Destructive audio edit in LPX

How in LPX you can process individual audio region in any plug-in destructive form. Is there such a possibility? Here is a audio editor, but he is weak to process the files. Don't understand why there are no elementary functions such as file processing installed plugins.I found the option of using an external audio editor, but still have not found a good option because if the process the source file, then the logic starts as something with these files to work correctly. Tell me who handles as separate audio regions in LPX in destructive form?

Let's hope that the developers will hear us and take up our issue and will be resolved in the next release of LPX.

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External HD and Destructive Audio Editing

Howdy, Folks!
I'm planning on utilizing an external HD to house active LE7 projects. I also plan on having LE7 copy files into the project folder. I may have missed this in the volumes of text online and packaged with the software, but are destructive audio edits made to original files or copies of files located in project folders?
(I hope it's the file copies that get edited. This, and prevention of HD I/O contamination between writing audio and accessing the program itself, are the reasons I plan to use an external HD...)
Much thanks for the wisdom!

Given what I found in the Reference, I'd rather play it safe until I'm absolutely certain. That citation sounded to me as if it were not a copy. Looked as if it would require that extra step.
Then I tried this: I made a throwaway .aif speaking directly into my iBook mic and I put it on the desktop. I used LE's Audio window to select and open that file and place it into an arrange window. There I opened it and edited it substantially in the Sample Editor. That file -- in my .lso's audio window -- lost lots of weight, from 1.3MB down to 164kb. The original file remains on my desktop, still 1.3MB, waveform unaltered.
SO it looks as if the ORIGINAL file stays untouched. That does make sense -- it's reasonable -- but reasonable doesn't always win out, and at least until I know for sure, I'd always rather err on the conservative side.
Still, in case I've inadvertently left out a detail, or stated something inaccurately, I'd encourage you to try it out *for yourself* to be absolutely sure. A few minutes of preventive experimenting will help you learn best (as it did here for me).
best,
c

Care 2 share favorite audio editing tips (think Aphex, Squarepusher, B.T.)?

Anyone here do tons of constructive/destructive audio editing in Logic? I am determined to kick my Pro Tools habit and embrace Logic's audio mangling capabilities once and for all!
Any tips or shortcuts you can't live without would be much appreciated (especially from Pro Tools users who have learned to adapt without having 'tab to transients', 'Grid mode', etc.).
Gracias

Between your posts today I'd say the effects you want can be created pretty quickly with strip silence, divide multiple, AU hosting batch processor, EXS24. Kontakt is actually pretty quick at this becase it's got a built in ReCycler, then you can just throw the pitches and loops in whichever direction you want, just set the polyphony low (often mono) for alot of this. Logic doesn't really handle file based effects (then it was easy-like PT's AudioSuite). Lowering the Tempo in 2 and then recording, chopping and then flipping the tempo up is also good, set regions to auto xfade like 5ms. Alot can be done in the arrange, yes but the samplers should not be overlooked. Basically sound like you're going through 30 different sounds all at one as 1 instrument. I have set up templates with FX where sounds basically "reproduce", this is really easy in Logic. Record or setup sounds by some timebase, scribble some automation in for a few plugs, bounce, divide multiple, send through batch processor, load into sampler, it may not sound like much but you can make hundreds of unique sounds in a few minutes. All you have to do after that is listen and choose. But obviously you don't want to stop there so you can start drawing (honestly, I think the Matrix is where I'd do the arranging/sequencing-just load up a few samplers but for processing/chopping arrange is really fast). I even do this with guitar tracks. With your sample regions now in place you can just change the pitch on the sampler and set the loop values to musical and nonmusical values easily. The arrange is fine for placing but when you get into all the effecting it's handled better by a sampler, IMO. Logic can make easy work of the effecting, dicing, and sequencing. Export regions as audio files, and open in external sampe editor, EXS mapping 128 notes at once. ReCycle. Kontakt has alot of the stuff you want-it could replace ReCyle and EXS24, and it's got the script processor.

Audio edit not working. Can't cross fade

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How can I simply click on the audio edit and apply the audio cross fade??
Thanks!!

In FCP, go to the menu Sequence > Render and make sure all the conditions are checked.
Do the same for Render All:
MtD

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My analysis: There must be multiple tracks in the .mov IMHO and Quicktime knows which ones to playback but only the original track is read by YouTube. This may be BS on my part....... I don't think I am doing anything wrong but believe there is a bug running around somewhere.......
Anyone have any ideas how to correct this?
I have the latest iMovie 11 and Garageband and Quicktime running Snow Leopard 10.6.8.
BTW, I got this idea for editing iMovie audio in Garageband and Garageband is all set up to do this, from David Pogue Missing Manual. Other then the YouTube problem, it works great. You have all these tracks to work with for sound effects, voice overs, music and panning with complete control.

FLATTEN FIXED IT!
When "SHARE" to Quicktime, you can use H.264 or Mpeg 4 but to FLATTEN the audio tracks, I used AAC and when uploaded to YT, it all was there!
Thanks to all who volunteered the FLATTEN idea! I had called Apple and they said it wasn't their problem as the QT .mov file played back okay while in Apple territory.
THANKS AGAIN FOR YOUR HELP!

Audio editing,logic- pro8

I watched the tutorial on audio editing in logic- pro8.
I tried using all tools mentioned in the tutorial none worked.
I do a lot of audio editing,the tools mentioned in the
tutorial could be very helpful if they worked.If anyone has used these tools
please give me some insite on this matter.

During audio editing I have use for all of the tools mention in the tutorial.How else can I explain?
I'm editing live audio recorded by me.I've tried the tools in the wave editor and in the region( track ) area. Tools don't work as per instruction.

Advanced audio editing

I am trying to add a music clip to a video with effects and voice, but I want the voice to duck the music, but the music to duck the sound effects (explosions/etc), is there a way to do this?
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Is there a way to do this?

The Ducking feature will suppress every other track by the percentage you specify. For this reason, you don't want to Duck two clips at the same time.
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As of iMovie 11, you can select a range within your audio clip and apply a volume (rather than apply the volume to the whole clip). So I would do it that way.
See the video at this link called "All new audio editing".

How can you do audio editing with fcpx

I want to know why was the audio in FCPX have such a big limitation of its audio editing, I want to leave the original clip sound but adding a music background and during the clip playback I want to rise and lower the volume in some portion of the clip I use to do that with FCP studio, but with FCPX you could only drag one point up or down and not a portion of the clip. Is there a work around on this or do I have to send these people from apple some feeback, on audio editing.

andynick wrote:
… I find this rather klunky - the keyframes are never in the right place for me using the Range Tool.
funny - I find your method more than complicated: switching to the range tool is a single click operation, and then just dragging - done.
precision is accomplished a) by magnification, b) by setting in/out traditionally with I and O, c) shifting the 'rough selection' manually, or, at last d) first setting Markers and snap the Range Tool to it.
don't miss Marc Spencer's advice on this topic
5:15 shows the Range tool in action ......

Record Audio Editing Software

Hello,
I'm trying to capture a demonstration of audio editing
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Apparently my sound card fits into the same category as
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Seemingly Simple Audio Edits Driving Me Nuts

I have asked about this before, thought I had the proper answer, but alas it would seem not.
After joining audio (in most cases for music transitions) into Connected Storyline, I am often then unable to apply a Transition of perform a Roll Edit because it seems there is a space in there somewhere. I have tried the suggested remedy of Zooming in, using Position Tool to trim both sides of the edit, then deleting the space in between. It was explained the problem invovles sub frames which aren't always visible. Sometimes this works. It seems like there should be a quicker solution (it's especially cumbersome if your edit is otherwise well timed, and you have to re-tweak it once you pull the edges back,) but if it worked consistently I could live with it.
However, far too frequently, the process is not working, and I am redoing it over and over and over again until somehow it manages to take. I can end up spending 5 to 10 minutes on a simple audio edit, and needless to say, this is just unacceptable.
Can anyone tell me a reliable way to deal with this, or suggest what I might be doing wrong or something different I can try, because this is making me crazy. There has got to be an easier way. Any help appreciated.

dont think ive ever been able to get cross dissolves on audio to work. I now use FCPX as I would Logic or ProTools and I overlap audio clips and put manual fades on them. Actually its worth the extra work coz the joins are usually better. and you have ore control.
adam

Trasferring Audio Edits as AAF from Premiere to Nuendo and back

Hello everybody,
I'm a Sound Designer for video games, and also deal with cinematic sequences. I use Nuendo for audio editing / sound design, while the video editors work with Premiere. We share the same audio footage that is stored on our internal server, and we copy the footage manually (or over Perforce) on our local PCs. Basically to make sure we're always dealing with the same footage in a fixed and locked format during the entire production chain from capture to final render. This obviously makes an AAF with 'embedded' audio obsolete and in fact unwanted, as well as any other "work-in-progress" audio render from one platform to another.
Situation 1: Premiere -> Nuendo
In Premiere we have several Stereo audio tracks with stereo footage.
AAF is exported from Premiere
AAF is then imported into Nuendo
Result:
Stereo tracks are imported wrong, because split into mono, which naturally duplicates the amount of tracks.
Stereo footage is now duplicated too due to duplication of track amount.
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Expectation:
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Situation 2: Nuendo -> Premiere
In Nuendo there are several Stereo audio tracks with stereo footage.
AAF is exported from Nuendo
AAF is then imported into Premiere
Result:
Stereo tracks are imported as Mono tracks (this time without duplicating the track number)
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Expectation:
Stereo tracks should remain stereo which then accept stereo footage
It's really important for us that the audio footage doesn't change format during the production chain. So for instance splitting stereo into mono left / mono right is not a good option as we want the original footage to remain untouched from capture to final render. So we need stereo tracks to remain stereo and mono tracks to remain mono, just as the original edit.
Using OMF instead of AAF causes the same problem, and adds more problems with the naming of the footage. So AAF is currently the best yet buggy method we have.
In the past I have transferred AAF files from Protools into Nuendo, and it worked fine, which makes me tend to believe the solution has to be somewhere in Premiere.
Any hints, tips and useful experiences are very welcome. Thanks a lot!
Regards
Christian

This may be the kind of situation that can only be resolevd with a Feature Request.
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform

Odd frames added to start of audio export from LPX when imported into FCPX

Running into a weird issue exporting audio out of Logic Pro (10.0.6) for import into FCPX (10.1.1) - Logic is introducing extra frames (varies between 2 to 4 frames) at the front of exported audio, becomes detectable when imported back into FCPX.
I do a lot of work where I sync music performances on camera that are recorded in audio and MIDI, and have to deliver remixed audio with picture AND a .MID file that all sync. Workflow used to be shoot video on a C100 and another DSLR with either an audio feed or live mic patched to the camera, while Logic recorded the MIDI performance and any ambient audio via separate mics and pres. Shoot always had some kind of "slated" start marker on camera, in camera audio, and in Logic. Camera edits were edited in FCPX, exported as a Quicktime with the "slate" for a start marker, then audio and MIDI handled in Logic.
This always used to work thru to last fall, when we took a hiatus.
Upon resuming some final shooting in the last two weeks, our audio edits are always running 2-4 frames behind FCPX. It's a consistent offset for an entire export (so there's no drift, no jitter within the files - but the slate tones might be 2 frames and 17 subframes behind and the whole audio file runs behind.) Another export might be 3 frames 2 subframes behind. Always kind of random in the amount of drift - but never more than 4 frames.
Tried a test where I imported just the camera audio in Logic as an extracted audio track, then exported same audio file back to the Quicktime but left the original audio in the video - Logic's exported audio ran behind sync from the original.
Obviously, I'm paying attention to frame rates, sample rates, etc.
As a test, I exported an XML out of FCPX, imported it into Logic, performed some edits, and used the File>Export>Project to FinalCut Pro XML - so everything matched across the board. Opened the export in FCPX - audio ran behind sync again.
If it was just audio I was concerned about, I'd just line it up in FCPX and call it done - but my exported MIDI file NEEDS to be in sync with the picture AND the audio... and wasting time calculating the Logic offset error is a huge detour from getting this work done quickly.
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Well… here's a clunky workaround.
It's either a problem with the exported FCPX-XML or the way Logic Pro X interprets the XML.
The simple test here was to put a clip in the FCPX timeline and export it as an AIFF and then export an XML too.
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Move the playhead to zero, zoom in to the timeline and drag the tick field to 164 then blade all your tracks, then click/drag the bladed tracks to zero. Voila!
It seems to only affect the first audio file. So for example, when I have 10 video clips in my FCPX timeline, only the first audio clip has the added 164 ticks.
Now on to the next challenge…
It's not enough to just de-compound your clips because L and J cuts get referenced to the VIDEO, not the audio underneath.
So… In FCPX you MUST select each clip and choose Break Apart Clip Items from the Clip Menu. Perhaps this is old news but thought I'd mention it here in case others were having problems.
Let's hope Apple steps up their xml game and realizes that when I choose export XML-Audio from the xml popup menu… I want it to send the duration of the audio, not the duration of the attached video.
Ergh! Well… as my friends say… "We're still in the stone age with all this technology."
Happy editing all!

Audio Editing Questions In Final Cut Studio 2

Hi,
Thank you all again for being here!, I have some quick questions about working with audio in fcp 6.02, and Soundtrack. first of all I am wondering if its easier and quicker just to work in fcp with audio, or export to Sound Track Pro? I have a wedding I shot and I had my cam recording 2 different source of audio, one from a balcony, and the other on the floor with different sounds to them. What is the best method to get them to sound nearly the same? In Fcp apply a "Normalization Gain"? I am new to audio editing, and somewhat with FCS, in general. Also in the timeline how can I get all audio clips in sync with the same volume? I was amazed with Soundtrack Pro's ability to take out ambient back ground noise and inference any other trick to get rid on unwanted inferences? Your Idea and experience are invaluable!!!
Thank You All Again, Tim C.

The reason you may not have gotten replies to your "quick questions" is because there are no quick answers. It is certainly easiest to just do the audio in FCP rather than export to STP. If your needs are simple just stay with FCP. However, you mention specialized tasks that STP can do but FCP can't. I am grappling with these same issues. I am a Logic Pro user and it gets very confusing about what tool to use when.
My main message to you is that I just purchased the Apple Pro Training book FCP 6 Beyond the basics and there are 90 pages in two lessons devoted to exactly what you are interested in. I bought it just yesterday and it has already helped me in a number of areas.
Good luck.
eab

IMovie Audio Editing help?!!!!?

hi,
im trying to edit in iMove, but whenever i add music in the timeline (theres is no video yet) it appears as a little square, that expands as i add video to show waveforms, i want it, when i drop it in, to be a long bar with the waveforms so i can manipulate- just like it appears in final cut pro (i would use FCP but i am very bad with the audio editing in that and i enjoy iMovies simplicity) !! help please on how to do this!!!!

Add the audio clip AFTER video clip is in Timeline. I don't believe you can add an audio clip in an empty Timeline. I could be wrong, I've never tried it.

Audio editing across tracks after OMF/AAF import problems

Hi there,
I'm having difficulty getting my head around the way STP handles multiple-mono audio files.  I'm lucky enough in my job to have a choice of audio editing tools for what I'm working on.  For speech I use SADiE, for more complex projects involving automation I'll often use ProTools & for podcasting I find that STP is pretty good - especially for enhanced podcasts with pictures & web-links etc.
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Both ProTools & SADiE allow me to group files like this so that they can be treated like a stereo file.  I've looked everywhere, but I can't see a function in STP that does the same.  Am I missing something obvious?  I can't be the only person who's had to deal with files like this can I?
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Thanks

ProTools uses WAV, in fact it uses the Broadcast Wav standard. The problem is the way it handles files. It still splits stereo files into separate L & R files. It's just that it hides this from the user. When you drag a stereo file in from PT's region list (the equivalent of STP's bin) to the playlist, the two files appear as one as they should do. The downside is that OMF/AAF export still treats them as individual files.
My problem is that I was halfway through an edit when I tried to move it from one system to another. If the edit was complete & just needed mixing, then it would have been less of an issue.
But you're right, there's probably some tool on the net that will solve this issue
Cheers

Destructive audio edit in LPX

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