Soundbooth CS4 Getting StartedWelcome| 00:00 | (Music plays.)
| | 00:05 | Hi, and welcome to
Soundbooth CS4 Getting Started.
| | 00:08 | I'm Garrick Chow, and I'm going to be
taking you through basics of this versatile
| | 00:11 | audio editing application.
| | 00:13 | We'll start with an overview of the
interface so you can get your bearings
| | 00:15 | straight, and then we'll move on to
common editing tasks like equalizing your
| | 00:19 | audio and repairing problems in your tracks.
| | 00:21 | I'll also be covering how to import
audio, how to mix multiple tracks together,
| | 00:25 | and we'll even take a look at the
Snapshot feature, which lets you save multiple
| | 00:29 | versions of your mixes, giving you
total freedom to experiment as much as you
| | 00:32 | want with your tracks.
| | 00:34 | So you'll learn just enough here to
get your feet wet, and I hope these
| | 00:36 | movie will entice you to further explore the
capabilities of Soundbooth CS4 when you're done.
| | 00:40 | Let's get started.
| | Collapse this transcript |
| A tour of the interface| 00:00 | Adobe Soundbooth CS4 is a digital audio
Editor that makes it easy for anyone to
| | 00:04 | record, edit, mix and repair audio files.
Its aimed to creative professionals who
| | 00:08 | don't specialize in audio editing
and who may not need all the advanced
| | 00:12 | capabilities of a program like Adobe Audition.
| | 00:14 | In this movie, I am going to walk you
through the interface, so you can get
| | 00:16 | your bearings and start using
Soundbooth as effectively and efficiently as
| | 00:19 | possible. Now, just so we have
something to look at instead of an empty
| | 00:23 | interface here, let's import a file.
I have copied the file Interview_01.mov to
| | 00:28 | my Desktop from the Exercise Files
folder and this is an unedited video clip of
| | 00:32 | two surfers. So Soundbooth can work
with the audio and video files or just
| | 00:36 | audio files by themselves. To bring
this into Soundbooth, I am going to choose
| | 00:39 | File > Open and out of my Desktop I'll
just select interview_01 and open that up.
| | 00:45 | I will talk about some other ways to
get files in the Soundbooth in the next
| | 00:48 | movie. So I can see the file I am
working with is listed here in the Files
| | 00:52 | panel, interview_01.mov, and the audio
from the file itself is shown here in the
| | 00:56 | Editor area and it's represented by
these peaks and valleys that you see here
| | 00:59 | known as the waveform, which is
a visual representation of audio.
| | 01:04 | Now, in case if your Soundbooth doesn't
look quite like mine., let's first talk
| | 01:06 | about Soundbooth's workspace layouts.
I am currently looking at Soundbooth in
| | 01:10 | its Default workspace layout. In this
layout, the Files panel is opened over
| | 01:14 | here, which lists all the sound files
you're currently working with and the
| | 01:16 | main area where you actually work with
your files again is called the Editor.
| | 01:20 | Also opened in the Default Soundbooth
layout is the Tasks panel which contains
| | 01:24 | several commonly performed tasks
that you will probably find yourself
| | 01:26 | frequently using like, Clean Up Audio,
Remove a Sound and so on and we will
| | 01:30 | take a look at a couple of
these a little bit later.
| | 01:32 | Down here at the bottom, we have the
Video panel open, which popped up because
| | 01:35 | I am working with the video file, but
if you are working with just an audio
| | 01:38 | file, you will generally just have the
History panel open up by default and the
| | 01:41 | History panel keeps track of everything
that you do to your file and we'll talk
| | 01:44 | about this a little bit later as well.
At the very top here, kind of tucked
| | 01:48 | away is our Tools panel and this is the
way you'll access all the various tools
| | 01:51 | that you'll need to work with your files.
| | 01:53 | So this is the default Soundbooth
layout. There are a couple of other layouts
| | 01:57 | you might want to check out depending
on the project you are working on. Here
| | 02:00 | under the Window menu, you can go to
Workspace, then we have things like
| | 02:02 | Edit Audio to Video, which is the layout
to use if you are working with the audio of
| | 02:07 | a video track, and you can see here
that it it displays the video portion of
| | 02:10 | the clip up here and the audio portion
down here at the bottom. We also have
| | 02:14 | Window > Workspace > Edit Score to Video,
which looks very similar, but this is
| | 02:19 | useful if you want to edit sound
effects or music to a video clip and it looks
| | 02:23 | very similar to the other layout, but
you can see that it opens up the Scores
| | 02:26 | panel here and we'll talk about
that a little bit later as well.
| | 02:29 | I am going to switch back to the
Default layout. Notice by the way that it's
| | 02:34 | very easy to get to the other panels
that are available in Soundbooth from this
| | 02:37 | layout like the Effects panel. You can
just pop over there and this contains
| | 02:40 | tons of different effects you can
apply to your clips. Again, we can see
| | 02:44 | we can jump to the Video panel.
| | 02:45 | Generally, you can get to any panel
that you need from the Default layout and
| | 02:48 | if you don't see the panel that you
need, if you accidentally closed it for
| | 02:51 | instance, just go to the Window menu
and you'll find all the panels here and
| | 02:54 | you can just select them to open them.
Notice that they all have corresponding
| | 02:57 | keyboard commands as well, if you
are into opening panels with keyboard
| | 02:59 | commands.
| | 03:01 | And also note by the way that the
Workspace menu up here gives you access to
| | 03:04 | the same workspace layouts. So
that's an overview of the Soundbooth CS4
| | 03:08 | interface. Of course each one of these
panels has its own sets of buttons and
| | 03:12 | menus, but we'll cover many of those
as we work away through the rest of the movies.
| | 03:16 | In the next movie, I am going to show
you more ways of importing files into
| | 03:19 | Soundbooth. So for now, I am going to
select this video file that we brought in
| | 03:22 | and I am just going to click the
Trash icon here to delete it out of
| | 03:25 | Soundbooth, so we have a nice empty
panel to start with in the next movie.
| | Collapse this transcript |
| Importing audio| 00:00 | Depending on the project you are
working on, you may use several different ways
| | 00:03 | of getting audio files into Soundbooth.
As we saw in the first movie, you can
| | 00:07 | simply choose File > Open to browse
your computer for the file that you want to
| | 00:11 | work with, just like you can with
most all other applications. So in that
| | 00:15 | example I opened up
interview_01.mov and there it is.
| | 00:20 | Now, you can also just drag the file
you want into the Soundbooth window,
| | 00:23 | either into the Editor area here or
into the Files panel. So if I go out to my
| | 00:27 | Desktop where my exercise files are and I
want to grab this kyle_clip here and this
| | 00:31 | is usually easier when there is more
room for you to work with, but just adjust
| | 00:34 | this a bit here. So I can drag this clip
either into the Files panel, to add it there.
| | 00:41 | You can see it's opened up there.
| | 00:43 | You can also drag the clips into the
Editor area like so and in both cases,
| | 00:47 | they are added to the Files panel. I
usually try to drag files into the Files
| | 00:51 | panel, because if you are working with
a multitrack file, which is something
| | 00:54 | we'll talk about a little bit later
and you add the file you're dragging into
| | 00:57 | the Editor area you might actually
add that into your multitrack file, which
| | 01:01 | may not be what you want to do.
| | 01:02 | So just to be safe, I usually just drag
the files into the Files panel. You'll
| | 01:06 | also find an Open File button here
right in the Files panel and by clicking on
| | 01:09 | that, it's the exact same thing you
get as when you choose File > Open.
| | 01:12 | I can just come in here and
choose a clip and open it up.
| | 01:16 | Now, you will also find next to that
Import File, which looks very similar to
| | 01:21 | Open Files, but the difference here is
I can select the file, click Open,
| | 01:25 | but you can see that it just adds it to
my Files panel. It didn't actually open the
| | 01:28 | file over here. I can see in the Editor,
I am still looking at neil_clip.aif
| | 01:33 | and I actually just imported ocean_sounds.aif.
| | 01:36 | So the Import Files button can be
useful when you want to bring in a bunch of
| | 01:39 | files in the Soundbooth, but don't
necessarily want to open and work with them
| | 01:41 | right away. So I can hold down Shift
here, maybe select these next two, click
| | 01:45 | Open and you can see those are just
added to my Files panel so I have access
| | 01:49 | to them, but it didn't
open them in my Editor area.
| | 01:51 | Now, since Soundbooth is part of the
Adobe Creative Suite,it can, as you might
| | 01:55 | expect, work seamlessly with audio and
video files you are working with another
| | 01:58 | applications like Premiere, After
Effects, and Flash. For example, I have
| | 02:02 | opened an empty Flash project here,
that I just opened up and let me just show
| | 02:06 | you how this works. I'm going to
choose File > Import, and I will Import To
| | 02:10 | Library and from my exercise files, I
am going to choose the mp3 file called
| | 02:13 | swell. This is just some
music swelling louder and louder.
| | 02:19 | (Music plays.)
| | 02:24 | So this file is now imported into Flash,
but let's say I wanted to edit it.
| | 02:28 | I can simply right-click on it and choose
Edit With Soundbooth. That pops it over
| | 02:31 | into Soundbooth and from here, I can
do all kinds of edits and we'll take a
| | 02:34 | look at some editing tools in the next
movie. But let's just say, I wanted to
| | 02:37 | trim this down to say right there. I
will save that. And now when I go back to
| | 02:46 | Flash, you can see it's actually
working and when I go to play this now,
| | 02:51 | (Music plays.)
| | 02:53 | it actually did trim down that file. So
it's very easy to roundtrip audio files
| | 02:57 | from other Adobe applications into Soundbooth
and back. Let's go back to Soundbooth.
| | 03:02 | Now, lastly, you are not limited
to working with prerecorded audio in
| | 03:05 | Soundbooth. You can also record your
own audio directly into Soundbooth by
| | 03:08 | clicking the Record button right down here.
| | 03:10 | Now, you might have to adjust your
settings, depending on what device you are
| | 03:14 | trying to record or how your microphone
is connected to your computer, but it's
| | 03:17 | really easy to start recording a file
right from here. You can see my voice is
| | 03:20 | actually affecting the meter right here.
So I'll just click the Record button
| | 03:24 | and now I'm recording directly into
Soundbooth. Hit Stop, close that and
| | 03:30 | there is the file I've just
recorded. I can play that back.
| | 03:33 | (Recording: And now I'm recording directly into Soundbooth.)
| | 03:36 | So it's that easy to record directly
into Soundbooth and you can see the file
| | 03:40 | has been added here into my Files
panel as an untitled recording. I don't
| | 03:44 | really need that right now. I am just
going to delete that. Also going to delete Swell.
| | 03:50 | Okay, so those are just some of the many
ways you can get audio into Soundbooth.
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| On-clip editing| 00:00 | In Soundbooth, you can quickly perform
some of the most common types of audio
| | 00:03 | editing tasks, without having to
navigate through a series of menus or
| | 00:06 | toolbars. Instead you can perform your
edits directly on the clips themselves.
| | 00:11 | Let's use interview_01.mov as an
example here. So I will just double-click on
| | 00:15 | that in my Files panel. I am going to
go ahead and play a little bit of that for you.
| | 00:19 | (Woman off camera: Try and
look at me and not the camera.)
| | 00:21 | (Girl 1: All right, I'm Phoebe Piper. And I've
been surfing for like, what is it, like...?)
| | 00:26 | (Girl 2 laughing: I don't know. A long time.)
(Girl 1: 5 years.)
| | 00:27 | Okay, so at the beginning of this clip,
you hear the interviewer telling the
| | 00:30 | interviewees not to look at the camera.
And I probably don't want that in the
| | 00:33 | final version of this clip. Instead I
want the audio to come in when the first
| | 00:37 | girl introduces herself. Let's take a
closer look at this and see when that
| | 00:41 | occurs. I am going to grab my Zoom
tool here and zoom at the beginning so we
| | 00:45 | can see that a little bit
better and let's play that again.
| | 00:50 | (Woman off camera: Try and
look at me and not the camera.)
| | 00:52 | (Girl 1: All right, I'm Phoebe Piper.)
| | 00:54 | So basically right about there is
when she starts speaking. So to trim away
| | 00:59 | the part that I don't need at the
beginning, all I have to do is to grab this
| | 01:02 | handle here and just drag that to
the right. Maybe right about there.
| | 01:09 | Now let's play that back.
| | 01:14 | (Girl 1: All right, I'm Phoebe Piper.)
| | 01:17 | And that's all there is the trimming.
Now, there is another trim handle on the
| | 01:20 | right-hand side. Let me zoom back out
again. I will click the Zoom Out Full
| | 01:24 | button here. Now you can see there
is another trim handle on the end if I
| | 01:27 | needed to trim off the end, but I
don't need to in this case. Now, let's go
| | 01:30 | back and listen to the beginning of this again.
| | 01:34 | (Girl 1: All right, I'm Phoebe...)
| | 01:36 | It kind of starts very abruptly. It goes
from silence into full audio. So it's
| | 01:43 | a pretty obvious sounding edit and
that's not usually something you want.
| | 01:46 | Fortunately, another set of controls we
have available on the clip are the Fade
| | 01:49 | In and Fade Out controls and they
are found in the upper left and upper
| | 01:51 | right-hand corners. Let me zoom in again
so we can see this little bit better
| | 01:57 | like so. Let me just get my
Selection tool here again.
| | 02:02 | Now to have the audio gradually fade
in all I have to do is drag the Fade
| | 02:05 | control to the right and you can see
that yellow line appears that represents
| | 02:09 | the fade. Now, we want to try to do is
to line up the top of the yellow line to
| | 02:13 | the point where you want the clip to
be at full volume. So probably say right
| | 02:17 | about there. Let's play that.
| | 02:23 | (Girl 1: All right, I'm Phoebe Piper.)
| | 02:25 | Now, that still sounds pretty abrupt,
but watch what else we can do.
| | 02:28 | In addition to dragging the Fade control
left and right, we can also drag it up
| | 02:32 | and down to control how rapidly or
gradually the fade occurs. I'd like this clip
| | 02:36 | to reach full volume right before the
subject starts speaking. So I am going to
| | 02:40 | drag down to maybe there and you can
keep an eye on the waveform. You can see
| | 02:43 | how the waveform actually shrinks, just
maybe like that. That's going to be my
| | 02:48 | Fade In. Let's see what that sounds like.
| | 02:55 | (Girl 1 quietly: All right.
I'm Phoebe Piper. And I...)
| | 02:58 | So that's much better. It doesn't sound
nearly as abrupt anymore. So that's the
| | 03:02 | Fade control and again we have a Fade
Out control on the end of the clip.
| | 03:05 | So if you want to make sure that the end
doesn't sound abruptly cut off, we can
| | 03:08 | always go to the end and maybe just
add a little bit of a fade there, like so.
| | 03:12 | I can play that.
| | 03:13 | (Girl 2 laughing: We're just chickening out.)
(Cell phone rings.)
| | 03:19 | So just a very little bit of a fade
right there. The third set of on click
| | 03:22 | controls I want to look at is the
one right here in the middle and this is
| | 03:26 | called the Amplitude slider and it lets
you control the overall volume level of
| | 03:29 | your clip. Simply by clicking on it and
dragging left or right, you can make the
| | 03:33 | clip quieter or louder. Let's say I want
to make the entire clip a little bit louder.
| | 03:41 | Maybe just like so, and there it is.
| | 03:44 | Now, you can also control the level
of specific portions of the waveform by
| | 03:47 | first selecting the portion that you
want to change. For example, looking at
| | 03:50 | this waveform, you can see that the
beginning of this clip is quieter than the
| | 03:53 | rest because it's smaller. One way
to try to fix this would be to
| | 03:57 | select the waveform at the beginning
and then just increasing that particular
| | 04:00 | selection's amplitude.
| | 04:01 | So I will try to make a selection
here and I do have my Selection tool
| | 04:05 | selected which is why I can make a
selection. And notice now I can drag the
| | 04:08 | Amplitude slider and it only affects that portion.
| | 04:14 | Like so.
| | 04:15 | But this doesn't always produce the best
results because the transition between the area
| | 04:19 | selected and the area you didn't select
is usually going to sound pretty abrupt.
| | 04:27 | (Woman off camera: Here now, are you checking the waves?)
(Girl 2: We were going to go...)
| | 04:30 | So you can kind of hear that there was
a change there. So I am going to undo
| | 04:33 | that by choosing Edit > Undo and setting
it back to the way it was and in the
| | 04:38 | next movie I will show you a feature
of Soundbooth CS4 that lets you perform
| | 04:41 | more accurate volume changes.
| | Collapse this transcript |
| Automating volume| 00:00 | At the end of the previous movie, I
showed you how you can change the volume
| | 00:03 | level of sections of your audio clips
by first selecting the section that you
| | 00:06 | want to change, and then
using the Amplitude slider here.
| | 00:09 | But as I mentioned the problem with
this method is that when you are dealing
| | 00:12 | with a continuous sound like we have in
this particular clip, which contains not
| | 00:15 | just people talking, but also the
sound of the ocean constantly behind them,
| | 00:19 | the transition between the area you
increase in the rest of the clip can sound
| | 00:22 | kind of abrupt and harsh. So let me undo that.
| | 00:26 | What I would like to show you now is
a new feature of Soundbooth CS4 called
| | 00:30 | the Volume Keyframing tool, and we've
actually been staring at this tool the
| | 00:33 | whole time. It's this thin blue line
that you see right here, running across
| | 00:36 | the entire clip.
| | 00:38 | What it does is it lets you automate
the volume levels within the clip by
| | 00:41 | clicking at the key points where you
want to change in the volume to occur. So
| | 00:44 | let me show you how this works. I am
going to click right about here where the
| | 00:48 | volume level does get louder to add a
point there, and then I am going to add
| | 00:52 | another point and drag that up, maybe
like so, and it tells you how many dB you
| | 00:58 | are raising it. Like so. Okay, let's
give that a listen and compare the two areas.
| | 01:07 | (Girls laughing.)
(Girl 1: Probably about 6 years, yeah.)
| | 01:11 | (Girl 1: On and off though.)
(Woman off camera: And you guys aren't surfing now obviously.)
| | 01:14 | (Woman off camera: So what are you doing
here now. Are you checking the waves?)
| | 01:18 | (Girl 1: We were going to go, yeah... )
| | 01:20 | It's still a little bit louder.
Let's drag it up a little bit more.
| | 01:26 | This line lets you gradually ramp the volume
up or down instead of having it occur abruptly.
| | 01:31 | (Girl 1: On and off though.)
| | 01:33 | (Woman off camera: And you guys aren't surfing now obviously.
So what are you doing here now. Are you checking the waves?)
| | 01:40 | (Girl 1: We were going to go,
yeah, and we're just checking...)
| | 01:42 | Okay. So it's a little bit better. I
think you get the idea there. So this tool
| | 01:45 | lets you change volumes more gradually
than you could by selecting a section of
| | 01:49 | the waveform and using the Amplitude
slider and it's a really nice tool to
| | 01:52 | have in your arsenal, especially when
you are dealing with a situation where
| | 01:55 | you want manual control over
the levels inside a single clip.
| | 01:58 | Incidentally, if you can't seem to
click on the Volume Keyframing tool, go up
| | 02:01 | to the Edit menu and make sure
Enable Volume Keyframe Editing is checked.
| | 02:05 | You can't turn this feature off because
it is easy to accidentally click on the
| | 02:08 | Volume Keyframe Line and inadvertently
change the volume of your clip. So keep
| | 02:12 | this feature in mind if you need to
make volume adjustments within your clip.
| | 02:16 | In the following movie, we'll look at
ways of equalizing the volume of the
| | 02:19 | entire clip automatically.
| | Collapse this transcript |
| Equalizing volume| 00:00 | In the previous movie, we looked at
the Volume Keyframing tool which lets you
| | 00:03 | manually set points in your clip
where you want changes in volume to occur.
| | 00:06 | But there will also be times when you
want to make sure that the volume level
| | 00:09 | of the entire clip is uniform or as
close to uniform as possible throughout.
| | 00:13 | To that end, we have a feature
called Equalize Volume Levels.
| | 00:16 | I am going to undo the changes that
I made in the previous movie using the
| | 00:18 | Volume Keyframing tool. I'm just going to
say Undo Move Keyframes and just keep going
| | 00:23 | backwards till I get that line
back to where it was, all right.
| | 00:28 | Now again we can see here that the
volume level at the beginning of this clip
| | 00:31 | is obviously quieter than the rest
because the waveform is much smaller.
| | 00:35 | To equalize the volume, I just come down
here at the bottom of the Soundbooth
| | 00:38 | window and I click the
Equalize Volume Levels button.
| | 00:40 | Soundbooth takes a couple of seconds
to analyze the clip and now we have a
| | 00:44 | clip in which the volume level is
pretty much uniform throughout. Go and play a
| | 00:48 | little of this for you.
| | 00:51 | (Woman off camera: ...doing here now?
You know, are you checking the waves?)
| | 00:54 | (Girl 1: We were going to go, yeah, and
we're just checking the waves out and seeing...)
| | 00:57 | (Girl 2: It's too cold to go in there now though.)
| | 00:58 | (Girl 1: It was really cold today, so... yeah.)
(Girl 2: Just waiting for it to get warmer.)
| | 01:03 | Now, the results are going to be vary
depending on the audio clip you're using.
| | 01:06 | For instance, in this clip, not only
the level of the speech increased, but you
| | 01:10 | also hear a lot more of the ocean
noise in the background, which might not be
| | 01:14 | completely desirable.
| | 01:15 | It's up to you to make the final call
as to whether this is the best method for
| | 01:19 | equalizing the volume of your clip, or
if you want to use the Volume Keyframing
| | 01:21 | controls, or some other method of
increasing or decreasing volume levels.
| | 01:25 | But again, you can equalize the volume of
the clip by just clicking the button down
| | 01:28 | here or you can also do up by going
to the Processes menu and choosing
| | 01:31 | Equalize Volume Levels or using the
keyboard command here. And you'll also find
| | 01:36 | it in the Tasks panel, under Volume
Correction > Equalize Volume and you'll
| | 01:40 | just find a button here
that does the same thing.
| | 01:42 | Now, another useful and related
feature I should point out while I am in here
| | 01:45 | is the Match Volume task which lets
you equalize the volume of multiple clips
| | 01:49 | together instead of working with just one clip.
| | 01:51 | For example, I have these three
interview clips here kyle_clip.aif, matt_clip
| | 01:56 | and neil_clip and just looking at the
waveforms here I can see that these are
| | 01:58 | very different in terms of the level
of volume. And I know that I eventually
| | 02:02 | want to use these in the same project,
so I am going to have some trouble with
| | 02:05 | the varying levels of volume.
| | 02:06 | Fortunately, I can easily correct this
by selecting the clips. I am just going
| | 02:10 | to click Kyle there, hold down Shift
on my keyboard, select all of three, and
| | 02:13 | just drag those into the files to
match area here under Match Volume.
| | 02:17 | Let me just drag this down a bit, so you
can see what's going on. Drag this up a
| | 02:21 | little bit more. It's a pretty big panel.
| | 02:23 | So I have got three clips in here, and
all I am really going to be concerned
| | 02:27 | about right now here is the Match
Volume button. Go ahead and click that.
| | 02:31 | Soundbooth has now analyzed these clips
and it shows me exactly how much it has
| | 02:36 | to reduce or decrease the level of
each clips that they match. Right here
| | 02:39 | under the Change column, we can see
how much you have to change each one of
| | 02:42 | these clips.
| | 02:44 | Now, if I go back and look at the files again,
| | 02:51 | you can see the clips have all
| | 02:52 | been equalized together now and now
I am free to drag these clips into the
| | 02:55 | same multi-track mix, knowing that
they are all at about the same perceived
| | 02:58 | level of loudness.
| | Collapse this transcript |
| Repairing audio| 00:00 | Now, let's take a look at some of the
tools available in Soundbooth CS4 for
| | 00:03 | fixing problems or imperfections
you might find in your audio file.
| | 00:06 | I am going to work with interview_01.mov
again and there are two problems in
| | 00:10 | this file that I want to try to fix.
The first one happens right about at the
| | 00:13 | 40 seconds mark or a little before
that. So let's give this a listen.
| | 00:18 | (Girl 1: It's cold today so...)
| | 00:21 | So you should have been able to hear
that loud pop that occurred there.
| | 00:24 | Sounds like an issue with the microphone
when this was recorded, but regardless
| | 00:27 | of the cause, it's now on my audio track.
| | 00:29 | Now, there are a couple of ways you
might try to get rid of this noise.
| | 00:32 | For example, you could zoom way in on that
pop and try using the Volume Keyframing
| | 00:36 | tools to try to lower the volume or use
the Amplitude slider here to reduce the
| | 00:40 | volume there. But the problem with
those methods is that you'd be reducing the
| | 00:43 | volume of every sound at that particular moment.
| | 00:45 | So you would end up with instead of
a pop is a slight moment of complete
| | 00:49 | silence on your track, something you
probably don't want. So instead, let's try
| | 00:52 | a tool called the Auto Heal tool. I'm going
to come over here to the Tasks panel and
| | 00:56 | I am going to choose Remove a Sound.
| | 00:57 | Now, that's going to open up the
Spectral Frequency Display pane down here.
| | 01:02 | And I will be getting to that just a
little bit later, but for now, I am going to
| | 01:04 | click this button up here to turn off
that display. So I am just looking at my
| | 01:07 | waveform display again.
| | 01:08 | So let's go ahead and find that pop.
I know it occurred right about here, so I
| | 01:12 | am going to grab my Zoom tool, see I
can spot it here. And you can see right
| | 01:16 | there is that large spike, that's right there.
| | 01:18 | (Background noise/static.)
| | 01:20 | You will hear it if I play it again.
| | 01:21 | (Background noise/static.)
| | 01:23 | So what I am going to do here is I am
going to come over here to the Remove A
| | 01:26 | Sound task panel, click the
Selection tool here, and I am going to try to
| | 01:30 | select just that pop. In fact, I might
want to zoom in a little bit more,
| | 01:35 | so I can see it just a little bit
better. Let's try to select that.
| | 01:44 | With it selected, I am going to come
over here and click the Auto Heal button.
| | 01:48 | And what the Auto Heal does is it
automatically blends the selected area with
| | 01:51 | the surrounding audio, and it
generally works best with selections that last
| | 01:54 | about half a second or less.
| | 01:55 | So let's go ahead and deselect by
clicking off and now play that area again,
| | 01:58 | and we will see if we can still hear that pop.
| | 02:02 | (Background noise/static.)
| | 02:05 | There is still a slight remnant of it, but it's not
quite as prominent as it was before. If you want to try
| | 02:09 | again, you can always choose Edit Undo,
ma be zoom in a little bit more,
| | 02:16 | way, way in, and see how much more we can
get rid of here. Maybe I can get this part here.
| | 02:24 | All right, let's try that. I will zoom
out a little bit more so I can see what's
| | 02:28 | going on. Incidentally I am holding on
the Option key on my keyboard while I
| | 02:33 | click out with a Zoom tool, or if
you're on Windows, you'll hold down the Alt key.
| | 02:37 | All right, let's go ahead and play
that. Click Off so we are not stopping there.
| | 02:42 | (Background noise/static.)
| | 02:44 | You can still kind of tell it
was there, but it certainly is not as
| | 02:46 | prominent as it was before.
| | 02:47 | (Girl 1: No...)
(Background noise/static.)
| | 02:50 | Now, again just remember that the
Auto Heal tool only works with selections
| | 02:53 | that are less than half a second long.
So if I make a large selection here and
| | 02:57 | try to use the Auto Heal tool, I'll
actually get this message saying that it has
| | 03:00 | to be approximately 0.57 seconds or
smaller. Okay, let's just zoom back out
| | 03:04 | again and let's take a
look at another Repair tool.
| | 03:07 | At the end of this clip, you can
hear a cellphone ringing there.
| | 03:13 | (Girl 1: Today is a good day, but it's too cold!)
(Cell phone ringing.)
| | 03:16 | (Girl 1: We're just chickening out.)
(Cell phone ringing.)
| | 03:18 | All right, so you definitely hear
that cellphone there and this is going
| | 03:21 | to be a real issue if you're trying
to get rid of that sound in other audio
| | 03:24 | editing programs. It would be really
difficult to remove a sound like this
| | 03:27 | that's in a single clip and interspersed
with somebody talking and the sound
| | 03:30 | of the wind and the sound of the
ocean. It's hard to pull out just that
| | 03:33 | particular sound. Happily Soundbooth
makes this sort of thing much easier. I am
| | 03:36 | going to zoom in on that area of the
waveform first, and the other way we can
| | 03:39 | do this is just grab the handle up
here and drag that to the right so I'm
| | 03:43 | looking just at the end here. And
let's figure out where that cellphone sound occurs.
| | 03:48 | (Girl 1: Today is a good day, but it's too cold!)
(Cell phone ringing.)
| | 03:50 | (Girl 1: We're just chickening out.)
(Cell phone ringing.)
| | 03:53 | So right here. Now, I am going to
switch back to that Spectral Frequency
| | 03:56 | Display that we saw earlier. This shows
me the frequencies of my audio file as
| | 04:00 | the spikes of color down here. And
looking at this, I can clearly see what
| | 04:03 | looks like dashed lines here and these
actually are showing me the frequencies
| | 04:07 | of the cellphone ring. Now, this
particular ring covers several different
| | 04:10 | frequencies, and you can see we
have multiple dashed lines here.
| | 04:13 | Some rings you will encounter may only
be a single dashed line, but that's not
| | 04:16 | really a big deal. The important thing
is I can see the parts that I need to
| | 04:19 | get rid of here. Let me increase the
size of this so you can see it a little bit better.
| | 04:22 | I am going to come over here and grab
my Marquee tool. I am just going to drag
| | 04:27 | selections around the dashes that I
find down here. Let's start with this one
| | 04:31 | down here. And what you can do is come
over here and check Play Selected
| | 04:36 | Frequencies Only to hear what you have
just selected and play that back.
| | 04:39 | (Background noise/static.)
| | 04:41 | Of course we have to put the playhead over there first.
| | 04:43 | (Chirping noise.)
| | 04:47 | So that's just part of the tone,
| | 04:48 | and what I can do now is just hit the
Delete key on my keyboard and get rid of
| | 04:51 | those frequencies I've just selected.
But there are still other frequencies
| | 04:55 | within that cellphone ring
that I need to get rid of.
| | 04:56 | So I am just going to repeat this for
each series of dashes that I see.
| | 05:03 | Right there.
| | 05:04 | You want to try to get as close as
possible to adjust the frequencies you are
| | 05:07 | trying to eliminate. Let's come in here,
get rid of those. Three more to do.
| | 05:22 | And I see one more up here.
| | 05:27 | All right, let's see if that did anything.
Let's roll our playhead back a bit.
| | 05:31 | I am going to uncheck Play Selected
Frequencies Only and let's hear we have.
| | 05:37 | (Girl 1: Today is a good day, but it's too cold!)
| | 05:40 | (Girl 1: We're just chickening out.)
| | 05:42 | Pretty cool, huh? We actually got rid of
the cellphone frequencies, but we didn't
| | 05:45 | lose the dialog that was being
spoken on the rest of track there.
| | 05:49 | Now, this technique works best
with short defined sounds. Things like
| | 05:53 | background hisses or low rumbles
can't really be fixed this way. But by
| | 05:56 | looking at the sound via the Spectral
Frequency Display here, you should be
| | 05:59 | able to tell whether you'll be able
to get rid of the sound or not just by
| | 06:02 | looking at the display.
| | 06:03 | So using this technique, I was able to
get rid of most of the cellphone sound
| | 06:06 | without really damaging the
speaker's voice, even though the two sounds
| | 06:09 | overlapped each other. When you're
done on this view, you can just click the
| | 06:11 | button up here to go back to your waveform view.
| | Collapse this transcript |
| The History panel and Snapshot tool| 00:00 | If you have been playing with
Soundbooth on your own, you might have noticed
| | 00:02 | that the History panel keeps track of
all the changes that you make to your
| | 00:05 | file as you make those changes. This is
a great feature of Soundbooth CS4 that
| | 00:09 | lets you easily see everything that
you've done to the file since you've opened it.
| | 00:12 | Let me give you a fresh example
here. Let's choose the neil_clip.aif,
| | 00:15 | Double-click that. Just close that
Spectral Frequency Display. And you can see
| | 00:20 | here since I open this last, I had
applied a change called Hard Limit, which was
| | 00:23 | basically applied back when I
showed you how to do volume equalization.
| | 00:26 | I am going to make a couple of more
changes to this. Let's just increase the
| | 00:29 | Amplitude here and we'll trim it. Mayve
add a fade. And you'll notice that each
| | 00:36 | time I make a change, that
change is added to the History here.
| | 00:39 | Now, if I want to undo the changes
I've just made, I can just click backwards
| | 00:42 | in the History panel or just jump
several steps and go all the way back to how
| | 00:46 | the file was when I first opened it.
| | 00:47 | In fact, when you choose Edit > Undo,
what you're really doing is just stepping
| | 00:51 | backwards in the History. Just like
when you choose Redo, you are stepping
| | 00:53 | forwards in the History. Be aware
though that the History panel will remember
| | 00:57 | everything you've done to your file,
even if you save the file, but as soon as
| | 01:00 | you close the file, that History is gone.
| | 01:02 | So, if you are experimenting with
different mixes or effects on your project,
| | 01:05 | it's a good idea to use the new
Snapshot button found in History panel here.
| | 01:09 | The Snapshot button lets you save the
current state of your project at the
| | 01:12 | moment you click this button and
choose New Snapshot. It will ask you to name
| | 01:16 | the snapshot. I am just going to call
this snapshot1. And from this point on,
| | 01:22 | you can then continue playing around
with your file. Maybe I want to reduce
| | 01:25 | the amplitude a bit, maybe trim off
the beginning, add a slight fade.
| | 01:30 | Take another snapshot; call it snapshot2.
And maybe I will do a couple of more changes here.
| | 01:40 | I'll do a little volume change.
| | 01:47 | And take one more snapshot.
| | 01:53 | Again, you can see that the History
panel has been keeping track of everything
| | 01:56 | I have been doing here. So at this
point, I still could go back to earlier
| | 02:00 | states of my project. Now, before it
show you how these snapshots work, let's
| | 02:04 | save the file. I am going
to choose File > Save As.
| | 02:06 | The important thing here is to make
sure you are saving as an Adobe Sound
| | 02:10 | Document or ASND file. Otherwise you
won't be able to go back and use your
| | 02:14 | snapshots.
| | 02:15 | An ASND file is also the best format
for sharing the file with other Adobe
| | 02:19 | products like Premiere, or Flash, or
After Effects, because it's a lossless
| | 02:23 | non-destructive format, so you'll
never lose any of your original sound
| | 02:26 | quality. I'll Just go ahead, and save
this on my desktop for simplicity sake.
| | 02:29 | Now, it's asking me, would you like to
include a snapshot with the file when
| | 02:33 | saving? It's basically saying do you
want to save a snapshot of the file the
| | 02:36 | way it is at this particular moment. I
am not going to bother with that at this point,
| | 02:39 | so I am just going to say, No.
| | 02:44 | Now, let's completely quit Soundbooth.
I am not going to bother saving any of
| | 02:49 | these other changes. So I am just
going to say no to all. Now, let's open up
| | 02:52 | that file that we just saved on our desktop.
| | 02:57 | All right, so here is my clip. If I go
to the History panel, notice the History
| | 03:01 | panel is now completely empty. All
the changes that I made are gone because
| | 03:04 | I've quit Soundbooth. But if I come
back down here to the Snapshot tool,
| | 03:07 | notice that my snapshots have
been saved. So I can go to snapshot1.
| | 03:11 | Now, it's telling me that selecting
a snapshot is going to clear my Undo
| | 03:13 | history. Do I want to create a new
snapshot before I go back to the snapshot?
| | 03:17 | I don't have to worry about that.
I am just going to say, No.
| | 03:18 | So, there is my snapshot1,
| | 03:23 | there's snapshot2,
| | 03:27 | and there's snapshot3.
| | 03:29 | So, at anytime I can select any one of my
snapshots and go back to that version of my
| | 03:32 | project, the way it was
when I took that snapshot.
| | 03:34 | So what this feature really gives you
is the complete freedom to experiment
| | 03:38 | with your project as much as you want,
knowing you can always go back to
| | 03:41 | previous states of a file.
| | Collapse this transcript |
| Inserting scores| 00:00 | Let's take a look now at Soundbooth's
Scores panel. Occasionally, you might want
| | 00:04 | some music or sound effects to mix
into a video or audio file you're working with,
| | 00:07 | but you might not have access
to say a musician friend to compose
| | 00:10 | original pieces for you. But since
using Soundbooth, you can head over to the
| | 00:13 | Scores panel and in here you'll find a
collection of musical scores, ambient
| | 00:17 | noises and sound effects.
| | 00:18 | To sample a score from here, just double-click it.
| | 00:21 | (Music plays.)
| | 00:24 | You can also select a score and
click the Play button down here.
| | 00:27 | (Sound of rain and cars driving by.)
| | 00:32 | So you might want to take some time
| | 00:34 | listening to the scores included with
Soundbooth and you can find even more by
| | 00:37 | going over here to the Resource Central
tab, and in here you'll find loads of
| | 00:41 | sound effects and scores, some for free,
some for a minimal fee. But you can
| | 00:45 | use anything you find in here in any
project you like. So it's definitely worth
| | 00:48 | your while to spend some
time browsing around in here.
| | 00:50 | So let's take a look at how to insert
a score. I am going to go back to the
| | 00:53 | Files panel and click Import and let's
import the movie file surfing.mov.
| | 01:02 | This currently has nothing in the audio track.
So I want to add some music to it.
| | 01:05 | To do so, I am first going to right-click
on it and choose Insert Video into New
| | 01:09 | Multitrack File. A multitrack file is
just that. It's a file with multiple
| | 01:14 | tracks. I can add as many additional
audio tracks to this file as I like.
| | 01:18 | So let's bring in a score. I'll go back
to our Scores panel, and I'll drag this
| | 01:25 | one in here, and now we have a score
track. One of the nice features of scores
| | 01:32 | tracks is that they have their own
volume controls built in right here. I can
| | 01:36 | reduce or increase the volume of this
clip simply by clicking and dragging on
| | 01:39 | the percentage level here either left or right.
| | 01:42 | The scores also have a keyframing
volume control just like the regular clips
| | 01:45 | have so you can automate the volume
level changes during playback. Also bear
| | 01:51 | in mind that each track has its own
volume control, but we'll talk more about
| | 01:54 | that in the next movie. For now,
just make a mental note that the Scores
| | 01:57 | panel can be a great resource when you
are looking for music or sound effects
| | 02:00 | to enhance your project.
| | Collapse this transcript |
| Multi-track mixing| 00:00 | In the previous movie, we looked at
Soundbooth Scores and how we could add a
| | 00:03 | score to a multitrack file like this
one. Just in case you didn't watch that movie,
| | 00:07 | I will quickly create another
multi-track file because in this movie,
| | 00:09 | I want to talk about Mixing and you
need to have a multitrack file to mix.
| | 00:13 | So I am just going to start with the
surfing movie again and choose Insert
| | 00:17 | Video Into New Multitrack File. It
gives this Untitled Multitrack number 2. So
| | 00:23 | again this gives a multi-track file
where we can see the video track and it has
| | 00:26 | no audio currently and we
have an empty audio track.
| | 00:28 | So let's add some audio. I am going to
import a couple of files here from my
| | 00:33 | exercise files. Let's grab matt_clip.aif,
open that, and let's also import
| | 00:41 | surfalicious, which is a music file,.
And let's do one more and I will grab
| | 00:46 | ocean_sounds.
| | 00:48 | Okay. So I am going to add these files
to my Multitrack file here. Let's start
| | 00:52 | with the ocean_sounds. Because this is
currently a surfing video that has no sounds,
| | 00:56 | let me go ahead and play it for
you once here. You can watch down here.
| | 01:01 | So we just have video and no audio.
Let's go ahead and grab ocean_sounds.
| | 01:04 | I am just going to drag this to the existing
Audio 1 track here. So you can see the
| | 01:09 | clip has now been added in its own
track and I can drag it around, like so.
| | 01:13 | Now it's not quite as long as the
video here. So what I am going to do is
| | 01:17 | select that, choose Edit > Copy. I am
going to move my playhead towards the end
| | 01:22 | here and choose Edit > Paste. So I am
just going to paste the copy of it here.
| | 01:26 | Let's zoom out so we can see the
whole thing. I am just going to line that up,
| | 01:31 | and I am just going to trim that edge down.
| | 01:35 | That way I have an ocean sound that
continues all the way through. But, if you
| | 01:38 | look at this waveform, you can see the
ocean sound kind of dies out towards the
| | 01:41 | end here. So it might be a better idea
in this case to actually trim this first
| | 01:45 | clip to right about there. Let's move
this over and stretch it out. That way,
| | 01:54 | if you look at the two waveforms
here, it looks like there's more of a
| | 01:56 | continuous ocean sound all the way through.
I am just going to play that for you once
| | 02:01 | so you can hear what it sounds like.
| | 02:02 | (Background noise/waves crashing.)
| | 02:10 | All right. So now the video is looking a little
bit better because we added that audio sound to it.
| | 02:14 | (Background noise/waves crashing.)
| | 02:20 | Next, I am going to add this
clip called matt_clip, which is
| | 02:24 | a surfer talking about his surfing
experience. Now I could come over here to
| | 02:27 | Track and say Add Audio Track to
create a new blank track, but it's just as
| | 02:30 | easy or easier to grab the clip that
you want, just drag it to a blank area
| | 02:34 | here in the Editor, and that
automatically generates a new audio track.
| | 02:37 | I'll probably put that right about there,
and let's play that and see how that sounds.
| | 02:42 | (Background noise/waves crashing.)
| | 02:44 | (Man 1: My name's Matt Bovard. I've been surfing
about 19 years and I'm from Newbury Park, California.)
| | 02:51 | Okay. So listening to that, his voice is
not quite as loud as I needed to be. It's
| | 02:55 | actually kind of being drowned out by
the ocean sound. So this is where we
| | 02:58 | start doing the actual process of mixing.
| | 03:00 | Mixing is really about finding the
optimal balance between the volume levels of
| | 03:04 | all of your tracks relative to each
other. It's about figuring out what needs
| | 03:07 | to come to the front of the mix, and
what needs to sit in the background.
| | 03:09 | So obviously, since I have some
dialog in here, I want people to be able to
| | 03:12 | hear that. So I am going to come over
here to control area of this track, and
| | 03:15 | you will notice that each track has
its own set of controls that are all
| | 03:18 | identical. This is the Track Volume
right here. I am just simply going to click
| | 03:21 | there and drag to the right to
increase that volume of that track.
| | 03:25 | Now let's give it a listen.
| | 03:28 | (Background noise/waves crashing.)
| | 03:29 | (Man 1: My name is Matt Bovard. I've been surfing
about 19 years and I'm from Newbury Park, California.)
| | 03:36 | That sounds a lot better to me now.
I could even bring the Track Volume of the
| | 03:39 | ocean down a little bit I think.
| | 03:45 | (Background noise/waves crashing.)
| | 03:46 | (Man 1: My name is Matt Bovard. I've been surfing
about 19 years and I'm from Newbury Park, California.)
| | 03:51 | Okay, it's starting to work for me. So
again, just remember that each one of
| | 03:54 | these tracks has its own set of controls.
Now what are these controls? First of
| | 03:57 | all, we have a Mute button which mutes
the track. So if I don't want to hear
| | 04:00 | that track, when I go back to play this,
I hit the Mute button and it's gone.
| | 04:06 | (Man 1: My name's Matt Bovard.)
| | 04:08 | Similarly, we have a Solo button,
which is the S button that will play only
| | 04:11 | this track now when I click the Play button.
| | 04:14 | (Background noise/waves crashing.)
| | 04:17 | Let's undo that. We also have a Pan
button. So if we are working with the
| | 04:20 | stereo mix, we can pan our mix to the
left channel or to the right channel.
| | 04:23 | And this here is our Meter that just gives
a visual representation of how loud our
| | 04:27 | track currently is. Let's add one more
track here. I am going to add some music
| | 04:31 | here, surfalicious. Drag down to a blank area.
| | 04:39 | And there is our music now.
| | 04:40 | Looking at this, I can already tell
it's going to be way too loud. But let's
| | 04:42 | go ahead and play it anyway.
| | 04:44 | (Music playing.)
| | 04:47 | (Man 1 over music: My name's Matt Bovard. I've been...)
| | 04:48 | So you can see that really needs to
come down. So let's drag that way, way down.
| | 04:52 | See how that sounds.
| | 04:54 | (Man 1: ...about 19 years and
I'm from Newbury Park, California.)
| | 04:59 | Now, you can actually do the mixing
live while it's playing back. But my clip
| | 05:03 | here is so short that it's kind of hard
to do. So let's just try that there.
| | 05:07 | (Music plays.)
| | 05:08 | (Man 1: My name's Matt Bovard. I've been surfing for
about 19 years and I'm from Newbury Park, California.)
| | 05:14 | (Music plays.)
| | 05:20 | All right. So the music is a little bit
too long because the video actually runs
| | 05:23 | out before we get to the end of the
music. So let's actually go to the end of
| | 05:27 | the music track here, and just drag
that in. And it actually will snap. You can
| | 05:32 | see it snapping right there to line up
with the end of the video clip or the end
| | 05:35 | of any other clip that it notices. And
I probably want to add a bit of a fade
| | 05:39 | in here. So that the music
fades out. See how that sounds.
| | 05:47 | (Music plays.)
| | 05:49 | Maybe even a little bit longer fade.
| | 05:55 | (Man 1: ...from Newbury Park, California.)
| | 05:58 | (Music plays.)
| | 05:59 | All right. So you can see we do have the
same controls on the individual clips
| | 06:03 | here that we had when we were just
working with the clip itself. We have the
| | 06:05 | Fade controls, we've got the
Amplitude controls here, and we can trim the
| | 06:09 | beginning and the ends of the clips.
| | 06:10 | But if I want to do some more precise
editing, for instance, may be I want to
| | 06:13 | fade the beginning and ends of this
dialog clip here, but I want to be able to
| | 06:17 | have a little bit more precise
control over this, I can double-click this
| | 06:20 | clip. And you will notice that it opens
up in a much larger view, so I can come
| | 06:24 | in here and be more precise about my
fades. Maybe do something like that.
| | 06:28 | Let's see how that sounds.
| | 06:30 | (Man 1: My name's Matt Bovard. I've been surfing...)
| | 06:32 | Okay, that's pretty good. Now it won't
sound as abrupt now when it comes in and
| | 06:36 | maybe I want to fade that out
a little bit at the end as well.
| | 06:40 | (Man 1: ...about 19 years and
I'm from Newbury Park, California.)
| | 06:45 | That's probably a little too much right
there. Let's try from the beginning again.
| | 06:50 | (Man 1: My name's Matt Bovard. I've been surfing
about 19 years and I'm from Newbury Park, California.)
| | 06:57 | Okay. I think I am pretty happy with
that. When you are done doing this more
| | 06:59 | precise editing, you can just click
the Back button up here, sort of like the
| | 07:03 | Back button in your browser to go
back to the view of your entire mix.
| | 07:07 | Now let's give this whole thing a listen.
| | 07:11 | (Music plays.)
| | 07:15 | (Man 1: My name's Matt Bovard. I've been surfing
about 19 years and I'm from Newbury Park, California.)
| | 07:21 | (Music plays.)
| | 07:24 | Pretty cool. So that in a very small
nutshell is the basics of mixing in Soundbooth.
| | Collapse this transcript |
| Exporting audio| 00:00 | When you are ready to share your
Soundbooth project with others, you have a lot
| | 00:03 | of options in terms of file formats. I
still have my multitrack file open from
| | 00:07 | the previous movie.
I'm going to choose File > Save As.
| | 00:12 | Now I spoke about the native Soundbooth
document format, ASND, back in the movie
| | 00:16 | on using the History panel and the
Snapshot tool and how it's a lossless and
| | 00:20 | high quality, nondestructive format.
This is a format you want to use when you
| | 00:24 | intend to continue working
on your project in Soundbooth.
| | 00:26 | In fact, it's a good idea to always
keep an ASND version of your file so you
| | 00:29 | have a non-compressed version to go
back to, if you need to make more changes
| | 00:33 | down the road. Of course, you can
notice that we have several other types of
| | 00:36 | formats in here. Some are for video
output like H.264, or FLV Flash video or
| | 00:43 | MPEG2-DVD, MPEG2 Blu-ray. Some are
just for audio like AIF or WAV or MP3.
| | 00:51 | Depending on which format you choose
here, you'll get different options for
| | 00:54 | customizing the file you're saving.
For example, if I want to export this
| | 00:57 | project as a QuickTime movie since it
has both video and audio, I would choose
| | 01:00 | QuickTime and then Save.
| | 01:03 | Now, I get an entire Export Settings
window here so I can determine exactly
| | 01:06 | what settings I want to apply to this
QuickTime movie. I can choose what video
| | 01:11 | codec I want to use, what I want to
do with the audio. There are tons of
| | 01:14 | choices in here and you kind of have to
know what you're doing, but the choices
| | 01:17 | are all here. Let me go ahead and
cancel out of this. So depending on what
| | 01:22 | format you choose you'll see a variety
of different options when you click Save.
| | 01:27 | Now, I do want to show you a pretty
cool new feature of Soundbooth CS4 though,
| | 01:30 | so let's go back to the surfalicious
audio track, and I'm going to export this
| | 01:35 | as an MP3.
| | 01:38 | Now, I get this MP3 Compression Options dialog box.
| | 01:42 | MP3 is still the most popular format
for distributing music online because of
| | 01:46 | its compression capabilities. But
the problem with most programs that can
| | 01:49 | compress files as MP3 is that you
can't hear the quality of your compressed
| | 01:52 | file until after you save it.
| | 01:54 | Here in Soundbooth CS4, you can
actually preview the audio of your file before
| | 01:58 | you save it. Let's click Play and
listen to what this sounds like at the
| | 02:01 | default 128 kilobits per second.
| | 02:05 | (Music playing.)
| | 02:11 | Now to give you an extreme example,
let's take this down to 16 kilobits per
| | 02:15 | second in mono.
| | 02:18 | (Music playing.)
| | 02:24 | That's pretty horrible sounding, but
it's a great example of how you can hear
| | 02:27 | exactly what you're going to get
before you click the Save button and then
| | 02:30 | adjust accordingly if you're
not happy with the results.
| | 02:33 | Notice also that Soundbooth gives you
the projected size of your exported file,
| | 02:37 | which makes it really easy to take
both file size and file quality into
| | 02:40 | consideration when exporting your project.
| | 02:43 | So as you can see Soundbooth has many,
many options when it comes to exporting
| | 02:46 | your project into other formats.
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