Podcast Academy

In this installment I would like to discuss yet another work-flow enhancement that is available as a tabbed option in the lower area of the Soundtrack Pro 2 application UI. Along with the file attribute/metadata information area referred to as the bin, we find what Apple has named the Multitake Editor.

Scenario:

A voice artist needs to record a quick ten second spot for a radio broadcast. The client specifies a characteristic or “mood” that is required in order to maintain consistency with the specified product referenced in the spot. The artist decides to record a few takes [4], hoping that at least one segment will suit the client’s needs. During post production the artist determines that individual segments of each take would work well if they were incorporated into a single flowing track. Enter the Multitake Editor.

This type of workflow is not too difficult to accomplish, especially if the producer is savvy using a professional quality multitrack DAW. On the other hand in my opinion Apple has once again incorporated a few groovy features into the STP 2 application concept that ultimately improves productivity for this type of project.

The Process:

I set an 11 second playback cycle as displayed in the selected area in the Time Ruler located at the top of the multi-track view. This attribute holds true for a recording session as well. In this case you simply arm a single track for recording, engage record in the lower transport area, and begin a new take each time the playhead returns to the beginning of the cycle interval. At the end of the recording session we are presented with what appears to be a single track of audio … until we access the Multitake Editor at the bottom of the application interface.

Remember that we recorded [4] takes. Each individual take is now available independently in the editor along with the composite track. Tracks can be auditioned and subsequently cut with the blade tool in order to achieve a segmented output that plays back seamlessly. You have access to a scrub tool, slip edits can be performed, reordering is supported, and lastly - you can remove takes and/or add files from external projects and sources.

Cross-Fades:

Here is where things get interesting: As displayed in the screen capture, cut points can be expanded into customizable cross-fades in order to maintain seamless edits. Remember that in your projects, cross-fade attributes will undoubtedly vary depending on the source material and your intended results. The Multitake Editor supports full customization options. Once satisfied, the single multitake clip will be accessible within the multi-track project work-space.

Very cool …

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We are pleased to announce Open Registration for Podcast Academy 6, taking place September 27th, 2007 in Ontario California.

This is your oppourtunity to learn from the leaders in audio and video podcast production, marketing, and implementation. This will be an informative event, and it’s a great way to begin your vist to the Podcast and New Media Expo .

For complete details visit the Info & Registration Page.

In a previous post I mentioned how the bin located below the project workspace in the multitrack view provides easy access to an abundance of useful [and accessible] data. Here are a few thoughts in reference to how the bin helps to maximize productivity when working in the Wave Editor view.

Scenario:

A 120 minute source file recorded at Duke University and slated for eventual publication on our Podcast Academy Channel. This particular session consists of an extensive introductory piece by a Duke official. Subsequently there are about 5 independent student presentations.

I need to determine the best method of distribution with regards to specific durations of multiple segments. The situation is that I would rather not publish a 120 minute program. In order to get a good feel for this, I decided to mark reference points throughout the project before I began the process of editing the dialog.

If you are not familiar with the UI, here is a brief overview: The top left pane specifies project properties, the top right pane displays the new multichannel metering system [more info soon], bottom left are project Actions, bottom right is the system tree or browser. Below the Wave Form is our tabbed workspace that includes the bin.

I snapped this pic [with Snapz Pro X] halfway through the initial stage of segmentation. Notice the accessibility of each individual marker located in the bin. Their locations are dynamically accessible in the timeline by simply double clicking spot references. Data editing can be preformed as well.

In the prior version of STP, the lower area of the Wave Editor UI housed the envelope point editor. The rest of this space was a waste of screen real estate. Your only option was to extend the view of the wave form to the bottom of the UI. I prefer the new design, and in my opinion this is just another example of how Apple has successfully implemented a much improved concept that in the end helps to maintain an efficient working environment.

Let me point out that all is not perfect. As with any major software update, problematic issues are inevitable. So far nothing major. However there are a few pesky details that need to be addressed.

I’ll be in touch …

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Heard of Sound Devices? If not, allow me to enlighten you. This company is responsible for a world class group of portable recorders that are used extensively in sound effects gathering, feature film production, and broadcasting. They also live up to the strict requirements that are necessary in acoustical testing and measurement sessions.

At last year’s Podcast and New Media Expo, I met a gentlemen who is a recordist here on the east coast. In his possession was one of the Sound Devices recorders. He was nice enough to allow me to check it out. I was very impressed with its features and exceptional build quality.

One thing - remember that quality = $$. I have no problem with this. I’m a firm believer in you get what you pay for. The base recorder is priced just shy of $2K.

Enter the SD USBPre. This is a $550 USB interface that offers a host of great features for the serious computer recordist. This piece includes two XLR mic inputs with available 48V phantom power, dual 1/4″ inputs, and a set of standard RCA inputs. Output support includes two headphone jacks [1/8-inch, 1/4-inch], PC audio output, S/PDIF I/O, and a USB bus that also draws from the computer to power the unit. The front of the device sports excellent monitoring meters, a headphone output adjustment, and a mix level control that blends source audio and computer audio.

Sample Rates/Bit Depths:

• Recording: 8, 16, or 24-bit at 32, 44.1, 48 kHz

• Playback: 8, 16-bit at 5 to 55 kHz, will play back 24-bit sources at 16-bit

The USBPre is housed in a high-strength extruded aluminum chassis, and weighs a mere 1.2 lbs.

Computer Support:

• OS X Core Audio, PowerPC or Intel-based Mac

• Windows 98, ME, 2000, and XP

Based on the performance and reputation of the coveted Sound Devices recorders, I think it is safe to assume that the USBPre is a hot ticket. If you are in the market for a professional recorder or interface, take a look at what they have to offer. Cool Stuff …

One last note: the graphic above is a bit misleading. The lower images that display the I/O panels are actually located on the sides of the unit, not the back.

Talk about accessibility? This is just another example of major improvement. In the prior version of STP, accessing project attributes was just a total nightmare. In version 2, the problem has been solved.

There are a few things to note:

• Notice the bin below the multitrack project. From this extensive supply of project attributes, each and every marker, file, and clip is listed along with its associated metadata. A simple click navigates to the accessed item in any project that is active during a particular session.

• You can audition clips, rename them, replace them, manage markers … I think you get the idea.

• You can re-introduce attributes into the opened project by simply dragging files up from the bin into a track.

• Notice the channel strip at the lower left. This appears when you select a specific track. This is a great way manage a single track [or group of tracks] when dealing with an extensive project.

• If you feel this workspace is a bit too busy, each pane can be resized, repositioned, or closed.

One last note - the lower pane where the bin is located offers additional tabbed work spaces:

• Mixer
• Multi-take Editor
• Conform Workspace
• Wave Editor [for single files, or - each attribute of a multi-track project]

Accessibility? I think so ….

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I’ve received a few questions with regards to 5.1 support specifics in Soundtrack Pro 2. Also, in this recent installment of my program The.Point, I make reference to the amount of disc space that is required for the entire Final Cut Studio suite. As noted in the previous post, this is accurate. Keep in mind the additional media libraries that are associated with STP, DVD SP and Motion, are optional.

In terms of 5.1 Specifics, you can:

• Create 6 discrete mono tracks in the project window and associate independent files with each track. Proprietary routing is supported.

• Drag 6 discrete mono files into a single track [see graphic]

In both cases, the Graphical Surround Panner simplifies channel mixing.

Depending on output configurations and interface compatibility, you can:

• Export tracks as individual files

• Export a single 5.1 file

• Bounce surround mixes to stereo for subsequent export

STP Multitrack

Pay close attention to a few things in this diagram: the snippet to the right is a single track that includes six discrete channels of audio. Notice the Pan adjustment icon on channel strip three in the mixer. Double click this and the surround adjustment palette will launch. You can prepare for a stereo mixdown by changing the surround panner on the track to a stereo panner, and adjust the output bus to stereo.

Real easy, and more to follow …

Four hours have past since the Fedex driver dropped off my box. I wanted to share a bit a initial insight before I break for dinner and loose myself in this stuff for the rest of the evening.

I installed all the applications included in FCP Studio Suite 2 on two internal hard drives in my dual 2.0 ghz G5 [3 gigs of ram]. The applications require 4 gigs of disc space, and program attributes require an additional 66 gigs.

The applications were installed on the main system drive and the program attributes were sent to the secondary 200 gig hard drive. Installation lasted just shy of 2 hours. The only issue that surfaced during installation was the installer seemed to hang each time the “100% complete” reference appeared after each of the eight install discs completed data transfer. It turns out Apple posted a notice yesterday in reference to this issue. The bottom line is that it’s normal behavior. All applications now run, and all previous projects run with no problems.

Soundtrack Pro 2

Here is a quick brief:

• You can now maintain envelope point associations during clip management

• MP3 export is available from within the application

• When a cross-fade is double clicked, a customization curve palette appears

• Tracks can be colored independently

• Detailed metadata management and editing is available

• You can perform a fast Match EQ process right from the menu. Simply select a source clip, set the EQ reference - select a target clip, and process

• There are three handy “HUDS” [heads up displays] including a floating timecode palette

• The new UI configuration can be quickly modified with Pane Selection buttons

• The STP Plugins have a new aesthetic design, similar to the common Apple Pro-App palette

• In terms of multi-track recording - I couldn’t figure out why the I/O configuration would not permit me to set things up to support 8 inputs. it appears projects are limited to 6 dedicated inputs from a supported interface. My guess is that this concept is based on 5.1 audio support. Keep in mind that if the external interface has more than 8 inputs, you can still record from the additional inputs. The key is that you are limited to 6 at any given time.

I have to say - this feels like a completely new application. It’s awesome.

to be continued …

I received a pleasant surprise from Apple at 10:20 PM, EST. It looks like my FCP Studio 2 upgrade box will be arriving early tomorrow.

Based on what I have been reading, this was quite a surprise. I was under the impression the upgrade boxes were due at the end of this month. Needless to say I was a bit disappointed when I learned that UK customers began to receive shipment notifications this early evening. I guess Apple has officially opened the flood gates. In fact, I have a few projects already lined up for Soundtrack Pro 2 - this week’s Grape Radio, and an interview segment that I recorded [dual telco via telos one x2] featuring Denise Howell and guest for her IT Conversations Sound Policy series.

I’m interested to see how things turn out. I’ll be posting additional information [and maybe a screen shot or two] over the next few days.

Stay tuned …

At first glance I thought this was just another video transcoder application. It turns out elgato began shipping their turbo.264 hardware encoder in the form of a compact USB 2.0 stick.

This concept accelerates video encoding by acting as a “co-processor” to maximize system efficiency. This includes using the export command of Mac video applications like Final Cut Pro and Quicktime Pro. elgato states performance is up to four times faster on Macs with Intel Core processors, and encoding on older PPC systems is “exponentially faster.” Check out the cool photo gallery. The bundled software application offers presets for Apple TV and iPod video conversions, and it supports 4:3 /16:9 resolutions.

The kit sells for $99 US.

Wave Arts develops/distributes excellent quality audio processing plugins including FinalPlug, their Peak Limiter/Volume Maximizer. I’ve recommended this tool to many producers who were in need of a tool that is capable of efficient average volume management. A simple threshold setting along with a user defined ceiling accomplishes loudness maximization effortlessly.

Pay close attention to the fabulous aesthetic attributes of the entire product line. Also, be sure to check out the demo movies on the site for each plugin.

Wave Arts has moved into the Noise Reduction/Restoration space. They now offer the Master Restoration Suite plugin that consists of four individual processing stages:

• MR Noise [broadband NR]
• MR Click [click and crackle filtering]
• MR Hum [hum, buzz, and brickwall filtering]
• MR Gate [expander/gate]

The cost of this suite is $499 US. Considering it’s vast array of options - it’s an excellent deal.

I have more good news: each one of the incorporated processing modules are available individually. MR Noise is priced at $349, and the remaining three check in at $99 per. These purchasing options provide the potential user with cost effective options when considering proprietary needs and workflows.

Features, Formats and Requirements:

Mono/stereo, up to 192 kHz sampling rate, 32-bit processing with 64-bit EQs.

Mac OSX [AU/RTAS/VST/MAS] UB 10.4 or later
Windows [RTAS/VST/DX] Win 2000/XP or later

Pro Tools ver. 7 required

Visit the site to download demos.