then the Effects is
going to be the top most panel. Whereas,
| | 00:53 | if I were to move it into the center
here, it's going to be right there next to
| | 00:57 | Files and if I move it over to the
left and let go, you can see that it's put
| | 01:04 | them side by side. But, I want them to
be right next to each other tab wise. So
| | 01:10 | I am going to drag it over where the
Files is, in the center here and let go
| | 01:15 | and now you can see that
Files and Effects are together.
| | 01:17 | I would also like to put my History
panel there and my Markers. I am going to
| | 01:26 | close Properties because I don't
really think I am going to need that or the
| | 01:29 | Video right now. And now what I have
are my four most used panels for this
| | 01:38 | project. I really like the way this
workflow looks and so I want to keep it, so
| | 01:42 | that I can go to it easily next time.
So I am going to go over to Window >
| | 01:47 | Workspace. And I am going to make a New
Workspace, and I am going to call it My
| | 01:53 | Workspace. Say OK.
| | 01:58 | Okay. So let's say I have been working
there for a while but I need to go back
| | 02:02 | to the default, I will just go back to
the Default, and Reset Default, say yes,
| | 02:13 | and now I am back to where I was before.
| | 02:15 | Okay. So let's say I decided OK, you
know I really don't want to be on the
| | 02:19 | Default Workspace, I want My Workspace
back. I just go up to Window > Workspace,
| | 02:24 | and there is My Workspace that I load up.
And there I am, ready to work the way
| | 02:29 | I like to work.
| | 02:31 | As you can see it's very handy to be
able to take any of these panels and put
| | 02:36 | them in any configuration you would
like, and then save that for later use.
| | 02:40 | Taking the time to make yourself
familiar with the panels and dockable palettes
| | 02:43 | will help you to understand the
Soundbooth interface more easily as you dig
| | 02:47 | deeper into the program.
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| Setting Soundbooth preferences| 00:00 | Soundbooth's feature set is obviously
quite formidable but let's take a look
| | 00:04 | under the hood to see what other customizable
functions can be accessed for advanced users.
| | 00:08 | We are going to go up to the Menu bar
at the top here to Edit and on down to
| | 00:13 | the bottom to Preferences, and to
General, which you can see we can get there
| | 00:18 | very quickly by just hitting Ctrl+K
or if you are on the Mac, Command+K.
| | 00:23 | The first field we have here is the
Custom Time Format, frames per second.
| | 00:28 | You might want to change that to 30
frames per second if you were working with
| | 00:34 | straight video, but for now, we'll
just leave that at 12. You can also change
| | 00:38 | the display as far as hours, minutes,
seconds and frames or just frames only.
| | 00:45 | Just below that we have the Soundbooth
Scores Folder, which pretty much tells
| | 00:49 | you, okay, this is where I want to save
and retrieve my Soundbooth scores from.
| | 00:55 | If you'd like to put a folder of your
own choosing in there, you can just make
| | 01:00 | a new folder and rename it how you'd
like. But for now, I think we'll just look
| | 01:04 | at Soundbooth scores as they are.
| | 01:06 | Now, just below that we have a whole
host of radio buttons here and they all
| | 01:11 | have kind of important functions. For
instance, this one on the top here is
| | 01:15 | Return to Start Position on Stop, and
why this is so important is that this
| | 01:19 | directly affects the way that your
cursor and your audio playback interact.
| | 01:24 | For instance, currently with it
checked like this, when you hit Stop,
| | 01:29 | the playback will then begin again from
wherever you started it on the last
| | 01:33 | playback. So if you have started from
the beginning of the file, then hit Stop,
| | 01:40 | and then hit Play, you are going to
start from the beginning of the file again.
| | 01:44 | Whereas if I turn this off and I hit Play,
and then I hit Stop, and I hit Play again,
| | 01:50 | playback is going to begin from
the point that I actually stopped playback.
| | 01:55 | Let's say you have a long narration and
you are doing a lot of editing and you
| | 01:59 | needed to stop for a moment and then
you want to select, make some changes and
| | 02:04 | then hit Start again, and you don't
want to listen to it all the way through
| | 02:07 | again, then that's why you would have
this turned off. But, for most purposes
| | 02:12 | you probably want to keep that on.
| | 02:15 | The next one below that is Auto-open
Effect Custom Settings. Now, what happens
| | 02:19 | with that is, if I have this selected,
if I select an effect to add to the
| | 02:23 | rack, it's going to actually open up
the advance parameter, so that I can go
| | 02:29 | directly to editing those parameters
to my custom settings. But I am going to
| | 02:35 | leave that off right now because we are
just going to be using the presets for
| | 02:38 | a while here.
| | 02:39 | The next one down here is Auto-Heal
Edit Boundaries. Now that's a very
| | 02:42 | important one and one that I suggest
you leave checked because what that does,
| | 02:47 | it allows you to make a variety of
edits, cutting, pasting, and like without
| | 02:52 | having to worry about setting your
selections to zero crossing points. If you
| | 02:57 | don't select your selections to zero
crossing points in other digital audio
| | 03:01 | editors, you will have click some pops
where those boundaries were, wherever
| | 03:06 | you make a selection and make a cut or
a paste, if it's not at a zero crossing
| | 03:11 | point, it will make all kinds of clicks
and pops but Adobe has built this great
| | 03:16 | feature in there that
automatically takes care of that for you.
| | 03:19 | Just below that is the Auto-open
Properties panel When Selecting Score Clips,
| | 03:22 | and what that does is it allows you
to dive directly into editing the score
| | 03:27 | when you add it to your project, and I
think that's also a really good thing to
| | 03:31 | keep checked.
| | 03:32 | Just below that is Auto-Open Video
panel When Loading Video Files. And what
| | 03:36 | that means is that when you load a
video file into Adobe Soundbooth and you
| | 03:40 | want to see it, it's actually going to
open up the little video panel that's
| | 03:45 | like a little video monitor inside the
program, so that you can see the real
| | 03:49 | time playback display. If you were to
take that off, you would just see the
| | 03:53 | thumbnails on the rough storyline,
which is harder to kind of get a sense of
| | 03:58 | where you are in the video file.
| | 04:01 | Now often times when you are doing
different actions from within Adobe
| | 04:06 | Soundbooth, you may get a little dialog
display that pops up and it says, don't
| | 04:11 | ask me this next time. This little
button here resets all those warning
| | 04:16 | dialogs, so that if you would like to
have those available to you again, they
| | 04:21 | all come back at once just
by clicking this button here.
| | 04:24 | Just below that we have the Adobe
Sound Documents and we have the Minimum
| | 04:28 | Display Range which is currently set at
10 seconds, but you can set that at 10
| | 04:33 | minutes if you are working with very
large pieces of audio. And of course below
| | 04:37 | that, we have the Embedded Mixdown
Defaults. That means that every time you are
| | 04:41 | going to either render your video or
audio files to something else it's going
| | 04:47 | to be either Flash Compatible which is
always 44K 16 bit audio or you can set
| | 04:54 | it to custom and set your sample rate
at whatever you would like it to. So
| | 04:58 | let's say you work with really high
definition audio all the time, you can set
| | 05:02 | it up for that, but for now I think we
are going to just go ahead and put these
| | 05:06 | back where they were and
leave it at Flash Compatible.
| | 05:11 | The Appearance options are actually
really easy and fun to do. You can
| | 05:16 | customize your Adobe Soundbooth
experience to just the way you like to work. So
| | 05:21 | let's say, I like to have a high
contrast interface, which is dark but with
| | 05:29 | lighter text, or maybe you like to
have a light background with darker text,
| | 05:34 | you just move it over this way. We are
going to go back to the Default though
| | 05:38 | because I tend to like that the best.
| | 05:40 | Just below that, you can even take that
customization even further by changing
| | 05:45 | the colors that are displayed for
different elements. For instance, you can see
| | 05:49 | here that the Waveforms are actually
this teal color. But, let's say we work
| | 05:54 | with audio a lot and we don't want to
tire our eyes out after a long day of
| | 05:59 | editing. We might change all of these
colors to be a little easier on the eyes.
| | 06:07 | We can do that just like this. It's
so simple to come through and do that.
| | 06:13 | Let's go back to our Defaults there.
| | 06:15 | On the bottom here you can see that we
have a Use Gradients button. Now what
| | 06:20 | that is, is if you look over here to
the left here, you can see that all of
| | 06:24 | these buttons have kind of a rounded
look to them and sometimes that takes up a
| | 06:29 | little bit of memory on your video
card. If you are dealing with an older
| | 06:33 | machine and maybe you don't want to
use up those precious resources on your
| | 06:37 | interface, you can just go ahead and
click this. And as you can see, it makes
| | 06:42 | everything a little more flat and two-
dimensional. But, I like the nice look
| | 06:46 | that Adobe has put here, so I am going
to go ahead and leave that like that.
| | 06:49 | The next panel of course deals with
your Audio Hardware where you can choose
| | 06:54 | your audio device and all of its
related functions, and you also have the
| | 07:02 | continue Audio Playback in Background.
So let's say you are working on some
| | 07:05 | audio and you decide to do a little
multi-tasking work on something else, but
| | 07:10 | you want to have that audio continue
to play while you are going to another
| | 07:13 | application, it will do that if you
have this checked. Whereas, if you have
| | 07:17 | this unchecked and select another
application, the audio playback will stop.
| | 07:22 | I must caution you that if your
version of Adobe Soundbooth is currently
| | 07:25 | working correctly, you want to stay out
of this area because you will probably
| | 07:30 | put yourself some place you may not want to be.
| | 07:33 | Below that we have the Media
preferences and you can choose where you save
| | 07:38 | your media cache files. Currently they
are over here in your common folder, but
| | 07:45 | let's say you want to make all of
your audio and cache files portable. You
| | 07:50 | might want to put them all in the same
place, so that you can burn them all to
| | 07:54 | a disk or whatever and take them some
place. But like I say, I think you want
| | 07:58 | to just kind of leave this alone as it is.
| | 08:01 | Below that we have the Media Cache
Database, and you can clean or find a
| | 08:07 | different place for those cache
files to be. Just below that, we have the
| | 08:11 | Delete Temporary .PEK files. Now the
.PEK files are actually little graphic
| | 08:16 | files that are associated with your
audio. When you have it Waveform like this,
| | 08:21 | it's actually a little drawing. And
the first time that you are looking at an
| | 08:26 | audio file, it takes a little while to
draw that Waveform. And when they make
| | 08:30 | these little .PEK files, the next time
you open that audio file, it shows up
| | 08:35 | right away because it already
has that graphic file within.
| | 08:39 | This will actually delete those and
maybe free up a little space on your hard
| | 08:42 | drive. But they are so small that you
should probably just kind of leave those
| | 08:47 | alone. Similarly, we have the .CFA
files below and we can delete those if we
| | 08:52 | would like. However, I would
suggest again leaving all these alone.
| | 08:58 | Finally, we have the Metadata down here.
Now, what that does is, it allows us
| | 09:04 | to go into our Metadata panels display
and choose which types of data we would
| | 09:10 | like to have available for editing to
us. Currently, we have the Basic and
| | 09:17 | DICOM settings available to us, but we
can just uncheck or check the ones that
| | 09:24 | we would like to see or not see.
And it's just that simple to do.
| | 09:31 | Preferences aren't something you
will need to go through often, but it's
| | 09:34 | comforting to know that this level of
tweaking is available to those who do
| | 09:37 | need to do so.
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| Using Soundbooth keyboard shortcuts| 00:00 | Soundbooth's customizability is one of
its most outstanding features and you
| | 00:04 | can make your own workflow even more
fast and efficient with the knowledge of
| | 00:08 | the keyboard shortcuts. Being able to
save your own personal set of keyboard
| | 00:11 | shortcuts means that you will be even
more productive. Let me show you what I mean.
| | 00:16 | For instance, I can hit Play on the
Transport bar down here to start playback.
| | 00:22 | (Man 1 singing: My friends, my friends...)
| | 00:26 | But what I prefer to do is use the
Spacebar, which is currently set to toggle
| | 00:31 | playback on and off. So if I hit the Spacebar,
| | 00:34 | (Man 1 singing: My friends, my friends...)
| | 00:37 | I can start playback very quickly without having
to make any kind of mouse movements at all.
| | 00:44 | If I go up to Edit on the menu bar
here, it will drop down and I go to the
| | 00:49 | bottom here to Keyboard Shortcuts.
And as you can see, there's already a
| | 00:54 | keyboard shortcut associated with that.
Ctrl+Shift+K or Command+Shift+K on the Mac.
| | 01:01 | And as we go in there, you can
see that virtually every function within
| | 01:05 | the Soundbooth interface has a
keyboard shortcut associated with it.
| | 01:11 | Let's say, I want to customize one
though and I want to browse using instead of
| | 01:17 | the Ctrl+Alt+O shortcut, Ctrl+B.
I just hit Ctrl+B and as you can see at the
| | 01:26 | bottom down here, it is shown up and
this box has gone from grayed out to
| | 01:31 | available. So if I hit Assign, I have
actually assigned Ctrl+B to that shortcut.
| | 01:38 | However, because the other one is still
up there, I have both options available
| | 01:44 | to me. So if someone else wants to
come in to my workflow and work on my
| | 01:48 | version of Soundbooth and they are
used to using Ctrl+Alt+O, they will still
| | 01:53 | be able to do tha while I can
still use Ctrl+B, which is my preference.
| | 01:58 | However, if I want to use Ctrl+Alt+O
for something else, I would just simply
| | 02:02 | hit Remove and now only Ctrl+B is
associated with browsing in the file browser.
| | 02:09 | I am going to go ahead and hit Cancel
here. And as you can see, in addition to
| | 02:15 | making your interface even more
intuitive, keyboard shortcuts can save hours of
| | 02:19 | time and reduce mouse fatigue as well.
This makes them a valuable addition to
| | 02:24 | your Soundbooth experience.
| | Collapse this transcript |
|
|
4. Basic Audio EditingUsing the Trim Handles and Insert Silence functions| 00:00 | Adobe Soundbooth has made some of the
most frequently used tools even easier to
| | 00:03 | find and use and the Trim Handles are
a perfect example. That's a great way to
| | 00:08 | remove excess audio from the beginnings
and ends of your files and the Insert
| | 00:13 | Silence function can work well if you
need to add a little into them. Let me
| | 00:17 | show you what I mean.
| | 00:18 | Right now in our Editor panel, you can
see that we have loaded in our Song WAVE
| | 00:23 | file from the Example 4 folder. And to
the left and right of that display,
| | 00:31 | you see these little handles here and as
I move my cursor over them, they actually
| | 00:35 | turn into little highlighted icons
with an arrow pointing towards which way
| | 00:40 | they would go. Okay. I am
going to go down here and hit Play.
| | 00:45 | (Man 1 singing: Cause it's all right. We've got a...)
| | 00:52 | And I wanted to start right about
there, right where it says "we've."
| | 00:56 | (Man 1 singing: We've got a...)
| | 00:58 | So I am going to go ahead and grab the
Trim Handle and I am going to pull it over
| | 01:02 | there. Now, I am not really zoomed-in
closely. So I am going to err on the side
| | 01:07 | of caution and stop a little short of
where I think it should be. And then go
| | 01:13 | back to the beginning and hit Play.
| | 01:16 | (Man 1 singing: We've got a song.)
| | 01:18 | Yeah, that could be a little tighter.
| | 01:20 | So I am going to go up to the Zoom
Navigator on the top here and drag that on
| | 01:24 | over so I can really see where things
are starting here and I am going to hit
| | 01:29 | Play one more time.
| | 01:31 | (Man 1 singing: We've got a...)
| | 01:32 | Okay, I am going to go back
to the beginning here and I am
| | 01:35 | going to move the Zoom Navigator to
the beginning of the file and grab this
| | 01:40 | Trim Handle and I want it to start
right about there and I am going to let go.
| | 01:47 | Go back to the beginning and hit Play.
| | 01:49 | (Man 1 singing: We've got a song.)
Cool.
| | 01:52 | (Man 1 singing: For tonight...)
| | 01:54 | Okay. I am going to zoom all the way
back out again here. Go to Zoom Navigator.
| | 01:59 | I am going to go to the end because I
know I want it to end at a certain spot here.
| | 02:05 | (Music plays.)
| | 02:11 | Okay, and that last little
chord there is when I want to get rid.
| | 02:15 | So I am going to go ahead and pull
down the Zoom Navigator in here, see how
| | 02:20 | close I can get to my actual display
here. Now, I can leave the cursor exactly
| | 02:27 | at the point just to show you that
when I pull the Trim Handle, it's going to
| | 02:33 | actually snap to that when I get close
enough to it. So I go all over this way,
| | 02:39 | and you can see it snaps right to it
there. And I let go a bit, up to Zoom
| | 02:45 | Navigator, pull that all the way out,
and we'll play the whole ending here really quick.
| | 02:53 | (Music plays.)
| | 02:58 | And that's what I wanted.
| | 03:00 | Now, let's say I am lining up this file
with a Flash presentation and I don't
| | 03:04 | want to have to really work it around,
but I know it's going to be exactly 2
| | 03:08 | seconds before I want it to start.
I can just go up to the Edit on the File
| | 03:13 | menu and go down to Insert and
then Silence, and it's already set at 2
| | 03:21 | seconds, so I will say OK. And what
it's done is it's inserted 2 seconds of
| | 03:26 | silence at the beginning of my file.
| | 03:30 | (Man 1 singing: We've got a song for tonight.)
| | 03:36 | And it's just that easy to take care of
| | 03:38 | those sometimes laborious tasks.
| | 03:42 | Now, during this lesson you may have
noticed a function that we haven't yet
| | 03:45 | addressed yet that does a similar
function to the Trim Handles, and it's this
| | 03:50 | one that's grayed out currently called
Crop. Now, just as the Trim Handles can
| | 03:55 | be pulled inward this way to create a
cropped file. Let me just Undo that.
| | 04:05 | You could also do it really precisely
with your cursor in making a selection.
| | 04:11 | And let's just say that this is the length
of time that we wanted to crop to.
| | 04:15 | We could grab the Trim Handles and pull
them over to these boundaries or we can
| | 04:21 | simply right-click or go to the Edit
menu and select Crop and it will actually
| | 04:27 | do that job in one fell swoop.
| | 04:31 | As you can see, cropping or inserting
silence is really easy to do. And the
| | 04:37 | Trim Handles are so easy to use that I wonder
why no one else had ever thought of it before.
| | Collapse this transcript |
| Using the fade handles| 00:00 | Adobe Soundbooth provides a cool set
of Fade Handles to help you get just the
| | 00:04 | right fades ins and/or fade outs for
your audio files. We will take a look at
| | 00:08 | an alternate method of
achieving similar results as well.
| | 00:12 | So we have got our Song WAVE file
loaded in from the Examples 4 folder, and as
| | 00:18 | we look at it in the Editor panel, you
can notice at the upper left and upper
| | 00:23 | right-hand corners of it, there are
these little boxes. Now, if I go ahead and
| | 00:27 | rest the cursor over it, you
can see that it says Fade In.
| | 00:31 | Now, if I go ahead and click on that
and drag it to the right here, it's
| | 00:36 | drawing this yellow line and what
that yellow line is signifying is your
| | 00:40 | actual volume level. So it's doing a
professional fade in right there.
| | 00:48 | Much like if you were to be using a mixing
board and pushing the fader up over time.
| | 00:55 | So if I hit Play...
| | 00:57 | (Man 1 singing: Cause it's alright.
We've got a song for...)
| | 01:06 | A very easy way to do such a neat task.
| | 01:11 | Okay. Let's say we want to do a Fade
Out on our file as well and we want it to
| | 01:16 | start probably from around here.
| | 01:19 | (Man 1 singing: ...for tonight.)
| | 01:22 | I am going to go ahead and I am going to grab
| | 01:25 | that Fade Handle, the Fade Out Handle
I should say, and pull it over to the left,
| | 01:34 | just like that, and
now I have a fade out as well.
| | 01:37 | (Man 1 singing: ...song for tonight.)
| | 01:44 | But that's just a little too subtle
for me. I think I would like it to fade a
| | 01:48 | little more quickly, but still be about
the same link on the audio file and the
| | 01:54 | things. I can grab that Fade Handle,
click it and then pull it downward or push
| | 02:02 | it upward to change the shape of that
volume move. So, if I am pushing it up
| | 02:08 | here, it's starting out with not much
of a fade and then gradually towards the end
| | 02:12 | it gets a little quicker.
| | 02:14 | So I would like it to start a sooner,
so I am going to pull it down. And as you
| | 02:20 | can see, it's moving in volume down
much more quickly. So I am going to go
| | 02:25 | ahead and I am going to let go it
right about there and preview that here.
| | 02:30 | (Man 1 singing: ...song for tonight.)
| | 02:34 | (Music plays.)
| | 02:42 | Now, you can have even more precise
control on this by using an alternate
| | 02:47 | method, which I will show you now. Let
me just grab these Fade Handles and put
| | 02:51 | them back the way that they were. And
we know that we want our Fade In to end
| | 03:00 | right about here. We want it to be at
full volume at this point right here.
| | 03:05 | If you look down at the bottom here,
you can see a couple of buttons that look
| | 03:09 | very similar to the Fade Handles, and
that's because they are Fade In and Fade
| | 03:15 | Out buttons. And what they do is they
make a professional fade in to the point
| | 03:21 | where the cursor is or if in the case
of the fade out from that point. So if I
| | 03:26 | go ahead and click this, you can see
that yellow line snapping right to where
| | 03:31 | the cursor is. Now, I go
ahead and hit Play there.
| | 03:36 | (Man 1 singing: Cause it's alright. We've got a...)
| | 03:43 | It was just the same way. Now, we can
do a similar fade out. Just click on
| | 03:48 | where you would like it to start, and
this affords us a little more accuracy as
| | 03:53 | to where that's going to start. We want
it to start right about there I'd say.
| | 03:59 | And I go down here to the bottom and
click the Fade Out button, and now it's
| | 04:04 | made a fade out.
| | 04:06 | But as we noted earlier, we didn't
like it to be quite so linear there,
| | 04:10 | so I can still edit that just as I edited
the other one by grabbing it and pulling it
| | 04:16 | down here, and we can hear the results.
| | 04:21 | (Man 1 singing: ...song for tonight.)
| | 04:25 | (Music plays.)
| | 04:28 | It's just that simple to get perfect,
professional quality fade ins and outs,
| | 04:33 | no bumping or starts and stops or any
kind of stammering whatsoever. It's just
| | 04:40 | perfect. The Fade Handles are another
easy to use but powerful tool that helps
| | 04:44 | to keep your audio at professional standards.
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| Cutting, deleting, copying, and pasting | 00:00 | Cutting, deleting, copying and
pasting selections of audio are perhaps the
| | 00:04 | actions most often used within
Soundbooth. Let's go through these to ensure
| | 00:09 | that you are familiar with
the best ways to do that.
| | 00:11 | Okay, we have loaded in our mother_may_
I_yes_you_may WAV file from Exercise 4
| | 00:17 | folder. I am going to hit Play.
| | 00:19 | (Man 1: Mother, may I? Yes, you may.)
| | 00:21 | Okay, and we're just going to basically change
| | 00:24 | what this sentence actually says. I am
going to play it back one more time here
| | 00:29 | because I want to find where
I am going to make my edit.
| | 00:31 | (Man 1: Mother, may I?)
| | 00:32 | Okay, I want to start it with 'may I.' And I want
to take 'Mother' and use that in a little different
| | 00:40 | context. I am going to hit Play.
| | 00:42 | (Man 1: ...may I? Yes, you may.)
| | 00:44 | Okay. So I think where I want to
be is right in here. By the way, I am
| | 00:50 | zooming in and out by using the scroll
wheel on my mouse because I find that to
| | 00:55 | be the quickest way to get around when
you are trying to look at things pretty
| | 00:59 | closely like this.
| | 01:01 | So I am going to go ahead and set the
cursor there and zoom back out, and we go
| | 01:05 | to the beginning of that word, and I
am going to put the cursor right there
| | 01:10 | towards beginning and I am going to
hold down the Shift key and click. And what
| | 01:15 | that does is makes a selection from
the cursor to where I put the mouse.
| | 01:21 | So if I go ahead now and hit Ctrl or
Command+X or if I go to the menu bar,
| | 01:28 | click Edit and go down to Cut, I am
cutting that and I am loading that word
| | 01:33 | into the clipboard. In other words,
it's hanging around in memory in case I
| | 01:37 | need it, which I am going to. I am
going to go back to the beginning of the
| | 01:40 | file now, and we'll hear what it says.
| | 01:43 | (Man 1: ...may I? Yes, you may.)
| | 01:46 | Okay. Now, I want to put the word 'Mother'
in between 'Yes you may.' So I am going
| | 01:51 | to try to figure out where that is by
putting the cursor near where it should be,
| | 01:56 | and I am thinking it's
probably close to here, hit Play.
| | 02:04 | (Man 1: ...you may.)
| | 02:05 | That's pretty close, but I think I could be a
little more precise here. So I am going to try
| | 02:12 | it right about there, hit Play.
| | 02:14 | (Man 1: ...you may.)
| | 02:15 | At that point there, I am going to go
up to the Edit and I can select Paste or
| | 02:22 | if you like, you can right-click in
the waveform and select Paste there or
| | 02:27 | alternately, you can just use
Ctrl+V or Command+V on the Mac.
| | 02:34 | Okay. So what I have done now is I
have pasted that word in a different spot
| | 02:39 | so, if we go back to the beginning and play it.
| | 02:42 | (Man 1: ...May I? Yes, Mother, you may.)
| | 02:44 | Now, obviously that's not
| | 02:45 | the tightest edit in the world, but we are
just doing this for illustrative purposes for now.
| | 02:50 | I do want to talk to you about the
Auto-Heal function and what that means.
| | 02:55 | So we are going to go ahead and take a
zoom into this little area right here. And
| | 03:02 | when you make an edit in the digital
realm, the rule is that you should make it
| | 03:08 | at a zero crossing point. Okay, right
there. I can go an even farther and you
| | 03:15 | can see exactly what I am talking about.
See where these are at the zero line.
| | 03:20 | Remember, your Waveforms go above and
below the zero axis or infinity line. And
| | 03:29 | right there is where we want to make
our cuts. That will ensure there aren't
| | 03:34 | any clicks or pops.
| | 03:36 | If I were to make an edit at this point
but maybe down here where it's off that
| | 03:43 | line, and then I went to another
portion of the file and I made an edit, say
| | 03:49 | here above that line. It's going to
jerk abruptly from this point up to that
| | 03:56 | point and make a click or a pop in
your audio, which is no good at all.
| | 04:03 | However, Adobe has put this
wonderful feature into this program called
| | 04:08 | Auto-Heal and what that means is that
every time you make an edit it's going
| | 04:12 | to automatically fix that and adjust
it to be at a zero crossing point. So
| | 04:18 | there will never be a click or a pop in
your edits unless there was already one
| | 04:23 | there to begin with in your original audio.
| | 04:26 | As you can see there's a lot of
different ways of cutting, you can use the
| | 04:30 | right-click and right-click into your
selection and cut it. I'll hit Ctrl+Z
| | 04:37 | here, or I can right-click and copy.
Conversely, I can go up to the Edit on the
| | 04:43 | Menu bar up here and I can say Cut or
Copy, or I can use the actual keyboard
| | 04:52 | shortcut, which for Cut is Ctrl or Command+X.
| | 04:57 | Now, during this lesson, you may have
noticed that there was a function we
| | 05:01 | haven't yet addressed and it's up here
on the menu bar under Edit, just below
| | 05:05 | Paste, you see Mix Paste. And that's a
different way of pasting the contents of
| | 05:11 | the clipboard into your audio file.
| | 05:14 | The best way to illustrate this is
to close the file and open it again.
| | 05:19 | Actually we are going to go ahead and
use the Files panel here; we are going to
| | 05:22 | import the mother_may_I and Song files.
| | 05:26 | Okay. First, we'll open the mother_may_I
file, select all and copy it. Now, we
| | 05:33 | are going to move over to our Song
file and bring that up in the Editor panel
| | 05:38 | as the active audio. And what we are
going to do is paste in the contents using
| | 05:45 | the Mix Paste function. And as you can
see this dialog comes up and what it's
| | 05:51 | showing you is how loud the existing
audio is and how loud your copied audio
| | 05:57 | is going to be because they are going
to be actually mixed together into the file,
| | 06:02 | and if I hit Preview,
I will show you what I mean.
| | 06:05 | (Music plays.)
(Man 1: Mother, may I? Yes, you may.)
| | 06:08 | As you can see, the contents of the
clipboard, which is the mother_may_I file, is
| | 06:12 | being mixed in with the existing
audio of Song. Now, if we wanted to have a
| | 06:17 | slightly lower representation of that
pasted-in audio, we can put it down to
| | 06:22 | 48% here and hit Preview.
| | 06:25 | (Music plays.)
(Man 1: Mother, may I? Yes, you may.)
| | 06:27 | And if we say OK, as you can see...
| | 06:30 | (Music plays.)
| | 06:32 | (Man 2 singing: We've got a song for tonight.)
| | 06:40 | (Man 1: Mother, may I? Yes, you may.)
| | 06:42 | Obviously not the most practical application,
but it does give you a really good example of how
| | 06:47 | you can actually use the clipboard
contents and mix them instead of just moving
| | 06:53 | this audio here over when you paste.
| | 06:57 | The best part of working with digital
audio is that you can slice it and dice
| | 07:01 | it into delicious new forms.
It may be time for a snack.
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|
|
5. Processes for Advanced EditingWorking with the Normalize, Make Louder, and Hard Limit functions| 00:00 | The Make Louder, Normalize, and Hard
Limit functions, all perform similar
| | 00:03 | tasks. But you should let your personal
taste to decide which one is right for you.
| | 00:07 | Let me show you what I mean.
| | 00:09 | Here we have a little piece
of audio here and if I play it..
| | 00:13 | (Music plays.)
| | 00:16 | You can hear it's kind of low there; we would
like that to be a bit juicier. So what we can do
| | 00:21 | here is go up to the menu bar to
Processes and on down to Make Louder, for
| | 00:26 | instance. And as you can see...
| | 00:31 | (Music plays.)
| | 00:34 | That's exactly what it's
done. I am going to go
| | 00:36 | ahead and undo that. And if you see
right over here to the left of the
| | 00:40 | Transport bar, there is also a button
right here that says Louder, which is the
| | 00:45 | same function.
| | 00:48 | (Music plays.)
| | 00:53 | Okay, undo that.
| | 00:55 | If we go up to Processes again, and
down to Normalize. Normalizing is basically
| | 01:02 | taking the highest peak available in
your audio and making it all the way up to
| | 01:09 | 0 dB or whatever your user defined
preference is for normalizing.
| | 01:14 | (Music plays.)
| | 01:19 | Sounds pretty much the same probably for you,
and that's okay. Like I said, you just decide
| | 01:25 | which one you like the best.
| | 01:27 | Now, the Hard Limit function basically
takes the peaks that are in your file
| | 01:33 | and kind of squashes them down just a
little bit, so that you can make them
| | 01:38 | even louder when you go to normalize.
| | 01:43 | (Music plays.)
| | 01:47 | That's actually just a little bit louder
| | 01:50 | than our normalized version. And if we
can do some of these more than once, you
| | 01:57 | can really start to see the differences
between them. For instance, if I go to
| | 02:01 | Make Louder and then play it...
| | 02:04 | (Music plays.)
| | 02:07 | And then do it again. Now, you can see right in
| | 02:11 | this area here, let me hit Ctrl+Z.
| | 02:15 | This area here, when it was loud, was
still kind of down here, but when I went
| | 02:20 | ahead and made that louder again,
it really beefed that up.
| | 02:24 | (Music plays.)
| | 02:29 | And you can hear kind of the sound of the room
is getting louder because all of this information
| | 02:34 | down here in the quieter parts
is actually being made louder.
| | 02:39 | So you don't even have to do one of
these functions once; you can do it
| | 02:43 | multiple times until you get
the result you are looking for.
| | 02:47 | Now that you know the different
characteristics of each function, you should go
| | 02:50 | ahead and play with those yourself and
like I say find the one that you like
| | 02:54 | best. That will help you to reach for
the right tool for each given situation
| | 02:58 | that much more easily.
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| Cleaning up audio| 00:00 | Clicking the Clean Up Audio function
under the Tasks panel gives you access to
| | 00:04 | a suite of tools for giving your audio
a good scrub-down. Whether it's removing
| | 00:08 | hiss, rumble or clicks and pops,
chances are this is the audio loofah pad
| | 00:12 | you are looking for. Now as
you can see we have loaded in our
| | 00:15 | hisses_rumbles_clicks_and_pops wave
file from our exercise 05 folder. We're
| | 00:21 | just going to go ahead
and give it a listen here.
| | 00:25 | (Man 1: OK, so this is me talking into
the microphone next to my open freezer.)
| | 00:33 | As you can hear there is quite a bit
of background noise in that audio and we
| | 00:37 | want to try to remove that. So what
we could do is go down to the Clean Up
| | 00:42 | Audio function under Tasks here and
you can see there is a noise reduction
| | 00:48 | feature and we can go ahead and preview that.
| | 00:53 | (Man 1: OK, so this is me talking into
the microphone next to my open freezer.)
| | 01:00 | Now, that's really taken quite a bit
of noise out of it. But it's also got a
| | 01:04 | few artifacts and that's because it's
actually sort of doing a general noise
| | 01:10 | reduction there. But if we go to a
section of the audio that has just the
| | 01:15 | noise, which we have at the
end of that segment there.
| | 01:19 | (Hissing.)
| | 01:22 | We can select that area.
| | 01:25 | Then you see the Capture Noise Print,
actually becomes available to us. What
| | 01:31 | that does is it actually makes a
little fingerprint of just the noise.
| | 01:35 | So when it goes to analyze the file
to remove the noise, it's going to be
| | 01:39 | looking for just those elements that
it's actually captured here. So we are
| | 01:43 | going to go ahead and click that. Now
that we have captured our noise print,
| | 01:48 | we're going to go ahead and go back to
the beginning of the file and hit Noise
| | 01:55 | here. Then when we preview it you can see
it has Use Captured Noise Print enabled here.
| | 02:03 | (Man 1: OK, so this is me talking into
the microphone next to my open freezer.)
| | 02:10 | That's a little bit better
and I would like to make it even a
| | 02:13 | little nicer here.
| | 02:15 | So what we're going to do is take more
of the noise out. We're going to bump
| | 02:18 | that up to about 23 db there. We're
going to use the style that's a little less
| | 02:25 | aggressive so that we don't get so many
artifacts on our vocal. Now when I hit Preview...
| | 02:33 | (Man 1: OK, so this is me talking into
the microphone next to my open freezer.)
| | 02:39 | As you can hear that's pretty clear.
We've taken quite a bit of that
| | 02:42 | background noise out of our file, just
that easily. We're going to go ahead and
| | 02:46 | say OK. That's actually taken the
noise out. I can show you visually just how
| | 02:52 | well it's working on that noise by
selecting the noise itself and applying the
| | 02:57 | noise reduction element to that.
| | 03:03 | See how much that's undone there? I go
ahead and hit Ctrl+Z and show you the
| | 03:06 | difference. That's quite a bit. You can
see also that there are other kinds of
| | 03:12 | noise reduction or audio clean up
functions available to us. For instance,
| | 03:17 | there is Rumble here. We'll go to
our next section and take a listen.
| | 03:23 | (Man 1: Okay, now if we go over here and I grab the microphone
and oops, there's a little bit of rumble there from... )
| | 03:29 | (Man 1: Yeah, maybe I'm getting a little too close.)
| | 03:32 | So there is quite a bit of sub-bass
and low-bass information in that and we
| | 03:36 | would like to kind of clean that up a
bit. So I am going to go ahead and I'm
| | 03:40 | going to select this area. Then go to
Rumble and let's see here, it says Remove
| | 03:46 | Less, Remove More. We'll
go ahead and hit Preview.
| | 03:49 | (Man 1: Okay, now if we go over here and I grab the microphone
and oops, there's a little bit of rumble there from... )
| | 03:55 | (Man 1: Yeah, maybe I'm getting a little too close.)
| | 03:58 | So you can see we've taken a
| | 04:00 | lot of that mic stand noise, that
rumble from that, and taken it out and yet it
| | 04:04 | hasn't really affected the
proximity effect of the vocal's signal.
| | 04:10 | So what we're doing there is actually
cleaning out what we don't want and still
| | 04:14 | retaining a lot of the character that
we may want. Okay, let's go ahead and say
| | 04:19 | OK to that. At the very end here we
have yet another instance of clicks and
| | 04:26 | pops, and let's check that out by hitting Play.
| | 04:29 | (Man 1: Sometimes your microphone technique
is just right, just right, just right.)
| | 04:34 | So you can hear something in there.
There is little snips and snaps going on,
| | 04:38 | I'm snapping my fingers, I'm clicking
things. Let's try that one more time.
| | 04:42 | You see if you can identify those as we play.
| | 04:46 | (Man 1: Sometimes your microphone technique
is just right, just right, just right.)
| | 04:50 | And a big plosive at the end there for
| | 04:53 | good measure. Let's go ahead and select
that. Go over to Clicks & Pops and hit Preview.
| | 05:02 | (Man 1: Sometimes your microphone technique
is just right, just right, just right.)
| | 05:08 | As you can hear, we've actually taken
quite a bit out. Let's try to take a
| | 05:12 | little bit more out. See if we can crank
it up here and see what it does to our audio.
| | 05:16 | (Man 1: Sometimes your microphone technique
is just right, just right, just right.)
| | 05:22 | Now there is still a couple of
them in there but those would probably be
| | 05:25 | easier to find with other means, but
a lot of the incidental ones have been
| | 05:29 | handled, which is a great tool here.
| | 05:33 | There's just nothing quite as
refreshing as super clean audio. Giving all those
| | 05:37 | imperfections a good scrub-down is a quick and
easy way of improving your audio in Soundbooth.
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| Changing pitch and timing| 00:00 | Sometimes the timing of your audio is
just a bit fast or slow or maybe it's a
| | 00:04 | little too frantic or sluggish sounding.
The Change Pitch and Timing function
| | 00:08 | was designed with just these situations
in mind. Let me show you what I mean.
| | 00:12 | So far here we have the coffee_vs_turkey
WAVE file loaded into the Editor panel
| | 00:18 | from exercise 05 folder. We're
going to go ahead and play that.
| | 00:23 | (Man 1: You know, I just don't know what it is about coffee.
I just really like coffee. It makes me go-go-go! And I love that.)
| | 00:29 | (Man 1: However, when I eat turkey
it slows me down a little bit.)
| | 00:36 | As we can see there is a little bit of pacing
issues between the first and second half of
| | 00:41 | this file. We're going to go ahead
and select the first half or the jittery
| | 00:45 | coffee section and go to Change Pitch
and Timing, which brings up this lovely
| | 00:52 | dialog here. Shows you the Current
Duration and what the New Duration will be
| | 00:58 | if we change the Time Stretch parameters here.
| | 01:02 | We're going to go ahead and make this
118%, which is pretty much going to make
| | 01:08 | it a little bit longer, a little
slower than it currently is. We want to make
| | 01:13 | sure to go down to the Solo Instrument
or Voice option and check that because
| | 01:18 | we do have a solo voice here. We
would like to preserve our speech
| | 01:22 | characteristics as much as possible, so
we have that checked as well. Let's go
| | 01:26 | ahead and hit Preview here.
| | 01:28 | (Man 1: You know, I just don't know what it is about coffee.
I just really like coffee. It makes me go-go-go! And I love that.)
| | 01:34 | Okay. Now if we listen to that before you can hear...
| | 01:38 | (Man 1: You know, I just don't know what it is about coffee.
I just really like coffee. It makes me go-go-go! And...)
| | 01:43 | Okay and then engage.
| | 01:45 | (Man 1: You know, I just don't know what it is about coffee.
I just really like coffee. It makes me go-go-go! And I love that.)
| | 01:52 | So you can see we have actually
slowed him down just a little bit so we're
| | 01:55 | going to say OK. We can grab the end
of our selection here and drag it over
| | 02:03 | this way. Now we have the tryptophan
portion of our audio file selected and we
| | 02:11 | go to Pitch and Timing. We're going to
take that and speed him a little bit. I
| | 02:17 | am going to give him a little pep here,
so we're going to go ahead and move
| | 02:21 | that slider over to let's say 66%.
We're going to leave these checked just the
| | 02:26 | same way and we'll hit Preview.
First, we'll hit without it here.
| | 02:31 | (Man 1: However, when I eat turkey
it slows me down a little bit.)
| | 02:38 | Okay, now let's check it
out with our new settings.
| | 02:42 | (Man 1: However, when I eat turkey
it slows me down a little bit.)
| | 02:47 | That's just how easy it is
| | 02:49 | to change the pacing of your audio dialog.
So you can see we have handily taken
| | 02:56 | care of our timing issues, but how
does pitch enter into things? Well, let's
| | 03:00 | take a look here. We'll go ahead and
grab a bit of our dialog here and hit Play.
| | 03:09 | (Man 1: You know, I just don't know what it is about coffee.
I just really like coffee. It makes me go-go-go! And I love that.)
| | 03:16 | Maybe we want to make him, I don't know,
just a little heavier sounding.
| | 03:21 | We can just move the pitch down a bit.
Actually let's make it a lot so you can really
| | 03:26 | hear the Darth Vader effect here.
I'm going to say Preview.
| | 03:30 | (Man 1: You know, I just don't know what it is about coffee.
I just really like coffee. It makes me go-go-go! And...)
| | 03:35 | Okay, so let's try it just a little bit less now,
a little more natural sounding right about in this
| | 03:40 | area, I would say.
| | 03:43 | (Man 1: You know, I just don't know what it is about coffee.
I just really like coffee. It makes me go-go-go! And I love that.)
| | 03:49 | Or maybe a little deeper.
| | 03:52 | (Man 1: You know, I just don't know what it is about coffee.
I just really like coffee. It makes me go-go-go! And I love that.)
| | 03:59 | Or maybe you want to go a little more of a chipmunk
kind of action happening here. Well let's go back over
| | 04:04 | there. Maybe speed it up a little bit here.
| | 04:11 | (Man 1: However, when I eat turkey
it slows me down a little bit.)
| | 04:16 | Okay. Well let's Cancel out of that.
| | 04:18 | Whether your audio needs to ease up
on the caffeine, or lay off on the
| | 04:21 | tryptophan it's safe to say that
Change Pitch and Timing function has got you covered.
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6. Working with EffectsApplying the Analog Delay effect| 00:00 | Analog delay, which is also sometimes
referred to as echo or slap back, is one
| | 00:05 | of the most traditional ways to impart
a sense of space into your audio. Let me
| | 00:09 | show you what exactly it is. Here is
our sunday_sunday_sunday WAVE file, loaded
| | 00:16 | in from our exercise 06 folder.
And if we hit Play...
| | 00:19 | (Man 1: Sunday, Sunday, Sunday!)
| | 00:22 | You can hear a pretty excited
person but in a fairly dead space.
| | 00:26 | If we want to really give it the old
funny car drag racing classic sound,
| | 00:32 | we can go up to Effects here and go down
to Analog Delay and go ahead and grab one
| | 00:41 | of the Presets here. As you can see
there are quite a few. Let's go with
| | 00:46 | Aggressive Public Address and back
to the beginning of the file.
| | 00:51 | (Man 1: Sunday, Sunday, Sunday!)
| | 00:53 | Oh yeah! The old classic.
| | 00:57 | Let's say we want to do something
different with it. Let's close this one
| | 01:00 | first, remove it, go up to the Effects
again and we can go down to the bottom
| | 01:06 | of this drop-down menu and as you can
see a whole host of Advanced versions of
| | 01:11 | each of these effects is available.
| | 01:13 | Now what they mean by Advanced is that
they're going to be able to edit some
| | 01:17 | other parameters of these effects. So
for instance, we have this one and we can hit Play.
| | 01:24 | (Man 1: Sunday, Sunday, Sunday!)
| | 01:26 | Okay. That's a little late, I think,
a little too much time in our echo. So
| | 01:31 | if I hit Settings here, up rolls this
whole host of things that we can affect.
| | 01:38 | You can see that our Delay setting is
set at 200 ms here, which apparently is a
| | 01:44 | little too long. I think we probably
want about, let's say 124 there. But maybe
| | 01:50 | we want it to bounce around a
little bit and have a few more repeats or
| | 01:55 | feedback. So we can crank
that up to about 33, I think.
| | 02:01 | You can see along the top here we
have Tape Delay, Tape and Tube Delay or
| | 02:06 | straight Analog Delay. We're going to
take our Wet Out or the amount of effect
| | 02:12 | in relation to the Dry signal or
unaffected signal. We'll go ahead and hit Play
| | 02:18 | now and see how that's changed.
| | 02:21 | (Man 1: Sunday, Sunday, Sunday!)
| | 02:24 | That's pretty much what we were looking for, so
| | 02:27 | we say Oh yes! Please apply that to
the file. Now we've got some professional
| | 02:34 | sound and echo on there.
| | 02:36 | (Man 1: Sunday, Sunday, Sunday!)
| | 02:39 | As you can see, once we applied that
effect to the file, the Rack preset went
| | 02:46 | empty again. In that way we don't
have delay upon delay that we've already
| | 02:51 | written into the file. We're going to
go ahead and close this file here.
| | 02:56 | We're going to open up another file in our
folder, where is it? guitar_bends. Open
| | 03:06 | that up and I'll hit Play.
| | 03:08 | (Guitar strumming.)
| | 03:20 | I think what we'd really like for this
sound to sound like is maybe like kind
| | 03:24 | of a Pink Floyd effect. So let's go to
the Effects and Analog Delay and check
| | 03:33 | out our settings here and here is
Heavy on the Head - Aggressive. I think
| | 03:37 | that's probably going to
do it here, we'll hit Play.
| | 03:40 | (Guitar strumming.)
| | 03:50 | Aw! Psychedelic! Beautiful!
| | 03:55 | Whether you want to inject some
excitement in your voiceovers, go back to the
| | 03:59 | 50's or give Pink Floyd a run for its
money, Analog Delay can cover much of this
| | 04:04 | audio territory.
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| Applying the Chorus/Flanger effect| 00:00 | The Chorus/Flanger effect is useful
for a wide range of uses, from subtly
| | 00:04 | thickening a sound, imparting the
illusion of multiple voices or instruments,
| | 00:08 | or applying extreme processing to your
audio. We should maybe start off with the
| | 00:13 | explaining the difference
between Chorus and Flanging.
| | 00:16 | Chorus, like its name, is actually
meant to impart multiple voices to a solo
| | 00:22 | instrument or voice. While Flanging
comes from the art of taking two tape
| | 00:27 | machines that are playing simultaneously,
and actually rubbing ones firm on the
| | 00:32 | reel of each of them, so that they
actually go out of phase and make that
| | 00:37 | kind of sweeping, swooshing effect that many
old Beatles records on the like had on them.
| | 00:44 | Let's take a look at that effect
directly associated to an audio file. Now you
| | 00:50 | can see we've imported three files
from our exercise_06 folder. And the first
| | 00:55 | one is bass_loop, so we're going to go
ahead and bring that one in here.
| | 00:59 | And we'll go ahead and hit the Loop
functions, so it'll play through a few times,
| | 01:03 | and we'll hit Play.
| | 01:04 | (Guitar strumming.)
| | 01:11 | That's a nice, normal kind
of bass sound, but sometimes you
| | 01:14 | want something to sound just a little more
special than that. So we're going to go
| | 01:17 | up to the Effects here, because Chorus
sounds great on bass quite a bit. And we
| | 01:22 | are going to go to the Chorus/Flanger
setting. And that brings up the Effects
| | 01:27 | panel, as you can see. And within the
Effects rack is the Chorus/Flanger, and
| | 01:31 | you can see that it's currently engaged.
| | 01:34 | If we go over here to the Effect Preset,
in the dropdown menu, we can click on
| | 01:39 | that, and we have a whole variety of
presets to choose from. We're going to go
| | 01:45 | ahead with some Heavy Chorus, but
applied moderately. When I go ahead and hit
| | 01:50 | Play here, you'll hear the difference.
| | 01:53 | (Guitar strumming.)
| | 01:59 | Just makes it sound a little more
| | 02:00 | special, a little more interesting.
Conversely, if we want to do something
| | 02:05 | really, really aggressive, and odd to
an effect, we might want to show that on
| | 02:11 | the power_chord_guitar here. We'll go
ahead and double-click that, and we'll go
| | 02:16 | up to our Effects, select Chorus/
Flanger, and down to the Presets again, and
| | 02:24 | we've got A Flanger Darkly-Aggressive.
Now that sounds pretty promising and
| | 02:30 | we'll go ahead and we'll hit Play.
| | 02:33 | (Guitar strumming.)
| | 02:37 | I'll go ahead and hit that without the
Chorus and Flanger, so you can hear the difference.
| | 02:41 | (Guitar strumming.)
| | 02:46 | That sounds pretty big and nasty,
but it sounds a little more metal this way.
| | 02:51 | (Guitar strumming.)
| | 02:56 | Okay, let's look at the
shadytown_news file here and we'll
| | 03:01 | talk about how to impart that Chorus
effect that makes it sound like more than
| | 03:06 | one voice. First off we
will listen to it by itself.
| | 03:10 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 03:16 | Okay, let's go ahead and grab the
Effects here. And this time we'll go down to
| | 03:20 | the Advanced version and we'll
select Chorus/Flanger (Advanced).
| | 03:26 | Now remember the Chorus/Flanger
(Advanced) or any of the Effect advanced
| | 03:31 | versions allow you access to their
actual parameters. So you can really go
| | 03:37 | deeper into the editing of those
sounds. Let's go ahead and grab a preset
| | 03:43 | first. We've got some Vocal
Thickening here. We'll go ahead, and hit Play.
| | 03:52 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 03:58 | And that does sound like it's a
little bit more than just one person going
| | 04:02 | there but let's click on the Settings
here, and as you can see, we can choose
| | 04:06 | between Chorus, or the Flanger effect.
| | 04:09 | The speed of the Chorus, the Width of
it, its Intensity and its Transience.
| | 04:15 | Let's go ahead and bring the Intensity
up a little bit here, so that we get a
| | 04:20 | little bit more of the effect, and
make it sound just a little bit more like,
| | 04:25 | more than one person. Now when I hit Play...
| | 04:29 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 04:35 | (Man 1: Yes, everything's perfect here in
Shady Town. Smile and look the other way.)
| | 04:42 | Yeah. As you can see in here, Chorus/Flanger
is perhaps not a constantly reached for
| | 04:49 | effect, but when you need something special,
it could be just what the doctor ordered.
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| Using the Compressor| 00:00 | Compression is one of the most used and
quite frankly often abused effects used
| | 00:04 | in Audio recording and production.
Understanding its workings will help keep
| | 00:07 | your audio loud, proud, front and center,
in addition to taming nasty peaks in
| | 00:12 | your audio. Now currently we have
loaded in a few files from our Exercise 6
| | 00:17 | folder. We have the drum_loop_1.wav file,
envy_in.am (A minor). Not the low volume
| | 00:22 | version I might note. And shadytown_
news, which is the current file in the
| | 00:28 | Editor panel. We will go ahead and play that.
| | 00:30 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 00:37 | Okay. Now that sounds pretty good but
I think we would like it to be a little
| | 00:42 | more aggressive, a little louder, a
little more just punchier. So we're going
| | 00:46 | to go up to the Effects in the Menu bar
here and go down to Compressor and open
| | 00:52 | that up which loads it into our
Effects Rack here, and then we're going to go
| | 00:57 | ahead and select Brickwall Limiter-
Moderate, and see how that sounds.
| | 01:02 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 01:09 | That's much better. If I can turn that
off and show you the difference once more.
| | 01:12 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 01:18 | So we like that. So we're going to
go ahead and down at the bottom of the
| | 01:21 | Effects panel here you can see Apply
to File, and that'll go in and just add
| | 01:27 | that to it and remove the effect from
the rack now that we've actually applied
| | 01:32 | it to the file. Go ahead and hit Play here.
| | 01:34 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 01:41 | Now you may notice that we have some
overs on here. Even though we're not really
| | 01:44 | hearing them, they are occurring. So
I am going to go ahead and just run a
| | 01:49 | little process called Normalize, here,
and then hit the Make Louder function,
| | 01:55 | and hit Play.
| | 01:57 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 02:03 | Now our audio is perfect and we
have added some great compression to a
| | 02:08 | narration and gotten it to sound
pretty much the way we'd like it to sound.
| | 02:14 | Let's go to another file here and see
what else we can do. Well, let's go with
| | 02:18 | our drum_loop_1, and we're going to
the beginning of that file and hit Play.
| | 02:23 | (Drum beat.)
| | 02:28 | Okay, so that sounds pretty good, but
we just want to see if we can tame some
| | 02:32 | of these peaks. These are the snare
hits here. These little sections here, and
| | 02:38 | what compression actually does to a
file is it compresses the peaks which in
| | 02:44 | turn makes the other audio louder. So
a lot of people think that compression
| | 02:50 | makes things louder. But what it
actually is doing is making these peaks lower
| | 02:55 | in relation to the peaks below the
threshold level and therefore the apparent
| | 03:01 | volume of your low volume audio is increased.
| | 03:05 | So let's go ahead and open up a
Compressor here, and we'll choose
| | 03:11 | Brickwall-Subtle. Go back to the
beginning of the file and hit Play.
| | 03:18 | (Drum beat.)
| | 03:24 | And that sounds pretty good, we've got a
little more room sound now because like I say,
| | 03:28 | the low volume elements of the file
are now being raised in relation to the
| | 03:32 | peaks, subjectively. In other words,
you're hearing it that way even though
| | 03:37 | we're actually turning down the peaks
and then turning up the overall volume of the file.
| | 03:43 | Let's go even further into this and let
you see exactly how this is working by
| | 03:46 | loading in our envy_nm minor file,
and instead of going to the Compressor
| | 03:52 | Presets, we'll go down to the advanced
version and load that one. And when I
| | 03:58 | hit Settings, you'll notice that this
fly-out box here has a whole host of
| | 04:04 | features and we'll go through them one by one.
| | 04:06 | All right, so first off let's play
the audio without the preset engaged and
| | 04:12 | hear what it sounds like here.
| | 04:14 | (Music plays.)
| | 04:21 | Now that already sounds pretty good,
| | 04:23 | but let's say you're listening to that in a car.
You might only here the peaks that are
| | 04:28 | sticking out like the attack of the guitar.
| | 04:30 | (Music plays.)
| | 04:35 | Or just those snare hits and by
| | 04:38 | kind of taming those peaks and
bringing up the apparent loudness of the lower
| | 04:43 | volume audio. We're going to be able to
enjoy that music in our car in a noisy
| | 04:49 | atmosphere a lot better.
| | 04:51 | Now, let's engage the Compressor and hit Play.
| | 04:55 | (Music plays.)
| | 05:00 | Now that sounds a little lower now
| | 05:01 | because we haven't really adjusted
any of these parameters but let's go
| | 05:06 | through and let you know what they are.
Okay, first up, we have the Threshold,
| | 05:11 | and what that tells the Compressor to
do is that anything that exceeds the
| | 05:16 | threshold is what we're going to be
working on. So, in other words, let's move
| | 05:20 | this out of the way and look to the
right of all our display here, and remember
| | 05:24 | we've got the vertical ruler here
that shows the Relative Loudness of your
| | 05:30 | audio. So at -3 dB here, you can see
that a lot of our peaks for the other
| | 05:37 | instruments and the like are down here
while up at 0 dB we have a lot of peaks
| | 05:45 | for the snare and the guitar.
| | 05:48 | So if we want to detain those peaks,
we know that we're going to want to at
| | 05:53 | least be at 3 dB for our Threshold. So,
we'll just move that up there, okay.
| | 06:00 | That means that everything that
exceeds -3 dB is going to be what the
| | 06:06 | Compressor is working on.
| | 06:10 | Next, down we have the Ratio. Now the
Ratio states that everything that exceeds
| | 06:17 | this threshold is going to be
compressed by a ratio of either 1:1, which is no
| | 06:26 | compression, 3:1 means that every
time a peak is 3 dB louder than the
| | 06:33 | Threshold. That it's relative volume
increase is only going to be 1 dB louder
| | 06:40 | than the Threshold. So in other words,
if we have something set at 8:1, that
| | 06:48 | means that if you exceed the threshold
by 8 dB, it's only going to sound like
| | 06:53 | it exceeded the Threshold by 1 dB, if
you are turning it down quite a bit.
| | 06:59 | Below that we have the Attack, and that
is telling the Compressor when to start
| | 07:04 | working on the audio. Now that's a
very important element there because what
| | 07:09 | that does is it allows different
little peaks and transients in the audio to
| | 07:15 | come through unaffected and then the
Compressor starts to work. So if your
| | 07:20 | audio starts to sound a little dull
and we'll go over this again in a moment,
| | 07:24 | you might want to pull that back and
let some of those transients through
| | 07:28 | before you start to
actually compress your audio.
| | 07:32 | Below that we have the Release
parameter and what that says is how quickly
| | 07:37 | after audio is being affected, it
returns to its normal volume. So if we have a
| | 07:45 | short Release, it's going to compress
that peak and then immediately bring the
| | 07:50 | volume back up to where it was.
However, if we have a slower Release, it's
| | 07:57 | going to take longer for it to get back
up there. And if you have like a Vocal
| | 08:02 | or a Bass or Electric Guitar, you
might want to let that hang on to the audio
| | 08:08 | for a while before it returns. On a
long sustain for instance, you'll hear the
| | 08:13 | volume actually being turned up slowly
at the end, if you have a long release
| | 08:18 | on your audio.
| | 08:19 | However, if your Release is set too
short, you get an artifact which is known
| | 08:23 | as pumping, and it'll sound like the
audio is getting turned up and down really
| | 08:27 | fast and it sounds like somebody is
kind of messing with your volume switch and
| | 08:30 | you might not want that.
| | 08:31 | Finally, we have the Output Gain, it's
also known as Makeup Gain. So, let's say
| | 08:39 | we were turning down all of these peaks
a lot. Your audio might get quite a bit
| | 08:43 | quieter, and this Output Gain actually
lets you turn it up, so that if you've
| | 08:49 | crushed your audio down to a very low
volume you can turn it up again, and that
| | 08:55 | will bring up the relative volume of
the softer sections. Okay. Well let's go
| | 09:01 | ahead and play this file. I am going to
go ahead and hit Loop, and we're going
| | 09:04 | to listen to this over and over again
a little bit and I apologize for that
| | 09:08 | ahead of time but it helps us to stay
on point here. Okay. So I am going to go
| | 09:12 | ahead back to the beginning and hit Play.
| | 09:16 | (Music plays and continues while Sven speaks.)
| | 09:19 | All right, we're going to bring our
Threshold down which is going to help us to
| | 09:21 | start working on the audio and as
you can hear, as I bring it down, it's
| | 09:27 | really turning down that audio and
that's because it's really digging into the
| | 09:31 | waveform here. It's affecting audio
that's all the way down here. Way down.
| | 09:38 | Okay, so we're going to turn that up
because we don't want to affect that much
| | 09:43 | of the audio. Maybe about 12 dB would
be where we start. Okay and our ratio,
| | 09:53 | we're kind of crushing that audio.
| | 09:54 | So we're going to turn that down a
little bit, so that it's at 4:1, and if I
| | 10:00 | turn the Attack, you can hear that we
start to lose a little bit of the snare.
| | 10:05 | And if I open that attack up,
you'll start to hear more of the high-end
| | 10:09 | information coming through, the
transience as I referred to that earlier.
| | 10:15 | If you're not sure how much this is
affecting it, go ahead and hold this Threshold
| | 10:18 | down here and you can really start
to hear what's being let through.
| | 10:27 | We'll turn it up a little bit here so you
can hear that better. And sometimes you can
| | 10:34 | really tune that into the rhythmic
function of your material. Same with the
| | 10:40 | Release here. We're going to shorten
that up here, and bring it down. Okay.
| | 10:55 | Now of course, we've really brought
that down. So, now we're going to pull this
| | 10:59 | back down here and go up to our Threshold
and make it a little more natural so
| | 11:04 | it's not affecting quite so much
of the audio, about right here.
| | 11:15 | Okay. And if you're worried about where your
audio is actually ending up, you can just click on
| | 11:20 | this little Over button here and that
will reset this display and you could
| | 11:24 | see that we're about 3 dB under there.
So we can go ahead and push this Output
| | 11:31 | Gain up close to that. Okay
and let's check that out here.
| | 11:39 | And we're just about there; we just need to
tweak that just a little bit. How about 2.5?
| | 11:49 | Okay. We will turn it off. Sounds like
this. Bring it in, sounds like this. Okay.
| | 11:59 | (Music stops.)
| | 12:00 | Let's go ahead and apply that to the
files so that you can actually see the
| | 12:03 | results of what we're doing here. Now
as you can see, these areas look a little
| | 12:10 | bit louder. I'll go ahead and hit Undo here.
| | 12:17 | And Redo.
| | 12:22 | And what we've done is brought the relationship
between these peaks and the resulting audio a little
| | 12:28 | closer in relationship to each other.
So the overall signal may seem a bit
| | 12:33 | louder. Now if you're still concerned
that maybe you've done lot of compression
| | 12:37 | but it doesn't seem quite as loud,
just hit this Louder button. It's a great
| | 12:41 | way of accomplishing that easy task
and it'll keep you from going into those overs.
| | 12:49 | (Music plays.)
| | 12:59 | As you can see, the Compressor may not
be the most glamorous of effects but you
| | 13:03 | may find yourself reaching for it
more than just about any other. Carefully
| | 13:07 | adding just the right amount of it can
mean the difference between an amateur
| | 13:10 | and professional sounding recording.
| | Collapse this transcript |
| Applying the Convolution Reverb effect| 00:00 | Convolution Reverb is one of the
most powerful effects in Soundbooth.
| | 00:04 | The ability to virtually place your audio
into any given environment will give your
| | 00:08 | recordings an amazing sense of space
and depth. Currently, we have loaded in
| | 00:13 | our drum_loop_1 and shadytown_news
files and we're going to make the
| | 00:18 | drum_loop_1 the active file in
the Editor panel and hit Play.
| | 00:24 | (Drum beat.)
| | 00:28 | Okay, now that's some pretty dry, there's a little
bit of room sound in there. But I think we'd
| | 00:33 | like to put it into another space. So
we're going to go ahead and go up to
| | 00:36 | Effects in the File menu, bring
it on, down to Convolution Reverb.
| | 00:43 | And that will load it into the
Effects panel here as you can see, and we're
| | 00:48 | going to go to Distant Drummer-
Aggressive, just to get a taste for what that
| | 00:52 | sounds like here, back to the beginning.
| | 00:55 | (Muffled drum beat.)
| | 00:58 | Aw, he is way in the tunnel there.
| | 01:00 | Let's go ahead to Settings here
and that will pull up pretty much the
| | 01:04 | only editable parameter most of the
standard effects have. And I mean standard
| | 01:10 | as opposed to the advanced versions
of them. So I'll go ahead and will hit
| | 01:14 | Play down here again.
| | 01:16 | (Muffled drum beat.)
| | 01:17 | And we'll turn this down.
| | 01:21 | (Music stops.)
Okay, now once we get that going,
| | 01:24 | we're starting to get somewhere here.
| | 01:25 | (Muffled drum beat.)
| | 01:30 | And that's kind of a cool little sound.
| | 01:32 | Okay, so we've checked that out here.
Let's try it on a different kind of
| | 01:36 | source material. Our narration of the
Shady Town News and we will go back to
| | 01:40 | the beginning here and play that.
| | 01:41 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 01:49 | Okay and we will go up to Effects >
Convolution Reverb and that will load again
| | 01:54 | and we will go to Mic the Room-Aggressive
sound and see what that sounds like here.
| | 02:01 | (Man 1: Everything's sunny here in Shady Town.)
| | 02:03 | And go to our Settings.
| | 02:05 | (Man 1: All of the clouds have gone away.)
| | 02:07 | (Man 1: Yes, everything's perfect here in
Shady Town. Smile and look the other way.)
| | 02:13 | And so we can put them quite a bit
back from us, just by adjusting the amount
| | 02:17 | of Reverb we can get it as clear or as messed up,
| | 02:24 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 02:29 | as we want.
| | 02:30 | (Man 1: Yes, everything's perfect here in Shady Town.)
| | 02:32 | Okay, but let's say we're looking for kind of a
different type of effect than that. I am going
| | 02:36 | to go ahead and get rid of this thing
from the Effects Rack here and go up to
| | 02:42 | Effects and let's go down to the
Advanced version, okay, and we will look for
| | 02:48 | our Convolution Reverb (Advanced)
which will load up here, and when I hit
| | 02:53 | Settings this time, you'll see that we
have quite a few different parameters
| | 02:58 | available to us and I'll pull it up,
out of the way here so that we can get a
| | 03:00 | better look at it.
| | 03:02 | Now let me take a moment to explain to
you just exactly what Convolution Reverb
| | 03:06 | is. Convolution Reverb is when a space
is actually modeled from real-time data.
| | 03:14 | In other words, they go into a
classroom or an empty living room or a big
| | 03:20 | tunnel, or a hall, inside of a car and
they actually take microphones and very
| | 03:27 | hi-tech equipment, and they either
fire off a gun, or slam books together,
| | 03:33 | something that will excite that
environment and create what is known as an
| | 03:37 | impulse and they capture that impulse
and then Convolution Reverbs actually
| | 03:42 | load that in and apply that space to your audio.
| | 03:48 | Let's go to the Locker Room here and
I'll show you what I mean.
| | 03:54 | (Man 1: Everything's sunny here in Shady Town.)
We'll take the Mix down.
| | 03:57 | (Man 1: All of the clouds have gone away.)
| | 04:00 | (Man 1: Yes, everything's perfect here in Shady Town.)
| | 04:03 | So if you need your news in
the Locker Room, that's the way to do it.
| | 04:07 | Let's look at something that's maybe a
little more practical and we'll go to a
| | 04:11 | Hall up here, and we'll go back to the
beginning of the file and turn the Mix
| | 04:19 | all the way up so you can hear just the effect.
| | 04:23 | (Man 1: Everything's sunny here in Shady Town.)
| | 04:26 | Now you might at first think,
| | 04:27 | oh, that's not very appropriate for my
audio. But if you were to go in there and
| | 04:33 | start adjusting the Mix parameters to
let's say 27% down here, just a taste of it,
| | 04:41 | in other words, and maybe we'll change
our Room Size just a little bit. And
| | 04:49 | these are the damping of the low frequencies
and damping of the high frequencies.
| | 04:56 | So, in other words, when the echoes or
reflections of the audio are bouncing
| | 05:02 | around the walls of whatever
environment, you can actually put up absorptive
| | 05:08 | materials that will actually either
attenuate or accentuate those frequencies.
| | 05:15 | So, I'll play this on a Loop here so that
we can kind of get a sense of what I am doing.
| | 05:22 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone away.)
| | 05:28 | (Man 1: Yes, everything's perfect here in Shady Town.)
| | 05:31 | Okay, I'll turn up the mix a
little bit so you can hear that better.
| | 05:34 | (Man 1: Everything's sunny here in Shady Town.)
| | 05:37 | You can take the high frequency
dampening down or way up, all right.
| | 05:47 | (Man 1: Everything's sunny here in Shady
Town. All of the clouds have gone...)
| | 05:51 | Now let's move our Mix down again.
| | 05:53 | (Man 1: Yes, everything's perfect here in Shady Town.)
| | 05:55 | Now, Pre-Delay works a very interesting
| | 05:58 | function itself. Pre-Delay is how
much time occurs before you begin to hear
| | 06:04 | that effect and that can be very
useful if you are actually adding Reverb to
| | 06:10 | say, a Vocal, and you want to make
sure that, that vocal information is still
| | 06:14 | intelligible. It's not getting all
smeared around by the Reverb reflections.
| | 06:18 | You can just simply hit Play.
| | 06:21 | (Man 1: Everything's sunny here in Shady Town.)
| | 06:23 | And move that back.
| | 06:24 | (Man 1: All the clouds have gone away.
Yes, everything's perfect here in Shady Town.)
| | 06:30 | And by moving the Mix down here...
| | 06:33 | (Man 1: Everything's sunny here in Shady
Town. All the clouds have gone away.)
| | 06:38 | As you can hear we have all of
the clarity that we're looking for in the
| | 06:43 | Vocal information and it's still imparting
that sense of space. So, it's a very,
| | 06:49 | very powerful way of adjusting exactly
what that audio sounds like in any given space.
| | 06:58 | Just as too much salt can make a good
stew less so, knowing how to add the
| | 07:02 | Convolution Reverb in just the right measure
can make your audio into a tasty dish indeed.
| | Collapse this transcript |
| Using Distortion| 00:00 | While distortion is often a bad thing,
we are trying to reduce it in many
| | 00:03 | recordings, there are many times when
it's a very useful and creative tool as
| | 00:06 | well. Now currently, we have our clean_
guitar.wav and drum_loop_2.wav loaded in
| | 00:13 | from the Exercise 6 folder here. And
what we are going to do is just take a
| | 00:18 | listen to our clean_guitar.
| | 00:20 | (Guitar strumming.)
| | 00:27 | As you can see, that's a pretty clean sound.
| | 00:29 | It doesn't really sound like it's even
going through an amp there. But maybe
| | 00:32 | we want to give it a little bit of
distortion, a little more heft, a little
| | 00:36 | more beef, a little more aggression.
We'll go up to Effects here, go down to
| | 00:40 | Distortion, and of course, that comes
up in our Effects panel here and let's
| | 00:45 | just give that a little bit of a Oh!,
let's see. How about Distortomatic 9000?
| | 00:49 | That sounds promising.
| | 00:52 | Now I should take this moment to say
when you're dealing with the Distortion
| | 00:55 | Effects, you can have some very, very
wide volume swings and so, you may want
| | 01:01 | to go to the Settings here and start
off by turning that all the way off or
| | 01:06 | turning the volume down on your
playback because these things can make your
| | 01:10 | audio unexpectedly loud and blow out
your ears if you're wearing headphones or
| | 01:15 | your speakers if it's going through
those. So we'll go ahead, we'll put this on
| | 01:19 | Loop because it's a little, short piece
here and we'll hit Play.
| | 01:23 | (Guitar strumming.)
Start bringing this in.
| | 01:25 | (Guitar strumming.)
| | 01:31 | Let's hit that again.
| | 01:32 | (Guitar strumming.)
| | 01:35 | Okay, maybe we want a little less aggressive.
| | 01:39 | We'll try this subtle version here and
we'll turn it down again like I said and
| | 01:43 | we'll go back to the beginning.
| | 01:45 | (Guitar strumming.)
| | 01:55 | Now, obviously these aren't really
set up to be perfect multi-effects for
| | 02:01 | music itself but they do have some
starting places or ways that you can at
| | 02:06 | least add a little bit of distortion
and do something. You can even add it to
| | 02:10 | other things like drums for instance.
Let's pull up our drum_loop. And let's go
| | 02:15 | to Effects up here and down to
Distortion and check out our presets here. And
| | 02:22 | you'll see one called Beat Fattenerizer.
Sounds promising as well, doesn't it?
| | 02:27 | Let's hit Play.
| | 02:29 | (Drum beat.)
| | 02:31 | Oh yeah! Let's turn that off and hear that again.
| | 02:34 | (Drum beat.)
| | 02:37 | All right, so we're pretty much going
from Tom Petty to Nine Inch Nails.
| | 02:43 | (Drum beat.)
| | 02:46 | Oh, yes! Okay, let's go back over to our
clean_guitar loop and take the Distortion
| | 02:52 | preset off of here and go to the
Effects and Advanced, down to Distortion and
| | 03:01 | you'll notice some very interesting
things when I hit the Settings this time.
| | 03:06 | Instead of it being a Volume or Mix,
it's actually this graphical display.
| | 03:12 | Let's hit Play here.
| | 03:13 | (Guitar strumming.)
| | 03:19 | Now what that's showing us
is Distortion curves for both
| | 03:22 | the positive or above zero portions
of our waveform as well as negative or
| | 03:28 | below zero portions of our waveform.
And you can basically create your own
| | 03:35 | Distortion curves, which
can be really fun to do.
| | 03:43 | (Guitar strumming.)
| | 03:48 | So maybe you're not finding what you
want with the preset, you can go in here
| | 03:51 | and just really tweak to your heart's
content until suddenly you have something
| | 03:56 | that you're really excited by.
| | 04:01 | (Guitar strumming.)
| | 04:03 | Any sort of low-fi to aggressive metal kind of
| | 04:09 | sounds can be achieved just that
easily and I can show you as well, but there
| | 04:14 | are a lot of cool presets here,
like this Knickerbocker-Angus file for instance.
| | 04:21 | (Guitar strumming.)
| | 04:29 | When you just have to have
something crunchy and aggressive or you
| | 04:33 | feel like mangling some audio,
nothing satisfies that craving like turning
| | 04:37 | things up to eleven.
| | Collapse this transcript |
| Applying Dynamics| 00:00 | Whether you are trying to maximize
presence or minimize background noise or
| | 00:04 | tame some really audio peaks.
Soundbooth's Dynamics Effect can often get you
| | 00:08 | the result you are looking for quickly
and with minimal hassle. Currently, we
| | 00:12 | have loaded in our power_chord_guitar.
wav file and our shadytown_news.wav files
| | 00:18 | from the Exercise 6 folder, and we'll
just play a little bit of the guitar here.
| | 00:22 | (Guitar strumming, fading out at the end.)
| | 00:34 | And you can hear at the end there they
have a little bit of echo delay kind of
| | 00:38 | happening. And the reason I wanted to
do that is to have something that we want
| | 00:42 | to get rid of in the file. And so I am
going to go ahead to this portion right
| | 00:46 | here and we are just going to start there.
| | 00:49 | (Guitar strumming, fading out at the end.)
| | 00:53 | Okay, let's say we really like this
guitar sound but we don't want any of that
| | 00:57 | delay on there, background noise. We
are going to go up to Effects, and down to
| | 01:03 | Dynamics, and down to the Effects
panel here and we are going to select Amen
| | 01:11 | Gate > Aggressive. That's going to put
a noise gate in there. And a noise gate
| | 01:16 | works this way. Every time something
falls below a certain level and we'll say,
| | 01:22 | for example, where this blue line is
here, is everything below this we want to
| | 01:27 | be minimized. In other words, once this
stops playing we don't want to hear any
| | 01:32 | sound. That's when the gate shuts and
doesn't let anything through. So when I
| | 01:36 | hit Play now, you'll hear
what I am talking about.
| | 01:40 | (Guitar strumming, fading out.)
| | 01:44 | Making for a very tight edit there,
without having to do any editing at all.
| | 01:48 | (Guitar strumming.)
| | 01:52 | I'll turn it off again for
you so you can compare it.
| | 01:55 | (Guitar strumming, fading out.)
| | 02:00 | Now as you can see by using this,
| | 02:02 | (Guitar strumming, fading out.)
| | 02:06 | we've made what's often referred
to as really tight audio.
| | 02:10 | So that's a pretty good example of
using it on musical audio but what if we are
| | 02:15 | working with a narration. And we've
done quite a bit of processing to it
| | 02:20 | already. Like let's say we're going to
go to Compressor and we will go down to
| | 02:27 | the In Your Face setting and hit Play.
| | 02:33 | (Man 1: Everything's sunny here in Shady Town.)
| | 02:36 | And we'll go ahead and apply that to
the file, and then we'll use the Make
| | 02:40 | Louder function two or three times. I
think two might be good there. Let's hear that.
| | 02:47 | (Man 1 loudly: Everything's sunny here in
Shady Town. All of the clouds have gone away.)
| | 02:53 | (Man 1 loudly: Yes, everything's...)
| | 02:55 | Now you may be able to hear a lot of
this background noise here. Actually I
| | 02:59 | will hit it one more time, just so
we can really show the breath at the
| | 03:04 | beginning and the kind of roomy,
kind of maybe there is some AC in the
| | 03:10 | background, let's hit Play.
| | 03:11 | (Man 1 loudly: Everything's sunny here in
Shady Town. All of the clouds have gone away.)
| | 03:18 | (Man 1 loudly: Yes, everything's
perfect here in Shady Town.)
| | 03:21 | So you can hear like a lot of lip-
smacking and room sound and breathing in
| | 03:25 | there. And let's say we want to take
that out of the equation. We'll just go up
| | 03:30 | to our Effects here, to Dynamics and
on down to the Amen Gate, and we'll make
| | 03:41 | it Moderate this time. Now when we play it.
| | 03:46 | (Man 1 loudly: Everything's sunny here in
Shady Town. All of the clouds have gone away.)
| | 03:52 | And if I make a little fade at the beginning,
we won't even hear that little breath.
| | 03:59 | (Man 1 loudly: Everything's sunny here in
Shady Town. All of the clouds have gone away.)
| | 04:05 | So as you can see, we've really
tightened up the spaces in between the
| | 04:10 | narrator's vocal passages and made
them really quiet and therefore, no
| | 04:15 | distracting noises or effects are
taking place there. Like there was a lot of
| | 04:20 | lip-smacking as you can see in this area
here and if I click there, and play it.
| | 04:27 | (Man 1 loudly: ...gone away. Yes, everything's...)
| | 04:29 | See there is nothing in there
now, which is a great help.
| | 04:33 | So that's a pretty good way of dealing
with that. Now let's go a little farther
| | 04:36 | into our editable abilities here, and
go to File and we're going to open our
| | 04:43 | drum loop here. And we'll go and hit Play.
| | 04:48 | (Drum beat.)
| | 04:54 | Let's say we want only those snare hits.
Well we'll go up to Effects here and we
| | 04:58 | will go to Advanced > Dynamics and
bring that up and go to our Presets and you
| | 05:06 | can see Snare Separator here. Now what
this is, is basically a noise gate and
| | 05:12 | it's gating out everything except for
the snare or at least it's trying to.
| | 05:17 | I'll hit Play here.
| | 05:18 | (Drum beat.)
| | 05:23 | As you can hear, we've taken out a
lot of the other hi-hat and room sound.
| | 05:28 | (Drum beat.)
| | 05:31 | As well as the ghost notes. We're
only getting the strongest hits, but we
| | 05:34 | are still getting that bass drums. So
let's go into Settings and that will come
| | 05:38 | up with a whole variety of parameters.
| | 05:43 | Okay, up at the top here we've got a
Limiter and that's going to basically take
| | 05:46 | care of the peaks and like that and
so will the Compressor and they work in
| | 05:51 | different ways. As you may recall from
our Compressor section, the Compressor
| | 05:57 | is lowering the relationship between
the peaks and the quiet audio. Or a
| | 06:02 | Limiter is a higher ratio than a
Compressor. So it's basically saying, there is
| | 06:08 | no way you are getting louder than
however loud I tell you to get, where a
| | 06:12 | Compressor will kind of get
louder but not as much louder.
| | 06:15 | And down here, we have the Gate/
Expander, and what the Gate/Expander is, is
| | 06:20 | once again it's taking that audio that
falls below the Ratio and just turning
| | 06:26 | it off. So if we go down here to
the Loop Playback and hit Play...
| | 06:31 | (Drum beat.)
| | 06:35 | And we engage this effect again,
| | 06:39 | (Drum beat.)
| | 06:42 | But we don't want those bass drums in there so
| | 06:44 | we are going to raise the value of
this. Now you can hear that it's only
| | 06:54 | letting just the snare through. It's
not letting enough of it through. So we're
| | 06:59 | going to go ahead and turn the
Release down a little bit. As you can
| | 07:04 | hear, we are getting a little
more of the snare sound.
| | 07:07 | (Drum beat.)
| | 07:09 | And if we put the Attack like this...
| | 07:12 | (Drum beat.)
| | 07:13 | You can hear that it is actually
gating that as well. But if we put
| | 07:18 | it back here, we've just got just
those hits, which really, really helps.
| | 07:26 | Having total control of your audios
dynamics can make a huge difference in how
| | 07:30 | your audio is perceived by its
listeners. Take some time to go through its
| | 07:33 | presets and parameters so that you can
anticipate the results easily, as you
| | 07:37 | integrate dynamics into your workflow.
| | Collapse this transcript |
| Using the Graphic EQ| 00:00 | Equalizing the frequencies in your
audio is an essential part of the sweetening
| | 00:03 | process. The workings of the Graphic
EQ may already be familiar to those who
| | 00:07 | have this type of equalizer included with
their home stereo or computer's media player.
| | 00:12 | For instance, we have our envy_in_am.wav file loaded
in from the Exercises 6 folder, and if I hit Play...
| | 00:20 | (Music plays.)
| | 00:24 | You can hear that unaffected audio. But I am going
| | 00:27 | to go up to the Effects here, and down
to EQ Graphic, and go to Settings. Now
| | 00:37 | right away, you may notice that
there is a difference between this basic
| | 00:41 | version of the effect and others in
that. The others usually just have a
| | 00:46 | percentage of that effect available
to you, whereas this one has sort of a
| | 00:51 | paired down version with just
four bands of equalization available.
| | 00:56 | So if I hit Play...
| | 00:59 | (Music plays.)
| | 01:00 | And start tweaking this here.
| | 01:02 | (Music plays.)
| | 01:12 | Now you can see that there are
| | 01:13 | some differences in what I am doing,
and you can also if you look at the top of
| | 01:16 | it and look at the meter, see that I
am actually pushing our audio into the
| | 01:21 | Over's area which is not good.
| | 01:24 | We are basically creating a bit of
distortion within the file, and this is
| | 01:28 | because I have done way too much
additive EQ'ing, I am boosting these
| | 01:33 | frequencies rather than maybe
selectively cutting a few. So for instance, maybe
| | 01:39 | something sounds a bit muddy. And we
will go ahead and reset these so I can
| | 01:45 | give you really good example
of what that would sound like.
| | 01:51 | (Music plays.)
| | 01:54 | Sometimes your first inclination is to
go ahead and whack it up in the treble in there.
| | 02:01 | (Music plays.)
| | 02:03 | Now you can really hear that
distortion coming in and you can also tell
| | 02:07 | that really all I have done is sort of
frosted a bad cake. It sounded bad and
| | 02:12 | now it just sounds like bad with a lot
of high end on it. So I am going to go
| | 02:16 | up here, and I am going to take these
all back or actually a bit faster way to
| | 02:20 | do is just to hit Reset here.
| | 02:24 | Okay and now I am going
to go ahead and play that.
| | 02:28 | (Music plays.)
| | 02:30 | And instead of adding,
| | 02:34 | I am going to subtract EQ.
| | 02:36 | (Music plays.)
| | 02:41 | And just add slightly because
basically equalization is a
| | 02:46 | form of distortion. You are
distorting the audio signal because you are
| | 02:50 | actually invasively touching it,
because the more you do to your audio signal,
| | 02:55 | the more you are actually distorting
the audio in there. In other words, the
| | 03:01 | less you do to your audio, the better.
| | 03:03 | Okay, let's go ahead and hit Play again here.
| | 03:08 | (Music plays.)
| | 03:12 | As you can see, we are starting
| | 03:13 | to get some Overs up here at the top,
so I am going to try to counteract that
| | 03:21 | with some strategic moves here and
see if we don't have a little bit better
| | 03:26 | sounding audio.
| | 03:28 | (Music plays.)
| | 03:34 | Okay, let's say we want to get even
more precise with our EQ. We are going to
| | 03:39 | go ahead and Reset that, and actually
just remove it all together, and go up to
| | 03:43 | Effects, down to Advanced, down to EQ:
Graphic (Advanced), and when I hit the
| | 03:49 | settings now, you are going to see
quite a few more bands available to us.
| | 03:54 | There is even a 30 Band equalizer
or we can take it down to a much more
| | 03:58 | manageable 10 Bands. Now those
bands are basically saying, okay, these
| | 04:05 | frequencies, which are all a kind of
multiples of themselves. In other words,
| | 04:09 | 2x31 is close to 63 and on, that's
because we are affecting different octaves
| | 04:15 | of equalization.
| | 04:17 | If I go up to 30 Bands, you can see
that we can really get in there and start
| | 04:22 | really making some very fine tweaking.
So I am going to go ahead and go back to
| | 04:28 | beginning of file and see if I can
really hone in on the problem areas.
| | 04:33 | (Music plays.)
| | 04:45 | Now you may notice that I am kind of
pushing things up and then pulling them
| | 04:49 | back down again; that's the fastest way
to find the areas. In other words, you
| | 04:53 | are hearing maybe a little bit too much
mud; we will pull a little mud in here
| | 04:57 | so you can really get a
good example of how this works.
| | 05:01 | All right, here is a little bump of mud.
When I go back to the beginning here....
| | 05:08 | (Music plays.)
| | 05:13 | And we'll hit Stop. Let's go to 10 Bands,
and you can see that that's a little
| | 05:18 | easier to find for yourself there.
We will go ahead and hit Play.
| | 05:24 | (Music plays.)
| | 05:24 | Let's say I am hearing that low end, so
I want to find it, find that area exactly.
| | 05:29 | (Music plays.)
| | 05:31 | Oh! There it is and I will pull that
area down. That's a great way to find what
| | 05:39 | you need. Let's say it needs some
higher end but I don't know exactly the area
| | 05:44 | maybe it's here.
| | 05:45 | (Music plays.)
| | 05:52 | It's just that easy to find those
frequencies and really work them around to
| | 05:57 | your liking. Soundbooth's Graphic EQ
allows you to easily and specifically
| | 06:03 | address areas that may be giving you
trouble within your audio, whether it's
| | 06:07 | the more general areas specified by
the basic version or the kind of surgical
| | 06:11 | detail work that you can do in the
advanced version. You are sure to find
| | 06:15 | something applicable to your needs.
| | Collapse this transcript |
| Using the Parametric EQ| 00:00 | The Parametric variety of EQ in
Soundbooth is designed to focus more on
| | 00:03 | specific frequency ranges, offering a
wide variety of uses from tight fixes to
| | 00:08 | special effects. It's usage of
changeable frequency curves via its Q parameter
| | 00:13 | makes it a little different than the Graphic
EQ though, so let's take a look at that now.
| | 00:17 | Okay, we have got our envy_in_am.wav
loaded. We will go up to Effects, and down
| | 00:22 | to the Advanced version of Graphic EQ,
and Settings. Now as you may recall or
| | 00:32 | maybe this is the first time you are
looking at the Graphic EQ, we have a lot
| | 00:36 | of specific frequencies that are being
addressed by these ladders, and if you
| | 00:41 | have a home stereo or you have ever
dealt into your media player on your
| | 00:46 | computer, you may
recognize some of these functions.
| | 00:50 | But what's interesting is that these
are pretty much all specific to that
| | 00:57 | number, and they may be stretched a
little bit over half way towards 710 from
| | 01:03 | 500 so, maybe the frequency range from
500 to 600 or 500 down to maybe 420 is
| | 01:11 | all being affected slightly by this
band right here but specifically the 500
| | 01:18 | hertz range. I will go ahead and close that.
| | 01:21 | Now if we go ahead and close the
Graphic EQ, and go up to Effects, and grab our
| | 01:29 | Parametric EQ under Advanced, and hit
Settings, you can see they are displayed
| | 01:38 | as quite a bit different, and that's
because we are dealing with a Parametric
| | 01:42 | EQ. And when you push up something at
say 500 hertz here depending on the width
| | 01:50 | of the Q, I will take these other
bands out of the equation here so we can
| | 01:54 | really focus on this.
| | 01:56 | Here is our frequency at 505 and you
can see that I have boosted it 5 db.
| | 02:01 | Now the Q is set right now at 0.3, which
is a very wide Q, and so it actually is
| | 02:09 | lifting up all of these frequencies
all the way down to probably around 40
| | 02:14 | hertz here, and all the way up to
about 10k. If I go to the Q function and I
| | 02:23 | make it higher, it's actually making
a narrower frequency range affected by
| | 02:30 | whatever I do to this band. So now,
if I push this up, it's just a spike at
| | 02:37 | that frequency rather than affecting
all of these neighboring frequencies. Now
| | 02:44 | what's really good about this is that
this is what's known as a musical EQ.
| | 02:49 | In other words, back in the 1970s,
maybe you had just bass and treble or if you
| | 02:54 | had a really super-duper system, bass,
treble, and maybe mid range. And when
| | 03:00 | you boosted bass or treble, you are
actually bringing out a lot of frequencies
| | 03:08 | or pulling down a lot of frequencies
and because you are pulling them all down
| | 03:13 | together it sounds a bit sweeter.
| | 03:16 | Let me show you what I mean by playing
a little bit of this file here. First I
| | 03:22 | want to Reset. Here we go and we will play.
| | 03:26 | (Music plays.)
| | 03:27 | Now I am going to go ahead and put
| | 03:28 | this on loop because I am sure it will
take a little bit of tweaking around to
| | 03:32 | really hear it here.
| | 03:35 | (Music plays.)
| | 03:47 | Now I am pulling up the treble here.
| | 03:49 | (Music plays.)
| | 03:56 | And it's just a little more-- it's just a
sweeter sounding EQ. But let's say I am having a
| | 04:02 | loud treble with the bass, for instance,
and we will just sort of create some
| | 04:06 | treble with the bass to show that.
| | 04:09 | I will bump this up here, about 6db,
at about a 124. Now that's going
| | 04:15 | to be pretty bassy and it will probably
distort it a little bit but don't be alarmed;
| | 04:18 | we are just doing
this for illustrative purposes.
| | 04:21 | (Music plays.)
| | 04:25 | Okay, let's say we really need to focus on one
of these frequencies and get it to pull out of
| | 04:31 | there without affecting too much of
this stuff. In other words, we really like
| | 04:35 | the really low stuff and the stuff
that's being affected in the lower mid
| | 04:39 | range but this bass frequency specified
at 124 here is where we are having trouble.
| | 04:45 | I am going to go ahead and take a couple
of these other bands out of here and I
| | 04:53 | am going to make Band 3 enabled and I
am going to change its parameter to the
| | 04:58 | same as the above it here, 124.5. You
can see that I am easily doing that with
| | 05:05 | the slider. If I want to be really
exact about it, remember you can
| | 05:10 | double-click a yellow displayed
number and type in the exact number.
| | 05:17 | Now you might be wondering why I am
doing this. Well, I am going to make a very
| | 05:20 | steep Q, and I am going to pull just
that frequency out of that big lump up
| | 05:27 | there, so that we keep all that
neighboring information at the same time that
| | 05:31 | we are pulling down this information.
Isn't that cool? Now let's see what that
| | 05:38 | sounds like here.
| | 05:39 | (Music plays.)
| | 05:41 | Sounded like this before
and I will pull it down here.
| | 05:46 | (Music plays.)
| | 05:53 | It's a really, really neat way of being able to
specifically find just those problem areas and just
| | 06:01 | really get super, super specific about
what I want to affect, whether it's a
| | 06:07 | wide variety of frequencies, this way.
| | 06:10 | (Music plays.)
| | 06:13 | Or perhaps a less wide one as we showed before.
| | 06:21 | Now that doesn't mean that you can't
take advantage of the Presets available to you,
| | 06:25 | and they are right here. You just
click on that dropdown menu, and you
| | 06:29 | can see okay, we can do a little
Mastering H2O and we'll look at the settings to
| | 06:36 | see what it did. And as you can see,
it really affected a lot of areas.
| | 06:41 | (Music plays.)
| | 06:43 | Now if we decide that well, we needed more of this,
| | 06:46 | (Music plays.)
| | 06:50 | it's just that easy to drag it
around and get the result you want.
| | 06:55 | The EQ Parametric Effect can be a
lifesaver when it comes to addressing
| | 06:59 | specific issues with your audio's
frequencies and becoming familiar with its
| | 07:02 | presets is a great way to stay one
step ahead of any audio gremlins that may
| | 07:06 | have slipped in there. And knowing how
to use those advanced features I just
| | 07:10 | showed you with the Q should
help you out in an audio bind.
| | Collapse this transcript |
| Mastering| 00:00 | Mastering is the final process that
most audio goes through before being
| | 00:03 | delivered to its listeners. It's
often referred to as the final buffing and
| | 00:07 | polishing or simply magic audio fairy
dust due to its somewhat mysterious and
| | 00:12 | amazing results.
| | 00:13 | Okay, we have loaded up our envy_
here and the reason I wanted to put a low
| | 00:19 | volume in there is because a lot of
times you will be dealing with audio that
| | 00:23 | maybe is a rough mix or it's a mix but it
hasn't been raised to its optimal level or anything.
| | 00:30 | And we will go right up to Effects
here and down to Mastering, and we will go
| | 00:35 | to the Presets here, and let's choose
Energizer-Aggressive. I will go back to
| | 00:39 | the beginning and I am going to turn
that off first to let you hear it.
| | 00:46 | (Music plays quietly.)
| | 00:47 | And then engage it.
| | 00:48 | (Music plays.)
| | 00:51 | Oo. That's much louder, isn't it?
We can hear that there is a
| | 00:56 | little bit of a high end and it's been
added in there like that. So that's
| | 01:02 | really cool, but as you can see when we
go to the Settings, we are really only
| | 01:05 | getting the Amount of
Mastering as our editable parameter.
| | 01:10 | (Music plays.)
| | 01:20 | Let's say, you know, we really want
more available to us than just that simple
| | 01:25 | on and off and the presets. Let's turn
this off here. I will straight up to the
| | 01:31 | Effects, down to Advanced and Mastering.
And this time when I hit Settings, a
| | 01:37 | whole bunch of options come up to us,
and wow, can we really do a lot of things here.
| | 01:43 | Up at the top, you will see that there
is a Parametric EQ, and we can put a Low
| | 01:48 | Shelf on. Shelving EQ basically means
that everything below this frequency
| | 01:56 | here, which is that we are set to that
90 hertz, everything below 90 hertz is
| | 02:01 | either going to go up or
down, when we push this up.
| | 02:06 | And high shelving is similarly
everything above that point is affected one way
| | 02:13 | or the other. And in the middle here,
we have a Peaking frequency, and you may
| | 02:22 | remember that the Q can be affected
in making that either more specific or
| | 02:29 | general in its approach here.
| | 02:35 | Let's assume for right now that
that's okay and we will hit Play.
| | 02:40 | (Music plays.)
| | 02:42 | And maybe we want to bring up some of
this frequency here and a little high end.
| | 02:47 | (Music plays.)
| | 02:53 | That's not really that loud but that's what
this Output Gain on the bottom is. So let's go
| | 02:57 | down there and bring that up a little bit.
| | 03:00 | (Music plays.)
| | 03:02 | We're actually making the audio
| | 03:04 | quite a bit louder now, and that
sounds pretty good but maybe we want some
| | 03:09 | Reverb on it, we will hear some Reverb. Look at that.
| | 03:12 | (Music plays.)
| | 03:17 | Kind of giving a little Buena Vista
Social Club action there, which is nice.
| | 03:23 | And we have got an Exciter. How
Exciters work is they actually go to the upper
| | 03:29 | frequency content or the harmonics, and
they actually excite those and make it
| | 03:34 | sound a bit brighter without it
actually being a treble boost.
| | 03:41 | (Music plays.)
| | 03:45 | It's like turning up the very, very high
frequencies but it's a little different in how
| | 03:49 | it works, and as you can see there's
a couple of different flavors of that there.
| | 03:53 | There is Retro, Tape, or Tube. Let's try Tube.
| | 04:00 | (Music plays.)
| | 04:06 | That's pretty cool.
| | 04:08 | Now below that, we have a Widener, and
what this addresses is our width of our
| | 04:14 | stereo sound stage. So in other words,
if we were to turn it in a negative
| | 04:18 | fashion, we are actually making it
more mono. And I will show you the
| | 04:23 | differences right now.
| | 04:26 | (Music plays.)
| | 04:30 | Conversely, I can go to the other
side and make it much wider.
| | 04:37 | (Music plays.)
| | 04:41 | And let's say that's all sounding
pretty good but we would like to maximize the
| | 04:44 | loudness and add a little brick wall
limiting in there, and we can do that by
| | 04:50 | turning the Output Gain down again
because we are going to actually affect our
| | 04:55 | volume with the parameter above it there.
| | 04:58 | (Music plays.)
| | 05:08 | Now if I were just to use the Output
Gain, once I started to push it up about
| | 05:13 | that loud, we start getting Overs up
here in this display but because we are
| | 05:18 | using the Loudness Maximizer, it has a
limiter already associated with it. So
| | 05:23 | no matter how loud, we make it there,
it's never going to go into the Overs.
| | 05:27 | (Music plays.)
| | 05:34 | And if I get the amount of loudness
maximization that I want and it's still
| | 05:39 | got a little db of space there and I
want to take that up, just get as much as
| | 05:44 | I can out of this,
| | 05:46 | then I can turn up the Output Gain.
| | 05:48 | (Music plays.)
| | 06:01 | And maybe now I've got a little bit too
| | 06:03 | much brightness because I have excited
that so much, so I am going to go ahead
| | 06:08 | and I am going to just take these EQ ranges
down here and just see where we are again.
| | 06:15 | (Music plays.)
| | 06:18 | As you can see mastering is a
very interactive process. Messing with one
| | 06:23 | parameter can make another one's needs
different. So in another words, we added
| | 06:28 | this Exciter here, which took away the
need for us to add so much high end up
| | 06:33 | here in the Parametric EQ.
| | 06:34 | Let me go back here and just
mess the EQ a little bit more.
| | 06:40 | (Music plays.)
| | 06:54 | And one more time.
| | 06:55 | I think I am at a result that I kind of like.
| | 06:58 | (Music plays.)
| | 07:02 | Maybe take the Maximizer down a little bit.
| | 07:04 | (Music plays.)
| | 07:08 | All right, I decide I like that.
I can just go over here to the
| | 07:12 | bottom of the Effects panel and Apply
to File and you can see our waveform is
| | 07:18 | much louder and juicier.
| | 07:22 | And the effects have been taken out
of the Effects Rack so that we are not
| | 07:26 | having a redundancy there.
| | 07:28 | (Music plays.)
| | 07:32 | And now the power of mastering is in your hands.
| | 07:36 | You can see just how drastically improved
your audio can become after going through the
| | 07:40 | mastering process and it's easy to
see why many refer to it as magic.
| | 07:44 | In Soundbooth, you are
the magician. Abracadabra!
| | Collapse this transcript |
| Using the Phaser| 00:00 | The Phaser is a wonderfully crazy
effect that can provide a wide range of
| | 00:04 | results from subtle, what is that,
applications to fall on psychedelic
| | 00:07 | freak-outs. Let's take a look at
some of those potential users right now.
| | 00:11 | We have got our clean_guitar.wav
loaded up from the exercises folder. We are
| | 00:16 | going to go to Effects and go to Phaser
and I am going to of course turn it off
| | 00:22 | first here and play this little.
| | 00:25 | (Music plays.)
| | 00:33 | And that's a pretty vanilla kind of
sound there, kind of want that to be a
| | 00:38 | little more special, so we'll turn the
Phaser on and see what we have here.
| | 00:42 | Go ahead and go to -- now what looks
good? How about Underwater-Moderate?
| | 00:50 | (Music plays.)
| | 00:54 | Okay, that may be a little much for us,
so we'll go to Whisper Beam-Subtle.
| | 01:02 | (Music plays.)
| | 01:04 | Let me turn that off.
| | 01:06 | (Music plays.)
| | 01:10 | And that is pretty subtle.
What do we have below that? Ooh!
| | 01:13 | ZedLepplin-Aggressive. Hmmm.
| | 01:17 | (Music plays.)
| | 01:27 | As you can see that really does do a
lot of crazy things with your audio. Let's
| | 01:31 | go ahead and close this and go to the
Advanced Version, and they have probably
| | 01:41 | got some default settings here, oh, yeah,
Log Drummer. That sounds interesting.
| | 01:48 | (Music plays.)
| | 01:52 | Okay, or may be a little Lo-Fi Phasing.
| | 01:56 | (Music plays.)
| | 02:03 | As you can see if you need some special
effects you can really get those going.
| | 02:06 | So let's go into settings here, and as
you can see there are quite a number of
| | 02:11 | parameters that go along with phasing.
And the first one that we are going to
| | 02:15 | change here is actually in the
middle here, this is the upper frequency
| | 02:21 | parameter and it sets the uppermost
frequency from which the filters are going
| | 02:25 | to sweep.
| | 02:27 | Really, I find that if you center that
near where the sound is kind of centered
| | 02:34 | and in this case it's sort of the
upper mid-range or at least that's where we
| | 02:37 | want to hear the effect. I am going
to go ahead and set that just a little
| | 02:41 | higher towards 3K here, how about there?
You'll be able to hear the effect much
| | 02:46 | more pronounced.
| | 02:49 | (Music plays.)
| | 02:52 | Now, then these stages up here, this is
the number of phase filters that are in a
| | 02:57 | sound, or in this phase effect I should
say. At the top here if we put it on 6,
| | 03:03 | that's going to be a much thicker --
| | 03:05 | (Music plays.)
| | 03:08 | amount of phasing than say 1 is.
| | 03:11 | (Music plays.)
| | 03:14 | But we are going to go into more of a
median number like 3 here. We are going to
| | 03:19 | pull our intensity and our depth
pretty much up in this area here.
| | 03:25 | The intensity now is going to affect
the amount of phase shifting that's
| | 03:29 | applied to the signal, whereas the
depth determines how far the filters are
| | 03:34 | traveling below the upper frequencies,
the larger the setting, the wider the
| | 03:39 | amount of tremolo that you are going to get.
| | 03:41 | Just below that we see the Modulation
Rate, and that's pretty important here.
| | 03:45 | Let me go ahead and play this again.
| | 03:48 | (Music plays.)
| | 03:53 | As you can hear, when I make it
a lower value, it's a slower value.
| | 03:59 | (Music plays.)
| | 04:02 | Whereas if I go all the
way up here you will really
| | 04:05 | hear it go fast.
| | 04:06 | (Music plays.)
| | 04:10 | For our purposes here I think
we are going to look for
| | 04:12 | something pretty right around here. And
of course we have already addressed the
| | 04:19 | upper frequencies.
| | 04:20 | The feedback here affects it in an
interesting way because what it does is it
| | 04:26 | takes a percentage of the Phaser output and
puts it back into itself. So if you have it here,
| | 04:33 | (Music plays.)
| | 04:34 | and then turn it up, it gets
pretty intense there, but if we took
| | 04:40 | it this way we are actually doing the opposite.
| | 04:43 | (Music plays.)
| | 04:46 | But where we want to put it
| | 04:47 | right now is actually right about 31.
I am going to leave our Mix up where it is.
| | 04:56 | And I think now we probably have something
that I am looking for here. Let's hear it.
| | 05:00 | (Music plays.)
| | 05:09 | Which is a bit more subtle and a bit
more musically applicable to what I would
| | 05:14 | probably use it for.
| | 05:16 | Obviously, the Phaser is not for
everything, but when you are looking to add
| | 05:19 | something truly exotic this is the
effect that can really surprise you.
| | Collapse this transcript |
| Using the Vocal Enhancer| 00:00 | Sometimes when recording a speaker in
a less than ideal environment, we may
| | 00:04 | need a little help in pulling
the voice out from its background,
| | 00:06 | and the Vocal Enhancer was
designed with just this task in mind.
| | 00:10 | Now here we have a noisy lecture, a
lot of computer noise next to our laptop
| | 00:16 | and a distant speaker and it sounds like this.
| | 00:18 | (Man 1: Perhaps if my voice was not so masked by the sound of this
computer here I would be able to be intelligible and understood.)
| | 00:28 | Okay, so obviously we need to try to
pull that out a little bit, here we are
| | 00:31 | going up to Effects and down to Vocal
Enhancer and then pick Male from the list here.
| | 00:40 | (Man 1: Perhaps if my voice was not so masked by the sound of this
computer here I would be able to be intelligible and understood.)
| | 00:49 | Now you can still hear a lot of that
background noise, but the voice itself is
| | 00:53 | actually a bit more intelligible. So we
are going to go ahead and apply that to
| | 00:57 | the file, and we are going to try
another instance of it just to see if that
| | 01:02 | will help a little bit.
| | 01:05 | (Man 1: Perhaps if my voice was not so masked by the sound of this
computer here I would be able to be intelligible and understood.)
| | 01:14 | Now that's not designed to be the
highest fidelity, it does help us to be able
| | 01:18 | to bring that speaker's
intelligibility to the fore, and therefore, we have
| | 01:23 | helped ourselves to understand
what that speaker is actually saying.
| | 01:27 | When you need to focus on this speaker
there is no better tool for the job than
| | 01:32 | the Vocal Enhancer.
| | Collapse this transcript |
| Using multiple effects in the Stereo Rack| 00:00 | We have seen how effects can each
play a role in shaping the sound of your
| | 00:03 | audio, but they can also join forces
creating an interactive super team of
| | 00:08 | effects. As if they were all
loaded into a rack and linked in series.
| | 00:12 | Right now we have our envy_.wav file
loaded and if we go up to Effects you may
| | 00:20 | notice that we don't actually have an
Effects Rack option here. That's because
| | 00:25 | that's not where we go. We go down
here to the Effects panel, and you can see
| | 00:29 | Stereo Rack Preset and it's currently
empty. If we were to actually click on
| | 00:35 | this you can see that there are quite a
few presets already put together. These
| | 00:39 | are actually combinations of effects
that are all working together to create
| | 00:44 | whatever effect you are looking for
here. We've got some mastering things. We
| | 00:48 | are going to go ahead and grab Fast
Music here, and that's going to load in the
| | 00:52 | compressor and mastering suite.
| | 00:54 | I am going to de-select those just so
we can get a taste of how this sounds
| | 00:58 | without any sort of effects.
| | 01:00 | (Music plays.)
| | 01:03 | And it's a little low, a little dull.
We'll go ahead and hit the Compressor here.
| | 01:08 | (Music plays.)
| | 01:11 | We can kind of hear the effect
of that, but we are going to go into
| | 01:13 | settings and really just focus on the
Compressor and how its affecting the audio.
| | 01:17 | I think the first thing that we will do
here is bring our Threshold up to right
| | 01:22 | around here, and we'll change the
Ratio to something more like 7:1, which is
| | 01:29 | pretty up there, and then may be slow
the Attack down and the Release, and
| | 01:37 | let's hear it.
| | 01:38 | (Music plays.)
| | 01:39 | That's a little more natural sounding and
we can pull up the Output Gain just to make sure.
| | 01:43 | (Music plays.)
| | 01:51 | Okay, that's sounding pretty good.
| | 01:53 | Now if we add the Mastering suite into it.
| | 01:58 | (Music plays.)
| | 02:00 | Ooh! It's much louder, isn't it?
Let's go to the Settings here and see what
| | 02:03 | we've got. We've got that Equalizer and
that EQ sounds pretty good, so I think
| | 02:07 | we will leave that the way it is, but
we can see that the Loudness Maximizer is
| | 02:12 | really cranked up there. So we'll go
ahead and pull that down, go back to the
| | 02:16 | beginning of our file and hit Play.
| | 02:18 | (Music plays.)
| | 02:19 | And slightly-- and start to bring this in gradually.
| | 02:22 | (Music plays.)
| | 02:31 | Maybe we want to just grab a little bit
of those low frequencies and pull them
| | 02:35 | down here, and add a little Reverb.
| | 02:41 | (Music plays.)
| | 02:49 | And that doesn't sound too bad, kind
of like the way that sounds. So there we
| | 02:53 | are with our own new personally setup
effects rack. We can save it if we'd
| | 02:58 | like, just by hitting that and saying Custom.
| | 03:06 | The next time we need a good
starting point we can just pull that one up,
| | 03:10 | because it's going to be listed right
down here. If we want to check out the
| | 03:16 | difference between before and after,
it's simple enough to do, just hit Play
| | 03:22 | and de-select these.
| | 03:23 | (Music plays.)
| | 03:34 | And we have made some mastering magic.
| | 03:37 | As if these effects weren't powerful
enough on their own they can also work
| | 03:41 | together in tandem allowing you to
utilize their ability simultaneously to
| | 03:45 | derive maximum audio benefit from them.
| | Collapse this transcript |
|
|
7. Advanced Features in Soundbooth CS4Working with markers and Flash cue points| 00:00 | The Markers Flash Cue Points dialog
can be a very useful tool in helping to
| | 00:04 | keep all that information organized.
When working with Flash projects markers
| | 00:08 | can help us to demarcate cue points for
navigational or event elements. Keeping
| | 00:12 | track of a lot of specific words or
other cues within the audio file can also
| | 00:16 | sometimes be a very complicated
process. Markers can also help you in that
| | 00:20 | situation as well.
| | 00:21 | Now right now what we have opened up
here is our surfz.asnd file. So it's an
| | 00:28 | Adobe sound file, but it actually has
video that's being loaded in with it. And
| | 00:32 | if we want to get a better look at how
all this is taking place here we should
| | 00:37 | probably use Adobe's great
workspace preset called Edit Audio to Video.
| | 00:42 | Now you can see that the Markers panel
is actually been move up here. We have a
| | 00:47 | video display here, as well as the
video track down here on our multi-track
| | 00:51 | display and our audio is
actually down at the bottom here.
| | 00:56 | So what we are going to do now is we
are going to actually play this video, and
| | 01:01 | every time this surfer touches the top
of the wave, we are going to go up to
| | 01:05 | the markers file to this plus sign
here and add a marker on the fly as it's
| | 01:10 | playing, because that's just how
quickly you can work within Adobe Soundbooth
| | 01:14 | on this kind of project.
| | 01:16 | (Music plays.)
| | 01:28 | We'll get one on the end
there called Wipe Out as well.
| | 01:32 | Now as you can see and I will actually
scroll through these, we've added some
| | 01:37 | markers to the project. They may not be
displayed in the order you might think,
| | 01:44 | in other words, we just added those,
there were no markers in our project and
| | 01:48 | it started with Marker 03 and it
actually occurs after Marker 04. But it
| | 01:52 | doesn't really matter because we are
going to be able to go through and name
| | 01:56 | these in a much more intuitive fashion.
So what we need to do here is actually
| | 02:00 | use our Zoom Navigator so that we can
see the names that they are using here.
| | 02:06 | You can see that our first marker is
called Marker 04. So we are going to go to
| | 02:10 | Marker 04 and as it comes up here we
are just going to say top1 and hit Enter.
| | 02:18 | We'll go to the next one, which
is Marker 03 and type top2, okay.
| | 02:23 | The next one is Marker 05, which is
top3. Our next marker is number 06 and
| | 02:36 | we'll type top4, and next marker is
Marker 07 which we will call top5, our next
| | 02:47 | marker is number 08 and we will call
that top6. Actually top6 was supposed to
| | 02:55 | be Wipe Out, so we'll go back up there
and we can just easily change that name
| | 03:01 | to Wipeout! Just like so.
| | 03:06 | Now we can save this file as either an
ASND file or an AVI, AIF, MP3, or WAV
| | 03:16 | and it will automatically save an
XML file that will be related to that
| | 03:21 | information. So when you open that
file up again in Adobe Soundbooth those
| | 03:25 | markers are going to be loaded up with it.
| | 03:27 | However, if you'd like to export that
as a separate XML file for use with Flash
| | 03:32 | you can go right down here to Export -
Markers, call it surfz, and save it, and
| | 03:43 | there you go.
| | 03:45 | Okay, so let's say we have an audio
file that we need to work with here, we are
| | 03:50 | going to go ahead and Close All here,
say, No To All, go back to our default
| | 03:55 | Workspace and we are going to open
up our voice_comp_markers file here.
| | 04:04 | As you can see I have got a file here
that has some audio in it with some cue
| | 04:09 | points that I have already kind of put
in there, not for Flash or anything, but
| | 04:13 | just foe editing purposes and there
are notes for me to look through and tell
| | 04:17 | me what line means what. In other words,
these just look like little blobs when
| | 04:21 | you are just looking at it and you'd
have to go through and listen to them all
| | 04:24 | to find out what they actually say.
| | 04:28 | And I don't want to have to do that
every time I work on this file. So I am
| | 04:31 | going to go over to the beginning
here and I am going to go to Markers, and
| | 04:37 | this one that says 'start' I am
going to rename whatever the line is.
| | 04:40 | (Man 1: Can love disappear into thin air?)
| | 04:42 | I'll just click on start and say, 'can love?'
And we can use the Go To Next function
| | 04:54 | down here at the bottom of the
Transport to find our way through the file.
| | 04:57 | Where at the next line, we go ahead and hit Play.
| | 05:00 | (Man 1: Where does it go?)
| | 05:02 | And we'll change that one which is
currently called line 2 to 'where?' And so on.
| | 05:11 | Now if we want to make sure that we can
do this even faster we can toggle this
| | 05:15 | button right here, and it will
automatically play when I go to the next marker.
| | 05:20 | So I am going to go to here
and when I click on line 3 --
| | 05:27 | (Man 1: One more rabbit out of my hat.)
| | 05:29 | It automatically plays it. So we'll
just say, 'one more.' And down here we
| | 05:37 | don't have anything written yet, so we
are just going to find that, hit Play --
| | 05:42 | (Man 1: How did he do that?)
| | 05:44 | And we'll add one there,
and we will call that 'How?'
| | 05:52 | Now if I save that with the file, the
next time I go to work on it I am going
| | 05:58 | to be able to find my way through
very quickly and easily and make my cuts
| | 06:04 | where I need to and know what each line
is saying, which is a very, very handy
| | 06:09 | thing when you are working with long
stretches of narration or other bits of information.
| | 06:16 | As you can see markers in Flash cue
points can be a very efficient way of
| | 06:20 | navigating through your file's most
important sections, giving you visual sign
| | 06:24 | post that will help you
locate them quickly and easily.
| | Collapse this transcript |
| Matching the volume of multiple clips and equalizing volume levels| 00:00 | If you are working with lots of
different audio clips that are all related to
| | 00:03 | the same project, you may want to
get them all in the same ballpark
| | 00:07 | volume-wise. The Match Volume
command is a very fast and efficient way to
| | 00:10 | accomplish this. If you are working
with inconsistent levels in the same file
| | 00:15 | the Equalize Volume Levels
functions is a similarly efficient tool.
| | 00:19 | Now currently you can see that we
have loaded into our Files panel, the
| | 00:23 | voice_1.wav through voice_4.wav files
and the voice_comp_unmatched.wav file.
| | 00:29 | Currently we are looking at the voice_1
file and we will go ahead and hit Play on that.
| | 00:34 | (Man 1: Can love disappear into thin air?)
| | 00:37 | Now look at 2 and it's much lower in volume.
| | 00:41 | (Man 1 quietly: Where does it go?)
| | 00:42 | Voice_3 is much higher.
| | 00:46 | (Man 1: One more rabbit out of my hat.)
| | 00:48 | And voice_4 is definitely not the same as 1.
| | 00:51 | (Man 1: How did he do that?)
| | 00:53 | So those we want to put all in a row here and
| | 00:56 | get them all sounding good. So what we
need to do is go down to the Tasks panel
| | 01:01 | here to Volume Correction. But before
I do that I am going to grab the Task
| | 01:05 | panel and put it up here at the top,
because there is a lot of information in
| | 01:09 | this panel here and we want
to make sure we see it all.
| | 01:13 | Now if I take that over here, let's
make sure we go to the Scores, Files panel,
| | 01:21 | click on voice_1 and go back up here to
the Match Volume function. You can see
| | 01:27 | that it says Drag and Drop Multiple
Files here and we are going to take the
| | 01:31 | four files that we are about to use and
drag them up there. Now as you can see
| | 01:37 | when I pull this down, there are a lot of
different ways to accomplish what we want to do.
| | 01:42 | Now I want to match all those files to
the volume level of voice_1 so the match
| | 01:49 | to file and voice_1 are the options I
currently want. We can just leave this
| | 01:54 | checked here; this just helps things to
sound a little more natural. But we can
| | 01:58 | also match them to the peak volume
and we can set that peak volume which is
| | 02:03 | basically like batch
normalizing on bunch of files.
| | 02:07 | It's a similar function but a little
bit different. We can match an average RMS
| | 02:11 | volume for all the files and if they
are too loud, they may compress them, if
| | 02:16 | they are too low they might just
normalize them. But like I say, for our
| | 02:21 | purposes right now we just want to
match into that file. So I am going to say
| | 02:25 | that's the one I want, I go down to
that file here and say Match Volume and
| | 02:34 | I'll close it.
| | 02:36 | Now in order to illustrate what we
have done here, I am going to go ahead and
| | 02:41 | grab all of these files. I will move
my Tasks panel back down here and we are
| | 02:48 | going to make a new file that's a
composite of all those. So I am going to go
| | 02:53 | to voice_2 and I am going to double-
click it. I am going to Copy it, go back to
| | 03:00 | voice_1 to the end of that file and
Paste that in, same thing for voice_3 here,
| | 03:10 | Copy that, go back to voice_1 to the
end of that file and Paste that in and
| | 03:17 | voice_4, Copy that go back to voice_1
and at the end of that file and paste that in.
| | 03:27 | Now if I zoom out on the Zoom Navigator
here, you can see all four lines are in
| | 03:31 | there and they should sound pretty consistent.
| | 03:36 | (Man 1: Can love disappear
into thin air? Where does it go?)
| | 03:41 | (Man 1: One more rabbit out of my hat.
How did he do that?)
| | 03:46 | What a great tool that is.
| | 03:47 | I just love it. Now there is another way
that we can go about doing all this and
| | 03:52 | that's if they are already put
together in a file and that's what the
| | 03:56 | voice_comp_unmatched file is for
here. So I am going to go ahead and
| | 03:59 | double-click that. This is how they
sounded before I did all that changing but
| | 04:05 | they are all pasted into the same file as I did.
| | 04:08 | (Man 1: Can love disappear into thin air?
(Man 1 quietly: Where does it go?)
| | 04:13 | (Man 1: One more rabbit out of my hat.
How did he do that?)
| | 04:17 | Now I can go back up to Tasks, Volume
Correction. Pull that down here so we can
| | 04:23 | see the whole dialog. Go to Equalize
Volume Levels and click that or I undo it
| | 04:36 | and right down here remember by the
transport we have Equalize Volume Levels here.
| | 04:41 | They both do the same thing.
Now when I hit Play--
| | 04:46 | (Man 1: Can love disappear into
thin air? Where does it go?)
| | 04:51 | (Man 1: One more rabbit out of my hat.
How did he do that?)
| | 04:55 | That worked pretty well. It just did a little bit
of a dance here on some of our quiet spots. So
| | 05:00 | we can actually go in there and match those up.
| | 05:11 | And pull that down just a bit more
| | 05:13 | and now we can listen to it and has --
| | 05:16 | (Man 1: Can love disappear into
thin air? Where does it go?)
| | 05:21 | (Man 1: One more rabbit out of my hat.
How did he do that?)
| | 05:25 | And we actually accomplished what we set out to do.
| | 05:28 | It's always good to have a good volume
relationship between all your projects
| | 05:33 | audio files and the Match Volume
command and the Volume Levels functions both
| | 05:37 | go a long way towards
achieving this sort of continuity.
| | Collapse this transcript |
| Using beat detection and creating a loop| 00:00 | If you are working with loops or need
to align elements to rhythmic events
| | 00:04 | Soundbooth CS4's new Beat Detection
function will make finding and snapping to
| | 00:08 | those points up breeze. Understanding
the final points of creating loops will
| | 00:12 | help you to achieve your results more quickly
and with the kind of quality you are looking for.
| | 00:17 | Now currently we have our drum_loop_1
file loaded, and if we go up to View and
| | 00:22 | Beats, or you can hit Shift+T, what
it's going to do is actually analyze your
| | 00:29 | audio and find all of these hit
points so that you can navigate quickly and
| | 00:34 | snap to them really easily. Let me show you.
| | 00:38 | All these little orange lines here are
actually rhythmic elements inside your
| | 00:43 | file and if I go ahead and grab the
Zoom Navigator and pull it over, you can
| | 00:47 | see exactly what I mean, right
there we'll go ahead and hit Play.
| | 00:53 | (Drum beat.)
| | 00:58 | How cool is that! You don't have to look
for them, they are already right there.
| | 01:04 | Now I have called this drum_loop_1, if
I put the Loop function on. You can hear
| | 01:08 | that it's not really a rhythmically
perfect loop, it starts on a weird beat,
| | 01:13 | ends on a weird beat and when it turns
around on itself you will see that it's
| | 01:17 | not really in time.
| | 01:18 | (Drum beat.)
| | 01:27 | See what I mean. So what we will do
here is we will go back and bring this over
| | 01:34 | and find our first bass drum hit
which I believe is right there, and we can
| | 01:41 | draw a selection that snaps to that
beat. But as you can see that's not
| | 01:46 | snapping to it, and there is a reason
for that you've got to go up here, you've
| | 01:50 | got go to Snapping under your
View panel, make it Snap to Beats.
| | 01:58 | Now when I try to make that selection,
when I get close to there, boom, it
| | 02:02 | snaps to it, just like that, and we
will go ahead and pull on this and zoom out
| | 02:07 | a bit, and pull this over
this way. When I hit Play --
| | 02:15 | (Drum beat.)
| | 02:18 | And that's where I want my Loop to
turn around. So I am just going to pull
| | 02:22 | the selection until it snaps there, and now
this selection right here is what will loop.
| | 02:29 | (Drum beat.)
| | 02:34 | You've never made a loop that
easy in your life I guarantee you.
| | 02:39 | Let's go ahead and take those off of
there by going up to View and Beats,
| | 02:45 | turning that off, and I will show you
how to do it without even using the Beats function.
| | 02:51 | All you really need to do is exercise
a little bit of patience and work in
| | 02:56 | closely on your audio. For instance,
while the beats detected it there, I like
| | 03:03 | to make sure that we capture all of
this information right here, these are
| | 03:07 | called Transients and this is a lot
of excited, little harmonic information
| | 03:11 | that actually makes a big difference
into how lively and clear your loop sound.
| | 03:18 | So I am going to find a good spot here
which I think there is one there. I am
| | 03:22 | going to go to my Markers panel and I
am going to add a marker, and we will go
| | 03:30 | out to select so, we will let that play.
| | 03:35 | (Drum beat.)
| | 03:38 | Okay, now we will just click over here
because we know this is the next down
| | 03:42 | beat we want it to go to, and we
will try to remember exactly how much
| | 03:47 | transient information we left on
there, which is right about this much.
| | 03:51 | Yeah, that's good there, and we will go
ahead and put another marker in there.
| | 03:58 | Now I will zoom back out and you can
see that I've got a couple of markers
| | 04:01 | here. We will go up to View and make
sure that our Snapping is set to Markers,
| | 04:05 | and it is.
| | 04:07 | Now when I make a selection, and I
bring it close to that marker it will snap
| | 04:13 | to it, and we will snap to it this way,
and with the Loop function engaged we
| | 04:20 | will hit Play.
| | 04:21 | (Drum beat.)
| | 04:27 | And you are well on your way to hip-hop
super stardom. It's even easier now to
| | 04:33 | get great sounding loops quickly and
the ability to lock events to specific
| | 04:37 | rhythmic hits is also a welcome edition
to Soundbooth's already formidable toolset.
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| Working with scores and keyframe editing| 00:00 | One of Soundbooth's most unique and
exciting features is the ability to bring
| | 00:04 | customizable musical scores into your
video projects. You can actually choose
| | 00:09 | and edit the intensity and complexity
of this music overtime, resulting in
| | 00:13 | amazingly clean and professional
sounding musical presentations.
| | 00:17 | Now currently we have our surfx project
loaded in, and we are going to go up to
| | 00:21 | Window here to Workspace and select
the Edit Score to Video workspace that
| | 00:26 | Adobe has provided for us. And as you
can see it puts our Video Monitor here,
| | 00:32 | our Scores panel here, and we can
have our multitrack project down here.
| | 00:36 | We are going to go ahead and preview
one of these scores by clicking on it and
| | 00:42 | then pressing Play. Obviously we do
have the Auto Play Toggle but we are not
| | 00:47 | going to need that with the
limited choices we are looking at here.
| | 00:50 | (Music plays.)
| | 00:54 | It sounds intriguing enough to try, so
we are going to go ahead to this little
| | 00:58 | icon here, which is the Add Score to
Multitrack button, and as you can see it's
| | 01:03 | importing that score into our video project.
| | 01:06 | Now if you take a close look at the
Zoom Navigator window here you can see that
| | 01:11 | while our video ends about here, at
about 14 seconds, the score seems to
| | 01:18 | continue on all the way out here at
about 01:40, and that's it down here.
| | 01:26 | So the first thing we want to do is get
our score to match up to our video. So
| | 01:31 | I move the cursor over to the edge,
and just like with audio it turns into a
| | 01:36 | Trim Handle, we just click-and-drag
that, and as we get to the edge of the
| | 01:40 | video I will slow down a little bit and
you will see that it will actually snap
| | 01:44 | to it. And now our score is
exactly as long as our video.
| | 01:51 | As we play it and listen to it --
| | 01:53 | (Music plays.)
| | 02:04 | -- and hit Stop, we are wondering
where that other sound comes from maybe.
| | 02:07 | We will just go ahead and mute the
score, go back to the beginning.
| | 02:13 | (Waves crashing.)
| | 02:15 | Oh, okay, that's the associated audio
track, which is pretty much the ocean,
| | 02:19 | which is just a little bit of white
noise really, kind of static. So I think it
| | 02:24 | was a good call that we tried to put
some music in here. So we will go ahead
| | 02:28 | and un-mute that.
| | 02:29 | Now if you look over here, the
Properties panel has automatically come up and
| | 02:33 | it's showing us the Start Time and the
End Time of the clip itself as well as
| | 02:38 | its Duration. We have a Variation set
up here which is at Automatic right now,
| | 02:44 | and what that means is that if we were
to say start the score before our audio,
| | 02:50 | or may be we had a lot of audio, we
could actually change it so that it
| | 02:54 | automatically is changing the link of
the score thusly. And we can make the
| | 03:03 | score even longer if we go to say 145
Seconds, and as you can see we are way
| | 03:10 | back out where we started here.
| | 03:11 | But we are just going to go back to
Automatic and rather than keep any of those
| | 03:21 | features we will just hit Ctrl+Z a few
times until our clip returns back to the
| | 03:26 | link that it was before I started
fooling around with that, but at least you
| | 03:30 | can see what's going on there.
| | 03:32 | We also have an Intro/Outro function,
which means that you can select an intro
| | 03:36 | before it actually gets into the meet
of the musical presentation, or an outro
| | 03:41 | towards the end, or you can select both.
| | 03:44 | Now with something that's only about
14 seconds long here by the time we get
| | 03:48 | through the intro and the outro we will
be done. So we are just going to leave
| | 03:51 | it on None for right now, and see if we
can create our own intensity and where
| | 03:56 | it occurs in this file.
| | 03:59 | We currently have the Keyframing Mode
selected, which means that we can go in
| | 04:03 | and select any of these lines here, and
whenever we touch it, it makes a little
| | 04:09 | node and we can pull that node up and
down which actually changes the value of
| | 04:15 | that node. You may be wondering about
the values and what they mean. Well, it's
| | 04:20 | Ctrl+Z a few times or Command+Z if you
prefer. And you can see that there is
| | 04:26 | number 7 here and that's because there
are basically seven levels of intensity.
| | 04:32 | If we bring it all the way
down to 1, it sounds like this.
| | 04:38 | (Music plays over waves crashing.)
| | 04:42 | Let's go up here and just Solo up our
score, so we are not hearing the other audio.
| | 04:49 | (Music plays.)
| | 04:59 | Okay, so that's a pretty sedate
little sound there, and we can take that
| | 05:04 | intensity and bump it up by either
coming down here and pulling it down or by
| | 05:15 | going to the Keyframing Mode and
bringing it up to 7, like that. So when I go
| | 05:20 | back to the beginning now we are going
to be hearing it at its lowest intensity
| | 05:25 | and then its highest.
| | 05:28 | (Music plays.)
| | 05:35 | So that might be kind of a severe
jump. Let's just say that we want to
| | 05:39 | take that and build up to that point
slowly. So we click on the nodes here and
| | 05:49 | these are locking to frames, so it's
not the most precise process but it will
| | 05:54 | get us to where we want to go eventually here.
| | 05:57 | All right, and we move back now and
see if we can tell the difference here.
| | 06:06 | (Music plays.)
| | 06:18 | Okay, that's pretty interesting.
| | 06:20 | Now you can see that the Synthesizer
is set to 0, and let's go to the Basic
| | 06:25 | here, so we can turn up that
Synthesizer, and that Synthesizer by the way has
| | 06:33 | its own track, we just need to click
on that to bring it up. And we will turn
| | 06:39 | this back down to 0 here. And as you
can see we can also affect the intensity
| | 06:47 | of that Synthesizer overtime as well.
So we will start it off down here and
| | 06:54 | bring it on up.
| | 06:56 | (Music plays.)
| | 07:10 | Alright, now let's go ahead and fade
this whole thing out, so that by the end
| | 07:13 | of the video clip we are actually
down to zero volume with all of this
| | 07:19 | wonderfulness.
| | 07:20 | Go back to the beginning and hit Play once more.
| | 07:23 | (Music plays.)
| | 07:38 | Okay, we can try one more thing here.
Let's go ahead and put an intro on there
| | 07:43 | and see how that sounds.
| | 07:46 | (Music plays.)
| | 08:00 | As you can see we can control a lot of
these elements and it's really neat that
| | 08:04 | we don't just have some canned thing
that we can actually go in there and
| | 08:08 | affect some of those elements
independently of the rest of it.
| | 08:12 | Now if I go ahead and undo the Solo here,
and that will allow the video's audio
| | 08:19 | information to play along with it, we
will listen to this all one more time.
| | 08:23 | (Music plays over waves crashing.)
| | 08:38 | All right, I think it's incredible
that you can actually have this level of
| | 08:41 | control over your musical accompaniment.
Mastering the scores features is much
| | 08:45 | easier than it might appear at
first glance, but doing so pays enormous
| | 08:49 | dividends to those who
need just that sort of tool.
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8. Multitrack EditingIntroducing the Multitrack functionality| 00:00 | New to Soundbooth CS4 is the ability
to have multiple audio files playing
| | 00:05 | simultaneously via its new Multitrack
functionality. This allows you to do even
| | 00:10 | more of your audio work without
ever leaving Soundbooth. With so much
| | 00:14 | functionality available there is quite a bit
of ground to cover, so let's get right to it.
| | 00:18 | Now as you can see here we have
imported a lot of files from our Exercise 08
| | 00:23 | folder and they are all the envy_in_
a_minor files including all of the
| | 00:29 | individual elements as well as the
sub-mix of envy_in_a minor which is
| | 00:34 | currently what's in the Editor panel here.
| | 00:36 | I am going to go ahead and hit Play just to
remind you what we are sounding like here.
| | 00:40 | (Music plays.)
| | 00:47 | Great! Okay, now how does this apply to
the Multitrack functionality you may be
| | 00:52 | wondering. Well, let's go ahead and
give it a right-click here, and you can see
| | 00:57 | that Insert Channels into New
Multitrack File are actually available for us
| | 01:03 | here, and we are going to say, okay,
let's do that, what does that do?
| | 01:08 | As you can see the left and right
elements of the Stereo file are now broken
| | 01:14 | out into two Mono files. They can be
independently panned over or volume
| | 01:25 | adjusted, so that if you have any
discrepancies in your Stereo file for
| | 01:30 | instance, like let's say the left side
is quite a bit louder than the right.
| | 01:36 | You can actually split it out like this,
and then take that left one down and
| | 01:41 | put them in the exact same
volume range that you would like.
| | 01:46 | All right, let's go ahead and close
this particular Multitrack file here, and
| | 01:54 | we will go ahead and close this file as well.
| | 01:59 | Okay, now what we are going to do is
we are going to make a new multitrack
| | 02:04 | file. We go up to File > New >
Multitrack File, and then we are going to grab
| | 02:13 | all of these other files which are the
elements of the envy_in_a minor song and
| | 02:20 | we are actually going to drag them
into the Multitrack. And as you can see it
| | 02:31 | actually pulled them all end-to-end in
that existing track. That's one way of
| | 02:38 | taking a bunch of clips and putting
them on one track, but we want them on
| | 02:41 | their own separate tracks, so we are
going to go ahead and undo that, grab
| | 02:46 | these again, and pull them down where
there aren't any tracks. And then it
| | 02:54 | selects all those tracks, and we
will go ahead and get rid of this track.
| | 02:59 | Okay, now as you can see it's lined up
and inserted all of these tracks, and we
| | 03:05 | will listen through them one
at a time here by soloing them.
| | 03:11 | On the top here we have my acoustic guitar.
| | 03:14 | (Guitar strumming.)
| | 03:22 | Okay, the next track down from that
is my good friend, the wonderful and
| | 03:27 | talented Mr. Simeon Flick
playing nylon classical guitar.
| | 03:31 | (Guitar strumming.)
| | 03:40 | He is such a great musician, isn't he?
Let's go ahead and Solo this up and play
| | 03:46 | another great friend of mine and a
great musician's work. Mr. Bill Ray on the
| | 03:51 | drums, ladies and gentlemen.
| | 03:52 | (Drum beat.)
| | 04:02 | Great! We will go down here, turn the
Solo off on here and Solo this up. This
| | 04:07 | is my friend Mr. Jerry Rig
playing the upright bass.
| | 04:12 | (Guitar strumming.)
| | 04:22 | And we will take that off and last
but not least, myself, on the vibes.
| | 04:28 | (Vibraphone solo.)
| | 04:39 | Okay, now if I let all those play at
the same time you might hear something you recognize.
| | 04:44 | (Music plays - all instruments together.)
| | 04:52 | And we can go through now. We can
change the volume of these individual parts
| | 04:58 | if we would like, we can change the
panning. So let's go ahead and we will
| | 05:04 | change our panning on this to about 25%
to the right there, we will go to our
| | 05:13 | classical guitar and put it pretty
much the same way -- the other way, let me
| | 05:20 | stop messing with the
volume there and there we go.
| | 05:21 | All right, we are going to leave our
drums in the center as well as our upright
| | 05:29 | bass and we will turn these vibes on
the way over, oops. Let's just put that
| | 05:42 | back to 0 there. It's easy to do that
stuff, but that's all right. After a
| | 05:46 | while we are all going to get good with
this, aren't we? Let me just pan these
| | 05:49 | vibes way, all the way over to the
right there. I am going to play that back,
| | 05:55 | you will hear a little bit of
the difference is what I am hoping.
| | 05:57 | (Music plays.)
| | 06:08 | So as you can see there is actually
multitrack functionality from within Adobe
| | 06:15 | Soundbooth and you can actually mix in
the box if you'd like, because I take
| | 06:20 | this all now and I can say Save As,
and I can change it to Audio Only, any
| | 06:30 | number of formats here. But for now we
are just going to make a WAV file of it
| | 06:35 | and we could save it as envy multitrack,
and we will make it 44 - 16 Stereo,
| | 07:03 | and it's actually processing all that
and it brings it right up for us. When we
| | 07:07 | go here we can hit Play to preview it.
| | 07:09 | (Music plays.)
| | 07:23 | I just can't believe that you can do
this in Soundbooth now. It's just really
| | 07:27 | exciting. With the ability to import
and separately process audio and video
| | 07:32 | files and even audio channels for
separate mixing and processing Soundbooth's
| | 07:36 | new Multitrack functionality opens up
an even greater set of options for its users.
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9. Recording Digital Audio in Soundbooth CS4Audio recording, inputs, and outputs| 00:00 | In addition to being able to open or
import a large variety of audio formats,
| | 00:04 | you can also record your own audio
directly into Soundbooth. We'll go through
| | 00:09 | that process and take a look at the
inputs and outputs options along the way.
| | 00:13 | Of course the first thing that we'll
need to do to be able to record into
| | 00:16 | Soundbooth is to hit the Record
button on the Transport bar down here.
| | 00:22 | That opens up the Record dialog and allows
you to set up for recording. Now as you
| | 00:27 | can see from this meter on the right
here, we are already showing some signal
| | 00:32 | here, it looks pretty healthy, we are
looking pretty good. But if we needed to
| | 00:37 | change amongst our sound card devices,
we can select from them there and make a
| | 00:42 | variety of changes to our setup, as
far as inputs and outputs. However, I
| | 00:49 | strongly caution you that if this is
already working, please do not mess with
| | 00:54 | this or you will derail
yourself potentially for a long time.
| | 00:59 | If you are having difficulty with your
recordings like say there is a lot of
| | 01:03 | clicks and pops and stuttering or
something on playback, or if there is clicks
| | 01:07 | and pops in your recordings themselves,
it could be an issue with your buffer size.
| | 01:13 | However, I would leave this because
Adobe pretty much looked at this when
| | 01:18 | you install the program and set itself
up to a fairly optimal situation. If you
| | 01:24 | don't have problems, don't create
problems by editing any of these features please.
| | 01:30 | Below that, we have the sample rate
that you would actually record at and we
| | 01:33 | would like to record at 44 so we will
go ahead and change that to that. We are
| | 01:37 | currently in mono but if you had a
stereo setup on your computer or sound card,
| | 01:43 | you could go to that as well. We are
going to stay in mono here. Below that,
| | 01:47 | there is a Port function, which you can
change, but again I would leave anything
| | 01:53 | alone that is already working. Just
below that you see the Monitor Input During
| | 01:57 | Recording button, and what that does
is it allows you to hear what's going in
| | 02:02 | as you are recording. However, you
might want to leave that off because often
| | 02:06 | times it can cause feedback or echo or
other problems. If it's working, let's
| | 02:11 | leave it alone.
| | 02:13 | Just below that we have the Save
dialog and what it's telling us here is that
| | 02:16 | every time I make a recording into
Soundbooth, it is going to name that file
| | 02:21 | automatically Untitled Recording.
You can also see that it will put an
| | 02:26 | Incrementing Number after it, so each
take would be Untitled Recording 01; the
| | 02:31 | next take would be Untitled recording
02 and so forth. However, we can change
| | 02:37 | that to the date, time convention,
either the European convention, with the
| | 02:42 | month and then day or the American
standard, which is day then month. That way
| | 02:48 | you can really keep track of what you
did when. Just below that we have the
| | 02:53 | location that Adobe is going to
actually place those files once it's recorded.
| | 02:58 | We are going to go ahead and put them
in our Chapter 9 Exercise folder here,
| | 03:03 | say OK, and now every time it makes a
file it is going to drop it right there.
| | 03:10 | Just below that you can see Record
Duration and that's set at 000, and why is
| | 03:16 | that, because we are not actually
recording but if we were, it would actually
| | 03:20 | start incrementing and showing the time.
Just to the left of that you can see
| | 03:25 | the Stop Recording button which is
pretty self explanatory and then great
| | 03:29 | little feature here is the Add Marker
feature, that means that while you are
| | 03:33 | recording every time you need to mark
some spot, maybe you messed up something
| | 03:38 | or you need to check something or you
would want to make sure that you have a
| | 03:41 | marker for every new recording or a
passage that you are starting to record,
| | 03:46 | you can actually hit that and drop a
marker on the fly as you are recording.
| | 03:50 | Let me show you, we are going
to go ahead and click this here.
| | 03:54 | And we are going to say "Mary had a little lamb,"
Marker, "Mary had another little lamb," Marker,
| | 04:00 | and we hit Stop.
| | 04:03 | Now I am going to hit Close and you can
see that we have a new recording with a
| | 04:10 | couple of markers in it. Let's listen to that back.
| | 04:14 | (Recording: And we are going to say Mary had a little
lamb, Marker, Mary had another little lamb, marker.)
| | 04:20 | So you can see just how easy it is to record
into Soundbooth. And then we can go ahead
| | 04:26 | and save if we would like, and we will
go in to our 9_recording folder and as
| | 04:32 | you can see, it has already got one
there but if we wanted to make another
| | 04:36 | version of that, we can say A. And we
will make it a 16 bit file and it's mono.
| | 04:48 | Now what we have is our recording,
which wasn't saved, and our recording that
| | 04:53 | was. So we basically have two versions
here and that's kind of redundant, but
| | 04:58 | in this way, we have sort of saved
ourself. Let's say your computer crashed or
| | 05:03 | Soundbooth went down or whatever, we
made sure that we saved that. It's not
| | 05:08 | just sitting in the buffer like this is,
okay. Soundbooth lets you cut off the
| | 05:13 | middleman and allows you to record
audio directly into the program for
| | 05:17 | immediate editing; making your
workflow even faster than it was before.
| | 05:22 | Doing several practice recordings will allow
you to get comfortable with the process
| | 05:25 | and I highly advice you to do just that.
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| Tips for getting the best recordings| 00:01 | To get the best quality possible,
proper recording guidelines should be adhered
| | 00:05 | to as much as possible. Here's a few
things that you can think about to ensure
| | 00:09 | professional quality results. The first
thing to think of is, what mic are you
| | 00:14 | using? If you are on a computer and
you just want to get some down and dirty
| | 00:19 | podcasting done or something like that,
you are not really in a professional
| | 00:22 | studio situation, there are lot of
microphones on the Internet and in retail
| | 00:26 | stores now, that allow you to plug a
microphone directly into your USB port.
| | 00:32 | Some of these are the Snowball, from
Blue Microphones, the Podcaster from Rode.
| | 00:40 | There's the Samson Q1U Dynamic
microphone. You can type in USB microphone into
| | 00:49 | Google and see if you can find
one that meet your needs best.
| | 00:54 | Next, you might want to think about how
you are physically positioned. You want
| | 00:57 | to make sure that you are in front of
the microphone and comfortable and have
| | 01:01 | proper posture. Always make sure to
maintain the same position around the
| | 01:08 | microphone, because if you start to
walk off the microphone and in and out,
| | 01:12 | and over and in, you are going to
start having a lot of different things that
| | 01:17 | you don't like with your microphone.
Stay in one place and try to remain
| | 01:20 | consistent as you talk, and I think
you will have really good results. Make
| | 01:25 | sure also that you have a pop screen,
or a microphone that has its own pop
| | 01:29 | guard, that way when you have Ps or Ss,
they don't get really crazy and you
| | 01:35 | don't have lot of plosives or
sibilance in your recordings.
| | 01:39 | Make sure to practice a few times
whenever you are going to record or when you
| | 01:44 | don't have anything better to do, so
that you are comfortable with recording
| | 01:47 | when it's time to get that done.
That way you are not all excited about
| | 01:51 | recording, and then you get held up
by your lack of experience with the
| | 01:55 | process. Being able to record into
Soundbooth is a great benefit, but knowing
| | 01:59 | how best to record audio into the
program is equally important. Don't forget
| | 02:04 | that old adage: "Garbage in....
Garbage out." In other words, try to give
| | 02:08 | yourself the best quality audio you can.
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10. Saving Audio and Video Files in Soundbooth CS4Saving audio and video files| 00:00 | (Man 1 singing: My heart beats like metronome.
Yes, it speaks like a rolling stone.)
| | 00:08 | (Man 1 singing: From a supermarket
checkout food chain, I'm going home.)
| | 00:14 | (Music plays.)
| | 00:17 | Depending upon the final destination
and purpose of your audio and video files,
| | 00:22 | there are a lot of different file types
that you can use to save your files as.
| | 00:25 | We will take a look at a couple of
them and introduce you to Soundbooth's
| | 00:29 | ability to preview the effects of
MP3 and MPEG encoding before actually
| | 00:33 | saving the file. So we have got our
metronome WAVE file here, and let's say that
| | 00:39 | we want to save it as an MP3. Save As
and here is the type. We will go down to
| | 00:48 | MP3, we will say Save. And as you can
see we get a little dialog here and this
| | 00:56 | says MP3 Compression Options. And we can
select our Bitrate, whether it's Stereo
| | 01:03 | or Mono and in this case, we are
going to change this stereo file to a mono
| | 01:08 | MP3. But before we save it, we are not
sure what this lossy compression of MP3
| | 01:15 | is going to do to our file. I should
explain what lossy compression is.
| | 01:19 | Basically you can save a WAVE file and
what you hear, is what you are going to get.
| | 01:24 | Whereas with MP3, we are trying to
make them as portable as we can. So we
| | 01:29 | are kind of compressing that audio so
that we can make a small and sendable
| | 01:34 | file as we can. So for this one
because we are making it in mono and we are
| | 01:39 | also applying some lossy compression,
Adobe has given us the ability to hear
| | 01:44 | what that's going to sound like
before we actually commit to it and have to
| | 01:47 | keep saving and re-saving our file.
| | 01:51 | (Man 1 singing: My heart beats like metronome.
Yes, it speaks like a rolling...)
| | 01:59 | Okay, let me just hear this again there.
| | 02:01 | (Man 1 singing: My heart beats
like metronome. Yes, it speaks...)
| | 02:08 | Now we hear that little stutter in there
and we are going to have to look for that
| | 02:10 | just to make sure, but I believe that's
just kind of a preview artifact of this
| | 02:16 | function. It is not actually going to
sound like that, but as far as the rest
| | 02:19 | of the fidelity, that sounds fine. So I
am going to go ahead and hit Save. And
| | 02:25 | now as you can see I have saved that
and it's a mono file now and now we can
| | 02:30 | check it out and make
sure everything sounds good.
| | 02:32 | (Man 1 singing: My heart beats like metronome.
Yes, it speaks like a rolling stone.)
| | 02:41 | (Man 1 singing: From a supermarket checkout...)
| | 02:44 | It is so great that you can actually
check this out because I have spent so
| | 02:48 | much time in the past making sure that
the MP3 encoding is as good as it can
| | 02:53 | sound and still as small as it can be,
and being able to preview that ahead of
| | 02:58 | time is so useful.
| | 03:00 | Let's go to a different type of file
and see what else we can learn here.
| | 03:04 | We are going to pull up our Surfz file,
which as you may recall has a lot of music
| | 03:10 | and sound effects in it and scoring even.
| | 03:14 | (Waves crashing.)
| | 03:15 | (Music plays over sound of waves crashing.)
| | 03:21 | And in order to see this better,
| | 03:22 | we will go up to the workspace that is
Edit Audio To Video, in that way we can
| | 03:28 | actually see our video playing
up at to the top here.
| | 03:31 | (Waves crashing.)
| | 03:32 | (Music plays over sound of waves crashing.)
| | 03:46 | And that looks good so let's
| | 03:48 | go ahead and save that as another
kind of file here. Let's make it an MPEG2
| | 03:53 | because that's going to be more
portable. Now when I hit Save, it is actually
| | 04:00 | going to come up with a preview of
what that would look like and we can have
| | 04:04 | all kinds of different options
available to us here. We want to make it a high
| | 04:10 | quality one of course, but we don't
want to make it too crazy. So let's just
| | 04:14 | leave it right about where it is there.
We will go down to 29.97. Now as you
| | 04:22 | may notice it's not actually giving us
an active preview like it did with that
| | 04:26 | MP3, but we will be able to open it
and check it out another way. And as you
| | 04:34 | can see it has actually loaded it
in and loaded in its audio as well.
| | 04:39 | So when I go back and hit Play here,
| | 04:41 | (Waves crashing.)
| | 04:42 | (Music plays over sound of waves crashing.)
| | 04:45 | I am going to actually open this preview
up as high as we can get it here.
| | 04:51 | (Music plays over sound of waves crashing.)
| | 05:00 | And that's going to work for our purposes just fine.
| | 05:05 | Being able to actively preview what
a saved file will sound like before
| | 05:09 | actually committing to it saves
hours of trial and error when it comes to
| | 05:12 | saving into lossy compression style
file formats. Remember to take the long view
| | 05:17 | if you are not sure what the ultimate
purpose will be for a given file and
| | 05:21 | choose the highest quality with
the smallest file size possible.
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11. ConclusionGoodbye| 00:00 | Hopefully you found the Soundbooth
CS4 Essential Training course helpful in
| | 00:04 | making you comfortable with the program,
its interface, and functions. If you
| | 00:08 | have been going through them all in
sequence, you are probably already getting
| | 00:11 | around quite nicely within the program
and the more you work with Soundbooth,
| | 00:14 | your comfort level will increase along
with your productivity. I have said many
| | 00:18 | times within this course that Adobe
Soundbooth CS4 is a powerful program and if
| | 00:22 | knowledge is also power then
that's like power squared or something.
| | 00:25 | Anyway, enjoy your new tools. This is
Sven-Erik Seaholm saying, remember to
| | 00:29 | make great audio.
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