12
SHORTCUTS AND ADDITIONAL MATERIALS

While this chapter is primarily devoted to the key commands of Soundtrack, I am also including two sections of additional information. The first details the Apple Loops content and the second is a comparison chart with the other audio software packages to provide you with an idea of where Soundtrack fits in.

Figure 12-1 Keyboard shortcuts (photograph by David Liban).

Figure 12-1 Keyboard shortcuts (photograph by David Liban).

Keyboard Shortcuts

Originally I had thought the help file document included with Soundtrack was enough to provide information about the key commands, but after a closer scrutiny of the document I realized that many of the commands were not clearly explained, others were not explained in enough detail, and some were just plain wrong. Instead of simply putting the entire list of commands here, I have taken the majority and rewritten their entries. Some I have made even simpler (shorter), while others have a much longer explanation. When appropriate, I have explained how a command might help your workflow. I have removed some of the more obvious commands, such as Command + S (save) to help keep this section as simple as possible without completely reinventing the wheel.

General/File
Command + N New multimedia project.
Command + Shift + N New audio file project.
Command + B Takes an audio file in any media tab and places it in the Bin of the open project. This is useful because it allows you to place a file into the current project’s Bin without having to place it on the timeline. I do this sometimes to keep a file with a project for organizational purposes, even if I am not currently using the file.
Command + , Open Preferences.
Command + Shift + ? Open Help.
Layouts, Tabs, and Heads Up Displays (HUDs)
F1 Opens default layout.
F2 Additional default layout with separate video/mixer tabs.
Control + A, S, or D Toggles the view status of the left, lower, and right panes respectively.
Command + 1 Video tab.
Command + 2 Mixer tab.
Command + 3 Project pane.
Command + 4 Browser tab.
Command + / Details tab.
Command + 5 Effects tab.
Command + Shift + C Sound Palette. I never use this because the Sound Palette is automatically opened when you switch to the Lift/Stamp tools.
Command + Shift + { Switches to tab to the left of actively selected tab.
Command + Shift + } Switches to tab to the right of actively selected tab.
V Multipoint video. If you click-and-hold a clip before pressing V, the HUD will remain open for the duration of the edit and then disappear when the mouse is released.
Control + V Toggles the video output device. I have had to use this to turn off video when screen resolution changes or when the Cinema Desktop is activated and I want to turn it off.
Navigating the Timeline and Project Playback
Return or Home An efficient way to return the playhead to locations that are to the left of your current location. When pressed, the playhead moves to the following items in this order: 1. last starting place, 2. start of cycle region, 3. start of project. If you move back to 1, press it again to go back to 2, etc.
End The same as Return or Home above, but to the right instead of to the left.
Option + M If you use markers a lot, you will be using this command and the one below quite a bit to help navigate. Moves the playhead to the immediately preceding marker. This is great for setting locations of ADR you want to record or sound effects that need editing.
Shift + M The same as Option + M above, but to the immediately following marker.
Option + ← or → Move forward or backward by a frame. Audio editors rarely seem to navigate using frame controls, but as a video editor this will probably be the first key command you look up. One very important use is to constantly check sync. You should see visual cues that match the audio waveforms as you go through your project. Look for hard sound effects such as footsteps or anything that makes a sharp sound. Frame through to make sure the waveform matches the visuals.
Space Play/Stop.
Shift + Return Returns to the previous start time and then plays. This is useful when checking edits because you can play across the edit point numerous times to make sure it sounds good without having to manually adjust the playhead.
J Play backwards. Press multiple times to speed up reverse. I use this a lot when editing because it allows me to quickly go back through a section and then press the L key (below) to start playback again.
K Stop.
L Plays normal unless pressed multiple times, which speeds it up. I use J, K, and L a lot while editing because it makes moving through material so much more efficient.
K + L Slow motion. This is another great tool while editing because you can hold K and then push L once to move a single frame forward. If you want to move forward in slow motion, then hold down L and you will advance slowly with the sound playing at a slower rate.
J + K Slow motion in reverse. This is used hand in hand with K + L. Basically, hold the K key down and you can push the J key once to move a frame in reverse and hold it down for slow motion reverse playback. I hold K and can go backward or forward using the J and L keys as modifiers.
Option + Space Allows you to start and stop playback of files previewed in the Bin or other media tabs.
Cycle Region
C Toggles the cycle region. If you have the cycle region activated, it affects the starting points and looping. You may want to turn off the cycle quickly, which is what this does.
X Use this to set the cycle region to match the length of a specific clip, or whichever clip is in the upper most track and is touching the playhead. Useful for setting loop points for recording ADR: If you have lines needing replacement separated into their own clips, you can place the playhead on the clip and press X to create the loop boundaries. This works during playback as well, which means you can press X to create a cycle region for instant looping of a file. When you want to move on, press C to deactivate the cycle and then press X over the next clip to set the new boundaries. Re-press C to re-activate the cycle, and the new region will be looped.
Option + X Removes cycle.
Shift + A Similar to X but works with selected clips regardless of where the playhead is.
I Cycle In point.
O Cycle Out point.
Option + I Moves the In point of the cycle to the start of the project.
Option + 0 Moves the Out point of the cycle to the end of the project.
Shift + I Moves the playhead to the beginning of the cycle.
Shift + O Moves the playhead to the end of the cycle.
Editing
Command + Z Undo.
Command + Shift + Z Redo.
Command + X Cut.
Command + Shift + X Ripple cut. This is useful for editing voiceover because you may want to take out a section to put it somewhere else. This removes the portion, slides the rest over, and then you can paste it where you want it.
Command + C Copy.
Command + V Paste.
Shift + Delete Ripple deletes.
Command + D Duplicate.
Command + A Selects all.
Command + Shift + A Deselects all. Because Soundtrack works in a selection-based system (processing applies to selected items) you should get in the habit of clicking this command to make sure you aren’t processing more that you think you are.
Command + Shift + Option + X Ripple cuts to the following clip edge.
Shift + Option + Delete Ripple deletes to the following clip edge.
Command + Option + V Allows you to paste the clipboard file multiple times. Often useful for laying down long sections of ambient noise.
N Toggles snap.
S You can use the Blade tool to split clips or you can split them (selected clips or clips on selected tracks) by pressing S with the playhead in the desired location. You can do this in real time if you are roughing out clip definitions. You can also select a portion of a file to cut in two places, resulting in three files.
Option + S Rejoins clips that have been separated.
D Uses the playhead to set the left clip edge on a selected clip. Useful for trimming clips.
G Uses the playhead to set the right clip edge on a selected clip. Useful for trimming clips.
Command + F If you use the Timeslice tool to select across the edges of two clips that are side-by-side, this will create a cross-fade. Once you have a cross-fade, you can doubleclick it with the Arrow tool to edit the fades.
Option + D Uses the playhead to set the right edge of a clip fade-in on a selected clip.
Option + G Uses the playhead to set the left edge of a clip fade-out on a selected clip.
Command + Option + Z Uses the Timeslice tool’s selection to trim the edges off the clip.
Command + Option + Drag Slips the audio inside of a clip. It only works when there are available handles under the edges of a clip, but is useful for moving sound effects around while maintaining their ambient noise for the audible clip.
Command + Uses the playhead to determine where a selected clip or portion of a file selected using the Timeslice tool moves to. In both cases, the clip is moved to the playhead time on the currently selected track.
Command + Shift + Similar to Command + , but uses a dialog to set the time code position for the new position.
E Toggles envelope display for selected tracks.
Option + E Toggles between envelope selection modes. One leaves keyframes at their track position even when moving clips and the other mode moves them with selected clips.
Moving Audio Clips and Envelope Points
Command + Option + ← Envelope points (keyframes) are moved a ruler gridline to the left.
Command + Option + → Envelope points (keyframes) are moved a ruler gridline to the right.
Command + ← Envelope points (keyframes) are moved a nudge value to the left.
Command + → Envelope points (keyframes) are moved a nudge value to the right.
Option + Control + B Toggles locking on clips. I typically lock clips after I am done editing them to prevent accidental repositioning.
Control + B Toggles the active state of clips. You can deactivate clips, effectively turning them off. This is useful because you can keep clips on the timeline in case you need them later without having to hear them.
Command + ↑ Two functions:
  • Selected clips are moved left to earlier edit points.
  • Adjusts the level of selected envelope points (keyframes) by a coarse value.
Command + ↓ Two functions:
  • Selected clips are moved right to later edit points.
  • Adjusts the level of selected envelope points (keyframes) by a coarse value.
Command + Option + ↑ Two functions:
  • Selected clips are moved up to a higher track.
  • Adjusts the level of selected envelope points (keyframes) by a fine value.
Command + Option + ↓ Two functions:
  • Selected clips are moved down to a lower track.
  • Adjusts the level of selected envelope points (keyframes) by a fine value.
Command + Shift + E Envelope points are added based on the edges of clips that are currently selected. This is so much easier than adding them manually.
Viewing the Timeline
Command + = Horizontal zoom in.
Command + – Horizontal zoom out.
Control + Command + = Track height zoom in.
Control + Command + – Track height zoom out.
Option + Z Current selection zoom.
Command + 0 Default zoom.
Control + Z Toggles sample level zoom. This means you will be zoomed in as close as possible. Only works in audio file projects and the File Editor.
Shift + Option + Z Cycle region zoom.
Shift + Z Horizontal zoom to fit entire project.
Command + Shift + = Waveform zoom in. This makes your audio look louder without actually making it louder.
Command + Shift + − Waveform zoom out. This makes your audio look softer without actually making it softer.
Command + Shift + 0 Waveform default zoom.
Command + 6 Mini track view.
Command + 7 Small track view.
Command + 8 Medium track view.
Command + 9 Large track view.
Timeline Tools
A Arrow tool.
B Blade tool.
B + B Blade All tool.
W Timeslice tool.
U + U Lift tool.
U Stamp tool.
H Scrub tool.
File Editor Project View Tools and Commands
W Frequency Selection tool.
P Sample Edit tool. This is also called the Pencil tool because you use it to draw the waveform.
T Audio Stretching tool.
Z Zoom tool.
H Scrub tool.
Control + Z Toggles sample level zoom. This means you will be zoomed in as close as possible. This only works in audio file projects and the File Editor.
Option + Z Current selection zoom.
Shift + Z Horizontal zoom to fit entire project.
Command + Control + Y Copies a selection of audio to a special clipboard for use as an ambient noise print.
Command + Y Takes the current audio and adds the ambient noise print to it.
Command + Shift + Y Deletes the current audio and replaces it with the ambient noise print.
Command + Shift + I Moves both edges of a selection in to the nearest zero crossing points.
Command + Shift + O Moves both edges of a selection out to the nearest zero crossing points.
[ Moves the left edge of a selection to the nearest zero crossing point towards the left.
] Moves the left edge of a selection to the nearest zero crossing point towards the right.
Shift + [ Moves the right edge of a selection to the nearest zero crossing point towards the left.
Shift + ] Moves the right edge of a selection to the nearest zero crossing point towards the right.
Processing and Editing Audio Files
Command + Control + N Takes the current selection and creates a new audio file project. When you use this on a clip in a multitrack file project, it replaces the audio on the timeline with the new clip automatically, retaining effects and sync.
Command + Shift + Control + N Takes the current clipboard and uses it to create a new audio file project.
Command + L Normalize. Use this to adjust audio levels to a specific amount.
Command + Shift + L Adjust Amplitude. Use this to change a file’s level by a specific amount.
Command + Shift + V Paste mix. In the File Editor or an audio file project, you can use this to paste mix two files together. It adds the copied file into the selected file using a dialog which lets you adjust the mix ratio.
Command + Delete Turns a selection into silence.
Control + F Flattens audible actions. The purple marker on the side of the Actions List can be moved above or below effects. Any effects that are below the purple bar will not be flattened.
Shift + Control + F Flatten all actions.
Command + F1 A/B last actions.
Command + Control + Y Set ambient noise print.
Command + Y Add ambient noise.
Command + Shift + Y Replace with ambient noise.
Tracks, Busses, and Submixes
Command + T New track.
Command + Control + T New bus.
Command + Option + T New submix.
Command + Shift + T Delete selected track.
T Mute track.
Y Solo track.
Control + ↑ Moves track selection up.
Control + ↓ Moves track selection down.
Shift + Control + ↑ or ↓ Toggles selection of tracks above and below currently selected track.
F5 Locks track. This is useful to protect the contents of the track from being altered. Final Cut has the same feature.
E Toggles automation (keyframes) view for a track.
Command + G Groups tracks that are selected.
Control + G Toggles groups’ active/inactive state.
Markers
M Insert time marker. The marker is added at the current playhead position and can be added during playback for efficient organization.
Control + M Adds region marker. Region markers are the same as time markers, but cover a range of time instead of just a specific time code position. This command adds a region marker based on a selection on the timeline.
Option + Control + M Instead of adding a region marker, this command places time markers at the start and end of a selection.
Option + B Insert beat marker.
Command + Option + M This command opens the Details tab for the selected marker and is useful for quickly seeing details about the maker.
Selecting Audio Clips in the Timeline
Shift + End Selects every clip from the playhead until the project end marker, including clips that are under the playhead even if they start before it. If you have a track selected, it will only affect clips on it, but if there is no selection it will work on all clips to the end.
Shift + Option + End Same as Shift + End except it always works on all clips from the playhead on.
Shift + Home Selects every clip from the playhead until the project start, including clips that are under the playhead even if they continue after it. If you have a track selected, it will only affect clips on it, but if there is no selection it will work on all clips to the beginning.
Shift + Option + Home Same as Shift + Home except it always works on all clips from the start to the playhead.
Shift + T Clip selector for selected track, unless no tracks are selected, and then it works in the same way as Shift + Option + T.
Shift + Option + T Same as Command + A, but for tracks. On the timeline they work the same.
Shift + A Sets cycle region to the edges of a selected clip.
Shift + ↑ Playhead is shifted to previous edit and the selection state is toggled for clips starting at that point. I have never found a good use for this or the following few commands.
Shift + ↓ Playhead is shifted to following edit and the selection state is toggled for clips starting at that point.
Shift + Option + ↑ Same as Shift + ↑ but only for selected tracks.
Shift + Option + ↓ Same as Shift + ↓ but only for selected tracks.
Video Out
Control + V Toggles video output. This is useful when you need to turn off an external output quickly.
Recording
R Prepares selected tracks for recording by ‘arming’ them.
Command + R Begins recording. You can only record on existing tracks by ‘arming’ them. Think of this as log and capture straight onto a sequence track in Final Cut.
Control + 1 through 9 When loop recording, the various passes of recorded audio are stored in a single file with each pass, called a ‘take.’ Use Control + 1 through Control + 9 to move the corresponding take from 1–9 to the top level, which makes it the audible take. This allows you to easily pull the best take to the top of the clip. Also the default OSX Spaces Switch command.
Using Arrow Keys to Move the Playhead
↑ Move to previous edit.
↓ Move to next edit.
Option + ↑ Previous edit/selected track.
Option + ↓ Next edit/selected track.
Option + ← One gridline earlier.
Option + → One gridline later.
← Earlier by nudge amount.
→ Later by nudge amount.
Working with Timeslices
Shift + Option + ← Lengthens the timeslice by a gridline to the left.
Shift + Option + → Lengthens the timeslice by a gridline to the right.
Shift + ↑ Lengthens the timeslice to the immediately preceding edit point. Once you click ↑ you can click ↓ to move the left edge back to the right as long as you keep the Shift key pressed. You will need to let go of the Shift key to begin adjusting the right edge.
Shift + ↓ Lengthens the timeslice to the immediately following edit point. Once you click the ↓ you can click the ↑ to move the right edge back to the left as long as you keep the Shift key pressed. You will need to let go of the Shift key to begin adjusting the left edge.
Command + ← Keeps the current timeslice length, but shifts it earlier by the nudge amount.
Command + → Keeps the current timeslice length, but shifts it later by the nudge amount.
Command + Option + ↑ Keeps the current timeslice length, but shifts it up a track.
Command + Option + ↓ Keeps the current timeslice length, but shifts it down a track.
Command + Option + ← Keeps the current timeslice length, but shifts to an earlier gridline.
Command + Option + → Keeps the current timeslice length, but shifts to a later gridline.
Command + Shift + ↑ or ↓ Keeps the current timeslice length, but extends the selection to the track above or below. If you start the selection with a clip in the middle of the timeline, you can select in either direction, but you will need to release Command and Shift before crossing over the other direction.

Apple Loops

Below is a list of the categories of Apple Loops that are bundled with Soundtrack in the Final Cut Studio package. To help clarify things I am only including the items that are concrete in nature (yes to Acoustic Bass but no to Acoustic). This is because some of the categories are very general and would overlap with the more specific areas (Acoustic Bass is in the Acoustic category). For each category I am listing how many loops are found there. This is designed as a quick reference to help you find the files you are looking for.

Category Number of Files
Acoustic bass 106
Acoustic guitar 159
Ambience 358
Animals 76
Bagpipe 1
Banjo 48
Bass 419
Beats 575
Bell 1
Bongo 40
Cello 5
Chime 2
Clave 8
Clavinet 30
Conga 53
Cowbell 17
Cymbal 14
Drum kit 306
Drums 964
Electric bass 193
Electric guitar 261
Electric piano 133
Explosions 16
Flute 8
Foley 123
French horn 1
Guitars 514
Harmonica 24
Hi-hat 51
Impacts and crashes 168
Keyboards 652
Kick 6
Mallets 120
Mandolin 23
Marimba 2
Motions and transitions 511
Orchestral 135
Organ 12
People 208
Percussion 505
Piano 190
Rattler 3
Sci-fi 128
Shaker 38
Sitar 13
Slide guitar 23
Snare 6
Sports and leisure 84
Synth bass 120
Synths 287
Tambourine 21
Textures 116
Tom 6
Transportation 183
Trombone 9
Vibes 78
Vinyl 50
Viola 3
Violin 9
Vocals 21
Weapons 43
Work/home 256
World 733

Selected Feature Comparison with Pro Tools and Nuendo

The question always comes up of whether Soundtrack is really able to keep up with the other audio software packages. I have created a chart comparing the features of these applications to help answer that question. This is only a selected feature comparison and I have focused both on features that Soundtrack has which are unique and the features which are its weaknesses. Putting aside the fact that, obviously, this is a book about Soundtrack, I believe that it has a place in the post-audio workflow, even if it isn’t going to replace either of the other apps.

I have listed the names of the features as they are called in each system and then ranked them using the numbers 1 – 3 (1 being the best implementation of the feature according to my personal opinion).

Soundtrack Nuendo Pro Tools
Multitake Editor – 1 Lanes – 2 Playlists – 3
Actions List – 1 Offline Process History – 2 –
File Editor – 2 File Editor – 2 Each Track – 1
Multipoint Video – –
Restoration tools Partial set Partial set
Final Cut Conform – –
Audio Engine uses the OSX Core Audio System – 3 Core Audio and others – 2 Proprietary (Pro Tools hardware required, which ensures compatibility) – 1
Control surface functionality – 3 Control surface functionality (most flexible) – 1 Control surface functionality – 2
Export to AC-3 (bundled with Compressor) – 1 AC-3 requires third party plug-in – 2 AC-3 requires third party plug-in – 2
Convolution Reverb (Space Designer) – 1 Non-real-time version – 3 Often bundled – 2
Mac compatible only – 3 Mac and Windows (better on Windows) – 2 Mac and Windows – 1
Ambient Fill tool – –
Spectrum edit – –
Audio Stretch functionality – 1 Audio Stretch functionality – 3 Audio Stretch functionality – 2
Single window interface – 1 Multiple windows – 3 Two primary windows – 2
Designed for audio post – 2 Designed for audio post – 1 Designed for music production and post – 3
– MIDI functionality – 2 MIDI functionality – 1
– Music notation feature costs extra – 3 Includes music notation editor – 1
Automation – 3 Automation – 1 Automation – 2
Default plug-in quality – 1 Default plug-in quality – 2 Default plug-in quality – 3
– – Hardware DSP
Rank of software availability in studios – 3 Rank of software availability in studios – 2 Rank of software availability in studios – 1

Some of the data require further explanation. The problem with making a comparison like this is that Soundtrack has a lot of specialized tools which make editing audio very efficient. If you look at these features all by themselves, then Soundtrack appears to be the best tool. However, there are several other features which count for a lot more, and probably hundreds of features that Pro Tools and Nuendo have that Soundtrack doesn’t. In comparison, Soundtrack is a small program. The features that count for a lot more are availability in studios, automation, and control surface compatibility. However, Final Cut Conform and the specialized tools make a strong case for Soundtrack to be a competitor in the future.

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