Lesson 5. Recording and Editing Audio Tracks

Lesson Files

APTS GarageBand Book Files > Lesson 05 > 5-1 Audiobook Starting, 5-2 Single Take Edited, 5-3 Audiobook Finished

APTS GarageBand Book Files > Lesson Bonus Projects >

5 Groundhog Day, Groundhog Day.pdf

Time

This lesson takes approximately 45 minutes to complete.

Goals

Create a new project for recording

Set project properties

Work with voice patches and effects

Edit narrative performance audio regions

Delete unused takes from a multitake region

When you record live audio into GarageBand, the recordings appear as audio regions in audio tracks. The setup for recording audio tracks is the same regardless of the instrument. The exception is if you are recording electric guitar or bass, which use a different type of audio track. You’ll learn all about electric guitar and bass tracks in Lesson 6, “Working with Electric Guitars.”

The audio instrument you will be working with for this lesson is the human voice—in other words, vocals. Vocal audio tracks can be either musical parts performed by a vocalist (singer) or spoken words such as voice-over or narration. Since all of the other lessons in this book deal with musical tracks, I’m going to change things a bit and have you work with a nonmusical project. However, the recording and editing techniques you’ll learn will apply to all audio tracks in GarageBand—even electric guitar and bass tracks.

This lesson will show you how to set up a project for recording. Then you’ll follow along with a prerecorded vocal session for an audiobook, change vocal effects to enhance the vocal sound, and edit both single and multitake regions to build a powerful narrative performance. At the end of the lesson, you’ll be invited to record your own voice.

Is the project music based or nonmusical?

If the project is music based, what is the tempo? Not sure? No worries; you can tap out your project’s tempo in the next exercise.

If the project is nonmusical, is there a chance you’ll be adding Apple Loops or other supporting music tracks later? If so, what tempo would the added music be?

What microphone input are you using? Options include the built-in microphone on the computer, a USB microphone, or an external microphone connected through the computer’s audio in-port.

How are you monitoring (listening to) the track as you record?

In the next exercise you’ll create a new project with a vocal audio track and set it up for recording audiobook narration.

Rather than explain the different project properties you need to understand before recording audio tracks, let’s just address them while creating a new project.

1. If you have an external microphone that you’d like to use for recording your own vocals, connect it to your computer now. If you’ll be using the built-in microphone on your computer, you’re all set. If you don’t have a microphone, continue reading and following along.

For this project, I’m using a Blue Snowball USB microphone connected to my MacBook Pro.

2. Open GarageBand. If GarageBand is already open, choose File > New.

3. In the Project Chooser, click the New Project button to see a list of project templates.

4. Select the Empty Project template, but don’t click Choose or double-click to open it yet. There are a few details about the project we must go over first.

5. In the lower-left area of the Project Chooser, click the Details triangle to display the project properties.

Tempo is pacing—the pulse or speed of the song—and it affects how the song sounds and feels. Tempo is measured by beats per minute (bpm). Software Instruments and Apple Loops automatically change tempo to match the project.

Time Signature is the musical time signature used to count beats within a measure of the song and is displayed as a fraction. A song using 4/4 time means there are four beats per measure. A song using 3/4 time has only three beats per measure.

Key is the musical key for the entire project. Once you set the key, all of the prerecorded loops will automatically match the project key. There are 12 different notes or keys you can set for your project.

The current settings are the default settings for each new GarageBand project. Let’s take a closer look at some of the default settings before modifying the project tempo.

1. Locate the Tempo slider at the top of the project properties area. The current tempo is 120 bpm, as you can see in the bpm field.

2. Click the Key Signature pop-up menu to see the various project keys.

There are 12 different keys from which to choose. The default is a good key to work with, so let’s leave it set to C. Radio buttons allow you to specify either major or minor. Keep the project scale set to Major.

The next project property is Time Signature, which you set by clicking the arrows to change the number of beats (or you can double-click the time signature to enter a new one).

Changing a project’s time signature has no effect on the sound of a project or the regions within. Time signature is just the counting method used for beats in a measure. Different types of music use different time signatures. Most pop or rock songs use 4/4 time. If you count the beats out loud, they would be one-two-three-four, one-two-three-four. A waltz, on the other hand, uses a slower 3/4 time. The count sounds like one-two-three, one-two-three.

Let’s leave the time signature at 4/4 for this project.

Since you’ll be recording an audio track, you’ll also need to set the audio input and output.

3. Choose an input source from the Audio Input pop-up menu. Choose Built-in Microphone if you do not have an external microphone for this lesson. Just remember to monitor your microphone recording through headphones instead of speakers while recording.

4. Set the Audio Output pop-up menu set to Built-in Output for now. The Built-in Output includes your computer speakers or headphone output.

The basic project settings are finished. The last thing to set is the project tempo.

All of the music you have worked with so far has had a tempo of 120 bpm. The good news is that once the project is open you can listen to the metronome click track to hear the current tempo. Then you can adjust it as needed. The important thing is to select a comfortable tempo for your project before recording audio tracks.

How do you guess the tempo of your song ahead of time, without a click track? You use the handy Tap Tempo button to tap out the tempo you have in your head. Let’s try it.

1. In your head, count one-two-three-four several times at any tempo you feel comfortable with for a song you might like to record. Pick a favorite song if that helps. Feel free to tap your foot and count out loud if that helps you count at a consistent pace.

2. Move the cursor over the Tap Tempo button. Do not click. Instead, tap lightly on your mouse or trackpad. Try tapping with the same tempo you counted in your head: one-two-three-four.

The button dims slightly with each tap to indicate it registered the tap. The Tempo field will update to match the tempo that you tap. Continue tapping the Tap Tempo button until you see a consistent range of numbers in the Tempo field.

Now that you know the general tempo you have in your head, you can set the tempo to the nearest number ending in 5 or 0. If your range is 116, 114, 117, a tempo of 115 would be a good place to start. My range was near 80 so I set my project’s tempo to 80 bpm. Project tempo is whatever feels right for a project; it doesn’t have to be a number that ends in 5 or 0, though most project tempos do.

3. Drag the Tempo slider or type the number for your tempo in the Tempo field. Press Return or click the Choose button to create the new project.

What the what? Instead of a new project, you see the New Track dialog.

1. Click the microphone under the Audio track choices to choose an audio track with microphone or line input. Then look at the details area at the bottom of the New Track dialog.

The input and output settings you selected in the New Project dialog are displayed as statements at the bottom of the Details area.

The circled arrows next to each statement open the GarageBand preferences, where you can change the project settings.

2. Click the “I want to hear my instrument as I play and record” checkbox.

This checkbox automatically turns on the monitor settings for the new track. You can always turn track monitoring on or off using the track header controls.

3. Click the Input pop-up menu to see the options. For this project, keep the default setting of Input 1.

The Input pop-up menu lets you choose between recording mono tracks (Input 1 or Input 2) or stereo (Input 1 + 2).

How do you know when to record mono and when to record stereo? Well, it depends on the instrument and the recording. A single instrument with only one output jack is a mono output. An instrument such as a keyboard with multiple outputs (left and right) gives you a choice of stereo (both left and right outputs) or mono (only the left output).

If you’re recording a number of musicians at the same time through a mixing board or console, the signal from each musician may be routed into the mixing board as a mono input. Then the signals are mixed in the board and sent out of the mixer into the computer as a stereo signal.

You can also record a single guitar as a stereo input by changing the track settings to stereo. It just depends on what type of signal you’re working with and what you’re trying to accomplish.

Each track in GarageBand has two channels for audio recording and playback: Input 1 and Input 2. If you record a track in stereo, you use both channels. If you record mono, you record only Input 1 or Input 2.

1. Click Create to create the new audio track in your new “empty” Untitled project.

If you are using the built-in microphone, you will see an Avoid feedback warning dialog. That is your signal to plug in headphones before recording. This is a default warning anytime you record with the built-in microphone and built-in output. Why? Because anytime a microphone is too close to speakers there is a risk of feedback. The simple solution is to use headphones to monitor your output while recording. If you don’t have headphones, mute your computer’s audio output while you record.

Your new project opens with one audio track and the Library displayed so that you can easily add a patch to your track.

2. Save the project as My Vocal Track in your projects folder on the desktop.

3. Find the Input Monitoring button on the Audio 1 track header. This button is orange when it is turned on. As long as the Input Monitoring button is on, you will be able to hear your track input through the computer speaker or headphones.

4. In the LCD display, locate the project tempo, key, and time signature.

5. Start playback to hear the metronome click track for the project. The click track tempo should be similar to the pace you set with the Tap Tempo button.

6. In the LCD, click the tempo (bpm) and drag upward to speed up the tempo. Then drag downward to hear the click track at a slower tempo.

In Lesson 6, you’ll learn how to change a project’s tempo within a song using the Tempo track. For now, you’ll use whichever tempo you just tapped.

7. In the LCD, double-click the project tempo and type the tempo you chose using the Tap Tempo button. Stop playback.

There is one last setting to change in the LCD: the LCD display mode. The LCD display shows either beats and project time or actual time.

Musical projects are dependent on beats and project time to keep all of the regions in musical time with each other. For nonmusical projects, such as audiobook narration or voice-over, you can change the project to actual time.

8. Click the Display Mode pop-up and choose Time.

The LCD changes to show time in hours:minutes:seconds.frames, and the timeline ruler changes to display seconds rather than beats and measures.

9. Save the changes to the project.

That’s it. You are now armed with the skills to change project settings as needed. You also know how to create a new audio track for recording vocals. At the end of the vocal exercises, you’ll be invited to open this project and record your voice.

1. Open the project 5-1 Audiobook Starting and save it to the My GarageBand Projects folder on your desktop.

2. See if you can spot the following items in this project, in no particular order. If you have been following along with the lessons in the book you should have no trouble with this GarageBand seek-and-find exercise.

The Library and Note Pad are both showing.

The LCD display is in Time display mode.

The audio track headers have Record Enable and Input Monitoring buttons showing.

There are eight tracks. (These tracks represent the different stages of the recording session in chronological order, starting with the first track.)

The bottom four tracks have been muted.

The top two tracks have been soloed.

The bottom track contains a software instrument region.

The poem “Life’s Flower” is on the Note Pad.

Now that you’ve seen how the project is set up, let’s listen to the first audio track recording.

3. Play the project. You should hear only the audio on the top track called Audio 6.

What did you think? The performance is okay. Keep in mind it was a first take, and generally it takes the first run-through to discover everything from where the microphone should be placed to whether the input level needs improvement.

Also, this is a new audio track (just like the one you created earlier), so it has no effects or patch presets added to enhance the track. Besides listening to the dry (no reverb applied), effect-free sound of the vocal recording, how else can you tell there are no effects applied to the track? Look at the Library. If a patch were applied to the track, it would appear in the patch list for the selected track. You can also check the track’s Smart Controls pane.

4. Click the Smart Controls button, or press B to see the Smart Controls for the Audio 6 track.

As suspected, the compressor switch (in the lower left of the screen controls) is turned off. Also if you check out the Ambience and Reverb Sends on the right side of the screen controls you’ll see they are both dialed to the lowest setting, meaning no effect has been applied.

Thank goodness for second takes, or in this case second tracks.

5. Select the Life’s Flower 1 track header.

The Library shows that a Natural Vocal patch has been applied to the track. Also, the Smart Controls indicate that the Natural Vocal patch includes both ambience and reverb. Let’s hear how the Natural Vocal patch affects the sound of the recorded audio region.

6. Drag the region in the first track (Audio 6) down to the second track (Life’s Flower 1).

7. Play the project.

Did you hear a difference? The performance definitely sounds better with the Natural Vocal effects preset applied.

8. Unsolo the top two tracks. Solo the third track called Life’s Flower 2 and the fourth track called Compressed Vocal.

9. Play the project to hear the second vocal take.

For this take, the microphone was moved closer to Tina, so her voice sounds stronger. Also applied was a Compressed Vocal patch, which helps keep the volume level of the words more even throughout the track.

The performance is great. Take a moment to listen to it with the different voice patches.

10. Play the project again. This time, during playback, select each of the different voice patches to hear how they affect the vocals. Keep an eye on the Smart Controls pane when you change patches so you can see which controls and settings have the greatest impact on the sound.

Many of these voice presets are ideal for singing performances, but don’t work well for spoken narration.

11. When you are finished experimenting, select the Compressed Vocal patch and stop playback.

Now let’s move on to the next exercise, where you’ll use the Audio Editor to clean up the sound at the beginning of the region.

Before you edit the region, let’s create a duplicate so you’ll be able to compare the before and after versions of the region.

1. Option-drag the Lifes Flower#02 region from the third track to the empty fourth track.

2. Unsolo the Life’s Flower 2 track (the third track) so that you can hear only the Compressed Vocal track.

3. Click the Note Pad button, or press Command-Option-P to hide the Note Pad.

4. Select the Compressed Vocal track and press E to display it in the Audio Editor.

5. Press Return to move the playhead to the beginning of the timeline and editor.

6. Drag the horizontal zoom slider in the editor to the right until the editor is focused on the first five seconds of the region (0:05).

You could zoom in even further, but at this level you ought to be able to get the job done without forgetting where you are in the track.

7. Play the beginning of the track. Listen for the nonspoken sounds consisting of distinctive clicks as Tina opens her mouth to begin speaking.

When you record someone speaking clearly and at a good volume level, you are bound to pick up additional sounds. You may not see them very well on the audio waveform, but you can sure hear them. No problem. Breath sounds are also common in voice-over and narration recordings. In this example you get to remove both at once.

There are three different tools that you can use in the Audio Editor, depending on the position of the pointer over the region in the editor:

(arrow/selection tool)—The default pointer is used for selecting and for dragging a region horizontally in the editor. This tool is available when the pointer is over the upper half of the region in the editor (above the audio waveform).

—The Trim tool is used for trimming regions to lengthen or shorten them. It is available only over the lower-left or lower-right edge of a region.

—The Marquee tool is used for selecting a portion of a region and splitting it from the rest of the original region. Once you’ve made your selection with a marquee, you can split, delete, move, copy, or paste the new region.

Tina’s first words start just before three seconds (0:03). Your goal is to use the Marquee pointer to select a portion of the region just before she speaks. Don’t worry if your selection isn’t perfect. You can always trim the remaining region with the Trim tool.

8. In the editor, move the pointer just below and to the left of the largest part of the waveform just before three seconds. Click the Marquee tool to begin selection at that position. While holding down the Marquee tool, drag left to about one and a half seconds. Release the Marquee tool.

At this point, three things can happen with your selection:

You can press Delete to remove the selected area from the region.

You can click anywhere in the lower half of the editor to deselect the marquee (lose your selection) and make a new selection.

You can click in the upper half of the selected area to turn the selection into a separate region.

For this exercise you’ll go with the third option and turn the selection into a new region.

9. Click the upper half of the selected area. The selection becomes a new selected region. Press Delete.

The selected portion of the original region is no longer in the editor or the track in the timeline.

10. In the Audio Editor, play the region that starts just before three seconds. Listen to hear if you got all of the nonverbal noise and breath out of the region with your edit.

11. If you still hear breath sound or clicks before Tina says “Life’s Flower,” drag the lower-left edge of the region with the Trim tool toward the right until you’ve cleaned up the track before her first words. If you over-trimmed your first edit and removed some of her words, you can trim toward the left to lengthen the region.

Mission accomplished. Now you can just delete the short region from the beginning of the track.

12. In the Audio Editor, select the first region at the beginning of the Compressed Vocal track. Press Delete.

13. Solo the Event Horizon track (the lowest track) and play the project to hear Tina’s edited take along with a light instrumental background.

Sounds great. There are still a few extraneous noises that should be removed, but you get the idea how to do it, and that is the most important thing.

As you work, try removing as little of the region as possible. This recording was not done in a studio and therefore has some noticeable room sound (called room tone). Because of that, you can’t leave gaps in the track or it will be audible. Instead of leaving little gaps where you remove clicks, you can either plug the gap with a piece of track that has the room tone from another area in the region, or you can pull the regions together to remove the gaps. For this track, you’ll do the latter and pull the regions together. The pauses between words are part of the performance, so there is no need to remove them or tighten the spacing in this piece.

Use your new Audio Editor skills to select and delete the following:

Remove the click at around :23 seconds. When finished, drag the upper half of the region on the right side of the gap until the two regions touch. Listen to make sure your edit sounds good before moving on to the next.

Remove the click at around :30 seconds, and then tighten the regions to remove the gap.

When you are finished, play your edited track along with the Event Horizon track to hear them together. Don’t forget to save your progress.

The advantage of working with multitake regions is that all of the takes are in one convenient package. You can easily switch between takes and choose which takes you like.

What if you want to use parts of each take? You can split a multitake region right in the timeline and then choose a different take for each region. The only catch is that once you split the multitake region, you can’t use the Trim tool to extend it beyond the split. No worries; if that happens, you can just delete the unused takes and the region works just like a single-take region—complete with all of the takes intact, in order, in one long take. Let’s try it so you can see for yourself.

1. Press Y to hide the Library, if it is still showing. Press Command-Option-P, or click the Note Pad button to display the Note Pad. Since you will be listening to multiple takes, it is nice to have the poem in front of you so that you can follow the performances better.

2. Unsolo the Compressed Vocal track. Select the Multi-take region track and press S to solo the track. Unsolo the Event Horizon track for now so you can focus on the narration tracks.

3. Press Command-D to duplicate the selected track. Press Command-D again to create another duplicate track.

Notice that the duplicate tracks are both named Compressed Vocal. These tracks will take the name of whatever instrument patch is assigned to them unless you type in a new name. Because the track you duplicated had the Compressed Vocal patch, so do the new duplicate tracks. These are just work tracks for you to use for your editing, so the name is inconsequential. The new tracks are also already soloed, which is a plus for this exercise.

4. Option-drag the region in the Multi-take region track and place the duplicate in the lower compressed vocal track that you created. That way you have a backup, just in case you need it. Unsolo the track with the backup multitake region.

5. Play the project to hear Take 1 of the multitake region.

The beginning of Take 1 is good for the first few lines, but around 17 seconds (0:17) when the poem changes to the third paragraph about the fragrant rose, I’m listening for a change in inflection or stronger emotion. Luckily Tina is a pro, and since we were recording multiple takes, she read each take differently to give us more choices. Next take.

6. Click the 1 in the upper-left corner of the multitake region and choose Take 2 from the Takes menu.

7. Play Take 2 and listen for which parts you like best. Then change the Takes menu to Take 3 and evaluate that take.

For me, Take 2 has the best performance of the last three lines starting with “insignificant.” Take 3, on the other hand, has the strongest performance of the third stanza about the rose, as well as the first line of the fourth stanza introducing the sweet baby’s breath. You may have interpreted the performances differently; after all, it is poetry. However, for this exercise you can follow my lead.

8. Change the multitake region back to Take 1.

Now that you have evaluated the takes, you are ready to edit the multitake region in the timeline.

1. Press Return; then zoom in to the timeline until the right edge of the multitake region almost touches the Note Pad. Make sure that both the timeline and Audio Editor Catch buttons are turned on (blue).

2. Play the project. Stop playback after Tina says “Keeping all at bay,” around 0:17 in the time ruler.

3. Look at the playhead position in the Audio Editor. The playhead should be somewhere in the silent section of the region between 0:16 and 0:17 (around 00:16:15.00 in the LCD display). If needed, move the playhead in the Audio Editor until it is over the silent area.

4. Click the empty track in the tracks area to deselect all regions. Then select the multitake region you want to edit. Why deselect before selecting? Because chances are the duplicate backup region or another region was also selected, and you would’ve edited more than one region at a time. Safety first. Once you have selected the multitake region, press Command-T, or choose Edit > Split Regions at Playhead.

There are now two multitake regions in the track. Both regions are still showing Take 1.

5. Change the second region to Take 3.

6. Play the edit between regions to hear how they sound together.

Yikes. You can hear Tina repeat the same line at the end of the first region and the beginning of the second region. Welcome to the world of dialogue editing. Time-based recordings don’t use a click track, beats, or measures to keep time, so it is rare that spoken words perfectly line up in a multitake region.

You are going to need to trim off the beginning of the Take 3 region so that it starts at 20 seconds (0:20). You can trim directly in the timeline.

7. In either the Audio Editor or timeline, try dragging the lower-left edge of the Take 3 region toward the right to trim the beginning of the region so that it starts at 20 seconds (0:20).

Didn’t work? That’s because you can only trim the right edge of a multitake region. You can’t use the Marquee tool either. Thus, you have discovered the editing disadvantage of working with multitake regions.

You can, as you already know, split the region in the timeline, so let’s do that.

8. Select the Take 3 multitake region and move the playhead to 20 seconds. Press Command-T to split the region at the playhead position.

9. Select the small Take 3 region that you just created and press Delete.

The unwanted portion of Take 3 is now out of the way.

10. In the timeline, drag the remaining Take 3 region to the left until it is close to the end of Take 1 in the Multi-take region track. To make sure there is no gap, once you have placed the regions next to each other in the timeline, check the Audio Editor to see if there is a gap between the regions. If so, drag the upper half of the Take 3 region to the left as needed until the regions touch. In the Audio Editor, swipe the visible area and adjust the horizontal zoom as needed to see the space between Multi-take regions.

Now you can see how both the timeline and Audio Editor can be used together to edit and move a region.

11. Play the project from 10 seconds to 20 seconds to hear the edit.

It sounds okay, but the pause may be too long before Tina starts the next stanza, “Nor be a fragrant rose....” We won’t know until we play the final edit with the music and hear it all in context.

12. Play the Take 3 region and pause after Tina says “sweet baby’s breath” at around 28 seconds. Make sure the Take 3 region is selected, and then press Command-T to split the region.

13. Change the new Take 3 region to Take 2. Listen to the edit.

Oops. The Take 3 region ends okay, but we cut off most of the word “insignificant” at the beginning of the Take 2 region. Since the performance of that particular word is the whole reason we are cutting to Take 2 here, we need to extend the beginning of Take 2.

The only way to use the trim tools on this region is to change it from a multitake region to a single-take region.

1. Drag the last region in the Multi-take region track (Take 2) down one track to the empty Compressed Vocal track you created earlier.

2. Choose Delete Unusued Takes from the Takes menu. The last region has Take 2 at the end of the name but no longer includes a Takes menu. It has transformed to a single-take, fully editable region.

3. Zoom out of the timeline until the new region is in the middle of the tracks area with plenty of room to the right to extend the region.

4. Drag the right edge of the new region as far as you can to fully extend it. Play the region.

The region contains not only the rest of Take 2 but also the entire third take. As you learned earlier, when you delete takes from a multitake region all of the takes are still in there and accessible if needed. Pretty cool.

5. Press Command-Z or choose Edit > Undo Length Change to return the region to its former length. Feel free to adjust the timeline zoom as needed for the rest of the lesson.

6. Unsolo the Multi-take region track so you can concentrate on the Compressed Vocal track with the newly “single” region.

7. Select the newly single region in the timeline to make it easier to see in the Audio Editor. In the Audio Editor, drag the lower-left edge of the region with the Trim tool until the word “insignificant” is fully audible. Leave a little room in front of the word if possible.

8. Once you have restored the word “insignificant” to the beginning of the region in the Compressed Vocal track, drag the region horizontally in the timeline so that it begins right after the end of the Take 3 region in the track above. Play the edit between the regions.

The edit between regions should sound seamless.

9. Solo the Event Horizon track to play it with the edited multitake regions.

10. Unsolo the tracks with multitake regions and solo the third track with the edited single-take region so you can compare the two edited versions of the poem. Tough call. They both sound great.

11. Save your finished project. If for some reason you didn’t complete all of the exercises in this lesson and want to hear the finished project, open 5-3 Audiobook Finished to hear the finished edit.

Bravo! When you are finished take a bow because you just completed some advanced dialogue editing!

Using professional equipment and software ranging from film to Final Cut Pro, I’ve edited more than a dozen big projects from feature films to documentaries and television pilots. When it comes to editing dialogue, narration, and voice-overs, it gets easier the more you do it. Your ear becomes more tuned to subtle performance differences and nuances in the spoken words. Over time you become quicker to pick up on the mistakes that need extra work, while at the same time recognizing when something sounds believable, honest, or powerful.

When you are finished recording, listen carefully to each take and edit as needed to create a finished piece. Feel free to add a few musical loops from the loop browser to enhance the mood, or record an original track.

Listen to the different recorded takes and edit together a finished version.

Have fun.

2. Where are the project properties displayed in the GarageBand window?

3. What is the purpose of the Tap Tempo button in the New Project dialog?

4. What is the difference between splitting a region in the Audio Editor and splitting a region in the timeline?

5. Is it possible to edit a multitake region the same way you edit a single-take region?

2. In the GarageBand window, you can see the project properties in the LCD display.

3. The Tap Tempo button in the New Project dialog lets you tap the tempo of a project using your mouse or trackpad to determine what tempo to set for the project.

4. Splitting a region in the timeline uses the playhead and selected tracks to determine where to split, whereas splitting a region in the Audio Editor requires selecting a portion of a region with the Marquee tool.

5. It is possible to edit a multitake region the same way you edit a single-take region. All you have to do is delete the unused takes from the multitake region.