Power Macintosh User’s Guide - Manuels - Apple
Power Macintosh User’s Guide - Manuels - Apple
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Power Macintosh
User’s Guide
Includes setup, troubleshooting, and important health-related
information for Power Macintosh 7500 series computers
K Apple Computer, Inc.
© 1995 Apple Computer, Inc. All rights reserved.
Under the copyright laws, this manual may not be copied, in whole or in part, without the
written consent of Apple. Your rights to the software are governed by the accompanying
software license agreement.
The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other
countries. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without
the prior written consent of Apple may constitute trademark infringement and unfair
competition in violation of federal and state laws.
Every effort has been made to ensure that the information in this manual is accurate. Apple is
not responsible for printing or clerical errors.
Apple Computer, Inc.
1 Infinite Loop
Cupertino, CA 95014-2084
(408) 996-1010
Apple, the Apple logo, AppleShare, AppleTalk, GeoPort, ImageWriter, Inter•Poll, LaserWriter,
LocalTalk, Macintosh, MacTerminal, PlainTalk, QuickTime, and StyleWriter are trademarks of
Apple Computer, Inc., registered in the U.S. and other countries.
AppleCD, Apple Desktop Bus, AppleScript, At Ease, AudioVision, Balloon Help, Chicago,
Disk First Aid, eWorld, Finder, GeoPort, Macintosh PC Exchange, Power Macintosh,
PowerTalk, and QuickDraw are trademarks of Apple Computer, Inc.
Adobe, Adobe Illustrator, and PostScript are trademarks of Adobe Systems Incorporated,
registered in the United States. Adobe Photoshop is a trademark of Adobe Systems
Incorporated.
America Online is a service mark of Quantum Computer Services, Inc.
CompuServe is a registered trademark of CompuServe, Inc.
The Energy Star logo is a service mark of the U.S. Environmental Protection Agency.
ExposurePro is a registered trademark of Baseline Publishing, Inc.
Helvetica and Times are registered trademarks of Linotype-Hell AG and/or its subsidiaries.
IBM is a registered trademark of International Business Machines Corporation.
Internet is a trademark of Digital Equipment Corporation.
Motorola is a registered trademark of Motorola Corporation.
NuBus is a trademark of Texas Instruments.
PowerPC and the PowerPC logo are trademarks of International Business Machines
Corporation, used under license therefrom.
QMS is a registered trademark and ColorScript is a trademark of QMS, Inc.
QuarkXPress is a registered trademark of Quark, Inc.
SuperPaint is a registered trademark of Aldus Corporation.
Tektronix is a registered trademark and Phaser is a trademark of Tektronix, Inc.
Simultaneously published in the United States and Canada.
Mention of third-party products is for informational purposes only and constitutes neither an
endorsement nor a recommendation. Apple assumes no responsibility with regard to the
performance or use of these products.
iii
Communications regulation information vi
Preface Welcome to Power Macintosh ix
Part I
1 Getting Started 1
Plugging in the computer 3
Installing an expansion card 7
Connecting a monitor 7
Connecting the mouse and keyboard 10
Connecting other equipment 12
Turning the computer on 12
Problems turning your computer on? 15
What’s next? 16
Learning the basics 17
Reviewing the basics 19
Saving energy with the Energy Saver control panel 21
Turning the computer off 23
Where to find answers 25
Contents
2 Getting Help 27
Getting answers to your questions 28
Identifying objects on the screen 36
Learning useful shortcuts 37
3 Connecting Additional Equipment 39
Your computer at a glance 39
About your computer’s A/V panel 42
Connecting audio equipment 42
Connecting video equipment 48
Connecting external SCSI devices 54
Expanding memory 57
Installing internal drives 58
Connecting network cables 59
4 Installing and Using Application Programs 61
Installing application programs 61
Working with several programs at a time 63
Backing up your files 65
Using Power Macintosh application programs 65
5 Using the Optional CD-ROM Drive 67
Inserting a CD-ROM disc 68
Ejecting a CD-ROM disc 69
Playing audio CDs 70
Working with Photo CDs 71
Sharing a CD-ROM disc over a network 72
iv Contents
Part II
6 Troubleshooting 75
When you have questions 75
If you have trouble 75
Solutions to common problems 79
Solutions to CD-ROM problems 91
If your computer’s performance decreases 97
Solving printer problems 98
Obtaining updated Apple software 98
Initializing a hard disk 103
Repairing a damaged disk 106
Installing or reinstalling system software 110
Installing or reinstalling CD-ROM software 119
Part III
A Health, Safety, and Maintenance Tips 123
Health-related information about computer use 123
Safety instructions 128
Handling your computer equipment 129
Cleaning your equipment 135
Locking and unlocking the mouse 137
B Installing an Expansion Card 139
Expansion card power requirements 140
Card installation 140
Upgrading the processor 150
C Special Keys on Your Keyboard 151
Typing special characters and symbols 153
Special key combinations 155
Index 157
Contents v
vi Communications Regulation Information
Communications regulation information
FCC statement
This equipment has been tested and found to comply with the limits for a Class B digital device
in accordance with the specifications in Part 15 of FCC rules. See instructions if interference to
radio or television reception is suspected.
Radio and television interference
The equipment described in this manual generates, uses, and can radiate radio-frequency
energy. If it is not installed and used properly—that is, in strict accordance with Apple’s
instructions—it may cause interference with radio and television reception.
This equipment has been tested and found to comply with the limits for a Class B digital device
in accordance with the specifications in Part 15 of FCC rules. These specifications are designed
to provide reasonable protection against such interference in a residential installation. However,
there is no guarantee that interference will not occur in a particular installation.
Note: If a 10BASE-T Ethernet connector is used, the system complies only with the FCC Part
15, Class A limits and the CISPR 22, Class A limits, and may not be used in a residential area.
You can determine whether your computer system is causing interference by turning it off. If
the interference stops, it was probably caused by the computer or one of the peripheral devices.
If your computer system does cause interference to radio or television reception, try to correct
the interference by using one or more of the following measures:
m Turn the television or radio antenna until the interference stops.
m Move the computer to one side or the other of the television or radio.
m Move the computer farther away from the television or radio.
m Plug the computer into an outlet that is on a different circuit from the television or radio.
(That is, make certain the computer and the television or radio are on circuits controlled by
different circuit breakers or fuses.)
If necessary, consult an Apple-authorized service provider or Apple. See the service and support
information that came with your Apple product. Or, consult an experienced radio/television
technician for additional suggestions. You may find the following booklet helpful: Interference
Handbook (stock number 004-000-00493-1). This booklet, prepared by the Federal
Communications Commission, is available from the U.S. Government Printing Office,
Washington, DC 20402.
IMPORTANT Changes or modifications to this product not authorized by Apple Computer, Inc.,
could void the FCC Certification and negate your authority to operate the product.
This product was tested for FCC compliance under conditions that included the use of Apple
peripheral devices and Apple shielded cables and connectors between system components. It is
important that you use Apple peripheral devices and shielded cables and connectors between
system components to reduce the possibility of causing interference to radios, television sets,
and other electronic devices. You can obtain Apple peripheral devices and the proper shielded
cables and connectors through an Apple-authorized dealer. For non-Apple peripheral devices,
contact the manufacturer or dealer for assistance.
DOC statement
DOC Class B Compliance This digital apparatus does not exceed the Class B limits for radio
noise emissions from digital apparatus as set out in the interference-causing equipment standard
entitled “Digital Apparatus,” ICES-003 of the Department of Communications.
Observation des normes—Classe B Cet appareil numérique respecte les limites de bruits
radioélectriques applicables aux appareils numériques de Classe B prescrites dans la norme
sur le matériel brouilleur : “Appareils Numériques”, NMB-003 édictée par le ministre des
Communications.
VCCI statement
CD-ROM drive
WARNING Making adjustments or performing procedures other than those specified in your
equipment’s manual may result in hazardous exposure.
WARNING Do not attempt to disassemble the cabinet containing the laser. The laser beam used in
this product is harmful to the eyes. The use of optical instruments, such as magnifying lenses,
with this product increases the potential hazard to your eyes. For your safety, have this
equipment serviced only by an Apple-authorized service provider.
If you have an internal Apple CD-ROM drive in your computer, your computer is a Class 1
laser product. The Class 1 label, located in a user-accessible area, indicates that the drive meets
minimum safety requirements. A service warning label is located in a service-accessible area.
The labels on your product may differ slightly from the ones shown here.
Class 1 label Service warning label
Communications Regulation Information vii
Congratulations on the purchase of your new Macintosh. Your computer is
designed to give you the highest performance combined with real ease of
use—it’s easy to set up, easy to use, and easy to expand. This book will guide
you through the setup procedure, tell you how to expand your Macintosh, and
provide many tips on using your new system.
Your Macintosh computer is powered by the new microprocessor
(or “chip”). This microprocessor was designed by Apple Computer, Inc.,
Motorola, Inc., and IBM Corporation. The microprocessor uses
Reduced Instruction Set Computing (RISC) technology to deliver very high
performance at the lowest possible cost. The RISC microprocessor
represents the state of the art in microprocessor design.
Your new Macintosh will run almost all your existing Macintosh software, but
for best performance and greatest speed, look for the new software programs
designed especially for Power Macintosh computers. You’ll find Power
Macintosh programs at any software store that carries products for Macintosh.
ix
Welcome to Power Macintosh
Ipart
Chapter 1 Getting Started
Chapter 2 Getting Help
Chapter 3 Connecting Additional Equipment
Chapter 4 Installing and Using Application Programs
Chapter 5 Using the Optional CD-ROM Drive
The illustration on the next page shows all the equipment you will need to set
up your computer and begin using it. (Note that your monitor and keyboard
may look slightly different depending on what you purchased.)
Place your equipment on a sturdy, flat surface near a grounded wall outlet.
(Your Power Macintosh was designed to be used and carried in the horizontal
position, as shown on the next page—it should not be used tipped on its side.)
You may place monitors weighing up to 52.3 pounds on top of the computer.
Before following the setup instructions in this chapter, you may want to read
“Arranging Your Office” in Appendix A (in the section on health-related
information) for tips on adjusting your work furniture so that you’re
comfortable when using the computer.
1
1 Getting Started
Follow the instructions in this
chapter to set up your computer
and learn the basics.
Monitor power cord
Computer power cord (sometimes built into the monitor)
Monitor cable
(sometimes built into the monitor)
Keyboard
Apple PlainTalk Microphone (optional)
Mouse
Keyboard cable
(sometimes built
into the keyboard
as shown here)
Monitor
Macintosh computer
Getting Started 3
IMPORTANT When picking up your computer, be sure to grasp it by the sides.
Grasping it by the front or back can cause the computer’s cover to lift off.
Plugging in the computer
Before you plug your Macintosh into a wall socket, carefully read all the
setup instructions in this chapter. Then, before you connect anything to your
Macintosh, follow the instructions in this section to plug it in. The plug
grounds the computer and protects it from electrical damage while you are
setting up. When you are ready to begin, follow these steps:
1 Make sure the voltage switch on the back of the computer is set for the kind of voltage
system to which you will be connecting.
The voltage switch must be set correctly to avoid damaging your computer. If
you don’t know the voltage used in the country you’re in, refer to the table
“Voltages for Different Locations” later in this chapter.
When lifting or carrying the computer, always grasp it
by the sides, as shown. Do not lift or carry the computer
by grasping the front and back.
Set the switch to show “115” for
voltages in the 100–130V range.
Set the switch to show “230” for
voltages in the 220–270V range.
Check to see that the voltage switch
on the back of your computer is
properly set before you plug it in.
If you need to change the setting,
insert a small screwdriver here
and slide the switch.
WARNING Setting the correct voltage for your computer does not set the
voltage for your monitor even if the monitor’s power cord is connected
directly to your computer. To protect your monitor, be sure to use the
appropriate adapter or voltage converter, if one is necessary.
4 Chapter 1
Voltages for different locations
Country Single voltage
Japan 100
South Korea 100/220
Jamaica, Taiwan 110
Peru 110/220
Brazil, Lebanon 110–220
Philippines 115
Bermuda, Canada, Puerto Rico, United States, Venezuela 120
Mexico 127
Saudi Arabia 127/220
Hong Kong 200
India, South Africa 220–250
Israel, Pakistan, Singapore 230
Australia, Kuwait, Malta, New Zealand, Northern Ireland,
Papua New Guinea, Oman, Qatar, United Kingdom 240
Austria, Belgium, Denmark, Finland, France, Germany, Greece,
Italy, Luxembourg, Netherlands, Norway, Portugal, Spain,
Sweden, Switzerland 220–230
Bahrain, Chile, China (People’s Republic), Czechoslovakia,
Egypt, Greenland, Hungary, Iceland, Indonesia, Iran, Jordan,
Liechtenstein, Nepal, Paraguay, Poland, Romania,
United Arab Emirates, Russia and the Commonwealth of
Independent States (CIS), Yemen, Yugoslavia 220
Getting Started 5
2 Plug the socket end of the computer’s power cord into the recessed power socket
(marked with the symbol ²) on the back of the computer.
3 Plug the other end of the power cord into a three-hole grounded outlet or power strip.
IMPORTANT The only way to disconnect power completely is to unplug the
power cord. Make sure that at least one end of the power cord is within easy
reach so that you can unplug the computer when you need to.
Power cord plug Power cord socket
WARNING Be sure to set the voltage switch on the back of your computer
for the voltage system to which you’re connecting the computer.
This equipment is intended to be electrically grounded. Your Macintosh
is equipped with a three-wire grounding plug—a plug that has a third
(grounding) pin. This plug will fit only a grounded AC outlet. This is a
safety feature. If you are unable to insert the plug into the outlet, contact
a licensed electrician to replace the outlet with a properly grounded
outlet. Do not defeat the purpose of the grounding plug!
6 Chapter 1
Installing an expansion card
If you purchased a PCI expansion card for your Macintosh, install it now.
(See Appendix B, “Installing an Expansion Card,” for instructions.)
If you don’t have to install an expansion card, go on to the next section,
“Connecting a Monitor.”
Connecting a monitor
You can connect many types of monitors to your Macintosh computer,
including most standard monitors. See the Technical Information booklet that
came with your computer for a complete list.
This section contains instructions on connecting most types of monitors.
Monitors from manufacturers other than Apple may require adapters for their
monitor cables and power cords. If you are connecting a non-Apple monitor,
also refer to the instructions that came with the monitor.
Connecting the monitor power cord
Monitors have two cords to connect: a power cord and a monitor cable. To
connect the monitor power cord, follow these steps:
1 Place the monitor on top of the computer.
Keep these considerations in mind:
m You can place monitors weighing up to 52.3 lbs. (23.72 kg) on top of the
computer.
m Allow a few inches for air circulation around the computer and monitor.
m Make sure that the top of the screen is slightly below eye level when you’re
sitting at the keyboard.
m Position the monitor to minimize glare and reflections on the screen from
overhead lights and windows.
For further suggestions about locating your computer equipment, consult
“Arranging Your Office” in Appendix A (in the section on health-related
information).
Getting Started 7
8 Chapter 1
2 Connect the monitor power cord to the monitor.
On some monitors, the cord is already attached.
3 Plug in the monitor power cord.
Some monitor power cords are designed to plug into the back of your
computer.
Some monitor power cords must be connected to a grounded electrical outlet,
not to the computer. Check the information that came with the monitor.
Monitor power cord
Monitor power socket
Monitor power socket
WARNING Setting the correct voltage for your computer does not set the
voltage for your monitor even if the monitor’s power cord is connected
directly to your computer. To protect your monitor, be sure to use the
appropriate adapter or voltage converter, if one is necessary.
Getting Started 9
Connecting the monitor cable
After you plug in the monitor power cord, you connect the monitor cable to
the computer’s monitor port.
To connect the monitor cable, follow these steps:
1 Attach the monitor cable to the monitor.
On some monitors, the cable is already attached.
2 Attach the monitor cable to the monitor port on the back panel of the computer.
See the information that came with the monitor to use its special features.
Monitor cable
ª Monitor port
Connecting the mouse and keyboard
You have a choice of several keyboards for your Macintosh. The way you
connect the mouse and keyboard depends on whether the keyboard has a
separate cable or a built-in cable.
Connecting a keyboard with a built-in cable
1 Plug the mouse cable into the recessed port on the back of the keyboard.
The plug and the port are marked with the × icon (symbol). The positions of
the port and icon on your keyboard may be different from those pictured.
By the way: A port marked with the × icon is called an Apple Desktop Bus
(ADB) port.
2 Plug the keyboard cable into the port marked with the × icon on the back of
the computer.
Some monitors have a port to which you can connect the keyboard or mouse.
See the information that came with your monitor.
This cable plugs into the Apple Desktop Bus (ADB) port,
marked with the × icon, on the back of the computer.
Plug the mouse cable into the recessed port
on the keyboard. The flat part of the plug
should be pointing down, as shown here.
10 Chapter 1
Connecting a keyboard with a separate cable
1 Plug the mouse cable into the port on either side of the keyboard.
Most right-handed people prefer to use the mouse with their right hand; most
left-handed people prefer to use their left hand. Plug the mouse into the port
on the side you prefer.
The plug and the port are marked with the × icon (symbol). Align the
symbols before you insert the plug. (The positions of the port and icon on
your keyboard may be different from those pictured here.)
By the way: A port marked with the × icon is called an Apple Desktop Bus
(ADB) port.
2 Plug the keyboard cable (both ends are the same) into the other port on the keyboard.
If you plugged the mouse cable in on the right, for example, plug the keyboard
cable in on the left.
3 Plug the keyboard cable into the port marked with the × icon on the back of
the computer.
Some monitors have a port to which you can connect the keyboard or mouse.
See the information that came with your monitor.
ADB icon
Getting Started 11
Connecting other equipment
If you are new to the Macintosh, it’s a good idea to get some experience using
your computer before you connect other equipment, such as a printer or
scanner. To learn basic Macintosh skills, continue with the instructions in
this chapter.
When you’re ready to connect other equipment to your Macintosh, see the
instructions in Chapter 3.
Turning the computer on
To turn on the computer for the first time, follow these steps:
1 Turn on your monitor.
See the information that came with your monitor for the location of the power
switch. On Apple monitors, the power switch is usually located on the front of
the unit.
By the way: When the monitor is plugged into the computer, you only
need to turn on the monitor once. From now on, the monitor will turn off
automatically when you shut down the computer, and it will turn on
automatically when you start up the computer. (If the monitor is not plugged
into the computer, it must be turned on separately each time you turn on the
computer.)
WARNING Setting the correct voltage for your computer does not set the
voltage for your monitor even if the monitor’s power cord is connected
directly to your computer. To protect your monitor, be sure to use the
appropriate adapter or voltage converter, if one is necessary.
12 Chapter 1
2 Turn on your computer by pressing the Power key on the keyboard.
The Power key is marked with a triangle. Its location depends on which
keyboard you have.
You hear a tone from the computer as it starts up.
Getting Started 13
3 Check to see what’s on your screen.
You’ll see a sequence of messages describing what is happening, followed by
the Energy Star dialog box.
m If you’re a beginning Macintosh user, press the Return key.
m If you’re an experienced Macintosh user, you may want to set your energysaving
options now (refer to the “Power & Energy Saving” topic of
Macintosh Guide, available in the Guide (h) menu, and “Saving Energy
With the Energy Saver Control Panel” later in this chapter).
m If, when you press Return, you see the Macintosh desktop (shown here),
your system software is already set up correctly.
14 Chapter 1
Macintosh desktop
Hard disk icon
Skip now to “What’s Next?”
m If you see a blinking question mark, see “Solutions to Common Problems”
in Chapter 6.
m If you see anything else on your screen, or if you see nothing at all, see the
section “Problems Turning Your Computer On?” later in this chapter.
Note: To save energy, your computer is automatically set to put itself to sleep
if you haven’t used it for 30 minutes or more (the screen dims). If your
computer attempts to go to sleep while you’re setting it up, simply press a key
on the keyboard to “wake it up.”
Problems turning your computer on?
If you don’t see anything on the screen, check these items to see if you can
identify the problem:
m Is the computer plugged into a power source? If it is plugged into a power
strip, is the power strip turned on?
m Is the computer turned on? The power-on light on the front panel should
be on. If it isn’t on, press the power button (marked with the symbol I),
also on the front panel.
m Are the keyboard and mouse cables connected correctly? (Don’t connect or
disconnect the keyboard or mouse cable while the computer is on. You
could damage your equipment.)
m Is the monitor power cord plugged in?
m Is the monitor cable attached firmly to both the monitor and computer?
m Is the monitor turned on? (Check the power-on light on the front of the
monitor.)
m Is the brightness control on the monitor adjusted correctly? (On most
monitors, the brightness control is marked with the symbol Û.)
m Is the computer asleep? (Press a key on the keyboard to wake the computer.
It may take a moment or two for the computer to wake up.)
Getting Started 15
What’s next?
You’ve finished setting up your computer. Continue with one of the
following steps:
m If you are new to the Macintosh, turn to the next section, “Learning
the Basics.” When you’ve learned the basic Macintosh skills, turn to the
section “Saving Energy With the Energy Saver Control Panel” to learn
how to set energy-saving options for your computer.
m If you are an experienced Macintosh user, turn to the section “Saving
Energy With the Energy Saver Control Panel” later in this chapter to learn
how to set energy-saving options for your computer. Then turn to Chapter 2,
“Getting Help,” to learn about Macintosh Guide, your main source of
information when you’re working with the Macintosh.
m If you want to connect additional equipment, such as a microphone, to your
computer, see Chapter 3, “Connecting Additional Equipment,” for
instructions.
m If you want to install application software on your computer, see Chapter 4,
“Installing and Using Application Programs,” for information on setting up
your programs. You’ll need this information to properly set up any software
programs specifically designed for Power Macintosh computers.
IMPORTANT If you need to turn off your computer at any point, please see
“Turning the Computer Off” later in this chapter. It is very important to use
the correct procedure for shutting down your Macintosh before turning it off.
16 Chapter 1
Learning the basics
If you are new to the Macintosh, you should begin by looking at the
easy-to-use program called the Macintosh Tutorial. The tutorial teaches you
the basic skills you’ll need to use your computer. To start the tutorial, follow
these steps:
1 Slide your mouse along your mouse pad or desk.
Hold the mouse as shown, with the cable pointing away from you. Rest the
heel of your palm on the desk and grasp the sides of the mouse between your
thumb and fingers. Use your wrist and fingers to slide the mouse around with
the index finger resting on the mouse button. Don’t press the mouse button
(under your index finger). Notice that the arrow (8) on the screen moves in
the same direction that you move the mouse.
If the arrow doesn’t move, make sure that the cables connecting the mouse
and keyboard are secure and that your mouse is positioned as shown in
the illustration.
Mouse button
Getting Started 17
2 Move the tip of the arrow (8) to the question mark (h) in the upper-right portion of
the screen.
If you run out of room on your mouse pad or desk while moving the mouse,
pick up the mouse and place it where there’s more room. (The arrow on the
screen moves only when the mouse is in contact with the mouse pad or desk.)
3 With the tip of the arrow on the question mark, press and hold down the mouse button.
A list of choices (called a menu) appears. This is the Guide (h) menu, which
is the place to go when you have a question about how to use your computer.
4 While holding down the mouse button, move the arrow until the words “Macintosh
Tutorial” are highlighted, then release the mouse button.
A window appears welcoming you to the tutorial. You can set this book aside
for now and follow the instructions on the screen. When you have completed
the tutorial, return to this book.
18 Chapter 1
Reviewing the basics
You can use the following illustrations to review the elements you use on your
screen to do work with your computer.
Menus
The strip across the top of the screen is called the menu bar. The symbols and
words in it represent menus of commands. To open a menu, place the pointer
on the symbol or word for the menu and press the mouse button.
Getting Started 19
Menu
Window
Icons
Application menu
You can have several
application programs open
at once. To see which
program is active or to switch
from one program to another,
use this menu (called the
Application menu).
Guide menu
To find an answer to a question,
look in the Guide (h) menu.
Icons
Icons are small pictures that represent disks, programs, documents and
folders. You can double-click any icon to open it and see what it contains.
This icon represents your computer’s internal hard disk.
Icons like this one represent application programs, which you use to create
documents and do other work.
Icons like this one represent documents, which you can create and edit.
Icons like this one represent folders. A folder contains other icons.
To throw away an item you no longer want, drag it to the Trash icon and choose
Empty Trash from the Special menu.
Windows
Windows are boxes that display text, graphics, or icons. To change the shape
or position of a window, or to close the window, use the elements shown here.
20 Chapter 1
Scroll arrow
To bring hidden portions
of a window’s contents into
view, click one of the four
scroll arrows.
Close box
To close a window,
click the close box.
Title bar
To move a window, drag it by the middle of the title
bar (anywhere in the bar except the small boxes).
Size box
To change the shape or size of
a window, drag the size box.
To bring a partially
covered window
to the front, click
anywhere in it.
Saving energy with the Energy Saver control panel
When you save energy, you save natural resources and reduce pollution. Your
Power Macintosh contains features that automatically save energy. You can
increase the energy savings by using the Energy Saver control panel to turn
your computer off if you won’t be using it for a while—for example, overnight
or over the weekend.
The Energy Star dialog box (shown in step 3 of “Turning the Computer On”
earlier in this chapter) appears every time you start your computer until you
open the Energy Saver control panel. Once you you open the control panel,
you can accept the pre-set options shown there, or set your own energy-saving
options. If you do not want to set your energy-saving options when the
Energy Star dialog box is displayed, you can click Close Message or press
Return (the Energy Star dialog box continues to appear when you start your
computer).
Setting energy-saving options
You can get to the Energy Saver control panel by clicking Specify Settings in
the Energy Star dialog box that appears when you start your computer or by
choosing Control Panels in the Apple (K) menu.
The Energy Saver control panel has pre-set options you can accept or you can
specify different settings. For more information on using the Energy Saver
control panel, refer to the “Power & Energy Saving” topic of Macintosh
Guide, available in the Guide (h) menu.
Getting Started 21
Putting your computer to sleep
Your Power Macintosh is pre-set to put itself to sleep after 30 minutes of
inactivity. When your computer goes to sleep, the screen dims to save energy
and to prevent images from “burning” into the screen. You do not lose any of
the information you were working on even if you did not save it before the
computer went to sleep.
To put your computer to sleep immediately, press the Power key on the
keyboard or choose the Sleep command from the Special menu. You can set
sleep options using the Energy Saver control panel, available under Control
Panels in the Apple (K) menu.
Waking your computer from sleep
To wake the computer from sleep, press a key on the keyboard. (It may take a
moment or two for the computer to awaken.) The documents and application
programs you had open when the computer went into sleep are still open and
unsaved changes are preserved.
Accessing a sleeping computer over a network
If your computer is being used as a server, other users can still access it over
a network while it is asleep. (The network connection does not have to be
established before the computer goes to sleep.) You can set server options in
the Energy Saver control panel.
Scheduling automatic startup and shutdown
You can set your computer to start up and shut down at specified times using
the Energy Saver control panel. For information on using the Energy Saver
control panel, refer to the “Power & Energy Saving” topic of Macintosh
Guide, available in the Guide (h) menu.
22 Chapter 1
Turning the computer off
Using the Power key
To turn the computer off using the Power key on the keyboard, follow these
instructions:
1 If the computer is in sleep, press the Power key (or any other key on the keyboard except
Caps Lock) to wake it.
For information on the sleep feature of your Macintosh see “Saving Energy
With the Energy Saver Control Panel” earlier in this chapter.
2 Press and hold the Power key on the keyboard for about 2 seconds.
The following dialog box appears on the screen:
3 Press the Return key on the keyboard (or click the Shut Down button in the dialog box).
Using the Shut Down command
You can also turn your computer off by using the Shut Down command in the
Special menu. Follow these steps:
1 If the computer is in sleep, press the Power key (or any key on the keyboard except Caps
Lock) to wake it.
2 Move the tip of the arrow to the word “Special” at the top center of the screen.
If the word “Special” does not appear in the menu bar at the top of the
screen, you’re not working in the Finder, the program you need to be in when
you shut down your computer. Choose Finder from the Application menu
(at the far right of the menu bar). Then try step 2 again.
Getting Started 23
3 With the tip of the arrow on the word Special, press and hold down the mouse button.
4 While holding down the mouse button, move the arrow until the words “Shut Down” are
highlighted, then release the button.
Trouble? If a problem with the computer prevents you from using the Power
key on the keyboard or choosing Shut Down—for example, if the computer
“freezes” so that the pointer does not respond to the mouse—you can turn off
the computer by pressing the power button (marked with an I) on the front
of the computer. Use this method only if you cannot choose Shut Down or
Restart (when you press the Power key on the keyboard, or when you open
the Special menu).
IMPORTANT You could lose unsaved work if you use the power button on the
front of the computer to turn off your computer. Only use the power button
when there is a problem that prevents the computer from being turned off
with the Power key on the keyboard or the Shut Down command. To make
sure your work is saved, use the Power key on the keyboard or the Shut Down
command.
To turn the computer on again, just press the Power key on the keyboard.
24 Chapter 1
Where to find answers
When you have questions about using your Macintosh, there are several
places you can look for answers.
In this book
Use this book to help you set up your computer and learn about it,
or to find solutions to problems with your equipment.
In the Guide menu
The Guide menu (marked with the hicon) is your main source
of information about the Macintosh. To learn how to get different
kinds of help from the Guide menu, see Chapter 2 in this book.
In other manuals
For answers to questions about other equipment or about
application programs you have purchased, see the manuals
that came with the equipment or programs.
In the About Apple Extras file
The Apple Extras folder on your hard disk contains a SimpleText
document called About Apple Extras (often called a “Read Me” file)
with important information about some of the application programs
included with your computer. Read Me files can also be found
inside application folders.
From Apple’s customer support hotline
If you can’t find an answer in any of the materials provided, call the
customer support hotline. (The phone number for the hotline is in
the service and support information that came with your computer.)
If you have problems with a particular application program, contact the
manufacturer of the program. Refer to the section “Obtaining Updated Apple
Software,” in Chapter 6 for information about getting updated Apple software.
Refer to “Ask Apple Online Technical Support,” in the same section of
Chapter 6 for information about getting answers to your computer questions
using eWorld.
User’s Guide
Power Macintosh
Getting Started 25
27
The Guide menu is your main source of information when you’re working
with your computer. The menu is identified by a question mark (h) in the
upper-right corner of the screen.
2 Getting Help
Use the instructions in this
chapter to learn about the help
available to you in the Guide menu.
Getting answers to your questions
When you have a question while working with your computer, you can get the
answer by choosing Macintosh Guide from the Guide (h) menu.
1 Pull down the Application menu (in the upper-right corner of the screen) and choose
Finder to make it the active application program.
A checkmark in the menu indicates that the Finder is the active program.
2 Pull down the Guide menu (marked with the hicon) and choose Macintosh Guide.
The Macintosh Guide window appears.
Whenever you use Macintosh Guide, its window remains in front of other
windows. If the window gets in your way, you can move it by dragging its
title bar (the gray bar across the top of the window).
28 Chapter 2
3 Notice the three buttons at the top of the window: Topics, Index, and Look For.
Macintosh Guide gives you three ways of finding information:
m Topics lets you choose from a list of general subjects; it is like the table of
contents in a book.
m Index lets you choose from an alphabetical list of more specific subjects; it
is like the index in a book.
m Look For lets you search for information related to a specific word or phrase
that you type.
In the following sections you will practice using each method.
If you have problems while using Macintosh Guide, see “Tips for Using
Macintosh Guide,” at the end of this section.
Getting answers with the Topics button
1 In the Macintosh Guide window, click the Topics button.
A list of general topics appears on the left side of the Macintosh Guide
window. (Depending on the hardware and software you have, the list of topics
may look different.)
Getting Help 29
2 Click “Setting Options” in the list of topics.
When you click any topic area, a list of related questions appears on the right
side of the Macintosh Guide window.
3 Click the question “How do I set the time and date?” and then click OK. Or double-click
the question.
A small window appears with instructions for you to follow.
4 Read and follow the instructions in this window.
Macintosh Guide provides step-by-step instructions to answer the question
you selected. When you have completed each step, click the right arrow in the
lower-right corner to see the next step.
5 When you have completed all the steps, click the Topics (or h) button in the lower-left
corner to return to the main Macintosh Guide window.
Now continue with the next section.
30 Chapter 2
Click here to see the next
step (if there is one).
To get instructions,
click a question…
…and then click OK.
If you want to
return to the main
Macintosh Guide
window, click this
Topics button. (On
some computers, it
says “Topics.”)
Getting answers with the Index button
1 In the Macintosh Guide window, click the Index button.
An alphabetical list of subjects appears on the left side of the window.
2 Scroll through the alphabetical list until the phrase “background pattern” is visible.
You can scroll through the list either by dragging the slider to the letter B or
by using the scroll bar at the right of the list.
3 Click the phrase “background pattern” in the alphabetical list.
When you click any index entry, a list of related questions appears on the
right side of the Macintosh Guide window.
Getting Help 31
Scroll bar
Slider
To get instructions,
click a question…
…and then click OK.
4 Click the question “How do I change the background pattern?” and then click OK. Or
double-click the question.
A small window appears with instructions for you to follow.
5 Read and follow the instructions in the window.
Macintosh Guide provides step-by-step instructions to answer the question
you selected. When you have completed each step, click the right arrow in the
lower-right corner to see the next step.
6 When you have completed all the steps, click the Topics (or h) button in the lower-left
corner to return to the main Macintosh Guide window.
Now continue with the next section.
32 Chapter 2
Click here to see the next
step (if there is one).
If you want to
return to the main
Macintosh Guide
window, click this
Topics button. (On
some computers, it
says “Topics.”)
Getting answers with the Look For button
1 In the Macintosh Guide window, click the Look For button.
A small box appears on the left side of the window, where you can type text.
2 Click the arrow button to activate the text box.
3 Type “trash” in the text box and then click Search.
When you click Search, a list of questions related to the word or phrase you
typed appears on the right side of the Macintosh Guide window.
Getting Help 33
To get instructions,
click a question…
…and then click OK.
To activate the text
box, click here.
Type a word or
phrase
…and then click here.
4 Click the question “How do I turn off the Empty Trash warning?” and then click OK. Or
double-click the question.
A small window appears with instructions for you to follow.
5 Read and follow the instructions in the window.
Macintosh Guide provides step-by-step instructions to answer the question
you selected. When you have completed each step, click the right arrow in the
lower-right corner to display the next step.
6 When you have completed all the steps, click the close box in the upper-left corner to
close Macintosh Guide.
34 Chapter 2
If you want to close
Macintosh Guide,
click here.
Click here to see the next
step (if there is one).
Getting Help 35
Tips for using Macintosh Guide
Here are a few tips for using Macintosh Guide effectively:
m Macintosh Guide is available only when you are in the Finder—the
desktop area where you can see the icons of disks, folders, and files.
(Other programs may also have help available in the Guide menu,
however.) If you don’t see Macintosh Guide in the Guide menu, pull
down the Application menu (to the right of the Guide menu) and
choose Finder.
m Follow the steps when you’re instructed to; don’t skip ahead or read
ahead. That way the computer can check to make sure you’ve done a
step correctly.
m Unlike most windows, the Macintosh Guide window stays in front of
other windows on the screen so that your instructions are never
covered. If you need to move the Guide window out of the way, drag
it by the title bar at the top of the window.
You can also move the window out of the way by clicking the zoom
box. Click the box once to shrink the window; click it a second time
to expand the window to its original size.
m If you need more information about an instruction or a term, click the
button labeled “Huh?” to get further explanation. (The “Huh?” button
is dimmed when no additional information is available.)
m If you want to return to the main Macintosh Guide window, click the
Topics (or h) button in the lower-left corner of the Guide window.
m When you’re finished using Macintosh Guide, click the close box in
the upper-left corner of the window.
Close box Title bar
Zoom box
Right arrow
Topics button
(On some computers,
it says “Topics.”)
“Huh?” button
36 Chapter 2
Identifying objects on the screen
Sometimes you’ll see an unfamiliar item on the screen and ask yourself,
“What’s that?” You can get an answer by using a Macintosh feature known as
Balloon Help.
Balloon Help explains the function of icons, menus, commands, and other
items on the Macintosh screen in balloons like those you see in comic strips.
Follow these steps to use Balloon Help:
1 Pull down the Guide menu (marked with the hicon) and choose Show Balloons.
2 Point to any object on the screen that you want to identify.
A balloon appears next to the object. In the following illustration, for
example, pointing to the Trash displays a balloon that explains how to use the
Trash to throw items away.
Although balloons appear next to items when you point to them, the way
you work does not change; you can still select icons, choose commands, and
so on.
3 When you’re finished using Balloon Help, choose Hide Balloons from the Guide menu.
Learning useful shortcuts
You can perform many tasks in the Finder more quickly if you use keyboard
or mouse shortcuts. For example, instead of clicking an icon and choosing
Open from the File menu, you can simply double-click the icon to open it.
Follow these steps to learn keyboard and mouse shortcuts:
1 Pull down the Guide menu (marked with the hicon) and choose Shortcuts.
The main Macintosh Shortcuts window appears.
2 Click one of the category buttons.
Another window appears, describing shortcuts for that category.
Getting Help 37
If you want to
close the window,
click here.
Click here to see the next
window (if there is one).
Click the Topics
button to return to the
main Macintosh
Shortcuts window for
more categories.
(On some computers,
it says “Topics.”)
3 Read about the shortcuts available for the category you selected.
Click the right arrow in the lower-right corner of the window to display the
next window (if there is one).
4 When you finish reading about the shortcuts for your category, click the Topics (or h)
button in the lower-left corner to return to the main Macintosh Shortcuts window. Or
click the close box in the upper-left corner to close the window.
38 Chapter 2
Your computer at a glance
The illustration on the next page shows a basic Power Macintosh system,
ready to use. (Remember that your monitor and keyboard may appear slightly
different from the ones pictured here, depending on what you purchased.)
You can also expand your computer system by connecting other equipment to
it. The illustration of your Power Macintosh system shows where equipment
should be connected to your Macintosh.
For instructions on connecting audio equipment or SCSI devices, refer to the
next two sections of this chapter. For instructions on connecting other
equipment, such as a CD-ROM drive, see the manual that came with the
equipment.
IMPORTANT Make sure each device you add is compatible with your computer
and does not exceed the maximum power allowance for that device. If it is a
SCSI or ADB device, make sure to turn off your computer before connecting
the device. For further information, consult your Apple-authorized dealer, the
manufacturer of the component you want to add, or the Technical Information
booklet that came with your computer.
39
3 Connecting Additional Equipment
Read this chapter for information on
expanding your computer system
with additional hardware.
Your computer’s ports and connectors
Printer port (GeoPort) [ Connects your Macintosh to a printer, LocalTalk network, or
GeoPort Adapter.
Modem port (GeoPort) W Connects an external modem, GeoPort Adapter, or LocalTalk
cable to your Macintosh.
SCSI port g Connects your Macintosh to SCSI equipment such as external
hard disk drives and scanners.
Security lock ports F You can attach a security lock to your Macintosh. See your
computer products retailer for security lock devices that work
with your computer.
Ethernet port (AAUI) G Connects your Macintosh to a high-speed Ethernet network
using an adapter.
Ethernet port (10BASE-T) G Connects your Macintosh to a high-speed 10BASE-T Ethernet
network.
Monitor port ª Connects a monitor to your Macintosh.
Apple Desktop Bus V Connects your Macintosh to an input device, such as a
(ADB) port keyboard or a trackball.
Keyboard Mouse
CD-ROM drive (optional)
Monitor
(AppleVision AV
Display with built-in
microphone and stereo
speakers shown here)
Hard disk drive
(internal)
Speaker
Floppy disk drive
Computer
Power-on light
A green light
indicates that the
computer is on.
IPower button
¹
CD-ROM drive
Open/Close button
Power key
Use this key to turn your
computer on and off.
Expansion bay
Behind the front panel there
is an expansion bay for an
optional 3-1/2" storage device
(1.60" high).
40 Chapter 3
Audio input ports - Connects your Macintosh to the RCA-type audio output ports
(left & right) of video or audio equipment such as VCRs and tape decks.
Audio output ports - Connects your Macintosh to the RCA-type audio input ports
(left & right) of video or audio equipment such as VCRs and tape decks.
Composite video ÷ Connects your Macintosh to most VCRs, laserdisc players,
input port video cameras, and other video input equipment.
Access covers for Your Macintosh supports up to three Peripheral Component
expansion slots (3) Interconnect (PCI) cards.
S-video input port ¾ Connects your Macintosh to VCRs, laserdisc players, video
cameras, or other video input equipment that uses an S-video
connector.
Sound output port - Connects your Macintosh to headphones, externally powered
(amplified) speakers, or other audio output equipment.
Sound input port Å Connects your Macintosh to an Apple PlainTalk microphone or
other audio input equipment.
Monitor power socket
Monitor port
SCSI port
Ethernet port (AAUI)
Sound output port
Apple Desktop Bus (ADB) port Sound input port
Power socket
Security lock
ports
Modem port (GeoPort)
Printer port (GeoPort)
g
G
G Ethernet port (10BASE-T)
W
[
ª
¾ S-video input port
Composite video
input port
÷
²
V Å
Audio input ports
(right & left)
-
-
F
Access covers for
expansion slots (3)
Audio output ports
(right & left)
-
Connecting Additional Equipment 41
About your computer’s A/V panel
The back of your computer has an A/V panel with ports that allow you to
connect a variety of audio input and output and video input devices.
Connecting audio equipment
Your Macintosh can play and record stereo sound from a variety of sources.
You can listen to or reproduce stereo sound by connecting audio equipment to
the sound input and output ports on the computer. If you have an internal
CD-ROM drive, you can also use your computer to play and record sound
from audio compact discs (CDs).
For information on using Macintosh system software to choose audio input
and output options, record an alert sound, or play audio CDs, see the “Sound”
topic of Macintosh Guide, available in the Guide (h) menu.
S-video input port
Connects your Macintosh to the
S-video Out port of VCRs,
laserdisc players, video cameras,
or other video input equipment
that uses an S-video connector
Composite video input port ¾
Connects your Macintosh to the
RCA-type Video Out port of
most VCRs, laserdisc players,
video cameras, and other video
input equipment
÷
Audio input ports (right & left)
Connect your Macintosh to the
RCA-type Audio Out ports of
video or audio equipment such
as VCRs and tape decks
- Audio output ports (right & left)
Connect your Macintosh to the
RCA-type Audio In ports of video
or audio equipment such as
VCRs and tape decks
-
42 Chapter 3
Connecting Additional Equipment 43
About your computer’s sound ports
The sound input port is marked with an icon of a microphone. The sound
output port is marked with an icon of a speaker.
The computer’s sound ports accept these 3.5 mm connectors:
The smaller connector (a “stereo miniplug”) is found most often on stereo
equipment. The slightly longer connector is found on the Apple PlainTalk
Microphone and other voice quality microphones. If your equipment has a
different type of connector, you can purchase an adapter at an electronics
supply store.
Stereo miniplug Extended miniplug
Sound input port
Sound output port
Your computer also has ports that accept left and right audio input and output
through RCA-type connectors. These connectors are found on devices like
VCRs and tape decks (see the previous section, “About Your Computer’s A/V
Panel,” for more information on the types of equipment you can attach to
these ports).
Connecting most audio equipment
To play or record sound with your Macintosh, you can attach a microphone,
amplifier, tape recorder, headphones, or a pair of speakers. (When you have
headphones connected, you don’t hear beeps or other computer noises
through the built-in speaker.)
For specific instructions on connecting a microphone, skip to the next
section, “Connecting and Positioning the Microphone.” For specific
instructions on connecting speakers, see “Connecting External Stereo
Speakers,” later in this chapter.
Follow these steps to connect most audio equipment Macintosh:
1 Make sure that the audio equipment has a cable with a stereo miniplug connector or two
RCA-type connectors.
2 Place the audio equipment near the Macintosh.
3 Shut down the Macintosh and turn off the audio equipment.
RCA RCA
Stereo miniplug
RCA
RCA-type plug
44 Chapter 3
4 Attach the cable to the audio equipment and to the appropriate sound port on the
Macintosh.
To hear or record incoming sound on the computer using a cable with a stereo
miniplug, connect the audio equipment to the sound input port (X). If you’re
using a cable with two RCA-type connectors, connect the audio equipment to
the right and left audio input ports (-).
To record the sound produced by the computer or play that sound through
external speakers using a cable with a stereo miniplug, connect the audio
equipment to the sound output port (-). If you’re using a cable with two
RCA-type connectors, connect the audio equipment to the right and left audio
output ports (-).
5 Turn on the computer and the audio equipment.
You’re now ready to begin listening to and working with sound. For more
information on working with sound, see the “Sound” topic of Macintosh
Guide, available in the Guide (h) menu.
Connecting and positioning a microphone
With appropriate software, you can use the Apple PlainTalk Microphone that
comes with some Macintosh computers (or a compatible line-level
microphone) to give spoken commands to your Macintosh and to record your
voice or other sounds.
Do not use the round omnidirectional microphone supplied with some other
Macintosh models.
Apple PlainTalk Microphone
Connecting Additional Equipment 45
Follow these steps to connect and position the microphone:
1 Shut down the Macintosh.
2 Plug the microphone’s connector into the sound input port (X) on the back of the
computer.
3 Place the microphone at the top center of the monitor, so that the microphone’s
Apple (K) icon is facing you.
If you can’t place the microphone on top of the monitor, position the
microphone according to these guidelines:
m The microphone should be between 1 and 3 feet away from you.
m The microphone should be directly in front of you to minimize the
effect of background noises.
4 Turn on the computer.
You’re now ready to begin using your microphone.
To install software that enables you to give spoken commands to the
computer, get computer-voice feedback to your spoken commands, and have
the computer read text to you, see Chapter 4.
For further instructions on how to use speech software, see the “Speech” topic
of Macintosh Guide, available in the Guide (h) menu.
46 Chapter 3
Connecting external stereo speakers
You can take advantage of your computer’s stereo sound output by attaching
externally powered (amplified) speakers.
1 Assemble the speakers and the cable you need.
You need a cable with stereo miniplugs at each end to connect one or both
speakers to the computer. (Some speakers require a dual-plug adapter.
Others, like those shown in the next illustration, accept a single stereo
miniplug and are joined by standard speaker wires.) You can also use a cable
with RCA-style connectors.
2 Turn off the Macintosh.
3 Plug a stereo miniplug into the sound output port (-) on the Macintosh.
If you’re using a cable with RCA-style connectors, you should plug them into
the left and right audio output ports on the A/V panel instead.
4 Plug a stereo miniplug into the Sound In port on one of the speakers.
If the speakers take a dual-plug cable, connect both plugs.
5 Connect the speakers together with speaker wires, if necessary.
Your finished connections should look something like this:
Audio In port
-Sound output port
Externally
powered
speakers
Connecting Additional Equipment 47
6 Turn on the computer.
Now you hear the computer’s sound through the external speakers. (You may
also need to set options in the Video & Sound control panel in order to hear
sound through your speakers. Refer to the “Sound” topic of Macintosh Guide,
available in the Guide [h] menu for more information.)
Note: To control the volume of your external speakers, use the Video &Sound
control panel to control volume and to set other options for playing sound
through the external speakers. If you are playing an audio CD, you may also
need to adjust the volume control in the program you’re using to play CDs.
Connecting video equipment
You can connect video equipment to your Power Macintosh so that you can
work with video images on the computer. With your Power Macintosh, you
can view video on your monitor, capture single video images, and save
digitized video in files.
Your Power Macintosh can display and use video images from a variety of
sources. To view video on your monitor, you connect video equipment to the
video input port on the computer.
Your Macintosh can work with two video formats:
m S-video
m composite video
S-video is a high-quality video format used by many video cameras and
VCRs. Most televisions, most VCRs, and laserdisc players use the composite
format. To find out which format your equipment uses, check the manual that
came with your equipment.
48 Chapter 3
S-video connectors
The S-video connector is a round plug with several small metal pins. You
can plug this type of connector into your computer’s S-video input port.
IMPORTANT The S-video connector resembles other Macintosh connectors,
such as those for a printer, modem, mouse, or keyboard. Don’t confuse the
connectors; they’re not interchangeable.
Composite video connectors
Many video devices use composite video format instead of S-video. The
cables for these devices have RCA-type connectors (plugs).
RCA-type plug
S-video connector
Connecting Additional Equipment 49
Connecting video equipment for input to the computer
When you connect video equipment to the Power Macintosh, you can view
video on the computer, capture video frames, and hear the sound from the
video equipment through the computer’s speaker. The instructions that follow
are for connecting a stereo VCR or video camera, but you can use them as a
model for connecting your computer to any video equipment.
Before you start, do the following:
m Make sure that the VCR or camera has either a composite (RCA plug) port
or an S-video port.
m Place the VCR or video camera near the Macintosh.
m Shut down the Macintosh and turn off the VCR or video camera.
Then follow these steps:
1 Assemble the cables you need to connect the VCR or camera to the Macintosh.
Depending on what kind of ports your VCR or camera has, you’ll need
different cables (available at an electronics supply store).
m If your equipment has S-video ports, you’ll need the following cables:
Video cable with S-video connectors at each end.
Audio cable with dual RCA plugs at each end.
m If your equipment has composite video ports (RCA-type ports), you’ll need
an all-in-one cable with one video and two audio RCA-type plugs at each
end. (The red connector is for the right audio port, the white connector is
for the left audio port, and the yellow connector is for composite video.)
RCA RCA
RCA RCA
S-video S-video
50 Chapter 3
2 Attach one end of the video cable to the Video Out port on the VCR or camera.
Follow the directions that came with the VCR or camera.
3 Plug the other end of the video cable into either the S-video input port (¾) or the
composite video input port (÷) on the Macintosh.
If the connector doesn’t slide easily into the port, realign it and try again.
Don’t use force, which could damage the computer or cable.
4 Plug the RCA connectors on the audio cable into the left and right Audio Out ports on
the VCR or camera.
5 Plug the RCA connectors on the audio cable into the left and right audio input ports (-)
on the computer.
Composite video connection for input from a VCR
Composite video
input port
Audio input
ports
(left and right)
Video Out
port
Audio Out ports
(left and right)
Triple RCA-plug cable
(available at most electronics supply stores)
VCR
- ÷
Connecting Additional Equipment 51
S-video connection for input from a VCR
Composite video connection for input from a camera
Composite video
input port
Audio Out ports Video Out port
(left and right)
Triple RCA-plug cable
(available at most electronics supply stores)
÷
Audio input
ports
(left and right)
-
S-video input
port
S-video Out
port
S-video
cable
VCR
¾
Audio input
ports
(left and right)
Audio Out ports
(left and right)
-
Dual RCA-plug cable
(available at most electronics supply stores)
52 Chapter 3
S-video connection for input from a camera
6 Turn on the computer and the VCR or video camera.
You can now begin working with the video equipment connected to your
Macintosh. For instructions on how to view video, capture single images,
and use video in other ways, see the “Video” topic of Macintosh Guide,
available in the Guide (h) menu.
S-video input
port
S-video Out port
S-video cable
¾
Audio input
ports
(left and right)
Audio Out ports
(left and right)
-
Dual RCA-plug cable
(available at most electronics supply stores)
Connecting Additional Equipment 53
Connecting external SCSI devices
Your computer has a port for connecting devices that use the Small Computer
System Interface (SCSI, pronounced “skuh-zee”). The SCSI port permits
high-speed communication between the computer and the device. The SCSI
icon appears above the port on the computer’s back panel.
You can connect SCSI devices to the SCSI port in a chain. The first device in
the chain plugs into the SCSI port; the second device plugs into the first
device, and so on. SCSI devices commonly used with the Macintosh include
hard disk drives, CD-ROM drives, scanners, some printers, and tape or
cartridge backup drives.
You can attach up to seven external SCSI devices to the SCSI port. However,
if you have a second internal hard disk connected to this SCSI chain you can
attach only six external SCSI devices to the port. All SCSI devices connected
to this chain must have their own unique ID number.
Note: In addition to the external SCSI port, your computer has a second,
internal SCSI connection. The internal hard disk drive that came with the
computer is connected to this internal SCSI interface. If your computer came
with a CD-ROM player, it is also attached to the internal SCSI interface. An
authorized Apple dealer or service provider can attach additional devices to
the internal SCSI interface. For more information about the SCSI interfaces,
see the Technical Information booklet that came with your computer.
All devices on the same SCSI chain must have unique ID numbers, but
devices on different SCSI chains may use the same SCSI ID number. (For
example, you could have a CD-ROM player with ID number 3 connected to
the internal SCSI chain and a tape drive with ID number 3 connected to the
external SCSI chain.)
IMPORTANT “Before You Connect a Device” and “Connecting a SCSI Device,”
both later in this section, contain general instructions for attaching SCSI
devices to your computer. Be sure also to follow the specific instructions that
came with your external hard disk drive or other SCSI device when
connecting the device to your Macintosh.
SCSI port
SCSI icon
54 Chapter 3
Before you connect a device
Before you connect a SCSI device to your Macintosh, be sure to complete
these tasks:
m Make sure each SCSI device connected to your Macintosh has its own,
unique ID number from 0 to 6 (or from 1 to 6 if you have a second internal
hard disk installed). See the instructions that came with each SCSI device
for information on checking and setting its SCSI ID number.
IMPORTANT If you use two or more devices attached to the same SCSI
interface with the same ID number, your equipment could malfunction and
you could lose data as a result.
m Make sure you have the appropriate cable for attaching the SCSI device to
your Macintosh.
If the device is the first or only one you’re connecting, use a SCSI system
cable to connect it to the computer’s SCSI port:
If the device is not the first one, use a SCSI peripheral interface cable to
connect it to the last device in the chain:
SCSI peripheral interface cable
SCSI system cable
Connecting Additional Equipment 55
IMPORTANT The total length of the cables in a SCSI chain should not exceed
6 meters (20 feet). SCSI cables must have a 110-ohm impedance. For best
results, use SCSI cables manufactured by Apple Computer.
m Make sure that the last (or only) device in the SCSI chain has a terminator.
Make sure that no other external SCSI device has a terminator.
To ensure accurate transmission of information, a terminator must be at
each end of a SCSI chain. Your internal hard disk, which is the first device
in the chain, has a built-in terminator.
Some external SCSI devices from manufacturers other than Apple have
built-in terminators. (Check the information that came with the device.) If
the device at the end of the SCSI chain does not have a built-in terminator,
you need to attach an external terminator.
If your SCSI device has a built-in terminator, you may choose to use it as
your first or last device in the chain, or you may have your Apple-authorized
service provider remove any extra built-in terminators. You can attach or
remove external terminators yourself.
SCSI terminator
56 Chapter 3
Connecting a SCSI device
Use these general instructions in conjunction with the instructions that came
with your SCSI device:
1 Turn off your Macintosh.
2 Make sure the SCSI device is switched off.
3 Use a SCSI cable to connect the device either to the computer’s SCSI port or to the last
SCSI device already in the chain.
4 Turn on all devices in your SCSI chain.
IMPORTANT Always turn on any external SCSI devices connected to your
Macintosh before turning on the computer itself. Otherwise, your computer
won’t be able to recognize that the SCSI devices are connected to it and your
computer may not be able to start.
5 Install any necessary device drivers (software that makes a device work with your
computer).
Drivers needed for a SCSI device usually come on a floppy disk with the
device. (If no drivers come with the device, contact the device manufacturer.)
Note: If you experience problems after connecting a SCSI device, see the
troubleshooting information in Chapter 6 for possible solutions.
Expanding memory
The random-access memory (RAM) in your computer can be expanded.
Installing additional RAM adds more memory chips to your computer and
expands its capabilities. The Technical Information booklet that came with
your computer describes how additional memory can be installed in your
Power Macintosh.
WARNING Do not connect or disconnect any device while the device or
your Macintosh is turned on. Doing so could damage the device, your
computer, or both.
Connecting Additional Equipment 57
Memory for your computer is provided in packages called Dual Inline
Memory Modules (DIMMs). Adding dynamic random-access memory
(DRAM) DIMMs increases your computer’s memory. The DIMMs must be
the correct type for your computer, and can be installed one-at-a-time. For
best performance, however, the DIMMs should be installed in pairs of the
same size into paired slots in your computer. Installing a cache DIMM can
also increase your computer’s performance. The memory used to display
images on the screen (called video RAM, or VRAM) can also be expanded
by installing DIMMs.
It is very important that the DIMMs be correctly installed in your Power
Macintosh, because incorrect installation can result in errors, unpredictable
results, and damage to your equipment and data.
Installing internal drives
Your Macintosh can hold up to four internal storage devices. Possible
configurations could include a floppy disk drive, a CD-ROM drive, and two
hard disk drives (several capacities are available) or a CD-ROM drive, a
floppy disk drive, a removable cartridge drive, and a digital audio tape (DAT)
drive. Depending on the configuration you purchased, these drives may
already be installed. If you want to add an internal drive to your Macintosh,
see your Apple-authorized dealer. For more information about internal drives,
see the Technical Information booklet that came with your Macintosh.
WARNING Although instructions for installing DIMMs are provided in
the Technical Information booklet that came with your computer, Apple
Computer recommends that you have an Apple-certified technician
install additional DRAM, VRAM, or cache DIMMs. Consult the service
and support information that came with your computer for instructions
on how to contact an Apple-authorized service provider or Apple for
service. If you install additional DIMMs yourself, you risk damaging
your equipment and this damage is not covered by the limited warranty
on your computer. See an Apple-authorized dealer or service provider
for additional information about this or any other warranty question.
58 Chapter 3
Connecting network cables
Your Macintosh can be connected to a high-speed Ethernet network via an
AAUI Ethernet connector or a high-speed 10BASE-T Ethernet connector. You
can also connect to a LocalTalk network.
It is possible to be physically connected to more than one kind of network at
the same time, but you can use only one of your connections at one time. If
both 10BASE-T and AAUI networks are connected, your Macintosh
automatically uses the 10BASE-T connection. If 10BASE-T and LocalTalk are
connected, your Macintosh uses the 10BASE-T connection. If AAUI and
LocalTalk are connected, your Macintosh uses the AAUI connection.
About Macintosh networking
Your Power Macintosh can connect to a network that consists of as few as two
computers or as many as thousands or even millions of computers and other
devices. The network allows you and the other people connected to it to share
information, access remote services, and share computing resources such as
printers and modems.
A network extends the features of your Macintosh by extending your reach to
the services and resources provided on the network. For example, your
computer alone lets you store, retrieve, and modify information on floppy
disks, hard disks, and CD-ROM discs. On a network, however, you can also
store and retrieve information on the hard disks and CD-ROM discs of other
computers, access information that other people have stored for you, or use
mail or other network services.
Your computer comes equipped with two built-in network interfaces:
LocalTalk and Ethernet. You can also purchase additional Peripheral
Component Interconnect (PCI) cards for alternative networks such as
TokenRing, ISDN, or FDDI.
To connect your computer to a network you need to do two things: connect
your computer to the network using the appropriate cable, and set up your
network configuration in the AppleTalk control panel, the TCP/IP control
panel, or both.
Connecting Additional Equipment 59
To set up your network configuration, open the AppleTalk control panel to
choose the physical network interface you are using. (The AppleTalk control
panel also contains zone information—a default zone is chosen for you.)
If you plan to use TCP/IP on your Power Macintosh, you also need to choose
settings in the TCP/IP control panel. You can set up your connection in two
ways: manually, by entering a static Internet address, or automatically by
using a network service to connect with a dynamic Internet address. Refer to
the “Networking & Communications” topic of Macintosh Guide, available in
the Guide [h] menu for more information on setting up network
configurations.
If you’re using a static Internet address, you’ll need the following information
before configuring your system (your network administrator or Internet
access provider can provide this information):
m Internet (IP) address: for example, 192.3.232.55
m Domain name and domain name server address: A domain connects an Internet
address to a name for your site, for example, apple.com. Enter your
Domain name or type a period (.).
m Gateway address: This address provides the path the information will take
through the network at your site to reach the Internet.
m Subnet mask: A subnet mask further defines the location of your machine.
You don’t need to change the default unless instructed to do so by your
network administrator.
If you’re using a server on the network that will be issuing you an Internet
address using a technique called bootstrapping, then you need to decide what
protocol you will use: BOOTP (BOOTstrap Protocol), or DHCP (Dynamic
Host Configuration Protocol). Your network administrator will tell you which
to choose.
If you see an error message after configuring your AppleTalk and TCP/IP
control panels, such as, “Unable to locate host,” or “Could not create a
socket,” your software is unable to reach the Internet. This indicates a
problem in the TCP/IP configuration. Contact your network administrator for
additional assistance.
60 Chapter 3
61
Read this chapter for information on
installing and working with application
programs on your computer.
Installing application programs
Your computer has several application programs already installed, as well as
some programs that need to be installed before you can use them. The
programs that come with your computer include
m AppleScript, which allows you to automate any actions you perform
repeatedly on your Macintosh
m Drive Setup, which enables you to initialize, test, and update hard disks and
other storage media. Drive Setup lets you partition very large disks (up to 2
terabytes).
m PowerTalk, which provides built-in mail and collaboration services
m eWorld, a program that lets you send and receive electronic mail and gives
you access to a range of online information and services
m text-to-speech software that allows your Macintosh to speak typed text in
compatible applications such as SimpleText
m Speakable Items, speech recognition software that lets you give spoken
commands to the computer and have the computer respond by executing
the commands and giving computer-voice feedback
You’ll find these and other programs in the Apple Extras folder on your hard
disk. (However, eWorld is in its own folder on your hard disk, and Drive Setup
is in the Utilities folder.) To find out if a program needs to be installed, look
inside the program’s folder for an icon labeled Installer. If you find an
Installer icon and want to use that program, double-click the Installer and
follow the instructions on the screen.
4 Installing and Using Application Programs
If you have questions about installing and using an application program, refer
to Macintosh Guide, available in the Guide (h) menu and the Read Me files
for the program. (Read Me files are text files that contain additional
information about application programs. They are usually found inside the
program’s folder.)
IMPORTANT If your computer did not come with a CD-ROM drive and you did
not get the CD-ROM disc that contains system software, be sure to make a
backup copy of the programs in the Apple Extras folder. Backup copies allow
you to restore your software if anything should go wrong. It is a good idea to
always make backup copies of application programs and other software.
You’ll probably want to buy and install additional programs. See the manuals
you receive with your programs for instructions on installing and using them.
In most cases, you’ll install an application program on your internal hard disk
from a CD-ROM disc that contains the program. The illustration shows how
to insert a CD-ROM disc into your computer’s CD-ROM drive, the disc lying
flat with the label side up.
For instructions on how to eject CD-ROM discs, see “Ejecting a CD-ROM
Disc” in Chapter 5. Some application programs come on floppy disks. See the
“Disks” topic of Macintosh Guide, available in the Guide (h) menu, for
information on inserting and ejecting floppy disks.
62 Chapter 4
To use your programs most effectively, follow these guidelines:
m To avoid installation problems, turn off virus protection programs and use
Apple Extensions Manager to turn off system extensions (except for
Macintosh Easy Open) before you install any software. To start Apple
Extensions Manager, restart your computer while holding down the Space
bar. Use Apple Extensions Manager to turn off all system extensions except
Macintosh Easy Open (this extension is needed to rebuild the desktop
correctly). To turn extensions back on, use Apple Extensions Manager to
turn them on, then restart your computer.
m Put only one copy of each program on your hard disk. Having more than
one copy can cause errors.
m Whenever you copy a program disk to your hard disk, be careful not to
copy a System Folder. Always check to see what you’ve copied, and drag
any extra System Folders to the Trash.
m If a program malfunctions consistently, try installing a fresh copy. If that
doesn’t help, find out from the software manufacturer whether your version
of the program is compatible with the hardware and system software
you’re using.
Working with several programs at a time
You can open as many application programs and desk accessories as your
computer’s memory allows.
All open programs are listed in the Application menu at the right end of the
menu bar. The name of the active program (the one you’re using right now)
has a checkmark next to it, and its icon appears in the menu bar.
Installing and Using Application Programs 63
A checkmark
indicates the
active program.
Commands to hide or
display open windows
Open programs
The Finder icon
Finding out which programs are open
If you have several programs and windows open, you can find out which
program is active and which other programs are open by pulling down the
Application menu.
Switching programs
You can switch to another open program or desk accessory by choosing its
name from the Application menu.
If a program’s icon is dimmed in the menu, that means its windows are
hidden. Choosing the program from the Application menu displays its
windows.
You can also switch to another program by clicking in a window that belongs
to an open program or by double-clicking a program icon (or the icon of a
document that was created with the program).
Hiding and showing windows on the desktop
You can hide all windows except those of the active program by choosing
Hide Others from the Application menu.
The other programs remain open even though their windows are hidden.
When you switch to another program, its windows become visible again.
If you want to see all the open windows, choose Show All from the
Application menu.
64 Chapter 4
Backing up your files
Making backup copies of important files is good protection against possible
damage to the originals.
m You can back up files stored on your hard disk by copying them to
floppy disks.
m You can back up an entire floppy disk by copying it to another floppy disk
of the same capacity or larger, or by copying it to a hard disk.
m You can use a commercial backup program to copy new and changed files
from a hard disk to another hard disk, to a tape drive, or to a series of
floppy disks.
m If your computer is on a network, you may be able to back up files by
copying them to a shared disk on the network.
Using Power Macintosh application programs
Your Power Macintosh is compatible with most application programs
intended for use with Macintosh computers. But certain programs are
designed especially for Power Macintosh computers. (These are sometimes
called “native” applications.) You’ll find that these programs take best
advantage of your computer’s speed.
Special memory requirements
Some Power Macintosh programs may be slightly larger than other programs
and may take up more memory. If you find that you are running out of
memory when you use your Power Macintosh programs, you can use space
on your computer’s hard disk as additional memory (called “virtual
memory”). For instructions on how to use hard disk space as memory, see the
“Memory” topic of Macintosh Guide, available in the Guide (h) menu.
You can also add more memory to your computer, as described in “Expanding
Memory” in Chapter 3.
Installing and Using Application Programs 65
Shared libraries
Power Macintosh programs use special files called shared libraries. These files
help Power Macintosh programs to run more efficiently, and can be used by
more than one Power Macintosh program simultaneously. Any necessary
shared libraries are installed automatically in the System Folder when you
install Power Macintosh programs.
If a Power Macintosh program requires a shared library and there is not
enough memory available for the shared library, you’ll see a message that
the program could not be opened because of insufficient system memory. If
this happens, see the “Memory” topic of Macintosh Guide, available in the
Guide (h) menu, for instructions on increasing available memory.
If a required shared library is missing, you’ll see a message that the program
could not be opened because the shared library could not be found. If this
happens, follow the directions that came with your program to reinstall the
program. If the shared library is still missing, contact the program’s
manufacturer for assistance.
66 Chapter 4
67
Read this chapter for information on using the optional internal CD-ROM
(Compact Disc Read-Only Memory) drive, if your computer has one.
(CD-ROM drives are also sometimes called CD-ROM players.) Refer to
Appendix A, “Health, Safety, and Maintenance Tips,” for information on the
proper handling of CD-ROM discs.
Your internal CD-ROM drive works with CD-ROM discs, standard audio
compact discs (CDs), and single-session or multisession Photo CDs.
Your CD-ROM drive provides access to large amounts of information.
However, you cannot save information on CD-ROM discs. ROM stands
for read-only memory, meaning that the player cannot “write” information
onto CD-ROM discs.
A wide selection of CD-ROM discs is available for entertainment, education,
and business. A typical disc can hold over 650 megabytes (MB) of
information—the equivalent of 270,000 pages of text, up to 8 hours
of speech or music (depending on the sound quality), hundreds of highresolution
images, or any combination of text, sound, and graphics.
5 Using the Optional CD-ROM Drive
Read this chapter for information on
using the internal CD-ROM drive,
if your computer has one.
Chapter 5
Inserting a CD-ROM disc
Follow these instructions to insert a CD-ROM disc into your CD-ROM drive.
Then follow the instructions provided with your disc, as well as the
instructions in this manual.
1 Start up your Macintosh computer, if it’s not already on.
2 Press the Open/Close button to open the tray of the CD-ROM drive.
The tray opens.
3 Place a CD-ROM disc in the tray, with the disc label facing up.
Make sure the disc is lying flat and centered in the tray. If you are using a
small (8 cm) disc, make sure it is centered within the inside ring on the tray.
4 Push the tray in, or press the Open/Close button, to close the tray.
In a few moments, an icon for the CD-ROM disc appears on your screen.
Open/Close button
68
Using the Optional CD-ROM Drive
Ejecting a CD-ROM disc
Follow these instructions to open the tray and eject a CD-ROM disc from
your computer.
IMPORTANT You may not be able to eject a disc if it is being shared. To turn
off file sharing, use the Sharing Setup control panel.
1 Open the tray.
There are several ways to open the tray of your CD-ROM drive.
If a CD-ROM disc icon appears on your screen:
m Select the disc icon on your screen and drag the icon to the Trash.
m Click the disc icon, then choose the Put Away command in the File menu.
m While the AppleCD Audio Player window is active, choose Eject CD from
the File menu, or simultaneously press the x and E keys. (AppleCD Audio
Player is a program that allows you to control your CD-ROM drive and is
available in the Apple [K] menu.)
If no CD-ROM disc icon appears on your screen:
m Press the Open/Close button for your CD-ROM drive.
2 Take the CD-ROM disc out of the tray.
Store your disc in a safe place, away from heat, dust, and moisture.
3 Push the tray in, or press the Open/Close button, to close the tray.
To avoid possible damage to the tray or the CD-ROM drive, keep the tray
closed when you are not using it.
69
Playing audio CDs
With your CD-ROM drive and your computer’s built-in speaker, you can play
audio compact discs (CDs) or audio tracks on CD-ROM discs. You can also
attach headphones or speakers to the computer to listen to audio CDs and
audio tracks. See Chapter 3, “Connecting Additional Equipment,” for
information on connecting sound equipment to your computer.
Note that you may need to set control panel options in order to play audio
CD-ROM discs. Refer to the “Sound” topic of Macintosh Guide, available in
the Guide (h) menu.
To start, stop, and otherwise control audio discs, use the AppleCD Audio
Player program, available in the Apple (K) menu. Your audio CD software
will only play tracks that contain audio information. You can listen to an
audio CD or audio tracks in the background while you do other work on your
computer. For more information about playing audio CDs, see the “CD-ROM
Discs” topic of Macintosh Guide, available in the Guide (h) menu.
70 Chapter 5
Using the Optional CD-ROM Drive
Working with Photo CDs
You can use your CD-ROM drive to open Photo CD images stored on Photo
CDs. A Photo CD image is a digitized version of a standard photograph that
you can open and view on your computer screen.
You can do many things with the images on your Photo CDs:
m Open and view the images individually on your computer screen.
m View the images on your computer screen in a series, as you would view
a slide presentation.
m Copy and save the images, print them, paste them into word-processing
documents or other documents that accept graphics, and edit them with
a graphics application program.
Photo CD images are an excellent source of graphics for desktop
publishing, multimedia presentations, business documents, and
professional-quality graphic design. For more information on working with
Photo CD images, see the “CD-ROM Discs” topic of Macintosh Guide,
available in the Guide (h) menu.
71
Sharing a CD-ROM disc over a network
You can share a CD-ROM disc using the file-sharing feature of System 7.5.2.
If the disc has audio portions, you will be able to hear the audio yourself, but
other people on the network will not. Likewise, you cannot hear the audio
portions of discs you access over a network.
For further information about file sharing in System 7.5.2, see the “Networks
& Telecommunications” topic of Macintosh Guide, available in the Guide (h)
menu.
72 Chapter 5
IpaIrt
Chapter 6 Troubleshooting
75
Consult this chapter if you experience
problems using your computer.
When you have questions
If you want to know how to do a particular task with your computer, refer to
Macintosh Guide in the Guide (h) menu. For instructions on using
Macintosh Guide, see “Getting Help,” Chapter 2 of this manual.
If you have trouble
While you’re using your computer, you may occasionally see a bomb icon
or an error message, or the pointer (8) may “freeze” on the screen.
If you have trouble with your computer, take a few minutes to read the
information in this chapter. If your problem is related to a particular
procedure, you should also look for information on that procedure in
Macintosh Guide, available in the Guide (h) menu. For additional
troubleshooting information and a list of common questions relating to your
system software, see the “Troubleshooting” topic of Macintosh Guide.
6 Troubleshooting
If you are unable to access Macintosh Guide (for example, if your screen
is “frozen”), refer to this chapter to see if you can resolve the problem.
Take your time
When you see an error message, you don’t have to take action immediately.
The message stays on the screen until you click the OK button (or Restart) or
turn off the computer.
To help diagnose and correct the problem, gather as much information on the
situation as you can. Then follow the instructions in the next section, “Start
Over.”
m Make a note of exactly what you were doing when the problem occurred.
Write down the message on the screen and its ID number (if any). Also list
the programs you were using and the names of any items you know have
been added to the System Folder since the system software was installed.
This information will help a service person diagnose the problem. (It is
helpful to keep a printed copy of the items in your System Folder. For
instructions on printing the contents of a folder, see the “Printing & Fonts”
topic of Macintosh Guide, available in the Guide [h] menu.)
m Check the screen for any clues. Is a menu selected? What programs and
document icons are open? Note anything else that seems relevant.
m If you were typing text and were not able to save it before the problem
occurred, you can write down the parts of the text still visible on the
screen so that some of your work will be easy to replace.
m Ask other Macintosh users about the problem you’re having; they may have
a solution for it.
WARNING If you have a problem with your computer and nothing
presented in this chapter solves it, consult the service and support
information that came with your computer for instructions on how to
contact an Apple-authorized service provider or Apple for assistance. If
you attempt to repair the computer yourself, any damage you may cause
to the computer will not be covered by the limited warranty on your
computer. Contact an Apple-authorized dealer or service provider for
additional information about this or any other warranty question.
76 Chapter 6
If you need repair service, consult the service and support information that
came with your computer for instructions on how to contact an Appleauthorized
service provider or Apple for assistance.
If you know that the problem is with a particular application program, contact
the manufacturer of that software for assistance.
Start over
Often you can eliminate a problem simply by clearing the computer’s memory
and starting over.
If you can, save any open documents before restarting the Macintosh. If your
system is frozen and does not respond to anything you do, or if you have a
“bomb” message on the screen, saving may not be possible. You can try
pressing x-Option-Esc to quit the program in use when the problem
occurred; if this works, you can then save the documents open in other
programs before restarting. (Be sure to restart the computer immediately after
you save your documents—quitting a program using x-Option-Esc may leave
corrupted data in the computer’s memory. This corrupted data is erased when
you restart the computer.)
To restart your Macintosh, try the following solutions:
m If you can, choose Restart from the Special menu or from the dialog box that’s on the
screen.
Dialog boxes contain messages from the computer. If something goes
wrong, a message may appear on the screen, asking you to restart the
computer.
m If you can’t choose Restart, press the Power key on the keyboard.
Select Restart from the dialog box that appears.
m If the Power key on the keyboard doesn’t work, hold down the x and Control keys
while you press the Power key on the keyboard (marked with a triangle).
This key combination restarts the computer. (Use this key combination
only when you can’t choose Restart from the Special menu.)
Troubleshooting 77
m Turn off your computer with the power button on the front panel of the computer, wait
at least 10 seconds, and then turn it on again.
If the computer does not turn off, try pressing and holding down the power
button for 3 to 4 seconds.
m If the power button doesn’t turn off the computer, unplug your Macintosh.
m If you suspect that the problem is with other equipment, such as a printer or an
external hard disk that’s attached to your computer, turn that equipment off and
restart the Macintosh.
Rebuild your desktop regularly
A process known as “rebuilding the desktop” helps your Macintosh keep
track of data on your startup disks. Although you usually use the hard disk in
your computer as a startup disk, you can also start up from any other disk that
has system software installed. It’s a good idea to rebuild the desktop of your
startup disks once a month or so.
To rebuild the desktop of a startup disk, follow these steps:
1 While holding down the Space bar, restart your computer.
Do not release the Space bar until you see the Extensions Manager control
panel.
2 Use the Extensions Manager control panel to turn off all extensions except Macintosh
Easy Open.
3 While holding down the x and Option keys, close the Extensions Manager control panel.
The desktop is rebuilt.
4 Open the Extensions Manager control panel again and turn back on all the extensions
you turned off.
78 Chapter 6
Solutions to common problems
This section contains descriptions of problems you could experience with
your computer. Some problems may be caused by your CD-ROM drive, so if
you don’t find your problem here, be sure to check the section “Solutions to
CD-ROM Problems” later in this chapter.
The computer is turned on but the screen is dark.
One of the following is probably the cause:
m The computer is in sleep mode.
Press a key on the keyboard.
m You have a screen saver program that darkens the screen when the
computer has not been used for a certain period.
Press a key or move the mouse to turn off the screen saver.
m The monitor’s brightness control (Û) is not adjusted properly.
Check the monitor’s brightness control and turn it up if necessary.
m The Macintosh or the monitor is not getting power.
If you have a separate monitor, check that the monitor is plugged in and
turned on and that the monitor cable is firmly connected to both the
computer and the monitor.
Check that the computer’s power cord is firmly connected to the computer
and plugged into a grounded electrical outlet and that the outlet has power.
If you have more than one monitor, and only one is dark, check that it is
set up correctly in the Monitors control panel. For information on using
more than one monitor, see the “Monitors” topic of Macintosh Guide,
available in the Guide (h) menu.
m If none of these steps solves the problem, you may need to reset your
computer’s parameter RAM (PRAM). Reset PRAM by turning off the
computer and disconnecting all external SCSI devices. Next, restart the
Macintosh while holding down the key combination x-Option-p-r. Wait for
the second startup chime, then release the keys. (Note that the “caps lock”
key must be in the up position. This procedure won’t work with the upper
case “P” and “R” keys.)
Troubleshooting 79
The computer’s clock keeps time inaccurately.
Your computer has a clock that runs continuously. When the computer is
turned off, a battery keeps the clock running. If your clock begins to keep
time inaccurately, have an Apple-authorized service provider replace the
battery. Consult the service and support information that came with your
computer for instructions on how to contact an Apple-authorized service
provider or Apple for assistance.
When you start up, a disk icon with a blinking question mark appears in the middle of
the screen.
This icon indicates that your Macintosh cannot find the system software it
needs to start up. One of the following is probably the cause:
m Your computer may be having a problem recognizing external equipment
that uses the Small Computer System Interface (SCSI).
Shut down the computer, turn off all external SCSI equipment, and
disconnect the first SCSI device in the chain from your computer’s SCSI
port. Then restart the computer. If the computer starts up after you
disconnect your SCSI equipment, refer to the manuals that came with the
equipment for information on the proper way to connect SCSI equipment
and assign SCSI ID numbers.
If you have a printer connected to your computer’s SCSI port, make sure
your printer is not supposed to be connected to the printer port instead.
Check the manuals that came with your printer for information on how to
connect it properly.
80 Chapter 6
m System software may not be installed on the startup hard disk, the system
software may be damaged, or the hard disk may not be working properly.
Start up your computer using the Disk Tools floppy disk or (if you have a
built-in CD-ROM drive) with the CD-ROM disc that contains system
software. (For instructions on how to start up your computer from the
CD-ROM disc, see “Starting Up From a CD-ROM Disc” in the section
“Initializing a Hard Disk” later in this chapter.) Then follow the
instructions in “Repairing a Damaged Disk” later in this chapter to test
your startup hard disk and repair any damage.
If repairing the disk doesn’t help, follow the instructions in “Installing or
Reinstalling System Software” later in this chapter to reinstall system
software on your startup hard disk.
When you try to start up from a floppy disk, a disk icon with an X appears in the middle
of the screen, and the floppy disk is ejected.
This icon indicates that the floppy disk you tried to start up from is not a
startup disk.
Wait a few seconds. The computer should start up from its internal hard disk.
Make sure you insert floppy disks only after the computer has begun starting up.
Troubleshooting 81
A “sad Macintosh” icon appears, and the computer won’t start up.
This icon indicates that your Macintosh cannot start up because of a problem
with the system software or the computer hardware.
Eject any floppy disks by turning off the computer and then holding down
the mouse button while you turn the computer on again. Try starting up with
the Disk Tools floppy disk or (if you have a built-in CD-ROM drive) with the
CD-ROM disc that contains system software. (For instructions on how to start
up your computer from the CD-ROM disc, see “Starting Up From a CD-ROM
Disc” in the section “Initializing a Hard Disk” later in this chapter.) If the “sad
Macintosh” icon appears again, consult the service and support information
that came with your computer for information on contacting an
Apple-authorized service provider or Apple for assistance.
The hard disk icon does not appear on the desktop.
If you don’t see a hard disk icon on the desktop, try the following:
m Use the Drive Setup program to make the disk available. Drive Setup is
located in the Apple Extras folder. For instructions, start Drive Setup, then
choose Drive Setup Guide from the Guide (h) menu.
m If the hard disk is internal, shut down your computer, wait at least 10
seconds, and then turn it on again.
m If the hard disk is external, make sure that it is turned on and that its cable
is connected firmly; then restart the Macintosh.
m Check the ID numbers of all SCSI equipment connected to your computer.
No two SCSI devices on the same SCSI chain can have the same ID
number. In addition, there are special requirements for assigning SCSI ID
numbers that don’t conflict with your computer or its internal storage
devices. See Chapter 3 and the manuals that came with your SCSI
equipment for information on setting SCSI ID numbers.
82 Chapter 6
m If the hard disk is your startup disk, start your computer using the Disk
Tools floppy disk or (if you have a built-in CD-ROM drive) with the
CD-ROM disc that contains system software. (For instructions on how to
start up your computer from the CD-ROM disc, see “Starting Up From a
CD-ROM Disc” in the section “Initializing a Hard Disk” later in this
chapter.) Then follow the instructions in “Repairing a Damaged Disk” later
in this chapter to test your startup hard disk and repair any damage.
If repairing the disk doesn’t help, follow the instructions in “Installing or
Reinstalling System Software” later in this chapter to reinstall system
software on your startup hard disk.
Icons do not appear correctly on your screen.
You need to rebuild the desktop—a process that helps your Macintosh keep
track of files and folders on your hard disk. For instructions, see “Rebuild
Your Desktop Regularly” in the section “If You Have Trouble” earlier in this
chapter.
Your Macintosh can’t read a floppy disk.
If you see a message that a floppy disk is unreadable, try one of the following:
m If the disk has never been used, you may simply need to initialize it. For
instructions, see the “Disks” topic of Macintosh Guide, available in the
Guide (h) menu.
m The disk may be damaged. See “Repairing a Damaged Disk” later in this
chapter for information on testing and repairing disks.
m If the disk is a high-density disk previously used on another computer, the
disk may have been formatted incorrectly as an 800K disk rather than as a
1440K (high-density) disk. If so, use the other computer to copy the disk’s
contents onto a properly formatted disk.
m The disk may have been formatted for use on another kind of computer.
You may be able to use a program that lets you work with such disks on
your Macintosh.
You can’t eject a floppy disk.
If you can’t eject a floppy disk in the usual way, try the following in order:
m Hold down the x and Shift keys and press the number 1 key on your
keyboard to eject a disk in the internal disk drive.
Troubleshooting 83
m Turn off the computer. If the disk isn’t ejected, then hold down the button
on your mouse or other pointing device while you turn the computer on
again.
m Locate the small hole near the disk drive’s opening, and carefully insert the
end of a large straightened paper clip into it. Push gently until the disk is
ejected. Do not use excessive force.
If none of these solutions works, take the computer or disk drive to your
Apple-authorized service provider to have the disk removed.
You installed a CD-ROM drive after you bought your computer and your computer won’t
restart after you’ve copied software for your CD-ROM drive to the System Folder.
m If you attempt to install software for your CD-ROM drive without using the
Installer, you may not be able to restart your computer. Restart the
computer while holding down the Shift key (to turn off system extensions)
and then remove any CD-ROM software files you copied by dragging them
to the Trash. Reinstall the software according to the instructions that came
with the drive.
If this procedure doesn’t solve the problem, restart your computer using the
Disk Tools floppy disk or the CD-ROM disc containing system software that
came with your computer. (For instructions on starting your computer
using a floppy disk, see “Starting Up From a Floppy Disk” later in this
chapter.)
Your computer won’t restart, and a CD-ROM disc is in the CD-ROM drive.
m Your computer may be trying to start up from the CD-ROM disc. Press the
Open/Close button of your CD-ROM drive to open the tray and remove the
CD-ROM disc. Close the tray, then restart your computer.
84 Chapter 6
You can’t start an application program, or it quits unexpectedly. Or, when you try to open
a program, you see a message that not enough memory is available.
One of the following is probably the cause:
m The Macintosh ran out of memory.
Quit the programs that you have open and then open the program you want
to use, or restart your Macintosh.
Make sure virtual memory is turned on (unless you changed the memory
setting, virtual memory was already turned on for you at the factory). If it
isn’t, use the Memory control panel to turn on virtual memory. For more
information on virtual memory, see the “Memory” topic of Macintosh
Guide, available in the Guide (h) menu.
m The program needs more memory.
Use the program’s Info window to give it more memory. For more
information on increasing a program’s memory, see the “Memory” topic of
Macintosh Guide, available in the Guide (h) menu.
m The program is a non-Power Macintosh application program running in
emulation mode that requires a separate floating-point unit (FPU). It
cannot use the built-in FPU on your computer’s microprocessor.
Check the documentation that came with the program or contact the
program’s manufacturer to find out if the program requires the FPU found
in a non-Power Macintosh chip. If it does, you may need to upgrade to a
Power Macintosh version of the program, or install software that emulates
a non-Power Macintosh FPU. (See your dealer for this software.)
m Sometimes incompatible system extensions or control panels can cause
software problems. Restart while holding down the Shift key to temporarily
turn off all system extensions.
If your program works normally after you do this, use the Extensions
Manager control panel to turn off individual extensions and control panels.
For detailed instructions, see the “Setting Options” topic of Macintosh
Guide, available in the Guide (h) menu.
If your program performs better when a particular extension or control
panel is turned off, contact the software’s manufacturer for information or
an upgrade.
Troubleshooting 85
A dialog box with a bomb appears.
Your system has a software problem.
m Write down what you were doing when the message appeared and write
down the message.
m Restart your Macintosh. (See “Start Over” in the section “If You Have
Trouble” earlier in this chapter for instructions.) Most software problems
are temporary, and restarting usually corrects the problem.
m Check the startup disk and application program you were using when the
dialog box appeared. Make sure that all programs, desk accessories, and
system extensions you’re using are compatible with the system software.
Reinstalling the system software may correct the problem.
m If the bomb only occurs in one application program, try reinstalling the
program from the original disks. If reinstalling doesn’t solve the problem,
contact the manufacturer of the program.
m Sometimes incompatible system extensions or control panels can cause
system software problems. Restart while holding down the Shift key to
temporarily turn off all system extensions.
If your computer works normally after you do this, use the Extensions
Manager control panel to turn off individual extensions and control panels.
For detailed instructions, see the “Setting Options” topic of Macintosh
Guide, available in the Guide (h) menu.
If your computer performs better when a particular extension or control
panel is turned off, contact the extension’s or control panel’s manufacturer
for information or an upgrade.
m If the problem recurs, you may need to reinstall system software. See
“Installing or Reinstalling System Software” later in this chapter for
instructions.
86 Chapter 6
The pointer (8) doesn’t move when you move the mouse.
One of the following situations is probably the cause:
m Your system has a software problem.
Press x-Option-Esc to quit the application program in use when the
problem occurred. If this works, you can save the documents open in other
programs before restarting.
Restart your Macintosh. See “Start Over” in the section “If You Have
Trouble” earlier in this chapter for instructions.
Check the startup disk and program you were using when the problem
occurred. Make sure that all programs, desk accessories, and system
extensions you’re using are compatible with the system software. Try
starting up the computer from the Disk Tools disk or the CD-ROM disc that
contains system software. (For instructions on how to start up your
computer from the CD-ROM disc, see “Starting Up From a CD-ROM
Disc” in the section “Initializing a Hard Disk” later in this chapter.) If your
computer starts up normally, there may be an extension conflict.
If the problem recurs, you may need to reinstall system software. See
“Installing or Reinstalling System Software” later in this chapter for
instructions.
m The mouse is not connected properly.
Turn the computer off using the power button on the front of the computer,
check that the mouse and keyboard cables are connected properly, and then
restart the computer.
IMPORTANT Do not connect the mouse while the computer is turned on. You
may damage your computer.
m Signals from the mouse are not reaching the computer, either because the
mouse needs cleaning or because there is something wrong with the mouse.
Clean the mouse according to the instructions in Appendix A of this book.
If you have another mouse or pointing device, try connecting and using it.
(Turn the computer off before connecting it.) If the new device works, there
is probably something wrong with the mouse you replaced.
If none of these procedures solves the problem, consult the service and
support information that came with your computer for instructions on how to
contact an Apple-authorized service provider or Apple for assistance.
Troubleshooting 87
Typing on the keyboard produces nothing on the screen.
One of the following is probably the cause:
m Your system has a software problem.
Restart your Macintosh. For instructions, see “Start Over” in the section
“If You Have Trouble” earlier in this chapter.
Check the startup disk and application program you were using when the
problem occurred. Make sure that all programs, desk accessories, and
system extensions you’re using are compatible with the system software.
If the problem recurs, try restarting the computer with system extensions
turned off. (To turn system extension off, hold down the Shift key while
restarting the computer.) If that doesn’t work, you may need to reinstall
system software. See “Installing or Reinstalling System Software” later in
this chapter for instructions.
m The computer beeps every time you press a key.
Easy Access is probably turned on. Open Easy Access from the control
panels listed under the Apple (K) menu and turn it off.
m You haven’t selected any text or set the insertion point (i).
Make sure the program you want to type in is the active program. Then
place the pointer (8) in the active window and click to set an insertion
point (i) or drag to select text (if you want to replace the text with your
typing).
m The keyboard is not connected properly.
Turn off the computer using the power button on the front of the computer,
then check that the keyboard cable is connected properly at both ends.
If you have a keyboard with an ADB port (marked with the × icon) on
each end, turn off the Macintosh using the power button and plug the
keyboard cable into the other ADB port on the keyboard. (You may have to
unplug the mouse to do this.) Then restart the computer.
88 Chapter 6
m The keyboard is damaged.
If you have access to another keyboard, try using it instead. (Turn the
computer off before connecting it.) If the new keyboard works, there is
probably something wrong with the one you replaced.
If none of these procedures solves the problem, consult the service and
support information that came with your computer for instructions on how to
contact an Apple-authorized service provider or Apple for assistance.
You can’t open a document, or you see a message that an application program can’t
be found.
m Some documents can be opened by more than one application program.
Try starting a program that you think might be able to open the document,
then choose Open from the program’s File menu to try to open the
document.
m Purchase and install the correct software to use the document, or find out
if the creator of the document can convert it to a form that one of your
programs can use.
m Don’t try to open the files in your System Folder. Most of the files in your
System Folder are used by your computer for internal purposes and are not
intended to be opened.
m Rebuild your desktop (refer to “Rebuild Your Desktop Regularly” in the
section “If You Have Trouble” earlier in this chapter).
m If the document is from a DOS computer, use the PC Exchange control
panel to specify which Macintosh program will open the document. For
information about working with DOS documents on your Macintosh, see
the “Using DOS Files & Disks” topic of Macintosh Guide, available in the
Guide (h) menu.
Troubleshooting 89
You experience problems using a document from a DOS computer.
If you can’t open a DOS document using a Macintosh program, try the
following:
m Open the document from within the program by choosing Open in the
program’s File menu.
m Use the PC Exchange control panel to specify which Macintosh program
will open the document.
If a DOS document is displayed incorrectly, or you see strange codes or
characters in the document, try one of the following:
m Your application program may have special procedures for opening and
saving documents with different file formats. See the information that
came with your program.
m Try opening the document in another program.
Note: Some characters that can be displayed on the Macintosh are not
accurately displayed on DOS computers, and vice versa.
For more information about working with DOS documents on your
Macintosh, see the “Using DOS Files & Disks” topic of Macintosh Guide,
available in the Guide (h) menu.
You see a message that your application program can’t be opened because a file can’t
be found.
Power Macintosh programs use special files called shared libraries. Any
necessary shared libraries should be installed automatically when you install
Power Macintosh programs.
Follow the directions that came with your program to reinstall the program. If
the shared library is still missing, contact the software program’s manufacturer
for assistance.
You experience problems using an older Macintosh program.
Some older Macintosh programs are not completely compatible with Power
Macintosh computers. Check with the program’s manufacturer for
compatibility and upgrade information.
Open the Memory control panel and turn off Modern Memory Manager. For
more detailed instructions, see the “Working with Programs” topic of
Macintosh Guide, available in the Guide (h) menu.
90 Chapter 6
Solutions to CD-ROM problems
Problems using the CD-ROM drive
The CD-ROM drive icon does not appear on screen.
m If you have other internal SCSI devices installed in your computer, make
sure that each device has a unique SCSI ID number. (If your CD-ROM
drive was installed in your computer at the factory, it has SCSI ID 3.)
Refer to the documentation that came with your SCSI devices if you need
to reset SCSI ID numbers.
Note: Your computer also has an external SCSI connector. All devices on the
same SCSI chain must have unique ID numbers, but devices on different SCSI
chains may use the same SCSI ID number. (For example, you could have a
CD-ROM drive with ID number 3 connected to the internal SCSI chain and a
tape drive with ID number 3 connected to the external SCSI chain.
m If you installed a CD-ROM drive after you bought your computer, make
sure the CD-ROM software that came with the drive is installed. See the
manual that came with the CD-ROM drive for software installation
instructions.
m If you reinstall the CD-ROM software, make sure to restart your computer
after you reinstall the software.
You installed a CD-ROM drive after you bought your computer and your computer won’t
restart after you’ve copied software for your CD-ROM drive to the System Folder.
m If you attempt to install software for your CD-ROM drive without using the
Installer, you may not be able to restart your computer. Restart the
computer while holding down the Shift key (to turn off system extensions),
and then remove any CD-ROM software files you copied by dragging them
to the Trash. Reinstall the software according to the instructions that came
with the drive.
If this procedure doesn’t solve the problem, restart your computer using the
Disk Tools floppy disk. (For instructions on starting your computer using a
floppy disk, see “Starting Up From a Floppy Disk,” in the section
“Initializing a Hard Disk” later in this chapter.)
Troubleshooting 91
Your computer starts up and you see large folder-shaped areas, containing labeled
pictorial buttons, instead of the usual Macintosh desktop.
m Your computer may have started up from a CD-ROM disc containing At
Ease, an alternative to the Macintosh desktop. You need to have the
Macintosh desktop on your screen before you can use any of the
installation instructions in this manual.
To return to the Macintosh desktop, choose Shut Down from the Special
menu. When your computer is off, press the Open/Close button of your
CD-ROM drive to open the tray, then remove the CD-ROM disc. Close the
tray. Then start up your computer again.
To avoid having the computer start up from a CD-ROM disc, remember to
remove any disc in the drive before you shut down your computer.
The tray of your CD-ROM drive won’t open.
If a CD-ROM disc icon appears on your screen:
m Drag the disc icon to the Trash, or select it and choose Put Away from the
File menu. If the AppleCD Audio Player program is active, choose Eject
CD from the File menu.
If you see a message that a disc can’t be put away because it is being
shared, turn off file sharing, then try again to put away the disc.
If no CD-ROM disc icon appears on your screen:
m Press the Open/Close button of your CD-ROM drive.
m The signal to open the tray may not be reaching the computer. Turn off
your computer and locate the small pinhole to the lower right of the
CD-ROM tray opening. Insert the end of a large, straightened paper clip
firmly and horizontally into the pinhole. Push gently until the tray is
released, then carefully pull the tray open. Do not force the tray open; wait
until the paper clip has dislodged it, or you may break the front of the tray.
If neither of these suggestions works, your CD-ROM drive may be damaged.
Contact an Apple-authorized service provider or Apple for further assistance.
WARNING Turn off your computer before you attempt to eject the tray
using a paper clip. If you don’t, you may damage the CD-ROM drive.
92 Chapter 6
Your computer won’t restart, and a CD-ROM disc is in the CD-ROM drive.
m Your computer may be trying to start up from the CD-ROM disc. Press the
Open/Close button of your CD-ROM drive to open the tray, and remove
the CD-ROM disc. Close the tray, then restart your computer.
Problems using CD-ROM discs
You insert a CD-ROM disc, but its icon doesn’t appear on the Macintosh desktop.
m Make sure that the disc label is facing up and the disc is centered in the
tray. If you’re using a small (8 cm) disc, make sure it is within the tray’s
inner ring.
m Make sure the tray is closed all the way.
m Try restarting your computer.
m Try starting your computer from the CD-ROM disc that contains system
software while holding the “c” key down. If only the hard drive icon
appears on the desktop, then there may be a hardware problem with your
CD-ROM drive. If the CD-ROM icon appears above the hard drive icon,
try reinstalling your CD-ROM software following the instructions in
“Installing or Reinstalling CD-ROM Software” later in this chapter.
m If you installed the CD-ROM drive after you bought your computer, make
sure the CD-ROM software is installed. (Refer to the documentation that
came with the CD-ROM drive.)
CD-ROM software is already installed on Macintosh computers that come
with CD-ROM drives. You can reinstall it by following the procedure in
“Installing or Reinstalling CD-ROM Software” later in this chapter.
Troubleshooting 93
Your computer displays the message “This is not a Macintosh disk: Do you want to
initialize it?” when you insert a CD-ROM disc in the CD-ROM drive.
m Make sure that Foreign File Access and Audio CD Access CD-ROM
extensions are installed in your Extensions Folder and are turned on. (If
they are not turned on, use the Extensions Manager control panel to turn
them on and then restart your computer.)
m Make sure the CD-ROM software is installed. (The CD-ROM software is
already installed on Macintosh computers that come with CD-ROM
drives.) If you installed a CD-ROM drive after buying your computer, see
the manual that came with your drive.
m The disc may use a format that the Macintosh cannot recognize.
Your computer ejects a CD-ROM disc without giving you any error message.
m Make sure the disc is flat in the tray and the disc label is facing up. If
you’re using a small (8 cm) disc, make sure it’s centered within the tray’s
inner ring.
m The disc may need to be cleaned. (See “Handling CD-ROM Discs” in
Appendix A.) If there are visible scratches on the shiny side of the disc,
you may be able to remove them with a CD polishing kit (available from
your audio CD dealer). If the scratches can’t be removed, you’ll need to
replace the disc.
m The disc may be damaged. Try another disc in the drive, and try the
original disc in another drive. If the original drive reads other discs or if
the original disc doesn’t work in another drive, the disc is probably
damaged. You’ll need to replace the disc.
You can’t open a document on a CD-ROM disc.
m Try opening the application program first; then open the document.
m Read the manual that came with your CD-ROM disc. Some discs come
with software that you need to install on your computer before using the
disc.
You can’t save changes you make to information on a CD-ROM disc.
m CD-ROM is a read-only medium. This means that information can be read
(retrieved) from it, but not written (stored) on it. You can save the changed
information on a hard disk or floppy disk.
94 Chapter 6
Problems using ISO 9660 or High Sierra discs
You cannot access files on a CD-ROM disc that uses the ISO 9660 or High Sierra format.
m Discs in the ISO 9660 and High Sierra disc formats have version numbers
attached to filenames. Some application programs need these version
numbers in order to work with files. To make the version numbers
available to programs on your computer, follow these instructions:
Drag the CD icon to the Trash. When the tray opens, hold down the Option
key and push the tray back in, continuing to hold down the Option key
until the disc is fully in the drive. The program you are using should now
be able to locate filenames on that CD-ROM disc.
m Make sure that Foreign File Access, ISO 9660 File Access and High Sierra
File Access are present in the Extensions folder in your System Folder.
Problems playing audio CDs
You don’t hear any sound when you play an audio CD or an audio track on a CD-ROM
disc using the AppleCD Audio Player.
m If your CD-ROM drive was installed after you bought your computer, make
sure the audio cable is properly connected. See the documentation that
came with the CD-ROM drive for more information.
m If you have headphones or speakers connected to the computer, adjust the
connector to make sure they are firmly connected. Make sure the volume
control on your headphones or speakers is not turned down too low.
m Some programs change the sound options to suit their needs. You may need
to reset the sound options in the Sound & Displays control panel. Refer to
the “Sound” topic of Macintosh Guide, available in the Guide (h) menu.
m If you are using a CD-ROM disc over a network, you won’t be able to hear
the audio portion.
m Make sure the volume is turned up in the AppleCD Audio Player. With the
Audio Player open, drag the volume control slider up or press the Up
Arrow key on your keyboard.
m The CD may have been paused. Click the Play/Pause button in the
AppleCD Audio Player once or twice.
Troubleshooting 95
While playing an audio track on a CD-ROM disc that combines audio tracks and data,
you double-click the disc icon and the audio track stops playing.
m You can’t open data files on a CD-ROM disc and listen to audio tracks on
that disc at the same time.
You are unable to record sound from an audio CD.
m Check your computer’s sound input port to see if a microphone or other
device is connected.
m You may need to reset the sound options in the Sound & Displays control
panel. Refer to the “Sound” topic of Macintosh Guide, available in the
Guide (h) menu.
Problems using Photo CDs
Your CD-ROM drive will not open Photo CDs.
m Reinstall the CD-ROM software (available through the “Multimedia
Software” option in Custom Install when you reinstall system software).
Your computer does not display color icons for individual images on a Photo CD.
m Your computer may be low on memory. To view color icons, restart your
computer and then reopen the Photos folder. See the “Memory” topic of
Macintosh Guide, available in the Guide (h) menu, for more information
on managing memory.
After you open an image on a Photo CD, the image is scrambled, colors are displayed
incorrectly, or no image appears in the window.
m The program you are using may not be designed to work with large (highresolution)
image files. You can open the image with another program or
you can assign more memory to the program. (For more information on
managing memory, see the “Memory” topic of Macintosh Guide, available
in the Guide [h] menu.)
After you open an image on a Photo CD, your system is “frozen” and does not respond
to any input, or you have a “bomb” message on your screen.
m Restart your Macintosh. The program you are using may not be designed
to work with large (high-resolution) image files. You can open the image
with another program, or you can assign more memory to the program (see
the “Memory” topic of Macintosh Guide, available in the Guide [h] menu,
for more information on managing memory).
96 Chapter 6
If your computer’s performance decreases
If you notice a decrease in your computer’s speed and general performance
after you add special software like a control panel, system extension, or
custom utility, it may be because this software does not work well with Power
Macintosh computers.
m To find out if a system extension or control panel is the problem, use the
Extensions Manager control panel to turn off system extensions. Next, use
the Extensions Manager control panel to turn the system extensions and
control panels back on one at a time, restarting and checking your
computer’s performance each time until you identify the software that is
causing problems. Contact the software’s manufacturer for information or
an upgrade.
m To find out if a custom utility you’ve added is the problem, drag it out of
the System Folder. (This software may be in the Control Panels folder or
elsewhere inside the System Folder.) Next, restart your computer and check
its performance. If there’s an improvement, the new software was probably
the cause of the problem. Contact the software’s manufacturer for
information or an upgrade.
If you still do not notice an improvement, follow the instructions in
“Installing or Reinstalling System Software” later in this chapter to reinstall
system software on your startup hard disk.
Troubleshooting 97
Solving printer problems
The following suggestions should work for all printers.
m Check your printer settings in the Chooser, making sure you have selected
the correct printer.
m Next, turn off the computer and printer and check the printer cable
connections.
m If neither of these suggestions solves the problem, reinstall your printer
driver. If your printer is an older model, do not use the driver that came
with the printer. Instead, use the updated printer drivers provided on the
system software CD-ROM that came with your Power Macintosh. These
drivers are created especially for use with the Power Macintosh.
Obtaining updated Apple software
Apple software updates include all of the latest versions of Apple software,
including most printer drivers, system enablers, and updates to utilities,
networking, and communication software.
IMPORTANT Be sure to read the posted Apple Software License Agreement
before installing any software.
Currently, Apple’s Customer Service Division (CSD) posts Apple software
updates to the following online services:
m AppleLink
m eWorld
m CompuServe
m Internet: Apple Computer Higher Education gopher server
m Internet: ftp.info.apple.com (formerly ftp.austin.apple.com)
m Internet: ftp.support.apple.com
Specific paths and details for each service follow.
98 Chapter 6
AppleLink
Apple software updates are posted to the APPLE SW UPDATES board
located in the following path:
AppleLink Services (main window)
Software Sampler
Apple Software Updates
eWorld
Apple software updates are posted to the Apple Software Updates board
located in the following path:
Computer Center
Apple Customer Center
Apple Software Updates
Ask Apple Online Technical Support
You can also get your questions answered through “Ask Apple Online
Technical Support,” available through eWorld. You can expect a response to
your posted question the next business day after posting it.
To use Ask Apple Online Technical Support, log on to eWorld and go to the
Computer Center building in the Town Square. Use the following path:
Apple Customer Center (shortcut:APPLE)
Apple Technical Support (formerly Quick Answers shortcut SUPPORT)
How Do I Use This Area? or Ask Apple USA.
Inside “How Do I Use This Area,” you can choose among the following
folders to learn more about how to use Ask Apple Online Technical Support:
m What’s New in Tech Support
m How to Use Tech Support
m All About Apple Software Updates
m Ask Apple, USA FAQs
m Who Maintains What
m Support Professional Series
m If You Need to Call
Troubleshooting 99
Inside the Ask Apple USA area, you have a choice of the following 10 bulletin
board areas:
m Power Macintosh—All Power Macintosh computers, A/V and GeoPort.
m Performa—All Macintosh Performa computers.
m PowerBook—All PowerBook computers, Mobile Computing and Telecom.
m Quadra and Centris—All Macintosh Centris and Quadra computers.
m Apple Software—Mac OS system software, utilities, and application
programs from Apple.
m Peripherals—Printers, scanners, monitors and multimedia hardware.
m Servers, Networks & Comm—Workgroup servers, AppleShare, networking
and communications.
m Newton—Apple MessagePad models and Apple accessories.
m Other Macintosh Computers—Compact and modular Macintosh models.
m DOS & Windows Products—DOS compatibility cards from Apple.
Ask Apple Online Technical Support does not arrange for service or send
products. It is available only to Apple US customers with full subscriptions to
eWorld. You cannot post questions from the Internet or from outside the
United States.
100 Chapter 6
CompuServe
Apple software updates are posted to two separate areas on CompuServe:
Apple Support Forum and Apple New Updates. All updates are posted
simultaneously to both areas. Updates are removed from the Apple New
Updates area after three weeks.
Apple Support Forum (GO APLSUP) contains all software and information
libraries. Software is organized by category into separate libraries, including:
m System Software
m Apple II
m Newton
m System Enablers
m Printing
m Display & Peripheral Software
m Networking & Communications
m DOS & Windows
Apple New Updates (GO APLNEW) contains all recently published Apple
software updates, allowing you to download the latest and most popular
Apple software updates quickly and easily.
Internet: Apple Computer Higher Education gopher server
Apple recommends using TurboGopher client software to access the Apple
Computer Higher Education Gopher server. The “Apple Support Area” folder
is located in the following path:
Home Gopher Server
Computer Information
Apple Computer Higher Education gopher server
Apple Support Area
Apple SW Updates
TurboGopher Client software is available via anonymous file transfer protocol
(ftp) to boombox.micro.umn.edu in the /pub/gopher directory.
m Host name: info.hed.apple.com
Troubleshooting 101
Internet: ftp.info.apple.com
This is a file transfer protocol (ftp) server with all of the latest Apple software
updates. (This ftp site was formerly called ftp.austin.apple.com.)
m Host name: ftp.info.apple.com, IP number is: 204.96.16.4
m Path: ftp/Apple.Support.Area/Apple.SW.Updates
You can also download Apple software updates via our Worldwide Web server,
www.info.apple.com. The Apple web site allows you an easy way to download
Apple software updates from ftp.info.apple.com.
m URL for the Apple web site is: http://www.info.apple.com
m IP number for the Web site is: 204.96.16.2
Internet: ftp.support.apple.com
This is a file transfer protocol (ftp) server with all of the latest Apple software
updates.
m Host name: ftp.support.apple.com
m IP number: 130.43.6.3
m Path: /pub/Apple SW Updates
America Online: ftp.info.apple.com gateway
You can log onto Apple’s ftp.info.apple.com server via the America Online file
transfer protocol (ftp) gateway. To do this, you'll need an America Online
account. Once you’re online, follow these steps:
1 Use the keyword ftp to take you to the ftp area.
2 Click the FTP button (disk with sunglasses icon).
3 In the favorite sites list, double-click ftp.info.apple.com
A dialog box will appear with the ftp.info.apple.com welcome screen.
4 Click the OK button.
5 Double-click the Apple.Support.Area folder to open it.
6 Double-click the Apple.Software.Updates folder to open it.
Each time you open a folder, a new Macintosh window opens.
102 Chapter 6
Initializing a hard disk
Before you can use a new disk, the disk must be prepared so that the
computer knows where to store information on the disk. This preparation is
called initializing (or formatting) the disk.
When do you need to initialize a hard disk?
The hard disk inside your computer was initialized at the factory, so you
shouldn’t need to initialize it. You need to initialize a hard disk only if one of
the following is true:
m You purchase a hard disk that has not been initialized at the factory.
m Your hard disk is damaged.
If a hard disk needs to be initialized, the disk’s icon does not appear on the
desktop when you start up the computer using another disk.
If the hard disk you want to initialize is not the startup disk, you can use the
Drive Setup program to initialize it. Drive Setup is located on the floppy disk
labeled Disk Tools that came with your computer. If your computer came with
a CD-ROM drive and you didn’t receive floppy disks, you can find Drive
Setup on the CD-ROM disc that contains system software. For instructions,
start Drive Setup and choose Drive Setup Guide from the Guide (h) menu.
If the hard disk you want to initialize is the startup disk, follow the
instructions in this chapter. (First, start up from a CD-ROM disc or a floppy
disk. Then follow the instructions in “How to Initialize a Hard Disk” later in
this section.)
WARNING Initializing a disk erases any information that may be on it.
Before you initialize a damaged disk, try to repair it as described in
“Repairing a Damaged Disk” later in this chapter.
Troubleshooting 103
Starting up from a CD-ROM disc
To initialize, test, or repair a hard disk, or to install system software on a hard
disk, you need to start up your computer from another disk. If your computer
has a CD-ROM drive, you can start up your computer using the CD-ROM
disc containing system software that came with the computer.
To start up the computer using the CD-ROM disc, follow these steps:
1 Turn your computer on.
2 When you see the desktop on your screen, press the Open/Close button on your
CD-ROM drive, and insert the CD-ROM disc containing system software into the drive.
3 Turn your computer off.
The CD-ROM disc will remain in the CD-ROM drive.
4 Hold down the “c” key on your keyboard and restart your computer.
Continue to hold down the key until you see the “Welcome to Macintosh”
message.
Starting up from a floppy disk
To initialize, test, or repair a hard disk, or to install system software or
CD-ROM software on a hard disk, you need to start up your computer from
another disk. If you don’t have a built-in CD-ROM drive, you can start up the
computer using one of these floppy disks—Disk Tools or System Backup Disk 1
that came with your computer.
To start up your computer using a floppy disk, follow these steps:
1 Shut down your computer.
2 Insert the floppy disk into the disk drive.
If you want to initialize, test, or repair your hard disk, use the Disk Tools
disk to start up your computer. If you want to install system software, use
the System Backup Disk 1 disk.
3 Turn on the computer.
104 Chapter 6
How to initialize a hard disk
You initialize an Apple SCSI hard disk by using a program called
Drive Setup, which is on the floppy disk labeled Disk Tools that came with
your computer. If your computer came with a CD-ROM drive and you didn’t
receive floppy disks, you can find Drive Setup on the CD-ROM disc that
contains system software. (To initialize a hard disk from another
manufacturer, use the utility software that came with the hard disk.)
1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains
system software.
See “Starting Up From a Floppy Disk” or “Starting Up From a CD-ROM
Disc” earlier in this section.
2 Open the Drive Setup icon.
You may need to look in a folder called Utilities to find Drive Setup.
3 In the list of drives, click the disk you want to initialize.
4 Click Initialize to initialize the hard disk.
5 Click Quit when you see a message reporting that initialization was successful.
If a message reports that initialization failed, try again. If initialization
fails a second time, take the disk to your Apple-authorized service provider
for repair.
Troubleshooting 105
Select the drive you
want to initialize.
Repairing a damaged disk
Disks can become damaged by repeated use and handling.
When do you need to repair a disk?
If you see a message reporting that a disk is damaged or unreadable, you may
need to repair the disk.
Try these suggestions first
If you can’t start up from a hard disk or you don’t see the hard disk icon on the
desktop, try the following:
m If the hard disk is internal, shut down your Macintosh, wait at least 10
seconds, and then turn it on again.
m If the hard disk is external, make sure that it is turned on and that its cable
is connected firmly; then restart the Macintosh.
m If the hard disk is your startup disk, start up with a different startup disk. If
the hard disk’s icon appears on your desktop, reinstall system software on
the hard disk. See “Installing or Reinstalling System Software” later in this
chapter.
m Check the ID numbers of all SCSI equipment connected to your computer.
Your computer has two SCSI chains, an internal one and an external one.
All devices on the same SCSI chain must have unique ID numbers, but
devices on different SCSI chains may use the same SCSI ID number. (For
example, you can have a CD-ROM drive with ID number 3 connected to
the internal SCSI chain and a tape drive with ID number 3 connected to
the external SCSI chain. You cannot have two SCSI devices connected to
the external SCSI chain that both use ID number 3.)
On the internal SCSI chain, the computer itself has the ID number 7, and
the factory-installed hard disk has the number 0. If your computer came
with a CD-ROM drive installed, it is also connected to the internal SCSI
chain and has ID number 3.
On the external SCSI chain, SCSI devices are numbered from 0 to 6, or 1
to 6 if you have an additional hard drive installed (its number is 0).
106 Chapter 6
Check that both chains of devices are terminated properly. For information
on setting SCSI ID numbers and terminating a SCSI chain, see Chapter 3
of this manual and the manuals that came with your SCSI equipment.
m Test the disk following the instructions that come next.
How to test a hard disk
You can test an Apple SCSI hard disk with the Drive Setup program, which is
on the floppy disk labeled Disk Tools that came with your computer. If your
computer has a built-in CD-ROM drive, and you didn’t receive floppy disks,
you can find the Drive Setup program on the CD-ROM disc that contains
system software.
1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains
system software.
See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy
Disk” in the section “Initializing a Hard Disk” earlier in this chapter.
2 Open the Drive Setup icon.
You may need to look in a folder called Utilities to find Drive Setup.
3 In the list of drives, click the disk you want to test.
Troubleshooting 107
4 Open the Functions menu and choose Test Disk.
5 When a message tells you that testing is complete, click Quit.
If the test reveals a problem, you may be able to correct it by using Disk First
Aid or another disk repair program (see the instructions in the next section),
or you may need to reinitialize the disk (see “Initializing a Hard Disk” earlier
in this chapter). Consult an Apple-authorized service provider for assistance if
necessary. If you had a hard disk from another manufacturer installed after
you bought your computer, use the software that came with the disk or contact
the disk vendor to get the latest version of software.
How to repair a hard disk or floppy disk
You can repair some types of disk damage by using the Disk First Aid
program, which is included either on the Disk Tools floppy disk or on the
CD-ROM disc containing system software that came with your computer.
1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains
system software.
See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy
Disk” in the section “Initializing a Hard Disk” earlier in this chapter.
2 Open the Disk First Aid icon.
You may need to look in a folder called Utilities to find Disk First Aid.
108 Chapter 6
3 Click the icon of the disk you want to test.
Disk icons appear in a box at the top of the Disk First Aid window.
4 Click Repair to begin testing and repairing the disk.
You can’t repair the startup disk or the disk that contains the Disk First Aid
program, but you can test these disks by clicking Verify. If the program
reveals a problem with either of these disks, start up the computer from
another disk so that you can repair the damaged disk.
If you want to test and repair another disk, click its icon and then click
Repair.
5 When testing and repair are finished, choose Quit from the File menu.
If Disk First Aid cannot correct the problem
m Try repairing the disk again. Sometimes repeating the process corrects the
problem.
m Use another disk repair or recovery program. Some disk repair programs
let you recover information from a damaged disk.
m Consult a computer repair specialist for help.
m Once you have recovered all the information you can, erase (reinitialize)
the disk. If initialization doesn’t work, discard the damaged disk (if it’s a
floppy disk), or take it to your Apple-authorized service provider for repair
(if it’s a hard disk).
Troubleshooting 109
Installing or reinstalling system software
System software is the set of programs and other files that your computer uses
to start itself up, keep track of your files, and run the application programs
you use. System software is kept in the folder called the System Folder. When
you turn on your computer, it looks for a startup disk, which is a disk that
contains the system software. The startup disk is usually the hard disk that’s
inside your computer, though another hard disk or a floppy disk can also be a
startup disk.
The accessory kit that came with your Macintosh provides system software on
either a set of floppy disks or a CD-ROM disc. You can use the floppy disks
or the CD-ROM disc to install the system software on your Macintosh if you
need to do so.
When should you install system software?
Your Macintosh came with all the necessary system software installed on its
internal hard disk, so you don’t need to install system software on that disk
unless you encounter software problems.
If you have a new hard disk or a newly initialized hard disk that doesn’t
contain system software, or if you want to upgrade to a more recent version of
system software on a hard disk, follow the instructions in “Installing System
Software” later in this section.
When should you reinstall system software?
If you have a problem with your system software, you may see this icon in the
middle of the screen:
If this icon appears, follow the instructions in “Repairing a Damaged Disk”
earlier in this chapter to test your startup hard disk and repair any damage.
If repairing the disk doesn’t help, follow the instructions in the next section,
“Installing System Software,” to reinstall system software on your startup
hard disk.
110 Chapter 6
Installing system software
Follow the steps in this section to do what is commonly called a “normal”
installation of system software.
If you’re installing system software on a hard disk for the first time, make sure
that your hard disk has been initialized, a process that prepares the disk to
store information. If you see the hard disk’s icon on the desktop when you
start up the computer, the disk has been initialized. If no disk icon appears
when you start up, see “Initializing a Hard Disk” earlier in this chapter for
instructions.
To do a normal installation, follow these steps:
1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains
system software.
See “Starting Up From a Floppy Disk” or “Starting Up From a CD-ROM
Disc” in the section “Initializing a Hard Disk” earlier in this chapter.
2 Find and open the Disk First Aid icon.
You may need to look in a folder called Utilities to find Disk First Aid.
After Disk First Aid starts, follow the instructions on the screen. Disk First
Aid checks your hard disk for any problems.
3 When Disk First Aid has finished checking your hard disk, choose Quit from the
File menu.
4 Open the Drive Setup program.
You use the Drive Setup program to update your hard disk.
5 In the list of drives, click your startup disk.
6 Open the Functions menu and choose Update Driver.
7 When the update process is finished, quit Drive Setup.
Troubleshooting 111
8 Shut down your computer.
9 Start up your computer from the System Backup Disk 1 disk or the CD-ROM disc that
contains system software.
See “Starting Up From a Floppy Disk” or “Starting Up From a CD-ROM
Disc” in the section “Initializing a Hard Disk” earlier in this chapter.
The Installer’s Welcome screen may appear or you may have to double-click
the System Software Installer icon to open the Installer program.
10 Click OK.
The Easy Install dialog box appears.
11 Make sure that the hard disk named in the box is the one on which you want to install
system software.
If it isn’t, click Switch Disk until the correct disk name appears.
12 Click Install.
13 Follow the instructions that appear on the screen.
If you’re installing system software from floppy disks, you see messages
asking you to insert different disks.
112 Chapter 6
Disk on which
system software
will be installed
You click here to install
the software you need.
To install the software on a
different disk, you click here.
14 When you see a message reporting that the installation was successful, click Restart.
Don’t forget to eject the CD-ROM disc or floppy disk containing system
software. If a message reports that installation was not successful, try
installing again. (Follow the instructions on the screen.)
If, after reinstalling system software by doing a normal installation, you still
experience problems with your computer, follow the steps in the next section
for doing a “clean” installation of system software.
IMPORTANT Certain system extensions or application programs that were
originally on your hard disk may not be installed with the Installer program.
If you notice that a certain extension or program was not installed, you may
need to install it separately. You can find these additional extensions and
programs on the CD-ROM disc that contains system software. (Application
programs from other vendors can be reinstalled from backup copies you
made.) If you don’t have a CD-ROM drive, see the service and support
information that came with your computer for information on how to contact
Apple directly for assistance.
Doing a clean installation of system software
The steps in this section outline what is commonly called a “clean”
installation of system software. A clean installation allows you to discover
which item in your System Folder is causing a problem. A clean installation
creates a brand new System Folder and saves everything in your original
System Folder in a different location. You can then follow the instructions in
“Replacing Special Software,” later in this chapter, to reinstall system
extensions, control panels, and other special software one at a time from the
old System Folder to the new System Folder. This procedure allows you to
determine which item in the old System Folder was the source of the
problem.
Do a clean installation if you can’t determine what is damaged in your System
Folder (especially if you think any special software, such as control panels,
system extensions, or custom utilities, may be causing the problems you’re
experiencing). You should also do a clean installation if you’re still having
problems with your computer after you’ve reinstalled system software by
doing a normal installation.
Troubleshooting 113
To do a clean installation, follow these steps:
1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains
system software.
See “Starting Up From a Floppy Disk” or “Starting Up From a CD-ROM
Disc” in the section “Initializing a Hard Disk” earlier in this chapter.
2 Find and open the Disk First Aid icon.
You may need to look in a folder called Utilities to find Disk First Aid.
After Disk First Aid starts, follow the instructions on the screen. Disk First
Aid checks your hard disk for any problems.
3 When Disk First Aid has finished checking your hard disk, choose Quit from the
File menu.
4 Open the Drive Setup program.
You use the Drive Setup program to update your hard disk.
5 In the list of drives, click your startup disk.
6 Open the Functions menu and choose Update Driver.
7 When the update process is finished, quit Drive Setup.
8 Shut down your computer.
9 Start up your computer from the System Backup Disk 1 disk or the CD-ROM disc that
contains system software.
See “Starting Up From a Floppy Disk” or “Starting Up From a CD-ROM
Disc” in the section “Initializing a Hard Disk” earlier in this chapter.
The Installer’s Welcome screen may appear or you may have to double-click
the System Software Installer icon to open the Installer program.
114 Chapter 6
10 Click OK.
The Easy Install dialog box appears.
11 Make sure that the hard disk named in the Destination Disk box is the one on which you
want to install system software.
If it isn’t, click Switch Disk until the correct disk name appears.
12 Hold down Shift–x–K to start the clean installation.
The following dialog box appears.
13 Click the Install New System Folder button and click OK.
The Easy Install dialog box appears. The Install button has changed to Clean
Install, and the contents of your old System Folder have been moved to a new
folder named Previous System Folder.
Troubleshooting 115
Disk on which
system software
will be installed
For a clean installation,
DO NOT click the
Install button.
To install the software on a different
disk, you click this button.
14 Click Clean Install.
15 Follow the instructions that appear on the screen.
It takes a few minutes to complete the installation.
16 When you see a message reporting that the installation was successful, you may need to
click Restart.
You need to click Restart only if you installed software onto the startup disk.
If a message reports that installation was not successful, try repeating the
clean installation procedure.
IMPORTANT Certain system extensions or application programs that were
originally on your hard disk may not be installed with the Installer program.
If you notice that a certain extension or program was not installed, you may
need to install it separately. (Application programs from other vendors can be
reinstalled from backup copies you made.) You can find these additional
extensions and programs on the CD-ROM disc that contains system software.
If you don’t have a CD-ROM drive, see the service and support information
that came with your computer for information on how to contact Apple
directly for assistance.
116 Chapter 6
Click here to install the
software you need.
Replacing special software
Special software consists of items such as control panels, system extensions,
custom utilities, fonts, or Apple menu items that you may have added to your
old System Folder. To make sure that special software does not create any
conflicts with other programs on your computer, follow this procedure to
safely replace these items in your new System Folder:
1 Copy any special software items from the Previous System Folder back to your System
Folder one item at a time, restarting the computer after copying each item.
IMPORTANT Be very careful not to replace (copy over) any of the files in the
System Folder with files from the Previous System Folder.
2 Check after each restart to make sure your computer is not having any software
problems.
If any of your special software items cause software problems, contact the
software manufacturer for assistance or an upgrade.
Doing a custom installation
For most Macintosh users, the Easy Install procedure described in the
previous sections is appropriate, because it automatically installs all the items
you need. However, if you’d like to select a combination of system software
files for your specific needs, you can customize your system software
installation. You use custom installation to install or update one or more
specific files, or to save space on your hard disk by installing only the files
you want.
To install customized system software, follow these steps:
1 Start up your computer from the System Backup Disk 1 disk or the CD-ROM disc that
contains system software.
See “Starting Up From a Floppy Disk” or “Starting Up From a CD-ROM
Disc” in the section “Initializing a Hard Disk” earlier in this chapter.
The Installer’s Welcome screen may appear or you may have to double-click
the System Software Installer icon to open the Installer program.
Troubleshooting 117
2 Click OK.
The Easy Install dialog box appears.
3 Choose Custom Install from the pop-up menu.
The Custom Install dialog box appears, listing all available system software
components.
4 Scroll through the list of components, clicking the checkbox next to each component
you want to install.
You can see and select individual items within each component by clicking
the arrow to the left of the component, then clicking the item you want to
install. To get additional information about each component listed, click the
box with the letter i in it to the right of the component.
5 Click Install.
6 Follow the instructions that appear on the screen.
7 When you see a message reporting that the installation was successful, click Quit.
If a message reports that installation was not successful, try installing again.
(Follow the instructions on the screen.)
118 Chapter 6
8 Restart your Macintosh.
The system software is installed and your computer is ready to use. Don’t
forget to eject the CD-ROM disc or floppy disk containing system software
when you are finished
Installing or reinstalling CD-ROM software
CD-ROM software is a set of programs and files that allow your CD-ROM
drive to work correctly with your computer and allow it to play different
kinds of CDs, like Photo CDs or audio CDs If your computer came with a
CD-ROM drive installed, the CD-ROM software is part of system software
and was preinstalled for you on your computer’s hard disk. (It is also available
on floppy disks and a CD-ROM disc that came with your Macintosh.)
If you added a CD-ROM drive after you bought your computer, the CD-ROM
software is probably on floppy disks that came with the drive.
When should you install or reinstall CD-ROM software?
If your Macintosh came with the CD-ROM drive already installed, you don’t
need to install the CD-ROM software unless you encounter problems. (See
“Solutions to CD-ROM Problems” earlier in this chapter for descriptions of
the kinds of problems you might encounter.)
If you added a CD-ROM drive after you bought your computer, you should
install the CD-ROM software before you attempt to use the CD-ROM drive.
Installing or reinstalling CD-ROM software
1 Start up your computer from the System Backup Disk 1 disk or the CD-ROM disc that
contains your system software.
See “Starting Up From a Floppy Disk” or “Starting Up From a CD-ROM
Disc” in the section “Initializing a Hard Disk” earlier in this chapter.
The Installer’s Welcome screen may appear. Or, you may have to double-click
the System Software Installer icon to open the Installer program.
2 Click OK.
The Easy Install dialog box appears.
Troubleshooting 119
3 Choose Custom Install from the pop-up menu.
The Custom Install dialog box appears, listing all available system software
components.
4 Select Multimedia Software by clicking the checkbox next to it.
To get additional information about each component listed, click the box with
the letter i in it to the right of the component.
5 Click Install.
6 Follow the instructions that appear on the screen.
7 When you see a message reporting that the installation was successful, click Quit.
If a message reports that installation was not successful, try installing again.
(Follow the instructions on the screen.)
8 Restart your Macintosh.
The CD-ROM software is reinstalled and your computer is ready to use. Don’t
forget to eject the CD-ROM disc or floppy disk containing system software
when you are finished.
120 Chapter 6
IpIarIt
Appendix A Health, Safety, and Maintenance Tips
Appendix B Installing an Expansion Card
Appendix C Special Keys on Your Keyboard
For your own safety and that of your equipment, follow all the instructions in
this chapter. Keep these instructions available for reference by you and others.
Health-related information about computer use
Muscle soreness, eye fatigue, and other discomforts and injuries sometimes
associated with using computers can occur from performing any number of
activities. In fact, misuse of the same muscles during multiple activities can
create a problem that might not otherwise exist. For example, if you engage in
nonwork activities that involve repetitive stress on the wrist—such as
bicycling—and also use your computer’s keyboard improperly, you may
increase your likelihood of developing wrist problems. Some individuals are
at greater risk of developing these problems because of their health,
physiology, lifestyle, and general exposure to stress. Work organization and
conditions, such as workstation setup and lighting, also play a part in your
overall health and comfort. Preventing health problems is a multifaceted task
that requires careful attention to the way you use your body every hour of
every day.
The most common health effects associated with using a computer are
musculoskeletal discomfort and eye fatigue. We’ll discuss each area of
concern.
123
Appendix A
Health, Safety, and Maintenance Tips
Read this appendix for important
health and safety instructions,
as well as tips on keeping your
computer in good working order.
Musculoskeletal discomfort
As with any activity that involves sitting for long periods of time, using a
computer can make your muscles sore and stiff. To minimize these effects, set
up your work environment carefully, using the guidelines that follow, and take
frequent breaks to rest tired muscles. To make working with your computer
more comfortable, allow enough space in your work area so that you can
change position frequently and maintain a relaxed posture.
Another type of musculoskeletal concern is repetitive stress injuries (RSIs),
also known as cumulative trauma disorders (CTDs). These problems can
occur when a certain muscle or tendon is repeatedly overused and forced into
an unnatural position. The exact causes of RSIs are not totally understood, but
in addition to awkward posture, such factors as the amount of repetition, the
force used in the activity, the individual’s physiology, workplace stress level,
and lifestyle may affect the likelihood of experiencing an RSI.
RSIs did not suddenly arise when computers were invented; tennis elbow and
writer’s cramp, for example, are two RSIs that have been with us for a long
time. Although less common than other RSIs, one serious RSI discussed more
often today is a wrist problem called carpal tunnel syndrome, which may be
aggravated by improper use of computer keyboards. This nerve disorder
results from excessive pressure on the median nerve as it passes through the
wrist to the hand.
This section offers advice on setting up your work area to enhance your
comfort while you use your computer. Since the effects of repetitive
movements associated with using a computer can be compounded by those of
other work and leisure activities to produce or aggravate physical problems,
proper use of your computer system must be considered as just one element
of a healthy lifestyle.
No one, of course, can guarantee that you won’t have problems even when you
follow the most expert advice on using computer equipment. You should
always check with a qualified health specialist if muscle, joint, or eye
problems occur.
124 Appendix A
Eye fatigue
Eye fatigue can occur whenever the eyes are focused on a nearby object for a
long time. This problem occurs because the eye muscles must work harder to
view an object that’s closer than about 20 feet (6 meters). Improper lighting
can hasten the development of eye fatigue. Although eye fatigue is annoying,
there’s no evidence that it leads to permanent damage.
Whenever you’re engaged in an activity that involves close-up work—such as
reading a magazine, doing craft work, or using a computer—be sure to have
sufficient glare-free lighting and give your eyes frequent rest breaks by
looking up and focusing on distant objects. Remember to have your eyes
examined regularly.
To prevent discomfort and eye fatigue:
m Arrange your work space so that the furniture is properly adjusted for you
and doesn’t contribute to an awkward working posture.
m Take frequent short breaks to give your muscles and eyes a chance to rest.
Arranging your office
Here are some guidelines for adjusting the furniture in your office to
accommodate your physical size and shape.
m An adjustable chair that provides firm, comfortable support is best. Adjust
the height of the chair so your thighs are horizontal and your feet flat on
the floor.
The back of the chair should support your lower back (lumbar region).
Follow the manufacturer’s instructions for adjusting the backrest to fit your
body properly.
m When you use the computer keyboard, your shoulders should be relaxed.
Your upper arm and forearm should form an approximate right angle, with
your wrist and hand in roughly a straight line.
Health, Safety, and Maintenance Tips 125
You may have to raise your chair so your forearms and hands are at the
proper angle to the keyboard. If this makes it impossible to rest your feet
flat on the floor, you can use a footrest with adjustable height and tilt to
make up for any gap between the floor and your feet. Or you may lower
the desktop to eliminate the need for a footrest. Another option is to use a
desk with a keyboard tray that’s lower than the regular work surface.
m Position the mouse at the same height as your keyboard. Allow adequate
space to use the mouse comfortably.
m Arrange the monitor so the top of the screen is slightly below your eye
level when you’re sitting at the keyboard. The best distance from your eyes
to the screen is up to you, although most people seem to prefer 18 to 28
inches (45 to 70 cm).
m Position the monitor to minimize glare and reflections on the screen from
overhead lights and windows. You may want to use a tiltable monitor
stand. The stand lets you set the monitor at the best angle for viewing,
helping to reduce or eliminate glare from lighting sources you can’t move.
Thighs horizontal
Shoulders relaxed
Screen positioned to avoid
reflected glare
Forearms and hands
in a straight line
Forearms level
or tilted up slightly
Lower back supported
Feet flat on the floor
Top of the screen at or slightly
below eye level (You may need
to adjust the height of your
monitor by placing something
under it or by raising your
work surface.)
Clearance under work surface
45–70 cm (18–28 in.)
126 Appendix A
Avoiding fatigue
m Change your seated position, stand up, or stretch whenever you start to feel
tired. Frequent short breaks are helpful in reducing fatigue.
m Use a light touch when typing or using a mouse and keep your hands and
fingers relaxed.
m Some computer users may develop discomfort in their hands, wrists, or
arms after intensive work without breaks. If you begin to develop chronic
pain or discomfort in your hands, wrists, or arms, consult a qualified
health specialist.
m Allow adequate work space so that you can use your keyboard and mouse
comfortably. Place papers or other items so you can view them easily while
using your computer. A document stand may make reading papers more
comfortable.
m Eye muscles must work harder to focus on nearby objects. Occasionally
focus your eyes on a distant object, and blink often while you work.
m Clean your screen regularly. Keeping the screen clean helps reduce
unwanted reflections.
What about electromagnetic emissions?
There has been recent public discussion of the possible health effects of
prolonged exposure to extremely low frequency (ELF) and very low
frequency (VLF) electromagnetic fields. Such fields are associated with
electromagnetic sources such as television sets, electrical wiring, and some
household appliances—as well as computer monitors.
Apple has reviewed scientific reports and sought the counsel of government
regulatory agencies and respected health organizations. Based on the
prevailing evidence and opinions, Apple believes that the electric and
magnetic fields produced by computer monitors do not pose a health risk.
In response to those customers who wish to reduce their exposure to
electromagnetic fields, Apple has lowered the emission levels of our products.
We are also actively encouraging further scientific research so we can
continue to promote the health and safety of our customers and employees.
Health, Safety, and Maintenance Tips 127
Safety instructions
For your own safety and that of your equipment, always take the following
precautions.
Turn off the computer completely and disconnect the power plug (by pulling
the plug, not the cord) if any of the following conditions exists:
m the power cord or plug becomes frayed or otherwise damaged
m you spill something into the case
m your Macintosh is exposed to rain or any other excess moisture
m your Macintosh has been dropped or the case has been otherwise damaged
m you suspect that your Macintosh needs service or repair
m you want to clean the case (use only the recommended procedure
described later in this chapter)
Be sure that you always do the following:
m Keep your Macintosh away from sources of liquids, such as wash basins,
bathtubs, shower stalls, and so on.
m Protect your Macintosh from dampness or wet weather, such as rain, snow,
and so on.
m Read all the installation instructions carefully before you plug your
Macintosh into a wall socket.
m Keep these instructions handy for reference by you and others.
m Follow all instructions and warnings dealing with your system.
WARNING Electrical equipment may be hazardous if misused. Operation
of this product, or similar products, must always be supervised by an
adult. Do not allow children access to the interior of any electrical
product and do not permit them to handle any cables.
128 Appendix A
Handling your computer equipment
Follow these guidelines for handling your computer and its components:
m When setting up your computer, place components on a sturdy, flat surface,
and carefully follow all setup instructions.
m When connecting or disconnecting a cable, always hold the cable by its
connector (the plug, not the cord).
m Turn off your computer and all its components before connecting or
disconnecting any cables to add or remove any component. Failure to do so
could seriously damage your equipment.
m Never force a connector into a port. If the connector and port do not join
with reasonable ease, they probably don’t match. Make sure that the
connector matches the port and that you have positioned the connector
correctly in relation to the port.
m Take care not to spill any food or liquid on the computer, keyboard, mouse,
or other components. If you do, turn your computer off immediately and
unplug it before cleaning up the spill. Depending on what you spilled and
how much of it got into your equipment, you may have to bring your
equipment to an Apple-authorized service provider.
m Protect the computer and its components from direct sunlight and rain or
other moisture.
m Keep all ventilation openings clear and unobstructed. Without proper air
circulation, components can overheat, causing damage or unreliable
operation.
WARNING This equipment is intended to be electrically grounded. Your
Macintosh is equipped with a three-wire grounding plug—a plug that
has a third (grounding) pin. This plug will fit only a grounded AC
outlet. This is a safety feature. If you are unable to insert the plug into
the outlet, contact a licensed electrician to replace the outlet with a
properly grounded outlet. Do not defeat the purpose of the grounding
plug!
Health, Safety, and Maintenance Tips 129
Handling the monitor
Follow these procedures for handling a monitor:
m Your Macintosh comes with an energy-saving feature that dims the screen
and puts the computer to “sleep” when it hasn’t been used in a specified
length of time. (By default, the time setting is 30 minutes, but you may
have changed the time setting using the Energy Saver control panel.) You
can also turn down the screen brightness control if you leave the computer
turned on for extended periods. If the brightness is not turned down, the
image on the screen could “burn in” and damage the screen.
Another alternative is to use a “screen saver” program, which dims or
varies the image on the screen when the computer has been idle for a
specified period of time. These programs are available from independent
suppliers and user groups.
m Make sure that the ventilation openings on the computer and the monitor
are clear and unobstructed.
m Some large monitors cannot safely be placed on top of the computer.
Check the instructions that came with the monitor for setup information.
m If there is interference on the monitor’s screen or on a television or radio
near your computer, move the affected equipment farther away.
Handling the keyboard
Take care not to spill any liquid on the keyboard. If you do, turn off your
computer immediately.
m If you spill liquid that is thin and clear, unplug the keyboard, turn it upside
down to let the liquid drain out, and let it dry for 24 hours at room
temperature. If, after you take these steps, the keyboard doesn’t work, take
it to an Apple-authorized service provider for repair.
m If you spill liquid that is greasy, sweet, or sticky, unplug the keyboard and
take it to an Apple-authorized service provider for repair.
130 Appendix A
Handling floppy disks
125° F (52° C)
50° F (10° C)
Keep disks dry.
Do not use a
pencil or an
eraser on a disk
or disk label.
Store disks at
temperatures
between 50° F
and 125° F.
Do not touch the
exposed part of the
disk behind the
metal shutter.
Keep disks away
from magnets.
Avoid exposing
disks to extremely
hot temperatures.
Health, Safety, and Maintenance Tips 131
Handling CD-ROM discs
Keep these important safety instructions in mind as you use CD-ROM discs:
m Hold a disc by the edges or by one edge and the center hole. Do not touch
the disc surface.
m To clean discs, wipe the shiny surface with a soft damp cloth, working in
straight lines from center to edge. Do not use any form of cleaning agent.
m To avoid damage to your discs, keep these points in mind:
Do not put tape
on discs.
Do not scratch
discs.
Do not write on
discs.
Do not spill liquids
on discs.
Do not get
dust on discs.
Do not expose discs
to direct sunlight.
132 Appendix A
Other important safety instructions to keep in mind as you use your
CD-ROM drive.
m Position your computer so that when the tray opens, it doesn’t bump
into anything.
m Do not leave the disc tray open. If dust gets on the lens of the CD-ROM
drive, the drive may have problems reading your compact discs.
m Do not put anything (for instance, a cup) on top of the tray when it is open.
m Do not force the tray open by hand.
m Do not wipe the lens with a paper towel or other abrasive surface. If you
need to clean the lens, see an Apple-authorized service provider for a lens
cleaner.
m Never transport your computer with a disc inside the CD-ROM drive.
m Keep your computer equipment away from any source of liquid (such as
wash basins, bathtubs, and shower stalls). If you drink coffee or other
beverages while you’re at your computer, take care not to spill.
m Avoid exposing your equipment to damp or wet weather. If your system is
near a window, be sure the window is closed in rainy weather.
The tray on your CD-ROM drive automatically closes when you shut down
your computer. You may want to open the tray and take out your CD-ROM
disc before shutting down.
Health, Safety, and Maintenance Tips 133
Ejecting a disk
For instructions on ejecting a floppy disk or a removable media disk, see the
“Disks” topic of Macintosh Guide, available in the Guide (h) menu.
If you can’t eject a floppy disk
If you can’t eject a floppy disk in the usual way, try the following in order:
m Hold down the x and Shift keys and press the number 1 key at the upper
left of your keyboard to eject a disk in the internal disk drive.
m Turn off the computer. If the disk isn’t ejected, then hold down the button
on your mouse or other pointing device while you turn the computer on
again.
m Locate the small hole near the disk drive’s opening, and carefully insert the
end of a large straightened paper clip into it. Push gently until the disk is
ejected. Do not use excessive force.
If nothing works, take the computer or disk drive to your Apple-authorized
service provider to have the disk removed.
Power supply
The power supply in your computer is a high-voltage component and should
not be opened for any reason, even when the computer is off. If the power
supply needs service, contact your Apple-authorized dealer or service
provider.
WARNING To protect the power supply from damage, make sure the
voltage switch on the back of the computer is set correctly before you
plug the computer into a power outlet. Refer to Chapter 1 for
instructions on setting the voltage switch.
134 Appendix A
Cleaning your equipment
Follow these general rules when cleaning the outside of your computer and
its components:
m Use a damp, soft, lint-free cloth to clean the computer’s exterior. Avoid
getting moisture in any openings.
m Don’t use aerosol sprays, solvents, or abrasives.
Cleaning the computer case
To clean the case, do the following:
1 Turn off the computer completely and then disconnect the power plug. (Pull the plug, not
the cord.)
2 Wipe the surfaces lightly with a clean, soft cloth dampened with water.
Cleaning the monitor
To clean the screen, put household glass cleaner on a soft cloth and wipe the
screen. Don’t spray the cleaner directly on the screen, because the liquid
might drip into the monitor or computer.
Cleaning the mouse
The mouse contains a small ball that must roll smoothly for the mouse to
work properly. You can keep this ball free of dirt and grease by using the
mouse on a clean, lint-free surface and cleaning it occasionally.
You need a few cotton swabs and a clean, soft, lint-free cloth.
1 Turn off your computer.
Health, Safety, and Maintenance Tips 135
2 Turn the mouse upside-down and turn the plastic ring on the bottom counterclockwise
to disengage it.
On some mouse devices, you may need to press the plastic ring (rather than
turn it) to disengage it.
If the mouse is locked, see the next section, “Locking and Unlocking the
Mouse,” for instructions on how to unlock it.
3 Turn the mouse right-side up with one hand and catch the ring and the ball with your
other hand.
4 Clean the three small rollers inside the mouse with a cotton swab moistened with water.
Rotate the rollers to clean all around them.
5 Wipe the mouse ball with a clean, soft, dry, and lint-free cloth.
6 If necessary, wash the mouse ball with warm soapy water (use a mild soap such as a
dishwashing liquid) and then dry the mouse ball thoroughly.
7 Gently blow into the mouse case to remove any dust that has collected there.
136 Appendix A
8 Put the ball and the ring back in place.
Your mouse should roll smoothly across your mouse pad or desk. If it doesn’t,
repeat these instructions carefully.
Locking and unlocking the mouse
Some mouse devices can be locked so that the ball can’t be removed. A
locking mouse has a small hole on the plastic ring.
To lock the mouse, follow these steps:
1 Insert a straightened paper clip into the hole on the plastic ring.
2 Press down on the paper clip while you turn the ring clockwise.
Turn the ring a very short distance, until it stops. When the recessed area on
the ring is not lined up with the recessed area surrounding the ring, the mouse
is locked.
The mouse ring is locked when the recessed area on the ring
does not line up with the recessed area surrounding the ring.
Recessed area on ring
Recessed area surrounding ring
Insert a straightened paper clip into this hole.
(The hole may be located here on your mouse.)
Health, Safety, and Maintenance Tips 137
To unlock the mouse, follow these steps:
1 Insert a straightened paper clip into the hole on the plastic ring.
2 Press down on the paper clip while you turn the ring counterclockwise.
Turn the ring a very short distance. When the recessed area on the ring is
lined up with the recessed area surrounding the ring, the mouse is unlocked.
The mouse ring is unlocked when the recessed area on the
ring lines up with the recessed area surrounding the ring.
Recessed area on ring
Recessed area surrounding ring
Insert a straightened paper clip into this hole.
(The hole may be located here on your mouse.)
138 Appendix A
You can install printed circuit boards (called cards) for video and graphics
applications, networking and communications, additional processing power,
or other purposes. The cards fit into connectors, called expansion slots, inside
the computer.
Your Macintosh has three expansion slots, each designed to accept a
Peripheral Component Interconnect (PCI) card. Install only expansion cards
that come with Macintosh drivers and are compliant with the PCI 2.0
standard. NuBus™ cards cannot be used in these expansion slots. There is also
an expansion slot that contains the computer’s processor card. (The processor
card can be upgraded by replacing it with a more powerful processor card.)
WARNING To avoid damaging your computer and expansion card, do not
attempt to install any expansion card without first checking the
documentation for that card. If the documentation specifies that an
Apple-certified technician must install the card (usually because the
installation requires special training or tools), consult the service and
support information that came with your computer for instructions on
how to contact an Apple-authorized service provider or Apple for
assistance. If you attempt to install the card yourself, any damage you
may cause to the computer or card will not be covered by the limited
warranty on your computer. If the card is not an Apple-labeled product,
check with an Apple-authorized dealer or service provider to see if you
can install it yourself.
139
Appendix B
Installing an Expansion Card
Read this appendix for instructions
on installing an expansion card
in your computer.
Expansion card power requirements
The combined power consumption of expansion cards must not exceed the
limits specified for your Macintosh model. If you have more than one
expansion card installed, check the information that came with your cards to
make sure that their power consumption is within the limits specified in the
Technical Information booklet.
Card installation
1 Turn off the computer.
Leave the computer plugged in to ground it and protect its components from
static electricity damage.
140 Appendix B
2 Press the two release buttons under the front panel and slide the cover toward you
approximately two inches.
While pressing the release buttons, pull the top cover forward
approximately two inches to release it from the chassis.
Locate the two release buttons under the front panel ledge with your fingertips.
Installing an Expansion Card 141
3 Remove the cover from the computer.
After you’ve slid the cover forward about two inches, lift it straight up and off
the computer.
142 Appendix B
4 Touch the metal part of the power supply case inside the computer to discharge static
electricity.
Always do this before you touch any parts, or install any components, inside
the computer.
Power supply
Installing an Expansion Card 143
5 Flip the expansion card cover open.
Flip the expansion card cover open.
144 Appendix B
6 Being careful not to touch the sharp edges, pull out the port access cover behind the
expansion slot you want to use, and set the access port cover aside.
7 Remove the card from its static-proof bag.
Hold the card by its edges to avoid touching the connector.
Connector
(back of computer)
Push the port access cover in gently with the finger of
one hand while pulling it straight up with the other hand.
Installing an Expansion Card 145
8 Align the connector end of the card with the expansion slot.
Port access opening
As you lower the card,
you may find it helpful to
hold the card slightly forward
of its final position until you
actually fit the card into its slot.
Install the PCI
card in any of the
three PCI slots.
(front of computer)
146 Appendix B
9 Press the card gently but firmly until the connector is fully inserted.
m Don’t force the card. If you meet a lot of resistance, pull the card out and
try again.
m To see if the card is properly connected, pull it gently. If it resists and stays
in place, it’s connected. (Make sure you don’t pull the card so much that
you accidentally disconnect it.)
If you have other cards to install, put them in now by repeating steps 6
through 9.
If the PCI card you are installing is full-length,
then be sure that it fits in one of the three card
guides toward the front of the computer.
(back of computer)
Installing an Expansion Card 147
10 Flip the expansion card cover up and snap it back into place. (Be sure to snap the cover
back down on both ends.)
Flip the expansion card cover closed and snap it into place.
(front of computer)
148 Appendix B
11 Replace the cover on the computer.
Lower the cover all the way down onto the case, leaving a 2-inch gap. Push
the cover back until it snaps into place.
You are now finished installing the card. You may turn on the computer and
start using the new card.
WARNING Never turn on your computer unless all of its internal and
external parts are in place. Operating the computer when it is open or
missing parts can be dangerous, and can damage your computer.
Slide the top cover all the way back
until it snaps into place.
Set the top cover down so that there is about a two-inch
gap between the back of the top cover and the back of
the chassis.
Installing an Expansion Card 149
Upgrading the processor
Your computer’s processor can be upgraded with the installation of a
processor upgrade card.
To upgrade the processor, remove the old processor card following the
instructions in this chapter for opening the computer safely. Then, the new
processor card can be installed following the procedure in this chapter for
installing expansion cards. (Note that an access port cover does not need to
be removed as described in step 6 of “Card Installation” earlier in this
chapter.)
IMPORTANT The processor card can be damaged by static electricity. To avoid
damaging the card, hold it only by the edges—do not touch the connectors or
the components on the card.
Refer to the documentation that came with the processor upgrade card for
important installation instructions specific to the card.
Processor card
150 Appendix B
151
Your computer keyboard contains certain special keys that typewriter
keyboards don’t have. Many of these keys allow you to give commands to
the computer without using the mouse. For example, in many application
programs, you can press the x (Command) key at the same time as the Q key
to quit a program.
The following table describes what you can do with the special keys on your
keyboard. The special keys on your keyboard depend on the model of
keyboard you have; some keyboards do not have all the keys listed here.
Special keys on Apple keyboards
Arrow keys Use to move the insertion point, as an alternative to using the
pointer. In some programs, the arrow keys have other functions.
Caps Lock key Use to capitalize a series of letters (numbers and symbols
aren’t affected).
Clear key Use to delete the current selection (or use the Delete key).
In some programs, Clear has other functions.
x (Command) key Use in combination with other keys as an alternative to
choosing a menu command.
continued .
num
lock
clear
caps
lock
Read this appendix to learn
how to use the special
keys on your keyboard.
Appendix C
Special Keys on Your Keyboard
Special keys on Apple keyboards (continued)
Control key In combination with other keys, this key provides shortcuts or
modifies other actions.
Delete key Use to delete selected material, or the character to the left of the
insertion point.
Enter key In a dialog box, pressing Enter is the same as clicking the
outlined button. In some programs, pressing this key confirms
information you have provided.
Escape key The function of this key depends on the program you’re using.
Function keys Some programs allow you to use the 12 function keys to give
commands. You can assign commands or action sequences to
function keys with special utility programs.
Option key Use in combination with other keys to produce special
characters or modify actions.
Numeric keys Use to produce numbers and mathematical symbols; some
programs use these keys as function keys to initiate actions.
Power key On some models, press to turn on the computer. Also press to
shut down the computer, to put the computer to sleep, or to
restart the computer.
Return key Use to move the insertion point to the beginning of the next line.
In a dialog box, pressing Return is the same as clicking the
outlined button.
Shift key Use to produce capital letters (or the upper character
on the key).
Tab key Use to move the insertion point to the next stopping place
(such as a tab stop or field in a dialog box or program).
Other special keys The function of these keys depends on the operating system
and program you’re using.
help home
end
ins
del
page
up
page
down
tab
shift
return
num
lock
clear = / *
7
4
0
8
5
2
9
6
3
enter
1
.
option
alt
F1
esc
enter
delete
control
152 Appendix C
Typing special characters and symbols
You can type a variety of international and other special symbols and
characters (including characters with diacritical marks, such as accents)
by pressing combinations of keys.
The Key Caps program, which is installed with your system software, shows
you the characters produced when you type certain keys and key
combinations in the fonts available on your computer. Choose Key Caps from
the Apple (K) menu, then choose the font from the Key Caps menu.
To have Key Caps show more options for special characters, press each of
these keys or key combinations: Option, Shift, Shift-Option, Shift-x, and
Option-x.
If you press the Option key, Key Caps outlines lightly the keys that you can
use in combination with letter keys to type letters with accents or other
diacritical marks.
Special Keys on Your Keyboard 153
Characters available
in the Chicago font
Characters appear
here when you press
keys on the keyboard
or click them in
the window.
Characters available
in the Chicago font
when the Option key
is pressed
The highlighted key represents the
key held down on the keyboard—
in this case, the Option key.
If you see rectangles: If you see rectangles instead of diacritical marks on
some of the pictures of keys in Key Caps, try pressing Option-x to see the
diacritical marks. However, you only need to use the Option key (not
Option-x) in combination with the other keys to type letters with diacritical
marks.
If you press the Option key at the same time as a key for a specific diacritical
mark and then release both keys, Key Caps outlines in bold the keys for
letters that can be typed with that mark. (You’ll see that most key
combinations for diacritical marks can be used with the Space bar as well
as letter keys—producing the mark without a letter.)
The most common diacritical marks and how to create them are summarized
next.
Diacritical mark Key combination
Grave accent ( ` ) Option-`, then type the character
Acute accent ( ´ ) Option-e, then type the character
Circumflex (^) Option-i, then type the character
Tilde (~) Option-n, then type the character
Umlaut ( ¨ ) Option-u, then type the character
The letter “c” with a cedilla (ç) Option-c
m To type a letter or a space with a specific diacritical mark, press the Option key and
the key for the mark simultaneously. Then type the letter that needs the mark.
If you are having trouble getting a mark and letter to appear together, try
again. Be sure to press the Option key before (or at the same time as) the
key for the mark; then, after you release both keys, type the letter to be
marked.
154 Appendix C
Special key combinations
If difficulties with your mouse or computer don’t allow you to use standard
methods of quitting a program or restarting your computer, you can try using
these special key combinations.
To do this... …press this key combination
Force a program to quit x-Option-Esc
Force the computer to restart x–Control–Power key
Here are other key combinations you may find useful:
To do this… …press this key combination
Start a “debugging” program used by software programmers* x-Power key
Start the computer from a CD-ROM disc C key (at startup)
Ignore SCSI ID 0 (zero) x-Option-Shift-Delete
Turn off system extensions Shift key (while starting up)
Rebuild the desktop Option-x (while starting up)
*If you do not have a debugging program installed, your screen displays a caret prompt (>). To return to the desktop,
type “G.”
Special Keys on Your Keyboard 155
A
AAUI Ethernet connector 59
AAUI Ethernet port 40, 41
About Apple Extras file 25
accent marks, typing 153–154
access covers for expansion slots 41, 145
active program 19, 63–64
acute accent (´), typing 154
ADB ports 10, 11, 40, 41, 88
air circulation around computer
components 129
America Online, obtaining Apple
software updates from 102
Apple-authorized service providers
adding internal drives 58
attaching devices to the internal SCSI
interface 54
damaged equipment 87, 89, 92
ejecting floppy disks 84, 134
hard disk initialization failure
105, 109
installing additional memory 58
installing expansion cards 139
interference with radio or television
reception vi
liquid spills on keyboard 130
removing extra built-in SCSI
terminators 56
repair service 76, 77
replacing the clock battery 80
“sad Macintosh” icon on screen 82
servicing the power supply 134
AppleCD Audio Player program 69,
|70, 92
Apple Desktop Bus (ADB) ports 10, 11,
40, 41, 88
Apple Extensions Manager 63
AppleLink, obtaining Apple software
updates from 99
Apple PlainTalk Microphone, connecting
2, 45–46
AppleScript program 61
Apple software updates, obtaining
98–102
AppleTalk control panel 60
Application menu
activating the Finder 28, 35
Hide Others/Show All commands 64
identifying the active program 19,
63–64
switching programs 19, 64
157
Index
If you can’t find what you’re looking for
in this index, look in Macintosh Guide—
available in the Guide (h) menu
on your computer.
application programs
active and open 63–64
“can’t be found” message 66, 89
“can’t be opened because a file can’t
found” message 66, 90
compatibility with older Macintosh
programs 90
installing 61–63
memory problems 85
not installed with the Installer program
113, 116
opening 19
Power Macintosh “native”
applications 65–66
switching 64
won’t start or quit unexpectedly 85
arrow keys 151
arrow pointer
“freezes” and won’t move 24, 75–76,
87, 96
moving 17–18
Ask Apple Online Technical Support
service 99–100
At Ease 92
audio cables 50–53
audio CDs
adjusting volume control 48, 95
playing 70
troubleshooting 95–96
audio equipment, connecting 42–48
Audio File Access CD-ROM
extension 94
Audio In port (on stereo speakers) 47
audio input/output ports (on computer)
41, 42, 45, 51–53
Audio Out ports (on video equipment)
51–53
automatic startup/shutdown 22
A/V panel 42
B
backing up
files and disks 65
programs 62
Balloon Help 36
battery in computer’s clock, replacing 80
blinking question mark icon,
troubleshooting 80–81, 110
“bomb” icon/message, troubleshooting
75, 77, 86, 96
BOOTP bootstrapping protocol 60
brightness control on monitor 15,
79, 130
C
cables
audio 45, 50–53
checking connections 79, 87
keyboard 2, 10–11
monitor 2, 9
mouse 10–11, 87
network 59
safety instructions for 129
SCSI 55–57
stereo speaker 47
video 50–53
Caps Lock key 151
carpal tunnel syndrome 124
CD-ROM discs
can’t open a document on 94
damaged 94
ejecting 69
eject unexpectedly 94
icon doesn’t appear on desktop 93
inserting 62, 68
overview 67
playing audio CDs 70
problems using ISO 9660 or High
Sierra discs 95
removing scratches on 94
safety instructions for 132–133
158 Index
saving changed information 94
starting At Ease from 92
“This is not a Macintosh disk: Do you
want to initialize it” message 94
using Photo CDs 71
CD-ROM disc that contains system
software, starting the computer
from 103–104
CD-ROM drive
computer won’t restart after copying
software to System Folder
84, 91
computer won’t restart with a disc in
the drive 80, 84
icon doesn’t appear on screen 91
illustration 40
opening/closing the tray 68, 69, 92
safety instructions for vii, 133
software problems 84, 91
CD-ROM software, installing 119–120
cedilla (ç), typing 154
chair, adjusting for optimal support and
comfort 125
circumflex (^), typing 154
C key (at startup), to start from a
CD-ROM disc 155
cleaning computer equipment 135–137.
See also safety instructions
clean installation of system software
113–117
Clear key 151
clock in computer keeps time
inaccurately 80
close box 20
in Macintosh Guide 34, 35
closing the cover on the computer 149
x (Command)-Control-Power keys, to
restart the computer 74, 155
x (Command)-E keys, to eject a CDROM
disc 69
x (Command) key 151
x (Command)-Option-Esc keys, to quit a
program 77, 87, 155
x (Command)-Option keys, to rebuild the
desktop 78, 155
x (Command)-Option-p-r keys, to restart
the computer 79
x (Command)-Option-Shift-Delete keys,
to ignore SCSI ID 0 (zero) 155
x (Command)-Power keys, to start a
debugging program 155
x (Command)-Shift-1 keys, to eject a
floppy disk 83, 134
x (Command)-Shift-K keys, to start a
clean installation of system
software 115
composite video connections
for input from a camera 52
for input from a VCR 51
composite video connectors 49, 50. See
also RCA-type connectors
composite video input port (on computer)
41, 42, 51–52
CompuServe, obtaining Apple software
updates from 101
computer components. See equipment
computer power cord 2, 6
connecting
audio equipment 42–48
the computer 3–6
external stereo speakers 47–48
a microphone 45–46
a monitor 7–9
the mouse and keyboard 10–11
to a network 59–60
SCSI devices 54–57
video equipment 48–53
connectors
AAUI Ethernet 59
miniplug 43, 44, 47
RCA-type 44, 49, 50–53
safety instructions for 129
S-video 49, 50
Control key 152
Index 159
control panels
AppleTalk 60
Energy Saver 21–22, 130
Extensions Manager 78, 85, 86,
94, 97
Memory 85, 90
Monitors 79
PC Exchange 89, 90
TCP/IP 60
turning off 85, 86
Video & Sound 48
cumulative trauma disorders (CTDs) 124
customer service
obtaining Apple software updates
98–102
support hotline 25
custom installation of system software
117–119
Custom Install dialog box 118, 120
D
Delete key 152
desktop
At Ease and 92
rebuilding 78, 83, 89
device drivers, SCSI 57
DHCP bootstrapping protocol 60
diacritical marks, typing 153–154
diagnosing problems. See Appleauthorized
service providers;
error messages; troubleshooting
dialog boxes
Custom Install 118, 120
Easy Install 112, 115–116
Energy Star 14, 21
DIMMs. See Dual Inline Memory
Modules (DIMMs)
dim screen 22, 79, 130
disconnecting the computer 6, 128
Disk First Aid program
installing system software 111, 120
repairing damaged disks 108–109
disks. See CD-ROM discs; floppy disks;
hard disk
Disk Tools disk, starting the computer
from 104
disk with an X icon 81
display. See monitor; screen
documents. See also files
can’t open 89
opening DOS documents on the
Macintosh 89, 90
DRAM. See dynamic RAM
drivers
printer 98
SCSI device 57
Drive Setup program
hard disk icon doesn’t appear 82
initializing a hard disk 103, 105
overview 61
testing a hard disk 107–108
updating the hard disk 111, 114
Dual Inline Memory Modules
(DIMMs) 58
dual RCA-type connectors 44, 50, 52, 53
dynamic RAM, adding 58
E
Easy Access, turning off 88
Easy Install dialog box 112, 115–116
Eject CD command (AppleCD Audio
Player File menu) 69, 92
ejecting
CD-ROM discs 69, 92
floppy disks 83–84, 134
electromagnetic emissions from computer
monitors 127
Energy Saver control panel 21–22, 130
energy-saving options, setting 14, 21,
130
Energy Star dialog box 14, 21
Enter key 152
160 Index
equipment
arranging to prevent discomfort
125–126
cleaning 135–137
guidelines for handling 129–133
illustration 2, 40–41
setting up 1–8
error messages. See also troubleshooting
“Application program can’t be found”
66, 89
“Application program can’t be opened
because a file can’t be found”
66, 90
blinking question mark icon
80–81, 110
“bomb” icon/message 75, 77, 86, 96
“Can’t open a document...” 89
“Could not create a socket” 60
disk with an X icon 81
“Not enough memory” 66, 85
“sad Macintosh” icon 82
“This is not a Macintosh disk: Do you
want to initialize it?” 94
“Unable to locate host” 60
what to do about 75, 76–77, 86
Escape key 152
Ethernet network, connecting to 59–60
Ethernet ports 40, 41
eWorld program 61, 99–100
expansion bay, illustration 40
expansion card
installing 139–149
power requirements of 140
expansion card cover 144, 148
expansion slots 139, 145–147
access covers for 41, 145
extended miniplugs 43
Extensions Manager control panel 78,
85, 86, 94, 97
external stereo speakers, connecting
47–48
eye fatigue from computer use 123,
125, 127
F
fatigue, tips for avoiding 127
FDDI networks 59
File menu
Eject CD command (AppleCD Audio
Player program) 69, 92
Put Away command 69, 92
files. See also documents
backing up 65
file sharing, CD-ROM discs and 72
Finder, activating 28, 35
floating-point unit (FPU) 85
floppy disk drive, illustration 40
floppy disks
backing up 65
can’t eject 83–84, 134
computer can’t read 83
repairing 108–109
safety instructions for 131
folders. See System Folder; Utilities
folder
Foreign File Access extension 94, 95
formatting a hard disk 103–105
frozen pointer 87
Function keys 152
furniture, arranging to prevent discomfort
125–126
G
graphics, using Photo CDs 71
grave accent (`), typing 154
grounding the computer 6, 129
Guide menu. See also Macintosh Guide
Shortcuts command 37–38
Show/Hide Balloons command 36
using 18, 19, 25, 27–28
Index 161
H
hard disk
backing up files on 65
can’t start up from 106–107
icon doesn’t appear on screen 82–83,
106–107
initializing 103–105
repairing 106–109
testing 107–108
using space as virtual memory 65
hard disk drive, illustration 40
health-related information about
computer use 123–127
help. See Apple-authorized service
providers; Balloon Help;
customer service; Macintosh
Guide; troubleshooting
Hide Balloons command (Guide
menu) 36
Hide Others command (Application
menu) 64
hiding/showing windows on the
desktop 64
High Sierra CD-ROM discs, problems
using 95
“Huh?” button, Macintosh Guide 35
I, J
icons
ADB 10, 11
application program 20
blinking question mark 80–81, 110
“bomb” 75, 77, 86, 96
defined 20
Disk First Aid 108, 111, 114
disk with an X 81
document 20
don’t appear correctly on screen
82–83, 92–93
Drive Setup 105, 107
folder 20
hard disk 14, 19, 20, 82–83
“sad Macintosh” 82
SCSI 54
sound input/output ports 43
Trash 14, 19, 20
ID numbers. See SCSI ID numbers
Index button, Macintosh Guide 29,
31–32
initializing a hard disk 103–105
inserting CD-ROM discs 62, 68
insertion point, setting 88
Installer program 112, 114
installing
additional RAM 57–58
application programs 61–63
CD-ROM software 119–120
expansion card 139–149
internal drives 58
system software 110–119
interference with radio or television
reception vi, 130
internal drives, installing 58
international characters and symbols,
typing 153–154
Internet
configuring your system for 60
obtaining Apple software updates
from 101–102
ISDN networks 59
ISO 9660 CD-ROM discs, problems
using 95
K
keyboard
connecting 10–11
illustration 2, 40
positioning 125–126
safety instructions for 130
special keys on 151–152
typing produces nothing on screen
88–89
162 Index
keyboard cable
checking connections 87, 88
connecting 10–11
illustration 2
keyboard shortcuts 37–38
keyboard tray 126
Key Caps program 153–154
L
learning the basics 17–18
lifting the computer 3
liquid spills on the computer equipment
128, 129, 130, 132, 133
LocalTalk network, connecting to 59–60
locking/unlocking the mouse 137–138
Look For button, Macintosh Guide 29,
33–34
M
Macintosh Guide
activating the text box 33
closing 34, 35
going to the next step 30, 32, 34
“Huh?” button 35
Index button 29, 31–32
Look For button 29, 33–34
moving the window out of the way 35
returning to the main window 30,
32, 35
Topics button 29–30
using the scroll bar 31
using the slider 31
using the zoom box 35
Macintosh Shortcuts 37–38
Macintosh Tutorial 17–18
memory. See also RAM
expanding 57–58
“not enough memory” message 66, 85
shared libraries and 66, 90
virtual 65
Memory control panel 85, 90
menu bar 19
menu, opening 18, 19
microphone, connecting 2, 45–46
miniplugs 43, 44, 47
modem port (GeoPort) 40, 41
moisture or wetness, computer exposure
to 128, 129, 133
monitor. See also screen
brightness control 15, 79, 130
cleaning 135
connecting 7–9
electromagnetic emissions from 127
illustration 2, 40
positioning 7, 126
safety instructions for 130
turning on 12
monitor cable 2, 9
monitor port 9, 40, 41
monitor power cord 2, 7–8
monitor power socket 41
Monitors control panel 79
mouse
cleaning 135–137
connecting 10–11
illustration 2, 40
learning to use 17–18
locking/unlocking 137–138
proper positioning of 126
troubleshooting 87
mouse button 17–18
mouse cable
checking connections 87
connecting 10–11
mouse pad 17
mouse shortcuts 37–38
musculoskeletal discomfort from
computer use 123, 124, 127
Index 163
N
network cables, connecting 59
networks
backing up files on 65
connecting to 59–60
sharing a CD-ROM disc on 72
network server options, sleep state
and 22
normal installation of system software
111–113
Numeric keys 152
O
office furniture, arranging to prevent
discomfort 125–126
online help. See Balloon Help; Guide
menu; Macintosh Guide
online services, obtaining Apple software
updates from 98–102
Open/Close button on CD-ROM drive
40, 68, 69, 92
opening the computer 141–142
Option key 152
Key Caps program and 153–154
P
parameter RAM 79
PC Exchange control panel 89, 90
PCI. See Peripheral Component
Interconnect (PCI) cards
performance decreases after adding
software, troubleshooting 97
Peripheral Component Interconnect (PCI)
cards 59, 139, 146–147
Photo CDs 71, 96
pointer. See arrow pointer
ports
AAUI Ethernet 40, 41
ADB 10, 11, 40, 41, 88
Audio In (on stereo speakers) 47
audio input/output (on computer) 41,
42, 45, 51–53
Audio Out (on video equipment)
51–53
composite video input 41, 42, 51–52
illustration 40–41
monitor 9, 41
SCSI 40, 41, 54, 57
sound input/output 40–41, 43, 45–47
S-video input (on computer) 41, 42,
52–53
S-video Out (on video equipment)
52–53
Video Out (on video equipment)
51–52
power button 15, 24, 40, 78
power cords
checking connections 79
frayed 128
illustration 2, 6, 8
plugging in 3–6, 8
Power key
illustration 13, 40, 152
putting the computer to sleep 22, 152
restarting the computer 77, 152
starting the computer 13, 152
turning the computer off 23, 24, 152
Power Macintosh “native” application
programs 65–66
power-on light 15, 40
PowerPC microprocessor ix
power sockets 41
power supply 134, 143
PowerTalk program 61
PRAM. See parameter RAM
Previous System Folder 115, 117
printer port (GeoPort) 40, 41
printer problems 98
164 Index
problems. See Apple-authorized service
providers; customer service;
error messages; troubleshooting
processor card, upgrading 139, 150
programs. See application programs
Put Away command (File menu) 69, 92
Q
question mark icon, troubleshooting
80–81, 110
quitting a program if you’re having
trouble 77
R
radio or television reception, interference
with vi, 130
RAM. See also memory
expanding 57–58
resetting parameter RAM 79
RCA-type connectors 44, 49, 50–53
Read Me files 25, 62
read-only memory, defined 67
rebuilding the desktop 78, 83, 89
reinstalling
CD-ROM software 119–120
system software 110–119
release buttons on computer 141
repairing damaged disks 106–109
repetitive stress injuries (RSIs) 124
Restart command (Special menu) 77
restarting the computer 79, 152, 155
Return key 152
S
“sad Macintosh” icon on screen,
troubleshooting 82
safety instructions
CD-ROM drive vii
cleaning equipment 135–137
connecting additional equipment 39
connecting a SCSI device 57
ejecting CDs using a paper clip 92
ejecting floppy disks using a paper
clip 84, 134
general precautions 128–129
grounding the computer 6, 129
handling and care of equipment
129–133
installing additional memory 58
installing an expansion card 139
liquid spills on computer equipment
128, 129, 130, 132, 133
locking/unlocking the mouse
137–138
operating the computer when open or
when parts are missing 149
setting the voltage 3–6, 8, 12
saving documents if you’re having
trouble 77
screen. See also monitor
dark, troubleshooting 79
dimming 22, 130
minimizing glare and reflections
126, 127
positioning 7, 126
screen saver programs 79, 130
scroll arrows 20
scroll bar, Macintosh Guide 31
SCSI cables 55–57
SCSI devices
computer doesn’t recognize 80, 91
connecting 54–57
SCSI ID numbers
setting 55
troubleshooting and 82, 91, 106–107
SCSI internal interface 54
SCSI port 40, 41, 54, 57
SCSI terminator 56
security lock ports 40, 41
shared disks 65, 69, 72
shared libraries 66, 90
Shift key 152, 155
Shortcuts command (Guide menu)
37–38
Show All command (Application
menu) 64
Index 165
Show Balloons command (Guide
menu) 36
showing/hiding windows on the
desktop 64
Shut Down command (Special menu)
23–24
shutting down the computer 22, 23–24
size box 20
Sleep command (Special menu) 22
sleep state 15, 22
slider, Macintosh Guide 31
Small Computer System Interface.
See SCSI
software updates, obtaining 98–102
sound input/output ports (on computer)
41, 43, 45–47
speaker on computer, illustration 40
speakers, connecting external stereo
speakers 47–48
special characters and symbols, typing
153–154
special keys 151–152, 155
Special menu
Restart command 77
Shut Down command 23–24
Sleep command 22
starting the computer 22, 77–78
startup disks
initializing 103–105
rebuilding the desktop and 78
troubleshooting 81, 83
static electricity
discharging 143
handling the processor card 150
stereo miniplugs 43, 44, 47
stereo speakers 47–48
sunlight, computer exposure to 129
S-video connections
for input from a camera 53
for input from a VCR 52
S-video connectors 49, 50
S-video input port (on computer) 41, 42,
52–53
S-video Out port (on video equipment)
52–53
switching programs 19
symbols and international characters,
typing 153–154
System Backup Disk 1 disk, starting the
computer from 104
system extensions
not installed with the Installer program
113, 116
turning off 63, 85, 86
System Folder
clean installation of system software
and 113, 115, 117
dragging extras to the Trash 63
replacing special software 117
shared libraries 66
system software
installing/reinstalling 110–119
troubleshooting 80–82, 86–88, 110
T
Tab key 152
TCP/IP control panel 60
television or radio reception, interference
with vi, 130
temperature limits for floppy disks 131
10BASE-T Ethernet connector 59
10BASE-T Ethernet port 40, 41
terminators, SCSI 56
text box, Macintosh Guide 33
Text-to-speech software 61
tilde (~), typing 154
title bar of a window 20
TokenRing networks 59
Topics button
Macintosh Guide 29–30
Macintosh Shortcuts window 37, 38
Trash 20
triple RCA-type connectors 50, 51, 52
166 Index
troubleshooting. See also error messages
application program problems 63, 85,
89–90
arrow pointer “freezes” on screen 24,
75–76, 87, 96
audio CD problems 95–96
CD-ROM disc problems 93–94
CD-ROM drive problems 84,
91–93, 119
computer’s clock keeps time
inaccurately 80
desktop looks unusual 92
diagnosing problems 76–77, 86
floppy disk problems 83–84, 134
hard disk problems 82–83, 103–108
icons don’t appear correctly on
desktop 82–83, 92–93
interference with radio or television
reception vi, 130
keyboard problems 88–89
memory problems 65, 66, 85, 90
mouse problems 87
network configuration problems 60
opening DOS documents on the
Macintosh 89, 90
performance decreases after adding
software 97
Photo CD problems 96
printer problems 98
problems turning on the computer 15
screen is dark 79
SCSI devices not recognized 80, 91
shared library problems 66, 90
startup disk problems 81, 83
system software problems 80–82,
86–88, 110
typing produces nothing on screen
88–89
turning off
the computer 23–24
control panels 85, 86
Easy Access 88
system extensions 63, 85, 86, 97
virus detection programs 63
turning on
the computer 12–15
external SCSI devices 57
Foreign File Access/Audio File
Access CD-ROM extensions 94
the monitor 12
system extensions 63, 97
virtual memory 85
tutorial 15–18
typing produces nothing on screen,
troubleshooting 88–89
U
umlaut (ü), typing 154
unlocking/locking the mouse 137–138
unsaved work, losing 24
updated software, obtaining 98–102
upgrading the processor 139, 150
Utilities folder
Disk First Aid 108, 111
Drive Setup 105, 107
V
ventilation around computer
components 129
ventilation openings on computer and
monitor 130
Video & Sound control panel 48
video cables 50–53
video camera, connecting for input
50–53
videocassette recorder (VCR), connecting
for input 50–53
video formats 48
video Out ports (on video equipment)
51–52
video RAM, expanding 58
virtual memory 65, 85
virus detection programs 63
Index 167
voltage
setting for your computer 3–6, 12
setting for your monitor 8
voltage converter for monitor 4, 8
voltages for different countries 5
voltage switch 3–4, 6, 12
volume control
for AppleCD Audio Player 96
for external speakers 48, 96
VRAM. See video RAM
W, X, Y
waking the computer 15, 22
warranty on computer 76, 139
wetness or moisture, computer exposure
to 128, 129, 133
windows
hiding and showing 64
working with 20
work space, arranging to prevent
discomfort 125–126
Worldwide Web server (Internet),
obtaining Apple software
updates from 102
Z
zoom box, Macintosh Guide 35
168 Index
Apple Computer, Inc.
1 Infinite Loop
Cupertino, California 95014-2084
408.996.1010
030-6731-A
Printed in U.S.A.
Time Capsule
Installationshandbuch
3
Inhalt
5 Kapitel 1: Einführung
7
Informationen zu Ihrer Time Capsule-Basisstation
9
Die AirPort-Software
10
Systemvoraussetzungen
12
Die Statusanzeigen der Time Capsule-Basisstation
15 Kapitel 2: Konfigurieren Ihrer Time Capsule-Basisstation
16
Verwenden der Time Capsule-Basisstation zum Erstellen eines drahtlosen Netzwerks
19
Verwenden des AirPort-Dienstprogramms
21
Einrichten eines neuen drahtlosen Netzwerks
22
Konfigurieren und Freigeben des Internetzugangs
24
Festlegen erweiterter Optionen
25
Ermöglichen des Netzwerkzugriffs durch drahtlose Clients ohne Eingabe eines
Kennworts
27
Verwenden von Time Machine mit Ihrer Time Capsule-Basisstation
29 Kapitel 3: Tipps zur Fehlerbeseitigung
29
Sie können keine Verbindung zum Internet herstellen
29
Sie haben Ihr Netzwerk- oder Time Capsule-Kennwort vergessen
31
Ihre Time Capsule-Basisstation reagiert nicht
4
Inhalt
32
Die Statusanzeige der Time Capsule-Basisstation blinkt gelb
33
Ihr Drucker reagiert nicht
34
Aktualisieren der AirPort-Software
35
Überlegungen zur Platzierung der Time Capsule-Basisstation
36
Mögliche Störquellen, die Interferenzen mit AirPort verursachen können
37 Kapitel 4: Weitere Informationen, Service und Support
39 Anhang: Time Capsule – Technische Daten und Sicherheitsinformationen
43
Regulatory Compliance Information
1
5
1
Einführung
Herzlichen Glückwunsch zum Kauf von Time Capsule.
Bitte lesen Sie dieses Handbuch, um die Basisstation in
Betrieb zu nehmen.
Die neue Time Capsule-Basisstation ermöglicht eine vollständig automatisierte
Datensicherung über Ihr Wi-Fi-Netzwerk. Mit dem Programm „Time Machine“ unter
Mac OS X 10.5.2 Leopard (oder neuer) lassen sich ganz einfach und automatisch
Sicherungskopien der Daten aller Computer in Ihrem Netzwerk auf einer einzigen
Time Capsule-Basisstation anlegen.
Gleichzeitig dient Time Capsule auch als eine AirPort Extreme-Basisstation, die einen
gleichzeitigen drahtlosen Dualband-Netzwerkbetrieb ermöglicht. Bei der Konfiguration
Ihrer Time Capsule richtet diese zwei High-Speed-Wi-Fi-Netzwerke ein:
Â
Ein 2,4 Gigahertz- (GHz) Netzwerk für 802.11b-, 802.11g- und 802.11n-Geräte wie
iPhone, iPod touch und ältere Computer
Â
Ein 5 GHz-Netzwerk für 802.11n- und 802.11a-Geräte wie neuere Computer und
Apple TV
6 Kapitel 1
Einführung
Geräte für die drahtlose Kommunikation können das Netzwerk nutzen, das ihnen eine
optimale Leistung und Kompatibilität bietet. Die Time Capsule-Basisstation stellt den
Computern und Geräten in Ihrem Netzwerk eine Breitband-Internetverbindung für die
gemeinsame Nutzung bereit.
Mit Time Capsule haben Sie folgende Möglichkeiten:
Â
Verwenden des Programms „Time Machine“ unter Mac OS X 10.5.2 (oder neuer) zum
Ausführen einer Datensicherung aller Computer in Ihrem drahtlosen Netzwerk sowie
von Computern, die via Ethernet mit Ihrer Time Capsule verbunden sind.
Hinweis:
Abhängig davon, wie viele Daten Sie sichern wollen, kann die erste Datensicherung
mit Time Capsule und Time Machine relativ lange dauern, etwa über Nacht
oder sogar länger. Sie können die erste Datensicherung beschleunigen, indem Sie
Ihren Computer über ein Ethernetkabel mit dem LAN-Anschluss der Time Capsule
verbinden. Weitere Informationen zum Verwenden von Time Machine finden Sie im
Abschnitt „Verwenden von Time Machine mit Ihrer Time Capsule-Basisstation“ auf
Seite 27.
Â
Erstellen eines durch Kennwort geschützten drahtlosen privaten Netzwerks, Herstellen
einer Verbindung zum Internet und Freigeben der Verbindung für andere Computer
oder Wi-Fi-Geräte wie iPhone, iPod touch und Apple TV. Sie können Daten mit
anderen mit dem Netzwerk verbundenen Computern gemeinsam nutzen.
Â
Einrichten eines Gastnetzwerks mit oder ohne Kennwortschutz, um drahtlosen
Geräten wie Computern, iPhone, iPod touch und Apple TV nur den Internetzugang
bereitzustellen.
Kapitel 1
Einführung
7
Â
Verbinden der Time Capsule-Basisstation mit Ihrem Ethernetnetzwerk. Macintosh-
Computer, Windows XP- oder Windows Vista-Computer, die für die drahtlose Kommunikation
konfiguriert sind, können dann auf ein komplettes Netzwerk zugreifen,
ohne durch Kabel verbunden zu sein.
Â
Anschließen eines kompatiblen USB-Druckers an Ihre Time Capsule-Basisstation.
Kompatible Computer in Ihrem AirPort-Netzwerk können diesen Drucker dann
drahtlos oder via Kabel verwenden.
Â
Verbinden einer zusätzlichen USB-Festplatte mit der Time Capsule-Basisstation.
Kompatible Computer in Ihrem AirPort-Netzwerk können dann drahtlos oder per
Kabel auf Informationen auf der Festplatte zugreifen.
Â
Verbinden eines USB-Hub mit der Time Capsule-Basisstation und Anschließen
mehrerer USB-Geräte wie Drucker oder Festplatten. Alle Computer im Netzwerk
können danach auf diese Geräte zugreifen.
Wichtig:
Installieren Sie das AirPort-Dienstprogramm 5.4 von der CD, die Sie mit Ihrer
Time Capsule-Basisstation erhalten haben. Oder laden Sie das Dienstprogramm mithilfe
der Softwareaktualisierung. Vorherige Versionen des AirPort-Assistenten und
des AirPort Admin-Dienstprogramms sind mit dieser Time Capsule-Basisstation
nicht kompatibel.
Informationen zu Ihrer Time Capsule-Basisstation
Ihre Time Capsule-Basisstation ist mit fünf Anschlüssen an der Rückseite ausgestattet:
Â
Einem 10/100/1000BASE-T Gigabit Ethernet-WAN-Anschluss (Wide Area Network) für
die Anbindung eines DSL- oder Kabelmodems oder für den Anschluss an ein vorhandenes
Ethernetnetzwerk
8 Kapitel 1
Einführung
Â
Drei 10/100/1000BASE-T Gigabit Ethernet-LAN-Anschlüsse (Local Area Network) für
die Anbindung von Ethernetgeräten wie Druckern oder Computern oder für den
Anschluss an ein vorhandenes Ethernetnetzwerk
Â
Einem USB-Anschluss für die Anbindung eines kompatiblen USB-Druckers, einer
USB-Festplatte oder eines USB-Hubs für den Anschluss verschiedener Geräte
Die Reset-Taste neben den Anschlüssen wird für die Fehlerbeseitigung Ihrer
Time Capsule-Basisstation verwendet. Die Statusanzeige vorne am Gerät zeigt
den aktuellen Status an.
Statusanzeige Internet-WAN-Anschluss
Netzanschluss
Netzkabel
USB-Anschluss Reset-Taste
Ethernetanschlüsse
Anschluss für
Diebstahlsicherung
Anzeige für
Ethernetaktivität
Kapitel 1
Einführung
9
Die AirPort-Software
Ihre Time Capsule-Basisstation funktioniert mit dem AirPort-Dienstprogramm, das auf
der Time Capsule-CD enthalten ist.
Installieren Sie das AirPort-Dienstprogramm und befolgen Sie die Anleitungen auf den
folgenden Seiten, um die Time Capsule-Basisstation und Ihr drahtloses AirPort-Netzwerk
zu konfigurieren.
Hinweis:
Für die Konfiguration von Time Capsule ist das AirPort-Dienstprogramm Version
5.4 erforderlich. Mit älteren Versionen der AirPort-Software ist diese Time Capsule-
Basisstation nicht kompatibel.
AirPort-Dienstprogramm
Verwenden Sie das AirPort-Dienstprogramm für die Konfiguration Ihrer Time Capsule-
Basisstation, sodass Sie ein drahtloses Netzwerk einrichten, die Verbindung zum Internet
herstellen und kompatible USB-Drucker und USB-Festplatten gemeinsam verwenden
können. Sie können Ihre Time Capsule-Basisstation auch mit einem vorhandenen
drahtlosen AirPort Extreme-Netzwerk verbinden.
Das AirPort-Dienstprogramm eignet sich auch für die Konfiguration und Verwaltung
von Time Capsule-, AirPort Extreme- und AirPort Express-Basisstationen. Verwenden
Sie das Dienstprogramm, um die Einstellungen für Netzwerk, Datenweiterleitung
und Sicherheit sowie weitere Optionen manuell festzulegen.
Z
AirPort-Symbol in der Menüleiste
Mithilfe des AirPort-Symbols in der Menüleiste können Sie schnell zwischen AirPort-
Netzwerken wechseln, die Signalqualität des derzeit ausgewählten Netzwerks überwachen,
ein Computer-zu-Computer-Netzwerk einrichten und die AirPort-Kommunikation
aktivieren oder deaktivieren. Das AirPort-Symbol wird bei Computern mit
Mac OS X in der Menüleiste angezeigt.
10 Kapitel 1
Einführung
Systemvoraussetzungen
Für die Verwendung von Time Capsule benötigen Sie einen Computer, der drahtlos
arbeiten kann und mit den Standards IEEE 802.11a, 802.11b oder 802.11g oder mit einer
Entwurfsversion des IEEE 802.11n-Standards konform ist. Damit Sie die Time Capsule-
Basisstation konfigurieren können, muss Ihr Computer die unten genannten Systemvoraussetzungen
erfüllen.
Hinweis:
Sie benötigen Mac OS X 10.5.2 (oder neuer), um die Time Capsule-Basisstation
mit Time Machine von Mac OS X Leopard nutzen zu können.
Zum Konfigurieren Ihrer Time Capsule-Basisstation mit einem Macintosh-Computer
benötigen Sie Folgendes:
Â
Einen Macintosh-Computer mit einer installierten AirPort- oder AirPort Extreme-Karte
für die drahtlose Konfiguration oder einen Macintosh-Computer, der für die Konfiguration
via Ethernet über ein Ethernetkabel mit der Time Capsule-Basisstation
verbunden ist
Â
Mac OS X 10.4 (oder neuer)
Â
AirPort-Dienstprogramm 5.4 (oder neuer)
Zum Konfigurieren der Time Capsule-Basisstation mit einem Windows-PC benötigen
Sie Folgendes:
Â
Einen Windows-PC mit einer Prozessorgeschwindigkeit von mindestens 300 MHz und
einer kompatiblen 802.11a-, 802.11b- oder 802.11g-Karte für die drahtlose Kommunikation
oder einer Karte für die drahtlose Kommunikation, die mit einer Entwurfsversion
des Standards IEEE 802.11n konform ist
Â
Windows XP Home oder Professional (mit installiertem Service Pack 2) oder
Windows Vista
Kapitel 1
Einführung
11
Â
AirPort-Dienstprogramm 5.4 (oder neuer)
Anschließen der Time Capsule-Basisstation an das Stromnetz
Bevor Sie Ihre Time Capsule-Basisstation an das Stromnetz anschließen, verbinden Sie
zuerst die jeweiligen Kabel mit den Anschlüssen, die Sie verwenden wollen:
Â
Verbinden Sie das an Ihr DSL- oder Kabelmodem angeschlossene Ethernetkabel
(sofern Sie auf das Internet zugreifen werden) mit dem Ethernet-WAN-Anschluss (<
).
Â
Verbinden Sie ein USB-Kabel mit dem USB-Anschluss (d
) der Time Capsule-Basisstation
und einem kompatiblen USB-Drucker (sofern Sie über einen USB-Drucker
drucken werden), einer Festplatte oder einem Hub.
Â
Verbinden Sie ein Ethernetkabel mit einem Ethernetgerät und den Ethernet-LANAnschlüssen
(G
).
Nachdem Sie die Kabel für alle vorgesehenen Geräte angeschlossen haben, verbinden
Sie das Netzkabel mit dem Netzanschluss der Time Capsule-Basisstation und dann die
Basisstation mit dem Stromnetz. Ein Ein-/Ausschalter ist nicht vorhanden.
Wichtig:
Verwenden Sie nur das mit der Time Capsule-Basisstation gelieferte
Netzkabel.
Nachdem Sie die Time Capsule-Basisstation mit dem Stromnetz verbunden haben,
blinkt die Statusanzeige eine Sekunde lang grün und leuchtet dann während des
Startvorgangs gelb. Nach Abschluss des Startvorgangs blinkt die Statusanzeige gelb,
bis die Time Capsule-Basisstation mit den korrekten Einstellungen aktualisiert wurde.
Nachdem die Time Capsule-Basisstation korrekt konfiguriert und mit dem Internet bzw.
einem Netzwerk verbunden ist, leuchtet die Statusanzeige grün.
Wenn Sie Ethernetkabel mit den Ethernetanschlüssen verbinden, leuchten die Statusanzeigen
über den Anschlüssen permanent grün.
12 Kapitel 1
Einführung
Die Statusanzeigen der Time Capsule-Basisstation
In der folgenden Tabelle werden die Modi der Statusanzeigen der Time Capsule-
Basisstation und deren Bedeutung erläutert.
Anzeige Status/Beschreibung
Aus
Die Time Capsule-Basisstation ist nicht am Stromnetz
angeschlossen.
Leuchtet gelb
Die Time Capsule-Basisstation beendet gerade den
Startvorgang.
Blinkt gelb
Die Time Capsule-Basisstation kann keine Verbindung zum Netzwerk
oder dem Internet herstellen oder hat ein Problem festgestellt.
Vergewissern Sie sich, dass Sie das AirPort-Dienstprogramm
installiert haben. Stellen Sie mithilfe des Dienstprogramms die
Ursache für das Blinken der gelben Statusanzeige fest. Vgl. „Die
Statusanzeige der Time Capsule-Basisstation blinkt gelb“ auf
Seite 32.
Leuchtet grün
Ihre Time Capsule-Basisstation ist eingeschaltet und funktioniert
ordnungsgemäß. Wenn Sie „Aufblinken bei Aktivität“ aus dem
Einblendmenü „Statusanzeige“ im Bereich „Basisstation“ der
AirPort-Einstellungen im AirPort-Dienstprogramm auswählen,
blinkt die Statusanzeige ggf. grün, um normale Aktivität
anzuzeigen.
Blinkt gelb und grün
Beim Starten ist möglicherweise ein Problem aufgetreten.
Die Time Capsule-Basisstation wird neu gestartet.
Leuchtet blau
Die Time Capsule-Basisstation ist bereit, einem drahtlosen Client-
Computer den Zugriff auf das Netzwerk zu ermöglichen (vgl.
„Ermöglichen des Netzwerkzugriffs durch drahtlose Clients ohne
Eingabe eines Kennworts“ auf Seite 25).
Kapitel 1
Einführung
13
Nächste Schritte
Nachdem Sie die Time Capsule-Basisstation angeschlossen haben, konfigurieren Sie sie
mithilfe des AirPort-Dienstprogramms für Ihre Internetverbindung, den USB-Drucker
oder die USB-Festplatte oder für ein vorhandenes Netzwerk. Das AirPort-Dienstprogramm
befindet sich auf einem Computer mit Mac OS X im Ordner „Dienstprogramme“
innerhalb des Ordner „Programme“. Auf einem Computer mit Windows XP
oder Windows Vista finden Sie das Dienstprogramm unter „Start“ > „Programme“ >
„AirPort“.
2
15
2
Konfigurieren Ihrer Time Capsule-
Basisstation
Dieses Kapitel enthält Informationen und Anleitungen dazu,
wie Sie Ihre Time Capsule-Basisstation mit dem Internet verbinden
und mit dem AirPort-Dienstprogramm konfigurieren,
um ein drahtloses Netzwerk zu erstellen oder auf ein solches
Netzwerk zuzugreifen.
Das vorliegende Kapitel erläutert, wie Sie die Time Capsule mit dem Internet verbinden
und den Assistenten des AirPort-Dienstprogramms für die Konfiguration Ihres Netzwerks
und anderer Funktionen Ihrer Time Capsule-Basisstation verwenden. Weitere
Informationen zu drahtlosen Netzwerken sowie zu den erweiterten Funktionen des
AirPort-Dienstprogramms finden Sie im Dokument „Konzipieren von AirPort-Netzwerken
– Verwenden des AirPort-Dienstprogramms (Mac OS X 10.5 + Windows)“,
das auf folgender Webseite verfügbar ist: www.apple.com/de/support/airport.
Nachdem Sie das AirPort-Dienstprogramm von der mit der Time Capsule-Basisstation
gelieferten CD installiert haben, können Sie einen Großteil Ihrer Netzwerkkonfigurationsaufgaben
mithilfe des Assistenten des AirPort-Dienstprogramms ausführen. Zum
Festlegen erweiterter Optionen wählen Sie „Manuelle Konfiguration“ aus dem Menü
„Basisstation“ des AirPort-Dienstprogramms aus (vgl. „Festlegen erweiterter Optionen“
auf Seite 24).
16 Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
Verwenden der Time Capsule-Basisstation zum Erstellen eines
drahtlosen Netzwerks
Wenn Sie Time Capsule für den Netzwerk- und Internetzugang einrichten, können die
folgenden Computer und Geräte auf das drahtlose AirPort-Netzwerk zugreifen, um
Dateien bereitzustellen, Computerspiele zu spielen und Internetprogramme wie
Webbrowser und E-Mail-Programme zu verwenden:
Â
Macintosh-Computer mit AirPort- oder AirPort Extreme-Karten
Â
Computer, die mit den Standards 802.11a, 802.11b und 802.11g sowie der Entwurfsversion
des IEEE 802.11n-Standards konform sind
Â
Andere Wi-Fi-Geräte
Die via Ethernet mit der Time Capsule-Basisstation verbundenen Computer können
ebenfalls auf das Netzwerk zugreifen, um Dateien gemeinsam zu nutzen und eine
Verbindung zum Internet herzustellen.
Mit Mac OS X 10.5.2 (oder neuer) können Sie Time Machine so konfigurieren, dass auf
der Time Capsule-Basisstation eine Datensicherung aller Computer im Netzwerk erstellt
wird. Weitere Informationen hierzu finden Sie im Abschnitt „Verwenden von Time
Machine mit Ihrer Time Capsule-Basisstation“ auf Seite 27.
Wenn Sie einen kompatiblen USB-Drucker an Ihre Time Capsule-Basisstation anschließen,
können unterstützte Computer im Netzwerk (drahtlos oder per Kabel verbunden)
auf diesen Drucker zugreifen.
Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
17
Verwenden der Time Capsule-Basisstation zum Erstellen eines drahtlosen
Netzwerks
Gehen Sie wie folgt vor, um das drahtlose Netzwerk zu konfigurieren:
1
Schließen Sie Ihr DSL- oder Kabelmodem an Ihre Time Capsule-Basisstation an.
Verwenden Sie hierzu den Ethernet-WAN-Anschluss (<
).
zum Internet
DSL- oder Kabelmodem
„Programme“
> „AirPort“ auf einem Computer mit Windows), wählen Sie die Time Capsule-
Basisstation aus und klicken Sie dann auf „Fortfahren“.
4
Befolgen Sie die auf dem Bildschirm angezeigten Anweisungen zum Erstellen eines
neuen Netzwerks.
Gehen Sie wie folgt vor, um von einem Computer mit Mac OS X 10.5 zu drucken:
1
Wählen Sie „Apple“ > „Systemeinstellungen“ und klicken Sie dann auf „Drucken &
Faxen“.
2
Klicken Sie auf „Hinzufügen“ (+) und wählen Sie Ihren Drucker aus der Liste aus.
3
Klicken Sie auf die Taste „Hinzufügen“.
Wird Ihr Drucker nicht in der Liste aufgeführt, suchen Sie mithilfe der Symbole in der
Symbolleiste danach.
Gehen Sie wie folgt vor, um von einem Computer mit Mac OS X 10.3 oder 10.4
zu drucken:
1
Öffnen Sie das Drucker-Dienstprogramm (im Ordner „Dienstprogramme“ innerhalb des
Ordners „Programme“).
2
Wählen Sie den Drucker aus der Liste aus.
Wenn der Drucker nicht in der Liste enthalten ist, klicken Sie auf „Hinzufügen“ und
wählen Sie „Bonjour“ aus dem Einblendmenü aus. Wählen Sie anschließend den
Drucker aus der Liste aus.
Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
19
Gehen Sie wie folgt vor, um von einem Computer mit Windows XP oder
Windows Vista zu drucken:
1
Installieren Sie das Programm „Bonjour für Windows“, das sich auf der mit der
Time Capsule-Basisstation gelieferten CD befindet.
2
Befolgen Sie die Anweisungen auf dem Bildschirm, um Ihren Drucker anzuschließen.
AirPort-fähige Computer oder Computer, die mit anderen Karten oder Adaptern für
die drahtlose Kommunikation ausgestattet sind, können über Time Capsule die Verbindung
zum Internet herstellen. Die mit den Time Capsule-Ethernetanschlüssen verbundenen
Computer können ebenfalls auf das Netzwerk und das Internet zugreifen.
Drahtlose Computer und mit den Ethernetanschlüssen verbundene Computer können
über Time Capsule auch untereinander kommunizieren.
Verwenden des AirPort-Dienstprogramms
Verwenden Sie den Assistenten des AirPort-Dienstprogramms, um Ihre Time Capsule-
Basisstation zu konfigurieren. Das AirPort-Dienstprogramm wird auf Ihrem Computer
installiert, wenn Sie die Software von der Time Capsule-CD installieren.
Macintosh-Computer mit Mac OS X 10.4 oder neuer:
1
Öffnen Sie das AirPort-Dienstprogramm (im Ordner „Dienstprogramme“ innerhalb des
Ordners „Programme“).
2
Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Fortfahren“.
Wird die Time Capsule nicht angezeigt, die Sie konfigurieren wollen, klicken Sie auf
„Erneut suchen“, um nach verfügbaren drahtlosen Geräten zu suchen. Wählen Sie dann
die gewünschte Basisstation aus der Liste aus.
20 Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
3
Befolgen Sie die angezeigten Anleitungen, um Ihre Time Capsule-Basisstation und Ihr
drahtloses Netzwerk zu konfigurieren.
Computer mit Windows XP (mit Service Pack 2) oder Windows Vista:
1
Öffnen Sie das AirPort-Dienstprogramm, das sich unter „Start“ > „Programme“ >
„AirPort“ befindet.
2
Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Fortfahren“.
3
Befolgen Sie die angezeigten Anleitungen, um Ihre Time Capsule-Basisstation und Ihr
drahtloses Netzwerk zu konfigurieren.
Beantworten Sie anschließend die Fragen des Assistenten des AirPort-Dienstprogramms
zur Art des Netzwerks, das Sie verwenden möchten, und zu den Diensten,
die konfiguriert werden sollen. Der Assistent unterstützt Sie auch bei der Eingabe
der passenden Einstellungen.
Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
21
Wenn Sie mit Time Capsule auf das Internet zugreifen, müssen Sie bei einem Internetanbieter
für einen Breitband-Account (DSL- oder Kabelmodem) registriert sein oder
eine Verbindung zum Internet über ein vorhandenes Ethernetnetzwerk besitzen. Wenn
Sie von Ihrem Internetanbieter zusätzliche Informationen erhalten haben (zum Beispiel
eine statische IP-Adresse oder eine DHCP-Client-ID), müssen Sie diese Informationen
möglicherweise im AirPort-Dienstprogramm eingeben. Legen Sie diese Informationen
bereit, bevor Sie mit der Konfiguration von Time Capsule beginnen.
Einrichten eines neuen drahtlosen Netzwerks
Sie können den Assistenten des AirPort-Dienstprogramms auch zum Erstellen eines
neuen drahtlosen Netzwerks verwenden. Der Assistent führt Sie durch die Schritte, die
zum Benennen Ihres Netzwerks, zum Schützen Ihres Netzwerks durch ein Kennwort
und zum Festlegen anderer Optionen erforderlich sind.
Gehen Sie wie folgt vor, wenn Sie einen USB-Drucker oder eine USB-Festplatte in Ihrem
Netzwerk gemeinsam nutzen möchten:
1
Schließen Sie den Drucker oder die Festplatte an den USB-Anschluss (d
) der
Time Capsule-Basisstation an.
2
Öffnen Sie das AirPort-Dienstprogramm, das sich auf einem Macintosh-Computer im
Ordner „Dienstprogramme“ innerhalb des Ordners „Programme“ oder auf einem Computer
mit Windows XP unter „Start“ > „Programme“ > „AirPort“ befindet.
3
Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Fortfahren“.
Wird die Time Capsule nicht angezeigt, die Sie konfigurieren wollen, klicken Sie auf
„Erneut suchen“, um nach verfügbaren drahtlosen Geräten zu suchen. Wählen Sie dann
die gewünschte Basisstation aus der Liste aus.
22 Kapitel 2
Konfigurieren Ihrer Time Capsule-Basisstation
4
Befolgen Sie die auf dem Bildschirm angezeigten Anweisungen zum Erstellen eines
neuen Netzwerks.
Konfigurieren und Freigeben des Internetzugangs
Wenn Sie Ihren Internetzugang mit anderen für die drahtlose Kommunikation ausgelegten
Computern im Netzwerk oder mit Computern, die mit den Ethernetanschlüssen
verbunden sind, gemeinsam nutzen möchten, müssen Sie die Time Capsule als AirPort-
Basisstation einrichten. Nach der Konfiguration Ihrer Time Capsule können Computer
über das AirPort-Netzwerk auf das Internet zugreifen. Die Time Capsule-Basisstation
stellt die Verbindung zum Internet her und verteilt Informationen an die Computer.
Schließen Sie Ihr DSL- oder Kabelmodem an den Ethernet-WAN-Anschluss (<) der
Time Capsule-Basisstation an, bevor Sie das AirPort-Dienstprogramm zum Konfigurieren
Ihrer Basisstation verwenden. Wird die Time Capsule-Basisstation an ein Ethernetnetzwerk
mit Internetzugriff angeschlossen, empfiehlt es sich, die Internetverbindung
via Ethernet bereitzustellen.
Verwenden Sie den Assistenten des AirPort-Dienstprogramms, um die Einstellungen
Ihres Internetanbieters einzugeben und zu konfigurieren, wie Time Capsule die Einstellungen
für andere Computer bereitstellt.
1 Öffnen Sie das AirPort-Dienstprogramm, das sich auf einem Computer mit Mac OS X im
Ordner „Dienstprogramme“ innerhalb des Ordner „Programme“ befindet. Auf einem
Computer mit Windows XP oder Windows Vista finden Sie das Dienstprogramm unter
„Start“ > „Programme“ > „AirPort“.
Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation 23
2 Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Fortfahren“.
Wenn Sie Änderungen an einer Time Capsule-Basisstation vornehmen, die bereits
konfiguriert wurde, müssen Sie ggf. eine Verbindung zum vorhandenen Netzwerk
herstellen, bevor Sie Einstellungen der Time Capsule-Basisstation ändern.
Verwenden Sie auf einem Macintosh das AirPort-Symbol in der Menüleiste, um das
drahtlose Netzwerk auszuwählen, das Sie ändern möchten. Bewegen Sie auf einem
Computer mit Windows XP den Mauszeiger auf das Symbol für die drahtlose Verbindung
und warten Sie, bis der Name des AirPort-Netzwerks (SSID) angezeigt wird.
Wählen Sie anschließend dieses Netzwerk aus der Liste aus, wenn mehrere Netzwerke
verfügbar sind.
3 Befolgen Sie die Anweisungen auf dem Bildschirm, um Ihre Time Capsule-Basisstation
zu konfigurieren und den Internetzugang freizugeben.
Mit dem AirPort-Dienstprogramm können Sie Ihre Time Capsule-Basisstation und Ihr
Netzwerk schnell und einfach konfigurieren. Wenn Sie weitere Optionen wie eine
Zugriffsbeschränkung für Ihr Netzwerk festlegen oder erweiterte DHCP-Optionen
einstellen wollen, wählen Sie „Manuelle Konfiguration“ aus dem Menü „Basisstation“
des AirPort-Dienstprogramms aus.
24 Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation
Festlegen erweiterter Optionen
Konfigurieren Sie Ihre Time Capsule-Basisstation mit dem AirPort-Dienstprogramm
manuell, wenn Sie erweiterte Time Capsule-Optionen wie zusätzliche Sicherheitsoptionen,
geschlossene Netzwerke, DHCP-Lease-Dauer, Zugriffssteuerung, Signalstärke,
Benutzer-Accounts und mehr festlegen möchten.
Gehen Sie wie folgt vor, um erweiterte Optionen festzulegen:
1 Öffnen Sie das AirPort-Dienstprogramm, das sich auf einem Macintosh-Computer im
Ordner „Dienstprogramme“ innerhalb des Ordners „Programme“ oder auf einem Computer
mit Windows XP unter „Start“ > „Programme“ > „AirPort“ befindet.
2 Sind in der Liste mehrere drahtlose Geräte enthalten, wählen Sie das Gerät aus, das Sie
konfigurieren möchten. Wird die Time Capsule nicht angezeigt, die Sie konfigurieren
wollen, klicken Sie auf „Erneut suchen“, um nach verfügbaren drahtlosen Geräten zu
suchen. Wählen Sie dann die gewünschte Basisstation aus der Liste aus.
Wenn Sie Änderungen an einer Time Capsule-Basisstation vornehmen, die bereits
konfiguriert wurde, müssen Sie ggf. eine Verbindung zum vorhandenen Netzwerk
herstellen, bevor Sie Einstellungen der Time Capsule-Basisstation ändern.
Verwenden Sie auf einem Macintosh das AirPort-Symbol in der Menüleiste, um das
drahtlose Netzwerk auszuwählen, das Sie ändern möchten. Bewegen Sie auf einem
Computer mit Windows XP den Mauszeiger auf das Symbol für die drahtlose Verbindung
und warten Sie, bis der Name des AirPort-Netzwerks (SSID) angezeigt wird.
Wählen Sie anschließend dieses Netzwerk aus der Liste aus, wenn mehrere Netzwerke
verfügbar sind.
Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation 25
3 Wählen Sie „Manuelle Konfiguration“ aus dem Menü „Basisstation“ aus. Werden Sie zur
Eingabe eines Kennworts aufgefordert, geben Sie dieses ein.
Weitere Informationen zu den Funktionen für die manuelle Konfiguration im AirPort-
Dienstprogramm finden Sie im Dokument „Konzipieren von AirPort-Netzwerken –
Verwenden des AirPort-Dienstprogramms (Mac OS X 10.5 + Windows)“ auf folgender
Webseite: www.apple.com/de/support/airport.
Ermöglichen des Netzwerkzugriffs durch drahtlose Clients
ohne Eingabe eines Kennworts
Wenn das Netzwerk mit einem WPA Personal- oder WPA/WPA2 Personal-Kennwort
geschützt ist, können Sie Clients den drahtlosen Zugriff auf Ihr Netzwerk erlauben,
ohne dass das Netzwerkkennwort eingegeben werden muss.
Wenn Sie einem Client den Zugriff auf Ihr Netzwerk erlauben, werden Name und MACAdresse
für die drahtlose Kommunikation (oder AirPort-ID) des Clients in der Zugriffsliste
im AirPort-Dienstprogramm gespeichert, bis Sie den Client wieder aus der Liste
entfernen. Sie können auch eine 24-Stunden-Zugriffsberechtigung festlegen, sodass
der Client nach Ablauf dieser Zeit nicht mehr auf das Netzwerk zugreifen kann.
Wenn Sie den Zugriff auf Ihr drahtloses Netzwerk freigeben, muss der Client kein Netzwerkkennwort
eingeben.
26 Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation
Gehen Sie wie folgt vor, um einem Client Zugriff auf Ihr Netzwerk ohne Eingabe
eines Netzwerkkennworts zu erlauben:
1 Öffnen Sie das AirPort-Dienstprogramm, wählen Sie Ihre Time Capsule-Basisstation aus
und wählen Sie dann „Manuelle Konfiguration“ aus dem Menü „Basisstation“ aus. Geben
Sie bei Bedarf das Kennwort ein.
2 Wählen Sie „Drahtlose Clients hinzufügen“ aus dem Menü „Basisstation“ aus.
3 Legen Sie fest, auf welche Weise die Clients auf das Netzwerk zugreifen dürfen:
 Wählen Sie „PIN“, damit eine vorgegebene achtstellige Nummer vor dem Client-
Zugriff eingegeben werden muss.
 Wählen Sie „Erster Versuch“, damit der erste Client, der versucht, auf das Netzwerk
zuzugreifen, die Netzwerkverbindung herstellen kann.
Während die Time Capsule darauf wartet, dass der Client die Verbindung zum Netzwerk
herstellt, leuchtet die Statusanzeige blau.
Wählen Sie „Zugriff für Client auf 24 Stunden beschränken“, wenn Sie Ihr Netzwerk nur
einen Tag lang für den Zugriff durch andere freigeben wollen. Wird diese Option nicht
ausgewählt, kann der Client so lange auf das Netzwerk zugreifen, bis Sie ihn aus der
Zugriffsliste entfernen.
Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation 27
Verwenden von Time Machine mit Ihrer Time Capsule-
Basisstation
Mit Time Machine von Mac OS X Leopard können Sie Sicherungskopien aller Daten
auf Ihrem Computer anlegen, u. a. von Fotos, Musik, Filmen und Dokumenten.
Nachdem Sie Time Machine konfiguriert haben, wird in regelmäßigen Abständen
automatisch eine Datensicherung Ihres Computers ausgeführt.
Wenn Sie Mac OS X 10.5.2 (oder neuer) verwenden, werden Sie beim ersten Verbindungsaufbau
zur Time Capsule-Basisstation von Time Machine gefragt, ob Sie die
Basisstation als Speicherort für Ihre Sicherungskopien verwenden möchten. Klicken
Sie auf „Als Backup-Volume verwenden“. Time Machine übernimmt dann alle weiteren
Schritte für Sie.
Verwenden Sie die Systemeinstellung „Time Machine“ von Mac OS X Leopard, um automatische
Datensicherungen festzulegen, ein anderes Sicherungsvolume auszuwählen
oder sonstige Einstellungen anzupassen.
Gehen Sie wie folgt vor, um Time Machine auf einem Computer mit Mac OS X
Leopard zu konfigurieren oder anzupassen:
1 Wählen Sie „Apple“ > „Systemeinstellungen“ und klicken Sie dann auf „Time Machine“.
2 Stellen Sie den Schalter auf „Ein“.
3 Klicken Sie auf „Volume wechseln“.
4 Wählen Sie Ihre Time Capsule-Basisstation aus und klicken Sie auf „Für Backup
verwenden“.
28 Kapitel 2 Konfigurieren Ihrer Time Capsule-Basisstation
Abhängig davon, wie viele Daten Sie sichern wollen, kann die erste Datensicherung
mit Time Capsule und Time Machine relativ lange dauern, etwa über Nacht oder sogar
länger. Zum Beschleunigen der ersten Datensicherung verbinden Sie die Time Capsule
über Ethernet mit Ihrem Computer. Bei allen folgenden Datensicherungen sichert
Time Machine nur die Dateien, die sich seit der letzten Sicherung geändert haben.
Daher dauern die folgenden Sicherung auch nicht mehr so lange.
Die Time Capsule ist eine hervorragende Sicherungslösung für Mobilcomputer. Da die
erste Datensicherung relativ lange dauern kann, sollten Sie das Netzteil an Ihren Mobilcomputer
anschließen. Hierdurch wird Batteriestrom eingespart und zudem ist sichergestellt,
dass die Datensicherung nicht unterbrochen wird. Ferner empfiehlt es sich,
den Mobilcomputer im selben Raum wie die Time Capsule zu platzieren, um eine
optimale drahtlose Kommunikation zu gewährleisten.
Wenn Sie Ihren Mac während einer Datensicherung ausschalten oder den Ruhezustand
aktivieren, stoppt Time Machine die Sicherung und setzt sie nach dem Einschalten des
Mac oder Beenden des Ruhezustands an der Stelle fort, an der sie unterbrochen wurde.
Weitere Informationen zu Time Machine erhalten Sie, indem Sie auf einem Computer
mit Mac OS X Leopard „Hilfe“ > „Mac-Hilfe“ aus dem Menü „Finder“ auswählen und dann
den Begriff „Time Machine“ in das Suchfeld eingeben.
3
29
3 Tipps zur Fehlerbeseitigung
Anhand der Tipps in diesem Kapitel können Sie die meisten
Probleme mit Ihrer Time Capsule-Basisstation schnell beheben.
Sie können keine Verbindung zum Internet herstellen
 Versuchen Sie, von Ihrem Computer direkt eine Verbindung zum Internet herzustellen.
Ist dies nicht möglich, überprüfen Sie, ob Ihre Netzwerkeinstellungen korrekt sind.
Wenn die Netzwerkeinstellungen Ihrer Meinung nach korrekt sind und dennoch keine
Verbindung aufgebaut wird, wenden Sie sich an Ihren Internetanbieter (ISP).
 Vergewissern Sie sich, dass Sie die Verbindung zum korrekten Netzwerk herstellen.
Sie haben Ihr Netzwerk- oder Time Capsule-Kennwort
vergessen
Sie können das Kennwort für das AirPort-Netzwerk oder für die Time Capsule-
Basisstation löschen, indem Sie die Time Capsule-Basisstation zurücksetzen.
Gehen Sie wie folgt vor, um das Time Capsule-Kennwort zurückzusetzen:
1 Drücken Sie mit einem spitzen Gegenstand (etwa einem Kugelschreiber) auf die
Reset-Taste und halten Sie die Taste ca. eine (1) Sekunde gedrückt.
Wichtig: Wenn Sie die Reset-Taste länger als eine Sekunde gedrückt halten, gehen Ihre
Netzwerkeinstellungen möglicherweise verloren.
30 Kapitel 3 Tipps zur Fehlerbeseitigung
2 Wählen Sie Ihr AirPort-Netzwerk aus.
 Verwenden Sie auf einem Macintosh-Computer das AirPort-Symbol in der Menüleiste,
um das von Time Capsule eingerichtete Netzwerk auszuwählen. (Der Netzwerkname
ändert sich nicht.)
 Bewegen Sie auf einem Computer mit Windows XP den Mauszeiger auf das Symbol für
die drahtlose Verbindung und warten Sie, bis der Name des AirPort-Netzwerks (SSID)
angezeigt wird. Wählen Sie diesen aus der Liste aus, wenn mehrere Netzwerke verfügbar
sind.
3 Öffnen Sie das AirPort-Dienstprogramm (das auf einem Macintosh-Computer im Ordner
„Dienstprogramme“ innerhalb des Ordners „Programme“ oder auf einem Computer
mit Windows XP unter „Start“ > „Programme“ > „AirPort“ befindet).
4 Wählen Sie Ihre Time Capsule-Basisstation aus und wählen Sie dann „Manuelle Konfiguration“
aus dem Menü „Basisstation“ aus.
5 Klicken Sie in der Symbolleiste auf „AirPort“ und klicken Sie dann auf „Basisstation“.
6 Geben Sie ein neues Kennwort für Ihre Time Capsule-Basisstation ein.
7 Klicken Sie auf „Drahtlos“ und wählen Sie eine Verschlüsselungsmethode aus dem
Einblendmenü „Schutz“ aus, um die Verschlüsselung und den Kennwortschutz für Ihr
AirPort-Netzwerk zu aktivieren. Wenn Sie die Verschlüsselung aktiviert haben, geben
Sie ein neues Kennwort für Ihr AirPort-Netzwerk ein.
8 Klicken Sie auf „Aktualisieren“, um die Time Capsule-Basisstation neu zu starten und die
neuen Einstellungen zu laden.
Kapitel 3 Tipps zur Fehlerbeseitigung 31
Ihre Time Capsule-Basisstation reagiert nicht
Trennen Sie die Basisstation vom Stromnetz und schließen Sie sie dann wieder an das
Stromnetz an.
Wenn Ihre Time Capsule-Basisstation gar nicht mehr reagiert, müssen Sie sie möglicherweise
auf die Werkseinstellungen zurücksetzen.
Wichtig: Durch das Zurücksetzen Ihrer Time Capsule, werden alle aktuellen Einstellungen
gelöscht und die Originaleinstellungen der Time Capsule-Basisstation
wiederhergestellt.
Gehen Sie wie folgt vor, um die Werkseinstellungen der Time Capsule-Basisstation
wiederherzustellen:
m Drücken Sie mit einem spitzen Gegenstand (etwa einem Kugelschreiber) auf die Reset-
Taste und halten Sie die Taste gedrückt, bis die Statusanzeige rasch hintereinander
blinkt (etwa 5 Sekunden).
Ihre Time Capsule-Basisstation wird auf die folgenden Einstellungen zurückgesetzt:
 Die Time Capsule-Basisstation empfängt die IP-Adresse über DHCP.
 Der Netzwerkname wird auf „Apple Network XXXXXX“ zurückgesetzt (wobei XXXXXX
durch die letzten sechs Stellen der AirPort-ID ersetzt wird).
 Das Time Capsule-Kennwort wird auf public zurückgesetzt.
Reagiert die Time Capsule-Basisstation auch weiterhin nicht, versuchen Sie
Folgendes:
1 Trennen Sie die Time Capsule-Basisstation vom Stromnetz.
2 Drücken Sie mit einem spitzen Gegenstand auf die Reset-Taste und halten Sie die Taste
gedrückt, während Sie die Time Capsule-Basisstation mit dem Stromnetz verbinden.
32 Kapitel 3 Tipps zur Fehlerbeseitigung
Die Statusanzeige der Time Capsule-Basisstation blinkt gelb
Möglicherweise ist das Ethernetkabel nicht korrekt angeschlossen, die Time Capsule-
Basisstation befindet sich nicht in Reichweite eines AirPort-Netzwerks oder es besteht
ein Problem bei Ihrem Internetanbieter. Wenn Sie über ein DSL- oder Kabelmodem mit
dem Internet verbunden sind, wurde die Verbindung des Modems mit dem Netzwerk
oder dem Internet möglicherweise unterbrochen. Trennen Sie das Modem vom Stromnetz,
auch wenn es korrekt zu arbeiten scheint. Warten Sie einige Sekunden und schließen
Sie es dann erneut an. Vergewissern Sie sich, dass die Time Capsule-Basisstation via
Ethernet direkt mit dem Modem verbunden ist, bevor Sie die Stromversorgung des
Modems wiederherstellen.
Weitere Informationen zu den Gründen für das Blinken der Statusanzeige erhalten Sie,
indem Sie das AirPort-Dienstprogramm öffnen, Ihre Time Capsule-Basisstation auswählen
und dann „Manuelle Konfiguration“ aus dem Menü „Basisstation“ auswählen.
Klicken Sie auf „Basisstation-Status“, um Informationen über die blinkende Statusanzeige
einzublenden.
Sie können auch die Option „Basisstation überwachen – Probleme melden“ in den
AirPort-Einstellungen auswählen. Tritt an der Basisstation ein Problem auf, wird das
AirPort-Dienstprogramm geöffnet und zeigt ausführliche Anleitungen zur Fehlerbeseitigung
an.
Kapitel 3 Tipps zur Fehlerbeseitigung 33
Ihr Drucker reagiert nicht
Wenn Sie einen Drucker an den USB-Anschluss der Time Capsule-Basisstation angeschlossen
haben und die Computer im AirPort-Netzwerk nicht drucken können, versuchen
Sie, das Problem wie folgt zu beheben:
1 Vergewissern Sie sich, dass der Drucker am Stromnetz angeschlossen und eingeschaltet
ist.
2 Vergewissern Sie sich, dass die Kabel korrekt am Drucker und am USB-Anschluss
der Time Capsule-Basisstation angeschlossen sind.
3 Vergewissern Sie sich, dass der Drucker im Wartelistenfenster auf den Client-
Computern ausgewählt ist.
Macintosh-Computer mit Mac OS X 10.5 oder neuer:
 Wählen Sie „Apple“ > „Systemeinstellungen“ und klicken Sie dann auf
„Drucken & Faxen“.
 Klicken Sie auf „Hinzufügen“ (+) und wählen Sie Ihren Drucker aus der Liste aus.
Klicken Sie dann auf die Taste „Hinzufügen“.
Macintosh-Computer mit Mac OS X 10.2.7 oder neuer:
 Öffnen Sie das Drucker-Dienstprogramm (im Ordner „Dienstprogramme“ innerhalb
des Ordners „Programme“).
 Klicken Sie auf „Hinzufügen“, wenn der Drucker nicht in der Liste angezeigt wird.
 Wählen Sie „Bonjour“ aus dem Einblendmenü aus. Wählen Sie den Drucker aus und
klicken Sie auf „Hinzufügen“ (+).
34 Kapitel 3 Tipps zur Fehlerbeseitigung
Computer mit Windows XP:
 Wählen Sie „Einstellungen“ > „Drucker und Faxgeräte“ aus dem Menü „Start“.
 Wählen Sie den Drucker aus. Ist der Drucker nicht in der Liste enthalten, klicken Sie
auf „Drucker hinzufügen“ und folgen Sie den Anweisungen auf dem Bildschirm.
4 Schalten Sie den Drucker aus, warten Sie einige Sekunden und schalten Sie den
Drucker dann erneut ein.
Aktualisieren der AirPort-Software
Die AirPort-Software wird von Apple regelmäßig aktualisiert. Es wird empfohlen,
die Time Capsule-Basisstation regelmäßig zu aktualisieren, damit sie immer mit
der neusten Software arbeitet.
Sie können das Feld „Beim Öffnen des AirPort-Dienstprogramms nach Updates suchen“
oder „Nach Updates suchen“ in den AirPort-Einstellungen markieren. Wenn Sie das Feld
„Nach Updates suchen“ markieren, wählen Sie ein Zeitintervall wie „wöchentlich“ aus
dem Einblendmenü aus, damit automatisch nach Aktualisierungen gesucht wird.
Kapitel 3 Tipps zur Fehlerbeseitigung 35
Überlegungen zur Platzierung der Time Capsule-Basisstation
Die folgenden Empfehlungen sollen Ihnen helfen, die maximale Reichweite und eine
optimale Netzwerkabdeckung mit Time Capsule zu erreichen.
 Platzieren Sie Ihre Time Capsule-Basisstation in einem offenen Bereich, in dem keine
Hindernisse wie Möbel oder Wände die Signalübertragung stören können. Das Gerät
sollte wenn möglich nicht in der Nähe von Metallflächen platziert werden.
 Wenn Sie die Time Capsule-Basisstation hinter Möbelstücken platzieren, halten Sie
einen Abstand von mindestens 2,5 cm zwischen der Time Capsule-Basisstation und
dem Möbelstück ein.
 Vermeiden Sie es, Ihre Time Capsule-Basisstation an einem Standort zu platzieren, der
auf drei oder mehr Seiten von Metallflächen umgeben ist.
 Wenn Sie die Time Capsule-Basisstation zusammen mit Ihrer Stereoanlage als
Multimedia-Center nutzen wollen, achten Sie darauf, dass die Time Capsule-Basisstation
nicht von Audio-, Video- oder Netzkabeln umgeben ist. Positionieren Sie Ihre
Time Capsule-Basisstation so, dass die Kabel nur auf einer Seite liegen. Halten Sie
einen möglichst großen Abstand zwischen der Time Capsule-Basisstation und den
Kabeln ein.
 Platzieren Sie Ihre Time Capsule-Basisstation wenn möglich mindestens 7,6 Meter
entfernt von einem Mikrowellenherd, einem schnurlosen 2,4- oder 5-GHz-Telefon
oder anderen Störquellen.
 Platzieren Sie oben auf der Time Capsule keine anderen Objekte (Bücher, Papiere,
kleine Tiere etc.). Diese können die Kühlung der Time Capsule beeinträchtigen.
36 Kapitel 3 Tipps zur Fehlerbeseitigung
Mögliche Störquellen, die Interferenzen mit AirPort
verursachen können
Je weiter eine Interferenzquelle entfernt ist, desto unwahrscheinlicher ist es, dass sie
Probleme verursacht. Folgende Komponenten bzw. Vorkommnisse können Störungen
mit der AirPort-Kommunikation verursachen:
 Mikrowellenherde
 DSS- (Direct Satellite Service) Funkfrequenzverlust
 Original-Koaxialkabel, das mit bestimmten Typen von Satellitenschüsseln geliefert
wird. Erkundigen Sie sich beim Hersteller des Geräts nach neueren Kabeln.
 Bestimmte elektrische Komponenten wie Stromleitungen, Leitungen von elektrischen
Bahnen und Kraftwerke
 Schnurlose Telefone, die im 2,4- oder 5-GHz-Bereich arbeiten. Wenn es zu Problemen
mit Ihrer Telefon- oder AirPort-Kommunikation kommt, wechseln Sie den Kanal Ihrer
Basisstation bzw. Ihres Time Capsule-Netzwerks oder verwenden Sie einen anderen
Kanal für Ihr Telefon.
 Nebeneinander platzierte Basisstationen, die benachbarte Kanäle verwenden.
Verwendet beispielsweise Basisstation A Kanal 1, so sollte für Basisstation B
Kanal 6 oder 11 angegeben werden.
4
37
4 Weitere Informationen,
Service und Support
Im Internet und in der Online-Hilfe finden Sie weitere Informationen
zur Verwendung der Time Capsule-Basisstation.
Online verfügbare Ressourcen
Die neusten Informationen zu Time Capsule finden Sie unter:
www.apple.com/de/airport.
Wenn Sie die Time Capsule-Basisstation nicht bereits bei der Installation der Software
von der Time Capsule-CD registriert haben, besuchen Sie zum Registrieren die
folgende Website: www.apple.com/de/register.
AirPort-Support-Informationen, Foren mit produktspezifischen Informationen und
Feedback sowie die neuste Apple-Software zum Laden finden Sie unter dieser
Adresse: www.apple.com/de/support/airport.
Wenn Sie allgemeine Support-Informationen wünschen, besuchen Sie die Website
www.apple.com/de/support und wählen Sie dann ggf. Ihr Land aus.
38 Kapitel 4 Weitere Informationen, Service und Support
Online-Hilfe
Wenn Sie mehr über die Verwendung des AirPort-Dienstprogramms mit Time Capsule
erfahren möchten, öffnen Sie das AirPort-Diensprogramm und wählen Sie „Hilfe“ >
„AirPort-Dienstprogramm-Hilfe“.
Hinweise zur Garantie
Wenn die Time Capsule-Basisstation beschädigt wurde oder nicht ordnungsgemäß
funktioniert, beachten Sie bitte zunächst die Tipps und Informationen zur Fehlerbeseitigung
in diesem Handbuch, in der Online-Hilfe sowie in den Online-Ressourcen.
Funktioniert die Time Capsule-Basisstation auch weiterhin nicht, informieren Sie
sich auf der Webseite www.apple.com/de/support über die Inanspruchnahme
von Garantieleistungen.
Seriennummer Ihrer Time Capsule-Basisstation
Die Seriennummer befindet sich auf der Unterseite Ihrer Time Capsule-Basisstation.
39
Anhang
Time Capsule – Technische Daten
und Sicherheitsinformationen
Spezifikationen der Time Capsule-Basisstation
 Frequenzbereich: 2,4 und 5 GHz
 Funkausgangsleistung: bis zu 23 dBm (nominal)
 Standards: Der Standard 802.11 DSSS mit 1 und 2 MBit/Sek., die Standards 802.11a,
802.11b, 802.11g und eine Entwurfsversion der 802.11n-Spezifikation
Schnittstellen
 1 RJ-45 10/100/1000BASE-T Gigabit Ethernet-WAN (<)
 3 RJ-45 10/100/1000BASE-T Gigabit Ethernet-LAN (G)
 Universal Serial Bus (USB d) 2.0
 802.11 a/b/g/n AirPort Extreme-Funktechnologie
Umgebungsbedingungen
 Betriebstemperatur: 0 °C bis 35 °C
 Lagertemperatur: –25 °C bis 60 °C
 Relative Luftfeuchtigkeit (Betrieb): 20 % bis 80 %, nicht kondensierend
 Relative Luftfeuchtigkeit (Lagerung): 10 % bis 90 %, nicht kondensierend
40 Anhang Time Capsule – Technische Daten und Sicherheitsinformationen
Abmessungen und Gewicht
 Länge: 197,0 mm
 Breite: 197,0 mm
 Höhe: 36,33 mm
 Gewicht: 1,6 Kilogramm
Hardware-MAC-Adressen (Media Access Control)
Auf der Unterseite des Gehäuses der Time Capsule-Basisstation sind drei Hardwareadressen
aufgedruckt:
 AirPort-ID: Die zwei Adressen, die zur Identifizierung der Time Capsule-Basisstation in
einem drahtlosen Netzwerk verwendet werden.
 Ethernet-ID: Diese Adresse wird möglicherweise von Ihrem Internetanbieter benötigt,
um den Internetzugang über die Time Capsule-Basisstation herzustellen.
Sicherer Umgang mit der Time Capsule-Basisstation
 Die einzige Möglichkeit, die Stromzufuhr vollständig zu unterbrechen, besteht darin,
die Time Capsule-Basisstation vom Stromnetz zu trennen.
 Halten Sie den Stecker stets an den Seiten, wenn Sie die Time Capsule-Basisstation an
die Netzsteckdose anschließen bzw. davon trennen. Achten Sie darauf, die Metallstifte
des Steckers nicht zu berühren.
 Die Time Capsule-Basisstation darf niemals geöffnet werden, auch dann nicht,
wenn sie nicht am Stromnetz angeschlossen ist. Wenn Ihre Time Capsule-Basisstation
gewartet werden muss, lesen Sie Kapitel 4 „Weitere Informationen,
Service und Support“ auf Seite 37.
Anhang Time Capsule – Technische Daten und Sicherheitsinformationen 41
 Versuchen Sie niemals, einen Stecker mit Gewalt in einen Anschluss zu stecken.
Lässt sich der Stecker nicht problemlos anschließen, passt er vermutlich nicht in den
Anschluss. Vergewissern Sie sich, dass Stecker und Anschluss übereinstimmen und
dass Sie den Stecker korrekt mit dem Anschluss ausgerichtet haben.
Hinweise zu Betriebs- und Lagertemperatur
 Wenn Ihre Time Capsule-Basisstation in Betrieb ist, wird das Gehäuse warm. Das
Time Capsule-Gehäuse fungiert als Wärmeableiter, der die Wärme aus dem Inneren
des Geräts nach außen an die kühlere Luft abgibt.
Meiden von Feuchtigkeitsquellen
 Platzieren Sie die Time Capsule-Basisstation nicht in der Nähe von Getränken, Waschbecken,
Badewannen, Duschen und anderen Feuchtigkeitsquellen.
 Schützen Sie die Time Capsule-Basisstation vor direkter Sonneneinstrahlung, Nässe,
Feuchtigkeit und Witterungseinflüssen aller Art.
 Achten Sie darauf, dass keine Flüssigkeiten in Ihre Time Capsule-Basisstation gelangen.
Ist dies dennoch einmal der Fall, trennen Sie die das Gerät vom Stromnetz,
bevor Sie es reinigen.
 Verwenden Sie die Time Capsule-Basisstation nicht im Freien. Die Time Capsule-
Basisstation ist zur Verwendung in Innenräumen konzipiert.
ACHTUNG: Verwenden Sie Ihre Time Capsule-Basisstation niemals in der Nähe von
Feuchtigkeitsquellen, um Kurzschlüsse oder Verletzungen zu vermeiden.
42 Anhang Time Capsule – Technische Daten und Sicherheitsinformationen
Nehmen Sie Reparaturen nicht selbst vor
Hinweise zur Handhabung
Ihre Time Capsule-Basisstation kann durch unsachgemäße Handhabung oder Lagerung
beschädigt werden. Achten Sie darauf, die Time Capsule-Basisstation beim Transport
nicht fallen zu lassen.
ACHTUNG: Versuchen Sie nicht, Ihre Time Capsule-Basisstation zu öffnen oder Teile
auszubauen. Dies kann einen Kurzschluss verursachen und Sie riskieren den Verlust
des Garantieanspruchs. Im Innern des Gerätes befinden sich keine Komponenten, die
vom Benutzer gewartet werden können.
43
Regulatory Compliance Information
Wireless Radio Use
This device is restricted to indoor use due to its
operation in the 5.15 to 5.25 GHz frequency range to
reduce the potential for harmful interference to cochannel
Mobile Satellite systems.
Cet appareil doit être utilisé à l’intérieur.
Exposure to Radio Frequency Energy
The radiated output power of this device is well below
the FCC and EU radio frequency exposure limits.
However, this device should be operated with a
minimum distance of at least 20 cm between its
antennas and a person’s body and the antennas used
with this transmitter must not be colocated or operated
in conjunction with any other antenna or transmitter
subject to the conditions of the FCC Grant.
FCC Declaration of Conformity
This device complies with part 15 of the FCC rules.
Operation is subject to the following two conditions:(1)
This device may not cause harmful interference, and (2)
this device must accept any interference received,
including interference that may cause undesired
operation. See instructions if interference to radio or
television reception is suspected.
Radio and Television Interference
This computer equipment generates, uses, and can
radiate radio-frequency energy. If it is not installed and
used properly—that is, in strict accordance with Apple’s
instructions—it may cause interference with radio and
television reception.
This equipment has been tested and found to comply
with the limits for a Class B digital device in accordance
with the specifications in Part 15 of FCC rules. These
specifications are designed to provide reasonable
protection against such interference in a residential
installation. However, there is no guarantee that
interference will not occur in a particular installation.
You can determine whether your computer system is
causing interference by turning it off. If the interference
stops, it was probably caused by the computer or one of
the peripheral devices.
If your computer system does cause interference to
radio or television reception, try to correct the
interference by using one or more of the following
measures:
 Turn the television or radio antenna until the
interference stops.
 Move the computer to one side or the other of the
television or radio.
 Move the computer farther away from the television or
radio.
 Plug the computer into an outlet that is on a different
circuit from the television or radio. (That is, make
certain the computer and the television or radio are on
circuits controlled by different circuit breakers or
fuses.)
If necessary, consult an Apple Authorized Service
Provider or Apple. See the service and support
information that came with your Apple product. Or,
consult an experienced radio/television technician for
additional suggestions.
Important: Changes or modifications to this product
not authorized by Apple Inc. could void the EMC
compliance and negate your authority to operate the
product.
44
This product was tested for FCC compliance under
conditions that included the use of Apple peripheral
devices and Apple shielded cables and connectors
between system components. It is important that you
use Apple peripheral devices and shielded cables and
connectors between system components to reduce the
possibility of causing interference to radios, television
sets, and other electronic devices. You can obtain Apple
peripheral devices and the proper shielded cables and
connectors through an Apple-authorized dealer. For
non-Apple peripheral devices, contact the manufacturer
or dealer for assistance.
Responsible party (contact for FCC matters only)
Apple Inc., Corporate Compliance, 1 Infinite Loop M/S 26-A,
Cupertino, CA 95014-2084
Industry Canada Statement
This Class B device meets all requirements of the
Canadian interference-causing equipment regulations.
Cet appareil numérique de la Class B respecte toutes les
exigences du Règlement sur le matériel brouilleur du
Canada.
VCCI Class B Statement
Europe—EU Declaration of Conformity
For more information, see www.apple.com/euro/
compliance.
Europäische Union – Informationen zur
Entsorgung
Dieses Symbol weist darauf hin, dass dieses Produkt entsprechend
den geltenden gesetzlichen Vorschriften und
getrennt vom Hausmüll entsorgt werden muss. Geben
Sie dieses Produkt zur Entsorgung bei einer offiziellen
Sammelstelle ab. Bei einigen Sammelstellen können
Produkte zur Entsorgung unentgeltlich abgegeben
werden. Durch getrenntes Sammeln und Recycling
werden die Rohstoff-Reserven geschont, und es ist
sichergestellt, dass beim Recycling des Produkts alle
Bestimmungen zum Schutz von Gesundheit und
Umwelt eingehalten werden.
Hinweise zur Entsorgung und zum Recycling
Dieses Produkt besitzt eine interne Batterie. Bitte entsorgen
Sie die Batterie entsprechend den geltenden gesetzlichen
und umweltrechtlichen Vorschriften. Informationen
über das Recycling-Programm von Apple finden
Sie auf der Website: www.apple.com/de/environment.
California: The coin cell battery in your product
contains perchlorates. Special handling and disposal
may apply. Refer to www.dtsc.ca.gov/hazardouswaste/
perchlorate.
45
Deutschland: Dieses Gerät enthält Batterien. Bitte nicht
in den Hausmüll werfen. Entsorgen Sie dieses Gerät am
Ende seines Lebenszyklus den maßgeblichen gesetzlichen
Regelungen entsprechend.
Nederlands: Gebruikte batterijen kunnen worden
ingeleverd bij de chemokar of in een speciale
batterijcontainer voor klein chemisch afval (kca) worden
gedeponeerd.
Taiwan:
Singapore Wireless Certification
46
Taiwan Warning Statements
Korea Warning Statements
© 2009 Apple Inc. Alle Rechte vorbehalten.
Apple, das Apple-Logo, AirPort, AirPort Express, AirPort
Extreme, Apple TV, Bonjour, iPod, Leopard, Macintosh,
Mac OS und Time Capsule sind Marken der Apple Inc.,
die in den USA und weiteren Ländern eingetragen sind.
Finder, iPhone und Time Machine sind Marken der
Apple Inc.
Andere hier genannte Produkt- und Herstellernamen
sind Marken ihrer jeweiligen Rechtsinhaber.
www.apple.com/airport
www.apple.com/support/airport
恭喜！MacBook Pro 专为您而设。
www.apple.com.cn/macbookpro
facetime
thunderbolt
MacBook Pro
OS X Lion
www.apple.com.cn/macosx
HELLO FROM
CUPERTINO, CA
Mission Control
查看您 Mac 上运行
内容的大致情况。
帮助中心
mission control
全屏幕
仅需点按就可让应用程
序进入全屏幕。
帮助中心
全屏幕
Mac App Store
发现和下载 Mac 应
用程序的最佳途径。
帮助中心
launchpad mac app store
Launchpad
集中快速访问您的所
有应用程序。
帮助中心
iPhoto
整理、编辑和共享您
的照片。
iPhoto 帮助
iMovie
将家庭视频变成家庭
大片。
iMovie 帮助
GarageBand
轻松制作绝妙声音
效果的乐曲。
GarageBand 帮助
Mail
按对话使您的邮件
成组。
帮助中心
邮件照片影片录音
目录5
目录
第 1 章： 准备、安装、使用
9 包装箱中的物品
9 安装 MacBook Pro
16 将 MacBook Pro 置入睡眠状态或将它关机
第 2 章： 体验 MacBook Pro 生活
20 MacBook Pro 的基本配置
22 MacBook Pro 的键盘功能
24 MacBook Pro 上的端口
26 使用 Multi-Touch 触控板
30 使用 MacBook Pro 电池
31 疑难解答
第 3 章： 增强 MacBook Pro 的性能
37 更换硬盘驱动器
44 安装附加内存
第 4 章： 问题及其解决方案
50 防患于未然
51 无法使用 MacBook Pro 的问题
6 目录
54 修复、恢复或重新安装 Mac OS X 软件
59 使用 Apple Hardware Test
59 有关互联网连接的问题
62 Wi-Fi 通信时出现问题
63 保持软件最新
64 了解更多信息及服务与支持
66 找到产品序列号
第 5 章： 最后要点
68 重要安全信息
73 重要处理信息
75 了解人机工程学
77 Apple 和环境
78 Regulatory Compliance Information
帮助中心 迁移助理
www.apple.com.cn/macbookpro
准备、安装、使用
1
8 第 1 章 准备、安装、使用
MacBook Pro 的设计可让您迅速安装电脑并立即开始使用。如果您从未使用过 MacBook Pro，或
者您是 Mac 电脑新手，请仔细阅读本章以获得入门帮助。
【重要事项】首次使用电脑之前，请仔细阅读所有安装说明（以及从第 68 页开始的安全信息）。
如果您是一个经验丰富的用户，可能已经知道如何开始。请务必通读第 2 章体验 MacBook Pro
生活中的信息，以了解这台 MacBook Pro 的新功能。
许多疑难问题都可以在电脑的帮助中心中找到答案。有关使用帮助中心的信息，请参阅
第 31 页疑难解答。有关 MacBook Pro 的最新信息，请访问 Apple 支持网站
www.apple.com.cn/support/macbookpro。由于 Apple 可能会发布新版本的系统软件和系统
软件的更新，因此本手册中所示的图像可能与您在屏幕上看到的图像略有不同。
第 1 章 准备、安装、使用9
包装箱中的物品
®
安装 MacBook Pro
MacBook Pro 的设计可让您迅速安装电脑并立即开始使用。下面的几页将引导您完成安装过程，
其中包括以下任务：
 插入 85W MagSafe Power Adapter 适配器
 连接电缆，访问网络
 开启 MacBook Pro
 使用设置助理配置用户帐户和其他设置
 设置 Mac OS X 桌面和偏好设置
10 第 1 章 准备、安装、使用
【重要事项】安装 MacBook Pro 之前，请先撕去 85W MagSafe Power Adapter 适配器上包着
的保护膜。
步骤 1: 插入 85W MagSafe Power Adapter 适配器，给 MacBook Pro 供电，同时给电池
充电。
确定将交流插头完全插入电源适配器，并确定交流插头的电插销完全扳开。将电源适配器的交流插
头插入电源插座，并将 MagSafe 插头插入 MagSafe 电源端口。将 MagSafe 插头靠近电源端口
时，您会感到有一股磁力将插头吸入端口中。
¯
若要延长电源适配器电缆，请将交流插头替换成交流电源线。首先要将交流插头从适配器上拔出，
然后将附带的交流电源线装在适配器上，并确定它连接牢固。
从电源插座或电脑上断开电源适配器时，请拔插头，不要拉电源线。
第 1 章 准备、安装、使用11
第一次将电源适配器连接到 MacBook Pro 时，MagSafe 插头上的指示灯会亮起。指示灯为琥珀
色表明电池正在充电。指示灯为绿色表明电池已充满电。如果指示灯不亮，请确定插头连接正确，
并且已接上电源适配器。
步骤 2: 连接到无线网络或有线网络。
 若要配合内建的 802.11n Wi-Fi 技术使用无线网络，请确定无线基站已打开并且您知道网络的名
称。开启 MacBook Pro 后， 设置助理会引导您完成连接过程。有关故障排除方面的提示，
请参阅第 62 页。
 若要使用有线连接，请将以太网电缆的一端连接到 MacBook Pro，然后将另一端连接到线缆调
制解调器、DSL 调制解调器或网络。
®
G
12 第 1 章 准备、安装、使用
步骤 3: 快速按下电源按钮 (®) 以开启 MacBook Pro。
开机时您会听到启动声。
®
MacBook Pro 启动需要花一些时间。电脑启动后， 设置助理会自动打开。
如果 MacBook Pro 无法开启，请参阅第 52 页如果 MacBook Pro 无法开启或启动。
第 1 章 准备、安装、使用13
步骤 4: 使用设置助理来配置 MacBook Pro。
首次开启 MacBook Pro 时， 设置助理会启动。设置助理可帮助您指定 Wi-Fi 网络、设置
用户帐户，以及从另一台 Mac 或 PC 传输信息。您也可以从 Time Machine 备份或其他磁盘传输
信息。
如果要从另一台 Mac 迁移，而该 Mac 尚未安装 Mac OS X v10.5.3 或更高版本，您可能必须更新
软件。若要从 PC 迁移，请从 www.apple.com.cn/migrate-to-mac 下载迁移助理，然后将
它安装在要从其进行迁移的 PC 上。
在 MacBook Pro 上启动设置助理后，您无需退出，可中途转到其他电脑来更新其软件，然后
返回到 MacBook Pro 来完成安装。
【注】如果首次启动 MacBook Pro 时未使用设置助理来传输信息，您可以稍后使用迁移助
理进行传输。打开迁移助理，它位于 Launchpad 的实用工具文件夹中。有关使用迁
移助理的帮助，请打开帮助中心并搜索迁移助理。
14 第 1 章 准备、安装、使用
若要设置 MacBook Pro：
1 在设置助理中，按照屏幕指示进行操作，直至出现将信息传输到这台 Mac 屏幕。
2 若要进行基本安装、通过迁移来安装，或者从 Time Machine 备份或其他磁盘传输信息：
 若要进行基本安装，请选择现在不传输，然后点按继续。按照屏幕提示来选择您的有线
或无线网络，设置帐户，然后退出设置助理。
 若要通过迁移来安装，请选择从另一台 Mac 或 PC ，然后点按继续。按照屏幕指示来选
择要从其进行迁移的 Mac 或 PC。您的 Mac 或 PC 必须在同一个有线或无线网络上。按照屏幕
指示进行迁移。
 若要从 Time Machine 备份或其他磁盘传输信息，请选择从 Time Machine 备份或其他磁
盘，然后点按继续。选择要从中进行迁移的备份或其他磁盘。按照屏幕指示进行操作。
如果您不打算保留或使用其他电脑，最好取消对它的授权，使它无法播放您从 iTunes Store 购买
的音乐、视频或有声读物。取消电脑的授权可以防止其他人播放您购买的任何歌曲、视频或有声
读物，并可以腾出另一个授权供使用。有关取消授权的信息，请从 iTunes 的帮助菜单中选取
iTunes 帮助。
第 1 章 准备、安装、使用15
步骤 5: 自定 Mac OS X 桌面和设定偏好设置。
您可以使用系统偏好设置将桌面快速变成您想要的样子，它是 MacBook Pro 上大多数设置的
命令中心。从菜单栏中选取苹果菜单 () > 系统偏好设置，或者点按 Dock 中的系统偏好设
置图标。
菜单栏帮助菜单Spotlight 搜索图标
Finder 图标Dock 系统偏好设置图标
16 第 1 章 准备、安装、使用
【重要事项】您可以在用户与群组偏好设置中设定选项以重设密码，以防止您忘记登录密码。
有关系统偏好设置的帮助，请打开帮助中心并搜索系统偏好设置或搜索想要获取帮助的特
定偏好设置。
将 MacBook Pro 置入睡眠状态或将它关机
使用完 MacBook Pro 后，您可以将它置入睡眠状态或将它关机。
将 MacBook Pro 置入睡眠状态
如果您只是短时间内不使用 MacBook Pro，请将它置入睡眠状态。电脑处于睡眠状态时，您可以
快速唤醒它，从而跳过启动过程。
若要将 MacBook Pro 置入睡眠状态，请执行以下一项操作：
 合上显示屏。
 从菜单栏中选取苹果菜单 () > 睡眠。
 按下电源按钮 (®) 并在出现的对话框中点按睡眠。
 选取苹果菜单 () > 系统偏好设置，点按节能器，然后设定睡眠计时器。
【注意】请务必等待几秒钟，直至睡眠指示灯开始闪亮（表示电脑处于睡眠状态，硬盘已停止转
动）后，再移动 MacBook Pro。硬盘转动时移动电脑会损坏硬盘，从而导致数据丢失或者无法
从硬盘启动。
第 1 章 准备、安装、使用17
若要唤醒 MacBook Pro：
 如果显示屏是合上的，则只需打开它就可以唤醒 MacBook Pro。
 如果显示屏已打开，请按下电源按钮 (®) 或键盘上的任意键。
将 MacBook Pro 从睡眠状态唤醒之后，应用程序、文稿和电脑设置将与您离开之前的状态保持
一致。
将 MacBook Pro 关机
如果您在两天或更长时间内都不会使用 MacBook Pro，最好将它关机。在关机过程中，睡眠指示
灯会短暂地亮起。
若要将 MacBook Pro 关机，请执行以下一项操作：
 从菜单栏中选取苹果菜单 () > 关机。
 按下电源按钮 (®) 并在出现的对话框中点按关机。
如果您打算长期存放 MacBook Pro，请参阅第 74 页以了解有关如何防止电池完全耗尽的信息。
www.apple.com.cn/macosx
帮助中心 Mac OS X
体验 MacBook Pro 生活
2
20 第 2 章 体验 MacBook Pro 生活
MacBook Pro 的基本配置
®
第 2 章 体验 MacBook Pro 生活21
内建 FaceTime HD 摄像头和摄像头指示灯
使用附带的 FaceTime 应用程序与其他 FaceTime 用户（任何具备 FaceTime 功能的 iPhone 4、
新款 iPod touch 或 Mac 用户）进行视频通话，并使用 Photo Booth 来拍照或者使用 iMovie 来
拍摄视频。FaceTime HD 摄像头工作时，摄像头指示灯会亮起。
内建麦克风
使用麦克风采集声音，或者使用 FaceTime 或 iChat 应用程序通过互联网与朋友进行实时聊天。
内建立体声扬声器
欣赏音乐、电影、游戏和其他多媒体文件。
内建电池和电池指示灯
如果您身边没有电源插座，请使用电池电源。按下电池按钮可激活显示剩余多少电池电量的指示灯。
触控板
您可以在触控板上的任何位置进行点按或连按。用一个或多个手指触摸触控板以移动鼠标指针，并使
用 Multi-Touch 手势（如第 26 页所述）。
睡眠指示灯
MacBook Pro 处于睡眠状态时，白灯会闪亮。
红外线 (IR) 接收器
配合 IR 接收器使用 Apple Remote 遥控器（单独销售），在 9.1 米（30 英尺）范围内控制
MacBook Pro 上的 Keynote。
防盗锁口
安装防盗锁和缆绳（单独销售）以防止电脑被盗。
吸入式 SuperDrive 驱动器
此光盘驱动器可以读取和写入标准尺寸的 CD 和 DVD。
® 电源按钮
开启或关闭 MacBook Pro，或将其置入睡眠状态。
22 第 2 章 体验 MacBook Pro 生活
MacBook Pro 的键盘功能
®
第 2 章 体验 MacBook Pro 生活23
功能键 (fn)
按住此键以激活分配给功能键 (F1 - F12) 的自定功能。若要学习如何自定功能键，请从菜单栏中选
取帮助> 帮助中心并搜索功能键。
亮度键（F1、F2）
增加 ( ) 或降低 ( ) 屏幕的亮度。
Mission Control 键 (F3)
打开 Mission Control 以全面查看 MacBook Pro 上运行有哪些内容，包括 Dashboard、所有空
间，以及所有打开的窗口。
Launchpad 键 (F4)
打开 Launchpad 以立即查看 MacBook Pro 上的所有应用程序。点按一个应用程序以打开它。
o 键盘照明键（F5、F6）
增加 (o) 或降低 (ø) 键盘照明的亮度。
’ 媒体键（F7、F8、F9）
倒回 ( )、播放或暂停 (’) 或者快进 ( ) 歌曲、影片或幻灯片显示。
— 静音键 (F10)
使来自内建扬声器和音频输出端口的声音静音。
- 音量键（F11、F12）
增大 (-) 或减小 (–) 来自内建扬声器和音频输出端口的声音的音量。
C 光盘推出键
按住此键以推出没有在使用的光盘。将桌面上的光盘图标拖到废纸篓也可以推出光盘。
24 第 2 章 体验 MacBook Pro 生活
MacBook Pro 上的端口
®
¯
G
f
,
H d
第 2 章 体验 MacBook Pro 生活25
¯ MagSafe 电源端口
将附带的 85W MagSafe Power Adapter 适配器插入电源插座，以给 MacBook Pro 电池充电。
G 千兆位以太网端口
可连接到高速以太网络、DSL 调制解调器、线缆调制解调器或另一台电脑。以太网端口能够自动检
测以太网设备，因此不需要以太网交叉电缆。
H FireWire 800 端口
连接外部设备，如数码摄像机和储存设备。
Thunderbolt 端口（高速数据、视频和音频）
连接兼容 Thunderbolt 的设备用于高速数据传输，或者连接使用 Mini DisplayPort 端口的外部显
示器。您可以购买适配器来连接使用 DVI、HDMI 或 VGA 的显示器。
d 两个高速 USB（通用串行总线）2.0 端口
您可以将 iPod、iPhone、iPad、鼠标、键盘、打印机、磁盘驱动器、数码相机、游戏杆、调制解调
器等设备连接到 MacBook Pro。
, 音频输入端口
将线路电平麦克风或数码音频设备连接到 MacBook Pro。
f 音频输出端口
连接外部扬声器、耳机（包括 iPhone）或数码音频设备。
SDXC 卡插槽
可在 SD 卡（或 SDXC 卡）和 MacBook Pro 之间轻松地传输照片、视频和数据。
【注】适配器及其他配件在 www.apple.com.cn/store 或您当地的 Apple Store 零售店单独
销售。
26 第 2 章 体验 MacBook Pro 生活
使用 Multi-Touch 触控板
使用触控板可移动鼠标指针以及执行各种 Multi-Touch 手势操作。MacBook Pro 触控板与普通
的触控板不一样，整个触控板就是一个按钮，您可以在触控板上的任何位置进行点按。若要启用
Multi-Touch 手势操作，观看手势操作的介绍视频以及设定其他触控板选项，请选取苹果菜单 () >
系统偏好设置，然后点按触控板。
以下是使用 MacBook Pro 触控板的几种方式：
 双指滚动可让您在活跃窗口中快速向上、向下或向两侧拖移滚动。
第 2 章 体验 MacBook Pro 生活27
 辅助点按或右键点按可让您访问快捷菜单命令。
• 若要在触控板的任何位置设置双指辅助点按，请在触控板偏好设置的光标点按面板中
选择辅助点按。
• 若要在触控板的左下角或右下角设置单指辅助点按区域，请在触控板偏好设置的光标点
按面板中选择辅助点按，然后从弹出式菜单中选取一个选项。
辅助点按区域
【注】您也可以通过按住 Control 键并点按来进行辅助点按。
28 第 2 章 体验 MacBook Pro 生活
以下触控板手势能够在某些应用程序中工作。执行这些手势时，请在触控板的表面上轻轻滑动手
指。有关更多信息，请参阅触控板偏好设置或选取帮助> 帮助中心，然后搜索触控
板。
 双指张开或合拢可让您放大或缩小 PDF、图像、照片等等。
 双指转动可让您转动照片、页面等等。
第 2 章 体验 MacBook Pro 生活29
 三指扫动在 Finder 和所有应用程序中均有效。三个手指向左或向右扫动可让您循环浏览全屏幕应
用程序。三个手指向上扫动以打开 Mission Control。您也可以设定这些选项以使用四个手指。
 四指合拢在您合拢拇指和其他三个手指时显示 Launchpad。张开这四个手指可返回桌面。
【注】您可以为许多手势指定其他功能。有关所有可用手势的详细信息，请选取苹果菜单 () >
系统偏好设置，然后点按触控板。点按注记格以打开或关闭手势，展开弹出式菜单以查看
每个手势的选项。
30 第 2 章 体验 MacBook Pro 生活
使用 MacBook Pro 电池
如果未连接 MagSafe Power Adapter 适配器，MacBook Pro 会通过内建电池供电。电池供电
时，MacBook Pro 可以使用的时间不同，取决于您所使用的应用程序及连接在 MacBook Pro 上
的外部设备。
关闭诸如 Wi-Fi 或 Bluetooth® 无线技术等功能以及降低屏幕亮度有助于节省电池电量，例如，乘
坐飞机旅行时，您就可以这样做。系统偏好设置中的许多选项都已自动设定为优化电池使用寿命。
通过查看 MacBook Pro 左侧的八个电池电量指示灯，可以知道电池剩余的电量。按下指示灯旁边
的按钮时，指示灯会短暂亮起，显示电池中剩余的电量。
【重要事项】如果只有一个指示灯闪亮，表明电池电量已所剩无几。如果指示灯都不亮，说明电池
电量已经完全耗尽，如果不接上电源适配器，MacBook Pro 将无法启动。请插入电源适配器以给
电池充电。有关电池指示灯的更多信息，请参阅第 54 页。
您也可以通过查看菜单栏中的电池状态图标 ( ) 来检查剩余的电池电量。所显示的电池电量多少
基于电池中的剩余电量，还与您正在使用的应用程序、外围设备和系统设置有关。若要节省电池电
量，请关闭不使用的应用程序并断开不使用的外围设备，然后调整节能器设置。有关电池节能
和性能技巧的更多信息，请访问 www.apple.com.cn/batteries/notebooks.html。
第 2 章 体验 MacBook Pro 生活31
给电池充电
为 MacBook Pro 连接上其附带的电源适配器后，电池在电脑打开、关机或睡眠时都可以充电。但
在电脑关机或睡眠时，电池的充电速度会更快。
MacBook Pro 中的电池只能由 Apple 授权服务商或 Apple Store 零售店进行更换。
疑难解答
有关使用 MacBook Pro 的更多信息，可在电脑上的帮助中心和互联网网站
www.apple.com.cn/support/macbookpro 中获得。
若要打开帮助中心：
1 点按 Dock（沿屏幕边缘排开的图标条）中的 Finder 图标。
2 点按菜单栏中的帮助菜单，然后执行以下一项操作：
a 在搜索栏中键入一个问题或术语，然后从结果列表中选择一个主题，或者选择显示所有结
果以查看所有主题。
b 选取帮助中心以打开帮助中心窗口，在那里您可以浏览或搜索主题。
32 第 2 章 体验 MacBook Pro 生活
更多信息
有关使用 MacBook Pro 的更多信息，请参阅以下内容：
若要学习如何操作请参阅
安装内存第 35 页第 3 章增强 MacBook Pro 的性能。
MacBook Pro 出现问题时进行
故障排除
第 49 页第 4 章问题及其解决方案。
查找 MacBook Pro 的服务与支持第 64 页了解更多信息及服务与支持。或访问 Apple 支持网站：
www.apple.com.cn/support/macbookpro。
使用 Mac OS X Mac OS X 网站 www.apple.com.cn/macosx。或者在帮助中心中
搜索Mac OS X 。
从 PC 转换到 Mac 你会爱上 Mac 的理由网址为
www.apple.com.cn/getamac/whymac。
使用 iLife 应用程序iLife 网站 www.apple.com.cn/ilife。或者打开一个 iLife 应用程序，打
开该应用程序的帮助，然后在搜索栏中键入问题或词语。
更改系统偏好设置打开系统偏好设置，方法是选取苹果菜单 (K) > 系统偏好设置。
或者在帮助中心中搜索系统偏好设置。
使用触控板打开系统偏好设置并点按触控板。
使用键盘帮助中心，搜索键盘。
使用内建 FaceTime HD 摄像头帮助中心，搜索摄像头。
使用 Wi-Fi 技术帮助中心，搜索wi-fi 。
使用蓝牙无线技术蓝牙支持网页：www.apple.com.cn/support/bluetooth。或者打开
蓝牙文件交换应用程序（位于 Launchpad 中的实用工具文件夹
中），然后选取帮助> 蓝牙帮助。
第 2 章 体验 MacBook Pro 生活33
若要学习如何操作请参阅
电池保养帮助中心，搜索电池。
连接打印机帮助中心，搜索打印。
FireWire 和 USB 连接帮助中心，搜索FireWire 或 USB 。
连接到互联网帮助中心，搜索互联网。
使用 Thunderbolt 端口帮助中心，搜索Thunderbolt 。
连接外部显示器 帮助中心，搜索显示器端口。
刻录 CD 或 DVD 帮助中心，搜索刻录光盘。
技术规格技术规格网页网址为 www.apple.com.cn/support/specs。或者打开
系统信息，方法是从菜单栏中选取苹果菜单 (K) > 关于本机，然
后点按更多信息。
Apple 新闻Apple 网站：www.apple.com.cn。
软件下载Mac App Store（Mac OS X v10.6.6 或更高版提供）。
Apple 产品的操作说明、技术
支持和手册
Apple 支持网站：www.apple.com.cn/support。
帮助中心 内存
www.apple.com.cn/store
增强 MacBook Pro 的性能
3
36 第 3 章 增强 MacBook Pro 的性能
本章提供了有关在 MacBook Pro 中升级硬盘驱动器和安装附加内存的信息和说明。
【警告】Apple 建议由 Apple 认证的技术人员来安装更换用的驱动器和内存。请查阅电脑附带的
服务与支持信息，以了解有关如何联系 Apple 以获得服务的信息。如果您尝试安装更换用的驱动
器或内存而损坏了设备，则这种损坏将不包含在电脑的有限保修范围之内。
用户不可以自行更换 MacBook Pro 中的电池。如果您认为需要更换电池，请联系 Apple Store 零
售店或 Apple 授权服务商。
第 3 章 增强 MacBook Pro 的性能37
更换硬盘驱动器
您可以升级 MacBook Pro 中的硬盘驱动器。打开 MacBook Pro 的后盖后，您就可以看到硬盘
驱动器位于内建电池旁边。更换用的驱动器必须是带有串行 ATA (SATA) 接口的 2.5 英寸驱动器。
【重要事项】Apple 建议您在移除并装回硬盘驱动器之前应先备份硬盘驱动器上的数据。Apple 对
任何丢失的数据概不负责。
若要更换 MacBook Pro 中的硬盘驱动器：
1 将 MacBook Pro 关机。断开电源适配器、以太网电缆、USB 电缆、防盗锁和所有连接到
MacBook Pro 上的其他电缆，以防止损坏电脑。
【警告】MacBook Pro 的内部组件可能会发热。如果您一直在使用 MacBook Pro，请在关机后
等候 10 分钟，待内部组件冷却后再继续下面的操作。
2 将 MacBook Pro 翻过来并拧下固定底盖的十颗螺丝。以下图所示角度拧下较短的几颗螺丝。取下
底盖并将其放在旁边。
38 第 3 章 增强 MacBook Pro 的性能
【重要事项】由于螺丝的长度不等，请注意螺丝的长度和位置以便可以正确装回螺丝。将它们放在
旁边的安全位置。
第 3 章 增强 MacBook Pro 的性能39
【重要事项】移除底盖会暴露内部的敏感组件，这些组件易于受到静电干扰。
3 触摸硬盘驱动器组件之前先触摸电脑内部的金属表面来释放您身上的静电。
40 第 3 章 增强 MacBook Pro 的性能
4 找到位于驱动器顶部上的支架。使用十字螺丝刀拧开使支架固定到位的两颗固定螺丝。将支架放在
旁边的安全位置。
5 使用扣舌轻轻地斜向上抬起驱动器。
第 3 章 增强 MacBook Pro 的性能41
6 握住驱动器的两侧，同时轻轻拔出驱动器左侧上的插头以取下驱动器。切勿用手指按压驱动器，避
免触碰到驱动器底部的电路。
插头连接在电缆上并留在硬盘驱动器仓位中。
【重要事项】硬盘驱动器的两侧上有四颗安装螺丝。如果更换用的驱动器不包含安装螺丝，请从旧
驱动器上卸下螺丝并安装在更换用的驱动器上，然后再安装更换用的驱动器。
7 将插头连接到更换用的驱动器的左侧。
42 第 3 章 增强 MacBook Pro 的性能
8 倾斜插入更换用的驱动器，确定安装螺丝正确固定到位。
9 装回支架并拧紧螺丝。
第 3 章 增强 MacBook Pro 的性能43
10 装回底盖。将您在步骤 2 中取下的十颗螺丝装回其适当的位置并拧紧，同时确定以下图所示角度插
入较短的螺丝。
有关安装 Mac OS X 和捆绑应用程序的信息，请参阅第 54 页修复、恢复或重新安装 Mac OS X
软件。
44 第 3 章 增强 MacBook Pro 的性能
安装附加内存
您的电脑有两个内存插槽，取出底盖即可看到。MacBook Pro 预装了至少 4 GB 的 1333 MHz 双
倍数据速率 (DDR3) 同步动态随机存取存储器 (SDRAM)。每个内存插槽可以插一条符合以下规格
的 SDRAM 内存条：
 双倍数据速率小型双列直插存储器模块 (DDR3) 格式
 30 毫米（1.18 英寸）
 204 针
 2 GB 或 4 GB
 PC3-10600S DDR3 1333 MHz 类内存
您可以添加两条 4 GB 内存条，从而达到最多的 8 GB 内存。若要获得最佳性能，请在两个内存插
槽中都安装内存，每个插槽均安装相同规格的内存条。
若要在 MacBook Pro 中安装内存：
1 按照从第 37 页开始的步骤 1 和步骤 2 来移除底盖。
【重要事项】移除底盖会暴露内部的敏感组件，这些组件易于受到静电干扰。
2 触摸内存组件之前先触摸电脑内部的金属表面来释放您身上的静电。
第 3 章 增强 MacBook Pro 的性能45
3 向外推开内存条两侧上的推出控制杆，以将内存从内存卡插槽中松开。
内存会倾斜弹出。取出内存之前，请确定您看到半圆的舌片。如果没有看到，请再次尝试向外推开
控制杆。
46 第 3 章 增强 MacBook Pro 的性能
4 握住内存条的舌片将内存条从插槽中取出。
5 取出另一个内存条。
【重要事项】握住内存条的边缘，不要触摸金属接头。
6 将新的内存条插入内存插槽：
a 将内存条金黄色边缘上的槽口与下方的内存插槽中的槽口对齐。
b 使卡倾斜并将内存推入插槽中。
c 用两个手指稳固均匀地向下按压内存条。当内存正确安装到位时，您会听到轻微的喀哒声。
d 重复上面的步骤以安装附加内存条到顶部插槽中。向下按压内存条以确保它是水平的。
第 3 章 增强 MacBook Pro 的性能47
7 请按照第 43 页上步骤 10 中的说明装回底盖。
48 第 3 章 增强 MacBook Pro 的性能
确定 MacBook Pro 能识别新内存
在 MacBook Pro 中安装附加内存后，请检查电脑是否可以识别新内存。
若要检查电脑的内存：
1 启动 MacBook Pro。
2 当您看到 Mac OS X 桌面时，请从菜单栏选取苹果菜单 ()，然后选取关于本机。
若要更详细地查看电脑中已安装的内存，请点按更多信息以打开系统信息，然后点按内
存。
如果 MacBook Pro 不能识别内存或者不能正常启动，请确保您安装的内存与 MacBook Pro 兼容
并已正确安装。
帮助中心 帮助
www.apple.com.cn/support
问题及其解决方案
4
50 第 4 章 问题及其解决方案
使用 MacBook Pro 时偶尔会遇到一些问题。有关故障排除方面的提示，请继续阅读本章，以便在
遇到问题时尝试使用这些提示。您也可以在帮助中心和 MacBook Pro 支持网站
www.apple.com.cn/support/macbookpro 上找到更多故障排除信息。
如果您在使用 MacBook Pro 时遇到问题，通常总有一种简单快捷的解决方案。请回想一下导致问
题发生的情况。记下出现问题前您执行过的操作可以帮助您缩小查找可能的故障原因的范围，再寻
找您需要的答案。需要记下的内容包括：
 发生问题时使用的应用程序。如果问题仅发生在某一特定应用程序上，则可能的原因是此应用程
序与电脑上安装的 Mac OS 版本不兼容。
 您安装的所有新软件，特别是在系统文件夹中添加了项目的软件。
 所有新安装的硬件，如附加内存或外围设备。
防患于未然
为了预防您的电脑或软件出现问题，请让 Time Machine 备份保持最新以确保数据不会丢失。如
果您经常进行 Time Machine 备份，您可以将软件和所有数据准确恢复到备份时的状态。即使发
生严重问题也不用担心，只要使用了 Time Machine 来保护您的信息。
第 4 章 问题及其解决方案51
无法使用 MacBook Pro 的问题
如果 MacBook Pro 无响应或鼠标指针不移动
在极少数情况下，应用程序会在屏幕上停止响应。Mac OS X 提供了一种方法，使您不需要重
新启动电脑就可以退出已停止响应的应用程序。
若要强制应用程序退出：
1 按下 Command (x)-Option-Esc 键，或者从菜单栏中选取苹果菜单 () > 强制退出。
强制退出应用程序对话框会出现，并且当前应用程序已被选定。
2 点按强制退出。
该应用程序会退出，而所有其他应用程序仍保持打开。
如果需要，您也可以从这个对话框重新启动 Finder。
接下来，重新启动电脑以确保问题彻底消除。
如果问题经常发生，请从屏幕顶部的菜单栏中选取帮助> 帮助中心。请搜索词语停止响
应以获得有关电脑停止响应或不响应的帮助。
如果问题只是在您使用某个特定应用程序时才发生，请咨询该应用程序的制造商，了解一下它与您
的电脑是否兼容。若要获得有关 MacBook Pro 附带的软件的支持和联系信息，请访问
www.apple.com.cn/downloads。
如果您知道某个应用程序是兼容的，则可能需要重新安装电脑的系统软件。请参阅第 54 页修复、
恢复或重新安装 Mac OS X 软件。
52 第 4 章 问题及其解决方案
如果 MacBook Pro 在启动时停止响应、显示闪动的问号或屏幕不亮而睡眠指示灯一直亮着（并未
睡眠）
闪动的问号通常表示电脑无法在硬盘或连接的其他磁盘上找到系统软件。
 稍等几秒钟。如果电脑经过一段时间仍未启动，请关机，方法是按住电源按钮 (®) 大约 8 至 10
秒钟。断开所有外围设备并尝试重新启动，方法是按住 Option 键的同时按下电源按钮 (®)。电
脑启动时，点按硬盘图标，然后点按右箭头。电脑启动后，打开系统偏好设置，然后点按
启动磁盘。选择本机的 Mac OS X 系统文件夹。
如果问题经常发生，您可能需要重新安装电脑的系统软件。请参阅第 54 页修复、恢复或重新安
装 Mac OS X 软件。
如果 MacBook Pro 无法开启或启动
请按顺序尝试以下建议，直到您可以开启电脑：
 确定电源适配器已插入电脑并已插在一个已通电的电源插座上。确保使用的是 MacBook Pro 附
带的 85W MagSafe Power Adapter 适配器。在插入电源线时，如果电源适配器停止充电，而
MagSafe 插头上的指示灯不亮，请尝试将电源适配器从电源插座上拔下来然后再插入到其他插
孔，或尝试使用其他电源插座。
 检查电池是否需要充电。按下电脑左侧上的小按钮。您应当会看到有一个到八个灯亮起以表明电
池的电量。如果只有一个指示灯亮着，请连接电源适配器以重新充电。有关电池指示灯的更多信
息，请参阅第 53 页。
第 4 章 问题及其解决方案53
 如果问题仍然存在，请关闭所有已打开的文稿并退出所有应用程序。请将电脑恢复到出厂设置
（同时仍然保留您的文件），方法是同时按下左边的 Shift 键、Option (alt) 键、Control 键和
电源按钮 (®) 五秒钟，直至电脑重新启动。
 如果最近安装了附加内存，请确定它已正确安装并且与电脑兼容。移除新安装的内存，再装回原
来的内存，检查电脑是否可以启动（请参阅第 44 页）。
 按下电源按钮 (®) 并立即同时按住 Command 键 (x)、Option 键、P 键和 R 键，直到您听到
第二次启动声，以复位参数内存 (PRAM)。
 如果仍然无法启动 MacBook Pro，请参阅第 64 页了解更多信息及服务与支持，以获得有关
联系 Apple 进行维修的信息。
如果屏幕突然黑屏或 MacBook Pro 停止响应
尝试重新启动 MacBook Pro。
1 拔下连接在 MacBook Pro 上的任何设备（电源适配器除外）。
2 按下电源按钮 (®) 重新启动系统。
3 让电池至少充电到总电量的 10%，然后再插上任何外部设备并继续工作。
若要查看电池的充电进度，请点按菜单栏中的电池状态图标 ( )，或检查位于 MacBook Pro 左
侧的电池电量指示灯。
如果为电池设定了节能器功能，屏幕也可能会变暗。
54 第 4 章 问题及其解决方案
如果按下电池按钮后，所有电池指示灯迅速闪烁五次
电池需要更换。请联系 Apple Store 零售店或 Apple 授权服务商。
如果按下电池按钮后，电池指示灯从左到右然后从右到左连续闪烁五次
电池没有被识别。请联系 Apple Store 零售店或 Apple 授权服务商。
如果推出光盘有问题
退出所有可能正在使用光盘的应用程序，然后再试一次。如果此方法无效，请重新启动电脑，然后
立即按住触控板。
修复、恢复或重新安装 Mac OS X 软件
如果您的 Mac 软件或硬件出现问题，Mac OS X 提供了修复和恢复实用工具，可帮助您消除问
题，甚至将您的软件恢复为原始出厂设置。可以从Mac OS X 实用工具应用程序访问这些实用
工具（即使您的电脑未正确启动）。
第 4 章 问题及其解决方案55
使用Mac OS X 实用工具应用程序进行以下操作：
 从 Time Machine 备份恢复软件和数据。
 重新安装 Mac OS X 和 Apple 应用程序。
 将您的电脑恢复为出厂设置，方法是抹掉它的磁盘并重新安装 Mac OS X 和您的 Apple 应用
程序。
 使用磁盘工具修复电脑的磁盘。
如果电脑检测到问题，它会自动打开Mac OS X 实用工具应用程序。您也可以通过重新启动电
脑来手动打开它。
56 第 4 章 问题及其解决方案
若要打开Mac OS X 实用工具应用程序：
m 重新启动电脑并同时按住 Command 键 (x) 和 R 键。Mac OS X 实用工具面板将出现。
Mac OS X 实用工具应用程序中的某些实用工具要求访问互联网和 Mac App Store。您可能需
要确定您的电脑已使用以太网络或 Wi-Fi 网络连接到互联网。
若要通过 Wi-Fi 网络进行连接：
1 从屏幕右上角的 Wi-Fi 状态菜单中选取网络。
2 如果需要，请键入网络的密码。
若要加入封闭网络，请选取加入其他网络。输入网络的名称和密码。
使用磁盘工具修复磁盘
如果您的电脑出现了问题，或者您启动电脑时看到了Mac OS X 实用工具应用程序，则可能需
要修复电脑的磁盘。
1 在Mac OS X 实用工具面板中选择磁盘工具，然后点按继续。
2 在左侧的列表中选择磁盘或分区，然后点按急救标签。
3 点按修复磁盘。
如果磁盘工具不能修复磁盘，请备份尽可能多的信息，然后按照第 54 页修复、恢复或重新安
装 Mac OS X 软件中的说明进行操作。
有关磁 盘工具及 其选项的信息， 请参阅帮 助中心， 或者打开磁 盘工具（ 在
Launchpad 的实用工具文件夹中）并选取帮助> 磁盘工具帮助。
第 4 章 问题及其解决方案57
使用 Time Machine 备份恢复信息
如果您先前创建了一个 Time Machine 备份，则可以使用恢复实用工具将您的电脑上的所有
内容都恢复到先前的状态。
使用 Time Machine 备份将您的信息仅恢复到该备份的源电脑。如果要将信息传输到新电脑，请
使用迁移助理（在 Launchpad 的实用工具文件夹中）。
1 如果备份位于 Time Capsule 上，请确定电脑已连接到以太网或 Wi-Fi 网络。（若要连接到 Wi-Fi
网络，请按照第 56 页上的说明进行操作。）
2 在Mac OS X 实用工具面板中，请选择从 Time Machine 备份进行恢复，然后点按继
续。
3 选择包含 Time Machine 备份的磁盘，然后按照屏幕指示进行操作。
重新安装 Mac OS X 和 Apple 应用程序
在某些情况下，您可能需要重新安装 Mac OS X 和 Apple 应用程序。重新安装后，您的文件和用
户设置都完好无损。
1 确定 MacBook Pro 已通过以太网络或 Wi-Fi 网络连接到互联网。（若要使用 Wi-Fi 网络进行连
接，请按照第 56 页上的说明进行操作。）
2 在Mac OS X 实用工具面板中，选择重新安装 Mac OS X ，然后点按继续。
3 在要求您选择磁盘的面板中，请选择您的当前 Mac OS X 磁盘（大多数情况下，它是唯一的可用磁
盘）。
4 若要选择或取消选择一些可选软件，请点按自定。
5 点按安装。
58 第 4 章 问题及其解决方案
您可以在不抹掉磁盘的情况下安装 Mac OS X，这样可以存储现有文件和设置，或者也可以先抹掉
磁盘，这将抹掉您的所有数据，从而准备好电脑让您重新安装 Mac OS X 和 Apple 应用程序。
【重要事项】Apple 建议您在恢复软件之前先备份磁盘上的数据。Apple 对任何丢失的数据概不
负责。
将电脑恢复为出厂设置
如果您将电脑恢复为出厂设置，则您电脑上的所有内容（用户帐户、网络设置以及所有文件和文件
夹）都将被删除。恢复之前，请备份您想要保留的任何文件，将它们拷贝到另一个磁盘。从网
络偏好设置中记下您的网络设置，以便在重新安装 Mac OS X 后轻松地再接入网络。
1 请确定您的电脑已使用以太网络或 Wi-Fi 网络连接到互联网。（若要连接到 Wi-Fi 网络，请按照
第 56 页上的说明进行操作。）
2 在Mac OS X 实用工具面板中，选择磁盘工具，然后点按继续。
3 在左侧列表中选择磁盘，然后点按抹掉标签。
4 从格式弹出式菜单中选择Mac OS 扩展（日志式） ，为磁盘键入名称，然后点按抹掉。
5 在磁盘已被抹掉后，请选取磁盘工具> 退出磁盘工具。
6 在Mac OS X 实用工具面板中，选择重新安装 Mac OS X ，然后点按继续。
7 若要重新安装 Mac OS X 和您的应用程序，请按照 Mac OS X 安装器中的说明进行操作。
恢复 Mac OS X 和您的应用程序后，您可以选择性地从 Time Machine 备份来恢复您的其他数据
和应用程序。
第 4 章 问题及其解决方案59
使用 Apple Hardware Test
如果怀疑 MacBook Pro 硬件有问题，您可以使用 Apple Hardware Test 应用程序来帮助诊断电
脑组件（如内存或处理器）是否有问题。
若要使用 Apple Hardware Test：
1 从电脑上断开所有外部设备（电源适配器除外）。
如果连接了以太网电缆，请断开它。
2 重新启动电脑，并在电脑启动时按住 D 键。
3 当 Apple Hardware Test 选择屏幕出现时，请选择您所在地区对应的语言。
4 按下 Return 键或点按右箭头按钮。
5 当 Apple Hardware Test 主屏幕出现时（大约 45 秒钟后），请按照屏幕指示进行操作。
6 如果 Apple Hardware Test 检测到问题，它会显示错误代码。请记下错误代码，然后寻求技术支
持。如果 Apple Hardware Test 没有检测到硬件故障，则问题可能与软件有关。
有关互联网连接的问题
MacBook Pro 上的网络设置助理应用程序可以帮助您完成互联网连接的设置。打开系统偏
好设置并点按网络。点按向导按钮以打开网络设置助理。
如果在建立互联网连接时遇到麻烦，您可以尝试本部分中适用于您的连接类型的步骤，或者也可以
使用网络诊断。
60 第 4 章 问题及其解决方案
若要使用网络诊断：
1 选取苹果菜单 () > 系统偏好设置。
2 点按网络，然后点按向导。
3 点按诊断以打开网络诊断。
4 按照屏幕指示进行操作。
如果网络诊断不能解决问题，则可能是尝试连接的互联网服务商 (ISP)、用来连接 ISP 的外部
设备或尝试访问的服务器发生了问题。您还可以尝试以下步骤。
线缆调制解调器、DSL 调制解调器和局域网互联网连接
确定所有的调制解调器电缆都已插紧，包括调制解调器电源线、连接调制解调器和电脑的电缆以及
连接调制解调器和墙上插孔的电缆。同时，检查以太网集线器及路由器的电缆连接和电源。
将 DSL 调制解调器或线缆调制解调器关闭几分钟，然后再开启它。某些 ISP 会建议您拔下调制解调
器的电源线。如果您的调制解调器有复位按钮，则可以在打开或关闭电源之前或之后按下此按钮。
【重要事项】与调制解调器相关的说明不适用于局域网用户。局域网用户可能有集线器、交换机、
路由器或者连接头等设备，而 DSL 调制解调器和线缆调制解调器用户没有这些设备。局域网用户
应当联系他们的网络管理员而不是 ISP。
第 4 章 问题及其解决方案61
PPPoE 连接
如果您无法使用 PPPoE（以太网上的点对点协议）来连接到互联网服务商，请确定您在网络偏
好设置中输入的信息是正确的。
若要检查网络偏好设置：
1 选取苹果菜单 () > 系统偏好设置。
2 点按网络。
3 点按网络连接服务列表底部的添加按钮 (+)，然后从接口弹出式菜单中选取PPPoE 。
4 从以太网弹出式菜单中选取用于 PPPoE 服务的接口。如果您准备连接到有线网络，请选取
以太网；如果您准备连接到无线网络，请选取Wi-Fi 。
5 点按创建。
6 输入从服务商处收到的信息，例如帐户名称、密码和 PPPoE 服务名称（如果服务商有所要求）。
7 点按应用以激活设置。
62 第 4 章 问题及其解决方案
网络连接
确定以太网电缆已与 MacBook Pro 连接并接入网络。检查以太网集线器及路由器的电缆连接和
电源。
如果有两台或两台以上的电脑尝试共享一个互联网连接，请确定您的网络已正确设置。您需要知道
ISP 是仅提供一个 IP 地址，还是提供多个 IP 地址（每台电脑一个）。
如果只有一个 IP 地址，则必须使用一个可以共享连接的路由器，也称为网络地址转换 (NAT) 或
IP masquerading 。有关设置信息，请查阅路由器附带的文稿，或者询问建立网络的人员。
AirPort 基站可用于在多台电脑之间共享一个 IP 地址。有关使用 AirPort 基站的信息，请查阅
帮助中心，或者访问 AirPort 支持网站 www.apple.com.cn/support/airport。
如果使用这些步骤不能解决问题，请联系您的 ISP 或网络管理员。
Wi-Fi 通信时出现问题
如果您在使用 Wi-Fi 通信时遇到问题
 确定您尝试连接的电脑或网络正在运行，并且有无线访问点。
 确定您已按照基站或访问点附带的说明正确配置了软件。
第 4 章 问题及其解决方案63
 确保 MacBook Pro 在其他电脑或网络访问点的天线覆盖范围内。附近的电子设备或金属结构会
干扰无线通信且会缩小其覆盖范围。重新放置电脑或转动电脑可以改善接收效果。
 检查菜单栏中的 Wi-Fi 状态图标 (Z)。最多出现四格，指示信号强度。如果没有信号，请尝试换
个位置。
 通过选取帮助> 帮助中心，然后搜索wi-fi 来获取在线帮助。也请查阅无线设备附带
的说明以了解更多信息。
保持软件最新
您可以接入互联网并自动下载和安装 Apple 提供的最新版免费软件、驱动程序以及其他增强软件。
当您的电脑接入互联网时， 软件更新会检查是否有任何可供您的电脑使用的更新。您可以设定
MacBook Pro 定期检查更新，那样您便可以下载并安装更新的软件。
若要检查更新的软件：
1 选取苹果菜单 () > 系统偏好设置。
2 点按软件更新图标，然后按照屏幕指示进行操作。
• 有关更多信息，请在帮助中心中搜索软件更新。
• 有关 Mac OS X 的最新信息，请访问 www.apple.com.cn/macosx。
64 第 4 章 问题及其解决方案
了解更多信息及服务与支持
除了硬盘驱动器和内存，MacBook Pro 没有用户可以自行维修的部件。如果需要维修，请联系
Apple 或将 MacBook Pro 送到 Apple 授权服务商处。您可以通过网上资源、屏幕帮助、系统信
息或 Apple Hardware Test 找到有关 MacBook Pro 的更多信息。
网上资源
有关网上服务与支持信息，请访问 www.apple.com.cn/support。从弹出式菜单中选取您的国家
或地区。您可以搜索 AppleCare 知识库，核查软件更新，或者从 Apple 的论坛获得帮助。有关特
定于产品的最新信息，请访问 www.apple.com.cn/support/macbookpro。
屏幕帮助
您可以在帮助中心中查找问题的答案，以及查找相关说明和故障排除信息。选取帮助>
帮助中心。
系统信息
若要获得有关 MacBook Pro 的信息，请使用系统信息。它显示了已安装的硬件和软件、序
列号和操作系统版本、已安装内存的总量等。若要打开系统信息，请从菜单栏中选取苹果菜单
() > 关于本机，然后点按更多信息。
AppleCare 服务与支持
MacBook Pro 享有 90 天的技术支持和一年的硬件保修服务，这些支持与服务可在 Apple Store 零
售店或 Apple 授权的维修中心获得，如 Apple 授权服务商。您可以通过购买 AppleCare Protection
Plan 来延长保修范围。有关信息，请访问 www.apple.com.cn/support/products，或者访问下
面列出的您所在国家或地区的网站。
第 4 章 问题及其解决方案65
如果您需要协助，AppleCare 电话支持代表可以提供安装和打开应用程序的帮助，以及进行基本
的故障排除。请致电离您最近的支持中心（前 90 天免费）。致电之前请准备好购买日期以及
MacBook Pro 的序列号。
【注】您的 90 天免费电话支持于购机之日起开始生效。您可能要自理电话费用。
国家或地区电话网站
中国(86) 4006-272273 www.apple.com.cn/support
香港(852) 2112-0099 * www.apple.com/hk/support
www.apple.com/hk/en/support
印度(91) 1800 4250 744
或 (91) 80-4140-9000
www.apple.com/in/support
印度尼西亚(62) 0018 03061 2009 www.apple.com/id/support
韩国(82) 1544-2662 www.apple.com/kr/support
马来西亚1-800 803-638 www.apple.com/my/support
菲律宾1-800-1441-0234 www.apple.com/ph/support
新加坡800-186-1087
或 (65) 6835-1812 *
www.apple.com/sg/support
台湾(886) 0800-095-988 www.apple.com/tw/support
泰国001800 4412904 www.apple.com/th/support
电话号码可能会有更改，可能会使用本地或国内长途电话费率。完整的列表可在以下网站上找到：
www.apple.com/support/contact/phone_contacts.html
66 第 4 章 问题及其解决方案
找到产品序列号
使用以下一种方法来查找电脑的序列号：
 将 MacBook Pro 翻过来。序列号蚀刻在转轴附近的机壳上。
 选取苹果菜单 () > 关于本机。点按Mac OS X 字串下方的版本号以循环浏览 Mac OS X
版本号、版号和序列号。
 打开系统信息，它位于 Launchpad 的实用工具文件夹中。
帮助中心 人机工程学
www.apple.com.cn/environment
最后要点
5
68 第 5 章 最后要点
为了您个人和设备的安全，请务必依照这些规则来操作和清洁 MacBook Pro，同时也有利于您更
舒适地工作。将这些说明放在容易拿到的位置，以便您和其他用户参考。
【注意】存放或使用电脑不当可能会使制造商的保修无效。
重要安全信息
【警告】不遵循这些安全说明可能会导致起火、触电、其他伤害或损坏。
内建电池 切勿将电池从 MacBook Pro 中取出。该电池应该只能由 Apple 授权服务商来更换。如
果 MacBook Pro 跌落或受到挤压、弯曲、变形或损坏，请勿继续使用。切勿使 MacBook Pro 靠
近极热的热源，如散热器或壁炉，那里的温度可能超过 100 C 或 212 F。
正确处理 正常使用时，MacBook Pro 的底部会发热。MacBook Pro 符合用户接触表面温度限制
的国际标准，即 International Standard for Safety of Information Technology Equipment
(IEC 60950-1)。
第 5 章 最后要点69
若要安全地操作电脑并减小与发热相关的伤害的可能性，请按照这些指南进行操作：
 将 MacBook Pro 摆放在稳定的工作台上，以使电脑底部及四周通风顺畅。
 不要在枕头、毛毯或其他柔软的材料上操作 MacBook Pro，因为这些材料会阻塞通风散热孔。
 操作 MacBook Pro 时切勿在键盘上放置任何物品。
 切勿将任何物体插入通风口。
 如果您将 MacBook Pro 放在膝上且它热得让人不舒服，请将它移到平稳的工作台上。
有水和潮湿的地方 使 MacBook Pro 远离各种液体源，如饮料、洗脸池、浴缸、淋浴室等等。保
护 MacBook Pro 免受潮湿或阴雨天气（如雨天、雪天和雾气）的侵袭。
85W MagSafe Power Adapter 适配器 请仅使用 MacBook Pro 附带的电源适配器或与本产品
兼容并经 Apple 认可的电源适配器。将该适配器插入电源插座之前，请确定交流插头或交流电源
线已完全插入到电源适配器中。
正常使用时，电源适配器会发热。MagSafe Power Adapter 适配器符合用户接触表面温度限制的
国际标准，即 International Standard for Safety of Information Technology Equipment (IEC
60950-1)。
70 第 5 章 最后要点
若要减小电源适配器过热或者与发热相关的伤害的可能性，请执行以下一项操作：
 将电源适配器直接插入到电源插座中。
 如果使用的是交流电源线，请将电源适配器放在书桌或餐桌上，或者在通风良好的位置将电源适
配器放在地板上。
第 5 章 最后要点71
如果遇到以下任何一种情况，请断开电源适配器并拔下其他所有电缆：
 您想要添加内存或升级硬盘驱动器。
 您想要清洁机壳（请仅采用第 74 页描述的建议过程）。
 电源线或插头磨损或损坏。
 MacBook Pro 或电源适配器被雨水、溅入到机箱内的液体弄湿，或者严重受潮。
 MacBook Pro 或电源适配器跌落或机箱损坏，或者您觉得需要进行维修或修理。
MagSafe 电源端口含有磁体，能够抹去信用卡、iPod 或其他设备上的数据。若要保护数据，请
将这些物品或其他磁性敏感介质或设备远离电源适配器端口，至少相隔 25 毫米（1 英寸）以上。
如果有碎屑进入 MagSafe 电源端口，请用棉签轻轻地将碎屑取出。
MagSafe 电源规格：
 频率：50 至 60 Hz（单相）
 线路电压：100 至 240 V
 输出电压：18.5 V 直流，4.6 A
72 第 5 章 最后要点
听力损伤 使用耳塞或耳机时如果音量很高，可能会造成听力的永久性损伤。听一段时间音乐后，
您会习惯高一些的音量，虽然听起来可能很正常，但会损坏您的听力。如果您出现耳鸣或谈话声听
起来模糊不清，请停止听音乐并检查一下您的听力。音量越大，听力就越容易受到影响。听力专家
建议按如下方法保护您的听力：
 限制以高音量使用耳塞或耳机的时间。
 避免通过调高音量来隔离嘈杂的周围环境。
 如果您听不见周围人说话，请将音量调低。
高危险活动警告 本电脑不适用于核设施、飞机导航或通信系统、空中交通管制系统中的操作，也
不适用于由于电脑出现故障可能导致死亡、人身伤害或严重环境破坏的其他任何用途。
光盘驱动器的激光信息
【警告】调整或执行设备手册中指定操作之外的操作会导致有害的辐射泄漏。
在正常使用情况下，电脑的光盘驱动器中的激光对人体是安全的，但如果光盘驱动器遭到拆解，则
可能对人眼造成损害。为了您的安全，此设备只能由 Apple 授权服务商维修。
第 5 章 最后要点73
重要处理信息
【注意】如未能遵循这些处理说明，则可能导致 MacBook Pro 或其他财产受损。
操作环境 在以下温度范围之外操作 MacBook Pro 可能会影响其性能：
 操作温度：10 至 35 C（50 至 95 F）
 存放温度：-20 至 45 C（-4 至 113 F）
 相对湿度：5% 至 90%（非凝结）
 操作海拔高度：0 至 3048 米（0 至 10,000 英尺）
开启 MacBook Pro MacBook Pro 的内部和外部零件尚未完全装好之前，切勿开启电脑。在电脑
缺少部件的情况下操作电脑会很危险，而且会损坏电脑。
携带 MacBook Pro 如果您使用提包或公文箱来携带 MacBook Pro，请确定其中没有零散物件
（如回形针或硬币），以免它们从电脑的通风散热孔意外进入电脑内部或光盘驱动器插槽，或者堵
塞端口。同时，使磁性敏感物品远离 MagSafe 电源端口。
使用插头和端口 切勿强行将插头推入端口。连接设备时，请确定端口中没有碎屑、插头与端口匹
配，并且插头和端口的方向正确对应。
74 第 5 章 最后要点
使用光盘驱动器 安装在 MacBook Pro 中的 SuperDrive 驱动器支持标准的 12 厘米（4.7 英寸）
光盘。不支持形状不规则的光盘或直径小于 12 厘米（4.7 英寸）的光盘，这些光盘会卡在驱动
器中。
处理玻璃部件 MacBook Pro 包含玻璃组件，包括显示屏和触控板。如果它们已损坏，请勿使用
MacBook Pro，直至 Apple 授权服务商将它修理好。
存放 MacBook Pro 如果打算长期存放 MacBook Pro，请将其置于阴凉的环境中（理想温度为
22 C 或 71 F），并将电池放电到总电量的 50% 或以下。当要存放 MacBook Pro 的时间超过
五个月时，请将电池放电到总电量的 50% 左右。若要维持电池的电量，请每隔六个月左右将电池
重新充电到总电量的 50%。
清洁 MacBook Pro 清洁 MacBook Pro 的外壳及其组件之前，请先将 MacBook Pro 关机并拔
下电源适配器。然后使用湿润、柔软、不起绒的擦拭布来清洁电脑的外壳。避免任何一个开口处
受潮。不要将液体直接喷射到电脑上。不要使用可能会破坏电脑表面的气雾喷剂、溶剂或研磨剂。
清洁 MacBook Pro 屏幕 若要清洁 MacBook Pro 屏幕，请先将 MacBook Pro 关机并拔下电源
适配器。然后蘸湿附带的擦拭布（仅限用水）并擦拭屏幕。不要将液体直接喷射到屏幕上。
第 5 章 最后要点75
了解人机工程学
下面是有关如何设置健康的工作环境的一些技巧。
键盘和触控板
使用键盘和触控板时，双肩要放松。上臂和前臂应形成一个稍大于直角的角度，手腕和手掌大致成
一条直线。
76 第 5 章 最后要点
在击键或使用触控板时手指要轻触，双手和手指应保持放松。不要把拇指卷曲在手掌下。
经常改变一下手的姿势以避免疲劳。在不间断的频繁操作之后，有些电脑用户会感到手、手腕或手
臂不适。如果手、手腕或手臂出现慢性疼痛或不适，请向合格的健康专家咨询。
外部鼠标
如果您使用外部鼠标，请将鼠标与键盘放置在同一高度且操作舒适的位置。
座椅
最好使用可调节高度的座椅，且带有坚固而舒适的靠背。调整座椅的高度，使大腿放平，双脚平放
在地板上。座椅靠背应支撑背的下部（腰部）。请参照制造商的说明，根据自身体形调节椅背。
第 5 章 最后要点77
您可能需要调高座椅，使前臂和手与键盘成适当的角度。如果这样做您的双脚无法平放在地板上，
则可以用高度和倾角可调的搁脚板将脚垫平。您也可以降低桌面，这样就不需要搁脚板了。还有一
种方法是使用键盘托架比常规工作表面稍低的工作台。
内建显示屏
调整显示屏的角度，为在您的环境中观看进行优化。如果调整显示屏时遇到阻力，请不要强行调
整。显示屏打开角度不能超过 130 度。
当您将电脑从一个工作地点移到另一个工作地点或者工作环境的灯光有所改变时，您可以相应地调
整显示屏的亮度。
有关人机工程学的更多信息，可以在以下网站上找到：
www.apple.com/about/ergonomics
Apple 和环境
Apple Inc. 已经意识到有责任将产品的操作和产品本身对环境造成的影响降到最小。
有关更多信息，可以在以下网站上找到：
www.apple.com.cn/environment
78
Regulatory Compliance Information
FCC Compliance Statement
This device complies with part 15 of the FCC rules. Operation
is subject to the following two conditions: (1) This device may
not cause harmful interference, and (2) this device must accept
any interference received, including interference that may cause
undesired operation. See instructions if interference to radio or
television reception is suspected.
L‘utilisation de ce dispositif est autorisée seulement aux
conditions suivantes: (1) il ne doit pas produire de brouillage et (2)
l’utilisateur du dispositif doit étre prêt à accepter tout brouillage
radioélectrique reçu, même si ce brouillage est susceptible de
compromettre le fonctionnement du dispositif.
Radio and Television Interference
This computer equipment generates, uses, and can radiate radiofrequency
energy. If it is not installed and used properly—that
is, in strict accordance with Apple’s instructions—it may cause
interference with radio and television reception.
This equipment has been tested and found to comply with
the limits for a Class B digital device in accordance with the
specifications in Part 15 of FCC rules. These specifications
are designed to provide reasonable protection against such
interference in a residential installation. However, there is
no guarantee that interference will not occur in a particular
installation.
You can determine whether your computer system is causing
interference by turning it off. If the interference stops, it was
probably caused by the computer or one of the peripheral devices.
If your computer system does cause interference to radio or
television reception, try to correct the interference by using one or
more of the following measures:
• Turn the television or radio antenna until the interference stops.
• Move the computer to one side or the other of the television
or radio.
• Move the computer farther away from the television or radio.
• Plug the computer into an outlet that is on a different circuit
from the television or radio. (That is, make certain the computer
and the television or radio are on circuits controlled by different
circuit breakers or fuses.)
If necessary, consult an Apple Authorized Service Provider or
Apple. See the service and support information that came with
your Apple product. Or consult an experienced radio/television
technician for additional suggestions.
Important: Changes or modifications to this product not
authorized by Apple Inc. could void the EMC compliance and
negate your authority to operate the product.
This product has demonstrated EMC compliance under conditions
that included the use of compliant peripheral devices and shielded
cables (including Ethernet network cables) between system
components. It is important that you use compliant peripheral
devices and shielded cables between system components to
reduce the possibility of causing interference to radios, television
sets, and other electronic devices.
Responsible party (contact for FCC matters only):
Apple Inc. Corporate Compliance
1 Infinite Loop, MS 26-A
Cupertino, CA 95014
Wireless Radio Use
This device is restricted to indoor use when operating in the 5.15 to
5.25 GHz frequency band.
Cet appareil doit être utilisé à l’intérieur.
Exposure to Radio Frequency Energy
The radiated output power of the Wi-Fi technology is below the
FCC radio frequency exposure limits. Nevertheless, it is advised to
use the wireless equipment in such a manner that the potential for
human contact during normal operation is minimized.
FCC Bluetooth Wireless Compliance
The antenna used with this transmitter must not be colocated or
operated in conjunction with any other antenna or transmitter
subject to the conditions of the FCC Grant.
79
Canadian Compliance Statement
This device complies with Industry Canada license-exempt RSS
standard(s). Operation is subject to the following two conditions:
(1) this device may not cause interference, and (2) this device must
accept any interference, including interference that may cause
undesired operation of the device.
Cet appareil est conforme aux normes CNR exemptes de licence
d’Industrie Canada. Le fonctionnement est soumis aux deux
conditions suivantes : (1) cet appareil ne doit pas provoquer
d’interférences et (2) cet appareil doit accepter toute interférence,
y compris celles susceptibles de provoquer un fonctionnement
non souhaité de l’appareil.
Bluetooth Industry Canada Statement
This Class B device meets all requirements of the Canadian
interference-causing equipment regulations.
Cet appareil numérique de la Class B respecte toutes les exigences
du Règlement sur le matériel brouilleur du Canada.
Industry Canada Statement
Complies with the Canadian ICES-003 Class B specifications.
Cet appareil numérique de la classe B est conforme à la norme
NMB-003 du Canada. This device complies with RSS 210 of Industry
Canada.
Bluetooth Europe—EU Declaration of Conformity
This wireless device complies with the R&TTE Directive.
Europe—EU Declaration of Conformity
Български Apple Inc. декларира, че това MacBook Pro е
в съответствие със съществените изисквания и другите
приложими правила на Директива 1999/5/ЕС.
Česky Společnost Apple Inc. tímto prohlašuje, že tento
MacBook Pro je ve shodě se základními požadavky a dalšími
příslušnými ustanoveními směrnice 1999/5/ES.
Dansk Undertegnede Apple Inc. erklærer herved, at følgende
udstyr MacBook Pro overholder de væsentlige krav og øvrige
relevante krav i direktiv 1999/5/EF.
Deutsch Hiermit erklärt Apple Inc., dass sich das MacBook Pro
in Übereinstimmung mit den grundlegenden Anforderungen
und den übrigen einschlägigen Bestimmungen der Richtlinie
1999/5/EG befinden.
Eesti Käesolevaga kinnitab Apple Inc., et see MacBook Pro
vastab direktiivi 1999/5/EÜ põhinõuetele ja nimetatud direktiivist
tulenevatele teistele asjakohastele sätetele.
简体中文 Apple Inc. 特此声明此 MacBook Pro 符合 Directive 1999/5/
EC 的基本要求和其他相关条款。
Español Por medio de la presente Apple Inc. declara que este
MacBook Pro cumple con los requisitos esenciales y cualesquiera
otras disposiciones aplicables o exigibles de la Directiva
1999/5/CE.
Ελληνικά Mε την παρούσα, η Apple Inc. δηλώνει ότι αυτή
η συσκευή MacBook Pro συμμορφώνεται προς τις βασικές
απαιτήσεις και τις λοιπές σχετικές διατάξεις της Οδηγίας
1999/5/ΕΚ.
Français Par la présente Apple Inc. déclare que l’appareil
MacBook Pro est conforme aux exigences essentielles et aux
autres dispositions pertinentes de la directive 1999/5/CE.
Islenska Apple Inc. lýsir því hér með yfir að þetta tæki
MacBook Pro fullnægir lágmarkskröfum og öðrum viðeigandi
ákvæðum Evróputilskipunar 1999/5/EC.
Italiano Con la presente Apple Inc. dichiara che questo
dispositivo MacBook Pro è conforme ai requisiti essenziali ed alle
altre disposizioni pertinenti stabilite dalla direttiva 1999/5/CE.
Latviski Ar šo Apple Inc. deklarē, ka MacBook Pro ierīce atbilst
Direktīvas 1999/5/EK būtiskajām prasībām un citiem ar to
saistītajiem noteikumiem.
Lietuvių Šiuo „Apple Inc.“ deklaruoja, kad šis MacBook Pro
atitinka esminius reikalavimus ir kitas 1999/5/EB Direktyvos
nuostatas.
Magyar Alulírott, Apple Inc. nyilatkozom, hogy a MacBook Pro
megfelel a vonatkozó alapvetõ követelményeknek és az
1999/5/EC irányelv egyéb elõírásainak.
Malti Hawnhekk, Apple Inc., jiddikjara li dan MacBook Pro
jikkonforma mal-ħtiġijiet essenzjali u ma provvedimenti oħrajn
relevanti li hemm fid-Dirrettiva 1999/5/EC.
80
Nederlands Hierbij verklaart Apple Inc. dat het toestel
MacBook Pro in overeenstemming is met de essentiële eisen
en de andere bepalingen van richtlijn 1999/5/EG.
Norsk Apple Inc. erklærer herved at dette MacBook Pro
-apparatet er i samsvar med de grunnleggende kravene og
øvrige relevante krav i EU-direktivet 1999/5/EF.
Polski Niniejszym Apple Inc. oświadcza, że ten MacBook Pro są
zgodne z zasadniczymi wymogami oraz pozostałymi stosownymi
postanowieniami Dyrektywy 1999/5/EC.
Português Apple Inc. declara que este dispositivo
MacBook Pro está em conformidade com os requisitos
essenciais e outras disposições da Directiva 1999/5/CE.
Română Prin prezenta, Apple Inc. declară că acest aparat
MacBook Pro este în conformitate cu cerinţele esenţiale şi cu
celelalte prevederi relevante ale Directivei 1999/5/CE.
Slovensko Apple Inc. izjavlja, da je ta MacBook Pro skladne z
bistvenimi zahtevami in ostalimi ustreznimi določili direktive
1999/5/ES.
Slovensky Apple Inc. týmto vyhlasuje, že toto MacBook Pro spĺňa
základné požiadavky a všetky príslušné ustanovenia Smernice
1999/5/ES.
Suomi Apple Inc. vakuuttaa täten, että tämä MacBook Pro
tyyppinen laite on direktiivin 1999/5/EY oleellisten vaatimusten ja
sitä koskevien direktiivin muiden ehtojen mukainen.
Svenska Härmed intygar Apple Inc. att denna MacBook Pro står i
överensstämmelse med de väsentliga egenskapskrav och övriga
relevanta bestämmelser som framgår av direktiv 1999/5/EG.
A copy of the EU Declaration of Conformity is available at:
www.apple.com/euro/compliance
This equipment can be used in the following countries:
Korea Warning Statements
B()
(B)
,
.
Singapore Wireless Certification
Taiwan Wireless Statements
Taiwan Class B Statement
81
Japan VCCI Class B Statement
外置 USB 调制解调器信息
使用外置 USB 调制解调器将 MacBook Pro 连接到电话线路时，请参阅此
调制解调器附带的文稿中的电信机构信息。
ENERGY STAR® Compliance
As an ENERGY STAR® partner, Apple has determined that standard
configurations of this product meet the ENERGY STAR® guidelines
for energy efficiency. The ENERGY STAR® program is a partnership
with electronic equipment manufacturers to promote energyefficient
products. Reducing energy consumption of products
saves money and helps conserve valuable resources.
This computer is shipped with power management enabled with
the computer set to sleep after 10 minutes of user inactivity. To
wake your computer, click the mouse or trackpad or press any key
on the keyboard.
For more information about ENERGY STAR®, visit:
www.energystar.gov
处理和回收信息
此符号表示您必须根据当地的法律和法规来正确处理您的产品。当产品的使
用寿命到了尽头时，请联系 Apple 或当地管理部门以了解回收方式。
有关 Apple 的回收计划的信息，请访问
www.apple.com.cn/environment/recycling。
欧盟 处理信息：
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Türkiye
EEE yönetmeliğine (Elektrikli ve Elektronik Eşyalarda Bazı Zararlı
Maddelerin Kullanımının Sınırlandırılmasına Dair Yönetmelik)
uygundur.
Brasil— Informações sobre descarte e reciclagem
O símbolo acima indica que este produto e/ou sua bateria
não devem ser descartadas no lixo doméstico. Quando decidir
descartar este produto e/ou sua bateria, faça-o de acordo com
as leis e diretrizes ambientais locais. Para informações sobre o
programa de reciclagem da Apple, pontos de coleta e telefone de
informações, visite www.apple.com/br/environment.
82
电池处理信息
请根据当地的环保法规处理电池。
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KK Apple Inc.
© 2011 Apple Inc. 保留一切权利。
根据版权法，未经 Apple 书面同意，不得复制本手册中的全部或部分内容。
我们已尽力确保本手册上的信息准确。Apple 对印刷或文字错误概不负责。
Apple
1 Infinite Loop
Cupertino, CA 95014
408-996-1010
www.apple.com
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本手册英文版在美国和加拿大同时出版。
Logic
Pro
7.2 .1
Dedicated
Control
Surface
Support
Apple
Computer,
Inc.
©
2004–2006
Apple
Computer,
Inc.
All
rights
reserved.
Under
the
copyright
laws,
this
manual
may
not
be
copied,
in
whole
or
in
part,
without
the
written
consent
of
Apple.
Your
rights
to
the
software
are
governed
by
the
accompanying
software
licence
agreement.
The
Apple
logo
is
a
trademark
of
Apple
Computer,
Inc.,
registered
in
the
U.S.
and
other
countries.
Use
of
the
“keyboard”
Apple
logo
(Option-Shift-K)
for
commercial
purposes
without
the
prior
written
consent
of
Apple
may
constitute
trademark
infringement
and
unfair
competition
in
violation
of
federal
and
state
laws.
Every
effort
has
been
made
to
ensure
that
the
information
in
this
manual
is
accurate.
Apple
Computer,
Inc.
is
not
responsible
for
printing
or
clerical
errors.
Apple
Computer,
Inc.
1
Infinite
Loop
Cupertino,
CA
95014-2084
408-996-1010
www.apple.com
Apple,
the
Apple
logo,
Aqua,
Final
Cut,
Final
Cut
Pro,
FireWire,
iBook,
iMac,
iPod,
iTunes,
Logic,
Mac,
Macintosh,
Mac
OS,
PowerBook,
Power
Mac,
Power
Macintosh,
and
QuickTime
are
trademarks
of
Apple
Computer,
Inc.,
registered
in
the
U.S.
and
other
countries.
Finder
and
GarageBand
are
trademarks
of
Apple
Computer,
Inc.
AppleCare
is
a
service
mark
of
Apple
Computer,
Inc.
Other
company
and
product
names
mentioned
herein
are
trademarks
of
their
respective
companies.
Mention
of
third-party
products
is
for
informational
purposes
only
and
constitutes
neither
an
endorsement
nor
a
recommendation.
Apple
assumes
no
responsibility
with
regard
to
the
performance
or
use
of
these
products.
3
1
Contents
Preface 7 Introduction
7
What
Are
Control
Surfaces?
8
How
Control
Surface
Integration
Works
Chapter
1 13 Control
Surface
Setup
13
Control
Surface
Plug-ins
13
About
Software
and
Firmware
14
Getting
Started
15
Connecting
the
Unit(s)
16
Installing
and
Setting
Up
Control
Surfaces
17
Control
Surface
Groups
19
Setup
Window
Parameters
25
Control
Surface
Preferences
29
Customizing
Control
Surfaces
34
The
Controller
Assignments
Editor
45
About
Modal
Dialogs
46
Tips
Chapter
2 47 Logic
Control
47
Set
Up
48
The
Displays
50
The
Channel
Strip(s)
54
The
Assignment
Zone
69
Fader
Bank
Zone
71
Master
Fader
71
Display
Zone
73
The
Function
Key
Zone
74
The
Global
View
Zone
75
Function
Button
Zone
79
The
Transport
Zone
87
The
Cursor/Zoom
Key
Zone
88
The
Jog/Scrub
Wheel
Zone
89
Assignment
Overview
4
Contents
Chapter
3 101 M-Audio
iControl
101
Setting
Up
the
iControl
102
Compatibility
102
Channel
Views
102
The
Assignment
Buttons
105
Arrow
Up
and
Arrow
Down
Buttons
105
The
Channel
Strip(s)
106
The
Jog
Wheel
106
The
Transport
Zone
107
Master
Fader
108
Assignment
Overview
Chapter
4 111 EuCon
Support
of
Euphonix
MC
and
System
5-MC
111
Setting
Up
the
MC
or
System
5-MC
With
Logic
112
Setting
Up
Soft
Key
Assignments
113
Main-Tracks
Touchscreen
113
Main-Layouts
113
Faders
114
Choosing
Automation
Modes
115
Knobsets
120
Monitors
and
Control
Room
120
Clear
Keys
120
Track
Control
Bar
120
System
5-MC
Specific
Features
Chapter
5 123 CM
Labs
Motormix
123
Set
Up
123
Assignment
Overview
Chapter
6 131 Frontier
Design
TranzPort
131
Set
Up
131
LCD
132
Assignment
Overview
Chapter
7 135 JLCooper
CS-32
MiniDesk
135
Set
Up
135
Assignment
Overview
Chapter
8 141 JLCooper
FaderMaster
4/100
141
Requirements
141
Set
Up
142
Assignment
Overview
Contents
5
Chapter
9 143 Korg
microKONTROL
and
KONTROL49
143
Set
Up
143
Assignment
Overview
Chapter
10 147 Mackie
Baby
HUI
147
Set
Up
147
Assignment
Overview
Chapter
11 151 Mackie
C4
151
Set
Up
151
V-Pots,
V-Selects
157
Buttons
at
Bottom
160
Marker
Overlay
160
Track
Overlay
160
Channel
Strip
Overlay
161
Function
Overlay
Chapter
12 163 Mackie
HUI
163
Set
Up
163
Assignment
Overview
Chapter
13 173 Radikal
Technologies
SAC-2K
173
Set
Up
173
Assignment
Overview
178
Troubleshooting
Chapter
14 179 Roland
SI-24
179
Set
Up
179
Assignment
Overview
Chapter
15 185 Tascam
FW-1884
185
Introduction
185
Set
Up
185
Assignment
Overview
Chapter
16 193 Tascam
US-2400
193
Set
Up
194
Assignment
Overview
Chapter
17 199 Tascam
US-428
and
US-224
199
Set
Up
199
Assignment
Overview
Chapter
18 203 Yamaha
01V96
203
Set
Up
6
Contents
204
Assignment
Overview
206
Selected
Channel
Section
207
Data
Entry
Section
207
Channel
Strips
207
Stereo
Channel
Strip
208
User
Defined
Keys
Section
Chapter
19 211 Yamaha
02R96
211
Set
Up
212
Assignment
Overview
Chapter
20 217 Yamaha
DM1000
217
Set
Up
218
Assignment
Overview
Chapter
21 225 Yamaha
DM2000
225
Set
Up
226
Assignment
Overview
Appendix
A 235 Logic
Control—Specifications
235
Logic
Control
(Base
Unit)
237
Logic
Control
XT
(Extension
Unit)
Appendix
B 239 Logic
Control—MIDI
Implementation
239
SysEx
Message
Header
240
Global
Control
Messages
242
Common
Control
Messages
Appendix
C 251 Logic
Control—Control
Surface
Layout
and
IDs
Appendix
D 255 Logic
Control—MIDI
Implementation
Chart
7
Introduction
This
manual
covers
the
control
surface
support
of
Logic
Pro.
Please
read
it
thoroughly
to
make
the
most
of
your
new
controller(s).
All
of
the
functions
in
Logic
Pro
that
are
normally
associated
with
the
use
of
an
analog
style
mixer
can
be
performed
using
just
a
mouse
and
a
computer
keyboard.
The
addition
of
many
commercially
available
control
surfaces
can
greatly
enhance
your
creative
experience
by
providing
you
with
hands-on
control
of
most
realtime
parameters
in
Logic.
Move
a
fader
and
the
on-screen
fader
in
Logic
will
move
with
it.
Similarly,
when
you
make
a
fader
move
on-screen,
the
control
surface
fader
moves
(this
only
applies
to
control
surfaces
equipped
with
motorized
faders).
Adjust
EQ
parameters
by
turning
one
of
your
control
surface’s
knobs
and
Logic
will
update
instantly.
What
Are
Control
Surfaces?
Control
surfaces
are
hardware
units
that
enable
the
operation
of
Logic
Pro
using
faders,
rotary
knobs,
switches,
and
displays.
There
are
a
number
of
simple
control
surfaces
that
feature
conventional
faders
and
no
displays.
More
progressive
units
are
equipped
with
motorized
faders,
rotary
encoders,
LED
rings,
and
programmable
displays.
The
more
feedback
a
control
surface
provides,
the
easier
it
is
to
use,
as
you
don’t
need
to
watch
the
computer
screen
in
order
to
determine
what
mode
the
unit
is
currently
in.
Control
surfaces—dependent
on
the
options
(buttons,
knobs,
switches,
displays,
and
so
on)
available—have
the
potential
to:
Â
control
all
Logic
transport
functions
 adjust
instrument,
input,
bus,
aux,
master,
and
audio
channel
volume
and
pan
levels
 control
Channel
EQ
and
Linear
Phase
EQ
parameters
 select
and
control
all
effect
and
Instrument
parameters
 select,
solo,
mute,
and
arm
tracks
 set
and
adjust
send
parameters
8 Chapter
Introduction
 remotely
switch
between
Screensets
 scrub
MIDI
and
audio
 zoom
in
on
individual
tracks
 create,
delete,
and
move
between
markers,
and
much
more
For
live
use,
control
surfaces
are
ideal.
The
performing
musician
only
needs
to
take
a
laptop,
equipped
with
suitable
audio
and/or
MIDI
interfaces,
a
keyboard,
and
a
control
surface
to
a
live
event.
Some
units
available
nowadays
incorporate
a
keyboard,
audio
interface,
control
surface,
and
MIDI
interface
into
a
single
package.
Given
that
Logic
Pro’s
track
automation
facilities
can
be
active,
even
when
not
in
record
mode,
you
can
capture
your
“live”
real
time
changes
for
later
recall.
This
ensures
that
you’ll
never
again
lose
that
“once-in-a-lifetime”
performance—on
stage
or
in
the
studio.
How
Control
Surface
Integration
Works
Logic
Pro
features
dedicated
support
for
a
number
of
control
surface
models.
This
is
achieved
through
several
plug-ins
that
are
directly
integrated
into
Logic.
Some
plug-ins
support
multiple,
similarly-featured
control
surface
models.
Note:
Although
many
other
control
surfaces
are
supported,
the
Logic/Mackie
Control,
C4,
and
XT
control
surface
units
are
recommended
for
use
with
Logic.
Logic
also
allows
you
to
reprogram
existing
assignments
for
supported
control
surfaces
and
to
program
new
assignments
for
unsupported
control
surfaces.
This
facility
allows
you
to
extend
the
use
of
faders,
knobs,
and
switches,
either
directly
or
through
the
use
of
modifier
commands.
You
can
use
any
combination
of
control
surfaces
with
Logic
Pro.
You
will
get
most
out
of
them,
however,
when
used
in
a
Control
Surface
Group
(provided
all
devices
are
supported
by
the
same
plug-in).
Universal
information,
that
applies
to
all
control
surfaces,
is
covered
in
the
following
chapter.
Please
read
this
before
taking
a
look
at
the
dedicated
section
on
your
control
surface(s).
A
detailed
overview
of
group,
installation,
and
other
control
surface
setup
parameters
is
found
in
Chapter
1,
“Control
Surface
Setup,”
on
page
13.
Please
read
this,
as
it
contains
a
lot
of
useful
information
that
will
help
you
to
customize
and/or
make
the
most
of
your
control
surface(s).
Important:
Specific
information
on
device
setup
is
found
at
the
beginning
of
the
relevant
chapter
for
your
control
surface
(see
the
table
below).
Chapter
Introduction 9
It
is
assumed
that
you
are
familiar
with
the
basic
use
and
terminology
of
Logic
Pro.
As
such,
the
functionality
and
uses
of
individual
Logic
parameters
are
not
covered
in
this
documentation.
Please
consult
your
Logic
Pro
7
Reference
manual
or
the
Online
Help,
if
you
require
further
information.
You
are
strongly
encouraged
to
press
buttons,
move
sliders
and
turn
the
knobs
of
your
control
surface
while
reading
through
the
following
chapters.
This
will
help
you
to
get
a
“feel”
for
how
your
control
surface
works,
and
how
the
various
parts
of
the
control
surface
interact
with
one
another,
and
Logic.
A
listing
of
control
surfaces
that
are
directly
supported
by
Logic
(via
a
control
surface
plug-in
included
in
the
Logic
package),
how
they
differ
from
similar
devices,
and
cross
references
to
the
relevant
sections
are
shown
below.
Note:
It
is
possible
that
your
device
may
be
directly
supported
in
Logic
via
a
suitable
control
surface
plug-in,
supplied
by
the
manufacturer.
Please
check
the
website
of
your
control
surface
manufacturer.
Follow
any
written
instructions
supplied
with
the
plug-in,
if
available.
Supported
Devices Manufacturer Notes
01V96 Yamaha The
Yamaha
01V96
emulates
two
HUI
units,
using
two
virtual
MIDI
in
and
out
connections
over
its
USB
cable.
See
“Yamaha
01V96”
on
page
203.
01X Yamaha The
Yamaha
01X
emulates
a
Logic
Control.
It
does
not
feature
all
controls
available
to
the
Logic
(and
Mackie)
units,
however.
Please
refer
to
the
01X
documentation
for
details.
Logic
recognizes
the
01X
as
such
and
displays
a
custom
icon,
but
communication
is
as
with
a
Logic
Control.
See
“Logic
Control”
on
page
47.
02R96 Yamaha The
Yamaha
02R96
emulates
three
HUI
units,
using
three
virtual
MIDI
in
and
out
connections
over
its
USB
cable.
See
“Yamaha
02R96”
on
page
211.
Baby
HUI Mackie The
Baby
HUI
is
a
stripped-down
version
of
the
HUI.
See
“Mackie
Baby
HUI”
on
page
147.
C4 Mackie The
Logic
Control
plug-in
has
been
extended
to
support
the
Mackie
C4.
See
“Mackie
C4”
on
page
151.
CM408T Euphonix See
“EuCon
Support
of
Euphonix
MC
and
System
5-MC”
on
page
111.
CS-32
MiniDesk JLCooper See
“JLCooper
CS-32
MiniDesk”
on
page
135.
10 Chapter
Introduction
DM1000 Yamaha The
Yamaha
DM1000
emulates
two
HUI
units,
using
two
virtual
MIDI
in
and
out
connections
over
its
USB
cable.
See
“Yamaha
DM1000”
on
page
217.
DM2000 Yamaha The
Yamaha
DM2000
emulates
three
HUI
units,
using
three
virtual
MIDI
in
and
out
connections
over
its
USB
cable.
See
“Yamaha
DM2000”
on
page
225.
FaderMaster
4/100 JLCooper See
“JLCooper
FaderMaster
4/100”
on
page
141.
FE-8 Tascam Extension
unit
for
FW-1884.
See
“Tascam
FW-
1884”
on
page
185.
FW-1082 Tascam A
stripped-down
version
of
the
FW-1884,
with
dedicated
support
in
the
FW-1884
plug-in.
See
“Tascam
FW-1884”
on
page
185.
FW-1884 Tascam See
“Tascam
FW-1884”
on
page
185.
HUI Mackie Important:
The
HUI
plug-in
has
been
tested
with
the
original
Mackie
HUI.
There
are
a
number
of
control
surfaces
not
mentioned
here
which
can
emulate
the
HUI.
We
have
not
tested
all
devices
capable
of
HUI
emulation,
and
don’t
provide
any
support
for
them,
nor
do
we
guarantee
that
they
will
work
with
Logic
in
HUI
emulation
mode.
See
“Mackie
HUI”
on
page
163.
iControl M-Audio See
“M-Audio
iControl”
on
page
101.
KONTROL
49 Korg A
larger
version
of
the
microKONTROL,
with
dedicated
support
in
the
microKONTROL
plug-in.
See
“Korg
microKONTROL
and
KONTROL49”
on
page
143.
Logic
Control
XT Mackie/Emagic This
is
the
extension
unit
for
the
Logic
Control.
It
only
offers
the
channel
strip
section,
making
it
less
useful
without
a
Logic
Control.
See
“Logic
Control”
on
page
47.
Also
see
the
Appendix
for
more
details.
Logic/Mackie
Control Mackie/Emagic See
“Logic
Control”
on
page
47.
Also
see
the
Appendix
for
more
details.
Mackie
Control Mackie The
original
Mackie
Control
hardware
is
similar
to
the
Logic
Control.
The
front
panel
legend
is
different,
however.
You
should
request
a
Logic
Control
Lexan
Overlay
from
Mackie.
As
Logic
also
recognizes
the
Mackie
Control
protocol,
you
may
use
any
firmware
version.
If
you
have
firmware
version
1.02
or
higher,
you
can
freely
use
either
the
Logic
Control
or
Mackie
Control
mode.
See
“Logic
Control”
on
page
47.
Supported
Devices Manufacturer Notes
Chapter
Introduction 11
Mackie
Control
Extender Mackie Mackie
Control
version
of
the
Logic
Control
XT.
As
Logic
also
recognizes
the
Mackie
Control
protocol,
you
may
use
any
firmware
version.
If
you
have
firmware
version
1.02
or
higher,
you
can
freely
use
either
the
Logic
Control
or
Mackie
Control
mode.
See
“Logic
Control”
on
page
47.
Mackie
Control
Universal Mackie A
Mackie
Control
with
Logic
Control
silk
screening
(legend)
and
firmware
version
2.0
or
higher
(including
HUI
emulation).
As
Logic
also
recognizes
the
Mackie
Control
protocol,
you
may
use
any
firmware
version.
If
you
have
firmware
version
1.02
or
higher,
you
can
freely
use
either
the
Logic
Control
or
Mackie
Control
mode.
See
“Logic
Control”
on
page
47.
MC Euphonix See
“EuCon
Support
of
Euphonix
MC
and
System
5-MC”
on
page
111.
microKONTROL Korg See
“Korg
microKONTROL
and
KONTROL49”
on
page
143.
Motormix CM
Labs See
“CM
Labs
Motormix”
on
page
123.
Radikal
Technologies SAC-2.2 There
is
a
dedicated
plug-in
for
the
SAC-2.2/2k’s
native
mode.
The
Logic
Control
plug-in
detects
an
SAC-2.2
(in
Logic
Control
emulation
mode)
and
ignores
it,
avoid
two
installations
of
the
SAC-2.2.
See
“Radikal
Technologies
SAC-2K”
on
page
173.
Radikal
Technologies SAC-2k See
“Radikal
Technologies
SAC-2K”
on
page
173.
SI-24 Roland See
“Roland
SI-24”
on
page
179.
TranzPort Frontier
Design
Group See
“Frontier
Design
TranzPort”
on
page
131.
US-224 Tascam A
stripped-down
version
of
the
US-428,
with
dedicated
support
in
the
US-428
plug-in.
See
“Tascam
US-428
and
US-224”
on
page
199.
US-2400 Tascam Logic
has
support
for
the
US-2400’s
native
mode.
In
contrast
to
its
Logic
Control
mode,
all
controls,
including
the
joystick,
are
supported.
See
section
“Tascam
US-2400”
on
page
193.
US-428 Tascam See
“Tascam
US-428
and
US-224”
on
page
199.
Supported
Devices Manufacturer Notes
1
13
1 Control
Surface
Setup
Logic
offers
dedicated
support
for
a
number
of
control
surfaces,
plus
the
option
to
program
unsupported
devices.
The
following
chapter
describes
functions
applicable
to
all
control
surface
models.
Specific
documentation
for
various
models
is
available
in
the
following
chapters.
Control
Surface
Plug-ins
Dedicated
control
surface
support
is
achieved
through
the
use
of
special
plug-in
files.
These
files
are
automatically
added
when
Logic
is
installed.
They
are
located
in
the
/Contents/MIDI
Device
Plug-ins
sub-folder
of
the
Logic
application
bundle
(to
view
the
bundle
contents,
Control
or
right-click
on
the
Logic
application
icon,
and
choose
Show
Package
Contents
from
the
menu).
Logic
also
checks
for
control
surface
plug-ins
in
the
(optional)
“/Library/Application
Support/
Logic/MIDI
Device
Plug-ins”
and
“~/Library/Application
Support/Logic/MIDI
Device
Plug-ins”
(the
“~”
denotes
your
user
home
directory)
folders.
When
new
control
surface
plug-ins
are
released
independently
from
a
Logic
update,
please
place
them
in
the
folders
described
above
(or
as
advised
in
the
documentation
supplied
with
the
plug-in).
About
Software
and
Firmware
Most
control
surfaces
have
no
“intelligence”
of
their
own.
Their
functionality
is
host
software-based,
making
them
reliant
on
Logic
to
tell
them
what
to
do/how
to
behave.
What
this
means
is
that
control
surfaces
cannot
perform
any
function
that
Logic
itself
isn’t
capable
of.
It
also
means
that
if
Logic
is
not
booted,
most
control
surface
units
will
do
nothing
at
all.
This
reliance
on
the
host
application
makes
your
control
surface
the
ultimate
upgradable
hardware.
As
new
functions
are
added
to
Logic,
or
you
create
new
assignments
(see
“Control
Surface
Setup”
on
page
13),
your
control
surface
will
be
able
to
access
and
control
them.
14 Chapter
1
Control
Surface
Setup
Most
control
surface
units
do,
however,
have
a
form
of
software
called
“firmware.”
This
firmware
is
much
like
the
BIOS
found
in
your
computer.
New
behaviors—at
a
hardware
level—such
as
improved
control
of
fader
servo
motors
and
changes
to
the
display
can
be
made
via
firmware
updates.
The
firmware
is
usually
stored
on
an
EEPROM
(Electronically
Erasable
Programmable
Read
Only
Memory)
chip.
It
can
often
be
updated
via
a
simple
MIDI
dump
procedure,
in
the
form
of
a
MIDI
file.
Should
new
firmware
become
available,
you
can
simply
download
the
appropriate
MIDI
file
and
play
it
to
your
control
surface(s),
which
will
be
updated
accordingly.
The
steps
required
to
perform
a
firmware
update
will
be
outlined
in
the
documentation
that
accompanies
the
MIDI
file.
Please
read
this
before
attempting
any
update.
Note:
Some
control
surfaces
may
require
a
physical
chip
replacement
for
firmware
updates.
Please
contact
the
manufacturer
of
your
device
for
details.
Getting
Started
To
make
use
of
your
control
surface,
you
will
require:
 An
installed,
authorized
copy
of
Logic
Pro.
 If
a
USB
or
FireWire
equipped
device
(such
as
a
Yamaha
01X)—a
free
USB
or
FireWire
port.
This
should
preferably
be
a
direct
USB/FireWire
connection
with
the
computer,
rather
than
via
a
USB/FireWire
hub.
Please
refer
to
the
documentation
provided
by
the
manufacturer
of
your
control
surface.
 If
a
MIDI-only
device
(such
as
a
Logic
Control)—a
free
MIDI
in
and
out
port
for
each
unit,
on
any
suitable
MIDI
interface.
As
an
example;
if
using
a
Unitor
8
or
AMT
8,
which
feature
8
MIDI
in
and
8
MIDI
out
ports,
with
one
Logic
Control
and
one
Logic
Control
XT,
you
will
need
to
use
two
of
the
Unitor8/AMT8’s
MIDI
ins
and
two
of
its
MIDI
outs.
 An
installed
driver
(if
required
by
your
control
surface)
that
is
supported
by
the
operating
system
version
being
used.
Important:
Your
MIDI
interface
must
feature
driver
software
that
supports
SysEx
communication.
Please
consult
the
documentation
that
shipped
with
your
MIDI
interface.
The
number
of
units
that
can
be
run
simultaneously
is
dependent
on
the
availability
of
free
MIDI
in
and
out,
FireWire
or
USB
ports
on
your
system.
In
a
standard
setup,
a
single
control
surface
will
be
used
alone,
or
accompanied
by
one
or
more
units.
It
is
also
possible
to
make
use
of
several
units
to
create
Control
Surface
Groups,
as
discussed
in
“Control
Surface
Groups”
on
page
17.
Chapter
1
Control
Surface
Setup 15
The
use
of
multiple
control
surfaces
expands
on
the
number
of
tracks,
parameters,
and
so
on
that
can
be
controlled
with
individual
faders,
knobs,
and
switches.
As
an
example,
the
Logic/Mackie
Control
XT
units
are
basically
identical
to
the
channel
strip
section
(fader,
V-Pot,
and
LCD)
of
the
main
Logic/Mackie
Control
unit.
The
Mackie
C4
features
a
number
of
V-Pots,
but
no
faders.
You
may
add
as
many
XT,
C4,
or
other
control
surface
units
as
you
wish
to
your
Logic
system,
provided
enough
MIDI
in
and
out
ports
are
available.
Connecting
the
Unit(s)
Connect
your
(MIDI)
control
surfaces
as
shown
in
the
diagram
below.
As
mentioned
earlier,
each
MIDI
control
surface
must
have
a
discrete
MIDI
in
and
MIDI
out
connection.
Do
not
“daisy-chain”
other
MIDI
devices
via
MIDI
thru
to
the
MIDI
in
or
out
ports
used
by
control
surfaces,
as
this
may
result
in
data
errors.
FireWire
and
USB
units
are
connected
via
a
single
cable
to
the
computer.
It
is
generally
recommended
that
this
is
a
direct
connection
with
the
Macintosh,
rather
than
via
a
FireWire/USB
hub.
Daisy-chaining
or
the
use
of
hubs
can
result
in
data
errors.
Optional
Footswitches
and
Pedals
If
your
control
surface
features
suitable
connectors,
you
may
use
optional
foot
switches
to
remotely
control
start/stop
and
other
functions.
This
may
be
useful
when
using
guitars
or
other
instruments
that
require
two-handed
playing.
Computer MIDI
Interface
Optional
Footswitches
16 Chapter
1
Control
Surface
Setup
Power
Up
Once
everything
is
connected,
press
the
power
switch
on
your
control
surface.
Once
powered,
the
displays
and/or
LEDs
will
illuminate
and
the
LCD
(if
applicable)
will
generally
display
a
welcome
message
(often
including
the
firmware
version
number).
Each
fader
will
slide
to
the
top,
and
back
to
the
bottom
of
its
travel
on
most
motorized
control
surfaces.
This
self-diagnostic
power-on
procedure
indicates
that
your
units
are
functioning
correctly.
Your
computer
and
MIDI
interface
can
be
powered
up
before
or
after
initialization
of
your
control
surface
units.
Logic
can
be
started
either
before
or
after
the
units
have
completed
initialization.
Installing
and
Setting
Up
Control
Surfaces
Some
control
surface
units
(Logic/Mackie
Control,
for
example)
will
automatically
be
detected
when
Logic
is
launched.
Units
which
are
not
detected
automatically
can
be
added
via
the
Setup
window.
This
is
accessed
via
the
Setup
option
in
the
Preferences
>
Control
Surfaces
menu.
Installation
is
very
easy
(and
is
covered
in
the
Set
Up
section
of
the
chapter
on
your
specific
device).
Some
devices
may
require
different
or
additional
steps,
but
generally,
all
you
need
to
do
is
select
the
device(s)
that
you
wish
to
use
in
Logic,
as
follows:
To
install
control
surfaces
using
the
Scan
function
of
Logic:
1 Choose
New
>
Install,
and
in
the
ensuing
Install
window,
select
the
desired
device
from
the
list.
Note:
You
may
select
one
or
more
models.
To
select
more
than
one
model,
select
them
with
Command
held
down.
If
you
select
more
than
one
model,
Logic
performs
the
desired
operation
for
each
model
in
turn.
2 Press
the
Scan
button.
You
can
also
press
Enter
or
double-click
the
device
name.
Logic
will
then
analyze
your
MIDI
system,
and
will
automatically
install
the
devices
it
finds,
including
the
correct
connection
settings.
Note:
The
Scan
function
is
preferable
to
manual
installation,
as
Logic
is
able
to
gather
the
maximum
amount
of
information
about
the
devices.
If
you
don’t
want
to
select
the
models
to
be
scanned
manually,
you
can
also
click
“Scan
all.”
This
will
search
for
all
supported
control
surface
units
on
all
MIDI
ports.
Please
be
aware
that
this
may
take
a
while.
Some
control
surfaces
don’t
support
automatic
scanning.
Such
devices
must
be
added
manually
to
your
setup.
In
this
scenario,
you
will
need
to
manually
set
the
MIDI
In
and
Out
port
parameters.
Chapter
1
Control
Surface
Setup 17
To
manually
add
the
selected
devices
to
your
system:
1 Select
the
desired
devices
from
the
list
in
the
Install
window.
2 Click
the
Add
button.
Note:
Alternatively
you
can
Option-double-click
the
desired
device.
If
a
control
surface
of
the
selected
type
already
exists
in
your
setup,
you
will
be
asked
whether
or
not
you
really
want
to
add
the
new
device.
You
will
need
to
manually
alter
the
MIDI
In
and
Out
port
values
in
the
device
parameters
to
match
those
of
the
connected
unit.
Once
you
have
completed
the
scanning
or
installation
of
the
devices,
click
Done.
The
Install
window
will
close.
Rebuilding
Defaults
The
Preferences
>
Control
Surfaces
>
Rebuild
Defaults
option
re-initializes
the
support
of
all
connected
control
surfaces.
Control
Surface
Groups
If
you
have
multiple
control
surface
units,
you
can
define
how
they
relate
to
each
other,
and
build
Control
Surface
Groups.
A
Control
Surface
Group
consists
of
a
number
of
control
surface
units
(using
the
same
plug-in)
which
are
combined
to
create
a
single,
unified
(and
larger)
control
surface.
You
can
build
up
to
20
Control
Surface
Groups.
Each
“group”
can
consist
of
any
number
of
physical
units.
The
only
limiting
factor
is
the
number
of
available
MIDI
In/Out
(or
USB/FireWire—defined
as
MIDI)
ports.
When
multiple
control
surface
units
are
combined,
you
can
independently
determine
the
default
behavior
for
each
physical
device.
This
is
discussed
in
the
Device
Parameters
(p.
19)
section.
To
build
a
Control
Surface
Group
out
of
several
units:
m Simply
arrange
their
icons
(in
the
Setup
window)
in
a
single
horizontal
row—by
dragging
each
icon
to
the
desired
onscreen
location.
The
order
of
the
icons
from
left
to
right
also
defines
how
the
tracks
and
parameters
are
arranged
on
the
units.
To
use
two
control
surfaces
independently:
m Simply
arrange
them
in
separate
rows—that
is,
one
above
the
other.
18 Chapter
1
Control
Surface
Setup
Here
is
an
example
with
two
Logic
Control,
three
Logic
Control
XT
units
and
a
HUI:
Computer
icon
connected
to
three
rows,
as
below:
The
top
row,
consisting
of
Logic
Control
XT
#1,
Logic
Control
XT
#2
and
Logic
Control
#1
form
a
single
Control
Surface
Group
with
24
channels.
XT
#1
controls
channels
1
to
8,
XT
#2
controls
channels
9
to
16,
and
Logic
Control
#1
handles
channels
17
to
24.
Logic
Control
#2
and
Logic
Control
XT
#3
form
a
second
Control
Surface
Group,
displaying,
say
instruments
(on
channels
1
to
8)
and
busses
(on
channels
9
to
16).
The
HUI
forms
a
single
unit
control
surface
group.
Each
Control
Surface
Group
has
individual
settings,
such
as
Flip
Mode,
Fader
Bank
Offset,
Plug-in
Parameter
Bank
Offset
and
others.
This
allows
you
to
access,
edit,
and
automate
different
sections
of
the
Logic
mixer.
In
our
example,
the
three
units
in
the
top
row
could
be
used
for
control
over
audio
tracks
and
MIDI
channels.
In
the
middle
row,
Logic
Control
#2
could
be
used
for
Audio
Instrument
channels
1
to
8,
and
XT
#3
could
be
used
for
busses.
The
HUI
might
edit
group
definitions.
The
physical
placement
of
units,
and
the
way
you
use
them,
is
entirely
up
to
you.
Note:
The
placement
of
your
control
surface
units
in
relation
to
each
other
should
be
the
same
onscreen
as
in
the
real-world.
Simply
drag
’n
drop
the
desired
icon
horizontally
in
your
Control
Surface
Group
to
do
so.
Chapter
1
Control
Surface
Setup 19
Setup
Window
Parameters
The
three
Parameter
boxes
along
the
left
edge
of
the
Setup
window
allow
you
to
configure
your
control
surface
setup
to
meet
your
needs.
Device
Parameters
Each
control
surface
unit
must
be
connected
to
an
independent
MIDI
in
and
out
port
(or
corresponding
USB/FireWire
port,
designated
as
a
MIDI
port
by
the
device
driver).
The
automatic
setup
or
Scan
procedure
should
have
found,
and
set,
the
correct
MIDI
in/
out
port
settings
for
each
unit.
In
the
event
that
the
MIDI
in
or
out
port
identification
is
incorrect,
you
can
manually
select
the
appropriate
one
for
the
unit.
To
do
so,
click-hold
on
the
MIDI
Input
and
Output
pull-down
menus,
and
select
the
appropriate
port(s)
of
your
MIDI
interface/
device.
Some
devices
allow
you
to
define
a
device
ID
(or
global/basic
channel).
This
can
be
set
in
this
area.
Module
name,
model
name
and
firmware
version
are
also
displayed
in
the
device
parameters.
The
Color
parameter
defines
the
color
of
the
Track
Control
Bar—a
bar
displayed
in
the
Arrange
window,
indicating
the
tracks
that
are
currently
being
accessed
by
your
control
surface.
The
Track
Control
Bar
of
each
control
surface
can
be
assigned
a
different
color.
Special
Parameters
Some
control
surfaces
may
allow
the
definition
of
“special”
parameters.
An
example
of
this
is
fader
touch
sensitivity.
Such
parameters
can
be
found
in
the
Special
Parameters
area.
A
detailed
description
can
be
found
in
the
documentation
of
the
particular
control
surface
plug-in.
Control
Surface
Group
Parameters
The
following
parameters
are
shown
in
the
Setup
window.
They
apply
to
the
Control
Surface
Group
associated
with
the
selected
device,
and
allow
you
to
set
each
group
up
to
meet
your
needs.
This
facility
is
of
great
benefit
when
multiple
Control
Surface
Groups
have
been
created.
Many
(if
not
all)
Control
Surface
Group
parameters
can
also
be
changed
directly
from
the
control
surface.
The
parameter
display
in
the
Setup
window
is
for
information
purposes
only.
Any
changes
to
settings
(made
here,
or
on
the
control
surface)
are
saved
in
a
preferences
file,
which
is
independent
of
the
Logic
program
preferences:
it’s
named
“com.apple.logic.pro.cs”,
and
is
located
in
~/Library/Preferences/Logic.
20 Chapter
1
Control
Surface
Setup
Display
Parameters
The
following
section
describes
the
display
parameters
of
a
Control
Surface
Group.
Flip
Mode
Many
control
surfaces
offer
both
a
fader
and
a
rotary
encoder
for
each
channel
strip.
Flip
Mode
allows
you
to
swap
the
encoder
assignment
with
that
of
the
fader
for
each
channel.
Alternately,
you
can
assign
both
controls
to
the
same
parameter.
There
are
four
“flip”
or
“swap”
modes.
 Off—disables
Flip
Mode,
making
the
fader
act
as
a
volume
control.
 Duplicate—makes
both
the
fader
and
encoder
active
for
the
currently
selected
encoder
parameter.
 Swap—swaps
the
fader
and
encoder,
making
the
fader
a
pan
control
and
the
encoder
a
channel
volume
control,
for
example.
 Mute—disables
the
faders.
This
is
useful
for
situations
where
recording
is
taking
place
in
the
same
room
as
the
control
surface,
and
you
wish
to
avoid
the
mechanical
noise
of
the
faders.
Any
existing
automation
data
will
still
function
as
per
normal.
Display
Mode
If
there
is
insufficient
space
available
for
the
display
of
both
the
parameter
name
and
value
(on
the
control
surface
LCD),
you
can
specify
what
is
displayed
here:
 Value—displays
the
parameter
value.
 Name—displays
the
parameter
name.
Clock
Display
If
your
control
surface
features
a
song
position
display,
the
Clock
Display
parameter
allows
you
to
set
the
display
mode:
 Beats—the
song
position
display
shows
Bars/Beats/(optional)
Sub
Division/Ticks.
 SMPTE—as
above,
but
in
Hours/Minutes/Seconds/Frames.
Note:
The
exact
elements
displayed,
and
thus
their
positions,
depend
on
the
selected
SMPTE
or
bar/beat
display
option
defined
in
the
Logic
Preferences.
Track
View
Mode
This
parameter
determines
which
tracks
or
channels
are
displayed:
 Mixer—displays
channels
in
their
order
of
appearance
in
the
Track
Mixer
window
(while
Global
mode
is
disabled).
Channel
Strip
1
in
the
Track
Mixer
is
equivalent
to
channel
1
on
the
control
surface,
Channel
Strip
2
in
the
Track
Mixer
is
equivalent
to
channel
2
and
so
on.
Instruments/channels
used
by
multiple
tracks
are
merged
into
one
channel.
Mixer
View
is
the
default
mode
of
most
devices,
including
the
Logic/
Mackie
Control.
Chapter
1
Control
Surface
Setup 21
 Global—displays
all
Objects
of
certain
type(s)—MIDI
or
Bus
channels,
for
example—
independent
of
their
usage
by
tracks.
They
merely
need
to
be
defined
as
Environment
Objects
to
be
visible.
The
Object
types
to
be
displayed
are
defined
by
another
parameter
which
is
not
shown
in
the
parameter
list.
If
a
control
surface
supports
switching
to
Global
View,
it
will
also
allow
you
to
define
which
Objects
to
display.
The
Track
Mixer
window
contents
automatically
follow
the
state
of
the
Global
View
buttons.
It
also
sets
Object
filters
in
accordance
with
the
Object
classes
activated
in
Global
View.
 Arrange—
Arrange
View
is
similar
to
Mixer
View,
with
one
exception:
Namely,
if
multiple
tracks
play
back
via
the
same
Environment
Object,
all
of
these
tracks
will
be
displayed
on
separate
channel
strips.
This
is
helpful
when
used
in
conjunction
with
the
nudge
commands,
for
example.
The
Hide
button
status
is
taken
into
account,
with
tracks
hidden
in
the
Arrange
window
also
being
hidden
on
the
control
surface.
These
modes
are
mutually
exclusive,
so
if
you’re
in
one
View
mode,
you
cannot
be
in
the
other.
It
is
important
to
note
that
the
Mixer
vs.
Global
View
modes
is
a
property
of
the
Control
Surface
Group,
not
a
global
setting.
So
one
group
can
display
busses,
while
the
other
shows
tracks,
for
example.
Mixer
View
Fader
Bank
This
parameter
affects
the
Track
View
mode
by
shifting
channels
by
the
defined
amount.
Imagine
that
your
control
surface
has
eight
channel
strips,
and
you
were
looking
at
audio
tracks
1
to
8
in
the
Arrange
window.
These
would
appear
as
channels
1
to
8
on
the
control
surface.
Using
the
Mixer
View
Fader
Bank
parameter,
you
could
offset
this
view
by
a
defined
number
of
channels,
to
see
audio
tracks
3
to
11,
for
example.
Global
View
Fader
Bank
The
Global
View
Fader
Bank
parameter
performs
much
like
the
Mixer
View
Fader
Bank,
but
only
applies
if
multiple
Object
types
are
enabled.
When
single
Object
types
are
enabled,
there
are
separate
fader
bank
parameters
(these
aren’t
displayed
in
the
parameter
list).
Track/Channel
Parameters
The
track
or
channel
parameters
define
the
behavior
of
a
control
surface’s
channel/
track
controls.
Track
Parameter
Defines
the
current
track
assignment
behavior
for
the
encoders.
Options
are:
 Volume—encoders
adjust
channel
volume.
 Pan—encoders
adjust
channel
panorama
position.
 Mode—encoders
adjust/select
channel
mode
(mono/stereo).
22 Chapter
1
Control
Surface
Setup
 Input—encoders
adjust/select
channel
input
source.
 Output—encoders
adjust/select
channel
output
(main
outs/busses/surround).
 Automation—encoders
adjust/select
channel
automation
mode.
 Group—encoders
adjust
group
membership
of
the
track.
Editing
the
parameter
allows
you
to
set
either
no
group
or
a
single
group.
Enabling
membership
of
multiple
groups
is
not
possible
here.
 Displayed
parameter—encoders
adjust
the
automation
parameter
displayed
in
the
Arrange
window.
This
is
especially
useful
if
you
set
the
control
surface
to
Arrange
View
mode,
and
your
Arrange
window
shows
multiple
sub-tracks
with
various
parameters.
Surround
Parameter
Defines
the
default
pan/surround
assignment
behavior
for
the
encoders.
Options
are:
 Angle—
encoders
adjust
surround
angle.
 Diversity—encoders
adjust
surround
diversity
(direction).
 LFE—encoders
alter
LFE
level.
 Mode—encoders
switch
between
the
various
surround
formats.
 X—encoders
adjust
surround
x
position.
 Y—encoders
adjust
surround
y
position.
 Center—encoders
adjust
the
Center
Level
values
of
a
surround
output
channel.
Note:
The
X
and
Y
parameters
are
a
different
representation
of
the
Angle
and
Diversity
parameters,
and
thus
are
independent
from
them.
The
X
and
Y
parameters
support
the
use
of
surround
joysticks.
EQ
Band
The
EQ
Band
parameter
allows
you
to
select
the
current
EQ
band,
if
you
wish
to
edit
a
particular
Channel
EQ
or
Linear
Phase
EQ
parameter
for
all
tracks
in
the
EQ
Multi
Channel
View.
EQ
Parameter
This
parameter
determines
which
parameter
of
the
selected
EQ
Band
is
edited
by
the
encoders
in
EQ
Multi
Channel
View:
 Frequency—encoders
determine
the
frequency
of
the
selected
band.
 Gain—encoders
change
the
gain
of
the
selected
EQ
band.
For
the
Low
Cut
(band
1)
and
High
Cut
(band
8)
bands
of
the
Channel
and
Linear
Phase
EQ,
this
parameter
controls
the
slope.
 Q—encoders
change
the
Q
factor
of
the
selected
band.
 On/Off—encoders
bypass
the
selected
EQ
band.
Chapter
1
Control
Surface
Setup 23
EQ
Parameter
Page
The
EQ
Parameter
Page
parameter
defines
the
EQ
parameter
displayed
in
the
EQ
Channel
Strip
View.
To
explain:
The
Channel
and
Linear
Phase
EQs
feature
8
bands
per
audio
channel,
with
each
band
offering
four
parameters.
All
of
these
parameters
can
be
accessed
with
your
control
surface.
If
you
use
a
control
surface
that
does
not
display
all
EQ
parameters
at
once,
you
need
to
step
through
the
parameter
“pages.”
As
an
example:
Imagine
you
are
using
an
eight
channel
control
surface.
You
can
directly
affect
parameters
1
to
8
with
knobs/sliders
1
to
8—once
you’ve
switched
to
EQ
Channel
Strip
Edit
View.
You
then
need
to
switch
by
a
“page”
to
access
parameters
9
to
16.
Send/Plug-in
Parameters
These
parameters
define
how
your
control
surface
controls
send
and
plug-in
parameters.
Send
Slot
The
Send
Slot
parameter
determines
the
currently
selected
Send
slot.
Normally,
a
value
of
1
would
be
used,
as
this
accesses
the
first
(top)
Send
on
each
channel.
A
value
of
2
accesses
the
second
Send,
and
so
on,
to
Send
8.
The
Send
slots
are
accessed
by
pressing
the
Up/Down
buttons
on
your
control
surface—if
applicable.
Send
Parameter
Defines
the
Send
parameter
(to
be
edited
with
the
encoders)
when
in
the
Send
Multi
Channel
view:
 Destination:—encoder
is
used
to
determine
the
bus
channel
number
for
the
Send
slot.
 Level—encoder
is
used
to
adjust
the
Send
level.
 Position—encoders
set
Pre
or
Post
fader
modes.
 Mute—encoders
mute/unmute
the
selected
Send
slot.
Send
Parameter
Page
Much
like
the
EQ
parameters,
up
to
32
parameters
are
available
in
Send
Channel
Strip
View
for
a
given
channel
(Eight
Send
slots
multiplied
by
the
four
parameters
listed
above).
Send
Parameter
Page
determines
the
current
page
for
these
parameters.
Split:
no.
of
upper
parameters
Control
surfaces
that
support
split
mode
allow
the
display
of
two
separate
parameter
sections
within
one
plug-in
(or
even
different
plug-ins).
They
are
called
Split
Upper
and
Split
Lower.
24 Chapter
1
Control
Surface
Setup
This
parameter
defines
how
many
encoders
belong
to
Split
Upper,
leaving
the
remaining
encoders
to
Split
Lower.
A
value
of
0
means
that
Split
Mode
is
off—with
all
encoders
assigned
to
the
Split
Upper
area.
Instrument
Parameter
Page
The
Instrument
Parameter
Page
option
determines
the
parameter
(counted
from
1)
which
is
assigned
to
the
left-most
encoder
when
editing
an
Audio
Instrument.
The
next
Instrument
parameter
is
assigned
to
encoder
2,
and
so
on.
This
applies
to
Split
Upper
when
Split
Mode
is
enabled.
Inst
Parameter
Page
(Split
Lower)
As
above,
but
for
Split
Lower.
Insert
Slot
Determines
the
current
Insert
slot
number
for
both
selecting
a
plug-in
(in
Plug-in
Channel
Strip
View)
and
editing
its
parameters.
A
value
of
1
accesses
the
first
(top)
plugin
slot
on
each
channel.
A
value
of
2
accesses
the
second
plug-in
slot,
and
so
on.
With
Split
Mode
enabled,
this
applies
to
Split
Upper.
Insert
Slot
(Split
Lower)
As
with
Insert
Slot,
but
for
Split
Lower.
Plug-In
Parameter
Page
As
with
Instrument
Parameter
Page,
but
for
editing
plug-ins.
Having
these
parameters
separate
allows
you
to
quickly
switch
between
editing
an
instrument
and
an
effect
on
a
track,
without
the
need
to
adjust
the
parameter
page
every
time.
With
Split
Mode
enabled,
this
applies
to
Split
Upper.
Plug-In
Parameter
Page
(Split
Lower)
As
with
Plug-In
Parameter
Page,
but
for
Split
Lower.
Track
Specifies
the
currently
displayed
track
for
Channel
Strip
Views.
With
Split
Mode
enabled,
this
applies
to
Split
Upper.
Track
(Split
Lower)
As
with
Track,
but
for
Split
Lower.
Track
Lock
When
this
parameter
is
set
to
“on,”
selecting
a
track
in
Logic
does
not
change
the
Track
and
Track
(Split
Lower)
parameters.
In
other
words,
the
control
surface
group
continues
to
display
the
same
track,
independent
from
the
currently
selected
track.
When
Track
Lock
is
disabled,
the
control
surface
group
automatically
switches
to
the
selected
track,
whenever
a
track
is
selected.
Chapter
1
Control
Surface
Setup 25
Other
Parameters
The
following
section
describes
the
Track
Name
Format,
Parameter
Page
Shift
Mode,
Relative
Change
Mode,
Mix
Group
and
Group
Parameter
Page
parameters.
Track
Name
Format
Changes
the
track
name
display
to
show
the
track
name
alone,
or
the
track
name,
and
its
track
number.
As
an
example,
a
track
named
“Audio1”
may
actually
be
placed
on
track
12
in
the
Arrange
window.
When
a
value
of
#:Name
is
toggled,
“Audio1”
would
be
displayed
as
“12:Au1”.
Parameter
Page
Shift
Mode
Defines
whether
the
parameter
is
shifted
by
an
entire
“page”
or
by
one
parameter.
Relative
Change
Mode
This
determines
the
behavior
of
controller
assignments
that
features
a
relative
value
change
mode
(for
example
rotary
encoders).
 Coarse:
the
parameter
can
be
adjusted
in
coarse
steps.
 Full:
In
this
mode,
a
turn
to
the
right
sets
the
encoder
to
its
maximum
value.
A
turn
to
the
left
sets
the
encoder
to
its
minimum
value.
The
encoder
also
stops
at
its
default
value.
As
an
example:
When
the
Pan
knob
is
somewhere
left
of
center,
turning
the
encoder
to
the
right
will
initially
set
the
Pan
parameter
to
its
center
(default
value)
position,
with
a
further
right-turn
setting
the
full
right
(maximum
value)
position.
 Fine:
the
value
is
incremented/decremented
in
fine
steps—by
one
tick
or
“unit,”
for
example.
In
this
mode,
the
standard
adjustable
resolution
is
ignored,
and
the
highest
possible
resolution
is
used.
As
an
example,
using
the
Sample
Delay
parameter:
every
encoder
rotation
tick
in/decreases
the
value
by
1
ms,
regardless
of
the
resolution
value.
Note:
Coarse
is
the
default
mode.
Mix
Group
When
in
Group
Edit
mode,
this
parameter
defines
the
edited
group.
Group
Parameter
Page
As
with
the
Instrument
Parameter
Page,
but
for
the
parameters
of
the
edited
group.
26 Chapter
1
Control
Surface
Setup
Control
Surface
Preferences
The
Control
Surface
preferences
window
is
accessible
via
the
Logic
>
Preferences
>
Control
Surfaces
>
Preferences
menu.
Note:
You
can
also
use
the
global
Control
Surfaces
Preferences
key
command.
General
The
following
section
outlines
the
General
control
surface
preferences.
Resolution
of
Relative
Controls
This
defines
the
default
resolution
of
controls
that
change
values
in
a
relative
manner.
The
default
is
128
steps.
As
an
example:
adjusting
the
Sample
Delay
(value
range
0
to
4000
ms)
in/decreases
the
value
by
40
ms
with
every
encoder
rotation
“tick,”
if
resolution
is
set
to
100.
Maximum
MIDI
Band
Width
This
slider
determines
the
maximum
amount
of
MIDI
bandwidth
that
can
be
used
by
your
control
surface.
By
default,
this
is
set
to
50%,
which
should
be
suitable
for
most
situations.
You
can
adjust
the
value
if
you
find
that
your
MIDI
or
automation
playback
is
being
affected.
Touching
fader
selects
track
Activation
of
this
parameter
will
automatically
select
the
track
that
corresponds
to
the
selected
fader.
You
require
a
device
that
features
touch-sensitive
faders
for
this
functionality
to
work.
Jog
resolution
depends
on
horizontal
zoom
If
your
control
surface
features
a
jog/shuttle
wheel
(or
similar),
the
precision
of
any
scrubbing
is
affected
by
the
horizontal
zoom
level
of
Logic.
To
retain
a
consistent
resolution,
regardless
of
Logic
window
zoom
levels,
disable
this
checkbox.
Pickup
Mode
If
your
control
surface
does
not
feature
motorized
faders
and
knobs,
parameter
changes—caused
by
playing
back
existing
automation—are
not
reflected
on
its
surface.
Such
control
surfaces
usually
offer
a
Pickup
mode.
In
Pickup
mode,
the
current
value
must
be
reached
(“picked
up”)
by
the
control
surface
before
a
value
change
can
occur.
This
prevents
sudden
“jumps”
of
parameter
values
after
parameter
changes
caused
by
playing
back
automation.
A
display
(usually
a
pair
of
LED’s)
will
indicate
the
direction/
distance
you
need
to
move
the
controller
to
match
(also
known
as
“NULL”)
the
settings
shown
in
Logic.
Once
you
have
matched
the
onscreen
values,
deactivate
Pickup
mode,
and
start
automating.
Chapter
1
Control
Surface
Setup 27
When
the
Pickup
mode
option
is
disabled,
adjusting
a
fader
modifies
the
parameter
immediately.
Multiple
Controls
per
Parameter
These
parameters
determine
whether
one,
or
multiple,
encoders
are
used
per
parameter
when
editing
plug-ins
or
audio
instruments.
When
multiple
encoders
are
used
per
parameter,
the
encoders
are
subdivided
into
groups
(for
example
1/2,
3/4,
5/6,
7/8).
The
first
encoder
of
each
sub-division
controls
the
parameter
shown
in
the
display.
The
remaining
encoder(s)
are
inactive.
Using
more
than
one
encoder
per
parameter
shows
fewer
parameters
at
any
given
time,
but
you
gain
space
on
the
LCD
to
cater
for
longer
parameter
names
and
values.
The
more
control
surfaces
you
have
within
a
Control
Surface
Group,
the
more
you
benefit
from
this
feature.
The
Multiple
controls
per
parameter
pull-down
menu
defines
the
maximum
number
of
encoders
which
will
be
used
for
a
single
parameter.
 1:
Parameters
are
always
displayed
using
one
encoder
per
parameter,
with
the
least
space
available
for
parameter
name
and
value
in
the
LCD.
 2:
On
each
unit,
encoders
1
and
2
are
used
for
the
first
parameter,
encoders
3
and
4
for
the
second,
and
so
on.
 4:
On
each
unit,
encoders
1
to
4
are
used
for
the
first
parameter,
encoders
5
to
8
for
the
second,
and
so
on.
Only
when
all
Parameters
fit
in
one
Page
When
this
option
is
checked,
the
defined
number
of
encoders
are
only
used
when
there
are
sufficient
encoders
available
to
show
all
parameters
without
changing
pages.
As
an
example:
 You
have
a
Logic
Control
and
two
Logic
Control
XTs,
providing
you
with
24
encoders.
 A
plug-in
with
13
parameters
will
be
shown
with
one
encoder
per
parameter.
Eleven
encoders
will
remain
unused.
 A
plug-in
with
11
parameters
will
be
shown
with
two
encoders
per
parameter.
Two
encoders
will
remain
unused
(as
will
the
inactive
encoders
of
the
abovementioned
sub-divisions).
When
the
option
is
unchecked,
multiple
encoders
are
used
for
each
parameter,
which
may
require
scrolling.
This
would
not
be
the
case
if
only
one
encoder
was
used
for
each
parameter.
28 Chapter
1
Control
Surface
Setup
Show
Value
Units
For:
Allows
you
to
adjust
whether
parameter
values
will
be
appended
by
the
measurement
“unit,”
where
applicable—“Hz”
or
“%”,
for
example.
You
can
set
this
option
separately
for
Instrument
/
Plug-in
parameters
and
Volume
and
other
parameters.
If
you
can
do
without
the
value
units,
the
display
is
less
cluttered.
Controller
Assignments
The
Controller
Assignments
button
launches
the
Controller
Assignments
Editor.
Setup
The
Setup
button
launches
the
Control
Surfaces
Setup
window.
Help
Tags
Control
Surfaces
that
offer
freely
programmable
displays
with
more
than
six
characters
per
line/segment
of
the
display,
can
use
Control
Surfaces
Help
Tags.
These
Help
Tags
are
similar
to
Logic
Help
Tags,
showing
additional
information
during
use.
You
can
determine
the
type
of
information
displayed
in
the
Help
Tags
pane
of
the
Control
Surfaces
preferences.
While
Editing
Show
Long
Names
For:
 Parameter
Name—While
editing
a
parameter,
the
upper
LCD
line
displays
the
full
parameter
name,
rather
than
an
abbreviated
form
of
it.
 Parameter
Value—While
editing
a
parameter,
the
lower
LCD
line
displays
the
full
parameter
value.
If
the
Show
value
unit
for
parameter
box
(see
below)
is
checked,
it
will
be
appended
by
the
measurement
unit,
where
applicable—“dB”,
“Hz”
or
“%”.
Note:
The
following
options
only
have
an
effect
if
at
least
one
of
the
two
parameters
above
is
active.
Display
duration
(s)
Use
the
mouse
to
adjust
the
time
that
parameter
names
and
values
remain
on
the
LCD
display,
following
selection/adjustments.
Allow
multiple
info
This
determines
the
behavior
when
you
edit
multiple
parameters
simultaneously.
When
enabled:
the
long
name
info
remains
in
the
display,
until
the
most
recently
edited
parameter’s
display
times
out.
This
may
cause
overlapping
text.
When
disabled:
the
long
name
display
is
only
shown
for
the
most
recently
edited
parameter.
This
can
cause
flicker.
Show
info
when
selecting
tracks
When
this
option
is
checked,
and
you
select
a
track,
you
will
see
“Selected”
in
the
upper
row,
and
the
selected
track’s
name
in
the
lower
row
of
the
LCD.
You
can
disable
this
feature,
if
you
find
it
disconcerting.
Chapter
1
Control
Surface
Setup 29
Show
info
when
editing
volume
When
this
option
is
checked,
and
you
edit
a
track’s
volume,
you
will
see
“Volume”
in
the
upper
row
and
the
new
volume
value
in
the
lower
row.
You
can
disable
this
feature,
if
you
find
it
disconcerting.
Show
Value
Units
For:
Allows
you
to
adjust
whether
parameter
values
will
be
appended
by
the
measurement
“unit,”
where
applicable—“Hz”
or
“%”,
for
example.
You
can
set
this
option
separately
for
Instrument
/
Plug-in
parameters
and
Volume
and
other
parameters.
If
you
can
do
without
the
value
units,
the
display
is
less
cluttered.
Note:
This
parameter
only
applies
while
editing.
Customizing
Control
Surfaces
Logic
allows
you
to
reprogram
existing
assignments
for
supported
control
surfaces
and
to
program
new
assignments
for
unsupported
control
surfaces.
This
facility
allows
you
to
extend
the
use
of
faders,
knobs,
and
switches,
either
directly
or
through
the
use
of
modifier
commands.
As
an
example,
The
buttons
F1
to
F8
of
the
Logic
Control
are
assigned
to
screensets
1
to
8
by
default.
When
reassigned
directly,
or
combined
with
the
Shift,
Option,
Control,
and
Command
modifiers
(used
in
any
combination),
you
can
freely
assign
any
command
to
these
function
keys
(F1
to
F8).
To
assign
a
MIDI
control
to
a
parameter:
1 Click
the
destination
parameter
that
you
want
to
“teach”
Logic.
2 Activate
Learn
by
pressing
Command-L
(default),
or
via
the
Logic
>
Preferences
>
Control
Surfaces
>
Learn
Assignment
for
“xxx”
menu
option
(the
parameter
name
is
appended
to
the
menu
item
text).
3 The
(small)
assignment
editor
window
is
launched,
with
the
Learn
Mode
button
enabled.
 If
you
continue
to
hold
down
the
computer’s
Command
key
(or
whatever
modifier
key
is
assigned
to
the
key
command),
a
Help
Tag
will
indicate
what
needs
to
be
done
next
(move
control,
for
example).
 If
MIDI
messages
are
received
while
the
Command
key
is
held
down,
releasing
the
key
closes
the
Help
Tag
window,
and
the
learn
procedure
is
completed.
Note:
If
no
MIDI
messages
are
received,
releasing
the
Command
(modifier)
key(s)
leaves
the
Learn
Mode
button
enabled,
allowing
you
to
immediately
retry
the
generation
of
the
intended
control
message.
You
will
need
to
disable
the
Learn
Mode
button
manually,
once
the
procedure
is
completed.
To
abort
the
learn
procedure:
m Either
press
Command-L
a
second
time,
or
click
the
Learn
Mode
button.
30 Chapter
1
Control
Surface
Setup
This
will,
however,
result
in
a
new,
unfinished
assignment.
You
can
re-enable
the
Learn
Mode
button
to
assign
a
message.
To
delete
a
MIDI
control
assignment:
1 Click
the
destination
parameter
that
you
would
like
to
delete.
2 Select
the
Logic
>
Preferences
>
Control
Surfaces
>
Delete
Assignment
for
“xxx”
menu
option
(the
parameter
name
is
appended
to
the
menu
item
text),
press
the
backspace
key—or
you
may
use
the
Edit
>
Clear
menu
option.
To
assign
a
control
surface
button
to
a
key
command:
1 Select
the
desired
key
command
in
the
Key
Commands
window.
2 Click
the
Learn
New
Assignment
button.
3 Press
a
control
surface
button
that
sends
a
MIDI
message.
Note:
After
about
5
ms,
the
Learn
New
Assignment
button
is
automatically
deactivated.
This
is
designed
to
prevent
recording
of
a
button
release
message.
It
is
also
possible
to
assign
a
key
command
to
a
button/key
release
message:
1 Simply
press
and
hold
the
desired
button/key
before
you
enable
the
Learn
New
Assignment
button.
2 When
you
release
the
button/key,
the
selected
key
command
is
assigned
to
the
button
release
message.
To
delete
a
key
command
assignment:
1 Select
the
desired
key
command
in
the
Key
Commands
window.
2 Press
the
Backspace
key.
Changing
an
Existing
Assignment
The
Learn
procedure
opens
the
Assignment
Editor
in
Easy
View,
which
offers
an
overview
of
the
most
important
parameters,
allowing
you
to
tweak
the
newly-created
assignment
in
the
following
ways:
 Control
Name
(Learned
for
unsupported
devices;
name
of
control
for
supported
devices).
 Class
(Track,
for
example).
 Object
(Fader
Bank,
for
example).
 Parameter
(Volume
or
Plug-in
parameter
5—relative
to
the
parameter
bank,
for
example).
 Value
Change
message
(Display
only).
 Mode
(Direct,
Toggle,
Scaled,
Relative,
Rotate,
X-OR).
 For
On/Off
parameters,
the
mode
is
set
to
Toggle
by
default.
Otherwise
it
is
set
to
Scaled
if
an
absolute
control
(fader,
pot)
has
been
recognized,
or
to
Relative
if
an
encoder
has
been
recognized.
Chapter
1
Control
Surface
Setup 31
 Multiply,
with
shortcuts
for
+1
and
–1
(–1
for
decrementing).
Note:
For
details
on
the
abovementioned
Assignment
parameters
read
“Assignment
Parameters”
on
page
35.
For
a
full
view
of
all
parameters,
enable
the
Expert
View
option.
Shortcuts
for
Defining
Multiple
Assignments
If
you
want
to
define
multiple
assignments
in
the
Controller
Assignment
Editor,
you
can
use
the
following
shortcuts:
Scenario
1:
assign
faders
1
to
16
to
volume
of
tracks
1
to
16
1 Learn
volume
track
1
for
fader
1.
2 Learn
volume
track
16
for
fader
16.
3 As
the
track
“distance”
(15)
is
the
same
as
the
controller
number
distance
for
the
two
most
recently
learned
assignments,
a
“Do
you
want
to
fill
up
in
between?”
message
appears.
Select
OK
to
automatically
fill
the
faders
with
corresponding
Volume
assignments
for
each
track.
Note:
This
feature
also
works
for
any
other
track
parameter
(Pan,
Solo,
Mute,
and
so
on).
Scenario
2:
assign
knobs
1
to
16
to
plug-in
parameters
1
to
16
1 Learn
parameter
1
for
knob
1.
2 Learn
parameter
16
for
knob
16.
Note:
The
parameter
enumeration
is
shown
in
the
Plug-in
window’s
Control
View.
3 As
the
gap
between
parameter
numbers
(15)
is
the
same
as
the
gap
between
controller
numbers
for
the
two
most
recently
learned
assignments,
a
“Do
you
want
to
fill
up
in
between?”
message
appears.
Select
OK
to
automatically
fill
the
knobs
with
corresponding
Parameter
assignments
for
each.
Note:
This
feature
also
works
for
instrument
parameters.
Currently,
this
only
works
for
knobs
that
send
a
single
channel
message,
where
the
first
data
byte
is
the
controller
number
and
the
second
data
byte
is
the
value.
Alternatively,
the
controller
number
can
be
encoded
in
the
MIDI
channel,
with
a
fixed
first
data
byte.
Zones,
Modes,
and
Assignments
You
can
define
“groups”
of
controls
on
a
control
surface
that
can
be
switched
between
different
operating
modes.
As
an
example,
the
Logic
Control
rotary
encoders
can
be
used
to
control
Pan,
Send
Level
or
plug-in
parameters.
Such
“groups”
are
called
Zones.
The
different
operations
that
can
be
performed
within
a
Zone
are
called
Modes.
A
Zone
contains
one
or
more
Modes,
one
of
which
is
the
active
Mode.
A
Zone
may
also
contain
modeless
assignments—assignments
which
are
always
active.
32 Chapter
1
Control
Surface
Setup
The
reason
for
this
structure
is
that
you
can
place
modeless
assignments
nearer
to
the
modal
assignments
they
are
associated
with.
As
an
example,
where
pressing
and
releasing
the
Option
button
switches
between
two
modes
for
the
Function
keys
of
an
assignment.
A
Mode
contains
any
number
of
assignments.
Only
the
active
Mode’s
assignments
are
processed
for
incoming
MIDI
and
feedback.
Assignments
of
inactive
Modes
are
ignored.
A
Zone’s
active
Mode
can
be
switched
by
special
Assignments
(see
below).
There
can
be
multiple
Zones.
As
examples,
one
for
the
encoders
and
a
second
one
that
switches
the
F1
to
F8
keys
to
different
functions.
Zones
and
Modes
can
be
defined
across
multiple
control
surfaces,
to
create
Control
Surface
Groups.
You
can
visualize
the
Control
Surface
System
as
a
hierarchical
list.
As
an
example:
Zone
1
 Modeless
Assignment
 Modeless
Assignment
 Mode
1
 Modal
Assignment
 Modal
Assignment
 Mode
2
(active)
 Modal
Assignment
 Modal
Assignment
 Modal
Assignment
 Modal
Assignment
 Mode
3
 Modal
Assignment
Zone
2
 Mode
4
(active)
 Modal
Assignment
 Mode
5
 Modal
Assignment
 Modal
Assignment
Chapter
1
Control
Surface
Setup 33
Reassigning
a
Control
If
you
want
to
reassign
a
control,
the
procedure
depends
on
the
current
state
of
the
control.
Case
1:
Control
is
currently
active
(an
assignment
for
this
control
is
part
of
an
active
Mode).
If
you
attempt
to
learn
an
assignment
for
an
“active”
controller,
the
following
message
is
displayed:
“This
control
is
currently
assigned
to
xxx.
Do
you
want
to
reassign
the
control?”
 Cancel—Deletes
the
learned
assignment.
 Parallel
assignment—Retains
the
new
assignment.
Typical
usage:
one
knob
controls
multiple
parameters
as
a
macro.
 Reassign—Deletes
all
existing
active
assignments
for
this
parameter.
Typical
usage:
reassigning
an
F1
to
F8
key
to
a
new
key
command.
 Create
new
mode—Creates
a
new
mode
and
places
the
assignment
into
the
new
mode.
In
this
scenario,
you
will
need
to
learn
an
assignment
to
switch
between
the
old
and
new
modes.
Should
you
choose
the
latter
option,
the
Controller
Assignment
Editor
opens
in
Expert
view,
with
the
new
mode
selected,
and
a
warning
icon.
If
you
move
the
mouse
cursor
over
the
icon,
a
Help
Tag
indicates
that:
“There
is
no
mode
change
assignment
yet
to
switch
to
this
mode.
Please
click
“Learn
Mode
Change”
to
create
one.”
Case
2:
Control
is
currently
inactive
(an
assignment
for
this
control
is
part
of
an
inactive
mode).
The
learned
assignment
is
moved
to
the
active
mode
of
the
zone
where
the
inactive
assignment
was
found.
Typical
usage
of
this
facility:
Supported
control
surfaces
have
empty
user
pages
available,
allowing
for
new
encoder
assignments.
You
would
select
user
mode,
and
then
learn
an
assignment
for
the
encoder.
You
can
define
multiple
pages
for
a
control
surface.
Cases
1
and
2
can
occur
simultaneously.
Reassigning
a
Parameter
Logic
allows
you
to
reassign
a
parameter
that
is
already
assigned
to
a
MIDI
control.
The
procedure
depends
on
the
current
state
of
the
assignment.
Case
1:
Assignment
to
a
parameter
that
is
currently
active
(as
it
is
part
of
an
active
mode)
If
you
attempt
to
change
an
existing
“active”
parameter
assignment,
the
following
message
is
displayed:
“This
destination
parameter
is
currently
assigned
for
control
xxx.
Do
you
want
to
reassign
the
parameter?”
34 Chapter
1
Control
Surface
Setup
 Cancel—Deletes
the
learned
assignment.
 Parallel
assignment—Retains
the
new
assignment.
Typical
usage:
One
knob
controls
multiple
parameters
as
a
macro.
 Reassign—Deletes
all
existing
active
assignments
for
this
parameter.
Typical
usage:
Reassigning
an
F1
to
F8
key
to
a
new
key
command.
Case
2:
Assignment
to
a
parameter
is
currently
inactive
If
an
assignment
to
a
parameter
is
currently
inactive
(as
it
is
part
of
an
inactive
mode),
no
special
action
is
required.
The
Controller
Assignments
Editor
The
Controller
Assignments
Editor
is
opened
via
the
Logic
>
Preferences
>
Control
Surfaces
>
Controller
Assignments
menu
item.
It
allows
you
to
edit
all
assignments
of
the
Controller
Assignments
table.
This
table
is
a
part
of
the
Control
Surfaces
Preferences
and
is
stored
(along
with
all
other
control
surface
support
settings)
in
the
~/Library/Preferences/com.apple.Logic.pro.cs
file.
The
Controller
Assignments
Editor
offers
two
view
modes:
Easy
and
Expert.
The
view
modes
can
be
switched
via
the
Expert
View
option
at
the
top
of
the
window.
Easy
mode
is
designed
to
make
learning
Track
parameter
assignments
as
fast
and
efficient
as
possible.
Therefore,
this
window
only
shows
Track
parameters—when
first
opened.
After
switching
to
Expert
view
and
manually
choosing
another
parameter
class,
the
corresponding
parameters
are
also
shown
in
Easy
view.
It
is
generally
recommended
that
Easy
view
is
only
used
for
Track
parameter
assignments.
Easy
mode
offers
an
overview
of
the
following
parameters:
 Parameter:
Displays
clear
text
of
the
addressed
parameter.
 Track
(default):
This
field
can
be
used
to
specify
the
track
parameter
you
would
like
to
assign.
You
can
choose
between
the
Selected
option
(which
is
the
default,
if
creating
assignments
on
the
selected
track)
or
a
fixed
track
number
(if
you
want
to
set
up
your
controls
as
a
mixer
surface).
 Input
message:
Displays
the
incoming
message
data.
Note:
For
details
on
the
abovementioned
Assignment
parameters
read
“Assignment
Parameters”
on
page
35.
For
a
full
view
of
all
parameters,
enable
the
Expert
View
option.
Only
one
set
of
assignment
parameters
are
visible
at
a
time.
You
can
choose
the
desired
assignment
with
the
left/right
arrows
at
the
bottom
of
the
window.
If
you
activate
the
Follow
option
at
the
top
of
the
Controller
Assignments
window,
the
window
always
selects
the
assignment
that
matches
the
most
recently
received
incoming
MIDI
message.
Chapter
1
Control
Surface
Setup 35
In
Expert
mode,
there
are
four
re-sizable
columns:
 Zone—Selects
the
Zone
that
contains
the
Modes
and
assignments
being
edited.
The
first
entry
“(No
Zone)”
is
for
zoneless
assignments.
Double-click
a
Zone
name
to
edit
it.
 Mode—Selects
the
Mode
that
contains
the
assignments
being
edited.
The
first
entry
“(No
Mode)”
is
for
mode-less
assignments.
Double-click
a
Mode
name
to
edit
it.
Selecting
a
Mode
in
the
list
also
makes
it
the
Zone’s
active
Mode.
The
active
Mode
is
marked
with
an
arrow.
 Control/Parameter—Selects
the
assignment
displayed
in
the
editor
to
the
right.
Multiple
selection
is
possible
for
operations
in
the
Edit
menu.
In
this
scenario,
however,
only
the
first
selected
assignment
is
displayed.
The
left
column
displays
the
control
name,
the
right
column
the
controlled
parameter
(in
an
abbreviated
form).
 Assignment
Parameters—Displays
all
parameters
of
an
assignment.
See
the
next
section.
If
you
activate
the
Follow
option
at
the
top
of
the
Controller
Assignment
Editor,
the
window
always
selects
the
assignment
that
matches
the
most
recently
received
incoming
MIDI
message.
Assignment
Parameters
The
following
section
covers
all
parameters
that
can
be
edited
in
the
Controller
Assignment
Editor.
Control
Name
Name
of
the
control
(Fader
1,
for
example).
This
is
Learned
by
default
for
assignments
created
with
the
Learn
function
(see
above)
from
supported
control
surfaces.
This
name
is
for
information
purposes
only
and
has
no
influence
on
functionality.
Label
Text
displayed
on
control
surfaces
that
feature
a
display
(and
are
supported
by
a
plugin).
A
@
character
starts
an
escape
sequence
which
acts
as
a
placeholder
for
dynamically
generated
text.
The
escape
sequence
consists
of
three
characters:
@
and
two
additional
characters:
36 Chapter
1
Control
Surface
Setup
First
Character:
Second
Character:
Example:
“Send@s#”
shows
“Send1”,
“Send2”,
and
so
on.
Flip
Group
When
set
(to
any
value
other
than
“none”),
this
number
defines
a
counterpart
for
Flip
Mode.
By
setting
a
fader
and
an
encoder
to
the
same
Flip
Group,
for
example,
they
are
coupled.
To
set
“none,”
enter
0.
Exclusive
Only
for
supported
control
surfaces:
when
the
Exclusive
checkbox
is
enabled,
the
assignment
deactivates
all
other
assignments
that
have
Exclusive
disabled
(for
the
same
control).
This
limits
the
overwriting
of
a
modeless
assignment
to
particular
modes.
Example:
Faders
normally
control
volume.
If
you
want
to
create
a
mode
where
faders
control
send
level,
enable
Exclusive.
Class
This
pop-up
menu
can
be
used
to
define
the
assignment
class
or,
put
another
way,
what
type
of
destination
parameter
is
controlled.
The
following
section
explains
all
available
Class
options.
Character Meaning
t Track
r Surround
s Send
slot
S All
Sends
e EQ
band
E all
EQs
p Plug-in
Insert
slot
i
Instrument
Character Meaning
# Number
of
above
(track
number,
Send
slot,
EQ
band,
Plug-in
slot)
n Name
of
above
p Name
of
parameter
addressed
by
the
assignment
P Name
of
first
parameter
o Parameter
offset,
counted
from
1
O Maximum
parameter
offset,
counted
from
1
b Parameter
bank
(=
parameter
offset/bank
size),
counted
from
1
B total
number
of
banks
(=
parameter
offset/bank
size),
counted
from
1
Chapter
1
Control
Surface
Setup 37
Mode
Change
The
Mode
Change
option
allows
you
to
use
an
assignment
to
activate
a
mode
in
a
Zone.
An
additional
Mode
pop-up
menu
appears
below
the
Class
menu,
offering
different
Modes
you
can
switch
to.
As
an
example:
The
Assignment
buttons
on
a
Logic
Control
choose
several
Modes
for
the
encoders.
Note:
The
Mode
that
is
recalled
also
depends
on
the
option
set
in
the
Value
section’s
Mode
menu
(See
“Mode”
on
page
43.).
The
following
table
explains
how
the
different
Value
Modes
take
effect.
Global
The
Global
option
allows
you
to
use
an
assignment
to
control
global
parameters.
An
additional
Global
pop-up
menu
appears
below
the
Class
menu,
offering
the
parameters
listed
in
the
following
table.
Value
Mode
option Explanation
Direct
The
stated
Mode
is
activated
in
the
Zone
it
belongs
to.
It
is
not
necessary
for
the
Mode
Change
assignment
to
be
located
in
the
same
Zone.
Example:
While
Shift
is
held
down,
button
X
switches
the
encoders
to
EQ
view.
The
Shift
and
X
buttons
are
in
Zone
A,
but
the
encoders
are
in
Zone
B.
All
other
value
modes:
Only
the
Modes
of
the
Zone
the
Mode
Change
assignment
is
located
in
can
be
recalled.
The
destination
parameter
minimum
is
this
Zone’s
first
Mode,
and
the
maximum
is
the
Zone’s
last
Mode.
Toggle A
button
might
toggle
between
the
Zone’s
first
Mode
and
the
stated
Mode
Relative Useful
for
stepping
up
and
down
through
Modes
of
a
Zone
using
two
buttons,
or
for
choosing
a
mode
using
an
encoder.
Rotate Useful
for
stepping
through
all
modes
using
a
single
button.
A
jog
wheel,
for
example:
Off
→
Scrub
→
Shuttle
→
Off
Global
Options Explanation
SPL Song
Position
Line;
Text
feedback
in
format
of
foreground
window
(beats
or
time
code)
SPL
(Beats) Song
Position
Line;
Text
feedback
in
beats
format
SPL
(Time
Code) Song
Position
Line;
Text
feedback
in
time
code
format
SPL
(Beats,
Scrubbing)
Song
Position
Line;
Text
feedback
in
beats
format.
Value
change
does
not
set
SPL
directly,
but
initiates
scrubbing.
The
value
defines
the
scrubbing
speed
Move
Locators Moves
left
and
right
locators
Left
Locator Sets
left
locator
Right
Locator Sets
right
locator
Move
Drop Moves
Drop
In
and
Drop
Out
locators
Drop
In
Locator Sets
Drop
In
locator
Drop
Out
Locators Sets
Drop
Out
locator
38 Chapter
1
Control
Surface
Setup
Note:
All
options
listed
in
the
table
above
work
only
in
relative
mode.
See
the
“Clock
Part”
sub-parameter.
Dependent
of
the
option
chosen
in
the
Global
menu,
you
have
access
to
the
following
two
additional
parameters:
 Clock
Part—Chooses
the
resolution
of
the
parameter
change:
Bar,
Beat,
Format,
Ticks,
Cycle
Length
 Marker
No—Determines
the
destination
marker
number
Marker
Position Edits
position
of
current
marker
Marker
Length Edits
length
of
current
marker
Global
Options Explanation
Global
Options Explanation
Nudge
selected
Regions/Events
Nudges
the
selected
Regions
or
events
by
the
chosen
Nudge
Value
(see
below)
Any
Solo Feedback
only,
used
for
“Rude
Solo
Light”.
On
if
any
Solo
(track
or
Region)
switch
is
enabled
Nudge
Value Nudge
Value
used
for
Nudge
selected
Regions/Events.
Possible
values
are:
Tick,
Format,
Beat,
Bar,
Frame,
1/2
Frame
Scrub
Status Sets
the
scrubbing
status
for
parameter
SPL
(beats,
scrubbing).
Possible
values
are:
set
clock,
audio
scrubbing,
Shuttle
Automation
of
all
tracks
Sets
the
automation
mode
of
all
tracks.
Possible
values
are:
Off,
Read,
Touch,
Latch,
Write,
MIDI
Alert
Text,
Alert
Button,
Alert
Icon
Used
by
plug-ins
to
define
special
alert
mode.
Dummy No
function;
Used
to
temporarily
disable
a
modeless
assignment,
using
“Exclusive”
Cycle Sets
Cycle
mode
Drop Sets
Drop
mode
Go
to
Marker Sets
the
SPL
to
marker
number
Group
Clutch Sets
the
Automation
Group
Clutch;
Automation
Groups
are
disabled
when
the
Clutch
is
enabled.
For
buttons,
set
the
Group
Clutch
to
1
when
the
button
is
pressed,
and
set
it
to
0
when
the
button
is
released
Active
Sense Used
by
the
HUI
to
process
incoming
“Active
Sensing”
messages
Shuttle
Speed Sets
Shuttle
Speed
directly;
Use
for
shuttle
rings
that
send
an
absolute
value
Waveform
Zoom Sets
Waveform
zoom
in
active
Arrange
window,
if
open
and
in
foreground
Quantize
value Sets
the
Quantize
value
in
the
current
window
(if
this
parameter
is
available)
Format
Sets
the
Format
value
in
the
current
window
(if
this
parameter
is
available)
Horizontal
Zoom Sets
horizontal
zoom
in
the
current
window
(if
this
parameter
is
available)
Vertical
Zoom Sets
vertical
zoom
in
the
current
window
(if
this
parameter
is
available)
Chapter
1
Control
Surface
Setup 39
Track
The
Track
option
allows
you
to
use
an
assignment
to
set
a
track
parameter.
An
additional
Track
pop-up
menu
appears
below
the
Class
menu,
offering
the
parameters
listed
in
the
following
table.
If
you
choose
the
Fader
Bank,
Index,
Bus,
Output,
or
Master
option
in
the
Track
pop-up
menu,
the
following
two
parameters
are
also
available:
 No.—A
0-based
offset
which
is
added
to
the
track
number.
Typical
usage:
Fader
1
uses
offset
0,
Fader
2
uses
offset
1
and
so
on.
 Parameter—Clear
text
of
the
addressed
parameter.
Can
only
be
set
by
the
Learn
Assignment
for
xxx
menu
item.
Note
that
for
plug-in
and
instrument
parameters,
Parameter
Page
offsets
apply,
allowing
you
to
shift
the
parameter
addressing
up
and
down.
Key
If
you
choose
the
Key
option
in
the
Class
menu,
a
key
press
is
emulated.
A
field
appears
below
the
Class
menu,
allowing
you
to
input
the
desired
key.
Key
Command
If
you
choose
the
Key
Command
option
in
the
Class
menu,
a
key
command
is
executed.
A
field
appears
below
the
Class
menu,
where
the
key
command
that
should
be
executed
is
displayed.
Some
key
commands
provide
on/off
or
enabled/disabled
feedback.
This
can
only
be
set
by
using
the
Learn
New
Assignment
button
in
the
Key
Commands
window.
Track
Options Explanation
Fader
Bank This
addresses
a
track
in
the
Control
Surface
Group’s
current
View
mode
(Mixer,
Global,
Arrange),
depending
on
the
Control
Surface
Group’s
current
Fader
Bank
value
for
this
Mode
(see
below).
Example:
The
View
mode
is
Mixer,
the
Mixer
view
Fader
Bank
is
five,
and
the
number
next
to
this
parameter
is
two.
Thus,
the
eighth
track
in
the
Mixer
view
is
addressed
(Fader
Bank
and
No.
are
0-based,
so
add
1)
Selected This
normally
corresponds
to
the
selected
Arrange
track.
Exception:
if
the
Control
Surface
Group’s
Track
Lock
parameter
is
enabled,
then
“Selected”
corresponds
to
the
track
that
was
selected
when
Track
Lock
was
enabled
Index Same
as
Fader
Bank
option,
but
doesn’t
depend
on
the
current
Fader
Bank
value
Bus An
Audio
Bus.
No.
defines
which
Bus
is
addressed
(again:
0-based;
to
address
Bus
2,
use
a
value
of
1)
Output Same
as
Bus
option,
but
for
Output
Objects
Master The
Master
Output
Object;
If
it
does
not
exist
in
the
song,
the
first
Output
Object
is
addressed
40 Chapter
1
Control
Surface
Setup
If
you
want
your
key
command
assignment
to
be
repeatedly
executed,
enable
the
Key
Repeat
checkbox
at
the
bottom
of
the
Key
Command
Assignments
Editor.
For
further
information,
see
“Key
Repeat
Checkbox”
on
page
44.
Control
Surface
Group
If
you
choose
the
Control
Surface
Group
option
in
the
Class
menu,
you
can
set
a
property
for
the
Control
Surface
Group
that
the
assignment
belongs
to.
A
Parameter
menu
appears
below
the
Class
menu,
where
you
can
choose
between
the
options
described
in
“Control
Surface
Group
Parameters”
on
page
19,
with
the
additions
listed
in
the
following
table.
Note:
Assignments
for
unsupported
control
surfaces
always
belong
to
the
first
Control
Surface
Group.
If
you
choose
a
Fader
Bank
or
Parameter
Page
option
in
the
Parameter
menu,
the
following
Bank
Type
options
are
also
available.
 By
One—The
fader
bank
or
parameter
page
is
shifted
by
one
track
or
parameter.
 By
Bank—The
fader
bank
or
parameter
page
is
shifted
by
the
number
of
displayed
tracks
or
parameters.
 CS
Group
Setting—The
fader
bank
or
parameter
page
is
shifted
by
the
value
defined
by
the
“Parameter
Shift
Mode”
Control
Surface
Group
Parameter.
Parameter
Option Additional
Info
Current
Mode
Fader
Bank Maps
to
the
Fader
Bank
for
the
currently
used
View
mode
(Mixer,
Global,
Arrange).
This
way,
you
need
only
one
assignment
per
left/right
button
for
all
View
Modes.
Global
View
Filter When
this
parameter
is
selected,
eight
additional
switches
for
the
eight
object
classes
are
displayed
when
the
View
mode
is
Global.
Depending
on
the
Value
Mode,
these
switches
define
which
objects
are
displayed
(by
using
“Direct”
mode)
or
which
are
toggled
(by
using
“X-OR”
mode).
MIDI
Tracks
Fader
Bank;
Inputs
Fader
Bank;
Audio
Tracks
Fader
Bank;
Instruments
Fader
Bank;
Aux
Fader
Bank;
Busses
Fader
Bank;
Output
Fader
Bank;
User
Fader
Bank;
These
Fader
Bank
parameters
are
used
in
Global
View
when
only
one
object
class
is
displayed.
This
way,
you
can
switch
between
several
object
classes
while
retaining
the
current
Fader
Bank
for
each
class.
Chapter
1
Control
Surface
Setup 41
Automation
Group
If
you
choose
the
Automation
Group
option
in
the
Class
menu,
you
can
use
the
assignment
to
set
an
automation
group
parameter.
A
Parameter
Group
field
that
allows
you
to
determine
the
edited
group
appears
below
the
Class
menu.
Current
(entered
with
“0”)
means
the
group
selected
in
the
Automation
Group
Control
Surface
Group
parameter.
The
additional
Parameter
menu
allows
you
to
set
the
automation
group
parameter.
For
further
information,
see
the
Group
Settings
section
in
the
Logic
Pro
7
Reference
Manual.
MIDI
Input
Incoming
MIDI
messages
are
only
processed
on
MIDI
Input.
When
this
parameter
is
changed,
all
other
assignments
using
the
same
input
will
also
have
their
input
changed
accordingly.
If
the
assignment
belongs
to
a
supported
control
surface,
the
device’s
MIDI
Input
will
also
change
in
the
Setup
window.
This
feature
allows
you
to
create
default
assignments
for
a
new
control
surface,
which
other
users
can
use
immediately.
To
do
so,
they
simply
need
to
place
your
com.apple.Logic.cs
preferences
file
into
their
Preferences
folder,
open
the
Controller
Assignments
Editor
and
change
one
assignment’s
MIDI
Input
parameter
in
accordance
with
their
MIDI
setup.
Value
Change
The
incoming
MIDI
message(s)
that
cause
a
value
change
in
the
destination
parameter
are
displayed
here.
To
edit
these
MIDI
messages,
switch
to
the
Expert
View
by
activating
the
corresponding
checkbox
in
the
upper
right
corner
of
the
Controller
Assignments
Editor.
In
the
Expert
View
you’ll
find
two
fields:
the
lower
one
is
only
a
display
that
shows
the
Value
Change
message
in
plain
text.
The
upper
field
display
allows
the
messages
to
be
viewed
and
edited
as
a
sequence
of
bytes,
displayed
in
hexadecimal.
There
are
placeholders
for
the
variable
part:
 Lo7:
Low
7
bits
of
the
value
 Hi7:
High
7
bits
of
the
value
If
there
is
only
a
Lo7
placeholder
in
the
message,
the
value
is
treated
as
7
bit.
If
there
is
also
a
Hi7
placeholder,
the
value
is
treated
as
14
bit.
The
order
of
Lo7
and
Hi7
is
honored,
and
there
may
be
constant
bytes
in
between.
This
allows
you
to
define
Control
Change
LSB
and
MSB
portions.
As
an
example:
B0
08
Hi7
B0
28
Lo7
Note:
When
entering
multiple
MIDI
messages,
do
not
use
Running
Status.
Always
write
down
the
entire
MIDI
message(s),
ensuring
that
you
repeat
the
status
byte,
even
if
it’s
the
same.
42 Chapter
1
Control
Surface
Setup
If
the
message
does
not
contain
Lo7
or
Hi7
placeholders,
an
incoming
value
of
1
is
assumed.
This
is
typical
for
pressed
or
released
buttons.
Also
see
the
“Multiply”
section
below.
Touch/Release
The
incoming
MIDI
message(s)
causes
a
change
in
the
touched/released
status
of
the
destination
parameter.
A
non
zero
value
means
touched;
a
value
of
0
means
released.
The
messages
are
displayed
and
entered
in
the
same
way
as
the
Value
Change
field
(see
the
“Value
Change”
section
above).
Note:
This
only
applies
to
the
Track
assignment
class
and
parameters
that
can
be
automated.
Min/Max
Defines
the
minimum
and
maximum
range
for
incoming
values
represented
by
Lo7
and
Hi7.
Typically,
the
full
range
of
0–127
is
used,
but
some
control
surfaces
may
use
the
same
message
with
different
value
ranges
for
different
controls
(CM
Labs
Motor
Mix,
for
example).
Format
Defines
the
way
negative
values
are
encoded
in
the
7-bit
portions
sent
over
MIDI.
You
can
choose
between
the
following
options:
 Unsigned—No
negative
values
are
possible.
The
full
7
or
14
bit
range
is
treated
as
a
positive
number.
This
results
in
a
value
range
of
0
to
127
or
0
to
16383.
 2's
complement—If
the
most
significant
bit
is
set,
the
value
is
negative.
To
obtain
the
absolute
value,
invert
all
bits
and
add
1.
This
results
in
a
value
range
of
–128
to
127
or
–8192
to
8191.
 1's
complement—If
the
most
significant
bit
is
set,
the
value
is
negative.
To
set
the
absolute
value,
invert
all
bits.
Note
that
this
allows
two
possible
encoding
values
for
zero.
This
results
in
a
value
range
of
–127
to
127
or
–8191
to
8191.
 Sign
Magnitude—If
the
most
significant
bit
is
set,
the
value
is
negative.
To
set
the
absolute
value,
clear
the
most
significant
bit.
Note
that
this
allows
two
possible
encoding
values
for
zero.
This
results
in
a
value
range
of
–127
to
127
or
–8191
to
8191.
The
appropriate
format
that
should
be
used
is
usually
documented
in
your
control
surface
user
manual.
If
unavailable,
check
the
control
surface
manufacturer’s
website,
or
contact
them
via
phone.
Multiply
Allows
the
incoming
value
to
be
scaled.
Especially
useful
for
button
presses
that
have
a
value
of
1.
Examples:
to
set
the
automation
mode
to
Write,
set
Multiply
to
4.00
and
Mode
to
Direct.
To
decrement
a
parameter
by
1
with
a
button
press,
set
Multiply
to
−1.00
and
Mode
to
Relative.
The
1
and
–1
menu
items
in
the
combo
box’s
menu
conveniently
enter
the
most
commonly
used
values
of
1
and
–1
Chapter
1
Control
Surface
Setup 43
Mode
Defines
the
way
the
incoming
value
modifies
the
current
parameter
value.
You
can
choose
between
the
following
parameters:
 Direct—The
incoming
value
is
the
new
parameter
value.
 Toggle—If
the
parameter’s
current
value
is
0,
it
is
set
to
the
incoming
value.
Otherwise
it
is
set
to
0.
This
option
is
useful
for
buttons
which
toggle
a
value:
Mute,
Solo,
and
so
on.
 Scale—The
incoming
value
is
scaled
from
its
value
range
to
the
destination
parameter’s
value
range.
Most
useful
for
faders
and
rotary
pots.
 Relative—The
incoming
value
is
added
to
the
parameter’s
current
value.
Used
by
encoders,
but
also
for
buttons
that
increment/decrement
by
a
certain
amount
(set
by
the
Multiply
parameter).
 Rotate—The
incoming
value
is
added
to
the
parameter’s
current
value,
cycling
between
maximum
and
minimum
values.
This
is
useful
for
button
presses
that
cycle
between
modes:
automation
mode,
for
example.
 X-OR—The
value
defines
a
bit
mask
which
is
applied
to
the
parameter’s
current
value
with
the
“exclusive
or”
Boolean
operation.
Useful
for
enabling/disabling
single
Object
types
in
Global
View.
Feedback
Defines
the
way
the
parameter’s
current
value
is
displayed
on
the
control
surface.
You
can
choose
between
the
following
options:
 None—No
feedback
is
sent.
 Single
Dot/Line—LED
rings:
only
one
LED;
LCDs:
a
single
vertical
line.
 Left
to
Right
Bar—A
bar
from
the
minimum
to
the
current
value.
 Right
to
Left
Bar—A
bar
from
the
current
value
to
the
maximum.
 Q/Spread—A
bar
from
the
center
to
the
current
value.
 Ascending
Bar
LCDs—A
bar
from
the
bottom
to
the
current
value.
 Descending
Bar
LCDs—A
bar
from
the
top
to
the
current
value.
 Text
Only—LED
rings:
no
feedback;
LCDs:
no
feedback
as
a
graphic
element.
 Automatic—Dependent
on
the
currently
assigned
parameter,
the
most
suitable
feedback
mode
is
used:
Plug-in
and
Instrument
parameters
carry
this
information,
Pan
uses
Single
Dot/Line,
all
other
parameters
use
Left
to
Right
Bar.
Note:
Feedback
only
works
for
supported
control
surfaces,
and
not
all
settings
are
available
for
all
controls.
Text
Feedback
Checkbox
If
enabled,
a
textual
representation
of
the
current
value
is
sent
to
the
control
surface’s
display.
The
plug-in
determines
the
display
position
and
number
of
characters
that
are
used.
44 Chapter
1
Control
Surface
Setup
Local
Feedback
(Fader/Knob)
Checkbox
If
enabled,
no
feedback
is
sent
while
the
parameter
is
in
Touched
mode.
This
prevents
motorized
faders
from
“fighting”
against
the
user.
Key
Repeat
Checkbox
When
you
enable
the
Key
Repeat
checkbox,
the
assignment
is
repeatedly
executed.
The
Key
Repeat
Rate
slider—set
in
the
Mac
OS
X
Keyboard
&
Mouse
preferences—
determines
how
quickly
Logic
repeats
the
assignment.
The
duration
that
the
button/
controller
must
be
held
for,
before
the
assignment
is
repeated,
is
set
with
the
Delay
Until
Repeat
slider
in
the
Keyboard
&
Mouse
preferences.
Example:
This
facility
is
particularly
useful
for
the
zoom
function:
If
you
assign
a
key
repeat
command
to
the
Zoom
buttons
on
the
Logic
Control,
for
example,
you
can
simply
hold
down
the
Zoom
In
button.
Logic
will
zoom
in
until
the
Zoom
In
button
is
released.
This
mirrors
the
behavior
of
the
Zoom
key
commands.
In
earlier
versions,
you
had
to
repeatedly
press
the
(Logic
Control)
Zoom
buttons
to
zoom
in/out
more
than
one
level.
Note:
The
Key
Repeat
checkbox
is
only
available
for
key
commands,
key
presses
and
relative
value
changes.
If
any
other
assignment
class
is
selected,
the
checkbox
is
dimmed.
Logic
Pro
factory
key
command
assignments
already
support
the
Key
Repeat
function
(if
useful
and/or
applicable
to
the
control
surface/device)—making
changes
unnecessary
for
use
of
this
new
functionality.
If
you
want
to
enable
the
Key
Repeat
function
for
your
own
assignments,
you
may
need
to
use
the
re-learn
option
for
the
assigned
message.
Key
Repeat
messages
must
include
the
Lo7
byte,
which
provides
information
on
the
up
(released)
or
down
(pressed)
state
of
the
assigned
button.
Logic
guides
you
through
the
re-learning
process:
The
current
MIDI
message
is
automatically
cleared,
Learn
mode
is
activated,
and
a
Help
tag
prompts
you
to
send
the
desired
MIDI
message.
Releasing
the
assigned
button—after
learning
the
MIDI
message—automatically
creates
the
Lo7
byte,
and
assigns
the
Lo7
value
for
the
button
release
message
to
the
Min
parameter.
The
Lo7
value
for
the
„button
pressed“
message
is
automatically
assigned
to
the
Max
parameter.
Typically,
the
value
range
of
1–127
is
used
for
the
button
pressed
message.
The
zero
(0)
value
is
generally
used
for
button
released.
Chapter
1
Control
Surface
Setup 45
Note:
Some
control
surfaces
may
use
different
value
ranges
(CM
Labs
MotorMix,
for
example).
Assigning
the
used
value
range
to
the
desired
Min
and
Max
values
ensures
that
key
repeat
also
works
with
such
devices.
This,
however,
also
means
that
you
need
to
take
care
when
manually
changing
the
Min
or
Max
value
for
a
key
command
(in
cases
where
the
Min
and
Max
values
do
not
match
the
button
on
and
button
release
(off )
states,
the
complete
assignment
will
not
work).
Please
consult
your
control
surface
manual
for
further
information
about
the
values
used.
About
Modal
Dialogs
All
modal
dialogs
(except
file
selector
boxes)
are
shown
on
control
surfaces
that
feature
text
displays.
Modal
dialogs
do
not
allow
you
to
perform
actions
in
any
other
window
when
visible.
As
examples,
authorization
warnings,
edit
confirmations,
or
error
messages.
When
these
windows
“pop
up”
on-screen,
the
upper
LCD
row
(if
applicable)
shows
the
first
part,
or
all,
of
the
alert
text.
If
the
dialog
text
does
not
fit
into
the
LCD’s
upper
row,
it
will
start
scrolling
after
three
seconds.
You
can
scroll
the
dialog
text
manually
with
the
appropriate
control
(see
assignment
tables
in
the
appropriate
chapter).
Once
you
start
doing
so,
automatic
scrolling
is
disabled.
 If
there
is
an
Enter
or
OK
button
on
the
control
surface,
it
triggers
the
dialog’s
default
button,
where
applicable.
 If
there
is
a
Cancel
or
Exit
button
on
the
control
surface,
it
triggers
the
button
labeled
Cancel
or
Abort,
where
applicable.
 All
buttons
(push
buttons,
including
Enter/default
and
Cancel,
as
well
as
checkboxes
and
radio
buttons,
but
not
pop-up
buttons)
are
shown
in
the
display’s
lower
row.
Pressing
a
control
surface
button
below
the
display
triggers
the
appropriate
button/
function
in
the
dialog,
if
applicable.
Following
use
of
the
Enter/Cancel
button
on
the
control
surface
or
with
the
mouse,
the
dialog
will
disappear,
and
all
controls
and
displays
will
return
to
their
previous
state.
When
a
file
select
box
is
onscreen,
a
There is a file select dialog on the screen
message
appears
on
the
LCD
or
other
display
(if
applicable
to
your
control
surface).
46 Chapter
1
Control
Surface
Setup
Tips
Control
surfaces
change
the
way
you
use
Logic,
and
are
most
effective
if
you
make
a
few
small
modifications
to
your
working
methods.
The
following
collection
of
hints
will
help
you
to
work
more
smoothly
and
efficiently
with
your
control
surface/Logic
system.
Customize
your
Template/Autoload
Songs
 Set
up
Screensets
1–7
to
your
liking.
These
can
be
accessed
directly
with
some
control
surfaces
(on
a
Logic/Mackie
Control—via
Function
Keys—F1
to
F7.
Function
Key
8
(F8)
will
close
the
top-most
window).
 It
is
recommended
that
a
full-screen
Arrange
window,
with
Track
Automation
View
set
to
on,
is
among
your
Screensets.
 A
full-screen
Track
Mixer
window
is
also
recommended.
Make
Use
of
Markers
Not
much
more
can
be
said.
Markers
allow
you
to
quickly
navigate
from
location
to
location
in
a
project.
Most
control
surfaces
feature
a
number
of
shortcuts
that
allow
you
to
rapidly
switch
between
Markers.
Markers
are
very
useful
for
the
creation/selection
of
Cycle
areas
and
a
number
of
other
tasks,
such
as
Drop
In
and
Replace.
If
you
tend
to
follow
a
particular
song
structure,
or
like
to
work
with
a
particular
number
of
bars
(4,
8,
16
bars,
and
so
on)
for
verse
and
chorus
sections,
then
set
up
a
number
of
Markers
at
suitable
locations
in
your
Template/Autoload
songs.
Always
use
Projects
As
soon
as
Logic
is
launched,
and
the
desired
Template
or
Autoload
song
is
loaded,
you
should
routinely
create
a
new
project
folder,
and
name
it.
This
will
provide
a
default
folder
structure/file
path
that
contains
the
song
file
and
all
audio
files
associated
with
the
project.
You
can
also
choose
to
include
plug-in
Settings
files,
video
files,
Space
Designer
IR
files
and
EXS
Instruments
into
your
Project
folder,
if
desired.
The
button
assigned
to
Save
operations
on
your
control
surface
will
open
the
File
Save
dialog.
Once
the
project/song
has
been
saved
once,
pressing
the
“Save”
button
will
incrementally
save
the
project
without
launching
the
File
Save
dialog
window.
2
47
2 Logic
Control
This
chapter
will
introduce
you
to
using
Logic
with
a
Logic/
Mackie
Control
unit.
The
Logic
Control
and
Mackie
Control
Universal
units
are
functionally
identical.
All
information
in
this
chapter
(as
appropriate
for
the
device)
applies
to
the
Mackie
Control
Universal,
the
Mackie
Extender,
and
the
C4.
To
use
Logic
with
a
Logic/Mackie
Control
unit,
you
need:
 a
Logic/Mackie
Control
unit.
 Logic
Pro
7.1,
or
newer.
Set
Up
A
powered
Logic/Mackie
Control
unit
will
be
automatically
detected
when
Logic
Pro
is
launched.
You
can
use
the
Logic/Mackie
Control
in
an
independent
control
surface
group
(with
other
control
surface
icons
placed
above/below
the
Logic/Mackie
Control
icon),
or
combined
into
one
control
surface
group
with
one
or
more
control
surfaces
(such
as
Logic/Mackie
Control
XT
or
C4
units—place
the
icon(s)
to
the
right
of
the
existing
icon(s).
Foot
Switches
The
foot
switch
sockets
can
use
momentary
foot
pedals
with
either
a
positive
or
negative
polarity.
By
default:
 USER
SWITCH
A
is
assigned
to
Start/Stop.
 USER
SWITCH
B
is
assigned
to
Record
(note
that
a
track
must
be
selected
and
armed
for
recording
to
take
place),
 EXTERNAL
CONTROL
is
assigned
to
the
MASTERfader
level.
Only
use
an
expression
pedal
with
this
socket.
48 Chapter
2
Logic
Control
The
polarity
of
the
foot
switches
is
determined
by
the
Logic
Control
when
powered
up.
As
such,
you
should
first
connect
the
foot
switches,
then
turn
the
power
on.
Topics
in
this
chapter
are
broken
down
into
“Zones”
of
the
Logic
Control
surface.
The
Displays
The
Logic
Control
features
four
displays,
in
addition
to
LEDs
associated
with
individual
switches:
 Main
LCD
 Assignment
LED
 Song
Position/SMPTE
Time
display
 Solo
LED
The
following
section
discusses
these
displays.
LCD Assignment
display Time
display
V-Pots
Rec
Rdy,
Solo,
Mute,
and
Select
buttons
Faders
Jog
Cursor
buttons Wheel
Transport
Control
buttons
Assignment
buttons
Display
buttons
Channel
buttons
Function
keys
Chapter
2
Logic
Control 49
Liquid
Crystal
Display
(LCD)
Each
channel/parameter
can
be
indicated
by
a
name
or
value.
In
general,
the
upper
row
of
each
channel/parameter
will
display
an
abbreviated
form
of
the
track
name,
and
the
lower
row
will
display
the
(abbreviated)
parameter
name
and/or
value.
In
some
modes,
a
long
(full,
in
other
words)
parameter
or
other
name
will
be
displayed
briefly
on-screen,
when
adjusted.
The
display
of
long
names,
and
the
duration
of
this
display,
is
set
in
the
Control
Surfaces
preferences.
These
settings
are
discussed
in
the
Logic
Reference
manual.
Note:
8-bit
ASCII
characters
such
as
curly
quotes
and
umlaut
characters
are
replaced
by
the
best-possible
7-bit
ASCII
equivalent.
As
examples:
ä
=
ae,
ö=oe,
ü=ue,
á
=
a,
ø
=
oe,
oe
=
oe,
ß
=
ss,
å
=
a.
Assignment
LED
(Mode
Display)
The
Logic/Mackie
Control
features
a
two
digit,
seven-segment
LED
display
which
indicates
the
current
assignment
status
(also
referred
to
as
the
mode
display).
A
period
is
shown
at
the
bottom-right
of
the
display
whenever
a
Channel
Strip
view
is
active.
Song
Position/SMPTE
Time
Display
The
Logic/Mackie
Control
includes
a
multi-digit,
seven-segment
LED.
It
is
accompanied
by
two
small
LEDs
which
provide
a
quick
visual
indication
of
the
currently
active
display
format:
SMPTE
or
BEATS.
When
BEATS
mode
is
selected,
the
Position/Time
Display
is
divided
into
four
segments,
separated
as
follows:
Bars/Beats/Sub
Divisions/Ticks
When
SMPTE
mode
is
selected,
the
Position/Time
Display
is
divided
into
four
segments,
separated
as
follows:
Hours/Minutes/Seconds/Frames
The
display
format
can
be
viewed
in
a
number
of
ways.
This
can
be
altered
in
the
Display
preferences.
Solo
LED
This
LED
indicates
that
either:
an
audio
track
is
set
to
solo,
or
the
track
solo
mode
is
enabled.
It
is
a
helpful
visual
aid
in
situations
where
a
track
has
been
soloed
and
the
fader
bank
has
been
shifted—making
the
soloed
track’s
Solo
LED
invisible
on
the
control
surface.
50 Chapter
2
Logic
Control
The
Channel
Strip(s)
As
each
channel
strip
is
identical,
the
information
discussed
in
this
section
applies
equally
to
all
eight
channel
strips
on
the
Logic
Control
and
Logic
Control
XT
units.
V-Pot/V-Select
This
“soft”
potentiometer
can
be
used
to
adjust
the
send
level
and
pan,
plus
any
other
parameter
for
EQ,
instruments,
effects,
and
so
on.
The
V-Pot
can
also
be
used
to
scroll
through
and
choose
items—such
as
plug-ins,
Audio
Instruments
and
more—from
menus,
and
to
determine
destinations
for
sends.
The
V-Pot
also
contains
an
integrated
V-Select
push
button.
This
button
generally
sets
a
“default”
parameter
value
(where
a
parameter
has
more
than
two
possible
values),
or
switches
between
two
parameter
values
(on/off ).
The
V-Select
can
also
be
used
to
activate
a
function,
selected
through
use
of
the
V-Pot.
As
an
example,
the
V-Pot
can
be
rotated
in
order
to
select
an
effect
plug-in
for
a
particular
channel
Insert
slot.
Once
the
desired
effect
is
displayed
in
the
LCD,
a
simple
press
downwards
on
the
top
of
the
VPot
will
activate
the
V-Select
button.
In
the
example
given,
this
would
select,
and
insert,
the
effect
and
launch
the
Plug-in
window.
On
occasion,
the
V-Select
is
used
to
switch
to
a
special
Assignment
mode.
The
current
value
of
any
parameter
being
adjusted
by
the
V-Pot
is
displayed
on
the
LCD
(dependent
on
the
Name/Value
setting),
and
is
also
indicated
by
the
ring
of
LEDs
which
surround
it.
The
various
LED
“ring”
displays
are
shown
here:
This
will
vary
as
follows,
dependent
on
the
selected
parameter:
 Connected
series
of
LED
segments
from
left
to
right
(send
level,
for
example)
 Single
segment
(panorama
or
frequency,
for
example)
 Connected
series
of
LED
segments,
starting
in
the
center
position
and
fanning
to
the
left
or
right
(EQ
gain,
for
example)
 Series
of
connected
LED
segments,
starting
in
the
center
position
and
fanning
to
the
left
and
right
(Q-Factor,
for
example)
 An
LED
dot
below
the
V-Pot
indicates
the
centered/default
position
of
the
parameter
Chapter
2
Logic
Control 51
Holding
down
the
x/ALT
button
sets
the
V-Pots
to
high
resolution
parameter
adjustment
(fine)
mode,
where
applicable.
Holding
down
the
OPTION
button,
and
turning
the
V-Pot,
switches
between
the
minimum,
default,
and
maximum
parameter
value.
Rec/Rdy
(Record/Ready)
Button
This
button
arms
or
disables
the
channel
for
recording.
Each
channel
features
an
independent
Rec/Rdy
LED
which
is
lit
when
a
track
is
armed
for
recording.
Holding
down
the
OPTION
button,
while
pressing
any
channel’s
REC/RDY
button
will
disarm
all
tracks.
In
Global
view,
if
you
arm
an
audio
channel
which
is
currently
not
used
by
any
track
in
the
song,
and
then
start
recording,
you
will
be
asked
if
you
want
to
create
a
new
track
with
this
audio
channel
in
the
current
recording
folder.
Signal
LED
Indicates
the
presence
of
any
outgoing
MIDI
or
audio
signal.
When
recording,
the
presence
of
an
incoming
signal
will
be
indicated.
SOLO
Button
For
isolating
a
channel’s
signal.
Each
channel
features
an
independent
Solo
LED
which
illuminates
when
a
track
is
soloed.
The
Rude
Solo
LED—just
to
the
right
of
the
Position/
Time
Display
LED—also
illuminates
whenever
any
track
is
soloed.
Holding
down
the
OPTION
button,
while
pressing
any
channel’s
SOLO
button
will
disable
solo
for
all
tracks.
52 Chapter
2
Logic
Control
In
the
Send
Destination/Level
views
(see
“Send
Assignment
Modes”
on
page
61),
the
SOLO
button
controls
the
Pre/Post
mode
selection—in
both
Multi
Channel
and
Channel
Strip
views.
MUTE
Button
Used
to
defeat
the
track’s
signal.
Each
channel
features
an
independent
Mute
LED
which
illuminates
when
a
track
is
muted.
Holding
down
the
OPTION
button,
while
pressing
any
MUTE
button
will
unmute
all
tracks.
In
the
EQ
Frequency/Gain
and
Send
Destination/Level
views,
the
MUTE
button
controls
the
EQ
bypass
or
Send
mute
function.
This
affects
both
Multi
Channel
and
Channel
Strip
views.
SELECT
Button
This
button
is
used
to
select
a
channel
for
channel-based
editing
or
assignment
commands.
Each
channel
features
an
independent
SELECT
LED
which
illuminates
when
a
track
is
selected.
When
holding
down
the
SHIFT
button,
pressing
any
channel
SELECT
button
will
set
the
track’s
volume
to
unity
level
(0
dB).
While
holding
down
SHIFT,
a
SELECT
button’s
LED
indicates
if
the
track’s
volume
is
set
to
0
dB.
When
holding
down
the
OPTION
button,
pressing
any
channel
SELECT
button
will
create
a
new
track
(assigned
to
the
same
instrument
of
the
selected
track),
and
switch
to
Arrange
view.
When
holding
down
the
SHIFT
and
OPTION
buttons,
pressing
any
channel
SELECT
button
will
create
a
new
track
(with
the
next
instrument,
following
the
selected
track),
and
switch
to
Arrange
view.
Chapter
2
Logic
Control 53
Touch-Sensitive
Motor
Fader
These
100
millimeter
faders
control
channel
levels.
When
Flip
mode
is
activated,
the
parameter
currently
assigned
to
the
V-Pot
can
be
controlled
with
the
fader.
This
allows
you
to
more
easily
control
pans,
aux
returns,
MIDI
track
parameters,
EQs,
plug-in,
Audio
Instrument,
or
other
channel
parameter
levels/values.
Movement
of
the
eight
faders
is
relative
to
the
activity
of
the
currently
chosen
bank
of
on-screen
faders.
The
fader
bank
is
shifted
when
one
of
the
FADER
BANK
buttons
is
pressed.
Fader
behavior
in
other
modes
 In
Flip
mode:
duplicates
or
swaps
with
V-Pot
of
same
channel.
 In
Surround
Angle/Diversity
view:
adjusts
surround
diversity.
 In
EQ
Frequency/Gain
view:
adjusts
gain
of
selected
EQ
band.
 In
Send
Destination/Level
Multi
Channel
view:
adjusts
send
level
of
selected
send.
 In
Send
Destination/Level
Channel
Strip
view:
adjusts
send
level
of
send
on
selected
track.
Changing
Parameters
and
Values
Individual
parameters
can
be
adjusted
via
the
associated
V-Pot
(or
fader,
if
the
FLIP
button
is
active),
located
directly
below
the
parameter
entry
in
the
LCD.
To
do
so,
simply
grab
and
turn
the
desired
V-Pot.
Once
the
required
parameter
value
is
visible
in
the
LCD,
simply
release
the
knob.
Press
the
V-Select
button
to
set
the
default
value
(for
parameters
that
have
more
than
two
values),
or
switch
between
two
values
(for
parameters
with
only
two
possibilities,
such
as
on/off ).
54 Chapter
2
Logic
Control
Some
parameters
require
confirmation,
such
as
the
selection
of
plug-ins,
Audio
Instruments,
sends,
inputs,
outputs,
and
so
on.
For
these
types
of
parameters,
press
the
V-Select
button
(press
down
on
the
top
of
the
V-Pot)
to
activate/select
the
desired
value.
In
the
case
of
a
plug-in
or
Audio
Instrument,
this
will
automatically
launch
the
Plug-in
window
in
Logic.
For
a
send,
the
confirmed
channel
send
destination
will
be
activated
in
the
Logic
mixer(s).
When
a
value
has
been
pre-selected,
but
not
confirmed/instantiated
(such
as
send
destination,
plug-in
insertion
and
so
on)
the
value
will
flash
until
the
V-Select
button
is
pressed.
An
exponential
increase
in
value
changes
will
occur
as
a
V-Pot
is
rotated
more
quickly.
The
Assignment
Zone
The
small
light
gray
area
just
below
the
mode
display
contains
six
buttons.
These
ASSIGNMENT
buttons
work
in
both
Track
and
Global
view
modes.
View
modes
are
discussed
in
“Track
View
Mode”
on
page
20.
When
these
buttons
are
pressed,
the
mode
display,
plus
the
LED
associated
with
each
button,
will
update
to
reflect
the
currently
selected
assignment
mode.
The
LCD
will
also
update
to
display
the
parameters
relevant
to
the
selected
assignment.
These
parameters
are,
of
course,
assigned
to
the
corresponding
V-Pots.
All
ASSIGNMENT
buttons
work
as
switches,
which
means
that
if
you
click
them
repeatedly,
they
will
switch
between
the
Multi
Channel
and
Channel
Strip
view
modes.
 Multi
Channel
view—you
see
the
same
parameter
for
multiple
channels.
In
Multi
Channel
view,
the
mode
display
does
not
show
a
period—Example:
P1
 Channel
Strip
view—you
see
multiple
parameters
for
a
single
channel.
In
Channel
Strip
view,
the
mode
display
shows
a
period
to
the
right—Example:
P1.
Switching
between
Multi
Channel
and
Channel
Strip
views
is
achieved
by
pressing
the
selected
ASSIGNMENT
button
multiple
times.
If
you
press
an
ASSIGNMENT
button
which
is
not
currently
selected,
the
Assignment
mode
changes,
and
the
view
switches
to
Multi
Channel
view.
Exception:
Switching
between
Instrument
Edit
view
and
Plug-in
Edit
view
retains
the
Channel
Strip
view.
Chapter
2
Logic
Control 55
The
NAME/VALUE
button
also
has
an
effect
on
what
is
shown
on
the
LCD
when
in
the
Multi
Channel
and
Channel
Strip
views.
More
information
can
be
found
in
“Display
Zone”
on
page
71.
Track
Assignment
Modes
The
TRACK
button
selects
Assignment
modes
which
allow
the
editing
of
a
number
of
global
track
parameters.
It
switches
between
all
displayed
channels
and
the
individual
parameters
of
the
selected
channel
(Track
Multi
Channel
view
or
Track
Channel
Strip
view).
The
parameters
in
Track
Multi
Channel
view
include:
Volume,
Pan,
Track
mode,
Track
Input,
Track
Output,
and
Automation.
In
Track
Channel
Strip
view
you
will
see
an
overview
of
the
most
important
track
parameters:
Volume,
Pan,
Instrument,
Insert
1,
Insert
2,
Send
1
Level,
Send
2
Level,
and
Send
3
Level.
Track
Multi
Channel
View
Track
Multi
Channel
view
allows
you
to
edit
a
single
“global”
track
parameter
for
all
tracks:
Volume,
Pan,
Track
mode,
Input,
Output,
or
Automation.
The
parameter
being
edited
will
be
displayed
briefly
when
switching
to
this
mode.
 The
mode
display
will
show
tr
(for
“Track”).
 The
upper
LCD
row
shows
track
names.
Pressing
NAME/VALUE
switches
the
display
mode
to
show
parameter
values
in
the
lower
row:
As
these
display
variants
can
be
switched
in
all
Multi
Channel
Strip
views,
the
following
will
only
show
displays
in
Value
mode.
 Turning
the
V-Pots
changes
the
associated
track
parameter.
 Pressing
a
V-Select
sets
the
parameter
to
its
default
value.
 Cursor
Left/Right
buttons
switch
to
the
next
or
previous
track
parameter.
The
selected
parameter
will
be
displayed
briefly
in
the
upper
LCD
row.
Audio1 Audio2 Audio3 Audio4 Audio5 Audio6 Audio7 Audio8
Volume Volume Volume Volume Volume Volume Volume Volume
Audio1 Audio2 Audio3 Audio4 Audio5 Audio6 Audio7 Audio8
+0.1dB -1.8dB +01.dB -30.0 +0.0dB -50.2 -24.7 -1.2dB
56 Chapter
2
Logic
Control
Channel
Strip
View
Track
Channel
Strip
view
allows
you
to
edit
all
parameters
listed
above,
for
the
selected
track.
Â
The
mode
display
will
show
tr.
(track
channel
strip).
Â
The
upper
LCD
row
shows
the
name
of
the
track
and
“Track
parameters.”
Pressing
NAME/VALUE
switches
the
display
mode
to
show
parameter
names
in
the
upper
row
and
parameter
values
in
the
lower
row:
As
these
display
variants
can
be
switched
in
all
Channel
Strip
views,
the
following
will
only
show
displays
in
Value
mode.
Â
V-Pot/V-Select
1—edits
Volume.
The
lower
LCD
row
shows
the
current
track
volumes,
either
in
dB
or
numeric
format,
depending
on
the
settings
of
the
underlying
Environment
Objects.
Â
V-Pot/V-Select
2—edits
Pan
position.
The
lower
LCD
row
shows
the
current
track
pan
value,
ranging
from
minus
64
to
plus
63.
A
value
of
0
is
the
centered
position.
If
Surround
is
selected
as
the
Output
value,
this
controls
the
Surround
Angle.
Â
V-Pot
3—selects
the
instrument
of
Audio
Instrument
tracks.
Confirm
with
V-Select
3.
Â
V-Pot/V-Select
4
and
5—selects
the
plug-in
used
in
Insert
slots
1
and
2
(on
audio
and
Audio
Instrument
tracks).
Confirm
with
V-Select.
Â
V-Pot/V-Select
6
to
8—edits
the
Send
Level
of
Sends
1
to
3.
Holding
SHIFT
while
pressing
one
of
the
MUTE
or
V-Select
buttons
switches
between
mute
or
bypass:
Â
1
and
2—activates/deactivates
the
track’s
Mute
button.
Â
3—activates/deactivates
Mute
of
the
Audio
Instrument
used
on
the
track.
Â
4
and
5—activates/deactivates
Bypass
of
plug-ins
used
in
Insert
slots
1
and
2
(of
Audio
and
Audio
Instrument
tracks).
Â
6
to
8—activates/deactivates
Mute
of
Sends
1
to
3.
Shortcuts
Menu
Holding
down
the
TRACK
button
accesses
a
further
sub-menu
in
the
LCD.
Â
The
mode
display
will
show
t_
(Track)
Â
V-Select
1
or
F1—switches
to
Track
Multi
Channel
view
and
selects
Volume.
Track 1 "Audio 1" Track parameters
Volume Pan Inst Ins.1 Ins.2 Send 1 Send 2 Send 3
Volume Pan Inst Ins.1 Ins.2 Send 1 Send 2 Send 3
+0.5dB 0 ES2 Dstrtn AutFlt -54.0 -27.0 -oo dB
Volume Pan TrkMod Input Output Auto Setup
Chapter
2
Logic
Control
57
Â
The
LCD’s
lower
line
shows
the
current
volume
of
the
tracks,
in
dB
or
numerically,
depending
on
the
setting
of
the
underlying
Environment
Object.
Â
Turning
a
V-Pot
changes
the
volume.
Â
pressing
a
V-Select
sets
the
volume
to
the
default
value.
Â
V-Select
2
or
F2—switches
to
Track
Multi
Channel
view
and
selects
Pan.
Â
V-Select
3
or
F3—switches
to
Track
Multi
Channel
view
and
selects
Track
mode.
Â
V-Select
4
or
F4—switches
to
Track
Multi
Channel
view
and
selects
Input.
Â
V-Select
5
or
F5—switches
to
Track
Multi
Channel
view
and
selects
Output.
Â
V-Select
6
or
F6
—switches
to
Track
Multi
Channel
view
and
selects
Automation
mode.
Â
V-Select
7
or
F7—switches
to
Track
Multi
Channel
view
and
displays
the
automation
parameter
selected
in
the
Arrange
window.
Also
switches
to
Arrange
view.
Â
V-Select
8
or
F8—switches
to
Track
Setup
Channel
Strip
view
(see
below).
Track
Setup
Channel
Strip
View
In
this
mode,
rarely
used
parameters
can
be
edited
for
the
selected
track.
Â
V-Pot/V-Select
1—edits
Track
mode
(mono,
stereo,
left,
right).
Â
V-Pot/V-Select
2—selects
the
Surround
mode.
Confirm
with
V-Select
2.
Â
V-Pot/V-Select
3—selects
the
Track
Input.
Confirm
with
V-Select
6.
Â
V-Pot/V-Select
4—selects
the
Track
Output.
Confirm
with
V-Select
7.
Â
V-Pot/V-Select
5—edits
Automation
mode.
Â
V-Pot/V-Select
6—edits
track
group
membership.
You
can
only
choose
one
group
or
“Off.”
To
make
a
track
a
member
of
multiple
groups,
use
Group
Edit
mode
(see
below).
Pan/Surround
Assignment
Modes
Briefly
pressing
the
PAN/SURROUND
button
switches
between
Pan/Surround
Multi
Channel
and
Pan/Surround
Channel
Strip
view.
Multi
Channel
View
Pan/Surround
Multi
Channel
view
allows
you
to
edit
one
pan/surround
parameter
on
all
tracks:
Angle
or
Pan
(on
non-surround
tracks),
Radius
(diversity),
LFE,
Surround
mode
(on
surround
tracks).
The
parameter
being
edited
will
be
displayed
briefly
when
switching
to
this
mode.
Regardless
of
which
surround
parameter
is
selected
and
active,
non-surround
tracks
always
display
the
standard
Pan
control.
In
a
song
that
contains
both
surround
and
non-surround
tracks,
you
can
edit
a
specified
surround
parameter
for
surround
tracks,
while
the
V-Pot
of
non-surround
tracks
will
edit
panning,
as
usual.
Â
The
mode
display
will
show
Pn
(Pan).
Â
The
upper
LCD
row
shows
track
names.
58 Chapter
2
Logic
Control
Â
Turning
the
V-Pots
changes
the
pan/surround
parameter.
 The
Surround
Angle
parameter
rotates
between
0
and
359
degrees,
avoiding
any
angle
limit.
 Pressing
a
V-Select
sets
the
parameter
to
its
default
value.
 Cursor
Left/Right
switches
to
the
next
or
previous
surround
parameter.
The
selected
parameter
will
be
displayed
briefly
in
the
upper
LCD
row.
Channel
Strip
View
Pan/Surround
Channel
Strip
view
allows
you
to
edit
all
surround
parameters
for
the
selected
track.
 The
mode
display
will
show
Pn.
(Pan/Surround
channel
strip).
 The
upper
LCD
row
shows
the
name
of
the
track
and
“Pan/Surround.”
 V-Pot/V-Select
1—edits
angle
(or
pan
on
non-surround
tracks).
 V-Pot/V-Select
2—edits
diversity.
 V-Pot/V-Select
3—edits
LFE
level.
 V-Pot
4—selects
the
surround
mode.
Confirm
with
V-Select
4.
 V-Pot/V-Select
5—edits
Surround
X.
 V-Pot/V-Select
6—edits
Surround
Y.
The
Angle/Diversity
and
X/Y
pairs
influence
each
other.
Only
the
Angle/Diversity
parameters
are
automated
and
recorded.
Alternate
Mode
Options
Holding
down
the
PAN/SURROUND
button
accesses
a
further
sub-menu
in
the
LCD:
 V-Select
1
or
F1—switches
to
Pan/Surround
Multi
Channel
view
and
selects
angle.
 V-Select
2
or
F2—switches
to
Pan/Surround
Multi
Channel
view
and
selects
diversity.
 V-Select
3
or
F3—switches
to
Pan/Surround
Multi
Channel
view
and
selects
LFE
level.
 V-Select
4
or
F4—switches
to
Pan/Surround
Multi
Channel
view
and
selects
surround
mode.
 V-Select
6
or
F5—switches
to
Pan/Surround
Channel
Strip
view.
 V-Select
7
or
F6—switches
to
Surround
Angle/Diversity
Multi
Channel
view:
 the
mode
display
will
show
Ad
(Angle/Diversity).
Track 1 "Audio 1" Pan/Surround
SrrAng SrrDvr SrrLFE mode
Angle Radius LFE mode CStrip Ang/Dv
Chapter
2
Logic
Control
59
Â
the
upper
LCD
row
shows
track
names.
Â
the
lower
LCD
row
shows
the
surround
angle
currently
assigned
to
each
track.
Â
turning
a
V-Pot
changes
the
surround
angle
(or
adjusts
pan
position
on
nonsurround
tracks).
Â
pressing
a
V-Select
sets
the
surround
angle
to
its
default
value.
Â
the
faders
edit
surround
diversity.
Â
V-Select
8
or
F7—switches
to
Surround
X/Y
Multi
Channel
view:
Â
the
mode
display
will
show
XY
(X/Y—the
X
character
is
not
available
on
a
7
segment
display).
Â
the
upper
LCD
row
shows
track
names.
Â
the
lower
LCD
row
shows
the
surround
X
value
currently
assigned
to
each
track.
Â
turning
a
V-Pot
changes
the
surround
X
value
(or
adjusts
pan
position
on
nonsurround
tracks).
Â
pressing
a
V-Select
sets
surround
X
to
its
default
value.
Â
the
faders
edit
surround
Y.
Notes
on
Surround
X/Y
Editing
X
and
Y
have
a
value
range
of
–1000
to
+
1000,
but
the
resolution
is
not
that
high,
as
surround
positions
are
currently
recorded
as
7
bit
data.
Note:
The
X
and
Y
parameters
are
limited
to
a
rectangular
coordinate
system.
As
such,
value
pairs
outside
the
surround
circle
are
not
possible.
When
trying
to
set
a
value
which
would
lead
to
an
invalid
position,
the
other
coordinate
is
automatically
adjusted
to
a
valid
position.
Example:
moving
Y
to
+
1000
will
result
in
an
X
coordinate
value
of
0.
When
editing
only
one
coordinate,
the
other
coordinate
of
the
most
recently
track
is
remembered.
This
aids
in
the
creation
of
linear
(straight)
lines
of
movement.
EQ
Assignment
Modes
Briefly
pressing
the
EQ
button
switches
between
EQ
Multi
Channel
view
or
EQ
Channel
Strip
view.
Note:
If
no
Channel
or
Linear
Phase
EQ
is
present
on
the
selected
track,
a
Channel
EQ
will
be
inserted
automatically
when
the
EQ
Channel
Strip
view
is
entered.
Multi
Channel
View
EQ
Multi
Channel
view
allows
you
to
edit
one
equalizer
parameter
for
all
tracks:
Frequency,
Gain,
Q,
or
EQ
bypass.
The
EQ
band
number,
and
parameter
being
edited
will
be
displayed
for
one
second
when
switching
to
this
mode.
Â
The
mode
display
will
show
E1
to
E8,
dependent
on
the
selected
EQ
band
number.
Â
The
upper
LCD
row
shows
track
names.
Â
Turning
the
V-Pots
changes
the
EQ
parameter.
60 Chapter
2
Logic
Control
Â
Pressing
a
V-Select
sets
the
parameter
to
its
default
value.
Â
Cursor
Up/Down
switches
to
the
next
or
previous
EQ
band.
 Cursor
Left/Right
switches
to
the
next
or
previous
EQ
parameter.
The
selected
parameter
will
be
displayed
briefly
in
the
upper
LCD
row.
 Pressing
a
MUTE
button
while
the
SHIFT
button
is
held
down
switches
the
current
EQ
band’s
Bypass
status.
 When
Flip
mode
is
enabled,
the
MUTE
buttons
display
and
edit
the
current
EQ
band’s
Bypass
status.
Channel
Strip
View
EQ
Channel
Strip
view
allows
you
to
edit
all
EQ
parameters—in
all
bands—for
the
selected
track.
 The
mode
display
will
show
EQ.
(EQ
channel
strip).
 The
upper
LCD
row
shows
the
name
of
the
track,
“EQs,”
the
page
number
and
total
number
of
pages—Example:
“Page
1/2”.
 V-Pot/V-Select
1—edits
the
Frequency
of
odd-numbered
EQ
bands.
 V-Pot/V-Select
2—edits
Gain
of
odd-numbered
EQ
bands.
 V-Pot/V-Select
3—edits
Q-Factor
of
odd-numbered
EQ
bands.
 V-Pot/V-Select
4—edits
Bypass
of
odd-numbered
EQ
bands.
 V-Pot/V-Select
5—edits
the
Frequency
of
even-numbered
EQ
bands.
 V-Pot/V-Select
6—edits
Gain
of
even-numbered
EQ
bands.
 V-Pot/V-Select
7—edits
Q-Factor
of
even-numbered
EQ
bands.
 V-Pot/V-Select
8—edits
Bypass
of
even-numbered
EQ
bands.
 Cursor
Left/Right
switches
to
the
next
or
previous
EQ
band.
The
number
of
EQ
bands
displayed
on
the
LCD
depends
on
the
number
of
Logic
Control
(XT)
units
(two
EQ
bands
are
shown
per
unit)
available.
Alternate
Mode
Options
Holding
down
the
EQ
button
accesses
a
further
sub-menu
in
the
LCD:
 The
mode
display
shows
E_
or
E_.,
dependent
on
whether
you
were
in
EQ
Multi
Channel
or
EQ
Channel
Strip
view.
 V-Select
1
or
F1—switches
to
EQ
Multi
Channel
view
and
selects
Frequency.
 V-Select
2
or
F2—switches
to
EQ
Multi
Channel
view
and
selects
Gain
 V-Select
3
or
F3—switches
to
EQ
Multi
Channel
view
and
selects
Q.
 V-Select
4
or
F4—switches
to
EQ
Multi
Channel
view
and
selects
Bypass.
 V-Select
6
or
F6—switches
to
EQ
Channel
Strip
view.
Chapter
2
Logic
Control 61
 V-Select
7
or
F7—switches
to
Frequency/Gain
Multi
Channel
view.
In
this
mode
you
can
edit
the
Frequency
and
Gain
parameters
of
a
specific
EQ
band
(1
to
8)
for
all
tracks.
 the
mode
display
will
show
F1
to
F8,
depending
on
the
selected
EQ
band.
 the
upper
LCD
row
shows
track
names.
 the
lower
LCD
row
shows
the
Frequency
of
the
selected
EQ.
 turning
a
V-Pot
changes
EQ
Frequency.
 pressing
a
V-Select
sets
the
EQ
Frequency
to
its
default
value.
 use
the
Mute
buttons
to
Bypass
the
EQ.
 use
the
faders
adjust
the
EQ
Gain.
 V-Select
8
or
F8—switches
to
Frequency/Gain
Channel
Strip
view.
In
this
mode
you
can
edit
the
Frequency
and
Gain
parameters
for
all
EQ
bands
of
the
selected
track.
Each
pair
of
channel
strips
corresponds
to
one
of
the
EQ
bands.
 the
mode
display
will
show
FG.
 V-Pots
1
to
8
control
the
Frequency
of
EQ
bands
1
to
8.
 Mute
buttons
1
to
8
control
the
Bypass
of
EQ
bands
1
to
8.
 Faders
1
to
8
control
the
Gain
of
EQ
bands
1
to
8.
Note
that
the
faders
form
a
frequency
response
curve
in
this
mode,
if
the
EQ
bands
have
ascending
frequency
values.
You
can
edit
another
track’s
EQ,
without
leaving
this
view
mode,
by
simply
selecting
the
track.
Send
Assignment
Modes
Briefly
pressing
the
SEND
button
switches
between
Send
Multi
Channel
or
Send
Channel
Strip
view.
Multi
Channel
View
Send
Multi
Channel
view
allows
you
to
edit
one
Send
parameter
for
all
tracks:
Destination,
Level,
Position,
and
Mute.
The
Send
slot
number,
and
parameter
being
edited
will
be
displayed
for
one
second
when
switching
to
this
mode.
 The
mode
display
will
show
S1
to
S8,
depending
on
the
selected
Send
slot.
 The
upper
LCD
row
shows
track
names.
 Turning
the
V-Pots
changes
the
Send
parameter.
 Pressing
a
V-Select
confirms
the
pre-selected
Send
Destination
and
sets
the
other
send
parameters
to
their
defaults.
 Cursor
Up/Down
switches
to
the
next
or
previous
Send
slot.
62 Chapter
2
Logic
Control
 Cursor
Left/Right
switches
to
the
next
or
previous
Send
parameter.
The
selected
parameter
will
be
displayed
briefly
in
the
upper
LCD
row.
 Pressing
a
MUTE
button
while
the
SHIFT
button
is
held
switches
the
current
Send’s
Mute
status.
 When
Flip
mode
is
enabled,
the
MUTE
buttons
display
and
edit
the
current
Send’s
Mute
status.
Note:
Ensure
that
the
ZOOM
button
isn’t
active
when
using
the
cursor
buttons.
Channel
Strip
View
Send
Channel
Strip
view
allows
you
to
edit
all
Send
parameters
for
the
selected
track.
 The
mode
display
will
show
SE.
(Send
channel
strip).
 The
upper
LCD
row
shows
the
name
of
the
track,
“Sends”,
the
page
number
and
total
number
of
pages—Example:
“Page
1/4”
 V-Pot/V-Select
1—edits
Destination
of
odd-numbered
Sends.
 V-Pot/V-Select
2—edits
Level
of
odd-numbered
Sends.
 V-Pot/V-Select
3—edits
Position
(pre/post)
of
odd-numbered
Sends.
 V-Pot/V-Select
4—edits
Mute
of
odd-numbered
Sends.
 V-Pot/V-Select
5—edits
Destination
of
even-numbered
Sends.
 V-Pot/V-Select
6—edits
Level
of
even-numbered
Sends.
 V-Pot/V-Select
7—edits
Position
(pre/post)
of
even-numbered
Sends.
 V-Pot/V-Select
8—edits
Mute
of
even-numbered
Sends.
 The
horizontal
cursor
buttons
shift
between
pages.
The
number
of
Sends
displayed
simultaneously
is
dependent
on
the
number
of
Logic
Control
XTs
you
have.
Alternate
Edit
Mode
Options
Holding
down
the
SEND
button
accesses
a
further
sub-menu
in
the
LCD:
 The
mode
display
shows
S_
or
S_.,
depending
on
whether
you
were
in
Send
Multi
Channel
or
Send
Channel
Strip
view.
Track 1 "Audio 1" Sends Page 1/2
Snd3Ds Send 3 Snd3Ps Snd3Mt Snd4Ds Send 4 Snd4Ps Snd4Mt
Dest Pos Level Mute CStrip CSt2 Ds/LvM Ds/LvC
Chapter
2
Logic
Control
63
Â
V-Select
1
or
F1—switches
to
Send
Multi
Channel
view
and
selects
Destination.
Â
V-Select
2
or
F2—switches
to
Send
Multi
Channel
view
and
selects
Send
Level.
Â
V-Select
3
or
F3—switches
to
Send
Multi
Channel
view
and
selects
Position.
Â
V-Select
4
or
F4—switches
to
Send
Multi
Channel
view
and
selects
Mute.
Â
V-Select
5
or
F5—switches
to
Send
Channel
Strip
view.
Â
V-Select
6
or
F6—switches
to
Send
Channel
Strip
2
view:
This
mode
is
similar
to
Send
Channel
Strip
view,
but
parameters
are
arranged
in
a
slightly
different
way.
You
can
control
one
parameter
of
all
Send
slots
for
the
selected
track.
Â
The
mode
display
will
show
SE.
(Send
channel
strip).
Â
The
upper
LCD
row
shows
the
name
of
the
track,
“Sends”,
the
page
number
and
total
number
of
pages.
Â
V-Pot/V-Select
1
to
8—edits
the
displayed
parameter.
Â
The
horizontal
cursor
buttons
shift
between
pages.
The
number
of
parameters
displayed
simultaneously
is
dependent
on
the
number
of
Logic
Control
XTs
you
have.
Â
V-Select
7
or
F7—switches
to
Destination/Level
Multi
Channel
view:
In
this
mode,
you
can
control
one
Send
slot
for
all
tracks.
Each
channel
strip
corresponds
to
the
track
shown
in
the
upper
LCD
row.
Â
the
mode
display
will
show
d1
to
d8,
depending
on
the
selected
Send.
Â
the
upper
LCD
row
shows
track
names.
Â
the
lower
LCD
row
shows
the
destination
of
the
selected
Send.
Â
turning
a
V-Pot
pre-selects
the
Send
Destination.
Â
pressing
a
V-Select
confirms
the
pre-selected
Send
Destination.
Â
the
SOLO
buttons
edit
Send
Position—
a
lit
SOLO
LED
indicates
Pre
Fader
mode.
Â
the
MUTE
buttons
edit
Send
Mute.
Â
the
faders
edit
Send
Level.
Â
V-Select
8
or
F8—switches
to
Destination/Level
Channel
Strip
view:
You
can
control
all
Send
slots
for
the
selected
track
in
this
mode.
Each
channel
strip
corresponds
to
the
(embossed)
Send
number
shown
below
the
LCD.
Â
the
mode
display
will
show
dL.
Â
turning
a
V-Pot
pre-selects
the
corresponding
Send
Destination.
Track 1 "Audio 1" Sends Page 1/2
Snd1Ds Snd2Ds Snd3Ds Snd4Ds Snd5Ds Snd6Ds Snd7Ds Snd7Ds
64 Chapter
2
Logic
Control
Â
pressing
a
V-Select
confirms
a
preselected
Send
Destination.
Â
the
Solo
buttons
edit
Send
Position—a
lit
Solo
LED
indicates
Pre
Fader
mode.
Â
the
MUTE
buttons
edit
Send
Mute.
Â
the
faders
edit
Send
Gain.
If
one
or
more
Sends
are
activated
on
multiple
channels,
you
can
switch
between
them
in
the
Channel
Strip
views
by
simply
pressing
the
SELECT
button
for
the
desired
channel.
Plug-in
Assignment
Modes
Pressing
PLUG-IN
switches
between
Plug-in
Multi
Channel
or
Plug-in
Channel
Strip
view.
Note:
There
is
one
exception
to
this
behavior:
if
you
are
in
Instrument
Edit
view,
pressing
this
button
switches
to
Plug-in
Edit
view.
Multi
Channel
View
This
mode
shows
the
plug-ins
associated
with
a
particular
Insert
slot
for
all
channels.
Â
The
mode
display
will
show
P1
to
P9,
or
simply
10
to
16,
dependent
on
the
selected
Plug-in
Insert
slot
number.
Note
that
if
an
Audio
Instrument
channel
is
selected,
the
display
will
show
P1
to
P9
and
10
to
15.
Â
The
upper
LCD
row
shows
track
names.
Â
The
lower
LCD
row
shows
the
currently
selected
plug-in
for
this
Insert
slot.
Muted
plug-ins
are
shown
with
an
asterisk
*
that
precedes
the
plug-in
name.
Â
Turning
the
V-Pots
pre-selects
a
new
plug-in.
The
plug-in
name
flashes
until
confirmed
with
the
V-Select.
Â
Turning
another
channel’s
V-Pot
will
cancel
any
earlier
pre-selection,
and
will
start
pre-selection
on
the
newly
selected
track.
Â
Pressing
a
V-Select:
Â
confirms/activates
the
pre-selected
plug-in
(assuming
that
you’ve
made
your
preselection
by
turning
the
V-Pot).
Â
opens
a
Plug-in
window,
if
none
are
opened.
If
a
Plug-in
window
is
open,
and
Link
mode
is
enabled,
the
selection
of
another
plug-in
will
replace
the
existing
Plug-in
window.
Â
switches
to
Plug-in
Edit
view.
 The
Cursor
Up/Down
buttons
change
the
currently
displayed
plug-in
Insert
slot
(1
to
15).
 Pressing
a
V-Select
or
the
MUTE
button
while
the
SHIFT
button
is
held
down
will
mute/unmute
the
plug-in.
Chapter
2
Logic
Control 65
To
remove
a
plug-in:
1 Pre-select
the
“--”
value
(by
turning
the
V-Pot
fully
counter-clockwise)
2 Press
the
V-Select
of
the
appropriate
Insert
slot.
Logic
Control
will
not
switch
to
Plug-in
Edit
view,
and
no
Plug-in
window
will
be
launched.
If
one
was
previously
opened,
it
will
be
closed
(if
Link
mode
is
inactive).
Channel
Strip
View
This
mode
shows
the
plug-ins
associated
with
all
Insert
slots
for
the
selected
channel.
 The
mode
display
will
show
PL.
 The
upper
LCD
row
shows
Ins1Pl
through
Ins8Pl
 The
lower
LCD
row
shows
the
plug-in
which
is
currently
selected
for
this
insert
slot.
Muted
plug-ins
are
indicated
by
an
asterisk
*,
which
precedes
the
plug-in
name.
 Turning
the
V-Pots
pre-selects
a
new
plug-in.
The
plug-in
name
flashes
until
activated.
 Turning
another
channel’s
V-Pot
will
cancel
any
previous
pre-selection
and
will
start
pre-selection
on
the
newly
selected
track.
 Pressing
a
V-Select:
 activates
the
pre-selected
plug-in
(assuming
that
you’ve
made
your
pre-selection
by
turning
the
V-Pot).
 opens
a
Plug-in
window
if
none
are
opened
(if
a
Plug-in
window
is
open
and
Link
mode
is
enabled,
the
selection
of
another
plug-in
will
replace
the
existing
plug-in).
 switches
to
Plug-in
Edit
view.
 Pressing
a
V-Select
while
the
SHIFT
button
is
held
will
mute/unmute
the
plug-in.
To
remove
a
plug-in:
1 Pre-select
the
“--”
value
(by
turning
the
V-Pot
fully
counter-clockwise).
2 Press
the
V-Select
linked
to
the
appropriate
Insert
slot.
Logic
Control
will
not
switch
to
Plug-in
Edit
view,
and
no
Plug-in
window
will
be
launched.
If
one
was
previously
opened,
it
will
be
closed
(if
Link
mode
is
inactive).
Plug-in
Edit
View
 The
mode
display
will
show
P1.
to
P8.,
depending
on
the
number
of
the
selected
plug-in
Insert
slot.
 Dependent
on
the
Name/Value
button,
the
LCD
display
will
change
in
the
following
ways
between
the
two
modes:
 Name:
The
upper
LCD
row
shows
the
track’s
name,
insert
number,
plug-in
name,
current
parameter
page
and
total
number
of
parameter
pages.
The
lower
LCD
row
shows
the
name
of
the
parameter
which
can
be
edited
via
the
V-Pot
located
below.
66 Chapter
2
Logic
Control
 Value:
The
upper
LCD
row
shows
the
name
of
the
parameter
which
can
be
edited
via
the
V-Pot
positioned
below.
The
lower
LCD
row
shows
the
current
value
of
the
parameter
edited
with
the
V-Pot.
If
there
is
sufficient
onscreen
space,
the
unit
type
will
be
added—Example:
Hz.
 Turning
the
V-Pots
changes
parameters.
 Pressing
a
V-Select
sets
the
parameter
to
its
default
value,
except
where
the
parameter
only
has
two
values
(on/off,
for
example).
In
this
case,
pressing
the
VSelect
switches
between
these
values.
 The
Cursor
Left/Right
buttons
switch
to
the
next
or
previous
parameter
page.
Note:
When
shifting
by
a
“page”
of
parameters,
the
display
is
“quantized”
to
integer
pages.
As
an
example:
 the
plug-in
has
19
parameters.
 Logic
Control
shows
parameters
1
to
8.
 Cursor
Right
shifts
to
display
parameters
9
to
16.
 Cursor
Right
shifts
to
display
parameters
12
to
19.
 Cursor
Left
shifts
back
to
display
parameters
9
to
16,
not
parameters
4
to
11.
This
way,
you
always
revert
to
the
page
positions
you
expect
to
find,
and
are
comfortable
with.
 To
switch
by
a
single
parameter,
rather
than
by
“page,”
hold
down
the
x/ALT
key
while
pressing
the
Cursor
Left/Right
button.
 The
Cursor
Up/Down
buttons
change
the
currently
displayed
plug-in
Insert
slot
(1
to
15).
Note:
If
you
have
a
control
surface
group
consisting
of
several
physical
Logic
Control
and
XT
units,
the
parameters
are
distributed
across
their
displays.
The
number
of
parameters
shown
is
dependent
on
the
Multiple
Controls
Per
Parameter
settings
in
the
Preferences
>
Control
Surfaces
>
Preferences,
as
discussed
in
the
Control
Surface
Setup
chapter.
When
exiting
Plug-in
Edit
view,
the
Plug-in
window
will
be
closed.
Chapter
2
Logic
Control 67
Compatibility
Logic
Control
can
edit
all
plug-ins
that
can
be
automated.
The
plug-in
type
(Logic
native,
TDM,
Audio
Units)
is
irrelevant.
Some
third-party
manufacturer
plug-ins
unfortunately
don’t
provide
parameter
names
and/or
values
as
text.
In
such
cases,
parameters
are
enumerated
as
“Control
#1,”
“Control
#2”
and
so
on,
with
values
displayed
as
numbers
ranging
between
0
and
1000.
Please
contact
the
plug-in
manufacturer
to
obtain
a
version
which
supports
this
feature.
Instrument
Assignment
Modes
Pressing
the
INSTRUMENT
button
switches
to
Instrument
Multi
Channel
view.
Please
note
that
when
in
Plug-in
Edit
view,
pressing
the
INSTRUMENT
button
will
switch
to
Instrument
Edit
view.
If
you
can’t
see
the
Audio
Instrument
Objects,
use
the
BANK
or
CHANNEL
buttons
in
the
FADER
BANKS
zone,
or
switch
to
Global
view
by
pressing
the
AUDIO
INSTRUMENT
button.
(This
assumes
that
you
have
created
at
least
one
or
more
Audio
Instrument
Objects
in
the
Environment.)
Multi
Channel
View
This
mode
shows
the
Instrument
slot
for
all
channels.
 The
mode
display
will
show
In
(Instrument)
 The
upper
LCD
row
shows
track
names.
 The
lower
LCD
row
shows
the
currently
selected
instrument.
Muted
instrument
names
are
preceded
by
an
asterisk
*.
 Turning
the
V-Pots
pre-selects
a
new
instrument.
The
pre-selected
instrument
name
flashes
until
activated.
 Turning
another
channel’s
V-Pot
will
cancel
any
previous
pre-selection
and
will
start
pre-selection
on
the
newly
selected
track.
 Pressing
a
V-Select:
 activates
the
pre-selected
instrument
plug-in
(assuming
that
you’ve
made
your
pre-selection
by
turning
the
V-Pot).
 opens
a
Plug-in
window,
if
none
are
opened.
If
a
Plug-in
window
is
open,
and
Link
mode
is
enabled,
the
selection
of
another
Instrument
plug-in
will
replace
the
existing
one.
 switches
to
Instrument
Edit
view.
 Pressing
a
V-Select
or
MUTE
button
while
the
SHIFT
button
is
held
down
mute/
unmutes
the
Instrument.
68 Chapter
2
Logic
Control
To
remove
an
instrument:
1 Pre-select
the
“--”
value
(by
turning
the
V-Pot
fully
counter-clockwise)
2 Press
the
V-Select
button.
Logic
Control
will
not
switch
to
Instrument
Edit
view,
and
no
Plug-in
window
will
be
launched.
If
one
was
previously
opened,
it
will
be
closed.
Instrument
Edit
View
 The
mode
display
will
show
In.
 Dependent
on
the
NAME/VALUE
button,
the
LCD
changes
in
the
following
ways:
 Name—The
upper
LCD
row
shows
the
track’s
name,
instrument
name,
current
parameter
page
and
total
number
of
parameter
pages.
The
lower
LCD
row
shows
the
name
of
the
parameter
that
can
be
edited
with
the
V-Pot
directly
below
it.
 Value—The
upper
LCD
row
shows
the
name
of
the
parameter
that
can
be
edited
with
the
V-Pot
below
it.
The
lower
LCD
row
shows
the
current
value
of
the
parameter
being
edited.
If
there
is
sufficient
space
on
the
LCD
row,
the
unit
type
is
shown
after
the
value.
Example:
Hz.
 Turning
a
V-Pot
changes
the
corresponding
parameter.
 Pressing
a
V-Select
sets
the
parameter
to
its
default
value,
except
where
the
parameter
only
has
two
values
(on/off,
for
example).
In
this
case,
pressing
the
VSelect
switches
between
these
values.
Compatibility
Logic
Control
can
edit
all
instruments
that
can
be
automated.
The
plug-in
type
(Logic
native,
TDM,
Audio
Units)
is
irrelevant.
Some
third-party
manufacturer
instruments
unfortunately
don’t
provide
parameter
names
and/or
values
as
text.
In
such
cases,
parameters
are
enumerated
as
“Control
#1,”
“Control
#2,”
and
so
on,
with
values
displayed
as
numbers
ranging
between
0
and
1000.
Please
contact
the
plug-in
manufacturer
to
obtain
a
version
which
supports
this
feature.
Chapter
2
Logic
Control 69
Fader
Bank
Zone
This
area
of
the
Logic
Control
surface
contains
six
buttons.
Bank
Left/Right
Moves
up
or
down
by
“banks”
of
channels/tracks.
To
quickly
explain,
a
single
Logic
Control
is
only
capable
of
viewing
eight
tracks
at
a
time,
in
either
the
Global
or
Mixer
view.
To
see,
and
edit
or
mix
more
tracks,
simply
press
the
Right/Left
BANK
buttons
to
switch
between
tracks
1–8,
9–16,
17–24,
and
so
on.
The
BANK
button
pair
shifts
the
view
section
by
the
number
of
channels
in
the
control
surface
group.
As
an
example;
if
you
have
a
Logic
Control
and
two
Logic
Control
XT
units,
the
view
shifts
by
24
channels.
When
shifting
by
bank,
the
display
is
“quantized”
to
integer
banks.
As
an
example:
 your
song
has
19
tracks.
 Logic
Control
shows
tracks
1
to
8.
 BANK
Right
shifts
to
tracks
9
through
16.
 BANK
Right
shifts
to
tracks
12
through
19.
 BANK
Left
shifts
back
to
tracks
9
through
16,
not
tracks
4
to
11.
This
way,
you
always
revert
to
the
bank
positions
you
expect,
and
are
used
to.
Channel
Left/Right
As
per
the
BANK
buttons,
but
moves
up
or
down
in
increments
of
a
single
channel.
Notes
on
Fader
Bank
Editing
When
holding
down
the
OPTION
button,
pressing
the
BANK
Left
or
CHANNEL
Left
button
jumps
to
the
first,
and
pressing
the
BANK
Right
or
CHANNEL
Right
button
jumps
to
the
last,
tracks
in
the
song.
As
an
example
in
a
64
track
song,
tracks
1
through
8
or
tracks
57
through
64.
70 Chapter
2
Logic
Control
The
fader
bank
offset
is
independently
memorized
for
Global
views
where
one
track
class
is
displayed
(MIDI,
Inputs,
Audio
Tracks,
Instruments,
Auxes,
Busses,
Outputs,
and
Master).
There
is
also
a
separate
fader
bank
offset
memory
location
for
combinations
of
multiple
track
types.
This
feature
allows
you
to
scroll
to
audio
tracks
2
through
9
in
Global
Audio
Track
view,
and
then
scroll
to
instruments
5
through
12
in
Global
Instruments
view.
You
can
switch
between
these
views
without
losing
the
fader
bank
offset.
Flip
The
FLIP
button
enables/disables
the
following
Flip,
Swap,
or
Zero
modes:
 If
the
LED
beside
the
FLIP
button
is
off,
Flip
mode
is
off.
The
faders
control
volume.
 Pressing
the
FLIP
button
enables
Flip
mode
(the
LED
is
lit):
in
this
mode,
the
current
assignments
of
the
eight
V-Pots
are
mirrored
by
the
eight
channel
faders.
Pressing
the
FLIP
button
a
second
time
disables
Flip
mode.
Turning
a
V-Pot
in
this
mode
will
also
move
the
corresponding
fader.
 Pressing
the
FLIP
button
while
the
SHIFT
button
is
held
enables
Swap
mode
(the
LED
will
flash):
in
this
mode,
the
encoder
assignments
are
swapped
with
the
fader
assignments.
Pressing
SHIFT
and
FLIP
again
disables
Swap
mode.
As
the
LCD’s
lower
row
shows
the
current
value
of
the
encoders,
it
will
display
volumes
when
in
this
mode.
 Pressing
FLIP
without
SHIFT
held
reverts
to
Flip
mode.
 Pressing
CONTROL
and
FLIP
switches
to
Zero
mode.
Pressing
CONTROL
and
FLIP
a
second
time
disables
Zero
mode.
In
this
mode,
the
faders
are
set
to
zero
and
don’t
move.
This
is
useful
for
acoustic/microphone
recordings
if
Logic
Control
is
located
in
the
recording
booth,
and
you
don’t
want
to
hear/capture
any
motor
noise.
Both
Flip
and
Swap
modes
work
in
all
view
modes.
Flip
mode
has
the
following
advantages:
 You
can
edit
any
type
of
parameter
with
a
fader,
rather
than
a
V-Pot,
which
allows
more
accurate
edits.
 You
can
edit
with
touch-sensitive
faders.
The
V-Pots
are
not
touch-sensitive,
and
thus
don’t
allow
existing
(controller
automation)
movements
to
be
overwritten
with
a
constant
value.
Global
View
This
button
is
discussed
in
“The
Global
View
Zone”
on
page
74.
Chapter
2
Logic
Control 71
Master
Fader
Controls
the
level
of
the
Master
fader
in
the
Logic
mixers.
This
reduces
the
level
of
all
tracks,
but
does
not
affect
their
relative
positions.
When
there
is
no
Master
Volume
Object
in
the
song,
Logic
Control’s
Master
fader
is
mapped
to
Output
1-2.
You
need
to
select
this
Object
(Master)
in
order
to
set
the
automation
mode
of
the
Master
output.
To
do
so,
press
the
OUTPUTS
button
and
select
the
master
output
with
the
corresponding
SELECT
button.
If
you
use
multiple
audio
systems
simultaneously,
the
MASTER
fader
only
controls
the
first
device’s
Master
Volume
(in
the
order
shown
in
the
Audio
Preferences
window).
Display
Zone
These
buttons
affect
what
you
see
in
the
LCD
and
Position/Time
Display.
Name/Value
To
switch
between
the
two
Display
formats—Name
or
Value—repeatedly
press
the
NAME/VALUE
button
in
the
Logic
Control
Display
section—just
below
the
SMPTE/
BEATS
LEDs.
For
more
information,
see
“Liquid
Crystal
Display
(LCD)”
on
page
49.
Pressing
the
NAME/VALUE
button
while
holding
the
SHIFT
button
cycles
through
three
level
meter
modes:
 Vertical—In
this
mode,
the
sixth
(last)
character
of
each
channel
in
both
LCD
rows
is
overlaid
by
a
vertical
level
meter
bar.
The
text
character
reappears
when
the
level
meter
is
not
visible.
The
last,
rather
than
the
first,
character
was
chosen
for
the
level
meter,
as
this
character
is
often
unused,
so
no
valuable
information
is
“blocked
out”
by
the
level
meter.
Note:
If
you
find
the
flickering
D
of
the
dB
unit
disturbing
when
levels
are
displayed,
you
should
switch
off
the
display
of
units.
See
“Control
Surface
Preferences”
on
page
25.
 Horizontal—with
Peak
Hold.
In
this
mode,
the
second
row
is
replaced
by
horizontal
level
meter
bars.
Peak
Hold
is
shown
as
a
hollow
box
which
disappears
after
three
seconds.
Overload
(clipping)
is
displayed
as
an
asterisk.
It
remains
on
the
LCD
until
cleared
(see
below).
 Off—In
this
mode,
no
level
meters
are
displayed
in
the
LCD.
72 Chapter
2
Logic
Control
In
all
three
modes,
the
SIGNAL
LEDs
function
as
per
usual,
indicating
the
presence
of
a
signal.
Note:
The
MIDI
bandwidth
required
for
the
display
of
level
meters
is
the
same
in
all
three
modes—and
is
very
low.
The
Position/Time
Display
updates
require
much
more
MIDI
bandwidth
than
the
level
meters.
Pressing
the
NAME/VALUE
button,
while
holding
the
CONTROL
button,
clears
overload
(clipping)
in
both
the
Logic
mixers,
and
the
horizontal
level
meters
on
the
Logic
Control.
Pressing
the
NAME/VALUE
button,
while
holding
the
x/ALT
button,
enters
Control
Surface
Group
Settings
mode.
This
mode
enables
you
to
edit
several
control
surface
group
settings,
some
of
which
are
not
accessible
with
a
single
button:
 V-Pot/V-Select
5
(label
“TrkNam”)—sets
track
name
display
format
“Name”—track
name
only
“#:Name”—track
number
and
name
This
parameter
can
also
be
switched
with
OPTION
and
NAME/VALUE.
 V-Pot/V-Select
6
(label
“Lock”)—switches
Channel
Strip
view
track
lock
“Off”—as
you
are
used
to:
selecting
a
track
also
switches
the
currently
edited
Channel
Strip
track.
“On”—the
currently
edited
Channel
Strip
Track
is
not
affected
by
selecting
a
track.
When
you
switch
from
On
to
Off,
this
also
updates
the
Channel
Strip
track.
To
edit
another
track
in
Locked
mode,
first
disable
Lock,
then
select
the
desired
track,
then
re-enable
Lock.
 V-Pot/V-Select
7
(label
“Disply”)—switches
the
LCD
display
format.
“Name”—upper
line
displays
global
info,
lower
line
displays
parameter
names.
“Value”—upper
line
displays
parameter
names,
lower
line
displays
parameter
values.
This
parameter
can
also
be
switched
with
NAME/VALUE.
 V-Pot/V-Select
8
(label
“Clock”)—switches
the
Clock
display
format.
“Beats”—clock
is
displayed
in
format
bars/measures/beats/ticks.
“SMPTE”—clock
is
displayed
in
SMPTE
format.
This
parameter
can
also
be
switched
with
SMPTE/BEATS.
Control
Surface
Group
Settings
mode
can
be
exited
by
pressing
NAME/VALUE,
or
by
entering
one
of
the
Marker
or
Nudge
modes.
SMPTE/Beats
To
switch
between
the
two
Time
formats,
repeatedly
press
the
SMPTE/BEATS
button
in
the
Display
section
at
the
top
of
the
Logic
Control—just
below
the
SMPTE/BEATS
LEDs.
For
more
information,
see
“Song
Position/SMPTE
Time
Display”
on
page
49.
Chapter
2
Logic
Control 73
The
Function
Key
Zone
The
eight
Function
keys—F1
to
F8—are
assigned
as
follows:
 F1
to
F7
recalls
Screensets
1
to
7.
 F8
closes
the
top-most
window,
with
“floating”
windows
closed
first.
With
the
SHIFT
key
held
down,
the
Function
keys
open/close
particular
windows:
 F1—Arrange
window
 F2—Track
Mixer
 F3—Event
Editor
 F4—Score
Editor
 F5—Hyper
Editor
 F6—Matrix
Editor
 F7—Transport
window
 F8—Audio
window
With
the
x/ALT
key
held
down,
the
Function
keys
trigger
common
key
commands:
 F1—Cut
 F2—Copy
 F3—Paste
 F4—Clear
 F5—Select
All
 F6—Select
All
Following
 F7—Select
Similar
Objects
 F8—Select
Inside
Locators
In
modal
dialogs,
the
Function
keys
are
equivalent
to
the
computer’s
number
keys:
 F1—1
 F2—2
 F3—3
 F4—4
 F5—5
 F6—6
 F7—7
 F8—8
74 Chapter
2
Logic
Control
The
following
buttons
directly
below
the
Function
keys
supplement
the
numeric
input
functions:
 MIDI
Tracks
button—9
 Inputs
button—0
In
some
other
“modes,”
the
Function
keys
perform
other
duties,
such
as
shortcuts
to
markers.
Please
see
“Marker”
on
page
79.
Also
see
the
tables
in
“Assignment
Overview”
on
page
89.
The
Global
View
Zone
The
Global
view
mode
is
activated
by
pressing
any
of
the
GLOBAL
VIEW
buttons.
When
any
is
activated,
the
green
LED
to
the
right
of
the
GLOBAL
VIEW
button
will
illuminate.
Pressing
multiple
GLOBAL
VIEW
buttons
simultaneously
will
display
the
channels
of
the
selected
classes.
To
do
so:
m Hold
down
any
GLOBAL
VIEW
button,
and
add
or
remove
other
Object
classes
by
pressing
the
other
desired
GLOBAL
VIEW
buttons.
The
display
order
matches
the
order
of
these
buttons
on
the
front
panel
of
the
Logic
Control.
You
can
select
multiple
classes
by
clicking
on
multiple
buttons
simultaneously.
The
OUTPUTS
button
activates
both
Output
and
Master
Objects.
As
an
example:
To
see
the
busses
and
the
outputs,
hold
down
BUSSES,
and
then
press
OUTPUTS.
Chapter
2
Logic
Control 75
Function
Button
Zone
There
are
three
areas
in
this
zone—Modifiers,
Automation,
and
Utilities.
Modifier
Buttons
The
four
buttons
in
this
area
are
similar
to
those
found
on
your
computer
keyboard
(but
are
independent
from
the
keyboard
modifiers).
Many
Logic
functions
behave
differently
when
one
or
more
“modifier”
key(s)
is
pressed,
in
conjunction
with
another
key
or
mouse
click.
This
also
applies
to
the
Logic
Control.
All
“modified”
Logic
Control
commands
are
covered
in
each
function’s
description.
A
generic
description
of
each
button
follows:
 SHIFT—an
alternate
function/meaning
for
a
button.
 OPTION—the
function
applies
to
all
objects.
For
relative
value
changes:
the
value
is
set
to
the
minimum,
default,
or
maximum
value,
depending
on
whether
you
increase/decrease
it.
 CONTROL—while
held
down,
the
Group
Clutch
is
engaged—Track
Groups
are
temporarily
disabled.
 x/ALT—fine
tuning/variation
of
the
function.
Automation
Buttons
The
five
buttons
in
this
area
activate/deactivate
the
various
automation
modes
of
Logic.
These
work
in
conjunction
with
the
channel
SELECT
buttons.
Simply
choose
the
channel
you
wish
to
automate,
select
the
Automation
mode
via
one
of
these
six
buttons,
and
move
the
corresponding
fader.
The
modes
are
outlined
below:
 READ/OFF—Pressing
this
button
repeatedly
switches
between
the
Read
and
Off
automation
modes.
76 Chapter
2
Logic
Control
 Off—Automation
is
off.
The
fader
will
neither
send
nor
receive
automation
data.
Existing
automation
data
remains
untouched.
It
will
still
behave
as
a
fader,
however,
and
will
adjust
the
volume
or
pan
position
and
so
on
as
usual.
 Read—The
fader
will
read
(follow)
any
existing
automation
data,
but
will
not
write
data,
regardless
of
any
movements
you
make
with
the
mouse
or
external
control
device.
 TOUCH—Writes
new
parameter
changes
when
the
fader
is
“touched”
or
V-Pot
turned
during
playback.
Any
existing
track
automation
data
(of
the
current
fader
type)
will
be
replaced
by
new
movements
as
long
as
the
control
is
active—while
the
fader
is
being
touched
or
V-Pot
is
being
turned.
 LATCH—Similar
to
Touch
mode,
but
the
control
remains
activated,
even
when
the
fader
is
no
longer
being
“touched”
or
V-Pot
being
turned.
In
other
words,
following
the
release
of
the
fader,
the
current
fader
value
will
replace
the
existing
automation
data
for
as
long
as
the
sequencer
is
in
playback
mode.
Press
STOP
to
finish.
 WRITE—Overwrites
all
existing
automation
data,
or
creates
new
automation
data.
Only
use
it
if
you
wish
to
destroy
all
existing
automation
data.
 TRIM—Not
currently
enabled.
Pressing
one
of
the
AUTOMATION
buttons
while
holding
the
OPTION
key
assigns
the
selected
automation
mode
for
all
tracks.
When
an
automation
mode
has
been
selected
for
all
tracks,
the
button’s
LED
will
illuminate
whenever
the
OPTION
key
is
held.
Important:
This
behavior
is
slightly
different
for
the
“Off”
automation
mode,
when
holding
down
the
OPTION
button.
While
doing
so,
all
automation
“writing”
buttons
will
be
turned
off,
but
this
does
not
necessarily
mean
that
all
tracks
are
actually
in
Off
mode—they
could
also
be
in
different
modes.
To
ensure
that
you
have
set
all
tracks
to
Off
mode,
press
READ/OFF
twice
(its
LED
goes
on,
then
off ),
while
holding
down
the
OPTION
key.
Group
Pressing
the
GROUP
button
enters
Group
Edit
mode:
 GROUP
button’s
LED
is
on.
 The
Assignment
display
shows
the
currently
displayed
group—“G1”,
for
example.
Chapter
2
Logic
Control 77
 The
Time
display
shows
the
group
name
(ten
last
characters
if
name
is
longer
than
ten
characters).
 The
upper
LCD
line
displays
track
names.
 The
lower
LCD
line
displays
group
parameters.
 Group
parameters
can
be
switched
with
V-Selects.
 Cursor
Up/Down
selects
previous/next
group.
 Cursor
Left/Right
shifts
group
parameter
display.
 SELECT
buttons
display
if
a
track
is
a
member
of
the
group.
Pressing
a
SELECT
button
enables/disables
track
membership
of
the
group.
With
Group
Edit
mode
off,
holding
down
GROUP
and
pressing
one
or
more
SELECT
buttons
allows
you
to
create
a
new
group.
Pressing
the
GROUP
button,
while
the
SHIFT
button
is
held
down,
creates
a
new
group,
opens
the
Group
window
and
enters
Group
Edit
mode.
Pressing
the
GROUP
button,
while
the
TRACK
button
is
held,
switches
to
Track
Multi
Channel
view,
with
the
Track
Group
parameter
shown.
It
displays
the
group
that
the
instrument
belongs
to.
Multiple
group
membership
is
displayed
as
in
the
Track
Mixer
window.
Turning
a
V-Pot
changes
group
membership.
Note
that
you
can
only
select
one
group
(or
“Off”)
with
this
function.
Utilities
Buttons
The
four
buttons
in
this
area
trigger
functions
that
are
often
used
when
working
with
Logic.
Save
Saves
the
current
song
file.
When
pressed,
a
file
save
dialog
will
open
on
your
computer
screen,
awaiting
input
of
a
filename.
The
Logic
Control
LCD
will
display
There is a file select dialog on the screen
and
the
Position/Time
Display
will
show
ALERT.
All
LEDs
are
unlit.
Once
the
file
save
has
been
confirmed—in
Logic—the
Logic
Control
will
return
all
controls
to
their
status
prior
to
use
of
the
Save
command.
Once
the
song
has
been
saved
and
given
a
name,
you
may
freely
use
the
SAVE
button
to
save
any
subsequent
changes.
This
will
occur
without
the
alert
messages
and
file
save
dialog
appearing
onscreen.
As
a
general
working
tip,
you
should
always
save
your
Autoload/Template
song
under
a
different
name
as
the
first
step
in
any
project.
If
this
practice
is
adhered
to,
you
will
be
able
to
simply
press
the
SAVE
button
on
the
Logic
Control
to
incrementally
save
your
work.
78 Chapter
2
Logic
Control
The
SAVE
LED
illuminates
as
soon
as
any
save-able
change
has
been
made
in
Logic.
Holding
down
the
OPTION
button
while
pressing
SAVE
opens
the
“Save
As”
file
selector
box.
Undo
Pressing
the
UNDO
button
undoes
the
last
undo-able
editing
step.
As
Logic
supports
near-unlimited
multiple
undo/redo,
the
green
UNDO
LED
does
not
illuminate
to
indicate
an
undo-able
step,
but
rather
to
indicate
that
Redo
is
available.
This
serves
as
a
warning
that
performing
a
reversible
editing
step
would
render
all
Redo
steps
unavailable.
Holding
down
the
SHIFT
button
while
pressing
UNDO
performs
a
“Redo.”
Holding
down
the
OPTION
button
while
pressing
UNDO
opens
the
Undo
History
window.
Cancel
If
an
alert
is
open
on-screen,
it
triggers
the
Cancel
(or
Abort)
button.
More
information
on
alerts
is
found
in
“About
Modal
Dialogs”
on
page
45.
Pressing
the
CANCEL
button
when
no
alert
is
opened
will
launch
the
Toolbox
at
the
current
on-screen
position
of
the
mouse
cursor.
Alternately,
it
will
perform
any
function
currently
assigned
to
the
computer
keyboard’s
Esc
key.
If
no
alert
is
open,
and
Logic
Control
is
currently
showing
the
contents
of
a
folder
track,
use
of
the
CANCEL
button
exits
the
folder.
CANCEL
also
enables
you
to
invalidate
a
(blinking)
parameter
value
pre-selection.
Enter
If
an
alert
is
open,
the
ENTER
button
triggers
the
default
button.
See
“About
Modal
Dialogs”
on
page
45
for
more
information.
If
no
alert
is
open,
and
the
selected
track
is
a
folder
track,
the
ENTER
button
opens
the
folder.
Chapter
2
Logic
Control 79
The
Transport
Zone
This
section
of
the
Logic
Control
features
twelve
buttons.
All
are
equipped
with
a
dedicated
LED
to
indicate
their
current
status.
It
should
be
noted
that
these
buttons
can
be
used
independently,
or
in
conjunction
with
one
another,
to
navigate
and
edit
your
songs.
The
functionality
of
these
buttons
is
as
follows:
Marker
The
MARKER
button
enables
you
to
jump
to,
create,
and
delete
markers.
Marker
and
Nudge
mode
are
mutually
exclusive;
activating
one
deactivates
the
other.
Small
Marker
Mode
When
active,
the
MARKER
button
reassigns
the
behavior
of
the
FAST
FWD
and
REWIND
buttons.
These
allow
you
to
jump
to
the
next
or
previous
marker.
Deactivation
of
the
MARKER
button
reverts
to
the
default
behavior
of
the
FAST
FWD
and
REWIND
buttons
(see
“Rewind”
on
page
85
and
“Fast
Fwd”
on
page
85).
Small
Marker
mode
is
useful
if
you
want
to
jump
to
markers,
but
wish
to
continue
using
the
V-Pots
for
other
purposes.
Large
Marker
Mode
Pressing
the
MARKER
button
while
holding
down
SHIFT
shows
three
“create”
options
on
the
LCD,
assigned
to
the
last
three
V-Selects.
Once
markers
have
been
created:
80 Chapter
2
Logic
Control
 V-Select
1
to
5—displays
the
first
five
markers
by
name.
Pressing
a
V-Select
moves
the
SPL
to
this
Marker.
When
the
current
song
position
(indicated
by
the
SPL)
is
inside
a
marker,
the
lower
line
displays
INSIDE,
and
the
V-Pot
LED
ring
is
lit.
 V-Select
6—Cr
w/o—Creates
a
marker
without
rounding
to
the
nearest
bar.
 V-Select
7—Create—Creates
a
marker
rounded
to
the
nearest
bar.
 V-Select
8—Delete—Deletes
the
marker
above
the
current
SPL
location.
To
create
or
delete
a
marker
at
the
current
song
position,
simply
press
the
appropriate
V-Select
switch.
The
creation
or
deletion
of
markers
is
best
used
in
conjunction
with
the
Jog/Scrub
Wheel.
Simply
move
to
the
desired
song
position
by
dialing
with
the
wheel,
and
then
press
the
appropriate
V-Pot.
 For
coarse
placement,
simply
use
the
wheel
to
move
the
SPL.
 For
fine
placement,
press
the
SCRUB
button,
then
use
the
wheel
to
precisely
position
the
SPL.
(Only
appropriate
if
creating
or
deleting
an
un-rounded
marker).
For
more
information
on
the
Jog/Scrub
Wheel,
please
refer
to
“The
Jog/Scrub
Wheel
Zone”
on
page
88.
Large
Marker
mode
is
terminated
by
pressing
MARKER.
Temporary
Marker
Mode
If
you
want
to
enter
Marker
mode
temporarily
(to
quickly
perform
a
few
marker
functions),
hold
down
the
Marker
button
and
press
one
(or
more)
of
the
V-Selects:
this
will
execute
the
marker
function
and
leave
marker
mode
as
soon
as
you
release
the
MARKER
button.
 When
in
this
mode—with
the
MARKER
button
held—pressing
the
Function
keys
F1—F8
“jumps”
to
the
first
eight
markers
(if
created).
As
an
example,
to
navigate
to
marker
3,
press-hold
MARKER
and
press
F3.
 To
jump
between
markers,
with
(or
without)
the
MARKER
button
held,
simply
press
the
FAST
FWD
or
REWIND
buttons.
Chapter
2
Logic
Control 81
Nudge
The
NUDGE
button
enables
you
to
move
(nudge)
selected
Audio
or
MIDI
Regions,
or
events.
Marker
and
Nudge
mode
are
mutually
exclusive;
activating
one
deactivates
the
other.
Small
Nudge
Mode
Use
of
the
NUDGE
button
reassigns
the
behavior
of
the
FAST
FWD
and
REWIND
buttons.
They
nudge
the
selected
Regions
or
events
by
the
value
defined
in
Large
Nudge
mode
(see
below).
Pressing
the
NUDGE
button
again
reverts
to
the
default
behavior
of
the
FAST
FWD
and
REWIND
buttons
(see
“Rewind”
on
page
85
and
“Fast
Fwd”
on
page
85).
Small
Nudge
mode
is
useful
if
you
want
to
nudge
Regions
or
events,
but
still
use
the
VPots
for
other
purposes.
Large
Nudge
Mode
Pressing
the
Nudge
button
while
holding
down
Shift
updates
the
LCD
to
display
eight
options,
assigned
to
the
V-Pots
and
V-Selects.
All
functions
allow
you
to
move
the
selected
Region
or
events.
As
an
indicator,
the
position
of
the
first
selected
Region
or
event
is
displayed
above
VPots
3
and
4.
If
nothing
is
displayed,
either;
a
window
that
does
not
allow
selection
of
Regions
or
events
is
open,
or
no
Regions
or
events
are
selected.
The
functions
are
as
follows:
 V-Pot
1—Nudge—selects
the
nudge
value
used
by
the
REWIND
and
F.FWD
buttons.
These
buttons
move
the
selected
object(s)
backwards/forwards
by
the
defined
value.
 V-Select
2—Pickup—moves
to
the
current
SPL
location.
 V-Pot
3—Bar—
moves
by
one
bar.
 V-Pot
4—Beat—moves
by
the
current
song
denominator
value
(beats).
 V-Pot
5—Format—moves
by
the
current
song
format
value
(sub-divisions—1/16th
and
so
on).
 V-Pot
6—Ticks—moves
by
single
ticks.
 V-Pot
7—Frames—moves
by
one
SMPTE
frame.
 V-Pot
8—Fram/2—moves
by
half
a
SMPTE
frame.
82 Chapter
2
Logic
Control
 The
cursor
buttons
emulate
the
computer
keyboard’s
cursor
keys,
allowing
easy
selection
of
a
Region
or
event.
Large
Nudge
mode
is
terminated
by
pressing
NUDGE.
Temporary
Nudge
Mode
If
you
want
to
use
Nudge
temporarily
(for
one
or
two
small
moves),
hold
down
the
NUDGE
key,
and
use
one
or
more
of
the
V-Pots:
this
will
execute
the
selected
function
and
exit
Temporary
Nudge
mode
as
soon
as
you
release
the
NUDGE
button.
In
Temporary
Nudge
mode,
the
cursor
buttons
emulate
the
computer
keyboard’s
cursor
keys,
allowing
easy
selection
of
a
Region
or
event.
The
Nudge
value
for
the
REWIND
and
F.FWD
buttons
can
also
be
defined
with
the
function
buttons:
 F1—sets
Ticks.
 F2—sets
Format.
 F3—sets
Beat.
 F4—sets
Bar.
 F5—sets
Frames.
 F6—sets
Frames/2.
Cycle
Activates/deactivates
Cycle
mode.
By
default,
the
cycle
area
will
fall
between
the
first
two
markers.
Subsequent
markers
can
act
as
left/right
boundaries
for
further
cycle
areas.
To
“jump”
between
Cycle
areas—defined
by
the
markers:
1 Press
the
MARKER
button.
2 Press
the
CYCLE
button,
and
when
active,
press
the
REWIND
or
FAST
FWD
buttons.
To
set
the
left
or
right
locator
to
the
current
song
position:
m Hold
down
CYCLE
and
press
REWIND
or
FAST
FWD.
This
also
enables
Cycle.
The
fastest
way
to
define
a
new
cycle
area
is
to:
1 Navigate
to
the
left
locator
with
the
Jog/Scrub
Wheel.
2 Press
CYCLE
and
REWIND.
3 Navigate
to
the
right
locator
with
the
Jog/Scrub
Wheel.
4 Press
CYCLE
and
FAST
FWD.
Chapter
2
Logic
Control 83
Cycle
View
Pressing
the
SHIFT
and
CYCLE
buttons
activates
Cycle
view
mode:
 The
mode
display
displays
Cy
 V-Pot/V-Select
1—shows
and
edits
the
current
Cycle
status
(off
or
on);
you
can
also
use
the
CYCLE
button.
 V-Select
2—BySel—
sets
the
current
Cycle
area
by
the
selection
made
in
the
Arrange
window
(selected
Audio
or
MIDI
Region).
 V-Pot
3—Move—
moves
the
current
Cycle
by
a
bar
with
each
“click”
when
turning
the
V-Pot
 The
display
shows
the
left
and
right
locators
above
V-Pots
5
and
7.
 Pressing
V-Select
5
picks
up
the
current
song
position
for
the
left
locator.
 Turning
V-Pot
5
changes
the
left
locator
in
bars.
 Turning
V-Pot
6
changes
the
left
locator
in
beats
(denominator
steps).
 Pressing
V-Select
7
picks
up
the
current
song
position
for
the
right
locator.
 Turning
V-Pot
7
changes
the
right
locator
in
bars.
 Turning
V-Pot
8
changes
the
right
locator
in
beats
(denominator
steps).
To
return
to
a
regular
Assignment
mode,
press
one
of
the
Assignment
buttons.
Drop
Activates/deactivates
Drop-In
mode.
To
navigate
between
drop-in
areas:
1 Press
the
MARKER
button.
2 Press
the
DROP
button,
and
when
active,
press
the
FAST
FWD
or
REWIND
buttons.
To
set
the
Drop
In
or
Drop
Out
locator
to
the
current
song
position:
m Hold
down
DROP
and
press
FAST
FWD
or
REWIND.
This
also
enables
Drop.
The
fastest
way
to
define
a
new
Drop
In
area
is
to:
1 Navigate
to
the
Drop
In
locator
with
the
Jog/Scrub
Wheel.
2 Press
DROP
and
REWIND.
3 Navigate
to
the
Drop
Out
locator
with
the
Jog/Scrub
Wheel.
4 Press
DROP
and
FAST
FWD.
Drop
View
Pressing
the
SHIFT
and
DROP
buttons
activates
Drop
view:
84 Chapter
2
Logic
Control
 The
mode
display
shows
dr
 V-Pot/V-Select
1
shows
and
edits
the
current
Drop
status
(off
or
on);
you
can
also
use
the
DROP
button.
 V-Pot
3—Move—
moves
the
current
Drop
region
by
a
bar
with
each
“click”
when
turning
the
V-Pot.
 The
display
shows
the
Drop
In
and
Drop
Out
locators
above
V-Pots
5
and
7.
 Pressing
V-Select
5
picks
up
the
current
song
position
for
the
Drop
In
locator.
 Turning
V-Pot
5
changes
the
Drop
In
locator
in
bars.
 Turning
V-Pot
6
changes
the
left
locator
in
beats
(denominator
steps).
 Pressing
V-Select
7
picks
up
the
current
song
position
for
the
Drop
Out
locator.
 Turning
V-Pot
7
changes
the
Drop
Out
locator
in
bars.
 Turning
V-Pot
8
changes
the
right
locator
in
beats
(denominator
steps).
Changing
a
drop
locator
with
the
Logic
Control
enables
Drop
mode.
To
return
to
a
regular
Assignment
mode,
press
one
of
the
Assignment
buttons.
Replace
Activates/deactivates
Replace
mode.
Click
Enables/Disables
MIDI
(or
Klopfgeist)
metronome
click.
There
are
independent
click
settings
for
play
and
record.
The
click
settings
are
enabled
or
disabled,
dependent
on
the
current
Record
state
(see
the
“MIDI/Monitor
Metronome
Click”
key
command).
Pressing
SHIFT
and
CLICK
buttons
activates/deactivates
both
External
Sync
mode
and
Transmit
MMC.
Solo
The
SOLO
button
behaves
as
per
the
Solo
key
command.
Individual
channels
can
be
soloed
via
the
channel
SOLO
buttons
on
each
channel
strip.
MIDI
or
Audio
Regions
can
be
selected
and
soloed
along
with
the
selected
channels.
Each
channel
features
an
independent
SOLO
LED
which
is
lit
when
a
track
is
soloed.
The
RUDE
SOLO
LED—just
to
the
right
of
the
Position/Time
Display—is
lit
whenever
any
track
is
soloed.
Pressing
the
SHIFT
and
SOLO
buttons
enables
Solo
Lock
mode.
Chapter
2
Logic
Control 85
Rewind
Rewinds/shuttles
through
the
song.
If
pressed
repeatedly
while
rewinding,
the
rewind
speed
is
accelerated.
If
the
FAST
FWD
button
is
pressed
while
REWIND
is
engaged,
the
fast
rewind
will
be
slowed.
Repeated
presses
of
the
FAST
FWD
button
will
slow
down,
stop,
and
eventually
reverse
the
shuttle
direction.
Pressing
the
STOP
button
will
halt
the
rewind.
Using
the
Jog/Scrub
Wheel
will
also
exit
shuttle
mode.
When
one
of
the
Marker
modes
is
activated,
repeated
presses
of
the
REWIND
button
will
move
the
Song
Position
Line
(SPL)
to
the
previous
marker.
When
one
of
the
Nudge
modes
is
activated,
the
REWIND
button
will
move
the
selected
Region(s)
or
event(s)
backward
by
the
value
defined
in
Large
Nudge
mode.
Fast
Fwd
Fast
forwards/shuttles
through
the
song.
If
pressed
repeatedly
while
fast
forwarding,
the
shuttle
speed
is
accelerated.
If
the
REWIND
button
is
pressed
while
FAST
FWD
is
engaged,
the
fast
forward
will
be
slowed.
Repeated
presses
of
the
REWIND
button
will
slow
down,
stop,
and
eventually
reverse
the
shuttle
direction.
Pressing
the
STOP
button
will
halt
the
fast
forward.
Using
the
Jog/Scrub
Wheel
will
also
exit
shuttle
mode.
When
one
of
the
Marker
modes
is
activated,
repeated
presses
of
the
FAST
FWD
button
will
move
the
Song
Position
Line
to
the
next
marker.
When
one
of
the
Nudge
modes
is
activated,
the
FAST
FWD
button
will
move
the
selected
Region(s)
or
event(s)
forward
by
the
value
defined
in
Large
Nudge
mode.
As
a
tip,
you
can
combine
markers
with
Cycle
areas
by
pressing
the
respective
buttons
on
the
Logic
Control.
This,
in
conjunction
with
navigation
between
markers
(using
the
REWIND
and
FAST
FWD
buttons),
will
move
the
SPL
and
automatically
set
a
cycle
area
between
adjacent
markers.
Try
this,
and
other
options,
with
various
button
combinations.
86 Chapter
2
Logic
Control
Stop
Stops
all
other
Transport
functions.
Pressing
the
STOP
button
a
second
time
will
return
to
the
song
start
point,
or
the
beginning
of
the
nearest
cycle
area,
if
Cycle
is
active.
Repeated
presses
will
switch
between
the
two.
Play
Plays
from
the
current
song
position.
If
pressed
repeatedly,
it
will
jump
to
the
beginning
of
the
nearest
cycle
area,
if
Cycle
is
active.
SHIFT
and
PLAY
works
as
a
Pause
command.
Record
Activates
recording
on
the
selected
MIDI,
audio,
or
Audio
Instrument
track.
A
special
note
for
audio
tracks
if
you
have
not
“Saved
as
Project”:
When
the
first
audio
track
is
armed
by
pressing
the
REC/RDY
button
on
the
desired
channel,
a
file
save
dialog
will
open
on
your
computer
screen,
awaiting
entry
of
a
filename.
The
Logic
Control
LCD
display
shows
There is a file select dialog on the screen
and
the
Position/Time
Display
will
show
ALERT.
All
LEDs
will
go
off.
Once
the
file
name
has
been
entered—in
Logic—the
Logic
Control
will
return
all
controls
to
their
prior
status.
Once
the
“default”
audio
file
name
has
been
entered,
you
may
freely
select
and
arm
any
Audio
track,
and
then
press
the
RECORD
button.
This
will
happen
without
the
alert
messages
and
file
save
dialog
appearing
onscreen.
As
a
general
working
tip,
you
should
save
your
Autoload/Template
song
as
a
project
immediately.
This
will
avoid
the
need
to
define
filenames,
and
makes
handling
faster
and
easier—particularly
when
“driving”
Logic
with
the
Logic
Control.
Chapter
2
Logic
Control 87
The
Cursor/Zoom
Key
Zone
This
collection
of
five
buttons
serves
a
number
of
purposes.
Normal
Operation
When
the
ZOOM
button’s
LED
is
off,
these
buttons
select
the
current
parameter,
shift
the
current
parameter
page
or
Send/EQ/Insert
slot,
depending
on
the
current
V-Pot
assignment.
When
holding
down
the
OPTION
button,
the
Cursor
Left/Right
buttons
scroll
to
the
first/last
page,
and
the
Cursor
Up/Down
buttons
scroll
to
the
first/last
slot.
When
holding
down
the
x/Alt
button,
the
Cursor
Left/Right
buttons
shift
the
parameter
display
by
one
parameter,
rather
than
one
page.
In
view
modes
which
don’t
require
page
or
slot
shifts,
they
emulate
the
computer
keyboard’s
cursor
keys.
Example:
Track
Multi
Channel
view.
In
Large
and
Temporary
Nudge
mode,
the
Cursor
Left/Right
buttons
emulate
the
computer
keyboard’s
cursor
keys,
allowing
easy
Region
or
event
selection.
Zoom
Mode
Pressing
the
ZOOM
button
enables
Zoom
mode.
The
cursor
buttons
are
then
used
to
change
the
vertical
or
horizontal
zoom
factor
of
the
active
window.
In
the
Arrange
window:
 OPTION
and
Cursor
Up/Down
changes
the
zoom
factor
of
the
selected
track.
 OPTION
and
Cursor
Left
resets
the
zoom
factor
of
the
selected
track.
 OPTION
and
Cursor
Right
resets
the
zoom
factor
of
all
tracks
of
the
same
class
(audio,
MIDI,
and
so
on)
as
the
selected
track.
88 Chapter
2
Logic
Control
Computer
Cursor
Key
Emulation
To
use
the
cursor
buttons
as
a
replacement
for
the
computer
keyboard
cursor
keys,
hold
down
the
SHIFT
key.
By
pressing
SHIFT
and
ZOOM,
the
cursor
buttons
go
to
Permanent
Cursor
Key
mode—
they
mimic
the
computer
cursor
keys
without
the
need
to
hold
down
SHIFT.
The
ZOOM
button
LED
flashes
when
in
this
mode.
You
can
deactivate
this
mode
by
pressing
the
ZOOM
button.
The
Jog/Scrub
Wheel
Zone
The
Jog/Scrub
Wheel
and
SCRUB
button
can
be
used
to
navigate
through
the
song,
which
is
useful
for
a
number
of
Transport
tasks.
Simply
turn
the
dial
to
use
it.
The
following
Scrub
modes
change
the
behavior
of
the
Jog/Scrub
Wheel.
 Scrub
mode
off:
the
Jog/Scrub
Wheel
moves
the
SPL.
 Scrub
mode
on:
the
Jog/Scrub
Wheel
performs
“scrubbing,”
which
allows
you
to
hear
the
data
of
the
selected
track
while
scrolling/moving
through
the
song.
Audio
tracks
are
normally
played
back
at
their
original
speed.
If
you
would
prefer
to
hear
them
at
double
speed,
choose
Preferences
>
Audio
>
Drivers,
and
set
Maximum
Scrub
Speed
to
Double
in
the
pull-down
menu.
Note:
You
can
also
use
the
SCRUB
button
for
Pause
functionality.
 SHUTTLE
mode
(Scrub
button
LED
flashing):
the
Jog/Scrub
Wheel
shuttles
the
SPL—
turning
it
increases
or
decreases
the
speed
of
SPL
movement.
Chapter
2
Logic
Control 89
Assignment
Overview
The
following
assignment
tables
are
broken
down
into
“zones”
of
the
Logic
Control.
Channel
Strip
(x8)
Logic
Control Modifier Function/Comments
V-Pot — Modify
parameter
displayed
in
LCD.
OPTION Set
parameter
to
minimum,
default,
or
maximum
value.
x/ALT Modify
parameter
at
high
resolution.
V-Select — Set
parameter
displayed
on
LCD
to
default
value,
or:
Switch
between
two
possible
values.
Flashing
pre-selection:
— Enter
the
pre-selected
value.
Menu
options:
— Enter
whatever
option
is
visible
in
display.
If
track
is
folder:
— Enter
folder.
REC/RDY — Activate/Deactivate
Record
Enable
button
of
track.
OPTION Disable
Record
Enable
button
for
all
tracks.
SOLO — Activate/Deactivate
Solo
button
of
track’s
Audio
Object.
OPTION Disable
Solo
button
for
all
Audio
Objects.
In
Send
Destination/Level
Multi
Channel
view:
— Switch
pre/post
status
of
selected
send.
In
Send
Destination/Level
Channel
Strip
view:
— Switch
between
pre/post
of
send
on
selected
track.
90 Chapter
2
Logic
Control
MUTE — Activate/Deactivate
Mute
button
of
track’s
Audio
Object.
OPTION Disable
Mute
button
for
all
Audio
Objects.
In
Track
Multi
Channel
view:
SHIFT Activate/Deactivate
mute/bypass
of
the
shown
parameter.
In
EQ
Multi
Channel
view:
SHIFT Activate/Deactivate
bypass
of
the
current
EQ
band.
In
EQ
Frequency/Gain
view:
— Activate/Deactivate
bypass
of
selected
EQ
band.
In
Send
Multi
Channel
view:
SHIFT Activate/Deactivate
bypass
of
selected
send.
In
Send
Destination/Level
Multi
Channel
view:
— Activate/Deactivate
bypass
of
selected
send.
In
Send
Destination/Level
Channel
Strip
view:
— Activate/Deactivate
mute
of
send
on
selected
track.
In
Plug-in
Multi
Channel
view:
SHIFT Activate/Deactivate
bypass
of
plug-in.
In
Instrument
Multi
Channel
view:
SHIFT Activate/Deactivate
bypass
of
instrument.
SELECT — Select
track.
SHIFT Set
track
volume
to
unity
level
(0
dB).
OPTION Creates
a
new
track
with
the
same
instrument
as
the
selected
track
and
switches
to
Arrange
view.
SHIFT+
OPTION
Create
a
new
track
with
the
next
instrument
(following
the
selected
track)
and
switches
to
Arrange
view.
Logic
Control Modifier Function/Comments
Chapter
2
Logic
Control 91
ASSIGNMENT
Section
Hold
down
to
show
soft-button
menu;
release
to
switch
V-Pots
to
Multi
Channel
or
Channel
Strip
views
for:
FADER — Adjust
volume.
In
Flip
mode
“Duplicate”:
— Same
function
as
V-Pot
of
same
channel.
In
Flip
mode
“Swap”:
— Swap
function
with
V-Pot
of
same
channel.
In
Surround
Angle/Diversity
view:
— Adjust
surround
diversity.
In
EQ
Frequency/Gain
view:
— Adjust
gain
of
selected
EQ
band.
In
Send
Destination/Level
Multi
Channel
view:
— Adjust
send
level
of
selected
send.
In
Send
Destination/Level
Channel
Strip
view:
— Adjust
send
level
of
send
on
selected
track.
Logic
Control Modifier Function/Comments
Logic
Control Modifier Function/Comments
TRACK — Track
parameters
PAN/SURROUND — Pan/Surround
parameters
EQ — EQ
parameters
SEND — Send
parameters
PLUG-IN — Plug-in
selection
or
Plug-in
Edit
mode
INSTRUMENT — Instrument
selection
or
Instrument
Edit
mode
BANK
<> — Shift
fader
bank
left/right
by
number
of
channel
strips.
OPTION Shift
fader
bank
to
beginning
or
end.
CHANNEL<>
— Shift
fader
bank
left/right
by
one
channel.
OPTION Shift
fader
bank
to
beginning
or
end.
FLIP — Switch
Flip
mode
between
Off
and
Duplicate.
SHIFT Switch
Flip
mode
between
Off
and
Swap.
CONTROL Switch
Flip
mode
between
Off
and
Zero
(turns
fader
motors
off ).
GLOBAL
VIEW — Switch
between
Mixer
view
and
Global
view.
SHIFT Switch
between
Mixer
view
and
Arrange
view.
92 Chapter
2
Logic
Control
DISPLAY
Parameters
Function
Buttons
Logic
Control Modifier Function/Comments
NAME/VALUE — Switch
between
parameter
name
and
parameter
value
display.
SHIFT Cycle
through
level
meter
displays:
vertical,
horizontal,
and
off.
OPTION Switch
between
track
name
and
track
number:name
display.
CONTROL Clear
clip/overload
flags.
x/ALT Enter
control
surface
group
settings
mode.
SMPTE/BEATS — Switch
between
SMPTE
and
beat
format
in
clock
display.
Logic
Control Modifier Function/Comments
F1 — Recall
Screenset
1.
SHIFT Open/Close
Arrange
window.
x/ALT Cut
TRACK Switch
to
Multi
Channel
view—Volume.
PAN/
SURROUND
Switch
to
Multi
Channel
view—Pan/surround
angle.
EQ Switch
to
Multi
Channel
view—Bypass.
SEND Switch
to
Multi
Channel
view—Destination.
MARKER Create
marker
without
rounding.
NUDGE Nudge
value:
Tick
In
modal
dialog: F1
key
is
equivalent
to
computer
keyboard
1
key.
F2 — Recall
Screenset
2.
SHIFT Open/Close
Track
Mixer
window.
x/ALT Copy
TRACK Switch
to
Multi
Channel
view—Pan.
PAN/
SURROUND
Switch
to
Multi
Channel
view—Pan/surround
radius.
EQ Switch
to
Multi
Channel
view—EQ
Type.
SEND Switch
to
Multi
Channel
view—Level.
MARKER Create
marker
with
rounding.
NUDGE Nudge
value:
Format
In
modal
dialog: F2
key
is
equivalent
to
computer
keyboard
2
key.
Chapter
2
Logic
Control 93
F3 — Recall
Screenset
3.
SHIFT Open/Close
Event
Editor.
x/ALT Paste
TRACK Switch
to
Multi
Channel
view—Track
mode.
PAN/
SURROUND
Switch
to
Multi
Channel
view—Pan/surround
LFE.
EQ Switch
to
Multi
Channel
view—Frequency.
SEND Switch
to
Multi
Channel
view—Position.
MARKER Delete
marker.
NUDGE Nudge
value:
Beat
In
modal
dialog: F3
key
is
equivalent
to
computer
keyboard
3
key.
F4 — Recall
Screenset
4.
SHIFT Open/Close
Score
Editor.
x/ALT Clear
TRACK Switch
to
Multi
Channel
view—Input.
PAN/
SURROUND
Switch
to
Multi
Channel
view—Pan/surround
mode.
EQ Switch
to
Multi
Channel
view—Gain.
SEND Switch
to
Multi
Channel
view—Mute.
NUDGE Nudge
value:
Bar
In
modal
dialog: F4
key
is
equivalent
to
computer
keyboard
4
key.
F5 — Recall
Screenset
5.
SHIFT Open/Close
Hyper
Editor.
x/ALT Select
All.
TRACK Switch
to
Multi
Channel
view—Output.
PAN/
SURROUND
Switch
to
Channel
Strip
view.
EQ Switch
to
Multi
Channel
view—Q
Factor.
SEND Switch
to
Channel
Strip
view.
NUDGE Nudge
value:
Frame
In
modal
dialog: F5
key
is
equivalent
to
computer
keyboard
5
key.
Logic
Control Modifier Function/Comments
94 Chapter
2
Logic
Control
F6 — Recall
Screenset
6.
SHIFT Open/Close
Matrix
Editor.
x/ALT Select
All
Following
TRACK Switch
to
Multi
Channel
view—Automation.
PAN/
SURROUND
Switch
to
Angle/Diversity
view.
EQ Switch
to
Channel
Strip
view.
SEND Switch
to
Channel
Strip
2
view.
NUDGE Nudge
value:
1/2
Frame
In
modal
dialog: F6
key
is
equivalent
to
computer
keyboard
6
key.
F7 — Recall
Screenset
7.
SHIFT Open/Close
Transport
window.
x/ALT Select
Similar
Regions/events.
TRACK Switch
to
Multi
Channel
view—Displayed
Parameter
PAN/
SURROUND
Switch
to
Surround
X/Y
view.
EQ Switch
to
Frequency/Gain
Multi
Channel
view.
SEND Switch
to
Destination/Level
Multi
Channel
view.
In
modal
dialog: F7
key
is
equivalent
to
computer
keyboard
7
key.
F8 — Close
top-most
floating
window.
SHIFT Open/Close
Audio
window.
x/ALT Select
Inside
Locators.
TRACK Switch
to
Track
Setup
view.
EQ Switch
to
Frequency/Gain
Channel
Strip
view.
SEND Switch
to
Destination/Level
Channel
Strip
view.
In
modal
dialog: F8
key
is
equivalent
to
computer
keyboard
8
key.
Logic
Control Modifier Function/Comments
Chapter
2
Logic
Control 95
GLOBAL
VIEW
Buttons
MODIFIERS—While
Held
Down:
Logic
Control Modifier Function/Comments
MIDI
TRACKS — Switch
to
Global
view
and
show
MIDI
tracks.
SHIFT Set
to
fader
bank
no.
1
(tracks
1
to
8,
for
example).
In
modal
dialog: MIDI
TRACKS
button
is
equivalent
to
computer
keyboard
9
key.
INPUTS — Switch
to
Global
view
and
show
Audio
Input
Objects.
SHIFT Set
to
fader
bank
no.
2
(tracks
9
to
16,
for
example).
In
modal
dialog: INPUTS
button
is
equivalent
to
computer
keyboard
0
key.
AUDIO
TRACKS — Switch
to
Global
view
and
show
Audio
Track
Objects.
SHIFT Set
to
fader
bank
no.
3
(tracks
17
to
24,
for
example).
In
modal
dialog: AUDIO
TRACKS
button
is
equivalent
to
computer
keyboard’s
period
key.
AUDIO
INSTRUMENTS
— Switch
to
Global
view
and
show
Audio
Instrument
Objects.
SHIFT Set
to
fader
bank
no.
4
(tracks
25
to
32,
for
example).
In
modal
dialog: AUDIO
INSTRUMENTS
button
is
equivalent
to
computer
keyboard
/
key.
AUX — Switch
to
Global
view
and
show
Aux
Objects.
SHIFT Set
to
fader
bank
no.
5
(tracks
33
to
40,
for
example).
In
modal
dialog: AUX
button
is
equivalent
to
computer
keyboard
*
key.
BUSSES — Switch
to
Global
view
and
show
Bus
Objects.
SHIFT Set
to
fader
bank
no.
6
(tracks
41
to
48,
for
example).
In
modal
dialog: BUSSES
button
is
equivalent
to
computer
keyboard
–
key.
OUTPUTS — Switch
to
Global
view
and
show
Outputs
and
Master
Objects.
SHIFT Set
to
fader
bank
no.
7
(tracks
49
to
56,
for
example).
In
modal
dialog: OUTPUTS
button
is
equivalent
to
computer
keyboard
+
key.
USER — Currently
unassigned.
SHIFT Set
to
fader
bank
no.
8
(tracks
57
to
64,
for
example).
Logic
Control Function/Comments
SHIFT
Switch
to
second
function.
OPTION Apply
function
to
all
tracks
or
set
parameter
to
minimum,
default,
or
maximum
value.
CONTROL Disable
Group
functions
while
held
down.
x/ALT Enable
fine
mode;
shift
parameter
page
by
one
parameter
instead
of
page.
96 Chapter
2
Logic
Control
AUTOMATION
Buttons
UTILITIES
Buttons
Logic
Control Modifier Function/Comments
READ/OFF — Set
selected
track’s
automation
to
Read
or
Off.
OPTION Set
all
tracks’
automation
to
Read
or
Off.
TOUCH — Set
selected
track’s
automation
to
Touch.
OPTION Set
all
tracks’
automation
to
Touch.
LATCH — Set
selected
track’s
automation
to
Latch.
OPTION Set
all
tracks’
automation
to
Latch.
WRITE — Set
selected
track’s
automation
to
Write.
OPTION Set
all
tracks’
automation
to
Write.
TRIM Currently
unassigned.
GROUP — Enter
Group
Edit
mode.
SHIFT Create
a
new
group,
open
the
Group
window
and
enter
Group
Edit
mode.
TRACK Switch
to
Track
Multi
Channel
view,
displaying
Track
Group
parameter.
Logic
Control Modifier Function/Comments
SAVE — Save
Song.
OPTION Save
Song
as.
UNDO — Undo
SHIFT Redo
OPTION Open
Undo
History.
CANCEL — Leave
folder.
Flashing
pre-selection:
— Cancel
pre-selection.
In
alerts:
— Execute
Cancel
button.
ENTER — Enter
folder
of
selected
track.
In
alerts:
— Execute
default
button.
Chapter
2
Logic
Control 97
TRANSPORT
Buttons
Logic
Control Modifier Function/Comments
MARKER — Switch
Small
Marker
mode
on/off.
SHIFT Switch
Large
Marker
mode
on/off.
NUDGE — Switch
Small
Nudge
mode
on/off.
SHIFT Switch
Large
Nudge
mode
on/off.
MARKER Create
a
marker.
This
allows
you
to
create
a
marker
with
one
hand
without
entering
Large
Marker
mode.
CYCLE — Activate/Deactivate
Cycle.
SHIFT Switch
to
Cycle
view.
DROP — Activate/Deactivate
Drop.
SHIFT Switch
to
Drop
view.
REPLACE — Activate/Deactivate
Replace.
CLICK — Activate/Deactivate
metronome
click
(separately
for
playback
and
record).
SHIFT Activate/Deactivate
internal/external
sync
and
MMC.
SOLO — Activate/Deactivate
Solo
Lock
function.
SHIFT Enable
Solo
Lock
function.
REWIND
<< — Shuttle
rewind.
MARKER Go
to
previous
marker.
NUDGE Nudge
left
by
chosen
value.
CYCLE Engage
Cycle
function
and
set
left
locator
to
SPL.
DROP Engage
Drop
and
set
Drop
In
to
SPL.
In
Marker
mode:
— Go
to
previous
marker.
In
Nudge
mode:
— Nudge
left
by
chosen
value.
F.FWD
>> — Shuttle
forward.
MARKER Go
to
next
marker.
NUDGE Nudge
right
by
chosen
value.
CYCLE Engage
Cycle
function
and
set
right
locator
to
SPL.
DROP Engage
Drop
and
set
Drop
Out
to
SPL.
In
Marker
mode:
— Go
to
previous
marker.
In
Nudge
mode:
— Nudge
right
by
chosen
value.
STOP
— Stop.
98 Chapter
2
Logic
Control
Cursor
Keys
and
Scrub
Wheel
PLAY
— Play
SHIFT Pause
RECORD
— Record
Logic
Control Modifier Function/Comments
Logic
Control Modifier Function/Comments
Cursor
Left/Right If
in
Multi
Channel
view:
— Select
previous/next
parameter
of
current
view.
ZOOM Scroll
window
horizontally
by
page.
If
in
Channel
Strip
EQ,
Send
view
or
Plug-in/Instrument
Edit
view:
— Shift
current
editor
page
by
one
page.
x/ALT Shift
current
editor
page
by
one
parameter.
ZOOM Scroll
window
horizontally
by
page.
Otherwise
(always
in
Nudge
mode):
— Mimic
computer
keyboard
Left/Right
Arrow
keys.
ZOOM Scroll
window
horizontally
by
page.
In
Zoom
mode:
— Change
horizontal
zoom
level.
SHIFT Reset
individual
track
zoom
of
current
track
(Cursor
Left)
or
all
tracks
of
same
class
(Cursor
Right).
Cursor
Up/Down In
Channel
Strip
EQ,
Send
view
or
Plug-In/Instrument
Editor
view:
— Select
previous/next
EQ
band,
Send,
or
Insert
slot.
ZOOM Scroll
window
vertically
by
page.
Otherwise
(always
in
Nudge
mode):
— Mimic
computer
keyboard
Up/Down
Arrow
keys.
ZOOM Scroll
window
vertically
by
page.
In
Zoom
mode:
— Change
vertical
zoom
level.
SHIFT Change
individual
track
zoom
of
current
track.
ZOOM — Switch
between
default
cursor
button
behavior
(see
above)
and
Zoom
mode.
SHIFT Switch
between
default
cursor
button
behavior
and
permanently
mimicking
computer
keyboard
arrow
keys.
SCRUB — Activate/Deactivate
Scrub
mode.
SHIFT Enable
Shuttle
mode
on
the
Jog
Wheel
(SCRUB
button
LED
flashes)
Chapter
2
Logic
Control 99
External
Inputs
Jog
Wheel
— Move
song
position
line.
CYCLE Set
the
Left
locator
to
the
current
SPL,
advance
the
SPL
as
normally,
then
set
the
Right
locator
to
the
SPL.
Further
Jog
Wheel
turns
while
still
holding
down
CYCLE
advances
the
SPL
and
sets
the
Right
locator
again.
Tip:
Rotating
the
Jog
Wheel
counterclockwise
while
holding
down
CYCLE
defines
a
skip-cycle
range.
DROP Set
the
Drop
In
locator
to
the
current
SPL,
advance
the
SPL
as
normally,
then
set
the
Drop
Out
locator
to
the
SPL.
Further
Jog
Wheel
turns
while
still
holding
down
DROP
advances
the
SPL
and
sets
the
Drop
out
locator
again.
In
Scrub
mode
(SCRUB
button
LED
on):
— Scrub
In
Shuttle
mode
(SCRUB
button
LED
flashing):
— Shuttle
Logic
Control Modifier Function/Comments
Logic
Control Modifier Function
USER
SWITCH
A — Play/Stop
USER
SWITCH
B — Drop
In/Out
EXTERNAL
CONTROL
— Master
Volume
3
101
3 M-Audio
iControl
This
chapter
will
introduce
you
to
using
Logic
Pro
with
the
MAudio
iControl.
The
iControl
support
in
Logic
Pro
has
been
designed
to
ensure
full
GarageBand
compatibility.
When
a
GarageBand
song
is
imported
into
Logic,
the
iControl
can
be
used
to
edit
the
song
in
exactly
the
same
fashion
as
it
would
in
GarageBand.
Logic,
however,
offers
many
more
functions
than
GarageBand,
leading
to
some
iControl
buttons
not
being
assigned
as
you
might
expect
in
Logic.
But
don’t
worry:
you
can
easily
reassign
these
buttons
using
the
sophisticated
Control
Surfaces
Assignments
Editor
of
Logic
(see
the
Control
Surface
chapter
for
more
information).
To
use
Logic
with
an
iControl
unit,
you
need:
 an
iControl
unit
 Logic
Pro
7.
2,
or
later
 a
free
USB
port
Setting
Up
the
iControl
Setting
up
your
iControl
for
use
with
Logic
is
a
simple
process:
Connect
the
iControl
to
any
of
your
computer’s
USB
ports.
Logic
automatically
detects
a
connected
iControl.
You
can
use
the
iControl
in
an
independent
control
surface
group
(with
other
control
surface
icons
placed
above/
below
the
iControl
icon),
or
combined
into
one
control
surface
group
with
one
or
more
control
surfaces.
If
Cycle
mode
is
enabled
in
your
song
or
any
tracks
are
muted,
the
corresponding
LEDs
will
be
illuminated,
reflecting
each
track’s
current
status.
The
following
sections
will
provide
you
with
information
on
accessing
parameters
and
functions
that
may
not
be
apparent
at
first
glance.
You
are
strongly
encouraged
to
experiment
with
these
parameters
and
functions—this
will
help
to
familiarize
you
with
iControl
support
in
Logic.
102 Chapter
3
M-Audio
iControl
Compatibility
The
iControl
can
edit
all
plug-ins
that
offer
parameters
which
can
be
automated.
Many
Logic
plug-ins—effects
and
Audio
Instruments—plus
those
of
third-party
manufacturers,
feature
dozens
of
parameters.
Every
one
of
these
parameters
can
be
accessed
by
the
iControl.
To
give
you
an
example
of
how
this
works,
imagine
a
plug-in
that
contains,
say,
16
parameters.
Once
you’ve
switched
to
the
appropriate
Channel
Strip
View
of
the
plug-in
you
wish
to
adjust,
you
can
directly
affect
parameters
1
to
8
with
encoders
1
to
8.
You
can
then
switch
by
a
“page”
to
access
parameters
9
to
16.
Simply
press
the
Arrow
Up
or
Arrow
Down
button
to
step
up/down
to
the
next
“page”
of
parameters.
Should
you
find
that
your
third-party
plug-in
does
not
support
remote
editing
or
other
features
mentioned
in
this
document,
please
contact
the
plug-in
manufacturer
to
obtain
an
updated
version
that
supports
these
facilities.
Channel
Views
The
channels
section
(the
eight
channel
strips
on
the
right
side
of
your
iControl;
each
channel
strip
comprises
of
a
Select,
Record
Enable,
Mute,
and
Solo
button
plus
a
rotary
encoder)
operates
in
two
view
“modes”—Multi
Channel
and
Channel
Strip
View.
Switching
between
these
modes
only
affects
the
rotary
encoders,
with
the
other
channel
controls
always
remaining
in
Multi
Channel
View.
 Multi
Channel
View—accesses
one
parameter
for
eight
tracks,
such
as
pan
or
volume
(normally
a
section
of
the
Track
Mixer
window).
 Channel
Strip
View—accesses
eight
parameters
of
the
selected
track.
Switching
to
a
Multi
Channel
or
Channel
Strip
view
is
achieved
by
pressing
one
of
the
Assignment
buttons
(see
the
following
section).
The
Assignment
Buttons
The
two
button
areas
labelled
“All
Tracks”
and
“Selected
Track”
are
used
to
define
the
behavior
of
the
channel
strip
buttons.
Volume
Pressing
the
Volume
button
enters
Volume
Multi
Channel
View;
you
can
use
the
rotary
encoders
to
control
the
Volume
fader
of
the
eight
active
tracks
in
this
mode.
Chapter
3
M-Audio
iControl 103
The
other
channel
strip
buttons
maintain
the
default
Multi
Channel
View
function:
 Sel
buttons:
Selects
the
track
for
editing.
 Record
Enable
buttons:
Enables/disables
the
track
for
recording.
 Mute
button:
Activates/deactivates
the
Mute
button
of
the
Audio
Object
that
corresponds
with
the
track.
 Solo
button:
Activate/deactivates
the
Solo
button
of
the
Audio
Object
that
corresponds
with
the
track.
Pan
Pressing
the
Pan
button
enters
Pan
Multi
Channel
View;
you
can
use
the
rotary
encoders
to
control
the
Pan
knob
of
the
eight
active
tracks
in
this
mode.
The
other
channel
strip
buttons
maintain
the
default
Multi
Channel
view
function:
 Sel
buttons:
Selects
the
track
for
editing.
 Record
Enable
buttons:
Enables/disables
the
track
for
recording.
 Mute
button:
Activates/deactivates
the
Mute
button
of
the
Audio
Object
that
corresponds
with
the
track.
 Solo
button:
Activate/deactivates
the
Solo
button
of
the
Audio
Object
that
corresponds
with
the
track.
Track
Info
Pressing
the
Track
Info
button
enters
Track
Channel
Strip
View.
In
this
mode,
you
can
use
the
Sel
buttons
and
rotary
encoders
of
the
eight
channel
strips
to
edit
global
parameters
of
the
selected
track.
The
Record
Enable,
Mute,
and
Solo
buttons
maintain
their
default
Multi
Channel
view
functions.
 Sel
button
1
to
5:
Switches
the
bypass
status
of
the
first
five
Insert
slots.
 Sel
button
6
and
7:
Switches
the
bypass
status
of
the
first
and
second
Send
slots.
Note:
A
Select
button
is
illuminated
if
the
Insert
or
Send
slot
is
enabled,
and
unlit
if
the
effect
is
bypassed.
 Sel
button
8:
Not
assigned.
 Encoder
1:
In
GarageBand,
every
Real
Instrument
track
(Real
Instrument
tracks
are
audio
tracks
in
Logic)
contains
a
Noise
Gate
plug-in.
Given
this
default
plug-in
assignment,
encoder
1
is
assigned
to
controlling
the
Threshold
parameter
of
the
Noise
Gate
in
Track
Channel
Strip
mode
(if
inserted
in
the
selected
channel
strip).
 Encoder
2:
In
GarageBand
songs,
every
Real
Instrument
track
contains
a
Compressor
plug-in.
Again,
in
Track
Channel
Strip
mode,
encoder
2
is
assigned
to
controlling
the
Compressor’s
Ratio
(if
inserted
in
the
selected
channel
strip).
 Encoders
3
and
4
are
not
assigned.
 Encoder
5
controls
the
Pan
knob
of
the
channel.
 Encoder
6
controls
the
Send
level
of
the
first
Send.
104 Chapter
3
M-Audio
iControl
 Encoder
7
controls
the
Send
level
of
the
second
Send.
 Encoder
8
controls
the
Volume
fader
of
the
channel.
Generator
Pressing
the
Generator
button
allows
you
to
edit
all
sound
generation
parameters
of
the
software
instrument
for
the
selected
track.
The
Arrow
Up
and
Arrow
Down
buttons
switch
to
the
previous
or
next
eight
parameters.
Note:
This
mode
can
only
be
accessed
if
the
selected
channel
strip
contains
an
audio
instrument.
Effect
1
and
Effect
2
Pressing
Effect
1
or
Effect
2
allows
you
to
edit
the
parameters
of
the
third
or
fourth
Insert
slot
of
the
selected
track
(where
applicable).
 Turning
the
encoders
changes
the
parameter
value.
 The
Arrow
Up
and
Arrow
Down
buttons
switch
to
the
previous
or
next
parameter
page.
Note:
When
shifting
by
a
“page,”
this
always
“quantizes”
to
integer
pages.
As
an
example:
The
plug-in
has
19
parameters
and
the
iControl
displays
parameters
1
to
8.
 Pressing
the
Arrow
Down
button
shifts
to
parameters
9
to
16.
 Pressing
the
Arrow
Down
button
again
shifts
to
parameters
12
to
19
 Pressing
the
Arrow
Up
button
shifts
back
to
parameters
9
to
16,
not
4
to
11.
This
way,
you
always
revert
to
the
page
positions
you
expect
to
find,
and
are
comfortable
with.
Pressing
the
Effect
1
or
Effect
2
button
while
pressing
the
Option
button
switches
the
bypass
status
of
Insert
slots
3
and
4,
respectively.
EQ
Pressing
the
EQ
button
allows
you
to
edit
all
EQ
parameters—in
all
bands—for
the
selected
track.
Pressing
the
EQ
button
opens
or
closes
the
Channel
EQ
plug-in
window
of
the
track.
If
no
Channel
or
Linear
Phase
EQ
is
present
on
the
selected
track,
a
Channel
EQ
will
be
inserted
automatically
when
the
EQ
Channel
Strip
View
is
entered.
Note:
You
can
use
the
Arrow
Down
and
Up
buttons
to
switch
to
the
next
or
previous
parameter
page.
Chapter
3
M-Audio
iControl 105
Arrow
Up
and
Arrow
Down
Buttons
The
Arrow
Up
and
Arrow
Down
buttons
move
up
or
down
by
“banks”
of
tracks
(or
between
“pages”
of
parameters,
as
discussed
earlier).
To
quickly
explain,
a
single
iControl
device
is
only
capable
of
viewing
eight
tracks
at
a
time.
To
see,
and
edit
or
mix
more
tracks,
simply
press
the
Arrow
Up
or
Arrow
Down
button
to
switch
between
tracks
1
to
8,
9
to
16,
17
to
24
and
so
on.
Note
that
when
shifting
by
bank,
this
always
“quantizes”
to
integer
banks.
As
an
example:
Your
song
has
19
tracks,
and
the
iControl
is
displaying
tracks
1
to
8.
 Pressing
the
Arrow
Down
button
shifts
to
tracks
9
to
16
 Pressing
the
Arrow
Down
button
again
shifts
to
tracks
12
to
19
 Pressing
the
Arrow
Up
button
shifts
back
to
tracks
9
to
16,
not
4
to
11
This
way,
you
always
revert
to
the
bank
positions
you
expect,
and
are
used
to.
Note:
Pressing
the
Arrow
Up
button
while
holding
down
the
Option
button
jumps
to
the
first
tracks,
and
pressing
the
Arrow
Down
button
jumps
to
the
last
tracks
in
the
song—as
an
example
(in
a
64
track
song),
tracks
1
to
8
or
tracks
57
to
64.
If
the
Generator,
EQ,
Effect
1,
or
Effect
2
button
is
illuminated,
the
Arrow
Up
and
Arrow
Down
buttons
have
different
functionality.
See
the
sections
above
for
details.
The
Channel
Strip(s)
As
each
channel
strip
is
identical,
the
information
discussed
in
this
section
applies
equally
to
all
eight
of
the
iControl
channel
strips.
Select
Button
This
button
is
used
to
select
a
channel
for
channel-based
editing
or
assignment
commands.
Each
channel
features
an
independent
Select
LED
which
is
lit
when
a
track
is
selected.
Note:
If
the
Track
Info
button
is
illuminated,
the
Select
buttons
behave
differently.
See
“Track
Info”
on
page
103
for
details.
Record
Enable
Button
This
button
arms
or
disables
the
channel
for
recording.
Each
channel
features
an
independent
Record
Button
LED
which
illuminates
when
a
track
is
“armed”
for
recording.
Note:
Holding
down
the
Option
button,
while
pressing
any
Record
Enable
button
will
disarm
all
tracks.
106 Chapter
3
M-Audio
iControl
Mute
Button
Used
to
mute
the
track’s
signal.
Each
channel
features
an
independent
Mute
LED
which
illuminates
when
a
track
is
muted.
Note:
Holding
down
the
Option
button,
while
pressing
any
Mute
button
will
unmute
all
tracks.
Solo
Button
Used
to
solo
channel
signals.
Each
channel
features
an
independent
Solo
LED
which
illuminates
when
a
track
is
soloed.
Note:
Holding
down
the
Option
button,
while
pressing
any
Solo
button
will
disable
solo
for
all
tracks.
Encoder
The
eight
encoders
are
used
for
a
number
of
operations,
depending
on
the
current
status
of
the
Assignment
buttons
to
the
left.
See
“The
Assignment
Buttons”
on
page
102.
Note:
Pressing
the
Option
button
while
turning
an
encoder
sets
the
Relative
Controller
mode
to
Full:
The
encoder
switches
between
the
parameter’s
minimum,
default,
or
maximum
value.
The
Jog
Wheel
The
Jog
Wheel
can
be
used
to
navigate
through
the
song,
which
is
useful
for
a
number
of
transport
tasks.
Simply
turn
the
dial
to
move
to
a
song
position.
The
Transport
Zone
This
section
of
the
iControl
features
six
buttons.
It
should
be
noted
that
these
buttons
can
be
used
independently,
or
in
conjunction
with
one
another,
to
navigate
and
edit
your
songs.
Record
Button
Activates
recording
on
the
selected
track.
Return
to
Zero
Button
(RTZ)
Moves
the
SPL
to
the
beginning
of
the
song.
Chapter
3
M-Audio
iControl 107
Rewind
Button
Holding
the
Rewind
button
moves
the
song
position
line
backwards.
Quickly
pressing
the
Rewind
button
once,
moves
the
SPL
one
bar
backwards.
Pressing
the
Rewind
and
Cycle
buttons
simultaneously
enables
Cycle
mode,
and
sets
the
left
border
of
the
Cycle
area
(left
locator)
to
the
current
song
position.
Play
Plays
from
the
current
song
position.
If
pressed
during
playback,
it
will
stop
playback.
Fast
Forward
Button
Holding
the
Fast
Forward
button
moves
the
song
position
line
forwards.
Quickly
pressing
the
Fast
Forward
button
once,
moves
the
SPL
one
bar
forward.
Pressing
the
Fast
Forward
and
Cycle
buttons
simultaneously
enables
Cycle
mode,
and
sets
the
right
border
of
the
Cycle
area
(right
locator)
to
the
current
song
position.
Cycle
Activates/deactivates
Cycle
mode.
By
default,
the
Cycle
area
will
fall
between
the
first
two
markers.
You
can
use
the
iControl
to
set
the
left
or
right
locator
to
the
current
song
position
and
enable
Cycle
mode.
To
define
a
new
Cycle
area,
using
the
Cycle
button:
1 Navigate
to
the
desired
left
locator
position
with
the
Jog
Wheel.
2 Do
one
of
the
following:
 Press
the
Cycle
and
Rewind
buttons
simultaneously,
navigate
to
the
desired
right
locator
position
with
the
Jog
Wheel,
then
press
the
Cycle
and
Fast
Forward
buttons
simultaneously.
 Hold
down
the
Cycle
button,
navigate
to
the
desired
right
locator
position
with
the
Jog
Wheel,
then
release
the
Cycle
button.
Master
Fader
Controls
the
level
of
the
Master
fader
in
the
Mixer
windows
of
Logic.
This
reduces
the
level
of
all
tracks,
but
does
not
affect
their
relative
positions.
108 Chapter
3
M-Audio
iControl
Assignment
Overview
The
following
assignment
tables
are
broken
down
into
“zones”
of
the
iControl.
Assignment
Section
The
Assignments
button
in
the
All
Tracks
and
Selected
Tracks
area
defines
the
behavior
of
the
channel
strip
buttons.
Channel
Strip
(x8)
iControl
button Modifier Function/Comments
Volume — Encoders
control
track’s
Volume
parameter.
Pan — Encoders
control
track’s
Pan
parameter.
Generator — Encoders
control
software
instrument
parameters.
Track
Info — Encoders
control
track
parameters.
EQ — Encoders
control
EQ
parameters.
Effect
1 — Encoders
control
Insert
3
parameters.
Effect
2 — Encoders
control
Insert
4
parameter.
Option
— Modifier
for
other
controls;
while
held
down,
the
modified
control
either
applies
the
function
to
all
tracks
or
sets
the
parameter
to
its
minimum,
default,
or
maximum
value.
Arrow
Up/Down
— Shift
fader
bank
left/right
by
number
of
channel
strips.
Option Shift
fader
bank
to
beginning
or
end.
iControl
Modifier Function/Comments
Encoder — Modify
currently
selected
parameter.
Option Set
parameter
to
minimum,
default,
or
maximum
value.
Record
Enable — Activates/Deactivates
Record
Enable
button
of
track.
Option Disable
Record
Enable
button
for
all
tracks.
Solo — Activates/Deactivates
Solo
button
of
track.
Option Disable
Solo
button
for
all
tracks.
Mute — Activates/Deactivates
Mute
button
of
track.
Option Disable
Mute
button
for
all
tracks.
Sel — Select
track,
except
in
Channel
Strip
mode.
Chapter
3
M-Audio
iControl 109
Jog
Wheel
Transport
Buttons
iControl
Modifier Function/Comments
Jog
Wheel — Move
Song
Position
Line.
Cycle Set
the
Left
locator
to
the
current
SPL,
advance
the
SPL
as
per
usual,
then
set
the
Right
locator
to
the
new
SPL
position.
Further
Jog
Wheel
turns
(to
the
right)
while
holding
down
the
Cycle
button
advances
the
SPL
and
resets
the
Right
locator
position.
Tip:
rotating
the
Jog
Wheel
counter-clockwise
(to
the
left)
while
holding
down
Cycle
defines
a
skip-cycle
range.
iControl Modifier Function/Comments
Record — Record
Return
To
Zero — Go
to
beginning
of
song
Rewind — Move
the
SPL
one
bar
backward.
If
held,
continue
to
scroll
backwards.
Cycle Engage
Cycle
function
and
set
left
locator
to
SPL.
Play — Play
or
Stop
Fast
Forward — Move
the
SPL
one
bar
forward.
If
held,
continue
to
scroll
forwards.
Cycle Engage
Cycle
function
and
set
right
locator
to
SPL.
Cycle — Switch
Cycle
mode
on
or
off.
4
111
4 EuCon
Support
of
Euphonix
MC
and
System
5-MC
Logic
Pro
7.2.1
supports
the
EuCon
protocol
developed
by
Euphonix,
enabling
enhanced
communication
between
the
MC
or
System
5-MC
and
Logic.
The
following
chapter
describes
how
the
MC
and
System
5-MC
control
Logic
in
EuCon
mode.
Please
note
that
this
is
an
addendum
to
the
MC
operation
manual
and
is
limited
to
descriptions
of
Logic
specific
features.
Please
refer
to
the
device
operating
manuals
for
more
information
about
your
control
surface(s).
Setting
Up
the
MC
or
System
5-MC
With
Logic
Please
follow
the
steps
outlined
in
the
section
below
to
use
your
MC
or
System
5-MC
with
Logic.
To
set
up
the
MC
or
System
5-MC
with
Logic:
1 Set
up
your
MC
and/or
CM408T
units
as
described
in
the
MC
operation
manual.
2 Install
the
EuConWS
software
(version
1.1.2
or
later)
on
your
Macintosh.
3 Ensure
that
your
Macintosh
computer
is
set
up
as
a
workstation
on
the
MC
(see
MC
operation
manual).
4 Assuming
that
the
MC
software
is
running
on
the
MC:
Select
the
Euphonix
Menu
icon
on
the
MC
Touchscreen
and
choose
the
Prefs
menu
item,
then
go
to
the
About
tab.
Ensure
that
EuCon
version
is
1.1.2
or
later.
If
it
isn‘t,
you‘ll
need
to
update
the
EuCon
software.
Go
to
the
Euphonix
website
for
more
information.
Note:
If
you
have
been
using
an
earlier
EuCon
version,
you
should
delete
or
rename
the
Logic
Pro.xml
file
before
installing
newer
EuCon
versions.
This
file
is
used
when
controlling
Logic
with
the
Euphonix
device(s)
HUI
emulation,
which
causes
conflicts
when
controlling
Logic
in
EuCon
mode.
Exit
the
MC
and
return
to
the
operating
system
by
choosing
Euphonix
>
Shutdown
>
Exit
to
Operating
System,
then
open
the
C:\Program
Files\Euphonix\EuCon\UserSets\MCUser\MC_USER_SET__Root
folder
and
rename
or
delete
the
Logic
Pro.xml
file.
112 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
5 If
you
have
a
CM408T
and
the
correct
MC
software
is
running:
Choose
Euphonix
>
Prefs
>
Modules,
select
the
CM408T
in
the
“All
Online”
list,
then
touch
“Add.”
6 Launch
Logic
Pro
7.2.1.
The
startup
screen
advises
that
Logic
is
starting
EuCon.
7 On
the
MC,
press
the
workstation
button
associated
with
your
Macintosh
computer.
The
MC
display
will
show
an
“Attaching
to
Logic
Pro”
progress
bar.
Note:
The
EuCon
support
of
Logic
is
not
achieved
through
special
control
surface
plugins.
As
a
consequence,
you
can
not
use
the
Control
Surface
Assignments
Editor
to
change
assignments.
You
can
only
use
the
facilities
provided
by
the
MC
or
System
5-
MC.
More
information
about
this
can
be
found
in
the
operation
manuals
provided
with
your
EuCon
device(s).
EuCon
devices
do
not
appear
in
the
Control
Surfaces
Setup
window.
Setting
Up
Soft
Key
Assignments
The
“Logic
Pro.xml”
Application
Set
file—installed
with
EuCon
version
1.1.2—features
a
number
of
useful
Soft
Key
assignments.
The
MC
Touchscreen
can
be
used
to
edit
them.
To
change
a
Soft
Key
assignment:
1 Select
the
respective
Soft
Key.
2 Touch
the
Euphonix
Menu
icon,
then
choose
Setup
in
the
ensuing
pop-up
menu.
3 Choose
the
desired
EuCon
command
in
the
menu.
Logic
supports
the
following
EuCon
commands:
 Key
Commands:
All
Logic
key
commands
(except
the
transport
commands)
are
found
here.
The
Touchscreen
uses
the
same
hierarchy
as
the
Key
Commands
window.
Many
of
these
key
commands
switch
between
states
(on/off,
for
example)
or
set
a
value.
Most
also
provide
feedback
on
the
Soft
Key
(as
an
example:
a
Soft
Key
assigned
to
the
Open/Close
Score
Editor
command
is
illuminated
when
a
Score
Editor
window
is
open).
 Left
Wheel/Right
Wheel:
The
commands
found
here
allow
you
to
configure
the
left
or
right
wheel
to
perform
a
certain
action
when
turned.
This
includes
horizontal
or
vertical
zoom,
waveform
zoom,
individual
track
zoom,
move
locators,
adjust
left
locator,
adjust
right
locator,
move
drop
locators,
adjust
drop
in
(punch
in),
adjust
drop
out
(punch
out),
move
marker,
adjust
marker
length,
nudge
selected
Regions
or
events,
left/right
pan
(surround
X),
and
front/back
pan
(surround
Y).
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 113
 Project
>
Markers:
All
markers
defined
in
the
open
song
are
shown
as
a
list.
Assigning
a
Soft
Key
to
a
marker
command
will
display
the
marker
title
on
the
Soft
Key
LCD
display.
Pressing
the
Soft
Key
will
move
the
SPL
to
the
marker
start
point.
The
Soft
Key
is
illuminated
while
the
SPL
falls
within
the
marker
boundaries.
Renaming
a
marker
in
Logic
also
changes
the
associated
Soft
Key
title.
Moving
a
marker,
however,
disconnects
the
Soft
Key
from
the
marker.
 Transport:
All
transport
related
key
commands
are
found
here.
Note:
Marker
Soft
Keys
are
a
part
of
the
Application
Set,
not
the
song
data.
Don’t
forget
to
save
the
User
Set
after
defining
a
Marker
Soft
Key.
Main-Tracks
Touchscreen
The
MC
Main-Tracks
Touchscreen
always
displays
a
song‘s
tracks
(channels)
in
the
Track
Mixer‘s
(adaptive)
Track
view:
 The
channels
are
laid
out
in
the
same
order
as
in
the
Arrange
window.
 Redundant
tracks
are
suppressed
(not
accessible),
where
multiple
tracks
represent
the
same
output.
Note:
Filtered
selections
(different
view
modes)
are
not
reflected
on
the
MC
Main-
Tracks
Touchscreen
track
list.
The
transport
information
is
displayed
as
follows:
 SMPTE
clock
 Bars/beats
time
 Left
locator
 Right
locator
Main-Layouts
Layouts
are
automatically
saved
with
the
Logic
song.
When
re-loading
a
song,
all
defined
layouts
are
available.
Faders
The
following
section
outlines
the
functionality
of
the
MC
fader
elements
in
Logic.
Solo
Keys
This
key
activates
the
Solo
button
for
each
Audio
Object.
114 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
On
Keys
The
MC
On
keys
provide
the
same
functionality
as
the
Mute
buttons
in
Logic,
but
work
in
reverse:
An
MC
On
key
must
be
lit
to
hear
the
channel.
If
a
channel
strip
has
been
muted
in
Logic,
the
corresponding
MC
channel
On
key
is
not
illuminated.
A
track
that
is
not
muted
features
a
lit
On
key.
L
LED
When
the
Logic
track
controlled
by
the
fader
belongs
to
an
automation
group,
the
L
LED
on
the
channel
strip
is
lit.
Touching
Fader
Selects
Track
Preference
Please
note
that
the
“Touching
fader
selects
track”
preference
of
Logic
(Logic
>
Preferences
>
Control
Surfaces
>
Preferences)
does
not
apply
to
the
MC
and
System
5-
MC
when
they
are
used
with
the
EuCon
protocol.
This
function
is
offered
by
the
MC
itself,
with
the
“Select
channel
by
touching
fader/joystick“
preference.
Choosing
Automation
Modes
The
MC
and
System
5-MC
only
support
Read
and
Write
automation
modes.
Logic,
however,
also
features
Touch
and
Latch
automation
modes.
When
you
use
these
devices
with
Logic,
activating
the
“Read
and
Write“
mode
in
the
Touchscreen
activates
Touch
mode
in
Logic.
Latch
mode
can
not
be
activated
with
the
MC
or
System
5-MC.
When
you
choose
Latch
mode
with
the
mouse
in
Logic,
the
green
R
and
red
W
LEDs
are
lit
(as
per
Read
and
Write
mode).
To
choose
an
automation
mode:
1 Press
the
Wave
and
Select
keys
simultaneously.
2 Select
the
desired
automation
mode
in
the
pop-up
menu
displayed
on
the
Touchscreen.
You
can
choose
between:
 Isolate:
Automation
mode
is
off.
 Read:
Activates
Read
mode
in
Logic.
 Write:
Activates
Write
mode
in
Logic.
 Read/Write:
Activates
Touch
mode
in
Logic.
Note:
If
a
write
automation
mode
(Touch,
Latch,
Write)
is
active
(and
an
automation
parameter
enabled
in
the
Logic
>
Preferences
>
Automation
>
Touch/Latch/Write
Erase
settings
is
chosen),
the
red
W
LED
is
lit.
The
green
LED
is
lit
when
a
read
automation
mode
is
active.
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 115
Knobsets
When
using
the
Euphonix
MC
with
Logic,
a
knobset
contains
pages,
each
comprised
of
eight
parameters.
The
top
level
knobset
leads
to
the
following
knobsets:
 Inserts:
Pressing
the
Inserts
Soft
Key
switches
to
a
list
of
currently
instantiated
plugins
(see
the
following
section
for
details).
The
On
key
is
lit
if
a
plug-in
is
enabled
(not
bypassed)
and
does
not
belong
to
the
dynamic,
EQ,
or
filter
plug-in
groups.
(Please
note
that
this
also
applies
to
Audio
Unit
plug-ins.)
Pressing
the
On
key
switches
the
bypass
state
of
all
plug-ins
that
do
not
fall
into
the
dynamic,
EQ,
or
filter
groups.
 Input:
Pressing
the
Input
Soft
Key
switches
to
input
parameters
(see
“Input
Knobset”
on
page
116).
 Dyn:
The
Dyn
Soft
Key
is
not
currently
used
to
display
a
list,
or
allow
editing,
of
dynamic
plug-ins.
The
On
key
is
lit
when
any
Dynamic
plug-ins
are
enabled
(not
bypassed).
Please
note
that
this
only
applies
to
Logic
plug-ins,
not
Audio
Unit
plugins.
Pressing
the
On
key
switches
the
bypass
state
of
all
Dynamic
plug-ins.
 EQ:
Pressing
the
EQ
Soft
Key
switches
to
EQ
editing
(see
“EQ
Knobset”
on
page
118).
The
On
key
is
lit
when
EQ
plug-ins
are
enabled
(not
bypassed).
Please
note
that
this
only
applies
to
Logic
plug-ins,
not
Audio
Unit
plug-ins.
Pressing
the
On
key
switches
the
bypass
state
of
all
EQ
plug-ins.
 Sends:
Pressing
the
Sends
Soft
Key
switches
to
Send
editing
mode
(see
“Sends
Knobset”
on
page
118).
 Pan:
Pressing
the
Pan
Soft
Key
switches
to
Pan/Surround
editing
mode
(see
“Pan/
Surround
Editing
Knobset”
on
page
119).
 Groups:
Pressing
the
Groups
Soft
Key
switches
to
Group
editing
mode
(see
“Groups
Knobset”
on
page
119).
 Output:
Pressing
the
Output
Soft
Key
switches
to
Output
parameter
editing
mode
(see
“Output
Knobset”
on
page
119).
Inserts
(Configuration)
Knobset
In
this
mode,
the
Soft
Keys
display
the
effect
plug-ins
inserted
on
the
selected
track.
If
more
than
eight
effect
plug-ins
are
instantiated,
you
can
use
the
right
Page
key
of
the
left
Page
key
set
to
display
ensuing
plug-ins.
To
edit
an
effect
plug-in:
1 Press
the
Soft
Key
(or
respective
knob
top)
that
features
the
name
of
the
effect
plug-in
that
you
wish
to
edit.
This
switches
to
Effect
Plug-in
Editing
mode.
The
parameters
of
the
plug-in
are
displayed
in
the
order
shown
in
the
Controls
view
of
the
effect.
2 Turn
the
respective
knob(s)
to
change
the
desired
value(s).
116 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
Pressing
a
knob
top
sets
the
controlled
parameter
to
its
default
value.
For
parameters
with
only
two
values,
the
On
key
is
lit
when
the
value
is
1
(or
on)
and
unlit
when
the
value
is
0
(or
off ).
Pressing
the
On
key
switches
between
the
two
value.
If
the
plug-in
features
more
than
eight
parameters,
use
the
left
Page
key
set
to
navigate
between
pages
of
parameters.
Pressing
the
Back
key
returns
to
the
Inserts
(Configuration)
knobset.
To
insert
effect
plug-ins:
1 In
the
Inserts
(Configuration)
Knobset
mode,
press
both
Page
keys
simultaneously.
This
switches
to
Effect
Insert
mode.
The
Soft
Keys
display
the
first
eight
Insert
slots
of
a
channel.
2 Select
the
desired
Insert
slot
by
pressing
the
respective
knob
top.
You
can
use
the
left
Page
key
to
display
Insert
slots
9
to
15.
When
you
press
the
respective
knob
top,
the
Soft
Keys
display
the
Logic
plug-in
menu
that
appears
when
you
click-hold
on
an
Insert
slot
with
the
mouse.
Π Tip:
If
the
selected
Insert
slot
already
contains
an
effect
plug-in,
the
MC
reflects
the
bold
menu
entries
(indicating
the
selected
plug-in
name/type)
with
a
lit
On
key.
3 Choose
the
desired
effect
plug-in:
 Pressing
the
Soft
Key
or
knob
top
enters
a
submenu
or
inserts
a
selected
effect
plugin.
 Pressing
the
Back
key
navigates
up
one
level
in
the
menu
hierarchy.
Input
Knobset
If
the
Input
knobset
is
active,
the
Soft
Keys
display
all
possible
input
values
for
audio
tracks:
 The
first
value
is
“--”,
meaning
no
input.
 The
currently
active
input
value
is
indicated
by
a
lit
On
key.
 Pressing
the
respective
On
key,
Soft
Key
or
knob
top
chooses
the
respective
input
value.
 If
there
are
more
than
eight
values
(inputs),
the
left
Page
key
set
switches
to
the
previous/next
values.
 Pressing
the
two
Page
keys
simultaneously
switches
to
Input
Configuration
mode:
the
Soft
Keys
display
mode
values
(Mono,
Stereo,
Left,
Right)
for
the
track.
Again,
the
active
value
is
indicated
by
a
lit
On
key.
Pressing
the
respective
On
key,
Soft
Key
or
knob
top
chooses
the
respective
value.
 Pressing
the
Back
key
returns
to
the
top-level
knobset.
On
Audio
Instrument
tracks,
the
Input
knobset
displays
the
inserted
instrument.
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 117
To
edit
an
instrument:
m Press
the
respective
knob
top
or
Soft
Key.
Instrument
parameters
are
displayed
in
the
order
shown
in
the
Controls
view
of
the
plug-in.
Turning
a
knob
changes
the
parameter
value.
Pressing
a
knob
top
sets
the
controlled
parameter
to
its
default
value.
For
parameters
with
only
two
values,
the
On
key
is
lit
when
the
value
is
1
(or
on)
and
unlit
when
the
value
is
0
(or
off ).
To
change
or
insert
an
instrument:
1 Press
both
Page
keys
simultaneously.
This
switches
to
Insert
Instrument
mode.
The
Soft
Key
display
indicates
the
Instrument
slot
of
the
channel.
When
you
press
the
knob
top
or
Soft
Key,
the
Soft
Keys
display
the
Instrument
plug-in
menu
that
appears
when
you
click-hold
on
an
Instrument
slot
with
the
mouse.
2 Choose
the
desired
Instrument
plug-in:
 Pressing
the
Soft
Key
or
knob
top
enters
a
submenu
or
inserts
a
selected
instrument
plug-in.
 Pressing
the
Back
key
navigates
up
one
level
in
the
menu
hierarchy
(or
switches
back
to
the
Input
Knobset
if
you
are
in
the
top
level
of
the
menu).
Opening
and
Closing
Plug-in
windows
Logic
supports
the
MC
“Open
plugins
on
workstation
when
editing”
and
“Close
plugins
on
workstation
when
exiting”
preferences.
This
behavior
is
dependent
on
the
Link
button
being
enabled
in
plug-in
windows.
If
a
Link-enabled
plug-in
window
is
open:
 “Open
plugins
on
workstation
when
editing”
does
not
open
a
new
window
when
a
new
plug-in
is
selected,
but
will
replace
the
open
window’s
contents.
 “Close
plugins
on
workstation
when
exiting”
does
nothing.
Otherwise,
“Open
plug-ins
on
workstation
when
editing”
opens
a
new
plug-in
window,
with
the
Link
button
disabled.
“Close
plugins
on
workstation
when
exiting“
closes
the
Plug-in
window.
Dyn(amic)
Knobset
This
knobset
is
not
currently
implemented.
118 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
EQ
Knobset
This
knobset
allows
you
to
edit
the
first
EQ
plug-in
(Channel
EQ
or
Linear
Phase
EQ).
There
are
two
pages,
with
each
band
featuring
two
knobs.
Page
1
shows
the
parameters
of
the
first,
second,
7th,
and
8th
EQ
bands.
Page
2
shows
the
parameters
of
EQ
bands
3
to
6.
When
no
Linear
Phase
or
Channel
EQ
is
present
on
the
selected
track,
pressing
the
last
Soft
Key
in
the
second
row
(labeled
AddChEQ)
inserts
a
Channel
EQ.
For
each
band:
 The
upper
knob
controls
either
Frequency
or
Q.
You
can
switch
between
Frequency
or
Q
with
the
Select
key
for
the
Knobset.
Pressing
the
knob
top
sets
the
controlled
parameter
to
its
default
value.
 The
lower
knob
controls
Gain
(or
Slope).
Again,
pressing
the
knob
top
sets
the
controlled
parameter
to
its
default
value.
 The
lower
knob‘s
On
key
switches
the
bypass
state
of
the
band.
When
the
band
is
bypassed,
the
On
key
is
unlit.
When
the
band
is
active,
the
On
key
is
illuminated.
To
return
to
the
top-level
knobset:
m Press
the
Back
key.
Sends
Knobset
The
Sends
knobset
displays
the
current
track
send
options.
 The
Soft
Key
shows
the
send
destination.
 The
knob
controls
send
level.
 The
Select
key
switches
between
pre
fader
(off—unlit)
and
post
fader
(on—lit)
modes.
 The
On
key
switches
the
bypass
state
of
the
send.
 Pressing
both
Page
keys
simultaneously
enters
Send
Configuration
mode
(see
the
following
section).
 Pressing
the
Back
key
returns
to
the
top-level
knobset
Send
Configuration
Knobset
In
Send
Configuration
mode,
a
list
of
the
first
eight
Send
slots
is
displayed.
When
you
touch
the
knob,
the
Soft
Key
shows
the
send
level
(provided
the
send
slot
is
already
assigned
to
a
bus).
To
change
a
send
destination:
1 Select
the
desired
Send
slot
by
pressing
the
respective
Soft
Key
or
knob
top.
The
first
eight
Send
destinations
are
displayed.
You
can
use
the
right
Page
key
of
the
left
Page
key
set
to
display
ensuing
Send
destinations.
2 Choose
the
desired
destination
by
pressing
the
respective
Soft
Key
or
knob
top.
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 119
To
return
to
send
editing
mode:
m Press
the
Back
key.
Pan/Surround
Editing
Knobset
This
knobset
displays
the
Pan
parameter
unless
Surround
mode
is
active
on
the
track(s).
On
tracks
where
Surround
Mode
is
active,
this
knobset
displays:
 Surround
Angle
 Surround
Diversity
 LFE
 Surround
X
(left/right)
 Surround
Y
(front/back)
 Center
Level
Press
the
Back
key
to
return
to
the
top-level
knobset.
Pressing
a
knob
top
sets
the
controlled
parameter
to
its
default
value.
Groups
Knobset
This
knobset
displays
all
currently
used
automation
groups.
 The
Soft
Keys
show
group
names.
Press
to
choose
the
respective
group(s).
 The
On
key
displays
and
switches
between
active/inactive
group
membership
for
the
track.
 Pressing
the
Back
key
returns
to
the
top-level
knobset.
Output
Knobset
If
the
Output
knobset
is
active,
the
Soft
Keys
display
all
possible
output
values
for
the
track:
 The
first
value
is
“Surround,”
the
second
is
“--”,
meaning
no
output.
 The
currently
active
output
is
indicated
by
a
lit
On
key.
 Pressing
the
On
key,
Soft
Key,
or
knob
top
chooses
the
respective
output
value.
 If
there
are
more
than
eight
outputs,
you
can
use
the
right
Page
key
of
the
left
Page
keys
to
display
ensuing
outputs.
 If
the
selected
track
is
a
surround
track,
pressing
the
two
Page
keys
simultaneously
will
switch
to
Surround
Output
Configuration
mode:
the
Soft
Keys
display
the
surround
format
parameters
(Stereo,
LCR,
Center
Only,
Quadro,
and
so
on)
of
a
track.
Again,
the
active
value
is
indicated
by
a
lit
On
key
and
pressing
the
On
key,
Soft
Key
or
knob
top
chooses
the
respective
value.
 Pressing
the
Back
key
returns
to
the
top-level
knobset.
120 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
Assignable
Knob
The
Assignable
Knob
can
be
used
for
control
of
any
parameter
that
can
be
automated.
You
must
click
on
the
target
parameter
with
the
mouse.
Pointing
with
the
mouse
is
not
sufficient
to
assign
a
parameter.
Pressing
the
knob
top
locks/unlocks
the
Assignable
Knob.
When
locked,
clicking
a
parameter
with
the
mouse
will
not
reassign
the
Assignable
Knob.
Both
the
On
and
the
Smart
key
switch
the
currently
assigned
parameter
between
values
of
0
and
1
(useful
for
on/off
parameters).
Monitors
and
Control
Room
Logic
Pro
does
not
support
EuCon
monitoring
control.
Please
use
the
Studio
Monitor
Pro
application.
Clear
Keys
The
“Clear
Mute”
and
“Clear
Solo”
keys
turn
off
Mute
or
Solo
on
all
tracks.
The
Clear
Mute/Clear
Solo
key
is
lit
when
any
track
is
muted/soloed.
The
button
without
a
label
above
the
Clear
Mute
key
provides
a
special
feature
on
the
CM408T:
when
it
is
active
(lit),
pressing
a
CM408T
key/knob
activates
the
respective
view
(knobsets,
sub-menus,
and
so
on)
for
all
channels.
Track
Control
Bar
The
Track
Control
Bar
of
the
Logic
Arrange
window
offers
a
special
feature
on
the
Euphonix
MC
and
System
5-MC
devices:
it
shows
“attentioned”
tracks
in
light
blue.
All
currently
“accessed”
tracks
are
shown
in
dark
blue.
Note:
The
color
of
the
track
control
bar
can
not
be
changed
in
the
Control
Surface
Setup
window.
System
5-MC
Specific
Features
This
section
describes
how
the
System
5-MC‘s
CM408T
fader
module
controls
Logic
in
EuCon
mode.
TFT
Display
 Level
meters:
Display
the
level
of
the
respective
track.
Two
discrete
stereo
level
meters
are
shown
for
stereo
tracks.
 Track
Info
section:
Displays
the
track
name,
number,
stereo/surround
mode,
input
and
output
assignments.
Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC 121
 Graphs:
In
all
knobsets
(except
EQ),
the
graph
section
displays
the
current
pan
or
surround
position.
If
the
EQ
knobset
is
selected,
the
graph
section
displays
the
current
frequency
response.
If
the
EQ
plug-in
is
bypassed,
the
curve
is
displayed
in
gray,
rather
than
green.
 Knobset
assignment:
The
eight
lines
normally
display
the
assignment
of
a
knob.
The
current
value
of
a
knob
is
displayed
when
it
is
touched.
In
the
Output
and
Group
knobset,
a
green
frame
is
shown
around
the
text
of
knob
cells
with
a
lit
On
key.
 Color
bar:
The
color
corresponds
to
the
color
assigned
to
the
audio
channel
(or
Logic
instrument)
of
the
track.
Two
Keys
Above
Knobsets
Pressing
the
two
keys
above
a
knobset
is
equivalent
to
pressing
the
MC
Back
key:
You
move
up
one
level
in
the
hierarchy,
if
applicable.
Knob
Cells
The
CM408T
knob
cells
are
almost
identical
to
the
MC
knob
cells.
There
is
just
one
difference:
They
feature
a
four-character
LED,
but
no
Soft
Key.
Top
Level
Knobset
Keys
These
keys
allow
you
to
access
knobsets
directly:
 “*”
(asterisk)
key:
Same
as
Inserts
Soft
Key
(see
“Inserts
(Configuration)
Knobset”
on
page
115).
 Input:
Accesses
Input
knobset
(see
“Input
Knobset”
on
page
116)
 Dyn:
Selects
the
Dynamic
knobset
(see
“Dyn(amic)
Knobset”
on
page
117).
 EQ:
Selects
the
EQ/Filter
knobset
(see
“EQ
Knobset”
on
page
118).
 Aux:
Selects
the
Sends
knobset
(see
“Sends
Knobset”
on
page
118).
 Pan:
Selects
the
Pan
knobset
(see
“Pan/Surround
Editing
Knobset”
on
page
119).
 Grp:
Selects
the
Group
knobset
(see
“Groups
Knobset”
on
page
119).
 Mix:
Selects
the
Output
knobset
(see
“Output
Knobset”
on
page
119).
In
Keys
These
keys
allow
you
to
switch
the
bypass
status
of
particular
plug-in
types.
Â
Ins
In
key:
Switches
the
bypass
status
of
all
plug-ins
that
do
not
belong
to
the
dynamic,
EQ,
or
filter
categories
(please
note
that
this
also
applies
to
Audio
Unit
plug-ins).
 Dyn
In:
Switches
the
bypass
status
of
all
dynamic
plug-ins
(please
note
that
this
only
applies
to
Logic,
not
Audio
Unit
plug-ins).
 EQ
In:
Switches
the
bypass
status
of
all
EQ
plug-ins
(please
note
that
this
only
applies
to
Logic,
not
Audio
Unit
plug-ins).
 Filt
In:
Switches
the
bypass
status
of
all
filter
plug-ins
(please
note
that
this
only
applies
to
Logic,
not
Audio
Unit
plug-ins).
122 Chapter
4
EuCon
Support
of
Euphonix
MC
and
System
5-MC
Identical
Keys
The
following
CM408T
keys
work
in
the
same
fashion
as
their
MC
counterparts:
 Page/Configure
key
 Channel
Select
key
 Rec
key
 Solo
key
 On
key
5
123
5 CM
Labs
Motormix
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Ensure
that
your
Motormix
unit(s)
are
connected
bi-directionally
with
the
MIDI
interface.
 Choose
Logic
Pro
>
Preferences
>
Control
Surfaces
>
Setup.
 Choose
the
New
>
Install
menu
item
from
the
Setup
window’s
local
menu.
 Select
“Motormix”
in
the
Install
window,
choose
“Add,”
then
set
the
appropriate
MIDI
In
and
Out
ports
in
the
Setup
window—for
each
Motormix
unit.
Assignment
Overview
A
right-aligned
modifier
button
(SHIFT,
for
example)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Select
Buttons
The
Select
buttons
(buttons
just
below
the
LCD)
have
multiple
uses,
depending
on
the
current
mode.
Mode Assignment
normal Selects
track
displayed
in
upper
LCD
line.
Tracks
can
be
shifted
to
the
left
and
right
with
the
View
left
and
right
buttons.
bank
button
LED
flashing
Track View Select mode: selects type of tracks to be displayed:
 1:
Track
View
 2:
Arrange
View
 3:
Global
View,
MIDI
tracks
 4:
Global
View,
Input
channels
 5:
Global
View,
Audio
tracks
 6:
Global
View,
Audio
Instruments
 7:
Global
View,
Bus,
and
Aux
channels
 8:
Global
View,
Outputs,
and
Master
124 Chapter
5
CM
Labs
Motormix
WINDOW/
tool
button
LED
on
Opens,
activates,
or
closes
a
window
of
a
certain
class.
LED
off:
If
the
window
is
not
open,
the
button
opens
it.
LED
on:
If
the
window
is
open,
but
not
active,
the
button
activates
it.
LED flashes: If the window is active, the button closes it.
 1:
Arrange
Window
 2:
Track
Mixer
 3:
Event
List
 4:
Score
Editor.
 5:
Hyper
Editor
 6:
Matrix
Editor.
 7:
Transport
window
 8:
Audio
window.
WINDOW/
tool
button
flashes
Chooses a tool.
 1:
Pointer
 2:
Pencil
 3:
Eraser
 4:
Text
tool
 5:
Scissors
 6:
Glue
 7:
Solo
tool
 8:
Mute
tool
PLAY/
transport
button
flashes
Transport section
 1:
Record
 2:
Pause
 3:
Stop
 4:
Play
 5:
Rewind
 6:
Fast
Forward
 Upper
LCD
row
displays
current
clock
position.
STOP/locate
button
flashes
Locating functions
 1:
Goes
to
left
locator.
 2:
Goes
to
right
locator.
 3:
Enables/Disables
Cycle.
 4:
Enables/Disables
Drop.
 5:
Enters
Marker
mode
(see
below).
 6:
Opens
floating
Marker
List.
 Upper
LCD
row
displays
current
clock
position.
Marker
mode
 1
to
6:
Selects
markers
1
to
6.
Marker
names
are
displayed
in
the
upper
LCD
row.
 7:
Creates
a
new
marker.
 8:
Deletes
current
marker.
Group
Edit
mode
Switches
between
group
parameters.
Parameter
view
can
be
shifted
by
the
View
left
and
right
buttons
when
the
SHIFT
button
is
held
down.
Plug-in
Assign
Enters
Plug-in
Edit
mode
for
selected
track.
Plug-in
Edit Enables/Disables
parameter
or
resets
it
to
default
value.
Mode Assignment
Chapter
5
CM
Labs
Motormix 125
Note:
In
modal
dialogs,
the
Select
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
Rotary
Pots
Instrument
Assign
Enters
Instrument
Edit
mode
for
selected
track.
Instrument
Edit
Enables/Disables
parameter
or
resets
it
to
default
value.
Mode Assignment
Control Assignment
Rotary
pots
1
to
8
Control
parameter
chosen
with
the
Rotary
Selector,
as
displayed
in
the
7
segment
display
(see
below).
7
segment
display
Shows
current
selection
for
Rotary
pots:
Send editing (S-MUTE or PRE/PST LED is on):
 S1
to
S8
=
Send
1
to
8
level
 F1
to
F8
=
EQ
band
1
to
8
frequency
 G1
to
G8
=
EQ
band
1
to
8
gain
 q1
to
q8
=
EQ
band
1
to
8
Q
factor
Pan/Surround editing (select LED is on):
 Pn
=
Pan
 An
=
Surround
Angle
 dv
=
Surround
Diversity
 FE
=
Surround
LFO
 Md
=
Assign
Surround
Mode
 X
=
Surround
X
 Y
=
Surround
Y
Track parameter editing (eff-4 LED is on):
 VL
=
Volume
 Pn
or
An
=
Pan/Surround
Angle
 Md
=
Channel
Mode
 In
=
Channel
input
 Ou
=
Channel
output
 Au
=
Automation
mode
 Gr
=
Group
membership
Assignment:
Â
d1
to
d8
=
Assign
Send
1
to
8
destination
Plug-in
editing
(DSP/compare
LED
is
on):
 P1
to
15
=
Assign
Insert
slot
1
to
15
to
plug-in
 P1.
to
15.
=
Plug-in
parameter
editing
Instrument editing (DSP/compare LED is on):
 IA
=
Assign
instrument
 IE.
=
Instrument
parameter
editing.
Group property editing (group LED is on):
 G1
to
32
=
group
number
126 Chapter
5
CM
Labs
Motormix
Multi
Buttons
These
buttons
(labelled
A
to
H)
have
multiple
uses,
depending
on
the
current
mode,
as
indicated
by
the
green
and
yellow
LEDs
to
the
right.
Note:
In
modal
dialogs,
the
Multi
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
Rotary
Selector
Selects a slot or parameter for rotary encoders, depending on the parameter type(s)
being edited with the rotary encoders:
 Send
slot
when
editing
send
level
or
assigning
send
destination.
 EQ
band
when
editing
an
EQ
parameter.
 Effect/Instrument
slot
when
assigning
an
effect/instrument.
 Pan/Surround
parameter
when
editing
a
Pan/Surround
parameter.
 Track
parameter
when
editing
a
Track
parameter.
 Effect/instrument
parameter
page
when
editing
a
plug-in
or
instrument.
Rotary
Selector
push
button
Switches
Flip
mode
between
Off
and
Duplicate
(faders
duplicate
rotary
encoder
assignments).
SHIFT Switches Display mode for channel strip displays: switches between:
Â
Page
info
in
upper
line,
parameter
name
in
lower
line.
 Parameter
name
in
upper
line,
parameter
value
in
lower
line.
Control Assignment
Mode Assignment
fx
bypass Enables/Disables
bypass
of
currently
selected
insert
effect.
SHIFT
(eff-1) Enables/Disables
bypass
of
currently
selected
EQ
band
and
switches
rotary
encoders
to
EQ
frequency
editing.
s-mute Enables/Disables
bypass
of
currently
edited
Send
and
switches
rotary
encoders
to
send
level
editing.
SHIFT
(eff-2) Enables/Disables
bypass
of
currently
selected
EQ
band
and
switches
rotary
encoders
to
EQ
Gain
editing.
pre/post Switches
between
pre
and
post
of
currently
edited
send
and
switches
rotary
encoders
to
send
level
editing.
Post
mode
is
indicated
by
a
lit
LED.
SHIFT
(eff-3) Enables/Disables
bypass
of
currently
selected
EQ
band
and
switches
rotary
encoders
to
(EQ)
Q
factor
editing.
select Switches
rotary
encoders
to
Pan/Surround
editing.
The
edited
parameter
is
selected
with
the
Rotary
Selector.
SHIFT
(eff-4) Switches
rotary
encoders
to
track
parameter
editing.
Chapter
5
CM
Labs
Motormix 127
Burn
Buttons
These
buttons
(labelled
I
to
P)
have
multiple
uses,
depending
on
the
current
mode,
as
indicated
by
the
red
LEDs
to
the
left.
Note:
In
modal
dialogs,
the
Burn
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
SOLO
Buttons
These
buttons
switch
the
Solo
status
of
the
displayed
track.
Note:
In
modal
dialogs
the
Solo
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
MUTE
Buttons
These
buttons
switch
the
Mute
status
of
the
displayed
track.
Note:
In
modal
dialogs,
the
Solo
buttons
generate
the
computer
keyboard
character
shown
on
the
button
face.
Mode Assignment
record Enables/Disables
Record
Enable
status
of
track.
SHIFT
(fnctA) Switches
automation
mode
to
Latch.
ALL
+
SHIFT
(fnctA) Switches
automation
mode
of
all
tracks
to
Latch.
write Switches
automation
mode
to
Write.
ALL Switches
automation
mode
of
all
tracks
to
Write.
SHIFT
(fnctB) Switches
automation
mode
to
Read.
ALL
+
SHIFT
(fnctA) Switches
automation
mode
of
all
tracks
to
Read.
burn Switches
automation
mode
to
Touch.
ALL Switches
automation
mode
of
all
tracks
to
Touch.
SHIFT
(fnctC) Switches
automation
mode
to
Off.
ALL
+
SHIFT
(fnctA) Switches
automation
mode
of
all
tracks
to
Off.
128 Chapter
5
CM
Labs
Motormix
VIEW
Section
Left
Function
Buttons
Control Assignment
Left/right
buttons
In
Plug-in
and
Instrument
Edit
mode:
shifts
the
parameter
bank
by
one
bank.
In other modes:
 If
BANK
LED
is
off:
shifts
the
fader
bank
by
one
channel.
 If
BANK
LED
is
on:
shifts
the
fader
bank
by
one
bank.
SHIFT In
Plug-in
and
Instrument
Edit
mode:
shifts
the
parameter
bank
by
one
parameter.
In
Group
Edit
mode,
the
group
parameter
bank
is
shifted.
bank Switches
mode
of
left/right
buttons
(see
above).
SHIFT Sets
Select
buttons
to
Track
View
Select
mode
(see
below).
group Sets
Select
buttons,
rotary
encoders
and
Multi
buttons
to
Group
Edit
mode.
SHIFT Displays
tracks’
group
assignments
in
the
LCD.
The
rotary
encoders
allow
you
to
change
assignments.
Control Assignment
AUTO
ENBL/mode Currently
unassigned.
SHIFT Switches
rotary
encoders
to
automation
enable
mode.
SUSPEND/create While
held
down,
the
groups
are
temporarily
disabled.
SHIFT Creates
a
new
group
and
enters
Group
Edit
mode.
PLUG-IN/compare Switches
rotary
encoders
and
Multi
buttons
to
Plug-in
Assign
mode.
The
Rotary
Select
knob
is
used
to
select
the
Insert
slot
you
want
to
use/edit.
In
Plug-in
Assign
or
Instrument
Assign
mode,
it
switches
to
Pan
mode.
In
Plug-in
Edit
mode,
it
switches
to
Plug-in
Assign
mode.
In
Instrument
Edit
mode,
it
switches
to
Instrument
Assign
mode.
SHIFT Switches
rotary
encoders
and
Multi
buttons
to
Instrument
Assign
mode.
WINDOW/tools Switches
Select
buttons
to
Window
Select
mode.
SHIFT Switches
Select
buttons
to
Select
Tool
mode.
ALL/alt/fine While
ALL/alt/fine
is
held
down,
rotary
encoders
are
in
full
mode:
rotating
counter-clockwise
sets
minimum,
rotating
clockwise
sets
maximum
value.
SHIFT while
SHIFT
and
ALL/alt/fine
are
held
down,
rotary
encoders
are
in
fine
mode.
DEFAULT/bypass Currently
unassigned.
SHIFT In
Instrument
Edit
mode:
switches
bypass
state
of
the
instrument.
In
Plug-in
Edit
mode:
switches
bypass
state
of
the
currently
edited
plug-in.
UNDO/save Performs
an
Undo
step.
The
LED
is
lit
if
there
is
a
Redo
step
available.
SHIFT Saves
the
song.
The
LED
is
lit
if
the
song
contains
unsaved
changes.
SHIFT Switches
to
Shift
mode—where
the
functions
indicated
by
the
lower
case
(inverted)
labels
below
the
buttons
apply.
Chapter
5
CM
Labs
Motormix 129
Faders
The
faders
normally
control
volume,
except
when
in
Flip
mode,
where
they
duplicate
the
rotary
encoder
assignments.
Right
Function
Buttons
Control Assignment
PLAY/
transport Play
key
command.
SHIFT Switches
Select
buttons
to
Transport
Section
mode.
STOP/locate Stop
key
command.
SHIFT Switches
Select
buttons
to
Locate
mode.
FFWD/monitor Shuttle
Forward
key
command.
SHIFT Opens
System
Performance
window.
REWIND/status Shuttle
Rewind
key
command.
SHIFT Opens
Synchronization
window.
NEXT/configure Navigates
to
next
marker.
LAST/assign When
rotary
encoders
are
displaying
send
destinations,
use
of
LAST/assign
switches
them
back
to
displaying
send
levels.
Otherwise:
goes
to
previous
marker.
SHIFT When
rotary
encoders
are
displaying
send
levels,
use
of
LAST/assign
switches
them
to
displaying
send
destinations.
When
rotary
encoders
are
in
Plug-in
Edit
mode,
use
of
LAST/assign
switches
them
to
Plug-in
Assign
mode.
When
rotary
encoders
are
in
Instrument
Edit
mode,
use
of
LAST/assign
switches
them
to
Instrument
Assign
Mode.
ENTER/utility Identical
to
Enter
key
on
computer
keyboard.
SHIFT Opens
Automation
Settings
window.
ESCAPE When
LED
is
lit,
escapes
from
“special”
mode
(denoted
by
flashing
LED).
At
all
other
times:
identical
to
Esc
key
on
computer
keyboard.
6
131
6 Frontier
Design
TranzPort
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Ensure
that
the
software
shipped
with
the
TranzPort
is
installed.
 Make
sure
that
the
“Tranz
Bridge”
(the
wireless
transmitter)
is
connected
to
the
computer
via
USB.
 When
Logic
Pro
7
is
launched,
it
installs
the
TranzPort
automatically,
and
sets
it
to
“native
mode.”
LCD
The
LCD
displays
the
following
information:
 Top
line
left:
name
of
currently
displayed
track.
 Top
line
middle:
volume
of
currently
displayed
track.
 Top
line
right:
panning
of
currently
displayed
track.
 Bottom
line
left:
level
meter
of
currently
displayed
track
(stereo).
 Bottom
line
right:
current
clock
position.
132 Chapter
6
Frontier
Design
TranzPort
Assignment
Overview
A
right-aligned
SHIFT
(or
other)
button
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Channel
Strip
Master
Section
Control Assignment
Shift
the
currently
displayed
track
right
by
one
track.
SHIFT Shift
the
currently
displayed
track
right
by
eight
tracks.
REC Activate/Deactivate
Record
Enable
button
for
the
currently
displayed
track.
SHIFT Disable
Record
Enable
button
for
all
tracks.
SOLO Enables/Disables
Solo
for
the
currently
displayed
track.
SHIFT Disable
Solo
for
all
tracks.
MUTE Enables/Disables
Mute
for
the
currently
displayed
track.
SHIFT Disable
Mute
for
all
tracks.
ANY
SOLO Lit
if
any
tracks
or
Regions
are
soloed.
UNDO Undo
SHIFT Redo
Control Assignment
SHIFT Modifier
for
function
of
other
controls.
IN Go
to
left
Cycle
locator.
PUNCH Engage
Drop
and
set
Drop
In
locator
to
SPL.
LOOP Engage
Cycle
and
sets
left
Cycle
locator
to
SPL.
OUT Go
to
right
Cycle
locator.
PUNCH Engage
Drop
and
set
Drop
Out
locator
to
SPL.
LOOP Engage
Cycle
and
set
right
Cycle
locator
to
SPL.
PUNCH Enables/Disables
Drop
mode.
LOOP Enables/Disables
Cycle
mode.
PREV Go
to
previous
marker.
SHIFT Set
locators
by
previous
marker.
ADD Create
marker
at
SPL.
SHIFT Delete
marker
at
SPL.
NEXT Go
to
next
marker.
SHIFT Set
locators
by
next
marker.
Chapter
6
Frontier
Design
TranzPort 133
External
Input
Jog
Wheel Depending
on
current
Jog
Wheel
mode:
•
Move
SPL
by
bars.
•
Audio
scrubbing
or
•
Shuttle.
SHIFT Adjust
volume
of
the
currently
displayed
track.
LOOP Set
the
Left
locator
to
the
current
SPL,
advance
the
SPL
as
per
usual,
then
set
the
Right
locator
to
the
SPL.
Further
Jog
Wheel
use
while
holding
down
LOOP
advances
the
SPL
and
sets
the
Right
locator.
Tip:
Rotating
the
Jog
Wheel
counter-clockwise
while
holding
down
LOOP
defines
a
skip-cycle
range.
DROP Set
the
Drop
In
locator
to
the
current
SPL,
advance
the
SPL
as
per
usual,
then
set
the
Drop
Out
locator
to
the
SPL.
Further
jog
wheel
use
while
holding
down
DROP
advances
the
SPL
and
sets
the
Drop
Out
locator.
REW Shuttle
backward.
SHIFT Go
to
last
play
position.
PUNCH Engage
Drop
mode
and
set
Drop
In
locator
to
SPL.
LOOP Engage
Cycle
mode
and
set
left
locator
to
SPL.
F
FWD Shuttle
forward.
PUNCH Engage
Drop
mode
and
set
Drop
Out
locator
to
SPL.
LOOP Engage
Cycle
moce
and
set
right
locator
to
SPL.
STOP Stop
SHIFT Switch
Jog
Wheel
modes
between
Move
SPL
by
Bars,
Audio
Scrubbing
and
Shuttle.
PLAY Play
SHIFT Pause
RECORD Record
SHIFT Save
Control Assignment
Control Assignment
Foot
Switch Drop
In/Out
7
135
7 JLCooper
CS-32
MiniDesk
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Install
the
software
that
ships
with
the
CS-32.
 Ensure
that
the
CS-32
is
in
Host
mode:
 Make
sure
that
your
CS-32
unit(s)
are
connected
to
the
computer
via
USB
or
MIDI.
USB
units
are
installed
automatically.
You
must
manually
scan
for
MIDI
units:
 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup.
 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
 Select
the
CS-32
from
the
list
in
the
Install
window.
 Click
the
Scan
button.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Display
The
2-digit
7-segment
display
shows
information
on
the
current
mode
and
currently
edited
parameter:
Display
text Meaning
-- A
“switching”
parameter
(Solo,
Mute,
Rec/Rdy)
has
been
disabled.
AE Mute
buttons
1–6
display/set
Automation
Enable.
AS Pots
are
in
Pan/Send
Assignment
mode.
b1–b9 Pots
are
in
Plug-in
or
Instrument
bank
select
mode.
In Pots
are
in
Instrument
Edit
mode.
Lt Mute
buttons
display/set
“Latch”
automation
mode.
MI Mute
buttons
display/set
“MIDI”
automation
mode.
Mu Mute
has
been
enabled.
P1–P9 Pots
are
in
Plug-in
Edit
mode.
136 Chapter
7
JLCooper
CS-32
MiniDesk
Pots
As
the
pots
are
not
motorized,
Pickup
mode
is
used,
if
enabled
in
the
Control
Surfaces
preferences.
This
means
that
the
pots
will
not
“take
over”
until
NULLed.
NULL
status
is
displayed
by
the
NULL
arrow
LEDs.
The
Upper
arrow
is
lit
if
the
pot’s
value
is
above
the
NULL
point,
the
Lower
arrow
is
lit
if
the
pot’s
value
is
below
the
NULL
point,
and
both
arrow
LEDs
are
lit
if
NULLed.
The
pots
can
operate
in
one
of
three
modes,
with
one
sub-mode
each.
Pan/Send
Mode
In
Pan/Send
mode
(enabled
with
F7;
display
shows
“PA”),
the
pots
control
global
track
parameters:
While
SHIFT
is
held
down
(display
shows
“AS”),
the
pots
perform
the
following
assignments:
PA Pots
are
in
Pan/Send
mode.
rd Mute
buttons
display/set
“Read”
automation
mode.
Re Rec/Rdy
has
been
enabled.
So Solo
has
been
enabled.
Tc Mute
buttons
display/set
“Touch”
automation
mode.
Wr Mute
buttons
display/set
“Write”
automation
mode.
Other
text When
a
track
is
selected,
the
first
two
characters
of
its
name
are
shown
briefly.
Numbers While
editing
a
numerical
value
with
a
fader
or
pot,
the
current
value
is
displayed.
If
there
are
more
than
two
digits,
only
the
last
digits
of
the
mantissa
are
displayed.
Signs
(+/–)
are
only
shown
if
only
one
digit
is
displayed.
Display
text Meaning
Control Assignment
SEND
A/P1 Controls
Send
1
Level
of
selected
track.
SEND
B/P2 Controls
Send
2
Level
of
selected
track.
PAN/P3 Controls
Pan
of
selected
track.
SEND
C/P4 Controls
Send
3
Level
of
selected
track.
SEND
D/P5 Controls
Send
4
Level
of
selected
track.
SEND
E/P6 Controls
Send
5
Level
of
selected
track.
Control Assignment
SEND
A/P1 Assigns
Send
1
Destination
of
selected
track.
SEND
B/P2 Assigns
Send
2
Destination
of
selected
track.
PAN/P3 Assigns
Track
mode
of
selected
track.
SEND
C/P4 Assigns
Send
3
Destination
of
selected
track.
Chapter
7
JLCooper
CS-32
MiniDesk 137
Instrument
Edit
Mode
In
Instrument
Edit
mode
(enabled
with
F8;
display
shows
“In”),
the
pots
control
instrument
parameters.
With
SHIFT
held
down
(display
shows
“b1”–“b9”),
you
can
choose
the
parameter
bank
(see
“Cursor
Section”
on
page
139).
Plug-in
Edit
Mode
In
Plug-in
Edit
mode
(enabled
with
F9,
display
shows
“P1”–”P9”),
the
pots
control
plugin
parameters
of
the
currently
selected
insert.
With
SHIFT
held
down
(display
shows
“b1”–”b9”),
you
can
choose
the
current
insert
and
parameter
bank
(see
“Cursor
Section”
on
page
139).
Channel
Strips
SEND
D/P5 Assigns
Send
4
Destination
of
selected
track.
SEND
E/P6 Assigns
Send
5
Destination
of
selected
track.
Control Assignment
Control Assignment
PAN
SELECT/TRACK
SELECT
Selects
track.
SOLO Enables/Disables
Solo.
LOCATE Navigates
to
markers
1–32.
SHIFT LOCATE
17:
Creates
new
marker.
LOCATE
18:
Creates
new
marker
without
rounding.
LOCATE
19:
Deletes
marker
at
SPL.
LOCATE
25:
Opens
Marker
List.
LOCATE
26:
Opens
Marker
Text
window.
LOCATE
28:
Sets
locators
by
previous
marker.
LOCATE
29:
Sets
locators
by
current
marker.
LOCATE
30:
Sets
locators
by
next
marker.
LOCATE
31:
Navigates
to
previous
marker.
LOCATE
32:
Navigates
to
next
marker.
MUTE Enables/Disables
Mute.
F1 Automation
Enable
setup
(display
shows
“AE”).
MUTE
1:
Enables/Disables
volume
automation.
MUTE
2:
Enables/Disables
pan
automation.
MUTE
3:
Enables/Disables
mute
automation.
MUTE
4:
Enables/Disables
automation
of
solo.
MUTE
5:
Enables/Disables
send
automation.
MUTE
6:
Enables/Disables
automation
of
plug-in
parameters.
F2 Displays/sets
automation
mode
to
“Read”
(display
shows
“Td”).
F3 Displays/sets
automation
mode
to
“Touch”
(display
shows
“Tc”).
F4 Displays/sets
automation
mode
to
“Latch”
(display
shows
“Lt”).
138 Chapter
7
JLCooper
CS-32
MiniDesk
Bank
Button
F
Key
Section
F5 Displays/sets
automation
mode
to
“Write”
(display
shows
“Wr”).
F6 Displays/sets
automation
mode
to
“MIDI”
(display
shows
“MI”).
ARM Activates/Deactivates
Record
Enable
button.
Faders Control
volume.
As
the
faders
don’t
offer
feedback,
Pickup
mode
is
used,
if
enabled
in
the
Control
Surfaces
preferences.
This
means
that
they
will
not
“take
over”
until
NULLed.
NULL
status
is
displayed
by
the
NULL
arrow
LEDs.
Upper
arrow
is
lit
if
the
pot’s
value
is
above
the
NULL
point,
the
lower
arrow
is
lit
if
the
pot’s
value
is
below
the
NULL
point,
and
both
are
lit
if
NULLed.
Control Assignment
Control Assignment
(Small
red
button
with
green
LED)
LED
off:
black
labels
of
channel
strip
buttons
apply
(TRK/LOC/ARM).
LED
on:
white
labels
of
channel
strip
buttons
apply
(PAN/SOLO/MUTE).
Control Assignment
SHIFT Modifier
for
function
of
other
controls.
See
right-aligned
“SHIFT”
in
left
column.
F1 While
held
down,
MUTE
buttons
1–6
enables/disables
automation
of
certain
parameters
(see
MUTE).
SHIFT Enables/Disables
Cycle
mode.
F2 While
held
down,
MUTE
buttons
set
automation
mode
to
Read.
SHIFT Enables/Disables
Drop
mode.
F3 While
held
down,
MUTE
buttons
set
automation
mode
to
Touch.
SHIFT Sets
left
locator
by
current
SPL.
F4 While
held
down,
MUTE
buttons
set
automation
mode
to
Latch.
SHIFT Sets
right
locator
by
current
SPL.
F5 While
held
down,
MUTE
buttons
set
automation
mode
to
Write.
SHIFT Sets
Drop
In
locator
by
current
SPL.
F6 While
held
down,
MUTE
buttons
set
automation
mode
to
MIDI.
SHIFT Sets
Drop
Out
locator
by
current
SPL.
F7 Sets
pots
to
Pan/Send
mode
(display
shows
“PA”).
SHIFT Enables/Disables
metronome
click.
F8 Sets
pots
to
Instrument
Edit
mode
(display
shows
“In”).
F9 Sets
pots
to
Plug-in
Edit
mode
(display
shows
“P1”–”P9”).
Chapter
7
JLCooper
CS-32
MiniDesk 139
Cursor
Section
Transport
Section
Jog
Wheel
Section
Control Assignment
Up Zooms
out
vertically.
SHIFT In
Plug-in
edit
mode:
decrements
current
Insert
slot.
Down Zooms
in
vertically.
SHIFT In
Plug-in
Edit
mode:
increments
current
Insert
slot.
Left Zooms
out
horizontally.
SHIFT In
Instrument
and
Plug-in
Edit
modes:
decrements
current
parameter
bank.
Right Zooms
in
horizontally.
SHIFT In
Instrument
and
Plug-in
Edit
modes:
increments
current
parameter
bank.
Control Assignment
RECORD Record
STOP Stop
REW Moves
SPL
backward
by
one
bar.
PLAY Play
F
FWD Moves
SPL
forward
by
one
bar.
Control Assignment
Jog
Wheel SCRUB
off:
moves
SPL
in
bars.
SCRUB
on:
Audio
Scrubbing.
SHUTTLE
on:
Shuttle
mode.
SCRUB Switches
Jog
Wheel
between
Move
SPL
by
Bars
and
Audio
Scrubbing
mode.
SHUTTLE Switches
Jog
Wheel
between
Move
SPL
by
Bars
and
Shuttle
mode.
8
141
8 JLCooper
FaderMaster
4/100
Requirements
You
need
one
or
more
FaderMaster
4/100
(MIDI
or
USB
version)
units
with
firmware
version
1.03
or
higher.
Important:
If
you
have
older
firmware
(see
the
sticker
on
the
back
of
the
unit),
please
contact
JLCooper.
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 USB
model
only:
install
the
software
that
ships
with
the
FaderMaster
4/100.
 Ensure
that
your
FaderMaster
4/100
unit(s)
are
connected
to
the
computer
via
USB
or
MIDI.
USB
units
are
installed
automatically.
You
must
manually
scan
for
MIDI
units:
1 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup.
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
the
FaderMaster
4/100
from
the
list
in
the
Install
window.
4 Click
the
Scan
button.
Note:
You
can
combine
several
FaderMaster
4/100
units
to
form
one
large
virtual
control
surface.
The
meaning/functionality
of
the
Track
buttons,
however,
are
individually
switched
for
each
unit.
142 Chapter
8
JLCooper
FaderMaster
4/100
Assignment
Overview
The
following
assigment
tables
are
broken
down
into
“zones”
of
the
FaderMaster
4/100.
Global
buttons
Channel
Strip
Control Assignment
Select Switches
Track
buttons
to
track
selection.
Aux Switches
Track
buttons
to
Record
Ready.
Solo Switches
Track
buttons
to
Solo.
Mute Switches
Track
Buttons
to
Mute.
Inc Increases
fader
bank
display
to
show
next
four
tracks.
Dec Decreases
fader
bank
display
to
show
previous
four
tracks.
Control Assignment
Track
button Performs
currently
selected
function
(Select,
Record
Ready,
Solo,
Mute).
Fader Controls
volume
(touch
sensitive
and
motorized).
9
143
9 Korg
microKONTROL
and
KONTROL49
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro.
 Ensure
that
your
unit(s)
is/are
connected
to
the
computer
via
USB.
 Boot
Logic,
and
the
unit(s)
will
be
scanned
for,
and
installed
automatically.
 When
Logic
launches,
the
microKONTROL/KONTROL49
is
automatically
set
to
“Native
mode”—internal
Scene
settings
are
ignored.
Note:
If
installation
and
identification
fails,
it
may
be
possible
that
the
microKONTROL/
KONTROL49
reaction
time
is
too
slow,
due
to
USB
bus-power
issues.
In
this
situation,
connect
the
supplied
power
adapter,
and
set
the
power
switch
to
the
“DC”
position.
When
Logic
quits
(or
the
icon
is
removed
from
the
Control
Surface
Setup
window),
the
microKONTROL/KONTROL49
is
reset
to
normal
operation.
Assignment
Overview
A
right-aligned
modifier
button
(shown
below
a
button
description)
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Pads
The
Pads
can
operate
in
one
of
eight
modes
and
three
overlays.
While
pressing
SCENE,
the
Pads
allow
you
to
select
modes
for
the
Pads
and
channel
strips.
Releasing
SCENE
without
pressing
a
Pad
does
not
affect
the
currently
selected
Pad
or
Channel
Strip
modes.
Pad Assignment
1 Switches
Pads
to
Transport
mode.
2 Switches
Pads
to
Solo/Mute
mode.
3 Switches
Pads
to
Rec/Select
mode.
4–8 Switches
Pads
to
User
4–8
mode.
These
modes
have
unassigned
Pads.
You
can
add
assignments
to
key
commands
with
the
Learn
function.
9 Switches
channel
strips
to
Pan
mode.
144 Chapter
9
Korg
microKONTROL
and
KONTROL49
Transport
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
1.
Solo/Mute
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
2.
Rec/Select
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
3.
10 Switches
channel
strips
to
Send
mode.
11 Switches
channel
strips
to
Automation
mode.
12 Switches
channel
strips
to
Instrument
Edit
mode.
13 Switches
channel
strips
to
Plug-in
Edit
mode.
14–16 Switches
channel
strips
to
User
6–8
mode.
These
modes
have
unassigned
encoders.
You
can
add
assignments
with
the
Logic
Learn
function.
Pad Assignment
Pad Assignment
1 Sets
main
encoder
to
Transport
mode.
2 Sets
main
encoder
to
Scrub
mode.
3 Sets
main
encoder
to
Shuttle
mode.
7 Switches
sync
between
internal
and
external.
8 Enables/Disables
metronome
click
(separately
for
Playback
and
Record).
9 Enables/Disables
Cycle
function.
10 Enables/Disables
Drop
function.
11 Enables/Disables
Replace
function.
12 Enables/Disables
Solo
function.
13 Record
14 Pause
15 Play
16 Stop
Pad Assignment
1–8 Enables/Disables
Solo
for
the
eight
tracks
being
controlled
with
the
eight
channel
strips.
9–16 Enables/Disables
Mute
for
the
eight
tracks
being
controlled
with
the
eight
channel
strips.
Pad Assignment
1–8 Activates/Deactivates
Record
Enable
button
for
the
eight
tracks
being
controlled
with
the
eight
channel
strips.
9–16 Selects
one
of
the
eight
tracks
being
controlled
with
the
eight
channel
strips.
Chapter
9
Korg
microKONTROL
and
KONTROL49 145
User
4–8
Modes
These
modes
are
enabled
by
pressing
SCENE
and
Pad
4
to
8.
In
these
modes,
the
Pads
are
unassigned.
Use
the
Learn
function
(Logic
>
Preferences
>
Control
Surfaces
>
Learn
Assignment
for
xxx)
to
assign
them
to
key
commands,
for
example.
Send
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
10.
Send
overlay
Pressing
SETTING
while
the
encoders
are
in
Send
mode,
changes
the
operation
of
the
Pads
in
Send
mode.
Plug-in
Edit
Mode
This
mode
is
enabled
by
pressing
SCENE
and
Pad
13.
Plug-in
Edit
overlay
Pressing
SETTING
while
the
encoders
are
in
Plug-in
Edit
mode
changes
the
operation
of
the
Pads
in
Plug-in
Edit
mode.
Main
Section
The
main
LCD
shows
information
on
the
current
mode
of
the
encoders.
Pad Assignment
1–8 Switches
send
bypass
state
of
the
currently
selected
send
for
the
eight
channel
strips.
9–16 Switches
send
position
(Pre/Post)
of
the
currently
selected
send
for
the
eight
channel
strips.
Pad Assignment
1–8 Switches
plug-in
bypass
state
of
the
currently
selected
Insert
slot
for
the
eight
channel
strips.
Display
text Meaning
Encoders
edit
Instrument
parameters.
Encoders
edit
Plug-in
parameters
(xx
is
for
the
currently
selected
insert).
Automatn Encoders
control
Automation
mode.
Ins.
x (SETTING
held
down)
Main
encoder
chooses
Plug-in
insert.
ModePad? Displayed
while
SCENE
button
is
held
down.
Pan Encoders
control
pan.
Send
x Encoders
control
send
level
of
send
x.
User
6 Channel
Strip
User
Mode
6.
Encoders
are
initially
unassigned.
User
7 Channel
Strip
User
Mode
7.
Encoders
are
initially
unassigned.
User
8 Channel
Strip
User
Mode
8.
Encoders
are
initially
unassigned.
146 Chapter
9
Korg
microKONTROL
and
KONTROL49
The
LCD
backlight
is
red
while
recording,
and
green
at
other
times.
The
controls
in
the
main
section
have
the
following
meaning:
Channel
Strips
There
are
several
modes
for
the
encoders,
enabled
with
SCENE
and
Pad
9–16.
External
Input
Control Assignment
Main
encoder Controls
SPL
in
one
of
three
modes
(see
Pads
1–3
in
“Transport
Mode”
on
page
144).
SETTING Held down in Send mode:
 Main
encoder
chooses
current
send.
 Pads
have
special
meaning—see
“Send
Mode”
on
page
145.
 LCDs
display
send
destinations.
 Encoders
choose
send
destinations.
Holding down in Plug-in Edit mode:
 Main
encoder
chooses
current
plug-in
insert.
 Pads
have
special
meaning—see
“Plug-in
Edit
overlay”
on
page
145.
 LCDs
display
plug-in
name
of
the
eight
tracks.
MESSAGE Enables/Disables
Flip
mode.
When
enabled,
the
encoders
control
volume
and
the
faders
control
the
parameter
displayed
in
the
LCDs.
SCENE While
held
down,
pads
switch
Pad
and
Channel
Strip
modes.
See
“Pads”
on
page
143.
EXIT —
HEX
LOCK Shifts
fader
bank
to
the
previous
eight
tracks
(LED
is
on
if
previous
tracks
exist).
ENTER Shifts
fader
bank
to
the
next
eight
tracks
(LED
is
on
if
subsequent
tracks
exist).
< Octave
Shift
Down
> Octave
Shift
Up
Control Assignment
LCD Shows the parameter controlled by the encoder. The currently chosen value is
displayed for a few seconds while operating an encoder or fader.
When the encoders are in a multi-channel view (Pan, Send, Send Setup), the
background color indicates the track’s automation mode:
 green—off
or
Read
 yellow—Touch
or
Latch
 red—Write
or
MIDI
Encoder Controls
the
parameter
shown
directly
above
the
encoder
in
the
LCD.
Fader Controls
volume.
As
the
faders
don’t
offer
feedback,
“Pickup
mode”
is
used
if
enabled
in
the
Logic
Preferences.
This
means
that
they
will
not
“take
over”
until
NULLed.
Control Assignment
Foot
Switch Starts
and
stops
playback.
Pedal Controls
master
volume.
10
147
10 Mackie
Baby
HUI
Set
Up
Please
make
sure
that
your
Baby
HUI
unit(s)
is/are
connected
bi-directionally
with
the
computer.
You
must
manually
scan
for
Mackie
Baby
HUI
units:
1 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup.
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
Baby
HUI
in
the
Install
window.
4 Click
the
Scan
button.
Assignment
Overview
A
right-aligned
SHIFT
below
a
button
description
indicates
that
the
control
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Channel
Strips
Control Assignment
Rotary
encoder Adjusts
parameter
selected
in
the
Encoder
Assignment
section.
Rotary
encoder
push
button
Selects
track.
SHIFT Enables/Disables
Record
Ready.
Signal
indicator Illuminates
when
a
signal
is
present
in
the
channel.
It
also
indicates
channel
selection.
SOLO Enables/Disables
Solo.
MUTE Enables/Disables
Mute.
Fader Adjusts
volume.
148 Chapter
10
Mackie
Baby
HUI
Encoder
Assignment
Section
Automation
Section
Display
Section
Utility
Section
Control Assignment
PAN Assigns
Pan
to
rotary
encoders.
SEND
1 Assigns
Send
1
Level
to
rotary
encoders.
SEND
2 Assigns
Send
2
Level
to
rotary
encoders.
SEND
3 Assigns
Send
3
Level
to
rotary
encoders.
SEND
4 Assigns
Send
4
Level
to
rotary
encoders.
Control Assignment
BYPASS/OFF Sets
selected
track
to
automation
mode
Off.
SHIFT Enables/Disables
automation
playback
and
recording
of
volume.
READ Sets
selected
track
to
automation
mode
Read.
SHIFT Enables/Disables
automation
playback
and
recording
of
mute.
WRITE Sets
selected
track
to
automation
mode
Write.
SHIFT Enables/Disables
automation
playback
and
recording
of
pan.
TOUCH Sets
selected
track
to
automation
mode
Touch.
SHIFT Enables/Disables
automation
playback
and
recording
of
Send
Level.
Control Assignment
TRANSPORT Opens/Closes
the
Transport
window.
MEM–LOC Opens/Closes
the
Marker
List.
MIXER Opens/Closes
the
Track
Mixer.
EDIT Opens/Closes
the
Arrange
window.
Control Assignment
UNDO Performs
Undo.
SHIFT Shifts
to
alternate
use
of
some
buttons
(see
below).
Chapter
10
Mackie
Baby
HUI 149
Navigation
Section
Transport
Section
Control Assignment
RTZ Navigates
to
the
left
locator.
SHIFT Sets
Drop
In
locator.
END Navigates
to
the
right
locator.
SHIFT Sets
Drop
Out
locator.
BANK
SELECT
Left Shifts
channel
strips
by
one
bank
to
the
left.
SHIFT Shifts
channel
strips
by
one
channel
to
the
left.
BANK
SELECT
Right Shifts
channel
strips
by
one
bank
to
the
right.
SHIFT Shifts
channel
strips
by
one
channel
to
the
right.
Control Assignment
REWIND Shuttles
backward.
FAST
FWD Shuttles
forward.
STOP Stop
PLAY Play
RECORD Record
11
151
11 Mackie
C4
Set
Up
A
powered
Mackie
C4
unit
will
automatically
be
detected
when
Logic
Pro
is
launched.
You
can
use
the
C4
in
an
independent
control
surface
group
(with
other
control
surface
icons
placed
above/below
the
C4
icon),
or
combined
into
one
control
surface
group
with
one
or
more
control
surfaces
(such
as
the
Logic
Control—place
the
icon
to
the
right
or
left
of
the
existing
icon(s).
Although
the
C4
can
be
used
independently,
it
is
most
useful
when
combined
with
other
control
surfaces,
particularly
the
Logic/Mackie
Control.
In
the
latter
case,
the
C4
adds
eight
channels
in
Multi
Channel
view.
Using
the
C4
in
its
own
control
surface
group
allows
you
to
edit
instruments
and
plug-ins
independently,
while
performing
mixing
and
other
tasks
on
the
Logic/Mackie
Control
or
other
control
surface.
V-Pots,
V-Selects
Functionality
depends
on
current
view
mode,
and
optional
overlay
(see
below).
 The
top
row
(row
1)
consists
of
V-Pot/V-Select
1
to
8.
 Row
2
consists
of
V-Pot/V-Select
9
to
16.
 Row
3
consists
of
V-Pot/V-Select
17
to
24.
 The
bottom
row
(row
4)
consists
of
V-Pot/V-Select
25
to
32.
V-Pot/V-Select
1
to
8
While
no
overlay
is
active,
V-Pot/V-Selects
1
to
8
(the
top
row)
normally
perform
in
the
same
way
as
their
counterparts
on
a
Logic
Control
or
Logic
Control
XT.
See
“The
Assignment
Zone”
on
page
54.
V-Pot/V-Select
9
to
32
These
V-Pots
have
additional
functionality
in
many
views.
In
Multi
Channel
views,
the
V-Pot/V-Selects
of
rows
2,
3
and
4
usually
edit
the
parameter
that
“follows”
the
parameter
edited
on
row
1.
152 Chapter
11
Mackie
C4
Example:
In
Pan
Multi
Channel
view
(see
“Multi
Channel
View”
on
page
57);
where
row
1
edits
the
Pan/Surround
Angle,
row
2
edits
Surround
Diversity,
row
3
edits
LFE
and
row
4
edits
Surround
mode.
In
Channel
Strip
view,
all
four
rows
build
a
group
of
32
editable
parameters.
In
Plug-in
and
Instrument
Edit
views,
it
can
be
split
into
two
groups
(8/24,
16/16
or
24/8
parameters),
see
“SPLIT”
on
page
157.
Pan/Surround
Multi
Channel
View
In
Pan/Surround
Multi
Channel
view:
 Row
1
edits
Pan/Surround
parameter
1.
 Row
2
edits
Pan/Surround
parameter
2.
 Row
3
edits
Pan/Surround
parameter
3.
 Row
4
edits
Pan/Surround
parameter
4
(in
this
order;
Pan/Angle,
Diversity,
LFE,
Surround
Mode,
X,
Y).
SINGLE
Left/Right
changes
the
parameter
edited
in
row
1,
thus
affecting
the
parameters
shown
and
edited
in
rows
2
to
4.
To
access
Pan/Surround
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
18
(labeled
Surrnd
MultiC).
Pan/Surround
Channel
Strip
View
In
Pan/Surround
Channel
Strip
view,
row
1
edits
all
eight
surround
parameters
of
a
surround
channel.
If
a
stereo
or
mono
channel
is
selected,
V-Pot
1
edits
the
Pan
(or
Balance)
parameter.
To
access
Pan/Surround
Channel
Strip
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
26
(labeled
Surrnd).
Track
Multi
Channel
View
In
Track
Multi
Channel
View,
the
lowest
V-Pot
row
(row
4)
edits
the
currently
chosen
track
parameter.
Row
3
edits
track
parameter
2,
Row
2
track
parameter
3,
and
row
1
track
parameter
4.
The
row
order
is
reversed,
so
that
the
lowest
row
(editing
parameter
1)
is
closest
to
the
buttons.
Chapter
11
Mackie
C4 153
The
V-Pots
edit
the
following
track
parameters
in
this
order:
Volume,
Pan/Angle,
Track
Mode,
Input,
Output,
Automation
Mode,
Group,
Displayed
Automation
Parameter).
BANK
Left/Right
and
SINGLE
Left/Right
change
the
parameter
edited
in
row
4,
thus
affecting
the
parameters
shown/edited
in
rows
1
to
3.
To
access
Track
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
17
(labeled
Track
MultiC).
EQ
Multi
Channel
View
In
EQ
Multi
Channel
view:
 Row
1
edits
EQ
band
bypass.
 Row
2
edits
EQ
band
frequency.
 Row
3
edits
EQ
band
gain/slope.
 Row
4
edits
EQ
band
Q
factor.
 The
SLOT
UP/DOWN
buttons
select
the
EQ
band.
This
only
works
if
a
Channel
or
Linear
Phase
EQ
is
inserted
in
the
selected
channel
strip.
To
access
EQ
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
19
(labeled
EQ
MultiC).
EQ
Channel
Strip
View
In
EQ
Channel
Strip
view:
 Row
1
edits
EQ
Frequency
of
all
eight
bands.
 Row
2
edits
EQ
Gain/Slope
of
all
eight
bands.
 Row
3
edits
EQ
band
Q
factor
of
all
eight
bands.
 Row
4
edits
EQ
bypass
of
all
eight
bands.
If
no
Channel
or
Linear
Phase
EQ
is
present
on
the
selected
track,
a
Channel
EQ
will
be
inserted
automatically
when
the
EQ
Channel
Strip
view
is
entered.
The
TRACK
L
and
TRACK
R
buttons
switch
to
the
previous
or
next
track.
If
you
switch
to
a
track
with
no
Channel
or
Linear
Phase
EQ
inserted,
the
C4
displays
show
“–”
and
the
V-Pots
do
nothing.
To
access
EQ
Channel
Strip
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
154 Chapter
11
Mackie
C4
2 Press
V-Select
27
(labeled
EQs).
Send
Multi
Channel
View
In
Send
Multi
Channel
view:
 Row
1
edits
send
destination.
 Row
2
edits
send
level.
 Row
3
edits
send
position.
 Row
4
edits
send
mute.
 The
SLOT
UP/DOWN
button
selects
the
edited
Send
slot.
 The
TRACK
L
and
TRACK
R
buttons
shift
the
fader
bank
left
or
right
by
the
number
of
channel
strips
in
the
control
surface
group.
To
access
Send
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
appear
on
the
C4
displays.
2 Press
V-Select
20
(labeled
Sends
MultiC).
Send
Channel
Strip
View
In
Send
Channel
Strip
view:
 Row
1
edits
the
eight
send
destinations
of
the
channel
strip.
 Row
2
edits
the
send
level
of
sends
1
to
8
 Row
3
edits
send
positions
1
to
8.
 Row
4
edits
send
mutes
1
to
8.
 TRACK
L
and
TRACK
R
switch
to
the
previous
or
next
track.
To
access
Send
Channel
Strip
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
are
shown
on
the
C4
displays.
2 Press
V-Select
28
(labeled
Sends).
Plug-in
Select
Multi
Channel
View
In
Plug-in
Select
Multi
Channel
view,
the
C4
displays
the
first
four
Insert
slots
of
the
eight
selected
channels.
 Turn
a
V-Pot
to
switch
between
plug-ins.
 Press
the
respective
V-Select
to
insert
the
selected
effect.
This
enters
Plug-in
Edit
view,
where
you
can
directly
edit
plug-in
parameters.
See
the
section
below
for
more
information.
 The
SLOT
UP/DOWN
buttons
switch
between
Insert
slots.
 TRACK
L
and
TRACK
R
shift
the
fader
bank
left
or
right
by
the
number
of
channel
strips
in
the
control
surface
group.
Chapter
11
Mackie
C4 155
 Holding
SHIFT
and
pressing
a
V-Select
switches
the
bypass
state
of
the
respective
Insert
slot.
Bypassed
plug-ins
are
denoted
by
an
asterisk
which
precedes
the
plug-in
name(s).
To
access
Plug-in
Select
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
are
shown
on
the
C4
displays.
2 Press
V-Select
21
(labeled
PlugIn
MultiC).
Plug-in
Edit
View
In
Plug-in
Edit
view:
 V-Pot/V-Select
1
to
32
builds
a
group
of
32
parameters.
Splitting
is
possible.
 SLOT
UP/DOWN
button
selects
the
desired
plug-in
insert
slot.
 BANK
Left/Right
shifts
the
edited
parameters
by
one
page.
In
Split
mode,
this
applies
to
Split
Upper.
When
holding
down
SHIFT,
this
applies
to
Split
Lower.
 SINGLE
Left/Right
shifts
the
edited
parameters
by
1.
In
Split
mode,
this
applies
to
Split
Upper.
When
holding
down
SHIFT,
this
applies
to
Split
Lower.
To
access
Plug-in
Edit
view:
m Access
Plug-in
Select
Multi
Channel
view,
then
insert
or
select
a
plug-in
(see
section
above
for
details).
This
automatically
switches
to
Plug-in
Edit
view.
Instrument
Select
Multi
Channel
View
In
Instrument
Select
Multi
Channel
view,
the
C4
displays
the
Instrument
slots
of
the
selected
instrument
channels.
 Turn
a
V-Pot
to
select
an
instrument.
 Press
the
respective
V-Select
to
insert
the
selected
instrument.
This
enters
Instrument
Edit
view,
where
you
can
edit
instrument
parameters.
See
the
section
below
for
more
information.
 TRACK
L
and
TRACK
R
shift
the
fader
bank
left
or
right
by
the
number
of
channel
strips
in
the
control
surface
group.
 Holding
SHIFT
and
pressing
a
V-Select
switches
the
bypass
state
of
the
respective
Instrument
slot.
An
asterisk
symbol
precedes
the
name
of
bypassed
instruments.
To
access
Instrument
Select
Multi
Channel
view:
1 Hold
the
CHAN
STRIP
button.
The
Channel
Strip
overlay
labels
are
shown
on
the
C4
displays.
2 Press
V-Select
22
(labeled
Instru
MultiC).
156 Chapter
11
Mackie
C4
Instrument
Edit
View
In
Instrument
Edit
View:
 V-Pot/V-Select
1
to
32
builds
a
group
of
32
parameters.
Splitting
is
possible.
 BANK
Left/Right
shifts
the
edited
parameters
by
one
page.
In
Split
mode,
this
applies
to
Split
Upper.
When
holding
down
SHIFT,
this
applies
to
Split
Lower.
 SINGLE
Left/Right
shifts
the
edited
parameters
by
1.
In
Split
mode,
this
applies
to
Split
Upper.
when
holding
down
SHIFT,
this
applies
to
Split
Lower.
To
access
Instrument
Edit
view:
m Access
Instrument
Select
Multi
Channel
view,
then
insert
or
select
an
instrument
(see
section
above
for
details).
This
automatically
switches
to
Instrument
Edit
view.
Cycle
View
Holding
the
CHAN
STRIP
button
and
pressing
V-Select
31
activates
Cycle
view.
In
this
mode,
the
V-Pots/V-Selects
behave
as
follows:
 V-Pot/V-Select
1
(labeled
Cycle):
shows
and
edits
the
current
Cycle
status
(off
or
on).
 V-Select
2
(labeled
BySet):
matches
the
Cycle
area
to
selections
made
in
the
Arrange
window
(selected
Audio
or
MIDI
Region).
 V-Pot
3
(labeled
Move):
moves
the
current
Cycle
area
by
a
bar
with
each
“click”
of
the
V-Pot,
when
turned.
 V-Pot
4:
moves
the
current
Cycle
area
by
a
beat
with
each
“click”
of
the
V-Pot,
when
turned.
 The
display
shows
the
left
and
right
locators
above
V-Pots
5
and
7.
 Pressing
V-Select
5
picks
up
(uses)
the
current
song
position
for
the
left
locator.
 Turning
V-Pot
5
changes
the
left
locator
position
by
bars.
 Turning
V-Pot
6
changes
the
left
locator
position
by
beats
(denominator
steps).
 Pressing
V-Select
7
picks
up
(uses)
the
current
song
position
for
the
right
locator.
 Turning
V-Pot
7
changes
the
right
locator
position
by
bars.
 Turning
V-Pot
8
changes
the
right
locator
position
by
beats
(denominator
steps).
Drop
View
Holding
the
CHAN
STRIP
button
and
pressing
V-Select
32
activates
Drop
(also
called
“punch”)
view.
In
this
mode,
the
V-Pots/V-Selects
behave
as
follows:
 V-Pot/V-Select
1
shows
and
edits
the
current
Drop
status
(off
or
on).
 V-Pot
3
(labeled
Move):
moves
the
current
Drop-in
area
by
a
bar
with
each
“click”
of
the
V-Pot,
when
turned.
 V-Pot
4:
moves
the
current
Drop-in
area
by
a
beat
with
each
“click”
of
the
V-Pot,
when
turned.
 The
display
shows
the
Drop
In
and
Drop
Out
locators
above
V-Pots
5
and
7.
Chapter
11
Mackie
C4 157
 Pressing
V-Select
5
picks
up
(uses)
the
current
song
position
for
the
Drop
In
locator.
 Turning
V-Pot
5
changes
the
Drop
In
locator
position
by
bars.
 Turning
V-Pot
6
changes
the
left
locator
position
by
beats
(denominator
steps).
 Pressing
V-Select
7
picks
up
(uses)
the
current
song
position
for
the
Drop
Out
locator.
 Turning
V-Pot
7
changes
the
Drop
Out
locator
position
by
bars.
 Turning
V-Pot
8
changes
the
right
locator
position
by
beats
(denominator
steps).
Note:
Changing
a
drop
locator
position
with
the
C4
automatically
enables
Drop
mode.
Buttons
at
Bottom
The
following
section
outlines
the
functionality
of
the
buttons
found
at
the
bottom
of
the
C4
control
surface.
SPLIT
Switches
edit
split
between
4/0,
1/3,
2/2
and
3/1
rows.
Split
Edit
allows
you
to
simultaneously
edit
two
separate
sections
of
a
plug-in/instrument,
or
even
two
different
plug-ins.
Split
Edit
is
also
possible
across
multiple
C4
units.
As
an
example
with
two
units,
pressing
the
SPLIT
button
offers
the
following
split
modes:
 1/7
(Split
Upper
is
top
line
of
first
unit,
Split
Lower
is
bottom
3
lines
of
first
unit
and
all
lines
of
second
unit.
LED
1/3
is
lit.)
 2/6
(Split
Upper
is
top
two
lines
of
first
unit,
Split
Lower
is
bottom
two
lines
of
first
unit
and
all
lines
of
second
unit.
LED
2/1
is
on.)
 3/5
(LED
3/1
is
on.)
 4/4
(all
three
LEDs
are
on.)
 5/3
(all
three
LEDs
are
on.)
 6/2
(all
three
LEDs
are
on.)
 7/1
(all
three
LEDs
are
on.)
LOCK
Activates/deactivates
Track
Lock.
When
enabled,
selecting
a
track
does
not
switch
the
current
track
selection.
SPOT
ERASE
Currently
unassigned.
MARKER
Switches
between
Marker
overlay
(see
“Marker
Overlay”
on
page
160)
and
normal
view.
158 Chapter
11
Mackie
C4
TRACK
Switches
between
Track
overlay
(see
“Track
Overlay”
on
page
160)
and
normal
view.
Alternate
mode
options
Holding
down
the
TRACK
button
accesses
a
further
submenu
in
the
lower
LCD,
enabling
you
to
enter
Global
view
with
a
certain
Object
type:
 V-Select
25
switches
to
MIDI
tracks.
 V-Select
26
switches
to
Input
Objects.
 V-Select
27
switches
to
Audio
tracks.
 V-Select
28
switches
to
Audio
Instrument
tracks.
 V-Select
29
switches
to
Auxiliary
Objects.
 V-Select
30
switches
to
Bus
Objects.
 V-Select
31
switches
to
Outputs.
 V-Select
32
switches
to
Master
Output.
Releasing
the
TRACK
button
without
pressing
a
V-Select
returns
to
Mixer
view.
CHAN
STRIP
Switches
between
Channel
Strip
overlay
(see
“Channel
Strip
Overlay”
on
page
160)
and
normal
view.
Alternate
mode
options
Holding
down
the
CHAN
STRIP
button
accesses
a
further
submenu
in
the
lower
LCD:
 V-Select
9
to
16
switches
to
one
of
eight
user
modes,
where
you
can
freely
assign
parameters
to
V-Pots
or
V-Selects.
 V-Select
17
switches
to
Track
Multi
Channel
view
(see
“Track
Multi
Channel
View”
on
page
152).
 V-Select
18
switches
to
Pan/Surround
Multi
Channel
view
(see
“Pan/Surround
Multi
Channel
View”
on
page
152).
 V-Select
19
switches
to
EQ
Multi
Channel
view
(see
“EQ
Multi
Channel
View”
on
page
153).
 V-Select
20
switches
to
Sends
Multi
Channel
view
(see
“Send
Multi
Channel
View”
on
page
154).
 V-Select
21
switches
to
Plug-in
Select
Multi
Channel
view
(see
“Plug-in
Select
Multi
Channel
View”
on
page
154).
 V-Select
22
switches
to
Instrument
Select
Multi
Channel
view
(see
“Instrument
Select
Multi
Channel
View”
on
page
155).
 V-Select
26
switches
to
Pan/Surround
Channel
Strip
view
(see
“Pan/Surround
Channel
Strip
View”
on
page
152).
 V-Select
27
switches
to
EQ
Channel
Strip
view
(see
“EQ
Channel
Strip
View”
on
page
153).
Chapter
11
Mackie
C4 159
 V-Select
28
switches
to
Send
Channel
Strip
view
(see
“Send
Channel
Strip
View”
on
page
154).
 V-Select
31
activates
the
Cycle
view
(see
“Cycle
View”
on
page
156).
 V-Select
32
activates
the
Drop
view
(see
“Drop
View”
on
page
156).
FUNCTION
Switches
between
Function
overlay
(see
“Function
Overlay”
on
page
161)
and
normal
view.
Modifier
Buttons
The
four
buttons
in
this
area
are
similar
to
those
found
on
your
computer
keyboard
(but
are
independent
of
the
keyboard
modifiers).
Many
Logic
functions
behave
differently
when
one
or
more
“modifier”
key(s)
is
pressed,
in
conjunction
with
another
key
or
mouse
click.
This
also
applies
to
the
C4
control
surface.
All
“modified”
C4
commands
are
covered
in
each
function
description.
Here
is
a
generic
description
of
the
modifier
button
functions:
 SHIFT:
Switches
other
buttons
to
alternate
function.
 OPTION:
While
held
down,
parameters
are
set
to
the
minimum,
default
or
maximum
value
when
edited
with
a
V-Pot.
 CTRL:
Disables
the
Group
function.
 x/ALT:
While
held
down,
parameters
are
edited
in
fine
(high
resolution)
mode
with
a
V-Pot.
BANK
Left/Right
Shifts
parameter
display
by
one
page
in
particular
view
modes.
SINGLE
Left/Right
Shifts
parameter
display
by
one
parameter
in
particular
view
modes.
TRACK
L/R
In
Multi
Channel
view,
TRACK
L/R
shifts
the
fader
bank
left
or
right
by
the
number
of
channel
strips
in
the
control
surface
group.
As
an
example:
If
you
have
two
C4
units
in
a
control
surface
group,
the
view
shifts
by
16
channels.
Simultaneously
pressing
TRACK
L
or
TRACK
R
and
OPTION
switches
the
fader
bank
to
the
beginning
or
end.
As
an
example,
if
you
are
viewing
the
first
eight
channels
(of
64
Audio
Objects)
in
the
fader
bank,
pressing
OPTION
and
TRACK
L
or
TRACK
R
will
switch
to
view
the
last
eight
channels
in
the
fader
bank
(Audio
Objects
57
to
64).
In
Channel
Strip
view,
TRACK
L/R
selects
the
previous
or
next
track.
With
SHIFT
held
down:
as
above,
but
for
Split
Lower.
160 Chapter
11
Mackie
C4
SLOT
UP/DOWN
Selects
the
desired
EQ,
Send
or
plug-in
insert
slot.
Marker
Overlay
The
Marker
overlay
is
active
when
the
MARKER
button
light
is
on.
 V-Select
1
to
30
is
assigned
to
markers
1
to
30.
The
upper
LCD
line
shows
the
marker
name;
the
lower
line
displays
“INSIDE”
when
the
SPL
falls
between
marker
boundaries.
 V-Select
31
creates
a
new
marker.
 V-Select
32
deletes
the
current
marker.
Track
Overlay
The
Track
overlay
is
active
when
the
TRACK
button
light
is
on.
 V-Select
1
to
32
changes
the
currently
edited
track.
When
a
track
is
selected
for
Split
Upper,
the
lower
LCD
line
displays
the
word
“UPPER.”
If
a
track
is
selected
for
Split
Lower,
the
word
“LOWER”
is
shown.
To
select
a
track
for
Split
Upper,
press
the
appropriate
V-Select.
To
select
a
track
for
Split
Lower,
press
the
V-Select
while
holding
down
SHIFT.
 BANK
Left/Right
shifts
the
fader
bank
by
the
number
of
channels
in
the
control
surface
group.
 SINGLE
Left/Right
shifts
the
fader
bank
by
one
track.
Channel
Strip
Overlay
The
Channel
Strip
overlay
is
active
when
the
CHAN
STRIP
button
light
is
on.
 V-Pot/V-Select
row
1
edits
the
frequency
and
gain
of
EQ
bands
3
to
6
(the
parametric
bands),
provided
an
EQ
plug-in
is
inserted
in
the
current
channel
strip.
 V-Pot/V-Select
row
2
switches
to
edit
mode
for
plug-in
inserts
1
to
8,
provided
a
plug-in
is
inserted
in
the
respective
Insert
slot.
If
no
plug-in
is
inserted,
turn
the
respective
V-Pot
to
select
a
plug-in,
then
press
V-Select,
to
instantiate
it.
 V-Pot/V-Select
row
3
edits
Send
1
to
8
Level,
provided
the
current
track
has
active
sends.
 V-Pot/V-Select
25
switches
to
Instrument
Edit
mode,
provided
the
selected
track
is
an
Audio
Instrument
track
and
an
Audio
Instrument
is
inserted.
 V-Pot/V-Select
26
edits
track
output.
 V-Pot/V-Select
27
sets
the
automation
mode.
 V-Pot/V-Select
28
edits
group
membership.
 V-Pot/V-Select
29
edits
volume.
Chapter
11
Mackie
C4 161
 V-Pot/V-Select
30
edits
pan/surround
angle
(for
surround
channels).
 V-Pot/V-Select
31
edits
Surround
Diversity.
 V-Pot/V-Select
32
edits
track
mode
(mono/stereo).
Function
Overlay
The
Function
overlay
is
active
when
the
FUNCTION
button
light
is
on.
Control Assignment
1
(display:
Params) Enables/Disables
the
parameter
display
of
the
active
window.
2
(Channl
Strip) Enables/Disables
Channel
Strip
Only
option
in
Arrange.
3
(Delay
in
ms) Activates/Deactivates
display
of
delays
in
milliseconds.
4
(Ruler:
SMPTE) Activates/Deactivates
SMPTE
display
of
time
ruler.
5
(Global
Track) Activates/Deactivates
display
of
Global
tracks.
6
(Arrang
Grid) Activates/Deactivates
display
of
the
grid
in
Arrange.
7
(Event
Float) Activates/Deactivates
display
of
the
floating
Event
List.
8
(Name/Value) Switches
the
display
mode
between
Name
and
Value
(identical
to
the
NAME/VALUE
button
on
the
Logic
Control).
9
(Track
Autom.) Enables/Disables
display
of
track
automation
in
Arrange
windows.
10
(Trk>Rg
Autom.) Performs
Move
Current
Track
Automation
Data
To
Region
key
command.
With
the
SHIFT
button
held
down
(display:
Trk>Ob
Au
All),
Move
All
Track
Automation
Data
To
Region
key
command
is
performed.
11
(Rg>Trk
Autom.) Performs
Move
Current
Region
Control
Data
To
Track
Automation
function.
With
the
SHIFT
button
held
down
(display:
Ob>Trk
Au
All),
Move
All
Region
Control
Data
To
Track
Automation
key
command
is
performed.
12
(Clear
Autom.) Performs
Delete
Currently
Visible
Automation
Data
of
Current
Track
key
command.
With
the
SHIFT
button
held
down
(display:
Clear
Au
All),
Delete
All
Automation
Data
of
Current
Track
function
is
performed.
13
(ClrAll
Overld) Resets
the
Level
Meter
Overload
displays.
14
(ClrAll
RecRdy) Switches
off
Record
Ready
for
all
tracks.
15
(ClrAll
Solo) Switches
off
Solo
for
all
tracks.
16
(ClrAll
Mute) Switches
off
Mute
for
all
tracks.
17
(Tool:
Pointr) Chooses
the
Pointer
tool.
18
(Tool:
Pencil) Chooses
the
Pencil
tool.
19
(Tool:
Scissr) Chooses
the
Scissors
tool.
20
(Tool:
Glue) Chooses
the
Glue
tool.
21
(Tool:
Text) Chooses
the
Text
tool.
22
(Tool:
Xfade) Chooses
the
Crossfade
tool.
23
(Tool:
Marque) Chooses
the
Marquee
tool.
24
(Tool:
Autom.) Chooses
the
Automation
tool.
162 Chapter
11
Mackie
C4
The
SHIFT
modifier
button
is
currently
assigned
to
V-Selects
10
to
12
(see
above).
Use
of
the
OPTION,
CTRL
or
x/ALT
modifiers
don’t
alter
V-Select/V-Pot
functionality,
as
they
are
unassigned.
You
can
freely
assign
new
key
commands
to
these
encoders,
or
may
choose
to
reassign
the
existing
assignments
in
Logic
Pro.
V-Pot
25
(WfZoom) Edits
the
active
Arrange
waveform
zoom
factor.
V-Pot
26
(V.Zoom) Edits
the
vertical
zoom
factor
of
the
active
window.
V-Pot
27
(H.Zoom) Edits
the
horizontal
zoom
factor
of
the
active
window.
V-Pot
28
(Move
Cycle) Moves
the
Cycle
locators.
V-Pot
29
(Quantz) Chooses
the
Quantize
Again
value.
V-Select
29
performs
Quantize
Again
for
the
selected
Regions
or
events.
V-Pot
30
(Format) Chooses
the
Format
value
for
clock
display.
V-Select
31
(Prev
SetEXS) Performs
“Next
Plug-in
Setting
or
EXS
Instrument”
key
command.
V-Select
32
(Next
SetEXS) Performs
“Previous
Plug-in
Setting
or
EXS
Instrument”
key
command.
Control Assignment
12
163
12 Mackie
HUI
Set
Up
Please
make
sure
that
your
HUI
unit(s)
are
connected
bi-directionally
with
the
computer,
using
a
MIDI
interface.
To
set
up
Mackie
HUI
units:
1 Choose
Logic
Pro
>
Control
Surfaces
>
Setup.
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
HUI
in
the
Install
window.
4 Click
the
Scan
button.
Logic
Pro
will
scan
for,
and
automatically
install,
your
control
surface(s).
Other
HUI
Compatible
Devices
If
the
unit
emulates
one
HUI
unit,
proceed
as
if
using
a
HUI.
If
you
experience
problems
in
the
DSP
Edit
display,
install
the
unit
as
a
DM2000.
If
the
unit
emulates
more
than
one
HUI,
add
the
required
number
of
additional
devices
in
the
Setup
window
(see
the
Yamaha
digital
mixer
sections
in
this
document).
If
the
unit
is
limited
to
support
of
only
one
HUI
DSP
edit
section,
choose
HUI
Channel
Strips
only
as
the
model
name
for
these
additional
units.
This
ensures
that
scrolling
in
the
DSP
edit
section
is
limited
to
four
parameters.
If
you
wish
to
know
more
about
button
assignments,
refer
to
the
Assignment
Overview
section
below,
and
the
device’s
user
manual.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
164 Chapter
12
Mackie
HUI
ASSIGN
Section
Fader
Bank
Buttons
Control Assignment
SEND
A Assigns
Send
1
Level
to
V-Pots,
and
Send
1
to
4
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
1
destination
assignment.
SHIFT/ADD As
above,
for
Send
6
SEND
B Assigns
Send
2
Level
to
V-Pots,
and
Send
1
to
4
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
2
destination
assignment.
SHIFT/ADD As
above,
for
Send
7
SEND
C Assigns
Send
3
Level
to
V-Pots,
and
Send
1
to
4
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
3
destination
assignment.
SHIFT/ADD As
above,
for
Send
8
SEND
D Assigns
Send
4
Level
to
V-Pots,
and
Send
1
to
4
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
4
destination
assignment.
SEND
E Assigns
Send
5
Level
to
V-Pots,
and
Send
5
to
8
Levels
to
DSP
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Send
5
destination
assignment.
PAN Assigns
Pan
to
V-Pots;
assigns
selected
track’s
Pan/Surround
parameters
to
DSP
VPots.
INPUT Assigns
Track
Input
to
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Track
Input
assignment.
OUTPUT Assigns
Track
Output
to
V-Pots.
While
held
down,
the
scribble
strips
show
the
current
Track
Output
assignment.
REC/RDY
ALL Disable
Record
Ready
on
all
tracks.
BYPASS Switches
the
INSERT
buttons
between
Insert
Select
and
Insert
Bypass
mode.
Also
see
Insert
entry
in
Channel
Strips
table
on
page
166.
MUTE Switches
the
V-Select
buttons
between
Send
Position
and
Send
Mute
mode.
SHIFT Enables/Disables
Flip
mode.
SELECT-ASSIGN Displays
the
V-Pot
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
SUSPEND —
DEFAULT Switches
V-Select
buttons
between
normal
behavior
and
setting
default
value.
ASSIGN When
V-Pots
display
a
Send
level,
the
ASSIGN
button
switches
them
to
Send
Destination
Assignment
mode.
Press
V-Select
or
ASSIGN
button
again
to
confirm
the
assignment.
Control Assignment
Bank
Left Shifts
channel
strips
by
one
bank
to
the
left.
Bank
Right Shifts
channel
strips
by
one
bank
to
the
right.
Channel
Left Shifts
channel
strips
by
one
channel
to
the
left.
Channel
Right Shifts
channel
strips
by
one
channel
to
the
right.
Chapter
12
Mackie
HUI 165
WINDOW
Section
KEYBOARD
SHORTCUTS
Section
Control Assignment
TRANSPORT Opens/Closes
the
Transport
window.
EDIT Opens/Closes
the
Arrange
window.
MIX Opens/Closes
the
Track
Mixer.
ALT Opens/Closes
the
Sample
Editor.
STATUS Opens/Closes
the
Audio
window.
MEM-LOC Opens/Closes
the
Marker
List.
Control Assignment
UNDO Performs
Undo.
SHIFT/ADD Performs
Redo.
OPTION/ALL Opens
Undo
History
window.
SAVE Saves
the
song.
OPTION/ALL Performs
Save
As
function,
allowing
you
to
save
the
song
under
a
different
name.
EDIT
MODE —
EDIT
TOOL Selects
the
next
tool.
While
held
down,
numerical
buttons
select
a
specific
tool.
SHIFT/ADD Shifts
to
second
meaning
of
some
buttons.
See
descriptions
of
other
buttons.
OPTION/ALL While
held
down,
value
change
mode
is
set
to
“relative”:
relative
value
changes
result
in
a
minimum,
default,
or
maximum
value
for
the
edited
parameter.
Also
see
description
of
other
buttons.
CTRL/CLUTCH While
held
down,
the
Group
Clutch
is
engaged
(all
groups
are
disabled).
x/ALT/FINE While
held
down,
value
change
mode
is
set
to
“fine”:
relative
value
changes
work
at
maximum
resolution.
Also
see
descriptions
of
other
buttons.
166 Chapter
12
Mackie
HUI
Channel
Strips
Control Assignment
Level
meters Displays
momentary
and
peak
levels.
REC/RDY Activates/Deactivates
Record
Enable
button.
OPTION/ALL Disables
Record
Enable
button
for
all
tracks.
INSERT BYPASS
button
off
(see
Insert
Select
mode
on
page
164):
selects
track
for
plug-in
selection.
BYPASS
button
on
(see
Insert
Bypass
mode
page
164):
enables/disables
bypass
of
currently
selected
Insert
slot.
V-SEL PAN
button
on:
sets
Pan
parameter
to
center
if
DEFAULT
button
is
on.
Send
1
to
8
selected:
edits
Send
Pre/Post,
activates/deactivates
Send
Mute
or
sets
Send
Level
to
default
value.
In
Send
Destination
Assignment
mode,
Track
Input
(see
Input
button
on
page
164)
or
Track
Output
Assignment
mode
(see
Output
button
on
page
164),
the
V-SEL
buttons
confirm
the
selection.
V-Pot Adjusts
parameter
selected
in
the
ASSIGN
section.
AUTO Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
the
button
sets
this
automation
mode.
SOLO Enables/Disables
Solo.
OPTION/ALL Disables
Solo
for
all
tracks.
MUTE Enables/Disables
Mute.
OPTION/ALL Unmutes
all
tracks.
Scribble
strip Displays
track
name,
or
Send,
In,
or
Out
assignment.
SELECT Selects
track.
SHIFT/ADD Sets
volume
to
unity
level.
DEFAULT Sets
volume
to
unity
level.
Fader Adjusts
volume,
or
duplicates
V-Pot
in
Flip
mode.
Chapter
12
Mackie
HUI 167
DSP
EDIT/ASSIGN
Section
Control Assignment
ASSIGN —
COMPARE Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/
parameter
value”
modes.
BYPASS Enables/Disables
bypass
of
currently
edited
plug-in
insert.
DSP
Select
1
to
4
Assignment Pan:
 DSP
Select
1
centers
Pan
or
Surround
Angle.
 DSP
Select
2
centers
Surround
Diversity.
 DSP
Select
3
centers
Surround
LFE.
 DSP
Select
4
selects
Surround
mode.
Assignment Send:
 Activate/Deactivate
Sends
1
to
4
or
Mutes
5
to
8.
Plug-in Assign mode:
 Confirms
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
and
enters
Plug-in
Edit
mode.
Plug-in Edit mode:
 Sets
value
to
default,
or
turns
parameter
“switch”
on/off.
DSP
V-Pots Assignment Pan:
 DSP
V-Pot
1
controls
Pan
or
Surround
Angle.
 DSP
V-Pot
2
controls
Surround
Diversity.
 DSP
V-Pot
3
controls
Surround
LFE.
 DSP
V-Pot
4
controls
Surround
Mode.
Assignment Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-in Assign mode:
 Assigns
plug-in
inserts
1
to
4
or
5
to
8.
Plug-in Edit mode:
 Controls
the
selected
plug-in
parameter.
INSERT/PARAM Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
SCROLL Plug-In
Edit
mode:
shifts
parameter
display
by
the
number
of
DSP
V-Pots
in
the
control
surface
group
(usually
four).
x/ALT/FINE Plug-in
Edit:
mode
shifts
parameter
display
by
one.
168 Chapter
12
Mackie
HUI
Function
Keys
AUTO
ENABLE
Section
Control Assignment
F1 Clears
Overload
LEDs.
SHIFT/ADD Switches
to
Global
View
and
enables
MIDI
tracks.
x/ALT/FINE Opens/Closes
Arrange
window.
F2 Recalls
Screenset
2.
SHIFT/ADD Switches
to
Global
View
and
enables
Input
Objects.
x/ALT/FINE Opens/Closes
Track
Mixer.
F3 Recalls
Screenset
3.
SHIFT/ADD Switches
to
Global
View
and
enables
audio
tracks.
x/ALT/FINE Opens/Closes
Event
Editor.
F4 Recalls
Screenset
4.
SHIFT/ADD Switches
to
Global
View
and
enables
Audio
Instrument
trackss.
x/ALT/FINE Opens/Closes
Score
Editor.
F5 Recalls
Screenset
5.
SHIFT/ADD Switches
to
Global
View
and
enables
Aux
Objects.
x/ALT/FINE Opens/Closes
Hyper
Editor.
F6 Recalls
Screenset
6.
SHIFT/ADD Switches
to
Global
View
and
enables
Bus
Objects.
x/ALT/FINE Opens/Closes
Matrix
Editor.
F7 Switches
counter
display
between
SMPTE
and
bars/beats/format/ticks.
SHIFT/ADD Switches
to
Global
View
and
enables
Outputs
and
Master
Object.
x/ALT/FINE Opens/Closes
Transport
window.
F8/ESC Default:
exits
folder.
Goto
Marke
mode:
cancels
dialog.
x/ALT/FINE Opens/Closes
Audio
window.
Control Assignment
FADER Activates/Deactivates
volume
automation
playback
and
recording.
PAN Activates/Deactivates
pan
automation
playback
and
recording.
PLUG
IN Activates/Deactivates
plug-in
parameter
automation
playback
and
recording.
MUTE Activates/Deactivates
mute
automation
playback
and
recording.
SEND Activates/Deactivates
send
level
automation
playback
and
recording.
SEND
MUTE —
Chapter
12
Mackie
HUI 169
AUTO
MODE
Section
STATUS/GROUP
Section
Control Assignment
READ Sets
selected
track
to
Read
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Read.
OPTION/ALL Sets
all
tracks
to
Read
automation
mode.
LATCH Sets
selected
track
to
Latch
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Latch.
OPTION/ALL Sets
all
tracks
to
automation
mode
Latch.
TRIM —
TOUCH Sets
selected
track
to
Touch
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Touch.
OPTION/ALL Sets
all
tracks
to
Touch
automation
mode.
WRITE Sets
selected
track
to
Write
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Write.
OPTION/ALL Sets
all
tracks
to
Write
automation
mode.
OFF Sets
selected
track
to
Off
automation
mode.
While
held
down,
the
channel
strip
AUTO
buttons
set
automation
mode
to
Off.
OPTION/ALL Sets
all
tracks
to
Off
automation
mode.
Control Assignment
AUTO While
held
down,
the
scribble
strips
display
the
tracks’
automation
mode.
MONITOR —
PHASE —
GROUP Enters Group Edit mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 DSP
Select
buttons
1
to
4
switch
between
the
properties
of
the
currently
edited
group.
The
group
name
is
shown
in
the
lower
line.
 When
the
INSERT/PARAM
button
is
off,
the
DSP
Edit
V-Pots
scroll
through
the
group
properties.
If
the
INSERT/PARAM
button
is
on,
the
DSP
EDIT
V-Pots
select
the
group
currently
being
edited.
 The
SELECT
buttons
enable/disable
group
membership
of
the
track.
SHIFT/ADD Switches
to
Track
View.
CREATE Creates
a
new
group
and
enters
Group
Edit
mode
(see
above).
SHIFT/ADD Switches
to
Global
View.
SUSPEND Activates/Deactivates
the
Group
Clutch.
SHIFT/ADD Switches
to
Arrange
View.
170 Chapter
12
Mackie
HUI
EDIT
Section
Time
Display
LOCATE/NUMERICS
Section
Control Assignment
CAPTURE —
SEPARATE —
CUT Cuts
the
selection.
COPY Copies
the
selection.
PASTE Pastes
the
Clipboard
contents.
DELETE Deletes
the
selection.
Control Assignment
TIME
CODE Lit
if
counter
displays
time
code.
FEET Not
assigned.
BEATS Lit
if
counter
displays
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
RUDE
SOLO
LIGHT
Flashes
if
any
track
is
soloed.
Control Assignment
CLR Deletes
current
marker.
= Creates
a
marker
at
the
current
song
position.
/ Equivalent
to
computer
keyboard
/
key.
* Equivalent
to
computer
keyboard
*
key.
– Equivalent
to
computer
keyboard
–
key.
+ Equivalent
to
computer
keyboard
+
key.
0
to
9 Normal:
1
to
9
recalls
markers
1
to
9.
If
in
Goto
Marker
dialog:
Equivalent
to
computer
keyboard
keys
0
to
9.
SHIFT/ADD Switches to Global View and enables:
1:
MIDI
tracks
2:
Input
Objects
3:
Audio
tracks
4:
Audio
Instrument
Objects
5:
Aux
Objects
6:
Bus
Objects
7:
Outputs
and
Master
Object
Chapter
12
Mackie
HUI 171
Transport
Section
EDIT
TOOL Selects
tool:
1:
Pointer
2:
Pencil
3:
Eraser
4:
Text
tool
5:
Scissors
6:
Glue
7:
Solo
tool
8:
Mute
tool
9:
Magnifying
Glass
0 If
in
Goto
Marker
dialog:
Equivalent
to
computer
keyboard
0
key.
. If
not
in
Goto
Marker
dialog:
Enters
Goto
Marker
dialog.
In
in
Goto
Marker
dialog:
Confirms
entered
marker
number.
ENTER If
not
in
Goto
Marker
dialog:
Enters
folder
of
selected
track.
If
in
Goto
Marker
dialog:
Confirms
entered
marker
number.
Control Assignment
Control Assignment
AUDITION —
PRE Sets
left
locator.
IN Sets
Drop
In
locator.
OUT Sets
Drop
Out
locator.
POST Sets
right
locator.
RTZ Goes
to
the
left
locator.
END Goes
to
the
right
locator.
ON
LINE Switches
between
internal/external
sync.
LOOP Enables/Disables
Cycle
mode.
QUICK
PUNCH Enables/Disables
Drop
mode.
REWIND Shuttles
backward.
FAST
FWD Shuttles
forward.
STOP Stop
playback.
PLAY Starts
playback.
SHIFT/ADD Pause
RECORD Record
172 Chapter
12
Mackie
HUI
Cursor
Buttons
Jog
Wheel
Foot
Switches
Control Assignment
Cursor
Up Cursor
mode:
Equivalent
to
computer
keyboard
Up
Arrow
key.
Zoom
mode:
Zooms
out
vertically.
SHIFT/ADD Zoom
mode:
Individual
track
zoom
in.
x/ALT/FINE Page
up
OPTION/ALL
+
x/ALT/FINE
Scroll
to
top.
Cursor
Down Cursor
mode:
Equivalent
to
computer
keyboard
Down
Arrow
key.
Zoom
mode:
Zooms
out
vertically.
SHIFT/ADD Zoom
mode:
Individual
track
zoom
out.
x/ALT/FINE Page
down
OPTION/ALL
+
x/ALT/FINE
Scroll
to
bottom.
Cursor
Left Cursor
mode:
Equivalent
to
computer
keyboard
Left
Arrow
key.
Zoom
mode:
Zooms
out
horizontally.
SHIFT/ADD Zoom
mode:
Individual
track
zoom
reset
of
tracks
from
the
same
class.
x/ALT/FINE Page
left
OPTION/ALL
+
x/ALT/FINE
Scroll
to
left
border.
Cursor
Right Cursor
mode:
Equivalent
to
computer
keyboard
Right
Arrow
key.
Zoom
mode:
Zooms
in
horizontally.
SHIFT/ADD Zoom
mode:
Individual
track
zoom
reset
of
all
tracks.
x/ALT/FINE Page
right
OPTION/ALL
+
x/ALT/FINE
Scroll
to
right
border.
MODE Switches
between
Cursor
and
Zoom
modes.
Control Assignment
Jog
Wheel Default:
Move
SPL
by
one
bar.
Scrub
button
lit:
Scrub
mode.
Shuttle
button
lit:
Shuttle
mode.
SCRUB Activates/Deactivates
Scrub
mode.
SHUTTLE Activates/Deactivates
Shuttle
mode.
Control Assignment
Foot
Switch
1 Play
or
Stop
Foot
Switch
2 Record
On/Off
13
173
13 Radikal
Technologies
SAC-2K
Set
Up
Please
make
sure
that
your
control
surface
is
connected
bi-directionally
with
the
computer,
either
using
a
MIDI
interface
or
the
built-in
USB
connector.
If
the
unit(s)
are
connected
via
USB,
ensure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
To
set
up
SAC-2K
units:
1 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup.
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
the
SAC-2K
in
the
Install
window.
4 Click
the
Scan
button.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
LCDs
and
Encoders
Control Assignment
Left
and
middle
LCDs Upper
row
displays
track
number
(if
in
a
Multi
Channel
View)
or
parameter
name
(if
in
a
Channel
Strip
View).
Lower
row
shows
the
parameter
value
of
the
encoder
below
the
display.
Level
meters
are
displayed
to
the
right.
Right
LCD Upper
row
displays
the
name
of
the
parameter
edited
with
the
encoder
below.
Lower
row
displays
the
parameter
value
assigned
to
the
encoder
below
the
display.
The
Master
Output
level
meter
is
displayed
at
the
far
right.
Encoders Edit
the
corresponding
parameter
displayed
in
the
LCD.
Encoder
push
buttons Parameters
with
two
values
(On/Off ):
Switches
between
the
two
values.
Parameters
that
access
items
(plug-in
selection):
Confirms
preselection.
At
other
times:
Sets
parameter
to
default
value.
174 Chapter
13
Radikal
Technologies
SAC-2K
Channel
Strips
Mixe
Mode
Section
Control Assignment
Mute/Solo Switches
Mute/Solo
1
to
8
buttons
between
Mute
and
Solo
modes.
LED
off:
Mute/Solo
buttons
switch
Mute
state
on/off.
LED
on:
Mute/Solo
buttons
switch
Solo
state
on/off.
LED
flashes:
Mute/Solo
buttons
switch
Rec/Rdy
state
on/off.
SHIFT Sets
Mute/Solo
buttons
to
Rec/Rdy
mode.
Mute/Solo
1
to
8 Mute/Solo
LED
off:
Enables/Disables
Mute;
LED
displays
Mute
status.
Mute/Solo
LED
on:
Enables/Disables
Solo;
LED
displays
Solo
status.
Mute/Solo
LED
flashing:
Enables/Disables
Rec/Rdy;
LED
displays
Rec/Rdy
status.
SELECT
1
to
8
buttons Selects
track.
Exception:
In
Group
mode,
these
buttons
define
group
membership
of
the
track.
Master
Select
button Switches
Flip
mode
between
Off
and
Duplicate.
Fader
1
to
8 Controls
volume,
or
duplicates
encoder
above
if
Flip
mode
is
enabled.
The
silk
screened
legend
lines
are
scaled
as
follows:
+6
dB,
+3
dB,
0
dB,
−5
dB,
−10
dB,
−15
dB,
−20
dB,
−25
dB,
−30
dB,
−35
dB,
−40
dB,
−45
dB,
−50
dB,
−60
dB,
−inf.
Master
Fader Controls
master
volume.
Control Assignment
Pan Switches
to
multi-channel
pan
editing.
Encoders
9
to
12
edit
Pan/Angle,
Diversity,
LFE,
and
Surround
Mode
of
selected
track
(in
Surround
mode).
High,
HiMid,
LowMid,
Low
Switches
to
multi-channel
gain
editing
of
a
certain
EQ
band.
Encoders
9
to
12
edit
Frequency,
Gain,
Q
factor,
and
On/Off
for
the
selected
track.
Pressing and releasing the button chooses a specific EQ band.
 Low:
Band
3
(first
parametric
EQ
band)
 LowMid:
Band
4
(second
parametric
EQ
band)
 HiMid:
Band
5
(third
parametric
EQ
band)
 High:
Band
6
(fourth
parametric
EQ
band)
While
held
down,
Encoder
9
lets
you
choose
the
EQ
band
to
edit
(bands
1
to
8).
The
button’s
LED
is
lit
when
in
multi-channel
gain
editing
mode
of
the
button’s
EQ
band.
Snd/Ins Switches the four Snd/Ins (1 to 4) buttons between Send and Insert modes.
 LED
off:
Send
mode
 LED
on:
Insert
mode
Chapter
13
Radikal
Technologies
SAC-2K 175
Snd/Ins
1
to
4 Â
If
in
Send
mode,
switches
to
multi-channel
send
level
editing
of
Sends
1
to
4.
Encoders
9
to
12
edit
Destination,
Level,
Pre/Post
and
Mute
of
the
selected
track.
Destination
must
be
confirmed
by
encoder
9’s
push-button.
While
held
down,
Encoder
9
selects
the
desired
Send
number
(1
to
8).
The
button’s
LED
is
lit
when
in
multi-channel
send
level
editing
mode
of
the
button’s
send
number.
 If
in
Insert
mode,
switches
to
multi-channel
plug-in
selection
for
Inserts
1
to
4.
Plug-in
selection
is
confirmed
by
the
encoder’s
push-button.
While
held
down,
Encoder
9
enables
you
to
choose
the
desired
Insert
number
(1
to
15).
The
button’s
LED
is
lit
when
in
plug-in
selection
mode
(of
the
corresponding
button’s
insert
number).
Audio Switches
to
Global
View
and
displays
audio
tracks.
SHIFT Switches
to
Mixer
View.
MIDI Switches
to
Global
View
and
displays
MIDI
tracks.
SHIFT Switches
to
Arrange
View.
Input Switches
to
Global
View
and
displays
Input
Objects.
SHIFT Switches
to
Global
View
and
displays
Outputs
and
Master
Object.
Inst Switches
to
Global
View
and
displays
Audio
Instrument
Objects.
SHIFT Switches
to
Global
View
and
displays
Aux
Objects.
Bus Switches
to
Global
View
and
displays
Bus
Objects.
SHIFT Switches
to
Global
View
and
displays
folders
and
all
tracks
shown
when
the
View
>
Other
Tracks
option
is
activated
in
the
Track
Mixer.
Group Switches to Group editing:
 Encoder
1
to
10
push
buttons
edit
a
group
property
(Property
shown
in
the
LCD’s
lower
line).
 Encoder
11
scrolls
through
group
properties.
 Encoder
12
selects
a
group
to
edit.
Its
name
is
displayed
in
the
lower
line,
above
Encoder
12.
 Select
buttons
1
to
8
activate/deactivate
track
membership
within
the
group.
1
to
8 Shifts
the
fader
bank
offset
to
the
left
by
one
bank.
9
to
16 Shifts
the
fader
bank
offset
to
the
right
by
one
bank.
17
to
24 Shifts
the
fader
bank
offset
to
the
left
by
one
track.
25
to
32 Shifts
the
fader
bank
offset
to
the
right
by
one
track.
Control Assignment
176 Chapter
13
Radikal
Technologies
SAC-2K
Software
Navigation
Section
Locator
Section
The
locator
displays
the
current
song
position
in
bars/beats
format,
as
defined
in
the
song
settings.
The
spaces
between
the
sections
are
replaced
with
a
period,
as
the
bars/
beats
format
uses
up
to
14
characters
in
Logic,
and
the
SAC
display
is
limited
to
eight
digits.
Control Assignment
1 Num
LED
off:
—
Num
LED
on:
Equivalent
to
‘1’
on
computer
keyboard.
2 Num
LED
off:
Equivalent
to
Left
Arrow
key
on
computer
keyboard.
Num
LED
on:
Equivalent
to
‘2’
on
computer
keyboard.
3 Num
LED
off:
Equivalent
to
Up
Arrow
key
on
computer
keyboard.
Num
LED
on:
Equivalent
to
‘3’
on
computer
keyboard.
4 Num
LED
off:
Eequivalent
to
Right
Arrow
key
on
computer
keyboard.
Num
LED
on:
Equivalent
to
‘4’
on
computer
keyboard.
5 Num
LED
off:
Performs
Undo.
Num
LED
on:
Equivalent
to
‘5’
on
computer
keyboard.
6 Num
LED
off:
—
Num
LED
on:
Equivalent
to
‘6’
on
computer
keyboard.
7 Num
LED
off:
Copies
the
selection.
Num
LED
on:
Equivalent
to
‘7’
on
computer
keyboard.
8 Num
LED
off:
Equivalent
to
Down
Arrow
key
on
computer
keyboard.
Num
LED
on:
Equivalent
to
‘8’
on
computer
keyboard.
9 Num
LED
off:
Pastes
the
Clipboard
contents.
Num
LED
on:
Equivalent
to
‘9’
on
computer
keyboard.
0 Num
LED
off:
Saves
the
song.
Num
LED
on:
Equivalent
to
‘0’
on
computer
keyboard.
Num Switches
the
numeric
buttons
between
primary
and
secondary
function
(see
above).
Enter Equivalent
to
Enter
key
on
the
computer
keyboard.
Chapter
13
Radikal
Technologies
SAC-2K 177
Marker
Section
Transport
Section
Control Assignment
SHIFT Shifts
to
secondary
function
of
other
buttons.
Scrub Rotates thru the three modes for the Jog Wheel:
 LED
off:
Move
SPL
by
one
bar.
 LED
on:
Activates
Scrub
mode.
 LED
flashes:
Activates
Shuttle
mode.
From Sets
left
locator
to
current
SPL.
SHIFT Sets
SPL
to
left
locator.
Store
Marker Creates
a
marker
at
the
current
SPL.
SHIFT Deletes
marker
at
the
current
SPL.
To Sets
right
locator
to
current
SPL.
SHIFT Sets
SPL
to
right
locator.
Recall
Marker Opens
the
Goto
Marker
dialog.
SHIFT Opens
the
Marker
List.
Jog
Wheel Moves
the
SPL
in
one
of
three
modes,
depending
on
the
state
of
the
Scrub
button
(see
above).
Control Assignment
<< Shuttles
backward.
SHIFT Goes
to
previous
marker.
>> Shuttles
forward.
SHIFT Goes
to
next
marker.
STOP Stops
playback.
PLAY Starts
playback.
SHIFT Enables/Disables
Cycle
mode.
RECORD Record
SHIFT Enables/Disables
Replace
mode.
178 Chapter
13
Radikal
Technologies
SAC-2K
Channel
Strips
Section
Troubleshooting
The
track
names
are
shorter
than
necessary,
and
the
assignments
don’t
work
correctly.
The
SAC-2K
is
in
an
emulation
mode
(Logic
Control
or
HUI,
for
example).
To
resolve
this
issue,
simply
switch
the
SAC-2K
power
off,
and
then
back
on.
The
faders
don’t
work,
and
the
locator
display
shows
00000000.
You
have
manually
switched
the
SAC-2K
to
SLAVE
mode.
This,
unfortunately,
does
not
initialize
some
settings
required
for
proper
communication.
To
resolve
this
issue,
simply
switch
the
SAC-2K
power
off,
and
then
back
on.
Control Assignment
EQs Enters
Channel
Strip
EQ
editing
mode.
Pressing
the
button
again
cycles
through
the
available
pages.
Inserts/Sends Enters
Channel
Strip
plug-in
editing
mode—edits
the
currently
selected
insert
of
the
selected
track.
Pressing
the
button
again
cycles
through
the
available
pages.
Dynamics —
MIDI —
Instrument Enters
Channel
Strip
instrument
editing
mode—edits
the
instrument
of
the
selected
track
(if
it’s
an
Audio
Instrument
track).
Pressing
the
button
again
cycles
through
the
available
pages.
14
179
14 Roland
SI-24
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Ensure
that
your
SI-24
unit(s)
are
connected
to
the
RPC
card
with
the
(included)
blue
cable.
This
connector
provides
both
digital
audio
and
MIDI
connections.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
To
scan
for
your
Roland
SI-24
unit:
1 Choose
Logic
>
Preferences
>
Control
Surfaces
>
Setup
2 Choose
New
>
Install
in
the
Setup
window’s
local
menu.
3 Select
Roland
SI-24
in
the
Install
window.
4 Click
the
Scan
button.
Logic
Pro
will
scan
for,
and
automatically
install,
your
control
surfaces.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Channel
Strips
Control Assignment
EQ
ON/OFF
1
to
4
In Pan mode:
 Switches
bypass
state
of
EQ
bands
1–4.
 Enters
EQ/Send
mode.
If
no
Channel
or
Linear
Phase
EQ
is
present
on
the
selected
track,
a
Channel
EQ
will
automatically
be
inserted.
In EQ/Send mode:
 Switches
bypass
state
of
EQ
bands
1–4.
The
button
LED
is
lit
when
the
EQ
is
enabled.
In Plug-in mode:
 Switches
to
insert
1–4.
The
lit
button
LED
indicates
the
selected
insert.
 If
a
Plug-in
window
is
open,
it
will
also
switch
to
the
selected
insert.
SHIFT In
EQ/Send
mode:
Enables/Disables
Send
1–4
Mute.
180 Chapter
14
Roland
SI-24
EQ/SEND Switches track edit section between:
 EQ/Send
mode
(LED
on).
 Pan
mode
(LED
off ).
PLUG-IN Switches track edit section between:
 Plug-in
mode
(LED
on)
(Plug-in
window
opens.)
 Pan
mode
(LED
off )
Plug-in
window
closes
when
Plug-in
mode
is
exited.
SHIFT Switches track edit section between:
 Instrument
mode
(LED
on)
(Instrument
window
opens.)
 Pan
mode
(LED
off )
Instrument
editor
window
closes
when
Instrument
mode
is
exited.
PAN
1
to
12 In Pan mode:
 Controls
channel
strip’s
Pan
(surround
angle
for
tracks
in
surround
mode).
In EQ/Send mode:
 1/3/5/7:
EQ
1–4
Gain.
 2/4/6/8:
EQ
1–4
Frequency.
 9–12:
Send
1–4
Level.
In Plug-in mode:
 1–10:
Edits
plug-in
parameter.
 11:
Bypasses
plug-in.
 12:
Shifts
plug-in
parameter
page.
In Instrument mode:
 1–10:
Edits
Instrument
parameter.
 11:
Bypasses
Instrument.
 12:
Shifts
Instrument
parameter
page.
SHIFT In EQ/Send mode:
 1/3/5/7:
EQ
1–4
Type
 2/4/6/8:
EQ
1–4
Q
factor.
 9–12:
Send
1–4
destination.
CH
SELECT
1
to
12
Selects
track/channel.
STATUS
1
to
12 In Automation mode: Switches Automation mode between:
 Off
(LED
off )
 Read
(green)
 Latch
(orange)
 Write
(red)
In
Record
Ready
mode:
Enables/Disables
Record
Ready.
In
Solo
mode:
Enables/Disables
Solo.
In
Mute
mode:
Enables/Disables
Mute.
Fader
1
to
12 Controls
volume.
Control Assignment
Chapter
14
Roland
SI-24 181
STATUS
MODE
Section
CH
ASSIGN
Controls
MASTER
Section
SURROUND
PAN
Section
Control Assignment
AUTOMIX Sets
STATUS
1
to
12
buttons
to
Automation
mode.
SHIFT Sets
all
tracks
to
Off,
Read,
Latch,
or
Write
(cycles
through)
automation
mode.
REC/PLAY Sets
STATUS
1
to
12
buttons
to
Record
Ready
mode.
SOLO Sets
STATUS
1
to
12
buttons
to
Solo
mode.
MUTE Sets
STATUS
1
to
12
buttons
to
Mute
mode.
Control Assignment
INPUT Shows
the
first
12
audio
inputs
(Global
View)
on
channel
strips.
SHIFT Shows
the
first
12
MIDI
channels
(Global
View)
on
channel
strips.
OUTPUT Shows the first 12 audio outputs (Global View) on channel strips:
 1:
Output
1–2
(front).
 2:
Output
3–4
(rear).
 3:
Output
5
(center).
 4:
Output
6
(LFE).
 5:
Output
7–8
(digital
out).
SHIFT Shows
the
first
12
audio
channels
(Global
View)
on
channel
strips.
BUS Shows
the
first
12
audio
buses
(Global
View)
on
channel
strips.
SHIFT Shows
the
first
12
Audio
Instruments
(Global
View)
on
channel
strips.
Tr
1
to
12 Shows
tracks
1
to
12
(Track
View)
on
channel
strips.
Tr
13
to
24 Shows
tracks
13
to
24
(Track
View)
on
channel
strips.
Control Assignment
Master
Fader Controls
output
1-2
volume.
Control Assignment
ON/OFF Switches selected track’s output between:
 Surround
(LED
on)
and
 Out
1-2
(LED
off ).
Also
shows/hides
the
Surround
Pan
window.
Joystick Surround
X/Y
of
selected
track.
182 Chapter
14
Roland
SI-24
Numeric
Key
Section
Control Assignment
SYSTEM Switches
SI-24
to
System
mode.
See
SI-24
user
manual
for
details.
LOCATE Switches
numeric
keys
to
Locate
mode.
SHORT
CUT Switches
numeric
keys
to
Shortcut
mode.
SCREEN
SET Switches
numeric
keys
to
Screenset
mode.
0
to
9 System mode: See SI-24 user manual.
Locate mode:
 1
to
9:
Goes
to
markers
1
to
9.
 0:
Creates
marker
at
SPL.
Shortcut mode:
 1:
Saves
song.
LED
is
lit
if
song
has
changed
since
last
save.
 2:
Performs
undo.
LED
is
on
if
Redo
is
possible.
 3:
Copies
the
selection.
 4:
Pastes
the
Clipboard
contents.
 5:
Deletes
the
selection.
 6:
Enables/Disables
Scrub
mode.
LED
is
on
if
Scrub
mode
is
enabled.
 7:
Enables/Disables
Cycle
mode.
LED
is
on
if
Cycle
mode
is
enabled.
 8:
Enables/Disables
Drop
mode.
LED
is
on
if
Drop
mode
is
enabled.
 9:
Switches
Arrange
window
to
volume
automation
view.
 0:
Switches
Arrange
window
to
pan
automation
view.
Screenset mode:
 1
to
9:
Recall
Screensets
1
to
9.
 0:
Enables/Disables
Lock
Screenset.
SHIFT Locate mode:
 1
to
9:
Goes
to
Markers
10
to
18.
 0:
Deletes
marker
at
SPL.
Shortcut mode:
 1:
Performs
Save
As.
 2:
Performs
Redo.
 3:
Cuts
selection.
 4:
Pastes
the
Clipboard
contents.
Screenset mode:
 1:
Opens/Closes
Arrange
window.
 2:
Opens/Closes
Track
Mixer.
 3:
Opens/Closes
Event
Editor.
 4:
Opens/Closes
Score
Editor.
 5:
Opens/Closes
Hyper
Editor.
 6:
Opens/Closes
Matrix
Editor.
 7:
Opens/Closes
Transport
window.
 8:
Opens/Closes
Audio
window.
 9:
Opens/Closes
Sample
Editor.
Chapter
14
Roland
SI-24 183
Transport
Section
Control Assignment
PAUSE Pause
REW Rewinds
SPL
by
one
bar.
F
FWD Advances
SPL
by
one
bar.
STOP Stops
playback.
PLAY Starts
playback.
RECORD Record
Jog
wheel Scrub
mode
off:
Moves
SPL
by
bars.
Scrub
mode
on:
Scrubs
audio.
15
185
15 Tascam
FW-1884
Introduction
Logic
Pro
7
supports
the
Tascam
FW-1884,
FE-8
extension
and
the
FW-1082.
Version
1.10
of
the
plug-in
also
supports
the
SoftLCD
application
which
displays
information
on
track
names,
parameter
assignments
and
the
current
value
of
the
encoders.
SoftLCD
displays
the
tracks’
current
automation
mode
while
one
of
the
automation
mode
buttons
is
held
down.
The
corresponding
encoder
edits
the
parameter.
Alerts
are
displayed
in
SoftLCD.
Select
buttons
allow
you
to
remotely-control
alert
buttons.
The
following
text
referring
to
the
FW-1884
also
applies
to
FE-8
and
FW-1082,
except
where
mentioned
explicitly.
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro.
 Ensure
that
the
FW-1884’s
MIDI
driver
is
installed.
See
the
FW-1884
documentation
for
details.
 Connect
the
FW-1884
to
your
computer
with
the
supplied
FireWire
cable.
 Boot
Logic
Pro.
The
FW-1884
is
installed
automatically.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Note:
The
FE-8
units
only
offer
the
Channel
Strip
section,
so
other
facilities
mentioned
here
don’t
apply.
The
FW-1884
ENCODERS
section
does,
however,
apply
to
the
FE-8
channel
strips.
The
FW-1082
has
no
channel
encoders,
and
offers
an
extended
channel
strip
section.
186 Chapter
15
Tascam
FW-1884
ENCODERS
Section
(FW-1884
only)
SHORTCUTS
Section
(FW-1884
only).
Control Assignment
FLIP Switches
Flip
mode
between
Off
and
Swap.
PAN Assigns
Pan
to
encoders.
AUX
1 Assigns
Send
1
level
to
encoders.
AUX
2 Assigns
Send
2
level
to
encoders.
AUX
3 Assigns
Send
3
level
to
encoders.
AUX
4 Assigns
Send
4
level
to
encoders.
AUX
5 Assigns
Send
5
level
to
encoders.
AUX
6 Assigns
Send
6
level
to
encoders.
AUX
7 Assigns
Send
7
level
to
encoders.
AUX
8 Assigns
Send
8
level
to
encoders.
Control Assignment
SAVE/F1 Saves
the
active
song;
The
button’s
LED
is
lit
when
the
song
has
been
edited.
REVERT/F2 Reverts
the
active
song
to
the
saved
version.
ALL
SAFE/F3 Disables
Record
Enable
button
for
all
tracks.
CLR
SOLO/F4 Switches
Solo
off
on
all
tracks.
SHIFT Switches
Mute
off
on
all
tracks.
MARKERS/F5 Creates
a
new
marker
at
the
current
SPL.
SHIFT Deletes
the
marker
at
the
SPL.
LOOP/F6 Enables/Disables
Cycle
mode.
CUT Cuts
the
current
selection
and
places
it
in
the
Clipboard.
DEL Deletes
the
current
selection.
COPY Copies
the
current
selection
to
the
Clipboard.
PASTE Pastes
the
Clipboard
contents
to
the
current
SPL.
ALT/CMD Modifier
for
other
buttons.
UNDO Performs
Undo;
The
button’s
LED
is
lit
when
Redo
is
possible.
SHIFT Performs
Redo.
SHIFT Modifier
for
other
buttons.
CTRL Modifier
for
other
buttons.
Chapter
15
Tascam
FW-1884 187
Channel
Strips
EQ
Section
(FW-1884
only)
The
EQ
controls
apply
to
a
certain
EQ
band
of
the
selected
track.
A
Channel
or
Linear
Phase
EQ
will
be
automatically
inserted
in
the
track,
if
not
already
present.
Control Assignment
REC
LEDs These
LEDs
are
lit
when
the
corresponding
track
is
recording.
The
LEDs
flash
when
the
track
is
in
Record
Ready
mode
(armed).
SEL Selects
the
track.
SHIFT Enables/Disables
Send
mute,
when
encoders
are
controlling
a
Send
level.
READ Sets
the
track’s
automation
mode
to
Read.
WRITE Sets
the
track’s
automation
mode
to
Write.
TCH Sets
the
track’s
automation
mode
to
Touch.
LATCH Sets
the
track’s
automation
mode
to
Latch.
SOLO Enables/Disables
the
Solo
status
of
the
track.
SHIFT Disables
Solo
status
for
all
tracks
(new
for
plug-in
version
1.20).
MUTE Enables/Disables
the
Mute
status
of
the
track.
SHIFT Disables
Mute
status
for
all
tracks
(new
for
plug-in
version
1.20).
Encoder Controls
parameter
chosen
with
the
ENCODERS
section.
SET When
encoders
control
a
Send’s
level,
this
combination
sets
the
Send
destination.
Fader Controls
volume
of
the
track.
Mode Assignment
REC While
held
down,
the
SEL
buttons
in
the
channel
strips
enable/disable
the
track’s
Record
Enable
button.
GAIN Edits
Gain
of
currently
selected
EQ
band.
SET Selects
track
input.
FREQ Edits
Frequency
parameter
of
currently
selected
EQ
band.
SET Selects
Track
output.
Q Edits
Q
Factor
of
currently
selected
EQ
band.
SET Selects
Track
mode
(mono/stereo).
HIGH Selects
EQ
band
6.
SHIFT Selects
EQ
band
8.
REC Switches
bypass
state
of
EQ
band
6
(new
in
plug-in
version
1.20).
HI-MID Selects
EQ
band
5.
SHIFT Selects
EQ
band
7.
REC Switches
bypass
state
of
EQ
band
7
(new
in
plug-in
version
1.20).
LOW-MID Selects
EQ
band
4.
188 Chapter
15
Tascam
FW-1884
Encoders
and
Controls
Section
(FW-1082
only)
The
three
buttons
at
the
bottom
of
this
section
define
the
mode
of
the
other
controls:
 EQ/Pan
mode:
The
controls
apply
to
a
certain
EQ
band
of
the
selected
track.
 AUX
1–4
mode:
The
controls
apply
to
Sends
1–4.
 AUX
5–8
mode:
The
controls
apply
to
Sends
5–8.
SHIFT Selects
EQ
band
2.
REC Switches
bypass
state
of
EQ
band
3
(new
in
plug-in
version
1.20).
LOW Selects
EQ
band
3.
SHIFT Selects
EQ
band
1.
REC Switches
bypass
state
of
EQ
band
3
(new
in
plug-in
version
1.20).
Mode Assignment
Mode Assignment
REC While
held
down,
the
SEL
buttons
in
the
channel
strips
enable/disable
the
track’s
Record
Enable
button
status.
EQ
GAIN–AUX
1/5 •
EQ/PAN
mode:
edits
Gain
of
currently
selected
EQ
band.
•
AUX
1–4
mode:
controls
Send
1
level.
•
AUX
5–8
mode:
controls
Send
5
level.
SET Selects
Track
input.
EQ
FREQ–AUX
2/6 •
EQ/PAN
mode:
edits
Frequency
of
currently
selected
EQ
band.
•
AUX
1–4
mode:
controls
Send
2
level.
•
AUX
5–8
mode:
controls
Send
6
level.
SET Selects
Track
output.
EQ
Q–AUX
3/7 •
EQ/PAN
mode:
edits
Q
Factor
of
currently
selected
EQ
band.
•
AUX
1–4
mode:
controls
Send
3
level.
•
AUX
5–8
mode:
controls
Send
7
level.
SET Selects
Track
mode.
PAN–AUX
4/8 •
EQ/PAN
mode:
edits
Pan.
•
AUX
1–4
mode:
controls
Send
4
level.
•
AUX
5–8
mode:
controls
Send
8
level.
EQ
HI–AUX
1/5 •
EQ/PAN
mode:
selects
EQ
band
6.
•
AUX
1–4
mode:
switches
Send
1
Mute
on/off.
•
AUX
5–8
mode:
switches
Send
5
Mute
on/off.
SHIFT •
EQ/PAN
mode:
selects
EQ
band
8.
•
AUX
1–4
mode:
switches
Send
1
Position
(pre/post.)
•
AUX
5–8
mode:
switches
Send
5
Position
(pre/post).
REC Switches
bypass
state
of
EQ
band
6.
EQ
HI
MID–AUX
2/6 •
EQ/PAN
mode:
selects
EQ
band
5.
•
AUX
1–4
mode:
switches
Send
2
Mute
on/off.
•
AUX
5–8
mode:
switches
Send
6
Mute
on/off.
Chapter
15
Tascam
FW-1884 189
MASTER
Fader
This
fader
always
controls
the
master
volume.
If
no
Master
Object
exists
in
the
Environment,
it
controls
Output
1/2.
Automation/Clock
Rate
Section
(FW-1884
only)
SHIFT •
EQ/PAN
mode:
selects
EQ
band
7.
•
AUX
1–4
mode:
switches
Send
2
Position
(pre/post).
•
AUX
5–8
mode:
switches
Send
6
Position
(pre/post).
REC Switchess
bypass
state
of
EQ
band
5.
EQ
LO
MID–AUX
3/7 •
EQ/PAN
mode:
selects
EQ
band
4.
•
AUX
1–4
mode:
switches
Send
3
Mute
on/off.
•
AUX
5–8
mode:
switches
Send
7
Mute
on/off.
SHIFT •
EQ/PAN
mode:
selects
EQ
band
2.
•
AUX
1–4
mode:
switches
Send
3
Position
(pre/post).
•
AUX
5–8
mode:
switches
Send
7
Position
(pre/post).
REC Switches
bypass
state
of
EQ
band
4.
EQ
LOW–AUX
4/8 •
EQ/PAN
mode:
selects
EQ
band
3.
•
AUX
1–4
mode:
switches
Send
4
Mute
on/off.
•
AUX
5–8
mode:
switches
Send
8
Mute
on/off
SHIFT •
EQ/PAN
mode:
selects
EQ
band
1.
•
AUX
1–4
mode:
switches
Send
4
Position
(pre/post).
•
AUX
5–8
mode:
switches
Send
8
Position
(pre/post).
REC Switches
bypass
state
of
EQ
band
3.
EQ/PAN Chooses
EQ/PAN
mode.
SHIFT Enables/Disables
Flip
mode;
With
Flip
mode
enabled,
the
faders
control
Pan.
AUX
1–4 Chooses
AUX
1–4
mode.
AUX
5–8 Chooses
AUX
5–8
mode.
Mode Assignment
Control Assignment
READ While
held
down,
SEL
buttons
are
on
if
a
track
is
in
Read
automation
mode.
Pressing
the
SEL
button
sets
Read
mode.
Turning
the
encoder
also
edits
the
automation
mode.
WRITE While
held
down,
SEL
buttons
are
on
if
a
track
is
in
Write
automation
mode.
Pressing
the
SEL
button
sets
Write
mode.
Turning
the
encoder
also
edits
the
automation
mode.
TCH While
held
down,
SEL
buttons
are
on
if
a
track
is
in
Touch
automation
mode.
Pressing
the
SEL
button
sets
Touch
mode.
Turning
the
encoder
also
edits
the
automation
mode.
LATCH While
held
down,
SEL
buttons
are
on
if
a
track
is
in
Latch
automation
mode.
Pressing
the
SEL
button
sets
Latch
mode.
Turning
the
encoder
also
edits
the
automation
mode.
190 Chapter
15
Tascam
FW-1884
Mode
Controls
Section
(FW-1082
only)
Master
Section
F7 Switches
encoders
to
editing
of
pan/surround
parameters
on
selected
track:
angle,
radius,
LFE,
surround
mode,
X,
Y.
F8 Switches
encoders
to
EQ
editing
on
selected
track.
See
upper
line
on
SoftLCD
application
for
parameter
assignment.
Cursor
left/right
shifts
the
parameter
bank.
F9 Switches
encoders
to
plug-in
editing
on
selected
track.
Cursor
left/right
shifts
parameter
bank;
Cursor
up/down
chooses
insert
to
edit.
F10 Switches
encoders
to
instrument
editing
on
selected
track.
Cursor
left/right
shifts
parameter
bank.
Control Assignment
Control Assignment
F1 Saves
the
active
song;
The
button’s
LED
is
lit
if
the
song
has
been
edited.
SHIFT Opens
the
Save
As
dialog.
F2 Performs
Undo;
The
button’s
LED
is
lit
when
Redo
is
possible.
SHIFT Performs
Redo.
F3 Copies
the
current
selection
to
the
Clipboard.
SHIFT Cuts
the
current
selection
and
places
it
in
the
Clipboard.
F4 Pastes
the
Clipboard
contents.
SHIFT Clears
the
current
selection.
Control Assignment
Cursor
buttons Identical
to
computer
keyboard’s
Arrow
keys—except
when
encoders
are
in
EQ,
Plug-in
or
Instrument
Edit
modes
(see
above).
SHIFT Zoom
in
and
out
horizontally
or
vertically.
SHTL Enables
Shuttle
mode
for
wheel.
Wheel Shuttle
mode
off:
moves
SPL
by
bar.
Shuttle
mode
on:
shuttles
SPL.
Bank
LEDs Show
currently
selected
fader
bank.
If
you
only
have
an
FW-1884,
a
bank
refers
to
eight
tracks.
If
you
have
FE-8
extensions
added,
a
bank
means
the
entire
number
of
channel
strips:
16,
24,
and
so
on.
If
no
LED
is
lit,
a
bank
higher
than
4
is
selected.
<
BANK Shifts
fader
bank
down
by
one
bank.
SHIFT Shifts
fader
bank
down
by
one
track.
SET Switches
to
Track
view
(new
in
plug-in
version
1.20).
BANK
> Shifts
fader
bank
up
by
one
bank.
SHIFT Shifts
fader
bank
up
by
one
track.
SET Switches
to
Global
view
and
shows
Aux,
Bus,
and
Output
Objects
(new
in
plugin
version
1.20).
Chapter
15
Tascam
FW-1884 191
<<
LOCATE Goes
to
previous
marker.
SET Deletes
the
current
marker
(new
in
plug-in
version
1.20).
LOCATE
>> Goes
to
next
marker.
SET Creates
a
new
marker
at
the
SPL
(new
in
plug-in
version
1.20).
NUDGE
buttons Nudge
the
selected
event/Region
left
or
right
(by
the
current
nudge
value).
SET Chooses
the
current
nudge
value:
tick,
format,
denominator,
bar,
frame,
1/2
frame.
SET Modifier
for
other
buttons.
IN Goes
to
left
locator.
SET Sets
left
locator
to
SPL.
SHIFT Sets
Drop
In
locator
to
SPL.
OUT Goes
to
right
locator.
SET Sets
right
locator
to
current
SPL.
SHIFT Sets
Drop
Out
locator
to
SPL.
REW Shuttle
Rewind
key
command.
FFWD Shuttle
Forward
key
command.
STOP Stops
playback.
PLAY Starts
playback.
REC Record
key
command.
Control Assignment
16
193
16 Tascam
US-2400
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
US-2400
unit(s)
are
connected
to
the
computer
via
USB.
 Ensure
that
the
US-2400
is
in
native
mode.
Please
consult
your
US-2400
manual
for
more
information
on
this.
 Launch
Logic
Pro
7.
Your
control
surface(s)
will
be
scanned
for,
and
installed,
automatically.
Special
Note
The
US-2400
is
capable
of
running
in
both
“native”
and
Logic
Control
emulation
modes.
If
the
unit
is
set
up
in
Logic
Control
emulation
mode,
and
the
native
support
plug-in
is
installed
in
the
Logic
Pro
7
program
bundle,
Logic
will
detect
both
a
US-2400
native
control
surface
and
a
Logic
Control
plus
two
Extender
(XT)
units.
If
you
wish
to
run
the
US-2400
in
Logic
Control
mode,
you
may
find
it
most
convenient
to
remove
the
US-2400
plug-in
from
the
Logic
Pro
7
application
bundle.
Logic
will
then
detect
a
Logic
Control
plus
two
Extender
(XT)
units
(the
appropriate
setup
for
the
US-
2400
in
Logic
Control
emulation
mode),
when
you
scan
your
control
surfaces.
The
Logic/Mackie
Control
differs
in
button
layout
to
the
Tascam
US-2400.
When
running
the
Tascam
US-2400
in
Logic
Control
mode,
certain
controllers
are
not
accessible
(the
Joystick,
as
an
example).
Given
these
restrictions,
it’s
not
recommended
that
the
Tascam
US-2400
is
used
in
Logic
Control
mode
with
Logic.
If
you
choose
to
do
so,
please
refer
to
the
documentation
supplied
with
the
Tascam
US-2400
for
details.
194 Chapter
16
Tascam
US-2400
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Channel
Strips
Encoder
Details
In
CHAN
mode
(CHAN
button
on),
the
encoders
control
these
parameters
on
the
selected
track:
Control Assignment
Encoder(s) CHAN
button
on:
see
“Encoder
Details”
on
page
194.
CHAN
button
flashing:
Encoders
control
Instrument
parameters,
also
see
“Instrument
Edit
View”
on
page
197.
PAN
button
flashing:
Encoders
control
plug-in
parameters,
also
see
“Plug-in
Edit
View”
on
page
197.
Other
modes:
Encoders
control
the
mode’s
parameters.
F-KEY Â If
you
are
in
Instrument
Edit
view
(CHAN
button
flashing),
pressing
the
F-Key
enters
the
Instrument
Assignment
view:
The
encoders
then
choose
an
instrument.
 If
you
are
in
Plug-in
Edit
view
(PAN
button
flashing),
pressing
the
F-Key
enters
the
Plug-in
Assignment
view:
the
encoders
then
choose
a
plug-in.
 If
you
are
in
Send
views
(AUX
button
LED
flashes)
and
press
the
F-Key,
the
encoders
assign
the
send’s
destination.
SEL
buttons Select
tracks.
SHIFT In
Pan
view:
sets
volume
to
Unity
(0
dB)
In
Send
views:
switches
Send
mode
pre/post
F-KEY Activates/Deactivates
Record
Enable
buttons.
SOLO
button(s) Enables/Disables
Solo.
MUTE
button(s) Enables/Disables
Mute.
In
Send
views
with
Flip
mode
enabled:
activates/deactivates
Send
mute.
SHIFT In
Send
views:
activates/deactivates
Send
mute.
Faders Control
volume.
Control Assignment
Encoder
1
(AUX
1) Controls
Send
1
level.
Encoder
2
(AUX
2) Controls
Send
2
level.
Encoder
3
(AUX
3) Controls
Send
3
level.
Encoder
4
(AUX
4) Controls
Send
4
level.
Encoder
5
(AUX
5) Controls
Send
5
level.
Encoder
6
(AUX
6) Controls
Send
6
level.
Encoder
7 Controls
Send
7
level.
Encoder
8 Controls
Send
8
level.
Chapter
16
Tascam
US-2400 195
In
CHAN
mode,
with
the
SHIFT
button
held,
the
encoders
control
the
following
parameters
on
the
selected
track:
Encoder
11
(GAIN
1) Controls
the
Gain
parameter
of
band
3,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
12
(FREQ
1) Controls
the
Frequency
parameter
of
band
3,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
13
(Q
1) Controls
the
Q
factor
of
band
3,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
14
(GAIN
2) Controls
the
Gain
parameter
of
band
4,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
15
(FREQ
2) Controls
the
Frequency
parameter
of
band
4,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
16
(Q
2) Controls
the
Q
factor
of
band
4,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
17
(GAIN
3) Controls
the
Gain
parameter
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
18
(FREQ
3) Controls
the
Frequency
parameter
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
19
(Q
3) Controls
the
Q
factor
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
20
(GAIN
4) Controls
the
Gain
parameter
of
band
6,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
21
(FREQ
4) Controls
the
Frequency
parameter
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
22
(Q
4) Controls
the
Q
factor
of
band
5,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
24
(PAN) Controls
Panning.
Control Assignment
Control Assignment
Encoder
1
(AUX
1) Controls
Pan/Surround
Angle
Encoder
2
(AUX
2) Controls
Surround
Radius.
Encoder
3
(AUX
3) Controls
Surround
LFE.
Encoder
4
(AUX
4) Controls
Surround
mode.
Encoder
5
(AUX
5) Controls
Surround
X.
Encoder
6
(AUX
6) Controls
Surround
Y.
Encoder
11
(GAIN
1) Controls
the
Slope
parameter
of
band
1,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
12
(FREQ
1) Controls
the
Frequency
parameter
of
band
1,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
13
(Q
1) Controls
the
Q
factor
of
band
1,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
14
(GAIN
2) Controls
the
Gain
parameter
of
band
2,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
15
(FREQ
2) Controls
the
Frequency
parameter
of
band
2,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
196 Chapter
16
Tascam
US-2400
Master
Channel
Encoder
Assignment
Section
This
is
the
standard
assignment
of
these
buttons:
Encoder
16
(Q
2) Controls
the
Q
factor
of
band
2,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
17
(GAIN
3) Controls
the
Gain
parameter
of
band
7,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
18
(FREQ
3) Controls
the
Frequency
parameter
of
band
7,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
19
(Q
3) Controls
the
Q
factor
of
band
7,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
20
(GAIN
4) Controls
the
Slope
parameter
of
band
8,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
21
(FREQ
4) Controls
the
Q
factor
of
band
8,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
22
(Q
4) Controls
the
Q
factor
of
band
8,
if
a
Channel
or
Linear
Phase
EQ
is
inserted.
Encoder
24
(PAN) Controls
Panning.
Control Assignment
Control Assignment
SEL Selects
Master
Output
track
(if
Master
Output
Object
exists).
CLR
SOLO Disables
Solo
for
all
tracks.
SHIFT Disables
Mute
for
all
tracks.
F-KEY Disables
Record
Enable
button
for
all
tracks.
FLIP Switches
Flip
mode
between
Off
(LED
off )
and
Duplicate
(LED
on).
SHIFT Sets
Flip
mode
to
Swap
(LED
flashing).
F-KEY Sets
Flip
mode
to
Zero—fader
motors
are
disabled
(LED
flashing).
Control Assignment
CHAN Switches
encoders
to
Channel
Strip
view
(see
encoders’
legend)—CHAN
button
LED
is
lit.
F-KEY Switches
encoders
to
Instrument
Edit
view—CHAN
button
LED
flashes.
See
“Instrument
Edit
View”
on
page
197
for
details.
PAN Switches
encoders
to
Multi
Channel
view
of
panning—PAN
button
LED
is
lit.
F-KEY Switches
encoders
to
Plug-in
Edit
view—PAN
button
LED
flashes.
See
“Plug-in
Edit
View”
on
page
197
for
details.
AUX
1 Switches
encoders
to
Multi
Channel
view
of
Send
1
level.
F-KEY Switches display of Arrange window:
 If
Arrange
window
is
open,
it
will
be
closed.
 If
Arrange
window
is
closed,
it
will
be
opened.
AUX
2 Switches
encoders
to
Multi
Channel
view
of
Send
2
level.
Chapter
16
Tascam
US-2400 197
Instrument
Edit
View
In
Instrument
Edit
view,
the
following
AUX
buttons
have
special
assignments:
The
AUX
button
LEDs
show
the
currently
selected
parameter
bank.
AUX
2
LED
is
on
if
parameters
25–48
are
shown
on
the
encoders.
Plug-in
Edit
View
In
Plug-in
Edit
view,
the
following
AUX
buttons
have
special
assignments:
The
AUX
button
LEDs
show
the
currently
selected
Insert
slot.
As
an
example:
AUX
2
LED
is
on
if
Insert
slot
2
is
being
edited.
F-KEY Switches display of Event List:
 If
Event
List
is
open,
it
will
be
closed.
 If
Event
List
is
closed,
it
will
be
opened.
AUX
3 Switches
encoders
to
Multi
Channel
view
of
Send
3
level.
F-KEY Switches display of Score Editor:
 If
Score
Editor
is
open,
it
will
be
closed.
 If
Score
Editor
is
closed,
it
will
be
opened.
AUX
4 Switches
encoders
to
Multi
Channel
view
of
Send
4
level.
F-KEY Switches display of Audio window:
 If
Audio
window
is
open,
it
will
be
closed.
 If
Audio
window
is
closed,
it
will
be
opened.
AUX
5 Switches
encoders
to
Multi
Channel
view
of
Send
5
level.
F-KEY Switches display of Hyper Editor:
 If
Hyper
Editor
is
open,
it
will
be
closed.
 If
Hyper
Editor
is
closed,
it
will
be
opened.
AUX
6 Switches
encoders
to
Multi
Channel
view
of
Send
6
level.
F-KEY Switches display of Matrix Editor:
 If
Matrix
Editor
is
open,
it
will
be
closed.
 If
Matrix
Editor
is
closed,
it
will
be
opened.
Control Assignment
Control Assignment
AUX
1 Scrolls
parameter
fader
bank
left
by
24
parameters.
AUX
2 Scrolls
parameter
fader
bank
right
by
24
parameters.
AUX
4 Enables/Disables
Bypass
button
of
the
currently
edited
Instrument.
Control Assignment
AUX
1 Scrolls
parameter
fader
bank
left
by
24
parameters.
AUX
2 Scrolls
parameter
fader
bank
right
by
24
parameters.
AUX
3 Increments
Insert
slot.
AUX
4 Enables/Disables
Bypass
button
of
the
currently
edited
plug-in.
AUX
6 Decrements
Insert
slot.
198 Chapter
16
Tascam
US-2400
Master
Section
Control Assignment
MTR Switches
encoder
LED
rings
between
value
controlled
by
encoder
(LED
off ),
and
level
and
peak
hold
meters
(LED
on).
In
Level
Meter
mode,
the
LED
below
the
encoder
displays
signal
overloads
(clipping).
F-KEY Modifier
key,
used
to
switch
the
function
of
other
controls
(see
right-aligned
“FKEY”
in
left
column).
NULL Sets
Surround
x/y
or
Panning
of
selected
track
to
center
position—LED
is
on
if
Surround
X
(or
Panning)
is
centered.
F-KEY Resets
overload
for
level
meters.
Jog
Wheel SCRUB
off:
moves
SPL
by
bars.
SCRUB
on:
audio
scrubbing.
SCRUB
flashing:
Shuttle
mode.
Joystick Edits
Surround
x/y
or
Panning
of
selected
track.
SCRUB Switches
Jog
Wheel
between
“Move
SPL
by
Bars”
(LED
off )
and
audio
scrubbing
(LED
on).
F-KEY Sets
Jog
Wheel
to
Shuttle
mode
(LED
flashes).
BANK
– Shifts
fader
bank
left
by
one
bank—LED
is
lit
if
the
left-most
fader
bank
has
not
been
reached.
F-KEY Shifts
fader
bank
left
by
one
track.
BANK
+ Shifts
fader
bank
right
by
one
bank—LED
is
lit
if
the
right-most
fader
bank
has
not
been
reached.
F-KEY Shifts
fader
bank
right
by
one
track.
IN
Sets
Drop
In
locator
to
Song
Position
Line.
SHIFT Navigates
to
left
Cycle
locator.
F-KEY Sets
left
Cycle
locator
to
Song
Position
Line.
OUT Sets
Drop
Out
locator
to
Song
Position
Line.
SHIFT Navigates
to
right
Cycle
locator.
F-KEY Sets
right
Cycle
locator
to
Song
Position
Line.
SHIFT Modifier
key,
used
to
switch
the
function
of
other
controls
(see
right-aligned
“SHIFT”
in
left
column).
REW Shuttles
backward.
SHIFT Identical
to
Left
Arrow
key
on
computer
keyboard.
F
FWD Shuttles
forward.
SHIFT Identical
to
Right
Arrow
key
on
computer
keyboard.
STOP Stops
playback.
SHIFT Identical
to
Down
Arrow
key
on
computer
keyboard.
PLAY Starts
playback.
SHIFT Identical
to
Up
Arrow
key
on
computer
keyboard.
RECORD Enables/Disables
Record.
17
199
17 Tascam
US-428
and
US-224
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Ensure
that
your
US-428/224
unit(s)
are
connected
to
the
computer
via
USB.
 Launch
Logic,
and
the
unit(s)
will
be
scanned
for,
and
installed,
automatically.
Assignment
Overview
A
right-aligned
modifier
button
(such
as
NULL)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
Note:
The
US-224
has
only
four
channel
strips,
and
the
EQ
section,
as
well
as
the
Master
section
(except
the
NULL
button
and
data
wheel)
are
not
available.
Channel
Strips
Control Assignment
MUTE
1
to
8 SOLO
LED
off:
Switches
Mute
on/off;
LED
displays
Mute
status.
SOLO
LED
on:
Switches
Solo
on/off;
LED
displays
Solo
status.
REC
1
to
8
LEDs Displays
Record
Ready
status.
NULL On
if
fader
is
higher
than
actual
volume.
SELECT
1
to
8
LEDs Displays
select
status.
NULL On
if
fader
is
lower
than
actual
volume.
SELECT
1
to
8
buttons Selects
track.
REC Enables/Disables
Record
Ready
status.
Fader
1
to
8 Controls
Volume.
NULL Allows
you
to
update
the
fader
position
to
match
the
actual
volume.
Master
fader Controls
master
volume
(Outputs
1
and
2
if
no
Master
Fader
Object
is
available
in
the
Environment).
200 Chapter
17
Tascam
US-428
and
US-224
EQ
Section
Master
Section
Controls
Control Assignment
Gain Controls
gain
of
currently
selected
EQ
of
chosen
track.
Freq Controls
frequency
of
currently
selected
EQ
of
chosen
track.
Q Controls
Q
factor
of
currently
selected
EQ
of
chosen
track.
HIGH Selects
EQ
band
3
for
Gain,
Freq,
and
Q
controls.
ASGN Switches
EQ
band
3
bypass
state.
HI-MID Selects
EQ
band
4
for
Gain,
Freq,
and
Q
controls.
ASGN Switches
EQ
band
4
bypass
state.
LO-MID Selects
EQ
band
5
for
Gain,
Freq,
and
Q
controls.
ASGN Switches
EQ
band
5
bypass
state.
LOW Selects
EQ
band
6
for
Gain,
Freq,
and
Q
controls.
ASGN Switches
EQ
band
6
bypass
state.
Control Assignment
AUX
1 Switches
data
wheel
between
Transport/Scrub
mode
and
Send
Level
1.
ASGN Switches
Send
1
Mute
state.
AUX
2 Switches
data
wheel
between
Transport/Scrub
mode
and
Send
Level
2.
ASGN Switches
Send
2
Mute
state.
AUX
3 Switches
data
wheel
between
Transport/Scrub
mode
and
Send
Level
3.
ASGN Switches
Send
3
Mute
state.
AUX
4 Switches
data
wheel
between
Transport/Scrub
mode
and
Send
Level
4.
ASGN Switches
Send
4
Mute
state.
ASGN Modifier
for
function
of
EQ
controls,
AUX
1
to
4
buttons,
PAN
knob
and
data
wheel.
F1 Enables/Disables
Cycle
mode.
F2 Enables/Disables
Drop
mode.
F3 Enables/Disables
Scrub
mode.
PAN Controls
panning
of
selected
track.
ASGN Selects
current
track’s
input.
NULL Modifier
for
NULL
mode.
NULL
mode
allows
you
to
update
the
fader
positions
to
match
the
actual
volume.
Chapter
17
Tascam
US-428
and
US-224 201
LOCATE
Section
BANK
Section
Transport
Section
Data
wheel AUX
1
LED
on:
Controls
Send
1
Level
of
selected
track.
AUX
2
LED
on:
Controls
Send
2
Level
of
selected
track.
AUX
3
LED
on:
Controls
Send
3
Level
of
selected
track.
AUX
4
LED
on:
Controls
Send
4
Level
of
selected
track.
F3
LED
on:
Data
wheel
is
in
Scrub
mode.
None
of
the
above
is
lit:
Data
wheel
is
in
Transport
mode
and
moves
the
SPL
by
bars.
ASGN Selects
current
track’s
output.
Control Assignment
Control Assignment
<<
LOCATE
Goes
to
previous
marker.
LOCATE
>> Goes
to
next
marker.
SET Creates
a
new
marker
at
the
current
SPL.
Control Assignment
<
BANK Shifts
fader
bank
left
by
one
bank.
The
LED
is
lit
if
the
left-most
fader
bank
has
not
been
reached.
BANK
> Shifts
fader
bank
right
by
one
bank.
The
LED
is
lit
if
the
right-most
fader
bank
has
not
been
reached.
Control Assignment
REW Shuttles
backward.
F
FWD Shuttles
forward.
STOP Stops
playback.
PLAY Starts
playback.
RECORD Record
18
203
18 Yamaha
01V96
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
01V96
unit(s)
are
connected
to
the
computer
via
USB.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
Basically,
you
set
up
the
01V96
as
if
you
are
using
it
with
Pro
Tools.
See
the
01V96
user
manual.
Here
are
the
necessary
steps:
1 Press
DISPLAY
ACCESS
[SETUP]
repeatedly
until
the
Setup/MIDI/Host
page
is
visible.
2 Move
the
cursor
to
the
port
parameters:
select
DAW,
then
select
USB
and
1-2.
3 Press
DISPLAY
ACCESS
[REMOTE].
4 Choose
General
DAW
as
the
TARGET
parameter.
5 Press
LAYER
[REMOTE].
The
unit
is
installed
automatically
when
Logic
Pro
is
launched.
You
should
see
two
01V96
(USB
1–2)
icons
in
the
setup
window,
aligned
horizontally.
204 Chapter
18
Yamaha
01V96
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
DISPLAY
ACCESS
Section
FADER
MODE
Section
Control Assignment
DISPLAY Hides/shows
the
Sample
Editor.
AUTOMIX While
held,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
tracks.
PAIR/GROUP Enters Group Edit mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
the
properties
of
the
currently
edited
group.
Group
name
is
shown
in
the
lower
line.
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
encoder
scrolls
through
the
group
properties.
At
other
times,
it
selects
the
group
currently
being
edited.
 The
SELECT
buttons
switch
group
membership
of
the
track.
DAW
SHIFT/ADD Switches
to
Track
View.
EFFECT Hides/shows
the
Sample
Editor.
Control Assignment
AUX
1 Assigns
Send
1
Level
to
encoders,
and
Send
1
to
4
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
Destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
6.
AUX
2 Assigns
Send
2
Level
to
encoders,
and
Send
1
to
4
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
2
Destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
7.
AUX
3 Assigns
Send
3
Level
to
encoders,
and
Send
1
to
4
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
3
Destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
8.
AUX
4 Assigns
Send
4
Level
to
encoders,
and
Send
1
to
4
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
4
Destination
assignment.
AUX
5 Assigns
Send
5
Level
to
encoders,
and
Send
5
to
8
Levels
to
DSP
encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
5
Destination
assignment.
AUX
6 Switches
Encoder
Push-Switch
buttons
between
normal
behavior
and
setting
default
value.
Chapter
18
Yamaha
01V96 205
LCD
Function
LCD
The
LCD
displays
different
data,
depending
on
the
page
selected
with
the
F2,
F3,
and
F4
buttons:
Insert
Display
Mode
Press
the
[F2]
button
to
select
Insert
Display
mode.
In
this
mode,
the
LCD
displays
parameter
details
and
you
can
edit
and
select
plug-ins.
AUX
7 Assigns
Pan
to
encoders;
assigns
selected
track’s
pan/surround
parameters
to
DSP
encoders.
AUX
8 Determines mode of channel strip SEL buttons when channel strip AUTO button
is off:
 Indicator
off:
Track
selection.
 Indicator
on:
Insert
selection.
HOME Enables/Disables
Flip
mode.
Control Assignment
Control Assignment
Left/Right
buttons Plug-in
Edit
mode:
Shifts
parameter
display
by
the
number
of
parameters
shown
in
the
control
surface
group
(usually
four).
DAW
ALT/FINE Plug-in
Edit
mode:
Shifts
parameter
display
by
one.
F1 Clears
Overload
LEDs.
DAW
SHIFT/ADD Switches
to
Global
View
and
enables
MIDI
tracks.
DAW
ALT/FINE Opens/Closes
Arrange
window.
Display Assignment
TIME
CODE
option Active
if
counter
is
displaying
time
code.
FEET Not
assigned.
BEATS
option Active
if
counter
is
displaying
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
SELECT
ASSIGN Displays
the
encoder
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
ASSIGN —
COMPARE Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/parameter
value”
modes.
BYPASS Switches
bypass
status
of
plug-in
insert
currently
being
edited.
INSERT/PARAM Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
206 Chapter
18
Yamaha
01V96
LCD
Channel
Page
Selected
Channel
Section
Parameter
control
1
to
4
push-switch
Assignment Pan:
 Parameter
control
1
push-switch
centers
Pan
or
Surround
Angle.
 Parameter
control
2
push-switch
centers
Surround
Diversity.
 Parameter
control
3
push-switch
centers
Surround
LFE.
 Parameter
control
4
push-switch
sets
Surround
Mode
to
center.
Assignment Send:
 Enables/Disables
Sends
1
to
4
or
Mutes
5
to
8.
Plug-in Assign:
 Confirms
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
slot
and
enters
Plug-in
Edit
mode.
Plug-In Edit mode:
 Sets
value
to
default,
or
bi-polar
switch
to
on/off.
Parameter
controls Assignment Pan:
 Parameter
control
1
controls
Pan
or
Surround
Angle.
 Parameter
control
2
controls
Surround
Diversity.
 Parameter
control
3
controls
Surround
LFE.
 Parameter
control
4
controls
Surround
Mode.
Assignment Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-in Assign:
 Assigns
insert
1
to
4
or
5
to
8.
Plug-in Edit mode:
 Sets
value
to
default.
Display Assignment
Control Assignment
Encoder Adjusts
parameter
selected
in
the
FADER
MODE
section.
Encoder
Switch Pan
selected:
Sets
Pan
to
center
if
MATRIX
1
is
on.
Send
1
to
8
selected:
Edits
Send
Pre/Post,
enables/disables
Send
Mute
or
sets
Send
Level
to
default
value.
Assignment
Send,
Input,
or
Output:
Confirms
selection.
Control Assignment
Pan
controls Adjusts
parameter
selected
in
the
FADER
MODE
section.
SEL Switches
channel
strip
SEL
buttons
between
track
and
insert
selection.
Chapter
18
Yamaha
01V96 207
Data
Entry
Section
Channel
Strips
Stereo
Channel
Strip
Control Assignment
Parameter
Wheel Default:
Move
SPL
by
one
bar.
Scrub:
Scrubbing.
Shuttle:
Shuttle
mode.
–
(DEC) Default:
Exits
Folder.
Goto
Marker:
Cancels
dialog.
DAW
ALT/FINE Opens/Closes
Audio
window.
+
(INC) Enters
folder
of
selected
track.
Control Assignment
Level
Meters Display
momentary
and
peak
level.
SEL
If AUTO off:
 FADER
MODE
[AUX
8]
off:
Selects
track.
 FADER
MODE
[AUX
8]
on:
Selects
track
for
insert
assignment.
If AUTO on:
 Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
sets
this
automation
mode.
DAW
SHIFT/ADD Sets
volume
to
unity
level.
MATRIX
SELECT
1 Sets
volume
to
unity
level.
SOLO Enables/Disables
Solo.
DAW
OPTION/ALL Disables
Solo
for
all
tracks.
ON Enables/Disables
Mute.
DAW
OPTION/ALL Unmutes
all
tracks.
Fader Adjusts
volume,
or
duplicates
encoder
in
Flip
mode.
Control Assignment
SEL Switches
channel
strips’
SEL
buttons
between
track
and
insert
selection.
208 Chapter
18
Yamaha
01V96
User
Defined
Keys
Section
These
keys
can
be
assigned
to
the
following
functions:
Control Assignment
DAW
WIN
STATUS Opens/Closes
the
Audio
window.
DAW
REC/RDY
1
to
16 Enables/Disables
Record
Ready.
DAW
WIN
TRANSPORT Opens/Closes
the
Transport
window.
DAW
BANK– Shifts
channel
strips
by
one
bank
to
the
left.
DAW
BANK+ Shifts
channel
strips
by
one
bank
to
the
right.
DAW
SHIFT/ADD Shifts
to
second
meaning
of
some
buttons.
See
descriptions
of
other
buttons.
DAW
OPTION/ALL While
held
down,
value
change
mode
is
set
to
“relative”:
relative
value
changes
result
in
a
minimum,
default,
or
maximum
value
for
the
edited
parameter.
Also
see
description
of
other
buttons.
DAW
GROUP
STATUS Enters Group Edit mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
between
properties
of
the
currently
edited
group.
Group
name
is
shown
in
the
lower
line.
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
Encoder
scrolls
through
the
group
properties.
At
other
times,
it
selects
the
group
currently
being
edited.
 The
SELECT
buttons
enable/disable
group
membership
of
the
track.
DAW
SHIFT/ADD Switches
to
Track
View.
DAW
SUSPEND Enables/Disables
the
Group
Clutch.
DAW
SHIFT/ADD Switches
to
Extended
Track
View.
DAW
CREATE
GROUP Creates
a
new
group
and
enters
Group
Edit
mode
(see
above).
DAW
SHIFT/ADD Switches
to
Global
View.
DAW
WIN
MIX/EDIT Switches
between
the
Arrange
and
Track
Mixer
windows.
DAW
CHANNEL
– Shifts
channel
strips
by
one
channel
to
the
left.
DAW
CHANNEL+ Shifts
channel
strips
by
one
channel
to
the
right.
DAW
CTRL/CLUTCH While
held
down,
the
Group
Clutch
is
engaged
(all
groups
are
disabled).
DAW
ALT/FINE While
held
down,
value
change
mode
is
set
to
“fine”:
relative
value
changes
work
at
maximum
resolution.
Also
see
description
of
other
buttons.
DAW
MONI
STATUS —
DAW
UNDO Performs
Undo.
DAW
SHIFT/ADD Performs
Redo.
DAW
OPTION/ALL Opens
Undo
History
window.
DAW
SAVE Saves
the
song.
DAW
WIN
MEM-LOC Opens/Closes
the
Marker
List.
Chapter
18
Yamaha
01V96 209
DAW
OPTION/ALL Performs
Save
As
and
allows
saving
the
song
under
a
different
name.
DAW
EDIT
TOOL Selects
the
next
tool.
While
held,
numerical
buttons
select
a
specific
tool.
DAW
WIN
INSERT Opens/Closes
the
Sample
Editor.
DAW
REC/RDY
ALL Disable
Record
Ready
on
all
tracks.
DAW
SCRUB Enables/Disables
Scrub
mode.
DAW
SHUTTLE Enables/Disables
Shuttle
mode.
DAW
REW Shuttles
backward.
DAW
FF Shuttles
forward.
DAW
STOP Stop
DAW
PLAY Play
DAW
SHIFT/ADD Pause
DAW
REC Record
DAW
PRE Sets
left
locator.
DAW
IN Sets
Drop
In
locator.
DAW
OUT Sets
Drop
Out
locator.
DAW
POST Sets
right
locator.
DAW
RTZ Goes
to
the
left
locator.
DAW
END Goes
to
the
right
locator.
DAW
ONLINE Enables/Disables
internal/external
sync.
DAW
QUICK
PUNCH Enables/Disables
Drop
mode.
DAW
AUTO
FADER Enables/Disables
Volume
automation
playback
and
recording.
DAW
AUTO
PAN Enables/Disables
Pan
automation
playback
and
recording.
DAW
AUTO
PLUGIN Enables/Disables
Plug-in
parameter
automation
playback
and
recording.
DAW
AUTO
MUTE Enables/Disables
Mute
automation
playback
and
recording.
DAW
AUTO
SEND Enables/Disables
Send
Level
automation
playback
and
recording.
DAW
AUTO
SEND
MUTE —
DAW
AUTO
WRITE Sets
selected
track
to
Write
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Write.
DAW
OPTION/ALL Sets
all
tracks
to
Write
automation
mode.
DAW
AUTO
TOUCH Sets
selected
track
to
Touch
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Touch.
DAW
OPTION/ALL Sets
all
tracks
to
Touch
automation
mode.
DAW
AUTO
LATCH Sets
selected
track
to
Latch
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Latch.
DAW
OPTION/ALL Sets
all
tracks
to
Latch
automation
mode.
DAW
AUTO
READ Sets
selected
track
to
Read
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Read.
Control Assignment
210 Chapter
18
Yamaha
01V96
DAW
OPTION/ALL Sets
all
tracks
to
Read
automation
mode.
DAW
AUTO
TRIM —
DAW
AUTO
OFF Sets
selected
track
to
Off
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
Off.
DAW
OPTION/ALL Sets
all
tracks
to
Off
automation
mode.
DAW
AUTO
STATUS While
held
down,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
track.
Control Assignment
19
211
19 Yamaha
02R96
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
02R96
unit(s)
are
connected
to
the
computer
via
USB.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
On
the
02R96
Front
Panel:
Basically,
you
set
up
the
02R96
as
if
you
are
using
it
with
Pro
Tools.
See
the
02R96
user
manual.
Here
are
the
necessary
steps:
 Press
DISPLAY
ACCESS
[SETUP]
repeatedly
until
the
Setup
/
MIDI/Host
page
is
visible.
Now
move
the
cursor
to
the
port
parameters:
select
DAW,
then
select
USB
and
1-3.
 Press
DISPLAY
ACCESS
[REMOTE].
Choose
General
DAW
as
the
TARGET
parameter.
 Press
LAYER
[REMOTE].
In
Logic:
The
unit
is
installed
automatically
when
Logic
Pro
is
launched.
You
should
see
three
02R96
(USB
1-3)
icons
in
the
setup
window,
aligned
horizontally.
212 Chapter
19
Yamaha
02R96
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
DISPLAY
ACCESS
Section
AUX
SELECT
Section
ENCODER
MODE
Section
FADER
MODE
Section
Control Assignment
METER Clears
Overload
LEDs.
Control Assignment
AUX
1 Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
AUX
2 Assigns
Send
2
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
2
destination
assignment.
AUX
3 Assigns
Send
3
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
3
destination
assignment.
AUX
4 Assigns
Send
4
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
4
destination
assignment.
AUX
5 Assigns
Send
5
Level
to
Encoders,
and
Send
5
to
8
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
5
destination
assignment.
Control Assignment
PAN Assigns
Pan
to
Encoders;
assigns
selected
track’s
pan/surround
parameters
to
DSP
Encoders.
AUX Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
Control Assignment
FADER Enables/Disables
Flip
mode.
AUX/MTRX Enables/Disables
Flip
mode.
Chapter
19
Yamaha
02R96 213
EFFECTS/PLUG-INS
Section
Control Assignment
Display Opens/Closes
the
Sample
Editor
window.
PLUG-INS Switches
Encoder
Push-Switch
buttons
between
normal
behavior
and
setting
default
value.
CHANNEL
INSERTS
Determines mode of channel strip SEL buttons:
 Indicator
off:
track
selection.
 Indicator
on:
Insert
selection.
1 —
2 Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/
parameter
value”
modes.
3 Switches
bypass
status
of
currently
edited
plug-in
insert.
4 Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
Parameter
Up
&
Parameter
Down
Plug-In
Edit:
shifts
parameter
display
by
the
number
of
parameters
shown
in
the
control
surface
group
(usually
four).
Parameter
control
1–4
push-switch
Assignment Pan:
 Parameter
control
1
push-switch
centers
Pan
or
Surround
Angle.
 Parameter
control
2
push-switch
centers
Surround
Diversity.
 Parameter
control
3
push-switch
centers
Surround
LFE.
 Parameter
control
4
push-switch
sets
Surround
Mode
to
center.
Assignment Send:
 Enables/Disables
Sends
1
to
4
or
Mutes
5
to
8.
Plug-In Assign:
 Confirm
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
slot
and
enters
Plug-In
Edit
mode.
Plug-In Edit mode:
 Sets
value
to
default,
or
sets
bi-polar
switch
to
on/off.
Parameter
controls
Assignment Pan:
 Parameter
control
1
controls
Pan
or
Surround
Angle.
 Parameter
control
2
controls
Surround
Diversity.
 Parameter
control
3
controls
Surround
LFE.
 Parameter
control
4
controls
Surround
Mode.
Assignment Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-In Assign:
 Assigns
insert
1
to
4
or
5
to
8.
Plug-In Edit mode:
 Sets
value
to
default.
214 Chapter
19
Yamaha
02R96
LCD
The
LCD
displays
different
data,
depending
on
the
page
selected
with
the
F2,
F3,
and
F4
buttons:
 INSERT
ASSIGN/EDIT
Display
Mode:
parameter
details,
plug-in
selection
or
plug-in
parameters.
Press
[F2]
to
select
this
mode.
 Channel
Display
Mode:
Encoder
values
and
Channel
Strip
display).
Press
[F3]
to
select
this
mode.
 level
meters.
Press
[F4]
to
select
this
mode.
USER
DEFINED
KEYS
Section
Display Assignment
TIME
CODE Active
if
counter
is
displaying
time
code.
FEET Not
assigned.
BEATS Active
if
counter
is
displaying
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
SELECT
ASSIGN Displays
the
Encoder
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
Control Assignment
DISPLAY While
held,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
tracks.
1 Switches
between
the
Arrange
and
Track
Mixer
windows.
2 Enables/Disables
the
Group
Clutch.
3 Sets
selected
track
to
“Write”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Write.”
4 Sets
selected
track
to
“Touch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Touch.”
5 Sets
selected
track
to
“Latch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Latch.”
6 Sets
selected
track
to
“Read”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Read.”
7 —
8 Sets
selected
track
to
“Off”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Off.”
9 Shifts
channel
strips
by
one
bank
to
the
left.
10 Shifts
channel
strips
by
one
bank
to
the
right.
11 Enables/Disables
Volume
automation
playback
and
recording.
12 Enables/Disables
Mute
automation
playback
and
recording.
13 Enables/Disables
Pan
automation
playback
and
recording.
14 Enables/Disables
Send
Level
automation
playback
and
recording.
Chapter
19
Yamaha
02R96 215
Channel
Strips
MACHINE
CONTROL
Section
Data
Entry
Section
15 —
16 Enables/Disables
Plug-in
parameter
automation
playback
and
recording.
Control Assignment
Control Assignment
Encoder Adjusts
parameter
selected
in
the
AUX
SELECT
section.
Encoder
Push-
Switch
Pan
selected:
sets
Pan
to
center.
If
EFFECTS/PLUG-INS
[PLUG-INS]
on
Sends
1
to
8
selected:
edits
Send
Pre/Post,
switches
Send
Mute
status
or
sets
Send
Level
to
default
value.
Send
Assign,
Input,
or
Output:
confirms
selection.
AUTO Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
sets
this
automation
mode.
SEL
If
EFFECTS/PLUG-INS
[CHANNEL
INSERTS]
off:
selects
track.
If
EFFECTS/PLUG-INS
[CHANNEL
INSERTS]
on:
chooses
track
for
plug-in
selection/
insertion.
SOLO Enables/Disables
Solo.
ON Enables/Disables
Mute.
Fader Adjusts
volume,
or
duplicates
Encoder
in
Flip
mode.
Control Assignment
DISPLAY Opens/Closes
the
Marker
List
window.
1
to
8 Recalls
markers
1
to
8.
REW Shuttles
backward.
FF Shuttles
forward.
STOP Stop
PLAY Play
REC Record
Control Assignment
SCRUB Enables/Disables
Scrub
mode.
SHUTTLE Enables/Disables
Shuttle
mode.
Parameter
Wheel
Default:
move
SPL
by
one
bar.
Scrub:
scrubbing.
Shuttle:
Shuttle
mode.
ENTER Enters
folder
of
selected
track.
DEC Exits
Folder.
216 Chapter
19
Yamaha
02R96
INC Switches
between
Cursor
and
Zoom
modes.
Cursor
Up Cursor
mode:
equivalent
to
computer
keyboard
up
arrow
key.
Zoom
mode:
zooms
out
vertically.
Cursor
Down Cursor
mode:
equivalent
to
computer
keyboard
down
arrow
key.
Zoom
mode:
zooms
out
vertically.
Cursor
Left Cursor
mode:
equivalent
to
computer
keyboard
left
arrow
key.
Zoom
mode:
zooms
out
horizontally.
Cursor
Right Cursor
mode:
equivalent
to
computer
keyboard
right
arrow
key.
Zoom
mode:
zooms
in
horizontally.
Control Assignment
20
217
20 Yamaha
DM1000
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
DM1000
unit(s)
are
connected
to
the
computer
via
USB.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
On
the
DM1000
Front
Panel:
Basically,
you
set
up
the
DM1000
as
if
you
are
using
it
with
Pro
Tools.
See
the
DM1000
user
manual,
section
17.
Here
are
the
necessary
steps:
 Press
DISPLAY
ACCESS
[SETUP]
repeatedly
until
the
Setup
/
MIDI/Host
page
is
visible.
Now
move
the
cursor
to
the
port
parameters:
select
DAW,
then
select
USB
and
1-2.
 Press
DISPLAY
ACCESS
[REMOTE],
then
[F1]
(below
the
LCD).
Choose
General
DAW
as
the
TARGET
parameter.
 Press
LAYER
[REMOTE
1].
In
Logic:
When
Logic
Pro
is
launched,
the
unit
is
installed
automatically.
You
should
see
two
DM1000
(USB
1-2)
icons
in
the
Setup
window,
aligned
horizontally.
218 Chapter
20
Yamaha
DM1000
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
DISPLAY
ACCESS
Section
AUX
SELECT
Section
Control Assignment
DISPLAY Opens/Closes
the
Sample
Editor
window.
AUTOMIX While
held,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
track.
PAIR/GROUP Enters
Group
Edit
mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
between
properties
of
the
currently
edited
group
(name
shown
in
lower
line
of
LCD).
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
Encoder
scrolls
through
the
group
properties.
Otherwise,
it
selects
the
currently
edited
group.
 The
SELECT
buttons
enable/disable
group
membership
of
the
track.
DAW
SHIFT/ADD Switches
to
Track
View.
METER Clears
Overload
LEDs.
DAW
SHIFT/ADD Switches
to
Global
View
and
enables
MIDI
Tracks.
DAW
ALT/FINE Opens/Closes
Arrange
window.
EFFECT Opens/Closes
the
Sample
Editor
window.
Control Assignment
AUX
1 Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
6.
AUX
2 Assigns
Send
2
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
2
destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
7.
AUX
3 Assigns
Send
3
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
3
destination
assignment.
DAW
SHIFT/ADD As
above,
for
Send
8.
AUX
4 Assigns
Send
4
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
4
destination
assignment.
AUX
5 Assigns
Send
5
Level
to
Encoders,
and
Send
5
to
8
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
5
destination
assignment.
Chapter
20
Yamaha
DM1000 219
ENCODER
MODE
Section
FADER
MODE
Section
LCD
Function
LCD
The
LCD
displays
different
data,
depending
on
the
page
selected
with
the
F2,
F3,
and
F4
buttons:
 INSERT
ASSIGN/EDIT
Display
Mode:
parameter
details,
plug-in
selection
or
plug-in
parameters.
Press
[F2]
to
select
this
mode.
AUX
6 Switches
Encoder
Push-Switch
buttons
between
normal
behavior
and
setting
default
value.
AUX
8 Determines
mode
of
channel
strip
SEL
buttons
when
channel
strip
AUTO
button
is
off:
 Indicator
off:
track
selection.
 Indicator
on:
Insert
selection.
Control Assignment
Control Assignment
PAN Assigns
Pan
to
Encoders;
assigns
selected
track’s
pan/surround
parameters
to
DSP
Encoders.
AUX Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
Control Assignment
FADER
MODE Enables/Disables
Flip
mode.
Control Assignment
Left
&
Right Plug-In
Edit:
shifts
parameter
display
by
the
number
of
Parameter
controls
in
the
control
surface
group
(usually
four).
DAW
ALT/FINE Plug-In
Edit:
shifts
parameter
display
by
one
(parameter).
Display Assignment
LCD Displays
parameter
details,
plug-in
selection
or
plug-in
parameters.
TIME
CODE Active
if
counter
is
displaying
time
code.
FEET Not
assigned.
BEATS Active
if
counter
is
displaying
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
SELECT
ASSIGN Displays
the
Encoder
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
220 Chapter
20
Yamaha
DM1000
LCD
Insert
Page
Data
Entry
Section
Control Assignment
ASSIGN —
COMPARE Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/parameter
value”
modes.
BYPASS Activates/Deactivates
bypass
of
plug-in
insert
currently
being
edited.
INSERT/PARAM Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
Parameter
control
1–4
push-switch
Assignment
Pan:
 Parameter
control
1
push-switch
centers
Pan
or
Surround
Angle.
 Parameter
control
2
push-switch
centers
Surround
Diversity.
 Parameter
control
3
push-switch
centers
Surround
LFE.
 Parameter
control
4
push-switch
sets
Surround
Mode
to
center.
Assignment
Send:
 Enables/Disables
Sends
1
to
4
or
Mutes
5
to
8.
Plug-In
Assign:
 Confirm
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
slot
and
enters
Plug-In
Edit
mode.
Plug-In
Edit
mode:
 Sets
value
to
default,
or
sets
bi-polar
switch
on/off.
Parameter
controls Assignment
Pan:
 Parameter
control
1
controls
Pan
or
Surround
Angle.
 Parameter
control
2
controls
Surround
Diversity.
 Parameter
control
3
controls
Surround
LFE.
 Parameter
control
4
controls
Surround
Mode.
Assignment
Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-In
Assign:
 Assigns
insert
1
to
4
or
5
to
8.
Plug-In
Edit
mode:
 Sets
value
to
default.
Control Assignment
Parameter
Wheel Default:
move
SPL
by
one
bar.
Scrub:
scrubbing.
Shuttle:
Shuttle
mode.
–
(DEC) Default:
leaves
Folder.
Goto
Marker:
cancels
dialog.
DAW
ALT/FINE Opens/Closes
Audio
window.
+
(INC) Enters
folder
of
selected
track.
Chapter
20
Yamaha
DM1000 221
Channel
Strips
Stereo
Channel
Strip
USER
DEFINED
KEYS
Section
These
keys
can
be
assigned
to
the
following
functions:
Control Assignment
Level
Meters Display
momentary
and
peak
level.
Encoder Adjusts
parameter
selected
in
the
AUX
SELECT
section.
Encoder
Push-Switch Pan
selected:
sets
Pan
to
center
if
MATRIX
1
on.
Send
1
to
8
selected:
edits
Send
Pre/Post,
activates/deactivates
Send
Mute
or
sets
Send
Level
to
default
value.
Send
Assign,
Input,
or
Output:
confirms
selection.
SEL
If
AUTO
off:
 AUX
[AUX
8]
off:
selects
track.
 AUX
[AUX
8]
on:
selects
track
for
insert
assignment.
If
AUTO
on:
 Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
sets
this
automation
mode.
DAW
SHIFT/ADD Sets
volume
to
unity
level.
MATRIX
SELECT
1 Sets
volume
to
unity
level.
SOLO Enables/Disables
Solo.
DAW
OPTION/ALL Disables
Solo
for
all
tracks.
ON Enables/Disables
Mute.
DAW
OPTION/ALL Unmutes
all
tracks.
Fader Adjusts
volume,
or
duplicates
Encoder
assignment
in
Flip
mode.
Control Assignment
AUTO Switches
channel
strips’
SEL
buttons
between
track
and
insert
selection.
Control Assignment
DAW
WIN
STATUS Opens/Closes
the
Audio
window.
DAW
REC/RDY
1
to
16 Enables/Disables
Record
Ready.
DAW
WIN
TRANSPORT Opens/Closes
the
Transport
window.
DAW
BANK- Shifts
channel
strips
by
one
bank
to
the
left.
DAW
BANK+ Shifts
channel
strips
by
one
bank
to
the
right.
DAW
SHIFT/ADD Shifts
to
second
meaning
of
some
buttons.
DAW
OPTION/ALL While
held
down,
value
change
mode
is
set
to
“relative”:
relative
value
changes
result
in
a
minimum,
default,
or
maximum
value
for
the
edited
parameter.
Also
see
description
of
other
buttons.
222 Chapter
20
Yamaha
DM1000
DAW
GROUP
STATUS Enters
Group
Edit
mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
between
properties
of
the
currently
edited
group.
Group
name
shown
in
lower
line
of
LCD.
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
Encoder
scrolls
through
the
group
properties.
At
other
times,
it
selects
the
group
currently
being
edited.
 The
SELECT
buttons
enable/disable
group
membership
of
the
track.
DAW
SHIFT/ADD Switches
to
Track
View.
DAW
SUSPEND Enables/Disables
the
Group
Clutch.
DAW
SHIFT/ADD Switches
to
Extended
Track
View.
DAW
CREATE
GROUP Creates
a
new
group
and
enters
Group
Edit
mode
(see
above).
DAW
SHIFT/ADD Switches
to
Global
View.
DAW
WIN
MIX/EDIT Switches
between
the
Arrange
and
Track
Mixer
windows.
DAW
CHANNEL
- Shifts
channel
strips
by
one
channel
to
the
left.
DAW
CHANNEL+ Shifts
channel
strips
by
one
channel
to
the
right.
DAW
CTRL/CLUTCH While
held
down,
the
Group
Clutch
is
engaged
(all
groups
are
disabled).
DAW
ALT/FINE While
held
down,
value
change
mode
is
set
to
“fine”:
relative
value
changes
work
at
maximum
resolution.
Also
see
description
of
other
buttons.
DAW
MONI
STATUS —
DAW
UNDO Performs
undo.
DAW
SHIFT/ADD Performs
redo.
DAW
OPTION/ALL Opens
undo
history
window.
DAW
SAVE Saves
the
song.
DAW
WIN
MEM-LOC Opens/Closes
the
Marker
List
window.
DAW
OPTION/ALL Save
As…:
saves
the
song
under
a
different
name.
DAW
EDIT
TOOL Selects
the
next
tool.
While
held,
numerical
buttons
select
a
specific
tool.
DAW
WIN
INSERT Opens/Closes
the
Sample
Editor
window.
DAW
REC/RDY
ALL Disable
Record
Ready
on
all
tracks.
DAW
SCRUB Enables/Disables
Scrub
mode.
DAW
SHUTTLE Enables/Disables
Shuttle
mode.
DAW
REW Shuttles
backward.
DAW
FF Shuttles
forward.
DAW
STOP Stop
DAW
PLAY Play
DAW
SHIFT/ADD Pause
DAW
REC Record
DAW
PRE Sets
left
locator.
Control Assignment
Chapter
20
Yamaha
DM1000 223
DAW
IN Sets
Drop
In
locator.
DAW
OUT Sets
Drop
Out
locator.
DAW
POST Sets
right
locator.
DAW
RTZ Goes
to
the
left
locator.
DAW
END Goes
to
the
right
locator.
DAW
ONLINE Activates/Deactivates
internal/external
Sync.
DAW
QUICK
PUNCH Enables/Disables
Drop
mode.
DAW
AUTO
FADER Enables/Disables
Volume
automation
playback
and
recording.
DAW
AUTO
PAN Enables/Disables
Pan
automation
playback
and
recording.
DAW
AUTO
PLUGIN Enables/Disables
Plug-in
parameter
automation
playback
and
recording.
DAW
AUTO
MUTE Enables/Disables
Mute
automation
playback
and
recording.
DAW
AUTO
SEND Enables/Disables
Send
Level
automation
playback
and
recording.
DAW
AUTO
SEND
MUTE
—
DAW
AUTO
WRITE Sets
selected
track
to
“Write”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Write.”
DAW
OPTION/ALL Sets
all
tracks
to
“Write”
automation
mode.
DAW
AUTO
TOUCH Sets
selected
track
to
“Touch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Touch.”
DAW
OPTION/ALL Sets
all
tracks
to
“Touch”
automation
mode.
DAW
AUTO
LATCH Sets
selected
track
to
“Latch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Latch.”
DAW
OPTION/ALL Sets
all
tracks
to
“Latch”
automation
mode.
DAW
AUTO
READ Sets
selected
track
to
“Read”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Read.”
DAW
OPTION/ALL Sets
all
tracks
to
“Read”
automation
mode.
DAW
AUTO
TRIM —
DAW
AUTO
OFF Sets
selected
track
to
“Off”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Off.”
DAW
OPTION/ALL Sets
all
tracks
to
“Off”
automation
mode.
DAW
AUTO
STATUS While
held
down,
the
Channel
Strip
displays
show
the
automation
mode
of
the
selected
track.
Control Assignment
21
225
21 Yamaha
DM2000
Set
Up
Please
follow
these
steps
before
using
your
control
surface
with
Logic
Pro
7.
 Make
sure
that
your
DM2000
unit(s)
are
connected
to
the
computer
via
USB.
 Make
sure
that
the
MIDI
driver
shipped
with
the
unit
is
installed.
On
the
DM2000
Front
Panel:
Basically,
you
set
up
the
DM2000
as
if
you
are
using
it
with
Pro
Tools.
See
the
DM2000
user
manual,
section
19.
Here
are
the
necessary
steps:
 Press
DISPLAY
ACCESS
[SETUP],
then
[F4]
(below
the
LCD)
so
that
the
Setup
/
MIDI/Host
page
is
visible.
Now
move
the
cursor
to
the
port
parameters:
select
DAW,
then
select
USB
and
1-3.
 Press
DISPLAY
ACCESS
[REMOTE],
then
[F1]
(below
the
LCD).
Choose
General
DAW
as
the
TARGET
parameter.
 Press
LAYER
[REMOTE
1].
In
Logic:
When
Logic
Pro
is
launched,
the
unit
is
installed
automatically.
You
should
see
three
DM2000
(USB
1-3)
icons
in
the
Setup
window,
aligned
horizontally.
226 Chapter
21
Yamaha
DM2000
Assignment
Overview
A
right-aligned
modifier
button
(such
as
SHIFT)
below
a
button
description
indicates
that
the
button
has
an
alternate
meaning/use
while
holding
down
this
modifier.
MATRIX
SELECT
Section
AUX
SELECT
Section
Control Assignment
MATRIX
1 Switches
Encoder
Push-Switch
buttons
between
normal
behavior
and
setting
default
value.
MATRIX
2 Switches
the
Encoder
Push-Switch
buttons
between
Send
Position
and
Send
Mute
mode.
MATRIX
4 If
ENCODER
MODE
[ASSIGN
4]
is
on,
switches
the
channel
strip
SEL
buttons
between
Insert
Select
(indicator
off )
and
Insert
Bypass
mode
(indicator
on).
Control Assignment
AUX
1 Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
USER
4 As
above,
for
Send
6.
AUX
2 Assigns
Send
2
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
2
destination
assignment.
USER
4 As
above,
for
Send
7.
AUX
3 Assigns
Send
3
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
3
destination
assignment.
USER
4 As
above,
for
Send
8.
AUX
4 Assigns
Send
4
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
4
destination
assignment.
AUX
5 Assigns
Send
5
Level
to
Encoders,
and
Send
5
to
8
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
5
destination
assignment.
Chapter
21
Yamaha
DM2000 227
ENCODER
MODE
Section
FADER
MODE
Section
DISPLAY
ACCESS
Section
Control Assignment
PAN Assigns
Pan
to
Encoders;
assigns
selected
track’s
pan/surround
parameters
to
DSP
Encoders.
AUX/MTRX Assigns
Send
1
Level
to
Encoders,
and
Send
1
to
4
Levels
to
DSP
Encoders.
While
held,
the
Channel
Strip
displays
show
the
current
Send
1
destination
assignment.
ASSIGN
1 Assigns
Track
Input
to
Encoders.
While
held
down,
the
Channel
Strip
displays
show
the
current
Track
Input
assignment.
ASSIGN
2 Assigns
Track
Output
to
Encoders.
While
held
down,
the
Channel
Strip
displays
show
the
current
Track
Output
assignment.
ASSIGN
3 When
Encoders
display
a
Send
level,
switches
them
to
Send
Destination
assignment
mode.
Press
Encoder
Push-Switch
or
ASSIGN
3
again
to
confirm
the
assignment.
ASSIGN
4 Determines
mode
of
channel
strip
SEL
buttons:
 Indicator
off:
track
selection.
 Indicator
on:
Insert
selection
or
Insert
Bypass,
depending
on
MATRIX
SELECT
[MATRIX
4].
Control Assignment
FADER Enables/Disables
Flip
mode.
AUX/MTRX Enables/Disables
Flip
mode.
Control Assignment
METER Clears
Overload
LEDs.
USER
4 Switches
to
Global
View
and
enables
MIDI
Tracks.
USER
13 Opens/Closes
Arrange
window.
228 Chapter
21
Yamaha
DM2000
EFFECTS/PLUG-INS
Section
Control Assignment
Display Opens/Closes
the
Sample
Edit
window.
5 —
6 Switches
DSP
display
between
“track
name/parameter
name”
and
“parameter
name/
parameter
value”
modes.
7 Activates/Deactivates
bypass
of
plug-in
insert
that
is
currently
being
edited.
8 Switches
between
Plug-in
Assign
and
Plug-in
Edit
modes.
Parameter
Up
&
Parameter
Down
Plug-In
Edit:
shifts
parameter
display
by
the
number
of
Parameter
controls
in
the
control
surface
group
(usually
four).
USER
13 Plug-In
Edit:
shifts
parameter
display
by
one
(parameter).
Parameter
control
1–4
push-switch
Assignment
Pan:
 Parameter
control
1
push-switch
centers
Pan
or
Surround
Angle.
 Parameter
control
2
push-switch
centers
Surround
Diversity.
 Parameter
control
3
push-switch
centers
Surround
LFE.
 Parameter
control
4
push-switch
sets
Surround
Mode
to
center.
Assignment
Send:
 Enables/Disables
Sends
1
to
4
or
Mutes
5
to
8.
Plug-In
Assign:
 Confirm
insert
1
to
4
or
5
to
8
plug-in
selection,
selects
this
insert
slot
and
enters
Plug-In
Edit
mode.
Plug-In
Edit
mode:
 Sets
value
to
default,
or
switches
bi-polar
parameter
value
on/off.
Parameter
controls
Assignment
Pan:
 Parameter
control
1
controls
Pan
or
Surround
Angle.
 Parameter
control
2
controls
Surround
Diversity.
 Parameter
control
3
controls
Surround
LFE.
 Parameter
control
4
controls
Surround
Mode.
Assignment
Send:
 Control
Send
1
to
4
or
5
to
8
Level.
Plug-In
Assign:
 Assigns
insert
1
to
4
or
5
to
8.
Plug-In
Edit
mode:
 Sets
value
to
default.
Chapter
21
Yamaha
DM2000 229
LCD
TRACK
ARMING
Section
Display Assignment
LCD Displays
parameter
details,
plug-in
selection
or
plug-in
parameters.
TIME
CODE Active
if
counter
is
displaying
time
code.
FEET Not
assigned.
BEATS Active
if
counter
is
displaying
bars/beats/format/ticks.
Time
display Displays
time
code
or
bars/beats/format/ticks.
SELECT
ASSIGN Displays
the
Encoder
assignment
as
follows:
Pan,
Snd1
to
Snd8,
S1As
to
S8As,
In,
Out.
Control Assignment
1
to
24 Enables/Disables
Record
Ready.
USER
5 Disables
Record
Ready
for
all
tracks.
MASTER Disables
Record
Ready
for
all
tracks.
230 Chapter
21
Yamaha
DM2000
AUTOMIX
Section
Control Assignment
DISPLAY While
held,
the
Channel
Strip
displays
show
the
automation
mode
of
selected
track.
REC Sets
selected
track
to
“Write”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Write.”
USER
5 Sets
all
tracks
to
“Write”
automation
mode.
ABORT/UNDO Sets
selected
track
to
“Touch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Touch.”
USER
5 Sets
all
tracks
to
automation
mode
“Touch.”
AUTOREC Sets
selected
track
to
“Latch”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Latch.”
USER
5 Sets
all
tracks
to
automation
mode
“Latch.”
RETURN Sets
selected
track
to
“Read”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to”
Read.”
USER
5 Sets
all
tracks
to
“Read”
automation
mode.
RELATIVE —
TOUCH
SENSE Sets
selected
track
to
“Off”
automation
mode.
While
held
down,
channel
Strip
AUTO
buttons
set
automation
mode
to
“Off.”
USER
5 Sets
all
tracks
to
“Off”
automation
mode.
OVERWRITE
[FADER]
Enables/Disables
volume
automation
playback
and
recording.
OVERWRITE
[PAN]
Enables/Disables
pan
automation
playback
and
recording.
OVERWRITE
[EQ]
Enables/Disables
Plug-in
parameter
automation
playback
and
recording.
OVERWRITE
[ON]
Enables/Disables
mute
automation
playback
and
recording.
OVERWRITE
[AUX]
Enables/Disables
Send
level
automation
playback
and
recording.
OVERWRITE
[AUX
ON]
—
Chapter
21
Yamaha
DM2000 231
USER
DEFINED
KEYS
Section
Control Assignment
DISPLAY Opens/Closes
the
Audio
window.
1 Opens/Closes
the
Transport
window.
2 Shifts
channel
strips
by
one
bank
to
the
left.
3 Shifts
channel
strips
by
one
bank
to
the
right.
4 Shifts
to
second
meaning
of
some
buttons
(see
descriptions
of
other
buttons).
5 While
held
down,
value
change
mode
is
set
to
“full”:
any
relative
value
changes
will
“jump”
to
their
minimum
or
maximum
values.
6 Enters
Group
Edit
mode:
 The
upper
line
in
the
DSP
edit
section
displays
the
currently
edited
group
number
and
name.
 Parameter
control
push-switch
buttons
1
to
4
switch
the
properties
of
the
group
currently
being
edited
(names
shown
in
lower
line
of
display).
 When
INSERT/PARAM
is
off,
DSP
Edit
Scroll
Encoder
scrolls
through
the
group
properties.
Otherwise,
it
selects
the
currently
edited
group.
 The
SELECT
buttons
activate/deactivate
group
membership
of
the
track.
USER
4 Switches
to
Track
View.
7 Activates/Deactivates
the
Group
Clutch
(disables
all
groups).
USER
4 Switches
to
Extended
Track
View.
8 Creates
a
new
group
and
enters
Group
Edit
mode
(see
above).
USER
4 Switches
to
Global
View.
9 Switches
between
the
Arrange
and
Track
Mixer
windows.
10 Shifts
channel
strips
by
one
channel
to
the
left.
11 Shifts
channel
strips
by
one
channel
to
the
right.
12 While
held
down,
the
Group
Clutch
is
engaged
(all
groups
are
disabled).
13 While
held
down,
value
change
mode
is
set
to
“fine”:
relative
value
changes
work
at
maximum
resolution.
Also
see
descriptions
of
other
buttons.
14 —
15 Performs
Undo.
USER
4 Performs
Redo.
USER
5 Opens
Undo
History
window.
16 Saves
the
song.
USER
5 Save
As…:
saves
the
song
under
a
different
name.
232 Chapter
21
Yamaha
DM2000
LOCATOR
Section
Control Assignment
DISPLAY Opens/Closes
the
Marker
List
window.
1
to
8 Recalls
markers
1
to
8.
USER
4 Switches
to
Global
View
and
enables:
1:
MIDI
Tracks.
2:
Inputs.
3:
Audio
Tracks.
4:
Audio
Instruments.
5:
Aux
Tracks.
6:
Busses.
7:
Outputs
and
Master
object.
DISPLAY
HISTORY
[FORWARD]
Selects
tool:
1:
Arrow.
2:
Pencil.
3:
Eraser.
4:
Text
edit.
5:
Scissors.
6:
Glue.
7:
Solo.
8:
Mute.
AUDITION —
PRE Sets
left
locator.
IN Sets
Drop
In
locator.
OUT Sets
Drop
Out
locator.
POST Sets
right
locator.
RETURN
TO
ZERO
Navigates
to
the
left
locator.
END Navigates
to
the
right
locator.
ONLINE Enables/Disables
internal/external
sync.
QUICK
PUNCH Enables/Disables
Drop
mode.
Chapter
21
Yamaha
DM2000 233
Channel
Strips
Transport/Cursor
Section
Control Assignment
Level
Meters Displays
momentary
and
peak
levels.
Encoder Adjusts
parameter
selected
in
the
AUX
SELECT
section.
Encoder
Push-
Switch
Pan
selected:
sets
Pan
to
center
if
MATRIX
1
on
Send
1
to
8
selected:
edits
Send
Pre/
Post,
activates/deactivates
Send
Mute
or
sets
Send
Level
to
default
value.
Send
Assign,
Input,
or
Output
selected:
confirms
selection.
AUTO Cycles
through
automation
modes.
With
an
automation
mode
button
held
down,
sets
this
automation
mode.
SEL
If
ENCODER
MODE
[ASSIGN
4]
off:
selects
track.
If
ENCODER
MODE
[ASSIGN
4]
on:
 BYPASS
off:
selects
track
for
plug-in
selection.
 BYPASS
on:
switches
bypass
status
of
currently
selected
insert
slot.
USER
4 Sets
volume
to
unity
level.
MATRIX
SELECT
1
Sets
volume
to
unity
level.
SOLO Enables/Disables
Solo.
USER
5 Disables
Solo
for
all
tracks.
ON Enables/Disables
Mute.
USER
5 Unmutes
all
tracks.
Channel
strip
display
Displays
track
name,
or
Send,
In,
or
Out
assignment.
Fader Adjusts
volume,
or
duplicates
Encoder
in
Flip
mode.
Control Assignment
REW Shuttles
backward.
FF Shuttles
forward.
STOP Stop
PLAY Play
USER
4 Pause
REC Record
DISPLAY
HISTORY
[BACK]
—
DISPLAY
HISTORY
[FORWARD]
Selects
the
next
tool.
While
held
down,
numerical
buttons
select
a
specific
tool.
SCRUB Enables/Disables
Scrub
mode.
SHUTTLE Enables/Disables
Shuttle
mode.
234 Chapter
21
Yamaha
DM2000
Parameter
Wheel
Default:
move
SPL
by
one
bar.
Scrub:
scrubbing.
Shuttle:
Shuttle
mode.
DEC Default:
leaves
Folder.
Goto
Marker:
cancels
dialog.
USER
13 Opens/Closes
Audio
window.
INC Switches
between
Cursor
and
Zoom
mode.
Cursor
Up Cursor
mode:
equivalent
to
computer
keyboard
up
arrow
key.
Zoom
mode:
zooms
out
vertically.
USER
4 Zoom
mode:
Individual
track
zoom
in.
USER
13 Page
Up.
USER
5
+
USER
13
Scroll
to
top.
Cursor
Down Cursor
mode:
equivalent
to
computer
keyboard
down
arrow
key.
Zoom
mode:
zooms
out
vertically.
USER
4 Zoom
mode:
Individual
track
zoom
out.
USER
13 Page
Down.
USER
5
+
USER
13
Scroll
to
bottom.
Cursor
Left Cursor
mode:
equivalent
to
computer
keyboard
left
arrow
key.
Zoom
mode:
zooms
out
horizontally.
USER
4 Zoom
mode:
Individual
track
zoom
reset
for
tracks
of
the
same
type.
USER
13 Page
Left.
USER
5
+
USER
13
Scroll
to
left
border.
Cursor
Right Cursor
mode:
equivalent
to
computer
keyboard
right
arrow
key.
Zoom
mode:
zooms
in
horizontally.
USER
4 Zoom
mode:
Individual
track
zoom
reset
of
all
tracks.
USER
13 Page
Right.
USER
5
+
USER
13
Scroll
to
right
border.
ENTER Enters
folder
of
selected
track.
Control Assignment
235
A
Appendix
A Logic
Control—Specifications
Logic
Control
(Base
Unit)
This
appendix
describes
the
specifications
of
the
Logic
Control
unit.
Display
 55
×
2-digit
(LCD)
backlit
multi-function
display
for
detailed
parameter
information
and
metering
 Built-in
screensaver
function
 2-digit,
7-segment
display
for
mode
displays
 10-digit,
7-segment
display
for
song
position
information
in
either
SMPTE
or
bar/
beats/ticks
 1
×
button
to
toggle
the
LCD
between
parameter
name/value
and
to
activate
the
level
meters.
 1
×
button
to
toggle
the
7-segment
display
between
SMPTE
and
bar/beats/ticks.
 2
×
LEDs
show
the
current
7-segment
display
status.
 1
×
LED
shows
the
current
Solo
status.
Per
Channel
(8
Channels)
 1
×
motorized
100mm
touch-sensitive
Penny
&
Giles
faders
with
10Bit
resolution
(1024
steps)
 1
×
V-POT:
digital
endless
rotary
knob
with
position
indicator
and
integrated
push
button
for
parameter
adjustments
of
pan,
EQ,
send
levels,
and
so
on
 4
×
buttons
with
integrated
colored
LED
for
channel
functions
such
as:
Record,
Solo,
Mute,
and
Channel
Selection
 Signal
Present
LED
indicates
when
an
audio
or
MIDI
signal
is
present.
Master
Fader
 1
×
motorized
100mm
touch-sensitive
Penny
&
Giles
fader
with
10Bit
resolution
(1024
steps).
236 Appendix
A
Logic
Control—Specifications
Controller
 6
×
buttons
with
status
LED
for
direct
selection
of
parameter
groups
for
Track,
Pan/
Surround,
EQ,
Send,
Plug-In,
Instrument
 8
×
buttons
to
directly
select
sections
of
Logic
mixers
such
as
audio
tracks,
MIDI
tracks,
inputs,
busses,
and
so
on
 4
×
buttons
to
shift
the
displayed
mixer
channels
to
the
left
and
right,
either
one
channel
at
a
time,
or
in
banks
 1
×
button
with
status
LED
for
the
channel
fader/V-POT
flip:
swaps
the
assignments
of
fader
and
V-POTs
 1
×
button
with
status
LED
to
toggle
between
Mixer
View
and
Global
View
 4
×
buttons
with
status
LED
to
activate
automation
modes
such
as
Read,
Write,
Touch,
and
Latch
 4
×
buttons
to
select
utility
functions
such
as:
“Save
Song,”
“Undo,”
“Cancel,”
or
confirmations
in
dialogs
 4
×
buttons
to
access
additional
functions
through
modifier
keys
 8
×
freely
definable
user
keys
 2
×
currently
unassigned
buttons
for
future
use
Transport
Controls
 5
×
Transport
buttons
with
status
LED
for
Forward,
Rewind,
Stop,
Play,
Record
 1
×
Jog/Scrub
wheel
for
precise
location
of
any
song
position
and
audio
scrubbing
 1
×
Scrub
button
with
status
LED
to
activate
the
scrub
function
 1
×
Marker
and
1
×
Nudge
button
with
status
LED
to
extend
the
functionality
of
the
Forward/Rewind
buttons
(Nudge
functionality
only
available
in
Logic
Pro)
 4
×
Navigation
buttons
to
quickly
navigate
through
plug-in
slots
and
parameter
pages
 1
×
Zoom
button
to
switch
the
navigate
buttons
to
zoom
Internal
Processor
 High-speed
RISC
micro
controller
 Firmware
can
be
updated
via
MIDI
dump.
Connections
 1
×
MIDI
in,
1
×
MIDI
out.
 2
×
assignable
foot
switch
inputs
to
control
Start/Stop
and
Punch
In/Out,
for
example
 1
×
assignable
external
control
signal
input
to
connect
a
volume
pedal.
 Power
supply
jack
Appendix
A
Logic
Control—Specifications 237
Power
Supply
 International
(100–250V)
external
power
supply
for
standard
power
cords
 Rear-mounted
power
switch
Weight
and
Construction
 Logic
Control
weighs
5.05
kg
(unpacked).
 High
quality,
sturdy
1mm
steel
chassis
and
case
 Comfortable,
durable
wrist
rest
Dimensions
Logic
Control
XT
(Extension
Unit)
Display
 55
×
2-digit
(LCD)
backlit
multi-function
display
for
detailed
parameter
information
and
metering
 Built-in
screensaver
function
Per
channel
(8
channels)
 1
×
motorized
100mm
touch-sensitive
Penny
&
Giles
faders
with
10Bit
resolution
(1024
steps)
 1
×
V-POT:
digital
endless
rotary
knob
with
position
indicator
and
integrated
push
button
for
parameter
adjustments
of
pan,
EQ,
send
levels,
and
so
on
 4
×
buttons
with
integrated
colored
LED
for
channel
functions
such
as:
Record,
Solo,
Mute,
and
Channel
Selection
 Signal
Present
LED
indicates
the
presence
of
an
audio
signal
Internal
Processor
 High-speed
RISC
micro
controller
 Firmware
can
be
updated
via
MIDI
dump.
238 Appendix
A
Logic
Control—Specifications
Connections
 1
×
MIDI
in,
1
×
MIDI
out
 Power
supply
jack
Power
Supply
 International
(100–250V)
external
power
supply
for
standard
power
cords
 Rear-mounted
power
switch
Weight
and
Construction
 Logic
Control
XT
weighs
3.45
kg
(unpacked)
 High
quality,
sturdy
1mm
steel
chassis
and
case
 Comfortable,
durable
wrist
rest
Dimensions
239
B
Appendix
B Logic
Control—
MIDI
Implementation
The
following
information
is
important
for
software
vendors
who
wish
to
create
a
level
of
software
integration
for
the
Logic/Mackie
Control/XT
units.
This
documentation
covers
firmware
version
V1.0.
Note:
All
numbers
are
in
hexadecimal
format.
Variable
bytes
are
shown
in
italics
and
use
characters
other
than
a-f
as
a
placeholder.
All
channel
messages
use
running
status
messages.
Once
an
initial
3-byte
message
has
been
sent,
the
status
byte
is
dropped
from
proceeding
transmitted
channel
messages,
in
order
to
conserve
bandwidth.
SysEx
Message
Header
The
following
documentation
uses
the
place
holder
“”
whenever
the
SysEx
header
is
transmitted
or
received.
It
has
the
following
form:
F0 MIDI
SysEx
status
byte
00
00
66 Mackie
3-byte
SysEx
manufacturer
ID
ii Model
ID
10 Logic
Control
11 Logic
Control
XT
A
device
ID
is
not
required,
as
each
unit
needs
a
dedicated
MIDI
cable.
240 Appendix
B
Logic
Control—MIDI
Implementation
Global
Control
Messages
Host
Connection
and
Initialization
Received:
00
F7
Device
Query
02
ss
ss
ss
ss
ss
ss
ss
rr
rr
rr
rr
F7
Host
Connection
Reply
0F
7F
F7
Go
Offline
Transmitted:
01
ss
ss
ss
ss
ss
ss
ss
ll
ll
ll
ll
F7
Host
Connection
Query
03
ss
ss
ss
ss
ss
ss
ss
F7
Host
Connection
Confirmation
04
ss
ss
ss
ss
ss
ss
ss
F7
Host
Connection
Error
ss = Serial
number
(7
bytes
ASCII
text,
non
null-terminated)
ll = Challenge
code
(4
bytes)
rr = Response
code
(4
bytes)
Offline
Mode:
Logic
Control
employs
a
query
system
to
maintain
a
connection
to
the
host
software.
When
Logic
Control
is
initially
powered
up,
it
defaults
to
Offline
mode.
In
Offline
mode,
Logic
Control’s
faders
move
to
their
lowest
setting,
and
the
LCD
reads
“EMAGIC
LOGIC
CONTROL
--
by
MACKIE.”
After
power-on,
Logic
Control
also
transmits
a
system
exclusive
Host
Connection
Query
message
that
is
used
(by
the
host)
to
detect
a
connection,
and
what
type
of
device
is
connected
(Logic
Control/Logic
Control
XT).
Communications
Initialization:
When
the
host
software
receives
a
Host
Connection
Query
message
(containing
a
serial
number
and
a
random
challenge
code),
it
should
transmit
a
Host
Connection
Reply
command
within
300ms
to
initialize
Logic
Control.
The
command
must
contain
the
same
serial
number
and
the
correct
response
code
for
the
challenge
code.
Here
is
the
algorithm
(l1
to
l4
=
challenge
code
bytes
1
to
4,
r1
to
r4
=
response
code
bytes
1
to
4):
r1
=
0x7F
&
(l1
+
(l2
^
0xa)
–
l4);
r2
=
0x7F
&
((l3>>4)
^
(l1+l4));
r3
=
0x7F
&
(l4-(l3<<2)
^
(l1|l2));
r4
=
0x7F
&
(l2-l3+(0xF0^(l4<<4)));
Logic
Control
will,
in
turn,
respond
with
either:
 a
Host
Connection
Confirmation
message
that
contains
the
serial
number,
and
switch
to
Online
mode—where
it
will
await
further
instructions
from
the
host,
or
 reply
with
a
Host
Connection
Error
message,
if
the
response
code
was
wrong.
Appendix
B
Logic
Control—MIDI
Implementation 241
Online
Mode:
Once
the
connection
between
Logic
Control
and
the
host
software
has
been
made,
Logic
Control
stays
in
Online
Mode
until
it
receives
a
Go
Offline
message.
Firmware
version
request
Received:
13
00
F7 Version
request
Transmitted:
14
vv
vv
vv
vv
vv
F7 Version
reply
vv 5
ASCII
bytes
containing
version
string,
e. g.
“V1.0”.
Note:
When
Logic
Control
receives
a
version
request
message,
it
sends
the
version
reply
message.
Reset
Messages
Received:
61
F7 Faders
to
minimum
(Sends
all
faders
to
the
bottom
of
their
throw)
62
F7 All
LEDs
off
(Turns
off
all
LEDs
on
Logic
Control)
63
F7 Reset
(Re-Boots
Logic
Control
into
Offline
mode)
Transmitted: No
Configuration
Messages
Received:
0A
tt
F7 Transport
button
click
0B
ll
F7 LCD
back
light
saver
0C
mm
F7 Touchless
movable
faders
0E
ii
ss
F7 Fader
touch
sensitivity
Transmitted: No
tt 00
=
no
transport
button
click
01
=
transport
button
click
(default)
ll 00
=
LCD
back
light
off
01
to
7F
=
LCD
back
light
on,
with
time
out
in
minutes
(default:
0F
=
15
minutes)
mm 00
=
fader
movements
are
only
transmitted
if
the
fader
has
been
recognized
as
touched
01
=
fader
movements
are
also
transmitted
if
the
fader
has
not
been
recognized
as
touched
(e. g.
with
fingernail
or
pen)
ii Fader
ID
(00
thru
07;
Master
=
08)
ss Fader
touch
sensitivity
(00
to
05;
default:
03)
242 Appendix
B
Logic
Control—MIDI
Implementation
Common
Control
Messages
Faders
Received: Ei,
ll,
hh Move
fader
to
position
Transmitted: Ei,
ll,
hh Fader
moved
by
user
i Fader
ID
(00
thru
07;
Master
=
08)
ll Fader
position
value
low
7
bits
(00–7F)
hh Fader
position
value
high
7
bits
(00–7F)
Example: E0,
40,
55
=
Fader
Ch.
1,
position
(55
<<
7)
+
40
Note:
Message
format
for
transmitted
fader
position
is
the
same
as
for
received
position.
Only
the
top
(high)
10
of
the
14
transmitted
bits
are
required.
Positions
0
to
1023
(decimal)
are
transmitted
as
0000
to
03FF
(Ei
00
00
to
Ei
7F
7F).
Switches
Received: None
Transmitted: 90,
ii,
ss Switch
pressed/released
by
user
ii Switch
ID
(See
“Logic
Control—Control
Surface
Layout
and
IDs”
on
page
251.)
ss Switch
State
00
=
switch
or
fader
relead
7F
=
switch
pressed
or
fader
touched
Example: 90,
0F,
7F
=
SOLO
Ch.
8
is
pressed
90,
0F,
00
=
SOLO
Ch.
8
is
released
Note:
LEDs
and
switches
use
the
same
control
message.
This
approach
means
that
an
LED
has
the
same
ID
as
its
corresponding
switch.
LEDs
Received: 90,
ii,
ss Set
LED
status
Transmitted: None
ii LED
ID
(See
“Logic
Control—Control
Surface
Layout
and
IDs”
on
page
251.)
ss LED
State
(7F
=
on,
00
=
off,
01
=
flashing)
Example: 90,
08,
7F
=
Turn
LED
08
on
90,
08,
00
=
Turn
LED
08
off
Note:
Switches
and
LEDs
use
the
same
control
message.
This
ensures
that
an
LED
always
shares
an
ID
with
its
corresponding
switch.
Appendix
B
Logic
Control—MIDI
Implementation 243
V-Pots
Received: None
Transmitted: B0,
1i,
XX V-POTs
turned
by
user
i V-POT
ID
(00–07)
XX delta
value
in
the
form
of
(0
s
v
v
v
v
v
v)
s direction
bit:
0
=
clockwise,
1
=
counter
clockwise
vv number
of
ticks
Examples:
 B0,
10,
01
=
V-POT
Ch.
1
is
being
turned
clockwise
by
one
tick.
 B0,
17,
47
=
V-POT
Ch.
8
is
being
turned
counter-clockwise
by
7
ticks.
V-Pot
LED
ring
Received: B0,
3i,
XX Set
LED
ring
display
Transmitted: None
i V-POT
number
(0
thru
7)
XX V-POT
display
control
byte
in
the
form
of
(0
p
x
x
v
v
v
v):
p V-POT
display
center
LED
state
(1
=
on,
0
=
off )
xx V-POT
mode
(00
thru
03;
see
diagrams
below)
vv V-POT
display
position
value
00
=
all
LEDs
in
ring
off;
01
thru
0B
see
diagrams
below
Example:
 B0,
31,
06
=
V-POT
2
display
shows
LEDs
at
position
6.
Note:
In
any
V-POT
display
mode,
a
received
LED
position
value
of
00
will
turn
off
all
of
the
V-POT
LEDs.
244 Appendix
B
Logic
Control—MIDI
Implementation
V-POT
Display
modes
available:
Appendix
B
Logic
Control—MIDI
Implementation 245
External
Controller
Received:
None
Transmitted: B0,
2E,
vv External
Controller
changed
vv External
Controller
position
value
(00–7F)
Example:
 B0,
2E,
07
=
External
Controller
value
=
07
Jog
Wheel
Received: None
Transmitted: B0,
3C,
XX Jog
wheel
turned
by
user
XX delta
value
in
the
form
of
(0
s
v
v
v
v
v
v)
s direction
bit:
0
=
clockwise,
1
=
counter
clockwise
vv number
of
ticks
Examples:
 B0,
3C,
01
=
Jog
forward.
 B0,
3C,
41
=
Jog
reverse.
246 Appendix
B
Logic
Control—MIDI
Implementation
LCD
Received: ,
12,
oo,
yy,
…,
F7 Update
LCD
Transmitted: None
oo Display
offset
to
write
from:
00
thru
37
for
upper
line,
38
thru
6F
for
lower
line.
yy Data:
ASCII
equivalents
for
display
characters—written
from
left
to
right—
and
including
line
wrapping
between
upper
and
lower
lines.
Up
to
100
data
bytes
may
be
sent
in
one
message.
Example:
 The
following
message
writes
“Hello”
to
the
top
left
of
the
LCD
on
a
Logic
Control
master
section.
F0
00
00
66
10
12
00
48
65
6C
6C
6F
F7
Notes:
 There
are
7
displayed
characters
per
channel,
with
the
exception
of
channel
8,
which
is
limited
to
displaying
the
first
6
characters.
Internally
however,
the
LCD
stores
2
x
56
characters.
 In
most
cases,
you
will
use
the
LCD
in
a
scribble-strip
fashion
(text
above
each
channel).
In
this
scenario,
you
should
only
use
the
first
six
characters
per
channel,
thus
allowing
for
spaces
between
the
text
of
each
channel.
 The
lower
line
can
be
switched
into
meter
mode.
See
“Metering”
on
page
249
for
further
details.
 While
the
LCD
switches
between
horizontal
and
vertical
metering
modes,
it
ignores
LCD
messages.
You
should
delay
LCD
messages
for
at
least
600
ms
after
sending
an
LCD
metering
mode
change
message.
Appendix
B
Logic
Control—MIDI
Implementation 247
Time
Code/BBT
Display
Received:
,
10,
yy,
…,
F7 Update
multiple
characters
B0,
4i,
yy Update
single
character
Transmitted: None
i Digit
ID:
0
=
right-most,
9
=
left-most
yy Data
bytes
representing
character
to
be
written
(See
“7-Segment
Display
Character
Table”
on
page
248).
Up
to
ten
characters
can
be
sent
in
the
SysEx
message.
Examples:
 The
following
message
writes
“109.02.01.126”
to
the
Time
Code
display
(note
decimal
points).
F0
00
00
66
10
10
36
32
31
71
30
72
30
79
30
31
F7
 B0
40
30
41
31
=
writes
“10”
into
the
last
two
digits.
Important:
The
digits
in
the
Time
Code
and
Assignment
displays
are
written
RIGHT-TOLEFT,
which
helps
to
conserve
bandwidth.
Assignment
7-segment
display
Received:
,
11,
yy,
yy,
F7 Update
multiple
characters
B0,
4i,
yy Update
single
character
Transmitted: None
i Digit
ID:
A=
right,
B
=
left
yy Data
bytes
representing
character
to
be
written
(See
“7-Segment
Display
Character
Table”
on
page
248).
Two
characters
can
be
sent
in
the
SysEx
message.
Example:
 B0
4B
10
4A
4E
=
writes
“Pn.”
to
the
Assignment
display.
Important:
The
digits
in
the
Time
Code
and
Assignment
displays
are
written
RIGHT-TOLEFT,
to
help
conserve
bandwidth.
248 Appendix
B
Logic
Control—MIDI
Implementation
7-Segment
Display
Character
Table
Hint:
 Characters
@
(40h)
thru
`
(60h)
=
(ASCII
value)
−
40h
 Characters
!
(21h)
thru
?
(3Fh)
=
ASCII
value
Note:
The
decimal
point
on
each
7-segment
character
can
be
lit
by
adding
40
Hex
to
the
value
of
the
data.
Appendix
B
Logic
Control—MIDI
Implementation 249
Metering
Received:
D0,
XX Peak
level
,
20,
ii,
mm,
F7 Channel
meter
mode
,
21,
yy,
F7 Global
LCD
meter
mode
Transmitted: None
XX Meter
level
in
the
form
of
(0
h
h
h
l
l
l
l):
hh Channel
to
be
addressed
(0
thru
7)
ll Meter
level:
0
thru
C =
level
meter
0%
to
100%
Overload
not
cleared!
E =
set
overload
F =
clear
overload
ii Channel
ID
(0
to
7)
mm mode
bit
map
in
the
form
of
(0
0
0
0
0
l
p
s):
l Enable
level
meter
on
LCD
p Enable
peak
hold
display
(horizontal
only)
s Enable
Signal
LED
yy 00
=
horizontal;
01
=
vertical
Notes:
 There
is
only
one
level
meter
per
channel.
For
stereo
tracks,
use
the
maximum
of
left
and
right
levels.
 Only
transmit
peak
levels.
Logic
Control
automatically
decreases
the
level
meter
bars,
and
switches
off
the
Signal
Present
LED
(over
time).
This
approach
ensures
that
MIDI
bandwidth
takes
only
a
fraction
of
that
required
by
implementations
where
the
current
level
(and
peak
level)
is
transmitted
constantly.
 Decay
rate
is
approximately
300ms
per
meter
division
(1.8
seconds
to
fall
from
100%
to
0%).
 The
LCD
meter
value
and
the
duration
of
the
Signal
Present
LED
are
controlled
by
the
same
data
byte.
 While
the
LCD
switches
between
horizontal
and
vertical
metering
mode,
it
ignores
LCD
messages.
You
should
delay
LCD
messages
for
at
least
600
ms
after
sending
an
LCD
metering
mode
change
message.
251
C
Appendix
C Logic
Control—
Control
Surface
Layout
and
IDs
ID Switch LED Function
00 • • REC/RDY
Ch.
1
01 • • REC/RDY
Ch.
2
02 • • REC/RDY
Ch.
3
03 • • REC/RDY
Ch.
4
04 • • REC/RDY
Ch.
5
05 • • REC/RDY
Ch.
6
06 • • REC/RDY
Ch.
7
07 • • REC/RDY
Ch.
8
08 • • SOLO
Ch.
1
09 • • SOLO
Ch.
2
0A • • SOLO
Ch.
3
0B • • SOLO
Ch.
4
0C • • SOLO
Ch.
5
0D • • SOLO
Ch.
6
0E • • SOLO
Ch.
7
0F • • SOLO
Ch.
8
10 • • MUTE
Ch.
1
11 • • MUTE
Ch.
2
12 • • MUTE
Ch.
3
13 • • MUTE
Ch.
4
14 • • MUTE
Ch.
5
15 • • MUTE
Ch.
6
16 • • MUTE
Ch.
7
17 • • MUTE
Ch.
8
18 • • SELECT
Ch.
1
19 • • SELECT
Ch.
2
252 Appendix
C
Logic
Control—Control
Surface
Layout
and
IDs
1A • • SELECT
Ch.
3
1B • • SELECT
Ch.
4
1C • • SELECT
Ch.
5
1D • • SELECT
Ch.
6
1E • • SELECT
Ch.
7
1F • • SELECT
Ch.
8
20 • V-Select
Ch.
1
21 • V-Select
Ch.
2
22 • V-Select
Ch.
3
23 • V-Select
Ch.
4
24 • V-Select
Ch.
5
25 • V-Select
Ch.
6
26 • V-Select
Ch.
7
27 • V-Select
Ch.
8
28 • • ASSIGNMENT:
TRACK
29 • • ASSIGNMENT:
SEND
2A • • ASSIGNMENT:
PAN/SURROUND
2B • • ASSIGNMENT:
PLUG-IN
2C • • ASSIGNMENT:
EQ
2D • • ASSIGNMENT:
INSTRUMENT
2E • FADER
BANKS:
BANK
Left
2F • FADER
BANKS:
BANK
Right
30 • FADER
BANKS:
CHANNEL
Left
31 • FADER
BANKS:
CHANNEL
Right
32 • • FLIP
33 • • GLOBAL
VIEW
34 • NAME/VALUE
35 • SMPTE/BEATS
36 • F1
37 • F2
38 • F3
39 • F4
3A • F5
3B • F6
3C • F7
3D • F8
ID Switch LED Function
Appendix
C
Logic
Control—Control
Surface
Layout
and
IDs 253
3E • GLOBAL
VIEW:
MIDI
TRACKS
3F • GLOBAL
VIEW:
INPUTS
40 • GLOBAL
VIEW:
AUDIO
TRACKS
41 • GLOBAL
VIEW:
AUDIO
INSTRUMENT
42 • GLOBAL
VIEW:
AUX
43 • GLOBAL
VIEW:
BUSSES
44 • GLOBAL
VIEW:
OUTPUTS
45 • GLOBAL
VIEW:
USER
46 • SHIFT
47 • OPTION
48 • CONTROL
49 • CMD/ALT
4A • • AUTOMATION:
READ/OFF
4B • • AUTOMATION:
WRITE
4C • • AUTOMATION:
TRIM
4D • • AUTOMATION:
TOUCH
4E • • AUTOMATION:
LATCH
4F • • GROUP
50 • • UTILITIES:
SAVE
51 • • UTILITIES:
UNDO
52 • UTILITIES:
CANCEL
53 • UTILITIES:
ENTER
54 • • MARKER
55 • • NUDGE
(Logic
Pro
only)
56 • • CYCLE
57 • • DROP
58 • • REPLACE
59 • • CLICK
5A • • SOLO
5B • • REWIND
5C • • FAST
FWD
5D • • STOP
5E • • PLAY
5F • • RECORD
60 • Cursor
Up
61 • Cursor
Down
ID Switch LED Function
254 Appendix
C
Logic
Control—Control
Surface
Layout
and
IDs
62 • Cursor
Left
63 • Cursor
Right
64 • • Zoom
65 • • Scrub
66 • User
Switch
A
67 • User
Switch
B
68 • Fader
Touch
Ch.
1
69 • Fader
Touch
Ch.
2
6A • Fader
Touch
Ch.
3
6B • Fader
Touch
Ch.
4
6C • Fader
Touch
Ch.
5
6D • Fader
Touch
Ch.
6
6E • Fader
Touch
Ch.
7
6F • Fader
Touch
Ch.
8
70 • Fader
Touch
Master
71 • SMPTE
LED
72 • BEATS
LED
73 • RUDE
SOLO
LIGHT
76 • Relay
click
ID Switch LED Function
255
D
Appendix
D Logic
Control—
MIDI
Implementation
Chart
Mode
1:
OMNI
ON,
POLY,
Mode
2:
OMNI
ON,
MONO,
O:
Yes
Mode
3:
OMNI
OFF,
POLY,
Mode
4:
OMNI
OFF,
MONO,
X:
No
Function Transmitted Recognized Remarks
Channel,
Default:
Changed:
1
1
1
1
Each
Logic
Control
unit
should
be
installed
on
a
separate
MIDI
port.
Mode,
Default:
Messages:
Altered:
X
X
X
X
X
X
Note
Number
True
Voice:
O
0–127
X
O
0–127
X
Velocity,
Note
On:
Note
Off:
O
v
=
1–127
X
v
=
00
O
v
=
1–127
X
v
=
00
After
Touch,
Keys:
Chan’s:
X
X
X
O
Pitch
Bend O O Used
for
motor
faders
Control
Change O O
Program
Change
True
#:
X X
SYSTEM
EXCLUSIVE:
O O
SYSTEM
COMMON:
X X
Soundtrack Pro 2
User Manual
K
Apple Inc.
Copyright © 2007 Apple Inc. All rights reserved.
Your rights to the software are governed by the
accompanying software license agreement. The owner
or authorized user of a valid copy of Soundtrack Pro
software may reproduce this publication for the purpose
of learning to use such software. No part of this
publication may be reproduced or transmitted for
commercial purposes, such as selling copies of this
publication or for providing paid for support services.
The Apple logo is a trademark of Apple Inc., registered
in the U.S. and other countries. Use of the “keyboard”
Apple logo (Shift-Option-K) for commercial purposes
without the prior written consent of Apple may
constitute trademark infringement and unfair
competition in violation of federal and state laws.
Every effort has been made to ensure that the
information in this manual is accurate. Apple is not
responsible for printing or clerical errors.
Note:
Because Apple frequently releases new versions
and updates to its system software, applications, and
Internet sites, images shown in this book may be slightly
different from what you see on your screen.
Apple Inc.
1 Infinite Loop
Cupertino, CA 95014–2084
408-996-1010
www.apple.com
Apple, the Apple logo, Apple Cinema Display,
AppleScript, DVD Studio Pro, Final Cut, Final Cut Pro,
Final Cut Studio, FireWire, iPhoto, iPod, iTunes, Logic,
Mac, Macintosh, Mac OS, QuickTime, and Soundtrack are
trademarks of Apple Inc., registered in the U.S. and
other countries.
Finder and Apple TV are trademarks of Apple Inc.
AppleCare and Apple Store are service marks of Apple
Inc., registered in the U.S. and other countries.
iTunes Store is a service mark of Apple Inc.
Dolby Laboratories: Manufactured under license from
Dolby Laboratories. “Dolby,” “Pro Logic,” and the
double-D symbol are trademarks of Dolby Laboratories.
Confidential Unpublished Works, © 1992–1997 Dolby
Laboratories, Inc. All rights reserved.
NeXT is a trademark of NeXT Software, Inc., registered in
the U.S. and other countries.
Other company and product names mentioned herein
are trademarks of their respective companies. Mention
of third-party products is for informational purposes
only and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with
regard to the performance or use of these products.
Production stills from the film “Koffee House Mayhem”
provided courtesy of Jean-Paul Bonjour. “Koffee House
Mayhem” © 2004 Jean-Paul Bonjour. All rights reserved.
http://www.jbonjour.com
3
1
Contents
Preface 11 An Introduction to Soundtrack Pro
11
Overview of Soundtrack Pro
13
Using Soundtrack Pro in Your Post-Production Workflow
15
Notable Features in Soundtrack Pro
18
Resources for Learning About Soundtrack Pro
18
About This Soundtrack Pro Onscreen User Manual
19
Apple Websites
Chapter 1 21 Setting Up Your System
21
System Considerations
23
Connecting Equipment
24
Video and Audio Input and Output Devices
25
Video and Audio Interfaces
25
External Audio and Video Monitoring
27
Example Hardware Setups
32
Setting Up a System for Stereo Mixing
32
Setting Up a System for Surround Mixing
Chapter 2 33 The Soundtrack Pro Interface
34
Soundtrack Pro Window Organization
37
Project Pane
38
Toolbar
38
Transport Controls
39
Timeline
43
File Editor
44
Mixer
46
Multitake Editor
47
Conform
48
Bin
49
Meters Tab
50
Recording Tab
51
Browser
52
Search Tab
4
Contents
54
Favorites Tab
55
Video Tab
55
Project Tab
57
Details Tab
60
Effects Tab
61
Tracks Tab
62
Actions Tab
63
Analysis Tab
64
HUDs
Chapter 3 65 Setting Up Soundtrack Pro
65
Two Kinds of Projects
67
Setting Up Your Workspace
71
Playing Projects
75
About Changing Values and Timecode Entries
78
Locating and Adding Audio Files
91
Previewing Audio Files
93
Using Undo and Redo
94
Using Snapping
96
Reconnecting Media Files
97
Setting Soundtrack Pro Preferences
Chapter 4 105 Working with Multitrack Projects
105
Creating and Opening Multitrack Projects
106
Creating a Multitrack Project from Final Cut Pro Clips or Sequences
106
Closing Multitrack Projects
106
Setting Project Properties
110
Setting the Project Length
111
Saving Multitrack Projects
112
Setting Default Locations for Saving Media Files
113
Adding Files to a Multitrack Project
114
Viewing and Editing Clip and Track Properties
124
Tracks, Busses, Submixes, and the Master Bus
Chapter 5 127 Working in the Timeline
127
Working in the Timeline
128
Moving Around in the Timeline
135
Working with Tracks, Busses, and Submixes in the Timeline
147
Selecting Audio Clips in the Timeline
149
Selecting the Entire Contents of a Track
150
Selecting Partial Contents of One or More Tracks
151
Cutting, Copying, and Pasting Audio Clips
153
Spotting Clips to the Timeline
Contents
5
154
Moving Clips
156
Snapping Clips to Clips on Adjacent Tracks
156
Resizing Audio Clips
157
Changing the Offset of an Audio Clip
158
Creating Fades and Crossfades in the Timeline
162
Truncating Overlapping Audio Clips
162
Editing Audio Clips in the Multitrack Timeline
164
Using the Timeline Editing Tools
165
Timeline Editing Tools HUD
166
Editing in Place
166
How Clips Are Affected by Media File Editing
166
How Source Audio File Editing Works in a Soundtrack Pro Multitrack Project
167
Modifying a Clip Without Affecting Its Source Media
168
Using the Multitrack Timeline and the File Editor Together
170
Spotting Sound Effects from the File Editor to the Timeline
170
Splitting and Joining Audio Clips
174
Editing with the Timeslice Tool
179
Using the Lift and Stamp Tools
183
Working with Markers
185
Using Markers with Video
188
Working with Tagged and Looping Clips
189
Replacing the Source Audio in a Clip
Chapter 6 191 Editing Audio Files
193
Audio File Projects
193
Editing Audio Files Directly in a Multitrack Project
195
Editing in Place
195
How Clips Are Affected by Media File Editing
196
How Media File Editing Works in a Multitrack Project
196
How Source Audio File Editing Works in an Audio File Project
197
Modifying a Clip Without Affecting Its Source Media
198
Editing Audio Files in the File Editor
198
Opening Audio Files in the File Editor Tab
199
Playing Audio Files in the File Editor
199
Soloing an Audio File in the File Editor
200
Linking the File Editor Selection and the Cycle Region
200
Scrubbing Audio Files
202
Selecting Part of an Audio File
206
Cutting, Copying, and Pasting in the File Editor
207
Zooming In and Out in the File Editor
208
Editing Audio Files Graphically with Waveform Editing Tools
212
Choosing the Sample Units in the File Editor
212
Editing Multichannel Files
6
Contents
214
Using Frequency Spectrum View
219
Processing Audio Files
230
Working with Actions
236
Analyzing an Audio File
240
Using the File Editor Project View
Chapter 7 251 Using the Multitake Editor
251
About the Multitake Editor
252
What Is ADR?
252
Multitake Clips
252
Creating Multitake Clips
253
Overview of the Multitake Editor
254
Editing in the Multitake Editor
255
Slipping Take Regions
256
Adding and Deleting Takes
256
Renaming Takes
257 Reordering Takes
257 Example: A Multitake Editing Workflow
Chapter 8 261 Basic Mixing in Soundtrack Pro
262 Steps in Mixing
263 Structuring an Audio Post-Production Project
263 What Is a Submix and How Do You Use It?
263 Basic Signal Routing in Soundtrack Pro
266 Example: Mixing a Project with Dialogue, Music, and Effects Submixes
270 Using Sends and Busses
273 Using the Mixer
273 Working with Channel Strips in the Mixer
284 Working with Effects in the Mixer
286 Working with Sends and Busses in the Mixer
288 Setting the Overall Project Volume Level
290 Using the Master Bus
290 Listening to a Temporary Mono Mix
291 Recording Audio in the Mixer
291 Recording Automation in the Mixer
292 Creating Multiple Mixes
292 Things to Keep in Mind While Mixing
Chapter 9 293 Mixing Surround Sound
293 What Is 5.1 Surround?
294 Creating a Surround Project
294 Setting Up for Surround
294 Setting Up Soundtrack Pro for Surround
Contents 7
298 Surround Speaker Placement
299 Using Surround Panners to Create a Surround Mix
299 The Mini Surround Panner
300 The Surround Panner HUD
303 Surround Panner Automation
303 Modifier Keys for Moving the Puck
304 Surround Metering
306 Surround Mixing Strategies
306 Mixing Surround Files
307 Converting a Stereo Mix to 5.1 Surround
309 Placing Dialogue and Voiceover in a Surround Mix
310 Placing Stereo Music in a Surround Mix
310 Using the Center Channel
310 Using Surround Channels
311 Using Surround Effect Plug-ins
311 Limitations of the LFE Channel
312 Accommodating Stereo Playback
312 Exporting and Delivering 5.1 Surround Projects
312 Mixdowns
313 Project Files
Chapter 10 315 Working with Video in Soundtrack Pro
315 Supported Video File Formats
316 Adding a Video to a Project
317 Playing the Video
320 Viewing Video Details
321 Working with a Video’s Audio
321 Using the Time Display and Time Ruler with Video
322 Scrubbing and Spotting with the Multipoint Video HUD
325 Removing a Video from a Project
Chapter 11 327 Working with Audio Effects
327 Processing Effects and Realtime Effects
330 Working with Effect Presets
331 Audio Effects Included with Soundtrack Pro
343 Working with Realtime Effects
353 Working with Processing Effects
Chapter 12 355 Working with Automation
355 Working with Envelopes
365 Recording Automation Data
Chapter 13 367 Recording Audio in Soundtrack Pro
367 Getting Ready to Record
8 Contents
368 Recording Audio in the Timeline
374 Recording Audio in the Mixer
375 Recording Audio in the File Editor Project View
Chapter 14 377 Creating Podcasts in Soundtrack Pro
378 Podcasting Media Production
379 Using the Podcast Track and Podcast Markers
379 Displaying the Podcast Track and the Details Tab
380 Podcast Marker Information in the Details Tab
381 Adding Markers to a Podcast
384 Adding Images to a Podcast
387 Exporting Podcasts
387 Exporting Audio Podcasts
388 Exporting Video Podcasts
390 Using Post-Export Actions for Podcast Production
Chapter 15 391 Using Control Surfaces with Soundtrack Pro
391 Connecting Control Surfaces
392 Adding and Deleting Control Surfaces
393 Premapped Controls
393 Mapping Commands to Control Surface Buttons
394 Recording Control Surface Automation
Chapter 16 395 Exporting Multitrack Projects
396 About the Export Dialog
397 Exporting and the Cycle Region
397 Exporting a Master Mix
414 Exporting Tracks, Busses, and Submixes Separately
415 Exporting Multiple Mono Files
416 Using Post-Export Actions
418 Using Export Presets
419 Exporting to AAF
419 Saving Multitrack Projects
419 Distributing a Multitrack Project and Its Media Files Together
Chapter 17 421 Using Soundtrack Pro with Other Applications
421 Using Soundtrack Pro with Final Cut Pro
421 About Soundtrack Pro Audio File Projects
422 Methods for Sending Audio from Final Cut Pro to Soundtrack Pro
422 Sending Individual Audio Clips from Final Cut Pro to Soundtrack Pro
428 About Soundtrack Pro Multitrack Projects
428 Creating Soundtrack Pro Multitrack Projects from Final Cut Pro Clips or Sequences
432 Using Soundtrack Pro with DVD Studio Pro
434 Using Soundtrack Pro with Motion
Contents 9
435 Using Soundtrack Pro with Third-Party Applications
435 Exchanging OMF and AAF Files with Other Applications
437 Exporting Audio Files
Chapter 18 439 Using Conform with Final Cut Pro
439 About Conforming Manually
439 Using Soundtrack Pro Conform
444 Reviewing and Approving the Changes in the Conform Result Project
Appendix A 449 Soundtrack Pro Keyboard Shortcuts
449 General and File
450 Layouts, Tabs, and HUDs
451 Navigating the Timeline
451 Project Playback
452 Cycle Region
453 General Editing
453 Editing Audio Clips in the Timeline
454 Moving Audio Clips and Envelope Points
455 Viewing the Timeline
456 Timeline Tools
456 File Editor Project View Tools and Commands
457 Processing and Editing Audio Files
458 Tracks, Busses, and Submixes
459 Markers
459 Selecting Audio Clips in the Timeline
460 Video Out
460 Recording
461 Using Arrow Keys to Move the Playhead
461 Working with Timeslices
Appendix B 463 Audio Fundamentals
463 What Is Sound?
463 Fundamentals of a Sound Wave
465 Frequency Spectrum of Sounds
467 Measuring Sound Intensity
469 Signal-to-Noise Ratio
470 Headroom and Distortion
470 Dynamic Range and Compression
471 Stereo Audio
473 Digital Audio
474 Sample Rate
474 Bit Depth
Appendix C 477 Working with Professional Video and Audio Equipment
10 Contents
477 About Video Interfaces, Signals, and Connectors
477 Video Interfaces
480 Video Signals and Connectors
485 About Audio Interfaces, Signals, and Connectors
485 Setting Up an Audio Interface
490 Audio Connectors, Cables, and Signal Formats
494 About Balanced Audio Signals
496 Tips for Choosing Speakers and an Amplifier
497 Frequency Response and Dynamic Range
497 Self-Powered Versus Passive Speakers
498 Amplifiers and Signal Levels for Unpowered Speakers
498 Connecting Professional Video Devices
498 Connecting Professional SD Video Devices
501 Connecting Professional Component Analog Video Devices
501 Connecting Consumer Analog Video Devices
501 Connecting Non-DV Devices to a DV Converter
503 Connecting Professional Audio Devices
503 Connecting Professional Digital Audio Devices
503 Connecting Consumer Digital Audio Devices
503 Connecting Professional Analog Audio
504 Synchronizing Equipment with a Blackburst Generator
506 Synchronizing Soundtrack Pro to External Timecode
Appendix D 509 Working with Apogee Hardware in Soundtrack Pro
510 Global Parameters
511 Units Parameters
514 Setup Buttons
Appendix E 515 Solutions to Common Problems and Customer Support
516 Solutions to Common Problems
517 Calling AppleCare Support
Appendix F 519 Using Apple Loops Utility
519 What Is Apple Loops Utility?
520 The Apple Loops Utility Interface
526 Opening Files in Apple Loops Utility
527 Tagging Files in Apple Loops Utility
528 Working With Transients
530 Saving Changes to Files
530 Removing Files From the Assets Drawer
531 Apple Loops Utility Preferences
532 Apple Loops Utility Keyboard Shortcuts
Index 537
11
Preface
An Introduction
to Soundtrack Pro
Soundtrack Pro gives you the tools you need to create
high-quality soundtracks for your film and video productions.
Most experienced film and television producers know that “audio is more than half the
picture.” The art and techniques of sound recording, dialogue editing, sound effect
recording and placement, mixing, and sound design play a substantial role in how
audiences perceive the (visual) quality of a film or video.
Soundtrack Pro is designed to serve the art of motion picture sound post-production.
Like the other applications in Final Cut Studio, Soundtrack Pro was created for the film
and video industry. Soundtrack Pro gives you many specialized tools and powerful
features that you can use to create high-quality audio.
Overview of Soundtrack Pro
Soundtrack Pro provides film and video professionals streamlined workflows for editing
everything from individual audio files to large multitrack sound projects, including
synchronizing audio and video, editing sound in place, working with automatic
dialogue replacement (ADR), analyzing and fixing common audio problems like clicks
and pops, and creating stereo and surround sound design. Add interoperability with
the other applications in Final Cut Studio to this list of features, and you have a
professional-quality audio application designed to meet the needs of the most
discerning audio editors and mixers.
Soundtrack Pro features two types of projects: audio file projects and multitrack projects.
You use audio file projects to edit individual audio files. This is sometimes known as
waveform editing. However, unlike most waveform editing applications, Soundtrack Pro
allows you to edit your audio files nondestructively by keeping track of the actions you
have performed on your audio file. You can edit down to the file’s individual sample level
and perform tasks ranging from audio repair to sound design. You can perform edits
nondestructively using actions, which include processing effects and other operations.
You can analyze audio files for a range of common audio problems, including clicks and
pops, hum, and phase issues, and automatically fix problems that are found.
12 Preface An Introduction to Soundtrack Pro
Multitrack projects look and function similarly to Final Cut Pro projects. You arrange a
multitrack project’s audio clips on the tracks in the Timeline. Multitrack projects contain
the features you expect from a high-performance and professional-quality audio editor,
including features to synchronize audio and video, work with ADR and multitake
editing, and automate volume, pan, and other changes over time using envelopes. You
can record over multiple channels to the Timeline or the File Editor or to multiple tracks
in the Timeline.
Most audio applications focus on multitrack editing or waveform editing, but not both.
Furthermore, most waveform editing applications handle media destructively—making
permanent changes to your media files. Soundtrack Pro provides the best of both
worlds: nondestructive waveform editing while working in a multitrack project.
You can edit audio clips in a variety of ways in the Timeline. You can select, cut, copy,
and paste clips; move, resize, transpose, split, and join them; and edit them in other
ways. You can also apply any actions to and process menu operations for any clip
directly in the Timeline.
You can organize your multitrack project for the final mix by creating busses and
submixes, adding realtime effects and actions, and adding surround panning. When
you’re ready to mix, you can mix in the Timeline or in the Soundtrack Pro Mixer. The
Mixer models a traditional hardware mixing board and includes a channel strip for each
track, bus, and submix in the project.
Soundtrack Pro includes a large library of stereo and surround sound effects and music
beds that you can use for Foley effects, background ambience, sound effects, and
music transitions in your audio and multitrack projects. Soundtrack Pro also includes a
generous selection of professional-quality effects plug-ins, like Space Designer and
Channel EQ that you can add to tracks, busses, and submixes.
You have numerous options for exporting your project. You can export your mix (or
selected tracks, busses, or submixes) in a variety of audio file types including WAVE,
AIFF, MP3, AAC, Dolby Digital Professional, and as a QuickTime movie. You can export
your mix with Compressor, Apple’s high-performance encoding application. You can
also pick from a variety of post-export actions that automatically open the mix in a
Final Cut Pro sequence, or export it to Motion, Logic, or Waveburner.
Preface An Introduction to Soundtrack Pro 13
Using Soundtrack Pro in Your Post-Production Workflow
On its own, Soundtrack Pro is a powerful audio editing application. As part of
Final Cut Studio, Soundtrack Pro becomes an integral part of your post-production
workflow.
You can easily share media projects between Final Cut Pro and Soundtrack Pro. When
you send a sequence from Final Cut Pro, your audio files and a compiled video file
arrive in a Soundtrack Pro multitrack project, ready for you to edit. After editing and
creating your final mix, you can automatically send a mixdown back to the original
Final Cut Pro sequence. The Soundtrack Pro Conform feature allows you to quickly sync
up the picture editor’s cut with the sound editor’s version of the same sequence.
Unlike many audio editing applications, Soundtrack Pro was created specifically to
produce sound for motion picture audio projects. This means it has many specialized
tools and features that simplify and enhance the sound-for-picture editing process.
Here are some examples of how you can use Soundtrack Pro to enhance your motion
picture sound editing and mixing experience:
 To quickly synchronize a sound effect with the picture using the Multipoint Video HUD
For more information, see “Scrubbing and Spotting with the Multipoint Video HUD”
on page 322.
 To edit audio dialogue replacement (ADR) recordings, combine them with
production sound files, and create perfect voiceover narration
For more information, see Chapter 7, “Using the Multitake Editor,” on page 251.
 With the Soundtrack Pro Conform feature, to quickly merge two versions of the same
sequence: the picture edit (from Final Cut Pro) and the sound edit/mix (from
Soundtrack Pro)
For more information, see Chapter 18, “Using Conform with Final Cut Pro,” on
page 439.
 To perfect and clean up individual audio files. You can go straight into a clip’s
waveform to correct a click or pop or add an effect. Soundtrack Pro makes it easy for
you to move between editing individual clips and arranging your overall multitrack
project for a quick back-and-forth workflow.
To learn more about editing individual audio files, see “Editing Audio Clips in the
Multitrack Timeline” on page 162 and Chapter 6, “Editing Audio Files,” on page 191.
 To lift effects from one clip and apply them to other clips using lift-and-stamp tools
and the Sound Palette, and to create palettes of sound processing for future use
For more information, see “Using the Lift and Stamp Tools” on page 179.
 To organize your multitrack project for professional sound effect editing and mixing
For more information, see “Basic Signal Routing in Soundtrack Pro” on page 263 and
“Using Sends and Busses” on page 270.
14 Preface An Introduction to Soundtrack Pro
 To prepare your multitrack project for distribution and final delivery, such as foreign
language versions (for example, to create separate submixes for dialogue, sound
effects, and music)
For more information, see “What Is a Submix and How Do You Use It?” on page 263
and “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on
page 266.
 To use advanced editing techniques and tools in the multitrack Timeline for
streamlined sound editing
For more information, see “Using the Timeline Editing Tools” on page 164, “Moving
Around in the Timeline” on page 128, “Selecting Audio Clips in the Timeline” on
page 147, and “Editing with the Timeslice Tool” on page 174.
 To create a podcast from a video edited in Final Cut Pro
For more information, see Chapter 14, “Creating Podcasts in Soundtrack Pro,” on
page 377 and “Exporting Video Podcasts” on page 388.
 To create stereo and surround mixes for the same project
For more information, see “Mixing Surround Sound” on page 293 and “Converting a
Stereo Mix to 5.1 Surround” on page 307.
 To set up your sound-for-picture editing system to display video on an external video
monitor or use Digital Cinema Desktop on the Apple Studio and Apple Cinema Displays
For more information, see “Setting Up a System Using a Video Output Device” on
page 30 and “Video Out Preferences” on page 103.
 To adjust the selection for an action. For example, you may have applied an effect to a
portion of a file, and you might like to move that effect to a different portion of the file.
For more information, see “Selecting Part of an Audio File” on page 202, “Editing with
the Timeslice Tool” on page 174, and “Working with Actions” on page 230.
 To use the resizable Timecode HUD to display the current project timecode (for a
client sitting across the room)
For more information, see “Timecode HUD” on page 64.
 With the Frequency Spectrum view and the Frequency Selection tool, to make
selections of frequency ranges as well as copy, paste, delete, and adjust the
amplitude of frequency selections
These tools help you visually pinpoint specific frequencies, for example, some noise
that you want to remove. For more information, see “Using Frequency Spectrum
View” on page 214.
 To send a mixdown back to Final Cut Pro automatically
Soundtrack Pro can send a new copy of the Final Cut Pro sequence that looks just
like the original sequence but has additional audio tracks that contain your mixdown.
For more information, see “Sending a Mixdown Back to Final Cut Pro Automatically”
on page 430.
Preface An Introduction to Soundtrack Pro 15
 As you drag clips to the Timeline, to separate the channels of stereo and
multichannel clips into individual clips, or combine separate clips into single stereo
or multichannel clips
For more information, see “Separating Channels by Option-Dragging” on page 122
and “Combining Separate Clips to Create Multichannel Clips” on page 123.
 To arrange background music or add FX and Foley in stereo or surround sound
For more information, see Chapter 18, “Using Conform with Final Cut Pro,” on
page 439.
Combining these Soundtrack Pro features creates your sound-for-picture project, a
balanced sound design that enhances your video or film project using tools that look
like and function similarly to the tools you know from using Final Cut Pro.
Notable Features in Soundtrack Pro
Soundtrack Pro provides a powerful set of tools for your motion picture sound editing
and mixing projects, including the following features.
Audio editing features:
 Powerful audio editing: You can edit audio files nondestructively in Soundtrack Pro.
You can edit audio files graphically with sample-accurate precision and process files
using actions, which can be reordered and turned on or off individually.
 Analysis and repair of common audio problems: You can choose which problems to
analyze the file for, then fix the problems detected by analysis either individually or
in a single operation. Selected problems are highlighted in the waveform display for
easy viewing.
 Multitake Editor: Use the Multitake Editor to edit multitake and synced audio that is
created by performing multitake recording (such as in automatic dialogue
replacement, or ADR).
 Edit in place: Edit and process a file’s waveform directly in the Timeline and hear the
changes in the context of your whole multitrack project. Simply select a clip in the
Timeline and it appears in the File Editor tab below. Any changes you make to the
media file are updated in the Timeline immediately.
 Ability to add professional-quality effects: Soundtrack Pro includes high-quality effects
plug-ins from the Logic Pro effects library that you can use in your projects, including
the Space Designer convolution reverb. You can also install third-party effects in the
Audio Units plug-in format.
 Frequency Selection tool and Spectrum View HUD: Use the Frequency Selection tool in
the Frequency Spectrum view to make selections of frequency ranges as well as
copy, paste, delete, and adjust the amplitude of frequency selections. The new
Spectrum View HUD provides extensive controls.
16 Preface An Introduction to Soundtrack Pro
 Tape-style scrubbing: The Scrub tool provides detailed scrubbing that realistically
approximates the “rock-the-reels” scrubbing on analog tape decks to help you
quickly find a particular sound or event in a long audio file.
 Multichannel support: You can edit up to 24 channels in a single audio file, and play
back and record up to six channels in a single audio file in the Timeline.
Soundtrack Pro 2 supports the following types of multichannel files: AIFF, WAVE,
Broadcast Wave, QuickTime, CAF, and single folder/multi-mono file AIFF.
Multitrack project features:
 Advanced multitrack editing features: Soundtrack Pro includes the ability to lock/unlock,
enable/disable, and color-label clips and tracks in the Timeline; an advanced Timeslice
tool for marquee time selections; enhanced marquee clip selection; Final Cut Pro–style
J-K-L transport controls; the ability to spot clips from various media tabs to the
Timeline; the ability to move clips numerically; blade tools for splitting clips; region
markers; and a mode for selecting and moving envelope points with clips.
 Record and edit automation tools: You can record movements to sliders and other
onscreen controls, play back the automation, and edit it in the Timeline.
 OMF and AAF support: Soundtrack Pro can use these industry-standard project
interchange formats to import the editing decisions from other video and audio
editing applications. You can also export a multitrack project from Soundtrack Pro
as an AAF file.
 Sophisticated export options: You can export an entire project, or selected portions of
it, to a mono, stereo, or multichannel audio file using the following audio file types:
AIFF, WAVE, NeXT, Sound Designer II, MP3, AAC/Podcast, and Dolby Digital Professional
(AC-3). Soundtrack Pro has a direct link to Compressor, the Final Cut Studio
transcoding application, for exporting to numerous other audio and video formats.
Other options include a variety of post-export actions, the ability to add your own
custom AppleScript actions using the Export dialog, as well as custom export presets.
 Lift and Stamp tools and the Sound Palette: Soundtrack Pro includes time-saving tools
for applying work you have done on one clip to one or more other clips. Use the Lift
tool to copy properties from selected clips. Create a processing template in the
Sound Palette that can be applied to other clips with the Stamp tool.
Final Cut Studio workflow features:
 Send clips: You can send clips from the Final Cut Pro Timeline to Soundtrack Pro and
edit the clips in the File Editor. When you save the clip, it is automatically updated in
your Final Cut Pro project. Soundtrack Pro includes similar support for Motion and
DVD Studio Pro.
 Send sequences: You can also send clips or entire sequences to a Soundtrack Pro
multitrack project to complete your final mix, adding additional tracks of sound
effects, voiceover, and music. Both stereo and surround sound mixing are supported.
Preface An Introduction to Soundtrack Pro 17
 Conform: You can use the Conform feature in Soundtrack Pro to quickly merge two
versions of the same sequence: the picture edit (from Final Cut Pro) and the sound
edit/mix (from Soundtrack Pro).
 Automatic mixdown return: When you export a mixdown of the multitrack project
originally sent from Final Cut Pro, you can choose to open a new copy of the
Final Cut Pro sequence that looks just like the original sequence but has additional
audio tracks that contain your mixdown.
Mixing features:
 Advanced mixing capabilities: You can mix multitrack projects in the Mixer, which
displays a virtual mixing console for a project. Using the channel strips in the Mixer,
you can adjust levels, mute and solo tracks, and add realtime effects. You can create
submixes using busses, and send audio to multiple physical outputs using submixes.
 Surround editing and mixing: Soundtrack Pro provides an elegant and easy-to-use
toolset for creating and adjusting projects in 5.1 discrete surround audio including
surround panning, mixing, and automation; unparalleled flexibility with surround
sources; and the ability to easily switch between stereo and surround mixes.
 Support for control surfaces: In addition to recording movements of onscreen
controls, you can connect a supported control surface and record automation of
control surface movements.
 Synchronized video display: You can add a video to a project and view it in the Video
tab or display the video on an external video monitor. Audio/video synchronization is
accurate both onscreen and on the external monitor, up to HD resolutions. You can
accurately place audio clips to sync with specific frames or points in time in the video.
Other features:
 Audio recording capability: You can record audio directly into multiple tracks in the
Soundtrack Pro Timeline, including recording multiple takes.
 Powerful Inspector tabs: These include the Tracks tab for easily viewing, selecting, and
grouping tracks, busses, and submixes, and the Bin, a hierarchical display of
information about all open projects.
 HUDs: Heads-up displays (HUDs) are semi-transparent floating windows with
controls and displays that you can use to accomplish specific tasks. The HUDs include
the Fade Selector HUD for quickly applying and adjusting fades and crossfades, the
Multipoint Video HUD for providing visual context when you are positioning audio
clips in a video-based project, and the Timecode HUD, which displays the current
project timecode.
 Podcasting: With Soundtrack Pro, audio creators can quickly and easily produce extremely
high-quality audio and video podcasts directly from their Soundtrack Pro projects.
18 Preface An Introduction to Soundtrack Pro
Resources for Learning About Soundtrack Pro
This manual describes the Soundtrack Pro interface, commands, and menus, and gives
step-by-step instructions for creating Soundtrack Pro projects and for accomplishing
specific tasks. It also includes information on setting up your system and on audio
basics. It is designed to provide the information you need to get up to speed quickly so
you can take full advantage of the intuitive interface and powerful features of
Soundtrack Pro.
If you want to start by learning how to set up audio hardware to use with
Soundtrack Pro, read Chapter 1, “Setting Up Your System,” on page 21. If you want to
learn about the features and controls in the Soundtrack Pro interface, read Chapter 2,
“The Soundtrack Pro Interface,” on page 33. If you want to jump right in and start using
the application, skip ahead to Chapter 3, “Setting Up Soundtrack Pro,” on page 65. If
you want to read about editing audio files, turn to Chapter 6, “Editing Audio Files,” on
page 191. If you want to start using the multitrack Timeline, read Chapter 5, “Working in
the Timeline,” on page 127.
Soundtrack Pro provides several different sources of support.
About This Soundtrack Pro Onscreen User Manual
The Soundtrack Pro onscreen user manual allows you to access information directly
onscreen while you’re working in Soundtrack Pro. To view this information, choose
Help > Soundtrack Pro User Manual. The Soundtrack Pro onscreen user manual is a fully
hyperlinked version of the Soundtrack Pro User Manual, enhanced with many features
that make locating information quick and easy.
 The homepage provides quick access to various features, including Release Notes,
the index, and the Soundtrack Pro website.
 A comprehensive bookmark list allows you to quickly choose what you want to see
and takes you there as soon as you click the link.
In addition to these navigational tools, the Soundtrack Pro onscreen user manual gives
you other means to locate information quickly:
 All cross-references in the text are linked. You can click any cross-reference and jump
immediately to that location. Then, you can use the Preview Back button to return to
where you were before you clicked the cross-reference.
 The table of contents and index are also linked. If you click an entry in either of these
sections, you jump directly to that section of the user manual.
 You can also use the Find dialog to search the text for specific words or a phrase.
Preface An Introduction to Soundtrack Pro 19
Apple Websites
There are a variety of Apple websites that you can visit to find additional information.
Soundtrack Pro Website
For general information and updates, as well as the latest news on Soundtrack Pro, go to:
 http://www.apple.com/finalcutstudio/soundtrackpro
Apple Service and Support Website
Go here for software updates and answers to the most frequently asked questions for all
Apple products, including Soundtrack Pro. You’ll also have access to product specifications,
reference documentation, and Apple and third-party product technical articles.
To access the Apple Service and Support webpage, go to:
 http://www.apple.com/support
To access the Soundtrack Pro support webpage, go to:
 http://www.apple.com/support/soundtrackpro
To access the Soundtrack Pro discussion webpage, go to:
 http://discussions.info.apple.com
Other Apple Websites
Start at the Apple homepage to find the latest and greatest information about
Apple products:
 http://www.apple.com
QuickTime is industry-standard technology for handling video, sound, animation,
graphics, text, music, and 360-degree virtual reality (VR) scenes. QuickTime provides a
high level of performance, compatibility, and quality for delivering digital video. Go to
the QuickTime website for information on the types of media supported, a tour of the
QuickTime interface, specifications, and more:
 http://www.apple.com/quicktime
FireWire is one of the fastest peripheral standards ever developed, which makes it great
for use with multimedia peripherals, such as video camcorders and the latest high-speed
hard disk drives. Visit this website for information about FireWire technology and
available third-party FireWire products:
 http://www.apple.com/firewire
20 Preface An Introduction to Soundtrack Pro
For information about seminars, events, and third-party tools used in web publishing,
design and print, music and audio, desktop movies, digital imaging, and the media arts,
go to:
 http://www.apple.com/pro
For resources, stories, and information about projects developed by users in education
using Apple software, including Soundtrack Pro, go to:
 http://www.apple.com/education
Go to the Apple Store to buy software, hardware, and accessories direct from Apple
and to find special promotions and deals that include third-party hardware and
software products:
 http://www.apple.com/store
1
21
1 Setting Up Your System
The way you set up your system depends on the audio
equipment you plan to use.
You can use your computer’s speaker or headphone jack to monitor the audio output
from Soundtrack Pro. For better results, you may want to connect external monitors or
speakers to your system, so that you can monitor the audio output at a higher level of
quality. You may want to connect other external audio equipment such as an audio
interface or a mixer, particularly if you plan to record your own audio in Soundtrack Pro.
 For information on system and hardware requirements, see the Read Before You
Install document on the installation DVD.
 For information on installing the software, see the Installing Your Software booklet.
System Considerations
To achieve the most effective results, you should consider the following issues when
setting up your system.
Processor Speed and RAM
Digital audio files require intensive processing by your computer. If you plan to work on
longer or more complex projects, or use multiple effects plug-ins in your projects, a
computer with a faster processor can facilitate your productivity.
Soundtrack Pro is optimized for use with computers that have a multiprocessor
architecture. Working with Soundtrack Pro projects on a multiprocessor-equipped
computer can make your workflow more efficient, especially when creating longer or
more complex projects.
If you plan to work on large projects, it’s useful to have extra random-access memory,
or RAM, installed in your computer. Additional RAM allows you to play back more files
simultaneously, use a greater number of effects plug-ins, and keep several multimedia
applications open at the same time.
22 Chapter 1 Setting Up Your System
Hard Disks
It’s also a good idea to have a large hard disk with plenty of available space to store
the media (audio and video) files you use with Soundtrack Pro. As you work with the
application, you’ll likely want to acquire a large collection of sounds to use in your
Soundtrack Pro projects. Hard disk performance is a critical aspect of your editing
system: the storage capacity and data rate of your disks must match or exceed the
requirements of the audio (and video) formats you are using.
If you store media files on an external hard disk, make sure the disk has a fast enough
seek time and a high enough sustained data transfer rate for use with video and audio
files. Consult the manufacturer’s specifications.
Dedicated Hard Disk
Every minute of stereo digital audio (recorded using a 44.1 kHz sample rate and 16-bit
depth) requires roughly 10 MB of hard disk space. If you plan to record large amounts
of audio in Soundtrack Pro, you may want to record to a hard disk dedicated to storage
for your Soundtrack Pro projects.
Setting the Audio Input and Output
You can set the default input and output devices for Soundtrack Pro with the Audio
MIDI Setup utility.
To select a default output device:
1 Double-click Audio MIDI Setup in the Utilities folder.
2 Choose the device from the Default Output pop-up menu.
Note: Optionally, you can choose Apple menu > System Preferences, click Sound, then
click Output. Select the audio interface in the list that appears.
To select a default input device:
1 Double-click Audio MIDI Setup in the Utilities folder.
2 Choose the device from the Default Input pop-up menu.
Note: Optionally, you can choose Apple menu > System Preferences, click Sound, then
click Input. Select the audio interface in the list that appears.
Chapter 1 Setting Up Your System 23
Audio MIDI Setup
The Audio MIDI Setup utility is a program that comes with the Mac OS X for adjusting a
computer’s audio input and output settings and managing MIDI devices. You can select
audio channel input and output devices, configure output speakers, set clock rates, and
control levels. You may also be able to open a configuration utility provided by your
audio device.
For more information, go to:
http://www.apple.com/macosx/features/coreaudio
Adding Audio Units Plug-ins to Your Computer
Soundtrack Pro includes an extensive set of professional-quality effects plug-ins.
Soundtrack Pro uses effects in the Audio Units plug-in format, the native plug-in format
of Mac OS X.
Audio Units plug-ins are also available from third-party manufacturers. When adding
third-party effects to your computer, be sure to read the documentation, including any
Read Me and installation files, that came with the plug-in. Supported Audio Units
effects plug-ins appear in the Effects window under the manufacturer’s name.
Soundtrack Pro does not support VST, ASIO, MAS, or RTAS effects plug-ins.
Connecting Equipment
You can use a variety of audio equipment with Soundtrack Pro for both recording and
playback. For information on connecting a specific piece of equipment to your
computer, read the documentation that came with the equipment.
Final Cut Studio editing systems can be configured to meet the most demanding
professional requirements. An advanced editing system can be built by expanding the
basic system described in the Final Cut Pro User Manual. The following list includes
equipment commonly used in Final Cut Studio editing systems:
 Macintosh computer with Final Cut Studio installed: The core of your editing system
 Professional video and audio devices: For capturing footage and outputting finished
projects. (For more information about video and audio devices, see Appendix C,
“Working with Professional Video and Audio Equipment,” on page 477.)
 External video and audio monitors: For viewing and listening to your program in its
final image and audio quality
 Video and audio interfaces: For connecting professional and non-FireWire devices to
your editing system
 RS-422 serial device control interfaces: For remote device control during capture
and output
24 Chapter 1 Setting Up Your System
 Video, audio, and remote device control cables: For separate video, audio, and remote
device control connections. Unlike a basic DV editing system that uses a solitary
FireWire cable to transfer video, audio, and remote control signals, many professional
configurations require separate cables for each of these signals.
 Additional scratch disks: One or more internal or external hard disks, a RAID, or a
connection to a storage area network (SAN)
 Control surfaces: Hardware controls that let you mix and edit your projects with
greater flexibility and precision than using a mouse to move onscreen controls
Video and Audio Input and Output Devices
An input device is used to transfer footage into your computer. For output, you record
your finished movie to an output device. Basic editing systems use a DV camcorder or
deck as both an input and output device. Professional editing systems may use
multiple video decks to capture and output to different video formats. While
Soundtrack Pro does not support video capture from devices such as camcorders or
VTRs, it does support recording from a variety of digital audio devices.
To connect non-FireWire devices to your computer, you also need a third-party video or
audio interface. For more information, see “About Video Interfaces, Signals, and
Connectors” on page 477.
Video Device
This is a VTR or camcorder you connect to your computer to capture and output media.
The connectors and signal format on your video device determine what kind of video
interface your computer needs to connect to your device.
Audio Device
This is a device, such as a digital audio tape (DAT) recorder or multitrack audio recorder,
that lets you capture or output audio independently from video.
Note: When using external audio devices, it’s a good idea to connect them before
opening Soundtrack Pro.
Chapter 1 Setting Up Your System 25
Video and Audio Interfaces
An interface is a device that adds physical video or audio connectors to your computer
so that you can connect your Final Cut Studio system to other professional equipment
(such as video or audio decks and monitors).
Interfaces provide input and output connectors that aren’t included with your
computer. For example, if you want to output multiple audio channels to an analog
audio mixer or digital multitrack, you need an audio interface that has XLR, 1/4”
tip-ring-sleeve (TRS), AES/EBU, or ADAT Lightpipe output connectors.
You may also want to consider adding a third-party interface to your system if:
 You need to capture or output many audio channels at once
 You are integrating Final Cut Studio into a professional broadcast environment that
requires SDI, HD-SDI, or other non-FireWire video and audio connections
 You need to capture, edit, and output full-resolution, uncompressed video signals
instead of DV video (which is compressed)
 You are digitizing video from an older analog VTR (such as a Betacam SP deck) that
does not have digital video outputs or remote control via FireWire
Third-party video and audio interfaces can be installed in one of your computer’s PCI
slots, connected to the USB port, or connected via FireWire.
For more information about selecting and connecting an audio interface for use with
Soundtrack Pro, see “Setting Up an Audio Interface” on page 485.
External Audio and Video Monitoring
In the final stages of post-production, external video and audio monitors are essential
to ensure the quality of your movie. Editing systems focused on these final phases of
post-production are often called finishing systems.
External Audio Speakers and Monitors
You can play back audio through your computer’s speakers or headphone jack, but the
audio output may not be high enough for you to evaluate your music at a professional
level of quality. Connecting external speakers or monitors to your system allows you to
hear the audio output with greater fidelity and a wider dynamic range. During the final
mix, it is important to monitor your audio so that it matches the listening environment
where the final project will be shown. For detailed information on connecting external
speakers to your audio interface, see the documentation that came with the speakers.
26 Chapter 1 Setting Up Your System
Setting Up a Proper Audio Monitoring Environment
Room shape and material are just as important as the quality of the speakers
themselves. Every surface in a room potentially reflects sound, and these reflections
mix together with the sound originating from the speakers. Rooms with parallel walls
can create standing waves, which are mostly low-frequency sound waves that reinforce
and cancel each other as they bounce back and forth.
Standing waves cause some frequencies to be emphasized or attenuated more than
others, depending on your listening position. When you mix in a room that creates
standing waves, you may adjust certain frequencies more than necessary. However, you
may not notice until you play back your audio in a different listening environment, in
which those frequencies may sound overbearing or nonexistent.
Π Tip: A much cheaper alternative to building new walls is to mount angled pieces of
material to the existing walls to eliminate parallel surfaces.
If the material in a room is very reflective, the room sounds “brighter” because high
frequencies are easily reflected. Mounting absorbing material (such as acoustic foam)
on the walls can reduce the brightness of a room. A “dead room” is one that has very
little reflection (or reverberation). Try to cover any reflective surfaces in your
monitoring environment.
Amplifiers
If you are recording audio from microphones and are not running the microphone’s
signal through a mixer with a microphone pre-amplifier, you need to connect an
amplifier to boost the microphone’s signal before sending it to the computer. If you are
connecting monitors or speakers that are not self-powered, you also need to connect
them through an amplifier.
Mixers
Connecting a mixer to your system allows you to record audio from multiple
microphones or instruments simultaneously, to play back the output from your computer
through connected monitors or speakers, and to control the volume levels of both the
audio input and output. Professional-quality mixers have a number of additional features,
including equalization (EQ) controls, auxiliary sends and returns for adding external
effects, and separate monitor and mix level controls. Mixers may also include inboard
pre-amplification for microphones, making the use of a separate amplifier unnecessary.
Control Surfaces
Soundtrack Pro supports control surfaces that use the Mackie Control and Logic
Control protocols. For information on connecting and using control surfaces, see
Chapter 15, “Using Control Surfaces with Soundtrack Pro,” on page 391.
Chapter 1 Setting Up Your System 27
External Video Monitors
When you design and edit a video soundtrack, it’s ideal to watch the video on a
monitor similar to the one you will use for the final screening. An external video
monitor can display color, frame rate, and interlaced scanning more accurately than
your computer display. (For information on connecting professional video devices, see
“Connecting Professional Video Devices” on page 498.)
If you are working on an NTSC or a PAL project, you should watch it on an external
video monitor that shows the video interlaced. For more information about external
video monitoring, see the Final Cut Pro User Manual.
Example Hardware Setups
The following sections provide several examples of different hardware setups.
Setting Up a System Using Powered Speakers
With this setup, you can monitor the audio output through a set of connected
powered speakers.
This setup uses the following equipment:
 Your computer and display
 A set of powered speakers, including speaker wire and a power adaptor
Computer
Speakers
Speaker cables
Power cables
28 Chapter 1 Setting Up Your System
Setting Up a System Using a USB Audio Interface
With this setup, you can record audio input from microphones and musical
instruments, and monitor audio output, through a USB audio interface.
This setup uses the following equipment:
 Your computer and display
 USB audio interface (from 2 to 8 channels) with USB cable to connect to your computer
 Microphone
 Musical instruments (guitar, bass, and keyboard)
 Cables to connect microphones and instruments to the audio interface
 Set of monitors or speakers
Monitors
Audio interface
USB
cable
Speaker
cables
Microphone
Computer Instrument
Power cables
Chapter 1 Setting Up Your System 29
Setting Up a System Using a FireWire Interface and a Control Surface
With this setup, you can record audio input from several sources simultaneously and
monitor audio output channels independently, through a mixer connected to a
FireWire audio interface.
This setup uses the following equipment:
 Your computer and display
 FireWire audio interface with FireWire cable to connect to your computer
 Control surface and MIDI interface with USB cable to connect MIDI interface to
your computer
 MIDI cables to connect control surface to MIDI interface
 Set of powered monitors or speakers
 Speaker cables
Monitors
Control surface
Audio interface
FireWire
cable
Speaker cables
Computer
Power cables
Midi interface
30 Chapter 1 Setting Up Your System
Setting Up a System Using a Video Output Device
With this setup, you can play video and audio through an external video output device.
Because using a video output device can result in increased latency, you may want to
combine this setup with an audio-only setup (as shown in the preceding pages), and
switch between the two setups.
This setup uses the following equipment:
 Your computer and display
 Video output device (FireWire device or PCI card)
 High-quality video monitor
 Audio monitors
Computer
Video output device
FireWire
cable
Audio monitors
Speaker
cables
Mixer
Video monitor
Chapter 1 Setting Up Your System 31
Setting Up a System Using a PCI Video Interface Card
with Breakout Box
Many PCI cards aren’t big enough to fit all of the necessary video and audio
connectors. In these situations, a breakout box is connected to the PCI card via a
multipin connector on a long cable, and the connectors are accessible on the breakout
box instead of on the back of the PCI card. A breakout box is also useful because it
allows you to place the connectors somewhere more convenient than the back of your
computer, such as on an equipment rack or a desktop.
This setup uses the following equipment:
 Your computer and display
 Video interface (PCI card with breakout box)
 High-quality video monitor
 Audio speakers
Computer Analog or digital VTR
(with PCI card)
Breakout box
BNC connector
32 Chapter 1 Setting Up Your System
Setting Up a System for Stereo Mixing
By default, Soundtrack Pro is set up for stereo mixing.
Stereo Speaker Placement and Listening Position
Most video editing suites use nearfield monitors, which are speakers designed to be
listened to at fairly close range. Speakers should be at least a foot or two away from
any walls to prevent early reflections of sound that combine with and muddy the
original sound.
Position the speakers as far from your listening position as they are from each other
(forming an equilateral triangle). For example, if the distance between the speakers is
six feet, you should place yourself six feet from each speaker. The apparent width of the
sound stage, or stereo image, increases as the distance between the speakers increases.
However, if the two speakers get too far apart, sound information appearing in the
center (between both speakers) starts to disappear.
Setting Up a System for Surround Mixing
For complete instructions on setting up the surround mixing tools in Soundtrack Pro,
see “Setting Up for Surround” on page 294.
2
33
2 The Soundtrack Pro Interface
In Soundtrack Pro, you work in multiple windows and tabs
that you can arrange to suit your workflow.
Soundtrack Pro is designed to handle every aspect of creating audio for a video or film
project, from multitrack recording to advanced audio processing and mixing. You can
use Soundtrack Pro together with Final Cut Pro as a complete audio post-production
solution that is powerful, yet also elegant and flexible.
Video tab
Details tab
Toolbar
Standard layout
Meters tab
Browser tab
Mixer tab Transport controls
34 Chapter 2 The Soundtrack Pro Interface
Soundtrack Pro Window Organization
The Soundtrack Pro window is arranged into several areas: the project pane and three
surrounding panes: the left pane, the lower pane, and the right pane. The project pane is
reserved as the central “canvas” for the multitrack Timeline and for individual audio file
projects. Use the transport controls at the bottom of the window to play back projects that
you open in the project pane. Task-specific tabs are docked in the left, lower, and right
panes. By default, the tabs are grouped by function and are laid out for a streamlined audio
post-production workflow. Nonetheless, you can easily rearrange the tabs and resize the
panes to suit your needs and then save the custom layouts for future use.
Showing and Hiding the Panes
The tabs are grouped by function to optimize your workflow. For example, the media
I O-related tabs (Meters, Recording, Search, Browser, and Favorites) are located in the
right pane by default. When you are finished with media input, you can close the entire
right pane by choosing Window > Toggle Right Pane, and thereby allow more
horizontal space for the project pane and the lower pane.
Left pane
Project pane
Lower pane
Transport controls (project pane)
Right pane
Chapter 2 The Soundtrack Pro Interface 35
Or, for example, you may wish to work exclusively in the Timeline or the File Editor
project view and dedicate the entire Soundtrack Pro window to that view.
36 Chapter 2 The Soundtrack Pro Interface
Because hiding and showing different panes of the Soundtrack Pro window is so
convenient, you will probably use this feature frequently during the course of a project.
Here are the keyboard shortcuts for hiding and showing the various panes.
Rearranging Tabs
At any time, you can rearrange the layout by tearing off individual tabs and docking
them in other panes, or simply have them float over the Soundtrack Pro window. There
are numerous possible combinations. Mix and match the tabs to suit your particular
workflow needs.
Note: At any time, you can revert to the default layout by choosing Window >
Layouts > Standard, or pressing F1. Also, you can save any custom layouts you create.
For more information on managing layouts, see “Using Project Layouts” on page 68.
Pane Keyboard Shortcut
Left pane
Lower pane
Right pane
control A
control S
control D
The Meters, Search,
and Browser tabs have
been moved from the
right pane and docked
in the left pane.
Chapter 2 The Soundtrack Pro Interface 37
Project Pane
The project pane is the central “canvas” where you work on your projects in either the
multitrack Timeline or the File Editor project view. Use the Timeline (shown below) to
arrange audio clips in multitrack projects. Use the File Editor project view for individual
audio file projects.
 Toolbar: Includes tools for common functions. You can customize which tools appear
in the Toolbar.
 Tabs: You can switch between any projects open in the Timeline or File Editor
project view.
 Transport controls: Control playback and the position of the playhead, and turn
recording on or off. (For more information, see “Transport Controls” on page 38.)
 Monitor Volume slider: Adjusts the overall monitor volume when you play the project.
The volume level defaults to 0 dB when you create a project. Adjusting the Monitor
Volume slider does not affect the mix signal or the export volume.
 Mono Mix button: Click to listen to a temporary mono mix of the project.
 Playhead Location value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
 Selection Length value slider: Displays the length of the current Timeslice (in the
Timeline) or selection (in the File Editor). You can change the Timeslice or selection
length by clicking the arrows, dragging, or typing a value.
Tabs
Playhead Location
value slider
Monitor Volume slider
Mono Mix button Transport
controls
Toolbar
Selection Length
value slider
38 Chapter 2 The Soundtrack Pro Interface
Toolbar
The Toolbar is located at the top of the Soundtrack Pro window. When you first open
Soundtrack Pro, the Toolbar includes buttons for creating a new project, creating a new
audio file, creating a new track, and other common functions. You can customize the
Toolbar, adding buttons for functions you want to access frequently. For information
about customizing the Toolbar, see “Customizing the Toolbar” on page 69.
Transport Controls
You use the transport controls to control playback, set the position of the playhead,
start recording, and activate the cycle region.
 Playhead Location value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
 Record button: Starts and stops the recording process, and arms tracks for recording
when no tracks are pre-armed.
 Play from Beginning button: Starts playback from the beginning of the project.
 Go to Beginning button: Moves the playhead to the beginning of the project or to the
beginning of the cycle region if it is active.
 Play/Pause button: Starts playback at the current playhead position. If the project is
playing, stops playback.
 Go to End button: Moves the playhead to the end of the project or to the end of the
cycle region if it is active.
 Cycle button: Activates the cycle region, if one is set in the Time ruler. If no cycle
region is set, loops the project.
 MIDI Sync button: Synchronizes playback with incoming MIDI Clock and MIDI
Timecode (MTC) signals.
Record Go to End
MIDI Sync
Play from
Beginning
Play
Playhead Location
value slider
Selection Length
value slider
Go to Beginning Cycle
Chapter 2 The Soundtrack Pro Interface 39
 Selection Length value slider: Displays the length of the current Timeslice (in the
Timeline) or selection (in the File Editor). You can change the Timeslice or selection
length by clicking the arrows, dragging, or typing a value.
For information on using the transport controls, see “Controlling Playback with the
Transport Controls” on page 77.
Timeline
The Timeline gives you a visual representation of a multitrack project, showing the
position of clips, the playhead, and other items in time. The Timeline is organized into
three groups of horizontal rows called tracks, busses, and submixes, as well as a video
track, a podcast track, and a Master bus. You can add and arrange audio clips in the
audio tracks, use sends to create auxiliary busses, and route audio to physical output
channels using submixes. You can control the sound of each audio track, bus, and
submix using the controls in its header.
 Previous and Next Selection buttons: Move backward and forward through Timeslice
selections you’ve made in the waveform display.
 Timeline editing tools: Select items using the Selection (arrow) tool, make time-based
selections with the Timeslice tool, split audio clips using the Blade and Blade All
tools, copy and paste attributes with the Lift and Stamp tools, and scrub the Timeline
with the Scrub tool. For more information, see “Using the Timeline Editing Tools” on
page 164.
 Automation Mode pop-up menu: Choose the mode for recording automation using
either the onscreen controls or an external control surface.
Timeline controls
Scroll bar
Audio tracks, busses, and
submixes
Project controls
Track area
Timeline editing tools
Time display
Global Timeline view
Time ruler
Show pop-up menu
Track headers
Automation Mode
pop-up menu
Previous and Next
Selection buttons
40 Chapter 2 The Soundtrack Pro Interface
 Project controls: Set the project’s sample rate and other properties using these controls.
 Show pop-up menu: Choose whether the video track, podcast track, audio tracks,
busses, submixes, and master envelopes are visible in the Timeline.
 Global Timeline view: Shows a miniature view of the entire Timeline and the playhead
position, and lets you move quickly to different parts of a project.
 Time display: Shows the current playhead position in both Time-based and
Beats-based formats. You can set the playhead by typing a new playhead position in
the time display.
 Time ruler: You can precisely position clips, the playhead, and other items to a specific
point in time (minutes, seconds, frames) or to a musical beat using the Time ruler.
 Track area: Includes horizontal rows for tracks, busses, and submixes. Also includes
the playhead, envelopes, and markers.
 Headers: Each track, bus, and submix has a header with an icon, name, volume slider,
and other controls. (For more information, see the next section.)
 Timeline controls: Include controls to show the master envelopes, turn snapping on
or off, set the track height, and zoom in or out. (For more information, see “Timeline
Controls” on page 42.)
 Scroll bar: Moves the Timeline horizontally so you can see different parts of the project.
Headers
Each track, bus, and submix in the Timeline has a header that includes the track name,
track icon, and a set of track controls.
 Color label: Indicates the track color, which is applied to any clips on the track (unless
you choose to override the color for individual clips).
 Icon: You can choose an icon for the track, bus, or submix, making it easy to quickly
distinguish it in a large project.
 Name field: You can type a new name for the track, bus, or submix in the name field.
You cannot rename the Master bus.
 Bypass Effects button: Select this button to hear the track without any of the applied
realtime effects.
Name field
Mute
button
Color label
Submix pop-up menu
Envelopes Solo button
disclosure triangle
Panner
Icon
Arm for Recording
Bypass
Effects
Input Routing buttons
Volume
slider
Input menu
Chapter 2 The Soundtrack Pro Interface 41
 Arm for Recording button: Enables (or disables) the track for recording when you click
the Record button. Only tracks have Arm for Recording buttons, not busses or submixes.
 Mute button: Mutes (or unmutes) the track, bus, or submix.
 Solo button: Solos (or unsolos) the track, bus, or submix. Soundtrack Pro supports
both multiple solo and exclusive solo.
 Envelopes disclosure triangle: Shows the track, bus, or submix envelopes in the area
directly below the track.
 Volume slider: Sets the track, bus, or submix relative volume in the overall mix.
 Submix pop-up menu: Choose a submix for the track or bus from the menu. (Tracks
and busses only.)
 Input Device pop-up menu: Use the Input Device pop-up menu to choose the recording
input device, and its Channels submenu to choose the channel (or set of channels).
 Input Routing buttons: Use the Input Routing buttons to confirm or change recording
input signal routing.
 Output pop-up menu: Choose the physical outputs for the submix from the menu.
Submixes only. (Not shown in the illustration.)
 Panner: Sets the pan position of the track or bus. Has two modes: stereo slider or
surround panner. Appears in track and bus headers only, not in submix headers or
the Master bus header.
Note: The Input Device pop-up menu and Input Routing buttons are visible only when
the track height is set to Medium or Large.
For detailed information on using the track controls, see “Using the Track Controls” on
page 142.
42 Chapter 2 The Soundtrack Pro Interface
Timeline Controls
The lower-left corner of the project pane contains controls for various aspects of
Timeline display and operation.
 Master Envelopes button: In the Timeline, shows or hides the master envelopes. In the
File Editor project view, shows or hides the envelopes for the current audio file project.
 Snapping button: Turns snapping on or off.
 Snap To Value pop-up menu: Sets the value to which items in the Timeline snap.
 Height control: Sets the height of tracks, busses, and submixes to one of four settings,
from Reduced to Large. In the File Editor project view, sets the height of the envelopes
for the current audio file project to one of four settings, from Reduced to Large.
 Zoom control: Click the control or drag the slider to change the zoom level. You can
zoom in to edit clips precisely, or zoom out to display more of the Timeline.
For information about using master envelopes, see “Master Bus” on page 364. For
information about snapping, see “Using Snapping” on page 94. For information about
using the Height control and Zoom control, see “Moving Around in the Timeline” on
page 128.
Master Envelopes button
Height control
Zoom control
Snapping button
Snap to Value
pop-up menu
Chapter 2 The Soundtrack Pro Interface 43
File Editor
You can edit individual audio files in the File Editor using actions. Actions give you a
powerful and flexible way to edit audio files nondestructively using professional audio
processing effects and other operations. You can turn individual actions on or off,
reorder actions, flatten actions, and compare the project with and without actions. You
can also analyze audio files in the File Editor and fix common audio problems, including
clicks and pops, hum, and phase problems. The File Editor can take two forms: the File
Editor project view, for detailed work on individual audio files, and the File Editor tab,
for convenient editing within the context of a multitrack project.
 Waveform editing tools: Include the Selection, Sample Edit, Audio Stretching, and
Zoom tools that you can use to graphically edit audio files.
 Automation Mode pop-up menu: Choose the automation mode from the pop-up menu.
 Previous and Next Selection buttons: Move back and forward through selections
you’ve made in the waveform display.
 Waveform View and Frequency Spectrum View buttons: Change the display between
Waveform view and Frequency Spectrum view.
 Time display: Shows the current position of the playhead.
 Global Waveform view: Shows you a miniature view of the entire waveform and the
playhead position, and lets you move quickly to different parts of an audio file.
 Waveform display (and editing area): Shows the waveform of the audio file (or its
frequency spectrum in Frequency Spectrum view). You can select parts of the audio
file to apply different actions to.
Waveform editing tools
Time display
Playhead Location
value slider
Monitor volume slider
Waveform View and
Frequency Spectrum
View buttons
Global Waveform view
Actions tab
Waveform display
Previous and Next
Selection buttons
Transport controls
Automation mode
pop-up menu
Playhead
44 Chapter 2 The Soundtrack Pro Interface
 Transport controls: Control playback and the position of the playhead, and turn
recording on or off. (For more information, see “Transport Controls” on page 38.)
 Playhead: Shows the part of the audio file currently playing.
 Monitor Volume slider: Adjusts the overall monitor volume when you play the project.
The volume level defaults to 0 dB when you create a project. Adjusting the monitor
volume slider does not affect the mix signal or the export volume.
 Mono Mix button: Click to listen to a temporary mono mix of the project.
 Playhead Location value slider: Displays the current playhead position. You can move
the playhead by clicking the arrows, dragging, or typing a value.
 Actions tab: Displays the currently applied actions.
Mixer
You mix your project in the Mixer. All tracks, busses, and submixes (as well as the
Master bus) have channel strips in the Mixer with volume controls, mute and solo
buttons, slots for adding effects, and other controls. You can view the levels for tracks,
busses, submixes, and the Master bus using level meters in their channel strips. You can
also record audio and automate volume and pan changes in the Mixer.
 Automation Mode pop-up menu: Choose the automation mode from the pop-up menu.
 Channel Strip and Mixer pop-up menus: Show or hide different sections of the channel
strips and of the Mixer window.
 Channel strips: Each track, bus, and submix has a channel strip with controls and
level meters.
Channel strips
Channel Strip and Mixer
pop-up menus
Automation Mode
pop-up menu
Chapter 2 The Soundtrack Pro Interface 45
Each channel strip includes the following controls:
 Color label: Indicates the track color, which is applied to any clips on the track (unless
you choose to override the color for individual clips).
 Name field: You can type a new name for the channel strip.
 Icon: Icons let you visually distinguish channel strips in the Mixer. Double-click an
icon to change it.
 Effects slots: Show the effects and sends for the channel strip, and let you add effects
and sends.
 Panning controls: Set the pan position of a track or bus. In surround mode, drag
anywhere inside the black circle to position the puck. In stereo mode, drag the pan
slider left or right or change the value in the value slider. You can automate pan
changes by setting the appropriate automation mode for the project. These appear
in track and bus channel strips only, not in submix channel strips.
 Volume fader and value slider: Set the channel strip’s volume level by dragging the
fader or changing the value in the value slider. You can automate volume changes by
dragging the slider with the project set to the appropriate automation mode.
 Level meters with peak indicator: Show the volume level of the channel strip in real
time as the project plays. The peak indicator shows the highest level played and
changes color to indicate that clipping has occurred.
 Arm for Recording button: Click to enable the track for recording. When you click a
track’s Arm for Recording button, the Recording tab appears, showing the track’s
current recording settings. The button appears in track channel strips only, not in bus
or submix channel strips.
Icon
Volume fader
Effects slots
Solo button
Panning controls
Level meters and
peak indicator
Color label
Arm for Recording button
Name
Submix pop-up menu
Mute button
Volume value slider
46 Chapter 2 The Soundtrack Pro Interface
 Mute button: Click to mute (or unmute) the channel strip.
 Solo button: Click to solo (or unsolo) the channel strip.
 Submix pop-up menu: Choose a submix for the track or bus from the menu. (Tracks
and busses only.)
 Output pop-up menu: Choose the outputs for the submix from the menu. Submixes
only. (Not shown in the illustration.)
Multitake Editor
Use the Multitake Editor to edit multitake and synced audio that is created by
performing multitake recording (such as in automatic dialogue replacement, or ADR).
This tool allows you to easily mix and match parts of different takes. Once you are done
editing a multitake clip, you can collapse it into a single clip, hiding the constituent
edits that are not relevant to the surrounding multitrack Timeline.
For more information about the Multitake Editor, see Chapter 7, “Using the Multitake
Editor,” on page 251.
Take editing tools
Take tracks
Comp track
Chapter 2 The Soundtrack Pro Interface 47
Conform
The Conform tool helps sound editors handle picture changes. Conforming a sequence
is the act of incorporating changes sent from the picture editor into a different,
changed version of a sequence being used by the sound editor. The sound editor
revisits all of the audio edits, ensuring that they line up with new video footage and
inserting or deleting any added or deleted media. Soundtrack Pro Conform makes this
merging procedure more efficient and less tedious.
For more information about the Conform tool, see Chapter 18, “Using Conform with
Final Cut Pro,” on page 439.
48 Chapter 2 The Soundtrack Pro Interface
Bin
The Bin tab lists information about items in all open projects. The Bin provides a
hierarchical display of projects, their media files, and other information about each
item, including duration, timecode, sample rate, Timeline information, and so on. You
can drag files from the Bin tab to the Timeline. You can add files to the Bin for easy
access at any time. The Bin also features sort and search functions to help you locate an
item in any open project.
For more information about the Bin, see “Using the Bin” on page 87.
 Item list: Displays the files, clips, markers, and podcasts in the currently open projects.
 Items pop-up menu: Choose what types of items (files, clips, markers, or podcasts) to
display in the Bin.
 Columns pop-up menu: Choose what types of columns of information (Timeline
information, audio clip information, file information, metadata tags, or music
information) to display in the Bin.
 Preview controls: Include a Play button, a volume slider, and a “Preview on selection”
button. For information on using the preview controls, see “Using the Preview
Controls” on page 91.
 Media pop-up menu: Choose menu items to Show in Timeline, Spot to Timeline, open
a file in the File Editor, and perform other functions.
Item list
Preview controls Media pop-up menu
Items pop-up menu
Columns pop-up menu
Chapter 2 The Soundtrack Pro Interface 49
Meters Tab
The Meters tab displays mono, stereo, multichannel, and surround level meters that
you can use to observe the volume of all submixes assigned to physical outputs or the
overall output for an audio file project.
 Level meters: Show the output volume of the overall project as the project plays.
 Peaks Value and Location display: Displays the highest (peak) value played for each
jack, and its timecode. Double-click any item in the Peaks Value and Location display
to move the playhead to that point in the Timeline.
 Reset button: Resets all items in the Peaks Value and Location display.
Level meters
Reset button
Peaks Value and
Location display
2-channel meter 6-channel meter
50 Chapter 2 The Soundtrack Pro Interface
Recording Tab
The Recording tab is where you edit a track’s recording settings. When you click a
track’s Arm for Recording button, the Recording tab appears, displaying the track’s
current recording settings.
 Peak indicator: Shows the highest level reached by the recording input signal. If the
level rises above 0 dB, the peak indicator becomes red to indicate clipping.
 Track pop-up menu: Displays the recording settings for the selected track.
 Level meter(s): Show the input volume for the selected track during recording. Adjust
automatically to the number of channels and the channel valence selected in the
Input Channel pop-up menu.
 Input Device pop-up menu: Choose the input device for recording.
 Input Channel pop-up menu: Choose the input channel (or channels) for recording.
 Input Routing buttons: Use the Input Routing buttons to route the input signal to
different channels.
 Configure Device button: Opens the Audio MIDI Setup utility for adjusting the
computer’s audio input and output configuration settings, or setting up software
specific to your audio interface.
 Monitor Device pop-up menu: Choose the output device and output channel (or
channels) for monitoring during recording.
 Mute Project checkbox: Select to mute the project during recording, so you hear only
the sound being recorded.
Level meter
Peak indicator
Input device pop-up menu
Monitor Device pop-up menu
Configure Device button
Input channel pop-up menu
Mute Project checkbox
Input Routing buttons
Track pop-up menu
Chapter 2 The Soundtrack Pro Interface 51
Browser
The Browser tab displays the disks connected to your computer in a view similar to
the Finder’s list view. You can also preview files in the Browser tab and drag them
to the Timeline.
 Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.
 Computer button: Displays your computer’s hard disk and other storage media
connected to your computer.
 Home button: Displays the contents of your home directory.
 Path pop-up menu: Displays the levels of the file path to the current location, letting
you move back to a previous level.
 File list: Displays the files and folders at the current location.
 Preview controls: Include a Play button, a volume slider, and a “Preview on selection”
button. For information on using the Preview controls, see “Using the Preview
Controls” on page 91.
 Media pop-up menu: Choose menu items to add a Favorite, add a file to the Bin,
open a file in the File Editor, and perform other functions.
Preview controls
Path pop-up menu
Media pop-up menu
Tabs
Back and Forward
buttons
Computer and
Home buttons
File list
52 Chapter 2 The Soundtrack Pro Interface
Search Tab
The Search tab lets you locate audio files using a variety of criteria. You can perform
text searches and search for Apple Loops and other tagged file formats using keywords
for instrument, genre, mood descriptors, and other categories. Matching files are
displayed in the Search Results list. Once you locate the files you want to use, you can
preview them in the Search Results list or drag them to the Timeline.
The Search tab has two views, Column view and Button view. Column view features a
Keywords list containing keywords and a Matches list with subcategories you can use
to refine your searches. Button view displays a matrix of keyword buttons you can click
to see matching files.
 Button and Column View buttons: Change the view to either Button or Column view.
 Category pop-up menu: Restricts the available keywords to a particular category.
Search Text field
Matches list
Scale Type pop-up menu
Nearby Keys button
Setup button
Keywords list
Button and Column View
buttons
Search Results list
Preview controls Media pop-up menu
Time Signature
pop-up menu
File Type pop-up menu
Category pop-up menu
Keyword buttons
Chapter 2 The Soundtrack Pro Interface 53
 Setup button: Displays the Search Setup dialog, from which you add items to the
Search database.
 Time Signature pop-up menu: Restricts search results to files with the selected time
signature.
 File Type pop-up menu: Choose whether to display all files, or only looping or
non-looping files.
 Scale Type pop-up menu: Restricts search results to audio files using the selected scale.
 Keyword buttons (Button view only): Displays files matching the keyword in the
Results list.
 Keywords list (Column view only): Displays files matching the keyword in the Results
list, and displays subcategories in the Matches list.
 Matches list (Column view only): Displays subcategories of the selected keywords.
 Search Text field: Type text in the field to display matching files whose filename or
path contains the search text.
 Nearby Keys button: Restricts search results to keys within two semitones above or
below the project key.
 Search Results list: Displays the files matching the selected search criteria, in
alphabetical order. Includes columns displaying the tempo, key, and number of beats
of each file. You can click files to preview them.
 Preview controls: Include a Play button, a volume slider, and a “Preview on selection”
button. For information on using the preview controls, see “Using the Preview
Controls” on page 91.
 Media pop-up menu: Choose menu items to add a Favorite, add a file to the Bin,
open a file in the File Editor, and perform other functions.
54 Chapter 2 The Soundtrack Pro Interface
Favorites Tab
You can store frequently used items in Favorites so that you can easily access them
directly. You can also preview files in Favorites and drag them to the Timeline.
 Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.
 Path pop-up menu: Displays the levels of the file path to the current location, letting
you move back to a previous level.
 Favorites list: Displays the files and folders at the current location.
 Preview controls: Include Play button, a volume slider, and a “Preview on selection”
button. For information on using the preview controls, see “Using the Preview
Controls” on page 91.
 Media pop-up menu: Choose menu items to remove a Favorite, add a file to the Bin,
open a file in the File Editor, and perform other functions.
Favorites list
Preview controls Media pop-up menu
Path pop-up menu
Button and Column View
buttons
Chapter 2 The Soundtrack Pro Interface 55
Video Tab
Use the Video tab to add a video to a project and view the video.
 Video Scale pop-up menu: Choose the scale of the video in the Video tab from the
pop-up menu.
 Video viewing area: You add a video by dragging it into the viewing area, where you
may also watch it play.
Note: You control playback of the video within the project using the transport controls
at the bottom of the Soundtrack Pro window. For more information about the
transport controls, see “Transport Controls” on page 38.
Project Tab
This tab contains controls and information for the currently active project as well as any
metadata (tags) associated with the project.
Video Scale pop-up menu
Video viewing area
56 Chapter 2 The Soundtrack Pro Interface
The Project tab features the following controls and categories of information:
 General project information: This information includes file size, creation and
modification dates, and location on the hard drive.
 Pullup/Pulldown pop-up menus: Use these menus to adjust the video and audio
playback to compensate for film-to-video and video-to-film conversions as well as
international television standards conversions.
 Project properties: Includes project length (duration) and sample rate.
 Initial Timecode value slider: Use this slider to set the timecode for the first frame of
the project. For more information about value sliders, see “About Changing Values
and Timecode Entries” on page 75.
 Ruler Units pop-up menu: Use this menu to set the project ruler to be either Timebased
or Beats-based.
Each multitrack project has a project time format, which can be either Time
(seconds)–based or Beats-based. Setting the time format controls the appearance of
the Time display, Time ruler, Timeline gridlines, and available Snap To values. For
projects set to Time-based format, time is displayed using the Time Ruler units
chosen in the View menu. For projects set to Beats-based format, the time is
displayed in measures, beats, and beat divisions. The default format is Time-based.
For information on setting the project time format, see “Project Time Format” on
page 109.
 Document file management: Use these controls to set project preferences for file
saving and media management. These controls are available for multitrack projects
only. For more information, see “Saving Multitrack Projects” on page 111.
Chapter 2 The Soundtrack Pro Interface 57
 Metadata: Use this area to add metadata to your project or to view your project’s
metadata. If you export this project to certain output formats (such as a podcast),
Soundtrack Pro passes through the metadata to the target output file. Metadata
categories include Name, Copyright, Origination Date, Keywords, and so on.
 Music settings: Use the controls in this area to set music properties (including tempo,
time signature, and key) for the currently active project. Tempo, time signature, and key
are important for projects set to Beats-based format. For projects set to Time-based
format, you can usually leave the tempo, time signature, and key properties at their
default settings. For more information, see “Setting Project Properties” on page 106.
Details Tab
The Details tab shows information about the currently selected media file, clip, marker,
envelope point, cycle region, or Timeslice selection, and gives you a way to edit details
about each. You can also view and edit details for a selection in the File Editor.
File and Clip Details
 Name: Name of the selected clip.
 Position value slider: Sets the position (start point) of the selected clip.
 Duration value slider: Sets the duration (length) of the selected clip.
 Offset value slider: Sets the offset of the selected clip.
 Measure in pop-up menu: Sets the units shown in the Position, Duration, and Offset
value sliders.
 Color pop-up menu: Sets the color of the selected clip.
58 Chapter 2 The Soundtrack Pro Interface
 Enabled checkbox: Enables or disables the selected clip. For more information, see
“Enabling and Disabling Clips” on page 118.
 Locked checkbox: Locks or unlocks the selected clip. For more information, see
“Locking and Unlocking Clips and Tracks” on page 118.
 Transpose pop-up menu: Sets the number of semitones to transpose a looping clip.
 Clip Speed pop-up menu: Sets the playback speed for a looping clip.
 Created: Displays the creation date.
 Modified: Displays the modification date.
 Size: Displays the file size.
 Properties: Displays the following information for the clip or file: duration, sample rate,
the timecode for the first frame of the clip or file, bit depth, and channel valence.
 Metadata: Use this section to view the metadata for a file or a clip. Metadata
categories include Name, Copyright, Origination Date, Keywords, and so on.
 Music: Use to view music information for a clip or file, primarily music loops in the
Search tab. The music information includes tempo, time signature, key, scale type,
looping (yes or no), beats, instrument, and loop genre.
Chapter 2 The Soundtrack Pro Interface 59
Marker Details
 Type buttons: Select whether the marker is a beat marker or a time marker.
 Name field: Enter a name for the marker.
 Position value slider: Sets the time position of the selected marker.
 Duration value slider: Sets the duration for the selected marker.
 Comment: Enter comments or notes for the marker.
Envelope Point Details
 Position value slider: Sets the time position of the selected envelope point.
 Measure in pop-up menu: Sets the units shown in the Position value slider.
 Value value slider: Sets the value of the selected envelope point. In some cases, this
control is a pop-up menu (for envelope types that only allow specific values).
 Minimum and Maximum value: Displays minimum and maximum values for the
selected envelope point.
 Copy from Previous Point button: Sets the value of the selected envelope point to the
value of the preceding one in the envelope.
 Copy from Next Point button: Sets the value of the selected envelope point to the
value of the next one in the envelope.
File Editor Selection Details
 Measure in pop-up menu: Sets the units shown in the Beginning, End, and Duration
value sliders.
 Beginning value slider: Sets the start position of the selection.
 End value slider: Sets the end position of the selection.
 Duration value slider: Sets the duration (length) of the selection.
60 Chapter 2 The Soundtrack Pro Interface
Effects Tab
You add effects and sends to your project and adjust effect parameters in the Effects tab.
When you select a track or a bus in the Timeline or the Mixer, you can add and adjust
the following effects and send settings. You can also apply effects to audio file projects.
 Category list: Lists the categories of available effects. Click a category to see the
effects for that category in the Effect list.
 Effect list: Lists the effects in the selected category. Double-click an effect to add it to
the track, bus, or submix.
 Add Effect (+) button: Adds the selected effect to the current effects chain.
 Remove Effect (–) button: Removes the selected effect from the current effects chain.
 Effect Parameters area: Displays the parameters for effects in the current effects
chain. Click an effect’s disclosure triangle to see its parameters. You can adjust effect
parameters using the controls in the Effect Parameters area.
 Add Send button: Adds a send to the end of the current effects chain for the track.
You can add sends only to tracks, not to busses or submixes.
 Reset Effect button: Resets the selected parameter or group of parameters to the
default value (or values).
Effect Parameters area
Category list Effect list
Reset Effect button
Add Effect button
Remove Effect button
Add Send button
Chapter 2 The Soundtrack Pro Interface 61
Tracks Tab
Use the Tracks tab to easily view, select, and group tracks, busses, and submixes.
Groups provide another layer of organization and a way to easily make changes (such
as volume adjustments) to many tracks, busses, or submixes at once.
 Mixer Objects outline: Displays an outline view of the Timeline.
 Groups outline: Displays an outline view of any grouped tracks, busses, or submixes
in the project. You can use the Groups outline to group Mixer objects, disable or
enable groups, rename groups, delete groups, and delete items from groups.
 Channel strip: The Tracks tab channel strip is a quick way to access the mixing
controls for a particular Mixer object. This channel strip is identical to the
corresponding channel strip in the Mixer in every way, including all controls and
current settings.
Mixer Objects outline
Groups outline
Channel strip
62 Chapter 2 The Soundtrack Pro Interface
Actions Tab
Use the Actions tab to perform edits nondestructively using actions, which include
processing effects and other operations. You can also turn off or completely reorder actions.
 Actions list: You can add, select, and reorder actions in the list.
 Actions pop-up menu: Choose menu items to flatten actions, delete actions, and
perform other operations.
 Actions list: Shows the actions you apply to the project. You can add, select, and
reorder actions in the list.
 Action Insert bar: Shows where new actions will be added in the Actions list and
which actions are heard when you play the project.
Actions list
Actions pop-up menu
Action Insert bar
Chapter 2 The Soundtrack Pro Interface 63
Analysis Tab
Use the Analysis tab to analyze audio files for a range of common audio problems,
including clicks and pops, hum, and phase issues. You can fix the problems detected by
analysis either individually or in a single operation. Selected problems are highlighted
in the File Editor waveform display for easy viewing.
 Analysis Type list: Lists the types of analysis you can select.
 Parameter list: Some analysis types (Click/Pop and Silence) have parameters you can
adjust before analyzing the file. The parameters appear in this list.
 Analyze button: Click to analyze the file for the problems selected in the Analysis
Type list.
 Analysis Results list: Lists items found by analyzing the file.
 Clear Fixed button: Removes fixed items from the Analysis Results list.
 Magnify button: Zooms in on the selected item in the Analysis Results list for as long
as you hold down the button.
 Fix All button: Fixes all items in the Analysis Results list.
 Fix button: Fixes the selected items in the Analysis Results list.
Parameter list
Analysis Results list
Analyze button
Magnify button Fix All button
Clear Fixed button Fix button
Analysis Type list
64 Chapter 2 The Soundtrack Pro Interface
HUDs
A heads-up display (HUD) is a semi-transparent floating window with controls and
displays that you can use to accomplish specific tasks. All of these windows float over the
main Soundtrack Pro window. To open any of these windows, choose Window > HUDs.
Timecode HUD
The resizable Timecode HUD makes reading current timecode very easy, particularly
from a distance. You can also use the Timecode HUD to navigate in the Timeline or the
File Editor by dragging the displayed hours, minutes, seconds, or frames up or down.
Sound Palette
You can use the Sound Palette HUD to lift attributes from selections in the Timeline and
apply them to one or more clips (or regions of clips). For more information on the
Sound Palette HUD, see “Using the Lift and Stamp Tools” on page 179.
Multipoint Video HUD
You can use the resizable Multipoint Video HUD as a visual guide for precisely spotting
(placing) sound effects and other audio clips to specific frames of a video program. For
more information on the Multipoint Video HUD, see “Scrubbing and Spotting with the
Multipoint Video HUD” on page 322.
3
65
3 Setting Up Soundtrack Pro
This chapter describes two kinds of projects you can create
in Soundtrack Pro and how to work with windows, use
layouts, play projects, and set Soundtrack Pro preferences.
Two Kinds of Projects
Soundtrack Pro has two native project file formats to support state-of-the-art multitrack
audio editing and powerful nondestructive audio waveform editing.
Multitrack Projects
Multitrack projects contain multiple audio tracks in the Timeline. As in a Final Cut Pro
project, importing a media file creates a clip in Soundtrack Pro that then refers to the
original media file. You can arrange audio clips within tracks and synchronize them to a
single video clip in the video track.
You can mix a multitrack project using track controls for volume, pan, mute, solo,
effects, and effect parameters. These controls are available both in the Timeline and in
channel strips in the Mixer. You can create additional audio busses for effect sends. You
can group audio track outputs together with submixes. Tracks, busses, and submixes
can be exported to individual audio files, or a mixdown of all the tracks can be
exported to a stereo or multichannel audio file. These exported files can then be
imported into Final Cut Pro.
Project File extension Description
Multitrack project .stmp Similar to a Final Cut Pro project, this file
contains multiple tracks with clips that refer to
media files elsewhere on your disk.
Audio file project .stap Allows nondestructive editing of audio files.
66 Chapter 3 Setting Up Soundtrack Pro
For more information, see:
 “Creating and Opening Multitrack Projects” on page 105
 Chapter 5, “Working in the Timeline,” on page 127
 Chapter 8, “Basic Mixing in Soundtrack Pro,” on page 261
Audio File Projects
Soundtrack Pro allows you to edit individual audio files (sometimes known as waveform
editing) using Soundtrack Pro audio file projects. However, unlike most waveform editing
applications, Soundtrack Pro allows you to edit your audio files nondestructively by
keeping track of the actions you have performed on your audio file.
For more information about Soundtrack Pro audio file projects, see Chapter 6, “Editing
Audio Files,” on page 191.
You can remove, disable, or reorder past actions at any time or save actions as AppleScript
documents that you can use to batch process other audio files. Actions you can perform
include trimming audio, copying and pasting parts of the waveform, normalizing or
amplifying levels, applying effects, and applying noise, pop, and click reduction.
Soundtrack Pro audio file projects are stored in Mac OS X packages (or bundles). A
package appears to be a single file in the Finder but actually contains a collection of
files such as the original audio file, temporary render files, and the list of actions
applied to your audio file.
Important: So that you benefit from nondestructive editing, the default option for
saving edited audio files is as a Soundtrack Pro audio file project. Soundtrack Pro
usually does this automatically any time you apply any command or effect from the
Process menu or the Edit menu to a clip in the Timeline. For more information on when
Soundtrack Pro automatically creates audio file projects, see “How Source Audio File
Editing Works in a Soundtrack Pro Multitrack Project” on page 166.
You can open the following audio file formats in the File Editor:
 Soundtrack Pro audio file project
 AIFF
 WAVE
 Sound Designer II
 NeXT
 QuickTime movie containing audio tracks
 CAF (Apple Core Audio Format)
Chapter 3 Setting Up Soundtrack Pro 67
Compressed formats such as MP3 and AAC files are also supported, although these
must be internally decompressed to a linear PCM format.
Soundtrack Pro supports audio files with any sample rate between 8 kHz and 192 kHz
and any of the following bit depths: 8, 16, 24, 32, and 32-bit floating point. Up to 24
audio channels are supported in a single file. Audio files can be a maximum of 4 hours
in length.
Note: When you set a sample rate and play a file, Soundtrack Pro plays at the nearest
sample rate your hardware can support.
Setting Up Your Workspace
You can choose from several ways to set up the Soundtrack Pro workspace to suit your
display size and workflow, depending on the type of project you are creating. You can
arrange, reorder, and detach tabs throughout Soundtrack Pro and add and reorder
buttons in the Toolbar. You can show and hide different panes (areas) of the
Soundtrack Pro window. You can also create layouts for different tasks and switch
between them.
Basic Window Controls
You can move, resize, or minimize a project’s windows. Most windows feature tabs,
which give you flexibility in arranging the visual elements of a project.
To move a window:
m Drag the window by its title bar to a new location.
To resize the Soundtrack Pro window:
m Drag the resize control in the lower-right corner of the window until the window is the
desired size.
To minimize the Soundtrack Pro window to the Dock:
m Click the minimize button in the window’s title bar.
To close the Soundtrack Pro window:
m Click the window’s close button (or press Command-W with the window active).
68 Chapter 3 Setting Up Soundtrack Pro
Using Tabs
Soundtrack Pro uses tabs so you can quickly access different project views and controls.
You can switch between projects and between different tabs. Clicking the tab you want
makes it active and brings it to the front. You can rearrange and reorder the tabs to
easily access the ones you use frequently.
To reorder tabs:
m Drag a tab left or right in the window’s tab area.
You can also detach a tab from its docked position, which creates a separate resizable
window for the tab that can be dragged or resized. For example, you can drag the
Favorites tab to a new location so that you can easily move items from the Search tab
to the Bin tab.
To detach a tab:
m Drag the tab out of its docked position in the window to create a separate window for
the tab.
To attach (dock) a tab:
m Drag the tab to the top of any pane of the Soundtrack Pro window (except the top-center
project pane, which is reserved for the Timeline and the File Editor project view).
Using Project Layouts
Soundtrack Pro lets you save and recall preset window arrangements called layouts, so
that you can optimize your workspace for different tasks and different display sizes. You
can show, hide, and resize windows, then save each window arrangement as a layout.
To save a project layout:
1 Arrange the application windows as you want them to appear.
2 Choose Window > Save Layout.
3 In the Save dialog, type a name for the layout, then click Save.
The layout is saved, and appears in the Layouts submenu.
Note: By default, layouts are saved to the location /Users/username/Library/Application
Support/Soundtrack Pro/Layouts/. Do not change the location or Soundtrack Pro may
not be able to find and use your saved layouts.
Chapter 3 Setting Up Soundtrack Pro 69
To switch to a saved project layout:
m Choose Window > Layouts, then choose the layout you want to use from the submenu.
To delete a saved layout:
1 Choose Window > Manage Layouts.
2 In the Manage Layouts dialog, select the layout you want to delete.
3 Click the – (minus) button to delete the layout, then click Done.
To transfer a saved project layout file to another computer:
1 Locate the layout file in /Users/username/Library/Application Support/Soundtrack Pro/
Layouts/.
2 Transfer a copy of the file to the corresponding location in the second computer.
Customizing the Toolbar
The Toolbar at the top of the Soundtrack Pro window contains buttons for frequently
used commands. You can customize the Toolbar, adding buttons for the actions you
use most often, and can return to the default set later.
The default set of Toolbar buttons includes buttons for creating new projects, opening
project tabs, adding markers, and other common commands. You can customize the
Toolbar with additional buttons for adding fade-ins and fade-outs, processing an audio
file, playing the current project through a video output device, and other commands.
You can also hide the Toolbar to maximize available screen space. You customize the
Toolbar by dragging items from the Customize dialog to the Toolbar.
70 Chapter 3 Setting Up Soundtrack Pro
To show the Customize dialog, do one of the following:
m Choose View > Customize Toolbar.
m Control-click the Toolbar, then choose Customize Toolbar from the shortcut menu.
The Customize dialog appears, and spaces between buttons in the Toolbar are
outlined in gray.
To add a button to the Toolbar:
m Drag a button from the Customize dialog to the Toolbar.
If you drag a button between two existing buttons, the buttons move to make room
for the new button.
To move a button in the Toolbar:
m Command-drag the button to a new location on the Toolbar.
You can also rearrange the Toolbar using set-width spaces, flexible spaces, and separators.
To add space or a separator to the Toolbar:
m Drag a space, flexible space, or separator from the Customize dialog to the Toolbar.
To return the Toolbar to the default set of buttons:
m Drag the default button set, located at the bottom of the Customize dialog, to the Toolbar.
You can also change the Toolbar so that it shows only icons or only text.
To show only icons in the Toolbar, do one of the following:
m Control-click the Toolbar, then choose Icon Only from the shortcut menu.
m In the Customize dialog, choose Icon Only from the Show pop-up menu.
Chapter 3 Setting Up Soundtrack Pro 71
To show only text in the Toolbar, do one of the following:
m Control-click the Toolbar, then choose Text Only from the shortcut menu.
m In the Customize dialog, choose Text Only from the Show pop-up menu.
To show both icons and text in the Toolbar, do one of the following:
m Control-click the Toolbar, then choose Icon & Text from the shortcut menu.
m In the Customize dialog, choose Icon & Text from the Show pop-up menu.
To dismiss the Customize dialog:
m When you have finished customizing the Toolbar, click Done.
To hide the Toolbar:
m Choose View > Hide Toolbar. When the Toolbar is hidden, the menu item becomes
Show Toolbar.
Using the Shortcut Menu
You can quickly and easily access many Soundtrack Pro features with the shortcut menu
(also known as the contextual menu). Using the shortcut menu by Control-clicking
items in the Soundtrack Pro interface is often more convenient than using the menu
bar at the top of the screen. If you have a three-button mouse connected to your
computer, you can right-click to access the same controls specified by the Control-click
commands in the user documentation (for example, “Control-click the Toolbar, then
choose Customize Toolbar from the shortcut menu”).
Playing Projects
You can play both multitrack and audio file projects as you work, so you can hear the
audio in the project along with the changes you’ve made.
To play the project:
m Click the Play button in the transport controls (or press the Space bar). Click the Play
button (or press the Space bar) again to stop playback.
As the project plays, the playhead shows the point in the project currently playing.
Soundtrack Pro lets you set the playhead and control playback of your projects in
several different ways. You can use the transport controls or keyboard commands to
start and stop playback and set the playhead to different points in time. You can also
set a cycle region to repeat playback of a specific part of the project.
72 Chapter 3 Setting Up Soundtrack Pro
Setting the Playhead Quickly
The playhead appears as a thin black line running vertically through the Timeline in
multitrack projects, and through the waveform display in audio file projects. Where it
crosses the Time ruler, the top of the playhead has a triangular handle that makes it
easier to see its position onscreen and drag the playhead.
To set the playhead, do one of the following:
m Click anywhere in the Timeline (in a multitrack project) or the File Editor (in an audio
file project) to set the playhead to that position.
m Drag the triangular handle at the top of the playhead to the position you want to set it.
As you drag the playhead, you hear the audio at the current playhead position.
When you set the playhead, it snaps to the nearest Snap To position if snapping is
turned on. For information on setting the Snap To value, see “Using Snapping” on
page 94. You can also set the playhead by using the transport controls or the Playhead
Location value slider.
Note: If you click the Time ruler, you may accidentally activate the cycle region. Press
Option-X to remove the cycle region. Press C to turn the cycle region on or off. For
more information about using the cycle region, see “Working with the Cycle Region”
on page 134.
Drag the playhead where
you want it or click in the
Timeline.
Drag the playhead where
you want it or click in the
waveform display.
Chapter 3 Setting Up Soundtrack Pro 73
Setting the Playhead Using the Time Display
When a project is playing, the Time display constantly updates to show the current
position of the playhead in both Time-based and Beats-based formats. You can also set
the playhead to a new position by entering the position in the Time display.
The arrangement of the Time-based and Beats-based positions in the Time display
changes depending on the time format of the project. The position matching the time
format of the project appears in large, white numerals in the upper part of the Time
display, and the other position appears below it in smaller, gray numerals. Each position
is labeled for quick visual recognition.
For information on setting the project time format, see “Setting Project Properties” on
page 106.
To set the playhead using the Time display:
m Select either the Time or Beats position in the Time display, then enter a new position.
You can select the entire position or part of the position.
Entering Time-Based Units
When you set the playhead by entering a Time-based position in the Time display, you
don’t need to enter all of the punctuation. Soundtrack Pro automatically adds the
correct punctuation for the format of the Time display.
For example:
 If you enter 01234321, Soundtrack Pro interprets it as 01:23:43;21. This stands for 1
hour, 23 minutes, 43 seconds, and 21 frames.
If you enter a partial number, Soundtrack Pro formats it with the rightmost pair of
numbers as frames and with each successive pair of numbers to the left as seconds,
minutes, and hours. Numbers omitted from a complete time position are interpreted as
zeros. For best results, always enter delimiters to separate each division of time.
For example:
 If you enter 01.23, Soundtrack Pro interprets it as 00:00:01;23. This stands for 1 second
and 23 frames.
You can select only part of the position in the Time display and enter a new number for
that position. For example, you can select only seconds, or minutes and seconds. The
other categories keep their present values. You can enter a time position in timecode
format, in a way similar to the way you enter timecode in Final Cut Pro.
Enter a time position in
the Time area.
Enter a beat position
in the Beats area.
74 Chapter 3 Setting Up Soundtrack Pro
Entering Beats-Based Units
When you set the playhead by entering a Beats-based position in the Time display, you
enter periods between numbers to separate measures, beats, and beat divisions.
Soundtrack Pro fills out the digits in the beat division category with zeros.
For example:
 If you enter 123, Soundtrack Pro interprets it as 123.1.000. This stands for the 123rd
measure, 1st beat, with no added beat divisions.
 If you enter 12.3, Soundtrack Pro interprets it as 12.3.000. This stands for the 12th
measure, the 3rd beat, with no added beat divisions.
 If you enter 1.2.3, Soundtrack Pro interprets it as 1.2.300. This stands for the 1st measure,
the 2nd beat, and 300/1000ths of a beat (because each beat division is 1/1000 of a beat).
You can select only part of the position in the Time display and enter a new number for
that position. For example, you can select only measures, or measures and beats. The
other categories keep their present values.
Setting the Playhead Using the Playhead Location Value Slider
Below and to the left of the transport controls is the Playhead Location value slider.
When a project is playing, the Playhead Location value slider constantly updates to
show the current position of the playhead. You can set the playhead by entering a new
position in the Playhead Location value slider.
Chapter 3 Setting Up Soundtrack Pro 75
About Changing Values and Timecode Entries
Soundtrack Pro includes several types of value entry methods. Most of them have
features that can make changing the values or timecode fields easy to do.
Using Value Sliders
There are two methods used to enter general numeric values: traditional sliders with
separate numeric entry fields and value sliders that combine the slider with the
numeric entry field.
Value sliders allow you to enter a specific number in the value field or to drag in the
value field to set a value. When using the value sliders, you can use a modifier key to
make normal, small, or large value adjustments. Dragging in the middle area (where
the number is) works the same as an ordinary slider; dragging to the right increases the
value and dragging to the left decreases the value. Additionally, you can click the right
or left arrow to change the value one step at a time. You can also double-click the
number itself and type a new number to enter a specific number in the value field.
To change values in normal increments, do one of the following:
m Drag left or right in the value field.
m Click the left arrow to decrease a value, or click the right arrow to increase a value.
m If you have a three-button mouse with a scrollwheel, click in the value field and use the
scrollwheel on the mouse.
To change values in fine increments, do one of the following:
m Option-drag in the value field.
m Option-click the left arrow to decrease a value, or Option-click the right arrow to
increase a value.
m If you have a mouse with a scrollwheel, Option-scroll in the value field.
Separate slider and
numeric entry field
Value slider with
combined slider and
numeric entry field
76 Chapter 3 Setting Up Soundtrack Pro
To change values in coarse increments, do one of the following:
m Shift-drag in the value field.
m Shift-click the left arrow to decrease a value, or Shift-click the right arrow to increase
a value.
m If you have a mouse with a scrollwheel, Shift-scroll in the value field.
When a value slider or value field is active (highlighted), press Tab to move to the
next field.
Using Timecode Value Sliders
Soundtrack Pro uses timecode value sliders for timecode entry fields. In addition to
being able to enter timecode values directly, you are able to scrub the timecode value
by dragging.
If you place the pointer over a segment of the timecode, small arrows appear above
and below that segment.
You can drag up or to the right to increase the value in that segment (values in
segments to the left also increment if your dragging causes the selected segment to
roll over). Dragging to the left or down decreases the value. You can hold down the
Option key to make the value changes slower or the Shift key to make them faster.
Alternatively, you can click the up and down arrows on each side of the timecode
value or press the keyboard’s Up and Down Arrow keys to increase or decrease the
timecode value.
You can control which segment is affected by the up and down arrows by selecting a
segment so that a caret (^) appears below the segment. You can also use the
keyboard’s Left and Right Arrow keys to select other segments.
Chapter 3 Setting Up Soundtrack Pro 77
Scrubbing Audio
You can scrub a multitrack project in the Timeline or scrub an audio file project in the
File Editor. Scrubbing the project lets you hear the audio at the playhead position as
you drag the playhead, so you can find a particular sound or event in the audio file.
You can scrub audio using either the Scrub tool or the playhead. For information about
scrubbing, see “Scrubbing Audio Files” on page 200.
Scrubbing Video
In projects containing a video file, the video scrubs in the Video tab in sync with the
audio as you scrub in the Timeline or the File Editor tab.
As you drag audio clips, markers, envelope points, or other items in the Timeline or the
File Editor tab, the video scrubs at the start point of the item being dragged. Dragging
multiple items scrubs the video at the start point of the item under the pointer.
You can use the Multipoint Video HUD as a visual tool for precisely positioning sound
effects and other audio clips in a video program. For more information, see “Scrubbing
and Spotting with the Multipoint Video HUD” on page 322.
Controlling Playback with the Transport Controls
You use the transport controls to control playback of your project. The transport
controls let you set the playhead to various points in time, start and stop playback,
activate the cycle region, and start a recording session to record your own audio.
 Record: Starts recording at the playhead position on the track you have enabled for
recording. If no track is enabled, a new track is created when recording starts.
 Play from Beginning: Starts playback from the beginning of the project. Playback
begins immediately, whether the project is playing or is stopped when you click the
button.
 Go to Beginning: Sets the playhead to the beginning of the project. If the cycle
region is active, and the playhead is after the beginning of the cycle region in time,
the playhead is set to the beginning of the cycle region.
 Previous Frame: Moves the playhead backward by one frame.
 Play: Starts playing back the project from the current playhead position. Clicking the
Play button again stops playback at the current playhead position.
MIDI Sync
Go to Beginning
Play
Go to End
Record
Play from Beginning Cycle
Previous Frame
Next Frame
78 Chapter 3 Setting Up Soundtrack Pro
 Next Frame: Moves the playhead forward by one frame.
 Go to End: Sets the playhead to the end of the project. If the cycle region is active,
and the playhead is before the end of the cycle region in time, the playhead is set to
the end of the cycle region.
 Cycle: If a cycle region is set, clicking the Cycle button toggles whether the cycle
region is active or inactive. If no cycle region is set, clicking the Cycle button sets the
project to repeat from the beginning when the playhead reaches the end of the
project. For information on setting the cycle region, see “Working with the Cycle
Region” on page 134.
 MIDI Sync: Synchronizes playback with incoming MIDI Clock and MIDI Timecode
(MTC) signals.
Controlling Playback Using Keyboard Shortcuts
There are a number of keyboard shortcuts you can use to control playback of your
project. To use keyboard shortcuts, the pointer cannot be in a text field.
 Space bar: Plays back the project from the current playhead position. If the project is
playing, pressing the Space bar sets the playhead back to the point from which the
project started playing. This is equivalent to clicking the Play button.
 Return: Sets the playhead to the beginning of the project. If the cycle region is
active, pressing Return sets the playhead to the beginning of the cycle region. This is
equivalent to clicking the Go to Beginning button.
 Shift-Return: Sets the playhead to the beginning of the project, and starts playback if
it is stopped. This is equivalent to clicking the Start from Beginning button.
 Option–Right/Left Arrow: Moves the playhead forward/backward by one frame.
For more tips on keyboard shortcuts for playback, see “Using the J, K, and L Keys for
Shuttling” on page 130. For a complete list of Soundtrack Pro keyboard shortcuts, see
Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449.
Locating and Adding Audio Files
You can locate audio files to use in a project using the media tabs, or drag files from
the Finder. There are three media tabs for locating audio files: the Browser, Favorites,
and Search tabs. You can also store media files for a project in the Bin for easy
access in a project. The Bin also features a search function to help you locate an
item in any open project.
Chapter 3 Setting Up Soundtrack Pro 79
Supported Audio File Formats
You can add audio files in the following formats: AIFF, WAVE, Broadcast WAVE, Sound
Designer II, NeXT, QuickTime (.mov) audio files, and CAF (Apple Core Audio Format).
Compressed formats such as MP3 and AAC (except protected AAC) files are also
supported, although these must be internally decompressed to a linear PCM format.
You can also add the following types of multichannel files: AIFF, WAV, Broadcast WAVE,
QuickTime, and Single Folder Multi-mono AIFF and WAV. You can import audio files
with any combination of the following sample rates and bit depths:
Sample Rates
 Any sample rate from 8 kHz to 192 kHz
Bit Depths
 8 bit
 16 bit
 24 bit
 32 bit (both integer and floating point)
Note: Files with lower bit depths or sample rates do not have the same playback
quality as formats with higher bit depths or sample rates.
Supported Video File Formats
Soundtrack Pro supports standard QuickTime-compatible file formats. You can import a
QuickTime movie (.mov) file into a Soundtrack Pro project, and you can import an
MPEG-2 (.m2v) file if you have installed the QuickTime MPEG-2 Playback Component.
Video files using NTSC, PAL, HD, and other formats supported by QuickTime can be
imported into Soundtrack Pro. Imported video files can be up to four hours in length.
For more information about importing video files, see Chapter 10, “Working with Video
in Soundtrack Pro,” on page 315.
Looping and Non-Looping Files
Soundtrack Pro supports two types of audio files: looping and non-looping files. Most audio
files are non-looping files unless they contain tags for tempo, key, and other information.
Many of the Apple Loops that come with Soundtrack Pro, as well as other tagged audio
files, can be looping files. Looping files may contain music, rhythmic sounds, or other
repeating patterns. You can resize a looping file to fill any amount of time. Looping files
adjust to the project tempo and key, letting you use loops recorded in different keys
and at different tempos in the same project.
80 Chapter 3 Setting Up Soundtrack Pro
Non-looping files do not adjust to the project tempo and key. You can shorten or
lengthen a non-looping file, but lengthening it beyond the size of the original file adds
only silence to the lengthened part. You can search for non-looping files in the Search
tab using the Search text field.
Both looping and non-looping files can contain tags with information about the file,
including mood, genre, and musical instrument. Soundtrack Pro recognizes tags in
audio files intended for use with loop-based music applications. You can open an audio
file in Apple Loops Utility and add tags, and can convert a looping file to a non-looping
file, or convert a non-looping file to a looping file. For information about tagging audio
files using Apple Loops Utility, see the Apple Loops Utility User Manual.
Using the Browser to Locate Files
The Browser tab shows the hard disks and other storage media connected to your
computer, and lets you browse through the file hierarchy to find audio files located on disk.
To locate audio files using the Browser:
m Double-click a volume or folder in the Browser to view its contents.
You can move back through the previous locations in the Browser using the Forward and
Back buttons, or through the levels of the file hierarchy using the Path pop-up menu.
Double-click a folder to
view items inside.
Chapter 3 Setting Up Soundtrack Pro 81
Using Favorites to Locate Files
Favorites let you store frequently used file locations, so that you can access them directly.
You can add and remove Favorites from the Media pop-up menu at the lower-right
corner of the Favorites tab.
To locate audio files in Favorites:
m Double-click the disk or folder you want to open.
You can move back through the previous locations in the Favorites tab using the
Forward and Back buttons, or through the levels of the file hierarchy using the Path
pop-up menu.
Using Search to Locate Files
Using Search, you can search for media files to add to your project. Search has two
views: Column view and Button view. You choose which view to display by clicking the
Columns View or Button View button in the upper-left area of the window. In both
views, the files matching your search criteria appear in the Search Results area, along
with columns displaying additional information for tagged files. You can sort these
columns by clicking the heading on top of each column. You can also perform text
searches in both views, and refine your searches.
If you use Apple Loops or other tagged audio files in a project, you can search based
on a variety of criteria, including musical instrument, genre, time signature, mood
descriptor, and scale type. You can also search using specific keywords.
To search for items:
m Click the Search tab.
The Search tab becomes active.
Double-click an
item to open it.
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Searching for Files in Column View
In Column view, the upper area of the Search tab displays two columns: Keywords
shows the categories of files that meet the search criteria, and Matches shows the total
number of matching files and any subcategories containing matching files, with the
number of matching files in each.
Clicking a keyword displays the files matching that keyword in the Search Results area.
You can refine your search results by narrowing the criteria using the subcategories in
the Matches column.
To search for files in Column view:
1 Choose the type of keywords to display in the Keywords list from the Keywords
pop-up menu.
You can use the Time Signature and Scale Type pop-up menus to restrict matches by
those categories.
2 Select a keyword in the Keywords list to display matching files in the Search Results area.
The hints, tempo, key, and number of beats for each matching file are also displayed.
You can also perform text searches, which can be especially helpful for non-tagged
files. When you type text in the Search Text field, any files with the text in their file path
or filename appear in the Search Results list. The number of files appears in the
Matches column under “No Category.”
To search using the Search Text field:
m Enter text in the Search Text field.
As you type, files matching the characters you type appear in the Search Results field.
Select a keyword
to display the
matching files in the
Search Results area.
Search Text field
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Refining a Search in Column View
There are several ways you can refine your searches in Column view. You can select
items in the Matches column to add the matching files for each category to the search
results, and you can enter text in the Search Text field to narrow your search to files
that include the text in their file path. Selecting multiple keywords in the Keywords list
narrows the search results to files matching all the selected keywords.
To refine your search using the Matches column:
m Click to select a match category, or Command-click to select multiple match categories.
To refine your search by selecting multiple keywords:
m Shift-click to select adjacent keywords, or Command-click to select nonadjacent keywords.
Searching for Files in Button View
In Button view, the upper area of the Search tab displays a grid of buttons, each of which
is labeled with a keyword. The keywords displayed are determined by the Keywords
pop-up menu; the choices are Music Beds, Instruments, Genre, Descriptors, and Custom.
The keywords for each choice are fixed, and appear whether or not matching files for the
keyword exist. Keywords for which no matching files exist are dimmed.
Click a match category
to refine your search.
These are files that match
the category selected
above.
Search Text field
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To search for files in Button view:
1 Choose the type of keywords to display on the keyword buttons from the Keywords
pop-up menu.
2 You can optionally use the File Type, Time Signature, and Scale Type pop-up menus to
restrict matches by those categories.
3 Click a keyword button to display matching files in the Search Results area.
You can also perform text searches, which can be especially helpful for non-tagged
files. When you type text in the Search Text field, any files with the text in their file path
or filename appear in the Search Results list.
To search by file path or filename:
m Enter text in the Search Text field.
As you type, files matching the characters you type appear in the Search Results field.
Refining a Search in Button View
There are several ways you can refine your searches in Button view. You can select
multiple keyword buttons to narrow your search results to files matching all the
selected keywords, and you can enter text in the Search Text field to narrow your
search to files that include the text in their file path.
Click a button to display
the matching files in the
Search Results area.
Search Text field
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To refine your search using multiple keywords:
m Click multiple keyword buttons.
Adding Custom Keywords
You can add custom keywords, which appear in the Keywords list in Column view
and on the keyword buttons in Button view. Custom keywords can be added only in
Button view.
To add a custom keyword:
1 Choose Custom from the Keyword Type pop-up menu.
2 Control-click one of the buttons in the grid, then choose a custom keyword from the
shortcut menu.
These are files that match
both of the keywords
selected above.
Select additional
keywords to refine
your search.
Choose Custom from
this pop-up menu.
Control-click a button,
then choose the desired
keyword from the
submenu.
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Adding a Directory to the Search Database
Search looks through all indexed directories (volumes and folders) for files that match
your search criteria. Before a file can appear in Search, you must add the directory
containing the file to the Search database and index the directory.
Note: The Search database does not update automatically. If you add files to an
indexed directory, you must index the directory again before the files will appear in the
Search tab.
To add a directory to the Search database:
1 Click the Setup button at the top of the Search tab.
2 In the Setup dialog, click the Add Directory button.
3 In the file dialog, navigate to the directory you want to add, then click Open.
The directory appears in the list in the Setup dialog. You can resize the Search dialog if
you need to see more items in the list.
4 Select the directory in the list, then click the Index Now button.
Note: Indexing a large collection of files may take several minutes. The bottom of the
Add Directory dialog displays the progress of the directory being indexed. If you need
to interrupt the indexing process, click the Stop Indexing button. You can re-index the
directory later. You can deselect items you do not wish to re-index.
5 When Soundtrack Pro is finished indexing the directory, click Done to return to the
Search tab.
Click here to display the
Setup dialog.
Click the Add Directory
button, then select a
directory to add.
Click here to index
the directory.
Chapter 3 Setting Up Soundtrack Pro 87
Removing a Directory from the Search Database
If you move or change your collection of audio files, you can remove a folder from the
Search database. Removing unneeded folders from the database can shorten search
times and eliminate extraneous results.
To remove a folder from the Search database:
1 Click the Setup button at the top of the Search tab.
2 In the Setup dialog, select the directory you want to remove, then click the Remove
Directory button.
3 Click Done to return to the Search tab.
Once you have added the folders containing your audio files to the Search database
and indexed them, you can use Search to find the files. In both Column view and
Button view, the audio files that match the search criteria appear in the Search Results
area in alphabetical order. You can preview files in the File list and drag them to the
Timeline. You can also add a folder to your Favorites from the Search tab.
Using the Bin
The Bin is a hierarchical list of all of the items in each open project. You can also add
files to the Bin for easy access at a later time. Files appear in the Bin alphabetically by
project and hierarchically within each project.
Click the Remove
Directory button to
remove the selected
directory.
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The Bin Hierarchy
The items in the Bin are organized by project. In this hierarchy, projects contain media
files, and media files contain clips.
To add a file to the Bin, do one of the following:
m Drag the file from the Finder to the Bin.
m Drag the file from the Browser, Favorites, or Search tab to the Bin.
Viewing and Editing Projects in the Bin
The Bin can display the following categories of information: audio clip information
(looping, transposition, and so on), file information (timecode, sample rate, file size, and
so on), Timeline information (duration, position, and so on), metadata tags (author,
copyright, and so on) and music information (beats, key, and so on).
To control the display of information categories in the Bin:
m Choose a category from the Columns pop-up menu.
Searching Bin Information
You can search across all information displayed in the Bin. Matching text and numbers
from any of the fields causes that item to appear in the list.
To search information categories in the Bin:
1 Click the Bin’s Search field.
2 Enter the search text.
3 Press Return.
Objects Description Contents
Projects Projects make up the top level
of the hierarchy. You can view
multiple projects at once.
Media files
Project markers
Media files Audio and video source files Clips
Markers (File Editor only)
Clips If the source media file is used
ten different times in the
Timeline, it will have ten clips
nested in the Bin.
None
Chapter 3 Setting Up Soundtrack Pro 89
Using the Shortcut Menu and the Media Pop-Up Menu in the Bin
You can use the shortcut menu and the Media pop-up menu in the Bin for a variety of
tasks. One of the most common tasks involves removing unused items from a project.
This simple step will keep the media associated with a project to a minimum. You can
also rename clips, markers, and podcast region markers that you’ve selected in the Bin.
To use the shortcut menu or the Media pop-up menu to affect an entire project:
1 Select a project file in the Bin.
2 Do one of the following:
 Choose Removed Unused from the Media pop-up menu.
 Control-click the item, then choose Removed Unused from the shortcut menu.
To use the shortcut menu or the Media pop-up menu to affect an individual
item in the Bin:
1 Select an item in the Bin.
2 Choose an option from the Media pop-up menu. You can also Control-click the item,
then choose an option from the shortcut menu.
 Show in Timeline: Selects the corresponding clip in the Timeline.
 Spot to Timeline: Spots the clip to the Timeline with the Spot to Timecode dialog.
 Spot to Playhead: Spots the clip to the playhead position in the Timeline.
 Open in Editor: Opens the file in the File Editor project view.
 Reconnect: Allows you to locate and reconnect any offline files.
 Rename: Selects the item in the Bin so that you can enter a new name.
 Reveal in Browser: Selects the item in the Browser tab.
 Show in Finder: Selects the item in the Finder.
 Replace Selected Clips with: Replaces the clip with a clip of your choosing.
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Bin Column Information
The following list describes the contents of the various Bin columns. Many Bin columns
change their display style to match the settings of the dominant ruler (such as drop
frame, non-drop frame, and so on). Much of this information can also be seen in the
Details tab.
 Name: Displays the icon and name for the various objects (projects, files, clips,
markers, and podcast marker regions).
 Position: Displays the position of the object, in the dominant ruler setting. Displays
values for projects, clips, markers, and podcasts. Some items do not have a position.
Others do not always display a position. (For example, a multitrack document only
shows the position when the Initial Timecode value in the Project tab has been
changed from the default 0 value.)
 Duration: Displays the duration information for projects, files, clips, markers, and
podcasts.
 Track name: Lists the current track name for audio clips.
 Offset: Shows the slip offset value: the difference between the start of the original
file and the start of the clip (using the dominant ruler setting). Clips that start from
the beginning show 0; others have a positive time value.
 Sample rate: Shows the native sample rate of the item, in Hz (projects, files, and clips).
 Timecode: This is the embedded timecode of the file, if present (in the dominant
ruler setting). Displays the initial timecode for items (projects, files, clips).
 Channels: The number of channels in the item (files, clips)
 Takes: The number of takes in the item (files, clips)
 File size: The disk size of the item (projects, files)
 Path: The path to the item on disk (projects, files)
 Annotation: Displays annotation metadata (projects, files, clips).
 Author: Displays author metadata (projects, files, clips).
 Copyright: Displays copyright metadata (projects, files, clips).
 Tempo: The tempo of the item, in beats per minute (projects, files, clips)
 Time Signature: Displays time signature data (projects, files, clips).
 Key: Displays the musical key of the item, being the letter (A, A#, B, and so on), or
“None” (projects, files, clips).
 Scale: Displays musical scale type (projects, files, clips).
 Looping: Indicates a looping file (Yes/No) (files, clips).
 Beats: Displays the number of beats in the file (projects, files, clips).
 Instrument: Displays instrument type, from Apple Loop tagged information (files, clips).
 Genre: Displays genre name, from Apple Loop tagged information (files, clips).
 Hint Quality: Displays the quantitative display of the amount of information saved in
the file—keywords, beat information, and transients (files, clips).
Chapter 3 Setting Up Soundtrack Pro 91
Previewing Audio Files
You can preview files in the Bin or any of the media tabs. When you preview files,
Soundtrack Pro matches the sample rate of the file to the project sample rate. When
you preview looping files, Soundtrack Pro matches their tempo and key to the project
tempo and key.
To preview an audio file:
m Select the file in the Bin or any of the media tabs.
The selected file starts playing. If the project is playing when you preview a file,
Soundtrack Pro starts playback of the previewed file on the downbeat of the next
measure of the project. You can turn preview playback on and off by holding down
Option and pressing the Space bar.
Audio files tagged as loops play back repeatedly when previewed. You can control the
playback of the file being previewed using the preview controls. You can only preview
one audio file at a time.
Using the Preview Controls
The preview area at the bottom of the Bin and the media tabs contains controls you
can use when previewing audio files.
Select an audio file in the
Search tab to preview it.
Play button
Preview on selection button
Media pop-up menu
Volume slider
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 Play button: Starts playback of the preview file. If the file is playing, stops playback.
 Volume slider: Sets the playback volume of the preview file.
 Preview on selection button: When activated, triggers immediate playback of the
selected clip.
 Media pop-up menu: Choose whether to add the file to Favorites, open it in the File
Editor or Apple Loops Utility, or reveal it in the Finder.
To preview an audio file with a project:
1 Click the Play button in the transport controls to play the project.
2 When the project reaches the point in time where you want to hear the preview file,
select the file in the Search tab.
To preview a file without the project (solo):
1 If the project is playing, click the Stop button in the transport controls to stop playback
of the project.
2 Select the file in the Search tab to preview the file.
You can also preview a video file using the preview controls. For information about
previewing a video file, see “Playing the Video” on page 317.
Viewing File and Clip Information
You can view information in the Details tab about audio and video files and clips in the
Bin, the media tabs, and the Timeline. When you select a file or clip in the Bin, the
media tabs, or the Timeline, the Details tab displays the file path and other information
about the item.
Chapter 3 Setting Up Soundtrack Pro 93
For a complete description of the items listed in the Details tab, see “Details Tab” on
page 57 and “Viewing and Editing Clip and Track Properties” on page 114.
Note: The information that is displayed depends on whether or not the file is tagged.
Untagged files may not display information for all categories.
Using Undo and Redo
As you edit clips and perform other operations in both multitrack and audio file
projects, you might need to use the Undo and Redo commands. For example, if you
don’t like the last change you’ve made to a project, it can usually be undone. Then, if
you decide you prefer to keep the change you just undid, you can redo the command
immediately after using Undo.
You can also use the Undo and Redo commands as a quick way of trying out changes
to your project. You can make changes to any aspect of the project, then use Undo to
step back through changes you don’t like to the project’s previous state. If you change
your mind after undoing a change or set of changes, you can always use Redo to
recover the changes. At any point, you can save a new version of the project using the
File > Save As command.
You can use the Undo command repeatedly to undo every change made since the
project was last saved.
To undo the last change:
m Choose Edit > Undo [item] (or press Command-Z).
The [item] in the menu changes to show the last command or operation.
You can use the Redo command repeatedly to redo every undone change since the
project was last saved.
To redo the last change:
m Choose Edit > Redo [item] (or press Command-Shift-Z).
The [item] in the menu changes to show the last command or operation.
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Using Snapping
When you move and resize clips in the Timeline, or select part of an audio file in the
File Editor, you usually want them to start and end at a specific point in time. To
synchronize clips with a video, you may want to position them in line with a specific
frame. In a music-based project, you may want to align clips with measures and beats.
Soundtrack Pro includes a snapping feature that causes clips, the playhead, and other
items in the Timeline and File Editor to “snap” to the nearest Snap To position.
Snapping applies to the following operations:
 Dragging audio clips to the Timeline
 Moving audio clips
 Resizing audio clips
 Setting the playhead
 Setting the cycle region
 Inserting markers
 Moving markers
 Selecting Timeslices
 Adding envelope points
 Moving envelope points
 Moving crossfade edges
You can use snapping to ensure that audio clips are synchronized to a measure or beat,
that they begin playing back at a precise point in time, and that they are precisely
aligned with other clips in the Timeline.
When you turn on snapping, the item you are moving snaps to the nearest Snap To
position in the Timeline. The available Snap To values depend on the time format of the
project. For projects set to Time-based format, the available Snap To values are:
 Ruler ticks
 Seconds
 Frames
 Clips on Adjacent Tracks
 Markers
Chapter 3 Setting Up Soundtrack Pro 95
For projects set to Beats-based format, the available Snap To values are:
 Ruler ticks
 1/4 notes
 1/8 notes
 1/16 notes
 1/32 notes
 1/64 notes
 Markers
 Clips on Adjacent Tracks
To turn snapping on:
m Choose View > Snap (or press G).
A checkmark next to the menu item indicates that snapping is turned on. Choose
View > Snap again to turn snapping off.
To set the Snap To value:
m Choose View > Snap To, then choose a value from the submenu.
You can temporarily reverse the current snapping state while you work in the Timeline.
When snapping is turned on and Markers is chosen in the Snap To submenu, clips in
the Timeline snap to the playhead as well as to markers.
To temporarily reverse the snapping state:
m Select the item in the Timeline, then hold down the Command key as you drag the item.
If snapping is turned on, Command-dragging lets you move the item without having it
snap to the nearest Snap To position. If snapping is turned off, the item snaps to the
nearest Snap To position. When you release the Command key, items moved in the
Timeline follow the normal snapping state.
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Reconnecting Media Files
Because Soundtrack Pro multitrack projects contain references to media files, and not
the files themselves, a multitrack project cannot play back if the media files it uses are
erased or moved. When you open a multitrack project in Soundtrack Pro, the
application checks to see if the media files it uses exist in the same location as they did
when the project was last opened. If the media files are not in the expected location,
Soundtrack Pro displays a Can’t Find File dialog with three choices:
 Skip All: Opens the project without reconnecting any missing files.
 Skip File: Opens the project without reconnecting the missing file.
 Locate: Presents a dialog that lets you locate the missing file and reconnect it to
the project.
If you choose to open the project without reconnecting its files, you can reconnect
individual audio files from the Timeline or the Bin tab and reconnect a video file in the
video track in the Timeline.
To reconnect an audio file:
1 Do one of the following:
 Select the clip in the Timeline, then choose Clip > Reconnect [filename].
 Control-click the clip in the Timeline, then choose Reconnect [filename] from the
shortcut menu.
 Select the clip in the Bin tab, then choose Reconnect [filename] from the Media popup
menu.
 Control-click the audio file in the Bin tab, then choose Reconnect [filename] from the
shortcut menu.
2 In the dialog that appears, locate the audio file you want to reconnect.
3 Click Open to reconnect the file.
To reconnect a video file:
1 Control-click the video clip in the video track, then choose Reconnect Media Files from
the shortcut menu.
2 In the dialog that appears, locate the video file.
3 Click Open to reconnect the file.
Chapter 3 Setting Up Soundtrack Pro 97
Setting Soundtrack Pro Preferences
You set preferences for various aspects of both the appearance and operation of
Soundtrack Pro in the Preferences window. Some preferences apply to the current
project, and some apply to new projects you create. You may want to specify some
preferences before you begin working in Soundtrack Pro.
To open the Preferences window:
m Choose Soundtrack Pro > Preferences.
General Preferences
The General preferences include program startup behavior, Timeline defaults, and
options for alerts, saving, fades, and handles.
Startup
These preferences let you set the startup behavior when you open Soundtrack Pro.
 Last Project: Reopens the last project on startup.
 New Multitrack Project: Creates a new, blank multitrack project on startup. This is the
default behavior.
 New Audio File Project: Creates a new, blank audio file project on startup.
 Meters Channel Display pop-up menu: Choose whether meters display labeled
channels in surround order (Ls, L, C, R, Rs, LFE) or output order (1, 2, 3, 4, 5, 6).
98 Chapter 3 Setting Up Soundtrack Pro
Timeline
 Move playhead by clicking pop-up menu: Choose whether you can move the playhead
by clicking in both the Timeline and the Time ruler or only in the Time ruler.
 Scrollwheel pop-up menu: Choose whether an attached mouse with a scrollwheel
scrolls the Timeline or zooms in or out at the playhead position.
 Use ellipses(...) in clip names checkbox: When selected, clips in the Timeline with long
names are center-truncated with an ellipsis. “Use ellipses (...) in clip names” is
deselected by default.
Note: Selecting “Use ellipses (...) in clip names” can impact the speed at which the
screen is redrawn during playback.
 Automation Recording Sensitivity slider: Drag to set the level of sensitivity with which
onscreen and control surface movements are recorded. Setting the slider to High
results in all movements being recorded.
Alerts and File Management
 Show Alerts pop-up menu: Choose whether to show the alerts when various
conditions occur (such as disk overload, unsupported sample rates, and so on).
 Save Audio File Project pop-up menu: Choose whether saved audio file projects
include the source audio file in the project or reference it. Note that if you move or
delete the source audio file from a project that references source audio, the project
cannot play.
 Scratch Location button and display: Click this button, then browse to the location of
the disk or folder you want to use as the location for storing temporary files. The
current location is shown in the Scratch Location display.
 Edited Media Location button and display: Click this button, then browse to the
location of the disk or folder you want to use as the location for edited media such as
audio file projects. The current location is shown in the Edited Media Location display.
 New File Handle Length value slider: Enter a handle length (in seconds) for new
files. For more information, see “Modifying a Clip Without Affecting Its Source
Media” on page 197.
Chapter 3 Setting Up Soundtrack Pro 99
Project Preferences
These preferences let you set project properties and other default settings for new
projects you create.
 Tracks pop-up menu: Sets the default number of tracks for a new multitrack project.
 Track Height pop-up menu: Sets the default track height for new multitrack projects.
The choices are Mini, Small, Medium, and Large.
 Snapping: Sets the default snapping mode for a new project.
 Move Envelope Points with Clips checkbox: Sets the default envelope selection mode.
 Overlap Mode pop-up menu: Sets whether overlapped clips are crossfaded or
truncated for new multitrack projects.
 Default Fade Type pop-up menu: Sets default fade type.
 Audio Pulldown pop-up menu: Sets default audio playback compensation.
 Video Pulldown pop-up menu: Sets default video playback compensation.
 Sample Rate pop-up menu: Sets the default sample rate for new projects. The choices
range from 32 kHz to 192 kHz.
 Starting Timecode field: You can set the starting timecode for new projects to a value
other than 00:00:00;00 by entering a timecode value in the Starting Timecode field.
You can only enter positive values in the field. When you open the project, the Time
ruler and time display start from the starting timecode value.
 Timescale pop-up menu: Choose whether the overall project uses Time-based or
Beats-based time format.
 Export Bit Depth pop-up menu: Sets the export bit depth for the current project and
new projects. The choices are 16-bit (CD-quality audio) and 24-bit.
 Video Frames per Second pop-up menu: Choose which video frame rate to use for
new projects.
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 Tempo value slider: Sets the default tempo for new projects in beats per minute
(bpm). The range is 60 to 200 bpm.
 Key pop-up menu: Sets the default key for new projects. The range is any key in the
chromatic scale from A to G#, or None.
 Time Signature pop-up menu: Sets the default time signature for new projects. The
choices are 3/4, 4/4, 5/4, 6/8, and 7/8.
Recording Preferences
These preferences let you specify settings for recording audio.
 Input pop-up menu: Displays the available devices for audio input. Choose an input
device from the pop-up menu.
Note: For more information about setting inputs and outputs, see “Setting the Audio
Input and Output” on page 22.
 Channels: Use these buttons to confirm or change default input signal routing settings.
 Monitor pop-up menu: Displays the available devices for monitoring audio output.
Choose an output device from the pop-up menu.
 Latency Compensation slider: Sets the amount of latency compensation in
milliseconds. If recorded audio is late, drag the slider right. If the recorded audio is
early, drag the slider left.
For information on eliminating latency, see “Eliminating Recording Latency” on
page 516.
 Recordings Location display: Displays the default location to which recording sessions
are saved. You can set the save location by clicking the Choose button and
navigating to a new location.
To select an audio interface as the output device:
m Choose Apple menu > System Preferences, click Sound, then click the Output button.
Select the audio interface in the list that appears.
Chapter 3 Setting Up Soundtrack Pro 101
Synchronization Preferences
These preferences let you specify synchronization settings.
Input
 Sync To MIDI Clock checkbox: Sets Soundtrack Pro to receive MIDI Clock signals from a
MIDI application or external device.
 Sync To MIDI Time Code checkbox: Sets Soundtrack Pro to receive MIDI Time Code
(MTC) signals from a MIDI application or external device.
Output
 MIDI Clock pop-up menu: Choose the device to send MIDI Clock to, or choose None.
 MIDI Clock Virtual MIDI Device checkbox: Sets Soundtrack Pro to send MIDI Clock
signals to MIDI applications as “Soundtrack Sync Source.”
 MIDI Time Code pop-up menu: Choose a device to send MTC signals to, or choose None.
 MIDI Time Code Virtual MIDI Device checkbox: Sets Soundtrack Pro to send MTC signals
to MIDI applications as “Soundtrack Sync Source.”
 Frame Rate pop-up menu: Sets the frame rate for outgoing MTC signals. (Note that
Soundtrack Pro automatically detects the frame rate for incoming MTC signals.)
Time Code Offset
 Bar 1 At field: Sets the offset of Measure 1 of your Soundtrack Pro project in SMPTE
format. The offset affects both incoming and outgoing MTC signals. This should be
set to the same value in all applications and devices.
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Control Surfaces Preferences
These preferences let you specify settings for communicating with attached
control surfaces.
 Control Surfaces field: Shows the control surfaces connected to your computer.
Channels and banks are assigned to control surfaces in the order they appear in the
field, starting from the left.
 Add and Delete buttons: Add or delete the selected control surface so that
Soundtrack Pro no longer connects to it.
 Previous and Next buttons: Change the order of the selected control surface in the
Control Surfaces field.
 Summary information: Displays information about the selected control surface
including type, input port, and output port.
 Control Surface Buttons button: Click to show the Control Surface Mapping window,
where you can assign control surface buttons and other controls to specific
commands and operations.
For information about connecting and using control surfaces, see Chapter 15, “Using
Control Surfaces with Soundtrack Pro,” on page 391.
Chapter 3 Setting Up Soundtrack Pro 103
Video Out Preferences
These preferences let you specify settings for video output from Soundtrack Pro.
 Video Output Device pop-up menu: Choose a video output device, or choose None.
 Use Quarter-size Frames checkbox: Select to send video to the output device as
quarter-size frames. Quarter-size frames require less data throughput and can be sent
more efficiently than full-size frames.
4
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4 Working with Multitrack Projects
You can arrange and mix audio clips in a multitrack project.
Multitrack projects include tracks, busses, and submixes you
can use to create sophisticated signal routing and mixes.
Creating and Opening Multitrack Projects
When you open Soundtrack Pro, a new, blank project appears. You can change the
default startup behavior in the Preferences window. For information about setting
preferences, see “Setting Soundtrack Pro Preferences” on page 97.
To create a new multitrack project:
m Choose File > New > Multitrack Project (or press Command-N).
A new, untitled project appears. You can name the project when you save it. For
information on saving projects, see “Saving Multitrack Projects” on page 111.
To open an existing project:
1 Choose File > Open (or press Command-O).
2 Optionally, to view only multitrack projects in the dialog, choose Multitrack Document
from the File Type pop-up menu.
3 Locate and select the project, then click Open.
You can also open a recently open project by choosing it from the File > Open Recent
menu, or open a project by dragging it onto the Soundtrack Pro icon in the Dock.
You can have multiple projects open in Soundtrack Pro and cut and paste between
them, but you can only play one project at a time. You can open projects created with
earlier versions of Soundtrack and Soundtrack Pro, but you can only save them as
multitrack projects (with the extension .stmp).
106 Chapter 4 Working with Multitrack Projects
Creating a Multitrack Project from Final Cut Pro
Clips or Sequences
A convenient and powerful audio post-production workflow for any film or video
project is sending a Final Cut Pro sequence or clip to a Soundtrack Pro multitrack
project. For example, when the picture edit in a Final Cut Pro sequence is near
completion, you simply choose File > Send To > Soundtrack Pro Multitrack Project.
Soundtrack Pro opens a new multitrack project with the tracks, clips, and edits from the
Final Cut Pro sequence, including the synchronized video.
For information on sending Final Cut Pro sequences and clips to Soundtrack Pro, see
“Using Soundtrack Pro with Final Cut Pro” on page 421.
Closing Multitrack Projects
At any time while you are working, you can close a multitrack project.
To close a project:
m Select the project’s tab in the project pane, then choose File > Close Project (or press
Command-W).
Setting Project Properties
Each project has a set of project properties that include sample rate, overlap mode,
selection mode, timecode, file management, and music-related properties. You can
change the project properties for a particular project using the multitrack project
controls at the top of the project pane or the Project tab.
Each project property has a default setting. You can also change the default project
properties for new projects in the Project pane of the Preferences window. For information
on setting preferences, see “Setting Soundtrack Pro Preferences” on page 97.
Automation Mode
You can automatically record movements you make to faders, sliders, and other
onscreen controls using the pointer. You record automation in Soundtrack Pro by
selecting either Touch or Latch automation mode in the project controls, then
changing volume, pan, and effects settings as the project plays.
Chapter 4 Working with Multitrack Projects 107
To set the automation mode:
m Choose Read, Latch, or Touch from the Automation Mode pop-up menu.
For more information about the automation mode, see “Recording Automation Data”
on page 365.
Sample Rate
The project sample rate determines the number of samples per second Soundtrack Pro
uses for audio playback and export. When you add audio files to your project, their
sample rate is matched (upsampled or downsampled) on the fly to the project sample
rate with no change to their pitch or file duration. The available sample rates are 32
kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz. The default is 48 kHz,
which is the standard for digital video and DVD projects.
Note: When creating a soundtrack for a video, be sure you save and export your
project at the same sample rate the final video project will use.
To set the sample rate:
m Choose the sample rate from the Sample Rate pop-up menu. The choices are:
 32.0
 44.1
 48.0
 88.2
 96.0
 176.4
 192.0
Note: If you open your project on a computer that cannot support the project sample
rate, the project is resampled to the nearest rate the hardware supports for playback.
When you export your project, it is exported at the project sample rate, regardless of
hardware limitations. For more information on hardware sample rates, see Chapter 1,
“Setting Up Your System,” on page 21.
Automation Mode
pop-up menu
Sample Rate
pop-up menu
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Overlap Mode
The project overlap mode determines what happens when you move an audio clip so
that it partially or completely overlaps another clip in the Timeline. There are two
overlap modes: crossfade mode and truncate mode.
In crossfade mode, when you drag an audio clip so that it partially overlaps another
audio clip in a track in the Timeline, a crossfade is created for the overlapped part of
the two audio files. You can adjust the boundaries of the crossfade in the Timeline. In
truncate mode, when you drag an audio clip so that it partially overlaps another audio
clip in a track in the Timeline, the overlapped part of the clip is truncated.
To set the project overlap mode:
m Click the Crossfade Mode button to set the project to crossfade mode, or click the
Truncate Mode button to set the project to truncate mode.
Envelope Selection Mode
The project selection envelope mode determines whether, when you select or move a
clip in the Timeline, the associated envelope points are also selected or moved with the
clip. You can set Soundtrack Pro to either the Select Only Clips mode or the Select
Envelope Points With Clips mode.
To select and move clips and envelope points together:
m Click the Select Envelope Points With Clips button at the top of the Timeline.
To select and move clips and envelope points independently of each other:
m Click the Select Only Clips button at the top of the Timeline.
For more information about the envelope selection mode, see “Selecting and Moving
Envelope Points with Clips” on page 359.
Truncate Mode
button
Crossfade Mode
button
Select Only Clips
button
Select Envelope Points
With Clips button
Chapter 4 Working with Multitrack Projects 109
Project Time Format
Each multitrack project has a project time format, which can be either Time
(seconds)–based or Beats-based. Setting the time format controls the appearance of
the Time display, Time ruler, Timeline gridlines, and available Snap To values. For
projects set to Time-based format, time is displayed using the Time Ruler units
chosen in the View menu. For projects set to Beats-based format, the time is
displayed in measures, beats, and beat divisions. The default format is Time-based.
Setting the format to Time-based lets you align clips and other items in the Timeline
with specific points in time, for example, specific frames in a video file. Setting the
format to Beats-based lets you align items in the Timeline with measures, beats, and
other musical units of time, regardless of tempo. You can switch between Time-based
and Beats-based formats while working on a project. You can also set individual tracks
to use a different time format than the project’s time format. For information on setting
a track’s time format, see “Changing Track Time Format” on page 146.
Setting the Project Ruler Units
You can switch the ruler units for a project in the Project tab and define the details for
the ruler units in the View menu.
To choose the ruler units for a project:
m In the Project tab, use the Ruler Units pop-up menu to choose either Seconds or Beats.
When you import a video file into a Soundtrack Pro project, the Time display and Time
ruler adjust to show the timecode format of the video. The Time display and Time ruler
can display time in seconds, frames, drop frames, or non-drop frames. You can choose
the format for timecode display, and you can set the video frame rate for projects not
containing a video file. You can also set the default frame rate for new projects in the
Project Preferences pane.
To specify the details of the units shown in the Time display and Time ruler:
m Choose View > Time Ruler Units, then choose one of the following time formats from
the submenu:
 HH:MM:SS
 Seconds
 Samples (Audio file projects only)
 Frames
 Drop frame (timecode)
 Non-drop frame (timecode)
Additionally, you can specify the following settings for your project if it does not
contain video:
 Set Video Frame Rate: Choose from the following: 23.98, 24, 25, 29.97, 30, 59.94, 60.
 Set Starting Timecode: Enter the timecode for the first frame of your project.
110 Chapter 4 Working with Multitrack Projects
Time Ruler Units and Grid Lines
The number of grid lines drawn will depend on the dominant ruler type and zoom level.
For example, when the dominant ruler is Seconds and the Timeline is zoomed out, grid
lines appear only on the hour marks. As you zoom in, grid lines are drawn on the minute
mark. Zoom in more, and grid lines are drawn on the second marks, and so on.
Setting the Project Length
By default, the length of a project depends on the media in the project. The project
length is set to the end of the last clip in the project. If the project uses a time-based
effect, and the effect extends past the end of the last clip, the project length extends to
include the effect’s “tail.” Adding a clip to the end of the project, or adding an effect
that produces a “tail,” extends the project length to include the new clip or the effect’s
tail. You can optionally set the project to a definite length.
To set the project length:
m In the Timeline, place the playhead at the point where you want the project to end,
then choose Mark > Set End of Project.
You can move the end-of-project marker to change the length of the project, or delete
it if you decide you no longer want it in the project.
To delete the end-of-project marker:
m Select the marker in the Timeline, then choose Edit > Delete (or press the Delete key.)
End-of-project marker
Chapter 4 Working with Multitrack Projects 111
Saving Multitrack Projects
To save your project:
1 Choose File > Save.
2 In the dialog that appears, enter a name for the project in the Save As field.
3 Navigate to the folder in which you want to save the project.
4 Select any of the following checkboxes:
 Save Compacted: Saves the project without display data, which can save disk space,
but the project may take longer to open.
 Collect Audio Files: Saves a copy of every audio file the project uses to the selected
location. This makes it easy to move projects between computers, and ensures that
all needed audio files are available for playback. When you select this checkbox, the
setting is retained for any subsequent saves. In other words, the File > Save menu
option changes to File > Save (Collected), and any new media you add to the project
is collected the next time you save the project.
Note: To play a project on another computer, you must install the audio files the
project uses on that computer, or on a disk it can access. If you remove the audio files
used in a project so that your computer cannot access them, missing files will not play.
 Collect Unused Audio Files: Includes media files you have deleted from the project but
that remain in the Bin. If you do not want to include these media files, deselect this
checkbox.
Note: Optionally, you can open the Bin, select the audio files you want to remove,
then choose Remove Unused from the Media pop-up menu.
 Collect Video File: Saves the project’s video file in the same folder as the project.
 Save Edited Media Locally: Saves the project’s edited audio files in the same folder as
the project (in a subfolder named Media). If this checkbox is not selected, edited
media is saved to the edited media location defined in Soundtrack Pro preferences.
Note: Multitrack projects are saved as documents with the extension .stmp.
5 You can optionally click the New Folder button to create a new folder for the
collected project.
6 Click Save to save the project.
If the folder already contains any of the media files, an alert appears, asking if you want
to replace the existing files.
Note: Since video files can be very large, if you save a multitrack project
collected (by selecting the Collect Audio Files or Collect Video File checkbox in
the Save As dialog), it may take several minutes and may require a large amount
of disk space to save the project.
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Setting Default Locations for Saving Media Files
During the course of a large sound editing project, you may generate numerous
project files, clips, render files, and audio recordings. Soundtrack Pro helps you manage
all this media by saving the files to default scratch locations. You can change the
scratch locations using Soundtrack Pro preferences.
Edited Media Location
When Soundtrack Pro creates and saves audio file projects, the default location for
those files is: /Users/username/Documents/Soundtrack Pro Documents/Edited Media/
Project Name/.
To change the edited media location, do one of the following:
m Choose Soundtrack Pro > Preferences > General, then click Choose to enter a
new location.
m In the Project tab, choose one of the following in the Create Media section:
 In Edited Media (from Preferences)
 In Media folder with project
Scratch Location
When Soundtrack Pro creates temporary render files, the default location for those files
is: /Users/username/Documents/Soundtrack Pro Documents/Temporary Files/.
To change the scratch location:
m Choose Soundtrack Pro > Preferences > General, then click Choose to enter a new location.
Recordings Location
When you record audio with Soundtrack Pro, the default location for those audio
recordings is: /Users/username/Documents/Soundtrack Pro Documents/Recordings/.
To change the recordings location:
m Choose Soundtrack Pro > Preferences > Recording, then click Choose to enter a
new location.
Collecting Media for a Project
When you save a Soundtrack Pro multitrack project, you have the option to collect the
associated audio and video files in one folder, alongside the multitrack project. You can
make these choices at the time you save a project, or in the Project tab in the Project
File Management section.
For more information on these options, see “Saving Multitrack Projects” on page 111.
Chapter 4 Working with Multitrack Projects 113
Adding Files to a Multitrack Project
Once you’ve located and previewed an audio file you want to add, you drag the file to the
Timeline to add it to the project. When you drag an audio file to the Timeline,
Soundtrack Pro creates an audio clip from the audio file and adds the clip to the project. An
audio clip does not contain the actual audio data; instead, it contains a reference to the file
stored on disk. Editing an audio clip in the Timeline does not change the source audio file.
To add an audio file from the media tabs, do one of the following:
m Drag the file from one of the media tabs to a track in the Timeline.
m Drag the file from the File list to the strip between two existing tracks.
A new track is created and the clip is added to the track.
m Drag the file from the File list to the empty part of the Timeline below the Master bus.
A new track is created and the clip is added to the track.
m Drag a file from the File list to a track or to the part of the Timeline below the
existing tracks.
To spot the clip to the playhead, do one of the following:
m Select the clip and choose Clip > Spot to Playhead (or press Command-\).
m Control-click the clip, then choose Spot to Playhead from the shortcut menu.
To spot the clip to the Timeline, do one of the following:
m Select the clip and choose Clip > Spot to Timeline (or press Command-Shift-\).
m Control-click the clip, then choose Spot to Timeline from the shortcut menu.
For more information, see “Spotting Clips to the Timeline” on page 153.
Drag the file from a media
tab to the Timeline.
114 Chapter 4 Working with Multitrack Projects
To add an audio file from the Finder:
m Drag the file from the Finder to the Timeline (to a track, between two existing tracks, or
to the area below all existing tracks).
When the Bin tab is active, the Bin shows all of the audio clips in the project. You can
drag a clip from the list to the Timeline to add a new clip from the same audio file at a
different point in time, or to a different track.
To add an audio file from the Bin tab:
m Drag the file from the Bin tab to the Timeline, either to a track or to the area below the
existing tracks.
Note: When you drag an audio file to the Timeline, the file snaps to the nearest Snap To
position if snapping is turned on. For information on setting the Snap To value, see
“Using Snapping” on page 94.
Viewing and Editing Clip and Track Properties
In Soundtrack Pro, you can easily view and adjust the specific details about individual
clips and tracks.
Clip Properties
When you create an audio clip by dragging an audio file to the Timeline, the audio clip
has a set of properties. These properties are specific to the clip and can be different for
two clips created from the same source audio file.
Chapter 4 Working with Multitrack Projects 115
The following properties for the selected clip are displayed and can be edited in the
Details tab:
File and Clip Details
 Name: Name of the selected clip.
 Position value slider: Sets the position (start point) of the selected clip.
 Duration value slider: Sets the duration (length) of the selected clip.
 Offset value slider: Sets the offset of the selected clip.
 Measure in pop-up menu: Sets the units shown in the Position, Duration, and Offset
value sliders.
 Color pop-up menu: Sets the color of the selected clip.
 Enabled checkbox: Enables or disables the selected clip.
 Locked checkbox: Locks or unlocks the selected clip.
 Transpose pop-up menu: Sets the number of semitones to transpose a looping clip.
 Clip Speed pop-up menu: Sets the playback speed for a looping clip.
 Created: Displays the creation date.
 Modified: Displays the modification date.
 Size: Displays the file size.
 Properties: Displays the following information for the clip or file: duration, sample rate,
the timecode for the first frame of the clip or file, bit depth, and channel valence.
 Metadata: Use this section to view the metadata for a file or a clip. Metadata
categories include Name, Copyright, Origination Date, Keywords, and so on.
 Music: Use to view music information for a clip or file, primarily music loops in the
Search tab. The music information includes tempo, time signature, key, scale type,
looping (yes or no), beats, instrument, and loop genre.
116 Chapter 4 Working with Multitrack Projects
Some properties can be changed by editing the clip in the Timeline. For detailed
information on editing audio clips, see “Selecting Audio Clips in the Timeline” on
page 147.
The name of an audio clip appears on the clip in the Timeline. By default, the entire
name appears on the clip if the clip is long enough to display it. You can change the
default behavior in the General pane of the Preferences window, so that long clip
names are truncated from the center. For information on setting preferences, see
“Setting Soundtrack Pro Preferences” on page 97.
Setting Clip and Track Colors
Soundtrack Pro allows you to set colors for clips and tracks. Setting a clip or track color
is a useful way to differentiate a set of clips from the rest of the clips or tracks in the
Timeline. For example, you could color-code your clips by category: dialogue, music,
and effects. This helps you organize your project visually. By default, video clips are set
to blue and audio clips are set to green, but you can change the color of audio clips
and tracks at any time.
There are four ways to set the color of a clip or a selection of clips.
You can change the
colors of audio clips
and tracks.
Chapter 4 Working with Multitrack Projects 117
To set the color of a clip, do one of the following:
m Select the clip in the Timeline or the Bin, choose Clip > Color, then choose a color from
the submenu.
m Control-click the clip in the Timeline or the Bin, then choose Color from the shortcut
menu and choose a color from the submenu.
m Select the clip. In the Details tab, choose a color from the Color pop-up menu.
m Drag the clip to a track that already has a color.
The clip takes on the track color.
Note: If you have already applied a color to a clip, the clip does not take on the track color.
You can set the color for a track, so that any clip you add to the track takes on the
track color.
To set a track color, do one of the following:
m Select the track, then choose Multitrack > Track Color, and choose a color from
the submenu.
m Control-click the track, then choose Color from the shortcut menu and choose a color
from the submenu.
Choose a clip color from
the shortcut menu.
118 Chapter 4 Working with Multitrack Projects
Enabling and Disabling Clips
In addition to muting entire tracks, you can disable (mute) individual clips in the
Timeline in Soundtrack Pro.
To disable a clip in the Timeline, do one of the following:
m Select the clip, then choose Clip > Disable Clip.
m Control-click the clip in the Timeline, then choose Disable Clip from the shortcut menu.
m Select the clip. In the Details tab, deselect the Enable checkbox.
To enable a clip in the Timeline, do one of the following:
m Select the clip, then choose Clip > Enable Clip.
m Control-click the clip in the Timeline, then choose Enable Clip from the shortcut menu.
m Select the clip. In the Details tab, select the Enable checkbox.
Locking and Unlocking Clips and Tracks
You can prevent any changes to a clip or a track by locking it.
Locking Clips
A locked clip cannot be moved, resized, or otherwise modified in the Timeline. A
locked clip can be enabled or disabled. A clip can overlap a locked clip. The envelope
points under a locked clip are locked based on the envelope mode: if attached to a
clip, envelope points are locked; if not attached to a clip, envelope points are
unlocked. For more information about attaching envelope points, see “Adding
Envelope Points” on page 357.
Choose Disable Clip from
the shortcut menu.
Chapter 4 Working with Multitrack Projects 119
To lock a clip in the Timeline, do one of the following:
m Select the clip, then choose Clip > Lock Clip.
m Control-click the clip in the Timeline, then choose Lock Clip from the shortcut menu.
m Select the clip. In the Details tab, select the Locked checkbox.
To unlock a clip in the Timeline, do one of the following:
m Select the clip, then choose Clip > Unlock Clip.
m Control-click the clip in the Timeline, then choose Unlock Clip from the shortcut menu.
m Select the clip. In the Details tab, select the Locked checkbox.
Locking Tracks
When an audio track is locked, the clips on the track cannot be moved, resized, or
otherwise modified in the Timeline. Clips and effects cannot be added to or removed
from a locked track. Effects and other parameters (such as pan, gain, and output) are
not editable on a locked track.
Choose Lock Clip from
the shortcut menu.
120 Chapter 4 Working with Multitrack Projects
To lock a track, do one of the following:
m Select the track, then choose Multitrack > Lock Selected Track.
m Control-click the track, then choose Lock Selected Track from the shortcut menu.
To unlock a track, do one of the following:
m Select the track, then choose Multitrack > Unlock Selected Track.
m Control-click the track, then choose Unlock Clip from the shortcut menu.
Making Clip Channel Selections
A production sound recording often results in a stereo file or a multichannel file that
contains distinct data on different channels (for example, a lapel microphone on one
channel and a boom microphone on another channel). In such cases, you may want to
adjust a stereo clip so that it represents just one of its two channels in the Timeline. You
can also adjust a multichannel clip to represent just one of its channels, an adjacent
pair of its channels, or six channels. Soundtrack Pro provides two different ways to
make these channel selections in a clip.
Using the Shortcut Menu to Make a Channel Selection
Once a clip is in the Timeline, you can select (solo) an individual channel of a stereo file.
Or you can select an individual channel or various pairs of channels of a multichannel
file. The clip retains this channel selection throughout the life of the multitrack project. If
you duplicate the clip, the copy also inherits the same channel selection. Changing any
one instance of a clip does not affect any other instance. For stereo files, there are two
options: channel 1 and channel 2. For six-channel files, there are nine different options.
Note: You can change the channel selection at any time by repeating the following steps.
Choose Lock Selected Track
from the shortcut menu.
Chapter 4 Working with Multitrack Projects 121
To use the shortcut menu to make a mono channel selection from a stereo clip:
m Control-click the clip in the Timeline, then choose one of the following options from
the shortcut menu:
 Channel Select > Mono > 1
 Channel Select > Mono > 2
The clip waveform display changes to a single (mono) waveform, and the clip
functions in the project as a mono file.
To use the shortcut menu to make a channel selection from a multichannel clip:
m Control-click the clip in the Timeline, then choose one of the options from the
shortcut menu.
If you choose a mono option, the clip waveform display changes to a single (mono)
waveform, and the clip functions in the project as a mono file. If you pick a stereo
option, the clip waveform display changes to a stereo waveform, and the clip functions
in the project as a stereo file.
Choose a channel from
the shortcut menu.
The clip’s waveform
display updates to a
single (mono) waveform.
122 Chapter 4 Working with Multitrack Projects
Separating Channels by Option-Dragging
You can separate the channels of stereo and multichannel clips into individual clips as
you drag them to the Timeline. When adding a clip to the Timeline from either the
Browser, Bin, or Finder, holding down the Option key while dragging will automatically
generate mono clips from a stereo or multichannel file. The dragged clip becomes a
vertical stack of clips, with the first under the pointer and the rest on subsequent tracks.
To convert the channels of a stereo or multichannel clip into individual clips as you
add it to the Timeline:
1 Option-click the clip in any of the Soundtrack Pro media tabs.
2 Continue to press the Option key as you drag the clip to the Timeline.
The dragged clip becomes a vertical stack of clips, with the top clip under the pointer
and the rest on subsequent tracks. If you dragged a stereo clip, the stack consists of
two clips, one for each channel. If you dragged a six-channel clip, the stack consists of
six clips, one for each channel.
Option-drag a stereo file
from the Browser to the
Timeline.
The stereo file is split into
two mono files–each in
its own track.
Chapter 4 Working with Multitrack Projects 123
Combining Separate Clips to Create Multichannel Clips
In Soundtrack Pro, you can create a single multichannel clip by combining separate clips.
To create a single multichannel clip from separate clips:
1 Select up to 24 separate source clips in any one of the Soundtrack Pro media tabs (Bin,
Browser, Search, or Favorites).
2 Drag the clips to a track in the Timeline.
The clips are combined into a single multichannel clip.
Note: This feature is available for mono source files only.
Drag multiple mono
source files into the
Timeline to create a
multichannel clip.
124 Chapter 4 Working with Multitrack Projects
Tracks, Busses, Submixes, and the Master Bus
Multitrack projects contain tracks, busses, and submixes. Tracks, busses, and submixes
appear as horizontal rows in the Timeline and as vertical channel strips in the Mixer. In
both the Timeline and Mixer, tracks, busses, and submixes are grouped together, with a
separator between each category. You can move each type within its own category but
cannot move it to either of the other categories. Each track, bus, and submix has a
header with its icon, name, and a set of controls. The Master bus represents the final
mix that goes to physical outputs. The Master bus has no icon or editable name.
Tracks
Tracks contain the audio you add to your project in the Timeline. Each track has a color
label, a name, an icon, and a set of controls that appear in the track’s header in the
Timeline and in its channel strip in the Mixer. Track controls include a volume slider, a
pan control, a submix pop-up menu, and buttons to mute or solo the track, bypass
effects, and enable the track for recording. In addition, each channel strip includes level
meters you can use to watch the track’s levels and a set of effects slots where you can
add and order track effects and sends.
Busses
In Soundtrack Pro, a bus is a separate but parallel audio signal created with a send. A
send can tap an audio signal and create a separate signal known as a bus. (Some might
call this an auxiliary bus.) Busses can be processed or combined independently of the
main signal. They can be combined with other signals in a submix or at the final mix, or
they can be routed to altogether separate outputs.
Each bus has a color label, a name, an icon, and a set of controls that appear in the
bus’s header in the Timeline and in its channel strip in the Mixer. Bus controls are the
same as track controls, except that a bus does not have an Arm for Recording button
(because you can’t record audio to a bus). The bus controls affect the audio of every
track sent (routed) to that bus.
Send
Track
Submix bus
Bus
1
Audio clip
Effects
Volume fader
Chapter 4 Working with Multitrack Projects 125
For example, you could route every dialogue track for a particular actor to a bus with
the actor’s name. You could adjust the volume of all the actor’s dialogue using the bus
volume fader and add an EQ effect that brings out the actor’s voice in the mix. You
could then route that audio bus to a particular submix. The main reason to apply
effects this way (rather than directly on the track) is so you can control the amount and
characteristics of the effect on multiple tracks using one set of controls.
For more information about using busses and sends, see “Using Sends and Busses” on
page 270.
Submixes
Submixes let you combine the audio from different tracks and busses and route the
audio to physical outputs. If you are using external audio hardware that supports
multiple physical outputs, you can add submixes to a project and choose the physical
output to which each submix routes its audio. For more information about signal
routing in Soundtrack Pro, see “Basic Signal Routing in Soundtrack Pro” on page 263.
For example, you could route the audio from the dialogue tracks for each actor to a
submix called “Dialogue” and then route all of the dialogue from that submix to a
single output jack. You could route all music tracks to another submix and all effects
tracks to a third submix. Then you could adjust the volume or add effects separately to
each submix. For a final stereo mix, you could route all submixes to the same pair of
physical output channels (channels 1 and 2, for example), or to separate outputs. In the
case of a surround mix, you could route all submixes to channels 1–6. For a detailed
explanation of this example, see “Example: Mixing a Project with Dialogue, Music,
and Effects Submixes” on page 266.
Each submix has a color label, a name, an icon, and a set of controls that appear in the
submix’s header in the Timeline and in its channel strip in the Mixer. Submix controls
include a volume slider, a pop-up menu where you can choose the physical output
channels for the submix, and buttons to mute or solo the submix and add effects. Each
submix channel strip includes level meters you can use to watch the submix’s levels
and a set of effects slots where you can add and order effects and sends. Submixes do
not have pan controls or Arm for Recording buttons.
126 Chapter 4 Working with Multitrack Projects
For information about working with tracks, busses, and submixes in the Timeline, see
“Working with Tracks, Busses, and Submixes in the Timeline” on page 135. For
information about working with tracks, busses, and submixes in the Mixer, see “Using
Sends and Busses” on page 270.
The Master Bus
The Master bus represents the final mix from Soundtrack Pro: what will be heard from
physical output jacks. On a signal routing basis, the Master bus is practically a mirror
image of the connected hardware output device. It has a single volume control but
does not have panners. You can apply effects to the Master bus, but you cannot
automate those effects. Effects applied to the Master bus are placed across all channels.
For more information about the Master bus, see “Using the Master Bus” on page 290.
Tracks, busses, and submixes in the Timeline
Tracks, busses, and submixes in the Mixer
5
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5 Working in the Timeline
The Timeline is where you arrange audio clips to build your
soundtrack. You can also adjust volume and panning, add
effects, and edit envelopes to control automation.
Note: This chapter covers the mechanics of working with clips, tracks, busses, and
submixes in the Timeline. For strategies on setting up a sound-for-picture
post-production project, see “Example: Mixing a Project with Dialogue, Music,
and Effects Submixes” on page 266. For information on signal routing in
Soundtrack Pro, see “Basic Signal Routing in Soundtrack Pro” on page 263.
Working in the Timeline
The Timeline displays a visual representation of a project, showing the point in time
when audio clips start playing and their duration. You control when and how long clips
play by moving and resizing them in the Timeline.
The Timeline is arranged in three sets of horizontal rows: tracks, busses, and submixes.
You add audio clips to tracks, create submixes using busses, and send audio to physical
output devices using submixes. For information about working with tracks, busses, and
submixes, see “Tracks, Busses, Submixes, and the Master Bus” on page 124.
The Timeline also displays vertical gridlines that make it easy to position clips precisely
in time. The gridlines correspond to the divisions of time in the Time ruler. The units of
time the gridlines display change depending on the Ruler Units setting in the Project
tab and the current zoom level.
128 Chapter 5 Working in the Timeline
Moving Around in the Timeline
Soundtrack Pro provides several controls that let you change the view of the Timeline
and move to different parts of your project. You can zoom in or out for a closer or wider
view of the Timeline, control how many tracks are displayed in the Timeline, and
change which part of the project is currently visible using the scroll bars and project
controls. You can split the Timeline view and use the Global Timeline view to quickly
move to different parts of your project.
Using the Scroll Bars
If the entire project cannot be displayed in the Timeline, you can scroll through the
project using the horizontal scroll bar located at the bottom of the Timeline. Drag the
horizontal scroll bar left or right to move the visible part of the Timeline.
If your project contains more tracks than can be displayed in the Timeline, a vertical
scroll bar appears along the right edge of the Timeline. Drag the vertical scroll bar up
or down to change which tracks are visible.
In the lower left of the project pane are the Timeline controls, including the Track
Height control and Zoom control.
Vertical scroll bar
Horizontal scroll bar
Chapter 5 Working in the Timeline 129
Using the Zoom Control
You can zoom in to make precise edits in the Timeline, or zoom out for a wider view of
your project using the Zoom control.
The Zoom control features a slider on a graduated scale. Moving the slider to the left or
clicking the left side of the control zooms in for a closer view, displaying a smaller area
of the Timeline close up. Moving the slider to the right or clicking the right side of the
control zooms out for a wider view, displaying a wider area of the Timeline.
You can also zoom in and out using menu commands or keyboard shortcuts. If your
mouse has a scrollwheel, you can use it to zoom in and out. You can also fit the entire
project in the visible area of the Timeline.
Timeline zoomed out
Timeline zoomed in
130 Chapter 5 Working in the Timeline
To zoom in, do one of the following:
m Move the Zoom slider to the left.
m Click the left side of the Zoom control.
m Choose View > Zoom In.
m Press Command-plus (+).
m If the mouse connected to your computer has a scrollwheel, position the pointer over
the Zoom control and move the scrollwheel.
To zoom out, do one of the following:
m Move the Zoom slider to the right.
m Click the right side of the Zoom control.
m Choose View > Zoom Out.
m Press the Down Arrow key.
m Press Command-minus (–).
m If your mouse has a scrollwheel, position the pointer over the Zoom control and move
the scrollwheel.
Note: Optionally, you can change the default scrollwheel behavior in the General pane
in Soundtrack Pro preferences to zoom in to the playhead in the Timeline or the File
Editor using the scrollwheel.
To fit the project in the visible area of the Timeline:
m Choose View > Fit in Window (or press Shift-Z).
Using the J, K, and L Keys for Shuttling
You can use the keyboard commands (the J, K, and L keys) to speed playback up to
eight times normal speed. When you use the keyboard shortcuts, the only speed
available under 1x is 1/2x.
{ Moves through
reverse speeds
Pause “ Moves through
forward speeds
Chapter 5 Working in the Timeline 131
To begin forward playback at normal (1x) speed:
m Press L.
To begin reverse playback at normal (1x) speed:
m Press J.
To pause playback:
m Press K.
To double the current playback speed:
m Press L or J again.
You can play back up to eight times normal speed, switching from 1x to 2x to 4x to 8x
normal speed (pressing either key a total of four times).
Pressing the key for playback in the opposite direction halves the playback speed,
slowing down playback in that direction until it reaches 1x playback. Playback then
begins doubling in reverse, starting from 1x.
To immediately reverse the playback direction:
m Press K to pause, then press the key for the direction you want.
To move the playhead one frame at a time:
m Hold down the K key, then press J or L.
To move the playhead at below 1/2x speed:
Hold down the K key, then press and hold down J or L.
Moving the Playhead with Keyboard Shortcuts
Soundtrack Pro provides a variety of keyboard shortcuts to move the playhead.
To move the playhead to the previous edit:
m Press the Up Arrow key.
To move the playhead to the next edit:
m Press the Down Arrow key.
To move the playhead to the previous edit and toggle the clip selection:
m Press Shift–Up Arrow.
To move the playhead to the next edit and toggle the clip selection:
m Press Shift–Down Arrow.
To move the playhead one gridline to the left:
m Press the Left Arrow key.
To move the playhead one gridline to the right:
m Press the Right Arrow key.
132 Chapter 5 Working in the Timeline
For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A,
“Soundtrack Pro Keyboard Shortcuts,” on page 449.
Note: The gridlines correspond to the divisions of time in the Time ruler. The units of
time the gridlines display change depending on the Ruler Units setting in the Project
tab and the current zoom level.
Setting Track Height
You set the height of tracks, busses, and submixes in the Timeline using the Track
Height control. The Track Height control has four settings. The smallest rectangle sets
the track height to a minimized setting, with each track (and track header) reduced to
half-height, allowing more tracks to be displayed in the Timeline.
To set the height of tracks, busses, and submixes, do one of the following:
m Click one of the four rectangles on the Track Height control.
m Press Command-6, Command-7, Command-8, or Command-9.
Note: Track header controls for setting up recording appear in the two tallest track
heights only.
Reduced track
height
Large track height
Chapter 5 Working in the Timeline 133
Using the Global Timeline View
The Global Timeline view, located above the Time display and Time ruler, shows a
miniature view of the entire project. The playhead appears as a black vertical line with a
triangular handle. The part of the project currently visible in the Timeline is indicated
by a blue rectangle in the Global Timeline view.
To move to a new area of the Timeline using the Global Timeline view:
m Drag the visible area rectangle to a new position.
You can quickly move to different parts of the Timeline by dragging the blue rectangle.
This is especially useful when working on longer projects. You can also drag the
rectangle up or down to move vertically in the Global Timeline view. This is useful if
your project contains more tracks, busses, and submixes than can be displayed in the
project pane.
Using the Time Ruler
The Timeline has a Time ruler that shows the divisions of time in a project. You can set
the playhead to a precise frame, point in time, or sample number using the Time-based
units on the Time ruler, or to a specific musical measure or beat using the Beats-based
units, to synchronize playback of audio clips in the Timeline.
The Time ruler changes depending on the time format of the project and the Time ruler
units. If the project is currently set to Time-based format, Time-based units appear in
the upper part of the ruler. If the project is set to Beats-based format, Beats-based units
appear in the upper half of the ruler.
You can use the Time ruler to position clips or the playhead at a precise point in time,
including synchronizing them to a specific timecode reference in a video file.
To set the playhead to a specific point in the Time ruler:
m Click the Time ruler at the point where you want to set the playhead.
Drag this rectangle
to a new position.
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Working with the Cycle Region
You can create a cycle region in a project, an area that plays back repeatedly. This is
sometimes called cycling or looping playback. A project has only one cycle region, but
you can move and resize it as often as you want. Additionally, for selecting, marking,
and exporting purposes, the cycle region functions much like In and Out points in
Final Cut Pro.
You also use the cycle region when recording multiple takes. For information on
recording, see Chapter 13, “Recording Audio in Soundtrack Pro,” on page 367.
To set the cycle region, do one of the following:
m Drag in the Time ruler from the beginning of where you want the cycle region to the end.
m Position the playhead and press I to set the cycle region In point. Position the playhead
and press O to set the cycle region Out point.
m Press X to set the cycle region In and Out points at the boundaries of the clip that
currently intersects the playhead. The clip on the uppermost track is used.
Note: For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A,
“Soundtrack Pro Keyboard Shortcuts,” on page 449.
The cycle region is lighter in color than the rest of the Time ruler, with triangular
markers indicating its start and end points. If a cycle region already exists, you can drag
anywhere in the Time ruler outside of the current cycle region to set the cycle region to
a new position.
If cycling is turned off, you must turn it on for the cycle region to be active. The Cycle
button darkens to indicate that the cycle region is activated.
To activate or deactivate the cycle region, do one of the following:
m Click the Cycle button in the transport controls.
m Press C.
To move the cycle region:
m Click in the bottom half of the cycle region and drag it to a new position in the Timeline.
Drag in the Time ruler to
set the cycle region.
Chapter 5 Working in the Timeline 135
To resize the cycle region:
m Drag either the In point or Out point handle in the Time ruler to resize the cycle region.
To remove the cycle region, do one of the following:
m Choose Edit > Cycle Region > Remove Cycle Region (or press Option-X).
m Control-click the cycle region, then choose Cycle Region from the shortcut menu and
Remove Cycle Region from the submenu.
Working with Tracks, Busses, and Submixes in the Timeline
The Timeline is arranged sets of horizontal rows: tracks, busses, and submixes. You add
audio to tracks in your project, use busses to create effect sends, and route audio to
physical output channels using submixes.
The tracks in a project appear in the upper part of the Timeline. Busses appear below
tracks, and submixes appear below busses. The Master bus appears below submixes.
The Master bus represents the final mix that will be heard from physical output jacks. It
has a single volume control and no panners or meters. You can apply effects to the
Master bus.
A separator between each set of Timeline rows helps visually distinguish them, and
disclosure triangles on each separator let you show or hide the different sets. Tracks,
busses, and submixes in the Timeline correspond to channel strips in the Mixer. When
you add a track, bus, or submix, adjust its controls, or add effects, the same changes
appear in the corresponding channel strip when you open the Mixer.
Tracks, busses, and submixes are described in greater detail in “Tracks, Busses,
Submixes, and the Master Bus” on page 124.
Adding Tracks, Busses, and Submixes
There are several ways to add tracks, busses, and submixes.
To add a track, do one of the following:
m Choose Multitrack > Add Track (or press Command-T).
m Control-click an open area of the Timeline, then choose Add Track from the
shortcut menu.
m Control-click a track, then choose either Add Track Above or Add Track Below from the
shortcut menu.
To add a bus, do one of the following:
m Choose Multitrack > Add Bus.
m Control-click a bus, then choose either Insert Bus Before or Insert Bus After from the
shortcut menu.
136 Chapter 5 Working in the Timeline
To add a submix, do one of the following:
m Choose Multitrack > Add Submix.
m Control-click a submix, then choose either Insert Submix Before or Insert Submix After
from the shortcut menu.
Selecting Tracks, Busses, and Submixes
You can select a track, bus, or submix in order to move, copy, or remove it, and you can
also select tracks, busses, and submixes to export. The headers of selected tracks,
busses, and submixes appear darker in the Timeline.
To select a track, bus, or submix, do one of the following:
m Click in the header for the track, bus, or submix.
m Click anywhere in the row for the track, bus, or submix in the Timeline.
m Press Control-Up Arrow or Control-Down Arrow.
You can select multiple tracks, busses, or submixes in the Timeline.
To select adjacent tracks, busses, or submixes, do one of the following:
m Shift-click in the header of each track, bus, or submix.
m Press Shift-Control-Up Arrow or Shift-Control-Down Arrow.
To select nonadjacent tracks, busses, or submixes:
m Command-click in the header of each track, bus, or submix.
Grouping Tracks, Busses, and Submixes
You can create groups of tracks, groups of busses, and groups of submixes. Groups
provide a way to easily select and make changes (such as volume, mute, solo, and lock
adjustments) to many tracks, busses, or submixes at once. When Mixer objects are
grouped, selecting one item in the group selects all items in that group.
Note: It is not possible to group Mixer objects from different categories. For example,
you cannot group tracks with busses or tracks with submixes.
The selected track is
highlighted.
Chapter 5 Working in the Timeline 137
To group tracks, busses, or submixes:
1 Confirm that grouping is enabled by choosing Multitrack > Groups Enabled.
2 Do one of the following:
 Select any combination of tracks.
 Select any combination of busses.
 Select any combination of submixes.
3 Choose Multitrack > Group Tracks (or press Command-G).
The selected items are grouped.
Applying Changes to Groups of Selected Tracks, Busses, and Submixes
When multiple tracks, busses, or submixes are selected (whether they are officially
grouped or not) you can apply the following changes to all the selected items at once:
Changes in the track header or the shortcut menu:
 Toggling the envelopes
 Volume
 Effect bypass
 Mute
 Solo
 Setting track color
 Track locking
 Remove track
 Switching between stereo/surround panner
Changes in the Timeline:
 Blade tool
 Creating a Timeslice selection
 Marquee-selecting multiple clips with the Selection tool
138 Chapter 5 Working in the Timeline
Managing Track Selections with the Tracks Tab
The Soundtrack Pro Tracks tab is a convenient tool for selecting and grouping tracks,
busses, and submixes. The Tracks tab consists of three sections: the Mixer Objects
outline, the Groups outline, and a channel strip for the currently selected item.
Mixer Objects Outline
The upper left of the Tracks tab displays an outline view of the Timeline, including all
tracks, busses, and submixes. Use this outline to quickly manage, select, and group
Mixer objects (track, bus, or submix) without having to view the entire Timeline.
To select an individual Mixer object (track, bus, or submix) in the Tracks tab:
m Click the track, bus, or submix in the Mixer Objects outline.
You can also use the Up and Down Arrow keys to navigate through individual
Mixer objects.
To select adjacent Mixer objects in the Tracks tab:
m Shift-click the adjacent tracks, busses, or submixes in the Mixer Objects outline.
To select nonadjacent tracks, busses, or submixes:
m Command-click the nonadjacent tracks, busses, or submixes in the Mixer Objects outline.
Chapter 5 Working in the Timeline 139
Groups Outline
The Groups outline displays an outline view of any grouped tracks, busses, or submixes
in the project. You can use the Groups outline to group Mixer objects, disable or enable
groups, rename groups, delete groups, and delete items from groups.
To group tracks, busses, or submixes in the Groups outline:
1 Confirm that grouping is enabled by choosing Multitrack > Groups Enabled.
2 In the Mixer Objects outline, do one of the following:
 Select any combination of tracks.
 Select any combination of busses.
 Select any combination of submixes.
For more information on selecting, see “Selecting Tracks, Busses, and Submixes” on
page 136.
3 Choose Multitrack > Group Tracks (or press Command-G).
The selected items are grouped and the new group appears in the Groups outline.
To enable or disable groups in the Groups outline:
m Click the checkbox next to the group in the Groups outline to enable or disable it.
Note: Three standard groups (All Tracks, All Busses, and All Submixes) are disabled
by default.
140 Chapter 5 Working in the Timeline
To rename a group in the Groups outline:
1 Double-click the name.
2 Enter the new name.
To delete a group or remove an item from a group:
1 Select the group or item in the Groups outline.
2 Press Delete.
Channel Strip
The right side of the Tracks tab displays a single channel strip for the currently selected
track, bus, or submix. (This channel strip is identical to the corresponding channel strip
in the Mixer in every way, including all controls and current settings.) It is a quick way
to access the mixing controls for a particular Mixer object.
Note: The channel strip is displayed only if a single track, bus, or submix is selected.
For more information about channel strips, see “Working with Channel Strips in the
Mixer” on page 273.
Chapter 5 Working in the Timeline 141
Moving and Copying Tracks, Busses, and Submixes
As you work on your project, you may want to rearrange tracks, busses, and submixes. You
can move and copy them to change their vertical arrangement in the track, bus, or submix
section of the Timeline. You cannot move one to the area for another (as indicated by the
rows labeled “Tracks,” “Busses,” “Submixes,” and “Master” in the Timeline).
You can only move or copy one track, bus, or submix at a time.
To move a track, bus, or submix:
m Drag the track, bus, or submix header up or down to a new vertical position.
A light blue horizontal line in the header area indicates the place the track, bus, or
submix is moved to when you release the mouse button.
To copy a track, bus, or submix:
m Option-click in the header for the track, bus, or submix, then drag it up or down.
A copy of the track, bus, or submix appears when you release the mouse button.
Renaming Tracks, Busses, and Submixes
By default, tracks are numbered when created and take the name of the first audio clip
you add to them. Busses and submixes are numbered starting from 1 (Bus 1, Submix 1,
and so on). You can rename a track, bus, or submix and use the names to distinguish
the type of audio it contains (for example, dialogue, voiceovers, music, or sound
effects), its part in the overall project, or to identify it in some other way.
To rename a track, bus, or submix:
m Click the name field in the header for the track, bus, or submix and type a new name.
Note: You cannot rename the Master bus.
Changing a Track, Bus, or Submix Icon
You can choose a new icon from the icon grid or add your own image to the grid.
To change the icon for a track, bus, or submix, do one of the following:
m Double-click the icon, then select a new icon from the icon grid that appears.
m Drag a graphics file from the Finder to the icon.
142 Chapter 5 Working in the Timeline
Using the Track Controls
Tracks, busses, and submixes have headers, located along the left side of the
Timeline. Each header contains track controls that you can use to mute or solo the
track, bus, or submix, adjust its volume level and pan position, add effects, and show
or hide its envelopes.
Adjusting Volume
The volume slider controls the volume (the loudness relative to other tracks) of the
track, bus, or submix.
To adjust the volume level of a track, bus, or submix:
m Drag the volume slider left or right.
The range is –96 dB to +6 dB, with the default at 0 dB. Double-clicking the slider resets
it to the 0 dB position.
Adjusting Pan Position
Tracks and busses also include panning controls. The stereo pan slider controls the
stereo pan position (the left-to-right placement in the stereo field) of the track. The
surround panner controls the surround pan position, placing sounds in a
multidimensional space defined by 5.1-surround speaker systems.
To adjust the pan position of a track or bus, do one of the following:
m In stereo mode, drag the pan slider left or right.
The range is –100 (full left) to +100 (full right), with the default at 0 (center position).
Double-clicking the slider resets it to the center position.
Drag the volume slider
left or right.
Drag the slider to pan
the sound.
Chapter 5 Working in the Timeline 143
m In surround mode, drag anywhere inside the black circle to position the puck.
For finer panning adjustments and other surround controls, double-click the surround
panner to open the Surround Panner HUD.
For more information about using surround panners, see “Using Surround Panners to
Create a Surround Mix” on page 299. For more information about the Surround Panner
HUD, see “The Surround Panner HUD” on page 300.
Muting and Soloing Tracks, Busses, and Submixes
The Mute button mutes (silences) the track, bus, or submix. You can mute multiple
tracks, busses, and submixes, which allows you to hear only the remaining, unmuted
ones. Muting lets you compare the sound of the project using different combinations
of tracks, busses, and submixes, and hear the result of changes you make to them.
To mute a track, bus, or submix:
m Click the Mute button. Click the Mute button again to unmute the track, bus, or submix.
Muted tracks, busses, and submixes appear darker in the Timeline and their clips
appear translucent, making it easy to identify which tracks are currently audible.
The Solo button solos the track, bus, or submix, muting all others. Soloing a track, bus,
or submix lets you quickly isolate it from the rest of the project, so you can adjust the
sound of the soloed track, bus, or submix and make changes.
Drag the puck to pan
the sound.
Click the Mute button to
mute the track, bus, or
submix.
muted track
144 Chapter 5 Working in the Timeline
Soundtrack Pro supports multiple solo and exclusive solo. Clicking the Solo button for
multiple tracks, busses, or submixes solos them and mutes all others. When you exclusively
solo a track, bus, or submix, all others are muted, regardless of whether they are soloed.
To solo a track, bus, or submix (multiple solo):
m Click the Solo button. Click the Solo button again to unsolo the track, bus, or submix.
To exclusively solo a track, bus, or submix:
m Option-click the Solo button. Click the Solo button again to unsolo the track, bus, or submix.
When you solo tracks, busses, or submixes, the ones not soloed appear darker in
the Timeline, and their clips appear translucent.
Adding Effects to a Track, Bus, or Submix
You can use the Effects tab, which you use to add effects. The Effects tab also displays
any effects currently assigned to the track, bus, or submix.
To add effects to a track, bus, or submix:
1 Do one of the following:
 Control-click the header for the track, bus, or submix, then choose Show (Track, Bus,
or Submix) Effects from the shortcut menu.
This activates the Effects tab.
 Click the header for the track, bus, or submix to select it. If it is not already active,
click the Effects tab to activate it.
Click the Solo button to
solo the track, bus, or
submix.
soloed track
Chapter 5 Working in the Timeline 145
2 Select a category in the Category list to display the effects for that category in the
Effect list.
3 In the Effect list, do one of the following:
 Double-click the effect you want to add.
 Select the effect name, then click the Add Effect button.
 Drag the effect to the Effect Parameters area.
The effect’s advanced settings window appears, and the effect name appears in the
Effect Parameters area with its checkbox selected.
For detailed information about adding and adjusting effects, see Chapter 11, “Working
with Audio Effects,” on page 327.
Showing and Hiding Track, Bus, and Submix Envelopes
Clicking the automation disclosure triangle for a track or bus shows the volume and
pan envelopes, which you can use to automate changes to pan position and volume
level over the course of the project. Clicking the triangle for a submix shows the
submix’s volume envelope. The envelopes appear in the Timeline below the track, bus,
or submix. You can also add envelopes for effect parameters, which appear below the
other envelopes. For information on adding envelopes for effect parameters, see
Chapter 11, “Working with Audio Effects,” on page 327.
Select the category
of effects you want to
use from this list.
...to the Effect
Parameters area.
Drag the effect from
the Effect list...
146 Chapter 5 Working in the Timeline
To show or hide the envelopes for a track, bus, or submix, do one of the following:
m Click the envelopes disclosure triangle in the header for a track, bus, or submix. Click
the disclosure triangle again to hide the envelopes.
m Press E to show envelopes for any selected tracks. Press E again to hide the envelopes.
Note: If you automate controls or effects using envelopes, you hear the results whether
or not the envelopes are visible.
For information on automating changes to volume, pan, and other settings, see
Chapter 12, “Working with Automation,” on page 355.
Changing Track Time Format
By default, tracks use the same time format as the project (Time-based or Beats-based).
You can change the time format of a track, which changes the behavior of tagged clips
when you change the project tempo.
When the track time format is Time-based, clips remain at the same time position (the
same second or frame) when you change the project tempo. When the track time
format is Beats-based, clips remain at the same beat position (the same measure, beat,
and beat division) when you change the project tempo.
When you set a track to Beats-based time format, a metronome appears in the corner
of the track icon.
To change a track’s time format:
1 Select the track.
2 Choose Multitrack > Track Time Base, then choose a format from the submenu.
Click the envelopes
disclosure triangle.
The envelopes appear
below the track in the
Timeline.
Chapter 5 Working in the Timeline 147
Removing Tracks, Busses, and Submixes
You can remove a track, bus, or submix if you decide you no longer want it in a project.
To remove a track, bus, or submix, do one of the following:
m Select the track, bus, or submix, then choose Multitrack > Remove [item] (or press
Command-Shift-T).
m Control-click the track, bus, or submix, then choose Remove [item] from the shortcut menu.
The [item] changes depending on whether a track, bus, or submix is selected.
Selecting Audio Clips in the Timeline
You select the audio clips you want to edit. You can select a single clip or multiple clips,
including clips in different tracks. When you select a clip, it appears darker than
unselected clips, and it has a white border. Selecting individual clips is as straightforward
as clicking, as long as you are clicking with the right tool. Also included here are the tricks
you need to know for selecting multiple contiguous and noncontiguous clips quickly.
To select an individual clip:
1 Click the Selection tool at the top of the Timeline (or press A).
2 In the Timeline, click anywhere in a clip.
To select multiple audio clips in the same track:
1 Click the Selection tool at the top of the Timeline (or press A).
2 Do one of the following:
 Hold down the Command key while selecting the desired clips using the Selection tool.
 Drag from a point in the track before the first clip you want to select to a point after
the last clip you want to select, encompassing the clips.
 If the clips are adjacent, select a clip item, then hold down the Shift key and select
another clip item farther down on the Timeline. All of the clips between the two
are selected.
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To select multiple audio clips in different tracks, do one of the following:
m Shift-click the clips in the Timeline.
All clips between those two tracks are selected as well.
m Command-click the clips in the Timeline.
m Drag across multiple tracks to select the clips.
Note: If there is no track background available because the tracks in your project are
too dense, you can also make the selection by dragging in the track separator.
To deselect an individual clip item within a selection:
1 Select the Selection tool in the Tool palette (or press A).
2 Command-click the item you want to deselect.
To select all clips using the same source audio file, do one of the following:
m Select the clip in the Timeline or the Bin tab, then choose Clip > Select All Occurrences
of [filename].
m Control-click the source audio file in the Bin tab, then choose Show in Timeline from
the shortcut menu.
Chapter 5 Working in the Timeline 149
Selecting the Entire Contents of a Track
Sometimes you may find that you want to select all of the clips on a track in order to
drag them to close a gap or to create space to accommodate new clips in your project.
After selecting a track’s contents, you can perform different operations on all the track’s
items at once, such as moving, copying, or deleting them. This feature also works with
multiple tracks.
To select all the clips on selected tracks:
1 Select one or more tracks.
For more information on selecting tracks, see “Selecting Tracks, Busses, and Submixes”
on page 136.
2 Choose Edit > Select > Across Tracks (or press Shift-T).
All clips in the track are selected.
If you make this selection in Selection tool mode, all clips on currently selected tracks
are selected. Any clips that were selected before choosing the menu item are included
in the new selection.
Note: Double-clicking a track in Selection tool mode selects all clips in that track. Any
previously selected clips are not included in the new selection. Triple-clicking a track
selects all clips in the Timeline.
If you make this selection in Timeslice tool mode, any existing Timeslice selection is
extended horizontally to cover the entire duration of the project. If there is no existing
Timeslice, Soundtrack Pro creates a Timeslice across the entire length of all selected
tracks (or all tracks if none are selected).
Note: Double-clicking a track in Timeslice tool mode creates a timeslice over the
double-clicked area (either a clip or the gap between two clips). Triple-clicking a track
creates a Timeslice across the entire track.
150 Chapter 5 Working in the Timeline
Selecting Partial Contents of One or More Tracks
When there are many clips in a multitrack project, it’s difficult to see and select many of
them at once, especially if you don’t want to zoom in and out frequently. The Select
Forward and Select Backward commands let you easily select all clips before or after
the playhead.
To select all the clips to the right or the left of the playhead on selected tracks:
1 Select one or more tracks.
For more information on selecting tracks, see “Selecting Tracks, Busses, and Submixes”
on page 136.
2 Position the playhead in the Timeline.
3 Do one of the following:
 To select everything to the right of the playhead in the selected tracks, choose Edit >
Select > Forward (or press Shift-End).
 To select everything to the right of the playhead in the selected tracks, choose Edit >
Select > Backward (or press Shift-Home).
If you make this selection in Selection tool mode, all clips to the right (Forward) or left
(Backward) of the playhead in the selected tracks are selected. Any clips that were
selected before choosing the menu item are included in the new selection.
The clips at and
to the right of
the playhead are
selected.
Chapter 5 Working in the Timeline 151
If you make this selection in Timeslice tool mode, any existing Timeslice selection is
extended to the end of the project (for the Forward option) and to the beginning of
the project (for the Backward option). If there is not an existing Timeslice,
Soundtrack Pro creates a Timeslice across selected tracks starting at the playhead and
extending to the end of the project (for the Forward option) and to the beginning of
the project (for the Backward option).
Note: If you hold down the Option key, the menu items read Select > All Forward and
Select > All Backward and behave the same as described above except the selection is
across all tracks instead of just the selected tracks.
Cutting, Copying, and Pasting Audio Clips
You can cut, copy, and paste audio clips in the Timeline. You can also paste multiple
copies of a clip.
To cut an audio clip:
m Select the clip in the Timeline, then choose Edit > Cut (or press Command-X).
The clip is removed from the Timeline and placed on the Clipboard.
To copy an audio clip, do one of the following:
m Select the clip in the Timeline, then choose Edit > Copy (or press Command-C).
m Option-drag the clip to the position where you want to copy it.
To paste an audio clip:
m Set the playhead at the position where you want to paste the clip, then choose Edit >
Paste (or press Command-V).
The clip is pasted in the currently selected track, starting at the current playhead position.
If no track is selected, the clip is pasted in the track from which it was cut or copied.
When pasting clips cut or copied from different positions in the Timeline or from
multiple tracks, the following conditions apply:
 Pasting clips from different Timeline positions: The clip closest to the beginning of the
project is pasted at the current playhead position, and the remaining clips are pasted
at the same positions in time relative to the first clip as when they were cut or copied.
 Pasting clips from multiple tracks: The clip from the topmost track is pasted in the
currently selected track, and the remaining clips are pasted at the same positions
relative to the first clip as when they were cut or copied. If there are not enough
tracks to accommodate the clips being pasted, a dialog appears asking if you want to
create new tracks for the clips. If you choose not to create new tracks, only the clips
for which tracks already exist are pasted.
152 Chapter 5 Working in the Timeline
When pasting audio clips, you can choose to paste multiple copies of the clip in
succession. Using the Paste Repeat command, you can paste any number of copies of a
clip in the selected track.
To paste multiple copies of a clip:
1 Cut or copy the clip.
2 Set the playhead to the point where you want to paste the first copy of the clip.
3 If you want to paste the copies in a different track, select the track.
4 Choose Edit > Paste Special > Paste Repeat (or press Option-Command-V).
5 In the Paste Repeat dialog, enter the number of times you want to paste the clip.
The copies are pasted in the selected track, starting at the current playhead position. If
no track is selected, the copies are pasted in the same track as the cut or copied clip.
Removing Audio Clips
As you work on a project, you may decide that a clip that sounded great on its own no
longer fits with the overall composition. You can remove clips from a project by
deleting them from the Timeline.
To remove an audio clip:
m Select the clip, then choose Edit > Delete (or press the Delete key).
Type the number of
times you want to
paste the clip in the
Paste Repeat dialog.
The copies are pasted in the
selected track, starting at the
current playhead position.
Chapter 5 Working in the Timeline 153
Spotting Clips to the Timeline
Soundtrack Pro allows you to easily spot clips to the Timeline. You can spot clips to the
playhead location or you can spot clips to the Timeline based on timecode information
inherent in the clip or that you enter in the Spot to Timecode dialog.
To spot a clip to the playhead:
1 Position the playhead where you would like to spot the clip.
2 Select the track on which you would like to spot the clip.
3 Do one of the following:
 Select the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Clip > Spot to Playhead (or press Command-\).
 Control-click the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Spot to Playhead from the shortcut menu.
The clip is added to the Timeline at the specified playhead location.
To spot a clip to the Timeline using timecode:
1 Select the track on which you would like to spot the clip.
2 Do one of the following:
 Select the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Clip > Spot to Timeline (or press
Command-Shift-\).
 Control-click the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser,
Favorites, or Search tab), then choose Spot to Timeline from the shortcut menu.
3 Do one of the following:
 Select Use Embedded Timecode if the clip contains timecode intended to place it in
the proper location in the Timeline.
 Enter the target Timeline timecode location.
4 Click Spot.
The clip is added to the Timeline at the specified timecode location.
The Spot to Timeline
dialog appears.
154 Chapter 5 Working in the Timeline
Moving Clips
As you work in Soundtrack Pro, you may want to move tracks to new positions. There
are several ways to do this: dragging clips, entering timecode values, and using
keyboard shortcuts.
Moving Audio Clips
You can move an audio clip in the Timeline by dragging the clip to a new position. You
can also move the clip to a different track.
To move an audio clip to a new time position:
m Drag the clip left or right to a new position in the Timeline.
To move an audio clip to a new track:
m Drag the clip up or down to a different track.
You can also move an audio clip using the Left and Right Arrow keys with various
modifier keys. Using the Option key with the arrow keys moves the clip by one pixel at
a time; using the Option and Shift keys with the arrow keys moves the clip to the next
gridline in the Timeline.
When you move a clip by one pixel, the amount the clip moves in time depends on the
current zoom setting.
You can lock the horizontal (time) position of an audio clip when moving the clip
between tracks in the Timeline. This makes it easy to keep the clip’s start point when
moving the clip or copying it by Option-dragging.
To lock the time position of a clip as you move it between tracks:
m Hold down the Shift key while dragging the clip up or down to a different track.
Drag a clip up or down
to move it to a different
track.
Drag a clip left or
right to move it to a
new position.
Chapter 5 Working in the Timeline 155
Moving Clips Numerically
When you want to move clips precisely, you can move them by entering positive or
negative timecode values.
To move an item by entering a timecode value:
1 In the Timeline, select the clip item or items you want to move.
2 Type a relative timecode value for where you want the clip to be positioned.
For example, type +48 (or simply 48) to move the item 48 frames forward. To move 48
frames backward in time, type –48. When you type a number, a Move field appears at
the top of the Timeline.
Note: Don’t click in the Current Timecode field before you do this, or you’ll move the
playhead instead.
Moving Clips with Keyboard Shortcuts
Soundtrack Pro provides a variety of keyboard shortcuts to move selected clips.
To move a selected clip up one track:
m Press Command-Option-Up Arrow.
To move a selected clip down one track:
m Press Command-Option-Down Arrow.
To nudge a selected clip one video frame to the left:
m Press Command-Option-Left Arrow.
To nudge a selected clip one video frame to the right:
m Press Command-Option-Right Arrow.
To nudge a selected clip one gridline to the left:
m Press Command-Left Arrow.
To nudge a selected clip one gridline to the right:
m Press Command-Right Arrow.
To move a selected clip one edit point to the left:
m Press Command-Up Arrow.
To move a selected clip one edit point to the right:
m Press Command-Down Arrow.
Note: These commands are also available as menu commands by choosing Edit >
Move Selection.
For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A,
“Soundtrack Pro Keyboard Shortcuts,” on page 449.
156 Chapter 5 Working in the Timeline
Snapping Clips to Clips on Adjacent Tracks
If snapping is turned on, you can snap a clip to the edges of a clip in an adjacent track
(the track either directly above or directly below the track containing the clip). This is
especially useful when the start and end points of clips do not fall on the current
Snap To value.
To snap a clip to adjacent clips:
m Choose View > Snap To > Adjacent Tracks.
Resizing Audio Clips
You control the duration of an audio clip (the amount of time the clip plays back) by
resizing the clip. When you add a clip to the Timeline, the clip has the same duration as
the source audio file. You can shorten clips to play back only a part of the source file.
When you lengthen a clip with looping playback mode, it repeats the source file
multiple times.
To resize an audio clip:
1 Place the pointer at either the left or right edge of the audio clip.
The pointer changes to a Clip Resize pointer.
2 Click the edge of the clip and drag left or right to resize it.
When you lengthen a regular, nonlooping clip beyond its original length,
Soundtrack Pro adds blank space at the end of the clip.
When you lengthen a clip with looping playback mode, the notches at the top and
bottom of the clip indicate the end of each repetition of the source audio file.
A blank space appears
when a nonlooping clip
is lengthened beyond its
original length.
Notches indicate the
points where a looping
clip repeats.
Drag the clip to the left
or right to resize it.
Chapter 5 Working in the Timeline 157
When you resize a clip by shortening its left edge, you change the point in the source
audio file at which the clip starts playing, making the earlier part of the source audio
inaudible. When you resize a clip by shortening its right edge, the part you shorten
becomes inaudible. You cannot lengthen the left edge of a clip with non-looping
playback mode beyond the beginning of the source audio file.
When you resize a clip, the edge being resized jumps to the nearest Snap To position if
snapping is turned on. If you want to resize the clip independently of the Snap To
value, change the Snap To value or turn off snapping before you resize the clip. For
information about snapping, see “Using Snapping” on page 94.
Changing the Offset of an Audio Clip
When you add an audio clip to the Timeline, the clip plays back from the beginning of
the source audio file. The point in the audio file where the clip starts playing is called
the offset. By default, a clip’s offset is zero, the beginning of the source audio file. You
can change the offset so that the clip starts playing from a later point in the source
audio file. (In Final Cut Pro, this is known as a slip.) This allows you to use the audio from
a later part of the source file without splitting the clip.
To slip (change the offset of) a clip:
m Select the clip, then Command-Option-drag left (toward the beginning of the project).
Once you have changed the offset by dragging to the left, you can also drag to the
right to change the offset.
Note: You can only drag the offset to a later part of the clip’s source audio file, not to a
point before the beginning of the file.
When you change the offset of a clip, the waveform moves inside the clip’s boundary to
indicate the change in offset. The length of the clip stays the same. If the clip has not
been resized, it will reach the end of the source audio file and start looping. As you
move the offset by dragging, the clip’s notches move to show the point at which the
clip will start looping.
Command-Option-drag
left to change the clip’s
offset.
The waveform moves
inside the clip’s boundary
to indicate the change in
offset.
158 Chapter 5 Working in the Timeline
Creating Fades and Crossfades in the Timeline
One of the most common tasks of a sound editor is adding fade-ins and fade-outs to
individual clips and crossfades between clips to smooth the overall sound of a video or
motion picture soundtrack.
Creating Fade-Ins and Fade-Outs in the Timeline
Soundtrack Pro lets you easily add fades and crossfades and adjust the fade type
directly in the multitrack Timeline.
To create a fade-in or fade-out on a clip in the Timeline:
1 Move the pointer Over the top-left edge of the clip (for a fade-in) or top-right edge of
the clip (for a fade-out).
The pointer becomes a fade pointer.
2 Drag from the corner toward the center of the clip.
A fade is superimposed over the clip.
3 Drag the edge of the fade left or right to adjust the fade duration.
Chapter 5 Working in the Timeline 159
To adjust the fade type:
1 Double-click the fade in the Timeline.
The Fade Selector window appears.
2 Click one of the four buttons on the left side of the Fade Selector to select a fade type.
 Linear: The rate of attenuation stays constant over the length of the fade.
 Logarithmic: Starts quickly, then slowly tapers off toward the end.
 Exponential: Starts slowly, then moves quickly toward the end.
 S-curve: Eases in and out of the fade, with the midpoint at 0 dB.
Note: This list describes the different types of fade-ins. The reverse behavior is true for
fade-outs in the logarithmic and exponential cases.
The fade in the Timeline is updated to reflect your choice of fade type.
Note: The default fade type is +3 dB. Choose Soundtrack Pro > Preferences > General
to change the default fade type.
Linear
Logarithmic
Exponential
S-curve
160 Chapter 5 Working in the Timeline
Creating Crossfades Between Audio Clips
Crossfades let you create smooth transitions between one audio clip and the next and
avoid clicks or sudden changes in loudness that can result when placing audio files one
after another.
To create a crossfade between audio clips, you set the project to crossfade mode, then
drag an audio clip so that it overlaps another clip. A crossfade is created for the length
of the overlapped area.
To set the project to crossfade mode:
m Click the Crossfade Mode button, located above the Global Timeline view.
In crossfade mode, when you drag an audio clip so that it partially overlaps another
audio clip in a track in the Timeline, a crossfade is created for the overlapped part of
the two audio files. You can adjust the boundaries of the crossfade in the Timeline.
To create a crossfade:
m In the Timeline, drag an audio clip so that it overlaps another audio clip.
The crossfade appears in the overlapped area of the two clips.
You can adjust crossfades in several ways. You can change the edges of the crossfaded
clips or move the position of the crossfade without changing its length.
To adjust crossfade boundaries:
1 Move the pointer over the left or right edge of the crossfade.
The pointer becomes a crossfade pointer.
2 Drag the edge of the crossfade to adjust the crossfade boundary.
To move the crossfade without changing its length:
m Drag the lower area of the crossfade left or right.
As with other edits you make in the Timeline, creating a crossfade between two audio
clips does not change the source audio files.
Crossfade Mode button
Crossfade
Chapter 5 Working in the Timeline 161
To adjust the crossfade type:
1 Double-click the crossfade.
The Fade Selector window appears with two columns of the four fade type choices.
Note: For descriptions of the four fade types, see “To adjust the fade type:” on
page 159.
2 Click one of the four buttons in the column on the left to select a fade-out type for the
left clip.
The crossfade in the Timeline is updated to reflect your choice of fade type.
3 Click one of the four buttons in the column on the right to select a fade-in type for the
right clip.
The crossfade in the Timeline is updated to reflect your choice of fade type.
Π Tip: Fades and crossfades can be applied using keyboard shortcuts. For a complete list
of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro
Keyboard Shortcuts,” on page 449.
162 Chapter 5 Working in the Timeline
Truncating Overlapping Audio Clips
You can have Soundtrack Pro truncate the overlapping part of audio clips in the
Timeline instead of crossfading them. To truncate audio clips, you set the project to
truncate mode, then drag an audio clip so that it overlaps another clip.
To set the project to truncate mode:
m Click the Overlap Mode button, located above the Global Timeline view.
In truncate mode, when you drag an audio clip so that it partially overlaps another
audio clip in a track in the Timeline, the overlapped part of the clip is truncated.
To truncate an audio clip:
m In the Timeline, drag another audio clip over part of the clip.
Editing Audio Clips in the Multitrack Timeline
Most audio applications focus on multitrack editing or waveform editing, but not both.
Furthermore, most waveform editing applications handle media destructively—making
permanent changes to your media files. Soundtrack Pro provides the best of both
worlds: nondestructive waveform editing while working in a multitrack project.
You can edit audio clips in a variety of ways in the Timeline. You can select, cut, copy,
and paste clips, move, resize, transpose, split and join them, and edit them in other
ways. You can also apply any actions and process menu operations to any clip directly
in the Timeline.
You can view and modify a clip’s media file in the File Editor tab without losing the
context of your multitrack timeline. This is called editing in place. Simply select a clip in
the Timeline and it appears in the File Editor tab below. The playhead in the Timeline
and the File Editor tab are synchronized so you can play the media file within the
context of your whole multitrack project. Any changes you make to the media file are
updated in the Timeline immediately. You can also solo any item in the File Editor tab.
Chapter 5 Working in the Timeline 163
If you prefer, you can also double-click a clip in your multitrack project and its media
file opens in the File Editor project view, ready for waveform editing. Changes you
make to the file are instantly reflected in the multitrack project.
164 Chapter 5 Working in the Timeline
Using the Timeline Editing Tools
The Timeline includes editing tools you can use to edit and adjust clips in the Timeline.
Selection Tool
When you open the Timeline, the pointer is a selection pointer (arrow). You can use the
Selection tool to select clips and tracks by clicking them and use it to make marquee
selections across multiple tracks. When you are done using another Timeline editing
tool, you can return the pointer to a selection pointer by clicking the Selection Tool
button or by pressing A.
Timeslice Tool
You can use the Timeslice tool to make time-based selections. Timeslice tool selections
are entirely time-based, so you can use the Timeslice tool to select portions of clips or
portions of multiple clips. (This is unlike selections across multiple tracks with the
default Selection tool, which can only select whole clips.) Timeslice selections in the
Timeline will also appear as selections in the File Editor tab. For more information
about the Timeslice tool, see “Editing with the Timeslice Tool” on page 174.
Blade and Blade All Tools
Using the Blade tool, you can perform many splits consecutively without moving the
playhead each time. Use the Blade All tool to split across all tracks. For more
information about the Blade and Blade All tools, see “Splitting and Joining Audio Clips”
on page 170.
Selection tool
Timeslice tool
Blade tool Blade All tool
Chapter 5 Working in the Timeline 165
Lift and Stamp Tools
The Lift and Stamp tools provide an efficient way to transfer properties from one clip to
one or more other clips. Use the Lift tool to copy properties from selected clips and
create a processing template in the Sound Palette that can be applied to other clips.
Use the Stamp tool to apply those properties to the other clips. For more information
about the Lift and Stamp tools, see “Using the Lift and Stamp Tools” on page 179.
Scrub Tool
The Soundtrack Pro Scrub tool provides detailed scrubbing that realistically
approximates the “rock-the-reels” scrubbing on analog tape decks. For more
information about the Scrub Tool, see “Scrubbing Audio Files” on page 200.
Timeline Editing Tools HUD
The Timeline includes a handy HUD that provides all of the graphical Timeline editing
tools at the stroke of a single keyboard shortcut. This saves you the time and effort of
having to move the pointer up to the top of the Timeline whenever you need to select
(or deselect) a Timeline editing tool.
To use the Timeline Editing Tools HUD:
1 Press the grave accent key ( ` ).
The Timeline Editing Tools HUD appears at the pointer location.
2 In the HUD, do one of the following to choose the Timeline editing tool that you want
to use:
 Click the tool’s icon.
 Press the corresponding number key (1–7, left to right).
 Use the Left and Right Arrow keys and press Enter.
When you have finished using a Timeline editing tool, it is a good idea to immediately
return to the default Selection tool.
Lift tool Stamp tool
Scrub tool
166 Chapter 5 Working in the Timeline
Editing in Place
Editing a clip’s media file in place (directly in the Timeline) is nearly identical to editing
any other media file in the Soundtrack Pro File Editor. All of the same effects, editing
tools, and waveform views are available. However, there are a few differences:
 Timeline and File Editor playhead synchronization: When you edit a clip’s media file in
place, the Timeline and File Editor playhead are synchronized so you can work with
the media file within the context of your multitrack project.
 Multiple region markers: Because a media file may be referred to by multiple clips in a
multitrack project, you may see multiple region markers above a media file in the File
Editor. Each region marker shows the In and Out points of a clip in the Timeline that
refers to this media file. This alerts you to the fact that changes you make to this
media file may affect multiple clips.
How Clips Are Affected by Media File Editing
When you modify a media file in a multitrack project, all clips that refer to that media
file are updated simultaneously. For example, if you have ten clips referring to the same
media file and you double-click one of the clips to modify its underlying media file, any
changes you make to the media file affect all ten clips.
How Source Audio File Editing Works in a Soundtrack Pro
Multitrack Project
When you edit a clip in place or open a clip in the File Editor tab, the way the source
audio file is handled depends on its file format.
 If the clip’s audio file format is a native Soundtrack Pro audio file project: The audio file
project is opened directly in the File Editor tab, allowing you to make nondestructive
changes to the media.
Multiple In and Out
points
Chapter 5 Working in the Timeline 167
 If the clip’s audio file format is a flat file such as an AIFF or WAVE file: Soundtrack Pro
automatically creates a Soundtrack Pro audio file project for the flat file and relinks all
clips in the project to the new audio file project. This allows you to work with this
media nondestructively. Each time you save your multitrack project, any newly
created audio file project media files are saved to the Edited Media Location on your
hard disk. (You can change this location by choosing Soundtrack Pro > Preferences
and then clicking General.)
Modifying a Clip Without Affecting Its Source Media
Any time you use multiple instances of the same clip in a multitrack project, the clip
refers to the same source media file. This means that any time you modify the media
file, all of the clips that refer to the media file are affected. How do you edit just one clip
without editing its source media? In cases where you only want to make changes to a
single clip, you can make a new copy of the clip’s media file in a new audio file project
and link this clip to the new audio file project.
To create a copy of a clip’s media file and link the clip to the new audio file project:
1 Select the clip whose source media file you want to copy.
2 Control-click the clip in the Timeline, then choose Replace with Independent Audio File
Project from the shortcut menu.
A new Soundtrack Pro audio file project is created that includes a copy of the original
audio file. Only media between the clip’s In and Out points is copied, plus handles on
either side for later trimming, if necessary.
The new audio file project opens in the File Editor tab and the clip now links to the
new audio file project.
Note: The default handle duration is 5 seconds. To adjust the handle duration, go to
Soundtrack Pro > Preferences > General.
168 Chapter 5 Working in the Timeline
Using the Multitrack Timeline and the File Editor Together
One of the unique advantages of Soundtrack Pro is the combination of nondestructive
waveform editing in the context of a multitrack Timeline. This section focuses on how
you can exploit this powerful toolset in your sound editing project.
Making Changes in the File Editor and Hearing Them in the Timeline
When you arrange a multitrack project, you frequently need to edit and adjust
individual audio files, and immediately hear the results in the context of the larger
multitrack Timeline. You can do this by using the Timeline and File Editor in tandem.
To make changes in the File Editor and hear the results in the Timeline:
1 With the File Editor tab active, select a clip in the Timeline that you would like to adjust.
The waveform for the clip appears in the File Editor.
2 Make adjustments and edits to the clip in the File Editor.
Chapter 5 Working in the Timeline 169
For information on making basic edits, see “Editing Audio Files in the File Editor” on
page 198. For information on processing effects, see “Processing Audio Files” on
page 219. For information on analyzing files, see “Analyzing an Audio File” on page 236.
3 As you make changes to the clip in the File Editor, the Actions tab records the changes.
You can adjust, edit, and reorder the actions as needed.
For information on using actions, see “Working with Actions” on page 230.
Note: Any time you apply a command from either the Edit menu or the Process menu,
Soundtrack Pro creates an audio file project (.stap) for the source audio file if one
doesn’t exist already. Clips that reference the audio source file all have their audio
source replaced with that audio file project.
4 Play the clip.
Soundtrack Pro plays the clip together with any other active tracks in the Timeline.
5 Make any other adjustments and edits to the clip in the File Editor (or to the actions in
the Actions tab) and play the clip again. Repeat as necessary.
170 Chapter 5 Working in the Timeline
Spotting Sound Effects from the File Editor to the Timeline
A common task for sound editors is adding sound effects or ambient clips to a
multitrack project. Often you will use one or more small sections from a longer source
file. You can make quick work of this by using the File Editor tab in conjunction with
the Timeline.
To add small sections of a longer audio file to a multitrack project:
1 Open the multitrack project in the Timeline.
2 Drag an audio file to the File Editor tab.
3 Select a portion of the audio file in the File Editor tab.
4 Drag it to a track in the Timeline.
5 Select another portion of the audio file in the File Editor tab.
6 Drag it to a track in the Timeline.
Optionally, you can open the Multipoint Video HUD to give you visual context for
spotting the sound effects to the Timeline. For more information about the Multipoint
Video HUD, see “Scrubbing and Spotting with the Multipoint Video HUD” on page 322.
‘
Splitting and Joining Audio Clips
You may want to use only part of the source audio file in an audio clip. Soundtrack Pro
lets you split the clip into segments and use the segments in the Timeline as
independent clips. You can move the segments, edit them, and split each one into
additional segments. You can also easily (re)join clips.
You can split clips by using the Split command or by using the Blade (razor) and Blade
All tools. Each method has advantages, depending on the situation.
Chapter 5 Working in the Timeline 171
Splitting Clips with the Blade Tool
Using the Blade tool, you can perform many splits consecutively without moving the
playhead each time.
To split audio clips with the Blade tool:
1 Click the Blade Tool button above the Timeline.
The pointer changes to the Blade All pointer.
2 Click a clip at the point where you want to split it.
The clip is split at the point where you clicked.
Splitting Clips Across All Tracks with the Blade All Tool
Use the Blade All tool to split across all tracks.
To split audio clips on all tracks with the Blade All tool:
1 Click the Blade All Tool button above the Timeline.
The pointer changes to the Blade All pointer.
Note: To toggle between the Blade and the Blade All tools, hold down the Shift key
while either tool is selected.
2 Click anywhere in the Timeline where you want to split clips on all tracks.
Blade Tool button
Click the clip with the
Blade tool to split it.
Blade All Tool button
172 Chapter 5 Working in the Timeline
Note: If you use the Blade All tool in the podcast track, it cuts the podcast track as well
as any audio clips that are also under the Blade All tool. However, if you use the Blade
All tool in an audio track, it does not make a cut in the podcast track.
Splitting Clips with the Playhead
Using the playhead, you can split clips while a project is playing, split clips on selected
tracks, and split clips without having to use the mouse.
To split selected audio clips with the playhead:
1 Set the playhead at the point where you want to split the clip, then select the clip or
clips you want to split.
You can split multiple clips in the same operation.
2 Choose Clip > Split (or press S).
Every selected clip under the playhead is split into two segments. The first segment ends
at the playhead position, and the second segment begins at the playhead position.
Use the Blade All tool to
split clips across all tracks.
Move the playhead to
where you want to split
the selected clip.
The clip is split into
two segments, each of
which plays part of the
source audio file.
Chapter 5 Working in the Timeline 173
You can split an audio clip into three segments with the Timeslice tool by making a
selection in the middle of the audio clip (any part not including either the beginning or
the end), and then pressing the S key. The clip is split into three segments, defined by
the beginning and end of the selection. For more information about the Timeslice tool,
see “Editing with the Timeslice Tool” on page 174.
To split audio clips on selected tracks:
1 Set the playhead at the point where you want to split the clip or clips.
2 Select the track or tracks containing the clip or clips you want to split.
3 Choose Clip > Split (or press S).
Every clip under the playhead on the selected tracks is split into two segments. The first
segment ends at the playhead position, and the second segment begins at the
playhead position.
Note: Any clip selections will supersede track selections: if both clips and tracks are
selected under the playhead, Soundtrack Pro will split only the clips.
To split audio clips while playing a project:
1 Do one the following:
 Select the clip or clips you want to split.
 Select the track or tracks containing the clip or clips you want to split.
2 Play the section of the Timeline containing the clip or clips you want to split.
3 While the project is playing, press S as often as you like.
The clip or clips are split at the playhead each time you press S.
Joining Audio Clips
You can join clips from the same original audio file, including segments of split clips.
Clips being joined must be adjacent to each other and in the same track.
To join audio clips:
1 Place the clips next to each other in the same track.
2 Select the clips, then choose Clip > Join (or press Option-S).
When you join looping files or segments of looping files, the joined file plays to the end
of the source audio file before looping. The notches in the joined file indicate the end
of the source audio file.
174 Chapter 5 Working in the Timeline
Editing with the Timeslice Tool
You can use the Timeslice Tool to make time-based selections. Unlike selections of
multiple clips with the default Selection tool (which can only select whole clips),
Timeslice tool selections are entirely time-based. This means you can use the Timeslice
tool to select portions of clips or portions of multiple clips. You can also easily move
and adjust the size of a Timeslice tool selection and add or remove entire tracks from
the selection. This is most important for processing effects.
Use the Timeslice tool to select any combination of the following:
 One or more clips or tracks and their envelopes
 Portions of one or more clips or tracks and their envelopes
To make a selection with the Timeslice tool:
1 Click the Timeslice tool at the top of the Timeline (or press W).
2 Drag across any portion of the Timeline to make a Timeslice selection.
A Timeslice selection rectangle appears over the area. By default, the selection includes
all of the clips within the rectangle and their envelopes.
To select a portion of a clip with the Timeslice tool:
1 Click the Timeslice tool at the top of the Timeline (or press W).
2 Drag across any portion of the clip with the Timeslice tool.
Chapter 5 Working in the Timeline 175
A Timeslice selection rectangle appears over the portion of the clip and the File Editor
tab displays the same selection in its waveform view. By default, the selection includes
all of the clip’s envelopes.
To adjust the size of a Timeslice selection, do one of the following:
m Drag any of the four edges of the selection to extend or shorten that side of the
selection rectangle.
m Shift-click any track you want to include in the Timeslice at the opposite end of the
area you want to select.
Timeslice selection
File Editor selection
176 Chapter 5 Working in the Timeline
To move a Timeslice selection:
m Click the center of the Timeslice selection, then drag it to a new location in the Timeline.
To add a noncontiguous track, bus, or submix to a Timeslice selection:
m Command-click anywhere in the track, bus, or submix.
Note: You can add tracks, busses, and submixes that are not adjacent to or contiguous
with the selection.
To remove a track, bus, or submix from a Timeslice selection:
m Command-click anywhere in the track.
You can select a master Timeslice that includes the audio content and the envelopes of
all tracks, busses, and submixes, including the video’s audio track. (Only a master
Timeslice contains busses and submixes.)
To make a master Timeslice selection:
m Using the Timeslice tool, drag in the selection bar of the video track, located above the
Time ruler.
Drag in the
selection bar
of the video
track to create
a master
Timeslice.
Chapter 5 Working in the Timeline 177
Cutting, Copying, and Pasting Timeslices
You can cut or copy a Timeslice and paste it at a different position in the Timeline.
To cut a Timeslice:
m Select the Timeslice, then choose Edit > Cut (or press Command-X).
To copy a Timeslice:
m Select the Timeslice, then choose Edit > Copy (or press Command-C).
To paste a Timeslice:
m Set the playhead at the position where you want to paste the Timeslice, then choose
Edit > Paste (or press Command-V).
If the Timeslice is from a single track, it is pasted in the same track at the current
playhead position. If the Timeslice includes multiple tracks, the topmost track of the
Timeslice is pasted in the currently selected track, and the remaining tracks are pasted
in the tracks below the selected track. If not enough tracks exist for the number of
tracks in the Timeslice, a dialog appears asking if you want to create additional tracks.
Deleting the Contents of Timeslices
To delete the contents of a Timeslice selection:
m Select the Timeslice, then choose Edit > Delete (or press the Delete key).
Changing the Timeslice Selection Area
You can change the height or the length of a Timeslice selection area to include more
of the Timeline, either graphically or numerically.
To extend the Timeslice selection area graphically:
m Shift-click any track at the point to which you want to extend it.
Shift-click
the Timeline
to extend a
Timeslice.
178 Chapter 5 Working in the Timeline
To change the In point, Out point, or duration of a Timeslice numerically:
1 Make a Timeslice selection in the Timeline.
The Details tab displays Timeslice controls.
2 In the Details tab, type a new value in the In value slider, the Out value slider, or the
Duration value slider.
3 Press Tab or Enter to confirm the new value.
Note: To the right of the Timeline transport controls is the Selection Length value
slider. When a Timeslice is active, the Selection Length value slider shows the length
(duration) of the active Timeslice. You can use this value slider the same way you use
the Duration value slider in the Timeslice section of the Details tab.
For more information on how to use value sliders, see “About Changing Values and
Timecode Entries” on page 75.
Using the Timeslice Tool with Keyboard Shortcuts
Soundtrack Pro provides a variety of keyboard shortcuts to adjust Timeslice selections.
To extend the left edge of the Timeslice selection by one gridline:
m Press Shift-Left Arrow.
To extend the right edge of the Timeslice selection by one gridline:
m Press Shift-Right Arrow.
For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A,
“Soundtrack Pro Keyboard Shortcuts,” on page 449.
Chapter 5 Working in the Timeline 179
Using the Lift and Stamp Tools
The Lift and Stamp tools provide a time-saving way to apply work you have done on
one clip to one or more other clips. Use the Lift tool to copy properties from selected
clips and create a processing template in the Sound Palette that can be applied to
other clips. Use the Stamp tool to apply those properties to the other clips.
You can use the Sound Palette to customize the processing template by enabling and
disabling various properties, naming the template, and saving it as a preset. You can also
add a thumbnail image to represent the preset. Presets are saved in the Sound Palette
so that you can select and edit them and apply them in multiple multitrack projects.
To lift properties from a clip in the Timeline:
1 Click the Lift tool at the top of the Timeline (or press UU).
The Sound Palette appears. As you move the pointer over clips in the Timeline, it
changes into the Lift pointer.
2 If you want to limit the type of properties lifted, deselect either of the two checkboxes
at the top of the Sound Palette:
 Lift Analysis Items: These include Clicks and Pops, Power Line Hum, DC Offset, Phase,
Clipped Signal, and Silence.
 Lift Process Items: These include processing effects in these categories: Dynamics,
Distortion, EQ and Filter, Modulation, Reverb/Delay, Miscellaneous, and Mac OS.
3 Click a clip in the Timeline whose properties you want to lift.
Soundtrack Pro creates a temporary template named Lifted Data (Track Name) with
Track Name being the track holding the source clip. The clip properties appear in the
list on the right of the Sound Palette HUD. The pointer immediately changes to the
Stamp pointer, ready for you to stamp the template of lifted properties to another clip.
The properties in the Sound Palette template appear in the same order they appear in
the Actions tab for the source clip.
180 Chapter 5 Working in the Timeline
To stamp properties on one or more clips in the Timeline:
1 If you are stamping on more than one clip, select the target clips in the Timeline.
2 In the Sound Palette, select the template or preset containing the properties you want
to stamp. (This is only necessary if there are already presets on the left side of the
Sound Palette.)
3 Choose one of the following from the pop-up menu at the center-bottom of the
Sound Palette:
 Add: Adds the properties selected in the Sound Palette to the list of actions in the
target clip’s Actions tab.
 Replace: Replaces the actions in the target clip’s Actions tab with the properties
selected in the Sound Palette.
4 Do one of the following:
 Click the Stamp tool at the top of the Timeline (or press U), then click the target clip
or clips in the Timeline.
 If the target clip is already selected in the Timeline, click Stamp in the lower-right
corner of the Sound Palette.
Choose Add or Replace
from the pop-up menu
Chapter 5 Working in the Timeline 181
Actions appear in the target clip’s Actions tab for each property listed in the selected
template or preset in the Sound Palette. They appear in the same order as they appear
in the Sound Palette.
Note: By default, Soundtrack Pro applies equalization every time you use the Lift and
Stamp feature. This equalization automates the Match EQ effect, which matches the
average frequency spectrum of the target clip to that of the source clip.
When you first lift properties with the Lift tool, Soundtrack Pro creates a temporary
template in the Sound Palette named Lifted Data (Track Name), with Track Name being
the track holding the source clip.
To save a Sound Palette preset:
m With a template loaded on the right of the Sound Palette, click Save as Preset in the
lower-right corner.
The template is listed as a preset on the left of the Sound Palette.
To enable or disable properties in a Sound Palette preset:
1 If there are already presets on the left of the Sound Palette, click the template or a
preset to edit it.
2 In the Enabled column, click the checkbox next to the property you want to enable or
disable.
182 Chapter 5 Working in the Timeline
To name or rename a Sound Palette preset:
1 If there are already presets on the left of the Sound Palette, click the template name or
a preset name that you want to name or rename.
The template or preset details are loaded on the right of the Sound Palette.
2 Click the name field at the top-right corner of the Sound Palette.
3 Enter the new name.
4 Press Return or Tab to confirm the new name.
To attach a thumbnail image to a Sound Palette preset:
1 Click the preset name in the list on the left of the Sound Palette.
2 Do one of the following:
 Drag a still image from the Finder or from iPhoto to the image well at the top of the
Sound Palette.
 Copy an image in an image editing application and paste it into the image well at
the top of the Sound Palette.
The image appears in the image well each time you select the preset.
To delete a Sound Palette preset:
m Control-click the preset name in the list on the left of the Sound Palette, then choose
Delete from the shortcut menu.
Chapter 5 Working in the Timeline 183
Working with Markers
Markers have a variety of uses in the Timeline and the File Editor. For example, you can
use markers to:
 Mark the start and end points of major sections in your project
 Indicate places you want to come back to and work on later
 Mark points where you want to synchronize the audio with the picture in a video
 Indicate where particular sounds begin and end in an audio file
Markers extend vertically through the Timeline, like the playhead. Each marker has a
handle in the area above the Time ruler, letting you position the marker precisely in
the Timeline.
Types of Markers
Soundtrack Pro displays Final Cut Pro scoring markers, and lets you add your own
markers to a project. You can add two kinds of markers: time markers and beat
markers. The two types can be distinguished by their handles: Time markers have
green handles, and beat markers have purple handles. Final Cut Pro scoring markers
have orange handles. By default, time and beat markers can only occupy a single frame
of time, but their duration can be extended to any length.
This section discusses how to work with time markers and beat markers in a project.
For information about working with Final Cut Pro scoring markers, see “Using
Final Cut Pro Scoring Markers” on page 185.
Inserting Markers
You can insert a beat marker or time marker at any point in the Timeline.
To insert a time marker:
m Set the playhead to the point where you want to add the marker, then choose
Project > Insert Time Marker (or press the M key).
To insert a beat marker:
m Set the playhead to the point where you want to add the marker, then choose
Project > Insert Beat Marker (or press Option-B).
End-of-project marker
(red)
Time marker
(green)
Final Cut Pro scoring
marker (orange)
Beat marker
(purple)
184 Chapter 5 Working in the Timeline
Naming Markers
You can name time markers and beat markers, so that each marker can provide a
unique visual cue to a specific point in the Timeline or File Editor. For example, you can
name markers to define sections of your project (Introduction, Verse, or Chorus), to
reflect what’s happening in the music (Latin Rhythm or Fast Groove), or to serve as
reminders for your workflow (Add Horns Here, Transpose to D, Insert Delay Effect).
To name a time marker or beat marker:
m Make the Details tab active, select the marker, then type a name in the Name field of
the Details tab.
To view marker titles in the Timeline:
m Choose View > Show Marker Titles.
Moving Markers
You can move a marker either by dragging the marker’s handle, or by entering a new
position for the marker in the Details tab.
To move either a beat marker or time marker, do one of the following:
m Drag the marker by its handle, located in the area above the Time ruler, to a new
position in the Timeline.
m Show the Details tab, click the marker you want to move, then enter a new position in
the Position field.
You can also select and drag multiple markers. When you move a marker by dragging,
the marker’s position snaps to the nearest Snap To position if snap is turned on. For
information on setting the Snap To value, see “Creating Fades and Crossfades in the
Timeline” on page 158.
Type a name in the
Marker Name field.
Enter a time position
here to move the marker
to that position.
Chapter 5 Working in the Timeline 185
Adjusting a Marker’s Duration
By default, Time markers and Beat markers have a duration of zero, but you can create
Time or Beat region markers by changing the duration of any marker. You adjust a
marker’s duration either by entering a new duration for the marker in the Details tab,
or, if it is already a region marker, by dragging the ends of a marker handle.
To adjust a marker’s duration, do one of the following:
m Show the Details tab, click the marker you want to adjust, then enter a new duration in
the Duration field.
m Adjust a region marker by dragging the end of its handle.
Deleting Markers
If you decide you don’t want a time or beat marker that you’ve added, you can delete it
at any time.
To delete a marker:
m Click the marker handle to select the marker, then choose Edit > Delete (or press Delete).
Note: You cannot delete Final Cut Pro scoring markers in Soundtrack Pro.
Using Markers with Video
Soundtrack Pro displays Final Cut Pro scoring markers included in a video file imported
from Final Cut Pro. You can add time markers at points in time corresponding to
specific timecode positions in the video clip, and align audio clips with markers using
the snapping feature. When you add a marker to a project containing a video, the
video clip displays the frame of the video that occurs at the marker’s position in time.
For more information about adding and moving markers, see “Working with Markers”
on page 183.
You can score both Final Cut Pro scoring markers and time markers to the playhead,
letting you synchronize the audio with specific points in the video.
Using Final Cut Pro Scoring Markers
When you import a video file from Final Cut Pro or Final Cut Express HD,
Soundtrack Pro displays any Final Cut Pro scoring markers included in the video file in
the Timeline. Scoring markers have an orange handle in the area above the Time ruler.
You cannot move or edit Final Cut Pro scoring markers in Soundtrack Pro.
186 Chapter 5 Working in the Timeline
Using Markers to Align Audio Clips to Timecode
You can add a time marker at a specific timecode position in a video clip, and align
audio clips with the time marker or with a Final Cut Pro scoring marker.
To add a time marker at a specific timecode position in a video clip,
do one of the following:
m Type the timecode position where you want to add the marker in the Time display,
press Return, then choose Mark > Insert Time Marker (or press M).
m Make the Details tab active, add a time marker, select the marker handle, then enter a
new position in the Position value slider in the Details tab.
In order to add a marker at a specific timecode position, the Time ruler units must be
set to the timecode format of the video in your project.
To align an audio clip with a marker:
m Make sure that snapping is turned on and that Markers is selected in the View > Snap
to menu, then drag the clip to the position of the marker in the Timeline.
Note: You can momentarily toggle snapping by pressing N.
Scoring a Marker to the Playhead
For tracks set to Beats-based time format, you can score a time marker or Final Cut Pro
scoring marker to the playhead, so that you can synchronize the audio with the video.
Scoring a marker to the playhead adjusts the tempo so that the required number of
beats exactly fills the amount of time between the last tempo change and the marker’s
position in the Time ruler.
When you score a marker to the playhead, a set of special envelope points is created in
the project’s tempo envelope, from the previous envelope point (or the beginning of
the tempo envelope, if no previous envelope point exists) to the position of the marker.
These special envelope points are locked and cannot be moved (but can be deleted).
The locked envelope points, and the segment of the tempo envelope between them,
appear red.
With Markers selected,
you can align a clip
with a marker.
Chapter 5 Working in the Timeline 187
The tempo change created when you score a marker to the playhead is always
instantaneous; that is, the tempo changes from the previous tempo immediately, without
ramping. The distance between the two envelope points determines whether the
resulting tempo change can be heard easily. If the resulting change in tempo sounds too
abrupt, you can edit the tempo envelope to make the tempo change less noticeable.
To score a marker to the playhead:
1 Select the marker’s handle at the top of the Timeline, above the Time ruler.
2 Choose Mark > Score Marker to Playhead.
You can also adjust the tempo relative to a marker’s position by Option-dragging the
marker in the Timeline. As you drag, the red segment of the tempo envelope moves
vertically as the tempo changes. By Option-dragging a marker, you can synchronize the
marker’s position with the Beats-based units.
Note: If you score a marker to the playhead, and the tempo change resulting from the
scoring operation sounds too noticeable or extreme, you can undo the scoring
operation. After undoing the scoring operation, add an envelope point to the tempo
envelope at a point after any audio clips you do not want to be affected by the tempo
change, but before the marker to be scored, then repeat the scoring operation.
Click the marker handle at
the top of the Timeline.
The marker is scored
to the playhead.
188 Chapter 5 Working in the Timeline
Working with Tagged and Looping Clips
Soundtrack Pro includes a large selection of Apple Loops that you can use to add Foley
effects, background ambience, sound effects, and music transitions to your projects. Apple
Loops tagged as looping files automatically match the tempo and key of the project.
Transposing Tagged Audio Clips
When you drag an audio file tagged with key information to the Timeline,
Soundtrack Pro transposes the clip to the project key. You can transpose tagged clips to
another key to create chord progressions from the same audio file or to achieve other
musical effects. You can transpose a tagged clip to any interval from one octave above
(+12 semitones) to one octave below (–12 semitones) its current key.
Note: Soundtrack Pro uses the key tag in the audio file to transpose it. In order to be
correctly transposed, the file must be tagged.
To transpose a tagged audio clip, do one of the following:
m Select the clip, choose Clip > Transpose, then choose the number of semitones by
which you want to transpose the clip up or down.
m Select the clip, open the Details tab, then use the Transpose pop-up menu to choose
the number of semitones by which you want to transpose the clip up or down.
Changing a Clip’s Playback Mode
Audio files you add to the Timeline can be either looping or non-looping. Looping files
are special audio files that can be used to create repeating patterns, and include
musical phrases useful for creating music beds. Audio files containing discrete,
non-rhythmic sounds, sound effects, and other non-musical sounds such as dialogue or
sound effects should be used as non-looping files in most cases.
When you add an audio file to the Timeline, the audio file is added as a clip with
non-looping playback mode unless the audio file is tagged as a looping file. You can
change the playback mode of a clip after you add it to the Timeline.
To convert the playback mode to looping, do one of the following:
m Select the clip, then choose Clip > Convert to Looping.
m Control-click the clip in the Timeline, then choose Convert to Looping from the
shortcut menu.
To convert the playback mode to non-looping, do one of the following:
m Select the clip, then choose Clip > Convert to Non-Looping.
m Control-click the clip in the Timeline, then choose Convert to Non-looping from the
shortcut menu.
Chapter 5 Working in the Timeline 189
Replacing the Source Audio in a Clip
Each audio clip in the Timeline has a set of properties specific to the clip, including
duration, speed, and transposition. You can replace the source audio in the clip while
preserving the clip’s properties. This feature has a variety of uses, such as letting you try
out similar audio files (for example, music beds or sound effects) while maintaining the
clip’s duration, position in the Timeline, and transposition.
For information about properties of audio clips, see “Reconnecting Media Files” on
page 96.
To replace the source audio file for a clip:
1 In the Timeline, select the clip for which you want to replace the source audio.
2 In any media tab, Control-click the audio file that will replace the selected clip’s audio,
then choose Replace Selected Clips With [filename] from the shortcut menu.
When you replace the source audio in a clip, the clip’s duration and offset stay the
same. Only the portion of the new source audio file equal to the clip’s length plays. If
the new source audio file is a music loop and it is shorter than the clip’s length, the clip
loops when it reaches the end of the new source audio file. Notches appear on the clip
to indicate the point at which the clip starts looping.
You can replace the source audio in all clips using the same source audio file with
another source audio file by using the Select All Occurrences and Replace Selected
Loops commands together.
Select a clip,
Control-click the audio
file that will replace the
original audio...
...then choose the
Replace option from the
shortcut menu.
190 Chapter 5 Working in the Timeline
To replace the source audio file in all clips using the same source file:
1 Select all occurrences of the clip for which you want to replace the source audio file,
following the steps described in “Selecting Audio Clips in the Timeline” on page 147.
Every clip using the same source audio file is selected.
2 In the Timeline, select the clip for which you want to replace the source audio.
3 In any media tab, Control-click the audio file that will replace the selected clip’s audio,
then choose Replace Selected Clips With [filename] from the shortcut menu.
6
191
6 Editing Audio Files
In Soundtrack Pro, you can edit audio files nondestructively,
analyze and fix common audio problems, and create
AppleScript documents to batch process other audio files.
The Soundtrack Pro File Editor gives you extensive audio file editing capabilities. You
can open and edit an audio file with up to 24 channels in the File Editor, view it in
Waveform or Frequency Spectrum view, process the file using actions, analyze it for
common audio problems, fix analyzed problems individually or together, and then save
the edited file as an audio file project or as a standard audio file.
Waveform view
192 Chapter 6 Editing Audio Files
And you can do all this while working interactively with same audio file in the
multitrack Timeline and while hearing (and seeing) the file in the context of other
audio files in a multitrack project.
In addition, the File Editor project view includes realtime effects and effects automation,
AppleScript droplet creation, and other useful features. For more information about the
File Editor project view, see “Using the File Editor Project View” on page 240.
Important: In order to edit nondestructively and save a file with actions, you need to
convert standard audio files (such as AIFF or WAVE files) to Soundtrack Pro audio file
projects (with the .stap file extension). You can easily do this by opening an AIFF or a
WAVE file in Soundtrack Pro and then saving it as a Soundtrack Pro audio file project.
You can open the following audio file formats in the File Editor:
 Soundtrack Pro audio file project
 AIFF (including Apple Loops)
 WAVE
 Sound Designer II
 NeXT
 QuickTime movie containing audio tracks
 CAF (Apple Core Audio Format)
Spectrum view
Chapter 6 Editing Audio Files 193
Compressed formats such as MP3 and AAC files are also supported, although these
must be internally decompressed to a linear PCM format.
Soundtrack Pro supports audio files with any sample rate between 8 kHz and 192 kHz
and any of the following bit depths: 8, 16, 24, 32, and 32-bit floating point. You can edit
up to 24 tracks in a single file. You can play back up to six channels in a single file in the
multitrack Timeline. Audio files can be a maximum of 4 hours in length.
Note: When you play the file, Soundtrack Pro plays at the nearest sample rate your
hardware can support.
Audio File Projects
Soundtrack Pro allows you to edit individual audio files (sometimes known as waveform
editing) using Soundtrack Pro audio file projects. However, unlike most waveform editing
applications, Soundtrack Pro allows you to edit your audio files nondestructively by
keeping track of the actions you have performed on your audio file.
You can remove, disable, or reorder past actions at any time or save actions as AppleScript
documents that you can use to batch process other audio files. Actions you can perform
include trimming audio, copying and pasting parts of the waveform, normalizing or
amplifying levels, applying effects, and applying noise, pop, and click reduction.
Editing Audio Files Directly in a Multitrack Project
Most audio applications focus on multitrack editing or waveform editing, but not both.
Furthermore, most waveform editing applications handle media destructively—making
permanent changes to your media files. Soundtrack Pro provides the best of both
worlds: nondestructive waveform editing while working in a multitrack project.
194 Chapter 6 Editing Audio Files
You can view and modify a clip’s media file in the File Editor tab without losing the
context of your multitrack Timeline. This is called editing in place. Simply select a clip in
the Timeline and it appears in the File Editor tab below. The playheads in the Timeline
and the File Editor tab are synchronized so you can play the media file within the
context of your whole multitrack project. Any changes you make to the media file are
updated in the Timeline immediately.
If you prefer, you can also double-click a clip in your multitrack project and its media
file opens in a new File Editor project view, ready for waveform editing. Changes you
make to the file are instantly reflected in the multitrack project.
Chapter 6 Editing Audio Files 195
Editing in Place
Editing an audio file directly in the multitrack Timeline is nearly identical to editing any
other audio file in the Soundtrack Pro File Editor. All of the same effects, editing tools,
and waveform views are available. However, there are several differences:
 Timeline and File Editor playhead synchronization: When you edit a clip’s media file in
place, the Timeline and File Editor playheads are synchronized so you can work with
the media file within the context of your multitrack project.
 Multiple region markers: Because a media file may be referred to by multiple clips in a
multitrack project, you may see multiple region markers above the ruler in the File
Editor tab. Each region marker shows the In and Out points of a clip in the Timeline
that refers to this media file. In addition, the display of the name of the file in the File
Editor tab changes to reflect the number of clips that refer to this media file; for
example, “Scene8.aiff (1 of 4).” These indications alert you to the fact that changes
you make to this media file may affect multiple clips.
How Clips Are Affected by Media File Editing
When you modify a media file in a multitrack project, all clips that refer to that media
file are updated simultaneously. For example, if you have ten clips referring to the same
media file and you double-click one of the clips to modify its underlying media file, any
changes you make to the media file affect all ten clips.
Multiple In and Out
points
196 Chapter 6 Editing Audio Files
How Media File Editing Works in a Multitrack Project
When you edit a clip in place or open a clip in a new File Editor tab, the way the media
file is handled depends on its file format.
 If the clip’s audio file format is a native Soundtrack Pro audio file project: The audio file
project is opened directly in the File Editor tab, allowing you to make nondestructive
changes to the media. When you save the multitrack project, Soundtrack Pro
automatically saves all of the associated audio file projects.
 If the clip refers to a standard-format audio file (such as AIFF or WAVE): Soundtrack Pro
automatically creates a Soundtrack Pro audio file project for the file and relinks all
clips in the project to the new audio file project. This allows you to work with this
media nondestructively. Each time you save your multitrack project, any newly
created audio file project media files are saved to the Edited Media Location on your
hard disk. (You can change this location by choosing Soundtrack Pro > Preferences,
and then clicking General.)
How Source Audio File Editing Works in an Audio File Project
When you edit an audio file in the File Editor project view, the source audio file is
handled as follows:
 If the clip’s audio file format is a native Soundtrack Pro audio file project: Any changes
you make are saved to the audio file project, allowing you to make nondestructive
changes to the media.
 If the clip refers to a standard-format audio file (such as AIFF or WAVE): Soundtrack Pro
automatically creates a Soundtrack Pro audio file project for the flat file. When you
attempt to save the changes to the audio file project, the default File Type is Audio
File Project, which retains the nondestructive changes in the form of an Actions list. If
you change the File Type in the Save dialog to a flat file format (such as AIFF or
WAVE), you lose the nondestructive characteristics of a Soundtrack Pro audio file
project. For more information about the File Editor project view, see “Using the File
Editor Project View” on page 240.
Chapter 6 Editing Audio Files 197
Modifying a Clip Without Affecting Its Source Media
Any time you use multiple instances of the same clip in a multitrack project, the clip
refers to the same source media file. This means that any time you modify the media
file, all of the clips that refer to the media file are affected. How do you edit just one clip
without editing its source media? In cases where you only want to make changes to a
single clip, you can make a new copy of the clip’s media file in a new audio file project
and link this clip to the new audio file project.
To create a copy of a clip’s media file and link the clip to the new audio file project:
1 Select the clip whose source media file you want to copy.
2 Control-click the clip in the Timeline, then choose Replace with Independent Audio File
Project from the shortcut menu.
A new Soundtrack Pro audio file project is created that includes a copy of the original
audio file. Only media between the clip’s In and Out points is copied, plus handles on
either side for later trimming if necessary.
The new audio file project opens in the File Editor tab and the clip now links to the
new audio file project.
Note: The default handle duration is 5 seconds. To adjust the handle duration, choose
Soundtrack Pro > Preferences > General.
198 Chapter 6 Editing Audio Files
Editing Audio Files in the File Editor
You can edit audio files in many different ways in the File Editor tab and File Editor project
view. You can edit the entire file or select part of the file to edit. You can cut, copy, and
paste audio, and graphically edit audio files using a variety of tools in the File Editor.
Opening Audio Files in the File Editor Tab
You can play an audio file in the File Editor so you can hear the file and any changes
you make to it.
To open an audio file in the File Editor tab, do one of the following:
m With the File Editor tab active, select a clip in the Timeline.
The waveform for the clip appears in the File Editor tab.
m Drag a clip into the File Editor tab from one of the media tabs.
The waveform for the clip appears in the File Editor.
Note: You can drag from the Bin, Browser, Search, and Favorites tabs. If there is already
a clip in the File Editor, it is replaced by the new clip.
Select a clip in the
Timeline...
...to work with it in the
File Editor.
Chapter 6 Editing Audio Files 199
Playing Audio Files in the File Editor
You can play an audio file in the File Editor so you can hear the file and any changes
you make to it.
To play an audio file:
m Click the Play button in the transport controls (or press the Space bar). Click the Play
button (or press the Space bar) again to stop playback.
You can set the playhead in the File Editor in the same way you set it in the Timeline, by
clicking in the waveform display or in the Time ruler, using the transport controls, or
using the Playhead Location value slider. For more information, see “Setting the
Playhead Quickly” on page 72.
Soloing an Audio File in the File Editor
You can use the Solo button in the File Editor tab to mute all other tracks so that you
can hear the audio file outside the context of the multitrack project.
To solo an audio file in the File Editor tab:
1 With the File Editor tab active, select a clip in the Timeline.
The waveform for the clip appears in the File Editor tab.
2 Click the Solo button in the File Editor tab.
All other tracks in the Timeline are muted and the Preview Volume slider next to the
Solo button becomes active.
3 Play the file and adjust the volume using the Preview Volume slider, as needed.
Solo button
Preview Volume slider
Link button
200 Chapter 6 Editing Audio Files
Linking the File Editor Selection and the Cycle Region
You can link the File Editor tab to the Cycle Region so that when you make selections in
the File Editor tab (or selections of clips in the Timeline with the Timeslice tool),
Soundtrack Pro automatically adjusts the Cycle Region to match the selection.
To link the Cycle Region to File Editor and Timeslice selections:
1 Click the Link button in the File Editor tab.
2 Make one of the following kinds of selections:
 Make a selection in the File Editor tab.
 Using the Timeslice tool, select a portion of a clip in the Timeline.
The Cycle Region adjusts accordingly.
Scrubbing Audio Files
Scrubbing an audio file lets you hear the audio at the playhead position as you drag the
playhead so you can quickly find a particular sound or event in the audio file.
The Soundtrack Pro Scrub tool provides detailed scrubbing that realistically
approximates the “rock-the-reels” scrubbing on analog tape decks.
To scrub an audio file with the Scrub tool:
1 In the Timeline or the File Editor, click the Scrub tool or press H.
2 Drag the Scrub tool left or right across a clip in the Timeline or across the File Editor.
When you use the Scrub tool in the multitrack Timeline, you can only scrub one clip at
a time. To scrub multiple tracks at once, scrub with the playhead.
Scrub tool
Use the Scrub tool to
scrub through an audio
file.
Chapter 6 Editing Audio Files 201
To scrub an audio file with the playhead:
1 Press and hold the triangular part of the playhead.
2 While holding the playhead, drag left or right at the speed you want to scrub the
audio file.
Scrubbing is useful to help identify the part of an audio file that you want to edit.
While you are scrubbing an audio file, you can also select the part of the file that you
want to edit.
To make a selection while scrubbing with the playhead:
m As you move the playhead, press and hold the Shift key.
For projects containing a video file, dragging to create a selection scrubs the video at
the selection point.
To scrub using keyboard shortcuts:
m As you move the playhead, press and hold the Shift key.
For projects containing a video file, dragging to create a selection scrubs the video at
the selection point.
Shift-drag to create
a selection with the
Scrub tool.
202 Chapter 6 Editing Audio Files
Selecting Part of an Audio File
When you apply an action to an audio file in the File Editor, the action is applied to the
entire file unless you select part of the file. You can select different parts of the audio
file and apply different actions to each selection.
To select part of an audio file:
m In the waveform display, drag horizontally across the part of the waveform you want
to select.
Some actions can only be applied to a selection. The selection can contain the entire
audio file.
To select the entire audio file:
m Choose Edit > Select All.
You can select one channel (left or right) of a stereo audio file and apply actions to only
the selected channel. You can also select only part of one channel.
To select the left channel of an audio file:
1 Move the pointer near the upper edge of the waveform display.
The pointer changes to the letter “L.”
Selected area
Chapter 6 Editing Audio Files 203
2 Drag the pointer to select the part of the left channel you want to work with.
As you drag, the right (lower) channel of the audio file becomes darker in the waveform
display. You can also double-click in the upper part of the waveform display to select
the entire left channel.
To select the right channel of an audio file:
1 Move the pointer near the lower edge of the waveform display.
The pointer changes to the letter “R.”
2 Drag the pointer to select the part of the right channel with which you want to work.
As you drag, the left (upper) channel of the audio file becomes darker in the waveform
display. You can also double-click in the lower part of the waveform display to select
the entire right channel.
Left channel selected
Right channel
selected
204 Chapter 6 Editing Audio Files
If you have added markers to an audio file project, you can select the area between
two markers.
To select the area between two markers in the File Editor project view:
m Double-click the waveform display in the area between the two markers. If there are
additional markers, you can expand the selection by dragging toward them.
To select the entire contents of one or more channels:
1 Click the File Editor tab or the File Editor project view to make it the active window.
2 Choose Edit > Select > Across Channels (or press Shift-T).
If there is an existing selection, it is extended across the entire duration of the file (but
only for the currently selected channels). If there is not an existing selection,
Soundtrack Pro creates a new selection across active channels for the entire length of
the file.
To select the partial contents of one or more channels:
1 Click the File Editor tab or the File Editor project view to make it the active window.
2 Position the playhead.
3 Do one of the following:
 To select everything to the right of the playhead in the active channels, choose
Edit > Select > Forward (or press Shift-End).
 To select everything to the right of the playhead in the active channels, choose
Edit > Select > Backward (or press Shift-Home).
If there is an existing selection, the selection is extended to the end of the audio file
(for Forward) or to the beginning of the audio file (for Backward).
If there is no existing selection, Soundtrack Pro creates a new selection across active
channels from the end of the audio file (for Forward) or from the beginning of the
audio file (for Backward).
Note: If you hold down the Option key, the menu items will read Select > All Forward
and Select > All Backward, and behave the same as described earlier except the
selection will be across all channels instead of just the selected channels.
Chapter 6 Editing Audio Files 205
Adjusting Selections to a Zero Crossing
A zero crossing is a point in an audio file where the amplitude is zero. When you edit an
audio file in the File Editor, if the beginning or end points of your edit do not occur at a
zero crossing, the edited audio file can have unwanted noise at the beginning and/or
end of the edited area. Subsequent editing of the file, such as normalizing or increasing
the gain, can increase this unwanted noise.
Once you have made a selection in the File Editor, you can fine-tune the selection so
that it begins or ends at the nearest zero-crossing point.
To adjust a selection to the zero crossing:
1 Make a selection in the File Editor.
2 Choose Edit > Adjust Selection to Zero Crossing and choose one of the following from
the submenu:
 Inward
 Outward
 In Point to Left
 In Point to Right
 Out Point to Left
 Out Point to Right
The edit point is adjusted to occur at the specified zero-crossing.
Moving Between Selections
You can select different areas of the audio file to apply different actions or to play different
areas. Any selection can include the same part of an audio file as another selection. As you
work on the audio file, you can move back and forth between selections.
To move to the previous selection:
m Click the Previous Selection button above the waveform display.
The previous selection becomes the current selection. The selection area appears
darker than the rest of the waveform.
To move to the next selection:
m Click the Next Selection button above the waveform display.
The next selection becomes the current selection. The selection area appears darker
than the rest of the waveform.
Previous Selection button Next Selection button
206 Chapter 6 Editing Audio Files
Cutting, Copying, and Pasting in the File Editor
You can cut, copy, and paste audio in the File Editor. Cutting, copying, and pasting can
change the length of an audio file.
To cut part of an audio file in the File Editor:
1 Select the part of the file you want to cut.
2 Choose Edit > Cut (or press Command-X).
The selected part of the file is removed, and the file shortens by the cut amount.
To copy audio in the File Editor:
1 Select the part of the file you want to copy.
2 Choose Edit > Copy (or press Command-C).
You can paste audio in the File Editor. You can paste at the playhead position, paste
mix, or paste repeat.
To paste audio in the File Editor:
1 Set the playhead to the point where you want to paste the audio.
2 Choose Edit > Paste (or press Command-V).
The cut or copied audio is pasted starting at the playhead position. The audio after the
playhead in the file moves to accommodate the pasted audio, and the file lengthens by
the pasted amount.
You can also paste mix in the File Editor. When you paste mix, the pasted audio is
mixed (or blended) with the existing audio in the audio file. You can control the mix of
the pasted audio and existing audio and can crossfade the pasted audio.
To paste mix audio in the File Editor:
1 Set the playhead to the point where you want to paste the audio.
2 Choose Edit > Paste Special > Paste Mix.
3 In the Paste Mix dialog, drag the Original Material Level slider to set the mix level of the
existing audio in the pasted area.
4 Drag the Clipboard Level slider to set the mix level of the pasted audio.
5 Optionally, you can crossfade the pasted audio by selecting the Crossfade In and Out
Points checkbox and typing crossfade values (in milliseconds) in the Fade In Length
and Fade Out Length fields.
Chapter 6 Editing Audio Files 207
6 Click OK.
The cut or copied audio is mixed with the existing audio.
You can also paste repeat in the File Editor. When you paste repeat, the cut or copied
audio is pasted the number of times you specify in succession, so that each copy starts
at the end of the previous one.
To paste repeat in the File Editor:
1 Set the playhead to the point where you want to paste the audio.
2 Choose Edit > Paste Special > Paste Repeat.
3 In the Paste Repeat dialog, type the number of copies you want to paste in the field.
4 Click OK.
The copies are pasted starting at the playhead position. The audio after the playhead
in the file moves to accommodate the pasted audio, and the file lengthens by the
pasted amount.
Zooming In and Out in the File Editor
You can zoom in on a specific part of an audio file to make precise edits and perform
other tasks.
To zoom in or out, do one of the following:
m Drag the Zoom control left to zoom in for a closer view, or drag right to zoom out for a
wider view.
m Choose View > Zoom In to zoom in one level.
m Choose View > Zoom Out to zoom out one level.
If you have a mouse with a scrollwheel connected to your computer, you can set
Soundtrack Pro to zoom in or out when you move the scrollwheel. You can select part
of the audio file and zoom in on the selected area, zoom in to see individual samples in
the waveform, or zoom out to peaks.
To set Soundtrack Pro to zoom the waveform display when you move the scrollwheel:
1 Choose Soundtrack Pro > Preferences.
2 If the General preferences pane is not visible, click the General button.
3 In the Timeline section of the General preferences pane, choose “Zooms at playhead”
from the Scrollwheel pop-up menu.
To zoom in or out using a scrollwheel:
m Move the scrollwheel up to zoom in, or move it down to zoom out.
208 Chapter 6 Editing Audio Files
To zoom in on a selection:
1 In the waveform display, select the area you want to zoom in on.
2 Choose View > Zoom to Selection.
To zoom in to see individual samples:
m Choose View > Zoom to Samples.
Note: If you have previously zoomed in to a level where individual samples are visible
in the waveform display, choosing Zoom to Samples zooms in to the same zoom level.
To zoom out to see the entire waveform:
m Choose View > Fit to Window.
To return to the original zoom level:
m Choose View > Zoom Normal.
You can also zoom in on a selected area using the Zoom tool. For information about
using the Zoom tool, see “Zoom Tool” on page 211.
Editing Audio Files Graphically with Waveform Editing Tools
The File Editor includes waveform editing tools you can use to graphically edit the
audio file in the waveform display.
Selection Tool
You can use the Selection tool to select part of an audio file, as described in “Selecting
Part of an Audio File” on page 202. When you open the File Editor, the pointer is a
selection pointer (arrow). When you are done using another waveform editing tool, you
can return the pointer to a selection pointer by clicking the Selection Tool button.
Frequency Selection Tool
You can use the Frequency Selection tool to make selections in Frequency Spectrum
View not just of time ranges but also of frequency ranges. You can copy, paste, and delete
frequency selections as well as adjust the amplitude of frequency selections. For more
information, see “Viewing an Audio File in Frequency Spectrum View” on page 214.
Selection Tool button
Chapter 6 Editing Audio Files 209
Sample Edit Tool
You can graphically edit samples in the audio file using the Sample Edit tool. To use the
Sample Edit tool, the waveform display must be zoomed in enough to see individual
samples, which appear as small squares connected by a thin line.
To edit samples using the Sample Edit tool:
1 Click the Sample Edit Tool button above the time display.
The pointer becomes a Sample Edit pointer.
2 Zoom in on the part of the waveform you want to edit.
3 To graphically edit samples, do one of the following:
 Drag a sample up or down to a new value.
 Click directly above or below a sample.
 Drag left or right to reshape the waveform.
You can also edit samples numerically in the waveform display.
To edit samples numerically:
1 Control-click a sample, then choose Set Value from the shortcut menu.
2 In the dialog that appears, type a new value for the sample.
3 Click OK.
Sample Edit Tool button
Use the Sample Edit tool
to reshape the waveform.
210 Chapter 6 Editing Audio Files
Audio Stretching Tool
You can time stretch all or part of an audio file to change the amount of time it
occupies. When you stretch an audio file, the length of time changes but not the pitch
(letting you fill dialogue, music, or other audio to a specific amount of time). For audio
files with music or other repeating patterns, stretching the file changes the tempo of
the music without changing the key. The range of the Audio Stretching tool is limited
to between 25% to 400% of the length of the original audio.
To graphically time stretch an audio file:
1 Click the Audio Stretching Tool button above the time display.
2 In the waveform display, drag horizontally across the waveform to select the part you
want to time stretch.
3 Move the pointer over the right edge of the selection.
The pointer becomes a Stretch pointer.
4 Drag the right edge of the selection left to shorten the selected area, or drag it right to
lengthen the selected area.
When you shorten a selection of an audio file using the Audio Stretching tool in the
File Editor, the empty part of the selection area is filled with ambient noise if an
ambient noise print exists. If no ambient noise print exists, the empty part of the
selection area is filled with silence. Shortening a selection using the Audio Stretching
tool does not change the length of the audio file.
Audio Stretching Tool
button
Use the Audio Stretching
tool to shorten or
lengthen the selected
area of the waveform.
Chapter 6 Editing Audio Files 211
When you lengthen the selection using the Audio Stretching tool, any audio
overlapped by the lengthened selection area is deleted. Lengthening the selection past
the end of the file changes the length of the audio file.
If you hold down the Option key while dragging the selection with the Audio
Stretching tool, the audio following the selection area ripples forward when you
lengthen the selection and ripples backward when you shorten the selection. In both
cases, using the Option key changes the length of the audio file.
Note: Stretching an audio file by a large amount can degrade the sound quality of the
audio file.
For information about stretching an audio file numerically using the Process menu, see
“Time Stretch” on page 224.
Zoom Tool
You can zoom in on a specific part of the waveform display to make precise edits.
To zoom in using the Zoom tool:
1 Click the Zoom Tool button above the time display.
The pointer changes to a Zoom pointer.
2 In the waveform display, do one of the following:
 Click to zoom in.
 Option-click to zoom out.
 Drag horizontally to select the part of the waveform you want to zoom in on.
The waveform display zooms in on the selected area.
For information on other ways to zoom in and out in the waveform display, see
“Zooming In and Out in the File Editor” on page 207.
Zoom Tool button
212 Chapter 6 Editing Audio Files
Choosing the Sample Units in the File Editor
Along the left edge of the File Editor is a scale of sample units for the audio file. You can
set this scale to any of the following sample units:
 Sample Value
 Normalized
 Percent
 Decibels
To set the sample units in the waveform display, do one of the following:
m Choose View > Sample Ruler Units, then choose a format from the submenu.
m Control-click along the left edge of the waveform display where the sample units
appear, then choose the sample units you want from the shortcut menu.
Editing Multichannel Files
In Soundtrack Pro, you can edit multichannel files with up to 24 channels, including the
following types of multichannel files: AIFF, WAV, Broadcast Wave, QuickTime, and single
folder/multi-mono file AIFF.
Each channel row is identified by a number.
Chapter 6 Editing Audio Files 213
Selecting and Editing Channels in Multichannel Files
Editing multichannel files in the File Editor is similar to editing in a multitrack Timeline.
To make a selection across all channels:
m Drag in the bottom 90 percent of any channel.
To make a selection in an individual channel:
1 Move the pointer to the top 10 percent of a channel row.
The pointer changes to indicate the channel name or number.
2 Drag in the channel row over the area you want to select.
To make a selection in multiple, adjacent channels:
1 Move the pointer to the top 10 percent of a channel row.
The pointer changes to indicate the channel name or number.
2 Drag in the channel row to the area you want to select.
3 Continue dragging up or down to include the adjacent channels.
To make a selection in multiple, nonadjacent channels:
1 Move the pointer to the top 10 percent of a channel row.
The pointer changes to indicate the channel name or number.
2 Drag in the channel row over the area you want to select.
3 Command-click in the bottom 10 percent of any nonadjacent channels.
Note: Nonadjacent selections must be within the same time range.
To disable or enable an individual channel:
m Control-click a channel, then choose Enabled from the shortcut menu to toggle it on or off.
To enable all channels:
m Control-click a channel, then choose Enable All from the shortcut menu.
To disable all channels:
m Control-click a channel, then choose Disable All from the shortcut menu.
To reorder channels:
m Choose Process > Reorder Channels, then use the dialog that appears to rearrange the
channel order.
For more information, see “Reorder Channels” on page 229.
214 Chapter 6 Editing Audio Files
Creating a New Multichannel Audio File
You can create a new multichannel file and specify the number of channels and the
sample rate.
To open a new multichannel audio file:
1 Do one of the following:
 Choose File > New > Audio File (or press Command-Shift-N).
 Click New Audio File in the Toolbar.
2 Choose an option from the Channels pop-up menu:
 Mono
 Stereo
 Surround (5.1)
 Other
Note: If you choose Other, use the value slider to enter the number of channels for
the new audio file.
3 Enter a sample rate in the Sample Rate field or choose one from the pop-up menu.
4 Click OK.
Using Frequency Spectrum View
When you first open the File Editor, it shows the audio file in Waveform view. You can also
view and edit an audio file in Frequency Spectrum view. Frequency Spectrum view gives
you a way to find areas of significant frequency change that aren’t visible in a waveform.
Viewing an Audio File in Frequency Spectrum View
In Frequency Spectrum view, the display shows the frequency spectrum of each
channel of a stereo audio file on a scale from 0 Hertz (Hz) to half the sample rate of the
file. For example, for a 48 kHz audio file, the scale progresses from 0 Hz to 24 kHz.
Chapter 6 Editing Audio Files 215
To view an audio file in Frequency Spectrum view, do one the following:
m Choose View > File Editor Display > Show Spectrum.
m Click the Frequency Spectrum View button in the upper-right corner of the File Editor
tab or the File Editor project view.
The display changes to show the audio file’s frequency spectrum.
You can select parts of the audio file, apply actions, and edit the audio file in Frequency
Spectrum view in the same way as in Waveform view. In addition, you can make
selections of frequency ranges as well as copy, paste, delete, and adjust the amplitude
of frequency selections. You can also change the Frequency Spectrum view display to
show the frequency spectrum linearly or logarithmically, use different analysis
windows, and change the number of samples used to calculate the view.
To return to Waveform view, do one the following:
m Choose View > File Editor Display > Show Waveform.
m Click the Waveform View button.
Frequency Spectrum
View button
Waveform View button
216 Chapter 6 Editing Audio Files
Using the Spectrum View HUD
The Spectrum View HUD is a floating window that provides extensive controls for
Frequency Spectrum view.
 Preemphasis: Applies gain per octave. Drag the slider to the right to emphasize high
frequency content.
 Minimum Frequency: Allows you to view a subset of the frequency range (for
example, only the frequencies over 1 kHz).
 Maximum Frequency: Allows you to view a subset of the frequency range (for
example, only the frequencies under 9 kHz).
 Minimum Power: Defines the bottom of the scale (where the blue portion of the
gradient starts).
 Maximum Power: Defines the top of the scale (where the red portion of the
gradient ends).
 Analysis Window: To display the audio file in Frequency Spectrum view, part of the
audio data for each given point in time is analyzed. Each method of analysis
represents a slightly different compromise between frequency resolution and spectral
leakage. You can choose between several different analysis methods, called analysis
windows, used to display the frequency spectrum in Frequency Spectrum view.
 Window Size: The number of samples used for Frequency Spectrum view. This
parameter trades off frequency resolution for time resolution. Smaller window sizes
are more accurate timewise, but smear frequency information across adjacent
frequencies (vertical lines, or transients, appear sharper). Larger window sizes provide
a more accurate frequency display, but will smear things horizontally (horizontal lines
appear sharper, but transients are smeared).
 Frequency Scale: Use Frequency Scale to switch between linear display (in which
harmonics appear evenly spaced) and logarithmic display (in which octaves appear
evenly spaced).
Chapter 6 Editing Audio Files 217
 Color pop-up menu and gradient slider: Use the menu and slider to customize the
gradient for Frequency Spectrum view.
 Reset button: Resets all controls to their default values.
To open the Spectrum View HUD:
1 Turn on Frequency Spectrum view.
2 Do one of the following:
 Choose View > File Editor Display > Show Spectrum Controls.
 Control-click the spectrum display, then choose Show Spectrum Controls from the
shortcut menu.
Adjusting the Frequency Spectrum View with the Shortcut Menu
You can also Control-click the Frequency Spectrum view to change the settings.
To show the frequency spectrum on a logarithmic scale:
m Control-click the Sample ruler along the left edge of the display, then choose
Logarithmic from the shortcut menu.
To show the frequency spectrum on a linear scale:
m Control-click the Sample ruler along the left edge of the display, then choose Linear
from the shortcut menu.
To display the audio file in Frequency Spectrum view, part of the audio data for each
given point in time is analyzed. Each method of analysis represents a slightly different
compromise between frequency resolution and spectral leakage. You can choose
among several different analysis methods, called analysis windows, used to display the
frequency spectrum in Frequency Spectrum view.
To choose an analysis window for Frequency Spectrum view:
m Control-click the spectrum display, then choose an analysis window from the upper
part of the shortcut menu.
Frequency Spectrum view changes the display using the analysis window you selected.
Experiment with these options to see which one shows the data the best.
218 Chapter 6 Editing Audio Files
You can also choose the number of samples used to calculate the spectrum display.
To choose the window size (number of samples used) for Frequency Spectrum view:
m Control-click the spectrum display, then choose a number from the lower part of the
shortcut menu.
Editing in Frequency Spectrum View
Use the Frequency Spectrum view and the Frequency Selection tool to select
frequency ranges as well as to copy, paste, delete, and adjust the amplitude of
frequency selections. You can also select parts of the audio file, apply actions, and edit
the audio file in Frequency Spectrum view in the same way as in Waveform view.
To select a frequency range:
1 Turn on Frequency Spectrum view.
2 Click the Frequency Selection Tool button at the top of the File Editor tab or the top of
the File Editor project view.
In general, editing in Frequency Spectrum view uses the same conventions as editing
in Waveform view. For more information about editing in Waveform view, see “Using
the Global Waveform View” on page 249.
Frequency Selection Tool
button
Frequency Spectrum
view selection
Chapter 6 Editing Audio Files 219
Frequency Selection Tool Guidelines
Here are some further guidelines for editing in Frequency Spectrum view with the
Frequency Selection tool:
 All paste edits, including paste, paste mix, and paste repeat, are supported for
frequency selections.
 Pasting to an ordinary (full frequency range) selection follows the same conventions
as in the Waveform view.
 Pasting to a narrow frequency range causes the contents of the Clipboard to be
filtered before being pasted. This filtered result is added to the result of applying the
complementary filter to the original audio with any necessary truncation or
zero-padding if the length of the selection is greater than or less than, respectively,
the length of the Clipboard audio data.
 When you switch between Frequency Spectrum view and Waveform view, ordinary
(full frequency range) selections are preserved, but any narrow frequency range
selections are reset.
Processing Audio Files
You can process audio files in the File Editor in a variety of ways. You can choose
processing effects and other operations from the Process menu and apply them to an
entire file, or select part of the file and apply the effect to the selection. When you
choose an item from the Process menu, the item appears as an action in the Actions
list. The Process menu contains the items described in the following sections.
Choosing Processing Effects
The Effects submenu contains an extensive set of professional audio effects you can
apply to an audio file or a selection. The audio effects in the Effects submenu are the
same as the realtime effects you can apply to tracks, busses, and submixes in the
Timeline. For information about individual effects in the Effects submenu, see “Audio
Effects Included with Soundtrack Pro” on page 331 and the Soundtrack Pro Effects
Reference document, available in the Help menu.
The effects included with Soundtrack Pro are categorized by type in the Effects
submenu. Below these effect categories is a submenu for Mac OS effects. If you have
installed third-party Audio Units effects on your computer, additional submenus for the
third-party effects appear at the bottom of the Effects submenu.
When you apply a processing effect from the Effects submenu, the floating advanced
settings window for the effect appears. Processing effects windows are nonmodal,
allowing you to click a window behind the effects window (for instance, the Timeline or
File Editor window) to move the playhead or adjust the selection range.
220 Chapter 6 Editing Audio Files
The advanced settings window contains controls for previewing the effect in the File
Editor, bypassing, applying, or canceling the effect, resetting effect parameters, and
applying effect presets.
 Play button: Plays the audio file or selection with the effect.
 Volume slider: Controls the volume of the audio file or selection as you play it.
 Bypass button: Bypasses the effect so you can hear the difference in the sound of the
audio file or selection with and without the effect.
 Reset button: Resets all effect parameters to their default values.
 Cancel button: Closes the advanced settings window without applying the effect.
 Apply button: Applies the effect to the audio file or selection and closes the
advanced settings window.
 Show/Hide Presets button: Shows or hides the Presets drawer so you can apply
effect presets.
For information about applying effect presets in the File Editor, see “Working with
Effect Presets” on page 330.
For information about the effects in the Effects submenu, see Chapter 11, “Working with
Audio Effects,” on page 327.
Fade In
Choosing this command fades in the audio file or selection. The fade-in progresses in
linear fashion from the beginning to the end of the audio file or selection.
Fade Out
Choosing this command fades out the audio file or selection. The fade-out progresses
in linear fashion from the beginning to the end of the audio file or selection.
Show/Hide Presets button
Bypass button
Reset button
Chapter 6 Editing Audio Files 221
Normalize
Choosing this command normalizes (adjusts the gain of ) the audio file or selection to
the decibel level shown in the Normalization Level field. The highest peak in the file is
raised or lowered to the level you set, and the rest of the audio file is raised or lowered
by the same amount. When you choose Process > Normalize, the level is set to 0 dB.
To set the normalization level:
1 Choose Process > Normalize.
2 In the Normalize dialog, drag the Normalization Level slider or select the value in the
Normalization Level field and type a new value.
3 Click OK.
You can preview the audio file at the normalization level before closing the Normalize
dialog. This makes it easy to set the level before normalizing the file.
To preview the file at the normalization level:
m In the Normalize dialog, select the Preview checkbox.
Adjust Amplitude
Choosing this command raises or lowers the gain of the audio file or selection by the
amount shown in the Amplitude Level field. When you choose Process > Adjust
Amplitude, the level shown in the field is zero (0) dB, or unity gain.
To set the amplitude level:
1 Choose Process > Adjust Amplitude.
2 In the Adjust Amplitude dialog, drag the Amplitude Level slider or select the value in
the Amplitude Level field and type a new value.
3 Click OK.
Silence
Choosing this command replaces the audio file or selection with complete silence.
Invert
Choosing this command inverts the phase of each sample in the audio file or selection.
Each sample’s amplitude is unchanged, but the phase is inverted. In the waveform
display, the wave’s crests become troughs and vice versa.
Reverse
Choosing this command reverses the order of the samples in the audio file or selection
so that the first sample becomes the last and vice versa.
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Insert
You can insert silence, noise, or a waveform in an audio file or selection. When you
choose Process > Insert, then choose one of the three items from the Insert submenu,
the silence, noise, or waveform is inserted at the current playhead position. The
remainder of the audio file ripples so that it continues after the inserted silence, noise,
or waveform.
Inserting Silence
When you choose Process > Insert, then choose Silence from the Insert submenu, the
Insert Silence sheet appears. You can set the length of silence to insert, and choose the
format for setting the length of the silence (any of the Time Ruler Units formats).
To set the length of the inserted silence:
1 In the Insert Silence sheet, choose the format you want to use from the Format
pop-up menu.
2 In the “Length of silence to insert” value slider, do one of the following:
 Click the left arrow to shorten the length of the inserted silence, or click the right
arrow to increase the length.
 Click the center of the value slider, then drag the slider that appears left or right to
change the length of inserted silence.
 Click the value in the value slider, then type a new value.
3 Click OK.
Inserting Noise
When you choose Process > Insert, then choose Noise from the Insert submenu, the
Noise Generator dialog appears. You can set the type of noise to insert, set the length
of the inserted noise, choose the format for setting the noise length (any of the Time
Ruler Units formats), and set the volume of the inserted noise.
The inserted noise can be white noise (emphasizing higher frequencies) or pink noise
(equal distribution of frequencies).
Chapter 6 Editing Audio Files 223
To choose the type of noise to insert:
m In the Noise Generator dialog, choose the type of noise from the Waveform Type
pop-up menu.
To set the length of the inserted noise:
1 In the Noise Generator dialog, choose the format you want to use from the Duration
pop-up menu.
2 In the Duration value slider, do one of the following:
 Click the left arrow to shorten the length of the inserted noise, or click the right
arrow to increase the length.
 Click the center of the value slider, then drag the slider that appears left or right to
change the length of inserted noise.
 Click the value in the value slider, then type a new value.
3 Click OK.
To set the volume level of the inserted noise:
m In the Noise Generator dialog, drag the Volume slider left or right to set the noise level.
You can also type a level (in decibels) in the Volume field.
Inserting a Waveform
When you choose Process > Insert, then choose Waveform from the Insert submenu,
the Wave Generator dialog appears. You can set the type of waveform to insert, set the
length of the inserted waveform, choose the format for setting the waveform length
(any of the Time Ruler Units formats), and set the volume of the inserted waveform.
The inserted waveform can be a sine, sawtooth, square, or triangle wave.
To choose the type of waveform to insert:
m In the Wave Generator dialog, choose the type of waveform from the Waveform Type
pop-up menu.
To set the frequency of the inserted waveform:
m In the Wave Generator dialog, drag the Frequency slider left or right to set the
frequency. You can also type a frequency (in Hertz) in the Frequency field.
224 Chapter 6 Editing Audio Files
To set the length of the inserted waveform:
1 In the Wave Generator dialog, choose the format you want to use from the Duration
pop-up menu.
2 In the Duration value slider, do one of the following:
 Click the left arrow to shorten the length of the inserted waveform, or click the right
arrow to increase the length.
 Click the center of the value slider, then drag the slider that appears left or right to
change the length of the inserted waveform.
 Click the value in the value slider, then type a new value.
3 Click OK.
Time Stretch
You can time stretch an audio file or selection. When you time stretch an audio file, you
change the duration (length) of the file without changing the frequency (pitch) of the
file. For example, for a file containing music, the tempo of the music is changed, but
not the pitch. When you time stretch an audio file, you can choose the format for time
values you enter.
To time stretch an audio file:
1 Select the part of the file you want to time stretch (it can be the entire file).
2 Choose Process > Time Stretch.
The Time Stretch sheet appears.
3 In the Time Stretch sheet, choose the format for setting the amount to time stretch the
file from the Format pop-up menu.
4 In the “Length of selection” value slider, do one of the following:
 Click the left arrow to shorten the length, or click the right arrow to increase the length.
 Click the center of the value slider, then drag the slider that appears left or right to
change the length.
 Click the value in the value slider, then type a new value.
5 Click OK.
For information on stretching a file graphically using the Audio Stretching tool, see
“Audio Stretching Tool” on page 210.
Chapter 6 Editing Audio Files 225
Noise Reduction
Some audio files contain unwanted noise, making it difficult to hear the voices, music, or
other content of the file. Soundtrack Pro features two commands, Set Noise Print and
Reduce Noise, that you can use together to reduce noise in an audio file or selection.
Set Noise Print
The Set Noise Print command lets you select part of an audio file containing only the
noise that you want to remove as a “noise print.” The noise print provides a signature of
the frequencies to reduce or remove from the file.
Setting the noise print before reducing noise is optional. If you do not set a noise print
before using the Reduce Noise command, Soundtrack Pro extracts a noise print from
the selected part of the audio file. If there is an existing noise print, it will be used, even
if it is from a different audio file, unless you set a new noise print.
To set part of an audio file as a noise print:
1 In the waveform display, select the part of the audio file containing only the noise you
want to reduce.
2 Choose Process > Noise Reduction > Set Noise Print.
The selected noise is stored as a noise print.
Reduce Noise
The Reduce Noise command uses the frequency content of the noise print to reduce
noise in the audio file or selection.
To reduce noise using the noise print:
1 In the waveform display, select the part of the audio file in which you want to reduce noise.
2 Choose Process > Noise Reduction > Reduce Noise.
The Reduce Noise dialog appears. In the Reduce Noise dialog, you can optionally set
the noise threshold and tone for noise reduction. You can also preview the noise
reduction with the dialog open.
The noise threshold determines the level below which audio in the noise print is
considered to be noise. Lowering the threshold results in only very low signals being
reduced, while raising the threshold results in more high-level signals being reduced.
226 Chapter 6 Editing Audio Files
To set the threshold of the noise reduction:
m In the Reduce Noise dialog, drag the Noise Threshold slider left to lower the threshold,
or drag it right to raise the threshold. You can also type a value (in decibels) in the
Noise Threshold field.
To set the amount of noise reduction:
m Drag the Reduction slider left to decrease the amount of noise reduction, or drag it
right to increase the amount of noise reduction.
To change the tone of the noise reduction:
m In the Reduce Noise dialog, drag the Tone Control slider left to preserve more
low-frequency content (bass), or drag it right to preserve high-frequency content
(treble) during noise reduction.
You can preview noise reduction with the Reduce Noise dialog open and adjust the
threshold and tone of noise reduction. You can also hear the audio file or selection with
and without noise reduction, or hear only the noise to be removed.
To preview the file with noise reduction:
m Click the Play button in the lower part of the Reduce Noise dialog.
To set the preview volume level:
m Drag the Volume slider in the lower part of the Reduce Noise dialog left to lower the
volume or right to raise the volume.
To compare the file with and without noise reduction:
m Click the Bypass button to hear the file without noise reduction. Click the button again
to hear the file with noise reduction.
To hear only the noise to be removed:
m Select the Noise Only checkbox.
To use a noise reduction preset:
1 In the Reduce Noise dialog, click Show Presets.
The Presets drawer appears.
2 In the Presets drawer, select a preset from either the Factory Presets or User Presets list.
3 Click Apply.
Chapter 6 Editing Audio Files 227
Adding Ambient Noise
When editing an audio file, you may want to remove some sounds from the file while
preserving the room tone or other ambient background noise in the file. Soundtrack Pro
features commands you can use to set a selection as an ambient noise print and add the
noise print to existing audio or replace the audio with the noise print.
Set Ambient Noise Print
The Set Ambient Noise Print command lets you copy part of an audio file containing
only ambient noise that you want to add to another part of the file (or another file).
To set part of an audio file as an ambient noise print:
1 In the waveform display, select the part of the audio file containing only ambient noise.
2 Choose Process > Set Ambient Noise Print.
The ambient noise is stored in a special buffer separate from the Clipboard, and is
saved to the project.
If you have copied audio to the Clipboard, you can set the contents of the Clipboard as
an ambient noise print.
To set the contents of the Clipboard as an ambient noise print:
m Choose Process > Set Ambient Noise From Clipboard.
Add Ambient Noise
The Add Ambient Noise command adds the ambient noise stored in the ambient noise
buffer to the audio file or selection.
To add ambient noise to an audio file:
1 In the waveform display, select the part of the audio file to which you want to add the
ambient noise.
2 Choose Process > Add Ambient Noise.
The ambient noise is added to the selected audio. If the selection is longer than the
copied ambient noise, the ambient noise repeats to fill the selection.
Replace With Ambient Noise
The Replace With Ambient Noise command replaces the selected audio with the
ambient noise stored in the ambient noise buffer.
To replace existing audio with ambient noise:
1 In the waveform display, select the part of the audio file you want to replace with
ambient noise.
2 Choose Process > Replace With Ambient Noise.
The ambient noise replaces the selected audio. If the selection is longer than the
copied ambient noise, the ambient noise repeats to fill the selection.
228 Chapter 6 Editing Audio Files
Equalization Matching
Equalization matching matches the average frequency spectrum of the target clip to
that of the source clip.
Set Equalization Print
The Set Equalization Print command lets you select part of an audio file and create an
equalization print from it. The equalization print provides an equalization signature that
you can apply to other files.
To set an equalization print:
1 Select the audio file (or part of the audio file) containing the equalization you want to
match.
2 Choose Process > Equalization Matching > Set Equalization Print.
The selection is stored as a equalization print.
Apply Equalization
The Apply Equalization command uses the average frequency spectrum of the
equalization print to match the equalization in the audio file or selection.
To match equalization using the equalization print:
1 Select the audio file (or part of the audio file) in which you want to match the
equalization.
2 Choose Process > Equalization Matching > Apply Equalization.
The equalization print is applied to the target file.
Convert to Mono
Choosing this command converts a stereo audio file to mono. You can choose whether
to convert the file to mono by using only the left channel, using only the right channel,
or combining the two channels. Combining the left and right channels sums them as
an equal gain mix.
To select how a stereo file is converted to mono:
1 Choose Process > Convert to Mono.
2 In the Convert to Mono dialog, select the button corresponding to the method by
which you want to convert the file to mono.
3 Click OK.
The Convert to Mono action converts the entire stereo file to mono. You cannot
convert only a selection of a file to mono. The Convert to Mono action flattens the file,
removing existing actions from the Actions list. For information about flattening
actions, see “Flattening Actions” on page 233.
Chapter 6 Editing Audio Files 229
Resample
Choosing this command resamples the audio file to a new sample rate.
To choose the new sample rate:
1 Choose Process > Resample.
2 In the Resample sheet, choose a sample rate from the Sample Rate pop-up menu. You
can also type a sample rate (in Hertz) in the Sample Rate field.
3 Click OK.
The Resample action flattens the file, removing existing actions from the Actions list.
For information about flattening actions, see “Flattening Actions” on page 233.
Swap Channels
Choosing this command swaps the left and right channel of a stereo audio file or
selection. If the file is mono or multichannel (more than two channels), Swap Channels
is disabled.
Reorder Channels
This command opens a dialog that allows you to rearrange the order of channels in a
multichannel file. If the file is mono, Reorder Channels is disabled.
To reorder channels in an audio file:
1 Choose Process > Reorder Channels.
2 Drag the name of the channel to a different location in the channel list.
3 Click OK.
Render to Action
This command renders realtime effects to actions. It is available in the File Editor project
view only. For more information, see “Rendering Realtime Effects to Actions” on
page 243.
Applying Realtime Effects to Individual Audio Files
In addition to processing effects, you can apply realtime effects to an audio file project.
You can apply realtime effects in the Effects tab, and you can automate realtime effect
parameters in the File Editor project view. For more information, see “Applying Realtime
Effects in the File Editor Project View” on page 242.
230 Chapter 6 Editing Audio Files
Working with Actions
Actions give you an extremely flexible and powerful way to edit audio files in the File
Editor. You can apply an action to an entire file or a selected part of the file, including
applying an action to only one channel of a stereo audio file. You can turn individual
actions on or off and reorder actions in the Actions list, changing the sequence in
which the actions change the audio file. You can adjust action settings after applying
the action, and can flatten actions.
Applying Actions
You start working with actions by applying an action to the audio file or the currently
selected part of the file.
To apply an action:
1 With the file open in the File Editor, choose an item from the Process menu.
The item appears in the Actions list.
2 Some actions have a dialog that appears when you choose the item from the Process
menu. Adjust the settings in the dialog, then click Apply.
The action is added to the Actions list, and the waveform display updates to show the
change to the audio file. You can hear the change when you play the project. Some
actions may take a moment to apply. In this case, a progress bar appears, indicating
that the action is being applied.
Some effects, including reverb and delay, add audio that extends past the end of the
file. This is called an effect tail. When you apply a processing effect that produces an
effect tail to an audio file in the File Editor, the file is lengthened to include the tail until
the point at which the tail falls below –96 dB. If you apply a processing effect that
produces a tail to a selection, the tail is mixed with the audio following the selection. If
the tail extends past the end of the file, the file is lengthened to include the effect tail
until the point at which the tail falls below –96 dB.
When you apply an action that adds a short (0.1 second or less) tail to an Apple Loop,
the tail is shortened to preserve the overall length of the loop.
Action Insert bar
Actions
Resulting waveform
Actions tab
Chapter 6 Editing Audio Files 231
Editing Actions
Many actions have settings that you can edit. When you apply an action that has
editable settings, a dialog appears, letting you edit the action’s settings. You can edit an
action’s settings any time you are working in the File Editor.
To show an action’s settings, do one of the following:
m In the Actions list, Control-click the action you want to edit, then choose “Edit Settings
For [action name]” from the shortcut menu.
m Double-click the action in the Actions list.
m In the Actions list, select the action you want to edit, then choose “Edit Settings For
[action name]” from the Actions pop-up menu.
If the action has no editable settings, the Edit Settings menu item appears dimmed.
Adjusting and Applying Action Selections
You can adjust the selection for an action or set the current selection in the File Editor
to an action’s selection.
To adjust an action’s selection, do one of the following:
m Make a selection in the File Editor, then in the Actions list, Control-click the action, then
choose “Set Selection For [action name]” from the shortcut menu.
m Make a selection in the File Editor, then in the Actions list, choose “Set Selection For
[action name]” from the Actions pop-up menu.
The action is shifted to the selected region.
To set the File Editor’s current selection to the action’s selection,
do one of the following:
m In the Actions list, Control-click the action, then choose “Selection For [action name]”
from the shortcut menu.
m In the Actions list, choose “Selection For [action name]” from the Actions pop-up menu.
The action’s selection becomes the current selection in the File Editor.
Turning Actions On and Off
You can turn individual actions on and off in the Actions list and hear the result when
you play the audio file. The waveform display updates to show the change to the audio
file. Depending on the length of the file, turning actions on and off can take time.
To turn an action off:
m In the Actions list, deselect the checkbox next to the action name.
To turn an action on:
m In the Actions list, select the checkbox next to the action name.
232 Chapter 6 Editing Audio Files
Reordering Actions
You can reorder actions after applying them to an audio file. The order in which effects
and other actions occur can drastically change the resulting sound of the audio file.
Depending on the length of the file, reordering actions can take time.
To reorder actions:
m In the Actions list, drag the actions you want to reorder up or down to new positions.
You hear the change when you play the audio file. The waveform display updates to
show the change to the audio file.
Using the Action Insert Bar
The Action Insert bar appears as a purple marker along the left side of the Actions list
with an associated bar that extends across the list. As you apply actions, the Action
Insert bar moves below the last action applied.
You can move the Action Insert bar up or down to a new position in the Actions list.
Only actions before the Action Insert bar are heard when you play the project, so you
can control which actions are heard by moving the bar. The purple strip to the left of
the checkboxes in the Actions list indicates the actions that are heard when you play
the project.
When you choose an item from the Process menu, it is applied directly following the
Action Insert bar. By moving the bar, you set where in the list the next action is applied.
To set the position of the next applied action:
m Drag the Action Insert bar up or down in the Actions list to the position you want.
Action Insert bar
Drag the Action Insert bar
to the position you want.
Chapter 6 Editing Audio Files 233
Reversing the Order of the Actions List
You can reverse the order in which actions are shown in the Actions list, so the last
action applied appears at the top of the list. This is useful when your project has a large
number of actions.
To reverse the order of the Actions list:
m Click the triangle at the upper-right corner of the Actions list. Click the triangle again to
return the list to its default order.
When you reverse the order of the Actions list, the Action Insert bar appears at the top
of the list instead of at the bottom. You hear actions below the Action Insert bar in the
list, rather than above it. When you choose an item from the Process menu, it is applied
directly above the position of the Action Insert bar.
Reversing the order of the Actions list affects only the visual appearance of the list. The
order in which actions are applied to the audio file is unchanged.
Flattening Actions
You can flatten the actions in a project to a single action. Flattening actions renders the
actions into the file, reducing the complexity of the file and the file size. When you flatten
actions, all existing actions are removed from the Actions list, and you can no longer
reorder the actions or edit their action settings, unless you undo flattening the actions.
Some items in the Process menu, including Convert to Mono and Resample, flatten all
actions in the project.
To flatten all audible actions:
1 Move the Action Insert bar directly below the last action you want to flatten.
2 Do one of the following:
 Choose Process > Flatten Audible Actions.
 Choose “Flatten audible actions” from the Actions pop-up menu.
To flatten all actions, do one of the following:
m Choose Process > Flatten All Actions.
m Choose “Flatten all actions” from the Actions pop-up menu.
Click the triangle to
reverse the order of the
Actions list.
234 Chapter 6 Editing Audio Files
Comparing the Project With and Without Actions
When you are adding and adjusting actions, you may want to compare the results of
your changes to the original file.
To hear the file without actions:
1 Choose “Play without actions” from the Actions pop-up menu.
2 Click Play or press the Space bar.
To hear the file with all actions:
1 Choose “Play with all actions” from the Actions pop-up menu.
2 Click Play or press the Space bar.
To hear the file with only selected actions:
1 In the Actions list, deselect the checkboxes for the actions you do not want to hear.
2 Click Play or press the Space bar.
When you deselect an action, its settings are saved and are available when you select
the action again.
Comparing the Last Two Actions
You can quickly compare the last two actions applied to an audio file or selection.
This is helpful when you want to try out two similar actions, and hear which one you
like better.
To compare the last two actions:
1 Do one of the following:
 Choose Process > A/B Last Two Actions.
 Choose A/B from the Actions pop-up menu (or press Command-F1).
2 Click Play or press the Space bar.
You hear the first of the two actions. The checkbox of the second action appears
deselected in the Actions list.
3 Do one of the following:
 Choose Process > A/B Last Two Actions again.
 Choose A/B from the Actions pop-up menu (or press Command-F1) again.
You hear the second of the two actions. The checkbox of the first action appears
deselected in the Actions list.
Chapter 6 Editing Audio Files 235
Deleting Actions
You can delete an action if you decide you no longer want it in the project.
To delete an action:
m Select the action in the Actions list, then press Delete.
Limitations of Actions That Change the File’s Length
Some actions change the overall length of the audio file by inserting or deleting audio.
These include inserting silence, noise, or a waveform, time stretching, and deleting part
of a file. Recording audio, pasting, and adding an effect with a “tail” can also change the
file’s length. In the Actions list, the selection checkbox for each action that changes the
file’s length appears red, making it easy to visually distinguish those actions.
Each selection you make in the File Editor applies to a specific range of time, and each
action applies to a range of time defined by the selection at the time the action is
applied. Because selections and actions apply to a range of time, changing the file’s
length can change the audio to which a selection or action applies. In the File Editor,
you see the selection remain in the same place (the same range of time as shown in
the Time ruler) and see the waveform under the selection change.
When you apply an action that changes the file’s length, any existing selections apply
to the same range of time, but the audio occupying that range of time may be different
than when you applied the action. For example, if you select a range of time beginning
five seconds after the start of an audio file, then insert one second of silence at the
beginning of the file, the selection still begins five seconds after the start of the file, but
the audio at the beginning of the selection corresponds to what was previously four
seconds after the start of the file.
If a project includes an action that increases the file’s length, and you turn off or reorder
that action, any selection that includes audio added by the length-changing action
may extend past the end of the shortened file. In this case, the selection applies to the
remaining audio in the selected range of time, but has no effect past the end of the file.
For example, if you have a five-second project that includes a one-second Insert Silence
action at the beginning of the project, and you select the last half-second of the
project, then turn off the Insert Silence action, the selection applies to the last halfsecond
of the project. However, the remaining half-second of the selection is empty.
236 Chapter 6 Editing Audio Files
Analyzing an Audio File
Soundtrack Pro includes a set of audio analysis tools. You can analyze an audio file for
common problems such as clicks and pops, hum, phase issues, and clipping, and fix
them individually or in a single operation. When you analyze an audio file, you can
select which types of analysis to perform.
To show the analysis lists and tools:
m In the File Editor, click the Analysis button.
The Analysis Type list, Parameter list, and Analysis Results list replace the Actions list in
the window.
To analyze an audio file:
m Click the Analyze button, located below the Parameter list.
Types of Audio Analysis
The following types of analysis can be performed in the File Editor:
Clicks and Pops
Sudden, short peaks in the audio file can result from a variety of causes, including
mechanical defects in analog recordings. You can set the threshold above which
Soundtrack Pro considers peaks to be clicks or pops.
(Power Line) Hum
Power lines and other electrical equipment can produce a steady hum, often at 50 or
60 Hz. The hum can also include low-order harmonics of the fundamental frequency.
Analysis Type list
Parameter list
Analyze button
Analysis Results list
Fix buttons and
Magnify button
Chapter 6 Editing Audio Files 237
DC Offset
DC offset is a shift in the audio, causing the positive and negative parts of the signal
not to average to zero. DC offset can limit the dynamic range of an audio file.
Phase Issues
Phase issues can result from a distorted or inaccurate stereo image, caused by poor
microphone placement or other issues. When converting a stereo file to mono, the
presence of phase issues can cause the left and right channels to cancel each other out
partially or completely.
Clipped Signal
A clipped or overloaded signal can result from several causes, including poor gain
staging in a preamp during recording, bad electrical cables, or surface damage to an
analog recording. If analysis identifies a clipped signal, Soundtrack Pro gives you the
option to soften the abrasive nature of the truncation.
Silence
Silence detects the parts of the audio file at which the audio signal falls to zero (0). You
can set the threshold below which Soundtrack Pro considers the signal to be silence.
To select the types of analysis to perform:
1 In the Analysis Type list, select the checkboxes next to the types of analysis you want to
perform on the audio file.
2 To analyze the file, click Analyze.
When analyzing an audio file in the File Editor, some analysis types might produce
better results if you select a part of the audio file instead of the entire audio file.
The Power Line Hum, DC Offset, and Phase analysis types determine whether the audio
file or selection exhibits these problems. Because hum, DC offset, and phase issues tend
to last for long times, up to the entire length of the file, better results might be achieved
when analyzing the entire audio file or the part of the file you think has the problem.
On the other hand, the Clicks and Pops, Clipped Signal, and Silence analysis types tend
to be momentary and isolated rather than constant. If part of an audio file or selection
contains a large number of clicks and pops, for example, the analyzed waveform might
display the entire region as being problematic, rather than each individual click or pop.
However, when you fix these problems using the Fix button, Soundtrack Pro correctly
fixes each individual click or pop.
The Clicks and Pops Threshold slider uses an algorithm to detect transients that are
clicks or pops. Moving the slider to the right results in fewer clicks or pops being
detected. The Silence Threshold slider ranges from 0% to 10% of the full-scale level of
the audio file, which corresponds to a range of –infinity dB to –20 dB.
238 Chapter 6 Editing Audio Files
Setting Analysis Parameters
The Clicks and Pops and Silence analysis types have parameters you can set. Each type
has a Threshold slider you can drag to set the threshold for detecting clicks and pops or
detecting silence.
To set analysis parameters:
1 In the Analysis Type list, click the disclosure triangle for the analysis types for which you
want to set parameters.
2 Drag the Threshold slider left to lower the threshold or right to raise the threshold. You
can also type a value in the Threshold field.
Reading Analysis Results
When you analyze an audio file, the problems detected through analysis are shown in
the Results list. For each item, the following information appears in the Results list.
 Status: Shows whether the problem is fixed or not fixed.
 Problem: Shows the analysis type to which the problem belongs.
 Start: Shows the point at which the problem begins.
 Length: Shows the duration of the problem.
 Channels: Shows whether the problem occurs in the left channel (L), the right
channel (R), or both channels (LR) of a stereo audio file.
You can select items in the Results list. When you select an item in the Results list, the
part of the audio file to which the problem applies becomes red in the waveform
display, making it easy to see where in the audio file the problem occurs. If you select
multiple items, the parts of the audio file to which any of the selected problems apply
become red.
Chapter 6 Editing Audio Files 239
By default, the region shown in red in the waveform display includes some extra time
before the first sample with the problem and some extra time after the last sample
with the problem. This extra time is included so that when you play or loop the
problem area, you can hear the problem in context.
You can narrow the problem area to include only the samples identified as having the
problem, with no extra time.
To narrow the problem area to include only problem samples:
m Option-click the item in the Analysis Results list.
Zooming In on Analyzed Problems
You can zoom in on an item in the Results list using the Magnify button, so you can see
the problem area of the audio file closely.
To zoom in on an item in the Results list:
1 In the Results list, select the item.
2 Press and hold the Magnify button, located at the bottom of the Results list.
The waveform display zooms in on the problem area for as long as you hold the
Magnify button.
To zoom in and stay at the new zoom level:
1 In the Results list, select the item.
2 Option-click the Magnify button.
The problem area is
highlighted in the File Editor.
Select an item in the
Results list, then press
and hold the Magnify
button.
Magnify button
240 Chapter 6 Editing Audio Files
Fixing Analyzed Problems
You can select items in the Results list and fix them individually, in groups, or all
together. When you select a single item, the part of the waveform where the item
occurs becomes red.
To fix an item:
m Select the item in the Results list, then click the Fix button.
You can select multiple items to fix by Shift-clicking or Command-clicking. You can also
fix all items in a single operation.
To fix all items in one operation:
m Click the Fix All button.
Once you have fixed a problem, you can remove it from the Results list, so that you can
focus on remaining problems.
To clear fixed items from the Results list:
m Click the Clear Fixed button.
Using the File Editor Project View
You can open the File Editor so that it appears in the top-center pane of the
Soundtrack Pro window (in place of the Timeline). The File Editor project view has
several unique properties that allow you to:
 Apply realtime effects and automation to an individual file and render those effects
to actions
 Save an individual audio file as an audio file project
 Save an audio file project as a standard audio file
 Create AppleScript droplets from Soundtrack Pro actions
 View and navigate the Global Waveform view
 Add and edit markers in an audio file project
Chapter 6 Editing Audio Files 241
Opening the File Editor Project View
You start working in the File Editor project view by creating an audio file project,
opening an existing audio file project, or opening an audio file in the File Editor.
To create a new, blank audio file project:
m Choose File > New > Audio File.
You can create an audio file project from a clip and open it in the File Editor. Audio file
(.stap) projects let you edit nondestructively.
To open an audio file project in the File Editor project view, do one of the following:
m Choose File > Open (or press Command-O), locate and select the project or file, then
click Open.
m Drag the project or file over the Soundtrack Pro icon in the Dock.
m In the Timeline, double-click the audio clip.
m In Final Cut Pro, select a clip, then choose File > Send To > Soundtrack Pro Audio File Project.
m In Motion, select an audio track, then choose Edit > Send Audio to Soundtrack Pro.
You can also open the original file in its native format in the File Editor. Editing the
original audio file means that when you save your changes, you overwrite (replace) the
original file with the edited one.
To open an audio file in its native format in the File Editor project view,
do one of the following:
m Select the clip, then choose Clip > Open in Editor.
m In the Timeline or in one of the media tabs, Control-click a project or file, then choose
Open in Editor from the shortcut menu.
m In Final Cut Pro or Motion, Control-click an audio clip, then choose Open in Editor from
the shortcut menu.
When you open a clip from the multitrack window, if the clip is part of a larger audio
file, the File Editor zooms in to the length of the clip. A marker is added to mark the
start and end points of the clip.
When you open a stereo audio file in the File Editor, the left channel appears in the
upper part of the waveform display, and the right channel appears in the lower part.
You can have multiple audio file projects open in Soundtrack Pro and cut and paste
between them, but only one project can play back at a time.
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Setting the Time Ruler Units in the File Editor Project View
You can set the Time Ruler units in the File Editor project view to any format in the
Time Ruler Units submenu.
To set the Time Ruler units in the File Editor project view:
m Choose View > Time Ruler Units, then choose a format from the submenu.
For more information, see “Setting the Project Ruler Units” on page 109.
Closing Audio File Projects
You can close the project when you no longer want to work on it, or close the
Soundtrack Pro window and close all open projects (both multitrack and audio file projects).
To close a project:
m Choose File > Close Tab (or press Command-W).
To close all open projects and close the Soundtrack Pro window:
m Click the close button in the upper-left corner of the window.
Applying Realtime Effects in the File Editor Project View
Using the File Editor project view, you can apply realtime effects to an individual audio
file project and automate those effects. You can also render realtime effects to actions.
To add a realtime effect to an audio file project in the File Editor project view:
1 Open an audio file or audio file project in the File Editor project view.
2 In the Effects tab, select a category in the Category list to display the effects for that
category in the Effect list.
3 In the Effect list, do one of the following:
 Double-click the effect you want to add to the track.
 Select the effect name, then click the Add Effect button.
 Drag the effect to the Effect Parameters area.
The effect’s advanced settings window appears, and the effect name appears in the
Effect Parameters area with its checkbox selected.
For more information on applying realtime effects, see “Working with Realtime Effects”
on page 343.
Chapter 6 Editing Audio Files 243
Automating Realtime Effects in the File Editor Project View
Once you have applied realtime effects to an individual audio file project, you can
automate those effects in the File Editor project view.
To automate a realtime effect parameter:
1 In the Effects tab, select the Auto checkbox next to the parameter’s control.
2 In the File Editor project view, click the Master Envelope button (in the lower-left corner
of the project pane) to show the envelopes for the audio file project.
3 Add and adjust envelope points in the effect’s envelope.
For information on adding and adjusting envelope points, see Chapter 12, “Working
with Automation,” on page 355.
Rendering Realtime Effects to Actions
Choosing this command renders any realtime effects applied to the audio file project
and the project’s envelopes to an action in the Actions list, letting you turn these
effects and envelopes on or off, reorder them in the list, and save them with the audio
file project.
244 Chapter 6 Editing Audio Files
To render realtime effects and envelopes to an action:
m Choose Process > Render to Action.
Once you render realtime effects and envelopes to an action, the realtime effects are
deleted from the project, and the envelopes are reset to their default values.
Some effects, including reverb and delay, add audio that extends past the end of the
file. This is called an effect tail. When you render realtime effects to an action, if any of
the effects creates an effect tail that extends past the end of the audio file, the file
lengthens to include the effect tail.
Saving Audio File Projects from the File Editor Project View
You can save a project as an audio file project or as a standard audio file and can
choose other options when you first save the file. Audio file projects are saved with the
extension .stap. Saving a project as an audio file project lets you make changes to
actions and other edits when you reopen the project in the File Editor.
To save a project as an audio file project:
1 Choose File > Save.
2 In the Save dialog, type a name for the file and browse to the location where you want
to save it.
3 Choose the file type for the project from the File Type pop-up menu.
The available choices in the Save dialog change depending on whether you choose
Audio File Project or an audio file format as the file type.
4 Optionally, select the Update Multitrack Documents checkbox to switch all instances of
the original file in open multitrack projects to the new audio file project.
5 Click Save.
Chapter 6 Editing Audio Files 245
Saving Audio File Projects Containing Video
For audio file projects containing video, the video file is saved as a reference movie. If
the video file is moved or deleted, or if you copy the project to another computer, the
video may be missing when you open the project. To add the video to the project
again, drag the video file into the Video tab or the video track of the Timeline.
When you open a QuickTime movie in the File Editor as an audio file project, or send an
audio clip from Final Cut Pro to an audio file project, by default the source audio is
referenced. When you save the project by choosing File > Save As, you can include the
source audio in the project. If the source audio is moved or deleted, or if you copy the
project to another computer, the audio might not play correctly.
The first time you save an audio file project with referenced audio, a dialog appears
asking if you want to include or reference the source audio. Your choice becomes the
default behavior for new audio file projects and can be changed in the General
preferences pane.
About Saving QuickTime Movies and File Size
When you lengthen or shorten the duration of a QuickTime movie in the File Editor by
adding or deleting audio, the file size of the movie might be larger than expected
when you save the movie. For example, if you shorten the duration of the movie by
deleting audio, the file size of the movie does not decrease.
When you change the sample rate, bit depth, or number of channels in a QuickTime
movie, the file size of the saved movie might be larger than expected. Also, when
saving to a QuickTime movie that uses a compressed audio format, the audio is saved
uncompressed and the file size might be larger than expected.
In all of the above cases, saving the movie to a different location results in the file being
saved at the correct file size.
246 Chapter 6 Editing Audio Files
Saving Audio Files from the File Editor Project View
You can also save a project as a standard audio file from the File Editor project view. In
this case, the edits you have made are rendered into the audio file and cannot be
changed or undone the next time you open the audio file in the File Editor.
To save a project as an audio file:
1 Choose File > Save.
2 In the Save dialog, type a name for the file and browse to the location where you want
to save it.
3 Choose the file type for the project from the File Type pop-up menu.
You can save a project to any of the following standard audio file formats:
 AIFF
 WAVE
 NeXT
 Sound Designer II
 Core Audio File
 QuickTime Movie
4 Choose the bit depth for the project from the Bit Depth pop-up menu.
5 Choose the sample rate for the project from the Sample Rate pop-up menu.
6 Optionally, select any of the following checkboxes:
 Dither: Select to dither the file. Dithering is useful when saving a project at a lower
bit depth or sample rate. In general, you should dither a project only when saving it
as a standard audio file, and only when you have finished all bit depth or sample rate
conversions. Dithering is not appropriate for 32-bit files.
 Include Source Audio: Select to include the source audio in the project. If you don’t
select this checkbox, the project refers to the external source audio file. Referenced
files must be present to open the project correctly.
 Update Multitrack Documents: Select to switch all instances of the original file in
open multitrack projects to the new audio file project.
Chapter 6 Editing Audio Files 247
7 Click Save.
When you save an audio file with the same name, location, and extension as the
original audio file, you overwrite the existing audio file.
Using the Timeline Controls in the File Editor Project View
You can use the Timeline controls, located at the lower-left corner of the project pane,
while working in the File Editor project view.
Some of these controls have slightly different functions in the File Editor than they do
in the Timeline.
 Master Envelopes button: You can show or hide the envelopes for the audio file.
 Snapping button: You can turn snapping on or off in the File Editor.
 Snap To button: You can choose the Snap To value that the playhead and other items
snap to. In the File Editor, the choices for snap are Ruler Ticks and Zero Crossings.
 Track Height control: This sets the height of the envelope rows when you show
envelopes in the File Editor.
248 Chapter 6 Editing Audio Files
Scripting Actions in the File Editor Project View
You can save a series of actions in the File Editor project view as an AppleScript droplet
and use the droplet to modify other audio files. You can apply the actions in a saved
droplet while you are working in Final Cut Pro using the Send To shortcut menu. You
can also drag files or folders onto a droplet, making it easy to batch process files.
You can edit the droplet in the AppleScript Script Editor to adjust action settings. This is
especially helpful when you want to apply the same series of actions to multiple files,
or when you want to apply actions repeatedly, changing one or several settings each
time. You can apply a droplet to another audio file, or group of files, by dragging files or
folders containing a group of files onto the droplet.
To save a series of actions as a droplet:
1 Open an audio file in the File Editor.
2 Apply the actions to the audio file.
3 Choose File > Save as AppleScript.
4 In the Save dialog, type a name for the droplet.
By default, droplets are saved to the location /Users/username/Library/Scripts/
Soundtrack Pro Scripts/. Do not change the location or Soundtrack Pro and
Final Cut Pro may not be able to find and use your saved droplets.
Applying a Saved Droplet to a Clip in Final Cut Pro
You can apply a series of actions saved as a droplet to a clip in Final Cut Pro.
To apply a saved droplet to a clip in Final Cut Pro:
m In the Final Cut Pro Timeline or Bin, Control-click the clip, choose Send To >
Soundtrack Pro Script from the shortcut menu, then choose the droplet you want to
apply from the submenu.
Soundtrack Pro opens with the clip visible in the File Editor. The actions are applied to
the clip, the clip is saved with the changes, and the File Editor moves to the
background, behind the Final Cut Pro windows.
Chapter 6 Editing Audio Files 249
Using the Global Waveform View
The File Editor includes a Global Waveform view, located directly above the main
waveform display. The Global Waveform view displays a miniature view of the entire
audio file and shows the current playhead position. The part of the audio file visible in
the waveform display appears inside a blue rectangle. You can quickly move to
different parts of the audio file by dragging the visible area rectangle.
To move to a different part of the audio file using the Global Waveform view:
m Drag the blue visible area rectangle to a new position.
Using Markers in the File Editor Project View
You can insert markers in an audio file project in the same way as in a multitrack
project. Markers can be useful for indicating where a specific sound, cue, or event
begins or ends in the audio file. They can also be useful for indicating an area of an
audio file you want to time stretch.
When an audio file project has two or more markers, you can select the area between
two markers by double-clicking in the waveform display. For more information, see
“Selecting Part of an Audio File” on page 202.
For information about inserting, naming, moving, and deleting markers, see “Working
with Markers” on page 183.
Drag this rectangle to a
new position.
7
251
7 Using the Multitake Editor
The Multitake Editor presents a new way of dealing with
layered audio clips.
About the Multitake Editor
You use the Multitake Editor to edit multitake (multiple-take), synchronized audio that
is created by performing multiple-take recordings (such as in automatic dialogue
replacement, or ADR). With this flexible tool, you can mix and match parts of different
takes and make adjustments at any time. Once you are done editing a multitake clip,
you can collapse it into a single (composite) clip, hiding the constituent edits that are
not relevant to the surrounding multitrack Timeline, and move it anywhere in your
project as a single item.
252 Chapter 7 Using the Multitake Editor
What Is ADR?
Automatic dialogue replacement (ADR) is a process of re-recording dialogue in the
studio in synchronization with the picture. There are at least three roles in the ADR
process: the actor, the recording engineer, and the sound editor. The actor has to
recreate his or her performance and perfectly match up his or her speech to that of the
film. The recording engineer has to recreate acoustic spaces so that it doesn’t sound
like an actor is in a recording studio. The sound editor has to pick and choose the best
parts of multiple takes, combine them into one composite clip, and keep everything
synchronized to the picture. The Multitake Editor in Soundtrack Pro was created to
address the needs of the sound editor in this scenario.
Multitake Clips
A multitake clip is a “layered” audio clip. This means it contains multiple versions or
“takes” of the same audio material, such as a line of dialogue. Generally, these takes
represent overlapping spans of time in your program. In an ADR recording session, an
actor may repeat the same line many times. A single multitake clip can contain all of
those takes as distinct items.
Creating Multitake Clips
You can create a multitake clip by either recording one or converting a standard clip to
a multitake clip.
Recording Multitake Clips
For information about recording multitake clips, see “Recording Multiple Takes” on
page 372.
Converting Standard Clips to Multitake Clips
You can convert any clip to a multitake clip.
To convert a standard clip to a multitake clip:
1 Select a clip in the Timeline.
2 Do one of the following:
 Control-click the clip and choose Convert to Multitake Clip from the shortcut menu.
 Select the Multitake tab and click the Make Multitake Clip button that appears in the
center of the Multitake tab.
The new multitake clip appears in the Multitake Editor.
3 Add any additional takes, as needed.
For information on adding takes, see “Adding and Deleting Takes” on page 256.
Chapter 7 Using the Multitake Editor 253
Overview of the Multitake Editor
You can think of the Multitake Editor as a simplified multitrack Timeline that is focussed
entirely on the contents of a single multitake clip. In the Multitake Editor, you can
audition and choose which take will be used for each section of dialogue. The top row
in the Multitake Editor is the comp (or composite) track. This track represents a
combination of all of the edits that you make in the Multitake Editor. The other tracks
represent individual takes. You use the Blade tool to split the takes into regions. Use the
Selection tool to select the active take for each region. Use transition points to adjust
the timing and to create crossfades between the selected portions of takes.
 Selection tool: Use the Selection tool to select take regions by clicking them.
 Blade tool: Use the Blade tool to split takes into regions.
 Scrub tool: Use the Scrub tool to quickly find a particular sound or event in the audio.
 Comp track: Represents combined edits that you made in the Multitake Editor.
 Take tracks: Represent individual takes.
 Solo button: Solos the take track.
 Snapping button: Toggles snapping for the Multitake Editor.
 Snap To pop-up menu: Sets Multitake snapping to Ruler Ticks, Seconds, or Frames.
 Track Height: Sets the height of tracks in the Multitake Editor.
 Zoom slider: Drag the slider to change the zoom level.
Note: When a multitake clip is displayed in the Multitake Editor, the Action Insert bar is
moved to the top of the Actions list. When you deselect the clip or you click a different
tab, the Action Insert bar is restored to its original position. For more information about
the Actions tab, see “Working with Actions” on page 230.
Blade tool Scrub tool
Solo button
Track Height Zoom slider
Comp track
Take tracks
Snapping button
Snap To pop-up menu
Selection tool
254 Chapter 7 Using the Multitake Editor
Editing in the Multitake Editor
Fundamentally, there are three steps in making any multitake edit: splitting, selecting,
and adjusting.
First, you split the takes into regions using the Blade tool.
To split a take using the Blade tool:
1 Select the Blade tool by clicking the Blade tool in the upper-left corner of the Multitake
Editor or by pressing B.
2 Click one of the take tracks using the Blade tool pointer.
A transition point appears in the Multitake Timeline at the point where you clicked.
After you have split the takes into regions, select the active take for each region with
the Selection tool.
To select an active take for a region:
1 Select the Selection tool by clicking the Selection tool in the upper-left corner of the
Multitake Editor or by pressing A.
2 In the region, click the take track you want to select.
The take you clicked becomes the active take for that region.
Next, use transition points to adjust the timing and to create crossfades between the
selected portions of takes. Slip (offset) take regions to synchronize them with the picture.
Click a take track using
the Blade tool to create a
transition point.
Select the take track to
make it the active take
for that region.
Chapter 7 Using the Multitake Editor 255
To adjust a transition point, do one of the following:
m Drag the vertical transition point line left or right to adjust the timing of the cut.
m Drag the left or right arrow handle at the top of a transition point to create a crossfade
between two takes, then double-click the fades to use the Fade Selector.
You can also adjust the fade type by double-clicking either part of the crossfade. For
more information on fade types, see “Creating Fade-Ins and Fade-Outs in the Timeline”
on page 158.
To delete a transition point:
1 Select the vertical transition point line.
2 Press Delete.
Slipping Take Regions
Because it’s common for a particular take to be good but out of sync, you can slip
(offset) an individual take region.
To slip a take region:
1 Command-Option-click the take region.
2 Without releasing the mouse button, drag to the left or to the right.
For more information about slipping (the offset of ) a take region, see “Changing the
Offset of an Audio Clip” on page 157.
Drag the transition point
handles to create a
crossfade between takes.
256 Chapter 7 Using the Multitake Editor
Adding and Deleting Takes
You can easily add audio files to a multitake clip. Added takes can be any audio files
that Soundtrack Pro supports and that match the sample rate and channel valence of
the takes already in the Multitake Editor. The takes do not have to be from the same
recording session. It is just as easy to remove takes from a multitake clip.
Π Tip: Optionally, you can add a take from the original production audio to use a guide
track. The waveform in this original recording can be a good reference point during
your multitake editing session.
To add a take, do one of the following:
m Drag a file into the Multitake Editor.
m Choose Add Take from the pop-up menu in the upper-left corner of the Multitake tab.
In the dialog that appears, navigate to the audio file you want to add and click Open.
Note: The sample rate and the channel valence (mono, stereo, surround, and so on) of
the files you want to add must match the sample rate and the channel valence of the
files already in the Multitake Editor.
To remove a take:
m Choose Remove Take from the pop-up menu in the upper-left corner of the Multitake
tab and choose the take you want to remove from the submenu.
Renaming Takes
By default, Soundtrack Pro names takes according to the order in which they were
recorded and the track in which they were recorded. For example, “Take 3 - Track 1
Recording 3.aiff.” You can easily rename any take to suit your needs.
To rename a take in a multitake clip:
m Click the name field in the header for the take and enter a new name.
Chapter 7 Using the Multitake Editor 257
Reordering Takes
You can vertically rearrange the order of takes in a multitake clip.
To rearrange the order of takes in a multitake clip:
1 Click the track header of the take you want to move.
2 Drag the take vertically to a new position in the list.
Example: A Multitake Editing Workflow
The following example demonstrates how you might create a comp from multiple
takes of an ADR session using the Multitake Editor. In this case, there are four takes of
the same line: “Would you like to try a sample of our organic Peruvian blend?”
To edit multiple takes of a line of dialogue using the Multitake Editor:
1 Select the multitake clip in the Timeline.
2 Control-click the ruler at the top of the multitrack Timeline, then choose Cycle Region
from the shortcut menu and Create Cycle Region from Selection from the submenu (or
press Shift-A).
3 Click the Multitake Editor tab to open it.
The comp track and, in this example, four take tracks, appear in the Multitake Editor.
4 Click the Solo button on the Take 1 track and click the Play button to listen to the first take.
Take 1 plays.
5 Repeat this playback for each take to familiarize yourself with how they sound.
6 Optionally, you can choose to add a take from the original sync-sound production audio
to use a guide track. (See “Slipping Take Regions” on page 255 for more information.)
7 When you are ready to make the first cut, click the Blade tool in the upper-left corner of
the Multitake Editor (or press B).
In this example, Take 3 contains the best version of the first few words (“Would you
like to...”).
Drag a take track header
to a new position in the
list.
A blue bar indicates
where the take track will
be positioned.
258 Chapter 7 Using the Multitake Editor
8 Using the Blade tool, click just before the waveform for the word “try” in the Take 2 track.
A transition point appears in the Multitake Editor Timeline at the point where you clicked.
9 Click the Selection tool in the upper-left corner of the Multitake Editor.
10 In the Take 3 track, click the waveform for the word “try” to select it.
The take you clicked becomes the active take for the region.
11 Repeat steps 6 to 9, selecting the best takes for each of the other phrases or words in
the line of dialogue.
12 Slip (offset) individual take regions, as needed, to synchronize them with the picture.
(For more information, see “Example: A Multitake Editing Workflow” on page 257.)
Click the waveform with
the Blade tool to create a
transition point.
The Take 3 track becomes
the active take for that
region.
Chapter 7 Using the Multitake Editor 259
13 Do one of the following to adjust any of the transition points:
 Drag a transition point left or right to adjust the timing of the cut.
 Drag the left or right arrow handle at the top of a transition point to create a
crossfade between two takes.
Note: You can also adjust the fade type by double-clicking either part of the
crossfade. For more information on fade types, see “Creating Fade-Ins and Fade-Outs
in the Timeline” on page 158.
14 When you are satisfied with the edit, use the multitake clip in the main multitrack
Timeline as you would use any other clip.
If you need to make additional edits or adjustments to the multitake clip, repeat
Steps 1 to 3.
Drag the transition point
handles to create a
crossfade between takes.
8
261
8 Basic Mixing in Soundtrack Pro
Soundtrack Pro gives you the tools to create sophisticated
audio mixes for your projects.
When you have added audio clips to your project and placed them in the Timeline, you
mix the project. Mixing is where you balance different elements, such as dialogue,
music, and sound effects, bring focus to key moments and events in the project, and
create a sense of perspective by placing sounds in space. When you finish mixing, you
have one or more final mixes that you can export.
Soundtrack Pro offers you professional mixing capabilities, including the abilities to
create busses and submixes and to send audio to multiple physical outputs. The Mixer
provides a visual representation of your project in a virtual mixing console, with
channel strips where you control different aspects of the sound. You can adjust volume
and pan, mute and solo tracks, choose track submixes, add effects, and observe levels
as the project plays. This chapter covers basic mixing. For information about mixing
surround sound, see Chapter 9, “Mixing Surround Sound,” on page 293.
262 Chapter 8 Basic Mixing in Soundtrack Pro
Steps in Mixing
Mixing a project typically involves the following tasks:
 Balancing relative volume levels
 Panning tracks to create perspective
 Adding EQ, compression, and other processing using effects
 Using automation to create changes over time
 Setting the overall project volume and eliminating clipping
You can perform these steps in any order, and move back and forth between them as
you create the mix. In most situations, you finish mixing the individual tracks before
making changes to the overall project. The following suggested order provides a
guideline that may be useful for common situations:
Step 1: Mix main dialogue tracks
Solo the main voice tracks and pan to your liking. Add any EQ, compression, or other
processing. Adjust relative volume, leaving some headroom (typically around –6 dB) for
peaks in the signal, in case you need to raise levels later.
Step 2: Mix other dialogue and middle ground tracks
With main voice tracks still soloed, solo the other dialogue, ADR, and voiceover tracks
one at a time and adjust volume and pan relative to the main voice tracks. Add any
processing if needed.
Step 3: Mix background tracks
With the previously mixed tracks still soloed, solo the background tracks one at a time
and adjust volume and pan relative to the other tracks. Add any processing if needed.
Step 4: Make changes to the overall mix
Once you have mixed all the individual tracks in your project, add any EQ, compression,
or other processing to the overall project. Adjust the overall volume to an appropriate
level and remove any clipping before exporting the project.
Chapter 8 Basic Mixing in Soundtrack Pro 263
Structuring an Audio Post-Production Project
To organize their projects, most video and motion picture sound editors combine the
signals of related tracks and busses into submixes (also known as stem mixes). Then they
combine these submixes to build a final mix. Soundtrack Pro is designed with this
workflow in mind.
What Is a Submix and How Do You Use It?
In Soundtrack Pro, you use a submix to combine (or “sum”) the audio from different
tracks and busses, and route the audio to physical outputs. The name of this feature
implies its purpose—to mix the audio signals of a subset of the tracks and busses in
your project. If you are using external audio hardware that supports multiple physical
outputs, you can have multiple submixes in your project and then choose the physical
output to which each submix routes its audio. By default, all tracks are routed to
Submix 1, and Submix 1 is routed to the Stereo 1, 2 outputs. You can easily add more
submixes, reroute audio, and change the hardware output setting using the Output
pop-up menu in each submix.
Basic Signal Routing in Soundtrack Pro
At a minimum, any audio that you edit in the Soundtrack Pro Timeline passes through
the following “mixer objects” on its way out to the physical audio outputs: a track, a
submix, and the Master bus.
1
Master bus
Hardware
output
Track Submix bus
Audio clip
Effects
Volume fader
264 Chapter 8 Basic Mixing in Soundtrack Pro
Audio post-production projects typically include many tracks and submixes. The
following diagram shows the signal flow of multiple tracks to just one submix. While
this is an unlikely scenario, it illustrates the fact that you can route as many tracks to a
submix as you like. See “Example: Mixing a Project with Dialogue, Music,
and Effects Submixes” on page 266 for a typical example.
Setting the Submixes for Tracks and Busses
To be included in a project, the audio signal of each track and each bus must be routed
to a submix. By default, in new multitrack projects, there is only one submix (Submix 1)
and all tracks are routed to Submix 1. You can add as many submixes as you like and
route as many signals from tracks and busses to those submixes as you want.
To create a more elaborate project (as described in “Example: Mixing a Project with
Dialogue, Music, and Effects Submixes” on page 266), you create additional submixes.
To add a submix, do one of the following:
m Choose Multitrack > Add Submix.
m Control-click a submix, then choose either Insert Submix Before or Insert Submix After
from the shortcut menu.
Once you have created multiple submixes, you can route any combination of tracks or
busses to any submix.
To set the submix for a track or bus:
m Choose the submix from the Submix pop-up menu in the track header or at the
bottom of the Mixer channel strip for the track or bus.
If you choose None from the pop-up menu, you are effectively removing that track or
bus from the mix and from the final output.
1
2
3
4
Tracks Submix bus
Stereo panner
Chapter 8 Basic Mixing in Soundtrack Pro 265
Setting Hardware Outputs
Use the Output pop-up menu in each submix to choose an output channel or set of
output channels. Your choice defines the output of that submix as either mono, stereo,
or surround.
To select the hardware output jacks for a submix:
m Click None, Surround, Stereo, or Mono from the Output pop-up menu in the track
header of each submix, then choose a channel or set of channels from the submenu.
The available choices within each of these output categories depend on the number of
available physical outputs and number of submixes in your project.
Note: You can create submixes independently of the audio hardware connected to your
computer and can route audio to an output that does not correspond to a physical
output. In most situations, each submix in a project should correspond to a physical
output on the audio interface or other hardware connected to your computer. Submixes
that do not correspond to a physical output will not be heard. You may set as many
submixes in a project to the same physical output device or output channel as you like.
If you choose None from the Output pop-up menu, you are effectively removing that
submix from the mix and from the final output.
For more information about system output settings, see “Setting the Audio Input and
Output” on page 22. For more information about connecting an audio interface, see
“Setting the Audio Input and Output” on page 22.
For more information about working with tracks, busses, and submixes in the Timeline,
see “Tracks, Busses, Submixes, and the Master Bus” on page 124 and “Working with
Tracks, Busses, and Submixes in the Timeline” on page 135.
266 Chapter 8 Basic Mixing in Soundtrack Pro
Example: Mixing a Project with Dialogue, Music,
and Effects Submixes
A classic audio post-production practice for film and video is creating separate submixes
for the dialogue, the music, and the sound effects. This provides an appropriate degree
of flexibility, both in the mixing phase and in distributing the final product.
Creating Submixes
In this example project, all tracks containing dialogue are routed to a submix called
“Dialogue.” The tracks containing sound effects are routed to a submix called “FX.” The
tracks containing music are routed to a submix called “Music.”
The following diagram shows how audio signals from tracks in each category are
routed into their respective submixes.
Dialogue tracks
Effects tracks
Music track
Submix bus
Music
Effects
Dialogue
Stereo panner
Audio clip
VO: Debra
VO: Jacob
Stage Mic
FX: Foley
Tracks
FX: Background
FX: Boom
Music: Music 1
Music: Music 2
Chapter 8 Basic Mixing in Soundtrack Pro 267
Once the audio signals are organized in this way, you can apply (and automate) volume
settings and effects on any of the submixes, rather than on the individual tracks or
busses. You might, for example, add a compressor or EQ effect to a Dialogue submix to
enhance all of the dialogue signals at once. Obviously, this saves a lot of time and effort
(when compared with applying all of these settings to each dialogue track individually).
Using submixes to segment your project provides you with greater control over all
aspects of your final mix.
Creating a Stereo Mix
The next routing decision is the choice of hardware outputs. The following example
diagram shows the routing for a traditional final product: a stereo mix. To do this, you
would simply choose the Stereo 1,2 output for each of the three submixes. (This also
happens to be the default output for every submix in Soundtrack Pro.)
In this case, the left and right channels for each submix are routed to the left and right
(1 and 2) channels of the hardware output device. All three submixes are combined
into one stereo (left and right) signal. This is a “stereo mixdown,” suitable for any
stereo-capable playback device. At this stage, the Master bus presents a (final)
opportunity to make volume adjustments and apply effects. For information about the
Master bus, see “Using the Master Bus” on page 290.
1
2
3
4
Tracks Submix bus
Channels 1, 2
Channels 1, 2
Channels 1, 2
5
6
7
8
Right
Left
Hardware
outputs
Master
bus
Music
Effects
Dialogue
Audio clip Stereo panner
4
3
2
1
6
7
8
5
268 Chapter 8 Basic Mixing in Soundtrack Pro
Creating a Separate Music and Effects Mix
Using submixes in your workflow becomes very powerful when you consider the many
different ways you might be delivering the final program. One common practice is
creating a separate music and effects (M & E) submix for foreign distribution. This gives
distributors the option to create versions of the program with the dialogue dubbed in
foreign languages but to still include the program’s original music and effects in the
dubbed versions.
As in the stereo mixdown example, the Dialogue submix is routed to the Stereo 1,2
output. But the Music and Effects submixes are routed to the Stereo 3,4 output
channels, isolating the dialogue signal from the music and effects signals. Technically,
only one output channel is required for the dialogue, because the Dialogue submix is
made up of mono signals. But in practice, it is usually routed as two identical mono
signals to channels 1 and 2. Most likely, producers making the foreign language version
will use the original dialogue as a guide track and then replace it with their edited
foreign language track in the final mix.
This M & E case is just one simple example of how you can structure a project for an
efficient workflow. Each mix project comes with its own particular quirks. The good
news is that Soundtrack Pro has a lot of flexibility. For example, the sends and busses
features in Soundtrack Pro offer additional options for structuring a project. For more
information, see “Working with Sends and Busses in the Mixer” on page 286.
4
3
2
1
6
7
8
5
Hardware
outputs Output
device
Master
bus
Submix bus
Channels 3, 4
Music
Channels 3, 4
Effects
Channels 1, 2
Dialogue
Stereo panner
Audio clip
1
2
3
4
Tracks
5
6
7
8
Chapter 8 Basic Mixing in Soundtrack Pro 269
Signal Routing for a Separate Music and Effects Mix in Surround
When you shift from a stereo project to surround, you need to keep in mind some
minor signal routing consequences. This section discusses what changes you would
make to the submix and output settings. (For information about creating a surround
version of a stereo project, see “Converting a Stereo Mix to 5.1 Surround” on page 307.)
First, assuming that the music and effects are mixed over six surround channels, those
submixes must be routed to the Surround 1-6 output. The Dialogue submix could
either remain routed to the Stereo 1,2 output jacks to be added to the Surround 1-6
mix or routed to the center channel at the submix, or could be panned to the center
channel in a surround signal, as shown below.
To create the surround version of the separate music and effects mix (as described
earlier), you route the Dialogue submix to any output channels other than 1-6. This
example uses channels 7 and 8, the last two available output channels, thus isolating
the dialogue from the music and effects.
1
2
3
4
Tracks
5
6
7
8
Right
Left
Center
Right
surround
Left
surround
LFE
Submix bus
Channels 1–6
Hardware
outputs
Master
bus
4
3
2
1
6
7
8
5
Channels 1–6
Music
Channels 1–6
Effects
Audio clip Surround panner
Dialogue
1
2
3
4
Tracks Submix bus
Channels 7, 8
Dialogue
5
6
7
8
Output
device
Hardware
outputs
Master
bus
4
3
2
1
6
7
8
5
Audio clip Stereo panner Surround panner
Channels 1–6
Music
Channels 1–6
Effects
270 Chapter 8 Basic Mixing in Soundtrack Pro
Using Sends and Busses
You can use sends to split an audio signal into two or more separate signals. A send taps
a track’s audio signal and routes it down a separate but parallel path. In Soundtrack Pro,
these separate paths are known as busses. (Some might call these auxiliary busses.) This
process is analogous to diverting a portion of a river to an alternate (but parallel) stream.
Busses are like alternate streams of audio. They can be processed or combined
independently of the “main river.” They can rejoin the main signal further “downstream,”
at the final mix, or they can be routed to altogether separate outputs.
By preparing these alternate versions and combinations of track audio signals, you give
yourself more options at the final mix stage, when all of your project’s media elements
and adjustments are in place.
Example: Adding Effects with Sends and Busses
The following example shows how you could add a reverb effect to a music track using
a bus. The main reason to apply effects this way (rather than directly on the track) is so
you can control the amount and characteristics of the effect (in this case, reverb) on
multiple tracks using one set of controls.
To accomplish this, you do the following:
 Create a new bus. (In this example, the new bus is named “MusicReverb.”)
 Add a send to the music track.
 Route the new send to the MusicReverb bus.
 Apply a reverb effect to the MusicReverb bus.
For specific information about how to add sends to tracks and route them to busses,
see “Adding Sends to Tracks” on page 349.
Send
Track
Submix bus
Bus
1
Audio clip
Effects
Volume fader
Send
Track
Submix bus
MusicReverb bus
Music
Audio clip
Effects
Volume fader
Reverb effect
Chapter 8 Basic Mixing in Soundtrack Pro 271
As the diagram shows, the new MusicReverb bus represents an alternate version of the
Music track audio signal. Once created, this bus appears as a row in the Timeline and a
channel strip in the Mixer. It becomes a resource to draw from during the final mix.
Rather than having to tweak the effects settings of individual tracks in the mix, you can
simply adjust the volume fader on the MusicReverb bus to increase or decrease the
amount of reverb on that music track.
By default, new sends are pre-fader sends. This means the signal is tapped before the
track’s output fader. In this example, if you used the default pre-fader send setting,
adjusting the Volume slider on the Music track would have no effect on the music level
in the MusicReverb bus.
In contrast, a post-fader send taps the track signal after a track’s output fader. You can
change a send to a post-fader send.
To make a send a post-fader send:
m Click the disclosure triangle for the send in the Effects tab, then select the On button
next to Post-Fader.
In the post-fader case, adjusting the Volume slider on the Music track would have a
direct effect on the music level in the MusicReverb bus.
Pre-fader send
Track
Submix bus
Bus
1
Audio clip
Effects
Volume fader
Submix bus
Track Post-fader send
Bus
1
Audio clip
Effects
Volume fader
272 Chapter 8 Basic Mixing in Soundtrack Pro
Example: Combining Track Signals with Sends and Busses
You can also send the signals from multiple tracks to a single bus, creating
“intermediate submixes.” For example, you could route every dialogue track for a
particular actor to a bus with the actor’s name. You could adjust the volume of all the
actor’s dialogue using the bus volume fader and add an EQ effect that brings out the
actor’s voice in the mix. You could then send (route) the bus to a particular submix.
In the above diagram, tracks 1 and 4 contain dialogue from the actor, Jacob. Each of
these tracks has a send applied to it that taps the signal and routes it to a bus (named
“Jacob”). This bus is effectively an intermediate submix. Now, any effects and fader
adjustments applied to this bus will be available during the final mix as a single
channel strip (named “Jacob.”)
For more information about using sends and busses in the Mixer, see “Working with
Sends and Busses in the Mixer” on page 286.
Submix bus
1
2
3
4
Tracks
Jacob bus
Audio clip
Effects
Volume fader
Chapter 8 Basic Mixing in Soundtrack Pro 273
Using the Mixer
While most mixing tasks can be accomplished in the Timeline and elsewhere in the
Soundtrack Pro interface, the Mixer offers an interface analogous to hardware mixing
consoles found in most audio post-production facilities. Another advantage of the Mixer
is that you can view levels on all (or at least many) tracks simultaneously in real time.
Working with Channel Strips in the Mixer
The Mixer features a series of vertically arranged controls called channel strips, like the
channel strips in a hardware mixing console. The channel strips in the Mixer correspond
to the horizontal tracks, busses, and submixes in the project Timeline.
Channel strip
274 Chapter 8 Basic Mixing in Soundtrack Pro
The controls a channel strip contains depend on whether it is a track, bus, or submix
channel strip. The controls for each type are as follows:
The channel strips in the Mixer make it easy to see the settings for all the tracks, busses,
and submixes in your project at once and to adjust those settings relative to each other
as you create the overall mix.
In the Mixer, the channel strips appear in order corresponding to their order in the
Timeline. Top-to-bottom order in the Timeline corresponds to left-to-right order in the
Mixer. You can reorder tracks in the Mixer and have the new order reflected in the
Timeline. Changes you make to controls such as volume and pan also show up in the
track controls when you open the project in the Timeline.
Using Custom Layouts for Mixing
You can rearrange the Soundtrack Pro layout to suit your particular mixing workflow.
There are numerous possible combinations. You can tear off tabs and have them float
over the Soundtrack Pro window or show them on a second display. One default layout
(in addition to the standard layout) floats the Mixer and the Video tabs as separate
windows. This allows you to further resize the Mixer and the Video windows to an
arrangement that is convenient for mixing.
Track channel strips Bus channel strips Submix channel strips
Color label Color label Color label
Icon Icon Icon
Effects slots Effects slots Effects slots
Output pop-up menu Output pop-up menu Output pop-up menu
Panners (stereo or surround) Panners (stereo or surround) —
Volume fader and value slider Volume fader and value slider Volume fader and value slider
Level meters with peak indicator Level meters with peak indicator Level meters with peak indicator
Arm for Recording button — —
Mute button Mute button Mute button
Solo button Solo button Solo button
Name Name Name
Chapter 8 Basic Mixing in Soundtrack Pro 275
To display the Mixer and Video tabs as separate windows, do one of the following:
m Choose Window > Layouts > Separate Mixer and Video (or press F2).
m Using the pointer, drag the Mixer and Video tabs out of their docked positions.
The Mixer and the Video tabs float over the Soundtrack Pro window as separate windows.
Another useful layout to consider is one showing just the Timeline and the Mixer. This
arrangement is convenient for visually positioning the playhead during a mix.
Once you have resized or moved the windows to a comfortable arrangement, you can
save the layout as a custom layout for future use. For information about saving custom
layouts, see “Using Project Layouts” on page 68.
Adding Channel Strips to the Mixer
You can add a channel strip for a track, bus, or output in the Mixer in the same way you
add a track, bus, or output in the Timeline.
To add a track channel strip:
m Choose Multitrack > Add Track.
To add a bus channel strip:
m Choose Multitrack > Add Bus.
To add an output channel strip:
m Choose Multitrack > Add Output.
Timeline
Mixer
276 Chapter 8 Basic Mixing in Soundtrack Pro
Selecting Channel Strips
You can select a channel strip in order to move, copy, or remove it. Selected channel
strips appear darker in the Mixer.
To select a channel strip, do one of the following:
m Click any empty part of the channel strip.
You can select multiple channel strips in the Mixer.
To select adjacent channel strips:
m Shift-click the channel strips you want to select.
To select nonadjacent channel strips:
m Command-click the channel strips you want to select.
Reordering Channel Strips
You can change the order of channel strips in the Mixer. When you open the Mixer, the
order of channel strips corresponds to the order of tracks, busses, and submixes in the
Timeline. Because channel strips are oriented horizontally in the Mixer, top-to-bottom
order in the Timeline corresponds to left-to right order in the Mixer. Reordering channel
strips in the Mixer also changes their order in the Timeline.
In the Mixer, as in the Timeline, channel strips of the same type (track, bus, or output)
are grouped together. You can reorder a channel strip within its own group, but cannot
move it to a group of a different type. You can only move one channel strip at a time.
To reorder a channel strip:
m Drag the channel strip left or right to a new position.
Copying Channel Strips
You can copy channel strips in the Mixer. You can copy a channel strip within its own
group, but cannot copy it to a group of a different type. You can only copy one channel
strip at a time.
To copy a channel strip:
m Option-click the channel strip, then drag it left or right.
A copy of the channel strip appears when you release the mouse button.
Chapter 8 Basic Mixing in Soundtrack Pro 277
Setting Channel Strip Volume Levels
You set relative volume levels to balance the various parts of the project. You set the
volume level of a channel strip using the channel strip volume fader or value slider.
Different sounds can have different apparent loudness at the same volume level, so
perceived loudness does not precisely correspond to numeric values on the volume
faders. You determine the appropriate volume level by listening to the track and
adjusting its level in the overall mix.
To set the volume level of a channel strip, do one of the following:
m Drag the volume fader up to raise (increase) the volume, or drag it down to lower
(decrease) the volume.
m Click along the length of the volume fader at the point you want to set the volume level.
m Click the left or right arrows on the edges of the volume value slider.
m With the pointer over the center of the volume value slider, hold down the mouse
button and drag left or right.
m Click the center of the volume value slider, then type a new value.
The scale is from –96 to +6 dB. The default level is 0 (zero) dB.
To return the volume fader to the default level:
m Double-click the knob in the volume fader.
As you adjust track volume, watch the level meters next to the volume fader to make
sure that the track is not clipping. For information about preventing clipping, see
“Setting the Overall Project Volume Level” on page 288.
Volume value slider
Volume fader
278 Chapter 8 Basic Mixing in Soundtrack Pro
Setting Channel Strip Pan Position
You pan sounds to different positions to place them in the stereo or the surround field.
You set the pan position of a track or bus channel strip using the stereo pan slider and
value slider or the surround panner. You can’t pan a submix or the Master channel strip.
To set the stereo pan position of a channel strip, do one of the following:
m Drag the pan slider left or right to the pan position you want.
m Click along the length of the pan slider at the point you want to set the pan position.
m Click the left or right arrow on the edges of the pan value slider.
m With the pointer over the center of the pan value slider, hold down the mouse button
and drag left or right.
m Click the center of the pan value slider, then type a new value.
The scale is from –100 to 100, with 0 (zero) as the center value. Negative values are left
of center, and positive values are right of center. The default is 0.
To return the stereo pan slider to the default level, do one of the following:
m Control-click the slider, then choose Set to Centered from the shortcut menu.
m Double-click the knob in the stereo pan slider.
To switch the panning controls from stereo to surround in the channel strip, do one
of the following:
m Select a channel strip in the Mixer, then choose Multitrack > Use Surround Panner.
m Control-click the stereo pan slider, then choose Use Surround Panner from the
shortcut menu.
Pan slider
Pan value slider
Chapter 8 Basic Mixing in Soundtrack Pro 279
To set the surround pan position of a channel strip:
m Drag anywhere inside the black circle to position the puck.
To return the surround panner to the default level:
m Control-click the panner, then choose Set to Centered from the shortcut menu.
For finer surround panning adjustments and other surround controls, double-click the
surround panner to open the Surround Panner HUD.
For more information about using surround panners, see “Using Surround Panners to
Create a Surround Mix” on page 299. For more information about the Surround Panner
HUD, see “The Surround Panner HUD” on page 300.
Setting Channel Strip Output
On a hardware mixing console, you can send signals to different busses and physical
outputs. You can create submixes and busses in Soundtrack Pro, assign tracks and
busses to different submixes, and assign submixes to physical output channels on
connected audio devices. You can send audio from as many tracks and busses to the
same output as you want.
To set the submix for a track or bus:
m Choose the submix from the Submix pop-up menu at the bottom of the channel strip
for the track or bus.
For submixes in the Mixer, the Output pop-up menu lists the available output channels.
To set the output for a submix in the Mixer:
m In the channel strip for the submix, choose the output channel or set of channels from
the Output pop-up menu.
The options listed in the Output pop-up menu depend on the number of available
physical outputs and the number of submixes in your project. For more information
about setting the output, see “Setting Hardware Outputs” on page 265.
Submix pop-up menu
280 Chapter 8 Basic Mixing in Soundtrack Pro
Note: You can create submixes independently of the audio hardware connected to your
computer and can route audio to an output that does not correspond to a physical
output. In most situations, each submix in a project should correspond to a physical
output on the audio interface or other hardware connected to your computer. Submixes
that do not correspond to a physical output will not be heard. You may set as many
submixes in a project to the same physical output device or output channel as you like.
To select an audio interface as the output device:
m Choose Apple menu > System Preferences, click Sound, then click the Output button.
Select the audio interface in the list that appears.
For more information about these settings, see “Setting the Audio Input and Output”
on page 22.
Muting and Soloing Channel Strips
You can mute and solo channel strips in the Mixer in order to hear or silence specific
tracks, busses, or submixes.
To mute a channel strip:
m Click the channel strip’s Mute button. Click the button again to unmute the channel strip.
To solo a channel strip:
m Click the channel strip’s Solo button. Click the button again to unsolo the channel strip.
To exclusively solo a channel strip:
m Option-click the Solo button. Click the Solo button again to unsolo the track, bus, or output.
When you export a project, all unmuted tracks, busses, and submixes are included in
the exported file. If you export a track, bus, or output that is muted (including being
muted by having another track soloed), the exported file contains no audio.
Enabling Track Channel Strips for Recording
You can enable a track channel strip for recording. When you enable a track channel
strip for recording, audio will be recorded on the track when you click the Record
button in the transport controls. You can’t record to a bus or output channel strip.
To enable a track channel strip for recording:
m Click the Arm for Recording button in the channel strip. Click the button again to
disable the channel strip for recording.
You can record only to a track, not to a bus or an output.
Solo button
Arm for Recording Mute button
button
Bypass Effects button
Chapter 8 Basic Mixing in Soundtrack Pro 281
Renaming Channel Strips
You can rename a channel strip to help you remember its content or purpose in the
overall mix.
To rename a channel strip:
m Click the channel strip’s name (at the top of the channel strip) to select it, then type a
new name.
Changing a Channel Strip Icon
You can change the icon of a channel strip. Icons do not affect the sound, but are
useful as a quick visual reference for the channel strip, particularly for projects with
many tracks, busses, or submixes.
To change a channel strip icon:
m Double-click the icon you want to change, then choose a new icon from the icon menu.
Showing and Hiding Sections of the Mixer
You can show or hide sections of the Mixer window and sections of channel strips.
Hiding sections of the Mixer and the channel strips can be helpful, especially when
using Soundtrack Pro with a smaller computer display or when working on projects
with a large number of tracks, busses, or submixes.
You can show or hide any of the following sections of the Mixer:
 Audio tracks
 Busses
 Submixes
Double-click the
channel strip icon...
...the icon menu appears.
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To hide a section of the Mixer:
m Choose the section you want to hide from the Show pop-up menu, located at the
upper right of the Mixer.
To hide sections of channel strips:
m Choose the section you want to hide from the Channel Strip pop-up menu.
The visible sections of the channel strips appear with a checkmark in the Channel
Strips pop-up menu.
You can show or hide any of the following sections of the channel strips:
 Icons
 Effects slots
 Output pop-up menus
 Pan controls
 Volume faders and level meters
Using the Channel Strip Level Meters
Each channel strip includes level meters to the left of its volume fader. You can use
the level meters to observe each channel strip’s level as the project plays. The level
meters range from –96 dB to +6 dB, moving from bottom to top as the level
increases. The segments of the level meters run from green through yellow to orange
as the level increases.
Note: For surround signals, the channel strip meters show the signals in this order: Ls,
L, C, R, Rs, LFE. This matches the surround order in the Meters tab. (See “Setting the
Overall Project Volume Level” on page 288 for more information.)
Show (Mixer) pop-up menu
Channel Strip
pop-up menu
Chapter 8 Basic Mixing in Soundtrack Pro 283
At the top of each set of level meters is a peak indicator. As the project plays, the value
in decibels of the highest level reached appears in the peak indicator. If the level rises
above 0 dB, the peak indicator becomes red. The values shown in each peak indicator
remain until you play the project again, close the project, or reset the peak indicator.
To reset a peak indicator:
m Click the peak indicator.
To reset all peak indicators, do one of the following:
m Option-click the peak indicator in any channel.
m Click the Reset button in the Meters tab.
The peak indicators can help identify where clipping occurs in the project. For
information about removing clipping, see “Setting the Overall Project Volume Level” on
page 288.
Removing Channel Strips
You can remove a channel strip from the Mixer if you decide you no longer want it in
the project.
To remove a channel strip, do one of the following:
m Select the channel strip, then choose Multitrack > Remove [item].
m Control-click the channel strip, then choose Remove [item] from the shortcut menu.
The term indicated by [item] changes in the menu depending on whether a track, bus,
or output is selected.
Note: If audio from a track is sent to a bus or output, and you remove the bus or
output, the audio from the track will not be heard when you play the project.
Level meters
Peak indicator
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Working with Effects in the Mixer
You can add effects to a channel strip in the Mixer, show effects settings, turn effects
on and off, replace an effect, and delete effects. You can also adjust effects settings in
the Effects tab or in the effect’s advanced settings window.
Adding Effects to a Channel Strip
You can add effects, turn effects off and on, and reorder effects in a channel strip.
Note: Before adding an effect to a track, it’s a good idea to solo the track so that you can
hear how the effect changes its sound, separate from the other tracks in the project.
To add an effect to a channel strip:
m Control-click an empty effects slot in the channel strip, choose Add Effect from the shortcut
menu, then choose one of the available effects from the categories in the submenu.
Showing Channel Strip Effects Settings
Once you add an effect, you can view and adjust its settings in the Effects tab.
To show an effect’s settings in the Effects tab:
m In the channel strip, Control-click the effect, then choose Show [effect name] Settings
from the shortcut menu.
The Effects tab becomes active, and shows the selected effect’s settings.
Some effects have a floating advanced settings window with sliders and other controls
you can use to adjust effect parameters.
Chapter 8 Basic Mixing in Soundtrack Pro 285
To show advanced settings for an effect, do one of the following:
m Double-click the effect name in the channel strip.
m Control-click the effect, then choose Show [effect name] Advanced Settings from the
shortcut menu.
The effect’s advanced settings window appears.
For information on working in the advanced settings window, see “Automating
Realtime Effect Parameters” on page 351.
Reordering Effects in the Mixer
You can reorder effects in the Mixer as well as in the Effects tab. When you reorder
effects, you change the order in which the audio is processed by each effect, which can
change the sound drastically.
To reorder an effect in the Mixer:
m Drag the effect up or down in the effects slot area to change its order.
Turning Effects Off and On
You can turn off a channel strip’s effects. Turning off an effect lets you hear the channel
strip without the effect, while preserving the current effects settings.
To turn off an effect in a channel strip, do one of the following:
m Deselect the checkbox to the left of the effect name.
m Control-click the effect, then choose Disable [effect name] from the shortcut menu.
To turn off all effects in a channel strip:
m Control-click an effects slot, then choose Disable All Effects from the shortcut menu.
To turn on an effect again, do one of the following:
m Select the checkbox to the left of the effect name.
m Control-click the effect, then choose Enable [effect name] from the shortcut menu.
To turn on all effects in a channel strip:
m Control-click an effects slot, then choose Enable All Effects from the shortcut menu.
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Replacing an Effect
You can replace an effect in a channel strip with another effect. When you replace an
effect with another effect, the new effect has its own default settings, regardless of the
settings of the previous effect.
To replace an effect in a channel strip:
m Control-click the effect, choose Replace [effect name] from the shortcut menu, then
choose a new effect from the submenu.
Deleting Effects from a Channel Strip
You can delete an effect if you decide you don’t want to use it in a channel strip. You
can also delete all effects from a channel strip.
To delete an effect from a channel strip, do one of the following:
m Select the effect, then choose Edit > Delete (or press the Delete key.)
m Control-click the effect, then choose Delete [effect name] from the shortcut menu.
To delete all effects from a channel strip:
m Control-click an effects slot, then choose Delete All Effects from the shortcut menu.
For more information about working with effects, including information on uses of
different effects and adjusting effect parameters, see Chapter 11, “Working with Audio
Effects,” on page 327.
Working with Sends and Busses in the Mixer
This section covers using sends in Mixer channel strips. For more general information
about sends and busses, see “Using Sends and Busses” on page 270 and “Adding Sends
to Tracks” on page 349.
Adding Sends to a Channel Strip
You can add sends to a channel strip, show send settings in the Effects tab, bypass a
send, or remove a send in the Mixer.
To add a send to a channel strip:
m Control-click an empty effects slot in the channel strip, choose Add Send from the
shortcut menu, then choose one of the available busses in the submenu.
The new send is added. When you add a send, the audio is routed from the send to a
bus. By default, the first send you add to an effects chain is routed to Bus 1, the second
send is routed to Bus 2, and so on, if the default bus exists. You can choose the bus to
which a send is routed.
By default, new sends are pre-fader sends. You can change a send to a post-fader send.
Chapter 8 Basic Mixing in Soundtrack Pro 287
To make a send a post-fader send:
m Click the disclosure triangle for the send in the Effects tab, then select the On button
next to Post-Fader.
Reordering Sends in the Mixer
You can reorder sends in the Mixer as well as in the Effects tab. When you reorder sends,
you change which effects are routed to the send, which can change the sound drastically.
To reorder a send in the Mixer:
m Drag the send up or down in the effects slot area to change its order.
Showing Send Settings
You can show the settings for a send in the Effects tab. Send settings include volume,
pan, and the bus to which the send is routed.
To show settings for a send:
m In the Mixer, Control-click the send, then choose Show Send Settings from the
shortcut menu.
The Effects tab becomes active, with the settings for the send visible in the Effect
Parameters area.
Turning Sends Off and On
You can turn sends off, and turn them back on. When you turn off a send, the audio is
not routed to the send bus, and is not heard.
To turn off a send in a channel strip, do one of the following:
m Deselect the checkbox to the left of the send name.
m Control-click the send, then choose Disable Send from the shortcut menu.
To turn on an effect again:
m Select the checkbox to the left of the effect name.
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Setting the Overall Project Volume Level
As you finalize a project mix, you set the overall project volume to the appropriate
level. Certain formats or methods of distribution may require that the project conform
to a particular maximum level. In general, you set the overall volume of the project to
the highest level at which no clipping occurs at any point in the project.
Clipping occurs when the digital audio signal exceeds the maximum level that can be
reproduced accurately. Unlike analog audio, digital audio is completely unforgiving of
clipping, which creates sharp distortion of the audio signal. Soundtrack Pro projects clip
whenever the output displayed in the level meters exceeds zero decibels (0 dB). It’s
important to eliminate clipping from projects before exporting the final mix. For more
information about digital distortion, see Appendix B, “Audio Fundamentals,” on page 463.
You can monitor audio output levels using the level meters in the Mixer, the Meters tab,
and in individual track headers. In the Mixer, each channel strip has level meters that
show the levels for that channel strip. In the Meters tab, the level meters show the
levels for all submixes assigned to physical output channels.
For more information about setting up physical outputs, see “Setting the Audio Input
and Output” on page 22.
The Meters tab includes additional controls and displays to help you maintain proper
audio levels and eliminate clipping.
As a project plays back, the levels in each channel change constantly with the rising
and falling of the audio signal. The level meters show these changes both as bars rising
to varying heights and as changes in color from green to yellow.
Level meters
Reset button
Peak Value and
Location display
2-channel meter 6-channel meter
Chapter 8 Basic Mixing in Soundtrack Pro 289
In each channel’s meter, a white horizontal bar displays the current signal level; bars
below the white bar display successive levels in a scale that rises from green to yellow
as the signal increases. The meters peak at red when the signal clips (rises above 0 dB).
Note: The meters can be configured via Soundtrack Pro preferences to display either
surround order (Ls, L, C, R, Rs, LFE) or output order (channels 1-n). To change this
setting, choose Soundtrack Pro > Preferences > General.
To change the channel order in the meter display:
m Choose Soundtrack Pro > Preferences > Startup, then select the order using the Meters
Channel Display pop-up menu.
For more information about Soundtrack Pro preferences, see “Setting Soundtrack Pro
Preferences” on page 97.
Using the Peak Indicators in the Mixer Channel Strips
At the top of the level meters in the Mixer channel strips is a rectangular peak indicator
that lights red when that channel clips (exceeds 0 dB). The peak indicators are “sticky,”
meaning that if clipping occurs in either channel, the peak indicator lights red and
stays red until you reset it, or reset all peak indicators.
To reset a peak indicator:
m Click the peak indicator.
To reset all peak indicators:
m Option-click any peak indicator in any of the Mixer level meters.
Using the Peaks Value and Location Display in the Meters Tab
The Peaks Value and Location display in the Meters tab displays the highest (peak)
value played in each output channel in decibels (dB) and its timecode. The Time
column shows the location in the Timeline where the peak occurs. You can use the
Peaks Value and Location display to quickly locate a section of your project that is
clipping or peaking.
To move the playhead to the highest (peak) value played in a channel:
m Double-click any item in the Peaks Value and Location display.
The playhead moves to the corresponding point in the Timeline.
The Reset button located in the upper-right corner of the Meters tab display resets the
Peaks Value and Location display to a minimum value (–96 dB) and resets the Time
column to the beginning of the project.
To reset the Peaks Value and Location display values:
m Click the Reset button.
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Using the Master Bus
The Master bus represents the final mix from Soundtrack Pro—what will be heard from
the physical output jacks. On a signal routing basis, the Master bus is practically a mirror
image of the connected hardware output device. It is as wide as either the hardware
device or the number of channels used in the project, whichever number is smaller.
Master Bus Details
The Master bus includes envelopes for volume, transposition, and tempo. By default,
only the Volume envelope is visible. For more information, see “Master Bus” on
page 364. The Master bus does not have panners or meters.
You can apply effects to the Master bus, but you cannot automate those effects. Effects
applied to the Master bus are placed across all channels. You can bypass effects on the
Master bus. For more information about bypassing effects, see “Bypassing Realtime
Effects” on page 349.
Adjusting the Master Volume
The steps you take to remove clipping depend on the cause of the clipping. You can
lower the master volume of a project by the amount the highest point in the project
(as shown in the Value display) exceeds 0 dB. You can also use the Go buttons to locate
where clipping occurs and use a different audio clip or lower the volume of individual
tracks until clipping no longer occurs. Sometimes adjusting the gain on effects can
remove occurrences of clipping as well.
Listening to a Temporary Mono Mix
In some situations, even where the final mix is stereo, you may want to listen to the mix
in mono as well as stereo. If the final project is likely to be viewed using equipment
with mono audio output (for example, many television sets have mono output), you
may want to make sure the mix is suitable for mono output. Listening to a mono mix
can also help identify phase issues that can occur when a stereo project is played in
mono. Soundtrack Pro makes it easy to listen to a temporary mono mix of the project
so you can hear how it will sound in mono.
Chapter 8 Basic Mixing in Soundtrack Pro 291
To listen to a temporary mono mix:
1 Start the project playing.
2 While the project plays, press and hold the Mono Mix button, located to the right of
the Monitor volume slider below the Mixer.
The Mono Mix button becomes darker to indicate that it is active. When you are finished
listening to the temporary mono mix, release the button to hear the project mix.
In addition to listening to a temporary mono mix by holding down the Mono Mix
button, you can “latch” the Mono Mix button. This keeps the mono mix active until you
click the button again or switch to a different project.
To latch the Mono Mix button:
m Option-click the Mono Mix button.
Recording Audio in the Mixer
You can record audio while working in the Mixer. When you record audio in the Mixer,
recording starts from the current playhead position. Although the playhead is not visible
in the Mixer, you can set the playhead position using the transport controls or the
Playhead Location value slider located at the bottom of the Soundtrack Pro window.
For more information about recording, see Chapter 13, “Recording Audio
in Soundtrack Pro,” on page 367.
Recording Automation in the Mixer
You can record automation for volume and pan changes in the Mixer. You record
automation in the Mixer by choosing either Touch or Latch automation mode in the
project controls, then changing volume or pan settings as the project plays. You can
record automation either using the onscreen volume and pan controls, or using a
control surface connected to your computer.
For more information about working with automation, see Chapter 12, “Working with
Automation,” on page 355.
Mono Mix button
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Creating Multiple Mixes
You might want to create multiple mixes of a project for one of the following reasons:
 To optimize the project for different playback situations
 To try out different settings of the various track and master controls using the
same arrangement
 To try out changes to the arrangement using the same basic material
You can easily create multiple mixes by giving the project a slightly different name
when you save each mix, or by using different combinations of tracks, busses, and
submixes for each mix. If you are saving the project and its media files together, the
different versions can be saved to the same location if they all use the same media files.
For information about saving projects and their media files together, see “Saving
Multitrack Projects” on page 111.
Things to Keep in Mind While Mixing
The following are intended as guidelines or suggestions to follow when mixing your
projects, not as “hard-and-fast” instructions.
 Consider the importance of each element in the overall mix.
 Keep related tracks close together (in the Timeline and the Mixer).
 Don’t create a final mix until the picture is locked.
 Listen to the mix with the best possible equipment.
 Also listen to the mix as the audience will hear it.
 Don’t change output/monitor levels while mixing.
 Mix by what you hear, not what you see.
9
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9 Mixing Surround Sound
Soundtrack Pro gives you the tools to create sophisticated
surround mixes for your projects.
Surround sound uses more than two speakers to expand the spatial experience of audio
playback to three dimensions. Surround systems can be found in movie theaters, home
entertainment systems, video games, and a growing number of other applications.
Soundtrack Pro offers an easy-to-use approach to surround panning, mixing, and
automation, including a high degree of flexibility with surround sources and the ability
to easily switch between stereo and surround mixes. Soundtrack Pro also includes
numerous surround sound effects and surround music beds, as well as a collection of
professional surround-specific effect plug-ins for shaping your surround mix.
What Is 5.1 Surround?
The most common surround format is a six-channel system called 5.1 surround. This
format is the standard surround configuration in major motion pictures, music, and
digital television. The format consists of three speakers across the front and two
speakers in the rear. The .1 is a sixth channel for low-frequency effects (LFE). A typical
5.1 surround layout features left and right speakers (from a traditional stereo system)
plus a center speaker, a left surround (rear) speaker, a right surround (rear) speaker, and
an LFE speaker, more commonly known as the subwoofer.
There are other surround standards that range from three channels to seven channels
and nonstandard surround formats that use as many as ten channels.
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Creating a Surround Project
The following steps outline a general workflow used for editing and mixing surround
sound files.
Step 1: Acquiring the sound
As with any audio track, the first step is finding and recording the sound that you want.
Soundtrack Pro is flexible in terms of what kinds of files you can use in the surround
mix. Input files can be mono, stereo, or surround. While Soundtrack Pro also includes
numerous surround clips for music and sound effects, the production audio for most
film and video projects is typically either mono or stereo files.
Step 2: Editing and arranging a multitrack project
The workflow for editing audio files and arranging them in the multitrack Timeline is
very similar for stereo and surround projects. For more information, see Chapter 4,
“Working with Multitrack Projects,” on page 105, Chapter 5, “Working in the Timeline,”
on page 127, and Chapter 6, “Editing Audio Files,” on page 191.
Step 3: Mixing surround
Soundtrack Pro provides a flexible toolset for creating and adjusting a surround mix.
For more information, see “Surround Mixing Strategies” on page 306.
Step 4: Exporting and delivering surround projects
Soundtrack Pro supports a variety of workflows and formats for delivering your final
surround mix. These include separate audio files for each channel or single
multichannel sound files for the entire mix.
Setting Up for Surround
In order to hear your surround project through a surround speaker system, you need to
adjust settings in Soundtrack Pro and set up the related hardware.
Setting Up Soundtrack Pro for Surround
In Soundtrack Pro, the difference between mixing in stereo and mixing in surround
hinges on three different elements: the panner type, the submix output, and the
number of physical output channels. All three of these items must be configured
correctly to achieve surround playback. If one of these three conditions is not met,
playback will be in stereo. (For more information about stereo mixdown, see “Stereo
Mixdown” on page 297.) Use the instructions that follow to start using the surround
mixing tools in Soundtrack Pro.
Chapter 9 Mixing Surround Sound 295
Using the Surround Panners
You use the panning controls in the track headers to set the pan position of a track or a
bus. By default, the panning controls are set to stereo. You can easily switch between
stereo panners and surround panners.
For surround playback, you must set the appropriate tracks or busses to use the
surround panner.
To switch the panning controls from stereo to surround, do one of the following:
m Select a track or bus in the Timeline, then choose Multitrack > Use Surround Panner.
m Select a channel strip in the Mixer, then choose Multitrack > Use Surround Panner.
m Control-click the stereo pan slider in a track header, then choose Use Surround Panner
from the shortcut menu.
m Control-click the stereo pan slider in a Mixer channel strip, then choose Use Surround
Panner from the shortcut menu.
The surround panner replaces the stereo panner.
Surround panners Stereo panners
Control-click the stereo
panner, then choose Use
Surround Panner from
the shortcut menu.
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As far as tracks and busses are concerned, switching between surround mode and
stereo mode is that simple. At this point, you are mixing this particular track or bus in
surround. Any surround panning adjustments and automation that you apply are saved
with the current project.
Important: To hear these changes through your speakers, make sure you also set the
submix outputs to surround and connect the physical outputs. For more information,
see the next two sections, “Setting the Submix Outputs to Surround” and “Connecting
Physical Outputs.”
Setting the Submix Outputs to Surround
In Soundtrack Pro, you route the audio from tracks and busses to physical outputs
using submixes. By default, all tracks are routed to Submix 1, and Submix 1 is routed to
the Stereo 1, 2 outputs. You can easily change this hardware output setting using the
Output pop-up menu.
To switch the hardware output setting from stereo to surround:
m Choose Surround from the Output pop-up menu in the track header, then choose 1-6
from the submenu.
The menu displays 1-6, indicating that the audio is now routed to the physical output
jacks 1 through 6. At this point, the signal is routed to those six outputs, whether or not
the hardware to support those channels is connected.
Important: To hear these surround signals through loudspeakers, you must also connect
the physical outputs. For more information, see “Connecting Physical Outputs,” next.
Chapter 9 Mixing Surround Sound 297
Connecting Physical Outputs
To hear the six discrete channels of surround sound that Soundtrack Pro can provide,
you need external audio hardware that supports multiple physical outputs. At a
minimum, this would include a multichannel audio interface and a 5.1-channel
surround sound speaker system (totaling six speakers). For more information about
audio interfaces, see “Setting Up an Audio Interface” on page 485.
To connect physical outputs for monitoring surround sound:
1 Connect the audio interface to your computer.
For detailed information on connecting your audio interface to your computer, see the
documentation that came with the audio interface.
2 Double-click Audio MIDI Setup in the Utilities folder, then choose the audio interface
from the Default Output pop-up menu.
For more information, see “Setting the Audio Input and Output” on page 22.
3 Connect your 5.1-channel surround sound speakers to the appropriate outputs of your
audio interface.
Soundtrack Pro uses the SMPTE/ITU standard for routing output channels.
For detailed information on connecting external speakers to your audio interface, see
the documentation that came with the speakers.
Stereo Mixdown
If you have set up a project for surround mixing, including surround panners and
surround channel assignments, but you do not have sufficient output jacks for
surround playback, Soundtrack Pro automatically provides a surround-to-stereo
mixdown of what would otherwise be sent to jacks 1-6. This stereo mixdown follows
the Dolby guidelines: the Ls and Rs channels are attenuated by 3 dB and mixed into the
Left and Right channels. The Center channel is also attenuated by 3 dB and mixed
evenly into the Left and Right channels. The LFE channel is discarded.
Audio Interface Output Speaker
1 Left
2 Right
3 Center
4 LFE
5 Left Surround (Ls)
6 Right Surround (Rs)
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Surround Speaker Placement
There are several ways you can arrange 5.1 surround speakers for playback. You can
follow the International Telecommunications Union Operational Bulletin No. 775 or the
“ITU Standard” for 5.1 surround sound. Here are the basic points of this
recommendation:
 Place all the speakers on the same plane. In other words, if you place some speakers
on the floor and mount some on the ceiling, you will defeat the psychoacoustical
benefit of having surround speakers in the first place.
 With the center speaker directly in front, the Left and Right speakers should be
positioned 30 degrees away from center at about a 60-degree angle aiming for a
spot 3 to 6 inches behind the mixer’s (or listener’s) head.
Note: This angle can be reduced to 45 degrees or extended out to 60 or even 90
degrees and still provide satisfactory results.
 Place the surround (rear) speakers at about 110 degrees off center (to the sides and
somewhat behind the listener). To ensure one cohesive soundfield, do not position
these speakers too far to the rear.
Ls Left surround speaker Place to the left and slightly behind your listening position.
L Left speaker Place in front and to the left.
C Center speaker Place on top of or below your viewing screen.
R Right speaker Place in front and to the right.
Rs Right surround speaker Place to the right and slightly behind your listening position.
LFE (LFE) Subwoofer Can be placed anywhere.
L
R
LFE
C
Ls
Rs
80°
30°
30°
80°
Chapter 9 Mixing Surround Sound 299
Note: It isn’t always possible to place the speakers where they’re supposed to go due to
obstacles in the room (doors, furniture, and so on). You can overcome some bad speaker
placement by calibrating your system with a sound pressure meter and a calibration
DVD. This way, you can make sure each speaker is providing the appropriate volume.
Using Surround Panners to Create a Surround Mix
This section explains how to use the surround panners in Soundtrack Pro to create a
surround mix. The surround panners provide a straightforward and flexible way to
control and monitor panning settings. By changing the panner type in the track
header, you can easily switch any track or bus from stereo to surround, or from
surround to stereo. Soundtrack Pro offers two different versions of the surround
panner: the mini surround panner and the surround panner HUD.
The Mini Surround Panner
Use the mini surround panner to switch between stereo and surround mixing, to make
simple surround adjustments, and to quickly check the pan setting for a track or a bus.
To switch the panning controls from stereo to surround, do one of the following:
m Select the track or bus, then choose Multitrack > Use Surround Panner.
m Control-click the stereo pan slider in the track header, then choose Use Surround
Panner from the shortcut menu.
The surround panner replaces the stereo panner. This is the smaller of two different
views of the surround panner. To use the larger Surround Panner HUD, see “The
Surround Panner HUD,” next.
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The Surround Panner HUD
The Surround Panner HUD offers finer panning adjustments, a graphic representation
of the current surround setting for the selected track, and other surround controls.
To display the surround panner HUD, do one of the following:
m Double-click the surround panner in the track header of the track or bus you want to adjust.
m Double-click the surround panner in the Mixer channel strip of the track or bus you
want to adjust.
The surround panner HUD appears in a floating window over the Soundtrack Pro window.
The dominant feature of the Surround Panner HUD is the black circle that represents
the virtual surround space. The puck, a dot inside the circle, is the primary surround pan
control. Input channels are represented by color-coded, semi-circular, translucent arcs
emanating from the inside of the circle’s circumference. These arcs indicate the input
channel’s gain (by the height of the arc), the channel’s spread (by the width of the arc),
and location. Overlapping sounds are represented by overlapping arcs, summing
(combining) to white where all channels overlap.
The surround pan controls include the following:
 Position: The puck is the main control in the panner. To pan the audio, move the
puck by clicking anywhere inside the black circle or by dragging the puck to a
different position in the circle. The speaker icons around the edge of the circle
represent the five main surround channels: L (left), C (center), R (right), Ls (left
surround), and Rs (right surround). The closer you move the puck to one of the
speaker icons, the louder the sound will be from that speaker. For more information
about moving the puck to adjust the position parameter, see “Modifier Keys for
Moving the Puck” on page 303.
Rotation slider
Puck (pan position)
Width slider
Collapse slider
Center bias slider
LFE balance slider
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Note: In automation envelopes, this Position parameter is expressed as Surround Pan
X and Surround Pan Y.
 Rotation: Use this slider to alter the angle at which each signal starts out. This slider
ranges from -180 degrees to 180 degrees and affects the input signal. For example,
with no other panning, the right channel emanates from a location 45 degrees to the
right. With rotation at +65 degrees, the signal appears at 110 degrees—directly out of
the right surround speaker.
Note: This setting interacts with the position parameter when the panner mode is
not fully attenuating.
 Width: Use the Width slider to create a widened surround image. This slider is
intended primarily for stereo sources in that it spreads the left and right inputs into
adjacent channels. This creates the illusion of a widened sound stage without the
hole at the center that moving the puck rearward would create. For some movie
theaters, it may be necessary to use the Width slider to bleed the center signal in to
the left and right speakers. At 0%, all inputs go to their respective outputs. As you
drag the Width slider to the right, L and R inputs start to bleed into Ls and Rs
respectively, and to a lesser extent, L and R bleed into C, C bleeds slightly into L and
R, and Ls and Rs start to merge.
... to alter the angle from
which each signal starts.
Drag the Rotation slider...
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 Collapse: Typically, panners are either of a collapsing style (panning folds input
signals into output speakers) or an attenuating style (panning simply turns down the
gain of speakers further from the pan location). The Collapse slider goes from a fully
attenuating style, through a hybrid style, to a fully collapsing style. At full attenuate
(0% on the slider), no input bleeds to any other output; each channel remains at its
original speaker position. The only change is to output gain. At full collapse (100% on
the slider), no input gain is changed—instead, inputs have their output divided over
adjacent channels. At 50%, a given input channel panned away has its input
attenuated by 50% and distributed between the two adjacent channels.
 Center Bias: Use this slider to determine how the center channel interacts with the
left and right channels. At 0%, all sound that would have gone to the center speaker
is equally distributed to the left and right speaker. At 100%, the center is used fully,
just like any other speaker. This means that if you move the puck directly in front of
the center speaker, all sound emanates exclusively from that speaker. If you move the
puck halfway between the center channel and an adjacent channel (yet still on the
perimeter of the black circle), the sound is equally and exclusively divided between
those two speakers.
 LFE Balance: Use this slider to balance control between LFE and the other five
channels. At -100, nothing is output from the LFE speaker, even if there was LFE input,
and all other channels pass through at unity gain. At its midpoint (0), all six channels
passes through at unity gain to their respective speakers, meaning that LFE input
passes directly to LFE output. At +100, all six signals get summed to the LFE speaker.
Collapse at 0 Collapse at 50 Collapse at 95
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 Speaker Disable: Click a speaker icon once to disable or enable it. If you disable a
speaker, its output goes to adjacent speakers. Each speaker supports a single-click
on/off for that speaker’s output.
Surround Panner Automation
Automating surround pan settings is very similar to automating stereo pan settings: a
track or bus set to use the surround panner has at least seven different panning
envelopes, and a stereo track or bus has only one pan envelope. Automation for the
Position parameter (the puck) is reflected in two envelopes: Surround Pan X and
Surround Pan Y. These are Cartesian X & Y values referring to the puck position within
the black panning circle. All other surround panning parameters are expressed with
one envelope each, except for Collapse and Speaker Disable, which cannot be
automated. For more information about automation, see Chapter 12, “Working with
Automation,” on page 355.
Modifier Keys for Moving the Puck
Hold down any of the following keys as you move the puck to constrain its movement.
These modifier keys offer finer control as you make adjustments to the position parameter.
 Shift: Fine adjustment
 Option-click: Reset control
 Option-drag: Straight movement, restricted to diversity, constant angle
 Command: Circular movement, restricted to angle, constant diversity
 Command-Option-drag: Restricted to either X or Y movement
Click a speaker to disable
or enable it. A dim gray
color indicates the
speaker is off.
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Surround Metering
Soundtrack Pro provides a variety of level meters to monitor output levels as you make
surround panning adjustments.
Surround Panner HUD Meters
The Surround Panner HUD includes level meters that show volume information from
the specific track or bus that you are panning. These meters can be hidden or displayed
by using the disclosure triangle. Track-specific meters are a useful reference given the
possible psychoacoustical “illusions” in surround mixing, such as the phantom center.
Meters Tab
The Meters tab displays levels for the current multitrack project. The channels displayed
in the Meters tab and in the Mixer meters (described in “Mixer Meters” on page 305)
depend on the audio interface connected to your computer, the current panner
settings, and the current output settings in System Preferences.
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For more information about output settings, see “Connecting Physical Outputs” on
page 297.
Mixer Meters
Each channel strip in the Mixer includes a levels meter capable of displaying up to all
six channels. The Mixer is the only place you can view the levels for each track, bus, and
submix as well as the Master bus.
Level meters
Reset button
Peak Value and
Location display
2-channel meter 6-channel meter
6-channel meter
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Surround Mixing Strategies
This section includes guidelines and tips for mixing surround projects.
Mixing Surround Files
The basic steps in mixing are almost the same for stereo and surround projects:
 Balancing relative volume levels between tracks
 Panning tracks to create a balanced stereo spread
 Adding EQ, compression, and other final processing effects
 Setting the project’s final volume and eliminating clipping
 Creating a sense of perspective by placing sounds in space
While the creating a sense of perspective step is also a part of stereo mixing, it is what
really sets surround apart from stereo. When mixing, you can enhance the video action
by dynamically moving the sounds within the surround field. To give your listeners a
“surrounding” audio experience, your sound must be created with that goal in mind.
For example, if you want the sound of an explosion coming from behind the listener,
you need to put the sound in the rear channels during mixing. Surround mixing adds
not only two rear channels, but also includes the subwoofer or LFE channel, which
would probably play a part in any onscreen explosion. You’ll have to spend some time
planning what elements go where and how much boom you want in your soundtrack.
The following are some common approaches to multichannel sound:
 Use the surround channels for effects only. Create a stereo mix, then add
“sweetening” sound effects in the surround channels. Sound effects and Foley
recordings can be placed in stereo space or specifically located where they occur
onscreen or offscreen.
 Create special sounds for the rear and low-frequency channels (the rumble of an
earthquake, the pounding of drums, an airplane buzzing overhead, and so on) and
add them to a standard stereo mix. (To create sound for the LFE channel, you can
extract low frequencies from the rest of your sound using band-pass filters.)
 Position instruments, effects, and voices anywhere in the sound field.
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Converting a Stereo Mix to 5.1 Surround
Many post-production projects require both a stereo mix and a surround mix. This
section reviews some best practices for converting projects from stereo to surround.
You can reverse the steps below to convert a project from surround to stereo.
Important: When you switch between stereo and surround panners, panning
automation (envelope) settings are not automatically copied over to the new panning
mode. Volume information is automatically copied over between stereo and surround
panners. The recommended workflow for making a surround version of a stereo mix is
to maintain at least two separate versions of the project: a stereo version and a
surround version.
To create a separate copy of your stereo mix for surround mixing:
1 Choose File > Save As in your stereo project to save a separate copy.
In the dialog that appears, indicate in the filename that this is the surround version.
(For example, “My Great Mix_surround.”)
2 Use this copy of the project to make all the necessary surround panning adjustments.
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In particular, you Control-click the stereo panner in the track header (or Mixer channel
strip) of each appropriate track or bus and choose Use Surround Panner from the
shortcut menu.
Π Tip: To save time, you can select or group all tracks or busses in the Tracks tab. When
you change the panning settings of one of the tracks or busses, the panning settings
on all the grouped items change as well.
3 If you previously applied any left-right panning to any tracks or busses in the stereo
version of the project, do the following:
a Select the tracks or busses.
b Control-click the panner in the track header, then choose Replace Surround L/R with
Stereo L/R from the shortcut menu.
Any panning automation (envelope) information is copied from the stereo left-right
pan to the surround left-right pan (specifically, to the Surround Pan X parameter) in the
selected tracks and busses. These settings can be used to provide a starting point for
your surround mix.
Note: If you are converting a surround project to a stereo project, you can choose
Replace Stereo L/R with Surround L/R from the shortcut menu to do the reverse of Step 3.
Set all panners to
surround panners.
Chapter 9 Mixing Surround Sound 309
Placing Dialogue and Voiceover in a Surround Mix
In a surround mix, dialogue usually goes directly into the center channel. This is
particularly true for voiceover narration, which is best left out of the left and right
channels. (This is called stereo plus center.) Soundtrack Pro allows you to place sounds
exclusively in a specific channel or just outside that channel, which would allow some
of the sound to leak into the other speakers. As you get more comfortable with
surround mixing, you may want to experiment with alternative placements to further
reinforce the voices that you place within your mix.
To place dialogue and narration in the center channel:
1 If you haven’t already done so, Control-click the stereo pan slider in the track header of
the dialogue track (or bus), then choose Use Surround Panner from the shortcut menu.
2 Double-click the surround panner.
The Surround Panner HUD appears.
3 Drag the puck to the center speaker icon.
Depending on the current Collapse slider setting, the arc at the center speaker icon either
turns white to indicate exclusive output or is elongated to indicate the increased gain.
Note: You can hold down the Option key as you drag the puck to constrain its
movement to a straight line.
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Placing Stereo Music in a Surround Mix
The simplest option for stereo music in a surround project is to just leave it in stereo. If
you just use the stereo panner for a music track, the left and right signals remain in
their respective channels. However, some surround mixes include a hint of music in the
rear channels as well. With the Surround Panner HUD, you can place the right music
channel somewhere between the right front and right rear position, with more
emphasis on the front speaker. Do the same with the left side and listen to the mix.
Make adjustments as needed.
Using the Center Channel
In a multichannel system, there are three ways to achieve a centrally placed sound image:
 Create a “phantom center” (mix sound to the left and right equally, as with stereo). This is
a common strategy, but it assumes the listener is seated exactly between the
speakers. The timbre of sound is not the same as from a direct speaker because of
cross-cancelation effects.
 Use the center channel alone. This creates a stable center image for listeners in any
location. (To prevent the audio from sounding too focused or narrow, its reverb can
be spread to the left and right channels.)
 Use all three front channels equally or in various proportions. This method allows for
greater control of the range of spatial depth and width. The phantom center can be
reinforced by additional signals in the center channel, which can be enhanced by
signal spread into the left/right pair. The disadvantage is that sound from all three
speakers may not blend well or may not arrive at the listener at the same time,
causing side effects such as comb filtering, shifts in tone color, or smearing. To
counteract these side effects, you can first process the additional signals to change
their spatial character, timbre, or prominence relative to the main center signal.
Using Surround Channels
Subtle surround effects can greatly enhance the listener’s sense of depth compared to
conventional stereo. Popular music often benefits from creative use of surround. But
don’t overdo it. The film industry guideline for visual effects applies equally well to
surround effects—don’t let effects distract the listeners from the story.
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Using Surround Effect Plug-ins
Soundtrack Pro includes a collection of professional surround-specific effect plug-ins
for shaping your surround mix, including Surround Compressor, Delay Designer, Space
Designer, and Multichannel Gain.
For a complete list of these true surround effects and a full description of each, see the
Soundtrack Pro Effects Reference document, available in the Help menu. For information
about using processing and realtime effect plug-ins, see Chapter 11, “Working with
Audio Effects,” on page 327.
Limitations of the LFE Channel
Use the LFE (Low Frequency Effects) channel to enhance the low frequencies of a film or
video so you get the extra boom out of an explosion, thump in a car crash, and so on in
dramatic scenes involving plenty of low frequencies. The low frequency effects (LFE)
channel is a separate signal with a limited frequency range (about 25 Hz to 120 Hz). It is
created by the mixing engineer and delivered alongside the main channels in the mix.
In soundtracks comprised entirely of music, the LFE channel is not necessary. (An
exception to this rule might be the famous cannon shots in Tchaikovsky’s “1812
Overture.”) The LFE signal is also discarded in the downmix process, so that intense bass
signals do not stress small stereo systems. Be sure not to include vital information (such
as dialogue) in the LFE channel that would be missed in mono or stereo playback.
Because LFE is separate from other channels, its ability to blend with higher
frequencies can be affected by filters used to generate the LFE signal. To ensure a
cohesive audio signal, keep the entire signal together in the main channel or channels.
Note: If you are creating Dolby Digital Professional (AC3) output, avoid creating an LFE
channel for material originally produced without one. Dolby Digital Professional’s five
main channels are all full-range, and the LFE channel does not increase the frequency
response. Dolby Digital Professional decoders offer bass management, directing low
frequencies to a subwoofer or other suitable speakers. An LFE track may interfere with
bass management. For more information about Dolby Digital Professional, see
“Frequently Asked Questions about Dolby Digital Professional,” available at the Dolby
Laboratories Inc. website: http://www.dolby.com.
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Accommodating Stereo Playback
