Final Cut Pro User Guide
Final Cut Pro User Guide Final Cut Pro User Guide 2 Contents What’s new 6 What’s new in Final Cut Pro 10.6 6 What’s new in Final Cut Pro 10.5.3 6 What’s new in Final Cut Pro 10.5 7 What’s new in Final Cut Pro 10.4.9 8 What’s new in Final Cut Pro 10.4.7 9 What’s new in Final Cut Pro 10.4.6 9 What’s new in Final Cut Pro 10.4.4 9 What’s new in Final Cut Pro 10.4.1 10 What’s new in Final Cut Pro 10.4 11 What’s new in Final Cut Pro 10.3 12 What’s new in Final Cut Pro 10.2 14 What’s new in Final Cut Pro 10.1.2 16 What’s new in Final Cut Pro 10.1 17 What’s new in Final Cut Pro 10.0.6 19 What’s new in Final Cut Pro 10.0.3 21 What’s new in Final Cut Pro 10.0.1 22 Final Cut Pro basics 23 What is Final Cut Pro? 23 What are libraries? 25 Final Cut Pro workflow 26 Final Cut Pro interface 28 Media files and clips 30 Import and analyze media 32 Intro to importing media 32 If it’s your first import 33 Import from connected cameras 33 Import from devices 46 Final Cut Pro User Guide 3 Organize files during import 50 Import from other apps 52 Record into Final Cut Pro 56 Memory cards and cables 58 Supported media formats 59 Adjust ProRes RAW camera settings 61 Import REDCODE RAW files 62 Import Canon Cinema RAW Light files 64 Analyze media 65 Play back and organize media 71 Play back and skim media 71 Organize your library 87 Edit your project 114 Intro to editing 114 Create and manage projects 115 Select clips and ranges 122 Add and remove clips 131 Make three-point edits 150 Arrange clips in the timeline 156 Cut and trim clips 162 View and navigate 182 Work with markers 195 Correct shaky video 201 Edit audio 204 Intro to audio 204 Audio editing basics 205 Add audio 214 Edit audio clips or audio components 222 Add and adjust audio effects 246 Audio tools and techniques 261 Add titles 271 Add and adjust titles 271 Add and adjust 3D titles 288 Final Cut Pro User Guide 4 Add effects 338 Intro to effects 338 Add and adjust transitions 339 Adjust built-in effects 349 Add and adjust clip effects 367 Add generators 393 Use onscreen controls 400 Animate video effects 406 Advanced editing 417 Use roles to manage clips and organize the timeline 417 Add, adjust, and share captions 443 Group clips with compound clips 471 Edit with multicam clips 479 Add storylines 508 Use the precision editor 512 Try out clips using auditions 515 Retime clips to create speed effects 523 Conform frame sizes and rates 538 Use XML to transfer projects 542 Edit 360-degree video 544 Change the focus in Cinematic mode video 566 Keying, masking, compositing, and tracking 573 Keying 573 Masking 592 Compositing 614 Tracking 617 Color correction 631 Intro to color correction 631 Quickly balance and match color 632 Make advanced color corrections with color correction effects 637 Add color masks and shape masks 665 Wide color gamut and HDR 677 Apply LUTs 693 Color correction tools and techniques 700 Final Cut Pro User Guide 5 Share your project 715 Intro to sharing projects 715 Share to Apple devices 716 Export files 720 Share on the web 736 Create optical discs and disk images 738 Share in email 743 Batch sharing 745 Share using Compressor 746 Create share destinations 750 Change metadata for shared items 755 View the status of shared items 758 Manage media, libraries, and archives 760 Intro to media management 760 Manage your media files 761 Manage libraries 778 Create camera archives 786 Common media management issues 789 Work smarter 794 Final Cut Pro preferences 794 Keyboard shortcuts and gestures 807 Customize the Final Cut Pro interface 838 Work with metadata 844 Use color and gradient controls 852 Download sound effects and Pro Video Formats 862 Glossary 864 Copyright 886 Final Cut Pro User Guide 6 What’s new What’s new in Final Cut Pro 10.6 Final Cut Pro 10.6 introduces new features and enhancements, detailed below. Object tracker Track moving objects to match their movement with an effect, graphic, or title. Use easy drag-and-drop controls and automatic object and face detection. See Intro to object tracking. Cinematic mode video Import clips recorded in Cinematic mode on iPhone into Final Cut Pro, then use onscreen controls to switch the focus between subjects, lock the focus on a particular subject or distance from the camera, and adjust the depth of field. See Intro to Cinematic mode video. System requirements The recommended system requirement for Final Cut Pro 10.6 is macOS Monterey. The minimum system requirement is macOS 11.5.1. Working with Cinematic mode video in Final Cut Pro requires macOS Monterey or later. For more information, go to the Final Cut Pro Tech Specs website. What’s new in Final Cut Pro 10.5.3 Final Cut Pro 10.5.3 introduces new features and enhancements, detailed below. Custom column sets Create and save custom column arrangements in the browser, and edit them with the Column Set Editor. See Create and share column sets. Final Cut Pro User Guide 7 Enhanced browser search • Search for media using expanded criteria, including clip text, markers, and notes. See Search for clips or projects by text in notes, names, or markers. • Quickly search for clips by media type. You can search for original, proxy, or optimized media, as well as missing media. See Search for clips and projects by a combination of criteria. System requirements The recommended system requirement for Final Cut Pro 10.5.3 is macOS Big Sur. The minimum system requirement is macOS 10.15.6. For more information, go to the Final Cut Pro Tech Specs website. What’s new in Final Cut Pro 10.5 Final Cut Pro 10.5 introduces new features and enhancements, detailed below. System requirements The recommended system requirement for Final Cut Pro 10.5 is macOS Big Sur. The minimum system requirement is macOS 10.15.6. For more information, go to the Final Cut Pro Tech Specs website. Apple silicon Final Cut Pro now runs natively on Apple silicon and Intel-based Mac computers. Automatic transcoding when copying or consolidating media Final Cut Pro can now transcode media automatically when you copy or consolidate a project, event, or library. See Create a proxy-only project, Copy items to another library, and Consolidate projects and libraries. Searchable Final Cut Pro User Guide Search the online Final Cut Pro User Guide by entering your query in the search field at the top of any page, then pressing Return. Downloadable Final Cut Pro User Guide PDF To read the user guide offline, click Download the PDF at the bottom of the Final Cut Pro User Guide Welcome page. Final Cut Pro User Guide 8 What’s new in Final Cut Pro 10.4.9 Final Cut Pro 10.4.9 introduces new features and enhancements, detailed below. Enhanced proxy workflows • Create a proxy-only copy of a library, event, or project to reduce size for portability or performance. See Create a proxy-only project. • Create proxy media in a variety of frame sizes from 12.5 percent to 100 percent of the original, and in either Apple ProRes 422 Proxy or H.264 format. See Create optimized and proxy files and Import preferences. • Choose to display and play back original or optimized media if proxy media is not available for some clips in your project. See Choose the type of playback media. • Delete optimized or proxy files for individual clips. Social media tools • Transform projects for square or vertical delivery for social media. Use the new Duplicate Project As command to quickly create a new version of an existing project in a different aspect ratio. See Create square or vertical versions of a project. • When you create a version of a project in a different aspect ratio, use Smart Conform to automatically reframe clips in your new project. See Adjust framing with Smart Conform. • Add a custom overlay as an onscreen guide when placing text and graphics in your project. See Show overlays in the viewer. • Use a new overscan view to display media outside the viewer boundary when adjusting a clip’s scale, rotation, and position with the Transform effect. See Resize, move, and rotate clips in Final Cut Pro. 360° video features • View and edit stereoscopic 360° video with simultaneous left-eye and right-eye views in the 360° viewer. See View and navigate 360-degree video. • When patching a portion of a 360° clip with the 360° Patch effect, create a separate connected clip with just the patch image. See Create a separate clip with only the 360° Patch image. • Video stabilization as well as 5.7K and 8K project resolutions are now available for 360° video. Other notable features • Crossfade audio on adjacent clips in one step using a menu command or keyboard shortcut. See Crossfade audio. • Adjust ProRes RAW camera settings such as ISO, color temperature, and exposure offset using new controls in the inspector. • Use a new pop-up menu above the timeline to close the project open in the timeline or clear the project history. See Open and close projects. • Sort clips and projects by last modified date in the browser in list view. Final Cut Pro User Guide 9 What’s new in Final Cut Pro 10.4.7 Final Cut Pro 10.4.7 introduces new features and enhancements, detailed below. Improved HDR support Use your Pro Display XDR as a professional HDR reference monitor. You can now also view beautiful HDR content on a wide range of displays. The HDR image in the Final Cut Pro viewer is tone mapped to fit the properties of an SDR display. See View HDR video and Wide-gamut HDR tips. High-resolution video scopes reflect HDR brightness levels as you edit. See Waveform monitor display options. GPU selection options Choose which GPU to use when rendering or sharing. See Playback preferences. Masking improvements View the color contents of a color or shape mask in the viewer. See Ways to view masks. Select the range of color in a color mask with greater precision using HSL controls, which let you adjust hue, saturation, and luma values independently. See Edit a color mask. Support for fragmented MP4 format in HTTP live streaming Fragmented MP4 files are now an option for HTTP live streaming workflows. See Export live-streaming files and HTTP Live Streaming destination. What’s new in Final Cut Pro 10.4.6 Final Cut Pro 10.4.6 introduces new features and enhancements, detailed below. Detect and convert incompatible media Some media formats will not be compatible with versions of macOS after macOS Mojave. Final Cut Pro 10.4.6 automatically scans your libraries for incompatible media files and allows you to easily convert them to a compatible format. What’s new in Final Cut Pro 10.4.4 Final Cut Pro 10.4.4 introduces new features and enhancements, detailed below. Workflow extensions Extend the capabilities of Final Cut Pro with powerful third-party apps that are integrated directly into the interface. See Use workflow extensions and Import using workflow extensions. Final Cut Pro User Guide 10 Batch share Export multiple clips or projects in one step. See Batch sharing. Video noise reduction Remove video noise from your video clips using high-quality noise reduction. See Reduce video noise. Timecode window View source and project timecode in a resizable floating window. See View source and project timecode. Comparison viewer With the comparison viewer, compare any two frames of video side by side, and save up to 30 images for future comparisons. See Compare two video frames and Compare color corrections. Captions enhancements In addition to the CEA-608 and iTT caption formats, you can now add SRT captions to your projects for translation, closed-captioning, and more. When exporting, you can now burn in captions so they’re permanently visible in your output media files. See Intro to captions and Captions workflow. Tiny planet effect Use the Tiny Planet setting to create the effect of a tiny planet (or an inverted tiny planet) from a 360° clip. See Add the Tiny Planet effect. Enhanced selection of secondary storylines Easily select one or more secondary storylines (or clips within storylines) by dragging. See Select and move storylines. What’s new in Final Cut Pro 10.4.1 Final Cut Pro 10.4.1 introduces new features and enhancements, detailed below. Captions You can now add captions to your projects for translation, closed-captioning, and more. You can create captions in the CEA-608 and iTT caption formats. See Intro to captions and Captions workflow. Final Cut Pro User Guide 11 Enhanced share options • You now have enhanced control over including and excluding roles in output media files. See Turn roles on or off. • You can export captions as separate files along with an output media file or embed them in the output media file. You can also send captions to Compressor in a standard batch or as an iTunes Store package. See Export captions and Share using Compressor. What’s new in Final Cut Pro 10.4 Final Cut Pro 10.4 introduces new features and enhancements, detailed below. 360 VR editing • Create and deliver immersive 360° video with titles, effects, and live output to a VR headset. See Intro to 360-degree video. • Apply 360°-compatible titles, effects, and generators to 360° clips and projects without creating seams, unwanted distortions, or other artifacts. See Add 360-degree video effects and Add 360-degree titles and generators. Advanced color correction • Color grade with powerful new color wheels, color curves, and hue and saturation curves. See Intro to color correction effects. • Use built-in camera LUTs to automatically process log footage and preserve its full dynamic range. Apply looks with custom LUTs to suit your creative needs. See Apply color lookup tables (LUTs). • Animate your color corrections using keyframes. See Keyframe color corrections. • Correct a clip’s white balance. See Manually white-balance clips. High-dynamic-range video • Edit, grade, and deliver high-dynamic-range (HDR) video with live output to an HDR monitor. See Intro to wide color gamut and HDR and Configure library and project settings for wide gamut HDR. • Export HDR files suitable for certain HDR televisions and displays. See Export HDR files. Import projects created in iMovie for iOS or iPadOS Start your project with iMovie on an iOS or iPadOS device, then send it directly to Final Cut Pro to finish editing. See Import from iMovie for iOS or iPadOS. Final Cut Pro User Guide 12 More video and audio formats The following formats are now supported in Final Cut Pro when using macOS High Sierra 10.13: • HEVC (High Efficiency Video Coding), also known as H.265, a video compression standard • HEIF (High Efficiency Image File Format), a file format for still images and image sequences • RF64, an extension to the WAV file format that allows for files larger than 4 GB See Supported media formats and Supported export formats. Other notable features • Effects plug-ins from Logic Pro have redesigned, resizable interfaces. For more information, see Add audio effects and Final Cut Pro Logic Effects. • You can now save a library to an NFS volume and use it as if it were on a local storage device. See Create a new library. • Final Cut Pro 10.4 supports XML 1.7 for new color grading controls, 360 VR effects, and HDR. See Use XML to transfer projects. What’s new in Final Cut Pro 10.3 Final Cut Pro 10.3 introduces new features and enhancements, detailed below. New interface • A redesigned modern interface puts the focus on your video. See Final Cut Pro interface. • Configure custom workspaces for tasks like organizing and color grading. Fill a second display with the timeline (or hide the timeline completely). Expand the inspector to fullscreen height. See Arrange the main window, Change the workspace layout, and Use a second display. Enhanced roles support and Magnetic Timeline 2 • Color coding of clips based on roles—Dialogue, Music, and Effects—lets you understand your project at a glance. Enhanced roles support lets you create and manage a unique set of roles for each Final Cut Pro library. See Intro to roles. • You can create and assign roles to identify different types of audio and video clips, and you can customize the colors of roles. See View and reassign roles, Create custom roles, and Change role colors or names. • An enhanced timeline index lets you drag audio roles to rearrange the layout of the timeline. See Reorder audio roles. • You can use the Focus button in the timeline index to highlight specific audio roles and collapse all others. See Focus the timeline on a role. Final Cut Pro User Guide 13 • The Show Audio Lanes button in the timeline index displays a structured timeline layout with dedicated lanes for each audio role. The Show Subroles button expands the view down to the component level. See Organize the timeline with audio lanes and View and edit components in audio lanes. • You can now add audio effects and keyframe audio volume changes for an entire role within a compound clip. See Work with audio roles in compound clips. • iXML support enables automatic creation and assignment of roles based on metadata from an audio field recorder. See Create custom roles automatically during import using iXML metadata. Wider color gamut • Video shot in wide-gamut color space can now be viewed in wider color gamut on supported Mac computers and external displays. See Intro to wide color gamut and HDR. • You can now import, edit, and deliver video in Standard (Rec. 601 and Rec. 709) color spaces or in Wide Gamut (Rec. 2020) color space. You can configure color space settings for both libraries and projects. See Use wide-gamut HDR color processing. • Log footage from ARRI, Blackmagic Design, Canon, Panasonic, and Sony cameras, as well as RED RAW footage, can be manipulated in real time to preserve wider color gamut. See Apply LUTs and Import REDCODE RAW files. • The range check overlay in the viewer highlights areas out of the standard RGB range. Video scopes accurately display wider color gamut in real time. See Detect out-ofgamut colors and Intro to measuring video. Support for the Touch Bar on MacBook Pro • Tap to perform common tasks such as adjusting volume, creating fade-ins and fade-outs, and importing media. • Easily access advanced editing commands, including Override Clip Connections, Trim to Playhead, Trim to Start, and Trim to End. • View your entire project at a glance and navigate with touch in the timeline overview. More video formats • MXF-wrapped Apple ProRes provides a flexible new standard for broadcast delivery. • MXF file export uses audio roles to configure industry-standard channel layouts. See Export MXF files. • The following formats are now supported: • Sony XAVC-L at 4K for the Sony PXW-FS7 and PXW-X70 cameras • Panasonic AVC-Intra LT playback • Export of AVC-Intra files See Supported media formats and Supported export formats. Final Cut Pro User Guide 14 Other notable features • The Remove Effects and Remove Attributes commands let you delete specific effects from clips. See Remove or turn off effects and Remove built-in effects. • SMB 3 network support allows you to access libraries on network-attached storage devices. See Create a new library. • You can consolidate custom Motion projects into individual Final Cut Pro libraries. This includes effects, transitions, titles, or generators created or customized in Motion. See Manage Motion content, Set storage locations, and Consolidate projects and libraries. • Larger media and content browsers let you view photo libraries, sound effects, music, titles, and generators at a glance. For example, you can access music and sound effects in the Photos and Audio sidebar and then select ranges of audio clips in the browser. See Import from Photos, Add music and sound, Add titles, and Intro to generators. • New XML support lets you update clips, projects, and events by dragging them directly between Final Cut Pro and supported apps. See Use XML to transfer projects. • You can now set continuous playback of clips in the browser. See Play back video and audio clips. • You can apply fades to one or more audio clips using the Modify menu. See Apply fades using the Modify menu. • You can now roll adjacent audio components. See Example: Perform a roll edit on adjacent audio components. • You can copy and paste timecode to speed up timeline navigation and numerical entry from text documents and spreadsheets. See Navigate using timecode. • You can search the timeline index for auditions, compound clips, multicam clips, and synced clips. • New effects, transitions, and generators: The Timecode effect displays the clip name and source clip timecode in the viewer and in exported files. The Flow transition seamlessly merges jump cuts to remove pauses or mistakes in on-camera interviews. The new Broadcast Safe filter supports both standard and wide-gamut color spaces in SDR (standard dynamic range) video media. For information about adding effects and transitions to your projects, see Add video effects and Add transitions. What’s new in Final Cut Pro 10.2 Final Cut Pro 10.2 introduces new features and enhancements, detailed below. 3D titles Final Cut Pro 10.2 introduces 3D titles with intuitive controls for look, lighting, and animation. See Intro to 3D titles. • Access a large collection of text styles to create stunning looks with one click. See Add 3D titles. • Use simple surface material presets and lighting presets to get started quickly. See Intro to materials and Intro to 3D text lighting. • Customize your titles with hundreds of combinations of text styles, materials, lighting, and edges. Final Cut Pro User Guide 15 • Instantly convert any 2D title to 3D. See Convert text to 3D text. • Open any title in Motion to add multiple lights, cameras, and tracking. See Modify titles in Motion. Advanced effects Final Cut Pro 10.2 offers powerful new tools for creating visual effects and superb video quality in your projects. • Use the flexible Shape Mask and Draw Mask effects to create areas of transparency in your video clips. The Draw Mask effect lets you create complex custom masks and provides options for linear, Bezier, or B-Spline smoothing. See Intro to masking and Create complex masks. • Define the shape of video effects and color corrections using the shape mask and color mask controls built into almost every video effect. You can instantly display the alpha channel for any effect mask. See Intro to effect masking. • Create and save custom video and audio effects as presets for quick access. See Save video effects presets and Save audio effects presets. • Take advantage of the flexible color correction workflow, which allows you to add and rearrange instances of the new Color Correction effect just as you would any other clip effect. See Intro to color correction. • Display up to four video scopes simultaneously. See Display video scopes. • Create beautiful slow motion on a wider range of content with improved optical flow. See “Smooth out a slow-motion clip with video quality presets” in Change clip speed. Camera formats Final Cut Pro 10.2 adds support for the following formats. For a complete list, see Supported media formats. • Panasonic AVC-Ultra codec family • Sony XAVC-S • JVC H.264 Long GOP • GPU-accelerated RED RAW processing with support for dual GPUs • RED RAW anamorphic formats Additionally, you can now import Sony XAVC and XDCAM formats without a separate plug-in. Other notable features • The Media Import window now contains all options in a single sidebar. See Intro to importing media. • You can create Smart Collections across entire libraries. See Create Smart Collections and Organize Smart Collections. • Final Cut Pro 10.2 supports XML 1.5. See Use XML to transfer projects. • When you export a project using Compressor, the process now employs GPU rendering. Final Cut Pro User Guide 16 What’s new in Final Cut Pro 10.1.2 Final Cut Pro 10.1.2 introduces new features and enhancements, detailed below. Media management improvements New features provide you with more flexibility and control over media management. • Store optimized, proxy, and rendered media outside the library, at the location you choose. • Easily delete optimized, proxy, and render files from within Final Cut Pro. • View and set storage locations for media, cache files, and library backup files using the Library Properties inspector. For more information, see Set storage locations, Create optimized and proxy files, and Manage render files. Organization enhancements Final Cut Pro 10.1.2 provides streamlined organizing tools. • You now have the option to show only unused media in the browser. • Used-media indicators now work with compound clips, multicam clips, and synced clips. • You can now sort events in the Libraries sidebar by date or name. For more information, see Find clips and projects, Lines marking event clips, and Merge and split events. Support for wide-dynamic-range imagery from professional 4K cameras • The new Apple ProRes 4444 XQ codec is the highest-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels), with a very high data rate to preserve the detail from today’s highest-quality digital image sensors. See Supported media formats and Supported export formats. • You can apply a standard broadcast color space (Rec. 709) look in real time to highdynamic-range and wide-color-gamut video shot on ARRI, Blackmagic Design, Canon, and Sony cameras. See Apply LUTs. Audio workflow improvements Speed up your audio workflow with these enhancements: • You can now adjust the relative or absolute volume of a clip or range selection by entering a specific dB value. See Adjust volume. • Final Cut Pro 10.1.2 provides improved speed and accuracy when syncing clips. See Sync audio and video. Final Cut Pro User Guide 17 • New live audio recording features include an automatic countdown and automatic grouping of multiple takes into auditions. See Record voiceovers. • The new Basic Surround preset simplifies panning for surround sound audio. See Pan audio. Import and export features • Import and export entire libraries as single XML files using XML 1.4. See Use XML to transfer projects. • Create keywords from Finder tags when you import media from a storage device. See Import from your Mac or storage device and Organize files during import. • Quickly export cuts-only projects containing XDCAM media. Other notable features • You can now import media by dragging it from the Finder to the browser (rather than to the event in the Libraries sidebar). See Import from your Mac or storage device. • Nudging a clip in the timeline now works like a slide edit. See Arrange clips in the timeline. • You can now break apart an audition. See Create auditions. What’s new in Final Cut Pro 10.1 Final Cut Pro 10.1 introduces numerous new features and enhancements, detailed below. Performance and Mac Pro optimizations Final Cut Pro 10.1 brings the following performance improvements: • Optimization to take advantage of multiple GPUs in the new Mac Pro • HDMI and Thunderbolt output at frame sizes up to 4K (UltraHD and DCI 4K) • Better playback and rendering performance, plus faster opening of the app and projects • Improved performance when modifying or keywording large numbers of clips at the same time • Selected titles, effects, and other media content scaled for 4K projects Project and media management Project and media management tools have been enhanced to deliver: • Improved media management with the introduction of libraries, a new way to organize multiple events and multiple projects in a single container • Project snapshots: on-demand backups that allow you to quickly return to an earlier version of a particular project • Media file storage at locations outside the Final Cut Pro library, making your media accessible in specific folders on a wide range of SANs • Direct import of MTS/M2TS files into Final Cut Pro Final Cut Pro User Guide 18 • Used-clip-range indicators that show you at a glance which clips are already in a project • Direct import of photos from iOS and iPadOS devices using the Media Import window • Support for portrait/landscape metadata in still images For more information, see Intro to libraries, Intro to media management , and Intro to editing. Playback and effects Significant improvements in the Final Cut Pro playback interface and powerful new effects features will empower your workflow. • Improved retiming lets you set custom speeds more easily than ever—by typing frame rates directly in the interface. You can also create jump cuts at specific frames, replace and retime in one step, and retime clips without rippling the timeline. For more information, see Intro to retiming clips. • A new stabilization method called InertiaCam has been optimized to smooth video footage containing camera moves such as pans and zooms. Tripod Mode creates the effect of a static camera mounted on a tripod. See Correct shaky video. • An improved optical flow algorithm makes retiming and frame rate conform speedier than ever. In addition, for Mac computers with two GPUs, the optical flow algorithm now makes use of both GPUs, providing a more than 2x speed increase over a single GPU. • You can now create custom project resolutions for web video, digital signage, and other nonstandard frame sizes. See Modify a project’s settings. • New controls in the Viewer menu let you switch between better playback quality and better playback performance. You can also switch between proxy media and original or optimized media. See Control playback quality. • You can now view all pixels of a 2K frame on a MacBook Pro with Retina display. Editing Improved editing tools give you more creative flexibility than ever. • Through edits are now supported in all types of clips. The new Join Clips command removes cuts from bladed timeline clips. See Cut clips in two. • You can detach the audio portion of multicam clips in the timeline to manipulate audio and video separately. You can also make video-only or audio-only edits into the timeline with multicam clips as sources. • You can blade audio cuts in J- and L-cuts separately from the video. And you can now roll the audio in open split edits. • If no clips are selected in the timeline, a white dot now appears on the playhead to indicate the clip whose attributes are shown in the inspector. • Moving clips with transitions is now easier. For more information, see Intro to editing. Final Cut Pro User Guide 19 Share When it’s time to export your project, you can use several new share options: • Share videos directly to the Chinese video-sharing websites Youku and Tudou. • Receive notifications on the status of items you shared. For more information, see Intro to sharing projects. Audio Audio fade handles have been added to individual audio channels in the timeline. For more information, see Fade audio in and out. Third-party support Final Cut Pro 10.1 also features several new third-party support options: • Developers can use a new API for customizing share operations. • FXPlug 3 has been updated to include the ability to design custom effects interfaces. • Effect parameters, fonts, and text size information are now preserved in XML files. General You can now hide the browser to free up more screen area for color grading and other operations that are easier with larger video images. What’s new in Final Cut Pro 10.0.6 Final Cut Pro 10.0.6 includes numerous new features and enhancements, detailed below. Advanced multichannel audio editing Final Cut Pro automatically groups audio channels into audio components according to how the channels are configured for the clip. You can now expand the audio portion of clips to view and edit audio components down to the individual channel level. You can edit audio components in a variety of ways, including any of the following: • Adjust volume or pan. • Disable or delete ranges within an audio component to quickly edit out unwanted sounds. • Apply and adjust audio effects. • Enable or disable audio components in a multicam clip. For more information, see Intro to audio editing. Final Cut Pro User Guide 20 Streamlined sharing and export Sharing your finished work is easier and more flexible in Final Cut Pro 10.0.6. Destinations— sets of preconfigured export settings—allow you to quickly publish a project or clip to a sharing website, export it for viewing on iPad or iPhone, or burn it to a disc. Final Cut Pro comes with a variety of destinations, and you can also modify destinations and create new destinations. The simplified and streamlined sharing workflow includes these enhancements: • Simplified and consolidated menus that you can easily populate with customized destinations • Reusable destination bundles that allow you to share to multiple output formats and locations at once • Automatic sharing of project and clip metadata, with the ability to customize the metadata that is shared • Support for multiple accounts at video-sharing websites such as YouTube • Faster sharing and export using the GPU and background processing • Ability to share a selected range in a project in the timeline or in a clip in the browser For more information, see Intro to sharing projects. Unified import Simplified and easier to use, the new unified Media Import window provides one place to go for all your importing needs. Final Cut Pro 10.0.6 offers dedicated areas for connected cameras and devices, both file-based and tape-based, as well as a new Favorites section, where you can add frequently used folders for file import from your Mac or an external storage device. Other new import features include list view to see multiple columns of metadata, multiple range selections within individual clips from file-based cameras, and complete archive-management tools. For more information, see Intro to importing media. Dual viewers The event viewer is a separate video display that appears next to the main viewer so you can compare shots to match action and color. With the event viewer and the viewer open, you can display two clips at the same time: one from the browser and one from the timeline, each with its own video scopes display. For more information, see Play media in the event viewer. Native REDCODE RAW (R3D) support Final Cut Pro 10.0.6 provides native support for REDCODE RAW (R3D) files. You can now import RED files directly, make nondestructive RAW settings adjustments, and save those adjustments as metadata, all within Final Cut Pro. This allows you to take advantage of the full latitude and dynamic range contained in the REDCODE RAW source files. For more information, see Import REDCODE RAW files. Final Cut Pro User Guide 21 Improved range selections Start and end points in clips in the browser now stay in place when you click elsewhere. You can also create multiple range selections in one or more clips. For more information, see Select ranges and Set multiple ranges in the browser. Other notable features • With chapter markers and chapter marker thumbnails, you can prepare chapters and their representative poster frame images directly within Final Cut Pro for output to DVD, Blu-ray disc, QuickTime Player, and Apple devices. See Add chapter markers. • The new Paste Attributes window is a powerful way to transfer specific effects and other settings between clips. • You can now add freeze frames quickly and easily with a single keyboard shortcut. • Titling is significantly improved, including support for the new title markers feature in Motion. • Flexible connection points improve manual control over connected clips as you slip, slide, or move clips in the primary storyline. See Connect clips. • New compound clip architecture makes compound clips easier to reuse in multiple projects and provides improved performance. • You can now import and export MXF files using third-party plug-ins. For a list of supported media files, see Supported media formats. • Final Cut Pro 10.0.6 provides improved support for anamorphic media. See Conform frame sizes and rates. What’s new in Final Cut Pro 10.0.3 Final Cut Pro 10.0.3 includes major new features and enhancements, detailed below. Multicam editing You can now use multicam clips to edit footage from multicamera shoots or other synced footage in real time. Working with multicam clips in Final Cut Pro is a flexible and fluid process. While the active angle plays in the viewer, you can also view all angles playing simultaneously in the angle viewer and easily cut and switch between them. You can create multicam clips from diverse media sources and modify existing multicam clips during the editing process. For more information, see Intro to multicam editing. A/V output You can now connect your Mac to an external video monitor for audio and video (A/V) output. In addition to showing how video and audio look and sound on an NTSC/PAL or HD broadcast monitor, this allows you to test output with more sophisticated devices such as vectorscopes and waveform monitors. Final Cut Pro User Guide 22 A/V output is available only with OS X Lion 10.7.2 or later and requires compatible thirdparty video interface hardware and software. FireWire DV devices are not supported. For more information, contact the device manufacturer or go to the Final Cut Pro Resources webpage. For more information, see Play media on an external display. Manual relinking of clips to media files Now you can manually relink event clips and project clips to media files. Manual relinking gives you more control over your post-production workflow. For more information, see Relink clips to media files. Other notable features • Layered graphics files, such as Adobe Photoshop (PSD) files, can now be edited so that each layer appears as a connected clip in the timeline. See Edit layered graphics files. • Advanced Keyer controls are now available. See Use chroma keys. • Keyframing controls are improved in the Video and Audio Animation editors. See Intro to video keyframing. What’s new in Final Cut Pro 10.0.1 Final Cut Pro 10.0.1 includes a number of new features, enhancements, and changes. The most significant features are introduced below. Roles You can use the new roles metadata labels to organize clips in your events and projects, control the appearance of the timeline, and export separate video or audio files (also known as media stems) for broadcast delivery, audio mixing, or post-production. For example, you can export roles as media stems in a combined, multitrack QuickTime file, or as separate audio or video files. During the export process you can assign mono, stereo, or surround output for your audio channels. For more information, see Intro to roles and Intro to Destinations preferences. Storage area network (SAN) locations You can now add network volumes as storage locations for events and projects. When you remove SAN locations in Final Cut Pro, other users on the network can work with the events and projects stored on those locations. XML export and import Final Cut Pro now supports XML import and export so that you can transfer your project and event information to and from systems and third-party applications that don’t recognize Final Cut Pro projects and events. For more information, see Use XML to transfer projects. Final Cut Pro User Guide 23 Final Cut Pro basics What is Final Cut Pro? Final Cut Pro is a revolutionary app for creating, editing, and producing the highest-quality video. Edit everything • Import and edit everything from standard-definition to 8K video—including ProRes, ProRes RAW, and all major professional camera formats. • Import and edit immersive 360° video with 360° titles, graphics, and effects, as well as VR headset playback. • Play and skim high-definition media in up to 8K resolution (and beyond), in full screen or on a second display. • Edit and color correct vibrant high-dynamic-range (HDR) video using your Pro Display XDR as a professional HDR reference monitor. Or apply Final Cut Pro tone mapping to see your HDR content on a Mac display. Use high-resolution video scopes to gauge HDR brightness levels as you edit. Final Cut Pro User Guide 24 Work faster, smarter • Assemble clips in the Magnetic Timeline, which fluidly adjusts adjacent clips to eliminate gaps, collisions, and sync problems. • Ripple, roll, slip, and slide your edits using state-of-the-art trimming tools, then fine-tune your cuts with the inline precision editor. • Connect clips to lock cutaway shots, superimposed titles, and sound effects to your main storyline, or nest clips within other clips. • Edit multicamera footage, automatically syncing up to 64 angles of video with different formats, frame sizes, and frame rates. View up to 16 angles at once, then use the angle editor to move, sync, trim, add effects, or color grade individual clips in the timeline. Get organized • Declutter your workflow by organizing your media clips: Rate them, add keywords, or bundle them into Smart Collections. • Let Final Cut Prodetect people and shot types and then automatically assign keywords like “One Person” or “Wide Shot.” • With a single click, arrange sound clips into separate audio lanes in the timeline for dialogue, voiceover tracks, music, and more. Make every effect special • Add stunning visual effects using any of more than 300 built-in special effects, transitions, and generators, then adjust them with precision keyframes and onscreen controls. • Retime clips to create cinematic fast-motion, slow-motion, and variable-speed effects. • Reduce or eliminate grain and video noise with easy-to-use noise-reduction tools. • Create studio-quality 2D and 3D titles and set them in motion, without leaving Final Cut Pro. • Track moving objects in clips to match their movement with an effect, graphic, or title. • Import clips recorded in Cinematic mode on iPhone into Final Cut Pro, then use onscreen controls to adjust the focus. • Add closed captions in a variety of formats, without the need for expensive third-party software or services. • Create stunning effects and sweeping graphics in Motion—Apple’s professional imaging effects app—then open and adjust them in Final Cut Pro. • Add pro audio effects with dozens of plug-ins for audio compression, EQ, and more—or send your soundscape to a professional audio application like Apple’s Logic Pro for advanced mixing. • Let Final Cut Pro analyze your video and nondestructively fix common problems like excess hum or loudness. Correct shaky video using the Final Cut Pro stabilization feature. Final Cut Pro User Guide 25 Perfect your pixels with advanced color grading • Automatically balance colors, match colors, and white-balance clips… • …Or go manual and use the professional color-grading tools built into Final Cut Pro, including a dedicated color inspector with color wheels, color curves, hue/saturation curves, and keyframes to adjust corrections over time. Export and share everywhere • Send your finished project to Compressor for streamlined delivery to the iTunes Store. And because Final Cut Pro, Motion, and Compressor all share the same Metal architecture, you’ll experience blazing performance and consistent rendering across applications. • Optimize your project for viewing on Apple devices such as iPad, iPhone, and Apple TV. • Export files in a variety of professional formats, including industry-standard MXF. • Use batch sharing to export multiple projects, clips, or clip ranges at the same time. Note: For a complete list of topics covered in this user guide, click Table of Contents at the top of the page. What are libraries in Final Cut Pro? In Final Cut Pro 10.1 or later, you organize your work in libraries. A library can contain multiple events and projects in the same location. The first time you open Final Cut Pro, it creates a library file in the Movies folder. When you create a new project or event, it’s automatically included in the active library. The library tracks all your media files, your editing decisions, and the associated metadata. You can have multiple libraries open at the same time, and you can easily copy events and projects between libraries. This makes it simple and quick to move media, metadata, and creative work to another system for mobile work, work with multiple editors, or archiving. You can open and close libraries as needed. The following concepts are important to understand when you work with libraries. Final Cut Pro User Guide 26 Managed and external media Media that you import into a specific library is stored inside the library and is referred to as managed media. Media can also be imported or copied to any location on a connected storage device and linked to the library as external media. Multiple users can access this external media instantly on shared storage. Managed media can be made external at any time if you want to share access, and external media can be collected as managed media inside the library for easy transport or archiving. See Consolidate projects and libraries. Generated media Render files, optimized files, proxy files, and analysis files are all considered generated media because the system creates them in the background after the original media has been imported. You can store generated media inside your Final Cut Pro library or in an external location you define. For example, to organize media in a large facility more efficiently, you can put generated media on a SAN or on a storage device outside the library. See Set storage locations. To reduce a library’s size, and to move, copy, or archive a library more quickly, you can delete all the generated media (proxy, optimized, or render files) in one step. See Create optimized and proxy files and Manage render files. Note: By default, copying a project between libraries does not copy the associated proxy, optimized, or render files because these files can be quickly regenerated. However, you can choose to include proxy or optimized media when you copy a project to another library. Final Cut Pro workflow The overall process for putting together a movie with Final Cut Pro is described below. You don’t have to do every step, and you might do others that aren’t listed. The workflow isn’t necessarily linear. You could, for example, go all the way through editing and adding effects, and then import more new media for your project. Step 1: Import your media into Final Cut Pro To use Final Cut Pro, you need to transfer your media (video, audio, and still images) from your recording device to your Mac or an external storage device. You can import media from many kinds of cameras and other devices, or from other apps such as Photos or iMovie. Step 2: Organize your media Final Cut Pro automatically organizes your imported media into events. An event is similar to a folder that can hold dozens, hundreds, or even thousands of video clips, audio clips, and still images, as well as projects. In Final Cut Pro, your media appears as clips, which link to the media files on your Mac or storage device. You can reorganize your clips by creating or renaming events and moving clips between events. For example, you could create an event for all the media shot for a specific client. Final Cut Pro User Guide 27 As you review your footage, you can easily rate clips as favorite or rejected. These ratings make it easier to focus on your best footage. Final Cut Pro also offers other useful organizing tools, such as Keyword Collections, Smart Collections, and roles. Step 3: Create a project and add clips to it Your project is the movie you create using clips from your events and from the collections of media (such as titles and sound effects) that come with Final Cut Pro. Start creating your movie by adding clips to the timeline. You make all your edits in the project; your original media files remain untouched (this is known as nondestructive editing). Step 4: Arrange and edit your clips Now your movie can really begin to take shape. To assemble a rough cut, rearrange and trim clips in the timeline. You can also try out different clips using auditions. Use connected clips and storylines to add cutaway shots, titles, background music, and sound effects to your project. Create compound clips to group any combination of clips and nest clips within other clips. For example, you can simplify a complicated project by creating a separate compound clip for each major section. Step 5: Add effects and transitions Add special effects from the ample collection of video and audio effects in Final Cut Pro. Give your movie titles and credits, and apply video or audio transitions. Adjust clip speed settings to create fast-motion or slow-motion effects. To further polish your project, you can fine-tune cuts and transitions with the precision editor, keyframe video and audio effects, correct color, and composite motion graphics. Step 6: Share your movie When your project is finished, you can publish your movie to the web right from Final Cut Pro, or send it to iPhone, iPad, iPod, or Apple TV. You can also burn a disc to give to others. For advanced projects, you can export separate video or audio files (also known as media stems) for broadcast delivery, audio mixing, or post-production. Final Cut Pro User Guide 28 Final Cut Pro interface Here are the main areas of the Final Cut Pro window: Organize media in the Libraries sidebar and the browser Your imported media is available in events in your library. (An event is like a folder that contains clips and projects.) When you select an event in a library, its clips and projects appear in the browser on the right. Final Cut Pro User Guide 29 You can reorganize your media however you like, and you can use the Libraries sidebar and the browser to manage, rate, sort, and add keywords to your imported media. See Intro to libraries. Play back clips and projects in the viewer The viewer is where you play back your video, including clips and projects with 6K resolution and above. You can play back events, projects, or individual clips in full-screen view or on a second display. With the event viewer, a separate video display that can be shown next to the main viewer, you can display two clips at the same time: one from the browser and one from the timeline. For information about ways to play media, see Play media. You can also use onscreen controls, superimposed over the video in the viewer, to adjust settings for a wide array of effects and transitions. Edit your project in the Magnetic Timeline The bottom portion of the Final Cut Pro window contains the timeline, where you create your movie by adding and arranging clips and making all your edits. The timeline “magnetically” adjusts clips to fit around clips that you drag into place. If you drag clips out of place, the surrounding clips close up to fill the space. Final Cut Pro User Guide 30 A project holds all of the information for your final movie, including your editing decisions and links to all the source clips and events. See Intro to adding clips and Arrange clips in the timeline. With a click, you can arrange clips into audio lanes (separate, visually distinct layers in the timeline), based on their role assignments. Roles identify the type of clip, so each audio lane contains one type of audio. For example, one audio lane might contain music clips, and another might contain sound effects. This view organizes clips visually and provides reference points that make editing easier and more efficient. See Intro to roles and Organize the timeline with audio lanes. Media files and clips in Final Cut Pro After you import media into events in your Final Cut Pro library, clips representing the source media files appear in the browser. A large event may hold many clips. Media files are the raw materials you use to create your project. A media file is a video, audio, still-image, or graphics file on your Mac or storage device that contains footage transferred from a camcorder or recording device or created on a computer. Media files can contain multiple video and audio components. Because media files—especially video files—tend to be quite large, projects that use a lot of footage require one or more highcapacity storage devices. Final Cut Pro User Guide 31 Clips represent your media, but they are not the media files themselves. The clips in a project simply point to (link to) the source media files on your Mac or storage device. When you modify a clip, you’re not modifying the media file, just the clip’s information in the project. This is known as nondestructive editing, because the changes you make to clips in Final Cut Pro never affect the media itself. Trimmed or deleted pieces of clips are removed from your project only, not from the clips in your library or the source media files on your Mac or storage device. Final Cut Pro User Guide 32 Import and analyze media Intro to importing media in Final Cut Pro Importing media into Final Cut Pro is the first step toward making your movie. With Final Cut Pro, you can: • Import from file-based cameras • Import from iPhone, iPad, or iPod touch • Import from a tape-based camcorder or device • Import from iMovie • Import from Photos • Import from Music • Import from your Mac or storage device • Import from a camera archive During import, you assign your media to an event. You can also transcode your media and analyze your media for a variety of issues, such as color balance, the presence of people and shot type, and audio problems. Final Cut Pro User Guide 33 When you import clips (video, audio, or still images), Final Cut Pro assigns one of five default roles to the video and audio components of each clip: Video, Titles, Dialogue, Music, and Effects. You can also override this automatic role assignment. See View and reassign roles and Assign audio roles during import. If you want to quickly back up your media (instead of taking the time to import it), you can create an archive. If it’s your first import into Final Cut Pro The first time you open Final Cut Pro, it contains no media and one library containing a single event. You can import media into the event from your Mac, a storage device, or a connected camera. 1. In the Final Cut Pro main window, click Import Media. 2. Follow the instructions for importing files from a file-based camera, from your Mac or storage device, or from iPhone or iPad. For more ways to import media, see Intro to importing media. To start editing, create a new project. Import from connected cameras Import into Final Cut Pro from file-based cameras File-based camcorders and cameras can record video, audio, and still images. These kinds of devices, which record to flash-based storage media, hard drives, and so on, usually connect to your Mac through a Thunderbolt or USB cable. Some devices have removable memory cards that you can insert into your computer instead. If your file-based device provides a clip-spanning feature (which allows a single clip to be recorded across multiple memory cards), you can import all of the media as one spanned clip. To check whether your camera is compatible with Final Cut Pro, see the Apple Support article Cameras supported by Final Cut Pro. Final Cut Pro User Guide 34 Import from a file-based camcorder, camera, or device 1. Do one of the following: • Connect your camcorder, camera, or device to your Mac using the cable that came with the device, and turn on the device. If you’re using a camcorder, set it to PC Connect mode. (The name of this transfer mode may be different on your device.) Your camcorder may automatically go into “connect” mode if you turn it on in playback mode while it’s connected to your Mac. See the documentation that came with your camcorder. Note: Connecting a DVD camcorder to your Mac can cause the DVD Player app to open. If that happens, simply close DVD Player. • Remove the memory card from your camcorder or device and insert it into the card slot on your Mac (if it has one) or into an external card reader. See Memory cards and cables. Note: Some cameras require that you download and install an additional software plugin. See the documentation that came with your camera. 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. If necessary, select your camcorder, camera, or device from the Cameras section on the left. Final Cut Pro User Guide 35 The Media Import window displays the media on your device. You can play back your media using the playback controls or skim it by moving the pointer forward or backward over a filmstrip. Note: By default, the Media Import window is set to show only video clips. If you want to display just photos, or video clips and photos, use the pop-up menu in the middle-right area of the window. 4. Do any of the following: • Change which device to import from: Click the device in the Cameras section. • Change the way the clips appear: Click the Clip Appearance button in the bottomright corner of the Media Import window. • Switch between filmstrip view and list view: Click the List View and Filmstrip View buttons at the bottom of the Media Import window (connected file-based cameras and camera archives only). Note: When you select a clip in list view, a filmstrip for the selected clip appears at the top of the browser. You can skim to any frame in the filmstrip and set start and end points. • Sort clips in list view by data such as duration, creation date, rating, keyword, and file type: Click the column headings at the top of list view. Control-click column headings to add additional columns. For more information about list view, see Import from your Mac or storage device. • Add folders of frequently used media to the Favorites section: Drag them from list view. To remove a folder from the Favorites section, Control-click the folder and choose Remove from Sidebar. Final Cut Pro User Guide 36 • Automatically close the Media Import window when the import begins: Select the “Close window after starting import” checkbox. • Add a folder to list view by dragging: Drag the folder from the Finder to list view and browse its contents in list view. 5. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 6. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. 7. Do one of the following: • Import all clips: Click Import All. • Import only some of the clips: Select each clip you want to import by Commandclicking it, then click Import Selected (the Import button changes its name). Tip: To select several clips located together, drag a selection rectangle around the clips. • Import portions of clips: Drag inside the filmstrip to select the range that you want, then click Import Selected. You can also select multiple ranges in each clip. See Select ranges. Tip: You can also select a clip, press the Space bar to play the clip, and then press either I (to set a start point) or O (to set an end point). By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. The media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized after the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. 8. When background tasks are completed, disconnect the camcorder, camera, or device. You can create an archive from your file-based or tape-based camera or device. See Create camera archives. Final Cut Pro User Guide 37 Reimport a clip Two situations warrant reimporting a clip: • If the clip was not completely imported: If you cancel or quit Final Cut Pro before an import is finished, a camera icon appears on the bottom-left corner of the clip, indicating that the media on the camera is being used for playback (instead of the QuickTime file that was created during import). To play a clip with a camera icon, Final Cut Pro locates the media either on a connected camera or in a connected, available camera archive. (See Import from an archive or disk image.) If the media can’t be found in one of those locations, the clip becomes offline and displays the Missing Camera alert icon. • If the clip’s source media file is not available: If a clip’s source media file is moved or deleted, or the volume it’s located on is disconnected from your Mac, a Missing File alert icon appears on the clip. To restore the clip, you can reimport it. See Alert icons. When you reimport a clip, Final Cut Pro automatically connects to the camera or camera archive. You don’t need to manually mount a camera archive before reimporting. 1. Do one of the following: • Connect the camera that contains the clip to your Mac, and turn on the camera. The clip is now online but still displays the camera icon in the lower-left corner. • Insert the memory card that contains the clip into your Mac or a connected card reader. See Memory cards and cables. • Make sure the camera archive that contains the clip is located in one of the Final Cut Pro camera archives. See Create camera archives. 2. In Final Cut Pro, do one of the following: • Reimport one clip: Select the clip in the browser. • Reimport all clips in an event: Select the event in the Libraries sidebar. 3. Choose File > Import > Reimport from Camera/Archive. Final Cut Pro User Guide 38 Import spanned clips into Final Cut Pro Some file-based camcorders or devices that have more than one memory card slot can record one shot over multiple memory cards. The resulting shot is called a spanned clip. A good way to import a spanned clip is to connect your camera or card reader to your Mac and create a camera archive for each memory card. You can store the camera archives on your Mac or on an external storage device until you’re ready to import the spanned clip. (Even if you’re importing the spanned clip immediately, it’s useful to make a camera archive so that you have a backup of the spanned clip’s footage.) When you’re ready to import, you can mount all of the camera archives and import the spanned clip. Create a camera archive for each memory card 1. Connect your camcorder or camera to your Mac and turn on the device, or connect your card reader and memory card to your Mac. If you’ll be saving the camera archives to an external storage device, connect that as well. Note: Some cameras require that you download and install an additional software plug-in. See the documentation that came with your camera. 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. In the Media Import window, select a memory card to archive from the list of cameras on the left. 4. Click the Create Archive button at the bottom-left corner of the window. 5. In the “Create Camera Archive as” field, type a name for the archive. 6. Click the Destination pop-up menu, choose a location to save the archive, then click OK. Note: To protect your media, it’s recommended that you save your archive to a storage device or partition different from the one where you store the media files used with Final Cut Pro. 7. To create camera archives for each of the memory cards that contain a portion of the spanned clip, repeat steps 3 through 6. Import a spanned clip 1. If the media you want to import is on an external storage device or a memory card, connect the device to your Mac and turn on the device. Final Cut Pro User Guide 39 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. In the Devices section on the left side of the Media Import window, select the storage device (internal or external) or memory card that contains the spanned clip camera archives. 4. Use list view at the bottom of the window to navigate to and open the camera archives. Important: If the camera archives that make up the spanned clip are not all available, you can import each camera archive separately. Each portion of the spanned clip is imported as a separate clip. If all portions of the spanned clip are available, all the mounted camera archives show a clip with the same duration. An icon indicating that the spanned clip is complete appears on the spanned clip. If one or more camera archives are missing, an icon appears on the spanned clip to indicate which part of the spanned clip is available—the beginning, middle, or end. You can select each camera archive to see the different icons. 5. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported media to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. Final Cut Pro User Guide 40 To learn more about events, see Intro to libraries. If you want to import media int o a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 6. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. 7. To import the spanned clip, click Import All. By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. The media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized after the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. Import into Final Cut Pro from iPhone, iPad, or iPod touch Importing media from iPhone, iPad, or iPod touch is the same as importing media from a file-based camcorder, camera, or device. Note: If you’re importing from an iOS or iPadOS device with iOS 11 or later and your footage was recorded with the High Efficiency camera setting, make sure you’re using macOS High Sierra 10.13 or later. See the Apple Support article Using HEIF or HEVC media on Apple devices. 1. Connect your iPhone, iPad, or iPod touch to your Mac using the cable that came with the device. If another app opens when you connect your device, close the app. 2. Turn on your device and unlock it. 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 4. In the Media Import window, select your iPhone, iPad, or iPod touch from the Cameras section on the left. You can play back your media using the playback controls or skim it by moving the pointer forward or backward over a filmstrip. Final Cut Pro User Guide 41 You can also do any of the following: • Change which device to import from: Click the device in the Cameras section. • Change the way the clips appear: Click the Clip Appearance button in the bottomright corner of the Media Import window. • Switch between filmstrip view and list view: Click the List View and Filmstrip View buttons at the bottom of the Media Import window (connected file-based cameras and camera archives only). Note: When you select a clip in list view, a filmstrip for the selected clip appears at the top of the Media Import window. You can skim to any frame in the filmstrip and set start and end points. • Sort clips in list view by data such as duration, creation date, rating, keyword, and file type: Click the column headings at the top of list view. Control-click column headings to add additional columns. For more information about list view, see Import from your Mac or storage device. • Add folders of frequently used media to the Favorites section: Drag them from list view. To remove a folder from the Favorites section, Control-click the folder and choose Remove from Sidebar. • Automatically close the Media Import window when the import begins: Select the “Close window after starting import” checkbox. • Add a folder to list view by dragging: Drag the folder from the Finder to list view and browse its contents in list view. Note: By default, the Media Import window is set to show video clips only. If you want to display just photos, or video clips and photos, use the pop-up menu in the middle-right area of the window. Final Cut Pro User Guide 42 5. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 6. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. 7. Do one of the following: • Import all clips: Click Import All. • Import only some of the clips: Select each clip you want to import by Commandclicking it, then click Import Selected (the Import button changes its name). Tip: To select several clips located together, drag a selection rectangle around the clips. • Import portions of clips: Drag inside the filmstrip to select the range that you want, then click Import Selected. You can also select multiple ranges in each clip. See Select ranges. Tip: You can also select a clip, press the Space bar to play the clip, and then press either I (to set a start point) or O (to set an end point). By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. Your media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized after the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. 8. When background tasks are completed, disconnect the iPhone, iPad, or iPod touch. Import into Final Cut Pro from digital still cameras You can import video and still images from digital still cameras. The steps below describe how to import video and still images directly into Final Cut Pro. You can also import your photos into a photos app and access them through the Photos and Audio sidebar in Final Cut Pro. Final Cut Pro User Guide 43 To check whether your camera is compatible with Final Cut Pro, see the Apple Support article Cameras supported by Final Cut Pro. 1. Connect your camera to your Mac using the cable that came with the camera, and turn on the camera. If your camera doesn’t appear on the left side of the Media Import window (in either the Cameras section or the Devices section), remove the camera’s memory card and insert it into the card slot on your Mac (if it has one) or into an external card reader. 2. In the Finder, locate the DCIM folder inside the camera folder, then locate the stillimage or video files. The files may be in the DCIM folder, or in a folder one or two levels down. Devices and file structures vary by model and manufacturer. 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I), then follow the instructions in Import from your Mac or storage device. • Drag the files from the Finder into an event or timeline in Final Cut Pro. The files are imported using the settings you selected in Import preferences. See Import from your Mac or storage device. After the import, you may have separate audio files that you want to use to replace the video’s audio track. To do this, you can automatically sync the video and audio clips. Import into Final Cut Pro from tape-based cameras You can import media from a tape-based camcorder or device. To determine which clips you want to import (rather than importing all of them), you can view them using Final Cut Pro before you import them. Final Cut Pro supports tape-based import of the DV (including DVCAM, DVCPRO, and DVCPRO50), DVCPRO HD, and HDV formats. To check whether your camera is compatible with Final Cut Pro, see the Apple Support article Cameras supported by Final Cut Pro. 1. Connect the camcorder to your Mac using the cable that came with the camcorder, and configure your device for remote control over FireWire, if necessary. If your computer does not have a FireWire port but does have a Thunderbolt port, you can connect the FireWire cable using an Apple Thunderbolt to FireWire Adapter or an Apple ThunderBolt Display (which also has a FireWire port). Note: For best results when importing from a tape-based camcorder, it’s recommended that you import the video using the same camcorder that you used to record it. 2. Turn on the camcorder and set it to VTR or VCR mode. This mode may have a different name on your camera. See the documentation that came with your camcorder. Final Cut Pro User Guide 44 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 4. If you have multiple devices connected to your computer, choose the device you want to import from in the list of cameras on the left side of the Media Import window. The Media Import window displays the image from the current position of the tape. 5. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 6. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. Final Cut Pro User Guide 45 7. Use the playback controls (or use the J, K, and L keys) to set your tape to the point where you want to begin importing, then click Import. Importing begins immediately from the current location on the tape and continues until one of the following occurs: • The end of the tape is reached. • The storage device you’re importing to is full. • You stop the import session by clicking Stop Import or Close (to close the Media Import window) or by pressing Escape. The video plays as it’s being imported. It takes as long to import the video as it takes to watch it at normal speed. 8. When the section of video you want to import has been imported, click Stop Import (or press Escape). If you selected any options in step 6, the files are transcoded and optimized after the import is complete. You can view the progress of the background tasks in the Background Tasks window. 9. If you want to import another section of video, use the import controls to go to the point on the tape where you want to begin importing, then repeat steps 5 through 8. 10. When you’re done importing, click Close to close the Media Import window. You can also create an archive from your tape-based device, recording everything on the tape from beginning to end and saving the captured clips as an archive. See Create camera archives. If your camera isn’t recognized in Final Cut Pro If you’ve connected your camera or device to your computer but the Media Import window doesn’t open, or your device can’t be controlled from within Final Cut Pro, there are several things you can do to try to establish the connection. Check your equipment and system 1. Before importing media into Final Cut Pro, make sure that you’re using the correct equipment configuration: • Your camcorder or camera must be compatible with Final Cut Pro. For a list of compatible devices, see the Apple Support article Cameras supported by Final Cut Pro. • Your device must be properly connected to your computer. • Your camcorder must be set to the correct output mode. On some camcorders, this is called VTR or VCR mode, but not all camcorders use the same terminology, so check the documentation that came with your device. On some camcorders you must set the output to DV mode or HDV mode, depending on whether the content is standard (DV) or high definition (HDV). • If you’re connecting a tape-based camcorder to your computer, you should be using a FireWire cable (also called IEEE 1394, or i.LINK), not a USB cable. See Memory cards and cables. Final Cut Pro User Guide 46 • If you’re importing video clips from a still camera or other flash memory device, make sure the file format of your video is compatible with Final Cut Pro. See Supported media formats. • If your still camera is not supported by Final Cut Pro, try importing the media as files, using a card slot on your Mac or an external card reader. See Import from your Mac or storage device. See Import from your Mac or storage device. • If you’ve enabled Fast User Switching, make sure no one else is trying to use the camcorder from a different account at the same time. 2. If you still can’t import media after checking the items above, try the following: • Turn the device off and on again. • Disconnect the cable from both the device and your Mac, then reconnect it. • Quit and then reopen Final Cut Pro. • Restart your Mac. • Try using a different cable. • Try using a different computer with Final Cut Pro installed. • If you’re using a file-based camcorder, use the Finder to copy the mounted volume to a local disk. Then open the files in Final Cut Pro in the same way that you open an archive. Note: When you see red frames and a yellow alert triangle in the timeline or in an event, it means that part of your project or event is missing. See Alert icons. Import from devices Import into Final Cut Pro from your Mac or storage device You can import media—video, audio, still images, and graphics files—from your Mac, a connected external storage device, a memory card inserted in the card slot on your Mac or a card reader, or a network-attached volume. You can import media using the Media Import window or by dragging files from the Finder. When you drag media from the Finder into Final Cut Pro, the media is imported using the import settings in Final Cut Pro preferences. Importing files by dragging them into Final Cut Pro is a good option if you always want to use the same file storage, transcoding, keyword, and analysis settings. See Import preferences. Note: Some file-based devices allow you to copy the recorded media (with its original directory structure) to a folder on your Mac using the Finder. To import media copied in this way, see Import from an archive or disk image. Import media from your Mac or a storage device using the Media Import window 1. If the media you want to import is on an external storage device or a memory card, connect the device to your Mac and turn on the device. Final Cut Pro User Guide 47 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. In the Devices section on the left side of the Media Import window, select your Mac or the connected external storage device or memory card from which you want to import media. 4. Use list view at the bottom of the window to navigate to a file or folder and select it. When you import from your Mac or a storage device, filmstrips are visible for individual selected clips only. Tip: Command-click to select multiple files or folders to import. 5. Do any of the following: • Preview the selected clip: Play it using the playback controls or skim it by moving the pointer forward or backward over the filmstrip. • Change which device to import from: Select the Mac or storage device in the Devices section, or select the location in the Favorites section. • Sort clips in list view by data such as duration, creation date, rating, and keyword: Click the column headings at the top of list view. Control-click column headings to add additional columns. Final Cut Pro User Guide 48 • Add folders of frequently used media to the Favorites section: Drag a folder from the list on the right to the Favorites section on the left. To remove a folder from the Favorites section, Control-click the folder and choose Remove from Sidebar. • Automatically close the Media Import window when the import begins: Select the “Close window after starting import” checkbox. • Add a folder to list view by dragging: Drag the folder from the Finder to list view and browse its contents in list view. 6. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name for the event (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. 7. Choose a storage location for the media files: • Copy the files to the current library: Select “Copy to library” to duplicate the files and place the copies in the current library storage location. For information about setting the storage location for a library, see Set storage locations. Note: The name of this option changes to “Copy to library storage location: location name” when the current library is set to an external storage location. • Link to the files at their current location: Select “Leave files in place.” Note: If you select this option, Final Cut Pro creates symbolic links (also known as symlinks), which are special files that point to the media files. If you later copy or move clips between events, only the symbolic links are copied or moved (not the source media files). To replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. For more information about files and clips, see Media files and clips. 8. If you want to organize your media, override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant checkboxes in the Keywords, Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. 9. When you’re ready to import, click Import Selected or Import All. The Import button changes its name based on your clip selection. By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. Your media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized when the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. If you imported media from an external device and you chose to have Final Cut Pro copy the media files to the library file (rather than just link to them in their original location), you can disconnect the device when the background tasks are completed. Final Cut Pro User Guide 49 Import media by dragging from the Finder 1. Open Final Cut Pro. 2. Do one of the following: • Select a file, Command-click to select multiple files, or select a folder of files, then drag the file or files from the Finder to the event. • Select a file, Command-click to select multiple files, or select a folder of files, then drag the file or files from the Finder to a Keyword Collection. The clip or clips appear in the event, and the keyword is automatically added to the clip or clips. Important: If you selected “From Finder tags” and “From folders” in the Keywords section of Final Cut Pro Import preferences, a Keyword Collection is created for each folder name and each tag, and the corresponding files are assigned that keyword. • Select a file or Command-click to select multiple files, then drag the file or files to a project in the timeline. The clip or clips appear in the timeline and in the corresponding event. The file or files are imported using your default import settings. See Import preferences. Import into Final Cut Pro from an archive or disk image If you’ve created a camera archive, you can use the media in the archive in two ways: • You can connect to the camera archive, making the media available to Final Cut Pro. • You can import the media from the archive, or import media from disk images previously archived with the Final Cut Pro Log and Transfer window in Final Cut Pro 7 or earlier. When you do this, copies of the media are created on your storage device. Some file-based devices allow you to copy the recorded media (with its original directory structure) to a folder on your Mac using the Finder. To import media copied in this way (or to import from disk images previously archived with the Final Cut Pro Log and Transfer window in Final Cut Pro 7 or earlier), follow the instructions in Import media from a disk image, below. Import media from a camera archive 1. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 2. In the Devices section on the left side of the Media Import window, select the storage device (internal or external) or memory card from which you want to import media, then use the list at the bottom of the window to navigate to the camera archive. The archive is connected to Final Cut Pro, and its media is displayed in the Media Import window. Final Cut Pro User Guide 50 3. Click the disclosure triangle to the left of the camera archive icon to reveal the list of clips in the archive, or double-click the camera archive to open it. 4. To import the media, see Import from file-based cameras. Import media from a disk image 1. In the Finder, double-click the disk image (.dmg) file to open it. 2. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 3. Select the disk image in the Cameras section on the left side of the Media Import window. Note: If the disk image doesn’t have a file structure typical of a video camera, it appears in the Devices section instead. The open disk image is connected to Final Cut Pro, and its media is displayed in the Media Import window. 4. To import the media, see Import from file-based cameras. Organize files during import into Final Cut Pro You can choose how to organize your media when you import it into Final Cut Pro. You can copy the source files into the library or link to them at their current location. If your source files have Finder tags or the folders containing the files have meaningful names, you can choose to have the tags and folder names applied to the files as keywords during import. If your source footage contains shots of people, you can have Final Cut Pro analyze the footage during import and apply keywords for the number of people in each shot and the shot type. A Keyword Collection is created for each keyword added to your clips during import. Select a Keyword Collection in the Libraries sidebar to see all the clips with that keyword applied. 1. To import a file into Final Cut Pro, choose File > Import > Media, navigate to the file you want to import, select the file, then click Import. 2. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported media to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. Final Cut Pro User Guide 51 To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. 3. In the Files section, select a file storage option: • Copy to library: This option duplicates the media files and places the copies in the current library storage location. Note: The name of this option changes to “Copy to library storage location: location name” when the current library is set to an external storage location. For information about setting the library storage location, see Set storage locations. • Leave files in place: This option links to the source media files at their current location. If you import files with this option selected, Final Cut Pro creates symbolic links (also known as symlinks), which are special files that point to the media files without copying them. When you move, copy, or back up events and projects that use these files, only the symbolic links are moved or copied (not the source media files). If, after you move or copy your project or event, you want to replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. For more information about files and clips, see Media files and clips. 4. In the Keywords section, select any of the following options: • From Finder tags: Creates a keyword for each Finder tag in the files you’re importing. For each keyword, a Keyword Collection is also created. For more information about Finder tags, see macOS Help (click the desktop to make the Finder active, choose Help > macOS Help, then search for “tags”). • From folders: Creates a keyword for each folder name and applies the keyword to all the files in the folder during import. Additionally, a Keyword Collection is created for each keyword. • Find people: Analyzes video clips and still images for the number of people present and shot types. After analysis, any of the following keywords are added to the clip: One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. For each keyword, a Keyword Collection is also created. The “Consolidate find people results” checkbox simplifies and summarizes all of the “find people” analysis keywords. If you’re analyzing to find people, it’s recommended that you also select the “Create Smart Collections after analysis” checkbox. See Intro to analyzing media. 5. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant checkboxes in the Audio Roles, Transcoding, and Analyze sections. If you don’t specify that Final Cut Pro analyze your media during the import process, you can analyze it later in the browser. Final Cut Pro User Guide 52 6. Click Import Selected or Import All. The Import button changes its name based on your clip selection. By default, the Media Import window closes when you click Import. You can begin working with your clips in the browser. Your media is imported in the background. If you selected any options in the previous step, the files are transcoded and optimized after the import is complete. You can view the progress of the import and other background tasks in the Background Tasks window. Import from other apps Import into Final Cut Pro from iMovie for macOS You can send an iMovie for macOS project to Final Cut Pro. You initiate the process from within iMovie. The project file and the media used in the project are copied to your Final Cut Pro library. If you want to send an iMovie trailer project, you first need to convert it to a movie project. For information about sending an iMovie project to Final Cut Pro or converting a trailer project to a movie project, see the iMovie User Guide. Note: If you send a movie project from iMovie to Final Cut Pro and it contains a clip with the “Lower volume of other clips” audio adjustment, that adjustment appears in Final Cut Pro as the Gain filter. For information about adjusting audio effects in Final Cut Pro, see Adjust audio effects. Import into Final Cut Pro from iMovie for iOS or iPadOS You can import projects created in iMovie for iOS or iPadOS into Final Cut Pro. Note: Some iMovie themes, filters, and titles are either not available or cannot be modified in Final Cut Pro. You can re-create most of these effects in Final Cut Pro. See Intro to effects and Intro to titles. 1. Open iMovie on your iOS or iPadOS device. 2. Scroll projects in the Projects browser, then tap one to see project details. 3. Tap the Share button , then tap one of the following options: • AirDrop: Share wirelessly to a nearby Mac using AirDrop. • iTunes: Transfer the file to a Mac using iTunes and a USB cable connection. • iCloud Drive: Save the file to iCloud Drive and retrieve it with your Mac. For more information about these methods of sharing projects to other devices, see the iMovie User Guide for iPhone or the iMovie User Guide for iPad. 4. When prompted, choose the iMovie Project option (not the Video File option). 5. When the project file has finished copying, locate it on your Mac. Note: By default, AirDrop transfers appear in your Downloads folder. Projects sent to iCloud Drive appear in the iMovie folder in iCloud Drive. Final Cut Pro User Guide 53 6. In Final Cut Pro, choose File > Import > iMovie iOS Projects. Note: This is the only way to import projects created in iMovie for iOS or iPadOS. You can’t open an iMovie for iOS or iPadOS project in Final Cut Pro by double-clicking the project icon or dragging it to Final Cut Pro. 7. In the window that appears, navigate to the location where you stored the iMovie for iOS or iPadOS project file, select it, and click Import. The imported project appears in the current event in the browser. Note: Trailer projects are automatically converted to movie projects for use in Final Cut Pro. Any empty image wells in the trailer are replaced by placeholder clips. Import into Final Cut Pro from Photos When you import photos and video clips from Photos or another photos app into Final Cut Pro, the media is always copied into the Final Cut Pro library, regardless of your settings in Import preferences. This is the only exception to the general rule that the media is imported using the import settings you defined in Import preferences. See Import from your Mac or storage device. Note: You can’t use Aperture or iPhoto in versions of the Mac operating system after macOS 10.14. If your photos are in an Aperture library, you can update it to Photos. See the Apple Support article Migrate your Aperture libraries to Photos or Adobe Lightroom Classic. 1. In Final Cut Pro, open the Photos and Audio sidebar by doing one of the following: • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. 2. In the Photos and Audio sidebar, click the photos app you want to import from. If you’re using macOS Mojave 10.14 or earlier, you may see Photos, iPhoto, or Aperture in the list of photos apps. Final Cut Pro User Guide 54 3. Use the pop-up menus at the top of the browser to choose a category and narrow your search. 4. To use one or more photos or video clips in your project, drag the items from the browser to the timeline. To select multiple clips, Command-click them or drag a selection rectangle around them. Tip: If you want photos or video clips from a different photo library to appear in the sidebar, open the other photo library in the Photos app. Then, in the General pane of Photos preferences, click “Use as System Photo Library.” Import into Final Cut Pro from Music You can import music and sound from your Music library into Final Cut Pro. 1. In Final Cut Pro, open the Photos and Audio sidebar by doing one of the following: • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. 2. In the Photos and Audio sidebar, click Music. A list of your Music content appears in the browser. Note: If you’re using macOS Mojave 10.14, the item you click in the sidebar is iTunes, not Music. 3. Use the controls in the upper-right corner of the browser to find the music or sound you want: • Search for an item: Click the search field and type. • Choose which items to display: Click the Music pop-up menu and choose a category, playlist, or folder. • Preview an item: Select the item and click the Play button . • Select more than one item: Command-click each item. 4. Drag the clip or clips to the timeline. If you want to import just a portion of the clip, drag in the filmstrip at the top of the browser to select a range. Note: For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to MOV audio files and retains the original MP3 files for future use. For information about where to find original and transcoded media files, see Locate source media files. If your Music library includes protected files, they are unavailable. (They do not appear in the browser.) Final Cut Pro User Guide 55 Import Motion content into Final Cut Pro You can build and modify video effects, titles, transitions, and generators in Motion 5 for use in Final Cut Pro. When you save a template in Motion, it is “published” and becomes available in its respective media browser in Final Cut Pro (the browser, Effects browser, or Transitions browser). See the information about Final Cut Pro templates in the Motion User Guide. For more information, see the following: • Modify transitions in Motion • Modify titles in Motion • Modify effects in Motion • Modify generators in Motion Import into Final Cut Pro from GarageBand and Logic Pro You can import music and sound from GarageBand and Logic Pro into Final Cut Pro. 1. Do one of the following: • In GarageBand: Choose Share > Song to Music. • In Logic Pro: Choose File > Share > Song to Music. 2. In Final Cut Pro, open the Photos and Audio sidebar by doing one of the following: • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. 3. In the Photos and Audio sidebar, select GarageBand or Logic Pro. A list of your shared content appears in the browser. 4. To find the music or sound you want, do any of the following: • Search for an item: Type text in the search field at the top of the browser. • Choose which items to display: Click the pop-up menu at the top of the browser and choose a category, playlist, or folder. • Preview an item: Select the item and click the Play button . Final Cut Pro User Guide 56 • Select more than one item: Command-click each item. • Select part of a clip: Drag in the filmstrip at the top of the browser to select the part of the clip you want to import. See Select a range. 5. Drag the clip or clips to the timeline. Note: For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to MOV audio files and retains the original MP3 files for future use. For information about where to find original and transcoded media files, see Locate source media files. Import into Final Cut Pro using workflow extensions You can install workflow extensions to access features of third-party apps from within Final Cut Pro. For example, you can access and import from stock footage, media management, and review-and-approve apps without ever leaving Final Cut Pro. 1. To install an extension, follow the instructions that came with the extension app. 2. Open Final Cut Pro. 3. Click the Extensions button on the left side of the Final Cut Pro toolbar. The Extensions button appears only when extensions are installed. The extension window or a menu of installed extensions opens. 4. Use the extension interface to locate the media you want to import. 5. Drag items from the extension window to an event in the Libraries sidebar or to a project in the timeline. 6. To close the extension window, click the Extensions button. To uninstall an extension, remove it from the Applications folder and reopen Final Cut Pro. Record video into Final Cut Pro You can record video directly into Final Cut Pro using your computer’s built-in camera or an external camera. Record live video and audio into Final Cut Pro 1. In Final Cut Pro, do one of the following: • Record using the built-in camera: Click the Import Media button in the toolbar. • Record using an external camera: Connect the camera to your Mac with a FireWire cable, then click the Import Media button in the toolbar. 2. In the Cameras list on the left side of the Media Import window, select the camera you want to import from. Final Cut Pro User Guide 57 A live video image from the camera appears in the Media Import window. 3. Click Import. 4. In the window that appears, choose how you want to organize the imported media in your library: • Add the imported clips to an existing event: Select “Add to existing event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. Note: You can set storage locations for each of your libraries. See Set storage locations. 5. If you want to override automatic role assignment, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant settings in the Audio Roles, Transcoding, and Analyze sections. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later in the browser. Note: Some import options are available only when you import files from a storage device. See Organize files during import and Import from your Mac or storage device. 6. When you’re ready to begin recording, click Import. The camera begins recording immediately. 7. When you want to stop recording, click Stop Import. A new video clip is created. You can click Import to begin recording again. You can repeat this process as many times as necessary. Tip: You can also capture live video from some video camcorders over a FireWire cable using QuickTime X. See QuickTime Player Help (available from the Help menu when QuickTime Player is open). Final Cut Pro User Guide 58 Memory cards and cables used with Final Cut Pro To import media from your recording device to your Mac, you need to remove the memory card from your device and insert it into either your Mac or a memory card reader. You can also connect your device directly to your Mac using the appropriate cable. Then you can import the media on the memory card or device using the Media Import window. See Import from your Mac or storage device and Import from file-based cameras. • Memory cards: Many file-based camcorders and devices record media on a removable memory card. You can connect a card reader to your Mac and use that to transfer the contents of your memory card onto your Mac. Some Mac computers feature an SD (Secure Digital) or SDXC (SD extended capacity) card slot that allows data to be read from and written to SD media inserted in the slot. If your Mac has a card slot, you can remove the card from the camera, insert the card into your Mac, and then import the files. See About the SD and SDXC card slot. You can also connect your device to your Mac using one of the cables listed below. The kind of cable you need depends on the kind of device you’re using: • Thunderbolt 3 device: You can connect Thunderbolt 3 devices using a connector that plugs into the Thunderbolt 3 port on your Mac. • USB 2 or USB 3 device: You use a USB cable for file-based camcorders, digital still cameras that record video, and iPhone, iPad, and iPod touch. The USB cable should have at least one connector that plugs into your Mac (at the top in the illustration below). The other end of the USB cable, which plugs into your recording device, might look different (on the bottom in the illustration below). • USB-C device: USB-C cables support both data and video transfer. Final Cut Pro User Guide 59 • Thunderbolt or Thunderbolt 2 device: You can connect first- and second-generation Thunderbolt devices using a connector that plugs into the Mini DisplayPort on your Mac. • FireWire device: For most camcorders that record to tape, you use a FireWire cable with a 6-pin connector on one end that plugs into your Mac (at the top in the illustration below) and a 4-pin connector on the other end that plugs into your camcorder (on the bottom in the illustration below). Or you might have a FireWire 800 cable with a different end that plugs into your camcorder or Mac. If your device didn’t come with a cable and you’re not sure what kind of device you have, you can check the logo near the cable ports on your device to see if it matches the USB or FireWire logo, both shown above. Otherwise, check the documentation that came with your device. To check whether your camera is compatible with Final Cut Pro, see the Apple Support article Cameras supported by Final Cut Pro. Media formats supported in Final Cut Pro You can import and work with the following video, audio, and still-image formats in Final Cut Pro: Video formats • Apple Animation codec • Apple Intermediate codec • Apple ProRes (all versions) • Apple ProRes RAW and Apple ProRes RAW HQ • AVCHD (including AVCCAM, AVCHD Lite, and NXCAM) • AVC-ULTRA (including AVC-LongG, AVC-Intra Class 50/100/200/4:4:4, and AVC-Intra LT) • Canon Cinema RAW Light (requires the camera manufacturer’s plug-in software) Final Cut Pro User Guide 60 • DV (including DVCAM, DVCPRO, and DVCPRO50) • DVCPRO HD • H.264 • HDV • HEVC (requires macOS 10.13 or later) • iFrame • Motion JPEG (OpenDML only) • MPEG IMX (D-10) • QuickTime formats • REDCODE RAW (R3D) (requires the camera manufacturer’s plug-in software) • Uncompressed 8-bit 4:2:2 • Uncompressed 10-bit 4:2:2 • XAVC (including XAVC-S) • XDCAM HD/EX/HD422 • XF-AVC • XF-HEVC Audio formats • AAC • AIFF • BWF • CAF • MP3 • MP4 • RF64 (requires macOS 10.13 or later) • WAV Still-image formats • BMP • GIF • HEIF (requires macOS 10.13 or later) • JPEG • PNG • PSD (static and layered) • RAW • TGA • TIFF Final Cut Pro User Guide 61 Container formats • 3GP • AVI • MOV (QuickTime) • MP4 • MTS/M2TS • MXF For information about formats you can export your movie to, see Supported export formats. Adjust ProRes RAW camera settings in Final Cut Pro Apple ProRes RAW brings to raw video the same great performance, quality, and ease of use that Apple ProRes has brought to conventional video, in a format ideal for highdynamic-range (HDR) content creation. ProRes RAW captures most of the sensor data from compatible cameras. This wealth of data allows you to flexibly adjust exposure and white balance in Final Cut Pro without losing any quality. You can view and adjust the ISO setting, exposure offset, and color temperature of ProRes RAW media using controls in the inspector. 1. Import one or more compatible Apple ProRes RAW clips. 2. In the Final Cut Pro browser or timeline, select the clip or clips you want to inspect or adjust. Note: Compound clips cannot be adjusted. 3. Do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 4. Click the Info button at the top of the inspector. 5. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Settings. Final Cut Pro User Guide 62 6. In the Info inspector, view or adjust any of the following settings: Note: These settings appear only if the corresponding information is found in the clip metadata. • Camera ISO: Displays the as-shot ISO setting of ProRes RAW clips. Not adjustable. • ISO: Adjusts the ISO setting of ProRes RAW clips. • Exposure Offset: Adjusts the ISO setting of ProRes RAW clips up or down by as much as one stop. • Camera Color Temperature: Displays the as-shot color temperature of ProRes RAW clips. Not adjustable. • Temperature: Adjusts the color temperature of ProRes RAW clips. This slider is available only for clips shot with supported cameras. For information about cameras that are compatible with Apple ProRes RAW, see this Apple Support article. Import REDCODE RAW files into Final Cut Pro You can import and work with REDCODE RAW (R3D) files in Final Cut Pro. RAW format video files require some additional steps before and after import. After the R3D RAW files are imported, you can make nondestructive color correction adjustments directly within Final Cut Pro. Import REDCODE RAW (R3D) files 1. Install the appropriate plug-in. In order for Final Cut Pro to recognize the R3D RAW files, you must download and install the RED Apple Workflow Installer. 2. Import the media into Final Cut Pro. Important: When you import the media, make sure to deselect the “Create optimized media” and “Create proxy media” options, because any transcoding work done during import will be discarded if you adjust the RAW settings in the next step. For more information about importing media, see Import from file-based cameras and Import from your Mac or storage device. Note: If you’re importing files from the RED ONE camera, it’s recommended that you import the R3D RAW files only. The RED ONE camera typically generates a set of up to four QuickTime reference movie (.mov) files for each R3D RAW file. If you select both the R3D file and the reference movies during the import process, only the R3D file is imported. If you need to import a reference movie, select only the reference movie, not the R3D file. 3. Adjust the RAW settings (with Final Cut Pro or with an external application such as REDCINE–X PRO). You can apply a nondestructive “one-light” color correction to the R3D RAW clips immediately after import, to give your footage a more finished look for editing and review. Final Cut Pro User Guide 63 If you have a professional production with sophisticated color correction needs, you can revisit these RAW settings during the finishing stage. See Adjust RED RAW settings, below. 4. If you like, generate optimized or proxy media from the R3D RAW files. See Create optimized and proxy files. To control whether Final Cut Pro displays optimized, proxy, or original media in the viewer, and whether video playback is optimized for quality or performance, choose the corresponding options from the View pop-up menu in the upper-right corner of the viewer. See Control playback quality. 5. Add the R3D RAW clips to your project and edit them as you would any other clips. Adjust RED RAW settings You can adjust REDCODE RAW (R3D) files in Final Cut Pro using the RED RAW Settings window. Metadata about REDCODE RAW (R3D) files can be stored in two locations: • Internal (embedded) settings: This is information recorded by the camera and embedded in the R3D RAW file. It always remains with the file. These camera settings can be superseded by settings in the external RMD file, but they are never overwritten. You can revert to these camera settings by deleting any existing RMD file or by clicking the Revert To pop-up menu in the RED RAW Settings window and choosing Original Camera Settings. • External RMD file: This is an external metadata file with the file extension .RMD. This file is created by Final Cut Pro, REDCINE-X PRO, or similar apps. If you adjust RED RAW settings in Final Cut Pro and an RMD file already exists, the existing file is overwritten when the changes are saved. The embedded camera settings remain intact. 1. Verify that the current versions of Final Cut Pro and Pro Video Formats software are installed: • Final Cut Pro: Choose Apple menu > App Store, then click Updates in the sidebar. • Pro Video Formats: Choose Apple menu > System Preferences, then click Software Update. 2. Install the appropriate plug-in. In order for Final Cut Pro to recognize the R3D RAW files, you must download and install the corresponding plug-in. For more information, go to http://www.red.com. 3. In the Final Cut Pro browser or timeline, select the clip or clips you want to adjust. Note: Compound clips cannot be adjusted. 4. Do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. Final Cut Pro User Guide 64 5. Click the Info button at the top of the inspector. 6. In the Info inspector, click the Modify RED RAW Settings button. 7. In the RED RAW Settings window, adjust the settings. Your changes are saved nondestructively to an external metadata file with the file extension .RMD, overwriting any existing RMD metadata file. Unlike video effects that are applied to a clip, these adjustments are associated with the file (via the RMD metadata file). Any changes you make to these settings are applied to all copies of the selected clip or clips. To produce wide-gamut colors for HDR without the use of a LUT, set Color Space to Rec. 2020 and Gamma to HDR-2084. For information about wide-gamut HDR settings in Final Cut Pro, see Use wide-gamut HDR color processing. Note: Final Cut Pro supports the RED ROCKET card, a PCI card that provides a significant boost in performance. For more information about REDCODE RAW (R3D) files and the RED ROCKET card, go to http://www.red.com. Import Canon Cinema RAW Light files into Final Cut Pro You can import and work with Canon Cinema RAW Light files in Final Cut Pro when you install additional software from Canon. Your camcorder or camera must be compatible with Final Cut Pro. For a list of compatible devices, see the Apple Support article Cameras supported by Final Cut Pro. 1. Verify that the current versions of Final Cut Pro and Pro Video Formats software are installed: • Final Cut Pro: Choose Apple menu > App Store, then click Updates in the sidebar. • Pro Video Formats: Choose Apple menu > System Preferences, then click Software Update. 2. From the Canon website, download the appropriate Canon plug-in for Final Cut Pro, then install the software on your Mac. 3. Import the media into Final Cut Pro. See Import from file-based cameras and Import from your Mac or storage device. Note: Canon Cinema RAW Light files have the filename extension .crm. 4. Optionally, confirm that Final Cut Pro applied the appropriate built-in Canon camera LUT (Canon Log 2/Cinema Gamut), or apply a custom LUT. See Apply LUTs. 5. If you like, generate optimized or proxy media from the Canon Cinema RAW Light media. After you add the Canon Cinema RAW Light clips to your project, you can edit them as you would any other clips. Final Cut Pro User Guide 65 Analyze media Intro to analyzing media in Final Cut Pro You can have Final Cut Pro analyze your media (video, audio, and still images) and automatically correct common problems. For example, you can balance color and remove excess hum or loudness. You can also analyze clips to identify their contents. Analysis can detect the number of people in a shot and identify whether the shot is a close-up, medium, or wide shot. This is helpful if you need to quickly find a certain type of clip while viewing footage or editing a project. For complete lists of the video and audio analysis options, see Video analysis options and Audio analysis options. You can analyze media during import or after you import the media into Final Cut Pro. You can also set Final Cut Pro to automatically analyze clips you drag directly to the Final Cut Pro timeline from the Finder. After certain types of analysis, keywords are automatically added to clips or clip ranges based on the results of the analysis. For example, a clip showing several people might have the Group and Medium Shot keywords assigned. In the browser, clips with analysis keywords have a purple line at the top. (Clips with keywords you add manually or keywords imported from Finder tags or folder names have a blue line at the top. See Add keywords.) Note: This section covers analysis and automatic correction options for event clips only. For information about correcting shaky video and rolling shutter distortion in clips in the timeline, see Correct shaky video. Final Cut Pro User Guide 66 Video analysis options in Final Cut Pro Final Cut Pro provides video and still-image analysis options that can automatically balance color in video and detect people and shot angles in video or still images. You can analyze video during import, or analyze video clips in the browser after import. Based on the results of the analysis, analysis keywords are added to clips or clip ranges. Final Cut Pro provides these video and still-image analysis options: • Analyze for balance color: Analyzes video clips to detect color balance and contrast. Color is automatically balanced when you add the clip to the timeline. You can turn automatic color adjustments on and off at any time. • Remove pulldown: Analyzes video clips and removes pulldown patterns. Important: This option is available only when importing from a tape-based camera or device. • Find people: Analyzes video clips and still images for the number of people present and shot types. After analysis, any of the following keywords are added to the clips or clip ranges: One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. Tip: To easily locate clips with “find people” analysis keywords, select the “Create Smart Collections after analysis” checkbox. • Consolidate find people results: Consolidates all of the “find people” analysis keywords into one shot type keyword and one people keyword for every 2-minute segment of video. The shot type keyword chosen is the one for the widest shot type, and the people keyword chosen is the one representing the most people. For example, if a video segment contains Medium Shot, Wide Shot, One Person, and Group keywords, the segment’s analysis keywords are reduced to Wide Shot and Group during consolidation. • Create Smart Collections after analysis: Creates a Smart Collection for each keyword applied when video clips and still images are analyzed for the presence of people. The Smart Collections are listed alphabetically in a People folder inside the event in the Libraries sidebar. When you drag a media file from the Finder to a Final Cut Pro event or the timeline, the import begins automatically, without displaying a window of import options. You can set automatic import options in the Import pane of Final Cut Pro preferences. Audio analysis options in Final Cut Pro Final Cut Pro provides automatic analysis options that can fix common audio problems, analyze and group audio channels, and remove silent channels. You can analyze audio during import, or analyze video clips with audio issues in the browser or in the timeline. Final Cut Pro provides these audio analysis options: • Analyze and fix audio problems: Analyzes the audio for hum, noise, and loudness. Final Cut Pro automatically fixes problems that are considered severe (marked in red) and flags problems that are considered moderate (marked in yellow). See Enhance audio. • Separate mono and group stereo audio: Audio channels are analyzed and grouped as dual mono or stereo, depending on the results of the analysis. Automatically corrected audio channels are marked as Autoselected. For more information about audio channels, see Configure audio channels. Final Cut Pro User Guide 67 • Remove silent channels: Audio channels are analyzed, and silent channels are removed. Clips that have had channels removed are marked as Autoselected. For more information about audio channels, see Configure audio channels. When you drag a media file from the Finder to a Final Cut Pro event or the timeline, the import begins automatically, without displaying a window of import options. You can set automatic import options in the Import pane of Final Cut Pro preferences. Analyze your media in Final Cut Pro You can analyze clips during the import process, analyze clips in the browser after import, or set Final Cut Pro to analyze clips automatically when they’re dragged to a Final Cut Pro event or the timeline. Analyze clips during import 1. In Final Cut Pro, do one of the following: • Import a file from a compatible camcorder or camera, iPad, iPhone, iPod, or other device: Connect the device to your Mac and turn on the device, then choose File > Import > Media (or press Command-I). In the window that appears, select the file you want to import, then click the Import button. • Import a file from a tape-based camcorder: Connect the camcorder to your Mac, turn on the camcorder, and set it to VTR or VCR mode. Then choose File > Import > Media (or press Command-I) and click the Import button. • Import a file from a memory card: Insert the memory card into the card slot on your Mac or into a card reader that’s connected to your Mac, then choose File > Import > Media (or press Command-I). In the window that appears, select the file you want to import, then click the Import button. • Import a file located on your Mac or a connected external storage device: Choose File > Import > Media (or press Command-I). In the window that appears, select the file you want to import, then click the Import button. • Import from an archive: Choose File > Import > Media (or press Command-I). In the window that appears, select the archive you want to import from, select the files in the archive you want to import, then click the Import button. 2. In the window that appears, choose how you want to organize the imported media in your library: • Add the imported media to an existing event: Select “Add to existing Event,” then choose the event from the pop-up menu. • Create a new event: Select “Create new Event,” then type a name for the event (for example, “Chris and Kim Wedding”) in the text field. Use the “Save to” pop-up menu to choose the location where you want to store the event. To learn more about events, see Intro to libraries. 3. Select the video and audio analysis options that you want to apply. See Video analysis options and Audio analysis options. The files will be analyzed in the background after the import is complete. 4. Click Import. Final Cut Pro User Guide 68 The import may take a while, depending on the options you selected in step 3. You can view the progress of the import and other background tasks in the Background Tasks window. Analyze clips after import 1. In Final Cut Pro, select a clip to analyze by doing one of the following: • Click the clip in the browser. To select multiple clips, Command-click them or drag a selection rectangle around them. • Control-click a clip in the timeline, then choose Reveal in Browser. 2. In the browser, Control-click the clip or clips, then choose “Analyze and Fix.” 3. In the window that appears, select the video and audio analysis options that you want to apply, then click OK. See Video analysis options and Audio analysis options. Transcoding may take a while, depending on the analysis options you selected. You can see the status of transcoding and other background processes in the Background Tasks window. Automatically analyze media files when they’re dragged to an event or the timeline 1. In Final Cut Pro, choose Final Cut Pro > Preferences. 2. In the Preferences window, click Import, then select the video and audio analysis options that you want to apply. See Import preferences. When you’re finished, close the Preferences window. 3. To import one or more files, select a file (or Command-click multiple files) in the Finder, then drag the selection to an event or the timeline. View analysis keywords in Final Cut Pro If you analyze media to find people, analysis keywords—such as One Person, Close Up Shot, and so on—are automatically added to clips or clip ranges. Clips or ranges with analysis keywords are marked with a purple line in the browser. You can view a clip’s analysis keywords in several locations in Final Cut Pro. Final Cut Pro User Guide 69 View keywords in the Skimmer Info window 1. In Final Cut Pro, choose View > Browser > Skimmer Info (or press Control-Y). 2. Skim the clip in the browser. Keywords, including analysis keywords, are displayed in the Skimmer Info window when you hold the pointer over the clip. To turn off Skimmer Info, choose View > Browser > Skimmer Info (or press Control-Y). View keywords in list view in the browser 1. In Final Cut Pro, click the List View button in the top-right corner of the browser. 2. To see a clip’s keywords, click the disclosure triangle next to the clip. Final Cut Pro User Guide 70 View the contents of a Smart Collection If you chose to create Smart Collections after analysis, clips that have analysis keywords are automatically grouped in Smart Collections within the event in the Libraries sidebar. A Smart Collection is created for each analysis keyword and placed in a People folder in the event. • In the Libraries sidebar in Final Cut Pro, select an analysis keyword Smart Collection inside an event. The clips with that analysis keyword appear in the browser. For example, if you select the Medium Shot Smart Collection, all the clips in the event that have the Medium Shot keyword appear in the browser. Final Cut Pro User Guide 71 Play back and organize media Play back and skim media Intro to playback in Final Cut Pro Final Cut Pro makes it easy to view and listen to your media, whether it’s located in the timeline or the browser. You use two tools to preview and play back media in Final Cut Pro: • The playhead marks the current position in the timeline or the browser. You can move the playhead by dragging it (called scrubbing) or by clicking another area in the timeline or a clip. You can also play back a clip or project from the playhead’s current position. The playhead appears as a light gray vertical line that is fixed in place unless you move it or click elsewhere. • The skimmer lets you preview clips in the timeline and the browser without affecting the playhead position. You use the skimmer to skim, or freely move over clips to play them back at the position and speed of the pointer. The skimmer appears as a red vertical line as you move the pointer over the area you’re skimming. If you have snapping turned on, the skimmer turns yellow when it snaps to a position. When skimming is turned on, you can skim to see what’s in other clips but still keep your playhead position in the timeline. If both the playhead and skimmer are present in the same clip, the skimmer becomes the default position for playback or editing. Final Cut Pro User Guide 72 When skimming is turned off or the skimmer is not present in a clip, the playhead assumes the default position. Play media in Final Cut Pro Final Cut Pro provides many options for playing back projects and clips. You can play a project or clip from the beginning, play it from a certain point, play it at different speeds, and loop playback. You can also play video in full-screen view. To control whether Final Cut Pro displays optimized, proxy, or original media in the viewer, and whether video playback is optimized for quality or performance, choose the corresponding options from the View pop-up menu in the upper-right corner of the viewer. See Control playback quality. Play back video and audio clips In Final Cut Pro, do any of the following: • Play a project or clip from the beginning: Select the project or clip, then choose View > Playback > Play from Beginning (or press Control-Shift-I). • Play a section of a project, selected clips, or a frame range from the beginning: In the timeline, select clips, or select a range, then choose View > Playback > Play Selection, or press the Slash (/) key. When you select a clip or a portion of a clip or project, the selected area is marked with a yellow border. • Play a project or clip from a specific point: In the browser or the timeline, click a point in the project or clip where you want to begin (or move the playhead to a point in the timeline), then either press the Space bar or click the Play button in the viewer. Final Cut Pro User Guide 73 • Play around the playhead or skimmer: Choose View > Playback > Play Around, or press Shift-Question Mark (?). • Stop playback: Press the Space bar. • Play clips in the browser without interruption: Choose View > Browser > Continuous Playback. When this setting is chosen, all event clips play without interruption (rather than stopping at the end of each clip). Use the J, K, and L keys for playback You can use the J, K, and L keys on your keyboard to play a project or clip at up to 32x normal speed. Playback begins at the location of the playhead (for a project) or the skimmer (for a clip). You can also use the J, K, and L keys to control a video playback device. In Final Cut Pro, you can use these keys to speed playback up to 32x normal speed. 1. In Final Cut Pro, position the playhead or the skimmer in the browser or the timeline. 2. Do any of the following: • Begin forward playback at normal (1x) speed: Press L. • Begin reverse playback at normal (1x) speed: Press J. • Pause playback: Press K. • Double the current playback speed: Press L or J twice. • Immediately reverse the playback direction: Press J to play in reverse, or press L to play forward. • Move the playhead one frame at a time: Hold down the K key, and press J or L. • Move the playhead at 1/2x speed: Hold down the K key while holding down J or L. Final Cut Pro User Guide 74 When you use keyboard shortcuts to control a device (like a camcorder or camera), the speed of forward (L) and reverse (J) playback may vary depending on your video equipment. Play back media in a loop You can turn on looping so that a project or a clip (or any portion of either) plays in a continuous loop. 1. To turn on looping in Final Cut Pro, choose View > Playback > Loop Playback (or press Command-L). 2. Do any of the following: • Loop your entire project: Click the timeline to make it active, then press the Space bar. • Loop a clip in the browser: Select the clip, then press the Space bar. • Loop a portion of a clip or project: Select a range in a browser clip or the timeline (or select a timeline clip), then choose View > Playback > Selection, or press the Slash (/) key. Play video in full-screen view 1. In Final Cut Pro, open a project in the timeline or select a clip in the browser, then position the playhead where you want the video to begin. 2. Do one of the following: • Choose View > Playback > Play Full Screen (or press Shift-Command-F). • Click the Play Full Screen button below the lower-right corner of the viewer. The item plays in full-screen view starting at the playhead position. Tip: You can use all the playback shortcut keys during full-screen playback, including J, K, L, and others. For a full list of the available shortcuts, see Playback and navigation. To leave full-screen view, press the Esc (Escape) key. When you play back clips, the frames under the playhead or skimmer play in the viewer. If you need to play two clips at once so that you can compare them, you can use the event viewer, a separate viewer for playing back event clips only. The event viewer appears to the left of the main viewer. See Play media in the event viewer. Skim media in Final Cut Pro You can quickly skim your video and audio to preview it, search for a particular shot, or make an edit. When skimming is turned on and you move the pointer forward or backward over a clip in the browser or the timeline, the content under the pointer plays in the viewer. You can also use the Blade, Trim, and Range Selection editing tools to skim clips in the timeline or the precision editor. You can also turn on clip skimming to view or hear individual clips in isolation. As you’re editing in Final Cut Pro, you may find skimming distracting when you move the pointer from one location to another. You can disable all skimming (or just audio skimming). Final Cut Pro User Guide 75 Skim clips • In Final Cut Pro, move the pointer forward or backward over a clip in the browser or the timeline. The skimmer (a vertical red line) indicates exactly where the pointer is as you skim, and the corresponding frames are displayed in the viewer. Tip: You can also press the Space bar at any time to play forward from the skimmer position. Skim clips with editing tools The Blade, Trim, and Range Selection tools behave as skimmers as you move the pointer over a clip. 1. In Final Cut Pro, select a clip in the timeline or open the precision editor. 2. Click the Tools pop-up menu above the timeline, then choose the Blade, Trim, or Range Selection tool. 3. Move the tool forward or backward over a clip. When using an editing tool as a skimmer, you can skim and add markers to clips below connected clips in the timeline. Note: When you skim clips with editing tools, Final Cut Pro displays the source timecode for those clips. See View source and project timecode. Final Cut Pro User Guide 76 Turn skimming on and off In Final Cut Pro, do any of the following: • Turn all skimming on or off: Click the Skimming button. You can also choose View > Skimming (or press S). • Turn audio skimming on or off: Click the Audio Skimming button. You can also choose View > Audio Skimming (or press Shift-S). When skimming is turned on, the skimming buttons appear highlighted. Note: When skimming is turned off, you can still skim with the Blade, Trim, and Range Selection editing tools. Skim audio for individual clips or audio components You can turn on clip skimming to limit audio skimming to an individual clip. This is useful if you have a connected clip in the timeline and want to skim it without also hearing audio from the clip in the primary storyline. When clip skimming is turned on, Final Cut Pro displays the source timecode for clips as you skim. Important: You must turn on audio skimming to use this feature. • In Final Cut Pro, choose View > Clip Skimming (or press Option-Command-S). A checkmark appears next to the menu item to indicate that clip skimming is turned on. You can also use clip skimming to skim and listen to an individual audio component when editing clips that show expanded audio components. If clip skimming is turned off, you hear combined audio for all components in the clip as you skim. Tip: To view expanded audio components, select the clip in the timeline and choose Clip > Expand Audio Components (or press Control-Option-S). With clip skimming enabled, you can view source timecode as you skim clips in the timeline. See View source and project timecode. Final Cut Pro User Guide 77 Play media in the Final Cut Pro event viewer Sometimes, you may need two viewers so that you can play back and skim event clips separately from timeline clips. The event viewer is a separate video display that appears next to the main viewer. With the event viewer and the viewer open, you can display two clips at the same time: one from the browser and one from the timeline. You use the event viewer to play clips in the browser only. As you do with the main viewer, you can show video scopes, color channels, title and action safe zones, and multicam angles (with the event viewer set to show angles). Playback and adjustment controls are identical in the viewer and the event viewer. Other viewer-related operations (including onscreen controls and built-in effects) are done with the main viewer. Open or close the event viewer • In Final Cut Pro, choose Window > Show in Workspace > Event Viewer (or press Control-Command-3). Note: If you’re using video scopes with the event viewer, you may find it convenient to display the scopes below the video image rather than on the left side (the default). To display scopes below the video image, click the View pop-up menu at the top of the video scopes display and choose Vertical Layout. See Display video scopes. Compare two video frames in Final Cut Pro In Final Cut Pro, you can show the comparison viewer next to the main viewer to compare any two frames of video side by side. For example, you can compare frames to look for differences or similarities in color correction, cropping, titles, video effects such as blurs or masks, and so on. You can use the comparison viewer in two modes in Final Cut Pro: • Saved: Save frames to the comparison viewer so you can compare them to any frame in the timeline or the browser. In Saved mode, you can use the comparison viewer with a frame browser that shows thumbnails of your saved frames. You can save up to 30 frames from anywhere in your project or library, and you can display saved frames in the comparison viewer with just a click. Final Cut Pro User Guide 78 • Timeline: Quickly compare a frame in your project with a frame from the previous or next clip in the timeline. As you move the playhead in the timeline, the comparison viewer updates automatically to show either the last frame of the previous clip or the first frame of the next clip. Show the comparison viewer • In Final Cut Pro, choose Window > Show in Workspace > Comparison Viewer (or press Control-Command-6). The comparison viewer appears next to the main viewer. Note: You can’t show the comparison viewer and the event viewer at the same time. Compare saved frames in the comparison viewer 1. In Final Cut Pro, show the comparison viewer next to the viewer by choosing Window > Show in Workspace > Comparison Viewer (or pressing Control-Command-6). 2. Click the Saved button at the top of the comparison viewer. 3. In the timeline or the browser, position the playhead on the frame you want to save to the comparison viewer, then click the Save Frame button in the lower-right corner of the comparison viewer. The frame appears in the comparison viewer. A thumbnail of the saved frame also appears in the frame browser. See Store and review frames in the frame browser, below. 4. In the timeline or the browser, position the playhead on the frame you want to compare with, so that it appears in the viewer. Store and review frames in the frame browser When working with the comparison viewer in Saved mode, you can view, add, and remove saved video frames in the frame browser. 1. In Final Cut Pro, show the comparison viewer next to the viewer by choosing Window > Show in Workspace > Comparison Viewer (or pressing Control-Command-6). 2. To open the frame browser, click the Saved button at the top of the comparison viewer, then click the Frame Browser button in the lower-left corner. Final Cut Pro User Guide 79 3. To save a frame to the frame browser, position the playhead on a frame in the timeline or the browser, then do one of the following: • Click the Save Frame button in the lower-right corner of the comparison viewer. • Click the Save Frame button in the lower-left corner of the frame browser. The saved frame appears in the comparison viewer, and its thumbnail is added to the frame browser. When the frame browser reaches 30 saved frames, the oldest image will be deleted to make room for newly saved frames. You can access saved frames from any project in the current library, but they are not available across libraries. 4. In the frame browser, do any of the following: • Display a saved frame in the comparison viewer: Click its thumbnail. • Quickly preview a saved frame in the comparison viewer: Hold down the Option key as you move the pointer over a thumbnail. • Remove a saved frame: Select its thumbnail and press Delete. Compare the previous or next clip in the timeline The Previous Edit and Next Edit buttons in the comparison viewer’s Timeline mode let you quickly compare a frame in the timeline with frames in adjacent clips. This is particularly useful for color correcting a series of shots in a scene that requires continuity in color and exposure. 1. In Final Cut Pro, show the comparison viewer next to the viewer by choosing Window > Show in Workspace > Comparison Viewer (or pressing Control-Command-6). 2. Click the Timeline button at the top of the comparison viewer. 3. In the timeline, position the playhead on the frame you want to compare to a frame in an adjacent clip. The video frame appears in the viewer. Final Cut Pro User Guide 80 4. To set the frame that appears in the comparison viewer, click one of the following buttons at the bottom of the comparison viewer: • Previous Edit: Shows the last frame of the previous clip in the timeline. • Next Edit: Shows the first frame of the next clip in the timeline. For more information about color correction, see Manual color correction workflow. Display video scopes in the comparison viewer You can display video scopes in the comparison viewer, just as you can in the main viewer. 1. In Final Cut Pro, show the comparison viewer next to the viewer by choosing Window > Show in Workspace > Comparison Viewer (or pressing Control-Command-6). 2. In the upper-right corner of the comparison viewer, choose View > Video Scopes, or press Command-7 while the comparison viewer is active. Tip: You can use the Command Editor to assign a keyboard shortcut to save a video frame to the comparison viewer (or to switch the active viewer between the comparison viewer and the viewer when working with an external display). In the Command Editor, search for “comparison viewer.” See Intro to the Command Editor. Play media on an external display in Final Cut Pro Final Cut Pro includes an A/V Output option to send video and audio from your Mac to an external video monitor. The A/V Output feature shows you how video and audio look and sound on a reference SDR or HDR video monitor. In addition, this feature allows you to test output with sophisticated external devices such as vectorscopes and waveform monitors. A/V Output also lets you use the Pro Display XDR as a dedicated HDR color reference monitor for video editing and color correction. Note: If you have a second computer display connected to your Mac, you can expand your workspace by showing the viewer, browser, or timeline on the second display. See Use a second display. Final Cut Pro User Guide 81 View playback on an external monitor using a third-party video interface 1. Install the video interface hardware and software according to the manufacturer’s instructions. 2. Connect an external video monitor to the video interface, and make sure the monitor and all other external devices are connected to power and turned on. 3. To select an A/V output device in Final Cut Pro, choose Final Cut Pro > Preferences (or press Command-Comma), click Playback, then click the A/V Output pop-up menu and choose the external monitor. 4. In Final Cut Pro, choose Window > A/V Output. The viewer contents appear on the broadcast monitor. Viewer features (such as onscreen controls and the title-safe and action-safe overlays) appear only in Final Cut Pro. Note: Video and audio are synced at the video frame (not audio sample) level. To turn off A/V Output, choose Window > A/V Output. Use the Pro Display XDR as a dedicated HDR color reference monitor On a system with a Pro Display XDR, Final Cut Pro provides the maximum color and brightness accuracy in HDR video playback. This makes the Pro Display XDR the ideal professional reference monitor for critical work such as HDR color correction. You can enable A/V Output to set up an HDR color correction system with at least two displays: the Pro Display XDR as the external HDR reference monitor and a display for working with the Final Cut Pro interface. For instructions, see Color correct HDR video with Pro Display XDR. Final Cut Pro User Guide 82 View playback on an external monitor using HDMI If you’re using Final Cut Pro 10.1 or later on a 4K-capable Mac with an HDMI port or a Thunderbolt port and an HDMI adapter, you can play 4K or HD 1080 video on an external video monitor connected to the HDMI port. 1. Use an HDMI cable to connect the external HDMI video monitor to the HDMI port on your Mac, and make sure the monitor is connected to power and turned on. 2. To configure the HDMI monitor, choose Apple menu > System Preferences, then click Displays. 3. In Displays preferences, set the HDMI monitor to be a secondary display. 4. Select Scaled, and in the list that appears, select 4096 x 2160, 3840 x 2160, 1080i, or 1080p. Note: You may need to press the Option key while you click Scaled to see additional resolutions for the HDMI monitor. 5. To select the monitor in Final Cut Pro, choose Final Cut Pro > Preferences (or press Command-Comma), click Playback, then click the A/V Output pop-up menu and choose the HDMI monitor. 6. In Final Cut Pro, choose Window > A/V Output. The viewer contents appear on the HDMI monitor. Viewer features (such as onscreen controls and the title-safe and action-safe overlays) appear only in Final Cut Pro. Note: If you’re viewing HDR video on a system with macOS Catalina 10.15 or later, you can have Final Cut Pro show the HDR image as tone mapped. Tone mapping compresses bright image content and reduces the apparent dynamic range of the video to fit the viewable range of the connected display. To turn on tone mapping, open the Playback pane of Final Cut Pro preferences and select the Show HDR as Tone Mapped checkbox at the bottom of the pane. Video and audio are synced at the video frame (not audio sample) level. To turn off A/V Output, choose Window > A/V Output. For more information about third-party devices and software, contact the device manufacturer or go to the Final Cut Pro Resources webpage. Final Cut Pro User Guide 83 Control playback quality in Final Cut Pro You can adjust settings in the viewer to manage visual quality and playback performance. For example, you can increase playback performance by displaying video at reduced resolution or by using proxy media. Set playback quality • In Final Cut Pro, click the View pop-up menu in the upper-right corner of the viewer, then choose an option in the Quality section: • Better Quality: Choose this option to display full-resolution video frames in the viewer. This setting may decrease playback performance for high-quality, largeframe-size video. • Better Performance: Choose this option to display video in the viewer at reduced resolution. Decreasing the size of the media maintains playback performance even for very large media files. Choose the type of playback media • In Final Cut Pro, click the View pop-up menu in the upper-right corner of the viewer, then choose an option in the Media Playback section: • Optimized/Original: Choose this option to edit with optimized media (in the Apple ProRes 422 format) for playback. If optimized media is not available, Final Cut Pro uses the original media for playback. • Proxy Preferred: Choose this option to edit with proxy media for playback. If proxy representations aren’t available, Final Cut Pro uses optimized or original media for playback. • Proxy Only: Choose this option to edit with proxy media rather than full-resolution media for playback. Choosing this option increases playback performance but lowers the video quality. In Final Cut Pro, proxy media is in either the Apple ProRes 422 Proxy or H.264 format. For details about proxy media format and frame size options, see Import preferences and Create optimized and proxy files. You can use the Info inspector to determine whether optimized or proxy media files exist for a given clip. See View a clip’s information. If you choose Proxy Only in the View pop-up menu and no proxy media file exists, a Missing Proxy File alert icon appears in the viewer. Important: If you use proxy media for playback, make sure to switch back to optimized/ original media before sharing your project. This ensures the highest quality in the exported file. See Intro to sharing projects. Show overlays in the Final Cut Pro viewer You can add video overlays to the viewer to guide you when placing text and graphics or cropping an image. Title-safe and action-safe overlays show you the boundaries your graphics and text need to stay within so they’ll appear when the program is played on television. You can also create custom overlays tailored to the needs of your project. For example, you can reserve an area of the screen for a logo or graphic that hasn’t been produced yet. Final Cut Pro User Guide 84 Note: Overlays appear only in the viewer. Output media files are not affected. Show title-safe and action-safe overlays The title-safe area is the inner 80 percent of the screen, guaranteed to be visible on all televisions. To prevent text in your video from being hidden by the edge of a TV set, you should restrict any titles or text to the title-safe area. The action-safe area is 90 percent of the image area. Most of the time, anything in your video image that’s outside of this area won’t be displayed on a television screen, so make sure important material is framed within the action-safe area. • In Final Cut Pro, click the View pop-up menu in the upper-right corner of the viewer, then choose Show Title/Action Zones. Lines indicating title-safe and action-safe areas appear in the viewer. Final Cut Pro User Guide 85 Add custom overlays Custom overlays are useful for the various vertical and square aspect ratios common in social media video projects. 1. In Final Cut Pro, create a new project or open an existing project. The example below shows a vertical project. 2. Create a custom overlay image in an image editing app. It’s best to create an image with an alpha channel (in which the reserved areas are opaque and the safe areas are transparent). The image pixel dimensions or aspect ratio should match that of your project settings. Save the image in a format that supports alpha channels, such as PNG. 3. To import the image and add it as an overlay, click the View pop-up menu in the upperright corner of the viewer, then choose Choose Custom Overlay > Add Custom Overlay. Your custom overlay appears in the viewer. 4. Do any of the following: • Adjust the opacity (transparency) of the overlay: Click the View pop-up menu in the upper-right corner of the viewer and choose Show Custom Overlay, then choose a percentage from the Opacity submenu. • Turn off (disable) a custom overlay: Click the View pop-up menu in the upper-right corner of the viewer, then choose Show Custom Overlay. • Turn on a previously added custom overlay: Click the View pop-up menu in the upper-right corner of the viewer and choose Choose Custom Overlay, then choose the overlay from the submenu. Final Cut Pro User Guide 86 Background rendering in Final Cut Pro Rendering is the process of creating temporary video and audio render files for segments of your project that Final Cut Pro can’t play in real time. When you add effects, transitions, generators, titles, and other items that require rendering for playback at high quality, the render indicator (a light gray dotted line) appears below the ruler at the top of the timeline. By default, rendering begins in the background 5 seconds after you stop working and moving the pointer in Final Cut Pro. You can turn off background rendering or adjust this setting in Final Cut Pro preferences (see Playback preferences). You can also manually control rendering for a project or a portion of a project, and you can delete render files for one or more projects, events, or libraries to free up storage space. See Manage render files. Play back slow-motion clips in Final Cut Pro To create high-quality slow-motion effects, you can use your video camera or iPhone to record video at high frame rates—those in excess of the standard 30 frames per second (fps). For example, iPhone 11 Pro Max in the Slo-mo setting can record video at up to 240 fps. The resulting slow-motion clips appear in the Final Cut Probrowser with an icon to indicate that they were recorded at a high frame rate. Final Cut Pro User Guide 87 Organize your library Intro to libraries in Final Cut Pro A library contains multiple events and projects in the same location. When you import video, audio, and still images, or record directly into Final Cut Pro, the source media files (your raw footage) appear as clips in one or more events in the library. An event is similar to a folder that can hold projects as well as dozens, hundreds, or even thousands of video clips, audio clips, and still images. Each event in the library refers to media on your Mac or storage device, and a database file keeps track of where everything is. When you select an event in the library, the media it contains appears as clips in the browser. You select clips or portions of clips in the browser to work with them. You can sort clips in the browser by creation date, as well as by date imported, reel, scene, clip duration, and file type. As your library grows, you can rename, copy, move, and delete your clips, events, and projects as necessary. You can have multiple libraries open at the same time, and you can easily copy events and projects between libraries. For more information about managing multiple libraries, see Intro to managing libraries. Organize your projects, events, and media Create a new event in Final Cut Pro After importing your source media files into Final Cut Pro, you may find that you need to create additional events to organize your media. For example, after importing media shot for a production, you may decide to split the media into events defined by useful categories—shooting locations, scenes, episodes, and so on. Final Cut Pro User Guide 88 By giving your events descriptive names, such as “2017 Smith Wedding,” you can organize all of your media so that it’s readily accessible. 1. In the Libraries sidebar in Final Cut Pro, select the library in which you want to create a new event. 2. Choose File > New > Event (or press Option-N). 3. In the window that appears, type a name for the event, click the Library pop-up menu and choose a library to hold the event, then click OK (or press Return). If you want to include a new, untitled project, select the Create New Project checkbox. To customize settings for the new project, click Use Custom Settings. See Modify a project’s settings. The new event appears in the selected library. 4. Move clips from other events into the new event, as necessary. Rename items in Final Cut Pro You can rename clips, projects, and events. Renaming a clip affects only that instance of the clip. For example, if you add a clip from the browser to the timeline, copy clips between events, or copy clips within the timeline, each of these clip instances (copies) is independent of the others and can have its own name. Important: Renaming a clip in Final Cut Pro does not rename the clip’s source media file on your Mac or storage device. Rename a clip or project in the browser In the Final Cut Pro browser, do any of the following: • Rename a clip or project in filmstrip view: Click the clip’s or project’s name, then type a new name. • Rename a clip or project in list view: Click the clip’s or project’s name, press Return, then type a new name. For more information about filmstrip view and list view, see Intro to browser views. You can also rename a project in project settings. See Modify a project’s settings. Rename a clip in the timeline • In the Final Cut Pro timeline, Control-click the clip and choose Rename Clip, then type a new name. Rename an event 1. In the Libraries sidebar in Final Cut Pro, select the event you want to rename. 2. Do one of the following: • Click the event’s name and type a new name. • Press Return and type a new name. Final Cut Pro User Guide 89 Rename a clip in the timeline index 1. To open the timeline index in Final Cut Pro, click Index in the top-left corner of the timeline (or press Shift-Command-2). 2. Click the Clips button at the top of the timeline index. 3. Select the Name field for a clip, click again (or press Return), then type a new name. Rename a clip in the Info inspector 1. In Final Cut Pro, select a clip in the browser or the timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 3. Click the Info button at the top of the inspector. 4. Click in the Name field and type a new name. Merge and split events in Final Cut Pro You can merge (combine) two or more events in a library (for example, if the media and projects they contain are very closely related). If you find an event is getting bulky and unmanageable, you can split it into multiple events. You can also sort events in the Libraries sidebar by name or date. Final Cut Pro User Guide 90 Merge multiple events 1. In the Libraries sidebar in Final Cut Pro, do one of the following: • Drag one or more events to an event you want to combine them with. • Select the events you want to combine, then choose File > Merge Events. The events are merged into a single event in the library. The corresponding source media files remain in their original locations, either in the library file or linked from external folders. 2. Select the merged event and type a new name. Split an event into multiple events 1. In Final Cut Pro, create the new events you need. 2. Drag the clips and projects you want to relocate from the original event to the new events. The corresponding source media files remain in their original locations, either in the library file or linked from external folders. Sort events by name or date 1. In Final Cut Pro, do one of the following: • Sort events by name: Choose View > Sort Library Events By > Name. • Sort events by date: Choose View > Sort Library Events By > Date. 2. To change the sort order, do one of the following: • Set an ascending sort order: Choose View > Sort Library Events By > Ascending. This option sorts the events in alphabetical or chronological order. • Set a descending sort order: Choose View > Sort Library Events By > Descending. This option sorts the events in reverse alphabetical or chronological order. Move items between events in Final Cut Pro You can copy and move clips and projects from one event to another. For information about copying and moving clips, projects, and events to other libraries, see Copy or move items between libraries. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the clips or projects you want to copy or move. 2. In the browser, select the clips or projects you want to copy or move. Note: You can’t select clips and projects at the same time. Final Cut Pro User Guide 91 3. Do one of the following: • Copy the items: Option-drag the items from one event to the other by first starting to drag and then holding down the Option key as you drag. • Move the items: Drag the items from one event to the other. The event to which you copy or move the clips may be re-sorted in the library. Duplicate projects and clips in Final Cut Pro Duplicating projects and clips is a fundamental technique in your editing workflow. For example, you can duplicate a project to work on a new version of it. You can also duplicate a project and change its settings (such as the aspect ratio) at the same time. If you work on projects that contain compound clips and multicam clips, you can use the Snapshot Project command to create a self-contained backup version of a project that includes referenced compound clips or multicam “parent” clips. Changes you make to other instances of the compound clips or multicam clips do not affect the versions in the duplicate, so your project is protected from accidental changes. For more information about compound clips and multicam clips, see Intro to compound clips and Intro to multicam editing. Duplicate projects and clips 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the clips or projects you want to copy. 2. In the browser, select the clips or projects you want to copy. Note: You can’t select clips and projects at the same time. 3. Choose Edit > Duplicate (or press Command-D). The duplicate items appear in the browser next to the originals. Duplicate projects as snapshots When you duplicate a project as a snapshot, Final Cut Pro embeds copies of compound or multicam “parent” clips in the duplicate, so any changes to other instances of those clips do not affect the duplicate. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to duplicate as a snapshot. 2. In the browser, select the project you want to copy. 3. Choose Edit > Snapshot Project (or press Shift-Command-D). The duplicate project appears in the browser with the word “Snapshot” and the date and time appended to the project name. Duplicate a project and change the project settings You can use the Duplicate As command to quickly and easily create a copy of a project with different project settings. This is useful for creating a new version of a project with a different aspect ratio. For example, you might want to create a square version of a horizontal project for social media delivery. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to duplicate. Final Cut Pro User Guide 92 2. In the browser, select the project you want to copy. 3. Do one of the following: • Choose Edit > Duplicate Project As. • Control-click the project in the browser, and choose Duplicate Project As. 4. In the window that appears, enter a project name and specify the settings for the duplicate project. If you change the aspect ratio, the Smart Conform checkbox appears. Smart Conform analyzes clips for faces and other areas of visual interest, and then uses the analysis to reframe clips that have a different aspect ratio from the project aspect ratio. 5. If you want Final Cut Pro to automatically reframe clips using Smart Conform, select the Smart Conform checkbox. See Adjust framing with Smart Conform. 6. Click OK. Final Cut Pro creates the new project. If you selected Smart Conform, Final Cut Pro enables overscan view for reframed clips, revealing areas of a clip that extend beyond the edge of the viewer. You can make further framing adjustments manually using the Transform effect. See Resize, move, and rotate clips. Delete items from libraries in Final Cut Pro You can delete unwanted clips and projects. You can also delete an entire event from your library to free up storage space. When you delete a clip or a project from an event, or delete an entire event, the source media files are moved to the Trash. There’s one exception: Media that is being used by other projects in your library always remains in the library. Note: Libraries must contain at least one event. 1. In the Libraries sidebar in Final Cut Pro, select the event you want to delete or delete items from. 2. Do one of the following: • Delete items from the event: Select the clips or projects you want to remove, then choose File > Move to Trash (or press Command-Delete). Note: You can’t select clips and projects at the same time. • Delete the entire event: Choose File > Move Event to Trash (or press CommandDelete). The selected items are deleted. To permanently delete the source media files from your Mac or storage device, empty the Trash. WARNING: After the Trash is emptied, the deleted clips and their associated source media files can’t be restored. Final Cut Pro User Guide 93 View and sort items in the browser Intro to browser views in Final Cut Pro In Final Cut Pro, you can display your clips and projects in the browser in two views: • Filmstrip view: Displays the clips in the selected event as a connected series of thumbnail images. Projects appear as thumbnail images with a superimposed clapboard design. Filmstrip view is useful when you want to visually locate your clips and projects. • List view: Displays a list of your clips and projects with associated file and settings information. Use this view when you want to view or sort clips and projects by data such as duration, creation date, last modified date, rating, keywords, and so on. When you select a clip in list view, a filmstrip for the selected clip appears at the top of the browser. The clip filmstrip is fully interactive, allowing access to start and end points, markers, and keywords. Final Cut Pro User Guide 94 Customize browser views in Final Cut Pro In the Final Cut Probrowser, you can switch between filmstrip view and list view, and customize the appearance and layout of each view. To create and save custom arrangements of columns in list view, see Create and share column sets. Switch between filmstrip view and list view • In Final Cut Pro, click the List View button or the Filmstrip View button in the topright corner of the browser. Customize filmstrip view 1. In Final Cut Pro, click the Clip Appearance button above the browser. 2. Do any of the following: • Adjust the time represented by each thumbnail in a clip’s filmstrip: Drag the Duration slider. Adjusting the Duration slider expands and contracts the amount of detail shown in each clip’s filmstrip. The longer each thumbnail’s duration, the fewer thumbnails each clip displays, and the more clips are displayed in the browser. Final Cut Pro User Guide 95 • Adjust the filmstrip height: Drag the Clip Height slider. • Turn audio waveforms on or off: Click the Waveforms checkbox. Final Cut Pro User Guide 96 When audio waveforms are on, they appear at the bottom of each clip’s filmstrip, increasing the height of all clips in the browser. • Play clips in the browser without interruption: Select the Continuous Playback checkbox. When this checkbox is selected, all clips in the browser play through without interruption (rather than stopping playback at the end of each clip). Alternatively, choose View > Browser > Continuous Playback. Customize list view With the Final Cut Pro browser in list view, do any of the following: • Choose what type of information is displayed: Control-click a column heading in the browser, then choose a type of information to display. • Rearrange columns: Drag a column heading to move the column to a new position. • Sort clips by a category: Click a column heading to sort clips by that category. • View an item’s keywords, rating, or marker text: Click the disclosure triangle to the left of the clip’s name. The disclosure triangle also appears if a portion of the clip is used in a project, and the browser is set to show used media. (To indicate used portions of clips in the browser with an orange line, choose View > Browser > Used Media Ranges.) Sort and group items in the Final Cut Pro browser You can sort clips and projects in the browser so that it’s easier to locate them. Sort and group items in the browser 1. In the Libraries sidebar in Final Cut Pro, select the event whose items you want to sort. Final Cut Pro User Guide 97 2. Click the Clip Appearance button above the browser, then do any of the following: • Group clips by category: Click the Group By pop-up menu and choose a category. To set the sort order, click the pop-up menu again and choose either Ascending or Descending. • Choose how clips are sorted in filmstrip view: Click the Sort By pop-up menu and choose an option. You can sort clips by date, name, take, or duration. To set the sort order, click the pop-up menu again and choose either Ascending or Descending. Note: In list view, click a column heading to sort clips by that category. See Customize list view. Reset the sort order in the browser You can reset the browser sort order to its default state. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the items whose sort order you want to reset. 2. Click the Clip Appearance button above the browser. 3. Click the Group By pop-up menu and choose Ascending, then click the pop-up menu again and choose None. 4. Click the Sort By pop-up menu and choose Content Created, then click the pop-up menu again and choose Ascending. Create and share column sets in Final Cut Pro With the browser in list view, you can save any combination of column settings as a new custom column set. The column settings include available columns, column order, column width, column visibility, and custom metadata fields. You can easily copy column sets to another computer, or share them with friends and colleagues so that the same column sets are available in their browser. Save a column set in the browser 1. In the Final Cut Pro browser in list view, arrange the columns the way you want them to appear in your column set. See Customize list view. 2. Control-click any column heading in the browser, then choose Save Column Set As from the shortcut menu. Final Cut Pro User Guide 98 3. Enter a name for the column set, then click Save. The new column set is added to the shortcut menu, in alphabetical order. Switch between column sets After you create one or more column sets, you can easily switch between them. • In the Final Cut Pro browser in list view, Control-click any column heading, then choose another column set from the shortcut menu. Edit column sets 1. In the Final Cut Pro browser in list view, Control-click any column heading, then choose Edit Available Columns from the shortcut menu. 2. In the Column Set Editor window, do any of the following: • Create a column set: Click the Action pop-up menu in the lower-left corner and choose New Column Set, then enter a name for the new set. • Edit a column set: In the list on the left side of the window, select the set you want to edit, then select the properties you want to include in the set from the Property list. You can also use the Properties pop-up menu and the search field at the top of the window to filter and search for metadata to include in the Property list. You can add any metadata properties to a column set, including custom metadata fields. See View and change clip metadata and Modify metadata views. Note: The Default Column Set can’t be modified. To make a new version of the Default Column Set, edit a duplicate set. • Duplicate a column set: In the list on the left side of the window, select the set you want to duplicate, then click the Action pop-up menu in the lower-left corner and choose Duplicate Column Set. Enter a name for the new set, then click OK. • Delete a column set: In the list on the left side of the window, select the set you want to delete, then click the Action pop-up menu in the lower-left corner and choose Delete Column Set. Restore the default set of columns in the browser • In the Final Cut Pro browser in list view, Control-click any column heading, then choose Default Column Set from the shortcut menu. Share a column set 1. In the Final Cut Pro browser in list view, Control-click any column heading, then choose Reveal in Finder from the shortcut menu. The Column Sets folder, with all the custom column sets you created, opens in the Finder. 2. In the Finder, select the column set file, then choose File > Compress. Note: Compressing the file prevents any change to the column set during transit. 3. Transfer the resulting ZIP file to your friend or colleague using email or another convenient method. 4. On the receiving Mac, double-click the ZIP file to open it. 5. In the Finder, press and hold the Option key and choose Go > Library. Final Cut Pro User Guide 99 6. Drag the column set file to the following location in the Library folder: /Users/username/Library/Application Support/Final Cut Pro/Column Sets/ The new column set appears in the shortcut menu when you Control-click any column heading in the browser. Organize clips Rate clips in Final Cut Pro If your clips contain sections that you don’t like or might never want to use in a project— because they’re blurry, for example—you can mark them as rejected. You can easily rate the clips you like and don’t like as you review them. When you’re ready to edit your project, you can focus on your best footage by choosing to display only those clips you marked as favorite. You can also delete your rejected clips’ source media files to free up storage space. Rate clips 1. In the browser in Final Cut Pro, select a range, a clip, or multiple clips you want to rate. 2. Do one of the following: • If you like the selection: Press the F key (or choose Mark > Favorite). In the browser, a green line appears at the top of frames you’ve marked as favorite. • If you don’t like the selection: Press the Delete key (or choose Mark > Reject). A red line appears at the top of frames you’ve marked as rejected. Note: If you chose Hide Rejected from the Filter pop-up menu at the top of the browser, clips marked as rejected disappear from view. See Find clips and projects. Final Cut Pro User Guide 100 Remove ratings from clips 1. In Final Cut Pro, make sure the clips you want to work with appear in the browser. You might need to choose a new option, such as All Clips, from the Filter pop-up menu at the top of the browser so that all the clips you need to access are visible. See Find clips and projects. 2. In the browser, select the clips whose rating you want to remove, and press the U key (or choose Mark > Unrate). The green or red line at the top of the clips disappears. Note: An orange line along the bottom of an event clip indicates that the clip is being used in the current project (the project that is open in the timeline). To turn this view on or off, choose View > Browser > Used Media Ranges. For more information about these markings, see Lines marking event clips. Add keywords to clips in Final Cut Pro You can apply keywords to your clips to help you quickly locate the clips you need to compose your movie. After you apply a keyword to a clip or clip range, the clip or range is marked with a blue line in the browser. (Clips that have analysis keywords, which are automatically applied after certain types of analysis, are marked with a purple line. See Intro to analyzing media.) Final Cut Pro User Guide 101 Additionally, when a keyword is applied to a clip or clip range, a Keyword Collection appears in the Libraries sidebar. A Keyword Collection contains pointers (aliases) to clips tagged with a specific keyword. For example, if you apply the keyword “water” to all clips containing water, you can then select the “water” Keyword Collection in the Libraries sidebar to view all clips containing the “water” keyword in the browser. You can apply one or more keywords to a range within a clip, a whole clip, or a group of clips in an event. Note: If you used project folders in the Project Library in previous versions of Final Cut Pro and you updated those projects to Final Cut Pro 10.1 or later, the projects have keywords reflecting the names of the project folders. Add keywords using the keyword editor 1. In the browser in Final Cut Pro, select a range or one or more clips to which you want to add keywords. 2. To open the keyword editor, click the Keywords button in the toolbar. 3. At the top of the keyword editor, type the keyword or keyword phrase you want to apply to the selection, then press Return. Final Cut Pro User Guide 102 4. Repeat step 3 for each keyword or keyword phrase you want to add to the selection. A blue line appears at the top of the selection in the browser, indicating that keywords have been applied to it. 5. When you’re finished adding keywords, close the keyword editor. Add keywords using keyboard shortcuts To add keyword phrases to your clips using keyboard shortcuts, you must first assign keywords and keyword phrases to the keyboard shortcuts. 1. If the keyword editor isn’t open in Final Cut Pro, click the Keywords button in the toolbar. 2. In the keyword editor, click the disclosure triangle to the left of Keyword Shortcuts to reveal the keyword shortcut fields. 3. Type a keyword or phrase in each shortcut field, then press Return. To reassign a keyboard shortcut, select the shortcut text in the field and type the new keyword. 4. To use a keyboard shortcut, select a range or one or more clips to which you want to add keywords, then press Control and the corresponding number key (1 through 9). Add keywords by dragging clips to Keyword Collections A quick and easy way to add keywords to one or more clips is to drag the clips from the browser to existing Keyword Collections. To create a Keyword Collection, see Add keywords using the keyword editor, above. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the clips you want to add keywords to. Final Cut Pro User Guide 103 2. In the browser, select the clip or clips that you want to apply the keyword to. 3. Drag the selection to the Keyword Collection in the Libraries sidebar that corresponds to the keyword you created. The keyword is applied to the clips. Instances of the clips appear in the Keyword Collection. View keywords applied to clips In Final Cut Pro, do any of the following: • Quickly identify clips that have keywords: Select an event in the Libraries sidebar. Clips that have one or more keywords appear in the browser marked with a blue line at the top. You can also create a Smart Collection for all clips that have keywords applied. • View all keywords applied to a clip: Choose View > Browser > Skimmer Info (or press Control-Y), then skim the clip in the browser. You can also view a clip’s keywords by selecting the clip in the browser and clicking the Keywords button in the toolbar (or pressing Command-K). The keywords applied to the clip are shown in the keyword editor. • View all the clips that have a specific keyword: Select a Keyword Collection in the Libraries sidebar. The clips with that keyword appear in the browser. Final Cut Pro User Guide 104 Remove all keywords from a selection 1. In the browser in Final Cut Pro, select a range or one or more clips from which you want to remove keywords. A blue line at the top of the clips indicates the portions of the clips that have keywords applied. 2. Choose Mark > Remove All Keywords (or press Control-0). Remove a subset of keywords from a selection 1. In the browser in Final Cut Pro, select a range or one or more clips from which you want to remove specific keywords. A blue line at the top of the clips indicates the portions of the clips that have keywords applied. Each keyword assigned to a clip also appears in the browser in list view. 2. Click the Keywords button in the toolbar (or press Command-K) to open the keyword editor, then select the keyword or keywords you want to remove and press Delete. Tip: To create a Keyword Collection for an entire library, create a library Smart Collection using one or more keywords as the search criteria. Add clip and project notes in Final Cut Pro As you review your clips and projects, you can add and edit notes about them in the browser (or, in the case of timeline clips, in the timeline index). You can quickly find these items later by entering the note text in the search field in the browser or the timeline index, or in the Text field in the Filter window. For information about text searches, see Find clips and projects. Note: You can add notes to each instance of a clip or project. For example, if you copy clips or projects between events or libraries, add a clip from the browser to the timeline, or copy clips within the timeline, each of these clip or project instances (copies) is independent of the others. Add or edit clip and project notes in the browser 1. If the browser isn’t already in list view in Final Cut Pro, click the List View button in the top-right corner of the browser. 2. Select the clip or project for which you want to add or edit notes. Note: Notes are applied to clips and projects as a whole, not to range selections. Final Cut Pro User Guide 105 3. Click the Notes field for the clip, then type or edit the notes for that clip. Add or edit clip notes in the timeline index 1. To open the timeline index in Final Cut Pro, click Index in the top-left corner of the timeline (or press Shift-Command-2). 2. To open the Clips pane, click the Clips button at the top of the timeline index. 3. If the Notes column isn’t visible in the Clips pane, Control-click a column heading and choose Notes. Final Cut Pro User Guide 106 4. Click the Notes field for the clip, then type or edit the notes for that clip. Organize clips by roles in Final Cut Pro You can organize clips by roles, which are metadata text and color labels assigned to clips. When you import clips (video, audio, or still images), Final Cut Pro automatically assigns one of five default roles to the video and audio components of each clip: Video, Titles, Dialogue, Music, and Effects. You can also create custom roles and subroles, and assign them to clips. You can use roles in Final Cut Pro to organize clips in your events and projects by function or category, control the arrangement of the timeline, and export separate video or audio files (also known as media stems) for distribution, broadcast, audio mixing, or postproduction. Roles have distinct colors that let you instantly recognize clips from particular roles in the browser and the timeline. You can view and reassign roles in the browser, the timeline, or the inspector. For example, you could easily identify all your dialogue clips and play them back in isolation from other audio clips. See View and reassign default roles. Lines marking event clips in Final Cut Pro In Final Cut Pro, lines appear on clips and ranges in the browser to help you see at a glance if they’re marked as favorite or rejected, have keywords applied, or are being used in the current project. The color of the line indicates the type of marker. To turn marker lines on or off, choose View > Browser > Marked Ranges. Color Description More information A green line indicates that you’ve marked a clip as favorite. See Rate clips. A red line indicates that you’ve marked a clip as rejected. See Rate clips. Final Cut Pro User Guide 107 Color Description More information A blue line indicates that a clip has manually applied keywords or keywords imported with the media file. See Add keywords. A purple line indicates that a clip has one or more analysis keywords. See View analysis keywords. An orange line along the bottom of an event clip indicates that the clip is being used in the project currently open in the timeline. See Intro to adding clips. To turn this view on or off, choose View > Browser > Used Media Ranges. Tip: To select a clip range marked with a line, click the line. Find items using search, keywords, and Smart Collections Find clips and projects in Final Cut Pro In Final Cut Pro, you can search for media in the browser in several ways: • Quickly filter clips: Use the Filter pop-up menu to locate clips by rating (for example, clips you’ve rated as favorite). You can also locate unused clips and clips with neither ratings nor keywords. • Search notes, names, or markers: Use the browser search field to quickly find clips and projects by text in notes, names, or markers. • Search using a combination of criteria: Use the Filter window to perform complex searches for clips and projects, also known as weighted searches. You can search by a wide variety of criteria, including clip or project name, rating, media type, used media, excessive shake, keywords, the presence of people, format information, date, roles, and item type (audition, synced clip, compound clip, multicam clip, layered graphic, or project). Note: You can also use the timeline index to search and filter items in the timeline. See Search for items in the timeline index. Filter clips quickly by rating 1. In the Libraries sidebar in Final Cut Pro, select a library or one or more events or folders you want to filter by rating. Final Cut Pro User Guide 108 2. Click the Filter pop-up menu at the top of the browser and choose an option. • All Clips: Shows all clips in the event. • Hide Rejected: Shows all clips or range selections except those you’ve rated as rejected. • No Ratings or Keywords: Shows only the clips or range selections without ratings or keywords. • Favorites: Shows only the clips or range selections you’ve rated as favorite. • Rejected: Shows only the clips or range selections you’ve rated as rejected. • Unused: Shows only the clips or range selections that are not used in a project, compound clip, multicam clip, or synced clip. Search for clips or projects by text in notes, names, or markers 1. In the Libraries sidebar in Final Cut Pro, select a library or one or more events or folders you want to search. 2. Click the Search button at the top-right corner of the browser. 3. In the search field, enter the text you want to search for. As you type, the search results update in the browser. By default, Final Cut Pro searches text in notes, clip and project names, and markers. 4. If you want to search only notes, names, or markers, click the Search button at the left side of the search field and choose an option. Final Cut Pro User Guide 109 Search for clips and projects by a combination of criteria You can search for clips and projects by multiple search criteria. For example, you can search for video clips or projects that are rated as favorite and contain the text “exterior” or “wide shot” in their metadata. 1. In the Libraries sidebar in Final Cut Pro, select a library or events or folders you want to search. 2. Click the Search button at the top-right corner of the browser. 3. Click the Filter button to the right of the search field. 4. In the Filter window, click the Add Filter pop-up menu and choose search criteria. • Text: Find clips or projects by their name or by text in notes and markers. You can add multiple Text filters to search using more than one word or phrase, as well as exclude specific words and phrases from the search. • Ratings: Find clips based on the rating (favorite or rejected) assigned to them. See Rate clips. • Markers: Find clips by markers, including descriptive text and whether to-do markers are complete or incomplete. See Edit and move markers. • Media Type: Find clips by the type of source media file, such as video, audio, or still image. • Type: Find items by their type, such as audition, synced clip, compound clip, multicam clip, layered graphic, or project. • Used Media: Find clips based on whether they’re used in a project, compound clip, multicam clip, or synced clip. • Keywords: Find clips by any of the keywords that you’ve assigned to them. You can select one or more keywords to search for. See Add keywords. • People: Find clips that Final Cut Pro has identified as having people in them. Options include One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. See Video analysis options. • Format Info: Find clips or projects using format information, such as video frame rate or scene number. Final Cut Pro User Guide 110 • Media Representation: Find clips by the available media representation: Original, Optimized, or Proxy. • Date: Find clips or projects by either the date the item was created or the date the media was imported into Final Cut Pro. • Roles: Find clips by their assigned roles. See Intro to roles. To remove a filter, click the Remove button to the right of the filter. To exclude a filter from your search without removing it, deselect its checkbox. 5. Further refine your search by choosing items from the pop-up menus for the filters you’ve added. 6. Do one of the following: • Specify that an item must match at least one of the search criteria or keywords: Click the pop-up menu in the upper-left corner of the Filter window, then choose Any. • Specify that an item must match all the search criteria and keywords: Click the pop-up menu in the upper-left corner, then choose All. The items that match the search criteria are displayed in the browser. If you wish, you can save your search results as a Smart Collection, which gathers items automatically based on the search criteria. To clear the search criteria, click the Reset button in the browser search field. Find clips using both searching and filtering In Final Cut Pro, performing a search and then filtering the results in the browser by rating is a powerful way to quickly find clips. This is also the best way to find specific clips that you haven’t rated and compare them to clips you have rated. 1. In the Libraries sidebar in Final Cut Pro, select the library, events, or folders you want to search. 2. Search for clips using a combination of search criteria, as described above. However, don’t apply a ratings filter using the Filter window. 3. Filter clips by rating, as described above. 4. Repeat step 3 until you find all the clips you’re looking for. Create Smart Collections in Final Cut Pro When you search for clips or projects in a library or an event using the Filter window, you can save your results by creating a new Smart Collection that gathers items matching the search criteria. Anytime a new item that matches the Smart Collection’s search criteria is brought into the event or library, the new item is automatically added to the Smart Collection. A Smart Collection created from a library appears in the library’s Smart Collections folder in the Libraries sidebar. A Smart Collection created from an event appears below the event. Final Cut Pro User Guide 111 Clips and projects that appear in Smart Collections are not duplicates. Smart Collections filter items in an event or library to help you focus on the items you need to use for a specific task. Create a Smart Collection based on search criteria 1. In the Libraries sidebar in Final Cut Pro, select the library or one or more events or folders you want to search. Note: If you select multiple events or folders, Final Cut Pro creates a library Smart Collection in the Smart Collections folder for that library. 2. Do one of the following: • Use the Filter window to search for clips or projects based on specified criteria, then click the New Smart Collection (or New Library Smart Collection) button in the Filter window. • Choose File > New > Smart Collection or File > New > Library Smart Collection (or press Option-Command-N). If you create the Smart Collection using this method, you need to double-click the Smart Collection to open the Filter window and enter your search criteria. A new, untitled Smart Collection appears in the event or in the library Smart Collections folder. 3. Type a name for the Smart Collection, then press Return. Change the contents of a Smart Collection 1. In Final Cut Pro, double-click the Smart Collection whose contents you want to change. The Filter window for the Smart Collection appears. 2. Revise the search criteria in the Filter window. 3. When you’re finished specifying search criteria, close the Filter window. Note: If you modify a clip’s ratings or keywords in such a way that the clip no longer matches a Smart Collection’s search criteria, the clip is removed from the Smart Collection. Final Cut Pro User Guide 112 Delete a Smart Collection 1. In the Libraries sidebar in Final Cut Pro, select the Smart Collection you want to delete. 2. Choose File > Delete Smart Collection (or press Command-Delete). The Smart Collection is removed from the library, but its associated items (the clips and projects that appeared in it) are unaffected. Tip: To create a Keyword Collection for an entire library, create a library Smart Collection using one or more keywords as the search criteria. Organize Smart Collections in Final Cut Pro You can organize Keyword Collections and Smart Collections in events using folders, and you can copy collections between folders and between events. Additionally, every library you create comes with a Smart Collections folder containing a default set of Smart Collections: • All Video • Audio Only • Favorites • Projects • Stills You can rename any collection and adjust its search criteria. You can also add or delete collections from the library Smart Collections folder, or delete the entire folder. Organize collections with folders 1. In the Libraries sidebar in Final Cut Pro, select the event containing the collections you want to organize, then choose File > New > Folder (or press Shift-Command-N). 2. Type a name for the new folder that appears within the event, then press Return. 3. Select the Smart Collections and Keyword Collections you want to organize, then drag them into the new folder. You can show and hide the contents of the folder by clicking the disclosure triangle to the left of the folder’s name. Final Cut Pro User Guide 113 Copy or move collections between events, libraries, and folders In Final Cut Pro, do any of the following: • Copy a Smart Collection or Keyword Collection to another event, library, or folder: Drag the collection to the new location. A copy of the collection appears in the destination event, library, or folder, and the collection’s search criteria are applied to the items at that location. • Move a Smart Collection or Keyword Collection to another event, library, or folder: Drag the collection to the new location to create a copy there. To delete the original collection, select it and choose File > Delete Keyword Collection (or press Command-Delete). The collection appears in the destination event, library, or folder, and the collection’s search criteria are applied to the items in the new location. Restore a Final Cut Pro library Final Cut Pro makes automatic library backups at regular intervals. Backups include the database portion of libraries only, not the media files. Backups are saved with the time and date in the filename. By default, Final Cut Pro saves backups to the Final Cut Pro Backups folder in the Movies folder, but you can change the backup location. See Set storage locations. Final Cut Pro automatically deletes library backups that are more than several days old. 1. In the Libraries sidebar in Final Cut Pro, select the library you want to restore. 2. Choose File > Open Library > From Backup. 3. Click the “Restore from” pop-up menu and choose a backup from a specific time and date, or click Other and navigate to a different backup file to open. 4. Click Open. The backup is added as a library in the Libraries sidebar. Note: The backups are standard Final Cut Pro library files, so you can also open them by double-clicking them in the Finder. See Intro to managing libraries. Final Cut Pro User Guide 114 Edit your project Intro to editing in Final Cut Pro The term video editing refers both to broader stages of a project workflow and to very specific manual tasks that you do with clips in a project timeline. • Create a project: To create a movie in Final Cut Pro, you first create a project, which provides a record of your editing decisions and the media you use. See Create a new project. • Make selections and add clips to the timeline: Adding and arranging clips in your project is the fundamental step in creating a movie with Final Cut Pro. You move and reorder clips in the timeline. See Intro to adding clips, Arrange clips in the timeline, and Intro to audio. • Cut and trim clips: Final Cut Pro provides a wide variety of tools for adjusting the start and end points of clips in the timeline and for controlling pacing from one shot to the next. See Intro to trimming. • Further refine and adjust your project: Final Cut Pro provides many advanced editing tools that allow you to finish a highly polished movie with ease. See the topics in the advanced editing section. • Add effects and color correction: Finishing touches include visual effects and color correction. See Intro to effects and Intro to color correction. Final Cut Pro User Guide 115 Create and manage projects Create a new project in Final Cut Pro To create a movie in Final Cut Pro, you first create a project, which provides a record of your editing decisions and the media you use. When you create a new Final Cut Pro project, you do the following: • Name the project. • Specify the event where the project is stored. Often, you store projects in events that contain the media used to create the project. When you drag media into the timeline from the Finder, or when you access media in the Photos and Audio sidebar and drag it to the timeline, that media is automatically located in the same event as the project. Optionally, you can also set the starting timecode and define the video, audio, and render properties for the project. After creating your project, you add clips to it from an event in the library. Note: If you’re creating a project and you haven’t yet imported media into Final Cut Pro, you should do so. See Intro to importing media. 1. In the Libraries sidebar in Final Cut Pro, select the event in which you want to create the project. 2. Choose File > New > Project (or press Command-N). Tip: You can automatically create a project that has the video properties of a specific clip, without having to enter the project settings manually. In the browser, Control-click a clip and choose New Project, then enter a project name and click OK. 3. In the window that appears, type a name for the project in the Name field. 4. If you want to store the project in an event other than the selected event, click the In Event pop-up menu and choose a different event. 5. If you want your project’s timecode to start at a value other than 00:00:00:00, type a starting timecode value in the Starting Timecode field. Note: If the automatic settings are shown, you can click OK to create a new project at this point. You can add a clip to the new (empty) project timeline, and, if the clip properties match a built-in preset, Final Cut Pro sets the project properties to match the properties of the clip. Final Cut Pro User Guide 116 6. If you want to further customize settings for your project, click Use Custom Settings. Note: Final Cut Pro shows the automatic settings by default, but it retains the settings you used last, so this step may be unnecessary. 7. If you want to make any changes to the project’s video or audio properties, use the pop-up menus in the custom settings view. 8. Click OK. The new project appears in the browser with the name you gave it in step 4. You can now add clips from the browser and begin to edit your project in other ways, adding titles, special effects, background music, sound effects, and more. You can change a project’s properties at any time. See Modify a project’s settings. Open and close projects in Final Cut Pro Open a project 1. In the Libraries sidebar in Final Cut Pro, select the event containing the project you want to open. 2. Locate the project you want to open and double-click it. Note: You may have to scroll up to the top of the event to see the project. The project appears in the timeline. Close a project In Final Cut Pro, do one of the following: • Choose File > Close [project]. • Click the down arrow at the top of the timeline, then choose Close [project]. Close all projects in the timeline history During the course of an editing session, you might open multiple projects and switch between them using the arrow buttons at the top of the timeline. Or you might navigate compound clip levels using the arrow buttons. You can close all projects in the timeline history other than the currently visible one. In Final Cut Pro, do one of the following: • Choose File > Close Other Timelines. • Click the down arrow at the top of the timeline, then choose Close Other Timelines. Modify a project’s settings in Final Cut Pro As your project evolves, you may decide to change its settings. In most cases, Final Cut Pro manages project settings automatically based on the properties of the first clip you add to a project, but you can change almost all settings of an existing project. If you must modify the project settings, choose video and audio project settings based on how you intend to share your final movie with your audience. Final Cut Pro User Guide 117 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to modify, then select the project (or double-click it to open it in the timeline). 2. Do one of the following: • Choose Window > Project Properties (or press Command-J). • Click the Inspector button in the toolbar. 3. In the Project Properties inspector, click the Modify button in the top-right corner. 4. In the window that appears, change the settings as appropriate. For a detailed list of all project settings, see Final Cut Pro project settings. 5. Click OK. Create square or vertical versions of a project in Final Cut Pro Popular social media platforms and websites allow for (and sometimes require) video clips with a variety of aspect ratios—such as square or vertical—for playback in an app or on the web. A relatively new post-production task is creating multiple versions of a project with different aspect ratios. With Final Cut Pro, you can repurpose projects that have standard horizontal aspect ratios, such as those for film or TV, to create deliverables in all shapes and sizes, including square or vertical. In the past, reframing each clip in a project for a new aspect ratio was a manual and timeconsuming process. Final Cut Pro now speeds up this process with the Smart Conform feature, which analyzes the content of each clip for faces or other areas of visual interest, and automatically reframes clips that have a different aspect ratio from the project aspect ratio. You can use Smart Conform to quickly create a square or vertical version of a horizontal or widescreen project, and then make manual framing adjustments later. 1. In Final Cut Pro, open an existing horizontal project. Final Cut Pro User Guide 118 2. Select the project in the browser, and do one of the following: • Choose Edit > Duplicate Project As. • Control-click the project in the browser, and choose Duplicate Project As. 3. In the window that appears, enter a project name and specify the settings for the duplicate project. (Choose Vertical or Square from the Video Format pop-up menu.) When you change the aspect ratio, the Smart Conform checkbox appears. 4. To have Final Cut Pro analyze clips in the project and automatically reframe the clips whose aspect ratio differs from the project aspect ratio, select the Smart Conform checkbox. See Adjust framing with Smart Conform. 5. Click OK. Final Cut Pro creates the new project. If you selected Smart Conform, Final Cut Pro enables overscan view for reframed clips, revealing areas of a clip that extend beyond the edge of the viewer. You can make further reframing adjustments manually using the Transform effect. See Resize, move, and rotate clips. You can add a custom overlay as an onscreen guide when placing text and graphics in the frame. Custom overlays are similar to title-safe and action-safe overlays, except that they can be customized to the needs of your project. This makes them useful for the various vertical and square aspect ratios common in social media. See Show overlays in the viewer. Final Cut Pro project settings You can change almost all settings of an existing Final Cut Pro project. See Modify a project’s settings. Project Name • Project Name: Type a name for the project. Starting Timecode • Starting Timecode: If you want your project’s timecode to start at a value other than 00:00:00:00, type a starting timecode value. Final Cut Pro User Guide 119 Video • Format: Choose the video format (a specific method of encoding the video) or an aspect ratio. Note: If you choose 360° from the Format pop-up menu, the Projection Type pop-up menu appears. See Intro to 360-degree video. • Resolution: Choose the frame size of the video. Available frame sizes are dependent on the format. To enter an arbitrary frame size, click the Format pop-up menu and choose Custom. • Rate: Choose the frames per second (fps). Note: Unless the timeline is completely empty, you can’t change the frame rate of an existing project. Rendering • Codec: Choose the codec to use for your project’s background rendering. • Color Space: Choose the color space for your project, including the color space of the project’s render files. The color space you choose should be the color space in which you intend to export for final delivery. When the color-processing setting in the Library Properties inspector is set to Wide Gamut HDR, wide-gamut settings appear in this menu. For standard formats, the rendering color space is chosen for you based on other settings. For example, setting the video format to NTSC SD automatically sets the color space to Standard - Rec. 601 (NTSC). Note: This setting also determines the color space of the images sent to video scopes, the color space used to detect out-of-gamut colors, the color space of files exported using the Export File share option, and the color space of images that appear on your computer display. Audio • Channels: Choose whether to present the audio as multichannel surround sound or as stereo. • Sample Rate: Choose the audio sample rate for your project (the number of times a signal is measured—or sampled—per second). A higher sample rate produces higherquality audio and larger file sizes, and a lower sample rate produces lower-quality audio and smaller file sizes. The sample rate you choose depends on the source material you’re working with and the final destination of your audio. Save and back up projects in Final Cut Pro Final Cut Pro automatically saves all the changes you make as you work on a project, which means you never have to save changes manually. Also, you can undo all of your changes up to the last time you quit and reopened Final Cut Pro by choosing Edit > Undo (or pressing Command-Z). You can create multiple versions of a project by duplicating it. See Duplicate projects and clips. Changes you make to a clip in a project do not affect the clip’s source file. Thus, if you’ve made a lot of changes to a clip but want to start fresh, you can easily restore the clip to its original state by adding a new copy of the clip (located in an event in the library) to your project. Final Cut Pro User Guide 120 In addition, Final Cut Pro makes automatic backups of your library at regular intervals. Backups include the database portion of libraries only, not the media files. Backups are saved with the time and date in the filename. See Restore a library. Copy a Final Cut Pro project to another Mac You can copy or move a project to another Mac to continue editing the project or to make a backup. To copy a project to another Mac, you must copy the library that contains the project. Final Cut Pro libraries combine your editing projects, video clips, and associated metadata into a single package that’s easy to transfer to another Mac. If your library contains multiple projects, you can isolate the project and its media files before copying. If you already have copies of the project’s media on the other Mac, you can copy just the library file containing the project, without the media files. Tip: If the project you want to copy is the only project in the library, you can simply copy the library. See Transfer a library to another Mac. Isolate a project and its media files, then copy them to another Mac If the Final Cut Pro project you want to copy is in a library with multiple projects and events, you can separate the project and its media files (or the entire event that contains it) from the rest of the library. This simplifies and speeds up copying the project to another Mac. 1. Connect an external storage device to your Mac. 2. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to copy. 3. Do one of the following; • Copy just the project and its media: Select the project. • Copy the project and any other projects or media in the same event: Select the event. 4. Choose File > Copy [item] to Library > New Library. 5. Enter a name for the new library, choose a location for it, and click Save. 6. If your selection contains optimized or proxy media, select settings for copying optimized or proxy media in the window that appears, then click OK. 7. In the Libraries sidebar, select the new library that you just created. 8. To open the Library Properties inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. Final Cut Pro User Guide 121 9. In the Media section, make sure the media storage location is set to In Library, then click Consolidate. See Set storage locations. 10. If your project contains effects, transitions, titles, and generators that were created or customized in Motion, make sure the Motion Content storage location is set to In Library, then click Consolidate. Note: As an alternative, you could manually back up and copy the Motion Templates folder located in your Movies folder. Regardless, you must manually track and move any third-party (FxPlug) content, because it’s not managed within the Final Cut Pro library. 11. Quit Final Cut Pro. Important: Always make sure that Final Cut Pro is not open when you copy or move libraries in the Finder. 12. In the Finder, drag the library file to the icon for the connected external storage device. If you can’t find the library file in the Finder, open Final Cut Pro, select the library in the Libraries sidebar, then choose File > Reveal in Finder (or press Shift-Command-R). The library is copied to the external storage device. 13. When copying is complete, eject the external storage device and disconnect it from your Mac. 14. Connect the external storage device to the new (destination) Mac. 15. Drag the library file to the folder on the new Mac where you want to store the file. 16.To open the library, double-click its icon. Copy a project to another Mac without duplicating its media files If there are identical copies of your project’s source media files (and any effects, transitions, titles, and generators that were created or customized in Motion) on both the original (source) Mac and the new (destination) Mac, you can copy the relatively small project file only. 1. Connect an external storage device to your Mac. 2. In the Libraries sidebar in Final Cut Pro, select the library that contains the project you want to copy. 3. To open the Library Properties inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 4. In the Storage Locations section, click Modify Settings if either Media or Motion Content is set to In Library. 5. In the window that appears, click the Media pop-up menu and choose a folder outside the library in which to store the media, then click Choose. Final Cut Pro User Guide 122 6. Click the Motion Content pop-up menu and choose “In Motion Templates folder,” then click OK. See Set storage locations. 7. In the Media section of the Library Properties inspector, click Consolidate. Final Cut Pro moves the media files from the library file to the external storage location you chose. 8. In the Motion Content section of the Library Properties inspector, click Consolidate. Final Cut Pro moves the Motion Content files from the library file to the Motion Templates folder located in your Movies folder. 9. Quit Final Cut Pro. Important: Always make sure that Final Cut Pro is not open when you copy or move libraries in the Finder. 10. In the Finder, drag the library file (which no longer contains any media files) to the icon for the connected external storage device. If you can’t find the library file in the Finder, open Final Cut Pro, select the library in the Libraries sidebar, then choose File > Reveal in Finder (or press Shift-Command-R). The library is copied to the external storage device. 11. When copying is complete, eject the external storage device and disconnect it from your Mac. 12. Connect the external storage device to the new (destination) Mac. 13. Drag the library file to the folder on the new Mac where you want to store the file. 14.To open the library, double-click its icon. Note: You may need to relink clips to media files or reset the library storage location on the new Mac. See Relink clips to media files and Set storage locations. If a missing media alert icon appears in the Libraries sidebar, but you can’t locate any offline clips, click the Filter pop-up menu at the top of the browser and choose All Clips. All clips (including the offline ones) become visible in the browser. See Find clips and projects. To move a project to another Mac rather than copying it, follow the instructions for copying a project, then delete the project from the original Mac. Select clips and ranges Selections and filmstrips in Final Cut Pro A fundamental step in editing a video project is choosing what you want to include in your final movie. In Final Cut Pro, you indicate what clips or portions of clips you want to act on by making a selection. Final Cut Pro provides a variety of powerful tools for making selections with both speed and precision, including filmstrips, which are a connected series of thumbnail images. Your video clips appear as filmstrips in the timeline (where you build projects) and in the browser (where your source media is displayed). A single video filmstrip might represent several seconds of video encompassing hundreds of video frames (individual images). Audio-only clips appear as audio waveforms, showing the change in the audio volume over time. Final Cut Pro User Guide 123 When you add clips from the browser to a project in the timeline, you can add one or more whole clips, or you can add a range within a clip. Then you can fine-tune the clips individually in the timeline, adding video effects to them, for example, or inserting transitions between them. You can adjust the appearance of filmstrips in the browser and the timeline so that it’s easier to make selections. For example, expanding the width of a filmstrip (by showing shorter durations per thumbnail) helps you make more precise selections. See Customize filmstrip view. You can also adjust the filmstrip appearance in the timeline to make it easier to view and select audio waveforms. Select clips in Final Cut Pro Clips represent your video, audio, and graphics files and allow you to work with your media in Final Cut Pro without changing the files themselves. To add clips to your project, rearrange them, or trim them, you first need to select them. You can select a single clip or multiple clips at a time. Selecting multiple clips allows you to move them as a group within your project, or from one event to another. It’s also useful if you’ve made adjustments to a clip and you want to copy effects and attributes between clips. Final Cut Pro User Guide 124 Select an entire clip in the browser 1. In the Libraries sidebar in Final Cut Pro, select an event. 2. In the browser, do any of the following: • Click the clip once. • Move the skimmer (or the playhead) over the clip, then press X. Note: This results in a range selection that matches the boundaries of the clip. • Press the Up Arrow key or Down Arrow key to move the selection to a neighboring clip. • Option-drag from the start point to the end point of the clip. Note: All selections in the browser are technically range selections (with adjustable start and end points). Select an entire clip in the timeline 1. In Final Cut Pro, open an existing project. 2. In the timeline, do any of the following: • Click the clip once. • Move the skimmer (or the playhead) over the clip, then press X. Note: This results in a range selection that matches the boundaries of the clip. • Move the skimmer (or the playhead if skimming is turned off) over the clip you want to select, then press C. This method selects the clip in the primary storyline. Connected clips and storylines are attached to clips in the primary storyline, and they appear above and below the primary storyline. To select a connected clip or storyline with this keyboard shortcut method, position the pointer on the connected clip, then press C. See Connect clips and Add storylines. A yellow border appears around the clip, indicating that it’s selected. Note: A timeline clip selection (shown above) is different from a timeline range selection, which has visibly distinct range handles for adjusting the selection start point and end point. See Select ranges. Select multiple clips in the browser or the timeline In Final Cut Pro, do any of the following: • Select a number of individual clips: Hold down the Command key as you click the clips you want to select. Note: Command-clicking a browser clip with preexisting ranges selects the ranges rather than the whole clip. Final Cut Pro User Guide 125 • Select all clips and ranges in the browser or the timeline: Click the browser or timeline to make it active, then choose Edit > Select All (or press Command-A). • Select multiple clips by dragging: Drag a selection rectangle over the timeline or event clips you want to select. Deselect clips in the browser or the timeline In Final Cut Pro, do any of the following: • Deselect a single clip: Command-click the clip or click outside it (or select a different clip). • Deselect multiple clips: Hold down the Command key and click the clips you don’t want selected. • Deselect all clips and ranges: Choose Edit > Deselect All (or press Shift-Command-A). • Deselect all clips and clear all selected ranges in the browser: Press Option-X. Select ranges in Final Cut Pro Instead of selecting whole clips, you can select a range within any clip in the timeline or the browser. In the timeline, you can also select a range that spans multiple clips. You can trim range selections, mark them with ratings and keywords, and modify them in other ways. You can adjust the range selection start and end points by dragging either side of the selection. You can also create multiple range selections in one or more clips in the browser. Note: This illustration shows a timeline range selection. Browser range selections have straight range handles. Final Cut Pro User Guide 126 Select a range in the browser 1. In the Libraries sidebar in Final Cut Pro, select an event. 2. In the browser, do any of the following: • Drag across any clip’s filmstrip. A yellow border appears around the range you selected. If the filmstrip wraps onto two lines, you can select a range extending over the break simply by continuing to drag across the break. When you reach the edge, the pointer jumps to the next line. Tip: Option-drag across any clip’s filmstrip with existing ranges to replace those ranges with a new range. • Use the I and O keys to set the range selection start and end points. See Set a range start point or end point, below. • Move the skimmer (or the playhead) over a clip, then press X. Final Cut Pro sets the range selection start and end points at the clip start and end points. • Click a marker line at the top of a clip. These marker lines can indicate any of the following: clips marked as favorite (green) or rejected (red), manually applied keywords (blue), or analysis keywords (purple). Select a range in the timeline 1. In Final Cut Pro, open an existing project. 2. In the timeline, do any of the following: • Click the Tools pop-up menu in the top-left corner of the timeline and choose Range Selection (or press R). The pointer changes to the Range Selection tool . Drag the Range Selection tool across one or more clips to select a range. To adjust the range selection start and end points, drag the range handles on either side of the range. Tip: To temporarily switch to the Range Selection tool, hold down the R key. When you release the R key, the tool reverts to the previously active tool. • Use the I and O keys to set the range selection start and end points. See Set a range start point or end point, below. Final Cut Pro User Guide 127 • Move the skimmer (or the playhead) over a clip, then press X. Final Cut Pro sets the range selection start and end points at the clip start and end points. Tip: To use this keyboard shortcut with connected clips or clips in a connected storyline, position the pointer on the clip, then press X. Set a range start point or end point In the Final Cut Pro browser or timeline, do any of the following: • Set the start point: Position the skimmer (or the playhead, if skimming is turned off) where you want the selection to start, then choose Mark > Set Range Start (or press I). To remove the range start point, press Option-I. • Set the end point: Position the skimmer (or the playhead, if skimming is turned off) where you want the range to end, then choose Mark > Set Range End (or press O). To remove the range end point, press Option-O. • Set the range start point or end point while a clip or your project is playing: Press the Space bar to start playback, then press the I or O key when you want to set the start or end point. Tip: In the browser, you can press Shift-Command-I and Shift-Command-O to set multiple ranges during playback. If you’re using the Blade, Trim, and Range Selection tools in the timeline or in the precision editor, you can use the I and O keys to set selection start and end points in a connected clip or storyline, as well as in clips underneath connected clips and storylines. Move the pointer directly over a clip and press I to set a selection start point, or press O to set a selection end point. See Cut clips in two, Make roll edits, and Use the precision editor. Extend or shorten the range selection In the Final Cut Pro browser or timeline, do any of the following: • Adjust where the range starts or ends: Drag the left or right edge of the yellow selection border. • Reset the start point or end point for a range within the same event clip or project: Move the skimmer, then press I or O. If the skimmer is not present, you can turn on skimming. Tip: You can also press the I or O key while a clip is playing back. • Extend or shorten a range within an event clip: Move the skimmer to any frame that you want the range to begin or end with, then hold down the Shift key and click (or drag). • Extend or shorten a range using timecode: Choose Modify > Change Duration (or press Control-D), then enter a new duration using your keyboard. As you type, the duration value appears in the timecode display below the viewer. (This method works with single range selections only.) Set the range selection to match the boundaries of the clip • In the Final Cut Pro browser or timeline, move the skimmer (or the playhead) over a clip, then press X. Final Cut Pro User Guide 128 Final Cut Pro sets a range selection from the start point to the end point of the clip. Any preexisting ranges are removed. Clear ranges You can remove one or more ranges from the browser or the timeline. Note: This operation does not affect the clip media in either the browser or the timeline. In the Final Cut Pro browser or timeline, do any of the following: • Remove an individual range in an event: Option-click the range. • Remove a range in the timeline: Click outside of the range, or select a different range. • Clear one or more ranges in the browser or the timeline: Select the range or ranges, then choose Mark > Clear Selected Ranges (or press Option-X). Selected ranges have a thick yellow border. Unselected ranges (available only in the browser) have a thin orange border. • Remove all ranges in an event: Choose Edit > Select All (or press Command-A) to select all ranges in the current event, then choose Mark > Clear Selected Ranges (or press Option-X). Set multiple ranges in the Final Cut Pro browser In the browser, you can set multiple ranges within one or more clips, and you can select and deselect ranges after you set them. For example, you might set multiple ranges in a long event clip, and then deselect some of the ranges before adding all of the selected ranges to the timeline at once. Note: Selected ranges have a thick yellow border. Unselected ranges have a thin orange border. Editing commands operate on yellow selections only. Note: The commands described in this section require the browser to be the active portion of the Final Cut Pro main window. You can make the browser active by moving the pointer over it or clicking it. When the browser is active, a blue line appears at the top. Set multiple ranges in an event clip 1. In the Final Cut Pro browser, select a range within a clip. Final Cut Pro User Guide 129 2. To set an additional range, do one of the following: • Command-drag in a different section of the clip. • Move the skimmer (or the playhead) to the frame where you want the additional range to start, then press Shift-Command-I. Move the skimmer or the playhead to the frame where you want the additional range to end, then press Shift-Command-O. Note: These keyboard shortcuts also work during playback, so you can set additional ranges on the fly. • Option-drag over or within existing ranges to replace them with a new range. • Command-click a marker line at the top of a clip. These marker lines can indicate any of the following: clips marked as favorite (green) or rejected (red), manually applied keywords (blue), or analysis keywords (purple). The additional range selection appears in the clip. To remove a range selection, Option-click it. For more ways to remove ranges from event clips, see Remove ranges from clips in an event, below. Set multiple ranges in event clips during playback You can set multiple ranges in clips in the browser during playback. 1. In Final Cut Pro, play back a clip in the browser. 2. While the clip is playing, do any of the following: • Add a range start point: Press Shift-Command-I. • Add a range end point: Press Shift-Command-O. To set multiple ranges in the same clip, repeat these keyboard shortcuts while continuing playback. Select and deselect ranges and clips in an event You can set, select, or deselect multiple ranges within event clips or within events. Important: Editing commands operate on yellow selections only. Editing commands ignore orange (unselected) ranges. 1. In Final Cut Pro, set multiple ranges in one or more event clips. Final Cut Pro User Guide 130 2. Do any of the following: • Select an individual range: Click the range. • Select or deselect a range: Command-click the range. • Select all ranges in a clip: Click an area of the clip that has no range. • Select all ranges and clips in the current event: Choose Edit > Select All (or press Command-A). The ranges (and all clips with no ranges) are selected with a yellow border. • Deselect all ranges and clips in the current event: Choose Edit > Deselect All (or press Shift-Command-A). The ranges turn orange. Remove ranges from clips in an event You can remove individual ranges, multiple ranges, or all ranges from the current event. 1. In Final Cut Pro, set multiple ranges in one or more event clips. 2. Do any of the following: • Remove an individual range in an event: Option-click the range. • Remove selected ranges in an event: Select the ranges you want to remove, then choose Mark > Clear Selected Ranges (or press Option-X). • Remove all ranges in an event: Choose Edit > Select All (or press Command-A) to select all ranges in the current event, then choose Mark > Clear Selected Ranges (or press Option-X). Navigate between selections in an event 1. In Final Cut Pro, set multiple ranges in one or more event clips. 2. Do any of the following: • Go to the start of the range selection: Choose Mark > Go to > Range Start (or press Shift-I). Repeat this command to go to the start of the previous range selection, or to the start of the clip. • Go to the end of the range selection: Choose Mark > Go to > Range End (or press Shift-O). Repeat this command to go to the end of the next range selection, or to the end of the clip. • Select the previous clip (or its ranges): Press the Up Arrow key. To add to the selection, press Shift-Up Arrow. • Select the next clip (or its ranges): Press the Down Arrow key. To add to the selection, press Shift-Down Arrow. Final Cut Pro User Guide 131 Add and remove clips Intro to adding clips in Final Cut Pro You build a movie project by adding clips to the timeline in a chronological arrangement. To suit your particular editing style or need, you can choose from a wide variety of tools and techniques for adding clips. You can change the arrangement of the clips in the timeline at any time. In Final Cut Pro, you can edit your projects without worrying about maintaining clip connection or sync. For example, when you drag a clip into the timeline, Final Cut Pro automatically rearranges the timeline to fit each new clip without disturbing your existing work. This is true for all kinds of clips: video, audio, titles, generators, still images, and so on. You can use clips from multiple events in a single project. You can also add clips from your photo and music apps, the collections of media (such as titles and sound effects) that come with Final Cut Pro, and the Finder. Deleting clips from the timeline does not remove the source clips from your events, your other apps, the Final Cut Pro media collections, or the Finder. Connected clips and storylines remain attached to, and synced with, clips in the primary storyline until you explicitly move or remove them. Final Cut Pro User Guide 132 In the browser, an orange line along the bottom of an event clip indicates that the clip is being used in the current project (the project open in the timeline). To turn this view on or off, choose View > Browser > Used Media Ranges. Drag clips to the timeline in Final Cut Pro You can add clips to the timeline by dragging them from the browser or from the Finder. Drag clips from the browser You can show media in the browser by selecting items in the Libraries sidebar, the Photos and Audio sidebar, or the Titles and Generators sidebar. 1. In Final Cut Pro, open a project in the timeline. 2. To open the sidebar for the type of media you want to add, do one of the following: • Click one of the buttons in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Libraries (or press Command-1). Final Cut Pro User Guide 133 • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 3. In the sidebar you opened, select the item containing the media you want to add to your project. The contents of the selected item appear in the browser. 4. Drag one or more clips from the browser to the timeline. Tip: You can add one clip to your project at a time, but it may be easier to add a number of clips to the project at once and then rearrange them in the timeline. Drag files from the Finder 1. In Final Cut Pro, make sure to open the correct project in the timeline. 2. Arrange the windows onscreen so that you can see both the Final Cut Pro main window and the files in the Finder. 3. Drag the files from the Finder to the timeline. Tip: You can also copy one or more video files in the Finder and paste them into the timeline. Depending on where you drag the clips in the timeline, your actions may result in an append edit, an insert edit, a connect edit, or a replace edit. Final Cut Pro automatically adjusts surrounding clips to fit in place around any clips you’ve dragged. Note: If you add clips to the timeline from the Finder, the Libraries sidebar, or the Photos and Audio sidebar, you’re effectively importing the media into the event that contains the current project. In this case, Final Cut Pro applies the default optimization and analysis settings to the new clips. You can change these settings in the Import pane of Final Cut Pro preferences. When you add still images to the timeline, they have a default duration of 4 seconds. You can change this duration in the Editing pane of Final Cut Pro preferences. Append clips to your project in Final Cut Pro A simple way to add a clip to your project is an append edit, in which you add one or more clips to the end of a project or storyline. 1. In Final Cut Pro, select one or more clips in the browser. 2. To add the clips to the timeline, do one of the following: • Choose Edit > Append to Storyline (or press E). • Click the Append button in the top-left corner of the timeline. If there’s no selection, the clip appears at the end of the primary storyline in the timeline. If a storyline is selected, the clip appears at the end of the selected storyline. Final Cut Pro User Guide 134 Insert clips in Final Cut Pro An insert edit places the source clip so that all clips after the insertion point are moved later (or rippled) in the timeline to make room for the clip being added. No clips are removed from your project. An insert edit makes the project longer by the duration of the inserted clip. You might use insert edits when you want to add a new shot in the beginning or the middle of your project. You can also use an insert edit to interrupt the action in an existing clip with the action in the newly inserted clip. The action in the original clip then resumes after the inserted clip. Note: You can use three-point editing to make insert edits. See Intro to three-point editing. Insert browser clips in the timeline 1. In Final Cut Pro, select one or more clips in the browser. 2. Move the playhead to the point in the primary storyline or in a selected storyline (or make a range selection) where you want to insert the clip. 3. Do one of the following: • Choose Edit > Insert (or press W). Note: If you use the keyboard shortcut and the skimmer is present in the timeline, the edit occurs at the skimmer position. • Click the Insert button in the top-left corner of the timeline. The clip appears in the timeline, and all clips after the insertion point are rippled forward. If the skimmer is not present, the clips are inserted at the playhead position. If you perform an insert edit in the middle of an existing timeline clip, that clip is cut at the insertion point, and the second half is moved to the end of the newly inserted clip, along with the rest of the footage to the right of the insertion point. Insert a gap or placeholder clip in the timeline If you want to reserve space in the timeline for a clip that you don’t yet have, you can insert a generated placeholder clip or a blank and silent clip (called a gap clip). You can adjust a gap clip or placeholder clip to any duration. 1. In Final Cut Pro, move the playhead to the point in the primary storyline or a selected storyline (or make a range selection) where you want to insert the gap clip or placeholder clip. Final Cut Pro User Guide 135 2. Do any of the following: • Insert a placeholder clip: Choose Edit > Insert Generator > Placeholder (or press Option-Command-W). Final Cut Pro inserts a clip with gray placeholder imagery that you can customize. See Add placeholders. • Insert a gap clip: Choose Edit > Insert Generator > Gap (or press Option-W). Final Cut Pro inserts a blank clip (containing blank video and silent audio) that you can adjust to any duration. (The film industry term for this is slug.) Note: Gap clip color is determined by the current background color in Final Cut Pro. To adjust the background color, choose a Player Background option in the Playback pane of Final Cut Pro preferences. If you want a different color, consider using a solid generator. See Generators overview. The clip appears in the timeline, and all clips after the insertion point are rippled forward (to the right). Insert clips by dragging them from the browser or the Finder In Final Cut Pro, you can drag clips to the timeline to insert them between other clips. Show clips in the browser from the Libraries sidebar, the Photos and Audio sidebar, or the Titles and Generators sidebar, and then drag them to the timeline. You can also insert clips by dragging them directly to the timeline from the Finder. • Drag the clip you want to insert to an edit point (between two clips) in the timeline. Final Cut Pro User Guide 136 The clip appears in the timeline, and all clips after the insertion point are rippled forward (to the right). Connect clips in Final Cut Pro In Final Cut Pro, you can attach clips to other clips in the timeline. Connected clips remain attached and synced until you explicitly move or remove them. Some uses for connected clips include: • Cutaway shots: Add a cutaway shot by connecting it to a video clip in the timeline. • Superimposed titles: Add a title or a lower third to a video clip or range. • Spot sound effects and background music: Sync audio clips to clips in the primary storyline. The clips remain synced even if you move the primary storyline clips. When you connect clips using the Connect menu command, the keyboard shortcut, or the button above the timeline, video clips are connected above the primary storyline, and audio clips are connected below the primary storyline. Note: You can also use three-point editing to make connect edits. See Intro to three-point editing. Final Cut Pro User Guide 137 Connect clips in the timeline 1. If your Final Cut Pro project is empty, add clips to the dark gray primary storyline area in the timeline to build your initial sequence. The clips in the primary storyline serve as a foundation on which you connect (attach) clips to further build your project. Connect edits are slightly different from the other edit types in that they never add clips to the primary storyline. If you perform a connect edit in an empty timeline, a gap clip is first added to the primary storyline, and then the new connected clip is attached to the gap clip. 2. Select one or more clips or a range in the browser. 3. To indicate where you want to connect the selected source clip, do one of the following: • Position the playhead over a frame of the clip in the primary storyline. • Select a range in the primary storyline. 4. To connect the selected clips to the clips in the primary storyline, do one of the following: • Choose Edit > Connect to Primary Storyline (or press Q). Note: If you use the keyboard shortcut and the skimmer is present in the timeline, the clip is connected at the skimmer position. • Click the Connect button in the top-left corner of the timeline. • Drag the clips to the gray area above or below the primary storyline. Final Cut Pro User Guide 138 The first frame of the source selection is connected to the clip in the primary storyline at the playhead or skimmer position. If you dragged the selection to the timeline, the first frame of the source selection is connected to the primary storyline at the point where you released the mouse or trackpad button. When you rearrange, move, ripple, or delete clips in the primary storyline, any clips connected to them are moved or deleted along with the primary storyline clips. Final Cut Pro User Guide 139 When you connect clips by dragging them, you have the option to put video clips either above or below the primary storyline. Note: In Final Cut Pro, if you connect clips, the topmost video clips block out any video clips below them. Exceptions to this rule are clips with some type of transparency, keying, or compositing settings. See Intro to compositing . Audio clips never affect video output, even when they’re placed above video clips in the timeline. Adjust the connection point of a connected clip By default, connected clips and storylines are connected to the primary storyline at their first frame, but you can move the connection point. This is useful when you want to connect a specific frame or audio sample in the connected clip or storyline to a specific frame or audio sample in the primary storyline. • In Final Cut Pro, hold down the Command and Option keys, then click the connected clip (or the gray border of the storyline) at the point where you want to position the connection point. The connection point is moved to the point where you clicked. Final Cut Pro User Guide 140 Edit clips in the primary storyline without affecting connected clips If you need to move, trim, or delete clips in the primary storyline but want to keep any connected clips where they are, you can hold down the Grave Accent (`) key while editing to preserve the timing and position of connected clips. In Final Cut Pro, do any of the following: • Move a clip without affecting connected clips: While holding down the Grave Accent (`) key, drag the clip to another location in the timeline (using either the Select tool or the Position tool). • Trim a clip without affecting connected clips: While holding down the Grave Accent (`) key, trim the clip using any method, including ripple edits, roll edits, slip edits, and slide edits. • Delete a clip without affecting connected clips: While holding down the Grave Accent (`) key, select the clip and press Delete (or press Option-Command-Delete). If you remove clips or ranges involved with connected clips and storylines without holding down the Grave Accent (`) key, special rules apply. See Remove clips from projects. • Switch to an alternate clip in an audition without affecting connected clips: While holding down the Grave Accent (`) key, select the pick in the Audition window. See Review clips in auditions. In all of these cases, the connected clip (or clips) remains in exactly the same position, with its timing preserved. Final Cut Pro User Guide 141 Overwrite clips in Final Cut Pro In an overwrite edit, one or more source clips overwrite any clips in the primary storyline or a selected storyline, starting at a range selection start point or the playhead or skimmer position. No clip items are rippled forward, so the duration of your project remains the same. Overwriting media is different from replacing it. Overwriting works with range selections only, not entire clips, and is not constrained by clip boundaries. Use an overwrite edit when you want to replace media for a specific span of time, rather than replace specific shots. Note: You can also use three-point editing to make overwrite edits. See Intro to three-point editing. 1. In Final Cut Pro, select one or more clips in the browser. If you select multiple clips, they appear in the timeline in the order in which they were selected. 2. To define where you want the overwrite clip to start in the timeline, do one of the following in the primary storyline or a selected storyline: • Position the playhead. • Select a range involving one or more clips in the timeline. Note: The overwrite command ignores whole-clip selections in the timeline. If you don’t select a range in the timeline, the overwrite clip starts at the playhead or skimmer position. 3. Choose Edit > Overwrite (or press D). The source clip appears in the primary storyline and overwrites any clips for the duration of the source clip. Note: If you use the keyboard shortcut and the skimmer is present in the timeline, the edit occurs at the skimmer position. To overwrite from the playhead back, so that the overwrite clip’s end point (rather than its start point) is aligned at the target position, press Shift-D. Final Cut Pro User Guide 142 Replace clips in Final Cut Pro You can replace clips in your project with clips from the browser or the Finder. In contrast to overwrite edits, replacing works on whole timeline clips only and can change the duration of your project. Replace options include using the start or end of the source clip, retiming the source clip to fit the duration of the timeline clip, and automatically creating or adding to auditions. Replace a clip in the timeline by dragging 1. In Final Cut Pro, make a source selection by doing one of the following: • Select a clip or range in the browser. • Select a media file in the Finder. 2. Drag the source selection over the clip in the timeline you want to replace. The target clip in the timeline is highlighted with a white outline. 3. Release the mouse or trackpad button and choose an option from the shortcut menu: • Replace: The target clip is replaced with the source clip selection. The duration is determined by the duration of the source clip selection. If the source clip selection and the target clip have different durations, the subsequent clips ripple. • Replace from Start: The target clip is replaced with the source clip selection, starting from the beginning of the source selection. The duration is determined by the duration of the target clip. Final Cut Pro User Guide 143 • Replace from End: The target clip is replaced with the source clip selection, starting from the end of the source selection. The duration is determined by the duration of the target clip. • Replace with Retime to Fit: The target clip is replaced with the entire source clip selection, retimed to fit the duration of the target clip. • Replace and Add to Audition: The target clip is replaced with an audition that has the source clip selection as the pick and the target clip as an alternate. The duration is determined by the source clip selection. If the source clip and the target clip have different durations, the subsequent clips ripple. • Add to Audition: The target clip is replaced with an audition that has the target clip as the pick and the source clip selection as an alternate. • Cancel: The replace edit is canceled. The source clip selection appears in the timeline, in place of the original clip. Note: In the case of Replace from Start and Replace from End, if the source clip selection is a range selection with a duration shorter than that of the target clip and there’s sufficient extra media, the source selection is extended to match the duration of the target clip. The resulting storyline duration doesn’t change. Replace a clip in the timeline using keyboard shortcuts 1. In the browser in Final Cut Pro, select the source clip or range. 2. In the timeline, select the clip you want to replace. Note: The timeline selection must be a whole-clip selection, not a range selection. 3. Do one of the following: • Perform a standard replace edit: Press Shift-R. The target clip is replaced with the source clip selection. The duration is determined by the duration of the source clip selection. If the source clip selection and the target clip have different durations, the subsequent clips ripple. • Perform a Replace from Start edit: Press Option-R. The target clip is replaced with the source clip, starting from the beginning of the source clip. The duration is determined by the duration of the target clip. Note: In the case of Replace from Start, if the source clip selection is a range selection with a duration shorter than that of the target clip and there’s sufficient extra media, the source selection is extended to match the duration of the target clip. The resulting storyline duration doesn’t change. Final Cut Pro User Guide 144 Add still images in Final Cut Pro In Final Cut Pro, you can add and edit a variety of still-image formats in your projects, including photos and graphics files. Add a still image to the timeline You can add still images to your Final Cut Pro project using the Libraries sidebar, the Photos and Audio sidebar, or the Finder. In Final Cut Pro, do any of the following: • Add a still image using the Libraries sidebar: Import the still image into an event, select the event in the Libraries sidebar, then select all or part of the still-image clip in the browser and drag it to the timeline. For information about importing media, see Intro to importing media. Note: After a still image is imported, it functions like any other clip in Final Cut Pro. You can use any of the techniques described in this chapter to add still-image clips to the timeline. • Add a still image using the Photos and Audio sidebar: Open the Photos and Audio sidebar, select a still image in the browser, and drag it directly into the timeline. • Add a still image from the Finder: Select a still-image file in the Finder, then drag it directly into the timeline. The default initial duration for still images is 4 seconds, but you can change this setting in the Editing pane of Final Cut Pro preferences. There’s no limit on the duration of a still-image clip. To adjust the duration of a still-image clip in the timeline, use any of the trimming techniques described in this chapter (see Intro to trimming). To adjust the duration of multiple still-image clips at once, select the clips, then choose Modify > Change Duration (or press Control-D). Edit layered graphics files You can edit layered graphics files, such as Adobe Photoshop (PSD) files, created with another image editing app. 1. Import the layered graphics files into Final Cut Pro. For information about importing media, see Intro to importing media. Important: If the layered graphics file has a transparent background, make sure your project’s rendering format is set to Apple ProRes 4444 to preserve the transparency when rendering. See Modify a project’s settings. 2. In the browser or the timeline, select the layered graphics image. Final Cut Pro User Guide 145 3. Choose Clip > Open Clip. Each layer appears in the timeline as a connected clip that you can edit as you would any other clip. For example, you can animate layers by fading them in or out. The default duration for a layered graphics file is one minute. To adjust the duration of one of the layers in the timeline, use any of the trimming techniques described in this chapter (see Intro to trimming). To adjust the duration of all the layers, select them, then choose Modify > Change Duration (or press Control-D). For more information on creating layered graphics files for Final Cut Pro, see Best practices for creating layered graphics files. Edit a still image with an external image editing app You can modify a still image with an external image editing app, and the changes appear automatically in the clip in Final Cut Pro. 1. In Final Cut Pro, add a still image to the timeline. 2. To locate the clip’s source media file in the Finder, press Shift-Command-R. See Locate source media files. 3. Open the source media file in the external image editing app. 4. In the image editing app, modify the image and save the changes. 5. Switch back to Final Cut Pro. The changes appear automatically in the still-image clip in Final Cut Pro. You can also create freeze frames from your video clips. See Create freeze frames. Final Cut Pro User Guide 146 Create freeze frames in Final Cut Pro Freeze-frame clips hold a particular frame in place, temporarily stopping the action onscreen. You can create a freeze-frame clip from any video clip in the timeline or the browser. If you create a freeze-frame clip from the browser, it’s attached to the primary storyline at the playhead location as a connected clip. If you don’t want to create a separate clip for a freeze frame, you can create a hold segment, which temporarily stops the action for part of a clip. Hold segments offer more precise control, especially when you’re creating variable speed effects. See Create hold segments. You can also create a still-image file from a video frame in your project or from a clip in the browser. For example, you may want to email someone a JPEG image showing a specific moment in your project. See Export still images. Create a freeze-frame clip You can create freeze frames on the fly during playback or by navigating to a specific frame in a clip. Note: A freeze-frame clip preserves any attributes that were applied to the source clip, such as settings and effects. 1. In the timeline or the browser in Final Cut Pro, do one of the following: • Move the skimmer or playhead to the frame you want to freeze. • Begin playback of the clip. 2. Choose Edit > Add Freeze Frame (or press Option-F). How the freeze frame is added to the project depends on whether the freeze frame was created from the timeline or the browser. • If you created the freeze frame from a clip in the timeline: A new freeze-frame clip is inserted at the skimmer or playhead location in the timeline. • If you created the freeze frame from a clip in the browser: A new freeze-frame clip is attached as a connected clip at the playhead location in the timeline. Final Cut Pro User Guide 147 Change the default duration of freeze-frame clips Freeze-frame clips have the same default duration as still-image clips: 4 seconds. You can change the default duration in the Editing pane of Final Cut Pro preferences. 1. Choose Final Cut Pro > Preferences (or press Command-Comma), then click the Editing button at the top of the window. 2. Adjust the Still Images value slider. Add only a clip’s video or audio in Final Cut Pro By default, whenever you add a clip from an event to the timeline, all of the video and audio components of the event clip are included in the edit. However, you can also add just the video or audio portion of an event clip to the timeline, even if the clip contains both video and audio. 1. To set the editing mode in Final Cut Pro, do one of the following: • Add just the video from your selection: Click the Edit pop-up menu in the top-left corner of the timeline and choose Video Only (or press Shift-2). • Add just the audio from your selection: Click the Edit pop-up menu and choose Audio Only (or press Shift-3). The edit buttons (to the left of the Edit pop-up menu) change their appearance to indicate the mode you chose: 2. Add clips to the timeline as you normally would. See Intro to adding clips. The video-only or audio-only clips appear in the timeline. To return to the default editing mode (video and audio), click the Edit pop-up menu and choose All (or press Shift-1). Remove clips from projects in Final Cut Pro When you remove clips from a project in the timeline, the source media from the browser or the Finder is not affected. Final Cut Pro User Guide 148 Delete clips or ranges from the timeline 1. In the Final Cut Pro timeline, select the clips or the range you want to remove. 2. Choose Edit > Delete (or press the Delete key). The selected clips or portions of clips are removed from the timeline, and any clips to the right of the selection ripple to close the resulting gap. To undo the deletion immediately, choose Edit > Undo (or press Command-Z). Note: Normally, if you select an entire timeline clip (for example, with the C key) or a range that consists of an entire clip (for example, with the X key) and delete it, any connected clips or storylines are also deleted. However, you can delete a clip without affecting its connected clips by holding down the Grave Accent (`) key while pressing the Delete key. See Edit clips in the primary storyline without affecting connected clips. Also, if you delete a partial range of a clip that includes a connected clip or storyline, the connected items are not deleted but are instead shifted to the closest primary storyline clip. Delete clips or ranges without affecting the project duration If you want to remove clips from the timeline but still maintain the total project duration and timing, you can replace clips with gap clips. This method prevents any ripple edits. 1. In the Final Cut Pro timeline, select the clips or the range you want to remove. 2. Choose Edit > Replace with Gap (or press Shift-Delete). The selection in the timeline is replaced with a gap clip. Note: This method preserves connected clips. When you replace a clip with a gap clip, any connected clips are attached to the resulting gap clip. Solo or disable clips in Final Cut Pro Sometimes, it’s helpful to compare how a project plays with and without certain clips. In Final Cut Pro, you can quickly play one clip’s audio, excluding audio from other clips. This feature, called solo, works by disabling the audio in all unselected clips in the timeline. You can also disable (rather than delete) selected clips, making them invisible and silent during playback. Disabled clips don’t appear in any output. You can just as easily reenable them. Final Cut Pro User Guide 149 Solo selected items 1. In Final Cut Pro, select the clips in the timeline that you want to isolate. 2. Do one of the following: • Choose Clip > Solo (or press Option-S). • Click the Solo button in the top-right corner of the timeline. When solo is turned on, the Solo button turns blue, and the soloed clips are outlined in yellow. Nonsoloed clips are shown in black and white. 3. To turn off solo, click the Solo button again. Disable and reenable one or more clips 1. In Final Cut Pro, select one or more clips in the timeline. 2. Choose Clip > Disable (or press V). Disabled clips are dimmed in the timeline and are invisible and silent during playback. 3. To reenable the disabled clips, select them in the timeline, then choose Clip > Enable (or press V). You can also solo, disable, or silence audio clips in Final Cut Pro. See Solo and mute audio clips. Final Cut Pro User Guide 150 Find a project clip’s source clip in Final Cut Pro You can use the Reveal in Browser command to quickly find the source event clip for any clip in your project in the timeline. This command identifies the source clip in the browser and positions the playhead on the same frame as in the timeline. This is known as a match frame. There are several reasons you might want to locate a timeline clip’s source clip in Final Cut Pro: • You want to duplicate a clip in your project or add the same clip to a different project. • You want to open the original source clip without any of the video or audio effects from the timeline clip—for example, to add a fresh copy of the clip to your project. • You want to open the source event clip with all of its video and audio components, instead of the timeline clip, which may have only a single component. For example, your timeline clip may be a video clip item that no longer has its corresponding audio. You can open the video clip’s source clip in the browser, and then edit the audio components from the source clip back into the project using a replace or overwrite edit. 1. In the Final Cut Pro timeline, select the clip whose source event clip you want to locate. 2. Do one of the following: • Choose File > Reveal in Browser (or press Shift-F). • Control-click the clip and choose Reveal in Browser. A selection border appears around the source clip or range in the browser, and the playhead position in the source clip matches the playhead position in the timeline clip. An orange line along the bottom of the source clip indicates that the clip is being used in the current project (the project open in the timeline). Make three-point edits Intro to three-point editing in Final Cut Pro Three-point editing allows you to use start and end points in the browser and the timeline to specify the duration of a clip and where it should be placed in the timeline. Threepoint editing gets its name from the fact that only three edit points are necessary to determine the portion of the source clip to use and where to place that clip in the timeline. Final Cut Pro infers the fourth edit point automatically. The result of the edit depends on which three points are set in the browser and in the timeline: two start points and one end point or one start point and two end points. Final Cut Pro User Guide 151 You can use three-point editing with the following types of edits: • Insert • Connect • Overwrite With each of these edit types, you can also perform backtimed three-point edits, in which the end point (rather than the start point) is aligned with the skimmer or playhead position in either the browser or the timeline. You can also make two-point edits in which start and end points are inferred from the skimmer position and the clip duration. To make three-point edits, it’s important to know how to make selections and how to use the skimmer and the playhead. For information about making selections, see Select ranges and Select clips. For information about the skimmer and the playhead, see Intro to playback. Basic three-point editing has three steps: Step 1: Set source selection edit points in the browser Specify which part of a clip you want to place in the timeline. You do this by setting the start and end points. If you want to set just a start point in the browser, position the skimmer (or playhead) at the point where you want the edit to begin. In this case, the end point is determined by the start and end points set in the timeline or by the end of the clip. You can also select multiple clips in the browser, and their aggregate source media duration determines the start and end points. Step 2: Set edit points in a storyline in the timeline Specify where you want the clip to appear in the timeline by setting start and end points in the primary storyline or in a connected storyline. If both start and end points are set in the timeline, these edit points determine the edit duration, regardless of the duration set in the browser. If no start or end points are set in the timeline, Final Cut Pro uses the skimmer position for the start point of the edit. If the skimmer is not present, Final Cut Pro uses the playhead position. Important: With few exceptions, three-point editing requires range selections rather than clip selections. Step 3: Add the source clip or selection to the timeline Choose to either insert, connect, or overwrite. Final Cut Pro three-point editing guidelines The result of a three-point edit in Final Cut Pro depends on which three points you set in the browser and the timeline. Edit points set Results • Source selection start and end points in the browser • Destination start point in the timeline The start point of the source selection in the browser is aligned with the destination start point in the timeline, and the duration of the edit is determined by the source selection start and end points in the browser. Final Cut Pro User Guide 152 Edit points set Results • Source selection start point in the browser • Destination start and end points in the timeline The start point of the source selection in the browser is aligned with the destination start point in the timeline, and the duration of the edit is determined by the destination start and end points in the timeline. Note: This edit requires a range selection in the timeline. You can use the Range Selection tool or the I and O keys for this purpose. See Select ranges. • Source selection start and end points in the browser • Destination end point in the timeline The end point of the source selection in the browser is aligned with the destination end point in the timeline, and the duration of the edit is determined by the source selection start and end points in the browser. This is known as “backtiming” an edit. Use this method when you want to make sure a clip ends at a specific point in the project. • Source selection end point in the browser • Destination start and end points in the timeline The end point of the source selection in the browser is aligned with the destination end point in the timeline, and the duration of the edit is determined by the destination start and end points in the timeline. This is known as “backtiming” an edit. Use this method when you want to make sure a clip ends at a specific point in the project. Note: This edit requires a range selection in the timeline. You can use the Range Selection tool or the I and O keys for this purpose. See Select ranges. Final Cut Pro three-point edit examples In Final Cut Pro, you can make precise edits using a combination of three (or sometimes two) edit points set in the browser and the timeline. See Intro to three-point editing. Here are a few examples of ways to make three-point edits. Example: Make a three-point edit The simplest way to perform a three-point edit is to specify start and end points for the source selection in the browser, and then specify the destination start point in your project by positioning the skimmer (or the playhead) in the timeline. 1. In Final Cut Pro, set start and end points (or select a range) for the source selection in the browser. Final Cut Pro User Guide 153 2. In the timeline, position the skimmer (or the playhead, if the skimmer is not present) at the location in your project where you want the clip to start (the destination start point). 3. To add the source selection to the project using an overwrite edit, press D. The portion of your source selection between the start and end points appears in the timeline, starting at the skimmer position. By defining only three points—the source selection start and end points in the browser and the destination start point in the timeline—you have total control of the edit. Example: Make a backtimed three-point edit You can make a three-point edit by defining source selection start and end points in the browser and a destination end point (instead of a destination start point) in the timeline. This is called backtiming a clip. You can use this method when you want to make sure a particular clip ends at a specific point in a project, on a musical beat. In the resulting edit, the end point of the media in the browser selection is aligned with the end point you set in the timeline, and the rest of the source selection appears to the left. 1. In Final Cut Pro, set start and end points (or select a range) for the source selection in the browser. Final Cut Pro User Guide 154 2. In the timeline, position the skimmer (or the playhead, if the skimmer is not present) at the location in your project where you want the clip to end. 3. Do any of the following: • Backtime the selection using a connect edit: Press Shift-Q. See Connect clips. • Backtime the selection using an overwrite edit: Press Shift-D. See Overwrite clips. Your source selection is edited into the project so that the end point of the media in your source selection lines up with the end point you specified in the timeline. The rest of your clip overwrites any material to the left of the end point for the duration defined by the source selection start and end points set in the browser. Example: Make a three-point edit with multiple clips You can make three-point edits with multiple clips at a time. 1. In Final Cut Pro, select two or more clips in the browser (don’t select a range within a single clip). For information about selecting multiple clips, see Select clips. Final Cut Pro User Guide 155 2. In the timeline, define a destination start point by positioning the skimmer at the location in your project where you want the clips to start. 3. To add the selected clips to the project using an overwrite edit, press D. The entire group of clips selected in the browser is edited into the project. The clips are added in the order in which you selected them. Because you used an overwrite edit, any clip items already in the project are overwritten by the clips selected in the browser, for the duration of the browser clips. You can also make a three-point edit involving multiple clips in the timeline. To select a range across multiple clips in the timeline, you use the Range Selection tool or the I and O keys. See Select ranges. Example: Make a two-point edit You can make an edit without any selections in either the browser or the timeline. This is known as a two-point edit. In this case, Final Cut Pro acts on the current clip in the browser from the position of the skimmer or playhead to the end of the clip, and on the project in the timeline from the position of the skimmer or playhead forward. You can also make backtimed two-point edits, in which Final Cut Pro acts on the current clip in the browser and the project in the timeline from the skimmer or playhead position back. In either case, the duration of the edit is determined by the skimmer or playhead position and the end of the clip in the browser. Final Cut Pro User Guide 156 1. To specify a source selection start point in the Final Cut Pro browser, move the skimmer or playhead to the location where you want the edit to start (but don’t make any selections). 2. To specify a destination start point in the timeline, move the skimmer or playhead to the location where you want the edit to start (but don’t make any selections). 3. To add the clip to the project using an overwrite edit, press D. Arrange clips in the Final Cut Pro timeline In Final Cut Pro, you can arrange and reorder the clips in your project however you want. If you add or move a clip in the timeline by dragging, Final Cut Pro moves other clips to make room for it. Other reordering techniques include moving clips numerically by entering a timecode value, nudging clips with keyboard shortcuts, overwriting with the Position tool, and moving clips vertically from and to the primary storyline. Move clips by dragging horizontally 1. In the Final Cut Pro timeline, select one or more clips. 2. Drag the clips to a new location in the project. Final Cut Pro User Guide 157 As you drag your clips, you see an outline of your selection at the new position in the timeline. When you release the clip, the repositioned clip (or clips) appears at the new location. Final Cut Pro ripples clips (and any connected clips) in the timeline to make room for the repositioned clips and to close the gap left by the clips that were repositioned. You can also drag clips vertically in and out of the primary storyline. Move clips by entering a timecode value You can move selected clips in the timeline by entering an amount of time you want the clips to move. Moving clips by entering a timecode value is similar to making a slide edit; the preceding clip and the following clip must have media handles (additional media available beyond the edit point). See Make slide edits. 1. In Final Cut Pro, select one or more clips in the timeline. 2. Do any of the following: • Move the clips forward: Press the Plus Sign (+) key, then type a timecode duration for the move. • Move the clips back: Press the Minus Sign (–) key, then type a timecode duration for the move. Note: For more information and tips on entering timecode, see Navigate using timecode. The timecode display below the viewer becomes an entry field and reflects your changes as you type. Final Cut Pro User Guide 158 3. Press Return. The clips move forward or back by the duration you entered. The adjacent clips are trimmed to accommodate the change in the clip’s position. If you prefer to fill in the vacated parts of the storyline with a gap clip, select the Position tool by pressing P before entering a timecode value. Nudge clips with keyboard shortcuts You can “nudge” selected items to move them by very small amounts, such as frames. Nudging by subframes is also available for connected audio-only clips. Nudging clips in the timeline is similar to making a slide edit; the preceding clip and the following clip must have media handles (additional media available beyond the edit point). See Make slide edits. 1. In Final Cut Pro, select one or more clips in the timeline. 2. To nudge the clips, do any of the following: • Move the selection left by one frame: Press Comma (,). • Move the selection left by 10 frames: Press Shift-Comma (,). • Move the selection right by one frame: Press Period (.). • Move the selection right by 10 frames: Press Shift-Period (.). 3. If you want to nudge connected audio clips by one or more subframes, do any of the following: • Move the selection left by one subframe: Press Option-Comma (,). • Move the selection left by 10 subframes: Press Option-Shift-Comma (,). • Move the selection right by one subframe: Press Option-Period (.). • Move the selection right by 10 subframes: Press Option-Shift-Period (.). For more information about subframes, see Zoom in to audio waveforms. The nudged clip appears at the new position in the timeline. The adjacent clips are trimmed to accommodate the change in the clip’s position. If you prefer to fill in the vacated parts of the storyline with a gap clip, select the Position tool by pressing P before nudging clips. Final Cut Pro User Guide 159 Overwrite clips using the Position tool You can move clips by dragging them in the timeline to overwrite other clips. This allows you to place clips precisely without causing other clips to move to make room. 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Position (or press P). The pointer changes to the Position tool . Tip: To switch to the Position tool temporarily, hold down the P key. When you release the P key, the tool reverts to the previously active tool. 2. Select the clip you want to move. 3. Drag the clip to a new position in the timeline. The moved clip overwrites any clips at the new position. A gap clip fills in the vacated part of the timeline. Note: If you prefer to move clips left or right in the timeline without leaving a gap, you can perform a slide edit. To return to the Select tool (the default), click the Tools pop-up menu in the top-left corner of the timeline and choose Select (or press A). Final Cut Pro User Guide 160 Drag clips from and to the primary storyline Dragging clips from and to the primary storyline causes ripple edits, which affect the total duration of your project. When you move a clip out of the primary storyline, it becomes either an individual connected clip or part of a connected storyline. 1. In Final Cut Pro, if the Select tool is not the active tool, click the Tools pop-up menu in the top-left corner of the timeline and choose Select (or press A). 2. Select one or more clips (either clips in the primary storyline or connected clips). 3. Do any of the following: • Move clips out of the primary storyline: Drag the clips from the primary storyline to their new position as connected clips (above or below the primary storyline). The subsequent clips in the primary storyline ripple left to close the gap created by the clips you moved. Final Cut Pro User Guide 161 • Move clips to the primary storyline: Drag the clips from their position as connected clips to an edit point between two clips in the primary storyline. The result is effectively an insert edit: The former connected clips are inserted in the primary storyline, and subsequent clips ripple right to make room for the new clips. Note: You can drag clips from and to the primary storyline as long as there are no clips connected to them. If there’s a connected clip, you must first move or remove it, or use either the Lift from Storyline command (Option-Command-Up Arrow) or the Overwrite to Primary Storyline command (Option-Command-Down Arrow). See Move clips from and to the primary storyline without rippling the project, next. Move clips from and to the primary storyline without rippling the project You can move clips from and to the primary storyline without affecting the total duration of your project. 1. In Final Cut Pro, select the clips you want to move. Final Cut Pro User Guide 162 2. Do any of the following: • Move selected clips from the primary storyline to connected clips at the same timeline position: Choose Edit > Lift from Storyline (or press Option-Command-Up Arrow). Gap clips fill in the vacated parts of the primary storyline, as needed. • Move selected connected clips to the primary storyline: Choose Edit > Overwrite to Primary Storyline (or press Option-Command-Down Arrow). Depending on the amount of overlap on the connected clip, the Overwrite to Primary Storyline command either creates a split edit or overwrites any video clips at the new location and converts the audio portion of the overwritten clip to a connected clip. The Overwrite to Primary Storyline command is not available for audio-only clips. Note: The Overwrite to Primary Storyline command works on individual connected clips only. To use this command on a clip in a connected storyline, first move the clip out of the storyline. You can achieve the same results by dragging clips with the Position tool. Cut and trim clips Intro to trimming in Final Cut Pro After you’ve roughly assembled your clips in chronological order in the timeline, you begin to fine-tune the cut point (or edit point) between each pair of contiguous clips. Any time you make a clip in a project longer or shorter, you’re trimming that clip. However, trimming generally refers to precision adjustments of anywhere from one frame to several seconds. If you’re adjusting clip durations by much larger amounts, you’re still trimming, but you may not be in the fine-tuning phase of editing yet. In Final Cut Pro, you can use a variety of techniques to trim timeline clips and edit points, including ripple edits, roll edits, slip edits, and slide edits. Final Cut Pro User Guide 163 No matter how you trim or make other edits in Final Cut Pro, the underlying media is never touched. Trimmed or deleted pieces of clips are removed from your project only, not from the source clips in your library or from the source media files on your Mac or storage device. Tip: You can see a “two-up” display in the viewer as you trim edit points in the timeline. See Show trimming details in the viewer. Cut clips in two in Final Cut Pro After you add clips to the timeline, you can easily cut them to adjust their durations or remove unwanted sections. The most basic edit is a straight cut. The term comes from the film editing process of cutting a filmstrip with a razor and attaching a new “clip” with glue. Each time you cut a clip in your project, it’s split into two clips. You can cut one clip at a time or multiple clips at a time. Cut a clip in the timeline 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Blade (or press B). The pointer changes to the Blade tool . Tip: To switch to the Blade tool temporarily, hold down the B key. When you release the B key, the tool reverts to the previously active tool. 2. Move the skimmer to the frame in the clip where you want to cut, then click. Tip: You can also cut clips while playing back your project. To cut clips on the fly, press Command-B at any time while your project plays back. Final Cut Pro User Guide 164 An edit point appears as a dotted line where you clicked, and the clip is divided into two clips. The dotted line indicates a through edit, in which the media content on either side of the edit point is continuous. To remove a through edit, do one of the following: • Select either or both sides of the through edit point, then choose Trim > Join Clips (or press Delete). • Select the clips on both sides of the through edit, then choose Trim > Join Clips. Cut all clips at once You can use the Blade All command to cut all primary storyline clips and connected clips at the skimmer or playhead location simultaneously. 1. In the Final Cut Pro timeline, move the skimmer to the frame where you want to cut. 2. Choose Trim > Blade All (or press Shift-Command-B). All clips at the skimmer position are cut. Cut multiple selected clips at once You can use the Blade command to cut selected primary storyline clips and connected clips simultaneously. 1. In the Final Cut Pro timeline, select the clips you want to cut. 2. Move the skimmer to the frame where you want to cut. Final Cut Pro User Guide 165 3. Choose Trim > Blade (or press Command-B). The selected clips are cut at the skimmer position. Note: If you don’t make a selection, this command acts only on the clip in the primary storyline. Extend or shorten clips in Final Cut Pro You can trim a clip in your project by adjusting the start point or end point of the clip. The default type of trim in Final Cut Pro is a ripple edit, which adjusts a clip’s start point or end point without leaving a gap in the timeline. The change in the clip’s duration ripples outward, moving all subsequent clips earlier or later in the timeline. Similarly, if you delete a clip from the timeline, subsequent clips ripple earlier to close the gap. Ripple edits affect the trimmed clip, the position of all subsequent clips in the timeline, and the total duration of your project. You can see a “two-up” display in the viewer as you trim edit points in the timeline. This display shows a more detailed view of each side of an edit point. See Show trimming details in the viewer. Final Cut Pro User Guide 166 Drag edit points with the Select tool 1. In the Final Cut Pro timeline, move the pointer to the start point or the end point of the clip you want to trim. The pointer changes from an arrow icon to a trim icon. The look of the trim icon changes to indicate whether the trim will affect the end point of the left clip or the start point of the right clip. 2. Drag the start point or the end point in the direction you want to trim the clip. As you drag, the clip shortens or lengthens. Numerical timecode fields indicate the duration of the clip and the amount of time you’re moving the edit point. Any clips to the right of the edit point are rippled accordingly. When you extend a clip to its maximum length in either direction, the clip edge turns red. Enter a new duration for a clip using timecode You can change the total duration of one or more selected clips by entering a timecode value. 1. In Final Cut Pro, select one or more clips in the timeline. Final Cut Pro User Guide 167 2. Do one of the following: • Choose Modify > Change Duration (or press Control-D). • Double-click the timecode display below the viewer. The timecode display changes to reflect the total duration of the clip or clips you selected in step 1. 3. Enter a new duration for the selected clip. The end point of the clip is moved to the duration you entered, and any subsequent timeline clips ripple accordingly. If you enter a duration longer than the available media in the clip, the duration is extended to the maximum length of the clip. For more information about entering timecode values, see Navigate using timecode. Trim to a selection 1. In the Final Cut Pro timeline, select the part of a clip that you want to keep. For information about making range selections, see Select ranges. 2. Choose Trim > Trim Selection. Final Cut Pro trims the clip start and end points to match the range selection. The unwanted sections are removed from the clip and the project, and the subsequent clips in the project ripple accordingly. Nudge edit points with keyboard shortcuts You can fine-tune the start or end point of a clip using keyboard shortcuts. You can move the edit point by one or more video frames. You can also move the edit points of connected audio clips (those not in the primary storyline) by subframes. Final Cut Pro User Guide 168 1. In the Final Cut Pro timeline, select the start or end point of the clip you want to trim. 2. To move the edit point, do any of the following: • Move the edit point left by one frame: Press Comma (,). • Move the edit point left by 10 frames: Press Shift-Comma (,). • Move the edit point right by one frame: Press Period (.). • Move the edit point right by 10 frames: Press Shift-Period (.). 3. If you want to move the edit point of connected audio clips by one or more subframes, do any of the following: • Move the edit point left by one subframe: Press Option-Comma (,). • Move the edit point left by 10 subframes: Press Option-Shift-Comma (,). • Move the edit point right by one subframe: Press Option-Period (.). • Move the edit point right by 10 subframes: Press Option-Shift-Period (.). For more information about subframes, see Zoom in to audio waveforms. Move edit points to the playhead or skimmer position You can adjust selected edit points in the timeline, either as a ripple edit or as a roll edit, using keyboard shortcuts. 1. In the Final Cut Pro timeline, select the edit point you want to adjust. Note: For a roll edit, select both sides of the edit point with the Trim tool. Final Cut Pro User Guide 169 2. Position the playhead or the skimmer at the point in the timeline to which you want to move the edit point. 3. Choose Trim > Extend Edit (or press Shift-X). The edit point is extended (or shortened) to the playhead or skimmer position. In the example above, if you selected the end point of the clip, subsequent clips in the timeline are rippled accordingly. If you selected both sides of the edit point with the Trim tool, the right clip is shortened (with a roll edit) and no clips ripple. Trim edit points using timecode You can trim clips numerically by entering timecode values. 1. In Final Cut Pro, if the Select tool is not the active tool, click the Tools pop-up menu in the top-left corner of the timeline and choose Select (or press A). 2. In the timeline, select the start point or the end point of the clip you want to trim. Final Cut Pro User Guide 170 3. To trim the edit point, do one of the following: • Move the edit point forward: Press the Plus Sign (+) key, type a timecode duration for the trim, and press Enter. • Move the edit point back: Press the Minus Sign (–) key, type a timecode duration for the trim, and press Enter. The timecode display below the viewer shows the duration of the trim. The clip is shortened or extended by the amount of time you entered, and subsequent clips in the timeline are rippled accordingly. Note: You can’t extend a clip beyond its maximum duration. For more information and tips on entering timecode, see Navigate using timecode. Cut the start or end of a clip at the playhead Some of your video clips may have sections at the beginning or the end that you don’t want to include in your project. You can easily trim off these ranges with a single command, even while playing back the project. No selections are required. This type of edit is sometimes called a top and tail edit. 1. In the Final Cut Pro timeline, position the playhead or the skimmer on the frame at which you want to trim the clip. 2. Do one of the following: • Trim off the start of the clip: Choose Trim > Trim Start, or press Option-Left Bracket ([). • Trim off the end of the clip: Choose Trim > Trim End, or press Option-Right Bracket (]). Final Cut Pro User Guide 171 • Trim the edit point closest to the playhead: Choose Trim > Trim to Playhead, or press Option-Backslash (\). The clip is trimmed to the playhead (or skimmer) position, and the timeline is updated accordingly. In the case of connected clips or storylines, the selected clip is trimmed. If there’s no selection, the topmost clip is trimmed. Align audio to video At any time, you can align audio to video for clips or components in your project to make the video and audio start and end points match. This clears any split edits you made. You can select multiple clips or components. 1. In the Final Cut Pro timeline, select the clips or components you want to align. 2. Choose Trim > Align Audio to Video. Note: If you’re working on numerous split edits throughout your project, you might find it convenient to show expanded audio by displaying audio roles in separate lanes. See Organize the timeline with audio lanes. Make roll edits in Final Cut Pro A roll edit adjusts the start point and the end point of two adjacent clips simultaneously. If you like where two clips are placed in the timeline but want to change when the cut point happens, you can use the Trim tool to roll the edit point between the two clips. No clips move in the timeline as a result; only the edit point between the two clips moves. No other clips in the project are affected. When you perform a roll edit, the overall duration of the project stays the same, but both clips change duration. One gets longer, and the other gets shorter to compensate. In the example above, clip B gets shorter while clip C becomes longer, but the combined duration of the two clips stays the same. Final Cut Pro User Guide 172 You can see a “two-up” display in the viewer as you trim edit points in the timeline. This display shows a more detailed view of each side of an edit point. See Show trimming details in the viewer. 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Trim (or press T). The pointer changes to the Trim tool . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 2. In the timeline, click the center of the edit point you want to roll, so that both sides of the edit point are selected. 3. Do one of the following: • Drag the edit point left or right. • Press the Plus Sign (+) key or the Minus Sign (–) key followed by the timecode duration to add or subtract from the current edit, then press Return. The timecode display below the viewer shows the duration of the trim. For more information about entering timecode values, see Navigate using timecode. • Position the playhead or the skimmer at a point in the timeline to which you want to move the edit point, then choose Trim > Extend Edit (or press Shift-X). Final Cut Pro User Guide 173 The edit point is rolled to the new location. The combined duration of the two clips stays the same. If you can’t roll the edit point any farther and one side of the edit point appears red, you’ve reached the end of the media for one of the two clips. Make slip edits in Final Cut Pro Performing a slip edit doesn’t change a clip’s position or duration in the timeline, but instead changes what portion of the clip’s media appears in the timeline. A slip edit allows you to change a clip’s start and end points simultaneously. Whenever you arrange clips in the timeline so that edit points line up with musical beats or other fixed sync points in a movie, you want to keep your clips in position to maintain the alignment. These situations leave you with very little room to adjust a clip, because you can’t change its duration or move it elsewhere in the timeline. All you can do is move both the start and end points of the clip simultaneously, keeping the clip’s position and duration fixed. Surrounding clips are not affected, and the overall duration of your project doesn’t change. In the example above, the slip edit changes the start and end points of clip B, but not its duration or position in the timeline. When the project plays back, a different portion of clip B’s media is shown. Final Cut Pro User Guide 174 Note: To slip a clip, it must have media handles on both sides, meaning that there must be additional media available on both sides of the clip. If you’re having trouble slipping a clip, check that it has media handles on both sides. You can double-click any edit point to view or adjust media handles in the precision editor. If there are no media handles available, consider using the Position tool instead. See Overwrite clips using the Position tool. For more accurate visual feedback on edits involving contiguous clips, you can see a “two-up” display in the viewer. For a slip edit, the two-up display shows the start and end points of the clip you’re slipping. See Show trimming details in the viewer. 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Trim (or press T). The pointer changes to the Trim tool . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 2. Drag a clip left or right. As you drag, a timecode field indicates the amount of time you’re moving the start point and the end point. Yellow edge selections on the start point and end point indicate a slip edit. Final Cut Pro User Guide 175 When you release the mouse or trackpad button, the slipped clip appears in the timeline with a new start point and a new end point. Note: If either the start point or the end point turns red as you drag, you’ve reached the end of the available media for that side of the clip. With the current selection, you can also slip the clip with keyboard shortcuts by doing one of the following: • Press Comma (,) or Period (.) to nudge the start and end points one frame to the left or right. You can also press Shift-Comma or Shift-Period to nudge the start and end points 10 frames to the left or right. • Press the Plus Sign (+) key or the Minus Sign (–) key followed by the timecode duration to slip the clip left or right, then press Return. Make slide edits in Final Cut Pro Performing a slide edit allows you to move a clip’s position in the timeline between two other clips without creating a gap. The clip’s content and duration remain the same; only its position in the timeline changes. When you slide a clip, the adjacent clips get longer and shorter to accommodate the change in the clip’s position. The combined duration of these three clips stays the same, and the project’s total duration remains unchanged as well. Note: To slide a clip between two others, the preceding clip and the following clip must have media handles (additional media available beyond the edit point). You can doubleclick any edit point to view or adjust its media handles in the precision editor. If there are no media handles available, consider using the Position tool instead. See Overwrite clips using the Position tool. For more accurate visual feedback on edits involving contiguous clips, you can see a “two-up” display in the viewer. For a slide edit, the two-up display shows the two edit points you’re adjusting: the end point of the preceding clip and the start point of the subsequent clip. See Show trimming details in the viewer. Final Cut Pro User Guide 176 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Trim (or press T). The pointer changes to the Trim tool . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 2. Option-drag a clip to the left or right. Yellow selections on the neighboring clips indicate a slide edit. As you drag, a timecode field indicates the amount of time you’re moving the clip in the timeline. When you release the mouse or trackpad button, the slide clip appears at the new position in the timeline. The adjacent clips are trimmed to accommodate the change in the clip’s position. Final Cut Pro User Guide 177 Note: If either edit point turns red as you drag, you’ve reached the end of the available media for that side of the clip. With the current selection, you can also slide the clip with keyboard shortcuts by doing one of the following: • Press Comma (,) or Period (.) to nudge the start and end points one frame to the left or right. You can also press Shift-Comma or Shift-Period to nudge the start and end points 10 frames to the left or right. • Press the Plus Sign (+) key or the Minus Sign (–) key followed by the timecode duration to slide the clip left or right, then press Return. See Arrange clips in the timeline. Create split edits in Final Cut Pro You can set separate video and audio start and end points in an individual clip, creating a split edit. You can use a split edit to introduce the sound of a new shot or scene before cutting to the video of that shot or scene, or to extend the audio of a shot over a subsequent shot. For example, you could cut from a clip of a person talking to video of a person listening, while the audio from the first clip continues. You can use split edits in many different situations—in dialogue scenes, when cutting to illustrative B-roll footage during an interview, or when transitioning from one scene to another. Split edits help you create seamless edits from one shot to the next. The split edit technique results in L-shaped and J-shaped clips with audio extending to the left or the right. These are known as L-cuts and J-cuts. Create a split edit by dragging To create the split edit, you extend the audio of one clip over a neighboring clip. In this example, the audio from the close-up shot is extended over the previous shot to create a J-cut. 1. In Final Cut Pro, add clips to the timeline in the order in which you want them to appear in your movie. Final Cut Pro User Guide 178 2. To show separate audio for the clip you want to edit, do one of the following: • Select the clip in the timeline, then choose Clip > Expand Audio (or press Control-S). • Double-click the clip’s audio waveform. • Show audio lanes in the timeline for the clips you want edit. The audio and video portions of the clip appear as discrete elements that you can change individually. The audio and video are still attached and will remain in sync. 3. Drag the start point (left edge) of the video portion of the clip to the right, effectively trimming it with a roll edit. The example below shows the video start point of the close-up shot being dragged to the right. This creates a J-shaped split edit, with the start point of the audio overlapping the preceding clip. 4. To complete the split edit, show separate audio for the preceding clip, then do one of the following: • Drag the preceding clip’s end point to the left so that the two audio clips no longer overlap. Final Cut Pro User Guide 179 • Adjust the audio level of either clip (using keyframes or audio fade handles) so that the audio overlap sounds natural. 5. If you want to turn off the separate audio view to “clean up” the affected clips, do one of the following: • Select the clip in the timeline, then choose Clip > Collapse Audio (or press Control-S). • Double-click the clip’s audio waveform. When you play back this section of the timeline, the person in the close-up shot begins to speak before the video cuts to the close-up. Create a split edit using keyboard shortcuts You can create split edits quickly using keyboard shortcuts. In this example, the audio from the close-up is extended over the medium shot to create a J-cut. 1. In Final Cut Pro, confirm that the two adjacent clips have sufficient media handles. If not, trim the clips (shorter) to create the media handles. 2. To show separate audio for the two adjacent clips, do one of the following: • In the timeline, select the clips whose audio you want to expand, then choose Clip > Expand Audio (or press Control-S). Final Cut Pro User Guide 180 • Double-click the clip’s audio waveform. 3. Move the playhead to the edit point between the two clips. To ensure accurate playhead placement, use keyboard shortcuts: • Move the playhead to the previous edit point: Press Semicolon (;) or the Up Arrow key. • Move the playhead to the next edit point: Press Apostrophe (’) or the Down Arrow key. 4. Do one of the following: • Select both sides of the audio edit point: Press Shift-Backslash (\). • Select both sides of the video edit point: Press Backslash (\). 5. To roll the audio edit point or the video edit point, do any of the following: • Nudge the edit point left or right: Press Comma (,) or Period (.), respectively. • Nudge the edit point 10 frames left or right: Press Shift-Comma (,) or Shift-Period (.), respectively. Final Cut Pro User Guide 181 • Add or subtract from the current edit using timecode: Press the Plus Sign (+) or Minus Sign (–) key followed by the timecode duration, then press Return. The timecode entry field (with blue numbers) appears below the viewer as you type. For more information about entering timecode values, see Navigate using timecode. When you play back this section of the timeline, the person in the close-up shot begins to speak before the video cuts to the close-up. Align audio to video If you perform a split edit that extends the audio portion of a clip beyond the video portion, you can quickly put the audio and video back into alignment so that the video and audio start and end points match. 1. In the Final Cut Pro timeline, select the clips or components you want to align. 2. Choose Trim > Align Audio to Video. If you select a component, the audio is aligned on both edges of that component. If you select the edge of a component, only that edge is aligned. Note: If you’re working on numerous split edits throughout your project, you might find it convenient to show expanded audio by displaying audio roles in separate lanes. See Organize the timeline with audio lanes. Final Cut Pro User Guide 182 Show trimming details in the Final Cut Pro viewer For more accurate visual feedback on edits involving contiguous or connected clips, you can see a “two-up” display in the viewer. For example, for a simple ripple edit, this two-up display shows the end point of the left clip and the start point of the right clip. This display is available for ripple edits, roll edits, slip edits, and slide edits, as well as for trimming in the precision editor. 1. Choose Final Cut Pro > Preferences, or press Command-Comma (,). 2. Click Editing. 3. In the Timeline section, select the “Show detailed trimming feedback” checkbox. The two-up display appears in the viewer whenever you use a supported edit type or when trimming in the precision editor. Tip: You can use the Option key to change the detailed trimming feedback display on the fly. If detailed trimming feedback is enabled, press the Option key to disable it. If detailed trimming feedback is disabled, press the Option key to switch the view between the end point of the left clip and the start point of the right clip. View and navigate Zoom and scroll in the Final Cut Pro timeline Being able to see and get to any point in your project is critical to efficient editing and storytelling. There are many ways to adjust the view of the timeline. Zoom in to and out of the timeline using commands In Final Cut Pro, do any of the following: • Zoom in to the timeline: Choose View > Zoom In, or press Command-Plus Sign (+). • Zoom out of the timeline: Choose View > Zoom Out, or press Command-Minus Sign (–). Final Cut Pro User Guide 183 Zoom in to and out of the timeline using the Zoom tool 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose Zoom (or press Z). The pointer changes to the Zoom tool . Tip: To switch to the Zoom tool temporarily, hold down the Z key. When you release the Z key, the tool reverts to the previously active tool. 2. Do any of the following: • Zoom in to the timeline: Click the section of the timeline you want to zoom in to. (You can also drag over an area of the timeline to zoom in to just that area.) Click multiple times to continue zooming in. • Zoom out of the timeline: Option-click the section of the timeline you want to zoom out of. Option-click multiple times to continue zooming out. Fit the timeline contents into the available window size Whether you’re zoomed in to a single clip or zoomed out so far that all the clips in your project appear on the left side of the timeline, you can quickly change the view so that all the clips fill the visible part of the timeline and no scrolling is required. • In Final Cut Pro, choose View > Zoom to Fit (or press Shift–Z). Final Cut Pro User Guide 184 Zoom in to and out of the timeline using the Zoom slider 1. In Final Cut Pro, click the Clip Appearance button in the top-right corner of the timeline. The clip appearance controls appear. 2. Do any of the following: • Zoom in to the timeline: Drag the Zoom slider to the right, or press Command-Plus Sign (+). • Zoom out of the timeline: Drag the Zoom slider to the left, or press Command-Minus Sign (–). Scroll a zoomed-in timeline 1. In Final Cut Pro, zoom in to the timeline until you see a portion of the project only. 2. Do one of the following: • Drag the scroll bar at the bottom of the timeline left or right. • Drag the scroll bar at the right side of the timeline up or down. • Click the Tools pop-up menu in the top-left corner of the timeline and choose Hand (or press H), then drag in the timeline. Final Cut Pro User Guide 185 To change how scroll bars appear and behave, choose Apple menu > System Preferences > General, then modify the scroll bar settings. Tip: To switch to the Hand tool temporarily, hold down the H key. When you release the H key, the tool reverts to the previously active tool. You can also use a variety of keyboard shortcuts and Multi-Touch gestures to zoom and scroll in the timeline. See Keyboard shortcuts and Multi-Touch trackpad gestures. Adjust timeline clip appearance in Final Cut Pro In Final Cut Pro, you can change how clips are displayed in the timeline. For example, you can show clips with or without video filmstrips or audio waveforms. You can also change the vertical height of clips, and adjust the relative size of video filmstrips and audio waveforms in clip thumbnails. You can also show only the clip labels. 1. In Final Cut Pro, click the Clip Appearance button in the top-right corner of the timeline. The clip appearance controls appear. 2. To adjust the display of filmstrips and waveforms in timeline clips, click a clip appearance button. Display clips with large audio waveforms only: Click the leftmost button (or press Control-Option-1). Display clips with large audio waveforms and small filmstrips: Click the second button from the left (or press Control-Option-2). Display clips with audio waveforms and video filmstrips of equal size: Click the third button from the left (or press Control-Option-3). Final Cut Pro User Guide 186 Display clips with small audio waveforms and large filmstrips: Click the third button from the right (or press Control-Option-4). Display clips with large filmstrips only: Click the second button from the right (or press Control-Option-5). Display clip labels only: Click the rightmost button (or press ControlOption-6). Tip: To increase the size of audio waveforms for timeline clips, press ControlOption-Up Arrow. To decrease the size of audio waveforms for timeline clips, press Control-Option-Down Arrow. 3. To adjust the vertical height of clips in the timeline, drag the Clip Height slider to the left to decrease the clip height, or to the right to increase the clip height. 4. To adjust the display of clip labels, do any of the following: • View clips by name: Select the Clip Names checkbox. • View multicam clips by the name of the active video angle and the active audio angle: Select the Angles checkbox. • View clips by role: Select the Clip Roles checkbox. • Always show lane names (so the names aren’t obscured by clips): Select the Lane Headers checkbox. Snap to items in the Final Cut Pro timeline The snapping feature in Final Cut Pro makes it easier and quicker to do things like line up a video clip with an audio clip or align the playhead to a particular marker. When snapping is turned on, items you move in the timeline appear to jump, or “snap,” directly to certain points. This can help you quickly line up edits with other items in the project. Snapping affects the functions of many of the editing tools in Final Cut Pro, including the Select tool, the Trim tool, the Position tool, the Range Selection tool, and the Blade tool. Several elements trigger snapping in the timeline: • Clip boundaries (start and end points) • The playhead and the skimmer • Markers • Keyframes • Range selections You can turn snapping on or off, even while you’re dragging a clip. For example, if you’re trying to move a clip only a few frames among a series of markers and clip boundaries, you can turn off snapping so that the clip doesn’t snap to any of these points. Final Cut Pro User Guide 187 Turn snapping on or off In Final Cut Pro, do one of the following: • Choose View > Snapping (or press N). A checkmark next to the menu item indicates that snapping is on. • Click the Snapping button in the top-right corner of the timeline. When snapping is on, the Snapping button is highlighted. Tip: To turn snapping on or off temporarily, hold down the N key. When you release the N key, snapping reverts to its previous state. Navigate within your Final Cut Pro project The ability to jump to any point in the timeline instantly is one of the main benefits of a nonlinear editing environment. Final Cut Pro provides a variety of quick and easy ways to navigate your project. You can also use a text-based view of the timeline to navigate and search your project. See Show a list-based view of your project. You can use the J, K, and L keys to play through a project with different speeds or directions. See Play media. Navigate by skimming, clicking, or dragging In Final Cut Pro, do any of the following: • Skim to a frame in your project: Move the skimmer left and right over the clips in the timeline to quickly view them in the viewer. • Move the playhead to a frame in your project: Move the playhead by clicking or dragging in the ruler at the top of the timeline, or by clicking the timeline background. Tip: To prevent the playhead from moving while you select a clip in the timeline, press Option as you click. Navigate frame by frame To make it easier to find specific frames in a clip, you can step through the filmstrip frame by frame, rather than skimming it. 1. In the Final Cut Pro timeline or browser, move the pointer over a filmstrip, then click. 2. Do any of the following: • Move backward in one-frame increments: Choose Mark > Previous > Frame (or press the Left Arrow key). • Move forward in one-frame increments: Choose Mark > Next > Frame (or press the Right Arrow key). Final Cut Pro User Guide 188 Navigate subframe by subframe You can navigate clips by subframes. A subframe has 1/80 the duration of a video frame and is a more precise unit of reference when viewing or editing audio waveforms that are zoomed in to the sample level. Note: You can’t make edits to video at the subframe level. 1. In the Final Cut Pro timeline or browser, move the pointer over a clip, then click. 2. Do any of the following: • Move backward in one-subframe increments: Press Option-Left Arrow. • Move forward in one-subframe increments: Press Option-Right Arrow. Note: You can change the timecode display below the viewer to show subframes. See Editing preferences. Navigate by jumping You can move the playhead quickly from point to point in the timeline. In Final Cut Pro, do any of the following: • Go to the next edit point: Choose Mark > Next > Edit (or press the Down Arrow key). • Go to the previous edit point: Choose Mark > Previous > Edit (or press the Up Arrow key). • Go to the start of the project: Choose Mark > Go to > Beginning (or press the Home key). • Go to the end of the project: Choose Mark > Go to > End (or press the End key). • Go to the next marker: Choose Mark > Next > Marker, or press Control-Apostrophe (’). • Go to the previous marker: Choose Mark > Previous > Marker, or press Control-Semicolon (;). For more information about markers, see Intro to markers. Navigate using timecode in Final Cut Pro Timecode is a signal recorded with your video that uniquely identifies each video frame. When you play a clip from the browser, its timecode signal appears in a display below the viewer, using this format: Timecode supports a variety of functions in Final Cut Pro, including timeline playback, syncing video and audio clip items, and adding, trimming, and moving clips. In addition, timecode allows you to navigate through projects in the timeline and see the duration of clips, range selections, and projects. Final Cut Pro User Guide 189 To move the playhead to a new timeline location in Final Cut Pro, do any of the following: • Move the playhead to a specific timeline location: Click once in the center of the timecode display below the viewer (or press Control-P), enter the new timecode value, and press Return. For example, to move the playhead to 01:40:31:03, press Control-P, then enter “1403103” and press Return. • Move the playhead by a timecode duration: Make sure no clips are selected, then press the Plus Sign (+) or Minus Sign (–) key, enter the number of frames, seconds, or minutes you want to move the playhead, and press Return. For example, if you type “+1612” and press Return, the playhead moves ahead 16 seconds and 12 frames. The new timecode values appear in the timecode display as you enter them. When you press Return, the playhead moves to the new timeline location. Here are some tips for entering timecode values: • You don’t have to enter the separator characters (colons). Final Cut Pro adds them automatically after each set of two digits. For example, if you enter “01221419,” the timecode value is interpreted as 01:22:14:19 (1 hour, 22 minutes, 14 seconds, and 19 frames). • If the leftmost fields are zeros, you don’t have to enter them. For example, if you enter “1419,” the timecode value is interpreted as 00:00:14:19. If you enter “253407,” the timecode value is interpreted as 00:25:34:07. • If the rightmost fields are zeros, you can use periods instead. For example, to move to timecode 00:00:03:00, type “3.” (3 and a period). To move to 03:00:00:00, type “3...” (3 and three periods). Instead of a period, you can also use a comma, colon, or semicolon. • You can copy and paste timecode (for example, to speed up timeline navigation or numerical entry from text documents, or to add timecode to notes). To copy timecode from the playhead position, choose Edit > Copy Timecode. To paste timecode into the timecode display, click once in the center of the timecode display below the viewer (or press Control-P), then press Control-V. For other ways to copy timecode, see Copy source or project timecode. You can change the timecode display to show either timecode, timecode and subframes, just frames, or just seconds. See Editing preferences. Tip: You can view source and project timecode in resizable, floating windows, or set Final Cut Pro to show clip source timecode (rather than the project timecode) when you skim clips in the timeline. Final Cut Pro User Guide 190 View source and project timecode in Final Cut Pro You can view timecode in a resizable, floating window while you’re working on a project in the timeline. You can view either source timecode (the timecode originally embedded in the source clip) or project timecode (the time elapsed since the project’s starting timecode). The source timecode window shows the names and source timecode of all the clips at the current playhead position in the timeline, starting with the topmost clip. Showing source timecode makes it easy to match or locate specific moments in a source clip. The project timecode window shows the project timecode at the current playhead position in the timeline. You can place the project timecode window anywhere on your screen and enlarge it to make it more readable. You can also set Final Cut Pro to show clip source timecode (rather than the project timecode) when you skim clips in the timeline. Final Cut Pro User Guide 191 Show source or project timecode in a floating window 1. In Final Cut Pro, do one of the following: • Show source timecode: Choose Window > Source Timecode, or Option-click in the center of the timecode display below the viewer. Tip: Select a clip in the timeline to highlight the corresponding row in the source timecode window with a yellow box. • Show project timecode: Choose Window > Project Timecode, or Shift-click in the center of the timecode display below the viewer. 2. To adjust timecode window display settings, use the pop-up menu in the upper-right corner of the source timecode window or project timecode window. The following settings are available for the source timecode window: • Project Timecode: Show or hide the project timecode at the top of the source timecode window. • Source Timecode: Show or hide the source timecode for all the clips at the current playhead position. • Clip Names: Show or hide the clip names for all the clips at the current playhead position. • Clip Roles: Show or hide the assigned roles for all the clips at the current playhead position. The following setting is available for both timecode windows: • Background: Set the opacity of the timecode window background to 50%, 75%, or Solid. 3. To resize the timecode window, do any of the following: • Resize the timecode and text: Drag a corner of the source or project timecode window. • Show more or fewer rows: Drag the bottom edge of the source timecode window. • Provide more or less space for the clip names: Drag the right edge of the source timecode window. Copy source or project timecode When editing a project, you sometimes need to copy timecode from one app to another— for example, from clips in your project to a spreadsheet, an EDL, or an email. 1. In Final Cut Pro, show the source timecode window or the project timecode window. See Show source or project timecode in a floating window, above. 2. Control-click a timecode item in the source timecode window or the project timecode window, then choose one of the following: • Copy Timecode: Copy the timecode for the item you clicked. • Copy [item]: Copy the timecode, clip name, and assigned roles for the item you clicked. • Copy All: Copy the timecode for all items in the window. The timecode information is copied to the Clipboard. You can now paste it into any app or document that accepts text. Final Cut Pro User Guide 192 Show source timecode when skimming clips in the timeline By default, when you skim clips in the timeline, the timecode display shows the project timecode, but you can set Final Cut Pro to show source timecode instead. 1. To turn on video and audio skimming in Final Cut Pro, do one of the following: • Choose View > Skimming (or press S), so that a checkmark appears next to the menu item. • Click the Skimming button in the top-right corner of the timeline. When skimming is on, the Skimming button is highlighted. 2. Choose View > Clip Skimming, so that a checkmark appears next to the menu item. 3. In the timeline, position the pointer on a clip’s filmstrip, then skim. The clip’s source timecode appears in the timecode display as you skim. If you move the pointer above or below the clip’s filmstrip, the timecode display shows the project timecode. Note: When skimming is turned off, you can still view source timecode for timeline clips by skimming with the Blade, Trim, and Range Selection editing tools. See Skim clips with editing tools. Show a list-based view of your Final Cut Pro project The timeline index provides a list of the clips, tags (various kinds of markers and keywords), and roles used in your project in the timeline. You can easily filter items in the timeline index to show only the ones you want to see. You can also use the timeline index to navigate in the timeline. The timeline index playhead appears in the list of items. When you play a project, the playhead moves down the list of items in the timeline index. When you select an item in the timeline index, the playhead automatically moves to the beginning of the item. Show or hide the timeline index • In Final Cut Pro, click Index in the top-left corner of the timeline (or press ShiftCommand-2). Final Cut Pro User Guide 193 The timeline index appears to the left of the timeline. View a list of items in the timeline index 1. In Final Cut Pro, open the timeline index. 2. Do any of the following: • View a list of the clips used in the timeline, ordered chronologically: Click the Clips button at the top. You can do any of the following: • Rename clips. • See a list of clips by timecode in the Position column. • View, reassign, and edit roles in the Roles column. • View and add notes in the Notes column. • View the active angles of multicam clips in the Active Angle column. Final Cut Pro User Guide 194 You can specify which columns are displayed by Control-clicking a column heading and choosing an option. You can specify which items are displayed by clicking the All, Video, Audio, or Titles button at the bottom of the timeline index. • View a list of all the tags on clips in the timeline, ordered chronologically: Click the Tags button at the top. Tags include keywords and various kinds of markers—standard markers, chapter markers, and completed and incomplete to-do items. All of the tags are shown by default. You can specify which items are displayed by clicking a button at the bottom of the timeline index. You can show markers, keywords, analysis keywords, incomplete to-do items, completed to-do items, and chapter markers. Final Cut Pro User Guide 195 • View a list of roles in the timeline, and control the arrangement of the timeline: Click the Roles button at the top. Select a role name in the list to highlight all clips in the timeline with that role assigned. To turn a role on or off in the timeline, select or deselect the checkbox next to the role name. When a role is turned off, you can’t see or hear clips with that assigned role when you play back your project. See Intro to roles and Organize the timeline with audio lanes. Search for items in the timeline index 1. In Final Cut Pro, click a button at the top of the timeline index to open the pane you want to search. Click Clips to search for clips, Tags to search for tags, or Captions to search for captions. 2. Enter a term in the search field at the top of the timeline index. You can search for clips, keywords, markers (including to-do items), and captions. You can also search for keywords that are added automatically by Final Cut Pro, such as “Missing.” Tip: With the timeline active, choose Edit > Find (or press Command-F). The timeline index opens with the search field active and ready for your search term. Work with markers Intro to markers in Final Cut Pro Markers are reference points you can place within clips to locate, identify, annotate, and navigate to specific frames. In Final Cut Pro, you can use markers to: • Sync two or more clips at a specific point. For example, you can use a marker to label the frame where a door slams and then snap a sound effect to that marker. • Flag a specific location in a clip with editing notes or other descriptive information. • Add chapter markers to specific points in your project, so that viewers can jump to those points in the movie after it’s been exported or burned to a DVD or Blu-ray disc. • Manage to-do items in your project. Final Cut Pro User Guide 196 Markers are classified as standard markers (blue), chapter markers (orange), to-do items (red), or completed to-do items (green). You work with markers in the same way for clips in the browser and clips in the timeline. Add and remove markers in Final Cut Pro It’s easy to add and remove markers. If you add markers to clips in the browser, the markers are visible in both filmstrip view and list view. When you add clips with markers to the timeline, the markers are visible in both the timeline and the timeline index. Add a marker to a clip in the browser or the timeline 1. To specify where you want to add a marker in Final Cut Pro, do one of the following: • Skim to the location. • Play the clip, and when the playhead reaches the location where you want to add a marker, press the Space bar to stop playback. For more information about positioning the skimmer and the playhead, see Navigate within your project. 2. Do one of the following: • Add a marker: Choose Mark > Markers > Add Marker (or press M). Tip: To add markers on the fly, just press M while playing a clip. • Add a marker and show the marker’s information: Choose Mark > Markers > Add Marker and Modify (or press Option-M). See Edit marker information and change marker types. Final Cut Pro User Guide 197 The marker appears at the top of the clip in the browser or the timeline. Event clip markers also appear in the filmstrip and text list in the browser in list view. Remove a marker In Final Cut Pro, do one of the following: • Navigate to a marker, then choose Mark > Markers > Delete Marker (or press Control-M). • Select one or more clips, then choose Mark > Markers > Delete Markers in Selection. • Double-click a marker to show the marker controls, then click the Delete button. • Control-click the marker you want to remove, then choose Delete Marker. Edit and move markers in Final Cut Pro You can view and edit marker information, and you can move markers within a clip or to different clips. Edit marker information and change marker types By default, new markers are blue standard markers with placeholder text. You can change the text at any time, and you can change the marker to other marker types, including chapter markers, to-do items, and completed to-do items. 1. In Final Cut Pro, do one of the following: • Select the marker, then choose Mark > Markers > Modify Marker (or press Shift-M). • Control-click the marker and choose Modify Marker. • Double-click the marker. Final Cut Pro User Guide 198 The marker controls appear above the marker. 2. To modify the marker, do any of the following: • Change the descriptive text for the marker: Type the new text in the text field. (The text is automatically selected when the marker controls appear, so you don’t need to select it.) • Make the marker a chapter marker: Click the Chapter Marker button. The marker turns into an orange chapter marker. See Add chapter markers. • Make the marker a to-do item: Click the To-Do Item button. The marker turns red. • Indicate that a to-do item is completed: Select the Completed checkbox. The marker turns green. • Make the marker a standard marker: Click the Standard Marker button. The marker turns blue. 3. Click Done. Move or copy a marker You can move or copy markers using the familiar Cut, Copy, and Paste commands. 1. In Final Cut Pro, Control-click the marker you want to move or copy, then choose an option. • Move the marker: Choose Cut Marker. • Copy the marker: Choose Copy Marker. Final Cut Pro User Guide 199 2. Position the skimmer or the playhead where you want to move or copy the marker. 3. Choose Edit > Paste (or press Command-V). The marker appears at the new location. Nudge a marker one frame at a time 1. In Final Cut Pro, click a marker to select it. 2. Do one of the following: • Nudge the marker one frame to the right: Choose Mark > Markers > Nudge Marker Right, or press Control-Period (.). • Nudge the marker one frame to the left: Choose Mark > Markers > Nudge Marker Left, or press Control-Comma (,). Navigate between markers You can move quickly from marker to marker in the timeline or the browser. In Final Cut Pro, do any of the following: • Go to the next marker: Choose Mark > Next > Marker, or press Control-Apostrophe (’). • Go to the previous marker: Choose Mark > Previous > Marker, or press Control-Semicolon (;). Add chapter markers in Final Cut Pro Chapter markers are a standard feature in DVDs, Blu-ray discs, and podcasts. You can add chapter markers to your project so that when you share your finished movie, viewers can use the markers to quickly jump to those points in the movie. Apps and devices that recognize Final Cut Pro chapter markers during playback include iPod, iPhone, iPad, Apple TV, QuickTime Player, DVD Player, and most standard DVD and Blu-ray players. Chapter markers make it easy for viewers to skip ahead to the section they want. They also allow Compressor, Apple’s professional transcoding app, and other DVD and Blu-ray authoring apps to create a navigable chapter list or menu, such as a chapter index menu. But even in simple projects without menus (such as podcasts), chapter markers let viewers and listeners quickly skip through sections of a program using the Previous and Next buttons on their playback app or device. A chapter marker thumbnail is a still image that represents a particular chapter. In Final Cut Pro, you can choose a specific video frame from the clip or storyline you’re marking as the chapter marker thumbnail image. In supported playback apps or devices, the chapter marker thumbnail images represent their corresponding chapters. Create a chapter marker 1. In Final Cut Pro, add a marker to a clip in the timeline where you want the chapter to begin. By default, Final Cut Pro creates a blue standard marker. Final Cut Pro User Guide 200 2. To change the marker to a chapter marker, double-click it and, when the marker controls appear, click the Chapter Marker button. The marker changes to an orange chapter marker. Set the chapter marker thumbnail image After you set a chapter marker, you can choose an appropriate video frame to represent that particular chapter. 1. In Final Cut Pro, click the chapter marker once in the timeline to select it. The marker enlarges slightly to show that it’s selected, and a chapter marker thumbnail pin appears to the right of the selected chapter marker. By default, the chapter marker thumbnail pin appears 11 frames after the chapter marker. 2. To set the video frame for the chapter marker thumbnail image, drag the pin left or right in the timeline. As you drag, the viewer displays the corresponding video frame. Final Cut Pro User Guide 201 Note: The chapter marker thumbnail image is the composited image from that location in the timeline and includes titles and any other superimposed imagery. If the chapter marker is in the primary storyline, you can drag the chapter marker thumbnail pin as far as the beginning or the end of the primary storyline. If the chapter marker is in a connected storyline, you can drag the chapter marker thumbnail pin as far as the beginning or the end of the connected storyline. For information about sharing your completed movie, see Intro to sharing projects. Correct shaky video in Final Cut Pro You can smooth a clip’s shaky footage by correcting the stabilization, rolling shutter, or both. The stabilization feature in Final Cut Pro reduces the camera motion in your video so that shaky parts can be played back more smoothly. You can turn off stabilization for any clip so that it plays as originally recorded. Many camcorders and still cameras include CMOS image sensors that expose the picture they’re recording progressively, instead of all at once. As a result, if the camera moves a lot during recording, or if the camera records fast motion, image distortion can occur. This causes the picture to appear wobbly or skewed. Final Cut Pro has a rolling shutter feature that can reduce this motion distortion. Fix a clip with excessive shake or rolling shutter distortion 1. If the clip isn’t already in your Final Cut Pro project, add it to the timeline, then select it. Tip: Stabilization and rolling shutter corrections operate on whole-clip selections, not on range selections. To get the highest-quality and fastest results, isolate the problem section by cutting the clip with the Blade tool in the timeline. Then apply the correction to just the video footage that needs correcting. 2. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. 4. Scroll down to the Stabilization and Rolling Shutter sections. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 202 5. In the Video inspector, do any of the following: • Reduce the shake: Select the Stabilization checkbox. If you turn on Stabilization, its checkbox turns blue and Final Cut Pro analyzes the clip for the best stabilization method. See Adjust stabilization settings, below. • Reduce rolling shutter distortion: Select the Rolling Shutter checkbox. 6. To view the fix, play the clip in the timeline. To turn off stabilization or rolling shutter corrections for a clip, deselect the Stabilization or Rolling Shutter checkbox. Adjust stabilization settings You can adjust how much of a correction is applied by the stabilization feature. Stabilization has two independent phases: • When you apply stabilization to a clip, Final Cut Pro analyzes the pixels in successive frames to determine the direction of camera movement. • During playback and rendering, Final Cut Pro uses the motion analysis data to apply a transform effect to each frame, compensating for camera movement. Use the available sliders in the Video inspector to control the steadiness of your shot. The higher you set the value of each parameter, the more camera motion is compensated for. A value of 0.0 turns off the parameter. 1. In Final Cut Pro, select a clip in the timeline, then open the Video inspector. 2. Select the checkbox for Stabilization or Rolling Shutter. If you turn on Stabilization, its checkbox turns blue and Final Cut Pro analyzes the clip for the best stabilization method. By default, the Method pop-up menu remains set to Automatic and the sliders for the appropriate stabilization method (either InertiaCam or SmoothCam) appear below it. Final Cut Pro User Guide 203 3. If you want to change the stabilization method, click the Method pop-up menu and choose an option: • Automatic: Allows Final Cut Pro to choose the most appropriate stabilization method (either InertiaCam or SmoothCam). This is the default setting. • InertiaCam: Applies stabilization optimized for video footage that has camera moves such as pans and zooms. Use the Smoothing slider to adjust the amount of the InertiaCam effect. Note: When you choose InertiaCam, Final Cut Pro analyzes your video footage and, depending on the results of the analysis, provides a Tripod Mode checkbox that creates the effect of a static camera that is mounted on a tripod. • SmoothCam: Applies the default stabilization method described above, allowing you to adjust the translation, rotation, and scale parameters: • Adjust left, right, up, and down movement of a shot (x and y axes): Drag the Translation Smooth slider. • Adjust rotation around the center point of the image: Drag the Rotation Smooth slider. • Adjust forward or backward camera or lens movement (z axis): Drag the Scale Smooth slider. For example, if you want to remove horizontal, vertical, and rotational shake, set the Translation Smooth and Rotation Smooth parameters to a value greater than 0. You may need to experiment to see which values steady your shot the best. Note: When a clip has too much motion (excessive panning, for example), stabilizing the clip may result in black bars on the edges of the video. To avoid the black bars, you can: • Reduce the values for the Translation Smooth, Rotation Smooth, and Scale Smooth parameters. • Cut or trim the clip in the timeline to remove the sections with the most shake. (You can locate the sections with excessive shake in the Tags pane of the timeline index. Click the individual Excessive Shake tags to select the corresponding ranges in the timeline.) • Crop the edges of the stabilized video to remove the black bars. Final Cut Pro User Guide 204 Edit audio Intro to audio in Final Cut Pro Final Cut Pro has many features designed to make processing and editing audio easier. For example, you can analyze and automatically enhance audio to address problems such as noise or hum, add effects to your clips, sync video and audio clips automatically, and match audio between two clips. You can make the following changes to clips or to audio components within a clip: • Edit multiple audio channels: Expand the audio portion of clips to reveal and edit audio components down to the individual channel level. This allows you to apply different effects to different components or channels, and streamlines the process for making quick sound cutouts or other adjustments. See Intro to audio editing. • Adjust volume: Quickly adjust a clip’s volume directly in the timeline or in the Audio inspector. See Adjust volume. • Pan audio: Take advantage of built-in pan presets for both stereo and surround sound. See Pan audio. • Add audio effects: Add Audio Units effects, Logic Effects, or custom effects included with Final Cut Pro, such as reverb, to clips. See Add audio effects. • Add keyframes to automate volume and effects: Use keyframes to vary volume or effect settings as a clip plays. See Keyframe audio effects. • Fade audio in or out: Fade audio in at the beginning or out at the end of a clip or an audio component with easy-to-use fade handles. See Fade audio in and out. Final Cut Pro User Guide 205 For the most part, you use the same tools to edit audio clips that you use to edit video in Final Cut Pro. The following editing features are covered elsewhere in the Final Cut Pro User Guide: • Use roles to manage clips: Use roles and subroles in Final Cut Pro to organize clips in your events and projects by function or category, control the arrangement of the timeline, and export separate video or audio files (also known as media stems). See Intro to roles. • Organize the timeline using audio lanes: With a single click, arrange clips into audio lanes (separate, visually distinct layers) in the timeline. This view organizes clips visually and provides reference points that make editing easier and more efficient. See Organize the timeline with audio lanes. • Change the edit mode: Set the edit mode for a clip to video only or audio only. See Add only a clip’s video or audio. • Add markers to clips: Mark specific reference points within an audio clip. See Intro to markers. • Trim audio: Make precision edits to the audio waveform—for example, to take out an unwanted sound in the recording. See Intro to trimming. • Add audio crossfades: Create a smooth transition when connecting two separate audio waveforms. See Add transitions. • Use compound clips: Combine any video or audio clips into a single compound clip. See Intro to compound clips. • Export audio: Export your project as an audio file in either mono, stereo, or surround sound. You can also export media by role. See Intro to sharing projects. Audio editing basics Audio waveforms in Final Cut Pro Audio waveforms are visual representations of the actual sound. Audio waveforms appear in clips in the following ways: • As the bottom portion of a video clip Final Cut Pro User Guide 206 • As a detached or audio-only clip An audio waveform’s amplitude and length change according to the underlying sound’s volume and duration. A short, loud sound such as a drum beat has a sharp, peaked waveform, whereas low-level crowd noise has a lower, more uniform waveform. These properties make it easier to find specific edit points when trimming clips or keyframing effects. In Final Cut Pro, audio waveforms change according to a clip’s volume level or applied effects. The waveform appears larger when the volume is high and smaller when the volume is low. Note: Clip colors are determined by role assignments. Each role has a default color. Video clips (including clips containing video and audio) are assigned the Dialogue role and are blue. Music clips are assigned the Music role and are green. Sound effects clips are assigned the Effects role and are teal. See View and reassign roles. Audio channels and components in Final Cut Pro Audio files can contain a single audio channel or multiple audio channels. Channels usually correspond to microphone inputs during recording or to speakers for multichannel output. For example, a stereo audio file usually contains left and right channels that match what you hear from the left and right speakers during playback. Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. You can expand the audio portion of clips to view and edit audio components down to the individual channel level. You can then make separate volume or pan adjustments or apply and keyframe different audio effects for each component. See Intro to audio editing. The number of audio components you see corresponds to the number of channels you’ve configured in your source clip. Final Cut Pro User Guide 207 Note: Many popular digital audio file formats, such as AAC and MP3, use interleaved stereo files, which do not contain separate left and right channels. A stereo clip with interleaved left and right channels appears as a single audio component in the Audio inspector and the timeline. If you change the clip’s channel configuration from Stereo to Dual Mono, the channels appear as two separate audio components. See Configure audio channels. Ways to view audio clips in Final Cut Pro When you work with audio waveforms in the timeline, you can zoom in or out or change the clip appearance to make the waveform taller or shorter. Final Cut Pro also provides several ways to view and work with audio and video within clips. You can: • Expand a clip to view and edit audio components down to the individual channel level • Expand a clip to see separate audio and video • Detach audio from a video clip to work on the audio and video as separate, independent clips • Change the background appearance of a clip to show reference waveforms, which make it easier to see audio waveforms when the volume is diminished Show expanded audio components You can expand the audio portion of clips in Final Cut Pro to view and edit audio components. In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). Final Cut Pro User Guide 208 • Double-click the audio portion of the clip in the timeline while holding down the Option key. Note: You can also show audio components for all the clips in one or more roles. See Organize the timeline with audio lanes. Collapse audio components In Final Cut Pro, do one of the following: • Select either the clip or one of its audio components in the timeline, then choose Clip > Collapse Audio Components (or press Control-Option-S). • Double-click any of the audio components in the timeline while holding down the Option key. Show expanded audio and video You can view audio and video separately in the same clip in the timeline by expanding clips that have both audio and video. This can be useful if you need to zoom in to the audio portion to make edits or to create a split edit. If you create a split edit so that audio portions overlap, you won’t clearly see the overlapped waveforms unless you choose to show expanded audio for split clips. For more information about split clips and split edits, see Create split edits. In Final Cut Pro, do one of the following: • Expand a single clip: Double-click the clip’s audio waveform. • Expand a clip or clips you’ve selected in the timeline: Choose Clip > Expand Audio (or press Control-S). Final Cut Pro User Guide 209 When you show expanded audio, the audio and video portions of the clip remain attached to each other. To create a separate connected audio clip, detach the audio. You can also use the precision editor to see a detached view of the video and audio portions of the clip. Note: You can also show expanded audio by displaying audio roles in separate lanes. See Organize the timeline with audio lanes. Collapse audio and video You can collapse the expanded audio/video view for a single clip or multiple clips. In Final Cut Pro, do one of the following: • Collapse a single clip: Double-click the clip’s audio waveform. • Collapse a clip or clips you’ve selected in the timeline: Choose Clip > Collapse Audio (or press Control-S). Detach audio from video By default, Final Cut Pro imports audio and video from the same source into one clip. You can easily detach the audio from a video clip so that you can edit the audio clip separately in the timeline. • In Final Cut Pro, select the clip in the timeline, then choose Clip > Detach Audio. Final Cut Pro User Guide 210 A new audio clip appears as a connected clip beneath the video clip. To reattach an audio clip to its original video clip, you need to create a compound clip. Show or hide reference waveforms A reference waveform shows the maximum visual resolution possible for the actual audio waveform. By factoring out loudness changes, reference waveforms let you see the details of the sound more clearly. 1. Choose Final Cut Pro > Preferences, then click Editing. 2. Select the “Show reference waveforms” checkbox. When the actual waveform changes shape (for example, when it’s diminished because a clip’s volume level is low), its full reference waveform is still visible for easy reference when editing. Zoom in to audio waveforms in Final Cut Pro For even more precise editing, you can zoom in to audio clips at the audio sample level. Audio samples show the audio waveform at a fraction of a second (for example, 1/48,000 for audio recorded at a sample rate of 48 kHz). Zoom to audio samples 1. In Final Cut Pro, choose View > Zoom to Samples (or press Control-Z), so that a checkmark appears next to the menu item. Note: The Zoom to Samples feature is enabled by default. 2. Position the playhead over a clip in the timeline. Final Cut Pro User Guide 211 3. Zoom in until the clip shows a gray overlay indicating the borders of a video frame. You can continue to zoom in for a closer view of the waveform. 4. Make edits to the clip, or make adjustments to audio effects using keyframes. Note: Sample-accurate editing (such as cutting with the blade tool or trimming) is available only for connected audio clips (that is, audio clips not in the primary storyline) or compound clips that contain only audio. To turn off zooming to audio samples, choose View > Zoom to Samples (or press Control-Z). Navigate by subframe You can navigate by subframes (which are 1/80 the duration of a video frame). 1. In the Final Cut Pro timeline or browser, position the playhead or skimmer over a clip. 2. Do any of the following: • Move backward in one-subframe increments: Press Option-Left Arrow. • Move forward in one-subframe increments: Press Option-Right Arrow. Tip: For reference when working with video, you can view subframes in the timecode display below the viewer. In the General pane of Final Cut Pro preferences, click the Time Display pop-up menu and choose the subframe option. View and change audio levels in Final Cut Pro The audio meters show the audio levels of clips in Final Cut Pro and warn you if a particular clip or section of a clip reaches peak levels, which may result in audible distortion. When an audio clip is approaching peak levels during playback, the level color changes from green to yellow. When an audio clip exceeds peak levels, the level color changes from yellow to red, and the peak indicator turns red for the respective audio channel or channels. The peak indicators are reset when you stop and start playback. Final Cut Pro User Guide 212 To avoid having clip volume exceed peak levels, adjust the volume. Although the proper level for a clip depends on the mix, it’s important to make sure that the combined level for all concurrent clips doesn’t exceed 0 dB during the loudest sections. Show the audio meters Final Cut Pro includes a small audio meters icon below the viewer and larger audio meters that can be shown to the right of the timeline. In Final Cut Pro, do one of the following: • Choose Window > Show in Workspace > Audio Meters, so there’s a checkmark next to the menu item. • Click the audio meters icon below the viewer. You can drag the edges of the meters to see an expanded view with additional information. To hide the audio meters, choose Window > Show in Workspace > Audio Meters, or click the audio meters icon below the viewer. Note: The number of audio meters you see depends on how many channels are configured for the clip you’re playing. For example, when you play back a surround clip in the browser, six surround audio meters are displayed, but if you drag that same clip into a stereo project in the timeline, Final Cut Pro automatically mixes down the surround audio into stereo, and only two audio meters are displayed. For information about changing a project from stereo to multichannel surround sound, see Modify a project’s settings. For information about channel configurations, see Configure audio channels. Final Cut Pro User Guide 213 Reset and correct peak levels 1. In Final Cut Pro, select the clip in the timeline. 2. Adjust the volume, and play back the clip again to test for peaks. In the timeline and browser, the waveform section or sections of a clip turn yellow when a level is approaching peak levels, and red when a level exceeds 0 dB. Note: If you add a clip with mono audio to a stereo project, Final Cut Pro plays the single mono audio in both left and right channels, visible in the stereo audio meters for the project. Solo and mute audio clips in Final Cut Pro The solo feature enables audio playback of only the selected clips in the timeline and temporarily disables audio playback for all other clips. It’s especially useful in audio editing if you have more than one audio clip layered in the timeline (dialogue and background music, for example) but need to listen and make edits to just certain clips. Another way to mute clips is to disable them. Disabled clips are both invisible and silent and do not appear in any output. Solo clips in the timeline 1. In Final Cut Pro, select one or more clips in the timeline that you want to listen to (in isolation from any other clips). 2. Do one of the following: • Choose Clip > Solo (or press Option-S). • Click the Solo button in the top-right corner of the timeline. The soloed clip appears highlighted, and other clips appear dimmed. To turn off solo, click the Solo button, or choose Clip > Solo (or press Option-S) again. Final Cut Pro User Guide 214 Disable clips or ranges 1. In Final Cut Pro, select one or more clips in the timeline. Note: If the selected clips contain both video and audio, and you want to mute the audio only, choose Clip > Expand Audio or Clip > Expand Audio Components, then select the audio portion only (or drag to select a range). 2. Choose Clip > Disable (or press V). Disabled clips are both invisible and silent and do not appear in the viewer or in any output. The filmstrips of disabled clips appear dimmed in the timeline. To reenable the disabled clips, select them in the timeline and choose Clip > Enable (or press V). Silence clips or ranges You can silence a selected clip or range. This technique is simply a quick and easy way to adjust the volume. 1. In Final Cut Pro, select one or more clips in the timeline, or select a range. 2. Choose Modify > Adjust Volume > Silence (–∞). The selection is silenced, and the volume control for the clip or range is set to –∞ dB. (You can confirm this level in the Audio inspector.) To restore the original audio level for the selected clip or range, choose Modify > Adjust Volume > Reset (0dB). Important: If you import clips with unwanted audio that you will never use, you can ensure the best playback performance by deselecting the audio components of these clips in the Audio inspector. See Disable a clip’s audio. You can also solo or disable video clips. See Solo or disable clips. Add audio Add music and sound in Final Cut Pro You can add music and sound files directly to a project or an event from your Music library or other sources. Final Cut Pro also includes a number of built-in Foley and other sound effects that you can insert as connected audio clips. If you have a clip that contains both audio and video, you can choose to insert only the audio portion of the clip. See Add only a clip’s video or audio. Final Cut Pro User Guide 215 1. In Final Cut Pro, open the Photos and Audio sidebar by doing one of the following: • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). 2. In the Photos and Audio sidebar, select the sound category or app you want to browse. The audio clips in that category appear in a list in the browser. The Photos and Audio sidebar includes a Sound Effects category and a list of music and sound apps, such as Music, GarageBand, or Logic Pro (the apps you see depend on which apps you’re using on your Mac). 3. To find the music or sound you want to use, do any of the following: • Search and filter the collection: Use the pop-up menu at the top of the browser to filter the items shown in the browser. For example, you could select Music in the sidebar and then choose Purchased from the pop-up menu, or select Sound Effects and then choose Final Cut Pro Sound Effects > Impacts & Crashes. • Preview an item: Select an item in the list, then click the Play button . • Select more than one item: Command-click each item. Final Cut Pro User Guide 216 4. When you’ve selected the clip or clips you want to use, do one of the following: • Drag the sound clip or clips to the timeline. • Drag the sound clip or clips to the sidebar. The Photos and Audio sidebar changes to the Libraries sidebar, allowing you to add the files to an event or a Keyword Collection. After you drag the files, the Photos and Audio sidebar reappears. For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to MOV audio files and retains the original MP3 files for future use. For information about where to find original and transcoded media files, see Locate source media files. Note: If you add a clip with mono audio to a stereo project, Final Cut Pro plays the single mono audio in both left and right channels, visible in the stereo audio meters for the project. Record voiceovers in Final Cut Pro You can record voiceover narration or other live audio directly in Final Cut Pro from input sources such as built-in and external microphones. By default, Final Cut Pro includes an automatic countdown when you record, and also automatically groups multiple takes into auditions so that you can quickly preview recordings and choose the best one. The recorded audio files appear both in the browser and as connected clips in the timeline. Record live audio 1. In Final Cut Pro, position the playhead where you want to start recording in the timeline. 2. Choose Window > Record Voiceover. Tip: To start recording immediately without adjusting settings, press Option-Shift-A and go to step 7. Final Cut Pro User Guide 217 3. To adjust the input level of the microphone, do one of the following: • Drag the Input Gain slider right to increase the input level, or left to decrease it. • Type a dB value in the Input Gain field. Use the audio meters to make sure the volume doesn’t exceed peak levels (shown in red), which may result in audible distortion. Note: If the Input Gain slider is dimmed for a selected input device, try adjusting the gain on the device itself or its software utility (if available). 4. To name your voiceover clip, click the Name field and type a name. 5. To specify other voiceover settings, click the Advanced disclosure triangle and do any of the following: • Change the input device or the number of input channels (mono or stereo): Click the Input pop-up menu and choose an option. The default choice of System Setting uses the first channel of the input device currently selected in the Sound pane of System Preferences. Tip: If you always want to record with a particular device or a particular channel on a multichannel audio device, choose that device/channel pair from the Input popup menu instead of System Setting. The setting is retained, and the Input pop-up menu indicates whether the device is available. • Listen to your microphone input as you record: Set Monitor to On. The microphone audio plays from the output device currently selected in the Sound pane of System Preferences. There’s no input signal when monitoring is off. Tip: To listen to a live mix of both microphone and project audio, set Monitor to On and deselect the “Mute project while recording” checkbox below. • Adjust the monitoring level: Drag the Gain slider right to increase the monitoring level, or left to decrease it (or type a dB value in the Gain field). Note: If the built-in microphone is selected, the Gain slider automatically resets to zero to prevent feedback from the built-in speakers when monitoring is turned on. To avoid feedback, use headphones or external speakers placed away from the microphone. • Turn off the automatic countdown before recording: Deselect the “Countdown to record” checkbox. • Unmute project audio while recording: Deselect the “Mute project while recording” checkbox. • Turn off automatic grouping of multiple voiceover takes into auditions: Deselect the “Create Audition from takes” checkbox. • Change where the recording is saved: Click the Event pop-up menu and choose an event in the current library. • Assign a role to the recording: Click the Role pop-up menu and choose a role. To create a new role, choose Edit Roles. See Intro to roles. 6. To start recording, click the Record button (or press Option-Shift-A). Final Cut Pro User Guide 218 7. To stop recording, click the Record button (or press the Space bar or Option-Shift-A). When you stop recording, the playhead returns to the start point you set in step 1, ready for you to record additional takes. If you record additional takes with the “Create Audition from takes” checkbox selected, Final Cut Pro creates an audition. See Combine audio from multiple takes and Create auditions. Your audio recordings are attached to the primary storyline at the playhead position. Record multiple voiceover takes You can record multiple versions, or “takes,” of voiceover recordings for the same section of your project. By default, Final Cut Pro creates an audition from all the takes you record. After you’ve finished recording, you can review the different takes in the audition and choose the one you want to use. 1. To record your first voiceover take in Final Cut Pro, follow the instructions in Record live audio, above. 2. Without moving the playhead, click the Record button (or press Option-Shift-A) to record another take for the same section of your project. 3. To stop recording, click the Record button again (or press the Space bar or Option-Shift-A). By default, Final Cut Pro creates an audition containing both recordings. To add another take to the audition, repeat steps 2 and 3. Each new take you record is added to the audition. To learn more about auditions, see Add clips to auditions. Final Cut Pro User Guide 219 Preview and select a voiceover take 1. In the Final Cut Pro timeline, select the audition containing the voiceover takes you want to review, then open it by choosing Clip > Audition > Open (or pressing Y). 2. In the audition window, select the take and press the Space bar (or press ControlCommand-Y) to play it. 3. When you decide on the take you want to use, make sure it’s selected, then click Done. 4. If you’re sure of your decision and want to finalize the audition, choose Clip > Audition > Finalize Audition (or press Option-Shift-Y). The audition is dissolved, leaving the voiceover clip in the timeline. To learn more about previewing auditions, see Review clips in auditions. Combine audio from multiple takes By default, an audition lets you choose only one voiceover take to use in your project. If you want to combine portions of two separate takes into one “comp” take, you can break the audition into separate audio clips, which you can then edit and combine as needed. 1. In Final Cut Pro, select an audition in the timeline, then choose Clip > Break Apart Clip Items (or press Shift-Command-G). Final Cut Pro User Guide 220 Final Cut Pro replaces the audition selected in the timeline with the individual recordings that made up the audition. 2. Edit the clips as needed. Tip: You can silence unwanted sections rather than edit them out. See Adjust volume automatically across a selected area. Access external audio files in Final Cut Pro Post-production professionals often download stock music and sound effects and maintain their own library of audio files (in addition to more than 1300 royalty-free sound effects available in Final Cut Pro). You can create custom folders in the Sound Effects category of the Photos and Audio sidebar that link to external collections of audio files, providing quick access to the files from any Final Cut Pro project. These custom folders can contain multiple levels of subfolders so that your audio files remain organized the way you like. If you add or remove files in the external audio library, the changes appear in the Sound Effects category after you quit and reopen Final Cut Pro. The following instructions assume that you have an existing set of audio files (such as sound effects or music) in a folder on your Mac. 1. In the Finder, select the top-level folder that contains the audio files you want to access from Final Cut Pro. 2. Choose File > Make Alias (or press Command-L). 3. In the Finder, choose Go > Go to Folder, then enter the following in the “Go to the folder” field: /Library/Audio/Apple Loops/Apple/Final Cut Pro Sound Effects/ 4. Click Go. The Final Cut Pro Sound Effects folder opens in the Finder. 5. In the Finder, drag the alias of your custom audio folder into the Final Cut Pro Sound Effects folder. 6. Delete the word “alias” from the end of the folder name. Final Cut Pro User Guide 221 7. In Final Cut Pro, if the Photos and Audio sidebar isn’t already shown, do one of the following: • Click the Photos and Audio button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Photos and Audio (or press Shift-Command-1). 8. In the Photos and Audio sidebar, select the Sound Effects category. 9. Click the pop-up menu above the search field in the upper-right corner of the browser. Your custom audio folder and any subfolders appear in the Final Cut Pro Sound Effects section of the menu. 10. To access the clips in your custom audio folder, do any of the following: • Choose your custom audio folder (or any of its subfolders) from the pop-up menu. • Type text in the search field to search for clips by name. The corresponding clips appear in the browser. To add audio clips from your custom audio folder to your projects or libraries, see Add music and sound. Note: By default, Final Cut Pro assigns the Effects role to every clip that is added from the Sound Effects category of the Photos and Audio sidebar. To change the role assignment for a clip, see View and reassign roles. Final Cut Pro User Guide 222 Edit audio clips or audio components Intro to audio editing in Final Cut Pro Final Cut Pro includes tools for editing audio clips or multiple audio channels. You edit audio in two ways, detailed below. Clip-level audio editing You can make audio adjustments and edits to whole clips. At this level, audio adjustments and effects are applied to the entire clip, including any audio channels within the clip. Final Cut Pro preserves any adjustments you make to individual audio channels. This means that if you reduce the volume for a single channel but raise the volume for the whole clip, the volume of the single channel is raised but stays in proportion to the volume of other channels in the clip. If your source media contains only one or two audio channels or you’re editing an audioonly clip, you may only need to make adjustments and edits at this level. Advanced multichannel audio editing Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. You can expand the audio portion of clips to reveal and edit audio components down to the individual channel level. This allows you to apply different effects to different components and streamlines the process for making quick sound cutouts to a single microphone input or other fine adjustments. Important: Many digital audio file formats, such as AAC and MP3, use interleaved stereo files, which do not contain separate left and right channels. These files appear as a single audio component unless you change the clip’s channel configuration. Keep in mind the following when editing audio components in Final Cut Pro: • You view and change the audio channel configuration of your clips in the Audio Configuration section of the Audio inspector. You can enable or disable audio components and configure channels in mono, stereo, and surround formats. See Configure audio channels. • With the Range Selection tool, you can quickly select ranges within an audio component to target the audio you want to edit. • When you show audio components for compound clips, multicam clips, and synced clips, Final Cut Pro presents role components, which you can edit in the same way you edit standard components. See Work with audio roles in compound clips. Final Cut Pro User Guide 223 • You edit audio components in the same way you edit whole clips. You can: • Skim individual components when clip skimming and audio skimming are turned on. See Skim media. • Adjust the volume of a component. See Adjust volume. • Mute a component’s audio by disabling or silencing all or a portion of the component. This is the fastest way to remove unwanted sounds from a component. See Solo and mute audio clips. • Trim a component’s start and end points. See Extend or shorten clips. • Perform a roll edit on adjacent audio components. See Make roll edits. • Apply fades or use fade handles to fade audio in at the beginning of an audio component, or fade audio out at the end. See Fade audio in and out. • Pan the sound for individual components. See Pan audio. • Assign a role (specifically, a subrole) to a component. See Intro to roles and View and reassign roles. • Add or adjust audio effects for individual components. See Add audio effects or Adjust audio effects. • Adjust audio effects for individual components using keyframes. See Keyframe audio effects. For examples of multichannel audio editing workflows, see Multichannel audio editing examples. Configure audio channels in Final Cut Pro Final Cut Pro assigns a default channel configuration for audio clips when they’re imported or added to a project. You can change the channel configuration—for example, to convert a stereo dialogue clip to two mono channels. Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. See Audio channels and components. In addition to changing the channel configuration, you can view and listen to audio components and enable or disable audio components. Change the channel configuration The number of channel options you can configure depends upon how many channels are in your source clip or compound clip. You can configure channels in several formats, including: • Mono: Single channel. In a surround sound setup, you can assign a mono channel to any surround channel. • Stereo: Left and right channels. • 5.1 surround: Left, center, right, left surround, right surround, and low-frequency effects (subwoofer bass) channels. If you configure more than six surround channels, Final Cut Pro automatically adjusts the channel mix down to 5.1 surround during playback. Final Cut Pro User Guide 224 Important: Changing the channel configuration resets all adjustments and edits made to audio components (including applied effects, disabled ranges, keyframe adjustments, and role assignments). 1. In Final Cut Pro, select the clip in the timeline. 2. In the Audio Configuration section of the Audio inspector, click the Channels pop-up menu and choose an option. The channels appear in the Audio inspector as separate audio components, each with its own waveform. To assign a mono channel to a specific surround channel, select the mono channel waveform, then click the Channels pop-up menu and choose an option. View and listen to an audio component 1. In Final Cut Pro, select the clip in the timeline. 2. In the Audio Configuration section of the Audio inspector, skim over a component or play it back using the Space bar or the J, K, and L keys. Enable or disable an audio component You can enable or disable audio components in a clip. For example, you may want to disable unused components in a clip. By default, all active audio components in a clip appear as selected in the Audio inspector and are arranged in the same order when the clip is expanded to show audio components in the timeline. To learn more about viewing audio components, see Ways to view audio clips. Final Cut Pro User Guide 225 When you disable an audio component, it appears dimmed in the Audio inspector and is removed from the clip’s component arrangement in the timeline. 1. In Final Cut Pro, select the clip in the timeline. 2. In the Audio Configuration section of the Audio inspector, do one of the following: • Disable a component: Deselect the checkbox next to the component waveform. • Enable a component: Select the checkbox next to the component waveform. Note: You can also disable an audio component in the timeline. Expand the clip’s audio components in the timeline, then select the audio component you want to disable and press Delete. You can also choose a channel configuration when exporting roles as audio stems for mixing or post-production. See Share roles as files. If you choose an export file channel configuration that is different from that of your source files, the channels are exported in the following ways: • Stereo source exported as surround: The left and right channels are exported to the left and right channels of the surround file. • Surround source exported as stereo: The surround source is exported as a stereo (left and right channel) mix. • Stereo or surround source exported as mono: The stereo or surround source is exported as a mono (one channel) mix. Adjust volume in Final Cut Pro You can adjust the volume levels of audio clips from the browser, the timeline, the Audio inspector, or the Modify menu. Volume adjustments you make from the Audio inspector or the Modify menu are applied to the entire selection. To make more precise adjustments, you can create keyframes in the clip, and then make adjustments to points between keyframes. See Keyframe audio effects. You can use the audio meters to make sure the volume doesn’t exceed peak levels, which may result in audible distortion. Final Cut Pro User Guide 226 Adjust volume in the timeline • In Final Cut Pro, drag the volume control (the horizontal line across the audio waveform) up or down. As you drag, the volume level in dB appears, and the waveform changes shape to reflect your adjustments. If you adjust the volume between two keyframes, the volume line slopes to show the change in volume between the keyframes. Adjust volume from the Modify menu or the keyboard 1. In the Final Cut Pro timeline, select one or more audio clips or video clips with audio. 2. Do one of the following: • Adjust the volume in +1 or –1 dB increments: Choose Modify > Adjust Volume, then choose Up or Down, or press Control-Plus Sign (+) or Control-Minus Sign (–). • Adjust the volume using an absolute dB value: Choose Modify > Adjust Volume > Absolute (or press Control-Option-L). The display below the viewer changes to show absolute dB values. Type a positive or negative value to change the absolute volume. The volume across the entire selection is set to one dB level, and any keyframe adjustments are deleted. • Adjust the volume using a relative dB value: Choose Modify > Adjust Volume > Relative (or press Control-L). The display below the viewer changes to show relative dB values. Type a positive or negative value to change the relative volume. The volume is adjusted by the same amount throughout the selection, preserving any fades or other keyframe adjustments. Final Cut Pro User Guide 227 • Silence the selected clip or range to 0 dB: Choose Modify > Adjust Volume > Silence (–∞). The selection is silenced, and the volume control for the clip or range is set to –∞ dB. • Restore the original audio level for the selected clip or range: Choose Modify > Adjust Volume > Reset (0dB). The volume of the selection is reset to 0 dB. If multiple clips are selected, the volume is adjusted for all clips. Adjust volume in the Audio inspector 1. In the Final Cut Pro browser or timeline, select one or more audio clips or video clips with audio. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the Audio inspector to switch between half-height view and full-height view. 4. In the Audio inspector, do one of the following: • Enter a value in the Volume field. If multiple clips are selected, the volume for all clips is set to the value you entered. • Drag the Volume slider right to increase the volume, or left to decrease it. If multiple clips are selected, the volume for all clips is adjusted relative to each clip’s original volume. Final Cut Pro User Guide 228 Adjust volume automatically across a selected area To adjust the volume of a clip in the timeline, you can use the Range Selection tool to add keyframes automatically across a selected range. 1. In Final Cut Pro, select the clip in the timeline. 2. Click the Tools pop-up menu above the timeline and choose Range Selection (or press R). The pointer changes to the Range Selection tool . 3. Drag across the area where you want to adjust the volume. 4. To adjust the volume within the range, do one of the following: • Drag the horizontal control in the timeline up or down. (See Adjust volume in the timeline, above.) • Drag the Volume slider in the Audio inspector. (See Adjust volume in the Audio inspector, above.) • Choose Modify > Adjust Volume > Silence (–∞) to silence the range. Keyframes are automatically created along the adjustment points within the range. Reset all volume adjustments In Final Cut Pro, do one of the following: • In the browser or the timeline, select an audio clip or a video clip with audio, then click the Reset button in the Volume and Pan section of the Audio inspector. • Select a clip or a range in the timeline, then choose Modify > Adjust Volume > Reset (0dB). Disable a clip’s audio At times, you may import clips with unwanted audio that you will never use. You can disable the audio in these clips. To ensure the best playback performance, deselect the audio components of these clips in the Audio inspector. 1. In Final Cut Pro, select one or more clips in the timeline or the browser. Final Cut Pro User Guide 229 2. In the Audio Configuration section of the Audio inspector, deselect the checkboxes next to the component waveforms you want to silence. Note: If you add a clip with mono audio to a stereo project, Final Cut Pro plays the single mono audio in both left and right channels, visible in the stereo audio meters for the project. Fade audio in and out in Final Cut Pro There are several ways to create audio fade-ins and fade-outs on the audio portions of clips or on audio components in Final Cut Pro: • Apply fades using the Modify menu: You can quickly apply fade-ins and fade-outs to selected clips or audio components from the Modify menu. You can change the default fade duration in Final Cut Pro preferences. • Create fades using fade handles: You can use fade handles to create manual fade-ins and fade-outs on the audio portion of a clip or an audio component in the timeline. Fade handles appear in the top-left and top-right corners of the audio waveform when you place the pointer over the clip. You can also change the fade’s shape by choosing one of several predefined options. Changing the fade shape changes the sound of the fade. Note: Fades created using fade handles override crossfades created by a transition. For information about crossfades, see Crossfade audio. Final Cut Pro User Guide 230 Apply fades using the Modify menu 1. In the Final Cut Pro timeline, select one or more audio clips or video clips with audio. 2. Do one of the following: • Choose Modify > Adjust Audio Fades > Apply Fades. Fades appear at the beginning and end of the selected clip or clips. Note: If you select a clip that already has a fade, the Apply Fades command does not override it. • Choose Modify > Adjust Audio Fades > Fade In. If there are no preexisting fades at the beginning of the selected clip or clips, fades appear at the beginning of the clips. If there are already fades at the beginning of the selected clip or clips, they are removed. • Choose Modify > Adjust Audio Fades > Fade Out. If there are no preexisting fades at the end of the selected clip or clips, fades appear at the end of the clips. If there are already fades at the end of the selected clip or clips, they are removed. 3. To adjust the duration of a fade, drag the fade handle to the point where you want the fade to begin or end. The default duration for fades is one half-second. To change the default duration, see Editing preferences. Tip: You can use the Command Editor to assign a keyboard shortcut to apply (or remove) only a fade-in or a fade-out. See Intro to the Command Editor. Final Cut Pro User Guide 231 Create a fade manually using fade handles • In the Final Cut Pro timeline, drag the fade handle to the point in the clip where you want the fade to begin or end. Fade handles from the beginning of a clip create a fade-in, and fade handles at the end of a clip create a fade-out. Fades complement any volume adjustments you’ve already made to a clip. For example, if you previously adjusted the volume lower at the beginning of a clip, the fade-in increases the volume from silence (–∞ dB) to the level you’ve already specified. Change the fade shape when using fade handles • In the Final Cut Pro timeline, Control-click a fade handle and choose a fade option: • Linear: Maintains a constant rate of change over the length of the fade. • S-curve: Eases in and out of the fade with the midpoint at 0 dB. • +3dB: Starts slowly and then moves quickly toward the end. This is the default setting and is best for maintaining a natural volume when crossfading between two clips. • –3dB: Starts quickly and then slowly tapers off toward the end. Remove fades 1. In the Final Cut Pro timeline, select one or more audio clips or video clips with audio. 2. Do one of the following: • Choose Modify > Adjust Audio Fades > Remove Fades. Fades are removed from the beginning and end of the selected clip or clips. Final Cut Pro User Guide 232 • Choose Modify > Adjust Audio Fades > Fade In. If there are preexisting fades at the beginning of the selected clip or clips, they are removed. If there are no fades at the beginning of the selected clip or clips, fades appear at the beginning of the clips. • Choose Modify > Adjust Audio Fades > Fade Out. If there are preexisting fades at the end of the selected clip or clips, they are removed. If there are no fades at the end of the selected clip or clips, fades appear at the end of the clips. Crossfade audio in Final Cut Pro A crossfade is a common type of audio transition between two clips, in which the first clip’s audio fades down while the second clip’s audio simultaneously fades up. During the crossfade, audio from both clips is heard. Crossfades are similar to video transitions known as cross dissolves. You can add audio crossfades in the following ways: • Create crossfades using the Modify menu: You can quickly apply audio crossfades to any adjacent clips in the timeline. • Create a crossfade manually using fade handles: You can apply a crossfade to the edit point when trimming the audio waveform in clips. • Apply crossfades automatically when transitions are added: When you add a transition to a video clip with attached audio, a crossfade is automatically applied to the audio. If the audio is detached or expanded from the video, the crossfade is not applied. See Add transitions. Final Cut Pro User Guide 233 Create an audio crossfade using the Modify menu 1. In the Final Cut Pro timeline, select two or more adjacent audio clips or video clips with audio. 2. Choose Modify > Adjust Audio Fades > Crossfade (or press Option-T). Final Cut Pro creates the crossfade at the edit point between the selected clips using media handles. If one or both of the clips do not have enough extra content (media handles) to support a crossfade of the default duration, you’re given the option to overlap media in your project to create the crossfade. See How transitions are created. Note: You can set the default crossfade duration in Final Cut Pro preferences. See Editing preferences. For information about applying crossfades to connected clips, see the following instructions. Create a crossfade manually using fade handles 1. In Final Cut Pro, select two adjacent clips in the timeline, then choose Clip > Expand Audio (or press Control-S). The clips appear expanded. Final Cut Pro User Guide 234 2. Drag the end point of the first clip and the start point of the second clip so that the audio portions of the clips overlap. Note: Make sure to adjust the audio overlap to the length you want. 3. Drag the fade handles of each clip to the points where you want the fade to begin and end. To change the fade shape for each clip, follow the instructions in Change the fade shape when using fade handles. Change the fade shape of a transition crossfade You can change the shape of the fade handles in a transition crossfade that Final Cut Pro created automatically. 1. In Final Cut Pro, select a video transition in the timeline, then do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 235 2. In the Audio Crossfade section of the Transition inspector, click the Fade In Type pop-up menu or the Fade Out Type pop-up menu and choose a fade option: • Linear: Maintains a constant rate of change over the length of the fade. • S-curve: Eases in and out of the fade with the midpoint at 0 dB. • +3dB: Starts slowly and then moves quickly toward the end. This is the default setting and is best for maintaining a natural volume when crossfading between two clips. • –3dB: Starts quickly and then slowly tapers off toward the end. Remove a crossfade In the Final Cut Pro timeline, do one of the following: • Trim each clip to a point beyond the crossfade. • Select both clips, align the audio to video, then choose Modify > Adjust Audio Fades > Remove Fades. Pan audio in Final Cut Pro Panning audio lets you distribute sound across the stereo or surround spectrum to create balance or a special effect. For example, you can place more sound in the right channel of a stereo clip or less sound in the center channel of a surround clip. Final Cut Pro includes a built-in surround sound decoder that lets you choose among several stereo and surround preset pan modes that you can apply to clips from the Audio inspector. Using the pan mode presets, you can dynamically re-create surround sound fields from stereo source content. Note: To display surround channels in the audio meters, make sure you set your project’s audio and rendering properties to surround before you decode stereo content to surround channels. For information about project properties, see Modify a project’s settings and Final Cut Pro project settings. For information about the audio meters, see View and change audio levels. When you change the pan mode in the Audio inspector, the setting is applied to the entire selection. To make more precise adjustments, you can add keyframes using the Audio Animation editor or the Audio inspector, and then make adjustments to them in the Audio inspector. Pan audio for stereo 1. In Final Cut Pro, select the audio clip. 2. In the Pan section of the Audio inspector, click the Mode pop-up menu and choose Stereo Left/Right. 3. Move the sound left or right by doing one of the following: • Type a value in the Pan Amount field. • Drag the Pan Amount slider left or right. Final Cut Pro User Guide 236 Pan audio for surround sound 1. In Final Cut Pro, select the audio clip. 2. In the Pan section of the Audio inspector, click the Mode pop-up menu and choose one of the following options: • Basic Surround: Positions the signal in its default channels, with a stereo signal in the right and left channels, and a mono signal in the center channel. The Pan Amount slider setting distributes portions of the signal to other channels and can be adjusted from –100 (left channels) to 100 (right channels). • Create Space: Distributes the signal across the surround spectrum, with more signal to the center and front left and right channels. This setting is useful for making a general-purpose surround mix from any stereo source. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (total surround field). • Dialogue: Pans more signal to the center channel of the surround spectrum so that the direct sound is in the center, while ambient sound is distributed to the other channels. This setting is best used for voiceover or other dialogue clips. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (all sound to the center channel). • Music: Distributes a stereo mix signal evenly across the surround spectrum. This setting is best used for converting stereo music to a surround mix. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (total surround field). • Ambience: Pans across the surround spectrum with more signal toward the surround channels and less signal to the front and center channels. This setting is useful for effects such as crowd noise or other outdoor environments. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (total surround field). • Circle: Pans the sound in a circle around the surround spectrum (like a bee buzzing around the listener’s head). The Pan Amount slider adjusts the direction to the listener in degrees (–180 to 180). • Rotate: Pans around the surround spectrum as if the listener is turning in a circle. The Pan Amount slider adjusts the listener rotation in degrees (–180 to 180). • Back to Front: Pans from back to front across the surround spectrum. The Pan Amount slider setting can be adjusted from –100 (back) to 100 (front). • Left Surround to Right Front: Pans from left surround to right front across the surround spectrum. The Pan Amount slider setting can be adjusted from –100 (left surround) to 100 (right front). • Right Surround to Left Front: Pans from right surround to left front across the surround spectrum. The Pan Amount slider setting can be adjusted from –100 (right surround) to 100 (left front). 3. If you want to adjust the pan amount, do one of the following: • Type a value in the Pan Amount field. • Drag the Pan Amount slider left or right. The Pan Amount settings vary according to the pan mode you choose. Final Cut Pro User Guide 237 Adjust surround sound using the Surround Panner In the Audio inspector, you can use the Surround Panner to change the surround sound field or make advanced adjustments using sliders. Using the Surround Panner, you can change the panning levels by moving a control that represents where the sound would appear to originate in an actual surround sound speaker setup. 1. In Final Cut Pro, select the audio clip. 2. In the Pan section of the Audio inspector, click the Mode pop-up menu and choose a surround preset. The Surround Panner appears in the Pan section. 3. Do any of the following: • Make adjustments in the Surround Panner: Drag the control within the surround field to pan toward or away from any of the surround channels (left, center, right, left surround, or right surround) represented by the speaker icons. Click a speaker icon to turn it on or off. To move the control back to the center position, double-click it. • Make advanced adjustments: Below the Surround Panner, click Show in the Advanced section, then drag the sliders to adjust any of the following parameters: • Original/Decoded: Adjusts the balance between the original and decoded signals. The slider can be adjusted from –100 (original signal only) to 100 (decoded center and surround signals only). At 0, the signal is balanced evenly between the original and decoded signals. • Ambient/Direct: Adjusts the balance between decoded surround and center signals. The slider can be adjusted from –100 (surround signal only) to 100 (center signal only). At 0, the signal is balanced evenly between the center and surround signals. Final Cut Pro User Guide 238 • Surround Width: Specifies how much separation (in dB) is between the decoded surround signals. At 0 dB, there is complete separation between the center and surround signals, but each surround signal is mono. To increase the stereo effect in the left and right surround channels, you can increase the parameter value. This also results in some signal being diverted from the center channel to the surround channels. • LFE Balance: Adjusts the low-frequency effects (subwoofer) signal from –1 (no signal sent to the LFE channel) to 1 (all signal sent to the LFE channel). When the slider is centered at 0, the signal is distributed evenly among the five channels and the LFE channel. • Rotation: Rotates all surround signals to the left or right in a circular manner. When the slider is at the extreme left or right (–180 degrees or 180 degrees, respectively), the surround signal is rotated to the center channel and the center signal is rotated to the surround channels. At 0 degrees (the center of the slider), there is no rotation. • Stereo Spread: Adjusts the amount of stereo effect from the left and right channels to the center and surround speakers. • Attenuate/Collapse: Adjusts the way the panning effect is implemented. At 0, the source signals are attenuated (meaning that the original channel signals get louder and softer but are not actually diverted to other channels). At 100, the source signals are collapsed (meaning that the original channel signals aren’t changed in volume, but instead are moved to other channels in the panning direction). • Center Balance: Adjusts the balance between the center and surround signals. The slider can be adjusted from –100 (all center signal sent to the surround channels) to 100 (all surround signals sent to the center channel). At 0, the signal is balanced evenly between the center and surround channels. When you make adjustments to advanced parameters, the Pan Mode setting indicates that it has been edited. Reset pan adjustments In Final Cut Pro, do any of the following: • Reset an edited pan mode: Click the Pan Mode pop-up menu and choose another preset. The Pan Amount slider is not affected. • Reset adjustments to the Surround Panner only: Move the pointer to the Surround Panner section in the Audio inspector, then click the Reset button that appears on the right. • Reset all adjustments: Move the pointer to the Pan row in the Audio inspector, then click the Reset button that appears on the right. You can monitor stereo and surround sound channel levels using the audio meters. Note: If you add a clip with mono audio to a stereo project, Final Cut Pro plays the single mono audio in both left and right channels, visible in the stereo audio meters for the project. Final Cut Pro User Guide 239 Final Cut Pro multichannel audio editing examples Below are examples of some multichannel audio editing workflows in Final Cut Pro. Example: Remove unwanted noise from an audio component Note: To skim audio for an individual audio component, make sure both clip skimming and audio skimming are turned on. See Skim media. 1. Select a clip in the Final Cut Pro timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). 2. Skim or play back the audio component to find the specific place where the noise occurs. 3. Drag within the component to select the range where the noise occurs. 4. Do one of the following: • Disable the portion of the component where the noise occurs: Press the V key (or press the Delete key). Disabling a selected range mutes all sound within the range. To unmute (enable) the range, press the V key (or press Command-Z). Final Cut Pro User Guide 240 Note: When you disable a range in an audio component, fade handles become available on either side of the disabled range. See Fade audio in and out. • Adjust the volume within the range: Drag the horizontal control up or down, or adjust volume from the Modify menu or the keyboard. Keyframes are automatically created along the adjustment points within the range. 5. Play back the clip to listen to your adjustments. 6. To collapse the audio components after you complete your adjustments, choose Clip > Collapse Audio Components (or press Control-Option-S). Final Cut Pro User Guide 241 Example: Trim audio within an audio component 1. Select a clip in the Final Cut Pro timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). 2. Position the pointer at the edge of the audio component you want to trim. The pointer changes to the Trim tool . 3. Drag to trim that section. To undo your trim, press Command-Z. 4. Play back the clip to listen to your adjustments. 5. To collapse the audio components after you complete your adjustments, choose Clip > Collapse Audio Components (or press Control-Option-S). Example: Trim all audio components at the same time 1. Select a clip in the Final Cut Pro timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). Final Cut Pro User Guide 242 2. Position the pointer at the edge of one of the expanded audio components. 3. Hold down the Shift key and drag left or right to trim the edit point for all of the audio components at once. The video portion of the clip is not affected. To undo your edit, press Command-Z. 4. Play back the clip to listen to your adjustments. 5. To collapse the audio components after you complete your adjustments, choose Clip > Collapse Audio Components (or press Control-Option-S). Example: Enable or disable audio components in a multicam clip When you create a multicam clip that contains multiple audio components, you can use the angle viewer or the Audio inspector to add audio components from inactive angles to the active angle. This makes it easy to add audio from different source clips in your multicam clip while maintaining the active video angle. You can also disable audio components from the active angle to eliminate unwanted or unused audio. Before you start, you can make adjustments to the channel configuration of audio components in your source clips in the browser using the Audio inspector. See Configure audio channels. 1. In Final Cut Pro, drag a multicam clip from the browser to the timeline. Final Cut Pro User Guide 243 2. To open the angle viewer, do one of the following: • Choose View > Show in Viewer > Angles (or press Shift-Command-7). • Click the View pop-up menu in the top-right corner of the viewer and choose Angles from the Show section. The active angle appears highlighted in yellow. 3. To enable audio-only switching in the angle viewer, click the right switch mode button in the upper-left corner. 4. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 5. Click the Audio button at the top of the inspector. The audio corresponding to the active angle in the angle viewer appears highlighted in the Audio Configuration section of the Audio inspector. Final Cut Pro User Guide 244 6. To add audio components from inactive angles, do one of the following: • In the angle viewer: Hold down the Command and Option keys and click an inactive angle or angles. • In the Audio inspector: Select the checkbox next to each audio component you want to add. In this example, the angle whose audio you added is highlighted in green in the angle viewer, and the audio components you added are highlighted in the Audio inspector. The added audio components also appear in the multicam clip’s component arrangement in the timeline. (To show expanded audio components, choose Clip > Expand Audio Components, or press Control-Option-S.) 7. To remove an audio component from the active angle, do one of the following: • In the angle viewer: Hold down the Command and Option keys and click the angle (highlighted in green) whose audio you want to remove. • In the Audio inspector: Deselect the checkbox next to the audio component you want to remove. • In the timeline: With the clip’s audio components expanded in the timeline, select the audio component and press Delete. Final Cut Pro User Guide 245 When a component is removed, it appears dimmed in the Audio inspector and the angle is no longer highlighted in green in the angle viewer. The component also disappears from the multicam clip’s component arrangement in the timeline. Example: Perform a roll edit on adjacent audio components 1. Select adjacent clips in the Final Cut Pro timeline, then choose Clip > Expand Audio Components (or press Control-Option-S). 2. Click the Tools pop-up menu in the top-left corner of the timeline and choose Trim (or press T). The pointer changes to the Trim tool . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 3. In the timeline, click the center of the edit point between the adjacent audio components that you want to roll, so that both sides of the edit point are selected. 4. Drag left or right to roll the edit point. The edit point is rolled to the new location. The combined duration of the two components stays the same. Note: The adjacent audio components must have sufficient media handles (additional media available beyond the edit point). If you can’t roll the edit point any farther and one side of the edit point appears red, you’ve reached the end of the media for one of the two components. Final Cut Pro User Guide 246 Add and adjust audio effects Add audio effects in Final Cut Pro In addition to enhancing audio using the built-in audio enhancement features, you can take advantage of 64-bit macOS built-in and third-party Audio Units (AU) effects for your audio processing tasks. Final Cut Pro also comes with an extensive range of custom audio effects and professional Logic Effects, which are digital signal processing (DSP) effects and processors that are used to color or tonally shape existing audio recordings and audio sources—in real time. Some of the most common processing options include noise reduction, pitch correction, EQs, dynamic processors, and reverbs. Further advanced features include delays, modulations, distortions, bass enhancement, and time-altering processors and utilities. Some custom effects included with Final Cut Pro combine multiple effects to create a particular sound environment, such as a cathedral. You can add effects to individual audio clips and components or to a compound clip. After you add an effect, you can adjust its settings using the Audio inspector. Add audio effects to a clip 1. Click the Effects button in the top-right corner of the Final Cut Pro timeline (or press Command-5). 2. In the Effects browser, select an audio effect. You can do any of the following to help make your selection: • Preview what an effect sounds like using the audio from the currently selected timeline clip: Move the pointer over the audio effect thumbnail. • Preview changing an effect’s primary control: Hold down the Option key while moving the pointer over the audio effect thumbnail. • Filter the list of effects that appear: Type text in the Effects browser search field. 3. Do one of the following: • Drag the effect to an audio clip (or a video clip with audio) in the timeline. • Double-click the effect icon to apply the effect to the selected clip. The effect appears in the Effects section of the Audio inspector and in the Audio Animation editor. You can now adjust the effect. Final Cut Pro User Guide 247 Change the order of effects After you apply audio effects to a clip, you can change the order in which they appear in the Audio inspector or the Audio Animation editor. 1. In the Final Cut Pro timeline, select a clip you’ve added effects to. 2. Do one of the following: • In the Effects section of the Audio inspector, drag an effect up or down. • In the Audio Animation editor, drag an effect up or down. Copy all of a clip’s effects to another clip You can copy effects and their settings from one clip to another. This can be especially useful if you’ve made adjustments to effects in a clip that you want to preserve and use with other clips. 1. Select a clip in the Final Cut Pro timeline, then choose Edit > Copy (or press Command-C). 2. Select the clip or clips you want to apply the effects to, then choose Edit > Paste Effects (or press Option-Command-V). If a clip has more than one effect applied to it, all of the effects and their settings are applied to the other clip. Copy selected clip attributes to another clip You can copy selected audio attributes, such as settings and effects, from one clip to another. For example, you can copy pan settings, or any effects you’ve added to a clip, including any keyframe adjustments. 1. Select a clip in the Final Cut Pro timeline, then choose Edit > Copy (or press Command-C). 2. Select the clip or clips you want to apply the attributes to, then choose Edit > Paste Attributes (or press Shift-Command-V). 3. In the Paste Attributes window, do any of the following: • Apply all audio attributes from the source clip: Select the Audio Attributes checkbox. • Apply individual attributes: Select the checkboxes for the attributes you want to apply. Final Cut Pro User Guide 248 • If you made any keyframe adjustments to the source clip: In the Keyframe Timing section, select either Maintain or Stretch to Fit. If you choose Stretch to Fit, Final Cut Pro adjusts the keyframes in time to match the duration of the destination clip. 4. Click Paste. For more information about using the Logic Effects that are included with Final Cut Pro, see Final Cut Pro Logic Effects. Remove audio effects in Final Cut Pro You can remove all effects from a clip selection, or you can use the Remove Attributes command to remove selected attributes and effects. The second method provides more control over individual effects and settings and is similar to copying selected effects to a clip selection using the Paste Attributes command. If you’re not sure you want to remove an audio effect, you can turn it off but retain its settings. Remove selected attributes and effects from one or more clips 1. Select one or more clips in the Final Cut Pro timeline. Final Cut Pro User Guide 249 2. Choose Edit > Remove Attributes (or press Shift-Command-X). The Remove Attributes window opens, with the clip’s current effects and attributes selected. 3. Deselect the checkboxes for the effects or attributes you want to retain, and select the checkboxes for the effects or attributes you want to remove. 4. Click Remove. Selected clip effects are removed from the clips entirely. Selected built-in effects (such as Volume and Pan) are reset to their default values. Note: You can also remove an individual effect from a clip in the timeline using the Audio inspector or the Audio Animation editor. Simply select the effect and press Delete. Remove all clip effects from one or more clips 1. Select one or more clips in the Final Cut Pro timeline. 2. Choose Edit > Remove Effects (or press Option-Command-X). All clip effects are removed from the selected clips entirely. All built-in effects on the selected clips (such as Volume and Pan) are reset to their default values. Turn off a clip effect After you apply an audio effect to a clip, you can turn off the effect (but retain its settings) in the Audio inspector or the Audio Animation editor. 1. Select the clip with the effect in the Final Cut Pro timeline. 2. In the Audio Animation editor or the Effects section of the Audio inspector, deselect the effect’s checkbox. Final Cut Pro User Guide 250 Add the default audio effect in Final Cut Pro You can set a default audio effect and quickly add it to your project clips using the OptionCommand-E keyboard shortcut or a menu command. Final Cut Pro comes with the default audio effect set to Channel EQ, but you can change the default effect to any audio effect in the Effects browser, including custom audio effects presets. For more information about audio effects presets, see Save audio effects presets. Add the default audio effect to project clips 1. In the Final Cut Pro timeline, select one or more clips that contain audio components. 2. Choose Edit > Add [effect name] (or press Option-Command-E). Note: The name of the menu item changes depending on the current default audio effect. Set the default audio effect 1. Click the Effects button in the top-right corner of the Final Cut Pro timeline (or press Command-5). 2. Control-click an audio effect or an audio effects preset in the Effects browser, then choose Make Default Audio Effect. Adjust audio effects in Final Cut Pro You can adjust an effect’s parameters using controls in the Audio inspector or the effect’s window. If you’re using Audio Units effects or Logic Effects, you can show an expanded interface by opening the effect’s window. For more information about using the Logic Effects that are included with Final Cut Pro, see Final Cut Pro Logic Effects. Adjust an audio effect 1. In the Final Cut Pro timeline, select the clip with the effect you want to adjust. Final Cut Pro User Guide 251 2. Locate the effect in the Effects section of the Audio inspector. 3. To see an effect’s parameters, do one of the following: • Click the Controls button (to the right of the effect’s name) to show a larger window with advanced controls. • Move the pointer over the effect in the inspector and click the Show button at the right end of the effect bar. Tip: You can adjust effects over time using keyframes in the Audio inspector or the Audio Animation editor. 4. Select effect parameters and adjust their settings as needed. You can preview your adjustments by using the skimmer or playing the clip in the timeline. To return the effect’s values to their default settings, click the effect’s Reset button . Use Audio Units and Logic effects presets Many Audio Units and Logic effects include built-in presets that are tailored for specific settings or environments, such as reverb presets that simulate the acoustics of a small room or a large cathedral. Presets make it easy to preview and apply effects quickly. 1. In Final Cut Pro, locate the effect in the Effects section of the Audio inspector. Final Cut Pro User Guide 252 2. Click the Preset pop-up menu and choose a preset. You can preview your presets by using the skimmer or playing the clip in the timeline. To return the effect to its default settings, click the Preset pop-up menu and choose Default. Edit and save custom Audio Units and Logic effects presets You can edit preset parameters by adjusting the effect’s controls. If you want to keep your changes, you can save them as as a custom preset. 1. In Final Cut Pro, locate the effect in the Effects section of the Audio inspector. 2. Click the Preset pop-up menu and choose a preset. 3. To see an effect’s parameters, do one of the following: • Click the Controls button (to the right of the effect’s name) to show a larger window with advanced controls. • Click the Parameters disclosure triangle to show controls in the Audio inspector. 4. Select effect parameters and adjust their settings as needed. You can preview your adjustments by using the skimmer or playing the clip in the timeline. When you adjust a preset’s parameters, the Preset pop-up menu indicates that the preset has been edited. Final Cut Pro User Guide 253 5. To save an edited preset, click the Preset pop-up menu and choose Save Preset, then type a name for the new preset. Saved presets appear in the Preset pop-up menu. To return the effect to its default settings, click the Preset pop-up menu and choose Default. Delete custom presets 1. In Final Cut Pro, locate the effect in the Effects section of the Audio inspector. 2. Click the Preset pop-up menu and choose Reveal User Presets in Finder. 3. In the Finder window, select the preset or presets you want to delete, then drag them to the Trash. After a custom preset has been deleted, it no longer appears in the Preset pop-up menu. Final Cut Pro User Guide 254 Save audio effects presets in Final Cut Pro You can save any combination of audio effects and audio effect parameter settings as an audio effects preset, which appears in the Effects browser and functions like any other audio effect. You can create an effects preset from any combination of built-in effects and clip effects. After you create an effects preset, you can share it with friends and colleagues so that the same preset (with its specific combination of effects and parameter settings) is available in their Effects browser. Save an audio effects preset 1. Apply any combination of built-in effects and clip effects to an audio clip (or a video clip with audio) in the Final Cut Pro timeline, then make any adjustments to the effects. See Add audio effects and Adjust audio effects. 2. Select the clip in the timeline. 3. Do one of the following: • Choose File > Save Audio Effects Preset. • Open the Audio inspector and click Save Effects Preset at the bottom of the inspector. The Save Audio Effects Preset window appears, with any applied or adjusted effects selected in the Attributes list. 4. Enter a name for the new preset in the Name field. 5. Click the Category pop-up menu and choose an Effects browser category in which to store the new preset. Final Cut Pro User Guide 255 6. In the Attributes list, select the audio effects you want to include in the preset. If you made any keyframe adjustments to the source clip, select either Maintain or Stretch to Fit in the Keyframe Timing section. If you select Stretch to Fit, Final Cut Pro adjusts the keyframes in time to match the duration of any clip to which you apply the preset. 7. Click Save. The new audio effects preset appears in the Effects browser category you chose. To apply the preset to a clip, see Add audio effects. Share an audio effects preset 1. In the Final Cut Pro Effects browser, Control-click the effects preset you want to share, then choose Reveal in Finder. 2. In the Finder, select the effects preset file and choose File > Compress. Note: Compressing the file prevents any change to the preset during transit. 3. Transfer the resulting .zip file to your friend or colleague using email or another convenient method. 4. On the receiving Mac, double-click the .zip file to decompress it. 5. In the Finder, hold down the Option key and choose Go > Library. 6. Drag the effects preset file to the following location in the Library folder: /Users/username/Library/Application Support/ProApps/Effects Presets/ 7. If Final Cut Pro is open, quit and reopen it. The transferred audio effects preset appears in the Effects browser, in the same category as on the original Mac. Keyframe audio effects in Final Cut Pro With Final Cut Pro, you can use keyframes to create simple changes to audio over time, such as fading the volume or an effect in or out in the middle of a clip. You place keyframes at specific points in a clip to change the parameter value of an audio enhancement or effect at those points. For example, you can keyframe specific points for volume or for an effect such as reverb or distortion. You can set keyframes to adjust a clip’s volume directly in the timeline or the Audio inspector. To see keyframes in the timeline for all other effects, you need to display the Audio Animation editor. For information about using keyframes with video clips, see Add video effect keyframes. Add keyframes to a clip 1. In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Show Audio Animation (or press Control-A). • Control-click the clip in the timeline and choose Show Audio Animation. If you’re adding keyframes for volume adjustment only, go to step 4. Final Cut Pro User Guide 256 Each effect in the Audio Animation editor has a separate area for adding keyframes. Some effects have more than one parameter and allow you to add keyframes to individual parameters separately. They appear in the Audio Animation editor with a triangle next to the effect’s name or in the Audio inspector as additional parameter controls. 2. In either the Audio Animation editor or the Effects section of the Audio inspector, select the effect for which you want to add keyframes. 3. Do one of the following: • See expanded parameters in the Audio Animation editor: Click the triangle to choose an individual parameter from the pop-up menu, or choose All to see all keyframes. • See expanded parameters in the Audio inspector: Click the Parameters disclosure triangle for the effect. 4. For each parameter, do one of the following: • In the Audio Animation editor (or the audio clip for volume only): Option-click (or press Option-K) at a point on the horizontal effect control where you want to add a keyframe. Keyframes for volume adjustment appear as white diamonds. For effects with more than one parameter, keyframes for the selected parameter appear as white diamonds, and keyframes for other parameters appear gray. Final Cut Pro User Guide 257 Keyframes appear as white diamonds for all parameters when you choose All from the effect pop-up menu. Double diamonds indicate that you added a keyframe for more than one parameter at that point. • In the Audio inspector: Position the playhead in the timeline at the point where you want to add a keyframe, then click the Keyframe button (or press Option-K). After you add a keyframe, the Keyframe button changes to solid white, indicating that the playhead is currently on this keyframe. When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Audio inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow or press Option-Semicolon (;). To go to the next keyframe, click the right arrow or press Option-Apostrophe (’). 5. Add keyframes as needed. Tip: After you’ve added one keyframe, you can add another automatically by moving the playhead in the timeline and then adjusting the effect parameter (or the Volume slider when keyframing volume) in the Audio inspector. Add keyframes automatically across a selected area When making volume adjustments to a clip in the timeline, you can use the Range Selection tool to add keyframes automatically across a selected range. If an effect appears in the Audio Animation editor with a disclosure button, you can use either the Select tool or the Range Selection tool to add keyframes across a selected area. 1. In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Show Audio Animation (or press Control-A). • Control-click the clip in the timeline and choose Show Audio Animation. If you’re adding keyframes for volume adjustment only, go to step 3. Final Cut Pro User Guide 258 2. Select an effect, then click the disclosure button to expand it in the Audio Animation editor. 3. In the timeline, do one of the following: • If you’re adjusting volume only: Click the Tools pop-up menu above the timeline and choose Range Selection (or press R). The pointer changes to the Range Selection tool . • If you’re adjusting an effect in the Audio Animation editor: Click the Tools pop-up menu above the timeline and choose either Select or Range Selection (or press A for Select, or R for Range Selection). 4. Drag across the area where you want to adjust the volume or effect. 5. Adjust the volume or effect within the range by dragging the effect’s horizontal control up or down. Final Cut Pro User Guide 259 Keyframes are automatically created along the adjustment points within the range. Adjust keyframes in the Audio Animation editor You can move keyframes left or right in the Audio Animation editor. If an effect appears with a disclosure button, you can expand the effect view and move keyframes up or down to change the parameter value. 1. In Final Cut Pro, select a keyframe. 2. Do one of the following: • To change the keyframe’s position in time, drag it left or right. As you drag, the timecode value appears. • If an effect appears with a disclosure button, click the button (or double-click the effect) to expand the effect view. With the effect view expanded, you can drag the keyframe up or down to change the effect’s parameter value. To add another keyframe, Option-click (or press Option-K) at a point on the effect control where you want to add the keyframe. To add a keyframe and change the effect’s parameter value at the same time, Option-click while dragging the effect control up or down. Final Cut Pro User Guide 260 Adjust keyframes in the Audio inspector For many effects, you adjust the parameter value of individual keyframes using the Audio inspector. 1. In Final Cut Pro, select a keyframe or position the playhead on a keyframe, then adjust the parameter value in the Audio inspector. 2. To change the value at the next keyframe, go to the next keyframe and adjust the value again. Adjust all keyframes at once in the Audio Animation editor • In Final Cut Pro, hold down the Command and Option keys, then drag either a keyframe or the effect control up or down. All keyframes are adjusted by the same amount, preserving the original shape created by any keyframe adjustments. However, if you “flatten” the curve by dragging all the way to the top or bottom of the graph, the keyframe values remain in that flattened state, with all keyframes sharing the same value. View one effect at a time in the Audio Animation editor You can collapse the Audio Animation editor to view only one effect at a time. This can be useful if you have multiple effects applied to a clip and want to preserve screen space. 1. In Final Cut Pro, choose Clip > Solo Animation (or press Control-Shift-V). 2. In the Audio Animation editor, click the triangle next to the displayed effect’s name, then choose an effect from the pop-up menu. Note: When Solo Animation is turned on, you can’t delete effects from the Audio Animation editor. To turn off Solo Animation, choose Clip > Solo Animation (or press Control-Shift-V). Final Cut Pro User Guide 261 Delete keyframes In Final Cut Pro, do one of the following: • Select a keyframe in the Audio Animation editor, then press Option-Shift-Delete. • Navigate to a keyframe in the Audio inspector, then click the Keyframe button. Hide audio animation In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Hide Audio Animation (or press Control-A). • Click the close button in the upper-left corner of the Audio Animation editor. • Control-click the clip in the timeline and choose Hide Audio Animation. You can also manipulate multiple keyframes simultaneously. This works the same way for audio keyframes as it does for video keyframes. See Modify groups of keyframes. To copy specific keyframes between different attributes or between different clips, see Copy and paste keyframes. Tip: If you applied a reverb effect to a clip and you want the reverb to extend beyond the end of the clip, add a hold segment to the last frame. The hold segment duration is fully adjustable, and you can extend the reverb keyframing into the hold segment. Audio tools and techniques Enhance audio in Final Cut Pro Final Cut Pro includes several powerful tools for automatically analyzing and enhancing the audio in your projects, including: • Loudness: Improves the main audio signal and makes it more uniform. • Background Noise Removal: Reduces background noise. • Hum Removal: Reduces common electrical hum noise at either 50 or 60 Hz. All enhancements are designed to correct most common audio problems automatically or with minor adjustments. You can let Final Cut Pro analyze audio and adjust these problems in your audio clips automatically, or you can make manual adjustments in the Audio Enhancements section of the Audio inspector. You can also analyze and fix audio problems when you import a clip. (See Audio analysis options.) Final Cut Pro User Guide 262 Note: When you import a clip with the “Analyze and fix audio problems” import option selected, only severe audio problems are corrected. If the clip contains moderate problems, these appear in yellow next to Audio Analysis in the Audio Enhancements section of the Audio inspector after the clip is imported. To correct these problems, you need to automatically enhance audio in the Audio inspector. 1. In Final Cut Pro, select an audio clip or a video clip with audio in the timeline. Important: Audio enhancement works on the component level, not the clip level. If your audio clip has more than one audio component (for example, a dual mono clip), select an individual component, then proceed with the enhancements. 2. Do one of the following: • Choose Modify > Auto Enhance Audio (or press Option-Command-A). • Click the Enhancements pop-up menu below the viewer and choose Auto Enhance Audio. • In the Audio inspector, click the Auto Enhance Audio button next to Audio Analysis in the Audio Enhancements section. 3. If it isn’t already open, open the inspector, then click the Audio button at the top. In the Audio Enhancements section of the inspector, a green checkmark next to an enhancement indicates that the clip was analyzed and, if necessary, adjusted for that enhancement. A blue checkbox appears next to each enhancement that was turned on to apply a correction. You can turn on additional enhancements by selecting their checkboxes (when an enhancement is turned on, its checkbox is blue). 4. In the Audio inspector, do any of the following: • Adjust equalization: In the Equalization section, click the Equalization pop-up menu and choose an equalization preset, or click the Controls button to make manual adjustments. • Change loudness settings: Drag the Amount and Uniformity percentage sliders in the Loudness section. The Amount slider increases or decreases the overall loudness (compression) of the clip, and the Uniformity slider increases or decreases the dynamic range affected. • Change the percentage of background noise removal: Drag the Amount slider in the Noise Removal section. Final Cut Pro User Guide 263 • Remove hum: Select either 50 Hz or 60 Hz in the Hum Removal section. To turn off an enhancement, deselect its checkbox. You may see either of the following indicators: • A yellow warning triangle indicates potential problems. • A red sign indicates severe problems. If you want a clip to sound like another clip, you can match the audio. Sync audio and video in Final Cut Pro Final Cut Pro can automatically analyze and sync the audio and video clips in your project. For example, if you select two video clips and three audio clips from different sources that were all recorded during the same take, Final Cut Pro automatically analyzes the clips and syncs them together into a new clip in the browser. The original clips are not affected. Final Cut Pro analyzes the clips for sync points such as markers you’ve added, timecode, file creation date, and audio content. If no sync points can be found, the clips are synced at their respective starting points. Final Cut Pro User Guide 264 For finer control of the syncing process, you can use custom settings to adjust several different parameters. Sync clips automatically 1. In the Final Cut Pro browser, select the audio or video clips you want to sync. 2. Do one of the following: • Choose Clip > Synchronize Clips (or press Option-Command-G). • Control-click the selection and choose Synchronize Clips. 3. In the window that appears, type a name for the synced clip in the Synchronized Clip Name field. Final Cut Pro User Guide 265 4. Click the In Event pop-up menu and choose the event in which you want to create the new synced clip. 5. If you want the synced clip’s timecode to start at a value other than the earliest timecode value in the selected clips (the default), type a timecode value in the Starting Timecode field. 6. To sync clips using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms. Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. 7. If you want Final Cut Pro to disable the audio in clips containing both video and audio, select “Disable audio components on AV clips.” For example, if you record dual-system sound (with a reference audio track on the video camera and a high-quality audio-only recording on a separate sound recorder), you can disable the reference track that was recorded on the camera after you finish syncing the video to the high-quality audio. 8. If the automatic settings aren’t shown, click Use Automatic Settings. The automatic settings appear. Note: The automatic settings are shown by default, but if the last synced clip you created used custom settings, those settings are shown. 9. Click OK. Final Cut Pro creates a new synced clip in the event you specified. Sync clips using custom settings 1. In the Final Cut Pro browser, select the audio or video clips you want to sync. 2. Do one of the following: • Choose Clip > Synchronize Clips (or press Option-Command-G). • Control-click the selection and choose Synchronize Clips. Final Cut Pro User Guide 266 3. In the window that appears, type a name for the synced clip in the Synchronized Clip Name field. 4. Click the In Event pop-up menu and choose the event in which you want to create the new synced clip. 5. If you want the synced clip’s timecode to start at a value other than the earliest timecode value in the selected clips (the default), type a timecode value in the Starting Timecode field. 6. To sync clips using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms. Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. 7. If you want Final Cut Pro to disable the audio in clips containing both video and audio, select “Disable audio components on AV clips.” For example, if you record dual-system sound (with a reference audio track on the video camera and a high-quality audio-only recording on a separate sound recorder), you can disable the reference track that was recorded on the camera after you finish syncing the video to the high-quality audio. 8. To show the custom settings, click Use Custom Settings. The custom settings appear. Note: The automatic settings are shown by default, but if the last synced clip you created used custom settings, those settings are shown. Final Cut Pro User Guide 267 9. Click the Synchronization pop-up menu and choose how the clips are synced: • Automatic: Final Cut Pro syncs the clips automatically. • Timecode: Final Cut Pro syncs the clips using timecode recorded in the clips. If you recorded timecode in your clips, choose this option. It’s the fastest and most frameaccurate method of syncing clips. Note: The Timecode option is not available when the drop frame patterns in the selected clips don’t match. • Content Created: Final Cut Pro syncs the clips using the date and time information recorded by your camcorder or video recording device. The Content Created method can sync clips within 1-second accuracy (because in most camcorders the smallest unit in date and time information is 1 second). If you choose this syncing method, consider doing any of the following to make the sync frame-accurate: • Select “Use audio for synchronization.” (See step 7.) Final Cut Pro uses the Content Created data as a starting point and then further refines the sync. • Manually adjust the sync. (See Manually adjust or slip a synced clip, below.) Note: At any time, you can change the Content Created date and time of your source clips in the browser. Just select one or more clips and choose Modify > Adjust Content Created Date and Time. Final Cut Pro User Guide 268 • Start of First Clip: Final Cut Pro uses the first frame in each clip as the sync point. Tip: The Start of First Clip method is useful if you want to use specific range selections of your source clips only. In the browser, add keywords to the ranges you want to use, or rate them as favorites, and then filter or search for the clips. When you create your synced clip, Final Cut Pro uses only the media showing in the filtered view. • First Marker on the Clip: Final Cut Pro uses the first marker in each clip as the sync point. Tip: With this method, you can use the first marker to define a region that can be fine-tuned with the “Use audio for synchronization” option (described in step 6). In other words, you don’t need to place the marker exactly—just close enough so that the automatic audio sync feature can sync the clips the rest of the way. 10. If you want to change the video properties for the synced clip, click the Video pop-up menu and choose Custom, then change the settings as appropriate. Note: By default, Final Cut Pro analyzes the selected clips and configures these settings according to the most common clip properties among the clips. 11. If you want to change the rendering or audio settings for the synced clip, change the settings as appropriate in the Rendering and Audio sections. 12. Click OK. Final Cut Pro creates a new synced clip in the event you specified. Manually adjust or slip a synced clip You may need to adjust a synced clip (by slipping the sync, for example). You can do this by opening the contents of the synced clip in the timeline. 1. In Final Cut Pro, select the clip in the browser or the timeline. 2. Choose Clip > Open Clip. The timeline displays the contents of the clip. Final Cut Pro User Guide 269 3. Make adjustments to the contents of the synced clip. The contents of a synced clip include a clip in the primary storyline and one or more connected clips. You can adjust or slip the sync by dragging the connected clips left or right to change the points at which they connect to the clip in the primary storyline. See Connect clips. 4. When you’re done, click the left arrow in the upper-left corner of the timeline to save your changes and close the contents of the synced clip. Tip: To easily view all synced clips, you can create a Smart Collection that uses the Type search category set to Synchronized as one of the search criteria. See Create Smart Collections. If your synced clip contains audio channels that aren’t being used, you can turn them off. See Configure audio channels. Match audio in Final Cut Pro The Match Audio function uses equalization (EQ) to let you match a selected clip’s sound to that of another clip. This is particularly useful when you have multiple audio clips recorded in different environments but want the clips to sound similar. Match audio 1. In the Final Cut Pro timeline, select the clip or clips whose audio you want to match to that of another clip. Note: For clips with multiple components (such as dual mono clips, compound clips, multicam clips, and synced clips), make this selection at the component level. See Show expanded audio components. 2. Do one of the following: • Choose Modify > Match Audio (or press Shift-Command-M). • Click the Equalization pop-up menu in the Audio Enhancements section of the Audio inspector and choose Match. • Click the Enhancements pop-up menu below the viewer and choose Match Audio. 3. Click to select the clip whose sound you want to match. 4. Click Apply Match. After you match a clip, you can adjust settings in the Audio Enhancements section of the Audio inspector. Final Cut Pro User Guide 270 Remove audio matching 1. In Final Cut Pro, select the clip in the timeline. 2. In the Audio Enhancements section of the Audio inspector, click the Equalization pop-up menu and choose a different equalization setting. To remove all equalization, choose the Flat setting. Preserve pitch in retimed clips in Final Cut Pro By default, Final Cut Pro preserves pitch when retiming clips so that the pitch doesn’t sound higher when the clip is faster or lower when the clip is slower. You can turn this feature on or off before or after a clip has been retimed. 1. In the Final Cut Pro timeline, select an entire clip, or a range within a clip, whose speed has been changed. 2. Click the Retime pop-up menu below the viewer and choose Preserve Pitch. A checkmark to the left of the command name indicates that Preserve Pitch is turned on. To turn it off, choose Preserve Pitch again. Monitor mono or dual mono audio in Final Cut Pro You can monitor audio from Final Cut Pro using a third-party audio interface. Some audio interfaces may require additional configuration using Audio MIDI Setup to properly monitor mono or dual mono audio from Final Cut Pro. See the Audio MIDI Setup User Guide. 1. Connect the audio output device to your Mac, and make sure it’s connected to power and turned on. 2. In the Finder, choose Go > Utilities (or press Shift-Command-U), then open Audio MIDI Setup. 3. In the Audio Devices window, select your audio output device in the list on the left. See Set up audio devices in Audio MIDI Setup on Mac. 4. Click Configure Speakers in the lower right. 5. Click Multichannel. 6. Click the Configuration pop-up menu and choose Stereo, then click Done. For more information about third-party devices and software, contact the device manufacturer. Final Cut Pro User Guide 271 Add titles Add and adjust titles Intro to titles in Final Cut Pro Titles play a critical role in movies, providing important bookends (such as opening titles and closing credits) and conveying time and dates within the movie. Titles, especially in the lower third of the screen, are also used in documentaries and informational videos to convey details about subjects or products onscreen. You can also add notes and placeholders within your project while you edit. You can create titles and credits within Final Cut Pro with title effects. Titles are synthesized clips (similar to generators) created by Final Cut Pro. Title clips don’t refer to any media on your Mac or storage device. When you add a title as a connected clip directly above another clip, the underlying clip appears as the title’s background, sparing you the need to perform any further compositing to create that effect. For information about 3D titles, see Intro to 3D titles. For information about creating subtitles and closed captions, see Intro to captions. Final Cut Pro User Guide 272 Add titles in Final Cut Pro You add titles to clips in your project using the Titles and Generators sidebar. After you’ve added text, you can modify the title’s text style. Add a title to a project clip 1. Drag the playhead in the Final Cut Pro timeline to the point where you want to add the title. 2. If the Titles and Generators sidebar isn’t already shown, do one of the following: • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 3. Do one of the following: • Browse all titles: Click Titles in the sidebar to display the titles in the browser. • Browse a single category of titles: Click a title category below Titles in the sidebar. To view the title categories, click the Titles disclosure triangle. 4. Do any of the following: • Add a title from the browser: Double-click the title. A title clip is added at the playhead location. • Add a basic title: Choose Edit > Connect Title > Basic Title (or press Control-T). A title clip named Basic Title (with no effects or animations) is added at the playhead location. • Add a lower-third title: Choose Edit > Connect Title > Basic Lower Third (or press Control-Shift-T). A lower-third title clip named Basic Lower Third (with no effects or animations) is added at the playhead location. Note: If you don’t see the title you’re looking for, you can use the Filter pop-up menu at the top of the browser to check for it in other locations. See Filter Motion content stored in a library. The title clip is connected to the clip in the primary storyline at the position of the playhead. Visually, the title is superimposed over the clip in the primary storyline at the playhead position. If the playhead is not over a clip, the title is superimposed over the default background. Add a title as a clip in the primary storyline There are two ways to add a title as a clip in the primary storyline. You can either insert a title clip at the edit point between two clips or replace an existing clip in the primary storyline with a title clip. Final Cut Pro User Guide 273 1. To open the Titles and Generators sidebar in Final Cut Pro, do one of the following: • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 2. Do one of the following: • Browse all titles: Click Titles in the sidebar to display the titles in the browser. • Browse a single category of titles: Click a title category below Titles in the sidebar. To view the title categories, click the Titles disclosure triangle. 3. Do one of the following: • Add a title between clips in the timeline: Drag the title from the browser to the edit point between the clips where you want the title clip to appear. • Replace an existing timeline clip with a title clip: Drag the title from the browser to the clip in the timeline that you want to replace, then choose Replace. Enter text for your title After you add a title clip to your project in the timeline, you can type text for your title in the viewer. 1. Select a title clip in the Final Cut Pro timeline. 2. Move the playhead over the selected title clip. 3. In the viewer, double-click the title text, then type text for your title. Final Cut Pro User Guide 274 4. To select a different text object, do one of the following: • Click the Previous Text Layer or Next Text Layer button. • Double-click a different text object. 5. Type new text as necessary. 6. To exit text editing, press Command-Return. The Previous Text Layer and Next Text Layer buttons also support Motion text edit markers. See the Motion User Guide. Note: If you have created or customized any titles in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Add the default title in Final Cut Pro You can set a default title or a default lower third and then quickly add it to your project using a keyboard shortcut or a menu command. Final Cut Pro comes with the default title set to Basic Title and the default lower third set to Basic Lower Third, but you can change the defaults to any title. Add the default title or lower third 1. In the Final Cut Pro timeline, move the skimmer or the playhead to the frame where you want to add the default title or lower third. 2. Do one of the following: • Add the default title: Choose Edit > Connect Title > [title name] (or press Control-T). • Add the default lower third: Choose Edit > Connect Title > [lower third name] (or press Control-Shift-T). Note: The name of the menu item changes depending on the current default title or default lower third setting. The title or lower third is connected to the primary storyline at the skimmer or playhead position. Set the default title or lower third 1. To open the Titles and Generators sidebar in Final Cut Pro, do one of the following: • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 2. In the sidebar, select a titles category so that the appropriate titles appear in the browser. Final Cut Pro User Guide 275 3. Do one of the following: • Set the default title: Control-click a title in the browser and choose Make Default Title. • Set the default lower third: Control-click a title in the browser and choose Make Default Lower Third. Adjust titles in Final Cut Pro You can edit title text and change a title’s style, color, and opacity. You can edit text in the viewer or in the Text inspector, and you can adjust a title’s appearance using the Title and Video inspectors. Edit title text 1. In Final Cut Pro, do one of the following: • Select a title clip in the timeline, then move the playhead over the selected title clip. • Double-click a title clip in the timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. The playhead moves to the point in the timeline where the first text object is fully visible in the viewer. (For example, to make the animated text you’re editing visible in the viewer, you may need to move the playhead to a different point in the animation.) 2. Do one of the following: • Double-click a text object in the viewer. • Select the text in the Text inspector. 3. Edit the text. 4. To exit text editing, press Command-Return. Change a title’s color 1. Double-click a title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. Note: To modify a different text object in the same title, select it in the viewer. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 276 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Click the color well in the Face section of the inspector and choose a color. Note: To add a background color to your title, see Add backgrounds. Change a title’s text style You can change a title’s text style—for example, the text’s font, color, size, and alignment. 1. Double-click a title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. Note: To modify a different text object in the same title, select it in the viewer. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 277 4. Adjust the available settings as needed. Note: To reveal the controls in each of the sections, you may need to scroll down in the Text inspector and double-click each section name. For a complete list of available controls, see Text inspector controls. • Basic: Sets the basic text settings such as font, size, alignment, tracking, and line spacing. • 3D Text: Sets the depth, depth direction, weight, front edge type, front edge size, back edge type, and inside corner type for 3D text objects. See Intro to 3D titles. • Face: Sets the type of color fill, the fill color, opacity, and blur. • Outline: Sets the type of color fill, the fill color, opacity, blur, and width. • Glow: Sets the type of color fill, the fill color, opacity, blur, and radius. • Drop Shadow: Sets the type of color fill, the fill color, opacity, distance, and angle. 5. To exit text editing, press Command-Return. Tip: You can quickly add preset text styles to titles and save text appearance settings for future use. See Apply preset text styles in Final Cut Pro. Change the custom title settings You can modify the title controls and parameters that are unique to a specific title. Depending on the title, you may be able customize certain features or parameters such as the title’s scale, position, color, or animation timing. 1. Select a title clip in the Final Cut Pro timeline. Final Cut Pro User Guide 278 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Title button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Adjust the available settings as needed. You can design, build, and modify titles in Motion for use in Final Cut Pro. When you save a title template in Motion, you can choose which parameters to publish in the Title inspector in Final Cut Pro. See more information about Final Cut Pro templates in the Motion User Guide. Note: You can also animate some titles by keyframing settings in the Title inspector. For more information about animating effects using keyframes, see Add video effect keyframes. Change multiple text objects in a title at once You can adjust the settings (such as the color, font, or size) of more than one text object at once. 1. Select a title clip in the Final Cut Protimeline. 2. Move the playhead over the selected title clip. Final Cut Pro User Guide 279 3. In the viewer, do one of the following: • Holding down the Command key, select the text objects you want to modify. • Drag to select the text objects you want to modify. 4. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. In the Text inspector, adjust the available settings as needed. Change a title’s opacity You can adjust a title clip’s opacity to make the title more transparent. 1. Double-click a title clip in the Final Cut Protimeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 280 4. In the Compositing section, adjust the opacity settings. Note: Some titles allow you to adjust the text opacity separately from the opacity of the rest of the title graphics. See Change a title’s text style. 5. To exit text editing, press Command-Return. Note: You can also keyframe a title’s opacity setting. Position and animate titles in Final Cut Pro You can easily change the position and animation of titles. Adjust a title’s position onscreen 1. Select a title clip in the Final Cut Pro timeline. 2. Move the playhead over the selected title clip. 3. Drag the text object to the new position. Final Cut Pro User Guide 281 Use the ruler to align paragraph text objects Text created in Motion and some titles included with Final Cut Pro contain paragraph text. You can use a ruler and tabs to control the layout of paragraph text. See the Motion User Guide. 1. In Final Cut Pro, double-click a paragraph text object in the viewer. 2. In the viewer, click the Show Ruler button. Note: The Show Ruler button appears only when you edit a paragraph text object. A ruler appears above the paragraph text object in the viewer. Tabs in the ruler show how tabbed text will be aligned in the selected text. 3. Do any of the following: • Add a tab: Click in the ruler. • Add a specific tab type when you click in the ruler: Control-click in the ruler and choose a tab type. This also changes the type of tab added to the ruler when you click in it. • Move a tab: Drag it to another position on the ruler. • Delete a tab: Drag it out of the ruler. • Change a tab to another tab type: Control-click the tab and choose a tab type. Change the timing of an animated title Many of the titles that come with Final Cut Pro include animations. Depending on the specific title, there are two main ways to adjust the speed of the animation. In Final Cut Pro, do any of the following: • Change the duration of the clip: The animation timing in some titles depends on the duration of the clip. For example, to slow down the Scrolling title, extend the duration of the title clip in the timeline. Final Cut Pro User Guide 282 • Adjust the timing in Motion: Open the Titles and Generators sidebar, select Titles in the sidebar, then Control-click a title in the browser and choose “Open a copy in Motion.” The title opens in Motion as a Motion project. For information about adjusting titles in Motion, see the Motion User Guide. Text inspector controls in Final Cut Pro You can make common text adjustments using controls in the Text inspector. To access these controls, select a title clip in the Final Cut Pro timeline, then open the Text inspector. Preset pop-up menu • Preset: An unlabeled pop-up menu at the top of the Text inspector, used to apply preset text styles to titles in the timeline. You can also use this pop-up menu to save text appearance and format settings. See Apply preset text styles. Text editor • Text: Many titles include a text field (the darker shaded area) to add and edit text in your title from the inspector. Basic controls • Font: A pop-up menu to choose a font for selected text. • Font Style: An unlabeled pop-up menu (to the right of the Font pop-up menu) to choose a type style, such as Regular, Bold, Condensed, and so on. The available styles are specific to the font family selected in the Font pop-up menu. • Size: A slider to set the point size of the text. The slider is constrained to a maximum of 288 points. To create larger text, drag to the right over the numeric value slider, or click the value, type a new number, and press Return. • Alignment: Buttons to set the alignment and justification of text. Final Cut Pro User Guide 283 • Vertical Alignment: Buttons to set the vertical alignment of text. • Line Spacing: A slider to set the distance between each line of text (leading) in pointsize increments. Tip: To modify the spacing for individual lines of text when hard returns are present, select text, then adjust the Line Spacing slider. Spacing is modified on the line that includes the selected text. • Tracking: A slider to set the spacing between text characters; applies a uniform value between each character. • Kerning: A slider to adjust spacing between text characters. • Baseline: A slider to adjust the baseline of text characters: an invisible horizontal line defining the bottom alignment of characters. • All Caps: A checkbox to make text characters uppercase. • All Caps Size: A slider (available when the All Caps checkbox is selected) to set the size of uppercase characters based on a percentage of the font point size. Apply preset text styles in Final Cut Pro Final Cut Pro comes with preset text styles (in 2D and 3D) that you can apply to text. A text style is a group of style settings. You can also create your own custom text styles and save them as presets. You apply preset text styles using the pop-up menu at the top of the Text inspector. Apply preset text styles to titles 1. In Final Cut Pro, do one of the following: • Double-click a title clip in the timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. • Select multiple title clips in the timeline. Tip: Use the timeline index to easily select multiple titles in your timeline. Click the Clips button at the top of the of the timeline index, then click the Titles button at the bottom. See Show a list-based view of your project. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 284 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Click the pop-up menu at the top of the Text inspector and choose 2D Styles or 3D Styles. 5. Choose a text style from the submenu that appears. The text style is applied to the selected title clips. Save and apply custom text styles 1. Double-click a title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 285 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Make any custom changes to the font or style in the Text inspector. See Change a title’s text style. 5. Click the pop-up menu at the top of the Text inspector and choose one of the following: • Save Format Attributes: Saves basic text attributes, including font, size, alignment, tracking, and line spacing. • Save Appearance Attributes: Saves effects such as text color, outline color, glow, drop shadow, and so on. • Save All Format and Appearance Attributes: Saves both format attributes and style attributes. 6. In the Save Preset to Library window, type a name for your new custom preset. The custom text style is saved and appears in alphabetical order in the pop-up menu at the top of the Text inspector. 7. To apply the new preset to another title, select the title in the timeline, then click the pop-up menu at the top of the Text inspector and choose the preset. Organize your saved custom text styles 1. Quit Final Cut Pro. 2. In the Finder, hold down the Option key and choose Go > Library. 3. Navigate to /Users/username/Library/Application Support/Motion/Library/Text Styles/. The Text Styles folder contains the custom text styles you’ve created. Each text style has three files: a file with the extension .molo, a file with the extension .png that is the preview of the text style, and a file with “_menu” appended to the end of the style’s name (also with a .png extension). The name of the text style appears in the preset menu with the style’s attributes applied to the name. 4. Create one or more folders and drag the corresponding .molo files and .png files to those folders. Final Cut Pro User Guide 286 The next time you open Final Cut Pro, the folders appear as categories in the pop-up menu at the top of the Text inspector. Remove custom text styles 1. Quit Final Cut Pro. 2. In the Finder, hold down the Option key and choose Go > Library. 3. Navigate to /Users/username/Library/Application Support/Motion/Library/Text Styles/. The Text Styles folder contains the custom text styles you’ve created. Each text style has three files: a file with the extension .molo, a file with the extension .png that is the preview of the text style, and a file with “_menu” appended to the end of the style’s name (also with a .png extension). The name of the text style appears in the preset menu with the style’s attributes applied to the name. 4. For each custom text style you want to remove, move the .molo file and the .png files to the Trash. 5. To reset Final Cut Pro preferences, press Option-Command while opening Final Cut Pro. When Final Cut Pro opens, the custom text styles no longer appear in the pop-up menu at the top of the Text inspector. Modify Final Cut Pro titles in Motion Many of the titles included with Final Cut Pro were created using Motion, an Apple app designed to work with Final Cut Pro. You can open any of these titles in Motion, make modifications, and save the changes as a new title that you can access from the Titles and Generators sidebar. Important: To modify a title in Motion, you must have Motion 5 installed on your computer. 1. To open the Titles and Generators sidebar, click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 2. Do one of the following: • Browse all titles: Click Titles in the sidebar to display the titles in the browser. • Browse a single category of titles: Click a title category below Titles in the sidebar. To view the title categories, click the Titles disclosure triangle. 3. In the browser, Control-click the title you want to modify and choose “Open a copy in Motion.” Motion opens, and the title’s project appears. 4. Modify the title’s project. See the Motion User Guide. Final Cut Pro User Guide 287 5. Choose File > Save As (or press Shift-Command-S), enter a name for the new title (referred to as a Template in Motion), assign it to a category (or create a new category), choose a theme (if needed), and click Publish. If you choose File > Save, the effect is saved using the same name, with “copy” appended to its end. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Find and replace text in Final Cut Pro If your project contains multiple instances of a particular word or phrase displayed in multiple title clips, such as names, company names, or job titles, you can find the specific word or phrase and quickly change each instance of it. 1. If you want to find and replace text in a selection, select a title clip in the Final Cut Pro timeline. 2. Choose Edit > Find and Replace Title Text. 3. In the window that appears, type the text you want to search for in the Find field. 4. In the Replace field, type the text you want to replace the text you’re looking for. 5. To choose where to search, do one of the following: • Search for text in the selected title clip: Click the “Search in” pop-up menu and choose Selected Title. This option is useful for searching in title clips that have a lot of text, such as credits. Note: If more than one title clip is selected, only the clip closest to the beginning of the timeline is searched. If selected clips are stacked vertically, the clip closest to the primary storyline is searched. • Search for text across all the title clips in your project: Click the “Search in” pop-up menu and choose All Titles In Project. Final Cut Pro User Guide 288 6. Do any of the following: • Match how letters are capitalized in your search text: Select the “Match case” checkbox. • Locate whole words rather than a group of letters within words: Select the “Whole words” checkbox. • Have the search start over from the beginning of the searched item after reaching the end: Select the “Loop search” checkbox. 7. Do one of the following: • Replace all instances of the text at once: Click the Replace All button. • Replace this single instance of the text only: Click the Replace button. • Replace this instance of the text and locate the next place the text appears: Click the Replace & Find button. • Cycle forward and backward through each instance of the text you’re looking for: Click the Previous and Next buttons. To undo an operation performed in the Find and Replace window, click in the viewer to make it active, then choose Edit > Undo Text Replace (or press Command-Z). Add and adjust 3D titles Intro to 3D titles in Final Cut Pro In addition to creating basic two-dimensional text, you can create text that appears to have depth—complete with sides, edges, and backs. 3D text in Final Cut Pro exhibits the same characteristics as real three-dimensional objects, simulating natural lighting, shading, and textures. You can easily convert back and forth between 2D text and 3D text. When you reenable 3D text after switching to 2D text, the previous 3D settings are restored. See Convert text to 3D text. For information about creating basic 2D text, see Add titles. As you can with 2D text, you can animate your 3D titles in Final Cut Pro. See Intro to video keyframing. Final Cut Pro User Guide 289 Final Cut Pro 3D titles workflow Although 3D titles can be customized in unlimited ways, you can create impressive-looking 3D text in just a few steps with Final Cut Pro. Step 1: Create a 3D title In Final Cut Pro, you can either add a 3D title from the Titles and Generators sidebar or convert an existing 2D title to 3D. Either way, you’ll wind up with a 3D title that has basic settings. Step 2: Apply a preset style If you want to take advantage of the ready-made 3D text styles that come with Final Cut Pro, you can select the title and choose a preset 3D style in the Text inspector. This applies a combination of settings, including the font, weight, depth, and appearance. Each of these attributes can be further customized, but the preset styles are a great way to get started. Final Cut Pro User Guide 290 Step 3: Adjust 3D text settings You can customize your 3D title by adjusting basic text settings (including font, size, tracking, line spacing, and capitalization). You can also modify 3D-specific text attributes such as depth, text weight, edge style, and corner style. All of these attributes can be modified in the Text inspector. To get a good look at all sides of your title, you can use onscreen controls to rotate the title or move it in 3D space. Final Cut Pro User Guide 291 Step 4: Modify the materials You can define the surface appearance of the 3D title by applying preset materials or by creating custom materials. Materials include substances (such as metal or plastic), paint layers, distress layers, and more. Each layer has many attributes, allowing you to create limitless variations in appearance. You can also apply different materials to different facets of 3D titles (front, back, side, and edges). To learn more about materials, see Intro to materials. Step 5: Add a lighting style Another way to customize the appearance of your 3D title is to add a lighting style. You can choose from preset lighting styles in the Lighting section of the Text inspector. You can customize the lighting in a variety of ways, but presets are a great way to quickly create a unique and realistic look. Final Cut Pro User Guide 292 Step 6: Integrate the text with your composition Finally, you can combine your 3D title with backgrounds or other elements to create an organic, integrated scene. You can also apply glow or drop shadow effects in this final step. Add 3D titles to a project Add 3D titles in Final Cut Pro Add a 3D title the same way you would add a 2D text title. For details (including alternative ways to add titles), see Add titles. 1. In the Final Cut Pro timeline, position the playhead where you want to add the title. 2. Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 3. Select a 3D titles category in the Titles and Generators sidebar. The titles in that category appear in the browser. 4. Do any of the following: • Add a 3D title to a project clip: Double-click the title in the browser. The title clip is connected to the clip in the primary storyline at the position of the playhead and appears superimposed over that clip. If the playhead isn’t over a clip, the title is superimposed over the default background. • Add a title between clips in the timeline: Drag the title from the browser to the edit point between the clips where you want the title clip to appear. • Replace an existing timeline clip with a 3D title: Drag a title from the browser to the clip in the timeline that you want to replace, then choose Replace. Final Cut Pro User Guide 293 The title appears in your project, showing the front of the text. For information on how to manipulate and examine all facets of your 3D titles, see Rotate titles in 3D space and Move titles in 3D space. Note: Some 3D titles come with their own built-in backgrounds. You can disable (or enable) the built-in background in the Title inspector. Convert text to 3D text in Final Cut Pro Any title can be converted back and forth between 2D and 3D. Converting a 2D text title to 3D (a process called extruding) replaces the Face and Outline settings with settings and parameters designed to simulate realistic three-dimensional objects. Converting a 3D title to 2D text disables those settings and instead enables the Face and Outline settings. Convert 2D text to 3D 1. Double-click a 2D title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. To modify a different text object in the same title, select it in the viewer. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Text inspector, click the 3D Text checkbox so that it turns blue. The Face and Outline sections of the inspector are replaced by the Lighting and Material sections. Final Cut Pro User Guide 294 Convert 3D text to 2D 1. Double-click a 3D title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. To modify a different text object in the same title, select it in the viewer. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Text inspector, click the blue 3D Text checkbox to deselect it. The Lighting and Material sections of the inspector are replaced by the Face and Outline sections. Rotate and move 3D titles Rotate titles in 3D space in Final Cut Pro When you add a 3D title to a project, you see a bit of the extruded sides in addition to the front of the text. Final Cut Pro User Guide 295 But 3D text actually has multiple facets (the front, sides, edges, and back), even though you can’t see them by default. You can view these other facets by rotating the text object using the onscreen controls. 1. In Final Cut Pro, add a 3D title to your project and select it in the timeline. 2. Position the playhead in the timeline so that your 3D title appears in the viewer. 3. In the viewer, click the 3D title once. The onscreen controls for the 3D title appear in the viewer, with X, Y, and Z rotation handles. Note: Make sure to click the 3D title in the viewer only once. If you double-click the 3D title, the 3D onscreen controls do not appear. (Double-clicking selects the text for editing and formatting.) 4. Move the pointer over one of the rotation handles until a rotation ring appears, then drag the ring. • The red ring rotates the object around its X axis. • The green ring rotates the object around its Y axis. • The blue ring rotates the object around its Z axis. Final Cut Pro User Guide 296 As you drag, the active ring is highlighted, and the status bar above the viewer displays the absolute rotation values as well as the amount of rotation change (delta). For more information about the three axes of the 3D coordinate system in Final Cut Pro, see Move titles in 3D space. Note: You can modify the appearance of each facet individually, and control the bevel and style of the edges between facets. See Intro to materials and Modify depth and edges. Move titles in 3D space in Final Cut Pro Final Cut Pro uses a 3D coordinate system to precisely control the look of your 3D titles. This system specifies the center of the viewer as 0, 0, 0. Moving a text object to the left subtracts from the X value, moving to the right adds to the X value, and so on. One of the main differences between 2D text and 3D text is that with 3D text you can change your point of view, so that moving an object up doesn’t always mean increasing its Y position value. 1. In Final Cut Pro, add a 3D title to your project and select it in the timeline. 2. Position the playhead in the timeline so that your 3D title appears in the viewer. 3. In the viewer, click the 3D title once. Final Cut Pro User Guide 297 The onscreen controls for the 3D title appear in the viewer, with position handles for the X, Y, and Z axes. 4. Do any of the following: • Move the object horizontally along its X axis: Drag the red arrow. • Move the object vertically along its Y axis: Drag the green arrow. • Move the object forward or backward along its Z axis: Drag the blue arrow. As you drag, the active arrow turns yellow, and the status bar above the viewer displays the current coordinates of the object as well as the distance the object has moved (the delta). Coordinates are given in the form of X, Y, and Z. Modify basic 3D text attributes Adjust basic 3D text settings in Final Cut Pro In many ways, 3D text is just like 2D text, and you can modify most of the text attributes (including font, size, tracking, line spacing, and capitalization) exactly the same way you modify those attributes for 2D text. Note: To modify the depth, texture, and lighting attributes of 3D text, use the controls in the 3D Text section of the Text inspector. See Modify depth and edges, Intro to materials, and Intro to 3D text lighting. 1. Double-click a 3D title clip in the Final Cut Pro timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. To modify a different text object in the same title, select it in the viewer. Final Cut Pro User Guide 298 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Adjust the basic text settings as needed. For a list of available controls, see Text inspector controls. For basic instructions on working with 2D or 3D titles, see Adjust titles. Note: To reveal the controls in each of the sections, you may need to scroll down in the Text inspector and double-click each section name. Modify 3D text depth and edges in Final Cut Pro One of the most obvious differences between 2D text and 3D text is that 3D text has depth. This attribute, as well as a number of other basic aspects of a 3D title’s appearance (such as text weight, edge style, and corner style), can be set in the 3D Text section of the Text inspector. Adjust 3D text depth 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, drag the Depth slider to the left to decrease depth, or to the right to increase depth. Final Cut Pro User Guide 299 Tip: To create different letters at different depths, select the letters in the Text field at the top of the Text inspector. The 3D Text controls then affect only the selected letters. For more information about working with individual letters, see Text inspector controls. Change text depth direction 3D text depth can be set to extrude in different directions: forward, backward, or centered on the original text plane. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, click the Depth Direction pop-up menu and choose one of the following settings: • Backward: The text object is extruded backward from the plane where the text was initially added. • Forward: The text object is extruded forward from the plane where the text was initially added. • Centered: The text object is extruded equally both forward and backward from the plane where the text was initially added. Change text weight You can adjust 3D text to appear thicker or thinner. Whereas increasing the Size value makes text larger by substituting a larger version of the font, increasing the Weight value uniformly thickens all the lines and serifs that make up the letters in the text object. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, drag the Weight slider to the left to make the text appear thinner, or to the right to make it appear thicker. Set the style of 3D text edges The places where the different facets of a 3D title meet are called edges. You can add bevels, ridges, rings, and other shapes to customize the appearance of these edges. You can set the back edge (between the back of the text and its sides) to be identical to the front edge (between the front and the sides), or you can set each to a different edge shape. 1. Select a 3D title in the Final Cut Pro timeline. Final Cut Pro User Guide 300 2. In the 3D Text section of the Text inspector, click the Front Edge pop-up menu and choose an edge style. 3. Click the Back Edge pop-up menu and choose an edge style. If you choose Same As Front, the style you chose in step 2 is applied to the back edge of the 3D title. Adjust the size of text edges If you change the style of the front edge or back edge of a 3D title to anything other than square, you can also adjust the size of that edge. If the back edge is set to something other than Same As Front (or Square), you can adjust the size of the back edge independently from that of the front. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, click the Front Edge pop-up menu and choose a setting other than Square. The Front Edge Size slider appears. 3. Drag the Front Edge Size slider to the left to make the edge smaller, or to the right to make the edge larger. To modify the width and depth of the edges independently, click the disclosure triangle to the left of the Front Edge Size slider, then drag the Width or Depth slider. 4. Click the Back Edge pop-up menu and choose a setting other than Same As Front or Square. The Back Edge Size slider appears. Final Cut Pro User Guide 301 5. Drag the Back Edge Size slider to the left to make the edge smaller, or to the right to make the edge larger. Note: You can’t see the back edge of the text object unless you rotate the title. See Rotate titles in 3D space. Set the style of text inside corners When the front edge or back edge of a 3D title is set to anything other than Square, you can customize text with inside corners (for example, the angles in the letter E). 1. Select a 3D title in the Final Cut Pro timeline. 2. In the 3D Text section of the Text inspector, click the Inside Corners pop-up menu and choose one of the following options: • Straight: Sets all corners to sharp angles. • Round: Softens the sharpness of corners by adding a round curve to each sharp angle. • Miter: Smoothes the sharpness of corners in a more subtle way, by adding an additional angle known as a miter. 3D Text controls in Final Cut Pro In Final Cut Pro, adjust depth, weight, and edge attributes using the controls in the 3D Text section of the Text inspector. To access these controls, select a 3D title clip in the timeline and choose Window > Show in Workspace > Inspector (or press Command-4). Final Cut Pro User Guide 302 • 3D Text: A checkbox that, when selected, applies 3D attributes to selected text in your project and enables 3D controls. Deselecting this checkbox converts selected 3D text to 2D text and disables 3D controls. When this checkbox is selected, the following controls become available for adjustment: • Depth: A slider that sets the thickness of selected 3D text. • Depth Direction: A pop-up menu that sets whether selected 3D text is extruded backward, forward, or equally from front to back. • Weight: A slider that makes selected 3D text appear heavier or lighter. • Front Edge: A pop-up menu that sets the style of the front edge of selected 3D text. • Front Edge Size: A slider that adjusts the width and depth of the chosen edge style. Click the disclosure triangle to reveal separate Width and Depth sliders. • Back Edge: A pop-up menu that sets the style of the back edge of selected 3D text. • Inside Corners: A pop-up menu that sets the style of the inner corners of characters (such as angles in the letter E) in selected 3D text. Modify surface appearance Intro to 3D text materials in Final Cut Pro 3D titles in Final Cut Pro have properties designed to give them a natural and realistic appearance. They respond to lighting conditions and exhibit shading, reflectivity, and other attributes of real-world objects. Attributes that define an object’s surface appearance are called materials. After you create a 3D title, you can apply a preset material or create a custom material composed of one or more material layers—image overlays that combine to create a naturalistic 3D texture. Final Cut Pro User Guide 303 Think of material layers as the building blocks for creating an object in real life. For example, you might begin creating an object by deciding what substance it should be made of—wood, plastic, metal, and so on. Depending on what that basic substance is, the object will have some fundamental properties, such as color, texture, and reflectivity. Next, you apply paint or another finish to the object to change its color, sheen, and reflectivity. In Final Cut Pro, you can even apply a “distress” layer to add a bit of texture, aging, or other elements to make the object feel more organic and realistic. Each material layer type has a variety of controls and settings to customize the specific look and feel of the material. You can apply multiple material layers of differing types to compound their effects, and you can rearrange the order in which material layers are applied to create varied effects. You can also apply different materials to specific facets of a 3D title. Final Cut Pro User Guide 304 Add preset materials to 3D text in Final Cut Pro The quickest way to give your 3D title a naturalistic texture is to apply one of the preset materials built into Final Cut Pro. Below are some examples of the many preset 3D materials available in Final Cut Pro: 1. Add a 3D title to your Final Cut Pro project. 2. Double-click the 3D title clip in the timeline. The title appears in the viewer, and the text in the first text object in the title clip is selected. To modify a different text object in the same title, select it in the viewer. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 305 5. In the Material section of the 3D Text section, click the preview thumbnail. A pop-up menu showing the material presets categories appears. 6. Click the pop-up menu and choose a material category, then click the submenu and choose a preset. The preset 3D material is applied to the text object. You can modify any of the preset materials or add new material layers to create custom textures. See Modify materials and Work with material layers. Modify 3D text materials in Final Cut Pro When you add a new 3D title, it appears with a default 3D material preset applied: a matte white plastic texture (Basic). Most of the other preset materials in Final Cut Pro are more complex, composed of multiple material layers—combinations of substance, paint, finish, and distress overlays that create a naturalistic 3D texture. For example, the Brushed Metal preset combines an Aluminum substance layer with a Brushed finish layer. The Golf Ball preset combines a Plastic substance layer with a Polish finish layer, a Dirt distress layer, and a Bumps distress layer (set to –500% to create a dimple effect). You adjust each of these material layers in the Material section of the Text inspector. As you modify these settings, your 3D title is updated instantly in the viewer, allowing you to fine-tune the look you want to achieve. Final Cut Pro User Guide 306 Modify material layers used in a 3D texture You can create a custom material by applying a preset material and then modifying it. This example shows how to modify the Substance layer of a simple 3D texture. 1. In the Final Cut Pro timeline, select a 3D title and apply a preset material to it. See Add preset materials. The preview thumbnail of the preset you applied appears in the Text inspector, in the Material section of the 3D Text section. The material layers included in the preset appear below the preview thumbnail. For example, the Basic material preset has a single material layer, Substance, which is set to Plastic. Additional Substance settings specify the type of plastic (Shiny) as well as the color (White). 2. Click the Substance pop-up menu and choose a substance category. Depending on the option you choose, additional controls may appear. 3. Click the Type pop-up menu (below the Substance pop-up menu) and choose a substance belonging to the category you chose above. Depending on the option you choose, additional controls may appear. Final Cut Pro User Guide 307 4. Adjust other available Substance settings, such as Color, Brightness, Roughness, and so on. As you make adjustments, the preview thumbnail is updated in the Material section, and the 3D title is updated in the viewer. For more information about material layer controls, see Intro to Material controls. Rename a modified material When you modify material layers, the preview thumbnail in the Text inspector is updated to show the new texture. However, the preset name under the preview thumbnail remains the same (“Basic” for titles added from the 3D category). You can rename the material to better describe the modified material. 1. In the Final Cut Pro timeline, select a 3D title with a modified preset material. 2. In the Material section of the 3D Text section of the Text inspector, double-click the name of the material (beneath the preview thumbnail). The material is renamed for the selected 3D title. Other instances of the preset are not affected. 3. Type a new name, and press Return. Restore a preset material’s original settings 1. In the Final Cut Pro timeline, select a 3D title with a modified preset material. 2. In the Material section of the 3D Text section of the Text inspector, click the preview thumbnail and choose a preset from the pop-up menu. The original settings stored in the preset are applied to the selected facet. Other customized instances of the preset are not affected. You can also save any changes you’ve made as a new custom material to be shared or reused. See Save modified materials. Work with 3D text material layers in Final Cut Pro You can add multiple material layers to create more complicated textures for your 3D titles. For example, if you combine an Aluminum substance layer with a Grey Granite substance layer, your 3D text takes on a metallic ore finish that may or may not exist in nature. Likewise, you can add paint layers, finish layers, distress layers, and emit layers to create highly realistic (or highly fanciful) textures that show signs of aging, dirtiness, radiance, and other real-world qualities. The order in which material layers are applied affects the appearance of the object. For example, you might add a wood surface layer, a paint layer, and various distress layers to create a material that looks like painted wood that is aged and worn. Each layer affects the layers stacked beneath it in the Text inspector, and rearranging the layers creates different results. You can also remove, rearrange, or temporarily disable material layers. Final Cut Pro User Guide 308 Add a material layer to a 3D texture 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Material section of the 3D Text section, click the Add Layer pop-up menu, then choose a new material layer type (Substance, Paint, Finish, Distress, or Emit) and subtype. The new material layer and its adjustable controls appear in the Material section. 5. To add another material layer, repeat step 4. 6. Adjust the material layer controls in the Material section to achieve the look you want. For more information about material layer controls, see Intro to Material controls. Final Cut Pro User Guide 309 Enable or disable material layers You can temporarily turn off or turn on any material layer to see how it’s affecting the overall texture. • In the Material section of the 3D Text section of the Final Cut Pro Text inspector, click the checkbox to the left of the material layer type (Substance, Paint, Distress, and so on). When the checkbox is highlighted blue, the effect of the material layer is visible in the viewer. When the checkbox is not highlighted, the effect is turned off. Rearrange the stacking order of material layers The stacking order of material layers in the Material section of the Text inspector affects a 3D texture’s appearance in the viewer. You can rearrange the stacking order to create different looks. • In the Material section of the 3D Text section of the Final Cut Pro Text inspector, drag a material layer name (Substance, Paint, Distress, and so on) to a new position in the stack. Remove a material layer • In the Material section of the 3D Text section of the Final Cut Pro Text inspector, click a material layer name (Substance, Paint, Distress, and so on), then press Delete. Tip: To select and modify multiple material layers at once (for example, to delete or rearrange all the layers), Shift-click or Command-click the layers. Final Cut Pro User Guide 310 Add a light-emitting material to 3D text in Final Cut Pro The Emit material layer type causes the selected 3D text layer to appear to be selfilluminating rather than just reflecting other light. The light emitted using this method does not illuminate other objects or cause shadows to be cast. In fact, the Emit layer is a texture with a single color or gradient, which is superimposed on top of the 3D title. This makes the image appear brighter. Depending on which type of fill you choose, a different set of options appears. 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Material section of the 3D Text section, click the Add Layer pop-up menu and choose Emit. An Emit section is added to the Text inspector. 5. Click the Fill pop-up menu and choose a fill type (Color or Gradient). The fill type determines what additional parameters appear in the Emit section of the Text inspector. For a description of all Emit parameters, see Emit controls. Final Cut Pro User Guide 311 Save modified 3D text materials in Final Cut Pro After you create your own materials, you can save those textures as custom presets. Saving a modified material as a custom preset includes all material layers shown in the Text inspector at the time of saving (including disabled material layers). 1. In the Material section of the 3D Text section of the Final Cut Pro Text inspector, click the preview thumbnail and choose Save Material from the pop-up menu. 2. In the Save Preset window, type a descriptive name for the preset, then click Save. The currently selected material is saved as a preset. Saved preset materials appear in alphabetical order at the bottom of the material presets pop-up menu. You can apply the preset as you would any other material preset. Note: You can organize saved custom preset materials using Motion, an Apple app designed to work with Final Cut Pro. See the information about organizing saved custom preset materials in the Motion User Guide. Final Cut Pro User Guide 312 Add materials to 3D text facets in Final Cut Pro By default, applying a material to a 3D title causes all facets of the text to display the same material. But a 3D title can also display different materials on its different facets. For example, you can apply car paint to the front facet and a shiny metal appearance to the side facet. You can even apply a different material to the edges—facets that join a title’s front (or back) with its sides. If the same material is applied to more than one facet, you can modify the facets’ settings simultaneously to ensure that the settings remain consistent. You can also link facets together so that they remain identical. Apply a material to a specific facet of 3D text 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 313 4. In the Material section of the 3D Text section, click the Material pop-up menu and choose Multiple. Five preview thumbnails appear, representing the five facets of 3D text: Front, Front Edge, Side, Back Edge, and Back. 5. Do any of the following: • Apply a preset material to a facet: Click the preview thumbnail for the facet, then choose a new preset material from the pop-up menu. • Apply a custom material to a facet: Click the name of the facet to show its material layers, then adjust those material layers or add new ones. See Modify materials. The facet is updated to display the new material—both in your 3D title in the viewer and in the preview thumbnail in the Material section of the Text inspector. Apply a material to multiple facets simultaneously 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Material section of the 3D Text section of the Text inspector, click the Material pop-up menu and choose Multiple. Five preview thumbnails appear, representing the five facets of 3D text: Front, Front Edge, Side, Back Edge, and Back. 3. Do one of the following: • Click the broken link icon for each facet you want to modify. • Shift-click the names of the facets you want to modify. The selected facets are highlighted in blue. Final Cut Pro User Guide 314 4. Click the preview thumbnail for any of the highlighted facets, then choose a new preset material from the pop-up menu. The facets are updated to display the new material—both in your 3D title in the viewer and in the preview thumbnails in the inspector. The facets are also automatically linked together so that further changes to any of them affect all of them. Link facets together You can link two or more facets together so that changes made to one of them are automatically applied to the others. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Material section of the 3D Text section of the Text inspector, click the Material pop-up menu and choose Multiple. 3. Shift-click the names of two or more facets you want to link. 4. Click the broken link icon on one of the selected facets. The selected facets are linked and display blue active link icons . 5. To add another facet to the group, click its broken link icon. The additional facet is linked to the group. Now when you select any facet in the linked group, all linked facets are highlighted. Changes made to any of the highlighted facets are automatically made to all other facets in the linked group. To remove a facet from a linked group, click the link icon for the facet you want to unlink. The facet is deselected and removed from the group. Final Cut Pro User Guide 315 Revert from multiple facets to a single facet 1. In the Final Cut Pro timeline, select a 3D title set to multiple facets. See Apply a material to multiple facets simultaneously. 2. In the Material section of the 3D Text section of the Text inspector, click the Material pop-up menu and choose Single. The five preview thumbnails are replaced by a single preview thumbnail, and all facets revert to the material that was applied to the selected facet. Any modifications you made to materials on other facets are permanently discarded. Material controls Intro to Material controls in Final Cut Pro The preset or custom materials you apply to 3D text are made up of one or more material layers—Substance, Paint, Finish, Distress, and so on—that combine to create a complex texture. When you select a 3D title, its material layers appear in the Material section of the 3D Text section of the Text inspector, stacked under the Material preview thumbnail. You can adjust the parameter controls in each of these material layers to modify the texture applied to your 3D title. For a complete list of controls in each type of material layer, see the following topics: • Substance controls • Paint controls • Finish controls • Distress controls • Emit controls • Placement controls Final Cut Pro User Guide 316 Substance controls in Final Cut Pro Use the Substance controls, in the Material section of the 3D Text section of the Text inspector, to modify the basic surface texture of 3D text. Depending on the option you choose in the Substance pop-up menu, different parameter controls become available. • Substance: A pop-up menu to set a substance type: Concrete, Fabric, Metal, Plastic, Stone, Wood, Flat, or Generic. When Substance is set to Concrete • Type: A pop-up menu to choose a style of concrete (Aged, Smooth, and so on). • Depth: A slider to adjust the depth of surface irregularities in the concrete substance. • Placement: A group of controls (available when you click the disclosure triangle) to set how the concrete pattern is applied to the text object. See Placement controls. When Substance is set to Fabric • Type: A pop-up menu to choose a style of fabric (Denim, Leather, Wool, and so on). • Roughness: A slider to adjust how raised and uneven the fabric pattern appears. • Placement: A group of controls (available when you click the disclosure triangle) to set how the fabric pattern is applied to the text object. See Placement controls. Final Cut Pro User Guide 317 When Substance is set to Metal • Type: A pop-up menu to choose a style of metal (Brass, Gold, Steel, and so on). There is also a Custom option that allows you to use a custom gradient for the metal’s reflection. See Intro to the gradient editor. • Shininess: A slider to adjust how reflective the surface appears. • Thickness: A slider to adjust the apparent thickness of the metal surface when it’s applied on top of another substance layer. You can control this effect more precisely by clicking the disclosure triangle and adjusting the Base and Highlight sliders. When Substance is set to Plastic • Type: A pop-up menu to choose any of three plastic styles: Shiny, Matte, or Textured. • Color Type: A pop-up menu to choose whether the plastic surface is a solid color or a gradient. • Color: A color control (available when Color Type is set to Color) to set the color of the plastic. • Gradient: A gradient control (available when Color Type is set to Gradient) to determine how the gradient is applied to the text object. • Texture Depth: A slider (available when Type is set to Textured) to adjust how visible the texture appears on the object. • Placement: A group of controls (available when Type is set to Textured) to determine how the texture is applied to the text object. See Placement controls. When Substance is set to Stone • Type: A pop-up menu to choose a style of stone (Limestone, Granite, Slate, and so on). • Depth: A slider to adjust the depth of surface irregularities in the stone substance. Final Cut Pro User Guide 318 • Placement: A group of controls (available when you click the disclosure triangle) to set how the stone pattern is applied to the text object. See Placement controls. When Substance is set to Wood • Type: A pop-up menu to choose a style of wood (Ash, Bamboo, Walnut, and so on). • Grain Depth: A slider to adjust the depth of grain in the wood substance. • Placement: A group of controls (available when you click the disclosure triangle) to set how the wood pattern is applied to the text object. See Placement controls. When Substance is set to Flat Use the Flat substance type to create an object that has depth but is unaffected by light or shadows. Flat creates a “2.5-dimensional” look popular in graffiti and pop-art styles. • Surface: A pop-up menu to choose whether the surface displays a color or a gradient. • Color: A color control (available when Surface is set to Color) to set the color of the text. • Gradient: A gradient control (available when Surface is set to Gradient) to create a custom gradient. See Intro to the gradient editor. • Intensity: A slider to adjust the vibrancy of the chosen Surface option (Color or Gradient). • Opacity: A slider to adjust the transparency of the chosen Surface option (Color or Gradient). Drag to the left to make the surface appear more transparent, or drag to the right to make the surface appear more opaque. • Enable Edge: A group of controls (available when you click the disclosure triangle) that creates a dynamic effect for how edges are rendered based on the relative position of the camera. As the text changes position (relative to the camera), the shading changes. You can enable or disable these controls by selecting or deselecting the checkbox to the left of the Enable Edge disclosure triangle. • Edge Amount: A slider to adjust how visible the edges of the selected substance layer appear. • Invert: A checkbox that, when selected, inverts the visible area of the edges for the selected substance layer. Final Cut Pro User Guide 319 • Blend Mode: A pop-up menu to control how flat substance layers interact with layers below them. Choose one of the following methods: • Normal: The visible areas of the topmost substance layer obscure the edges of the layers below. • Multiply: The visible areas of the substance layers are multiplied together so that the darker areas of each layer appear on the edges of the text object. • Add: The visible areas of the layers are added together so that the lighter areas of each layer appear on the edges of the text object. When Substance is set to Generic The Generic substance type is used by some of the preset materials available in Final Cut Pro. When Substance is set to Generic, a neutral surface is generated, to which a solid color or gradient can be applied. This substance type is usually used in conjunction with the Custom Specular or Custom Bump finish layer to create unique looks. • Surface: A pop-up menu to choose whether the surface displays a color or a gradient. • Color: A color control available when Surface is set to Color. • Gradient: A gradient control (available when Surface is set to Gradient) to create a custom gradient. See Intro to the gradient editor. • Brightness: A slider to adjust how much light is reflected by the surface of the text object. You can control this effect more precisely by clicking the disclosure triangle and adjusting the following controls: • Lights: A slider to adjust how much light from light sources reflects off the surface of the text object. • Environment: A slider to adjust how much environmental light reflects off the surface of the text object. See Change the lighting environment. • Opacity: A slider to adjust the transparency of the substance layer. Drag to the left to make the substance more transparent, or drag to the right to make it more opaque. Paint controls in Final Cut Pro Use the Paint controls, in the Material section of the 3D Text section of the Text inspector, to create the effect of a coat of paint added to the surface of the 3D title. Depending on the option you choose in the Paint pop-up menu, different parameter controls become available. Final Cut Pro User Guide 320 • Paint: A pop-up menu to set a paint type: Smooth Paint, Textured Paint, Watercolor, or Reflective Paint. When Paint is set to Smooth Paint • Color Type: A pop-up menu to choose whether the paint is a solid color or a gradient. • Paint Color: A color control (available when Color Type is set to Color) to set the color of the paint. • Paint Gradient: A gradient control (available when Color Type is set to Gradient) to create a custom gradient. See Intro to the gradient editor. • Sheen: A slider to adjust the apparent shininess of the paint surface. • Opacity: A slider to adjust the transparency of the paint. Drag to the left to make the paint more transparent, or drag to the right to make it more opaque. When Paint is set to Textured Paint • Color Type: A pop-up menu to choose whether the paint is a solid color or a gradient. • Paint Color: A color control (available when Color Type is set to Color) to set the color of the paint. • Paint Gradient: A gradient control (available when Color Type is set to Gradient) to create a custom gradient. See Intro to the gradient editor. • Sheen: A slider to adjust the apparent shininess of the paint surface. • Surface Texture: A pop-up menu to choose a texture to apply. • Texture Depth: A slider to adjust the visibility of the texture on the surface of the 3D title. • Opacity: A slider to adjust the transparency of the paint. Drag to the left to make the paint more transparent, or drag to the right to make it more opaque. • Placement: A group of controls (available when you click the disclosure triangle) to set how the paint texture is applied to the text object. See Placement controls. When Paint is set to Watercolor • Paint Color: A control to set the color of the paint. • Sheen: A slider to adjust the apparent shininess of the paint surface. Final Cut Pro User Guide 321 • Opacity: A slider to adjust the visibility of the paint. Drag to the left to make the paint more transparent, or drag to the right to make it more opaque. • Placement: A group of controls (available when you click the disclosure triangle) to set how the watercolor pattern is applied to the text object. See Placement controls. When Paint is set to Reflective Paint • Paint Job: A pop-up menu to choose the type of reflective paint (Velvet, Pearl, Electric, and so on). • Paint Color: A control to set the color of the reflective paint. • Second Color: A color control to set a second paint color (available for some Paint Job types). • Sheen: A slider to adjust the apparent shininess of the paint surface. • Opacity: A slider to adjust the transparency of the paint. Drag to the left to make the paint more transparent, or drag to the right to make it more opaque. • Diffuse Brightness: A slider (available when Paint Job is set to Custom) to set the amount of color reflected by the text object. • Specular Brightness: A slider (available when Paint Job is set to Custom) to set the amount of light reflected by the text object. • Shininess: A slider (available when Paint Job is set to Custom) to set how mirror-like the surface appears. • Face Opacity: A slider (available when Paint Job is set to Custom) to set how transparent the paint effect is on surfaces that are more perpendicular to the camera. • Edge Opacity: A slider (available when Paint Job is set to Custom) to set how transparent the paint effect appears on surfaces that are more parallel to the camera. • Fresnel: A slider (available when Paint Job is set to Custom) to set how much the viewing angle affects the reflectivity of the object. A high Fresnel value means that there’s a strong change in reflectivity as the viewing angle changes; a low Fresnel value means that the reflectivity remains relatively consistent regardless of viewing angle. Finish controls in Final Cut Pro Use the Finish controls, in the Material section of the 3D Text section of the Text inspector, to create the effect of a layer of finish (such as polish, enamel, and so on) added to the surface of the 3D title. Depending on the option you choose in the Finish pop-up menu, different parameter controls become available. • Finish: A pop-up menu to choose a finish type: Polish, Enamel, Brushed, Textured, or Custom Specular. Final Cut Pro User Guide 322 When Finish is set to Polish • Reflectivity: A slider to adjust the brightness of reflections that appear in the surface of the object. This value can be set above 100% to create a high dynamic range (HDR) type effect. • Glossiness: A slider to adjust how dull or sharp reflections are. A setting of zero creates a blurry reflection, and a setting of 100 creates a sharp, mirror-like reflection. When Finish is set to Enamel • Reflectivity: A slider to adjust the brightness of reflections that appear in the surface of the object. This value can be set above 100% to create a high dynamic range (HDR) type effect. • Glossiness: A slider to adjust how dull or sharp reflections are. A setting of zero creates a blurry reflection, and a setting of 100 creates a sharp, mirror-like reflection. • Highlight Color: A color control to set a color to tint the highlights that appear in reflections on the text object’s surface. Note: The enamel setting effectively negates any bumpiness on layers beneath it (just like the effect of adding enamel to a rough surface in the real world). For example, if you place this layer over a wood layer, the grain depth of the wood is ignored no matter how high you set that parameter. When Finish is set to Brushed • Type: A pop-up menu to choose a brush pattern: Linear, Circular, or Overlapping Circular. • Reflectivity: A slider to adjust the brightness of reflections that appear in the surface of the object. This value can be set above 100% to create a high dynamic range (HDR) type effect. • Glossiness: A slider to adjust how dull or sharp reflections are. A setting of zero creates a blurry reflection, and a setting of 100 creates a sharp, mirror-like reflection. • Depth: A slider to adjust the apparent depth of the brush pattern. • Reverse Depth: A checkbox that, when selected, inverts the brush pattern, making dark areas appear raised and light areas appear sunken into the surface. • Placement: A group of controls (available when you click the disclosure triangle) to set how the brush pattern is applied to the text object. See Placement controls. When Finish is set to Textured • Type: A pop-up menu to choose a texture: Combed, Cracked, Eggshell, and so on. • Reflectivity: A slider to adjust the brightness of reflections that appear in the surface of the object. This value can be set above 100% to create a high dynamic range (HDR) type effect. • Glossiness: A slider to adjust how dull or sharp reflections are. A setting of zero creates a blurry reflection, and a setting of 100 creates a sharp, mirror-like reflection. • Depth: A slider to adjust the apparent depth of the texture pattern. Final Cut Pro User Guide 323 • Reverse Depth: A checkbox that, when selected, inverts the texture pattern, making dark areas appear raised and light areas appear sunken into the surface. • Placement: A group of controls (available when you click the disclosure triangle) to set how the texture is applied to the text object. See Placement controls. When Finish is set to Custom Specular • Intensity: A slider to adjust the amount of light reflected in the text object’s surface. You can control the intensity of lights and environmental light separately by clicking the disclosure triangle and adjusting the following two sliders: • Lights: A slider to adjust the amount of light reflected in the object’s surface. • Environment: A slider to adjust the amount of environmental light reflected in the object’s surface. For more information about these lighting options, see Intro to 3D text lighting. • Intensity Image: A checkbox selected by default for certain material presets (such as those in the Grunge category) that use a built-in image as an “intensity map” in a Custom Specular finish layer. An intensity map makes brighter areas of the image reflect more light, and darker areas reflect less light. An intensity map creates the effect of a pattern or smudge on the object’s surface that dynamically modifies or limits the reflectivity of the object. Note: The Intensity Image controls in Final Cut Pro are available for a limited set of material presets only. However, you can assign a custom image as an intensity map in Motion, an Apple app designed to work with Final Cut Pro. See the Motion User Guide. Apply a preset to your title, then click the disclosure triangle to reveal the following controls: • White Level: A slider that sets the brightness point above which areas of the intensity map allow reflections to pass and be visible. Lowering the White Level value makes the intensity map more transparent, reducing reflectivity. • Black Level: A slider that sets the brightness point below which areas of the intensity map prevent reflections from passing. Raising the Black Level value means more of the image appears opaque. • Wrap Mode: A pop-up menu to choose what happens if the image is smaller than the text object. Choose one of the following options: • None: The image is applied once, and areas of the text object that exceed the scope of the image are not covered. • Repeat: The image is applied and reapplied as often as necessary, creating a pattern to fill the area beyond the scope of the original image. • Mirror: The image is applied to the text object, then applied again in an inverted, reversed orientation to cover the area beyond the scope of the original image. • Placement: A group of controls (available when you click the disclosure triangle) to set how the intensity map is applied to the text object. See Placement controls. • Shininess: A slider to adjust how mirror-like the object appears. You can control this effect more precisely by clicking the disclosure triangle and adjusting two additional sliders: Final Cut Pro User Guide 324 • Lights: A slider to adjust how sharply lights are reflected in the surface of the object. A higher value makes light reflections more sharply defined, and a lower value creates blurrier light reflections. • Environment: A slider to adjust how sharply the environment image is reflected in the surface of the object. A higher value makes the environment more clearly visible in reflections, and a lower value creates blurrier reflections of the environment. For more information about lighting options, see Intro to 3D text lighting. • Shininess Image: A checkbox selected by default for certain material presets (such as those in the Grunge category) that use a built-in image as a “shininess map” in a Custom Specular finish layer. A shininess map controls how sharp or mirror-like the object appears. Note: The Shininess Image controls in Final Cut Pro are available for a limited set of material presets only. However, you can assign a custom image as a shininess map in Motion, an Apple app designed to work with Final Cut Pro. See the Motion User Guide. Apply a preset to your title, then click the disclosure triangle to reveal the following controls: • White Level: A slider that sets the brightness point above which areas of the shininess map enable a clear, mirror-like reflection in the surface. Lowering the White Level value means more of the reflection appears clear and mirror-like. • Black Level: A slider that sets the brightness point below which areas of the shininess map create a dulling or blurring effect on the object’s reflections. Raising the Black Level value means more of the reflection appears blurry. • Wrap Mode: A pop-up menu to choose what happens if the image is smaller than the text object. Choose one of the following options: • None: The image is applied once, and areas of the text object that exceed the scope of the image are not covered. • Repeat: The image is applied and reapplied as often as necessary, creating a pattern to fill the area beyond the scope of the original image. • Mirror: The image is applied to the text object, then applied again in an inverted, reversed orientation to cover the area beyond the scope of the original image. • Placement: A group of controls (available when you click the disclosure triangle) to set how the shininess map is applied to the text object. See Placement controls. • Specular Color: A pop-up menu to choose whether the specular color is based on the current surface or a solid color. Use this control to add a hue (or pattern) that colors the reflection as if the material were made of that color or pattern. For example, adding an orange specular color causes reflections to have an orange hue, as if the 3D title were made of copper. • Surface Blend: A slider (available when Specular Color is set to From Surface) to adjust the amount of the underlying color blended into the highlights. • Color: A control (available when Specular Color is set to Solid Color) to set the color of reflections to a color you choose (as opposed to the color of the current surface). Final Cut Pro User Guide 325 • Anisotropic: A checkbox that, when selected, activates a set of controls that limit the Custom Specular effect to a particular pattern or direction (as opposed to the default method, which disperses the specular effect in many directions at once). This allows you to distort the highlights created by lighting styles and scene lights. Click the disclosure triangle to reveal the following controls: • Geometry: A pop-up menu to choose whether the anisotropic effect is linear or cylindrical. • Placement: A pop-up menu to choose whether the anisotropic effect placement is independent or shared. See Placement controls. • Place On: A pop-up menu to choose whether the anisotropic effect is applied to individual glyphs (letters) in a text object or to the entire text object. • Orientation: Dials (available when Geometry is set to Linear) to set the direction of the linear anisotropic specular effect. • Position: Value sliders (available when Geometry is set to Cylindrical) to set the position where the cylindrical anisotropic specular effect is centered. • Highlight Sharpness: A slider to adjust the shape of the reflected highlight, making it narrow or wide. Note: For details about anisotropic controls, see the Motion User Guide. Distress controls in Final Cut Pro Use the Distress controls, in the Material section of the 3D Text section of the Text inspector, to create the effect of wear or degradation on the surface of the 3D title. Depending on the option you choose in the Distress pop-up menu, different parameter controls become available. • Distress: A pop-up to choose a distress type: Scratches, Stains, Dirt, Dents, Wavy, Bumps, Perforated, Wrinkles, or Custom Bumps. Final Cut Pro User Guide 326 When Distress is set to Scratches • Type: A pop-up menu to choose a scratch pattern. • Depth: A slider to adjust the apparent depth of the scratches. • Placement: A group of controls (available when you click the disclosure triangle) to set how the scratch pattern is applied to the text object. See Placement controls. When Distress is set to Stains • Type: A pop-up menu to choose a stain pattern. • Opacity: A slider to adjust the transparency of the stain pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the stain pattern is applied to the text object. See Placement controls. When Distress is set to Dirt • Type: A pop-up menu to choose a dirt pattern. • Opacity: A slider to adjust the transparency of the dirt pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the dirt pattern is applied to the text object. See Placement controls. When Distress is set to Dents • Type: A pop-up menu to choose a dent pattern. • Depth: A slider to adjust the apparent depth of the dents in the 3D title. • Placement: A group of controls (available when you click the disclosure triangle) to set how the dent pattern is applied to the text object. See Placement controls. When Distress is set to Wavy • Depth: A slider to adjust the apparent depth of the wave pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the wave pattern is applied to the text object. See Placement controls. When Distress is set to Bumps • Type: A pop-up menu to choose a bump pattern. • Depth: A slider to adjust the apparent depth of the bump pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the bump pattern is applied to the text object. See Placement controls. When Distress is set to Perforated • Type: A pop-up menu to choose a perforation pattern. • Depth: A slider to adjust the apparent depth of the perforation pattern. • Placement: A group of controls (available when you click the disclosure triangle) to set how the perforation pattern is applied to the text object. See Placement controls. Final Cut Pro User Guide 327 When Distress is set to Wrinkles • Type: A pop-up menu to choose a wrinkle pattern. • Depth: A slider to adjust the apparent depth of the wrinkles. • Placement: A group of controls (available when you click the disclosure triangle) to set how the wrinkle pattern is applied to the text object. See Placement controls. When Distress is set to Custom Bumps Note: The Custom Bumps distress type is available in a limited set of preset materials that use a built-in image as a bump map. For example, the Scales preset in the Miscellaneous category uses the Custom Bumps distress type. For details about custom bump maps, see the Motion User Guide. • Bump Map Gain: A slider to increase or decrease the contrast of the bump map image, giving the effect of larger or smaller bumps. • Blend Mode: A pop-up menu to choose how multiple bump layers interact with each other. Choose one of two options: • Add: Uses a mathematical add operation, allowing the lighter areas of each layer to shine through. • Replace: Overrides the bump attributes of underlying layers. Emit controls in Final Cut Pro Use the Emit controls to apply a radiance effect to 3D text, as if the text were emitting its own light. When you add an emit layer to a 3D title, the following controls appear in the Material section of the 3D Text section of the Text inspector. • Fill: A pop-up menu to choose whether the light emitted is based on a solid color or a gradient. • Color: A color control (available when Fill is set to Color) to select the color to be emitted. • Gradient: A gradient control (available when Fill is set to Gradient) to create a custom gradient for the colors to be emitted. See Intro to the gradient editor. • Intensity: A slider to adjust the strength of the light emitted from the text object. • Coverage: A slider to adjust how visible the emit layer is, based on the opacity of the layer. A value of 100% (the default) causes the emit layer to be visible regardless of the opacity of the layers beneath it. A value of 0% means that the emit layer shines only where the material is opaque. Final Cut Pro User Guide 328 Placement controls in Final Cut Pro Many material layers include graphic images (with fixed dimensions) that are applied to the 3D title—for example, the pattern of a fabric or the wrinkles of a distress layer. In the Material section of the Text inspector, the controls for each of these layers include a set of Placement controls you can use to define the way the image is mapped onto the text object. If you want to apply placement settings to more than one layer at once, you can designate the placement for those layers as Shared. In that case, Shared Placement controls appear in the Material section of the Text inspector and replace the Placement controls for the individual layers. Layers that have Placement set to Independent are not affected by the Shared Placement settings. As you add additional layers that include Placement controls, you can choose whether they use the shared settings or are controlled individually. The Material section of the Text inspector also has a set of Global Placement controls you can use to randomize the placement of any textures applied in any material layer. These settings apply to all textures regardless of whether they are designated as Independent or Shared. Independent Placement controls These controls appear in each material layer that includes a texture that is applied to the 3D title. • Placement: A pop-up menu to choose whether the mapping of the image is independent, meaning that the controls below affect the placement of the image, or shared with the other images being placed on the selected 3D title. When Placement is set to Shared, the rest of the placement parameters in the material layer are hidden, because the layer is now controlled by the Shared Placement settings in the Options section. • Place On: A pop-up menu to choose whether to apply the image or texture once to the entire text object, or individually to each glyph (letter). • Side Placement: A pop-up menu to choose how the mapped image or texture is applied to the sides of the text object. Choose one of the following options: • Normal: The image or texture is mapped onto the front and the sides of the text object in the same direction. • Turn 90°: The image or texture is mapped onto the front of the text object; the same image is mapped onto the sides of the text object, but is rotated by 90 degrees. Final Cut Pro User Guide 329 • Stretch From Edge: The image or texture is mapped onto the front of the text object; on the sides, the pixels on the edge are repeated, so that the pattern appears to be stretched over the sides of the text object. • Position: Value sliders to set the location where the image or texture is mapped onto the object. • Scale: A slider to adjust the magnification (zoom) level of the image or texture being mapped. Click the disclosure triangle to reveal separate X and Y scale sliders and the Scale With Font Size checkbox (described below). • Scale With Font Size: A checkbox (available when you click the Scale disclosure triangle) that, when selected, causes the size of the applied image or texture to change proportionally when you modify the font size of the text object. • Rotation: A dial to rotate the mapped image or texture around the Z axis. Click the disclosure triangle to reveal separate dials for rotating around the X, Y, and Z axes. Shared Placement controls These controls appear in the Options section of the Text inspector when the Placement pop-up menu for a material layer is set to Shared. These controls are identical to the Independent Placement controls described above. Global Placement controls These settings apply to all images being affected by Placement controls, independent or shared. These controls appear in the Options section of the Text inspector. You can create variations of the patterns Final Cut Pro uses to place textures, effects, and images onto text objects in your 3D titles. In some cases you may want the placement of the applied pattern to vary among the characters in your titles. The Random Seed feature is effectively a random-pattern generator for this purpose. • Randomize: A pop-up menu to choose whether to apply the randomness to just the sides, just the front and back, or all facets. • Random Seed: A control to choose a different random number to change the randompattern placement. Click the Generate button to have Final Cut Pro select a random number, or enter your own number in the text field. Final Cut Pro User Guide 330 Change lighting style Intro to 3D text lighting in Final Cut Pro 3D titles in Final Cut Pro are designed to simulate the shading and reflectivity of threedimensional objects in the real world reacting to local lighting conditions and the surrounding environment. The built-in lighting and environment controls greatly simplify the process of creating natural-looking 3D titles. Also, because reflectivity is a fundamental aspect of what makes three-dimensional objects appear realistic, Final Cut Pro allows you to control what’s reflected in 3D titles. You can choose from a range of preset environments, or you can create your own custom environment. Adjust 3D text lighting in Final Cut Pro All 3D titles in Final Cut Pro have a set of built-in options that simulate basic lighting conditions, so you can create natural-looking scenes quickly and easily. Modify the lighting style 1. Select a 3D title in the Final Cut Pro timeline. Final Cut Pro User Guide 331 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Lighting section of the 3D Text section, click the Lighting Style pop-up menu and choose a lighting style. Tip: In the case of the Backlit option, default environmental light will cause some illumination to fall on the front surface of the title. To create an effect where the front of the object appears entirely unlit (like the Backlit preview sphere), deselect the Environment checkbox. Final Cut Pro User Guide 332 5. Drag the Intensity slider to increase or decrease the amount of illumination. The following examples illustrate a few selected lighting styles using the default Soft Box Above lighting environment set to 80% intensity. For information about lighting environments, see Change the lighting environment. For a detailed list of all 3D text lighting controls, see Lighting controls. Control how 3D titles cast shadows In the real world, complex objects often cast shadows on parts of themselves. You can simulate this effect in Final Cut Pro using the Self Shadows controls. The following examples show what 3D text looks like with Self Shadows turned on and off. Both examples use the Diagonal Left lighting style. 1. Select a 3D title in the Final Cut Pro timeline. Final Cut Pro User Guide 333 2. In the Lighting section of the 3D Text section of the Text inspector, select the Self Shadows checkbox. Note: If Lighting Style is set to Off, the Self Shadows checkbox is hidden. With self-shadows enabled, one part of a 3D title casts a shadow on another part of the same title (depending on the light source position). Although this effect can add realism to a text object, in some cases it may add unwanted or distracting shadows. 3. Click the disclosure triangle next to the Self Shadows checkbox to reveal additional controls, then do any of the following: • Decrease the visibility of self shadows: Drag the Opacity slider to the left. • Soften the edges of self shadows, making them more subtle: Drag the Softness slider to the right. Change the 3D text lighting environment in Final Cut Pro Reflective objects such as 3D text need something to reflect. You can choose what’s reflected in the surface of 3D titles by enabling environment lighting. Environment lighting projects an image onto the 3D title to simulate a reflected world. Because environment lighting emulates the reflective properties of real-world objects, its effects are more noticeable on 3D text with shiny surfaces. The following examples show different lighting environments. (In these examples, Lighting Style is set to Off. For information about lighting styles, see Adjust 3D text lighting.) Final Cut Pro User Guide 334 Set the lighting environment for a 3D title 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Lighting section of the 3D Text section, click Show next to the Environment section to show the Environment controls. 5. Click the Type pop-up menu and choose one of the preset lighting environments. Tip: You may need to rotate the 3D title around the X or Y axis to see different parts of the reflected environment. See Rotate titles in 3D space. Final Cut Pro User Guide 335 Modify the appearance of a reflected environment 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Lighting section of the Final Cut Pro Text inspector, click Show next to the Environment section to show the Environment controls. 3. Adjust the following controls: • Intensity: Adjust the brightness of the reflected image. • Rotation: Change the angle at which the environment image appears reflected in the 3D title. Tip: By default, environments rotate around the Y axis. To rotate around the other axes, expand the Rotation controls and adjust the dials. • Contrast: Control the relative difference in brightness between the light and dark areas in the reflected image. • Saturation: Control the amount of color visible in the reflected image. Turn off the environment reflection Because the Environment controls effectively add a light source to your 3D title (even when Lighting Style is set to Off), you may want to turn off Environment entirely—for example, if you add scene lights to create a custom lighting environment. 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Lighting section of the 3D Text section of the Text inspector, deselect the Environment checkbox. Tip: For the most realistic results, make sure that all 3D titles in your project use the same reflection environment. Lighting controls in Final Cut Pro Adjust the controls in the Lighting section of the 3D Text section of the Text inspector to modify 3D text lighting. Lighting controls • Lighting Style: A pop-up menu to choose a preset lighting style for the selected 3D title. • Off: Disables the 3D text lighting controls. Choose this if you want to light your 3D title using environment lighting only. Note: You may also want to disable environment lighting. See Change the lighting environment. • Standard: Illuminates the text object from the front, from the left, and from the right. • Medium Center: Creates a soft, flat light illuminating the text object from the center. • Medium Left: Creates a soft, flat light illuminating the text object from the left. Final Cut Pro User Guide 336 • Medium Right: Creates a soft, flat light illuminating the text object from the right. • Above: Illuminates the text object from above. • Backlit: Illuminates the text object from behind. Note: By default, environmental light causes additional illumination to fall on the front surface of the text object. To create a backlighting effect where the front of the text object appears entirely unlit, deselect the checkbox for the Environment controls to disable environment lighting. See Change the lighting environment. • Below: Illuminates the text object from the bottom. • Diagonal Left: Illuminates the text object from the upper-left corner. • Diagonal Right: Illuminates the text object from the upper-right corner. • Drama Top Left: Illuminates the text object from the top and left sides, with no illumination at all on the right or bottom. • Drama Top Right: Illuminates the text object from the top and right sides, with no illumination at all on the left or bottom. • Intensity: A slider to adjust the strength of the light falling on the 3D title. • Self Shadows: A group of controls (available when you click the disclosure triangle) to set whether and how the lighting causes text glyphs (individual characters) to cast shadows upon the other glyphs in the text object. When Self Shadows is enabled, two additional controls become available: • Opacity: A slider to adjust how visible the shadows are. • Softness: A slider to adjust how blurred the shadows appear. Environment controls • Environment: A checkbox that, when selected, enables a reflective lighting effect so that 3D text appears to reflect lighting from a surrounding environment. Click the disclosure triangle to reveal additional adjustment controls: • Type: A pop-up menu to choose one of the preset environments. • Intensity: A slider to adjust the strength of the environmental light. • Rotation: A dial that controls the angle at which the environment image is mapped onto the object. • Contrast: A slider that increases or decreases the contrast of the environment image. More contrast creates weaker midtones, brighter highlights, and darker shadows; less contrast creates stronger midtones, muted highlights, and muted shadows. • Saturation: A slider to adjust the visibility of the colors within the environment image. More saturation creates more visible color; less saturation creates a more monochromatic image. • Anisotropic: A checkbox that creates more realistic distortions in reflections for the Custom Specular or Brushed finish layers. Although this setting improves realism, it can impact performance. Final Cut Pro User Guide 337 Add 3D text glows or shadows in Final Cut Pro You can apply standard glow and drop shadow effects to 3D titles just as you would to 2D titles. However, the results always appear in only two dimensions. Add a glow effect to a 3D title 1. Select a 3D title in the Final Cut Pro timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Text button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Select the checkbox to the left of the Glow heading (near the bottom of the Text inspector). The checkbox is highlighted blue, and a yellow glow is applied to the title. 5. Double-click the Glow heading to display parameter controls, then adjust Color, Opacity, and other settings to customize the glow effect. Note: Adding a glow effect to a 3D title forces the title to be rasterized. When a title is rasterized, it’s converted to a bitmap image. Add a drop shadow effect to a 3D title 1. Select a 3D title in the Final Cut Pro timeline. 2. In the Text inspector, select the checkbox to the left of the Drop Shadow heading (near the bottom of the inspector). The checkbox is highlighted blue, and a default drop shadow is applied to the title. 3. Double-click the Drop Shadow heading to display parameter controls, then adjust Color, Opacity, and other settings to customize the drop shadow effect. Final Cut Pro User Guide 338 Add effects Intro to effects in Final Cut Pro You can easily add special effects to video, audio, and photos in your projects. Final Cut Pro provides several kinds of effects and controls: • Transitions: Add an effect between clips to control how they change from one to the next. See Intro to transitions. • Effects: Add a wide variety of effects to your video and audio clips, from subtle (add film grain or a color effect to the video, or a graphic equalizer to the audio) to not so subtle (add droplet ripples or an insect-eye view to the video, or apply an exaggerated pitch shift to the audio). There are two main types of effects: • Built-in effects: Use these standard effects to resize, move, rotate, trim, skew, crop, or apply the Ken Burns zooming effect to a video clip. These effects are already part of each timeline clip—you just need to adjust them. See Intro to built-in effects. • Clip effects: Use these effects to correct issues in your video and audio clips or create stunning new looks or sounds. See Intro to clip effects. • Generators: Add a special element like a placeholder clip, a timecode generator, or a countdown timer, or add colors, patterns, or animated backgrounds to your project. See Intro to generators. • Onscreen controls: Customize many of your effects using onscreen controls. See Intro to onscreen controls. • Video animation: Vary effect settings as a clip plays. See Intro to video keyframing. Final Cut Pro User Guide 339 You can add effects to any clips in the timeline. After the effects have been added (or in the case of built-in effects, adjusted), you can customize them using controls in an inspector, onscreen controls in the viewer, and controls in the Video Animation and Audio Animation editors. You can also try out multiple versions of an effect using auditions. You can also open and customize most effects and generators in Motion, an Apple app designed to work with Final Cut Pro. Note: If you’re using a transition, title, effect, or generator created in Motion that uses a third-party plug-in, and that plug-in is not installed on your Final Cut Pro system, the Final Cut Pro project may be rendered incorrectly or incompletely. To verify whether this is the cause, open the template in Motion; if there are offline elements, a warning dialog appears. See Modify transitions in Motion, Modify titles in Motion, Modify effects in Motion, or Modify generators in Motion. Add and adjust transitions Intro to transitions in Final Cut Pro You can add cross dissolves and other transition effects between clips to make your program more interesting. Transitions replace one shot with another over a specified period of time; when one shot ends, another one replaces it. Three very common video transitions are fades, cross dissolves, and wipes. You can also add audio-only transitions. These transitions can be either a fade-in, a fadeout, or a crossfade. See Fade audio in and out. Note: When a transition is added to a video clip with attached audio, a crossfade transition is automatically applied to the audio. If the audio is detached or expanded from the video, the crossfade is not added. How transitions are created in Final Cut Pro Transitions require overlapping video from the clips on each side of the edit point. A one-second transition requires one second of video from the end of the left clip and one second of video from the start of the right clip. When you apply a transition to an edit point, Final Cut Pro attempts to use additional video from each of the clips to create the overlap. These additional (unused) sections of clips are called media handles. Final Cut Pro User Guide 340 The example below shows range selections in a clip in the browser, and the portions of the clip that will become media handles when the range selections are edited into the timeline. The media handle video may not be appropriate for use in a transition. For example, if the media handle includes unusable video such as a slate, it will be visible in the project. The illustration below shows how transitions are created when the clips on either side of the edit point have media handles. The transition is placed so that it spans the clips; half of the transition overlaps each clip. Unused media from the end of each clip is added to fill out the transition, and the total duration of your project is unchanged. If one or both of the clips do not have enough extra content (media handles) to support a transition of the default duration, you’re given the option to overlap media in your project to create the transition. If you choose to overlap media, Final Cut Pro uses the available media handles and then overlaps media as necessary to create the transition. The illustration below shows a transition created without media handles. The two clips are made to overlap, and the transition is placed over the overlapping region. This is effectively a ripple edit, and the total duration of your project decreases. Final Cut Pro User Guide 341 This same option is available for audio crossfades. See Create an audio crossfade using the Modify menu. To learn how to set the default duration for transitions, see Set the default transition. Add transitions in Final Cut Pro There are several methods you can use to add transitions to edit points in your project. After a transition is added, you can adjust its parameters. You can also modify the transition effect in Motion. You can add audio-only transitions. These transitions can be either a fade-in, a fade-out, or a crossfade. See Fade audio in and out. Add the default transition 1. Click the Tools pop-up menu (shown below) at the top of the Final Cut Pro timeline, choose the Select tool, then click the edge of a clip (an edit point) in the timeline. One or both clip edges are highlighted. Note: If you select a whole clip in the timeline instead of just an edit point, transitions are added at each end of the selected clip. 2. Choose Edit > Add [transition name] (or press Command-T). The name of the menu item changes depending on the current default transition setting. The default transition is applied to the selected edit point. To change the default transition, see Set the default transition. Final Cut Pro User Guide 342 Final Cut Pro creates a cross dissolve transition at an edit point using media handles. If the video clip has attached audio, a crossfade transition is applied to the audio. Add or change a transition using the Transitions browser 1. Click the Transitions button in the top-right corner of the Final Cut Pro timeline (or press Control-Command-5). 2. In the Transitions browser, select a transition. Move the pointer over the transition thumbnails to see an example of what the transition looks like. To filter the list of transition names that appear, type text in the search field. Note: If you don’t see the transition you’re looking for, you can use the Filter pop-up menu at the top of the Transitions browser to check for it in other locations. See Filter Motion content stored in a library. 3. Do one of the following: • Apply the transition to an edit point: Drag the transition to the edit point. • Replace an existing transition in your project: Drag the transition on top of the existing transition. Tip: Alternatively, you can select the edit point first, then double-click a transition in the Transitions browser to apply the transition. Final Cut Pro creates the transition at the edit point using media handles. If the video clip has attached audio, a crossfade transition is applied to the audio. Tip: To quickly create a “fade up from black” effect at the beginning of a clip or a “fade to black” effect at the end of a clip, apply the default Cross Dissolve effect to a single clip in the timeline (with no contiguous clips). For more precise control over fade effects, see Intro to video keyframing. Copy a transition to other edit points using the Edit menu 1. Select a transition in the Final Cut Pro timeline, then choose Edit > Copy (or press Command-C). 2. Using the Select tool, click the edge of a clip (an edit point) in the timeline, then choose Edit > Paste (or press Command-V). If you copy a transition to an edit point that already has a transition, the existing transition is overwritten. Final Cut Pro User Guide 343 Copy a transition to other edit points by dragging • Select a transition in the Final Cut Pro timeline, then hold down the Option key and drag the transition to another edit point. If you copy a transition to an edit point that already has a transition, the existing transition is overwritten. Note: If you extend a clip to its maximum length in either direction, the clip edge turns red. You may need to trim (shorten) the clip to create the media handle necessary to create a transition. See How transitions are created. Set the default transition in Final Cut Pro You can set a default transition and apply it to your clips quickly using the Command-T keyboard shortcut. Final Cut Pro comes with the default transition set to Cross Dissolve, but you can change the default to any transition. You can also set the default duration for transitions. Set the default transition 1. Click the Transitions button in the top-right corner of the Final Cut Pro timeline. 2. In the Transitions browser, Control-click a transition, then choose Make Default. Set the default duration You set the default duration for transitions in Final Cut Pro preferences. 1. In Final Cut Pro, choose Final Cut Pro > Preferences, or press Command-Comma (,), then click Editing. 2. Use the “Duration is x seconds” value slider to set the duration, in seconds, of all transitions you add to the timeline. You can adjust the duration of a transition after it’s in the timeline. Note: Some transitions have a fixed duration and are not affected by this setting. Delete transitions in Final Cut Pro You can easily delete a transition, restoring the edit point to a simple cut. 1. Select one or more transitions in the Final Cut Pro timeline. 2. Press Delete. The selected transitions are removed, and their edit points are converted to simple cuts. You can also choose Edit > Undo to remove the transition and return the clips to their original length. Final Cut Pro User Guide 344 Adjust transitions in the Final Cut Pro timeline You can adjust a transition’s duration and move it in the timeline. You can also trim either of the clips under the transition. Note: If you extend a clip to its maximum length in either direction, the clip edge turns red. You may need to trim (shorten) the clip to create the media handle necessary to create a transition. See How transitions are created. Change the transition duration 1. Select a transition in the Final Cut Pro timeline. 2. Do one of the following: • Choose Modify > Change Duration (or press Control-D), type the duration (it appears below the viewer), then press Return. • Drag one end of the transition away from the transition’s center to lengthen it, or toward the center to shorten it. The transition maintains its center point and both ends are trimmed equally, with the number showing how many frames have been added to or subtracted from the transition duration. Move a transition Moving a transition actually rolls the edit under the transition, adding content to one underlying clip while removing content from the other clip. The overall duration of the project is not affected. You can move a transition only if the clip that is being extended has sufficient media handles. Final Cut Pro User Guide 345 1. Select a transition in the Final Cut Pro timeline. 2. Drag the transition trim icon in the upper-center area of the transition. The edit under the transition is rolled, with one clip being extended and the other shortened. A number appears above the trim icon showing the number of frames to the left (negative numbers) or to the right (positive numbers) you have rolled the transition. You can also use the precision editor to roll the transition. Trim a clip under a transition The transition includes icons that make it easy to trim the left or right clip without affecting the transition. 1. Select a transition in the Final Cut Pro timeline. 2. Drag one of the trim icons in the upper-left or upper-right area of the transition. Note: You may need to zoom in on the timeline to make the trim icons appear. Dragging the trim icon in the upper left adjusts the right clip’s start point, and dragging the trim icon in the upper right adjusts the left clip’s end point. A number appears showing how many frames you have added to (negative numbers) or subtracted from (positive numbers) the clip’s duration. Trimming the clip doesn’t affect the transition’s duration, but it does affect the project’s duration. You can also use the precision editor to trim the clips under the transition. Final Cut Pro User Guide 346 Adjust transitions in the Final Cut Pro inspector and viewer You can adjust a transition using the controls in the Transition inspector and viewer. 1. In the Final Cut Pro timeline, select the transition to adjust. This example explains how to modify the Circle transition, but you can modify any transition. The viewer shows the onscreen controls for the selected transition. In the above example, which uses the Circle transition, you can drag the white circle in the viewer to position the circle wipe’s center, and the diamond-shaped handle to set the border width (in this case, its softness). 2. If the inspector is not already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. The Transition inspector shows the other parameters available for you to adjust. In the above example, the Transition inspector includes a setting for the circle wipe’s aspect ratio and edge treatment (including the border color if you choose a hard edge). Some transitions also have an image well for selecting a video frame that appears as part of the transition. Additionally, many transitions have parameters that you can animate using keyframes. For example, you could have the circle effect move across the video frame as the clip plays. For information about adjusting audio crossfades in the Transition inspector, see Fade audio in and out. Final Cut Pro User Guide 347 Merge jump cuts with the Flow transition in Final Cut Pro The Flow transition seamlessly merges jump cuts to remove pauses or mistakes in oncamera interviews. 1. In Final Cut Pro, open the Transitions browser, then select the Dissolves category on the left. 2. Drag the Flow transition to the edit point of a jump cut. Alternatively, you can select the edit point first, then double-click the Flow transition in the Transitions browser to apply it to the edit point. Keep the following in mind when using the Flow transition: • Use the Flow transition with the default duration only. Any other duration will generate unexpected results. • The Flow transition duration is always set at 6 frames regardless of the duration set in the Editing pane of Final Cut Pro preferences. • The Flow transition is disabled (treated as a standard dissolve) when you apply it to a generator. Adjust transitions with multiple images in Final Cut Pro Several transitions include areas that are filled with still images from the clips on either side of the transition. The example below shows the Pan Far Right transition (one of the Bulletin Board transitions). Final Cut Pro User Guide 348 The areas are numbered and correlate to numbered points (handles) in the timeline. 1. Select a transition with numbered points in the Final Cut Pro timeline. 2. Position the playhead at the center of the transition so that numbered handles appear in the timeline and the corresponding numbers appear in the viewer, as shown above. Note: You may need to adjust the zoom level in the timeline. To fit all the clips in the visible part of the timeline, choose View > Zoom to Fit (or press Shift–Z). 3. Drag any of the numbered handles in the timeline to select the frame to fill the corresponding area in the viewer. As you drag the handle in the timeline, the corresponding area in the viewer updates to show the new image. 4. Continue until you’ve selected images for all of the areas. Modify Final Cut Pro transitions in Motion Many of the transitions in Final Cut Pro were created using Motion, an Apple app designed to work with Final Cut Pro. You can open these transitions in Motion, make modifications, and save the changes as a new transition that appears in the Transitions browser. Important: To modify a transition in Motion, you must have Motion 5 installed on your computer. 1. Click the Transitions button in the top-right corner of the Final Cut Pro timeline. 2. In the Transitions browser, Control-click the transition you want to modify, then choose “Open a copy in Motion.” Motion opens, and the transition’s project appears. 3. Modify the transition project. See the Motion User Guide. 4. Choose File > Save As (or press Shift-Command-S), enter a name for the new transition (referred to as a Template in Motion), assign it to a category (or create a new category), choose a theme (if needed), and click Publish. If you choose File > Save, the transition is saved using the same name, with “copy” appended to its end. Final Cut Pro User Guide 349 Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Adjust built-in effects Intro to built-in effects in Final Cut Pro Final Cut Pro includes several video effects that are part of each timeline clip and directly accessible from the viewer—all you need to do is select the effects and start making adjustments. You can use built-in effects to: • Create a composited image from several clips • Reposition or reframe a clip by zooming in on it • Crop a clip to remove unwanted items, such as microphones or lighting equipment, that accidentally appear in the video • Create a Ken Burns effect to add life to your still images (and video clips as well) You can use more than one of the built-in effects at the same time. For example, you can use Transform to reduce the image’s size and position, Trim to remove a portion of the video, and Distort to give the video a skewed look. You can animate any of these effects so that they change as the clip plays. For example, you can have an image shrink and move offscreen. To configure an animation, you change settings at two or more points in the clip. When you play the clip, Final Cut Pro creates smooth animated transitions between the points. You can save any combination of effects and their parameter settings as an effects preset, which appears in the Effects browser and functions like any clip effect. See Save video effects presets and Save audio effects presets. Resize, move, and rotate clips in Final Cut Pro You can resize, move, and rotate an image using the Transform built-in effect. This effect is commonly used on a clip placed over a primary storyline clip, which becomes the background of the resized clip. It’s also often used to zoom in on a clip, allowing you to reframe a shot if needed. You can adjust the Transform effect using controls in the viewer and Video inspector. However, some controls are found only in one or the other. 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. Final Cut Pro User Guide 350 3. To access the Transform controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Transform (or press Shift-T). • Control-click in the viewer and choose Transform. The Transform onscreen controls appear in the viewer. 4. Adjust the Transform effect using the onscreen controls: • Overscan button in the upper-right corner of the viewer: Click to reveal the overscan areas (areas of a clip that extend beyond the edges of the viewer). • Blue handles at each corner: Drag these to adjust the image’s size while maintaining its current aspect ratio. • Blue handles in the middle of each side: Drag these to independently adjust the vertical and horizontal image size, changing the aspect ratio of the image. Note: These controls aren’t available in the Video inspector. • White circle in the center: Shows the rotation anchor point. Drag anywhere inside the image to adjust the image’s position. • Blue handle extending from the center circle: Drag this to rotate the image. Tip: For finer precision when rotating the image, drag the rotation handle farther away from the anchor point in the center. Final Cut Pro User Guide 351 5. Use the Transform controls in the Video inspector as follows: • Position X and Y: Move the image left and right (X) and up and down (Y). • Rotation: Rotate the image around its anchor point. • Scale: Change the image’s size. Note: When you increase the video image size with the Scale parameter, some peripheral areas of the image may fall outside of the boundary of the visible program. Click the Overscan button at the top of the viewer to reveal areas outside of the viewer frame. • Anchor X and Y: Move the image’s center point (the point that the image rotates around). Note: This control isn’t available in the onscreen controls. 6. When you’re finished adjusting the effect, click Done (in the upper-right corner of the viewer). You can animate the Transform effect and have it appear over a background. See Work with built-in effects. Adjust framing with Smart Conform in Final Cut Pro You can use the Smart Conform feature to automatically reframe clips whose aspect ratio is different from the project aspect ratio. Smart Conform analyzes the contents of selected clips in a project and automatically adjusts the framing for each clip based on the specific video content, such as faces or other areas of visual interest, so these important elements are not left outside the video frame. Smart Conform is especially useful for repurposing projects created with standard widescreen or HD aspect ratios, such as those for film or TV, to make versions in different aspect ratios for social media. See Create square or vertical versions of a project. 1. In Final Cut Pro, create a new project or open an existing project. 2. In the timeline, select one or more clips whose aspect ratio does not match the project aspect ratio. For example, you might have a horizontal or widescreen clip from an HD project that you want to use in a vertical project for a social media app or website. 3. Choose Modify > Smart Conform. Final Cut Pro User Guide 352 Final Cut Pro analyzes the content of the selected clips and then intelligently reframes each clip. The examples below show the default “center crop” framing for a horizontal clip in a vertical project, and then how the same clip is reframed using Smart Conform. After the Smart Conform process is complete, you can make additional framing adjustments by changing the Position parameter for the Transform effect. See Resize, move, and rotate clips in Final Cut Pro. Trim the edges of the video frame in Final Cut Pro Trim controls allow you to independently trim each of the image edges, creating a window look. This effect, often used along with the Transform effect, is commonly used on a clip placed over a primary storyline clip, which becomes the background of the trimmed clip. 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. Final Cut Pro User Guide 353 3. To access the Trim controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Crop (or press Shift-C). • Control-click in the viewer and choose Crop. 4. Click the Trim button at the bottom of the viewer. 5. Adjust the effect using the onscreen controls: • Blue handles at each corner: Drag these to adjust the position of two trim window sides at the same time. • Blue handles in the middle of each side: Drag these to independently adjust the position of each side. • Anywhere inside the window: Drag anywhere inside the window to adjust its position. You can also adjust each edge of the image individually using the Left, Right, Top, and Bottom parameters in the Crop section of the Video inspector. 6. When you’re finished adjusting the effect, click Done. You can animate the effect and have it appear over a background. See Work with built-in effects. Final Cut Pro User Guide 354 Crop clips in Final Cut Pro The Crop effect makes it easy to remove unwanted areas of the image. The cropped image automatically expands to fill the screen. 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To access the Crop controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Crop (or press Shift-C). • Control-click in the viewer and choose Crop. 4. Click the Crop button at the bottom of the viewer. 5. Adjust the effect using the onscreen controls: • Blue handles at each corner: Drag a corner handle to adjust the crop of that corner. The cropped image always maintains the original aspect ratio. • Anywhere inside the window: Drag anywhere inside the crop window to adjust its position. Final Cut Pro User Guide 355 You can also adjust each edge of the image individually using the Left, Right, Top, and Bottom parameters in the Crop section of the Video inspector. Note: Although you can use these controls to change the crop window’s aspect ratio, the final image still matches the original image’s aspect ratio, with additional content being cropped out so that the final image fits the original aspect ratio. 6. To apply the crop and have the cropped image fill the screen, click Done. You can animate the effect, creating the illusion of a pan and zoom camera move (effectively, a manual Ken Burns effect). See Work with built-in effects. Pan and zoom clips in Final Cut Pro The Ken Burns effect creates a pan and zoom effect using the start and end positions you define. The Ken Burns effect is actually a Crop effect with two crop settings, one at the clip start and another at its end. You can further customize the Ken Burns effect by controlling the smoothness of the animation. The motion applied to a clip when you create a Ken Burns effect is automatically smoothed so that the movement accelerates slowly as the animation starts, and decelerates slowly as the clip comes to rest at the end of the animation. This simulates the effects of friction and inertia that occur in the real world. In visual effects software, this trick is commonly called ease out and ease in. By default, a Ken Burns animation performs both of these smoothing operations (Ease Out and Ease In), but you can customize the effect to limit the result to just easing out, just easing in, or making a linear movement with no simulated inertia or friction. Adjust the Ken Burns effect 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. Final Cut Pro User Guide 356 3. To access the Ken Burns controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Crop (or press Shift-C). • Control-click in the viewer and choose Crop. 4. Click the Ken Burns button at the bottom of the viewer. Two rectangles appear in the viewer: a green one that defines the position and size for the start of the clip and a red one that defines the position and size for the end of the clip. The default start and end settings result in a small zoom to the center of the image. 5. To choose the part of the image that appears at the start of the effect, drag the green handles to change the crop size of the image, and drag the window to set its position. 6. To choose the part of the image that appears at the end of the effect, drag the red handles to change the crop size of the image, and drag the window to set its position. A superimposed arrow shows the direction the image travels when the clip is played. 7. To have the clip with the effect play in a loop, click the Play Loop button. 8. To exchange the start and end positions, click the Swap button. 9. Click Done. Final Cut Pro User Guide 357 Customize the smoothness of a Ken Burns animation By default, a Ken Burns animation performs both smoothing operations (Ease Out and Ease In), but you can customize the effect. 1. In the Final Cut Pro timeline, select a clip with the Ken Burns effect enabled. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To access the Ken Burns controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Crop (or press Shift-C). • Control-click in the viewer and choose Crop. 4. Click the Ken Burns button at the bottom of the viewer. Two rectangles appear in the viewer: a green one that defines the position and size for the start of the clip and a red one that defines the position and size for the end of the clip. 5. In the viewer, Control-click anywhere in the image and choose an option: • Ease In and Out: Applies the easing effect to the beginning and the end of the animation. • Ease In: Limits the easing effect to the end of the animation. • Ease Out: Limits the easing effect to the beginning of the animation. • Linear: Removes all easing effects. Tip: Use the Crop effect and intermediate keyframes to create a Ken Burns–style effect that follows a more complicated path. For details on working with built-in effects, see Work with built-in effects. Final Cut Pro User Guide 358 Skew a clip’s perspective in Final Cut Pro You can use the Distort effect to skew or otherwise distort the image. The Distort effect allows you to create a skewed look or add a 3D perspective to the image by dragging each corner and edge of the video frame independently of the others. Note: The Distort effect can change and animate the shape of the video, but it does not affect the position. To animate the video so that it moves to a different position, use the Transform effect. 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To access the Distort controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Distort (or press Option-D). • Control-click in the viewer and choose Distort. 4. Adjust the effect using the onscreen controls: • Blue handles at each corner: Drag these to adjust the position of each corner, adding a 3D perspective to the image by making parts of it appear closer to you than other parts. • Blue handles in the middle of each side: Drag these to adjust the position of each side. You can create a skewed look by dragging them in the same direction as their edge (as opposed to toward or away from the center). • Anywhere inside the window: Drag anywhere inside the window to adjust its position. Final Cut Pro User Guide 359 Note: You can also use the Distort controls in the Video inspector to individually adjust each corner. 5. When you’re finished adjusting the effect, click Done. You can animate the effect and have it appear over a background. See Work with built-in effects. Work with built-in effects in Final Cut Pro Following are ways you can work with built-in effects. Turn off or reset a built-in effect on a single clip 1. In the Final Cut Pro timeline, select the clip with the enabled built-in effect. 2. Do one of the following: • Turn off the effect and retain its settings: In the Video inspector, click the blue checkbox next to the effect used (Transform, Crop, or Distort). You can click the checkbox again to turn the effect back on, making it easy to compare how the clip looks with and without the effect. • Return all values for the effect to their default state: Click the Reset button . Final Cut Pro User Guide 360 • Turn off the effect in the Video Animation editor: Open the Video Animation editor by choosing Clip > Show Video Animation (or pressing Control-V), then click the checkbox next to the effect you want to turn off. Animate built-in effects When you animate a built-in effect, you modify the effect’s settings at two or more points in time and set keyframes at these points. When the clip plays, the video changes smoothly between the keyframes, creating an animated effect. This applies to all built-in effects except the Ken Burns effect, which has a different workflow. See Pan and zoom clips. 1. Select a clip in the Final Cut Pro timeline. 2. Click the pop-up menu in the lower-left corner of the viewer and choose the effect you want to animate. For this example, choose Transform (or press Shift-T). 3. Position the timeline playhead at the start of the clip. 4. Adjust the effect’s onscreen controls to set the start position. See Onscreen control examples. In the example shown below, the scale of the video frame was reduced by dragging a corner handle. Final Cut Pro User Guide 361 5. Click the Add Keyframe button in the upper part of the viewer. 6. Move the playhead to the end of the clip. 7. Adjust the effect’s controls to set the end position. In the example shown below, the position of the video frame was moved by dragging the center circle down and to the right. A keyframe is automatically added and appears as a white handle on the red motion path line. Additionally, for Transform effects, a line showing the image’s path appears. See Resize, move, and rotate clips. 8. To finish, click Done in the upper-right corner of the viewer. When you play the clip, the video moves smoothly between the keyframes, creating an animated effect. You can add multiple keyframes by moving the playhead to a new position and changing the effect’s controls. See Intro to video keyframing. Final Cut Pro User Guide 362 Smooth position keyframes If you animated the position of a clip using the Transform effect, you can modify the shape of the clip’s path in the viewer by setting individual keyframes to be smooth. This adds a set of Bezier handles that allow you to create intricate, complex shapes and provide more control over the way your clips move. You can remove the curves and the handles used to create them by setting a keyframe to be linear. 1. In the Final Cut Pro timeline, select the clip that has position keyframes applied. To learn how to add keyframes to a clip, see Animate built-in effects, above. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To access the Transform controls, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Transform (or press Shift-T). • Control-click in the viewer and choose Transform. 4. In the viewer, Control-click any individual handle and choose an option: • Convert the keyframe to a smooth keyframe: Choose Smooth. Bezier handles appear, and you can drag the handles to control the curved shape of the path. • Convert the keyframe to a corner point: Choose Linear. Bezier handles are removed from the keyframe, and the keyframe becomes a corner point. Final Cut Pro User Guide 363 Adjust the Transform effect animation path Transform animations have additional keyframe controls you can use to fine-tune the animation path. To show these, you first need to create a simple three-corner effect. 1. Select a clip in the Final Cut Pro timeline and put the playhead at its start. 2. Click the pop-up menu in the lower-left corner of the viewer and choose Transform (or press Shift-T), then drag the onscreen controls to reduce the image’s size and place it in the upper-left corner. 3. Click the Add Keyframe button. 4. Move the timeline playhead to the middle of the clip. 5. Use the Transform onscreen controls to move the image to the upper-right corner. A keyframe is automatically added, and a red line appears showing the animation’s path so far. 6. Move the timeline playhead to the end of the clip. 7. Use the Transform onscreen controls to move the image to the bottom center. A keyframe is automatically added, and the red line extends to this new point. 8. To jump between the keyframes, click the white squares along the red line. The first and last keyframes have white arrows. By default, the red line indicates a smooth path (indicated by how it curves). Final Cut Pro User Guide 364 9. To control the curve of the path, click the starting or middle keyframe and drag the curve handles. 10. Control-click a keyframe and choose an option: • Linear: Use for direct, noncurved paths in and out of that keyframe. • Smooth: Use for curved paths in and out of that keyframe, providing a more natural movement. • Delete Point: Use to delete that keyframe. • Lock Point: Use to prevent that keyframe from being adjusted. It changes to Unlock Point once set. • Disable Point: Use to ignore that keyframe, but keep the keyframe in place in case you want to use it later. It changes to Enable Point once set. Composite effects over a background Often, Transform, Trim, and Distort effects result in the image being less than full size, with the empty areas filled with black. You can replace the black with a background by placing the transformed clip over a background clip (also known as compositing). Final Cut Pro User Guide 365 In Final Cut Pro, do one of the following: • Add a clip to the timeline as a connected clip, then add the effect to that clip. This places the clip above the primary storyline clip, which automatically becomes the effect’s background. • If the clip is already in the primary storyline, drag it above the primary storyline, positioning it over the clip you want to be the background. The result is a composited image. For more information about working with connected clips, see Add storylines. For more information about compositing clips, see Intro to compositing. Final Cut Pro User Guide 366 Remove built-in effects in Final Cut Pro You can remove built-in effects from clips, either individually or all at once. Remove selected built-in effects from one or more clips You can remove selected effects and attributes from multiple timeline clips at once. 1. Select one or more clips in the Final Cut Pro timeline. 2. Choose Edit > Remove Attributes (or press Shift-Command-X). The Remove Attributes window appears, with the clip’s current effects and attributes selected. 3. Deselect the checkboxes for the effects or attributes you want to retain, and select the checkboxes for the effects or attributes you want to remove. 4. Click Remove. Selected built-in effects are reset to their default values. Selected clip effects are removed from the clips entirely. Remove all effects from one or more clips You can remove or reset all effects and attributes on multiple timeline clips at once. 1. Select one or more clips in the Final Cut Pro timeline. 2. Choose Edit > Remove Effects (or press Option-Command-X). All built-in effects on the selected clips are reset to their default values. All clip effects are removed from the selected clips entirely. Final Cut Pro User Guide 367 Add and adjust clip effects Intro to clip effects in Final Cut Pro In addition to the built-in effects, Final Cut Pro includes a wide variety of video effects that you can apply to your project’s video clips. Many of the effects modify the look of your video, from adding a blur or glow to severe distortions. Some effects overlay camcorder or timecode graphics. There are also effects for keying one video clip over another and for creating areas of transparency in a clip (masking). After you have added an effect, you can adjust its settings. Some effects have few adjustments, while others provide a comprehensive set, allowing you a lot of control over how the effects look. Effects can even be animated, with their settings changing as the clip plays. You can save any combination of effects and their settings as an effects preset, which appears in the Effects browser and functions like any clip effect. See Save video effects presets and Save audio effects presets. You can also use effect masking controls available in most video clip effects to limit the area of the video frame that is affected by a video effect or color correction. Additionally, many video effects can be opened and changed in Motion, allowing you to create specialized versions for use in your projects. See Modify effects in Motion. Final Cut Pro also includes a broad range of audio effects that you can apply to your project’s audio clips. Many of the effects modify the sound of your audio, from subtle echoes to severe pitch distortions. See Add audio effects. Add video effects in Final Cut Pro You add video effects to clips in your project using the Effects browser. 1. Select a clip in the Final Cut Pro timeline, then click the Effects button in the top-right corner of the timeline (or press Command-5). 2. In the Effects browser, select an effect. You can do any of the following to help make your selection: • Filter the list of effects that appear: Type text in the Effects browser search field to search for an effect by name. You can also click to select individual effects categories, such as Blur or Color. • Preview the effect: Skim the video effect thumbnail. Final Cut Pro User Guide 368 • Preview changing the effect’s primary control: Hold down the Option key as you skim the video effect thumbnail. As you skim left and right, the video thumbnail shows a still-frame preview of the effect of dragging the slider for the effect’s primary control. For example, the primary control for the Radial effect is the Amount parameter. Note: If you don’t see the effect you’re looking for, you can use the Filter pop-up menu at the top of the Effects browser to check for it in other locations. See Filter Motion content stored in a library. 3. Do one of the following: • Drag the effect to the timeline clip you want to apply it to. • Double-click the effect thumbnail to apply it to the selected clip. You can now adjust the effect. Add the default video effect in Final Cut Pro You can set a default video effect and quickly add it to your project clips using the Option-E keyboard shortcut or a menu command. Final Cut Pro comes with the default video effect set to the Color Board color correction effect, but you can change the default effect to any video effect in the Effects browser, including custom video effects presets. You can also set a default color correction effect, which appears whenever you open the Color inspector for a clip that has no color correction applied. Add the default video effect to project clips 1. Select one or more video clips in the Final Cut Pro timeline. 2. Choose Edit > Add [effect name] (or press Option-E). The name of the menu item changes depending on the current default video effect setting. Set the default video effect 1. Click the Effects button in the top-right corner of the Final Cut Pro timeline (or press Command-5). 2. Control-click a video effect or a video effects preset, then choose Make Default Video Effect. Final Cut Pro User Guide 369 Set the default color correction effect 1. Choose Final Cut Pro > Preferences, or press Command-Comma (,). 2. Click General. 3. Click the Color Correction pop-up menu and choose one of the following effects: • Color Board • Color Wheels • Color Curves • Hue/Saturation Curves The controls for the effect you choose appear by default whenever you open the Color inspector for a clip that has no color correction applied. Important: When you set the default video effect to any of the four color correction effects, the default video effect menu command (Edit > Add [effect name]) and keyboard shortcut (Option-E) always apply the default color correction effect defined in Final Cut Pro preferences. If the default video effect command doesn’t apply the color correction effect you expect, make sure the effect you want to apply is chosen from the Color Correction pop-up menu in General preferences. Adjust effects in Final Cut Pro Most effects have one or more parameters that you can adjust using the Video or Audio inspector, the viewer, or the Video Animation or Audio Animation editor. You can also control how the effect is applied to the clip—whether the parameter values are fixed for the duration of the clip or change over time. Adjust an effect in the inspector and viewer 1. In the Final Cut Pro timeline, select the clip with the effect you want to adjust. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Locate the effect in the Video inspector or Audio inspector. Final Cut Pro User Guide 370 The example above shows several settings for the Censor effect. Many effects also have adjustments that appear in the viewer, known as onscreen controls. Tip: For audio effects, you can click the Controls button (to the right of the effect’s name) to show a custom control window. 4. Select the effect, then adjust its settings as needed. To return the effect’s values to their default settings, click the effect’s Reset button . Adjust an effect in the Video Animation editor Many effect parameters can be adjusted in the Video Animation editor. Additionally, you can set these parameters to change over time, allowing you to change the appearance of the effect. 1. In the Final Cut Pro timeline, select the clip with the video effect you want to adjust. 2. Choose Clip > Show Video Animation (or press Control-V). The effect appears as one of the animations in the Video Animation editor above the clip in the timeline. You can click the effect’s checkbox to turn the effect off and on. Effects that have more than one adjustable parameter also have a pop-up menu for choosing the parameter to show and adjust. 3. To show an expanded parameter, choose a specific parameter from the effect’s pop-up menu (if present), then double-click the parameter. This applies only to effects that have a single value. An icon appears to the right of the effect if the parameter can be expanded. Final Cut Pro User Guide 371 4. To have the effect parameter fade in and out of the clip, drag the fade handles on either end of the effect. You can also drag the horizontal line up and down to set the maximum value of the selected parameter (Size, in the example below). Any keyframes you add also appear. Show the audio effects applied to a clip 1. In the Final Cut Pro timeline, select the clip with the audio effects you want to show. 2. Choose Clip > Show Audio Animation (or press Control-A). Each audio effect applied to the clip appears as an animation in the Audio Animation editor. You can click the effect’s checkbox to turn the effect off and on. Use masks to define the shape of a video effect Intro to effect masking in Final Cut Pro Using the masking tools built into most clip effects in Final Cut Pro, you can isolate and control which areas of the video image are affected by clip effects, including color corrections. These isolated areas are called masks. There are two types of masks: • Shape masks: The area of a shape mask is defined by its outline, and can be a regular shape (such as a circle or rectangle) or an irregular shape that you draw. See Add a shape mask to a video effect. • Color masks: The area of a color mask is defined by a specific color range, so only areas in your clip that contain colors within the color range are part of the mask. See Add a color mask to a video effect. You can apply a color mask and any number of shape masks to a clip effect, and you can have multiple masks interact in different ways within an effect. Final Cut Pro User Guide 372 You can animate any effect mask in Final Cut Pro, just as you can animate most effect parameters. For information about using traditional masking tools to create areas of transparency in an image, see Intro to masking. Note: Clip effects in the Keying and Masks categories in the Effects browser do not have the built-in effect masking tools described in this section. Add a shape mask to a video effect in Final Cut Pro You can define the area of a video effect, including a color correction, using the powerful shape-masking tool. In the example below, you can apply an effect (such as Gaussian) to everything outside or inside the mask shape that you define. You can add multiple masks to define multiple areas, and you can also animate the shapes so that they follow a moving object, or follow an area while a camera pans. 1. Add a clip to your Final Cut Pro project, and select the clip in the timeline. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. Add an effect to the timeline clip from the Effects browser. Note: This includes the color correction effects, which you can apply from the Color category of the Effects browser or from the Color inspector. See Add color corrections. Final Cut Pro User Guide 373 4. If the Video inspector isn’t already open, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Video button at the top of the inspector. 6. In the Effects section of the Video inspector, move the pointer over the effect name and click the Apply Effect Masks button . 7. Click the pop-up menu that appears and choose Add Shape Mask. The onscreen controls appear in the viewer, superimposed over the video image. By default, the shape mask is set to a partially feathered circle in the center of the frame. The Shape Mask parameter appears in the effect’s section of the Video inspector. Final Cut Pro User Guide 374 8. Use the onscreen controls to adjust the mask shape. • Position the shape: Drag the center. • Adjust the shape’s width or height: Drag any of the four handles at the 90-degree points (top, bottom, left, or right) of the inner circle. You can hold down the Shift key while dragging to force all sides to scale proportionally. • Control the roundness of the shape: Drag the handle to the left of the inner circle’s top handle. • Rotate the shape: Drag the rotation handle (extending from the center). • Control the softness of the shape’s edge: Drag the outer circle. Setting the outer circle close to the inner circle creates a hard edge and an abrupt visual transition to the effects you apply, and dragging the outer circle away from the inner circle creates a softer edge and a more gradual transition. To show or hide the mask’s controls, click the Shape Mask Onscreen Controls button to the right of the shape mask name in the mask list. For more information about onscreen controls for shape masks, see Create simple shape masks. Note: At any time, you can view the mask alpha channel by clicking View Masks (next to the effect name). The mask’s alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. See Add a color mask to a video effect and Combine multiple effect masks. Final Cut Pro User Guide 375 Add a color mask to a video effect in Final Cut Pro You can create a color mask to apply a video effect, including a color correction, to a particular color in an image, or to exclude a color from the effect. For example, you could use a color mask to mute a bright color in the background that distracts attention from a shot’s main subject. 1. Add a clip to your Final Cut Pro project, and select the clip in the timeline. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. Add an effect to the timeline clip from the Effects browser. Note: This includes the color correction effects, which you can apply from the Color category of the Effects browser or from the Color inspector. See Add color corrections. 4. To open the Video inspector, choose Window > Show in Workspace > Inspector (or press Command-4). 5. In the Effects section of the Video inspector, move the pointer over the effect name and click the Apply Effect Masks button . 6. Click the pop-up menu that appears and choose Add Color Mask. The Color Mask parameter appears in the same section of the Video inspector, and the pointer changes to the eyedropper tool. 7. In the viewer, position the eyedropper on a color in the image that you want to isolate, then drag to select the color. Final Cut Pro User Guide 376 As you drag, two concentric circles appear. The size of the outer circle determines the range of color that is included in the color mask. As you change the outer circle size, the image becomes monochrome except for the color you’re selecting. You can drag a new selection circle as many times as you like to try for better results. Note: When you stop dragging, the effect is applied to the area you selected. If you applied a color correction, you’ll see the effects of the color mask as soon as you start making adjustments in the Color Board. You can then return to the Video inspector and use the eyedropper to make any adjustments to the color mask. 8. To change the range of color included in the mask, do any of the following: • Add color shades: Hold down the Shift key, position the eyedropper on a color you want to add to the mask, and drag to select the color. • Subtract color shades: Hold down the Option key, position the eyedropper on a color you want to remove from the mask, and drag to select the color. 9. To adjust the color mask edges, drag the Softness slider. Tip: To view the mask alpha channel while adjusting the Softness slider, hold down the Command key. 10. Do one of the following: • View the mask’s alpha channel: Click the View Masks pop-up menu and choose Black and White. The mask’s alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. • View the colors inside the mask: Click the View Masks pop-up menu and choose Color. The colors inside the mask appear in the viewer. Gray indicates areas outside the mask. Whether you’re viewing the mask alpha channel or the colors inside the mask, you can quickly return to the adjusted image by clicking View Masks. Final Cut Pro User Guide 377 Combine multiple effect masks in Final Cut Pro When defining the area of a clip effect, including a color correction, you may find that it’s impossible to create the mask shape you need using only one mask. For example, when masking a shape with a hole in it, you need at least two masks—one set to Add to mask the overall object, and a second set to Subtract to cut out the hole. You can set masks to interact in different ways using mask blend modes. For example, you can add mask shapes together to create a combined mask, subtract a mask shape from other masks, and intersect masks. Note: You can add an unlimited number of effects to a clip, but mask blend modes interact within a single effect—not across multiple effects. Add, subtract, and intersect masks 1. Select a clip in the Final Cut Pro timeline. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. Add a video effect to the clip from the Effects browser. You can add almost any kind of video clip effect, including the Color Correction effect. However, effects in the Keying and Masks categories in the Effects browser do not have the built-in effect masking tools described here. 4. If the Video inspector isn’t already open, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Video button at the top of the inspector. 6. In the Effects section of the Video inspector, add a shape mask or a color mask to the effect. 7. To add an additional mask to the effect, move the pointer over the effect name in the Video inspector and click the Apply Effect Masks button that appears to the right of the effect name. The new mask appears below the effect name in the Video inspector, with the blend mode to the right. By default, new shape masks appear at the top of the list in Add mode, and new color masks appear at the bottom of the list in Intersect mode. Note: You can rearrange the order of the masks within a given effect. See Reorder masks, below. 8. To change how a mask interacts with other masks applied to the effect, click the pop-up menu next to the mask name and choose a blend mode: Final Cut Pro User Guide 378 • Add: Applies the effect to the area inside the mask shape selection. If two or more masks are set to Add, the masks are merged. • Subtract: Removes the effect from the area inside the mask shape, including areas that overlap with other masks. Final Cut Pro User Guide 379 • Intersect: Applies the effect to any area inside the mask shape that overlaps with other masks set to either Add or Intersect. Note: At any time, you can invert all masks for a given effect. See Invert effect masks. Reorder masks The order in which you apply shape and color masks can affect the final output. The Add, Subtract, and Intersect modes operate sequentially, starting at the top of the mask list in the Video inspector. By default, new shape masks appear at the top of the list in Add mode, and new color masks appear at the bottom of the list in Intersect mode. You can reorder masks to achieve the effect you want. 1. To apply two or more masks to an effect in Final Cut Pro, follow steps 1 through 6 in Add, subtract, and intersect masks, above. The masks are listed below the effect name in the Video inspector. 2. To change the mask order, drag masks up or down in the list. Final Cut Pro User Guide 380 For an example of how you might use shape masks set to the Intersect blend mode to isolate one area of a color mask, see Add shape masks to a color mask. Invert effect masks in Final Cut Pro In most cases, you use the built-in masking capability of a video effect, including a color correction, to limit the effect to a specific area or color. However, you can also invert your mask to exclude a specific area or color from the effect. 1. Add a clip to your Final Cut Pro project, and select the clip in the timeline. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. Add an effect to the timeline clip from the Effects browser. 6. Apply a shape mask or a color mask to the effect. 7. To make the mask alpha channel visible, click the View Masks pop-up menu (next to the effect name) and choose Black and White. The mask’s alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. Final Cut Pro User Guide 381 Note: You can also view the color contents of the mask. See Ways to view masks. 8. In the Effects section of the Video inspector, move the pointer over the effect name, click the Apply Effect Masks button , and choose Invert Masks from the menu that appears. All mask selections for the effect are inverted (the masked and unmasked areas are reversed). Animate an effect shape mask in Final Cut Pro You can use keyframes to animate an effect shape mask so that it follows the movement of an onscreen object. 1. In Final Cut Pro, add a shape mask to a video effect. 2. In the timeline, move the playhead to the frame where you want the shape to begin moving. 3. In the viewer, position the shape mask at its starting position. Final Cut Pro User Guide 382 4. If the Video inspector isn’t already open, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 5. Click the Video button at the top of the inspector. 6. In the Effects section of the Video inspector, click the Keyframe button for the mask you want to animate. A keyframe is added at the position of the playhead. To see the keyframe in the timeline, press Control-V to open the Video Animation editor. The keyframe appears in the effect’s section of the Video Animation editor as a diamond at the playhead position. 7. Move the playhead to the next point in the clip where you want to define the shape mask’s position, reposition the shape mask, and add the second keyframe. 8. Continue adding keyframes until you’ve defined the shape movement you want. When you’ve added all the keyframes, you can play the clip to see the shape mask move between them. For more information about working with keyframes, see Intro to video keyframing. Note: You can apply and animate multiple shape masks on a clip. You can view and edit individual shape masks in the Video Animation editor just as you would any other effect parameter. See Add video effect keyframes. Final Cut Pro User Guide 383 Change clip effect order in Final Cut Pro You can apply multiple clip effects to a timeline clip. The order in which you apply them can affect the final output. For example, if you apply the Artifacts effect—which by default adds random white circles to the video—before the Aged Paper effect, the white circles are also aged; if you apply Artifacts after Aged Paper, the circles remain white. You can easily change the order of the clip effects in the Video or Audio inspector, or in the Video Animation or Audio Animation editor. Note: You can’t change the order of the built-in effects. Change video and audio clip effect order using the Video or Audio inspector 1. Select a clip in the Final Cut Pro timeline that has multiple video or audio clip effects applied, then do one of the following: • View the video effects: Open the Video inspector. • View the audio effects: Open the Audio inspector. 2. In the Video inspector or Audio inspector, drag the clip effects to change their order. Change video and audio clip effect order using the Video Animation or Audio Animation editor 1. Select a clip in the Final Cut Pro timeline that has multiple video or audio clip effects applied, then do one of the following: • View the video effects: Choose Clip > Show Video Animation (or press Control-V). • View the audio effects: Choose Clip > Show Audio Animation (or press Control-A). Final Cut Pro User Guide 384 2. In the Video Animation editor or Audio Animation editor, drag the effects to change their order. Copy effects between clips in Final Cut Pro Final Cut Pro offers two ways to copy effects between clips: • Paste Attributes: This command lets you copy selected clip attributes to another clip and provides more control over individual effects, settings, and keyframes. For example, you can copy video crop settings, audio pan settings, or keyframe adjustments. • Paste Effects: This command copies all of a clip’s effects to another clip and is the fastest way to copy effects and attributes. You can also copy and paste individual keyframes from one parameter to another. See Copy and paste keyframes. Copy selected clip attributes to another clip 1. Select a clip in the Final Cut Pro timeline, then choose Edit > Copy (or press Command-C). 2. Select the clip or clips to which you want to apply the attributes, then choose Edit > Paste Attributes (or press Shift-Command-V). 3. Do any of the following: • Apply all video or all audio attributes from the source clip: Select the Video Attributes or Audio Attributes checkbox. Final Cut Pro User Guide 385 • Apply individual attributes: Select the checkboxes for the attributes you want to apply. 4. If you made any keyframe adjustments to the source clip, select one of the following in the Keyframe Timing section: • Maintain: Leaves the duration between keyframes unchanged. • Stretch to Fit: Adjusts the keyframes in time to match the duration of the destination clip. 5. Click Paste. Copy all of a clip’s effects to another clip 1. In the Final Cut Pro timeline, select the clip you want to copy the effects from, then choose Edit > Copy (or press Command-C). 2. Select the clip or clips to which you want to apply the effects, then choose Edit > Paste Effects (or press Option-Command-V). All the source clip’s effects and their settings are applied to the destination clip. For more control over individual attributes, follow the instructions in Copy selected clip attributes to another clip, above. Save video effects presets in Final Cut Pro You can save any combination of video effects and video effect parameter settings as a video effects preset, which appears in the Effects browser and functions like any other video effect. You can create an effects preset from any combination of built-in effects and clip effects. After you create an effects preset, you can share it with friends and colleagues so that the same preset (with its specific combination of effects and parameter settings) is available in their Effects browser. Final Cut Pro User Guide 386 Save a video effects preset 1. Apply any combination of built-in effects and clip effects to a clip in the Final Cut Pro timeline, and make any needed adjustments to the effects. See Add video effects. 2. Select the clip in the timeline. 3. Do one of the following: • Choose File > Save Video Effects Preset. • Open the Video inspector, then click Save Effects Preset at the bottom of the inspector. The Save Video Effects Preset window appears, with any applied or adjusted effects selected in the Attributes list. 4. Enter a name for the new preset in the Name field. 5. Click the Category pop-up menu and choose an Effects browser category in which to store the new preset. 6. In the Attributes list, select the video effects you want to include in the preset. 7. If you made any keyframe adjustments to the source clip, select either Maintain Timing or Stretch to Fit. If you select Stretch to Fit, Final Cut Pro adjusts the keyframes in time to match the duration of any clip to which you apply the preset. 8. Click Save. The new video effects preset appears in the Effects browser category you chose, ready to be applied to clips in the timeline. To apply the preset to a clip, see Add video effects. Final Cut Pro User Guide 387 Share a video effects preset 1. In the Final Cut Pro Effects browser, Control-click the effects preset you want to share, then choose Reveal in Finder. 2. In the Finder, select the effects preset file and choose File > Compress. Note: Compressing the file prevents any change to the preset during transit. 3. Transfer the resulting .zip file to your friend or colleague using email or another convenient method. 4. On the receiving Mac, double-click the .zip file to decompress it. 5. In the Finder, hold down the Option key and choose Go > Library. 6. Drag the effects preset file to the following location in the Library folder: /Users/username/Library/Application Support/ProApps/Effects Presets/ 7. If Final Cut Pro is open, quit and reopen it. The transferred video effects preset appears in the Effects browser, in the same category as on the original Mac. Copy and paste keyframes in Final Cut Pro You can copy and paste individual keyframes from one parameter to another. This allows you to move or duplicate a specific effect (or part of an effect) from one clip to another. For example, you can copy and paste an animated color correction effect or an audio filter adjustment. You can also move or copy keyframes from one parameter to another within the same clip. For example, you can copy the center point keyframes from a kaleidoscope effect and paste them in the center point of a radial blur effect so that both effects follow identical paths. You can even copy and paste keyframes within a single parameter, allowing you to create a repeating pattern, or to move an animation from the beginning of a clip to a point later in time. Keyframes can be copied from any parameter, including parameters in clip effects (such as opacity, position, and audio volume), parameters in effects applied from the Effects browser (such as Gaussian Blur or Channel EQ), and even published parameters for a title. Any keyframes you can select can be cut, copied, and pasted. Keyframes are always pasted beginning at the location of the playhead or skimmer, and a specific parameter must be selected before you choose the Paste command. If the playhead or skimmer is not currently over the selected clip, no keyframes are pasted. Note: Pasted keyframes replace any keyframes already applied to the destination parameter within the time range of the pasted keyframes. Keyframes outside the time range being pasted are not affected. For example, if you select opacity keyframes covering a 5-second range and then paste them to a new clip’s opacity setting, keyframes within the 5 seconds beginning at the playhead or skimmer are replaced with the copied keyframes. Any keyframes before or after that range remain the same. Final Cut Pro User Guide 388 Copy or move keyframes from one clip to another 1. Select the clip in the Final Cut Pro timeline containing the keyframes you want to copy. 2. To display the specific parameter you want to copy from, do one of the following: • Show the Video Animation editor: Choose Clip > Show Video Animation (or press Control-V). • Show the Audio Animation editor: Choose Clip > Show Audio Animation (or press Control-A). 3. Double-click the graph of the parameter containing the keyframes you want to copy. The graph expands, revealing keyframes arranged along a curve. Note: Some parameters allow you to select keyframes without expanding the graph. 4. Shift-click the keyframes you want to copy, or drag a selection rectangle around them. The selected keyframes are highlighted in yellow. 5. Do one of the following: • Duplicate the keyframes: Choose Edit > Keyframes > Copy (or press Option-Shift-C). • Move the keyframes: Choose Edit > Keyframes > Cut (or press Option-Shift-X). The keyframes are copied to the Clipboard. 6. Select the clip into which you want to paste the keyframes, then show the Video Animation or Audio Animation editor for that clip. Note: You can also copy and paste keyframes within the same clip, or within a single parameter. 7. Click the name or keyframe graph for the parameter you want to paste the keyframes to. When selected, the graph becomes highlighted. 8. Position the playhead on the frame where you want the new keyframes to begin. 9. Choose Edit > Keyframes > Paste (or press Option-Shift-V). The keyframes are added to the selected parameter. Copy or move keyframes from one parameter to another 1. In the Video Animation or Audio Animation editor in Final Cut Pro, select the keyframes you want to copy. Shift-click to select multiple keyframes, or drag a selection rectangle around the keyframes you want to select. 2. Do one of the following: • Duplicate the keyframes: Choose Edit > Keyframes > Copy (or press Option-Shift-C). • Move the keyframes: Choose Edit > Keyframes > Cut (or press Option-Shift-X). 3. Select the parameter to which you want to paste the keyframes. If Solo Animation is turned on, click the parameter pop-up menu and choose the graph for the parameter you want to copy or move the keyframes to. For more information about using Solo Animation, see Add video effect keyframes. Note: Some parameters’ keyframes can be pasted only onto a similar parameter. For example, you can paste audio volume keyframes from one clip to another clip’s volume animation, but you can’t paste those keyframes to a clip’s opacity animation. Final Cut Pro User Guide 389 4. Position the playhead on the frame where you want the pasted keyframes to begin. 5. Choose Edit > Keyframes > Paste (or press Option-Shift-V). The keyframes are added to the selected parameter. Reduce video noise in Final Cut Pro Video noise is a common problem in video clips shot in low-light conditions or with smallsensor devices such as smartphones or action cameras. Video noise is typically a result of digital gain and appears as unwanted grain or artifacts in the video image. You can remove video noise from standard video clips and 360° clips using the Noise Reduction clip effect. Add the Noise Reduction effect 1. Select the clip with video noise in the Final Cut Pro timeline, and position the playhead so that the clip appears in the viewer. 2. Click the Effects button in the top-right corner of the timeline (or press Command-5). 3. In the Effects browser, select the Basics category in the list of Video effects on the left, then select the Noise Reduction effect. For 360° clips, select the 360° category, then select the 360° Noise Reduction effect. Tip: To quickly find the Noise Reduction and 360° Noise Reduction effects, type “noise reduction” in the Effects browser search field. 4. Do one of the following: • Drag the effect to the timeline clip you want to apply it to. • Double-click the effect thumbnail to apply the effect to the selected clip. The first time the effect is applied, Final Cut Pro analyzes the clip for noise. This analysis must be complete before you can see the result. Final Cut Pro User Guide 390 Tip: If you’re applying multiple clip effects to the clip, add Noise Reduction as the first effect (so that it appears at the top of the effects list), or rearrange the order of processing by dragging the Noise Reduction effect to the top of the list. This ensures the best performance and results. See Change clip effect order. Adjust the amount of noise reduction 1. In the Final Cut Pro timeline, select a clip with the Noise Reduction effect. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Do any of the following: • Adjust the amount of noise reduction: Click the Amount pop-up menu and choose the amount of noise reduction to apply. • Adjust sharpness: Click the Sharpness pop-up menu and choose the amount of sharpness to apply. You can examine the effect closely by setting the Zoom pop-up menu in the upper-right corner of the viewer to 100%. When you’re finished, choose Fit from the same menu (or press Shift-Z). Remove or turn off effects in Final Cut Pro You can remove effects that you’ve applied to clips, or you can turn off the effects but retain their settings. There are several ways to remove effects from clips. You can remove effects from individual clips right in the timeline or by using the Video or Audio inspector, or you can remove all effects from a clip selection. To remove selected effects and associated settings from one or more clips, you can use the Remove Attributes command, which provides more control over individual effects and settings. For information about copying and pasting effects and attributes, see Copy effects between clips. Remove selected attributes and effects from one or more clips 1. Select one or more clips with effects in the Final Cut Pro timeline. Final Cut Pro User Guide 391 2. Choose Edit > Remove Attributes (or press Shift-Command-X). The Remove Attributes window opens, with the clip’s current attributes, effects, and parameters selected. 3. Deselect the checkboxes for the effects, parameters, or attributes you want to retain, and select the checkboxes for the effects, parameters, or attributes you want to remove. 4. Click Remove. Selected clip effects are removed from the selected clips. Selected built-in effects are reset to their default values. Turn off a clip effect 1. Select one or more clips with an effect in the Final Cut Pro timeline. 2. Do one of the following: • Choose Clip > Show Video Animation (or press Control-V) to view video effects, or choose Clip > Show Audio Animation (or press Control-A) to view audio effects, then deselect the effect’s checkbox. • Select the effect in the Video or Audio inspector, then deselect the effect’s checkbox. The effect no longer affects the video or audio. You can select the effect’s checkbox to turn the effect back on, with its settings still intact. Remove all effects from one or more clips 1. Select one or more clips with effects in the Final Cut Pro timeline. 2. Choose Edit > Remove Effects (or press Option-Command-X). All clip effects are removed from the selected clips. All built-in effects for the selected clips are reset to their default values. Final Cut Pro User Guide 392 Remove an effect from an individual clip 1. Select the clip with the effect in the Final Cut Pro timeline. 2. Do one of the following: • Choose Clip > Show Video Animation (or press Control-V) to view video effects, or choose Clip > Show Audio Animation to view audio effects, then select the effect and press Delete. • Select the effect in the Video or Audio inspector, then press Delete. Modify Final Cut Pro effects in Motion Many of the supplied video effects were created using Motion, an Apple app designed to work with Final Cut Pro. You can open any of these effects in Motion, make modifications, and save the changes as a new effect that appears in the Effects browser. Important: To modify video effects in Motion, you must have Motion 5 installed on your computer. 1. In Final Cut Pro, click the Effects button in the top-right corner of the timeline (or press Command-5). 2. In the Effects browser, Control-click the effect you want to modify, then choose “Open a copy in Motion.” Motion opens and the effect’s project appears. 3. Modify the effect’s project. See the Motion User Guide. 4. Choose File > Save As (or press Shift-Command-S), enter a name for this new effect (referred to as a Template in Motion), assign it to a category (or create a new category), choose a theme (if needed), and click Publish. If you choose File > Save, the effect is saved using the same name, with “copy” appended to its end. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Final Cut Pro User Guide 393 Add generators Intro to generators in Final Cut Pro Final Cut Pro includes a number of video clips called generators that you can use to add the following elements to your project: • Placeholder content: If your project is missing content that hasn’t yet been shot or delivered, you can add a placeholder clip. The placeholder generator allows you to add a clip to the timeline with a suitable silhouette to represent the missing content. See Add placeholders. • Timecode counter: You can add a generated timecode clip to your project to superimpose a timecode counter over part or all of the project. See Add timecode counters. • Shape clip: You can choose from a wide variety of shapes for adding graphical elements to your project. See Add shapes. • General-purpose background clip: Final Cut Pro includes a variety of still and animated backgrounds over which you can superimpose titles or keying effects. See Add backgrounds. All of the generators are added to the project as clips, using their default duration. You can change a generator’s duration and position the same way you would for any other video clip in the timeline. You use the Generator inspector to adjust a generator’s settings. Note: Generator clips appear in the browser when you select a generators category in the Titles and Generators sidebar. (Generators don’t appear in the Effects browser.) If you don’t see the generator you’re looking for in the browser, you can use the Filter pop-up menu at the top of the browser to check for it in other locations. See Filter Motion content stored in a library. Add placeholders in Final Cut Pro Generated placeholders are useful when you want to fill a gap in the project with a clip that provides a hint about the final content. You can set placeholder clips to represent a wide variety of standard shots, such as close-ups, groups, wide shots, and so on. 1. Drag the playhead in the Final Cut Pro timeline to the point where you want to add the placeholder clip. 2. Do one of the following: • Choose Edit > Insert Generator > Placeholder (or press Option-Command-W). • In the Titles and Generators sidebar, click the Generators triangle to show the generator categories, select Elements, then double-click the Placeholder thumbnail in the browser. 3. Select the placeholder clip in the timeline. Final Cut Pro User Guide 394 4. If the Generator inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Generator button at the top of the inspector. 6. In the Generator inspector, adjust the settings for the placeholder clip to match the type of shot you’re creating a placeholder for. 7. To add a text area in the viewer where you can type text that pertains to this clip, select View Notes. If you prefer to fill a gap in the timeline with a blank clip, you can insert a gap clip. See Insert clips. Add the default generator in Final Cut Pro You can set a default generator and quickly add it to your project using a keyboard shortcut or a menu command. Final Cut Pro comes with the default video generator set to Placeholder, but you can change the default to any generator. Add the default generator to your project 1. In the Final Cut Pro timeline, move the playhead to the frame where you want to add the default generator. 2. Choose Edit > Insert Generator > [generator name] (or press Option-Command-W). Note: The name of the menu item changes depending on the current default generator setting. Final Cut Pro User Guide 395 The generator is inserted in the primary storyline at the skimmer or playhead position. Set the default generator 1. If the Titles and Generators sidebar isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 2. In the sidebar, select a generators category so that the appropriate generators appear in the browser. 3. Control-click a generator in the browser and choose Make Default Generator. Add timecode counters in Final Cut Pro When sending your project for review, you can use the Timecode generator to superimpose timecode over it, making it easier for reviewers to precisely specify sections when providing feedback. Note: A related option is the Timecode effect (available in the Effects browser), which displays the clip name and source clip timecode in the viewer and in exported files. 1. If the Titles and Generators sidebar isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 2. Select the Elements category in the Titles and Generators sidebar, locate the Timecode generator, and add it to the timeline as a connected clip, so that it’s over the primary storyline and any other clips or storylines. Usually the Timecode generator clip is placed at the start of the project, but you can place it anywhere you want it to appear and adjust its length to match the project’s length. 3. Select the Timecode generator that you added to the timeline. Final Cut Pro User Guide 396 4. If the Generator inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Generator button at the top of the inspector. 6. In the Generator inspector, adjust the settings for the Timecode generator clip. To return the generator to its default settings, click the Reset button . Add shapes in Final Cut Pro You can use the Shapes generator to add a shape—such as a star, a diamond, an arrow, or a heart—above the primary storyline. You can then animate the shape. 1. If the Titles and Generators sidebar isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. Final Cut Pro User Guide 397 2. Select the Elements category in the Titles and Generators sidebar, locate the Shapes generator, and add it to the timeline as a connected clip, so that it’s over the primary storyline and any other clips or storylines that you want the shape to appear over. The default shape is a white circle. 3. Select the Shapes generator that you added to the timeline. 4. If the Generator inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Generator button at the top of the inspector. 6. In the Generator inspector, click the Shape pop-up menu and choose the shape to use, then set the shape’s fill color, outline color and width, and drop shadow. To return the generator to its default settings, click the Reset button . 7. To change the shape’s size, position, and rotation, use the Transform or Distort built-in effect. Using these effects also makes it possible to animate the shape. For example, you can have an arrow follow a person across a room. Final Cut Pro User Guide 398 8. To make the shape partially transparent, select it in the timeline and adjust its Opacity setting in the Video inspector. To open the Video inspector, click the Video button at the top of the inspector. Add backgrounds in Final Cut Pro Many of the generators provide a general background over which you can place built-in effects, titles, keys, and clips with an alpha channel. Some backgrounds are solid colors, and others are textures such as wood or stone. Some generators even have animated movement, providing a more interesting background. 1. Drag the playhead in the Final Cut Pro timeline to the point where you want to add the background clip. 2. If the Titles and Generators sidebar isn’t already shown, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 3. In the Generators browser, double-click the background thumbnail you want to use. 4. Do one of the following: • Browse all generators: Click Generators in the sidebar to display the generators in the browser. • Browse a single category of generators: Click a category below Generators in the sidebar. To view the generators categories, click the Generators disclosure triangle. 5. Select the background clip in the timeline. 6. If the Generator inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 399 7. Click the Generator button at the top of the inspector. 8. In the Generator inspector, adjust the settings for the background clip (if applicable). Modify Final Cut Pro generators in Motion Many of the generators were created using Motion, an Apple app designed to work with Final Cut Pro. To further customize a generator, you can open it in Motion, make modifications, and save the changes as a new file that you can access from the Titles and Generators sidebar. Important: To modify generators in Motion, you must have Motion 5 installed on your computer. 1. If the Titles and Generators sidebar isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Go To > Titles and Generators (or press Option-Command-1). • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. 2. In the Titles and Generators sidebar, click Generators, or click a generators category. To view the categories, click the Generators disclosure triangle. 3. In the browser, Control-click a generator thumbnail, then choose “Open a copy in Motion.” Motion opens, and the clip’s project appears. 4. Modify the clip’s project. See the Motion User Guide. Final Cut Pro User Guide 400 5. Choose File > Save As (or press Shift-Command-S), then enter a name for the new generator and click Publish. If you choose File > Save, the generator is saved using the same name, with “copy” appended to its end. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Use onscreen controls Intro to onscreen controls in Final Cut Pro Many effects, transitions, and other items use onscreen controls, superimposed over the video in the viewer, to make it easier to adjust a variety of parameters. In many cases, these onscreen controls duplicate controls in the inspectors, although in some cases the controls are unique and provide the only way to adjust a particular parameter. The controls can be as simple as defining the center of a fisheye effect or as complex as defining the diameter, width, and position of a vignette effect. This section focuses on the types of onscreen controls found in clip effects and transitions. Onscreen controls are also available in other areas of Final Cut Pro, including the following: • Built-in effects: Onscreen controls are used extensively for all built-in effects. See Intro to built-in effects. • Chroma keying: You use specialized onscreen controls when configuring a chroma keyer. See Use chroma keys. • Color corrections: Color corrections can contain onscreen controls used for creating color masks and shape masks. See Intro to color correction effects. Show onscreen controls in Final Cut Pro The onscreen controls for transitions appear when a transition is selected. The onscreen controls for clip effects appear when an effect is selected, or when the playhead is positioned over a clip or title in the timeline that has a video effect applied. You can also show or hide the onscreen controls. Note: Onscreen controls are always hidden when you play clips in the timeline. Show or hide a transition’s onscreen controls In Final Cut Pro, do one of the following: • Show the transition’s onscreen controls: Select the transition in the timeline. • Hide the transition’s onscreen controls: Deselect the transition in the timeline. Final Cut Pro User Guide 401 Show or hide a clip effect’s onscreen controls In Final Cut Pro, do one of the following: • Show the effect’s onscreen controls: Position the playhead over a clip with the effect, or select the clip with the effect in the timeline, then select the effect in either the Video Animation editor or the Video inspector. • Hide the effect’s onscreen controls: Deselect the clip with the effect in the timeline, or deselect the effect in the Video Animation editor or Video inspector. Note: If a clip contains multiple effects that use onscreen controls, only the topmost effect’s onscreen controls appear when the playhead is positioned over the clip. Final Cut Pro onscreen control examples Following are a few examples of the onscreen controls you might use while working with clip effects and transitions. Many other clip effects and transitions use the same or similar controls—these examples are intended to provide general information about using the onscreen controls. Keep the following in mind while going through these examples: • The examples assume that you’re familiar with applying clip effects to clips in the timeline. • You can apply multiple clip effects to the same clip, but for the purpose of these examples, it’s best to either apply each clip effect to a different timeline clip or remove the clip effect before applying a different one. • These examples also assume that you’re familiar with adding transitions to edit points in the timeline. • Most of the effects and transitions have additional adjustments in the Video inspector or Transition inspector. Example: Apply a Censor effect 1. In Final Cut Pro, open the Effects browser and drag the Censor effect to a clip in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. Final Cut Pro User Guide 402 3. To adjust the effect’s onscreen controls, do any of the following: • Position the effect: Drag the center circle. • Set the effect’s size: Drag the outer circle. Example: Apply a Droplet effect 1. In Final Cut Pro, open the Effects browser and drag the Droplet effect to a clip in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the effect’s onscreen controls, do any of the following: • Position the effect: Drag the center circle. • Set the effect’s outer limit: Drag the outer circle. • Set the effect’s inner limit: Drag the inner circle. Final Cut Pro User Guide 403 • Set the effect’s overall size: Drag any area in between the inner and outer circles. A shaded area appears when the pointer is in this area. Example: Apply a Prism effect 1. In Final Cut Pro, open the Effects browser and drag the Prism effect to a clip in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the direction of the effect, drag the arrow. Because the effect has no center setting, the circle in the center can’t be dragged. Final Cut Pro User Guide 404 Example: Apply a Scrape effect 1. In Final Cut Pro, open the Effects browser and drag the Scrape effect to a clip in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the effect’s onscreen controls, do any of the following: • Position the effect: Drag the center circle. • Set the effect’s direction: Drag the rotation handle. Example: Apply a Center transition 1. In Final Cut Pro, open the Transitions browser and drag the Center transition to an edit point in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the transition’s onscreen controls, do any of the following: • Position the transition: Drag the center circle. • Set the transition’s direction: Drag the arrow. Final Cut Pro User Guide 405 • Set the transition’s border width: Drag the outer handle toward or away from the center circle. Example: Apply a Star transition 1. In Final Cut Pro, open the Transitions browser and drag the Star transition to an edit point in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the transition’s onscreen controls, do any of the following: • Position the transition: Drag the center circle. • Set the number of points on the star: Drag the longer handle. • Rotate the star: Drag the shorter handle. Final Cut Pro User Guide 406 Example: Apply a Zoom & Pan transition 1. In Final Cut Pro, open the Transitions browser and drag the Zoom & Pan transition to an edit point in the timeline. 2. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 3. To adjust the transition’s onscreen controls, do any of the following: • Set the transition’s start point: Drag the green circle. • Set the transition’s end point: Drag the red circle. Animate video effects Intro to video keyframing in Final Cut Pro In Final Cut Pro, you can create simple changes to video over time, such as fading the video from invisible to visible at the beginning of a movie. Or you can make sophisticated and precise adjustments over time to many individual parameters of video effects, transitions, motion paths, and so on. You use keyframes and fade handles in the Video Animation editor to change effects over time. The word keyframe comes from the traditional workflow in the animation industry, where only important (key) frames of an animated sequence were drawn to sketch a character’s motion over time. After the keyframes were determined, an in-between artist drew all the frames between the keyframes. With Final Cut Pro, you can set parameters to specific values at specific times (represented by keyframes) and Final Cut Pro acts as an automatic, real-time in-between artist, calculating all the values between your keyframes. For example, to animate a parameter, such as a rotation or scale setting, you need to create at least two keyframes in the clip. Final Cut Pro calculates the setting’s value between the keyframes, creating a smooth motion as the setting changes. Final Cut Pro User Guide 407 You can keyframe and animate both video and audio effects in Final Cut Pro, including individual effect parameters and clip properties. To learn about keyframing audio, see Keyframe audio effects. Add video effect keyframes in Final Cut Pro You place keyframes at specific points in a clip to change parameter values at those points. For example, if you want a clip in your project to fade to black, you set two opacity keyframes at two different times: one with the value of 100 (fully visible) and a second with the value of 0 (fully transparent). Final Cut Pro interpolates the values between 100 and 0, creating a smooth fade to black. You can set keyframes in the timeline or in the Video inspector. To see keyframes in the timeline, you need to display the Video Animation editor for the clip. Additional keyframing controls appear with the Final Cut Pro built-in effects. See Work with built-in effects. To learn about keyframing audio clips, see Keyframe audio effects. Add keyframes 1. In Final Cut Pro, do one of the following: • Select a clip in the timeline, then choose Clip > Show Video Animation (or press Control-V). • Control-click a clip in the timeline and choose Show Video Animation. Each effect in the Video Animation editor has a separate area for adding keyframes. Some effects have more than one parameter and allow you to add keyframes to individual parameters separately. They appear in the Video Animation editor with a down arrow next to the effect’s name or in the Video inspector as additional parameter controls. 2. In either the Video Animation editor or the Effects section of the Video inspector, select the effect or effect parameter for which you want to add keyframes. Final Cut Pro User Guide 408 3. Do one of the following: • See expanded parameters in the Video Animation editor: Click the down arrow next to the effect and choose an individual parameter from the pop-up menu, or choose All to add keyframes for all parameters. • See expanded parameters in the Video inspector: Position the pointer over the effect and click Show. 4. Do one of the following for each effect: • In the Video Animation editor: Option-click (or press Option-K) at a point on the horizontal effect control where you want to add the keyframe. Keyframes for the parameter you chose appear as white diamonds; keyframes for other effect parameters appear gray. When you choose to view all parameters in the Video Animation editor, keyframes appear as white diamonds for all parameters. Double diamonds indicate that you added a keyframe for more than one parameter at that point. • In the Video inspector: Position the playhead in the timeline at the point where you want to add a keyframe, then click the Keyframe button (or press Option-K). After you add a keyframe, the Keyframe button becomes solid, indicating that the playhead is currently on this keyframe. Final Cut Pro User Guide 409 When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Video inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow. To go to the next keyframe, click the right arrow. 5. Add keyframes as needed. Tip: After you’ve added one keyframe, you can add another automatically by moving the playhead in the timeline and then adjusting the effect parameter value in the Video inspector. Add keyframes automatically across a selected area If an effect appears in the Video Animation editor with a disclosure button, you can use either the Select or Range Selection tool to add keyframes automatically across a selected area. 1. In Final Cut Pro, do one of the following: • Select a clip in the timeline, then choose Clip > Show Video Animation (or press Control-V). • Control-click a clip and choose Show Video Animation. 2. Select an effect, then click the disclosure button to expand it in the Video Animation editor. 3. Click the Tools pop-up menu in the top-left corner of the timeline, then choose either Select or Range Selection (or press A for Select, or R for Range Selection). Final Cut Pro User Guide 410 4. Drag across the area in the Video Animation editor where you want to adjust the effect. Tip: To deselect the range, click anywhere in the timeline background. 5. Adjust the effect within the range by dragging the effect’s horizontal control up or down. Keyframes are automatically created along the adjustment points within the range. Adjust keyframes in the Video Animation editor You can move keyframes left or right in the Video Animation editor. If an effect appears with a disclosure button in the Video Animation editor, you can expand the effect view and move keyframes up or down to change the parameter value, and you can also fade video effects in or out or change the shape of the effect curve between keyframes. See Adjust effect curves. 1. Select a keyframe in the Final Cut Pro Video Animation editor. Final Cut Pro User Guide 411 2. Do any of the following: • Change a keyframe’s position in time: Drag a keyframe left or right. As you drag, the timecode value appears. • Change a keyframe’s parameter value: Drag the keyframe up or down. If an effect appears with a disclosure button, click the button (or double-click the effect) to expand it. • Add another keyframe: Option-click (or press Option-K) at a point on the effect control where you want to add the keyframe. • Add a keyframe and change the effect’s parameter value at the same time: Optionclick while dragging the effect control up or down. Adjust keyframes in the Video inspector For many effects, you adjust the parameter value of individual keyframes using the Video inspector. When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Video inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow. To go to the next keyframe, click the right arrow. Or, to use keyboard shortcuts, select the parameter in the Video Animation editor, then press Option-Semicolon (;) to go to the previous keyframe or OptionApostrophe (’) to go to the next keyframe. Final Cut Pro User Guide 412 1. If the Video inspector isn’t already shown in Final Cut Pro, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 2. Click the Video button at the top of the inspector. 3. Select a keyframe or position the playhead on a keyframe, then adjust the parameter value in the Video inspector. 4. To change the value at the next keyframe, go to the next keyframe, then adjust the value in the Video inspector. Delete keyframes In Final Cut Pro, do one of the following: • Select a keyframe in the Video Animation editor, then press Option-Shift-Delete. • Navigate to a keyframe in the Video inspector, then click the Keyframe button. View only one effect at a time in the Video Animation editor You can collapse the Video Animation editor to view only one effect at a time. This can be useful if you have multiple effects applied to a clip and want to preserve screen space. 1. In Final Cut Pro, choose Clip > Solo Animation (or press Control-Shift-V). 2. In the Video Animation editor, click the triangle next to the displayed effect’s name and choose an effect. Note: When Solo Animation is turned on, you can’t delete effects from the Video Animation editor. To turn off Solo Animation, choose Clip > Solo Animation (or press Control-Shift-V). Hide video animation for a clip In Final Cut Pro, do one of the following: • Select the clip in the timeline, then choose Clip > Hide Video Animation (or press Control-V). • Click the close button in the top-left corner of the Video Animation editor. • Control-click the clip in the timeline and choose Hide Video Animation. Final Cut Pro User Guide 413 Modify groups of keyframes in Final Cut Pro There are many ways you can modify keyframes to create simple or complex animations. In addition to modifying individual keyframes, you can also modify keyframe groups, effect curves (the line segments between keyframes), or the entire set of keyframes for a given parameter. You can make all of these changes with great precision. Select and modify multiple keyframes You can select and modify multiple keyframes in the Video Animation or Audio Animation editor, or directly in the body of a clip (for audio level keyframes). 1. In Final Cut Pro, do one of the following: • Shift-click more than one keyframe. All intermediate keyframes are selected. You can’t select nonadjacent keyframes. • Drag a selection rectangle around the keyframes you want to select. Tip: In the Video Animation or Audio Animation editor, you can select a range by dragging with the Select tool or the Range Selection tool. To select a range of keyframes displayed in the clip body (such as audio keyframes) you must use the Range Selection tool. 2. To modify the selected keyframes, do any of the following: • Move the group to a different place in time: Drag any individual keyframe horizontally. • Change the value of all the keyframes: Drag any individual keyframe vertically. Keyframe values remain relative to one another while you drag; however, if you “flatten” the curve by dragging all the way to the top or bottom of the graph, the keyframe values remain in that flattened state, with all keyframes sharing the same value. • Increase the relative values by 1: Press Option-Up Arrow. • Decrease the relative values by 1: Press Option-Down Arrow. • Move the keyframes earlier in time by 1 frame: Press Comma (,). • Move the keyframes later in time by 1 frame: Press Period (.). Tip: You can also modify any two keyframes simultaneously by selecting the line segment between them and then performing any of the steps above. Adjust all keyframes on a curve You can adjust all keyframes on a curve at once in the Video Animation or Audio Animation editor, or directly in the body of a clip (for audio level keyframes). • In Final Cut Pro, hold down the Command and Option keys, then drag either a keyframe or a curve up or down. Final Cut Pro User Guide 414 All keyframes are adjusted by the same amount, preserving the original shape of the curve. However, if you “flatten” the curve by dragging all the way to the top or bottom of the graph, the keyframe values remain in that flattened state, with all keyframes sharing the same value. You can also copy specific keyframes between different attributes or between different clips. See Copy and paste keyframes. Adjust effect curves in Final Cut Pro Some effects in the Video Animation editor include fade handles, which allow you to adjust how long it takes for an effect to fade in or out. For example, you can use fade handles to adjust how long it takes for an opacity effect to fade in, how long it takes to fade up from black, or how long it takes to fade to black. You can also move keyframes up or down to create a curve for the effect parameter and change the curve shape (interpolation) between keyframes. Creating a fade or an effect curve smooths the transition so that the effect changes appear more natural when the clip plays. Final Cut Pro User Guide 415 Change an effect using fade handles 1. In the Final Cut Pro Video Animation editor, click the disclosure button for an effect to expand it. Note: If an effect doesn’t have a disclosure button, it doesn’t have fade handles. 2. Drag the fade handle to the point in the clip where you want the fade to begin or end. Fade handles from the beginning of a clip create a fade-in, and fade handles at the end of a clip create a fade-out. Change an effect using keyframes 1. In the Final Cut Pro Video Animation editor, click the disclosure button for an effect to expand it. Note: If an effect doesn’t have a disclosure button, you can’t move keyframes up or down. 2. Do any of the following: • Add a keyframe: Option-click (or press Option-K) at a point on the effect control where you want to add the keyframe. Tip: To add a keyframe and change the effect’s parameter value at the same time, Option-click while dragging the effect control up or down. Final Cut Pro User Guide 416 • Change the effect’s parameter value at a particular keyframe: Select a keyframe and drag it up or down. Tip: To adjust values with greater precision, hold down the Command key while dragging the keyframe up or down. Change the curve shape (interpolation) between keyframes 1. In the Final Cut Pro Video Animation editor, click the disclosure button for an effect to expand it. Note: If an effect doesn’t have a disclosure button, you can’t move keyframes up or down. 2. Command-drag the line horizontally between the keyframes to create a curve. 3. Control-click the line between keyframes and choose a curve option. • Linear: Maintains a constant rate of change over the duration of the fade. • Ease: Eases in and out of the fade with the midpoint set between the beginning and end values. • Ease In: Starts quickly from the beginning value and then moves slowly toward the end value. • Ease Out: Starts slowly from the beginning value and then moves quickly toward the end value. Note: You can change the curve shape between keyframes for video effects only. For audio volume only, you can change the curve shape for fades created using fade handles, but not keyframes. See Fade audio in and out. Final Cut Pro User Guide 417 Advanced editing Use roles to manage clips and organize the timeline Intro to roles in Final Cut Pro Roles are metadata text and color labels that you assign to clips in the browser or the timeline. When you import clips (video, audio, or still images), Final Cut Pro analyzes existing clip metadata and automatically assigns one of five default color-coded roles (Video, Titles, Dialogue, Music, and Effects) to each clip. For example, if a source media file has a Music “genre” metadata tag, Final Cut Pro assigns a green Music role to the imported clip. You can use roles to organize clips in your events and projects by function or category, control the arrangement of the timeline, and export separate video or audio files (also known as media stems) for distribution, broadcast, audio mixing, or post-production. Because roles are color-coded, you can instantly recognize clips of the same role in the browser and the timeline. You can also highlight particular roles in the timeline. You can use roles in the following ways: • Organize clips with roles and subroles: You can create subroles within a role to further organize your clips, and you can create custom roles to add to the default set. To get the maximum benefit from roles (including organizing the timeline or exporting media stems), make sure your clips have the correct role assignments early in the editing process. See View and reassign roles and Create custom roles. With iXML metadata, you can also create custom roles automatically during import. Final Cut Pro User Guide 418 • Organize the timeline with roles: With a few clicks, you can organize the timeline with “lanes,” in which all clips in the same role appear together in a separate layer of the timeline. See Organize the timeline with audio lanes. You can also display and edit audio components for entire roles and focus the timeline display on a specific role. • Export media stems: A powerful benefit of roles is the ease with which you can export roles as separate files (media stems). This process is often used when delivering stems to match broadcast specifications or when handing off stems for mixing or postproduction. You can export roles as media stems in a combined, multitrack QuickTime file or as separate audio or video files. See Share roles as files. • Create and manage captions: Final Cut Pro features dedicated roles and subroles for adding, editing, and sharing captions (including subtitles and closed captions). See Intro to captions. For detailed information about advanced uses of audio roles, see Audio Roles in Final Cut Pro. Guidelines for using roles in Final Cut Pro Keep the following in mind when using roles: • Every clip component must have an assigned subrole (clips with audio and video always have one audio and one video role). Still images are assigned the Video role by default, but you can create a custom role for still images. You can also create caption roles— for example, for subtitles and closed captions—with subroles for different language versions. Note: A role is a category; each role contains at least one subrole. What actually happens when a role is assigned to a clip is that a subrole within the role is assigned to a component within the clip. • Video roles can’t be assigned to audio-only clips, and audio roles can’t be assigned to video-only clips. • Roles (specifically, subroles) can be assigned to audio or video components of a clip but can’t be assigned to a clip range, or portion of a clip. • You can assign different roles to each instance of a standard clip. For example, if you add a clip from the browser to the timeline, copy clips between events, or copy clips within the timeline, each of these clip instances is independent of the others. • Custom roles and subroles are specific to a library. This means that a custom role that you create for one library is not automatically available in another library. However, if you copy or move clips between libraries, any custom roles and subroles assigned to those clips are also available in the destination library. • Changing a role within a compound clip or multicam clip affects every instance of that clip throughout the library. • When you import clips, Final Cut Pro automatically assigns unique subroles to each audio component in a clip. You can manually assign the same subrole to multiple components in a clip, but this will cause those components to be consolidated (in the same subrole) if you place the clip inside a compound clip, multicam clip, or synced clip. Final Cut Pro User Guide 419 View and reassign roles in Final Cut Pro When you import clips (video, audio, or still images), Final Cut Pro analyzes existing clip metadata and automatically assigns roles to each clip. Specifically, Final Cut Pro assigns subroles to the video and audio components in each clip. There are many ways to view and change the default role and subrole assignments. Proper role assignment is the key to organizing the timeline with audio lanes and using roles to export media stems. Note: You can also create and assign custom roles and subroles. See Create custom roles. Assign audio roles in the Audio inspector 1. In the Final Cut Pro browser or timeline, select a clip containing audio. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the Audio inspector to switch between half-height view and full-height view. 4. Scroll down to the Audio Configuration section. Note: You can drag the top edge of the Audio Configuration section to reveal all of its contents. Final Cut Pro User Guide 420 5. To change the role assignment for an audio component, click its Roles pop-up menu and choose a different subrole. For more information about audio components, see Audio channels and components. Assign roles using the shortcut menu 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. Control-click the selection and choose either Assign Audio Roles or Assign Video Roles, then choose a subrole from the submenu. A checkmark appears next to the subrole you chose. Assign roles using the Modify menu 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. Choose Modify > Assign Audio Roles or Modify > Assign Video Roles, then choose a subrole from the submenu. A checkmark appears next to the subrole you chose. Assign roles in the browser 1. In the Final Cut Pro browser in list view, select one or more clips. Final Cut Pro User Guide 421 2. In the Roles column, click the assigned subrole for a clip to see a menu listing the available subroles. If the Roles column isn’t visible in the browser, Control-click a column heading and choose Roles. 3. To change the role assignment for the selection, choose a different subrole from the menu. Assign roles in the Info inspector 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. Do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. Final Cut Pro User Guide 422 4. In the Info inspector, click the Video Roles or Audio Roles pop-up menu to see the available subroles. 5. To change the role assignment for the selection, choose a different subrole from the Video Roles or Audio Roles pop-up menu. Assign roles in the timeline index 1. To open the timeline index in Final Cut Pro, click Index in the top-left corner of the timeline (or press Shift-Command-2). 2. Click the Clips button at the top of the timeline index to open the Clips pane. 3. If the roles columns aren’t visible in the Clips pane, Control-click a column heading and choose either Video Roles or Audio Roles. 4. Select one or more clips in the Clips pane. Final Cut Pro User Guide 423 5. To change the role assignment for the selection, click the assigned subrole and choose a different subrole. Note: If you change a clip’s role assignment while audio lanes are shown in the timeline, the clip moves vertically in the timeline to its new audio lane. See Organize the timeline with audio lanes. Create custom roles in Final Cut Pro You can create custom roles and subroles in addition to the five default roles (Video, Titles, Dialogue, Music, and Effects). For example, you might create a separate Dialogue subrole for each actor (or microphone) in your video project, so that you can quickly find and adjust all the clips with that subrole. You can also use custom roles and subroles to create different language versions of a project, so you can export a version of the project with titles, captions, and narration in each language. For example, you could organize voiceover narration clips into a separate audio lane in the timeline by first creating a custom Voiceover role and then assigning subroles (one for each language) to your voiceover narration clips. Note: Custom roles and subroles are specific to a library. This means that a custom role that you create for one library is not automatically available in another library. However, if you copy or move clips between libraries, any custom roles and subroles assigned to those clips are also available in the destination library. Final Cut Pro User Guide 424 Create custom roles 1. To open the role editor in Final Cut Pro, do one of the following: • Choose Modify > Edit Roles. • In the Roles pane of the timeline index, click Edit Roles. • Control-click a clip and choose either Assign Audio Roles or Assign Video Roles, then choose Edit Roles from the submenu. • With a clip selected in the browser or the timeline, open the Info inspector, then click either the Video Roles pop-up menu or the Audio Roles pop-up menu and choose Edit Roles. 2. Do one of the following: • Create a video role: Click the Add Video Role button at the top of the Video Roles section. • Create an audio role: Click the Add Audio Role button at the top of the Audio Roles section. The new role appears at the bottom of the section and contains a default subrole with the same name. New roles are automatically assigned a distinct color. To change the color, see Change role colors or names. 3. Type a name for the new role. After you create a new role, it appears in the roles list so that you can assign its subroles to any clip. Final Cut Pro User Guide 425 Create custom subroles Subroles allow you to organize clips and components within a role. For example, you could create a Foley Effects subrole within the Effects role, or a Spanish Subtitles subrole within the Titles role. 1. To open the role editor in Final Cut Pro, do one of the following: • Choose Modify > Edit Roles. • Control-click a clip and choose either Assign Audio Roles or Assign Video Roles, then choose Edit Roles from the submenu. • In the Roles pane of the timeline index, click Edit Roles. • With a clip selected in the browser or the timeline, open the Info inspector, then click either the Video Roles pop-up menu or the Audio Roles pop-up menu and choose Edit Roles. 2. In the role editor, move the pointer over one of the roles and click the Add Subrole button. The new subrole appears in the list below the role. Final Cut Pro User Guide 426 3. Type a name for the new subrole. The new subrole appears below its parent role in roles lists throughout Final Cut Pro. When you assign subroles to clips in the timeline, the subroles also appear in the timeline index. Change the name of a custom role or subrole 1. In the role editor in Final Cut Pro, move the pointer over the name of a custom role or subrole. To show subroles, click Show to the right of the role name. 2. Select the name of the role or subrole, then enter the new name. Delete a custom role or subrole Important: Deleting a role or subrole may update existing edits, which can cause changes to your project’s audio. For example, deleting a custom subrole causes components with that subrole assignment to revert to a default subrole. 1. In Final Cut Pro, open the role editor. 2. In the role editor, move the pointer over the name of a custom role or subrole, then click the Delete button that appears to the left of the role name. To show subroles, click Show Subroles to the right of the role name. The role or subrole is removed from the list. Any clips that had the role or subrole assigned revert to their default roles and subroles. Final Cut Pro User Guide 427 Merge custom subroles You can merge a subrole with another subrole (in any role in your library). Any clips in the library that were assigned the original subrole are assigned the merged subrole instead. 1. In Final Cut Pro, open the role editor. 2. Move the pointer over the role with the subroles you want to merge, then click Show Subroles. 3. Move the pointer over one of the subroles you want to merge. A handle (three horizontal lines) appears at the right end of the subrole. 4. Use the handle to drag the subrole to the subrole you want to merge it with. The subroles are merged into one subrole. The existing role assignments of the source subrole change to the target subrole across every clip in the library. Move a subrole to another role You can move a subrole from one role to another. All of the existing assignments of the subrole in the library are maintained but are updated to show the new parent role. 1. In Final Cut Pro, open the role editor. 2. Move the pointer over the role that contains the subrole you want to move, then click Show. 3. Move the pointer over the subrole you want to move. A handle (three horizontal lines) appears at the right end of the subrole. 4. Use the handle to drag the subrole to the role you want to move it to. For the most precise and powerful audio editing, you can also display all subroles for one or more roles. Final Cut Pro User Guide 428 Assign audio roles during import in Final Cut Pro By default, when you import media clips (video, audio, or still images), Final Cut Pro analyzes existing clip metadata to assign one of five default roles to the video and audio components of each clip: Video, Titles, Dialogue, Music, or Effects. (Specifically, Final Cut Pro assigns a subrole of one of the default roles to each video or audio component.) You can adjust the assignment of audio roles on import in two ways: by setting the role assignment manually or by having Final Cut Pro create custom roles automatically while importing media files with iXML metadata. Override automatic role assignment for audio files during import For any given import session, you can override the automatic role assignment process so that every imported audio component is assigned a role of your choosing. You can specify one of the three default audio roles or a custom role that you create. When you import with this setting enabled, Final Cut Pro assigns a unique subrole (from the role you specify) to every component in each clip. For example, imagine that you’ve recorded several hundred natural sound files for use as Foley sound effects in your video project. By default, Final Cut Pro assigns the Dialogue role to natural sound recordings (with no additional metadata). Instead, you could assign the more appropriate Effects role to every clip in the import session. 1. To open the Import pane of Final Cut Pro preferences, choose Final Cut Pro > Preferences (or press Command-Comma), then click Import. 2. In the Audio Roles section, click the Assign Role pop-up menu and choose a role. Note: The Assign Role pop-up menu also appears in the Audio Roles section on the right side of the Media Import window. All default and custom audio roles appear in this pop-up menu. For information about creating custom roles and subroles, see Create custom roles. 3. Import the files. The role you chose is assigned to the imported clips. (More precisely, components in the imported clips are assigned subroles of the role you chose.) You can change this and any other import preferences using the settings in the Media Import window or the Import pane of Final Cut Pro preferences. To revert to the default setting, so that roles are assigned automatically when you import clips, click the Assign Role pop-up menu and choose Automatically. Create custom roles automatically during import using iXML metadata Final Cut Pro can use the iXML metadata tags in an audio channel to create custom subroles and assign them to audio components during import. For example, during production, a sound recordist might enter “Boom mic” and “Jessie lav mic” on the recording device to identify the audio channels of a recording. During import, Final Cut Pro can use the iXML names to create subroles named “Boom mic” and “Jessie lav mic” and assign t hem to the corresponding audio components in the imported clips. 1. Configure your recording device so that your recordings include iXML data. See the documentation that came with your recording device. Final Cut Pro User Guide 429 2. On the device, enter the role name for each audio channel that should be assigned a role, then make your recordings. 3. To set Final Cut Pro to create roles automatically during import, choose Final Cut Pro > Preferences (or press Command-Comma), click Import, then make sure the “Assign iXML track names if available” checkbox is selected in the Audio Roles section. Note: The “Assign iXML track names if available” checkbox also appears in the Audio Roles section on the right side of the Media Import window. 4. Import the files that include iXML metadata. Final Cut Pro creates subroles with the names you entered in step 2 and assigns the subroles to the corresponding components in the imported clips. Tip: You can use the manual override setting and the iXML method together. For example, if role override is set to a custom role named Location Sound and “Assign iXML track names if available” is selected, imported clips will be assigned the Location Sound role, and subroles will be created from the iXML track names and assigned to the corresponding audio components. All of this occurs automatically on import, and the setting is retained for future import operations. Change role colors or names in Final Cut Pro Roles have distinct colors that let you instantly recognize clips by role in the browser and the timeline. You can change the color of a role and, by extension, the color of the clips it’s assigned to. You can also rename roles and subroles, within certain basic guidelines. Note: Clips with video and audio take the color of the audio role. Change a role’s color 1. In the Final Cut Pro role editor, move the pointer over a role, then click the Change Color button to the right of the role name. 2. Click the new color for the role. All the clips assigned that role display the new color in the timeline and the browser. Final Cut Pro User Guide 430 Rename a role or a subrole • In the Final Cut Pro role editor, select the name of a role or subrole and type a new name. Keep the following in mind when renaming roles or subroles: • You can rename custom roles or any subrole, but you can’t rename the default roles (Titles, Video, Dialogue, Effects, Music, and Mixed Audio). You also can’t rename a role or subrole using one of the default role names. • Renaming a role also renames its default subroles throughout a library, but not custom subroles that you created. • Renaming a subrole updates every clip using that subrole in the library. Organize the timeline with roles and subroles Organize the Final Cut Pro timeline with audio lanes With a few clicks, you can arrange audio clips into audio lanes in the timeline, based on their role assignments. Audio lanes appear as separate, visually distinct layers in the timeline. This view organizes audio clips visually and provides reference points that make editing easier and more efficient. Organizing the timeline in this way does not affect the content of your project or how it plays back in the viewer—it simply adjusts the timeline appearance for your editing convenience. Note: When you display audio roles in separate lanes in the timeline, any clips that contain both audio and video are expanded to show audio and video separately. Final Cut Pro User Guide 431 1. In Final Cut Pro, open the Roles pane of the timeline index by doing one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. 2. Do one of the following: • Show an audio role in a separate lane: In the Roles pane, click the Audio Lane button to the right of a role. Audio clips with that role assigned appear in a separate lane in the timeline. A text label appears at the left side of the lane in the timeline, identifying the role. Repeat this step for each role that you want to show in a separate lane. • Show all audio roles in separate lanes: Click Show Audio Lanes at the bottom of the timeline index. Separate lanes appear in the timeline for each role, with audio clips in the lanes of their assigned roles. A text label appears at the left side of each audio lane, identifying the role. Final Cut Pro User Guide 432 The lanes in the timeline appear in the order you define in the timeline index. See Reorder audio roles. To help you keep track of the current timeline organization, a diamond-shaped change indicator appears in the Index button in the top-left corner of the timeline whenever you change any roles settings from their default states. These roles changes include showing roles and subroles in separate audio lanes, focusing the timeline on a specific role, and turning off roles or subroles. Note: You can also customize the display of clips in the timeline by changing the clip appearance and height, and you can choose whether to view clips by name or role. See Adjust timeline clip appearance. Edit components in audio lanes in Final Cut Pro By default, audio clips in the timeline are represented by a single audio waveform. You can expand the audio portion of any clip to view and edit audio components down to the individual channel level. You can also display all audio components in audio lanes, organized by roles and subroles. This view provides precise control over all the audio elements in your project. The components remain in their dedicated lanes, even when you trim overlaps. For any lane, you can switch between the audio component view and the default view with a single click. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. 2. In the Roles pane, click the Show Subroles button for each role whose components you want to show. Final Cut Pro User Guide 433 Separate audio lanes appear in the timeline for each subrole in the role or roles. Text labels appear at the left side of the audio lanes, identifying each role and subrole. In the timeline index, subroles appear in a list below the parent role. To return to the default clip view for a role, click the role’s Show Subroles button again. Tip: When audio components are shown in audio lanes, you can make roll edits between adjacent components. You don’t need to create a connected storyline. Focus the Final Cut Pro timeline on a role When you need to focus on clips in a particular audio role, you can use the Focus button in the timeline index to make more space to view and work with those clips in the timeline. Clips assigned to other audio roles are minimized and appear smaller in the timeline. For example, imagine that you’ve finished the video editing on your project and are ready to enhance the project with sound effects. You can click the Focus button in the Effects role to temporarily remove the clutter and distractions caused by clips from other roles, allowing you to zero in on the effects clips. Focusing the timeline in this way does not affect the content of your project or how it plays back in the viewer—it simply adjusts the timeline appearance for your editing convenience. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. Final Cut Pro User Guide 434 2. In the Roles pane, click the Focus button for the audio role whose clips you want to concentrate on. Tip: It can be helpful to move the role you’re editing closer to the primary storyline (to more easily align and sync audio edits with video edit points). See Reorder audio roles. Reorder audio roles in Final Cut Pro By default, Final Cut Pro shows audio roles in the following order in the timeline: Dialogue, Music, and Effects. However, there are times when you may want to view audio roles in a different order. For example, when you’ve finished the video editing on your project, you might want to move a role you’re editing (such as Effects) closer to the primary storyline to more easily align and sync audio edits with video edit points. You can reorder the default roles and subroles as well as any custom ones you create. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles. • Choose View > Timeline Index > Roles. 2. To reorder roles or subroles, drag them up or down in the Roles pane. For information about viewing subroles, see Edit components in audio lanes. Final Cut Pro User Guide 435 As you drag a role or subrole in the timeline index, clips in the timeline with that role or subrole assigned move up or down to match the new order. Turn roles on or off in Final Cut Pro You can turn off roles and subroles in the timeline to suspend playback for all clips with those roles assigned. For example, you could turn off all roles except Dialogue to play back only dialogue clips, and then turn on the Music role to listen to the movie soundtrack along with the dialogue. If you turn off video, audio, or title roles and subroles, those roles are not included in output media files when you share your project. However, if you use the Export File destination or an Apple Devices destination to export a multitrack QuickTime or MXF file, you can use the Roles pane of the Share window to add disabled roles back in during the export process. See Export MXF files and Share roles as files. Turning roles and subroles on or off does not affect settings in the browser, the timeline, or the inspectors. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. 2. In the Roles pane, select the checkboxes next to the roles or subroles you want to turn on, and deselect the checkboxes next to the roles or subroles you want to turn off. For information about viewing subroles, see Edit components in audio lanes. Final Cut Pro User Guide 436 Active roles appear in color in the timeline. In inactive video roles, the filmstrip portion of clips is gray. In inactive audio roles, the waveform portion of clips is gray. 3. To preview clips by role, play back your project. Only clips with active roles assigned play back. Work with audio roles in compound clips in Final Cut Pro In Final Cut Pro, you can create several different types of clips with varying degrees of complexity. In many cases, clips can have multiple audio components, including the following clip types: • Compound clips • Multicam clips • Synced clips In Final Cut Pro 10.3, compound clips, multicam clips, and synced clips generate role components based on the audio role assignments within the clip. A role component is like a traditional audio bus—if multiple audio components share the same subrole, their audio is mixed together into a single role component. Compound clips, multicam clips, and synced clips share some common role-related properties. The main property is that if role assignments within the clip change, the role components are updated automatically. There are also some important differences between these three clip types: • Compound clips have one set of role components per clip. A unique property of compound clips is that you have the option to generate role components based on either subroles or roles. When you generate role components based on subroles, a role component is created for each subrole found within the compound clip. When you generate role components based on roles, the subroles in the clip are combined into the role components of their parent roles. Final Cut Pro User Guide 437 • Multicam clips have one set of role components per angle. Every angle in a multicam clip creates a set of role components according to the subrole assignments contained within the angle. • Synced clips have one set of role components for the storyline, and another set of role components for connected clips. You can view role components for compound clips, multicam clips, and synced clips in the Audio Configuration section of the Audio inspector. You can also show expanded audio components in the timeline to work with role components there. Manage role components in compound clips You can use role components in compound clips to make changes to an entire role at once. For example, a typical project has clips with various Dialogue subroles assigned, some clips with Effects subroles, and perhaps a clip with a Music subrole. If you wrap the entire project in a compound clip, the resulting compound clip has role components for Dialogue, Music, and Effects. You can apply volume changes and effects to the role components to complete your mix. You can view the roles of clips and components inside a compound clip, but you can’t assign roles to the compound clip itself. 1. Select a compound clip in the Final Cut Pro browser or timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Scroll down to the Audio Configuration section. Note: You can drag the top edge of the Audio Configuration section to expand it and reveal all of its contents. Final Cut Pro User Guide 438 The Audio Configuration section shows the role components in the compound clip. You can’t change role assignments in this view. 5. To choose whether role components are based on roles or subroles, click the “Show Components as” pop-up menu and choose an option. When the “View components as” pop-up menu is set to Subroles, as in the example below, each role component is based on a subrole found in the compound clip, not on a parent role. Note: Changing this view with the pop-up menu also changes how the components are displayed in the timeline when you show expanded audio components for the compound clip. Final Cut Pro User Guide 439 In many ways, you can work with role components as you would with standard audio components. For example, you can: • Skim over an individual role, or play it back using the Space bar or the J, K, and L keys. See View and listen to an audio component. • Remove a role from a compound clip by deselecting its checkbox in the Audio Configuration section of the Audio inspector. See Enable or disable an audio component. • Show expanded role components in the timeline, then edit them as you would a standard audio component. You can adjust volume, pan audio, add audio effects, and so on. If you want to assign different roles to specific clips within the compound clip, you can open the compound clip for editing and then assign subroles to individual components of the constituent clips. For more information about compound clips, see Intro to compound clips. Manage role components in multicam clips Every angle in a multicam clip creates a set of role components according to the subrole assignments contained within the angle. For example, if there are five audio components in angle A, but they’re all assigned to the Dialogue-1 subrole, Final Cut Pro displays a single role component named Dialogue-1 for angle A. If the role assignments of clips inside an angle change, the role components generated by that angle are updated automatically. 1. Select a multicam clip in the Final Cut Pro browser or timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. Final Cut Pro User Guide 440 4. Scroll down to the Audio Configuration section. Note: You can drag the top edge of the Audio Configuration section to expand it and reveal all of its contents. The Audio Configuration section shows the role components for the active angle of your multicam clip. Each role component is based on a subrole assigned to a clip in the angle. You can’t change role assignments in this view. However, you can enable or disable the audio from other angles by clicking their respective checkboxes. As you cut and switch between angles in your multicam clip, the role components are automatically enabled or disabled to match your edits. In many ways, you can work with role components as you would with standard audio components. For example, you can: • Skim over an individual role, or play it back using the Space bar or the J, K, and L keys. See View and listen to an audio component. • Remove a role from a multicam clip by deselecting its checkbox in the Audio Configuration section of the Audio inspector. See Enable or disable an audio component. • Show expanded role components in the timeline, then edit them as you would a standard audio component. You can adjust volume, pan audio, add audio effects, and so on. If you want to assign different roles to specific clips within the multicam clip, you can open the clip in the angle editor and then assign subroles to individual components of the constituent clips. For more information about multicam clips, see Intro to multicam editing. Manage role components in synced clips When you have Final Cut Pro automatically analyze and sync audio and video clips, the resulting synced clips are specialized versions of compound clips. Final Cut Pro creates two sets of role components for each synced clip: one based on the subrole assignments for all the clips in the primary storyline, and one based on the subrole assignments for all the connected clips. For each set of role components, the same rules apply as for compound clips or for angles in multicam clips. 1. Select a synced clip in the Final Cut Pro browser or timeline. Final Cut Pro User Guide 441 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Audio button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. Scroll down to the Audio Configuration section. Note: You can drag the top edge of the Audio Configuration section to expand it and reveal all of its contents. In the example below, the Audio Configuration section shows two role components representing the contents of the synced clip: Storyline (the clip in the primary storyline) and Connected (all the connected clips synced to the primary storyline). You can’t change role assignments in this view. In many ways, you can work with role components as you would with standard audio components. For example, you can: • Skim over an individual role, or play it back using the Space bar or the J, K, and L keys. See View and listen to an audio component. • Remove a role from a synced clip by deselecting its checkbox in the Audio Configuration section of the Audio inspector. See Enable or disable an audio component. • Show expanded role components in the timeline, then edit them as you would a standard audio component. You can adjust volume, pan audio, add audio effects, and so on. Final Cut Pro User Guide 442 If you want to assign different roles to specific clips within the synced clip, you can open the synced clip for editing and then assign subroles to individual components of the constituent clips. For more information about synced clips, see Sync audio and video. Add audio effects to clips with multiple audio components When you apply effects to whole clips that have multiple audio components, Final Cut Pro automatically mixes the audio down to the main audio roles. The appearance of the clips may change, depending on whether the audio components have different parent roles or the same parent role. • Different parent roles: Apply an audio effect to a clip containing multiple audio components that have subrole assignments from different parent roles (for example, some Dialogue subroles, some Music subroles, and some Effects subroles). In this case, there isn’t one parent role to mix down to, so the output is assigned to a special Mixed Audio role. The clip appears gray in the timeline and the inspector. • Same parent role: Apply an audio effect to a clip containing multiple audio components within the same parent role (for example, all Dialogue subroles). The clip is automatically mixed down to the parent audio role (Dialogue). The clip doesn’t appear gray because it’s not a mixed-role clip. For detailed information about advanced uses of audio roles, see Audio Roles in Final Cut Pro. Export roles with Final Cut Pro When exporting your project, you can export separate files (called media stems) for each role. This process is often used when delivering files to match broadcast specifications or when handing off media stems for mixing or post-production. You can export roles in a combined, multitrack QuickTime file or as separate audio or video files. During the export process you can assign mono, stereo, or surround output for your audio channels. For more information, see Share roles as files. Final Cut Pro User Guide 443 Add, adjust, and share captions Intro to captions in Final Cut Pro Captions is a general term for timed text—visible lines of text that are synced with video and audio media. Captions are most often used for subtitles (translations of the dialogue in foreign-language movies and TV shows) or closed captions (transcriptions of a program’s audio for people who are deaf or hard of hearing or for display on muted devices). Captions are also used for karaoke, scrolling news items, and teleprompters. Government regulators, broadcasters, and streaming services often have specific requirements for subtitles and closed captions. With Final Cut Pro, you can add captions to your projects and embed them in output files—for example, when you export files for broadcast, burn DVDs, or publish your project to video-sharing websites. You can also import and export captions as separate files, independent of the associated projects and media. How captions differ from titles Captions have particular traits that distinguish them from titles: • Captions are always visibly superimposed over everything else in the video frame, including titles. • Typically, viewers can turn captions on or off while watching TV shows, movies, web videos, and other programs. In contrast, titles are always permanently “burned in to” the output media file. (However, Final Cut Pro does offer the option to burn in captions permanently.) • Captions have industry file and formatting standards that make file transfers and interchange possible. • In Final Cut Pro, captions are assigned format-specific caption roles, with subroles for different language versions. Titles are assigned the Titles role. Final Cut Pro User Guide 444 Caption formats Final Cut Pro supports the following industry standards for captions: • CEA-608 (also known as EIA-608): A caption standard for broadcasts and web video. The CEA-608 caption standard features a variety of position, formatting, color, and animation options. CEA-608 captions can be imported or exported as tracks embedded in a media file or as separate files. • iTT (iTunes Timed Text): A format for delivering caption content to the iTunes Store, YouTube, and Vimeo. The iTT standard features formatting, color, and placement options, including a wider range of alphabets, making it the best choice for languages with non-Roman characters. iTT captions can be imported or exported as separate files, but they can’t be embedded in an output media file the way CEA-608 captions can. • SRT (SubRip Text): A subtitle format supported by Facebook, YouTube, and Vimeo. The SRT format is simple: Each caption has a number, a start and end timecode (in decimal timecode), and one or more lines of text with HTML tags. SRT captions can be imported or exported as separate files, but they can’t be embedded in an output media file the way CEA-608 captions can. Unlike captions in other formats, exported SRT captions can be read and edited in a plain text editor. Final Cut Pro captions workflow You can add captions to your projects to create subtitles, closed captions, and burned-in captions. Special caption roles make it easy to deliver captions in multiple languages. The basic workflow is outlined below. Step 1: Choose a caption format In Final Cut Pro, choose whether to create CEA-608, iTT, or SRT captions. The format you choose depends on the intended use of your project and the target audience. Broadcasters, streaming services, and government regulators each have their own delivery specifications. Step 2: Create a caption role Create a caption role for the chosen format and a subrole for each language version. Final Cut Pro User Guide 445 Step 3: Create or import captions Create or import an initial set of captions in one language. Step 4: Edit caption text Edit caption text directly in the timeline using the caption editor, or make text changes in the inspector. Step 5: Adjust and arrange captions Use the powerful editing tools in Final Cut Pro to adjust the timing and arrangement of captions in your projects. You can sync the captions to specific clips and points in time in your project, and set the duration of each caption. Step 6: Format caption text To determine how your captions look onscreen, you can format caption text in the inspector. The CEA-608 and iTT caption standards each have their own specifications for text formats, placement, color, transitions, number of lines, and number of characters. The SRT format has relatively few formal specifications. You can format SRT captions in Final Cut Pro, but you have the option to remove all formatting during export to make them universally compatible with players and devices. Step 7: Create captions in additional languages After you finalize an initial set of captions in one language, you can create captions in additional languages by duplicating the first set of captions. You can enter translations in the caption editor or the inspector. You can also send the captions out for translation and then import the translated captions. At this stage, you can also Convert captions to another format. Step 8: Export captions You can export captions with your final output media file, either as a separate file or embedded directly in the video file. Create captions in Final Cut Pro You can create captions in Final Cut Pro—for example, to deliver your project with subtitles or closed captions. In Final Cut Pro, captions are assigned special caption roles. To create a new set of captions, you first choose a caption format (CEA-608, iTT, or SRT), then you create a caption role specific to that format and a subrole for each language version. Captions are always connected clips. Captions can also be connected to other connected clips. Final Cut Pro User Guide 446 Create caption roles and subroles 1. To open the Final Cut Pro role editor, do one of the following: • Choose Modify > Edit Roles. • In the Roles pane of the timeline index, click Edit Roles. 2. Click Captions at the top of the role editor to open the Captions pane. 3. To create a caption role, click the Caption Role button, then choose a caption format from the pop-up menu: iTT, CEA-608, or SRT. A new caption role appears in the Caption Roles list in the format you chose. You can change the name of a role at any time by clicking it. By default, Final Cut Pro creates a caption language subrole based on the preferred language setting in macOS System Preferences. For example, if macOS is set to English, Final Cut Pro creates a subrole for the English language. To change the preferred language setting, choose Apple menu > System Preferences, then click Language & Region. 4. Type a name for the caption role. Final Cut Pro User Guide 447 5. To add another language subrole, move the pointer over the caption role in the Captions pane, click the Language button, then choose a language from the pop-up menu. The new language subrole appears in the list below the role. To delete a caption role or a language subrole, move the pointer over the role or subrole, then click the Delete button (–) to the left of the role or subrole name. 6. Click Apply. The caption roles and subroles you created are now available to any project in the library. To create the actual captions and assign them to subroles, see Create captions, below. Note: Choosing a language does not affect what kind of characters can be typed into the captions. Additional steps may be required for some languages. See the macOS Help topic Type in another language with input sources. Create captions For the most efficient workflow, make sure the dialogue and related audio in your project are “locked” (completely finished) before you create, sync, or edit the captions. For example, if you were to add captions and then make changes to dialogue clips later, you might cause the captions to go out of sync with the audio. 1. In the Final Cut Pro timeline, position the playhead where you want a caption to appear. 2. Choose Edit > Captions > Add Caption (or press Option-C, or Control-Option-C if the caption editor is already open). A new caption clip appears at the top of the timeline (in a dedicated caption lane), and the caption editor opens. The caption is connected to the primary storyline at the playhead position. If a connected clip at the playhead position is selected, the caption is connected to that clip instead. See Connect a caption to a connected clip. Important: If you move clips earlier or later in the timeline, any connected captions move with those clips. If you delete clips, any connected captions are deleted. Final Cut Pro User Guide 448 3. Type text for your caption in the caption editor. For information about adjusting a caption’s text style, see Format caption text. 4. Do any of the following: • Create additional captions: Repeat steps 1 through 3 for each new caption. • Edit a caption’s text: Double-click the caption in the timeline (or select it and press Control-Shift-C), then enter your changes in the caption editor. Tip: You can also double-click a caption in the Captions pane of the timeline index to open it in the caption editor. If your caption doesn’t conform to the specifications of the caption format you chose (for example, if the caption is too long), the caption turns red in the timeline and in the Captions pane of the timeline index, and a warning message appears in the inspector. See the Apple Support article Learn about Final Cut Pro caption validation. Note: When the caption editor is open, many single-key keyboard shortcuts (such as J, K, L, I, O, and Space bar) are interpreted as text characters rather than as shortcuts. To use these shortcuts in the caption editor, add the Control key. For example, to play in reverse when the caption editor is open, press Control-J. • Navigate between captions: Click the arrows on either side of the caption editor (or press Command-Right Arrow or Command-Left Arrow). • Adjust a caption’s duration: Drag its start point or end point. See Arrange and trim caption clips in the timeline. You can also use powerful trimming techniques with caption clips. See Cut clips in two and Extend or shorten clips. Final Cut Pro User Guide 449 • Adjust a caption’s sync with the clip it’s connected to: Drag the caption left or right in the timeline. (When you drag a caption clip, it overwrites adjacent captions.) Import captions into Final Cut Pro You can import CEA-608, iTT, or SRT caption files directly into your project. Each caption has text content and formatting information, as well as start and end times that Final Cut Pro uses to place the caption at the correct point in the timeline. You can also import source media files that have embedded CEA-608 captions and then extract the captions for use in your Final Cut Pro project. Import captions directly into a project in the timeline 1. Open an existing project in the Final Cut Pro timeline. 2. Choose File > Import > Captions. 3. In the dialog that appears, navigate to the file you want to import, and select the file. The file must be a valid CEA-608, iTT, or SRT caption file. CEA-608 files have the filename extension .scc, iTT files have the filename extension .itt, and SRT files have the filename extension .srt. 4. In the Import as Role section, click the pop-up menu on the left and choose a caption role, then click the pop-up menu on the right and choose a language subrole. Final Cut Pro User Guide 450 5. In the Insertion Time section, select one of the following: • Relative to Timeline: Positions captions in the timeline by adding the project’s start time to each caption’s start time. • Absolute: Positions captions in the timeline at each caption’s start time, regardless of the project’s start time. 6. Click Import. The imported captions appear in a caption lane at the top of the timeline. Import a media file with embedded CEA-608 captions 1. In Final Cut Pro, import the media file that contains the embedded captions. Clips with embedded captions have a caption icon in the browser and the timeline. 2. Add the clip to the timeline, and select the clip. 3. Do one of the following: • Choose Edit > Captions > Extract Captions. • Control-click the clip and choose Extract Captions. The extracted captions appear in a caption lane at the top of the timeline. They are assigned a CEA-608 caption role and a language subrole based on the preferred language setting in the Language & Region pane of macOS System Preferences. You can also use this method to extract captions from compound clips and multicam clips. Show or hide captions in Final Cut Pro You can use the Roles pane of the timeline index to show or hide captions in the viewer and the timeline, and to change the active language subrole (the language version that appears in the viewer). You can use the Captions pane of the timeline index to view, navigate, and search captions in your project. Final Cut Pro User Guide 451 Show or hide captions in the viewer 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. The Roles pane appears, with a list of caption roles at the top. If you don’t see any caption roles, it means you haven’t yet added captions to your project. See Create captions. 2. To show captions in the viewer, select the Captions checkbox. You can also click the View pop-up menu in the upper-right corner of the viewer and choose Show Captions from the Captions section. The caption at the timeline playhead position in the active language subrole appears in the viewer, superimposed over the video image. Note: Only one language subrole can be active at a time. See Change the active language. You can show or hide captions in the timeline independently of whether captions are shown in the viewer. To stop displaying captions in the viewer, deselect the Captions checkbox. Show or hide captions in the timeline 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. The Roles pane appears, with a list of caption roles at the top. If you don’t see any caption roles, it means you haven’t yet added captions to your project. See Create captions. Final Cut Pro User Guide 452 2. Do one of the following: • Show or hide all captions in the timeline: Click the Show Captions button on the right side of the main Captions bar. • Show or hide an individual language subrole in the timeline: Click the Show Captions button to the right of the language subrole. The corresponding captions appear in, or disappear from, the timeline. Note: The active language subrole can be displayed in the viewer even if it’s hidden in the timeline. See Show or hide captions in the viewer. Change the active language You can change which caption language version is displayed in the viewer by changing the active language. Only one language version appears in the viewer at a time. 1. To open the Roles pane of the timeline index in Final Cut Pro, do one of the following: • Click the Index button in the top-left corner of the timeline (or press ShiftCommand-2), then click Roles at the top of the timeline index. • Choose View > Timeline Index > Roles. The Roles pane appears, with a list of caption roles at the top. If you don’t see any caption roles, it means you haven’t yet added captions to your project. See Create captions. 2. Select the checkbox to the left of the caption language subrole that you want displayed in the viewer. The captions appear in the viewer, and the corresponding caption clips are highlighted in the timeline. Final Cut Pro User Guide 453 Note: You can display the active language subrole in the viewer even if that subrole is hidden in the timeline. See Show or hide captions in the timeline. View, navigate, and search captions The Captions pane of the timeline index lists the captions in the active language subrole in chronological order. (To change the active language subrole, see Change the active language.) Note: If you don’t see the Captions pane, it means you haven’t yet added captions to your project. See Create captions. 1. To open the Final Cut Pro timeline index, click Index in the top-left corner of the timeline (or press Shift-Command-2). 2. If the Captions pane isn’t already shown, click Captions to open it. 3. Do any of the following: • Navigate the captions: Select a caption in the Captions pane to move the playhead to the beginning of that caption in the timeline. • Show just the captions with errors: Click View Errors. This is helpful if you’re finalizing your captions and you want to focus on correcting the remaining errors. To view all the captions again, click View All. For more information about caption errors, see the Apple Support article Learn about Final Cut Pro caption validation. Final Cut Pro User Guide 454 • Search all captions in the active language subrole: Enter text in the search field. Edit caption text in Final Cut Pro You can edit the text of your captions directly in the timeline using the caption editor, or you can enter changes in the inspector. 1. In Final Cut Pro, do one of the following: • Double-click a caption in the timeline or the timeline index (or select it and press Control-Shift-C). The caption editor opens, showing the caption text. • Select a caption in the timeline and open the inspector. The text of the caption appears in the Caption Text field at the top of the inspector. 2. Make any text changes, including typing additional text, deleting text, and copying and pasting text. To add a new line, press Return. In a CEA-608 caption, you can enter up to four lines of text, with up to 32 characters per line. The four-line maximum also applies to captions with multiple fields. See Add multiple text fields to CEA-608 captions. Final Cut Pro User Guide 455 In an iTT caption, you can enter up to two lines of text. The character limit is determined by several factors, including the aspect ratio and the title-safe area of the display. In an SRT caption, the character limit is the same as in iTT captions. The number of lines of text is limited only by the player or playback device. See the documentation for your intended player or device. If your caption doesn’t conform to the specifications of the caption format you chose (for example, if the caption is too long), the caption turns red in the timeline and in the Captions pane of the timeline index, and a warning message appears in the inspector. See the Apple Support article Learn about Final Cut Pro caption validation. 3. To navigate between captions, click the arrows on either side of the caption editor (or press Command-Right Arrow or Command-Left Arrow). Note: When the caption editor is open, many single-key keyboard shortcuts (such as J, K, L, I, O, and Space bar) are interpreted as text characters rather than as shortcuts. To use these shortcuts in the caption editor, add the Control key. For example, to play in reverse when the caption editor is open, press Control-J. Adjust and arrange captions in Final Cut Pro You use the powerful timeline editing tools in Final Cut Pro to adjust the timing and arrangement of captions in your projects. Arrange and trim caption clips in the timeline You control the timing of captions by arranging and trimming them in the timeline. In many cases, you can move and trim caption clips just as you would other types of clips. Caption clips are always connected clips. Unlike other types of clips, caption clips can also be connected to other connected clips. 1. Open an existing project in the Final Cut Pro timeline. 2. Use the timeline index to show captions in the timeline and the viewer. See Manage captions with the timeline index. 3. Do any of the following: • Adjust a caption’s position in the timeline: Drag it left or right. When you drag a caption clip to adjacent captions, it overwrites the adjacent captions. You can also move caption clips by by entering a timecode value or nudging them with keyboard shortcuts. See Arrange clips in the timeline. • Adjust a caption’s duration: Trim the caption clip by dragging its start or end point. You can also use powerful trimming techniques with caption clips. See Extend or shorten clips. • Roll the edit point between two caption clips: Make a roll edit using the Trim tool. • Cut a caption at any point: Cut the clip using the Blade tool. Final Cut Pro User Guide 456 Connect a caption to a connected clip When you create a caption, it’s connected to the primary storyline at the playhead position. Sometimes, you may want to connect the caption to another connected clip instead—for example, if the connected clip contains dialogue and you want to keep the caption in sync with the dialogue. 1. In the Final Cut Pro timeline, select the caption that you want to connect. 2. Position a connected clip so that it overlaps the caption in the timeline. 3. Option-Command-click the connected clip. The caption is connected to the connected clip at the frame where you clicked. Split multiple-line captions You can quickly split any caption with multiple lines into a series of single-line captions. 1. In the Final Cut Pro timeline, select one or more captions that have multiple lines. 2. Do one of the following: • Choose Edit > Captions > Split Captions (or press Control-Option-Command-C). • Control-click the captions you want to split, then choose Split Captions. Final Cut Pro User Guide 457 The selected captions are replaced with abutting single-line captions, one for each line of text in the original captions. The total duration of the new captions is equal to the duration of the original captions. Join caption clips in the timeline You can combine multiple captions in the timeline into one caption. 1. In the Final Cut Pro timeline, select two or more adjacent caption clips. 2. Do one of the following: • Choose Edit > Captions > Join Captions. • Control-click the captions you want to join, then choose Join Captions. The selected caption clips are replaced with a single caption clip that contains the text from the selected captions. Final Cut Pro User Guide 458 Resolve caption overlaps in the timeline In most cases, overlapping captions in the same language subrole causes an error. If you accidentally overlap captions, the overlapping caption clips turn red in the timeline, and error messages appear in the inspector and the Captions pane of the timeline index. You can fix this problem with the Resolve Overlaps command. Note: It’s OK to overlap iTT captions that are set to Japanese and formatted to appear in different areas of the screen. 1. In the Final Cut Pro timeline, select the overlapping caption clips. Tip: To select all the captions in a language subrole, select any caption, then press Command-A. To select everything in the timeline, press Command-A again. 2. Choose Edit > Captions > Resolve Overlaps. The clips are trimmed so that they no longer overlap. Final Cut Pro User Guide 459 Format caption text in Final Cut Pro You can change the style and formatting of caption text using the inspector. The CEA-608, iTT, and SRT caption standards have varying specifications for text, placement, color, transitions, and so on. Format the text in CEA-608 captions 1. Select one or more CEA-608 caption clips in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 460 The Caption inspector appears, showing caption text formatting controls for the CEA608 format. 3. If you selected a single caption and want to format just a portion of it, select the portion of the caption text that you want to format in the Text field. 4. To select an alignment style for captions with multiple lines of text, click an Alignment button. You can center the text or align it to the left or right. 5. To place captions within the allowable area in the video frame, click a Placement button. You can move the caption left, right, up, or down; move the caption to the left, right, top, or bottom margin; and center the caption horizontally. 6. To set the style of transitions between captions, click the Display Style pop-up menu and choose an option: • Pop-On: No transition (a simple cut between captions). • Paint-On: Starting with the topmost line of text, each line of text in the caption is revealed from left to right, one at a time. • Roll-Up: Each line of text in the caption is revealed at the bottom of the screen using the Paint-On style, and is then animated upward to make room for the next line of text. If you choose the Roll-Up style, a Lines pop-up menu appears. Choose how many lines of text to show at once in the Roll-Up style: 2, 3, or 4 lines. Final Cut Pro User Guide 461 If a series of abutting captions are set to either the Paint-On or the Roll-Up style, their edit points in the timeline become through edits, indicating that the captions will interact. In the example below, all the captions are set to the Roll-Up style. The second caption will push the first caption up, the third caption will push the second caption up, and so on. You can make roll edits on the through edit points to precisely control when the next caption begins to appear. 7. To change caption text to the italic or underline style, click a Formatting button. 8. To change the color of caption text, click a Text Color button. You can select one of eight predefined colors. 9. To set the opacity of the caption text background, click a Text Background Opacity button. You can make the background transparent, semitransparent, or opaque. 10. To set the caption text background color, click a Text Background Color button. You can select one of eight predefined colors. At the bottom of the Caption inspector, you can view information about the selected caption or captions: • Timing: Displays start and end times and duration if you selected a single caption. • Validation: Displays an error message if the selection does not conform to the specifications of the CEA-608 caption format, or displays a green checkmark if no problems are detected. Note: Styling and formatting caption text can add invisible formatting tags, which may cause captions to exceed the limit of 32 characters per line. Format the text in iTT captions 1. Select one or more iTT caption clips in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 462 The inspector appears, showing caption text formatting controls for the iTT format. 3. If you selected a single caption and want to format just a portion of it, select the portion of the caption text that you want to format in the Caption Text field. 4. To change caption text to the bold, italic, or underline style, click a Formatting button. 5. To change the color of caption text, click the Text Color color well to open the Colors window, or click the down arrow to open a pop-up color palette. See Basic color controls and Use the pop-up color palette. 6. To place captions at the top or bottom of the video frame, click a Placement button. For certain languages with vertical writing, the iTT format allows vertical text on the left and right margins, as well as up to four regions of text on the screen at the same time (top, bottom, left, and right). Final Cut Pro User Guide 463 At the bottom of the Caption inspector, you can view information about the selected caption or captions: • Timing: Displays start and end times and duration if you selected a single caption. • Validation: Displays an error message if the selection does not conform to the specifications of the iTT caption format, or displays a green checkmark if no problems are detected. Format the text in SRT captions Important: Because of the absence of text formatting specifications in the SRT standard, any formatting style (such as bold, italic, or underline) that you apply to SRT captions in Final Cut Pro may not appear correctly in your intended player or playback device. For this reason, you can choose to remove all text formatting from SRT captions when you export or share them. See Export captions. 1. Select one or more SRT caption clips in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. The inspector appears, showing caption text formatting controls for the SRT format. 3. If you selected a single caption and want to format just a portion of it, select the portion of the caption text that you want to format in the Caption Text field. 4. To change caption text to the bold, italic, or underline style, click a Formatting button. 5. To change the color of caption text, click the Text Color color well to open the Colors window, or click the down arrow to open a pop-up color palette. See Basic color controls and Use the pop-up color palette. Final Cut Pro User Guide 464 At the bottom of the Caption inspector, you can view information about the selected caption or captions: • Timing: Displays start and end times and duration if you selected a single caption. • Validation: Displays an error message if the selection does not conform to the specifications of the SRT caption format, or displays a green checkmark if no problems are detected. Save or apply the default style 1. Select one or more caption clips in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. In the Caption inspector, click the pop-up menu to the far right of the Display heading and choose one of the following: • Save Style as Default: Saves the current text style as the default setting. • Apply Default Style: Applies the default text style to the selected captions. • Reset Default Style: Resets the default text style to the original setting. Add multiple text fields to CEA-608 captions You can split a CEA-608 caption into multiple fields. For example, if two people are speaking at the same time, you can create a text field for each speaker. Each caption can have up to four fields, and you can format each field independently of the others. CEA-608 captions are limited to four lines, but you can distribute the lines in any combination. For example, a caption could have three lines in one field and one line in a second field, or it could have four fields with one line each. 1. Select a CEA-608 caption clip in the Final Cut Pro timeline. 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 465 3. Click the pop-up menu to the far right of the Caption Text heading, then choose Add Text Field. 4. Enter text for the second field in the additional Caption Text section that appears in the inspector. As you type, the text appears in a new field in the viewer. 5. To position the new text field in the video frame, click a Placement button. 6. Use the text formatting controls in the Display section to adjust the look of the text in the new field. See Format the text in CEA-608 captions. 7. To add additional text fields, repeat steps 3 through 6. To remove a text field, click the pop-up menu to the far right of the Caption Text heading for that field, then choose Remove Text Field. Add special characters to CEA-608 captions You can add special characters (such as the trademark symbol or the degree symbol) to CEA-608 captions. 1. Select a CEA-608 caption clip in the Final Cut Pro timeline. Final Cut Pro User Guide 466 2. To open the Caption inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. In the Caption inspector, position the insertion point in the Text field where you want the special character to appear. 4. Click the pop-up menu to the far right of the Caption Text heading, choose Special Characters, then choose the character from the submenu. Create multilingual captions in Final Cut Pro The easiest way to create captions for a project in multiple languages is to duplicate a finished set of captions and then translate the captions in the duplicate set. This way, you can place the captions and set their timing once, and then reuse that initial work as many times as necessary. 1. In Final Cut Pro, complete the captions for the entire project in the first language subrole. For instructions, see Create captions. Final Cut Pro User Guide 467 2. Select all the captions that you created. Tip: To select all the captions in a language subrole, select any caption, then press Command-A. To select everything in the timeline, press Command-A again. 3. Do one of the following: • Choose Edit > Captions > Duplicate Captions to New Language, then choose a language from the submenu. • Control-click the selected captions, choose Duplicate Captions to New Language, then choose a language from the submenu. The new language appears as a new caption lane in the timeline. Note: Choosing a language does not affect what kind of characters can be typed into the captions. Additional steps may be required for some languages. See the macOS Help topic Type in another language with input sources. 4. To translate the duplicate captions, double-click a caption (or select it and press Control-Option-C), then type the translation in the caption editor. Final Cut Pro User Guide 468 5. Do any of the following: • Navigate between captions: Click the arrows on either side of the caption editor (or press Command-Right Arrow or Command-Left Arrow). Note: When the caption editor is open, many single-key keyboard shortcuts (such as J, K, L, I, O, and Space bar) are interpreted as text characters rather than as shortcuts. To use these shortcuts in the caption editor, add the Control key. For example, to play in reverse when the caption editor is open, press Control-J. • Adjust a caption’s duration: Trim it by dragging its start point or end point. See Arrange and trim caption clips in the timeline. You can also use powerful trimming techniques with caption clips. See Cut clips in two and Extend or shorten clips. • Adjust a caption’s sync with the clip it’s connected to: Drag the caption left or right in the timeline. (When you drag a caption clip, it overwrites adjacent captions.) Convert captions to another format In Final Cut Pro, you can convert captions from one caption standard to another—for example, from CEA-608 to iTT. There are two ways to convert captions to another format in Final Cut Pro. You can use the Duplicate Captions to New Format command to create a duplicate set of captions in any format you choose, while keeping a copy of the captions in the original format. In the second method, you convert selected captions by assigning them to a new caption role in the format you want. WARNING: When you convert between formats, some text or formatting may be lost. For this reason, the duplication method is recommended in most cases. Create duplicate captions in another format This conversion method retains a copy of the captions in the original format and is a good way to quickly add languages in a new format. 1. Select the captions that you want to convert. Tip: To select all the captions in a language subrole, select any caption, then press Command-A. To select everything in the timeline, press Command-A again. 2. Do one of the following: • Control-click the selected captions, choose Duplicate Captions to New Format, then choose the new format from the submenu. • Choose Edit > Captions > Duplicate Captions to New Format, then choose the new format from the submenu. A duplicate language subrole is created in the caption format you chose, and appears in the timeline as the active language subrole. Final Cut Pro User Guide 469 Convert captions to another format This conversion method does not keep a copy of the captions in the original format. Use this method when you want to permanently convert captions to a new format (after you’ve made a backup of your project). 1. In Final Cut Pro, create a caption role and any subroles for the caption format that you want to convert to. 2. Select the captions that you want to convert. Tip: To select all the captions in a language subrole, select any caption, then press Command-A. To select everything in the timeline, press Command-A again. 3. Do one of the following: • Control-click the selected captions, choose Assign Caption Roles, then choose the caption role that you created in step 1. • Open the inspector, then click the pop-up menu at the top of the Caption inspector and choose the caption role that you created in step 1. • If you’re converting a single caption, double-click the caption, then click the pop-up menu at the top of the caption editor and choose the caption role that you created in step 1. Note: When converting captions to another format, make sure to choose a main role, not a language subrole. The language subrole is converted to the new format. In the example below, the German language subrole was converted from CEA-608 to iTT. Export captions with Final Cut Pro You can export captions as separate “sidecar” files with your finished media files, or, if your captions are in the CEA-608 format, you can embed them directly in the output media file. You can export captions as separate files directly from the File menu. You can also export or embed captions using Final Cut Pro share destinations that include options for exporting captions. Many share destinations also include an option to burn in captions, so they’re permanently visible. Final Cut Pro User Guide 470 Export captions using the File menu 1. Open the project in the Final Cut Pro timeline, then choose File > Export Captions. 2. In the Save As field, type a name for the exported caption file. 3. Navigate to a folder for the caption file. 4. In the Roles section, select the checkboxes for the language subroles you want to export as caption files. A separate caption file is created for each language subrole you select. 5. In the Start Time section, select one of the following: • Relative to Timeline: Calculate each caption’s start time by subtracting the project’s start time. • Absolute: Use each caption’s actual start time, regardless of the project’s start time. 6. If you’re exporting SRT captions, select or deselect the Include Formatting checkbox in the SRT section to retain or remove any text formatting applied to the captions in Final Cut Pro. In most cases, it’s recommended that you deselect this option to remove text formatting. Because of the absence of text formatting specifications in the SRT standard, any formatting style (such as bold, italic, or underline) that you apply to SRT captions in Final Cut Pro may not appear correctly in your intended player or playback device. 7. Click Export. Export captions using share destinations A number of Final Cut Pro share destinations include options for exporting captions. See the following topics: • Share to Apple devices • Export final mastering files • Share on the web • Export MXF files • Create optical discs and disk images • Share using Compressor In addition, the Save Current Frame, Image Sequence, and HTTP Live Streaming destinations allow you to burn in captions so they’re permanently visible, but they don’t support exporting captions as separate files or embedding captions. See the following topics: • Export still images • Export image sequences • Export live-streaming files Final Cut Pro User Guide 471 Group clips with compound clips Intro to compound clips in Final Cut Pro With Final Cut Pro, you can create compound clips, which allow you to group any combination of clips in the timeline or the browser and nest clips within other clips. Compound clips can contain video and audio clip components, clips, and other compound clips. Effectively, each compound clip can be considered a mini project, with its own distinct project properties. Compound clips function just like other clips: you can add them to your project, trim them, retime them, and add effects and transitions. Icons appear on compound clips in the browser and the timeline. Compound clips have many uses. You can: • Simplify a complicated project by creating a separate compound clip for each major section. • Sync a video clip with one or more audio clips and then combine the clips into a compound clip, to avoid inadvertently moving them out of sync. • Open any clip, edit its contents in the timeline, and then close it. • Quickly create a compound clip containing the clips in an event, based on the browser sort order. • Use a compound clip to create a section of a project with settings different from those of the main project. Final Cut Pro User Guide 472 The following example shows how a project in the timeline could be simplified using compound clips: Compound clips have the following characteristics: • You create compound clips in the browser or in the timeline. • Every compound clip in the timeline has a “parent” compound clip in the browser. • When you edit the contents of any compound clip, you are in fact editing the parent compound clip from the browser. Any changes you make to the compound clip are inherited by all of its child clips. For example, if you delete a title clip from the contents of a parent compound clip, the title clip is deleted from all child clips. You can create an independent compound clip from an existing compound clip. For example, if you have a compound clip of a standard title sequence for a TV or podcast series, you can create unique (independent) instances of the compound clip for each episode without affecting other instances of the title sequence. Final Cut Pro User Guide 473 You can also create a snapshot of the entire project. Project snapshots are selfcontained backup versions that include compound or multicam parent clips. Duplicating a project as a snapshot makes copies of the compound or multicam parent clips and embeds them in the duplicate project so that it’s not affected by changes to any other instances of the clips. See Duplicate projects and clips. Create compound clips in Final Cut Pro You can create a compound clip from existing clips in the timeline or the browser, or you can create a new, empty compound clip in the browser and add clips to it in the timeline. You can also break a compound clip into its component parts in the timeline, so that the items are no longer grouped. Create a compound clip from existing clips 1. Select one or more clips in the Final Cut Pro timeline or browser. The selected clips can be any combination of contiguous or noncontiguous clips, compound clips, primary storyline clips, or connected clips. 2. Do one of the following: • Choose File > New Compound Clip (or press Option-G). • Control-click the selection and choose New Compound Clip. Note: When you add a compound clip to the timeline or create a compound clip from existing clips in the timeline, you create a direct and active relationship between a parent compound clip in the browser and the child compound clip in the timeline. If the parent clip doesn’t already exist in the browser, Final Cut Pro creates one. When you edit the contents of a compound clip (for example, by trimming or adding effects to clips within the compound clip), you are in fact editing all instances of that compound clip, including the parent compound clip in the browser. Final Cut Pro User Guide 474 The way clips are grouped within the compound clip depends on where you selected the clips: • If you selected clips in an event: Final Cut Pro creates a new compound clip in the event (in addition to the selected clips) and places duplicates of the selected clips in the new compound clip horizontally, in the order in which you selected them. (For more information about creating a compound clip in the browser, see Create an empty compound clip, below.) Final Cut Pro User Guide 475 • If you selected clips in the timeline: Final Cut Pro places the selected clips in the new compound clip exactly as they are laid out in the timeline. The new compound clip inherits the frame size and frame rate of the current project. Create independent compound clips from existing compound clips 1. Select one or more compound clips in the Final Cut Pro timeline. 2. Choose Clip > Reference New Parent Clip. Final Cut Pro creates a new parent compound clip in the browser for each referenced parent clip in your selection. This command breaks the relationship between selected compound clips in the timeline and their original parent compound clips (as well as any child clips of the original parent clips, in all projects). Create an empty compound clip You can create new, empty compound clips and then add clips to them. Each compound clip can be considered a mini project, with its own distinct project properties. 1. In the Libraries sidebar in Final Cut Pro, select an event to which you want to add the compound clip. Final Cut Pro User Guide 476 2. Choose File > New Compound Clip. In the window that appears, type a name for the compound clip in the Name field. 3. To further customize settings for your compound clip, click Use Custom Settings. Note: Final Cut Pro shows the Automatic Settings by default but retains the settings you used last, so this step may be unnecessary. 4. If you want the compound clip’s timecode to start at a value other than the lowest timecode value in the selected clips (the default), type that timecode value in the Starting Timecode field. 5. To adjust video, audio, and rendering settings, click Custom. Unless you have a specific requirement for the compound clip you’re creating, it’s best to leave “Set automatically based on first video clip” and “Use default settings” selected. 6. Click OK. The new compound clip appears in the event. Edit the contents of a standard clip in the timeline You can edit the contents of a standard clip. • Select a clip in the Final Cut Pro browser or timeline, then choose Clip > Open Clip. The timeline displays the contents of the clip. Most standard clips include a video component, an audio component, or both. You can’t edit the contents of these video and audio components. You can add media to the contents of this clip (by adding clips to this timeline). To close this clip, choose View > Timeline History Back. Note: Because editing in Final Cut Pro is nondestructive, any changes you make to the contents of standard or compound clips do not affect the corresponding source media files, which remain unchanged on your Mac or storage device. See Media files and clips. Break apart clip items You can break apart a compound clip or a standard clip to convert its contents to individual clips in the timeline. • Select a compound clip or a standard clip in the Final Cut Pro timeline, then choose Clip > Break Apart Clip Items (or press Shift-Command-G). Final Cut Pro replaces the clip selected in the timeline with the individual items that made up the clip. If you selected a compound clip, its contents revert back to the original clips that made up the compound clip. However, the parent compound clip remains in the browser. If the selected clip is a standard clip, the contents appear as individual clips in the timeline. Most standard clips include a video component, an audio component, or both. The audio appears as a connected clip. Final Cut Pro User Guide 477 Edit compound clips in Final Cut Pro You can open up compound clips and edit their component parts in a separate timeline, and you can easily navigate up and down a series of compound clip levels. You can also open and edit a compound clip from within an event. Note: When you edit the contents of a compound clip (for example, by trimming or adding effects to clips within the compound clip), you are in fact editing all instances of that compound clip, including the parent compound clip in the browser. Any changes you make to the internal parts of the compound clip are inherited by all of its child clips, in all projects. These changes can include added or deleted clips, trimming adjustments, and video or audio effects such as color correction, clip speed retiming, and so on. For example, if you delete a title clip from a parent compound clip, the title clip is deleted from all child compound clips. Open a compound clip for editing In Final Cut Pro, do one of the following: • Select a compound clip in the timeline or the browser, then choose Clip > Open Clip. • Double-click the video portion of a compound clip in the timeline or the browser. • Click the compound clip icon in the top-left corner of a compound clip in the timeline. The compound clip opens in a new timeline view, with its contents ready for editing. Note: Because editing in Final Cut Pro is nondestructive, any changes you make to the contents of standard or compound clips do not affect the corresponding source media files, which remain unchanged on your Mac or storage device. See Media files and clips. Final Cut Pro User Guide 478 Navigate compound clip levels using menu commands You can navigate up or down one or more levels of a compound clip. 1. Open a compound clip in Final Cut Pro. 2. Do any of the following: • Move forward (down one level): Choose View > Timeline History Forward, or press Command-Right Bracket (]). • Move back (up one level): Choose View > Timeline History Back, or press CommandLeft Bracket ([). Navigate compound clip levels using the arrow buttons In Final Cut Pro, do one of the following: 1. Open a compound clip in Final Cut Pro. 2. Do one of the following: • Click the left and right arrows at the top of the timeline. • Click and hold the right or left arrow in the top-left corner of the timeline, then choose a level. The left arrow effectively closes the current compound clip and opens its parent, with the top level being the project or event containing the compound clip. If there’s no history available to navigate, both the left and right arrows are dimmed. Make sure all contents of a compound clip appear in your movie When you’re editing the contents of a compound clip, Final Cut Pro indicates the boundary of the compound clip with a darker crosshatched area to the left of the start point of the clip and to the right of the end point of the clip. Final Cut Pro User Guide 479 If you add clips to the contents of the compound clip, any parts of any clips that extend into the dark gray area do not appear in your project. To allow the new clip material to appear in your Final Cut Pro project, do one of the following: • Reduce the total duration of the other clips inside the compound clip. For example, you could trim one or more clips inside the compound clip. • Close the compound clip to navigate up one level, then extend the total duration of the parent clip (the “outside shell” of the compound clip) in the timeline. For more information, see Intro to trimming. Edit with multicam clips Intro to multicam editing in Final Cut Pro You can use Final Cut Pro to edit footage from multicamera shoots or other synced footage in real time. For example, if you shot a live concert or a wedding with four different cameras, you can sync the footage from each camera angle into a single multicam clip and cut between the angles in real time. The angles in a multicam clip are synced by a common sync point, a frame that you can recognize (visibly or audibly) in each of the angles you’re syncing. When you add a multicam clip to the timeline, the angle that appears in the viewer when you play your project is called the active angle. While the active angle plays in the viewer, you can also view all angles playing simultaneously in the angle viewer and easily cut and switch between them. Final Cut Pro User Guide 480 Working with multicam clips in Final Cut Pro is a flexible and fluid process. At any time, you can add angles to or remove angles from a multicam clip, and you can easily adjust the sync between angles. You can also group unrelated footage together for real-time montage editing (such as for music videos). For example, if you’re editing a music video, you could add several angles of abstract visuals and cut to those angles at specific places in the music. You can even use photos (from a still camera) in a multicam clip. If the date and time (Content Created) information matches the contents of the other angles, the photos are automatically adjusted in duration to “fill in” the angle. Multicam clips have the following characteristics: • You create multicam clips in the browser only, from existing event clips. • You edit and adjust multicam clips in the angle editor, which looks similar to the timeline. • When you add a multicam clip to the timeline, you create a direct and active relationship between the “parent” multicam clip in the browser and the “child” multicam clip in the timeline. • When you open any multicam clip in the angle editor (whether from the browser or the timeline) you are in fact opening the parent multicam clip from the browser. Any changes you make to a multicam clip in the angle editor are inherited by all of its child clips, in all projects. These changes include sync or trimming adjustments, clip speed retiming, video or audio effects such as color correction, and added or deleted angles. For example, if you delete an angle from a parent multicam clip, the angle is deleted from all child clips. For more information about the angle editor, see Sync and adjust camera angles. Tip: You can create a “snapshot” backup of the entire project to protect it from accidental changes. Project snapshots are self-contained backup versions that include multicam or compound parent clips. Duplicating a project as a snapshot makes copies of the multicam or compound parent clips and embeds them in the duplicate project so that it’s not affected by changes to any other instances of the clips. See Duplicate projects and clips. Final Cut Pro User Guide 481 Final Cut Pro multicam editing workflow The process for creating a multicam project is outlined below. The procedures are presented in rough chronological order, but you can rearrange the order to suit your workflow. Step 1: Shoot an event with multiple cameras and record appropriate sync information A multicamera shoot uses multiple cameras to record the same subject or event from different angles and distances. For multicam projects, it’s a good idea to set the date, the time, and the time zone on your camcorder or recording device before you shoot footage. This provides useful information to Final Cut Pro during the automatic multicam clip creation process. In professional multicamera shoots, each camcorder or video recorder receives the same timecode from a central timecode generator, or you can jam sync the timecode generator of each camera at the beginning of the shoot. If you’re using consumer camcorders, which can’t accept external timecode, you need to record a visible or audible cue, such as a clapboard closing or a camera flash, on all cameras. You can use this cue to sync the angles in your multicam clips. Because you can use the sophisticated automatic audio sync feature in Final Cut Pro to help ensure multicam sync accuracy, it makes sense to record audio on every camcorder and recording device in your multicam production. (Clear audio recordings provide the best results.) Step 2: Import media into Final Cut Pro for a multicam edit Although importing media for multicam projects is the same as importing for any other project, there are steps you can take during importing to help streamline the multicam workflow. Step 3: Assign camera names and multicam angles You can use the Camera Name and Camera Angle metadata tags to automate and organize your multicam workflow. It’s recommended (but not required) to apply these tags to your event clips before you create an actual multicam clip. Step 4: Create multicam clips You create multicam clips from selected event clips (similar to the way you create auditions and compound clips in the browser). Whether you do it manually or have Final Cut Pro do it for you automatically, creating a multicam clip involves three fundamental steps: • Create angles (containing one or more clips each). • Arrange the order of clips within each angle. • Sync the angles using a common sync point. If you know what kind of metadata your source media has, you can create multicam clips using manual methods even faster than with the automatic methods. See Add camera names and angles and Create multicam clips. Final Cut Pro User Guide 482 Step 5: Cut and switch between angles in the angle viewer After you create a multicam clip, you can watch all angles simultaneously in the angle viewer while switching or cutting to different angles in real time. You can cut and switch video and audio at the same time or independently. For example, you can use the audio from angle 1 while switching the video between angles 1 to 4. Step 6: Sync and adjust angles in the angle editor You can open multicam clips in the angle editor to adjust the sync and the angle order or to add or delete angles. You can also use the angle editor to make edits to the individual clips inside a multicam clip (such as trimming, making color corrections, adding transitions, and so on). Step 7: Edit multicam clips in the timeline You can switch multicam angles directly in the timeline or the inspector, without opening the angle viewer. Although multicam clips have some unique properties, you can edit them in the timeline in the same way you edit any other clips. Import media for multicam edits in Final Cut Pro When you import media for a multicam project, you can give the camcorder or file-based recording device a name. Final Cut Pro uses this Camera Name tag to sort the source clips within a multicam clip during the automatic multicam clip creation process (see Create multicam clips). You can also add the Camera Name property after you import. See Add camera names and angles. If you anticipate having multicam clips with numerous angles, select “Use proxy media” in Playback preferences to maintain top performance during your multicam edit. You can generate the necessary proxy versions of your clips during the import process. If you have only a few angles in your multicam edit, you can make optimized versions of your media during import using the Apple ProRes 422 codec. Or, if you prefer, you can select “Create optimized media for multicam clips” in Playback preferences to generate optimized media automatically every time you create a multicam clip. Name your camera 1. Connect your camera or recording device to your Mac. 2. In Final Cut Pro, choose File > Import > Media (or press Command-I). 3. In the Media Import window, select your camcorder or recording device in the list of devices on the left, if it’s not already selected. 4. Click it again, then enter a name. Final Cut Pro uses the name you enter as the Camera Name metadata property for all clips that you import from this device. Note: Most modern camcorders and recording devices (including all iOS and iPadOS devices) record a Camera ID tag. Final Cut Pro imports the Camera ID metadata automatically when you import from a file-based device and can use this information to automatically build multicam angles. Final Cut Pro User Guide 483 Add camera names and angles in Final Cut Pro The Camera Angle and Camera Name properties are flexible metadata tags that you can use to organize your multicam workflow. Although you can assign metadata to clips at any time, it makes the most sense to assign the Camera Angle and Camera Name tags before you use the clips to create multicam clips. The Camera Angle tag can help you determine and track which clips appear in which angles. The Camera Name tag can be applied during import and is useful in a variety of scenarios, such as in color correction. In Final Cut Pro, you can create multicam clips automatically or manually. If you use the automatic method for creating angles in the multicam clip, Final Cut Pro looks for metadata in the selected clips in the following order: • Camera Angle metadata • Camera Name metadata • Camera ID metadata Note: The Camera ID tag is generated by most modern camcorders and recording devices (including all iOS and iPadOS devices). The Camera ID metadata is imported automatically when you import from a file-based device. Final Cut Pro uses the Camera Angle, Camera Name, and Camera ID metadata to place clips in the correct angle. If none of this information is found, a separate angle is created for each selected clip. In Final Cut Pro, do one of the following: • Select one or more clips in the browser or the timeline, open the Info inspector, then enter text in the Camera Angle field or the Camera Name field. • In the browser in list view, enter text in the Camera Angle column or the Camera Name column for any clip. For more information about the browser list view, see Intro to browser views. Note: If you use the automatic method for creating angles, Final Cut Pro uses any Camera Angle tags in the selected clips to name the angles in the resulting multicam clip. If no Camera Angle tags are present, Final Cut Pro uses Camera Name, Name (clip name), or Camera ID metadata to name angles. You can rename angles in the angle editor. See Sync and adjust camera angles. Create multicam clips in Final Cut Pro Creating multicam clips is similar to creating auditions and compound clips in the browser. Multicam clips can be made up of diverse media sources (different formats, frame rates, and so on). There can be multiple clips in any given angle of a multicam clip. You can have Final Cut Pro create multicam clips for you automatically, or you can create the clips manually. Final Cut Pro User Guide 484 If you know what kind of metadata your multicam media has, you can create multicam clips using manual methods faster than with the automatic methods. The automatic methods use sophisticated automatic audio sync technology to ensure sync accuracy (but at the expense of processing time). You can turn off automatic audio sync if it’s not needed. For example, if you’ve recorded accurate timecode in every clip, Final Cut Pro can create your multicam clip automatically without the audio sync feature. Create a multicam clip automatically 1. In the Final Cut Pro browser, select the clips you want to include in the multicam clip. 2. Do one of the following: • Choose File > New > Multicam Clip. • Control-click the selection and choose New Multicam Clip. 3. If the multicam automatic settings aren’t shown in the window that appears, click Use Automatic Settings in the lower-left corner of the window. The multicam automatic settings appear. Note: The automatic settings are shown by default, but if the last multicam clip you created used custom settings, those settings are shown. 4. Type a name for the multicam clip in the Multicam Clip Name field. 5. Click the In Event pop-up menu and choose the event in which you want to create the new multicam clip. 6. If you want the multicam clip’s timecode to start at a value other than the earliest timecode value in the selected clips (the default), type a timecode value in the Starting Timecode field. 7. To sync angles automatically using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms in each angle. This is the same audio sync technology that you can use to automatically sync clips together into a compound clip. Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. Final Cut Pro User Guide 485 8. Click OK. Final Cut Pro creates a new multicam clip in the event you chose and places duplicates of the selected clips in the new multicam clip. Create a multicam clip with custom settings 1. In the Final Cut Pro browser, select the clips you want to include in the multicam clip. 2. Do one of the following: • Choose File > New > Multicam Clip. • Control-click the selection and choose New Multicam Clip. 3. In the window that appears, type a name for the multicam clip in the Multicam Clip Name field. 4. Click the In Event pop-up menu and choose the event in which you want to create the new multicam clip. 5. If you want the multicam clip’s timecode to start at a value other than the earliest timecode value in the selected clips (the default), type a timecode value in the Starting Timecode field. 6. To sync angles automatically using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms in each angle. This is the same audio sync technology that you can use to automatically sync clips together into a compound clip. Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. Final Cut Pro User Guide 486 7. If the multicam custom settings aren’t shown, click Use Custom Settings. The custom settings appear. Note: The automatic settings are shown by default, but if the last multicam clip you created used custom settings, those settings are shown. 8. Click the Angle Assembly pop-up menu and choose how the angles in the multicam clip are created: • Automatic: Final Cut Pro creates the angles automatically. • Camera Angle: Final Cut Pro creates angles in the multicam clip based on the Camera Angle property of the selected clips. • Camera Name: Final Cut Pro creates angles in the multicam clip based on the Camera Name property of the selected clips. • Clips: Final Cut Pro creates a separate angle for each selected clip, using the Name property in each clip to name the angle. 9. Click the Angle Clip Ordering pop-up menu and choose how angles are ordered within the multicam clip: • Automatic: Final Cut Pro orders the clips within each angle automatically. If there’s more than one clip per angle, Final Cut Pro inserts gap clips between the clips, as needed, to achieve the correct timing and spacing. • Timecode: Final Cut Pro orders the clips within each angle using timecode recorded in the clips. If you recorded timecode in your clips, choose this option. It’s the fastest and most frame-accurate method of ordering clips. Final Cut Pro User Guide 487 • Content Created: Final Cut Pro orders the clips within each angle using the date and time information recorded by your camcorder or video recording device. The Content Created method can position clips within 1-second accuracy (because in most camcorders the smallest unit in date and time information is 1 second). If you choose this clip-ordering method, consider making your multicam clip frameaccurate by selecting “Use audio for synchronization” (described in step 6) or manually syncing your angles in the angle editor. Tip: At any time, you can change the Content Created date and time of your source clips in the browser. Just select one or more clips and choose Modify > Adjust Content Created Date and Time. 10. Click the Angle Synchronization pop-up menu and choose how angles are synced in the multicam clip: • Automatic: Final Cut Pro syncs the angles automatically (using one or more of the following methods). • Timecode: Final Cut Pro syncs the angles based on the timecode recorded in the clips. For more information about recording timecode, see Multicam editing workflow. Note: This option is not available when the drop frame patterns in the selected clips do not match. • Content Created: Final Cut Pro syncs the angles based on the date and time information recorded by your camcorder or video recording device. • Start of First Clip: Final Cut Pro uses the first frame in each angle as the sync point. Final Cut Pro User Guide 488 Tip: The Start of First Clip method is useful if you want to use specific range selections of your source clips only. In the browser, add keywords or the favorite rating to the range selections you want to use, then filter or search for the clips. When you create your multicam clip, Final Cut Pro uses only the media showing in the filtered view. • First Marker on the Angle: Final Cut Pro uses the first marker in each angle as the sync point. Tip: With this method, you can use the first marker to define a region that can be fine-tuned with the “Use audio for synchronization” option (described above). In other words, you don’t need to place the marker exactly—just close enough so that the automatic audio sync feature can sync the angles the rest of the way. 11. If you want to change the video properties settings, click the Video pop-up menu, choose Custom, then change the settings as appropriate. Note: By default, Final Cut Pro analyzes the selected clips and configures these settings according to the most common clip properties among those clips. 12. If you want to change the rendering codec, click the Rendering pop-up menu and choose a different codec. 13. To change the rendering color space for your project, click the Color Space pop-up menu and choose a color space. When the Color Processing setting in the Library Properties inspector is set to Wide Gamut, you can choose either Standard - Rec. 709 or Wide Gamut - Rec. 2020. Otherwise, the rendering color space is chosen for you based on other settings, such as Video Format. For example, setting the video format to NTSC SD automatically sets the color space to Standard - Rec. 601 (NTSC). 14. If you want to change the audio channel configuration or sample rate, use the Channels pop-up menu or the Sample Rate pop-up menu, respectively. 15. Click OK. Final Cut Pro creates a new multicam clip in the event and places duplicates of the selected clips in the new multicam clip. Final Cut Pro User Guide 489 Cut and switch camera angles in Final Cut Pro After you create a multicam clip, you can watch all angles simultaneously in the angle viewer while switching or cutting to different angles in real time. This allows you to cut an entire movie as if it were live, and then fine-tune your edits in the timeline just as you would for any other project. The angle viewer is both a display and an interactive interface for making quick cut and switch decisions as you play back your multicam clips and projects. Angles appear in banks of 2, 4, 9, or 16 angles. Play back a multicam clip in the angle viewer 1. To open the Final Cut Pro angle viewer, do one of the following: • Choose View > Show in Viewer > Angles (or press Shift-Command-7). • Click the View pop-up menu in the top-right corner of the viewer and choose Show Angles. If you’re viewing a multicam clip in the browser, you have the option to show the event viewer next to the viewer. To show multicam angles in the event viewer, do one of the following: • Choose View > Show in Event Viewer > Angles. • Click the View pop-up menu in the top-right corner of the event viewer and choose Angles from the Show section. Final Cut Pro User Guide 490 2. Use the skimmer or the playhead to play back a multicam clip in the browser or the timeline. The angle viewer appears in the upper part of the Final Cut Pro window. Cut and switch angles in the angle viewer You can cut and switch angles “on the fly” (while playing back your project), or you can skim to specific points in the timeline and then cut and switch. You can also use a combination of those two methods. 1. To open the Final Cut Pro angle viewer, choose View > Show in Viewer > Angles (or press Shift-Command-7). 2. Add the multicam clip you want to cut and switch to the timeline. Note: The cut and switch feature works on timeline clips only. 3. Do one of the following: • Position the playhead where you want playback to start, then press the Space bar to play back the multicam clip. • Skim the timeline to the frame where you want to cut and switch to a different angle. 4. In the angle viewer, move the pointer over the angle that you want to switch to. Final Cut Pro User Guide 491 As you move the pointer over the angles in the angle viewer, the pointer changes to the Blade tool, indicating that a cut (and switch) will occur when you click. 5. Do one of the following: • Cut and switch: Click the angle you want to switch to. (Or press any number key to cut and switch to the corresponding angle of the current bank. For example, press 5 to cut and switch to angle 5 of the current bank.) In the timeline, the current multicam clip is cut at the playhead position. The section of the clip to the right of the playhead is replaced with a new instance of the clip, with the angle you clicked as the active angle. A special through edit point appears at the timeline playhead position. See Edit multicam clips. • Switch: Option-click the angle you want to switch to. (Or hold down the Option key and press any number key to switch to the corresponding angle of the current bank. For example, press Option-5 to switch to angle 5 of the current bank.) Note: The pointer changes to a pointing hand icon when you hold down the Option key, indicating a switch-only edit. In the timeline, the multicam clip under the playhead changes to show the angle you switched to as the active angle. The viewer switches to the angle you selected. The active angle is highlighted in yellow, blue, or green, depending on the switch mode you’re using. See Switch video or audio separately, below. Switch video or audio separately By default, Final Cut Pro switches the video and audio of a multicam clip at the same time, but you can set Final Cut Pro to switch the video and audio separately. 1. To open the Final Cut Pro angle viewer, choose View > Show in Viewer > Angles (or press Shift-Command-7). Final Cut Pro User Guide 492 2. To change the switch mode, do one of the following: • Enable video and audio switching: Click the left switch mode button in the top-left corner of the angle viewer. This is the default setting. • Enable video-only switching: Click the middle switch mode button. Only the video switches. The audio from the original angle remains active. • Enable audio-only switching: Click the right switch mode button. Only the audio switches. The video from the original angle remains active. 3. Do one of the following: • Cut and switch: Click an angle in the angle viewer. • Switch: Option-click an angle in the angle viewer. Final Cut Pro User Guide 493 If you selected the video-only or audio-only switch mode, blue highlighting indicates the active video angle and green highlighting indicates the active audio angle. Tip: With audio-only switching enabled, you can add audio components from inactive angles to the active angle or remove audio components from the active angle. Simply Option-Command-click an inactive angle to add its audio to the active angle, or OptionCommand-click an active angle to remove its audio. See Example: Enable or disable audio components in a multicam clip. View and navigate banks of angles Depending on the angle viewer display setting you choose, you can show 2, 4, 9, or 16 angles at once. These sets of angles are known as banks. You use the bank switcher to display and navigate banks of angles in a multicam clip. 1. To open the Final Cut Pro angle viewer, choose View > Show in Viewer > Angles (or press Shift-Command-7). 2. Position the skimmer or the playhead over a multicam clip in the browser or the timeline. Final Cut Pro User Guide 494 The bank switcher appears as a grid of squares at the bottom of the angle viewer. Yellow, blue, or green highlighting indicates the currently active angle. 3. Click the Settings pop-up menu in the top-right corner of the angle viewer and choose the number of angles you want to display in each bank. If the number of angles in your multicam clip exceeds the current angle viewer display setting, Final Cut Pro creates additional banks and displays them as separate grids of squares. Here are a few examples of different angle bank combinations: Three banks of 4 angles each. The last angle in the third bank is the active angle, and the third bank is the currently displayed bank. One bank of 16 angles. The last angle is the active angle. One bank of 9 angles and another bank of 7 angles. The first bank is the currently displayed bank. Final Cut Pro User Guide 495 4. To navigate banks of angles, do any of the following: • Display a bank’s angles in the angle viewer: Click the bank switcher icon for the bank. • Display the previous bank: Press Option-Shift-Semicolon (;). • Display the next bank: Press Option-Shift-Apostrophe (’). Show overlays in the angle viewer For each angle that appears in the angle viewer, you can display video overlays showing timecode and either the clip name or the angle name. 1. To open the Final Cut Pro angle viewer, choose View > Show in Viewer > Angles (or press Shift-Command-7). 2. To choose a display option, do one of the following: • Display timecode for the clips in each angle: Click the Settings pop-up menu in the top-right corner of the angle viewer and choose Timecode. (Choose Timecode again to turn off the timecode display.) • Display the names of the clips in each angle: Click the Settings pop-up menu and choose Display Name > Clip. • Display the name for each angle: Click the Settings pop-up menu and choose Display Name > Angle. • Turn off display names: Click the Settings pop-up menu and choose Display Name > None. Final Cut Pro User Guide 496 Adjust the angle viewer display You can adjust the size of the angle viewer and even display it as a vertical column. In Final Cut Pro, do any of the following: • Adjust the number of angles in the angle viewer: Click the Settings pop-up menu in the top-right corner of the angle viewer, then choose either 2 Angles, 4 Angles, 9 Angles, or 16 Angles. Final Cut Pro User Guide 497 • Adjust the size of the angle viewer and the main viewer: Drag the boundary between them. Final Cut Pro User Guide 498 • Make the angle viewer a vertical column: Drag the boundary to the left, then drag the border between the viewer and the timeline downward to expand the viewer quadrant vertically. (This vertical column view is available only in the 2 Angles and 4 Angles views.) Sync and adjust camera angles in Final Cut Pro You can open multicam clips in the angle editor to adjust the sync and the angle order, set the monitoring angle (the angle you see in the viewer when the multicam clip is playing back in the angle editor), or add or delete angles. You can also edit the individual clips inside a multicam clip (similar to how you can edit the contents of a compound clip). The many changes you can make in the angle editor include basic edits and trimming as well as effects you would normally add in the timeline, such as color corrections and transitions. Note: When you open any multicam clip in the angle editor (whether from the browser or the timeline) you’re actually opening the parent multicam clip. Any changes you make in the angle editor are propagated to all child clips of that multicam clip, in every project. See Create multicam clips. You can’t cut and switch between angles in the angle editor. You also can’t connect clips, solo clips, use the precision editor, perform ripple deletes, or use the Detach Audio and Break Apart Clip Items commands. Tip: Before you edit multicam clips in the angle editor, duplicate them in the browser to maintain clean backup copies. Open a multicam clip in the angle editor In Final Cut Pro, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, and choose Open in Angle Editor. Final Cut Pro User Guide 499 The angle editor opens in the timeline area at the bottom of the Final Cut Pro window. Although similar to the timeline, the angle editor provides a separate interface dedicated to editing angles and clips inside multicam clips. Each angle in the multicam clip appears as a separate row in the angle editor. Set video and audio monitoring in the angle editor In the angle editor, you can set any one angle to be the monitoring angle. This is the angle you see in the viewer when the multicam clip is playing back in the angle editor. You can also monitor the audio of any number of angles at once. You use the monitoring angle to sync angles in the angle editor. The monitoring angle is not the same thing as the active angle (which you see in the timeline). Note: Setting the correct monitoring angle is important for the two sync commands described later in this section: Sync to Monitoring Angle and Sync Angle to Monitoring Angle. 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. 2. To set an angle as the monitoring angle, do one of the following: • Click the Video Monitor button at the left side of the angle. • Click the pop-up menu next to the angle name and choose Set Monitoring Angle. • Press Shift-V while skimming the angle. Final Cut Pro User Guide 500 The Video Monitor button becomes highlighted, and the entire angle is highlighted in light gray. The angle plays in the viewer when you play back the multicam clip in the angle editor. Only one angle can be the video monitoring angle at a time. 3. To turn on audio monitoring for an angle, do one of the following: • Click the Audio Monitor button once. (To turn off audio monitoring, click the button again.) • Click the pop-up menu next to the angle name and choose Monitor Audio. (To turn off audio monitoring, choose Monitor Audio again.) • Press Shift-A while skimming the angle. (To turn off audio monitoring, press Shift-A again.) The monitoring settings don’t affect any of your active angles. They simply change what’s playing back in the viewer while you’re working in the angle editor. Final Cut Pro User Guide 501 Tip: You can use audio monitoring to double-check the sync of individual angles in a multicam clip. Open the clip in the angle editor, then turn on audio monitoring for two or more angles at a time. You’ll hear immediately if the angles are in sync or if you need to adjust them further. Manually adjust the sync of a multicam clip A primary function of the angle editor is to provide an easy way to correct out-of-sync angles in your multicam clips. The instructions below describe how to sync angles by locating sync points and then manually dragging the angles into alignment. 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. 2. Locate a sync point in one of the out-of-sync angles by skimming the angle in the angle editor. As you skim, the angle is displayed in the left side of the viewer (in place of the angle viewer). The sync points could be video or audio cues (such as a clapboard closing or a door slam). 3. Locate the corresponding sync point in one or more angles that you want to sync to the original angle. To simplify this process, you can add markers at the sync points, to guide you visually and to provide snap points. 4. Drag the clips left or right in the rows of the angle editor so that the sync points align vertically. Final Cut Pro User Guide 502 If an angle contains more than one clip, you can easily select all clips in the angle so that you can move them all at once. To do this, click the pop-up menu next to the angle name and choose Select Clips in Angle. You can then drag the clips left or right to move them all by the same amount. Automatically adjust the sync of a multicam clip The instructions below describe two automatic methods for syncing angles in a multicam clip. 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. Final Cut Pro User Guide 503 2. In the out-of-sync angle, click the pop-up menu to the right of the angle name and choose one of the following: • Sync to Monitoring Angle: This option opens a two-up display in the viewer, showing the frame at the skimmer position on the left and the frame at the playhead position of the monitoring angle on the right. In the out-of-sync angle, skim to a frame, then click to sync the angle to the playhead position. All the clips in the angle move together to align the frame you clicked with the playhead. To close the two-up display in the viewer, click Done. • Sync Angle to Monitoring Angle: This option compares the audio waveforms in the selected angle to the waveforms in the monitoring angle, and then moves the clips in the selected angle to sync them with those in the monitoring angle. This is the same audio sync technology that you can use to automatically analyze and sync clips together into a compound clip. If you select clips in one or more angles before choosing this option, the command name in the pop-up menu changes to Sync Selection to Monitoring Angle. When you choose this option, Final Cut Pro moves all of the selected clips to sync them with those in the monitoring angle. If there’s a selection in the monitoring angle, this option is not available. WARNING: This option does not ripple clips forward. If clips are moved to a timeline location that’s already occupied by existing clips, the moved clips overwrite the existing clips. Note: Some audio recordings are not suited for use with this feature. Choosing this option may result in long processing times during which Final Cut Pro is not available for editing. Adjust the order of angles in a multicam clip You can adjust the order in which angles appear in the angle viewer and the angle editor. Note: If you’ve already started a multicam edit on a multicam clip in the timeline, changing the angle order does not affect which angle is chosen for each cut and switch edit. 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. Final Cut Pro User Guide 504 2. Drag the handle at the right side of an angle row to move the angle up or down in the angle order. The angles in the angle editor and the angle viewer change to the new order. Add, delete, or rename angles in a multicam clip 1. To open the Final Cut Pro angle editor, do one of the following: • Double-click a multicam clip in the browser. • Control-click a multicam clip in the browser or the timeline, then choose Open in Angle Editor. 2. Do any of the following: • Delete an angle: Click the pop-up menu to the right of the angle name and choose Delete Angle. The angle is removed from the angle editor, the angle viewer, and all child clips of the multicam clip. Important: Deleting an active angle affects the edits in your projects. The deleted angle is replaced with black filler in all projects. • Add an angle: Click the pop-up menu to the right of the angle name and choose Add Angle. A new, empty angle appears in the angle editor and the angle viewer. • Rename an angle: At the left side of the angle editor, click the name of the angle you want to rename. When the text becomes highlighted, type the new name. The new name appears in the angle editor and (if overlays are turned on) in the angle viewer. You can also copy and paste clips in the angle editor. Clips are pasted sequentially as overwrite edits, and in the monitoring angle only. To close the angle editor and return to the timeline, choose View > Timeline History Back, or press Command-Left Bracket ([). Final Cut Pro User Guide 505 Edit multicam clips in Final Cut Pro You can switch multicam clip angles directly in the timeline or the Info inspector, without having to open the angle viewer. Multicam clips generally function just like standard clips in the timeline. You can add video and audio effects, transitions, and markers; attach connected clips; and apply retiming effects. You can apply split edits to multicam clips and edit them in the precision editor. You can nest multicam clips in compound clips and storylines. However, multicam clips do have some unique characteristics in the Final Cut Pro timeline: • You can display the names of the active video angle and the active audio angle in the multicam clip. • Cut and switch edit points appear as dotted lines. These are through edits (in which the video or audio content on either side of the edit point is continuous). In the case of multicam editing, through edits indicate that the content on either side of the edit point comes from the same multicam clip. A gray dotted line indicates that different angles from the same multicam clip are on either side of the edit point. A white dotted line indicates that the same angle is on either side of the edit point. Final Cut Pro User Guide 506 In the case of video-only or audio-only cuts and switches, the edit point can be mixed (with both gray and white dotted lines). For example, when you cut and switch video only, you see a gray dotted line for the video and a white dotted line for the audio. • When you move the pointer over a multicam through edit, the pointer changes to the Trim tool, indicating that the edit will be a roll edit (because any other type of edit breaks the relationship between the clips on either side of the cut and switch edit point in the timeline). • Many edits (such as split edits, markers, connected clips, and retiming effects) remain in place on a multicam clip in the timeline even after you switch the angle. However, the following editing operations are associated directly with the specific angle and are not retained when you switch angles: • Video and audio effects • Keyframing (including audio volume and panning) • Role assignments Switch angles in the timeline 1. In the Final Cut Pro timeline, Control-click the multicam clip you want to switch. 2. Do one of the following: • Switch the video angle: Choose Active Video Angle, then choose the angle you want to switch to. • Switch the audio angle: Choose Active Audio Angle, then choose the angle you want to switch to. The clip switches to the video or audio angle you chose. Final Cut Pro User Guide 507 Switch angles in the inspector Switching angles in the inspector allows you to switch angles for multiple selected multicam clips at once. 1. In Final Cut Pro, select one or more multicam clips that you want to switch. 2. Open the Info inspector. 3. In the Info inspector, do one of the following: • Switch the video angle: Click the Active Video Angle pop-up menu, then choose the angle you want to switch to. • Switch the audio angle: Click the Active Audio Angle pop-up menu, then choose the angle you want to switch to. Display the names of active angles in the timeline You can display the names of the active video angle and the active audio angle in a multicam clip in the timeline, in the following format: V: video angle name | A: audio angle name. 1. In Final Cut Pro, click the Clip Appearance button in the top-right corner of the timeline. 2. Select the Angles checkbox. Remove multicam through edit points In Final Cut Pro, do any of the following: • Remove an individual multicam through edit: Select it and press Delete. • Remove multiple through edits at once: Select the edit points (or select the clips on both sides of the through edits), then choose Trim > Join Clips. Multicam editing tips in Final Cut Pro The following tips can help you streamline your Final Cut Pro multicam workflow: • Set the date, the time, and the time zone on your camcorder or recording device before you shoot footage for your multicam project. This provides useful information to Final Cut Pro during the automatic multicam clip creation process (see Create multicam clips). Note: At any time, you can change the Content Created date and time of your source clips in the browser. Just select one or more clips, then choose Modify > Adjust Content Created Date and Time. Final Cut Pro User Guide 508 • Because you can use the sophisticated automatic audio sync feature in Final Cut Pro to help ensure multicam sync accuracy, it makes sense to record audio on every camcorder and recording device in your multicam production. (Clear audio recordings provide the best results.) • Before you edit multicam clips in the angle editor, duplicate them in the browser to maintain clean backup copies. • To double-check the sync of individual angles in a multicam clip, open the clip in the angle editor and turn on audio monitoring for two or more angles at a time. You’ll hear immediately if the angles are in sync or if you need to adjust them further. • If performance becomes an issue while you’re working on a multicam project, do any of the following: • Set Final Cut Pro to use proxy media by choosing Proxy in the Media section of the View pop-up menu (in the top-right corner of the viewer). Proxy playback allows you to play back more angles at a time. To use proxy playback, you must have proxy versions of your media available, or you must create proxy versions. See Create optimized and proxy files. • Make sure that “Create optimized media for multicam clips” is selected in Playback preferences. This option transcodes video to the Apple ProRes 422 codec format, which provides better performance during multicam editing. This option is turned on by default. If the original camera format can be edited with good performance, you can deselect this checkbox. • Make sure that the disk holding your multicam source clips is fast enough to play back all of your media at once. To check disk performance, choose Final Cut Pro > Preferences, click Playback, then select “If frames drop due to disk performance, warn after playback.” To find out whether something else is causing playback issues, select “If a frame drops, stop playback and warn.” • You can include audio from multiple angles, even after you’ve finished cutting and switching your multicam program. Select the multicam clip in the timeline and, in the Audio inspector, select the checkboxes to enable the audio components for the other angles in the multicam clip. With the timeline clip still selected, choose Clip > Expand Audio Components (or press Control-Option-S) to show the components in the timeline. Then select the individual audio components in the timeline and adjust the levels as needed. See Configure audio channels, Manage role components in multicam clips, and Show expanded audio components. • You can use photos (from a still camera) in a multicam clip. If the date and time (Content Created) information matches the contents of the other angles, the photos are automatically adjusted in duration to “fill in” the angle. Add storylines in Final Cut Pro Storylines are sequences of clips connected to the primary storyline (the main sequence of clips in the timeline). Storylines combine the convenience of connected clips with the precision editing capabilities of the primary storyline. Final Cut Pro User Guide 509 You can use storylines for the same purposes as connected clips—for example, creating cutaways, compositing titles and other graphics, and adding sound effects and music. The unique advantage of storylines is the ability to edit a sequence of connected clips within the context of the other clips in the timeline. For example, you can add cross dissolve transitions to a series of superimposed titles in a storyline and then adjust the timing of the titles to match clips in the primary storyline. Like connected clips, storylines can contain both video and audio, or they can be video only or audio only. For more information about connected clips, see Connect clips. You edit storylines using the same methods you use to edit the primary storyline. You can: • Add clips: Drag clips to the storyline to add them, or use a standard append edit, insert edit, replace edit, or overwrite edit. • Add transitions, titles, effects, and generators: Add effects to a storyline by dragging them or by using any of the standard commands and keyboard shortcuts. Note: When you apply a transition to a clip connected to the primary storyline, a storyline is automatically created for that clip. • Trim clips: Use any of the standard trim edits in a storyline, including ripple edits, roll edits, slip edits, and slide edits. You can also trim or move clips within storylines by entering timecode values. • Create split edits: Set separate video and audio start and end points in an individual clip to create split edits (L-cuts and J-cuts) in a storyline. Create or break apart storylines You can quickly create storylines from existing connected clips. Final Cut Pro User Guide 510 1. In the Final Cut Pro timeline, select two or more connected clips. 2. Choose Clip > Create Storyline (or press Command-G). A gray border appears around the clips, indicating a storyline. Note: If the original connected clips are not contiguous, Final Cut Pro inserts a gap clip to fill the space between the clips. You can also create a storyline by holding down the G key as you drag a clip to a connected clip so that their edges touch: Final Cut Pro User Guide 511 3. To convert a storyline back to its component clips, do one of the following: • Select the storyline (by clicking the gray border), then choose Clip > Break Apart Clip Items (or press Shift-Command-G). • Drag the storyline into the primary storyline. Select and move storylines You can select or move entire storylines as if they were standard clips or compound clips. Storylines have the connection properties of connected clips. In the Final Cut Pro timeline, do any of the following: • Select a single storyline: Click the gray border at the top of the storyline. • Drag to select one or more storylines: Drag a selection rectangle over the storylines you want to select, making sure to drag over the gray border at the top of a storyline first (if you don’t drag over the top gray border first, you will select individual clips in the storyline instead). When a storyline is selected, the entire storyline is outlined with a yellow border. Tip: To select entire storylines, drag in a downward motion. To select clips within the storylines, drag in an upward motion. • Move a storyline by dragging it: Click the gray border at the top of the storyline, then drag the storyline left or right to connect it to a different point along the primary storyline. • Move a storyline with timecode values or keyboard shortcuts: Use the same techniques you would use with standard clips. See Arrange clips in the timeline. Final Cut Pro User Guide 512 Use the precision editor in Final Cut Pro You can fine-tune the edit point between two clips in the timeline using the precision editor, which provides an expanded view of the clips on either side of the edit point as well as the unused portions of each clip. You can trim or extend the end of one clip and the beginning of the next, either separately or together. As you make changes, you can instantly see how your edits affect the cut or transition from one clip to the next. You can also see a “two-up” display in the viewer as you trim edit points in the timeline. See Show trimming details in the viewer. 1. In Final Cut Pro, click the Tools pop-up menu in the top-left corner of the timeline and choose either the Select tool or the Trim tool . 2. Double-click the edit point you want to trim in the timeline. The precision editor appears, presenting an expanded view of your outgoing and incoming shots. The edit point is represented by a vertical line in the center of the precision editor. The outgoing clip and the clips before it appear in the top part of the storyline. The incoming clip and the clips after it appear in the bottom part. Final Cut Pro User Guide 513 The dimmed portions of clips to the right and left of the edit line are the unused portions of media that are available for trimming (called media handles). You can skim over these areas to view and play back the media as you decide where to trim. 3. To adjust the edit point, do any of the following: • Move the edit line in the center of the precision editor by dragging its handle left or right. Moving the entire edit line performs a roll edit. Final Cut Pro User Guide 514 • Drag the end point of the outgoing clip or the start point of the incoming clip. This performs a ripple edit. Note: You can drag the edit line or individual edit points to the extent that there are media handles available. When you extend a clip to its maximum length in either direction, the clip edge turns red. • Skim over and click the outgoing clip or the incoming clip at any point. Final Cut Pro User Guide 515 The clip’s edit point is adjusted to the frame you click. This is the equivalent of a ripple edit. You can also enter a timecode value to adjust the edit point numerically. If you select either the end point of the outgoing clip or the start point of the incoming clip, a ripple edit is performed. Otherwise, a roll edit is performed. 4. To navigate to another edit point, do one of the following: • Go directly to an edit point: Click the other edit point. • Go to the next or previous edit point: Press the Up Arrow or Down Arrow key. 5. To close the precision editor, double-click the current edit point, or press the Esc (Escape) key. Try out clips using auditions Intro to auditions in Final Cut Pro In Final Cut Pro, you can organize related clips into sets, called auditions, from which you can choose one clip to use. You can create an audition composed of different clips to try out multiple takes, or you can create an audition composed of multiple versions of the same clip to preview different effects. Final Cut Pro User Guide 516 An audition’s filmstrip displays the currently selected clip, called the pick. All other clips in the audition are referred to as alternates. You can open an audition to see the selected clip and the alternates. Auditions allow you to preserve your alternative edits without affecting the other clips in the timeline. When you’re not reviewing the clips in an audition, the audition functions like an individual clip. You can trim an audition, apply transitions between auditions and other clips, and add keywords and markers. After you’ve reviewed the clips in the audition and decided which one works best in your project, you can finalize the audition, which dissolves it and leaves the pick as an individual clip in the timeline. The pick retains the audition’s position in the timeline and all keywords and markers applied to the audition. Note: Auditions appear in the browser and the timeline as clips with an audition icon in the top-left corner. Create auditions in Final Cut Pro You can create auditions in the browser and then add them to the timeline, or you can create auditions directly in the timeline. When you create auditions in the timeline, you can either group related clips or group multiple versions of the same clip (for example, to try out multiple effect treatments or lower-third titles). Create auditions in the browser 1. In Final Cut Pro, select the clips you want to include in the audition. 2. Choose Clip > Audition > Create (or press Command-Y). Final Cut Pro User Guide 517 Create auditions in the timeline In Final Cut Pro, do any of the following: • Create an audition with related clips: Drag a clip or a group of clips from the browser onto a clip in the timeline, then choose an audition option from the menu that appears. Choosing Add to Audition creates an audition with the current timeline clip as the pick. Choosing Replace and Add to Audition makes the clip you’re dragging the pick. Important: If a transition is applied to the current clip in the timeline and the pick for the new audition lacks sufficient media for the transition, the transition is either shortened or removed. • Create an audition with a duplicate version of a clip, including applied effects: Select a clip in the timeline, then choose Clip > Audition > Duplicate as Audition. An audition is created containing the selected clip and a duplicate version that includes any effects applied to the original. • Create an audition with a duplicate version of a clip, without applied effects: Select a clip in the timeline, then choose Clip > Audition > Duplicate from Original (or press Shift-Command-Y). An audition is created containing the selected clip and a duplicate version without any applied effects. Open an audition After you create an audition, you can open it and review its contents. In Final Cut Pro, do one of the following: • Choose Clip > Audition > Open (or press Y). • Click the audition icon. The Audition window appears, and you can preview your clips to choose a pick. Break apart an audition You can break apart an audition to convert its contents to individual clips in the timeline. (This option is not available for auditions in the browser.) 1. Select an audition in the Final Cut Pro timeline. 2. Choose Clip > Break Apart Clip Items (or press Shift-Command-G). The audition selected in the timeline is replaced with the individual items that made up the audition. Final Cut Pro User Guide 518 You can also break apart compound clips, storylines, and standard clips. See Create compound clips and Add storylines. Add clips to auditions in Final Cut Pro When building auditions to try out different clips or versions of a clip with different effects, you can add and remove clips at any time. In the browser and the timeline, you can add new clips to the audition as well as duplicate clips within an audition. When an audition in the timeline contains the clips you want to try out, you can use the audition to preview the clips or effects in your project. Add clips to an audition in the browser In Final Cut Pro, do any of the following: • Add new clips to an audition in the browser: Select the audition and the clips you want to add to it, then choose Clip > Audition > Create (or press Command-Y). • Duplicate a clip within an audition in the browser: Click the icon in the top-left corner of the audition to open the Audition window, select the clip you want to duplicate, then click Duplicate. A new version of the selected clip appears in the Audition window. Add clips to an audition in the timeline In Final Cut Pro, do any of the following: • Add a new clip to an audition and maintain the current clip in the timeline as the pick: Drag a clip from the browser to the audition in the timeline, then choose Add to Audition. Final Cut Pro User Guide 519 • Add a new clip to an audition and make the clip you’re adding the pick: Drag a clip from the browser to the audition in the timeline, then choose Replace and Add to Audition. Important: If a transition is applied to the current clip in the timeline and the pick for the new audition lacks sufficient media for the transition, the transition is either shortened or removed. • Duplicate a clip within an audition: Click the audition icon in the top-left corner of the audition to open the Audition window, select the clip you want to duplicate, then click Duplicate (or press Shift-Command-Y). A new version of the selected clip appears in the Audition window. Remove a clip from an audition 1. In Final Cut Pro, open the audition containing the clip you want to remove by clicking the icon in the top-left corner. 2. In the Audition window, select the clip you want to remove, then press Delete. The clip is removed from the audition. Review clips in auditions in Final Cut Pro You create an audition to try out the clips within it and find the one that works best for your project. Although the audition workflow may differ from project to project, the general process is the same: You create an audition that contains a set of alternative takes, effects, or text treatments, and then you choose the best clip for the edit by making it the pick. When you’re sure of your decision, you finalize the audition, which dissolves it and leaves the pick in the timeline. Depending on your workflow, you may try out the clips within your auditions and flatten the auditions as you go, or you may leave the auditions in the timeline. Note: You can use audition commands with only one selected audition at a time. For example, you can’t finalize multiple selected auditions. Final Cut Pro User Guide 520 Review clips within an audition in the timeline 1. In the Final Cut Pro timeline, select the audition containing the clips you want to review, then open it by choosing Clip > Audition > Open (or pressing Y). 2. In the Audition window, select the pick and press the Space bar (or press ControlCommand-Y) to play it. 3. To play an alternate clip in the viewer, select a clip to the right or left of the pick (or press the Right Arrow or Left Arrow key). Tip: To quickly move through and play alternate clips, select a closed audition in the timeline, press the Space bar, then press Control-Left Arrow to play clips to the left of the current pick, or Control-Right Arrow to play clips to the right. 4. When you decide on the clip you want to use, make sure it’s selected, then click Done. Final Cut Pro User Guide 521 5. If you’re sure of your decision and want to finalize the audition, choose Clip > Audition > Finalize Audition (or press Option-Shift-Y). The audition is dissolved, leaving the pick in the timeline. The clip selected as the pick retains any keywords or markers assigned to the audition. Try out multiple effects on a clip in the timeline You can try out effects on a clip in the timeline by creating an audition and adding individual effects to duplicates of the same clip. This technique allows you to view each effect in relation to the clips that precede and follow the audition in the timeline. 1. In the Final Cut Pro timeline, select the clip you want to try different effects on. 2. Choose Clip > Audition > Duplicate as Audition (or press Option-Y). 3. Repeat step 2 for each effect that you want to try out. 4. To open the Audition window, click the icon in the top-left corner of the audition (or press Y). 5. To open the Effects browser, click the Effects button in the top-right corner of the timeline (or press Command-5). 6. In the Audition window, select the version of the clip you want to apply the effect to. 7. In the Effects browser, select the effect you want to try out, then drag it to the clip in the Audition window. 8. Repeat steps 6 and 7 until you’ve applied all the effects you want to try out. Final Cut Pro User Guide 522 9. To review the effects, select clips in the Audition window (you can select the clip to the right or left of the pick). Tip: To quickly move through alternate clips, press Control-Option-Left Arrow to move your selection left, or Control-Option-Right Arrow to move your selection right. 10. When you decide on the effect you want to use, select the clip with that effect in the Audition window and click Done. 11. If you’re sure of your decision and want to finalize the audition, choose Clip > Audition > Finalize Audition (or press Option-Shift-Y). The audition is dissolved, leaving the clip with your chosen effect in the timeline. Tip: To have Final Cut Pro duplicate a clip in the audition and apply an effect to the duplicated clip, hold down the Control key while you drag an effect from the Effects browser to the audition in the timeline. You can also apply an effect to every clip in an audition by holding down the Option key and the Control key while you drag the effect to the audition. In both cases, you must start dragging the effect from the Effects browser and then press the keys as you add the effect to the clip. Final Cut Pro User Guide 523 Retime clips to create speed effects Intro to retiming clips in Final Cut Pro You can adjust a clip’s speed settings to create fast-motion or slow-motion effects. You can also reverse a clip, rewind a segment of a clip, apply variable speed effects (also called speed ramping) to a clip selection, and create instant replays and jump cuts. By default, Final Cut Pro maintains the audio pitch of any speed adjustment, but you can turn off this feature to accentuate the speed effect. You can’t apply speed changes to still images, generators, titles, and themes in Final Cut Pro. Change clip speed in Final Cut Pro In Final Cut Pro, you can make both constant and variable speed changes to your clips while preserving the audio’s pitch. Note: Speed settings are applied to the specific instance of the selected clip only. They are not applied to that clip’s source media file on your Mac or storage device. To create a media file with the applied speed effects, export the clip as a QuickTime movie. See Export final mastering files. Apply a constant speed change Applying a constant speed change to a range selection or a whole clip alters the selection’s playback speed by a uniform percentage. For example, applying a speed setting of 25 percent to the selection makes the entire selection play in slow motion. Final Cut Pro User Guide 524 Constant speed changes usually alter the duration of a clip. By default, if a constant speed change causes the duration of a clip to become longer or shorter, all clips coming after it ripple forward or backward. If you change the speed to 50 percent, your clip becomes twice as long, and subsequent clips are moved to the right; if you change the speed to 200 percent, the clip becomes half as long, and subsequent clips ripple left. For example, if you set a 5-second clip to play back at 50 percent speed, Final Cut Pro adds frames to the clip so that the clip becomes 10 seconds long and plays back more slowly. If you increase the clip’s speed to 200 percent, Final Cut Pro removes frames and the clip plays back in only 2.5 seconds. 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose speed you want to change. 2. Do one of the following: • Apply a preset speed setting: Click the Retime pop-up menu below the viewer and choose Slow or Fast, then choose a speed from the submenu. Final Cut Pro User Guide 525 • Apply a manual speed setting: Click the Retime pop-up menu and choose Show Retime Editor (or press Command-R) to display the retime editor above the selection in the timeline, then drag the retiming handle. If you drag the retiming handle to the right, the speed of the selection decreases, the duration of the selection increases, and the bar above the timeline selection turns orange. If you drag the retiming handle to the left, the speed of the selection increases, the duration of the selection decreases, and the bar above the timeline selection turns blue. • Apply a custom speed setting: Click the Retime pop-up menu and choose Custom. In the Custom Speed window that appears, select a direction (forward or reverse), then select either Rate or Duration and enter a speed percentage or duration. If you want to allow subsequent clips in the timeline to move earlier or later as a result of the speed change, leave the Ripple checkbox selected. To prevent subsequent clips from moving, deselect the checkbox. Apply a constant speed change without rippling the sequence You can also create speed changes that don’t cause the downstream clips to ripple. In this case, if you slow down a clip (which ordinarily makes the clip longer), the clip remains at its current length but a shorter piece of the action is seen. For example, if you slow down a 5-second shot of a football being thrown and caught to 50 percent, you see the ball being thrown (slowly), but because the action now takes twice as long, the clip ends before the ball is caught. Note: If there’s a gap to the right of a clip that’s being slowed down, the clip’s duration is lengthened to cover the gap. When a clip is sped up, the duration of the clip is shortened and a gap fills the space between the changed clip and the remainder of the project. Final Cut Pro User Guide 526 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose speed you want to change. 2. Click the Retime pop-up menu below the viewer and choose Custom. 3. Select a direction (Forward or Reverse), deselect the Ripple checkbox, then type a percentage in the Rate field. 4. Press Return. The speed effect is applied to the clip, and the rest of the project remains in place. Turn off Preserve Pitch for retimed clips By default, Final Cut Pro is set to preserve the audio pitch of a clip that has been retimed. However, if you want to accentuate the retiming adjustment’s effect by allowing the pitch to change in accordance with the retiming adjustment, you can turn this feature off. 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose speed you want to change. 2. Apply the speed change. 3. Click the Retime pop-up menu below the viewer and choose Preserve Pitch. Choose Preserve Pitch again to turn it back on. A checkmark to the left of the command name indicates that Preserve Pitch is turned on. Final Cut Pro User Guide 527 Create speed effects by maintaining a clip’s original frame rate If you’ve applied speed effects using your camera (for example, by shooting with a high frame rate), the native speed of the source media may not match the native speed of the source media for the rest of the clips in your project in the timeline. If you shoot video at a different frame rate to create a speed effect, you can use the Automatic Speed option to maintain the clip’s original frame rate. For example, suppose you shoot a scene at 120 fps and then add the shot to a 30 fps project. If you apply Automatic Speed to that clip, every frame in the original clip plays back at the project’s frame rate of 30 fps, so the action takes longer and a slow-motion effect is created. You can use this method to create high-quality speed effects, because every frame in the original clip is played back—no frames are skipped or duplicated. 1. In the Final Cut Pro timeline, select the clip whose original frame rate you want to maintain. 2. Click the Retime pop-up menu below the viewer and choose Automatic Speed. Smooth out a slow-motion clip with video quality presets To smooth out the apparent motion of a clip playing back in slow motion, you can apply frame blending or optical flow analysis to the retimed clip. Note: Final Cut Pro 10.2 or later uses an advanced optical flow algorithm that can accommodate a wide range of source footage. Any new projects created with Final Cut Pro 10.2 or later will benefit from these improvements (if they include an optical flow video quality setting). If you have projects created in earlier versions of Final Cut Pro that have optical flow settings, you can reanalyze them for improved quality by choosing Optical Flow in step 2 below. 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips set to play in slow motion. 2. Click the Retime pop-up menu below the viewer and choose Video Quality, then choose a setting from the submenu. • Normal: The default setting. Frames are duplicated, and no frame blending is applied to the slow-motion clip. No rendering is required. • Frame Blending: Adds in-between frames by blending individual pixels of neighboring frames. Slow-motion clips created with Frame Blending appear to play back more smoothly than those created with the Normal (duplication) setting. Rendering is required. Final Cut Pro User Guide 528 • Optical Flow: Adds in-between frames using an optical flow algorithm, which analyzes the clip to determine the directional movement of pixels and then draws portions of the new frames based on the optical flow analysis. Rendering is required. Only the portion of the clip used in the project (the media between the clip start and end points) is analyzed. Tip: Before using Optical Flow, try using Frame Blending and experiment with various slow-motion settings until you’re satisfied with the speed. Then, if you see artifacts or want the very best image quality, try using Optical Flow. Create variable speed effects in Final Cut Pro In addition to constant speed changes, you can create variable speed effects in which the playback speed of a clip changes dynamically. For example, a clip might start in slow motion, speed up to fast motion, and then slow back down to regular speed. You create variable speed changes by identifying ranges of a clip as speed segments—sections in a clip that have different playback speeds. Each speed segment has its own constant speed setting. You can set speed segments to any speed value, forward or backward, and you can create abrupt shifts between speed segments, or gradual transitions (also called ramps). Note: You can’t create smooth transitions between a speed segment set to a forward speed and a speed segment set to reverse speed (and vice versa). Apply a preset variable speed change You can apply preset variable speed effects that break your clip into multiple speed segments automatically. 1. In the Final Cut Pro timeline, select either a range within a clip or a whole clip to which you want to apply a speed ramp effect. 2. Do one of the following: • Ramp the speed down: Click the Retime pop-up menu below the viewer and choose Speed Ramp > to 0%. • Ramp the speed up: Click the Retime pop-up menu and choose Speed Ramp > from 0%. Final Cut Pro User Guide 529 The selection is segmented into four parts with different speed percentages, creating the ramp effect. To adjust the speed of any segment, drag its retiming handle. You can modify the transitions between segments to control how fast each segment transitions to the next. See Add speed transitions. Change the end frame of a speed segment You can change the end frame of a speed segment in the timeline. When you drag the retiming handle of a speed segment, you’re adjusting the speed of the segment, not trimming it. The Source Frame Edit button allows you to trim the end point (end frame) of a segment. 1. In the Final Cut Pro timeline, select a clip that has speed segments. 2. Click the Retime pop-up menu below the viewer and choose Show Retime Editor (or press Command-R). 3. In the retime editor in the timeline, double-click the transition between two speed segments. 4. In the Speed Transition window, click the Source Frame Edit button. A filmstrip icon appears over the end frame of the speed segment. 5. To change the end frame, drag the filmstrip icon left or right. As you drag, the viewer displays the current end frame. Final Cut Pro User Guide 530 Create custom variable speed changes You can manually divide a clip into segments and assign each segment its own speed setting. 1. In the Final Cut Pro timeline, position the playhead or the skimmer at the frame where you want to begin a new speed segment. 2. Click the Retime pop-up menu below the viewer and choose Blade Speed (or press Shift-B). The retime editor appears above the clip (If it wasn’t already shown), and the clip is divided into two speed segments. 3. To set the speed for the newly created segments, do one of the following: • Double-click the retime editor above one of the speed segments. Then, in the Custom Speed window, set a new speed by selecting either Rate or Duration and entering a speed percentage or a duration. Click anywhere outside the Custom Speed window to close it. • Drag the right edge of a speed segment in the retime editor. 4. To create and modify additional speed segments, repeat steps 1 to 3. You can modify the transitions between segments to create smooth adjustments from one speed to another. See Add speed transitions. Add speed transitions in Final Cut Pro When two adjacent speed segments are set to play at different speeds, you can control how smoothly the video switches between playback speeds. When there’s no transition between the segments, playback shifts suddenly from one speed to another. By adding a transition between the segments, you can create a more gradual, or ramped, effect. You can also control how quickly that transition takes place. Final Cut Pro User Guide 531 When you apply effects that create speed segments in a clip (such as Speed Ramp, Instant Replay, and Hold), transitions are automatically added between the newly created segments. A transition appears as a shaded bar on either side of the border between speed segments. When you create speed segments manually, you can add speed transitions individually, or you can add them to all the speed segments in a clip at once. Note: You can’t add transitions between forward-playing segments and reverse-playing segments (or vice versa). Add transitions between all speed segments in a clip 1. In the Final Cut Pro timeline, select a clip that has speed segments. 2. Click the Retime pop-up menu below the viewer and choose Speed Transitions, so that there’s a checkmark next to the menu item. Transitions are added to the boundaries between speed segments. Final Cut Pro User Guide 532 Remove transitions from all speed segments in a clip 1. In the Final Cut Pro timeline, select a clip that has speed transitions. 2. Click the Retime pop-up menu below the viewer and choose Speed Transitions, so that the checkmark next to the menu item is removed. Speed transitions are removed from all speed segments in the clip. Remove individual speed transitions To add transitions between some speed segments in a clip and not others, you must turn on Speed Transitions in the Retime pop-up menu and then remove the transitions you don’t want. 1. In the Final Cut Pro timeline, select a clip that has speed segments. 2. Click the Retime pop-up menu below the viewer and choose Speed Transitions, so that there’s a checkmark next to the menu item. Speed transitions are added to all speed segments in the clip. Final Cut Pro User Guide 533 3. To remove a transition between speed segments, double-click the last frame of the outgoing speed segment in the retime editor. 4. Deselect the Speed Transition checkbox in the Speed Transition window, then click anywhere outside the window to dismiss it. The transition is removed. Change the duration of a speed transition After a speed transition is applied, you can change its duration. The shorter the transition, the more quickly the speed ramps from one value to another. The longer the transition, the slower the ramp. 1. In the Final Cut Pro timeline, select a clip that has a speed transition. 2. If the retime editor isn’t shown, click the Retime pop-up menu below the viewer and choose Show Retime Editor (or press Command-R). 3. Drag the left or right edge of the transition bar in the retime editor. Final Cut Pro User Guide 534 Reverse or rewind clips in Final Cut Pro In addition to changing the speed of a clip in Final Cut Pro, you can also add directional effects: • Reverse: Reverses the order of frames in the clip, so that the last frame plays first. • Rewind: Appends a duplicate of a range selection or clip as a segment, rewinds the duplicated segment at 1x, 2x, or 4x speed, and then plays the original clip segment again in forward motion at normal speed. Reverse a clip 1. In the Final Cut Pro timeline, select a clip or a group of clips whose contents you want to reverse. 2. Click the Retime pop-up menu below the viewer and choose Reverse Clip. The green bar with arrows pointing to the left above the selection in the timeline indicates that the clip is reversed. 3. If you want to adjust the speed of the reversed clip, drag the retiming handle. Dragging to the left increases the speed, and dragging to the right decreases it. 4. To see the effect, play back the reversed clip or selection. Rewind a range selection or clip 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose contents you want to rewind. 2. Click the Retime pop-up menu below the viewer and choose Rewind, then choose a speed from the submenu. The selection is duplicated, added to the end of the original selection, and then reversed at the speed you chose. An additional duplicate of the timeline selection follows the reversed section and plays back in forward motion at the selection’s original speed. Final Cut Pro User Guide 535 3. If you want to adjust the speed of the rewound section or the section before or after the rewound section, drag the section’s retiming handle. Dragging to the left increases the speed, and dragging to the right decreases it. 4. To see the effect, play back the rewound clip or selection. Create instant replays in Final Cut Pro You can apply an instant replay to a range selection within a clip or to a whole clip. Final Cut Pro duplicates the range or clip, appending the duplicated frames to the end of the selection as a new segment. You can then modify the speed of the new segment to achieve the instant replay effect you’re looking for. 1. In the Final Cut Pro timeline, select a range or a whole clip whose contents you want to use to create an instant replay. 2. Click the Retime pop-up menu below the viewer, choose Instant Replay, and choose a clip speed from the submenu. A duplicate of the range or clip is appended to the end of the selection and plays back in forward motion at the speed you chose, and an “Instant Replay” title appears in the upper-right corner of the frame. For information about adjusting the title, see Adjust titles. Final Cut Pro User Guide 536 3. If you want to adjust the speed of the instant replay segment, drag its retiming handle. Dragging to the left increases the speed, and dragging to the right decreases it. 4. To see the effect, play back the original selection and the instant replay segment. Speed up a clip with jump cuts in Final Cut Pro To compress time in a long clip without playing the clip at fast speed, you can create jump cuts to periodically skip over a specific number of frames. For example, if you have a 10-second shot of a person walking down a hallway, rather than playing the entire 10 seconds, you can create jump cuts every 2 seconds that skip 30 frames each, so the action happens in a fraction of the time. 1. In the Final Cut Pro timeline, select the clip that you want to speed up, then add a marker at each frame where you want a jump cut to occur. 2. Click the Retime pop-up menu below the viewer and choose Jump Cut at Markers, then choose a number of frames from the submenu. Final Cut Pro User Guide 537 You can skip 3, 5, 10, 20, or 30 frames. Create hold segments in Final Cut Pro In Final Cut Pro, you can hold on a particular frame to create a still image, temporarily stopping the action onscreen. This is called a hold segment. By default, a hold segment is added as a 2-second still frame at the location of the skimmer or playhead, but you can change the duration. Alternatively, you can create separate freeze-frame clips in Final Cut Pro. One key difference between freeze frames and hold segments is that hold segments remain part of the original clip, and you can adjust their duration within the clip. On the other hand, freeze-frame clips are simple and quick to create, and you can move them around in your projects easily. See Create freeze frames. Important: Adding a hold segment to a clip increases its duration. 1. In the Final Cut Pro timeline, do one of the following: • Click the clip with the frame you want to hold, then move the skimmer or playhead to that frame. • Select ranges within a clip in the timeline. 2. Click the Retime pop-up menu below the viewer and choose Hold (or press Shift-H). If you selected a clip, a 2-second hold segment is added to the clip at the position of the skimmer or the playhead. If you selected a range, a hold segment is created for the duration of the range. The frame used as the still frame is the first (leftmost) frame in the range. Final Cut Pro User Guide 538 3. If you want to adjust the duration of the hold segment, drag the segment’s retiming handle. Dragging to the right increases the duration, and dragging to the left decreases it. 4. To see the effect of the hold segment, play back the clip in the timeline. Note: You can also create a still-image file from a video frame in your project or from a clip in the browser. For example, you may want to email someone a JPEG image showing a specific moment in your project. See Export still images. Reset speed changes in Final Cut Pro You can reset a range selection or a clip to play back at normal (100 percent) speed. Resetting the speed also removes any directional effects (reverse and rewind) and hold segments applied to the selection. 1. In the Final Cut Pro timeline, select a range, a whole clip, or a group of clips whose speed you want to reset. 2. Click the Retime pop-up menu below the viewer and choose Normal 100% (or press Shift-N). Conform frame sizes and rates in Final Cut Pro Final Cut Pro manages project settings automatically. This means you can work with multiple media types with differing frame sizes (also referred to as resolution) and frame rates in the same project. When you add the first video clip to your project, Final Cut Pro automatically sets the format, frame size, and frame rate for the entire project based on the properties of that first clip (or, more precisely, on the properties of the clip’s source media file). You can modify the project’s settings at any time, and you can control, on a clip-by-clip basis, how Final Cut Pro conforms an individual clip’s frame rate and frame size to match the project settings. All of the project information in this section applies equally to compound clips, which can have their own distinct project settings. Final Cut Pro User Guide 539 You can add interlaced clips to progressive (non-interlaced) projects and progressive clips to interlaced projects. To add an interlaced clip to a progressive project, see the instructions below. Final Cut Pro accepts progressive clips in interlaced projects automatically. Here are things to keep in mind when working with multiple formats and frame sizes: • Choose video and audio project properties based on how you intend to share your final movie with your audience. For example, if you’re editing a project with mixed-format media and you intend to share it as 1080p HD, you should set your project’s video properties to 1080p HD. • If you’re unsure of the final distribution format, the most important decision you can make before creating your project is choosing your project’s frame rate. It’s easy to change the format and the frame size of your project, but changing the frame rate can cause all the edit points in your project to shift in time. • If you have a clip that matches the video and audio properties of the format in which you intend to share your project, add this clip to your project first. Final Cut Pro automatically creates matching project settings. This saves you from having to change your project settings later. Tip: If the first clip you add to a project is an audio clip or a still-image clip, Final Cut Pro prompts you to choose the video properties for your project. Cancel the edit, add a video clip whose source media file has the video properties you require for your project, and then add the audio or still-image clip to your project. Choose a method of conforming frame size You can choose how Final Cut Pro modifies the frame size of a clip to match the project’s frame size settings. For example, you can have Final Cut Pro change the frame size of the clip to fit within the longest dimension of the project’s frame dimensions, fill the entire frame of the project (which usually results in cropping), or leave the clip’s frame size as is. 1. Open a project in the Final Cut Pro timeline, then add a clip whose frame size (resolution) is different from the project’s frame size. For information about adding clips to the timeline, see Intro to adding clips. 2. Select the clip in the timeline. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. Final Cut Pro User Guide 540 5. Click the Type pop-up menu in the Spatial Conform section of the Video inspector, then choose a method of conforming frame size. Note: If the clip you selected has the same frame size (resolution) as the project, the Spatial Conform section does not appear. • Fit: The default setting. Fits the clip within the project’s frame size without cropping the clip’s video. Black bars appear on the sides of the frames that don’t match the project’s frame size. In the case of a standard-definition (SD) clip in a high-definition (HD) project, Final Cut Pro scales up the SD clip to fit the HD project’s frame size. In the case of an HD clip in an SD project, Final Cut Pro scales down the HD clip to fit the SD project’s frame size. • Fill: Makes the clip’s video fill the project’s frame size. In the case of an SD clip in an HD project, Final Cut Pro scales up the SD clip to fit the HD project’s frame size. In the case of an HD clip in an SD project, Final Cut Pro scales down the HD clip to fit the SD project’s frame size. In both cases, cropping occurs along the clip’s longer dimension to allow the shorter dimension to fill the screen. • None: Leaves the clip’s frame size unchanged. If the clip’s frame size is larger than the project’s frame size, the clip appears cropped. If the clip’s frame size is smaller than the project’s frame size, black bars surround the clip. Choose a method of conforming frame rate When a clip’s frame rate differs from the project’s frame rate, Final Cut Pro employs a frame-sampling method to change the clip’s frame rate to match that of the project. You can choose which frame-sampling method Final Cut Pro uses to modify the clip’s frame rate. The method you choose depends on how important it is to eliminate visual stuttering and artifacts. 1. Open a project in the Final Cut Pro timeline, then add a clip whose frame size (resolution) is different from the project’s frame size. For information about adding clips to the timeline, see Intro to adding clips. 2. Select the clip in the timeline. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 541 4. Click the Video button at the top of the inspector. 5. Click the Frame Sampling pop-up menu in the Rate Conform section of the Video inspector, then choose a method of conforming frame rate. Note: If the selected clip has the same frame rate as the project, the Rate Conform section doesn’t appear in the Video inspector. • Floor: The default setting. Final Cut Pro rounds down to the nearest integer during its calculation to match the clip’s frame rate to the project’s frame rate. • Nearest Neighbor: Final Cut Pro rounds to the nearest integer during its calculation to match the clip’s frame rate to the project’s frame rate. This setting reduces artifacts at the expense of visual stuttering. Rendering is required. • Frame Blending: Creates in-between frames by blending individual pixels of neighboring frames. Slow-motion clips created with Frame Blending appear to play back more smoothly than those created with the Floor or Nearest Neighbor setting. This setting provides better reduction of visual stuttering, but you may see some visual artifacts. Rendering is required. • Optical Flow: A type of frame blending that uses an optical flow algorithm to create new in-between frames. Final Cut Pro analyzes the clip to determine the directional movement of pixels and then draws portions of the new frames based on the optical flow analysis. This setting usually provides the greatest reduction in visual stuttering and artifacts. Rendering is required, and takes longer than for the other framesampling methods. Add an interlaced clip to a non-interlaced (progressive) project Some video formats use an interlaced scanning method that divides a video frame into two fields, each consisting of alternating odd and even lines that are scanned at different times. If you want to add an interlaced clip to a progressive project, you can have Final Cut Pro deinterlace the clip so that it plays at full resolution, free of the alternating jagged lines associated with interlaced clips in progressive projects. 1. In Final Cut Pro, do one of the following: • In the browser, select the interlaced clips you want to add to a progressive project. • In the timeline, select interlaced clips you’ve added to a progressive project. Final Cut Pro User Guide 542 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. 4. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Settings. 5. Select the Deinterlace checkbox. Note: Selecting the Deinterlace setting causes the frame rate of the selected clips to double. For example, if the original interlaced clips have a frame rate of 29.97 fps, the deinterlaced clips have a frame rate of 59.94 fps. Keep this in mind when you choose the video and audio settings for your project. Tip: To confirm the absence of interlacing artifacts, you can press the Left Arrow and Right Arrow keys to step through the clips in the timeline one frame at a time. 6. To display full-resolution frames during playback, click the View pop-up menu in the top-right corner of the viewer and choose Better Quality. The clips now play back and function as progressive clips. Depending on your specific computer configuration, background rendering may be necessary. Use XML to transfer projects in Final Cut Pro You can import and export XML (Extensible Markup Language) files in Final Cut Pro. FCPXML is a specialized format that uses XML elements to describe the data exchanged between Final Cut Pro and third-party applications and tools. You can use XML documents (plain ASCII text files with tagged elements) to transfer the details of your libraries, events, projects, and clips between Final Cut Pro and third-party applications, devices, and media asset management tools that don’t recognize Final Cut Pro documents and files. The XML import and export options are described in detail in the Final Cut Pro XML developer documentation. See Exchanging Content and Metadata with Final Cut Pro at the Apple Developer website. Final Cut Pro User Guide 543 Import XML into Final Cut Pro You can generate XML files with other applications and then import them into Final Cut Pro. When you import an XML file, Final Cut Pro generates clips, events, projects, and a library, depending on the contents of the XML file. 1. In Final Cut Pro, choose File > Import > XML. 2. Navigate to the XML file you want to import, then click Import. Final Cut Pro processes the XML and generates the corresponding clips, events, projects, and library, depending on the contents of the XML file. Tip: You can also import XML files by double-clicking them in the Finder or dragging them to the Final Cut Pro app icon. Export XML from Final Cut Pro You can export events, projects, and libraries as XML files. 1. In Final Cut Pro, select a library, or select one or more events, projects, or clips that you want to export as XML files. To export the project currently open in the timeline, click in the timeline to make it active. 2. Choose File > Export XML. 3. In the window that appears, enter a name for the XML file in the Save As field. 4. Navigate to a folder on your Mac or storage device where you want to store the XML file. 5. Click the Metadata View pop-up menu and choose a metadata view. By choosing a metadata view, you determine what information is included in the XML file and how it’s organized. See View and change clip metadata and Modify metadata views. 6. Select the XML version (Current or Previous) for the export. Note: In most cases, you should choose the current version. You have the option to choose the previous version of the Final Cut Pro XML Interchange Format if you have XML processing code or a third-party application that recognizes the previous version only. 7. Click Save. With Final Cut Pro 10.3 or later and compatible third-party applications, you can incrementally update your libraries, events, projects, and clips simply by dragging them between the applications. For example, you might drag a set of events from Final Cut Pro to your media asset management (MAM) application. Or you might drag a library from your MAM application to Final Cut Pro to update it instantly. For more information about compatible third-party applications, visit the Final Cut Pro Resources webpage. Note: Final Cut Pro XML version 1.10 or later is required for the object tracking and Cinematic mode video features introduced in Final Cut Pro 10.6. When you export FCPXML using version 1.10 or later, Final Cut Pro uses FCPXML bundles, which have the filename extension .fcpxmld. Final Cut Pro User Guide 544 Edit 360-degree video Intro to 360° video in Final Cut Pro Using Final Cut Pro, you can import, edit, and share 360° video to provide your audience with immersive viewing experiences. 360° video (sometimes called spherical video) is footage captured by special cameras that point lenses in all directions to create a panoramic sphere of video that surrounds the viewer—as if the video were projected onto the inside of a hollow globe. Viewers can watch 360° video in several ways. With a virtual reality (VR) headset, viewers can turn their heads to see different parts of a scene. This creates the illusion of being physically in the space. Viewers can also watch 360° video and navigate to all parts of the scene by turning or rotating an iPhone or iPad or by scrolling a rectangular window on a computer. How 360° video is recorded and displayed 360° footage is recorded using multiple cameras or a dedicated 360° camera with multiple “fisheye” lenses, with each lens recording a different but overlapping camera angle. Before 360° footage is imported into Final Cut Pro, the different camera angles must be stitched together to create a single seamless 360° image. Some 360° cameras do this step automatically; others require that you stitch the camera angles together using special software. For 360° playback and editing in Final Cut Pro, the stitched image must be an equirectangular projection, similar to world maps that depict the globe as a twodimensional (2D) rectangle. Final Cut Pro User Guide 545 The examples below show an image from a single fisheye lens, the resulting equirectangular image composed of multiple fisheye images stitched together, and a standard (also called rectilinear) image of the same scene for comparison. Types of 360° video: Monoscopic versus stereoscopic There are two types of 360° video: monoscopic (2D) and stereoscopic (three-dimensional, or 3D). In each case, viewers can navigate to any part of the full 360° scene. • Monoscopic 360° video is a flat 2D rendering that can be viewed on any screen. Viewers can navigate monoscopic 360° video in any direction, but there’s no real depth perception; viewing monoscopic video is like looking around with only one eye open. • Stereoscopic 360° video is split into two views designated for the left and right eyes, creating the perception of depth that people experience in the real world when they have two eyes open. This type of video is designed to be viewed through a special headset or glasses that can project each view into the appropriate eye. Final Cut Pro User Guide 546 Working with 360° video in Final Cut Pro You import 360° clips the same way you import other media, but you need to make sure that your 360° clips have the correct metadata assigned. See Import 360-degree video. You can view and navigate 360° clips in a dedicated 360° viewer. You can also view 360° clips in a VR headset connected to your Mac. You can view and navigate the 360° image in any direction, even when the video is paused. See View and navigate 360-degree video. To edit 360° video, you create special 360° projects. You can add standard rectilinear video clips to 360° projects, and you can also add 360° clips to rectilinear projects. When you’ve finished editing, you can export your 360° clips and projects as files or share them on a variety of video-sharing and social media websites. See Share 360-degree clips and projects. 360º images © 2015 Jaunt, Inc. Import 360° video into Final Cut Pro You import 360° video the same way you import any other video media, but there are a couple of important things to keep in mind: • For proper playback and editing in Final Cut Pro, your 360° media must be formatted for equirectangular projection. • The metadata associated with your 360° media must be set correctly. After you import 360° media, you can view or change its metadata in the browser and the Info inspector. Check settings for imported 360° clips 1. Import the 360° video clips into Final Cut Pro. 2. Select a 360° clip in the browser. 3. Do one of the following: • Open the Info inspector, then make sure the 360° Projection Mode pop-up menu is set to Equirectangular. • Switch the browser to list view, then scroll to the right side of the browser and make sure the clip’s 360° Mode column is set to Equirectangular. If your 360° media is not equirectangular, you can assign other settings to organize your media. For example, if you have fisheye media that hasn’t yet been stitched into equirectangular format, you could assign it the Back-to-Back Fisheye setting as a reminder that it still needs to be converted. See 360-degree video settings. Note: You can tag Fisheye, Back-to-Back Fisheye, and Cubic clips to organize them, but before you can edit them in Final Cut Pro you need to convert those clips to equirectangular clips using stitching software from the camera manufacturer. 4. In the Stereoscopic Mode column in the browser (to the right of the 360° Mode column) or the Stereoscopic Mode pop-up menu in the Info inspector, choose a setting that corresponds to the type of 360° media: • Monoscopic: View for a monoscopic 360° clip (no stereoscopic characteristics). For monoscopic media, make sure to choose this setting. Final Cut Pro User Guide 547 • Side by Side: View for a stereoscopic 360° clip. The images for the left and right eyes are side by side in the video frame. • Over/Under: View for a stereoscopic 360° clip. The images for the left and right eyes are stacked vertically in the video frame. For more information about stereoscopic media, see View stereoscopic 360° clips in the 360° viewer. 360° video settings in Final Cut Pro You can assign 360°-related metadata tags to your 360° clips, which is useful for organizing your media and creating 360° projects. Some of these metadata tags are required for your 360° media to play back properly in the viewer and the 360° viewer. Tagging 360° clips with the correct metadata is a fundamental part of the importing process. See Import 360-degree video. 360° Mode settings The 360° Mode setting indicates the type of projection used to display the clip in the Final Cut Pro viewer and 360° viewer. • None: A standard clip (no 360° characteristics). • Equirectangular: A 360° clip with equirectangular projection—similar to a world map that depicts the globe as a two-dimensional (2D) rectangle. • Fisheye: A clip shot with a 180° fisheye lens. • Back-to-Back Fisheye: A 360° video clip shot with two 180° fisheye lenses facing in opposite directions. • Cubic: A 360° projection in which the spherical view is unfolded like a cube, with six faces surrounding the viewer. Each face is flattened as a rectilinear projection with 90 x 90 degrees of view. Cube maps are stored as six separate square textures or as a single texture with all faces unfolded. Note: You can tag Fisheye, Back-to-Back Fisheye, and Cubic clips to organize them, but before you can edit them in Final Cut Pro you need to convert those clips to equirectangular clips using stitching software from the camera manufacturer. Stereoscopic Mode settings The Stereoscopic Mode setting in Final Cut Pro indicates the type of stereoscopic configuration. • Monoscopic: A monoscopic 360° clip (no stereoscopic characteristics). • Side by Side: The images for the left and right eyes are side by side in the video frame. • Over/Under: The images for the left and right eyes are stacked vertically in the video frame. Final Cut Pro User Guide 548 Create 360° projects in Final Cut Pro To take full advantage of the 360° video capabilities of Final Cut Pro, you must edit 360° clips in a project whose format is set to 360° video. Final Cut Pro sets project properties based on the properties of the first clip you add to the project, so you can create a 360° project by adding a 360° clip to a new, empty project. You can also set 360° project properties manually. Create a 360° project with 360° clips 1. In Final Cut Pro, select an event in the Libraries sidebar, then choose File > New > Project (or press Command-N). For more details, see Create a new project. 2. In the window that appears, make sure “Set based on first video clip properties” appears after “Video.” If you don’t see “Set based on first video clip properties,” click Use Automatic Settings. 3. Enter a name for the project, then click OK. 4. In the browser, locate one of the 360° video clips that you imported. Make sure the clip has the 360° video properties that you want in your new project. See Check settings for imported 360° clips. 5. Add the clip to the new (empty) timeline. If the clip properties match a built-in preset, Final Cut Pro sets the project properties to match the properties of the clip you added. After you create your 360° project, you edit your 360° clips in the timeline the same way you edit standard clips. See Intro to editing. Create a 360° project manually 1. In Final Cut Pro, select an event in the Libraries sidebar, then choose File > New > Project (or press Command-N). 2. Enter a name for the project in the window that appears. 3. Click the Video Format pop-up menu and choose 360°. If you don’t see the Video Format pop-up menu, click Use Custom Settings. 4. Click the Projection Type pop-up menu and choose one of the following: • 360° Monoscopic: Choose this option for monoscopic 360° media. • 360° Stereoscopic: Choose this option for stereoscopic 360° media. 5. Make any other changes to the project’s video, audio, or rendering properties. See Final Cut Pro project settings. 6. Click OK. For more details, see Create a new project. Tip: To quickly create a 360° project from a 360° clip in the browser that has the properties you want in your project, Control-click the clip and choose New Project. Enter a name for the project, then click OK. Final Cut Pro User Guide 549 Final Cut Pro includes effects that are specially designed for 360° video. To find them, click the 360° category in the Titles and Generators sidebar or in the Effects browser. See Add 360-degree titles and generators and Add 360-degree video effects. You can remove the camera mount from your stationary 360° clips. See Add the 360-degree Patch effect. View and navigate 360° video in Final Cut Pro In Final Cut Pro, you can view and navigate 360° clips in a dedicated 360° viewer or in a virtual reality (VR) headset connected to your Mac. You can view and navigate the 360° image in any direction, even when the video is paused. For proper 360° playback and editing in Final Cut Pro, you must use files rendered in the equirectangular format, and they must be tagged as Equirectangular in Final Cut Pro. See Import 360-degree video. Note: Navigating within 360° video clips does not affect the orientation of any media files that you export from your 360° project. To change the orientation of output media files, see Reorient 360-degree video. Navigate 360° video clips in the 360° viewer 1. In Final Cut Pro, do one of the following: • Select a 360° clip in the browser, then position the playhead in the clip. • Add a 360° clip to a 360° project in the timeline, then position the playhead in the clip. See Create 360-degree projects. The equirectangular image appears in the viewer. Final Cut Pro User Guide 550 2. Choose View > Show in Viewer > 360° (or press Option-Command-7). The 360° viewer appears to the left of the viewer, showing the 360° clip as a 360° projection. 3. If you wish, play back the clip. 4. To navigate within the clip, drag in any direction in the 360° viewer, or do any of the following: • Look up: Press Control-Option-Command-Up Arrow. • Look down: Press Control-Option-Command-Down Arrow. • Look left: Press Control-Option-Command-Left Arrow. • Look right: Press Control-Option-Command-Right Arrow. • Roll clockwise: Press Control-Option-Command-Right Bracket. • Roll counterclockwise: Press Control-Option-Command-Left Bracket. Adjust the field of view in the 360° viewer As you play back or edit your 360° video clips in Final Cut Pro, you can adjust the view in the 360° viewer. Note: You can’t adjust the view in the 360° viewer when a VR headset is connected. 1. In Final Cut Pro, view a 360° video clip in the 360° viewer. 2. Do any of the following: • Widen the field of view: Drag the Field of View slider to the left, or press ControlOption-Command-Minus Sign (–). • Narrow the field of view: Drag the Field of View slider to the right, or press ControlOption-Command-Plus Sign (+). • Reset the field of view: Click the Reset button to the right of the Field of View slider. • Superimpose information about the viewing angle: Click the Settings pop-up menu in the upper-right corner and choose Show Overlays. Final Cut Pro User Guide 551 • Reset the angle of view to the default direction: Click the Settings pop-up menu in the upper-right corner and choose Reset Angle (or press Control-OptionCommand-0). View stereoscopic 360° clips in the 360° viewer When working with stereoscopic 360° media in the 360° viewer, you can show the views for both the left and right eyes simultaneously. These special view options in the 360° viewer allow you to objectively assess the parallax and alignment of stereoscopic sources. 1. Select a stereoscopic 360° video clip in the Final Cut Probrowser. Be sure to confirm the stereoscopic settings for the clip. 2. View the clip in the 360° viewer. 3. Click the Settings pop-up menu at the top of the 360° viewer and choose an option from the Stereoscopic section: • Left Eye: Shows just the view for the left eye. • Right Eye: Shows just the view for the right eye. • Anaglyph: Shows a simultaneous view from both eyes. The red channel for the left eye and the blue and green channels for the right eye are composited together. You can use this view to compare parallax and alignment with or without standard red/ cyan anaglyph glasses. • Anaglyph Monochrome: Shows the Anaglyph view in grayscale. This view makes it easier to see the image in stereo. Luminance from the left and right sources is composited together using the red channel for the left eye and the blue and green channels for the right eye. You can use anaglyph glasses to see the image without interference from the native colors in the source image, or use this view without glasses to compare parallax and alignment. • Anaglyph Outline: Shows edges in the image and lets you set the parallax using the Convergence control, which adjusts the apparent convergence point (the perception of distance to an element) in stereoscopic space. Edges with red on the left side indicate positive parallax (farther away than the convergence point), and red on the right indicates negative parallax (closer than the convergence point). As a bonus, you can use anaglyph glasses to preview the stereoscopic 3D effect. This is the most precise view for assessing the actual parallax in a scene. Final Cut Pro User Guide 552 • Superimpose: Composites the views for the left and right eyes at 50 percent opacity so they are both visible simultaneously. This view is useful for spot-checking the output, but does not help identify specific left-right parallax cues. You can’t use anaglyph glasses with this view. • Difference: Compares the pixel color values of the views for the left and right eyes and produces a monochrome result. No difference results in gray output, but dissimilar pixels appear in a range from dark to bright. This view is ideal for flagging vertical disparities or inconsistencies in stitching. You can also adjust the apparent convergence point in stereoscopic space without a VR headset. You can’t use anaglyph glasses with this view. View 360° video clips with a VR headset 1. Connect a VR headset to your Mac. Using a VR headset with Final Cut Pro requires macOS High Sierra 10.13 or later. Important: For more information about setting up your VR headset, see the Apple Support article Use a VR headset with Final Cut Pro and Motion, the Final Cut Pro Technical Specifications page, and the documentation that came with your headset. 2. In Final Cut Pro, click the Settings pop-up menu in the upper-right corner of the 360° viewer and choose Output to VR Headset (or press Control-Option-Command-7). The 360° video appears in the VR headset display. 3. If you want the 360° video to appear in both the 360° viewer and the VR headset display, click the Settings pop-up menu and choose Mirror VR Headset (or press Control-Option-Command-9). 4. To navigate the 360° video, put on the headset and look in any direction. The display in the headset changes as you turn your head. 5. To set a default (home) direction for the headset, point the headset in the direction that you want to set as the default, then click the Settings pop-up menu and choose Reset Orientation. The default direction of the headset is usually determined by headset software when the headset is initialized, but you can change the direction using the Reset Orientation command. 360º images © 2015 Jaunt, Inc. Edit a 360-degree project Reorient 360° video in Final Cut Pro Every 360° video clip has a native orientation (the default direction the viewer looks). You can change the orientation of a 360° video clip by adjusting its Tilt, Pan, and Roll parameters. Final Cut Pro User Guide 553 Panning is a camera movement in which the field of view moves horizontally. Tilting moves the field of view up and down. Rolling rotates the view around an axis that goes through the length of the camera lens, causing the angle of the horizon to change. Note: The settings described in this topic affect the orientation of output media files you export from a project. For information about temporary playback and navigation in the 360° viewer, see View and navigate 360-degree video. Change the 360° orientation using the Video inspector 1. In Final Cut Pro, create a 360° project. 2. Add a 360° clip to the timeline, then select the clip. 3. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 4. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Adjust the parameters in the Reorient section of the inspector: • Tilt (X): Rotate the view up or down (around the x-axis). • Pan (Y): Rotate the view left or right (around the y-axis). • Roll (Z): Rotate the view clockwise or counterclockwise (around the z-axis). • Convergence: Adjust the apparent convergence point of elements in stereoscopic space, allowing them to be perceived as closer or farther away. (The Convergence parameter appears for stereoscopic clips.) As you change the values in the Reorient section of the inspector, the viewer updates to reflect the changes. Final Cut Pro User Guide 554 Change the 360° orientation using the onscreen control 1. In Final Cut Pro, create a 360° project. 2. Add a 360° clip to the timeline, then select the clip. 3. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 4. To show the Reorient onscreen control, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Reorient. • Control-click in the viewer (not the 360° viewer) and choose Reorient. • Click the Reorient button in the Reorient section of the Video inspector. When you move the pointer over the viewer, the pointer changes to the Reorient control. The Reorient button in the inspector and in the lower-left corner of the viewer turns blue to indicate that the Reorient control is active. 5. Drag in the viewer (not the 360° viewer) to adjust the orientation of the selected clip. Tip: To constrain the movement to one axis, hold down the Shift key as you drag. As you drag in the viewer, the values in the Reorient section of the inspector update to reflect the changes. Final Cut Pro User Guide 555 Use the Horizon guidelines to realign the image When you make orientation changes in a 360° video clip (particularly when adjusting the Tilt and Roll parameters), you might lose track of the horizon line. You can show Horizon guidelines in the viewer to help you realign, recenter, or level the image—for example, to align the horizon on the x-axis. • In Final Cut Pro, click the View pop-up menu in the upper-right corner of the viewer, then choose Show Horizon in the Overlays section. Note: It’s possible to create cinematic camera moves in your 360° projects by using keyframes to animate changes to the orientation parameters over time (see Add video effect keyframes). However, this may not be appropriate given that 360° video is fully interactive and navigable by the viewing audience at all times. A more appropriate use of this technique might be animating a 360° clip in a rectilinear project. See Add 360-degree clips to standard projects. 360º images © 2015 Jaunt, Inc. Add 360° video effects in Final Cut Pro Final Cut Pro includes special 360° versions of some standard effects (such as blur, glow, and sharpen effects). You can apply these effects to 360° clips without creating seams, unwanted distortions, or other artifacts. 1. Select a 360° clip in the Final Cut Pro timeline, then click the Effects button in the topright corner of the timeline (or press Command-5). 2. In the Effects browser, select the 360° category below Video, then double-click an effect to apply it to the selected clip. You can also apply an effect by dragging it directly to a clip in the timeline. For more information about adding clip effects, see Intro to clip effects. Final Cut Pro User Guide 556 You can use the 360° Patch effect to cover up unwanted imagery (such as a camera or tripod) in a 360° scene. See Add the 360-degree Patch effect. Add 360° titles and generators in Final Cut Pro Final Cut Pro includes titles and generators that are specially designed for use in 360° projects. 360° titles are always projected correctly into the equirectangular projection, so the depth, lighting, and shading of 3D text appear as they would in a standard project. You adjust 360° titles using Reorient controls (rather than the 360° Transform controls that you use to adjust standard titles in a 360° project). Final Cut Pro also includes special 360° generators. You can add these generators to 360° projects without creating seams, unwanted distortions, or other artifacts. 1. To open the Titles and Generators sidebar in Final Cut Pro, do one of the following: • Click the Titles and Generators button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Titles and Generators (or press Option-Command-1). 2. Do one of the following: • Select the 360° category below Titles in the sidebar, then add a 360° title to your project. See Add titles. To position 360° titles, follow the instructions for using the Reorient tools in Reorient 360-degree video. • Select the 360° category below Generators in the sidebar, then add a 360° generator to your project. See Intro to generators. 360º images © 2015 Jaunt, Inc. Final Cut Pro User Guide 557 Add standard clips to 360° projects in Final Cut Pro You can include rectilinear clips and titles in a 360° project—for example, you might want to place a logo or a title within the 360° equirectangular projection. When you add a standard title (a title not optimized for 360° video) to a 360° project, the title looks “flat” in the viewer but appears as if it is pasted on the inside of the 360° sphere in the 360° viewer. You can turn on the 360° Transform controls to project the title correctly into the equirectangular projection. When 360° Transform is on, the title appears on a flat plane within the 360° sphere. However, a standard 3D title projected by 360° Transform does not have the depth of a 360°-optimized 3D title. You can position it in the 360° sphere, but it always appears thin, like a piece of paper with a photograph of a 3D title on it. 1. In Final Cut Pro, do one of the following: • Add a standard clip: Import the rectilinear media, then add one or more rectilinear clips to your 360° project. See Intro to adding clips. • Add a standard title: Choose Window > Go To > Titles and Generators (or press Option-Command-1), then select any category below Titles in the sidebar (other than the 360° category) and add a title to your project. To change the text of the title, see Edit title text. 2. In the timeline, select one or more of the standard clips or titles. Final Cut Pro User Guide 558 3. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. If you added a title, select the 360° Transform checkbox to turn on the 360° Transform controls. Note: The 360° Transform parameters are turned off by default for standard titles so that you can first edit the text in the viewer using onscreen controls. After you finish editing the title content with onscreen controls, select the title in the timeline, then select the 360° Transform checkbox in the Video inspector to enable those controls and project the title as a flat plane. 6. If the 360° Transform controls aren’t shown in the Video inspector, move the pointer over 360° Transform and click Show. 7. Click the Coordinates pop-up menu and choose a method of positioning the clip or title in the equirectangular projection: • Spherical: Use this coordinate system for logos, titles, or video clips that are either stationary or orbiting around the center. • Cartesian: Use this coordinate system when you want to animate a clip or title to travel from one point in 3D space to another. For example, if you were to re-create the opening text scroll of Star Wars, you would create it on a single plane, then rotate it on the x-axis and fly it from behind the center out in front. 8. Depending on the coordinate system you chose, adjust the following position parameters: If you chose Spherical: • Latitude: Rotate the clip plane up or down around the center. • Longitude: Rotate the clip plane left or right around the center. • Distance: Move the clip plane closer to or farther from the center. • Scale: Change the clip’s size (without affecting the distance or parallax). If you chose Cartesian: • X Position: Move the clip plane on the x-axis. • Y Position: Move the clip plane on the y-axis. • Z Position: Move the clip plane on the z-axis. 9. If you want the clip plane to always face the center, select the Auto-orient checkbox. Final Cut Pro User Guide 559 10. To set the local orientation of the clip, adjust the following parameters: • X Rotation: Rotate the clip plane on its x-axis. • Y Rotation: Rotate the clip plane on its y-axis. • Z Rotation: Rotate the clip plane on its z-axis. • Convergence: Adjust the apparent convergence point of elements in stereoscopic space, allowing them to be perceived as closer or farther away. (The Convergence parameter appears for rectilinear clips in stereoscopic projects.) • Interaxial: Adjust the stereoscopic depth of the selected clip. The effect becomes apparent when you adjust the clip’s local orientation. (The Interaxial parameter appears for rectilinear clips in stereoscopic projects.) 360º images © 2015 Jaunt, Inc. Add 360° clips to standard Final Cut Pro projects You can add 360° clips to a standard rectilinear project. When you export the rectilinear project, the 360° clips are converted to rectilinear clips (which are not navigable by the viewing audience). However, you can create the effect of cinematic camera moves with 360° clips by animating tilts, pans, and rolls (or create interesting “tiny planet” effects) before you export. 1. Make sure the 360° clips have the correct 360° metadata tags in the Final Cut Pro browser. See Check settings for imported 360° clips. 2. Add one or more 360° clips to a rectilinear project. See Create a new project and Intro to adding clips. Note: If you add a stereoscopic 360° clip to a rectilinear project, Final Cut Pro displays the video image from the left eye only. 3. Select the clip or clips in the timeline. 4. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the Video button at the top of the inspector. Final Cut Pro User Guide 560 6. In the Video inspector, scroll down to the Orientation section, then click the Mapping pop-up menu and choose one of the following: • Normal: Presents any portion of the 360° video, up to 175° maximum (125° for 16:9 projects), using gnomonic projection, in which straight lines appear straight. • Tiny Planet: Maps the entire 360° sphere onto a flat plane, creating the effect of a tiny planet. See Add the Tiny Planet effect. 7. In the Orientation section, adjust any of the following parameters: • Tilt (X): Rotate the view left or right (around the x-axis). • Pan (Y): Rotate the view up or down (around the y-axis). • Roll (Z): Rotate the view clockwise or counterclockwise (around the z-axis). • Field of View: Adjust the amount of the 360° scene that is shown. To widen the field of view, drag the slider to the right. To narrow the field of view, drag the slider to the left. You can use one orientation (camera angle) for the entire duration of a 360° clip, or you can animate changes to the orientation over time to create the effect of cinematic camera moves. See Add video effect keyframes. Important: Changes to the orientation settings affect the orientation of output media files. You can edit the 360° clips in a rectilinear project the same way you edit standard clips. When you finish editing your rectilinear project, you can share the project using any share method. The output from any 360° clips included in the project is flat (just like any other standard rectilinear video). Add the 360° Patch effect in Final Cut Pro You can use the 360° Patch effect to cover up (patch) a portion of a 360° clip with pixels from another location in the 360° sphere. The 360° Patch effect is typically used to hide the tripod or camera support by cloning an area of the ground near the camera. You use the source controls to specify where in the image you want to copy the patch from, and the target controls to specify where to paste the patch. Final Cut Pro User Guide 561 Unlike a static image, a patch created with the 360° Patch effect adjusts dynamically as the lighting changes in the scene. Apply the 360° Patch effect 1. In Final Cut Pro, create a 360° project. 2. Add a 360° clip to the timeline, then select the clip. 3. Position the playhead over the clip in the timeline so that the clip’s video is displayed in the viewer. 4. Open the Effects browser, select the 360° category on the left, then double-click 360° Patch to add the effect to the clip selected in the timeline. 5. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 6. In the Video inspector, click the Patch Region pop-up menu and choose a general area of the 360° sphere to work on. You can choose Nadir (Bottom), Zenith (Top), Front, Back, Left, or Right. 7. Select the Setup Mode checkbox. The area of the image you chose in the Patch Region pop-up menu appears in the viewer, with onscreen controls for the patch source and target areas. 8. Drag the red (target) control over the area you want to patch (cover up). 9. Drag the green (source) control over the area you want to clone (copy). Final Cut Pro User Guide 562 10. To adjust the source radius (the size of the area you want to clone), drag the white circle around the green control. 11. In the Video inspector, adjust any of the following source parameters (which define the portion of the 360° image to copy for the patch): • Source Position: Adjust the source location. • Source Radius: Adjust the source size. • Source Softness: Adjust the softness of the patch edge. • Source Aspect: Adjust the patch shape. • Source Angle: Rotate the source shape. 12. To “spotlight” the source selection, dimming the rest of the image, select the Highlight Source checkbox. 13.Adjust any of the following target parameters (which define the portion of the 360° image to patch): • Target Position: Adjust the target location. • Target Opacity: Adjust the patch opacity. • Target Angle: Rotate the target shape. • Target Scale: Adjust the target size. 14.To flop the cloned image horizontally, vertically, or both horizontally and vertically, click the Target Flip Flop pop-up menu and choose an option. 15. To dismiss the onscreen controls and return to the standard view in the viewer and the 360° viewer, deselect the Setup Mode checkbox. The patch appears on the 360° clip. (You may need to use the 360° viewer to navigate to it.) Note: You can keyframe most of the parameters in the 360° Patch effect. See Add video effect keyframes. Create a separate clip with only the 360° Patch image By default, the 360° Patch effect is composited onto the 360° image as a permanent change in the output media file. You can isolate the patch image in a separate connected clip, which is particularly useful if you need to color correct the patch in isolation from the rest of the 360° image. 1. Apply the 360° Patch effect to a clip in your 360° project. 2. Duplicate the clip, then connect the duplicate clip above the original clip in the timeline. Tip: A quick way to do this is to Option-drag the clip to the area in the timeline just above the clip. 3. Select the connected clip. Final Cut Pro User Guide 563 4. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Deselect the Show Background checkbox at the bottom of the 360° Patch effect controls in the Video inspector. Final Cut Pro creates an alpha channel mask, isolating the patch image. You can now apply color correction and video effects to the patch image, separately from the original clip. 360º image © 2015 Jaunt, Inc. Final Cut Pro User Guide 564 Add the Tiny Planet effect in Final Cut Pro You can use the Tiny Planet mapping setting on 360° clips in a standard rectilinear project. The entire 360° sphere is converted to a stereographic projection (mapped onto a flat plane), creating the effect of a tiny planet. In contrast, the Normal mapping setting shows a standard image (a portion of the 360° image) in the viewer in a rectilinear project, and the full equirectangular image in the viewer in a 360° project. Note: You can apply 360° clip effects such as 360° Patch and 360° Noise Reduction to 360° clips in a rectilinear project. You can also add 360° titles and generators to rectilinear projects. 1. In Final Cut Pro, create a 360° project. 2. In the Video inspector, scroll down to the Orientation section, then click the Mapping pop-up menu and choose Tiny Planet. 3. To modify the tiny planet effect, do one of the following: • Adjust the parameter controls in the Orientation section of the Video inspector. • Click the Orientation button in the Orientation section of the inspector, then drag in the viewer to adjust the Orientation parameters. See Change the 360° orientation using the onscreen control. To constrain the movement to one axis, hold down the Shift key as you drag. Final Cut Pro User Guide 565 The following parameters are particularly useful for tiny planets: • Field of View: Zoom in or out on the tiny planet. • Pan (Y): Rotate the planet. • Tilt (X): Create an inverted tiny planet. Tip: During production, have some fun and take a stroll around your tiny planet: Position your 360° camera, start recording, take two or three large steps away from the camera, then walk, ride, or skate in a concentric circle around the camera. Share 360° clips and projects in Final Cut Pro When you’ve finished editing, you can export your 360° projects and clips as files or share them on a variety of video-sharing and social media websites. See Share on the web. Final Cut Pro includes metadata in the output media file to identify it as a particular type of 360° video. You can also export a final file, or export XML files of events, projects, or libraries that include 360° clips and projects. In addition to Final Cut Pro, you can use Safari on macOS High Sierra 10.13 or later, Chrome, and Firefox to play back 360° video on a Mac. You can also use many of the apps included with 360° cameras. 360º video tips in Final Cut Pro The following tips can help ensure success in your Final Cut Pro 360° video workflow: • Make sure your 360° media is compatible with Final Cut Pro. • Your 360° media must be formatted for equirectangular projection. See Intro to 360-degree video. • For a list of supported cameras, see the Apple Support article Cameras supported by Final Cut Pro. • Make sure your Mac meets the recommended system requirements for 360º video. See the Final Cut Pro Tech Specs webpage. • Tag 360° clips with the correct properties as early as possible in the import process. This 360° metadata is required for proper playback and editing. See Import 360° video. Final Cut Pro User Guide 566 • You can use a VR headset to work with 360° video in Final Cut Pro for a fully immersive editing experience. For setup instructions, see the Apple Support article Use a VR headset with Final Cut Pro and Motion. Note: Because you can view and navigate 360° clips in a dedicated 360° viewer, a VR headset is not required to work with 360° video in Final Cut Pro. • Make sure to provide adequate storage space for 360° video files. In general, video files from 360° cameras are about four times larger than files from comparable standard cameras. Video files from 360° cameras use the same file formats and codecs as those from standard cameras. For information about managing media in Final Cut Pro, see Intro to media management . • In addition to Final Cut Pro, you can use Safari on macOS High Sierra 10.13 or later, Chrome, and Firefox to play back 360° video on a Mac. You can also use many of the apps included with 360° cameras. Change the focus in Cinematic mode video Intro to Cinematic mode video in Final Cut Pro In Final Cut Pro, you can change the focus of video clips recorded in Cinematic mode on iPhone 13 models. Cinematic mode creates clips with a simulated depth-of-field effect that keeps your subjects—people, pets, and more—in sharp focus while allowing a pleasing blur on the background (or foreground). As you record, the camera uses machine learning to automatically detect and focus on subjects in the scene. You can also tap the screen while recording to manually focus on a subject. These automatic and manual focus decisions are called focus points. Focus points, as well as depth-of-field data, are saved with the Cinematic clip. When you import a Cinematic clip into Final Cut Pro, you can: • Add focus points and switch the focus between different subjects • Lock the focus on a moving object or a person • Lock the focus on a point in the scene at a specific distance from the camera • Delete manual focus points (added during recording or added in Final Cut Pro) • Adjust or animate the depth of field, creating a rack focus effect Note: Editing Cinematic mode video in Final Cut Pro requires macOS Monterey or later. For information on recording in Cinematic mode, see Take videos with your iPhone camera in the iPhone User Guide. Final Cut Pro User Guide 567 Import Cinematic mode clips into Final Cut Pro To edit Cinematic mode video in Final Cut Pro, you must import the Cinematic mode video clips using a method that preserves the depth and focus metadata created during recording on iPhone. Import directly into Final Cut Pro from iPhone or Photos See the following topics: • Import from iPhone, iPad, or iPod touch • Import from Photos Transfer using AirDrop, then import into Final Cut Pro You can use AirDrop to transfer Cinematic mode video clips from your iPhone to your Mac. 1. In Photos on your iPhone, open a Cinematic clip, then tap the Share button . 2. Tap Options at the top of the screen, turn on All Photos Data, then tap Done. 3. Tap AirDrop, then, in the Devices list, tap the Mac you want to transfer the clip to. (Make sure the Mac you’re sharing with has AirDrop turned on.) For each Cinematic clip that you transfer using AirDrop, a folder containing four files appears on the receiving Mac. 4. In the folder, locate the MOV file that does not begin with “IMG_E,” then import it into Final Cut Pro. Enable Cinematic mode video adjustments in Final Cut Pro To view and adjust focus points in a Cinematic mode video clip, you must open the Cinematic Editor in the timeline and show the Cinematic onscreen controls in the viewer. Step 1: Create a Cinematic mode video project By default, iPhone records video in HDR. For the best quality, import HDR Cinematic mode clips into a wide-gamut HDR project. 1. In Final Cut Pro, do one of the following: • If you recorded Cinematic mode clips in HDR (the default): Create an HDR library and project, and set the color space to Wide Gamut HDR - Rec. 2020 HLG. See Use wide-gamut HDR color processing. If you want to use the HDR clips in an SDR project, you can convert the clips to SDR using the HDR Tools effect. See Convert or adjust HDR clips. • If you recorded Cinematic mode clips in SDR: Create a new project. 2. Import the Cinematic clips. 3. Add one or more Cinematic clips to the timeline. Step 2: Open the Cinematic Editor in the timeline 1. In the Final Cut Pro timeline, select one or more Cinematic clips. Final Cut Pro User Guide 568 2. Do one of the following: • Choose Clip > Show Cinematic Editor (or press Control-Option-F). • Control-click the selection in the timeline and choose Show Cinematic Editor. Two kinds of focus points appear in the Cinematic Editor (above the selected clips in the timeline): • Automatic focus points: These are created by the Camera app while recording in Cinematic mode. In the timeline, automatic focus points appear as white dots. • Manual focus points: These are created when you tap the screen (to focus on a particular item in the scene) while recording in Cinematic mode. In the timeline, manual focus points appear as yellow dots with a ring around them. Note: Focus points are not keyframes. They are points of automatic or manual focus created when the video was recorded. Step 3: Show the Cinematic onscreen controls in the viewer 1. In the Final Cut Pro timeline, select one or more Cinematic clips. 2. Position the playhead in the timeline so that a Cinematic clip appears in the viewer. 3. Open the Video inspector, and make sure the Cinematic checkbox is selected. 4. To show the Cinematic onscreen controls for the selected clips, do one of the following: • Click the pop-up menu in the lower-left corner of the viewer and choose Cinematic (or press Control-Shift-F). • Control-click in the viewer and choose Cinematic. As you drag the playhead in the timeline, different types of controls appear in the viewer around elements in the scene. These controls indicate subjects or areas of focus identified during recording on iPhone, either automatically (by the Camera app) or manually (by the person recording the video). There are four types of controls: Final Cut Pro User Guide 569 Onscreen control Name Description Current focus indicator Yellow brackets indicate the current subject or area of focus tracked automatically by the camera. Suggested focus indicator White frames indicate potential subjects of focus tracked automatically by the camera. Move the pointer over the viewer to reveal additional suggested focus points. To change a suggested focus point to the current subject of focus, see Switch the focus in a Cinematic clip. AF Tracking Lock A yellow frame indicates the current subject or area of focus set manually (during recording or in Final Cut Pro). AF Tracking Lock focuses on a subject while following its movement, even when other potential subjects of focus appear in the video. AF Lock A small yellow square with tick marks indicates a fixed-focus point set manually (during recording or in Final Cut Pro). AF Lock focuses at a specific distance from the camera, ignoring all elements in the clip (until the next manual focus point). The types of controls that appear in the viewer depend on the focus decisions made during recording (not all types of controls appear for all Cinematic clips). Adjust the focus in Cinematic mode clips in Final Cut Pro When you record a video clip in Cinematic mode on iPhone, the Camera app automatically targets the most likely subject of focus in the scene. In the background, it also tracks focus for other potential subjects of your video clip. If another item comes into the frame, the camera may automatically switch the focus to that item. For example, if you’re focusing on one subject and that subject moves away from the center (or the camera pans) and another item comes into view, the camera may automatically focus on the second item. After you enable Cinematic adjustments, you can switch the focus between subjects in a Cinematic mode video clip, lock the focus on a subject, or fix the focus on a point at a specific distance from the camera. Final Cut Pro User Guide 570 Switch the focus in a Cinematic clip 1. In the Final Cut Pro timeline, position the playhead on a frame in a Cinematic clip that contains the item you want focus on (or select an existing focus point). In the viewer, yellow brackets appear around the current subject of focus. White frames indicate potential subjects of focus tracked by the camera. 2. In the viewer, click once on the suggested focus indicator (white frame) around the item you want to focus on. Tip: To reveal additional suggested focus points, press and hold the Option key while moving the pointer around in the viewer. The current focus indicator switches to the item you clicked, and the item comes into focus. A manual focus point appears at the playhead position in the clip’s Cinematic Editor in the timeline. Note: When you set manual focus points, Final Cut Pro may remove or reposition automatic focus points. Lock the focus on a subject in a Cinematic clip When you’re editing a Cinematic clip in Final Cut Pro, you can lock the focus on an item to prevent the focus from switching to another item. 1. In the Final Cut Pro timeline, position the playhead on a frame in a Cinematic clip that contains the item you want focus on (or select an existing focus point). In the viewer, yellow brackets appear around the current subject of focus. White frames indicate potential subjects of focus tracked by the camera. 2. In the viewer, click the current focus indicator (the yellow brackets) or double-click a suggested focus indicator (a white frame). Tip: To reveal additional suggested focus points, press and hold the Option key while moving the pointer around in the viewer. The control you clicked changes to the AF Tracking Lock, and a manual focus point is added to the clip’s Cinematic Editor in the timeline. The focus remains locked on the subject you selected (if possible) until the end of the clip or until the next focus point (a white or yellow dot in the timeline). To turn off AF Tracking Lock, click the center of the closed yellow frame. The control reverts to the current focus indicator. Note: When you set manual focus points, Final Cut Pro may remove or reposition automatic focus points. Final Cut Pro User Guide 571 Lock the focus on a point at a specific distance from the camera You can lock the focus in a Cinematic clip at a specific distance from the camera using AF Lock. AF Lock allows you to maintain the focus on a specific spot in the scene—regardless of the subject’s movement. For example, if you lock the focus on a point in the scene’s middle ground, a blurred subject in the background can move into focus in the middle ground, then become blurry again as it moves toward the foreground. 1. In the Final Cut Pro timeline, select a Cinematic clip and position the playhead so that the clip appears in the viewer. 2. In the viewer, do one of the following: • Set a fixed-focus point from the current playhead position to the next manual focus point (or the end of the clip): Move the pointer to a spot in the scene at the distance where you want to lock the focus, press and hold the mouse button, then release it. The AF Lock control, a small yellow square with tick marks, appears in the viewer, indicating the distance from the camera. A manual focus point is added to the clip’s Cinematic Editor in the timeline, and subsequent automatic focus points are overwritten. The focus is maintained at the specified distance from the camera until the next manual focus point (or the end of the clip). • Set a fixed-focus point from the current playhead position to the next manual or automatic focus point (or the end of the clip): Move the pointer to a spot in the scene at the distance where you want to lock the focus, then click once. A small yellow square with short tick marks appears in the viewer, and a manual focus point is added to the clip’s Cinematic Editor in the timeline. Note: If you lock the focus on a point in the scene that falls outside of the clip’s depth-offield range, AF Lock doesn’t bring the point into focus. Delete manual focus points You can delete any manual (yellow) focus points in a Cinematic clip, whether they were created during recording or added in Final Cut Pro. 1. In Final Cut Pro, open the Cinematic Editor, if it’s not already shown. Final Cut Pro User Guide 572 2. Click a manual (yellow) focus point in the timeline, then click Delete Focus Point. Note: When you delete manual focus points, Final Cut Pro may restore or reposition automatic focus points. Navigate between focus points 1. In the Final Cut Pro timeline, select a Cinematic clip and position the playhead so that the clip appears in the viewer. 2. Open the Cinematic Editor, if it’s not already shown. 3. Do any of the following: • Move to the next focus point: Press Option-Shift-Command-Right Arrow. • Move to the previous focus point: Press Option-Shift-Command-Left Arrow. • Select a focus point: Click an automatic or manual focus point in the Cinematic Editor in the timeline. Adjust depth of field in Cinematic mode clips in Final Cut Pro In addition to focusing on different subjects or areas in the scene, you can adjust and animate the depth of field in a Cinematic mode video clip. For example, you can soften or sharpen the background behind your subject. 1. In the Final Cut Pro timeline, select a Cinematic clip and position the playhead so that the clip appears in the viewer. 2. Open the Video inspector, and make sure the Cinematic checkbox is selected. 3. Drag the Depth of Field slider left or right. Lower values result in a shallower depth of field. For example, if the clip is focused on a tree in the foreground and you drag the slider to the left, the background becomes more blurry (out of focus). Conversely, dragging the slider all the way to the right brings both the tree and the background into focus. Tip: For dramatic rack focus effects, use a shallow depth of field. You can animate the Depth of Field parameter using keyframes. See Add video effect keyframes. Final Cut Pro User Guide 573 Keying, masking, compositing, and tracking Keying Intro to keying in Final Cut Pro Keying is creating areas of transparency based on color or lightness values in an image. Keying is commonly performed on subjects photographed against a blue or green background, but keys can be based on any color (color or chroma keying), or on a specific range of lightness values (luma keying). Keying allows you to composite (combine) a foreground clip and a background clip into one video image. The foreground clip is processed to key out (remove) either a color or a lightness value in areas of the image, allowing the background clip to show through in those areas. For example, you can take a video clip of a person standing in front of a green-screen background and replace the green with an interior scene, making it appear as though that person is standing in the room. This type of keying is accomplished using one of two keyer effects in Final Cut Pro: • Keyer: This general-purpose chroma-keying effect is optimized for blue- or greenscreen keying but can key any range of color you choose. See Use chroma keys. Final Cut Pro User Guide 574 • Luma Keyer: This effect is designed to generate mattes based on the image’s lightness—you choose to remove the white or black areas and whether the gray areas should be partially transparent. See Use luma keys. In addition to using these keying effects, you may need to use a matte, a positioning effect, and color correction to ensure that the foreground video looks natural when keyed over the background. See Finalize a key and Intro to masking. Use chroma keys in Final Cut Pro A challenging part of creating a good chroma key is shooting the chroma key video and, in particular, using a good, well-lit background that provides a uniform color to remove. A wide variety of specialized chroma key background options are available, from chroma key paint that includes highly reflective additives to chroma key cloth or paper sheets. It’s also important to use the best camera you can and to avoid using a highly compressed video format such as DV or MPEG-2. In the following examples, an image of a person is keyed over a scene in an empty subway station. The light stands are removed in Finalize a key. Final Cut Pro User Guide 575 Apply the chroma key effect 1. In the Final Cut Pro timeline, add the foreground clip (the chroma key clip with the color you want to remove) to the primary storyline. 2. Drag the background clip (the clip you want to superimpose the chroma key clip over) so that it’s connected below the foreground clip in the primary storyline. For more information about connected clips, see Connect clips. 3. Select the foreground clip in the timeline, then click the Effects button in the top-right corner of the timeline (or press Command-5). Tip: For best results, position the playhead at a point within the foreground clip that shows the maximum amount of the color to be keyed. 4. In the Effects browser, select the Keyer effect. Tip: Type “keyer” in the Effects browser search field to quickly find the Keyer effect. 5. Do one of the following: • Drag the effect to the timeline foreground clip you want to apply the effect to. • Double-click the effect thumbnail to apply the effect to the selected clip. The Keyer effect analyzes the video to detect a green or blue dominant color and then removes that color. If the resulting key isn’t right or you want to improve it, you can adjust the chroma key effect. Final Cut Pro User Guide 576 Adjust the chroma key effect 1. In the Final Cut Pro timeline, select the foreground clip with the Keyer effect, then open the Video inspector. Controls for modifying and improving the Keyer effect appear. 2. If the Select tool is not the active tool, choose it from the Tools pop-up menu above the timeline (or press A). 3. To improve the key using controls in the viewer, use the Refine Key and Strength controls to do any of the following: • Identify areas of the foreground clip that might still have some of the chroma key color showing: Click the Sample Color thumbnail image in the Video inspector and draw a rectangle in the viewer over the area where the chroma key color needs to be removed. Note: By default, the Keyer effect applies spill removal, which causes any leftover fringing of the blue- or green-screen background color you’re making transparent to appear as gray. To see the original color, set the Spill Level parameter to 0%. To improve the key, you can drag the rectangle to adjust its position or drag its corners to change its size, and you can drag additional rectangles over any areas with the chroma key color still showing. Tip: Select Matte (the center button) in the View area in the Video inspector to see the matte that the chroma keyer is creating. This can make it much easier to see areas that are not keying well. Final Cut Pro User Guide 577 • Refine any difficult areas, such as hair and reflections: Click the Edges thumbnail image in the Video inspector, draw a line across the difficult area in the viewer (with one end in the area to keep and the other in the area to remove), and drag the line’s handle to adjust the edge softness. You can use the following keyboard shortcuts to work directly in the viewer: • Make a Sample Color adjustment: Draw a rectangle while holding down the Shift key. • Make an Edges adjustment: Draw a line while holding down the Command key. • Delete a Sample Color or Edges adjustment: Click a Sample Color rectangle or Edges line while holding down the Option key, or select the control and press the Delete key. • Choose a different color if the Keyer effect chose the wrong color: Set the Strength parameter to 0% (to override the automatic initial color sampling). Then use Sample Color to choose the color to remove. Select Composite (the left button) in the View area to see the foreground clip combined with the background clip. • Adjust how strongly the Keyer matches a color in the foreground image to the default chroma key color: Use the Strength slider to adjust the tolerance (core transparency) of the Keyer effect’s automatic sampling. The default value is 100%. Reducing this value narrows the range of color sampled, resulting in less transparency in the keyed image. Increasing the Strength value expands the range of color sampled, resulting in more transparency in the keyed image. The Strength parameter is useful for retrieving areas of semitransparent detail such as hair, smoke, or reflections. Final Cut Pro User Guide 578 4. To help fine-tune the key, use the View options: • Composite: Shows the final composited image, with the keyed foreground subject over the background clip. This is the default view. • Matte: Shows the grayscale matte, or alpha channel, that’s being generated by the keying operation. White areas are solid (the foreground video is opaque), black areas are transparent (the foreground is not seen at all), and shades of gray indicate varying levels of transparency (the background video can be seen mixed with the foreground video). Viewing the matte makes it easier to spot unwanted holes in the key or areas that aren’t transparent enough. • Original: Shows the original, unkeyed foreground image. 5. To further refine the matte, use the following controls: • Fill Holes: Increasing this parameter value adds solidity to regions of marginal transparency within a key. This control is useful when you’re satisfied with the edges of your key, but you have unwanted holes in the interior that you can’t eliminate using the Strength parameter without ruining your edges. • Edge Distance: Lets you adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Reducing this parameter value brings the filled area of the matte closer to the edge of the subject, sacrificing translucency at the edges. Increasing this parameter value pushes the filled area of the matte farther from the edge. Too much edge distance can result in unwanted translucency within parts of the subject that should be solid. 6. To suppress any of the background color that is appearing (spilling) on the foreground image, adjust the Spill Level control. 7. To reverse the keying operation, retaining the background color and removing the foreground image, select Invert. 8. To mix the keyed effect with the unkeyed effect, adjust the Mix control. If you’re still having trouble getting a clean key, see the following instructions. Final Cut Pro User Guide 579 Make advanced chroma key adjustments The following controls are available for use in difficult keying situations or for fine-tuning specific problems: • Color Selection: These controls are meant to be used after you begin creating a key using automatic sampling or the Sample Color and Edges tools. (However, you can skip those tools and create a key using Manual mode, described below.) The graphical Chroma and Luma controls provide a detailed way of refining the range of hue, saturation, and image lightness that define the keyed matte. • Matte Tools: These controls are for refining the transparency matte generated by the previous sets of parameters. These parameters don’t alter the range of values sampled to create the keyed matte. Instead, they alter the matte generated by the Keyer effect’s basic and advanced controls, letting you shrink, expand, soften, or invert the matte to achieve a better composite. • Light Wrap: These controls are for blending color and brightness values from the background layer of your composite with the keyed foreground layer. Using these controls, you can simulate the interaction of environmental lighting with the keyed subject, making it appear as if background light wraps around the edges of a subject. 1. In the Final Cut Pro timeline, select the foreground clip with the Keyer effect, then open the Video inspector. Controls for modifying and improving the Keyer effect appear. 2. Click Color Selection to reveal the following controls: • Graph: Provides two options to set how the adjustable graphs in the Chroma and Luma controls are used to fine-tune a key: • Scrub Boxes: Select to limit the Chroma and Luma controls to adjusting softness (edge transparency) in the matte you’re creating. In this mode, you can’t manually adjust tolerance (core transparency), which is determined by the Keyer effect’s automatic sampling, plus any Sample Color rectangles you’ve added in the viewer. (To increase matte tolerance, add more Sample Color rectangles or adjust the Strength slider.) Final Cut Pro User Guide 580 • Manual: Select to use the Chroma and Luma controls to adjust the softness (edge transparency) and tolerance (core transparency) in the matte you’re creating. Make sure the Strength slider is set to a value greater than 0% before you switch to Manual mode; otherwise the Chroma and Luma controls are disabled. When you switch to Manual mode, the Refine Key tools and Strength slider become disabled, but samples you’ve made with those controls continue to contribute to the matte. Important: When you switch to Manual mode, it’s best not to switch back to Scrub Boxes mode. For best results, begin keying an image using the Sample Color and Edges tools in Scrub Boxes mode. Switch to Manual mode afterward if you feel it’s necessary to refine your matte using the Chroma and Luma controls. However, if you switch back to Scrub Boxes mode, you may experience unexpected combinations of additionally sampled and keyframed values that might be difficult to control. • Chroma: Drag the two graphs in this color wheel control to adjust the isolated range of hue and saturation that help define the keyed matte. The selected mode governs which graphs in the color wheel are adjustable. The outer graph controls the softness (edge transparency) of the matte you’re creating, and can be adjusted in either Scrub Boxes or Manual mode. The inner graph controls tolerance (core transparency), and is only adjustable when in Manual mode. Drag any side of either graph to expand or contract the graph’s border, which adds to or subtracts from the range of hue and saturation contributing to the key. In Manual mode, you can also drag inside the tolerance graph to adjust its overall position in the color wheel. To the left of the color wheel, a small graph displays the slope of chroma rolloff, the relative softness of matte edges in regions most affected by the Chroma control. Dragging the Chroma Rolloff slider (described below) modifies the shape of this slope. Tip: It’s possible to zoom in to and pan around the Chroma control to more precisely adjust the graphs. To zoom in to the Chroma control, move the pointer over the color wheel and, holding down the Z key, drag to the left to zoom out or to the right to zoom in. To pan in the Chroma control, hold down the H key and drag in the color wheel in the direction you want to move it. To reset the zoom and recenter the Chroma control, move the pointer over the Chroma control and press Shift-Z. • Luma: Drag the adjustable handles in this grayscale gradient to modify the isolated range of the luma channel (the range of brightness and darkness) that also helps define the keyed matte. The upper handles (which appear only in Manual mode) adjust the tolerance (core transparency) of the luma channel’s contribution to the key. The lower handles adjust the softness (edge transparency) of the luma channel’s contribution to the key. The Graph mode governs which handles are adjustable. In Scrub Boxes mode, you can adjust only the lower softness handles, which modify the range of brightness and darkness affecting the edge transparency of the matte. In Manual mode, you can also adjust the upper tolerance handles, which modify core transparency within the luma channel of the matte. By default, the slope of the left and right sides of the Luma graph has a slight “S” curve. You can modify the shape of the curve by adjusting the Luma Rolloff slider (described below). Note: The luma softness handles may extend past the outer boundaries of the Luma control. This is due to the floating-point precision of the Keyer effect and is expected. To reveal out-of-bounds handles and then move them, drag the slope line of the Luma graph. Final Cut Pro User Guide 581 • Chroma Rolloff: Use this slider to adjust the linearity of the chroma rolloff slope (displayed in the small graph to the left of the Chroma control). Chroma rolloff modifies the softness of the matte around the edges of regions that are affected most by the Chroma control. Lowering this value makes the slope of the graph more linear, which softens the edges of the matte. Raising this value makes the slope of the graph steeper, which sharpens the edges of the matte. • Luma Rolloff: Use this slider to adjust the linearity of the luma rolloff slope (the ends of the bell-shaped luma curve displayed in the Luma control). Luma rolloff modifies the softness of the matte around the edges of regions that are affected most by the Luma control. Lowering this value makes the slope between the upper and lower handles in the Luma control more linear, which increases edge softness in the matte. Raising this value makes the slope steeper, sharpening the edges of the matte and making them more abrupt. • Fix Video: Select this checkbox to apply subpixel smoothing to the chroma components of the image, reducing the jagged edges that result from keying compressed media using 4:2:0, 4:1:1, or 4:2:2 chroma subsampling. Although selected by default, this checkbox can be deselected if subpixel smoothing degrades the quality of your keys. 3. Click Matte Tools to reveal the following controls: • Levels: Use this grayscale gradient to alter the contrast of the keyed matte, by dragging three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, and dragging the Bias handle left makes translucent regions of the key more solid. • Black, White, Bias: Click the Levels disclosure triangle to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe the three Levels parameters (using the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue-screen or green-screen conditions. • Shrink/Expand: Use this slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. Final Cut Pro User Guide 582 • Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount. • Erode: Drag this slider right to gradually increase transparency from the edge of the solid portion of the key inward. 4. Click Spill Suppression to reveal the following controls: • Spill Contrast: Use this grayscale gradient to adjust the contrast of the color being suppressed, using the Black and White point handles (and corresponding sliders). Modifying spill contrast can reduce the gray fringing surrounding a foreground subject. The Black point handle (on the left side of the gradient control) lightens edge fringing that is too dark for a successful composite. The White point handle (on the right side of the gradient control) darkens edge fringing that is too light. Depending on how much spill is neutralized by the Spill Level slider, these controls may have a greater or lesser effect on the subject. • Black, White: Click the Spill Contrast disclosure triangle to reveal sliders for the Black and White point parameters. These sliders, which mirror the settings of the Spill Contrast handles described above, allow you to keyframe the Black point and White point parameters (using the Add Keyframe button to the right of each slider). • Tint: Use this slider to restore the natural color of the keyed foreground subject. Because the Spill Suppression controls eliminate blue or green spill by desaturating subtle blue or green fringing and reflection on the subject, the Tint slider lets you add hues to restore the natural color of the subject. Overdoing this parameter results in over-tinting the subject with the complementary color of the hue being suppressed—magenta if green, and orange if blue. • Saturation: Use this slider to alter the range of hues introduced by the Tint slider (when the Tint slider is used at moderate levels). Final Cut Pro User Guide 583 5. Click Light Wrap to reveal the following controls: • Amount: Use this slider to control the overall light wrap effect, setting how far into the foreground the light wrap extends. • Intensity: Use this slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject. • Opacity: Use this slider to fade the light wrap effect up or down. • Mode: Use this pop-up menu to choose the compositing method that blends the sampled background values with the edges of the keyed subject. There are five modes: • Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer. • Lighten: Compares overlapping pixels from the foreground and background layers, and then preserves the lighter of the two. This method is good for creating a selective light wrap effect. • Screen: Superimposes lighter portions of the background layer over wrapped areas of the keyed foreground layer. This method is good for creating an aggressive light wrap effect. • Overlay: Combines the background layer with the wrapped areas of the keyed foreground layer so overlapping dark portions become darker, light portions become lighter, and colors become intensified. • Hard Light: Similar to the Overlay composite mode, except that colors become muted. Animate the chroma key effect To compensate for changing conditions in the foreground clip, you can make Sample Color and Edges adjustments at multiple points in the clip. 1. In the Final Cut Pro timeline, place the playhead at the start of the foreground clip with the Keyer effect. 2. Use Sample Color and Edges (described above) to create a good chroma key. 3. Move the playhead to a point later in the clip where the lighting or background conditions change, resulting in the chroma key no longer being acceptable. 4. Use Sample Color and Edges to once again create a good chroma key. 5. To add additional adjustments at other playhead positions, repeat steps 3 and 4 as needed. 6. To move the playhead between adjustment points, use the Jump to Sample arrows. Final Cut Pro User Guide 584 When you play the clip, the Sample Color and Edges settings smoothly change from one sample point to the next. For even greater control, you can add keyframes for most of the other settings in the Keyer section of the Video inspector. For more information about working with keyframes, see Intro to video keyframing. Note: Keyframes for the chroma and luma graphs in the Color Selection controls appear only in the Video inspector and not the Video Animation editor in the timeline. Use luma keys in Final Cut Pro Luma keys provide a way to composite a foreground clip over a background clip based on the luma levels in the video. This is most often useful for still images, such as a picture of a logo over a black background, or computer-generated graphics. In the following examples, the speedometer image below is keyed over an outdoor car scene, creating a reflected look. Apply the luma key effect 1. In the Final Cut Pro timeline, move the playhead to the point in the background clip (the clip you want to superimpose the luma key clip over) where you want the key to start. 2. In the browser, select the part of the foreground clip (the luma key clip) that you want to key over the background, then choose Edit > Connect to Primary Storyline (or press Q). For details about connecting clips in this way, see Connect clips. Final Cut Pro User Guide 585 3. Select the foreground clip in the timeline, then click the Effects button in the top-right corner of the timeline (or press Command-5). 4. In the Effects browser, select the Luma Keyer effect. Tip: Type “keyer” in the Effects browser search field to quickly find the Luma Keyer effect. 5. Do one of the following: • Drag the effect to the timeline foreground clip you want to apply the effect to. • Double-click the effect thumbnail to apply the effect to the selected clip. The Luma Keyer effect automatically removes the black video. If the resulting key isn’t right or you want to improve it, you can adjust the luma key effect. Adjust the luma key effect 1. In the Final Cut Pro timeline, select the clip with the Luma Keyer effect. 2. Open the Video inspector. The Effects section of the Video inspector shows the parameters available for adjusting the Luma Keyer effect. 3. To reverse the key and remove white instead of black areas of the foreground clip, select Invert. 4. To adjust the white and black clip values, drag the handles at either end of the gradient thumbnail image. By default, these handles are set to provide a key where the luma level linearly controls the transparency of the foreground—100% white is fully opaque, 0% black is completely transparent, and 25% gray retains 25% of the foreground image. Dragging the white and black controls changes the values that result in fully opaque or fully transparent foreground video. 5. To adjust the softness of the edges, adjust the Luma Rolloff control. Higher values make the edges harder, removing any partial transparency; lower values take advantage of any anti-aliasing or softness the edges might have. Final Cut Pro User Guide 586 6. To help fine-tune the key, use the View options: • Composite: Shows the final composited image, with the keyed foreground subject over the background clip. This is the default view. • Matte: Shows the grayscale matte, or alpha channel, that’s being generated by the keying operation. White areas are solid, black areas are transparent, and shades of gray indicate varying levels of transparency. Viewing the alpha channel makes it easier to spot unwanted holes in the key or areas that aren’t transparent enough. • Original: Shows the original, unkeyed image. 7. To leave smoothly aliased text or graphics in the image visually intact, which can improve the edges, select Preserve RGB. 8. To mix the keyed effect with the unkeyed effect, adjust the Mix control. If you’re still having trouble getting a clean luma key, see the following instructions. Make advanced luma key adjustments The following controls are available for use in difficult keying situations or for fine-tuning specific problems: • Matte Tools: These controls refine the transparency matte generated by the previous sets of parameters. These parameters don’t alter the range of values sampled to create the keyed matte. Instead, they alter the matte generated by the Keyer effect’s basic and advanced controls, letting you shrink, expand, soften, or invert the matte to achieve a better composite. • Light Wrap: These controls blend color and lightness values from the background layer of your composite with the keyed foreground layer. Using these controls, you can simulate the interaction of environmental lighting with the keyed subject, making it appear as if background light wraps around the edges of a subject. 1. In the Final Cut Pro timeline, select the clip with the Luma Keyer effect. Final Cut Pro User Guide 587 2. Open the Video inspector. The Effects section of the Video inspector shows the parameters available for adjusting the Luma Keyer effect. 3. Click Matte Tools to reveal the following controls: • Fill Holes: Increasing this parameter value adds solidity to regions of marginal transparency within a key. This control is useful when you’re satisfied with the edges of your key, but you have unwanted holes in the interior that you can’t eliminate using the Luma Rolloff parameter without ruining your edges. • Edge Distance: Lets you adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Reducing this parameter value brings the filled area of the matte closer to the edge of the subject, sacrificing translucency at the edges. Raising this parameter value pushes the filled area of the matte farther from the edge, potentially introducing regions of unwanted translucency within parts of the subject that should be solid. • Levels: Use this grayscale gradient to alter the contrast of the keyed matte, by dragging three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, and dragging the Bias handle left makes translucent regions of the key more solid. • Black, White, Bias: Click the Levels disclosure triangle to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe the three Levels parameters (using the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue-screen or green-screen conditions. Final Cut Pro User Guide 588 • Shrink/Expand: Use this slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. • Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount. • Erode: Drag this slider right to gradually increase transparency from the edge of the solid portion of the key inward. 4. Click Light Wrap to reveal the following controls: • Amount: Use this slider to control the overall light wrap effect, setting how far into the foreground the light wrap extends. • Intensity: Use this slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject. • Opacity: Use this slider to fade the light wrap effect up or down. • Mode: Use this pop-up menu to choose the compositing method that blends the sampled background values with the edges of the keyed subject. There are five modes: • Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer. • Lighten: Compares overlapping pixels from the foreground and background layers, and then preserves the lighter of the two. This method is good for creating a selective light wrap effect. • Screen: Superimposes lighter portions of the background layer over wrapped areas of the keyed foreground layer. This method is good for creating an aggressive light wrap effect. • Overlay: Combines the background layer with the wrapped areas of the keyed foreground layer so that overlapping dark portions become darker, light portions become lighter, and colors become intensified. • Hard Light: Similar to the Overlay composite mode, except that colors become muted. Final Cut Pro User Guide 589 Finalize a key in Final Cut Pro Quite often your foreground image has objects that you don’t want to appear in the composited output. These could be production items like microphone booms and light stands or the edges of the chroma key backdrop. Additionally, you might need to resize or reposition the foreground object to better fit with the background. As a final step, you can use the color corrector to adjust the foreground so that it matches the look of the background. Final Cut Pro includes effects that you can use for these purposes. Use a mask effect to remove unwanted parts of the foreground image 1. In the Final Cut Pro timeline, move the playhead to the point in the background clip (the clip you want to superimpose the chroma key clip over) where you want the key to start. 2. In the browser, select the part of the foreground clip (the chroma key clip) you want to key over the background, then choose Edit > Connect to Primary Storyline (or press Q). For details about connecting clips in this way, see Connect clips. 3. Select the foreground clip. In the above example, the light stands need to be removed. Final Cut Pro User Guide 590 4. Click the Effects button in the top-right corner of the timeline (or press Command-5). 5. In the Effects browser, double-click a mask effect to apply it to the selected foreground clip. Tip: Type “mask” in the Effects browser search field to quickly find the various mask effects. See Intro to masking. 6. Adjust the edges of the mask to crop out the objects you want to remove. When adjusting the mask, be sure to leave shadows and other details that can help make the key more realistic later. Final Cut Pro User Guide 591 7. Apply the appropriate keyer effect to the foreground clip. The foreground is composited over the background. Use Transform to position the foreground image You can use the Transform effect to reposition a keyed foreground image. 1. Select the foreground clip in the Final Cut Pro timeline. Final Cut Pro User Guide 592 2. Click the pop-up menu in the lower-left corner of the viewer, choose Transform, and move the image to the position you want. You can also resize the image. 3. When you’ve finished repositioning the foreground image, click Done in the viewer. Masking Intro to masking in Final Cut Pro When you draw shapes to create areas of transparency in an image, you are masking that image. Final Cut Pro has a number of powerful masking tools for creating areas of transparency in a video clip or still image. You can use onscreen controls to precisely define the mask area. For example, if you want to isolate a clip’s foreground subject, you can create a detailed mask to cut out the background. You can also animate mask effects to create complex regions of animated transparency that change over time. The following mask effects are available in the Masks category of the Effects browser. Add them to any clip in the timeline just as you would add any other clip effect. With the exception of Draw Mask, all of the following mask effects are considered “simple masks,” with relatively straightforward masking controls. • Draw Mask: Draw a complex custom mask using control points and spline drawing methods to adjust shape and curvature. See Create complex masks and Intro to editing complex masks. • Graduated Mask: Create a mask based on a gradient (from fully transparent to fully opaque). Final Cut Pro User Guide 593 • Image Mask: Create areas of transparency in a clip using a chroma channel, a luma channel, or an alpha channel from a different image. • Shape Mask: Create a mask in any shape on the continuum from ellipse to rectangle. See Create simple shape masks. This is the only simple mask that can be converted to editable control points for making complex custom masks. • Vignette Mask: Create a horizontal ellipse mask with graduated edges. Final Cut Pro also features effect masking. Most clip effects have built-in shape masks and color masks that allow you to isolate and control which areas of the video image are affected by clip effects and color corrections. See Intro to effect masking. Note: Masking blend modes (including Add, Subtract, and Intersect) for combining multiple masks are available for effect masking only. Create simple shape masks in Final Cut Pro The Shape Mask effect allows you to quickly create a mask in any shape on the continuum from ellipse to rectangle. Note: The Shape Mask is the only simple mask that can be converted to editable control points for making complex custom masks (changing it into a Draw Mask). See Create complex masks and Intro to editing complex masks. 1. Add the clip you want to mask to the Final Cut Pro timeline. Note: If you want to composite the clip over a background clip, you must use connected clips. See Connect clips. 2. Select the clip in the timeline, then position the playhead at a point within the clip that shows the area you want to make transparent. 3. To open the Effects browser, click the Effects button in the top-right corner of the timeline (or press Command-5). 4. In the Effects browser, select the Shape Mask effect. Tip: To quickly find the Shape Mask effect, type “shape” in the Effects browser search field. 5. To apply the mask effect to the clip selected in the timeline, do one of the following: • Drag the effect to the timeline clip. • Double-click the effect thumbnail in the Effects browser. The Shape Mask onscreen controls appear in the viewer, superimposed over the video image. The Shape Mask parameters appear in the Effects section of the Video inspector. By default, the Shape Mask is set to a partially feathered ellipse shape in the center of the frame. Final Cut Pro User Guide 594 6. Use the onscreen controls to adjust the shape mask as needed. • Position the shape: Drag the center. • Adjust the shape’s width or height: Drag any of the four handles at the 90-degree points (top, bottom, left, or right) of the inner circle. You can hold down the Shift key while dragging to force all sides to scale proportionally. Or hold down the Option key to adjust one side only. • Control the curvature of the shape: Drag the handle to the left of the inner circle’s top handle. One extreme of the curvature continuum is a perfect rectangle. The other extreme is an oval or a perfect circle. • Rotate the shape: Drag the rotation handle (extending from the center). • Control the softness of the shape’s edge: Drag the outer circle. Setting the outer circle close to the inner circle creates a hard edge and an abrupt transition to the background, and dragging the outer circle away from the inner circle creates a softer edge and a more gradual transition. • Hide the mask’s controls: Click the Shape Mask Onscreen Controls button in the Shape Mask area of the Color section of the Video inspector. Note: The Shape Mask is just one of several simple mask effects. For the complete list of Effects browser mask effects, see Intro to masking. Final Cut Pro User Guide 595 Create complex masks Intro to complex masks in Final Cut Pro With the Draw Mask effect, you can draw complex masks using splines. Splines are vectorbased curves that allow for complex, customized shapes. There are two spline drawing methods: • Bezier splines: Bezier splines are good for drawing shapes for illustration. The controls used to manipulate Bezier splines are similar to those found in many other drawing and compositing apps. Bezier controls lend themselves to the creation of precise, detailed shapes. Tangent handles adjust the curvature of the shape on either side of the control point, defining the surface of the shape. • B-Splines: You can also use B-Splines to draw shapes. Unlike Bezier splines, B-Splines are manipulated using only points—there are no tangent handles. Furthermore, the points themselves do not lie on the surface of the shape. Instead, each B-Spline control point is offset from the shape’s surface, magnetically pulling that section of the shape toward itself to create a curve. By combining the influence of multiple B-Spline points, you can create different curves. B-Splines are extremely smooth—by default, there are no sharp angles in B-Spline shapes, although you can create sharper curves, if necessary. Because B-Spline controls are so simple, they’re easy to animate and manipulate. Final Cut Pro User Guide 596 You can also draw masks with linear control points, which are connected by straight lines. Linear control points are also known as corner points. You can convert control points between linear (corner) points and smooth (Bezier) points at any time. Note: By default, the Draw Mask is set to draw with Bezier shapes. If you prefer to draw your mask with linear or B-Spline shapes, you can adjust this setting in the Video inspector before you get started. Create complex masks in Final Cut Pro You can use the powerful Draw Mask effect to create a complex custom mask using control points and spline drawing methods. You can also convert a Shape Mask to a Draw Mask, to take advantage of its sophisticated controls. Create a complex mask with the Draw Mask effect The instructions below explain how to create a mask using a Bezier spline, the default shape type. If you prefer to draw your mask with linear or B-Spline shapes, you can adjust this setting in the Video inspector before you get started. See Add control points. 1. Add the clip you want to mask to the Final Cut Pro timeline. Note: If you want to composite the clip over a background clip, you must use connected clips. See Connect clips. 2. Select the clip in the timeline, then position the playhead at a point within the clip that shows the area you want to make transparent. 3. To open the Effects browser, click the Effects button in the top-right corner of the timeline (or press Command-5). 4. In the Effects browser, select the Draw Mask effect. Tip: To quickly find the Draw Mask effect, type “draw mask” in the Effects browser search field. 5. To apply the mask effect to the clip selected in the timeline, do one of the following: • Drag the effect to the timeline clip. • Double-click the effect thumbnail in the Effects browser. Final Cut Pro User Guide 597 6. In the viewer, click to add a control point. A red dot with a white center (indicating a selected control point) appears where you clicked. 7. To add points to further define the shape, do one of the following: • Click to make a linear corner point. • Drag to make a curved Bezier point, adjusting it to the shape you want. Press Shift while making a curved point to constrain its tangents to 45-degree angles. Press Command-Plus Sign (+) to zoom in for a closer look, and Command-Minus Sign (–) to zoom out. Final Cut Pro User Guide 598 8. Continue adding more control points in the viewer to create your detailed mask shape. Red lines appear in the viewer, connecting the control points. 9. To complete the initial mask shape, click the original control point. The area outside the mask shape is filled with solid black, representing the transparent area. If you added a background clip using connected clips, the background image shows through this transparent area. 10. To adjust the mask, do any of the following: • Visually manipulate the mask in the viewer: Drag the onscreen controls in the viewer. • Show or hide onscreen controls and control points in the viewer: Click the Draw Mask Onscreen Controls button in the Draw Mask section of the Video inspector. • Make precise numeric adjustments, including keyframing: Modify the mask settings in the Draw Mask section of the Video inspector. Final Cut Pro User Guide 599 Create a complex mask by converting a Shape Mask You can refine the contours of a Shape Mask by converting it to a Draw Mask with editable control points that allow you to adjust shape and curvature. 1. Add a Shape Mask effect to a clip in the Final Cut Pro timeline. The Shape Mask onscreen controls appear in the viewer. 2. Do one of the following: • Click Convert to Points at the bottom of the Shape Mask section of the Video inspector. • Control-click the Shape Mask onscreen controls in the viewer and choose Convert to Points. Red control points appear in the viewer, in place of the Shape Mask onscreen controls. In the Video inspector, the Shape Mask section changes to a Draw Mask section. Note: If you animated the Radius or Curvature parameter in the original Shape Mask, a dialog appears asking you to confirm the conversion. The animation is discarded after the shape is converted. Final Cut Pro User Guide 600 3. To adjust the mask, do any of the following: • Visually manipulate the mask in the viewer: Drag the control points in the viewer. • Show or hide onscreen controls and control points in the viewer: Click the Draw Mask Onscreen Controls button in the Draw Mask section of the Video inspector. • Make precise numeric adjustments, including keyframing: Modify the mask settings in the Draw Mask section of the Video inspector. Note: After the control points become available, you can’t convert the mask back to a simple shape mask. Use multiple masks in Final Cut Pro Occasionally, it may be necessary to apply multiple masks to the same image. For example, if you’re masking an image of a car, you might draw separate masks for different parts of the car: roof and windows, the lower body, and so on. It’s easier to divide the car into parts, draw separate masks for each part, and composite the masks together at the end than to draw an accurate car shape in one mask. You can apply any combination of Shape Masks and Draw Masks. Note: Mask blend modes are available for effect masking only. Dragging multiple instances of the Draw Mask or the Shape Mask to the same clip creates the equivalent of the Intersect blend mode in the effect masking feature. In Intersect mode, only the area inside the mask shape that overlaps with other mask shapes is affected. See Combine multiple effect masks. The instructions below explain how to create the equivalent of Add mode, in which multiple mask shapes are merged. 1. Add the clip you want to mask to the Final Cut Pro timeline. 2. Duplicate the clip as a connected clip directly above the original clip. Tip: To quickly duplicate the original clip and position it at the same time, Optiondrag the clip to the area just above the primary storyline. 3. Apply a mask to the connected clip. Tip: To get a better view of your mask as you create it, you can temporarily disable the other clip by selecting it and pressing V. To reenable the clip, press V again. 4. Apply a mask to the original clip. The two mask shapes are effectively merged. Final Cut Pro User Guide 601 5. To add any additional masks, repeat steps 2 and 3. Edit complex masks Intro to editing complex masks in Final Cut Pro Complex masks are defined by Bezier splines and B-Splines, which are built with control points. Each control point in a complex mask defines some sort of corner or curve, and the actual spline that makes up the shape connects these control points together like a connect-the-dots drawing. The control points determine the shape and curvature of the spline. You can modify a spline by dragging its control points and adjusting the tangent handles attached to each control point. You can transform multiple control points simultaneously, and you can add, delete, and lock control points. Add mask control points in Final Cut Pro You draw the shape of your complex mask by adding and adjusting control points. The default drawing shape type is Bezier, but you can change the shape type before creating the mask if you want to draw with a linear or B-Spline shape instead. Set the shape type to Bezier, linear, or B-Spline It’s best to set the shape type in the Video inspector before you create your mask. Changing the type in the middle of drawing your mask may radically alter the shape. 1. Add a Draw Mask effect to a clip in the Final Cut Pro timeline, then select the clip. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 602 3. Click the Video button at the top of the inspector. 4. In the Draw Mask section of the Video inspector, click the Shape Type pop-up menu and choose the type of mask shape you want to use: Linear, Bezier, or B-Spline. Add control points to a Draw Mask In the Final Cut Pro viewer, do one of the following: • Option-click or double-click the edge of a mask. Note: To add control points to a B-Spline mask, Option-click or double-click the B-Spline frame’s edge rather than the edge of the mask itself. • Control-click the edge of a mask and choose Add Point. Delete control points from a Draw Mask If a mask has more control points than are necessary, you can delete points to make it easier to edit. This can be helpful if you animate the mask later on. 1. In the Final Cut Pro viewer, select the control points to delete. 2. Do one of the following: • Choose Edit > Delete. • Control-click the selected points and choose Delete Point. • Press Delete. The mask shape is updated in the viewer. If you remove points from a closed mask, the mask remains closed. Lock and disable mask control points in Final Cut Pro There are many ways to select and deselect control points that you want to modify. You can also lock control points to prevent changes, or disable them to temporarily remove them from a mask shape. Final Cut Pro User Guide 603 Select control points In the Final Cut Pro viewer, do one of the following: • Click any control point. • Shift-click unselected control points to add them to the selection. • Shift-drag a selection rectangle around unselected control points in a closed mask to add them to the selection. • Drag a selection rectangle over multiple control points in a closed mask. Deselect control points In the Final Cut Pro viewer, do one of the following: • Shift-click selected points. • Shift-drag a selection rectangle over selected points. Select or deselect every control point on a mask In the Final Cut Pro viewer, do one of the following: • Select all of a mask’s control points: Choose Edit > Select All (or press Command-A). • Deselect all of a mask’s control points: Choose Edit > Deselect All (or press ShiftCommand-A). You can also click anywhere outside the selected mask in the viewer. Display the control point number By default, mask control points are numerically labeled in the order in which they were created in the viewer. • In the Final Cut Pro viewer, position the pointer over any control point in a closed mask. The numeric name of the control point appears—“Control Point 1,” for example. Note: Draw Mask control points are also listed by number in the Draw Mask section of the Video inspector. Lock control points You can lock control points in a mask to fix them in place and prevent accidental changes. • In the Final Cut Pro viewer, Control-click a control point and choose Lock Point. To unlock a locked control point, Control-click it and choose Unlock Point. Final Cut Pro User Guide 604 Disable control points Disabling a control point in a Draw Mask is similar to disabling a clip in the timeline: The control point is temporarily removed from the mask but retains its position and its number in the sequence of control points. You can just as easily reenable control points. • In the Final Cut Pro viewer, Control-click a control point and choose Disable Point. To enable a disabled control point, Control-click it and choose Enable Point. Move mask control points in Final Cut Pro You can move control points in the viewer to change the shape of your mask. Drag selected control points • Select control points on a mask in the Final Cut Pro viewer, then drag the points to a new position. As you drag selected control points, the rest of the mask stretches or curves to accommodate the change. Note: When you drag a control point, the point’s name and coordinates are displayed at the top of the viewer. Move a selected control point by one pixel 1. Select a control point on a mask in the Final Cut Pro viewer. 2. Do any of the following: • Nudge left: Press Comma (,). • Nudge right: Press Period (.). • Nudge up: Press Option-Up Arrow. • Nudge down: Press Option-Down Arrow. Constrain the movement of selected control points 1. Select control points on a mask in the Final Cut Pro viewer. 2. Press Shift while you drag a selected point horizontally, vertically, or diagonally. The control point movement is constrained to the horizontal (90-degree), vertical (180-degree), or diagonal (45-degree or 135-degree) axis. Final Cut Pro User Guide 605 Move control points using the Video inspector You can make precise adjustments to the position of any control point using controls in the Video inspector. 1. In the Final Cut Pro timeline, select the clip containing the mask you want to modify. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. 4. In the Draw Mask section of the Video inspector, click the Control Points disclosure triangle to open the Control Points controls. 5. Make numerical adjustments to the X and Y coordinates for any control point using the value sliders. Position, rotate, and scale a mask 1. In the Final Cut Pro timeline, select the clip containing the mask you want to modify. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. Final Cut Pro User Guide 606 4. In the Draw Mask section of the Video inspector, click the Transforms disclosure triangle to open the Transforms controls. 5. Adjust the Position, Rotation, and Scale parameters to precisely define the shape, size, and position of your mask. Move a mask edge You can change a mask shape by dragging its edges. 1. In the Final Cut Pro viewer, click any edge of a mask. The control points on either end of the line are selected. 2. Drag the line segment. The distance between the two points remains constant as you drag. Press Shift to constrain the movement horizontally, vertically, or diagonally. Edit Bezier control points in Final Cut Pro You can adjust Bezier control points to draw any mask shape you may need. Each point in a Bezier shape can be converted between a linear (corner) point and a smooth (Bezier) point at any time. For more information about smooth and linear points, see Intro to complex masks. Convert control points between corners and curves On a mask in the Final Cut Pro viewer, do any of the following: • Command-click a smooth (Bezier) point to turn it into a linear (corner) point. • Command-drag a linear (corner) point to turn it into a smooth (Bezier) point, creating adjustable tangent handles. • Control-click selected points and choose either Linear, Smooth, or Very Smooth (for B-Splines) to change the control point type. Adjust a Bezier curve using a control point’s tangent handles Bezier control points on a mask in the viewer have two tangent handles that you use to adjust the curvature of the shape on either side of the control point. These handles can be adjusted in various ways to create symmetrical and asymmetrical curves. By default, these tangent handles are locked to one another at an angle of 180 degrees, but you can override this restriction to adjust each tangent handle independently. Final Cut Pro User Guide 607 In Final Cut Pro, do any of the following: • Adjust the length of a tangent handle: Drag the handle. You can adjust the length of each tangent handle independently even when the tangent handles are locked to 180 degrees. • Break the relationship between opposing tangent handles: Option-drag either tangent handle. After this relationship is broken, adjustments to one tangent handle have no effect on the other, and you can rotate both tangent handles freely. You can also Control-click a tangent handle point and choose Break Handle. • Lock the angle of the tangent handles together again: Option-drag a broken tangent handle, or Control-click a handle point and choose Link Handle. The tangent handles now maintain their relationship when moved and rotated. • Align the tangent handles to a 180-degree angle: Control-click a handle point and choose Align Handles. Press Shift while you adjust a tangent handle to constrain its movement to 45-degree angles. To simultaneously modify the handles for more than one control point, Shift-select the points (on the same spline) and then adjust the tangent handles. Final Cut Pro User Guide 608 Edit B-Spline control points in Final Cut Pro Editing control points in B-Spline shapes is similar to editing control points in Bezier shapes. In fact, the steps for selecting, moving, adding, deleting, and locking control points are almost exactly the same. The main difference in editing the two types of shapes lies in how you manipulate and adjust curves. The simplest, and usually fastest, way to manipulate B-Spline curves is to move B-Spline points closer to or farther from one another. When B-Spline points are moved closer to one another, a sharper curve is created. B-Spline points that are farther from one another create shallower curves. Each B-Spline control point tugs on a section of the shape, pulling it toward itself. For this reason, you manipulate a shape’s curve by moving its control points in the direction you want to pull the shape. For example, notice how every control point creating the S curve below is offset in the direction of the curve it influences. By default, B-Spline shapes have no corners. However, you can adjust the amount of curvature at each B-Spline control point to create sharper curves using fewer control points. (You can even create corners at a single point, if necessary.) The easiest way to adjust B-Spline point curvature is by Command-dragging the control point. You can also switch between three preset degrees of curvature. 1. In the Final Cut Pro viewer, Command-drag selected B-Spline control points. A handle appears indicating the adjustment you’re making. Note: After the handle appears, you can modify the curve without using the Command key. Final Cut Pro User Guide 609 2. Do any of the following: • Make the curve progressively sharper: Drag away from the point. • Make the curve progressively looser: Drag toward the point. • Switch between three progressively sharper degrees of curvature: Command-click the handle. Alternatively, you can Control-click a B-Spline point and choose either Very Smooth, Smooth, or Linear. Animate a mask in Final Cut Pro As with many effects and titles in Final Cut Pro, you can animate simple and complex masks using keyframes. For more information about animating effects using keyframes, see Intro to video keyframing. 1. Add a simple mask effect or a Draw Mask effect to a clip in the Final Cut Pro timeline. 2. Select the clip, then position the playhead in the timeline where you want the animation to begin. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. To create the starting shape of your animated mask, do one of the following: • Adjust the onscreen controls in the viewer. • Adjust the mask controls in the Video inspector. Final Cut Pro User Guide 610 6. To add keyframes for the starting shape of your animated mask, do one of the following in the Video inspector: • Add a keyframe for a single parameter: Move the pointer over the area to the right of the parameter you want to animate, then click the Keyframe button that appears. • Add a keyframe to every mask effect parameter: Move the pointer over the far-right side of the effect heading, click the down arrow that appears, and choose Add from the pop-up menu. After you add a keyframe, the Keyframe button changes to yellow, indicating that the playhead is positioned on this keyframe. 7. In the timeline, move the playhead to the next point where you want to define the mask shape, and repeat steps 4 and 5. Final Cut Pro adds a keyframe for the parameters you adjusted, and the Keyframe button changes to yellow. When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Video inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow. To go to the next keyframe, click the right arrow. 8. Continue adjusting the mask shape and adding keyframes as needed. To see the effect of your animation, play the clip. Final Cut Pro User Guide 611 If you’re animating a Draw Mask, you can keyframe its control points numerically in the Video inspector. To reveal these parameters, click the Control Points disclosure triangle at the bottom of the Draw Mask section of the Video inspector. See Mask controls. Mask controls in Final Cut Pro The Shape Mask and Draw Mask controls appear in the Video inspector. You use these controls to adjust how the mask is drawn and how each mask operates upon an image. You can also fine-tune mask control point positions. Shape Mask controls The Shape Mask contains the following adjustable controls: • Radius: A slider that changes the mask’s size. • X: A slider that adjusts the width of the mask. • Y: A slider that adjusts the height of the mask. • Curvature: A slider that changes the mask shape. One extreme of the curvature continuum is a perfect rectangle. The other extreme is an oval or a perfect circle. • Fill Opacity: A slider that adjusts the opacity of the image inside the mask selection. • Invert Mask: A checkbox that, when selected, reverses the mask—swapping its solid and transparent areas. • View: A pop-up menu that switches between the original image and the masked image (with its transparent areas). • Feather: A slider that feathers (softens) the edges of the mask. Positive feathering values soften the mask from its edge outward. Negative feathering values soften the mask from its edge inward. Feathering the edge of a mask can make the masked object blend better with the background. Final Cut Pro User Guide 612 • Falloff: A slider that controls how “steep” the feathering is. Higher values result in feathering that’s pushed farther inward, so the edge of the feathering effect is more transparent. Lower values result in the “core” of the feathering effect being pushed farther outward, so the edge of the feathering effect is less transparent. • Transforms: A set of controls for adjusting the position, rotation, and size of your mask effect. To show the controls, click the Transforms disclosure triangle. • Position X and Y: Controls that move the mask left and right (X) and up and down (Y). • Rotation: A dial control that rotates the mask around its anchor point. • Scale: A slider that changes the mask’s size as a percentage of the default mask size. You can also scale the mask along a single axis. To show the controls, click the Scale disclosure triangle. • Scale X and Y: Controls that scale the mask left and right (X) and up and down (Y). • Control Points: When a Shape Mask is selected, the Convert To Points button is available. Click this button to convert a Shape Mask to a Draw Mask with editable control points. Draw Mask controls The Draw Mask contains the following adjustable controls: • Shape Type: A pop-up menu that sets the type of control points used to define the mask. For example, if you originally created a Bezier mask, you can choose B-Spline from this menu to change how the mask is drawn. Changing the shape type might dramatically change the mask’s form even though its control points remain fixed at their original coordinates. There are three options: • Linear: All of a mask’s control points are joined by hard angles, and the resulting mask is a polygon. The control points of a Linear mask lie directly on its edge. • Bezier: Control points can be a mix of Bezier curves and hard angles, creating any sort of mask. The control points of a Bezier mask lie directly on its edge. • B-Spline: Control points are all B-Spline points, with different degrees of curvature. B-Spline control points lie outside the surface of the mask but are connected by the B-Spline frame. Final Cut Pro User Guide 613 • Fill Opacity: A slider that adjusts the opacity of the image inside the mask selection. • Invert Mask: A checkbox that, when selected, reverses the mask—swapping its solid and transparent areas. • View: A pop-up menu that switches between the original image and the masked image (with its transparent areas). • Feather: A slider that feathers (softens) the edges of the mask. Positive feathering values soften the mask from its edge outward. Negative feathering values soften the mask from its edge inward. Feathering the edge of a mask can make the masked object blend better with the background. • Falloff: A slider that controls how “steep” the feathering is. Higher values result in feathering that’s pushed farther inward, so the edge of the feathering effect is more transparent. Lower values result in the “core” of the feathering effect being pushed farther outward, so the edge of the feathering effect is less transparent. • Transforms: A set of controls for adjusting the position, rotation, and size of your mask effect. To show the controls, click the Transforms disclosure triangle. • Position X and Y: Controls that move the mask left and right (X) and up and down (Y). • Rotation: A dial control that rotates the mask around its anchor point. • Scale: A slider that changes the mask’s size as a percentage of the default mask size. You can also scale the mask along a single axis. To show the controls, click the Scale disclosure triangle. • Scale X and Y: Controls that scale the mask left and right (X) and up and down (Y). • Control Points: When a Draw Mask is selected, click the disclosure triangle to display a list of the position parameters for the mask control points. Use the value sliders to adjust the position of control points. The left value slider represents X, and the right value slider represents Y. Move the pointer over the Control Points heading to display a single Keyframe button (at the far right) that affects all the points, letting you add keyframes, reset the mask’s animation, display the animation curve in the Video Animation editor, and so on. See Animate a mask and Intro to video keyframing. Final Cut Pro User Guide 614 Compositing Intro to compositing in Final Cut Pro There are times when you need to combine two clips to create an image with bits of both. Compositing refers to combining parts of two or more video clips into a single image. There are a number of ways to combine video images in Final Cut Pro: • Transitions: All video transitions involve combining the end of one clip with the start of a second clip, which results in a combination of the two clips appearing at the same time during the transition. See How transitions are created. • Keying: All keys involve compositing a foreground image over a background image. See Intro to keying. • Alpha channels: Many computer-generated video clips have an alpha channel—a built-in mask—that defines precisely the areas of the clip that are composited over a background clip. These require no key setup and generally just automatically work. Alpha channels are widely used for effects (such as Transform and Distort), generators (such as Shapes and Timecode), and titles. • Compositing: Each video clip in the timeline has a set of Compositing settings. These settings allow you to combine clips without using the key effects. Use alpha channels in Final Cut Pro Alpha channels provide an easy way to composite one image over another. You can create still images and video clips that have alpha channels using an app such as Motion, an Apple app designed to work with Final Cut Pro. Alpha channels can be thought of as having a built-in keyer—when you use the key effects, you’re creating a mask that’s used in the same way that a clip with an alpha channel is used for compositing. Final Cut Pro User Guide 615 Below is an example of a clip with an alpha channel, showing the image that fills the alpha channel. Below is the alpha channel image—the white areas define the video areas that are composited over the background. Any gray areas would define parts of the image that are partially transparent. This is what the final composite looks like over a background clip. Final Cut Pro User Guide 616 Use a clip with an alpha channel 1. Position the playhead in the Final Cut Pro timeline where you want to add the alpha channel clip. 2. Select the clip with the alpha channel in the browser, then choose Edit > Connect to Primary Storyline (or press Q). 3. To see the composited clips, position the playhead within the clip that was just added above the primary storyline. The clip is composited over the primary storyline video clip, with the alpha channel controlling the opacity of its clip. You can also use the Opacity adjustment’s fade handles to dissolve the foreground clip on and off. See Use Compositing settings. Use Compositing settings in Final Cut Pro The Compositing settings provide a wide variety of options for combining two images. You can make a simple adjustment to evenly combine two images, or you can choose from settings that use the video content to determine how to combine the images. Use the Opacity adjustment 1. Position the playhead in the Final Cut Pro timeline where you want to add a clip above the primary storyline. 2. Select the clip to add in the browser, then choose Edit > Connect to Primary Storyline (or press Q). 3. To see the composited clips in the viewer, position the playhead within the clip that was just added. By default, the new clip completely obscures the clip in the primary storyline. 4. To make the new clip partially transparent, select it in the timeline and adjust the Opacity control in the Compositing section of the Video inspector. Final Cut Pro User Guide 617 The closer the Opacity setting is to 0 percent, the more transparent the clip above the primary storyline becomes. You can also use the Opacity fade handles in the Video Animation editor to have the composited clip dissolve on and off, or you can add keyframes to have the opacity value change at specified points. Choose a blend mode 1. Position the playhead in the Final Cut Pro timeline where you want to add a clip above the primary storyline. 2. Select the clip to add in the browser, then choose Edit > Connect to Primary Storyline (or press Q). 3. To see the composited clips in the viewer, position the playhead within the clip that was just added. By default, the new clip completely obscures the clip in the primary storyline. 4. Click the Blend Mode pop-up menu in the Compositing section of the Video inspector, then choose an option. There are many blend mode settings to choose from—the correct one to use depends on the video content and the look you’re aiming for. You can also use adjust the Opacity control to make the blend mode setting more subtle. Tracking Intro to object tracking in Final Cut Pro In Final Cut Pro, you can record the movement of an object in a video clip and then apply that recorded movement data to another item, such as a video effect, title, logo, or image. The result is an animation in which the item follows the tracked object in the original clip. For example, you can use object tracking to: • Track a blurry circle to a person’s face to preserve someone’s anonymity • Add a glow effect to the jet engines of an airplane streaking through the sky • Track the names of swimmers to their moving bodies as they compete in a swim meet In Final Cut Pro, setting up object tracking is as easy as dragging a title, image, or effect to the viewer. Final Cut Pro User Guide 618 How does object tracking work in Final Cut Pro? When you drag a clip (such as a title, generator, or still image) or an effect to the viewer, Final Cut Pro suggests an object or area of pixels in the background clip (known as a reference pattern) to “lock onto” as the object moves across the viewer. Ideally, the reference pattern should be a consistent, easily identifiable detail with high contrast. This makes the pattern easier to track. When you drag the clip or effect to a suggested object, an onscreen tracker appears with controls you can use to adjust the area you want to track. In the second step of tracking, Final Cut Pro analyzes the motion of the designated reference pattern. Final Cut Pro uses two analysis methods (algorithms) to do the calculations for object tracking: • Point Cloud: The Point Cloud method samples many positions in the search region around the center point of the tracker. Some of those positions fit the designated reference pattern more closely than others; the tracker finds the position where the search region most closely matches the reference pattern (with subpixel accuracy). For every frame analyzed, the tracker assigns a correlation value by measuring how close the best match is. In addition to searching for the reference pattern’s position, the tracker identifies how the pattern transforms (scales, rotates, or distorts) from one frame to the next. Imagine you’re tracking a logo on the shirtsleeve of a person walking past the camera. If the person turns slightly as they pass the camera, the reference pattern rotates. The tracker looks for the reference pattern and any shifts in that pattern’s scale or rotation. • Machine Learning: Final Cut Pro uses a machine learning model trained on a data set to follow objects in a specified region of video. On systems with an Apple Neural Engine, this portion of the algorithm is accelerated. The machine learning model draws a bounding box around any object it identifies. This method can recognize people, animals, and many common objects. As it analyzes motion in your project, Final Cut Pro records the data, which you can then apply to any other item (such as a clip, title, image, or effect shape mask) in your project, effectively creating a motion track. Final Cut Pro User Guide 619 Track an effect to a moving object in Final Cut Pro In Final Cut Pro, you can track the shape mask of a video effect (such as a blur, highlight, or color effect) to a moving object in a video clip. Track an effect to a moving object 1. In Final Cut Pro, position the playhead in the timeline so that the object or face that you want to track appears in the viewer. For the best results, make sure the object is in focus and has details with high contrast. 2. Open the Effects browser. 3. In the Effects browser, locate the effect you want to use and drag the effect to the viewer. As you drag the effect over the viewer, rectangles appear over objects in the video clip and oval shapes appear over faces, indicating items whose motion can be tracked. 4. When a rectangle or oval shape appears over the object or face you want to track, release the mouse or trackpad button. Final Cut Pro User Guide 620 An onscreen tracker appears on the object in the video, and the effect is applied to the same area of the image. 5. Optionally, drag the sides and the corners of the grid to further fit the tracker to the object or face you want to track. Tip: Fit the grid to the target object as tightly as possible, or even consider picking just a part of the object you want to track. (If the grid includes too much information in the background, it could potentially confuse the tracker.) 6. Confirm that Tracker is selected at the top of the viewer. 7. In the upper-left corner of the viewer, click one of the following buttons: • Analyze: Final Cut Pro tracks forward from the playhead position, then tracks backward before the playhead until the entire clip has been analyzed. • Left arrow: Final Cut Pro analyzes the portion of the clip before the playhead position only. • Right arrow: Final Cut Pro analyzes the portion of the clip after the playhead position only. Final Cut Pro adds a shape mask to the effect that matches the bounding box of the tracker, and the tracking data from the analysis is applied to the shape mask. See How does object tracking work? 8. To view the tracking effect, position the skimmer (or the playhead) at the start of the clip in the timeline, then press the Space bar to play the clip. You can repeat the steps above (with the same effect or a different effect) to track other objects in the same clip. Adjust the shape mask of a tracking effect 1. In the Final Cut Pro timeline, position the playhead in a clip that has an effect tracking an object, so that the effect appears in the viewer. Final Cut Pro User Guide 621 2. Click Shape at the top of the viewer, then use the onscreen controls to adjust the effect’s shape mask. See Add a shape mask to a video effect. If you make changes to the shape mask after the tracking analysis described in Track an effect to a moving object is complete, the changes will overwrite the existing tracking keyframe at the playhead location, which may cause an interruption in the tracking animation. To avoid this, you can do one of the following: • Unlink the shape mask from the tracker before adjusting the shape mask. See Offset the position of a tracking effect. • Reset the tracking keyframes for the entire clip (or a section of the clip). See Add, rename, reset, delete, or duplicate motion tracks. Track an image or other clip to a moving object in Final Cut Pro You can track an image or other clip (such as a title, generator, or video clip) to a moving object in a video clip. In the examples below, a title is tracked to moving motorcycles. Track an image or other clip to a moving object 1. In Final Cut Pro, position the playhead in the timeline so that the object or face that you want to track appears in the viewer. For the best results, make sure the object is in focus and has details with high contrast. Final Cut Pro User Guide 622 2. In the browser, locate the image or other clip you want to use, then drag it to the viewer. As you drag the item over the viewer, rectangles appear over objects in the video clip and oval shapes appear over faces, indicating objects or regions that can be tracked. 3. When a rectangle or oval shape appears over the object or face you want to track, release the mouse or trackpad button. An onscreen tracker appears on the object in the viewer, and the item you dragged is superimposed on the clip. By default, the item you dragged (a title, in this example) is offset from the tracker area. See Offset the position of a tracking effect. 4. Optionally, drag the sides and the corners of the grid to further fit the tracker to the object or face you want to track. 5. Confirm that Tracker is selected at the top of the viewer. Final Cut Pro User Guide 623 6. In the upper-left corner of the viewer, click one of the following buttons: • Analyze: Final Cut Pro tracks forward from the playhead position, then tracks backward before the playhead until the entire clip has been analyzed. • Left arrow: Final Cut Pro analyzes the portion of the clip before the playhead position only. • Right arrow: Final Cut Pro analyzes the portion of the clip after the playhead position only. Final Cut Pro applies the tracking data from the analysis to the clip. See How does object tracking work? 7. To view the tracking effect, position the skimmer (or the playhead) at the start of the clip in the timeline, then press the Space bar to play the clip. You can track multiple moving objects in a single clip, and you can track multiple images or other clips to a single moving object. See Assign an effect or clip to an existing motion track. Resize, move, or rotate a tracking clip 1. In the Final Cut Pro timeline, position the playhead in a clip that has an effect tracking an object, so that the clip appears in the viewer. Final Cut Pro User Guide 624 2. Click Transform at the top of the viewer, then use the onscreen controls to resize, move, or rotate the superimposed image. See Resize, move, and rotate clips. You can keyframe any transform effects independently of the tracking keyframes, which creates additional animation on top of the object tracking transforms. See Animate built-in effects. Offset the position of a tracking effect in Final Cut Pro By default, when you track an effect to a moving object, the target area on the object that you’re tracking is identical to the area of the effect’s shape mask. However, if the area you want the shape mask to affect is different from the area defined by the tracker, you can unlink, or offset, the effect shape from the tracker target area. This allows you to adjust the shape or position of the effect independently of the tracked object. Note: By default, when you track an image or other clip to a moving object, the clip is already unlinked and positionally offset. See Track an image or other clip to a moving object. 1. In Final Cut Pro, select the clip in the timeline, then position the playhead so that the clip appears in the viewer. 2. Open the Video inspector. 3. In the Effects section of the Video inspector, select the shape mask of the effect that you’re tracking to the video clip. The onscreen tracker appears in the viewer. 4. Click the Unlink button. The effect’s shape mask is unlinked from the motion-tracked object. In the example below, the blur effect’s shape mask is unlinked from the tracker. Final Cut Pro User Guide 625 You can now reposition or resize the effect independently of the tracker. You can also keyframe any transform effects independently of the tracking keyframes. See Animate built-in effects. Adjust object tracking in Final Cut Pro When you track effects or clips (such as images or titles) to moving objects in video clips, Final Cut Pro analyzes the motion of the objects in the video clips and generates object tracking data in the form of keyframes. See How does object tracking work? You can edit tracking keyframes for one or more motion tracks on a video clip. You can also rename, reset, delete, and duplicate motion tracks. Edit tracking keyframes in the timeline You can use the Tracking Editor in the timeline to add or remove keyframes in a motion track. 1. Select the clip in the Final Cut Pro timeline. 2. To open the Tracking Editor, do one of the following: • Choose Clip > Show Tracking Editor (or press Option-Command-T). • Control-click the clip in the timeline and choose Show Tracking Editor. 3. In the Tracking Editor, do any of the following: • Select a region of tracking keyframes: Click once on a light blue region. • Select an empty region: Click once on a region with no tracking keyframes. • Select a range: Drag to select the range. • Select a single frame: Double-click the frame. Final Cut Pro User Guide 626 4. Do one of the following: • Generate new tracking keyframes: Click Analyze. • Remove keyframes: Click Delete. This resets the motion track but doesn’t delete it. You can also edit tracking keyframes in the Video inspector, which is similar to editing video effect keyframes. See Edit tracking keyframes in the Video inspector. When filling a gap between existing tracking keyframes, Final Cut Pro interpolates the difference between them (as it does with video animation keyframes). Edit tracking keyframes in the Video inspector You can edit tracking keyframes in the Video inspector, which is similar to editing video effect keyframes or editing audio effect keyframes. 1. In Final Cut Pro, track an effect or an image (or other clip) to a moving object in a video clip. See Track an effect to a moving object or Track an image or other clip to a moving object. 2. Select the clip in the timeline, then position the playhead on the clip so that the frame you want to change appears in the viewer. 3. Click Analyze to generate tracking keyframes. See Edit tracking keyframes in the timeline. 4. Open the Video inspector, then scroll to the tracker you want to change in the Trackers section. 5. Click the tracker name to select the tracker. 6. Do any of the following: • Show onscreen controls in the viewer: Click the Onscreen Controls button. Final Cut Pro User Guide 627 • Navigate between keyframes: Click the left arrow to move the playhead to the previous keyframe. Click the right arrow to move the playhead to the next keyframe. • Add or remove keyframes: Click the Keyframe button. Important: Before adding any keyframes in this way, make sure that linking is enabled, so that keyframes are added to both the motion track and the item (effect shape mask, image, or other clip) tracking the object in the clip. See Offset the position of a tracking effect. Note: When you make a change using the onscreen controls, Final Cut Pro adds a keyframe automatically. You can also click the down arrow on the right end of the tracker and choose one of the following from the Keyframes section of the pop-up menu: • Add: Adds a keyframe at the playhead location. • Delete: Deletes the keyframe at the playhead location. • Previous: Moves the playhead to the previous keyframe. • Next: Moves the playhead to the next keyframe. Add, rename, reset, delete, or duplicate motion tracks 1. Select the clip in the Final Cut Protimeline. 2. Open the Video inspector, then scroll to the tracker you want to change in the Trackers section. 3. Do any of the following: • Add a tracker: Click the New Tracker button (+) at the top of the Trackers section. • Rename a tracker: Double-click the name and enter a new name. • Reset, delete, or duplicate a tracker: Click the down arrow on the right end of the tracker and choose one of the following: • Reset Tracker: Removes all keyframes from the tracker. You can also remove keyframes using the Tracking Editor. See Edit tracking keyframes in the timeline. • Delete Tracker: Deletes the tracker. • Duplicate Tracker: Makes a copy of the tracker and appends the word “Copy” to the name of the copy. Final Cut Pro User Guide 628 Change the tracking analysis method in Final Cut Pro Final Cut Pro uses two analysis methods (algorithms) to do the calculations for object tracking. You can choose one method or use a combination of both. For more information, see How does object tracking work? Important: When you change the analysis method for a motion track, the new method doesn’t take effect until you delete the existing keyframes for the motion track and reanalyze the clip. 1. In the Final Cut Protimeline, select the clip whose tracking analysis method you want to change. 2. Open the Video inspector, then scroll to the tracker you want to change in the Trackers section. 3. In the inspector, click the Analysis Method pop-up menu for the tracker you want to change, then choose one of the following: • Automatic: Final Cut Pro chooses the most suitable analysis method. • Combined: Final Cut Pro uses a combination of the Machine Learning and Point Cloud methods. • Machine Learning: Choose this option for tracking common objects (such as animals, cars, faces, trees, household objects, and so on). This algorithm excels at recognizing common objects because it is trained on many and varied examples of these objects in advance. The Machine Learning method can also overcome moderate occlusion, in which the tracked object passes behind another object. For example, if a tracked object passes behind a tree for a few frames, the Machine Learning method can continue tracking the object on the other side of the tree. • Point Cloud: Choose this option when you need precise tracking of a specific set of pixels that you define using the tracker’s onscreen controls in the viewer. Point Cloud is good for tracking regions that are rigid and somewhat flat (from the camera’s point of view). If you’re using the Machine Learning method and see jitter on the motion track (the bounding rectangles around recognized objects jump from one size to another), try switching to the Point Cloud method. Its bounding rectangles are much less susceptible to quick changes. 4. In the Video inspector, click the down arrow next to the tracker and choose Reset Tracker from the pop-up menu. The existing keyframes for the motion track are removed. For more information, see Adjust object tracking. 5. With the clip selected in the timeline, do one of the following to reanalyze the clip: • Click Analyze in the upper-left corner of the viewer. • Click the Tracking Editor in the timeline, then click Analyze. If the Tracking Editor isn’t shown, choose Clip > Show Tracking Editor (or press Option-Command-T). Final Cut Pro performs the analysis using the method you chose, and renders the new tracking keyframes for the track. Final Cut Pro User Guide 629 Create motion tracks manually in Final Cut Pro In Final Cut Pro, you can manually create motion tracks, and you can assign effects or clips to existing motion tracks. In certain workflows, you may have to create a motion track independently of the asset (the effect or clip) that you want to assign to it. For example, you might need to create the motion track while you’re waiting for the final asset to be created. Or perhaps you want to add an image or clip to a previously created motion track. Create a motion track independent of any effect or clip You can create motion track without having to drag an effect or a clip (such as a title, logo, generator, or still image) to the viewer. 1. In Final Cut Pro, add a clip to the timeline and select it. 2. Position the playhead so that the clip appears in the viewer. 3. Open the Video inspector, then scroll to the Trackers section. 4. Click the New Tracker button (+) at the top of the Trackers section. The new tracker appears in the the Trackers section of the inspector, and an onscreen tracker appears in the viewer. 5. Position the tracker over the object that you want to track. If necessary, you can use the onscreen controls to better fit the tracker to the object. Tip: To use machine learning to recognize objects or regions of potential interest for tracking, press the Option key while dragging the tracker in the viewer. As you drag, the tracker snaps to suggested images, objects, and faces in the video. 6. Click Analyze. Final Cut Pro analyzes motion in the clip and generates keyframes for the new motion track. You can connect this motion track with any effect shape mask or image (or other clip) on the same clip. See Assign an effect or clip to an existing motion track, below. Assign an effect or clip to an existing motion track After Final Cut Pro has analyzed a video clip and generated object tracking data for it, it’s easy to reuse the tracking data with other effects or clips (such as images, titles, generators, or video clips). You can connect any effect shape mask or clip to an existing motion track on the same clip (or on a connected clip at the same playhead location). 1. In the Final Cut Pro timeline, select a clip that has been analyzed for object tracking and has existing tracking keyframes. 2. Position the playhead so that the clip appears in the viewer. Final Cut Pro User Guide 630 3. Do one of the following: • Assign an effect shape mask: Open the Video inspector and select the shape mask in the Effects section. • Assign an image (or other clip): Track an image or other clip to a moving object. • Assign a connected clip: Select any connected clip at the same playhead location as the clip you selected in step 1, then click the pop-up menu in the lower-left corner of the viewer and choose Transform (or press Shift-T). For more information, see Resize, move, and rotate clips. An onscreen tracker appears in the viewer. 4. At the top of the viewer, click the down arrow to the right of the Tracker button and choose a previously created motion track from the Tracker Source pop-up menu. The effect shape mask or clip is assigned to the motion track you chose. You can adjust the shape or position of the item without affecting the tracking data. See Offset the position of a tracking effect. Final Cut Pro User Guide 631 Color correction Intro to color correction in Final Cut Pro In any post-production workflow, color correction is generally one of the last steps in finishing an edited program. There are a number of reasons to color correct your footage: • Balance all the shots in a scene to match. • Correct errors in color balance, exposure, and white-balance. • Make sure that key elements in your program, such as skin tones, look the way they should. • Achieve a look, such as making the scenes warmer or cooler. • Create contrast or special effects by manipulating the colors and exposure. Final Cut Pro color correction tools give you precise control over the look of every clip in your project, including still images, by letting you adjust each clip’s color balance, shadow levels, midtone levels, highlight levels, and more. In Final Cut Pro, you can: • Automatically balance colors: With one click, neutralize any color casts and maximize image contrast. See Intro to balancing color. • Automatically match a clip’s color and look: With two clicks, make one or more clips match the color look of any clip that you choose. See Match color between clips. Final Cut Pro User Guide 632 • Automatically white-balance a clip: Use an eyedropper to define a white or neutral gray highlight in a clip and instantly remove an unwanted color cast. See Manually whitebalance clips. • Manually adjust color, saturation, and exposure: Manually correct a clip’s overall color. You can even add multiple manual color corrections to one clip. See Intro to color correction effects. • Target specific colors or areas: Use color or shape masks to limit a correction to a particular color range or area in the image. See Add a color mask and Add a shape mask. • Save color correction settings and apply them to other clips: Save a clip’s color correction settings and apply them to other clips in the project or in other projects. See Save color correction presets. Although these methods are independent of one another—you can turn any of the corrections off and on to see their effect—the order in which you use them matters. In general, you should use these tools in the order of Balance Color (including white-balance corrections), Match Color, and (if necessary) manual color correction. Final Cut Pro also includes several video scopes you can use when manually color correcting your video. The scopes make it possible to precisely monitor the luma and chroma levels of your video clips. Quickly balance and match color Intro to balancing color in Final Cut Pro Final Cut Pro includes several handy color-balancing features that you can use to quickly and easily improve the look of your video clips. Automatic color balance When you balance color automatically, Final Cut Pro samples the darkest and lightest areas of the image’s luma channel and adjusts the shadows and highlights in the image to neutralize any color casts. In addition, Final Cut Pro adjusts the image to maximize contrast, so that the shot occupies the widest available luma range. The video frame used as the reference frame depends on the position of the playhead and whether the clip has been analyzed for color balance. See Balance a clip’s colors and Analyze a clip for color . Manual white balance You can set the color balance of a clip by sampling a part of the image that should be pure white. See Manually white-balance clips. Match color You can ensure that multiple clips have the same look. See Match color between clips. Final Cut Pro User Guide 633 Analyze a clip for color in Final Cut Pro To automatically balance a clip’s color, Final Cut Pro uses a single frame from the clip as a reference and calculates a correction for it that is then applied to the entire clip. Analyzing a clip for color balance allows Final Cut Pro to choose a representative frame as the clip’s color balance reference frame. (You can also choose a reference frame manually by positioning the playhead or the skimmer within the clip and then balancing the clip’s color.) You can have a clip’s color balance analyzed when you import it, whether importing from a camera, importing a file, or dragging a clip directly to the timeline from a Finder window. You can also analyze a clip’s color balance at any time in the browser. Analyzing a clip for color balance can take from a few seconds for shorter clips to a minute or more for longer clips. The analysis process takes longer if you also analyze for people and stabilization issues. For information about turning the color balance correction on and off, in either the browser or the timeline, see Balance a clip’s colors. Analyze color balance during file import 1. In Final Cut Pro, choose File > Import > Media (or press Command-I). 2. In the Media Import window, select the files to import, then select “Analyze video for balance color” in the Analyze and Fix section on the right. 3. Click the Import button. The files are imported and analyzed for color balance issues. Analyze color balance for clips dragged to the timeline from the Finder 1. Choose Final Cut Pro > Preferences, or press Command-Comma (,). 2. In the Final Cut Pro Preferences window, click the Import button and select “Analyze video for balance color” in the Analyze and Fix section. All clips that you drag directly to the timeline from the Finder are now analyzed. Note: When you change this setting in the Preferences window, the setting is also changed in all other windows that have an “Analyze video for balance color” option. Analyze color balance for clips in the browser When you analyze the color balance of clips in the browser, any clips that were analyzed during import are skipped. 1. Select one or more clips in the Final Cut Pro browser. 2. Do one of the following: • Choose Modify > Analyze and Fix. • Control-click one of the selected clips and choose Analyze and Fix. 3. In the window that appears, select “Analyze for balance color” in the Video section, then click OK. Final Cut Pro User Guide 634 Balance a clip’s colors in Final Cut Pro Clips in Final Cut Pro have a Balance Color setting that turns automatic color balance correction on and off, whether the clip is in the browser or the timeline. The frame used as the reference frame is either a frame chosen during color balance analysis, the frame the playhead is on in the timeline, or the middle frame. • If the clip has been color-analyzed, either during import or while in the browser: The analysis process extracts color balance information for the entire clip. Whether you add a portion of the clip or the entire clip to a project, the color-balancing feature chooses the frame within the project clip that is closest to being correctly balanced. This means that if you add multiple partial clips from the same browser clip to the project, each clip is balanced based on analysis information for its own section of media. • If the clip has not been color-analyzed and you balance its color: You can determine the reference frame for a clip selected in the timeline by moving the playhead to that frame in the clip. If the playhead is on a different clip or you’ve selected a clip in the browser, the clip’s middle frame is used. For more information about color analysis, see Analyze a clip for color . Turn a clip’s color balance correction on or off 1. Select one or more clips in the Final Cut Pro timeline or browser. If you want to select the frame in the clip used as the color balance reference frame, position the playhead or skimmer on that frame. 2. Do one of the following: • Choose Modify > Balance Color (or press Option-Command-B). • Click the Enhancements pop-up menu below the viewer and choose Balance Color. • After you’ve applied a color balance correction (using one of the methods above), select or deselect the Balance Color checkbox in the Effects section of the Video inspector. Final Cut Pro User Guide 635 Manually white-balance clips in Final Cut Pro White-balancing an image removes color casts and ensures that white objects in the image appear white. Whether or not the camera operator remembered to set the white balance in the camera, it’s easy to quickly correct the white balance of your video footage in Final Cut Pro. 1. Select a clip in the Final Cut Pro timeline or browser. 2. Position the playhead over the clip so that the clip’s video is displayed in the viewer. 3. To turn on the Balance Color correction, do one of the following: • Choose Modify > Balance Color (or press Option-Command-B). • Click the Enhancements pop-up menu below the viewer and choose Balance Color. Note: When Balance Color is on, there’s a checkmark next to the menu item. The automatic color balance correction is applied to the clip. 4. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 5. Click the pop-up menu in the Balance Color section of the Video inspector and choose White Balance. The pointer changes to an eyedropper. Final Cut Pro User Guide 636 6. In the viewer, click or drag over an area that should be pure white. The entire clip’s color is adjusted to turn the pixels you selected into white. Tip: When using the eyedropper, don’t sample an area that’s overexposed, such as a light source or a shiny highlight. Instead, select a properly exposed area of your picture that’s white, such as a well-lit white shirtsleeve or white wall. After you apply a manual white-balance correction, you can copy the correction to other clips in your program to ensure that related clips have a consistent look. (In contrast, the more automated Balance Color correction creates a unique color correction for each clip it’s applied to.) You can copy the white-balance correction to multiple clips at once using the Paste Attributes command. See Copy effects between clips. Match color between clips in Final Cut Pro Your project likely uses video from a wide variety of sources. The Match Color feature makes it easy to ensure that all scenes that take place in the same location have the same look. Match color between clips 1. In the Final Cut Pro timeline, select one or more clips that you want to adjust. 2. Do one of the following: • Choose Modify > Match Color (or press Option-Command-M). • Click the Enhancements pop-up menu below the viewer and choose Match Color. Final Cut Pro User Guide 637 The viewer changes to display the frame under the timeline playhead on the right and the frame the pointer is over on the left. 3. Skim any clip in the timeline or the browser to find a frame with the color look you want to match, then click to preview that look applied to the selected clip. You can click a variety of clips until you find the look you want. Tip: You may want to import a still image that has the look you want, even if it’s not related to your project, so that you can match its color. 4. To accept the current look, click Apply Match. The viewer returns to its normal configuration, and the selected timeline clips change to the new look. Turn Match Color corrections on or off You can turn off the Match Color corrections that have been applied to a clip. This is useful for viewing the difference between the original clip and the corrected clip. 1. In the Final Cut Pro timeline, select a clip with Match Color corrections applied. 2. Click the Match Color checkbox in the Effects section of the Video inspector. Make advanced color corrections with color correction effects Intro to color correction effects in Final Cut Pro Final Cut Pro includes powerful manual color correction tools that you can use to accomplish a wide variety of color correction and enhancement effects. You use the tools by applying a color correction effect and then adjusting the effect’s controls in the Color inspector. Final Cut Pro User Guide 638 You can make manual color adjustments to the color tint, saturation, and exposure for the whole clip image using any of the following color correction effects. Color Board The unique Color Board provides controls for saturation, exposure, and color adjustments. See Use the Color Board. Color wheels You can use four color wheels (Global, Shadows, Midtones, and Highlights) to adjust color in your video clips. You can also adjust a clip’s brightness and saturation levels using sliders on the sides of the color wheels. See Use color wheels. Final Cut Pro User Guide 639 Color curves You can use the color curves to adjust the components of individual color channels in an image, as well as the luma channel. See Use color curves. Hue and saturation curves The six hue and saturation curves provide the maximum control and precision for color correcting your projects. See Use hue and saturation curves. Final Cut Pro User Guide 640 Final Cut Pro manual color correction workflow The traditional process for color correcting a project is outlined below, in rough chronological order. Step 1: Color correction starts during your shoot The process of determining the overall look of your video begins when your scenes are lit and shot during production. To have the maximum amount of control over your clips in post-production, you need to start out with footage that has been exposed with your end goals in mind right from the beginning. Color correction in post-production is no substitute for good lighting. Tip: In many productions, a color chip chart is placed next to the slate at the beginning of every shot. This chart can be used during post-production to provide a good neutral starting point for color correction. For example, you can use the white chip in the chart to quickly white-balance your clips. This technique is especially valuable for matching color in multicamera shoots. Step 2: Pick a reference shot from a scene to use as the basis for color correction If you’re color correcting a scene consisting of a single shot, your job is pretty easy. All you need to do is find the settings that work best for that one shot. Most scenes, however, cut between a variety of different shots, such as close-ups, medium shots, and wide shots. In every scene, there is usually a single wide shot that encompasses the entire scene. You can use that shot as a reference shot, and then make the colors of the other shots match those of the reference shot. Step 3: Add a color correction effect and perform primary color correction To make any manual color correction adjustments to a clip, you must first add one of the color correction effects available in Final Cut Pro (Color Board, Color Wheels, Color Curves, or Hue/Saturation Curves). See Add color corrections. Final Cut Pro User Guide 641 Primary color correction refers to two basic steps that you take using one of the color correction effects: • Adjust the blacks and whites to maximize the contrast of your clip: Essentially, you’re mapping the blackest black in your clip to a value of 0 and the whitest white to a value of 100. By doing this first, you widen the range that an underexposed image covers, or bring down overly bright (or super-white) areas of overexposed video into the range considered to be broadcast-safe. • Adjust the balance of reds, greens, and blues in your shot: As you make these adjustments, it’s helpful to view your clip on a broadcast video monitor as well as check the clip’s luma and chroma levels in the video scopes to make more informed changes. See Intro to measuring video. Step 4: Add additional color corrections as needed It’s important to remember that you don’t have to do everything with a single application of a color correction effect. For example, if you can’t get the colors in both the dimly lit areas and the highlights of your clip right with a single effect, focus only on the dimly lit area. You can then adjust the highlights with a second application of a color correction effect. For each color correction effect, you can use a color mask and an unlimited number of shape masks to isolate a region of your clip, limiting the color correction effect to just that area. This way, you can target the green grass, the highlights in the trees, and the red lipstick of an actor in the scene with three separate corrections, giving you an extremely fine level of control over your image. See Add a color mask and Add a shape mask. Step 5: Add other effects to address specific needs After you’ve finished color correcting your footage, you may find yourself with some additional issues to resolve. For example, the combination of effects you’re using may cause the chroma or luma to extend into levels illegal for broadcast. In this case, you can use the Broadcast Safe effect (in the Effects browser) to bring down the offending parts of Rec. 709 clips to acceptable levels. Step 6: Match the rest of the scene to the reference shot After you’ve finished defining the look of the reference shot in a scene, you can move on to the rest of the shots. It’s easy to copy the settings of the color correction effects you’re using to other pieces of the same reference shot. For example, if you cut back to the reference shot five times in your scene, you can simply copy the effects from the first piece of the reference shot you corrected to all other instances in your sequence. You can also combine multiple color correction effects into a single effects preset and copy it from clip to clip. See Save color correction presets. As you work on other shots in the scene, you’ll probably repeat steps 3 through 5 for each shot. You can compare each new shot with the reference shot that you corrected, switching back and forth rapidly to compare the look of one clip with that of the other. By comparing the clips’ values on the video scopes, you’ll see how you need to adjust the color correction effects to make the clips’ color, blacks, and whites match as closely as possible. Tip: You can use the Command Editor to assign a keyboard shortcut to turn color corrections on and off while making adjustments, and to assign keyboard shortcuts to many other color correction functions. See Modify keyboard shortcuts. Final Cut Pro User Guide 642 Add color corrections in Final Cut Pro The first step in adjusting a clip’s color manually is adding a color correction effect to the clip. You can apply multiple color corrections to a clip to target specific issues. For example, you could apply one color correction that mutes a bright orange shirt and a second one that enhances the green in the lawn. Add a color correction 1. In the Final Cut Pro timeline, select a clip you want to correct. 2. Position the playhead in the timeline so that your clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. • Click the Color button at the top of the inspector. • In the Video inspector, click the Color button to the right of a color correction to open it in the Color inspector. 4. Do one of the following: • Click the pop-up menu at the top of the Color inspector and choose a color correction from the Add Correction section of the menu. • Add a color correction effect from the Color category of the Effects browser. The color correction effects are: • Color Board • Color Wheels • Color Curves • Hue/Saturation Curves Final Cut Pro User Guide 643 Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. The color correction effect is applied to the clip and appears in the Effects section of the Video inspector. To proceed with the color correction, follow the instructions for the color correction effect you added: • Use the Color Board • Use color wheels • Use color curves • Use hue and saturation curves Apply multiple color corrections to a clip 1. In the Final Cut Pro timeline, select a clip that has a color correction. 2. To add an additional color correction, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6), then click the pop-up menu at the top of the Color inspector and choose one of the color correction effects in the Add Correction section. • Add another color correction effect from the Color category of the Effects browser. (The four choices are Color Board, Color Wheels, Color Curves, and Hue/Saturation Curves.) The Color inspector opens, showing the controls for the additional correction. Additional color correction effects are named incrementally (for example, Color Wheels 2, Color Wheels 3, and so on) and appear in the pop-up menu at the top of the Color inspector. You can switch to a different correction by choosing it in the pop-up menu. Final Cut Pro User Guide 644 The additional color correction effect also appears in the Effects section of the Video inspector, beneath the original color correction effect. You can click the Color Inspector button to the right of a correction to open the Color inspector with that correction’s settings. To make the additional color correction adjustments, see the topic for the color correction effect you added: • Use the Color Board • Use color wheels • Use color curves • Use hue and saturation curves If you have applied multiple corrections to a clip, you can change their order by dragging them in the Video inspector. Rearranging the processing order can provide different results. To ensure the highest-quality results, the Balance Color and Match Color effects appear at the top of the Effects list by default. Note: Applying multiple color corrections to a clip has no effect on the color masks in the additional color corrections. For example, if the first color correction removes all chroma from the clip, the second color correction can still create a color mask based on the original chroma. See Add a color mask. Switch to a different color correction 1. In the Final Cut Pro timeline, select a clip that has multiple color corrections. 2. Click the pop-up menu at the top of the Color inspector, then choose a different color correction. After you apply a color correction effect, you can copy it to another clip or group of clips. See Copy effects between clips. You can also combine multiple color correction effects into a single effects preset and then copy it to other clips. See Save color correction presets. Final Cut Pro User Guide 645 Remove color corrections in Final Cut Pro You can reset color corrections or turn them off and on to quickly see the effect of your adjustments. You can also remove color corrections from a clip. Reset or turn off color corrections in the Video inspector 1. In the Final Cut Pro timeline, select a clip with color corrections you want to reset or turn off. 2. In the Effects section of the Video inspector, do any of the following: • Turn off a color correction effect without resetting it: Deselect the checkbox for the correction. Tip: You can use the Command Editor to assign a keyboard shortcut to turn color corrections on and off while making adjustments, and to assign keyboard shortcuts to many other color correction functions. In the Command Editor, search for “Toggle color correction.” See Modify keyboard shortcuts. • Reset the entire color correction effect to its neutral state: Move the pointer over the color correction effect you want to reset, then click the pop-up menu that appears on the far right and choose Reset Parameter. Reset or turn off color corrections in the Color inspector 1. In the Final Cut Pro timeline, select a clip with color corrections you want to reset or turn off. 2. If the Color inspector isn’t already shown, do one of the following: • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. • Choose Window > Go To > Color Inspector (or press Command-6). • In the Video inspector, click the Color Inspector button for the color correction effect you want to reset or turn off. 3. In the Color inspector, do any of the following: • Turn off a color correction effect without resetting it: Deselect the checkbox for the correction. Final Cut Pro User Guide 646 Turning the corrections off and on makes it easy to quickly see the effect of your adjustments. • Reset the entire color correction effect to its neutral state: Click the pop-up menu on the far-right end of the name bar and choose Reset Parameter. • Reset an individual pane, wheel, curve, or other section of a color correction effect: Click the Reset button for that section or control. Remove a color correction 1. In the Final Cut Pro timeline, select the clip with the color correction you want to remove. 2. Do one of the following: • Select the color correction effect in the Video inspector, then press Delete. • Click the pop-up menu at the top of the Color inspector and choose the color correction effect, then click the empty gray area to the right of the correction name and press Delete. Use the Color Board in Final Cut Pro You can adjust a clip’s tint, saturation, and exposure with great precision using the Color Board. First you add the Color Board color correction effect to the clip, and then you adjust its settings in the Color inspector. Final Cut Pro User Guide 647 To provide objective, precise information as you color correct a clip, use the video scopes and other video measurement tools (see Intro to measuring video). You can also create a custom workspace layout for color correction, or switch to the predefined Color & Effects layout (see Change the workspace layout). Note: Because you can apply multiple color correction effects to a clip, you’re not required to follow all of the steps below, nor the order of those steps. For example, you might adjust the overall contrast with the Color Curves effect and adjust a color tint with the Color Wheels effect. Or you could achieve the same results with multiple instances of the same effect. For a summary of the color correction effects, see Intro to color correction effects. 1. In the Final Cut Pro timeline, select the clip you want to correct, then position the playhead in the clip so that the clip appears in the viewer. 2. Open the Color inspector. Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. 3. Click the pop-up menu at the top of the Color inspector, then do one of the following: • Add a new instance of the Color Board effect: Choose Color Board from the Add Correction section at the bottom of the menu. For more details and methods, see Add color corrections. • Correct a Color Board effect already applied to the clip: Choose the Color Board effect you want to correct from the Corrections section at the top of the menu. Color Board controls appear in the Color inspector. The effect also appears in the Effects section of the Video inspector. 4. At the top of the Color inspector, click the button for the correction you want to make: • Color: Adjusts the tint. • Saturation: Adjusts the chroma level. • Exposure: Adjusts the luma level. Final Cut Pro User Guide 648 5. Drag the controls (or select a control and press an arrow key), or enter values in the value sliders. To make fine adjustments, hold down the Option key as you drag a control. You can adjust the whole clip image or just the shadows, midtones, or highlights. Dragging a control up adds color to the image or increases the chroma or luma level; dragging a control down removes color or reduces the chroma or luma level. In the Color pane, you can also drag the controls left or right to choose the color to add or subtract. To reset the values for a pane, click the Reset button in the top-right corner. Tip: If you want to color correct the next or previous clip in the timeline, press Command-Right Arrow or Command-Left Arrow to move the playhead to the next or previous clip and select it. These shortcuts select clips in the same role only, so you can quickly move between video clips and skip over clips not suited for color correction (such as music or titles). After you apply a color correction, you can copy it to another clip or group of clips. See Copy effects between clips. Final Cut Pro User Guide 649 Use color wheels in Final Cut Pro You can use four color wheels (Global, Shadows, Midtones, and Highlights) to adjust color in your video clips. You can also adjust a clip’s brightness and saturation levels using sliders on the sides of the color wheels. First you add the Color Wheels color correction effect to the clip, and then you adjust its settings in the Color inspector. To provide objective, precise information as you color correct a clip, use the video scopes and other video measurement tools (see Intro to measuring video). The vectorscope shows the distribution of color in your image on a circular scale and is particularly useful for working with color wheels. The angle of distribution of red, green, and blue in the color wheels corresponds to the angles of those colors in the vectorscope. When you move the color control in the center of a color wheel, the mix of colors in the vectorscope moves the same direction. You can create a custom workspace layout for color correction or switch to the predefined Color & Effects layout (see Change the workspace layout). Final Cut Pro User Guide 650 Note: Because you can apply multiple color correction effects to a clip, you’re not required to follow all of the steps below, nor the order of those steps. For example, you might adjust the overall contrast with the Color Curves effect and adjust a color tint with the Color Wheels effect. Or you could achieve the same results with multiple instances of the same effect. For a summary of the color correction effects, see Intro to color correction effects. 1. In the Final Cut Pro timeline, select the clip you want to correct, then position the playhead in the clip so that the clip appears in the viewer. 2. Open the Color inspector. Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. 3. Click the pop-up menu at the top of the Color inspector, then do one of the following: • Add a new instance of the Color Wheels effect: Choose Color Wheels from the Add Correction section at the bottom of the menu. For more details and methods, see Add color corrections. • Correct a Color Wheels effect already applied to the clip: Choose the Color Wheels effect you want to correct from the Corrections section at the top of the menu. Color Wheels controls appear in the Color inspector. The effect also appears in the Effects section of the Video inspector. Tip: To switch the inspector between full-height view and half-height view, double-click the top bar of the inspector. 4. Click the View pop-up menu at the top of the Color inspector and choose a display option: • All Wheels: Displays all four color wheels at once. The Global color wheel adjusts the whole clip image; the other color wheels adjust only the shadows, midtones, or highlights. • Single Wheels: Displays one large color wheel at a time. Click a button at the top of the Color inspector to select the wheel to display. Final Cut Pro User Guide 651 5. To change a clip’s brightness, color, or saturation, adjust the controls for a color wheel, or enter values in the value sliders below. • Adjust the brightness: Drag the Brightness slider on the right side of a wheel. • Adjust the color value: Drag the color control in the center of a wheel. You can also move the color control up, down, left, or right by pressing the Up Arrow, Down Arrow, Left Arrow, or Right Arrow key. • Adjust the saturation: Drag the Saturation slider on the left side of a wheel. To make fine adjustments, hold down the Option key as you drag a control. 6. Use the controls at the bottom of the Color inspector to adjust any of the following: • Temperature: Adjust the color temperature, in degrees kelvin, so that the image looks as natural as possible. Color temperature describes the color value of light when the image was shot (not the light’s heat value). Drag the slider to the left to increase blue tones, or to the right to increase yellow-red tones. For example, if the image was shot under tungsten conditions, set the value between 2500 and 2900 degrees kelvin to white-balance it. • Tint: Fine-tune the white-balance adjustment by neutralizing a remaining green or magenta tint. Drag the Tint slider to the left to add a green tint to the image, or to the right to add a magenta tint. • Hue: Use the Hue control or value slider to set a value from 0° to 360°, effectively rotating all hues in the image around the perimeter of the color wheel. A value of 0° represents the original image. • Mix: Set the amount of the original image to be blended with the color-corrected image. To reset the values for a color wheel or a value slider, click its Reset button . Tip: If you want to color correct the next or previous clip in the timeline, press Command-Right Arrow or Command-Left Arrow to move the playhead to the next or previous clip and select it. These shortcuts select clips in the same role only, so you can quickly move between video clips and skip over clips not suited for color correction (such as music or titles). After you apply a color correction, you can copy it to another clip or group of clips. See Copy effects between clips. Final Cut Pro User Guide 652 Use color curves in Final Cut Pro You can use color curves to adjust the components of individual color channels in a clip image. You can adjust the overall luma as well as the red, green, and blue color channels. A feature unique to Final Cut Pro is that you can adjust any custom color you specify—for example, you can select any mixture of chroma and then adjust its intensity. First you add the Color Curves color correction effect to the clip, and then you adjust its settings in the Color inspector. Final Cut Pro User Guide 653 A color curve is like an interactive histogram that is tilted at a 45-degree angle. The different tonal ranges of the image (the shadows, midtones, and highlights) are distributed along the curve. You can click the curve to create control points, then drag the control points up or down to increase or decrease the intensity of the color for a given tonal range. To provide objective, precise information as you color correct a clip, use the video scopes and other video measurement tools (see Intro to measuring video). You can create a custom workspace layout for color correction or switch to the predefined Color & Effects layout (see Change the workspace layout). Note: Because you can apply multiple color correction effects to a clip, you’re not required to follow all of the steps below, nor the order of those steps. For example, you might adjust the overall contrast with the Color Curves effect and adjust a color tint with the Color Wheels effect. Or you could achieve the same results with multiple instances of the same effect. For a summary of the color correction effects, see Intro to color correction effects. Use the color curves to adjust the intensity of a color channel 1. In the Final Cut Pro timeline, select the clip you want to correct, then position the playhead in the clip so that the clip appears in the viewer. 2. Open the Color inspector. Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. 3. Click the pop-up menu at the top of the Color inspector, then do one of the following: • Add a new instance of the Color Curves effect: Choose Color Curves from the Add Correction section at the bottom of the menu. For more details and methods, see Add color corrections. • Correct a Color Curves effect already applied to the clip: Choose the Color Curves effect you want to correct from the Corrections section at the top of the menu. Final Cut Pro User Guide 654 Color Curves controls appear in the Color inspector. The effect also appears in the Effects section of the Video inspector. Tip: To switch the inspector between full-height view and half-height view, double-click the top bar of the inspector. 4. Click the View pop-up menu at the top of the Color inspector and choose a display option: • All Curves: Displays all four color curves at once. The default color curves are Luma, Red, Green, and Blue. • Single Curves: Displays one large color curve at a time. Click a button at the top of the Color inspector to select the curve to display. 5. To set the black and white points, drag the control points on the ends of the Luma curve. It’s a good idea to use the waveform monitor as you do this, to make sure you don’t clip the highlights or crush the blacks more than you want to, and to make sure the image remains broadcast-safe. To show the waveform monitor, see Display video scopes. 6. To adjust a color channel, click a curve to set a control point, then drag it up to increase the intensity of the color or down to decrease the intensity. To constrain the control point to vertical or horizontal movement, hold down the Shift key as you drag. To make fine adjustments, hold down the Option key as you drag. Final Cut Pro User Guide 655 Adjusting the image with a single control point affects most of the midtones as well as some shadows and highlights. To select a custom color to adjust, click the eyedropper at the top of one of the color curves, then click or drag over a color in the viewer. You can also click the name of a color curve (at the top left of the curve), then click or drag in the color wheel. Tip: To remove a color cast from a clip with manual control and precision, click the eyedropper at the top of one of the color curves, then, in the viewer, click or drag over an area of the image that’s supposed to be white, such as a white sheet of paper. A vertical gray line appears on the color curve. Click to add a control point where the gray line intersects the curve, then drag the control point down until the selected color turns white. Use the waveform monitor in RGB Parade view to verify the change. Final Cut Pro User Guide 656 7. To narrow the tonal range for your adjustments, add more control points. The default diagonal line for each curve indicates the original state of the image. Wherever the curve diverges from the diagonal line, the image is altered. Wherever the curve touches the diagonal line, the values of the image at that tonality are the same as in the original image. For example, to prevent any change to the shadows, you could add a control point to pin the curve to the diagonal line in the shadows area. 8. Add and move control points as needed. To delete a control point, select it and press Delete. To reset the values for a color curve, click its Reset button . 9. At the bottom of the Color inspector, adjust any of the following: • Preserve Luma: Select this checkbox to maintain the overall brightness of a clip despite changes in one or more color channels. • Mix: Set the amount of the original image to be blended with the color-corrected image. Tip: If you want to color correct the next or previous clip in the timeline, press Command-Right Arrow or Command-Left Arrow to move the playhead to the next or previous clip and select it. These shortcuts select clips in the same role only, so you can quickly move between video clips and skip over clips not suited for color correction (such as music or titles). After you apply a color correction, you can copy it to another clip or group of clips. See Copy effects between clips. Final Cut Pro User Guide 657 Use hue and saturation curves in Final Cut Pro The six hue and saturation curves provide the maximum control and precision for color correcting your projects. You can adjust the hue, saturation, and brightness of any color in your project. Additionally, you can adjust the saturation for a range of brightness or a range of saturation in a clip. You can also adjust the saturation of a specific color at any point in its range of brightness. First you add the Hue/Saturation Curves color correction effect to the clip, and then you adjust its settings in the Color inspector. To provide objective, precise information as you color correct a clip, use the video scopes and other video measurement tools (see Intro to measuring video). You can create a custom workspace layout for color correction or switch to the predefined Color & Effects layout (see Change the workspace layout). Final Cut Pro User Guide 658 Note: Because you can apply multiple color correction effects to a clip, you’re not required to follow all of the steps below, nor the order of those steps. For example, you might adjust the overall contrast with the Color Curves effect and adjust a color tint with the Color Wheels effect. Or you could achieve the same results with multiple instances of the same effect. For a summary of the color correction effects, see Intro to color correction effects. Add and set up a Hue/Saturation Curves color correction 1. In the Final Cut Pro timeline, select the clip you want to correct, then position the playhead in the clip so that the clip appears in the viewer. 2. Open the Color inspector. Tip: If you frequently add a particular color correction effect, you can speed up your workflow by setting it as the default color correction. Then just select a timeline clip and press Command-6 to start adjusting the effect in the Color inspector. 3. Click the pop-up menu at the top of the Color inspector, then do one of the following: • Add a new instance of the Hue/Saturation Curves effect: Choose Hue/Saturation Curves from the Add Correction section at the bottom of the menu. For more details and methods, see Add color corrections. • Correct a Hue/Saturation Curves effect already applied to the clip: Choose the Hue/ Saturation Curves effect you want to correct from the Corrections section at the top of the menu. Hue/Saturation Curves controls appear in the Color inspector. The effect also appears in the Effects section of the Video inspector. Tip: To switch the inspector between full-height view and half-height view, doubleclick the top bar of the inspector. 4. Click the View pop-up menu at the top of the Color inspector and choose a display option: • 6 Curves: Displays all six curves at once. • Single Curves: Displays one large curve at a time. In Single Curves view, click a button at the top of the Color inspector to display a specific curve. To color correct the clip, follow the instructions below for the adjustment you want to make. Final Cut Pro User Guide 659 Adjust the hue, saturation, or brightness of a color 1. Follow the instructions in Add and set up a Hue/Saturation Curves color correction, above. 2. In the Color inspector, click the eyedropper for the curve that you want to use. • Hue vs Hue: Change a color (hue) in the image. • Hue vs Sat: Change the saturation of a color in the image. • Hue vs Luma: Adjust the brightness of a color in the image. 3. In the viewer, click or drag over the color in your clip that you want to adjust. Three control points appear on the curve in the Color inspector. The middle control point represents the color you selected with the eyedropper. The two outer control points constrain the selection to a narrow range of hues. The examples below show the Hue/Saturation Curves effect in Single Curves view. In this view, click a button at the top of the Color inspector to display a specific curve. For example, click HvH to display the Hue vs Hue curve. Note: You can also create control points by clicking the curve, but the eyedropper method is generally more precise. 4. Drag the middle control point to adjust any of the following (depending on which curve you’re using in the Color inspector): • Hue vs Hue: Change the hue in the selection. Drag the control point up or down to rotate through the various hues around the perimeter of the color wheel. Final Cut Pro User Guide 660 Note: If you use the Hue vs Hue curve to change the hue and then use the eyedropper in any other curve in the same instance of the Hue/Saturation Curves color correction effect, the eyedropper selects the original hue—not the altered hue. To select the original hue, adjust the control points without using the eyedropper, or add a second instance of the Hue/Saturation Curves color correction effect. • Hue vs Sat: Adjust the saturation of the selected color. Drag the middle control point up to increase the saturation, or down to decrease the saturation. Add or adjust control points as needed. In the example below, the HvS button was clicked in the Single Curves view, and the eyedropper was used to select the hue of the wall in the image. • Hue vs Luma: Adjust the brightness of the selected color. Drag the middle control point up to increase the brightness, or down to decrease the brightness. Add or adjust control points as needed. To make fine adjustments, hold down the Option key as you drag a control. Hold down the Shift key as you drag to constrain the control point to vertical or horizontal movement only. Final Cut Pro User Guide 661 In the example below, the HvL button was clicked in the Single Curves view, and the eyedropper was used to select the hue of the wall in the image. 5. To adjust the selected range, drag the two outer control points to the left or the right, or just delete them. Adjust the saturation for a range of brightness You can use the Luma vs Sat curve to create special looks and to make a clip broadcastsafe by reducing oversaturation. 1. Follow the instructions in Add and set up a Hue/Saturation Curves color correction, above. 2. In the Color inspector, click the eyedropper for the Luma vs Sat curve. If all six curves are shown in the inspector, you may need to scroll to see the Luma vs Sat curve. In Single Curves view, click the LvS button at the top to display the curve. 3. In the viewer, click or drag over the color in your clip whose saturation you want to adjust. Three control points appear on the curve in the Color inspector. The middle control point represents the level of luma (brightness) you selected with the eyedropper. The two outer control points constrain the selection to a narrow range of brightness. Final Cut Pro User Guide 662 Note: You can also create control points by clicking the curve, but the eyedropper method is generally more precise. 4. Drag the middle control point up to increase the saturation, or down to decrease the saturation. To make fine adjustments, hold down the Option key as you drag a control. Hold down the Shift key as you drag to constrain the control point to vertical or horizontal movement only. 5. To adjust the range of luma selected, drag the two outer control points to the left or the right, or just delete them. 6. To adjust the saturation for a different range of brightness, click the curve to add control points, and adjust them as needed. Use the left end of the curve to adjust shadows, the middle section to adjust midtones, and the right end of the curve to adjust highlights. Drag up to increase saturation, or down to decrease saturation. Adjust the saturation within a range of saturation The Sat vs Sat curve allows you to create special looks by selecting and adjusting a range of saturation within the video clip’s original saturation. You can increase the saturation of areas with low saturation, or you can desaturate oversaturated areas to make them safe for broadcast. In the example below, the saturation is increased in a region of low saturation in the original image. 1. Follow the instructions in Add and set up a Hue/Saturation Curves color correction, above. 2. In the Color inspector, click the eyedropper for the Sat vs Sat curve. If all six curves are shown in the inspector, you may need to scroll to see the Sat vs Sat curve. In Single Curves view, click the SvS button at the top to display the curve. 3. In the viewer, click or drag over the color in your clip whose saturation you want to adjust. Final Cut Pro User Guide 663 Three control points appear on the curve in the Color inspector. The middle control point represents the level of saturation you selected with the eyedropper. The two outer control points constrain the selection to a narrow range of saturation. Note: You can also create control points by clicking the curve, but the eyedropper method is generally more precise. 4. Drag the middle control point up to increase the saturation, or down to decrease the saturation. To make fine adjustments, hold down the Option key as you drag a control. Hold down the Shift key as you drag to constrain the control point to vertical or horizontal movement only. 5. To change the range of saturation selected, drag the two outer control points to the left or the right, or just delete them. 6. To adjust the saturation for a different range of saturation, click the curve to add control points, and adjust them as needed. Use the left end of the curve to adjust regions of low saturation, the middle section to adjust regions of medium saturation, and the right end of the curve to adjust highly saturated regions. Drag a control point up or down to increase or decrease saturation for that region of saturation. Final Cut Pro User Guide 664 Adjust the saturation of a specific color at any point along its range of brightness You can use the Orange vs Sat curve to adjust a specific color’s saturation at any point along its range of tonality from darkest to brightest. Note: The default color for the curve is orange (because it aligns with skin tone), but you can select any color and adjust its saturation. For more information about skin tone, see Vectorscope display options. 1. Follow the instructions in Add and set up a Hue/Saturation Curves color correction, above. 2. In the Color inspector, click the eyedropper for the Orange vs Sat curve. If all six curves are shown in the inspector, you may need to scroll to see the Orange vs Sat curve. In Single Curves view, click the Orange button at the top to display the curve. 3. In the viewer, click or drag over the color in your clip whose saturation you want to adjust. The curve color changes to the color you selected in the viewer. The name of the curve also changes to reflect the selection—for example, to “Aqua vs Sat.” You can also change the color of a curve by clicking its name (at the top left of the curve) and then clicking or dragging in the color wheel to select a color. 4. Click the curve to add control points, then drag them up or down to increase or decrease the saturation of the selected color. To make fine adjustments, hold down the Option key as you drag a control. Final Cut Pro User Guide 665 Use the left end of the curve to adjust shadows, the middle section to adjust midtones, and the right end of the curve to adjust highlights. Add or adjust control points as needed. Tip: If you want to color correct the next or previous clip in the timeline, press Command-Right Arrow or Command-Left Arrow to move the playhead to the next or previous clip and select it. These shortcuts select clips in the same role only, so you can quickly move between video clips and skip over clips not suited for color correction (such as music or titles). After you apply a color correction, you can copy it to another clip or group of clips. See Copy effects between clips. Add color masks and shape masks Add a color mask in Final Cut Pro A color mask isolates a particular color in an image. You can apply a color mask to a clip to correct a specific color, or to exclude that color from corrections to the rest of the image, or both. For example, you could mute a bright color in the background that distracts attention from a clip’s main subject. You can create two types of color masks in Final Cut Pro: a 3D color mask or an HSL color mask. With either mask type you can make an initial color selection using an eyedropper, but each mask type has its own set of controls for refining the color range in the mask. Note: You can switch from one mask type to another, but your color selection is not retained when you switch. 1. Add a color correction to a clip in the Final Cut Pro timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. Final Cut Pro User Guide 666 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. 4. Click the pop-up menu at the top of the Color inspector and choose the color correction you want to mask. 5. At the top of the Color inspector, move the pointer over the effect name and click the Apply Effect Masks button . 6. Click the pop-up menu that appears and choose Add Color Mask. The Color Mask controls appear at the bottom of the Color inspector, and the pointer changes to an eyedropper. 7. Click the Type pop-up menu and choose one of the following: • 3D: Creates a color mask that lets you add or remove surrounding colors by dragging the Softness slider. • HSL: Creates a color mask that lets you adjust hue, saturation, and luma values independently. For more information about each mask type, see Edit a color mask. 8. In the viewer, position the eyedropper on a color in the image that you want to isolate, then drag to select the color. As you drag the eyedropper, a circle appears. The size of the circle determines the range of color that is included in the color mask. As you change the circle size, the image becomes monochrome except for the color you’re selecting. You can drag a new selection circle as many times as you like to try for better results. Note: When you stop dragging, you see the effects of the color mask as soon as you start making adjustments in the color correction effect. If you chose the HSL mask type you can also make the initial color selection using the HSL controls. See Edit an HSL color mask with hue, saturation, and luma controls. Final Cut Pro User Guide 667 9. Do one of the following: • Apply a color correction to the selected color: Click Inside. • Apply a color correction to everything except the selected color: Click Outside. You can make corrections to both the inside and outside areas of the mask—each area effectively has its own complete set of color correction controls. For example, you could click Inside to enhance the targeted color, and then click Outside to darken everything else. As with any other masked clip effect, you can also invert (flop) the masked and unmasked areas of the color mask. See Invert effect masks. 10. To correct the color isolated by the mask, adjust the controls of the color correction effect in the Color inspector. For more information about the manual color correction effects, see Intro to color correction effects. To adjust the color selection in the color mask, you can edit the mask. To limit the area of the image affected by a color mask, you can add one or more shape masks. Edit color masks in Final Cut Pro A color mask is defined by a specific color range, so only areas in your video clip that contain colors within the range are part of the mask. The illustration below shows an example of a color range selection in a 3D color model. In Final Cut Pro, you can adjust the range of colors included in a color mask—for example, to add or remove colors as the subject moves or the scene changes. With the eyedropper, you can quickly select a base range of colors or expand or shrink a selection. Depending on the type of color mask you created, you can use additional controls to finetune the color range. If you created a 3D color mask, you can add or remove surrounding colors using the Softness slider. If you created an HSL color mask, you can adjust hue, saturation, and luma values independently. Final Cut Pro User Guide 668 Edit a color mask with the eyedropper 1. In Final Cut Pro, add a color mask to a clip in the timeline. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. 4. In the Color Mask section of the inspector, click the eyedropper to enable it (the eyedropper turns blue). 5. Do any of the following: • Make a new single-color selection: Position the eyedropper on a color you want to include in the mask, then click once. • Add color shades: Hold down the Shift key, position the eyedropper on a color you want to add to the mask, then drag to select the range of color. • Subtract color shades: Hold down the Option key, position the eyedropper on a color you want to remove from the mask, then drag to select the range of color. Edit a 3D color mask with the Softness slider 1. In Final Cut Pro, add a 3D color mask to a clip in the timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. Final Cut Pro User Guide 669 4. In the Color Mask section of the inspector, make sure 3D is chosen from the Type pop-up menu. 5. Drag the Softness slider to the right to add surrounding colors to the range included in the mask, or to the left to remove colors. Tip: To view the mask contents while you make your change, press the Command key as you drag the Softness slider. See Ways to view masks. Edit an HSL color mask with hue, saturation, and luma controls 1. In Final Cut Pro, add an HSL color mask to a clip in the timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. 4. In the Color Mask section of the inspector, make sure HSL is chosen from the Type pop-up menu. The Hue, Saturation, and Luma parameter controls appear below the Type pop-up menu. Final Cut Pro User Guide 670 5. Do any of the following: • Adjust the range of a parameter: Drag the top handles of the parameter. Tip: To adjust ranges slowly, press the Option key while dragging a top handle. • Adjust the softness of a parameter’s range: Drag the bottom handles of the parameter. Adjusting the softness adds or subtracts surrounding colors. In the Hue parameter only, adjusting one bottom handle automatically adjusts the other. • Disable a parameter while adjusting the color mask: Deselect the parameter’s checkbox. For example, deselecting the H (Hue) checkbox selects all colors with similar saturation and luma values. Selecting only the L (Luma) checkbox selects all colors with similar luma values. • Adjust both ends of the parameter’s range simultaneously: Drag between the handles on any of the sliders. Tip: To view the mask contents while you make your change, press the Command key as you adjust a control. See Ways to view masks. Ways to view masks in Final Cut Pro You can display the precise area of a mask in the viewer as a black-and-white alpha channel image or as a color image, showing the actual color contents of the mask. Changing the viewing mode helps you see which areas of the image are being affected (by a color correction, for example). 1. Add a clip to your Final Cut Pro project, then select the clip in the timeline. 2. Do one of the following: • Add an effect to the clip, then add a mask to the effect. Note: Effects you can mask in this way include color corrections. • Add a color mask or a shape mask to the clip. 3. Position the playhead in the timeline so that the clip appears in the viewer. 4. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. Final Cut Pro User Guide 671 5. In the inspector, click the View Masks button to show the mask in the viewer. 6. Do one of the following: • View the alpha channel in black and white: Click the View Masks pop-up menu and choose Black and White. The mask’s alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. • View the visible areas of the masked image in color: Click the View Masks pop-up menu and choose Color. The colors inside the mask appear in the viewer. Gray indicates areas outside the mask. To turn the current mask view on or off and switch between displaying the mask and the adjusted image in the viewer, click View Masks. Final Cut Pro User Guide 672 Add a shape mask in Final Cut Pro A shape mask defines an area in the image so that you can apply color corrections either inside or outside that area. For example, you might want to emphasize an object in a shot by darkening the area around the object. You can add multiple shape masks to define multiple areas, and you can also animate the shapes with keyframes so that they follow a moving object, or follow an area while a camera pans. For information about animating shape masks, see Animate an effect shape mask. For information about working with keyframes, see Intro to video keyframing and Add video effect keyframes. 1. Add a color correction to a clip in the Final Cut Pro timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or Press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. 4. Click the pop-up menu at the top of the Color inspector and choose the color correction you want to mask. 5. At the top of the Color inspector, move the pointer over the effect name and click the Apply Effect Masks button . Final Cut Pro User Guide 673 6. Click the pop-up menu that appears and choose Add Shape Mask. The onscreen controls appear in the viewer, superimposed over the video image. By default, the shape mask is set to a partially feathered circle in the center of the frame. The Shape Mask item appears in the masks section at the bottom of the Color inspector. 7. Adjust the onscreen controls to specify which part of the video image is affected by the color correction. • Position the shape: Drag the center. • Adjust the shape’s width or height: Drag any of the four handles at the 90-degree points (top, bottom, left, or right) of the inner circle. You can hold down the Shift key while dragging to force all sides to scale proportionally. • Control the roundness of the shape: Drag the handle to the left of the inner circle’s top handle. • Rotate the shape: Drag the rotation handle (extending from the center). • Control the softness of the shape’s edge: Drag the outer circle. Setting the outer circle close to the inner circle creates a hard edge and an abrupt transition to the corrections you apply, and dragging the outer circle away from the inner circle creates a softer edge and a more gradual transition. To show or hide the mask’s controls, click the Shape Mask Onscreen Controls button to the right of the shape mask name in the mask list. For information about viewing the mask, see Ways to view masks. 8. Do one of the following: • Apply a color correction to the shape area: Click Inside. Final Cut Pro User Guide 674 • Apply a color correction to everything except the shape area: Click Outside. You can make corrections to both the inside and outside areas of the mask—each area effectively has its own complete set of color correction controls. For example, you could click Inside and enhance the shape’s area, and then click Outside to change everything else. As with any other masked clip effect, you can also invert (flop) the masked and unmasked areas of the shape mask. See Invert effect masks. 9. To correct color in the area isolated by the mask, adjust the controls of the color correction effect in the Color inspector. For more information about the manual color correction effects, see Intro to color correction effects. 10. To add additional shape masks to the correction, repeat steps 5 and 6 above. Another default shape appears in the viewer, and the original shape is dimmed. You can select and continue configuring the original shape by clicking its center. For information about how masks can interact, see Combine multiple effect masks. Add shape masks to a color mask in Final Cut Pro Often when you create a color mask, more areas of the video are affected by it than you would like. For example, there might be a gray car on the right side of the screen that you want to color correct, and a gray car on the left that you don’t want to change. In this situation, you can add one or more shape masks to restrict the color mask to the areas defined by the shape masks. You can set masks to interact in different ways using mask blend modes. For example, you can add mask shapes together to create a combined mask, subtract a mask shape from other masks, and intersect masks. For a complete description of ways masks can interact, see Combine multiple effect masks. There are many ways to use multiple masks in a color correction. The example below shows how you might use a shape mask to isolate an area of a color mask: the dark gray body of one car in a line of four cars of similar color. Example: Add shape masks to a color mask in a color correction effect 1. Add a color correction to a clip in the Final Cut Pro timeline, then select the clip. 2. Position the playhead in the timeline so that the clip appears in the viewer. 3. If the Color inspector isn’t already shown, do one of the following: • Choose Window > Go To > Color Inspector (or press Command-6). • Click the Enhancements pop-up menu below the viewer and choose Show Color Inspector. Final Cut Pro User Guide 675 4. Click the pop-up menu at the top of the Color inspector and choose the color correction you want to mask. The color correction effect appears in the Color inspector. 5. Add a color mask to the color correction. 6. To view the mask alpha channel, click the View Masks pop-up menu in the inspector and choose Black and White, then click View Masks. The color mask alpha channel appears in the viewer. White indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas. Note: You can also view the visible areas of the masked image in color. See Ways to view masks. To invert the mask selection, see Invert effect masks. Final Cut Pro User Guide 676 7. Add a shape mask to the same color correction. Both masks appear in a list at the bottom of the Color inspector. By default, the shape mask appears at the top of the list, set to the Add blend mode. The color mask’s blend mode is changed to Intersect. (In Intersect mode, only the area inside the mask shape that overlaps with other mask shapes is affected.) 8. Click the Shape Mask Onscreen Controls button so that the onscreen controls appear in the viewer. 9. Adjust the shape mask onscreen controls to isolate the area you want to correct (in this example, the dark gray tones of the first car). The alpha channel in the viewer shows the isolated area only. 10.Add additional shape masks as needed to further isolate the area. 11. To correct color in the area isolated by the masks, adjust the controls of the color correction effect in the Color inspector. For more information about the manual color correction effects, see Intro to color correction effects. Final Cut Pro User Guide 677 Remove a color or shape mask in Final Cut Pro 1. In the Final Cut Pro timeline, select a clip that has a color mask or shape mask you want to remove. 2. In the Color inspector, click the mask name (so that a yellow box appears around the mask item), then press Delete. Wide color gamut and HDR Intro to wide color gamut and HDR in Final Cut Pro No image device is capable of capturing and displaying the full spectrum of colors visible to the human eye. Consequently, image devices record, edit, display, or output a subset of those colors. This range of reproducible color is known as the device’s color space or color gamut. Because Final Cut Pro projects often involve media captured or created from different sources, and because color gamuts vary from device to device, Final Cut Pro employs a color-management system to reconcile those color differences. This ensures that an image looks the same on any output device, regardless of what color space it’s encoded in or how it was originally created. Standard-gamut versus wide-gamut color Traditional computer displays and HDTVs support a limited color space that’s based on a decades-old industry standard called Rec. 709. Rec. 709 devices (and the video content created for display on them) have standard-gamut color, the constrained color palette you see whenever you view a broadcast HDTV show, DVD, or Blu-ray disc. A more recent generation of displays—including 4K televisions and computer displays, Apple TV 4K, and newer Mac, iOS, and iPadOS devices—can render a much wider palette of colors. These wide-gamut color devices display more vivid and lifelike hues (in addition to all the hues that standard-gamut devices can display). Accordingly, the video industry has adopted a wide-gamut color standard called Rec. 2020. Although most currently available wide-gamut devices support only a subset of the colors contained in the full Rec. 2020 specification, future imaging devices should be able to render more and more of those hues. Final Cut Pro User Guide 678 High dynamic range (HDR) Additionally, some newer imaging devices can display extra levels of brightness in each color component (red, green, and blue) in a way that more closely reproduces how the human eye perceives contrast. These high-dynamic-range (HDR) displays typically process video at 10 bits per color component rather than 8 bits. The additional color data lets HDR displays render more discrete steps from the minimum to maximum brightness value in each color, creating more realistic color transitions and revealing more detail in both shadows and highlights. Working with wide-gamut color and HDR in Final Cut Pro Using profiles, or tags (assigned by the device upon creation) that describe the color space of the media, Final Cut Pro identifies the media’s colors. If the media was not profiled by the device (or was profiled incorrectly), you can manually override the assigned color space in your Final Cut Pro project. The computer display profile then tells Final Cut Pro how to translate the colors to the display’s color space. When you export from Final Cut Pro, the color-matching process algorithmically maps those colors to the output space of the project. You can choose between two library color-processing options in Final Cut Pro: • Standard: Sets the working color space to linear RGB with Rec. 709 color primaries, the color space that previous versions of Final Cut Pro have used. Rec. 709 is the current standard for HDTV projects, including HD cable, Blu-ray discs, and most streaming video today. • Wide Gamut HDR: Sets the working color space to linear RGB with Rec. 2020 color primaries, a color space with a wider range of colors than Rec. 709. Rec. 2020 is useful for 4K and 8K UHDTV and HDR projects. In a Wide Gamut HDR library, the built-in camera LUT settings preserve the full dynamic range of log source media when converting to the working space. Note: To view the wider range of colors in Rec. 2020, it’s recommended that you use a wide-gamut HDR external monitor and video interface. See Play media on an external display. For tips on color correcting wide-gamut HDR projects with Mac displays, see Wide-gamut HDR tips. Final Cut Pro User Guide 679 Nearly all devices and formats support capture in the Rec. 709 color space. Some devices and formats can also capture in the DCI-P3 and Rec. 2020 color spaces, which include a much wider gamut of colors. Generally, your working color space should match your output color space (the color space you’re required to deliver the project in). If you’re exporting to multiple output color spaces, your working color space should match the output color space with the largest gamut. For more information, see HDR and Wide Color Gamut in Final Cut Pro. Use wide-gamut HDR color processing in Final Cut Pro You can choose between two basic color spaces in Final Cut Pro: Standard and Wide Gamut HDR. To work in wide-gamut HDR, you must first configure two settings: • The color-processing setting for an entire library: This global setting changes the way in which effects and log processing work for all projects. Set your library to Wide Gamut HDR if you’re considering exporting a wide-gamut HDR output media file. • The color space setting for a specific project: This setting determines the color space of your render files, the color of images you see on the screen, and the color space of your exported project (the output media file). Set your project to Wide Gamut HDR if you intend to export an HDR movie when you complete the project. (This project setting is available only when the library is set to Wide Gamut HDR.) Set the color processing for a library Because the color-processing setting affects all projects and media in the library, it’s a good idea to create a separate library for each project or deliverable (to prevent accidental color space crossover issues). See Create a new library. Important: The working color space setting may affect video processing and the appearance of your final rendering results. For example, when the library color-processing setting is changed from Standard to Wide Gamut HDR, some filters or compositing effects (blend modes) may change in appearance. 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. To open the Library Properties inspector, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 680 3. Click Modify at the top of the Library Properties inspector. 4. Select one of the following in the window that appears: • Standard: Set the working color space to linear RGB with Rec. 709 color primaries, the color space that previous versions of Final Cut Pro have used. Rec. 709 is the current standard for HDTV projects, including HD cable, Blu-ray discs, and most streaming video today. • Wide Gamut HDR: Set the working color space to linear RGB with Rec. 2020 color primaries, a color space with a wider range of colors than Rec. 709. Rec. 2020 is useful for 4K and 8K UHDTV and HDR projects. In a Wide Gamut HDR library, the built-in camera LUT settings preserve the full dynamic range of log source media when converting to the working space. See Apply LUTs. A third option, Wide Gamut (Deprecated), appears if you selected a wide-gamut library containing log media that was created with Final Cut Pro 10.3. The Wide Gamut (Deprecated) option ensures that wide-gamut projects created with Final Cut Pro 10.3 don’t change in appearance. Important: If you switch from Wide Gamut (Deprecated) to another color-processing setting, you can’t switch back—the Wide Gamut (Deprecated) setting will no longer be available. Set the color space for a project You can choose one of four color space options for your project if the library color processing is set to Wide Gamut HDR and the project video format is set to HD or larger. When you set the project color space, the project’s render files are generated in that color space, and your project is exported in that color space if the destination codec supports it. During playback, output images are converted to the project color space and then displayed onscreen according to the display device’s color profile. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the project you want to modify, then select the project (or double-click it to open it in the timeline). 2. Do one of the following: • Choose Window > Project Properties (or press Command-J). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 681 3. In the Project Properties inspector, click the Modify button in the top-right corner. 4. In the window that appears, click the Color Space pop-up menu and choose one of the following: • Standard - Rec. 709: Choose this option to set your project to use the Rec. 709 color space, the current standard for HDTV projects, including HD cable, Blu-ray discs, and most streaming video today. You can also create a project that uses the standard color space within a wide-gamut library—for example, if you have widegamut media but need to deliver a standard project, or if you need to deliver both standard and wide-gamut versions of a project. • Wide Gamut - Rec. 2020: Choose this legacy setting for projects created previously using the Wide Gamut - Rec. 2020 color space. If you intend to export an HDR movie, choose one of the following Wide Gamut HDR options. • Wide Gamut HDR - Rec. 2020 PQ: Choose this option if you intend to create an HDR movie with the Rec. 2020 color space and PQ transfer function (Rec. 2100 standard), using formats such as HDR10, HDR10+, Dolby Vision, or Advanced HDR. You can create an HDR10-compatible movie entirely within Final Cut Pro. See Export an HDR10 file. For other HDR formats, some additional steps are required after you export the movie file from Final Cut Pro. • Wide Gamut HDR - Rec. 2020 HLG: Choose this option if you intend to create an HDR movie with the Rec. 2020 color space and HLG transfer function (Rec. 2100 standard), using formats such as HLG or Advanced HDR. HLG, or Hybrid Log-Gamma, was developed by the BBC and NHK broadcasting networks and is compatible with older standard dynamic range (SDR) televisions and monitors. Movies created with this color space option in Final Cut Pro are compatible with HLG HDR televisions and displays. Note: If you want to set the project to a wide-gamut color space, but the menu is set to something else and dimmed, you must first set the color processing for the library. 5. Click OK. For a detailed list of all project settings, see Final Cut Pro project settings. For information about displaying the image details of HDR clips or projects in the viewer, see Playback preferences. Note: You can use the video scopes and the range check overlay in Final Cut Pro to measure video levels and detect out-of-gamut colors. See Intro to measuring video and Detect out-of-gamut colors. You can also use the Broadcast Safe filter as a quick way to reduce luma and chroma levels that exceed the specification limits for either standard or wide-gamut color spaces in standard-dynamic-range (SDR) video media. To apply the Broadcast Safe filter to a clip in your project, see Add video effects. Final Cut Pro User Guide 682 Color correct HDR video with Pro Display XDR and Final Cut Pro On a system with a Pro Display XDR, Final Cut Pro provides the maximum color and brightness accuracy in HDR video playback. This makes the Pro Display XDR the ideal professional reference monitor for critical work such as HDR color correction. The A/V Output feature allows you to send video and audio from your Mac to an external video monitor. Follow the instructions below to set up a color correction system with at least two displays: the Pro Display XDR as the external HDR reference monitor and a display for working with the Final Cut Pro interface. To color correct HDR video with the Pro Display XDR, you must be using Final Cut Pro 10.4.7 or later and macOS Catalina 10.15 or later. 1. In Final Cut Pro, position the playhead on an HDR clip in the timeline or browser, so that the clip appears in the viewer. 2. Connect the Pro Display XDR to the Thunderbolt port on your Mac using a Thunderbolt cable, and make sure the display is connected to power and turned on. 3. To configure the Pro Display XDR, choose Apple menu > System Preferences, then click Displays. 4. In the Displays pane on the Pro Display XDR, click the Presets pop-up menu and choose HDR Video. When you choose this preset, Final Cut Pro turns off tone mapping to provide the maximum color and brightness accuracy for HDR video playback on the Pro Display XDR. The color and brightness is accurate for video content measuring up to 1000 nits. For more information about tone mapping, see View HDR video. Note: The HDR Video preset is intended for use in a dimmed viewing environment. 5. In Displays preferences, set the Pro Display XDR to be a secondary display. 6. To set the Pro Display XDR as the A/V output device, choose Final Cut Pro > Preferences (or press Command-Comma), click Playback, then click the A/V Output pop-up menu and choose Pro Display XDR. 7. In Final Cut Pro, choose Window > A/V Output. The viewer contents appear on the Pro Display XDR. Viewer features (such as onscreen controls and the title-safe and action-safe overlays) appear only in Final Cut Pro. Note: Video and audio are synced at the video frame (not audio sample) level. To turn off A/V Output, choose Window > A/V Output. Final Cut Pro User Guide 683 View HDR video in the Final Cut Pro viewer In Final Cut Pro 10.4.7 or later, you can choose how to view HDR video in the viewer. The available options depend on the capabilities of your display and which version of macOS you’re using. On systems with macOS Catalina 10.15 or later, you can view HDR video in the viewer with tone mapping applied, which compresses bright image content and reduces the apparent dynamic range of the video to fit the viewable range of your display. On systems with macOS Mojave 10.14, you have the option to show details in HDR video. This “flat” view is helpful when you need to see pixel details (for example, to select an area with an eyedropper or add a Draw Mask effect). Important: To play back the wider range of colors in an HDR project with maximum accuracy, you can use the A/V Output feature with an external reference HDR video monitor. See Play media on an external display. View HDR video on macOS Catalina 10.15 or later When you view HDR video on macOS Catalina 10.15 or later, the Show HDR as Tone Mapped setting is turned on by default in most cases, applying tone mapping to the HDR image in the viewer. This setting does not affect how HDR content is displayed on an external monitor using A/V Output. Important: If the Pro Display XDR is set to HDR Video or another reference mode preset in the Displays pane of System preferences, tone mapping is disabled. 1. In Final Cut Pro, position the playhead on an HDR clip in the timeline or browser, so that the clip appears in the viewer. 2. Click the View pop-up menu in the upper-right corner of the viewer, then, in the Display section, make sure that Show HDR as Tone Mapped is turned on (a checkmark appears next to it). If you’re using a system with a Pro Display XDR, this setting is appropriate for day-to-day playback and editing with the default preset (“Apple Display P3-1600 nits”) in Displays preferences. To use the Pro Display XDR for critical tasks such as color correction, see Color correct HDR video with Pro Display XDR. View HDR video on macOS Mojave 10.14 When you view HDR video on macOS Mojave 10.14, highlights above the reference white level, typically 100 nits, appear clipped in the viewer on a Mac display. To see the image details of HDR clips or projects, use the Show HDR as Raw Values setting. 1. In Final Cut Pro, position the playhead on an HDR clip in the timeline or browser, so that the clip appears in the viewer. 2. Click the View pop-up menu in the upper-right corner of the viewer, then, in the Display section, make sure that Show HDR as Raw Values is turned on (a checkmark appears next to it). Final Cut Pro User Guide 684 Convert or adjust HDR clips in Final Cut Pro You can use the HDR Tools effect to convert wide-gamut HDR video clips from one color space to another or to set the maximum brightness of a clip. For example, you might use the HDR Tools effect on any of the following kinds of wide-gamut HDR source clips: • MOV or MXF files that were encoded directly using the HLG (Hybrid Log-Gamma) or PQ (Perceptual Quantizer) standard. This could be media originating from a camera or media exported from Final Cut Pro, Motion, Compressor, or another app. • A source file that is not HLG or PQ (it could be log or RAW, for example) but has a LUT applied (either a camera LUT or a custom LUT effect), where the LUT is designed to output HLG or PQ video. See Apply LUTs. • A compound clip that has been set to either PQ or HLG. For example, you might color correct a PQ project (a project configured for Rec. 2020 PQ), and then create a compound clip of the entire timeline and place it in an HLG project. For information about compound clips, see Intro to compound clips. For information about wide-gamut HDR project settings, see Use wide-gamut HDR color processing. If, instead, you want to fix incorrect or missing metadata, see Change a clip’s color space metadata. 1. In the Final Cut Pro timeline, select a wide-gamut HDR clip. 2. Open the Effects browser, select the Color category on the left, then double-click HDR Tools to add the effect to the clip selected in the timeline. 3. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. Click the Mode pop-up menu in the HDR Tools section of the inspector, then choose one of the following settings. Note: The first three settings in the menu may require further adjustments to the image to fine-tune the look. For best results, arrange the order of the effects so that the HDR Tools effect is applied after your color correction effects. See Change clip effect order. • HDR to Rec. 709 SDR: Apply this generic conversion setting to any HDR clips in Rec. 709 projects to convert the clips to Rec. 709 standard-dynamic-range (SDR) luminance levels. For the best results, determine whether the clips are HLG or PQ variants of HDR, then use one of the more specific conversion options below. Final Cut Pro User Guide 685 • HLG to Rec. 709 SDR: Apply this setting to HLG HDR clips in Rec. 709 projects to convert the clips to Rec. 709 SDR luminance levels. • PQ to Rec. 709 SDR: Apply this setting to PQ HDR clips in Rec. 709 projects to convert the clips to Rec. 709 SDR luminance levels. • PQ Output Tone Map: Apply this setting to reduce the brightness of PQ clips down to the level you set in the “Peak Brightness (nits)” slider, and to apply a soft rolloff to the highlights so that they don’t clip abruptly. Use this setting in PQ projects only, and apply it as the last effect. • HLG to PQ (Rec. 2100): Apply this setting to HLG clips in PQ projects to convert the clips from HLG to PQ. This setting results in PQ clips that appear on PQ displays identically to how the HLG clips would appear on an HLG display. The conversion uses the HLG reference OOTF in accordance with Rec. ITU-R BT.2100-1, with peak luminance corresponding to the level you set in the “Peak Brightness (nits)” slider. • PQ to HLG (Rec. 2100): Apply this setting to PQ clips in HLG projects to convert the clips from PQ to HLG. This setting results in HLG clips that appear on HLG displays identically to how the PQ clips would appear on a PQ display. This conversion uses the HLG inverse OOTF in accordance with Rec. ITU-R BT.2100-1, with peak luminance corresponding to the level you set in the “Peak Brightness (nits)” slider. 6. To set a clip’s maximum luminance on a display to a specific level, drag the “Peak Brightness (nits)” slider, for example, to 1000 nits. 7. To optionally set the amount of the original image to be blended with the adjusted image, drag the Mix slider. Export HDR files with Final Cut Pro Directly within Final Cut Pro, you can create high-dynamic-range (HDR) files suitable for certain HDR televisions and displays. Specifically, you can use Final Cut Pro to create HDR10 and HLG movie files. • HDR10 is most commonly used for streaming and for output on Blu-ray discs. • HLG is useful for broadcast and live TV. An advantage of HLG is that you don’t need an HDR TV to view the content. You can view it on a legacy standard-dynamic-range (SDR) TV that isn’t designed to work with HLG or HDR, and the image will have acceptable quality. However, if an HDR-capable TV detects the relevant metadata in the HLG file, it will play back the file in HDR. Export an HDR10 file 1. In the Final Cut Pro browser, select the project you want to export. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Set the color processing for the library to Wide Gamut HDR. Final Cut Pro User Guide 686 4. Set the project color space to Wide Gamut HDR - Rec. 2020 PQ. 5. With the project still selected in the browser, click the Share button at the top of the inspector. The Share inspector appears. 6. In the HDR Content Light Level Metadata section of the inspector, enter values based on the content of your program and the specifications of the target device. If you’re not sure of the proper values to enter, leave the fields empty. • MaxCLL (Maximum Content Light Level): Enter the level, in nits, of the brightest pixel component in the program. For example, if the peak brightness (maximum luminance) of the target television or display is 1000 nits, you can apply the HDR Tools effect to the entire project, with the effect configured to convert to a maximum Rec. 2020 PQ output level of 1000 nits. In this case, you would enter 1000 for MaxCLL. For more information about the HDR Tools effect, see Convert or adjust HDR clips. • MaxFALL (Maximum Frame Average Light Level): Enter the value, in nits, for the frame in your program with the highest average brightness level. 7. If you know the characteristics of your mastering display (the reference monitor you use tasks such as color correction that require maximum color and brightness accuracy), enter the values in the HDR Mastering Display Metadata section. For example, if you’re mastering with a Sony BVM-X300 monitor, you would enter the following: • Display Primaries: Rec. 2020 • Display White Point: D65 • Maximum Display Luminance: 1000 • Minimum Display Luminance: 0 or 0.0001 Final Cut Pro User Guide 687 If you’re not sure of the proper values to enter, leave the fields empty. 8. Export the file. HDR files require a 10-bit or higher codec, such as Apple ProRes. Note: Check the “Color space” field in the Settings pane of the Share window before you export to ensure that the project color space is set to Wide Gamut HDR - Rec. 2020 PQ. Export an HLG file 1. In the Final Cut Pro browser, select the project you want to export. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Set the color processing for the library to Wide Gamut HDR. 4. Set the project color space to Wide Gamut HDR - Rec. 2020 HLG. 5. Export the file. HDR files require a 10-bit or higher codec, such as Apple ProRes. Note: Check the “Color space” field in the Settings pane of the Share window before you export to ensure that the project color space is set to Wide Gamut HDR - Rec. 2020 HLG. Final Cut Pro does not support the creation of other HDR formats, such as HDR10+, Dolby Vision, and Advanced HDR, but you can use Final Cut Pro to export an HDR movie with the Rec. 2020 PQ standard and then use other color grading software to generate the necessary metadata for these formats. You can, however, share your project in Dolby Vision 8.4, a format designed to optimize HDR content for Apple devices. See Share to Apple devices and this Apple Support article. For more detailed information about color spaces and wide-gamut HDR, see HDR and Wide Color Gamut in Final Cut Pro. Wide-gamut HDR tips in Final Cut Pro The following tips can help you streamline your wide-gamut HDR workflow: • On a system with a Pro Display XDR, Final Cut Pro provides the maximum color and brightness accuracy in HDR video playback. This makes the Pro Display XDR the ideal professional reference monitor for critical work such as color correction. See Color correct HDR video with Pro Display XDR. On a system with macOS Catalina 10.15 or later, an SDR display, and Final Cut Pro 10.4.7 or later, the HDR image in the Final Cut Pro viewer is tone mapped to fit the properties of the SDR display. See View HDR video. Final Cut Pro User Guide 688 Important: When using Final Cut Pro on a system with an SDR display, you can use the A/V Output feature with an external reference HDR video monitor to accurately play back the wider range of colors in an HDR project. See Play media on an external display. • You can use the HDR Tools effect to convert between color spaces and HDR standards, or to limit the brightness of a clip to a specific level. See Convert or adjust HDR clips. • You can fix missing or incorrect color space metadata using the Color Space Override pop-up menu in the Info inspector. See Change a clip’s color space metadata. • You can use guides in the waveform monitor to precisely measure and set video levels. Guides are useful as a quick annotation or reference point. To add a horizontal guide, click once anywhere in the waveform monitor. To remove the guide, drag it off the top or bottom of the waveform monitor. • Because the library color-processing setting affects all projects and media in the library, it’s a good idea to create a separate library for each project or deliverable. This prevents accidental color space crossover issues. See Create a new library. • Dolby Vision 8.4 is a format designed to optimize HDR content for Apple devices. See Share to Apple devices and this Apple Support article. Color correct ProRes RAW in Final Cut Pro Apple ProRes RAW lets you work with the camera sensor’s raw data in Final Cut Pro. Because ProRes RAW preserves the full dynamic range and color gamut captured by the camera, it’s an ideal format for creating and color correcting wide-gamut, high-dynamicrange (HDR) content. If you want to create standard-dynamic-range (SDR) content, such as high-definition broadcast (Rec. 709) video, the high dynamic range of a ProRes RAW source file must be restricted to a dynamic range suitable for viewing on an SDR display. This process is called tone mapping. Most professional cameras today support recording in a log format. Using log enables a higher dynamic range of light levels to be represented. Because many color correction workflows are based on working with log video, Final Cut Pro can automatically apply a log conversion setting to ProRes RAW media files during import. You can also apply a custom log conversion setting using a lookup table (LUT) effect. For more information about LUTs and log conversion, see Apply LUTs. Final Cut Pro User Guide 689 There are three primary ways to color correct ProRes RAW video in Final Cut Pro: • Use log conversion with built-in camera LUTs: Use the automatic log conversion applied by Final Cut Pro to color correct ProRes RAW video as if it were SDR video. Setting library color processing to Wide Gamut HDR lets you work with ProRes RAW video as if it were HDR video. • Use log conversion with custom LUT effects: Use a custom LUT effect (instead of a built-in camera LUT) to apply log conversion to ProRes RAW video, so you can color correct it as if it were log video. • Color correct directly without LUTs: Turn off automatic log conversion, which lets you color correct ProRes RAW video as HDR video, whether library color processing is set to Standard or Wide Gamut HDR. For more information, see Apple ProRes RAW. Use log conversion with built-in camera LUTs With the RAW to Log Conversion setting applied, ProRes RAW files behave just like conventional log video and can be edited the same way. Because ProRes RAW files contain metadata that identifies the camera manufacturer, Final Cut Pro can apply the correct log function (such as Canon Log 2, Panasonic V-Log, or Sony S-Log3) during import. You can also manually adjust the RAW to Log Conversion setting in the General, Extended, or Settings view of the Info inspector. 1. In Final Cut Pro, select one or more video clips recorded with ProRes RAW. 2. If the Info inspector isn’t already shown, choose Window > Show in Workspace > Inspector, then click the Info button at the top. 3. Click the Metadata View pop-up menu in the bottom-left corner, then choose either General, Extended, or Settings. Final Cut Pro User Guide 690 4. Click the RAW to Log Conversion pop-up menu and choose an option. As with all video shot with log encoding, Final Cut Pro automatically applies the Camera LUT setting based on metadata in the file that identifies the camera manufacturer. You can view the Camera LUT setting in the Info inspector. 5. To change the library color processing setting so that the full dynamic range of the original video is available in the working color space, select the library in the Libraries sidebar, choose File > Library Properties, then click the Modify button at the top of the inspector. 6. Select Wide Gamut HDR. When color processing is set to Wide Gamut HDR, the built-in camera LUT does not apply tone mapping and preserves the full dynamic range for color correction and effects. Use log conversion with custom LUT effects You can use a custom LUT effect (instead of a built-in camera LUT) to color correct ProRes RAW video as though it were log video. The LUT effect provides the conversion from log to the output color space. You can purchase and download LUT effects from a variety of sources, or you can create one yourself using inexpensive color correction software or plug-ins. You import and apply LUT effects using the Custom LUT effect in the Final Cut Pro Effects browser. 1. In Final Cut Pro, select one or more video clips recorded with ProRes RAW. Final Cut Pro User Guide 691 2. If the Info inspector isn’t already shown, choose Window > Show in Workspace > Inspector, then click the Info button at the top. 3. Click the Metadata View pop-up menu in the bottom-left corner, then choose either General, Extended, or Settings. 4. Click the Camera LUT pop-up menu and choose None. When Camera LUT is set to None, the color correction tools (such as color wheels and color curves) and other effects operate on the log-encoded values. No tone mapping is applied to the source, and no dynamic range is lost. 5. Apply color correction and any other video effects. 6. To open the Effects browser, choose Window > Show in Workspace > Effects. 7. Select the Color category on the left, then double-click Custom LUT to apply the effect to the selected clip. 8. If the Video inspector isn’t already shown, choose Window > Show in Workspace > Inspector, then click the Video button at the top. 9. In the Custom LUT section of the Video inspector, click the LUT pop-up menu and choose “Choose Custom LUT.” Note: If you previously imported a LUT effect, you can choose Recent and then choose from a list of recently used LUT effects. 10. In the window that appears, navigate to the LUT file you want to import, and select it. Final Cut Pro User Guide 692 11. Click Open. The LUT effect you imported appears as the selected LUT at the top of the Custom LUT section. 12. Click the Input pop-up menu and choose the color space the LUT effect converts from. 13. Click the Output pop-up menu and choose the color space the LUT effect converts to. Note: Make sure the Custom LUT effect is the last effect in the effects list. If it isn’t, you can simply drag it to the bottom of the list. Color correct directly without LUTs You can color correct ProRes RAW video as HDR video, regardless of the library colorprocessing setting. To do this, you change the RAW to Log Conversion and Camera LUT settings to None. 1. In Final Cut Pro, select one or more video clips recorded with ProRes RAW. 2. If the Info inspector isn’t already shown, choose Window > Show in Workspace > Inspector, then click the Info button at the top. Final Cut Pro User Guide 693 3. Click the Metadata View pop-up menu in the bottom-left corner, then choose either General, Extended, or Settings. 4. Click the RAW to Log Conversion pop-up menu and choose None, then click the Camera LUT pop-up menu and choose None. No tone mapping is applied to the source, and the full dynamic range is available in the working space, even in libraries set to Standard color processing. Although highlights may initially appear blown out, you can correct this using color correction tools, such as color wheels and color curves. Apply LUTs in Final Cut Pro A lookup table (LUT) is a set of data that enables a numeric transformation of pixel values to change the way an image looks. A common use of LUTs in video post-production is log conversion. Many modern cameras have a log or wide-dynamic-range recording option that provides more f-stops of exposure latitude in the image. Video footage recorded with this option initially looks “flat.” You can apply LUTs to change the appearance of log footage to a standard broadcast specification, such as Rec. 709. Another common use of LUTs is to stylize video clips with a particular “look.” Beyond just matching some objective model of exposure, you can subtly mix color to enhance the story you’re telling with your project. Color adjustments can alter the audience’s perception of the scene being played, changing a program’s mood. Final Cut Pro supports two categories of LUTs: • Camera LUTs (also known as camera log conversion LUTs) provide log processing for media from modern video cameras that have a log recording option. When applied to log media from a supported camera, camera LUTs built into Final Cut Pro convert the media to the working space of the current library. If the library is set to Wide Gamut HDR, camera LUTs preserve the full dynamic range of the log media. Depending on the source camera, these built-in camera LUTs also take into account metadata such as camera exposure index, ISO setting, and white balance. When you import media, Final Cut Pro detects metadata in the media identifying the log format and automatically applies the appropriate built-in camera LUT. Camera LUTs are applied at the media level (across the library) and are applied before any clip effects. In contrast, Custom LUT effects (described below) are clip effects that can be applied at any position in the effect order. You can also import additional camera LUTs (known as custom camera LUTs). Custom camera LUTs can be provided by camera manufacturers or can be created by your director of photography, digital imaging technician (DIT), or colorist using a third-party color grading app. You can use custom camera LUTs to correct color in your program or to apply stylized looks. See Example: Use custom camera LUTs in your workflow. • Custom LUT effects allow you to easily create, import, or share custom looks for video clips and projects according to your creative needs. Custom LUT effects are clip effects that you apply to timeline clips from the Effects browser. You can also use Custom LUT effects to apply tone mapping, allowing for a custom conversion to the project’s output color space. Final Cut Pro User Guide 694 Apply a camera LUT Some cameras embed metadata in the media file, enabling Final Cut Pro to turn on the appropriate log processing setting automatically. Many cameras do not embed this metadata, and sometimes the metadata may simply be lost if the material is transcoded. You can apply a camera LUT to one or more video clips, or switch to a different camera LUT, using the Info inspector. Note: Final Cut Pro preserves the full dynamic range of the log media as long as color processing for the library is set to Wide Gamut HDR. If the library is set to either Standard or Wide Gamut (Deprecated) when you apply a camera LUT, the media is tone mapped (downgraded) to the narrower standard dynamic range (SDR). See Intro to wide color gamut and HDR. 1. In Final Cut Pro, select one or more video clips recorded with the log option. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. 4. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose General, Extended, or Settings. 5. Click the Camera LUT pop-up menu and choose an option for converting the appearance of your footage: • None: Turns off log processing. • ARRI Log C: Applies ARRI Log C linearization with a default tone mapping. • ARRI Log C (3D LUT): Uses the 3D LUTs embedded in the media to apply a custom look. • Blackmagic Design Film: Applies the appropriate linearization and a tone mapping for the Blackmagic Cinema Camera and the Blackmagic Pocket Cinema Camera. • Blackmagic Design Film 4K: Applies the appropriate linearization and a tone mapping for the Blackmagic Production Camera 4K. • Canon Log: Applies the appropriate linearization for Canon Log. Final Cut Pro User Guide 695 • Canon Log2/Cinema Gamut: Uses Canon’s EOS C300 Mark II 3D LUTs that convert Canon Log 2 with Cinema Gamut to Wide DR gamma. • Canon Log3/Cinema Gamut: Uses Canon’s EOS C300 Mark II 3D LUTs that convert Canon Log 3 with Cinema Gamut to Wide DR gamma. • Panasonic V-Log: Uses Panasonic’s Varicam 35 3D LUTs that convert V-Log to V-709/V-2020. • Sony S-Log2/S-Gamut: Applies the appropriate linearization and 709(800%) MLUT tone mapping for footage shot with the S-Log2/S-Gamut setting on Sony cameras such as the F5 and F55. • Sony S-Log3/S-Gamut3: Applies the appropriate linearization and 709(800%) MLUT tone mapping for footage shot with the S-Log3/S-Gamut3 setting on Sony cameras such as the F5 and F55. • Sony S-Log3/S-Gamut3.Cine: Applies the appropriate linearization and 709(800%) MLUT tone mapping for footage shot with the S-Log3/S-Gamut3.Cine setting on Sony cameras such as the F5 and F55. If you’ve imported custom camera LUTs, you can choose one from the Custom Camera section of the pop-up menu. Final Cut Pro applies the camera LUT you chose, and alters the look of the video clip accordingly. The change is applied to all instances of the clip, in all projects and events in the current library. Note: Final Cut Pro properly displays Apple ProRes media captured with the ARRI ALEXA camera Log C recording option and imported with Final Cut Pro 10.0.8 or later. If Log C media was imported into an earlier version of Final Cut Pro, Log C processing is disabled by default for that media. Import a custom camera LUT 1. Select a video clip in the Final Cut Pro browser or timeline. 2. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner and choose General, Extended, or Settings. 3. Click the Camera LUT pop-up menu and choose Add Custom Camera LUT. 4. In the window that appears, navigate to the LUT file you want to import, and select it. You can import 3D LUT files with the filename extensions .cube and .mga. You can select single files, multiple files, or a folder of files. 5. Click the Output Color Space pop-up menu and choose the target color space that the custom camera LUT converts to. The target color space is usually indicated in the custom camera LUT name. Final Cut Pro User Guide 696 6. Click Open. The custom camera LUT you imported appears in the Custom Camera section of the Camera LUT pop-up menu. If you imported a folder of LUT files, it appears as a submenu in that section of the pop-up menu. To remove imported custom camera LUTs from the Camera LUT pop-up menu, choose Reveal in Finder to open the Camera LUTs folder, drag the LUT files to the Trash, and reopen Final Cut Pro. Note: If you imported a custom camera LUT and applied it to a clip, but the LUT file is missing from the Camera LUTs folder, a yellow warning button appears next to the Camera LUT pop-up menu. Click the warning button to reimport the custom camera LUT or to replace it with a different one. Share a custom camera LUT You can easily copy imported custom camera LUTs to another computer or share them with friends and colleagues. 1. Select a video clip in the Final Cut Pro browser or timeline. 2. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner and choose General, Extended, or Settings. 3. To open the Camera LUTs folder in the Finder, click the Camera LUT pop-up menu and choose Reveal in Finder. The Camera LUTs folder is in the following location: /Users/username/Library/Application Support/ProApps/Camera LUTs/ 4. In the Finder, select the LUT files you want to share, then choose File > Compress. Compressing the files prevents any change to custom layouts during transit. 5. Transfer the resulting ZIP file (with the filename extension .zip) to your friend or colleague using email or another convenient method. Final Cut Pro User Guide 697 6. On the receiving Mac, double-click the ZIP file to decompress it. 7. To import the LUT file, see Import a custom camera LUT. Note: If you copy a library that uses an imported custom camera LUT, you must copy the custom camera LUT as a separate file. If the LUT file is missing from the Camera LUTs folder, a yellow warning button appears next to the Camera LUT pop-up menu. Click the warning button to reimport the custom camera LUT. Example: Use custom camera LUTs in your workflow If implemented correctly, custom camera LUTs offer multiple benefits to productions shooting log footage. In Final Cut Pro, you can: • Access the full dynamic range of log media. • Stylize footage with custom looks to suit your filmmaking needs. • Play back without rendering. This is essential for directors and DPs to review takes immediately, on the set. • Apply custom camera LUTs directly in the browser. This makes viewing dailies quick and easy. (In contrast, Custom LUT effects must be applied to clips in the timeline.) Below is an outline of how you might use LUTs in your production and post-production workflows. 1. Before shooting begins, the director of photography (DP) creates a custom camera LUT on the set of a production that is using cameras with a log recording option. 2. The digital imaging technician (DIT) imports the DP’s custom camera LUT. 3. As the footage is downloaded from the camera, the DIT selects the relevant shots in the browser and applies the DP’s custom camera LUT. 4. The director and DP conduct the on-set review with the custom camera LUT applied. Clips are played back directly from the browser. The organizational capabilities of Final Cut Pro (such as Keyword Collections) make it easy to quickly find the best parts of each “circle take” (a take the director considers noteworthy). Because camera LUTs are applied nondestructively, the DP can replace the custom camera LUT with an adjusted one at any time. 5. The DIT sends out dailies (generating them directly from the browser) with the custom camera LUT applied. See Batch sharing. 6. During the editing and finishing phases, editors and colorists may replace the DP’s custom camera LUT—for example, they might augment the LUT by adding one or more color correction effects. See Intro to color correction effects and Manual color correction workflow. If a more stylized look is required (such as Summer, Old Timey, Sci-Fi, and so on), editors or colorists can add Custom LUT effects to the same footage. See Import and apply a Custom LUT effect. Stylized Custom LUT effects are available from a variety of third-party sources. Final Cut Pro User Guide 698 Import and apply a Custom LUT effect In contrast to camera LUTs, Custom LUT effects are applied by adding a clip effect to timeline clips. 1. Select a clip in the Final Cut Pro timeline. 2. Open the Effects browser, select the Color category on the left, then double-click Custom LUT to apply the effect to the selected clip. See Add video effects. 3. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Video button at the top of the inspector. 5. In the Custom LUT section of the Video inspector, click the LUT pop-up menu and choose “Choose Custom LUT.” Note: If you previously imported a custom LUT, you can choose Recent and then choose from a list of recently used Custom LUT effects. 6. In the window that appears, navigate to the LUT file you want to import, and select it. You can import 3D LUT files with the filename extensions .cube and .mga. You can select single files, multiple files, or a folder of files. 7. Click Open. The LUT you imported appears as the selected LUT at the top of the Custom LUT section. If you imported a folder of LUT files, it appears as a submenu in the LUT pop-up menu. (In this case, choose a LUT from the submenu so that it appears as the selected LUT at the top of the Custom LUT section.) Final Cut Pro User Guide 699 8. Click the Input pop-up menu and choose the color space the LUT converts from. This color space was determined when the custom LUT was created. Note: Camera LUTs and custom LUTs typically include the names of the input (source) color space and intended output (target) color space in the LUT filename. If you’re not sure which color space to choose, see the LUT creator for more information. 9. Click the Output pop-up menu and choose the color space the LUT converts to. This color space was determined when the custom LUT was created. 10. To optionally set the amount of the original image to be blended with the adjusted image, drag the Mix slider. Final Cut Pro applies the custom LUT and the settings you chose, and alters the look of the video clip accordingly. Share a Custom LUT effect You can share custom LUTs by copying the LUT files to another Mac. 1. In the Final Cut Pro timeline, select a clip that has the Custom LUT effect applied. To apply the Custom LUT effect, see Import and apply a Custom LUT effect. 2. If the Video inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Video button at the top of the inspector. 4. To open the Custom LUTs folder in the Finder, click the LUT pop-up menu in the Custom LUT section of the inspector and choose Reveal in Finder. The Custom LUTs folder is in the following location: /Users/username/Library/Application Support/ProApps/Custom LUTs/ 5. In the Finder, select the LUT files you want to share, then choose File > Compress. Compressing the files prevents any change to custom layouts during transit. 6. Transfer the resulting ZIP file (with the filename extension .zip) to your friend or colleague using email or another convenient method. 7. On the receiving Mac, double-click the ZIP file to decompress it. 8. To import the Custom LUT effect, see Import and apply a Custom LUT effect. Final Cut Pro User Guide 700 To remove imported custom LUTs from the LUT pop-up menu, follow the steps above to open the Custom LUTs folder, drag the LUT files to the Trash, then reopen Final Cut Pro. Note: If you copy a library that uses a Custom LUT effect, you must copy the LUT as a separate file. If the LUT file is missing from the Custom LUTs folder, a yellow warning button appears next to the LUT pop-up menu. Click the warning button to reimport the LUT or replace it with a different LUT. Color correction tools and techniques Keyframe color corrections in Final Cut Pro In Final Cut Pro, you can create changes to color correction settings over time. For example, you can animate brightness, hue, or saturation adjustments to correct issues caused by a lighting change or a camera movement. Or you can track moving objects with shape masks built into every color correction effect. You place keyframes at specific points in a clip to change parameter values at those points. You can set keyframes in color correction effects in the timeline or in the Color inspector. To see keyframes in the timeline, you need to display the Video Animation editor for the clip. For more information about using keyframes, see Intro to video keyframing. 1. Add a color correction effect to a clip in the Final Cut Pro timeline. 2. Do one of the following: • Select the clip in the timeline, then choose Clip > Show Video Animation (or press Control-V). • Control-click a clip in the timeline and choose Show Video Animation. Each effect in the Video Animation editor has a separate area for adding keyframes. The color correction effect you added appears in the list of effects. Final Cut Pro User Guide 701 3. In either the Video Animation editor or the Color inspector, select the color correction effect for which you want to add keyframes. Note: For some effects, you can display and keyframe individual parameters in the Video Animation editor. See Add keyframes. 4. Do one of the following: • In the Video Animation editor: Option-click (or press Option-K) at a point on the horizontal effect control where you want to add the keyframe. Keyframes for individual parameters appear as white diamonds. Keyframes for multiple parameters appear as double diamonds. Because color correction keyframes control all parameters in a given color correction effect, they always appear as double diamonds. • In the Color inspector: Position the playhead in the timeline at the point where you want to add a keyframe, then click the Keyframe button at the top of the Color inspector (or press Option-K). After you add a keyframe, the Keyframe button becomes solid yellow, indicating that the playhead is currently on this keyframe. Final Cut Pro User Guide 702 When you move the playhead in the timeline, arrows appear next to the Keyframe button in the Color inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow. To go to the next keyframe, click the right arrow. 5. Add keyframes as needed. Tip: After you’ve added one keyframe, you can add another automatically by moving the playhead in the timeline and then adjusting the color correction effect in the Color inspector. Add transitions between color corrections in Final Cut Pro The most powerful and accurate way to change a color correction over time is to use keyframes to animate the changes. However, there may be times when you want to use a transition instead. For example, if you want a scene to gradually highlight the face of an actor, you could use a transition to dissolve between the original clip and a second instance of the clip that has a shape mask around the face and a color correction that darkens the image outside of the mask. 1. In Final Cut Pro, temporarily switch to the Blade tool by holding down the B key. 2. In the timeline, click a video clip at the point where you want to change between color corrections. The clip splits into two clips. 3. Apply a different color correction to each clip. You can also leave one clip uncorrected and apply a color correction to the other. The color correction could be an exaggerated tint, an exposure change, or any other noticeable adjustment. 4. Select the edit point between the two clips, then press Command-T to insert a cross dissolve. When you play the clip, one color correction dissolves into the other as the edit point is passed. Save color correction presets in Final Cut Pro You can save a clip’s color correction settings as a preset, making it easy to apply those settings to other clips in the same project or a different project. Save a color correction preset 1. In the Final Cut Pro timeline, select a clip that has the color correction look you want to save, then open the color correction in the Color inspector. 2. Click the Save Effects Preset button in the lower-right corner of the Color inspector. Final Cut Pro User Guide 703 3. In the window that appears, adjust the settings for the preset: • Name: Type a name for the preset. • Category: Choose the Effects browser category your preset will appear in. • Attributes: Make sure the checkboxes for the attributes you want to include in the preset are selected. • Keyframe Timing: If your color correction preset includes keyframes, select one of the following: • Maintain: Leaves the duration between keyframes unchanged. • Stretch to Fit: Adjusts the keyframes in time to match the duration of the destination clip. 4. Click Save. Apply a color correction preset You apply a color correction preset as you would apply any other clip effect from the Effects browser. 1. Select a clip in the Final Cut Pro timeline, then click the Effects button in the top-right corner of the timeline (or press Command-5). 2. In the Effects browser, select the color correction preset that you saved previously. 3. Do one of the following: • Drag the preset to the timeline clip you want to apply it to. • Double-click the preset thumbnail to apply the preset to the selected clip. The preset’s adjustments are applied to the selection. After the preset has been applied, you can modify its settings using the Color inspector. For more information about adding clip effects, see Add video effects. Compare color corrections in Final Cut Pro You can show the comparison viewer next to the viewer to compare the color in any two frames of video side by side. You can also save up to 30 video frames for future comparisons. See Compare two video frames. Final Cut Pro User Guide 704 Measure video levels Intro to measuring video in Final Cut Pro Broadcast facilities have limits on the maximum values of luma and chroma that are allowable for broadcast. If a video program exceeds these limits, distortion can appear in the form of colors bleeding into one another, the whites and blacks of your program washing out, or the picture signal bleeding into the audio signal and causing audible distortion. In all these cases, exceeding standard signal levels can result in unacceptable transmission quality. When you’re color correcting clips in your project, you can use the Final Cut Pro video scopes and range check overlay to make sure that the luma and chroma levels of your video stay within the parameters referred to as broadcast-safe, or acceptable for broadcast. Final Cut Pro provides the following video measurement tools: • Waveform monitor • Vectorscope • Histogram • Range check overlay Even if your project is not intended for broadcast, using these tools is an important part of your workflow. If the monitors you’re using don’t display color accurately or you’ve been working with the same clips for a while, you can easily get used to seeing a color cast, or blacks that aren’t quite right. The video scopes provide exact measurements of the luma and chroma levels of your clips so that you can make more informed color correction decisions. You can display multiple video scopes at once and choose from among 12 different scopes layouts. See Display video scopes. To ensure accurate information in the video scopes and range check overlay, make sure your video clips have the correct color space metadata. See Change a clip’s color space metadata. Additionally, you can use the Broadcast Safe filter (available in the Effects browser) as a quick way to reduce luma and chroma levels that exceed the specification limits for standard and wide-gamut color spaces in standard-dynamic-range (SDR) video media. To add the Broadcast Safe filter, see Add video effects. Final Cut Pro User Guide 705 Display video scopes in Final Cut Pro You can show video scopes next to the video image in the viewer and the event viewer. You can also show video scopes in the comparison viewer when you compare video frames. Show video scopes 1. In Final Cut Pro, do one of the following: • Open a video scope in the viewer: Choose View > Show in Viewer > Video Scopes (or press Command-7). • Open a video scope in the event viewer: Choose View > Show in Event Viewer > Video Scopes. You can also click the View pop-up menu in the top-right corner of the viewer, event viewer, or comparison viewer and choose Video Scopes from the Show section. 2. To choose the scope to display, click the Scope button , then choose a video scope from the top section of the menu that appears. 3. Choose the display options for the scope from the bottom section of the menu. Change video scopes display settings You can display up to four video scopes at the same time and choose from 12 different scopes layouts, including a vertical layout in which scopes appear below the viewer. You can also adjust brightness controls, enable quantitative guides, and display monochrome scopes. 1. Open a video scope in Final Cut Pro. Final Cut Pro User Guide 706 2. Click the View pop-up menu above the video scopes display and choose display settings. • Choose a video scopes layout: Click one of the 12 layout icons. Note: If you choose a layout with multiple video scopes, each scope pane appears with its own Scope button that you can use to set the display options for that scope. • Display scopes below the video image: Choose Vertical Layout. • Display quantitative data and guide lines: Choose Show Guides. • Set the video scopes display to black and white: Choose Monochrome. • Adjust the video scopes brightness level: Drag the Brightness slider at the bottom of the menu. Final Cut Pro User Guide 707 Below are some examples of the many possible combinations of video scopes layouts and settings. Final Cut Pro User Guide 708 Waveform monitor display options in Final Cut Pro The waveform monitor shows the relative levels of luma, chroma, RGB, or luminance (HDR Rec. 2020 PQ clips and projects only) in the clip currently being examined. These values are displayed from left to right, mirroring the relative distribution of the luma and chroma levels in the image. Spikes and dips in the displayed waveforms correspond to light and dark areas in your picture. The waveforms are also tinted to match the color of items in the video. Note: The measurement data on the y-axis of the waveform monitor may change to reflect the color space of the current selection in either the browser or the timeline. See Intro to wide color gamut and HDR. The Scope menu in the upper-right corner of the waveform monitor provides a variety of display options: • RGB Parade: Presents three side-by-side waveform displays that show your video as separate red, green, and blue components. The waveforms are tinted red, green, and blue so that you can easily identify them. Final Cut Pro User Guide 709 The RGB Parade view is useful for comparing the relative levels of red, green, and blue between two clips. If one clip has more blue than another, the waveform monitor displays an elevated blue waveform for the clip with more blue and a depressed blue waveform for the other clip. Negative component values signify colors that are out of gamut. For example, a blue that is out of gamut may have negative red and green components. • RGB Overlay: Combines waveforms for the red, green, and blue color components in one display. • Red: Shows only the red color channel. • Green: Shows only the green color channel. • Blue: Shows only the blue color channel. • Luma: Shows only the luma component of the video. This waveform is available only for Rec. 709, Rec. 2020, and Rec. 2020 HLG clips and projects. • Luminance: Shows only the luminance component of the video. This waveform is available only for Rec. 2020 PQ clips and projects. • Chroma: Shows only the chroma component of the video, with the component tinted to match the video’s colors. Final Cut Pro User Guide 710 • Y'CbCr Parade: Presents three side-by-side waveform displays for the separate Y (luma), Cb (blue color difference channel), and Cr (red color difference channel) components. The waveforms are tinted white (for luma), magenta (for Cb), and yellow (for Cr) so that you can easily identify the waveform for each component. • IRE: Displays the video range in IRE units. This is the only measurement unit available for Chroma and Y′CbCr Parade waveforms in the Rec. 2020 PQ color space. • Millivolts: Displays the video range in millivolts. • Nits (cd/m²): Displays the video range in nits (candelas per square meter). This option is available only for Rec. 2020 PQ clips and projects. Vectorscope display options in Final Cut Pro The vectorscope shows the distribution of color in your image on a circular scale. The color in your video is represented by a series of connected points that fall somewhere within this scale. The angle around the scale represents the hue displayed, with targets indicating the primary colors of red, green, and blue and the secondary colors of yellow, cyan, and magenta. The distance from the center of the scale to the outer ring represents the saturation of the color being displayed. The center of the scale represents zero saturation, and the outer ring represents maximum saturation. Final Cut Pro User Guide 711 The vectorscope shows you at a glance the hue and intensity of the various colors in your image. After you learn to identify the colors in your clips using the vectorscope, you can more easily see where two images differ and correct them so that they match as closely as possible. The Scope menu in the upper-right corner of the vectorscope provides a variety of display options: • 100%: Sets the reference chroma level for the color bar targets (the squares representing each color in a standard color bar test signal) at 100 percent saturated chroma. Use this when your source media uses 100 percent color bars as its reference. • 133%: Sets the reference chroma level for the color bar targets at 75 percent saturated chroma. Use this when your source media uses 75 percent color bars as its reference. • Vector: Uses a normal chroma hue reference, with red near the top. • Mark3: Uses a 90-degree rotated chroma hue reference, with red on the right side. • Show/Hide Skin Tone Indicator: Shows or hides the diagonal line that represents the human skin tone chroma phase, which is between the yellow and red color bar targets. Histogram display options in Final Cut Pro The histogram provides a statistical analysis of the image by calculating the total number of pixels of each color or luma level and creating a graph that shows the number of pixels at each percentage of luma or color. Each increment of the scale from left to right represents a percentage of luma or color, and the height of each segment of the histogram graph shows the number of pixels that correspond to that percentage. The Scope menu in the upper-right corner of the histogram provides a variety of display options: • Luma: Shows only the luma component of the video. The height of the graph at each step on the scale represents the number of pixels in the image at that percentage of luma, relative to all the other values. For example, if an image has few highlights, the histogram shows a large cluster of values in the midtones. Using the Luma histogram view, you can quickly compare the luma of two shots so that you can adjust their shadows, midtones, and highlights to match more closely. Final Cut Pro User Guide 712 The shape of the graph also helps you determine the amount of contrast in an image. A low-contrast image has a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the graph. • RGB Overlay: Combines waveforms for the red, green, and blue color components in one display. If the image being examined has equal levels of two or more colors, you see the combined color: • Equal levels of green and blue appear as cyan. • Equal levels of green and red appear as yellow. • Equal levels of red and blue appear as magenta. • Equal levels of red, green, and blue appear as gray. • RGB Parade: Presents three graphs that display your video as separate red, green, and blue components. The waveforms are tinted red, green, and blue so that you can easily identify them. You can use the RGB Parade view to compare the relative distribution of each color channel across the tonal range of the image. For example, images with a red color cast have either a significantly stronger red graph or weaker green and blue graphs. • Red: Shows only the red color channel. Final Cut Pro User Guide 713 • Green: Shows only the green color channel. • Blue: Shows only the blue color channel. Detect out-of-gamut colors in Final Cut Pro You can use the range check overlay in the viewer to quickly highlight color values in your project that exceed the acceptable limits of color space standards. The colors highlighted by the range check overlay are determined by the color space (gamut) setting for your project. See Intro to wide color gamut and HDR and Use widegamut HDR color processing. • Click the View pop-up menu in the top-right corner of the Final Cut Pro viewer or event viewer, then choose an option from the Range Check section at the bottom of the menu: • Luma: Detects and indicates brightness (luma) values that may exceed broadcastsafe limits for the project’s color space setting. • Saturation: Detects and indicates color (chroma) values that may exceed broadcastsafe limits for the project’s color space setting, as well as negative or excessively high R, G, or B values. • All: Detects and indicates luma and saturation values that may exceed broadcastsafe limits for the project’s color space setting. If out-of-gamut colors are detected in the image, those areas are indicated with a pattern in the viewer. Final Cut Pro User Guide 714 Turn iMovie adjustments on or off in Final Cut Pro When editing a project in iMovie, you can adjust several video attributes, such as exposure, brightness, and saturation. If you import an iMovie project or event that has these adjustments into Final Cut Pro, the adjustments are retained and appear in the Effects area of the Video inspector. Although you can’t modify the adjustments added in iMovie, you can choose whether they are applied to the clip. 1. In the Final Cut Pro timeline, select a clip with iMovie adjustments. 2. In the Effects section of the Video inspector, select or deselect the iMovie Color Effect checkbox. Final Cut Pro User Guide 715 Share your project Intro to sharing projects in Final Cut Pro Final Cut Pro provides a variety of preconfigured export settings, called destinations, that you can use to output your project or clip. For example, you can export a project or clip as a file, export it for viewing on Apple devices such as iPhone and iPad, add it to social media websites, or burn it to a disc. You can also save a frame from your movie or export an image sequence. Each of these options uses a different destination. When you first open Final Cut Pro, a default set of destinations appears in the Share menu. Details about each destination in the default set are listed in the table below. Destination Use to DVD Burn your project to a standard-definition (SD) DVD. See Create optical discs and disk images. Export File (default) Export your project as a QuickTime movie file. See Export final mastering files. Apple Devices 720p Export files for playback on most Apple devices, including iPod touch, iPhone, iPad, and Apple TV. This option creates output files with dimensions up to 720p. Of the three Apple Devices options, this option creates files with the lowest data rates and smallest file sizes. Final Cut Pro User Guide 716 Destination Use to Apple Devices 1080p Export files for playback on many Apple devices, including models of iPod touch, iPhone, iPad, and Apple TV. This option creates output files with dimensions up to 1080p. Apple Devices 4K Export files for playback on recent models of iPhone, iPad, and Apple TV. This option creates output files with dimensions up to 4K. Of the three Apple Devices options, this option creates files with the highest data rates and largest file sizes. YouTube & Facebook Prepare your projects and clips for sharing on the web. See Share on the web. You can easily add destinations or replace the default set of destinations with your own customized destinations. For example, if you want to save a frame from your movie as a Photoshop file, you need to add the Save Current Frame destination to your set and specify that the destination export a Photoshop file. You create and modify destinations in the Destinations pane of Final Cut Pro preferences. You can also create a bundle of destinations to export several types of output at once. See Create share destinations. To further customize your output, you can use Compressor, the professional transcoding app. See Share using Compressor. Share to Apple devices with Final Cut Pro To export your project to an Apple device such as iPhone, iPad, or iPod touch, or to play your project on a home theater system using Apple TV, you must send the project to the Apple TV app. (If you’re using macOS 10.14 or earlier, you send your project to iTunes.) You can use the default export settings or customize the settings to suit your needs. For information about customizing settings, see Create share destinations and Change metadata for shared items. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. Final Cut Pro User Guide 717 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share, then choose an Apple Devices destination from the submenu. • Click the Share button in the toolbar, then click an Apple Devices destination. The Info pane of the Share window appears, showing the video image on the left and project information on the right. To skim the video, move the pointer over the image. Note: If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. 4. To modify project or clip attributes, such as the title and description, enter information in the appropriate field. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. 5. To modify the settings for the exported file, such as the format or resolution, click Settings at the top of the Share window, then make your changes. For detailed descriptions of each setting, see Export File and Apple Devices destinations. Final Cut Pro User Guide 718 If you change the destination’s settings, the changes are saved as the default settings for the destination. See Intro to Destinations preferences. Note: Dolby Vision 8.4 is a format designed to optimize HDR content for Apple devices. See this Apple Support article. 6. To add the output media file to your Apple TV library, click the Action pop-up menu in the Settings pane, then choose Home Videos in the Add to TV section. 7. To review the tracks that will be included in the output media file, click Roles at the top of the Share window. The Roles pane displays the tracks of the output media file and the roles included in each track. 8. To include captions in the export, click Roles at the top of the Share window, then do one of the following: • Embed captions in the output video file: For each video track or file, click the blue Captions button, then click the Embed CEA-608 pop-up menu and choose a language version. • Export captions as separate files: In the Captions section, select the caption formats you want to export, then click the Timing pop-up menu and choose an option: • Relative: Calculate the caption start time by subtracting the project’s start time. • Absolute: Use each caption’s actual start time, regardless of the project’s start time. • Burn captions in to the output video file: For each video track or file, click the blue Captions button, then click the “Burn in captions” pop-up menu and choose a language version. For information about adding captions to your project, see Intro to captions and Create captions. Final Cut Pro User Guide 719 9. To see a list of devices that will play the exported file, move the pointer over the compatibility icon in the lower-right corner. Information about the file that will be exported, including the frame size and frame rate, appears at the bottom of the window. 10. When you’re ready to export your project, clip, or range, click Share. If you chose to add the output media file to your Apple TV library, the Apple TV app opens (if it wasn’t open), and the exported file appears in the Home Videos category. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Note: If you added chapter markers to your project, chapter marker thumbnails are placed at the appropriate location when sharing to disc (DVD and Blu-ray disc) and MV4, QuickTime, and MP4 formats (for playback using QuickTime Player and Apple devices). See Add chapter markers. Final Cut Pro User Guide 720 Export files Export final mastering files with Final Cut Pro You can use the Export File command to export your completed project as a high-quality file that can be used as the source media for the final stages of professional postproduction or broadcast and distribution. You may also consider this option when you want to use the media in another app, copy the media to an external storage device for a client to review, or publish the media to a website for which there are no preconfigured destination settings in Final Cut Pro. Your project is exported as a QuickTime movie. You can also use the Export File option to export an MXF file. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Export File (or press Command-E). • Click the Share button in the toolbar, then click Export File. Final Cut Pro User Guide 721 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. For some destinations, you can also view a list of devices that will play the exported file. To view the compatible devices, move the pointer over the Compatibility icon in the lower-right corner. 5. To view or change the Export File destination settings, click Settings at the top of the Share window. The available settings vary based on which format you choose from the Format popup menu. For detailed descriptions of each setting, see Export File and Apple Devices destinations. For information about output file formats, see Supported export formats. Note: If you change the destination’s settings, the changes are saved as the default settings for the destination. 6. To export roles as separate video, title, audio, or caption tracks in the output media file, click Roles at the top of the Share window, then specify the roles to export. See Share roles as files. 7. Click Next, choose a location for the exported files, then click Save. Final Cut Pro User Guide 722 You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Note: If you added chapter markers to your project, chapter marker thumbnails are placed at the appropriate location when sharing to disc (DVD and Blu-ray disc) and MV4, QuickTime, and MP4 formats (for playback using QuickTime Player and Apple devices). See Add chapter markers. Export MXF files with Final Cut Pro MXF is an industry-standard file format for video and audio. Like QuickTime files, MXF files contain information about the media inside. This information, also called metadata, can include frame rate, frame size, creation date, and custom data added by a camera operator, an assistant, or an archivist. When you export MXF files, you can use audio roles to configure industry-standard channel layouts. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Export File (or press Command-E). • Click the Share button in the toolbar, then click Export File. Final Cut Pro User Guide 723 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. For some destinations, you can also view a list of devices that will play the exported file. To view the compatible devices, move the pointer over the Compatibility icon in the lower-right corner. 5. Click Settings at the top of the Share window. 6. In the Settings pane, click the Format pop-up menu and choose MXF. Final Cut Pro User Guide 724 7. Click the “Video codec” pop-up menu and choose a video codec for the MXF file. The available video codecs are determined by the resolution and frame rate of your project. 8. Click Roles at the top of the Share window. 9. In the Roles pane, click the “Roles as” pop-up menu and choose one of the following: • Multitrack MXF File (the default setting) • A custom preset For information about creating a custom preset, see Create and modify custom presets. The default Multitrack MXF File setting presents a list of tracks (including a video track, a track for each audio subrole assignment, and a caption track). 10. Do any of the following: • Combine roles in a track: For any track in the list, click the Add Role pop-up menu (on the right) to add roles or subroles for the track. • Remove roles from a track: For any role, click the Remove button (on the right). • Choose an audio channel format for a track: For any audio track in the list, click the Channels pop-up menu and choose the channel format (Mono, Stereo, or Surround). See Configure audio channels. • Add an audio track to the export file: Click the Add Audio Track button, then choose a role or subrole and an audio channel format from the pop-up menus that appear. • Remove a track from the export file: Click the Remove button (with an X) to the right of the track name. • Burn captions in to the output video file: For each video track or file, click the blue Captions button, then click the “Burn in captions” pop-up menu and choose a language version. • Add captions to the export: In the Captions section, select the caption formats you want to export, then click the Timing pop-up menu and choose an option: • Relative: Calculate the caption start time by subtracting the project’s start time. • Absolute: Use each caption’s actual start time, regardless of the project’s start time. Final Cut Pro User Guide 725 Final Cut Pro will create a separate “sidecar” caption file for each language subrole in the selected caption formats and place the files in the same folder as the exported MXF file. For information about adding captions to your project, see Intro to captions and Create captions. • Save a preset: Click the “Roles as” pop-up menu and choose Save As in the Presets section. 11. Click Next, choose a location for the exported files, then click Save. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. For more information about creating MXF files, see Create a multi-channel MXF file with Final Cut Pro. Export still images with Final Cut Pro You can save a still-image file of any video frame in your project or in any clip in the browser. 1. In the Final Cut Pro timeline or browser, position the playhead on the video frame you want to export as a still image. 2. Do one of the following: • Choose File > Share > Save Current Frame. Final Cut Pro User Guide 726 • Click the Share button in the toolbar, then click Save Current Frame. Important: The Save Current Frame destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the Save Current Frame destination. See Create share destinations and Intro to Destinations preferences. 3. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify the still-image attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the still-image output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and output file type. 4. Click Settings to confirm the export settings or make any necessary adjustments: • Export: Choose an output file type for the still image you’re exporting. • Scale image to preserve aspect ratio: Leave this checkbox selected unless your project uses a non-square pixel format (such as 1440 x 1080) and you want to use the exported still image in another video project with the same non-square pixel properties. Final Cut Pro User Guide 727 • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 5. Click Next. 6. Enter a name and choose a location for the exported file, then click Save. Note: The Save Current Frame destination creates a still-image file. If you want to create a freeze frame or hold effect in your project, see Create freeze frames or Create hold segments. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Export image sequences with Final Cut Pro You can export your project’s visuals as an image sequence—a set of sequentially numbered still-image files that are compatible with many professional finishing, compositing, and grading apps. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Export Image Sequence. • Click the Share button in the toolbar, then click Export Image Sequence. Final Cut Pro User Guide 728 Important: The Export Image Sequence destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the Image Sequence destination. See Create share destinations and Intro to Destinations preferences. 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the files that will be exported, including frame size, frame rate, and output file type. 5. Click Settings to confirm the export settings or make any necessary adjustments: • Export: Choose an output file type for the image sequence you’re exporting. • Scale image to preserve aspect ratio: Leave this checkbox selected unless your project uses a non-square pixel format (such as 1440 x 1080) and you want to use the exported image sequence in another video project with the same non-square pixel properties. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 6. Click Next. 7. If you selected a single range, enter a name for the image sequence you’re sharing. 8. Choose a location for the exported files, then click Save. The image sequence files are saved in a folder with the name you entered. Final Cut Pro User Guide 729 You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Export live-streaming files with Final Cut Pro If you want to post a movie on a streaming website, you can export an HTTP live-streaming playlist that’s linked to a group of movie segments (such as MPEG-4 files) compressed using different settings. When hosted using the related server software, the playlist dynamically chooses the best version for a user’s device and internet connection speed. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Export for HTTP Live Streaming. • Click the Share button in the toolbar, then click Export for HTTP Live Streaming. Important: The HTTP Live Streaming destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the HTTP Live Streaming destination. See Create share destinations and Intro to Destinations preferences. Final Cut Pro User Guide 730 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the files that will be exported, such as frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. 5. Click Settings. 6. Select a file type for the exported file (MPEG-2 Transport Streams or Fragmented MP4). 7. Select one or more network types on which the movie will be streamed (Cellular, Wi-Fi, or Broadband). 8. If you added captions to your project, optionally click the “Burn in captions” pop-up menu and choose a language version. Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 9. Click Next. 10. If you selected a single project, clip, or range, enter a name for the file you’re sharing. 11. Choose a location for the exported files, then click Save. Your selection is transcoded, and the exported segments are saved in folders. An index. html file and a readme.html file containing information on how to post your project to your website are included in the export. See your server administrator. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. Final Cut Pro User Guide 731 When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Share roles as files with Final Cut Pro You can share a project’s roles, exporting each media role as a separate media stem. For example, you can export a project’s dialogue, music, and sound effects as separate media files by assigning roles to the dialogue, music, and sound effects, and then exporting the roles. If your project contains captions, you can choose which language version (subrole) to export. You can embed captions in the output video file or export them as separate files. See Export captions. If you want to export the same roles from another project or clip later, you can save your settings as a preset. Share roles as separate files You can export media roles as a combined, multitrack QuickTime or MXF file, or as separate audio or video files. You can also choose mono, stereo, or surround output for your audio channels. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. Do one of the following: • Choose File > Share > Export File. • Click the Share button in the toolbar, then click Export File. Note: You can also choose another destination you created based on the Export File destination. 3. Click Settings at the top of the Share window, then specify the following settings (available settings depend on your source media): • Format: Choose a mastering format (Video and Audio, Video Only, or Audio Only). For information about exporting MXF files, see Export MXF files. Final Cut Pro User Guide 732 • Video codec: The source codec is listed by default. Depending on your source media, you can choose another codec. • Resolution: The resolution (based on the source footage) is provided. Depending on your source media, you can choose another resolution. • Color space: The color space (based on the project setting) is provided. See Modify a project’s settings and Use wide-gamut HDR color processing. • Audio file format: The source format is listed by default. Depending on your source media, you can choose another audio format. • Include chapter markers: Select the checkbox to include chapter markers with the exported file (or files). • Open with: Choose what you want to happen after the export is complete. See Export File and Apple Devices destinations. 4. Click Roles at the top of the Share window. 5. In the Roles pane, click the “Roles as” pop-up menu and choose how you want the roles exported. Note: The options available in this pop-up menu change based on your choices in the Format and “Audio file format” pop-up menus in the Settings pane. • QuickTime Movie: Exports all of the roles in the project as a single QuickTime movie. If you choose this option, skip step 7. • Multitrack QuickTime Movie: Exports the roles you specify as a single QuickTime movie. • Separate Files: Exports each of the video and audio roles you specify as a separate file. • Video Only as Separate Files: Exports each of the video roles you specify as a separate file. • Audio Only as Separate Files: Exports each of the audio roles you specify as a separate file. 6. To add captions to the export files, do any of the following: • Embed captions in the output video file: For each video track or file, click the blue Captions button, then click the Embed CEA-608 pop-up menu and choose a language version. • Burn captions in to the output video file: For each video track or file, click the blue Captions button, then click the “Burn in captions” pop-up menu and choose a language version. • Export captions as separate files: In the Captions section, select the caption formats you want to export, then click the Timing pop-up menu and choose an option: • Relative: Calculate the caption start time by subtracting the project’s start time. • Absolute: Use each caption’s actual start time, regardless of the project’s start time. For information about adding captions to your project, see Intro to captions and Create captions. Final Cut Pro User Guide 733 7. If you chose any format other than QuickTime Movie in step 5, do any of the following: • Add a track or file to the export: Click a purple Add Track or Add File button on the right, then choose a role or subrole. • Combine roles in an output track or file: For any track or file in the list, click the purple Add Role pop-up menu (on the right) to add roles or subroles. • Remove roles from a track or file: For any role, click the white Remove button (on the right). • Choose an audio channel format for a track: For any audio track or file in the list, click the Channels pop-up menu and choose the channel format (Mono, Stereo, or Surround). See Configure audio channels. • Remove a track or file from the export: Click the white Remove button (with an X) to the right of the track or file name. • Save a preset: Click the “Roles as” pop-up menu and choose Save As in the Presets section. 8. Click Next. 9. If you selected a single project, clip, or range, enter a name for the file you’re sharing. 10. Choose a location for the exported files, then click Save. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Final Cut Pro User Guide 734 Create and modify custom presets If you’ve created a customized list of roles to share, you can save it as a preset. 1. In Final Cut Pro, configure your share options using the instructions in Share roles as separate files, above. 2. In the “Roles as” pop-up menu, do any of the following: • Save a new preset: Choose Save As, type a name for the preset, then click Save. • Save changes to an existing preset: Select the preset and make your changes, then choose Save. • Save a modified preset as a new preset: Select the preset and make your changes, then choose Save As, type a name for the preset, and click Save. • Rename a preset: Select the preset, then choose Rename, type a new name for the preset, and click Save. Custom presets that you create appear in the “Roles as” pop-up menu. Custom presets are stored in /Users/username/Library/Application Support/ProApps/Export Presets/. To access them quickly, click the “Roles as” pop-up menu and choose Reveal User Presets in Finder. Delete custom presets You can delete custom presets that you no longer need. 1. Select a project or clip in Final Cut Pro, then click the Share button in the toolbar and choose Export File. 2. In the Share window, click the Settings button. 3. Click the “Roles as” pop-up menu and choose the custom preset that you want to delete. After you choose a preset, a checkmark appears next to its name. 4. Click the “Roles as” pop-up menu and choose Delete. Export formats supported in Final Cut Pro You can export to a number of formats natively using the Master File share destination. You can export to additional formats using settings in Compressor. Note: Depending on your project settings, some of the export formats listed below may not be available. Final Cut Pro User Guide 735 Export File destination All of the Export File destination formats below are available for the MOV container format (for supported source resolutions and frame rates). All of the formats below are also available for the MXF container format (with the exception of H.264, HDV, and Uncompressed 10-bit 4:2:2). You can export to the following using the Export File share destination: • Apple ProRes (all versions) • AVC-Intra Class 50/100/200 • DV (including DVCAM, DVCPRO, and DVCPRO50) • DVCPRO HD • H.264 • HDV • MPEG IMX (D-10) • MXF • Uncompressed 10-bit 4:2:2 • Uncompressed 8-bit 4:2:2 • XDCAM HD/EX/HD422 For more information, see Export final mastering files and Export MXF files. Compressor setting You can export to the following using a Compressor setting: • AAC • AIF • AVC-Intra (MXF) • CAF • Dolby Digital (AC3 and EC3) • FLAC • H.264 for Blu-ray streams • Image sequences • MP3 • MPEG-2 • MPEG-4 • QuickTime formats • Third-party plug-ins • WAV For more information, see Share using Compressor. Final Cut Pro User Guide 736 Share on the web with Final Cut Pro In Final Cut Pro 10.5.1 or later, you can use the YouTube & Facebook share option to save a project or clip as a file that is ready for posting on video-sharing websites. 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > YouTube & Facebook. • Click the Share button in the toolbar, then click YouTube & Facebook. 4. In the Share window that appears, do any of the following: Final Cut Pro User Guide 737 • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. 5. Click Settings to confirm the settings and make any necessary adjustments. 6. In the Settings pane, enter the requested information: • Resolution: Choose a frame size. • Compression: Choose “Better quality” to maximize the quality. Choose “Faster encode” to speed up the encoding. • Export captions: If you added captions to your project, you can choose a language version to include with the video, either as embedded captions or as a separate sidecar file. See Intro to captions. • Burn in captions: If you added captions to your project, you can choose a language version to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 7. Click Next. 8. Enter a name for the output media file, navigate to a location on your Mac or storage device where you want to save the file, and click Save. Your project is transcoded to a format suitable for YouTube and Facebook: a MOV file with H.264 video and AAC audio. 9. Upload the file to YouTube or Facebook using the corresponding website or app. (You must first set up an account with the video-sharing service you plan to use.) You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Final Cut Pro User Guide 738 Create optical discs and disk images in Final Cut Pro You can burn a project, a clip, or a range selection to a standard-definition (SD) DVD or to a Blu-ray-compatible disc. There are two ways to create a Blu-ray-compatible disc: • Use an external optical drive that supports burning Blu-ray discs. • Use a standard DVD burner and standard red laser media to create an AVCHD disc with high-definition (HD) video content and menus. You can play AVCHD discs in Blu-ray players if they’re compatible with AVCHD discs. You can also create a disk image (.img) file that you can copy to an external storage device. You can send the disk image to a disc replication facility or burn it to DVD or Blu-ray disc media at a later time using Disk Utility. Markers are added to the file on the disc at 5-minute intervals, making it possible to use the DVD or Blu-ray player’s remote to skip forward or backward 5 minutes each time you press the Next Chapter or Previous Chapter button. Note: If Compressor is installed on your computer, you can use the Send to Compressor command to open the project in Compressor. See Send your projects or clips to Compressor and the Compressor User Guide. Burn an SD DVD or create an SD disk image file 1. In Final Cut Pro, do one of the following: • Select a project or a clip in the browser. • Select a range in a project in the timeline or in a clip in the browser. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > DVD. • Click the Share button in the toolbar, then click DVD. Final Cut Pro User Guide 739 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. 5. Click Settings, then choose your preferred DVD settings: • Output Device: To burn a disc, choose an optical drive. To create a disk image (.img) file that you can copy to an external storage device or burn to DVD media later, choose Hard Drive. • Layers: Choose whether to burn a single-layer or dual-layer disc. • Automatic: Automatically detects the type of disc you can use. • Single-layer: Identifies the disc as a single-layer disc. You can use this option to force a double-layer disc to be treated as a single-layer disc. • Double-layer: Identifies the disc as a double-layer disc. You can use this option to force the disk image to be formatted for a double-layer disc when you choose Hard Drive as your output device. Important: Choosing “Double-layer” when using a single-layer disc can result in an error during burning, depending on the project’s length. • Build type: Choose File to save a disk image (.dmg) file, or Folder to save a set of files in a folder. • Disc template: Choose an available template. Final Cut Pro User Guide 740 • Title: Enter the program title in the Title field. By default, the title is the project name in Final Cut Pro. • Volume name: Enter the filename for the disc. • Color space: This field can’t be edited. The values (Standard - Rec. 709 or Wide Gamut - Rec. 2020) are determined by the color space settings for your project. See Use wide-gamut HDR color processing. • When disc loads: Specify the DVD player’s action when the disc is inserted. Choose Show Menu to have a main menu appear, or choose Play Movie to begin playing the movie immediately. • Markers: Select the checkbox to include chapter marker text as subtitles on the output disc. Users can navigate between the chapter markers by pressing the Next Chapter or Previous Chapter button on the DVD or Blu-ray player. See Add chapter markers. • Loop: Select the checkbox to add a loop movie button to the DVD menu. • Background, Logo image, Title image: To add a background, logo, or title to menus, click the Add button, then select a graphic. To select a different graphic, click the Remove button (with an X), then click Add again. • Preview: View a representation of the menu. • Include captions: If you added CEA-608 captions to your project, you can choose the language version to include on the DVD. See Intro to captions. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 6. Do one of the following: • If you’re burning to a disc (instead of creating a disk image): Click the Eject button to the right of the Output Device pop-up menu, then insert a blank disc into your disc-burning device and click Burn. • If you’re creating a disk image file: Click Next, then enter a name for the file, choose a location to save it, and click Save. (By default, Final Cut Pro burns disk images as single-layer media, adjusting the bit rate accordingly.) Burn a Blu-ray or AVCHD disc, or create a disk image Blu-ray file 1. In Final Cut Pro, do one of the following: • Select a project or a clip in the browser. • Select a range in a project in the timeline or in a clip in the browser. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. Final Cut Pro User Guide 741 This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Blu-ray / AVCHD. • Click the Share button in the toolbar, then click Blu-ray / AVCHD. Important: The Blu-ray / AVCHD destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the Blu-ray / AVCHD destination. See Create share destinations and Intro to Destinations preferences. 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. Final Cut Pro User Guide 742 5. Click Settings, then choose your preferred Blu-ray / AVCHD settings: • Output Device: To burn a disc, choose an optical drive. To create a disk image (.img) file that you can copy to an external storage device or burn to optical media later, choose Hard Drive. • Layers: Choose whether to burn a single-layer or dual-layer disc. • Automatic: Automatically detects the type of disc you can use. • Single-layer: Identifies the disc as a single-layer disc. You can use this option to force a double-layer disc to be treated as a single-layer disc. • Double-layer: Identifies the disc as a double-layer disc. You can use this option to force the disk image to be formatted for a double-layer disc when you choose Hard Drive as your output device. Important: Choosing “Double-layer” when using a single-layer disc can result in an error during burning, depending on the project’s length. • Build type: Choose File to save a disk image (.dmg) file, or Folder to save a set of files in a folder. • Disc template: Choose an available template. • Title: Enter the program title in the Title field. By default, the title is the project name in Final Cut Pro. • Volume name: Enter the filename for the disc. • Color space: This field can’t be edited. The values (Standard - Rec. 709 or Wide Gamut - Rec. 2020) are determined by the color space settings for your project. See Use wide-gamut HDR color processing. • When disc loads: Specify the Blu-ray player’s action when the disc is inserted. Choose Show Menu to have a main menu appear, or choose Play Movie to begin playing the movie immediately. • Markers: Select the checkbox to include chapter marker text as subtitles on the output disc. Users can navigate between the chapter markers by pressing the Next Chapter or Previous Chapter button on the Blu-ray player. See Add chapter markers. • Loop: Select the checkbox to add a loop movie button to the Blu-ray menu. • Background, Logo image, Title image: To add a background, logo, or title to menus, click the Add button, then select a graphic. To select a different graphic, click the Remove button (with an X), then click Add again. • Preview: View a representation of the menu. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. 6. Do one of the following: • If you’re burning to a disc (instead of creating a disk image): Click the Eject button to the right of the Output Device pop-up menu, then insert a blank disc into your disc-burning device and click Burn. Final Cut Pro User Guide 743 • If you’re creating a disk image file: Click Next, then enter a name for the file, choose a location to save it, and click Save. (By default, Final Cut Pro burns disk images as single-layer media, adjusting the bit rate accordingly.) Note: Blu-ray and AVCHD menus are best suited for displays set to show 1080 lines of vertical resolution. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Note: If you added chapter markers to your project, chapter marker thumbnails are placed at the appropriate location when sharing to disc (DVD and Blu-ray disc) and MV4, QuickTime, and MP4 formats (for playback using QuickTime Player and Apple devices). See Add chapter markers. Share in email with Final Cut Pro You can create an email message in the macOS Mail app and include your movie as an attachment. 1. In Final Cut Pro, do one of the following: • Select a project or a clip in the browser. • Select a range in a project in the timeline or in a clip in the browser. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 2. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 3. Do one of the following: • Choose File > Share > Email. • Click the Share button in the toolbar, then click Email. Important: The Email destination doesn’t appear by default. To add it to your set of destinations and to the Share menu, choose File > Share > Add Destination, then double-click the Email destination. See Create share destinations and Intro to Destinations preferences. Final Cut Pro User Guide 744 4. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. 5. Click Settings to confirm the settings and make any necessary adjustments: • Resolution: Choose a frame size for your movie. • Compression: Choose “Better quality” to maximize the quality. Choose “Faster encode” to speed up the encoding. • Embed CEA-608: If you added captions to your project, you can choose a CEA-608 language version to embed in the output media file. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Important: Many email services limit the file size for attachments. If the message exceeds the maximum size allowed by your email provider, the message size in the macOS Mail app appears in red, along with the allowed limit (if the Mail app can retrieve that information from the email provider). Final Cut Pro User Guide 745 6. Click Share. After transcoding is complete, the Mail app opens, and an email is created with the Subject field filled in and the movie attached. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Batch sharing in Final Cut Pro You can export multiple projects, clips, or clip ranges at once, referred to as batch sharing. You select the projects, clips, or ranges in the browser and then share to specific destinations. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. Batch sharing is not available for all destinations. If the selected projects, clips, or clip ranges have identical settings (including roles settings, project settings, captions, frame rate, frame size, and so on), the share process is almost the same as when you share single items. For example, you can adjust the resolution and compression settings in the Settings pane of the Share window just as if you were sharing a single project, clip, or range. If the selected projects, clips, or ranges have mixed settings, you may need to change the settings in the individual projects before sharing the batch. Mixed roles If you selected projects with differing roles settings (for example, one of the projects has additional roles, or the projects have the same roles but some roles are disabled in some of the projects), you can’t add or remove roles in the Roles pane of the Share window. You must first adjust the roles in the individual projects using the Roles pane of the timeline index, and then share the batch. See Turn roles on or off. Mixed project settings If you selected projects with differing project settings (such as different frame rates or frame sizes), you can’t adjust those settings in the Settings pane of the Share window. You must first adjust the project settings in the individual projects, and then share the batch. See Modify a project’s settings. Final Cut Pro User Guide 746 Mixed caption settings If you selected multiple projects with differing caption settings (for example, different caption formats, different active languages, or captions that are enabled and disabled), you have several options for exporting captions. • You can export CEA-608, iTT, or SRT captions in any selected project as separate “sidecar” files with your finished media files. Final Cut Pro creates a folder for each project to hold the exported caption files. • If you selected projects with different active caption languages, you can use a pop-up menu to choose a language to include (or burn in). You can also have Final Cut Pro use the currently active caption language. Important: To change the active language, you must first adjust the caption settings in the individual projects using the Roles pane of the timeline index, and then share the batch. See Change the active language. • If you selected projects with CEA-608 captions, you can choose a language to embed or have Final Cut Pro embed the currently active CEA-608 caption language. Note: Embedded captions are not the same as burned-in captions. Other ways to use batch sharing You can use batch sharing with the Send to Compressor command to send your projects or clips to Compressor, which lets you customize your output using the options available in Compressor. See Send your projects or clips to Compressor. You can also use batch sharing in combination with destination bundles to easily export projects, clips, or ranges to multiple types of output, all in a single step. See Create a bundle of destinations. Share from Final Cut Pro using Compressor The destinations available in Final Cut Pro provide many options for exporting projects and clips. If you need more options, you can create highly customized export settings using Compressor, the professional transcoding app designed to work directly with Final Cut Pro. For example, you can use the Compressor frame resizing and retiming controls to make high-quality frame size and frame rate adjustments in your output files. Important: To export using Compressor, you must have a compatible version of Compressor installed. Compressor must be purchased separately. There are three ways you can use Final Cut Pro and Compressor together: • Use the Compressor Settings destination in Final Cut Pro to apply Compressor settings (either the Apple-supplied setting or custom settings you create). Exporting a project in this way lets you transcode your project using Compressor settings without opening your project in Compressor. You can also create several types of output in a single step using a destination bundle (see Create a bundle of destinations). • Use the Send to Compressor command to send your projects or clips to Compressor, which allows you to customize your output using the options available in Compressor. Final Cut Pro User Guide 747 • Use the Send iTMS Package to Compressor command to assemble an iTunes Store package in Compressor. If you plan to sell a movie in the iTunes Store, you must deliver the movie file plus a set of related files and information. Compressor makes it easy to assemble these items into a single iTunes Store package, which is the format required for submission to the iTunes Store. Share using the Compressor Settings destination Using this method, you add destinations in the Share menu that are based on Compressor settings. 1. In Final Cut Pro, create a new destination using the Compressor Settings destination. 2. Do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. 3. If you’re sharing a project that is set to use proxy media for playback, open it in the timeline, then click the View pop-up menu in the top-right corner of the viewer and choose Optimized/Original. This ensures the highest quality in the exported file. When you choose this setting, Final Cut Pro uses optimized media to create the shared file. If optimized media doesn’t exist, the original media is used. For more information about optimized and proxy media, see Control playback quality. 4. Do one of the following: • Choose File > Share, then choose the destination you created in step 1 from the submenu. • Click the Share button in the toolbar, then click the destination you created in step 1. Final Cut Pro User Guide 748 5. In the Share window that appears, do any of the following: • Move the pointer over the image to skim the video. If you’re batch sharing (exporting multiple items), the image is replaced by a list of the items you’re exporting. • In the Info pane, view and modify project or clip attributes, such as the title and description. See Change metadata for shared items. All of the attributes associated with the project or clip are included in the output file. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. 6. Click Settings to confirm the export settings and make any necessary adjustments. See Compressor Settings destination. 7. Click Next. 8. If you selected a single project, clip, or range, enter a name for the file you’re sharing. 9. Choose a location for the exported files, then click Save. Send your projects or clips to Compressor 1. In Final Cut Pro, do one of the following: • Select one or more projects or clips in the browser. Note: You can’t mix projects and clips in a batch share. Your selection must contain only projects or only clips. See Batch sharing. • Select ranges in one or more clips in the browser. See Set multiple ranges in the browser. • Select a range in a project in the timeline. Note: To share just a portion of a project, you must make a range selection. A clip selection is not sufficient. You can use the I and O keys to set the range start and end points. Final Cut Pro User Guide 749 2. Choose File > Send to Compressor. Note: The Send to Compressor command is dimmed if Compressor is not installed on the same computer as Final Cut Pro. If your project contains captions, you’re asked to choose a language version (subrole). Compressor opens with a new batch that contains one or more jobs corresponding to the items you selected in step 1. 3. Configure the job by clicking Add Outputs and following the instructions, then click Start Batch. Note: If you want to add or replace caption language subroles in a Compressor batch, you can export caption files using the File menu and then add them to the job in Compressor. Send an iTunes Store package to Compressor If Compressor is installed on the same Mac, you can send all the video, audio, and caption roles in your current Final Cut Pro project to Compressor as an iTunes Store package. For comprehensive information on iTunes Store packages, see the Compressor User Guide and Create an iTunes Store Package with Compressor. 1. In Final Cut Pro, select a project or clip in the browser, or open a project in the timeline. 2. Choose File > Send iTMS Package to Compressor. If your project contains more than one CEA-608 language, a pop-up menu appears allowing you to choose the CEA-608 language you want to send to Compressor. (You can send only one CEA-608 file to Compressor.) If your project contains iTT captions, a list of iTT language subroles in your project appears. Select one of the following settings for each iTT language subrole in the list: • Translation (Full): Outputs a full translation of all words spoken in the film using the language assigned to that subrole. During playback, viewers can turn these subtitles on or off. • Forced: Use when a person in the video speaks a language different from the main language of the video—for example, for a French-speaker in an otherwise Englishlanguage film. Forced subtitles can’t be turned off because they’re necessary to understand the content of the video. • Deaf and Hard of Hearing (SDH): Use for a full translation of all the words spoken in the video, as well as song lyrics and sound effects (owl hooting, scream in distance, and so on). During playback, viewers can turn SDH subtitles on or off. Compressor opens with a new batch that contains the new iTunes Store package, including the iTT captions you configured. If you had CEA-608 captions in your project, they appear in the iTunes Store package as closed captions. To configure the iTunes Store package, follow the instructions in the Compressor User Guide. Note: You can set Compressor to use the computer’s graphics processing engine (GPU) to display or transcode a Final Cut Pro project sent to Compressor for processing. For more information about configuring jobs and settings in Compressor, see the Compressor User Guide. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. Final Cut Pro User Guide 750 When transcoding is complete, a notification appears. You can view and locate shared projects in the Share inspector. See View the status of shared items. Create share destinations in Final Cut Pro In the Destinations pane of the Final Cut Pro Preferences window, you can modify existing destinations, add new destinations, delete destinations, and create destination bundles, which allow you to export multiple types of output at once. You can also revert to the default set of destinations that were available when you first opened Final Cut Pro. For information about sharing projects and clips from Final Cut Pro, see Intro to sharing projects. Create a new destination 1. In Final Cut Pro, do one of the following: • Choose File > Share > Add Destination. • Choose Final Cut Pro > Preferences, click Destinations at the top of the window, then select Add Destination in the Destinations list on the left. • Select a clip or project, click the Share button in the toolbar (shown below), then click Add Destination. Final Cut Pro User Guide 751 2. In the Destinations pane of the Preferences window, do one of the following: • Drag a destination from the area on the right to the Destinations list on the left (or double-click a destination on the right). • Control-click a destination in the Destinations list, then choose Duplicate. The new destination appears selected in the list on the left, and the settings for the destination appear on the right. 3. Specify settings for the new destination. For descriptions of the controls in each destination, see Intro to Destinations preferences. Final Cut Pro User Guide 752 Here are some tips for setting up various types of destinations: • If you chose a web destination: Enter your user name and password in the window that appears, then click OK. Depending on the destination you’re setting up, you may need to verify your account or your device. To do so, follow the onscreen instructions. In some cases, you can select a “Remember this password in my keychain” checkbox, so that you don’t have to enter your user name and password every time you share to the destination. • If you chose the Compressor Settings destination: Select a Compressor setting in the window that appears, then click OK. The settings that are displayed include the Compressor settings that come with Final Cut Pro as well as any settings you added. Important: You can use the Compressor Settings destination only if you have Compressor installed or someone gives you a Compressor setting. You can make changes to the destination at any time. For example, you can type a new name or use the controls on the right to change the destination settings. As you customize the destination, your changes are saved automatically. Modify existing destinations Note: You can modify an existing destination’s settings while you’re sharing a project or clip. For information about sharing projects and clips from Final Cut Pro, see Intro to sharing projects. 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. The Destinations pane appears, with a list of destinations on the left. 2. Do any of the following: • Change a destination’s settings: Select a destination, then modify the destination’s settings on the right. Final Cut Pro User Guide 753 • Restore a destination to its original settings: Control-click a destination in the Destinations list, then choose Revert to Original Settings. The destination’s settings are restored to their original values. • Rename a destination: Double-click a destination in the list on the left, then type a new name. • Change the order of destinations in the list: Drag a destination to a different location in the list. For descriptions of the controls in each destination, see Intro to Destinations preferences. As you modify destinations, your changes are saved automatically. Create a bundle of destinations Bundles make it easy to create several types of output in a single step. A bundle holds a set of destinations. When you share a project or clip using the bundle, a file is output for each destination in the bundle. 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. 2. Select Add Destination in the Destinations list, then double-click the Bundle destination (or drag it from the area on the right to the Destinations list on the left). An empty bundle appears in the Destinations list. 3. To add destinations to the bundle, drag existing destinations into it from the Destinations list, or select Add Destination and drag destinations from the area on the right into the bundle. Tip: To quickly make a bundle from destinations in the Destinations list, select one or more destinations in the Destinations list, then Control-click in the Destinations list and choose New Bundle from Selection. Delete a destination 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. 2. Do one of the following: • Control-click a destination in the Destinations list, then choose Delete. • Select a destination in the Destinations list, then press Delete. • Select a destination in the Destinations list, then click the Remove button (–) below the list. Assign a default destination After you set the default destination, you can quickly share to that destination by pressing Command-E. If a clip in the browser is selected, the clip is shared; if the timeline is active, the project is shared. By default, this keyboard shortcut is assigned to the Export File destination. To use the Command-E keyboard shortcut to share to another destination (or destination bundle), you can make that destination or bundle the default. 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. Final Cut Pro User Guide 754 2. Control-click the destination or bundle you want to make the default, then choose Make Default. The name of the new default destination is appended with “(default).” Revert to the set of destinations that came with Final Cut Pro 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. 2. Control-click in the Destinations list, then choose Restore Default Destinations. Any custom destinations are deleted, and the default set of destinations appears. For a list of the default destinations, see Intro to sharing projects. Share destinations between Final Cut Pro users 1. Choose Final Cut Pro > Preferences, then click Destinations at the top of the window. 2. Do any of the following: • Export destinations from your copy of Final Cut Pro: Drag one or more destinations from the Destinations list to a location in the Finder. The destination file is appended with the filename extension .fcpxdest. • Import destinations into your copy of Final Cut Pro: Drag a destination file from a location in the Finder to the Destinations list. The destination you added appears in the Destinations list, the Share submenu of the File menu, and the menu that appears when you click the Share button in the toolbar. Final Cut Pro User Guide 755 Change metadata for shared items in Final Cut Pro In Final Cut Pro, you can customize the metadata—also called attributes—included with exported files. You can view and modify metadata for a shared project or clip in the Attributes section of the Share inspector. Change metadata to be shared with a project or clip 1. In Final Cut Pro, select a project or clip. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Share button at the top of the inspector. 4. In the Share inspector, type new text in an attribute field. If you type a word or phrase that has been defined as an attribute, the attribute (a word or phrase in a blue bubble) appears after you finish typing. Final Cut Pro User Guide 756 Choose the fields that appear in the Share inspector 1. In Final Cut Pro, select a project or clip. 2. Open the Share inspector. The Share inspector contains a pop-up menu you can use to customize attribute fields. 3. Using the Attributes pop-up menu, do any of the following: • Add an attribute field: Choose the field name (so that there’s a checkmark next to it). Fields with a checkmark are shown in the Share inspector, and the contents of those fields are exported with your project or clip as metadata. • Remove an attribute field: Choose the field name (so that there’s no checkmark next to it). • Show only the Final Cut Pro default attribute fields: Choose Show Default Fields. Choosing this option displays only the Title, Description, Creator, and Tags fields. Important: The default fields can’t be removed. • Save the selected attribute fields as your default set: Choose Save as Default. • Display your default set of attribute fields: Choose Update to Default. Final Cut Pro User Guide 757 Select the attributes that appear in a Share inspector field You can set the attributes that appear automatically in an attribute field. 1. In Final Cut Pro, select a project or clip. 2. Open the Share inspector, then click the Attributes pop-up menu and choose Edit Share Fields. 3. In the Edit Share Fields window, select an attribute field from the list on the left. The attributes assigned to the selected field appear in the Format field. 4. To edit the selected attribute field, do any of the following: • Add an attribute: Drag an attribute (a word or phrase in a blue bubble) from the middle of the window to the Format field. You can also type the attribute name in the field. • Add text: Type a word or phrase in the Format field. • Create a custom name attribute: Enter a word or phrase in the Custom Name field at the bottom of the window, then drag the Custom Name attribute to the Format field. Tip: Because the custom name attribute appears in the Format field as “Custom Name,” you can use it for long phrases or sentences and still easily view the other attributes and text in the Format field. • Remove an attribute or text: Select the attribute or text, then press Delete. As you add and remove attributes, the example (below the Format field) shows your changes. 5. When you’re finished, click OK. Final Cut Pro User Guide 758 View the status of shared items in Final Cut Pro When you share a project, you can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When transcoding is complete, a notification appears. You can view the share history of a project and locate shared projects using the Share inspector. If you share your project or clip using the Export File destination (or any custom destinations you create based on the Export File destination), you can locate the shared file in the Finder. Open the Share inspector 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the shared project or clip you want to inspect. 2. In the browser, select the shared project or clip. 3. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 4. Click the Share button at the top of the inspector. Final Cut Pro User Guide 759 A summary of the project’s or clip’s information appears at the top of the inspector, metadata (or attributes) included with the shared project or clip appears in the middle, and information about where the project or clip has been shared appears at the bottom. Click the shared item’s pop-up menu to access more options. Locate a shared project or clip in the Finder 1. In Final Cut Pro, select the shared project or clip. 2. Open the Share inspector, then click the shared item’s pop-up menu and choose Reveal in Finder. Note: Not all shared items generate an output file that you can reveal in the Finder. For more information about shared files, see Locate source media files. For information about removing a previously shared project or clip from a video-sharing website, see the documentation for the website. Final Cut Pro User Guide 760 Manage media, libraries, and archives Intro to media management in Final Cut Pro Final Cut Pro provides you with flexible and powerful tools to manage your media files. The first time you open Final Cut Pro, it automatically creates a library file in the Movies folder. You can import media into the library file or have Final Cut Pro access media files in other locations. The Final Cut Pro library database tracks your edit decisions, the associated metadata, and all your events, projects, and clips (as well as any optimized or rendered media files). The library database also keeps track of all your source media files (video files, audio files, or still-image files), whether they are stored in the Final Cut Pro library file or in other locations. As your library grows, you can rename, copy, move, and delete your clips, events, and projects as necessary. You can use multiple libraries and events to organize media and projects to suit your workflow. For example, copying or moving events is useful if you want to work on a project using another Mac that has Final Cut Pro installed, or if you want to free up storage space. Use other media management tools such as the Consolidate command for backups and managing shared storage. The following are some common media management tasks: • Transcoding your source media files to optimized or proxy formats that are high quality and easy to work with. See Create optimized and proxy files. Final Cut Pro User Guide 761 • Backing up your work. See Back up projects and libraries. • Consolidating source media files in one location. See Consolidate projects and libraries. • Locating source media files. See Locate source media files. • Relinking clips to media files. See Relink clips to media files. • Managing multiple libraries, including copying and moving items between libraries. See Intro to managing libraries. • Creating camera archives to save the contents of your camera or camcorder as readily available backups on any computer. See Create camera archives. Importing media from cameras, external storage devices, or other devices is also generally considered a form of media management. See Intro to importing media. Manage your media files View a clip’s information in Final Cut Pro The Info inspector provides a summary of a clip’s information. Here you can view status information about a clip’s source media file, including the file’s location, available media representations for the file, the event the clip is located in, and the event the clip references. 1. Select a clip in the Final Cut Pro browser or timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. Final Cut Pro User Guide 762 3. Click the Info button at the top of the inspector. Tip: Double-click the top bar of the inspector to switch between half-height view and full-height view. 4. In the Info inspector, scroll down to view the file information. For information about using optimized or proxy media for playback, see Control playback quality. For more general information about optimized and proxy media, see Create optimized and proxy files. Override a clip’s metadata in Final Cut Pro You can use the Info inspector to override information (called metadata) about a clip or group of clips selected in either the browser or the timeline. You can adjust color space information, anamorphic playback, and field order. For more information about managing metadata, including metadata views and naming presets, see Intro to metadata. Change a clip’s color space metadata The color space metadata for a video clip is sometimes missing or incorrect, especially when you use media that was created by third-party software. When this happens, the Color Profile field in the Info inspector is empty or shows unexpected values, which can result in the inaccurate display or color processing of the media. You can use the Color Space Override setting to correct the color space metadata so that Final Cut Pro processes and displays the selected clip correctly. It’s best to do this before attempting any color correction. Note: The steps below change a clip’s metadata only. If you want to adjust a clip’s luminance levels, see Convert or adjust HDR clips. Final Cut Pro User Guide 763 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Extended. 4. Locate the Color Profile field, and check to see whether the metadata is missing or incorrect. The metadata tag consists of three numbers, which refer to standard color spaces. Here are the correct codes for the standard formats: • 1-1-1: Rec. 709 (HD) • 9-16-9: Rec. 2020 PQ • 9-18-9: Rec. 2020 HLG • 9-1-9: Rec. 2020 SDR • 5-1-6: PAL SD • 6-1-6: NTSC SD 5. If the code is missing or incorrect, click the Metadata View pop-up menu in the bottomleft corner of the Info inspector and choose Settings. 6. Click the Color Space Override pop-up menu and choose the correct (original) color space for the selected clip. For more information about color spaces, see Intro to wide color gamut and HDR. Adjust anamorphic footage Some video camcorders and recording devices shoot at a widescreen 16:9 aspect ratio but record the data using a 4:3 aspect ratio. Sometimes the metadata tag specifying 16:9 playback in the video file is missing or set incorrectly. In Final Cut Pro, you can set this tag so that the video plays correctly with a widescreen 16:9 aspect ratio. Note: This option is available only for the following formats: standard definition (SD) and ARRI ALEXA 2K 4:3 (2048 x 1536). 1. In the Final Cut Pro browser or timeline, select the SD clips whose anamorphic setting you want to adjust. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Settings. 4. Click the Anamorphic Override pop-up menu and choose Widescreen. Final Cut Pro User Guide 764 Change a clip’s field order Modern video cameras and codecs support two kinds of video frame rates: progressive, in which video is recorded and stored as a series of whole frames, and interlaced, in which each frame is made up of two half-frames called fields. In the interlaced system, each field contains half the frame lines; one field contains lines 1, 3, 5, 7, 9 and so on, and the other field contains lines 2, 4, 6, 8, 10, and so on. When the video is played back, the TV displays the fields in an alternating pattern, which creates an effective illusion of smooth movement. A clip’s field order determines the temporal order of fields within a frame. Missing or incorrect field order metadata can result in awkward field movement and improper motion effects rendering (in a left-to-right wipe, for example). You can correct this order with the Field Dominance Override pop-up menu. 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Settings. 4. Click the Field Dominance Override pop-up menu and choose one of the following: • Progressive: The video is displayed in complete frames with all lines sampled at the same instant in time. • Upper First: The video is interlaced and displayed as two separate interleaved fields. The field containing the top line is sampled at an earlier instant in time than the field containing the bottom line. This field order is commonly used for high-definition (HD) video and standard-definition (SD) PAL video. • Lower First: The video is interlaced and displayed as two separate interleaved fields. The field containing the bottom line is sampled at an earlier instant in time than the field containing the top line. This field order is commonly used for SD NTSC video. Locate source media files in Final Cut Pro You can locate the original source media file or proxy file (on your Mac or storage device) for any clip in your library. 1. In the Libraries sidebar in Final Cut Pro, select the event that contains the clip. 2. Select the clip in the browser. 3. Do one of the following: • Locate the original source media file: Choose File > Reveal in Finder (or press ShiftCommand-R). • Locate the proxy file: Choose File > Reveal Proxy Media in Finder. A Finder window opens, with the file selected. You can also quickly find the source event clip for any clip in the timeline. See Find a project clip’s source clip. Final Cut Pro User Guide 765 Relink clips to media files in Final Cut Pro In Final Cut Pro, clips represent your media, but they are not the media files themselves (see Media files and clips). Final Cut Pro keeps track of the links between clips and media files automatically. However, there are times when you need to manually relink clips to media files: • When files are altered or re-created outside of your copy of Final Cut Pro: For example, if you send files out for color correction, you may need to relink the clips in your event to the color-corrected versions of the files when you receive them. • When media files are missing: If you move or rename externally linked files in the Finder, or if you move an event or a project to a different location, you need to relink the event or project clips (which appear as red frames with yellow alert triangles) to the files. In either case, manually relinking connects the clips in Final Cut Pro to the correct files on your Mac or storage device. You can relink either original source media files or proxy files. The relinked files must include all the media in the referenced clips and must be the same media type (for example, video or audio), have the same frame rate, and have similar audio channels. Note: You can’t undo the Relink Files command. 1. In Final Cut Pro, do one of the following: • In the browser or the timeline, select the clips you want to relink. • In the browser, select the projects containing the clips you want to relink. • In the Libraries sidebar, select an event or an entire library containing the clips you want to relink. 2. Do one of the following: • Relink original source media files: Choose File > Relink Files > Original Media. • Relink proxy files: Choose File > Relink Files > Proxy Media. The Relink Files window appears. By default, this window shows missing clips or events only. Final Cut Pro User Guide 766 3. If you want to show all items in the selection, select All. 4. Do one of the following: • Locate all the matching files: Click Locate All. • Locate some of the matching files: Select items in the list and click Locate Selected. 5. In the window that appears, navigate to one of the files you want to link to, or to the folder that contains it. Text at the bottom of the window indicates how many potential matches to items in your original list were found (based on the filenames only). Final Cut Pro User Guide 767 Note: Final Cut Pro identifies matches based on proximity in the directory structure and related filenames. For example, if your original files were in two adjacent folders, Final Cut Pro looks in folders adjacent to the folder containing the file you chose and relinks all matching files in the relative path. If your original files were named “File1,” “File2,” “File3,” and so on, and you chose to relink to a file named “File1_A,” Final Cut Pro looks for files named “File2_A,” “File3_A,” and so on to relink the remaining items in your list. 6. Click Choose. Final Cut Pro analyzes the files to confirm that all attributes (in addition to the filename) match items in the original selection. Analysis results are shown below the Original Files list (for example, “3 of 3 files matched”). 7. Click the disclosure triangle next to the analysis results to show a list, with old files on the left and new, matching files on the right. If a file was matched incorrectly, select it in the list and press Delete. The item is placed back in the original list at the top of the Relink Files window. Items with no matches remain in the original list above. To continue to locate matches, select items in the original list and repeat steps 4 through 6. 8. To link the event clips to the new media files, click Relink Files. All matched clips (including those in other projects or events) are updated to link to the new media files. Metadata in the relinked clips remains unchanged. Note: Red “Missing Proxy File” alert icons in the browser, viewer, or timeline may indicate an unrelated issue. You may need to switch the playback media mode or generate proxy media. See Control playback quality or Create optimized and proxy files. Consolidate projects and libraries in Final Cut Pro In the course of creating a project, you might use media files from a variety of locations, including your local computer and external storage devices. If the media being used in a project, event, or library is located in multiple folders or on multiple storage devices, you can consolidate all the media in one location, on one storage device. This process facilitates archiving and makes it easier for others to access the media (using shared storage, for example). The Consolidate command places the files in the current library storage location. You view and set storage locations for media, Motion content, cache files, and library backup files using the Library Properties inspector. Final Cut Pro User Guide 768 The Consolidate command follows these rules: • When you consolidate files out of a library to an external folder, the files are moved. • When you consolidate files into a library from an external folder, or from an external folder to another external folder, the files are copied. These rules prevent broken links from other libraries. Note: If the media is already external, and no other libraries are using it, you can manually delete the original media after consolidating to save storage space. Consolidate media files for a library, event, project, or clip 1. In the Libraries sidebar in Final Cut Pro, do one of the following: • Select a library. • Select one or more events. • Select an event, then select one or more projects in the browser. • Select an event, then select one or more clips in the browser. 2. Choose File > Consolidate [item] Media. 3. In the window that appears, select one or more media types (original, optimized, or proxy) and confirm the library to consolidate the files into. 4. Click OK. If you chose to include optimized or proxy media, and the optimized or proxy media isn’t available, you’re given the option to generate the media. Final Cut Pro copies the media types you selected to the current library storage location, generating optimized or proxy media in that location if needed. To view or change library storage locations, see Set storage locations. If a message appears stating that there is nothing to consolidate, it means that all of your media files are already consolidated at one location, on one storage device. Consolidate the Motion content for a library By default, when you create or customize any Final Cut Pro effects, transitions, titles, or generators in Motion, that Motion content is stored in the Motion Templates folder located in your Movies folder. You can also store that Motion content inside a library—for example, to move a project or library to another Mac, or to back up and archive your work. You use the Library Properties inspector to manage storage locations for Motion content files and consolidate them (either to the Motion Templates folder or to the library). Important: The Consolidate command described below works only on effects, transitions, titles, or generators that have been added to projects or events in the selected library. Other Motion content is not affected. 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. Choose File > Consolidate Motion Content. You can also press Command-4 to open the Library Properties inspector, then click Consolidate in the Motion Content section. Final Cut Pro User Guide 769 3. In the window that appears, confirm the storage location (either the library file or the Motion Templates folder) to consolidate the files into. If a message appears stating that there’s nothing to consolidate, it means that all of your media files are already consolidated at one location, on one storage device. 4. Click OK. The Motion content files that are in use in the library are copied into the current Motion content storage location for the library (either the library file or the Motion Templates folder). To view or change library storage locations, see Set storage locations. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Back up projects and libraries in Final Cut Pro Backing up your work and your media consistently is an essential part of your workflow. Some people back up daily or weekly; others back up when a project is complete. To protect your media, it’s recommended that you back up to a storage device or partition different from the one where you store the media files used with Final Cut Pro. Final Cut Pro provides both automatic and manual tools that let you: • Back up projects, events, and libraries manually. See Transfer a library to another Mac and Copy or move items between libraries. • Enable automatic backups of the database portion of Final Cut Pro libraries. See Restore a library and Set storage locations. • Back up projects by duplicating them as snapshots. See Duplicate projects and clips. • Collect the source media files for a library, an event, or a project in one location. You can also collect Motion content for a library in the library file or the Motion Templates folder. See Consolidate projects and libraries. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Create optimized and proxy files in Final Cut Pro Final Cut Pro can play back many media formats. For a complete list, see Supported media formats. Final Cut Pro also provides options for transcoding your media (converting it to a different format or changing its settings) to make it suitable for editing. • Create optimized media: This option transcodes video to the Apple ProRes 422 format, which provides better performance during editing, faster render times, and better color quality for compositing. If the original camera format can be edited with good performance, this option is dimmed. Final Cut Pro User Guide 770 • Create proxy media: This option creates video proxy files. Video is transcoded to either the Apple ProRes 422 Proxy or H.264 format. You can create proxy media in a variety of frame sizes from 12.5 percent to 100 percent of the original. Proxy files increase editing performance and take up considerably less storage space than optimized files. Note: For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to MOV audio files. When transcoding files, Final Cut Pro always retains the original media for future use. You can create optimized and proxy media during the import process or in the browser, after the media has been imported. You can also create a proxy file for a clip using the Info inspector. After transcoding is complete, the optimized and proxy files are stored in your Final Cut Pro library or in an external location you define. See Set storage locations. Create optimized and proxy files during import During import, Final Cut Pro either creates an alias file that points to the media file in its original location, or creates a copy of the original media file. After the files are imported, transcoding, optimization, and analysis are performed in the background. 1. In Final Cut Pro, do one of the following: • Import a file from a compatible file-based recording or storage device, or from your Mac: Connect your device to your Mac, turn on the device, and choose File > Import > Media (or press Command-I), then navigate to and select the media you want to import. • Import a file from a tape-based camcorder: Connect your device to your Mac, turn on the device and set it to VTR or VCR mode, then choose File > Import > Media. • Import from an archive: Choose File > Import > Media, select a camera archive from the list on the left, click Open Archive, then navigate to the files you want to import. See Intro to importing media. 2. Use the settings on the right side of the Media Import window to choose how you want to organize the imported media in your library: • Add the imported media to an existing event: Select “Add to existing event,” then click the pop-up menu and choose the event. • Create a new event: Select “Create new event in,” use the pop-up menu to choose the library in which you want to create the event, then type a name (for example, “Chris and Kim Wedding”) in the text field. To learn more about events, see Intro to libraries. If you want to import media into a new library, you must create the new library before importing your media. 3. In the Files section, choose a storage option: • Copy the files to the current library: To duplicate the files and place the copies in the current library storage location, select “Copy to library.” You can set storage locations for each of your libraries. See Set storage locations. • Link to the files at their current location: Select “Leave files in place.” Note: If you select this option, Final Cut Pro creates symbolic links (also called symlinks), which are special files that point to the media files. If you later copy or move clips between events, only the symbolic links are copied or moved (not the source media files). To replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. Final Cut Pro User Guide 771 4. Do any of the following: • Create optimized files: Select the “Create optimized media” checkbox. • Create proxy files: Select the “Create proxy media” checkbox, then select the proxy format and frame size. For details about the settings, see the “Transcode” section in Import preferences. Note: If the original camera format can be edited with good performance, the “Create optimized media” option is dimmed. If optimized and proxy media are already available, the “Create optimized media” and “Create proxy media” options are dimmed. The files are transcoded in the background, after the import process is complete. 5. Click Import Selected or Import All (the Import button changes its name based on your clip selection). The import may take a while, depending on the options you selected. You can see the status of all the background processes currently running in the Background Tasks window. Create optimized and proxy files after import 1. Do one of the following: • Control-click one or more clips in the Final Cut Pro browser or events in the Libraries sidebar, then choose Transcode Media from the shortcut menu. • Select one or more clips or projects in the browser, then choose File > Transcode Media. 2. In the window that appears, do any of the following: • Create optimized files: Select the “Create optimized media” checkbox. • Create proxy files: Select the “Create proxy media” checkbox, then select the proxy format and frame size. For details about the settings, see the “Transcode” section in Import preferences. Note: If the original camera format can be edited with good performance, the “Create optimized media” option is dimmed. If optimized and proxy media are already available, the “Create optimized media” and “Create proxy media” options are dimmed. 3. Click OK. The transcoding process may take a while, depending on the options you selected. You can see the status of all the background processes currently running in the Background Tasks window. Tip: MP3 audio files from projects created with versions of Final Cut Pro earlier than 10.0.4 can be manually transcoded to WAV audio files using this process. Create optimized and proxy files when importing by dragging Media you drag from the Finder into an event or the timeline is automatically organized, transcoded, and analyzed based on the import settings you specify in Final Cut Pro preferences. 1. To specify import settings, choose Final Cut Pro > Preferences, click Import, and select the import settings you want to apply to your media. See Import preferences. Final Cut Pro User Guide 772 2. To import one or more files, select a file (or Command-click multiple files) in the Finder, then drag the selection to the timeline or to an event in the Libraries sidebar. Generate a proxy file from the Info inspector You can use the Info inspector to create a proxy file for a clip or to see whether a proxy file exists for a clip. If the file you’re viewing in the Info inspector doesn’t have a proxy file, you see a red triangle. 1. Select a clip in the Final Cut Pro browser. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. Final Cut Pro User Guide 773 4. Scroll down to the bottom section of the Info inspector, then click Transcode Media. 5. In the window that appears, do any of the following: • Create optimized files: Select the “Create optimized media” checkbox. • Create proxy files: Select the “Create proxy media” checkbox, then select the proxy format and frame size. For details about the settings, see the “Transcode” section in Import preferences. Note: If the original camera format can be edited with good performance, the “Create optimized media” option is dimmed. If optimized and proxy media are already available, the “Create optimized media” and “Create proxy media” options are dimmed. 6. Click OK. The transcoding process may take a while, depending on the options you selected. You can see the status of all the background processes currently running in the Background Tasks window. Tip: MP3 audio files from projects created with versions of Final Cut Pro earlier than 10.0.4 can be manually transcoded to WAV audio files using this process. The proxy file is created, and a green circle appears next to the proxy item in the Available Media Representations section, indicating that the proxy file for the clip is available. Delete optimized or proxy files You can delete optimized or proxy media files at any time, no matter where they’re stored. Original media files are not deleted, so you can always regenerate optimized and proxy files from the original media. 1. In Final Cut Pro, do one of the following: • Delete optimized or proxy files for one or more clips: In the browser or the timeline, select one or more clips. • Delete optimized or proxy files for one or more projects: In the browser, select one or more projects. Final Cut Pro User Guide 774 • Delete optimized or proxy files for one or more events: In the Libraries sidebar, select one or more events in the same library. • Delete optimized or proxy files for a library: Select a library in the Libraries sidebar. 2. Choose File > Delete Generated [item] Files. 3. In the window that appears, select any of the following: • Delete Optimized Media • Delete Proxy Media 4. Click OK. The selected files are deleted from your storage device. Note: Unlike other media management commands in Final Cut Pro, the Delete Generated Library Files and Delete Generated Clip Files commands affect external media as well as managed media (in the library). To control whether Final Cut Pro displays optimized, proxy, or original media in the viewer, and whether video playback is optimized for quality or performance, choose the corresponding options from the View pop-up menu in the upper-right corner of the viewer. See Control playback quality. Important: If you use proxy media for playback, make sure to switch back to optimized/ original media before sharing your project. This ensures the highest quality in the exported file. See Intro to sharing projects. Create a proxy-only project in Final Cut Pro You can create proxy-only versions of your projects, events, and libraries for portability and performance. The proxy-only versions contain only proxy media files, along with file types that don’t support proxy media, such as audio, video with an alpha channel, and still images. Proxy-only projects are useful for offline editing. Video proxy files use considerably less storage space, often enough to allow you to work on a portable computer instead of a desktop computer with significantly more memory and processing power. The following instructions are for making a proxy-only version of a project, but they apply equally to making proxy-only events and proxy-only libraries. Create a proxy-only project for offline editing 1. In the Libraries sidebar in Final Cut Pro, select the event that contains your project. 2. In the browser, select the project, then choose File > Copy [item] to Library > New Library. Note: To make a proxy-only version of an event or a library, select it in the Libraries sidebar. 3. Enter a name for the new library, choose a location for it, and click Save. 4. In the window that appears, select Media in the Include section, then select the “Proxy media” checkbox. 5. In the Media Destination section, click Modify Settings and choose a storage location for the new library, then click OK. Final Cut Pro User Guide 775 Important: If a window appears with the option to generate proxy media for clips in the project, click Transcode. Final Cut Pro copies the item you selected and its proxy media to the new library’s storage location (or generates the proxy media at that location). The new library appears in the Libraries sidebar. Note: File types that don’t support proxy media (audio, video with an alpha channel, and still images) are copied to the new library’s storage location in their original format. 6. Open the project in the new library. 7. Click the View pop-up menu in the upper-right corner of the viewer, and choose either Proxy Only or Proxy Preferred in the Media Playback section. Missing File alert icons may appear in the browser, timeline, and viewer if Media Playback is set to Optimized/Original. See Control playback quality. For more information about setting the library storage location, see Set storage locations. Relink a proxy-only project to original or optimized media You can return a proxy-only project to the original library and reunite it with its original or optimized media. 1. In the Final Cut Probrowser, rename the proxy-only project (to distinguish it from the original project), then drag it to an event in the original library. See Copy or move items between libraries. 2. In the window that appears, select “Project without media” in the Include section. Note: If you added new media to the project and want the new media to be copied to the original library, select Media in the Include section, then select the “Original media” checkbox. A copy of the project appears in the event, automatically connected to the relevant original or optimized media. Manage render files in Final Cut Pro By default, rendering happens in the background in Final Cut Pro, but you can also manually start rendering for a project or a portion of a project. Render files are stored in your Final Cut Pro library or in an external location you define. See Set storage locations. Over time, render files can accumulate and take up storage space. Unused render files can also accumulate when you do any of the following: • Make changes to a project timeline • Update Final Cut Pro, macOS, or third-party plug-ins • Move a library between computers with different versions of macOS If you want to free up storage space, you can delete unused render files in selected events. You can also delete all render files for projects, events, or libraries. Original media files are not deleted, so you can always regenerate render files from the original media. Note: The Delete Generated Files commands delete render, optimized, and proxy files only. See Create optimized and proxy files. Final Cut Pro User Guide 776 Render all or part of a project In Final Cut Pro, do one of the following: • Render a portion of your project: In the timeline, select the clip or clips that you want to render, then choose Modify > Render Selection (or press Control-R). Note: The selection must be a clip selection, not a range selection. See Select one or more clips and Select a range. • Render all portions of your project that need rendering: Choose Modify > Render All (or press Control-Shift-R). Final Cut Pro renders the portions of the project that you defined and removes the corresponding dotted render indicator. You can view the progress of rendering in the Background Tasks window. Delete clip render files 1. Select one or more clips in the Final Cut Pro browser. 2. Choose File > Delete Generated Clip Files. 3. In the window that appears, select Delete Render Files and click OK. Delete project render files 1. Select one or more projects in the Final Cut Pro browser. 2. Choose File > Delete Generated Project Files. 3. In the window that appears, select Delete Render Files and click OK. Delete event render files 1. In the Libraries sidebar in Final Cut Pro, select one or more events in the same library. 2. Choose File > Delete Generated Event Files. 3. In the window that appears, select Delete Render Files. 4. Select whether to delete unused render files or all render files, then click OK. Note: If you choose to delete all render files in an event, any project render files in that event are also deleted. Delete render files from a library 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. Choose File > Delete Generated Library Files. 3. In the window that appears, select Delete Render Files. 4. Select whether to delete unused render files or all render files, then click OK. Final Cut Pro User Guide 777 View background tasks in Final Cut Pro Many Final Cut Pro tasks take place in the background: • Importing • Transcoding • Analyzing and optimizing video and audio • Rendering • Sharing • Transferring remote media • Backing up libraries Final Cut Pro manages background tasks automatically, so you don’t need to do anything to start or pause them. If you want to see the progress of any of the background processes, you can open the Background Tasks window, which shows the tasks being performed and the percentage of completion. Important: If you actively use Final Cut Pro while background tasks are running, the background tasks are paused. The tasks resume when you stop using Final Cut Pro. View tasks that are running in the background 1. In Final Cut Pro, do one of the following: • Choose Window > Background Tasks (or press Command-9). • In the toolbar, click the Background Tasks button. 2. To view the active tasks in a section, click its disclosure triangle. Pause or resume a background task • In the Background Tasks window in Final Cut Pro, click the Pause button or Resume button . Cancel a background task • In the Background Tasks window in Final Cut Pro, click the Cancel button . Final Cut Pro User Guide 778 Manage libraries Intro to managing libraries in Final Cut Pro You can work with multiple libraries in Final Cut Pro, opening and closing them as needed. You can easily copy events and projects between libraries, which makes it simple and quick to move media, metadata, and creative work to another system so that you can edit on a portable computer, collaborate with other editors, or archive your projects and media. For each library, you can set storage locations for media files, cache files, and library backups. See Set storage locations. Create a new library in Final Cut Pro You can create new, empty libraries, or you can create libraries from existing events. 1. If the Final Cut Pro Libraries sidebar isn’t already shown, do one of the following: • Click the Libraries button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Libraries (or press Command-1). 2. Do one of the following: • Create an empty library: Choose File > New > Library, navigate to a location on your Mac or storage device where you want to save the library, enter a name, and click Save. Note: You can’t store your Final Cut Pro library on a storage device that’s used for Time Machine backups. Final Cut Pro User Guide 779 • Create a library from existing events: Select one or more events in an existing library, then choose File > Copy Events to Library > New Library, navigate to a location on your Mac or storage device where you want to save the library, enter a name, and click Save. The new library appears in the Libraries sidebar. Note: With Final Cut Pro 10.4 or later, you can save a library to a SAN (such as an Xsan storage volume) or an NFS or SMB file system volume and use it as if it were on a local storage device. A network SMB volume must originate from either a macOS server or a Linux server that has Samba 4.3.4 or later and is configured with modules for Apple compatibility. See the Apple Support article Use shared storage with Final Cut Pro. If you’re opening a library that uses media on shared storage, be sure to connect the shared storage before opening the library. Open and close libraries in Final Cut Pro You can open and close libraries in the Libraries sidebar as needed, so that you never have too many libraries open at once. Make sure to close a library before disconnecting an external storage device the library is stored on. 1. If the Final Cut Pro Libraries sidebar isn’t already shown, do one of the following: • Click the Libraries button in the top-left corner of the Final Cut Pro window. • Choose Window > Go To > Libraries (or press Command-1). 2. Do any of the following: • Open an existing library: Choose File > Open Library, then choose a library from the submenu. You can also double-click a library file in the Finder. If you’re opening a library that uses media on shared storage, be sure to connect the shared storage before opening the library. • Close a library: Select the library in the Libraries sidebar, then choose File > Close Library. Tip: To open specific libraries when you open Final Cut Pro, Option-click the Final Cut Pro app icon in the Dock, then select one or more libraries in the list and click Choose. To select more than one library, Command-click the libraries in the list. Copy or move items between libraries in Final Cut Pro You can copy or move clips, projects, or entire events between libraries in the same storage location or between libraries in different storage locations. You can also copy the contents of one library to another library. Final Cut Pro User Guide 780 Copying or moving items between libraries lets you: • Use multiple libraries on the same storage device to organize a large number of active projects and media assets. • Work on your project and media files on a different Mac that has Final Cut Pro installed. • Back up your project and its media files to a storage device, a network volume, or other storage media. • Allow multiple users to access your media in an external folder on shared storage. • Free up space on your Mac or storage device. When you copy an item from one library to another, the corresponding files are duplicated on the storage device that contains the receiving library. When you move an item from one library to another, the corresponding files are moved from the library file in the first storage location to the library file in the second location. Note: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. See Manage Motion content. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Copy items to another library You can copy clips, projects, events, or the contents of a library to another library. 1. In the Libraries sidebar in Final Cut Pro, do one of the following: • Select the event you want to copy. • Select the event that contains the clips or projects you want to copy. • Select the library you want to copy. 2. If you’re copying clips or projects, select them in the browser. Note: You can’t select clips and projects at the same time. 3. Do one of the following: • If the library you want to copy to is present in the Libraries sidebar: Drag the items to the library. If you’re copying an event, drag it to the library icon . If you’re copying clips and projects, drag them to a specific event icon. • If the library you want to copy to is not present in the Libraries sidebar: Do one of the following: • Choose File > Open Library and choose the library from the submenu, then follow the instructions above. • Choose File > Copy [item] to Library and choose the library from the submenu, or choose New Library to create a new library and set a location for it. 4. In the window that appears, select options for copying the items, then click OK. If you chose to include optimized or proxy media, and the optimized or proxy media isn’t available, you’re given the option to generate the media. Final Cut Pro copies the item you selected and the corresponding media to the destination library’s storage location, generating optimized or proxy media at that location if needed. Final Cut Pro User Guide 781 Move items between libraries You can move clips, projects, or events between libraries. 1. In the Libraries sidebar in Final Cut Pro, select the event you want to move, or select the event that contains the clips or projects you want to move. 2. If you’re moving clips or projects, select them in the browser. Note: You can’t select clips and projects at the same time. 3. Do one of the following: • If the library you want to move the items to is present in the Libraries sidebar: Command-drag the items to the library by first starting to drag and then holding down the Command key as you drag. If you’re copying an event, drag it to the library icon . If you’re copying clips and projects, drag them to a specific event icon. • If the library you want to move the items to is not present in the Libraries sidebar: Do one of the following: • Choose File > Open Library and choose the library from the submenu, then follow the instructions above. • Choose File > Move [item] to Library and choose the library from the submenu, or choose New Library to create a new library and set a location for it. 4. In the window that appears, select the options you want for moving the items, then click OK. Important: When you import media into Final Cut Pro, you can select the “Leave files in place” option to link to the files in their current location rather than copy them into the library. In that case, Final Cut Pro creates symbolic links (also called symlinks), which are special files that point to the media files. When you copy or move clips between events, only the symbolic links are copied or moved (not the source media files). To replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. Transfer a Final Cut Pro library to another Mac You can copy a Final Cut Pro library to an external storage device to save space or to edit your project on another Mac. Note: You can’t store your Final Cut Pro library on a storage device that’s used for Time Machine backups. 1. Connect an external storage device to your Mac. 2. In the Libraries sidebar in Final Cut Pro, select the library you want to copy. 3. To open the Library Properties inspector, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. Final Cut Pro User Guide 782 4. In the Media section, make sure the media storage location is set to In Library, then click Consolidate. See Set storage locations. 5. If your project contains effects, transitions, titles, and generators that were created or customized in Motion, make sure the Motion Content storage location is set to In Library, then click Consolidate. Note: As an alternative, you could manually back up and copy the Motion Templates folder located in your Movies folder. Regardless, you must manually track and move any third-party (FxPlug) content, because it’s not managed within the Final Cut Pro library. 6. Quit Final Cut Pro. Important: Always make sure that Final Cut Pro is not open when you copy or move libraries in the Finder. 7. In the Finder, drag the library file to the icon for the connected external storage device. If you can’t find the library file in the Finder, open Final Cut Pro, select the library in the Libraries sidebar, then choose File > Reveal in Finder (or press Shift-Command-R). The library is copied to the external storage device. 8. When copying is complete, eject the external storage device and disconnect it from your Mac. 9. Connect the external storage device to the new (destination) Mac. 10. Drag the library file to the folder on the new Mac where you want to store the file. 11. To open the library, double-click its icon. Set storage locations in Final Cut Pro You can set storage locations for each of your libraries. You view and define storage locations for media, Motion content, cache files, and library backup files using the Library Properties inspector. You can store these files within the library or in external folders. You can also consolidate (collect all files as managed media) inside the library for easy transport or archiving. See What are libraries? for more information about managed and external media. View and set library storage locations 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. If the Library Properties inspector isn’t already shown, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button in the toolbar. The inspector shows the storage locations for the selected library. Final Cut Pro User Guide 783 The Storage Used for Media and Motion Content section (near the bottom of the inspector) shows a list of storage devices for the existing media and custom Motion content in the selected library, including the total amount of original, optimized, and proxy media stored on each device. (This is media that was previously imported or generated for the selected library.) 3. Click Modify Settings. A window appears with pop-up menus that you can use to set storage locations. By default, media and cache files are stored within the library, Motion content is stored in the Motion Templates folder located in your Movies folder, and backups of the library database are stored in your Movies folder. 4. Use the pop-up menus to set storage locations for the library: • Media: Choose the storage location for imported files, proxy and optimized files, and consolidated files. To store files outside the library, choose “Choose,” navigate to a storage location, then click Choose. • Motion Content: Choose the storage location for effects, transitions, titles, and generators created or customized in Motion. See Manage Motion content. • Cache: Choose the storage location for render files, analysis files, thumbnail images, and audio waveform files. To store files outside the library, choose “Choose,” navigate to a storage location, then click Choose. • Backups: Choose the storage location for library backups. To store backups outside the Movies folder, choose “Choose,” navigate to a storage location, then click Choose. If you don’t want Final Cut Pro to back up your library, choose Do Not Save. Note: By default, Final Cut Pro makes automatic library backups at regular intervals. Backups include the database portion of libraries only, not the media files. Backups are saved with the time and date in the filename. To open a backup from a specific time and date and add it to the Libraries sidebar in Final Cut Pro, choose File > Open Library > From Backup. See Restore a library. 5. When you’re finished setting storage locations, click OK. Your new storage locations are used for future source media file imports, Motion content, cache files, and library backups. Important: Existing source media and backup files remain in their original locations. If you changed the cache storage location, you’re asked if you want to move your existing active render files to the new location. Consolidate media and Motion content files for a library 1. In the Libraries sidebar in Final Cut Pro, select a library. 2. If the Library Properties inspector isn’t already shown, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button in the toolbar. 3. In the Media section of the Library Properties inspector, click Consolidate. Final Cut Pro User Guide 784 4. If you want to include optimized and proxy media, select the checkboxes in the window that appears, then click OK. Final Cut Pro copies the media into the selected library file, or into the external storage location. To view or change library storage locations, see View and set library storage locations, above. For more information about consolidating media files, see Consolidate projects and libraries. 5. If your project contains effects, transitions, titles, or generators that were created or customized in Motion, make sure the Motion Content section of the Library Properties inspector is set to either In Library or “In Motion Templates folder,” then click Consolidate. Final Cut Pro copies the media into the selected library file, or into the Motion Templates folder. To view or change library storage locations, see View and set library storage locations, above. Note: You must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Manage Motion content in Final Cut Pro By default, when you create or customize any Final Cut Pro effects, transitions, titles, or generators in Motion, that content is stored in the Motion Templates folder located in your Movies folder. You can also store Motion content inside a library—for example, to move a project or library to another Mac, or to back up and archive your work. You may also want to store Motion content in the library if you’re working on a project with others and using shared storage. If you have custom Motion content and you’re copying or moving clips, projects, or events to another library, storage device, or Mac, set the storage location for your Motion content to the library before doing so. Otherwise, the Motion content is not moved or copied with the other items, and you must manually back up and move the Motion Templates folder. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library. Set the Motion content storage location before copying or moving items to another library 1. In the Libraries sidebar in Final Cut Pro, select the destination library (the library you want to copy to). 2. If the Library Properties inspector isn’t already shown, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button in the toolbar. 3. Click Modify Settings at the top of the Library Properties inspector. A window appears with pop-up menus that you can use to set storage locations. Final Cut Pro User Guide 785 4. Click the Motion Content pop-up menu and choose In Library. 5. Click OK. The destination library is now ready to receive the Motion content. For information about copying or moving clips, projects, or events to another library, see Copy items to another library and Move items between libraries. Set the Motion content storage location before copying or moving a library 1. In the Libraries sidebar in Final Cut Pro, select the library you want to copy or move. 2. If the Library Properties inspector isn’t already shown, do one of the following: • Choose File > Library Properties (or press Control-Command-J). • Click the Inspector button in the toolbar. 3. Click Modify Settings at the top of the Library Properties inspector. A window appears with pop-up menus that you can use to set storage locations. 4. Click the Motion Content pop-up menu and choose In Library. 5. Click OK. 6. In the Motion Content section of the Library Properties inspector, click Consolidate. Note: It’s recommended that you also set the media storage location and click Consolidate in the Media section. See Set storage locations. The Motion content is now stored in the library file and is ready to be copied or moved. For information about copying or moving entire libraries, see Copy a project to another Mac. Filter Motion content stored in a library If you add custom Motion content—effects, transitions, titles, or generators—to your project and store it in the library, the items may not appear in the Final Cut Pro media browsers (the browser, the Effects browser, and the Transitions browser). By default, the media browsers are set to show the effects, transitions, titles, and generators that came with Final Cut Pro, and any custom Motion content that is stored in the Motion Templates folder located in your Movies folder. However, you can use the Filter pop-up menu to show Motion content stored in a particular library. 1. In Final Cut Pro, do one of the following: • Filter titles and generators: To show titles and generators in the browser, click the Titles and Generators button in the top-left corner of the Final Cut Pro window, or choose Window > Go To > Titles and Generators (or press Option-Command-1). Final Cut Pro User Guide 786 • Filter effects: To open the Effects browser, click the Effects button in the top-right corner of the timeline (or press Command-5). • Filter transitions: To open the Transitions browser, click the Transitions button in the top-right corner of the timeline (or press Control-Command-5). 2. Click the Filter pop-up menu at the top of the media browser for the type of Motion content you want to view, then choose an option: • Installed [items]: View content that came with Final Cut Pro, and any Motion content that is stored in the Motion Templates folder located in your Movies folder. This is the default setting. • [Library name]: Choose any open library to view the custom Motion content stored in that library. Create camera archives in Final Cut Pro You can make a camera archive (backup copy) of the contents of your camera or camcorder. (You can’t make an archive from a live video signal, such as the signal produced by an iSight camera.) Because you can import media into Final Cut Pro from an archive, archiving the media on your device can be useful if you want to: • Quickly empty the contents of your camera or camcorder so that you can record more media right away, rather than wait for it to be imported into Final Cut Pro. • Import the archived media on multiple computers without having to keep it on the camcorder • Keep a browsable, “near-line” archive of media from a camera without having to import the media into Final Cut Pro Final Cut Pro User Guide 787 For information about importing media into Final Cut Pro from a camera archive, see Import from an archive or disk image. Archive the media on your file-based camera or camcorder 1. If you want to save the archive to an external storage device, connect it to your Mac. 2. Connect the camera or camcorder to your Mac using the cable that came with the device, and turn on the device. See Memory cards and cables. If you’re using a camcorder, set it to PC Connect mode. The name of this transfer mode may be different on your device. Your camcorder may automatically go into “connect” mode if you turn it on in playback mode while it’s connected to your Mac. See the documentation that came with your camcorder. Note: Connecting a DVD camcorder to your Mac can cause the DVD Player app to open. If that happens, simply close DVD Player. 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 4. Select your device in the list of cameras on the left side of the Media Import window. 5. Click the Create Archive button at the bottom-left corner of the window. 6. In the “Create Camera Archive as” field, type a name for the archive. Final Cut Pro User Guide 788 7. Click the Destination pop-up menu and choose a location to save the archive, then click OK. Note: It’s a good idea to save your archive to a disk or partition different from the one where you store the media files used with Final Cut Pro. The camera archive is stored at the location you chose. You can mount the archive as if it were a file-based camcorder and browse the archive’s contents, or you can import the media on the camera archive into Final Cut Pro. Archive the media on your tape-based camera or camcorder 1. If you want to save the archive to an external storage device, connect it to your Mac. 2. Connect the camera or camcorder to your Mac using the cable that came with the device, and turn on the device. See Memory cards and cables. If you’re using a camcorder, set it to PC Connect mode. The name of this transfer mode may be different on your device. Your camcorder may automatically go into “connect” mode if you turn it on in playback mode while it’s connected to your Mac. See the documentation that came with your camcorder. 3. In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left side of the toolbar. 4. Select your device in the list of cameras on the left side of the Media Import window. 5. Click the Create Archive button at the bottom-left corner of the window. 6. In the “Create Camera Archive as” field, type a name for the archive. Final Cut Pro User Guide 789 7. Click the Destination pop-up menu and choose a location to save the archive, then click OK. Note: To protect your media, it’s a good idea to save your archive to a disk or partition different from the one where you store the media files used with Final Cut Pro. Final Cut Pro begins archiving from the current location on the tape. Archiving continues until one of the following occurs: • The end of the tape is reached. • You stop the archiving process by clicking Stop Import or Close (to close the Media Import window). The camera archive is stored at the location you chose. You can mount the archive as if it were a file-based camcorder and browse the archive’s contents, or you can import the media on the camera archive into Final Cut Pro. Move or copy a camera archive 1. In the Finder, select the camera archive that you want to move or copy. 2. Do one of the following: • Move the camera archive on your local disk: Drag the camera archive to a new location. • Copy the camera archive on your local disk: Hold down the Option key and drag the camera archive to a new location on your local disk. • Copy the camera archive to an external storage device: Drag the camera archive to a location on the external storage device. Delete a camera archive Camera archives are very small relative to other media files, and often don’t warrant being deleted. However, you can delete a camera archive at any time. 1. Control-click the camera archive in the Finder, then choose Move to Trash. 2. Control-click the Trash icon in the Dock, then choose Empty Trash. Important: Emptying the Trash permanently deletes the camera archive. Common media management issues Alert icons in Final Cut Pro When you see red frames and a yellow alert triangle in the timeline or an event, it means that part of your project or event is missing. There are many reasons that clips, events, media files, and effects can be missing—for example, moving projects, events, and files between computers or actively managing your media using the Finder. Final Cut Pro User Guide 790 Final Cut Pro events and clips Icon Alert Description Missing Clip A clip used in a Final Cut Pro project or event is not available. You may see this alert if you moved the clip to the Trash, moved a clip (or an event), moved a project to a different location, or consolidated a different project’s media. Missing Camera A camera that contains files used in Final Cut Pro is not connected to your system. To avoid getting this alert, create a copy of the media when you import it. See Organize files during import. Media files Icon Alert Description Missing File A file is not available in the Finder. You may see this alert if you moved or renamed a file in the Finder, moved an event or a project to a different location, or consolidated a different project’s media. Modified File A media file has been changed by an app other than Final Cut Pro. Missing Proxy File A proxy file created by Final Cut Pro is not in its expected location in the Finder. See Create optimized and proxy files. Missing Remote Media Some remote media was not downloaded completely. There may be connection issues with the local or remote network, permissions may have expired, or files may no longer exist on the server. Downloading Remote Media Some remote media is being downloaded. Missing Plug-in A plug-in is missing. Some media file formats require that you download and install an additional software plug-in. You may see this alert if the plug-in is not installed correctly. Final Cut Pro User Guide 791 Final Cut Pro effects Icon Alert Description Missing Effect An effect in Final Cut Pro is missing. Missing Generator A generator in Final Cut Pro is missing. Missing Title A title in Final Cut Pro is missing. Missing Transition A transition in Final Cut Pro is missing. Missing LUT A LUT in Final Cut Pro is missing. See Apply LUTs. Solutions to media management issues in Final Cut Pro This section describes common media management issues and solutions. If you can’t relink clips to media files transcoded in Compressor If media files that you transcoded in Compressor are not automatically matched and relinked in Final Cut Pro, it may be because of how the files were named. For example, if you use Compressor to batch transcode proxy files from a set of source media files, the setting name is appended to the end of the filename as a suffix. You can change the filename that Compressor assigns at any time. See “Set a custom location’s filename format” in Work with locations in Compressor. During the relinking process, Final Cut Pro looks for matches between the source filename and the output filename. The source and output filenames can have nonmatching suffixes as long as each suffix is preceded by an underscore (_) or hyphen (-). Using other characters or symbols before a suffix will prevent automatic matching to the original clips in your Final Cut Pro library. Note: You can still manually relink clips to compatible files with any filename, by selecting a clip in the Relink Files window, clicking Locate Selected, and navigating to the files one at a time. See Relink clips to media files. Final Cut Pro User Guide 792 To ensure automatic matching and relinking, follow these filenaming guidelines: • Use the underscore (_) or hyphen (-) character before a filename suffix. • Don’t precede a filename suffix with other characters such as the plus sign (+), slash (/), or backslash (\). For examples, see the table below. Source filename Output filename Result A.mov A+suffix.mov Will not match because of the plus sign (+). A_B.mov A_suffix.mov Will match, because “_B” is a valid suffix. A-B.mov A_B.mov Will match, because both “-B” and “_B” are valid suffixes. A_B.mov A_B_suffix.mov Will match, because Final Cut Pro compares the output filename without the suffix against the source filename. A_B_C.mov A_B_C_suffix.mov Will match, because Final Cut Pro compares the output filename without the suffix against the source filename. Note: When two or more matching files exist in a folder, Final Cut Pro does not automatically relink to either one of them. If you see an alert indicating that a file is missing You may see a Missing File alert if you move or rename a file in the Finder. 1. In the Finder, change the filename back to the filename used in the Final Cut Pro browser. 2. Quit and reopen Final Cut Pro. The file is relinked to the clip when Final Cut Pro opens. Final Cut Pro User Guide 793 If a clip was not imported correctly If you canceled an import and didn’t import an entire clip, the clip has a camera icon on its bottom-left corner. • Follow the instructions in Reimport a clip. If your DSLR camera isn’t recognized by Final Cut Pro • Follow the instructions in Import from digital still cameras. Final Cut Pro User Guide 794 Work smarter Final Cut Pro preferences Intro to Final Cut Pro preferences In Final Cut Pro, you can modify preference settings to specify how your source media is imported into the app, how your clips play back, and how you edit your clips in the timeline. For details about preference settings, see the following topics: • General preferences • Editing preferences • Playback preferences • Import preferences • Intro to Destinations preferences Change Final Cut Pro preference settings A preference modifies how a particular Final Cut Pro feature behaves. Most preference settings can be turned on or off at any time. The following topics describe Final Cut Pro preferences in detail. Open Final Cut Pro preferences • Choose Final Cut Pro > Preferences (or press Command-Comma), then click a button at the top of the window to open a preference pane. Final Cut Pro User Guide 795 Copy Final Cut Pro preferences between computers You can copy Final Cut Pro preference settings to another Mac that has Final Cut Pro installed so that the settings are the same on both computers. 1. Find the Final Cut Pro preference settings file in the following location: /Users/username/Library/Preferences/com.apple.FinalCut.plist 2. Copy the preference settings file to the same location on the other Mac. If necessary, overwrite any existing version of the file at that location. Reset Final Cut Pro preferences You can reset Final Cut Pro preferences to their original settings. • Press Option-Command while opening Final Cut Pro. General preferences in Final Cut Pro General preferences are basic settings in Final Cut Pro. Time Display • Time Display: Use this pop-up menu to choose the time mode for Final Cut Pro. Changes to this setting affect the timecode display below the viewer (for the position of the skimmer or the playhead), as well as trimming and navigation operations in Final Cut Pro. You have the following options: • Timecode display • Timecode display including subframes • Duration in frames • Duration in seconds Dialog warnings • Reset All: Click this button to reset all warning dialogs that you dismissed by selecting the “Do not remind me again” checkbox. Final Cut Pro User Guide 796 Audio Units • Validate on Next Launch: If you encounter issues with third-party Audio Units effects, click this button to have Final Cut Pro validate all installed third-party Audio Units effects the next time you open the app. Final Cut Pro performs a series of tests to verify that each Audio Units effect is operating correctly, and notifies you of any Audio Units effects that fail. Validation is performed automatically the first time Final Cut Pro is opened and whenever Audio Units effects are installed or reinstalled, so you don’t normally need to click this button. Color Correction • Color Correction: Use this pop-up menu to choose the default color correction effect. The controls for the default color correction effect appear when you open the Color inspector. You can choose the following color correction effects: • Color Board • Color Wheels • Color Curves • Hue/Saturation Curves Inspector Units • Inspector Units: Use this pop-up menu to choose how values are displayed in inspector controls for the Transform, Crop, and Distort effects. • Pixels: Choose this setting to display values as pixels. • Percentages: Choose this setting to display values as percentages. Editing preferences in Final Cut Pro Editing preferences affect editing behaviors in Final Cut Pro. Timeline • Show detailed trimming feedback: Select this checkbox to show the “two-up” display in the viewer for more accurate feedback on an edit point involving two adjacent clips. For example, for a simple ripple or roll edit, this display shows the end point of the left clip and the start point of the right clip. Final Cut Pro User Guide 797 • Position playhead after edit operation: Select this checkbox to have the playhead automatically positioned in the timeline at the end of your last edit. For example, if you insert a clip between two clips in the timeline, the playhead is automatically positioned between the inserted clip and the clip that follows it. Audio • Show reference waveforms: Select this checkbox to change the background appearance of the audio portion of a clip to show reference waveforms. A reference waveform shows the maximum visual resolution possible for the actual audio waveform. By factoring out loudness, reference waveforms let you see the shape of the sound more clearly. When the actual waveform changes shape (for example, it’s diminished when a clip’s volume level is low), you can continue to see its reference waveform in full for easy reference when editing. Durations • Audio Fade: Use this value slider to set the default duration, in seconds, for audio fades created using the Apply Fades command (choose Modify > Adjust Audio Fades > Apply Fades). • Crossfade: Use this value slider to set the default duration, in seconds, for audio crossfades. • Still Image: Use this value slider to set the default editing duration, in seconds, for still-image and freeze-frame clips. • Transition: Use this value slider to set the default duration, in seconds, for video transitions. Playback preferences in Final Cut Pro Playback preferences affect playback and rendering performance in Final Cut Pro. Note: For information about controlling playback quality and performance, including switching between original or optimized media and proxy media, see Control playback quality. Final Cut Pro User Guide 798 Rendering • Background render: Select this checkbox to turn on Final Cut Pro rendering operations when the system is idle. • Start after x seconds: Use this value slider to set the amount of time your system is idle, in seconds, before Final Cut Pro begins background rendering. Render/Share GPU • Render/Share GPU: Use this pop-up menu to choose which graphics processing unit (GPU) to use in Final Cut Pro when rendering or sharing. This choice affects only rendering and sharing; real-time effects use the default GPU. Playback • Create optimized media for multicam clips: Select this checkbox to automatically transcode multicam clip video to the Apple ProRes 422 codec, which provides better performance during editing and faster render times. • If a frame drops, stop playback and warn: Select this checkbox to have Final Cut Pro warn you when frames are dropped during playback. • If frames drop due to disk performance, warn after playback: Select this checkbox to have Final Cut Pro warn you if frames were dropped because of disk performance. • If frames drop on VR headset, warn after playback: Select this checkbox to have Final Cut Pro warn you if frames were dropped on a connected VR headset display. Pre-Roll Duration • Pre-Roll Duration: Use this value slider to set the amount of time to play before an audition or before the skimmer or playhead position when using the Play Around command. Post-Roll Duration • Post-Roll Duration: Use this value slider to set the amount of time to play after an audition or after the skimmer or playhead position when using the Play Around command. Player Background • Player Background: Use this pop-up menu to choose a background for the viewer. The color you choose will be visible in the case of partially or completely transparent clips, or clips that don’t fill the frame completely. A/V Output • A/V Output: Use this pop-up menu to choose an external audio/video device or monitor for output. See Play media on an external display. Final Cut Pro User Guide 799 • Show HDR as Tone Mapped: Select this checkbox to compress bright image content and reduce the apparent dynamic range of the video to fit the viewable range of the external video device. This checkbox is available only for external displays connected using an HDMI or Thunderbolt 3 cable on systems with macOS Catalina 10.15 or later. This option is disabled if a connected Pro Display XDR is set to a reference mode preset in Displays preferences, such as the HDR Video preset. Import preferences in Final Cut Pro When you import media into Final Cut Pro using the Media Import window, you can customize your import settings each time you import files. However, if you drag media directly into Final Cut Pro from the Finder, Final Cut Pro uses the import settings you selected in the Import pane of the Final Cut Pro Preferences window. Files Choose a storage location for the media files: • Copy to library storage location: This option duplicates the media files and places the copies in the current library storage location. You can set storage locations for each of your libraries. See Set storage locations. • Leave files in place: If you import files with this option selected, Final Cut Pro creates symbolic links (also called symlinks), which are special files that point to the media files without copying them. When you move, copy, or back up events and projects that use these files, only the symbolic links are copied or moved, not the source media files. If, after you move or copy your project or event, you want to replace the symbolic links with the actual source media files, select the events and choose File > Consolidate Event Files. See Media files and clips. Final Cut Pro User Guide 800 Keywords • From Finder tags: Creates a Keyword Collection for each Finder tag assigned to the files you’re importing. If the files you’re importing have tags, select this option to keep the tag organization that exists in the Finder. For more information about Finder tags, see macOS Help (available from the Help menu when the Finder is active). Note: For REDCODE RAW files only, Keyword Collections are based on tags assigned to the enclosing folder. • From folders: Creates a Keyword Collection for each folder in the files you’re importing. Select this option to preserve the file organization that exists in the Finder. (Although Keyword Collections don’t appear in a hierarchy in the Libraries sidebar, every file in a folder is assigned a keyword for each folder it’s in, whether it’s one, two, or more levels deep in that folder.) Analyze Video • Balance color: Analyzes video clips and detects color cast and contrast issues. Color is automatically balanced when you drag the clip to the timeline. You can fix color balance for a clip in an event by turning on Balance in the Color section of the Video inspector. You can turn off the automatic color adjustments at any time to display the colors that were originally recorded. • Find people: Analyzes clips with video for the presence of people and shot types. After analysis, any of the following keywords are added to the clip: One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. The “Consolidate find people results” checkbox simplifies and summarizes all of the “find people” analysis keywords. See Video analysis options. If you’re analyzing to find people, it’s recommended that you also select the Create Smart Collection checkbox. • Create Smart Collection: Creates Smart Collections for each keyword applied when video clips are analyzed for image stabilization problems or the presence of people. The Smart Collections appear in a folder inside the event. Transcode • Create optimized media: This option transcodes video to the Apple ProRes 422 codec, which provides better performance during editing, faster render times, and better color quality for compositing. If the original camera format can be edited with good performance, this option is dimmed. • Create proxy media: This option transcodes video to high-quality files useful for offline editing. Video proxy files can use considerably less storage space, often enough to allow you to work on a portable computer instead of a desktop computer with significantly more memory and processing power. • Codec: This option allows you to select a codec for your proxy media: Apple ProRes 422 Proxy or H.264. • ProRes Proxy: Creates higher-quality Apple ProRes 422 Proxy files. This option is required for HDR and ProRes RAW source media. • H.264: Creates smaller proxy file sizes. This option is appropriate for SDR projects and source media. Final Cut Pro User Guide 801 • Frame Size: This pop-up menu allows you to choose a frame size for the transcoded media (either as a percentage of the original or as maximum pixel dimensions). • To specify a percentage of the source media frame size, you can choose Same as Source (100%), 50%, 25%, or 12.5%. • To specify maximum pixel dimensions, you can choose 3840 x 2160, 1920 x 1080, or 960 x 540. Final Cut Pro maintains the source media aspect ratio without exceeding these dimensions. See Create optimized and proxy files. Note: To control whether Final Cut Pro displays optimized, proxy, or original media in the viewer, and whether video playback is optimized for quality or performance, choose the corresponding options from the View pop-up menu in the upper-right corner of the viewer. See Control playback quality. Analyze Audio • Fix audio problems: Analyzes audio and automatically corrects it for hum, noise, and loudness. You can turn off automatic audio corrections at any time; after you do so, the audio plays as originally recorded. • Separate mono and group stereo audio: Analyzes audio channels and groups them as dual mono or stereo, depending on the results of the analysis. • Remove silent channels: Audio channels are analyzed, and silent channels are removed. Note: You can retrieve the original audio configuration after import. See Configure audio channels. Assign Audio Role • Assign Audio Role: This pop-up menu allows you to override the automatic role assignment process during import so that every imported clip is assigned to a role of your choosing. You can specify one of the three default audio roles or a custom role that you create yourself. See Override automatic role assignment for audio files during import. If the “Assign iXML track names if available” checkbox is selected, Final Cut Pro detects iXML metadata tags in an audio channel and creates and assigns roles to the corresponding audio components in the imported clips, based on the iXML names. See Create custom roles automatically during import using iXML metadata. Destinations preferences Intro to Destinations preferences in Final Cut Pro You modify share destinations in the Destinations pane of the Final Cut Pro Preferences window. The destinations in the Destinations list (on the left side of the Destinations pane) also appear in the Share submenu of the File menu and in the menu that appears when you click the Share button in the toolbar. Final Cut Pro User Guide 802 When you first open Final Cut Pro, a default set of destinations appears in the Destinations list, but you can add other destinations and customize destinations. To see the destinations you can add, select Add Destination in the Destinations list. When you select a destination in the Destinations list, its settings appear on the right. The settings available for each destination are described in the following topics. For information about adding and modifying destinations, see Create share destinations. DVD and Blu-ray / AVCHD destinations in Final Cut Pro Use these destinations to burn your project or clip to a standard-definition (SD) DVD, a Blu-ray-compatible disc, or an AVCHD-compatible disc. You can also create a disk image (.img) file that you can copy to an external drive or burn to a disc later. Note: The Blu-ray / AVCHD destination does not appear by default. To add it to the Destinations list, see Create share destinations. The DVD and Blu-ray / AVCHD destinations include the following settings: • Output Device: Displays your system’s suitable output devices, including optical drives and the computer’s internal disk. You can use your computer’s internal disk to create a disk image (.img) file that you can copy to an external drive or burn to DVD media later. • Layers: Displays the available layers on the destination media. • Automatic: Automatically detects the type of disc you can use. • Single-layer: Identifies the disc as a single-layer disc. You can use this option to force a double-layer disc to be treated as a single-layer disc. • Double-layer: Identifies the disc as a double-layer disc. You can use this option to force the disk image to be formatted for a double-layer disc when you choose Hard Drive as your output device. Important: Depending on the project’s length, choosing Double-layer when using a single-layer disc may result in an error while burning the disc. Final Cut Pro User Guide 803 • Build type: The DVD destination builds a VIDEO_TS folder; the Blu-ray / AVCHD destination builds a BDMV folder. These folders contain files correctly formatted for the type of disc selected. Use this pop-up menu to choose how you want to save that data: • Disc: Available when Output Device is set to a compatible device, burns the folder to a disc. • File: Available when Output Device is set to Hard Drive, embeds the folder into a disk image file that is formatted correctly to be burned to a disc later. • Folder: Available when Output Device is set to Hard Drive, leaves the folder as is; the media can then be played or later burned to a disc. • Disc template: Displays the available disc templates. • Title: Type the disc title in the text field. This title will be displayed on the disc menus. • Volume name: Type the name that will appear when the disc is mounted on a computer. Only uppercase characters and certain punctuation marks are permitted in the name. Volume names are typically limited to 30 characters. • Color Space: Indicates the color space of the output media file. • When disc loads: Displays the automatic action taken when you play the disc. • Show Menu: Displays the main menu. • Play Movie: Begins playing the movie immediately. • Markers: Not available for Blu-ray when using an AVCHD output device. Select the checkbox to include chapter marker text as subtitles on the output disc. Users can navigate between the chapter markers by pressing the Next Chapter or Previous Chapter button on the DVD or Blu-ray player. See Add chapter markers. • Loop: Select this checkbox to add a Loop Movie button to the disc main menu. This gives users the option to play the movie in a continuous loop. • Background: Click the Add button to select a graphic for the disc’s background. This image will be used instead of the template background. • Logo image: Click the Add button to select a logo graphic that will be displayed in the upper-right corner of the disc menus. This image will appear on top of the menu background. • Title image: Click the Add button to select a title graphic that will be displayed in the center of the main menu of the disc. This image will appear on top of the menu background. • Preview: Shows a thumbnail preview of the main menu. • Include captions: If you added CEA-608 captions to your project, you can choose a language version to include on the DVD. See Intro to captions. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Final Cut Pro User Guide 804 Email destination in Final Cut Pro Use this destination to email your project or clip using Mail, Apple’s email app. The Email destination automatically creates an email message that includes the exported file. Note: The Email destination does not appear by default. To add it to the Destinations list, see Create share destinations. The Email destination includes the following settings: • Resolution: Click the pop-up menu and choose a resolution. • Compression: Choose “Better quality” if you want the highest-quality compression; choose “Faster encode” if you’re willing to sacrifice quality for faster processing. YouTube & Facebook destination in Final Cut Pro Use this destination to save a project or clip as a file that is ready for posting on videosharing websites. The YouTube & Facebook destination includes the following settings: • Resolution: Choose the default resolution for the destination. If the destination is used with a project or clip that has a lower resolution than the resolution you chose, the resolution changes to match that of the project or clip. • Compression: Choose “Better quality” if you want the highest-quality compression; choose “Faster encode” if you’re willing to sacrifice quality for faster processing. • Export captions: If you added captions to your project, you can choose a language version to include with the video, either as embedded captions or as a separate sidecar file. See Intro to captions. • Burn in captions: If you added captions to your project, you can choose a language version to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Still-image destinations in Final Cut Pro Use these destinations to save a still image of any video frame in your project or to save a set of sequentially numbered still-image files. Note: The Save Current Frame and Image Sequence destinations do not appear by default. To add either of them to the Destinations list, see Create share destinations. The Save Current Frame and Image Sequence destinations include the following settings: • Export: Choose a file type for the exported file. • Scale image to preserve aspect ratio: Select this checkbox to scale the output file to use square pixels and maintain the original aspect ratio (which results in an increase or decrease in the number of horizontal and vertical pixels). The checkbox affects only projects with formats that use non-square pixels, such as NTSC and PAL formats. If the checkbox is not selected (the default setting), the output file uses the same pixel aspect ratio and has the same number of horizontal and vertical pixels as the original video. Final Cut Pro User Guide 805 • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Export File and Apple Devices destinations in Final Cut Pro Use these destinations to export files for Apple devices, computers, and web hosting. You can export your project or clip as a movie file with video and audio, as a video file (with no audio), or as an audio file (with no video). You can customize these destinations by choosing one of several resolutions, depending on the intended playback device. You can also export one or more of the roles used in your project as one or more files, also known as media stems. If your project includes captions, you can export language versions (subroles) as embedded captions or as separate caption files. The Export File and Apple Devices destinations include the following settings: • Format: Lists mastering formats (Video and Audio, Video Only, Audio Only) and publishing formats, including Apple Devices (such as iPhone and iPad), Computer (for playback on Mac and PC), and Web Hosting (such as YouTube or Vimeo). Your choice of format determines the options in the pop-up menus below. Important: When sharing a project or clip, you can change the resolution only for publishing formats. • Video Codec: Choose a codec to use for the exported file. (Available choices are based on the source clip or project media format.) • Resolution: Choose the default resolution for the destination. If the destination is used with a project or clip that has a lower resolution than the resolution you chose, the resolution changes to match that of the project or clip. See Modify a project’s settings. • Color Space: The color space for the destination is determined by the project settings and the destination video codec. See Modify a project’s settings. • Audio Format: If you chose Audio Only from the Format pop-up menu, choose an audio format for the exported file. If you chose another option from the Format pop-up menu, this item lists the audio format that will be used for the exported file. • Include chapter markers: Select the checkbox to include chapter markers that were added to the project in the output file. Users can navigate between the chapter markers by clicking the Next Chapter or Previous Chapter button in QuickTime Player and other apps. • Action: Choose what should happen when the export is complete. You can choose to open the exported file in an app or add it to your media library. • Save only: Choose this option if you don’t want to automatically open the exported file. • Open with QuickTime Player (or another app): Choose this option to open the exported file in the default app associated with the file. You can set or change the default app in the Finder. See macOS Help, available from the Help menu when the Finder is active. Final Cut Pro User Guide 806 • Open with Compressor: Choose this option to open the exported file in Compressor. The exported file will appear as the source in a new batch, making it easy to continue to process the project’s movie. For example, you can create the compressed versions needed for distribution, without involving Final Cut Pro. Note: This option is available only if Compressor is installed on the same computer as Final Cut Pro. • Other: Choose this option to specify another app to open the exported file. Select the app in the window that appears, then click Open. • Home Videos: Choose this option in the “Add to TV” section to add the exported file to the Home Videos category in the Apple TV app. (If you’re using macOS 10.14 or earlier, this section is labeled “Add to iTunes.”) Compressor Settings destination in Final Cut Pro Use this destination to export a project or clip using settings from Compressor, the professional transcoding app designed to work directly with Final Cut Pro. Note: The Compressor Settings destination does not appear by default. To add it to the Destinations list, see Create share destinations. Exporting a project with a Compressor setting provides many of the benefits of Compressor without requiring you to open your project in Compressor. You can use Compressor to create multiple output files in one share operation, or create custom settings that modify your output file (for example, to add a watermark to the video). If you have Compressor installed on your system, you can use any of your Compressor settings with Final Cut Pro. If you don’t have Compressor installed on your system and you receive a Compressor setting from someone else, put the setting in this location so that Final Cut Pro and Compressor can access it: /Users/username/Library/Application Support/Compressor/Settings/ You may need to create the Compressor and Settings folders using the Finder. Tip: In Mac OS X 10.7 and later, the Library folder within your home folder is hidden by default. To access it in the Finder, hold down Option and choose Go > Library. See macOS Help, available from the Help menu when the Finder is active. HTTP Live Streaming destination in Final Cut Pro Use this destination to send audio and video to iPhone, iPad, iPod touch, and Mac using a web server. Note: The HTTP Live Streaming destination does not appear by default. To add it to the Destinations list, see Create share destinations. Because HTTP live streaming dynamically adjusts movie playback quality to match the available speed of wired or wireless networks, it’s a great way to deliver streaming media to your iOS-based app or HTML5-based website. For detailed information about implementing HTTP live streaming, visit the Apple Developer HTTP Live Streaming website. Final Cut Pro User Guide 807 The HTTP Live Streaming destination includes the following settings: • File Type: Select a file type for the exported file. You can select MPEG-2 Transport Streams or Fragmented MP4. • Versions to export: Select the checkbox for each type of network connection you want to support for streaming. You can export files for use with devices that use cellular, Wi-Fi, and broadband data connections. • Burn in captions: If you added captions to your project, you can choose a caption language to burn in to the output media file. Note: Burned-in captions are permanently visible in the output file and are not the same as embedded captions. Bundle destination in Final Cut Pro You can group sets of destinations together in a bundle to create several types of output in a single step. When you share a project or clip using the bundle, a file for each destination in the bundle is output automatically. To learn how to create a bundle, see Create share destinations. Keyboard shortcuts and gestures Intro to shortcuts and gestures in Final Cut Pro Final Cut Pro provides several ways to increase your efficiency while you put together your project: • Standard keyboard shortcuts: Many common tasks, such as opening a specific window or adding a clip from the browser to the timeline, can be accomplished very quickly by pressing one or more keys. See Keyboard shortcuts. • Multi-Touch gestures: If you have a Multi-Touch trackpad or mouse, you can take advantage of Multi-Touch gestures to quickly perform many tasks while creating your project. See Multi-Touch trackpad gestures. • Touch Bar: If your MacBook Pro has a Touch Bar, you can use familiar gestures like swipe and tap to quickly perform tasks such as scrubbing the timeline, applying an audio fade, selecting tools, or editing text. The contents of the Touch Bar are dynamic— the controls change depending on your current selection within Final Cut Pro and other apps. Related buttons and sliders appear together in groups in the bar. See Touch Bar shortcuts. • Custom keyboard shortcuts: You can add to the standard keyboard shortcuts by creating your own custom keyboard shortcuts for features that you use frequently, such as Color Board controls. Or if you’re more familiar with keyboard shortcuts from another app, you can use the Command Editor to substitute those keyboard shortcuts in place of the default set in Final Cut Pro. See View keyboard shortcuts. Final Cut Pro User Guide 808 Keyboard shortcuts in Final Cut Pro You can use keyboard shortcuts to quickly accomplish many tasks in Final Cut Pro. To use a keyboard shortcut, press all the keys in the shortcut at the same time. Shortcuts for common commands are listed in the table below. For information about viewing, creating, and managing shortcuts, see Intro to the Command Editor. Application Action Command Shortcut Hide Final Cut Pro Hide Application Command-H Hide all applications except Final Cut Pro Hide Other Applications Option-Command-H Open the Command Editor Keyboard Customization Option-Command-K Minimize Final Cut Pro Minimize Command-M Open an existing library or a new library Open Library Command-O Open the Final Cut Pro Preferences window Preferences Command-Comma (,) Quit Final Cut Pro Quit Command-Q Redo the last command Redo Change Shift-Command-Z Undo the last command Undo Change Command-Z Editing Action Command Shortcut Adjust the audio volume across all selected clips to a specific dB value Adjust Volume Absolute Control-Option-L Adjust the audio volume across all selected clips by the same dB value Adjust Volume Relative Control-L Add the selection to the end of the storyline Append to Storyline E Add the selected clip to the audition Audition: Add to Audition Control-Shift-Y Create an audition with a timeline clip and a duplicate version of the clip, including applied effects Audition: Duplicate as Audition Option-Y Duplicate the selected audition clip without applied effects Audition: Duplicate from Original Shift-Command-Y Create an audition and replace the timeline clip with the current selection Audition: Replace and Add to Audition Shift-Y Final Cut Pro User Guide 809 Action Command Shortcut Cut the primary storyline clip (or the selection) at the skimmer or playhead location Blade Command-B Cut all clips at the skimmer or playhead location Blade All Shift-Command-B Break the selected item into its component parts Break Apart Clip Items Shift-Command-G Change the duration of the selection Change Duration Control-D Connect the default lower third to the primary storyline Connect Default Lower Third Control-Shift-T Connect the default title to the primary storyline Connect Default Title Control-T Connect the selection to the primary storyline Connect to Primary Storyline Q Connect the selection to the primary storyline, aligning the selection’s end point with the skimmer or playhead Connect to Primary Storyline - Backtimed Shift-Q Copy the selection Copy Command-C Create an audition from the selection Create Audition Command-Y Create a storyline from a selection of connected clips Create Storyline Command-G Cut the selection Cut Command-X Cut and switch the multicam clip to angle 1 of the current bank Cut and Switch to Viewer Angle 1 1 Cut and switch the multicam clip to angle 2 of the current bank Cut and Switch to Viewer Angle 2 2 Cut and switch the multicam clip to angle 3 of the current bank Cut and Switch to Viewer Angle 3 3 Cut and switch the multicam clip to angle 4 of the current bank Cut and Switch to Viewer Angle 4 4 Cut and switch the multicam clip to angle 5 of the current bank Cut and Switch to Viewer Angle 5 5 Cut and switch the multicam clip to angle 6 of the current bank Cut and Switch to Viewer Angle 6 6 Cut and switch the multicam clip to angle 7 of the current bank Cut and Switch to Viewer Angle 7 7 Cut and switch the multicam clip to angle 8 of the current bank Cut and Switch to Viewer Angle 8 8 Cut and switch the multicam clip to angle 9 of the current bank Cut and Switch to Viewer Angle 9 9 Final Cut Pro User Guide 810 Action Command Shortcut Delete the timeline selection, reject the browser selection, or remove a through edit Delete Delete Delete the selection and attach the connected clip or clips to the resulting gap clip Delete Selection Only Option-Command-Delete Deselect all selected items Deselect All Shift-Command-A Duplicate the browser selection Duplicate Command-D Enable or disable playback for the selection Enable/Disable Clip V View audio and video separately for selected clips Expand Audio Control-S Expand or collapse audio components for the selection in the timeline Expand/Collapse Audio Components Control-Option-S Extend the selected edit point to the skimmer or playhead position Extend Edit Shift-X In the browser list view, add the next item to the selection Extend Selection Down Shift-Down Arrow In the timeline, add the next item to the selection Extend Selection to Next Clip Control-Command-Right-Arrow In the browser list view, add the previous item to the selection Extend Selection Up Shift-Up Arrow Dissolve the audition and replace it with the audition pick Finalize Audition Option-Shift-Y Insert the selection at the skimmer or playhead position Insert W Insert a freeze frame at the playhead or skimmer location in the timeline, or connect a freeze frame from the skimmer or playhead location in the event to the playhead location in the timeline Insert/Connect Freeze Frame Option-F Insert a gap clip at the skimmer or playhead position Insert Gap Option-W Insert the default generator at the skimmer or playhead position Insert Default Generator Option-Command-W Lift the selection from the storyline and connect it to the resulting gap clips Lift from Storyline Option-Command-Up Arrow Lower the audio volume by 1 dB Lower Volume 1 dB Control-Hyphen (-) Move the playhead by entering a timecode value Move Playhead Position Control-P Final Cut Pro User Guide 811 Action Command Shortcut Create a new compound clip (if there’s no selection, create an empty compound clip) New Compound Clip Option-G Nudge the selected audio edit point left by one subframe, creating a split edit Nudge Audio Subframe Left Option-Comma (,) Nudge the selected audio edit point left by 10 subframes, creating a split edit Nudge Audio Subframe Left Many Option-Shift-Comma (,) Nudge the selected audio edit point right by one subframe, creating a split edit Nudge Audio Subframe Right Option-Period (.) Nudge the selected audio edit point right by 10 subframes, creating a split edit Nudge Audio Subframe Right Many Option-Shift-Period (.) Nudge down the value of the selected keyframe in the animation editor Nudge Down Option-Down Arrow Nudge the selection one unit to the left Nudge Left Comma (,) Nudge the selection 10 units to the left Nudge Left Many Shift-Comma (,) Nudge the selection one unit to the right Nudge Right Period (.) Nudge the selection 10 units to the right Nudge Right Many Shift-Period (.) Nudge up the value of the selected keyframe in the animation editor Nudge Up Option-Up Arrow Open the selected audition Open Audition Y Temporarily override clip connections for the selection Override Connections Grave Accent (`) Overwrite at the skimmer or playhead position Overwrite D Overwrite from the skimmer or playhead position back Overwrite - Backtimed Shift-D Overwrite at the skimmer or playhead position in the primary storyline Overwrite to Primary Storyline Option-Command-Down Arrow Paste the selection and connect it to the primary storyline Paste as Connected Option-V Insert the Clipboard contents at the skimmer or playhead position Paste Insert at Playhead Command-V Switch to the previous angle in the multicam clip Previous Angle Control-Shift-Left Arrow Final Cut Pro User Guide 812 Action Command Shortcut Switch to the previous audio angle in the multicam clip Previous Audio Angle Option-Shift-Left Arrow Select the previous clip in the Audition window, making it the audition pick Previous Pick Control-Left Arrow Switch to the previous video angle in the multicam clip Previous Video Angle Shift-Command-Left Arrow Raise the audio volume by 1 dB Raise Volume 1 dB Control-Equal Sign (=) Replace the selected clip in the timeline with the browser selection Replace Shift-R Replace the selected clip in the timeline with the browser selection, starting from its start point Replace from Start Option-R Replace the selected timeline clip with a gap clip Replace with Gap Shift-Delete Select all clips Select All Command-A Select the clip under the pointer in the timeline Select Clip C Select the clip above the current timeline selection at the skimmer or playhead location Select Clip Above Command-Up Arrow Select the clip below the current timeline selection at the skimmer or playhead location Select Clip Below Command-Down Arrow For audio/video clips in expanded view, select the left edge of the audio edit point Select Left Audio Edge Shift-Left Bracket ([) Select the left edge of the edit point Select Left Edge Left Bracket ([) For audio/video clips in expanded view, select the left and right edges of the audio edit point Select Left and Right Audio Edit Edges Shift-Backslash (\) Select the left and right edges of the edit point Select Left and Right Edit Edges Backslash (\) For audio/video clips in expanded view, select the left and right edges of the video edit point Select Left and Right Video Edit Edges Control-Backslash (\) For audio/video clips in expanded view, select the left edge of the video edit point Select Left Video Edge Control-Left Bracket ([) Switch to the next angle in the multicam clip Select Next Angle Control-Shift-Right Arrow Switch to the next audio angle in the multicam clip Select Next Audio Angle Option-Shift-Right Arrow Final Cut Pro User Guide 813 Action Command Shortcut Move the playhead and the selection to the next topmost timeline clip in the same role Select Next Clip Command-Right Arrow Select the next clip in the Audition window, making it the audition pick Select Next Pick Control-Right Arrow Switch to the next video angle in the multicam clip Select Next Video Angle Shift-Command-Right Arrow Move the playhead and the selection to the previous topmost timeline clip in the same role Select Previous Clip Command-Left Arrow For audio/video clips in expanded view, select the right edge of the audio edit point Select Right Audio Edge Shift-Right Bracket (]) Select the right edge of the edit point Select Right Edge Right Bracket (]) For audio/video clips in expanded view, select the right edge of the video edit point Select Right Video Edge Control-Right Bracket (]) Set an additional range selection end point at the playhead or skimmer location Set Additional Selection End Shift-Command-O Set an additional range selection start point at the playhead or skimmer location Set Additional Selection Start Shift-Command-I When an edit point is selected, show or hide the precision editor Show/Hide Precision Editor Control-E Turn snapping on or off Snapping N Solo the selected items in the timeline Solo Option-S Turn on audio/video mode to add the video and audio portion of your selection to the timeline Source Media: Audio & Video Shift-1 Turn on audio-only mode to add the audio portion of your selection to the timeline Source Media: Audio Only Shift-3 Turn on video-only mode to add the video portion of your selection to the timeline Source Media: Video Only Shift-2 Replace the selected captions with abutting single-line captions, one for each line of text in the original captions. Split Caption Control-Option-Command-C Switch the multicam clip to angle 1 of the current bank Switch to Viewer Angle 1 Option-1 Switch the multicam clip to angle 2 of the current bank Switch to Viewer Angle 2 Option-2 Final Cut Pro User Guide 814 Action Command Shortcut Switch the multicam clip to angle 3 of the current bank Switch to Viewer Angle 3 Option-3 Switch the multicam clip to angle 4 of the current bank Switch to Viewer Angle 4 Option-4 Switch the multicam clip to angle 5 of the current bank Switch to Viewer Angle 5 Option-5 Switch the multicam clip to angle 6 of the current bank Switch to Viewer Angle 6 Option-6 Switch the multicam clip to angle 7 of the current bank Switch to Viewer Angle 7 Option-7 Switch the multicam clip to angle 8 of the current bank Switch to Viewer Angle 8 Option-8 Switch the multicam clip to angle 9 of the current bank Switch to Viewer Angle 9 Option-9 Turn on or turn off the ability to build storylines when dragging clips in the timeline Toggle Storyline Mode G Trim the end of the selected or topmost clip to the skimmer or playhead position Trim End Option-Right Bracket (]) Trim the clip start point to the skimmer or playhead position Trim Start Option-Left Bracket ([) Trim clip start and end points to the range selection Trim to Selection Option-Backslash (\) Effects Action Command Shortcut Connect a basic lower-third title to the primary storyline Add Basic Lower Third Control-Shift-T Connect a basic title to the primary storyline Add Basic Title Control-T Add the default audio effect to the selection Add Default Audio Effect Option-Command-E Add the default transition to the selection Add Default Transition Command-T Apply a crossfade to the audio edit point between the selected clips Crossfade Option-T Add the default video effect to the selection Add Default Video Effect Option-E Reset the controls in the current Color Board pane Color Board: Reset Current Board Controls Option-Delete Final Cut Pro User Guide 815 Action Command Shortcut Switch to the Color pane in the Color Board Color Board: Switch to the Color Pane Control-Command-C Switch to the Exposure pane in the Color Board Color Board: Switch to the Exposure Pane Control-Command-E Switch to the Saturation pane in the Color Board Color Board: Switch to the Saturation Pane Control-Command-S Copy the selected effects and their settings Copy Effects Option-Command-C Copy the selected keyframes and their settings Copy Keyframes Option-Shift-C Cut the selected keyframes and their settings Cut Keyframes Option-Shift-X Turn Balance Color corrections on or off Enable/Disable Balance Color Option-Command-B Match the sound between clips Match Audio Shift-Command-M Match color between clips Match Color Option-Command-M Navigate to the next text item Next Text Option-Tab Paste selected attributes and their settings to the selection Paste Attributes Shift-Command-V Paste effects and their settings to the selection Paste Effects Option-Command-V Paste keyframes and their settings to the selection Paste Keyframes Option-Shift-V Navigate to the previous text item Previous Text Option-Shift-Tab Remove selected attributes from the selection Remove Attributes Shift-Command-X Remove all effects from the selection Remove Effects Option-Command-X Show or hide the retime editor Retime Editor Command-R Set the selection to play at normal (100 percent) speed Retime: Create Normal Speed Segment Shift-N Create a 2-second hold segment Retime: Hold Shift-H Reset the selection to play forward at normal (100 percent) speed Retime: Reset Option-Command-R Show one effect at a time in the Video Animation editor Solo Animation Control-Shift-V Final Cut Pro User Guide 816 General Action Command Shortcut Delete the timeline selection, reject the browser selection, or remove a through edit Delete Delete Show or hide the Filter window (in the browser) or the timeline index (in the timeline) Find Command-F Make the event viewer active Go to Event Viewer Option-Command-3 Import media from a device, a camera, or an archive Import Media Command-I Open the Library Properties inspector for the current library Library Properties Control-Command-J Move the selection to the Finder Trash Move to Trash Command-Delete Create a new project New Project Command-N Open the Properties inspector for the current project Project Properties Command-J Start all rendering tasks for the current project Render All Control-Shift-R Start rendering tasks for the selection Render Selection Control-R Reveal the selected event clip’s source media file in the Finder Reveal in Finder Shift-Command-R Marking Action Command Shortcut Add a caption to the active language subrole at the playhead location Add Caption Option-C (or Control-Option-C if the caption editor is open) Add a marker at the location of the skimmer or playhead Add Marker M Change the browser filter settings to show all clips All Clips Control-C Add a marker and edit the marker’s text Add Marker and Modify Option-M Apply keyword 1 to the selection Apply Keyword Tag 1 Control-1 Apply keyword 2 to the selection Apply Keyword Tag 2 Control-2 Apply keyword 3 to the selection Apply Keyword Tag 3 Control-3 Apply keyword 4 to the selection Apply Keyword Tag 4 Control-4 Apply keyword 5 to the selection Apply Keyword Tag 5 Control-5 Final Cut Pro User Guide 817 Action Command Shortcut Apply keyword 6 to the selection Apply Keyword Tag 6 Control-6 Apply keyword 7 to the selection Apply Keyword Tag 7 Control-7 Apply keyword 8 to the selection Apply Keyword Tag 8 Control-8 Apply keyword 9 to the selection Apply Keyword Tag 9 Control-9 Clear the range selection Clear Selected Ranges Option-X Clear the range’s end point Clear Range End Option-O Clear the range’s start point Clear Range Start Option-I Delete the selected marker Delete Marker Control-M Delete all of the markers in the selection Delete Markers in Selection Control-Shift-M Deselect all selected items Deselect All Shift-Command-A Open the selected caption in the caption editor Edit Caption Control-Shift-C Rate the browser selection as favorite Favorite F Change the browser filter settings to show favorites Favorites Control-F Change the browser filter settings to hide rejected clips Hide Rejected Control-H Create a new Keyword Collection New Keyword Collection Shift-Command-K Create a new Smart Collection New Smart Collection Option-Command-N Make the Range Selection tool active Range Selection Tool R Mark the current selection in the browser as rejected Note: The Delete key removes selected items if the timeline is active instead of the browser. Reject Delete Change the browser filter settings to show rejected clips Rejected Control-Delete Remove all keywords from the browser selection Remove All Keywords From Selection Control-0 Apply Dialogue subroles to the selected clip’s components Roles: Apply Dialogue Role Control-Option-D Apply Effects subroles to the selected clip’s components Roles: Apply Effects Role Control-Option-E Apply Music subroles to the selected clip’s components Roles: Apply Music Role Control-Option-M Apply the Titles role to the selected clip Roles: Apply Titles Role Control-Option-T Final Cut Pro User Guide 818 Action Command Shortcut Apply the Video role to the selected clip Roles: Apply Video Role Control-Option-V Select all clips Select All Command-A Set the range selection to match the boundaries of the clip below the skimmer or playhead Select Clip Range X Set an additional range selection end point at the playhead or skimmer location Set Additional Range End Shift-Command-O Set an additional range selection start point at the playhead or skimmer location Set Additional Range Start Shift-Command-I Set the end point for the range Set Range End O Set the end point for the range while editing a text field Set Range End Control-O Set the start point for the range Set Range Start I Set the start point for the range while editing a text field Set Range Start Control-I Remove ratings from the selection Unrate U Organization Action Command Shortcut Create a new event New Event Option-N Create a new folder New Folder Shift-Command-N Reveal the selected clip in the browser Reveal in Browser Shift-F Reveal the open project in the browser Reveal Project in Browser Option-Shift-Command-F Sync the selected event clips Synchronize Clips Option-Command-G Playback and navigation Action Command Shortcut Turn audio skimming on or off Audio Skimming Shift-S Play the pick in context in the timeline Audition: Preview Control-Command-Y Turn clip skimming on or off Clip Skimming Option-Command-S Turn on audio-only mode for multicam cutting and switching Cut/Switch Multicam Audio Only Option-Shift-3 Final Cut Pro User Guide 819 Action Command Shortcut Turn on audio/video mode for multicam cutting and switching Cut/Switch Multicam Audio and Video Option-Shift-1 Turn on video-only mode for multicam cutting and switching Cut/Switch Multicam Video Only Option-Shift-2 Go to the next item (in the browser) or the next edit point (in the timeline) Down Down Arrow While editing a text field, go to the next item (in the browser) or the next edit point (in the timeline) Down Control-Down Arrow Move the playhead back 10 frames Go Back 10 Frames Shift-Left Arrow Move the playhead forward 10 frames Go Forward 10 Frames Shift-Right Arrow Move the playhead to the beginning of the timeline or the first clip in the browser Go to Beginning Home key (or Fn-Left Arrow) Move the playhead to the end of the timeline or to the last clip in the browser Go to End End key (or Fn-Right Arrow) Display the next bank of angles in the current multicam clip Go to Next Bank Option-Shift-Apostrophe (’) Move the playhead to the next edit point in the timeline Go to Next Edit Apostrophe (’) Move the playhead to the next field in an interlaced clip Go to Next Field Option-Right Arrow Move the playhead to the next focus point Go to Next Focus Point Option-Shift-Command-Right Arrow Move the playhead to the next frame Go to Next Frame Right Arrow Move the playhead to the next audio subframe Go to Next Subframe Option-Right Arrow Display the previous bank of angles in the current multicam clip Go to Previous Bank Option-Shift-Semicolon (;) Move the playhead to the previous edit point in the timeline Go to Previous Edit Semicolon (;) Move the playhead to the previous field in an interlaced clip Go to Previous Field Option-Left Arrow Move the playhead to the previous focus point Go to Previous Focus Point Option-Shift-Command-Left Arrow Move the playhead to the previous frame Go to Previous Frame Left Arrow Move the playhead to the previous audio subframe Go to Previous Subframe Option-Left Arrow Move the playhead to the end of the range selection Go to Range End Shift-O Final Cut Pro User Guide 820 Action Command Shortcut Move the playhead to the beginning of the range selection Go to Range Start Shift-I Roll the 360° viewer clockwise Look Clockwise Control-Option-Command-Right Bracket Roll the 360° viewer counterclockwise Look Counterclockwise Control-Option-Command-Left Bracket Tilt the 360° viewer down Look Down Control-Option-Command-Down Arrow Pan the 360° viewer to the left Look Left Control-Option-Command-Left Arrow Pan the 360° viewer to the right Look Right Control-Option-Command-Right Arrow Pan the 360° viewer up Look Up Control-Option-Command-Up Arrow Turn looped playback on or off Loop Playback Command-L Mirror the display of the connected VR headset in the 360° viewer Mirror VR Headset Control-Option-Command-9 Turn on or turn off audio monitoring for the angle being skimmed Monitor Audio Shift-A Enter a negative timecode value to move the playhead back, move a clip earlier, or trim a range or clip, depending on your selection Negative Timecode Entry Hyphen (-) Go to the next item (in the browser) or the next edit point (in the timeline) Next Clip Control-Command-Right Arrow Move the playhead to the next marker Next Marker Control-Apostrophe (’) Send 360° video to the connected VR headset Output to VR Headset Control-Option-Command-7 Play around the playhead position Play Around Shift-Question Mark (?) Play forward (press L multiple times to increase the playback speed) Play Forward L Play from the playhead position Play from Playhead Option-Space bar Play full screen from the skimmer or playhead position Play Full Screen Shift-Command-F Play in reverse (press J multiple times to increase the reverse playback speed) Play Reverse J Play in reverse while editing a text field (press J multiple times to increase the reverse playback speed) Play Reverse Control-J Play in reverse Play Reverse Shift-Space bar Final Cut Pro User Guide 821 Action Command Shortcut Play the selection Play Selection Slash (/) Play from the playhead to the end of the selection Play to End Control-Shift-O Start or pause playback Play/Pause Space bar Start or pause playback while editing a text field Play/Pause Control-Space bar Enter a positive timecode value to move the playhead forward, move a clip later, or trim a range or clip, depending on your selection Positive Timecode Entry Equal Sign (=) Go to the previous item (in the browser) or the previous edit point (in the timeline) Previous Clip Control-Command-Left Arrow Move the playhead to the previous marker Previous Marker Control-Semicolon (;) Set the angle being skimmed as the monitoring angle Set Monitoring Angle Shift-V Turn skimming on or off Skimming S Start or stop recording audio from the Record Voiceover window Start/Stop Voiceover Recording Option-Shift-A Stop playback Stop K Stop playback while editing a text field Stop Control-K Go back one level in the timeline history Timeline History Back Command-Left Bracket ([) Go forward one level in the timeline history Timeline History Forward Command-Right Bracket (]) Go to the previous item (in the browser) or the previous edit point (in the timeline) Up Up Arrow While editing a text field, go to the previous item (in the browser) or the previous edit point (in the timeline) Up Control-Up Arrow Share and tools Action Command Shortcut Share the selected project or clip using the default destination Share to Default Destination Command-E Make the Select tool active Select (Arrow) Tool A Make the Blade tool active Blade Tool B Final Cut Pro User Guide 822 Action Command Shortcut Make the Cinematic tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Cinematic Tool Control-Shift-F Make the Crop tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Crop Tool Shift-C Make the Distort tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Distort Tool Option-D Make the Hand tool active Hand Tool H Make the Position tool active Position Tool P Make the Transform tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Transform Tool Shift-T Make the Trim tool active Trim Tool T Make the Zoom tool active Zoom Tool Z View Action Command Shortcut Show or hide the Cinematic Editor for the selected timeline clips Cinematic Editor Control-Option-F Depending on the clip name setting, display timeline clips with clip names, role names, or active angle names only Clip Appearance: Clip Labels Only Control-Option-6 Decrease the size of audio waveforms for timeline clips Clip Appearance: Decrease Waveform Size Control-Option-Down Arrow Display timeline clips with large filmstrips only Clip Appearance: Filmstrips Only Control-Option-5 Increase the size of audio waveforms for timeline clips Clip Appearance: Increase Waveform Size Control-Option-Up Arrow Display timeline clips with small audio waveforms and large filmstrips Clip Appearance: Large Filmstrips Control-Option-4 Display timeline clips with large audio waveforms and small filmstrips Clip Appearance: Large Waveforms Control-Option-2 Display timeline clips with audio waveforms and video filmstrips of equal size Clip Appearance: Waveforms and Filmstrips Control-Option-3 Final Cut Pro User Guide 823 Action Command Shortcut Display timeline clips with large audio waveforms only Clip Appearance: Waveforms Only Control-Option-1 Decrease the browser clip height Decrease Clip Height Shift-Command-Hyphen (-) Increase the browser clip height Increase Clip Height Shift-Command-Equal Sign (=) Show fewer filmstrip frames in browser clips Show Fewer Filmstrip Frames Shift-Command-Comma (,) Show or hide the Audio Animation editor for the selected clips or components Show/Hide Audio Animation Control-A Show or hide clip information when skimming in the browser Show/Hide Skimmer Info Control-Y Show or hide the Video Animation editor for the selected timeline clips Show/Hide Video Animation Control-V Show more filmstrip frames in browser clips Show More Filmstrip Frames Shift-Command-Period (.) Show one frame per filmstrip Show One Frame per Filmstrip Option-Shift-Command-Comma (,) Switch the browser between filmstrip view and list view Toggle Filmstrip/List View Option-Command-2 Show or hide clip names in the browser View Clip Names Option-Shift-N Zoom in to the browser, viewer, or timeline Zoom In Command-Plus Sign (+) Zoom out of the browser, viewer, or timeline Zoom Out Command-Minus Sign (–) Zoom the contents to fit the size of the browser, viewer, or timeline Zoom to Fit Shift-Z Turn zooming in to audio samples on or off Zoom to Samples Control-Z Windows Action Command Shortcut Switch to the Anaglyph view in the 360° viewer (stereoscopic only) Anaglyph Control-Option-Command-3 Switch to the Anaglyph Monochrome view in the 360° viewer (stereoscopic only) Anaglyph Monochrome Control-Option-Command-4 Switch to the Anaglyph Outline view in the 360° viewer (stereoscopic only) Anaglyph Outline Control-Option-Command-5 Show or hide the Background Tasks window Background Tasks Command-9 Final Cut Pro User Guide 824 Action Command Shortcut Switch to the Difference view in the 360° viewer (stereoscopic only) Difference Control-Option-Command-6 Make the Audio Enhancements inspector active Go to Audio Enhancements Command-8 Make the browser active Go to Browser Command-1 Make the Color Board active Go to Color Board Command-6 Make the current inspector active Go to Inspector Option-Command-4 Make the timeline active Go to Timeline Command-2 Make the viewer active Go to Viewer Command-3 Switch to the Left Eye view in the 360° viewer (stereoscopic only) Left Control-Option-Command-1 Go to the next pane in the inspector or the Color Board Next Tab Control-Tab Go to the previous pane in the inspector or the Color Board Previous Tab Control-Shift-Tab Show or hide the Record Voiceover window Record Voiceover Option-Command-8 Switch to the Right Eye view in the 360° viewer (stereoscopic only) Right Control-Option-Command-2 Show the vectorscope in the viewer Show Vectorscope Control-Command-V Show the waveform monitor in the viewer Show Video Waveform Control-Command-W Show or hide the angle viewer Show/Hide Angles Shift-Command-7 Show or hide the audio meters Show/Hide Audio Meters Shift-Command-8 Show or hide the browser Show/Hide Browser Control-Command-1 Show or hide the comparison viewer Show/Hide Comparison Viewer Control-Command-6 Show or hide the Effects browser Show/Hide Effects Browser Command-5 Show or hide the Transitions browser Show/Hide Transitions Browser Control-Command-5 Show or hide the event viewer Show/Hide Event Viewer Control-Command-3 Show or hide the inspector Show/Hide Inspector Command-4 Show or hide the keyword editor Show/Hide Keyword Editor Command-K Show or hide the Libraries sidebar Show/Hide Libraries Sidebar Command-1 Show or hide the Photos and Audio sidebar Show/Hide Photos and Audio Sidebar Shift-Command-1 Show or hide the sidebar Show/Hide Sidebar Command-Grave Accent (`) Show or hide the 360° viewer Show/Hide 360° Viewer Option-Command-7 Final Cut Pro User Guide 825 Action Command Shortcut Show or hide the timeline Show/Hide Timeline Control-Command-2 Show or hide the timeline index for the open project Show/Hide Timeline Index Shift-Command-2 Show or hide the Titles and Generators sidebar Show/Hide Titles and Generators Sidebar Option-Command-1 Show or hide the video scopes in the viewer Show/Hide Video Scopes Command-7 Switch to the Superimpose view in the 360° viewer (stereoscopic only) Superimpose Control-Option-Command-Grave Accent (`) Switch between the half-height view and full-height view in the inspector Toggle Inspector Height Control-Command-4 Multi-Touch trackpad gestures in Final Cut Pro If your Mac has a Multi-Touch trackpad, you can use the Multi-Touch gestures listed in the table below when working with Final Cut Pro. For more information about Multi-Touch gestures, choose Apple menu > System Preferences, then click Trackpad. Gesture Action Pinch (two-finger): Pinch closed with two fingers to zoom out of the timeline or window. Pinch open to zoom in to the timeline or window. Double-tap (two-finger): Double-tap with two fingers to zoom the timeline so that all the clips fill the visible part of the timeline. Swipe (two-finger): Swipe with two fingers to scroll left, right, up, or down in the timeline. Click (two-finger): Click once to open the shortcut menu. Drag (three-finger): Drag a selection rectangle over the timeline or event clips you want to select, or drag to move selected clips. Final Cut Pro User Guide 826 Gesture Action Swipe (three-finger): Swipe left or right to move the playhead to the previous or next edit point. Swipe up or down to move the playhead to the beginning or end of the timeline. Note: To enable this gesture, choose Apple menu > System Preferences, click Trackpad, then click More Gestures. Click the “Swipe between pages” pop-up menu and choose “Swipe with three fingers.” Enabling this gesture automatically disables the “Drag (three-finger)” gesture described above. Touch Bar shortcuts in Final Cut Pro If your MacBook Pro has a Touch Bar, you can use familiar gestures like swipe and tap to quickly perform tasks such as scrubbing the timeline, applying an audio fade, selecting tools, or editing text. With the exception of the Control Strip (on the right side of the Touch Bar) and the Esc button (on the left), the contents of the Touch Bar are dynamic—the controls change depending on your current selection within Final Cut Pro and other apps. Related buttons and sliders appear together in groups in the bar. For more information about the Control Strip and Esc button, see MacBook Pro Essentials. To learn more about the Touch Bar, see the Apple Support article Use the Touch Bar on Mac. Browser with no selection These controls appear in the Touch Bar when the browser is active but no clips are selected. Item Name Description Import Import media from a device, camera, or archive. New Event Create a new event. New Project Create a new project. Final Cut Pro User Guide 827 Browser with a selection These controls appear in the Touch Bar when the browser is active and something in the browser is selected. You can use these controls to manage and sort your media in the browser. Item Name Description Info Inspector Open the Info inspector for the selected item. Audio Controls Display a set of audio controls in the Touch Bar. See Audio controls, below. Move to Start Move the skimmer or playhead to the start of the selection or clip. Move to End Move the skimmer or playhead to the end of the selection or clip. Clear Selection Clear the range selection. List View Switch the browser from filmstrip view to list view. See Intro to browser views. Filmstrip View Switch the browser from list view to filmstrip view. See Intro to browser views. Typing suggestions When you type a name for a new event or project, the Touch Bar displays typing suggestions based on your recent activity and information from your apps. (Typing suggestions are not available in all languages.) Tap a word to choose it, or accept a highlighted suggestion by entering a space or punctuation. Timeline editing These controls appear in the Touch Bar when the timeline is active. Use these trimming, playback, and navigation controls to streamline your editing workflow. Item Name Description Editing Tools Display a set of editing tools in the Touch Bar. The button shows the active tool. See Editing tools, below. Final Cut Pro User Guide 828 Item Name Description Audio Controls Display a set of audio controls in the Touch Bar. See Audio controls, below. Override Clip Connections Temporarily override clip connections for the selection. See Edit clips in the primary storyline without affecting connected clips. Trim to Playhead Trim the edit point closest to the playhead. See Cut the start or end of a clip at the playhead. Trim Start Trim the clip start point to the skimmer or playhead position. See Cut the start or end of a clip at the playhead. Trim End Trim the clip end point to the skimmer or playhead position. See Cut the start or end of a clip at the playhead. Play Around Play around the playhead position. See Play back video and audio clips. Timeline Navigation Display the Timeline Navigation slider in the Touch Bar. See Timeline navigation, below. Editing tools The timeline editing tools appear in the Touch Bar when you tap the Editing Tools button . The default editing tool is the Select tool. You can tap any tool to make it the active tool. When you choose a tool, the pointer changes to the icon for that tool. Item Name Description Close Close the editing tools. Select tool Select items in the timeline. See Select clips. Trim tool Trim clips in the timeline using ripple, roll, slip, and slide edits. See Intro to trimming. Position tool Place clips in the timeline. See Overwrite clips using the Position tool. Range Selection tool Select a range within a clip or across multiple clips. See Select ranges. Final Cut Pro User Guide 829 Item Name Description Blade tool Cut clips in the timeline. See Cut clips in two. Zoom tool Zoom in and out of the timeline. See Zoom in to and out of the timeline using the Zoom tool. Hand tool Scroll the timeline. See Scroll a zoomed-in timeline. Audio controls The audio controls appear when you tap the Audio Controls button in the Touch Bar. Item Name Description Close Close the audio controls. Silence Silence the selected clip, range, or audio component. See Silence clips or ranges. Audio Fade In Apply an audio fade-in to selected clips or audio components (available for timeline selections only). See Apply fades using the Modify menu. Decrease Volume Decrease the volume for the selected clip, range, or audio component. See Adjust volume. Volume slider Adjust the volume for the selected clip, range, or audio component (available for single-item selections only). See Adjust volume. Increase Volume Increase the volume for the selected clip, range, or audio component. See Adjust volume. Audio Fade Out Apply an audio fade-out to the selected clip, range, or audio component (available for timeline selections only). See Apply fades using the Modify menu. Timeline navigation When you tap the Timeline Navigation button , the Timeline Navigation slider appears in the Touch Bar. Use the slider to control what portion of your project is visible in the timeline. Drag the start or end handle, or drag the center of the slider to move the start and end points at the same time. Final Cut Pro User Guide 830 To close the Timeline Navigation slider and return to the timeline editing controls, tap the close button . Note: When Final Cut Pro is in full-screen view, a timeline appears in the Touch Bar, which you can navigate by tapping or dragging. Text editing These controls appear in the Touch Bar when you select a title in the viewer. Use these controls to format and edit your titles. Note: The Done button does not appear in the Touch Bar on all MacBook Pro models. Item Name Description Text Appearance Display a set of text alignment, style, and appearance controls in the Touch Bar. See Text alignment and appearance, below. Text Size Display the Text Size slider. See Text size, below. Text Kerning Display the Text Kerning slider. See Text kerning, below. 3D Text Enable or disable 3D text. See Convert text to 3D text. Text Color Display the text color controls, including controls for adjusting hue, brightness, and saturation (available for 2D text only). See Text color, below. Text alignment and appearance These controls appear in the Touch Bar when you tap the Text Appearance button in the text editing controls. Use these controls to adjust the alignment, style, and appearance of text selected in the viewer. Item Name Description Close Close the text appearance controls. Align Text Left Align the selected text to the left. Align Text Center Center the selected text. Final Cut Pro User Guide 831 Item Name Description Align Text Right Align the selected text to the right. Bold Text Make the selected text bold (if available for the selected font). Italic Text Italicize the selected text (if available for the selected font). Text Face Turn the Face parameter settings on or off (available for 2D text only). See Change a title’s text style. Text Outline Turn the Outline parameter settings on or off (available for 2D text only). See Change a title’s text style. Text Glow Turn the Glow parameter settings on or off (available for 2D text only). See Change a title’s text style. Text Drop Shadow Turn the Drop Shadow parameter settings on or off (available for 2D text only). See Change a title’s text style. Text size When you tap the Text Size button in the text editing controls, the Text Size slider appears in the Touch Bar. Drag the slider to change the size of text selected in the viewer. To close the Text Size slider and return to the text editing controls, tap the close button . Text kerning When you tap the Text Kerning button in the text editing controls, the Text Kerning slider appears in the Touch Bar. Drag the slider to adjust the space between text characters. Note: For the slider to be available, the insertion point (a blinking bar) must be positioned between text characters in the viewer. To close the Text Kerning slider and return to the text editing controls, tap the close button . Final Cut Pro User Guide 832 Text color When you tap the Text Color button in the text editing controls, the text color controls appear in the Touch Bar. Either the color swatches or the hue controls appear, depending on which controls were open last. To switch between the color swatches and the hue controls, tap the Hue/Color Swatch button on the right end of the Touch Bar. To change the color of text, select it in the viewer, then tap a color swatch, or drag the Hue slider. Item Name Description Close Close the text color controls. Active Color Displays the active color (hue), based on your current color settings. Hue/Color Swatch Switch between displaying color swatches and hue controls. Brightness Display the Brightness control. Tap or drag to change the brightness of the text selected in the viewer. Saturation Display the Saturation control. Tap or drag to change the saturation of the text selected in the viewer. Final Cut Pro User Guide 833 Customize keyboard shortcuts Intro to the Command Editor in Final Cut Pro You can use the Command Editor to view and modify existing shortcuts, create new shortcuts, and save multiple sets of keyboard shortcuts that you can export for others to use. You can also import a set of shortcuts that someone else created. And if you’re more familiar with keyboard shortcuts from other apps, you can use the Command Editor to substitute those shortcuts in place of the default set in Final Cut Pro. View keyboard shortcuts in Final Cut Pro Final Cut Pro provides a wide variety of menu commands and keyboard shortcuts that let you control almost every aspect of your project, from playback to displaying windows and inspectors to working with tools. The Command Editor provides a set of Final Cut Pro keyboard shortcuts in English, Japanese, French, and German. The language that is shown is determined by your computer’s operating system. To learn how to change the language used by Final Cut Pro, see macOS Help, available from the Help menu when the Finder is active. Final Cut Pro User Guide 834 View standard keyboard shortcuts 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). The Command Editor appears. 2. To find keyboard shortcuts in the Command Editor, do any of the following: • Click one or more keys on the virtual keyboard (or click one of the four modifier key buttons at the top of the Command Editor). The command groups, or categories, associated with the selected key or keys appear in the bottom-left corner of the window, and a list of all the keyboard shortcuts associated with the key or keys appears in the bottom-right corner of the window. Final Cut Pro User Guide 835 When you press any modifier key on your keyboard, or click any modifier key button to select it, the key colors update. Key colors correspond with command groups; for example, editing commands, such as Overwrite (D), are blue. The clickable list of command groups in the bottom-left corner of the Command Editor contains a color key for reference. • Enter a command name, description keywords, or a key name in the search field at the top-right corner of the window. The commands that match the search term appear in the command list at the bottom of the window. Tip: To show the keys that correspond with the items in the command list, click the Keyboard Highlight button to the left of the search field. Click any command in the list to view a description in the detail area on the right. • Click a command group to quickly filter the command list to display only the commands and keyboard shortcuts in that group. Click any command in the list to view a description in the detail area on the right. Final Cut Pro User Guide 836 View shortcuts from a different command set If your system has multiple command sets, you can easily switch between them. See Export or import keyboard shortcuts. In Final Cut Pro, do one of the following: • Choose Final Cut Pro > Commands, then choose a command set from the submenu. The Command Editor window appears, showing the command set you chose. • If you’ve already opened the Command Editor, click the pop-up menu in the top-left corner of the window and choose a command set. Modify keyboard shortcuts in Final Cut Pro You can quickly and easily customize keyboard shortcuts in the Command Editor. If you want to add a few custom commands to the default set in Final Cut Pro, you can duplicate the default set and assign keyboard shortcuts to some of the unassigned commands. You can also create a new set that contains only your commands. Duplicate a command set 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). 2. If the command set you want to duplicate isn’t shown, click the pop-up menu in the top-left corner of the Command Editor choose a different command set. 3. Click the pop-up menu in the top-left corner of the Command Editor and choose Duplicate. 4. In the window that appears, type a name for the command set, then click OK. The duplicate set is added to the Commands submenu of the Final Cut Pro menu and to the pop-up menu in the Command Editor. Modify a command set You can add keyboard shortcuts to a command set or reassign keyboard shortcuts. 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). 2. If the command set you want to modify isn’t shown, click the pop-up menu in the top-left corner of the Command Editor and choose a different command set. Final Cut Pro User Guide 837 3. Select the command you want to assign a new keyboard shortcut to by doing one of the following: • Type a command name in the search field in the top-right corner of the Command Editor. • Browse the command list to find the command you want. 4. Press the combination of keys you want to use for the command (for example, OptionShift-T, or any other keys). Note: The keys on the Command Editor keyboard that are shaded with diagonal lines are reserved for system use and can’t be assigned. If the key combination is not already assigned to a command, the Command Editor keyboard updates to show the new key assignment. A gray dot appears on the newly assigned key (or keys), and a color is applied if the command belongs to a color-coded command group. If the key combination is already assigned to a command, Final Cut Pro displays the current setting, and you’re asked to confirm the change. 5. To save your changes to the command set, click the Save button in the lower-right corner of the Command Editor. If you close the Command Editor with unsaved changes, you’re prompted to save your changes. Delete a command set 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). 2. If the command set you want to delete isn’t shown, click the pop-up menu in the topleft corner of the Command Editor and choose a different command set. 3. Click the pop-up menu in the top-left corner of the Command Editor and choose Delete. 4. In the window that appears, click Delete. The command set is removed. Export or import keyboard shortcuts with Final Cut Pro After you save a command set, you may want to export it to create a backup or to share the new set with another user. Exported command sets are saved in a file that can be imported back into Final Cut Pro at a later time. Export a set of custom keyboard shortcuts 1. Choose Final Cut Pro > Commands > Customize (or press Option-Command-K). 2. If the command set you want to export isn’t shown, click the pop-up menu in the topleft corner of the Command Editor and choose a different command set. 3. Do one of the following: • Choose Final Cut Pro > Commands > Export. • Click the pop-up menu in the top-left corner of the Command Editor and choose Export. Final Cut Pro User Guide 838 4. Type a name for the exported command set in the Save As field, navigate to the location where you want to save the exported set, and click Save. The file is saved in the location you chose, with the filename extension .commandset. Import a command set 1. In Final Cut Pro, do one of the following: • Choose Final Cut Pro > Commands > Import. • Open the Command Editor by choosing Final Cut Pro > Commands > Customize, then click the pop-up menu in the upper-left corner of the Command Editor and choose Import. 2. In the window that appears, navigate to the location where you’ve stored a command set file, select it, and click Open. If you’re already using a command set with the same name, you’re asked to rename the command set. The new command set is added to the Commands submenu of the Final Cut Pro menu and to the pop-up menu in the Command Editor. Customize the Final Cut Pro interface Arrange the Final Cut Pro main window The main areas of the Final Cut Pro window include the browser, viewer, timeline, sidebar, and inspector. You can show, hide, and resize these areas to suit both your working style and the task at hand, even across multiple displays. Final Cut Pro also comes with a set of predefined workspace layouts, and you can create and save your own custom workspace layouts. See Change the workspace layout. Final Cut Pro User Guide 839 Resize areas of the Final Cut Pro window • Drag the border between two areas of the Final Cut Pro window. As you drag, one area gets larger, and the other gets smaller. When both the browser and viewer are shown, the bottom of the browser and viewer acts as a single border—resizing one resizes the other as well. Show or hide the browser, the timeline, or the inspector In Final Cut Pro, do any of the following: • Show or hide the browser: Click the Browser button in the toolbar (or press ControlCommand-1). The image below shows the Final Cut Pro window with the browser hidden and just the viewer and the timeline showing: Final Cut Pro User Guide 840 • Show or hide the timeline: Click the Timeline button in the toolbar (or press ControlCommand-2). Note: You can’t hide both the browser and the timeline at the same time. • Show or hide the inspector: Click the Inspector button in the toolbar (or press Command-4). Tip: To switch the inspector between full-height view and half-height view, doubleclick the top bar of the inspector. You can also choose View > Toggle Inspector Height (or press Control-Command-4). Show or hide the sidebar The sidebar appears to the left of the browser and contains three panes for selecting different types of media: the Libraries sidebar, the Photos and Audio sidebar, and the Titles and Generators sidebar. When you select an item in the sidebar (such as an event containing clips, or a category of sound effects or 3D titles), the item’s contents are displayed in the browser. You can show or hide any of the sidebars. In Final Cut Pro, do any of the following: • Show the Libraries sidebar: Click the Libraries button in the top-left corner of the Final Cut Pro window, or choose Window > Go To > Libraries (or press Command-1). • Show the Photos and Audio sidebar: Click the Photos and Audio button in the top-left corner, or choose Window > Go To > Photos and Audio (or press Shift-Command-1). • Show the Titles and Generators sidebar: Click the Titles and Generators button in the top-left corner, or choose Window > Go To > Titles and Generators (or press Option-Command-1). Final Cut Pro User Guide 841 • Show or hide the sidebar: Choose Window > Show in Workspace > Sidebar, or press Command-Grave Accent (`). You can also hide the sidebar by clicking the button for the sidebar that’s currently shown (the button is highlighted). Use a second display with Final Cut Pro When you connect a second display to your Mac, controls appear that allow you to move the viewer, browser, or timeline to the second display. To view playback on an external video monitor, see Play media on an external display and Color correct HDR video with Pro Display XDR. 1. Make sure that the second display is connected to your Mac and turned on. The Secondary Display button and pop-up menu appear in the toolbar at the top of the Final Cut Pro window. 2. To choose which area of the Final Cut Pro window you want to move to the second display, do one of the following: • Click the Secondary Display pop-up menu and choose Timeline, Viewer, or Browser. • Choose Window > Show in Secondary Display > [item]. Final Cut Pro User Guide 842 The area you chose moves to the second display, and the other areas of the Final Cut Pro window are adjusted on the primary display. To move all areas back to the primary display, click the Secondary Display button. Final Cut Pro User Guide 843 Change the workspace layout in Final Cut Pro Final Cut Pro comes with a set of predefined workspace layouts that determine the size and location of the main areas of the Final Cut Pro window, including the browser, the viewer, the inspector, and the timeline. If none of the existing workspace layouts meet your needs, you can create and save additional layouts. After you save a custom workspace layout, you can easily share it with others. When you create custom layouts, you can include additional areas, such as the timeline index, the event viewer, the comparison viewer, and the audio meters. Choose a workspace layout • In Final Cut Pro, choose Window > Workspaces, then choose a layout from the submenu. Save custom workspace layouts 1. In Final Cut Pro, arrange the areas of the main window the way you want them. See Arrange the main window. 2. Choose Window > Workspaces > “Save Workspace as.” 3. Enter a name for the new layout, then click Save. The new layout is added to the Workspaces submenu. Tip: To save a change to an existing custom layout, make the change, then choose Window > Workspaces > Update [name] Workspace. Share custom workspace layouts You can easily copy custom workspace layouts to another computer or share them with friends and colleagues. 1. In Final Cut Pro, save a custom workspace layout. See Save custom workspace layouts, above. Final Cut Pro User Guide 844 2. Choose Window > Workspaces > Open Workspace Folder in Finder. The Workspaces folder, with all the custom layouts you created, opens in the Finder. 3. In the Finder, select the custom layout files you want to share, then choose File > Compress. Note: Compressing the files prevents any change to custom layouts during transit. 4. Transfer the resulting ZIP file (with the filename extension .zip) to your friend or colleague using email or another convenient method. 5. On the receiving Mac, double-click the ZIP file to decompress it. 6. In the Finder, hold down the Option key and choose Go > Library. 7. Drag the custom layout files to the following location in the Library folder: /Users/username/Library/Application Support/Final Cut Pro/Workspaces/ Use workflow extensions in Final Cut Pro You can use extensions to access features of third-party apps from within Final Cut Pro. For example, you can access stock footage, media management, and review-and-approve apps without ever leaving Final Cut Pro. 1. To install an extension for Final Cut Pro, follow the instructions that came with the extension app. 2. Open Final Cut Pro. 3. Click the Extensions button on the left side of the Final Cut Pro toolbar. Note: The Extensions button appears only when extensions are installed. The extension window or a menu of installed extensions appears. See the documentation that came with extension app for instructions on how to use it. For example, you might drag items from the extension window to an event in the Libraries sidebar or to a project in the timeline. 4. To close the extension window, click the Extensions button. To uninstall an extension, remove it from the Applications folder and reopen Final Cut Pro. Work with metadata Intro to metadata in Final Cut Pro You can view and change the information associated with a clip, referred to as a clip’s metadata. Metadata includes information about a clip’s source media files as well as information you add to a clip, such as notes. Final Cut Pro User Guide 845 In Final Cut Pro, you work with three types of metadata: • Exchangeable Image File (EXIF) data: Information recorded by the camera and stored in the media at the time it was shot, such as camera make and model, file size, color profile, and bits per sample. • International Press Telecommunications Council (IPTC) data: Standardized data used by media organizations to embed keywords, captions, copyright notices, and other information in the media files themselves. • Final Cut Pro metadata: Data you apply to clips within Final Cut Pro, such as clip name, ratings, and keywords. You can create your own combinations of metadata, called metadata views, to display with your clips. You can either create new metadata views or modify the ones that come with Final Cut Pro. See Modify metadata views. View and change clip metadata in Final Cut Pro You can use the Info inspector to view and change the metadata for a clip or group of clips selected in the browser or timeline. The Share inspector also displays metadata that is exported with a shared clip or project. See Change metadata for shared items. View a clip’s metadata 1. Select one or more clips in the Final Cut Pro browser or timeline. Final Cut Pro User Guide 846 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button on the right side of the toolbar. 3. Click the Info button at the top of the inspector. Metadata for the selected clip or group of clips is displayed in fields in the Info inspector. Switch metadata views in the Info inspector You can change the metadata fields shown in the Info inspector. 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose a metadata view. Note: If you create custom metadata views, they also appear in the pop-up menu. Final Cut Pro User Guide 847 Change a clip’s metadata 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector, then choose a metadata view that contains fields for the metadata you want to change. 4. Do one of the following: • Click in a text field to make it active, then enter the text you want to include. Note: If you can’t click in a text field, it means the field can’t be edited. Some EXIF metadata fields, for example, can’t be edited. • Click the pop-up menu for the metadata you want to change, then choose an option. Tip: You can also change the Content Created date and time of your source clips in the browser. Just select one or more clips, then choose Modify > Adjust Content Created Date and Time. Rearrange the fields in a metadata view 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Drag the metadata labels into a different order. Modify metadata views in Final Cut Pro You can create new metadata views or modify the ones that come with Final Cut Pro. Create a new metadata view 1. Select one or more clips in the Final Cut Pro browser or timeline. 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 3. Click the Info button at the top of the inspector. 4. Click the Metadata View pop-up menu in the bottom-left corner of the Info inspector and choose Edit Metadata View. 5. In the Metadata Views window that appears, click the Action pop-up menu in the bottom-left corner and choose New Metadata View. 6. Enter a name for the new metadata view, then press Return. Final Cut Pro User Guide 848 7. To limit the number of properties to a specific group, such as EXIF or video properties, click the Properties pop-up menu at the top of the window and choose a property group. 8. To add a property to the metadata view, select the checkbox to the left of the property. 9. When you’re satisfied with the metadata fields assigned to the metadata view, click OK. The new metadata view is added to the Metadata View pop-up menu in the Info inspector. Modify an existing metadata view You can change the combination of metadata that appears in a metadata view. You can rename metadata fields, add or remove metadata fields, create custom metadata fields, and rearrange the order in which the metadata fields are displayed. 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner and choose Edit Metadata View. 4. In the Metadata Views window, select the metadata view you want to change, then do any of the following: • Rename the metadata view: Double-click the metadata view name in the column on the left, enter a new name, then press Return. • Remove properties (metadata fields) from the metadata view: In the Property column, deselect checkmarks to the left of the properties you want to remove. • Add properties (metadata fields) to the metadata view: In the Property column, select the checkboxes to the left of the properties you want to add. • Add a custom property (metadata field) to the metadata view: Click the Action popup menu in the bottom-left corner, choose Add Custom Metadata Field, enter a name and description for the new property, then click OK. Final Cut Pro User Guide 849 5. When you’re satisfied with the metadata fields assigned to the selected metadata view, click OK. Duplicate a metadata view If you want to create a new metadata view that contains most of the metadata fields in an existing metadata view, you can save time by duplicating the existing metadata view and then modifying it. 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner, choose the metadata view you want to duplicate, then click the Metadata View pop-up menu again and choose Save Metadata View As. 4. In the window that appears, enter a name for the new metadata view and click OK. The new metadata view appears in the Metadata View pop-up menu in the Info inspector. You can modify the new metadata view as needed. Delete a metadata view 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. In the Info inspector, click the Metadata View pop-up menu in the bottom-left corner and choose Edit Metadata View. 4. In the Metadata Views window, select the metadata view you want to delete in the column on the left, then click the Action pop-up menu in the bottom-left corner and choose Delete Metadata View. The metadata view is removed from the left column of the Metadata Views window and from the Metadata View pop-up menu in the Info inspector. Note: Deleting a metadata view does not delete metadata applied to a clip or its source media. Batch rename clips in Final Cut Pro When you import media into Final Cut Pro, the clips often contain meaningless names, such as those assigned by the camera. Although you can rename clips individually, you can also rename a selection of clips as a batch in the browser, after the media has been imported. Final Cut Pro provides customizable naming presets that make renaming large numbers of clips efficient and easy. Batch rename clips using a naming preset 1. In the Final Cut Pro browser, select the clips you want to rename. Final Cut Pro User Guide 850 2. If the inspector isn’t already shown, do one of the following: • Choose Window > Show in Workspace > Inspector (or press Command-4). • Click the Inspector button in the toolbar. 3. Click the Info button at the top of the inspector. 4. In the Info inspector, click the Apply Custom Name pop-up menu and choose a naming preset. The clips selected in the browser are renamed. Create a new naming preset If the naming presets that come with Final Cut Pro don’t meet your needs, you can create a new naming preset and customize it. Tip: The easiest way to create a new naming preset is to duplicate an existing one. See Duplicate an existing naming preset, below. 1. In the Final Cut Pro browser, select the clips you want to rename. 2. Open the Info inspector. 3. Click the Apply Custom Name pop-up menu and choose New. 4. In the Naming Presets window, double-click Untitled, type a name for the new preset, then press Return. The new naming preset appears in the Apply Custom Name submenu of the Action pop-up menu. Duplicate an existing naming preset The simplest way to create a new naming preset is to duplicate an existing preset—one that contains most of the name format options you want to include—and modify it. 1. In the Final Cut Pro browser, select the clips you want to rename. 2. Open the Info inspector. 3. Click the Apply Custom Name pop-up menu and choose Edit. Final Cut Pro User Guide 851 4. In the Naming Presets window, Control-click the preset you want to duplicate, then choose Duplicate. The duplicate naming preset appears below the original preset. 5. Enter a name for the duplicate preset, then press Return. You can now modify the preset to suit your needs. Modify an existing naming preset 1. In the Final Cut Pro browser, select the clips you want to rename. 2. Open the Info inspector. 3. Click the Apply Custom Name pop-up menu and choose Edit. 4. In the Naming Presets window, add naming tokens—metadata elements you can use to create a naming preset—by dragging them from the Clip Info, Date/Time, Format, and Camera areas to the Format field. To remove a naming token, select it in the Format field and press Delete. 5. Rearrange the tokens in the Format field by dragging them into new positions. 6. If you like, add text characters, such as underscores (_) and spaces, between naming tokens in the Format field. 7. When you’re satisfied with the naming preset’s new format, click OK. Final Cut Pro User Guide 852 Remove a naming preset 1. Select a clip in the Final Cut Pro browser or timeline. 2. Open the Info inspector. 3. Click the Apply Custom Name pop-up menu and choose Edit. 4. In the Naming Presets window, select the naming preset you want to remove, then click the Remove Presets button (with a minus sign). The naming preset is removed from the Naming Presets window. Use color and gradient controls Intro to color and gradient controls in Final Cut Pro The color and gradient controls appear in an inspector when you have the option to apply a custom color or gradient to a selected item, such as a title or generator in your project. Use color controls to set the color of objects such as shapes, text, and gradients. Use the gradient editor to to change gradient parameters, such as color, opacity, direction, and so on. Color controls Basic color controls in Final Cut Pro Before you expand the color controls, you see the following: • Color well: A small color swatch that, when clicked, opens the macOS Colors window. See Pick a color in the Colors window. You can also click the downward arrow or Control-click the color well to open the pop-up color palette. See Use the pop-up color palette. • Disclosure triangle: A control that, when clicked, reveals individual Red, Green, Blue, and, when applicable, Opacity sliders. See Use expanded color controls. Final Cut Pro User Guide 853 Use the pop-up color palette in Final Cut Pro Use the pop-up color palette to select a color from the spectrum of hues, saturation, and lightness. You can also select a grayscale value. 1. In Final Cut Pro, Control-click a color well, or click the adjacent downward arrow. 2. In the pop-up color palette, do one of the following: • Select a color from the spectrum of hues, saturation, and lightness: Click in the top area. • Select a grayscale value: Click in the bottom gradient. As you move the pointer over either area, the pointer becomes an eyedropper, the column on the right displays the RGB and HSL values for the sampled colors, and two swatches above the RGB information display the current and sampled colors. As you sample in the spectrum, the selected object is updated in the viewer. Use the Colors window in Final Cut Pro You can use the macOS Colors window in Final Cut Pro, giving you access to the familiar color pickers such as the Spectrum palette or the Pencils palette. Final Cut Pro User Guide 854 The Colors window has four sections: the icons at the top select picker interfaces; the large color swatch shows the current color; the middle section shows the active picker; and the row of boxes can be used to save swatches. Show the Colors window • Click a color well in Final Cut Pro. Pick a color in the Colors window Do one of the following: • Click a color in the color picker area. • Click the eyedropper, then click anywhere on the computer screen to choose a color. The color you click in the Colors window loads into the well, and the selected item changes color. Save a color to the saved swatch area in the Colors window 1. Select a color in the picker or by using the eyedropper. 2. Drag the color from the large swatch to a white square at the bottom of the Colors window. Colors saved in this area remain accessible across applications and restarts. Use expanded color controls in Final Cut Pro Sometimes you need precise numerical control over colors. You might also need to match two colors exactly or adjust a color channel independently. Every set of color controls has a disclosure triangle, which, when clicked, reveals sliders for the Red, Green, and Blue color channels. You can choose or fine-tune a color by adjusting these sliders. Among other uses, these controls are handy when you need to keyframe each color channel differently. Final Cut Pro User Guide 855 Gradient controls Intro to the gradient editor in Final Cut Pro Many titles and generators that can be filled with a color can also be filled with a gradient. Like color controls, gradient controls are a group of settings that can be expanded for more precise control. Change gradient colors in Final Cut Pro You can use the gradient controls to create gradients in titles and generators. Change the colors in a gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. To change the color of a color tag in the gradient editor, do one of the following: • Double-click a color tag. The Colors window appears. Use the Colors window to set a color for the tag. Final Cut Pro User Guide 856 • Click a color tag, then adjust the Red, Green, and Blue color channel sliders. • Click the down arrow next to the color well to display the pop-up color palette. When you move the pointer over the color palette, the pointer becomes an eyedropper. Click in the top area to select a color, or click in the bottom gradient to set the tag to a grayscale value. Change the opacity in a gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, click an opacity tag. The Opacity slider becomes available. 4. Use the Opacity slider or adjacent value slider to change the level of transparency. The gradient reflects the new opacity values. The lower the percentage of opacity, the greater the transparency. Final Cut Pro User Guide 857 Add or remove a color tag 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, position the pointer in the lower gradient bar where you want to add the new color, then click. A new color tag is added to the gradient. Add an opacity tag to a gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, position the pointer in the opacity bar (the top bar) where you want to add the tag, then click. A new opacity tag is added to the gradient. Until the value is adjusted, the gradient opacity is 100%. Remove a color or opacity tag from the gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, drag the tag away from the gradient bar. Reverse gradient direction in Final Cut Pro You can reverse the direction of gradients in titles and generators, or evenly distribute the gradient color and opacity tags. Reverse the gradient color or opacity direction 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, click the reverse tags icon next to the opacity or color bar. The tags are reversed. Final Cut Pro User Guide 858 Evenly distribute the gradient color or opacity tags 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, click the distribute tags icon next to the opacity or color bar. Change the direction of a gradient 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, use the Start and End value sliders to change the direction of the gradient. Move and copy gradient tags in Final Cut Pro You can manipulate tags in the gradient editor to create custom gradients in titles and generators. Move the position of a color or opacity tag 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, click the color or opacity tag you want to move. 4. Do one of the following: • Drag the color or opacity tag left or right. • Use the Location slider (or adjacent value slider) to modify the position of the selected tag. A value of 100% is the rightmost position of the gradient, and a value of 0% is the leftmost position of the gradient. Duplicate a color or opacity tag 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, Option-drag the tag to a new position. Change the transition midpoint between adjacent color or opacity tags 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. Final Cut Pro User Guide 859 3. In the gradient editor, drag the small triangle between adjacent color tags or opacity tags to change the point where one tag’s effect ends and the next tag’s effect begins. The closer the middle control is to a tag, the sharper the color or opacity transition. Note: The middle control does not appear for color or opacity tags set to Linear or Constant. Change the color or opacity tag interpolation 1. In Final Cut Pro, select a title or generator, then open the inspector. 2. Click the Gradient disclosure triangle to show the gradient editor. 3. In the gradient editor, Control-click a tag and choose either Constant, Linear, or Continuous. Basic gradient controls in Final Cut Pro Before you expand the gradient controls, you see the following in the inspector in Final Cut Pro: • Gradient preview bar: A horizontal bar that displays the currently selected gradient • Disclosure triangle: A control that, when clicked, expands to show the gradient editor Gradient editor controls in Final Cut Pro In Final Cut Pro, use the advanced gradient controls to make precise adjustments to gradients applied to selected items (such as titles and generators). Final Cut Pro User Guide 860 To customize or modify a gradient, click the disclosure triangle in the Gradient row of the inspector to reveal the advanced gradient controls: • Graphical controls: Three horizontal bars that let you set and preview the opacity, color, and spread of a gradient. The narrow, white top bar (the opacity bar) controls opacity and transparency in the gradient. Adjust the spread of opacity across the gradient by dragging one of the small box-shaped opacity tags horizontally along the bar. Click in the opacity bar to add opacity tags, creating a gradient with varying levels of transparency. Delete an opacity tag by dragging it away from the color bar. Change the value of an opacity tag by selecting it and dragging the Opacity slider (described below). Opacity tags have a value range of 0% (completely transparent) to 100% (completely opaque). Adjust the transition between two opacity tags by dragging the middle control—a small triangle between adjacent tags, available when Interpolation is set to Continuous (described below). By default, the opacity of a gradient applied to text is 100%. The wide middle bar shows a preview of the current gradient. The narrow bottom bar (the gradient bar) controls color in the gradient. Adjust the spread of color across the gradient by dragging one of the small box-shaped color tags horizontally along the bar. Click in the gradient bar to add more color tags. Delete a color tag by dragging it away from the gradient bar. Change the value of a color tag by selecting it and choosing a color from the color well below, or by double-clicking the tag and choosing a color from the Colors window. Adjust the transition between color tags by dragging the middle control—a small triangle between adjacent tags, available when Interpolation is set to Continuous (described below). Selecting a color tag activates the Color and Location controls (described below). Selecting an opacity tag activates the Opacity slider (described below). Selecting a middle control activates the Middle slider (described below). • Color: A color well and eyedropper that sets the hue of a selected color tag in the gradient bar. For more information about color wells, see Basic color controls. • Opacity: A slider that sets the transparency of a selected opacity tag in the opacity bar. Values range from 0% (completely transparent) to 100% (completely opaque). • Interpolation: A pop-up menu that sets the interpolation of a selected color tag or opacity tag. There are three options: • Linear: Creates a uniform distribution of opacity or color between the tags. • Continuous: Sets an adjustable rate of change between adjacent opacity or color tags. Adjust the rate of change by dragging a middle control in the opacity bar or gradient bar, or by dragging the Middle slider (described below). Final Cut Pro User Guide 861 • Constant: Creates a constant color distribution from the color or opacity tag, moving from left to right in the gradient. For example, if the left color tag is set to Constant, the area of the gradient between that tag and the next one to the right is a single, solid color. • Location: A slider that adjusts the location of a selected opacity tag or color tag. • Type: A pop-up menu that lets you choose a linear or radial gradient. • Start: Value sliders that set the start position of the gradient in the selected object. This parameter affects the gradient as a whole—colors and opacity. Clicking the disclosure triangle stacks the X and Y value sliders vertically instead of horizontally. • X: Controls the X start position of the gradient. • Y: Controls the Y start position of the gradient. • End: Value sliders that set the end position of the gradient in the selected object. This parameter affects the gradient as a whole—colors and opacity. Clicking the disclosure triangle stacks the X and Y value sliders vertically instead of horizontally. • X: Controls the X end position of the gradient. • Y: Controls the Y end position of the gradient. Note: The Start and End parameters do not appear in standard text gradients. Final Cut Pro User Guide 862 • Angle: When the Type pop-up menu is set to Linear, this dial specifies the direction of a linear gradient. This parameter appears only for standard text gradients. Download Final Cut Pro sound effects and Pro Video Formats Final Cut Pro includes free supplemental content and advanced video formats for use in your projects. You can download them after you install Final Cut Pro. The Final Cut Pro supplemental content includes: • Over 1300 royalty-free sound effects you can access from the Photos and Audio sidebar in Final Cut Pro • Additional preset effects for the Space Designer plug-in For information about using the Space Designer plug-in included with Final Cut Pro, see Final Cut Pro Logic Effects. Pro Video Formats enables Final Cut Pro, Motion, and Compressor to work with a variety of professional video formats, including Apple ProRes codecs and MXF files. 1. Install Final Cut Pro from the Mac App Store. Shortly afterward, the additional content becomes available for download. 2. Choose Final Cut Pro > Download Additional Content. The Software Update pane of System Preferences opens, showing Final Cut Pro Supplemental Content and Pro Video Formats as available updates. 3. Do one of the following: • Install all updates available for your Mac: Click Update Now. • Install selected updates: Click “More info” to see a list of updates, select the checkboxes for the updates you want, then click Install Now. If you’re not sure whether Pro Video Formats has been installed, see Verify installation of Pro Video Formats. Final Cut Pro User Guide 863 For information about permitted use of the content, see the Final Cut Pro Software License Agreement. Final Cut Pro User Guide 864 Glossary 4:3 The aspect ratio for standard-definition (SD) broadcast video. The ratio of the width to the height of the visible area of the video frame is 4:3, or 1.33. See also standard-definition (SD). 16:9 A widescreen aspect ratio for video. The ratio of the width to the height of the visible area of the video frame is 16:9, or 1.78. The 16:9 aspect ratio is used for high-definition (HD) video. See also high-definition (HD). AAC (Advanced Audio Coding) Also called MPEG-4 Audio. A standard way of compressing and encoding digital audio. AAC-encoded files rival the quality of audio CDs and generally sound as good as or better than MP3 files encoded at the same or even a higher bit rate. AC3 (Audio Codec 3, Advanced Codec 3, Acoustic Coder 3) A Dolby Digital compressed audio format often used for encoding surround sound. AIFF (Audio Interchange File Format) A cross-platform audio file format developed by Apple. Like WAV files, AIFF files contain “chunks” of information, such as the Sound Data Chunk, which contains the actual sample data, and the Common Chunk, which contains sample rate and bit depth information. alpha channel An image channel in addition to the R, G, and B (red, green, and blue) color channels that is used to store transparency information for compositing. Alpha channels are often 8-bit, but some applications support 16-bit alpha channels. In Final Cut Pro, black represents 100 percent transparency, and white represents 100 percent opacity. Only certain formats support alpha channels. Examples are Targa, TIFF, PNG, PSD, Apple ProRes 4444, and the QuickTime Animation codec. See also compositing, RGB. angle editor You can open multicam clips in the angle editor to adjust the sync and the angle order, or to add or delete angles. You can also use the angle editor to make edits to the individual clips inside a multicam clip (such as trimming, making color corrections, adding transitions, and so on). See also multicam clip. angle viewer A viewer used to watch all angles of a multicam clip simultaneously while switching or cutting to different angles in real time. You can cut and switch video and audio at the same time or independently. For example, you can use the audio from angle 1 while switching the video between angles 1 to 4. See also multicam clip. animation editors See Audio Animation editor, Video Animation editor. Final Cut Pro User Guide 865 Apple ProRes Apple codecs that provide an unparalleled combination of multistream, real-time editing performance, impressive image quality, and reduced storage rates. Apple ProRes codecs take full advantage of multicore processing and feature fast, reducedresolution decoding modes. All Apple ProRes codecs support any frame size (including SD, HD, 2K, 4K, and 6K) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate. See also frame rate, resolution. Apple ProRes 4444 XQ The highest-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels), with a very high data rate to preserve the detail in high-dynamic-range imagery generated by the highest-quality digital image sensors. Apple ProRes 4444 XQ preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery—even against the rigors of extreme visual effects processing, in which tone-scale blacks or highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. Apple ProRes 4444 An extremely high-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels). This codec features full-resolution, mastering-quality 4:4:4:4 RGBA color and visual fidelity that is perceptually indistinguishable from the original material. Apple ProRes 4444 is a high-quality solution for storing and exchanging motion graphics and composites, with excellent multigeneration performance and a mathematically lossless alpha channel up to 16 bits. This codec features a remarkably low data rate compared to uncompressed 4:4:4 HD, with a target data rate of approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. It also offers direct encoding of, and decoding to, both RGB and Y'CbCr pixel formats. Apple ProRes 422 HQ A higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444, but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest-quality professional HD video that a single-link HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate of Apple ProRes 422 HQ is approximately 220 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422 A high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, realtime editing performance. The target data rate of Apple ProRes 422 is approximately 147 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422 LT A more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate of Apple ProRes 422 LT is approximately 102 Mbps at 1920 x 1080 and 29.97 fps. Apple ProRes 422 Proxy An even more highly compressed codec than Apple ProRes 422 LT, intended for use in offline workflows that require low data rates but full-resolution video. The target data rate of Apple ProRes 422 Proxy is approximately 45 Mbps at 1920 x 1080 and 29.97 fps. Final Cut Pro User Guide 866 Apple ProRes RAW The Apple ProRes RAW and Apple ProRes RAW HQ codecs preserve all of the camera sensor’s pristine raw data to deliver extraordinarily high-quality images. ProRes RAW brings to raw video the same great performance, quality, and ease of use that ProRes has brought to conventional video, in a format ideal for HDR content creation. Being able to use the raw image sensor data directly in Final Cut Pro during post-production gives you more control over the processing of the image, including demosaicing, linear-tolog conversions, and custom LUTs. aspect ratio A film or video frame’s width-to-height ratio on any viewing screen. Standard-definition (SD) video (used for regular television screens) has an aspect ratio of 4:3. High-definition (HD) video has an aspect ratio of 16:9. Audio Animation editor You can show the Audio Animation editor for clips in the timeline to adjust effect parameters, create fade-ins or fade-outs, or change effects over time using keyframes. See also keyframe, Video Animation editor. audio components Audio files can contain a single audio channel or multiple audio channels. Final Cut Pro automatically groups audio channels into audio components according to how the channels are configured for the clip. In Final Cut Pro, you can expand the audio portion of clips to view and edit audio components down to the individual channel level. audio sample rate The number of times an audio signal is measured, or sampled, per second. A higher sample rate produces higher-quality audio and larger file sizes, and a lower sample rate produces lower-quality audio and smaller file sizes. Audio Units The standard real-time audio effect format for audio applications used with macOS. audio waveforms Visual representations of the actual sound. An audio waveform’s amplitude and length change according to the underlying sound’s volume and duration. A short, loud sound such as a drum beat has a sharp, peaked waveform, whereas low-level crowd noise has a lower, more uniform waveform. These properties make it easier to find specific edit points when trimming clips or keyframing effects. audition In Final Cut Pro, you can organize related clips into sets, called auditions, from which you can choose one clip to use. You can create an audition composed of different clips to try out multiple takes, or you can create an audition composed of multiple versions of the same clip to preview different effects. Auditions appear in the browser and timeline as clips with an audition icon in the top-left corner. automatic audio sync The “Use audio for synchronization” option in the multicam clip creation process makes precision sync adjustments using audio waveforms in the angles of a multicam clip. This is the same audio sync technology that you can use to automatically analyze and sync clips together into a compound clip. See also compound clip, multicam clip. AVCHD A high-definition (HD) video format that uses Advanced Video Coding (AVC) compression (also known as MPEG-4 part 10 or H.264). Many Blu-ray players can play red laser discs with AVCHD format content, making this a common way to distribute short HD video projects using a standard red laser disc. Background Tasks window A window in Final Cut Pro that shows the progress of importing, transcoding, analysis, rendering, sharing, and other tasks performed in the background. Final Cut Pro User Guide 867 batch Compressor uses a batch to contain one or more source media files that you want to convert, or transcode, to another format. Each source media file creates its own job. This means that a batch can contain multiple jobs, with each job based on its own source media file. Each job also has at least one setting that defines the format of the transcoded file. See also source media files. batch share A feature in Final Cut Pro that allows you to share multiple projects, clips, or ranges in a single export. Bezier curve A parametric curve used to create smooth movement for keyframes and animated objects and to create precise, detailed mask shapes. Bezier curves contain two kinds of points: smooth points with handles that can be manipulated to curve the adjacent line segment, and corner points that have no handles and therefore have straight (or linear) adjacent line segments. bit rate The number of bits that are processed or transmitted per unit of time. The higher the bit rate, the better the quality. However, higher bit rates require larger file sizes. Blade tool The editing tool that allows you to cut clips in the timeline. You can select the Blade tool by pressing the B key. blue laser media Blu-ray burners and players use a blue laser when working with Blu-ray media. The blue laser has a shorter wavelength than the red laser used for DVDs, making it possible to store more data on a disc. See also red laser media. blue or green screening See chroma key. broadcast-safe Broadcast facilities have limits on the maximum values of luma and chroma that are allowable for broadcast. If a video exceeds these limits, distortion can appear, resulting in unacceptable transmission quality. You can use the Final Cut Pro video scopes to make sure that the luma and chroma levels you set stay within acceptable limits. See also chroma, luma. B-roll A term used to describe alternative footage shot to intercut with the primary shots used in a program. B-roll is frequently used for cutaway shots. See also cutaway shot. browser The browser displays clips, projects, photos, titles, or generators for the item selected in the sidebar (such as an event containing clips, or a category of sound effects or 3D titles). You select items in the browser to work with them. You can sort or group items in the browser by creation date, name, and duration. You can also view your clips as filmstrips or in a list. See also sidebar. burn in To make a visible and permanent change to an output media file. For example, titles are burned in. In contrast, captions can be included in the output media file without being permanently visible in the video image. BWF (Broadcast Wave Format) An extension of the WAV file format that includes additional metadata such as timecode and production information. CAF (Core Audio Format) Apple’s Core Audio Format (CAF) is a flexible file format for storing and manipulating digital audio data. It is fully supported by Core Audio APIs on Mac OS X 10.4 or later and on Mac OS X 10.3 with QuickTime 7 or later. CAF provides high performance and flexibility, and is scalable to future ultra-high-resolution audio recording, editing, and playback. Final Cut Pro User Guide 868 CEA-608 Also known as EIA-608. A caption standard for broadcasts and web video. The CEA-608 caption standard features a variety of position, formatting, color, and animation options. CEA-608 captions can be imported or exported as separate files or as tracks embedded in a media file. CEA-608 caption files have the filename extension .scc. chroma The color information contained in a video signal, consisting of hue, which represents the color itself, and saturation, which represents the intensity of the color. chroma key A special effects technique that allows you to derive an alpha channel or matte from the blue or green background of a video clip in order to make it transparent (so that it can be composited against other clips). Blue- or green-screen technology is what makes weather forecasters appear to be standing against an animated map, when in reality they’re standing in front of a blue or green wall. Also known as blue or green screening. See also alpha channel. chromaticity The exact values a display uses to represent each of the three primary colors. Different displays use different primary values. Because all colors represented by a particular display are a mix of the three primary colors, if the three primary points vary from display to display, the entire gamut of color shifts. Cinematic Editor An interface for viewing and adjusting focus points in Cinematic mode video clips in the Final Cut Pro timeline. The Cinematic Editor shows automatic focus points as white dots and manual focus points as yellow dots with a ring around them. clip The term used to describe a video or audio asset, especially after it has been imported into Final Cut Pro. Clips appear in the browser and the timeline. Clips in Final Cut Pro point to (link to) source media files stored on your Mac or a connected storage device. When you modify a clip, you’re not modifying the media file, just the clip’s information in Final Cut Pro. This is known as nondestructive editing. clipping Distortion occurring during the playback or recording of digital audio because of a signal that exceeds the maximum sample value of 0 dBFS. clip selection A selection of whole clips in the browser or the timeline. In contrast to a range selection, a clip selection is limited to clip boundaries. You can’t adjust a clip selection to include portions of clips. However, you can add or remove whole clips. codec Short for compressor/decompressor, or encode/decode. A software component used to translate video or audio from its current form to the digital compressed form in which it is stored on a computer or storage device. DV, Photo JPEG, and Apple ProRes are common QuickTime video codecs. color balance Refers to the mix of red, green, and blue in a clip. In Final Cut Pro, you can adjust the color balance of the highlights (bright areas), midtones, or shadows (dark areas) of your clip. color bars A standard color test signal displayed as columns, often accompanied by a reference audio tone. Color bars are used to adjust the video signal of the incoming source to maintain proper color from import through output. Color Board The Color Board allows you to manually adjust a clip’s color properties. It contains separate panes for adding or subtracting a color tint, controlling the intensity of the color, and controlling the brightness of the video. In addition to an overall control, each pane has individual controls for the highlight, midtone, and shadow areas of the image. color cast An unwanted color tint in the image, usually caused by lighting issues. Final Cut Pro User Guide 869 color correction A process in which the color of clips used in an edited program is evened out so that all shots in a given scene match. Color correction is generally one of the last steps in finishing an edited program. The color correction tools in Final Cut Pro give you precise control over the look of every clip in your project by allowing you to adjust the color balance, black levels, midtones, and white levels of individual clips. color difference In video formats that store color information in the Y'CbCr color space, color channels are derived by subtracting Y (luma) from the R (red) and B (blue) signals and are sometimes referred to generally as B-Y and R-Y. See also Y'CbCr. Color inspector You use the Color inspector to perform manual color corrections using the four color correction effects: Color Board, Color Wheels, Color Curves, and Hue/Saturation Curves. compositing A process in which two or more images are combined into a single frame. This term can also describe the process of creating various video effects. compound clip You can use compound clips to group any combination of clips in the timeline or the browser and nest clips within other clips. You can open any compound clip, edit its contents in the timeline, and then close it. Compound clips can contain video and audio clip components, clips, and other compound clips. Effectively, each compound clip can be considered a mini project, with its own distinct project settings. Compound clips function just like other clips: You can add them to your project, trim them, retime them, and add effects and transitions. compression The process by which video, graphics, and audio files are reduced in size. “Lossy” compression refers to a process of reducing video file sizes through the removal of redundant or less noticeable image data. Lossless compression reduces file sizes by mathematically consolidating redundant image data without discarding it. connected clip Connected clips are attached to clips in the primary storyline in the timeline. They’re useful for cutaway shots, superimposed or composited images, and sound effects. Connected clips remain attached and synced until you explicitly move or remove them. A sequence of connected clips is a storyline. See also cutaway shot. contrast The difference between the lightest and darkest values in an image. Highcontrast images have a large range of values from the darkest shadow to the lightest highlight. Low-contrast images have a more narrow range of values, resulting in a “flatter” look. corner point A point with no curves applied in a Bezier path. Adjacent line segments are linear. See also Bezier curve. cross dissolve A common type of video transition, in which the first shot fades out while the second shot simultaneously fades in. During the cross dissolve, the two shots are superimposed as they fade. crossfade A common type of audio transition, in which the first shot’s audio fades down while the second shot’s audio simultaneously fades up. During the crossfade, audio from both shots is heard. cut An edit in which one clip immediately follows another, with no transition effect. This is the simplest type of edit. Final Cut Pro User Guide 870 cutaway shot A shot that is related to the current subject and occurs in the same time frame (for example, an interviewer’s reaction to what’s being said in an interview). Often, a cutaway shot is used to eliminate an unwanted visual section of another shot. The audio usually remains continuous during the cutaway, helping to make the edit less noticeable. data rate The speed at which data can be transferred, often described in megabytes per second (MB/sec.) or megabits per second (Mbps). The higher a video file’s data rate, the higher quality it is, but the more system resources (processor speed, storage space, and performance) it requires. Some codecs allow you to specify a maximum data rate for a movie during capture. decibel (dB) Unit of measurement for sound levels; a logarithmic scale used to describe the loudness of sound as perceived by the human ear. (1 dB corresponds approximately to the smallest volume change that the average human ear can perceive.) For digital audio, dBFS is the standard decibel unit of sound level measurement. depth of field The distance between the closest and farthest elements in a scene that appear “sharp” (in focus). destination A set of preconfigured export settings that you can use to share a project or clip from Final Cut Pro. Destinations make it easy to export your movie for viewing on Apple devices such as iPad and iPhone, add your movie to video-sharing websites, or burn your movie to a disc. Final Cut Pro comes with a variety of destinations, and you can also modify destinations and create new destinations. You add and modify destinations in the Destinations pane of Final Cut Pro preferences. Disk Utility An Apple app that performs disk-related tasks in macOS. It’s located in the Utilities folder inside the Applications folder. downmixing The process used to combine multiple audio channels into a single stereo (or dual mono) pair. Also referred to as mixing down. downstream Refers to clips to the right of the current clip in the timeline. When you perform actions that ripple the project, downstream clips are affected; upstream clips are not. See also ripple edit, upstream. drop frame timecode NTSC timecode that skips ahead in time by two frame numbers each minute, except every tenth minute, so that the timecode agrees with the actual elapsed clock time. (Timecode numbers are skipped, but actual video frames are not skipped.) This skipping corrects for NTSC’s actual frame rate of 29.97 fps, which causes non-drop frame timecode to lag behind actual elapsed time by 3 seconds and 18 frames per hour. To avoid confusion, drop frame timecode should be avoided in film-based productions. See also non-drop frame timecode. drop shadow An effect that creates an artificial shadow behind an image. Typically used with graphics and text. DV A standard-definition (SD) digital videotape recorder format that records an 8-bit, 5:1 compressed component video signal with 4:1:1 color sampling (PAL uses 4:2:0). DV supports two tracks of audio with 16-bit, 48 kHz audio sampling, or four tracks of audio with 12-bit, 32 kHz audio sampling. DVCAM A standard-definition (SD) digital videotape recorder format that records an 8-bit, 5:1 compressed component video signal with 4:1:1 color sampling (PAL uses 4:2:0). DVCAM supports two tracks of audio with 16-bit, 48 kHz audio sampling, or four tracks of audio with 12-bit, 32 kHz audio sampling. Final Cut Pro User Guide 871 DVCPRO A standard-definition (SD) digital videotape recorder format that records an 8-bit, 5:1 compressed component video signal using 4:1:1 color sampling (PAL uses 4:2:0). DVCPRO supports two tracks of audio with 16-bit, 48 kHz audio sampling. DVCPRO50 A standard-definition (SD) digital videotape recorder format that records an 8-bit, 3.3:1 compressed component video signal with 4:2:2 color sampling. DVCPRO50 supports four tracks of audio with 16-bit, 48 kHz audio sampling. DVCPRO HD A high-definition (HD) video format that records an 8-bit, compressed component video signal with 4:2:2 color sampling. Both 720p and 1080i are supported. DVCPRO HD includes up to eight tracks of audio with 16-bit, 48 kHz audio sampling. The total data rate is 115 Mbps. DVD A disc that is the size of a CD but that uses higher-density storage methods to significantly increase its capacity. Although usually used for video distribution, DVD-ROM discs can also be used to store computer data. dynamic range The difference, in decibels, between the loudest and softest parts of a recording. ease in An effect in which an object in motion decelerates slowly until it comes to a stop, rather than ending its movement abruptly. This simulates the effect of friction in the real world and generally creates a more natural, organic-looking effect than a linear movement would. ease out An effect in which an object in motion accelerates from its starting position slowly rather than beginning its movement at full speed. This simulates the effect of inertia and friction in the real world and generally creates a more natural, organic-looking effect than a linear movement would. editing tools A group of seven tools you can use when working in the timeline: Select tool, Trim tool, Position tool, Range Selection tool, Blade tool, Zoom tool, and Hand tool. When you choose a tool, the pointer changes to the icon for that tool. edit point Edit points define the part of a clip you want to use in an edited project. Edit points include start points, which specify the beginning of a section of a clip or project, and end points, which specify the end of a section of a clip or project. An edit point is also a point in the timeline where the end point of one clip meets the start point of the next clip. This edit point can be selected for various operations. Effects browser A media browser in Final Cut Pro that contains video and audio clip effects. embedded captions CEA-608 captions that are included in the output media file. Viewers can turn embedded captions on or off while watching TV shows, movies, web videos, and other programs. In contrast, titles and burned-in captions are always permanently visible in the output media file. equalization An equalizer (commonly abbreviated as EQ) shapes the sound of incoming audio by changing the level of specific frequency bands. Equalization is one of the most commonly used audio processes, both for music projects and in video post-production work. You can use EQ to subtly or significantly shape the sound of an audio file, instrument, or project by adjusting specific frequencies or frequency ranges. equirectangular projection A display of 360° video that shows all parts of a threedimensional sphere flattened in a video frame, similar to world maps that depict the globe as a two-dimensional rectangle. Final Cut Pro User Guide 872 event When you import video, audio, and still images, or record directly into Final Cut Pro, the source media files (your raw footage) are stored in events. An event is similar to a folder that can hold dozens, hundreds, or even thousands of video clips, audio clips, and still images, as well as projects. Each event in the library refers to media on your Mac or a storage device, and a database file keeps track of where everything is. event viewer A separate video display that appears next to the main viewer and is used to play clips from the browser only. exposure The amount of light in video or film images. Exposure affects the overall brightness of the image as well as its perceived contrast. fade A common type of transition in both video and audio. For video, a fade-out begins with a shot at full intensity and reduces until it is gone. A fade-in begins with a shot at no intensity and increases to full intensity. These are the common “fade to black” and “fade up (from black)” transitions. Audio fade-ins begin with silence and increase to full volume, and fade-outs begin at full volume and decrease to silence. filmstrip Your video clips appear as filmstrips in the timeline (where you build projects) and in the browser (where your source clips are displayed). A single video filmstrip might represent several seconds of video encompassing hundreds of video frames (individual images). Audio-only clips appear as audio waveforms, showing the change in the audio volume over time. FireWire The trademarked Apple name for the IEEE 1394 standard. A fast and versatile interface used to connect DV camcorders to computers. FireWire is well suited to applications that move large amounts of data, and it can also be used to connect external storage devices, scanners, and other kinds of computer peripherals. See also Thunderbolt. Foley effects Custom sound effects that are heavily synced to picture, such as footsteps on different surfaces, clothes rustling, fight sounds, and the handling of various noisy objects. Final Cut Pro includes a number of built-in Foley and other sound effects that you can insert as connected audio clips. See also connected clip. frame A single still image. Film and video are made up of a series of these images. Although a film frame is a single photographic image, an interlaced video frame contains two fields. See also interlaced video, non-interlaced video. frame blending Duplicating frames to create slow motion can result in a strobing, jittery effect. To minimize this, you can turn on Frame Blending in the Retime pop-up menu below the viewer. Frame blending creates new in-between frames, each a composite of two neighboring frames. frame rate The number of images photographed per second for a video clip. frame size See resolution. frequency The number of times a sound or signal vibrates each second, measured in cycles per second, or hertz (Hz). Audio recordings are made up of a vast collection of waveforms, using many different frequencies of sound. Each frequency in a recording is associated with an audio pitch. For example, the note generated by each key of a piano has a specific frequency. See also pitch. gain The amount an audio or video signal is boosted. In video, this increases the white level; in audio, this increases the volume. Final Cut Pro User Guide 873 gamma A curve that describes the intensity of an image. Gamma is a nonlinear function often confused with brightness or contrast. Gamma adjustment is often used to compensate for differences between Mac and Windows video graphics cards and displays. gamut The gamut of a particular display device represents the total range of colors that can be displayed on that device. Some types of displays are capable of displaying a greater range of colors than others. Furthermore, different video and film standards specify different color gamuts; colors that may be easily represented by one imaging medium are out of bounds for another. gap clip A blank clip (containing blank video and silent audio) that you can adjust to any duration. (The film industry term for this is slug.) Gap clip color is determined by the current background color in Final Cut Pro. You can adjust the background color using the Player Background pop-up menu in the Playback pane of Final Cut Pro preferences. generators Clips that are synthesized by Final Cut Pro. Generators can be used as different kinds of backgrounds, titles, and elements for visual design. Hand tool The editing tool that allows you to scroll in the timeline. You can select the Hand tool by pressing the H key. H.264 H.264/MPEG-4 Part 10 or AVC (Advanced Video Coding) is a video compression standard in widespread use for recording, distribution, and internet streaming of highdefinition (HD) video. HDCAM A high-definition (HD) digital videotape recorder format that records an 8-bit, 7.1:1 DCT-compressed component video signal with 3:1:1 color sampling. HDCAM supports four tracks of audio and is recorded using 1/2-inch tape. HDV A format for recording high-definition (HD) video on DV tape. HDV uses MPEG-2 video compression with 8-bit samples and 4:2:0 chroma subsampling. HDV has a video bit rate of 18.3 Mbps for 720p (1280 x 720) and a bit rate of 25 Mbps for 1080i (1440 x 1080). HEIF (High Efficiency Image File Format) A container format for storing still images and image sequences, defined by MPEG-H Part 12 (ISO/IEC 23008-12). HEIF was developed by the Moving Picture Experts Group (MPEG) and can store images encoded using the HEVC (High Efficiency Video Coding) compression standard. HEVC (High Efficiency Video Coding) A video compression standard; also known as H.265 and MPEG-H Part 2. high-definition (HD) Refers to video with a higher resolution than standard-definition (SD) NTSC or PAL video. The most common HD resolutions are 1280 x 720 (720p) and 1920 x 1080 (1080i or 1080p). See also NTSC format, PAL format, standard-definition (SD), ultrahigh-definition (UHD) high dynamic range (HDR) High-dynamic-range (HDR) images have a greater range of luminance (extra levels of brightness) than do standard-dynamic-range (SDR) images. HDR can represent luminances as high as 10,000 nits (candelas per square meter) with a dynamic range of 14 stops or more, creating more realistic color transitions and revealing more detail in both shadows and highlights. histogram A video scope in Final Cut Pro that provides a statistical analysis of the image by graphing the number of pixels at each percentage of luma or color. It’s useful for comparing two clips in order to match their brightness values more closely. See also luma. Final Cut Pro User Guide 874 HLG (Hybrid Log-Gamma) One of the two supported systems in the ITU-R Rec. 2100 standard for high-dynamic-range (HDR) video. The HLG transfer function relates image signal values to scene-relative light levels and is compatible with standard-dynamic-range (SDR) displays without the need for metadata. HLG was developed by the BBC and NHK broadcasting networks. hue An attribute of color perception, also known as color phase. Red, blue, yellow, and green are all hues. import The process of bringing media files of various types into events in Final Cut Pro. You can import files from connected camcorders and other devices, other apps, or connected storage devices. See also event, source media files. IMX A standard-definition (SD), all-I-frame MPEG-2 format stored on tape, XDCAM optical disc, or storage device. Some IMX decks can play back and convert formats such as Digital Betacam, Betacam SX, and Betacam SP to IMX. The data rate of IMX can be set to 30, 40, or 50 Mbps. incoming clip The clip to which a transition segues. For example, if clip A dissolves to clip B, clip B is the incoming clip. See also outgoing clip. Info inspector A Final Cut Pro inspector that displays information (called metadata) about a clip or group of clips selected in either the browser or the timeline. You can display different combinations of metadata with your clips, such as codecs, media start and end times, reel, scene, take, EXIF information, and IPTC information. You can also use the Info inspector to change the metadata for a selected clip or group of clips, and you can create custom sets of metadata for display using the Metadata Views window, accessed from the Info inspector. You also use the Info inspector to display and access project settings. See also inspectors. In point See edit point. insert edit A type of edit that places the source clip so that all clips after the insertion point are moved forward (or rippled) in the timeline to make room for the clip being added. No clips are removed from your project. An insert edit makes the project longer by the duration of the inserted clip. inspectors Final Cut Pro provides a number of inspectors you can use to view and change the attributes of selected items. For example, you can adjust video effects in the Video inspector. Other inspectors include the Audio, Info, Transition, Title, Text, Generator, Library Properties, and Share inspectors. The inspectors appear in the top-right corner of the Final Cut Pro window. interlaced video A scanning method that divides a video frame into two fields, each consisting of alternating odd and even lines that are scanned at different times. IRE An analog video signal unit of measurement for luma, established by the Institute of Radio Engineers. See also luma. iTT (iTunes Timed Text) A format for delivering caption content to the iTunes Store. The iTT caption standard features formatting, color, and placement options, including a wider range of alphabets, making it the best choice for languages with non-Roman characters. iTT captions can be imported or exported as separate files. iTT caption files have the filename extension .itt. J-cut See split edit. Final Cut Pro User Guide 875 job Each media file added to a batch in Compressor is a job. Each job has one media file and one or more settings that define the type of file to render. See also batch, source media files. JPEG A popular image file format that lets you create highly compressed graphics files. The amount of compression used can vary. Less compression results in a higher-quality image. keyframe A control that denotes the value of a video or audio effect parameter at a particular point in the project. When two keyframes with different values are set in Final Cut Pro, a transition from one value to another is calculated, resulting in a dynamic change to that parameter. The word keyframe comes from the traditional workflow in the animation industry, where only important (key) frames of an animated sequence were drawn to sketch a character’s motion over time. After the keyframes were determined, an in-between artist drew all the frames between the keyframes. keying See chroma key, luma key. Keyword Collection When you apply a keyword to a clip, a Keyword Collection is automatically created in the event in the library. When you select the Keyword Collection, each clip tagged with that keyword is displayed in the browser. See also event, keywords. keywords Keywords add descriptive information to a clip or clip range. You can use keywords to organize, sort, and classify media. You can add keywords to a clip manually, and Final Cut Pro can also add keywords automatically during import or clip analysis. See also Keyword Collection. L-cut See split edit. Libraries sidebar The pane in the Final Cut Pro sidebar that lists the libraries and events that contain your imported media (video, audio, and still images) and your projects. When you select an event or a library in the Libraries sidebar, its media appears as clips in the browser, and its projects appear as thumbnails. The Libraries sidebar is also the home for Final Cut Pro Keyword Collections and Smart Collections, which provide a powerful way to organize your media using keywords and persistent search filters. See also event, Keyword Collection, Smart Collection. linear editing Before digital video editing, programs were edited together by copying shots from the original source tapes to a program tape, one by one. Because the assembly was linear, any changes in duration made to an earlier point of the tape required reassembling the movie from that point forward. See also nonlinear editing. looping A playback mode in which clips and projects go back to the beginning whenever the playhead reaches the end of the media. You can turn looping on or off from the View menu or by pressing Command-L. lower third A television industry term for a graphic placed in the lower area of the screen, usually to convey details about subjects or products. A common use of lower thirds is to identify individuals on the screen with their names and job titles. luma A value describing the brightness of a video image. A luma channel is a grayscale image showing the range of brightness across the whole clip. Final Cut Pro User Guide 876 luma key An effect used to key out pixels of a certain luma value (or a range of luma values), creating a matte based on the brightest or darkest area of an image. Keying out luma values works best when your clip has a large discrepancy in exposure between the areas that you want to key out and the foreground images you want to preserve—for example, a white title on a black background. See also chroma key, matte. luminance An objective measurement of light corresponding to intensity weighted by the spectral sensitivity of human vision. Luminance is measured in candelas per square meter (cd/m2), often referred to as nits. markers Markers flag a specific location in a clip with editing notes or other descriptive information. You can also use markers for task management. Markers are classified as standard markers (blue), chapter markers (orange), to-do items (red), or completed to-do items (green). mask An image or a clip used to define areas of transparency in another clip. Similar to an alpha channel. You can create masks based on a color you choose or a shape you create. See also alpha channel. mastering The process of creating a high-quality final copy of a completed project, which serves as the source media for the final stages of professional post-production or broadcast and distribution. matte Sometimes referred to as a holdout matte. An effect that uses information in one layer of video to affect another layer. Mattes are useful when you want to use one clip to selectively hide or reveal part of another; for example, you could use a round spotlight shape to reveal parts of a video layer. Matte effects can be used by themselves to mask out areas of a clip or to create alpha channel information for a clip—for example, to make a transparent border around the clip that can be composited against other layers. See also alpha channel, compositing. media A generic term for elements such as movies, sounds, and pictures. media handle Additional media available before the start point or after the end point of a clip in the timeline. media representation In Final Cut Pro, a type of media file corresponding to a video clip. Final Cut Pro allows for three types of media representations—original source video files, optimized copies transcoded to the Apple ProRes 422 format, and proxy copies transcoded to the Apple ProRes 422 Proxy or H.264 format. You can choose to edit with optimized or proxy media to increase playback performance. See also optimized files, proxy files, source media files. media stems Audio or video files that are usually exported separately for audio mixing or post-production, or to match specifications when delivering files to broadcast networks. For example, you may need to deliver a multitrack QuickTime file along with separate dialogue, music, and effects stems. mixing The process of adjusting the audio levels of all audio clips in an edited program, including the production audio, music, sound effects, voiceovers, and additional background ambience, to turn all of these sounds into a harmonious whole. monochrome An image presented in shades of a single color, most often as the shades of gray in a black-and-white image. Final Cut Pro User Guide 877 monoscopic A 360° video file that uses a single projection. This is a flat (two-dimensional) rendering that can be viewed on any screen. You can navigate monoscopic 360° video in any direction, but there’s no real depth perception; viewing monoscopic video is like looking around with only one eye open. MP3 Refers to the MPEG-1 or MPEG-2 Audio Layer 3 compression standard and file format. Like AAC, MP3 uses perceptual audio coding and psychoacoustic compression to remove superfluous information that the human ear doesn’t hear. MPEG (Moving Picture Experts Group) A group of compression standards for video and audio, which includes MPEG-1, MPEG-2, and MPEG-4. multicam clip A set of clips grouped together and synced by a common sync point. You can use multicam clips to edit footage from multicamera shoots or other synced footage in real time. While the active angle plays in the viewer, you can also view all angles playing simultaneously in the angle viewer and easily cut and switch between them. MXF An industry-standard file format for video and audio. Like QuickTime files, MXF files contain information about the media inside. This information, also called metadata, can include frame rate, frame size, creation date, and custom data created by a camera operator, assistant, or archivist. See also frame rate, resolution. nested sequence See compound clip. NLE Short for nonlinear editor. See also nonlinear editing. nondestructive editing No matter how you edit clips in Final Cut Pro, the underlying media is never touched. This is known as nondestructive editing, because none of the changes and effects you apply to your footage affect the original source media files. Clips represent your media, but they are not the media files themselves. The clips in a project simply point to (link to) the source media files on your Mac or storage device. When you modify a clip, you’re not modifying the media file, just the clip’s information in the project. Trimmed or deleted pieces of clips are removed from your project only, not from the clips in your library or from the source media files on your Mac or storage device. non-drop frame timecode Timecode in which frames are numbered sequentially and no timecode numbers are dropped from the count. In the case of NTSC video, the video frame rate is actually 29.97 fps, and non-drop frame timecode is off by 3 seconds and 18 frames per hour in comparison to actual elapsed time. See also drop frame timecode, NTSC format. non-interlaced video The standard representation of images on a computer. Also referred to as progressive scan. The monitor displays the image by drawing lines, one after another, from top to bottom. nonlinear editing A video editing method that allows you to change the edits within a program without having to re-create the entire program. When you use a nonlinear editing application to edit a program, all footage used is stored on a computer or storage device rather than on tape. This allows random access to all video, audio, and images as you edit. See also linear editing. NTSC format The video standard defined by the National Television Standards Committee, the organization that originally defined North American broadcast standards. Analog NTSC video has 525 interlaced lines per frame, a frame rate of 29.97 fps, and a limited color gamut. Digital NTSC video has a frame size of 720 x 486 pixels (720 x 480 for DV and DVD), and a frame rate of 29.97 fps. See also PAL format. Final Cut Pro User Guide 878 offline editing A post-production process in which raw footage is copied and edited without affecting the original camera media (film, tape, or file-based media). After a program has been completed in the offline edit (typically using proxy media at a lower resolution), an online edit is performed to re-create the edit using the original media. opacity The level of a clip’s transparency. optimized files You can use Final Cut Pro to transcode your original media to create optimized files in the Apple ProRes 422 format, which provides better performance during editing, faster render times, and better color quality for compositing. See also Apple ProRes 422, media representation. outgoing clip The clip a transition segues from. For example, if clip A dissolves to clip B, clip A is the outgoing clip. See also incoming clip. Out point See edit point. overwrite edit In an overwrite edit, one or more source clips overwrite any clips in the primary storyline or a selected storyline, starting at a range selection start point or at the skimmer or playhead position. No clip items are rippled forward, so the duration of your project remains the same. Overwriting is purely duration-based and works on range selections only, irrespective of clip boundaries. See also range, storylines. PAL format Acronym for Phase Alternating Line, a 25 fps (625 lines per frame) interlaced video format used by many European countries. Digital PAL video has a frame size of 720 x 576. See also NTSC format. parallax The difference between the horizontal positions of the two cameras, or eyes, in stereoscopic 360° media. See also stereoscopic. Photos and Audio sidebar A pane in the Final Cut Pro sidebar that provides access to all of your photo and audio collections. When you select an item in the sidebar (such as an album in Photos or a category of sound effects), the item’s contents are displayed in the browser. Depending on which apps and which version of macOS you’re using, you may see photo libraries from Photos or other photos apps, or music and sound libraries from Music, GarageBand, or Logic Pro. pitch Sounds are perceived as high or low depending on their frequency, or the number of times per second a sound wave cycles from positive to negative and back to positive. The word that musicians most commonly use for frequency is pitch. The higher the frequency, the higher the pitch. Modifying the speed of a clip affects the pitch of the audio. Slow motion creates low pitch, and fast motion creates high pitch. pixel One dot in a video or still image. The more pixels in an image, the higher the resolution. See also resolution. playhead A gray vertical line that marks the current position in a project in the timeline or a clip in the browser. You can move the playhead by dragging it or clicking another area of the timeline or browser. You use the playhead to scrub, or move through your project and play it back from different locations. The playhead is fixed in place unless you move it or click elsewhere. See also skimmer. Position tool The editing tool that allows you to place items in the timeline. You can select the Position tool by pressing the P key. post-production The phase of film or video editing in which all of the production elements are organized, assembled, and output. Final Cut Pro User Guide 879 PQ (Perceptual Quantizer) A high-dynamic-range (HDR) transfer function that relates image signal values to absolute light levels produced by a display. PQ is standardized in SMPTE ST 2084 and is one of the two supported transfer functions in the ITU-R Rec. 2100 standard for HDR video. PQ is used in formats such as HDR10, HDR10+, and Dolby Vision. project A project provides a record of your editing decisions and the media you use. You build your project by adding clips and editing them in the timeline. A project is also defined by its video, audio, and rendering properties. In most cases, Final Cut Pro manages project settings automatically based on the properties of the first clip you add to a project. project properties A project’s video, audio, and rendering properties. In most cases, Final Cut Pro manages a project’s properties automatically based on the properties of the first clip you add to a project. If you must modify the project properties, choose video and audio project properties based on how you intend to share your final movie with your audience. proxy files You can use Final Cut Pro to transcode your original media to create proxy files, which are smaller files with a lower data rate. Proxy files can be used for offline editing or for editing when using a slower computer. Final Cut Pro creates video proxy files using either the Apple ProRes 422 Proxy or H.264 format. You can create proxy media in a variety of frame sizes from 12.5 percent to 100 percent of the original. See also Apple ProRes 422 Proxy, H.264, media representation. QuickTime Cross-platform multimedia technology from Apple. Widely used for production, post-production, and distribution of video, audio, and interactive programs. rack focus A commonly used technique in film and television that involves shifting the focus between the foreground, middle ground, and background elements of a shot. range Instead of selecting whole clips, you can select a range within any clip in the timeline or the browser. You can trim range selections, mark them with ratings and keywords, and modify them in other ways. You can adjust the range start and end points by dragging either side of the selection. In the timeline, you can also select a range that spans multiple clips. In the browser, you can set multiple ranges within one or more clips, and you can select and deselect ranges after you set them. Range Selection tool The editing tool that allows you to select a range in the timeline. You can select the Range Selection tool by pressing the R key. Rec. 2020 Short for Rec. ITU-R Recommendation BT.2020, a color space standard with a very large gamut (range of color). Rec. 709 Short for ITU-R Recommendation BT.709, the standard broadcast format for high-definition (HD) television. rectilinear A standard video file, as opposed to a spherical 360° video file that has equirectangular projection (showing all parts of a three-dimensional sphere flattened in a video frame, similar to world maps that depict the globe as a two-dimensional rectangle). red laser media Traditional DVD burners and players use a red laser when working with DVD media. Blu-ray burners and players use a blue laser when working with Blu-ray media. The blue laser has a shorter wavelength, making it possible to store more data on a disc. See also blue laser media. Final Cut Pro User Guide 880 render To process video and audio with any applied effects or transitions, and store the result on your Mac or storage device as a render file. These render files are stored with your Final Cut Pro event and project files. When you publish or export a project, it’s also rendered to create the output files. replace edit In a replace edit, a source selection replaces a clip in your project in the timeline. In contrast to overwrite edits, replacing works on whole timeline clips only and can change the duration of your project. resolution Also referred to as frame size. Refers to the number of pixels in an image. Resolution is expressed in terms of the width and height of the image in pixels (for example, 640 x 360 pixels). Higher-resolution images contain more detail but also create larger files that take longer to download. Your electronic devices (computer, iPhone, iPad, iPod, and so on) also have screen resolution. Ideally, you should match the image resolution of your media to the resolution of your playback device. reverb Reverberation, or reverb, refers to the reflection pattern created by sound waves bouncing off the surfaces—walls, ceilings, windows, and so on—of any space, or off objects within a space, gradually dying out until they’re inaudible. Final Cut Pro includes a variety of audio effects that add reverb to the sound of a clip. RF64 An extension to the WAV file format that allows for files larger than 4 GB. RGB Abbreviation for Red, Green, Blue. A color space commonly used on computers, in which each color is described by the strength of its red, green, and blue components. This color space directly translates to the red, green, and blue phosphors used in computer displays. The RGB color space has a very large gamut, meaning it can reproduce a very wide range of colors. This range is typically larger than the range that can be reproduced for broadcast. ripple edit The default type of trim in Final Cut Pro is a ripple edit (also called a ripple trim), which adjusts a clip’s start point or end point without leaving a gap in the timeline. The change in the clip’s duration ripples outward, moving all subsequent clips earlier or later in the timeline. Similarly, if you delete a clip from the timeline, subsequent clips ripple earlier to close the gap. Ripple edits affect the trimmed clip, the position of all subsequent clips in the timeline, and the total duration of your project. roles Metadata text and color labels that you assign to clips in the browser or the timeline. Roles provide a flexible and powerful way to manage your editing workflow. You can use roles in Final Cut Pro to organize clips in your events and projects, control the appearance of the timeline, and export separate video or audio files (also known as media stems) for broadcast delivery, audio mixing, or post-production. Roles have distinct colors that let you instantly recognize clips with a particular role in the browser and the timeline. roll edit An edit that affects two clips that share an edit point. For example, if clip A cuts to clip B, a roll edit simultaneously adjusts the end point of clip A and the start point of clip B by the same amount. The overall duration of the project stays the same. rough edit The first editing pass. The rough cut is an early version of a movie that pulls together its basic elements. Often, a rough edit is performed prior to adding transitions, titles, and other effects. saturation A measurement of the intensity of color in the video signal. scene A series of shots that take place at the same time and in the same location. A series of scenes make up a program. Final Cut Pro User Guide 881 Select tool The default arrow-shaped pointer that allows you to select items in the timeline. For example, you use it to select a clip or edit point. You can select the Select tool by pressing the A key. sequence See project, timeline. shortcut menu A menu you access by holding down the Control key and clicking an item on the screen, or by pressing the right mouse button. Sometimes called a contextual menu. shot A segment of continuously recorded video. A shot is the smallest unit of a program. sidebar The sidebar appears to the left of the browser and contains three panes for selecting different types of media: the Libraries sidebar, the Photos and Audio sidebar, and the Titles and Generators sidebar. When you select an item in a sidebar pane (such as an event containing clips, or a category of sound effects or 3D titles), its contents are displayed in the browser. You can show or hide any of the sidebars. skimmer A red vertical line that appears as you move the pointer over clips in the browser and timeline to preview them. You use the skimmer to skim, or freely move over clips to play them back at the position and speed of the pointer. You can skim clips without affecting the playhead position. If you have snapping turned on, the skimmer turns orange when it snaps to a position. See also playhead, snapping. slate A shot at the beginning of a scene that identifies the scene with basic production information such as the take, date, and scene number. A clapper provides an audiovisual cue for syncing when video and audio are recorded separately. slide edit An edit in which an entire clip is moved, along with the edit points on its left and right. The duration of the clip being moved stays the same, but the clips to the left and right of it change in length to accommodate the new position of the clip. The overall duration of the project and of these three clips remains the same. slip edit An edit in which the location of both the start and end points of a project clip are changed at the same time, without changing the position or duration of the clip. This is referred to as slipping, because you slip the clip’s start and end points inside the available footage. The portion of the clip seen in the project changes, but its position in the timeline stays the same. Smart Collection When you search for clips in an event using the Filter window, you can save your results by creating a new Smart Collection that gathers clips matching the search criteria. Whenever a new clip that matches the Smart Collection’s search criteria is brought into the event, the new clip is automatically added to the Smart Collection. Clips that appear in Smart Collections are not duplicates. Smart Collections filter clips in an event to help you focus on the clips you need to use for a specific task. See also event. snapping When snapping is turned on in Final Cut Pro, items you move in the timeline (including the playhead, the skimmer, and selected clips) appear to jump, or “snap,” directly to certain points in the timeline. This can help you quickly line up edits with other items in the project. Snapping affects the functions of many of the editing tools in Final Cut Pro, including the Select tool, the Trim tool, the Position tool, the Range Selection tool, and the Blade tool. You can disable snapping when frame-by-frame precision editing is required. Final Cut Pro User Guide 882 sound effects Specific audio material, such as the sound of a door closing or a dog barking, from effects libraries or from clips you recorded. Sound effects can be used to replace sounds in the location audio of a program, or to add sound that wasn’t originally recorded. Over 1300 royalty-free sound effects are included with Final Cut Pro as a separate download. source media files The original files (video, audio, and still images or graphics) that you import into Final Cut Pro. A clip you use in Final Cut Pro points to the location where the source media file is stored (either on your Mac, a storage device, or a camcorder, camera, or device). Changes made to clips within Final Cut Pro do not affect the source media files. special effects Visual effects applied to clips and projects, such as motion, compositing, keying, and retiming effects. spill suppression A color correction operation that neutralizes any green or blue fringing or light bounce that’s tinting the subject being keyed. Spill suppression works by applying the complementary (opposite) color of the color that’s being made transparent. split edit Final Cut Pro allows you to set separate video and audio start and end points in an individual clip. These edits, known as split edits, are a common technique in most dialogue scenes in films and television shows. You can use split edits to introduce the sound of a new shot or scene before cutting to the video of that shot or scene. Conversely, you can use a split edit to extend the audio of a shot over a subsequent shot. SRT (SubRip Text) A subtitle format supported by Facebook, YouTube, and Vimeo. The SRT format is simple: Each caption has a number, a start and end timecode (in decimal timecode), and one or more lines of text. SRT captions can be imported or exported as separate files. Unlike captions in other formats, exported SRT captions can be read and edited in a plain text editor. SRT caption files have the filename extension .srt. standard-definition (SD) Refers to the original NTSC and PAL video frame sizes. NTSC uses 480 or 486 active lines per frame, and PAL uses 576 active lines. See also highdefinition (HD). standard dynamic range (SDR) The conventional technique for processing luminance (brightness) and color values in images, developed in the mid-1900s, with a nominal maximum brightness of 100 nits (candelas per square meter) and a dynamic range of 6 to 10 stops. Some newer imaging devices can display high-dynamic-range (HDR) images, representing a much wider range of brightness levels. stereo Short for stereophonic, which describes audio that contains two different channels. Audio level changes are automatically made to both channels at the same time. stereoscopic A 360° video file that is split into two views designated for the left and right eyes. This type of video is designed to be viewed through a special headset or glasses that can project each of the two views into the appropriate eye. Stereoscopic video simulates the depth perception (in three dimensions) that people experience in the real world when they have two eyes open. storylines All instances of the timeline contain a primary storyline, which is the main sequence of clips you build to create your movie. Storylines are sequences of clips connected to the primary storyline. You can use storylines for the same purposes as connected clips (such as creating cutaways, compositing titles and other graphics, and adding sound effects and music). See also compositing, cutaway shot. straight cut A cut in which both the video and audio clip items are cut at the same time. Final Cut Pro User Guide 883 subframe A subframe has 1/80 the duration of a video frame and is thus a more precise unit of reference when editing audio at the sample level. sync (synchronization) The relationship between the image of a sound being made in a video clip (for example, a person talking) and the corresponding sound in an audio clip. Maintaining audio sync is critical when editing dialogue. In Final Cut Pro, connected clips and compound clips help maintain sync in your program. See also compound clip, connected clip. Thunderbolt I/O technology that supports high-resolution displays and high-performance data devices through a single, compact port. three-point editing An editing technique in which three out of four edit points are set in a source selection and a project. When the edit is performed, the fourth edit point is calculated automatically in Final Cut Pro. See also edit point. through edit An edit point in which the video or audio content on either side of the edit is continuous. See also edit point. TIFF (Tagged Image File Format) A widely used bitmapped graphics file format, developed by Aldus and Microsoft, that handles monochrome, grayscale 8- and 24-bit color. TIFF supports alpha channels. See also alpha channel. timecode A signal recorded with your video that uniquely identifies each frame. By default, timecode appears in Final Cut Pro in the format hours: minutes: seconds: frames. Timecode supports a variety of functions in Final Cut Pro, including timeline playback, syncing video and audio clip items, navigating through projects in the timeline, and moving and trimming clips. timeline The bottom portion of the Final Cut Pro window contains the timeline, where you create your movie project by adding and arranging clips and making all your edits. timeline index You can view a text-based, chronological list of the clips, keywords, and markers in a project using the timeline index. When you select an item in the timeline index, the playhead jumps to that item in the timeline. You can also use the Roles pane of the timeline index to organize clips in the timeline by role. See also keywords, markers, roles. tint A color shade added to an image, usually to create an effect. For example, adding a sepia tone creates the effect of old photos or film footage. Titles and Generators sidebar A pane in the Final Cut Pro sidebar that provides access to all the title effects and video generators included with Final Cut Pro. When you select an item in the sidebar (such as a category of 3D titles), the item’s contents are displayed in the browser. toolbar The bar at the top of the Final Cut Pro window with buttons and tools for common tasks such as showing or hiding the main areas of Final Cut Pro and sharing your project. transcode To convert a media file to a different format (such as DV, H.264, or MPEG-2) or change its properties (such as video frame size and frame rate, data rate, and audio sample rate). Compressor, an Apple app designed to work with Final Cut Pro, makes transcoding media files a fast and easy process. transitions Effects that are applied to edit points to smooth out the change from one clip to the next. In Final Cut Pro, you can choose from a variety of video transitions, such as a dissolves or wipes, or you can add an audio crossfade between audio clips. Final Cut Pro User Guide 884 Transitions browser A media browser in Final Cut Pro that provides access to all the video transitions included with Final Cut Pro. trim After you’ve assembled your clips in rough chronological order in the timeline, you begin to fine-tune the cut points (or edit points) between clips. Any time you make a clip in a project longer or shorter, you’re trimming that clip. In Final Cut Pro, you can use a variety of techniques to trim timeline clips and edit points, including ripple edits, roll edits, slip edits, and slide edits. Trim tool The editing tool that allows you to trim items in the timeline. You can select the Trim tool by pressing the T key. ultra-high-definition (UHD) Refers to video with a minimum resolution of 3840 x 2160 pixels. See also high-definition (HD). uncompressed 8- and 10-bit 4:2:2 Video formats that can be used to store 8-bit or 10-bit 4:2:2 Y'CbCr video without employing data compression. Bypassing compression reduces the computer’s processing load but increases the data rate considerably. A large-capacity RAID storage system is typically required to work effectively with uncompressed video. In many cases, Apple ProRes is a better choice. The data rate of uncompressed 4:2:2 video varies according to frame size and frame rate. As an example, at a frame size of 1920 x 1080 and a frame rate of 29.97 fps, the data rate is 1.0 Gbps for uncompressed 8-bit 4:2:2 video and 1.3 Gbps for uncompressed 10-bit 4:2:2 video. upstream Refers to clips that are to the left of the current clip in the timeline. When you perform actions that ripple the project, upstream clips are not affected. See also downstream, ripple edit. value slider A type of numerical slider control that appears as a number, often to the right of a basic slider. There are two ways to adjust a value slider: by dragging over the number to decrease or increase the parameter value, or by double-clicking the number and entering a new value. variable speed Speed that varies dynamically, in forward or reverse motion, in a single clip. VCR Abbreviation for videocassette recorder. Generally refers to consumer equipment used for recording video from various sources. Sometimes referred to as a VTR. See also VTR. vectorscope A video scope in Final Cut Pro that shows the distribution of color in your image on a circular scale. The vectorscope is useful for comparing the hue and intensity of colors between two clips for the purposes of color correction. See also hue. Video Animation editor You can show the Video Animation editor for clips in the timeline to adjust effect parameters, create fade-ins or fade-outs, or change effects over time using keyframes. See also Audio Animation editor, keyframe. viewer When you play clips selected in the browser and the timeline, they appear in the viewer. VTR Abbreviation for videotape recorder. Generally refers to professional equipment used for recording video from various sources. watermark A visible graphic or text overlay applied to an image or video clip to indicate that it’s protected by a copyright. Watermarks are used to discourage the use of images or video clips without the copyright holder’s explicit permission. Final Cut Pro User Guide 885 WAVE (or WAV) An audio file format most commonly used for storing uncompressed linear pulse code modulation (LPCM) audio data. waveform monitor A video scope in Final Cut Pro that displays the relative levels of luma and chroma in the clip currently being examined. Spikes and dips in the displayed waveforms correspond to light or dark areas in your picture. See also chroma, luma. white-balance To make adjustments to a video signal being recorded in order to reproduce white as true white. For example, if the white in a shot is too yellow because of incandescent lighting, white-balancing adds enough blue to make the white appear neutral. widescreen Any movie presentation that has an aspect ratio wider than 4:3. In movie theaters, 1.85 is considered standard and 2.40 is considered widescreen. For video, 4:3 is considered standard and 16:9 (which is almost the same aspect ratio as 1.85) is considered widescreen. See also 4:3, 16:9. wipe A common type of video transition. In a wipe, the screen splits, moving from one side of the image to the other to gradually reveal the next shot. A wipe is more obvious (and customizable) than a fade or cross dissolve. See also cross dissolve, fade. XDCAM A Sony optical disc format for recording DVCAM and IMX video within MXF container files. See also DVCAM, IMX, MXF. XDCAM EX A member of the Sony XDCAM product family that uses MPEG-2 video compression with 4:2:0 chroma sampling. In contrast to XDCAM HD, XDCAM EX supports 720p and records full HD resolution (either 1920 x 1080 or 1280 x 720). Its maximum bit rate is 35 Mbps. Instead of optical discs, XDCAM EX camcorders use solid-state memory cards known as SxS cards. See also chroma, HDV. XDCAM HD422 A member of the Sony XDCAM product family featuring 4:2:2 chroma sampling and a video bit rate of 50 Mbps. Like XDCAM EX, XDCAM HD422 uses MPEG2 video compression at full HD resolution (either 1920 x 1080 or 1280 x 720). See also chroma, HDV. Y'CbCr The color space in which many digital video formats store data. Three components are stored for each pixel—one for luma (Y) and two for color information (Cb for the blue difference signal and Cr for the red difference signal). Also referred to as YUV. See also luma, pixel. Zoom tool The editing tool that allows you to zoom in to or out of the timeline. You can select the Zoom tool by pressing the Z key. Final Cut Pro User Guide 886 Apple Inc. © 2021 Apple Inc. All rights reserved. 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. Apple, the Apple logo, AirDrop, Aperture, Apple TV, Final Cut, Final Cut Pro, Finder, FireWire, GarageBand, iMovie, iPad, iPad Air, iPad mini, iPadOS, iPad Pro, iPhone, iPhoto, iPod, iPod touch, iSight, iTunes, Logic, Logic Pro, Mac, MacBook, MacBook Pro, macOS, Mac Pro, Motion, OS X, QuickTime, Retina, Safari, Time Machine, and Xsan are trademarks of Apple Inc., registered in the U.S. and other countries. Multi-Touch and Touch Bar are trademarks of Apple Inc. App Store, iCloud, iCloud Drive, and iTunes Store are service marks of Apple Inc., registered in the U.S. and other countries. Apple One Apple Park Way Cupertino, CA 95014 USA apple.com IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Adobe and Photoshop are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. The YouTube logo is a trademark of Google Inc. Other company and product names mentioned herein may be trademarks of their respective companies. Production stills from the film “Koffee House Mayhem” provided courtesy of Jean-Paul Bonjour. “Koffee House Mayhem” © 2004 Jean-Paul Bonjour. All rights reserved. Audi R8 production stills: Audi trademarks are used with permission of Audi of America, Inc. (Closed course with drivers wearing safety equipment. Do not attempt on public roads; always obey local traffic 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. Some apps are not available in all areas. App availability is subject to change. 028-00472 MainStage 2 Instruments de Logic Pro Copyright © 2011 Apple Inc. Tous droits réservés. Vos droits concernant le logiciel sont soumis aux termes de son contrat de licence de MainStage. Le propriétaire ou l’utilisateur autorisé d’une copie valide du logiciel est autorisé à reproduire cette publication à des fins d’apprentissage du logiciel. Aucune partie de cette publication ne peut être reproduite ou transmise à des fins commerciales comme la vente de copies de cette publication ou pour la fourniture de services d’assistance payants. Le logo Apple est une marque d’Apple, Inc. déposée aux États-Unis et dans d’autres pays. En l’absence du consentement écrit d’Apple, l’utilisation à des fins commerciales de ce logo via le clavier (Option-1) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tout a été mis en œuvre pour que les informations présentées dans ce manuel soient exactes. Apple ne peut être tenu responsable des erreurs d’impression ou d’écriture. Remarque : Apple commercialisant régulièrement de nouvelles versions et des mises à jour de logiciels, applications et sites web, les illustrations de ce manuel peuvent différer de celles affichées à l’écran. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com Apple, le logo Apple, Finder GarageBand, Logic, Mac, MainStage et Ultrabeat sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Tous les autres noms de produits sont des marques de leurs propriétairesrespectifs. Les produits commercialisés par des entreprises tiers ne sont mentionnés qu’à titre d’information, sans aucune intention de préconisation ni de recommandation. Apple ne se porte pas garant de ces produits et décline toute responsabilité quant à leur utilisation et à leur fonctionnement. Préface 9 Introduction aux instruments de Logic Pro 9 À propos des instruments de Logic Pro 9 À propos de la documentation de MainStage 10 Ressources supplémentaires Chapitre 1 11 ES E 12 Présentation de l’interface ES E 13 Utilisation des oscillateurs ES E 13 Utilisation du LFO ES E 14 Utilisation du filtre ES E 15 Utilisation de l’enveloppe ES E 16 Utilisation des paramètres ES E Output 16 Paramètres Extended ES E Chapitre 2 17 ES M 18 Présentation de l’interface de l’ES M 19 Utilisation de l’oscillateur de l’ES M 20 Utilisation du filtre et de l’enveloppe de filtre de l’ES M 21 Utilisation des contrôles Enveloppe de niveau et Sortie de l’ES M 21 Paramètres étendus de l’ES M Chapitre 3 23 ES P 24 Présentation de l’interface de l’ES P 25 Utilisation des oscillateurs ES P 25 Utilisation du LFO de l’ES P 26 Utilisation du filtre de l’ES P 28 Utilisation des commandes Envelope et Level de l’ES P 29 Utilisation d’effets ES P intégrés 29 Paramètres étendus de l’ES P Chapitre 4 31 ES1 32 Présentation de l’interface de l’ES1 33 Utilisation des oscillateurs de l’ES1 35 Utilisation des paramètres Filter de l’ES1 3 Sommaire 37 Utilisation des paramètres Amplifier de l’ES1 38 Utilisation des paramètres Envelope de l’ES1 40 Modulation du son de l’ES1 44 Ajustement des paramètres globaux de l’ES1 45 Liste des contrôleurs MIDI de l’ES1 Chapitre 5 47 ES2 48 Achitecture et fonctionnalités de l'ES2 49 Présentation de l’interface ES2 50 Utilisation des oscillateurs de l’ES2 64 Utilisation des paramètres globaux de l’ES2 66 Utilisation des filtres de l’ES2 76 Utilisation des paramètres Amplifier de l’ES2 78 Utilisation de la modulation dans l’ES2 112 Utilisation de la section de traitement d’effets intégré de l’ES2 114 Création de variations sonores aléatoires de l’ES2 116 Utilisation des macro-contrôles et affectation des contrôleurs dans l’ES2 119 Utilisation de l’ES2 en mode Surround 119 Guide d’initiation à l’ES2 : création de sons 131 Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons Chapitre 6 139 EFM1 140 Présentation de l’interface EFM1 141 Utilisation des paramètres Modulator et Carrier de l’EFM1 144 Utilisation des paramètres EFM1 Modulation 146 Réglage des paramètres Global EFM1 147 Réglage des paramètres EFM1 Output 148 Création de variations sonores aléatoires EFM1 148 Affectation de contrôleurs EFM1 MIDI Chapitre 7 149 EVB3 149 Fonctionnalités de l'EVB3 151 Présentation de l’interface EVB3 153 Utilisation des commandes de tirette EVB3 154 Utilisation des touches de présélection de l’EVB3 158 Fonction de morphing de l’EVB3 159 Utilisation du Vibrato scanner EVB3 intégré 161 Utilisation de l’effet EVB3 Percussion 162 Utilisation des paramètres Tone globale dans EVB3 163 Utilisation des paramètres Modèle dans EVB3 171 Utilisation des effets EVB3 intégrés 176 Utilisation de l’effet Émulation de cabine à système rotatif intégré de l’EVB3 181 Réglage de l’EVB3 pour vos équipements MIDI 4 Sommaire 184 Attribution d’un contrôleur MIDI dans l’EVB3 191 Synthèse additiv e à l’aide de s tirett e s 192 Effet résiduel 193 Génér ation sonor e à roue s phonique s 193 B ref historique de l’orgue Hammond 194 Cabine L eslie Chapitr e 8 197 EVD6 197 Achitectur e et fonctionnalités de l'EVD6 199 Présentation de l’in terfac e EVD6 200 Utilisation de s paramètr e s EVD6 M odel 205 Utilisation de s paramètr e s globaux de l’EVD6 207 Utilisation de s paramètr e s Filter et Damper EVD6 208 Utilisation de s paramètr e s Pickup EVD6 211 Utilisation de s effets intégrés de l’EVD6 215 Utilisation de s paramètr e s EVD6 Output 216 Utilisation de s paramètr e s EVD6 MIDI Control 218 Brèv e histoir e du Clavinet Chapitr e 9 221 EVP88 221 Achitectur e et fonctionnalités de l'EVP88 222 Présentation de l’in terfac e EVP88 223 Utilisation de s paramètr e s globaux de l’EVP88 224 Utilisation de s paramètr e s EVP88 M odel 225 Utilisation de s paramètr e s EVP88 Stretch 226 Utilisation de s effets EVP88 intégrés 231 Utilisation de s paramètr e s EVP88 Ex tended 231 List e de s contrôleurs MIDI de l’EVP88 232 M odèle s de pianos électrique s émulés par l’EVP88 Chapitr e 1 0 237 E VOC 20 PolySynth 237 Fonctionnemen t du E VOC 2 0 240 Présentation de l’in terfac e de l’E VOC 2 0 PolySynth 241 Paramètr e s E VOC 2 0 PolySynth Sidechain Analysis 243 Paramètr e s E VOC 2 0 PolySinth (U/V ) Detection 245 Paramètr e s E VOC 2 0 PolySynth Synthesis 251 Paramètr e s E VOC 2 0 PolySynth Forman t Filter 254 Paramètr e s E VOC 2 0 PolySynth M odulation 255 Paramètr e s E VOC 2 0 PolySynth Output 256 Optimisation de s per formanc e s de l’E VOC 2 0 PolySynth 259 Brèv e histoir e du v o c oder 262 Schéma de princip e de l’E VOC2 0 Sommair e 5 Chapitre 11 263 External Instrument 263 Présentation de l’interface d’External Instrument 264 Utilisation du module External Instrument Chapitre 12 267 EXS24 mkII 268 Fonctionnalités de EXS24 mkII 269 Présentation de l’interface de l’EXS24 mkII 270 À propos des instruments de l’échantillonneur EXS24 272 Présentation de la fenêtre Parameter de l’EXS24 mkII 273 Utilisation du menu local EXS24 mkII Sampler Instruments 278 Ajustement des paramètres globaux de l’EXS24 mkII 282 Utilisation des paramètres EXS24 mkII Pitch 285 Utilisation des paramètres EXS24 mkII Filter 288 Paramètres EXS24 mkII Output 289 Utilisation de la modulation de l’EXS24 mkII 304 Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII 307 Créations d’instruments, de zones et de groupes de l’EXS24 mkII 313 Modification de zones et de groupes de l’EXS24 mkII 316 Réglage des paramètres de zone de l’EXS24 mkII 319 Utilisation des paramètres EXS24 mkII Zone Loop 320 Réglage des paramètres EXS24 mkII Group 322 Utilisation des paramètres EXS24 mkII Advanced Group Selection 324 Édition graphique des zones et des groupes de l’EXS24 mkII 326 Enregistrer, renommer et exporter des instruments de l’EXS24 mkII 327 Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII 329 Utilisation d’un Éditeur d’instruments externe avec l’EXS24 mkII 329 Importation des instruments de l’échantillonneur de l’EXS24 mkII 339 Gestion des instruments de l’échantillonneur EXS24 341 Réglage des Préférences Sampler de l’EXS24 mkII 344 Configuration de la mémoire virtuelle de l’EXS24 mkII 346 Gestion avancée de la RAM de l’EXS24 mkII 347 Utilisation du logiciel Performance Tool de VSL dans l’EXS24 mkII Chapitre 13 349 KlopfGeist 350 Utilisation des paramètres KlopfGeist Chapitre 14 351 Sculpture 352 Présentation de l’interface Sculpture 353 Présentation du cœur de synthèse Sculpture 356 Présentation du paramètre Sculpture String 357 Utilisation des paramètres Sculpture String 364 Utilisation des objets dans Sculpture 6 Sommaire 371 Utilisation des capteurs dans Sculpture 373 Utilisation des paramètres Global dans Sculpture 376 Utilisation des paramètres Amplitude Envelope dans Sculpture 377 Utilisation du Waveshaper dans Sculpture 378 Utilisation des paramètres Filter dans Sculpture 380 Utilisation du paramètre Integrated Delay dans Sculpture 383 Utilisation de l’option Body EQ dans Sculpture 387 Utilisation des paramètres Output dans Sculpture 387 Contrôle des paramètres Surround Range et Diversity dans Sculpture 388 Utilisation du paramètre Modulation dans Sculpture 400 Présentation des enveloppes de contrôle dans Sculpture 408 Présentation de la section Morph dans Sculpture 418 Affectation de contrôleurs MIDI dans Sculpture 419 Guide d’initiation à Sculpture : premiers contacts avec la création de sons 425 Guide d’initiation à Sculpture : création de sons de base 437 Guide d’initiation à Sculpture : Modulations 438 Guide d’initiation avancé à Sculpture : programmation de basses électriques 458 Guide d’initiation avancé à Sculpture : programmation de sons synthétisés Chapitre 15 467 Ultrabeat 468 Présentation de la structure d’Ultrabeat 469 Chargement et enregistrement des réglages Ultrabeat 471 Présentation de l’interface Ultrabeat 472 Présentation de la section d’assignation d’Ultrabeat 476 Importation de sons et d’instruments EXS dans Ultrabeat 479 Présentation de la section Ultrabeat Synthesizer 481 Présentation des oscillateurs d’Ultrabeat 482 Présentation des paramètres relatifs aux oscillateurs d’Ultrabeat 483 Utilisation de l’oscillateur 1 dans Ultrabeat 487 Utilisation de l’oscillateur 2 dans Ultrabeat 493 Utilisation du modulateur en anneau dans Ultrabeat 494 Utilisation du générateur de bruit d’Ultrabeat 496 Présentation de la section Ultrabeat Filter et Distortion 497 Utilisation du filtre multimode dans Ultrabeat 499 Utilisation du circuit de distorsion Ultrabeat 500 Utilisation de la section Ultrabeat Output 507 Utilisation de la modulation dans Ultrabeat 518 Utilisation du séquenceur pas à pas d’Ultrabeat 529 Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat 533 Exportation des motifs Ultrabeat en tant que régions MIDI 534 Utilisation de MIDI pour contrôler le séquenceur d’Ultrabeat 535 Guide d’initiation à Ultrabeat : introduction 536 Guide d’initiation à Ultrabeat : création de grosses caisses Sommaire 7 540 Guide d’initiation à Ultrabeat : création de caisses claires 547 Guide d’initiation à Ultrabeat : créations de toms et de percussion tonale 548 Guide d’initiation à Ultrabeat : création de charlestons et de cymbales 548 Guide d’initiation à Ultrabeat : création de sons métalliques 549 Guide d’initiation à Ultrabeat : création de sons extrêmes 550 Guide d’initiation à Ultrabeat : programmation par blocs de construction Chapitre 16 551 Instruments GarageBand 552 Fonctionnalités des instruments de GarageBand 553 Base analogique GarageBand 554 Mono analogique GarageBand 555 Nappe analogique GarageBand 556 Tourbillon analogique GarageBand 558 Synchro analogique GarageBand 559 Basse GarageBand 560 Grandes orgues GarageBand 561 Numérique de base GarageBand 562 Digital Mono GarageBand 564 Digital Stepper GarageBand 565 Drum Kits GarageBand 566 Electric Clav(inet) GarageBand 566 Electric Piano GarageBand 567 Guitar GarageBand 568 Horns GarageBand 569 Hybrid Basic GarageBand 571 Hybrid Morph GarageBand 573 Piano GarageBand 574 Sound Effects GarageBand 575 Strings GarageBand 576 Tonewheel Organ GarageBand 577 Tuned Percussion GarageBand 578 Voice GarageBand 579 Woodwind GarageBand Annexe 581 Notions élémentaires sur les synthétiseurs 581 Principes de base du son 585 Qu’est-ce qu’un synthétiseur ? 587 Fonctionnement des synthétiseurs soustractifs 603 Autres méthodes de synthèse 608 Brève histoire du synthétiseur 8 Sommaire MainStage offre un certain nombre d'instruments reposant sur le logiciel pouvant être joués en temps réel. Les instruments comprennent des synthétiseurs innovants, un puissant échantillonneur et des véritables recréations d'anciens instruments. Cette préface traite des sujets suivants : • À propos des instruments de Logic Pro (p 9) • À propos de la documentation de MainStage (p 9) • Ressources supplémentaires (p 10) À propos des instruments de Logic Pro Les instruments couvrent presque tous vos besoins professionnels quotidiens en matière de génération de sons. Tous les instruments sont dotés d’une interface intuitive qui vous donne accès à tous les paramètres et toutes les fonctionnalitéss. Si besoin est, la qualité audio peut être parfaite. À l’inverse, vous pouvez aussi créer dessonstrès durs et bruyants grâce aux instruments fournis. Tous les instruments sont hautement optimisés pour une utilisation efficace du processeur, ce qui maximise le potentiel de lecture en temps réel de votre ordinateur. À propos de la documentation de MainStage MainStage est livré avec divers documents qui vous aideront à commencer et qui vous donneront des informations détaillées à propos des applications incluses. • Manuel de l'utilisateur deMainStage : ce manuel fournit desinstructions complètes pour la création de concerts de MainStage et l'utilisation de MainStage avec vosinstruments, micros et autres matériels de musique lors de vos prestations en public. • Découverte de MainStage : ce fascicule constitue une introduction rapide aux fonctionnalités et aux tâches principales de MainStage, tout en encourageant les nouveaux utilisateurs à faire leurs propres expériences. • Instruments de Logic Pro : ce manuel vousfournit desinstructions détaillées concernant l’utilisation du puissant ensemble d’instruments inclus avec MainStage. 9 Introduction aux instruments de Logic Pro Préface • Effets de Logic Pro : ce manuel vous fournit des instructions détaillées concernant l’utilisation du puissant ensemble d’effets inclus avec MainStage. • Utilisation du matériel Apogee : ce manuel décrit l'utilisation du matériel Apogee avec MainStage. Ressources supplémentaires En plus de la documentation fournie avec MainStage, une large gamme de ressources mises à disposition vous permet d’aller plus loin. Notes de mise à jour et Nouvelles fonctionnalités Chaque application est accompagnée d’une documentation détaillée à propos des nouvelles fonctionnalités ou de celles qui ont été modifiées. Vous pouvez accéder à cette documentation à l’emplacement suivant : • Cliquez sur les liens Notes de mise à jour et Nouvelles fonctionnalités dans le menu Aide de l’application. Site web de MainStage Visitez le site suivant pour obtenir des informations d’ordre général et des mises à jour et accéder aux toutes dernières nouveautés de MainStage : • http://www.apple.com/fr/logicpro/mainstage Sites web de service et assistance Apple Pour obtenir des mises à jour de logiciels et consulter lesréponses de la foire aux questions (FAQ) concernant l’ensemble des produits Apple, rendez-voussur la page web Assistance Apple. Vous pouvez également accéder aux spécifications des produits, à la documentation de référence, ainsi qu’à des articles techniques concernant les produits Apple et de tierce partie. • http://www.apple.com/fr/support Pour obtenir des mises à jour de logiciels, de la documentation, consulter des forums de discussion et accéder aux réponses de la foire aux questions(FAQ) concernant MainStage, rendez-vous à l’adresse : • http://www.apple.com/fr/support/mainstage Pour consulter les forums de discussion sur tous les produits Apple à travers le monde, vous permettant de rechercher des réponses, de poser des questions ou de répondre aux questions des autres utilisateurs, rendez-vous à l’adresse : • http://discussions.apple.com (en anglais) 10 Préface Introduction aux instruments de Logic Pro Le synthétiseur à 8 voix ES E (ES Ensemble) est idéal pour créer rapidement des sons chauds, riches et d'ensemble. L’ES E produit des sons à l’aide de la synthèse soustractive. Il comporte un oscillateur qui génère des formes d’onde riches en harmoniques. Vous soustrayez (coupez ou filtrez) des parties de ces formes d’onde et les déformez pour créer de nouveaux sons. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différentes méthodes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface ES E (p 12) • Utilisation des oscillateurs ES E (p 13) • Utilisation du LFO ES E (p 13) • Utilisation du filtre ES E (p 14) • Utilisation de l’enveloppe ES E (p 15) • Utilisation des paramètres ES E Output (p 16) • Paramètres Extended ES E (p 16) 11 ES E 1 Présentation de l’interface ES E Avant de découvrir les paramètres de l’ES E, cette rubrique vous permet de vousfamiliariser avec les différents éléments qui constituent l’interface graphique de ce logiciel. Paramètres Filter Paramètres Output Paramètres LFO Paramètres d’enveloppe Paramètres des oscillateurs Paramètres des oscillateurs • Paramètres Oscillator : les paramètres Wave et Octave de l’oscillateur sont présents dans la zone de gauche. L’oscillateur génère les formes d’onde qui forment la base de votre son. Consultez Utilisation des oscillateurs ES E. • Paramètres LFO: les paramètres LFO (sousle potentiomètre correspondant au paramètre Wave) sont utilisés pour moduler le son. Consultez Utilisation du LFO ES E. • Paramètres Filter : la partie à droite des paramètres de l’oscillateur inclut les potentiomètres Cutoff (Frequency) et Resonance. Le filtre sert à définir des formes d’onde envoyées par l’oscillateur. Consultez Utilisation du filtre ES E. • Paramètres Envelope : la zone à droite des paramètres Filter contient les paramètres Envelope, qui contrôlent le niveau de son au fil du temps. Consultez Utilisation de l’enveloppe ES E. • ParamètresOutput: la zone tout à droite contient le potentiomètre Volume, responsable du niveau de sortie principal, et les paramètres Effect. Les effets peuvent être utilisés pour colorer ou épaissir le son. Consultez Utilisation des paramètres ES E Output. • Autres paramètres : non visibles sur l’image, les paramètres étendus sont accessibles en cliquant sur le triangle en bas à gauche de l’interface. Ces paramètres incluent les fonctions de bend et d’accord. Consultez Paramètres Extended ES E. 12 Chapitre 1 ES E Utilisation des oscillateurs ES E L’oscillateur du synthétiseur génère une forme d’onde, qui est ensuite envoyée à d’autres parties du moteur du synthétiseur pour être traitée ou manipulée. • Potentiomètre Wave : sélectionne la forme d’onde de l’oscillateur, qui est responsable de la couleur de base de la tonalité. Le paramètre le plus à gauche du paramètre Wave fait produire aux oscillateurs des signaux en dents de scie. Pour toute la plage restante, les oscillateurs produisent des ondes pulsées dont la largeur moyenne d’impulsion est définie par la position du paramètre Wave. • Boutons 4, 8 et 16 : vous permettent de changer de tonalité en passant d’une octave à une autre (de la transposer verticalement). Le réglage le plus grave est 16 pieds, le plus aigu est 4 pieds. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long (et large), plus la tonalité est profonde. Utilisation du LFO ES E Le LFO (low frequency oscillator) génère une forme d’onde cyclique utilisée pour moduler la forme d’onde ES E. Le comportement et l’effet du LFO dépendent du fait qu’une onde en dents de scie ou pulsation est sélectionnée. • Si le paramètre Wave est réglé sur une onde en dents de scie, le LFO module la fréquence de la forme d’onde, donnant un effet de vibrato ou de sirène,selon l’intensité et la vitesse du LFO. Chapitre 1 ES E 13 • Si le paramètre Wave est réglé sur une onde en pulsation, le LFO module la durée d’impulsions (modulation d’impulsions en durée, MID). • Potentiomètre Vib/PWM : détermine l’intensité de la modulation de la fréquence LFO. • Potentiomètre Speed : Établit la fréquence de la modulation LFO. Remarque : lorsque la largeur d’impulsion est très réduite, le son semble être « interrompu ». Compte tenu de cet effet potentiel, il convient de régler l’intensité MID avec précaution et de choisir la position 12 h du paramètre Wave (rectangulaire à 50 pour cent) pour la largeur d’impulsion, si vous souhaitez obtenir une plage de modulation maximale. Utilisation du filtre ES E L’ES E inclut un filtre passe-bas qui vous permet de définir la sortie de l’oscillateur. • Potentiomètre Cutoff : contrôle la fréquence de coupure du filtre ES E. • Potentiomètre Resonance : amplifie ou coupe les portions du signal qui entourent la fréquence définie par le paramètre Cutoff. Remarque : l’augmentation de la valeur de résonance provoque une réjection des graves (énergie dans les basses fréquences) lorsque vous utilisez des filtres passe-bas. 14 Chapitre 1 ES E • Potentiomètre AR Int : l’ES E possède un générateur d’enveloppe pour chaque voix et comporte les paramètres Attack et Release (consultez Utilisation de l’enveloppe ES E). Le potentiomètre AR Int définit l’amplitude de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. • Potentiomètre Velo Filter. : détermine la sensibilité à la vélocité de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. Remarque : ce paramètre n’a aucune incidence si le paramètre AR Int est défini sur 0. Utilisation de l’enveloppe ES E L’enveloppe AR (Attaque et Relâchement) affecte à la fois la fréquence de coupure du filtre (Int. AR) et le niveau de son au fil du temps. • Curseur Attack : détermine la durée requise par le signal pour atteindre le niveau initial souhaité (le niveau soutien). • Curseur Release : détermine le délai qui s’écoule avant que le signal ne retombe à un niveau nul, en partant du niveau de soutien. Chapitre 1 ES E 15 Utilisation des paramètres ES E Output La sortie d’ES E est composée de la section Volume et des boutons Chorus/Ensemble. • Potentiomètre Volume : définit le niveau de sortie global de l’ES E. • Potentiomètre Velo Volume : détermine la sensibilité à la vélocité vers les événements des notes MIDI entrantes. Lorsqu’elle est définie sur des valeurs plus élevées, chaque note est plusforte,si elle est jouée avec plus de fermeté. Avec des valeurs moins élevées, la réponse dynamique est réduite, afin qu’il y ait moins de différence entre lorsque vous jouez une note pianissimo (avec légèreté) ou forte (avec force). • Boutons ChorusI, ChorusII et Ensemble : cliquez sur ces boutons pour activer ou désactiver ces variations d’effet. • Chœur I et Chœur II sont des effets de chœur. • Chœur II se caractérise par une modulation plus importante. • L’effet Ensemble fait appel à une routine de modulation plus complexe, qui crée un son plus riche et plus dense. • Si aucun de ces boutons n’est activé, le processeur d’effets est désactivé. Paramètres Extended ES E L’ES E comporte trois paramètres supplémentaires, auxquels vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface. • Pos. Bender Range. : change la plage du Pitch Bend vers le haut par demi-ton. Vous pouvez ainsi utiliser le contrôleur Pitch Bend de votre clavier pour changer la hauteur de l’ES E. • Neg. Bender Range. : la valeur Neg. par défaut du paramètre Bender Range est PB pos. (Pitch Bend positif). Cela signifie que seul le Pitch Bend positif est disponible. Vous pouvez régler la plage du Pitch Bend vers le bas par demi-ton jusqu’à 2 octaves (une valeur de 24). • Tune : règle la totalité de l’instrument en centièmes. Un centième correspond à 1/100e de demi-ton. 16 Chapitre 1 ES E Le synthétiseur ES M monophonique (ES Mono) constitue un bon point de départ si vous recherchez des sons de basse qui traversent bien votre mixage. L'ES M comprend un mode Fingered portamento automatique, facilitant le glissement des basses. Il comporte également un circuit de compensation de filtre automatique qui offre des sons de basse riches et crémeux, même lors de l’utilisation de valeurs de résonances plus importantes. L’ES M produit des sons par synthèse soustractive. Il utilise un oscillateur qui génère des formes d’onde d’une grande richesse harmonique. Pour créer de nouveaux sons, vous pouvez soustraire (couper ou filtrer) des portions de ces formes d’onde et les former à nouveau. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différentes méthodes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface de l’ES M (p 18) • Utilisation de l’oscillateur de l’ES M (p 19) • Utilisation du filtre et de l’enveloppe de filtre de l’ES M (p 20) • Utilisation des contrôles Enveloppe de niveau et Sortie de l’ES M (p 21) • Paramètres étendus de l’ES M (p 21) 17 ES M 2 Présentation de l’interface de l’ES M Avant de découvrir les paramètres de l’ES M, cette rubrique vous permet de vous familiariser avec les différents éléments de l’interface graphique de ce logiciel. Paramètres des oscillateurs Paramètres Output Paramètres Filter et Filter Envelope Overdrive • Paramètres Oscillator : les paramètres des oscillateurs Mix et Octave s’affichent dans la zone située à gauche. L’oscillateur génère lesformes d’onde élémentaires qui constituent la base de votre son. Consultez Utilisation de l’oscillateur de l’ES M. • Paramètres Filter et Filter Envelope : la partie située à droite des paramètres de l’oscillateur comprend les potentiomètres (Cutoff) Frequency et Resonance. Le filtre sert à définir le contour des formes d’onde envoyées par les oscillateurs. Les paramètres Filter Envelope se trouvent dans la partie supérieure droite. Ils contrôlent la coupure du filtre dans le temps. Consultez Utilisation du filtre et de l’enveloppe de filtre de l’ES M. • ParamètresOutput: la zone inférieure droite, de forme angulaire, contient les paramètres Level Envelope et Output qui contrôlent le niveau du son dans le temps. Le potentiomètre Overdrive est situé au milieu du bord droit de l’interface. L’Overdrive peut être utilisé pour colorer ou ajouter du mordant au son. Consultez Utilisation des contrôles Enveloppe de niveau et Sortie de l’ES M. • Autres paramètres : non visibles sur l’image, les paramètres étendus sont accessibles en cliquant sur le triangle en bas à gauche de l’interface. Ces paramètres incluent les fonctions de bend et d’accord. Consultez Paramètres étendus de l’ES M. 18 Chapitre 2 ES M Utilisation de l’oscillateur de l’ES M L’oscillateur du synthétiseur permet de générer une forme d’onde qui est ensuite envoyée à d’autres parties du moteur du synthétiseur pour être traitée ou manipulée. • Potentiomètre Mix : définit la forme d’onde de l’oscillateur, responsable de la couleur de base et de la tonalité. • Si vousréglez le paramètre Wave complètement à gauche, les oscillateurs produisent des signaux en dents de scie. • Si vous réglez le paramètre Wave complètement à droite, vous obtenez une onde rectangulaire de cinquante pour cent, audible à une octave au-dessous de l’onde en dents de scie. • Tout réglage du paramètre Wave entre ces positions extrêmes produit un mixage fondu enchaîné des deux formes d’onde. • Boutons 8, 16 et 32 : vous permettent de changer de tonalité en passant d’une octave à une autre (de la transposer verticalement). Le réglage le plus grave est 32 pieds, le plus aigu est 8 pieds. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long (et large), plus le son est profond. • Potentiomètre Glide : détermine la vitesse du glissement (le temps requis pour glisser d’une hauteur tonale à une autre). S’il est réglé sur 0, aucun effet de glissé n’est utilisé. Remarque : l’ES M fonctionne toujours en mode de jeu portamento, c’est-à-dire que les notes sont jouées en legato, ce qui permet de glisser (effet portamento) d’une hauteur à l’autre. Chapitre 2 ES M 19 Utilisation du filtre et de l’enveloppe de filtre de l’ES M L’ES M est muni d’un filtre passe-bas vous permettant de définir le contour de la sortie de l’oscillateur. Le filtre comporte une enveloppe dédiée. Paramètres Filter Envelope • Potentiomètre Cutoff : contrôle la fréquence de coupure du filtre de l’ES M. Sa pente est de 24 dB/octave. • Potentiomètre Resonance : amplifie ou coupe les portions du signal qui entourent la fréquence définie par le paramètre Cutoff. Remarque : l’augmentation de la valeur de résonance provoque une réjection des graves (énergie dans les basses fréquences) lorsque vous utilisez des filtres passe-bas. L’ES M compense en interne cet effet secondaire, de façon à produire un son plus chargé en basses. • Potentiomètre Int : définit la valeur (intensité ou profondeur) de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. • Potentiomètre Decay : définit le temps de chute de l’enveloppe de filtre. • Potentiomètre Velo : définit la sensibilité à la vélocité de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. Remarque : les paramètres Decay et Velo n’ont aucun effet si Int est défini sur 0. 20 Chapitre 2 ES M Utilisation des contrôles Enveloppe de niveau et Sortie de l’ES M L’étape de sortie de l’ES M propose les paramètres suivants. Paramètres Level • Potentiomètre Decay : détermine le temps de chute de l’amplificateur dynamique. Les temps d’attaque, de relâchement et de maintien du synthétiseur sont réglés en interne sur 0. • Potentiomètre Velo : détermine la sensibilité à la vélocité de l’amplificateur dynamique. • Potentiomètre Vol : définit le niveau de sortie original de l’ES M. • Potentiomètre Overdrive : contrôle le niveau de l’effet Overdrive intégré. Important : pour éviter de nuire à vos oreilles ou d’endommager vos haut-parleurs, pensez à réduire le niveau du volume avant de définir Overdrive sur une valeur élevée, puis augmentez le volume progressivement. Paramètres étendus de l’ES M L’ES M propose trois paramètres supplémentaires auxquels vous pouvez accéder en cliquant sur le triangle d’affichage situé dans la partie inférieure gauche de l’interface. • Pos. Bender Range : modifie la plage de pitch bend positive (versle haut) par incréments d’un demi-ton. Vous pouvez ainsi utiliser le contrôleur de pitch bend de votre clavier pour ajuster le pitch bend de l’ES P. • Neg. Bender Range : la valeur Neg. par défaut du paramètre Plage Bender PB pos. (Pitch Bend positif). Cela signifie que seul un pitch bend positif est disponible. Vous pouvez régler la plage de pitch bend négative (vers le bas) par demi-tons jusqu’à 2 octaves (valeur 24). • Tune : accorde l’intégralité de l’instrument par incréments d’un centième. Un centième correspond à 1/100e de demi-ton. Chapitre 2 ES M 21 L'ES P à 8 voix (ES Poly) imite lessynthétiseurs polyphoniques classiques des années 1980. Il s'agit d'un instrument versatile capable de produire une très large gamme de sons musicaux. Les sons classiques de cuivres synthétiques analogiques ne sont qu’une de ses nombreuses spécialités. L’ES P produit des sons par synthèse soustractive. Il utilise un oscillateur qui génère des formes d’onde d’une grande richesse harmonique. Pour créer de nouveaux sons, vous pouvez soustraire (couper ou filtrer) des portions de ces formes d’onde et les former à nouveau. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différentes méthodes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface de l’ES P (p 24) • Utilisation des oscillateurs ES P (p 25) • Utilisation du LFO de l’ES P (p 25) • Utilisation du filtre de l’ES P (p 26) • Utilisation des commandes Envelope et Level de l’ES P (p 28) • Utilisation d’effets ES P intégrés (p 29) • Paramètres étendus de l’ES P (p 29) 23 ES P 3 Présentation de l’interface de l’ES P Avant de découvrir les paramètres de l’ES P, cette rubrique vous permet de vousfamiliariser avec les différents éléments de l’interface graphique de ce logiciel. Paramètres Filter Paramètres Effect Paramètres d’enveloppe Paramètres LFO Paramètres Level Paramètres des oscillateurs • Paramètres Oscillator : les curseurs Oscillator s’affichent dans la zone située à gauche. Les paramètres Octave se trouvent également dans cette section. Les oscillateurs génèrent lesformes d’onde élémentaires qui constituent la base de votre son. Consultez Utilisation des oscillateurs ES P. • Paramètres LFO : les paramètres LFO (situés à droite des paramètres Oscillator) sont utilisés pour moduler le son. Consultez Utilisation du LFO de l’ES P. • Paramètres Filter: la colonne verticale située au centre inclut les potentiomètres(Cutoff) Frequency et Resonance, ainsi que les boutons Key Follow. Le filtre sert à définir le contour des formes d’onde envoyées par les oscillateurs. Consultez Utilisation du LFO de l’ES P. • Paramètres Envelope et Level : la zone à droite des paramètres Filter contient les paramètres Envelope et Level, qui contrôlent le niveau de son au fil du temps. Consultez Utilisation des commandes Envelope et Level de l’ES P. • Paramètres Effect : la zone située le plus à droite contient les paramètres Chorus et Overdrive. Ces paramètres peuvent être utilisés pour colorer ou épaissir le son. Consultez Utilisation d’effets ES P intégrés. • Autres paramètres : non visibles sur l’image, les paramètres étendus sont accessibles en cliquant sur le triangle en bas à gauche de l’interface. Ces paramètres incluent les fonctions de bend et d’accord. Consultez Paramètres étendus de l’ES P. 24 Chapitre 3 ES P Utilisation des oscillateurs ES P L’ES P présente plusieurs oscillateurs qui émettent différentesformes d’onde. Cessignaux peuvent être mixés ensemble, à différents niveaux, ce qui offre d’innombrables variations de « matière » à utiliser pour vos sons. • CurseursOscillator : définissez le niveau de sortie desformes d’onde par les oscillateurs. • En plus des ondes triangulaires, en dent de scie et rectangulaires, des ondes rectangulaires de deux sous-oscillateurs sont également disponibles. L’équilibreur de l’oscillateur secondaire de gauche est une octave en dessous des oscillateurs principaux et l’équilibreur de l’oscillateur secondaire de droite est deux octaves en dessous. Utilisez-les pour épaissir le son. • La largeur d’impulsion de toutes les ondes rectangulaires est fixée à 50 pour cent. • L’équilibreursitué tout à fait à droite permet d’ajouter du bruit blanc au mixage. C’est la « matière première » des effets sonores des synthétiseurs classiques, comme ceux évoquant les vagues de l’océan, le vent et les hélicoptères. • Boutons 4, 8 et 16 : vous permettent de changer de tonalité en passant d’une octave à une autre (de la transposer verticalement). Le réglage le plus grave est 16 pieds, le plus aigu est 4 pieds. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long (et large), plus la tonalité est profonde. Utilisation du LFO de l’ES P L’ES P présente un LFO (oscillateur basse fréquence), qui peut effectuer les actions suivantes : • Moduler la fréquence des oscillateurs, ce qui se traduit par un vibrato. Chapitre 3 ES P 25 • Moduler la fréquence de coupure du filtre passe-bas dynamique, ce qui se traduit par un effet wah wah. • Potentiomètre Vib/Wah : tournez-le vers la gauche pour définir un vibrato ; tournez-le vers la droite pour moduler le filtre de façon cyclique. • Potentiomètre Speed : définit la vitesse du vibrato ou de la modulation de fréquence de coupure. Utilisation du filtre de l’ES P L’ES P est muni d’un filtre passe-bas vous permettant de définir le contour de la sortie de l’oscillateur. • Potentiomètre Frequency : contrôle la fréquence de coupures du filtre passe-bas de l’ES P. 26 Chapitre 3 ES P • Potentiomètre Resonance : amplifie/coupe les portions du signal qui entourent la fréquence définie par le potentiomètre Frequency. Remarque : l’augmentation de la valeur de résonance provoque une réjection des graves (énergie dans les basses fréquences) lorsque vous utilisez des filtres passe-bas. L’ES P compense cet effet secondaire en interne, ce qui donne un son avec plus de basses. • Boutons 1/3, 2/3, 3/3 (Key Follow) : la fréquence de coupure peut être modulée par un numéro de note MIDI (position sur le clavier) ; vous connaissez peut-être ce paramètre sousle nom de keyboard follow sur d’autressynthétiseurs. Activez l’un des boutons 1/3, 2/3, 3/3 pour sélectionner un suivi du clavier d’un tiers, deux tiers ou complet. Si aucun bouton n’est actif, la touche enfoncée n’a pas d’incidence sur la fréquence de coupures. Ainsi, les notes graves auront un son relativement plus clair que celui des notes aiguës. Si vous sélectionnez 3/3, le filtre suit la hauteur tonale, afin que la relation entre la fréquence de coupure et la hauteur tonale soit constante. Cela est caractéristique de beaucoup d’instruments acoustiques pour lesquelsles notesles plus aiguës présentent une tonalité plus claire et une hauteur tonale plus élevée. • Potentiomètre ADSR : définit la valeur (profondeur) de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe (consultez Utilisation des commandes Envelope et Level de l’ES P). • Potentiomètre Velo Filter : détermine la sensibilité à la vélocité de la modulation de la fréquence de coupure appliquée par le générateur d’enveloppe. Le générateur d’enveloppe principal (ADSR) module la fréquence de coupure pendant toute la durée d’une note. L’Intensité de cette modulation peut répondre aux informations sur la vélocité. Si vous jouez pianissimo (Vélocité = 1), la modulation est minimale. Si vous jouez vraiment fortissimo (Vélocité = 127), la modulation est plus intense. Chapitre 3 ES P 27 Utilisation des commandes Envelope et Level de l’ES P L’ES P présente une enveloppe ADSR qui a une incidence sur la fréquence de coupure (ADSR Int) et le niveau sonore au fil du temps. Cette rubrique couvre également les paramètres de commande de niveau principal. • Curseur Attack : détermine la durée requise par le signal pour atteindre le niveau initial souhaité (niveau sustain). • Curseur Decay : détermine le délai qui s’écoule avant que le signal ne retombe à un niveau nul, en partant du niveau sustain. • Curseur Sustain : détermine le niveau de signal souhaité (niveau sustain). • Curseur Release : détermine le délai qui s’écoule avant que le signal ne retombe à un niveau nul, en partant du niveau sustain. • Potentiomètre Volume : définit le niveau de sortie global de l’ES P. • Potentiomètre Velo Volume : détermine la sensibilité à la vélocité vers les événements des notes MIDI entrantes. Lorsqu’elle est définie sur des valeurs plus élevées, chaque note est plusforte,si elle est jouée avec plus de fermeté. Avec des valeurs moins élevées, la réponse dynamique est réduite, afin qu’il y ait moins de différence lorsque vousjouez une note pianissimo (avec légèreté) ou forte (avec force). 28 Chapitre 3 ES P Utilisation d’effets ES P intégrés L’ES P offre des effets Chorus et Overdrive stéréo. Ilssont baséssur des processeurs d’effets similaires qui se situent sur les synthétiseurs japonais abordables des années 1980, que l’ES P, lui-même, émule. • Potentiomètre Chorus : règle l’intensité (profondeur) de l’effet chorus intégré. • Potentiomètre Overdrive : détermine le niveau d’overdrive/distorsion de la sortie de l’ES P. Important : pour éviter de nuire à vos oreilles ou d’endommager vos haut-parleurs, pensez à réduire le niveau du volume avant de définir Overdrive sur une valeur élevée, puis augmentez le volume progressivement. Paramètres étendus de l’ES P L’ES P propose trois paramètres supplémentaires auxquels vous pouvez accéder en cliquant sur le triangle d’affichage situé dans la partie inférieure gauche de l’interface. • Pos. Bender Range : change la plage du Pitch Bend vers le haut par demi-ton. Vous pouvez ainsi utiliser le contrôleur de pitch bend de votre clavier pour ajuster le pitch bend de l’ES P. • Neg. Bender Range : la valeur Neg. par défaut du paramètre Neg Bender Range est Pos PB (Pitch Bend positif). Cela signifie que seul un pitch bend positif est disponible. Vous pouvez régler la plage du Pitch Bend vers le bas par demi-ton jusqu’à 2 octaves (une valeur de 24). • Champ Tune : accorde l’intégralité de l’instrument par incréments d’un centième. Un centième correspond à 1/100e de demi-ton. Chapitre 3 ES P 29 L’ES1 émule les circuits des synthétiseurs analogiques dans une interface efficace et très simple. L’ES 1 produit des sons par synthèse soustractive. Il utilise un oscillateur et un oscillateur secondaire qui génèrent des formes d’onde d’une grande richesse harmonique. Pour créer de nouveaux sons, vous pouvez soustraire (couper ou filtrer) des portions de ces formes d’onde et les former à nouveau. Le système de génération de tonalités de l’ES1 offre également des options de modulation flexibles qui facilitent la création de basses dynamiques, de nappes atmosphériques, de solos mordants et de percussions nettes. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentaires sur les synthétiseursSynthesizer Basics, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différents systèmes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface de l’ES1 (p 32) • Utilisation des oscillateurs de l’ES1 (p 33) • Utilisation des paramètres Filter de l’ES1 (p 35) • Utilisation des paramètres Amplifier de l’ES1 (p 37) • Utilisation des paramètres Envelope de l’ES1 (p 38) • Modulation du son de l’ES1 (p 40) • Ajustement des paramètres globaux de l’ES1 (p 44) • Liste des contrôleurs MIDI de l’ES1 (p 45) 31 ES1 4 Présentation de l’interface de l’ES1 Avant que vous découvriez les paramètres de l’ES1, cette rubrique vous permet de vous familiariser avec les différents éléments constituant l’interface graphique de l’ES1, qui se compose de six zones principales. Paramètres des oscillateurs Paramètres Filter Paramètres Amplifier Paramètres globaux Paramètres de la section Modulation Paramètres d’enveloppe • Paramètres Oscillator : affichés à gauche, les oscillateurs génèrent les formes d’onde simplifiées qui constituent la base de votre son. Consultez Utilisation des oscillateurs de l’ES1. Plusieurs paramètres associés, qui influencent directement le son général, comme Tune, se trouvent dans la rubrique des paramètres globaux de l’interface. Consultez Ajustement des paramètres globaux de l’ES1. • Paramètres Filter : ces paramètres incluent la zone circulaire Filter, ainsi que les paramètres Drive et Key scaling. Le filtre sert à définir les formes d’onde envoyées par les oscillateurs. Consultez Utilisation des paramètres Filter de l’ES1. • Paramètres Amplifier : la zone à droite contient les paramètres Amplifier. Consultez Utilisation des paramètres Amplifier de l’ES1. • Paramètres Envelope : les curseurs ADSR situés dans le coin inférieur droit de l’ES1 vous permettent de contrôler la fréquence de coupure du filtre et le niveau d’amplification dans le temps. Consultez Utilisation des paramètres Envelope de l’ES1. • Paramètres Modulation : la zone vert foncé/gris contient les sources de modulation, le routeur de modulation, l’enveloppe de modulation et l’enveloppe d’amplitude, que vous pouvez utiliser pour moduler le son de plusieurs manières. Consultez Modulation du son de l’ES1. • Paramètres globaux : les paramètres globaux de contrôle du son sontsituéssur la bande inférieure vert/gris. C’est à partir de cette bande que vous pouvez assigner et ajuster l’accord global, activer les chœurs intégrés, etc. Les chœurs peuvent être utilisés pour colorer ou épaissir le son. Consultez Ajustement des paramètres globaux de l’ES1. 32 Chapitre 4 ES1 Utilisation des oscillateurs de l’ES1 L’ES1 présente un oscillateur principal et un oscillateur secondaire. L’oscillateur principal génère une forme d’onde, qui est ensuite envoyée à d’autres parties du synthétiseur pour être traitée ou manipulée. L’oscillateur secondaire génère une forme d’onde secondaire, située une ou deux octaves en dessous de celle de l’oscillateur principal. • Potentiomètre Wave : sélectionne la forme d’onde de l’oscillateur principal, qui est responsable de la couleur de base de la tonalité. Consultez Réglage des formes d’onde de l’oscillateur de l’ES1. • Curseur Mix : définit la relation de niveau entre les signaux de l’oscillateur principal et de l’oscillateur secondaire. Lorsque l’oscillateur secondaire est désactivé, sa sortie est complètement supprimée du chemin du signal. • Potentiomètre Sub : l’oscillateur secondaire génère des formes d’onde carrées, pulsées et de bruit blanc. Il vous permet également de router un signal de side chain par l’intermédiaire du moteur du synthétiseur de l’ES1 (consultez Utilisation de l’oscillateur secondaire de l’ES1). • Boutons 2, 4, 8, 16, 32 : ces boutons transposent la hauteur tonale des oscillateurs verticalement par octaves. Le réglage le plus grave est 32 pieds et le plus aigu, 2 pieds. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long et large, plus la tonalité est profonde (pour obtenir une description des paramètres Tune globaux, consultez Ajustement des paramètres globaux de l’ES1). Réglage des formes d’onde de l’oscillateur de l’ES1 Le tableau suivant vous donne un aperçu de l’effet de la forme d’onde de l’oscillateur sur le son de votre synthétiseur. Waveform Tonalité de base Commentaires Utile pour les sons de cordes, de pads, de basses et de cuivres En dents de scie Chaude et régulière Chapitre 4 ES1 33 Waveform Tonalité de base Commentaires Utile pour les flutes et les coussins Son doux, pluslisse que la forme en dents de scie Triangle Utile pour les basses, les clarinettes et les hautbois. Square Son creux de bois Parfait pour les instruments à anches, les anomalies synthétiques et les basses Pulsée Son nasal Utilisation de la modulation d’impulsions en durée dans l’ES1 Vous pouvez choisir n’importe quelle largeur d’impulsion comprise entre les symboles d’onde carrée et d’onde pulsée du potentiomètre Wave. La largeur d’impulsion peut également être automatiquement modulée dans la rubrique de modulation (consultez Utilisation du routeur de l’ES1). Par exemple, une modulation de la largeur d’impulsion à l’aide d’un LFO à cycle lent permet de rendre provisoirement muets les sons de basses graves. Utilisation de l’oscillateur secondaire de l’ES1 L’oscillateur secondaire fournit les options de forme d’onde suivantes : • Une onde carrée dont la lecture est située une ou deux octaves en dessous de la fréquence de l’oscillateur principal. • Une onde pulsée dont la lecture est située deux octaves en dessous de la fréquence de l’oscillateur principal. • Variations de ces formes d’onde avec différentes relations de phase et mixage. Leur utilisation se traduit par différents sons. • Le bruit blanc est utile pour la création de sons de percussions ou encore de sons de vent, de surf et de pluie. • Vous pouvez également désactiver complètement l’oscillateur secondaire en sélectionnant OFF. Traitement des signaux de side chain par l’intermédiaire de l’ES1 L’oscillateur secondaire de l’ES1 vous permet d’exécuter un signal de tranche de console externe par l’intermédiaire du moteur du synthétiseur de l’ES1, à l’aide d’un side chain. Pour traiter le signal de tranche de console par le biais du moteur du synthétiseur de l’ES1 1 Réglez le potentiomètre Sub sur EXT. 2 Dans le menu Side Chain, sélectionnez la tranche de console source du side chain, en haut de la fenêtre du module. 34 Chapitre 4 ES1 Utilisation des paramètres Filter de l’ES1 Cette rubrique décrit les paramètres de filtre de l’ES1. • Curseur Cutoff : contrôle la fréquence de coupures du filtre passe-bas de l’ES1. • Curseur Resonance : coupe ou amplifie les portions du signal qui entourent la fréquence définie par le paramètre Cutoff. Cette amplification peut être définie de façon si intense que le filtre commence à osciller par lui-même (consultez Pousser le filtre de l’ES1 jusqu’à l’auto-oscillation). Astuce : vous pouvez ajuster simultanément les paramètres Cutoff et de Resonance en faisant glisser verticalement (cutoff) ou horizontalement (resonance) sur le mot Filter, qui se situe entre les boutons Slope. • Boutons Slope : le filtre passe-bas offre quatre pentes différentes de rejet de bandes au-dessus de la fréquence de coupure. Les quatre réglages sont organisés dans le sens horaire, le premier étant situé en haut à gauche, comme suit : • 24 dB classic : imite le comportement d’un filtre Moog. Si vous augmentez la résonance, la partie basse du signal est réduite. • 24 dB fat : compense la réduction du contenu basse fréquence causée par des valeurs de résonance élevées. Cela ressemble au comportement d’un filtre Oberheim. • 120 dB : produit un son doux et homogène qui rappelle celui des premiers Oberheim SEM. • 18 dB : tend à faire ressembler le son du filtre à celui du TB-303 de Roland. • Curseur Drive : contrôle de niveau d’entrée, qui vous permet de faire un overdrive du filtre. Ce paramètre vous permet de modifier le comportement du paramètre Resonance, ce qui se traduit finalement par une distorsion du son de la forme d’onde. Chapitre 4 ES1 35 • Curseur Key : contrôle le volume de modulation de la fréquence de coupures du filtre par la hauteur tonale du clavier (numéro de note) : • Si le paramètre Key est réglé sur zéro, la fréquence de coupure reste inchangée, quelle que soit la note jouée. Ainsi, les notes graves auront un son relativement plus clair que celui des notes aiguës. • Si le paramètre Key est réglé sur la valeur maximale, le filtre suit la tonalité, afin que la relation entre la fréquence de coupure et la tonalité soit constante. Cela reflète les propriétés de plusieurs instruments acoustiques pour lesquels les notes les plus aiguës présentent une tonalité plus claire et une hauteur tonale plus élevée. • Curseur ADSR via Vel : détermine l’impact de la vélocité de note sur la modulation de la fréquence de coupure du filtre, causé par le générateur d’enveloppe (consultez Utilisation des paramètres Envelope de l’ES1). Pousser le filtre de l’ES1 jusqu’à l’auto-oscillation Vous pouvez transformer la sortie du filtre de l’ES1 en onde sinusoïdale en procédant comme suit. Cela vous permettra de « lire » l’onde sinusoïdale générée par le filtre à l’aide du clavier. Pour sortir une onde sinusoïdale du filtre 1 Basculez le potentiomètre Sub sur OFF. 2 Déplacez le curseur Mix tout en bas (Sub). 3 Tournez le potentiomètre Resonance en position maximale. 36 Chapitre 4 ES1 Utilisation des paramètres Amplifier de l’ES1 Les paramètres de la rubrique d’amplification de l’ES1 vous permettent d’affiner le comportement de votre niveau de son. Ces paramètressont distincts du paramètre global Out Level, situé sur la bande au bas de l’interface et qui représente le volume principal de l’ES1 (consultez la rubrique Ajustement des paramètres globaux de l’ES1). • Curseur Level via Vel : détermine l’impact de la vélocité de note sur le niveau du synthétiseur défini par le paramètre global Out Level. La flèche du haut du curseur indique le niveau lorsque vous jouez fortissimo. La flèche du bas indique le niveau lorsque vous jouez pianissimo (vélocité =1). Plus la distance est importante entre les flèches (indiquées par une barre bleue), plus le volume est affecté par les messages de vélocité entrants. Vous pouvez ajuster simultanément la plage et l’intensité de modulation en faisant glisser la barre bleue entre les flèches et en déplaçant les deux flèches en même temps. • Boutons du sélecteur de l’enveloppe d’amplification : les boutons AGateR, ADSR et GateR définissent quelles commandes du générateur d’enveloppe ADSR ont une incidence sur l’enveloppe d’amplification (consultez Utilisation de l’enveloppe pour contrôler l’ampli de l’ES1). Chapitre 4 ES1 37 Utilisation des paramètres Envelope de l’ES1 L’ES1 présente une enveloppe (ADSR) d’attaque, de chute, de tenue et de relâchement qui peut former la fréquence de coupure du filtre et le niveau du son dans le temps. • Curseur Attack : détermine la durée requise par l’enveloppe pour atteindre le niveau initial souhaité. • Curseur Decay : détermine la durée requise par l’enveloppe pour atteindre le niveau de sustain, en suivant le temps d’attaque initial. • Curseur Sustain : définit le niveau de sustain, qui est maintenu jusqu’au relâchement de la touche du clavier. • Curseur Release : détermine la durée requise par l’enveloppe pour retomber à un niveau nul, en partant du niveau de sustain. Utilisation de l’enveloppe pour contrôler la fréquence de coupure de l’ES1 Le générateur d’enveloppe module la fréquence de coupure du filtre pendant toute la durée d’une note. L’intensité de cette modulation et sa réponse aux informations de vélocité sont définies par les flèches du curseur ADSR via Vel (dans la section des paramètres de filtre). Curseur ADSR via Vel 38 Chapitre 4 ES1 La plage de modulation est déterminée par les deux flèches. La quantité minimale de modulation est indiquée par la flèche du bas. La flèche supérieure indique la quantité maximale de modulation. La barre bleue entre les flèches illustre la plage dynamique de cette modulation. Vous pouvez ajuster simultanément la plage et l’intensité de la modulation en faisant glisser la barre bleue et en déplaçant les deux flèches en même temps. Astuce : si ces paramètres sont nouveaux pour vous, définissez Cutoff sur une valeur basse, Resonance sur une valeur élevée et déplacez les deux flèches ADSR via Vel vers le haut. Jouez une note de manière constante sur le clavier tout en modifiant les flèches pour connaître le fonctionnement de ces paramètres. Utilisation de l’enveloppe pour contrôler l’ampli de l’ES1 Les boutons AGateR, ADSR et GateR (dansla rubrique du paramètre Amplifier) définissent quelles commandes du générateur d’enveloppe ADSR ont une incidence sur l’enveloppe d’amplification. Tous les paramètres ADSR restent actifs pour le filtre. Boutons du sélecteur de l’enveloppe d’amplification Les lettres A, D, S et R font référence aux phases d’attaque, de chute, de tenue et de relâchement de l’enveloppe (consultez Utilisation des paramètres Envelope de l’ES1). Gate fait référence à un signal de commande utilisé dans les synthétiseurs analogiques qui indique à un générateur d’enveloppe qu’une touche est enfoncée. Tant qu’une touche de synthétiseur analogique reste enfoncée, le signal Gate garde une tension constante. Lorsque Gate est utilisé comme source de modulation dans l’amplificateur contrôlé en tension (et non dans l’enveloppe elle-même), il crée une enveloppe de type orgue sans aucun paramètre Attack, Decay ou Release-an, pour un son régulier et tenu. Chapitre 4 ES1 39 Dansl’ES1, les boutons du sélecteur d’enveloppes d’amplification présentent l’effetsuivant sur les notes jouées : • AGateR : les curseurs Attack et Release de l’enveloppe ADSR contrôlent les phases d’attaque et de libération du son. Pendant ces phases, le signal de commande Gate est utilisé pour maintenir un niveau constant pendant que la note est maintenue. La phase de libération commence dès le relâchement de la touche. Les curseurs Decay et Sustain de l’enveloppe ADSR n’ont pas d’incidence sur le niveau du son. • ADSR : il s’agit du mode de fonctionnement standard de la plupart des synthétiseurs, dans lequel le niveau sonore dans le temps est entièrement contrôlé par l’enveloppe ADSR. • GateR : le signal de commande Gate est utilisé pour maintenir un niveau constant pendant que la note est maintenue. La phase de libération commence dès le relâchement de la touche. Les curseurs Attack, Decay et Sustain de l’enveloppe ADSR n’ont pas d’incidence sur le niveau du son. Modulation du son de l’ES1 L’ES1 offre plusieurs options de routage de modulation simples, tout en étant flexibles. La modulation est utilisée pour ajouter de l’animation à votre son dans le temps, en le rendant plusintéressant, plus dynamique ou plusréaliste. Le vibrato utilisé par lesjoueurs d’instruments à cordes en orchestre illustre bien ce type d’animation sonore. Enveloppe de modulation Paramètres LFO Router • Paramètres LFO : utilisés pour moduler les autres paramètres de l’ES1. Consultez Utilisation du LFO de l’ES1. • Router : vous permet de choisir quels paramètres de l’ES1 sont modulés. Consultez la rubrique Utilisation du routeur de l’ES1 ci-dessous. • Enveloppe Modulation : source de commande de modulation dédiée, elle peut directement contrôler les autres paramètres de l’ES1 ou le niveau de LFO. Consultez Utilisation de l’enveloppe de modulation de l’ES1. 40 Chapitre 4 ES1 Utilisation du routeur de l’ES1 Le routeur permet de déterminer quels paramètres de l’ES1 sont modulés par le LFO (consultez Utilisation du LFO de l’ES1) et/ou par l’enveloppe de modulation (consultez Utilisation de l’enveloppe de modulation de l’ES1). Les boutons de cible de paramètre de la colonne gauche activent la modulation LFO, ceux de la colonne droite définissent la cible de l’enveloppe de modulation. Boutons cibles des paramètres • Boutons Pitch : activez ces boutons pour moduler la hauteur tonale ou fréquence des oscillateurs. • Boutons Pulse Width : activez ces boutons pour moduler la largeur d’impulsion de l’onde pulsée. • BoutonsMix : activez ces boutons pour moduler le mixage entre les oscillateurs principal et secondaire. • Boutons Cutoff : activez ces boutons pour moduler la fréquence de coupure du filtre. • Boutons Resonance : activez ces boutons pour moduler la résonance du filtre. • Boutons Volume : activez ces boutons pour moduler le volume principal. • Bouton Filter FM (enveloppe de modulation uniquement) : activez ce bouton pour utiliser l’onde triangulaire de l’oscillateur afin de moduler la fréquence de coupure du filtre. Cette modulation peut entraîner une pseudo-distorsion du son ou créer des sons métalliques, de style FM. Ces derniers se produisent lorsque le seul signal entendu est l’auto-oscillation du filtre de résonance (consultez Pousser le filtre de l’ES1 jusqu’à l’auto-oscillation). • LFO Amp (enveloppe de modulation uniquement) : activez ce bouton pour moduler le volume global de modulation LFO. Chapitre 4 ES1 41 Utilisation du LFO de l’ES1 Le LFO (oscillateur basse fréquence) génère une forme d’onde cyclique, ajustable, qui peut être utilisée pour moduler d’autres paramètres de l’ES1 (comme indiqué dans la rubrique Utilisation du routeur de l’ES1). • Potentiomètre Wave : définit la forme d’onde du LFO. Vous pouvez faire votre choix parmi une forme d’onde triangulaire, en dents de scie ascendantes et descendantes, une onde carrée, Sample & Hold (aléatoire) et une onde aléatoire décalée dont la forme change en douceur. Chacune de ces formes d’onde évolue de sa propre manière, en offrant différents types de modulation. Vous pouvez également assigner un signal Side Chain comme source de modulation (EXT). Dans le menu Side Chain, sélectionnez la tranche de console source du side chain, en haut de la fenêtre du module. • Champ et curseur Rate : définit la vitesse ou fréquence des cycles de forme d’onde du LFO. • Si vous choisissez des valeurssituées à gauche du zéro, la phase du LFO est verrouillée sur le tempo de l’application hôte, avec des durées de phase ajustables entre 1/96 de mesure et 32 mesures. Si vous optez pour des valeurs situées à droite du zéro, la phase du LFO peut évoluer librement. • S’il est défini sur zéro, le LFO produit un niveau constant et complet, ce qui vous permet de contrôler manuellement la vitesse du LFO avec la roulette de modulation de votre clavier. Cela pourrait être utile, notamment pour modifier la largeur d’impulsion en actionnant la roulette de modulation du clavier. La largeur d’impulsion seraitsélectionnée comme cible de modulation du LFO (colonne du routeur gauche) et la plage d’intensité de modulation serait déterminée par le réglage Int via Whl. • Curseur Int via Whl : la flèche du haut définit l’intensité de modulation du LFO si la roulette de modulation (contrôleur MIDI 1) est réglée sur sa valeur maximale. La flèche du bas définit l’intensité de modulation du LFO si la roulette de modulation est réglée sur zéro. La distance entre lesflèches, représentée par une barre verte, indique la portée de la roulette de modulation de votre clavier. Vous pouvez ajuster simultanément la plage et l’intensité de la modulation en faisant glisser la barre verte, en déplaçant ainsi les deux flèches en même temps. En procédant ainsi, la distance relative entre les deux flèches est préservée. 42 Chapitre 4 ES1 Utilisation de l’enveloppe de modulation de l’ES1 L’enveloppe de modulation vous permet de définir des enveloppes de chute de type percussif en sélectionnant des valeurs basses ou des enveloppes de type attaque présentant des valeurs élevées. • Champ et curseur Form : vous permet d’effectuer un fondu entrant (attaque) ou un fondu sortant (chute) de la modulation. Une fois définie en position complète, l’enveloppe de modulation est désactivée. • Curseur Int via Vel : la flèche du haut contrôle le réglage de l’intensité de modulation supérieure associée à l’enveloppe de modulation, si vous frappez une touche selon le paramètre fortissimo le plus élevé (vélocité = 127). La flèche du bas contrôle le réglage de l’intensité de modulation inférieure associée à l’enveloppe de modulation, si vous frappez une touche selon le paramètre pianissimo le plus doux (vélocité = 1). La barre verte entre les flèches illustre l’impact de la sensibilité à la vélocité sur l’enveloppe de modulation ou sur l’intensité de cette dernière. Vous pouvez ajuster simultanément la plage et l’intensité de la modulation en faisant glisser la barre verte, en déplaçant ainsi les deux flèches en même temps. En procédant ainsi, la distance relative entre les deux flèches est préservée. Contrôle des paramètres de l’ES1 et du LFO avec l’enveloppe de modulation L’enveloppe de modulation peut moduler directement le paramètre sélectionné dans le routeur. Elle détermine essentiellement le temps requis pour un fondu entrant ou sortant de la modulation. En position centrale, accessible en cliquant sur le repère du milieu, l’intensité de modulation eststatique : aucun fondu entrant ou sortant ne se produit. Une fois définie sur sa valeur complète, elle offre un niveau constant. Pour moduler un paramètre avec la vélocité 1 Sélectionnez une destination de modulation (Pulse Width, par exemple). 2 Définissez Form sur complet et ajustez le paramètre Int via Vel comme nécessaire. Cela se traduit par une modulation sensible à la vélocité de la largeur d’impulsion de l’oscillateur. Encore plus intéressant, l’enveloppe de modulation peut directement contrôler le niveau LFO lorsque vous cliquez sur le bouton LFO Amplitude dans la colonne de droite du routeur. Chapitre 4 ES1 43 Pour définir le fondu entrant ou sortant de la modulation du LFO µ Sélectionnez une valeur Form positive (vers attaque) pour effectuer un fondu entrant de la modulation du LFO. Plus la valeur est élevée, plus il faut de temps pour entendre la modulation. µ Sélectionnez une valeur négative (vers chute) pour effectuer un fondu sortant de la modulation du LFO. Plus la valeur est basse (proche de complet), plus le temps de fondu sortant est court. La commande du LFO avec les enveloppes est le plus souvent utilisée pour retarder le vibrato : cette technique est utilisée par de nombreux instrumentalistes et chanteurs pour tenir les notes longues. Pour retarder le vibrato 1 Positionnez le paramètre Form vers la droite (attaque). 2 Sélectionnez Pitch comme cible du LFO (colonne gauche). 3 Choisissez l’onde triangulaire comme forme d’onde LFO. 4 Sélectionnez une fréquence LFO d’environ 5 Hz. 5 Réglez la flèche supérieure Int via Wheel sur une valeur basse et la flèche inférieure sur 0. Ajustement des paramètres globaux de l’ES1 Cette rubrique couvre les paramètres globaux qui ont une incidence sur le son global ou le comportement de l’ES1. Les paramètres globaux se trouvent dans la bande qui s’étend le long du bord inférieur de l’interface de l’ES1. Le curseur Glide s’affiche au-dessus de l’extrémité gauche de la bande. • Curseur Glide : définit le temps requis pour glisser entre les hauteurs tonales de chaque note déclenchée. Le comportement du déclencheur Glide dépend de la valeur choisie pour le paramètre Voices (consultez ce qui suit). • Champ Tune : accorde l’intégralité de l’instrument par incréments d’un centième. Un centième correspond à 1/100e de demi-ton. • Champ Analog : il modifie légèrement la hauteur tonale de chaque note, ainsi que la fréquence de coupure, de manière aléatoire. Cela entraîne l’émulation du désaccord de l’oscillateur aléatoire et les fluctuations du filtre qui peuvent se produire dans les synthétiseurs analogiques polyphoniques, en raison de la chaleur et du vieillissement. • Champ Voice : règle le nombre maximal de notes pouvant être lues simultanément. Chaque instance de l’ES1 offre un maximum de 16 voix. Si vous jouez moins de voix, vous aurez besoin de moins de ressources système. 44 Chapitre 4 ES1 • Champ Bender Range : modifie la sensibilité du pitch bender. Les ajustements sont faits par étapes de demi-ton. • Curseur Neg Bender Range (zone Extended Parameters) : ajuste la plage de pitch bend négatif (vers le bas) par demi-ton. La valeur par défaut est Pos PB (Pitch Bend positif), ce qui signifie avant tout qu’aucun pitch bend vers le bas n’est disponible. Cliquez sur le petit triangle situé tout en bas à gauche de l’interface de l’ES1 pour accéder à la zone Extended parameters. • Champ Chorus: l’ES1 offre deux effets Chorus stéréo classiques et un effet d’ensemble. • Off désactive le circuit Chorus intégré. • C1 et C2 constituent des effets Chorus typiques. C2 est une variation de C1 et se caractérise par une modulation plus forte. • Ens (Ensemble) fait appel à une routine de modulation plus complexe, qui crée un son plus riche et plus dense. • Champ Out Level : contrôle le volume principal de l’ES1. Utilisation du paramètre Analog de l’ES1 Si le paramètre Analog a la valeur zéro, les points de départ de chaque cycle d’oscillateur de toutes les voix déclenchées sont synchronisés. Cela peut s’avérer utile pour les sons percussifs, lorsque vous cherchez à obtenir une caractéristique d’attaque plus franche. L’utilisation de valeurs Analog supérieures à zéro permet au cycle des oscillateurs de toutes les voix déclenchées d’évoluer librement. Utilisez des valeurs plus élevées si vous voulez obtenir un son chaud de type analogique, où des variations sonores subtiles se produisent pour chaque voix déclenchée. Utilisation du paramètre Voices dans l’ES1 Lorsque le paramètre Voices est défini sur Legato, l’ES1 se comporte comme un synthétiseur monophonique, à déclencheur simple et avec la fonction Fingered portamento activée. Ce qui signifie que si vous jouez legato, un portamento se produit (le temps de portamento est défini par le curseur Glide). Si vous relâchez chaque touche avant d’appuyer sur une nouvelle, l’enveloppe ne sera pas déclenchée par la nouvelle note et il n’y aura pas de portamento. Astuce : cette fonction vous permet de créer des effets de pitch bend, sans toucher le pitch bender. Assurez-vous donc de sélectionner une valeur Glide plus élevée lors de l’utilisation du réglage Legato. Liste des contrôleurs MIDI de l’ES1 L’ES1 répond aux numéros des contrôleurs continus MIDI suivants (CC). Chapitre 4 ES1 45 Numéro de contrôleur Nom de paramètre 12 Boutons de tonalité de l’oscillateur 13 Forme d’onde de l’oscillateur 14 Curseur Mix 15 Forme d’onde de l’oscillateur secondaire 16 Curseur Drive 17 Curseur Cutoff 18 Curseur Resonance 19 Boutons Slope 20 ADSR via Vel : curseur inférieur 21 ADSR via Vel : curseur supérieur 22 Curseur Attack 23 Curseur Decay 24 Curseur Sustain 25 Curseur Release 26 Curseur Key 27 Boutons du sélecteur de l’enveloppe d’amplification 28 Curseur inférieur Level via Velocity : 29 Curseur supérieur Level via Velocity : 30 Paramètre Chorus 31 Cible de l’enveloppe de modulation 102 Curseur de forme Modulation Envelope 103 Enveloppe de modulation : paramètre Int via Vel : curseur inférieur 104 Enveloppe de modulation : paramètre Int via Vel : curseur supérieur 105 Fréquence du LFO 106 Forme d’onde du LFO 107 Cible de modulation du LFO 108 LFO : Int via Whl : curseur inférieur 109 LFO : Int via Whl : curseur supérieur 110 Curseur Glide 111 Paramètre Tune 112 Paramètre Analog 113 Paramètre Bender Range 114 Paramètre Out Level 115 Paramètre Voices 46 Chapitre 4 ES1 Le synthétiseur ES2 associe un puissant moteur de synthèse sonore à de nombreuses fonctions de modulation. Il associe de manière homogène la synthèse soustractive et les éléments FM aux méthodes de synthèse à table d’ondes, afin de générer une extraordinaire variété de sons. C’est donc le synthétiseur idéal pour créer des ensembles puissants, des textures élaborées, des basses riches ou des cuivres synthétiques. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir les bases et la terminologie associées aux différents systèmes de synthèse. Le présent chapitre couvre les aspects suivants : • Achitecture et fonctionnalités de l'ES2 (p 48) • Présentation de l’interface ES2 (p 49) • Utilisation des oscillateurs de l’ES2 (p 50) • Utilisation des paramètres globaux de l’ES2 (p 64) • Utilisation des filtres de l’ES2 (p 66) • Utilisation des paramètres Amplifier de l’ES2 (p 76) • Utilisation de la modulation dans l’ES2 (p 78) • Utilisation de la section de traitement d’effets intégré de l’ES2 (p 112) • Création de variations sonores aléatoires de l’ES2 (p 114) • Utilisation des macro-contrôles et affectation des contrôleurs dans l’ES2 (p 116) • Utilisation de l’ES2 en mode Surround (p 119) • Guide d’initiation à l’ES2 : création de sons (p 119) • Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons (p 131) 47 ES2 5 Achitecture et fonctionnalités de l'ES2 Les trois oscillateurs de l’ES2 fournissent les formes d’onde classiques des synthétiseurs analogiques (bruit compris) et 100 formes d’onde à cycle unique, connues sous le nom de Digiwaves. Cette matière première forme la base de sons allant des sons analogiques gras aux sons numériques discordants, voire à des hybrides. Vous pouvez également réaliser des transmodulations sur les oscillateurs, pour créer plus facilement des sons de style FM. D’autres options permettent de synchroniser les oscillateurs et d’effectuer des modulations en anneau, ou encore de mixer une onde sinusoïdale directement en phase de sortie, pour épaissir le son. L’ES2 est doté d’un routeur de modulation souple, qui offre jusqu’à dix routages de modulation (définis par l’utilisateur) simultanés. Ils peuvent être utilisés aux côtés d’un certain nombre de routages câblés. Les options de modulation comprennent également le Planar Pad, qui permet de contrôler deux paramètres sur une grille bidimensionnelle. Le Vector Envelope lui-même peut être contrôlé par la fonction sophistiquée qu’est le Vector Envelope. Il s’agit d’une enveloppe multipoint et capable d’utiliser les boucles, qui facilite la création de sons complexes et élaborés. Enfin, les effets Distortion, Chorus, Phaser et Flanger sont intégrés à l’ES2. Si vous préférez entamer votre expérience sur-le-champ, vous pouvez charger un certain nombre de réglages pour vous lancer sans difficulté dans l’utilisation de ce logiciel. Ces réglages sont accompagnés de deux rubriques d’initiation, qui proposent des astuces et des informations et qui vous invitent à découvrir l’ES2. Consultez Guide d’initiation à l’ES2 : création de sons et Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons. Remarque : dans les rubriques qui décrivent les paramètres, vous trouverez souvent des informations concernant l’utilisation des paramètres comme cibles ou sources de modulation. C’est l’une des plus grandes forces de l’ES2 : ses possibilités très étendues quant à la modulation. Nous vous conseillons de lire l’intégralité de ce chapitre avant de revenir aux rubriques traitant des informations de modulation (voir ci-dessous) quand et si vous en avez besoin. Vous trouverez des descriptions d’utilisation de toutes les options de modulation et de contrôle, y comprislestableaux de référence, à la rubrique Utilisation de la modulation dans l’ES2. 48 Chapitre 5 ES2 Présentation de l’interface ES2 Avant de découvrir les paramètres et fonctions de l’ES2, cette rubrique vous permet de vous familiariser avec les différents éléments constituant l’interface graphique de l’ES2, qui comprend les principales zones décrites ci-dessous. Paramètres Random Section Oscillator Cliquez ici pour afficher l’enveloppe Vector. Paramètres Macro Sound Section Effect Paramètres globaux Section Filter Paramètres Amplifier Pavé planaire Contrôles et paramètres Modulation Paramètres globaux Routeur de modulation • Section Oscillator : les paramètres de l’oscillateur s’affichent dans la partie supérieure gauche de l’interface ES2. Le triangle permet de définir les relations de mixage entre les trois oscillateurs. Consultez Utilisation des oscillateurs de l’ES2. • Paramètres globaux : un certain nombre de paramètres globaux associés, qui influencent directement la sortie générale de l’ES2, comme Tune, sont disponibles sur la gauche des oscillateurs, au-dessus des paramètres d’amplification et de filtre. Consultez Utilisation des paramètres globaux de l’ES2. • Section Filter : la zone circulaire Filtre comporte les paramètres FM Drive et Filter. Consultez Utilisation des filtres de l’ES2. • Paramètres Amplifier : la partie supérieure droite, qui contient les paramètres de sortie, vous permet de définir le volume global de l’ES2 et d’ajouter un signal sinusoïdal en phase de sortie. Consultez Utilisation des paramètres Amplifier de l’ES2. Chapitre 5 ES2 49 • Routeur Modulation ou Vector Envelope : la bande noire qui traverse l’interface de l’ES2 en son centre partage l’espace entre le routeur de modulation et le Vector Envelope. Vous pouvez utiliser les boutons situés sur la droite de cette bande pour passer de l’un à l’autre. • Le routeur lie les sources de modulation, telles que les enveloppes et d’autres paramètres affichés dansla partie inférieure de l’interface, à des cibles de modulation, telles que les oscillateurs et les filtres. Consultez Présentation du routeur de modulation de l’ES2. • Le Vector Envelope est un générateur d’enveloppes extrêmementsouple et puissant, qui offre un contrôle approfondi du son. Consultez Présentation de l’enveloppe Vector de l’ES2. • Paramètres et contrôles Modulation : dans la zone immédiatement sous le routeur, vous pouvez attribuer et ajuster les paramètres du générateur de modulation (comme les paramètres LFO et envelope). Consultez Utilisation de la modulation dans l’ES2. • Planar Pad : la zone carrée de la partie supérieure droite est un contrôleur bidimensionnel connu sousle nom de Planar Pad, qui facilite la manipulation simultanée de deux paramètres pouvant être librement attribués. Le Planar Pad peut être contrôlé à l’aide de la souris, d’un autre contrôleur ou de le Vector Envelope. Consultez Utilisation du pavé planaire de l’ES2. • Section Effect : les options de traitement d’effets intégré se situent sur la droite des paramètres Output. Consultez Utilisation de la section de traitement d’effets intégré de l’ES2. • Paramètres Random : utilisés pour rendre les paramètres sonores aléatoires, les paramètres Random se situent sous la zone circulaire Filter. Consultez Création de variations sonores aléatoires de l’ES2. • Paramètres des contrôleurs Macro et MIDI : la zone située dans la fine bande grise de la partie inférieure peut afficher les paramètres Macro ou les assignations du contrôleur MIDI. Les paramètres de sons macro préassignés sont parfaits pour de petites modifications rapides du son de l’ES2 (et des instruments GarageBand basés sur l’ES2). Vous pouvez réassigner des numéros de contrôle MIDI à ces paramètres si vous le souhaitez. Consultez Utilisation des macro-paramètres de contrôle de l’ES2. Utilisation des oscillateurs de l’ES2 Les oscillateurs du synthétiseur permettent de générer une ou plusieurs formes d’onde. Ce signal est ensuite envoyé à d’autres parties du moteur du synthétiseur, pour le mettre en forme, le traiter ou le manipuler. 50 Chapitre 5 ES2 Avant d’évoquer les paramètres, certaines fonctions spéciales disponibles dans la section des oscillateurs de l’ES2 doivent être mentionnées. • Les oscillateurs 2 et 3 sont presque identiques l’un à l’autre, mais ils différent de l’oscillateur 1. • L’oscillateur 1 peut subir des modulations de fréquence provenant de l’oscillateur 2, pour les sons de synthèse FM. • Les oscillateurs 2 et 3 peuvent être synchronisés ou modulés en anneau avec l’oscillateur 1. Ils disposent également d’ondes rectangulaires avec des largeurs d’impulsion fixes définies par l’utilisateur ou des fonctions de modulation d’impulsions en durée (MID). • Vous pouvez utiliser le routeur de modulation pour modifiersimultanément leslargeurs d’impulsion des ondes rectangulaires de l’oscillateur 1 et des ondes rectangulaires synchronisées et modulées en anneau des oscillateurs 2 et 3. Présentation des oscillateurs de l’ES2 La rubrique suivante présente les paramètres disponibles pour chaque oscillateur. Vous trouverez les oscillateurs dans la partie supérieure gauche de l’interface ES2. Potentiomètre Frequency (Coarse) Potentiomètre Wave Mixage des oscillateurs (triangle) Bouton de l’oscillateur activé/désactivé Champ de valeur Frequency (Fine) • Boutons Oscillator on/off : cliquez sur le numéro de l’oscillateur, à droite de chaque oscillateur, pour activer ou désactiver chaque oscillateur indépendamment. Un bouton numérique vert indique un oscillateur actif. Un bouton numérique gris indique un oscillateur inactif. La désactivation d’un oscillateur permet d’économiser la puissance de traitement de l’ordinateur, car vous ne désactivez pas simplement le son, vous l’arrêtez réellement. Chapitre 5 ES2 51 • Potentiomètres Wave : ils déterminent le type de forme d’onde généré par un oscillateur. La forme d’onde définit la couleur tonale de base. Consultez Utilisation des Basic Oscillator Waveforms de l’ES2. • Potentiomètres (Coarse) Frequency : ils permettent de régler la hauteur tonale, par pas d’un demi-ton, pour une plage de ± 3 octaves. Une octave comprend 12 demi-tons, les réglages ±12, 24 et 36 représentent donc des octaves. • Champ de valeur (Fine) Frequency : il permet d’affiner la fréquence (hauteur tonale) de l’oscillateur. Les valeurs sont affichées comme suit : les nombres situés à gauche présentent le réglage des demi-tons et ceux situés à droite le réglage des cents (1 cent = 1 centième de demi-ton). Ils sont respectivement signalés par un s ou un c à droite de la valeur. Vous pouvez ajuster ces deux valeurs séparément. Par exemple, un oscillateur réglé sur 12 s et 30 c sonne une octave (12 demi-tons) et 30 centièmes plus haut qu’un oscillateur réglé sur 0 s, 0 c. • Oscillator Mix (triangle) : le déplacement par glissement de l’icône dans le triangle permet d’effectuer des fondus enchaînés (définition des relations de niveau) entre les trois oscillateurs. Consultez Réglage de la balance de niveau de l’oscillateur dans l’ES2. Utilisation des Basic Oscillator Waveforms de l’ES2 Tous les oscillateurs de l’ES2 produisent un certain nombre de formes d’onde standard (ondes sinusoïdales, pulsées, rectangulaires, en dents de scie et triangulaires), mais également chacune des 100 Digiwaves (consultez Utilisation des Digiwaves dans l’ES2). Le tableau ci-dessous inclut les formes d’onde de base : Waveform Tonalité de base Commentaires Parfaite pour les instruments à anches, les anomalies synthétiques et les basses Pulsée/rectangulaire Son nasal Utile pour les basses, les clarinettes et les hautbois. La largeur d’impulsion des formes d’onde carrées (oscillateurs 2 et 3) peut être régulièrement échelonnée entre 50 pour cent et la plus fine des impulsions. Square Son creux de bois Utile pour les sons de cordes, nappes, basses et cuivres En dents de scie Chaud et régulier Son doux, pluslisse que Utile pour les sons de flûtes et de nappes. la forme en dents de scie Onde triangulaire L’onde sinusoïdale de l’oscillateur 1 peutsubir des modulations de fréquence provenant de l’oscillateur 2. Ce type de modulation constitue le fondement de la synthèse FM (consultez Utilisation de la modulation de fréquence dans l’ES2). Sinusoïdale Ton pur 52 Chapitre 5 ES2 Les oscillateurs 2 et 3 proposent également : • une onde rectangulaire, synchronisée sur l’oscillateur 1 ; • une onde en dents de scie, synchronisée sur l’oscillateur 1 ; • un modulateur en anneau, alimenté par la sortie de l’oscillateur 1 et une onde carrée issue de l’oscillateur 2 ; • un bruit coloré pour l’oscillateur 3 (consultez Utilisation du bruit dans l’ES2 (oscillateur 3 uniquement)). La synchronisation et la modulation en anneau des oscillateurs permettent de créer des spectres harmoniques très complexes et souples. Les principes sous-jacents de la synchronisation des oscillateurssont décrits à la rubrique Synchronisation des oscillateurs de l’ES2. Les principes de la modulation en anneau sont évoqués à la rubrique Utilisation de la modulation en anneau dans l’ES2. Utilisation de la Pulse Width Modulation dans l’ES2 Vous pouvez modifier la couleur tonale des formes d’onde rectangulaires en mettant à l’échelle la largeur des impulsions des formes d’onde sur n’importe quelle valeur. Il s’agit de la modulation d’impulsions en durée. Les fonctions de modulation d’impulsions en durée de l’ES2 sont très étendues. Par exemple, si des ondes rectangulaires sont choisies pour tous les oscillateurs, vous pouvez moduler simultanément la largeur d’impulsion de l’oscillateur 1 et les ondes pulsées synchronisées de l’oscillateur 2 (ou l’onde carrée du modulateur en anneau de l’oscillateur 2) et de l’oscillateur 3. Pour définir une largeur d’impulsion de base dans l’oscillateur 2 ou 3 µ Faites glisser le contrôle rotatif de forme d’onde dans la zone mise en surbrillance dans l’image ci-dessus. Seulsles oscillateurs 2 et 3 vous permettent de définir une largeur d’impulsion « de base » avant toute modulation d’impulsions de durée. Pour configurer un routage de modulation d’impulsions en durée (de l’oscillateur 1) dans le routeur : 1 Choisissez Osc1Wave comme Target. 2 Choisissez LFO 1 comme Source. Chapitre 5 ES2 53 3 Réglez le curseur de valeur de modulation (une valeur de 0,12 est discrète, mais douce). 4 Choisissez une onde sinusoïdale pour LFO 1. 5 Réglez la fréquence de LFO 1 (0,160 Hz convient tout à fait aux mouvements lents). Modulation ES2 Oscillator Pulse Width avec un LFO La modulation d’impulsions en durée (MID) peut être contrôlée automatiquement grâce aux réglages adéquats dans le routeur. Une onde pulsée, avec contrôle de la MID par un LFO défini sur une onde sinusoïdale, rend le son d’un seul oscillateur saisissant, ondoyant et riche de sons dominants. Du point de vue acoustique, il est similaire au son de deux oscillateurs en phase et légèrement désaccordés, l’idéal pour des sons de basses et de nappes soutenus. Le schéma ci-dessous montre une onde pulsée dont la largeur est modulée par un LFO. Vous pouvez clairement observer l’évolution de la largeur desimpulsions dansle temps. Remarque : sélectionnez soigneusement l’intensité et la vitesse de la modulation. En effet, lorsque les impulsions deviennent très étroites (largeur inférieure à 10 pour cent), le volume général diminue et un léger désaccord apparaît. Astuce : les modulations d’impulsions en durée via des générateurs d’enveloppe sensibles à la vélocité engendrent un jeu particulièrement dynamique. Cet effet intéressant convient tout spécialement aux sons percussifs de basses. Utilisation de la modulation de fréquence dans l’ES2 Le principe de la synthèse par modulation de fréquence (FM) a été développé vers la fin des années 60 et au début des années 70 par John Chowning. Il a été popularisé dans les années 80 par la gamme Yamaha de synthétiseurs DX. En termes de synthèse FM pure, l’ES2 ne peut pas être comparé aux DX, maisil est parfaitement capable de créer dessons relevant de cette signature caractéristique. Fonctionnement de la modulation de fréquence En termes simples, la fréquence d’un générateur de signaux, ou oscillateur, est modifiée (modulée) par un autre générateur de signaux. Les valeurs positives du second générateur augmentent la fréquence du premier générateur. Les valeurs négatives réduisent la fréquence. 54 Chapitre 5 ES2 Dans un synthétiseur, ce type de modulation se produit dans la gamme audible. Selon la conception de l’instrument, vous pouvez entendre les signaux émis par le premier oscillateur seul (modulés par l’autre oscillateur) ou par les deux oscillateurs. L’interaction entre les deux générateurs modifie le signal de la forme d’onde du premier oscillateur, introduisant ainsi un certain nombre de nouvelles harmoniques. Ce spectre harmonique peut ensuite être utilisé comme signalsource pour un traitement ultérieur du son, comme le filtrage, le contrôle d’enveloppe, etc. Consultez la rubrique Synthèse par modulation de fréquence (FM) pour plus d’informations. Fonctionnement de la modulation de fréquence dans l’ES2 Dans l’ES2, la fréquence de l’oscillateur 1 (avec une onde sinusoïdale choisie : positionnement à 11 heures pour le potentiomètre Wave) peut être modulée par le signal de sortie de l’oscillateur 2. • Lorsque l’oscillateur 2 émet un signal positif, la fréquence de l’oscillateur 1 augmente. • Lorsque l’oscillateur 2 émet un signal négatif, la fréquence de l’oscillateur 1 baisse. L’effet de l’accélération ou du ralentissement de la fréquence de l’oscillateur 1 dans chaque cycle de forme d’onde constitue une distorsion de la forme d’onde de base. Cette distorsion de la forme d’onde présente un autre avantage, à savoir l’introduction de nouvelles harmoniques audibles. Important : l’influence de toutes les modulations de fréquence réalisées dépend à la fois du rapport de fréquence et de l’intensité de modulation des deux oscillateurs. Pour définir les rapports de fréquence et régler l’intensité de la modulation 1 Réglez les valeurs du paramètre Frequency (coarse et fine) de l’un des oscillateurs, ou des deux. 2 Cliquez dans (ou faites glisser) la gamme de contrôle entre les icônes Sinus et FM, autour du potentiomètre Oscillator 1 Wave. Cela détermine l’amplitude de modulation, ou intensité, de la modulation de fréquence. Chapitre 5 ES2 55 Options de synthèse FM dans le routeur ES2 Vous pouvez également régler l’intensité FM en choisissant la cible de modulation Osc1Wave dans le routeur. • Utilisez des valeurs d’intensité FM moins élevéessi vousrecherchez un effet FM subtil. • Si vous recherchez des modulations FM plus poussées, choisissez la cible Osc1WaveB dans le routeur. Consultez la rubrique Référence des cibles de modulation de l’ES2 pour plus de détails. Utilisation de différentes formes d’onde ES2 pour la synthèse FM La méthode de synthèse FM pure utilise une onde sinusoïdale pour les deux premiers générateurs de signal (les oscillateurs 1 et 2 sont limités à la génération d’une onde sinusoïdale dans l’ES2 si vous suivez cette approche). Toutefois, l’ES2 propose 100 Digiwaves et un nombre infini de combinaisons d’intensités de modulation et de rapports de fréquence, qui peuvent être utilisées pour l’un ou l’autre des oscillateurs. Vous disposez ainsi d’une large réserve de spectres d’harmoniques et de couleurs tonales à tester. Ce serait dommage de ne pas profiter de toutes ces options ! Astuce : le type de modulation se produisant peut varier de manière significative lorsque différentes formes d’onde sont choisies, notamment pour l’oscillateur 2 (oscillateur de modulation). Utilisation de la modulation en anneau dans l’ES2 La modulation en anneau est un outil très efficace pour la création de sonsinharmoniques et métalliques, ressemblant à une cloche. Les spectres résultant de son utilisation sont inharmoniques pour touslesrapports de fréquence ou presque. Le modulateur en anneau est un appareil datant des débuts du synthétiseur. Fonctionnement d’un modulateur en anneau Rappelons qu’un modulateur en anneau possède toujours deux entrées. En sortie, vous entendez à la foislesfréquencessomme et différence dessignaux d’entrée. Si vous utilisez la modulation en anneau sur une cible sinusoïdale de 200 Hz avec une source sinusoïdale de 500 Hz, le signal de sortie du modulateur en anneau est caractérisé par un signal de 700 Hz (somme) et de 300 Hz (différence). Les fréquences négatives conduisent à un changement de polarité des signaux de sortie. Fonctionnement de la modulation en anneau dans l’ES2 Vous pouvez définir l’oscillateur 2 pour qu’il émette un signal de modulateur en anneau en choisissant le réglage Ring avec le potentiomètre Wave de l’oscillateur 2. N’hésitez pas à tester les différentes valeurs de fréquence (principale et affinée) pour l’un des oscillateurs, ou les deux. 56 Chapitre 5 ES2 Le modulateur en anneau de l’oscillateur 2 est alimenté par le signal de sortie de l’oscillateur 1 et par une onde carrée, générée par l’oscillateur 2. La largeur d’impulsion de cette onde carrée peut être modulée (consultez Utilisation de la Pulse Width Modulation dans l’ES2). Astuce : utilisez les signaux d’entrée en dents de scie et rectangulaire (modulés sur la largeur d’impulsion) provenant respectivement des oscillateurs 1 et 2, pour créer un signal de sortie beaucoup plus complexe. L’utilisation de ces formes d’onde riches en harmoniques crée un certain nombre de bandes latérales supplémentaires, devenues audibles. Utilisation des Digiwaves dans l’ES2 Outre les formes d’onde de base du synthétiseur, tous les oscillateurs de l’ES2 fournissent 100 formes d’onde supplémentaires, appelées Digiwaves. Ce sont des échantillons très courts des éléments transitoires d’attaque pour les différents sons et instruments. Pour choisir une Digiwave µ Définissez le potentiomètre Wave sur Sine (position à 6 heures), puis procédez de l’une des manières suivantes : µ Cliquez en maintenant la touche Ctrl enfoncée ou cliquez avec le bouton droit de la souris sur l’étiquette Sine, puis choisissez une forme d’onde dans le menu local. µ Cliquez sur l’étiquette Sine et, tout en maintenant le bouton de la souris enfoncé, faites glisser la souris verticalement. µ Cliquez sur le menu tout en maintenant la touche Maj enfoncée, puis saisissez une valeur pour sélectionner la Digiwave de manière numérique. Chapitre 5 ES2 57 Options ES2 Digiwave Modulation Le numéro assigné à chaque Digiwave est un paramètre modulable. Cette fonction permet à l’ES2 de produire dessonsrappelant lessynthétiseurs classiques à table d’ondes de PPG et Waldorf. Consultez Synthèse par table d’ondes, vecteurs et arithmétique linéaire (AL). Vous pouvez faire défiler automatiquement la liste des Digiwaves en modulant la cible OscWave dans le routeur de modulation. Si vous choisissez une intensité et une vitesse de modulation suffisamment basses, vous entendez chaque Digiwave en fondu enchaîné. Les Digiwaves des trois oscillateurs peuvent être modulées indépendamment ou sous forme de groupe. Ces cibles de modulation sont évoquées à la rubrique Présentation des oscillateurs de l’ES2. Utilisation du bruit dans l’ES2 (oscillateur 3 uniquement) La palette sonore de l’oscillateur 3 est soutenue par l’inclusion d’un générateur de bruit, activé par la sélection de la forme d’onde du bruit. Par défaut, le générateur de bruits de l’oscillateur 3 génère un bruit blanc. Il s’agit d’un signal contenant toutes les fréquences (un nombre infini) sonnant simultanément et avec la même intensité,sur une bande de fréquences donnée. La largeur de la bande de fréquences se mesure en Hertz. En termes sonores, le bruit blanc se situe entre le son de la consonne F et les vagues déferlantes (surf). Le bruit blanc est utile pour synthétiser des bruits de vagues et de vent, ou encore des sons de caisse claire électronique. 58 Chapitre 5 ES2 Modulation de Noise Color Toutefois, l’oscillateur 3 a bien plus en réserve que la sortie du bruit blanc au son neutre. Vous pouvez moduler la couleur tonale du signal de bruit en temps réel, sans utiliser les principaux filtres de l’ES2, mais en modulant la forme d’onde de l’oscillateur 3. Pour modifier la couleur du bruit, configurez un routage de modulation comme suit : cible de modulation Osc3Wave, source ModWhl. Le curseur de valeur de modulation se comporte quelque peu différemment avec ce routage, en agissant essentiellement comme un filtre. • Utilisez les valeurs de modulations négatives (pas - 1,000) pour définir une pente de filtre descendante équivalant plus ou moins à 6 dB/octave ; le son devient alors plus sombre (bruit rouge) au fur et à mesure que vous réglez la roulette de modulation vers le bas. • Vous pouvez régler efficacement ce pseudo-filtre sur 18 Hz, avec un réglage de valeur de modulation de - 1,000. Lorsque la cible Osc3Wave est modulée de manière positive, le bruit devient plus lumineux (bruit bleu). • Si vous choisissez une valeur de modulation de + 1,000 pour la cible de modulation Osc3Wave, la fréquence de coupure du filtre est définie sur 18 kHz. Émulation d’oscillateurs de synthétiseurs analogiques désaccordés dans l’ES2 Le paramètre Analog se trouve en haut, à gauche de l’interface de l’ES2. Il modifie la hauteur tonale de chaque note, ainsi que la fréquence de coupure du filtre, de manière aléatoire. Comme la plupart des synthétiseurs analogiques polyphoniques, les trois oscillateurs conservent leur écart de fréquence spécifique les uns par rapport aux autres, mais les hauteurs tonales des trois oscillateurs sont désaccordées de manière aléatoire par la même valeur du paramètre Analog. Par exemple, si la discordance Analog est définie sur environ 20 pour cent, les trois oscillateurs (s’ils sont utilisés) se décalent de manière aléatoire de 20 pour cent. • Des valeurs faibles du paramètre Analog peuvent ajouter une richesse subtile au son. Chapitre 5 ES2 59 • Des valeurs moyennes du paramètre Analog simulent les instabilités d’accord typiques des circuits des synthétiseurs analogiques. Cela peut être utile notamment pour reproduire cette « chaleur » très recherchée des vrais synthétiseurs analogiques. • Des valeurs élevées du paramètre Analog entraînent une instabilité significative de la hauteur tonale, qui peut sembler vraiment désaccordée, mais qui peut convenir parfaitement à vos besoins. Remarque : si l’ES2 est défini sur le mode clavier Mono ou Legato, le paramètre Analog est efficace uniquement si l’option Unison est active. Dans ce cas, le paramètre Analog permet de déterminer l’ampleur du désaccord entre les différentes voix superposées (unisson). Si le paramètre Voices est réglé sur 1 et/ou que le mode Unison est désactivé, le paramètre Analog n’a aucun effet. Pour en savoir plus sur ces paramètres, consultez la rubrique Sélection du mode Clavier de l’ES2 (Poly/Mono/Legato). Émulation de l’étirement des octaves (stretch tuning) dans l’ES2 Le potentiomètre Frequency (brute) de chaque oscillateur vous permet d’affiner les oscillateurs 1, 2 et 3 en demi-tons ou en octaves. Le paramètre Frequency (fine) vous permet d’affiner le réglage de chaque oscillateur en centièmes (1/100e d’un demi-ton). Une discordance précise entre les oscillateurs peut entraîner des battements, ou mise en phase, entre les fréquences des oscillateurs. Plus la fréquence/hauteur tonale lue est élevée, plus les battements de mise en phase sont rapides. Les notes aiguës peuvent donc sembler quelque peu désaccordées par rapport aux notes plus graves. Le paramètre CDB (Discordance constante de battement),situé à gauche du potentiomètre Frequency de l’oscillateur 2, désaccorde les harmoniques desfréquences des notes graves selon un rapport proportionnel à la tonalité fondamentale des fréquences des notes très aiguës. Il s’agit d’un effet très naturel que partagent les pianos acoustiques, intentionnellement « désaccordés » (par rapport au tempérament égal). Connu sous le nom d’étirement des octaves(stretch tuning), cet effet entraîne la légère discordance des gammes clavier aiguës et graves par rapport aux octaves centrales, mais un accord harmonique entre les différentes gammes. Quelques astuces concernant l’utilisation de la discordance constante de battement La CBD peut être utilisée comme outil correctif, pour niveler le battement entre les oscillateurs, ou comme outil créatif, pour émuler l’étirement des octaves (stretch tuning). Cette deuxième fonction peut s’avérer très importante lorsque vous utilisez un son de l’ES2 en même temps qu’un enregistrement de piano acoustique. 60 Chapitre 5 ES2 Le paramètre CBD peut prendre cinq valeurs différentes : off, 25 pour cent, 50 pour cent, 75 pour cent et 100 pour cent. Si vous choisissez 100 pour cent, les battements sont presque constantssur toute la gamme. Toutefois, cette valeur peutse révéler trop élevée : les notes graves peuvent être trop désaccordées, alors que tout se passe bien au niveau des plus aiguës. Essayez des valeurs CBD plus faibles pour les cas où les notes basses semblent un peu trop désaccordées par rapport à la gamme clavier aiguë. La hauteur tonale de référence pour CBD est C3 (do central) : son (dés)accord reste constant, quelle que soit la valeur de CBD choisie. Réglage de la balance de niveau de l’oscillateur dans l’ES2 Le déplacement par glissement de l’icône carrée dans le triangle permet d’effectuer des fondus enchaînés (définition des relations de niveau) entre les trois oscillateurs. Son utilisation est tout à fait évidente. Si vous déplacez l’icône carrée le long d’un des côtés du triangle, un fondu enchaîné se met en place entre les deux oscillateursles plus proches et le son du troisième oscillateur est désactivé. Cliquez sur le triangle, ou cliquez et faites glisser dans le triangle, pour modifier la balance de niveau entre les oscillateurs. Modulation des coordonnées du triangle avec le routeur ES2 La position de l’icône carrée dans le triangle est décrite par deux paramètres (des coordonnées en fait), pris en compte lors de l’automation du mixage des signaux des oscillateurs. Ces paramètres, appelés OscLevelX et OscLevelY, sont accessibles sous forme de cibles dans le routeur. Important : veillez à ne pas confondre ces coordonnées avec les positions X et Y du pavé planaire (consultez Utilisation du pavé planaire de l’ES2). Contrôle des coordonnées du triangle avec le Vector Envelope de l’ES2 La position de l’icône carrée dans le triangle peut être contrôlée par le biais de l’enveloppe Vecteur. Comme le Vector Envelope dispose d’une fonction de boucle, elle peut être utilisée comme pseudo-LFO avec une forme d’onde programmable. Elle peut permettre de modifier les positions de l’icône carrée dans le triangle. Pour en savoir plus sur cette fonction, consultez les rubriques Contrôle de l’enveloppe Vector pour le pavé planaire et le triangle de l’ES2 et Présentation de l’enveloppe Vector de l’ES2. Chapitre 5 ES2 61 Réglage du point de départ des oscillateurs de l’ES2 Les oscillateurs peuvent fonctionner indépendamment ou avoir la même position de début de phase dans leurs cycles de formes d’onde respectifs, à chaque fois que l’ES2 reçoit un message de début de note. Vous pouvez définir le comportement souhaité à l’aide du menu local Osc Start (Démarrer l’oscillateur), accessible dans le coin supérieur droit de l’interface de l’ES2. • Si Osc Start est défini sur free, le point de départ de la phase initiale de l’oscillateur est aléatoire pour chaque note jouée, ajoutant ainsi de la vie au son. Mais il existe un inconvénient : le niveau de sortie peut être différent pour chaque lecture d’une note, rendant ainsi le son de la phase d’attaque moins dynamique (malgré des performances identiques à chaque fois), comme lorsque la note est déclenchée par une région MIDI. Ce réglage est utile lorsque vous émulez lessons classiques dessynthétiseurs matériels analogiques. • Si Osc Start est défini sur soft, la phase initiale de l’oscillateur démarre à un point zéro pour chaque note jouée, ce qui imite le caractère (et la précision) sonore typique des synthétiseurs numériques. • Si Osc Start est défini sur hard, la phase initiale de l’oscillateur démarre au niveau le plus élevé du cycle de forme d’onde pour chaque note jouée. Le dynamisme supplémentaire que peut fournir ce réglage est audible seulement si le paramètre « Durée de l’attaque ENV3 » est défini sur une valeur faible, en d’autres termes, une attaque très rapide. Un tel réglage est particulièrement recommandé pour les sons de percussions électroniques et de basses plutôt durs. Remarque : le réglage d’Osc Start sur Soft ou Hard assure un niveau de sortie constant de la phase initiale de l’oscillateur, à chaque fois que le son est rejoué. Ce comportement peut être d’une importance particulière lorsque vous utilisez la fonction Bounce à un niveau d’enregistrement proche du maximum. 62 Chapitre 5 ES2 Synchronisation des oscillateurs de l’ES2 Les sons typiques obtenus en synchronisant les oscillateurs ont tendance à être agressifs. Ils donnent ces sons lead un peu criards dont les fabricants de synthétiseurs parlent souvent. Les formes d’onde rectangulaire et en dents de scie des oscillateurs 2 et 3 affichent une option Sync. Lorsque ce paramètre est activé, la phase de l’oscillateur 2 ou 3 est synchronisée avec l’oscillateur 1. À chaque fois que l’oscillateur 1 entame une nouvelle phase, l’oscillateur synchronisé (2 ou 3) est forcé de repartir au début d’une phase. Entre les cycles de formes d’onde de l’oscillateur 1, les cycles de formes d’onde des oscillateurs synchronisés se déroulent librement. Modulation à enveloppe de la fréquence des oscillateurs synchronisés Les sons obtenus en synchronisant les oscillateurs sont particulièrement intéressants lorsqu’on module la fréquence de l’oscillateursynchronisé par un générateur d’enveloppe. De cette façon, le nombre de phases contenues dans une section du cycle de synchronisation change continuellement, entraînant les modifications correspondantes pour le spectre de fréquence. Chapitre 5 ES2 63 Utilisation des paramètres globaux de l’ES2 Ces paramètres influent sur le son instrumental global produit par l’ES2. Les paramètres globaux se trouventsur la gauche des oscillateurs, au-dessus dessections Filter et Output. Paramètres globaux Paramètres globaux • Boutons Keyboard Mode : ces boutons permettent de basculer l’ES2 entre les comportements polyphonique, monophonique et legato. Consultez Sélection du mode Clavier de l’ES2 (Poly/Mono/Legato). • BoutonUnison : ce bouton permet d’activer ou de désactiver le mode Unison. Consultez Utilisation des options Unison et Voices pour un son de l’ES2 plus riche. • Champ Voices : il détermine le nombre maximal de notes pouvant être lues simultanément. • PotentiomètreGlide : ce paramètre, également connu sousle nom Portamento, détermine la durée nécessaire pour que la hauteur tonale d’une note lue glisse vers la hauteur tonale de la note qui suit. Consultez Définition d’un temps de glissement (portamento) dans l’ES2. • Champs Bend Range : cette paire de paramètres détermine la plage de Pitch Bend vers le haut et vers le bas. Consultez Détermination d’une plage de Bend dans l’ES2. • Champ Tune : il permet de régler la hauteur tonale de l’ES2 au centième près. 100 cents correspondent à un demi-ton. Une valeur de 0 c (zéro centième) signifie que la tonalité A (La) centrale correspond à 440 Hz, soit la hauteur tonale de concert. • Potentiomètre Analog : consultez la rubrique Émulation d’oscillateurs de synthétiseurs analogiques désaccordés dans l’ES2. • Menu « Constant BeatDetuning (CBD)»: consultez Émulation de l’étirement des octaves (stretch tuning) dans l’ES2. • Menu Oscillator Start : consultez Réglage du point de départ des oscillateurs de l’ES2. 64 Chapitre 5 ES2 Sélection du mode Clavier de l’ES2 (Poly/Mono/Legato) Lors de l’utilisation d’un instrument polyphonique, plusieurs notes peuvent être jouées simultanément, comme sur un orgue ou un piano. À l’inverse, la plupart des anciens synthétiseurs analogiques sont monophoniques, ce qui signifie que vous ne pouvez jouer qu’une seule note à la fois, comme sur un cuivre ou un instrument à anche. Ce n’est toutefois pas un inconvénient en soi ; la monophonie autorise desstyles de jeu impossibles avec des instruments polyphoniques. • Si vous sélectionnez le mode Mono, jouer staccato redéclenche les générateurs d’enveloppe chaque fois qu’une nouvelle note est jouée. Si vous jouez dans un style legato (en jouant une nouvelle note tout en maintenant une autre note), les générateurs d’enveloppe se déclenchent seulement à la première note jouée legato, puis leurs courbes poursuivent leur évolution jusqu’à libération de la dernière note jouée legato. • Le mode Legato est également monophonique, mais avec une différence : les générateurs d’enveloppe sont redéclenchés uniquementsi vousjouez staccato (si vous relâchez chaque note avant de jouer la suivante). Remarque : sur de nombreux synthétiseurs monophoniques, le comportement en mode Legato est désigné par l’expression déclenchement unique, alors que le mode Mono est appelé déclenchement multiple. Utilisation des options Unison et Voices pour un son de l’ES2 plus riche L’une des grandes forces des synthétiseurs analogiques polyphoniques est le mode Unison, ou « voix empilées ». Traditionnellement, en mode Unison, les synthétiseurs analogiques polyphoniques fonctionnent en monophonie, toutes leurs voix jouant alors simultanément la même note. Comme ils ne sont jamais parfaitement accordés, il en résulte un son d’une épaisseur incroyable, avec un effet de chorus et une grande profondeur. Pour activer le mode Unison monophonique pour l’ES2 µ Activez le mode Mono ou Legato, puis activez le bouton Unison : • l’intensité de l’effet d’unisson dépend du nombre sélectionné dans le champ des paramètres Voice. Augmentez la valeur Voices pour un son plus gras. • L’intensité de la discordance (déviation de la voix) est définie par le paramètre Analog (consultez Émulation d’oscillateurs de synthétiseurs analogiques désaccordés dans l’ES2). Pour utiliser l’ES2 en mode Unison polyphonique µ Activez les boutons Poly et Unisson. Chapitre 5 ES2 65 En mode Poly/Unisson, chaque note jouée est effectivement doublée ou, plus exactement, la valeur de polyphonie du paramètre Voice est divisée en deux. Vous entendez ensuite ces deux voix lorsque vous déclenchez la note. En activant Poly/Unison, vous obtenez le même effet qu’en définissant l’ES2 sur Mono/Unison (Voices = 2), mais vous pouvez jouer en polyphonie. Définition d’un temps de glissement (portamento) dans l’ES2 Le paramètre Glide permet de définir la durée de portamento. Il s’agit de la durée nécessaire à la hauteur tonale pour glisser d’une note à une autre. Le comportement du paramètre Glide dépend du mode clavier choisi. Consultez Sélection du mode Clavier de l’ES2 (Poly/Mono/Legato). • Si le mode Keyboard est défini sur Poly ou Mono et que le paramètre Glide possède une valeur autre que 0, le portamento est activé. • Si Legato estsélectionné et que Glide possède une valeur autre que 0, vous devez jouer legato (en appuyant sur une nouvelle touche tout en maintenant l’autre enfoncée) pour activer le portamento. Si vous ne jouez paslegato, le portamento ne fonctionnera pas. Ce comportement est également appelé fingered portamento. Détermination d’une plage de Bend dans l’ES2 Les champs de plage Bend déterminent la plage de modulation Pitch Bend, obtenue en général à l’aide de la roulette Pitch Bend de votre clavier. Il existe des champs de plage distincts pour les Bends vers le haut et vers le bas. Lorsque vous définissez le mode Lien dans le champ de plage Bend, situé sur la droite, la plage de Bend est identique dans les deux sens : si vous assignez un Bend descendant de 4 demi-tons, le Bend ascendant est également défini sur 4 demi-tons, ce qui entraîne une plage de Bends combinés de 8 demi-tons, voire 9 si vous incluez la hauteur tonale standard, ou position « aucun bend ». Utilisation des filtres de l’ES2 L’ES2 propose deux filtres discrets et différents. • Le Filtre 1 peut fonctionner comme un filtre passe-bas, passe-haut, passe-bande, refus de bande ou crête. • Le Filtre 2 est un filtre passe-bas qui offre des pentes variables(mesurées en dB/octave). 66 Chapitre 5 ES2 Les détails concernant tous les paramètres de filtre sont traités dans les rubriques qui suivent. Utilisation du paramètre Blend des filtres Fréquence de coupure du filtre 1 Mode du filtre 1 Drive du filtre Bouton Filter Pente du filtre 2 FM du filtre Cliquez ici pour choisir une configuration de filtre en parallèle ou en série. Résonance du filtre 1 Fréquence de coupure du filtre 2 Résonance du filtre 2 • Bouton Filter : active ou désactive la totalité de la section de filtrage de l’ES2. En désactivant la section de filtrage, il est plus facile d’entendre les ajustements apportés aux autres paramètres sonores, car les filtres influent toujours beaucoup sur le son. La désactivation desfiltres permet d’économiser lesressources de traitement. Si l’étiquette Filter s’affiche en vert, les filtres sont actifs. Si elle est grise, les filtres sont désactivés. • Bouton Filter Configuration : il permet de basculer entre une configuration de filtre en parallèle ou en série. Consultez Sélection d’une configuration de filtre en série ou en parallèle dans l’ES2. • Curseur Filter Blend : il définit la balance entre le Filtre 1 et le Filtre 2. Consultez Filter Blend : fondu enchaîné entre les filtres ES2. • Boutons du mode Filter 1 : ces boutons permettent de basculer le Filter 1 entre les types de filtres passe-bas, passe-haut, passe-bande, refus de bande ou crête. Consultez Sélection du mode du Filtre 1 dans l’ES2 (Bas, Haut, Crête, RB, PB). • Boutons de pente du Filter 2 : ces boutons permettent de choisir différentes pente pour le Filter 2. Consultez Réglage de la pente du Filtre 2 dans l’ES2. • Cutoff et Resonance : les potentiomètres Frequency et Cutoff déterminent la fréquence de coupure et le comportement de résonance de chaque filtre. Consultez Utilisation des paramètres Cutoff et Resonance du filtre de l’ES2. • Potentiomètre Filter Drive : il permet de passer outre le filtre, qui affecte chaque voix séparément. Consultez Distorsion des filtres de l’ES2. Chapitre 5 ES2 67 • Potentiomètre Filter FM : il module le paramètre Frequency de coupure du Filter 2 avec la fréquence de l’oscillateur 1. Consultez Modulation de la fréquence du Filtre 2 dans l’ES2. Sélection d’une configuration de filtre en série ou en parallèle dans l’ES2 Cliquez sur le bouton Parallel/Series pour basculer un routage de filtre de parallèle à série, et inversement. Quel que soit le choix effectué, l’ensemble du filtre circulaire de l’interface utilisateur de l’ES2 tourne : les positions et la direction des commandes de filtre indiquent clairement le cheminement du signal. Le nom du bouton change également pour chaque mode. Cheminement du signal du filtre Series Cheminement du signal du filtre Parallel Dans la figure de gauche, les filtres sont câblés en série. Le signal de l’ensemble des oscillateurs(combinés au niveau du triangle de mixage de l’oscillateur) passe donc d’abord dans le premier filtre, puis ce signal filtré passe dans le Filtre 2, si le paramètre Filter Blend (voir ci-dessous) est défini sur 0, en position médiane. Le signal de sortie du Filtre 2 est ensuite envoyé à l’entrée de la phase dynamique (section d’amplification). Dans la figure de droite, les filtres sont câblés en parallèle. Si le paramètre Filter Blend est défini sur 0, vous entendez un mixage 50/50 du signal source, acheminé par le biais du Filter 1 et du Filter 2. Les signaux de sortie des deux filtres sont ensuite envoyés à l’entrée de la phase dynamique. 68 Chapitre 5 ES2 Filter Blend : fondu enchaîné entre les filtres ES2 Vous pouvez utiliser le curseur Filter Blend pour réaliser un fondu enchaîné entre les deux filtres lorsque ceux-ci sont câblés en parallèle. Filter Blend peut avoir un effet significatif sur le cheminement du signal de l’ES2. Consultez Impact de la fusion de filtre sur le cheminement du signal de l’ES2. • Lorsque Filter Blend est définie en position supérieure, vous entendez uniquement le Filtre 1. • Si Filter Blend est définie en position inférieure, vous entendez uniquement le Filtre 2. • Entre des positions, les filtres subissent un fondu enchaîné. Vous pouvez également réaliser un fondu enchaîné des filtres lorsqu’ils sont câblés en série. Dans ce cas de figure, la distorsion, contrôlée par le paramètre Drive, doit également être prise en considération : elle figure avant ou entre les filtres, selon le réglage du Filter Blend choisi. Utilisation du routeur de l’ES2 pour contrôler la fusion de filtre Le paramètre Filter Blend est disponible sous forme de cible de modulation dans le routeur. Vous pouvez bien entendu utiliser des sources de contrôle manuelles, comme la roulette de modulation, pour modifier la fusion de filtre ; toutefois, le paramètre Filter Blend peut également être utilisé de manière créative, pour basculer rapidement d’un filtre à l’autre ou réaliser un fondu enchaîné homogène entre les deux filtres. Parmi les exemples de sources dont vous pouvez tenir compte, vous trouverez le LFO, la vélocité, ou encore une association de l’enveloppe Vecteur et du pavé planaire, en utilisant les paramètres du pavé X ou Y comme sources. Cette association peut activer d’intéressantes possibilités de contrôle de filtre, susceptibles d’évoluer avec les paramètres des oscillateurs (également contrôlés par le Vectir Envelope) ou de manière indépendante. Impact de la fusion de filtre sur le cheminement du signal de l’ES2 Que la configuration en série ou en parallèle soit choisie, si la valeur - 1 est affectée au paramètre Filter Blend, seul le son du Filtre 1 est audible. Une valeur de + 1 pour le paramètre Filter Blend limite l’audibilité du Filtre 2. Chapitre 5 ES2 69 Les figures illustrent le cheminement du signal entre l’étape de mixage de l’oscillateur (le triangle) et la phase dynamique. Le cheminement du signal dans les filtres et le circuit d’overdrive du filtre (paramètre Drive) dépend de la valeur du paramètre Filter Blend. Filter Blend : configuration des filtres en série • Affectez des valeurs positives au paramètre Filter Blend pour ignorer partiellement le Filtre 1. • Affectez des valeurs négatives au paramètre Filter Blend pour ignorer partiellement le Filtre 2. • Si vous utilisez des valeurs nulles ou positives pour le paramètre Filter Blend, un seul circuit d’overdrive existe pour les deux filtres. • L’utilisation de valeurs négatives pour le paramètre Filter Blend introduit un autre circuit d’overdrive, qui altère le signal de sortie de l’étape de mixage de l’oscillateur avant que ce signal n’entre dans le premier filtre. • Si le paramètre Drive est défini sur 0, aucune distorsion n’est effectuée. Filtre 1 Filtre 1 Filtre 1 Drive Drive Drive Drive Drive Filtre 1 Filtre 1 Filtre 2 Filtre 2 Filtre 2 Drive Drive Filtre 2 Filtre 2 +1 : - 0,5 : + 0,5 : - 1 : 0 : Filter Blend : configuration des filtres en parallèle Dans une configuration parallèle, le circuit de distorsion/overdrive (paramètre Drive) est toujours câblé après l’étape de mixage des oscillateurs (le triangle) et avant les filtres. Les filtresreçoivent un signal d’entrée mono en provenance de la sortie du circuit d’overdrive. Les sorties des deux filtres sont mixées en mono selon le paramètre Filter Blend. Mix Filtre 1 Drive Filtre 2 70 Chapitre 5 ES2 Sélection du mode du Filtre 1 dans l’ES2 (Bas, Haut, Crête, RB, PB) Le Filtre 1 peut fonctionner selon plusieurs modes, ce qui permet d’éliminer (couper) ou d’accentuer les bandes de fréquence spécifiques. Pour choisir un mode pour le Filtre 1, sélectionnez l’un des boutons suivants : • Bas (passe-bas) : ce type de filtre laisse passer toutes les fréquences inférieures à la fréquence de coupure. Réglé en mode Lo, le filtre fonctionne comme ce type de filtre. La pente du Filtre 1 est fixée à 12 dB/octave en mode Bas. • Haut (passe-haut) : ce type de filtre laisse passer toutes les fréquences supérieures à la fréquence de coupure. Réglé en mode Hi, le filtre fonctionne comme ce type de filtre. La pente du Filtre 1 est fixée à 12 dB/octave en mode Haut. • Peak : le Filtre 1 fonctionne comme un filtre de crête. Cela permet d’augmenter le niveau d’une bande de fréquence. Le centre de la bande de fréquence est déterminé par le paramètre Cutoff. La largeur de la bande est contrôlée par le paramètre Resonance. • RB : (refus de bande) : la bande de fréquence entourant directement la fréquence de coupure est refusée, tandis que les fréquences en dehors de cette bande peuvent passer. Le paramètre de résonance définit la largeur de la bande de fréquences à rejeter. • PB (passe-bande): la bande de fréquence entourant directement la fréquence de coupure est autorisée à passer. Toutes les autres fréquences sont atténuées. Le paramètre de résonance définit la largeur de la bande de fréquence. Le filtre passe-bande est un filtre bipolaire et sa pente est de 6 dB/octave de part et d’autre de la fréquence centre de la bande. Réglage de la pente du Filtre 2 dans l’ES2 La plupart desfiltres ne suppriment pas complètement la partie du signalsituée en dehors de la plage de fréquences définie par le paramètre Cutoff. La pente, ou courbe, choisie pour le Filtre 2 exprime la valeur de refus en dessous de la fréquence de coupure, en décibels par octave. Chapitre 5 ES2 71 Le filtre 2 propose trois pentes différentes: 12 dB, 18 dB et 24 dB par octave. Plus la valeur de pente est élevée, plus la pente est raide et plus l’atténuation au-delà de la fréquence de coupure est marquée pour chaque octave. Le réglage Gras fournit également un refus de 24 dB par octave, mais il propose un circuit de compensation intégré qui conserve l’extrémité basse du son. Le réglage standard de 24 dB tend à produire des sons d’extrémité inférieure quelque peu « fins ». Consultez Présentation des oscillateurs de l’ES2. Utilisation des paramètres Cutoff et Resonance du filtre de l’ES2 Dans chaque filtre passe-bas (dans l’ES2, mode Bas pour le Filtre 1 ; le Filtre 2 est un filtre passe-bas), toutes les sections de fréquence au-delà de la fréquence de coupure sont supprimées, ou coupées, ce qui explique le nom. Si vous ne connaissez pas bien les synthétiseurs et les concepts de filtre, consultez le chapitre Notions élémentaires sur les synthétiseurs. Impact de la fréquence de coupure sur le signal de l’ES2 Le paramètre Cutoff Frequency (Cut) permet d’agir sur la brillance du signal. • Dans un filtre passe-bas, plus la fréquence de coupure définie est élevée, plus les fréquences des signaux autorisés à passer sont élevées. • Dans un filtre passe-haut, la fréquence de coupure détermine le point à partir duquel les fréquences inférieures sont supprimées et seules les fréquences supérieures sont autorisées à passer. • Dans un filtre passe-bande/de refus de bande, la fréquence de coupure détermine la fréquence centre du filtre passe-bande ou de refus de bande. Impact de la résonance sur le signal de l’ES2 Le paramètre de résonance (Res) accentue ou supprime les portions du signalsupérieures ou inférieures à la fréquence de coupure définie. • Dans un filtre passe-bas, la résonance accentue ou supprime les signaux inférieurs à la fréquence de coupures. 72 Chapitre 5 ES2 • Dans un filtre passe-haut, la résonance accentue ou supprime les signaux supérieurs à la fréquence de coupures. • Dans les filtres passe-bande/de refus de bande, la résonance accentue ou supprime les portions du signal, ou bande de fréquence, qui entourent la fréquence définie, avec le paramètre Cutoff. Contrôle simultané de la Fréquence de coupure et de la Résonance dans l’ES2 La modification simultanée des valeurs des paramètres Cutoff et Resonance est essentielle pour la création de sons de synthétiseurs expressifs. Pour contrôler deux paramètres de filtre en même temps µ Faites glisser l’un des trois symboles de chaîne dans la partie Filtre de l’ES2. Cliquez ici pour régler simultanément la fréquence de coupure des filtres 1 et 2. Cliquez ici pour régler simultanément la fréquence de coupure et la résonance du filtre 2. Cliquez ici pour régler simultanément la fréquence de coupure et la résonance du filtre 1. • La chaîne entre Couper et Rés du Filtre 1 contrôle simultanément la résonance (glissement horizontal) et la fréquence de coupure (glissement vertical). • La chaîne entre Couper et Rés du Filtre 2 contrôle simultanément la résonance (glissement horizontal) et la fréquence de coupure (glissement vertical). • La chaîne entre Couper du Filtre 1 et Couper du Filtre 2 contrôle simultanément la fréquence de coupure du Filtre 1 (glissement vertical) et du filtre 2 (glissement horizontal). Utilisation de la réinitialisation Flt pour induire l’auto-résonance des filtres de l’ES2 Si vous réglez le paramètre Resonance sur des valeurs plus élevées, le filtre entre en auto-oscillation et commence à résonner seul. Cette auto-résonance entraîne une oscillation sinusoïdale (une onde sinusoïdale) réellement audible. Chapitre 5 ES2 73 Pour initier ce type d’oscillation, le filtre nécessite un déclencheur. Dans un synthétiseur analogique, ce déclencheur peut être le bruit de fond ou la sortie de l’oscillateur. Dans le cadre numérique de l’ES2, le bruit de fond est quasi éliminé. De ce fait, lorsque le son des oscillateurs est désactivé, aucun signal d’entrée n’est acheminé vers le filtre. Pour amener le filtre de l’ES2 à l’auto-résonance µ Activez le bouton Filter Reset, dans la partie supérieure droite de l’interface de l’ES2. Après engagement, chaque note démarre sur un déclencheur qui fait immédiatement résonner le filtre. Utilisation du paramètre Fat de l’ES2 pour compenserles valeurs élevées de résonance L’augmentation de la valeur de résonance provoque un rejet des basses (énergie dans les basses fréquences) lorsque vous utilisez des filtres passe-bas. Activez le bouton Fat(ness), en dessous des autres boutons de pente de filtre, pour compenser cet inconvénient et obtenir un son plus riche. Distorsion des filtres de l’ES2 Lesfiltressont équipés de modulesinternes de distorsion/saturation (overdrive) distincts. L’intensité de la distorsion est définie par le paramètre Drive. • Si les filtres sont en parallèle, l’overdrive est réalisé avant le passage par les filtres. • Si les filtres sont en série, l’emplacement des circuits d’overdrive dépend du paramètre Filter Blend, comme expliqué à la rubrique Filter Blend : fondu enchaîné entre les filtres ES2. Le paramètre Drive du filtre de l’ES2 affecte chaque voix séparément. Lorsque chaque voix subit sa propre saturation, comme si les guitaristes jouaient avec six pédales de distorsion, une par corde, vous pouvez jouer des harmonies extrêmement complexes sur toute l’étendue du clavier. Le son obtenu reste propre et n’est pas perturbé par ces phénomènes d’intermodulation indésirables. 74 Chapitre 5 ES2 En outre, un réglage approprié du paramètre Drive produit un caractère de hauteur tonale différent, pour la raison suivante : le comportement des filtres analogiques, lorsqu’ils sont saturés, constitue une caractéristique sonore essentielle d’un synthétiseur. Chaque modèle de synthétiseur est unique dans ce domaine. L’ES2 est extrêmement souple à ce niveau et autorise les couleurstonales quis’étendent de la distorsion la plussubtile aux distorsions les plus marquées. Astuce : comme le Filtre 2 peut atténuer les sons dominants apparus par distorsion, le paramètre Drive peut être considéré et utilisé comme un autre outil permettant de déformer les formes d’onde issues des oscillateurs. Distorsions polyphoniques réelles L’ES2 dispose d’un effet de distorsion dédié dans la partie Effets. Aussi, vous vous demandez peut-être quel est l’intérêt de la fonction Filtreur dans la section de filtrage. Le circuit de distorsion de la section Effets affecte l’intégralité de la sortie polyphonique de l’ES2. Tout guitariste de rock sait que des accords complexes, plus évolués que les classiques accords parfaits, quintes et octaves parallèles, sonnent de façon un peu rugueuse lorsque vous utilisez la distorsion. Par conséquent, une guitare utilisée avec la distorsion implique généralement quelques voix ou quelques quintes et octaves parallèles. Le paramètre Drive du filtre de l’ES2 influence chaque voix individuellement, ce qui vous permet de jouer des accords complexessans présenter lesintermodulations déplaisantes que l’effet de distorsion peut ajouter à votre son. Modulation de la fréquence du Filtre 2 dans l’ES2 La fréquence de coupure du Filtre 2 peut être modulée par l’onde sinusoïdale de l’oscillateur 1 qui est toujours générée, même lorsque l’oscillateur est désactivé. Le niveau de ce signal sinusoïdal peut être mixé lors de l’étape de sortie avec le paramètre Sine Level (consultez Épaississement du son de l’ES2 grâce au niveau sinusoïdal). L’effet de telles modulations de filtre sur le spectre audio reste difficilement prévisible. Toutefois, les résultats obtenus semblent toujours harmonieux si vous évitez les valeurs élevées d’intensité de modulation. Le paramètre FM est utilisé pour définir l’intensité de la modulation de fréquence de ce filtre. Chapitre 5 ES2 75 Remarque : ne confondez pas la modulation de fréquence de ce filtre et la fonction FM des oscillateurs(l’oscillateur 1 est modulé par l’oscillateur 2, comme expliqué à la rubrique Utilisation de la modulation de fréquence dans l’ES2). Si la fréquence de l’oscillateur 1 est modulée par l’oscillateur 2, cela n’a aucune influence sur le signal de l’onde sinusoïdale utilisée pour moduler les fréquences de coupure. Contrôle de l’option FM filtre dans le routeur ES2 Vous pouvez modifier la valeur du paramètre FM filtre avec un routage adéquat de la modulation vers le routeur. Choisissez LPF FM comme cible de la modulation. La source de modulation utilisée est toujours une onde sinusoïdale, à la fréquence de l’oscillateur 1. Étant donné l’affectation par défaut de l’oscillateur 1 comme source de modulation et la relation directe entre l’intensité FM filtre et la fréquence de l’oscillateur 1, vous pouvez configurer un deuxième routage avec la fréquence de l’oscillateur 1 (Pitch1) comme cible. Vous pouvez également pousser le filtre 2 jusqu’à l’auto-oscillation. Si vous entrez une valeur très élevée pour la Résonance, le filtre génère alors une onde sinusoïdale. Cette onde subit une auto-oscillation et sa distorsion correspond à la valeur de résonance maximale. Si vous coupez le son (Mute) de tous les oscillateurs, vous n’entendez plus que cette oscillation sinusoïdale. En modulant la fréquence de coupure, vous pouvez alors créer des effets proches de ceux obtenus via la modulation de la fréquence de l’oscillateur 1 par l’oscillateur 2. Utilisation des paramètres Amplifier de l’ES2 La phase dynamique d’un synthétiseur définit le niveau, à savoir le volume perçu, d’une note jouée. L’évolution du niveau sonore au fil du temps est définie par un générateur d’enveloppe. Pour en savoir plus sur les générateurs d’enveloppe, consultez le chapitre Notions élémentaires sur les synthétiseurs. Utilisation de l’enveloppe 3 pour contrôler les niveaux de l’ES2 L’enveloppe ENV 3 est « câblée en dur » vers la phase dynamique de l’ES2. Elle est utilisée en permanence pour contrôler le niveau de chaque note. Tous les paramètres de l’enveloppe sont évoqués à la rubrique Présentation des enveloppes de l’ES2 (ENV 1 à ENV 3), avec des informations spécifiques concernant l’enveloppe 3 à la rubrique Présentation de l’ENV 2 et de l’ENV 3 dans l’ES2. 76 Chapitre 5 ES2 Modulation Amp dans le routeur ES2 La phase dynamique peut être modulée par n’importe quelle source de modulation du routeur. Pour ce faire, choisissez la cible de modulation AMP dans le routage de modulation du routeur. Par exemple, vous pouvez rapidement créer un effet de trémolo en sélectionnant AMP comme cible et LFO 1 comme source (laissez l’option via définie sur Désactivée) dans un routage de modulation. Le niveau change périodiquement, en fonction de la valeur actuelle de débit LFO 1. Épaississement du son de l’ES2 grâce au niveau sinusoïdal Le potentiomètre Sine Level, situé en regard de la section Filtre 2, permet de mixer une onde sinusoïdale à la fréquence de l’oscillateur 1 directement dans la phase dynamique, indépendamment desfiltres. Même si vous avez éliminé la tonalité partielle fondamentale de l’oscillateur 1 grâce à un filtre passe-haut, vous pouvez la reconstituer par le biais de ce paramètre. • Lorsque l’oscillateur 1 est modulé en fréquence par l’oscillateur 2 (si vous avez activé la fonction FM avec le sélecteur de forme d’onde), seule l’onde sinusoïdale pure est mixée dans la phase dynamique, et non la forme d’onde FM distordue. • Toute modulation de la hauteur tonale de l’oscillateur 1, définie dans le routeur, affecte la fréquence de l’onde sinusoïdale mixée dans cette phase. Remarque : le potentiomètre Sine Level est utile pour ajouter de la chaleur et de la densité dans les graves. Cette fonction peut apporter du « corps » aux sons légers, étant donné que l’oscillateur 1 joue la hauteur tonale de base. Chapitre 5 ES2 77 Utilisation de la modulation dans l’ES2 L’ES2 est équipé d’un très grand nombre de sources et cibles de modulation, ce qui en fait un synthétiseur trèsflexible, capable de générer dessons extraordinaires en constante évolution, comme des boucles audio, ou simplement expressifs lorsqu’ils sont joués. Les tables de références couvrant toutes les cibles et sources de modulation se trouvent à la fin de cette rubrique. Cliquez ici pour afficher l’enveloppe Vector. Routeur de modulation Sources de modulation Pavé planaire • Routeur de modulation : le routeur de modulation, ou plus brièvement routeur, relie les sources de modulation comme l’enveloppe, aux cibles de modulation comme les oscillateurs et les filtres. Le routeur présente 10 routages de modulation, organisés en colonnes. Consultez Présentation du routeur de modulation de l’ES2. • Sources de modulation : les sources de modulation comprennent les LFO et les enveloppes. Consultez Présentation des LFO de l’ES2 et Présentation des enveloppes de l’ES2 (ENV 1 à ENV 3). • Vector Envelope : l’enveloppe Vecteur est une enveloppe multipoint extrêmement sophistiquée et capable de produire des boucles, qui peut contrôler le pavé planaire et le triangle (paramètre de mixage de l’oscillateur). L’enveloppe Vecteur partage l’espace occupé par le routeur de modulation et peut être affichée en cliquant sur le bouton du même nom, sur la droite du routeur. Consultez Présentation de l’enveloppe Vector de l’ES2. • Planar Pad : planar Pad est un contrôleur bidimensionnel, qui facilite la manipulation simultanée de deux paramètres librement assignables. Il peut être contrôlé par le bais du Vector Envelope. Consultez Utilisation du pavé planaire de l’ES2. 78 Chapitre 5 ES2 Présentation du routeur de modulation de l’ES2 Le routeur de modulation (ou routeur) traverse le centre de l’interface de l’ES2. Si l’enveloppe Vecteur est affichée, cliquez sur le bouton Router pour afficher ce dernier (ces composants partagent la même partie de l’interface). Si vous ne connaissez pas très bien lesroutages de modulation dessynthétiseurs, reportez-vous à la rubrique Modulation du chapitre « Notions élémentaires sur les synthétiseurs ». Les sources via s’affichent au milieu de chaque routage de modulation. Le curseur d’intensité de la modulation n’est pas divisé en deux lorsqu’aucune source via n’est active. Le curseur d’intensité de la modulation est divisé en deux lorsqu’une source via est active. Les sources de modulation s’affichent en bas de chaque routage de modulation. Les cibles de modulation s’affichent en haut de chaque routage de modulation. Toute source de modulation peut être associée à n’importe quelle cible de modulation, un peu comme sur un ancien standard téléphonique ou un tableau de raccordement. L’intensité de modulation, à savoir le niveau d’influence de la source sur la cible, est définie à l’aide du curseur vertical, situé à droite du routage de modulation. Vous pouvez également moduler l’intensité de modulation : le paramètre via définit une autre source de modulation qui est utilisée pour contrôler l’intensité de modulation. Lorsque ce paramètre est actif, vous pouvez spécifier deslimitessupérieures et inférieures pour l’intensité de modulation. Dix routages de modulation de type Source, Via et Cible peuvent avoir lieu simultanément, en plus des routages « câblés en dur » à l’extérieur du routeur. Vous pouvez utiliser n’importe lequel des dix routages de modulation. Vous pouvez égalementsélectionner la même cible pour plusieursroutages de modulation parallèles. Vous pouvez aussi utiliser les mêmes sources et les mêmes contrôleurs via dans plusieurs routages de modulation. Création et contournement des routages de modulation de l’ES2 Les informations suivantes s’appliquent aux dix routages de modulation. Chapitre 5 ES2 79 Pour créer un routage de modulation de base 1 Cliquez dans le champ Target. Le menu local qui s’affiche répertorie toutes les cibles disponibles. 2 Cliquez dans le champ Source. Le menu local qui s’affiche répertorie toutes les sources disponibles. 3 Choisissez le paramètre que vous souhaitez moduler. Choisissez le paramètre que vous souhaitez utiliser pour moduler la cible. 4 Faites glisser verticalement la flèche du curseur Intensity, à droite du routage de modulation. Vous définissez ainsi une intensité de modulation fixe. 80 Chapitre 5 ES2 Pour contourner un routage de modulation µ Cliquez sur le bouton « b/p »,situé dansle coin supérieur droit du routage de modulation, en regard de l’étiquette Target. Le paramètre de contournement (b/p) permet d’activer ou de désactiver les routages de modulation individuels, sans perdre les réglages. Utilisation des sources Via pour contrôler l’intensité de modulation de l’ES2 Dans un routage de modulation de base composé d’une cible et d’une source, vous pouvez définir une intensité de modulation fixe en faisant glisser verticalement la flèche du curseur Intensity, situé à droite du routage. La valeur du curseur définit toujours une intensité de modulation constante. Vous pouvez également moduler l’intensité de modulation : le paramètre via définit une autre source de modulation qui est utilisée pour contrôler l’intensité de modulation. Dès que vous choisissez une valeur autre que Off pour le paramètre Via, le curseur Intensity est divisé en deux sections. Chaque section dispose de sa flèche. • La section inférieure définit l’intensité de modulation minimale, lorsque le contrôleur via, la roulette de modulation par exemple, est défini sur sa valeur minimale. • La section supérieure définit l’intensité de modulation maximale, lorsque le contrôleur via est défini sur sa valeur maximale. • La zone située entre les deux sections de curseur définit la plage de modulation du contrôleur via. Chapitre 5 ES2 81 Pour créer un routage de modulation qui inclut une source via 1 Cliquez dans le champ Target. Le menu local qui s’affiche répertorie toutes les cibles disponibles. 2 Cliquez dans le champ Source. Le menu local qui s’affiche répertorie toutes les sources disponibles. 3 Cliquez sur le champ Via en maintenant le bouton de la souris enfoncé pour afficher un menu local répertoriant toutes les sources disponibles. 4 Choisissez la sources que vous souhaitez utiliser pour contrôler l’intensité de modulation. 5 Faites glisser la flèche supérieure verticalement, le long du curseur Intensity (à droite du routage de modulation), pour définir l’intensité de modulation maximale. 82 Chapitre 5 ES2 6 Faites glisser la flèche inférieure le long du curseur Intensity pour définir l’intensité de modulation minimale. Pour déplacer l’intégralité de la plage via µ Faites glisser verticalement la souris dans la zone de plage entre les deux sections du curseur. Les deux flèches se déplacent simultanément. Si cette zone est trop petite pour être déplacée, il vous suffit de faire glisser une partie inutilisée de la « piste » du curseur Intensity pour la déplacer. Pour définir l’intensité de modulation sur zéro µ Cliquez sur le petit symbole zéro en regard de l’étiquette Via. Pour inverser l’effet de la source de modulation via µ Cliquez sur le paramètre Via invert (inv), à droite de l’étiquette Via. Exemple de modulation de l’ES2 Imaginez un son de l’ES2 avec les réglages suivants : • Target : pitch123 • via : molModul Chapitre 5 ES2 83 • Source : lFO1 • Intensité de la modulation : position du curseur, à votre convenance Pitch123 est la cible de la modulation dans notre exemple. La source de modulation, LFO1, est utilisée pour moduler la fréquence, ou hauteur tonale, des trois oscillateurs (Pitch123). Vous entendez un vibrato, une modulation de la hauteur tonale, intervenant selon la fréquence déterminée par le paramètre Rate du LFO 1. L’intensité de la modulation est contrôlée par la roulette de modulation, dont la plage est déterminée par le paramètre Via. Vous pouvez donc contrôler la profondeur du vibrato (modulation de la hauteur tonale) via la roulette de modulation de votre clavier. Ce type de configuration est utilisé pour bon nombre de réglages. Présentation des LFO de l’ES2 L’ES2 est doté de deux LFO à formes d’onde multiples. Ils sont tous deux disponibles comme sources dans le routeur. Le LFO 1 est polyphonique, ce qui signifie que si vous l’utilisez pour la modulation de plusieurs voix, celles-ci ne sont pas verrouillées en phase. En outre, LFO 1 est synchronisé sur les notes: chaque fois que vousjouez une note, la modulation LFO1 de la voix associée repart de zéro. • Pour mieux comprendre le non-verrouillage en phase, imaginez un scénario danslequel un accord est joué sur le clavier. Si LFO 1 est utilisé pour moduler la hauteur tonale, par exemple, la hauteur tonale d’une voix pourrait monter, la hauteur tonale d’une autre voix pourrait descendre et celle d’une troisième voix atteindre sa valeur minimale. Comme vous pouvez le constater, la modulation ne dépend pas de chaque voix ou note. • La fonction de synchronisation de notes garantit que le cycle de forme d’onde LFO démarre toujours de zéro, ce qui entraîne une modulation constante de chaque voix. Si les cycles de forme d’onde LFO n’étaient pas synchronisées de cette manière, les modulations de notes individuelles ne seraient pas régulières. • Le LFO 1 permet d’effectuer automatiquement des fondus entrants et sortants, grâce à un générateur d’enveloppe intégré. 84 Chapitre 5 ES2 Le LFO 2 est monophonique, ce qui signifie que la modulation est identique pour toutes les voix. Par exemple, imaginez un scénario dans lequel un accord est joué sur le clavier. Si vous utilisez LFO 2 pour moduler la hauteur tonale, la hauteur tonale de toutes les voix de l’accord joué augmente et diminue de manière synchronisée. • Curseur EG du LFO 1 : il contrôle le temps nécessaire pour un fondu entrant ou sortant de la modulation LFO (consultez Utilisation du générateur d’enveloppe du LFO 1 dans l’ES2). • Curseur LFO1 Rate : détermine la fréquence ou vitesse de la modulation LFO 1. La valeur sélectionnée est indiquée en Hertz (Hz), sous le curseur. • Boutons LFO 1 Wave : ils vous permettent de choisir la forme d’onde souhaitée pour LFO 1. Consultez la rubrique Utilisation des formes d’onde LFO de l’ES2 pour plus de détails sur leur utilisation. • Curseur LFO 2 Rate : ce paramètre définit la fréquence (ou vitesse) de la modulation LFO 2. Consultez Réglage du débit du LFO 2 dans l’ES2. Brève présentation des LFO Le terme LFO est l’abréviation de low frequency oscillator (oscillateur basse fréquence). Comme son nom le suggère, il s’agit d’un oscillateur qui ressemble aux trois principaux oscillateurs de l’ES2, mais qui affiche toutefois les différences suivantes : • Un LFO génère des signaux de modulation, dont la fréquence est inférieure à la plage de fréquences audibles; leur bande passante se situe généralement entre 0,1 et 20Hz, mais atteint parfois 50 Hz. • Cessignaux étant inaudibles, le LFO peutservir uniquement de source de modulation pour des effets périodiques ou cycliques, et non pour le signal audio principal. Pour plus d’informations, consultez le chapitre Notions élémentairessur lessynthétiseurs. Utilisation des formes d’onde LFO de l’ES2 Les boutons LFO 1 Wave vous permettent de choisir différentes formes d’onde pour LFO 1. Le tableau ci-dessous définit de quelle manière ces formes d’onde peuvent affecter vos sons. Chapitre 5 ES2 85 Essayez d’utiliser les formes d’onde lorsqu’un routage de modulation de Pitch123 (la hauteur tonale des trois oscillateurs) est engagé et en cours d’exécution. Waveform Commentaires Onde triangulaire Convient bien aux effets de vibrato. Convient bien aux effets sonores d’hélicoptères et d’épées laser. Des modulations marquées des fréquences de l’oscillateur, avec une onde en dents de scie négative (inversée), génèrent des sons de type « glou-glou ». Des modulations marquées, en dents de scie, des paramètres de fréquence de coupure et de résonance desfiltres passe-bas, créent des effets rythmiques. La forme d’onde peut également être inversée, ce qui entraîne un point de départ différent pour le cycle de modulation. En dents de scie Les ondes rectangulaires font varier régulièrement le signal LFO entre deux valeurs. Une forme rectangulaire saillante évolue entre une valeur positive et zéro. Une forme rectangulaire en creux évolue entre une valeur positive et une valeur négative ; ces valeurs sont symétriques par rapport à zéro. Vous pouvez obtenir un effet intéressant en modulant Pitch123 selon une intensité appropriée, de façon à obtenir un intervalle de quinte. Pour ce faire, utilisez l’onde rectangulaire saillante. Rectangle Les deux derniers réglages de forme d’onde des LFO génèrent des valeurs aléatoires. Une valeur aléatoire est déterminée à intervalles réguliers, selon la fréquence du LFO. La forme d’onde supérieure s’échelonne entre des valeurs aléatoires, soit des passages rapides d’une valeur à une autre. Avec la dernière, en revanche, l’onde aléatoire est lissée ; les transitions entre les différentes valeurs sont donc plus fluides. L’expression Sample & Hold (S & H) fait référence à la procédure qui consiste à prendre des échantillons d’un signal de bruit à intervalles réguliers. Les valeurs de ces échantillons sont ensuite conservées jusqu’au prélèvement du prochain échantillon.Astuce :une modulation aléatoire de Picth123 conduit à un effet communément appelé « générateur de motif de hauteur tonale aléatoire » ou Sample & Hold. Essayez cette modulation avec des notes très aiguës, à des fréquences et intensités très élevées, vous reconnaîtrez cet effet sonore très populaire, présent dans des centaines films de science-fiction. Sample & Hold Utilisation du générateur d’enveloppe du LFO 1 dans l’ES2 Le LFO 1 présente un générateur d’enveloppe simple, utilisé pour contrôler le temps nécessaire au fondu entrant ou sortant de la modulation LFO. En position centrale, accessible en cliquant sur le repère du milieu, l’intensité de modulation est statique : aucun fondu entrant ou sortant ne se produit. Pour définir la transition de la modulation LFO 1 µ Sélectionnez une valeur positive EG LFO 1 pour réaliser un fondu entrant de la modulation. Plus la valeur est élevée, plus le temps de retard est long. 86 Chapitre 5 ES2 µ Sélectionnez une valeur négative EG LFO 1 pour réaliser un fondu sortant de la modulation. Plus le curseur est bas (à l’écran), plus le temps de chute est court. Les enveloppes LFO sont le plus souvent utilisées pour retarder le vibrato : de nombreux instrumentalistes et chanteurs tiennent de cette façon les notes longues. Pour retarder le vibrato 1 Placez le curseur EG LFO 1 en position dans la partie supérieure (Delay) et modulez la cible Pitch123 avec la source LFO1 dans le routeur. 2 Entrez une intensité de modulation modérée. 3 Sélectionnez une fréquence LFO 1 d’environ 5 Hz. 4 Choisissez l’onde triangulaire comme forme d’onde LFO 1. Astuce : les modulations rapides et chaotiques des fréquences d’un oscillateur (cible : Pitch123) par la source LFO 1, avec une forme d’onde Sample & Hold retardée, une fréquence élevée et un fondu sortant court, sont idéales pour l’émulation de la phase d’attaque des cuivres. Réglage du débit du LFO 2 dans l’ES2 Le LFO 2 convient particulièrement à la création d’effets de modulation rythmiques nécessitant une synchronicité parfaite, même en cas de changement de tempo du projet. Le paramètre Rate du LFO 2 permet à ce dernier de fonctionner librement (dans la partie supérieure de la plage du curseur Rate) ou d’être synchronisé avec le tempo du projet (dans la partie inférieure de la plage du curseur Rate). Le débit est indiqué en hertz ou en valeursrythmiques(ces dernièressont choisieslorsque la synchronisation du tempo du projet est active). La plage rythmique va de la quadruple croche (1/64) à 32 mesures. Les valeurs de triolet et pointées sont également disponibles. Présentation des enveloppes de l’ES2 (ENV 1 à ENV 3) L’ES2 présente trois générateurs d’enveloppe par voix. Ils sont respectivement abrégés sous la forme ENV 1, ENV 2 et ENV 3 dans l’interface et dans le routeur. De plus, l’ES2 propose l’enveloppe Vector sophistiquée (consultez Présentation de l’enveloppe Vector de l’ES2). Chapitre 5 ES2 87 Remarque : pour en savoir plus sur les racines du terme « générateur d’enveloppe » et sursesfonctions de base, consultez le chapitre Notions élémentairessur lessynthétiseurs. Les paramètres d’ENV 2 et d’ENV 3 sont identiques. L’ENV 3 définit l’évolution du niveau de chaque note jouée. Autrement dit, ce générateur est « câblé en dur » à la cible de modulation AMP dans le routeur. Modulation Envelope de ES2 Filter Cutoff Contrairement à la plupart des synthétiseurs, l’ES2 ne dispose d’aucune connexion en dur entre l’un des générateurs d’enveloppe et les fréquences de coupure des filtres. Configurez un routage de modulation comme suit, afin d’établir ce type de modulation : définissez la cible sur Cutoff 1, Cutoff 2 ou Cut 1+2. Définissez la source sur ENV 2 par exemple. Une fois défini selon cette description, le curseur situé sur la droite du routage de modulation fonctionne comme le paramètre EG Depth du filtre. Remarque : eNV 2 et ENV 3 sont tous deux sensibles à la vélocité, il est donc inutile de régler le paramètre via sur Velo dans le routage de modulation ; vous pouvez le laisser désactivé. 88 Chapitre 5 ES2 Présentation d’ENV 1 dans l’ES2 Même si ENV 1 peut paraître faiblement équipé de prime abord,ses nombreux paramètres sont utiles pour une large gamme de fonctions de synthétiseur. Bouton de mode Decay/Release Menu Trigger Modes Curseur Attack via Velocity • Menu Trigger Modes : vous pouvez définir le comportement de déclenchement de l’ENV 1 en choisissant l’un des réglages suivants : • Poly : le générateur d’enveloppe se comporte comme sur un synthétiseur polyphonique. Chaque voix possède sa propre enveloppe. • Mono : un seul générateur d’enveloppe module toutes les voix de la même manière. Toutesles notes doivent être relâchées avant que l’enveloppe puisse être déclenchée de nouveau. Si vous jouez legato ou tant qu’une touche reste enfoncée, l’enveloppe ne reprend pas sa phase d’attaque. • Retrig : un seul générateur d’enveloppe module toutes les voix de la même manière. L’enveloppe est déclenchée par n’importe quelle touche enfoncée, même si d’autres notes sont tenues. Toutes les notes tenues sont affectées de la même manière par l’enveloppe redéclenchée. • Curseur Attack via Velocity : le curseur relatif au temps d’attaque est divisé en deux sections. La partie inférieure définit le temps d’attaque, lorsque la force du jeu est élevée (vélocité maximale). La section supérieure détermine le temps d’attaque, à une vélocité minimale. Faites glisser la souris dans la zone entre les deux sections du curseur pour déplacer les deux simultanément. Si cette zone est trop petite pour être déplacée, cliquez sur une partie inutilisée du curseur et faites glisser verticalement. • Bouton Decay/Release mode : cliquez pour faire basculer l’ENV 1 d’un comportement d’enveloppe Attack/Decay à Attack/Release, et inversement. Chapitre 5 ES2 89 Réglage du paramètre Decay ou Release de l’enveloppe 1 dans l’ES2 ENV 1 peut être configuré en tant que générateur d’enveloppe avec les paramètres Attack time et Decay time ou Attack time et Release time. Cliquez ici pour basculer entre les modes Decay et Release. Pour passer du mode Attack/Decay au mode Attack/Release, et inversement µ Cliquez sur le D ou le R au-dessus du curseur ENV 1 de droite. L’étiquette du bouton change pour refléter le mode activé. • En mode Attack/Decay : le niveau descend à zéro une fois la phase d’attaque terminée, que la note soit tenue ou non. Le temps de chute est le même, même si vous relâchez la note. Il est défini à l’aide du curseur D (représentant le temps de chute). • En mode Attack/Release : le niveau de l’enveloppe reste au maximum une fois la phase d’attaque terminée, même lorsque la touche reste enfoncée. Une foisla touche relâchée, le niveau descend progressivement selon la durée définie à l’aide du curseur R (représentant le temps de relâchement). Émulation d’un comportement de filtre polysynthé classique dans l’ES2 Les premiers synthétiseurs polyphoniques analogiques passaient toutes les voix par un seul filtre passe-bas. Ce choix de conception était essentiellement motivé par desraisons économiques. Les exemples les plus connus de ces instruments polyphoniques sont le Moog Polymoog, le Yamaha SK20 et le Korg Poly-800. Le filtre passe-bas unique de ces instruments est contrôlé par un seul générateur d’enveloppe. Pour reproduire un tel comportement dans l’ES2, utilisez les modes Mono ou Retrigger. La modulation de la cible Cutoff 2 avec une source percussive, comme ENV 1, définie sur Retrig affiche un effet de filtre percussif à chaque fois que vous jouez une nouvelle note, si vous jouez et tenez une note grave. La nouvelle note jouée est également affectée par ce filtre. Lorsque vousjouez un son configuré de la sorte, la sonorité obtenue est proche de celle d’un synthétiseur polyphonique avec un seul filtre, et ce, même si lesfiltres ES2 sont toujours polyphoniques et peuvent donc être moduléssimultanément par plusieurs sources polyphoniques. Autre conseil : vous pouvez également simuler la percussion d’un orgue Hammond à l’aide des modes Mono ou Retrigger. 90 Chapitre 5 ES2 Présentation de l’ENV 2 et de l’ENV 3 dans l’ES2 Les fonctions disponibles dans les générateurs ENV 2 et ENV 3 sont identiques. Toutefois, l’ENV 3 sert toujours à définir le niveau de chaque note, pour moduler la phase dynamique en d’autres termes. Toutefois, vous pouvez également utiliser l’ENV 3 comme source simultanée dans le routeur. Les paramètrestemporels de l’enveloppe peuvent également être utilisés comme cibles de modulation dans le routeur. Le curseur Attack Time est divisé en deux pour déterminer les vélocités maximum et minimum de la durée d’attaque. Cliquez sur le symbole central pour définir le curseur Sustain Time sur sa valeur centrale. Les paramètres Sustain Time et Sustain Level sont définis séparément dans l’ES2. • Curseur Attack : il définit le temps nécessaire pour que le niveau d’une note s’élève d’une amplitude de zéro à l’amplitude définie. Les curseurs de temps d’attaque d’ENV 2 et d’ENV 3 sont divisés en deux parties. • La section inférieure définit le temps d’attaque, lorsque la force du jeu est élevée, à vélocité maximale. La section supérieure détermine le temps d’attaque, à une vélocité minimale. Faites glisser la souris dans la zone entre les deux sections du curseur pour déplacer les deux simultanément. Si cette zone est trop petite pour être déplacée, cliquez dans une partie inutilisée du curseur et faites glisser verticalement. • Curseur Decay : il détermine le temps nécessaire pour que le niveau d’une note tenue retombe au niveau de soutien avant la fin de la phase d’attaque. • Si le paramètre de niveau Sustain est défini sur sa valeur maximale, le paramètre Decay n’a aucun effet. • En revanche, lorsqu’une valeur minimale est affectée, le paramètre Decay définit la durée du fondu sortant de la note. • Curseurs Sustain et Sustain Time : il existe deux paramètres de soutien qui interagissent l’un avec l’autre. L’un contrôle le niveau de soutien et l’autre, le temps de soutien. Consultez Utilisation des paramètres Sustain des enveloppes 2 et 3 dans l’ES2. Chapitre 5 ES2 91 • Curseur(R) Release Time : il définit le tempsrequis pour que le niveau (soutien) retombe à zéro, une fois la note relâchée. • Curseur Vel (Velocity Sensitivity) : il détermine la sensibilité à la vélocité de toute l’enveloppe. Lorsque ce curseur est à son maximum, l’enveloppe ne produit un niveau maximal que lorsque vousfrappez lestouchestrèsfort (vélocité maximale). Des vélocités moins élevées entraînent la modification correspondante aux niveaux de l’enveloppe : une vélocité de 50 pour cent crée des demi-niveaux pour chaque paramètre de niveau d’enveloppe. Utilisation des paramètres Sustain des enveloppes 2 et 3 dans l’ES2 Lorsque le curseur Sustain Time (montée) est défini sur sa valeur centrale, le curseur Sustain (S) Level se comporte comme le paramètre Sustain de n’importe quel enveloppe ADSR de synthétiseur. À cette valeur, le curseur Sustain (Level) définit le niveau tenu pendant tout le temps où la touche reste enfoncée, une fois le temps d’attaque et le temps de chute terminés. Le curseur Sustain Time définit la durée nécessaire pour que le niveau passe du niveau Sustain à son niveau maximum, ou tombe à zéro : • Les réglages de la partie inférieure de la plage du curseur Sustain Time (descente) déterminent le temps nécessaire pour que le niveau passe du niveau de soutien à zéro. Plus le curseur est bas, plus le niveau sonore baisse rapidement. • Les réglages effectués dans la partie supérieure (montée) déterminent te temps nécessaire pour que le niveau passe du niveau de soutien à sa valeur maximum. Plus le curseur est haut, plus le niveau sonore augmente rapidement. Émulation de comportements d’instruments avec la modulation Envelope Sur les pianos et les instruments à cordes pincées, les notes aiguës résonnent moins longtemps que les notes graves. Pour simuler cet effet, modulez la cible Decay Time avec la source Kybd dans le routeur. Le curseur d’intensité de modulation doit être défini sur une valeur négative. 92 Chapitre 5 ES2 Présentation de l’enveloppe Vector de l’ES2 L’enveloppe Vector est une source de contrôle multipoint, capable de fonctionner en boucle. Son unique but consiste à fournir le contrôle en temps réel des mouvements de l’icône carrée dans le triangle et le pavé planaire. L’enveloppe Vector partage l’espace occupé par le routeur de modulation et peut être affichée en cliquant sur le bouton du même nom, sur la droite du routeur. Vector Envelope Point Solo Curve Triangle Pavé planaire Mode Vector Fréquence des boucles Mode Env Mode Loop Mise à l’échelle Cibles du pavé planaire Chaque voix possède une enveloppe Vector indépendante, déclenchée depuis son point de départ pour chaque nouvelle frappe de touche (message MIDI de début de note). Du point de vue conceptuel, l’enveloppe Vector, avec le pavé planaire et le triangle, peut paraître quelque peu étrange, voire un peu intimidante, mais après une rapide prise en main, vous constaterez à quel point ces fonctions s’utilisent facilement. En associant ces fonctionnalités aux autres options de synthèse de l’ES2, vous pouvez créer des sons véritablement uniques et, presque littéralement, en mouvement. Pour activer et désactiver l’enveloppe Vector µ Désactivez le bouton Solo Point (décrit à la rubrique Réglage du point Solo de l’enveloppe Vector de l’ES2) pour activer l’enveloppe Vector. µ Activez le bouton Solo Point pour désactiver l’enveloppe Vector. Lorsque Solo Point est activé, seules les positions actuellement sélectionnées pour le triangle et le pavé planaire du point actuellement sélectionné sont actives. Chapitre 5 ES2 93 Contrôle de l’enveloppe Vector pour le pavé planaire et le triangle de l’ES2 Le menu local Vector Mode, en dessous du bouton de l’enveloppe Vector, vous permet de préciser la cible de l’enveloppe Vector, à savoir le pavé planaire et/ou le triangle. • Désactivé : l’enveloppe Vector ne contrôle pas le triangle ou le pavé planaire. Elle est complètement désactivée. Vous pouvez donc régler et contrôler manuellement les icônes carrées du triangle et du pavé planaire. • Mix : l’enveloppe Vector contrôle le triangle, mais pas le pavé planaire. • XY : l’enveloppe Vector contrôle le pavé planaire, mais pas le triangle. • Mix+XY : l’enveloppe Vector contrôle le pavé planaire et le triangle. Aperçu des points, temps et boucles de l’enveloppe Vector de l’ES2 L’axe temporel de l’enveloppe Vector procède de gauche à droite. Axe temporel de l’enveloppe Vector Point 1 Le point Loop s’affiche sur la ligne en dessous de l’axe temporel. Le point Sustain s’affiche sur la ligne au-dessus de l’axe temporel. Durée du point, indiquée en millisecondes (ms). 16 points au maximum peuvents’affichersur l’axe temporel (la figure ci-dessous en illustre 10). Chaque point peut contrôler les positions de l’icône carrée pour le triangle et le pavé planaire (telles que décrites à la rubrique Contrôle de l’enveloppe Vector pour le pavé planaire et le triangle de l’ES2). Les points sont numérotés de manière séquentielle, de gauche à droite, le long de l’axe temporel. Au moins trois points doivent toujours être définis : le point 1 est le point de départ, le point 2 est défini comme point Sustain et le point 3 est le point d’arrivée. 94 Chapitre 5 ES2 Tout point peut être défini comme point Sustain. Si la note jouée est tenue pendant suffisamment longtemps et qu’aucune boucle n’est en cours, tout mouvement d’enveloppe s’arrête lorsque le point Sustain est atteint. La valeur du point Sustain est conservée jusqu’à relâchement de la touche, à savoir la commande de désactivation de la note MIDI. Tout point peut être défini comme point Loop. La région convertie en boucle s’étend entre le point Sustain et le point Loop. Entre ces points, vous pouvez créer d’autres points décrivant les mouvements des icônes carrées dans le pavé planaire et le triangle. Sélection, création et suppression de points de l’enveloppe Vector de l’ES2 Plus vous définissez de points, plusles mouvements pouvant être réaliséssont complexes. Pour sélectionner un point µ Cliquez dessus pour le sélectionner. Une fois sélectionné, le point peut être librement modifié. Pour créer un nouveau point µ Cliquez entre deux points existants tout en appuyant sur la touche Maj. Le segment situé entre les deux anciens points est alors divisé à l’emplacement défini par le clic. La somme des durées de ces deux nouveaux segments est égale à celle du segment entier d’origine. Vous êtes ainsi assuré que les points ultérieurs conservent leurs positions temporelles absolues. Les positions existantes d’icône carrée dans le triangle et le pavé planaire sont fixes, ce qui garantit que les points nouvellement créés n’affectent pas les mouvements définis précédemment. Pour supprimer un point µ Cliquez dessus tout en maintenant la touche ctrl enfoncée. Retour aux valeurs par défaut des points de l’enveloppe Vector de l’ES2 Il se peut que vous souhaitiez revenir aux valeurs par défaut d’un point. Cette action est possible directement dans le triangle ou le pavé planaire. Pour revenir à la valeur par défaut d’un point, effectuez l’une des opérations suivantes : µ Cliquez sur le triangle tout en appuyant sur la touche Option. L’icône carrée est définie sur la position centrale du triangle. Tous les oscillateurs sont alors définis avec le même niveau de sortie. µ Cliquez sur le pavé planaire tout en appuyant sur la touche Option. L’icône carrée est définie sur la position centrale du pavé planaire. Les valeurs sont égales à zéro sur les deux axes. Chapitre 5 ES2 95 Réglage du point Solo de l’enveloppe Vector de l’ES2 Le bouton Solo Point désactive l’enveloppe Vector. Si le bouton Solo Point est activé, aucune modulation dynamique n’est générée par l’enveloppe Vector. Dans ce cas, les positions actuellement visibles desicônes carrées dansle triangle et le pavé planaire sont en vigueur de manière permanente. Elles correspondent au point d’enveloppe Vector actuellement sélectionné. Si vous cliquez sur un autre point d’enveloppe Vector pour le sélectionner, les positions des icônes carrées du triangle et du pavé planaire se mettent à jour pour refléter votre sélection. Si le bouton Solo Point est activé, le nouveau pointsélectionné devient le point solo. Remarque : vous pouvez désactiver séparément la modulation de l’enveloppe Vector du pavé planaire en réglant le paramètre Vector Mode sur off, comme décrit à la rubrique Contrôle de l’enveloppe Vector pour le pavé planaire et le triangle de l’ES2. Réglage du point Sustain de l’enveloppe Vector de l’ES2 Comme cela a été mentionné précédemment, tout point peut être défini comme point Sustain. En supposant que la note jouée soit tenue suffisamment longtemps et qu’aucune boucle ne soit en cours, tout mouvement d’enveloppe s’arrête lorsque le point Sustain est atteint. La valeur du point Sustain est conservée jusqu’à relâchement de la touche, à savoir la commande de désactivation de la note MIDI. Pour définir un point comme point Sustain µ Cliquez dans la bande turquoise, au-dessus du point souhaité. Le point Sustain est indiqué par un S, figurant entre le point et son numéro, illustré sur la bande turquoise. Configuration des boucles de l’enveloppe Vector de l’ES2 L’enveloppe Vector peut fonctionner en mode monocoup, tant que la note est tenue ; elle peut être définie pour se répéter un nombre donné de fois ou indéfiniment, comme une modulation LFO. Vous pouvez obtenir des répétitions en utilisant les fonctions de boucle (loop). 96 Chapitre 5 ES2 Bien que les paramètres de boucle puissent vous rappeler les paramètres de boucles disponibles comme échantillons, il existe des différences significatives entre eux. L’enveloppe Vector fournit uniquement des signaux de contrôle utilisés pour le positionnement de l’icône carrée dans le triangle et le pavé planaire. La sortie audio de l’ES2 n’est pas convertie en boucle, de quelque manière que ce soit. Réglage du point Loop Tout point peut être défini comme point Loop. Tant que la note est tenue pendant une durée adaptée, des sections de l’enveloppe peuvent être répétées, ou mises en boucle. La région convertie en boucle s’étend entre le point Sustain et le point Loop. Entre ces points, vous pouvez définir plusieurs points décrivant les mouvements desicônes carrées dans le triangle et le pavé planaire. Pour définir un point comme point Loop µ Cliquez dans la bande turquoise, en dessous du point souhaité. Le point Loop est indiqué par un L sur la bande. Remarque : pour visualiser et définir le point Loop, le mode Loop doit être activé (consultez la rubrique « Réglage du mode Loop de l’enveloppe Vector » ci-dessous). Réglage du mode Loop de l’enveloppe Vector Vous pouvez choisir parmi les modes Vector Envelope Loop suivants : Off, Forward, Backward et Alternate. Cliquez ici pour choisir un mode Loop. • Désactivé : si le mode Loop est désactivé, l’enveloppe Vector fonctionne en mode monocoup, du début à la fin,si la note est tenue suffisamment longtemps pour réaliser toutes les phases d’enveloppe. Tous les autres paramètres de boucle sont également désactivés. Chapitre 5 ES2 97 • Forward : si le mode Loop est défini sur Forward, l’enveloppe Vector va du début au point Sustain, puis elle commence à répéter périodiquement la partie comprise entre le point Sustain et le point Loop, toujours vers l’avant. • Backward : si le mode Loop est défini sur Backward, l’enveloppe Vector va du début au point Sustain, puis elle commence à répéter périodiquement la partie comprise entre le point Sustain et le point Loop, toujours vers l’arrière. • Alternate : si le mode Loop est défini sur Alternate, l’enveloppe Vector va du début au point Sustain, puis elle passe périodiquement du point Loop au point Sustain, en alternant les mouvements vers l’avant et vers l’arrière. Réglage du paramètre Loop Rate de l’enveloppe Vector De la même manière que chaque LFO est doté d’une vitesse, ou débit, le cycle des boucles peut être réglé sur une vitesse définie. Le paramètre Loop Rate de l’enveloppe Vector peut également être synchronisé avec le tempo du projet. Pour régler le débit de boucle de l’enveloppe Vector, effectuez l’une des opérations suivantes : µ Faites glisser l’indicateur vert, au centre de la barre Loop Rate, vers la gauche ou la droite. µ Faites défiler verticalement le champ de valeur pour obtenir « as set » (illustré dans la figure ci-dessous). • As set : si vous définissez le paramètre Loop Rate sur « as set », la durée du cycle d’une boucle est égale à la somme des duréessituées entre les points Sustain et Loop. Cliquez sur le champ intitulé « as set », sous le curseur Rate, pour le sélectionner. • Rhythmic : si vous définissez le paramètre Loop Rate sur l’une des valeurs rythmiques (sync) en faisant glisser l’indicateur Loop Rate vers la gauche du curseur, le débit de boucle suit alors le tempo du projet. Vous pouvez choisir de 32 mesures jusqu’à 1/64e de note en triolet. • Free : vous pouvez également définir un paramètre Loop Rate libre en faisant glisser l’indicateur Loop Rate vers la droite du curseur (libre). La valeur indiquée correspond au nombre de cycles par seconde. Remarque : si le paramètre Loop Rate n’a pas la valeur « as set » et si la fonction Loop Mode (Forward, Backward ou Alternate) est active, les durées des points situés entre les points Loop et Sustain, ainsi que la valeur Loop Smooth, sont exprimées sous forme de pourcentages de la durée de la boucle, et non en millisecondes. 98 Chapitre 5 ES2 Réalisation de transitions régulières de boucles de l’enveloppe Vector de l’ES2 Lorsque Loop Mode est défini sur Forward ou Backward, inévitablement, à un moment donné, une transition du point Sustain au point Loop a lieu. Vous pouvez utiliser le paramètre Loop Smooth pour égaliser la transition, évitant ainsi les changementssoudains de position. • Si le paramètre Loop Rate est défini sur Sync ou Free, la durée de lissage de la boucle est affichée sous forme de pourcentage de la durée du cycle de la boucle. • Si le paramètre Loop Rate est défini sur « as set », la durée de lissage de la boucle est exprimée en millisecondes (ms). Précision d’un comptage de boucles de l’enveloppe Vector de l’ES2 Le cycle de boucle de l’enveloppe Vector peut être répété un nombre donné de fois. Après le nombre défini de répétitions, l’enveloppe Vector s’exécute à partir du point Sustain et se poursuit. Les valeurs possibles vont de 1 à 10 ou l’infini. Réglage du comportement de phase de relâchement de l’enveloppe Vector de l’ES2 Le menu Env Mode comporte deux options de phase de relâchement : Normal et Finish. Utilisation du mode Normal de l’enveloppe Vector de l’ES2 Si le menu Env Mode est défini sur Normal, la phase de relâchement (phase suivant le point Sustain) commence dès que vous relâchez la touche (fin de note). En d’autres termes, la phase de relâchement débute au point d’enveloppe Vector correspondant au moment où vous avez relâché la touche. Les comportements suivants s’appliquent : • Si la mise en boucle est désactivée et que l’enveloppe Vector atteint le point Sustain, la valeur de ce dernier est tenue tant que vous maintenez une touche enfoncée. • Si la mise en boucle est activée et que l’enveloppe Vector est placée avant le point Sustain, la boucle se répète tant que vous maintenez une touche enfoncée. • Si la mise en boucle est activée et que le point Loop est placé après le point Sustain, la boucle de l’enveloppe Vector continue de se répéter jusqu’à la fin de la phase de relâchement complète du son, telle que déterminée par le paramètre ENV 3 Release. Utilisation du mode Finish de l’enveloppe Vector de l’ES2 Si le menu Env Mode est défini sur Finish, l’enveloppe Vector ne commence pas immédiatement la phase de relâchement lorsque la touche est relâchée. En revanche, elle joue tous les points, selon leur durée totale, jusqu’au point final, que la touche soit relâchée ou non. Chapitre 5 ES2 99 Les comportements suivants s’appliquent : • Si la mise en boucle est désactivée, le point Sustain est ignoré. L’enveloppe Vector achève tous les points jusqu’au point final, que vous mainteniez la touche enfoncée ou que vous la relâchiez. • Si la mise en boucle est activée, l’enveloppe Vector joue tous les points jusqu’au point Loop, puis elle joue la boucle jusqu’à ce que le point final soit atteint. Dans ce cas, peu importe si le point Loop figure avant ou après le point Sustain. • Si la mise en boucle est activée et que le paramètre Loop Count est définisur une valeur autre que infinite, l’enveloppe Vector poursuit avec les points suivants après avoir effectué le nombre de boucles sélectionné. Si le paramètre Loop Count est défini sur infinite, les points postérieurs à la boucle n’ont aucune importance. Consultez ES2. Choix des formes de transition de point de l’enveloppe Vector de l’ES2 Le paramètre Curve définit la forme de la transition entre les différents points. Vous avez le choix parmi neuf formes convexes et neuf formes concaves. Vous disposez également de deux formes courbes inhabituelles, hold+step et step+hold, qui permettent des modulations par pas. • step+hold : cette courbe passe au début de la transition. • hold+step : cette courbe passe à la fin de la transition. Remarque : vous pouvez utiliser hold+step pour créer des grooves vectoriels de 15 pas maximum. Réglage des durées de l’enveloppe Vector de l’ES2 Hormis le premier point, qui dépend du début de chaque note jouée, chaque point dispose d’un paramètre Time. Ce paramètre définit la durée nécessaire à l’indicateur de position pour aller d’un point vers le suivant. Les durées sont généralement exprimées en millisecondes (ms). Pour régler une valeur de durée µ Cliquez sur la valeur numérique et faites-la glisser verticalement. Remarque : la modification d’une valeur de durée modifier les positions temporelles absolues de tous les points suivants. 100 Chapitre 5 ES2 Pour régler une valeur de durée sans modifier les positions temporelles absolues des points suivants µ Faites glisser le paramètre Time tout en maintenant la touche ctrl enfoncée, afin d’augmenter ou de réduire la durée nécessaire pour atteindre le point suivant. Le réglage de durée du point suivant est ajusté simultanément de la valeur correspondante. Vous êtes ainsi assuré que le point adjacent et tous les points ultérieurs conservent leurs positions temporelles absolues. Mise à l’échelle temporelle de l’enveloppe Vector de l’ES2 Vous pouvez étendre ou comprimer l’ensemble de l’enveloppe vectorielle. Cette possibilité est extrêmement utile si vous souhaitez doubler la vitesse de l’enveloppe Vector, par exemple. Au lieu de réduire de moitié les valeurs de durée de chaque point, vous pouvez définir le paramètre Time Scaling, au-dessus du curseur ENV3 Attack, sur 50 pour cent. Cliquez ici pour modifier l’échelle temporelle. • Le paramètre Time Scaling dispose d’une plage de 10 à 1 000 pour cent. selon une échelle logarithmique. • Si le paramètre Loop Rate est défini sur « as set », la mise à l’échelle influe également sur la boucle. • Si le paramètre Loop Rate est défini sur une valeur libre ou synchronisée, le réglage n’est pas influencé par le paramètre Time Scaling. Fixation de la synchronisation de l’ES2 : normalisation des paramètres Time Scaling et Loop Rate En cliquant sur le bouton Fix Timing (à droite du paramètre Time Scaling), la valeur Time Scaling est multipliée par l’ensemble des paramètres de temps et le paramètre Time Scaling est de nouveau défini sur 100 pour cent. Aucune différence audible ne peut être notée. Il s’agit simplement d’une procédure de normalisation, similaire à la fonction de normalisation de la zone de paramètres Region. Pour les cas où le paramètre Loop Rate est défini sur une valeur synchronisée, un clic sur Fix Timing fait basculer le paramètre Loop Rate sur « as set », en conservant donc le débit absolu. Chapitre 5 ES2 101 Utilisation du menu contextuel de l’enveloppe Vector de l’ES2 Un certain nombre de commandes et fonctions de l’enveloppe Vector sont accessibles en cliquant avec le bouton droit de la souris n’importe où dans l’enveloppe Vector. Vous lancez ainsi le menu local illustré ci-dessous. Choisissez un élément du menu pour effectuer la commande ou fonction correspondante. Utilisation du pavé planaire de l’ES2 Le pavé planaire comporte deux axes, X et Y. L’axe X se trouve dans le plan horizontal et l’axe Y dans le plan vertical. Vous pouvez moduler un paramètre défini par l’utilisateur sur X et un autre sur Y, ce qui vous permet d’utiliser la souris comme une manette de jeu. 102 Chapitre 5 ES2 X et Y. Tous deux possèdent des plages de valeurs négatives et positives. Lorsque vous faites glisser l’icône carrée, les valeurs des deux axes sont continuellement transmises. Menu Vector Mode Paramètres Vector Intensity Menus Vector Target Pavé planaire Sélection d’une cible vectorielle : destinations de modulation Les menus Vector X Target et Vector Y Target déterminent le paramètre modulé par les mouvements de l’icône carrée dans le pavé planaire. Les cibles de modulation sont identiques à celles du routeur. Consultez la rubrique Référence des cibles de modulation de l’ES2 pour obtenir des descriptions. La position de l’icône carrée dans le pavé planaire est également disponible dans le routeur, sous forme d’options Source et Via Pad-X et Pad-Y. Consultez Référence des sources de modulation de l’ES2 et Utilisation des sources Via pour contrôler l’intensité de modulation de l’ES2. Réglage de l’intensité vectorielle : définition de l’intensité de modulation L’intensité maximale, la sensibilité et la polarité de la modulation se règlent par l’intermédiaire des paramètres Vector X Int et Vector Y Int. Pour régler l’intensité de modulation µ Effectuez un glissement vertical dans les champs Vector X Int et Vector Y Int. Utilisez une valeur négative pour inverser la polarité de modulation. Référence des cibles de modulation de l’ES2 Les cibles suivantes sont disponibles pour la modulation en temps réel. Chapitre 5 ES2 103 Cibles d’oscillateur ES2 Le tableau ci-dessous comprend toutes les cibles de modulation liées à des oscillateurs. Target Commentaires Module lesfréquences(hauteur tonale) destrois oscillateurs. Si vous sélectionnez un LFO comme source avec cette cible , des effets de sirène ou de vibrato sont créés. Sélectionnez un des générateurs d’enveloppe avec une attaque nulle, une chute courte, un paramètre Sustain sur zéro et un temps de libération court comme source pour les sons de tom et de grosse caisse. Pitch123 Module la fréquence (hauteur tonale) de l’oscillateur 1. Les faibles modulations d’enveloppe peuvent entraîner la modification de la valeur de désaccord au fil du temps, si l’oscillateur 1 fonctionne à l’unisson avec un autre oscillateur (non modulé). Cet effets’applique également aux autres cibles Pitch et il est particulièrement utile pour les sons de cuivres synthétiques. Pitch 1 Pitch 2 Module la fréquence (hauteur tonale) de l’oscillateur 2. Pitch 3 Module la fréquence (hauteur tonale) de l’oscillateur 3. Permet de contrôler l’importance du désaccord entre les trois oscillateurs. La sensibilité de toutes les cibles de modulation de la hauteur tonale est déterminée par l’intensité de la modulation. Elle est mise à l’échelle selon les listes ci-dessous, ce qui vous permet de créer des vibratos très délicats dans la plage des centièmes (1/100e de demi-ton) comme d’énormes sauts de hauteur tonale, en octaves. • Intensité de modulation de 0 à 8 : pas de 1,25 cents. • Intensité de modulation de 8 à 20 : pas de 3,33 cents. • Intensité de modulation de 20 à 28 : pas de 6,25 cents. • Intensité de modulation de 28 à 36 : pas de 12,5 cents. • Intensité de modulation de 36 à 76 : pas de 25 cents. • Intensité de modulation de 76 à 100 : pas de 100 cents. Il en résulte les réglages d’intensité de modulation suivants. • Une intensité de 8 entraîne une modification de la hauteur tonale de 10 centièmes. • Une intensité de 20 entraîne une modification de la hauteur tonale de 50 centièmes (un quart de ton). • Une intensité de 28 entraîne une modification de la hauteur tonale de 100 centièmes (un demi-ton). • Une intensité de 36 entraîne une modification de la hauteur tonale de 200 centièmes (deux demi-tons). • Une intensité de 76 entraîne une modification de la hauteur tonale de 1 200 centièmes (une octave). • Une intensité de 100 entraîne une modification de la hauteur tonale de 3 600 centièmes (trois octave). Detune 104 Chapitre 5 ES2 Target Commentaires Selon les formes d’onde définies pour les trois oscillateurs, cette cible peut servir à moduler : • la largeur d’impulsion des formes d’onde rectangulaires et pulsées, • l’intensité de la modulation de fréquence (oscillateur 1 uniquement), • la couleur du bruit (oscillateur 3 uniquement), • la position des Digiwaves. La cible OscWaves affecte l’ensemble des oscillateurs. Pour plus d’informationssur les effets de ces modulations, consultez les rubriques Utilisation de la Pulse Width Modulation dans l’ES2, Utilisation de la modulation de fréquence dans l’ES2, Utilisation du bruit dans l’ES2 (oscillateur 3 uniquement) et Utilisation des Digiwaves dans l’ES2. OscWaves Selon la forme d’onde sélectionnée pour Oscillator 1, vous pouvez contrôler la largeur d’impulsion des ondes rectangulaires et larges, la valeur de la fréquence de modulation ou la position du Digiwave. Remarque : dans le cas des synthétiseurs FM classiques, la valeur FM est contrôlée en temps réel par les générateurs d’enveloppe sensibles à la vélocité. Sélectionnez un des générateurs ENV comme source pour générer ce type de son. Osc1Wave Fonctionne comme Osc1Wave, sauf que l’oscillateur 2 ne présente pas la fonction FM. Veuillez noter que la modulation d’impulsions en durée s’applique également aux ondes rectangulaires synchronisées et modulées en anneau. Osc2Wave Fonctionne comme Osc1Wave et Osc2Wave, sauf que l’oscillateur 3 ne présente ni la fonction FM, ni la modulation en anneau. Il propose, en revanche, la fonction Noise, dont la couleur peut être modulée à l’aide de ce paramètre. Osc3Wave Les transitions entre les Digiwaves lors d’une modulation par table d’ondes (qui vous permet de basculer entre les différentes Digiwaves) sont toujours lisses. Vous pouvez utiliser la cible OscWaveB pour moduler sans arrêt la forme des transitions de lisse à dure. Cette cible s’applique à tous les oscillateurs. OscWaveB Si vous avez activé la modulation par table d’ondes pour une Digiwave (à l’aide de la cible Osc1Wav), vous pouvez utiliser cette cible pour moduler la forme de la transition. Lorsque vous appliquez la modulation de fréquence à l’oscillateur 1, la cible Osc1WaveB propose des intensités FM bien plus élevées que les cibles Osc1 FM ou Osc1Wave. Osc1WaveB Identique à la cible ci-dessus pour une Digiwave utilisant la cible Osc2Wav. Osc2WaveB Identique à la cible ci-dessus pour une Digiwave utilisant la cible Osc3Wav. Osc3WaveB Chapitre 5 ES2 105 Target Commentaires SineLevl (Sine Level) permet la modulation du niveau d’onde sinusoïdale de l’oscillateur 1. Le paramètre définit le niveau du premier ton partiel de l’oscillateur 1. Consultez Épaississement du son de l’ES2 grâce au niveau sinusoïdal. SineLev1 OscLScle (échelle du niveau des oscillateurs) permet de moduler les niveaux des trois oscillateurs simultanément. Une valeur de modulation de 0 coupe le son de tousles oscillateurs, tandis qu’une valeur de 1 augmente le gain de l’ensemble du mixage de 12 dB. La modulation est appliquée avant l’étape d’overdrive, autorisant ainsi les distorsions dynamiques. OscLScle (Niveau de l’oscillateur 1) Permet la modulation du niveau de l’oscillateur 1. Osc1Levl (Niveau de l’oscillateur 2) Permet la modulation du niveau de l’oscillateur 2. Osc2Levl (Niveau de l’oscillateur 3) Permet la modulation du niveau de l’oscillateur 3. Osc3Levl Cibles des filtres de l’ES2 Le tableau ci-dessous comprend toutes les cibles de modulation liées aux filtres. Target Commentaires Module le paramètre Cutoff Frequency du Filtre 1. Consultez Utilisation des paramètres Cutoff et Resonance du filtre de l’ES2. Cutoff 1 Resonance 1 (Reso 1) Module le paramètre Resonance du Filtre 1. Cutoff 2 Module le paramètre Cutoff Frequency du Filtre 2. Resonance 2 (Reso 2) Module le paramètre Resonance du Filtre 2. Détermine l’intensité de la modulation de fréquence du filtre passe-bas (LPF FM) du Filtre 2, avec une onde sinusoïdale (ayant la même fréquence que l’oscillateur 1). Ce paramètre est décrit à la rubrique Modulation de la fréquence du Filtre 2 dans l’ES2. LPF FM Module la fréquence de coupure des deux filtres en parallèle. C’est comme appliquer la même modulation aux paramètres Cutoff 1 et Cutoff 2 dans deux routages de modulation. Cut 1+2 Cut1inv2 (Cutoff 1 normale et Cutoff 2 inversée) permet de moduler simultanément les fréquences de coupure du premier et du second filtre, de façon inverse (dans des directions opposées). Autrement dit, lorsque la valeur de la fréquence de coupure du premier filtre augmente, la coupure du second filtre diminue, et vice versa. Pour les cas où vous avez associé le Filtre 1, défini comme filtre passe-haut, et le Filtre 2 en mode série, les deux agissent comme un filtre passe-bande. Dans cette configuration, la modulation du paramètre Cut1 inv 2cible provoque une modulation de la largeur de bande du filtre passe-bande. Cut1inv2 106 Chapitre 5 ES2 Target Commentaires (FltBlend) Module le paramètre Filter Blend. Consultez Présentation de l’interface ES2. Utilisation du paramètre Filter Blend Autres cibles de l’ES2 Le tableau ci-dessous comprend toutes les autres cibles de modulation. Target Commentaires Cette cible module la phase dynamique, autrement dit le niveau des voix. Si vous sélectionnez Amp comme cible et que vous la modulez avec un LFO comme source, le niveau change régulièrement et vous entendez un effet de trémolo. Amp Cette cible module la position panoramique du son dans le spectre stéréo ou Surround. Si vous modulez la balance avec un LFO, vous obtenez un trémolo stéréo ou Surround (également appelé panoramique automatique ou autopan). En mode Unison, les différentes voix utilisées se voient réparties sur toute la largeur du spectre stéréo ou Surround. Vous pouvez néanmoins encore moduler le paramètre Pan : les différents positionnementssont alors modifiés en parallèle. Le paramètre étendu Surround Range permet de définir la plage d’angles issue des valeurs de modulation. Par exemple, si la balance est modulée selon la valeur maximale d’un LFO (avec une forme d’onde en dents de scie), une valeur Surround Range de 360 provoque des mouvements circulaires au niveau de la sortie voix. Pan Ce paramètre (disponible uniquement dans les instances Surround de l’ES2) permet de contrôler dynamiquement le volume de la sortie voix à diffuser entre les différents canaux Surround. Les valeurs négatives diminuent l’effet de Surround. Diversity (Asymétrie LFO1) Peut moduler la forme d’onde sélectionnée du LFO 1. Pour une onde carrée, ce paramètre modifie la largeur de l’impulsion. Pour une onde triangulaire, il fait évoluer la forme entre triangles et dents de scie. Pour une onde en dents de scie, il déplace son point zéro. Lfo1Asym Cette cible permet de moduler le lissage de la forme d’une onde carrée et aléatoire. Si le LFO utilise une onde triangulaire ou en dents de scie, la cible modifie les courbes, en les faisant passer par les stades convexes, linéaires et concaves. Lfo1Curve Cibles de modulation mise à l’échelle de l’ES2 Toutes les cibles de modulation ci-dessous entraînent une modulation mise à l’échelle, ce quisignifie que la valeur du paramètre Target est multipliée par la valeur de modulation. Ainsi, une valeur de modulation de 0,0 n’a aucun effet alors qu’une valeur de modulation de +1,0 revient à multiplier par 10 et une valeur de modulation de -1,0 revient à multiplier par 0,04. Chapitre 5 ES2 107 Target Commentaires Cette cible module la fréquence (débit) du LFO 1. Vous pouvez automatiquement accélérer ou ralentir le débit du LFO 1 en modulant la cible LFO1Rate avec l’un des générateurs d’enveloppe (ENV) ou avec LFO2. LFO1Rate (Attaque de l’enveloppe 2) Module le temps d’attaque du deuxième générateur d’enveloppe. Env2Atck (Chute de l’enveloppe 2) Module le temps de chute du deuxième générateur d’enveloppe. Si vous avez sélectionné Env2Dec comme cible et Velocity comme source, la durée de chute de la note jouée dépend de la force avec laquelle vous avez appuyé sur cette note. Si vous sélectionnez Keyboard comme source, les notes aiguës ont une chute plus rapide (ou plus lente). Env2Dec Le paramètre Env2Rel (libération de l’enveloppe 2) module le temps de libération du deuxième générateur d’enveloppe. Env2Rel Env2Time (Enveloppe 2 tous temps) module tous les paramètres temporels d’ENV2 : Attack, Decay, Sustain et Release time. Env2Time Env3Atck (attaque de l’enveloppe 3) module le temps d’attaque d’ENV3. Env3Atck Env3Dec Env3Dec (chute de l’enveloppe 3) module le temps de chute d’ENV3. Env3Rel (relâchement de l’enveloppe 3) module le temps de relâchement d’ENV3. Env3Rel Env3Time (Enveloppe 3 tous temps) module tous les paramètres temporels d’ENV3 : Attack, Decay, Sustain et Release time. Env3Time Cette cible module la durée de l’effet Glide (portamento). Si vous modulez l’effet Glide, en utilisant Velocity comme source, la vitesse de frappe détermine la durée nécessaire pour que les notes jouées atteignent leur hauteur tonale cible. Glide Référence des sources de modulation de l’ES2 Les sources de modulation suivantes sont disponibles : Source Commentaire LFO1 LFO 1 est utilisé comme source. LFO2 LFO 2 est utilisé comme source. ENV1 Le générateur d’enveloppe 1 est utilisé comme source. ENV2 Le générateur d’enveloppe 2 est utilisé comme source. Le générateur d’enveloppe 3 est utilisé comme source. Le troisième générateur sert toujours à contrôler le niveau sonore global. ENV3 Définissez les axes du pavé planaire comme sources de modulation pour la cible de modulation sélectionnée. Consultez Utilisation du pavé planaire de l’ES2 et Présentation de l’enveloppe Vector de l’ES2. Pad-X, Pad-Y 108 Chapitre 5 ES2 Source Commentaire Max définit la valeur de cette source sur + 1. Cela offre des options intéressantes pour contrôler l’intensité de la modulation avec toutes les valeurs via possibles. Max Le paramètre Kybd (Keyboard, clavier) correspond à la touche enfoncée sur le clavier (numéro de note MIDI). La note centrale correspond à Do3 (valeur de sortie 0). Si on se place cinq octaves plus bas ou plus haut, les valeurs de sortie correspondantessont –-1 et , respectivement. Modulez la cible Cut 1+2 avec la source Kybd pour contrôler lesfréquences de coupure desfiltresselon la position du clavier : lorsque vous montez ou descendez la gamme sur le clavier, les fréquences de coupure changent. Avec une intensité de modulation de 0,5, les fréquences de coupure augmentent proportionnellement aux hauteurs tonales des notes du clavier. Kybd Velo La sensibilité Velocity sert de source de modulation. La roulette de pitch bend est utilisée comme source de modulation bipolaire. C’est également possible lorsque le paramètre Bend Range des oscillateurs est défini sur 0. Bender La roulette de modulation sert de source de modulation.Remarque : pour la plupart des applications standard, vous vous servirez probablement de la roulette comme contrôleur via. Traditionnellement, elle permet de contrôler l’intensité des modulations LFO périodiques. Dans notre cas précis, vous pouvez l’employer pour des modulations directes et statiques, notamment pour le contrôle des fréquences de coupure des filtres (Target = Cut 1+2). ModWhl Aftertouch sert de source de modulation. L’ES2 réagit à la pression polyphonique (Aftertouch polyphonique).Remarque : si vous définissez la cible sur Cut 1+2 , les fréquences de coupure augmentent et diminuent, selon la force du jeu après la première note jouée sur le clavier MIDI sensible au toucher. Touch La roulette de modulation et le paramètre Aftertouch sont utilisés comme sources de modulation. Whl+To Les contrôleurs MIDI disponibles dans le routeur sont nommés Ctrl A à F et peuvent être assignés à des numéros arbitraires de contrôleurs. Veuillez consulter la rubrique Utilisation des macro-contrôles et affectation des contrôleurs dans l’ES2. Contrôleurs MIDI A–F RndNO1 (Note activée aléatoire 1) génère une valeur de modulation aléatoire comprise entre - 1,0 et 1,0. Cette valeur change à chaque déclenchement ou redéclenchement de note. La modulation par note activée (aléatoire) reste constante pendant toute la durée de la note, jusqu’au déclenchement de la note activée suivante.Remarque : la valeur n’est pas modifiée si vousjouez legato en mode legato. RndN01 Chapitre 5 ES2 109 Source Commentaire RndNO2 (Note activée aléatoire 2)se comporte comme le paramètre précédent, mais il glisse, sans échelonner, vers la nouvelle valeur aléatoire, à l’aide de la durée Glide (modulation incluse). Autre différence avec la note activée aléatoire 1 : en mode legato, la valeur issue de la modulation aléatoire change lorsque vousjouez en mode legato. RndN02 SideCh (modulation Side Chain) utilise un signal Side Chain comme signal (déclencheur) de modulation. Vous pouvez sélectionnez la source Side Chain dans le menu Side Chain situé dans la zone supérieure grise de la fenêtre du module. Le signal correspondant est envoyé vers le suiveur d’enveloppe interne. Ce dernier crée une valeur de modulation en fonction du niveau actuel du signal Side Chain. SideCh Référence des sources Via de modulation de l’ES2 Les sources suivantes peuvent être utilisées pour contrôler l’intensité de la modulation. via Source Commentaire Le LFO 1 contrôle l’intensité de la modulation en fonction de la vitesse et de la forme d’onde de son signal. LFO1 Le LFO 2 contrôle l’intensité de la modulation en fonction de la vitesse et de la forme d’onde de son signal. LFO2 ENV1 L’ENV1 contrôle l’intensité de la modulation. ENV2 L’ENV2 contrôle l’intensité de la modulation. ENV3 ENV3 contrôle l’intensité de la modulation. Les deux axes du pavé planaire sont également disponibles sous forme de sources via, ce qui vous permet de contrôler les intensités de modulation. Pad-X, Pad-Y Le paramètre Kybd (Keyboard, clavier) correspond à la touche enfoncée sur le clavier (numéro de note MIDI). La note centrale correspond à C3 (Do3) (valeur de sortie 0). Si on se place cinq octaves plus bas ou plus haut, les valeurs de sortie correspondantes sont - 1 et + 1, respectivement. Si vous sélectionnez Pitch123 comme cible, vousla modulez avec la source LFO1 et voussélectionnez Keyboard comme valeur Via, la profondeur du vibrato varie selon la note jouée. Autrement dit, l’intensité du vibrato est différente lorsque des notes plus aiguës ou plus graves que le positionnement Kybd défini sont jouées. Kybd Si vous sélectionnez le paramètre de vélocité (Velo) comme valeur Via, l’intensité de la modulation dépend de la vélocité. La modulation est plus ou moins accentuée selon la rapidité (force) du jeu. Velo Bender La roulette de pitch bend contrôle l’intensité de la modulation. Si vous sélectionnez ModWhl (Modulation Wheel) comme valeur via, l’intensité de la modulation est contrôlée par la roulette de modulation de votre clavier MIDI. ModWhl 110 Chapitre 5 ES2 via Source Commentaire Si voussélectionnez le paramètre Touch (Aftertouch) comme valeur Via, l’intensité de la modulation dépend de la force utilisée pour appuyer sur les touches du clavier MIDI sensible au toucher, une fois la première note jouée (l’aftertouch est également connu sous l’expression sensibilité à la pression). Touch La roulette de modulation et l’aftertouch contrôlent tous deux l’intensité de la modulation. Whl+To Les contrôleurs MIDI disponibles dans le routeur sont nommés Ctrl A à F, et non Expression, Breath et General Purpose 1 à 4. Les messages MIDI Control Change 16 à 19 sont également appelés General Purpose Slider 1/2/3/4. Ces contrôleurs peuvent être assignés à des numéros de contrôleurs arbitraires via les menus d’assignation de contrôleurs MIDI situés en bas de l’interface (appuyez sur le bouton MIDI pour accéder aux menus A à F). Contrôleurs MIDI A–F RndNO1 (Note activée aléatoire 1) génère une valeur d’intensité de modulation aléatoire comprise entre - 1,0 et 1,0, qui change à chaque déclenchement ou redéclenchement de note. La modulation par note activée aléatoire reste constante pendant toute la durée de la note, jusqu’au déclenchement de la note activée suivante.Remarque : la valeur n’est pas modifiée si vousjouez legato en mode legato. RndN01 RndNO2 (Note activée aléatoire 2)se comporte comme le paramètre précédent, mais il glisse, sans échelonner, vers la nouvelle valeur d’intensité aléatoire, à l’aide de la durée Glide (modulation incluse). Autre différence avec la note activée aléatoire 1 : en mode legato, la valeur issue de la modulation aléatoire change lorsque vousjouez en mode legato. RndN02 SideCh (modulation Side Chain) utilise un signal Side Chain comme signal (déclencheur) d’intensité de modulation. Vous pouvez sélectionnez la source Side Chain dans le menu Side Chain situé dans la zone supérieure grise de la fenêtre du module. Le signal correspondant est envoyé vers le suiveur d’enveloppe interne. Ce dernier crée une valeur de modulation en fonction du niveau actuel du signal Side Chain. SideCh Chapitre 5 ES2 111 Utilisation de la section de traitement d’effets intégré de l’ES2 L’ES2 possède un processeur d’effets intégré. Chaque modification apportée aux paramètres de ces effets est enregistrée avec chaque réglage de son. Les paramètres Intensity et Speed sont partagés par les effets Chorus, Flanger et Phaser. Cliquez pour choisir un type puissant ou léger d’effet Distortion. Cliquez pour choisir l’effet Chorus, Flanger ou Phaser. Utilisez le paramètre Tone pour modifier la couleur tonale de l’effet Distortion. Réglez pour définir le niveau du paramètre Distortion. Vous ne pouvez activer que deux effets en même temps. • Distorsion • Choix entre les effets Chorus, Flanger ou Phaser. Ces effets partagent les mêmes potentiomètres de contrôle : Intensity et Speed. Effet Distortion de l’ES2 L’effet Distortion comprend les paramètres suivants : • Bouton Soft : active le mode Soft de l’effet Distortion. Le circuit de distorsion sonne un peu comme un overdrive à tube. • Bouton Hard : active le mode Hard de l’effet Distortion. L’effet de distorsion sonne comme une boîte de distorsion totalement transistorisée. • Potentiomètre Distortion : définit la quantité de distorsion. Tournez ce potentiomètre sur zéro pour désactiver l’effet. • Bouton Tone : contrôle la partie aiguë de la sortie de l’effet de distorsion. 112 Chapitre 5 ES2 Effet Chorus de l’ES2 Un effet de chœur (chorus) est basé sur une ligne de retard dont la sortie est mixée avec le signal d’origine, pur. Le temps de retard est court, modulé de façon périodique, provoquant ainsi des variations de tonalité. Ces variations, combinées à la tonalité du signal initial, produisent l’effet de cœur. Pour activer l’effet Chorus µ Activez le bouton Chorus. • Le paramètre Intensity détermine la profondeur de l’effet (la « richesse » de la modulation). Tournez ce potentiomètre sur zéro pour désactiver l’effet. • Le paramètre Speed détermine la vitesse de la modulation. Effet Flanger de l’ES2 Un effet Flanger fonctionne de façon similaire à un effet Chorus, avec toutefois des temps de retard encore plus courts. Le signal de sortie est envoyé vers l’entrée de la ligne de retard. De cette façon, de nombreuses résonances harmoniques sont créées, évoluant de manière cyclique sur le spectre et conférant un son « métallique » au signal. Pour activer l’effet Flanger µ Cliquez sur le bouton Flanger. • Le paramètre Intensity détermine la profondeur de l’effet (le « tranchant » de la modulation). Tournez ce potentiomètre sur zéro pour désactiver l’effet. • Le paramètre Speed détermine la vitesse de la modulation. Effet Phaser de l’ES2 Un effet Phaser mixe un signal retardé et un signal d’origine. Le retard est produit par un filtre passe-tout qui applique au signal un délai relatif à la fréquence. Ce dernier est exprimé en tant qu’angle de phase. L’effet repose sur un filtre en peigne. Il s’agit essentiellement d’une rangée de crans inharmoniques (et non des résonances, comme avec l’effet Flanger), parcourant également le spectre de fréquences. Pour activer l’effet Phaser µ Cliquez sur le bouton Phaser. • Le paramètre Intensity détermine la profondeur de l’effet « balayage » (la largeur de la modulation). Tournez ce potentiomètre sur zéro pour désactiver l’effet. • Le paramètre Speed détermine la vitesse de la modulation. Chapitre 5 ES2 113 Création de variations sonores aléatoires de l’ES2 L’ES2 offre une fonction unique, qui vous permet de faire varier les paramètres du son de manière aléatoire. Vous pouvez définir l’amplitude de cette variation aléatoire et limiter les variations à des éléments spécifiques du son. Ces variations seront, sans nul doute, une source d’inspiration et une aide pour la création de sons. Elles pourront même vous amuser à l’occasion. Réglez le curseur pour déterminer le niveau de randomisation. Choisissez les paramètres que vous souhaitez randomiser avec les options de ce menu. Cliquez ici pour appliquer des réglages sonores aléatoires. Pour modifier un son de manière aléatoire µ Cliquez sur le bouton RND, en dessous de la partie Filter. D’un simple clic vous pouvez donc lancer cette fonction et la réutiliser aussi souvent que vous le souhaiter. Remarque : cette fonction n’a rien à voir avec les modulations aléatoires en temps réel. La fonction aléatoire modifie les valeurs de manière aléatoire, à chaque fois que vous cliquez sur le bouton RND. Les modulations aléatoires en temps réel s’effectuent via les formes d’onde aléatoires des LFO ou grâce au paramètre Analog, qui permet le réglage aléatoire de la hauteur tonale. Astuce : nous vousrecommandons d’enregistrer, au fur et à mesure, touslessons obtenus avec la fonction RND et que vous souhaitez conserver. Enregistrez le réglage sous un nouveau nom, en utilisant le menu Settings de la fenêtre du module. Définition du niveau de randomisation dans l’ES2 Vous pouvez définir le niveau d’altération du paramètre Random avec le curseur RND Int, situé à droite du bouton Random. Pour augmenter le niveau de variation aléatoire µ Déplacez encore le curseur vers la droite. La fonction de variation aléatoire du son modifie toujours les valeurs actuelles des paramètres, non celles du fichier de réglage d’origine. De ce fait, si vous cliquez plusieurs fois de suite sur RND, le son devient de plus en plus éloigné de l’original. 114 Chapitre 5 ES2 Pour créer plusieurs variations légères du réglage actuel µ Rechargez le réglage d’origine après chaque altération aléatoire, en l’enregistrant avec un nouveau nom si vous le souhaitez. Restriction de la randomisation aux groupes de paramètres de l’ES2 Il est possible que certains aspects du son généré vous conviennent déjà parfaitement. Il est alors préférable de ne pas les altérer. C’est notamment le cas lorsque votre son a un côté percussif plaisant et que vous avez envie d’essayer quelques variations de couleur sonore tout en le préservant. Pour éviter la variation aléatoire de n’importe quel temps d’attaque, vous pouvez restreindre la variation aux paramètres des oscillateurs ou des filtres. Pour ce faire, vous pouvez régler la destination RND sur Waves ou Filters, excluant ainsi les paramètres d’enveloppe du processus de variation. Remarque : les paramètres Master Level, Filter Bypass et Oscillator On/Off ne sont jamais randomisés. De même, lesrandomisations de l’enveloppe Vector désactivent le paramètre Solo Point. Il est possible de restreindre les variations sonores aléatoires aux groupes de paramètres répertoriés ci-dessous : Groupe de paramètres Commentaires Tous les paramètres, hormis ceux mentionnés plus haut, sont randomisés, All Tous les paramètres, hormis ceux relatifs au routeur et à la hauteur tonale de base (réglages demi-tons des oscillateurs), sont altérés. Toutefois, le réglage fin des oscillateurs est randomisé. à l’exception de Router and Pitch Tous les paramètres, hormis les paramètres de l’enveloppe Vector, sont altérés. Cela permet de préserver le feeling rythmique d’un réglage donné. All except Vector Env Seuls les paramètres Wave et Digiwave des oscillateurs sont altérés. Les autres paramètres des oscillateurs (accord, mixage et routages de modulation dans le routeur) sont préservés. Waves Les nouvelles Digiwavessontsélectionnées pour tousles oscillateurs. Les autres paramètres des oscillateurs (accord, mixage et routages de modulation dans le routeur) sont préservés. DigiWaves Les paramètres de filtre suivant sont modifiés : Filter Structure (configuration en série ou en parallèle), Filter Blend, Filter Mode, Cutoff Frequency et Resonance pour lesfiltres 1 et 2. Les paramètres Fatness et Filter FM du filtre 2 sont également randomisés. Filtres Tous les paramètres des trois enveloppes (ENV 1, ENV 2 et ENV 3) sont randomisés. L’enveloppe Vector est préservée. Envs LFOs Tous les paramètres des deux LFO sont altérés. Tous les paramètres du routeur (dans tous les routages de modulation)sont altérés: tousles paramètres d’intensité, cibles, via et sources sont modifiés. Router Chapitre 5 ES2 115 Groupe de paramètres Commentaires FX Tous les paramètres relatifs aux effets sont randomisés. Tous les paramètres d’enveloppe Vector sont altérés, y compris le routage X/Y du pavé planaire. Vector Envelope Les niveaux de mixage des oscillateurs (positionnement de l’icône carrée dans le triangle) pour les points de l’enveloppe Vector sont altérés. En revanche, le rythme et le tempo de la modulation (paramètres temporels des points) ne sont pas modifiés. Vector Env Mix Pad Les positions de l’icône carrée du pavé planaire (points de l’enveloppe Vector) sont randomisés. En revanche, le routage X/Y n’est pas modifié. Le rythme et le tempo de la modulation (paramètres temporels des points) ne sont pas modifiés non plus. Vous pouvez spécifier un sens unique de randomisation en choisissant l’une des options suivantes : • Vector Env XY Pad X only • Vector Env XY Pad Y only Options Vector Env XY Pad Seuls les paramètres temporels des points de l’enveloppe Vector sont altérés. Vec Env Times La structure même de l’enveloppe Vector est altérée. Cela concerne tous les temps, le point Sustain, le nombre de points et tous les paramètres de boucle. Vec Env Structure Les temps de réorganisation de l’enveloppe vectorielle (au sein des boucles) sont altérés : cela inclut la valeur Loop Smooth si Loop Mode est défini sur Forward ou sur Backward. Vec Env Shuffle Times Utilisation des macro-contrôles et affectation des contrôleurs dans l’ES2 La section au bas de l’interface de l’ES2 propose trois vues, accessibles en cliquant sur les boutons respectifs à gauche : Cliquez ici pour choisir une présentation. Paramètres de macro-contrôle • Macro : propose un certain nombre de macro-paramètres qui affectent des groupes de plusieurs autres paramètres. • MIDI : vous permet d’affecter des contrôleurs MIDI à desroutages précis de modulation (consultez Référence des sources Via de modulation de l’ES2). 116 Chapitre 5 ES2 • Macro Only : remplace l’interface de l’ES2 par une présentation dédiée plus petite et limitée aux macro-paramètres. Utilisation des macro-paramètres de contrôle de l’ES2 Les macro-paramètresfournissent un accèsrapide à plusieurs paramètresliés et connexes. Lorsque vous modifiez les contrôles de ces macros, un, deux, voire plusieurs paramètres de l’interface ES2 sont mis à jour en conséquence. Par exemple, le réglage du macro-contrôle Detune affecte simultanément le paramètre Analog et les paramètres de fréquence brute et fine des oscillateurs. Important : l’impact de chaque contrôle macro dépend entièrement des valeurs de paramètres du réglage actuel. Dans certaines sonorités, il est possible que plusieurs contrôles macro n’aient aucun effet. Un autre avantage des macro-paramètres est qu’ils sont compatibles avec les réglages des instruments GarageBand basés sur l’ES2. Vous pouvez donc utiliser l’ES2 ou certains réglages de synthétiseur GarageBand indifféremment. Affectation des contrôleurs dans l’ES2 En cliquantsur le bouton MIDI, en bas à gauche de l’interface, vous affichez les affectations de contrôleurs. Six menus, de Ctrl A à Ctrl F, sont disponibles. Vous pouvez utiliser n’importe quel contrôleur MIDI indiqué dans les menus pour ces sources de contrôle. Consultez Utilisation des oscillateurs de l’ES2. Pour assigner un contrôleur µ Cliquez sur un menu de contrôle, puis choisissez dansla liste le nom/numéro du contrôleur que vous souhaitez utiliser. Pour apprendre l’assignation de contrôleurs via MIDI 1 Cliquez sur un menu de contrôle, puis choisissez l’élément -Learn-. 2 Déplacez le contrôleur souhaité sur votre contrôleur ou clavier MIDI. Remarque : si aucun message MIDI approprié n’est reçu dans les 20 secondes, le contrôle sélectionné rétablit l’assignation/la valeur précédente. Chapitre 5 ES2 117 Informations sur les contrôleurs 14 bits non affectables Les contrôleurs 0 et 32 sont réservés aux messages de sélection de banque ; le contrôleur 1 est utilisé comme source de modulation dans le routeur ; les contrôleurs 33 à 63 fonctionnent comme des LSB pour les contrôleurs 1 à 31 ; les contrôleurs 64 à 69 sont réservés aux messages des pédales; les contrôleurs 120 à 127 sont réservés aux messages de mode de canal. Dans la caractéristique MIDI, tous les contrôleurs de 0 à 31 sont connus comme des définitions de contrôleur MSB (Most Significant Bit, Bit le plus significatif). Chacun de ces contrôleurs (0 à 31) contient également une définition de contrôleur LSB (Least Significant Bit, Bit le moinssignificatif) (contrôleurs 32 à 63). L’utilisation de ce contrôleur LSB secondaire en association avec le contrôleur MSB permet d’obtenir une résolution de 14 bits au lieu de 7 bits. L’ES2 reconnaît ces messages de modification de contrôleur, comme pour un contrôleur Breath ou Expression. Autrement dit : • Les contrôleurs 14 bits sont des paires de messages de changement de commande (CC), dans lesquelles le numéro du second message CC (LSB) est supérieur de 32 au premier message CC (MSB). Voici des exemples de paires 14 bits : CC1/33, CC7/39 et CC10/42. • Les contrôleurs 14 bits sont dotés d’une résolution de 16 384 pas, qui permet un contrôle très précis des paramètres du module. Le premier message CC d’une paire 14 bits (MSB) a une résolution brute de 128 pas. Chacun de ces pas peut être divisé en 128 sous-pas supplémentaires, grâce au second message CC (LSB). Ainsi, 128 x 128 = 16 384 pas. • Il n’est pas nécessaire de créer de nouveaux types de données, voire destypesspéciaux, pour utiliser les contrôleurs 14 bits. Une résolution plus fine est obtenue en associant le message CC affecté (MSB) au LSB correspondant. Le message CC affecté dans l’ES2 peut toujours être utilisé seul si votre contrôleur MIDI n’est pas en mesure d’envoyer des messages 14 bits, ce qui limite la résolution à 7 bits, soit 128 pas. La capacité 14 bits constitue la raison pour laquelle les numéros CC 33 à 63 ne peuvent pas être affectés dans les menus Ctrl A à F. L’utilisation de ces numéros CC (LSB) entraînerait la modification de 1/128e de la plage de paramètres ou, en d’autres termes, 128 pas continus sur 16 384. 118 Chapitre 5 ES2 Utilisation de l’ES2 en mode Surround Danslesinstances Surround de l’ES2, deux paramètres globaux supplémentairess’affichent dans la section à curseurs Extended Parameters, au bas de l’interface : Surround Range et Surround Diversity. • Surround Range : détermine la plage de l’angle Surround. Les valeurs possibles vont de 0 à 360 degrés. Autrement dit, ce paramètre détermine l’ampleur du champ Surround. Vous pouvez moduler le mouvement dessons(au sein de la plage Surround) en utilisant la cible Pan dans le routeur. • Surround Diversity : détermine la manière dont le signal de sortie est réparti entre les haut-parleurs Surround. Si vous définissez une valeur égale à 0, seuls les haut-parleurs les plus proches de la position du signal d’origine traiteront le signal. Une valeur Diversity égale à 1 distribue une quantité de signal identique à l’ensemble des haut-parleurs. Vous pouvez moduler la répartition des signaux entre les haut-parleurs avec la cible Diversity dans le routeur. Guide d’initiation à l’ES2 : création de sons Ce guide d’initiation vous explique la création complète des sons couramment utilisés. Le guide d’initiation intitulé « Utilisation de modèles » vous explique également le processus de création de sons, mais à partir d’un certain nombre de modèles. Consultez Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons. Pour connaître les réglages correspondants à ces guides d’initiation dans la fenêtre de l’ES2, ouvrez le menu Settings et sélectionnez Tutorial Settings. Chapitre 5 ES2 119 Conception complète de sons, réglage du filtrage et Digiwaves dans l’ES2 Le réglage d’initiation Analog Saw Init est conçu pour être utilisé comme point de départ lorsque vous programmez complètement de nouveaux sons. Lors de la programmation de sons entièrement nouveaux, les concepteurs professionnels apprécient d’utiliser ce type de réglage, qui offre un son non filtré à onde en dents de scie sans enveloppe, modulation ou toute autre astuce. Ce type de réglage s’avère également utile lorsque vous apprenez à utiliser un nouveau synthétiseur. Vous pouvez, en effet, accéder à l’ensemble des paramètres sans vous soucier d’éventuelles valeurs préréglées. • Nous allons commencer par nous attaquer aux filtres, au centre de tout synthétiseur substractif. Testez les quatre types de filtre passe-bas (12 dB, 18 dB, 24 dB et fat ; filtre 2) avec différentes valeurs Cut (Cutoff Frequency) et Res (Resonance). Définissez Env 2 comme enveloppe du filtre. Cette configuration de modulation est prédéfinie dans le routeur. • Placez le curseur Filter Blend complètement à gauche. Vous pouvez ainsi entendre le son issu du premier filtre seul. Dans de nombreux cas, vous préférerez certainement utiliser le second filtre. Toutefois, le premier filtre a certains avantages. Outre le filtre passe-bas doté d’une pente de 12 dB/octave (Lo), le filtre 2 propose également un mode passe-haut, crête, passe-bande (BP) ou refus de bande (BR). Le passe-bas du filtre 1 paraît plus « doux » que celui du filtre 2. Il convient très bien aux sons pour lesquels l’effet de filtre est ou doit être moins audible, comme pour les sons de cordes et FM. Les sons distordus de type TB-303 sont obtenus plus facilement avec le premier filtre. • Ce réglage permet, en outre, d’observer les différentes formes d’onde des oscillateurs. Les formes d’onde analogiques se définissent dans la présentation Editor. Pour sélectionner les Digiwaves, réglez le paramètre Wave de l’oscillateur 1 sur Digiwave. Création de sons épais dans l’ES2 avec le mode Detuning et Unison de l’oscillateur Les sons de synthétiseur « épais » ont toujours été prisés et la tendance risque de se poursuivre, si on considère les styles de musique moderne trance, techno, Rn’B, et plus encore. Le réglage Analog Saw 3 Osc présente trois oscillateurs désaccordés et génère un son particulièrement épais Nous vous présentons ci-dessous quelques outils supplémentaires permettant d’obtenir un son encore plus épais. • Vérifiez le son de base obtenu avec les trois oscillateurs, en utilisant différents réglages de filtre et d’enveloppe. • Testez l’effet Chorus avec différentes intensités et vitesses. • Lancez le mode Unison et affectez une valeur supérieure à Analog. Comme le son est polyphonique, chaque note est doublée. Le nombre de notes pouvant être jouées simultanément est réduit de 10 à 5. Le son est alors plus riche et large. En associant le mode Unison à des valeurs Analog élevées, vous diffusez le son sur l’ensemble du spectre stéréo ou Surround. 120 Chapitre 5 ES2 Dans la plupart des réglages prédéfinis, le mode Unison est activé. Or, ce mode demande énormément de puissance de traitement. Si votre ordinateur n’est pas assez puissant, vous pouvez le désactiver et insérer un effet Ensemble sur un bus, en vue d’une utilisation avec plusieurs modules. Vous économisez ainsi lesressources de traitement. Vous pouvez également économiser les ressources en appliquant la fonction Freeze ou Bounce à plusieurs pistes d’instruments logiciels. Création de sons et d’effets monophoniques désaccordés avec l’ES2 Le réglage Analog SawUnison est un son de base non filtré, épais et très désaccordé. Trois oscillateurs en dents de scie sont utilisés, mails ils sont désaccordés encore davantage. L’association du mode Unison à une valeur Analog élevée joue un rôle central, sauf que cette fois, le mode monophonique est utilisé pour assembler dix voix. Sans ajout d’effets, le son obtenu est extrêmement chargé, comme danslesinnombrables productions dance et trance. À l’aide des réglages de filtre et d’enveloppe appropriés, il est facile de définir les sons électroniques convenant parfaitement pour l’arpégiation et le séquençage. • Définissez le paramètre Cutoff Frequency du filtre 2 sur 0. Vous activez ainsi l’enveloppe prédéfinie pour le filtre. N’hésitez pas à essayer différents réglages d’enveloppe. • Réglez l’oscillateur 1 pour obtenir un son une ou deux octaves plus bas. • Augmentez la valeur du paramètre Drive ou Distortion. • Définissez le générateur Env 2 de sorte qu’il prenne en compte la vélocité du jeu. Vous pouvez ainsi effectuer des modulations de filtre sensibles à la vélocité. • Ajoutez un effet de retard à une tranche de console d’instrument de l’ES2 (ou une cible de bus). Création de sons de basses clairs avec un seul oscillateur dans l’ES2 Il n’est pas obligatoire d’utiliser plusieurs oscillateurs pour générer un son. De nombreux sons simples et efficaces requièrent l’utilisation d’un seul oscillateur. Les sons de basses synthétisés en sont un exemple type : ils peuvent être créés rapidement et facilement avec le réglage élémentaire Analog Bass clean. Le son de base a une forme d’onde rectangulaire et il est transposé une octave en dessous. Le son est filtré par le filtre 2. L’effet spécial de ce son réside dans son association de Legato et de Glide (portamento). Lorsque le jeu est staccato, aucun effet glissé n’est appliqué. Lorsque vous jouez legato, la tonalité passe délicatement d’une note à une autre. Pour redéclencher les enveloppes, vous devez relâcher toutes les touches avant de jouer une nouvelle note. • Essayez différents réglages pour le filtre et le générateur d’enveloppe. • Remplacez la forme d’onde rectangulaire par un signal en dents de scie. • Modifiez les valeurs du paramètre Glide. Chapitre 5 ES2 121 Mieux vaut effectuer des modifications lorsqu’une ligne de basse est en cours de lecture. Créez ou jouez une ligne de basse monophonique, en jouant la plupart des notes en staccato et certaines en legato. Vous pouvez obtenir des résultats très intéressants avec des glissés très longs. Création de basses analogiques distordues avec l’ES2 Avec le réglage Analog Bass Distorted, le filtre 1 est engagé avec des réglages élevés pour les paramètres Drive et Distortion. Ce filtre convient mieux à la création de sons analogiques distordus que le second filtre. • Essayez le filtre 2 en plaçant le curseur Filter Blend tout à fait à droite. Vous constaterez que le filtre 1 est mieux adapté aux sons distordus. • Pour contrôler la modulation du filtre, déplacez les curseurs verts du premier canal de modulation dans le routeur. Ce canal contrôle l’intensité de la modulation. Utilisation des paramètres FM Intensity et Frequency pour créer des sons dans l’ES2 Le réglage FM Start permet de vous habituer à la synthèse de modulation de fréquence (FM) linéaire. Vous entendez un son sinusoïdal non modulé, généré par l’oscillateur 1. L’oscillateur 2 est activé et défini pour produire également une oscillation sinusoïdale, mais son niveau est défini sur 0 : faites glisser le petit carré situé dans l’angle le plus haut du triangle pour modifier les réglages. Dansl’ES2, l’oscillateur 1 est toujoursle porteur et l’oscillateur 2 le modulateur. En d’autres termes, l’oscillateur 2 module l’oscillateur 1. • Réglez l’intensité de la fréquence de modulation en déplaçant doucement le sélecteur de forme d’onde de Sine vers FM. Vous entendez alors un spectre FM typique, avec le porteur et le modulateur sur une même fréquence. • Modifiez alorsla fréquence du modulateur (oscillateur 2) en faisant passer le paramètre Fine Tune de 0 c à 50 c. Il en résulte une modulation de fréquence trèslente, comparable à l’effet d’un LFO. Toutefois, cette modulation se produit au sein du spectre audio. Elle est réglable par pas d’un demi-ton via le sélecteur de fréquence. Vérifiez la plage entière de - 36 s à + 36 s pour l’oscillateur 2. Vous entendez un large spectre de sons FM. Il est possible que certainsréglages vous évoquent certainssons classiques de synthétiseurs FM. • Sélectionnez d’autres formes d’onde pour l’oscillateur 2. La forme sinusoïdale est la forme classique etstandard en FM, mais d’autresformes d’onde procurent desrésultats intéressants, notamment les Digiwaves. • Il est possible de générer d’autres sons remarquables en modifiant la fréquence du porteur (oscillateur 1). Vérifiez également ici la plage entière, de - 36 s à + 36 s. Les intervalles impairs sont particulièrement étonnants. Notez que la hauteur tonale de base est alors modifiée. 122 Chapitre 5 ES2 Contrôle de l’intensité FM de l’ES2 par une enveloppe et une mise à l’échelle FM Dans le réglage FM Envelope, vous pouvez contrôler l’intensité FM avec une enveloppe, générée par l’enveloppe 2. La cible de modulation est la plage qui s’étend entre Sine et FM dansle sélecteur d’ondes de l’oscillateur. Pour ce routage de modulation, vous utilisez le premier canal de routeur. Vous pouvez contrôler une plage d’intensité plus étendue en utilisant des routages de modulation supplémentaires prédéfinis. Pour ce faire, vous devez simplement attribuer des valeurs à ces modulations. Comme elles ne sont pas sensibles à la vélocité, vous pouvez les définir dans la présentation Editor, en déplaçant à la fois les sections inférieures et supérieures des curseurs vers leurs valeurs maximum. • Réglez le second canal de modulation sur 1,0. Vous pouvez entendre la modulation évoluée sur une plage sonore plus vaste. • Réglez également les canaux de modulation 3 et 4 sur 1,0, puis écoutez l’élargissement de plage sonore. • Suite à ces fortes augmentations de la plage de modulation, le son est inégalement réparti sur le clavier. Au niveau des notes graves et médiums, le son est agréable, mais dans les aigus, l’intensité FM est trop prononcée. Vous pouvez compenser cet effet en modulant la cible Wave de l’oscillateur 1 par la position du clavier (kybd) pour les routages de modulation 5 et 6. Cela entraîne une mise à l’échelle clavier de l’intensité FM. • La plage sonore obtenue est tellement vaste (en raison des 4 modulations) qu’il est nécessaire d’utiliser deux routages de modulation. Abaissez au maximum les deux sections de curseur inférieures. Une bonne mise à l’échelle au clavier est essentielle à tout son FM. Utilisation des paramètres FM Drive et Filter FM pour modifier la couleur des sons de l’ES2 Le réglage FMDrive illustre comment vous pouvez modifier considérablement le caractère des sons FM lorsque vous appliquez les paramètres Drive et Filter FM. Les sons ainsi produits rappellent ceux des circuits à réinjection (feedback) des synthétiseurs FM classiques. • Testez différents réglages pour Drive et Filter FM. • Ramenez le paramètre Cutoff Frequency du filtre 2 à 0. L’enveloppe 2 module le filtre 2. Ce routage de modulation est déjà présent dans le réglage. Création de sons FM avec des Digiwaves dans l’ES2 Dansle réglage FMDigiwave, une Digiwave sert de modulateur FM. Il en résulte un spectre sonore évoquant un son de cloche par deux opérateurs seulement. En général, avec une synthèse FM traditionnelle, ce type de timbre est normalement obtenu avec davantage d’oscillateurs sinusoïdaux. Chapitre 5 ES2 123 Pour créer un son plus épais, évocateur et ondulant, le mode Unison polyphonique est activé. Les enveloppes de filtre et d’amplitude ont été préréglées pour définir la forme du son. • Testez les nombreuses Digiwaves en tant que sources de modulation FM. • Utilisez différentes valeurs pour le paramètre Analog. Création de sons FM avec des tables d’ondes dans l’ES2 Vous pouvez programmer des sons FM particulièrement colorés par métamorphose de la source de modulation entre les différentes Digiwaves. Le morphing dans le réglage FM Digiwave est contrôlé par le LFO 2. Le tempo du LFO 2 et, par conséquent le morphing, dépend du tempo de l’application hôte, ici, 2 mesures. • Définissez différentesformes d’onde pour le LFO2. La valeur Lag S/H (lissage aléatoire), notamment, donne souvent des résultats amusants. • Essayez diverses intensités FM et fréquences d’oscillateur. • Modifiez l’intensité de la modulation du premier canal de modulation (LFO2 modulant Osc2 Wave) et la fréquence du LFO 2. Création de sons FM distordus dans l’ES2 en mode Unison monophonique Le réglage FM Megafat convient parfaitement aux sons de basse ou de guitare distordus. Ce son devient assez « rude » dans les aigus. Or, il est impossible de contrebalancer cela par une mise à l’échelle des notes. Cependant, on ne cherche pasforcément à ne produire que des sons « agréables » sur tout le clavier. • Essayez des désaccords extrêmes en modifiant le paramètre Analog. • Testez ce son avec l’effet Flanger. • Activez l’enveloppe de filtre en abaissant à 0 la fréquence de coupure du second filtre. • Ajoutez un effet Glide aux sons lead. • Comme toujours lorsqu’il s’agit de FM, vous pouvez modifier considérablement le son en faisant varier les fréquences des oscillateurs. N’oubliez pas de tester également les intervalles impairs. Création de sons FM avec des spectres inhabituels dans l’ES2 Si la hauteur tonale n’a aucune importance, vous pouvez obtenir le spectre le plus étrange qui soit grâce à des rapports de fréquences impairs (intervalles d’oscillateur). Le réglage FM Out of Tune offre un son semblable à celui d’une cloche, évoquant un modulateur en anneau. Il est obtenu avec les valeurs suivantes : 30 s 0 c, le modulateur étant sur 0 s 0 c. Dans les années 80, les sons de ce type étaient très populaires. Ils connaissent désormais un regain d’intérêt grâce aux styles modernestels que la musique d’ambiance et la trance. 124 Chapitre 5 ES2 Vous pouvez développer davantage ce son en appliquant des modulations de filtre et d’enveloppe, ainsi que des effets. Il n’en reste pas moins, qu’hélas, il est désaccordé. • Utilisez l’oscillateur 3 comme référence pour accorder le son FM, en faisant glisser l’icône carrée dans le triangle. • Vous constatez que le son est trop haut de 5 demi-tons (ou, à l’inverse, trop bas de 7 demi-tons). • Transposez les oscillateurs 1 et 2 cinq demi-tons en dessous(500 c). Il n’est pas pratique d’effectuer une transposition vers le haut. En effet, dans ce cas vous devez sélectionner 37 s 0 c pour l’oscillateur 1, alors que sa valeur maximale est 36 s 0 c. • Il est important de maintenir le rapport de fréquence (intervalle) entre les oscillateurs 1 et 2. Cela signifie que l’oscillateur 1 produit des sons à 25 s 0 c et l’oscillateur 2 à - 5 s 0 c. Réglage des modulations d’impulsions en durée avec l’oscillateur 2 dans l’ES2 La modulation d’impulsions en durée (MID) est l’une des fonctions essentielles de tout synthétiseur analogique. • Choisissez le réglage PWMStart etsélectionnez tour à tour l’onde de forme rectangulaire et celle pulsée dans la section Wave. Les deux symboles correspondants sont verts. Vous entendez alors une modulation manuelle de la largeur d’impulsions. • Choisissez le réglage PWM Slow. À présent la source de la modulation de la largeur d’impulsion est contrôlée par le LFO 1 et non manuellement. Le résultat doit être sensiblement identique. • Augmentez la fréquence du LFO 1 en le faisant passer de 0,230 (sa valeur prédéfinie) à 4,400. Le résultat est une PWM rapide et classique. • Dans ce réglage et le suivant, la MID doit être définie de sorte qu’elle paraisse pluslente dans le bas du clavier et plus rapide dans la partie haute. Cela est souhaitable pour de nombreux sons, comme les sons de cordes synthétiques. Réduisez tout d’abord la fréquence du LFO 1 à 3,800. • Changez ensuite l’intensité de la modulation du second canal de routeur (Target = LFO1 Rate, Source = Kybd) en lui affectant une valeur de 0,46. La mise à l’échelle de la PWM est ainsi modifiée et le son semble plus rapide dans les aigus. Ce type d’effet est également utilisé dans le réglage PWM Scaled. Astuce : Évitez d’utiliser les paramètres Drive et Distortion avec les sons PWM. Chapitre 5 ES2 125 Création de sons de cordes dans l’ES2 avec la modulation d’impulsions en durée Pour générer un son plus épais, ajoutez l’oscillateur 3, lequel peut également subir une modulation d’impulsions en durée. En fait, même le premier oscillateur peut fournir une PWM. Dans le réglage PWM 2 Osc, les deux oscillateurs sont désaccordés de manière plutôt significative. Développez votre propre son de cordes PWM en utilisant ce réglage comme base de départ. • Ajustez l’intensité du cœur (Chorus). Vous affecterez probablement des valeurs plus élevées pour conférer davantage de largeur au son. • Programmez le générateur Env 3 à votre guise. Vous devez, au moins, augmenter ses temps d’attaque et de libération. Vous pouvez aussi le paramétrer en fonction de la vélocité, si vous préférez. Si vous n’avez pas l’intention d’utiliser ce son uniquement comme simple nappe, il peut être indiqué de définir un Temps de chute plus court et un Temps de maintien de seulement 80 à 90 pour cent. • Diminuez la fréquence de coupure et la résonance du premier filtre afin d’adoucir le son. • Enregistrez ce nouveau réglage. • Comparez le son obtenu avec celui du réglage PWM 2 Osc d’origine. Vous pouvez constater que le son a considérablement évolué. • Comparez-le également au réglage PWM Soft Strings, qui a été créé tel que décrit ci-dessus. Des ressemblances notables peuvent être observées. Création de sons avec la modulation en anneau dans l’ES2 Un modulateur en anneau comprend deux signaux en entrée et produit, en sortie, leur somme et leur rapport de fréquences. Dans l’ES2, la sortie de l’oscillateur 2 peut permettre la modulation en anneau. Elle peut être alimentée, d’une part, par une onde carrée produite par l’oscillateur 2 et, d’autre part, par l’onde de l’oscillateur 1, lorsque la forme d’onde sélectionnée pour l’oscillateur 2 est Ring. Les intervalles (rapports de fréquences) impairs entre les oscillateurs créent des spectres de type son de cloche, qui rappellent ceux du réglage Ringmod Start. Le troisième oscillateur peut être utilisé comme référence d’accord, pour conserver une sorte d’accord de base. Il est possible que vous trouviez parfois qu’un son désaccordé est utile, notamment comme source d’inharmoniques et d’harmoniques pour une autre onde élémentaire, fournie par le troisième oscillateur. 126 Chapitre 5 ES2 Essayez de programmer un son de cloches atmosphérique. Ayez recours à votre imagination, mais voici entre autres quelques conseils pouvant vous être utiles : • Testez les différents rapports de fréquences des oscillateurs 1 et 2. Vous envisagez peut-être d’utiliser le rapport 29 s 0 c/21 s 0 c, qui ne semble pas désaccordé du tout. La modulation en anneau ne sert pas uniquement aux sons de type cloche, elle permet également d’obtenir une grande diversité de spectres qui peuvent paraître étonnants à basses fréquences. Essayez aussi de modifier le réglage fin des oscillateurs. • Pour l’effet Chorus, essayez une intensité de 50 pour cent et une valeur Rate équivalente à 2/3 environ de la valeur maximum. • Réglez à votre guise les temps d’attaque et de libération du générateur Env 3. • Utilisez les paramètre Drive et Filter FM, si vous aimez les sons un peu « débridés ». • Pour le reste, à vous de jouer ! Création de sons avec la synchronisation des oscillateurs dans l’ES2 Si vous sélectionnez les formes d’onde carrée et en dents de scie synchronisées pour les oscillateurs 2 et 3, ceux-ci sont alors synchronisés avec l’oscillateur 1. Dans le réglage Sync Start, seul l’oscillateur 2 est audible et l’oscillateur 3 est désactivé. Les sons synchronisés typiques présentent des balayages de fréquences dynamiques sur de larges plages. Ces modulations de fréquence (ou balayages) peuvent être utilisées de différentes manières. • Essayez tout d’abord la modulation de la hauteur tonale préprogrammée, affectée à la roulette de modulation. • Dans le deuxième canal du routeur, une modulation de la hauteur tonale d’enveloppe a été préprogrammée (cible = Pitch 2, source = Env 1). En définissant 1,0 comme valeur minimum, on obtient une enveloppe synchronisée typique. Essayez également des temps de chute plus courts pour le générateur Env 1. • Pour éviter l’aspect stérile et sans vie (une fois la phase de chute de l’enveloppe terminée), vous pouvez également moduler la fréquence de l’oscillateur avec un LFO. Utilisez le troisième canal du routeur et définissez la modulation minimum appliquée par le LFO 1 sur 0,50 environ. • Remplacez l’onde carrée avec synchronisation par l’onde en dent de scie avec synchronisation, observez le résultat et voyez si celui-ci vous convient. Remarque : la modulation d’impulsions en durée est également disponible par le biais de l’onde carrée synchronisée des oscillateurs 2 et 3. Une modulation des paramètres Wave de ces deux oscillateurs entraîne une MID lorsque l’onde carrée synchronisée est sélectionnée. Chapitre 5 ES2 127 Premiers pas avec la synthèse vectorielle dans l’ES2 Ce guide d’initiation fournit des conseils utiles pour la programmation des enveloppes Vector. Dans le réglage Vector Start, le mixage des sons issus des oscillateurs est contrôlé par l’enveloppe Vector. Chaque oscillateur a été défini avec une forme d’onde différente. • Passez de la présentation Router à la présentation Vector. • Le réglage élémentaire (par défaut) de l’enveloppe vectorielle consiste en 3 points d’enveloppe, le premier étant le point de départ, le deuxième, le point Sustain et le troisième, la cible de la phase de libération. En cliquant sur ces points, vous pouvez voir, dans le triangle, que le mixage est à chaque fois défini sur 100 pour cent pour l’oscillateur 1. • Cliquez sur le point 2 et faites glisser l’icône carrée dans le triangle vers l’oscillateur 2. Vous entendez alors une onde carrée, et non l’onde en dents de scie de l’oscillateur 1. • Lancez l’enveloppe vectorielle en désactivant le paramètre Solo Point. Tant que ce paramètre est activé, vous entendez uniquement le pointsélectionné,sans modulation dynamique. Une fois qu’il est désactivé, vous entendez le son osciller entre dents de scie et carrés, à chaque déclenchement de note. • Modifiez la durée préréglée de 498 ms, entre les points 1 et 2. • Tout en maintenant la touche Maj enfoncée, cliquez entre les points 1 et 2. Vous créez ainsi un nouveau point 2 et le point précédemment décrit comme le point 2 devient le point 3. Le tempstotal écoulé entre le point 1 et le point 3 est réparti entre les durées écoulées entre les points 1 et 2 et les points 2 et 3. La répartition prend effet à l’emplacement du clic. Si vous cliquez exactement à mi-chemin, les deux nouvelles sections ont des durées égales. • Cliquez sur le point 2 nouvellement créé, puisfaites glisser l’icône carrée correspondante dans le triangle vers l’oscillateur 2. • Cliquez sur le point 3 et faites glisser l’icône carrée correspondante dans le triangle vers l’oscillateur 3. Écoutez le morphing des trois oscillateurs de l’onde en dents de scie, puis carrée, puis triangulaire, au niveau du point Sustain final. • Cliquez sur le point 4 (le point final) et faites glisser l’icône carrée correspondante dans le triangle versl’oscillateur 1,si ce n’est pas déjà le cas. Une foisla touche jouée relâchée, vous pouvez entendre le son revenir vers la forme d’onde en dents de scie de l’oscillateur 1. Utilisation du pavé planaire pour la synthèse vectorielle dans l’ES2 Le réglage Vector Envelope débute à l’endroit où le réglage Vector Start est désactivé. Vous disposez donc d’une simple enveloppe vectorielle comprenant 4 points, définie pour moduler le mixage des sons issus des oscillateurs (le triangle). 128 Chapitre 5 ES2 Dans cet exemple, l’enveloppe Vector est utilisée pour contrôler deux paramètres supplémentaires : Cutoff Frequency (filtre 2) et Panorama. Ces deux paramètres sont prédéfinis comme cibles X et Y dans le pavé planaire. La valeur 0,50 leur est affectée à chacun. • Activez le paramètre Solo Point pour entendre plus facilement les réglages de chaque point. • Cliquez sur le point 1. Vous entendez uniquement l’onde en dents de scie de l’oscillateur 1. • Faites glisser l’icône carrée dans le pavé planaire complètement à gauche ; vous définissez ainsi une faible fréquence de coupure pour l’oscillateur 2. • Cliquez sur le point 2. Vous entendez uniquement l’onde rectangulaire de l’oscillateur 2. • Faites glisser l’icône carrée dans le pavé planaire complètement vers le bas ; vous définissez ainsi une position panoramique totalement à droite. • Cliquez sur le point 3. Vous entendez uniquement l’onde triangulaire de l’oscillateur 3. • Faites glisser l’icône carrée dans le pavé planaire complètement vers le haut ; vous définissez ainsi une position panoramique totalement à gauche. • Activez Solo Point. Au départ, le son a une forme d’onde en dents de scie, avec un filtrage très marqué, puis il prend une forme carrée non filtrée. Il vient alors de la droite, puis va vers la gauche à mesure du morphing vers une onde triangulaire. Une fois la note relâchée, un son en dents de scie est perçu. Utilisation des boucles de synthèse vectorielle dans l’ES2 Le son de base du réglage Vector Loop, sans l’enveloppe Vector, est composé de trois éléments : • L’oscillateur 1 génère un spectre FM de caractère métallique, modulé par la table d’ondes de l’oscillateur 2. • L’oscillateur 2 produit des DigiWaves avec fondu enchaîné (soit, une table d’ondes), modulées par le LFO 2. • L’oscillateur 3 joue un son PWM bien équilibré,selon la vitesse du LFO 1 et mis à l’échelle au clavier. L’utilisation des modes Unison et Analog confère corps et largeur au son. Ces couleurssonores plutôt hétérogènesservent de sourcessonores à la boucle vectorielle. Chapitre 5 ES2 129 Une boucle de lecture en avant lente est prédéfinie. Elle passe de l’oscillateur 3 (son MID, point 1) à l’oscillateur 1 (son FM, point 2), puis de nouveau à l’oscillateur 3 (MID, point 3) et à l’oscillateur 2 (table d’ondes, point 4). Finalement, elle revient à l’oscillateur 3 (MID, point 5). Les points 1 et 5 sont identiques, ce qui empêche toute transition du point 5 vers le point 1, dans la boucle en avant. Il est possible d’adoucir ce genre de transition à l’aide du paramètre Loop Smooth. Toutefois, cela complexifie la programmation des éléments rythmiques. Les distances entre les différents points de l’enveloppe vectorielle ont été définies pour une rythmique exacte. Avec le paramètre Loop Rate activé, les valeurs temporelles ne sont pas exprimées en ms, mais en pourcentages. On compte quatre valeurs temporelles (chacune de 25 pour cent), ce qui facilite la conversion en valeurs de notes. • Pour désactiver l’enveloppe vectorielle, il suffit d’activer la fonction Solo Point. Elle permet d’écouter un à un les différents points. • Profitez-en pour déplacer l’icône carrée dans le pavé planaire selon vos goûts. Les axes X/Y du pavé planaire contrôlent la fréquence de coupure du second filtre et la position panoramique. Vous pouvez ajuster ces paramètres pour rendre le son plus vivant. • Pour activer l’enveloppe vectorielle, désactivez la fonction Solo Point. Écoutez le résultat obtenu et affinez le positionnement de l’icône carrée dans le pavé planaire. • Changez la valeur Loop Rate en la passant de 0,09 (valeur prédéfinie) à 2,00. Vous observez alors une modulation périodique, proche de celle d’un LFO. À ce stade, la modulation n’est pas synchronisée au tempo du projet. Pour synchroniser la lecture de la boucle avec le tempo du projet, placez le curseur Rate complètement à gauche et entrez une valeur de note ou un nombre de mesure. • Vous pouvez créer des valeurs de notes avec un rythme plus rapide en cliquant entre deux points, puis en affectant une valeur de 12,5 pour cent, par exemple, aux nouvelles valeurs temporelles, créées suite à la division en nouvelles sections. Création de sons de grosse caisse de l’ES2 avec un filtre auto-oscillant et l’enveloppe Vector Les sons de grosse caisse électroniques sont souvent créés en modulant des filtres auto-oscillants. L’ES2 permet de recourir à cette technique, notamment si vous utilisez l’enveloppe vectorielle comme source de modulation du filtre. Par rapport aux générateurs d’enveloppe de type ADSR conventionnels, l’enveloppe Vector présente l’avantage de pouvoir définir et fournir deux phases de chute indépendantes. L’effet de distorsion permet d’appliquer le « drive » approprié, sans pour autant perdre le caractère sonore original du son de batterie. Remarque : pour rendre le réglage Vector Kick vraiment dynamique, vous devez activer l’option Flt Reset, car tous les oscillateurs sont désactivés dans ce réglage et le filtre a besoin d’un peu de temps pour commencer à osciller. Au début de chaque note, Flt Reset envoie une impulsion très courte vers le filtre, de façon à ce qu’il oscille tout de suite. 130 Chapitre 5 ES2 En ajustant le réglage Vector Kick, vous pouvez créer touslessons de grosse caisse possibles pour enthousiasmer les pistes de danse. Voici les paramètres à privilégier pour essayer des variantes efficaces et significatives : • Filter 2 slopes : 12 dB, 18 dB et 24 dB • Distortion : Intensity et Soft ou Hard • Envelope 3’s Decay Time : (D) • Vector Envelope Time 1 > 2 : prédéfini sur 9,0 ms • Vector Envelope Time 2 > 3 : prédéfini sur 303 ms • Mise à l’échelle de la durée vectorielle Création de sons graves et synthétiques percussifs de l’ES2 avec deux phases de chute de filtre Comme le réglage Vector Kick, le réglage Vector Perc Synth utilise l’enveloppe Vector pour contrôler la fréquence de coupure du filtre, avec deux phases de chute pouvant être ajustées séparément. Cela est impossible à réaliser avec un générateur d’enveloppe de type ADSR conventionnel. Essayez de créer d’autres sons percussifs de synthétiseur et de basses en jouant sur les paramètres suivants : • Enveloppe Vector : durée 1 > 2 (= Decay 1) • Enveloppe Vector : durée 2 > 3 (= Decay 2) • Mise à l’échelle de la durée vectorielle • Icônes carrées du pavé planaire pour les points 1, 2 et 3 (= Cutoff Frequency), • Formes d’onde (sélection d’autres formes d’onde) Guide d’initiation à l’ES2 : utilisation de modèles pour créer des sons Voici une brève présentation de la programmation avec l’ES2. Lors de la programmation des sons prédéfinis fournis avec l’ES2, un certain nombre de testeurs, de programmeurs et d’autres personnes impliquées dans ce projet ont émis le souhait de disposer de modèles pour leur travail de programmation, au lieu de partir de zéro. Ce souhait a entraîné un certain nombre de modèles d’initiation, ajoutés au menu Settings de la fenêtre ES2 (ouvrez le menu Settings et sélectionnez Tutorial Settings pour afficher ces modèles). Inutile de préciser que la création de modèles englobant tous les genres est impossible. Lorsque vous serez familiarisé avec l’architecture de l’ES2, vous comprendrez mieux pourquoi… Chapitre 5 ES2 131 Nous avons toutefois inclus ce petit guide de la programmation avec l’ES2 dans la barre d’outils, pour vous aider à connaître l’architecture de l’ES2 par la pratique. L’approche choisie est amusante. De plus, par le biais de quelques opérations simples, vous allez découvrir qu’il est possible d’obtenir desrésultatsrapidement lorsque vous commencerez à créer votre bibliothèque personnelle de sons. Une fois familiarisé avec l’ES2, l’utilité de tous ces paramètres et fonctions vous paraîtra plus claire et vous pourrez créer vos propres modèles. Ils vous serviront de points de départ pour la conception de nouveaux sons. Utilisation du réglage Slapped StratENV de l’ES2 Le but de ce réglage consiste à s’approcher au maximum du son d’une guitare électrique Stratocaster, avec le sélecteur (switch) entre chevalet et micro central en position médiane (en phase). Celui-ci tente de reproduire les caractéristiques sonores typiques de ce grattement de cordes criard. Ce modèle peut être une bonne base de travail pour émuler des sons proches de ceux produits par des instruments frettés, des clavecins ou des clavinets, notamment. Commençons par décrire sa structure : Les oscillateurs 1 et 3 fournissent la combinaison de formes d’onde de base, dans le champ Digiwave. La modification des Digiwaves des deux oscillateurs en combinaison offre de nombreuses variations basiques, dont certaines conviennent également bien aux sons de type piano électrique. L’oscillateur 2 ajoute des harmoniques, grâce à sa forme d’onde synchronisée. Par conséquent, faites varier uniquement sa tonalité ou sa forme d’onde. Diverses valeurs peuvent être modifiées afin d’obtenir un son plus équilibré et plus virulent. Une méthode éprouvée a permis d’obtenir une attaque vigoureuse qu’une onde nue ne pourrait apporter, même avec les filtres les meilleurs et les plus rapides disponibles: vous utilisez une enveloppe (Env1 dans ce cas) pour une « poussée » rapide de la fenêtre de table d’ondes (ou de toutes les tables d’ondes, le cas échéant). Il faut ensuite configurer le temps de chute de l’enveloppe 1 en fonction de cette courte poussée. Pour ce faire, déplacez les sélecteurs de formes d’onde de tous les oscillateurs (bien que ce type d’action n’ait aucun sens sur un oscillateur synchronisé en dents de scie, à savoir l’oscillateur 2, utilisez quand même cette astuce de l’enveloppe). Vous pouvez faire varier la vivacité du contenu avec les éléments suivants : • La contribution de l’enveloppe 1 au bruit d’attaque global, selon la vitesse de chute : une chute lente engendre une crête, tandis qu’une chute longue produit un grondement, puisque plusieurs ondes de la table sont alors lues par l’enveloppe 1. 132 Chapitre 5 ES2 • La destination de la modulation : vous pouvez toujours l’assigner à chacun des oscillateurs séparément. • Le point de départ: vousfaites varier le début de la fenêtre de l’onde avec la commande minimum/maximum régissant la modulation EG1/Osc.waves ; des valeurs négatives permettent d’avoir une onde de départ avant l’onde sélectionnée, des valeurs positives permettent de commencer la lecture aprèsl’onde sélectionnée et de remonter la table. N’hésitez pas à tester cette astuce relative à la table d’ondes. L’effet de grondement fonctionne bien pour les sons de cuivres et certains sons d’orgues se révèlent complètement en leur ajoutant un petit clic, obtenu en poussant la table d’ondes. Le générateur Env 2, qui contrôle le filtre, génère une légère attaque, utilisée pour l’aspect « frappé » (slap). En le réglant sur sa valeur la plus rapide, vous éliminez l’attaque de type wah wah, tout en conservant la vivacité. Au niveau du jeu, le LFO 2 est utilisé comme source de vibrato en temps réel. La roulette de modulation et la force du jeu (pression) lui sont assignées. N’accordez pastrop d’attention aux différentsréglages de roulette et de pression. N’hésitez pas à les modifier. Le paramètre Velocity est configuré de façon à être très réactif : en effet, de nombreux joueurs de synthétiseur n’appuient pas sur les touches à la manière d’un pianiste habitué aux touches « lourdes ». C’est pourquoi nous vousrecommandons de jouer cette sonorité assez doucement, sous peine d’entendre l’aspect frappé glisser légèrement. À défaut, vous pouvez ajuster la sensibilité à la vélocité pour la modulation du filtre afin qu’elle corresponde à votre jeu. N’hésitez pas à entrer une valeur maximale pour le paramètre Voices ; six cordes sont suffisantes pour des sons de guitare, toutefois, pour les notes tenues ou suspendues, quelques voix supplémentaires peuvent être utiles. Utilisation du réglage Wheelrocker de l’ES2 Ce patch d’orgue assez ordinaire n’est pas porteur d’un quelconque secret de conception profond et efficace : il représente juste l’association de trois oscillateurs avec des niveaux d’ondes mixés. Vous découvrirez vraisemblablement une combinaison différente, qui correspond davantage à l’idée que vous vousfaites d’un son d’orgue. Testez les Digiwaves. Fixez votre attention sur la réponse de la roulette de modulation : maintenez une corde et actionnez la roulette en la déplaçant lentement versle haut, jusqu’à atteindre le niveau maximum. La programmation de cette modulation par roulette vise à simuler une enceinte rotative Leslie accélérée. Chapitre 5 ES2 133 Les routages de la modulation permettent d’assurer les tâches suivantes : • Le routage de modulation 1 assigne l’enveloppe 2 au filtre 1 (le seul utilisé dans ce patch) et produit, avec l’enveloppe, un léger clic de touche d’orgue. Le filtre est légèrement ouvert (avec Keyboard comme paramètre via) pour les aigus, avec la valeur maximale. • Les routages de modulation 2 et 3 gèrent le vibrato du LFO 1 et les deux oscillateurs sont modulés hors phase. • Le routage de modulation 4 n’a pas besoin d’être réglé, mais vous êtes libre de le faire. Il a été configuré pour utiliser ENV1 afin de « pousser » la table d’ondes. Réglez le paramètre ENV1 Decay pour créer dessons plus proches destuyaux d’un orgue. Réglez le paramètre ENV1 Attack pour naviguer dans la table d’ondes. • Le routage de modulation 5 réduit le volume général ; le niveau de sortie d’un orgue ne doit pas augmenter de façon trop prononcée lorsque toutes les modulations sont au maximum. • Les routages de modulation 6 et 7 désaccordent les oscillateurs 2 et 3 l’un par rapport à l’autre, avec des valeurs symétriques. Cela permet d’éviter des désaccords globaux trop importants. Là encore, tous deux travaillent hors phase avec les routages de modulation 2 et 3 ; l’oscillateur 1 conserve une hauteur tonale stable. • Le routage de modulation 8 utilise le LFO1 comme modulateur pour les déplacements à l’intérieur de l’image stéréo (panorama) ; en effet, ce patch passe de mono à stéréo. Si vous préférez un vrai son stéréo, avec un effet Leslie lent au repos, entrez la valeur minimale de l’ampleur désirée. Vous obtenez ainsi une rotation lente et continue. Vous pouvez, éventuellement, essayer une valeur plus élevée, permettant d’atteindre une séparation des canaux plus marquée. • Le routage de modulation 9 accélère la fréquence de modulation du LFO 2. • Pour le routage de modulation 10, une faible valeur Cutoff a été ajoutée au premier filtre, ce qui permet d’augmenter l’intensité du grand tournoiement. N’hésitez pas à définir vos propres valeurs. Dès lors, n’oubliez pas que deux paires de modulation doivent être modifiées de manière symétrique : les routages de modulation 2 et 3 fonctionnent en paire, tout comme les routages de modulation 6 et 7. Autrement dit, si vous abaissez la valeur Pitch 2 à une valeur négative, pensez à augmenter d’autant la valeur de Pitch 3 (en affectant une valeur positive). La même règle s’applique à la paire de routages de modulation 6 et 7. Vous pouvez également introduire le LFO2 pour accroître la diffusion de la tonalité, contre les mouvements panoramiques et la tonalité du LFO 1. Échangez-le simplement contre le LFO 1 dans les modulations 2 et 3. Notez que l’accélération Leslie n’aura aucune source de modulation ; vous devrez donc l’utiliser de manière statique,seulement avec un fondu entrant. À défaut, vous devrez sacrifier l’une des autres modulations au profit d’un second effet tournant. 134 Chapitre 5 ES2 Pour une autre modification stéréo du son statique, vous pouvez utiliser le mode Unison, avec un léger désaccord. Pour ce faire, assurez-vous de régler le paramètre Analog. Utilisation du réglage Crescendo Brass de l’ES2 Les oscillateurs permettent d’effectuer les tâches suivantes : • L’oscillateur 1 fournit l’onde de base pour les sons de cuivres ; elle est en forme de dents de scie. • L’oscillateur 2 fournit une forme d’onde de type « impulsion », un peu plus éloignée du son d’un cuivre. Elle contribue à l’effet d’ensemble. Sa durée d’impulsion est modulée par le LFO 1 (routage de modulation 4). Remarque : le point majeur suivant doit être pris en compte lors de tout type de modulation. Quatre paramètres changent totalement de comportement si l’un d’eux est modifié. Par conséquent, il faut agir sur les quatre lorsque vous procédez à des modifications : • Vous pouvez modifier la largeur d’impulsion initiale en jouant sur le paramètre Wave de l’oscillateur 2. Une position de son « épais » (fat), proche de l’onde carrée idéale, a été choisie pour cette tonalité afin de programmer un son complet alliant des effets de cuivres et de synthétiseur. • Le routage de modulation 4 règle l’intensité de la modulation, à savoir la différence de plage entre les réglages épais et étroit, en cas de modulation d’impulsions en durée. Définissez-la avec le paramètre Minimum. • La fréquence du LFO1 contrôle directement la vitesse du mouvement pour la modulation de la largeur d’impulsion. Avec ce réglage, les deux LFO sont utilisés pour obtenir un effet de diffusion plus marqué à diverses vitesses de modulation. Astuce : vous devez utiliser le LFO1 pour l’ensemble des modulations automatiques et permanentes, car vous pouvez retarder son impact à l’aide du paramètre EG. Le LFO 2 peut servir à toutes les modulations en temps réel. Celles-ci sont accessibles via la roulette de modulation, la pression ou d’autres contrôles pendant que vous jouez. • Une assignation de clavier a été définie en tant que source du routage de modulation 4. Cela est dû au fait que les modulations par tonalité, ou par largeur d’impulsion, ont tendance à provoquer un déréglage plus important dans les graves, alors que l’effet de diffusion souhaité est obtenu pour les notes du milieu et les aigus. Lorsque vous utilisez le clavier, il faut d’abord régler les paramètres pour la région des graves, jusqu’à atteindre un effet de désaccord (résultant de la modulation) acceptable. Ensuite, vérifiez que les modulations dansles aigussont égalementsatisfaisantes. Modifiez lesrelations entre les valeurs d’intensité (Max) et de mise à l’échelle (Min). Chapitre 5 ES2 135 L’oscillateur 3 génère une Digiwave suffisamment proche d’un son de cuivre lorsqu’elle est incluse dans le mixage global. À la place d’une Digiwave, il est possible d’utiliser une autre onde pulsée modulée pour prendre en charge l’ensemble ou une onde en dents de scie pour obtenir un son « plus épais ». Pour ce faire, il faut la désaccorder par rapport à l’onde en dents de scie de l’oscillateur 1. Toutefois, le but principal vise à afficher un peu de « grondement », obtenu par le biais d’une brève poussée de la table d’ondes, telle que décrite à la rubrique Utilisation du réglage Slapped StratENV de l’ES2. Cette configuration est appliquée au routage de modulation 3 (paramètre Wave de l’oscillateur 3 déplacé par le paramètre Decay de l’enveloppe 1). D’autres contrôles disposent de nombreuses fonctions : • L’enveloppe 1 influe également sur la hauteur tonale de l’oscillateur 2 par rapport à l’oscillateur 3. Cela entraîne l’affrontement des deux hauteurs tonales, ainsi qu’avec la hauteur tonale stable de l’oscillateur 1 en phase d’attaque du son. • La conception de l’enveloppe du filtre provoque une fermeture avec un court accident lors de la phase d’attaque, puisle filtre s’ouvre de nouveau pour une phase de crescendo plus lente. • Un autre crescendo en temps réel a été assigné à la roulette de modulation. Cela provoque également une modulation de la tonalité globale, contrôlée par le LFO 2. • Enfin, nous avons programmé une modulation en temps réel « contraire » par pression, qui ferme les filtres. Vous pouvez ainsi jouer avec un decrescendo supplémentaire, commandé par la force du jeu. Essayez de sentir les réactions au niveau de la sonorité. Vous découvrirez qu’elle propose certains contrôles d’expression, comme la vélocité, la pression après activation de la note et la pression anticipée. Écoutez ce qui se passe lorsque vous appuyez sur les touches avec la main gauche avant de plaquer un nouvel accord de la main droite, en laissant le crescendo entrer. Utilisation du réglage MW-Pad-Creator de l’ES2 Il s’agit de créer un patch capable de générer automatiquement de nouveaux patchs. Là encore, l’oscillateur 2 permet la modulation d’impulsions en durée, qui crée un puissant composant d’ensemble (pour en savoir plus, consultez la rubrique Utilisation du réglage Crescendo Brass de l’ES2). Les oscillateurs 1 et 3 servent à la combinaison initiale des formes d’onde, avec leurs tables Digiwave respectives. Vous pouvez,si vousle souhaitez, les modifier et commencer d’emblée avec une autre combinaison de Digiwaves. 136 Chapitre 5 ES2 La modulation 3 « contrôle » les tables d’onde des trois oscillateurs, via la roulette de modulation. En termessimples, vous pouvez faire défilersimultanément lestables d’ondes des oscillateurs 1 et 3, et modifier la durée d’impulsions de l’oscillateur 2 en agissant sur la roulette de modulation. Essayez de bouger, prudemment et très lentement, la roulette de modulation ; vous entendez alors des modifications assez marquées dansla configuration desformes d’onde. À chaque incrément de la roulette, un son de nappe numérique différent est produit. Évitez de faire des mouvements rapides, sinon le son produit sera similaire à celui d’une radio AM. Un autre type de modification peut être réalisé par le biais de l’intensité de la modulation des paramètres Wave des oscillateurs 1, 2 et 3. Comme nous l’avons déjà mentionné à propos du réglage Slapped Strat, la valeur du paramètre d’intensité définit à la fois la largeur des pas et la direction suivie pour la lecture des tables d’ondes. Vous pouvez essayer de modifier le niveau, à l’aide de valeurs positives ou négatives. Un effet secondaire intéressant de la valeur FM du filtre 2 (routage de modulation 4, Lowpass Filter FM)se produit lorsque la roulette de modulation est placée sur des positions plus élevées : la modulation de fréquence du filtre est augmentée, ce qui accentue tous les battements cycliques (hauteurs tonales vibrantes, désaccords, largeur d’impulsion). il en résulte également une qualité rugueuse, « sifflante » du son émis. La FM offre un vaste champ d’expérimentation et vous avez le choix entre les modulations suivantes : • Une FM initiale, via le paramètre FM du second filtre, que vous pouvez remettre en forme (en affectant une valeur de modulation négative comme maximum pour le routage de modulation 4) en plaçant la roulette de modulation tout en haut de sa course. • Une FM permanente (et une autre configuration de modulation, enregistrée pour une assignation différente). Vous pouvez également désactiver la FM, si vous trouvez que l’effet produit donne un son trop « sale ». Le contrôle en tempsréels’effectue via la pression pour un vibrato (routage de modulation 10) et aussi pour une légère ouverture de filtre (paramètre Cutoff) afin de mettre en valeur la modulation (routage de modulation 9). Utilisation du réglage Wheelsyncer de l’ES2 Les sons synchronisés ne sont jamais devenus obsolètes et ils connaissent même aujourd’hui un renouveau avec les derniers styles de musique électronique populaires. Pour obtenir une description des aspects techniques de la synchronisation forcée d’un oscillateur, consultez la rubrique Synchronisation des oscillateurs de l’ES2. Voici, en pratique, comment procéder : Chapitre 5 ES2 137 Wheelsyncer est un son lead n’utilisant qu’un seul oscillateur ; tous les autres sont désactivés. Bien que l’oscillateur 2 soit le seul à générer activement un son, il dépend directement de l’oscillateur 1. Si vous modifiez la hauteur tonale ou l’accord de l’oscillateur 1, la hauteur tonale globale du son devient fausse ou subit une transposition. La tonalité de l’oscillateur 2 crée la couleur sonore (les harmoniques) du son synchronisé. Les changements de hauteur tonale sont régis par le routage de modulation 7 : la hauteur tonale de l’oscillateur 2 est assignée à la roulette de modulation. En faisant varier la roulette, vous pouvez explorer les différents spectres harmoniques programmés pour les changements en temps réel. Toute modification apportée ici commence par s’appliquer à la hauteur tonale de l’oscillateur 2 lui-même. Ce dernier est réglé 3 demi-tons en dessous de la hauteur tonale globale. N’hésitez pas à entrer une autre hauteur tonale pour l’oscillateur 2 ; elle ne modifie pas l’accord du son. La modification suivante peut porter, par exemple, sur l’intensité (ou l’intervalle) du routage de modulation 7. La valeur maximale a été définie ; or, si celle-ci est trop extrême pour vos besoins, n’hésitez pas à la diminuer. Une autre modification concerne la couleur tonale du son lead lui-même. L’oscillateur 1 est désactivé, parce que le patch vous convient. Si vousl’activez, touteslesformes d’onde de l’oscillateur 1 (Digiwaves, formes d’onde standard ou onde sinusoïdale pouvant être davantage modulée par la FM) peuvent être utilisées. Tousles contrôles en tempsréelse font via la roulette de modulation, qui permet d’ouvrir le filtre sur le routage de modulation 6, d’effectuer un mouvement panoramique sur le routage de modulation 8 et d’accélérer le mouvement panoramique sur le routage de modulation 9. Si vous souhaitez effectuer des modulations plus complexes, une configuration similaire est utilisée pour une simulation d’enceinte Leslie dans le réglage Wheelrocker (consultez la rubrique Utilisation du réglage Wheelrocker de l’ES2. 138 Chapitre 5 ES2 L’EFM1 16-voix est un synthétiseur de modulation de fréquence simple, mais puissant. Il permet d’obtenir de riches sons de type cloche et numériques qu’offre la synthèse de modulation de fréquence (frequency modulation, FM). Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentairessur lessynthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différents systèmes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface EFM1 (p 140) • Utilisation des paramètres Modulator et Carrier de l’EFM1 (p 141) • Utilisation des paramètres EFM1 Modulation (p 144) • Réglage des paramètres Global EFM1 (p 146) • Réglage des paramètres EFM1 Output (p 147) • Création de variations sonores aléatoires EFM1 (p 148) • Affectation de contrôleurs EFM1 MIDI (p 148) 139 EFM1 6 Présentation de l’interface EFM1 Avant de découvrir les paramètres de l’EFM1, cette rubrique vous permet de vous familiariser avec les différents éléments qui constituent l’interface graphique de ce logiciel. Paramètres Modulator Paramètres Carrier Paramètres Randomize Paramètres de la section Modulation Paramètres de la section Modulation Paramètres Output Paramètres globaux Paramètres globaux Autres paramètres Paramètres Output Le module EFM 1 se divise en plusieurs parties. • ParamètresGlobal : la partie supérieure contient des paramètres qui définissent l’accord global de l’EFM1. D’autres commandes vous permettent de définir le temps de Glide (portamento), de limiter le nombre de voix et d’épaissir le son grâce à Unison. Consultez Réglage des paramètres Global EFM1. • Paramètres Modulator et Carrier : le moteur FM comprend les paramètres Modulator et Carrier (parties en relief et plus foncées), ainsi que le potentiomètre FM Intensity (au centre). Il s’agit là des principales commandes permettant de définir la tonalité de base de l’EFM1. Consultez Utilisation des paramètres Modulator et Carrier de l’EFM1. • Paramètres Modulation : l’enveloppe de modulation et l’oscillateur LFO, qui s’affichent dansles partiessupérieure et inférieure de la zone en forme de champignon, au centre, servent à animer le son. Consultez Utilisation des paramètres EFM1 Modulation. 140 Chapitre 6 EFM1 • Paramètres Output : la partie inférieure comprend la section Output, qui intègre les potentiomètres Sub Osc Level et Stereo Detune. Ceux-ci permettent d’épaissir le son. L’enveloppe de volume, ainsi que les commandes Main Level et Velocity, sont utilisées pour définir le niveau de l’EFM1. Consultez Réglage des paramètres EFM1 Output. • Paramètres Randomize : le bouton et le champ Randomize se trouvent dans la partie inférieure droite. Ils servent à créer des variations aléatoires des réglages actuels et à obtenir ainsi des sons nouveaux. Consultez Création de variations sonores aléatoires EFM1. • Paramètres Extended : ces paramètres, disponibles via le triangle d’affichage situé dans la partie inférieure gauche de l’interface, vous permettent d’assigner des contrôleurs MIDI aux paramètres FM Depth et Vibrato. Consultez Affectation de contrôleurs EFM1 MIDI. Utilisation des paramètres Modulator et Carrier de l’EFM1 En synthèse FM, le son de base est généré en réglant différents rapports d’accord entre les oscillateurs Modulator et Carrier, ainsi qu’en modifiant l’intensité FM. Le rapport d’accord détermine la structure basique des sons dominants, dont le niveau est contrôlé par l’intensité FM. Au cœur du système de synthèse de l’EFM1, se trouvent un oscillateur à ondes multiples modulateur et un oscillateursinusoïdal porteur. L’onde sinusoïdale de base (de l’oscillateur porteur) représente un ton pur et sans caractère. Afin de rendre les sonorités plus intéressantes, l’oscillateur Modulateur est utilisé pour moduler la fréquence de l’oscillateur Porteur. Cette modulation intervient dans la plage audio (vous pouvez l’entendre) et produit un certain nombre de nouveaux harmoniques qui deviennent audibles. L’onde sinusoïdale pure (de l’oscillateur porteur) est alors combinée avec les nouveaux harmoniques, ce qui rend le son nettement plus intéressant. Chapitre 6 EFM1 141 Les modifications du rapport des deux oscillateurs se font en réglant les paramètres Harmonic, disponibles dans les deux sections Modulator et Carrier. L’accord peut également être réglé par le biais des paramètres (Tune) Fine, abordés ci-dessous. Paramètres Modulator Paramètres Carrier Potentiomètre FM Intensity • PotentiomètresHarmonic : permettent de définir le rapport d’accord entre le Modulator (à gauche) et le Carrier (à droite). Consultez Réglage du EFM1 Tuning Ratio. • Potentiomètres Fine (tune) : permettent d’ajuster l’accord entre deux harmoniques adjacents (tel que déterminé par les potentiomètres Harmonic). La plage de cette commande est la position centrale (0). Le potentiomètre Fine tune n’a aucun effet. Cliquez sur le 0 pour centrer le potentiomètre Fine tune. Selon l’amplitude du désaccord, vous entendrez soit : • Un subtil « battement » du timbre (si l’amplitude est faible). • De nouveaux sons dominants harmoniques et non harmoniques (si l’amplitude est élevée). • Potentiomètre FM (Intensity) : définit la valeur de la modulation de fréquence de l’oscillateur porteur effectuée par l’oscillateur modulateur. Lorsque vous réglez le potentiomètre FM, l’intensité (et le nombre) de nouveaux sons dominants(harmoniques) augmente, rendant ainsi le son plus clair. Remarque : bien que la technologie sous-jacente soit très différente, le paramètre FM (Intensity) peut être comparé au paramètre Filter Cutoff d’un synthétiseur analogique. • Potentiomètre Wave (Modulator) : permet de choisir une forme d’onde différente pour l’oscillateur Modulateur. Consultez Choisir une forme d’onde différente pour l’oscillateur EFM1 Modulator Waveform. • Bouton Fixed Carrier(Carrier) : permet de déconnecter la fréquence du porteur du clavier, le pitch bend et les modulations du LFO. Cela permet de produire un ton de porteur exempt de ces sources de modulation. 142 Chapitre 6 EFM1 Réglage du EFM1 Tuning Ratio La fréquence du porteur est déterminée par la note jouée. Quant à la fréquence du modulateur, elle est généralement un multiple de la fréquence du porteur. Vous pouvez accorder le modulateur et le porteur sur l’un des 32 premiers harmoniques. La relation (ou le rapport) d’accord existant entre les deux oscillateurs modifie de façon considérable le son de base de l’EFM 1. C’est pourquoi, il est préférable de régler ce paramètre à l’oreille. Les potentiomètres Harmonic permettent de définir le rapport d’accord entre le Modulator (à gauche) et le Carrier (à droite). En règle générale, les rapports d’accord pairs entre le Porteur et le Modulateur ont tendance à produire un son plus harmonique ou plus musical, tandis que les rapports impairs produisent des sons dominants beaucoup moins mélodieux, parfaits pour les sons de cloche et les bruits métalliques. Le rapport d’accord peut, par conséquent, être comparé au sélecteur de forme d’onde d’un synthétiseur analogique. Remarque : les potentiomètres Harmonic et Fine tune affectent uniquement la relation d’accord entre les oscillateurs Carrier et Modulator. Ils ne doivent pas être confondus avec les paramètres globaux Tune et Fine Tune, qui déterminent l’accord global de l’EFM1 (consultez Réglage des paramètres Global EFM1). Quelques exemples de rapports d’accord à essayer µ Réglez le Modulateur et le Porteursur le premier harmonique (rapport 1:1). Vous obtiendrez un son en dents de scie. µ Si vous réglez le Modulateur sur le deuxième harmonique et le Porteur sur le premier (rapport 2:1), la tonalité produite vous fera penser à une onde carrée. Choisir une forme d’onde différente pour l’oscillateur EFM1 Modulator Waveform En synthèse FM classique, les sinusoïdes sont utilisées en tant que formes d’onde pour le Modulator et le Carrier. Pour étendre considérablement ses capacités acoustiques, l’oscillateur EFM1 Modulator fournit un certain nombre de formes d’onde numériques supplémentaires. Ces formes d’onde contiennent un certain nombre d’harmoniques supplémentaires, qui offrent une dimension supplémentaire aux sons FM obtenus. Pour choisir une forme d’onde différente µ Tournez le potentiomètre correspondant au paramètre Wave. µ Lorsque le bouton est tourné complètement vers la gauche, le modulateur produit une onde sinusoïdale. Chapitre 6 EFM1 143 µ Si vous tournez le paramètre Wave dans le sens des aiguilles d’une montre, vous verrez défiler une suite de formes d’onde numériques complexes. Utilisation des paramètres EFM1 Modulation Fondamentalement, la synthèse FM résulte de l’intensité et du type de modulations se produisant dans le chemin de signal. Par conséquent, les « modulateurs » évoqués dans cette rubrique ont un impact (et un rôle à jouer) différent des enveloppes et des LFO équivalents que l’on trouve dans les conceptions de synthétiseurs analogiques. Paramètres LFO Enveloppe de modulation FM Depth Modulator Pitch • Curseurs Modulation Env(elope) : contrôlent à la fois les paramètres FM (Intensity) et Modulator pitch dans le temps. L’enveloppe Modulation Env se déclenche dès qu’elle reçoit une note MIDI. • Curseur Attack : définit le temps nécessaire pour atteindre le niveau d’enveloppe maximum. • Curseur Decay : définit le temps nécessaire pour atteindre le niveau Sustain. • Curseur Sustain : définit un niveau maintenu jusqu’à ce que la note MIDIsoit relâchée. • Curseur Release : définit le temps nécessaire pour atteindre le niveau zéro, une fois la note MIDI relâchée. 144 Chapitre 6 EFM1 • Potentiomètre Modulator Pitch : détermine l’impact de l’enveloppe de modulation sur la hauteur de note de l’oscillateur modulateur. • Tournez le bouton dans le sens des aiguilles d’une montre afin d’augmenter l’effet de l’enveloppe de modulation. Si voustournez ce même bouton dansle sens contraire, l’effet de l’enveloppe de modulation est inversé, ce qui signifie que l’enveloppe descend lors de la phase d’attaque et remonte pendant les phases de chute et de relâchement. • En position centrale (0), l’enveloppe n’a aucun effet sur la hauteur de note de l’oscillateur Modulator. Cliquez sur le 0 pour centrer le potentiomètre Modulator Pitch. • Potentiomètre FMDepth : détermine l’impact de l’enveloppe de modulation sur l’intensité FM. • Tournez le bouton dans le sens des aiguilles d’une montre afin d’augmenter l’effet de l’enveloppe de modulation. Si voustournez ce même bouton dansle sens contraire, l’effet de l’enveloppe de modulation est inversé, ce qui signifie que l’enveloppe descend lors de la phase d’attaque et remonte pendant les phases de chute et de relâchement. • En position centrale (0), l’enveloppe n’a aucun effet sur l’intensité FM. Cliquez sur le 0 pour centrer le potentiomètre FM Depth. • Potentiomètre LFO (Low Frequency Oscillator) : détermine l’amplitude de modulation appliquée à l’intensité FM ou à la hauteur de note. • Tournez le bouton LFO dans le sens des aiguilles d’une montre afin d’augmenter l’effet du LFO sur FM Intensity. Tournez-le dans le sens inverse pour introduire un vibrato. • En position centrale (0), le LFO n’a aucun effet. Cliquez sur le 0 pour centrer le potentiomètre LFO. • Potentiomètre Rate : définit la vitesse du LFO. Chapitre 6 EFM1 145 Réglage des paramètres Global EFM1 Les paramètres globaux permettent de régler l’accord, le nombre de voix, ainsi que d’autres aspects liés au son global produit par l’EFM1. • Menu local Transpose : définit la hauteur de note de base. Cette commande permet de transposer l’EFM1 d’un certain nombre d’octaves. • Champ Tune : permet d’affiner la hauteur tonale de l’EFM1 au centième près. Un centième correspond à 1/100e de demi-ton. • Menu local Voice : définit le nombre de voix pouvant être écoutées simultanément (polyphonie). Cliquez sur le menu local pour choisir entre mono (une voix), legato (une voix) ou tout nombre compris entre 2 et 16 voix. Remarque : en mode monophonique legato, la lecture de notes superposées ne redéclenche pas les enveloppes de l’EFM1. • Bouton Unison : lorsque vous activez le bouton Unison, deux voix EFM 1 complètes sont superposées. Le son de l’EFM 1 devient alors plus lourd et plus épais. En mode Unisson, l’EFM1 peut être joué avec une polyphonie allant jusqu’à 8 voix. • Champ Glide : permet d’introduire un Pitch Bend continu entre deux notes jouées consécutives. Réglez la valeur Glide (en ms) pour déterminer le temps que met la hauteur de note pour passer d’une note jouée à la suivante. Remarque : vous pouvez utiliser le paramètre Glide mode monophonique (mono et legato), ainsi qu’en mode polyphonique (de 2 à 16 voix). 146 Chapitre 6 EFM1 Réglage des paramètres EFM1 Output L’EFM1 fournit les commandes de niveau suivantes. Enveloppe Volume Potentiomètre Main Level Potentiomètre Stereo Detune Potentiomètre Velocity Potentiomètre Sub Osc Level • Potentiomètre Sub Osc Level : utilisé pour ajouter des basses. L’EFM1 comprend un oscillateur sinusoïdal secondaire. Celui-ci agit une octave en dessous du moteur FM (selon la valeur déterminée par le paramètre Transpose). Si vous montez le bouton Sub Osc Level, la sinusoïde de l’oscillateur secondaire est mélangée à la sortie du moteur FM de l’EFM 1. • Potentiomètre Stereo Detune : ajoute un effet de chœur riche et varié au son de l’EFM 1. Pour cela, la voix de l’EFM 1 est doublée à l’aide d’un second moteur FM désaccordé. Des valeurs élevées apportent au désaccord un effet stéréo de grande ampleur, ce qui augmente la « dimension spatiale » perçue et la « largeur » de votre son. Remarque : l’utilisation de ce paramètre peut entraîner la perte de la compatibilité mono. • Enveloppe Vol(ume) : module le niveau du son dans le temps. L’enveloppe de volume se déclenche dès qu’elle reçoit une note MIDI. • Curseur Attack : définit le temps nécessaire pour atteindre le volume maximum. • Curseur Decay : définit le temps nécessaire pour atteindre le niveau Sustain. • Curseur Sustain : définit un niveau maintenu jusqu’à ce que la note MIDIsoit relâchée. • Curseur Release : définit le temps nécessaire pour atteindre le niveau zéro, une fois la note MIDI relâchée. • Potentiomètre Main Level : définit le niveau de sortie global de l’EFM1. • Potentiomètre Velocity : détermine la sensibilité de l’EFM1 aux messages de vélocité MIDI entrants. L’EFM1 réagit aux messages de vélocité MIDI de façon dynamique. Ainsi, plus votre jeu est puissant, plus le son sera fort et clair. Tournez le bouton Velocity complètement versla gauche si voussouhaitez que l’EFM1 ne réagisse pas à la vélocité des notes. Chapitre 6 EFM1 147 Création de variations sonores aléatoires EFM1 La fonction Randomize (dans le coin inférieur droit de l’interface) génère de nouveaux sons. Pour ce faire, elle modifie, de façon aléatoire, un certain nombre de valeurs de paramètres clés de l’EFM1. Cette fonction est idéale pour créer des variations subtiles sur un son donné, ou pour créer des sons totalement nouveaux lorsque vous ne vous sentez pas inspiré (ou que vous avez besoin d’un coup de pouce pour vous lancer dans la synthèse FM). Pour utiliser la fonction Randomize µ Cliquez sur le bouton Randomize. Vous pouvez cliquer autant de fois que vousle souhaitez, mais n’oubliez pas d’enregistrer les réglages lorsque vous trouvez un son que vous souhaitez conserver. Pour limiter le degré de randomisation µ Glissez dansle champ numérique pour déterminer la quantité de randomisation (variance par rapport au son d’origine). Il est conseillé d’utiliser des valeurs inférieures à 10 pour cent si vous souhaitez juste modifier légèrement le son actuel. Choisissez des valeurs plus élevées si vous voulez modifier radicalement le son à chacun de vos clics. Affectation de contrôleurs EFM1 MIDI Les paramètres EFM1 Extended vous permettent de commander l’EFM1 à distance à l’aide du clavier de votre contrôleur MIDI (ou d’un autre appareil MIDI). Vous pouvez affecter n’importe quel contrôleur MIDI non utilisé (et approprié) aux paramètres suivants : • FM Intensity • Vibrato Pour affecter un contrôleur µ Sélectionnez le contrôleur souhaité dans le menu Ctrl FM ou Ctrl Vibrato, puis réglez le degré de modulation ou de vibrato à l’aide du curseur situé sous le menu concerné. Remarque : l’EFM1 réagit également aux données relatives au Pitch Bend MIDI. Celui-ci est en effet « câblé en dur » au niveau de la hauteur tonale globale de l’EFM1. 148 Chapitre 6 EFM1 Le logiciel EVB3 émule le son et les caractéristiques d’un orgue Hammond B3 et d’une cabine Leslie. Le présent chapitre couvre les aspects suivants : • Fonctionnalités de l'EVB3 (p 149) • Présentation de l’interface EVB3 (p 151) • Utilisation des commandes de tirette EVB3 (p 153) • Utilisation des touches de présélection de l’EVB3 (p 154) • Fonction de morphing de l’EVB3 (p 158) • Utilisation du Vibrato scanner EVB3 intégré (p 159) • Utilisation de l’effet EVB3 Percussion (p 161) • Utilisation des paramètres Tone globale dans EVB3 (p 162) • Utilisation des paramètres Modèle dans EVB3 (p 163) • Utilisation des effets EVB3 intégrés (p 171) • Utilisation de l’effet Émulation de cabine à système rotatif intégré de l’EVB3 (p 176) • Réglage de l’EVB3 pour vos équipements MIDI (p 181) • Attribution d’un contrôleur MIDI dans l’EVB3 (p 184) • Synthèse additive à l’aide des tirettes (p 191) • Effet résiduel (p 192) • Génération sonore à roues phoniques (p 193) • Bref historique de l’orgue Hammond (p 193) • Cabine Leslie (p 194) Fonctionnalités de l'EVB3 L’EVB3 simule un orgue à deux claviers et un pédalier, chacun d’eux pouvant avoir son propre réglage des sons (registration). Une fonction de morphing permet d’effectuer un fondu enchaîné entre deux registrations. 149 EVB3 7 Si vous le désirez, l’EVB3 peut être joué avec deux claviers et un pédalier MIDI. Il dispose également de fonctions permettant de jouer tous les registres avec un clavier maître unique. L’EVB3 utilise un processus de génération sonore appelé Synthèse par modélisation des composantes. Celui-ci reproduit de manière fidèle les générateurs de roues phoniques d’un orgue Hammond électromécanique, et ce jusque dans les moindres détails. Cela inclut certaines imperfections qui font le charme du Hammond, comme son niveau élevé de diaphonie et les bruits de contact destouches. Vous pouvez également régler l’intensité de ces particularités selon vos goûts. Cette flexibilité permet de créer toute une gamme de sons, du son parfaitement propre au son déformé ou éraillé, avec touslesintermédiaires possibles. L’EVB3 simule également différents types de sons de cabine Leslie, avec systèmes rotatifs, avec etsans déflecteurs. Vous pouvez également définir à votre gré la position et l’intensité stéréo du micro (utilisé pour capturer le son de la cabine Leslie). Enfin, l’EVB3 propose également des effets intégrés, avec notamment trois overdrives à tube dotés de caractéristiques sonores différentes, d’un égaliseur, d’effets wah-wah et d’une réverbération. Vous pouvez définir librement le cheminement du signal de ces processeurs. 150 Chapitre 7 EVB3 Présentation de l’interface EVB3 Vous pouvez ouvrir et fermer l’EVB3 en cliquant sur le bouton situé sous le contrôle de volume. Cliquez ici pour ouvrir le couvercle. Paramètres Scanner Vibrato Paramètres MIDI Control Paramètres Preset et Morph Section Effects Paramètres Leslie Paramètres Global Tone Paramètres Drawbar Paramètres Percussion Paramètres Modelling et Sustain L’interface EVB3 est divisée selon les sections suivantes : • ParamètresDrawbar : la section centrale supérieure contient lestirettes, qui permettent de modifier en temps réel le son de base de l’orgue. Consultez Utilisation des commandes de tirette EVB3. Chapitre 7 EVB3 151 • Paramètres Preset et Morph : la section située en dessous des tirettes contient les paramètres Preset (registration) et Morph. Consultez Utilisation des touches de présélection de l’EVB3 et Fonction de morphing de l’EVB3. • Paramètres Vibrato scanner et Percussion : les paramètres Vibrato scanner et Percussion sont situés respectivement en haut à gauche et à droite de l’interface. Ils permettent d’ajouter un effet de vibrato ou de percussion au son de l’orgue. Consultez Utilisation du Vibrato scanner EVB3 intégré et Utilisation de l’effet EVB3 Percussion. • Paramètres Global Tone : la rangée de potentiomètres située au centre de l’interface permet de régler les paramètres Global Tone. Ces potentiomètres permettent d’accéder rapidement à différents aspects sonores. Consultez Utilisation des paramètres Tone globale dans EVB3. • Paramètres Model et Sustain : les sections Organ, Pitch, Condition et Sustain (en bas à gauche de l’interface) permettent de contrôler de manière précise la tonalité de l’orgue ainsi que différents aspects, tels que le réglage fin, les caractéristiques de clic des touches et les niveaux de diaphonie. Généralement, ces paramètres sont accessibles uniquement en mode modification ou création du son de l’orgue. Consultez Utilisation des paramètres Modèle dans EVB3. • Paramètres Leslie : les paramètres de modèle et de contrôle d’une cabine Leslie peuvent être réglés à l’aide des deux champssitués en bas à droite de l’interface EVB3. Consultez Utilisation de l’effet Émulation de cabine à système rotatif intégré de l’EVB3. • Section Effets : vous pouvez contrôler les effets EQ, Wah, Distorsion, Chœur et Réverbération dans la section centrale droite de l’interface EVB3. Consultez Utilisation des effets EVB3 intégrés. • ParamètresMIDI Control : la section turquoise située en bas à gauche de l’interface EVB3 est utilisée pour affecter les paramètres de clavier MIDI, vous permettant de contrôler les tirettes EVB3 à l’aide de votre contrôleur MIDI. Consultez Réglage de l’EVB3 pour vos équipements MIDI. 152 Chapitre 7 EVB3 Utilisation des commandes de tirette EVB3 L’EVB3 comprend 20 tirettes, neuf pour chaque clavier (supérieur et inférieur) et deux pour le pédalier. Les tirettes du clavier supérieur sont situées sur la gauche, celles du pédalier au centre et celles du clavier inférieur sur la droite. Tirettes du clavier supérieur Tirettes du clavier inférieur Tirettes du pédalier Les tirettes se comportent à l’inverse des curseurs d’une table de mixage : plus vous les tirez vers vous, plus les chœurs sinusoïdaux sélectionnés seront forts. Le contrôle MIDI des tirettes est également inversé lorsque vous utilisez un pupitre de curseurs MIDI standard. Pour simplifier, chaque chœur sinusoïdal est une onde sinusoïdale mixée à un niveau donné, déterminé par la position de la tirette. Vous ajoutez des chœurs sinusoïdaux de cette manière afin de créer un son d’orgue global, pour le clavier supérieur ou inférieur. Il s’agit là d’une forme basique de synthèse additive, qui sera expliquée plus en détail à la rubrique Synthèse additive à l’aide des tirettes. Vous pouvez saisir intuitivement les principes fondamentaux de la synthèse additive en jouant un peu avec les tirettes. Deux tirettes sont disponibles pour le pédalier basse. La basse n’est pas une onde sinusoïdale pure, comme celles des claviers supérieur et inférieur. Le son du pédalier utilise une forme d’onde mixte, qui reproduit de manière réaliste les tonalités de basse d’un Hammond B3. Les deux registres diffèrent en hauteur, mais aussi sur les points suivants : • Le registre gauche de 16 pieds (dérivé des longueurs d’orgue à tuyaux) comprend plus de huit octaves. • Le registre droit de huit pieds offre une cinquième section plusimportante (amélioration de la cinquième harmonique). Chapitre 7 EVB3 153 Désactivation du repli sur la tirette 16’ de l’EVB3 Le menu local Bass (dans la section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3) vous permet d’imiter le comportement de basse sans repli du tout premier orgue Hammond, le modèle A. Ce modèle ne comportait pas de repli pour la tirette 16', dans l’octave la plus basse, avec les sorties du générateur douze tons inférieurs disponibles sur la première tirette de l’octave inférieure des claviers. Sur d’autres orgues de console, les sorties les plus basses du générateur douze tons sont uniquement disponibles via les pédales. Pour simuler le comportement de l’orgue Hammond modèle A µ Sélectionnez Jusqu’en bas dans le menu local Bass. Sans le repli, vous constaterez que le son est plus strident, et semblable au son de pédale, en particulier si vous n’utilisez pas de module Leslie lors de la lecture de l’EVB3. Utilisation des touches de présélection de l’EVB3 Le B3 Hammond original est équipé de 12 boutons, situés en dessous des tirettes. Il s’agit des touches de présélection, disposées comme les touches du clavier (touches noires, dièses blancs). Elles servent à appeler les registrations de tirettes (positions). Touche d’annulation Touches de présélection Molette Morph La plage par défaut des touches de présélection (registration) de l’EVB3 s’étend sur les notes MIDI 24 à 35 (C0 (Do0) à B0 (Si0)). Cela signifie que la note MIDI la plus basse pouvant être jouée est la n°36 (C1, soit Do1). Vous pouvez, bien entendu, transposer la plage du clavier dans votre application hôte ou directement dans l’EVB3. Pour replacer l’importance de la plage du clavier dans un contexte plus réel : si votre clavier va de C (Do) à C (Do) (5 octaves, 61 touches) et que les valeurs du paramètre Transposition de votre application hôte sont définies sur 0, vous pouvez jouer de l’EVB3 sur la totalité de la plage du clavier. Consultez la rubrique Transposition de l’EVB3 par octaves pour plus de détails sur la transposition de la plage du clavier dans l’EVB3. 154 Chapitre 7 EVB3 Les touches de présélection (registration) sont placées une octave en dessous de cette plage (avec ou sans transposition). Sélection des registrations/présélections de l’EVB3 Les touches de présélection du clavier supérieur sont situées à gauche de la roulette Morph et celles du clavier inférieur à droite. La position courante des tirettes est indiquée par de petites lignes verticales sur chaque touche de présélection. Ces représentations de tirette miniatures sont mises à jour en temps réel. Important: les présélections concernent uniquement lesréglages de registration (tirette) pour un seul clavier. Elles ne mémorisent pas les réglages de vibrato ou d’autres paramètres. Si vous souhaitez enregistrer et restaurer l’ensemble des réglages de l’instrument (y compris les effets), servez-vous des commandes Réglages, dans l’en-tête de fenêtre du module. Pour choisir une registration Procédez de l’une des manières suivantes : µ Cliquez sur la touche de présélection souhaitée dansl’interface EVB3 (à gauche ou à droite de la roulette Morphing). µ Appuyez sur l’une des notes MIDI de la touche de présélection (notes MIDI 24 à 35). Vous pouvez modifier immédiatement les tirettes des présélections rappelées. La présélection mémorise automatiquement toute modification de la position de la tirette, dès que vous l’appliquez, sans qu’aucune autre action de votre part ne soit nécessaire. En d’autres termes, vous n’avez pas réellement à enregistrer une présélection. Toutefois, vous pouvez vousservir de la fonction Enregistrer dans poursauvegarder une registration sur une touche de présélection spécifique (voir Enregistrement desregistrations de tirette EVB3 lors du morphing). Remarque : sur les notes C#/Do# à A#/La#, la percussion fonctionne uniquement si le paramètre Perc est défini sur Toujours (voir Utilisation de l’effet EVB3 Percussion). Désactivation de la présélection MIDI dans l’EVB3 Vous pouvez désactiver la présélection via les notes MIDI 24 à 35, afin d’éviter tout problème du aux transpositions. Chapitre 7 EVB3 155 Pour désactiver la présélection MIDI µ Désactivez le paramètre MIDI to Presetkey (dans la section turquoise située en bas à gauche de l’interface). Cliquez ici pour désactiver la commutation de touches préréglées. Initialisation des registrations de l’EVB3 La touche de présélection la plus basse (C) est la touche d’annulation (Cancel). Les 11 autres touches, de Do(n) à Si, appellent les registrations. Cliquez ici pour initialiser un enregistrement pour le clavier inférieur. Cliquez ici pour initialiser un enregistrement pour le clavier supérieur. Pour initialiser une registration Procédez de l’une des manières suivantes : µ Cliquez sur la touche C dans l’interface EVB3. µ Jouez la note MIDI n°24. Changement de registration EVB3 en cours de lecture (effet Gate orgue) Il existe une technique utilisant les deux mains qui permet d’obtenir un effet d’orgue de type « gate », en changeant de registration en cours de lecture. Chaque fois que vous passez à une nouvelle registration, l’accord est joué à nouveau. Pour appliquer la technique de gate 1 Maintenez la touche C (Cancel) enfoncée, sur le clavier maître, à l’aide du petit doigt de votre main gauche, tout en réalisant un accord avec votre main droite. 156 Chapitre 7 EVB3 2 Appuyez sur les touches de présélection souhaitées à l’aide des autres doigts de la main gauche. L’accord appliqué par la main droite est rejoué (avec la nouvelle registration) à chaque fois que vous appuyez sur l’une des touches de présélection. Changement de registration EVB3 avec un contrôleur à deux tirettes Lorsque vous utilisez un contrôleur matériel à deux tirettes, le menu local Drawbar (situé dans la section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3) propose un mode supplémentaire qui permet de basculer entre deux registrations, comme avec un vrai orgue Hammond. Si vous utilisez le réglage par défaut (« La tirette affecte la touche de présélection courante »), les tirettes changent toujours la registration de la touche de présélection active. Ce fonctionnement est différent sur un orgue Hammond réel, où les tirettes affectent uniquement les registrations de présélection Bb/Sib (clavier supérieur) et B/Si (clavier inférieur). Cette fonction vous permet de préparer une nouvelle registration avec les tirettes lors de la lecture, puis de passer à la nouvelle registration en fonction des besoins. Pour simuler le comportement de changement entre B (Si) et Bb (Sib) avec l’EVB3 1 Sélectionnez l’option only B & Bb Key dans le menu local Drawbar. Menu Drawbar affects Cette option permet aux tirettes du clavier supérieur de changer la registration de la touche de présélection Bb (Sib) et aux tirettes du clavier inférieur d’affecter la touche de présélection B (Si). 2 Changez les tirettes de la touche de présélection Bb/Sib en fonction de vos besoins. Vous pouvez librement jouer sur le clavier pendant cette opération, sans changer l’enregistrement choisi actuellement. 3 Basculez vers l’enregistrement préparé avec la clé de préréglage Sib. Chapitre 7 EVB3 157 Fonction de morphing de l’EVB3 Vous pouvez basculer (ou effectuer un fondu enchaîné avec la fonction de morphing) à votre convenance entre les présélections du clavier supérieur. Paramètres Morph Molette Morph • Menu local Range : détermine la plage de touches de présélection affectée par le morphing. Voir Définition d’une plage de morphing EVB3 pour plus de détails. • Champ Mode morphing : sélectionnez l’option Step ou Linear pour changer de présélection de manière directe ou en fondu enchaîné. • Roulette Morphing : faites tourner la roulette vers la gauche ou la droite pour contrôler le changement ou le morphing. Vous pouvez également utiliser un contrôleur MIDI affecté à la roulette Morphing. Par exemple, la roulette de modulation de votre clavier. • Menu local MIDI CC : cliquez sur ce menu pour affecter un contrôleur MIDI à la roulette Morphing. Vous pouvez choisir n’importe quel numéro de contrôleur MIDI indiqué dans le menu CC (ou dans le canal aftertouch) pour contrôler la roulette Morphing. Vous pouvez également cliquer sur Apprendre pour indiquer à la roulette Morphing comment répondre à un message entrant. Consultez Attribution d’un contrôleur MIDI dans l’EVB3 via la fonction Apprendre. • Menu local Save to : vous permet d’enregistrer les registrations de tirette causées par le processus de morphing. Consultez Enregistrement des registrations de tirette EVB3 lors du morphing. Définition d’une plage de morphing EVB3 Après avoir choisi le contrôleur souhaité pour effectuer le changement ou le morphing des registrations du clavier supérieur, vous pouvez déterminer le nombre de touches de présélection qui seront concernées. 158 Chapitre 7 EVB3 Le morphing (ou le changement) commence toujours par la première touche de présélection, le B (Si). • Le paramètre Range définit la touche de présélection de fin. • Si Plage = A#,vous enchaînerez deux présélections. • Si Plage = G#, vous enchaînerez quatre présélections (B, A#, A et G soit Si, La(n), La et Sol). • Si Plage = G#, vous enchaînerez six présélections (etc.). Enregistrement des registrations de tirette EVB3 lors du morphing En mode Linéaire (morphing), le fondu résulte d’un ensemble de nouvelles registrations de tirette que vous pouvez avoir envie de sauvegarder. Mais avant, vous pouvez avoir besoin de modifier manuellement certaines positions de tirette. Pour enregistrer une registration lors du morphing µ Cliquez sur Enregistrer dans (à droite du paramètre MIDI cc) et sélectionner une touche de présélection dans le menu local. Remarque : dès que le morphing commence, la mention Morphing (située en dessous de la roulette Morphing) s’affiche en orange, pour indiquer la progression de l’opération. Vous pouvez modifier directement les tirettes afin de changer le résultat du morphing, mais vous devez impérativement utiliser le menu local Save dans pour ne pas perdre vos modifications. La mention Morph se met à clignoter dès qu’une modification des tirettes a été effectuée, ce qui indique des changements dans les valeurs de Morphing. Utilisation du Vibrato scanner EVB3 intégré L’EVB3 émule l’effet Vibrato scanner du B3 original. Le Vibrato scanner est basé sur une ligne à retard analogique, comportant plusieurs filtres passe-bas. La ligne à retard est analysée (scannée) par condensateur rotatif à lames multipôles. Il s’agit d’un effet très particulier, qui ne peut pas être simulé par de simples LFO (oscillateurs basse fréquence). Chapitre 7 EVB3 159 Remarque : le vibrato de l’orgue lui-même ne doit pas être confondu avec l’effet Leslie, basé sur des systèmes rotatifs diffusant le son des haut-parleurs. L’EVB3 simule les deux. Choisissez le type de chœurs ou de vibrato souhaité en tournant ce potentiomètre. Utilisez les chœurs ou le vibrato pour la commande supérieure, inférieure ou les deux commandes en cliquant ici. Utilisez le paramètre Rate pour définir la vitesse des chœurs ou du vibrato. Détermine la balance de mixage entre les signaux des chœurs et d’origine. • Potentiomètre Type : le potentiomètre du paramètre Type vous permet de faire votre choix parmi trois positions de Vibrato (V1, V2 et V3) ou trois positions de Chœur (C1, C2 et C3). • Dans les positions Vibrato, seul le signal de la ligne à retard est entendu et, comme sur le Hammond B3, les types de vibrato de l’EVB3 offrent des intensités différentes. • Les trois positions Chorus (C1, C2 et C3) mélangent le signal de la ligne à retard avec le signal d’origine. Le mélange du signal de vibrato avec un signal d’origine, statiquement élevé, donne un effet de chorus. Les sons de chœurs de l’orgue sont différents de ceux des effets de chœurs modernes (tels que le module Chœur de.MainStage). • Si vous choisissez l’option C0, le chœur et le vibrato sont désactivés. • Roulette Vitesse : définit la vitesse du vibrato ou du chœur. • Roulette Chœur : permet de mixer librement le signal sec avec le signal du vibrato. Ce paramètre est actif uniquement si l’un des réglages de chœur est engagé (C1, C2, C3). • Boutons Upper et Lower : ces boutons vous permettent d’activer ou de désactiver le Vibrato scanner (et l’accentuation des aigus associée), et ce individuellement, pour les clavierssupérieur et inférieur. Le B3 mixe le signal du registre des basses(pédalier) avec le signal du clavier inférieur, le registre du pédalier est affecté par les réglages Vibrato scanner du clavier inférieur. Remarque : les aigus de l’orgue seront légèrement accentués lorsque l’un des réglages de vibrato est utilisé. Une accentuation des aigus se produit également lorsque le réglage C0 (Do0) est actif. 160 Chapitre 7 EVB3 Astuce : la plupart des organistes n’utilisent que très rarement le Vibrato scanner, préférant employer la cabine Leslie seule. D’autres, comme le virtuose du B3, Brian Auger, préfèrent utiliser le vibrato interne de l’orgue par-dessus la Leslie. Comparez les effets de chœur et de vibrato au son imitant la cabine Leslie et choisissez suivant votre préférence. Utilisation de l’effet EVB3 Percussion L’EVB3 émule l’effet Percussion (touche) du B3 original. L’option Percussion est disponible uniquementsur le claviersupérieur, comme sur un B3 d’origine. L’effet ajoute la deuxième ou la troisième harmonique à l’enveloppe d’attaque d’une note. Ces harmoniques s’estompent rapidement, pour laisser place aux tonalités de tirette choisies. L’effet Percussion est polyphonique, mais n’est (re)déclenché qu’après le relâchement de touteslestouches. Si vousrelâchez touteslestouches, les nouvelles notes ou les nouveaux accords sonneront avec une percussion. Si vous jouez legato, ou maintenez certaines touches enfoncées sur le clavier supérieur, aucune percussion ne sera audible. Cliquez pour activer ou désactiver le paramètre Percussion. Définissez l’option Upper level. Définissez les options Time et Volume du paramètre Percussion. Choisissez ici le 2e ou 3e harmonique. Réglez la sensibilité de la vélocité. • Bouton On/Off : appuyez sur le bouton On, dans la section Percussion, pour activer l’effet de percussion. • Bouton 2e/3e : cliquez sur ce bouton pour déterminer quelle harmonique diffuser (le bouton permet de basculer entre la 2e et la 3e). • Roulette Temps : faites glisser cette roulette pour régler le temps de chute de la percussion. • Roulette Volume (Vol) : permet d’ajuster le niveau de chute. Il s’agit d’une amélioration par rapport au B3, où les options Time et Vol pouvaient uniquement être activées ou désactivées. Chapitre 7 EVB3 161 • Roulette Vél : définit la sensibilité à la vitesse de la percussion (contrairement au B3 original, qui n’était pas sensible à la vitesse). Si vous engagez la percussion d’un B3, le volume des registres normaux, non percussifs est légèrement réduit. • Roulette Niveau sup : modifie la balance entre le clavier supérieur (percussif) et le pédalier/clavier inférieur. Sur le B3, l’option de percussion est disponible uniquement si la touche de présélection B a été sélectionnée (voir Utilisation des touches de présélection de l’EVB3). Remarque : définissez le paramètre Perc (dans la section Organ) sur B (Si) uniquement, afin de simuler la restriction de la touche de présélection B (Si). Si vous préférez que la percussion soit toujours disponible, sélectionnez Toujours. Réglage Paradise du temps de percussion EVB3 Le paramètre Time est doté d’un réglage maximum appelé Paradise. Dans cette position, la percussion ne décroît jamais. Ce nom provient d’un célèbre enregistrement de Jimmy Smith « Groovin’ at Small’s Paradise », dans lequel Jimmy utilise un B3 ayant un défaut dans le déclenchement de la percussion. L’intérêt de cette bizarrerie technique est qu’un des sons harmonique est sans Chorus-Vibrato, alors que les harmoniques des tirettes ont un Chorus-Vibrato. Bien que très spécialisée, il peut s’avérer utile d’inclure cette technique dans des morceaux, et plus particulièrement dans des compositions de jazz. Utilisation des paramètres Tone globale dans EVB3 Vous pouvez ajuster différents réglages audio de l’EVB3, tels que le niveau, les accords, le volume des touches, à l’aide des paramètres situés en bas à gauche de la partie grise et dans la section Organ. Potentiomètres d’activation/désactivation Click Potentiomètre Tune Potentiomètre Pedal Click Potentiomètre Expression Potentiomètre Volume • Potentiomètre Tune : modifie l’accord de l’EVB3 en centièmes (pourcentages d’un demi-ton). 0 c correspond à La = 440 Hz. • Potentiomètres Click On/Clic Off : ces boutons servent de commandes de niveau pour le son de clic de touche émis respectivement lors de l’apparition et de la disparition des messages. 162 Chapitre 7 EVB3 • Potentiomètre Pedal Click : commande de niveau du son de clic du registre de pédalier. • Potentiomètre Expression : le bouton Expression est la commande de sensibilité de la pédale d’expression, si vous en avez connecté une (si votre clavier MIDI est équipé d’une entrée de contrôleur assignable ou d’expression). Un usage intensif et souvent rythmique de la pédale d’expression fait partie du style de nombreux organistes. La commande d’expression émule également les changements de tonalité du préamplificateur B3, où les fréquence de basse et d’aigu ne sont pas aussi atténuées que les fréquences moyennes. Votre clavier maître doit transmettre le changement de contrôle MIDI n° 11 lorsque cette pédale est actionnée. Par défaut, l’EVB3 utilise CC #11 comme Expression. • Potentiomètre Volume : détermine le volume de sortie global de l’EVB3. Important : le volume doit être réduit chaque fois que des craquements ou autres manifestations de distorsion numérique se produisent. Des niveaux de volume au-delà de 0 dB peuvent se produire si vous poussez au maximum tous les registres, jouez beaucoup de notes et utilisez l’effet de distorsion. Utilisation des paramètres Modèle dans EVB3 Les paramètres de modèle permettent de contrôler de manière précise votre son d’orgue. Ceci inclut non seulement les commandes de base de niveau et de balance tonale, mais également d’autres paramètres plus intéressants pour l’émulation des caractéristiques sonores (et des limites et « défauts » techniques) de l’orgue Hammond B3 d’origine. Vous pouvez même imiter les défauts dus au vieillissement des composants d’un B3. Pour plus d’informations sur les aspects techniques de l’orgue Hammond B3 et sur les concepts de génération audio par roue phonique, consultez les rubriques Bref historique de l’orgue Hammond et Génération sonore à roues phoniques. Chapitre 7 EVB3 163 Paramètres Pitch L’EVB3 comprend plusieurs paramètres permettant de modifierson comportement tonal, en ajoutant une flexibilité impossible avec l’instrument original. L’EVB3 est accordé selon un tempérament égal. Mais à partir de cet accord standard, vous pouvez faire dévier l’accord dans les basses et les aigus, un peu comme pour les pianos acoustiques (surtout les pianos droits). Vous pouvez également désaccorder de manière aléatoire votre son à l’aide du paramètre Warmth, et même utiliser la roulette Pitch Bend de votre clavier pour déformer le son. Cette dernière n’est pas conforme à l’original, mais elle offre une option créative intéressante. Paramètre Warmth Paramètres Stretch Paramètres Pitch Bend • Curseur Upper Stretch : contrôle la valeur de déviation par rapport à la valeur moyenne des aigus. Plus cette valeur est élevée, plus les notes aiguës seront accordées vers le haut. Avec une valeur de 0, l’EVB3 est accordé avec un tempérament égal, chaque octave ayant une fréquence exactement double par rapport à la suivante. Voir également À propos de la fonction Réglage déviation . • Curseur Lower Stretch : contrôle la valeur de déviation par rapport à la moyenne des fréquences de basses. Plus cette valeur est élevée, plusles notes bassesseront accordées versle bas. Avec une valeur de 0, l’EVB3 est accordé selon un tempérament égal, chaque octave ayant une fréquence réduite exactement de moitié par rapport à la précédente. • Curseur ChalWarmtheur : contrôle la valeur de la déviation aléatoire par rapport à la moyenne (tempérament égal). Une valeur Warmth élevée peut rendre un son d’orgue plus vivant; toutefois,soyez prudent lors de l’utilisation de ce paramètre, car une valeur trop élevée rend un son légèrement faux. Remarque : utiliser les deux paramètres Warmth et Stretch ensemble peut donner un son désaccordé,similaire à un effet de chœur trop lourd. Définissez le paramètre Warmth sur 0 si vous recherchez un son pur. 164 Chapitre 7 EVB3 • Curseurs Pitchbend Up/Down : l’orgue Hammond B3 ne dispose pas de la fonction Pitch Bend. L’usage du Pitch Bend n’est donc pas recommandé si vous souhaitez simuler un orgue de manière réaliste, toutefois il offre un grand nombre d’options créatives. • La sensibilité de Pitch Bend supérieur/inférieur peut être réglée indépendamment, par paliers de demi-ton, à l’aide des paramètres Pitch Bend supérieur et Pitch Bend inférieur. La sensibilité maximum vers le haut est d’une octave. • Vous pouvez également définir le paramètre Pitch Bend inférieur sur Frein (ce qui permet de ralentir progressivement les roues phoniques jusqu’à l’arrêt complet), lorsque la commande Pitch Bend de votre clavier est sur la position minimum. Remarque : le réglage Frein recrée un effet présent à la fin du morceau « Knife Edge » d’Emerson, Lake et Palmer. Le jeu virtuose de Keith Emerson à l’orgue Hammond avait été enregistré sur un magnétophone à bobines, puis doucement ralenti jusqu’à un arrêt total. • Menus locaux Trans UM, Trans LM, et Trans Ped. : permettent de transposer individuellement lesregistres Claviersupérieur, Clavier inférieur et Pédalier, versle haut ou vers le bas, d’une ou deux octaves. Voir Transposition de l’EVB3 par octaves pour plus de détails. À propos de la fonction Réglage déviation Les sons des clavinets, clavecins et pianos comportent des éléments « inharmoniques » dans leur structure. Les fréquences de ces sons dominants (harmoniques) ne sont pas exactement des multiples entiers de la fréquence de base. Les harmoniques des notes (accordées) les plus basses sont, par conséquent, relativement plus proches des fréquences principales des notes plus aiguës. Du fait de l’absence de cordes, cette relation inharmonique n’est pas vraie pour les orgues. La fonction Déviation a été incluse au cas où vous souhaiteriez utiliser l’EVB3 dans un arrangement, en association avec l’enregistrement d’un piano acoustique. Paramètres Click dans EVB3 Les contacts des touches des orgues électromécaniques à roues phoniques tendent à abîmer un peu les barres de contact, introduisant un bref clic audible. S’il y a un peu de corrosion sur les contacts ou les barres de contact, la durée et le niveau de ce clic seront plus élevés Cet aspect de la conception du B3 cause des bruits erratiques(communément appelés bruit de touche), lors de la frappe et du relâchement des touches. Les fans du Hammond adorent ces bruits de clic, car ils donnent une qualité percutante éphémère à la note. L’EVB3 vous permet de régler le volume et le son de ce clic. La couleur tonale et le volume des clics sont modifiés de manière aléatoire et indépendante, à l’aide des réglages de volume Clic début et Clic fin (relâchement). Chapitre 7 EVB3 165 Vous pouvez utiliser les potentiomètres Click On et Click Off (dans la section grise située au-dessus des paramètres Condition) afin de contrôler indépendamment le volume de clic en début de note et en fin de note. Le clic de fin de note est moins audible, même si les deux contrôles sont réglés sur la même valeur, afin de refléter le comportement de l’instrument original. Voir Utilisation des paramètres Tone globale dans EVB3 pour plus d’informations sur ces commandes. Paramètres Click • Curseurs Click Min/Max : ces curseurs vous permettent de définir une plage pour la durée du clic, pouvant aller d’un clic court (« tick ») à un clic long (« scratch »). Lorsque vous jouez, la durée du clic est sélectionnée de manière aléatoire dans la plage définie. • Utilisez le paramètre Click min pour définir la durée de clic minimum. • Définissez ensuite la durée de clic maximum à l’aide du paramètre Click Max. Remarque : même si ces deux paramètres ont des valeurs identiques, il y a toujours une variation aléatoire du son. C’est cette variation qui fait que certains clics semblent plus courts que la valeur Clic min. • Curseur Click Color: permet de régler la couleur tonale du clic. Ils’agit d’une commande globale pour la partie aiguë du son de clic, qui a priorité (sans les remplacer) sur les variations de couleur de clic aléatoire. • Curseur Velo to Click (section Extended Parameters) : détermine la sensibilité à la vitesse des paramètres Click. Ce réglage est situé dans la section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3) . 166 Chapitre 7 EVB3 Paramètres EVB3 Condition Les limitations techniques des orgues électromécaniques à roues phoniques génèrent d’étranges artefacts sonores, tels que la diaphonie. Ces bizarreries font partie intégrante du charme du B3. Vous pouvez régler les paramètres décrits ci-après afin de redéfinir l’âge de votre EVB3. Paramètres Condition • Curseur Drawbar Leak : permet de régler le niveau de sortie minimum des tirettes, lorsqu’elles sont en position minimum. Même si toutes les tirettes sont à leur position minimum, les générateurs à roues phoniques du B3 continuent à tourner. Cela est du à une dispersion issue des roues phoniques, qui crée une diaphonie en sortie. • Avec une valeur 0, vous pouvez complètement éliminer cette dispersion. • Avec un réglage au maximum, elle sera beaucoup plus audible. • Curseur Leakage : ajoute un son découlant de la diaphonie desroues phoniques, incluant même celle des notes que vous n’avez pas jouées. Utilisez ce curseur pour ajouter un effet « voilé » au son de votre orgue. • Curseur Crosstalk : le système comprend deux roues phoniques, espacées de quatre octaves, sur chaque axe rotatif, pour chaque tonalité. Le signal produit par la roue inférieure contient une légère diaphonie audible, induite par la roue supérieure, et vice versa. Vous pouvez ajuster le niveau de cette diaphonie à l’aide du curseur Crosstalk. Pour en savoir plus, voir Génération sonore à roues phoniques. Cela est un point important à noter, car la diaphonie est audible uniquement sur certaines roues phoniques du B3, toute « perturbation » étant évitée lorsque vous jouez des accords. Chapitre 7 EVB3 167 • Curseur Random FM : si le générateur à roues phoniques d’un B3 fonctionne correctement, touteslesfréquencessont uniformes et accordées. Le système mécanique de rotation et d’entraînement desroues phoniques(ressorts, couplages et engrenages) est très efficace, mais il ne peut compenser les irrégularités dues à la poussière et à la graisse présentes dansles générateurs. Cette accumulation de saleté dansle mécanisme a pour conséquence que le bloc roues phoniques ne tourne pas de manière régulière sur son axe. Cette irrégularité est transmise aux roues phoniques elles-mêmes et, par conséquent, au son diffusé. Vous pouvez utiliser le curseur Random FM pour simuler cet effet, audible uniquement dans les plages haute fréquence. • Curseur Filter Age : les signaux haute fréquence des générateurs à roues phoniques du B3 transitent par des filtres passe-bande. La fréquence centrale de ces filtres varie à mesure que les condensateurs vieillissent. Vous pouvez utiliser le paramètre Filter Age filtre pour modifier les fréquences centrales des filtres, afin de simuler le vieillissement des condensateurs. Remarque : ceci colore le son d’une certaine instabilité due au paramètre Random FM et d’un certain bruit de fond résultant du paramètre Leakage. Ce paramètre influence également l’intonation de l’orgue, si vous utilisez la fonction Pitch Bend. Paramètres EVB3 Organ Les paramètres Organ permettent de modifier la qualité audio de base de l’EVB3. Paramètres Organ • Curseur Max Wheels : définit le nombre de roues phoniques pouvant être émulées. Réduisez cette valeur afin de minimiser la charge de traitement, car émuler la totalité des générateurs de roues phoniques (même inutilisées) consomme une partie importante de la puissance de traitement du processeur. Notez que cela réduit également quelques sons dominants ; conservez donc une valeur assez élevée si vous recherchez une simulation ultra-réaliste. 168 Chapitre 7 EVB3 • Curseur Tonal Balance : modifie l’équilibre aigus/basses desroues phoniques. Une valeur positive donne un son plus léger et éclatant. N’hésitez pas à essayer différents réglages pour Équilibre tonal et Égaliseur. Pour plus d’informations, voir Utilisation de l’égaliseur intégré de l’EVB3. • Curseur Shape : vous pouvez modifier de manière subtile la forme d’onde des sons émanant du générateur à roues phoniques, grâce au paramètre Shape. Alors que les générateurs sonores du Hammond produisent des ondes sinusoïdales pures (malgré quelques artefactstechniques), d’autres orgues produisent desformes d’onde distordues. Vous pouvez utiliser le paramètre Shape pour produire des sons ressemblant à ceux des orgues Farfisa, Solina ou Yamaha. Notez que le paramètre Shape est placé après les filtres qui suivent les générateurs d’ondes sinusoïdales. • Faites glisser le curseur Shape vers la droite pour obtenir un son plus éclatant (et plus fort). • Faites glisser le curseur Shape vers la gauche pour obtenir un son plus sourd (et moins fort). • Curseur Bass Filter : le son des tirettes du pédalier est souvent un peu trop « éclatant », dansle contexte musical global (combinaison pédalier/clavier inférieur/claviersupérieur). Pour remédier à cela, et pour supprimer les aigus du registre des basses, vous pouvez utiliser le curseur Bass Filter. En position maximum, vous n’entendrez plus que le son de basse fondamental de l’orgue dans le registre des basses. • BoutonUltra basses: lorsque ce paramètre est activé, une autre octave basse est ajoutée à la plage jouable des clavierssupérieur et inférieur. Ces octaves bassessupplémentaires, ajoutées à la possibilité de transposer indépendamment les deux claviers (voir Transposition de l’EVB3 par octaves), n’existent pas sur le B3 d’origine. • Curseur Lower Volume et Pedal Volume : faites glisser ces curseurs vers la gauche ou la droite pour définir des niveaux relatifs entre les claviers supérieur et inférieur et le pédalier. • Champ Perc : sélectionnez la valeur B (Si) uniquement pour simuler la restriction de la touche de présélection B (Si). Si vous préférez que la percussion soit toujours disponible, sélectionnez Toujours. Consultez Utilisation de l’effet EVB3 Percussion. Chapitre 7 EVB3 169 Paramètres EVB3 Sustain Sur les synthétiseurs, le temps mis par une note pour s’estomper totalement, une fois que la touche a été relâchée, est appelé temps de libération. L’EVB3 vous permet de contrôler ce paramètre, appelé sustain dans le jargon des organistes. Paramètres Sustain • Potentiomètres Up/Low/Ped : ces trois paramètres vous permettent de contrôler de manière indépendante la phase de Sustain (relâchement) des registres du clavier supérieur (Up), du clavier inférieur (Low) et du pédalier (Ped). • Bouton Mode : vous permet de choisir un comportement de soutien parmi les deux options disponibles : • Sélectionnez Smart Mode pour couper la phase de soutien des notesrelâchéeslorsque vous jouez de nouvelles notes. • Sélectionnez Normal Mode pour autoriser les phases de soutien polyphoniques ; toutes les notes relâchées sont soutenues, même si de nouvelles notes sont jouées. Remarque : le Mode intelligent permet de longs temps de soutien, même dans le registre des basses, ce qui entraîne habituellement des dissonances désagréables en Mode normal. 170 Chapitre 7 EVB3 Utilisation des effets EVB3 intégrés L’EVB3 est équipé d’un égaliseur trois bandes, d’un effet de réverbération, d’un effet wah-wah contrôlable par pédale et d’un effet de distorsion simulant le son d’un amplificateur à tube saturé. En outre, le signal peut être transmis via la fonction d’émulation de la cabine Leslie à système rotatif. Menu Effect Chain Paramètres Equalizer Paramètres Reverb Menu Effect Bypass Paramètres Tone et Drive du menu Distortion Paramètres Range et Bite du menu Wah Wah Menu CC Menu du mode Wah Wah Menu Distortion Type Paramètres Chain et Bypass Effects dans EVB3 Le cheminement du signal d’effet est le suivant : le signal de l’orgue passe par l’égaliseur, ainsi que par les effets wah wah et distortion. Ce signal traité passe ensuite par la réverbération et enfin par l’effet de rotor Leslie. Pour modifier le parcours des effets d’égaliseur, wah-wah et de distorsion µ Choisissez l’un des réglages suivants dans le menu local Effect Chaing : • Ég-Wah-Dist : ce parcours est idéal dans le cas d’un patch B3 classique : orgue doté d’un égaliseur, branché sur une pédale wah-wah et amplifié par un Leslie saturé. • Ég-Dist-Wah : le son de l’overdrive change si le signal d’entrée a été filtré, soit par l’égaliseur, soit par la pédale wah-wah. Placer l’égaliseur avant l’overdrive offre une plus grande flexibilité audio. Bien que le signal de sortie de l’effet de distorsion contienne toujours des éléments haute fréquence, ces éléments peuvent être supprimés en plaçant l’effet wah-wah en fin de chaîne. Chapitre 7 EVB3 171 • Wah-Dist-Ég : si vous désirez créer un son « hurlant » (obtenu par la distorsion de la sortie wah-wah), vous pouvez réduire sa « rudesse » en choisissant le parcours Wah-Dist-Ég. • Dist-Ég-Wah : choisissez ce parcours pour supprimer les sons dominants brutaux des distorsions extrêmes grâce à deux filtres : • Contourner : désactive les effets Égaliseur, Distorsion et Wah Wah. Les effets Distorsion, Wah Wah et Égaliseur peuvent être contournés séparément par le registre du pédalier. Cela évite la suppression de toutes les basses de l’orgue par l’effet wah-wah. Cela évite également les inconvénients d’une intermodulation indésirable lorsque vous utilisez l’effet Distorsion. Pour contourner le registrer du pédalier µ Sélectionnez Pédalier dans le menu local Effect Bypass. Si vous sélectionnez Aucun dans ce menu, la sortie de l’orgue est entièrement traitée. Utilisation de l’égaliseur intégré de l’EVB3 L’EVB3 est doté d’un égaliseur simple mais efficace, situé en bas à droite de la section grise, dans la partie supérieure de l’interface. • Potentiomètre EQ Low : permet de régler le niveau des basses fréquences. • Potentiomètre EQ Mid : permet de régler le niveau des fréquences moyennes. • Potentiomètre EQ High : permet de régler le niveau des fréquences élevées. • Potentiomètre EQ Level : permet de régler le niveau global de l’égaliseur. 172 Chapitre 7 EVB3 Utilisation de la réverbération intégrée de l’EVB3 La fonction Réverbération de l’EVB3 est placée tout à droite de la section grise, dans la partie supérieure de l’interface. • Menu localMode : vous avez le choix entre six algorithmes de réverbération : Box, Small, Medium, Large, Big et Spring. Sélectionnez Contourner pour désactiver la réverbération sans en modifier le niveau. • Potentiomètre Reverb : permet de définir le niveau de réverbération. Dans le cas d’une valeur nulle (0), la réverbération est désactivée. Utilisation de l’effet Réverbération avant/après l’émulation de la cabine à système rotatif La réverbération est toujours raccordée après les effets Égaliseur, Wah Wah et Distorsion, mais avant l’effet Rotor. Cela signifie que la réverbération sonne toujours comme si elle était jouée via les enceintes rotatives. Heureusement, vous pouvez contourner le problème en utilisant les boutons Reverb (dans la section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3) pour raccorder l’effet de réverbération avant (Pre) ou après (Post) l’effet de rotor. Chapitre 7 EVB3 173 Utilisation de l’effet Wah Wah intégré de l’EVB3 Le nom Wah Wah provient du son produit par cette pédale. Elle a été rendue célèbre par les guitaristes électriques à l’époque de Jimi Hendrix, généralement par un jeu de pédale. La pédale contrôle la fréquence de coupure d’un filtre passe-bande, passe-bas ou, plus rarement, d’un filtre passe-haut. La pédale wah-wah est également beaucoup utilisée avec l’orgue Hammond. • Menu local Mode : permet d’activer ou de désactiver l’effet wah-wah. Si vous choisissez Off, l’effet est désactivé. Il existe six types de filtres différents : • ResoLP : (Filtre passe-bas avec résonance) : dans ce mode, l’effet wah wah fonctionne comme un filtre passe-bas avec résonance. Si la pédale est en position minimum, seules les fréquences basses peuvent passer. • PHRéso : (Filtre passe-haut avec résonance) : dans ce mode, l’effet wah wah fonctionne comme un filtre passe-haut avec résonance. Si la pédale est en position minimum, seules les fréquences hautes peuvent passer. • Peak : dans ce mode, l’effet wah-wah fonctionne comme un filtre à crête (en cloche). Les fréquences proches de la fréquence de coupure sont accentuées. • CryB : ce réglage imite le son de distorsion d’une célèbre pédale wah-wah. • Morl : ce réglage imite le son d’une pédale wah-wah populaire, présentant une légère caractéristique de crête, • Morl2 : ce réglage imite le son de distorsion d’une pédale wah-wah populaire. Il présente un réglage Facteur Q (qualité) constant. • Menu local CC : cliquez sur ce menu pour affecter un contrôleur MIDI à l’effet Wah Wah. Consultez Contrôle MIDI de l’effet wah-wah dans l’EVB3. • Potentiomètre Range : contrôle la sensibilité de l’effet wah-wah aux données en provenance du contrôleur MIDI. Voir Contrôle MIDI de l’effet wah-wah dans l’EVB3, ci-dessous. • Potentiomètre Bite : améliore le signal autour de la fréquence de coupure. Le paramètre Bite est un paramètre de résonance de filtre, qui permet, avec des valeurs élevées, de donner un ton plus agressif au son wah-wah. 174 Chapitre 7 EVB3 Contrôle MIDI de l’effet wah-wah dans l’EVB3 Vous pouvez choisir n’importe quel numéro de contrôleur MIDI indiqué dans le menu local CC (ou dans le canal aftertouch) pour contrôler l’effet wah-wah. Vous pouvez également utiliser la fonction Apprendre pour indiquer à la fonction wah-wah comment répondre à un message entrant. Consultez Attribution d’un contrôleur MIDI dans l’EVB3 via la fonction Apprendre. Pour obtenir les performances les plus dynamiques et musicales possibles sur l’effet wah-wah, vous pouvez ajouter une pédale d’expression à votre clavier maître MIDI. Celui-ci transmet le changement de contrôle MIDI n°11, normalement utilisé pour contrôler le volume de l’EVB3 lorsque vous jouez. Pour utiliser une pédale d’expression afin de contrôler l’effet wah-wah 1 Placez le potentiomètre Expression (à gauche du potentiomètre Volume, dans la section grise) sur une valeur de zéro. 2 Choisissez le contrôleur n°11 dans le menu local CC. Cela vous permet de contrôler la fréquence de coupure wah-wah à l’aide de la pédale d’expression et élimine les procédures de configuration fastidieuses sur le clavier maître. Si voussautez l’étape 1, la pédale Expression sera utilisée pour contrôler à la foisle volume principal de l’EVB3 et l’effet wah-wah. Remarque : consultez le manuel de l’utilisateur de votre clavier pour en savoir plus sur l’utilisation d’une pédale d’expression. Pour définir la sensibilité de la pédale wah-wah sur les mouvements du contrôleur : µ Réglez le potentiomètre Range. Si vous souhaitez seulement avoir de légères altérations de la fréquence de coupure, choisissez une valeur faible. Utilisation de l’effet Distorsion intégré de l’EVB3 L’effet de distorsion simule un amplificateur à tube à deux étagessaturé. Son rôle principal étant la simulation de l’amplificateur Leslie, ou tout autre ampli pouvant être utilisé pour alimenter une cabine Leslie. • Menu local Type : vous avez le choix entre trois modèles d’amplificateur à tube différents: • Growl : l’option Growlsimule un amplificateur à tube deux phases. Cet effet ressemble beaucoup au modèle Leslie 122, partenaire traditionnel de l’orgue Hammond B3. Chapitre 7 EVB3 175 • Bity : bity est une réminiscence d’un ampli de guitare bluesy. • Nasty : l’option Nasty délivre des distorsions dures et convient aux sons agressifs. • Bouton Tone : altère la portion déformée (par distorsion) du son. Ceci n’a aucune effet sur la portion « sèche » du signal. Vous obtenez ainsi des sons très chauds et saturés qui ne deviendront pas « grinçants » si vous essayez de sortir plus d’aigus de l’instrument. • Potentiomètre Drive : définit le niveau de distorsion de l’overdrive. Le niveau de sortie est automatiquement compensé, il n’est donc pas nécessaire d’avoir un autre contrôle de volume général. Une valeur nulle (0) désactive le circuit Distorsion. Utilisation de l’effet Émulation de cabine à système rotatif intégré de l’EVB3 L’histoire de l’orgue Hammond ne serait pas complète si l’on ne parlait pas des cabines à système rotatif, fabriquées par Leslie. En fait, jouer de l’orgue B3 sans une telle cabine est plutôt considéré de nos jours comme un effet spécial. L’EVB3 simule non seulement la cabine elle-même, mais vous permet également de changer de position d’écoute en plaçant des microphones virtuels à plusieurs endroits. Certains modèles de cabine sont simulés de manière mathématique, tandis que d’autres utilisent un enregistrement réel des caractéristiquesspatiales de la cabine. Cette dernière méthode est appelée « réponse impulsionnelle ». Voustrouverez desinformations détaillées sur les réponses impulsionnelles dans la rubrique Concepteur spatial de l’aide des effets .MainStage Si vous n’êtes pas familiarisé avec les principes de fonctionnement des cabines à système rotatif Leslie, consultez Cabine Leslie. Commandes basiques de cabine à système rotatif dans l’EVB3 Les paramètres de base du rotor Leslie sont disponibles dansles deux interfaces de l’EVB3 (ouvert et fermé). Ils permettent d’accéder rapidement à une simulation de cabine Leslie. 176 Chapitre 7 EVB3 Les commandes de cabine avancées sont présentées dans la rubrique Commandes avancées de cabine à système rotatif dans l’EVB3. Contrôles avancés de haut-parleur rotor Contrôles de base de haut-parleur rotor • Bouton On/Off : permet d’activer et désactiver la simulation de cabine Leslie. • Boutons Rotor speed : permettent de contrôler la vitesse du rotor comme suit : • Chorale : mouvement lent. • Tremolo : mouvement rapide. • Brake : arrête le rotor. • Menu local Speed Control : ce menu local vous permet de définir les contrôleurs utilisés pour actionner à distance les boutons de vitesse du rotor. Consultez MIDI Control de l’effet EVB3 Rotor Speaker Speed. • Menu local Cabinet : ce menu vous permet de choisir un modèle de cabine parmi les options suivantes : • Désactivé : utilisez cette option pour désactiver l’effet rotor. • Wood : simule une Leslie équipée d’une enceinte en bois etsonne comme les modèles Leslie 122 ou 147. • Proline : simule une Leslie équipée d’une enceinte plus ouverte semblable au modèle Leslie 760. • Single : simule le son d’une Leslie équipée d’un rotor simple full-range. Le son ressemble au modèle Leslie 825. • Split : le signal de basses du rotor est dirigé plus vers la gauche, tandis que le signal des aigus du rotor est dirigé plus vers la droite. • Wood & Horn IR : ce réglage utilise une réponse d’impulsion d’une Leslie avec une enceinte en bois. • Proline & Horn IR : ce réglage utilise une réponse d’impulsion de Leslie équipée d’une enceinte plus ouverte. • Split & Horn IR : ce réglage utilise une réponse impulsionnelle de cabine Leslie avec le signal des basses du rotor dirigé plus vers la gauche et le signal des aigus du rotor plus vers la droite. Chapitre 7 EVB3 177 MIDI Control de l’effet EVB3 Rotor Speaker Speed Le menu Speed Control vous permet de définir les contrôleurs utilisés pour actionner à distance les boutons de vitesse du rotor. Vous avez le choix entre les options suivantes : • ModWheel : ce réglage utilise la roulette de modulation pour passer d’un réglage de vitesse à l’autre, parmi les trois réglages disponibles. L’option Brake se trouve vers la position centrale de la roulette de modulation, tandis que Chorale se trouve vers le bas et Trémolo dans le tiers supérieur de la course de la roulette. • ModWhl Toggle : change d’option dès que la roulette de modulation dépasse sa position centrale. Si la roulette passe par la position centrale en transition entre une position haute et une position basse, rien ne se passe. Ceci a été implémenté pour les claviers Roland ayant des roulettes de Pitch Bend et de modulation combinées. • ModWhl Temp : change d’option dès que la roulette de modulation dépasse sa position centrale, quel quoi soit le sens du mouvement (haut vers bas ou bas vers haut). Ceci a été implémenté pour les claviers Roland ayant des roulettes de Pitch Bend et de modulation combinées. • Touch : change d’option en cas de pression aftertouch sur les messages. Aucun changement d’option n’a lieu au relâchement de la pression aftertouch. • Touch Temp : change d’option en cas de pression aftertouch sur les messages. Un second changement d’option a lieu avec les messages de relâchement de la pression aftertouch. • SusPdl Toggle : change d’option lorsque que vous appuyez sur la pédale de soutien. Aucun changement d’option n’a lieu lorsque vous relâchez la pédale. • SusPdl Temp : change d’option lorsque que vous appuyez sur la pédale de soutien. Un second changement d’option a lieu lorsque vous relâchez la pédale de soutien. • CC #18 and CC #19 Toggle : change d’option lorsque vous appuyez sur le contrôleur n°18 ou n°19. Aucun changement d’option n’a lieu lorsque vous relâchez le contrôleur. • CC #18 and CC #19 Temp : change d’option lorsque vous appuyez sur le contrôleur n°18 ou n°19. Un second changement d’option a lieu lorsque vous relâchez le contrôleur n°18 ou n°19. Remarque : toutes les entrées du menu Speed Control (excepté ModWheel) permettent de passer de l’option Tremolo à la vitesse définie à l’aide des boutons Rotor Speed, c’est-à-dire entre Chorale et Tremolo, ou entre Brake et Tremolo. Si le bouton Tremolo Rotor Speed est réglé sur Tremolo, vous passez de l’option Tremolo à Chorale. Commandes avancées de cabine à système rotatif dans l’EVB3 Les paramètres avancés de la cabine à système rotatif Leslie sont disponibles (visibles) uniquement lorsque le « couvercle » de l’EVB3 est ouvert. Ils permettent d’effectuer le réglage de sons spécialisés et sont utiles dans la création d’émulations réalistes. 178 Chapitre 7 EVB3 Les paramètres de microphone sont présentés dans la rubrique Réglage des paramètres de microphone de l’EVB3. D’autres paramètres avancéssont abordés dansla rubrique Paramètres étendus de cabine Leslie de l’EVB3. Contrôles avancés de haut-parleur rotor Contrôles de base de haut-parleur rotor • Curseur Rotor Fast Rate : définit la vitesse maximum possible pour le rotor (Trémolo). La vitesse de rotation Trémolo est affichée en Hertz. • Curseur Acc/Dec Scale : les moteurs Leslie doivent accélérer et ralentir physiquement les diffuseurs mécaniques situés sur les haut-parleurs dans les cabines, pour cela leur puissance est limitée. Utilisez le paramètre Scale Acc/Dec pour déterminer le temps qu’il faut pour amener les rotors à une vitesse déterminée et le temps nécessaire pour les ralentir. • Placez le curseur complètement à gauche pour passer immédiatement à la vitesse présélectionnée. • Plus le curseur est à droite, plus les changements de vitesse seront longs à se mettre en place. • Dans sa position par défaut, soit 1, le comportement ressemble à celui de la cabine Leslie. • Champ Horn Deflector : une cabine Leslie comporte un double pavillon acoustique, muni d’un déflecteur à son embouchure. C’est lui qui fabrique le son Leslie. Certaines personnes préfèrent désactiver le déflecteur afin d’augmenter la modulation de l’amplitude et de diminuer la modulation de fréquence. Vous pouvez émuler cet effet à l’aide de l’EVB3 en utilisant le champ Horn Deflector pour activer ou désactiver le déflecteur. • Menu local Motor Ctrl : ce menu vous permet de sélectionner différentes vitesses pour les rotors des basses et des aigus : • Normal : les deux rotors utilisent la vitesse définie à l’aide des boutons de vitesse de rotor. • Inv : (mode inversé) : en mode Tremolo, le compartiment des graves tourne à grande vitesse, alors que le compartiment du pavillon acoustique tourne lentement. C’est l’inverse en mode Chorale. En mode Frein, les deux rotors sont arrêtés. Chapitre 7 EVB3 179 • 910 : le 910, ou mode Memphis, arrête la rotation du tambour des graves à basse vitesse, tandis que la vitesse du compartiment du pavillon acoustique peut être réglée. Cela peut être utile si vousrecherchez un son de bassessolide, maissouhaitez conserver un peu de mouvement dans les aigus. • Sync : l’accélération et la décélération du pavillon acoustique et des grosses caisses (basses)sont pratiquement identiques. On a l’impression que les deux sont entremêlés, mais cet effet n’est clairement audible que pendant l’accélération ou la décélération. Remarque : si vous sélectionnez Cabine simple dans le menu local Cabinet, le réglage Contrôle du moteur est inopérant, car il n’y a pas de rotors de basses et d’aigus séparés dans une cabine acoustique simple. Réglage des paramètres de microphone de l’EVB3 L’EVB3 est doté d’une paire de microphones modélisés, utilisés pour « capter » le son de la cabine Leslie. Ils servent principalement à spécifier la position d’écoute. • Curseur Mic Distance : détermine la distance entre les microphones virtuels (position d’écoute) et la cabine émulée. Les valeurs élevées donnent des sons plus sombres et moins définis. Ceci est typique des microphones lorsqu’ils sont placés trop loin de la source sonore. • CurseurMic Angle : définit l’image stéréo, en modifiant l’angle des microphonessimulés (valeur entre 0 et 180). 180 Chapitre 7 EVB3 Paramètres étendus de cabine Leslie de l’EVB3 Les paramètres Leslie suivantssontsitués dansla section Extended Parameters, à laquelle vous accédez en cliquant sur le triangle d’affichage, en bas à gauche de l’interface EVB3. • Curseur Dry Level : permet d’ajuster le niveau du signal sec, ce qui peut également être utile si l’option Switches to dry sound est sélectionnée dans le menu Brake (voir ci-dessous). • Menu local Brake : contient deux réglages permettant de modifier le mode Brake de l’EVB3 : • Stops rotor : ce mode permet de ralentir progressivement le mouvement du rotor jusqu’à l’arrêt complet. • Switches to dry sound : ce mode permet de contourner l’enceinte du rotor lorsque celui-ci est arrêté, et ce en 1 seconde. Cela s’avère utile lorsque vous utilisez la roulette de modulation pour basculer entre les modes Trémolo (vitesse de rotor élevée) et Chorale (vitesse faible). Si vousrevenez ensuite au mode Brake, lesrotorssont ralentis au cours de la transition vers le son sec. • Curseurs Horn/Drum Brake Position : vous permet de définir une position d’arrêt exacte pour le système de rotation des basses ou du pavillon acoustique de la cabine Leslie, respectivement. Ceci ne pouvait être effectué sur la cabine Leslie d’origine, c’est pourquoi un pavillon acoustique était parfois pointé sur l’arrière de la cabine lors de son arrêt, avec pour résultat un son très désagréable. • Boutons Reverb : vous permet d’appliquer l’effet de réverbération avant (option Pre) ou après (option Post) l’effet du rotor. Réglage de l’EVB3 pour vos équipements MIDI MainStageL’EVB3 est un outil unique dans la gamme des instruments, car il peut être utilisé simultanément avec trois contrôleurs : une pédale MIDI (basse) et deux claviers MIDI 73 touches. Ceci permet d’imiter de manière réaliste la configuration à deux claviers de 73 touches et à un pédalier (2 octaves) d’un B3 original (dans le jargon des organistes). L’EVB3 peut, bien entendu, être utilisé avec un clavier MIDI standard de 61 touches (5 octaves de C (Do) à C (Do)). Pour en savoir plus, consultez Utilisation d’un contrôleur monocanal avec l’EVB3. Chapitre 7 EVB3 181 Étant donné que l’EVB3 émule également les touches de présélection du B3, l’octave la plus basse des claviers MIDI associés servira à la sélection des registres de l’EVB3. Ce comportement est identique à celui du B3 original, qui dispose d’un certain nombre de touches inversées (noires) dans l’octave la plus basse de chaque clavier. Ces touches inverséessont utilisées en tant que boutons, pour appeler lesregistrations présélectionnées (préréglage des tirettes harmoniques). Heureusement, vous n’avez pas besoin d’un tournevis pour changer de registration sur l’EVB3, et ceci est une vraie amélioration par rapport à l’original. Vous trouverez plus de détails sur le réglage et l’utilisation des contrôleurs de tirettes MIDI dédiés dansla rubrique Attribution d’un contrôleur MIDI dansl’EVB3 (et lesrubriques suivantes). Utilisation de contrôleurs multiples ou multicanal avec l’EVB3 L’EVB3 reçoit les notes provenant des claviers supérieur et inférieur et du pédalier sur trois canaux MIDI consécutifs, définis comme suit par défaut : • canal MIDI 1 : son du clavier supérieur. • canal MIDI 2 : son du clavier inférieur. • canal MIDI 3 : son du pédalier. Cela vous permet de jouer simultanément avec trois contrôleurs MIDI sur l’EVB3. Vous pouvez également utiliser un clavier maître à un seul clavier (avec plusieurs zones clavier ou une fonction de division de clavier) qui envoie les données sur différents canaux MIDI, afin de gérer simultanément l’ensemble des sons de l’EVB3. Vous pouvez utiliser l’une de vos entrées d’interface MIDI pour vos claviers maîtres ou votre pédalier. Quels que soient les appareils utilisés en entrée, le seul facteur important est le canal d’émission MIDI. Remarque : veuillez consulter le manuel de l’utilisateur de votre clavier maître poursavoir comment définir les zones et les divisions, et régler le canal d’émission MIDI, souvent appelé canal TX (TX Channel). Modification des canaux MIDI sur l’EVB3 Vous pouvez également configurer l’EVB3 de manière à ce qu’il utilise des canaux MIDI autres que ceux définis par défaut. Pour ce faire, utilisez le paramètre « Basic Midi Ch » de la section Controls. Ce paramètre attribue un canal de réception MIDI au clavier supérieur. • Le numéro du canal de réception du clavier inférieur est toujours supérieur d’une unité à celui attribué au clavier supérieur . • Le numéro du canal de réception du pédalier est toujours supérieur de deux unités à celui attribué au clavier supérieur. 182 Chapitre 7 EVB3 Par exemple, si vous définissez le paramètre « Basic Midi Ch » sur 8, le canal de réception du clavier supérieur sera le canal 8, celui du clavier inférieur sera le canal 9 et le celui du pédalier sera le canal 10. Pour régler le paramètre Basic MIDI Channel 1 Sélectionnez View > Controls dans la fenêtre du module de l’EVB3. 2 Déplacez comme vous le souhaitez le curseur Basic Midi Ch (dans la section General, en bas à droite). Important : ce paramètre fonctionne uniquement si le paramètre Keyboard Mode (voir rubrique suivante) est défini sur Multi. Si le paramètre « Basic Midi Ch » est défini sur 16, le clavier inférieur reçoit les données sur le canal 1 et le pédalier sur le canal 2. Si le paramètre « Basic Midi Ch » est défini sur 15, le clavier inférieur reçoit les données sur le canal 16 et le pédalier sur le canal 1. Remarque : ce paramètre peut s’avérer utile dans le cas de performances en live, en particuliersi vous avez besoin de changer le canal d’émission MIDI de votre clavier maître, afin d’utiliser d’autres générateurs sonores. Utilisation d’un contrôleur monocanal avec l’EVB3 Si vous ne disposez pas d’un clavier maître permettant les transmissions multicanal, vous pouvez utiliser un clavier MIDI capable de transmettre sur un canal MIDI unique. Vous pouvez utiliser les paramètres EVB3 Split pour diviser le clavier en un registre supérieur, un registre inférieur et un registre pédalier, en jouant dans différentes zones du clavier. Pour régler le mode du clavier µ Cliquez plusieurs fois dans le champ Keyboard Mode, en bas au centre de l’interface, jusqu’à ce que l’option Split apparaisse. Cliquez ici pour choisir le mode clavier. Définissez ici les points de scission supérieur et inférieur. Vous pouvez définir l’étendue des zones de clavier à l’aide des paramètres UL Split (division clavier supérieur/inférieur) et LP Split (division clavier inférieur/pédale), conjointement avec les boutons Set. Chapitre 7 EVB3 183 Pour configurer la zone de clavier, effectuez l’une des opérations suivantes : µ Cliquez sur le bouton Set approprié (ils’affiche en orange ) et appuyez sur la note souhaitée (point de division) sur le clavier MIDI. µ Faites glisser le champ de valeur. Si vous sélectionnez la même valeur pour les deux points de division, le clavier inférieur est désactivé. Si le paramètre LP Split est défini sur une valeur supérieure à celle du paramètre UL Split, l’autre point de division est déplacé (et vice versa). Transposition de l’EVB3 par octaves Vous pouvez transposer individuellement les registres du clavier supérieur, du clavier inférieur et du pédalier d’une ou deux octaves, vers le haut ou vers le bas, à l’aide des menus locaux Trans UM, Trans LM, or Trans Ped. Ces transpositions s’effectuent indépendamment du paramètre Tune globale ou des fonctions de transposition de l’application hôte. En outre, elles n’ont aucun impact sur les touches de présélection. Cette fonctionnalité est particulièrement importante lorsque vous souhaitez utiliser la commutation des touches de présélection (voir Utilisation des touches de présélection de l’EVB3) avec le mode clavier Diviser. Attribution d’un contrôleur MIDI dans l’EVB3 La fonction d’attribution des contrôleurs MIDI vous permet de contrôler l’EVB3 à l’aide d’un contrôleur MIDI externe ou d’une application hôte telle que .MainStage Attribution d’un contrôleur MIDI dans l’EVB3 via la fonction Apprendre La roulette Morphing et l’effet Wah Wah vous permettent d’attribuer un contrôleur MIDI en utilisant la fonction d’apprentissage. Pour utiliser la fonction d’apprentissage avec un contrôleur 1 Sélectionnez -Apprendre- dans le menu local CC du paramètre souhaité. 184 Chapitre 7 EVB3 Si ce réglage est actif, le paramètre est attribué au premier message de données MIDI entrant approprié. 2 Accédez au contrôleur souhaité. Le mode Learn comprend une fonction d’expiration : si l’EVB3 ne reçoit pas de message MIDI dans les 20 secondes, le paramètre revient à son attribution de contrôleur MIDI d’origine. Remarque : le contrôleur actif/attribué apparaît coché. Sélection du mode MIDI de l’EVB3 Le paramètre MIDI Mode détermine la façon dont lestirettes EVB3 répondent aux messages de changement de contrôle MIDI à distance. Normalement, vous n’avez pas à modifier quoi que ce soit ici. Cliquez ici pour choisir un mode MIDI. En revanche, si vous disposez d’un orgue MIDI équipé de tirettes, vous pouvez utiliser les tirettes physiques afin de contrôler l’EVB3. La plupart des orgues à tirettes harmoniques utilisent un numéro de changement de contrôle MIDI indépendant pour chaque tirette. Vous trouverez dans les rubriques suivantes une liste des attributions de numéro de changement de contrôle pour les modes MIDI indiqués dans le tableau ci-dessous. Pour choisir un mode MIDI µ Cliquez plusieurs fois dans le champ MIDI Mode, en bas au centre de l’interface, jusqu’à ce que le mode souhaité apparaisse. Mode Description Chaque tirette correspond à un numéro de changement de contrôle MIDI spécifique, commençant par CC n°70. Les paramètres autres que ceux concernant les tirettes peuvent être définis à l’aide des messages de changement de contrôle d’un numéro inférieur à CC n°118 RK Chapitre 7 EVB3 185 Mode Description Toutes les tirettes de l’EVB3 sont contrôlées par les numéros de changement de contrôle MIDI entre les n°80 et 82. Les valeurs sont mappées de manière intelligente aux tirettes. Cette technique ne permet pas une résolution particulièrement élevée (tout comme le B3 d’origine), mais elle fonctionne bien. L’orgue Hammond-Suzuki XB-2 utilise cette méthode d’assignation des contrôleurs, afin de vous permettre de contrôler à distance les tirettes de l’EVB3. Outre pour la prise en charge des tirettes, vous pouvez utiliser les commandes suivantes des Hammond Suzuki XB-1, XK-2 et XK-3 pour contrôler à distance l’EVB3 : • Leslie : Brake/On/Fast • Vibrato et Chorus • Percussion (2ème/3ème/léger/rapide) Une liste de toutes les attributions de numéro de changement de contrôle est disponible dans la rubrique Mode MIDI EVB3 : HS. HS Les paramètres Instruments natifs du B4 sont répliqués, ce qui vous permet d’utiliser le contrôleur de tirette Instruments natifs du B4D. NI L’EVB3 répond aux messages de changement de contrôle provenant du clavier Nord Electro II de Clavia. NE Désactivé L’EVB3 ne répond pas aux messages de tirette MIDI. Mode MIDI EVB3 : RK Ce tableau décrit les attributions de contrôleur MIDI lorsque le Mode MIDI est défini sur RK. Sélectionnez ce réglage si vous utilisez un modèle de la gamme Roland VK ou un orgue à tirettes Korg CX-3 comme contrôleur à distance pour l’EVB3. Numéro de contrôleur Mode MIDI RK : paramètre assigné 70 Drawbar 16’ 71 Drawbar 5 1/3’ 72 Drawbar 8’ 73 Drawbar 4’ 74 Drawbar 2 2/3’ 75 Drawbar 2’ 76 Drawbar 1 3/5’ 77 Drawbar 1 1/3’ 78 Drawbar 1’ Rotor Cabinet 80, 92 Chorale/Brake/Tremolo 81 Chorale/Brake Reverb 82 Reverb Level 186 Chapitre 7 EVB3 Numéro de contrôleur Mode MIDI RK : paramètre assigné Vibrato 85 Upper Vibrato on/off 86 Lower Vibrato on/off 87 Chorus Vibrato Type Percussion 94 on/off 95 2nd/3rd 102 Percussion Volume 103 Percussion Time Equalizer 104 EQ Low 105 EQ Mid 106 EQ Hi 107 EQ Level Wah 108 Wah Mode 109 Wah Bite Distorsion 110 Type de distorsion 111 Distortion Drive 112 Distortion Tone Click Levels 113 Click On Level 114 Click Off Level Balance 115 Main Volume 116 Lower Volume 117 Pedal Volume Rotor Fast Rate 118 Rotor Fast Rate Mode MIDI EVB3 : HS Ce tableau liste les assignations des contrôleurs MIDI lorsque le mode MIDI est réglé sur HS. Ce réglage correspond à la répartition des contrôleurs des orgues Hammond XB. Chapitre 7 EVB3 187 Numéro de contrôleur Mode MIDI HS : nom du paramètre 80 All Upper Drawbars 81 All Lower Drawbars 82 Pedal Drawbars, Scanner Vibrato, Bass Filter Rotor Cabinet Leslie On Rotor Cabinet on/off Leslie Fast Chorale/Brake Leslie Brake Contrôle la fonctionnalité du frein de l’enceinte du rotor Vibrato Vibrato On Upper Vibrato on/off (XK-3 uniquement) Vibrato Mode Vibrato Type (V1 – C3, XK-3 uniquement) 87 Chorus Vibrato Type Drive Distortion Drive Reverb Level Reverb Level Percussion Harmonic, le 3ème harmonique a priorité sur le 2ème. La conversion des boutons XK vers l’EVB3 s’effectue comme suit : • 2e désactivé, 3e désactivé x EVB3 : Percussion désactivée • 2e désactivée, 3e activée x EVB3 : 2e Harmonic • 2e désactivée, 3e activée x EVB3 : 3e Harmonic • 2e désactivée, 3e activée x EVB3 : 3e Harmonic Perc 2nd and Perc 3rd Sélectionne un temps de chute prédéfini pour une chute lente ou rapide. Perc Fast Sélectionne un niveau prédéfini pour une percussion normale ou légère. Perc Soft Vibrato Mode Sélectionne Vibrato Off, V1/V2/V3 ou C1/C2/C3 (XK-2 uniquement). Permet de basculer entre Vibrato et Chorus Vibrato (XK-2 uniquement). Vibrato VC Mode MIDI EVB3 : NI Ce tableau liste les assignations des contrôleurs MIDI lorsque le mode MIDI est réglé sur NI. Ce réglage correspond à la répartition des contrôleurs Native Instruments B4D. Numéro de contrôleur Mode MIDI NI : nom du paramètre 12 Upper Drawbar 16’ 13 Upper Drawbar 5 1/3’ 14 Upper Drawbar 8’ 15 Upper Drawbar 4’ 16 Upper Drawbar 2 2/3’ 17 Upper Drawbar 2’ 188 Chapitre 7 EVB3 Numéro de contrôleur Mode MIDI NI : nom du paramètre 18 Upper Drawbar 1 3/5’ 19 Upper Drawbar 1 1/3’ 20 Upper Drawbar 1’ 21 Lower Drawbar 16’ 22 Lower Drawbar 5 1/3’ 23 Lower Drawbar 8’ 24 Lower Drawbar 4’ 25 Lower Drawbar 2 2/3’ 26 Lower Drawbar 2’ 27 Lower Drawbar 1 3/5’ 28 Lower Drawbar 1 1/3’ 29 Lower Drawbar 1’ Vibrato 31 Upper Vibrato on/off 30 Lower Vibrato on/off Brightness Vibrato Attack Time Chorus Intensity Percussion Sostenuto Percussion on/off Temps de libération Percussion Harmonic (2ème/3ème) Sound Variation Percussion Volume Harmonic Content Percussion Time Equalizer 90 EQ Low 70 EQ Mid 5 EQ High Distortion/Click 76 Distortion Drive 78 Distortion Tone 75 Click On Level Leslie Pan MSB Microphone Angle 3 Microphone Distance GP 8 Leslie Accelerate/Decelerate Chapitre 7 EVB3 189 Numéro de contrôleur Mode MIDI NI : nom du paramètre GP 7 Leslie Fast ModWheel MSB Leslie Speed Contrôle la fonctionnalité du frein : si la valeur = 0, la cabine Leslie passe en mode Frein. Toutes les autres valeurs règle la Leslie sur la vitesse précédente. 68 Mode MIDI EVB3 : NE Ce tableau liste les assignations des numéros de messages de changement de contrôle MIDI lorsque le mode MIDI est réglé sur NE. Ce réglage correspond à la répartition des contrôleurs Clavia Nord Electro 2. Numéro de contrôleur Mode MIDI NE : nom du paramètre 16 Upper Drawbar 16’ 17 Upper Drawbar 5 1/3’ 18 Upper Drawbar 8’ 19 Upper Drawbar 4’ 20 Upper Drawbar 2 2/3’ 21 Upper Drawbar 2’ 22 Upper Drawbar 1 3/5’ 23 Upper Drawbar 1 1/3’ 24 Upper Drawbar 1’ 70 Lower Drawbar 16’ 71 Lower Drawbar 5 1/3’ 72 Lower Drawbar 8’ 73 Lower Drawbar 4’ 74 Lower Drawbar 2 2/3’ 75 Lower Drawbar 2’ 76 Lower Drawbar 1 3/5’ 77 Lower Drawbar 1 1/3’ 78 Lower Drawbar 1’ Chorus/Vibrato 85 Upper Vibrato on/off 86 Lower Vibrato on/off 84 Mode Vibrato (la sélection va de V1 à C3, à l’exception de C0) Percussion 87 Percussion on/off 190 Chapitre 7 EVB3 Numéro de contrôleur Mode MIDI NE : nom du paramètre 88 Percussion Volume (soft/normal) et Time (short/long) 95 Percussion Harmonic (2ème/3ème) Equalizer 113 EQ High 114 EQ Low Distortion/Click 111 Distortion Drive Leslie GP 6 on/off GP 7 Leslie Speed GP 8 Contrôle la fonctionnalité du frein Synthèse additive à l’aide des tirettes Le Hammond B3 est l’orgue à tirettes classique. Comme avec un orgue acoustique à tuyaux, les registres (tirettes ou tirants dans le cas de l’orgue à tuyaux) peuvent être tirés afin de les engager. Mais contrairement à l’orgue à tuyaux, le B3 permet un mélange progressif de tous les registres de tirettes. Plus vous amenez les tirettes vers vous, plus la tonalité correspondante sera forte. En dépit de ses caractéristiques, telles que les bruits de touche ou clics, les variables d’intonation, la distorsion et la diaphonie (qui sont simulées par l’EVB3), le fait de jouer une seule note, sur un seul registre, donne un son sinusoïdal pur. Le mélange de tons sinusoïdaux selon différents harmoniques donne un spectre plus complexe, appelé « synthèse additive ». Les orgues, même les orgues à tuyaux, peuvent être considérés comme des synthétiseurs additifs. Il existe toutefois plusieurs limitations qui doivent être prises en compte avant de considérer l’instrument de cette manière. D’un autre côté, ces limitations et défauts constituent le caractère d’un instrument de musique réel, tout ce qui fait son charme. Le nom des tirettes provient de la longueur des tuyaux de l’orgue, mesurée en pied (’). Cette convention de dénomination est toujours utilisée avec les instruments de musique électroniques. • Diviser par deux la longueur d’un tuyau double sa fréquence. • Doubler les résultats de fréquence dans une transposition d’une octave vers le haut. Chapitre 7 EVB3 191 Le registre le plus bas (16', complètement à gauche, tirette brune) et les octaves les plus aiguës (8', 4', 2' et 1', tirettes blanches) peuvent être librement mélangées, dans toutes les combinaisons possibles.16' est communément appelé sous-octave. Si nous considérons la sous-octave comme la tonalité fondamentale, l’octave au-dessus de 8' est la deuxième harmonique, 4' est la quatrième, 2' la huitième et 1' la seizième. Avec le registre 5 1/3', la deuxième tirette brune, vous pouvez ajouter la troisième harmonique. Il s’agit de la quinte au-dessus de 8'. En général, les tirettes sont classées en fonction de la tonalité, à une exception près. La deuxième tirette (5 1/3') donne une quinte plus haut que la troisième. Voir Effet résiduel pour en savoir plus. Le registre 2 2/3' génère la sixième harmonique, le registre 1 3/5' la dixième et le registre 1 1/3' la douzième. Ainsi, un orgue électromécanique à roues phoniques donne le choix entre les registres/harmoniques suivants : 1 (16'), 2 (8'), 3 (5 1/3'), 4 (4'), 6 (2 2/3'), 8 (2'), 10 (1 3/5'), 12 (1 1/3') et 16 (1'). Comme vous pouvez le constater, le spectre harmonique est quand même assez complet. Ceci est l’une des principales raisons à l’utilisation courante des effets d’overdrive et de distorsion sur les orgues électromécaniques à roues phoniques : ils enrichissent le spectre harmonique en générant davantage d’harmoniques. Remarque : 2 2/3' est une quinte au-dessus de 4'. 1 3/5' est une tierce majeure au-dessus de 2'. 1 1/3' est une quinte au-dessus de 2'. Dans les basses, cela conduit à des sons inharmoniques, en particulier dansle jeu de lignes de basse en clé mineure. C’est pourquoi l’association des registres 2', 1 3/5' et 1 1/3'donne un accord majeur. Effet résiduel L’effet résiduel est un phénomène psychoacoustique. Les êtres humains peuvent percevoir la hauteur d’une note, même si la tonalité fondamentale en est complètement absente. Si vous tirez tous les registres de tirettes d’un orgue, excepté le fondamental (16’), vous percevrez encore la même hauteur tonale. Le son devient plus ténu, avec moins de basse et moins de chaleur, mais la hauteur reste la même. Si nous n’entendions pas de cette manière, il nous serait impossible d’écouter de la musique sur un poste de radio bon marché. En effet, le haut-parleur de ce type d’appareil ne restitue jamais la fondamentale de la ligne de basse, qui a une fréquence bien en dessous du spectre que le haut-parleur peut émettre. Le réglage des registres de tirettes implique souvent ce phénomène psychoacoustique. Dans les octaves les plus basses, l’association des tirettes sinusoïdales 8' et 5 1/3' crée l’illusion d’un son 16', bien que la basse fréquence en soit absente. 192 Chapitre 7 EVB3 Les anciens orgues à tuyaux utilisaient également l’effet résiduel, en combinant deux tuyaux plus petits, éliminant la nécessité d’avoir des tuyaux géants, longs, lourds, gourmands en air et très onéreux. Cette tradition est perpétuée avec les orgues modernes et c’est pour cette raison que la tirette 5 1/3' est placée sous la tirette 8' : la tirette 5 1/3' tend en effet à créer l’illusion d’une hauteur tonale située une octave en-dessous de 8'. Génération sonore à roues phoniques La génération sonore à roues phoniques ressemble à celle d’une sirène. Bien, sûr, il n’y a pas d’air à souffler par les trous d’une roue tournante. À la place, c’est un capteur électromagnétique, comme celui d’une guitare électrique qui est utilisé pour capturer le son. Une roue dentée métallique, appelée roue phonique, tourne au bout d’une tige aimantée. La denture de la roue provoque des variations dans le champ magnétique, induisant une tension électrique. Cette tension (ce son) est ensuite filtrée, amplifiée, puis on lui ajoute du vibrato et de l’expression, et enfin le signal résultant est encore amplifié. Un long axe est actionné par un moteur CA synchrone. 24 pignons de 12 tailles différentes sont fixés sur l’axe. Ces pignons actionnent les roues phoniques. La fréquence dépend des rapports de vitesse et du nombre de dents des roues. L’orgue Hammond est accordé au tempérament presque exact. Comme pour les orgues à tuyaux disposant de registres multiplexés, l’orgue Hammond utilise certains générateurs pour plusieurstâches. Certainesroues haute fréquence servent de fondamentale pour les notes aiguës, et produisent des harmoniques pour les notes graves. Ceci a un impact positif sur le son global de l’orgue, évite qu’il soit désaccordé et stabilise les niveaux entre les octaves. Bref historique de l’orgue Hammond Trois inventions ont inspiré Laurens Hammond (1895–1973), un fabricant d’horloges électriques, pour construire et commercialiser un orgue électromécanique compact permettant une génération sonore par roues phoniques. Le Telharmonium de Thaddeus Cahill a été son inspiration musicale, les méthodes de production de masse de Henry Ford et son propre moteur à horloge synchrone ont été les deux autres facteurs. Chapitre 7 EVB3 193 Le Telharmonium (fabriqué aux alentours de 1900) était le premier instrument de musique utilisant des techniques électromécaniques de génération sonore. Ces générateurs à roues phoniques immenses remplissaient un immeuble de deux étages à New York. Pendant une courte période à cette époque, les abonnés pouvaient écouter la musique produite par le Telharmonium sur le réseau téléphonique new-yorkais (le système de streaming audio du moment). Le seul moyen d’amplification était le diaphragme mécanique du téléphone, car l’amplificateur à tube adéquat et des haut-parleurs acceptables n’étaient pas encore inventés. Le Telharmonium a été un véritable flop commercial, mais son statut historique de précurseur des instruments de musique électroniques modernes est indéniable. Le Telharmonium a également introduit les principes de la synthèse électronique additive (voir Synthèse additive à l’aide destirettes). Laurens Hammond a commencé à produire des orgues en 1935, à Chicago (Illinois), en utilisant la même méthode de génération sonore. Toutefois, ses générateurs étaient plus petits et les registres moins nombreux. Le brevet de cet orgue modèle A date de 1934. Hammond détient également le brevet de la réverbération à ressort électromécanique, technique que l’on trouve dans d’innombrables amplificateurs de guitare encore aujourd’hui ! L’orgue Hammond B3 a quant à lui été fabriqué entre 1955 et 1974. Il s’agit du modèle d’orgue Hammond préféré des musiciens de jazz et de rock, notamment Fats Waller, Wild Bill Davis, Brother Jack McDuff, Jimmy Smith, Keith Emerson, Jon Lord, Brian Auger, Steve Winwood, Joey DeFrancesco et Barbara Dennerlein. En plus du B3, il existe un certain nombre d’instruments Hammond, connus sous le nom de « spinet » (M3, M100, L100, T100). Des modèles à console plus grands, dont un grand nombre ont été conçus poursatisfaire les besoins des églises et desthéâtres aux États-Unis (H100, X66, X77, E100, R100, G-100), ont également été fabriqués. La production d’orgues électromécaniques a cessé en 1974. Par la suite, la société Hammond n’a fabriqué que des orgues purement électroniques. Le nom Hammond vit aujourd’hui au travers de la gamme d’orgues à tirettes électroniques Hammond-Suzuki, qui est née en 2002 avec la commercialisation d’un modèle B3 numérique original, reprenant les fonctions et le design du B3 classique, excepté en ce qui concerne le poids! Ce modèle, ainsi que d’autres plus récents, peut être associé à des cabines à système rotatif mécanique également fabriquées par la société. Cabine Leslie Don Leslie a mis au point ses cabines à système rotatif (rotor) en 1937, puis a commencé à les commercialiser en 1940. Laurens Hammond n’était pas du tout emballé par ce type d’enceinte. 194 Chapitre 7 EVB3 Le principe de Leslie consistait à simuler plusieurs emplacements danslestuyaux (comme ceux d’un orgue), donnant une nouvelle perception spatiale de chaque note. Les cabines à système rotatif devaient simuler cet effet, et le sens de l’espace qu’elles transmettaient était incomparable, lorsqu’elles étaient placées à côté de n’importe quel haut-parleur fixe. Les ondulations périodiques du son et du volume, et le vibrato causé par l’effet Doppler (voir ci-dessous), ne constituent pastout le son Leslie, il y a aussi un effet d’espace ! Une cabine Leslie classique comprend deux amplificateurs, un amplificateur des aigus avec pavillons (dont un seul fonctionne, l’autre ne servant que de contrepoids) et un amplificateur des basses. Les pavillons de l’amplificateur des aigus et l’écran acoustique de l’amplificateur des basses sont physiquement entraînés par des moteurs électriques. À mesure que les enceintes pivotent vers l’avant de la cabine (position d’écoute), puis vers l’arrière de la cabine, vous entendez un « effet Doppler », c’est-à-dire que les sons deviennent plus forts et plus clairs à mesure que la position change. Pour vous donner une idée du rendu de cet effet, imaginez le son d’un train qui passe devant vous alors que vous vous trouvez sur le quai. À l’approche, le son est assourdi ; mais il devient de plus en plus fort et clair à mesure que le train approche et passe ; il redevient ensuite assourdi lorsque le train s’éloigne de vous. L’écran acoustique/l’amplificateur rotatif peut être réglé sur deux vitesses : vitesse rapide/trémolo ou vitesse lente/chorale (il peut également être complètement arrêté à l’aide d’un frein mécanique). La transition entre ces deux vitesses ou l’utilisation d’une vitesse fixe produit les effets « Leslie » caractéristiques : vibrato, trémolo et chœur. La première cabine Leslie, le modèle 30, ne disposait pas de chorale, juste un trémolo et un arrêt. L’idée de l’effet Chorale (qui est venue plus tard) est née d’un désir d’ajouter un vibrato à l’orgue. Cet effet, qui offre beaucoup plus qu’un simple vibrato, a été introduit sur le marché dans les modèles 122/147. À ce moment-là, Leslie a aussi ajouté la mention « Voice of the pipe organ » (voix de l’orgue à tuyaux) sur ses enceintes. Ce n’est qu’en 1980 que les deux noms de sociétés et de marques se sont associés, six ans après la construction du dernier orgue à roues phoniques. Les enceintes rotatives Leslie sont toujours fabriquées aujourd’hui, par la société Hammond-Suzuki. Chapitre 7 EVB3 195 L’EVD6 imite le Clavinet Hohner D6 classique. Le son émis par le D6 s’apparente à du funk, mais les années 1970 ont également vu l’apparition de sons rock, pop et jazz électrique joués par des artistes tels que Stevie Wonder, Herbie Hancock, Keith Emerson, Foreigner ou encore les Commodores. Si vous avez écouté « Superstition » ou « Higher Ground » par Stevie Wonder, alors vous savez que le D6 est le plus funky des instruments qui existent ! Le présent chapitre couvre les aspects suivants : • Achitecture et fonctionnalités de l'EVD6 (p 197) • Présentation de l’interface EVD6 (p 199) • Utilisation des paramètres EVD6 Model (p 200) • Utilisation des paramètres globaux de l’EVD6 (p 205) • Utilisation des paramètres Filter et Damper EVD6 (p 207) • Utilisation des paramètres Pickup EVD6 (p 208) • Utilisation des effets intégrés de l’EVD6 (p 211) • Utilisation des paramètres EVD6 Output (p 215) • Utilisation des paramètres EVD6 MIDI Control (p 216) • Brève histoire du Clavinet (p 218) Achitecture et fonctionnalités de l'EVD6 Le moteur de synthèse EVD6 améliore le son sur le Clavinet Hohner D6 car il est utilisé avec une sortie stéréo (et non mono) et il est dépourvu de composants bruyants qui compromettent la qualité du son. Le clavier de 60 touches (F à E) du D6 d’origine a été étendu à un clavier MIDI complet (127 notes). 197 EVD6 8 L’EVD6 utilise un moteur de synthèse de modélisation de composants, qui simule non seulement lessons de base du D6, mais également les divers bourdonnements des cordes et clics de touches, ainsi que la tonalité des capteurs présents dansl’instrument d’origine. L’EVD6 simule avec précision le « pincement » et le « mordant » de la phase d’attaque, ainsi que le bruit « adhérant » des coussinets des marteaux. Pendant que vous jouez, le générateur sonore réagit si doucement, avec musicalité et précision que vous pouvez presque sentir les cordes sous votre clavier. L’EVD6 offre des options étendues de commande audio. Vous pouvez modifier radicalement le son de l’instrument, ce qui vous permet de simuler un clavinet ancien ou de créer des timbres vraiment uniques, qui n’ont pas grand chose à voir avec le son d’un clavinet. L’EVD6 intègre également un processeur d’effets, qui produit des effets wah wah classiques, ainsi que des effets de modulation et de distorsion, souvent utilisés avec l’instrument d’origine. Les effets ont été modelés sur des pédales d’effets classiques et adaptés pour une utilisation optimisée avec l’EVD6. Pour plus d’informations sur la synthèse de modélisation de composants, consultez Synthèse par modélisation des composantes. 198 Chapitre 8 EVD6 Présentation de l’interface EVD6 La face avant de l’EVD6 peut être divisée en plusieurs sections principales, à savoir : Paramètres Effect Paramètres de modèle Paramètre Damper Menu Model Paramètres des capteurs (Pickup) Paramètres Filter Paramètres Output Paramètres MIDI Control Paramètres globaux Paramètres des capteurs (Pickup) • Menu et paramètres de modèle : vous permettent de choisir et de définir le son de base de l’EVD6. Consultez Utilisation des paramètres EVD6 Model. • Paramètres globaux : les paramètres globaux déterminent certains aspects, tels que l’accord de l’EVD6. Consultez Utilisation des paramètres globaux de l’EVD6. • Paramètres Filter et Damper : ces commandes sont utilisées pour le filtrage et l’atténuation de base du son. Consultez Utilisation des paramètres Filter et Damper EVD6. • Paramètres Pickup : une représentation visuelle, librement ajustable, de la position des capteurs est intégrée (et contrôlée) dans cette section. Les différents capteurs peuvent être activés ou désactivés à l’aide des sélecteurs Capteur. Consultez Utilisation des paramètres Pickup EVD6. • Paramètres Effect : les paramètres liés aux effets intégrés se situent dans cette partie de l’interface EVD6. Consultez Utilisation des effets intégrés de l’EVD6. • ParamètresOutput: cette section permet de définir la balance stéréo, ainsi que le niveau de sortie. Consultez Utilisation des paramètres EVD6 Output. • Paramètres MIDI Control : c’est dans cette zone de l’interface que vous pouvez affecter des contrôleurs MIDI à différents paramètres EVD6. Vous pouvez également y régler la courbe de vélocité du clavier. Consultez Utilisation des paramètres EVD6 MIDI Control. Chapitre 8 EVD6 199 Utilisation des paramètres EVD6 Model L’EVD6 est un instrument modelé physiquement, dans lequel les différents aspects du D6 d’origine sont analysés et recréés mathématiquement. Cela concerne notamment les matériaux utilisés pour les cordes et la longueur de ces dernières, l’âge et l’état des marteaux, etc. Avec le moteur sonore EVD6, vous êtes maître de ces éléments et pouvez les utiliser pour créer des émulations extrêmement détaillées et précises, non seulement du D6, mais également d’autres instruments à cordes, comme les clavecins et les guitares. Ces paramètres vous permettent également de créer tout un éventail de sons qui diffèrent fortement du clavinet. Cette rubrique aborde le choix d’un modèle d’instrument, ainsi que les paramètres d’édition du modèle. Choix d’un modèle EVD6 Le menu local Model vous permet de choisir un type de ton de base ou un modèle. Pour ouvrir le menu local Model, cliquez sur le nom du modèle, à gauche du potentiomètre Level. Chaque modèle possède ses propres caractéristiques tonales, ainsi que sa propre structure harmonique, afin de créer des sons très différents. Les différents modèles sont des instruments immédiatement utilisables, sans qu’aucune autre modification ne soit nécessaire. Bien évidemment, vous êtes libre de modeler les caractéristiquestonales de n’importe quel modèle chargé, grâce aux paramètres d’édition des modèles EVD6. Vous pouvez, en quelque sorte, choisir un modèle comme si voussélectionniez une forme d’onde de l’oscillateur pour un synthétiseur. Comme avec les formes d’onde de base de synthétiseur, les paramètres d’édition peuvent affecter le modèle de manières assez différentes. Par exemple, l’utilisation de réglages de paramètres identiques peut rendre un modèle plus « nasillard » et un autre plus « bruyant ». Caractéristiques des modèles EVD6 Cette rubrique décrit les caractéristiques de chaque modèle de clavinet. 200 Chapitre 8 EVD6 Nom du modèle Commentaires Une simulation quasiment identique au modèle D6 d’origine. Il comporte des bruits de cordes sur de longs temps de chute et un comportement précis qui suit le relâchement des touches. Chaque D6 était unique ; aussi n’hésitez pas à régler le son, afin de retrouver le ton des clavinets D6 que vous avez entendus. D6 classique Ce modèle simule un D6 qui a bien servi. Les cordes et les marteaux sont un peu anciens et usés. Le son provenant de la frappe destêtes des marteaux est imité, ainsi que le son plus riche typique, dans les basses. Old D6 Ce modèle génère un son très pointu avec beaucoup de mordant, un joli son avec effets wah-wah et phaser. Sharp D6 Comme son nom l’indique, un son moelleux, sur toute la plage du clavier. Mello(w) D6 Basic Clavinet simple et basique, sans caractéristiques spécifiques. Un modèle puissant avec une attaque forte et dynamique, qui réagit de manière plus agressive à la vélocité que les autres modèles. Domin(ation) Dans les octaves les plus basses, les oscillations des cordes deviennent beaucoup plus résonantes dans le temps, jusqu’à ce qu’elle finissent par s’arrêter (au bout de 20 à 30 secondes). Les notes plus aiguës ont un temps de chute beaucoup plus court, ce qui a un certain impact sur le comportement de résonance. Ce modèle invite à un jeu de basse de style heavy, funk dansles octaves graves. Il est agréable avec un petit peu de phaser, et des accords tenus, lorsque vous jouez des notes basses. MainStageAjouter un module Delay est également une bonne idée. GuruFnk (Guru Funk) Harpsi(chord) Ce modèle reproduit le son d’un clavecin. Ce modèle simule le son d’une corde pincée. Si vous modifiez les positions des capteurs, le son s’apparente plus à celui d’une guitare. Les sons de style harpe sont également possibles. Il suffit de positionner le capteur inférieur près du point central de la fenêtre Pickup. Pour obtenir un son de harpe, augmentez les valeurs de String Decay, Release et Excite Shape, et diminuez celle des paramètres Excite Brilliance. Pluck Ce modèle génère un son boisé, ténu avec quelques éléments inharmoniques. Il peutsonner légèrement désaccordé dans certains contextes. (Tuned) Wood Ltl (Little) India Ce modèle génère un son de sitar, riche en résonance. S(tring) Bells Un modèle de type cloche, avec de forts éléments inharmoniques. Dulcimer Ce modèle génère un son de type Dulcimer. Au médiator Ce modèle simule une corde en nylon jouée en « picking ». Chapitre 8 EVD6 201 Remarques particulières sur les modèles EVD6 Vous remarquerez certaines zones du clavier où le son change de manière significative entre deux touches adjacentes. C’est intentionnel et reflète le comportement de certains vrais modèles de clavinets simulés par l’EVD6. Le D6 d’origine présente lui aussi des différences de timbre très marquées de note à note, la plus évidente étant celle entre la corde la plus aiguë et la corde la plus basse. Si vous êtes un instrumentiste aimant le son d’origine, mais pas les sauts de timbre du mécanisme d’origine, l’EVD6 dispose d’un modèle intermédiaire : MelloD6. Réglage des paramètres EVD6 String Le modèle sélectionné détermine le comportement de base des cordes et il est étroitement lié au comportement et à l’impact de chaque paramètre String. Cela est essentiellement dû au contenu harmonique différent présent dans chaque modèle. Paramètres des cordes (String) • Curseur Decay : modifie le temps de chute des cordes, après la phase d’attaque d’une note jouée. Les valeurs positives des paramètres Decay allongent le temps de chute. À l’inverse, les valeurs négatives réduisent ce temps. • Curseur Release : modifie le temps de relâchement des cordes, après la phase de chute d’une note jouée. Les valeurs positives des paramètres Release allongent le temps de relâchement, une fois une touche relâchée. • CurseurDamping : permet de modifier l’atténuation dessons de corde. Cette atténuation correspond essentiellement à une chute plus rapide pour les harmoniques les plus aigus d’un son et elle est directement liée aux propriétés du matériau utilisé pour la corde (atténuation plus forte pour les cordes en boyau, atténuation moyenne pour les cordes en nylon, atténuation faible pour les cordes en acier). L’atténuation donne un son plus moelleux, plus rond ou plus proche du bois, en fonction du modèle utilisé. Une valeur positive rendra le son plus moelleux, alors qu’une valeur négative laissera passer davantage d’harmoniques aigus, rendant ainsi le son plus clair. 202 Chapitre 8 EVD6 • Curseur Tension Mod : ajoute aux cordes un léger effet Pitch Bend allant vers le haut, lorsque celles-cisont pincées, frappées ou tapotées. Ce type de modulation est commun à tous les instruments à cordes, comme le D6, les guitares, etc. Une caractéristique prédéfinie de modulation de tension est intégrée à chaque modèle, mais peut être modifiée à l’aide du paramètre Tension Mod. L’impact de ce paramètre pouvant être important, vous pouvez l’utiliser pour obtenir des effets sonores bizarres avec l’EVD6. Vous pouvez également simuler un clavinet désaccordé, ou un son de sitar bref et sale, utilisé dans des reprises de type « Norwegian Wood ». • Curseurs Stiffness etInharmonicity : le paramètre Inharmonique détermine l’harmonique le plus bas (le seuil harmonique). Le contenu inharmonique se trouvant au-dessus de ce seuil est étiré ou étalé dansle spectre de fréquences. Le paramètre Stiffness contrôle l’intensité de l’étirement ou de l’étalement dans le spectre définie par le curseur Inharmonicity. Les paramètres Stiffness et Inharmonique vous permettent d’intensifier ou de réduire la force du contenu inharmonique dans le son. Lorsqu’ils sont combinés à différents niveaux, ces paramètres peuvent créer des sons « métalliques » de type cloche, ou des sons de type piano électrique comme ceux du DX. Ils peuvent également être utiles pour produire des sons de basse de type acoustique. La hauteur tonale fondamentale n’est pas affectée par les paramètres Stiffness et Inharmonique. • Curseur Pitch Fall : permet de contrôler une caractéristique du D6 d’origine, où la hauteur de chaque note retombe immédiatement après le relâchement de la touche. Cette « bizarrerie » sonore est due à la construction physique du D6. L’intensité de cet effet diffère selon le modèle, maisil peut être complètement désactivé si le curseur est placé sur la position la plus à gauche. Réglage des paramètres EVD6 Excite. Ces paramètres décrivent l’excitation des cordes. Ils permettent en effet de simuler les caractéristiques et la puissance des marteaux qui frappent la corde, ainsi que d’autres éléments inhérents à la frappe de la touche initiale. • Curseur Shape : définit la forme de l’attaque, permettant de simuler la dureté des marteaux de caoutchouc dans le D6 d’origine. Avec le vieillissement de l’instrument, les marteaux s’usent, se fendent, etc., ce qui a un impact sur la sonorité et la brillance en général. Des valeurs négatives (vers la gauche) donneront une attaque plus douce et des valeurs positives une attaque plus dure. Chapitre 8 EVD6 203 • Curseur Brilliance : détermine le niveau du contenu harmonique résultant de l’excitation des cordes. Des valeurs positives (vers la droite) donneront un son plus perçant. Des valeurs négatives donneront à l’inverse un son plus étouffé. Réglage des paramètres EVD6 Click. Les marteaux de caoutchouc du D6 d’origine s’usent et déclinent, comme lesfeutres d’un piano. Un D6 qui a été aimé, et donc usé, produit un « clic » distinctif lorsqu’une touche est relâchée. Ce petit clic est dû à l’adhérence de la corde sur les marteaux de caoutchouc, avant le relâchement de la touche. Les caractéristiques de ce clic de relâchement sont inhérentes à chacun des modèles et peuvent être réglées avec précision grâce aux paramètres suivants. • Curseur Intensity : détermine le niveau du clic de relâchement. Une valeur négative de -1,00 supprime le clic de relâchement. Si vous souhaitez simuler un ancien D6, augmentez cette valeur en déplaçant le curseur vers la droite. • Curseur Random : contrôle la quantité de variations du niveau du clic sur le clavier. Ce curseur simule l’usure de certains marteaux, imitant ainsi l’usure réelle et inégale du D6 d’origine Plus vous poussez ce curseur vers la droite, plus la variation sera grande entre les clics de certaines touches. S’il est réglé complètement à gauche, toutes les touches présenteront le même niveau de clic. • Curseur Velocity : détermine le niveau de modulation du clic de relâchement, par vélocité. Cela peut s’appliquer à la vélocité Note activée ou à la vélocité de relâchement Note désactivée (consultez la rubrique Boutons KeyOn et KeyOff). • Boutons KeyOn et KeyOff : ces boutons sont utilisés pour sélectionner le type d’informations de vélocité utilisées comme source de modulation pour le niveau du clic de relâchement. • Choisissez le bouton KeyOn pour utiliser la vélocité d’attaque (la force avec laquelle vous frappez votre clavier) comme valeur de la source de modulation pour le clic de touche. • Choisissez le bouton KeyOff pour utiliser la vélocité de relâchement (force avec laquelle vous relâchez les touches de votre clavier) afin de déterminer le niveau du clic de touche. Note désactivée nécessite un clavier doté de fonctions de vélocité de relâchement. 204 Chapitre 8 EVD6 Remarque : le paramètre Velocity doit être défini sur une valeur correcte pour que la modulation KeyOn/KeyOffpuisse être entendue distinctement. Utilisation des paramètres globaux de l’EVD6 Les paramètres globaux se trouvent en bas à gauche de l’interface de l’EVD6. Ils influent sur l’ensemble de l’instrument EVD6, plutôt que sur le modèle spécifique. • Champ Voices : détermine le nombre maximal de voix pouvant être jouées simultanément. En réduisant la valeur de ce paramètre, vous limitez la polyphonie et les besoins de traitement de l’EVD6. Il existe deux réglages pour monophonique : mono et legato. Chacun d’eux fournit une seule voix à l’EVD6. • Mono : la voix de l’EVD6 est déclenchée à chaque fois qu’une note est jouée. • legato : les processus de modelage du son de l’EVD6 ne sont pas déclenchés si les notes sont jouées legato ; seule la hauteur tonale change. Si les notes sont jouées staccato, une voix de l’EVD6, avec un processus de modelage de tous les sons, est déclenchée. • Champ Tune : règle l’accord global de l’EVD6 par intervalles d’un centième. La valeur 0 équivaut au A (LA) de référence à 440 Hz. • Champ Bender: déterminent la plage du Pitch Bend, en demi-tons. Vous pouvez utiliser la roue ou la réglette de Pitch Bend de votre clavier pour contrôler les Pitch Bends. • Champ Warmth : définit la valeur de la déviation aléatoire par rapport au tempérament égal. Des valeurs élevées donnent plus de « vie » aux sons. Le paramètre Warmth peut être utile pour simuler un instrument qui n’a pas été accordé depuis longtemps ou pour épaissir légèrement un son. Lorsque vousjouez des accords, le paramètre Warmth crée un léger effet de désaccord ou de battement entre les notes. • Champ Stretch : l’EVD6 est accordé selon un tempérament égal. Toutefois, vous pouvez faire dévier cet accord standard dans les notes basses et aiguës finales du son, grâce au paramètre Stretch. Cela permet de simuler la manière dont les instruments à clavier et à cordes, comme les pianos, sont accordés. Consultez le chapitre Accord étiré chez les instruments acoustiques. Chapitre 8 EVD6 205 Remarque : si vous utilisez à la foislesfonctions Chaleur et Étirement, cela peut produire un son désaccordé, similaire à un effet de chœur un peu lourd. Dans certains cas, cet effet peut être si fort que l’EVD6 semble désaccordé par rapport à votre projet. • Champ Pressure : sur le D6 d’origine, le fait d’appliquer une pression (aftertouch) à une note déjà enfoncée fait légèrement monter sa hauteur. Le paramètre Pressure vous permet de simuler ce comportement. Vous pouvez même faire mieux que l’original, en utilisant le paramètre Pressure pour baisser légèrement la hauteur tonale avec des messages aftertouch. 206 Chapitre 8 EVD6 Accord étiré chez les instruments acoustiques La sonorité des pianos droits et, dans une moindre mesure du fait de leurs cordes plus longues, celle des pianos à queue, comportent des « inharmoniques » dansleurstructure harmonique. Bien que concernant également d’autresinstruments à cordes, cela affecte particulièrement les pianos, en raison de la longueur, de la densité et de la tension des cordes. Si un piano est parfaitement accordé sur un tempérament égal sur la plage du clavier, les sons dominants des cordes basses et les notes fondamentales des cordes aiguës paraîtront désaccordés entre eux. Pour contourner ce problème, les accordeurs de pianos utilisent une technique appelée accord étiré, avec laquelle les registres bas et aigus du piano sont respectivement accordés plus haut et plus bas. Les harmoniques des cordes basses sont alors accordées avec les notes fondamentales produites par les cordes aiguës. À la base, les pianos sont volontairement « désaccordés » (par rapport au tempérament égal), de sorte que les registres bas et aigus paraissent accordés. Le D6 d’origine étant un instrument à cordes, cette relation inharmonique concerne également l’EVD6 et les instruments d’origine simulés par celui-ci. Toutefois, la fonction Étirement a été incluse essentiellement au cas où vous souhaiteriez utiliser l’EVD6 dans un arrangement, en association avec un enregistrement de piano acoustique. Utilisation des paramètres Filter et Damper EVD6 Le D6 d’origine comporte quatre sélecteurs de filtre, qui influentsur les basses et les aigus du son. Il intègre également un curseur d’atténuation, qui modifie lui aussi le ton de base de l’instrument. Sélecteurs de filtre Damper • Sélecteurs de filtre : ces quatre sélecteurs de filtre ressemblent aux sélecteurs de contrôle du ton et de filtre du D6 d’origine. Les caractères vert eau permettent d’identifier ces sélecteurs actifs. • Brilliant : crée un son nasal ; coupe les basses. • Treble : rend le son plus perçant ; coupe les basses plus doucement. Chapitre 8 EVD6 207 • Medium : rend le son plus ténu ; réduit plus légèrement les basses. • Soft : rend le son plus doux, plus atténué. • Damper : le D6 d’origine est équipé d’un curseur d’atténuation,situé à droite du clavier, qui permet de désactiver le son des cordes. Le paramètre Damper (roue) de l’EVD6 simule cette fonction. Vous pouvez régler le paramètre Damper directement dans l’interface ou le contrôler à l’aide d’un contrôleur MIDI. Consultez la rubrique Utilisation des fonctions « Contrôle de l’effet wah », Courbe de vélocité et « Contrôle de l’atténuation » dans l’EVD6. Utilisation des paramètres Pickup EVD6 Le D6 d’origine est doté de deux capteurs (pickups) électromagnétiques (un peu comme ceux qui équipent les guitares électriques) : un en dessous des cordes (capteur inférieur) et un au-dessus (capteur supérieur). Capteur supérieur Menu Pickup Mode Les champs de valeur Pickup Position de gauche indiquent la valeur de l’extrémité supérieure de chaque capteur ; les champs de valeur Position de droite indiquent la valeur de l’extrémité inférieure de chaque capteur. Sélecteurs de capteur (Pickup) Capteur inférieur • Sélecteurs de capteur (Pickup) : ces sélecteurs modifient le « câblage » des capteurs virtuels et, de fait, le ton de l’EVD6. Les caractères vert eau permettent d’identifier ces sélecteurs actifs. • Menu local PickupMode : indique la combinaison choisie pour la position dessélecteurs de capteurs. Vous pouvez également utiliser ce menu local pour choisir un mode de capteur. 208 Chapitre 8 EVD6 • Capteurs supérieur et inférieur : les deux capteurs indiquent la position et l’angle des capteurs supérieur (au-dessus des cordes) et inférieur (en dessous des cordes). Vous pouvez régler la position et l’angle des capteurs directement en faisant glisser les petits points au centre à et chaque extrémité des capteurs. Ces modifications sont reflétées dans les champs de valeur de position des capteurs. • Champs de valeur Pickup Position : les quatre champs de valeur correspondent aux positions supérieures et inférieures (les points à chaque extrémité) de chaque capteur. Vous pouvez régler directement ces valeurs en utilisant votre pointeur en guise de curseur. Pour ce faire, cliquez sur la valeur à modifier et faites-la glisser vers le haut ou vers le bas. Les capteurs supérieur et inférieur se déplacent en même temps que vous modifiez ces valeurs. Modification de la position et de l’angle des capteurs de l’EVD6 Contrairement aux capteursfixes de l’instrument d’origine, les capteurs de l’EVD6 peuvent être placés à des positions et des angles arbitraires. Les champs numériques Supérieur et Inférieur, situés en haut à gauche de la zone consacrée aux capteurs, indiquent la position actuelle de chaque capteur, par rapport à la corde. Une valeur de 50 (pour cent) signifie que l’extrémité du capteur est positionnée au-dessus ou en dessous du centre de la corde, ce qui donnera un son plein avec du corps. Si le capteur se rapproche d’une des deux extrémités de la corde (valeur proche de 0 ou de 99), le son deviendra plus ténu. Pour régler l’angle d’un capteur Procédez de l’une des manières suivantes : µ Faites glisser une extrémité d’un capteur à une autre position (faites glisser le « point »). µ Utilisez le pointeur comme curseur dans l’un ou l’autre des champs de valeur Upper et Lower. Pour repositionner un capteur µ Faites glisser le point central du capteur à une nouvelle position le long des cordes. Conseils relatifs à la position des capteurs de l’EVD6 Essayez de déplacer la position des capteurs, tout en frappant répétitivement une note, afin d’entendre l’effet de cette position sur la tonalité générale. Des effets intéressants, de type phaser, peuvent être obtenus en automatisant les positions des capteurs. Lorsque vous utilisez un réglage employant les deux capteurs assez près des aigus des cordes et avec les sélecteurs de filtre Éclat + Aiguës, le son fondamental devient relativement faible dans le signal de sortie. Par conséquent, vous entendrez surtout les sons dominants du modèle choisi. Ceux-ci peuvent être « désaccordés », en particulier pour les modèles tels que le Wood, qui présente un important contenu inharmonique. Déplacez les capteurs vers le centre de la fenêtre Pickup, à mi-chemin sur les cordes, et désactivez tous les sélecteurs de filtre afin d’éviter cet effet désaccordé. Chapitre 8 EVD6 209 Il est possible de filtrer les capteurs dans la fenêtre Pickup. Toutefois, cela peut provoquer un « trou » (notes muettes ou très faibles) dans la plage de votre clavier. Cela est dû à une annulation de phase entre les capteurs. Si vous rencontrez ce phénomène, réglez un des capteurs, ou les deux, jusqu’à ce que les notes concernées puissent être jouées. Modification du Mode Capteur de l’EVD6 Comme avec le D6 d’origine, les deux capteurs (pickups) peuvent être utilisés selon différents modes. Les sélecteurs AB et CD permettent de changer de modes. En fonction des différentes positions des sélecteurs, le câblage interne des deux capteurs est modifié et, avec lui, le son issu de la sortie combinée des capteurs. Dans l’EVD6, la configuration actuelle du câblage est appelée Mode capteur. Elle s’affiche dans le menu local Pickup Mode. Vous pouvez choisir le mode souhaité dans le menu. Sélecteur C/D Sélecteur A/B Pickup Mode Résultat capteur Neck : son chaud Bas (C) Bas (A) Inférieur capteur Bridge : son clair Bas (C) Haut (B) Supérieur les deux capteurs : son plein Haut (D) Haut (B) Inférieur+Supérieur les deux capteurs hors phase : son ténu Haut (D) Bas (A) Inférieur-Supérieur 210 Chapitre 8 EVD6 Utilisation des effets intégrés de l’EVD6 Une simulation de clavinet est incomplète si vous n’avez pas sélectionné de créateurs d’effets. L’EVD6 intègre trois simulations d’effets « classiques », au niveau des pédales : distortion, modulation et wah wah. Chaque effet a été soigneusement modelé sur les pédales qui ont accompagné les années de gloire du clavinet (les années 70), vous assurant un son vraiment authentique et « vintage ». Cliquez ici pour choisir un effet de routage. • Boutons FX Order : les effets de l’EVD6 fonctionnent en série : dans la chaîne des effets, la sortie d’un effet est entrée dans le processeur d’effets suivant. Les boutons FX Order vous permettent de déterminer l’ordre dans lequel les effets en série sont combinés. Les choix de routage sont les suivants : • WDM : Wah > Distortion > Modulation • DWM : distortion > Wah > Modulation • MDW : modulation > Distortion > Wah • WMD : Wah > Modulation > Distortion • IGN : cliquez sur le bouton IGN pour ignorer tous les effets. Cliquez sur le bouton une seconde fois pour retourner au routage d’effets précédemment sélectionné. Remarque : ce routage d’effets assignable est particulièrement utile pour indiquer si un signal distordu doit être filtré par l’effet wah (pour donner des sons « plus funky ») ou, inversement, si le son filtré par l’effet wah doit être ensuite distordu (pour donner des sons « hurlants ») par exemple. Chapitre 8 EVD6 211 Utilisation de l’effet de distorsion de l’EVD6 L’effet de distorsion intègre un effet de compression, qui précède toujours l’effet de distorsion. Il vous permet d’augmenter ou de diminuer l’intensité perçue, afin de définir le niveau d’entrée souhaité au circuit de distorsion. • Champ Comp(ression Ratio) : règle la courbe de compression. L’intensité supplémentaire obtenue grâce au compresseur vous permet de créer des distorsions réellement « crunchy ». Il peut également être utile pour améliorer le son du clic de touche et accentuer les harmoniques des différents modèles de clavinets. • Bouton Tone : modifie la couleur de la distorsion. • Potentiomètre Gain : modifie le niveau de la distorsion. • De faibles valeurs de Ton et de Gain permettent de créer des effets d’overdrive chauds. • À l’inverse, des valeurs de Ton et de Gain plus élevées produisent des effets de distorsion plus criards. • Si la valeur de Gain est fixée au minimum, aucune distorsion n’est audible (en revanche, la compression, si elle est active, peut l’être). Remarque : au vu de la corrélation entre les effets de compression et de distorsion, le paramètre Ordre FX est très important pour le placement du FX Ordre dans la chaîne des effets. Si l’effet de Compression/Distortion est le dernier de la chaîne et que son Gain est complètement baissé, mais que le paramètre Compression Ratio est élevé, vous compressez efficacement le signal de sortie de l’EVD6. 212 Chapitre 8 EVD6 Utilisation de l’effet de modulation de l’EVD6 L’EVD6 donne le choix entre troistypes d’effets de modulation : Phaser, Flanger ou Chorus. Pour en savoir plus sur le fonctionnement de ces effets MainStage, consultez la rubrique Modulation de l’aide relative aux effets . Unité de modulation • Menu local Mode : vous permet de choisir un effet de modulation parmi les trois types suivants : Phaser, Flanger ou Chorus. • Potentiomètre Rate : détermine la vitesse des effets Phaser, Flanger ou Chœur. • Potentiomètre Intensity : détermine la profondeur des effets Phaser, Flanger ou Chœur. Lorsque l’effet Phaser est actif, des valeurs Rate et Intensity élevées entraînent des changements de phases importants et variant de manière incontrôlée. Attention : ces sons peuvent également endommager les oreilles, ainsi que les haut-parleurs. L’utilisation de valeurs Intensity élevées entraîne des effets de type ensemble lorsque l’effet Chorus est actif. Chapitre 8 EVD6 213 Utilisation de l’effet wah wah de l’EVD6 Le nomwah wah provient du son produit par cette pédale. Cet effet (de pédale le plus souvent) a été rendu célèbre par les guitaristes électriques depuisl’époque de Jimi Hendrix. Cette pédale contrôle la fréquence de coupure (cutoff) d’un filtre passe-bande, passe-bas ou, plus rarement, d’un filtre passe-haut. Les pédales wah wah sont également beaucoup utilisées avec le D6. L’EVD6 permet de simuler plusieurs effets wah wah classiques, ainsi que certains types de filtre de base. • Menu local Mode : choisissez un des réglages de l’effet wah wah suivants : • Off : l’effet wah wah est désactivé. • ResoLP (Resonating Low Pass Filter, filtre passe-bas résonant) : dans ce mode, l’effet wah wah fonctionne comme un filtre passe-bas avec résonance. Si la pédale est en position minimum, seules les fréquences basses peuvent passer. • ResoHP (Resonating High Pass Filter, filtre passe-haut résonant) : dans ce mode, l’effet wah wah fonctionne comme un filtre passe-haut avec résonance. Si la pédale est en position minimum, seules les fréquences hautes peuvent passer. • Peak : dans ce mode, l’effet wah-wah fonctionne comme un filtre à crête (en cloche). Les fréquences proches de la fréquence de coupure sont mises en évidence. • CryB : ce réglage imite le son de la célèbre pédale wah wah « Cry Baby ». • Morley 1 : ce réglage imite le son d’une célèbre pédale wah wah, fabriquée par Morley, avec une légère crête caractéristique. • Morley 2 : ce réglage imite le son de la pédale de distorsion wah wah Morley, avec un facteur Q(ualité) constant. • Potentiomètre Range : définit la fréquence de coupure du filtre. Si le potentiomètre Range est tourné vers la gauche, toutes les modulations de coupure se produiront sur une bande de fréquence étroite. Pour obtenir des possibilités de contrôle plus étendues, tournez le potentiomètre Range vers la droite. 214 Chapitre 8 EVD6 • Potentiomètre Envelope : détermine la sensibilité de l’enveloppe (de filtre) aux messages de vélocité de note entrants. Un effet auto wah est produit grâce à la fonction d’enveloppe follower intégrée, qui contrôle la profondeur de la modulation de coupure du filtre. Concrètement, cela signifie que la dynamique du jeu contrôle directement la profondeur de la modulation de filtre wah wah. Utilisation des paramètres EVD6 Output Les paramètres évoqués dans cette rubrique déterminent le niveau général, ainsi que le comportement stéréo, de l’EVD6. Faites glisser ici pour définir une position du clavier, qui sera utilisée pour le contrôle panoramique. Faites glisser ici pour modifier la position panoramique des capteurs. • Paramètre Stereo Spread : ce paramètre en deux parties modifie l’imagerie stéréo de la sortie de l’EVD6 (contrôlée par la position des touches). Il permet en outre de contrôler la balance des capteurs. • Potentiomètre Level : permet de régler le niveau « après les effets » en dB (décibels). Remarque : le contrôleur MIDI ajuste le niveau de sortie, à moins qu’il ne soit assigné aux contrôles de la pédale wah ou de l’atténuation. Réglage des paramètres EVD6 Stereo Spread Contrairement au D6 d’origine, l’EVD6 dispose d’une sortie stéréo, configurable avec le paramètre Stereo Spread. Il se divise en deux parties : Key et Pickup. Lorsque les deux capteurs sont actifs (modes Supérieur+Inférieur et Supérieur-Inférieur), le paramètre Pickup permet de répartir leurs deux signaux dans l’image stéréo. Le paramètre Key définit une modulation de l’échelle de notes de la balance. En d’autres termes, la position de la note jouée sur le clavier détermine la balance. Chapitre 8 EVD6 215 Vous pouvez employer les deux types de diffusion stéréo en même temps. Elles sont automatiquement mélangées. L’effet des deux paramètres est affiché graphiquement dans l’anneau situé autour du potentiomètre Stereo Spread. • La balance des capteurs est représentée par les petites lignes rouges à l’intérieur de l’anneau. • La plage de l’échelle de notes est représentée par les zones vert foncé. Pour régler la position des capteurs dans le champ stéréo µ Faites un glisser vertical dans la moitié inférieure (Capteur) du bouton circulaire. Des valeurs Pickup élevées éloignent les signaux des deux capteurs de la position centrale (un vers la droite, l’autre vers la gauche). Définissez ce paramètre sur sa valeur maximale au niveau de la balance à l’extrémité gauche ou droite. Pour régler la position du clavier µ Faites un glisser vertical dans la moitié supérieure (Tonalité) du bouton Stereo Spread. La position centrale est la note MIDI numéro 60 (C3). Définissez ce paramètre sur sa valeur maximale au niveau de la balance à l’extrémité gauche ou droite (demi-tons) de la note MIDI 60. Utilisation des paramètres EVD6 MIDI Control Les assignations d’un contrôleur MIDI vous permettent de contrôler l’EVD6 à l’aide d’un contrôleur MIDI externe ou d’une application hôte telle que .MainStage Apprentissage des assignations d’un contrôleur MIDI Tous les paramètres vous permettant de sélectionner un contrôleur MIDI disposent d’un élément de menu Learn. Pour apprendre un contrôleur 1 Sélectionnez l’élément de menu Learn pour assigner automatiquement le paramètre au premier message de données MIDI entrant approprié. 2 Déplacez le contrôleur de votre choix. Le mode Learn comprend une fonctionnalité d’expiration : si l’EVD6 ne reçoit pas de message MIDI dans les 20 secondes, le paramètre revient à son attribution de contrôleur MIDI d’origine. 216 Chapitre 8 EVD6 Utilisation des fonctions « Contrôle de l’effet wah », Courbe de vélocité et « Contrôle de l’atténuation » dans l’EVD6 Ces paramètres vous permettent de choisir une courbe de vélocité ou un contrôleur approprié pour l’EVD6. • Menu local Wah Ctrl : permet de définir le (numéro/nom) d’un contrôleur MIDI utilisé pour contrôler manuellement l’effet wah wah. Les contrôleurs au pied MIDI, comme les pédales Expression, sont généralement utilisés pour ce type de tâche, mais vous pouvez librement assigner n’importe quel contrôleur MIDI. Vous pouvez également utiliser la vélocité MIDI ou les messages aftertouch pour contrôler l’effet wah. Le contrôle MIDI peut être désactivé avec l’option Off. Remarque : vous pouvez contrôler l’effet wah wah à la fois avec la fonction d’enveloppe follower intégrée (« auto wah » : consultez la rubrique Utilisation de l’effet wah wah de l’EVD6) et un contrôleur manuel. Dans ce cas, l’effet de l’enveloppe follower et du contrôleur manuel sont mélangés. • Curseur Wah Pedal Position (Vue Controls) : sélectionnez Afficher > Contrôles pour accéder au curseur Wah Pedal Position. La valeur de ce paramètre représente la position actuelle de la pédale, ce qui garantit son enregistrement avec le réglage. • Menu local Velo Curve : eVD6 comporte neuf courbes de vélocité prédéfinies. Vous pouvez ainsi définir une courbe adaptée à votre style de jeu ou au modèle choisi. Les neuf courbes disponibles sont : fix25%, fix50%, fix75%, fix100%, convex1, convex2, linear (courbe par défaut), concave1 et concave2. • Les courbes « fixes » sont linéaires, avec une plage dynamique fixe de 25 pour cent, 50 pour cent, etc. • Les courbes concaves sont moins dynamiques au niveau des octaves centrales de la plage du clavier. • À l’inverse, les courbes convexessont plus dynamiques au niveau des octaves centrales de la plage du clavier. Chapitre 8 EVD6 217 • Menu local Damper Ctrl » : vous permet de choisir le contrôleur MIDI (tout comme la vélocité ou l’aftertouch MIDI) à utiliser pour contrôler le paramètre Damper. Si vous choisissez le réglage Désactivé, vous désactivez le contrôle MIDI du paramètre Damper. Brève histoire du Clavinet La société allemande Hohner, qui a conçu le clavinet D6, était surtout connue pour ses instruments à anches (harmonicas, accordéons, mélodicas, etc.), mais la marque a également fabriqué un certain nombre de claviers « classiques », avant la première incarnation du clavinet, connue sous le nom de « Cembalet ». Le musicien et inventeur Ernst Zacharias a conçu le Cembalet dans les années 50. Il était supposé être une version portable et amplifiable du Cembalo ou de l’Harpsichord. Son mécanisme nécessitait de pincer l’extrémité d’une anche plate avec la touche, dont le son était ensuite capté et amplifié, un peu comme sur une guitare électrique. Un an ou deux après la commercialisation du Cembalet, deux modèles de Pianet sont apparus. Ces deux modèles, CH et N, utilisaient des anches plates pour la génération sonore, mais avec une action mécanique (pincement/frappe) très différente. Lorsqu’une touche était enfoncée, elle entraînait un « patin adhésif » avec un renforcement en mousse, qui était en fait collé à l’anche. Lorsque la touche était relâchée, son poids permettait au patin adhésif de se libérer de l’anche, provoquant ainsi la vibration de l’anche, vibration qui était ensuite amplifiée. Le Pianet modèle T a été commercialisé plusieurs années après et utilisait un « patin de succion » en caoutchouc souple sur les anches, au lieu du patin adhésif utilisé pour les modèles CH et N. Cette méthode présentait encore quelques inconvénients, mais ils n’étaient pas trop gênants car la dynamique du clavier était limitée. Autre défaut : toutes les anches étaient atténuées lors du relâchement des touches, ce qui éliminait toute possibilité d’obtenir une tenue (sustain) du son via une pédale. Malgré ces problèmes, le son du Pianet modèle T a été rendu populaire par certains groupes, comme les Zombies et les Small Faces, dans les années 60. Entre la commercialisation des Pianet modèles N et T, Zacharias a inventé ce qui allait devenir le plus grand succès d’Hohner et certainement le plus funky des claviers : le clavinet. Le clavinet a été conçu pour imiter le son d’un clavicorde, mais avec un son plus « plein ». (Le clavicorde avait notoirement un son fin.) Les premiers modèles, clavinet I avec ampli intégré, clavinet II avec filtres, clavinet L avec sa forme bizarre en triangle, ont tous donné naissance au modèle C du clavinet. Celui-ci a, à son tour, été redéfini pour devenir le D6, plus portable. Le D6 utilise un marteau, qui frappe une corde contre une surface métallique pour produire le son. Il est équipé d’un clavier entièrement dynamique, puisque le marteau est situé directement sous la touche. Plus vous frappez fort, plus le son est fort et vibrant. 218 Chapitre 8 EVD6 Si vous dites « Clavinet » aujourd’hui tout le monde pensera automatiquement au titre « Superstition » de Stevie Wonder, un morceau qui a rendu aussi célèbre le D6, que l’artiste qui l’a écrit et interprété. Le D6 a ensuite été remplacé par le E7 et le Clavinet/Pianet Duo. Ils étaient identiques au D6, mais plus achevés, plus silencieux et mieux protégés contre les bruits parasites que les anciens modèles. Comment fonctionne le Clavinet D6 Chaque touche du clavier du D6 forme un seul bras de levier. Lorsqu’une touche est enfoncée, un piston situé sous la touche frappe la corde et la presse contre une enclume. La corde frappe l’enclume avec une force déterminée par la vélocité des touches, ce qui affecte à la fois les dynamiques et les harmoniques de la corde qui produit un son. Les vibrations mécaniques de l’action sont capturées par des capteurs magnétiques, puis converties en signaux électriques, qui sont alors amplifiés et reproduits par les haut-parleurs. Lorsque la touche est relâchée, le contact entre le piston/le marteau et l’enclume est immédiatement rompu. Le garnissage de laine entourant la corde est alors libéré. Les cordes cessent immédiatement de vibrer. Double déclenchement des notes Lorsque vous essayez l’EVD6, ou que vous écoutez certains des réglages fournis, vous pouvez entendre dessons quisemblent être déclenchés deux fois: lors de l’enfoncement de la note et lors de son relâchement. Il s’agit en réalité d’une caractéristique qui simule le D6 d’origine. Le vrai D6 avait un « problème » lié aux cordes qui adhéraient aux marteaux lorsqu’ils étaient usés, produisant ainsi un second déclenchement lorsque la touche était relâchée. Vous pouvez régler l’intensité de ce double déclenchement à l’aide du curseur Intensity de la section Clic (consultez Réglage des paramètres EVD6 Click.). Si vous déplacez ce curseur complètement vers la gauche, le second déclenchement dû au relâchement des touches n’est plus audible. Chapitre 8 EVD6 219 L’EVP88 est un piano électrique virtuel qui simule le son des différents pianos Rhodes et Wurlitzer, ainsi que celui du piano Hohner Electra. Les sons inoubliables des pianos Fender Rhodes sont parmi les plus connus des sons d’instruments à clavier utilisés dansla seconde moitié du 20e siècle. Les différents modèles Rhodes ont été rendus célèbres dans diversstyles musicaux, qu’ils’agisse de pop, de rock, de jazz ou de soul, ainsi que dans des genres plus récents comme la house et le hip hop. Le piano Wurlitzer, qui connut l’apogée dans les années 70, fut presque aussi populaire. Le présent chapitre couvre les aspects suivants : • Achitecture et fonctionnalités de l'EVP88 (p 221) • Présentation de l’interface EVP88 (p 222) • Utilisation des paramètres globaux de l’EVP88 (p 223) • Utilisation des paramètres EVP88 Model (p 224) • Utilisation des paramètres EVP88 Stretch (p 225) • Utilisation des effets EVP88 intégrés (p 226) • Utilisation des paramètres EVP88 Extended (p 231) • Liste des contrôleurs MIDI de l’EVP88 (p 231) • Modèles de pianos électriques émulés par l’EVP88 (p 232) Achitecture et fonctionnalités de l'EVP88 Le moteur de synthèse du piano de l’EVP88 utilise des techniques de modélisation de composantes pour générer des sons. Il est conçu exclusivement pour une simulation ultraréaliste des pianos électriques et offre une dynamique progressive, avec une répartition sur un clavier à 88 notes. Avec la modélisation de composantes, vous n’entendrez jamais de changement abrupt entre les échantillons, ni de mise en boucle de ces derniers ou d’effet de filtrage durant la phase de chute des notes. 221 EVP88 9 Le moteur de modélisation de composantes de l’EVP88 simule également les caractéristiques physiques des instruments d’origine. Il simule en outre le mouvement des diverses anches, tiges et barrestonales du piano électrique dansles champs électriques et magnétiques des capteurs. Enfin, il simule l’effet des éléments transitoires typiques de la phase d’attaque (sonneries, claquements,sons de cloche), ainsi que l’action des marteaux et les bruits d’atténuation des instruments d’origine. Une section intégrée de traitement des effets améliore encore les capacités sonores de l’EVP88, produisant ainsi divers effets classiques couramment utiliséssur lessons de piano électrique. Les effets intégrés d’égaliseur, d’overdrive, de modulateur de phase stéréo, de trémolo stéréo et de chœur stéréo ont été spécialement conçus, adaptés et optimisés pour l’EVP88. Pour en savoir plus sur la modélisation de composants, consultez Synthèse par modélisation des composantes. Présentation de l’interface EVP88 Avant de découvrir chaque paramètre de l’EVP88, vous pouvez vous familiariser dans cette rubrique avec l’interface de l’EVP88, quise compose des zones principales ci-dessous. Paramètres Effect Paramètres Stretch Paramètres de modèle Paramètres globaux • Paramètres globaux : la partie supérieure sombre contient les paramètres Model, Voices et Tune. Il s’agit d’options globales, qui affectent l’ensemble de l’instrument. Consultez Utilisation des paramètres globaux de l’EVP88. • Paramètres Model : la partie gauche de la rangée centrale contient les véritables paramètres du moteur de synthèse, ceux qui vous permettent de modifier la sonorité et le comportement de lecture du modèle actuel. Consultez Utilisation des paramètres EVP88 Model. 222 Chapitre 9 EVP88 • Paramètres Stretch : la partie droite de la section centrale contient les paramètres Stretch, qui affectent l’accord des registres supérieur et inférieur du son actuellement chargé. Consultez Utilisation des paramètres EVP88 Stretch. • Paramètres Effect : le tiers inférieur de l’interface comprend les paramètres d’effet EQ, Drive, Phaser, Tremolo et Chorus. Consultez Utilisation des effets EVP88 intégrés. • Autres paramètres : non visibles sur l’image, les paramètres étendus sont accessibles en cliquant sur le triangle en bas à gauche de l’interface. Il s’agit des fonctions relatives au volume, au bend, ainsi qu’à d’autres effets. Consultez Utilisation des paramètres EVP88 Extended. Utilisation des paramètres globaux de l’EVP88 Les paramètres globaux influent l’ensemble de l’instrument EVP88, plutôt que des modèles de piano électrique spécifiques. • CadranModel : effectuez un glissement vertical pour choisir parmi les différents modèles de pianos électriques. Plusieurs modèles Rhodes sont disponibles, tels que le Mark I, le Mark II et le Suitcase Piano, ainsi que les modèles Wurlitzer et Hohner Electra. Pour en savoir plus sur les instruments émulés, consultez Modèles de pianos électriques émulés par l’EVP88. Remarque : lorsque vous sélectionnez un nouveau modèle, toutes les voix audibles sont coupées et les valeurs standard de tous les paramètres sont restaurées. Il est donc conseillé de choisir le modèle avant de modifier les réglages d’effets et de paramètres. • Champ Voices: définit le nombre maximal de voix pouvant être écoutéessimultanément. En réduisant la valeur de ce paramètre, vous limitez la polyphonie de l’EVP88. Lorsque ce paramètre est défini sur 1, l’instrument est monophonique . La valeur maximale 88 permet des glissandi sur toute l’étendue du clavier, avec la pédale sustain. Chapitre 9 EVP88 223 • Champ Tune : modifie l’accord de l’EVP88 par incréments d’un centième. La valeur 0 équivaut au A (La) de référence à 440 Hz. La plage comprend un certain nombre de tons, plus ou moins un demi-ton. Utilisation des paramètres EVP88 Model Les paramètres de modèle affectent spécifiquement le modèle sélectionné. • Potentiomètre Decay : modifie le temps de chute du son du piano. Plus cette valeur est basse, moins le son est soutenu et plus l’effet d’atténuation appliqué à la vibration des tiges est important. Si ce paramètre est réglé sur des durées courtes, la tonalité principale sera plus prononcée et audible pendant plus longtemps que les harmoniques transitoires. Au niveau sonore, l’effet rappelle un peu celui d’une corde de guitare électrique qui serait étouffée par la paume d’une main. Les pianos électriques peuvent être modifiés de la même manière. Des valeurs plus élevées (durées plus longues) produisent un son plus soutenu et une impression de dynamique moindre. • Potentiomètre Release : détermine le niveau d’atténuation appliqué aprèsle relâchement des touches. Des réglages extrêmement longs (valeurs de relâchement élevées) permettent d’utiliser ce piano comme un vibraphone. • Potentiomètre Bell : détermine le niveau des aigus (inharmoniques) dans le son. Il est utile pour émuler des sons de piano électrique classiques. • Potentiomètre Damper : règle le niveau du bruit d’atténuation causé par le feutre sur la tige en vibration des instruments d’origine. • Potentiomètre Stereo Intensity : affecte le champ stéréo du son : lorsque celui-ci est réglé sur des valeurs élevées, les notes basses sont audibles dans le canal de gauche et les notes aiguës dans le canal de droite. L’effet est agréable et planant. Toutefois, évitez de l’utilisersi vous voulez reproduire fidèlement le son d’un piano électrique « vintage ». 224 Chapitre 9 EVP88 Utilisation des paramètres EVP88 Stretch L’EVP88 est accordé selon un tempérament égal. Cependant, vous pouvez modifier l’accord dans les basses et les aigus, un peu comme pour les pianos acoustiques (en particulier les pianos droits). Vous pouvez aussi moduler l’accord de chaque note de façon aléatoire. • Potentiomètre Lower Stretch : détermine la valeur de déviation par rapport à la valeur moyenne des basses. Plus cette valeur est élevée, plus les notes basses sont accordées vers le bas. Avec un réglage sur 0, l’EVP88 est accordé selon un tempérament égal, la fréquence étant réduite de moitié à chaque passage à l’octave inférieure. • Potentiomètre Upper Stretch : détermine la valeur de déviation par rapport à la valeur moyenne des aigus. Plus cette valeur est élevée, plus les notes aiguës sont accordées vers le haut. Avec un réglage sur 0, l’EVP88 est accordé selon un tempérament égal, la fréquence étant doublée à chaque passage à l’octave supérieure. • Potentiomètre Warmth : détermine la valeur de la déviation (aléatoire) par rapport à la moyenne (tempérament égal). Chaque note est légèrement désaccordée par rapport à la suivante, ce qui confère vie et richesse au son (notamment si des valeurs Warmth élevées sont sélectionnées). Remarque : si vous utilisez à la fois les fonctions Warmth et Stretch Upper ou Lower, cela peut produire un son désaccordé,similaire à un effet de chorus un peu lourd. Dans certains cas, cet effet peut être si fort que l’EVP88 semble désaccordé par rapport au reste de votre projet. Chapitre 9 EVP88 225 Accord étiré chez les instruments acoustiques La sonorité des pianos droits et, dans une moindre mesure (du fait de leurs cordes plus longues), celle des pianos à queue, comporte des « inharmoniques » dans sa structure harmonique. Bien que concernant également d’autresinstruments à cordes, cela affecte particulièrement les pianos, en raison de la longueur, de la densité et de la tension des cordes. Si un piano est parfaitement accordé sur un tempérament égal sur la plage du clavier, les sons dominants des cordes basses et les notes fondamentales des cordes aiguës paraîtront désaccordés entre eux. Pour contourner ce problème, les accordeurs de pianos utilisent une technique appelée accord étiré, avec laquelle les registres bas et aigus du piano sont respectivement accordés plus haut et plus bas. Les harmoniques des cordes basses sont alors accordées avec les notes fondamentales produites par les cordes aiguës. À la base, les pianos sont volontairement « désaccordés » (par rapport au tempérament égal), de sorte que les registres bas et aigus paraissent accordés. Les pianos électriques n’étant pas dotés de cordes, cette relation inharmonique ne concerne pas l’EVP88, ni les instruments d’origine que celui-ci émule. La fonction d’étirement a été incluse essentiellement au cas où vous souhaiteriez utiliser l’EVP88 dans un arrangement, en association avec un enregistrement de piano acoustique. Utilisation des effets EVP88 intégrés L’EVP88 offre des effets intégrés d’égaliseur, d’(over)drive, de modulateur de phase, de trémolo et de chorus. Pour en savoir plus, consultez les rubriques suivantes : • Utilisation de l’égaliseur EVP88 • Utilisation de l’effet Drive de l’EVP88 • Utilisation de l’effet Phaser de l’EVP88 • Utilisation de l’effet Tremolo de l’EVP88 • Utilisation de l’effet Chorus de l’EVP88 226 Chapitre 9 EVP88 Utilisation de l’égaliseur EVP88 L’égaliseur vous permet d’amplifier ou de réduire les fréquences hautes et basses du son de l’EVP88. L’égaliseur est placé après le circuit d’overdrive dans la chaîne des effets de l’EVP88. • Potentiomètre Treble : contrôle un filtre conventionnel pour les hautesfréquences. Selon le modèle de piano choisi, des filtres en plateau ou à crête sont employés. Des plages de fréquences optimisées sont présélectionnées pour chaque modèle. • Potentiomètre Bass : contrôle un filtre conventionnel pour les basses fréquences. Selon le modèle de piano choisi, des filtres en plateau ou à crête sont employés. Des plages de fréquences optimisées sont présélectionnées pour chaque modèle. Astuce : en supprimant les plages de fréquences aiguës et basses, vous obtiendrez un son très direct et très agressif, avec une forte dominance des médiums. Si vous avez besoin d’une égalisation plus précise, vous pouvez insérer n’importe quel module d’égalisation de MainStage dans la tranche de console de l’instrument. Vous pouvez également utiliser la commande Tone de l’effet Drive pour mieux définir le contour d’un son dur. Chapitre 9 EVP88 227 Utilisation de l’effet Drive de l’EVP88 Les pianos électriques sont plus performants lorsque des amplificateurs à tube sont utilisés. Ces derniers offrent une grande variété de possibilitéssonores, allant de la subtilité chaude ou dessons mordants des amplificateurs de guitare aux distorsionsrock hurlantes et psychédéliques. L’effet Drive de l’EVP88 simule la saturation caractéristique d’un amplificateur à tube. C’est le premier circuit de traitement du signal dans la chaîne des effets disponible sur l’EVP88. • Potentiomètre Gain : définit le niveau de distorsion harmonique. • Bouton Tone : Égalise le son avant que le circuit de l’amplificateur à tube virtuel l’amplifie ou lui fasse subir une distorsion. Vous pouvez utiliser des valeurs Tone faibles pour définir une couleur tonale moelleuse. Si le son vous paraît trop doux, amplifiez les aigus avec l’effet Equalizer. Si vous préférez une distorsion ayant des caractéristiques plus dures typiques d’un amplificateur à transistor saturé, utilisez des valeurs plus élevées pour le paramètre Tone. Si le son devient trop dur, vous pouvez supprimer les aigus avec la commande Treble de l’effet Equalizer. Utilisation de l’effet Phaser de l’EVP88 Les pédales de modulation de phase utilisées par les guitaristes électriques étaient également populaires parmi les pianistes électriques, en particulier dans les styles jazz électrique, jazz rock et pop des années 70. L’effet Phaser fait passer le signal d’origine dans une série de quatre filtres, qui améliorent certains aspects du spectre de fréquences de l’EVP88. Ce signal filtré est légèrement déphasé et mixé avec le son d’origine, provoquant ainsi des « ruptures » dans le spectre de fréquences. Les ruptures présentes dans le signal déphasé sont déplacées vers le haut ou le bas dans le spectre de fréquences au moyen de la modulation LFO (low frequency oscillator). Cela signifie que l’amplitude des deux signaux atteint son point maximal et minimal avec un léger décalage temporel. 228 Chapitre 9 EVP88 Remarque : MainStage offre un effet Phaser plus sophistiqué (ainsi que d’autres modules de modulation), pouvant être utilisés à la place de ou en association avec l’effet Phaser de l’EVP88. Les paramètres de l’effet Phaser de l’EVP88 ont de nombreux points communs avec ceux des meilleurs modulateurs de phase analogique des années 1960 et 1970, parmi lesquels un effet de distorsion subtil de type analogique. • Potentiomètre Rate : détermine la vitesse de l’effet de phase. Lorsque ce paramètre est réglé sur 0, le module Phaser est désactivé. • potentiomètre Color : détermine la quantité de signal de sortie du module Phaser renvoyée en entrée de l’effet. Cela a un impact sur la couleur tonale de l’effet de phase. • Potentiomètre Stereophase : détermine le décalage de phase entre les canaux gauche et droite, en commençant par 0 l’effet devient plus intense, mais pas stéréophonique. À 180, l’effet augmente dans le canal gauche, alors qu’il se réduit d’autant dans le canal droit, et vice versa. Utilisation de l’effet Tremolo de l’EVP88 Une modulation périodique de l’amplitude (niveau) du son est appelée trémolo. La modulation est contrôlée par le biais d’un modulateur sub-audio (LFO). Le « Suitcase Piano » Fender Rhodes est équipé d’un trémolo stéréo, alors que de nombreux autres pianos électriques disposent d’un trémolo monophonique simple, mais très marqué, pouvant même introduire une sorte de sensation polyrythmique dans l’interprétation. • Potentiomètre Rate : définit la vitesse de l’effet trémolo (fréquence de l’oscillateur sub-audio). Chapitre 9 EVP88 229 • Potentiomètre Intensity : ajuste le taux de modulation d’amplitude. Lorsque ce paramètre est réglé sur 0, l’effet de trémolo est désactivé. • Potentiomètre Stereophase : détermine le décalage de phase relatif entre les canaux gauche et droite, en commençant par 0 avec une modification du niveau des deux canaux en phase. Une valeur de 180 produit un effet trémolo stéréo, également appelé panning automatique. Cet effet est similaire à celui obtenu lorsque vous tournez manuellement le potentiomètre panoramique d’un côté à l’autre. Astuce : le piano Wurlitzer original est doté d’un trémolo monophonique avec une vitesse de modulation fixe de 5,5 Hz. Pour un son Wurlitzer authentique, sélectionnez une valeur Stereophase de 0 degré. Pour des sons Rhodes, sélectionnez la valeur 180 degrés. Les réglages intermédiaires donnent des effets agréables et planants, en particulier pour des vitesses de modulation LFO basses. Utilisation de l’effet Chorus de l’EVP88 Bien connu, l’effet chorus repose sur un circuit à retard. Le temps de retard est modulé à l’aide d’un LFO. Le signal retardé est mixé avec le signal d’origine. Il s’agit de l’effet le plus couramment utilisé sur les sons de pianos électriques. Le paramètre Chorus régule l’intensité (valeur de la déviation du temps de retard). La vitesse du LFO est fixée à 0,7Hz, mais elle peut être modifiée à l’aide du paramètre Chorus Rate (consultez Utilisation des paramètres EVP88 Extended ci-dessous). Remarque : si les valeurs sont élevées, le piano peut paraître désaccordé. 230 Chapitre 9 EVP88 Utilisation des paramètres EVP88 Extended L’EVP88 offre des paramètres étendus accessibles par le biais du triangle d’affichage situé en bas de sa fenêtre. • Curseur et champ Volume : définissent le niveau de sortie global de l’EVP88. • Curseurs et champs Bend Range Down/Up : déterminent la plage du Pitch Bend, en demi-tons. • Curseur et champ Chorus Rate : détermine la vitesse de l’effet Chorus, en Hz. • Curseurs et champsDelay PP etDelay FF : définissent le temps de retard (en millisecondes) pour un jeu pianissimo (PP, doux) ou forte (FF, fort). Liste des contrôleurs MIDI de l’EVP88 L’EVP88 répond aux numéros des contrôleurs continus (CC) MIDI suivants. Numéro de contrôleur Nom de paramètre 1 Paramètre Volume 12 Potentiomètre Model 13 Paramètres Model : potentiomètre Decay 14 Paramètres Model : potentiomètre Release 15 Paramètres Model : potentiomètre Bell 16 Paramètres Model : potentiomètre Damper 17 Paramètres Model : potentiomètre Stereo Intensity 18 Paramètres EQ : potentiomètre Treble 19 Paramètres EQ : potentiomètre Bass 20 Paramètres Drive : potentiomètre Gain 21 Paramètres Drive : potentiomètre Tone 22 Paramètres Phaser : potentiomètre Rate 23 Paramètres Phaser : potentiomètre Color 24 Paramètres Phaser : potentiomètre Stereophase 25 Paramètres Tremolo : potentiomètre Rate 26 Paramètres Tremolo : potentiomètre Intensity 27 Paramètres Tremolo : potentiomètre Stereophase Chapitre 9 EVP88 231 Numéro de contrôleur Nom de paramètre 28 Paramètres Chorus : potentiomètre Intensity Modèles de pianos électriques émulés par l’EVP88 Les rubriques qui suivent fournissent des informations générales sur les instruments émulés par l’EVP88. Rhodes Piano Wurlitzer Piano Hohner Electra Rhodes Harold Rhodes (né en 1910) a, sans conteste, construit le modèle de piano électrique le plus connu et le pluslargement utilisé. Conçu en 1946 comme un substitut au piano pour l’étude, l’éducation et lesspectacles de l’armée, le piano Rhodes a été commercialisé avec succès par le fabricant de guitares Fender dès 1956. Le Fender Rhodes est devenu un des instruments de musique les plus populaires en Jazz, surtout en Jazz électrique. Sa popularité au sein de la musique pop et rock s’est développée après que CBS a repris la production du Rhodes en 1965. Malgré les différents changements de propriétaires au fil des années, cet instrument reste surtout connu sousson appellation « Fender Rhodes ». Il existe également un certain nombre de synthétiseurs « Rhodes », qui ont été développés par l’ancien fabricant de synthétiseurs ARP. Le fabricant japonais de technologie musicale et de synthétiseurs Roland a été propriétaire du nom Rhodes pendant un moment et a commercialisé plusieurs pianos numériques sous cette appellation. À partir de 1997 et jusqu’à sa mort en décembre 2000, Harold Rhodes est redevenu propriétaire du nom. La méthode de génération sonore utilisée par le piano Rhodes est basée sur des tiges métalliques, qui fonctionnent un peu comme un diapason. Ces tiges sont frappées par un marteau, à la manière des marteaux d’un piano de concert. Le diapason asymétrique se compose d’une fine tige reliée à une barre tonale massive. En raison de contraintes de fabrication, certaines des barres tonales sont pivotées de 90 degrés. Le piano peut être accordé grâce à la masse d’un ressort pouvant être déplacé le long de la tige. La tige oscille devant un capteur électrique, similaire à celui d’une guitare électrique. Cette oscillation fonctionne selon les principes de l’induction, avec des aimants permanents placés autour de la tige, ces derniers ayant un effet d’atténuation sur son mouvement et affectant ainsi le son. 232 Chapitre 9 EVP88 Le signal de sortie du piano Rhodes, comme celui d’une guitare électrique, est plutôt faible et nécessite une forte préamplification. Le son de ce piano n’est pas riche en harmoniques. C’est pourquoi, une accentuation des aigus ou un effet d’overdrive sont plutôt les bienvenuslorsqu’ils’agit de jouersur un Rhodes. Par ailleurs, comme mentionné précédemment, les performances sont meilleures avec des amplificateurs à tube. Le piano Rhodes a également été proposé sous la forme d’un « suitcase piano » (avec préamplificateur et amplificateur combo à deux voies) et d’un piano de scène, sans amplificateur. Ces deux versions « portables » à 73 touches disposent d’un cadre en bois recouvert de vinyle et d’un couvercle en plastique. En 1973, un modèle à 88 touches a été lancé. Les versions Celeste et pour basses, de taille plus réduite, eurent moins de succès. Le couvercle du MkII (1978) était plat au lieu d’être arrondi. Cela permettait à l’instrumentiste de poser d’autres claviers sur le Rhodes. Lancé en 1984, le Mark V était même équipé d’une sortie MIDI. Le milieu des années 80 a vu la production de Rhodes diminuer, la plupart des musiciens investissant dans des synthétiseurs numériques plus souples d’emploi (et plus légers). Ces claviers pouvaient aisément émuler le son des anciens pianos, comme le Rhodes, et offraient une grande variété de nouveaux sons admirables. Les caractéristiques sonores spécifiques à chaque piano Rhodes dépendent davantage du réglage et de la maintenance de l’instrument que du modèle lui-même. Les premiers modèles disposaient de marteaux recouverts de feutre, qui leur donnaient un son plus doux que celui des modèles plus récents, dotés de marteaux recouverts de néoprène. Le « suitcase piano » était équipé d’un préamplificateur capable de créer un son avec une forte prédominance des médiums. Toutefois, une préamplification et une égalisation appropriées peuvent permettre à presque tous les pianos de scène de produire la même sonorité. Le piano de scène ne dispose pas de cordon d’alimentation, tout comme les guitares électriques. Étant donné que le MkII n’est pas doté des attaches de résonance pour les aigus que possédaient les anciens modèles, le soutien est plus faible dans les aigus. Les différences les plus importantes en termes sonores dépendent de la distance qui sépare la tige du capteur. Si la tige est rapprochée du capteur, le son de cloche caractéristique devient plus proéminent. Dansles années 80, de nombreux pianos Rhodes étaient réglés de façon à renforcer ce type de son. Modèles Rhodes : • Suitcase MkI • Suitcase V2 • Bright Suitcase • Stage Piano MkI • Stage Piano MkII Chapitre 9 EVP88 233 • Bright Stage MkII • Hard Stage MkII • MarkIV • Metal Piano • Attack Piano Les modèles Metal Piano et Attack Piano offrent des sons de qualité, pouvant être comparés à ceux desinstruments Rhodes d’origine. Bien qu’ils ne soient pas aussi réalistes, ils ont au moins partiellement atteint l’idéal que les techniciens Rhodes pouvaient rechercher lorsqu’ils concevaient leurs claviers. Piano Wurlitzer Ce célèbre fabricant de boîtes à musique et d’orgues a également construit des pianos électriques, qui ont contribué à écrire l’histoire de la musique pop et rock. Les pianos Wurlitzer de la gamme 200 sont plus petits et plus légers que les pianos Rhodes, avec un clavier de 64 touches (de A à C, soit de La à Do), ainsi qu’un amplificateur intégré et des haut-parleurs. L’action du Wurlitzer ressemble à celle d’un piano acoustique classique et est sensible à la vélocité, comme le Rhodes. Son système de génération de sons est basé sur des tiges d’acier à ressort pouvant être accordées à l’aide d’une masse de soudure. Le Wurlitzer est muni de capteurs électrostatiques : une tension de 0 volt est appliquée aux tiges qui se déplacent entre les dents d’un peigne sous tension à 150 volts. La sonorité du Wurlitzer, qui a d’abord été fabriqué au début des années 60, se caractérise par un certain nombre d’harmoniques de rang impair. Le Wurlitzer estsurtout connu pour le son de piano caractéristique du groupe Supertramp, à écouter dans leur album « Crime of the Century ». Vous reconnaîtrez aussi le son du Wurlitzer en écoutant le titre des Pink Floyd « The Dark Side of the Moon » ou « I Am the Walrus » des Beatles. Modèles Wurlitzer : • Wurlitzer 200 A • Wurlitzer 240 V • Soft Wurlitzer • Funk Piano Le modèle Funk Piano de l’EVP88 produit un son de moteur de piano synthétique spécial, avec une basse exagérée. Ce son ne repose pas sur celui des véritables instruments Wurlitzer, mais peut s’avérer très utile. 234 Chapitre 9 EVP88 Piano Hohner Electra Extrêmement rare, le piano Hohner Electra, qui ne doit pas être confondu avec le RMI Electrapiano tout électronique, est équipé de marteaux frappant les cordes, semblables à ceux du Rhodes, mais avec une mécanique du clavier plus lourde. Il a été conçu pour ressembler à un piano droit acoustique conventionnel. John Paul Jones, de Led Zeppelin, l’utilise dans « Stairway to Heaven », « Misty Mountain Hop » et « No Quarter ». Modèle Hohner Electra : • Electra Piano Chapitre 9 EVP88 235 L’EVOC 20 PolySynth combine un vocoder avec un synthétiseur polyphonique et peut être joué en temps réel. Il peut créer des sons de vocoder classiques, rendus célèbres par des artistes tels que Kraftwerk au cours des années 1970 et 1980. Le vocodage reste populaire pour certains styles actuels de musique tels que la musique électronique, le hip-hop, le rnb, etc. Le présent chapitre couvre les aspects suivants : • Fonctionnement du EVOC 20 (p 237) • Présentation de l’interface de l’EVOC 20 PolySynth (p 240) • Paramètres EVOC 20 PolySynth Sidechain Analysis (p 241) • Paramètres EVOC 20 PolySinth (U/V) Detection (p 243) • Paramètres EVOC 20 PolySynth Synthesis (p 245) • Paramètres EVOC 20 PolySynth Formant Filter (p 251) • Paramètres EVOC 20 PolySynth Modulation (p 254) • Paramètres EVOC 20 PolySynth Output (p 255) • Optimisation des performances de l’EVOC 20 PolySynth (p 256) • Brève histoire du vocoder (p 259) • Schéma de principe de l’EVOC20 (p 262) Fonctionnement du EVOC 20 L’EVOC 20 PolySynth « écoute » un signal audio entrant, en général un spectacle chanté ou parlé, et impose les caractéristiquessonores et les changements de niveau de ce signal sur le synthétiseur intégré. Lorsque vousjouez des notes et des accordssur votre clavier MIDI, le synthétiseur interne « chante » aux tonalités des notes MIDI entrantes, mais avec les articulations(changements de niveau, sons de voyelles et de consonnes) du signal audio entrant. 237 EVOC 20 PolySynth 10 Vous obtenez ainsi ces sons classiques de « robot chantant » ou de « voix synthétique » qui font la réputation des vocoders. Toutefois, l’EVOC 20 PolySynth propose davantage qu’un simple vocodage. Vous pouvez l’utiliser comme un synthétiseur ou pour un traitement d’effets plus subtil, par exemple pour la création d’harmonies vocales « presque » naturelles à partir d’une voix en solo. Si vos goûts en matière de musique sont plus extrêmes, n’hésitez pas à traiter d’autres signaux audio comme des boucles de batteries ou d’instruments. Qu’est-ce qu’un vocoder? Le terme vocoder est une abréviation de VOice enCODER (codeur de voix). Un vocoder analyse et transfère le caractère sonore du signal audio arrivant à son entrée d’analyse vers les générateurs de sons du synthétiseur. Le résultat de ce processus est entendu à la sortie du vocoder. Le son classique du vocoder utilise la voix comme signal d’analyse et un son de synthétiseur comme signal de synthèse. Ce son a été popularisé vers la fin des années 1970 et le début des années 1980. Vous le connaissez probablement grâce aux morceaux « O Superman » de Laurie Anderson, « Funky Town » de Lipps Inc. et aux nombreuses morceaux de Kraftwerk, comme « Autobahn », « Europe Endless », « The Robots » et « Computer World ». Le vocodage ne se limite pas à la production de ces sons de « robots chantants » ; il a également été utilisé dans de nombreux films, comme pour les cylons de Battlestar Galactica et, exemple célèbre, sur la voix de Dark Vador dans la saga de la Guerre des étoiles. Voir aussi Brève histoire du vocoder. Le vocodage, en tant que processus, n’est passtrictement limité aux performances vocales. Vous pouvez utiliser une boucle de batterie comme signal d’analyse afin de former un son d’ensemble à corde arrivant à l’entrée Synthesis. Fonctionnement d’un vocoder Les fonctionnalités d’analyseur et de synthétiseur d’un vocoder sont en fait constituées de deux banques de filtres de type passe-bande. Les filtres passe-bande permettent à une bande de fréquences (une tranche du spectre de fréquences global) de transiter sans être modifiée, et coupent les fréquences qui ne font pas partie de la plage de la bande. Dans les modules EVOC 20, ces banques de filtres sont nommées sections Analysis et Synthesis. Chaque banque de filtres comporte un nombre de bandes identique : si la banque de filtres d’analyse comporte cinq bandes (1, 2, 3, 4 et 5), la banque de filtres de synthèse comporte un ensemble correspondant de cinq bandes. La bande 1 de la banque d’analyse est associée à la bande 1 de la banque de synthèse, la bande 2 à la bande 2, et ainsi de suite. 238 Chapitre 10 EVOC 20 PolySynth Le signal audio qui arrive à l’entrée d’analyse passe à traversla banque de filtres d’analyse, où il est divisé en bandes. Une enveloppe de type follower est couplée avec chaque bande de filtre. L’enveloppe de type follower de chaque bande suit (follows) tout changement de volume dans la source audio ou, plus précisément, dans la partie de la source audio autorisée à passer par le filtre passe-bande associé. De cette façon, l’enveloppe follower de chaque bande génère des signaux de contrôles dynamiques. Analyse source audio Synthèse source audio Analyse banque de filtres Bande 1à 5 Synthèse banque de filtres Bande 1à 5 Envelope suiveur 1–5 VCA 1–5 Signal de contrôle 1 à 5 Sortie audio Détection U/V Ces signaux de contrôle sont alors envoyés vers la banque de filtres de synthèse où ils contrôlent les niveaux des bandes de filtres de synthèse correspondantes. Cela est effectué au moyen de VCA (Voltage Controlled Amplifiers, amplificateur commandé par tension) dans les vocoders analogiques. Les changements de volume dans la banque de filtres d’analyse sont imposéssur les bandes correspondantes de la banque de filtres de synthèse. L’auditeur perçoit ces changements de niveau de filtre comme une reproduction synthétique du signal d’entrée d’origine, ou comme un mixage des deux signaux des banques de filtres. Plus un vocoder comporte de bandes, plus la reproduction du caractère du son d’origine par la banque de filtres de synthèse est précise. L’EVOC 20 PolySynth propose jusqu’à 20 bandes par banque. Consultez Schéma de principe de l’EVOC20 pour obtenir une image détaillée du chemin du signal de l’EVOC20 Polysynth. Installation de l’application hôte EVOC 20 PolySynth Pour utiliser l’EVOC 20 PolySynth, insérez-le dans le logement Instrument d’une tranche de console d’instrument. Vous devez également fournir un signal audio comme source audio d’analyse, via un sidechain. Chapitre 10 EVOC 20 PolySynth 239 Pour installer l’EVOC 20 PolySynth dans votre application hôte 1 Insérez l’EVOC 20 PolySynth dans le logement Instrument d’une tranche de console d’instrument. 2 Choisissez une source d’entrée dansle menu Side Chain de l’en-tête du module de l’EVOC 20 PolySynth. Selon l’application hôte, cette source peut être une piste audio, une entrée live ou un bus. L’EVOC 20 PolySynth est alors prêt à accepter des données MIDI entrantes et a été assigné à une entrée, une piste audio ou un bus, via un side chain. 3 Selon vos besoins et votre application hôte, désactivez le son de la piste audio constituant l’entrée de side chain, démarrez la lecture et utilisez le clavier MIDI. 4 Ajustez les niveaux de volume de l’EVOC 20 PolySynth de la source de Side Chain (si le son n’en est pas désactivé) à votre convenance. 5 Faites vos propres expériences avec les potentiomètres, les curseurs et les autres contrôles. Amusez-vous et n’hésitez pas à insérer d’autres modules pour améliorer le son encore davantage. Présentation de l’interface de l’EVOC 20 PolySynth L’interface de l’EVOC 20 PolySynth est divisée en six sections principales de paramètres. Paramètres Formant Filter Paramètres de la section Sidechain Analysis Paramètres de la section Synthesis Paramètres U/V Detection Paramètres de la section Modulation Paramètres Output • Paramètres Sidechain Analysis: déterminent l’analyse du signal d’entrée etson utilisation par l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Sidechain Analysis. • Paramètres U/V Detection : détectent les portions non vocales du son dans le signal d’analyse, afin d’améliorer l’intelligibilité de la parole. Consultez Paramètres EVOC 20 PolySinth (U/V) Detection. 240 Chapitre 10 EVOC 20 PolySynth • Paramètres Synthesis: contrôlent le synthétiseur polyphonique de l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Synthesis. • Paramètres Formant Filter : configurent les banques de filtres d’analyse et de synthèse. Consultez Paramètres EVOC 20 PolySynth Formant Filter. • ParamètresModulation : la section Modulation propose deux LFO, utilisés pour moduler le synthétiseur et les banques de filtres. Consultez Paramètres EVOC 20 PolySynth Modulation. • Paramètres Output : configurent le signal de sortie de l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Output. Paramètres EVOC 20 PolySynth Sidechain Analysis Les paramètres de la section Sidechain Analysis contrôlent l’analyse et l’utilisation du signal d’entrée par l’EVOC 20 PolySynth. Réglez ces paramètres aussi précisément que possible pour obtenir les meilleurs résultats en matière d’intelligibilité de parole et de précision du suivi. • Potentiomètre Attack : détermine la vitesse à laquelle chaque enveloppe « follower », couplée à chaque bande de filtre d’analyse, réagit aux niveaux de signaux montants. Des temps Attack plus longs entraînent une réponse plus lente du suivi aux éléments transitoires (pointes de niveau) du signal d’entrée d’analyse. Un temps Attack long sur dessignaux d’entrée de type percussif (des motsscandés ou du charleston, par exemple) sont transformés en un effet de vocoder moins articulé. Il est donc recommandé de définir le paramètre Attack sur la valeur la plus faible possible afin d’améliorer l’articulation. • Potentiomètre Release : détermine la vitesse à laquelle chaque enveloppe « follower », couplée à chaque bande de filtre d’analyse, réagit aux niveaux de signaux descendants. Des temps Release plus longs prolongent les éléments transitoires du signal d’entrée d’analyse en sortie du vocoder. Un temps Release long sur des signaux d’entrée de type percussif (des mots scandés ou du charleston, par exemple) sont transformés en un effet de vocoder moins articulé. Des temps Release extrêmement courts donnent dessons de vocoder bruts et granuleux. Des valeurs Release comprises entre 8 et 10 ms constituent de bons points de départ. Chapitre 10 EVOC 20 PolySynth 241 • Bouton Freeze : lorsque ce paramètre est activé, le spectre du son analysé est maintenu, ou figé, indéfiniment. Tant que le paramètre Freeze est activé, la banque de filtres d’analyse ignore la source d’entrée et les potentiomètres Attack et Release n’ont aucun effet. Consultez Blocage du signal d’entrée de l’EVOC 20 PolySynth. • Champ Bands : détermine le nombre de bandes de fréquences (jusqu’à 20) utilisées par les banques de filtres. Consultez Réglage du nombre de bandes de banques de filtres de l’EVOC 20 PolySynth. Blocage du signal d’entrée de l’EVOC 20 PolySynth Le bouton Freeze dansla section Sidechain Analysis de l’EVOC20 PolySynth fige le spectre de sons du signal d’entrée d’analyse. Vous pouvez alors capturer une caractéristique particulière du signal, qui est ensuite imposée comme forme de filtre soutenue complexe à la section Synthesis. Voici quelques exemples d’application. • Si vous utilisez une suite de mots parlés comme source, le bouton Freeze peut capturer la phase d’attaque ou de fin d’un mot particulier, la voyelle a, par exemple. • Vous pouvez également utiliser le bouton Freeze pour compenser l’incapacité de certains chanteurs à tenir longtemps une note sans reprendre leur souffle. Si le signal de synthèse doit être tenu, alors que le signal source d’analyse (une partie vocale) ne l’est pas, le bouton Freeze peut servir à verrouiller les niveaux actuels du formant d’une note chantée, même pendant desinterruptions de la partie vocale, entre les mots d’une phrase. Il est possible d’automatiser l’utilisation du paramètre Freeze, ce qui peut être utile dans cette situation. Brève introduction aux formants Un formant est une crête dans le spectre de fréquences d’un son. Lorsque ce terme est utilisé pour les voix humaines, les formants constituent le composant clé permettant aux êtres humains de distinguer différents sons de voyelles, en se basant uniquement sur la fréquence de cessons. Lesformants de la parole et du chant humain sont produits par le conduit vocal ; la plupart des sons de voyelles contiennent au moins quatre formants. 242 Chapitre 10 EVOC 20 PolySynth Réglage du nombre de bandes de banques de filtres de l’EVOC 20 PolySynth Le champ Bands dans la section Sidechain Analysis détermine le nombre de bandes de fréquences utilisées par la banque de filtres de l’EVOC 20 PolySynth. Plusle nombre de bandes de fréquences est élevé, plusle son est remodelé avec précision. Si vousréduisez le nombre de bandes, la plage de fréquences du signalsource sera divisée en moins de bandes et le son résultant sera formé avec moins de précision par le moteur de synthèse. Le choix de 10 à 15 bandes constitue généralement un bon compromis entre l’utilisation desressources disponibles et la précision sonore, qui permet aux signaux entrants tels que la parole et les chants de rester intelligibles. Paramètres EVOC 20 PolySinth (U/V) Detection La parole humaine est constituée d’une série de sons vocaux (sons tonals ou formants) et de sons non vocaux. La différence principale entre sons vocaux et non vocaux est que les sons vocaux sont produits par une oscillation des cordes vocales, alors que les sons non vocaux sont produits par des blocages et des restrictions imposés sur le flux d’air par les lèvres, la langue, le palais, la gorge et le larynx. Si un tel discours, contenant à la fois des sons vocaux et non vocaux, est utilisé comme signal d’analyse d’un vocoder, alors que le moteur de synthèse ne peut pasles différencier, il en résulte un son sans relief. Pour éviter ce problème, la section Synthesis du vocoder doit produire des sons différents pour les parties vocales et non vocales du signal. Chapitre 10 EVOC 20 PolySynth 243 L’EVOC 20 PolySynth est donc muni un détecteur non vocal/vocal (U/V, Unvoiced/Voiced) à cet effet. Ce composant détecte les parties non vocales du son dans le signal d’analyse, puis remplace les parties correspondantes dans le signal de synthèse par du bruit, un mélange de bruit et de signal du synthétiseur ou par le signal d’origine. Si le détecteur U/V identifie des parties vocales, il transmet ces informations à la section Synthesis, qui utilise le signal de synthèse normal pour ces parties. • Potentiomètre Sensitivity : détermine la sensibilité de la détection U/V. Si vous tournez ce potentiomètre vers la droite, le détecteur U/V reconnaît davantage de parties non vocales distinctes dans le signal d’entrée. Lorsque vous utilisez des réglages élevés, la sensibilité accrue aux signaux non vocaux peut conduire à ce que la source de sons U/V (déterminée par le menu Mode comme décrit dans « Menu Mode » ci-dessous)soit utilisée sur la majeure partie du signal d’entrée, y compris les signaux vocaux. Vous obtenez alors un son ressemblant à un signal radio détérioré et contenant beaucoup de parasites et de bruit de fond. • Mode, menu : définit les sources sonores pouvant être utilisées pour remplacer le contenu non vocal du signal d’entrée. Vous avez le choix entre les options suivantes : • Noise : utilise le bruit seul pour les parties non vocales du son. • Noise + Synth : utilise le bruit et le synthétiseur pour les parties non vocales du son. • Blend : utilise le signal d’analyse, après son passage à travers un filtre passe-haut, pour les parties non vocales du son. Le paramètre Sensitivity n’a aucun effet lorsque ce réglage est utilisé. • Potentiomètre Level : contrôle le volume du signal utilisé pour remplacer le contenu non vocal du signal d’entrée. Important : faites très attention à ce contrôle, surtout si vous utilisez une valeur Sensitivity élevée, afin d’éviter toute saturation interne de l’EVOC 20 PolySynth. 244 Chapitre 10 EVOC 20 PolySynth Paramètres EVOC 20 PolySynth Synthesis L’EVOC 20 PolySynth est équipé d’un synthétiseur polyphonique, capable de recevoir des notes MIDI. Les paramètres de la section Synthesis sont décrits ci-dessous. Paramètres globaux Paramètres Tuning et Pitch Paramètres des oscillateurs Paramètres d’enveloppe Paramètres Filter • Paramètres des oscillateurs : utilisés afin de choisir les formes d’onde de base pour le moteur de synthèse de l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Oscillator. • Paramètres Tuning et Pitch : contrôlent l’accord global du synthétiseur et certains aspects comme le pitch bend et le portamento. Consultez Paramètres EVOC 20 PolySynth Tuning and Pitch. • Paramètres Filter : utilisés pour définir la forme des formes d’onde de base des oscillateurs. Consultez Paramètres EVOC 20 PolySynth Filter. • Paramètres Envelope : contrôlent le niveau des phases d’attaque et de relâchement du son du synthétiseur. Consultez Paramètres EVOC 20 PolySynth Envelope. • Paramètres Global : les paramètres situés en haut à gauche de l’interface déterminent le mode du clavier et le nombre de voix utilisés par l’EVOC 20 PolySynth. Consultez Paramètres EVOC 20 PolySynth Global. Chapitre 10 EVOC 20 PolySynth 245 Paramètres EVOC 20 PolySynth Oscillator L’EVOC 20 PolySynth comporte deux oscillateurs qui peuvent être utilisés soit en mode Dual, soit en mode FM : Cliquez ici pour basculer entre les modes Dual et FM. • Mode Dual : chaque oscillateur vous permet de choisir une forme d’onde numérique. • Mode FM : l’oscillateur 1 génère une onde sinusoïdale. La fréquence, ou hauteur tonale, de l’oscillateur 1 est modulée par l’oscillateur 2 (pour obtenir des informations sur la synthèse FM, consultez Synthèse par modulation de fréquence (FM)). Un certain nombre de tons et d’harmoniques différents deviennent alors audibles. L’oscillateur 2 peut utiliser toute forme d’onde numérique disponible. Chaque mode influence dans une certaine mesure les paramètres affichés dansla section Oscillator. La section Synthesis comporte également un générateur de bruit qui peut ajouter davantage de couleur à votre son. Pour obtenir plus d’informations sur le mode Dual, le mode FM et le mode Noise Generator, consultez les rubriques suivantes : Paramètres Dual Mode des oscillateurs de l’EVOC 20 PolySynth Paramètres FM Mode EVOC 20 PolySynth Oscillator Paramètres EVOC 20 PolySynth Noise Generator Paramètres Common EVOC 20 PolySynth Oscillator Cette rubrique décrit les paramètres communs aux modes Dual et FM. • Boutons de valeur 16', 8' et 4' : cliquez sur ces boutons poursélectionner la plage d’octaves de l’oscillateur 1. 16' (16 pieds) correspond au réglage le plus grave et 4' au réglage le plus aigu. L’utilisation du terme pied pour mesurer les octaves vient du fait que l’on employait cette unité pour mesurer la longueur des tuyaux d’un orgue. Plus le tuyau est long (et large), plus le son est profond. 246 Chapitre 10 EVOC 20 PolySynth • Champs Wave 1 et Wave 2 : faites glisser verticalement la valeur numérique située en regard des étiquettes Wave 1 et Wave 2 pour sélectionner le type de forme d’onde des oscillateurs 1 et 2 respectivement. L’EVOC 20 PolySynth dispose de 50 formes d’onde numériques à un seul cycle avec différentes caractéristiques sonores. Paramètres Dual Mode des oscillateurs de l’EVOC 20 PolySynth En mode Dual, chaque oscillateur peut utiliser l’une des 50 formes d’onde disponibles. Les paramètres Semi et Detune sont affichés en mode Dual. Curseur Balance • Champ Semi : accorde l’oscillateur 2 par pas d’un demi-ton. • Champ Detune : permet d’affiner les deux oscillateurs en centièmes. 100 cents correspondent à un demi-ton. • Curseur Balance : définit le niveau de balance entre les signaux des deux oscillateurs. Paramètres FM Mode EVOC 20 PolySynth Oscillator En mode FM, l’oscillateur 1 génère une onde sinusoïdale. Le paramètre Wave 1 n’a aucun effet dans ce mode. Curseur FM Int Les paramètres Ratio brut et fin sont affichés en mode FM. • Champ Ratio c(oarse) : ajuste le rapport de fréquences entre les oscillateurs 2 et 1 par pas d’un demi-ton. • Champ Ratio f(ine) : ajuste le rapport de fréquences entre les oscillateurs 2 et 1 en centièmes. Chapitre 10 EVOC 20 PolySynth 247 • Curseur FM Int : détermine l’intensité de la modulation. Des valeurs élevées produisent une forme d’onde plus complexe comportant davantage de sons dominants. Paramètres EVOC 20 PolySynth Noise Generator Le générateur de bruit fournit une source sonore supplémentaire pouvant être utilisée parallèlement aux deux oscillateurs. Important: le générateur de bruit de la section Oscillator est indépendant du générateur de bruit dans la zone U/V Detection. Pour en savoir plus sur les signaux vocaux et non vocaux, consultez Paramètres EVOC 20 PolySinth (U/V) Detection. • Potentiomètre Level : contrôle la quantité de bruit ajoutée aux signaux des deux oscillateurs. • potentiomètre Color : contrôle le timbre du signal de bruit. Lorsque ce potentiomètre est tourné complètement à gauche, le générateur de bruit génère un bruit blanc pur. Complètement à droite, vous entendez un bruit bleu (bruitsoumis à un filtre passe-haut). Le bruit blanc sert à créer des effets de pluie et de vent. Il a la même énergie dans chaque intervalle de fréquence. Le bruit bleu sonne d’une façon plus claire, car sa portion basse est supprimée par un filtre passe-haut. Astuce : pour obtenir un signal de synthèse plus vivant et plus frais, tournez le potentiomètre Color complètement à droite et le potentiomètre Level sur une valeur très faible. Paramètres EVOC 20 PolySynth Tuning and Pitch Les paramètres situés dans la partie inférieure gauche de l’interface sont utilisés pour contrôler l’accord global et d’autres aspects relatifs à la hauteur tonale du son de l’EVOC 20 PolySynth. • Potentiomètre Analog : simule l’instabilité des circuits analogiques des vocoders à l’ancienne en altérant aléatoirement la tonalité de chaque note. Ce comportement ressemble à celui des synthétiseurs analogiques polyphoniques. Le potentiomètre Analog contrôle l’intensité de ce désaccordage aléatoire. 248 Chapitre 10 EVOC 20 PolySynth • Champ Tune : définit l’accord global de l’EVOC 20 PolySynth, en centièmes. • Potentiomètre Glide : détermine la durée nécessaire pour que la tonalité glisse d’une note à l’autre (portamento). (Pour obtenir des informations sur le mono et le legato, consultez Paramètres EVOC 20 PolySynth Global.) • Champ Bend Range : détermine la plage de modulation du pitch bend, par pas d’un demi-ton. Paramètres EVOC 20 PolySynth Filter La section Synthesis de l’EVOC 20 PolySynth comporte un filtre passe-bas simple. Ce filtre est utilisé pour une première mise en forme du signal, avant que celui-ci ne soit mis en forme de façon plus précise par les différentes bandes des banques Formant Filter. • Potentiomètre Cutoff : définit la fréquence de coupure du filtre passe-bas. Plus vous le tournez vers la gauche, plus le nombre de hautes fréquences retirées du signal du synthétiseur est élevé. • Potentiomètre Resonance : amplifie ou coupe la portion du signal qui entoure la fréquence définie par le potentiomètre Cutoff. Astuce : réglez le paramètre Cutoff aussi élevé que possible, et poussez un petit peu le paramètre Resonance pour obtenir un son agréable et clair. Paramètres EVOC 20 PolySynth Envelope L’EVOC 20 PolySynth comporte un générateur d’enveloppe Attack/Release simple utilisé pour contrôler le niveau des oscillateurs au fil du temps. • Curseur Attack : détermine la durée nécessaire pour que les oscillateurs atteignent leur niveau maximum. • Curseur Release : détermine la durée nécessaire pour que les oscillateurs atteignent leur niveau minimum, une fois que les touches ont été relâchées. Chapitre 10 EVOC 20 PolySynth 249 Paramètres EVOC 20 PolySynth Global Les paramètres situés en haut à gauche de l’interface déterminent le mode du clavier et le nombre de voix utilisés par l’EVOC 20 PolySynth. • Bouton Poly/champ Voices : lorsque Poly est sélectionné, le nombre maximum de voix peut être défini dans le champ numérique. • Boutons Mono/Legato : lorsque Mono ou Legato est sélectionné, l’EVOC 20 PolySynth est monophonique et utilise une seule voix. • En mode Legato, la fonction Glide (consultez la section Paramètres EVOC 20 PolySynth Tuning and Pitch) est active uniquement sur les notes liées. Les enveloppes ne sont pas redéclenchées lorsque les notes liées sont jouées (single trigger, un seul déclenchement). • En mode Mono, Glide est toujours actif et les enveloppes sont redéclenchées par chacune des notes jouées (multi trigger, déclenchement multiple). • Bouton Unison : active ou désactive le mode d’unisson. • En mode Unison/Poly, où les deux boutons Unison et Poly sont activés, chaque voix de l’EVOC 20 PolySynth est doublée, ce qui réduit de moitié la polyphonie (à un maximum de 8 voix, comme l’indique le champ Voices). Les voix doublées sont désaccordées selon la valeur du potentiomètre Analog. • En mode Unison/Mono, où les deux boutons Unison et Mono ou Legato sont activés, 16 voix maximum peuvent être empilées et jouées monophoniquement. Le champ Voices affiche le nombre de voix empilées entendues. Important: l’empilement de voix en mode Unison/Mono augmente considérablement le volume en sortie de l’EVOC 20 PolySynth. Pour éviter de saturer la sortie de la tranche de console de l’instrument, vous devez définir initialement le curseur Level sur une faible valeur, puis l’augmenter progressivement (consultez Paramètres EVOC 20 PolySynth Output). 250 Chapitre 10 EVOC 20 PolySynth Paramètres EVOC 20 PolySynth Formant Filter L’EVOC 20 PolySynth comporte deux banques de filtres de formants, une pour la section Analysis et l’autre pour la section Synthesis. Chaque banque peut compter jusqu’à 20 filtres différents. Essentiellement, le spectre de fréquences complet d’un signal entrant est analysé par la section Analysis, puis réparti uniformément sur un certain nombre de bandes de fréquences. Ces bandes de filtres d’analyse correspondent à un nombre identique de bandes dans la banque de filtres de synthèse. Chaque banque de filtres contrôle les niveaux de crête (les formants) à l’intérieur de ces bandes de fréquences. Pour en savoir plus, consultez les rubriques Fonctionnement d’un vocoder et Brève introduction aux formants. Chapitre 10 EVOC 20 PolySynth 251 Vue d’ensemble des paramètres EVOC 20 PolySynth Formant Filter La fenêtre Formant Filter est divisée en deux sections par une ligne horizontale. La partie supérieure concerne la section Analysis et la partie inférieure, la section Synthesis. Les modifications des paramètres s’affichent immédiatement dans la fenêtre Formant Filter : vous bénéficiez ainsi d’un retour appréciable sur l’évolution du signal à mesure de son traitement par les deux banques de filtres de formants. Potentiomètre Formant Stretch Potentiomètre Resonance Potentiomètre Formant Shift Bouton Highest Bouton Lowest Paramètres Low Frequency Paramètres High Frequency • ParamètresHigh Frequency et LowFrequency : déterminent lesfréquencesles plus hautes et les plus basses qui traversent la section desfiltres. Lesfréquencessituées à l’extérieur de ces limites sont coupées. • La longueur de la barre bleue horizontale supérieure représente la plage de fréquences aussi bien pour l’analyse que pour la synthèse (sauf si les fonctions Formant Stretch ou Formant Shift sont utilisées, comme décrit ci-dessous). Pour déplacer l’intégralité de la plage de fréquences, faites glisser la barre bleue. Les poignées grises situées à chaque extrémité de la barre bleue définissent respectivement les valeurs Low Frequency et High Frequency. • Vous pouvez également faire glisser verticalement dansles champs numériques pour ajuster ces valeurs. 252 Chapitre 10 EVOC 20 PolySynth • Boutons Lowest et Highest : cliquez sur ces boutons pour déterminer si les bandes de filtres les plus basses et les plus hautes sont des filtres passe-bande (comme toutes les autres bandes intermédiaires) ou s’il s’agit respectivement de filtres passe-bas ou passe-haut. • Bouton Lowest : cliquez sur ce bouton pour déterminer si la bande de filtre la plus basse est un filtre passe-bande ou un filtre passe-haut. Avec le réglage Bandpass, les fréquences inférieures aux bandes les plus basses et supérieures aux bandes les plus hautes sont ignorées. Avec le réglage Highpass, toutes les fréquences inférieures aux bandes les plus basses sont filtrées. • Bouton Highest : cliquez sur ce bouton pour déterminer si la bande de filtre la plus basse est un filtre passe-bande ou un filtre passe-bas. Avec le réglage Bandpass, les fréquences inférieures aux bandes les plus basses et supérieures aux bandes les plus hautes sont ignorées. Avec le réglage Lowpass, toutes les fréquences supérieures aux bandes les plus hautes sont filtrées. • Potentiomètre Formant–Stretch : modifie la largeur et la répartition de toutesles bandes de la banque de filtres de synthèse. La plage de fréquences qui en résulte peut être plus large ou plus étroite que celle définie par les paramètres Low Frequency et High Frequency. Consultez Utilisation des fonctions Formant Stretch et Formant Shift de l’EVOC 20 PolySynth. • Potentiomètre Formant–Shift : déplace toutes les bandes dans la banque des filtres de synthèse vers le haut ou vers le bas du spectre de fréquences. Consultez Utilisation des fonctions Formant Stretch et Formant Shift de l’EVOC 20 PolySynth. • Potentiomètre Resonance : détermine le caractère sonore de base du vocoder. Des réglages bas produisent un caractère pluslisse, desréglages hauts donnent un caractère plus abrupt et plus accentué. Techniquement, le fait d’augmenter la valeur Resonance accentue la fréquence moyenne de chaque bande de fréquences. Utilisation des fonctions Formant Stretch et Formant Shift de l’EVOC 20 PolySynth Lorsque le paramètre Formant Stretch est défini sur 0, la largeur et la répartition des bandes de la banque de filtres de synthèse, en bas, correspondent à la largeur des bandes de la banque de filtres d’analyse en haut. Des valeurs basses rétrécissent la largeur de chaque bande dans la banque de filtres de synthèse alors que des valeurs élevées élargissent les bandes. Les valeurs du paramètre s’expriment sous la forme d’un rapport de la largeur de bande générale. Lorsque le paramètre Formant Shift est défini sur 0, la position des bandes de la banque de filtres de synthèse correspond à la position des bandes de la banque de filtres d’analyse. Des valeurs positives déplacent les bandes de la banque de filtres de synthèse vers le haut, en termes de fréquences, alors que des valeurs négatives les déplacent vers le bas, par rapport aux positions des bandes de la banque de filtres d’analyse. Chapitre 10 EVOC 20 PolySynth 253 Lorsqu’ils sont associés, les paramètres Formant Stretch et Formant Shift modifient la structure du formant du son de vocoder résultant, ce qui peut donner des changements de timbre intéressants. Par exemple, l’utilisation de signaux vocaux tout en réglant le paramètre Formant Shift plus haut produit un effet « Mickey Mouse ». Les paramètres Formant Stretch et Formant Shift sont également très utiles si le spectre desfréquences du signal Synthesis ne complète pas celui du signal Analysis. Vous pouvez créer un signal Synthesis dans la plage haute des fréquences à partir d’un signal Analysis qui module le son principalement dans la plage basse des fréquences, par exemple. Remarque : l’utilisation du paramètre Formant Stretch et/ou du paramètre Formant Shift peut générer des fréquences résonnantes inhabituelles si vous définissez des valeurs Resonance élevées. Paramètres EVOC 20 PolySynth Modulation La section Modulation propose deux LFO. Les LFO peuvent fonctionner librement ou être synchronisés avec le tempo de l’application hôte. • Le LFO Pitch contrôle la modulation de la tonalité des oscillateurs afin de produire des effets de vibrato. • Le LFO Shift contrôle le paramètre Formant Shift de la banque de filtres de synthèse, afin de produire des effets dynamiques de type phasing. • Curseur Int via Whl : définit l’intensité de la modulation de tonalité du LFO. La partie droite du curseur détermine l’intensité lorsque la roulette de modulation est poussée au maximum ; la partie gauche détermine l’intensité lorsque cette roulette est réglée au minimum. En faisant glisser la zone située entre les deux segments du curseur, vous pouvez déplacer les deux simultanément. Ce paramètre est attribué en permanence à la roulette de modulation de votre clavier MIDI (ou aux données MIDI correspondantes). • Potentiomètres Rate : déterminent la vitesse de la modulation. Les valeurs situées à gauche des positions centrales sont synchronisées au tempo de l’application hôte et incluent des valeurs de mesure, de triolet et autres. Les valeurs situées à droite des positions centrales sont asynchrones et sont affichées en Hertz (cycles par seconde). 254 Chapitre 10 EVOC 20 PolySynth Remarque : par exemple, vous pouvez utiliser des valeurs de mesure synchrones pour effectuer un formant shift toutes les quatre mesures, sur une partie de percussion à une mesure reprise en cycle. Vous pouvez aussi effectuer le même formant shift sur chaque croche d’un triolet à l’intérieur de la même partie. Chacune de ces méthodes peut produire des résultats intéressants et vous donner de nouvelles idées ou vous permettre d’animer du matériel audio existant. • Boutons Waveform : définit le type de forme d’onde utilisé par le LFO Pitch à gauche ou par le LFO Shift à droite. Pour chaque LFO, vous pouvez choisir parmi les types suivants : triangulaire, dent de scie descendante et montante, carrée montante et descendante autour de zéro (bipolaire, idéale pour les trilles), carrée montante à partir de zéro (unipolaire, idéale pour les changements entre deux hauteurstonales à définir), aléatoire par palier (S & H) et aléatoire lissée. • Curseur Intensity : contrôle la valeur de la modulation Formant Shift par le LFO Shift. Paramètres EVOC 20 PolySynth Output La section Output permet de contrôle le type, la largeur stéréo et le niveau du signal envoyé par l’EVOC 20 PolySynth. Cette section comporte également un processeur d’effet d’ensemble simple et efficace. • Menu Signal : détermine le signal envoyé aux sorties principales de l’EVOC 20 PolySynth. Vous avez le choix parmi les réglages suivants : • Voc(oder) : permet de produire l’effet de vocodeur. • Syn(thesis) : permet d’entendre uniquement le signal du synthétiseur. • Ana(lysis) : permet d’entendre uniquement le signal d’analyse. Remarque : ces deux derniers réglages sont utilisés principalement à des fins de monitoring. Chapitre 10 EVOC 20 PolySynth 255 • Boutons Ensemble : cliquez sur ce bouton pour activer ou désactiver l’effet d’ensemble. Ensemble I est un effet de chorus spécial. Ensemble II est une variation, créant un son plus rond et plus riche en utilisant une routine de modulation plus complexe. • Curseur Level : contrôle le volume du signal de sortie de l’EVOC 20 PolySynth. • Potentiomètre Stereo Width : répartit les signaux de sortie des bandes de filtre de la section Synthesis dans l’image stéréo. • Lorsqu’il est positionné à gauche, les sorties de toutes les bandes sont centrées. • Lorsqu’il est en position centrale, les sorties de toutes les bandes montent de gauche à droite. • Positionné à droite, la sortie des bandes est répartie, de manière alternative, sur les canaux gauche et droit. Optimisation des performances de l’EVOC 20 PolySynth Pour obtenir le meilleur effet de vocoder « classique », lessignaux d’analyse et de synthèse doivent être tout deux d’excellente qualité et les paramètres du vocoder doivent être soigneusement réglés. Les rubriques ci-dessous présentent plusieurs astuces qui vous aideront à obtenir les meilleurs résultats possibles. Modification des signaux d’analyse et de synthèse de l’EVOC 20 PolySynth Suppression des altérations sonores dans l’EVOC 20 PolySynth Paramètres FM Mode EVOC 20 PolySynth Oscillator Modification des signaux d’analyse et de synthèse de l’EVOC 20 PolySynth La section suivante vous explique comment modifier lessignaux d’analyse et de synthèse pour obtenir une meilleure intelligibilité des paroles. Compression du signal d’analyse de l’EVOC 20 PolySynth Moinsle niveau change, meilleure sera l’intelligibilité du vocoder. Il est donc recommandé de compresser le signal d’analyse dans la plupart des cas. Améliorer l’énergie des fréquences élevées D’une certaine façon, le vocoder génère toujours le point d’intersection des signaux d’analyse et de synthèse. s’il n’y a pas d’aigus dans le signal d’analyse, la sortie résultante du vocoder manquera aussi d’aigus. C’est aussi le caslorsque le signal de synthèse présente beaucoup d’aigus. Comme cela concerne chaque bande de fréquence, le vocoder exige un niveau stable dans toutes les bandes de fréquence pour les deux signaux d’entrée, afin de donner de bons résultats. 256 Chapitre 10 EVOC 20 PolySynth Du fait des caractéristiques de l’ouïe humaine, l’intelligibilité de la parole est très liée à la présence d’aigus. Pour que la parole reste claire, vous pouvez éventuellement utiliser une égalisation afin d’accentuer ou réduire certaines fréquences dans les signaux d’analyse avant de les traiter via un vocoder. Si le signal d’analyse est constitué de voix ou de parole, un simple filtre à plateau suffit généralement pour amplifier la plage de haut-médium et d’aigus, si importante pour l’intelligibilité de la parole. Si le signal de synthèse manque d’énergie dans les aigus, celle-ci peut être générée au moyen d’un effet de distorsion. L’effet Overdrive deMainStageest parfaitement adapté à cette fin. Suppression des altérations sonores dans l’EVOC 20 PolySynth Les sons d’un vocoder présentent souvent des problèmes d’interruptions soudaines du signal (sons hachés, interrompus) et d’apparition rapide de bruits pendant les pauses. Utilisation efficace des paramètres Envelope dans la section Analysis Le paramètre Release définit la durée nécessaire à une bande de fréquence de synthèse donnée pour décroître en niveau si le niveau du signal de la bande d’analyse correspondante décroît brutalement. Le son est davantage lissé si les niveaux de bande diminuent lentement. Pour obtenir ce caractère plus régulier, utilisez des valeurs de Release plus élevées dans la section Analysis de l’interface. Toutefois, n’utilisez pas de valeurs exagérément élevées car des durées Release trop longues produisent un son fade et moins distinct. Des valeurs d’Attack courtes ne sont pas un problème. Elles peuvent, en fait, être souhaitables lorsqu’une réaction rapide aux signaux entrants est nécessaire. Bloquer les bruits de fond dans le signal d’analyse Si le signal d’analyse est compressé, ce qui est recommandé, le niveau de souffle, de ronronnement et du bruit de fond augmente. Ces signaux superflus peuvent entraîner une ouverture non souhaitée des bandes du vocoder. Pour éliminer ces altérations, vous pouvez utiliser un gate de bruit avant la compression et amplifier les fréquences aiguës. Si le signal d’analyse est correctement traité par le gate, vous pourrez peut-être réduire la valeur Release (Analysis). Chapitre 10 EVOC 20 PolySynth 257 Lorsque vous traitez de la parole et des voix au moyen du module Noise Gate de MainStage, utilisez le paramètre Threshold pour définir le niveau au-dessus duquel le gate s’ouvre et le paramètre Hysteresis pour définir un niveau Threshold inférieur, en dessous duquel le gate se ferme. La valeur Hysteresis est relative au niveau Threshold. La figure ci-dessus présente un réglage Threshold bien adapté à la compression de la parole. Les filtres sidechain dédiés du module Noise Gate évitent un déclenchement intempestif par un bruit de fréquence basse ou aiguë. Les valeurs Hold, Release et Hysteresis conviennent pour la plupart des signaux vocaux et de parole. Amélioration de l’intelligibilité de la parole dans l’EVOC 20 PolySynth N’oubliez pas les points ci-dessous lorsque vous tentez d’obtenir une parole la plus intelligible possible. Les spectres des signaux d’analyse et de synthèse doivent se recouvrir presque complètement. Si vous associez des voix d’hommes graves à des signaux de synthèse aigus, vous n’obtiendrez pas de bons résultats. Le signal de synthèse doit être constamment maintenu, sans interruption. Le signal side chain entrant doit être joué ou chanté legato, car des interruptions dans le signal de synthèse arrêtent la sortie du vocoder. Une autre possibilité consiste à définir sur une durée plus longue le paramètre Release du signal de synthèse (pas celui de la section Analysis). Vous pouvez également obtenir de jolis effets en utilisant un signal de réverbération comme signal de synthèse. Notez que ces deux dernières méthodes peuvent provoquer des superpositions harmoniques. Ne pas saturer le vocoder. Cela peut se produire facilement, ce qui entraînera de la distorsion. 258 Chapitre 10 EVOC 20 PolySynth Articulez clairement si l’enregistrement doit être utilisé comme signal d’analyse. Des paroles, à une hauteur relativement basse, fonctionnent mieux que des voix chantées, même si la création d’un chœur de vocoder est votre objectif ! Prononcez bien les consonnes, comme les R roulés de « We are the Robots » de Kraftwerk, une piste de vocoder classique qui a valeur d’exemple à ce sujet. En effet, cette prononciation a été délibérément exagérée pour prendre en compte le vocoder. Réglez les paramètres Formant à votre convenance. Le décalage, l’étirement ou la compression des formants a étonnamment peu d’effet sur l’intelligibilité de la parole. Même le nombre de bandes de fréquence utilisé a une influence minimale dans ce domaine. Cela s’explique par notre aptitude à différencier intuitivement les voix d’enfants, de femmes et d’hommes, dont la boîte crânienne et la gorge varient énormément par nature. De telles différences physiques provoquent des variations danslesformants qui composent leur voix. Notre perception, ou reconnaissance, de la parole se base sur une analyse des relations entre ces formants. Dans les modules de l’EVOC 20, ces relations restent intactes, même lorsque des réglages de formant extrêmes sont utilisés. Brève histoire du vocoder Vousserez sans doute surpris d’apprendre que les voder et vocoder datent respectivement des années 1939 et 1940. Homer Dudley, un chercheur en physique des Laboratoires Bell du New Jersey développe le Voice Operated reCOrDER comme maquette de recherche. Il a été conçu à l’origine pour tester desschémas de compression pour la sécurisation de la transmission de signaux vocaux sur des lignes téléphoniques en cuivre. Il s’agit d’un appareil composite associant un analyseur et un synthétiseur de voix artificielle, comme suit : • Parallel bandpass vocoder (vocoder à bande-passante parallèle) : un analyseur de paroles et un resynthétiseur, inventé en 1940. • Vocoderspeech synthesizer(synthétiseur de paroles vocoder) : un modèle de reproduction vocale, inventé en 1939. Un opérateur humain doit actionner cette machine, activée par dessoupapes. Elle comporte deux claviers, des boutons pour recréer les consonnes, une pédale pour contrôler la fréquence de l’oscillateur et une barre de poignet pour activer et désactiver les sons des voyelles. L’analyseur détectait les niveaux d’énergie des échantillons sonores successifs mesurés sur l’ensemble du spectre des fréquences audio via une série de filtres à bande étroite. Les résultats de cette analyse pouvaient être visualisés graphiquement sous forme de fonctions de fréquence évoluant dans le temps. Chapitre 10 EVOC 20 PolySynth 259 Le synthétiseur inversait le processus en scannant les données fournies par l’analyseur et en donnant cesrésultats à un certain nombre de filtres analytiquesreliés à un générateur de bruit. Cette combinaison produisait alors des sons. Le voder a été présenté à l’Exposition Universelle de 1939, où il fit sensation. Lors de la Seconde Guerre Mondiale, le vocoder (il s’appelle alors VOice enCODER) fait preuve de son importance cruciale en brouillant les conversations transocéaniques entre Winston Churchill et Franklin Delano Roosevelt. Werner Meyer-Eppler, directeur de la faculté de phonétique à l’université de Bonn réalise l’importance de ces machines pour la musique électronique, à la suite d’une visite de H. Dudley en 1948. Meyer-Eppler utilise le vocoder comme base pour ses écrits à venir, qui inspirent ensuite le mouvement allemand « Elektronische Musik ». Dans les années 1950, quelques enregistrements suivront. En 1960, le synthétiseur Siemens a été développé à Munich. Parmi ses nombreux oscillateurs et filtres, il comportait un circuit de vocoder à lampes. En 1967, une société appelée Sylvania créait un certain nombre de machines numériques utilisant l’analyse temporelle des signaux d’entrée, plutôt que l’analyse basée sur des filtres passe-bande. En 1971, après avoir étudié l’appareil de H. Dudley, Bob Moog et Wendy Carlos modifient plusieurs modules du synthétiseur afin de créer leur propre vocoder pour la piste audio du film Orange mécanique. La société « EMS » de Peter Zinovieff, basée à Londres, développe un vocoder autonome et donc plus portatif. Cette société est probablement plus connue pour ses synthétiseurs Synthi AKS et VCS3. Le Studio Vocoder d’EMS, diffusé en 1976, est le premier appareil au monde disponible dansle commerce. Il est renommé plustard l’EMS 5000. Ses utilisateurs comprennent Stevie Wonder et Kraftwerk. Stockhausen, le pionnier allemand du mouvement « Elektronische Musik », utilisait également un vocoder EMS. Sennheiser met en vente le VMS 201 en 1977, et EMS lance l’EMS 2000, qui était une version simplifiée de son frère aîné. 1978 voit les débuts de l’usage intensif du vocoder, qui gagne en popularité grâce à la musique de Herbie Hancock, Kraftwerk, et quelques autres artistes. Cette année là, plusieurs fabricants s’engouffrent dans le créneau de la production de vocoders, notamment Synton/Bode, Electro-Harmonix et Korg, avec le VC-10. En 1979, Roland lance le VP 330, un ensemble vocoder/clavier. La fin des années 1970 et le début des années 1980 voient l’apogée du vocoder. De nombreux artistesl’utilisent, comme ELO, Pink Floyd, Eurythmics, Tangerine Dream, Telex, David Bowie, Kate Bush et bien d’autres encore. 260 Chapitre 10 EVOC 20 PolySynth Côté production, à l’époque comme aujourd’hui, les vocoders peuvent être achetés à faible coût sous forme de kits vendus par les magasins d’électronique. Depuis 1980, EMS au Royaume-Uni, Synton en Hollande et PAiA aux États-Unis sont et restent les maîtres du vocodage. En 1996, Doepfer en Allemagne et Music & More ont rejoint la grande famille desfabricants de vocoders. Depuisla fin des années 1990 jusqu’à aujourd’hui, un certain nombre de vocoderslogiciels, autonomes et intégrés sont apparus. Chapitre 10 EVOC 20 PolySynth 261 Schéma de principe de l’EVOC20 Ce schéma de principe illustre le parcours du signal dans l’EVOC 20 TrackOscillator et l’EVOC 20 PolySynth. Analyse Source Track ------------ side chain D G Stéréo vers mono TO : analyse de la hauteur tonale Sensitivity TO : Max/Quant./ Glide Section Analysis Section Synthesis Détection U/V PS : MIDI Clavier : Noise, N + Synth Synthèse Source EVOC20 PS : Polysynthétiseur Tonalité Level Plage de fréquences, de la plus élevée à la plus basse 1-5 Envelope suiveur 1-5 A B Freeze Stretch Resonance Shift Banque de filtres avec cinq bandes (exemple) Level Stereo la largeur G D Banque de filtres entrée Banque de filtres avec cinq bandes (exemple) Oscillateur contrôlé par tension 1 à 5 LFO EVOC20 TO : Oscillateur de suivi Track ou Side Chain Blend LFO Contrôle par paramètre Légende Signal audio Signal de contrôle 262 Chapitre 10 EVOC 20 PolySynth Vous pouvez utiliser le module External Instrument pour faire passer les données de vos générateurs de sons MIDI externes à travers le mélangeur, de façon à pouvoir ensuite les traiter avec des effets. Vous pouvez également utiliser le module External Instrument pour envoyer et recevoir desinformations MIDI grâce à la tranche de console d’instrument qu’il contient. Cela vous permet de contrôler un module externe, qu’ilsoit MIDI ou audio, à partir d’un seul élément. Pour éviter d’avoir à constamment patcher les périphériques, il est conseillé d’utiliser une interface audio qui prend en charge des entrées et sorties multiples. Le module External Instrument est inséré danslestranches de console d’instrument à la place d’un instrument logiciel. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface d’External Instrument (p 263) • Utilisation du module External Instrument (p 264) Présentation de l’interface d’External Instrument Cette rubrique vous familiarisera avec les paramètres d’External Instrument. Consultez la rubrique Utilisation du module External Instrument pour en savoir plussurson utilisation. • Menu local MIDI Destination : choisissez le canal et l’instrument MIDI de votre choix. 263 External Instrument 11 • Menu local Input : choisissez les entrées du matériel audio auxquelles le générateur de sons MIDI est connecté. • Curseur et champ Input Volume : déterminent le niveau du signal entrant. Utilisation du module External Instrument La piste associée à une tranche de console d’instrument, utilisée pour un module de son MIDI externe,se comporte de la même façon qu’une piste d’instrumentslogicielsstandard. Cela vous permet d’enregistrer et de lire des régions MIDI dessus, avec les avantages suivants : • Vous pouvez tirer parti des sons et du moteur de synthèse de votre module MIDI, sans augmenter la charge du processeur de votre Mac, excepté les effets utilisés dans la tranche de console. • Vous pouvez évidemment utiliser des effets d’insertion, mais également des effets d’envoi en dirigeant la tranche de console d’instrument vers des tranches de console auxiliaires. • Vous pouvez faire rebondir vos sections instrumentales MIDI externes en temps réel, avec ou sans effet, vers un fichier audio. Cela permet de créer en une seule opération une version mixée incluant l’ensemble des pistes et périphériques internes et externes. Remarque : le bounce d’une piste External Instrument ne peut pas se produire plus rapidement qu’en temps réel, comme c’est le cas pour les opérations de bounce qui impliquent du matériel MIDI. Lors de l’utilisation de sources sonores MIDI multitimbrales, vous pouvez atteindre une flexibilité maximale en utilisant plusieurs instances External Instrument. Dans cette situation, une sortie audio distincte du générateur de tonalités(en cas de sorties multiples) serait connectée à différentes entrées de votre interface audio, chacune traitée par des External Instruments individuels. Pour traiter les données d’instruments MIDI externes avec des effets 1 Connectez la sortie (ou paire de sorties) de votre module MIDI à une entrée (ou paire d’entrées) de votre interface audio. Remarque : il peut s’agir de connexions analogiques ou numériques si votre interface audio et votre générateur de sons MIDI sont équipés de l’une d’entre elles ou des deux. 2 Créez une tranche de console d’instrument. 3 Cliquez sur le logement Instrument et choisissez External Instrument dans le menu local. 4 Choisissez la destination MIDI dans le menu local de la fenêtre External Instrument. 5 Ouvrez le menu local Input et choisissez l’entrée (de votre interface audio) à laquelle le générateur de sons MIDI est connecté. 6 Réglez le volume d’entrée, si nécessaire. 264 Chapitre 11 External Instrument 7 Insérez les effets souhaités dans les logements d’insertion de la tranche de console. Chapitre 11 External Instrument 265 L’EXS24 mkII est un logiciel échantillonneur, il reproduit les fichiers audio, appelés échantillons, que vous chargez. Ces échantillons sont combinés en collections ajustées et organisées, appelées instruments de l’échantillonneur. Les instruments de l’échantillonneur étant baséssur des enregistrements audio, ils conviennent parfaitement à l’émulation de vrais instruments, des guitares, des pianos et des batteries par exemple. Le présent chapitre couvre les aspects suivants : • Fonctionnalités de EXS24 mkII (p 268) • Présentation de l’interface de l’EXS24 mkII (p 269) • À propos des instruments de l’échantillonneur EXS24 (p 270) • Présentation de la fenêtre Parameter de l’EXS24 mkII (p 272) • Utilisation du menu local EXS24 mkII Sampler Instruments (p 273) • Ajustement des paramètres globaux de l’EXS24 mkII (p 278) • Utilisation des paramètres EXS24 mkII Pitch (p 282) • Utilisation des paramètres EXS24 mkII Filter (p 285) • Paramètres EXS24 mkII Output (p 288) • Utilisation de la modulation de l’EXS24 mkII (p 289) • Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII (p 304) • Créations d’instruments, de zones et de groupes de l’EXS24 mkII (p 307) • Modification de zones et de groupes de l’EXS24 mkII (p 313) • Réglage des paramètres de zone de l’EXS24 mkII (p 316) • Utilisation des paramètres EXS24 mkII Zone Loop (p 319) • Réglage des paramètres EXS24 mkII Group (p 320) • Utilisation des paramètres EXS24 mkII Advanced Group Selection (p 322) • Édition graphique des zones et des groupes de l’EXS24 mkII (p 324) • Enregistrer, renommer et exporter des instruments de l’EXS24 mkII (p 326) • Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII (p 327) 267 EXS24 mkII 12 • Utilisation d’un Éditeur d’instruments externe avec l’EXS24 mkII (p 329) • Importation des instruments de l’échantillonneur de l’EXS24 mkII (p 329) • Gestion des instruments de l’échantillonneur EXS24 (p 339) • Réglage des Préférences Sampler de l’EXS24 mkII (p 341) • Configuration de la mémoire virtuelle de l’EXS24 mkII (p 344) • Gestion avancée de la RAM de l’EXS24 mkII (p 346) • Utilisation du logiciel Performance Tool de VSL dans l’EXS24 mkII (p 347) Fonctionnalités de EXS24 mkII L’EXS24 mkII est utilisé pour lire, modifier et créer des instruments de l’échantillonneur. Il est possible d’assigner certaines plages de notes et de vélocité aux échantillons des instruments de l’échantillonneur, puis de les traiter à l’aide des filtres et des modulateurs de l’EXS24 mkII. L’EXS24 mkII offre de puissantes fonctions de modulation et de montage pour un instrument de ce type, c’est également un synthétiseur flexible. Cela vous permet de créer des sons expressifs en utilisant les échantillons comme des « formes d’onde » d’un synthétiseur de base. L’EXS24 mkII peut être utilisé comme un instrument mono/stéréo ; vous avez également la possibilité de router les échantillons chargés vers plusieurs sorties. Vous pouvez ainsi traiter séparément des sons de batterie distincts dans une batterie par exemple. Vous pouvez utiliser des échantillons d’une durée quasiment illimitée dans l’EXS24 mkII, en les « diffusant » directement à partir d’un disque dur. Cela vous permet d’accéder à un grand nombre de bibliothèques d’échantillons multigigaoctet parmi celles disponibles. L'EXS24 mkllfournit une bibliothèque étendue d’instruments de l’échantillonneur, notamment piano, cordes, guitare acoustique et électrique, batterie et bien d’autressons. Si vous souhaitez étendre votre répertoire sonore, le format de fichier natif de l’EXS24 mkII ou format EXS, est pris en charge par la plupart des fournisseurs de bibliothèques d’échantillons. Il est également possible d’importer des instruments de l’échantillonneur dans les formats de fichiers d’échantillons AKAI S1000 et S3000, SampleCell, Gigasampler, DLS et SoundFont2. 268 Chapitre 12 EXS24 mkII Présentation de l’interface de l’EXS24 mkII L’interface de l’EXS24 mkII est divisée en deux fenêtres : • Fenêtre Parameter : c’est la fenêtre principale de l’EXS24 mkII. Elle est utilisée pour charger des instruments et offre plusieurs options de synthèse et de modulation qui vous permettent d’adapter vos sons d’instrument de l’échantillonneur. • Fenêtre Instrument Editor : elle permet de créer et de modifier des instruments de l’échantillonneur. Chapitre 12 EXS24 mkII 269 À propos des instruments de l’échantillonneur EXS24 Un instrument de l’échantillonneur correspond au type de fichier chargé dansl’EXS24 mkII. Chargez desinstruments de l’échantillonneur à l’aide du menu local Sampler Instruments qui se situe juste au-dessus du potentiomètre Cutoff dans l’EXS24 mkII. Lorsque vous sélectionnez un instrument échantillonné, lesfichiers audio associéssont automatiquement trouvés sur le (ou les) disque(s) dur(s) et chargé(s) dans la mémoire RAM de votre ordinateur. Un instrument de l’échantillonneur indique à l’EXS24 mkII les échantillons ou fichiers audio à utiliser, ainsi que la façon dont ils doivent être organisés en zones et en groupes. Vous pouvez lire et enregistrer l’instrument de l’échantillonneur chargé de la même manière qu’avec tout instrument logiciel. Consultez les rubriques Vue d’ensemble des zones et des groupes de l’EXS24 mkII et Différences entre les instruments de l’échantillonneur et les réglages de l’EXS24. Vue d’ensemble des zones et des groupes de l’EXS24 mkII Un instrument échantillonné est constitué de zones et de groupes : • Une zone est un emplacement dans lequel un échantillon unique ou fichier audio peut être chargé à partir d’un disque dur. • Les zones peuvent être attribuées à des groupes, qui offrent des paramètres vous permettant de modifiersimultanément toutesles zones du groupe. Vous pouvez définir autant de groupes que vous le souhaitez. Pour plus d’informationssur les zones et les groupes, consultez la rubrique Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII et les rubriques suivantes. L’EXS24 mkII est compatible avec les formats de fichiers audio suivants :AIFF, WAV, SDII et CAF. Chaque fichier audio est chargé dans l’EXS24 mkII comme échantillon distinct. Chaque fichier audio est ensuite automatiquement attribué à une zone dans la fenêtre Instrument Editor de l’EXS24 mkII. Ces zones peuvent ensuite être modifiées et organisées en instruments de l’échantillonneur. Pour plus d’informations sur l’utilisation des fichiers audio dans les zones, consultez Modification de zones et de groupes de l’EXS24 mkII. Important : les fichiers audio réels eux-mêmes ne se trouvent pas dans un instrument de l’échantillonneur. Ce dernier stocke uniquement les informations relatives au nom des fichiers audio, aux réglages des paramètres et aux emplacements sur le disque dur. Si vous supprimez ou renommez un fichier audio, tout instrument de l’échantillonneur utilisant ce fichier ne sera pas capable de le retrouver. Pensez-y lorsque vous effectuez ces opérations sur des fichiers audio. Vous pouvez toutefois déplacer des fichiers audio vers un autre emplacement sur votre système. L’EXS24 mkII pourra retrouver les fichiers déplacés une fois les instruments de l’échantillonneur chargés. 270 Chapitre 12 EXS24 mkII Différences entre les instruments de l’échantillonneur et les réglages de l’EXS24 Les instruments de l’échantillonneur sont distincts des réglages du module, qui sont chargés et enregistrés dans l’en-tête de fenêtre du module. Tous présentent leurs avantages et leursinconvénients pour la gestion des valeurs de paramètre dansla fenêtre Parameter. En général, vous pouvez stocker les réglages actuels de la fenêtre Parameter dans l’instrument de l’échantillonneur chargé. Cela remplace les réglages actuellement enregistrés dans l’instrument de l’échantillonneur chargé. Vous pouvez également enregistrer un nouvel instrument de l’échantillonneur. Par comparaison, un réglage du module stocke tous les réglages de paramètre dans la fenêtre Parameter, mais ces réglages sont distincts de l’instrument de l’échantillonneur en cours de chargement. Un réglage du module contient simplement un pointeur vers un instrument associé, ce qui signifie que le chargement d’un réglage charge également l’instrument de l’échantillonneur attribué. Pourquoi donc existe-t-il des réglages du module si vous pouvez stocker les valeurs de la fenêtre Parameter dans les instruments de l’échantillonneur ? La séparation entre les réglages du module et les instruments de l’échantillonneur vous permet d’utiliser les instruments de l’échantillonneur comme si vous utilisiez des formes d’onde dans un synthétiseur. Par exemple, vous pouvez créer un réglage du module avec des valeurs de paramètre de filtre, de modulation et d’enveloppe de type guitare. Vous pouvez ensuite utiliser le menu local Sampler Instruments pour charger un instrument (sans aucun réglage existant), tel qu’une flûte, pour créer un son de flûte pincé ou raclé. Important : pour utiliser des instruments de l’échantillonneur comme décrit, il est nécessaire qu’ils ne contiennent aucun réglage. Pour supprimer les réglages d’un instrument de l’échantillonneur 1 Commencez par créer une copie de l’instrument de l’échantillonneursouhaité en utilisant la commande Options > Save instrument as (consultez Utilisation des commandes du menu local EXS24 mkII Options). 2 Supprimez les réglages de l’instrument copié en utilisant la commande Options > Delete settings from instrument. Remarque : touslesinstruments de l’échantillonneur fournis avec MainStage contiennent des réglages. Vous devez donc suivre les étapes ci-dessus pour utiliser ces instruments comme indiqué. Chapitre 12 EXS24 mkII 271 Présentation de la fenêtre Parameter de l’EXS24 mkII La fenêtre Parameter de l’EXS24 mkII permet de modifier et de contrôler l’ensemble de l’instrument de l’échantillonneur chargé. Le contrôle sur les échantillonsindividuels(zones) ou les échantillons groupés s’effectue dans la fenêtre Instrument Editor (consultez la rubrique Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII et les rubriques suivantes). Paramètres globaux Paramètres Output Paramètres de modulation et de contrôle Champ des instruments Paramètres Pitch Paramètres Filter de l’échantillonneur Paramètres globaux Routeur de modulation Les groupes de paramètres suivants sont disponibles : • Champ et menu local Sampler Instruments : cliquez dessus pour accéder à vos bibliothèques d’instruments de l’échantillonneur et les charger. Le nom de l’instrument de l’échantillonneur chargé s’affiche dansle champ. Les boutons associés Edit et Options se trouvent sur la droite. Consultez Utilisation du menu local EXS24 mkII Sampler Instruments. • Paramètres globaux : ils permettent de sélectionner et de configurer des instruments de l’échantillonneur, de définir la polyphonie, de définir des fondus enchaînés, etc. Consultez Ajustement des paramètres globaux de l’EXS24 mkII. • Paramètres Pitch : ils permettent de régler l’accord, la transposition et le comportement de Pitch Bend. Consultez Utilisation des paramètres EXS24 mkII Pitch. • Paramètres Filter : ils permettent de façonner la couleur tonale de l’instrument de l’échantillonneur chargé. Consultez Utilisation des paramètres EXS24 mkII Filter. • ParamètresOutput: ils permettent de contrôler le niveau et la mise à l’échelle du clavier de l’instrument de l’échantillonneur chargé. Consultez Paramètres EXS24 mkII Output. 272 Chapitre 12 EXS24 mkII • Routeur de modulation : la bande qui traverse le centre de l’interface est le routeur de modulation. Le routeur lie les sources de modulation, telles que les enveloppes et d’autres paramètres affichés dans la partie inférieure de l’interface, à des destinations de modulation, telles que les oscillateurs et lesfiltres. Consultez Présentation du routeur de modulation de l’EXS24 mkII. • Paramètres de modulation et de contrôle : dans la zone qui se trouve immédiatement sous le routeur, vous pouvez attribuer et ajuster les paramètres de modulation et de contrôle (les LFO et les enveloppes). Consultez Utilisation de la modulation de l’EXS24 mkII. Utilisation du menu local EXS24 mkII Sampler Instruments L’EXS24 mkII est fourni avec une bibliothèque d’instruments échantillonnés prête à l’emploi. Cette rubrique présente l’utilisation du menu local Sampler Instruments. Consultez également les rubriques Chargement d’instruments de l’échantillonneur EXS24 à partir d’un autre emplacement et Recherche d’instruments de l’échantillonneur EXS24. Les boutons Edit et Options, affichés à droite du champ Sampler Instruments sont traités dans les rubriques Ouverture de l’Éditeur d’instruments de l’EXS24 mkII et Utilisation des commandes du menu local EXS24 mkII Options. Pour charger un instrument, procédez comme suit 1 Cliquez sur le champ Sampler Instruments pour ouvrir le menu local du même nom. Cliquez ici pour ouvrir le menu des instruments de l’échantillonneur. 2 Choisissez l’instrument de l’échantillonneur souhaité. Chapitre 12 EXS24 mkII 273 À propos des emplacements de stockage des échantillons EXS24 Pour apparaître dans le menu local EXS24 mkII Sampler Instruments, les instruments doivent être stockés dans le sous-dossier « Instruments de l’échantillonneur » de l’un des dossiers suivants : • ~/Bibliothèque/Application Support/Logic : emplacement de stockage desinstruments édités ou définis par l’utilisateur. • /Bibliothèque/Application Support/Logic : emplacement d’installation des instruments EXS fournis par l’usine. • /Applications/Logic 6 Series : emplacement de stockage des instruments EXS créés avec Logic 6 Series. • …/Nom_projet : MainStage recherche également les instruments EXS dans le dossier du projet. Remarque : les instruments échantillonnés peuvent être stockés dans n’importe quel dossier des différents disques durs de votre ordinateur. Créez simplement un alias pointant vers ce dossier dans un sous-dossier « Instruments de l’échantillonneur » (dans l’un des chemins répertoriés ci-dessus) et les instruments s’affichent dans le menu local Sampler Instruments. Pour atteindre l’instrument suivant ou précédent au sein de votre bibliothèque d’instruments de l’échantillonneur Procédez de l’une des manières suivantes : µ Cliquez sur le bouton plus ou moins, de part et d’autre du menu local Sampler Instruments. µ Cliquez sur Instrument suivant ou sur Instrument précédent dans le menu local Sampler Instruments (ou utilisez les raccourcis clavier Instrument EXS suivant ou Instrument EXS précédent). Si l’EXS24 mkII est la fenêtre de focalisation sur les notes, vous pouvez également utiliser les raccourcis clavier suivants : • Réglage de module ou d’instrument EXS suivant • Next Channel Strip or Plug-In Setting or EXS Instrument • Réglage de module ou instrument EXS précédent • Réglage de tranche de piste ou Programme ou instrument EXS précédent 274 Chapitre 12 EXS24 mkII Astuce : vous pouvez également naviguer dans vos instruments de l’échantillonneur à l’aide du clavier MIDI. Dans la fenêtre Sampler Preferences, il existe deux options, Instrument EXS précédent et Instrument EXS suivant. Elles vous permettent d’assigner un événement MIDI (par exemple, une note MIDI), de contrôler ou programmer un changement, etc., poursélectionner l’instrument de l’échantillonneur précédent ou suivant dans le menu local Sampler Instruments. Consultez Réglage des Préférences Sampler de l’EXS24 mkII. Chargement d’instruments de l’échantillonneurEXS24 à partir d’un autre emplacement Vous pouvez charger manuellement des instruments de l’échantillonneur qui ne sont pas affichés dansle menu local Sampler Instruments. Vous pouvez effectuer cette opération à partir du menu local Instrument de la fenêtre Instrument Editor. Pour charger des instruments échantillonnés à partir d’unautre emplacement, procédez comme suit 1 Ouvrez l’Éditeur d’instruments en cliquant sur le bouton Edit dans le coin supérieur droit de la fenêtre Parameter. 2 Sélectionnez Instrument > Open, puis recherchez l’instrument souhaité dans la zone de dialogue. Recherche d’instruments de l’échantillonneur EXS24 Pour réduire le nombre d’instruments de l’échantillonneur affichés dans le menu local Sampler Instruments, vous pouvez utiliser la fonction Rechercher. Apparaissent alors dans le menu local Sampler Instruments uniquement le nom des instruments de l’échantillonneur qui contiennent le terme recherché. Pour rechercher des instruments échantillonnés, procédez comme suit 1 Cliquez pour ouvrir le menu local Sampler Instruments, puis sélectionnez Rechercher. 2 Saisissez le terme recherché dans la fenêtre Filter. Chapitre 12 EXS24 mkII 275 Pour désactiver le filtre de recherche, procédez comme suit µ Sélectionnez Effacer recherche dans le menu local Sampler Instruments. L’intégralité du menu local Sampler Instruments s’affiche, mais le terme recherché saisi dans la fenêtre Filtern’est pas effacé. Pour revenir au menu restreint, sélectionnez Activer la recherche dans le menu local Sampler Instruments. Vous pouvez ainsi passer de l’un à l’autre sans avoir à ressaisir le terme recherché. Pour effectuer une recherche différente µ Sélectionnez à nouveau la commande Rechercher etsaisissez le terme recherché souhaité. Ouverture de l’Éditeur d’instruments de l’EXS24 mkII Cliquez sur le bouton Edit situé à droite du menu local Sampler Instruments pour ouvrir l’instrument de l’échantillonneur chargé dansla fenêtre Instrument Editor de l’EXS24 mkII. La fenêtre Instrument Editor offre un contrôle précis de chaque échantillon ou zone, dans l’instrument de l’échantillonneur. Remarque : le fait de cliquer sur le bouton Edit lorsqu’aucun instrument de l’échantillonneur n’est chargé ouvre également la fenêtre Instrument Editor et crée automatiquement un nouvel instrument (vide) de l’échantillonneur. Pour obtenir desinformations détaillées, consultez la rubrique Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII et les rubriques suivantes. Utilisation des commandes du menu local EXS24 mkII Options Cliquez sur le bouton Options dans le coin supérieur droit de la fenêtre Parameter. Cette opération ouvre le menu local Options, qui contient les commandes suivantes : • Rappelerle réglage par défaut de l’EXS : rétablit un réglage neutre de tousles paramètres de la fenêtre Parameter. Cela vous fournit une bonne « base de départ » pour le réglage des paramètres de votre instrument de l’échantillonneur. • Rappeler les réglages de l’instrument : rétablit les réglages d’origine des paramètres de l’instrument échantillonné chargé. Ce paramètre s’avère utile si vous avez fait preuve d’excès de zèle dans vos modifications et que vous souhaitez revenir aux réglages d’origine des paramètres de l’instrument de l’échantillonneur. • Enregistrer les réglages de l’instrument : stocke les valeurs de paramètres actuelles de la fenêtre Parameter dans le fichier de l’instrument de l’échantillonneur. Ces valeurs sont rappelées lorsque l’instrument est rechargé. 276 Chapitre 12 EXS24 mkII • Supprimer les réglages de l’instrument : supprime les réglages stockés (valeurs de la fenêtre Parameter) du fichier de l’instrument de l’échantillonneur. • Renommer instrument : ouvre une zone de dialogue d’enregistrement de fichier qui vous permet de renommer l’instrument chargé. Le nom de l’instrument existant est supprimé. • Enregistrer instrument comme : ouvre une zone de dialogue d’enregistrement de fichier qui vous permet de saisir un autre nom pour l’instrument chargé. Cela conserve le nom et le fichier d’instrument de l’échantillonneur d’origine et crée un nouvel instrument de l’échantillonneur (une copie). Remarque : très utile, cette option vous garantit le fonctionnement attendu de n’importe quel projet ou modèle utilisant l’instrument de l’échantillonneur avec son nom d’origine. • Supprimer instrument : supprime l’instrument de l’échantillonneur chargé. • (Rappeler le réglage par défaut de l’EXS24 mkI) : rappelle les réglages des paramètres des instruments de l’échantillonneur créés dans l’ancienne version de l’EXS24, notamment les chemins de modulation (consultez Chemins de modulation de l’EXS24 mkI). Ce paramètre est inutile pour les instruments de l’échantillonneur créés dans l’EXS24 mkII. • Extraire régions MIDI de l’instrument ReCycle : extrait les régions contenues dans un instrument ReCycle. Si aucun instrument ReCycle n’estsélectionné, cette option apparaît en grisé. Consultez Conversion de fichiers ReCycle en instruments EXS. • Conversion AKAI : lance la fenêtre AKAI Convert (consultez Conversion des fichiers AKAI avec l’EXS24 mkII). • Conversion SoundFont, Conversion SampleCell, ConversionDLS, ConversionGiga : chacune de ces commandes lance une zone de dialogue expliquant comment effectuer ces conversions. Pour en savoir plus, consultez Importation de fichiers SoundFont2, SampleCell, DLS et Gigasampler. • Préférences : ouvre les préférences de l’EXS24 mkII (consultez Réglage des Préférences Sampler de l’EXS24 mkII). • Mémoire virtuelle : ouvre une fenêtre de configuration pour les fonctions de mémoire virtuelle de l’EXS24 mkII. La mémoire virtuelle autorise la lecture d’échantillons d’une durée quasiment illimitée grâce à la diffusion audio directement à partir du disque dur en tempsréel. Pour en savoir plus, voir Configuration de la mémoire virtuelle de l’EXS24 mkII. La fenêtre de mémoire virtuelle vous permet également d’activer l’accès direct à la mémoire système pour l’EXS24 mkII, dans les systèmes présentant une RAM de 5 Go ou plus. Consultez Gestion avancée de la RAM de l’EXS24 mkII. Chapitre 12 EXS24 mkII 277 Ajustement des paramètres globaux de l’EXS24 mkII Ces paramètres affectent le comportement général de l’EXS24 mkII. Les paramètres globaux se trouvent dans le coin supérieur gauche de l’interface. Champ Vel Offset Paramètres Crossfade Champ Hold via Boutons du mode clavier Champs Voices/Used Bouton Unison • Boutons Keyboard Mode : bascule l’EXS24 mkII entre les comportements polyphonique, monophonique et legato. Consultez Sélection du mode Keyboard de l’EXS24 mkII. • Bouton Unison : active ou désactive le mode Unison. Consultez Utilisation du mode Unison dans l’EXS24 mkII. • Champs Voices/Used : le champ Voices détermine le nombre maximal de notes pouvant être jouées simultanément. Le champ Used est un moniteur en temps réel qui indique le nombre de voix qui sont actuellement utilisées lorsque vous jouez du clavier. Consultez Réglage du paramètre EXS24 mkII Voices. • Champ Vel Offset : augmente ou diminue la valeur de vélocité de la note MIDI entrante de ± 127, développant ou limitant la réponse dynamique de l’EXS24 mkII aux événements des notes MIDI entrantes. • ChampHold via : détermine la source de modulation utilisée pour déclencher la fonction de la pédale Soutien (toutes les notes jouées sont maintenues et leur message de fin de note est ignoré tant que la valeur de la source de modulation reste supérieure à 64). La valeur par défaut est le numéro de contrôleur MIDI CC 64 (numéro de contrôleur standard MIDI « Suspendre/Tenir »). • Paramètres Crossfade : permettent d’effectuer des fondus enchaînés entre des échantillons superposés (zones), avec des plages de vélocité adjacentes. Consultez Utilisation des paramètres EXS24 mkII Crossfade (Xfade). 278 Chapitre 12 EXS24 mkII Sélection du mode Keyboard de l’EXS24 mkII Lors de l’utilisation d’un instrument polyphonique, plusieurs notes peuvent être jouées simultanément, comme un orgue ou un piano. Les cuivres ou les instruments à anche sont monophoniques, autrement dit, vous ne pouvez jouer qu’une seule note à la fois. L’EXS24 mkII vous permet de sélectionner un mode de clavier approprié pour le type d’instrument chargé. Vous êtes libre d’utiliser un mode monophonique pour des instruments polyphoniques, ce qui permet de jouer des styles qui sont impossibles avec des instruments de ce type. • Si vous sélectionnez le mode Mono, jouer staccato redéclenche les générateurs d’enveloppe chaque fois qu’une nouvelle note est jouée. Si vous jouez dans un style legato (si vous appuyez sur une nouvelle note tout en maintenant une autre enfoncée), les générateurs d’enveloppe ne sont déclenchés qu’à la première note jouée legato et leurs courbes poursuivent leur évolution jusqu’à ce que vous relâchiez la dernière note jouée legato. • Le mode Legato est également monophonique, mais avec une différence : les générateurs d’enveloppe sont redéclenchés uniquementsi vousjouez staccato (si vous relâchez chaque note avant de jouer la suivante). Comportement Glide dans différents modes de clavier En mode Legato, la fonction Glide n’est active que sur les notes liées. Les enveloppes ne sont pas redéclenchées lorsque vous jouez des notes liées ; en d’autres termes, lorsque plusieurs notesliéessont jouées, il n’y a qu’un seul déclenchement d’enveloppe. Pour en savoir plus sur la fonction Glide, consultez Utilisation des paramètres EXS24 mkII Pitch. En mode Mono, la fonction Glide est toujours active et les enveloppessont redéclenchées à chaque note jouée. Utilisation du mode Unison dans l’EXS24 mkII En mode Unison, plusieurs voix de l’EXS24 mkII sont jouées lorsque vous enfoncez une touche. Cela permet un son plus riche, obtenu en désaccordant légèrement chaque voix. C’est l’idéal lors de l’émulation de synthétiseurs analogiques classiques. Chapitre 12 EXS24 mkII 279 Pour activer le mode Monophonic Unison µ Activez le mode Mono ou Legato et activez également le bouton Unison : • l’intensité de l’effet d’unisson dépend du nombre sélectionné dans le champ des paramètres Voice. Augmentez la valeur Voices pour un son plus gras. • L’intensité du désaccord (déviation de la voix)se règle par l’intermédiaire du paramètre Random (consultez la rubrique Utilisation des paramètres EXS24 mkII Pitch). Pour utiliser l’EXS24 mkII en mode Monophonic Unison µ Activez les boutons Poly et Unisson. • En mode Poly/Unisson, chaque note jouée est effectivement doublée ou, plus exactement, la valeur de polyphonie du paramètre Voice est divisée en deux. Vous entendez ensuite ces deux voix lorsque vous déclenchez la note. En activant Poly et Unisson, vous obtenez le même effet qu’en réglant l’EXS24 mkII sur Mono/Unisson (Voix = 2), mais vous pouvez jouer polyphoniquement. Les voix sont réparties de manière égale dans le champ Panorama et sont désaccordées de la même manière. La valeur du potentiomètre Random. détermine la déviation d’accord entre les voix. Remarque : le nombre de voix effectivement utilisées par note augmente proportionnellement au nombre de zones comprenant dessuperpositions d’échantillons. Réglage du paramètre EXS24 mkII Voices Ce paramètre détermine le nombre maximal de voix (polyphonie) que l’EXS24 mkII peut jouer. Le champ Used est un moniteur en temps réel qui indique le nombre de voix qui sont actuellement utiliséeslorsque vousjouez du clavier. Si les deux champs ont tendance à indiquer en permanence la même valeur (provoquant sans doute une perte audible de nombre de voix), il est souhaitable de régler une valeur plus élevée pour Voix. 280 Chapitre 12 EXS24 mkII Utilisation des paramètres EXS24 mkII Crossfade (Xfade) Les paramètres Xfade vous permettent d’effectuer des fondus enchaînés entre des échantillons superposés, appelés zones dans l’EXS24 mkII, avec des plages de vélocité adjacentes. Si vous ne connaissez pas bien le concept des échantillons de superposition, consultez Superposition de zones de l’EXS24 mkII. • Champ Amount : développe la plage de vélocité de toutes les zones en appliquant une valeur identique à chaque zone superposée. Le fondu enchaîné se produit au sein de la zone de la plage de vélocité étendue. Lorsque le paramètre Amount est réglé sur 0, l’EXS24 mkII passe simplement d’une zone à une autre. Remarque : vous pouvez également définir d’autres sources de modulation, telles que la roulette de modulation de votre clavier MIDI, afin de moduler le paramètre Amount. Le cas échéant, le paramètre Amount continue de fonctionner de la même façon, mais le fondu enchaîné n’est pas déclenché par la vélocité mais par la roulette de modulation. • Menu local Type : fournit trois courbes de fondu différentes. Sélectionnez le type de courbe souhaité pour votre fondu enchaîné de vélocité : • dB lin (dB linear) : courbe logarithmique qui effectue des fondus enchaînés réguliers entre les zones. • linear (gain linear) : courbe de fondu enchaîné convexe avec un fondu de volume rapide vers la fin. • Eq. Pow(equal power) : courbe non linéaire avec une augmentation de niveau rapide au début du fondu. Ce paramètre est utile lorsque l’intensité du volume d’un fondu enchaîné semble baisser au milieu. Chapitre 12 EXS24 mkII 281 Superposition de zones de l’EXS24 mkII Lors de l’assignation d’un échantillon à une zone, vous pouvez définir la vélocité de note MIDI la plus basse et la plus haute qui aura pour effet de déclencher cette zone. La zone comprise entre ces deux valeurs est appelée « plage de vélocité » de la zone. Vous pouvez superposer des zones (des échantillons différents) sur la même note de clavier et les déclencher individuellement en jouant à des vélocités différentes. Par exemple, imaginez que vous avez superposé deux échantillons (zone 1 et zone 2) sur la note MIDI A#2 (La#2). • Zone 1 est un échantillon d’une caisse claire frappée de manière légère et un peu décentrée. Elle présente une plage de vélocité de note MIDI de 24 à 90. • Zone 2 est un échantillon d’une caisse claire frappée énergiquement au centre de la peau de frappe. Elle présente une plage de vélocité de 91 à 127. Comme vous pouvez le constater, la valeur maximale de la plage de vélocité de la zone 1 et la valeur minimale de la plage de vélocité de la zone 2 sont adjacentes. Si vous deviez jouer la note A#2 (La#2) à des vélocités supérieures ou inférieures à une valeur de 90, vous entendriez clairement le déclenchement de chaque échantillon. Pour rendre cette transition moins abrupte, vous pouvez utiliser des paramètres de fondu enchaîné afin de passer en douceur d’une zone à une autre. Lorsque vous disposez d’échantillons audio très différents dans des zones adjacentes, le fondu enchaîné s’avère très utile pour créer des instruments de l’échantillonneur réalistes. Utilisation des paramètres EXS24 mkII Pitch Ces paramètres ajustent l’accord et la transposition de l’instrument de l’échantillonneur chargé. • Potentiomètre Tune : augmente ou diminue la hauteur tonale de l’instrument de l’échantillonneur chargé par incréments de demi-tons. En position centrée, définie en cliquant sur le petit bouton 0, aucun changement de hauteur tonale ne se produit. 282 Chapitre 12 EXS24 mkII • Champ Transpose : transpose l’EXS2 mkII par incréments de demi-tons. Ce paramètre affecte non seulement la hauteur tonale, mais déplace également les zones par la valeur spécifiée. • Potentiomètre Random: dose le désaccord aléatoire appliqué à chaque voix jouée. Vous pouvez utiliser Aléat. pour simuler la dérive d’accord des synthétiseurs analogiques ou pour épaissir le son, ce qui est particulièrement efficace lors de l’émulation de certains instruments à cordes. • Potentiomètre Fine : affine l’instrument de l’échantillonneur chargé par incréments en centièmes (1/100e de demi-ton). Vous pouvez l’utiliser pour corriger des échantillons qui sont légèrement désaccordés ou pour créer un effet de style chœur épais. • Menus locaux Pitch Bend Up et Pich Bend Down : déterminent la limite supérieure et inférieure de la modulation de hauteur (en demi-tons) pouvant être définie en actionnant la roulette Pitch Bend de votre clavier. Si la valeur est définie sur 0, les Pitch Bends sont désactivés. Remarque : lorsque vous sélectionnez le mode Link dans le menu Pitch Bend Down situé à droite, la plage de bend est identique dans les deux sens, si vous assignez un bend ascendant de 4 demi-tons, le bend descendant sera également défini sur 4 demi-tons, ce qui entraîne une plage de bends combinés de 8 demi-tons (9, si vous incluez la hauteur tonale standard ou la position « no bend »). • Champ Remote : ce champ permet de modifier la hauteur tonale d’instruments EXS24 mkII complets en tempsréel. Vous pouvez définir une note sur votre clavier MIDI, utilisée comme hauteur tonale d’origine ou de « référence ». Une fois définie, le fait de jouer n’importe quelle touche située à ± 1 octave au-dessus ou en dessous de cette touche modifie la hauteur tonale de tout l’instrument, au lieu de déclencher l’échantillon. Cela ressemble un peu à la fonction Pitch Bend, mais quantifiée en demi-tons. • Curseurs Glide et Pitcher : le curseur Glide détermine le temps requis pour glisser d’une hauteur tonale de note à une autre. Son comportement dépend du réglage du paramètre Pitcher : • lorsque ce dernier est centré, le paramètre Glide détermine la durée nécessaire à la hauteur tonale pour glisser d’une note à une autre, ce que l’on appelle le portamento. • Lorsque le paramètre Pitcher est réglé sur une position au-dessus de sa valeur centrée, le paramètre Glide détermine la durée nécessaire à la hauteur tonale pour repasser de cette valeur supérieure à sa valeur normale. • Lorsque le paramètre Pitcher est réglé sur une position en dessous de sa valeur centrée, la hauteur tonale glisse de ce réglage inférieur pour remonter à la valeur de hauteur tonale normale. Chapitre 12 EXS24 mkII 283 La paramètre Pitcher peut être modulé en fonction de la vélocité : la moitié supérieure du curseur détermine le réglage correspondant à la valeur maximale de vélocité, la moitié inférieure celui qui correspond à la valeur minimale de vélocité. En faisant glisser la souris dans la zone située entre les deux segments du curseur, vous pouvez déplacer les deux simultanément. Lorsque la moitié supérieure du curseur Pitcher est réglée au-dessus de la position centrale et la moitié inférieure en dessous de cette position, les valeurs de vélocité inférieures font remonter la hauteur tonale vers la hauteur d’origine de la note, tandis que les valeurs supérieures font retomber ce réglage supérieur à la hauteur tonale d’origine. En d’autres termes, la polarité de l’enveloppe de hauteur tonale peut être modifiée en fonction des valeurs de vélocité. Lorsque les deux moitiés du curseur Pitcher sont réglées en dessous ou au-dessus de la position centrale, une vélocité basse ou élevée fera glisser la hauteur tonale vers le haut ou vers le bas par rapport à la hauteur tonale d’origine. Selon la position des moitiés supérieure et inférieure du curseur par rapport à la position centrale, la durée nécessaire pour le glissement vers le haut ou vers le bas jusqu’à la hauteur tonale d’origine de la note peut être définie de façon indépendante pour les vélocités modérées et les vélocités élevées. 284 Chapitre 12 EXS24 mkII Utilisation des paramètres EXS24 mkII Filter Ces paramètres permettent de contrôler la section de filtrage de l’EXS24 mkII. Vous pouvez configurer le type de filtre, la résonance du filtre, la fréquence de coupure, le disque et la quantité de suivi de tonalité. Pour obtenir des détailssur l’enveloppe de filtre, consultez Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2). • Bouton FilterOn/Off : active ou désactive la totalité de la section de filtrage et l’enveloppe de filtre. En désactivant la section de filtrage, il est plusfacile d’entendre les ajustements apportés aux autres paramètres sonores. En effet, les filtres affectent énormément le son généré. La désactivation du filtre permet d’économiser lesressources de traitement. Si le bouton est vert et étiqueté Activé, le filtre est activé. S’il est gris et étiqueté Désactivé, le filtre est désactivé. • Boutons Filter Mode/Slope : apparaissant comme HP, LP et BP au bas de la rubrique, ces boutons déterminent le type et la courbe du filtre. Consultez Sélection du mode Filter de l’EXS24 mkII (HP, LP, BP). • Potentiomètre Cutoff : définit la fréquence de coupure du filtre. La valeur Cutoff sert également de point de départ pour toute modulation faisant intervenir le filtre. Consultez Utilisation des paramètres EXS24 mkII Filter Cutoff et Resonance du filtre de l’EXS24 mkII. • Potentiomètre Resonance : amplifie ou réduit la zone de fréquence autour de la fréquence de coupure. Pour des valeurs de résonance très élevées, un phénomène d’auto-oscillation apparaît et le filtre se met à produire un signal sinusoïdal tout seul. Consultez Utilisation des paramètres EXS24 mkII Filter Cutoff et Resonance du filtre de l’EXS24 mkII. • Potentiomètre Drive : sature l’entrée du filtre. Si vous tournez le potentiomètre Drive vers le haut, vous obtenez un signal plus saturé et plus dense, faisant apparaître des harmoniques supplémentaires. Consultez Saturation du filtre de l’EXS24 mkII. Chapitre 12 EXS24 mkII 285 • Potentiomètre Key : définit l’évolution de la modulation de fréquence de coupure du filtre en fonction du numéro de note. Lorsque le potentiomètre Key est tourné complètement versla gauche, la fréquence de coupure n’est pas modifiée par le numéro de note : elle reste identique quelle que soit la note jouée. Lorsque le potentiomètre Key est tourné complètement vers la droite, la fréquence de coupure suit le numéro de note dans un rapport 1 : 1, c’est-à-dire que si vous jouez une octave plus haut, la fréquence de coupure se voit elle aussi décalée d’une octave. Ce paramètre est particulièrement utile pour éviter de filtrer de façon excessive les notes aiguës. • Bouton Fat (Fatness) : active ou désactive la fonction Gras. La fonction Gras préserve la réponse en fréquence dans les graves de l’instrument de l’échantillonneur chargé, même lors de l’utilisation de réglages de résonance élevés. Remarque : le paramètre de grass’applique uniquement dansle cas de filtres passe-bas. Il ne fonctionne pas lorsque les filtres de type passe-haut ou passe-bas sont actifs. Sélection du mode Filter de l’EXS24 mkII (HP, LP, BP) Le filtre de l’EXS24 mkII peut fonctionner dans plusieurs modes, ce qui permet de filtrer (atténuer) ou d’accentuer des plages de fréquences spécifiques. Sélectionnez l’un des boutons suivants au bas de la section de filtrage pour choisir un mode de filtre : • HP (passe-haut) : ce type de filtre laisse passer toutes les fréquences supérieures à la fréquence de coupure. La pente du filtre passe-haut est fixée à 12 dB/octave en mode HP. • LP (passe-bas) : ce type de filtre laisse passer toutes les fréquences inférieures à la fréquence de coupure. Cliquez sur l’un des quatre boutons situés sous l’étiquette LP pour activer le filtre passe-bas, puis choisissez la pente du filtre : 24 dB (4 pôles), 18 dB (3 pôles), 12 dB (2 pôles) et 6 dB (1 pôle). Le réglage 24 dB peut être utilisé pour des effets drastiques, tels qu’une suppression de la quasi-totalité des notes. Le réglage 6 dB est utile pour la création d’un son légèrement plus chaud, dénué de tout effet drastique de filtrage, par exemple pour lisser des échantillons au son « trop brillant ». • BP (passe-bande): la bande de fréquence entourant directement la fréquence de coupure est autorisée à passer. Toutes les autres fréquences sont atténuées. Le paramètre de résonance définit la largeur de la bande de fréquence. Le filtre passe-bande est un filtre bipolaire et sa pente est de 6 dB/octave de part et d’autre de la fréquence centre de la bande. Utilisation des paramètresEXS24 mkII Filter Cutoff et Resonance du filtre de l’EXS24 mkII Vous trouverez dans la rubrique suivante une description de l’impact des paramètres Cutoff et Resonance du filtre. Si vous ne connaissez pas bien les synthétiseurs et les concepts de filtre, consultez la rubrique Filtres dans le chapitre Notions élémentaires sur les synthétiseurs. 286 Chapitre 12 EXS24 mkII Impact de la fréquence de coupure sur le signal Le paramètre Cutoff Frequency (Cut) permet d’agir sur la brillance du signal. • Dans un filtre passe-bas, plus la fréquence de coupure définie est élevée, plus les fréquences des signaux autorisés à passer sont élevées. • Dans un filtre passe-haut, la fréquence de coupure détermine le point où lesfréquences inférieures sont supprimées, avec uniquement des fréquences supérieures autorisées à passer. • Dans un filtre passe-bande/de refus de bande, la fréquence de coupure détermine la fréquence centre du filtre passe-bande ou de refus de bande. Impact de la résonance sur le signal Le paramètre de résonance (Res) accentue ou supprime les portions du signalsupérieures ou inférieures à la fréquence de coupure définie. • Dans un filtre passe-bas, la résonance accentue ou supprime les signaux inférieurs à la fréquence de coupures. • Dans un filtre passe-haut, la résonance accentue ou supprime les signaux supérieurs à la fréquence de coupure. • Dans les filtres passe-bande, la résonance accentue ou supprime les portions du signal ou bande de fréquence qui entourent la fréquence définie, avec le paramètre Cutoff Frequency. La résonance peut également être utilisée pour définir la largeur de la bande de fréquence. Voilà de quelle manière elle est utilisée dans l’EXS24 mkII. Contrôle simultané des paramètres Cutoff et Resonance La modification simultanée des valeurs des paramètres de fréquence de coupure et de résonance est cruciale pour la création de sons de synthétiseurs expressifs. Pour contrôler deux paramètres de filtre en même temps µ Faites glisser le symbole de chaîne situé entre les potentiomètres Frequency de coupure et Resonance pour contrôler les deux paramètres simultanément : les mouvements verticaux modifient les valeurs de fréquence de coupure et les mouvements horizontaux affectent les valeurs de résonance. Saturation du filtre de l’EXS24 mkII Le filtre est équipé d’un module Overdrive. L’intensité de la distorsion est définie par le paramètre Drive. Chapitre 12 EXS24 mkII 287 Le paramètre Drive affecte chaque voix séparément. Lorsque chaque voix subit sa propre saturation, comme si les guitaristesjouaient avec six pédales de distorsion, une par corde, vous pouvez jouer des harmonies extrêmement complexessur toute l’étendue du clavier. Le son obtenu reste propre et n’est pas perturbé par ces phénomènes d’intermodulation indésirables. En outre, les différentsréglages du paramètre Drive confèrent au son un caractère distinct. Le comportement des filtres analogiques en cas de saturation est spécifique à la personnalité sonore du synthétiseur. Chaque modèle de synthétiseur est unique dans ce domaine. L’EXS24 mkII est extrêmementsouple à ce niveau et autorise les couleurstonales qui s’étendent de la distorsion la plus subtile aux distorsions les plus marquées. Paramètres EXS24 mkII Output Les paramètres de sortie définissent le niveau, c’est-à-dire le volume sonore perçu, d’une note jouée. L’évolution du niveau sonore au fil du temps est définie par un générateur d’enveloppe. ENV2 est « câblé en dur » au niveau de l’amplificateur dynamique de l’EXS24 mkII. Il est utilisé en permanence pour contrôler le niveau sonore de chaque note. Pour obtenir une description de tous les paramètres d’enveloppe, consultez Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2). • Curseur Level via Vel : détermine de quelle manière la vélocité affecte le volume sonore. La section supérieure du curseur détermine le volume lorsque le clavier est frappé à la vélocité maximale et la section inférieure détermine le volume lorsque le clavier est frappé à la vélocité minimale. Faites glisser la souris dansla zone entre les deux segments du curseur pour déplacer les deux simultanément. • Potentiomètre Volume : il correspond au paramètre de volume principal de l’EXS24 mkII. Réglez ce potentiomètre pour trouver l’équilibre entre l’apparition de distorsions et l’obtention de la meilleure résolution (la plus élevée) sur la tranche de console et le curseur Level via Vel. 288 Chapitre 12 EXS24 mkII • Champ Key Scale : module le niveau de l’instrument de l’échantillonneur en fonction du numéro de note, c’est-à-dire en fonction de l’emplacement sur le clavier. Pour des valeurs négatives, le niveau des notes graves augmente. Pour des valeurs positives, c’est le niveau des notes aiguës qui augmente. Cela s’avère utile lors de l’émulation de plusieurs instruments acoustiques, où les notes aiguës sont souvent plus bruyantes que les notes graves. Utilisation de la modulation de l’EXS24 mkII L’EXS24 mkII est doté d’une plage étendue de destinations et de sources de modulation, ce qui en fait un instrument très souple qui peut générer des sons extraordinaires en constante évolution ou qui sont tout simplement expressifs lorsque vous les jouez. Les tables de références couvrant toutesles destinations etsources de modulation se trouvent à la fin de cette rubrique. Paramètres de modulation et de contrôle Routeur de modulation • Routeur de modulation : le routeur de modulation ou plus simplement routeur relie les sources de modulation, telles que l’enveloppe, aux destinations de modulation, telles que le filtre. Le routeur présente dix routages de modulation, organisés en colonnes. Consultez Présentation du routeur de modulation de l’EXS24 mkII. • Paramètres de modulation et de contrôle : ces paramètres incluent les LFO et les enveloppes. Consultez lesrubriques Présentation des LFO de l’EXS24 mkII et Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2). Chapitre 12 EXS24 mkII 289 Présentation du routeur de modulation de l’EXS24 mkII Le routeur de modulation traverse le centre de l’interface de l’EXS24 mkII. Si vous ne connaissez pas bien les routages de modulation des synthétiseurs, consultez la rubrique Routage des modulations dans le chapitre Notions élémentaires sur les synthétiseurs. Consultez également la rubrique Exemple de modulation de l’EXS24 mkII. Les sources via s’affichent au milieu de chaque routage de modulation. Les sources de modulation s’affichent en bas de chaque routage de modulation. Le curseur d’intensité de la modulation est divisé en deux lorsqu’une source via est active. Les destinations de modulation s’affichent en haut de chaque routage de modulation. Le curseur d’intensité de la modulation n’est pas divisé en deux lorsqu’aucune source via n’est active. Toute source de modulation peut être associée à n’importe quelle destination de modulation, un peu comme un ancien standard téléphonique ou un tableau de raccordement. Consultez les rubriques Création et contournement des routages de modulation de l’EXS24 mkII, Référence de la source de modulation de l’EXS24 mkII et Référence de la destination de modulation de l’EXS24 mkII. L’intensité de modulation, c’est-à-dire à quel point la destination est influencée par la source, est définie à l’aide du curseur vertical situé à droite du routage de modulation. Vous pouvez également moduler l’intensité de modulation : le paramètre via définit une autre source de modulation qui est utilisée pour contrôler l’intensité de modulation. Lorsque ce paramètre est actif, vous pouvez spécifier deslimitessupérieures et inférieures pour l’intensité de modulation. Consultez les rubriques Utilisation des sources Via de l’EXS24 mkII pour contrôler l’intensité de modulation et Référence Modulation Via Source de l’EXS24 mkII. Dix routages de modulation de type Source, Via et Destination peuvent avoir lieu simultanément, en plus des routages qui sont « câblés en dur » hors du routeur. Vous pouvez utiliser n’importe lequel des dix routages de modulation. 290 Chapitre 12 EXS24 mkII Vous pouvez même sélectionner la même destination pour plusieurs routages de modulation parallèles. Vous pouvez également utiliser les mêmes sources et les mêmes contrôleurs via dans plusieurs routages de modulation. Création et contournement des routages de modulation de l’EXS24 mkII Les informations suivantes s’appliquent aux dix routages de modulation. Pour créer un routage de modulation de base 1 Ouvrez le menu local Dest pour voir toutes les destinations disponibles, puis choisissez le paramètre que vous souhaitez moduler. Cliquez ici pour choisir une destination de modulation. Cliquez ici pour choisir une source de modulation. 2 Ouvrez le menu local Src pour voir toutes les sources disponibles, puis choisissez le paramètre à utiliser pour moduler la destination. 3 Faites glisser la flèche le long du curseur Intensity situé à droite du routage de modulation pour définir une intensité de modulation fixe. Curseur d’intensité de modulation Pour contourner un routage de modulation µ Cliquez sur le bouton « b/p » situé dans le coin supérieur droit du routage de modulation. Bouton Bypass Chapitre 12 EXS24 mkII 291 Le paramètre de contournement (b/p) permet d’activer ou de désactiver les routages de modulation individuels, sans perdre les réglages. Utilisation des sources Via de l’EXS24 mkII pour contrôler l’intensité de modulation Dans un routage de modulation de base se composant d’une destination et d’une source, vous pouvez définir une intensité de modulation fixe en faisant glisser verticalement la flèche du curseur Intensity situé à droite du routage. La valeur du curseur définit toujours une intensité de modulation constante. Vous pouvez également moduler l’intensité de modulation : le paramètre via définit une autre source de modulation qui est utilisée pour contrôler l’intensité de modulation. Dès que vous sélectionnez une valeur autre que Off pour « via », le curseur Intensity est divisé en deux sections, chaque section disposant de sa propre flèche. • La section inférieure définit l’intensité de modulation minimale, lorsque le contrôleur via, la roulette de modulation par exemple, est défini sur sa valeur minimale. • La section supérieure définit l’intensité de modulation maximale, lorsque le contrôleur via est défini sur sa valeur maximale. • La zone située entre les deux sections de curseur définit la plage de modulation du contrôleur via. Pour créer un routage de modulation qui inclut une source via 1 Ouvrez le menu local Dest pour voir toutes les destinations disponibles, puis choisissez le paramètre que vous souhaitez moduler. Cliquez ici pour choisir une destination de modulation. Cliquez ici pour choisir une source de modulation. 2 Ouvrez le menu local Src pour voir toutes les sources disponibles, puis choisissez le paramètre à utiliser pour moduler la destination. 3 Ouvrez le menu local via pour voir touteslessources disponibles, puis choisissez la source à utiliser pour le contrôle de l’intensité de modulation. 292 Chapitre 12 EXS24 mkII 4 Faites glisser la flèche supérieure le long du curseur Intensity situé à droite du routage de modulation pour définir l’intensité de modulation maximale. 5 Faites glisser la flèche inférieure le long du curseur Intensity pour définir l’intensité de modulation minimale. Pour déplacer l’intégralité de la plage via µ Faites glisser verticalement la souris dans la zone de plage entre les deux sections du curseur. Les deux flèches se déplacent simultanément. Si cette zone est trop petite pour être déplacée, il vous suffit pour cela de faire glisser une section inutilisée du curseur Intensity. Pour définir l’intensité de modulation sur zéro µ Cliquez sur le petit symbole 0 qui se trouve à mi-hauteur du curseur Intensity. Chapitre 12 EXS24 mkII 293 Pour inverser l’effet de la source de modulation via µ Cliquez sur le bouton inv situé à droite du menu local via. Exemple de modulation de l’EXS24 mkII L’exemple suivant est utile pour les modulations de son de corde, où jouer des notes plus aiguës entraîne une modulation plus rapide. La vitesse LFO 1 est la destination de modulation. La source de modulation ou pression est utilisée pour moduler la vitesse (fréquence) de LFO 1. Vous allez entendre une modulation plus rapide si vous appliquez plus de pression sur le clavier, après la première note jouée. L’intensité de la modulation est contrôlée par la position du clavier, dont la plage est déterminée par le paramètre via. Autrement dit, la note (numéro) que vousjouez contrôle la profondeur de la modulation de vitesse de LFO. 294 Chapitre 12 EXS24 mkII Chemins de modulation de l’EXS24 mkI De nombreux chemins de modulation câblés en dur auparavant accessibles sous forme de curseurssur l’EXS24 d’origine (mkI)sont désormaisintégrés au routeur de modulation. Pour reconstituer la configuration du curseur de modulation de la version mkI, ouvrez le menu local Options dans le coin supérieur droit de l’interface et sélectionnez (« Rappeler les réglages par défaut de l’EXS24 mkI »). Les chemins de modulation de la version mkI sont chargés dans le routeur de modulation comme suit : • Velocity vers Sample Select • LFO 1 vers Pitch via ModWheel (= Ctrl#1) • Velocity vers Sample Start (inv) • LFO 2 vers Filter Cutoff via ModWheel • Velocity vers Filter Cutoff • Envelope 1 vers Filter Cutoff via Velocity • LFO 2 vers Pan via ModWheel Vous êtes, bien sûr, libre de modifier les réglages de ces chemins de modulation, ce qui vous permet d’utiliser des sources de modulation qui n’étaient pas disponibles dans l’EXS24 mkI, par exemple (consultez la fin de cette rubrique pour voir lestables de toutes les sources et destinations). Remarque : pour des raisons d’ordre technique, les réglages du routeur de modulation ne peuvent pas s’appliquer à l’EXS24 mkI. Présentation des LFO de l’EXS24 mkII L’EXS24 mkII intègre trois LFO (oscillateurs basse fréquence) qui peuventservir de sources de modulation. Ils sont tous disponibles comme sources ou destinations dans le routeur. Si vous ne connaissez pas bien les synthétiseurs et les concepts de LFO, consultez Utilisation de l’oscillateur sub-audio (LFO) pour moduler les sons. Le LFO 1 est polyphonique, ce qui signifie que si vous l’utilisez pour la modulation de plusieurs voix, celles-ci ne sont pas verrouillées en phase. En outre, LFO 1 est synchronisé sur les notes: chaque fois que vousjouez une note, la modulation LFO1 de la voix associée repart de zéro. Pour mieux comprendre la caractéristique non verrouillée en phase, imaginez un scénario dans lequel un accord est joué sur le clavier. Si LFO 1 est utilisé pour moduler la hauteur tonale, par exemple, la hauteur tonale d’une voix pourrait monter, la hauteur tonale d’une autre voix pourrait descendre et celle d’une troisième voix atteindre sa valeur minimale. Comme vous pouvez le constater, la modulation ne dépend pas de chaque voix ou note. Chapitre 12 EXS24 mkII 295 La fonction de synchronisation de notes garantit que le cycle de forme d’onde LFO démarre toujours de zéro, ce qui entraîne une modulation constante de chaque voix. Si les cycles de forme d’onde LFO n’étaient pas synchronisées de cette manière, les modulations de notes individuelles ne seraient pas régulières. Le LFO 1 permet d’effectuer automatiquement des fondus entrants et sortants, grâce à un générateur d’enveloppe intégré. Le LFO 2 est monophonique, ce qui signifie que la modulation est identique pour toutes les voix. Pour mieux comprendre ceci, imaginez un scénario dans lequel un accord est joué sur le clavier. Si vous utilisez LFO 2 pour moduler la hauteur tonale, par exemple, la hauteur tonale de toutes les voix dans l’accord joué augmente et diminue de manière synchronisée. Le LFO 3 est également monophonique. Il utilise toujours une forme d’onde triangulaire. Les trois LFO peuvent osciller librement ou être synchronisés pour héberger le tempo de l’application, dans des valeurs comprises entre 32 mesures et un triolet d’octuple croche (1/128). • Potentiomètre LFO1 EG : contrôle le temps nécessaire pour un fondu entrant ou sortant de la modulation LFO (consultez Utilisation du générateur d’enveloppe de l’EXS24 mkII du LFO 1). • Potentiomètre LFO 1 Rate : détermine la fréquence ou vitesse de la modulation LFO 1. La valeur est indiquée en Hertz (Hz) ou en valeurs de note, sous le curseur. • Boutons LFO Wave 1 et 2 : ils vous permettent de choisir la forme d’onde souhaitée pour LFO 1 et LFO 2. Pour plus de détails sur leur utilisation, consultez Utilisation des formes d’onde du LFO de l’EXS24 mkII. • Potentiomètre FLFO2 Rate : ce paramètre définit la fréquence ou vitesse de la modulation LFO 2. Consultez Réglage de la fréquence de LFO de l’EXS24 mkII. • Potentiomètre LFO3 Rate : ce paramètre définit la fréquence ou vitesse de la modulation LFO 3. Consultez Réglage de la fréquence de LFO de l’EXS24 mkII. 296 Chapitre 12 EXS24 mkII Utilisation des formes d’onde du LFO de l’EXS24 mkII Les boutons Wave vous permettent de choisir différentes formes d’onde pour LFO 1 et LFO 2. Le tableau ci-dessous définit de quelle manière cesformes d’onde peuvent affecter vos sons. Astuce : essayez différentes formes d’onde lorsqu’un routage de modulation de hauteur tonale est activé. Waveform Commentaires Onde triangulaire Convient bien aux effets de vibrato Convient bien aux effets sonores d’hélicoptères et d’épées laser. Des modulations marquées de la hauteur tonale avec une onde en dents de scie négative (inversée) génèrent des sons de type bulle. Des modulations marquées, en dents de scie, des paramètres de fréquence de coupure et de résonance des filtres passe-bas, créent des effets rythmiques. La forme d’onde peut également être inversée, ce qui entraîne un point de départ différent pour le cycle de modulation. En dents de scie Les ondes rectangulaires font varier régulièrement le signal LFO entre deux valeurs. Une forme rectangulaire saillante évolue entre une valeur positive et zéro. Les ondes inférieures basculent entre une valeur positive et une valeur négative définies sur la même valeur supérieures/inférieures à zéro. Vous pouvez essayer un effet intéressant en modulant la destination de la hauteur tonale avec une intensité de modulation appropriée qui conduit à un intervalle d’un cinquième. Pour ce faire, utilisez l’onde rectangulaire saillante. Rectangle Les deux derniers réglages de forme d’onde des LFO génèrent des valeurs aléatoires. Une valeur aléatoire est déterminée à intervalles réguliers, selon la fréquence du LFO. La forme d’onde supérieure s’échelonne entre des valeurs aléatoires (passages rapides d’une valeur à une autre). Avec la dernière, en revanche, l’onde aléatoire est lissée ; lestransitions entre les différentes valeurssont donc plus fluides. L’expression Sample & Hold (S & H) fait référence à la procédure qui consiste à prendre des échantillons d’un signal de bruit à intervalles réguliers. Les valeurs de ces échantillons sont ensuite conservées jusqu’au prélèvement du prochain échantillon.Astuce : une modulation aléatoire de la hauteur tonale conduit à un effet communément appelé générateur de motif de hauteur tonale aléatoire ou sample & hold. Essayez cette modulation avec des notes très aiguës, à des fréquences et intensités très élevées, vous reconnaîtrez cet effet sonore très populaire, présent dans des centaines films de science-fiction. Sample & Hold Utilisation du générateur d’enveloppe de l’EXS24 mkII du LFO 1 LFO 1 présente un générateur d’enveloppe simple utilisé pour contrôler le temps nécessaire pour le fondu entrant ou sortant de la modulation LFO. En position centrale, accessible en cliquant sur le repère du milieu, l’intensité de modulation est statique : aucun fondu entrant ou sortant ne se produit. Chapitre 12 EXS24 mkII 297 Pour définir la transition de la modulation LFO 1 µ Sélectionnez une valeur positive de potentiomètre LFO 1 EG pour un fondu entrant de la modulation. Plus la valeur est élevée, plus le temps de retard est long. µ Sélectionnez une valeur négative EG LFO 1 pour réaliser un fondu sortant de la modulation. Plus la valeur est faible, plus le fondu sortant est court. Les enveloppes LFO sont le plus souvent utilisées pour retarder le vibrato : de nombreux instrumentalistes et chanteurs tiennent de cette façon les notes longues. Pour retarder le vibrato 1 Placez le potentiomètre LFO 1 EG à une position vers la droite (Delay) et modulez la destination de hauteur tonale avec la source LFO 1 dans le routeur. 2 Entrez une intensité de modulation modérée. 3 Sélectionnez une fréquence LFO 1 d’environ 5 Hz. 4 Choisissez l’onde triangulaire comme forme d’onde LFO 1. Astuce : les modulations rapides et chaotiques des fréquences (destination : Pitch) par la source LFO 1, avec une forme d’onde Sample & Hold retardée, une fréquence élevée et un fondu sortant court, sont idéales pour l’émulation de la phase d’attaque des cuivres. Réglage de la fréquence de LFO de l’EXS24 mkII Le LFO 2 convient particulièrement pour la création d’effets de modulation rythmiques nécessitant une synchronicité parfaite, même en cas de changement de tempo du projet. Le LFO 3 est pratiquement identique, mais utilise une forme d’onde en triangle fixe, ce qui le rend plus adapté pour l’ajout d’un vibrato à un son ou pour l’utilisation comme une source de modulation pour les autres LFO. Le paramètre Rate des trois LFO permet à chaque LFO de s’exécuter librement (dans la section droite de la plage du potentiomètre Rate ) ou d’être synchronisé avec le tempo du projet (dans la section gauche de la plage du potentiomètre Frequency). La fréquence est indiquée en Hertz ou en valeurs rythmiques, ces dernières lorsque la synchronisation du tempo du projet est active. La plage rythmique va de la quadruple croche (1/64) à 32 mesures. Les valeurs de triolet et pointées sont également disponibles. Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2) L’EXS24 mkII présente deux générateurs d’enveloppe par voix. Ils sont abrégés sous la forme ENV 1 et ENV 2 dans l’interface et le routeur. Pour plus de détails sur les racines de l’expression générateur d’enveloppe et ses fonctions de base, consultez Enveloppes de la section Amplifier. 298 Chapitre 12 EXS24 mkII Les paramètres d’ENV 1 et d’ENV 2 sont identiques. • ENV 1 contrôle le filtre dans la durée. • ENV 2 définit l’évolution du niveau de chaque note jouée. Toutefois, les deux enveloppessont également disponibles pour une utilisation simultanée comme sources dans le routeur. Les paramètres temporels de l’enveloppe (Attack, Decay et Release) sont également disponibles comme destinations de modulation dans le routeur. Paramètres de l’enveloppe 1 Paramètres de l’enveloppe 2 • Curseur A(ttack) : définit le temps nécessaire pour que le niveau d’une note s’élève d’une amplitude de zéro à l’amplitude définie. Les curseurs de temps d’attaque des deux enveloppes sont divisés en deux moitiés. • La section inférieure définit le temps d’attaque, lorsque la force du jeu est élevée, à vélocité maximale. La section supérieure détermine le temps d’attaque, à une vélocité minimale. Faites glisser la souris dans la zone entre les deux sections du curseur pour déplacer les deux simultanément. Si cette zone est trop petite pour être déplacée, faites glisser une section inutilisée du curseur. • Curseur D(ecay) : détermine le temps nécessaire pour que le niveau d’une note tenue retombe au niveau de tenue avant la fin de la phase d’attaque. • Si le paramètre de niveau Sustain est défini sur sa valeur maximale, le paramètre Decay n’a aucun effet. • En revanche, lorsqu’une valeur minimale est affectée, le paramètre Decay définit la durée du fondu sortant de la note. • Curseur S(ustain) : contrôle le niveau de tenue. • Curseur R(elease) : définit le temps requis pour que le niveau (tenue) retombe à zéro, une fois la note relâchée. Chapitre 12 EXS24 mkII 299 • Curseurs de courbe temporelle : ils s’appliquent aux deux enveloppes. Le curseur de gauche, appelé durée via note, peut être utilisé pour échelonner (allonger ou raccourcir) lesintervalles de temps d’enveloppe. Notez que la position C3 (Do3) est le point central. • La durée des intervalles temporels pour les zones affectées aux touches au-dessus de C3 (Do3) peut être réduite à l’aide du curseur de gauche. Tous les intervalles des zones affectées aux touches sous C3 peuvent être allongés. • Le curseur de courbe (Attack) détermine la forme de la courbe d’attaque de l’enveloppe. Référence de la destination de modulation de l’EXS24 mkII Les destinations suivantes sont disponibles pour la modulation en temps réel. Destination Commentaires Module l’échantillon (zone) qui est joué. Par défaut, la destination Sample Select est contrôlée par la vélocité, par l’intermédiaire du routage de modulation par défaut Vélocité vers Sample Select. C’est donc la valeur de vélocité de la note reçue qui détermine la zone écoutée parmi les zones superposées (dans différentes plages de vélocité) lorsque vous jouez plus doucement ou plus fort sur le clavier. La vélocité n’est toutefois pas le seul moyen de déterminer l’échantillon joué. Vous pouvez affecter la source de la roulette de modulation à la destination Sample Select ou utiliser à la fois la vélocité et la roulette de modulation. Le choix d’un contrôleur continu, tel que la roulette de modulation, vous permet de franchir les couches de vélocité pendant la lecture. Dans ce cas, utilisez les paramètres de fondu enchaîné (Fondu ench.) pour créer destransitions douces entre chaque point de séparation de la vélocité. Lorsque vous utilisez plusieurs sources de modulation, n’oubliez pas que toutes les couches de vélocité risquent de fonctionner simultanément, utilisant autant de voix qu’il y a de zones superposées. L’utilisation du processeur augmentera en conséquence. Sample Select Module le début de l’échantillon. Vous pouvez déclencher une boucle de batterie, à mi-chemin, par exemple. Sample Start Module la durée de l’effet Glide (portamento). Si vous modulez l’effet Glide, en utilisant Vélocité comme source, la vitesse de frappe détermine la durée nécessaire pour que les notesjouées atteignent leur hauteur cible. Glide Time 300 Chapitre 12 EXS24 mkII Destination Commentaires Module la fréquence (hauteur) de l’instrument de l’échantillonneur chargé. Si vous sélectionnez un LFO comme source avec cette destination, des effets de sirène ou de vibrato sont créés. Sélectionnez un des générateurs d’enveloppe avec une attaque nulle, une chute courte, un paramètre Sustain sur zéro et un temps de libération court comme source pour lessons de tom et de grosse caisse. De légères modulations d’enveloppe peuvent modifier la valeur de désaccord dansle temps, ce qui peut être particulièrement utile pour les sons de cuivres. Pitch Drive du filtre Module le paramètre Drive du filtre. Module le paramètre Cutoff Frequency. Consultez Utilisation des paramètres EXS24 mkII Filter. Fréquence de coupure du filtre Résonance du filtre Module le paramètre Resonance du filtre. Volume Contrôle le niveau de sortie principal de l’EXS24 mkII. Module la position panoramique du son dans le spectre stéréo. Si vous modulez la balance avec un LFO, vous obtenez un trémolo stéréo (panning automatique). En mode Unison, les différentes voix utilisées sont réparties sur toute la largeur du spectre stéréo. Vous pouvez néanmoins encore moduler le paramètre Pan : les différents positionnements sont alors modifiés en parallèle. Pan Ajoute/soustrait la quantité spécifiée à destination/en provenance du paramètre Volume. Relative Volume Contrôle le paramètre GE LFO 1 (consultez Utilisation du générateur d’enveloppe de l’EXS24 mkII du LFO 1). LFO 1 Dcy./Dly (LFO 1 Decay/Delay) Module la fréquence (taux) du LFO 1. Vous pouvez automatiquement accélérer/ralentir la fréquence du LFO 1 en modulant la destination Vitesse du LFO 1 avec l’un des générateurs d’enveloppe (ENV) ou avec le LFO 2 ou LFO 3. Vitesse LFO 1 Vitesse LFO 2 Comme ci-dessus, pour LFO 2 Vitesse LFO 3 Comme ci-dessus, pour LFO 3 Attaque Env 1 Module la durée d’attaque de l’enveloppe du filtre. Chute Env 1 Module le temps de chute de l’enveloppe du filtre. Relâchement Env 1 Module le temps de relâchement de l’enveloppe du filtre. Module la position du curseur de durée via note. Consultez la description des curseurs de courbe temporelle dans Présentation des enveloppes de l’EXS24 mkII (ENV 1 et ENV 2). Time Attaque Env 2 (amp.) Module la durée d’attaque du second générateur d’enveloppe. Module le temps de chute du second générateur d’enveloppe. Si vous avez sélectionné Chute Env 2 comme destination et Vélocité comme source, la durée du temps de chute dépend de la force avec laquelle vous avez appuyé sur cette touche. Si vous sélectionnez Key(board) comme source, les notes aiguës ont une chute plus rapide (ou plus lente). Chute Env 2 (amp.) Chapitre 12 EXS24 mkII 301 Destination Commentaires Module le temps de relâchement du second générateur d’enveloppe. Relâchement Env 2 (amp.) Module le contrôleur (alternatif) assigné à la fonction de la pédale sustain. Consultez les informations sur le paramètre Hold dans la rubrique Ajustement des paramètres globaux de l’EXS24 mkII. Hold Référence de la source de modulation de l’EXS24 mkII Les sources de modulation suivantes sont disponibles : Source Commentaires La modulation Side Chain utilise un signal de side chain comme signal de modulation. Vous pouvez sélectionner la source Side Chain dans le menu Side Chain situé dans l’en-tête de la fenêtre du module. Le signal correspondant est envoyé vers le suiveur d’enveloppe interne. Ce dernier crée une valeur de modulation en fonction du niveau actuel du signal Side Chain. side chain Max définit la valeur de cette source sur +1 (une valeur interne qui indique la quantité maximale possible pour cette source). Cela offre des optionsintéressantes pour contrôler l’intensité de la modulation avec toutes les valeurs via possibles. Maximum Env 1 Le générateur d’enveloppe 1 est utilisé comme source. Le générateur d’enveloppe 2 est utilisé comme source. Env 2 contrôle toujours le niveau sonore global. Env 2 (Amp) LFO 1 LFO 1 est utilisé comme source. LFO 2 Comme ci-dessus, mais pour LFO 2 LFO 3 Comme ci-dessus, mais pour LFO 3 La modulation se produit lorsque vous relâchez une touche (cela nécessite un clavier qui envoie des informations sur la vélocité de relâchement). Release Velocity La pression (également appelée Aftertouch) sert de source de modulation. L’EXS24 mkII réagit à la pression polyphonique (Aftertouch polyphonique).Remarque :si vous définissez la destination sur Fréquence de coupure, les fréquences de coupure augmentent et diminuent, selon la force du jeu après la première note jouée sur le clavier MIDI sensible au toucher. Pressure Pitch Bend La roulette de pitch bend est utilisée comme source de modulation. 302 Chapitre 12 EXS24 mkII Source Commentaires Le paramètre Kybd (Keyboard, clavier) correspond à la touche enfoncée sur le clavier (numéro de note MIDI). Le point central est C3 (Do3) (valeur de sortie de 0, utilisée en interne par l’EXS24 mkII). Une valeur de sortie de -1 indique cinq octaves en dessous (point central). Une valeur de sortie de +1 indique cinq octaves au-dessus. Modulez la destination Fréquence de coupure avec la source Touche pour contrôler les fréquences de coupure du filtre selon la position du clavier : lorsque vous montez ou descendez la gamme sur le clavier, les fréquences de coupure changent. Avec une intensité de modulation de 0,5, les fréquences de coupure augmentent proportionnellement aux hauteurs tonales des notes du clavier. Key Velocity Le paramètre Velocity sert de source de modulation. --- Désactive la source. Le contrôleur MIDI choisi sert de source de modulation. Les contrôleurs n° 7 et 10 sont repérés comme (non disponibles). Les applications hôtes utilisent ces contrôleurs pour l’automation du volume et de la balance des bandes de canaux. Le contrôleur n° 11 est repéré comme (Expression). Il dispose d’une connexion fixe à cette fonctionnalité mais peut également être utilisé pour contrôler d’autres sources de modulation. Contrôleurs MIDI n° 1 à 120 Référence Modulation Via Source de l’EXS24 mkII Les sources suivantes peuvent être utilisées pour contrôler l’intensité de la modulation. via Source Commentaires La modulation Side Chain utilise un signal de side chain comme signal (déclencheur) d’intensité de modulation. Vous pouvez sélectionner la source Side Chain dans le menu Side Chain situé dans l’en-tête de la fenêtre du module. Le signal correspondant est envoyé vers le suiveur d’enveloppe interne. Ce dernier crée une valeur de modulation en fonction du niveau actuel du signal Side Chain. side chain Maximum Définit la valeur de cette source sur +1. Env 1 Le générateur d’enveloppe 1 contrôle l’intensité de la modulation. Env 2 (Amp) Le générateur d’enveloppe 2 contrôle l’intensité de la modulation. Le LFO 1 contrôle l’intensité de la modulation en fonction de la vitesse et de la forme d’onde de son signal. LFO 1 LFO 2 Comme ci-dessus, mais pour LFO 2 LFO 3 Comme ci-dessus, mais pour LFO 3 La modulation sera plus ou moins intense en fonction de la vitesse à laquelle vous relâchez la touche (cela nécessite un clavier qui envoie des informations sur la vélocité de relâchement). Release Velocity Chapitre 12 EXS24 mkII 303 via Source Commentaires Si vous sélectionnez le paramètre Pressure (également appelé Aftertouch) comme valeur via, l’intensité de la modulation sera sensible au toucher ; la modulation sera plus ou moins intense en fonction de la force utilisée pour appuyer sur la touche de votre clavier MIDI sensible au toucher, une fois la première note jouée. Pressure Pitch Bend La roulette de pitch bend contrôle l’intensité de la modulation. Le paramètre Key(board) correspond à la touche enfoncée sur le clavier (numéro de note MIDI). La note centrale correspond à Do3 (valeur de sortie 0). Si on se place cinq octaves plus bas ou plus haut, les valeurs de sortie correspondantes sont -1 et +1, respectivement. Si voussélectionnez Pitch comme destination, que vous la modulez avec la source LFO 1 et que vous sélectionnez Key comme valeur via, la profondeur du vibrato varie selon la note jouée. Autrement dit, la profondeur du vibrato est différente lorsque des notes plus aiguës ou plus graves que le positionnement du clavier défini sont jouées. Key L’intensité de la modulation estsensible à la vélocité ; la modulation est plus ou moinsintense selon la rapidité (force) avec laquelle vous appuyez sur la touche. Velocity --- Désactive la source via. L’intensité de la modulation est déterminée par la valeur du contrôleur MIDI sélectionné. Les contrôleurs n° 7 et 10 sont repérés comme (non disponibles). Les applications hôtes utilisent ces contrôleurs pour l’automation du volume et de la balance des bandes de canaux. Le contrôleur n° 11 est repéré comme (Expression). Il dispose d’une connexion fixe à cette fonctionnalité mais peut également être utilisé pour contrôler d’autres sources de modulation. Contrôleurs MIDI n° 1 à 120 Vue d’ensemble de l’Éditeur d’instruments de l’EXS24 mkII L’Éditeur d’instruments est utilisé pour créer et modifier des instruments de l’échantillonneur. Consultez lesrubriques Créations d’instruments, de zones et de groupes de l’EXS24 mkII et Modification de zones et de groupes de l’EXS24 mkII. Un instrument échantillonné est constitué de zones et de groupes : • Une zone est un emplacement dans lequel un échantillon unique ou fichier audio est chargé à partir d’un disque dur. Vous pouvez modifier les paramètres de zone en mode d’affichage Zone. Consultez Présentation du mode d’affichage Zones de l’EXS24 mkII. • Les zones peuvent être attribuées à des groupes, qui offrent des paramètres vous permettant de modifiersimultanément toutesles zones du groupe. Vous pouvez définir autant de groupes que vous le souhaitez. Vous pouvez modifier les paramètres de groupe en mode d’affichage Group. Consultez Présentation du mode d’affichage Groups de l’EXS24 mkII. 304 Chapitre 12 EXS24 mkII Pour ouvrir l’Éditeur d’instruments de l’EXS24 mkII µ Cliquez sur le bouton Edit dansle coin supérieur droit de la fenêtre EXS24 mkII Parameter. Remarque : si aucun instrument de l’échantillonneur n’est chargé lorsque vous cliquez sur le bouton Edit, un nouvel instrument est automatiquement créé. L’éditeur d’instruments comporte deux modes d’affichage : Zones et Groups. L’affichage Zones présente les zones et les paramètres associés, dans la zone des paramètres. L’affichage Groups présente les groupes et les paramètres associés. Pour permuter entre les modes d’affichage de l’Éditeur d’instruments de l’EXS24 mkII µ Cliquez sur le bouton Groups dans le coin supérieur gauche pour passer à l’affichage Groups ou cliquez sur le bouton Zones dans le coin supérieur gauche pour passer à l’affichage Zones. Vous pouvez également utiliser le raccourci clavier Toggle Zones/Groups View pour passer d’un mode d’affichage à l’autre. Chapitre 12 EXS24 mkII 305 Présentation du mode d’affichage Zones de l’EXS24 mkII Dans l’affichage Zones, la zone au-dessus du clavier affiche la zone Zones. Les boutons, les menus généraux, etc. sont affichés dans les affichages Zones et Groups. Colonne Zones Section de la vélocité Section des zones/groupes Clavier Cliquez pour basculer entre les vues Zones et Groups. Section Parameters • Colonne Zones: affiche toutes les zones de l’instrument. Par défaut, chaque instrument contient les icônes Toutes les zones (dont les zones « groupées ») et Zones dissociées. Cliquez sur l’icône souhaitée pour afficher les zones associées dans la zone des paramètres. • Section Parameters : : affiche les paramètres de la zone (individuels, tous ou dissociés) sélectionnés dans la colonne Zones. • Section Velocity : affiche la plage de vélocité de la zone sélectionnée. Remarque : par défaut, la zone Vélocité est désactivée. • Section Zones/Groups : indique graphiquement les zones ou les groupes au-dessus du clavier. • Clavier: : cliquez sur les notes pour déclencher la zone associée. Le claviersert également de référence visuelle pour le placement des zones ou des groupes (dans la zone Zones/Groupes). 306 Chapitre 12 EXS24 mkII Présentation du mode d’affichage Groups de l’EXS24 mkII Dans l’affichage Groups, la zone au-dessus du clavier affiche Groups. Les boutons, les menus généraux, etc. sont affichés dans les affichages Zones et Groups. Éditeur d'instruments dans la vue Groups Cliquez ici pour rouvrir une fenêtre EXS24 mkII Parameter fermée. Remarque : cliquersur le bouton EXS24 n’affiche pasla fenêtre des paramètres au premier plan si elle est masquée par d’autres fenêtres flottantes. Créations d’instruments, de zones et de groupes de l’EXS24 mkII Vous pouvez soit ajouter des zones et des groupes à des instruments chargés, soit créer un instrument vide et y intégrer des zones et des groupes. Important: eXS24 mkII ne permet pas d’enregistrer directement des échantillons, comme le permet un échantillonneur matériel. Vous devez enregistrer les échantillons dans une application appropriée, telle que Logic Pro. Pour créer un instrument, procédez comme suit µ Dansla fenêtre des paramètres(uniquement lorsqu’aucun instrument de l’échantillonneur n’est chargé), cliquez sur le bouton Edit. µ Dans la fenêtre Instrument Editor, sélectionnez Instrument > New. Chapitre 12 EXS24 mkII 307 Pour en savoir plus sur le chargement d’instruments de l’échantillonneur, consultez Utilisation du menu local EXS24 mkII Sampler Instruments. Pour en savoir plus sur l’enregistrement, le renommage l’export d’instruments de l’échantillonneur, consultez Enregistrer, renommer et exporter des instruments de l’EXS24 mkII. Pour en savoir plus sur la création de zones et de groupes, consultez les rubriques suivantes : Création de zones de l’EXS24 mkII Création rapide de plusieurs zones dans l’EXS24 mkII Création de groupes de l’EXS24 mkII Création de zones de l’EXS24 mkII Une zone est un emplacement dans lequel un échantillon unique ou fichier audio, si vous préférez ce terme, peut être chargé. L’échantillon chargé dansla zone réside en mémoire, c’est-à-dire qu’il utilise la mémoire RAM de votre ordinateur. Une zone offre des paramètres qui contrôlent la lecture des échantillons. Chaque zone vous permet de déterminer la plage de notes sur laquelle porte l’échantillon et la note d’origine, note à laquelle l’échantillon est à sa hauteur tonale d’origine. En outre, plusieurs autres paramètres, tels que le début, la fin de l’échantillon, les points de boucle et le volume (entre autres) peuvent être ajustés pour la zone. Vous pouvez définir autant de zones que vous le souhaitez. Pour créer une zone et lui assigner un échantillon 1 Sélectionnez Zone > New Zone (ou utilisez le raccourci clavier correspondant). Une nouvelle entrée de zone apparaît dans l’editeur d’instruments. 2 Effectuez l’une des opérations suivantes : • Cliquez sur la flèche dans la colonne Audio File, puis choisissez Load Audio Sample dans le menu local. • Double-cliquez sur la zone vide dans la colonne des fichiers audio. 308 Chapitre 12 EXS24 mkII 3 Sélectionnez le fichier audio désiré dans le sélecteur de fichiers. • Si vous cochez la case « Masquer les fichiers audio en cours d’utilisation », les fichiers utilisés par l’instrument EXS chargé apparaissent en grisé. • L’option Preview audio file in EXS instrument replace temporairement les fichiers d’échantillons dans la zone sélectionnée. La zone n’est pas directement déclenchée par l’activation de cette option, mais peut l’être par des notes MIDI jouées lorsque vous sélectionnez différents fichiers dans le sélecteur de fichiers. L’échantillon sélectionné peut être écouté en tant que partie intégrante de la zone avec le traitement du synthétiseur appliqué dans son intégralité (c’est-à-dire incluant l’application de filtres, d’effets de modulation, etc.). 4 Cliquez sur le bouton Play pour lire en boucle le fichier d’échantillon sélectionné. • Cliquez une deuxième fois sur ce bouton pour arrêter la lecture. • Vous pouvez auditionner chaque fichier, un par un, en appuyant sur le bouton de lecture, puis en passant de fichier en fichier à l’aide de la touche « Flèche vers le bas » ou en cliquant dessus. 5 Une fois que vous avez choisi l’échantillon à utiliser, cliquez sur le bouton Open pour l’ajouter à la zone. Une fois l’échantillon chargé, son nom s’affiche dans le champ Audio File Name. Pour créer une zone en faisant glisser un fichier audio vers une note µ Faites glisser un fichier audio sur l’une des notes du clavier à l’écran. La note de début, la note de fin et la note fondamentale sont toutes les trois accordées sur la note sur laquelle le fichier est déposé. Vous pouvez faire glisser des fichiers audio provenant des sources suivantes : Navigateur, Chutier audio et le Finder. Pour créer une zone en faisant glisser un fichier audio vers une plage de notes µ Faites glisser un fichier audio directement dans la zone pour en créer une nouvelle. La note fondamentale de la zone correspond à la note à laquelle l’échantillon est joué à sa hauteur tonale enregistrée. Cette information est inscrite dansl’en-tête de l’échantillon. Si aucune note d’origine n’est définie dans l’en-tête de l’échantillon, la note C3 (Do3) est utilisée par défaut. Chapitre 12 EXS24 mkII 309 Remarque : si vous faites glisser un fichier audio dans une zone existante, le fichier référencé par cette zone est remplacé par le nouveau fichier déposé. Le curseur se transforme pour refléter le mode de remplacement. Si vous faites glisser un échantillon unique dans la partie vide en dessous de la section Zones dissociées, une zone et un groupe par défaut sont créés, la nouvelle zone par défaut étant placée dans le groupe par défaut. Création rapide de plusieurs zones dans l’EXS24 mkII Vous pouvez charger plusieurs échantillons en une seule opération. L’Éditeur d’instruments crée automatiquement de nouvelles zones, danslesquellesil place les échantillons chargés. Pour créer plusieurs zones en une seule opération 1 Dans l’Éditeur d’instruments, sélectionnez Zone > Load Multiple Samples (ou utilisez le raccourci clavier correspondant). 2 Accédez à l’emplacement souhaité, puis utilisez les boutons Add ou Add All pour sélectionner les échantillons que vous souhaitez utiliser. 3 Lorsque vous avez fini, cliquez sur le bouton Done. 310 Chapitre 12 EXS24 mkII 4 Choisissez l’un des trois modes de mappage automatique dans la zone de dialogue Load Multiple Samples : • « Map auto » en lisant la note d’origine du fichier audio : utilise les notes d’origine stockées dans l’en-tête des fichiers audio et place les échantillons, sous la forme de zones, sur la plage correspondante du clavier. Le nombre de notes constituant une zone est déterminé de façon « intelligente » en fonction du placement des zones avoisinantes. • « Batterie » zone sans limite, note d’origine du fichier audio : utilise les notes d’origine stockées dans l’en-tête des fichiers audio. Chaque zone est transposée sur une note unique sur le clavier, telle que déterminée par les informations sur la note d’origine. • Zones contiguës : ignore toutes les informations sur la note d’origine et transpose les échantillons sur le clavier par ordre chromatique. Le champ Largeur de zone vous permet de spécifier la largeur ou plage de notes des nouvelles zones générées. Le champ Start Note définit la note de début des nouvelles zones générées. Vous pouvez également charger plusieurs échantillons en lesfaisant glisser dansl’Éditeur d’instruments. Lorsque vousfaites glisser plusieurs échantillons dans un dossier de groupes, chacun d’entre eux est assigné à son groupe respectif. Lorsque vousfaites glisser plusieurs échantillons en dessous de la section Zones dissociées, les fichiers audio sont assignés à un nouveau groupe par défaut. Remarque : si vous faites glisser plusieurs fichiers sur l’une des touches du clavier, la zone de dialogue Load Multiple Samples n’inclut pas le champ Start Note, puisque la note de début, la note de fin et la note fondamentale sont toutes les trois accordées sur la note sur laquelle le fichier est déposé. Chapitre 12 EXS24 mkII 311 Création de groupes de l’EXS24 mkII Imaginons par exemple qu’une batterie vient d’être créée, à l’aide d’un certain nombre d’échantillons utilisés dans plusieurs zones, répartis sur l’ensemble du clavier. Dans de nombreuses situations musicales, il serait appréciable de pouvoir ajuster les paramètres de chaque échantillon indépendamment, pour modifier la chute de la caisse claire, ou pour utiliser un réglage de fréquence de coupure différent pour les échantillons de charleston, par exemple. C’est dans ce cas de figure qu’intervient la fonctionnalité groupes de l’EXS24 mkII. Les groupes permettent une grande souplesse d’organisation des échantillons. Vous pouvez définir autant de groupes que nécessaire et assigner chaque zone à l’un de ces groupes. Dans le cas d’une batterie, par exemple, vous pouvez assigner toutes les grosses caisses au groupe 1, toutes les caisses claires au groupe 2, toutes les charlestons au groupe 3, et ainsi de suite. À quoi cela sert-il ? Un groupe permet, par exemple, de définir une plage de vélocité pour toutes les zones assignées. Vous pouvez ainsi spécifier une fenêtre de vélocité dans laquelle les zones groupéessont déclenchées. Chaque groupe offre également des paramètres de décalage desréglages de l’enveloppe d’amplitude et du filtre entrés dansla fenêtre des paramètres. Il est également possible de lire toutes les zones sans définir ni assigner aucun groupe. Dans ce cas, les réglages des paramètres s’appliquent de manière identique à tous les échantillons de toutes les zones. Pour créer un groupe, procédez comme suit µ Sélectionnez Group > New Group dans l’Éditeur d’instruments. Un nouveau groupe apparaît dans la colonne Zones, dans la partie gauche de l’Éditeur d’instruments. 312 Chapitre 12 EXS24 mkII Pour assigner une zone à un groupe Procédez de l’une des manières suivantes : µ Sélectionnez un groupe dans le menu Group de la zone. µ Sélectionnez une zone dans l’Éditeur d’instruments EXS, le Finder, le chutier audio ou le navigateur et faites-la glisser vers l’un des groupes affichés dans la colonne Zones. µ Faites glisser une zone dissociée (ou plusieurs zones sélectionnées) dans la zone vide située sous l’icône Zones dissociées. Cela crée un nouveau groupe, contenant la ou les zones déplacées. µ Faites glisser une zone (ou plusieurs zones sélectionnées) d’un groupe : • dans un autre groupe. Cela modifie l’assignation du groupe précédent au nouveau groupe. • sur l’icône Zones dissociées. Cela modifie l’assignation du groupe précédent sur non affecté (dissocié). • vers la zone vide située sous l’icône Zones dissociées. Cela crée un nouveau groupe, contenant la ou les zones déplacées. Astuce : le fait de cliquersur Option tout en faisant glisser des zones vers un autre groupe copiera les zones sélectionnées, au lieu de les déplacer. Pour supprimer tous les groupes quine disposent pas d’assignation de zone, procédez comme suit µ Dans l’Éditeur d’instruments, sélectionnez Group > Delete Unused Groups. Modification de zones et de groupes de l’EXS24 mkII Les zones et les groupes offrent des paramètres uniques qui vous permettent de personnaliser votre instrument de l’échantillonneur. Vous pouvez utiliser les paramètres de zone pour modifier les paramètres de hauteur tonale, de plage de vélocité, de panorama et de boucle, ainsi que les autres aspects des zones. Vous pouvez utiliser les paramètres de groupe pour ajuster la vélocité, la sortie et pour décaler les enveloppes et les filtres d’un groupe de zones, par exemple. Les techniques de modification, les commandes de sélection de menu et les autres interactions de paramètres qui sont partagées par les zones et les groupes sont traitées dans les rubriques suivantes : • Commandes courantes d’édition de zones et de groupes de l’EXS24 mkII • Commandes courantes de sélection de zones et de groupes de l’EXS24 mkII • Commandes courantes de tri de zones et de groupes de l’EXS24 mkII • Affichage et masquage des paramètre EXS24 mkII Zone et Group • Édition graphique des zones et des groupes de l’EXS24 mkII Chapitre 12 EXS24 mkII 313 Pour plus d’informations sur les différences de paramètres entre les zones et les groupes, consultez les rubriques Réglage des paramètres de zone de l’EXS24 mkII et Réglage des paramètres EXS24 mkII Group. Remarque : cliquez sur le bouton EXS24 dans le coin supérieur droit de la fenêtre Instrument Editor pour réouvrir une fenêtre de paramètres fermée et la remettre au premier plan. Ce bouton est estompé lorsque la fenêtre des paramètres est ouverte. Commandes courantes d’édition de zones et de groupes de l’EXS24 mkII Le menu Edit gère toutes les opérations de base relatives à l’édition d’instruments de l’échantillonneur, telles que la copie de zones, l’annulation d’opérations d’édition, etc. • Annuler : permet d’annuler la modification la plus récente apportée à l’instrument échantillonné. • Rétablir : annule la dernière commande Undo. • Couper, Le copier, Coller : commandes classiques permettant de couper, copier et coller des valeurs. Vous pouvez également couper, copier et coller des zones et des groupes sélectionnés. • Lorsque vous procédez à la copie de groupes en mode d’affichage Zones, les groupes sélectionnés et leurs zones associées sont copiés. Les assignations de groupe des zones sont conservées. • Lorsque vous procédez à la copie de groupes en mode d’affichage Groups, seuls les groupes eux-mêmes sont copiés, sans les zones qui y sont associées. • Supprimerl : supprime la zone ou le groupe sélectionné(e). Commandes courantes de sélection de zones et de groupes de l’EXS24 mkII Il existe plusieurs façons de sélectionner des zones et des groupes pour les éditer. Le menu Edit contient les commandes de sélection de zones et de groupes suivantes : • Tout sélectionner : permet de sélectionner toutes les zones et tous les groupes de l’instrument échantillonné chargé. • Inverser la sélection : permet d’inverser la sélection entre les zones ou groupes sélectionnés et les zones ou groupes non sélectionnés. Vous pouvez également cliquer sur les zones et les groupes dans la zone des paramètres: • Cliquez sur les paramètres d’une zone ou d’un groupe pour sélectionner cette zone ou ce groupe. • En mode d’affichage Zones, si vous cliquez sur deux zones non adjacentes tout en appuyant sur la touche Maj., ces deux zones et toutes celles qui se trouvent entre elles sont sélectionnées. 314 Chapitre 12 EXS24 mkII • Si vous cliquez sur plusieurs zones tout en maintenant la touche Commande enfoncée, toutes les zones sur lesquelles vous cliquez sont sélectionnées. • Pour sélectionner la zone ou le groupe suivant(e) ou précédent(e), vous pouvez également utiliser les touches « Flèche vers le haut » et « Flèche vers le bas ». Vous pouvez également définir un événement MIDI spécifique à utiliser comme commutateur de sélection de groupes. Consultez Utilisation des paramètres EXS24 mkII Advanced Group Selection. Passage d’une zone d’EXS24 mkII à l’autre avec un clavier MIDI : commande « Select Zone of Last Played Key » Si vous sélectionnez la commande « Select Zone of Last Played Key » dans le menu Zone, vous pouvez passer d’une zone à l’autre en appuyant simplement sur une touche, sur un clavier MIDI connecté. Lorsque cette fonction est activée, vous pouvez continuer à sélectionner des zones en cliquant dessus dans l’éditeur. Passage d’un groupe d’EXS24 mkII à l’autre avec un clavier MIDI : commande « Select Group of Last Played Key » Si vous sélectionnez la commande « Select Group of Last Played Key » dans le menu Group, vous pouvez passer d’un groupe à l’autre en appuyantsimplementsur une touche, sur un clavier MIDI connecté. Cela est utile pour ajuster la vélocité des groupes d’un instrument, par exemple. Commandes courantes de tri de zones et de groupes de l’EXS24 mkII Pour trier des zones et des groupes dans l’Éditeur d’instruments EXS24 mkII, il suffit de cliquer sur l’en-tête de la sous-colonne de référence du tri. Par exemple, pour trier les zones par nom, cliquez sur l’en-tête de sous-colonne Nom de la colonne Zone. Les zones seront alors triées par ordre alphabétique en fonction de leur nom. Chapitre 12 EXS24 mkII 315 Pour trier les groupes en fonction de leur vélocité de départ, de la plus basse à la plus élevée, par exemple, cliquez sur l’en-tête de sous-colonne Basse dans la colonne Plage de vélocité. Le groupe présentant la plage de vélocité de départ la plus basse s’affiche en haut de la liste. Cliquez sur le triangle pour inverser l’ordre de tri. Affichage et masquage des paramètre EXS24 mkII Zone et Group Le menu View vous permet de déterminer les paramètres de zone et de groupe que vous souhaitez voir apparaître dans la zone des paramètres de l’Éditeur d’instruments : • Tout afficher : affiche toutes les colonnes et sous-colonnes disponibles. • Individual Group and Zone display settings : sélectionnez les colonnes et sous-colonnes individuelles que vous souhaitez afficher. Les entrées de zones sont disponibles en mode d’affichage Zones, les entrées de groupes sont disponibles en mode d’affichage Groups. Astuce : appuyez sur Option et sélectionnez une colonne de zone ou de groupe désactivée pour limiter l’affichage à la colonne sélectionnée. • Rétablir les valeurs par défaut : revient à l’affichage par défaut. • Enregistrer comme valeur par défaut : enregistre les paramètres de zone et de groupe en cours comme présentation par défaut pour chaque ouverture de l’Éditeur d’instruments EXS24 mkII. Réglage des paramètres de zone de l’EXS24 mkII Les paramètres de zone offrent un large contrôle sur chaque zone ou échantillon de votre instrument de l’échantillonneur. • Champ Zone Name : affiche le nom de la zone. Un numéro consécutif est automatiquement assigné aux nouvelles zones. Cliquez sur un numéro de zone pour saisir un nom. 316 Chapitre 12 EXS24 mkII • Menu Audio File : affiche le nom du fichier audio. Lorsque vous déplacez le pointeur sur un nom, une info-bulle apparaît avec des informations complémentaires, telles que le format, la profondeur de bits, la fréquence d’échantillonnage, etc. Appuyez sur Commande avant que l’info-bulle n’apparaisse afin d’afficher le chemin de fichier complet dans celle-ci. Cliquez sur la flèche pour ouvrir un menu contextuel proposant les commandes suivantes : • Charger l’échantillon audio : Ouvre une zone de sélection de fichier, dans laquelle vous pouvez sélectionner un fichier audio. Raccourci clavier par défaut : ctrl + F. • Ouvrir dans l’éditeur des échantillons : Ouvre l’échantillon sélectionné dans l’éditeur des échantillons ou dans l’éditeur des échantillons choisi dans la zone de préférence « Ouvrir l’éditeur d’échantillons externes ». Raccourci clavier par défaut : ctrl + W. • Révéler dans le Finder : Affiche le chemin complet du fichier audio chargé dans le Finder. Astuce : double-cliquez sur le nom d’un échantillon dans la colonne Fichier audio > Nom pour ouvrir le fichier audio dans l’éditeur des échantillons. Lorsqu’il n’y a pas de fichier audio chargé, le sélecteur de fichiers audio s’ouvre. • Champs Pitch : touche détermine la note d’origine de l’échantillon, en d’autres termes, la note à laquelle l’échantillon est à sa hauteur tonale d’origine. • Utilisez les champs Coarse et Fine pour accorder l’échantillon par incréments de demi-tons/centièmes. • Champ Volume : ajuste le niveau de sortie global de la zone. • Champ Pan : ajuste la balance de la zone. Ce paramètre fonctionne uniquement lorsque l’EXS24 mkII est utilisé en stéréo. • Champ Scale : Équilibre le niveau d’un échantillon tout au long de la plage de notes sélectionnée. Pour une valeur négative, les notes plus basses que l’emplacement de la note d’origine seront plus fortes que les notes plus hautes ; pour des valeurs positives, vous obtiendrez l’effet inverse. • MenuOutput: détermine lessorties utilisées par la zone. Les choix incluent les principales sorties et les canaux jumelés 3 et 4, 5 et 6, 7 et 8, 9 et 10 ou des sorties individuelles 11 à 16. Cela permet de router des zones individuelles séparément vers des bandes de canaux auxiliaires (dans une instance multisortie de l’EXS24 mkII). • Champs Key Range : les deux paramètres Key Range permettent de définir une plage de notes pour la zone. • Bas : définit la note la plus basse pour la zone. • Haut : définit la note la plus élevée pour la zone. Les notes jouées en dehors de cette plage n’auront pas pour effet de déclencher l’échantillon assigné à cette zone. Chapitre 12 EXS24 mkII 317 • Case Hauteur tonale : cochez cette case pour modifier la hauteur tonale de l’échantillon lorsqu’il est déclenché par différentes notes. Lorsque cette case est décochée, l’échantillon est toujours joué à sa hauteur tonale d’origine, quelle que soit la note jouée. • Case One-shot : si cette case est cochée, la zone ignore la longueur des événements de note MIDI entrants, ce qui se traduit toujours par la lecture intégrale de l’échantillon à chaque réception d’un événement de début de note. Cette option s’avère utile dans le cas d’échantillons de batterie, pour lesquels il n’est le plus souvent pas souhaitable que la durée de la note MIDI soit prise en compte pour la lecture de l’échantillon. Consultez également le paramètre du champ Fade ci-dessous. • Case Inverser : cochez cette case pour lire l’échantillon de la fin au début. • MenuGroup : indique l’assignation de groupe d’une zone. Pour en savoir plus, consultez les rubriques Création de groupes de l’EXS24 mkII et Réglage des paramètres EXS24 mkII Group. • Champs et case Velocity Range : cochez cette case pour définir une plage de vélocité pour la zone. • B(asse) : définit la vélocité la plus basse qui déclenchera la zone. • Haut : définit la vélocité la plus haute qui déclenchera la zone. Les notes jouées en dehors de cette plage de vélocité n’auront pas pour effet de déclencher l’échantillon assigné à cette zone. • Champs Sample Start et End : définit les points de départ et d’arrivée de l’échantillon, respectivement. Cliquez sur chaque champ tout en maintenant la touche ctrl enfoncée pour ouvrir un menu qui vous permet d’ouvrir l’échantillon dans l’Éditeur des échantillons (ou un éditeur externe), où vous pouvez définir graphiquement les points de départ et d’arrivée. Consultez Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII. • Champ Fade : détermine le fondu sortant d’un échantillon one-shot. La valeur est indiquée en échantillons. La différence entre la valeur spécifiée dans ce champ et la valeur affichée dans le champ End détermine la durée du fondu sortant. Plus la valeur est faible, plus l’échantillon met de temps pour atteindre le niveau 0 (au point d’arrivée de l’échantillon). Cette option est estompée lorsque la case Boucle activée est cochée. Pour obtenir des détails sur les fonctions de boucle de la zone, consultez Utilisation des paramètres EXS24 mkII Zone Loop. 318 Chapitre 12 EXS24 mkII Remarque : par défaut, la valeur de ce paramètre est de 0, à l’exception des situations dans lesquelles l’instrument de l’échantillonneur est créé avec la commande Audio > « Convertir les régions en une nouvelle piste d’échantillonneur ». Cette fonction utilise des marqueurs d’éléments transitoires et se traduit par une valeur de champ Fade par défaut qui correspond au décalage de découpage du marqueur d’élémentstransitoires suivant. Utilisation des paramètres EXS24 mkII Zone Loop L’EXS24 mkII peut lire en boucle tout ou partie d’un échantillon, à la réception de notes MIDI tenues. • Case Boucle activée : cochez cette case pour activer la mise en boucle et autoriser l’accès aux autres paramètres de mise en boucle. • Champs Loop Start, Loop End : définissez des points de départ et d’arrivée de boucle discrets, pour pouvoir lire une partie d’un fichier audio en boucle. • Cliquez sur chaque champ tout en maintenant la touche ctrl enfoncée pour ouvrir un menu contextuel qui vous permet d’accéder à l’Éditeur des échantillons (ou à un éditeur externe). Cela vous permet de définir graphiquement les points de départ et d’arrivée de la boucle : le point de départ Loop Start est représenté par le marqueur LS et le point d’arrivée Loop End par le marqueur LE. Consultez Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII. • Champ Tune : affine l’accord de la partie du fichier audio lue en boucle, par incréments de centièmes. • Champ Xfade (Crossfade) : détermine le temps de fondu enchaîné entre la fin/le début d’un échantillon mis en boucle. Dans une boucle avec fondu enchaîné, il n’y a aucune « étape » entre le point d’arrivée et le point de départ de la boucle. Plus la valeur est élevée, plus le fondu enchaîné dure et plus la transition entre les points de départ et d’arrivée de boucle est progressive. Cette fonction s’avère particulièrement pratique pour les échantillons difficiles à lire en boucle, pour lesquels surviendraient des clics au point de jonction de la boucle. Chapitre 12 EXS24 mkII 319 • Case E. Pwr (Equal Power) : cochez cette case pour appliquer au fondu enchaîné une forme d’onde exponentielle, créant une augmentation du volume sonore de 3 dB au milieu de la plage du fondu enchaîné. Cette option entraîne un fondu sortant/entrant dans la liaison entre la fin et le début de la boucle, à un volume sonore constant. Remarque : les paramètresidéaux pour les paramètres Xfade. et E. dépendent du matériel de l’échantillon. Une boucle se lisant déjà sans discontinuité trop marquée constitue un point de départ idéal pour obtenir une boucle avec un fondu enchaîné parfait, mais, à l’inverse, ce n’est pas parce que vous lui appliquez un fondu enchaîné qu’un raccord de boucle sonne forcément mieux. Faites l’expérience des deux paramètres pour savoir où, quand et comment leur fonctionnement est optimal. Réglage des paramètres EXS24 mkII Group Les paramètres de groupe offrent un contrôle simultané de toutes les zones assignées. • Champ Group Name : affiche le nom du groupe. Cliquez dessus pour saisir un nom. • Champs Key Range : définissent une plage de notes pour le groupe. • B(asse) :Définit la note la plus basse pour le groupe. • H(aute) :Définit la note la plus élevée pour le groupe. Les notes jouées en dehors de cette plage n’auront pas pour effet de déclencher les zones assignées à ce groupe. Remarque : prenez votre temps pour utiliser ces paramètres : étant donné qu’ils remplacent les réglages des plages de zone, il est possible qu’ils rendent certaines zones inaudibles. • Vol(ume) : ajuste le volume global du groupe et, par conséquent, le volume de toutes les zones du groupe. Ce paramètre fonctionne de façon similaire à un sous-groupe sur une console de mixage. • Pan : ajuste la balance du groupe, la balance stéréo dans le cas d’échantillons stéréo, et donc simultanément la balance de toutes les zones assignées. Remarque : ce paramètre affecte les réglages de balance des zones individuelles. • Output : détermine les sorties utilisées par le groupe. Les choix incluent les principales sorties et les canaux jumelés 3 et 4, 5 et 6, 7 et 8, 9 et 10 ou des sorties individuelles 11 à 16. Cela permet de router des groupes individuels séparément vers des canaux auxiliaires dans une instance multisortie de l’EXS24 mkII. 320 Chapitre 12 EXS24 mkII Remarque : ce paramètre présente un impact sur les assignations de sortie de zone individuelles. • Poly. (Polyphonie : détermine le nombre de voix que le groupe peut jouer. L’option Max permet de s’assurer que le groupe utilise toutes les voix autorisées par le paramètre Voice de la fenêtre des paramètres. Pour obtenir un exemple d’utilisation de ce paramètre, consultez la barre latérale Mode charleston : utilisation du paramètre Poly d’EXS24 mkII. • Menu Trigger : détermine si les zones pointant sur ce groupe sont déclenchées en appuyant sur une touche (réglage Key Down) ou en relâchant une touche (réglage Key Release). Ce paramètre est utile pour simuler les « clics » de touches d’un orgue, vous pouvez par exemple vouloir déclencher une note en appuyant sur une touche, mais déclencher un « clic » en relâchant une touche. • Case Dc (Decay) et champ Decay Time : cochez cette case pour accéder au paramètre Decay Time. • Champ (Decay) Time :détermine le temps nécessaire pour la chute du niveau d’un échantillon (déclenchée par le relâchement d’une touche). Remarque : les paramètres Decay fonctionnent uniquement lorsque le paramètre Trigger est défini sur Key Release. • Champs Cutoff and Reso(nance) : décale séparément les paramètres Cutoff et Resonance pour chaque groupe. Cela peuts’avérer utile si voussouhaitez que l’impact initial d’une note ne soit pas filtré pour un groupe, mais qu’il le soit pour les autres. • Champs Envelope 1/Envelope 2 Offsets: décale séparément les paramètres d’enveloppe dans la fenêtre des paramètres pour chaque groupe. Cela peut s’avérer utile si vous souhaitez que les enveloppes de filtre (enveloppe 1) ou de volume (enveloppe 2) affectent les échantillons d’un groupe après l’impact initial des sons déclenchés. • Champ H (Hold) : Détermine le temps pendant lequel l’enveloppe sera conservée au niveau d’attaque maximum, avant le début de la phase de chute. Remarque : lorsque le paramètre Trigger est défini sur Key Release, le paramètre Decay Time contrôle le niveau de chute, plutôt que l’Enveloppe 2 (l’enveloppe de volume). Ainsi, lorsque le paramètre Trigger est défini sur Key Release, le paramètre Envelope 2 Offsets n’a aucun effet. • Plage de vél(ocité) : définit une plage de vélocité pour le groupe. La plage de vélocité est utile pour lessons où voussouhaitez mixer des échantillons de manière dynamique ou permuter entre eux en jouant de manière plus ferme ou plus douce sur le clavier MIDI. Cette fonction est idéale pour lessonssuperposés, tels qu’une couche piano/corde, ou lors de la permutation entre différents échantillons de percussions, par exemple. • Bas : définit la vélocité la plus basse qui déclenchera le groupe. Chapitre 12 EXS24 mkII 321 • Haut : définit la vélocité la plus haute qui déclenchera le groupe. Les notes jouées en dehors de cette plage de vélocité ne déclenchent pas les zones assignées à ce groupe. Remarque : les réglages définis ici remplacent les réglages de zone : lorsque la plage de vélocités d’une zone est plus étendue que celle du groupe, elle est limitée par le réglage du groupe. Mode charleston : utilisation du paramètre Poly d’EXS24 mkII Une application pratique du paramètre Poly est de configurer un « mode charleston » classique à l’intérieur d’une batterie complète, dont les sons sont répartis sur toute l’étendue du clavier. Dans ce scénario, vous pouvez assigner un échantillon charleston ouvert et fermé à un groupe et définir le paramètre Voice du groupe sur 1. Dans cet exemple, celui des deux échantillons charleston déclenché en dernier désactive le son de l’autre, une seule voix étant autorisée pour le groupe. Ce comportement est conforme à la réalité : un son de charleston ne peut être à la fois ouvert et fermé. Lorsque les échantillons se trouvant dans des zones sont assignés à un autre groupe, les autres sons de batterie peuvent toujours être joués de façon polyphonique. Utilisation des paramètres EXS24 mkII Advanced Group Selection Vous pouvez définir un événement MIDI spécifique à utiliser comme commutateur de sélection de groupes. Dès que l’événement de sélection défini est déclenché, les zones pointant vers ce groupe peuvent être lues, tandis que les autres groupes (sélectionnés à l’aide d’un événement différent) ne sont pas lus. L’événement défini ne lit pas de son et n’en modifie pas non plus ; il sert simplement de commutateur de sélection de groupe. Cliquez ici pour améliorer les critères de sélection. 322 Chapitre 12 EXS24 mkII Cette fonction utilise une note MIDI, un contrôleur et des événements de Pitch Bend (sur un canal MIDIspécifié). Vous devez d’abord définir un nombre de groupes comme « base » pour la commande Sélectionner par. Une fois le nombre de groupes défini, la sélection d’un groupe particulier signifie que seules les zones pointant vers ce groupe seront lues et que d’autres groupes ne le seront pas. Par exemple, si vous souhaitez que l’EXS24 mkII bascule automatiquement entre deux groupes d’échantillons d’instruments à cordes, l’un pour les échantillons en staccato et l’autre pour ceux en legato, vous pouvez utiliser pour les notes MIDI le menu Select Group By, et assigner une note MIDI différente pour le déclenchement de chaque groupe. De cette manière, vous pouvez utiliser une note (qui ne déclenche pas de son) comme commutateur de groupe à distance. Vous pouvez affiner davantage les conditions de sélection de groupes en cliquant sur le signe plus dans le coin supérieur droit de la colonne Sélection par regroupement. Pour poursuivre l’exemple de couche d’instrument à cordes staccato et legato, vous pouvez spécifier qu’un message de contrôleur permute entre différentes articulations. Pour obtenir un autre exemple d’utilisation de cette fonction, consultez Réassociation d’événements des roulettes de modulation et de Pitch Bend dans l’EXS24 mkII. Cliquez sur le signe moins pour supprimer une condition Sélection par regroupement et élargir les critères de sélection de groupes. Chapitre 12 EXS24 mkII 323 Réassociation d’événements des roulettes de modulation et de Pitch Bend dans l’EXS24 mkII Pour créer des performances réalistes de manière simple et intuitive, les instruments Jam Pack 4 (orchestre symphonique) utilisent la roulette de modulation pour permuter entre les articulations : legato, staccato, etc. La roulette de Pitch Bend est utilisée pour modifier l’expression : crescendo, diminuendo, etc. Vous trouverez davantage d’informations à ce sujet dans la documentation de Jam Pack 4. Vous pouvez réaliser cette opération en réassociant en interne les événements de Pitch Bend au contrôleur MIDI 11 et les événements de roulette de modulation au contrôleur MIDI 4. Pour garantir la compatibilité avec les instruments de Jam Pack 4, l’EXS24 mkII utilise automatiquement ce comportement de réassociation pour les instruments de Jam Pack 4. Vous pouvez également utiliser ce modèle de réassociation pour d’autres instruments en sélectionnant l’élément « Assigner la roulette de modulation et de ton à Ctrl. 4 et 11 » dans le menu Instrument. L’EXS24 mkII réassocie alors respectivement les événements entrants de la roulette de Pitch Bend et ceux de la roulette de modulation au contrôleur n°11 ou au contrôleur n°4. Les fonctionnalités de roulette de modulation et de Pitch Bend par défaut ne peuvent pas être utilisées dans ce mode. Édition graphique des zones et des groupes de l’EXS24 mkII L’édition des zones et des groupes ne se fait pas uniquement dans la section des paramètres. Vous pouvez aussi éditer graphiquement un certain nombre de paramètres de zone et de groupe, dans la zone d’affichage Zones ou Groups, au-dessus du clavier. Pour éditer le fichier audio d’une zone, consultez Édition d’échantillons dans l’Éditeur des échantillons de l’EXS24 mkII. Pour déplacer une zone ou un groupe µ Faites glisser la zone ou le groupe vers l’emplacement souhaité. 324 Chapitre 12 EXS24 mkII Pour déplacer plusieurs zones ou groupes µ Cliquez en appuyant sur la touche Maj ou faites glisser les zones ou les groupes, puis faites-les glisser vers l’emplacement souhaité. Pour modifier la note d’origine lors du déplacement d’une zone µ Maintenez enfoncée la combinaison Commande + Option tout en faisant glisser la zone. Pour modifier lanote de début ou de fin d’une zone ou d’un groupe, procédez comme suit 1 Placez le curseur au début ou à la fin d’une zone ou d’un groupe (le curseurse transforme en icône de redimensionnement). 2 Faites glisser le début ou la fin de la zone ou du groupe vers l’emplacement souhaité. Pour déplacer une zone horizontalement µ Utilisez l’un des raccourcis clavier suivants : • Déplacer la ou les zones/le ou les groupes sélectionné(e)s vers la gauche : option + Flèche gauche • Déplacer la ou les zones/le ou les groupes sélectionné(e)s vers la droite : option + Flèche droite Pour déplacer la note d’origine et l’emplacement de la zone µ Utilisez l’un des raccourcis clavier suivants : • Déplacer la ou les zones/le ou les groupes sélectionné(e)s vers la gauche (avec tonalité d’origine) : maj. + Option + touche Flèche vers la gauche • Déplacer la ou les zones/le ou les groupes sélectionné(e)s vers la droite (avec note fondam.) : maj. + Option + touche Flèche vers la droite Chapitre 12 EXS24 mkII 325 Pour éditer la plage de vélocité d’une zone ou d’un groupe, procédez comme suit 1 Cliquez sur le bouton Show Velocity, tout en haut de l’Éditeur d’instruments (ou utilisez le raccourci clavier Afficher/Masquer la vélocité). La zone d’affichage de la vélocité s’ouvre au-dessus de la zone d’affichage des zones ou des présentations. 2 Dans la zone d’affichage, cliquez sur un(e) ou plusieurs zones ou groupes. Les barres de vélocité des zones ou des groupes sélectionné(e)s apparaissent en surbrillance dans la zone d’affichage de la vélocité. 3 Déplacez le curseur sur la valeur High ou Low de la barre de vélocité que vous souhaitez modifier (le curseur se transforme en icône de redimensionnement). 4 Faites-le glisser vers le haut pour augmenter la valeur ou vers le bas pour la réduire. Enregistrer, renommer et exporter des instruments de l’EXS24 mkII Toutes les opérations de base relatives aux fichiers des instruments de l’échantillonneur sont accessibles via le menu Instrument de l’Éditeur d’instruments. • Enregistrer : enregistre l’instrument échantillonné chargé. Lors de la création d’un instrument, lorsque vous l’enregistrez pour la première fois, le système vous demande de lui attribuer un nom. Si vous éditez un instrument de l’échantillonneur existant et que vous utilisez cette commande, c’est le nom du fichier existant qui est utilisé et l’instrument d’origine est remplacé. Vous pouvez aussi utiliser le raccourci clavier Save Instrument. 326 Chapitre 12 EXS24 mkII • Enregistrer sous : enregistre l’instrument de l’échantillonneur qui est actuellement chargé, mais vous serez invité à fournir un nom de fichier (différent). Utilisez cette commande pour enregistrer une copie ou plusieurs versions d’un instrument de l’échantillonneur édité, au lieu d’écraser la version d’origine. • Rennomer : renomme l’instrument de l’échantillonneur chargé. La version renommée remplace la version d’origine sur le disque dur. • Exporterl’instrument de l’échantillonneur etlesfichiers des échantillons: copie l’instrument de l’échantillonneur sélectionné (y compris tous les fichiers audio associés) vers un autre emplacement de dossier. La sélection de cette commande ouvre un sélecteur de fichiers standard. Vous pouvez accéder à un dossier existant ou créer un nouveau dossier. Vous pouvez également utiliser le raccourci clavier correspondant (ctrl + C par défaut). Édition d’échantillons dansl’Éditeur des échantillons de l’EXS24 mkII MainStageL’EXS24 mkII et l’éditeur des échantillons étant intégrés pour fonctionner ensemble, l’EXS24 mkII ne nécessite pas d’éditeur graphique intégré. Le moyen le plus intuitif d’ajuster les points de départ et d’arrivée d’échantillon et de boucle consiste à travailler directement sur une représentation visuelle de la forme d’onde. Pour ouvrir l’Éditeur des échantillons µ Cliquez tout en maintenant la touche ctrl enfoncée sur les champs des paramètres Loop Start ou Loop End de la zone que vous souhaitez éditer dans la fenêtre Instrument Editor. Chapitre 12 EXS24 mkII 327 Cela ouvre un menu contextuel, que vous pouvez utiliser pour ouvrir l’échantillon sélectionné dansl’éditeur des échantillons de (ou l’éditeur des échantillons externe défini dans les préférences, consultez MainStageUtilisation d’un Éditeur d’instruments externe avec l’EXS24 mkII). Pour éditer les bords des échantillons et les points de boucle 1 Une fois l’échantillon ouvert dans l’Éditeur des échantillons, vous pouvez faire glisser ses bords et ses points de boucle de manière graphique. Le début de boucle est représenté par le marqueur DB. La fin de boucle est représentée par le marqueur FB. L’Éditeur des échantillons présente plusieurs commandes de boucle pratiques qui peuvent accélérer votre flux de travaux. Consultez Utilisation des commandes de boucle de l’Éditeur des échantillons de l’EXS24 mkII. 2 Une fois les éditions terminées, enregistrez l’échantillon. Les nouvelles valeurs écrites dans l’en-tête du fichier audio sont utilisées par l’EXS24 mkII. Remarque : les échantillons édités peuvent présenter des valeurs qui ne sont pas précisément indiquées dansl’Éditeur d’instruments. Consultez Mise à jour desinformations sur les zones de l’EXS24 mkII. Mise à jour des informations sur les zones de l’EXS24 mkII MainStageUne fois que vous avez enregistré et réouvert un échantillon qui a été édité dans l’Éditeur des échantillons ou dans un éditeur d’échantillons non conçu par Apple, il est probable que les valeurs des points de départ et d’arrivée ou des points de boucle indiquées dans la zone des paramètres ne soient plus exactes. Pour mettre à jour les informations sur les zones µ Ouvrez le menu Zone et sélectionnez la commande « Update Selected Zone(s) Info from Audio File ». Cette fonction lit les réglages de boucle et les points de départ et d’arrivée directement à partir du fichier audio et met à jour les réglages de la zone, indiqués dans la zone des paramètres, en conséquence. Utilisation des commandes de boucle de l’Éditeur des échantillons de l’EXS24 mkII Le menu Edit de l’Éditeur des échantillons inclut les éléments Sample Loop → Selection, Selection → Sample Loop et « Write Sample Loop to Audio File ». Pour utiliser les commandes Boucle d’échantillon de l’Éditeur des échantillons 1 Choisissez les commandes de sélection dans le menu Edit de l’Éditeur des échantillons : • Sample Loop → Selection : la zone de la boucle définie par les points de départ et d’arrivée de la boucle permet de sélectionner une partie du fichier audio global. • Selection → Sample Loop : la zone sélectionnée permet de définir les points de début et de fin de la boucle. 328 Chapitre 12 EXS24 mkII 2 Après avoir sélectionné la zone de votre choix à l’aide de l’une des commandes ci-dessus, choisissez Edit > Write Sample Loop to Audio File. Les nouvelles valeurs de la boucle seront inscrites dans l’en-tête du fichier audio. Utilisation d’un Éditeur d’instruments externe avec l’EXS24 mkII L’EXS24 mkII vous permet d’utiliser des applications externes telles que le keymap de Redmatica pour éditer vos instruments EXS. Pour ouvrir vos instruments EXS dans un éditeur d’instruments externe 1 Sélectionnez Options > Open in external Instrument Editor dans la fenêtre EXS24 mkII Parameter 2 Dansle sélecteur de fichiers, recherchez etsélectionnez le logiciel d’éditeur d’instruments de votre choix. 3 Répétez l’étape 1, maissélectionnez la commande «Open in [name of external instrument editor] ». C’est la même commande que celle indiquée ci-dessus, mais elle est automatiquement renommée après l’assignation d’un éditeur d’instruments externe. 4 Éditez l’instrument dans l’éditeur d’instruments externe, puis utilisez-le pour renvoyer l’instrument vers.MainStage Important : vous devez enregistrer l’instrument édité dans MainStage, pas dans l’éditeur externe, pour rendre permanent tout changement d’instrument. Pour réassigner l’éditeur d’instruments externe µ Maintenez enfoncée la commande Option tout en sélectionnant Options > Open in [name of external instrument editor]. Importation des instruments de l’échantillonneur de l’EXS24 mkII L’EXS24 mkII est compatible avec les formats d’échantillons AKAI S1000 et S3000, SoundFont2, SampleCell, DLS, Gigasampler et ReCycle, ainsi qu’avec Vienna Library. Consultez les rubriques suivantes : Importation de fichiers SoundFont2, SampleCell, DLS et Gigasampler Conversion de fichiers ReCycle en instruments EXS Conversion des fichiers AKAI avec l’EXS24 mkII Chapitre 12 EXS24 mkII 329 Importation de fichiers SoundFont2, SampleCell, DLS et Gigasampler L’EXS24 mkII reconnaît les fichiers SoundFont2, SampleCell, DLS et Gigasampler placés dans le dossier des instruments de l’échantillonneur et les convertit en instruments de l’échantillonneur. Pour importer des fichiers SoundFont2, SampleCell, DLS ou Gigasampler dans l’EXS24 mkII, procédez comme suit 1 Copiez ou déplacez vos fichiers SoundFont2, SampleCell, DLS ou Gigasampler dans le dossier ~/Bibliothèque/Application Support/Logic/Sampler Instruments. 2 Sélectionnez le fichier SoundFont2, SampleCell, DLS ou Gigasampler dans le menu local des instruments de l’échantillonneur de l’EXS24 mkII. L’EXS24 mkII convertit automatiquement le fichier de votre choix en instrument de l’échantillonneur EXS : • Un fichier instrument EXS est créé dans le dossier des instruments de l’échantillonneur. Ce dossier contient le fichier dans son format d’origine. • Les échantillons bruts associés à l’instrument de l’échantillonneur sont placés dans l’un des dossiers suivants, en fonction du format à convertir : • ~/Bibliothèque/Application Support/Logic/SoundFont Samples • ~/Bibliothèque/Application Support/Logic/SampleCell Samples • ~/Bibliothèque/Application Support/Logic/Gigasampler Samples • ~/Bibliothèque/Application Support/Logic/DLS Samples Échantillonneur Instruments Échantillons DLS (dossier) SampleCell Échantillons (dossier) Gigasampler Échantillons (dossier) SoundFont Échantillons (dossier) Instruments de l’échantillonneur (dossier) Logic (dossier) Gigasampler échantillonneur instrument DLS échantillonneur instrument SampleCell échantillonneur instrument SoundFont échantillonneur instrument La procédure définie ci-dessus s’applique également lors de l’importation de fichiers de banque SampleCell et SoundFont2. Cestypes de fichiers contiennent plusieurssons, outre les fichiers d’instruments uniques. 330 Chapitre 12 EXS24 mkII Lorsque vous chargez un fichier de banque SampleCell ou SoundFont2 dansl’EXS24 mkII, un dossier Banque et un dossier Échantillons sont créés, d’après le nom du fichier de banque SampleCell/SoundFont2. Les termes « Banque » ou « Échantillons » sont ajoutés à chaque nom de dossier. Un fichier d’instrument de l’échantillonneur EXS est automatiquement créé pour tous les sons de la banque et placés dans le nouveau dossier Banque. Le menu local des instruments de l’échantillonneurse met automatiquement à jour pour refléter la nouvelle hiérarchie du dossier. Pour chaque échantillon associé au fichier Banque, un dossier Échantillons est automatiquement créé dans le dossier SoundFont/SampleCell. Par exemple, si vous chargez dans l’EXS24 mkII un fichier de banque SoundFont2 nommé « Vintage Drums » contenant plus de 50 batteries individuelles provenant de batteries vintage différentes, ce qui suit se produit : • Un nouveau dossier nommé « Banque Vintage Drums » est créé dans le dossier ~/Bibliothèque/Application Support/Logic/Instruments de l’échantillonneur. • Un second dossier nommé « Échantillons Vintage Drums » est créé dans le dossier ~/Bibliothèque/Application Support/Logic/Échantillons SoundFont. • La hiérarchie du menu local Instruments de l’échantillonneur est mise à jour et l’entrée Vintage Drums d’origine est remplacée par une entrée Vintage Drums.Bank. Cette nouvelle entrée est un dossier contenant chaque instrument de l’échantillonneur. Elle peut être sélectionnée et chargée normalement. Échantillonneur Catégorie d’instrument Logic (dossier) Instruments de l’échantillonneur Instruments de l’échantillonneur (dossier) Échantillons EXS (dossier) Échantillons SoundFont (dossier) Basses (dossier) Banque batterie classique (dossier) Basses acoustiques (instrument de l’échantillonneur) Batterie classique, kit 1 (instrument de l’échantillonneur) Échantillons de batterie classique Échantillons de basses acoustiques Une foisla conversion terminée, lesfichierssource SoundFont2, SampleCell ou Gigasampler d’origine peuvent être librement supprimés des disques durs. Chapitre 12 EXS24 mkII 331 Remarque : lesinstruments échantillonnésimportés peuvent être stockés dans n’importe quel dossier des disques durs de votre ordinateur. Pour accéder à ces instruments à partir du menu local Instruments de l’échantillonneur, vous devez créer un alias pointant vers le dossier cible dans le dossier ~/Bibliothèque/Application Support/Logic/Instruments de l’échantillonneur. Conversion de fichiers ReCycle en instruments EXS ReCycle, programme d’édition d’échantillons du logiciel Propellerhead, peut générer un certain nombre de types de fichiers lisibles par .MainStage et l’EXS24 mkII ReCycle permet de diviser un échantillon en petitssegments appeléstranches, en fonction des crêtes de forme d’onde, appelées éléments transitoires, dans le fichier audio. ReCycle est donc capable de découper un fichier audio en coupes musicales pertinentes. La synchronisation de cestranches, dans une boucle de batterie, par exemple, est également associée à une région automatiquement générée, dans .MainStage L’EXS24 mkII prend en charge les types de fichiers ReCycle suivants : • Fichier Old ReCycle : ces fichiers ont pour suffixe .rcy. Leur abréviation est RCSO. Ils ne sont actuellement plus beaucoup utilisés. • Fichier d’exportation Old ReCycle : ces fichiers ont pour suffixe .rex. Leur abréviation est REX. Plusieurs anciennes bibliothèques d’échantillons incluent les fichiers au format REX. • Fichier ReCycle 2.0 : ces fichiers ont pour suffixe .rx2. Leur abréviation est REX2. Ils sont beaucoup utilisés par le logiciel Propellerheads Reason et de nombreuses bibliothèques d’échantillons incluent ce format de fichier. Génération d’une zone pour chaque coupe La commande « Extraire la région MIDI et créer un instrument » permet de créer un instrument EXS24 à partir d’un fichier ReCycle et de générer une zone indépendante pour chaque tranche. Pour créer uninstrument EXS et attribuer chaque coupe à une zone, procédez comme suit 1 Dans l’Éditeur d’instruments, sélectionnez Instrument > Conversion ReCycle > « Extract MIDI Region and Make New Instrument ». 2 Sélectionnez le fichier ReCycle de votre choix dans le sélecteur de fichiers, puis cliquez sur Open. 332 Chapitre 12 EXS24 mkII 3 Saisissez un facteur de vélocité dans la fenêtre Create MIDI Region (consultez ce qui suit pour obtenir des informations sur les régions). Le facteur de vélocité analyse le volume, crête d’élément transitoire, de chaque tranche dans le fichier ReCycle importé. Il associe ensuite cette valeur à une valeur de vélocité correspondante pour l’événement de note MIDI qui déclenche généralement la tranche. • Si vous entrez une valeur positive (jusqu’à 100), les tranches dont le volume est plus fort génèreront des événements de notes MIDI avec des valeurs de vélocité plus élevées. • Si vous entrez une valeur négative, ces mêmes tranches génèreront des vélocités de notes MIDI moins élevées pour chaque événement de note. 4 Cliquez sur OK. L’EXS24 mkII génère une zone pour chaque tranche du fichier ReCycle importé et attribue ces zones à un groupe unique. Le nouvel instrument EXS est nommé d’après la boucle ReCycle. Si un instrument EXS portant ce nom existe déjà, il sera suivi du symbole (#) et d’un numéro. Par exemple,si vousimportez un fichier ReCycle nommé « Tricky Backbeat » et qu’un instrument de l’échantillonneur portant le nom de « Tricky Backbeat » existe déjà, l’instrument importé aura pour nom « Tricky Backbeat#1 », afin que ce nom de fichier soit unique dans le dossier des instruments de l’échantillonneur. Une région MIDI est également générée sur la piste sélectionnée, au niveau du projet en cours, arrondi à la mesure. Cette région MIDI permet de déclencher les coupes au moment défini par le fichier ReCycle. Vous pouvez librement modifier ou supprimer la région car il est possible d’en générer de nouvelles à tout moment à partir de l’instrument EXS importé (consultez Génération d’une région MIDI à partir d’un instrument ReCycle). La commande « Extraire la région MIDI et ajouter des échantillons à cet instrument » permet d’ajouter les tranches d’une boucle ReCycle à n’importe quel instrument EXS ouvert dans l’Éditeur d’instruments. Vous pouvez ainsi utiliser plusieurs boucles ReCycle différentes dans un seul instrument échantillonné. Chapitre 12 EXS24 mkII 333 Attribution de toute la boucle ReCycle à une zone La commande Instrument > Conversion ReCycle > « Découper la boucle et créer un instrument » crée un instrument EXS à partir d’une boucle ReCycle. Chaque tranche est associée de manière chromatique sur le clavier, des notes basses aux notes élevées. Chaque zone reproduit la boucle ReCycle jusqu’au point d’arrivée, au tempo du projet en cours. La zone inférieure lira donc toute la boucle, tandis que la zone supérieure lira uniquement la dernière tranche. Les notes entre les zones inférieure et supérieure liront plusieurs tranches. Cela permet de déclencher une note à l’ancienne, dans le style « drum’n’bass », le point de départ de la boucle étant déterminé en jouant les notes respectives sur le clavier. La commande Instrument > Conversion ReCycle > « Découper la boucle et ajouter des échantillons à l’instrument » ajoute les zones de la boucle découpée à l’instrument de l’échantillonneur actif. Collage de boucles à partir du Presse-papiers La commande Édition > « Coller la boucle ReCycle comme nouvel instrument » crée un instrument EXS à partir de la boucle ReCycle copiée dans le Presse-papiers à l’aide de la fonction « Copier la boucle de ReCycle ». Cette méthode de création d’instrument donne le même résultat que lorsque vous utilisez la commande « Extraire la région MIDI et créer un instrument ». La commande Édition > « Coller la boucle ReCycle à cet instrument » ajoute les zones à l’instrument de l’échantillonneur actif. Génération d’une région MIDI à partir d’un instrument ReCycle Vous pouvez générer une région MIDI à partir de fichiers ReCycle importés. Ces régions déclenchent les tranches importées au moment défini par les fichiers ReCycle. Pour générer une nouvelle région MIDI à partir d’un instrument ReCycle, procédez comme suit µ Sélectionnez Instrument > Conversion ReCycle > « Extract Region(s) from ReCycle Instrument ». Les régions MIDI sont créées sur la piste sélectionnée, au niveau du projet en cours, arrondi à la mesure. Une région MIDI est générée pour chaque boucle ReCycle importée dans l’instrument ouvert. Cette fonction nécessite également un facteur de vélocité (consultez Génération d’une zone pour chaque coupe). Conversion des fichiers AKAI avec l’EXS24 mkII L’EXS24 mkII permet d’importer des échantillons aux formats AKAI S1000 et S3000. La fonction de conversion AKAI permet d’importer : • l’intégralité d’un CD-ROM au format AKAI, 334 Chapitre 12 EXS24 mkII • une partition AKAI, • un volume AKAI, • un programme AKAI, • un fichier audio seul (échantillon). Pour convertir des fichiers AKAI, procédez comme suit 1 Ouvrez le menu local Options dans la fenêtre des paramètres, puis sélectionnez AKAI Convert. Cela ouvre la fenêtre AKAI Convert, avec le texte Waiting for AKAI CD affiché sur les quatre colonnes. Pour en savoir plus, consultez la rubrique Paramètres EXS24 mkII AKAI Convert Window. 2 Insérez un disque d’échantillon au format AKAI dans votre lecteur optique. Le contenu du disque s’affiche. La colonne Partition contient les informations : Partition A, Partition B, etc. 3 Pour visualiser le contenu des partitions, cliquez sur l’entrée de votre choix pour afficher les informations sur le volume contenues dans la partition. Chapitre 12 EXS24 mkII 335 4 Pour naviguer plus avant dans la hiérarchie des dossiers du disque, cliquez sur les entrées de volume pour afficher tout programme contenu. Cliquez sur les entrées de programme pour afficher les fichiers audio bruts ou échantillons. Vous pouvez utiliser le bouton Prelisten en dessous de la colonne Fichier audio pour écouter des fichiers audio AKAI avant de décider de les importer ou pas. 5 Si vous le souhaitez, définissez tout paramètre de conversion AKAI supplémentaire, en bas de la fenêtre (consultez Paramètres EXS24 mkII AKAI Convert Window). 6 Une fois que vous avez sélectionné une partition, un volume ou un programme, cliquez sur le bouton Convert sous la colonne correspondante. Remarque : pour convertir l’intégralité d’un CD-ROM AKAI, cliquez sur le bouton Convert entire CD situé dans l’angle inférieur droit de la fenêtre AKAI Convert. La partition, le volume ou le programme sélectionné(e) est alors importé(e), ainsi que tous les fichiers audio associés. Logic (dossier) Instruments de l’échantillonneur (dossier) Échantillonneur AKAI Instruments AKAI Échantillons (dossier) Fichiers audio (échantillons) • Les fichiers audio importés sont stockés dans un dossier nommé d’après le volume. Ce dossier est créé dansle dossier ~/Bibliothèque/Application Support/Logic/AKAI Samples. 336 Chapitre 12 EXS24 mkII • Le nom des instruments de l’échantillonneur créés par le processus d’importation est le même que celui du programme correspondant. Cesinstruments de l’échantillonneur sont placés dans le dossier ~/Bibliothèque/Application Support/Logic/Instruments de l’échantillonneur ou dans le sous-dossier déterminé par le paramètre « Enregistrer le fichier instrument converti dans le sous-dossier ». Les sous-dossiers (dont le nom correspond au volume) sont créés lors de la conversion d’une partition. Si le volume ne contient qu’un seul programme, aucun sous-dossier n’est créé. Les sous-dossiers dont le nom correspond à la partition sont créés lors de la conversion de plusieurs partitions. Le menu local Instruments de l’échantillonneur affiche les instruments convertis de la façon suivante : Paramètres EXS24 mkII AKAI Convert Window La rubrique suivante explique les paramètres contenus dans la fenêtre AKAI Convert de l’EXS24 mkII. Pour en savoir plus sur la conversion de fichiers AKAI en instruments EXS, consultez Conversion des fichiers AKAI avec l’EXS24 mkII. • Enregistrerle fichierinstrument converti dansle sous-dossier: utilisez ce paramètre lorsque vous importez un disque entier. Il permet de créer un dossier dont le nom reflète celui du disque. Vous avez également la possibilité d’enregistrer vos instruments convertis dans un sous-dossier en fonction d’une catégorie, par exemple, Cordes. Ainsi, si votre disque AKAI est constitué d’échantillons d’instruments à cordes, tous les programmes ou volumes importés seront ajoutés au sous-dossier Cordes. • Pour entrer le nom d’un sous-dossier, cliquez dans le champ de ce paramètre, entrez le nom de votre choix, puis appuyez sur Retour. Tous les volumes et programmes importés seront automatiquement ajoutés à ce dossier. Chapitre 12 EXS24 mkII 337 Remarque : si le nom utilisé existe déjà, l’instrument de l’échantillonneur importé sera ajouté au dossier. Aucun dossier portant ce nom n’est créé. • Volume de sortie par défaut de l’instrument (head room) : il modifie le volume de sortie principal de façon non-destructive dans la fenêtre des paramètres. Ce paramètre peut être ajusté après la conversion. Au format AKAI, les sons de nappe de niveau constant et les instruments polyphoniques ont généralement un niveau de sortie plus élevé qu’un « drum groove », par exemple. Les niveaux de sortie de certainsinstruments AKAI convertis peuvent ainsi être beaucoup plus élevés que ceux du reste de votre bibliothèque d’instruments échantillonnés EXS24 mkII (les programmes convertis ont parfois un tel niveau sonore qu’ilsse coupent). Vous pouvez régler ce paramètre à votre convenance, de façon à limiter la réserve dynamique (le niveau de sortie) des réglages des paramètres de l’EXS24 mkII pour chaque programme AKAI converti. Pour trouver la valeur adéquate pour un disque AKAI, rien de tel que de faire vous-même quelques essais et d’apporter des corrections en fonction de vos besoins. Voici néanmoins quelques suggestions qui pourront vous aider : • Pour les disques de batterie, commencez soit sans rien changer (0 dB), soit avec une réserve dynamique de -3 dB. • Pour les disques de piano, cordes ou nappes, vous pouvez essayer une valeur de -9 dB. • Pour les programmes très sonores, tels que ceux des synthétiseurs analogiques superposés, vous pouvez même essayer avec -12 dB. • Si vous ne savez pas trop quelle valeur de réserve dynamique sélectionner, commencez par un réglage de -6 dB (valeur moyenne). • Fusionner les programmes (même canal MIDI et numéro de Prog. Change) en un seul instrument EXS : de nombreux disques créés pour les échantillonneurs AKAI proposent des programmes contenant plusieurs couches de vélocité « élémentaires » par instrument. Les échantillonneurs AKAI exigent le chargement de tout le volume ou de tousles programmes « élémentaires » nécessaires, pour pouvoir jouer toutesles couches de vélocité. Tous ces programmes sont automatiquement assignés au même canal MIDI et réagissent au même numéro de changement de programme MIDI. La fonction de conversion AKAI de l’EXS24 mkII vérifie intelligemment tous ces réglages et crée un instrument de l’échantillonneur EXS unique à partir de plusieurs programmes « élémentaires ». En général, cette option doit être activée lors de l’importation de ce type d’échantillons. • Il en va de même pour les disques de batterie dans lesquels des programmes élémentaires contiennent un instrument provenant d’une batterie complète : kick, snare, charleston, etc., comme des entités distinctes. Voussouhaiterez probablement fusionner ces programmes AKAI élémentaires dans un instrument de l’échantillonneur EXS unique, comme une batterie complète. 338 Chapitre 12 EXS24 mkII • Il existe toutefois un certain nombre de disques AKAI dans lesquels un seul volume AKAI issu d’un programme élémentaire contient tout l’instrument et les autres programmes du même volume possèdent le même canal MIDI et le même numéro de changement de programme MIDI préréglés. Pour ce type de disque, il n’est pas souhaitable d’utiliser le paramètre Fusionner les programmes. L’option doit donc être désactivée. • Créer des fichiers stéréos entrelacés lorsque c’est possible : il est conseillé de garder cette option toujours activée, car les fichiers entrelacés offrent de meilleures performances avec l’EXS24 mkII. Lors de la conversion d’échantillons au format AKAI, certains fichiers audio sont créés comme fichiers stéréo séparés et comme fichiers stéréo entrelacés. Ce sont les informations stockées avec le programme AKAI et les fichiers audio qui permettent de savoir s’il est possible ou non de créer un fichier entrelacé. Les fichiers correspondant aux canaux droit et gauche doivent disposer de réglages identiques, sinon ils ne peuvent pas être utilisés pour créer un fichier entrelacé. Gestion des instruments de l’échantillonneur EXS24 La liste desinstruments échantillonnéss’allonge au fur et à mesure que votre bibliothèque d’échantillons grossit. Pour que la liste desinstruments de l’échantillonneur reste gérable, l’EXS24 mkII offre une méthode de gestion des fichiers simple mais flexible. Pour classer hiérarchiquement vos instruments échantillonnés, procédez comme suit 1 Créez un dossier dans le Finder (Basses, par exemple) et faites-le glisser dans le dossier des instruments de l’échantillonneur de votre choix. 2 Faites glisser les instruments échantillonnés EXS24 mkII voulus dans le dossier qui vient d’être créé. La structure de menu modifiée est reproduite à l’ouverture du menu local desinstruments de l’échantillonneur. Chapitre 12 EXS24 mkII 339 Remarque : lorsque vous modifiez la hiérarchie des dossiers contenus dans le dossier Instruments de l’échantillonneur, vous devez sélectionner la commande Actualiser le menu, au-dessus du menu Instruments de l’échantillonneur. Le menu local Instruments de l’échantillonneur affiche dessous-menus uniquement pour les dossiers qui contiennent les fichiers instruments EXS. Les autres dossiers ne figurent pas dans le menu. Il est également possible d’ajouter dans ce menu les alias pointant vers des dossiers contenant des fichiers instruments EXS qui ne se trouvent pas dans les dossiers des instruments de l’échantillonneur. Même le dossier Instruments de l’échantillonneur peut être lui-même l’alias d’un dossier quise trouve sur un autre lecteur ou à un emplacement différent. Pour obtenir des informations sur la copie d’instruments de l’échantillonneur sur votre disque dur et la sauvegarde des instruments de l’échantillonneur utilisés dans un projet, consultez les rubriques Copie d’instruments de l’échantillonneur EXS24 sur votre disque dur et Sauvegarde des instruments de l’échantillonneur EXS24. Copie d’instruments de l’échantillonneur EXS24 sur votre disque dur Il est fortement conseillé de copier sur votre disque dur tous les instruments de l’échantillonneur EXS avec les fichiers audio qui leur sont associés. Vous bénéficiez ainsi d’un accès direct et immédiat à vos instruments échantillonnés, sans avoir à rechercher et insérer des CD-ROM ou des DVD. Cela vous permet également d’organiser vos instruments de l’échantillonneur pour répondre à vos besoins. En outre, les temps de chargement sont plus rapides et vous pouvez lire des échantillons dont la taille dépasse la RAM de votre ordinateur en les « diffusant » à partir de votre disque dur. Cette fonction ne convient pas aux lecteurs optiques. Pour copier des instruments de l’échantillonneur sur votre disque dur 1 Copiez le fichier de l’instrument échantillonné dansle dossier ~/Bibliothèque/Application Support/Logic/Sampler Instruments. 2 Copiez les échantillons associés dans un dossier Échantillons, dans le même répertoire que celui où se trouve le dossier des instruments de l’échantillonneur. Sauvegarde des instruments de l’échantillonneur EXS24 Vous pouvez utiliser le raccourci clavier « Sauvegarder les fichiers audio de tous les instruments utilisés et actifs de ce projet » pour copier les fichiers audio et les fichiers instruments de l’échantillonneur (de tous les instruments de l’échantillonneur actifs du projet) vers un emplacement de fichier spécifié. Les dossiers des fichiers audio associés à ces instruments échantillonnés sont créés dans l’emplacement cible. 340 Chapitre 12 EXS24 mkII Il est ainsi plus aisé de conserver tous vos instruments de l’échantillonneur et vos échantillons audio à un seul endroit, et vous êtes assuré que chaque dossier de projet contient tous les instruments de l’échantillonneur et les fichiers audio dont vous aurez besoin, même si vous n’avez pas accès à votre bibliothèque d’instruments de l’échantillonneur. Astuce : vous pouvez arriver au même résultat en configurant votre projet de telle sorte que les instruments échantillonnés et les échantillons de l’EXS24 soient copiés dans le dossier de projet. Pour en savoir plus, consultez le Manuel de l’utilisateur de Logic Pro. Réglage des Préférences Sampler de l’EXS24 mkII La fenêtre EXS24 mkII Sampler Preferences permet d’accéder aux préférences liées aux échantillons, telles que la qualité de conversion de la fréquence d’échantillonnage, la réponse de vélocité, la gestion des échantillons, les paramètres de recherche, etc. Pour ouvrir la fenêtre Sampler Preferences, effectuez l’une des opérations suivantes µ Dans la fenêtre des paramètres, ouvrez le menu local Options et choisissez Preferences. µ Dans l’Éditeur d’instruments, sélectionnez Edit > Preferences. • Menu local Sample Rate Conversion : détermine la qualité d’interpolation utilisée par l’EXS24 mkII. Sélectionnez Best pour maintenir la qualité sonore la plus élevée possible lors de la transposition. • Menu local Sample Storage : détermine la méthode de gestion des formats des échantillons utilisés par l’EXS24 mkII. • Original : télécharge des échantillons dansla RAM à leur profondeur de bits d’origine. Ceux-ci sont convertis au format 32 bits en virgule flottante de l’application hôte à la lecture. • 32 bits en virgule flottante : les échantillons sont stockés et chargés dans ce format. Il n’est alors plus nécessaire de réaliser de conversions en temps réel, ce qui permet à l’EXS24 mkII de gérer les données des échantillons de façon plus efficace et de lire un plus grand nombre de voix en simultané. Chapitre 12 EXS24 mkII 341 Remarque : les échantillons 16 bits requièrent deux fois plus de RAM et les échantillons 24 bits un tiers de plus. • Curseur Velocity Curve : détermine de quelle manière l’EXS24 mkII répond aux valeurs de vélocité entrantes. Les valeurs négatives accentuent la réponse aux frappes douces sur les touches, tandis que les valeurs positives la modèrent. • Menu local Search samples : détermine les emplacements sur lesquels l’EXS24 mkII recherche des échantillons d’instruments. Vous avez le choix entre : • Volumes Locaux : supports de stockage (disques durs et mécanismes optiques) reliés à l’ordinateur ou installés dessus. • Volumes externes : supports de stockage accessibles via un réseau. • Tousles volumes: supportsinternes et en réseau explorés pour rechercher les données appropriées. Remarque : si vous sélectionnez External Volumes ou All Volumes, le temps nécessaire à l’EXS24 mkII pour rechercher et charger les instruments de l’échantillonneur et les fichiers peut augmenter de façon spectaculaire. • Menu local Read root key from : définit la méthode utilisée par l’EXS24 mkII pour déterminer la note d’origine des fichiers audio chargés. Vous avez le choix entre les options suivantes : • Fichier/nom de fichier : lors du chargement d’un fichier audio dans une zone, l’EXS24 mkII consulte d’abord les informations relatives à la note d’origine contenues dans le fichier lui-même (dans l’en-tête du fichier AIFF ou WAVE). Si ce type d’information ne figure pas dans l’en-tête du fichier, une analyse intelligente du nom du fichier peut aider à retrouver la note fondamentale. Si cette seconde méthode ne donne aucun résultat utile, c’est la note Do3 qui est utilisée par défaut comme note fondamentale dans la zone. • Nom de fichier/fichier : comme ci-dessus, mais le nom de fichier est lu avant l’en-tête. • Nomde fichierseulement: recherche uniquement à partir du nom de fichier. Si aucune information n’est trouvée sur la note fondamentale, c’est la note Do3 qui est automatiquement assignée à la zone comme note fondamentale. • Fichier seulement : recherche uniquement à partir de l’en-tête du fichier. Si aucune information n’est trouvée sur la note fondamentale, c’est la note Do3 qui est automatiquement assignée à la zone comme note fondamentale. 342 Chapitre 12 EXS24 mkII • Menu local Root Key at File Name Position : normalement, l’EXS24 mkII détermine de façon intelligente la note fondamentale à partir de l’en-tête du fichier audio chargé. Il peut parfois arriver que vous souhaitiez contrôler ce paramètre manuellement, si vous pensez que la note d’origine n’est pas déterminée correctement. • Auto : effectue une analyse intelligente des chiffres et des notes éventuellement présents dans le nom du fichier. Un chiffre est reconnu dans un nom de fichier, quel que soitson format (« 60 » et « 060 » sont tousles deux valides, par exemple). D’autres nombres valides peuvent être compris entre 21 et 127. En général, les valeurs numériques en dehors de cette plage sont simplement des numéros de version. Un numéro de touche, C3, C 3, C_3, A-1, A-1 ou #C3, C#3 (Do3, Do 3, Do_3, La-1, La -1 ou #Do3, Do#3), par exemple, est également une valeur reconnue. Les valeurs possibles s’échelonnent de C-2 (Do-2) à G8 (Sol8). • Valeur numérique : dans certains cas, le concepteursonore a intégré plusieurs valeurs dans le nom du fichier : c’est souvent le cas pour les boucles, où une valeur indique le tempo (par exemple, « loop60-100.wav »). Il est alors impossible de savoir lequel de ces numéros indique une note d’origine, le cas échéant : 60 ou 100 pourraient indiquer le numéro du fichier dans une collection, un tempo, une note d’origine, etc. Vous pouvez définir la valeur « 8 » pour lire la note d’origine à la position (lettre/caractère) huit du nom du fichier (dans notre exemple, 100, soit Mi6). De même,si vous définissez la valeur 5, c’est la valeur 60 (soit Do3) qui est définie comme position de la note d’origine. • Instrument précédent et Instrument suivant : déterminez quel type d’événement MIDI et quelle valeur de données seront utilisés pour sélectionner l’instrument précédent ou suivant. Important : ces commandes sont uniques pour l’EXS24 mkII et sont distinctes des commandes globales « Réglage de module ou instrument EXS précédent/suivant ». Par conséquent, assurez-vous que vous n’assignez pas le même événement MIDI pour les deux commandes. Le cas échéant, les deux commandes s’exécutent, ce qui peut entraîner un comportement inattendu. • Sélectionnez un type d’événement MIDI dansles menuslocaux Instrument précédent et Instrument suivant. Vous avez le choix entre Note, Poly Pressure, Control Change, Program Change, Channel Pressure et Pitch Bend. Le champ en regard de chaque menu local vous permet d’entrer soit le numéro de note, soit la valeur du premier octet de données. Lorsque le paramètre Control Change est sélectionné, la valeur entrée dans le champ définit le numéro de contrôleur. • Case « Conversion Giga incluant le déclencheur de relâchement » : ce paramètre permet de déterminer si la fonction de déclencheur de relâchement du format Gigasampler est exécutée ou non par l’EXS24 mkII. Chapitre 12 EXS24 mkII 343 • Case « Ignorer la vélocité de relâchement » : se rapporte également à la fonction de déclencheur de relâchement du format Gigasampler et doit toujours être activée si vous utilisez ce dernier. Que votre clavier soit ou non capable d’envoyer des messages de vélocité de relâchement, vous pouvez alors faire en sorte que les échantillons joués par la fonction de déclencheur de relâchement soient plus forts ou moins forts que l’échantillon original, ou que les échantillons soient toujours lus au même niveau de volume sonore, quelle que soit la vélocité initiale. À l’inverse, lorsque vous jouez avec la fonction de déclencheur de relâchement, vous pouvez disposer d’une valeur de vélocité de relâchement identique à la valeur de vélocité initiale. Pour ce faire, vous pouvez désactiver la vélocité de relâchement. • Case « Garder en mémoire les échantillons les plus courants lors d’un passage d’un projet à l’autre »: détermine si les échantillons utilisés en commun (partagés) par deux fichiers de projets ouverts doivent être rechargés lorsque vous passez d’un projet à l’autre. Configuration de la mémoire virtuelle de l’EXS24 mkII De nos jours, les bibliothèques d’échantillons multigigaoctet sont très répandues, offrant des sons d’instruments d’un détail et d’une précision incroyables. Dans de nombreux cas, ces bibliothèques d’échantillons sont trop larges pour être intégrées dans la mémoire RAM de votre ordinateur. Afin d’utiliser ces gigantesquesinstruments de l’échantillonneur, l’EXS24 mkII peut utiliser une portion de votre disque dur comme mémoire virtuelle. Lorsque vous activez la mémoire virtuelle de l’EXS24 mkII,seulesles attaquesinitiales des échantillons audio sont chargées dans la RAM de votre ordinateur, le reste de l’échantillon est diffusé en continu en temps réel à partir du disque dur. Pour les systèmes disposant de 5 Go de RAM ou plus et exécutant la version 32 bits de l'application, lesfonctionnalitésrelatives à la mémoire virtuelle permettent au EXS24 mkII de s'adresser à sa propre mémoire. Les systèmes exécutant la version 64 bits de l'application adressent automatiquement toute la mémoire disponible. Consultez Gestion avancée de la RAM de l’EXS24 mkII. La fonction de mémoire virtuelle de l’EXS24 mkII peut être configurée dans la fenêtre Virtual Memory. 344 Chapitre 12 EXS24 mkII Pour ouvrir la fenêtre Virtual Memory, procédez comme suit µ Ouvrez le menu local Options dans la fenêtre des paramètres et sélectionnez Virtual Memory. • Case Activer : cochez cette case pour activer la fonction de mémoire virtuelle de l’EXS24 mkII. • Menu local External Memory Area : version 32 bits uniquement : Définit la manière dont la mémoire (de la mémoire externe à la RAM utilisée par l'application) est allouée. Consultez Gestion avancée de la RAM de l’EXS24 mkII. • Menu local Disk Drive Speed : spécifie la vitesse de votre disque dur. Si vous disposez d’un disque cadencé à au moins 7 200 TPM pour vos échantillons audio, sélectionnez le réglage Fast. Si vous utilisez un ordinateur portable cadencé à 5 400 TPM pour vos échantillons audio, sélectionnez Medium. Avec les Macintosh modernes, vous n’aurez généralement pas l’occasion d’utiliser le réglage Slow. • Menu local Hard Disk Recording Activity : spécifie l’utilisation générale du disque dur : c’est-à-dire la proportion d’enregistrement et de diffusion en continu de fichiers audio non échantillonnés. Par exemple, si vous enregistrez des batteries entières avec plus d’une douzaine de micros, en diffusant des guitares et des basses live en continu, en enregistrant des chœurs, etc., réglez le paramètre Activité d’enregistrement du disque sur Haute. Par contre, si vos projets sont principalement constitués d’instruments logiciels, avec éventuellement un ou deux instruments ou voix enregistré(e)s, réglez le paramètre Activité d’enregistrement du disque sur Basse. En cas de doute,sélectionnez Average. • Champ Requires Constant RAM Allocation of : indique la configuration de mémoire requise des paramètres ci-dessus. Plus votre disque dur est lent et plus votre activité d’enregistrement du disque est élevée, plus vous aurez besoin d’allouer de RAM à la mémoire virtuelle. Chapitre 12 EXS24 mkII 345 • Section Performance : indique le trafic d’E/S sur le disque et les données non lues à temps. Si ces valeurs augmentent, l’EXS24 mkII risque de rencontrer des problèmes pour diffuser vos échantillons à partir du disque. Si vous remarquez que ces valeurs atteignent des niveaux trop élevés, il est conseillé de modifier les réglages généraux afin de libérer de la RAM supplémentaire pour la mémoire virtuelle. Si des valeurs d’affichage des performances élevées continuent de s’afficher et que vous entendez desratés audio, il est conseillé d’installer de la RAM supplémentaire sur votre Macintosh. Gestion avancée de la RAM de l’EXS24 mkII Les applications 32 bits peuvent seulement prendre en charge 4 Go de RAM environ. L'EXS24 mkII peut prendre en charge son propre espace disque dans la version 32 bits de MainStage. Ceci permet au EXS24 mkII d'utiliser toute RAM disponible du système, à l'exception de la mémoire utilisée par l'application et le système d'exploitation. Une RAM de 5 Go au moins doit être installée sur votre ordinateur pour que vous puissiez profiter de cette fonctionnalité. La version 64 bits de MainStage n'a pas de limite de RAM et gère automatiquement toute la mémoire disponible du système. Cela permet d'utiliser une très large gamme d'instruments de l'échantillonneur. Pour définir des options avancées relatives à la mémoire pour l'EXS24 mkII en mode 32 bits. 1 Sélectionnez Options > Virtual Memory dans la fenêtre EXS24 mkII Parameter. 2 Dans la fenêtre Virtual Memory, cochez la case Active. 3 Dans le menu local External Memory Area, choisissez l'option requise. Remarque : le menu local External Memory Area de la fenêtre Virtual Memory apparaît en grisé dans la version 64 bits de MainStage lorsque l'application gère la mémoire RAM disponible. Si vous disposez d'assez de RAM physique pour tous les échantillons d'un projet, vous obtiendrez de meilleures performances en désactivant la case Activer. Dans les projets comprenant de nombreuses pistes audio et relativement peu d'instruments EXS24, décocher cette case peut avoir un effet remarquable sur les performances. Si la case Activer est désactivée est que vous ne disposez pas d'assez de RAM pour tous les échantillons, l'application permute des données de et versle disque, affectantsérieusement les performances. En désactivant cette case, vous augmentez aussi le temps de chargement du projet. Voilà pourquoi, dans la plupart des cas, il est préférable de la laisser cochée. Le volume de RAM que l’EXS24 mkII peut utiliser est déterminé par plusieurs facteurs, à savoir : • le volume de RAM physique installée sur votre ordinateur ; • le volume de RAM utilisé par les autres applications actives et par le système d'exploitation ; 346 Chapitre 12 EXS24 mkII • le volume de RAM utilisé par MainStage . Ces paramètres peuvent être affectés par le nombre et la taille desfichiers audio dansle projet, ainsi que le type de modules utilisés. Les modules d’échantillonneur ou de lecteur d'échantillons non conçus par Apple sont en particulier ceux qui peuvent considérablement affecter le volume de RAM utilisé par .MainStage Utilisation du logiciel Performance Tool de VSL dans l’EXS24 mkII L’EXS24 mkII intègre une interface complémentaire pour le logiciel Vienna Symphonic Library Performance Tool. Pour y accéder, vous devez installer le logiciel Performance Tool de VSL. Pour plus de détails, consultez la documentation relative à VSL. Chapitre 12 EXS24 mkII 347 KlopfGeist est un instrument optimisé pour fournir le battement d’un métronome dans MainStage. Par défaut, KlopfGeist est inséré automatiquementsur la tranche de console d’instrument numéro 256 et utilisé pour générer le battement d’un métronome MIDI. KlopfGeist peut également être inséré dans n’importe quelle autre tranche de console d’instrument de MainStage pour être utilisé comme instrument. Le présent chapitre couvre les aspects suivants : • Utilisation des paramètres KlopfGeist (p 350) 349 KlopfGeist 13 Utilisation des paramètres KlopfGeist Un examen des paramètres KlopfGeist montre qu’il est un synthétiseur conçu pour créer des sons de battement de métronome. Potentiomètre Detune Curseur Level via Vel Curseur Damp Potentiomètre Tune Curseur Tonality Boutons Trigger Mode • Boutons Trigger Mode : cliquez sur Mono pour utiliser KlopfGeist comme instrument monophonique ou sur Poly pour l’utiliser comme instrument polyphonique (4 voix). • Potentiomètre et champ Tune : accordent KlopfGeist par étapes de demi-ton. • Potentiomètre et champ Detune : affine KlopfGeist en centièmes (1/100e de demi-ton). • Curseur et champ Tonality : modifient le son de KlopfGeist, qui passe d’un bref battement à un son de percussion ayant une tonalité, comme un bloc de bois ou des claves. • Curseur et champ Damp : contrôlent le temps de libération. Le temps de relâchement le plus court est atteint lorsque Damp a sa valeur maximale (1,00). • Curseur et champs Level Via Vel : déterminent la sensibilité de KlopfGeist en matière de vélocité. La moitié supérieure du curseur (qui compte deux parties) détermine le volume pour la vélocité maximale, la moitié inférieure pour la vélocité minimale. Faites glisser la souris dans la zone entre les deux segments du curseur pour déplacer les deux simultanément. 350 Chapitre 13 KlopfGeist Sculpture est un synthétiseur qui génère des sons en simulant les propriétés physiques d’une corde en vibration. Cette approche de la création de tonalité s'appelle modélisation de composants. Cette méthode permet de créer un modèle virtuel d’instrument acoustique, par exemple un violon ou un violoncelle. Si les synthétiseurs sont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentaires sur les synthétiseurs, qui vous permettra de découvrir la terminologie associée et d’avoir une bonne vue d’ensemble des différentes méthodes de synthèse, ainsi que de leur fonctionnement. Le présent chapitre couvre les aspects suivants : • Présentation de l’interface Sculpture (p 352) • Présentation du cœur de synthèse Sculpture (p 353) • Présentation du paramètre Sculpture String (p 356) • Utilisation des paramètres Sculpture String (p 357) • Utilisation des objets dans Sculpture (p 364) • Utilisation des capteurs dans Sculpture (p 371) • Utilisation des paramètres Global dans Sculpture (p 373) • Utilisation des paramètres Amplitude Envelope dans Sculpture (p 376) • Utilisation du Waveshaper dans Sculpture (p 377) • Utilisation des paramètres Filter dans Sculpture (p 378) • Utilisation du paramètre Integrated Delay dans Sculpture (p 380) • Utilisation de l’option Body EQ dans Sculpture (p 383) • Utilisation des paramètres Output dans Sculpture (p 387) • Contrôle des paramètres Surround Range et Diversity dans Sculpture (p 387) • Utilisation du paramètre Modulation dans Sculpture (p 388) • Présentation des enveloppes de contrôle dans Sculpture (p 400) • Présentation de la section Morph dans Sculpture (p 408) • Affectation de contrôleurs MIDI dans Sculpture (p 418) 351 Sculpture 14 • Guide d’initiation à Sculpture : premiers contacts avec la création de sons (p 419) • Guide d’initiation à Sculpture : création de sons de base (p 425) • Guide d’initiation à Sculpture : Modulations (p 437) • Guide d’initiation avancé à Sculpture : programmation de basses électriques (p 438) • Guide d’initiation avancé à Sculpture : programmation de sons synthétisés (p 458) Présentation de l’interface Sculpture Cette section présente les principaux éléments de l’interface Sculpture. Section Modulation Moteur de son Sources de contrôle globales L’interface utilisateur de Sculpture se divise en trois zones principales. • Moteur de son : la partie supérieure de l’interface Sculpture (deux tiers supérieurs) contient le moteur de son. Celui-ci est divisé en cinq sous-sections : • Paramètres String : la nappe circulaire Matériel, située au centre, permet de créer et de contrôler une corde, déterminant ainsi le timbre de base de votre son. • Paramètres Object : la section de couleur argent foncé située en haut à gauche contient les paramètres d’objet, utilisés pourstimuler ou altérer la corde de différentes manières. 352 Chapitre 14 Sculpture • Paramètres Processing : paramètres de capture du signal de corde et de contrôle avancé du son. Ils incluent les paramètres de filtre, Waveshaper, de capteur et d’enveloppe d’amplitude. • Paramètres globaux : affectent le comportement général de Sculpture. • Paramètres Post-Processing : ces paramètres affectent le comportement général et la tonalité globale de l’instrument dans son ensemble. Ils incluent les paramètres Delay, Body EQ et Level Limiter. • Section Modulation : la zone bleu/gris située en dessous du moteur de son contient les sources de modulation (oscillateurs sub-audio (LFO), générateurs de fluctuations et enveloppes enregistrables). • Sources de contrôle globales : la section située en bas de l’interface vous permet d’attribuer des contrôleurs MIDI aux paramètres Sculpture. Cette section comprend également la nappe Morphing, un contrôleur dédié aux paramètres pouvant faire l’objet d’un morphing. Présentation du cœur de synthèse Sculpture Cette section est destinée à vous donner un aperçu de la façon dont fonctionne Sculpture. Elle contient des informations et des concepts clés, que vous devez comprendre avant d’utiliser les fonctionnalités et paramètres du programme. Sculpture utilise une méthode de synthèse appelée modélisation de composantes. Cette méthode de génération sonore vous permet de créer un modèle virtuel d’instrument acoustique, par exemple un violon ou un violoncelle. Il est alors possible de modéliser diverses composantes, telles que la longueur du manche, le matériau dans lequel est fabriqué l’instrument (bois ou métal, par exemple), le diamètre, la tension et le matériau des cordes (nylon ou acier), ainsi que la taille du corps de l’instrument. Outre les propriétés physiques de l’instrument, vous pouvez déterminer comment et où il doit être joué (archet ou pizzicato, en haut d’une montagne ou sous la surface de l’océan). D’autres aspects, tels que le bruit des doigts et le vibrato, peuvent également être émulés. Vous pouvez même imiter le bruit d’une baguette tapant les cordes de l’instrument ou celui d’une pièce tombant sur le chevalet, si vous le souhaitez. Sculpture ne se limite pas à recréer des instruments existants. Vous pouvez également associer librement plusieurs composantes, afin d’obtenir des instruments hybrides étonnants, par exemple une guitare de deux mètres de long dont le corps serait une cloche en bronze et qui serait jouée à l’aide d’un marteau en feutre. Si voussouhaitez créer une texture en perpétuelle évolution, pour la bande son d’un film, ou encore le son parfait pour illustrer le décollage d’un vaisseau spatial, Sculpture est l’outil qu’il vous faut. Chapitre 14 Sculpture 353 Toutefois, vous pouvez aussi créer des sons de synthétiseur plus traditionnels avec Sculpture. Ces opérations bénéficieront du processus de modélisation, qui tend à enrichir les sons en leur donnant une qualité plus « organique ». Vous obtenez comme résultat final des sons de nappe chauds et riches, des basses de synthétiseur plus profondes et plus rondes et des sons dominants plus puissants. Comme un instrument réel, Sculpture génère des sons en utilisant un objet (doigt, vent, baguette ou archet) pour stimuler un autre objet (corde de guitare ou anche). Remarque : pour faciliter la compréhension, nous appellerons cet objet stimulé « corde » tout au long du présent document. Comme avec un instrument réel, le son se compose de multiples éléments. La corde n’est pas seule responsable de la couleur tonale du son, les objets qui stimulent la corde ou affectent la corde ou le son global de quelque manière que ce soit jouent également un rôle important. Par exemple, imaginez une guitare à cordes d’acier dont vous jouez alternativement en grattant les cordes avec le pouce ou en les pinçant fortement avec les doigts. Une guitare à cordes de nylon ou à 12 cordes offrirait un son très différent. Ensuite, imaginez que vous appuyez les cordes sur les frettes; vous obtenez non seulement un accord différent, mais vous courbez également les cordes, et donc déformez leur tonalité. Entre autres aspects à prendre en compte, n’oubliez pas la taille et le matériau du corps de la guitare et l’influence de ces éléments sur les caractéristiques de résonance de votre son. D’autres facteurs, tels que la taille ou le type d’ouverture (forme ronde ou en S), le bruit des doigts sur les cordes et la technique de jeu utilisée, ont également un rôle important dans le son global obtenu. Sculpture vous permet de modéliser virtuellement le comportement et la consistance physique de l’instrument, ainsi que le comportement de toutes les composantes impliquées, d’où le nom de synthèse par modélisation des composantes. Capteurs Amplitude enveloppe Wave Outil de mise en forme Filter Delay Body EQ Level Limiter Objets Corde Ce schéma illustre le cheminement dessignaux du cœur du moteur de synthèse. Consultez les différentes options disponibles pour chaque paramètre présenté, afin de vous familiariser avec l’emplacement et l’utilisation des différentes fonctionnalités. 354 Chapitre 14 Sculpture Après stimulation de la corde par le biais de divers objets, la vibration de la corde est capturée par deux capteurs mobiles, semblables en concept et en fonctionnement aux capteurs électromagnétiques utiliséssur les guitares, les pianos et les clavinets électriques. Les capteurs envoient le signal à la section d’amplitude équipée d’ADSR, un Waveshaper doté de types sélectionnables et un filtre multimode. Ceux-ci permettent de « sculpter » votre son. Remarque : tous les éléments décrits ci-dessus existent sur la base de la voix. La somme de touslessignaux de voix peut alors être traitée par un effet de retard intégré. De là, le signal est envoyé vers un module interne de type égaliseur (Ég corps), qui simule globalement la réponse spectrale forme/corps de votre instrument. Le signal obtenu est alors transmis vers une section Level Limiter. De nombreuses sources de modulation sont aussi disponibles : des LFO avec tempo synchronisé aux générateurs de fluctuations et aux enveloppes enregistrables. Celles-ci peuvent contrôler les propriétés de corde et d’objet, le filtre, ainsi que d’autres paramètres. Vous pouvez même moduler d’autres sources de modulation, si vous le souhaitez. Une fonction de morphing enregistrable permet également des transitions douces ou brutales entre un maximum de cinq points de morphing. Un point de morphing est un ensemble de réglages de paramètre existants à un moment donné. Avant de commencer la présentation des paramètres Sculpture, il est important de noter que l’interaction entre les différentes sections du moteur de synthèse par modélisation de composantes est plus dynamique et plus fortement entrelacée qu’avec les autres méthodes de synthèse. Ceci peut amener à la génération de sons uniques, mais également entraîner des changements radicaux et parfois inattendus dès qu’un paramètre est légèrement modifié. De ce fait, une approche plus mesurée est recommandée dans l’utilisation de Sculpture, par rapport à un synthétiseur traditionnel, lorsque vous souhaitez obtenir un résultat spécifique. Conservez l’organigramme à portée de main tout en vous familiarisant avec l’interface et la programmation. Si vous adoptez une approche méthodique et que vous suivez l’organigramme, vous ne devriez pas être trop souvent confronté à des résultats inattendus. Sculpture est un synthétiseur « à performances », qui tire parti de l’utilisation des contrôleurs, des modulations et des différentes techniques de jeu. Prenez le temps de vousfamiliariser avec les possibilités offertes par les différents paramètres et commandes disponibles, aussi bien pour écouter lessonsintégrés au logiciel que pour créer les vôtres. Chapitre 14 Sculpture 355 Plusieurs sections de tutoriel sont à votre disposition, pour vous apprendre comment créer dessons dans Sculpture. Consultez Guide d’initiation à Sculpture : premiers contacts avec la création de sons. Cette section contient des informations qui vous aideront lors de vos premiers pas vers la création de sons dans Sculpture. La création de types de son spécifiques, parmi lessons de base de l’instrument, est évoquée dans plusieursrubriques. Consultez Guide d’initiation à Sculpture : création de sons de base. Pour en savoir plus sur la programmation de types de son particuliers, consultez Guide d’initiation avancé à Sculpture : programmation de basses électriques et Guide d’initiation avancé à Sculpture : programmation de sons synthétisés. Sculpture propose une large gamme d’options de modulation. Pour en savoir plussur cesfonctions, consultez Guide d’initiation à Sculpture : Modulations. Sculpture est un outil exigeant un important investissement en temps de votre part, mais vous serez récompensé par de belles sonorités organiques et chaudes, des ambiances sonores évolutives ou des sonorités rugueuses et métalliques de type « Hell’s Bells », si le cœur vous en dit. n’hésitez pas à vous lancer dans des expérimentations, car c’est dans cet esprit que Sculpture a été créé. Présentation du paramètre Sculpture String La corde est l’élément responsable de la tonalité de base de votre son. Vous pouvez en définir le matériau de fabrication et le comportement suivant la technique utilisée (corde pincée, frappée, jeu à l’archet, etc.). La corde elle-même ne produit pas de son, sauf si elle est stimulée (excitée ou perturbée) par au moins un objet. Vous pouvez utiliser jusqu’à trois objets de type différent pour exciter, perturber ou assourdir la corde (faire vibrer la corde ou altérer son mouvement). Consultez Utilisation des objets dans Sculpture. La corde et les objets (excitation/perturbation) de Sculpture jouent un rôle similaire à celui des oscillateurs des synthétiseurs traditionnels. Toutefois, la corde est un concept beaucoup plus sophistiqué que les simples oscillateurs. Pour simplifier, vous créez une forme d’onde, ou timbre de base, en décrivant de manière mathématique les propriétés de la corde et de son environnement. Celles-ci incluent, entre autres, le matériau dans lequel la corde est fabriquée, son épaisseur, sa longueur etsa tension,ses caractéristiques dansla durée, l’atmosphère danslaquelle elle est utilisée (eau, air, etc.) et la façon dont elle est jouée (frappée, frottée, avec un archet, etc.). Sculpture va bien au-delà de la simple création d’un nombre infini de timbres de base, cependant. L’une des différences essentielles entre la corde utilisée dans Sculpture et la forme d’onde d’un synthétiseur traditionnel est que le timbre de base généré par la corde demeure dans un état de flux constant. 356 Chapitre 14 Sculpture Autrement dit, si la corde de Sculpture continue de vibrer pour une note spécifique, le redéclenchement de cette même note donnera lieu à une interaction avec la vibration en cours. Cela se rapproche de l’effet obtenu en pinçant de façon répétée une corde de guitare, la corde continuant de vibrer lorsque la note suivante est jouée. Cette opération altère à chaque fois le spectre harmonique, ce qui explique pourquoi les guitares acoustiques produisent un son organique lorsqu’une note est jouée de façon répétée, contrairement aux guitares échantillonnées. Comme vous pouvez le constater, cela diffère nettement des autres méthodes de synthèse, avec lesquelles la forme d’onde du timbre de base, même lorsqu’il est modulé, n’interagit pas de façon harmonique avec les notes encore audibles redéclenchées. Dans les synthétiseurs traditionnels, la forme d’onde est généralement redémarrée, à partir du milieu du cycle ou depuis le début, ce qui entraîne une hausse du volume ou un léger déplacement cyclique de l’onde. Utilisation des paramètres Sculpture String Les paramètres de corde décrits dans cette section s’appliquent voix par voix. Vous remarquerez qu’un certain nombre de noms de paramètres sont suivis du terme «morphing possible». Cela signifie que ces paramètres peuvent faire l’objet d’un morphing, autrement dit de transitions plus ou moins progressives ou abruptes entre des points de morphing (cinq au maximum). Pour plus d’informations, consultez Présentation de la section Morph dans Sculpture. Curseurs Media Loss Boutons des vues Hide, Keyscale et Release Curseurs Tension Mod(ulation) Nappe Material Curseurs Resolution • BoutonsHide, Keyscale, Release View: utilisés pour basculer entre les différents affichages. Chaque bouton permet d’accéder à des paramètres différents, ou de les masquer. • NappeMatériel : détermine la tonalité de base de la corde, en définissantses propriétés de rigidité et de souplesse (atténuation). Chapitre 14 Sculpture 357 • Curseurs de paramètre String : les curseurs situés sur l’anneau extérieur de la nappe Matériel permettent de configurer en détail les propriétés et le comportement de la corde. • Curseurs Resolution : déterminent le nombre maximal d’harmoniques contenues dans le son (et la résolution spatiale de ce dernier) en C3 (Do3) (C (Do) central). • Curseurs Media Loss : Émule le niveau d’atténuation de la corde provoquée par son environnement (air, eau, etc.) en C3 (Do3) (C (Do) central). • Curseurs Tension Mod(ulation) : définit le désaccord de son temporaire en C3 (Do3) (C (Do) central). Utilisation des boutons de vue Hide, Keyscale et Release dans Sculpture Ces boutons permettent d’activer et de masquer les paramètres Keyscale et Release. Il vous suffit de cliquer sur le bouton Keyscale, Release ou Hide, selon les réglages que vous souhaitez effectuer. Les paramètres correspondants deviennent alors visibles dansl’anneau entourant la nappe Material. Cliquez sur ces boutons pour activer ou masquer les paramètres Keyscale ou Release. Vue Keyscale Vue Release Vue Hide • Bouton Keyscale : lorsque l’option Keyscale est activée, vous pouvez configurer des paramètres pour les notes en dessous de C3 (Do3) ou au-dessus. En d’autres termes, l’impact de ces paramètres peut être contrôlé sur l’étendue du clavier. Par exemple, un paramètre tel que la rigidité de la corde peut être plus intense dans les aigus et plus faible dans les graves. En pratique, cela se traduit par des notes plus harmoniques (douces) dans les graves et des sons dominants au spectre moins harmonique, plus dissonant, dans les aigus (notes au-dessus de C3 (Do3)). • Bouton Release : lorsque l’option Release est activée, vous pouvez configurer les paramètres Release pour la corde, ceux-ci affectant les vibrations de la corde une fois la touche relâchée. 358 Chapitre 14 Sculpture • Bouton Hide : permet de masquer plusieurs paramètres, ce qui simplifie l’interface et évite toute modification accidentelle des paramètres Keyscale et Release. Utilisation des paramètres de base de la nappe Material dans Sculpture La nappe Material joue le rôle de matrice pour les valeurs Stiffness (axe X) et Inner Loss (axe Y). Axe Inner Loss Axe Stiffness Boule de la nappe Material Le paramètre Inner Loss est utilisé pour émuler l’atténuation de la corde provoqué par son matériau : acier, verre, nylon ou bois. Les pertes varient en fonction de la fréquence, ce qui se traduit par un son devenant plus doux au fil de la phase de chute du niveau. Le paramètre Stiffness contrôle la rigidité de la corde. En réalité, cet aspect est déterminé par le matériau de la corde et son diamètre ou, pour être plus précis, par son moment d’inertie géométrique. Si voussélectionnez la valeur maximale pour le paramètre Stiffness, la corde devient une barre de métal solide. Les cordes rigides sont également le siège de vibrations non harmoniques ; autrement dit, les sons dominants ne sont pas nécessairement des multiples de la fréquence fondamentale. Au lieu de cela, elles ont des fréquences élevées, qui peuvent faire paraître fausses les notes aiguës et graves, les unes par rapport aux autres. Les quatre coins de la nappe Material indiquent le nom de différents équipements matériels. Chacun d’eux représente une combinaison des valeurs maximum/minimum des paramètres Stiffness et Inner Loss. La combinaison des positions des paramètresInner Loss et Stiffness détermine le matériau de la corde et, par conséquent, le timbre global de votre son. Voici quelques exemples, indiquant comment modifier la couleur tonale du son à l’aide des paramètres Inner Loss et Stiffness : • La combinaison de valeurs faibles pour Stiffness et de valeurs faibles pour Inner Loss génère des sons métalliques. Chapitre 14 Sculpture 359 • La combinaison de valeurs élevées pour Stiffness et de valeurs faibles pour Inner Loss génère une certaine résonance (cloche, son cristallin). • La combinaison de valeurs faibles pour Stiffness et de valeurs élevées pour Inner Loss correspond à des cordes en nylon ou catgut. • La combinaison de valeurs élevées pour Stiffness et de valeurs élevées pour Inner Loss correspond à des matériaux de type bois. Pour modifier les deux paramètres simultanément, faites glisser la boule marquant le point de réglage spécifique sur la nappe Material, sur les plans X et Y. Remarque : l’épaisseur de la corde (ligne horizontale verte dansla fenêtre Pickup) change lorsque vous déplacez cette boule (consultez Utilisation des curseurs du paramètre String dans Sculpture (morphing possible)). Utilisation de la nappe Material dans les affichages Keyscale et Release de Sculpture Dans les affichages Keyscale et Release, la nappe Material contient des commandes supplémentaires, destinées au réglage des paramètres Keyscale et Release. Contrôle losange Contrôle réticulaire Contrôle linéaire Contrôle losange Vue Keyscale Vue Release • Commandes Diamond : faites glisser la commande horizontalement pour régler les paramètres Stiffness Keyscale et verticalement pour les paramètres Innerloss Keyscale et Release. • Dans la vue Keyscale, les losanges matérialisent l’intersection entre les positions de suivi Inner Loss et Stiffness Low/High. Vous pouvez faire glisser directement ces losanges pour régler simultanément les deux paramètres. • Dans la vue Release, vous pouvez déplacer le losange verticalement uniquement, car vous ne pouvez pas modifier le comportement de relâchement pour le paramètre Stiffness. 360 Chapitre 14 Sculpture • Commandes de ligne et Crosshair : permettent de contrôler les paramètres Keyscale et Release lorsque leslosangessont masqués par la boule. L’option Crosshair vous permet également de modifier indépendamment le suivi clavier pour l’un des deux axes (positions X/Y, qui contrôlent les valeurs courantes Inner Loss et Stiffness). Remarque : cliquez sur l’une de ces commandes tout en appuyant sur la touche Option pour réinitialiser la valeur par défaut des paramètres associés. Définition des valeurs Inner Loss Keyscale dans Sculpture Les paramètres Inner Loss Keyscale vous permettent de contrôler le degré d’atténuation de manière indépendante, pour les notes au-dessus et en dessous de C (Do), en modifiant le degré d’atténuation appliqué lorsque vous jouez plus bas ou plus haut sur le clavier. Pour régler la valeur de suivi Inner Loss 1 Activez le bouton Keyscale. 2 Faites glisser la ligne horizontale verte pour les notes graves(ou la ligne horizontale bleue pour les notes aiguës) jusqu’à la position souhaitée. Vous pouvez définir les pertes internes (Inner Loss) de manière à ce qu’elles augmentent lorsque la touche est relâchée, en sélectionnant une valeur supérieure ou égale à 1. Ceci entraîne toutefois un effet inhabituel, car le son obtenu équivaut à changer le matériau de la corde après relâchement de la note. Les losanges matérialisent l’intersection entre les positions de suivi Inner Loss et Stiffness Low/High. Vous pouvez faire glisser ces losanges pour régler simultanément les deux paramètres. Définition des valeurs Stiffness Keyscale dans Sculpture Les paramètres Stiffness Keyscale vous permettent de régler la rigidité de la corde de manière indépendante, pour les notes au-dessus et en dessous du C (Do) central, en modifiant le degré de contenu non harmonique appliqué lorsque vous jouez plus bas ou plus haut sur le clavier. Pour régler la valeur de suivi Stiffness 1 Activez le bouton Keyscale. 2 Faites glisser la ligne verticale verte pour les notes graves (ou la ligne verticale bleue pour les notes aiguës) jusqu’à la position souhaitée, sur le plan horizontal. Astuce : vous pouvez agir simultanément sur le suivi clavier des paramètres Stiffness et Inner Loss en faisant glisser le losange matérialisant l’intersection entre les lignes vertes. Définition du comportement de relâchement du paramètre Inner Loss dans Sculpture Dans la vue Release, vous pouvez définir comment le degré d’atténuation appliqué à la corde change lorsque vous relâchez la touche. Chapitre 14 Sculpture 361 Pour régler la valeur de relâchement Inner Loss 1 Activez le bouton Release. 2 Faites glisser la ligne bleue Release verticalement, jusqu’à la position souhaitée. Remarque : une utilisation plus classique de ce paramètre, c’est-à-dire conjointement avec le paramètre Media Loss Scale Release (consultez Utilisation des curseurs du paramètre String dans Sculpture (morphing possible)), permet d’obtenir une simulation naturelle des cordes amorties lorsque la note est relâchée. Utilisation des curseurs du paramètre String dans Sculpture (morphing possible) Les curseurs situés sur l’anneau extérieur de la nappe Matériel permettent de configurer en détail les propriétés et le comportement de la corde. Nappe Material en vue Keyscale Curseur Resolution Curseur de mise à l’échelle basse Resolution Curseur de mise à l’échelle élevée Resolution • Curseurs Resolution : déterminent le nombre maximal d’harmoniques contenues dans le son (et la résolution spatiale de ce dernier) en C3 (Do3). La modification de la valeur du paramètre Resolution change l’interaction de la corde avec les objets, Ceci a également un effet sur la fréquence des sons dominants ; des valeurs très faibles pour le paramètre Resolution créent un spectre non harmonique, même avec le paramètre Stiffness défini sur 0. Dans la vue Keyscale, les curseurs Resolution High et Low Scaling s’affichent : • Curseur Resolution High Scaling (bleu) : définit la résolution (précision) du suivi clavier pour les notes au-dessus du C (Do) central (C3(Do3)). • Curseur Resolution Low Scaling (vert) : définit la résolution du suivi clavier pour les notes en dessous du C (Do) central. Remarque : des valeurs de résolution élevées améliorent la précision des calculs, ce qui augmente de manière significative le volume de traitement informatique. 362 Chapitre 14 Sculpture • Curseurs Media Loss : permet de contrôler le degré d’atténuation de la corde provoqué par son environnement (atmosphère) : air, eau, huile d’olive, etc. Ces pertes sont indépendantes de la fréquence. Ceci permet de contrôler la durée de la chute exponentielle de l’amplitude, une fois l’excitation de la corde terminée. • Dans la vue Keyscale, les curseurs Media Loss Low et High Scaling sont utilisés pour définir la résolution (précision) du suivi clavier, de manière indépendante pour les notes au-dessus et en dessous du C (Do) central (C3 (Do3)). • Dans la vue Release, le curseur Media Loss Release détermine le comportement en termes de perte média, lorsque la touche est relâchée. • Curseurs Tension Mod : permettent de contrôler le désaccord momentané de la corde. Les cordes d’un instrument, par exemple d’une guitare, présentent un comportement particulièrement non linéaire ; si l’excursion de la corde est trop importante, celle-ci se désaccorde vers le haut. Ce désaccord étant provoqué par une excursion momentanée de la corde, et non par une excursion moyenne, le désaccord se produit trèsrapidement. Techniquement, ce phénomène est connu sous le nom de « non-linéarité de la modulation de tension ». D’un point de vue non technique, définir ou moduler le curseur Tension Mod au-delà de 0 imite cet effet de désaccord momentané dans Sculpture. Remarque : cet effet non linéaire peut aboutir à des résultats surprenants, voire rendre tout le modèle instable, surtout si vous le combinez avec des valeurs faibles au niveau des paramètres Media Loss et Inner Loss. Par conséquent, si vous vous apercevez que votre son « pique » ou « tombe » lors de la phase de chute, essayez de réduire la valeur du paramètre Tension Mod et peut-être de Resolution. Pour régler la valeur de suivi Resolution 1 Activez le bouton Keyscale. 2 Faites glisser jusqu’à la position souhaitée le curseur inférieur vert, à l’intérieur de la partie supérieure de l’anneau de la nappe Material, pour les notes graves(ou le curseursupérieur bleu de l’anneau extérieur pour les notes aiguës). Pour régler la valeur de suivi Media Loss 1 Activez le bouton Keyscale. 2 Faites glisser jusqu’à la position souhaitée le curseur vert, à l’intérieur du côté gauche de l’anneau de la nappe Material. Pour régler le temps de relâchement Media Loss 1 Activez le bouton Release. 2 Faites glisser jusqu’à la position souhaitée le curseur bleu, dans l’anneau extérieur situé du côté gauche de la nappe Material. Chapitre 14 Sculpture 363 Pour des valeurs supérieures à 1,0, les pertes dans le matériau augmentent lorsque vous relâchez la touche. Ce paramètre permet, par exemple, de simuler l’immersion d’une corde dans un seau d’eau après sa mise en vibration dans l’air. Évidemment, un violoniste ou un pianiste « normal » ne se livre pas habituellement à ce genre d’expérience, mais cela peut servir à créer des variations sonores intéressantes. Pour régler la valeur de suivi Tension Mod 1 Activez le bouton Keyscale. 2 Faites glisser jusqu’à la position souhaitée le curseur inférieur vert, à l’intérieur du côté droit de l’anneau de la nappe Material, pour les notes graves (ou le curseur supérieur bleu à droite de l’anneau extérieur pour les notes aiguës). Astuce : si vous trouvez que votre instrument est désaccordé, un peu trop haut ou trop bas, lorsque vous jouez de bas en haut du clavier, essayez de modifier les valeurs de suivi clavier du paramètre Tension Mod, voire du paramètre Media Loss. Utilisation des objets dans Sculpture Les objets sont utilisés pour stimuler ou altérer la corde de différentes manières. Les paramètres d’objet décrits dans cette section s’appliquent voix par voix. Vousremarquerez qu’un certain nombre de noms de paramètres sont suivis du terme « morphing possible». Cela signifie que ces paramètres peuvent faire l’objet d’un morphing, autrement dit de transitions plus ou moins progressives ou abruptes entre des points de morphing (cinq au maximum). Pour plus d’informations, consultez Présentation de la section Morph dans Sculpture. Important : au moins un objet doit être utilisé pour exciter ou perturber la corde, car la corde seule ne produit pas de son. Il existe divers modèles pour exciter/perturber/assourdir la corde : souffle, pincement, archet, etc. Ceux-ci influencent radicalement le timbre général lors de la phase d’attaque ; vous pouvez ainsi obtenir des sons de flûte pizzicato ou de cloche joués à l’archet ou pincés, ou encore de guitares avec une attaque soufflée. En utilisant judicieusement les paramètres des objets, vous pouvez obtenir desimitations très précises d’instruments réels ou des sons venus carrément d’un autre monde. Il est important de noter que chaque objet supplémentaire utilisé pour perturber ou assourdir la corde exerce une influence sur celle-ci. En outre, cela modifie l’interaction avec tout autre objet actif pour la corde, ce qui entraîne souvent un vrai changement de caractère sonore. 364 Chapitre 14 Sculpture Bien entendu, changer de caractère sonore est souvent la principale raison pour utiliser un nouvel objet ; toutefois, selon les autres réglages de corde déjà effectués, la combinaison « pincement + souffle » que vous avez sélectionnée peut fort bien sonner comme des ongles grinçant sur un tableau noir au lieu du son de flûte de Pan pizzicato que vous recherchiez au départ. Il est donc primordial d’accorder une attention toute particulière aux paramètres Type et Strength du modèle des objets. Par exemple, vous vous apercevrez peut-être que le caractère de l’objet excitateur (objet 1) a changé de façon significative et qu’il vousfaudra alors modifier les paramètres de tous les objets(et même plusieurs valeurs des paramètres de corde) après avoir introduit un nouvel objet de perturbation ou d’atténuation (2 ou 3). De même,sélectionner un type d’objet d’excitation différent aura un impactsur les objets de perturbation ou d’atténuation (etsur la corde elle-même), ce qui modifiera le caractère de votre son. Modifier la position des objets change également le timbre de la corde. Par exemple, si vousimitez une guitare, le fait de changer la position d’un objet revient en réalité à pincer ou à jouer à l’archet une corde à différents endroits, dans le sens de la longueur. Utilisation des paramètres d’objet dans Sculpture Les paramètres suivants servent à exciter, perturber ou amortir les vibrations de la corde. Bouton On/Off Curseur Timbre Potentiomètre Strength Boutons du mode Gate Curseur Velo Sens (sensibilité à la vélocité) Curseur Variation Cliquez ici pour accéder au menu Type. • Boutons On/Off (1, 2 et 3) : active/désactive l’objet concerné. • Menu Type : détermine le type de chaque objet. Consultez Tableau destypes d’excitation disponibles dans Sculpture (objets 1 et 2) et Tableau des types de perturbation et d’atténuation (objets 2 et 3). Chapitre 14 Sculpture 365 • Boutons Gate Mode : détermine quand l’objet est actif, autrement dit quand il perturbe ou excite la corde. Vous avez le choix entre les options suivantes : • KeyOn : entre l’activation et la désactivation de la note. • Always : entre l’activation de la note et la fin de la phase de relâchement. • KeyOff : déclenché à la désactivation de la note et demeurant actif jusqu’au relâchement de la voix. Remarque : certainstypes d’objet, tels que Gravity Strike, peuvent redéclencher la note lorsque vous relâchez une touche (mode gate Key On). Si vous rencontrez cet artefact, essayez de définir le paramètre Gate Mode sur Always et/ou de réduire la valeur Strength pour l’objet. • Potentiomètre Strength (morphing possible) : permet de définir l’intensité de l’excitation/la perturbation, suivant le type choisi. Reportez-vous au tableau ci-dessous. Une valeur de 0 désactive complètement l’excitation/la perturbation. Contrairement à ce qui se passe avec le bouton On/Off de chaque objet, vous pouvez effectuer un fondu avec le paramètre Strength par le biais des options de modulation et/ou de morphing. • Curseur Timbre (morphing possible) : permet de définir le timbre (couleur tonale) du type d’excitation/de perturbation choisi. La valeur par défaut de cet objet est 0 (zéro). Avec des valeurs positives, le son devient plus brillant ; avec des valeurs négatives, vous obtenez un son plus doux. • Curseur Variation (morphing possible) : autre paramètre de réglage du timbre, qui dépend également du type choisi. Reportez-vous au tableau ci-dessous pour plus de détails sur son influence sur le son. • Curseur VeloSens(objets 1 et 2 uniquement) : les objets d’excitation/de perturbation sont sensibles à la vélocité, mais ce comportement ne convient pas à tous les sons. Ce paramètre,situé au niveau inférieur des objets 1 et 2, permet de réduire à 0 la sensibilité à la vélocité. Remarque : un objet n’est sensible à la vélocité que si vous avez sélectionné un type qui excite la corde de façon active. Le curseur Velocity est disponible uniquement pour les objets sensibles à la vélocité. • L’objet 1 est sensible à la vélocité. • L’objet 2 peut être ou non sensible à la vélocité, suivant le type d’objet choisi. • L’objet 3 n’est pas sensible à la vélocité. Tableau des types d’excitation disponibles dans Sculpture (objets 1 et 2) Avant de consulter le tableau des propriétés et destypes d’objet, il est important de noter ce qui suit : • L’objet 1 ne peut utiliser que les types d’excitation se trouvant dans le premier tableau. 366 Chapitre 14 Sculpture • L’objet 2 peut utiliser tous les types d’excitation figurant dans les deux tableaux. • L’objet 3 ne peut utiliser que lestypes de perturbation/amortissementse trouvant dans le second tableau. Le tableau suivant dresse la liste de touslestypes d’excitation disponibles pour les objets 1 et 2 ; il contient également des informations sur les commandes disponibles pour chacun d’eux. Variation Timbre contrôle... contrôle... Strength Nom Description contrôle... Sensibilité à la vélocité de la largeur l’amplitude de la largeur l’impulsion Impulse Impulsion courte la rigidité du feutre la masse du marteau la vitesse de départ du marteau (selon la vélocité) Excitation courte, type marteau de piano ou mailloche Strike la rigidité du la gravitation feutre la vitesse de départ du marteau Comme le marteau, mais en tenant compte de la gravitation côté corde, ce qui suscite de multiples interactions marteau/corde et perturbe les vibrations de la corde GravStrike la rigidité du médiator le rapport force/vitesse la force et la vitesse du pincement Pincement (doigt ou médiator) Pick les caractéristiques du glissement la pression de l’archet la vitesse de l’archet Bow Jeu à l’archet les caractéristiques du glissement la pression de l’archet la vitesse de l’archet Même chose que pour Bow, mais avec un archet plus large, ce qui donne une tonalité plus douce qui convient bien aux changements progressifs de position d’archet Bow Wide Chapitre 14 Sculpture 367 Variation Timbre contrôle... contrôle... Strength Nom Description contrôle... la résonance du bruit la bande passante/fréquence de coupure du bruit Bruit injecté dans le niveau de bruit la corde Noise le retrait de la la pression de l’air le bruit de souffle lèvre Souffle dans une extrémité de la corde (colonne d’air ou tube). À différentes positions, en commençant par 0 (extrême gauche), déplacez la position et le sens du souffle, depuis le long de la corde jusqu’à une extrémité. La corde reçoit le souffle sur le côté, à la position choisie. Blow Largeur (taille) de la partie de la corde affectée par le signal latéral la fréquence de coupure du filtre passe-bas utilisé pour le traitement du signal latéral Envoie un signal Level latéral dans la corde. Externe (disponible uniquement pour l’objet 2) Tableau des types de perturbation et d’atténuation (objets 2 et 3) Le tableau suivant répertorie touslestypes de perturbation et d’amortissement disponibles pour les objets 2 et 3. 368 Chapitre 14 Sculpture Variation Timbre contrôle... contrôle... Strength Nom Description contrôle... la largeur des contrôles. • Valeurs négatives:seule une petite partie de la corde est affectée. • Valeurs positives : une partie plus longue de la corde est affectée. la distance par rapport à la position de repos. • Valeurs négatives : écarte la corde de sa position de repos. • Valeurs positives : la corde n’est pas affectée lorsqu’elle est en position de repos. la dureté de l’objet Objet d’entrave placé à distance fixe de la position de repos de la corde. Disturb le débattement de Aucun effet l’anneau (la distance séparant l’anneau de la corde) • Valeurs négatives : les bordsintérieurs de l’anneau d’atténuation se touchent, ce qui a une incidence sur la corde au moindre mouvement. • Valeurs positives : l’intérieur de l’anneau présente un certain débattement. La corde n’est influencée que si elle bouge suffisamment pour toucher l’anneau. la dureté de l’anneau Ce paramètre s’apparente à un anneau placé autour de la corde, limitant ses vibrations dans toutes les directions. Disturb 2-Sided Chapitre 14 Sculpture 369 Variation Timbre contrôle... contrôle... Strength Nom Description contrôle... l’amortissement de l’objet la rigidité de l’objet Contrôle la constante de gravité pour l’objet reposant ou rebondissant sur la corde. Simule un objet « volant » reposant ou rebondissant sur la corde vibrante et interagissant avec elle. Ce comportement est très aléatoire par nature et ne peut être synchronisé. Bouncing l’amplitude de la réflexion au niveau deslimites. la pente (raideur) de la limite. Une valeur de 0,0 place la limite parallèlement à la corde. Pour les autres valeurs, la limite est placée plus près de la corde d’un côté et plus loin de l’autre. la distance séparant la position centrale de la position de repos de la corde. Limite arrêtant et réfléchissant le mouvement de la corde. S’apparente à une frette, qui limite le mouvement de la corde lorsque vous la pincez. Bound la valeur (taille) de Aucun effet Aucun effet la masse ou du poids Sert à modéliser une masse supplémentaire attachée à la corde. Vous pouvez ainsi obtenir des sons non harmoniques et des résultats très intéressants en modulant la position de cette masse le long de la corde. Mass la largeur de la section amortie de la corde les caractéristiques de l’amortissement l’intensité de l’amortissement Amortisseur localisé, utile pour un amortissement doux. Damp 370 Chapitre 14 Sculpture Utilisation des capteurs dans Sculpture Les paramètres de capteur décrits dans cette section s’appliquent voix par voix. Vous remarquerez qu’un certain nombre de noms de paramètres sont suivis du terme «morphing possible». Cela signifie que ces paramètres peuvent faire l’objet d’un morphing, autrement dit de transitions plus ou moins progressives ou abruptes entre des points de morphing (cinq au maximum). Pour en savoir plus, voir Présentation de la section Morph dans Sculpture. Les capteurs sont les premiers éléments situés après le système de génération sonore de Sculpture (composé de la corde et des objets) ; ils servent d’entrée pour la chaîne de traitement du signal virtuel. Considérez ces capteurs comme l’équivalent des capteurs électromagnétiques d’une guitare électrique ou d’un clavinet. Bien évidemment, toute modification de leur position change la tonalité de la guitare ; le même principe est respecté dans Sculpture. Curseur de position du capteur A Bouton Invert Curseur de position de l’objet Curseur de position de l’objet Curseur de position de l’objet • Curseurs de position Object (morphing possible) : les curseurs 1, 2 et 3 déterminent la position respective de chaque objet (excitation/perturbation/atténuation) le long de la corde. Consultez Modification de la position d’un objet dans l’écran Display de Sculpture. • Curseur de position Pickup A (morphing possible) : détermine la position du capteur Pickup A le long de la corde. Les valeurs 0 et 1 correspondent aux deux extrémités de la corde, respectivement la gauche et la droite. • Curseur de position Pickup B (morphing possible) : détermine la position du capteur Pickup B le long de la corde, indiquée en dessous du curseur de position 3 (Object) en bas de l’image. • Bouton Invert (Pickup B Phase) : inverse la phase du capteur Pickup B. Bouton situé en bas à gauche de l’écran Pickup. Les options possibles sont normal ou invert(ed). Remarque : si la phase du capteur Pickup B est définie sur Inverted, le son devient plus grêle, car certaines portions dessignaux issus des capteurs PickupA et Pickup B s’annulent. Toutefois, en fonction de la position des capteurs, l’inverse peut se produire et vous obtenez alors un son particulièrement riche et profond. Chapitre 14 Sculpture 371 Pour régler la position du capteur Pickup A ou Pickup B µ Faites glisser le curseur correspondant, en haut ou en bas de l’écran Pickup. Les plages des capteurs Pickup A et B s’affichent sous la forme de courbes transparentes en cloche, qui représentent la position et la largeur des capteurs. La ligne horizontale verte située à l’intérieur de la fenêtre Pickup représente la corde. Plus vous augmentez la valeur du paramètre Stiffness de la corde, plus la ligne s’épaissit. La ligne peut être animée et affiche alors la plage de mouvement de la corde. Pour afficher une animation de corde µ Cliquez sur la ligne horizontale verte (corde) tout en appuyant sur la touche ctrl pour activer ou désactiver l’animation. Lorsque l’animation est activée, la corde vibre, ce qui permet de visualiser plusfacilement l’impact des objets et des capteurs. Notez que cette animation de la corde mobilise les ressources du processeur ; n’hésitez donc pas à la désactiver si votre ordinateur a du mal à traiter toutes les données en temps réel. Modification de la position d’un objet dans l’écran Display de Sculpture Le réglage de la position d’un objet perturbe/excite une portion donnée de la corde. Les lignes verticales orange représentent la position des objets 1, 2 et 3. L’épaisseur et l’éclat de ces lignes indiquent la résistance/rigidité des objets. L’objet 1 peut être un excitateur. L’objet 3 peut être un amortisseur. L’objet 2 présente deux flèches, ce qui signifie qu’il peut servir soit d’excitateur, soit d’amortisseur. Pour régler la position du capteur d’un objet µ Faites glisser la poignée du curseur portant le numéro approprié (les flèches 1, 2 ou 3) pour chaque objet. Remarque : À mesure que vous déplacez les capteurs d’objet dans les plages Pickup A et B, l’intensité de la perturbation créée par l’objet croît de façon significative. Un certain nombre de changementss’opèrent alors, qui peuvent transformer radicalement le timbre global de votre son. 372 Chapitre 14 Sculpture Utilisation des commandes Spread/Key dans Sculpture Bien que n’étant pas présents dans la fenêtre Pickup, deux paramètres de capteur supplémentaires sont disponibles à droite de la nappe Material. • Spread (Key) : définit la valeur de balance en fonction du numéro de note MIDI. Selon les réglages effectués, plus vous jouez sur le haut ou le bas du clavier, plus la voix est orientée vers la gauche ou vers la droite, dans la balance. Faites glisser verticalement le bouton Key pour régler ce paramètre. Dans l’anneau qui entoure les paramètres Spread, deux lignes indiquent les valeurs. • Spread (Pickup) : ce paramètre répartit les signaux issus des deux capteurs d’une façon plus diffuse sur la base stéréo ou Surround. Autrement dit, la position des capteurs, alliée à ce paramètre, est plus étalée vers/depuis les canaux gauche/droite stéréo/Surround. Faites glisser verticalement le bouton Pickup pour régler ce paramètre. Dans l’anneau qui entoure les paramètres Spread, deux points indiquent les valeurs. En cas de surround, ces deux paramètres peuvent être affectés par le paramètre Surround Range. Pour en savoir plus, consultez la rubrique Contrôle des paramètres Surround Range et Diversity dans Sculpture Remarque : vous pouvez ainsi créer des effets de largeur et de chorus en modulant les valeurs des paramètres Pickup Position avec un oscillateur sub-audio ou tout autre modulateur. Utilisation des paramètres Global dans Sculpture Ces derniers se trouvent dans la partie supérieure de l’interface de Sculpture, sauf indication contraire. • Champ Glide Time : détermine le temps requis pour glisser d’une hauteur tonale de note à une autre. Consultez Définition de la valeur Glide (Portamento) Time dans Sculpture. Chapitre 14 Sculpture 373 • Champ Tune : permet d’affiner la hauteur tonale de l’ensemble de l’instrument, au centième près. Un centième correspond à 1/100e de demi-ton. • Champ Warmth : permet de désaccorder légèrement les différentes voix, ce qui ressemble beaucoup aux fluctuations aléatoires provoquées par les composantes et les circuits des synthétiseurs analogiques. Comme le nom du paramètre le suggère, cela « réchauffe » ou « épaissit » le son. • Champ Transpose : option servant à l’accordage brut de tout l’instrument. Étant donné la capacité de la modélisation des composantes à altérer radicalement la tonalité avec certains réglages, l’accordage brut se limite à l’incrémentation par octaves. • Champ Voices : détermine le nombre maximal de voix pouvant être jouées simultanément. La polyphonie maximale de Sculpture est de 16 voix. • Boutons dumode Keyboard : activent les comportements polyphonique, monophonique et legato. Consultez Sélection du mode Keyboard dans Sculpture (Poly/Mono/Legato). • Champs Bender Range Up/Down : permettent de définir la plage de pitch bend vers le haut et vers le bas. Ces paramètres se situent sous Object 3, sur le côté gauche de l’interface. • Des réglages séparés sont disponibles pour les pitch bends vers le haut et vers le bas, en utilisant le contrôleur correspondant sur votre clavier MIDI. • Lorsque le paramètre Bender Range Down est défini sur Linked, la valeur de Bender Range Up est utilisée pour les deux directions (haut et bas). Remarque : tout comme sur une véritable guitare, la modulation de la corde va altérer la forme du modèle et non agir comme une simple modulation de hauteur. 374 Chapitre 14 Sculpture Sélection du mode Keyboard dans Sculpture (Poly/Mono/Legato) Lors de l’utilisation d’un instrument polyphonique, plusieurs notes peuvent être jouées simultanément, comme sur un orgue ou un piano. À l’inverse, la plupart des anciens synthétiseurs analogiques sont monophoniques, ce qui signifie que vous ne pouvez jouer qu’une seule note à la fois, comme sur un cuivre ou un instrument à anche. Ce n’est toutefois pas un inconvénient en soi ; la monophonie autorise desstyles de jeu impossibles avec des instruments polyphoniques. • Si vous sélectionnez le mode Mono, jouer staccato redéclenche les générateurs d’enveloppe chaque fois qu’une nouvelle note est jouée. Si vous jouez dans un style legato (si vous appuyez sur une nouvelle note tout en maintenant une autre enfoncée), les générateurs d’enveloppe ne sont déclenchés qu’à la première note jouée legato et leurs courbes poursuivent leur évolution jusqu’à ce que vous relâchiez la dernière note jouée legato. • Le mode Legato est également monophonique, mais avec une différence : les générateurs d’enveloppe sont redéclenchés uniquementsi vousjouez staccato (si vous relâchez chaque note avant de jouer la suivante). Un jeu legato ne redéclenche pas les enveloppes. Tous les modes redéclenchent simplement une voix potentiellement sonnante avec la même tonalité, au lieu d’en attribuer une nouvelle. De ce fait, le déclenchement multiple d’une note donnée aboutit à de légères variations de timbre, selon l’état dans lequel se trouve le modèle au moment où la note est jouée. Si la corde de Sculpture continue de vibrer pour une note spécifique, le redéclenchement de cette même note donne lieu à une interaction avec la vibration en cours ou l’état de la corde. Important : un véritable redéclenchement de la corde vibrante ne se produira que si les deux curseurs Attack du générateur d’enveloppe d’amplitude sont définis sur zéro (0). Si l’un des curseurs est défini sur une autre valeur, une nouvelle voix sera affectée à chaque note redéclenchée. Consultez Utilisation des paramètres Amplitude Envelope dans Sculpture. Définition de la valeur Glide (Portamento) Time dans Sculpture Le paramètre Glide permet de définir la durée de portamento. Il s’agit de la durée nécessaire à la hauteur tonale pour glisser d’une note à une autre. Le comportement du paramètre Glide dépend du mode Keyboard choisi. • Si le mode Keyboard est défini sur Poly ou Mono et que le paramètre Glide possède une valeur autre que 0, le portamento est activé. Chapitre 14 Sculpture 375 • Si le mode Keyboard est défini sur Legato et que Glide possède une valeur autre que 0, vous devez jouer legato (appuyer sur une nouvelle touche tandis que l’autre est toujours enfoncée) pour activer le portamento. Si vous ne jouez pas legato, le portamento ne fonctionnera pas. Ce comportement est également appelé fingered portamento. Utilisation des paramètres Amplitude Envelope dans Sculpture Les paramètres décrits dans cette section s’appliquent voix par voix. Il s’agit d’une enveloppe classique de type ADSR, qui étalonne les signaux des capteurs avant de les transmettre au Waveshaper et au filtre. Le positionnement de l’enveloppe d’amplitude à cet endroit du parcours du signal produit un son plus naturel, car vous pouvez contrôler le niveau dessignaux avant de les envoyer au Waveshaper (le cas échéant). Le Waveshaper peut avoir un impact important sur le contenu spectral du son, pouvant donner des résultats sonores synthétiques. • Curseurs Attack : Soft and Hard : ce paramètre est divisé en deux sections. Le curseur inférieur (Soft) détermine la durée d’attaque lorsque vous jouez vite sur le clavier (vélocité maximale). Le curseur supérieur (Hard) détermine la durée d’attaque lorsque vous jouez doucement sur le clavier (vélocité minimale). Vous pouvez régler les deux moitiés de curseursimultanément, en faisant glisser le pointeur de la souris dansl’espace qui les sépare. Important: les paramètres de durée d’attaque du générateur d’enveloppe d’amplitude ont une influence directe sur le redéclenchement d’une note isolée. Si les deux paramètres Attack Soft et Attack Hard sont définis sur 0, la corde en vibration est redéclenchée. Si l’un des deux paramètres est défini sur une valeur supérieure à 0, une nouvelle note est déclenchée. D’un point de vue sonore, le déclenchement d’une corde en vibration permet d’entendre des harmoniques différenteslors de la phase d’attaque. • Curseur Decay : ce paramètre permet de définir la durée de la chute, autrement dit, la durée nécessaire pour que le niveau du signal retombe à la valeur Sustain à l’issue de la phase d’attaque initiale (durée déterminée par le paramètre Attack). • Curseur Sustain : définit le niveau de soutien qui est maintenu jusqu’au relâchement de la touche. 376 Chapitre 14 Sculpture • Curseur Release : détermine le temps qui s’écoule avant que le signal ne retombe à un niveau nul, en partant du niveau de soutien. Des valeurs Release courtes ménagent les ressources du processeur, puisque la voix n’est plus traitée à l’issue de la phase de relâchement. Remarque : même pour des valeurs élevées de chute/relâchement, le son peut décroître rapidement. Une cause possible à ce problème est la définition de valeurs élevées pour le paramètre Inner Loss ou Media Loss (dans la section Material de la corde) ou au niveau des objets (2 ou 3) utilisés pour amortir la corde. Utilisation du Waveshaper dans Sculpture Le Waveshaper impose une courbe non linéaire pour chaque voix du signal en provenance des capteurs et de l’enveloppe d’amplitude. Le signal ainsi remis en forme est ensuite transmis au filtre. Cette procédure est assez similaire à la mise en forme des ondes des oscillateurs sur les synthétiseurs, tels que le Korg 01/W. • Bouton On/Off du Waveshaper : active ou désactive le Waveshaper. • Menu Type : choisissez l’une des quatre courbes de mise en forme d’ondes disponibles. Reportez-vous au tableau ci-dessous. • Potentiomètre Input Scale (morphing possible) : atténue ou amplifie le signal d’entrée, avant de commencer le traitement par le Waveshaper. Les valeurs positives offrent un spectre harmonique plus riche. L’accroissement de niveau induit par ce paramètre est automatiquement compensé par le Waveshaper. Remarque : compte tenu de son impact sur le spectre harmonique, il est préférable de considérer le paramètre Input Scale comme un contrôle de timbre, plutôt qu’un contrôle de niveau. Notez également que le choix de valeurs extrêmes pour le paramètre Input Scale peut générer un bruit de traitement en sortie du Waveshaper. • Potentiomètre Variation (morphing possible) : son action dépend du type de Waveshaper sélectionné. Reportez-vous au tableau ci-dessous. Chapitre 14 Sculpture 377 Valeur de 0,0 Valeurs négatives Valeurs positives Variation Type contrôle... Augmentent le niveau du signal mis en forme et ajoutent le signal d’origine en inversant sa phase, ce qui donne un son plus agressif. réduisent le niveau du signal mis en forme et ajoutent le signal d’origine. Signal mis en forme uniquement. la proportion Wet/Dry VariDrive altèrent la symétrie. altèrent la symétrie. mise en forme symétrique. le paramètre Bias, qui altère la symétrie de la courbe de mise en forme. • SoftSat • Tube Dist. • Scream Utilisation des paramètres Filter dans Sculpture Les paramètres décrits dans cette section s’appliquent voix par voix. Vous remarquerez qu’un certain nombre de noms de paramètres sont suivis du terme « morphing possible». Cela signifie que ces paramètres peuvent faire l’objet d’un morphing, autrement dit de transitions plus ou moins progressives ou abruptes entre des points de morphing (cinq au maximum). Pour plus d’informations sur le morphing, consultez Présentation de la section Morph dans Sculpture. Les paramètres de filtre (Filter) offrent un contrôle du spectre/du timbre sonore encore plus précis. Si vous avez déjà manipulé des synthétiseurs, les intitulés vous seront sans doute familiers. Si vous ne connaissez pas bien les synthétiseurs et les concepts de filtre, consultez Filtres. Potentiomètre Key Boutons de type de filtre Bouton Filter On/Off Potentiomètre Velo Sens Potentiomètre Resonance Potentiomètre Cutoff • Bouton Filter On/Off : active ou désactive la section de filtre. 378 Chapitre 14 Sculpture • Boutons de type de filtre : déterminent le mode de filtre. Les choix disponibles sont les suivants : • Hipass : ce filtre passe-haut laisse passer les fréquences situées au-dessus de la fréquence de coupure. Les fréquences situées en dessous de la valeur de fréquence de coupure étant supprimées, ce filtre est également connu sous le nom de filtre coupe-bas. Sa pente est égale à 12 dB/octave. • LoPass : laisse passer les fréquences situées en dessous de la fréquence de coupure. Les fréquences situées au-dessus de la valeur de fréquence de coupure étant supprimées, ce filtre est également connu sous le nom de filtre coupe-haut. Sa pente est égale à 12 dB/octave. • Peak : permet de définir la fréquence centrale de la bande de fréquences à l’aide du potentiomètre Cutoff. La bande passante et le gain sont contrôlés à l’aide du potentiomètre Resonance. Les fréquences hors bande sont laissées à leur niveau actuel. • Bandpass : seule la bande de fréquence entourant directement la fréquence de coupure est autorisée à passer. Toutes les autres fréquences sont atténuées. Le paramètre de résonance sert, cette fois, à définir la largeur de la bande de fréquences autorisée. Ce filtre est bipolaire et sa pente est de 6 dB/octave à chaque extrémité. • Notch : la bande de fréquence entourant directement la fréquence de coupure est coupée. Toutes les autres fréquences peuvent traverser le filtre. Le paramètre Resonance contrôle la largeur de la bande de fréquences atténuée. • PotentiomètreCutoff(morphing possible): détermine la fréquence centrale ou de coupure, suivant le type de filtre choisi. Dans le cas d’un filtre passe-bas, toutes les portions de fréquence situées au-dessus de la fréquence de coupure sont supprimées, ou coupées, d’où leur nom. Le paramètre Cutoff Frequency permet de doser la brillance du signal. Plus la fréquence définie est élevée, plus les fréquences des signaux autorisés à passer par le filtre passe-bas sont élevées. • Potentiomètre Resonance (morphing possible) : détermine la valeur de résonance du filtre. • Dans les modes Highpass et Lowpass, le paramètre Resonance accentue les portions du signal qui entourent la fréquence centrale. • Dansles modes Peak, Notch et Bandpass, le paramètre Resonance contrôle la largeur de la bande entourant la fréquence centrale. Chapitre 14 Sculpture 379 • Potentiomètre Key : permet de régler le suivi clavier de la fréquence de coupure. En bref, plus vous jouez sur le haut/bas du clavier, plus le son devient brillant/doux. Pour utiliser des termes plus techniques, la valeur de la fréquence de coupure est modulée par la position des notes sur le clavier. Si la valeur est définie sur 0,0, le suivi clavier est désactivé. Si la valeur est définie sur 1, la fréquence de coupure suit la fondamentale de la note jouée sur toute l’étendue du clavier. Jouez une octave au-dessus et la fréquence de coupure changera également d’une octave. • Potentiomètre Velo Sens: détermine de quelle manière la fréquence de coupure répond aux valeurs de vélocité de la note MIDI entrante. Plus vous jouez fort sur les touches du clavier, plus la valeur de la fréquence de coupure et, de façon générale, la brillance du son, est élevée. Si la valeur est définie sur 0,0, la sensibilité à la vélocité est désactivée. Si la valeur est définie sur 1,0, la sensibilité à la vélocité est maximale. Utilisation du paramètre Integrated Delay dans Sculpture Il s’agit d’un retard stéréophonique ou véritable Surround, synchronisable au tempo du projet. Il peut également être autonome (non synchronisé). La section Delay dispose de tous les paramètres généraux de retard courants, ainsi que de la nappe Groove (temporisation du retard). Curseurs LoCut/HiCut Pavé de groove Curseur Output Width Curseur Input Balance Curseur Delay Time Bouton Sync Potentiomètre Feedback Bouton d’activation/ désactivation Delay Potentiomètre Wet Level Potentiomètre Xfeed • Bouton Delay On/Off : active ou désactive la section Delay. • Potentiomètre Wet Level : définit le niveau de la sortie Delay. • Potentiomètre Feedback : définit la portion de signal de retard réacheminée depuis les canaux de sortie de l’unité de retard, vers les canaux d’entrée de l’unité de retard. Pour les valeurs négatives, le signal est réinjecté en opposition de phase. 380 Chapitre 14 Sculpture • Potentiomètre Xfeed (Crossfeed) : comme le potentiomètre Feedback présenté ci-dessus, le potentiomètre Xfeed définit la quantité de signal de retard réacheminée depuis le canal de sortie gauche vers le canal d’entrée droit et depuis le canal de sortie droit vers le canal d’entrée gauche de l’unité de retard. Pour les valeurs négatives, le signal est réinjecté en opposition de phase. Dans les instances Surround, le paramètre Xfeed contrôle l’opposition de phase entre les lignes de retard, mais offre des modes supplémentaires. Vous pouvez accéder à ces derniers dans la section des paramètres étendus de Sculpture. • Curseur LoCut : détermine la valeur de la fréquence de coupure du filtre passe-haut inséré dans la boucle de réinjection (entre la sortie et l’entrée du retard). • CurseurHiCut: détermine la valeur de la fréquence de coupure du filtre passe-basinséré dans la boucle de réinjection (entre la sortie et l’entrée du retard). • Nappe Groove : utilisée pour régler de manière graphique les temps de retard dans les instances Stéréo ou Surround. Consultez Utilisation de la nappe Groove (Stereo) dans Sculpture et Utilisation de la nappe Groove (Surround) dans Sculpture. • Curseur Input Balance : permet de déplacer le centre stéréo de l’entrée du retard vers la gauche ou vers la droite, sans perdre aucun élément du signal. Il est idéal pour configurer des retards de type « ping-pong ». • Danslesinstances Surround, ce paramètre déplace tousles canaux versle canal avant gauche ou avant droit. • Champ et curseur Delay Time : détermine le temps de retard. Ce paramètre peut être défini en valeurs musicales (1/4, 1/4t (1/4 triolet), etc. (voir « Bouton Sync » ci-dessous) ou en millisecondes. • Bouton Sync : permet de sélectionner le mode de synchronisation temporelle ou le mode libre. • Curseur Output Width : modifie la base Stéréo ou Surround du signal mouillé. Avec une valeur de 0,0, le signal de sortie est monophonique. Avec une valeur de 1, le signal de sortie est totalement Stéréo ou Surround ; c’est-à-dire que les canaux de sortie de la ligne de retard gauche sont envoyés uniquementsur le canal gauche, et que les canaux de sortie de la ligne de retard droite sont envoyés uniquement sur le canal droit, mais que le centre stéréo n’est pas attribué. Remarque : ce paramètre sert principalement à obtenir des grooves de retard purs, sans balance gauche/droite de type « ping-pong ». Chapitre 14 Sculpture 381 Utilisation de la nappe Groove (Stereo) dans Sculpture Lorsqu’ils sont utilisés dans une instance Stéréo de Sculpture, les paramètres Spread et Groove s’affichent dans la nappe Groove à deux dimensions. • Spread : paramètre utile pour obtenir des effets de retard stéréo larges. Les valeurs de l’axe des Y (au-dessus de la position centrée par défaut) augmentent la durée de retard de la ligne de retard droite ou réduisent celle de la ligne de retard gauche, ce qui décale les retards sur les canaux gauche et droit. Les valeurs négatives ont l’effet inverse. • Groove : distribue les points de lecture (taps) de retard sur les canaux gauche et droit, au lieu de décaler leurs durées comme le fait le paramètre Spread. Les valeurs de l’axe des X vous permettent de réduire la durée de retard sur l’une des lignes de retard, d’un pourcentage donné, tout en laissant la durée inchangée sur l’autre ligne de retard. Regardez bien l’info-bulle pendant que vous modifiez la valeur. • Par exemple, une valeur de +50 pour cent réduit la durée du retard droit de moitié. Si la valeur du paramètre Delay Time est 1/4, le retard droit sera égal à 1/8, alors que le retard gauche reste de 1/4. Il va sans dire que ce paramètre est parfait pour créer des retards rythmiques stéréo intéressants. Pour modifier les valeurs de la nappe Groove µ Faites glisser le losange vers le centre de la croix pour ajuster. Vous pouvez régler séparément les valeurs des paramètres Spread et Groove en faisant glisser directement les lignes qui sont en intersection avec le losange. Pour accéder au menu contextuel de la nappe Groove µ Cliquez sur la nappe Groove, tout en maintenant la touche ctrl enfoncée, pour ouvrir un menu contextuel contenant les commandes Clear, Copy et Paste. Ces derniers peuvent servir à copier et coller des réglages de retard entre plusieurs instances de Sculpture ou entre desréglages chargés de façon consécutive. L’option Clear réinitialise les réglages de retard en cours. Astuce : vous pouvez créer des effets vraiment larges de chorus et de retard modulé très intéressants en modulant les valeurs des paramètres Pickup Position et Pickup Spread avec un LFO ou tout autre modulateur, puis en envoyant ce signal dans l’unité de retard. 382 Chapitre 14 Sculpture Utilisation de la nappe Groove (Surround) dans Sculpture Lorsqu’elle est utilisée dans une instance Surround de Sculpture, la nappe Delay Time est convertie en nappe groove pure qui contrôle la relation de temps de retard entre : • les canaux gauche et droit (haut-parleurs) dans la direction horizontale, • Les canaux avant et arrière (haut-parleurs) dans la direction verticale. Le paramètre Spread est accessible séparément en tant que champ d’édition numérique dansla partie supérieure gauche de la nappe Groove. Pour modifier la valeur, faites glisser le curseur ou double-cliquez et saisissez une valeur. Utilisation de l’option Body EQ dans Sculpture L’option Body EQ (égaliseur corps) peut fonctionner comme un simple égaliseur, un outil de mise en forme spectral ou un simulateur de réponse de corps d’instrument. En effet, elle peut imiter les caractéristiques de résonance d’un corps en bois ou en métal, comme celui d’une guitare, d’un violon ou d’une flûte. Les différents modèles sont dérivés d’enregistrements des réponses impulsionnelles des corps d’instruments réels. Ces enregistrements ont été séparés en une structure de formants générale et une structure plus fine, ce qui permet de modifier séparément ces propriétés. Chapitre 14 Sculpture 383 L’option Body EQ affecte la somme des signaux de toutes les voix, et non chaque voix individuellement. Bouton On/Off Menu Model • Bouton Body EQ On/Off : active et désactive la section de mise en forme du spectre. • Menu Model : faites votre choix entre plusieurs imitations de corps d’instruments acoustiques et le modèle Basic EQ. Votre sélection est reflétée dansl’affichage graphique situé à droite. Remarque : lorsque vous sélectionnez Basic EQ ou un autre modèle Body EQ, le comportement et le nom des trois potentiomètres et du curseur du paramètre changent. Consultez Contrôle du modèle Basic EQ dans Sculpture et Contrôle des autres modèles Body EQ dans Sculpture. Contrôle du modèle Basic EQ dans Sculpture Les paramètres Basic EQ sont différents de ceux des autres modèles EQ. Potentiomètre Low Potentiomètre Potentiomètre Mid High Curseur Mid Frequency • Potentiomètre Low : permet de régler le gain d’un filtre de plateau de basses. • Potentiomètre Mid : permet de régler le gain d’un filtre de crête (à balayage ; consultez Mid Frequency slider ci-dessous). • Potentiomètre High : permet de régler le gain d’un filtre de plateau d’aigus. 384 Chapitre 14 Sculpture • Curseur Mid Frequency : détermine la fréquence centrale de la bande moyenne entre 100 Hz et 10 kHz. Pour régler de façon graphique le paramètre Basic EQ (modèle Lo Mid Hi) µ Faites glisser le curseur verticalement dansle tiers gauche de la représentation graphique, pour contrôler la valeur du paramètre Low. µ Faites glisser le curseur verticalement dansle tiers central de la représentation graphique, pour contrôler la valeur du paramètre Mid. µ Faites glisser le curseur horizontalement dans le tiers central de la représentation graphique, pour contrôler la valeur du paramètre Mid Frequency. µ Faites glisser le curseur verticalement dans le tiers droit de la représentation graphique, pour contrôler la valeur du paramètre Hi. Contrôle des autres modèles Body EQ dans Sculpture Pour tous les autres modèles Body EQ, vous disposez des paramètres suivants : Intensity Shift Stretch Curseur Fine Structure • Potentiomètre Formant–Intensity : agitsur l’intensité desformants du modèle. En d’autres termes,selon la façon dont ce paramètre est utilisé, lesformants(régions harmoniques) du modèle sont amplifiés ou inversés. Si la valeur est définie sur 0,0, la courbe de réponse est plate. Si la valeur est définie sur 1,0, les formants sont renforcés. Si les valeurs sont négatives, les formants sont inversés. • Potentiomètre Formant–Shift : décale les fréquences des formants de façon logarithmique. Par exemple, une valeur de -0,3 décale tous les formants d’une octave versle bas, tandis qu’une valeur de +0,3 les décale d’une octave versle haut. Une valeur de +1,0 provoque un décalage d’un facteur 10, de 500 Hz à 5000 Hz par exemple. Chapitre 14 Sculpture 385 • Potentiomètre Formant–Stretch : ce paramètre étire les fréquences des formants les unes par rapport aux autres. Autrement dit, ce paramètre modifie la largeur de toutes les bandes de fréquences traitées par l’égaliseur Body EQ, en augmentant ou en réduisant la gamme de fréquences. • Des valeurs basses au niveau du paramètre Formant Stretch rapprochent lesformants (centrés aux alentours de 1 kHz), tandis que des valeurs élevées les éloignent les uns des autres. Les valeurs du paramètre s’expriment sous la forme d’un rapport de la largeur de bande générale. Remarque : lorsqu’ils sont combinés, les paramètres Formant Stretch et Formant Shift modifient la structure des formants du son, ce qui peut générer des changements de timbre intéressants. • Curseur Fine Structure : améliore la structure spectrale (harmonique), ce qui permet de rendre les changements apportés au timbre général du son plus précis. Vous obtenez ainsi un son plus détaillé, plus riche au niveau harmonique et, selon le modèle sélectionné, ressemblant davantage à une guitare ou à un violon, par exemple. Autrement dit, les cavitésrésonnantes de l’instrument deviennent encore plussonores, de la même façon qu’une guitare avec une grande caisse, par exemple. Une valeur de 0,0 indique une absence de structure « fine ». Une valeur de 1,0 engendre une structure fine améliorant considérablement le modèle sélectionné. Remarque : une utilisation intensive du paramètre Fine Structure sollicite fortement les ressources du processeur. Notez également que l’utilisation du paramètre Fine Structure peut ne pas engendrer de différence significative au niveau de votre son. Celui-ci dépend de divers paramètres Waveshaper, de corde et du Body EQ. Alors, tendez l’oreille ! Pour régler les autres modèles Body EQ de façon graphique µ Faites glisser le curseur verticalement dans la représentation graphique, pour contrôler la valeur du paramètre Formant Intensity. µ Faites glisser le curseur horizontalement dansla représentation graphique, pour contrôler la valeur du paramètre Formant Shift. 386 Chapitre 14 Sculpture Utilisation des paramètres Output dans Sculpture Le paramètre Level Limiter est utile lorsque vous souhaitez « domestiquer » certains aspects agressifs(artefactssonores de type bourdonnements ou grondements) que vous risquez de rencontrer dans Sculpture. • Potentiomètre Level : contrôle le niveau de sortie global de Sculpture. • Boutons du mode Level Limiter : cliquez sur l’une des options suivantes : • Off : désactive le limiteur. • Mono : limiteur monophonique traitant le signal obtenu par addition de toutes les voix. • Poly : limiteur polyphonique traitant chaque voix séparément. • Both : combinaison des deux types de limiteur. Contrôle des paramètres Surround Range et Diversity dans Sculpture Dans les instances Surround, la section des paramètres étendus de Sculpture comprend les paramètres Surround Range et Surround Diversity : • Surround Range : détermine la plage de l’angle Surround, c’est-à-dire l’étendue du champ Surround. Imaginez un oscillateur sub-audio acheminé vers la balance d’un capteur avec une valeur de 1,0. En définissant la forme d’onde de LFO sur Sawtooth (dents de scie) et le paramètre Surround Range sur 360, vous obtenez un mouvement circulaire de la sortie vocale (autour de la totalité du cercle Surround). Le paramètre Surround Range influence aussi l’étalement de Key et Pickup de la même façon. Chapitre 14 Sculpture 387 • Surround Diversity : détermine le degré de propagation du signal de sortie dans vos haut-parleurs Surround. Si vous choisissez la valeur 0, seuls les haut-parleurs les plus proches de la position du signal d’origine transmettrons le signal. Une diversité de 1 signifie que tous les haut-parleurs transmettront la même quantité du signal. Utilisation du paramètre Modulation dans Sculpture Sculpture est doté de nombreuses destinations et sources de modulation, ce qui en fait un instrument très souple capable de générer des sons extraordinaires en constante évolution, comme des boucles audio, ou tout simplement expressifs, lorsque vous les jouez. Certaines sources de modulation fournies sont similaires à celles disponibles sur les synthétiseurs standard. Notamment : • Deux LFO librement assignables, avec fréquence synchronisable au tempo (du projet). • Un troisième LFO est dédié au vibrato (modulation tonale). • Deux enveloppes peuvent être utilisées comme enveloppes standard. Elles peuvent toutefois être utilisées de manière différente. Sculpture comprend également un certain nombre de sources de modulation spéciales, très différentes des sources standard. Notamment : • Deux générateurs de fluctuations avec largeur de bande ajustable, qui permettent de créer des variations aléatoires. • Deux générateurs aléatoires, qui ne changent les valeurs qu’au début de la note (Note-On). Ces outils sont parfaits, entre autres, pour imiter les effets de lèvres, de respiration et de langue des joueurs de cuivre. • Deux enveloppes enregistrables, qui peuvent servir de modulateurs à contrôle MIDI, avec la possibilité d’effectuer une lecture polyphonique voix par voix et de modifier les mouvements de contrôleurs MIDI entrants. 388 Chapitre 14 Sculpture Utilisation des routages de modulation dans Sculpture Sculpture ne dispose pas d’un routeur de modulation centralisé. Tous les routages de modulation (choix d’une source intermédiaire et/ou destination de modulation) s’effectuent dans chaque sous-fenêtre de source de modulation. Pour accéder à chaque sous-fenêtre de source de modulation µ Cliquez sur le bouton de la source de modulation appropriée. Lorsqu’une source de modulation est activée, la mention de bouton correspondante s’allume. N’importe quelle source de modulation peut être associée à n’importe quelle destination de modulation, un peu comme sur un ancien standard téléphonique ou un tableau de raccordement. Chaque source de modulation vous permet de sélectionner un (ou, dans la plupart des cas, deux) des principaux paramètres de synthèse, comme destination de modulation. L’intensité de modulation, c’est-à-dire le degré d’influence de la source sur la destination, est définie à l’aide de la commande Intensity (ou Amount)située dans chaque sous-fenêtre de source de modulation. L’intensité de modulation peut elle-même être modulée : le paramètre Via, présent dans les sous-fenêtres LFO et de sources d’enveloppes de contrôle, définit une source de modulation supplémentaire utilisée pour contrôler l’intensité de modulation. Elles comprennent : LFO Rate Modulation, VariMod, Morph Envelope Modulation et A Time Velosens. Lorsque ce paramètre est actif, vous pouvez spécifier des limites supérieures et inférieures pour l’intensité de modulation. Plusieurs routages de source, via et de destination peuvent avoir lieu simultanément. Vous pouvez également sélectionner la même destination pour plusieurs routages de modulation parallèles. Vous pouvez aussi utiliser les mêmes sources et les mêmes contrôleurs via dans plusieurs routages de modulation. Présentation des LFO dans Sculpture Sculpture propose deux LFO à formes d’ondes multiples. Les deux peuvent être utilisés de manière polyphonique, monophonique ou de façon intermédiaire. Chapitre 14 Sculpture 389 En mode monophonique, la modulation est identique pour toutes les voix. Pour mieux comprendre ceci, imaginez qu’un accord est joué sur le clavier. Si vous utilisez l’oscillateur 2 pour moduler la hauteur tonale, par exemple, la hauteur tonale de toutes les voix dans l’accord joué augmente et diminue de manière synchronisée. On parle alors de modulation avec verrouillage en phase. Dans le même scénario, si le LFO 2 est utilisé en mode polyphonique pour moduler plusieurs voix, il n’y aura pas de verrouillage en phase. Si vous utilisez une valeur intermédiaire aléatoire,seules certaines notesseront modulées de façon synchrone. En outre, les deux LFO sont synchronisés sur les notes : chaque fois que vous jouez une note, la modulation LFO de la voix associée repart de zéro. • Pour mieux comprendre la caractéristique sans verrouillage en phase, imaginez un scénario danslequel un accord est joué sur le clavier. Si le LFO 2 est utilisé pour moduler la hauteur tonale, par exemple, la hauteur tonale d’une voix pourrait monter, la hauteur tonale d’une autre voix pourrait descendre et celle d’une troisième voix atteindre sa valeur minimale. Comme vous pouvez le constater, la modulation ne dépend pas de chaque voix ou note. • La fonction de synchronisation de notes garantit que le cycle de forme d’onde LFO démarre toujours de zéro, ce qui entraîne une modulation constante de chaque voix. Si les cycles de forme d’onde LFO n’étaient pas synchronisées de cette manière, les modulations de notes individuelles ne seraient pas régulières. • Les deux LFO permettent aussi d’effectuer automatiquement des fondus entrants et sortants, grâce à un générateur d’enveloppe intégré. 390 Chapitre 14 Sculpture Utilisation des paramètres LFO 1 et 2 dans Sculpture Cette section traite des principaux paramètres LFO. Potentiomètre Envelope Menu Waveform Potentiomètre Rate Boutons Sync/Free Potentiomètre Curve Curseur Rate Mod Potentiomètre Phase Menu Source • Menu Waveform : définit la forme d’onde utilisée pour la modulation LFO. Consultez Utilisation du paramètres LFO Waveforms dans Sculpture. • Potentiomètre Curve : modifie les formes d’onde de modulation. Une valeur de 0 active le type de forme d’onde pure choisi. Les positions +1 et -1 déforment l’onde. Par exemple, si vous avez choisi une onde sinusoïdale comme type de forme d’onde LFO : • Valeur Curve égale à 0,0 : onde de forme sinusoïdale. • Valeur Curve supérieure à 0,0 : pnde transformée progressivement pour aboutir à une forme quasi rectangulaire. • Valeur Curve inférieure à 0,0 : la pente au point de passage par zéro est réduite, ce qui crée des impulsions douces, plus courtes, de +1 et -1. Remarque : la forme d’onde affichée entre le potentiomètre Curve et le menu Waveform permet de visualiser le résultat obtenu avec ces deux réglages de paramètres. • potentiomètre Rate : détermine la fréquence de la modulation LFO, que vous pouvez soit synchroniser au tempo en cours du projet, soit définir de manière indépendante (en Hertz). Consultez Réglage du paramètre LFO Rate dans Sculpture. • Boutons Sync/Free : en interaction avec le paramètre Rate, ces boutons permettent de sélectionner des fréquences LFO synchronisées ou libres. La valeur synchronisée est calculée d’après le tempo et la métrique du projet. • Potentiomètre Envelope : contrôle le temps nécessaire pour un fondu entrant ou sortant de la modulation LFO. Consultez Utilisation du générateur d’enveloppe LFO dans Sculpture. Chapitre 14 Sculpture 391 • Potentiomètre Phase : vous permet de choisir une modulation LFO polyphonique ou monophonique. Ces deux types de modulation peuvent avoir des phases similaires, des relations de phase totalement aléatoires, des phases synchronisées sur les touches ou tout autre fonctionnement intermédiaire. Astuce : si vous décalez légèrement le potentiomètre Phase par rapport à la position mono, vous obtiendrez des modulations non verrouillées pour toutesles voix de phase similaire, mais non identique. C’est la solution idéale pour les vibratos de sections de cordes. • Menu RateMod Source : permet de sélectionner une source de modulation pour le paramètre LFO Rate. • Curseur RateMod Amount : définit l’intensité (niveau) de modulation de la fréquence LFO. Brève présentation des LFO Un oscillateurs sub-audio ou basse fréquence (LFO, Low Frequency Oscillator) est un oscillateur assez semblable à ceux que l’on peut trouver sur un synthétiseur standard : • Un LFO génère des signaux de modulation, dont la fréquence est inférieure à la plage de fréquences audibles; leur bande passante se situe généralement entre 0,1 et 20Hz, mais atteint parfois 50 Hz. • Cessignaux étant inaudibles, le LFO peutservir uniquement de source de modulation pour des effets périodiques ou cycliques, et non pour le signal audio principal. Consultez Utilisation de l’oscillateur sub-audio (LFO) pour moduler les sons. Sélection des sources via et destination de modulation LFO dans Sculpture Vous pouvez attribuer deux destinations de modulation par LFO. Vous pouvez également définir une modulation via. Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources. 392 Chapitre 14 Sculpture Les menus Via déterminent la source contrôlant la mise à l’échelle de la modulation pour chaque oscillateur sub-audio. Si la source Via est définie sur Off, seul le curseur Amount est visible (le curseur Via Amount est masqué) : • Curseurs Amt (1 et 2) : détermine l’amplitude de la modulation. Si une source Via autre que Off est sélectionnée, deux curseurs sont visibles : • Curseurs Amt (1 et 2) : détermine le taux de modulation dans les cas où le signal intermédiaire entrant est nul (0). Lorsque la roulette de modulation est à sa position minimale, par exemple. • Curseurs Via (Amount) (1 et 2) : détermine le taux de modulation dansles cas où le signal via entrant est maximum Par exemple, lorsque la roulette de modulation est à sa position maximale. Utilisation du paramètres LFO Waveforms dans Sculpture Les boutons LFO Waveform vous permettent de choisir différentes formes d’onde pour les LFO. Le tableau ci-dessous indique de quelle manière ces formes d’onde peuvent affecter vos modulations. Waveform Commentaires Sinus Idéale pour les modulations régulières, constantes. Triangle Convient bien aux effets de vibrato. Convient bien aux effets sonores d’hélicoptères et d’épées laser. Des modulations marquées des fréquences de l’oscillateur, avec une onde en dents de scie négative (inversée), génèrent des sons de type « glou-glou ». Des modulations marquées, en dents de scie, des paramètres de fréquence de coupure et de résonance desfiltres passe-bas, créent des effets rythmiques. La forme d’onde peut également être inversée, ce qui entraîne un point de départ différent pour le cycle de modulation. Sawtooth Les ondes rectangulaires font varier régulièrement le signal LFO entre deux valeurs. Une forme rectangulaire unipolaire (saillante) évolue entre une valeur positive et zéro. Une forme rectangulaire bipolaire (en creux) évolue entre une valeur positive et une valeur négative ; ces valeurs sont symétriques par rapport à zéro. Vous pouvez obtenir un effet intéressant en modulant la hauteur tonale selon une intensité appropriée, de façon à obtenir un intervalle de quinte. Pour ce faire, utilisez l’onde rectangulaire saillante. Rectangle Chapitre 14 Sculpture 393 Waveform Commentaires Les deux réglages de forme d’onde S & H des LFO génèrent des valeurs aléatoires. Une valeur aléatoire est déterminée à intervalles réguliers, selon la fréquence du LFO. La forme d’onde S & H s’échelonne entre des valeurs aléatoires (passages rapides d’une valeur à une autre). Le réglage S & H Lag lisse l’onde aléatoire ; les transitions entre les différentes valeurs sont donc plus fluides. L’expression Sample & Hold (S & H) fait référence à la procédure qui consiste à prendre des échantillons d’un signal de bruit à intervalles réguliers. La valeur de ces échantillons est ensuite maintenue jusqu’à l’échantillonnage suivant. Conseil :une modulation aléatoire de Pitch123 permet de produire l’effet de génération de modèle de tonalité aléatoire, communément appelé « Sample & Hold ». Essayez cette modulation avec des notes très aiguës, à des fréquences et intensités très élevées, vous reconnaîtrez cet effet sonore très populaire, présent dans des centaines films de science-fiction. Sample & Hold Peut être utilisé pour les modulations chaotiques, mais sert principalement en association avec la fonction d’enveloppe LFO (qui permet d’introduire une brève modulation à un moment donné de la phase de note), par exemple pour introduire une respiration dans une imitation de cuivre ou pour contrôler le clic des touches d’un orgue ou le bruit du marteau d’un piano. La nature aléatoire de cette forme d’onde (bruit) implique que les modulations varient légèrement à chaque fois. Bruit filtré Utilisation du générateur d’enveloppe LFO dans Sculpture Les LFO sont dotés d’un générateur d’enveloppe simple, utilisé pour contrôler le temps nécessaire pour le fondu entrant ou sortant de la modulation LFO. En position centrale, accessible en cliquant sur le repère du milieu, l’intensité de modulation est statique ; aucun fondu entrant ou sortant ne se produit. Pour définir la transition de la modulation LFO µ Sélectionnez une valeur positive à l’aide du potentiomètre Envelope, afin d’obtenir un fondu entrant pour la modulation. Plus la valeur est élevée, plus le temps de retard est long. µ Sélectionnez une valeur négative à l’aide du potentiomètre Envelope, afin d’obtenir un fondu sortant pour la modulation. Plus vous tournez le potentiomètre à gauche, plus le temps de fondu est court. Les enveloppes LFO sont le plus souvent utilisées pour retarder le vibrato : de nombreux instrumentalistes et chanteurs tiennent de cette façon les notes longues. Pour retarder le vibrato 1 Tournez le potentiomètre LFO Envelope vers la droite (Delay) et sélectionnez la hauteur tonale comme cible. 394 Chapitre 14 Sculpture 2 Entrez une intensité de modulation modérée. 3 Sélectionnez une fréquence LFO (LFO Rate) d’environ 5 Hz. 4 Choisissez l’onde triangulaire comme forme d’onde LFO (LFO Waveform). Astuce : les modulations rapides et chaotiques de la hauteur tonale par une source LFO, avec une forme d’onde Sample & Hold retardée, une fréquence élevée et un fondu sortant court, sont idéales pour l’émulation de la phase d’attaque des cuivres. Réglage du paramètre LFO Rate dans Sculpture Les deux LFO conviennent particulièrement pour la création d’effets de modulation rythmiques nécessitant une synchronicité parfaite, même en cas de changement de tempo du projet. Le paramètre Rate détermine la vitesse du LFO. Ce paramètre peut être défini librement avec une valeur en Hz (lorsque le bouton Free est actif) ou avec une valeur rythmique (lorsque le bouton Sync est actif). En cas de synchronisation avec le tempo du projet, les fréquences disponibles correspondent à une durée comprise entre 32 mesures et 1/64 de triolet. Les valeurs de triolet et pointées sont également disponibles. Chapitre 14 Sculpture 395 Utilisation du vibrato dans Sculpture Un LFO est préassigné à la hauteur du son, ce qui permet de créer des effets de vibrato (modulations périodiques de la hauteur tonale). L’intensité de l’effet de vibrato est ajustée à l’aide du contrôleur MIDI attribué dans le menu VibDepth Ctrl (dans la section d’assignation du contrôleur MIDI). Pour en savoir plus, voir Affectation de contrôleurs MIDI dans Sculpture. Potentiomètre Phase Menu Waveform Potentiomètre Rate Potentiomètre Curve Curseurs DepthviaVibCtrl Boutons Sync/Free Vib Depth Ctrl • Menu Waveform : permet de choisir la forme d’onde utilisée pour le vibrato : sinus, triangle, dents de scie, etc. Remarque : il existe deux ondes rectangulaires spéciales, Rect01 et Rect1. La première oscille entre des valeurs comprise entre 0 et 1 (unipolaire) et la seconde entre des valeurs comprises entre−1 et+1 (bipolaire, comme les autresformes d’ondes). Consultez Utilisation du paramètres LFO Waveforms dans Sculpture. • Potentiomètre Curve : permet de définir un nombre librement variable de variations dansla forme d’onde, ce qui engendre des changementssubtils ou drastiques au niveau des formes d’onde de modulation. Remarque : la forme d’onde affichée entre le potentiomètre Curve et le menu Waveform permet de visualiser le résultat obtenu avec ces deux réglages de paramètres. • Potentiomètre Phase : ce paramètre permet de choisir entre des vibratos strictement monophoniques ou polyphoniques: phasessimilaires, relations de phase complètement aléatoires, phase synchronisée à l’enfoncement des touches, etc. ou tout élément intermédiaire. Pour en savoir plus, voir Présentation des LFO dans Sculpture. • potentiomètre Rate : ce paramètre détermine la fréquence du vibrato, que vous pouvez soitsynchroniser au tempo en cours du projet,soit définir dansl’absolu (en Hertz). Pour en savoir plus, voir Présentation des LFO dans Sculpture. 396 Chapitre 14 Sculpture • Curseurs DepthviaVibCtrl : ces curseurs définissent l’impact du contrôleur affecté à Vib Depth Ctrl (consultez Affectation de contrôleurs MIDI dans Sculpture). • Curseur Vib : détermine l’intensité de la modulation. • Curseur Amt : détermine le degré de modulation maximal. Création de modulations aléatoires dans Sculpture : JItter De nombreux sons peuvent tirer parti de l’utilisation des faibles modulations aléatoires au niveau des paramètres. Celles-ci peuvent imiter lessubtiles variations quise produisent lorsque des instruments spécifiques sont joués. Les deux générateurs de fluctuations sont des sources LFO spéciales, conçues pour produire des variations aléatoires continues, par exemple des changements progressifs de la position de l’archet. Les générateurs de fluctuations équivalent à des oscillateurs sub-audio généraux définis sur une forme d’onde de type bruit. Remarque : la modulation des fluctuations au niveau des positions des capteurs en tant que cible permet d’obtenir des effets de chorus intéressants. Potentiomètre Rate Menu Target Curseur de niveau Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources de gigue. • Potentiomètres Rate : définissent la vitesse du signal de modulation (fluctuations) pour chaque générateur de fluctuations. • Menus Target 1 et 2 : permettent de définir les destinations des modulations 1 et 2. • Curseurs Amount 1 et 2 : permettent de déterminer l’amplitude de modulation séparément pour chaque générateur de fluctuations. Chapitre 14 Sculpture 397 Création de modulations aléatoires dans Sculpture : Note-On Random Les deux sources Note-On Random servent à introduire des variations aléatoires entre différentes notes/voix. Leurs valeurs sont générées de façon aléatoire pour chaque note et restent constantes jusqu’au relâchement de la voix. De telles variations aléatoires sont très utiles pour ajouter de l’intérêt et épaissir le son lorsque vous jouez de façon polyphonique. La fonction Note-On Random est également utile pour recréer les fluctuations périodiques introduites par le musicien lorsqu’il joue de son instrument, même lorsqu’il répète la même note. Menu Target Curseur de niveau Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources aléatoires de note activée. • Menus Target : détermine la destination de la modulation, à savoir le paramètre dont la valeur est modulée de façon aléatoire lorsque vous jouez une note. • Curseurs Amount : définit l’amplitude de modulation, à savoir son intensité. Attribution de modulations de vélocité supplémentaires dans Sculpture Les objets d’excitation et le filtre disposent de contrôles dédiés pour la sensibilité à la vélocité. De nombreux autres routages de modulation permettent de sélectionner la vélocité comme source via. 398 Chapitre 14 Sculpture Dans certains cas, cependant, il peut être intéressant de contrôler directement d’autres paramètres de synthèse principaux par la vélocité. C’est ce que permet cette section, qui met à votre disposition deux emplacements indépendants de courbe de destination/d’amplitude/de vélocité. Curseur de niveau Boutons de courbe Menu Target Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources de vélocité. • Menus Target (1 et 2) : permet de sélectionner le paramètre de destination à moduler par la vélocité. • Curseurs Amount (1 et 2) : détermine l’amplitude, ou intensité, de la modulation. • Boutons Curve (1 et 2) : permet de sélectionner une option de courbe de vélocité : concave, linéaire ou convexe. Chapitre 14 Sculpture 399 Utilisation des paramètres Controller A et B dans Sculpture Ces paramètres vous permettent de définir deux cibles de modulation discrètes. L’intensité (ou amplitude) de la modulation est affectée au contrôleur A et/ou au contrôleur B. Curseur de niveau Bouton Continue Menu Target Cliquez sur le bouton 1 ou 2 pour activer l’une ou l’autre des sources du contrôleur. • Menus Target(1 et 2) : sélectionnez le paramètre cible que voussouhaitez moduler avec le contrôleur spécifié. Chaque cible dispose d’un bouton binaire (dont l’intitulé change selon l’état) : • Continue : modulation continue. • NoteOn : la valeur de modulation est actualisée uniquement à réception d’un message de type Note-On. • Curseurs Amount (1 et 2) : détermine l’amplitude, ou intensité, de la modulation. Présentation des enveloppes de contrôle dans Sculpture Les sources de contrôle proposées par Sculpture comprennent deux enveloppes. Sur les synthétiseurs standard, les enveloppes permettent de contrôler l’amplitude et le niveau de filtrage sur la durée. Les deux enveloppes de Sculpture, quant à elles, sont un peu spéciales, car elles peuvent servir : • d’enveloppes traditionnelles à quatre segments, • de modulations de contrôleur MIDI, 400 Chapitre 14 Sculpture • une combinaison des deux, comme enregistreurs de mouvement d’un contrôleur MIDI (avec des paramètres de macro de type ADSR), pour lecture polyphonique. Menu Target Curseur VariMod Boutons Mode Cliquez ici pour choisir Envelope 1 ou 2. Fenêtre de l’enveloppe Menu Via Menu VariMod Source Curseur Via (niveau) Curseur Amt • Menus Target 1 et 2 : permettent de définir les destinations de modulation 1 et 2. Deux cibles de modulation peuvent être assignées par enveloppe, avec éventuellement une modulation via supplémentaire. Les cibles incluent les paramètres de corde, d’objet, de capteur, Waveshaper et de filtre. • Menus (source) Via (1 et 2) : détermine la source de modulation utilisée pour équilibrer l’amplitude de la modulation Envelope. • Curseurs Amt et Via (Amount) (1 et 2) : détermine l’amplitude de la modulation. Si une source Via autre que Off est sélectionnée, les deux curseurs sont visibles. • Curseur Amt : détermine l’amplitude de modulation lorsque le signal Via entrant est défini sur zéro (roulette de modulation à sa position minimale, par exemple). • Curseur Via (Amount) : détermine l’amplitude de modulation lorsque le signal Via entrant est défini sur Full (par exemple, roulette de modulation à sa position maximale). • Curseur VariMod et menu Source : le curseur VariMod n’est disponible que pour les enveloppes enregistrées. Il vous permet de sélectionner une source, et une amplitude, de modulation pour contrôler l’intensité de la variation d’une enveloppe. • Boutons Mode (Ctrl et Env) : utilisés pour sélectionner une fonctionnalité d’enveloppe standard ou un contrôleur (mode exécution). Si les deux sont activées, la valeur du contrôleur est ajoutée à la sortie de l’enveloppe, ce qui crée un décalage de modulation. Remarque : lorsque les enveloppes sont utilisées comme enregistreurs de modulation polyphoniques et comme unités de lecture, chaque voix est traitée individuellement, c’est-à-dire qu’une enveloppe distincte est déclenchée lorsque chaque note est jouée. • Fenêtre Envelope : affiche la courbe de l’enveloppe et vous permet d’enregistrer et de modifier les enveloppes. Consultez Utilisation de l’écran Envelope dans Sculpture et Paramètres Envelope dans Sculpture. Chapitre 14 Sculpture 401 Utilisation de l’écran Envelope dans Sculpture La courbe de l’enveloppe s’affiche dans le coin inférieur droit de l’interface de Sculpture. La fenêtre de l’enveloppe n’est active que si la fonctionnalité de l’enveloppe est enclenchée (boutons Mode définis sur Env ou Ctrl+Env). • La durée totale de l’enveloppe est indiquée par l’entrée numérique située dans le coin supérieur droit de la fenêtre (2400 ms dans l’exemple). • La durée maximale de l’enveloppe est de 48 mesures/40 secondes. • Les lignes formant la grille en arrière-plan sont espacées de 100 ms. • Pour les durées d’enveloppe très longues, elles sont espacées de 1 000 ms. En mode Sync, les lignes représentent une noire. • Dès que vousrelâchez le bouton de la souris, l’enveloppe est automatiquement agrandie par un effet de zoom. Ceci permet d’afficher l’ensemble de l’enveloppe avec la meilleure résolution possible. Vous pouvez désactiver/activer cette fonction en cliquant sur le bouton Autozoom (en forme de loupe). • La fonction Autozoom est automatiquement désactivée lorsque vous procédez à un zoom manuel, en cliquant sur l’arrière-plan de la fenêtre de l’enveloppe, puis en la faisant glisser horizontalement. À titre de référence, la largeur de la fenêtre en cours apparaît au niveau de l’entrée numérique située dans le coin supérieur droit de la fenêtre. Vous pouvez réactiver la fonction Autozoom en cliquant sur le bouton correspondant. • Si vous cliquez sur les poignées (nœuds) ou sur les lignes séparant les nœuds dans la fenêtre Envelope, le segment d’enveloppe correspondant passe en surbrillance. Un petit message d’aide indique la durée, en millisecondes, du segment en question. 402 Chapitre 14 Sculpture Paramètres Envelope dans Sculpture Les paramètres suivants ne sont actifs que si la fonctionnalité de l’enveloppe est enclenchée (boutons Mode définis sur Env ou Ctrl+Env). • Curseur A-Time Velosens : définit la sensibilité à la vélocité pour la phase d’attaque de l’enveloppe. Une valeur positive réduit le temps d’attaque à faible vélocité. Une valeur négative réduit le temps d’attaque à haute vélocité. • Champ Timescale : permet d’étalonner la durée d’enveloppe totale, entre 10 pour cent (dix fois plus rapide) et 1 000 pour cent (dix fois plus lente). Ceci a également une incidence sur l’apparence de la courbe d’enveloppe affichée,selon qu’elle est raccourcie (accélérée) ou rallongée (ralentie). • Menu Sustain Mode : définit le comportement de l’enveloppe lorsqu’une note est maintenue. Le mode Sustain normal (par défaut), le mode Finish ou l’un destrois modes de boucle (Loop Forward, Loop Backward, Loop Alternate).Voir Mise en boucle des enveloppes dans Sculpture • Boutons Sync et ms : faite votre choix entre une enveloppe tournant librement (les durées des segments étant alors affichées en millisecondes) et une enveloppe synchronisée sur le tempo, en tenant compte de valeurs de notes, telles que 1/8 ou 1/4. Remarque : le passage d’une valeur à l’autre déclenche un nouveau calcul des valeurs, arrondies à la durée en ms ou à la valeur de note la plus proche, en fonction du tempo en vigueur dans le projet. • Bouton Compare : permet de basculer entre l’enregistrement original et la version modifiée. Remarque : cette option n’est disponible que si vous avez effectivement enregistré et modifié une courbe d’enveloppe. • VariMod - Source et Amount : option disponible uniquement pour les enveloppes enregistrées. Elle contrôle l’intensité de la variation d’enveloppe avec une source de modulation définie par l’utilisateur. • Les options de source incluent : Off, Velocity Concave, Velocity, Velocity Convex, KeyScale, Ctrl A et Ctrl B. Chapitre 14 Sculpture 403 • Pour les enveloppes, le terme « variation » désigne la déviation entre le chemin de l’enveloppe enregistrée et la ligne « droite » passant par ses points. Après avoir enregistré une enveloppe, vous pouvez réduire ou exagérer les fluctuations d’amplitude (variations) de l’enregistrement en appuyant sur la touche Commande et en faisant glisser les courbes entre les points vers le bas (pour réduire) ou vers le haut (pour accentuer). Utilisation des nœuds d’enveloppe dans Sculpture Lors de la première ouverture d’une enveloppe, la courbe d’enveloppe par défaut est automatiquement créée pour chaque enveloppe. Cliquez sur le bouton (Mode) Env pour l’afficher. Vous verrez quelques poignées (nœuds) placées de gauche à droite le long d’une ligne droite située à l’intérieur de l’enveloppe. Il s’agit d’indicateurs des paramètres suivants : • Nœud 1 : niveau de départ. Ne peut être repositionné. • Nœud 2 : position/niveau de durée d’attaque. • Nœud 3 : position/niveau de durée de boucle. • Nœud 4 : position/niveau de durée de soutien. • Nœud 5 : niveau/position de durée de fin. Lorsque vous déplacez le curseur le long de la ligne ou sur les nœuds, le segment d’enveloppe en cours apparaît en surbrillance. Vous pouvez créer vos propres enveloppes manuellement, en intervenant directement sur les nœuds et les lignes, ou bien enregistrer une enveloppe, comme expliqué dans la rubrique Enregistrement des enveloppes dans Sculpture. Pour modifier le temps entre les nœuds µ Cliquez sur la poignée souhaitée et faites-la glisser vers la gauche ou vers la droite. Ce faisant, la durée globale de l’enveloppe change et tousles nœudssuivantssont décalés. Lorsque vous relâchez le bouton de la souris, la fenêtre de l’enveloppe zoome automatiquement pour afficher l’intégralité de l’enveloppe. Remarque : vous ne pouvez pas déplacer un nœud au-delà de la position du nœud précédent. Vous pouvez en revanche déplacer des nœuds au-delà de la position du nœud suivant, y compris au-delà du côté droit de la fenêtre de l’enveloppe, ce qui rallonge à la fois le segment de l’enveloppe et l’enveloppe globale. Pour régler le niveau de chaque nœud µ Cliquez sur la poignée souhaitée et faites-la glisser vers le haut ou vers le bas. 404 Chapitre 14 Sculpture Pour définir la forme de la courbe entre les nœuds µ Pour des enveloppes simples (non enregistrées), cliquez directement sur la ligne qui relie les nœuds, puis faites-la glisser vers le haut ou vers le bas. µ Pour des enveloppes enregistrées, qui peuvent présenter des courbes plus complexes entre les nœuds, faites glisser la courbe en maintenant la touche ctrl enfoncée. Essayez diverses manipulations avec chaque nœud et chaque paramètre, de façon à bien comprendre comment ilsfonctionnent. Vous constaterez que l’utilisation des enveloppes est très intuitive. Copie des enveloppes avec le menu Shortcut dans Sculpture Cliquez sur les boutons d’enveloppe ou sur l’arrière-plan de la fenêtre d’enveloppe tout en appuyant sur la touche ctrl, pour ouvrir un menu contextuel qui contient les commandes Copy, Paste et Clear. Celles-ci vous permettent de copier et de coller les enveloppes comprises entre les Enveloppes 1 et 2, entre les réglages ou entre plusieurs instances ouvertes de Sculpture. La commande Clear permet de supprimer l’enveloppe sélectionnée. Mise en boucle des enveloppes dans Sculpture L’enveloppe peut, comme n’importe quelle enveloppe, fonctionner en mode Trigger unique (les phases de l’enveloppe sont exécutéestant que la note est tenue). Vous pouvez également parcourir chaque phase plusieursfois ou en une boucle infinie, un peu comme un LFO. Pour cela, vous devez utiliser des boucles. Vous pouvez synchroniser automatiquement les boucles sur le tempo du projet, en utilisant les boutons sync et ms. Lorsque vous utilisez l’un des modes de boucle, la boucle se répète toujours entre les poignées d’enveloppe définies par l’utilisateur, qui indiquent le point de départ de la boucle (icône L) et le point de soutien (icône S). Vous pouvez faire glisser ces poignées vers la position souhaitée. • En mode Finish, l’enveloppe est exécutée une seule fois du début à la fin, même si la note est relâchée avant que toutes les phases de l’enveloppe ne soient terminées. Tous les autres paramètres de boucle sont également désactivés. • En mode Loop Forward, l’enveloppe va jusqu’au point de soutien, puis commence à répéter périodiquement la section comprise entre le point de boucle et le point de soutien, toujours vers l’avant. • En mode Loop Backward, l’enveloppe va jusqu’au point de soutien, puis commence à répéter périodiquement la section comprise entre le point de soutien et le point de boucle, toujours vers l’arrière. Chapitre 14 Sculpture 405 • En mode Loop Alternate, l’enveloppe va jusqu’au point de soutien et revient au point de boucle, puis repart jusqu’au point de soutien, périodiquement. Elle est donc parcourue de façon alternée en avant et en arrière. Remarque : si le point de boucle estsitué derrière le point de soutien, la boucle commence après le relâchement de la touche. Enregistrement des enveloppes dans Sculpture Avant de commencer, il est important de noter que vous pouvez enregistrer uniquement les mouvements du contrôleur MIDI attribué. Cette attribution de contrôleur MIDI pour les enveloppes s’effectue dans la section MIDI Controller Assignment, dans la partie inférieure de l’interface de Sculpture (consultez Affectation de contrôleurs MIDI dans Sculpture). Assignation d’un contrôleur MIDI d’enveloppe • Bouton R(ecord) : active (arme) la fonction d’enregistrement d’enveloppe. Pour arrêter (ou désarmer) l’enregistrement, il suffit de cliquer une nouvelle fois sur le bouton R ou d’utiliser la fonction de réglage du mode Trigger d’enregistrement (Mode Record Trigger), décrite ci-après. • Menu Mode Record Trigger : permet de choisir différents modes de déclenchement de l’enregistrement (lorsque le bouton R(ecord) est activé) : • NoteOn : l’enregistrement commence dès que vous jouez une note. • Note+CtrlMovement: l’enregistrement démarre lorsque des messages de changement de contrôle MIDI (pour les contrôleurs assignés, consultez Affectation de contrôleurs MIDI dans Sculpture) arrivent alors qu’une note est maintenue. 406 Chapitre 14 Sculpture • Note + Sustain Pedal : l’enregistrement commence lorsque la pédale Sustain est enfoncée et qu’une note est maintenue. Pour enregistrer une enveloppe 1 Définissez le mode Record Trigger sur le mode souhaité (Note+Ctrl, par exemple). 2 Activez l’enregistrement en cliquant sur le bouton R. 3 Jouez une note et maintenez enfoncée la touche correspondante, puis commencez à déplacer les contrôleurs affectés aux commandes d’enveloppe 1 et/ou 2 (la roulette de modulation, par exemple). Pour arrêter l’enregistrement d’une enveloppe Procédez de l’une des manières suivantes : µ Désactivez manuellement le bouton Record (R), en cliquant dessus. µ Relâchez toutes les voix. µ Jouez une nouvelle note après avoir relâché toutes les touches. Remarque : lorsqu’un mouvement de contrôleur a été enregistré, R(ecord) est réglé automatiquement sur Off et Mode est défini sur Env. Vous avez ainsi l’assurance que seul le mouvement enregistré sera actif, quelle que soit la position stop du contrôleur enregistré. Pour jouer une enveloppe enregistrée µ Appuyez sur une touche pour lancer la lecture polyphonique de l’enveloppe enregistrée. Remarque : le paramètre Mode doit être défini sur Env et le paramètre R(ecord) doit être réglé sur Off. Vous pouvez également activer les boutons Env et Ctrl du paramètre Mode. Dans ce cas, vous pouvez utiliser les contrôleurs assignés à Ctrl Env1 ou Ctrl Env2 pour manipuler l’enveloppe en temps réel, tout en lisant l’enveloppe enregistrée. Remarque : cependant, lorsque Env et Ctrl sont tous deux activés, la valeur du contrôleur est ajoutée à la valeur de sortie de l’enveloppe, ce qui engendre un décalage de modulation. Pour préparer une enveloppe enregistrée à des fins de modification µ Les segments et les poignées de l’enveloppe sont automatiquement définis après l’enregistrement ; il vous suffit donc de faire glisser les lignes verticales situées entre les poignées pour activer la fonction de modification. Remarque : cette opération ne modifie pas la forme de l’enveloppe. Chapitre 14 Sculpture 407 Présentation de la section Morph dans Sculpture Sculpture dispose d’un certain nombre de paramètres pouvant être soumis à un morphing. Ces paramètres sont signalés dans l’interface par une barre de valeur orange, au lieu de la barre bleu ou turquoise habituelle. Ceci vous permet de les identifier et d’en modifier la valeur plus facilement. Tous les paramètres « morphables » peuvent être réglés individuellement et stockés dans un point de morphing. Par essence, la valeur de ces paramètres est capturée à un moment donné dans le temps, comme un cliché photographique. Vous pouvez modifier progressivement le son (de façon subtile ou radicale) entre un maximum de cinq instantanés, appelés points de morphing. Les outils Morph Pad et Morph Envelope vous permettent de créer et de contrôler avec précision les mouvements des points de morphing et la manière dont ils fusionnent. La position courante du point de morphing est indiquée par la boule de la nappe Morph (Morph Pad). Cette boule peut être déplacée à l’aide des contrôleurs MIDI, par exemple un stick vectoriel, ou à l’aide de la souris. Vous pouvez enregistrer et lire ces mouvements individuellement, en appliquant un morphing différent à chaque voix. Nappe Morph Enveloppe de morphing La section de morphing comprend deux parties : • Nappe Morph : permet d’afficher et de modifier, ou de tracer, des parcours de point de morphing. Elle fournit cinq points de morphing (quatre aux coins et un au centre), plus des options de menu permettant de définir de manière aléatoire, de copier et de coller les points de morphing ou les états de la nappe Morph. 408 Chapitre 14 Sculpture • Enveloppe de métamorphose : permet d’afficher et de modifier les points de morphing, soit par segment (avec la souris), soit par l’intermédiaire des mouvements de contrôleurs MIDI enregistrés. Par exemple, vous pouvez utiliser un stick vectoriel (contrôleurs Morph X/Y) ou la boule de la nappe Morph. Fenêtre Sculpture Morph Position La ligne rouge qui apparaît au niveau du paramètre Timeline de l’enveloppe de morphing affiche la position temporelle en cours, lors d’un morphing. La nappe Morph de Sculpture affiche un point mobile qui indique la position actuelle du morphing. Le point indique la position actuelle du morphing. La ligne indique la position actuelle du morphing. Remarque : la position actuelle du morphing est affichée uniquement lorsqu’une seule note est jouée. Sélection des points de morphing avec la nappe Morph dans Sculpture L’un des cinq points de la nappe Morph (A/B/C/D/Center) est toujours sélectionné pour édition. Ce point sélectionné est indiqué par deux cercles concentriques qui l’entourent. Bouton Auto Select Point de morphing actif Si vous activez le mode Auto Select, le point de morphing le plus proche est automatiquement sélectionné lorsque vous bougez la boule de la nappe Morph. Chapitre 14 Sculpture 409 Vous pouvez également cliquer dans les cercles autour de A, B, C, D ou Center pour sélectionner manuellement un point de la nappe Morph. Commandes du menu de la nappe Morph dans Sculpture Vous pouvez ouvrir le menu contextuel en cliquant sur la nappe Morph tout en appuyant sur la touche ctrl. Le menu contient les commandes copier, coller et échanger. • Copy selected Point : copie le point de morphing en cours dans le Presse-papiers de Sculpture. • Copy current Pad Position : copie l’état de morphing en cours dans le Presse-papiers de Sculpture. • Paste to selected Point: colle le contenu du Presse-papiers au niveau du pointsélectionné. • Exchange selected Point : permute les données copiées précédemment avec celles du point sélectionné. • Paste to all Points : colle le contenu du Presse-papiers au niveau de tous les points sélectionnés. Sélection aléatoire des points de morphing avec la nappe Morph dans Sculpture La fonction Randomize permet de créer des variations aléatoires pour les points de morphing sélectionnés. Alliée à la fonction copier/coller, la fonction de sélection aléatoire se sert de la nappe Morph comme générateur sonore automatique. L’utilisation de la nappe Morph peut générer des sons composites intéressants, hybrides du son original et ayant fait l’objet d’un morphing. Vous pouvez copier ce son hybride dans un ou plusieurs coins de la nappe Morph et lui appliquer des manipulations aléatoires, selon une amplitude définie. Le son « morphé » devient ensuite un nouvel élément timbral qui peut, à son tour, être déplacé vers les coins, subir une manipulation aléatoire, etc. En fait, ces manipulations reviennent à faire se « reproduire » un son, tout en maintenant un certain contrôle en sélectionnant les sons parents et enfants. 410 Chapitre 14 Sculpture Cette approche peut vous permettre de générer des sons nouveaux d’une grande complexité, sans que vous soyez un as de la programmation. Les paramètres suivants vous permettent de définir vos variations aléatoires. Curseur Intensity Boutons Point Bouton Randomize • Boutons Point : permet de sélectionner le nombre de points de morphing utilisés pour la manipulation aléatoire et indique quels seront les points qui en feront l’objet. • Lorsque le bouton du bas est activé, la manipulation aléatoire est limitée au point de morphing sélectionné. • Bouton Randomize : crée des valeurs aléatoires pour tous les paramètres des points de morphing choisis. • Curseur Int(ensity) : détermine l’intensité du processus de manipulation aléatoire, de 1 pour cent (légère déviation) à 100 pour cent (valeurs totalement aléatoires). Exemple de manipulation aléatoire 1 Sélectionnez le bouton Point souhaité (par exemple le bouton supérieur, à cinq points). 2 Vérifiez que la fonction Auto Select est activée. 3 Sélectionnez le curseur Int(ensity) et faites-le glisser jusqu’à une valeur d’environ 25 %. 4 Cliquez sur le bouton Rnd. Observez les paramètres du moteur de synthèse principal. Un certain nombre d’entre eux changent. 5 Faites glisser la boule de morphing vers chacun des coins de la nappe Morph. Pour ce faire, suivez les bords, puis repassez au centre de la nappe Morph ; notez l’incidence de ces déplacements sur le morphing. 6 N’oubliez pas de jouer quelques notes sur votre clavier MIDI pendant la procédure. Remarque : la boule de morphing n’est visible que lorsque le bouton Record Trigger est actif. Pendant que vous déplacez la boule de morphing, des commandes « fantômes » apparaissent dansla fenêtre Pickup et la boule de la nappe Materialse déplace également. Si vous regardez attentivement, vous remarquerez également un certain nombre de points rouges se déplaçant au niveau des paramètres de corde et d’objet. Chapitre 14 Sculpture 411 Chacun d’entre eux indique la position de morphing en cours. Ceci est très pratique pour voir quels paramètres ont été modifiés, et de quelle façon. Vous noterez également que les positions sur la nappe Morph qui tombent entre les différents points de morphing amènent les paramètres soumis à une manipulation aléatoire à effectuer des interpolations entre valeurs. Vous pouvez utiliser les commandes Copy et Paste pour vous servir de ces valeurs intermédiaires. Commandes du menu Sculpture Randomize Vous pouvez ouvrir le menu contextuel en cliquantsur le bouton Rnd tout en maintenant sur la touche ctrl enfoncée. Les commandes du menu déterminent quels paramètressont randomisés avec le bouton Rnd et le curseur Int. • Tousles paramètres pouvant être soumis à unmorphing : cette fonction permet d’obtenir des sons étranges, dans la mesure où tous les paramètres des groupes suivants font l’objet d’une manipulation aléatoire. Cela peut aussi aboutir à des résultats incontrôlés. En revanche, c’est moins utile par rapport à la notion de « reproduction sonore » évoquée à la rubrique Sélection aléatoire des points de morphing avec la nappe Morph dans Sculpture. • Tous, sauf TensMod : globalement, a le même rôle que « Tous les paramètres pouvant être soumis à un morphing », mais en excluant de la manipulation aléatoire le paramètre TensionMod. • String Material/Media : inclut dans la manipulation aléatoire la position dans la nappe Material, ainsi que les paramètres Stiffness, Inner Loss, Media Loss, Resolution et Tension Modulation. • Objets et capteurs: modifie la position des objets et des capteurs, ainsi que les différents paramètres d’objet, lors d’une manipulation aléatoire. • Waveshaper et filtres: modifie la position de tousles paramètres de filtre et Waveshaper, lors d’une manipulation aléatoire. 412 Chapitre 14 Sculpture Présentation de la fenêtre Morph Envelope dans Sculpture L’enveloppe de morphing comporte neuf points et huit segments et offre des fonctionnalités d’enregistrement ressemblant beaucoup à celles applicables aux enveloppes de contrôleur. Le point (orange) sélectionné dans le panneau inférieur (le plan de montage) correspond au point sélectionné sur la trajectoire du pavé Morph. • La durée globale de l’enveloppe de morphing est indiquée par l’entrée numérique située en haut à droite de la fenêtre. • La durée maximale de l’enveloppe de morphing est de 48 mesures/40 secondes. • Les lignes formant la grille en arrière-plan sont espacées de 100 ms. • Si vous cliquez sur les poignées(nœuds) ou sur leslignesséparant les nœuds, le segment d’enveloppe correspondant passe en surbrillance. Un petit message d’aide indique la durée, en millisecondes, du segment en question. • Lorsque vous déplacez le curseur le long de la ligne ou sur les nœuds, le segment d’enveloppe en cours apparaît en surbrillance. • Vous pouvez créer vos propres enveloppes manuellement, en intervenant directement sur les nœuds et leslignes, ou bien enregistrer une enveloppe (consultez Enregistrement des enveloppes de morphing dans Sculpture). Pour modifier le temps entre les nœuds µ Faites glisser la poignée souhaitée versla gauche ou la droite. Ce faisant, la durée générale de l’enveloppe de morphing change et tous les nœuds suivants sont décalés d’autant. Vous ne pouvez pas déplacer un nœud au-delà de la position du nœud précédent. Vous pouvez en revanche déplacer des nœuds au-delà de la position du nœud suivant, y compris au-delà du côté droit de la fenêtre de l’enveloppe, ce qui rallonge à la fois le segment de l’enveloppe et l’enveloppe globale. Chapitre 14 Sculpture 413 Remarque : la nappe Morph de Sculpture affiche un point mobile qui indique la position actuelle du morphing sur un son joué de façon monophonique. La ligne rouge dans la Timeline située en dessous de la nappe Morph affiche la position temporelle courante. Utilisation des paramètres Morph Envelope dans Sculpture La section suivante détaille les paramètres de l’enveloppe de morphing. Bouton Record et menu Trigger Boutons Mode et menu Pad Mode Champ Time Scale Menu Sustain Mode Boutons Sync/ms Potentiomètre Depth Potentiomètre Transition Potentiomètre Modulation et menu Source • BoutonsMode etmenu PadMode : activent l’enveloppe de morphing et vous permettent de choisir un mode. Consultez Sélection du mode Morph Envelope dans Sculpture. • Champ Time Scale : permet d’étalonner la durée globale de l’enveloppe par un facteur compris entre 10 et 1 000 pour cent. • Menu Sustain Mode : définit le comportement de l’enveloppe de morphing lorsqu’une note est maintenue. Les options de ce menu sont le mode Sustain, le mode Finish, l’un des trois modes de mise en boucle (Loop Forward, Loop Backward, Loop Alternate) et le mode Scan via CtrlB. Consultez Sélection du mode Morph Envelope Sustain ou Loop dans Sculpture. • Bouton Record et menu Trigger Mode : ces options permettent de préparer l’enveloppe pour l’enregistrement et de définir le type d’événement qui déclenche l’enregistrement. Consultez Enregistrement des enveloppes de morphing dans Sculpture. • Boutons Sync et ms : permettent de sélectionner une enveloppe tournant librement (les durées des segments étant alors affichées en millisecondes) ou une enveloppe synchronisée sur le tempo, tenant compte de valeurs de notes, telles que 1/8 ou 1/4. Remarque : le passage d’une valeur à l’autre déclenche un nouveau calcul des valeurs, arrondies à la durée en ms ou à la valeur de note la plus proche, en fonction du tempo en vigueur dans le projet. • Potentiomètre Depth : permet d’étalonner l’amplitude du mouvement de morphing provoqué par l’enveloppe de morphing. L’effet du paramètre Depth apparaît sous forme visuelle sur la nappe Morph. À mesure que vous augmentez ou réduisez la valeur, la trajectoire de morphing est étalonnée. 414 Chapitre 14 Sculpture • Potentiomètre Modulation et menu Source : permettent de sélectionner une source et une amplitude de modulation, dont les valeurs conditionnent ensuite le mouvement de l’enveloppe de morphing. • Potentiomètre Transition : permet de gérer les transitions entre les points de morphing. Il peuts’agir du mouvement original (qui peut être enregistré) ou une transition linéaire ou par étapes. Avec cette dernière option, le paramètre reste à un certain état de morphing, puis passe brutalement à l’état de morphing défini pour le point d’enveloppe suivant. Ce paramètre (ainsi que l’enveloppe de morphing elle-même) permet de concevoir des sons intéressants, évolutifs ou même des sonorités rythmiques. Sélection du mode Morph Envelope dans Sculpture Les boutons Mode activent l’enveloppe de morphing et vous permettent de choisir l’un des modes suivants : • Position Off pour les deux boutons : la fonction Morph est désactivée. • Pad only : l’enveloppe est désactivée et la fonction de morphing est contrôlée par la boule Morph ou les contrôleurs MIDI X/Y uniquement. • Env only : l’enveloppe est fonctionnelle, mais la boule Morph et les contrôleurs MIDI X/Y sont désactivés. • Env + Pad : l’enveloppe est fonctionnelle et la position de la boule Morph ou des contrôleurs MIDI X/Y est utilisée comme décalage pour les éventuels mouvements d’enveloppe. • Bouton Offset : en mode Env + Pad, cliquez sur le bouton Offset (à côté des boutons de mode) pour choisir l’un des éléments de menu suivants : • Offset : mode par défaut, dont le comportement est identique à celui du mode Env+Pad : l’enveloppe est fonctionnelle et la position de la boule Morph ou des contrôleurs MIDI X/Y est utilisée comme décalage pour les éventuels mouvements d’enveloppe • Point Set : l’enveloppe est en cours d’exécution. Le point d’enveloppe sélectionné peut être édité en déplaçant la boule Morph ou à l’aide d’un contrôleur MIDI (assignations de contrôleurs MorphX et MorphY). • Point Solo : l’enveloppe se trouve dans un mode de fonctionnement « figé » (instantané). Le point d’enveloppe sélectionné peut être édité en déplaçant la boule Morph. Chapitre 14 Sculpture 415 Sélection du mode Morph Envelope Sustain ou Loop dans Sculpture Vous avez le choix entre différentes options : mode Sustain, mode Finish, trois modes de mise en boucle (Loop Forward, Loop Backward, Loop Alternate) et mode Scan via CtrlB. Lorsque vous utilisez l’un des modes de boucle, la boucle se répète toujours entre des poignées d’enveloppe de type boucle ou Sustain, les nœuds indiqués par les petites icônes L et S. L’enveloppe de morphing peut, comme n’importe quelle enveloppe, fonctionner en mode Trigger unique, c’est-à-dire en exécution normale tant que la note est tenue. Vous pouvez également l’exécuter plusieurs fois ou en une boucle infinie, un peu comme un LFO. Pour ce faire, vous devez utiliser des boucles. Prise en main Loop Prise en main Sustain Vous pouvez saisir et repositionner les poignées(petitesicônes « L » et « S ») correspondant aux points de boucle et de soutien. N’oubliez pas que ce faisant, vous risquez de modifier la durée de la boucle (et la durée globale de l’enveloppe Morph). Le comportement des modes de boucle est tel que décrit ci-dessous : • Finish : l’enveloppe est exécutée une seule fois du début à la fin, même si la note est relâchée avant que l’enveloppe n’arrive à sa fin. Tous les autres paramètres de boucle sont également désactivés. • Forward : l’enveloppe va jusqu’au point de soutien, puis commence à répéter périodiquement la section comprise entre le point de boucle et le point de soutien, toujours vers l’avant. • Backward : l’enveloppe va jusqu’au point de soutien, puis commence à répéter périodiquement la section comprise entre le point de boucle et le point de soutien, toujours vers l’arrière. 416 Chapitre 14 Sculpture • Alternate : l’enveloppe va jusqu’au point de soutien et revient au point de boucle, puis repart jusqu’au point de soutien, périodiquement. Elle est donc exécutée de façon alternée en avant et en arrière. • Scan via CtrlB : la position du plan de montage dans l’enveloppe est déconnectée du temps réel, ce qui vous permet de scanner l’intégralité de l’intervalle de temps en utilisant le contrôleur MIDI attribué à Ctrl B (dans la section MIDI Controller Assign). Astuce : vous pouvez également faire glisser le marqueur rouge de position temporelle. Remarque : si l’un des trois modes de bouclage est sélectionné et que le point de boucle est placé avant le point de soutien, la boucle sera active jusqu’à ce que vous relâchiez la touche. Aprèsrelâchement de la touche, l’enveloppe continue au-delà du point de soutien, comme à l’accoutumée. Si le point de boucle est positionné après le point de soutien, la boucle est activée dès que la touche est relâchée et sera répétée indéfiniment jusqu’à ce que la voix complète ait terminé la phase de relâchement du générateur d’enveloppe d’amplitude. Enregistrement des enveloppes de morphing dans Sculpture La rubrique suivante détaille les étapes à suivre pour enregistrer une enveloppe de morphing. Pour enregistrer une enveloppe de morphing 1 Sélectionnez un mode Trigger (voir ci-dessous), si vous ne souhaitez pas utiliser la nappe Morph. 2 Appuyez sur le bouton R(ecord) Enable pour activer (armer) la fonction d’enregistrement de l’enveloppe de morphing. 3 Jouez une note sur votre clavier MIDI, puis effectuez l’une des opérations suivantes : a Faites glisser la boule argentée dans la nappe Morph. b Déplacez un contrôleur externe (consultez Affectation de contrôleurs MIDI dans Sculpture). Après l’enregistrement d’un mouvement de contrôleur, R(ecord) Enable est réglé automatiquement sur Off et Mode est défini sur Env only. Cela garantit que seul le mouvement enregistré sera actif, quelle que soit la position du contrôleur et les mouvements effectués une fois l’enregistrement terminé. Chapitre 14 Sculpture 417 Remarque : le mode revient par défaut sur (Morph) Pad, dès que vous cliquez sur le bouton R (pour plus d’informations sur les modes, consultez Utilisation des paramètres Morph Envelope dans Sculpture). Pour choisir un mode Trigger de l’enregistrement µ Cliquez sur le menu situé à droite du bouton R et sélectionnez l’un des modes de déclenchementsuivants, qui permet de lancer l’enregistrement lorsque le bouton R(ecord) Enable est actif : • NoteOn : l’enregistrement commence dès que vous jouez une note. • Note + Move Morph Point : l’enregistrement démarre lorsque les messages de changement de contrôle MIDI (tels qu’ils ont été affectés dans les paramètres Morph X et Y de la section MIDI Controller Assign) arrivent lorsqu’une note est maintenue. • Note+Sustain Pedal : l’enregistrement commence lorsque la pédale Sustain est enfoncée et qu’une note est maintenue. Pour arrêter un enregistrement Procédez de l’une des manières suivantes : µ Cliquez sur le bouton (ou le déclencheur) R(ecord) Enable une seconde fois. µ Relâchez toutes les touches et laissez l’ensemble des voix terminer leur phase de chute. Cela met automatiquement fin à l’enregistrement. Remarque : vous pouvez aussi arrêter l’enregistrement plus tôt, avant la chute ; pour ce faire, il suffit de relâcher toutes les touches, puis d’appuyer sur une seule touche. Affectation de contrôleurs MIDI dans Sculpture La barre inférieure de l’interface Sculpture permet de définir les contrôleurs MIDI que voussouhaitez par exemple utiliser pour contrôler l’intensité du vibrato ou les mouvements de la nappe Morph. Vous pouvez utiliser n’importe quel contrôleur MIDI indiqué dans les menus pour ces sources de contrôle. Ces paramètres sont enregistrés avec chaque réglage. Ils ne sont mis à jour que si le réglage par défaut (celui chargé lorsque vous lancez le module) est utilisé ou si le réglage a été sauvegardé avec un projet. Cette approche vous aide à adapter tous les contrôleurs MIDI au clavier, sans devoir modifier et enregistrer chaque réglage séparément. • Menu Vib Depth Ctrl : définit le contrôleur MIDI utilisé pour contrôler l’intensité du vibrato. 418 Chapitre 14 Sculpture • Menus Ctrl A et Ctrl B : permettent d’affecter deux contrôleurs qui peuvent servir pour les modulations latérales ou comme sources de modulation via, définies dans l’onglet de routage de modulation CtrlA et CtrlB. • Menus CtrlEnv 1 et CtrlEnv 2 : définissent les affectations de contrôleur pour les deux enveloppes de contrôle (utilisées en tant que signal de modulation ou décalage) dans les cas où les enveloppes de contrôle sont définies sur les modes Ctrl only ou Ctrl+Env. Ilsservent également à définir la source pour enregistrer les mouvements de contrôleur. • Menus Morph X et Morph Y : déterminent les affectations de contrôleur pour les coordonnées X et Y de la nappe Morph. Une fois affecté, le contrôleur peut être utilisé pour déplacer manuellement le point de morphing, programmer un à un des points d’enveloppe de morphing, décaler globalement l’enveloppe de morphing ou faire office de source pour l’enregistrement de mouvements de morphing. • MenuMode : détermine si les affectations de contrôleur MIDI proviennent d’un réglage donné ou restent inchangées, lors du chargement d’un réglage. Le basculement d’un mode à l’autre permet de passer des affectations originales, enregistrées avec le réglage, aux affectations par défaut (extraites du fichier de réglage #default.pst qui, s’il existe, est chargé lors du lancement de Sculpture). Pour assigner un contrôleur µ Ouvrez le menu de commande souhaité etsélectionnez le nom ou le numéro du contrôleur à utiliser dans la liste. Pour apprendre une affectation de contrôleur via MIDI 1 Ouvrez le menu de contrôle souhaité et sélectionnez l’option -Learn-. 2 Déplacez le contrôleur souhaité sur votre contrôleur ou clavier MIDI. Remarque : si aucun message MIDI approprié n’est reçu dans les 20 secondes, le contrôle sélectionné rétablit l’assignation/la valeur précédente. Guide d’initiation à Sculpture : premiers contacts avec la création de sons Cette section contient des informations qui vous aideront lors de vos premiers pas vers la création de sons dans Sculpture. La création de types de son spécifiques, parmi les sons de base de l’instrument, est évoquée dans plusieurs rubriques. Consultez Guide d’initiation à Sculpture : création de sons de base. Pour en savoir plussur la programmation de types de son particuliers, consultez Guide d’initiation avancé à Sculpture : programmation de basses électriques et Guide d’initiation avancé à Sculpture : programmation de sons synthétisés. Chapitre 14 Sculpture 419 La souplesse du moteur de synthèse de Sculpture autorise une grande diversité d’approches de la conception sonore. • Si vous aimez créer un son en partant de zéro, paramètre par paramètre, c’est possible. • Si vous préférez tirer parti desfonctions de morphing de Sculpture pour créer dessons, c’est également possible. Consultez Sélection aléatoire des points de morphing avec la nappe Morph dans Sculpture. • Si vous préférez retravailler des sonorités préexistantes, alors les paramètres qui ont une incidence sur l’intégralité de l’instrument vousintéresseront davantage, notamment les sections Body EQ et Filter, ainsi que les modulateurs, par exemple. Quelle que soit votre préférence en la matière, vous pouvez obtenir desrésultats nouveaux et intéressants. Procédez à des expérimentations et familiarisez-vous avec chaque approche. Vous vous apercevrez que chacune possède des points forts et des faiblesses, et qu’il faut parfois combiner plusieurs méthodes pour obtenir un résultat qui vous convient. Utilisation des réglages par défaut dans Sculpture Lorsque vous programmez un son dans Sculpture « en partant de zéro », la meilleure approche consiste à travailler séparément sur chaque composante du son. Bien entendu, lorsque vous commencez à travailler avec Sculpture, vous ne connaissez pas bien l’impact de chacun des paramètres sur les résultats finaux. Ne vous inquiétez pas, d’autressections de ce guide d’initiation vousfourniront desindicationssur la création de chaque type de son particulier. Tout d’abord, vous avez besoin d’un réglage de base. Vous obtenez cette sonorité lorsque vouslancez Sculpture pour la première fois, autrement dit un jeu par défaut de paramètres neutres. Cette sonorité n’a bien sûr rien de renversant : son seul but est de vous fournir un point de départ pour tous les exemples de création sonore de ce chapitre. Cette sonorité est enregistrée en tant que fichier de réglages « #default ». Nous vous conseillons d’enregistrer une copie de ce réglage dès maintenant. Pour enregistrer un réglage par défaut µ Ouvrez le menu Settings et sélectionnez Save Setting As, saisissez le nom de votre choix (par exemple, « neutre » ou « standard »), puis cliquez sur Save. Vous pouvez le recharger en passant d’un exemple à l’autre. Découverte de la corde dans Sculpture La corde est l’élément de synthèse central de Sculpture ; elle est responsable de la tonalité de base de votre son. Elle propose différents paramètres qui vous permettent d’en modifier l’aspect matériel (matériau de fabrication) et dans quel environnement elle est jouée (eau, air, etc.). 420 Chapitre 14 Sculpture Astuce : avant de commencer, cliquez sur la corde (ligne horizontale verte se trouvant dans la section Pickup) tout en appuyant sur la touche ctrl, puis cliquez sur Enable String Animation. Lorsque l’animation est activée, la corde vibre dès que vous jouez une note, ce qui permet de visualiser plus facilement l’impact des objets et des capteurs. Bouton Keyscale Bouton Release Curseur Media Loss Curseur Tension Mod Curseur Resolution Curseur Keyscale Curseur Keyscale Curseur Keyscale Boule Pour définir une tonalité de base 1 Cliquez sur le bouton Keyscale situé dans la partie inférieure de l’anneau de la nappe Material. 2 Sur votre clavier, jouez et maintenez enfoncé le Do central ou jouez-le de façon répétée. Cette hauteur musicale de Do central correspond à la hauteur par défaut de la corde. 3 Tout en appuyant sur le C (Do) central, faites glisser la boule autour de la nappe Material. Écoutez les variationssonoreslorsque vous passez d’un matériau à un autre : Nylon, Wood, Steel et Glass. Observez la corde (la ligne horizontale verte dans la fenêtre Pickup, sur la gauche) pendant l’opération. 4 Relâchez le bouton de la souris une fois que vous avez trouvé une tonalité de base qui vous plaît. Pour modifier les propriétés de la corde 1 À présent, testez les valeurs de chacun des curseurs situés autour de la nappe Material, à savoir les paramètres Media Loss, Tension Mod et Resolution, tout en continuant à jouer le C (Do) central. Notez les changements apportés par chaque paramètre au son et à l’animation de la corde, dans l’affichage Pickup. Jouez quelques notes au-dessus et en dessous du Do central, là encore tout en observant la corde. Chapitre 14 Sculpture 421 2 Vous avez probablement remarqué que le déplacement des curseurs Media Loss, Tension Mod et Resolution avait également une incidence sur les curseurs Keyscale de couleur grise et bleue, à l’intérieur et à l’extérieur de l’anneau. Faites glisser dans différentes positions chacune des pointes de flèche de ces curseurs Keyscale, une par une, tout en jouant quelques notes de part et d’autre du C (Do) central. Écoutez bien les changements apportés en haut ou en bas du clavier. 3 Une fois que vous avez terminé, cliquez sur le bouton Release situé dansla partie inférieure de l’anneau de la nappe Material, puis ajustez le curseur bleu Media Loss Release pendant que vous jouez des notes. Découverte des objets dans Sculpture Vous pouvez utiliser jusqu’à trois objets de types différents pour exciter ou perturber la vibration de la corde. • Avant de commencer, cliquez sur la corde (ligne horizontale verte se trouvant dans la section Pickup) tout en appuyant sur la touche ctrl, puis cliquez sur Enable String Animation. Lorsque l’animation est activée, la corde vibre dès que vousjouez une note, ce qui permet de visualiser plus facilement l’impact des objets et des capteurs. Pour découvrir les objets dans Sculpture 1 Rechargez le fichier de réglage « #default » (ou votre réglage standard), en sélectionnant Reset Setting dans le menu Settings. 2 Cliquez sur le bouton Object 1 pour le désélectionner, tout en appuyant de manière répétée sur une touche. Le son s’arrête lorsque Object 1 est désélectionné. La corde elle-même ne produit pas de son, sauf si elle est stimulée par au moins un objet. Cliquez à nouveau sur le bouton pour le réactiver. 3 Ouvrez le menu local Type de l’objet 1, puissélectionnez chaque élément de menu.Jouez une note de façon répétée lors de votre sélection, afin de mieux entendre l’influence de chaque type d’objet sur la corde. Encore une fois, observez l’animation de la corde. Notez que l’objet 1 peut utiliser des types excitation uniquement. L’objet 2 peut utiliser des types excitation et atténuation. L’objet 3 peut utiliser des types atténuation uniquement. 4 Réglez le potentiomètre Strength en le faisant glisser verticalement pour obtenir des variations de grande ampleur ou horizontalement pour desréglagesfins. Ce faisant, jouez une note de façon répétée. 5 Faites glisser les pointes de flèches Timbre et VeloSens en différentes positions tout en appuyant sur une touche, afin d’entendre les modifications ainsi apportées. 6 L’impact du paramètre Variation est différent pour chaque type d’objet. N’hésitez pas à tester ces effets également. 422 Chapitre 14 Sculpture 7 Essayez chacun des réglages disponibles dans la section Gate. Potentiomètres/contrôles des trois objets de corde, avec la section Pickup à gauche au centre. Découverte de la section Pickup dans Sculpture La vibration de la corde est recueillie par deux capteurs mobiles. La section Pickup contient également trois curseurs d’objet, qui permettent de définir la position de chaque objet sur la corde. Objets Objets Curseur Pickup A Curseur Pickup B Pour changer la position des objets sur la corde 1 Rechargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Faites glisser le capteur Object 1 vers la gauche ou la droite, tout en appuyant sur une touche. Notez que toute modification de la position du capteur d’objet change les caractéristiques du son émis par la corde. 3 Ajustez la valeur du paramètre Strength de l’objet 1 pour mieux entendre ce qui se passe ou réglez la tonalité comme vous le souhaitez. Vous pouvez également utiliser les paramètres Timbre et Variation de l’objet 1 afin de modifier la tonalité. Chapitre 14 Sculpture 423 4 N’hésitez pas à ajuster la position et les paramètres des autres objets, s’ils sont activés. Pour changer la position des capteurs sur la corde µ Faites glisser les curseurs Pickup A et Pickup B. Notez que toute modification de la position des capteurs induit des vibrations et une qualité tonale différentes au niveau de la corde. Si vous souhaitez augmenter le volume global, ajustez le potentiomètre Level situé dans la partie droite de l’interface Sculpture, en regard de la section Pickup. Compréhension des interactions corde/objet dans Sculpture Comme vous êtes probablement en train de le découvrir, chaque paramètre a une incidence sur la tonalité globale émise par la corde et, plus encore, sur l’interaction de la corde avec d’autres paramètres. Chaque paramètre introduit ou dont la valeur est modifiée a une incidence sur la corde modélisée, ce qui, en retour, modifie l’interaction de chaque paramètre avec la corde modélisée. Ainsi, vous devrez sans doute remodifier lesréglages des paramètres de l’objet 1 une fois que vous aurez activé l’objet 2. De façon générale, ces ajustements ultérieurs restent modérés : le plus souvent, il suffit d’intervenir légèrement sur les paramètres Strength ou peut-être sur la position des capteurs de chaque objet, par exemple. Ce sont ces paramètres qui ont la plus grande incidence sur la tonalité et le niveau des objets. Vous devez donc y être attentif si l’activation de l’objet 2 provoque un changement de timbre intempestif dans votre son. Pour apporter des variations subtiles aux objets, utilisez les potentiomètres Timbre et Variation. Contrairement aux changements radicaux, des modifications légères permettent de conserver la tonalité globale de la corde et de l’objet 1, tout en introduisant un nouvel élément grâce à l’objet 2. Découverte des autres paramètres de traitement dans Sculpture Les capteurs envoient le signal à la section de traitement, qui se compose d’une zone d’amplitude avec ADSR (à droite de la nappe circulaire Material au centre), d’un Waveshaper avec types de courbe de mise en forme de l’onde sélectionnables(au-dessus de la nappe circulaire Material) et d’un filtre multimode (en dessous de la nappe Material). Tous les éléments décrits jusqu’ici existent voix par voix. Tous les signaux de voix provenant des capteurs sont additionnés, puis traités par un effet Delay intégré (tout en haut à droite de la nappe circulaire Material). De là, le signal est envoyé vers un module de type égaliseur (Body EQ, tout en bas à droite de la nappe Material), qui simule globalement la réponse spectrale forme ou corps de votre instrument. Vous avez le choix entre plusieurs types de corps d’instruments. Le signal obtenu est alors transmis vers une section Level/Limiter (tout à droite). 424 Chapitre 14 Sculpture Astuce : n’hésitez pas à expérimenter ces différents paramètres, en utilisant à chaque fois le fichier de réglage « #default » (ou votre réglage standard). Cela vous permettra de vous faire une impression de chaque paramètre et de son incidence sur les sons que vous entendez. Tous les autres paramètres des portions inférieures de l’interface Sculpture (Modulation, Morph, Envelope et Controller Assignments) ne font pas partie du moteur de synthèse, bien qu’ils aient aussi une incidence sur ce dernier. Guide d’initiation à Sculpture : création de sons de base Cette section aborde la création de diverstypes de sons de base : orgues, basses, guitares, etc. Elle réunit un ensemble d’indications, de conseils, d’astuces et d’informations destinés à vous aider dans la création de types de sons particuliers dans Sculpture. Pour en savoir plussur la programmation de types de son particuliers, consultez Guide d’initiation avancé à Sculpture : programmation de basses électriques et Guide d’initiation avancé à Sculpture : programmation de sons synthétisés. Le but est de vous fournir un point de départ pour vos propres expérimentations et de vous présenter différentes approches pour créer des sons avec Sculpture. À mesure que vous vous familiariserez avec Sculpture et avec la modélisation de composantes, vous vous apercevrez qu’il existe plusieurs façons de parvenir à un même résultat final. Autrement dit, chaque composante du son peut être modélisée en utilisant les divers paramètres et techniques disponibles. Cette approche flexible vous permet, par exemple, de créer un son de cuivre de plusieurs façons : à l’aide du Waveshaper comme élément tonal principal dans un son unique ou avec le filtre et l’outil Body EQ pour simuler la même composante sonore dans un autre son. Une bonne compréhension des propriétés physiques de l’instrument que vous souhaitez imiter est un avantage. Bien que vous puissiez faire des recherches sur Internet pour obtenir ce type de connaissancesspécialisées, vous pouvez observer l’approche générale présentée ci-dessous dans la majorité des tâches de création sonore réalisées dans Sculpture. Comment l’instrument génère-t-il le son ? • Est-ce une corde qui vibre et fait entrer en résonance un corps (comme sur une guitare ou un violon) ? • Est-ce une colonne d’air qui vibre dans un tuyau (flûte ou trompette) ? • Est-ce un objet solide qui est frappé, causant ainsi des vibrations (bloc de bois) ? • Est-ce un objet creux qui est frappé, causant ainsi des vibrations ou un phénomène de résonance (cloche ou tambour) ? Chapitre 14 Sculpture 425 De quoi est fait l’instrument ? Pour répondre à cette question, ne vous limitez pas au corps de l’instrument. Prenez également en compte le matériau de fabrication des cordes (nylon ou acier sur une guitare), voire aussi l’épaisseur et le matériau de l’anche dans le cas d’une clarinette ou d’un hautbois, la présence d’une sourdine pour une trompette, etc. L’instrument est-il polyphonique ou monophonique ? Il s’agit là d’un facteur important, en étroite relation avec la question suivante sur la manière dont l’instrument est joué. Certaines différences entre les instruments monophoniques et polyphoniques sont évidentes, par exemple l’impossibilité de jouer des accords sur une flûte. Il existe toutefois d’autres différences plus subtiles, comme l’interaction entre une corde modélisée et toute autre corde active. Bien entendu, cela ne peutse produire avec un instrument comme la flûte, qui ne produit qu’une seule note. Comment joue-t-on de cet instrument ? Autrement dit, faut-il le jouer à l’archet,souffler dedans, le frapper ou en pincer les cordes? Existe-t-il d’autres éléments qui font partie du son de l’instrument ? • Modification de la pression des lèvres et de la position de la bouche dans le cas des cuivres et des instruments à vent. • Bruits de souffle ou mécaniques. • Changements provisoires de hauteur tonale, par exemple lorsque vous appuyez avec vos doigts sur la frette ou si vous pincez une corde. • Changements provisoires de timbre ou de niveau, par exemple lorsqu’un joueur de cuivre arrive à bout de souffle ou s’amuse avec les pistons. Une fois que vous avez établi, mentalement ou sur papier, votre liste de propriétés, essayez d’imiter chacune des composantes contribuant au caractère du son. C’est là tout l’intérêt de la synthèse par modélisation de composantes. Avant de commencer, il faut rappeler que les exemplessuivants ne constituent justement que de simples exemples. Il existe bien sûr de nombreuses façons de modéliser chaque composante d’un son. • Faites des essais avec les paramètres proposés afin de créer vos propres versionssonores et n’hésitez pas à utiliser vos propres valeurs de paramètre si cellesfournies ne satisfont pas votre conception du son de basse idéal. • Des modificationssubtiles, notamment dansle cas de paramètres Keyscale (suivi clavier), donnent des sons plus contrôlés. Prenez votre temps et essayez toutes les possibilités lorsque vous suivez ces exemples. • Vous pouvez utiliser les réglages par défaut ou ceux d’autres utilisateurs comme point de départ pour vos propres sons ou comme objet d’étude. En étudiant les paramètres existants, vous découvrirez comment le son a été créé. Activez et désactivez les différents paramètres pour découvrir comment ils fonctionnent. 426 Chapitre 14 Sculpture Amusez-vous et n’hésitez pas à prendre des risques, Sculpture est incassable ! Création de sons de basse dans Sculpture La création de sons de basse dans Sculpture est une opération très simple. Pour créer un son de basse 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Ouvrez le menu local Transpose, situé dans la partie supérieure de l’interface, puis sélectionnez le paramètre +1 Oct. et jouez quelques notes autour de C2 (Do2). Vous remarquerez que la couleur sonore globale d’une basse acoustique est déjà là. 3 Vous pouvez tout à fait faire glisser la boule de la nappe Material vers l’entrée Nylon, mais avant cela, ouvrez le menu local Type de l’objet 1 et sélectionnez Pick. 4 Jouez quelques notes sur le clavier et, ce faisant, ajustez la position de la boule. 5 Occupez-vous ensuite des paramètres Strength, Variation, Timbre et VeloSens de l’objet 1. Réglez chacun d’eux selon vos besoins. 6 Vous pouvez également, si vous le souhaitez, régler le paramètre Release de l’enveloppe d’amplitude (curseur R vertical dans la section droite de la nappe circulaire Material). 7 Pour ajouter un tonalité « bois » à votre son de basse, déplacez vers la droite la position du capteur pour l’objet 1 (faites glisser le curseur #1 dans la section Pickup, située à gauche de l’interface). Au niveau des positions extrêmes (tout à gauche ou tout à droite), le grave de la basse s’efface. Essayez ! 8 À présent, réglez la position des capteurs PickupA et Pickup B en faisant glisser les curseurs horizontaux. Comme vous pouvez le constater, il est facile de recréer rapidement un son de basse acoustique ou électrique jouée au médiator. 9 Pour obtenir instantanément un son de basse de synthétiseur hybride (ou entier), cliquez sur le bouton Waveshaper (situé juste au-dessus de la nappe circulaire Material), ouvrez le menu local Type au-dessus et sélectionnez l’un des types proposés. 10 Utilisez la commande Save Setting As du menu Settings pour enregistrer au fur et à mesure vos réglages, sous le nouveau nom choisi. Il vous suffira sans doute de quelques minutes pour créer plusieurs sons de basse intéressants. Chacun d’eux peut être utilisé tel quel ou comme modèle pour vos futurs sons de basse. Création de sons de cloche dans Sculpture À un niveau basique, les sons de cloche sont assez faciles à obtenir avec Sculpture. Pour obtenir des sons de cloches réellement intéressants, quelques efforts supplémentaires de recherche sont nécessaires, mais c’est l’évolution de la richesse harmonique et du désaccord lors de la phase de chute/relâchement qui font toute la différence. Pour créer un son de cloche 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). Chapitre 14 Sculpture 427 2 Ouvrez le menu local Type de l’objet 1, puis sélectionnez Strike. 3 Faites glisser la boule de la nappe Material jusqu’en bas, puis placez-la à mi-chemin entre les entrées Steel et Glass. Si vous jouez quelques notes, vous vous apercevrez que le son obtenu ressemble déjà bien à celui d’une cloche. 4 Ensuite, faites glisser le curseur Media Loss presque totalement vers le bas. Là encore, jouez quelques notes et vous vous apercevrez que la phase de relâchement du son est beaucoup plus longue. 5 Faites glisser le curseur Resolution complètement à droite. 6 Faites glisser le curseur de capteur Pickup A jusqu’à mi-course environ (0,48). 7 Faites glisser la position du capteur de l’objet 1 jusqu’à une valeur de 0,10. Le son de cloches devient alors plus intéressant… jouez quelques notes pour vous en convaincre. 8 Cliquez à présent sur bouton Delay situé dans le coin supérieur droit de la fenêtre, pour activer l’unité Delay. 9 Cliquez sur le bouton Sync situé en bas de la section Delay et faites glisser le curseur Delay Time jusqu’à une valeur de 20 ms. 10 Réglez le potentiomètre Wet Level sur 66 pour cent. 11 En bas à droite, cliquez sur le bouton Body EQ pour l’activer. Assurez-vous que l’option Lo Mid Hi est sélectionnée dans le menu local Model. 12 Réglez le potentiomètre Low sur 0,55, le potentiomètre Mid sur 0,32 et le potentiomètre Hi sur 0,20. 13 À ce stade, vous avez un son de cloche en bonne et due forme, mais vous vous apercevrez probablement qu’il y a un problème d’accord, particulièrement lorsque vous descendez en dessous de C3 (Do3). Cette approche de programmation a été choisie parce que les harmoniques du son sont plus facilement repérables une fois que tous les autres paramètres ont été réglés. La solution au problème d’accord évoqué précédemment réside principalement dansles paramètres de suivi clavier (Keyscale) Inner Loss et Stiffness. Pour les régler, sélectionnez d’abord le bouton Keyscale, puis faites glisser vers le haut ou vers le bas la ligne horizontale verte située à l’intérieur de la nappe Material, pour les notes graves, ou la ligne horizontale bleue, pour les notes aiguës. 14 Utilisez la commande Save Setting As du menu Settings pour enregistrersous un nouveau nom vos réglages, qui serviront de base pour vos nouveaux sons de cloche ou pour votre prochain album de Noël ! 428 Chapitre 14 Sculpture Création de sons de cuivre dans Sculpture Les instruments de type cuivres ont la réputation, justifiée, d’être difficiles à recréer de façon électronique. Placés entre des mains expertes et avec des banques de sons de qualité, les échantillonneurs s’en tirent plutôt bien, mais il leur manque cette chaleur organique caractéristique des vrais instrumentistes. Il s’agit d’une sonorité de cuivres plutôt simple et générique, que vous pouvez jouer comme instrument solo ou comme section de cuivres. Pour créer un son de cuivre générique 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le type de l’objet 1 sur Blow. 3 Activez l’objet 2 et définissez son type sur Noise. 4 Ajustez le paramètre Strength de l’objet 1 à environ 0,90. 5 Définissez le paramètre VeloSens de l’objet 1 à environ 0,30. 6 Faites glisser la boule de la nappe Material jusqu’à une position située dans la diagonale définie par le « I » d’Inner Loss et le « l » du mot Steel, puis jouez un C (Do) central. Le son devrait déjà bien évoquer les cuivres. 7 À présent, jouez le E (Mi) au-dessus du C (Do) central : le son évoque un hybride entre une mandoline et une sonnerie de téléphone. 8 Faites glisser le curseur Resolution vers la gauche ou vers la droite tout en jouant le C (Do) central et quelques notes, sur une octave vers le bas environ. Vous découvrirez alors une gamme de sons couvrant une palette très étendue, dessitars aux flûtes, en manipulant simplement ce paramètre. 9 À présent, cliquez sur le bouton Keyscale et, tout en montant/descendant sur le clavier, réglez séparément les valeurs du curseur Resolution et des curseurs Resolution Low/High Keyscale jusqu’à ce que la région du clavier que vous souhaitez jouer (disons environ une octave autour du C (Do) central) ne souffre plus de ces artefacts de type mandoline/téléphone. Assurez-vous de ne pas perdre la sonorité de cuivres. 10 Modifiez la position du capteur Pickup A jusqu’à atteindre environ 77 %. 11 Activez le Waveshaper et sélectionnez le type Scream. Réglez les valeurs des paramètres Input Scale et Variation selon vos besoins. 12 Activez le filtre. Sélectionnez le mode HiPass et réglez les paramètres Cutoff, Resonance et autres selon vos besoins. (Vous pouvez par exemple utiliser la valeur 0,30 pour Cutoff et 0,41 pour Resonance.) 13 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Vous pouvez la décliner un grand nombre de variantes : trompette en sourdine, cor d’harmonie, voire sitars ou flûtes. Chapitre 14 Sculpture 429 Pour apporter des modifications approfondies à votre son de cuivre µ Utilisez le Waveshaper pour modifier votre son de manière plus radicale. µ Servez-vous de l’option Delay pour émuler un espace dans lequel jouer votre instrument. µ Utilisez l’égaliseur Body EQ pour atténuer les graves et accentuer les médiums et les aigus. µ Faites glisser la boule de la nappe Material jusqu’à l’entrée Nylon pour voir en quoi cela affecte la nature de votre son. µ Sélectionnez Blow comme type pour l’objet 2, puis testez différentes positions pour les objets 1 et 2. C’est une autre façon d’obtenir des sons de cuivres différents. Création de sons de flûte dans Sculpture Observez cette approche comme base pour la plupart des instruments à vent : flûtes, clarinettes, shakuhachi, flûte de Pan, etc. Pour créer des sons de flûte 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Le mode Keyboard doit être réglé sur Mono, car les flûtes et les autres instruments à vent sont monophoniques. Une fois que vous avez configuré le réglage, procédez à des expériences avec ce paramètre tout en jouant, puis faites votre choix. 3 Définissez le type de l’objet 1 sur Blow. 4 Définissez le type de l’objet 2 sur Noise. 5 Définissez le paramètre Gate des deux objets sur Always. 6 Ajustez le paramètre Strength de l’objet 2 sur une valeur d’environ 0,25. 7 Ajustez le paramètre Velosens de l’objet 1 sur une valeur d’environ 0,33. 8 Placez la boule de la nappe Material dans une position située à la fin du texte Inner Loss et en dessous du mot Nylon. 9 Jouez quelques notes sur le clavier : vous devriez entendre un son proche de la flûte, mais avec un long relâchement, ce qui n’est pas idéal. Faites glisser le curseur Amplitude Envelope Release à la valeur 0,99 ms. 10 Le capteur Pickup A devrait être défini sur une valeur de 1,00 (extrémité droite). 11 Définissez la position du capteur de l’objet 1 sur 0,27 environ. 12 Définissez la position du capteur de l’objet 2 sur 0,57. 13 Ensuite, activez le Waveshaper et sélectionnez le type Tube-Like Distortion. 14 Jouez quelques notes et réglez les paramètres Waveshaper Input Scale et Variation comme vous le souhaitez (par exemple, essayez Input Scale = 0,16 et Variation 0,55). 15 Lorsque vous jouez des notes soutenues, vous remarquerez probablement l’absence de variations sonores intéressantes, typiques des sons de flûtes réels (dus aux changements survenant dans le souffle de l’instrumentiste, la position de ses lèvres, etc.). 430 Chapitre 14 Sculpture 16 Vous pouvez adopter plusieurs approches pour ajouter de l’intérêt au son soutenu. Citons par exemple l’utilisation du modulateur Vibrato (assigné à l’Aftertouch), ou bien l’enregistrement ou le dessin d’une enveloppe et le contrôle des paramètres Waveshape Input Scale via Velocity et/ou String Media Loss. Vous pouvez même utiliser le paramètre Loop Alternate du mode Sustain. N’hésitez pas à procéder à des expérimentations ! 17 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Création de sons de guitare dans Sculpture Ce réglage de base permet de créer dessons de guitare, de luth, de mandoline et d’autres instruments à cordes pincées (notamment les harpes). Pour créer un son de guitare 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le paramètre Voices sur 6 (une guitare ne comporte que 6 cordes). Pour un banjo, choisissez 7 ; pour une harpe, le plus grand nombre possible. 3 Définissez le type de l’objet 1 sur Impulse, si cela n’est pas déjà le cas. 4 Activez l’objet 2 et définissez son type sur Pick. 5 Déplacez à présent le capteur Pickup A à l’extrémité droite. 6 Déplacez le capteur de l’objet 2 jusqu’à la valeur 0,14. 7 Activez l’égaliseur Body EQ et sélectionnez l’un des modèles Guitar. 8 Réglez les divers paramètres de Body EQ. Ils ont une incidence déterminante sur la brillance et la tonalité générales de votre son de guitare. Par exemple, essayez les paramètres Model Guitar 2, Intensity 0,46, Shift 0,38 et Stretch 0,20. 9 Définissez le paramètre Fine Structure sur une valeur entre 0,30 et 0,35, mais laissez vos oreilles en juger. 10 Cliquez sur le demi-cercle Spread Pickup tout en maintenant le bouton de la souris enfoncé, puis faites-le glisser vers le haut pour augmenter la largeur subjective du son. Une valeur comprise entre 10 heures et 2 heures donne généralement de bons résultats. 11 Activez le filtre et sélectionnez le mode Lo Pass. 12 Réglez les paramètres Cutoff et Resonance selon votre goût (essayez une valeur de 0,81 pour les deux paramètres). 13 Faites glisser le curseur Tension Mod vers le haut, puis jouez sur le clavier pour juger de l’effet de désaccord momentané créé par ce paramètre. Définissez sa valeur de façon appropriée. 14 Définissez le mode Level Limiter sur Both. 15 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Chapitre 14 Sculpture 431 Vous remarquerez peut-être qu’une approche différente a été adoptée dans la création de ce réglage. Ceci est dû à l’impact majeur que le modèle choisi pour l’égaliseur Body EQ peut engendrer au niveau du son. Dans certains cas, comme celui-ci, il peut être préférable de travailler dans un ordre légèrement différent, plutôt que de suivre strictement le cheminement du signal. Pour créer d’autres sons de guitare µ Réglez les paramètres Object Strength, Timbre et Variation. µ Repositionnez la boule de la nappe Material pour créer une tonalité de guitare complètement différente. µ Utilisez le paramètre Delay ou Vibrato pour simuler le double pincement des cordes de mandoline. Création de sons d’orgue dans Sculpture Les sons d’orgues comptent parmi les plus faciles et les plus rapides à imiter dans Sculpture, puisqu’ilssont dépourvus de phase de relâchement. Cela simplifie grandement votre tâche, car vous n’avez pas besoin de régler les paramètres Keyscaling pour la tonalité de base. Vous pouvez toutefois le faire, ultérieurement, pour des routages de modulation ou des manipulations sonores spécifiques. Pour créer un son d’orgue 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). (Le type de l’objet 1 doit être défini sur Impulse. Si tel n’est pas le cas, faites-le.) 2 Définissez le paramètre Voices sur une valeur de 8, ou davantage si vous le souhaitez. 3 Faites glisser la boule de la nappe Material jusqu’au coin supérieur gauche de la fenêtre. 4 Activez l’objet 2 et définissez son type sur Bow. 5 Définissez le mode Gate de l’objet 2 sur Always. 6 Baissez complètement le curseur R(elease) de l’enveloppe d’amplitude. 7 Jouez un accord de C (Do) et vous entendrez un son évoquant celui d’une flûte. 8 Faites glisser le capteur Pickup A complètement à droite. 9 Jouez un accord de C (Do) et vous entendrez un son évoquant celui d’un orgue un peu ringard. Comme vous pouvez le constater, la position du capteur A a une incidence significative sur la personnalité du son. 10 Ensuite, faites glisser le capteur de l’objet 2 tout en tenant l’accord de C (Do). Une fois que vous avez trouvé une position donnant un son correspondant à votre conception d’un son d’orgue, relâchez le capteur de l’objet. 11 À présent, augmentez très légèrement la valeur du paramètre Timbre de l’objet 2. 12 Ajustez doucement la valeur du paramètre Variation de l’objet 2, jusqu’à obtenir une tonalité qui vous plaît. 432 Chapitre 14 Sculpture 13 À ce stade, vous souhaitez peut-être déplacer le capteur de l’objet 2 vers une position différente. Tenez un accord lors du déplacement. 14 Vous pouvez retravailler encore le son en apportant quelques modifications aux valeurs des paramètres Variation et Timbre de l’objet 2. 15 Pour introduire un léger clic de touche, faites passer le type de l’objet 1 sur Strike, puis ajustez ses paramètres Strength et Timbre. 16 Pour ajouter une vibration de style orgue désaccordé, définissez le paramètre Warmth sur une valeur comprise entre 0,15 et 0,20. 17 À ce stade, vous devez déjà avoir un son d’orgue « de base ». Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Vous pourrez vous en servir pour créer un autre son d’orgue. Astuce : jouez des notes ou des accords pendant que vous ajustez vos paramètres, afin d’écouter ce que chacun d’eux change au niveau du son. Vous allez probablement remarquer qu’un phénomène d’intermodulation est audible lorsque vous jouez des accords. Outre les différences de hauteur des notes composant l’accord, c’est là le résultat desinteractions entre chacune des voix générées par Sculpture. Ces légères variations entre chaque voix (ou corde, si vous préférez) et leurs interactions harmoniques ressemblent aux interactions harmoniques d’une section de violons dans un orchestre, même s’ils jouent tous la même chose. Création de sons de percussion dans Sculpture Tous les sons percussifs (de batterie, par exemple) ont tendance à avoir une forme d’enveloppe assez similaire. Ils contiennent un élément de « frappe » où apparaît la plus grande partie du caractère du son, suivi par une courte phase de chute. La phase de relâchement peut varier selon l’instrument lui-même (caisse claire ou bloc de bois, par exemple) et les caractéristiques acoustiques du local où il se trouve (caverne, salle de bains, etc.). Pour créer un son de percussion 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le type de l’objet 1 sur Strike. 3 Activez l’objet 2 et définissez son type sur Disturb 2-sided. 4 Définissez le mode Gate de l’objet 2 sur Always. 5 Le paramètre Strength de l’objet 1 doit être défini sur 0,84. 6 Le paramètre Strength de l’objet 2 doit être défini sur 0,34. 7 Faites glisser le curseur Media Loss vers le haut ou vers le bas tout en jouant, afin de bien percevoir son effet. Trouvez une valeur qui vous convient. Chapitre 14 Sculpture 433 8 De même, vous pouvez modifier la position de la boule de la nappe Material, même si son incidence sur la tonalité globale dépend beaucoup de la valeur du paramètre Media Loss. 9 Activez le filtre et l’égaliseur Body EQ, puis ajustez les réglages en fonction de vos préférences. 10 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Vous pouvez utiliser ce son comme point de départ pour une vaste gamme de sons percussifs : batteries, blocs, percussions « industrielles » et même sons de synthé pour séquences rythmiques. Vous pouvez rapidement créer des sons nouveaux et originaux en ajustant la position de la boule de la nappe Material et en modifiant la position du curseur Media Loss. Création de sons de cordes solistes dans Sculpture Les instruments à cordes solistes, tels que les violons ou les violoncelles, joués à l’archet, se créent dans Sculpture d’une façon assez similaire. Rien ne vous empêche de jouer ce son de façon polyphonique. Pour créer un son de corde soliste 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le paramètre Transpose sur -1 Oct. 3 Définissez le type de l’objet 1 sur Bow. 4 Jouez sur la moitié grave de votre clavier MIDI et vous entendrez un son évoquant un alto ou un violoncelle, qui peut bien évidemment être amélioré. 5 Tout en jouant sur le clavier, définissez le curseur Velosens de l’objet 1 en fonction de votre style de jeu et de celui de la musique. Vous pouvez aussi le régler plus tard, si vous le préférez. 6 Faites glisser le curseur Tension Mod légèrement vers le haut, de façon à ce que la pointe de la flèche recouvre la lettre « D ». Vous imitez ainsi l’effet de désaccord provisoire dû à l’étirement, par frottement, de la corde par l’archet. 7 Modifiez la position du capteur Pickup A jusqu’à atteindre environ 0,90. 8 Modifiez la position du capteur de l’objet 1 jusqu’à atteindre environ 0,48. 9 Activez l’égaliseur Body EQ, puis sélectionnez le modèle Violin 1. 10 Définissez les paramètres de l’égaliseur Body EQ comme suit : Intensity 0,73, Shift +1,00 et Stretch +1,00. 11 Ajustez le curseur Fine Structure selon votre goût. 12 Cliquez sur le demi-cercle Spread Pickup tout en maintenant le bouton de la souris enfoncé et faites-le glisser vers le bas jusqu’à ce que les points bleu clair atteignent les positions 10:30 et 1:30. 434 Chapitre 14 Sculpture 13 Définissez le mode Level Limiter sur Both. 14 Enregistrez votre son avec un nouveau nom, à l’aide de la fonction Save setting as. Pour apporter des modifications approfondies à votre son de corde soliste µ Définissez une modulation, par exemple un vibrato, qui sera introduit dans le son après un court laps de temps. µ Observez l’exemple ci-dessus pour créer des instruments à corde soliste plus aigus; mais portez une attention spéciale à tous les paramètres Keyscale. Une configuration inappropriée des réglages peut donner un son de violon ou d’alto désaccordé. µ Utilisez l’égaliseur Body EQ pour modifier votre son. Réglez ces paramètres avec précautions, car ils peuvent avoir une grande incidence sur les octaves supérieures en particulier. µ Pour obtenir un changement plus radical (à l’aide des réglages de l’exemple ci-dessus), définissez le type de l’objet 1 sur Pick pour obtenir un son de synthé basse bien rond et élastique (si vous jouez dans les graves) et une harpe passable (si vous jouez sur le reste du clavier). Création de sons de synthétiseur classique dans Sculpture L’un des pointsforts de Sculpture réside danssa capacité à créer des nappes en évolution constante et des sons atmosphériques. Il peut également reproduire des basses de synthétiseur riches, dessons dominants puissants, ainsi que d’autressons de synthétiseur classique. Sculpture possède un avantage sur lessynthétiseurstraditionnels:son moteur de synthèse produit, à la base, une variété plus étendue de tonalités de départ, lesquelles possèdent une qualité organique et une richesse qui leur sont propres. Pour créer un son de nappe de synthétiseur standard 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Définissez le paramètre Voices sur 16. 3 Définissez le type de l’objet 1 sur Bow. 4 Définissez le type de l’objet 2 sur Bow Wide. 5 Faites glisser la boule de la nappe Material jusqu’à l’extrême gauche de la nappe, exactement à mi-chemin entre le haut et le bas, sur la ligne Material. 6 Jouez un accord de C (Do) (central) et vous entendrez un son de nappe. 7 Si vous déplacez le capteur Pickup A sur 0,75, le son de nappe devient un peu plus agréable. 8 Déplacez l’objet 1 jusqu’à la valeur 0,84. 9 Déplacez l’objet 2 jusqu’à la valeur 0,34. 10 Enfin, cliquez sur l’icône Points portant cinq points, dans la section Morph Pad. Chapitre 14 Sculpture 435 11 Dans la section Morph Pad Randomize, faites glisser le curseur Int sur 25 pour cent, par exemple. 12 Cliquez une fois sur le bouton Morph Rnd. 13 Sélectionnez File > Save Setting As, puis saisissez un nouveau nom (par exemple « nappe_standard »). Vous utiliserez ce son de nappe de base dans plusieurs autres exemples. N’ayez pas peur d’intervenir sur votre « son brut » : tout est possible, alors n’hésitez pas à utiliser le filtre, le retard, l’égaliseur et le Waveshaper pour créer des sons. Pour créer un son de nappe de synthétiseur en évolution 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Cliquez sur l’onglet LFO 1 en bas à gauche de l’interface. 3 Cliquez sur le bouton 1 et jouez sur le clavier. Pour l’instant, pas de grande différence. 4 Ensuite, faites glisser le capteur Amt à gauche et à droite, tout en tenant un accord. Enfin, choisissez une valeur de 0,15. 5 Ouvrez le menu local Targetsitué à côté du bouton 1, puissélectionnez Object 1 Strength. Vous entendez alors un son un peu « flottant ». 6 Cliquez à présent sur le bouton Sync et réglez le potentiomètre Rate sur 1/8t. 7 Activez le deuxième objet LFO 1 en cliquant sur le bouton 2, puis sélectionnez Object 1 Position dans le menu local Target situé à côté du bouton 2. 8 Si vous jouez au clavier, là encore vous ne percevrez pas une grande différence. 9 Ouvrez le menu local Via situé à côté du bouton 2 et sélectionnez Velocity. 10 Jouez sur le clavier avec différentes vélocités ; vous entendrez les décalages de position du capteur de l’objet 1. Plus intéressant encore… 11 Ouvrez le menu local Waveform et sélectionnez Sample & Hold, puis jouez sur le clavier à différentes vélocités. Si vous avez une pédale Sustain, utilisez-la. Écoutez ce son qui évolue sans cesse. 12 N’hésitez pas à essayer différentes valeurs de tempo du projet et de LFO Rate, si vous le souhaitez. 13 Vous pouvez également modifier la valeur Spread Pickup et introduire le LFO2 ou d’autres modulateurs. Pour créer un son avec morphing 1 Chargez le fichier de réglage par défaut « #default » (ou votre réglage standard). 2 Cliquez sur le bouton R(ecord) dans la section Morph Trigger. 3 Jouez un accord sur le clavier et déplacez la boule de la nappe Morph de façon circulaire. 4 Lorsque vous avez terminé, cliquez à nouveau sur le bouton R(ecord). 436 Chapitre 14 Sculpture 5 Faites passer le mode Morph sur Env only : vous devriez voir apparaître votre cercle Morph. 6 Jouez sur le clavier. Voilà votre nappe avec effet Morph. 7 N’hésitez pas à modifier les paramètres Morph Envelope selon vos besoins. Si vous avez créé et enregistré précédemment un réglage « nappe_standard », dans le cadre du Guide d’initiation, vous avez dû normalement utiliser les paramètres Morph Points, Intensity et Rnd lors de la configuration. Le but était de s’assurer qu’il existait quelques points de morphing déjà disponibles. Vous pouvez, si vous le souhaitez, conserver le chemin parcouru dans la nappe Morph, et continuer à cliquer sur le bouton Rnd et à régler le curseur Int(ensity) pour obtenir une variété infinie de sons. Guide d’initiation à Sculpture : Modulations Les options de modulation peuvent être trèsimportantes dansl’émulation desinstruments acoustiques, notamment pour l’introduction d’un vibrato sur un son de trompette, dans la durée. De nombreux sons de synthétiseurs classiques s’appuient au moins autant sur les modulations que sur les composantes de base des sons (VCO, VCF et VCA). Voici quelques astuces en matière de modulation : • Imaginons par exemple que vous souhaitez moduler le timbre de l’objet 2 à l’aide du LFO. Pour ce faire, cliquez sur l’onglet LFO 1 ou 2, cliquez sur le bouton 1 ou 2, sélectionnez la source et la cible souhaitées dans les menus locaux Source et Target, puis faites glisser les curseurs Amt et Via jusqu’aux valeurs souhaitées. C’est tout. • Pour contrôler une modulation par l’intermédiaire d’un contrôleur externe, comme par exemple la roulette de modulation de votre clavier, ouvrez le menu local Via et sélectionnez Ctrl A (1 ModWhl) ou Ctrl B (4 Foot), respectivement. Par défaut, Mod Wheel est défini sur Ctrl A. • L’atténuation de type « Bouncing » n’est disponible que pour l’objet 3. Il affecte le son d’une manière très intéressante, mais ne peut pas se synchroniser au tempo du projet. Si vous souhaitez créer un effet ressemblant à celui obtenu avec l’objet Bouncing, mais synchronisable avec le tempo du projet, vous pouvez utiliser le type d’objet Disturb et l’animer en modulant sa position verticale (timbre) à l’aide d’un LFO. Le contrôle Breath est disponible pour tous les utilisateurs de Sculpture, même si vous ne disposez pas du contrôleur physique de souffle correspondant. Pour utiliser le contrôle de souffle sans contrôleur correspondant 1 Enregistrez les modulations du contrôleur de souffle dans les enveloppes enregistrables, à l’aide de la roulette de modulation de votre clavier ou d’un autre contrôleur. Chapitre 14 Sculpture 437 2 Réaffectez le parcours de modulation enregistré au paramètre CtrlEnv1, au paramètre CtrlEnv2, ou aux deux. 3 Sélectionnez NoteOn dans le menu local Record Trigger. Les messages Note-On entrants déclenchent les paramètres CtrlEnv 1 et 2. Guide d’initiation avancé à Sculpture : programmation de basses électriques Cette section traite d’un seul type d’instrument, la basse électrique, et couvre l’ensemble des principales articulations et variations qui le concerne. La nature physique des basses électriques n’est pas aussi complexe que celle de leurs équivalents acoustiques. Cet instrument constitue donc un excellent choix pour le didacticiel consacré à la programmation de sons, le but étant de vousfaire acquérirsuffisamment de compétences pour utiliser Sculpture et reproduire avec précision tous les détails d’un son. Pour élaborer une basse et toutes ses composantes dans Sculpture, vous devez comprendre les phénomènes physiques de base à l’origine de l’émission d’un son dans l’instrument. Avant d’envisager en pratique le processus de programmation dans Sculpture, voustrouverez desinformations détailléessur la construction d’une basse électrique dans la section suivante. Remarque : pour connaître les réglages correspondants à ces guides d’initiation dans la fenêtre Sculpture, ouvrez le menu Settings et sélectionnez Tutorial Settings. Principaux aspects des basses électriques dans Sculpture En général, une basse électrique possède quatre cordes. La corde la plus grave est généralement accordée sur un Mi 0 (numéro de note MIDI : 28). Les cordes situées au-dessus du E (Mi) grave sont accordées à la quarte supérieure, soit A (La), D (Ré) et G (Sol). Bien sûr, on trouve couramment des basses possédant cinq ou six cordes, parfois plus encore. Comme Sculpture ne connaît pas de limites tonales, mais cet aspect a peu d’importance. L’une des éléments clés de la programmation audio est le contenu dominant du son de basse, qui dépend principalement des qualités des cordes. • Cordes à filet rond : un fil métallique très fin est enroulé autour d’une âme de câble en acier, ce qui donne un son métallique, très riche en sons dominants. • Cordes à filet plat : tombées en désuétude de nos jours, le bobinage en fil très fin est raboté ou poli. Le son est alors beaucoup moins riche en sons dominants que le son de cordes rondes. (Ces dernières ont moins de succès de nos jours.) Contrairement à ce qui se passe pour les cordes de guitare, la structure et la fabrication des cordessont identiques dans un même jeu. Il n’existe pas de jeux de cordesréunissant des cordes à filet rond et des cordes à filet à plat. 438 Chapitre 14 Sculpture Le rapport entre la longueur de la corde et sa tension a une incidence significative sur le contenu harmonique. En laissant de côté les basses qui peuvent se régler sur différentes tonalités (en modifiant la longueur des cordes vibrantes), la position où vous jouez sur la corde a un rôle important. Si vous jouez un Ré sur la dixième frette de la corde de Mi grave, le son sera plus sourd que si vous jouez la même note sur la corde de Ré à vide. Le nombre de frettes diffère d’une basse à l’autre et dépend de l’étendue des notes jouablessur l’instrument. Pasla peine de se soucier des notes au-delà du Do écrit au-dessus de la portée ; le registre utile de cet instrument est en fait limité aux deux octaves inférieures, soit du Mi 0 au Mi 2. Il faut également mentionner la basse électrique sansfrette. Comme touslesinstruments dépourvus de frettes, elle laisse à l’instrumentiste le libre choix de la hauteur des notes jouées et possède un son particulier, parfaitement identifiable. Dans le cadre de ce didacticiel, vous apprendrez à programmer ce type de son instrumental dans Sculpture. Trois types d’articulations seront évoqués : • Au doigt : l’instrumentiste utilise tour à tour l’index et le majeur pour mettre les cordes en mouvement. • Au médiator : les cordes sont pincées avec un médiator (plectre). • Frappement : les cordes sont frappées avec le côté du pouce ou tirées très fort avec les doigts, puis relâchées brutalement. La vibration des cordes est recueillie par un capteur électromagnétique. Lorsque la corde vibre, les oscillations de son âme d’acier modifient le champ magnétique. Les capteurs sont presque toujours situés à une certaine distance sur le côté, près du chevalet et du dispositif de fixation des cordes. Il existe plusieurs variantes de capteurs pour les basses électriques et on en réunit souvent plusieurs sur un même instrument pour créer le son. Pour éviter de trop entrer dansles détails à ce stade,sachez qu’il existe une règle générale qui s’applique : Plus vous décalez le capteur vers le milieu de la corde, plus le son est grave et moins il a de plénitude. Plus vous décalez le capteur vers la fin de la corde, plus le contenu de sons dominants augmente, devenant ainsi plus dense et compact. Le registre médium est mis en avant et les graves en retrait. S’il est placé à l’extrémité de la corde, le son devient très fin. Ce comportement imite la position de jeu réelle d’une vraie corde : si vous jouez plutôt vers le milieu de la corde, vous obtenez un son lisse, régulier et puissant, d’une densité harmonique limitée. Si vous jouez au niveau du chevalet, le son devient plus nasal, plus métallique et comporte davantage d’harmoniques. Chapitre 14 Sculpture 439 Passons à présent au corps de l’instrument et à ses propriétés de résonance. Presque toutesles basses électriques possèdent un manche en boisrigidifié par un axe métallique (pour le renforcer) et un corps en bois plein. Du fait de cette construction, la corde vibre avec une grande liberté (Sustain),sans produire de son acoustique direct. C’est l’ensemble capteurs/amplificateur/haut-parleur qui crée le son de l’instrument. L’interaction acoustique entre le corps, les cordes et les sources sonores externes sont bien moins complexes qu’avec des instruments acoustiques « purs ». La vibration des cordes est naturellement entravée par plusieurs facteurs physiques : le rayon du mouvement de la corde (l’antinœud) dépend du chevalet de gauche ou de la première frette sur laquelle appuie l’exécutant, ainsi que desfrettesintermédiaires. Il peut naître ainsi des sons dominants qui peuvent prendre des formes très diverses: d’un léger souffle ou bourdonnement à un son plus perçant ou déchirant. Autres facteurs: les propriétés physiques du matériau de la corde et de l’instrument, ainsi que l’état (dureté) de vos doigts, atténuent la vibration de la corde. Programmation d’un son de basse standard dans Sculpture Cette section traite de la programmation d’un son de basse standard, qui vous servira de point de départ pour les autres sons de basse que vous créerez par la suite. Pour créer l’environnement de travail adapté à la conception d’un son de basse personnalisé 1 Assurez-vous que vous pouvez jouer les notes comprises entre C0 (Do0) et C3 (Do3) sur votre clavier. Pour cela, utilisez soit la fonction de transposition de votre clavier principal, soit la fonction de transposition disponible dansles paramètres Region de votre application hôte. Remarque : vous pouvez, bien sûr, transposer des sons au moyen de Sculpture mais ce n’est pas la meilleure solution dans ce cas : en effet, les sons ne seraient pas compatibles avec les régions MIDI où la note numéro 60 comme do central est considérée comme une référence globale. 2 Ouvrez le menu Settings dans Sculpture et sélectionnez le réglage par défaut. Pour recréer les caractéristiques sonores d’une basse standard 1 Réglez la valeur Attack de l’enveloppe d’amplitude à sa valeur minimale (0,00 ms). Le curseur A(ttack) se trouve juste à droite de la nappe Material. 2 Raccourcissez la durée de relâchement de l’enveloppe d’amplitude à une valeur comprise entre 4 et 5 ms. Jouez une touche sur votre clavier. Elle doit s’arrêter de façon abrupte lorsque vous relâchez la touche et être dépourvue de tout artefact (de type craquement numérique ou autre parasite). Si vous êtes confronté à un quelconque problème de parasite audio au cours de ce guide d’initiation, essayez de rallonger, avec prudence, la durée du relâchement. 440 Chapitre 14 Sculpture 3 Jouez quelques notes soutenues au-dessus de E0 (Mi0). Celles-ci s’estompent trop rapidement. Résolvez ce problème avec le paramètre Media Loss, en faisant glisser le curseur situé à la gauche de la nappe Material presque en bas de sa course. Notez que, sur une basse haute qualité, la corde de E (Mi) grave peut continuer de vibrer pendant plus d’une minute. Votre basse standard (de base) doit simuler un jeu aux doigts, ce qui signifie qu’il faut créer le son en frappant les cordes. 4 Sélectionnez Pick dans le menu local Type de l’objet 1. Ne soyez pas troublé par le nom du type d’objet ; malgré le nom Pick (médiator), ce modèle permet de simuler correctement un son de cordes jouées avec les doigts. Jouez plusieurs notes dans le registre grave. Vous noterez que le son est très étouffé, déformé et creux. Avant de régler d’autres paramètres de l’objet 1, vous devez affiner la position du capteur. Ces modifications s’effectuent dans la fenêtre Pickup de Sculpture, située à gauche de la nappe Material. L’interface comprend trois curseurs en forme de flèche, qui correspondent aux objets 1 à 3. Les deux courbes transparentes en forme de cloche vous aident à visualiser la position et la largeur des capteurs Pickup A et Pickup B. Sur les basses électriques, les capteurs sont le plus souvent déportés sur le côté, près du chevalet. Ce modèle de basse ne dispose que d’un seul capteur. Pour simuler le comportement d’un seul capteur, il suffit de placer les deux capteurs exactement à la même position. 5 En surveillant le message d’aide, faites glisser le capteur Pickup B exactement au même endroit que le capteur Pickup A. Les deux lignes fines de couleur orange doivent se superposer parfaitement. Dans cet exemple, il convient de définir les deux capteurs sur 0,10. Remarque : vérifiez bien que le sélecteur Invert,situé en bas à gauche de la fenêtre Pickup, n’est pas activé : si l’est, les signaux issus des deux capteurs s’annuleront mutuellement. À présent, il est temps de déterminer la position du jeu : 6 Dans la fenêtre Pickup, faites glisser horizontalement le curseur Object 1. Jouez quelques notes au clavier pour bien entendre les modifications ainsi apportées. Chapitre 14 Sculpture 441 7 Vous vous apercevrez rapidement que vous ne pouvez obtenir de son précis et vivant qu’en faisant glisser le curseur relativement loin du milieu de la corde. Déplacez l’objet 1 plus près du capteur (position 0,15 dans l’illustration ci-dessous). 8 Les notes graves restent déformées. Pour y remédier, réglez le potentiomètre Level, situé à droite de l’enveloppe d’amplitude, sur une valeur de -10 dB. Modification des propriétés de corde pour le son de basse standard Vous pouvez déjà reconnaître le son d’une basse électrique, mais il lui manque encore une dimension de corde. Regardons à présent les cordes mêmes de la basse. Pour recréer les propriétés matérielles d’un jeu de cordes à bobinage rond 1 Faites glisser la boule de la nappe Material vers le haut et vers le bas, dans le coin gauche. Écoutez bien également les variations au niveau des harmoniques. Faites glisser la boule jusqu’au coin inférieur gauche. Le son obtenu rappelle vaguement celui d’une corde grave de piano. Le soutien des sons dominants étant trop long, il donne une impression très artificielle. 2 Faites glisser la boule vers le haut, jusqu’à obtenir un son acceptable. Essayez la position illustrée dans la figure : 442 Chapitre 14 Sculpture Remarque : en général, il est typique de rencontrer une déviation des harmoniques dans les cordes à filet rond. Elle se reconnaît à un son légèrement « impur » et métallique. Cela est dû au fait que les partiels (sons dominants) ne coïncident pas avec des multiples entiers de la fréquence fondamentale, mais sont légèrement décalés vers le haut. Un exemple connu dansle domaine desinstruments électro-acoustiques est le registre grave du piano électrique Yamaha CP-70. C’est un peu exagéré, mais votre modèle de basse bénéficiera d’une petite partie de cet effet. Pour écarter les sons dominants dans Sculpture 1 Faites progressivement glisser la boule de la nappe Material vers la droite. Le son prend alors un caractère plus pur, plus proche d’une cloche. 2 Pour simuler d’une façon réaliste cet « écart » progressif des harmoniques, essayez l’exemple de réglage suivant : Émulation des vibrations de corde et de frette dans un son de basse standard La vibration de la corde d’une basse électrique n’a pas lieu dans le vide. Les particularités naturelles du milieu ambiant influencent fréquemment la façon de vibrer de la corde. Au point de contact entre la corde et les frettes, des phénomènes de bourdonnement voire de claquement se produisent. Pour simuler ces éléments perturbateurs avec l’objet 2 1 Activez l’objet 2, puis sélectionnez Bouncing dans le menu local Type. Le son devrait normalement évoquer un trémolo de mandoline. Cet effet est bien trop prononcé pour ce type de son. 2 Déplacez l’objet 2 complètement vers la droite (jusqu’à la valeur 1,00). 3 Essayez diverses valeurs pour les paramètres de l’objet 2. Les valeurs de paramètres suivantes permettent d’obtenir un résultat distinct et réaliste : Strength 0,33, Timbre −1,00 et Variation −0,69. Chapitre 14 Sculpture 443 Jouez quelques notes graves et vous vous apercevrez qu’une fois de plus, le soutien des sons dominants est un peu trop long (comme sur les cordes/notes graves d’un piano). Pour utiliser l’objet 3 afin d’atténuer ces sons dominants 1 Activez l’objet 3, puis sélectionnez Damp dans le menu local Type. 2 Placez également l’objet 3 complètement sur la droite (jusqu’à la valeur 1). 3 Définissez le paramètre Strength sur 0,18. Remarque : essayez d’autres valeurs pour comprendre de quelle façon le paramètre Strength de l’objet 3 interagit avec le paramètre Inner Loss de la nappe Material. Plus la valeur d’Inner Loss est élevée, plus la valeur de Strength est petite, et vice versa. Définition de la plage du son de basse standard Pour recréer les différentes régions tonales de la basse de façon plus réaliste, utilisez la fonction de suivi de Sculpture. Pour activer l’écran de la fonction de suivi µ Cliquez sur le bouton Keyscale situé dans la partie inférieure de la nappe Material. La région clavier située en dessous du C3 (Do3) apparaît en vert, celle au-dessus en bleu clair. La nappe Material avec les paramètres Keyscale correspondants activés est présentée ci-dessous : Remarque : le registre le plus approprié pour jouer une basse correspond aux notes situées en dessous du Do3. Pour cette raison, utilisez les curseurs verts pour définir le timbre du son. Les curseurs primaires, situés autour de l’anneau, déterminent le timbre du son au-dessus du Do3. Pour le moment, ignorez les curseurs bleus (qui contrôlent le suivi clavier avancé) et réglez-les simplement sur les mêmes positions que les curseurs principaux. Une fois qu’elle est activée, la fonction de suivi clavier sert à régler le timbre du son, indépendamment de la hauteur tonale. Avant d’utiliser les curseurs bleus pour ce faire, essayez le paramètre Resolution. 444 Chapitre 14 Sculpture Contrôle des sons dominants dans le son de basse standard Le paramètre Resolution sert normalement à trouver un compromis entre consommation de ressources processeur et qualité sonore. Il peut toutefois être aussi utilisé pour mettre le son en forme. Pour utiliser le paramètre Resolutionafin de contrôler le timbre, indépendamment de la hauteur 1 Jouez quelques notes dans le registre aigu de la basse (au voisinage du C2 (Do2)), puis placez le curseur Resolution complètement sur la droite et revenez progressivement vers la gauche. 2 Vous entendrez alors de quelle façon le son perd progressivement ses sons dominants, tout en devenant plus fort. Pour des valeurs Resolution basses, une sonorité métallique non harmonique vient se greffer sur le son. 3 Augmentez la valeur Resolution jusqu’à ce que ce son métallique disparaisse. Réglez le curseur à la position suivante : 4 Jouez quelques notes dans le grave de l’instrument (autour de Mi0). Vous noterez que le son est assez étouffé, plutôt « vintage ». Déplacez le curseur vert Low Keyscale (situé en dessous du curseur principal Resolution) complètement à droite ; le registre grave devrait à présent présenter un son un peu plus consistant. Sur la plupart des instruments à cordes, le niveau des harmoniques décroît à mesure que la note devient plus aiguë. Au sens strict du terme, cette particularité n’est vraie que pour les cordes à vide, et même dans ce cas, d’une façon modérée. Si les cordes sont jouées avec les doigts, la longueur de corde est raccourcie (en particulier dans la partie haute du registre) et l’effet devient plus significatif. Chapitre 14 Sculpture 445 Pour utiliser le paramètre Inner Loss afin d’étalonner le contenu des sons dominants, en fonction de la hauteur tonale 1 Placez la boule de la nappe Material au-dessus des mots Inner Loss. Essayez de déplacer la boule uniquement à la verticale, afin de conserver une valeur constante pour le paramètre Stiffness. 2 Faites glisser vers le bas la ligne verte située près de la boule jusqu’à ce que le petit losange vert se trouve juste au-dessus du mot Steel. Lorsque vous jouerez, vous reconnaîtrez la transition progressive qui intervient entre le son consistant, riche en harmoniques du registre grave et le son très amorti du registre aigu. Ce réglage exagéré a pour but de montrer clairement le principe de suivi clavier appliqué aux instruments à cordes. Pour obtenir un son et un timbre plus authentiques, essayez le réglage suivant : Définition des niveaux de soutien du son de basse standard Dansle cas des basses en particulier, les notes graves possèdent naturellement une durée de Sustain bien plus longue que les notes aiguës. Sculpture vous permet de simuler ce comportement de façon réaliste grâce au paramètre Media Loss. Pour utiliser le paramètre Media Loss afin d’étalonner la diminution progressive de la phase de retombée de la note lorsque la hauteur augmente, procédez ainsi 1 Tenez quelques notes dans la région située au voisinage de Do2 et au-dessus. Vous vous apercevrez que ces notes s’éteignent trop lentement. Faites glisser le curseur Media Loss vers le haut, jusqu’à ce que la retombée soit assez rapide. L’ennui est qu’à présent les notes graves s’éteignent trop vite. 2 Faites glisser le curseur vert Media Loss Key Scale vers le bas, jusqu’à ce que la phase d’extinction du registre grave retrouve une durée convenable. 446 Chapitre 14 Sculpture 3 Comparez vos résultats avec ces valeurs recommandées : Vous avez à présent terminé cette section et créé une basse standard, articulée avec vos doigts. Enregistrez-la, par exemple, sous le nom Basse_élect_standard_doigts. Dans les sections suivantes, vous utiliserez cette basse « de base » comme point de départ pour l’élaboration d’autres sons de basse. Modification du spectre de votre basse standard dans Sculpture Dans le domaine des instruments à capteurs électromagnétiques, il est beaucoup plus facile de se livrer à des recherches sonores en modifiant le spectre sonore original qu’en utilisant des instruments acoustiques. Outre le nombre de capteurs, le choix de l’amplificateur, le réglage d’égalisation au niveau de l’amplificateur et, surtout, les propriétés physiques des haut-parleurs et de l’enceinte acoustique jouent un rôle majeur. Les caractéristiques centrales de votre son de basse électrique sont en place, mais vous pouvez encore l’améliorer de façon significative en prêtant attention à quelques détails. Voici quelques suggestions d’ordre général : • Variez la position des capteurs. Placez-les à des emplacements différents. Cela permet d’annuler certaines fréquences, tandis que d’autres seront additionnées. • Essayez d’activer le sélecteur Invert, même si cet effet n’est pas typiquement utilisé sur des basses électriques. • Un aspect typique des sons de basse réside dans le placement des capteurs dans le tiers gauche extérieur de la corde modélisée. Plus vous les déportez vers la gauche, plus le son deviendra maigre et nasal. • Le décalage de l’objet 1 a un effet similaire. N’hésitez pas non plus à essayer diverses combinaisons. Chapitre 14 Sculpture 447 L’égaliseur Body EQ est idéal pour conférer au son de basse sa touche finale. Votre son de basse électrique pourrait être un peu plus doux et un peu plus précis en phase d’attaque. Les bassistes aiment utiliser les termes plus sec et plus mordant pour décrire ce phénomène. Pour modifier le spectre de fréquences de votre son de basse « de base » avec l’égaliseur Body EQ 1 Chargez le réglage « Basse_élect_basique_doigts ». 2 Sélectionnez le modèle Lo Mid Hi standard dans le menu local Model de la section Body EQ. 3 Réduisez le niveau dans les graves en réglant le potentiomètre Low sur -0,30. 4 Accentuez de façon significative le registre médium, en réglant le potentiomètre Mid sur +0,50. Faites glisser le curseur Mid Frequency jusqu’à une valeur de 0,26. 5 À ce stade, vous trouverez sans doute que l’accentuation des fréquences correspondant au bas médium est un peu trop prononcée : revenez alors à une valeur de Mid de 0,30. 6 Le son pourrait être un peu plus nerveux : réglez le potentiomètre High sur 0,30. 7 Pour finir, réglez le potentiomètre Level (à la droite de l’enveloppe d’amplitude) sur -3 dB. Le son est désormais aussi fort que possible, sans distorsion sur les notes dans le grave. 8 Enregistrez votre réglage sous le nom Basse_élect_basique_doigts EQ1 ; vous en aurez besoin ultérieurement pour d’autres modifications. Programmation d’un son de basse avec médiator dans Sculpture La basse « de base » se joue avec les doigts. Dans l’exemple suivant, vous allez simuler le jeu sur les cordes avec un médiator, à l’aide du type d’objet Pick. Le paramètre Timbre servira à ajuster la relation entre la vitesse et l’intensité avec lesquelles la corde est jouée. Le paramètre Variation sera utilisé pour définir la densité du matériau, ou la dureté du médiator. Si vous considérez les doigts comme des médiatorstrèssouples, il est logique de modifier les paramètres Pick de façon à simuler un médiator en plastique dur. Pour simuler le jeu avec un médiator 1 Chargez le réglage « Basse_élect_basique_doigts ». 448 Chapitre 14 Sculpture 2 Réglez le paramètre Timbre de l’objet 1 à sa valeur maximale,soit 1,00. Notez que l’attaque est désormais plus prononcée. 3 Essayez différentes valeurs de Variation, afin de bien sentir les qualités matérielles du médiator. Remarque : toutes les positions ne donnent pas forcément des résultats utilisables sur l’ensemble du registre de l’instrument. 4 Vous pouvez obtenir un réglage cohérent et fonctionnel pour les deux octaves au-dessus du mi 0 avec les valeurs de paramètres suivantes : Position 0,17 (écran Pickup), Strength 1,00 (maximum), Timbre 0,90 et Variation 0,56. Une fois ces valeurs entrées, vous vous apercevrez que le son est désormais plus doux et très fin. En fait, il évoque plutôt un Clavinet. Pour compenser cet effet secondaire avec Body EQ 1 Activez l’égaliseur Body EQ et accentuez généreusement le grave du son en réglant le paramètre Low sur 0,60. Le paramètre Mid doit alors être défini sur 0,33. 2 Réglez le potentiomètre High sur -0,45, car le son est à présent si brillant qu’atténuer un peu les aigus est tout à fait approprié. 3 Il faut à présent régler le volume. Si vous réglez le potentiomètre Level sur 2,5 dB, il ne devrait y avoir aucune distorsion. Si tel n’était pas le cas, essayez d’atténuer un peu le grave à l’aide du potentiomètre Low. 4 Enregistrez ce réglage sous le nom Médiator_ouvert_filet_rond. Émulation d’une atténuation de guitare basse dans Sculpture Lorsqu’ils jouent au médiator, les bassistes ont souvent tendance à amortir le son avec le côté du pouce. La main droite, qui tient également le médiator, doitse trouver au-dessus des cordes au niveau du chevalet. Cette technique de jeu donne un son possédant moins de sons dominants, mais plus percutant, plus incisif. Vous pouvez contrôler le timbre du son en jouant, en modifiant l’angle de votre main et la pression qu’elle exerce sur les cordes. Dans cet exemple, l’objet 3 va servir à émuler la pulpe virtuelle du pouce. Le paramètre Timbre détermine le type d’atténuation appliqué et le paramètre Variation indique la longueur de la section de corde concernée. Pour émuler l’atténuation d’une guitare basse 1 Définissez le type de l’objet 3 sur Damp. 2 Définissez le paramètre Strength de l’objet 3 sur 0,50. 3 Placez l’objet 3 légèrement à droite dans la fenêtre Pickup (à la position 0,95) afin de simuler la largeur et la position de la pulpe du pouce reposant sur le chevalet. Chapitre 14 Sculpture 449 4 Réglez le paramètre Timbre à sa valeur minimale (-1) afin d’obtenir un effet d’atténuation très subtil. 5 Réglez le paramètre Variation à sa valeur maximale (1,00). Vous remarquerez qu’on perçoit encore, dans l’octave au-dessus de E0 (Mi0), une sorte de résonance métallique qui se produit au cours de la phase d’attaque. 6 Pour la supprimer, placez le petit losange vert sur la nappe Material, à un endroit situé directement sous la boule. Ce faisant, vous augmentez la valeur du paramètre Inner Loss pour le registre grave. Remarque : pour placer le losange exactement sous la boule, vous pouvez également cliquer dessus tout en maintenant la touche Option enfoncée. 7 Enregistrez ce réglage sous le nom Médiator_basse_demi_silencieux. Émulation d’harmoniques de guitare dans Sculpture Les harmoniques sont des multiples de la fréquence fondamentale de la corde. Ils déterminent le spectre du son. Pour lesfaire ressortir, ilsuffit d’amortir la corde en certains points stratégiques. Pour ce faire, posez très légèrement les doigts de la main gauche (pour les bassistes droitiers) sur la corde, sans appuyer, avant que la note ne soit articulée. Pour obtenir le premierson dominant, l’octave, il faut placer le doigt exactement au milieu de la corde, ce qui la partage en deux moitiés. Le son dominant suivant est la quinte au-dessus de l’octave ; pour le faire ressortir, votre doigt doit diviser la longueur de la corde dans un rapport 1/3–2/3. Le son dominant suivant correspond à des proportions 1/4–3/4, etc. Pour simuler le contact léger du doigt avec les cordes 1 L’objet 3 sert d’amortisseur. Sélectionnez le type Damp. 2 Réglez le paramètre Timbre de l’objet 3 à sa valeur maximale, soit 1,00. 3 Réglez le paramètre Variation sur sa valeur initiale (0), en cliquant sur le curseur Variation tout en maintenant la touche Option enfoncée. 4 Placez l’objet 3 exactement au milieu (0,50) de la fenêtre Pickup. Jouez sur votre clavier et vous entendrez le premier harmonique. 5 Tout en jouant, déplacez très lentement l’objet 3 vers la gauche de la fenêtre Pickup. Ce faisant, vous faites en quelque sorte défiler la série des différents harmoniques. 6 Enregistrez ce réglage sous le nom Ex Flageolet. Émulation d’une basse vintage à cordes à filet plat, jouée au médiator, dans Sculpture À présent, en quelques étapesfaciles, vous pouvez transformer la basse jouée au médiator en basse vintage jouée au médiator avec des cordes à filet plat. Le son ainsi obtenu est typique des musiques funk et soul des années 1970 ; vous le retrouvez aussi dans nombre d’arrangements de style « easy listening ». 450 Chapitre 14 Sculpture Pour émuler une basse vintage à cordes à filet plat, jouée au médiator 1 Commencez par charger le réglage « Médiator_basse_demi_silencieux ». 2 Faites glisser la boule de la nappe Material vers le haut ; le son devient plus étouffé. 3 Définissez le paramètre Strength de l’objet 3 sur 0,70. Vous obtenez une basse jouée au médiator, amortie, avec des cordes à filet plat. Astuce : si vous désactivez l’objet 3, vous obtenez un son rappelant une basse Fender Precision des années 1970. 4 Enregistrez ce réglage sous le nom Filet_plat_médiator_amorti. Pour obtenir un beau son percussif de style Bert Kaempfert(célèbre musicienallemand) 1 Réactivez l’objet 3. 2 Déplacez légèrement les capteurs vers la gauche (position 0,08). 3 Déplacez le médiator virtuel (objet 1) un peu plus loin vers l’extérieur (position 0,10). 4 Ajoutez la cerise sur le gâteau avec l’outil Body EQ, en réglant le potentiomètre Low sur sa valeur maximale (1). 5 Pour supprimer l’accent lors de la phase d’attaque, utilisez la représentation graphique afin de choisir une valeur de 0,48 pour la fréquence Mid de l’égaliseur Body EQ, puis avec le potentiomètre, faites passer cette valeur à 0,51. Tout en maintenant la touche Option enfoncée, cliquez sur le paramètre High de l’égaliseur Body EQ de façon à le régler sur 0. 6 Enregistrez ce réglage sous le nom Easy_listening_médiator_basse. Émulation d’un son de basse frappé dans Sculpture Ce terme regroupe en fait deux techniques d’articulation différentes. Dans le grave, cela consiste à frapper littéralement les notes avec le côté du pouce, dans la partie supérieure du corps de la basse. Dans les aigus, il faut tirer assez fortement sur la corde. Pour ce faire, passez le doigt en dessous, puislaissez-la revenir en place en claquant. C’est la conjonction de ces deux techniques qui donne le son de « basse frappée », agressif et riche en harmoniques. Pour émuler un son de basse frappé 1 Chargez le réglage « Basse_élect_basique_doigts_EQ1 ». 2 Désactivez l’égaliseur Body EQ. Chapitre 14 Sculpture 451 3 Désactivez également les objets 2 et 3, pour l’instant. La matière sonore de base d’un son frappé étant plus brillante que celle d’une basse standard jouée avec les doigts, vous devez intervenirsur lesréglages de la nappe Material : 4 Rétablissez la valeur initiale du paramètre Low Keyscale en cliquant sur le petit triangle vert (en dessous du curseur principal Resolution); tout en maintenant la touche Option enfoncée. 5 Faites légèrement glisser la boule vers le bas pour que le son devienne plus dur. La boule doit à présent se trouver juste au-dessus du mot Steel, sur l’axe horizontal. Parmi tous les modèles disponibles, Strike est le plus adapté à la simulation de la frappe d’un pouce sur le dessus des cordes. Ce modèle n’est toutefois pas aussi approprié pour les cordes tirées. Pour cela, il est préférable de choisir le modèle Pick. 6 Pour plus de sûreté, définissez le potentiomètre Level sur -25 dB. 7 Sélectionnez le modèle Pick pour l’objet 1. 8 Dansla fenêtre Pickup, déplacez l’objet 1 à la position 0,90. Elle correspond à une position de jeu appropriée, sur la touche ou au-dessus. Remarque : compte tenu de son concept universel, Sculpture ne réagira pas exactement comme une basse, sur laquelle on aurait tendance à jouer au milieu de la corde, dans la partie supérieure de la touche. Essayez de placer l’objet 1 sur cette position et écoutez le résultat. Vous constaterez que le son est un peu trop doux. Pour configurer les paramètres de l’objet 1 1 Réglez la valeur du paramètre Timbre sur 0,38 ; vous obtenez ainsi une attaque rapide. 2 Définissez le paramètre Strength sur 0,53. 3 Réglez la valeur du paramètre Variation sur -0,69 ; vous définissez ainsi un matériau plus doux pour votre pouce qui frappe. 452 Chapitre 14 Sculpture Vous connaissez probablement le son des notes graves jouées avec le pouce. Jusqu’ici, il manque le côté métallique de la percussion de la corde sur la touche. Utilisez l’objet 2 dans ce but et sélectionnez le type Bound. Le type Bound limite le débattement de la corde, exactement comme la touche sur une vraie basse électrique. Pour rappeler les fonctions de ces paramètres: Timbre détermine l’angle de l’obstacle de la corde alors que Variation définit le type et le degré de réflexion. Pour régler les paramètres de l’objet 2 1 Réglez la valeur du paramètre Timbre sur 0,39. Elle correspond à une touche à peu près parallèle au plan des cordes. 2 Définissez le paramètre Strength sur 0,33. Remarque : essayez également des valeurs plus élevées. Vous constaterez que le son s’adoucit de plus en plus, jusqu’à amortissement complet par l’obstacle. 3 Définissez Variation sur 0,64. Malgré des réflexions qui enrichissent le spectre en harmoniques, la corde peut encore vibrer librement. Remarque : essayez des valeurs négatives ; vous vous apercevrez que les réflexions ne peuvent alors plus se développer sans entrave. 4 Réglez le potentiomètre Level sur -3 dB ; l’obstacle Bound radoucit le son. 5 Notez que le son reste encore trop doux pour une « vraie » basse frappée ; essayez à nouveau d’utiliser l’égaliseur Body EQ. Activez Body EQ et ajustez les paramètres comme suit : Low 0,25, Mid 0,43, High 0,51 et faites glisser le curseur Mid Frequency à la position 0,59. 6 Enregistrez ce son sous le nom Basse_frappée_standard_n°1. Émulation d’un son de basse sans frette dans Sculpture À l’exception des techniques de jeu partagé, la basse sans frette se reconnaît immédiatement par rapport à une basse normale, par sa sonorité plus dense, plus chantante. Alors que les frettes placées sur le manche d’une basse standard font office de « mini-sillets » et permettent à la corde de vibrer sans contrainte, la collision directe de la corde avec le manche d’une basse sans frette explique ce son caractéristique. Sur une basse sans frette, la longueur de la corde est sensiblement plus courte que sur une contrebasse. C’est ce qui explique ce son un peu bourdonnant, même avec une attaque peu marquée sur la corde d’une basse sans frette. Ce « bourdonnement » peut être fidèlement reproduit dans les aigus, y compris sur des basses sans frette dont les cordes sont très courtes. L’utilisation du bout de votre doigt, relativement souple, et non d’une frette métallique dure pour diviser ou réduire la corde joue également un rôle. Pour programmer une basse sans frette 1 Chargez le réglage « Basse_élect_basique_doigts_EQ1 ». 2 Désactivez l’objet 3. Vous y reviendrez ultérieurement. Chapitre 14 Sculpture 453 3 Dans le menu Type de l’objet 2, sélectionnez l’option Disturb. Astuce : dansle modèle Disturb, le paramètre Timbre détermine l’intensité de la déviation de la corde par rapport à sa position de repos, déviation provoquée par l’obstacle. Les valeurs positives ne provoquent aucune déviation de la vibration par rapport à la position de repos. Le paramètre Variation définit la longueur de la section de corde perturbée ; une valeur positive correspond à une section longue et une valeur négative à une section courte. 4 Définissez les paramètres de l’objet 2 sur les valeurs suivantes : Strength 0,14, Timbre −0,05, Variation −1,00. 5 Maintenez enfoncé le curseur Object 2, qui reste tout à droite de l’écran Pickup, pour afficher une valeur de 0,99. Vous remarquerez que la section comprise entre Do2 et Do3 a déjà un son acceptable, mais le bourdonnement des notes plus graves reste trop fort. Cela ressemble à un sitar. Si vous désirez créer un jour un son de sitar, pensez à utiliser le modèle Disturb. 6 Essayez différentes valeurs pour le paramètre Strength, aussi bien pour le registre supérieur qu’inférieur de votre jeu. Vous vous apercevrez qu’au mieux, un seul compromis est possible. Le « bourdonnement » est soit trop présent dans le registre grave, soit pas assez présent dans le registre aigu. Il est évident que vous devez limiter l’effet au registre tonal concerné. À l’inverse des paramètres concernant la corde, les objets 1 à 3 ne disposent pas de fonction de suivi clavier directement adressable. Pour y remédier, utilisez les fonctions de mise à l’échelle de la tonalité des deux LFO. Étant donné que vous ne souhaitez probablement pas que le bourdonnement soit modulé par une oscillation périodique, vous devez réduire la vitesse LFO sur une valeur très basse, voire même à zéro. Ainsi, vous pouvez désactiver le LFO lui-même, tout en continuant d’utiliser sa matrice de modulation. 7 Activez le LFO 2 en cliquant sur le bouton LFO2 situé en bas à gauche, puis réglez le potentiomètre Rate sur 0 Hz. 8 Cliquez sur le bouton 1 (près du curseur RateMod, en haut à droite) afin d’activer la première cible de modulation. 9 Ouvrez le menu local Target et sélectionnez Object2 Strength. 10 Ouvrez le menu local Via et sélectionnez KeyScale. 454 Chapitre 14 Sculpture 11 Faites glisser le curseur Amt versla droite, tout en jouant. Vous vous apercevrez rapidement que le bourdonnement « chantant » est prépondérant dans le registre grave et redevient modéré à mesure que vous vous rapprochez du Do3. Faites glisser le curseur jusqu’à une valeur de 0,15. Le bourdonnement sera désormais bien plus modéré dans le registre grave. 12 Réactivez l’objet 3. Réglez le paramètre Timbre à sa valeur minimale (-1) et Variation à sa valeur maximale (1). L’objet 3 doit être placé tout à droite, jusqu’à la valeur 1,00. 13 Faites varier le paramètre Strength de l’objet 3. Vous découvrirez alors que le contenu harmonique du « bourdonnement » peut se contrôler très efficacement. Dans ce cas précis, il est recommandé de définir le paramètre Strength sur 0,25. 14 Enregistrez ce réglage sous le nom Sans_frette_filet_rond_n°1. Utilisation des effets de modulation et de désaccord dans Sculpture Normalement, les effets de désaccord et d’ensemble s’obtiennent en utilisant un effet de modulation ou en combinant doublage et désaccord. Si vous utilisez une basse sans frette pour un solo, un effet de chorus large ajoute une touche agréable. Comme Sculpture ne peut générer qu’une seule note à la fois à une certaine hauteur tonale, le simple redoublement n’est pas une solution. Il existe toutefois d’autressolutions pour apporter du mouvement et de la vie aux sons. Presque tous les paramètres Type des différents objets peuvent être modulés par des LFO, ce qui crée un grand nombre de combinaisons possibles. Pour émuler l’effet de chorus par modulation de la position des capteurs 1 Vérifiez que vous avez chargé le réglage « Sans_frette_filet_rond_n°1 ». 2 Réglez l’emplacement du capteur Pickup B sur 0,20. 3 Faites glisser vers le haut le demi-cercle Spread Pickup (situé à côté du potentiomètre Level). Les deux points de couleur bleu clair se déplacent vers le bas, vers les lettres L et R. Vous entendez alorsla largeurstéréo du son de la basse sansfrette augmenter. Le capteur Pickup A est envoyé sur le canal droit, tandis que le signal du capteur Pickup B occupe le canal gauche. Chapitre 14 Sculpture 455 Remarque : même si seules les basses modernes offrent des signaux stéréophoniques, il est toujours intéressant de traiter des sons conventionnels, comme ceux que vous avez créés dans les exemples précédents, avec cet effet. Notez que toutes les positions de capteur ne sont pas compatibles avec un instrument monophonique. Vous pouvez vérifier cela en restaurant la valeur Monophonique du réglage Spread Pickup (cliquez sur le demi-cercle Spread Pickup tout en appuyant sur la touche Option). Pour déplacer les capteurs 1 Sélectionnez LFO1. 2 Cliquez sur le bouton 1 (près du curseur RateMod, en haut à droite) afin d’activer la première cible de modulation. 3 Sélectionnez Pickup Pos A-B comme cible de modulation. 4 Réglez le potentiomètre Rate sur 1 Hz. 5 Pour entendre l’effet, vous devez définir l’intensité de la modulation (amplitude). Familiarisez-vous avec cet effet en déplaçant progressivement vers la droite le curseur Amt. Réglez-le sur une valeur finale de 0,15, fréquence modérée qui ne fait pas trop « onduler » le son. 6 Enregistrez ce réglage sous le nom Chorus_sec_sans_frette. Astuce : pour la largeur stéréo maximale, les effets basés sur le désaccord ne sont plus aussi aisément décelables, surtout lorsque les battements entendus dans le son résultent de différences de signal entre les canaux gauche et droit. Cette remarque n’est valide qu’à un certain degré, car le mouvement du capteur ne crée pas un véritable effet de chorus ou d’harmoniseur. Essayez d’écouter ce qui se passe lorsque vous réduisez légèrement la largeur stéréo. Testez également d’autres cibles de modulation, telles que Pickup Pos A+B, Pickup Pan A+B, Pickup Pan A−B et String Stiffness. Amusez-vous bien ! Ajout d’effets de réverbération et de réflexion avec la fonction Delay dans Sculpture De façon générale, les basses sont mixées sans effets (sec) et vous n’avez probablement raté jusqu’ici aucun effet de réverbération ou de retard dans les exemples. Ceci étant, l’ajout d’un peu de réverbération sur une basse sans frette peut se révéler bien séduisant lorsqu’elle est utilisée comme instrument solo. Utilisez la section Delay de Sculpture pour émuler cet effet. Pour créer un espace atmosphérique discret 1 Chargez le réglage « Chorus sec sans frette ». 2 Cliquez sur le bouton Delay pour activer la section du même nom. 3 Faites glisser le curseur Input Balance sur 1. 456 Chapitre 14 Sculpture 4 Cliquez sur le petit bouton Sync (qui se trouve juste à droite du curseur Delay Time) pour désactiver la synchronisation du tempo du retard. 5 Faites glisser le curseur Delay Time sur 90 ms. 6 Définissez le potentiomètre Xfeed sur 0,30. Lesréflexionsséparéessont encore trop distinctes. Pour rendre l’effet plus discret, modifiez le spectre de fréquences et l’amplitude des réflexions. Commencez par le spectre de fréquence : 7 Faites glisser le curseur LoCut sur 200 Hz et le curseur HiCut sur 1 000 Hz, dans la section Delay. Le paramètre LoCut, lorsqu’il est réglé sur 200 Hz, atténue les graves dans les réflexions, ce qui permet d’éviter toute « confusion » sonore. L’atténuation assez drastique des aigus, effectuée via le paramètre HiCut, a tendance à estomper les réflexions séparées, ce qui crée l’impression d’une petite pièce, avec des surfaces assez douces. 8 Réduisez le niveau total de l’effet en réglant le potentiomètre Wet Level sur 25 pour cent. 9 Enregistrez ce réglage sous le nom Chorus_sans_frette_+_Ambiance. Cet exemple montre que la section Delay peut servir de réverbération de substitution pour de petits espaces. Toutefois, pour obtenir des effets de réverbération plus sophistiqués, il est préférable de traiter le signal de sortie de Sculpture avec l’un des modules de réverbération de MainStage. Pour créer un effet de son « noyé » dans le retard 1 Chargez à nouveau le réglage « Chorus sec sans frette ». 2 Activez la section Delay. 3 Faites glisser le curseur Input Balance complètement à droite, jusqu’à la valeur 1. 4 Réglez la valeur du paramètre Delay Time sur 1/4t (soit un triolet de noire). 5 Réglez le potentiomètre Feedback sur 0,20. 6 Ajustez le potentiomètre Xfeed sur 0,30. 7 Faites glisser le curseur LoCut sur 200 Hz et le curseur HiCut sur 1 600 Hz. 8 Ajustez à présent le niveau global de l’effet en réglant le potentiomètre Wet Level sur 45 pour cent. Chapitre 14 Sculpture 457 9 Faites varier l’emplacement stéréo et la structure rythmique du retard en déplaçant le petit losange bleu clair dans la nappe Delay. 10 Enregistrez ce réglage sous le nom Chorus_sans_frette_+_Retard_mouillé. Guide d’initiation avancé à Sculpture : programmation de sons synthétisés La rubrique Guide d’initiation avancé à Sculpture : programmation de basses électriques traite de la programmation de sons de basse naturels, en reproduisant avec authenticité l’interaction physique réelle se produisant entre une corde et le facteur d’excitation qui la fait entrer en vibration. La capacité de produire des modèles aussi ressemblants constitue sans aucun doute l’un des points forts de l’architecture de Sculpture, mais ses capacités sonores s’étendent également à la création de sons très différents. Sculpture offre un certain nombre de fonctions que vous pouvez mettre à profit pour créer des sons synthétisés nouveaux. Cela inclut par exemple la nappe Morph, qui peut être automatisée, ainsi que les générateurs d’enveloppes programmables et enregistrables, que vous pouvez utiliser dans un contexte rythmique. De telles fonctions sont généralement superflues pour reproduire des sons de basse naturels, puisque aucune basse électrique existante ne peut modifier les caractéristiques tonales de la corde durant la phase de chute d’une note (par exemple, passer du bois au métal) ni synchroniser rythmiquement ce changement au tempo du projet. Elles sont toutefois très utiles pour créer des sons atmosphériques, basés sur le Sustain, que des modulations lentes et intéressantes contribuent à « rendre vivants ». Dans les sections suivantes, la capacité de Sculpture à créer des sons davantage basés sur l’espace et moinssur un côté organique sera démontrée, en prenant comme exemple plusieurs réglages de nappes. À mesure que vous vous familiariserez avec ces fonctions, vous découvrirez une large gamme de sons animés et intéressants. Dans le cadre limité de ces courtes expériences, il est bien sûr impossible de couvrir de façon exhaustive toutesles possibilités de Sculpture. Nous vous encourageons à procéder à des expérimentations à partir des valeurs suggérées et observez bien les conséquences des changements que vous apportez. C’est en procédant de la sorte que vous apprendrez le plus de choses concernant l’instrument et que vous trouverez l’inspiration pour créer des sons et des variations. Remarque : pour connaître les réglages correspondants à ces guides d’initiation dans la fenêtre Sculpture, ouvrez le menu Settings et sélectionnez Tutorial Settings. 458 Chapitre 14 Sculpture Création d’un son soutenu dans Sculpture Commencez par charger de nouveau le réglage par défaut de Sculpture ; celui, trèssimple, qui consiste en une corde pincée qui vibre et dont l’énergie sonore disparaît peu à peu. Il est évident que ce son doit être modifié de façon drastique, car vous souhaitez obtenir un son soutenu et étendu pour les nappes et non un son qui s’éteint rapidement une fois joué. Examinez les trois objets. Notez que seul l’objet 1 est activé et agit sur la corde par l’intermédiaire d’une impulsion. De même que pour l’exemple avec médiator dans la section consacrée au son de basse, la corde est excitée brièvement lorsque vous jouez la note, puis le son disparaît progressivement. Un son de nappe soutenu exige un agent d’excitation qui agit en permanence sur la corde. Les types d’objet appropriés sont Bow ou Bow wide (la corde est jouée avec des coups d’archet soit courts, soit longs), Noise (excitation par un signal aléatoire de bruit) ou Blow (excitation par un souffle, comme une clarinette ou une flûte par exemple). Essayez les différentstypes d’objet mentionnés ci-dessus, l’un aprèsl’autre, et faites glisser le curseur Object 1 Pickup, qui régit la position exacte de l’agent excitateur le long de la corde lorsque vous jouez. Vous arrivez à deux conclusions : premièrement, le son est désormais soutenu tant que vous appuyez sur la note. Deuxièmement, c’est en sélectionnant le type Bow que les changements sonores sont les plus prononcés lorsque vous faites glisser le curseur de l’objet 1. Ce réglage permet d’envisager les possibilités les plus fructueuses de variation du son et c’est pour cette raison qu’il a été utilisé. Enregistrement d’une enveloppe dans Sculpture Les variations sonores créées par le type Bow lorsque vous déplacez le coup d’archet virtuel le long de la corde sont très intéressantes. Vous pouvez contrôler ce mouvement via l’utilisation d’une enveloppe, créant ainsi la fondation nécessaire pour votre son de nappe. Il est plus logique, et plus pratique, d’enregistrer l’enveloppe que de la programmer, même si cette programmation s’effectue facilement par l’intermédiaire de l’affichage graphique. Pour enregistrer une enveloppe 1 Assurez-vous d’avoir chargé le réglage par défaut, puis faites glisser le curseur Object 1 complètement à gauche. En partant de cette position (où il génère un son riche en sons dominants), commencez à l’animer, en utilisant une enveloppe. 2 Repérez où se trouve la section Envelope, dans le coin inférieur droit de la fenêtre de Sculpture. Sélectionnez la première des deux enveloppes en cliquant sur le bouton Envelope 1. Dans la partie gauche de la section Envelope se trouvent deux possibilités pour effectuer le routage d’une cible de modulation au générateur d’enveloppe. Chapitre 14 Sculpture 459 3 Cliquez sur le bouton 0 pour activer le premier lien de routage, puis sélectionnez Object1 Position comme cible de modulation, dans le menu local Target. Faites glisser le curseur Amt complètement à droite pour régler l’intensité de la modulation à sa valeur maximale. Vous pouvez à présent enregistrer l’enveloppe. On suppose que votre clavier MIDI dispose d’une roulette de modulation émettant les messages de contrôleur MIDI correspondants (numéro de contrôleur continu : 1) et que l’option 1 ModWh est sélectionnée pour le contrôle de l’enveloppe 1 (sélectionnez 1 ModWhl dans le menu local CtrlEnv 1, situé dans le coin inférieur sombre de la fenêtre Sculpture). 4 Cliquez sur le bouton R situé en haut à droite de la section Envelope, en dessous de Record Trigger, afin de préparer l’enveloppe pour l’enregistrement. Sélectionnez Note+Ctrl Movement dans le menu local Record Trigger. Cette option assure que l’enregistrement des messages de contrôleur issus de la roulette de modulation commencera dès l’instant où vous jouerez la première note. 5 Jouez une note lorsque vous désirez lancer l’enregistrement, puis tournez lentement la roulette de modulation vers le haut, tout en maintenant enfoncée la touche sur le clavier. Remarquez les variationssonores que vous créez en agissantsur la roulette de modulation. 6 Une fois l’enregistrement terminé, replacez la roulette à son emplacement initial puis, après avoir relâché la note enfoncée jusqu’ici, cliquez sur le bouton R afin de désactiver le mode d’enregistrement. 460 Chapitre 14 Sculpture Lorsque vous appliquez l’exemple ci-dessus, vous pouvez voir la courbe que vous venez d’enregistrer. Notez que la courbe évolue uniquement d’un côté de l’axe de référence (correspondant à la valeur zéro), car la roulette de modulation n’émet que des valeurs unipolaires (comprises entre 0 et une valeur maximale positive). Comme vous avez déjà déplacé le curseur de Object 1 jusqu’à l’extrémité gauche de la corde, sa position ne peut se voir décalée que vers la droite par l’enveloppe, jusqu’à l’extrémité droite de la corde lorsque vous atteignez la valeur maximale d’intensité de modulation. Jouez une note, ou mieux encore, plaquez un accord et écoutez la modulation que vous avez enregistrée. Si vous n’êtes pas satisfait du résultat obtenu, répétez la procédure ci-dessus jusqu’à ce que vous le soyez. Le temps d’enregistrement maximal est de 40 secondes. Il est donc possible, si vous le désirez, de contrôler les paramètres et de créer des modulations qui s’étendent bien au-delà de la solution classique apportée par une simple évolution d’enveloppe ADSR. Remarque : si nécessaire, vous pouvez modifier la forme de l’enveloppe en déplaçant les points de jonction. Pour effectuer un zoom avant ou arrière sur l’affichage graphique, il vous suffit de cliquer dans une partie vide, puis de faire glisser la souris vers la droite ou versla gauche. Lorsque vous activez le petit bouton Sync, les points de jonction s’inscrivent sur une grille rythmique. Sélectionnez Loop Alternate dans le menu local Sustain Mode, situé en dessous de la représentation graphique de l’enveloppe. Comme le point de soutien se trouve à la fin de l’enveloppe, cette dernière est parcourue en permanence, du début à la fin, puis à l’envers, de la fin au début, ce qui crée un flux continu à l’intérieur du son. Pour résumer, vous disposez à présent d’un son de nappe assez rudimentaire, mais au son organique déjà intéressant, dont vous allez vous servir comme base, que vous allez améliorer par d’autres mises en forme et optimisations. Enregistrez cette version brute du son sous le nom Son_brut_0001, que vous utiliserez ultérieurement pour d’autres expériences. Chapitre 14 Sculpture 461 Augmentation de la largeur stéréo et du chorus dans Sculpture Si vous ne l’avez pas déjà fait, observez les instructions fournies à la rubrique Enregistrement d’une enveloppe dans Sculpture. Pour donner à votre son très sec Son_brut_0001 davantage de largeur stéréo et un effet de chorus, modulez les positions Pickup et attribuez-les aux canaux gauche et droit. Pour augmenter la largeur stéréo et le chorus 1 Chargez le réglage Son_brut_0001. 2 Cliquez sur le demi-cercle Spread Pickup tout en maintenant le bouton de la souris enfoncé et faites-le glisser vers le haut jusqu’à ce que les points bleu clair atteignent la ligne séparant les deux demi-cercles. Ceci sépare les positions de balance stéréo des capteurs. 3 Cliquez sur les boutons 1 et 2 pour activer les deux liens de modulation dans le LFO1. 4 Pour le premier lien, sélectionnez PickupA Position dans le menu local Target, puis faites glisser le curseur Amt jusqu’à une valeur positive faible (environ 0,03 Hz), afin de moduler la position du capteur Pickup A. 5 Pour le second lien, sélectionnez PickupB Position dans le menu local Target, puis faites glisser le curseur Amt jusqu’à une valeur négative faible (environ -0,03Hz), afin de moduler la position du capteur Pickup B. Vous obtenez alors un effet de battement ou de chorus, très plaisant, qui confère largeur et plénitude au son et pallie le caractère trop sec et aride. Autre aspect déplaisant, le son est trop fort dans la gamme de fréquence moyenne et aurait besoin d’être égalisé. Vous pouvez utiliser Body EQ pour corriger ce problème. 462 Chapitre 14 Sculpture 6 Activez l’égaliseur Body EQ et procédez à des expérimentations avec le modèle Lo Mid Hi (qui correspond au réglage standard). Réduisez le réglage Mid à -0,5 et faites glisser le curseur Mid sur 0,37. 7 Activez le paramètre Delay pour conférer un peu de profondeur au son de nappe. Définissez Delay Time sur 1/4 et réglez le potentiomètre Xfeed sur 30 %. Le son de nappe possède désormais un effet d’ambiance plaisant et discret, vous pouvez donc conserver les valeurs d’origine des paramètres Delay. Enfin, l’optimisation du son permet de lui conférer un peu plus d’animation. Le résultat final que vous visez doit être subtil, ce qui fait des modulateurs de fluctuations l’outil idéal pour cette tâche. Ces modulateurs de fluctuations s’apparentent en fait à des oscillateurs sub-audio qui utilisent une forme d’onde aléatoire. Pour obtenir des sons plus vivants à l’aide de modulateurs de fluctuations 1 Cliquez sur le bouton Jitter situé sous la section LFO pour activer la fenêtre des deux modulateurs de fluctuations. 2 Cliquez sur le bouton 1 pour activer le premier lien dansJitter 1, puissélectionnez Object1 Timbre dans le menu local Target. 3 Réglez la valeur du paramètre Intensity sur -0,40 en faisant glisser le curseur situé sous le menu local Target, puis réduisez la valeur du paramètre Rate à 1 Hz. Vous créez ainsi quelques aberrations subtiles dans la pression exercée par l’archet sur la corde. Pour mieux identifier l’effet apporté, augmentez provisoirement la valeur du paramètre Intensity. Vous pouvez utiliser le second modulateur de fluctuations pour faire varier de façon aléatoire les positions des capteurs Pickup Pos A + B (positions des capteurs A et B). Chapitre 14 Sculpture 463 4 Activez Jitter 2 et choisissez le réglage Pickup Pos A+B dans le menu local Target. 5 Réglez la valeur du paramètre Intensity sur 0,2 environ, en faisant glisser le curseur situé sous le menu local Target, puis réduisez la valeur du paramètre Rate à 1,5 Hz. À mesure que vous augmentez la valeur du paramètre Intensity, le son développe un aspect clinquant, tintant particulier. Ajustez cet effet en fonction de vos goûts. Vous disposez à présent d’un son de nappe plutôtsatisfaisant. Conservez-le en l’état pour l’instant, bien que quelques unes des fonctions de Sculpture, telles que le filtre et le Waveshaper, ne soient pas utilisées, de même que les deux objets supplémentaires. Cependant, il faut parfois savoir s’arrêter. La dernière fonction, celle de morphing, a été gardée pour la fin. Consultez la rubrique Morphing des sons dans Sculpture pour faire d’autres expérimentations sur votre son de nappe. Morphing des sons dans Sculpture La nappe Morph apparaît bien en évidence au milieu de la partie inférieure de la fenêtre de Sculpture. Chacun des coins de cette nappe peut contenir un réglage différent, pour un certain nombre de paramètres. Vous pouvez effectuer un fondu enchaîné entre ces réglages et un morphing sur le son en faisant glisser la boule rouge située au centre la nappe Morph. 464 Chapitre 14 Sculpture Cliquez sur la nappe Morph tout en maintenant enfoncée la touche ctrl, puissélectionnez « Paste to all Points » dans le menu contextuel afin de copier le réglage de sonorité en cours dans les quatre coins de la nappe Morph. Si l’option Paste to all Points est grisée, sélectionnez d’abord Copy selected Point. Si vousfaites glisser la boule de la nappe Morph maintenant, vous n’entendrez aucun changement au niveau du son, car lesréglages dans chaque coin sont identiques. Mais cela ne va pas durer… Pour faire varier le son avec la nappe Morph 1 Faites glisser la boule jusque dans un coin poursélectionner le son partiel correspondant, signalé par des arcs en surbrillance qui apparaissent dans le coin. Faites de même pour les autres coins, puis faites varier le son en modifiant directement les valeurs de certains paramètres, dans chaque coin. 2 Déplacez la boule avec prudence autour de la nappe Material, puis essayez de trouver un emplacement où votre son de nappe prend un caractère nouveau et intéressant. N’hésitez pas à essayer les coins extrêmes, par exemple. En utilisant la nappe Material, vous pouvez obtenir une variation particulièrement notable : Dès que vous avez choisi différents réglages pour les coins de la nappe Morph, le déplacement de la boule de morphing génère des variations sonores très marquées, même si les étapesintermédiaires ne se distinguent pasforcément toutes par un caractère tonal remarquable. Vous pouvez automatiser le processus Morph en assignant deux contrôleurs MIDI aux menus locaux MorphX et MorphY dans la partie inférieure de Sculpture. Vous pouvez également automatiser la nappe Morph en utilisant une enveloppe enregistrée (pour plus d’informations, consultez Enregistrement des enveloppes de morphing dans Sculpture). De chaque côté de la nappe Morph, voustrouverez une fonction de manipulation aléatoire, qui permet de faire varier les sons de façon aléatoire à un niveau d’intensité déterminé, définissant le degré de modification aléatoire. Cette approche est très utile pour créer des variations subtiles sur des sons naturels, mais utilisée de façon moins discrète, elle peut déboucher sur des sonorités synthétiques évolutives très gratifiantes. Pour utiliser la fonction de génération de modifications aléatoires 1 Sélectionnez l’un des cubes sur le côté gauche de la nappe Morph, pour déterminer le nombre de coins à faire varier. Chapitre 14 Sculpture 465 2 Faites glisser le curseur à droite de la nappe Morph pour régler l’intensité des déviations aléatoires. 3 Cliquez sur le bouton Rnd situé en haut du curseur pour appliquer la modification aléatoire. La prochaine fois que vous déplacerez la boule de morphing, vous entendrez les variations que vous venez de créer. 466 Chapitre 14 Sculpture Ultrabeat est un synthétiseur conçu pour créer des sons de percussions et des rythmes polyphoniques. Ultrabeat intègre également un puissant séquenceur pas à pas, que vous pouvez utiliser pour créer des modèles et séquences rythmiques polyphoniques. Le présent chapitre couvre les aspects suivants : • Présentation de la structure d’Ultrabeat (p 468) • Chargement et enregistrement des réglages Ultrabeat (p 469) • Présentation de l’interface Ultrabeat (p 471) • Présentation de la section d’assignation d’Ultrabeat (p 472) • Importation de sons et d’instruments EXS dans Ultrabeat (p 476) • Présentation de la section Ultrabeat Synthesizer (p 479) • Présentation des oscillateurs d’Ultrabeat (p 481) • Présentation des paramètres relatifs aux oscillateurs d’Ultrabeat (p 482) • Utilisation de l’oscillateur 1 dans Ultrabeat (p 483) • Utilisation de l’oscillateur 2 dans Ultrabeat (p 487) • Utilisation du modulateur en anneau dans Ultrabeat (p 493) • Utilisation du générateur de bruit d’Ultrabeat (p 494) • Présentation de la section Ultrabeat Filter et Distortion (p 496) • Utilisation du filtre multimode dans Ultrabeat (p 497) • Utilisation du circuit de distorsion Ultrabeat (p 499) • Utilisation de la section Ultrabeat Output (p 500) • Utilisation de la modulation dans Ultrabeat (p 507) • Utilisation du séquenceur pas à pas d’Ultrabeat (p 518) • Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat (p 529) • Exportation des motifs Ultrabeat en tant que régions MIDI (p 533) • Utilisation de MIDI pour contrôler le séquenceur d’Ultrabeat (p 534) 467 Ultrabeat 15 • Guide d’initiation à Ultrabeat : introduction (p 535) • Guide d’initiation à Ultrabeat : création de grosses caisses (p 536) • Guide d’initiation à Ultrabeat : création de caisses claires (p 540) • Guide d’initiation à Ultrabeat : créations de toms et de percussion tonale (p 547) • Guide d’initiation à Ultrabeat : création de charlestons et de cymbales (p 548) • Guide d’initiation à Ultrabeat : création de sons métalliques (p 548) • Guide d’initiation à Ultrabeat : création de sons extrêmes (p 549) • Guide d’initiation à Ultrabeat : programmation par blocs de construction (p 550) Présentation de la structure d’Ultrabeat La plupart des synthétiseurs logiciels présentent un synthétiseur par occurrence de module. Ultrabeat, en revanche, vous propose 25 synthétiseurs indépendants. Ces synthétiseurs, appelés voix de batterie dans Ultrabeat, sont adaptés à la création de sons de batterie et de percussions. La répartition des voix de batterie sur le clavier MIDI est simple : une voix de batterie unique est assignée au 24 premières touches MIDI, en commençant par le bas. La 25e voix de batterie est assignée aux touches situées au-dessus (à partir de la 25e), ce qui permet d’obtenir un son chromatique. Voix de batterie 1 à 24 La 25e voix de batterie peut être jouée de façon chromatique. Vous pouvez comparer Ultrabeat à une boîte à rythmes comportant 24 « drum pads » et intégrant un clavier multioctave, pouvant servir à des accompagnements polyphoniques ou à des lignes de basse ou de mélodie. 468 Chapitre 15 Ultrabeat Ces 24 pads de batterie sont affectés aux 24 premières touches du clavier MIDI standard (notes MIDI de C1 à B2, soit de Do1 à Si2). Cette configuration est compatible avec celle du clavier MIDI standard GM (General MIDI), une norme largement répandue. La note la plus grave de la gamme du 25e synthétiseur commence au C3 (Do3). Toutes les notes commençant au C3 (Do3) peuvent être jouées chromatiquement. Remarque : si votre clavier MIDI est limité à deux octaves ou ne prend pas en charge la transposition, vous pouvez utiliser le paramètre de transposition de votre application hôte pour décaler les notes MIDI suivantes d’une ou plusieurs octaves, vers le haut ou le bas. Important : À des fins de clarté et pour conserver l’analogie avec une boîte à rythmes, chacun dessynthétiseurs est ici désigné par le terme « son (de batterie) ». Leur combinaison forme un ensemble de batterie. Chargement et enregistrement des réglages Ultrabeat Les réglages Ultrabeat sont enregistrés et chargés de la même façon que les autres instruments MainStage. Pour en savoir plus, consultez la documentation relative à MainStage. Un réglage Ultrabeat comporte les éléments suivants : • l’ensemble de batterie, comprenant 25 sons, ainsi que les réglages d’assignation et de mixage correspondants ; • tous les réglages des paramètres des 25 sons ; Chapitre 15 Ultrabeat 469 • les réglages du séquenceur et l’intégralité des motifs, y compris l’automation pas à pas, ainsi que les informations de déclenchement, de vélocité et de Gate (durée des notes) des 25 sons. Le rappel de l’ensemble de ces informations lorsque vous chargez un réglage Ultrabeat est extrêmement pratique. En effet, l’effet musical des motifs, notamment de ceux incluant des paramètres séquencés de vélocité et de Gate, est souvent étroitement lié au ton et à l’impact des sons utilisés. Remarque : si vous enregistrez un ensemble de batterie à l’aide du menu Settings, seul l’emplacement de l’échantillon est stocké dans le réglage. Ultrabeat n’enregistre pas les fichiers audio à proprement parler ; il garde seulement la référence de leur emplacement sur le disque dur. Si vous chargez un réglage comportant une référence à un échantillon qui a été déplacé ou supprimé, une zone de dialogue vous invite à le spécifier ou à le localiser. Pour éviter cela, il est fortement recommandé d’utiliser le Finder afin de créer et de gérer un dossier d’échantillons Ultrabeat dédié, pour tous les sons et ensemble de batterie. 470 Chapitre 15 Ultrabeat Présentation de l’interface Ultrabeat L’interface utilisateur d’Ultrabeat comporte trois sections principales. Section Assignment Section synthétiseur Séquenceur pas à pas • Section Assignment: affiche touslessons d’un ensemble de batterie ; ce qui vous permet de les sélectionner, les renommer ou les organiser. Cette section comporte également un petit mélangeur, que vous pouvez utiliser pour régler le niveau et la balance de chaque son. Consultez Présentation de la section d’assignation d’Ultrabeat. • Section Synthesizer : permet de créer et de modeler différents sons. Les paramètres du son sélectionné dans la section d’assignation s’affichent dans cette section. Consultez Présentation de la section Ultrabeat Synthesizer. • séquenceur pas à pas : permet de créer et de contrôler des séquences et des motifs. Une séquence déclenche un son unique et peut inclure jusqu’à 32 pas. Un motif contient les séquences des 25 sons. Vous pouvez vous servir du séquenceur pas à pas pour déclencher et contrôler les sons à la place ou en complément des notes MIDI, en allant dans Ultrabeat (à partir de votre application hôte). Consultez Utilisation du séquenceur pas à pas d’Ultrabeat. Chapitre 15 Ultrabeat 471 Présentation de la section d’assignation d’Ultrabeat La section d’assignation affiche tous les sons de batterie. Cette section vous permet de : • sélectionner, organiser et nommer des sons ; • importer des sons à partir d’autres réglages Ultrabeat ou d’autres instruments EXS ; • définir des balances et des niveaux relatifs pour chaque son ; • désactiver des sons de la batterie ou les mettre en solo. Curseur Volume principal Potentiomètre Pan Menu Output Curseur Volume affiché en dessous du nom du son Clavier Bouton Mute Bouton Solo • Curseur Master (Volume) : contrôle les niveaux de tous les sons de batterie (le niveau global de mixage de tous les sons). • Curseur Volume : définit le volume des différents sons. Le niveau de chaque son est représenté par des curseurs bleus, qui fournissent un aperçu complet de tousles niveaux relatifs de batteries. Faites glisser le curseur bleu pour définir le volume du son concerné. • Clavier : : fait office de moniteur après réception des données MIDI appropriées. Vous pouvez également cliquer sur les touches pour reproduire le son sur la rangée correspondante. • Bouton M(ute) : permet de désactiver des sons de batterie. Vous pouvez effectuer cette opération sur plusieurs sons ou séquences à la fois en cliquant sur les boutons Mute correspondants. • Bouton S(olo) : vous permet d’écouter les sons en les isolant. Vous pouvez effectuer cette opération sur plusieurs sons ou séquences à la fois en cliquant sur les boutons Solo correspondants. • Potentiomètre Pan : contrôle le placement des sons dans le champ stéréo (panorama). • MenuOutput : permet de router chaque son vers dessortiesindividuelles(ou des paires de sorties). Ultrabeat présente huit sorties stéréo et mono distinctes lorsqu’elles sont insérées en tant qu’instrument à sorties multiples. • Les sons de batterie acheminés vers une paire de sorties autre que la principale (1-2) sont automatiquement supprimés des tranches de console de sortie principale. 472 Chapitre 15 Ultrabeat • Si vous choisissez une paire de sorties autre que la principale (1–2), le son est routé vers une tranche de console auxiliaire. Production et sélection de sons Ultrabeat Les 25 sons de batterie Ultrabeatsont associés au clavier représenté dansla partie gauche de l’interface Ultrabeat. Les sons commencent par le bas du clavier et correspondent à des valeurs de notes sur un clavier MIDI connecté, en commençant par C1 (Do1). Pour produire un son Procédez de l’une des manières suivantes : µ Jouez une note sur un clavier MIDI connecté. Comme indiqué ci-dessus, le son du bas est associé à la note MIDI C1 (Do1). µ Cliquez sur une touche du clavier pour déclencher le son sur la rangée adjacente. La touche correspondante sur la représentation du clavier, à gauche du nom du son, devient bleue lorsque l’on clique dessus ou lors de la réception de données MIDI adéquates. Pour sélectionner un son µ Dans la section d’assignation, cliquez sur le nom d’un son. Vous pouvez identifier le son sélectionné par le cadre gris qui entoure l’ensemble de la zone d’assignation. Les paramètres correspondant au son sélectionné s’affichent dans la section Synthesizer, à droite. Consultez Présentation de la section Ultrabeat Synthesizer. Dans l’exemple ci-dessous, le son 2 est produit (comme l’indique la touche bleue), alors que le son 4 est sélectionné (cadre gris). La touche mise en surbrillance (bleue) indique une note MIDI ou un message de contrôleur en entrée. Le son sélectionné est indiqué par un cadre gris. Chapitre 15 Ultrabeat 473 Pour sélectionner un son en jouant sur le clavier MIDI µ Activez le bouton Voice Auto Select dansle coin supérieur gauche de la fenêtre Ultrabeat. Cliquez ici pour sélectionner le son MIDI. Nommage, permutation et copie de sons Ultrabeat Cette section décrit les étapes à suivre pour renommer et réorganiser la position des différents sons de batterie. Pour renommer un son 1 Double-cliquez sur le nom d’un son pour ouvrir un champ de saisie. 2 Saisissez le nom, puis appuyez sur la touche Retour ou cliquez en dehors du champ de saisie afin de continuer. La permutation ou la copie de sons de batteries Ultrabeat peut s’effectuer par un glisser-déposer ou en utilisant un menu contextuel. Pour permuter ou copier un son de batterie avec la fonction glisser-déposer 1 Sélectionnez le nom du son (sans passer par un bouton ou un menu). 2 Faites ensuite glisser le nom jusqu’à l’emplacement voulu. La cible est ombrée lorsque vous effectuez un glissement dans la liste des noms de sons. • Faites simplement glisser un son de batterie pour l’échanger avec un autre (y compris les réglages du mélangeur : volume, balance, son désactivé, solo et configuration des sorties). Les séquences ne sont pas échangées. • Pour permuter les deux sons et les séquences, faites glisser, tout en maintenant la touche Commande enfoncée. 474 Chapitre 15 Ultrabeat • Pour copier le son, faites glisser, tout en maintenant la touche Option enfoncée. Les séquences ne sont pas copiées. • Pour copier à la foisle son et lesséquences, faites glisser, tout en maintenant lestouches Commande et Option enfoncées. Pour permuter ou copier des sons via une commande de menu contextuel 1 Cliquez en maintenant la touche Contrôle enfoncée ou cliquez avec le bouton droit de la souris sur le nom du son. 2 Dans le menu contextuel, choisissez l’une des commandes suivantes : • Copy (Voice & Seq) : copie le son sélectionné, y compris les réglages du mélangeur et l’ensemble des séquences, dans le Presse-papiers. • Paste Voice : remplace le son sélectionné par le son figurant dans le Presse-papiers, sans toutefois remplacer les séquences associées. • Paste Sequence > (sous-menu) : permet de remplacer tout ou partie des séquences du son cible. Les paramètres de son ne sont pas affectés. • Si une seule séquence est collée, elle vient remplacer la séquence actuellement active (identifiée dansle menu Pattern) du son de batterie cible. Vous avez ainsi la possibilité de coller des séquences dans chacun des 24 emplacements possibles de pattern. • Si vous copiez l’intégralité des séquences, vous les remplacez toutes. • Dans le cas où un son ne comporte que quelques séquences (les 24 touches ne sont pas toutes utilisées), si vous sélectionnez Paste Sequence > All, ces séquences sont placées aux mêmes positions. Par exemple, la séquence 5 (dans le menu Pattern) est copiée à la même position dans le nouveau son. Si une séquence est déjà présente à cet emplacement dans le son cible, elle est remplacée. Si aucune séquence n’est présente, la séquence copiée est ajoutée au son. • Swapwith Clipboard : remplace le son sélectionné par le son du Presse-papiers et place l’ancien son dans le Presse-papiers. Chapitre 15 Ultrabeat 475 • Init > (sous-menu) : ouvre un sous-menu contenant quelques sons servant de points de départ (Init.). Sélectionnez-en un pour remplacer le son cible. • L’échantillon Init. initialise le filtre, ainsi que les paramètres de hauteur tonale, selon des réglages neutres. Il s’agit d’un point de départ idéal pour la programmation de sons de batteries basés sur des échantillons. Ces commandes affectent uniquement le son sélectionné. Les données de séquence et de son relatives aux 24 autres sons restent inchangées. Remarque : les commandes du menu contextuel Paste et Swap with Clipboard nécessitent une copie préalable afin de placer les données appropriées dans le Presse-papiers. Importation de sons et d’instruments EXS dans Ultrabeat Ultrabeat permet de charger des échantillons audio, ainsi que ses propres réglages, mais aussi d’importer directement des instruments EXS. Cela facilite la représentation sonore et le traitement des rythmes pour les instruments EXS. Autre avantage : la présentation intuitive du mélangeur d’Ultrabeat vous permet d’utiliser et de contrôler des ensembles de batterie EXS. Vous pouvez utiliser la liste d’importation d’Ultrabeat pour ajouter des sons et des séquences à partir d’autres réglages Ultrabeat, ou ajouter des instruments EXS à votre ensemble de batterie Ultrabeat active (consultez Ajout de sons et de séquences à votre ensemble de batterie Ultrabeat). Vous pouvez également importer un instrument EXS entier en faisant glisser un fichier d’instrument EXS à partir du Finder directement dans la section d’assignation (consultez Importation d’instruments EXS entiers dans Ultrabeat). Ajout de sons et de séquences à votre ensemble de batterie Ultrabeat Vous pouvez utiliser la liste d’importation d’Ultrabeat pour ajouter des sons et des séquences à partir d’autres réglages d’Ultrabeat, ou ajouter des instruments EXS à votre ensemble de batterie Ultrabeat actives. Pour ouvrir un réglage Ultrabeat ou un instrument EXS dans la liste d’importation 1 Cliquez sur le bouton Import situé dans le coin supérieur gauche de l’interface. Cliquez ici pour importer un son provenant d’un autre kit de batterie Ultrabeat ou d’un autre instrument de l’échantillonneur EXS. 476 Chapitre 15 Ultrabeat 2 Choisissez le réglage Ultrabeat source ou l’instrument de l’échantillonneur EXS dans le sélecteur de fichiers, puis cliquez sur Ouvrir. Une liste de tous les sons issus du réglage ou des échantillons de l’instrument EXS sélectionnés s’affiche à droite du mélangeur de la section d’assignation. Liste d’importation Remarque : si vous importez des instruments EXS qui comportent plus de 25 zones d’échantillons, vous pouvez parcourir des pages (de 25 zones) à l’aide des flèches vers le haut et le bas situées à gauche et à droite du nom de l’instrument EXS en question, en haut de la liste d’importation. Cliquez sur les flèches pour accéder à d’autres pages de sons. Chapitre 15 Ultrabeat 477 Deux méthodes s’offrent à vous pour transférer des sons et des séquences de la liste d’importation vers votre ensemble de batterie. Pour faire glisser des sons dans votre ensemble de batterie µ Faites glisser le nom du son de la liste d’importation vers la rangée de votre choix dans la section Mixer. Remarque : maintenez la touche Commande enfoncée afin d’inclure touteslesséquences. Pour transférer des sons à l’aide des commandes de menu contextuel 1 Dansla liste d’importation, cliquez en maintenant la touche Contrôle enfoncée (ou cliquez avec le bouton droit de la souris) sur le nom du son désiré. 2 Dans le menu contextuel, sélectionnez Copy (Voice & Seq) Le son sélectionné et ses séquences sont alors copiés dans le Presse-papiers. 3 Cliquez en maintenant la touche Contrôle enfoncée (ou cliquez avec le bouton droit de la souris) sur le son à remplacer dans l’ensemble de batterie ouvert, puis, dans le menu contextuel, utilisez l’une des commandes suivantes : • Paste Voice : remplace le son sélectionné par le son figurant dans le Presse-papiers, sans toutefois remplacer les séquences associées. • Paste Sequence > (sous-menu) : ouvre un sous-menu qui vous permet de remplacer tout ou partie des séquences du son de batterie cible. Les paramètres de son ne sont pas affectés. • Si une seule séquence est collée, elle vient remplacer la séquence actuellement active (identifiée dansle menu Pattern) du son de batterie cible. Vous avez ainsi la possibilité de coller des séquences dans chacun des 24 emplacements possibles de pattern. • Swap with Clipboard : remplace le son sélectionné (et la séquence associée) par le son du Presse-papiers et place l’ancien son dans le Presse-papiers. Importation d’instruments EXS entiers dans Ultrabeat Vous pouvez importer un instrument EXS entier dans Ultrabeat en faisant glisser un fichier d’instrument EXS à partir du Finder directement dans la section d’assignation. Ultrabeat reproduit la présentation EXS aussi fidèlement que possible. Les zones EXS formatées sont configurées en tant que sons de batterie formatés, grâce au mode de lecture d’échantillons de l’oscillateur 2 (consultez Utilisation du mode Sample dans Ultrabeat). Remarque : cette méthode ne permet pas de parcourir les sons inclus dans l’instrument EXS si ce dernier comporte plus de 25 sons(échantillons). Ultrabeat met en correspondance uniquement les couches et zones d’échantillon comprises dans la tessiture de son de batterie d’Ultrabeat, entre C1 et C3 (Do1 et Do3). Tous les autres échantillons (zones) sont ignorés. 478 Chapitre 15 Ultrabeat Présentation de la section Ultrabeat Synthesizer Le moteur de son d’Ultrabeat est optimisé pour créer des sons de percussions ou de batterie acoustiques et électroniques. Il combine plusieurs approches de synthèse (distorsion de phase, lecture d’échantillons, modulation de fréquence et modelage physique) pour créer destons. Si vousle souhaitez, vous pouvez même utiliser une entrée latérale audio comme source sonore. Le moteur de son offre une très large gamme de fonctions de modulation. En effet, quasiment tousses composants peuvent être modulés. La section Synthesizer est au cœur d’Ultrabeat. Chaque son constituant un ensemble de batteries consiste en un synthétiseur indépendant, avec ses propres paramètres et, par conséquent, sa propre section Synthesizer. L’interface et le cheminement du signal du moteur de synthèse d’Ultrabeat reposent sur des conceptions de synthétiseurs classiques. Si lessynthétiseurssont totalement nouveaux pour vous, il peut être préférable de commencer par le chapitre Notions élémentaires sur les synthétiseurs, qui vous permettra de découvrir les bases, ainsi que la terminologie associée, des différents systèmes de synthèse. Si vous observez la section Synthesizer de gauche à droite, vous reconnaîtrez la présentation et le cheminement du signal d’un synthétiseur soustractif. Tout d’abord, le matérielsonore de base est créé par les oscillateurs, le générateur de bruit et le modulateur en anneau. Un filtre permet ensuite de supprimer certaines fréquences du son brut, puis une mise en forme du volume (avec des enveloppes) est effectuée. Chapitre 15 Ultrabeat 479 Remarque : la structure et la présentation reflètent les conceptions de synthétiseurs soustractifs classiques. Toutefois, Ultrabeat intègre un certain nombre de méthodes de génération de tons (synthèse), notamment la modulation de fréquence, la modélisation de composants, la lecture d’échantillons et la distorsion de phase. Ces méthodes apportent des qualités uniques, qui étendent largement la tessiture des sons pouvant être créés. Oscillateur 1 Oscillator 2 Curseur du modulateur en anneau Bouton Signal flow Filter Bouton Signal flow Noise Generator L’interface en trois dimensions permet d’avoir une présentation claire des détails et de l’importance des diverses fonctions d’Ultrabeat. Elle permet en outre d’identifier les différents niveaux, du premier au dernier. Lorsque vous explorez l’interface d’Ultrabeat, gardez bien à l’esprit que les descriptions qui suivent se basent sur cette présentation en 3D. La grande section circulaire et rehaussée située au milieu concerne le filtre (et la distorsion). Son emplacement et sa représentation sont à la fois symboliques et pratiques. Le filtre joue en effet un rôle central dans Ultrabeat. Pour en savoir plus sur le filtre, consultez Présentation de la section Ultrabeat Filter et Distortion. Le filtre reçoitson signal à partir dessources de son suivantes: l’oscillateur 1, l’oscillateur 2, le générateur de bruit et le modulateur en anneau. Les sorties de ces sources sont représentées par trois dispositifs circulaires, ainsi qu’une section rectangulaire pour le modulateur en anneau, plus petite et située à droite, entourant le filtre. 480 Chapitre 15 Ultrabeat Un niveau plus bas, du premier au dernier, chacun des objets de sortie de la source audio fournit des commandes déterminant la façon dont les sources de modulation, telles que le LFO et les enveloppes, affectent la source audio. Toutes les sources de modulation sont abordées dans la section Utilisation de la modulation dans Ultrabeat. Chacune dessources audio contiguës au filtre comporte un petit bouton de cheminement du signal (rouge lorsqu’il est activé). Celui-ci permet de déterminer (et d’indiquer) si le signal de la source audio associée doit passer dans le filtre ou s’il doit le contourner, avant d’être dirigé vers la section de sortie de l’Ultrabeat. La section de sortie se trouve à droite. Les signaux envoyés par le filtre peuvent transiter par deux égaliseurs et une phase d’expansion stéréo ou de modulation panoramique. Cette section vous permet également de configurer le niveau de sortie initial, ainsi que le comportement de déclenchement. Consultez Utilisation de la section Ultrabeat Output. La sortie du son est ensuite envoyée au mélangeur de la section d’assignation (consultez Présentation de la section d’assignation d’Ultrabeat). Présentation des oscillateurs d’Ultrabeat Les oscillateurs d’Ultrabeat permettent de générer desformes d’onde. L’oscillateur 2 peut utiliser un échantillon à la place d’une forme d’onde. Le signal produit par l’un des oscillateurs, ou par les deux, est ensuite envoyé vers d’autres parties du moteur de synthétisation à des fins de mise en forme, de traitement ou de manipulation. D’autressources audio comprennent un générateur de bruit et un modulateur en anneau distincts, pouvant générer d’autres signaux en plus de ceux produits par les oscillateurs. Consultez Utilisation du modulateur en anneau dans Ultrabeat et Utilisation du générateur de bruit d’Ultrabeat. Avant d’évoquer les paramètres des oscillateurs, présentons quelques-unes des fonctionnalités spécifiques auxquelles vous avez accès dans la section consacrée à l’oscillateur d’Ultrabeat. • L’oscillateur 2 peut effectuer une modulation de fréquence sur l’oscillateur 1, pour les sons de la synthèse FM. • Une modulation en anneau peut être effectuée sur l’oscillateur 2 avec l’oscillateur 1. • L’oscillateur 2 peut utiliser un fichier audio (échantillon) à la place d’une forme d’onde synthétique. La sortie de l’échantillon est un signal de l’oscillateur 2. Chapitre 15 Ultrabeat 481 Présentation des paramètresrelatifs aux oscillateurs d’Ultrabeat Cette rubrique fournit un aperçu des paramètres disponibles avec les deux oscillateurs. D’autres rubriques aborderont les paramètres propres à chaque oscillateur. Bouton Signal flow Champ Pitch Potentiomètre Volume Curseur de hauteur tonale Menus Mod et « via » (pour le volume) Menus Mod et « via » (pour la hauteur tonale) • Bouton Oscillateur activé/désactivé : cliquez sur le bouton (en haut à gauche de l’oscillateur 1 ou en bas à gauche de l’oscillateur 2) pour activer ou désactiver les oscillateurs individuellement. Si le bouton est rouge, c’est que l’oscillateur est activé. Remarque : lorsque vous programmez un son, vous pouvez activer ou désactiver les différentes sources audio en utilisant les boutons correspondants, ce qui vous permet d’entendre les composants du son de façon isolée. • Potentiomètre Volume : définit le volume de l’oscillateur 1 ou 2. • Il peut être modulé par les sources figurant dans les menus Mod et Via. • Curseur et champ Pitch slider : définit la hauteur tonale de l’oscillateur, exprimée en demi-tons. La valeur de la hauteur tonale apparaît dans le champ à gauche du curseur. Faites glisser verticalement sur le champ pour la régler. • Appuyez sur Maj pour régler la hauteur tonale, par intervalles d’un centième (1 centième = 1/100e de demi-ton). • La hauteur tonale peut également être modulée par les sources figurant dans les menus Mod et Via. • Bouton Signal flow: détermine si le signal de l’oscillateur associé doit passer par le filtre ou être envoyé directement à la section EQ (dansla section Output). Lorsqu’il est activé, le bouton devient rouge et une flèche indique la direction du cheminement du signal. • Menus Mod et Via : détermine les sources de modulation pour la hauteur tonale et le niveau de l’oscillateur. Consultez Utilisation de la modulation dans Ultrabeat. 482 Chapitre 15 Ultrabeat Utilisation de l’oscillateur 1 dans Ultrabeat L’oscillateur 1 peut utiliser trois modes différents. En fait, cela active troistypes de moteurs de synthèse : modulation de phase, fm et side chain (entrée audio externe), ce qui étend considérablement votre palette sonore. Chaque mode présente des fonctionnalités et des paramètres différents. Cliquez sur le bouton adéquat (bord supérieur de l’oscillateur 1) pour activer chaque mode. Utilisation du mode Modulation de phase de l’oscillateur 1 dansUltrabeat Avec une modulation de phase, la forme d’onde peut être transformée en quasiment n’importe quelle forme d’onde de synthétiseur de base. Les changements de paramètres sont immédiatement répercutés dans l’affichage de la forme d’onde, dans la section de l’oscillateur. Bouton On/Off Potentiomètre Slope Affichage Oscilloscope Curseur Asym Curseur Saturation • Potentiomètre Slope : cette valeur détermine la pente ou l’inclinaison de la forme d’onde. Plus elle est élevée, plus la forme d’onde est inclinée. Le son prend alors un caractère d’autant plus « nasal » que la pente est inclinée. • Curseur Saturation : augmente le gain, jusqu’à ce que la forme d’onde s’en trouve rognée. Des valeurs élevées se traduisent par une distorsion de la forme d’onde, qui devient plusrectangulaire. Lessons dominants de rang impairsont alors plus nombreux. • Curseur Asym(étrie) : modifie l’angle de la forme d’onde. Plus les valeurs sont élevées, plus l’onde est inclinée, prenant ainsi une forme en dents de scie. Le son est alors plus agressif. L’asymétrie peut être modulée par les sources figurant dans les menus Mod et Via. Cela permet de créer des changements sonores plus dynamiques au niveau de l’oscillateur. Pour en savoir plus, voir Utilisation de la modulation dans Ultrabeat. Chapitre 15 Ultrabeat 483 Création de formes d’ondes classiques en mode Modulation de phase dans Ultrabeat Les formes d’onde de base des synthétiseurs analogiques classiques peuvent être reproduitesfacilement par la modulation de phase : les ondessinusoïdales, rectangulaires et en dents de scie résultent de différentes combinaisons des valeurs des paramètres Slope, Saturation et Asym. Ainsi, si vous définissez des valeurs de pente et de saturation maximales et une valeur d’asymétrie minimale, vous obtenez une onde carrée classique. Si vous définissez la pente sur -0,20, la saturation au minimum et l’asymétrie au maximum, vous obtenez une forme en dents de scie. Si vous affectez la valeur 0 à ces trois paramètres, vous obtenez une onde sinusoïdale. Consultez le tableau ci-dessous pour avoir un aperçu des qualités tonales de chaque forme d’onde de base. Waveform Ton de base Commentaires Parfait pour lesinstruments à anche, les anomalies synthétiques et les basses Rectangulaire Son nasal Utile pour les basses, les clarinettes et les hautbois. La largeur d’impulsion des formes d’onde carrées (oscillateurs 2 et 3) peut être progressivement mise à l’échelle entre 50 pour cent et l’impulsion la plus fine. Son creux et proche du bois Square Utile pour les sons de cordes, nappes, basses et cuivres En dents de scie Chaud et régulier Son doux (davantage Utile pour les flûtes et les pads qu’avec la forme en dents de scie) Triangle L’oscillateur 2 peut effectuer une modulation de fréquence sur l’oscillateur 1. Ce type de modulation de fréquence est au centre de la synthèse FM. Sinusoïdale Ton pur Utilisation du mode FM (Modulation de fréquence) dans Ultrabeat La modulation de fréquence convient bien aux simulations de formes d’onde analogiques et de sons de style analogique. Le mode FM, lui, est bien adapté à la création de sonorités numériques de type sonnerie et de sons métalliques. Le principe de la synthèse par modulation de fréquence (FM) a été développé vers la fin des années 60 et au début des années 70 par John Chowning. Il a été popularisé dans les années 80 par la gamme Yamaha de synthétiseurs DX. En termes de synthèse FM pure, Ultrabeat ne peut pas être comparé aux DX, mais il est parfaitement capable de créer des sons relevant de cette signature caractéristique. 484 Chapitre 15 Ultrabeat Fonctionnement de la modulation de fréquence En termes simples, la fréquence d’un générateur de signaux (oscillateur) est modifiée (modulée) par un autre générateur de signaux. Les valeurs de fréquence positives (plus élevées) du second générateur, appelé modulateur, augmentent la fréquence du premier générateur, appelé porteur. Inversement, les valeurs de fréquence négatives (plus faibles) du second générateur diminuent la fréquence du premier. Dans un synthétiseur, ce type de modulation se produit au sein du spectre audio. Selon la conception de l’instrument, vous pouvez entendre les signaux émis soit par le porteur seul (modulés par le modulateur), soit par les deux oscillateurs. L’interaction entre les deux oscillateurs modifie le signal de la forme d’onde du porteur, introduisant ainsi un certain nombre de nouvelles harmoniques. Ce spectre harmonique peut être utilisé comme signal source pour un traitement ultérieur du son, p. ex. le filtrage, le contrôle d’enveloppe, etc. Pour en savoir plus, consultez Synthèse par modulation de fréquence (FM) et EFM1. Modulation de fréquence dans Ultrabeat En mode FM, l’oscillateur 1 (le porteur) génère une onde sinusoïdale. Sa fréquence est modulée par la forme d’onde de l’oscillateur 2 (le modulateur). • Lorsque l’oscillateur 2 émet un signal de fréquence positive (plus élevée), la fréquence de l’oscillateur 1 augmente. • Inversement, lorsque l’oscillateur 2 émet un signal de fréquence négative (plus faible), la fréquence de l’oscillateur 1 diminue. L’effet de l’accélération ou du ralentissement de la fréquence de l’oscillateur 1 dans chaque cycle de forme d’onde constitue une distorsion de la forme d’onde de base. Cette distorsion de la forme d’onde présente un avantage secondaire, à savoir l’introduction de nouvelles harmoniques audibles. Lors du processus FM, plusla forme d’onde de l’oscillateur 2 est complexe, plusle nombre de partiels est important, avec l’augmentation de la Valeur FM. Gardez un œil sur l’écran pour visualiser l’onde sinusoïdale et observer son évolution vers une forme de plus en plus complexe. Remarque : si vous souhaitez utiliser la modulation de fréquence, l’oscillateur 2 doit être activé. Important : l’effet obtenu par la modulation de fréquence dépend à la fois des rapports de fréquence et de l’intensité de la modulation entre les deux oscillateurs concernés. Pour définir les rapports de fréquence et régler l’intensité de la modulation 1 Réglez les valeurs des paramètres de hauteur tonale d’un oscillateur, ou des deux. Chapitre 15 Ultrabeat 485 2 Avec le bouton FM Amount, réglez la valeur (intensité) de la modulation de fréquence. Potentiomètre FM Amount Ce paramètre peut être modulé par les sources figurant dans les menus Mod et Via. Pour en savoir plus, voir Utilisation de la modulation dans Ultrabeat. Utilisation du mode Side Chain d’Ultrabeat En mode Side Chain, Ultrabeat utilise, en guise de source pour l’oscillateur 1, une entrée de chaîne latérale externe. Ainsi, vous pouvez envoyer le signal de n’importe quelle tranche de console audio, bus ou entrée en direct via les filtres, les enveloppes, le LFO et le séquenceur pas à pas d’Ultrabeat. L’utilisation de bus en tant que sources de chaîne latérale rend possible le routage de signaux vers l’entrée de chaîne latérale à partir de n’importe quel type de tranches de console qui offre des bus comme sorties ou envois. Cela comprend les tranches de console d’instrument logiciel, les tranches de console auxiliaires ou un mélange de plusieurs tranches de console, qui sont routées vers un auxiliaire commun (sous-groupe) ayant un bus pour destination de sortie. Voici un exemple où vous pouvez tirer parti de cette fonction : utilisez une entrée audio provenant de l’oscillateur 1, combinée au moteur de synthèse de l’oscillateur 2, afin de créer un son partiellement live et partiellement de batterie synthétisée. Remarque : la chaîne latérale affecte uniquement le son sélectionné. Les autres sons et séquences d’Ultrabeat restent inchangés. Voici un autre exemple d’application : utilisez un seul son de batteries pour filtrer un signal audio externe avec groove programmé. Remarque : un signal d’entrée latérale audio seul ne suffit pas au déclenchement d’Ultrabeat. Pour que vous puissiez entendre le signal d’entrée latérale audio, Ultrabeat doit être déclenché via le clavier MIDI ou le séquenceur pas à pas intégré. 486 Chapitre 15 Ultrabeat Pour utiliser le mode Side Chain 1 Activez le bouton Side Chain de l’oscillateur 1. 2 Dans le menu local Side Chain en haut de la fenêtre de module, choisissez la tranche de console à utiliser comme source d’entrée en chaîne latérale. Utilisation de l’oscillateur 2 dans Ultrabeat L’oscillateur 2 peut également commutersur troistypes différents de moteurs de synthèse : modulation de phase, échantillon et modèle. Chaque mode présente des fonctionnalités et des paramètres différents. Pour activer chacun des modes, cliquez sur le bouton correspondant dansle coin inférieur de la section consacrée à l’oscillateur 2. Utilisation du mode Modulation de phase de l’oscillateur 2 dansUltrabeat Le fonctionnement de la modulation de phase de l’oscillateur 2 est similaire à celui de la modulation de phase de l’oscillateur 1. La principale différence réside dans le fait que le paramètre Saturation peut être modulé avec l’oscillateur 2, et pas l’asymétrie (oscillateur 1). Par conséquent, lorsque les deux oscillateurs sont en mode modulation de phase, ils peuvent produire des sons différents. Pour en savoir plus sur les paramètres, consultez Utilisation du mode Modulation de phase de l’oscillateur 1 dans Ultrabeat. Chapitre 15 Ultrabeat 487 Utilisation du mode Sample dans Ultrabeat En mode Sample, l’oscillateur 2 utilise un fichier audio en tant que source sonore. Curseurs Max et Min Bouton de direction de la lecture Curseurs Layer Affichage du nom de l’échantillon • Affichage Sample Name : permet de charger et de décharger des échantillons ou d’afficher l’échantillon chargé dans le Finder. Pour ouvrir, cliquez sur la flèche située dans le coin supérieur gauche de l’affichage consacré à la forme d’onde. Consultez Chargement d’échantillons dans l’oscillateur 2 d’Ultrabeat. • CurseursMax./Min. : déterminent le point de départ de l’échantillon,selon la dynamique du jeu (niveau de vélocité entrante). Faites glisser les étiquettes Max./Min. versla gauche ou la droite pour procéder à un réglage. • Min. : détermine le point de départ de l’échantillon au niveau de vélocité minimum (vélocité = 1). • Max : détermine le point de départ de l’échantillon au niveau de vélocité maximum (vélocité = 127). Remarque : si les curseurs Min. et Max. ont la même valeur, la vélocité n’a aucun effet sur le point de départ de l’échantillon. • Bouton PlaybackDirection : modifie le sens de lecture de l’échantillon (avant ou arrière). • Curseurs Layer : les échantillons Ultrabeat fournis, ainsi que les sons importés depuis desinstruments EXS,sont généralement constitués de plusieurs couchessélectionnées de façon dynamique par les vélocités de notes MIDI entrantes. La couche d’échantillon particulière à laquelle les valeurs de vélocité entrées permettent d’accéder est déterminée par le curseur Layer vert situé à droite (Min.) ou le curseur bleu à gauche (Max.). • Le curseur Min. (vert à droite) détermine la couche qui est déclenchée à une vélocité de note MIDI égale à 1. • Le curseur Max. (bleu à gauche) détermine la couche qui est déclenchée à une vélocité de note MIDI égale à 127. Remarque : si vous n’avez chargé qu’un échantillon contenant une seule couche, les réglages du curseur Vel Layer n’ont aucun effet. 488 Chapitre 15 Ultrabeat Chargement d’échantillons dans l’oscillateur 2 d’Ultrabeat Un certain nombre d’échantillons de sons de batterie et de percussions multicouches sont inclus sur vos disques d’installation. Ils ont été créés spécialement pour Ultrabeat et ses fonctions. Vous pouvez, par ailleurs, charger vos propres échantillons dans un format stéréo entrelacé (AIFF, WAV, CAF ou SDII). Remarque : la fonction relative aux couches de vélocité n’est pas disponible avec les échantillons chargés par l’utilisateur. Pour charger un échantillon dans l’oscillateur 2 1 Cliquez sur la flèche située dans la partie supérieure gauche de l’affichage de la forme d’onde, puis choisissez Load Sample dans le menu local. 2 Dans la fenêtre Load Sample, localisez le fichier audio souhaité et effectuez l’une des opérations suivantes : • Cliquez sur Ouvrir pour charger le fichier en question dans l’oscillateur 2. • Cliquez sur Annuler pour rester à l’état actuel. Chapitre 15 Ultrabeat 489 Utilisation de la fonction d’Ultrabeat « Aperçu du chargement d’un échantillon » Vous pouvez écouter des échantillons avant de les importer dans Ultrabeat. • Bouton Play : permet de prévisualiser les fichiers audio (AIFF, WAV, SD2, CAF, USB) avant de les charger. • Cliquez sur le bouton Play pour lire en boucle le fichier d’échantillon sélectionné. L’échantillon est lu directement à partir du disque dur, sans manipulation : les filtres, enveloppes, EQ et les autres paramètres du synthétiseur sont ignorés. • Cliquez une seconde fois sur le bouton pour arrêter la lecture. • Vous pouvez écouter plusieurs fichiers en appuyant une fois sur le bouton Play, puis en passant de fichier en fichier à l’aide des touches fléchées vers le haut et vers le bas, ou en cliquant sur chaque fichier. Remarque : l’écoute indépendante de toutes les couches n’est pas possible. Dans le cas de fichiers USB multicouches, la fonction d’audition lit l’échantillon à une vélocité fixe de 75 pour cent. Seule la couche concernée par cette valeur Velocity est lue. • Case « Échantillon d’aperçu dans les voix Ultrabeat » : remplace temporairement les fichiers échantillons dans le son de batterie actuellement sélectionné, dans la section d’assignation. Le son peut être déclenché normalement (notes jouées, événements MIDI ou événements du séquenceur Ultrabeat) lorsque la fenêtre Load Sample est ouverte et que différents fichiers sont sélectionnés. L’échantillon sélectionné peut être écouté au sein du son de batterie actif, en prenant en compte l’ensemble destraitements du synthétiseur. Important : les effets ajoutés dans la tranche de console d’instrument Ultrabeat sont audibles lorsque vous prévisualisez les échantillons. 490 Chapitre 15 Ultrabeat Utilisation du mode Model d’Ultrabeat Ce mode repose sur une méthode de synthèse appelée modélisation de composantes. Cette technique de génération de tons simule les propriétés physiques d’un objet, une corde de guitare par exemple. D’autres objets sont utilisés pour stimuler la corde, c’est-à-dire pour émuler la façon dont elle est jouée : pincée, avec un archet, etc. Bien que le terme corde soit employé, le mode Model vous permet de créer des sons sans grand rapport avec les instruments à cordes traditionnels. La corde est l’élément à l’origine du ton de base. Elle offre des paramètres qui permettent de régler son matériau, autrement dit, ce qui la compose. L’un des deux exciteurs fait vibrer (bouger) la corde de différentes façons. La corde elle-même ne produit pas de son, sauf si elle est stimulée ou excitée. Le signal émis par la corde qui vibre est envoyé au filtre, à l’amplificateur, etc, dans la section Ultrabeat Synthesizer. Boutons Exciter Curseur Resolution Nappe Material • Boutons Exciter : choisissez un des deux exciteurs de contraste. Chacun présente des caractéristiques sonores différentes (Type 1 et Type 2). Remarque : ici, un exciteur est un agent ou un appareil de déclenchement utilisé pour initier la vibration d’une corde. Il ne faut pas le confondre avec le module à effets du même nom. • Nappe Matériau : permet de déterminer le ton de base à l’aide des paramètres de raideur et d’atténuation (Perte interne) de la corde. Consultez Utilisation de la nappe Matériau d’Ultrabeat. • Curseur Resolution : détermine la précision du calcul. • Des valeurs élevées produisent des harmoniques supplémentaires. • Inversement, des valeurs faibles produisent moins d’harmoniques ou un spectre inharmonique. Remarque : plus la résolution est élevée, plus les ressources processeur nécessaires sont importantes (et plus le calcul est précis). Chapitre 15 Ultrabeat 491 Utilisation de la nappe Matériau d’Ultrabeat La combinaison des positions des paramètresInner Loss et Stiffness détermine le matériau et de la corde et, par conséquent, le timbre général de votre son. Pour contrôler les deux paramètres simultanément, faites glisser la boule (qui fait correspondre les coordonnées X et Y) dans la nappe Matériau. La hauteur tonale par défaut de la corde est C3 (Do3). D’une manière générale, en termes de synthétiseurs, toutse passe un peu comme si vous disposiez d’un sélecteur/générateur de forme d’onde dans la section de l’oscillateur. Remarque : cliquez sur la boule en maintenant la touche Option enfoncée pour restaurer les valeurs par défaut de tous les paramètres de corde. • Perte interne : Émule l’atténuation de la corde, provoquée parson matériau : acier, verre, nylon ou bois. Ces pertes sont variables en fonction de la fréquence, ce qui se traduit par un son devenant plus doux au cours de la phase de chute. • Raideur: définit la rigidité de la corde. En réalité, cet aspect est déterminé par le matériau de la corde et son diamètre ou, pour être plus précis, par son moment d’inertie géométrique. Les cordes rigides sont le siège de vibrations non harmoniques ; autrement dit, les sons dominants ne sont pas forcément des multiples de la fréquence fondamentale. Les fréquences sont en effet plus élevées, ce qui peut donner l’impression que les notes basses ou hautes sont un peu désaccordées les unes par rapport aux autres. Modification de la couleur tonale d’Ultrabeat avec les paramètres Inner Loss et Stiffness La combinaison de valeurs Stiffness et Inner Loss basses génère des sons métalliques. L’augmentation de la valeur du paramètre Stiffness donne un son ressemblant à une cloche ou à du verre. Les valeurs les plus élevées transforment la corde en une solide tige métallique. L’augmentation de la valeur du paramètre Inner Loss, tout en maintenant un niveau bas pour le paramètre Stiffness, correspond à des cordes en nylon ou en catgut. Des valeurs élevées à la fois pour le paramètre Stiffness et pour le paramètre Inner Loss simulent des matériaux de type bois. 492 Chapitre 15 Ultrabeat Utilisation du modulateur en anneau dans Ultrabeat La modulation en anneau est un puissant outil qui permet de créer des sons non harmoniques, métalliques ou de type cloche. Le modulateur en anneau d’Ultrabeat fonctionne comme une source sonore indépendante : son signal peut transiter ou non via le filtre, indépendamment des signaux des oscillateurs 1 et 2. Son volume peut également être régulé. Important : bien que le signal produit par le modulateur en anneau soit indépendant des signaux générés par les oscillateurs 1 et 2, vous devez activer les deux oscillateurs pour pouvoir utiliser le signal du modulateur en anneau. Le modulateur en anneau a besoin dessignaux des deux oscillateurs pour produire un signal de sortie. Par conséquent, si l’un d’eux est éteint, le modulateur reste automatiquement silencieux. Le son réellement produit par le modulateur en anneau est largement dépendant des réglages de paramètres des deux oscillateurs. La relation avec le réglage de chaque oscillateur, en particulier, a un impact direct sur le son issu du modulateur en anneau. En revanche, le volume de chacun des oscillateurs n’influence pas le traitement (ou la sortie) au niveau de la modulation en anneau. Curseur Level (les menus « mod » et « via » au-dessus et en dessous du curseur vous permettent de moduler le niveau du modulateur en anneau) Bouton d’activation/désactivation Ring Modulator Bouton Signal flow • Bouton Ring Modulator On/Off : active ou désactive le modulateur en anneau. Lorsqu’il est allumé, l’étiquette est mise en surbrillance. Remarque : si vous souhaitez écouter le signal du modulateur en anneau séparément (pour un meilleur réglage), baissez temporairement le volume des oscillateurs à 0. • Curseur Level : règle le volume de sortie du modulateur en anneau. • Menus Mod et Via : ces menus, situés au-dessus et en dessous du curseur Level, déterminent la source de modulation (et la source via) pour le paramètre Level. Lorsque l’une ou l’autre des sources est active, de petits curseurs (poignées) s’affichent sur les deux côtés du curseur Level. Consultez Utilisation de la modulation dans Ultrabeat. • Bouton Signal flow : détermine le routage pour le signal produit par le modulateur en anneau. Le signal est dirigé soit versle filtre (le bouton relatif au cheminement du signal devient rouge), soit directement vers la section EQ (le bouton relatif au cheminement du signal reste gris). La direction de la flèche sur le bouton relatif au cheminement du signal illustre le parcours de ce dernier. Chapitre 15 Ultrabeat 493 Remarque : le bouton Signal Flow détermine le type de routage pour le signal de sortie issu du modulateur en anneau. Il n’agit pas sur le fonctionnement du modulateur. Utilisation du générateur de bruit d’Ultrabeat Le générateur de bruit d’Ultrabeat présente des fonctionnalités étendues, ce qui vous permet de créer un grand nombre de sons de percussions et d’élémentssonores différents. Il dispose par ailleurs de son propre filtre (qui fonctionne indépendamment du filtre Ultrabeat principal, bien que celui-ci puisse également être utilisé sur la globalité du son). D’un point de vue technique, un signal sonore contient toutes les fréquences tonales, plus ou moins avec le même volume. Toutes les fréquences du spectre étant audibles, il est difficile d’isoler (et donc de discerner) une tonalité (hauteur tonale) dans un signal sonore. Toutefois, ou plutôt en conséquence, le bruit est essentiel pour créer des sons de batterie. Boutons de type de filtre Bouton On/Off Potentiomètre Cutoff et menus « mod » et « via » Potentiomètre Volume Potentiomètre Dirt et menus « mod » et « via » Potentiomètre Res(onance) Menus Mod et « via » (pour le volume) • Bouton On/Off : active ou désactive le générateur de bruit. Remarque : lors de la programmation d’un son de batterie, vous pouvez activer ou désactiver des sources sonores particulières à l’aide des boutons On/Off. Cela vous permet en outre d’écouter certaines composantes sonores séparément et de les supprimer, si nécessaire. • Boutons Filter Type : permettent de choisir le filtre intégré du générateur de bruit : passe-bas, passe-haut ou passe-bande. • LP (passe-bas) : ce type de filtre laisse passer toutes les fréquences inférieures à la fréquence de coupures. Réglé en mode LP, le filtre fonctionne en passe-bas. Sa pente est égale à 12 dB/octave. 494 Chapitre 15 Ultrabeat • HP (passe-haut) : ce type de filtre laisse passer toutes les fréquences supérieures à la fréquence de coupures. Réglé en mode HP, le filtre fonctionne en passe-haut. Sa pente est égale à 12 dB/octave. • BP (passe-bande) : la bande de fréquences entourant directement la fréquence centre (définie par le bouton Cutoff) est autorisée à passer. Toutes les autres fréquences sont atténuées. Le paramètre de résonance définit la largeur de la bande de fréquence. Le filtre passe-bande est un filtre bipolaire et sa pente est de 6 dB/octave de part et d’autre de la fréquence centre de la bande. • Byp (inactif) : désactive le filtre intégré. • Potentiomètres Cutoff et Resonance : déterminent la fréquence de coupure/centre et le comportement de résonance/bande passante du filtre intégré. • La coupure peut être modulée par les sources figurant dans les menus Mod et Via. • Le potentiomètre Cut définit le point, dans le spectre de fréquences, à partir duquel le signal est amplifié ou coupé. Selon le type de filtrage choisi, vous pouvez rendre le son plussombre (LP), plusfin (HP) ou plus nasal (BP), en modifiant la valeur Couper. • L’augmentation de la résonance accentue les fréquences proches de la fréquence de coupure. La fourchette de résonance s’étend de 0 (aucune accentuation) jusqu’aux plus hautes valeurs permettant l’auto-oscillation du filtre. Remarque : l’auto-oscillation est typique des circuits de filtrage analogiques. Elle se produit avec des valeurs de résonance élevées, lorsque le filtre fonctionne en boucle fermée et commence à osciller à sa fréquence naturelle. • PotentiomètreDirt: ce paramètre a été spécialement conçu pour le générateur de bruit. Si les valeurs sont élevées, le son blanc et pur de départ évolue vers davantage de granulosité. • Les effets du paramètre Dirtsont d’autant plus marqués que les valeurs de résonance sont élevées. • La poussière peut être modulée par les sources figurant dans les menus Mod et Via. • Potentiomètre Volume : définit le niveau de sortie du générateur de bruit. Il peut être modulé par les sources figurant dans les menus Mod et Via. • Bouton Signal flow: détermine si le signal produit par le générateur de bruit doit passer par le filtre (principal) ou être envoyé directement à la section EQ (sortie). Lorsqu’il est activé, le bouton devient rouge et une flèche indique la direction du cheminement du signal. Chapitre 15 Ultrabeat 495 Remarque : le bouton Signal Flow ne concerne pas le filtre intégré au générateur de bruit. Le bouton byp situé dans le menu Type permet de désactiver celui-ci. Il est donc possible de filtrer le signal du générateur de bruit deux fois. Toutefois, dans la majorité des cas, il vaut probablement mieux éviter que le signal du générateur de bruit passe par le filtre principal, pour ne pas surcharger le filtre (composant essentiel pour la programmation des sons de batterie). Présentation de la section Ultrabeat Filter et Distortion Les signaux de sortie des deux oscillateurs, du modulateur en anneau et du générateur de bruit passent par la section Filter centrale d’Ultrabeat (sauf s’ils la contournent via les boutons de cheminement du flux). La section Filter offre un filtre multimode et une unité de distorsion. Pour en savoir plus sur les filtres de synthétiseurs, consultez Filtres. Unité Distortion Le passage des sons dans le filtre et l’unité Distortion est contrôlé par la direction de la flèche située au centre de la section Filter. Filtre multimode Pour définir l’ordre relatif au cheminement du signal via l’unité de filtrage et de distorsion µ Cliquez sur la flèche pour choisir entre les deux ordres suivants : • d’abord l’unité de distorsion, puis le circuit de filtrage (flèche vers le haut) ; • d’abord le circuit de filtrage, puis l’unité de distorsion (flèche vers le bas). 496 Chapitre 15 Ultrabeat Utilisation du filtre multimode dans Ultrabeat Ultrabeat intègre un puissant filtre multimode, qui peut modifier significativement, ou de façon subtile, le timbre de vos sons de batterie. Potentiomètre Cutoff Bouton Filter On/Off Potentiomètre Resonance Menus Mod et « via » Boutons des types et pentes du filtre • Bouton Filter(On/Off) : active ou désactive l’ensemble de la section Filter. En désactivant la section Filter, il est plus facile d’entendre les ajustements apportés aux autres paramètres sonores. En effet, les filtres influent énormément sur le son généré. Si l’étiquette Filter est rouge, cela signifie que le filtre est activé. Si elle est grise, le filtre est désactivé. • Boutons Filter Type : permet de choisir entre les types de filtre suivants : passe-bas, passe-haut, passe-bande ou réjection de bande. Consultez Choix du type de filtre dans Ultrabeat (LP, HP, BP, BR). • Boutons Filter Slope (12 et 24) : ces boutons permettent de choisir entre différentes pentes pour le filtre. Consultez la rubrique Définition de la pente du filtre d’Ultrabeat, • Potentiomètres Cutoff et Resonance : déterminent la fréquence de coupure/centre et la résonance/bande passante du filtre. Consultez Utilisation du paramètre Cutoff du filtre Ultrabeat et Utilisation du paramètre Resonance du filtre d’Ultrabeat. • Menus Mod et Via : déterminent la source de modulation (et la source via) pour les paramètres Cutoff et Resonance. Consultez Utilisation de la modulation dans Ultrabeat. Chapitre 15 Ultrabeat 497 Choix du type de filtre dans Ultrabeat (LP, HP, BP, BR) Le filtre d’Ultrabeat peut fonctionner dans plusieurs modes, ce qui permet de filtrer (couper) ou d’accentuer des bandes de fréquences spécifiques. Boutons de type de filtre Boutons de pente du filtre Pour choisir un type de filtre, sélectionnez un des boutons suivants : • LP (passe-bas) : ce type de filtre laisse passer toutes les fréquences inférieures à la fréquence de coupures. Réglé en mode LP, le filtre fonctionne en passe-bas. En mode LP, la pente du filtre peut être définie sur 12 ou 24 dB/octave. • HP (passe-haut) : ce type de filtre laisse passer toutes les fréquences supérieures à la fréquence de coupures. Réglé en mode HP, le filtre fonctionne en passe-haut. En mode HP, la pente du filtre peut être définie sur 12 ou 24 dB/octave. • BP (passe-bande) : la bande de fréquences entourant directement la fréquence centre (définie par le potentiomètre Cutoff) est autorisée à passer. Toutesles autresfréquences sont atténuées. Le paramètre de résonance définit la largeur de la bande de fréquence. Le filtre passe-bande est un filtre bipolaire et sa pente est de 6 ou 12 dB/octave de part et d’autre de la fréquence centre de la bande. • BR (réjection de bande) : la bande de fréquences entourant directement la fréquence centre (définie avec le potentiomètre Cutoff) est rejetée. À l’inverse, les fréquences situées en dehors de cette bande peuvent passer. Le paramètre de résonance définit la largeur de la bande de fréquences à rejeter. Définition de la pente du filtre d’Ultrabeat La plupart desfiltres ne suppriment pas complètement la partie du signalsituée en dehors de la plage de fréquences définie par le paramètre Cutoff. Les fréquences proches de la fréquence de coupures sont généralement moins atténuées que celles plus éloignées. Plus la valeur de la pente augmente, plus la différence de niveau devient frappante entre les fréquences proches de la coupure et celles plus distantes. La pente (courbe) choisie pour le filtre exprime la quantité de réjection en décibels par octave. Le filtre propose deux pentes différentes: 12 dB et 24 dB par octave. Plus la valeur de pente est élevée, plus la pente est raide et plus l’atténuation au-delà de la fréquence de coupure est marquée pour chaque octave. 498 Chapitre 15 Ultrabeat Utilisation du paramètre Cutoff du filtre Ultrabeat Le paramètre Cutoff (Cut) contrôle l’éclat ou détermine la fréquence centre du signal. • Dans un filtre passe-bas, plus la fréquence de coupures définie est élevée, plus les fréquences des signaux autorisés à passer sont élevées. • Dans un filtre passe-haut, la fréquence de coupures détermine le point où lesfréquences inférieures sont supprimées, avec uniquement des fréquences supérieures autorisées à passer. • Dans un filtre passe-bande/de refus de bande, la fréquence de coupures détermine la fréquence centre du filtre passe-bande ou de refus de bande. Utilisation du paramètre Resonance du filtre d’Ultrabeat Le paramètre Resonance (Res) accentue ou supprime les parties du signalsituées au-dessus ou en dessous de la fréquence de coupure définie ou détermine la largeur de bande entourant la fréquence de coupure. • Dans un filtre passe-bas, la résonance accentue ou supprime les signaux inférieurs à la fréquence de coupures. • Dans un filtre passe-haut, la résonance accentue ou supprime les signaux supérieurs à la fréquence de coupures. • Dans les filtres passe-bande/de réjection de bande, la résonance détermine la largeur de la bande de fréquences entourant la fréquence centre (définie avec le paramètre Cutoff). Utilisation du circuit de distorsion Ultrabeat L’unité de distorsion produit soit un effet de grésillement, soit un effet de distorsion. L’effet de distorsion est modélisé à partir d’une unité de distorsion analogique, qui fonctionne par augmentation du niveau du signal jusqu’à écrêtage. L’effet de grésillement se base sur un processus qui réduit volontairement la résolution numérique du son (mesurée en bits), ce qui permet d’obtenir une coloration numérique intentionnelle du son. Ces deux effets conduisent à des distorsions dont la tonalité diffère autant que les deux approches utilisées. La distorsion offre un caractère plus analogique, tandis que l’effet de grésillement ne peut dissimuler ses origines numériques (il aurait du mal à les cacher). Chapitre 15 Ultrabeat 499 Remarque : la flèche située dans la section Filter détermine si le circuit de distorsion se situe avant ou après le filtre multimode (consultez Présentation de la section Ultrabeat Filter et Distortion). Potentiomètre Drive Potentiomètre Color Bouton Crush Bouton Distort Potentiomètre Level • Boutons Crush et Distort : activez le mode de votre choix. Le nom du type d’effet activé est indiqué en rouge. Si aucun bouton n’est activé, cela signifie que le circuit de distorsion n’est pas utilisé. • Potentiomètre Drive : contrôle la quantité de distorsion. • potentiomètre Color : détermine le son de base de la distorsion. Des valeurs élevées produisent un son plus clair. À l’inverse, des valeursfaibles donnent un ton plussombre et plus chaud. • Potentiomètre Level/Clip : définit, en mode Distortion, le volume de la sortie pour l’effet Distortion. En mode Effet de grésillement, ce potentiomètre définit un seuil pour les signaux entrants émis par lessourcessonores à atteindre avant le début de la distorsion (grésillement). Utilisation de la section Ultrabeat Output Selon la position des différents boutons de cheminement des signaux, les signaux de sortie des deux oscillateurs, du modulateur en anneau et du générateur de bruit sont dirigés vers la section Output d’Ultrabeat. Soit le routage est direct, soit il passe par la section Filter et Distortion. 500 Chapitre 15 Ultrabeat La section de sortie envoie les signaux dans les deux égaliseurs (EQ) et dans la section Pan Modulation/Stereo Spread (selon un ordre défini préalablement) avant la définition du niveau final pour le son sélectionné et le réglage du comportement de déclenchement. Pan Modulation Voice Volume Contrôles du mode Trigger Égaliseur deux bandes • Égaliseur deux bandes : permet de contrôler avec précision la tonalité de chaque son de batterie. • Paramètres Pan Modulation et Stereo Spread : le paramètre Pan Modulation permet de modifier la position panoramique d’un son de batterie. Stereo Spread permet d’élargir l’image stéréo. • Voice Volume : définit le volume par défaut de chaque son. • Commandes du mode Trigger : déterminent la réaction d’Ultrabeat avec les notes MIDI entrantes. Le réglage s’effectue individuellement, pour chacun des sons. Chapitre 15 Ultrabeat 501 Utilisation de l’égaliseur deux bandes d’Ultrabeat Les deux bandes de l’égaliseur ont des caractéristiques quasiment identiques. Leur configuration est expliquée en combinant leurs paramètres, mais vous pouvez, bien évidemment, ajuster la bande 1 (l’égaliseur du bas dans la section de sortie) et la bande 2 séparément. Boutons de type d’égalisation Affichage de la courbe d’égalisation Champ Q Champ de fréquence Potentiomètre Gain Bouton Band 2 Bouton Band 1 • Boutons Band 1 et Band 2 : utilisez le bouton correspondant pour activer ou désactiver une bande. Si la bande est activée, l’étiquette est rouge. Si aucun égaliseur n’est activé, le signal ne subit aucun traitement à ce stade. • La bande 1 propose un shelving bas et la bande 2 un shelving haut. • Boutons EQ type : commutent entre les deux types différents d’EQ, shelving et peak. • En mode Shelving (bouton EQ type supérieur), toutes les fréquences supérieures ou inférieures à la fréquence définie sont accentuées ou atténuées. • En mode Peak (bouton inférieur), seules les fréquences proches de la fréquence définie sont traitées. Remarque : le shelving des égaliseurs a un fonctionnement semblable aux filtres passe-bas et passe-haut du synthétiseur. La principale différence réside dans le fait que les filtres passe-bas et passe-haut permettent uniquement d’atténuer certaines fréquences, alors que le shelving des égaliseurs permet également d’accentuer ces fréquences. • Potentiomètre Gain : les valeurs positives amplifient une certaine fourchette de fréquences (identifiée par le type EQ et les réglages Hz). À l’inverse, les valeurs de gain négatives ont un effet d’atténuation sur la plage de fréquences. Si le potentiomètre Gain est réglé sur 0, l’égaliseur n’a aucun effet (position neutre). • Cliquez sur un potentiomètre Gain en maintenant la touche Option enfoncée pour le définir sur une position neutre. Vous pouvez également cliquer sur le petit 0 au-dessus du potentiomètre Gain. 502 Chapitre 15 Ultrabeat • Champ Frequency (Hz) : détermine la plage de fréquences à amplifier ou à atténuer, par un glissement vertical sur le champ de valeur Hz. • Cliquez sur le paramètre Hz tout en maintenant la touche Option enfoncée pour revenir à une position neutre. Cette position correspond à 200 Hz pour la première bande et 2 000 Hz, pour la seconde. Le choix de ces fréquences par défaut a été effectué en fonction des différentes caractéristiques de shelving pour chaque bande de fréquences. La bande 1 est conçue pour filtrer les basses fréquences et la bande 2, les hautes. • Champ Q : définit le facteur Q (qualité). Pour ce faire, effectuez un glissement vertical sur le champ de valeur Q. L’effet de ce facteur sur le son dépend largement du choix du type d’égaliseur : • Avec les filtres shelving, si la valeur Q augmente, la zone autour de la fréquence-seuil devient plus accentuée. • Avec l’EQ peak, la valeur Q détermine la largeur de la sélection de la bande de fréquences. Une valeur faible sélectionne une large bande alors qu’une valeur élevée sélectionne une bande très étroite, à amplifier ou réduire au moyen de la commande Gain. Chaque bande de l’égaliseur affiche les changements de paramètres sur une courbe de réponse en fréquence. Cette représentation permet d’accéder directement aux paramètres Gain, Hz et Q de chaque bande. Pour modifier directement la courbe EQ graphique µ Effectuez un glissement horizontal pour modifier la fréquence EQ. µ Effectuez un glissement vertical pour modifier le Gain. µ Faites glisser la poignée située au niveau de la crête (point maximum) de la courbe EQ pour modifier le facteur Q. Utilisation des paramètres Pan Modulation et Stereo Spread dans Ultrabeat Le signal de sortie de l’égaliseur est transmis à la section Pan Modulation/Stereo Spread, où le positionnement du son dans le champ stéréo peut être modulé (mode Pan Modulation). Il est également possible d’élargir la base stéréo du son (mode Stereo Spread). Mode Pan Modulation dans Ultrabeat La modulation de balance modifie la position du panorama d’un son de batterie en fonction d’une source Mod (ou Via). Chapitre 15 Ultrabeat 503 Remarque : la modulation définie ici est relative à la position du panorama indiquée dans le mélangeur Ultrabeat, dans la section d’assignation. La position du panorama (dans la table de mixage) est représentée par une fine ligne rouge. Bouton Spread Bouton Pan Mod • Boutons Pan Mod et Spread : activent le mode correspondant. Si aucun de ces modes n’est activé, le signal ne subit aucun traitement à ce stade. • Menus Mod et Via : déterminent les sources de modulation et via pour la modulation de balance. • Curseurs Mod et Via : la commande bleue de gauche et la commande verte de droite permettent de définir la valeur (intensité) de la modulation Mod et Via. Remarque : dans cette section, vous ne pouvez pas déplacer directement la ligne rouge représentant la balance. Pour ce faire, vous devez tourner le potentiomètre Pan dans la section de la table de mixage. Mode Stereo Spread dans Ultrabeat La diffusion stéréo élargit l’image stéréo, augmentant ainsi la sensation d’espace. • Curseur Lo Freq(uency) : ajuste la largeur (l’effet d’étalement) des fréquences de basses: plus la valeur est élevée, plus l’effet est marqué. • Curseur Hi Freq(uency) : permet d’ajuster la largeur des hautes fréquences. 504 Chapitre 15 Ultrabeat Contrôle du volume des sons de batterie avec le volume voix dans Ultrabeat Le bouton Volume voix permet de régler le volume de sortie des différents sons de batterie. Pour être plus exact, vous définissez le volume maximum du son de batterie sélectionné avec Env 4, après la phase d’attaque d’Env 4. Remarque : l’enveloppe 4 (Env 4) est « câblée en dur » au niveau du volume voix (le contrôle du volume pour le son sélectionné). Chacun des sons du mélange comporte trois autres enveloppes, ainsi que d’autressources de modulation, permettant de contrôler d’autres paramètres de synthèse. Potentiomètre Voice Volume L’intensité de l’effet de l’enveloppe 4 sur le volume voix peut être modulée par la source Via. Remarque : le réglage du volume voix précède celui des curseurs de mixage. Vous pouvez ainsi commencer à ajuster le volume de chaque son de batterie, un par un, indépendamment de leurs niveaux relatifs dansle mixage de l’ensemble de batterie (dont le réglage s’effectue au niveau du mélangeur de la section d’assignation). Chapitre 15 Ultrabeat 505 Modification du mode mode Trigger dans Ultrabeat Le mode de traitement, dans Ultrabeat, d’une succession de notes entrantes est défini pour chaque son, de façon individuelle. Les paramètres permettant de contrôler cet aspect du comportement d’Ultrabeat se situent dans la section relative au mode Trigger, en dessous du potentiomètre Voice Volume. Menu Déclencheur Menu Group Bouton Gate • Menu local Trigger : vous permet de choisir entre les modes de déclenchement Simple et Multi. • Single : le déclenchement d’une nouvelle note coupe la note actuellement jouée. • Multi : lorsqu’une nouvelle note est jouée, les notes actuellement jouées poursuivent leur chute selon les réglages de leur enveloppe d’amplitude respective (Env 4). • Menu local Group : vous permet de choisir entre l’option Désactivé et les réglages 1 à 8. Si deux sons différents sont affectés au même groupe, ils se coupent mutuellement à la réception d’un nouveau message de note. Vous ne pouvez jouer qu’un son à la fois dans le groupe. • Cette fonction est généralement utilisée pour programmer des sons de charleston : lorsque vous utilisez un vrai charleston, la note produite par les cymbales qui se ferment coupe le son des cymbales ouvertes. Cette fonction est souvent appelée « mode hi-hat ». Remarque : en mode Single Trigger,seule la note (du même son)sonnant actuellement est coupée. En revanche, si le son est affecté à un groupe, il coupe tous les autres sons du groupe, quelle que soit la note. • Bouton Gate : active ou désactive la fonction Gate. Si celle-ci est activée, le son est coupé dès que la note MIDI n’est plus enfoncée (relâchement de la note MIDI), indépendamment des réglages de l’enveloppe. Remarque : la fonction Gate permet d’empêcher qu’un son donné continue à être joué (donc à être audible) au-delà d’un événement de relâchement de note dans un séquenceur hôte, tel que Logic Pro, ou un séquenceur interne à Ultrabeat. La longueur des notes peut être un élément créatif important lors de la programmation des pistes rythmiques. 506 Chapitre 15 Ultrabeat Utilisation de la modulation dans Ultrabeat La plupart des paramètres de son peuvent être contrôlés dynamiquement (modulés) dans Ultrabeat. Ultrabeat fournit deux LFO, quatre générateurs d’enveloppe, un contrôleur de vélocité et quatre contrôleurs MIDI librement définissables en tant que sources de modulation. Le réglage des processus de modulation suit un principe universel : Les processus de modulation Ultrabeat reposent sur trois éléments clés : • la cible de modulation, : c’est-à-dire le paramètre du synthétiseur à moduler ; • la source de modulation, : c’est-à-dire le paramètre qui module la cible ; • la source Via, : c’est-à-dire une source de modulation secondaire pouvant affecter l’intensité de la première source de modulation. Remarque : vous pouvez utiliser les mêmes sources et les mêmes contrôleurs via dans plusieurs processus de modulation. Modulations Mod et Via dans Ultrabeat Le paramètre Mod vous permet de moduler un paramètre de son à l’aide d’une valeur ajustable (le taux ou l’intensité de modulation). Les sources de modulation disponibles sont les suivantes : deux LFO, quatre générateurs d’enveloppe et Max. Via permet de préciser davantage l’effet de modulation. En effet, la profondeur de la première modulation (Mod) peut être modulée par une source distincte et autonome. L’intensité de l’effet est indiquée à l’aide du paramètre Via. Les sources des modulations Via comprennent le contrôleur de vélocité et quatre contrôleurs MIDI pouvant être définis librement. L’augmentation de la vitesse de balayage de la hauteur tonale si la vélocité est élevée est un exemple classique d’utilisation de la modulation Via. Pour ce faire, vous devez utiliser : • une enveloppe (Env) comme source Mod pour la hauteur tonale d’un oscillateur ; • la vélocité (Vél.) comme source via. Plusla touche est enfoncée fermement, plusle son généré est élevé (en termes de hauteur tonale), ce qui est idéal pour des sons de toms synthétisés par exemple. Exemples de modulations avec Ultrabeat Voici un exemple permettant de mieux en comprendre le fonctionnement : Chapitre 15 Ultrabeat 507 Par défaut, la valeur du paramètre Cut (Cutoff) est de 0,50. Dansl’image ci-dessous, aucune source de modulation n’a été sélectionnée, que ce soit dans le menu bleu, Mod, ou le menu vert, Via (les deux boutons sont désactivés). Dès qu’une source de modulation estsélectionnée dansle menu Mod (Env 1 dansl’image ci-dessous), l’anneau entourant le potentiomètre rotatif devient actif. Faites glisser l’anneau afin de définir la valeursouhaitée (0,70 dansl’exemple) pour le paramètre Cut (si la source Mod l’affecte). Remarque : les valeurs exactes sont indiquées dans les info-bulles correspondant aux différents paramètres que vous réglez. Dès qu’une source de modulation estsélectionnée dansle menu Via (Ctrl + A dansl’image ci-dessous), un curseur apparaît sur l’anneau Mod. Faites glisser ce curseur afin de définir la valeur de modulation maximale pouvant être atteinte avec la source Via (0,90 par exemple). Les réglages sont à présent terminés. Que signifient les repères figurant autour du potentiomètre Cut ? Que se passe-t-il au niveau du son ? Les commandes Mod et Via indiquent les valeurs minimale et maximale que le paramètre modulé peut atteindre par rapport à sa valeur par défaut. 508 Chapitre 15 Ultrabeat Dans cet exemple, la fréquence de coupure du filtre est définie sur 0,50 (valeur par défaut). La source Mod (Env 1) augmente la valeur de 0,50 à 0,70 lors de la phase d’attaque et la redescend à 0,50 lors de la phase de chute. Lorsque la source Via (Ctrl A) est introduite, les interactions suivantes se produisent : si Ctrl A reste à sa valeur minimale, rien ne change ; l’enveloppe (Env 1) continue de moduler Cutoff entre les valeurs 0,50 et 0,70. En revanche, la valeur maximale de Ctrl A conduit le générateur d’enveloppe à faire varier le paramètre entre 0,50 (valeur de coupure par défaut) et 0,90 (amplitude Via). En un clin d’œil, vous pouvez voir le degré d’impact maximum dessources de modulation Mod et Via sur les paramètres de base. La zone située entre les points Mod et Via montre à quel degré le taux de modulation peut être encore modifié par la source de modulation Via. Dans notre exemple, la coupure peut atteindre les valeurs comprises entre 0,70 et 0,90, selon la valeur transmise par Ctrl A. Voici un autre exemple : La coupure est de nouveau définie à 0,50, mais Env 1 descend désormais la valeur à 0,25 et une valeur maximale Ctrl A réduit la fréquence de coupure à 0. L’exemple suivant illustre la facilité d’utilisation et la rapidité des options de modulation Ultrabeat : Dans cet exemple, l’intensité de modulation de l’Env 1, qui affecte la Fréquence de coupure, est contrôlée avec les dynamiques du jeu (Vél.). La modulation Via secondaire contrôle également sa direction. Essayez d’effectuer ces réglages dans Ultrabeat afin de créer des sons particulièrement intéressants. Création d’un processus de modulation dans Ultrabeat Les indications suivantes s’appliquent à tous les paramètres qui offrent des options de modulation Mod (et Via). Chapitre 15 Ultrabeat 509 Pour créer un processus de modulation 1 Cliquez sur l’étiquette Mod du paramètre souhaité pour ouvrir le menu local Mod. 2 Dans le menu, choisissez un des réglages relatifs à la source de modulation : • Le paramètre Off désactive le processus de modulation ; il n’est alors plus possible d’utiliser la commande Mod. Dans ce cas de figure, aucune modulation Via ne peut être effectuée. En effet, il n’existe plus aucune cible de modulation Via. En outre, la commande Via est masquée. • Les réglages Env définissent un des générateurs d’enveloppe comme source de modulation • Le réglage Max conduit à une modulation statique, au plus haut niveau. Dans ce cas, le paramètre Via est affecté directement à la cible de modulation. La vélocité peut alors être utilisée comme source de modulation directe, même si elle n’est pas disponible en tant que source dans le menu Mod. Astuce : vous pouvez également définir un équilibreur MIDI externe avec Ctrl A, B, C ou D (consultez Utilisation des contrôleurs MIDI A–D d’Ultrabeat). Vous pouvez alors utiliser l’élément de menu Max. pour router la source Via (Ctrl A, B, C ou D) au paramètre que vous souhaitez contrôler à l’aide de l’un des curseurs de votre équilibreur MIDI. 3 Si vous souhaitez assigner une source Via, cliquez sur Via pour ouvrir le menu local correspondant. 510 Chapitre 15 Ultrabeat 4 Choisissez Vél. ou l’un des paramètres Ctrl A à Ctrl D. • Vel représente la vélocité. • Ctrl A à Ctrl D représentent les quatre contrôleurs continus pouvant être affectés aux quatre contrôleurs MIDI externes. Cette correspondance est effectuée dans la zone d’assignation de contrôleur MIDI, située dans la partie supérieure droite de la fenêtre Ultrabeat. Les correspondances définies s’appliquent à l’ensemble des sons dans l’instance de module Ultrabeat active. 5 Réglez les commandes Mod et Via selon vos souhaits. Utilisation des contrôleurs MIDI A–D d’Ultrabeat La zone d’assignation de contrôleur MIDI (dansla partie supérieure de la fenêtre Ultrabeat) vous permet d’attribuer n’importe lequel des contrôleurs MIDI présents dans les menus à chacun des quatre logements de contrôleur : Ctrl A, B C ou D. Ces assignations permettent aux contrôleurs MIDI externes, comme les curseurs, les potentiomètres, aftertouch ou la roulette de modulation de votre clavier MIDI, de contrôler les sources de modulation Via dans Ultrabeat. Pour assigner un contrôleur µ Ouvrez le menu de contrôle de votre choix (Ctrl A-D) et choisissez, dans la liste, le nom ou le numéro de contrôleur à utiliser. Pour apprendre l’assignation de contrôleurs via MIDI 1 Ouvrez le menu de commandes de votre choix et sélectionnez l’élément de menu Learn. 2 Déplacez le contrôleur de votre choix sur votre clavier ou votre contrôleur MIDI. Remarque : si aucun message MIDI adéquat n’est renvoyé dans les 20 secondes, la commande sélectionnée revient à la valeur/assignation précédente. Chapitre 15 Ultrabeat 511 Présentation des LFO d’Ultrabeat Parmi les sources de modulation possibles, deux LFO identiques sont disponibles dans le menu Mod. Le terme LFO est l’abréviation de low frequency oscillator (oscillateur basse fréquence). Le signal LFO est utilisé comme source de modulation. Avec un synthétiseur analogique, la fréquence LFO se situe généralement entre 0,1 et 20Hz (au-delà du spectre de fréquences audibles). Par conséquent, ce type d’oscillateur est utilisé uniquement pour la modulation. Remarque : la fréquence du LFO Ultrabeat peut atteindre 100 Hz, offrant ainsi un grand nombre de possibilités par rapport aux synthétiseurs analogiques. Les paramètres relatifs aux deux LFO d’Ultrabeat sont décrits ci-dessous. Vous pouvez librement régler les LFO 1 et 2, de façon individuelle. Boutons Sync et Free Boutons LFO 1/LFO 2 Bouton On/Off Potentiomètre Ramp Potentiomètre Cycles Affichage Oscilloscope Forme de l’onde Potentiomètre Rate • Boutons LFO 1 et 2 : sélectionnez le LFO concerné, afin de régler ses paramètres de façon individuelle. • Bouton On/Off : active ou désactive le LFO sélectionné. • Boutons Sync/Free : la vitesse du LFO (Rate) peut être définie de manière individuelle (Free) ou synchronisée (Sync) par rapport au tempo de l’application hôte. Cliquez sur l’un de ces deux boutons pour activer le mode correspondant. • Potentiomètre Rate : définit la vitesse du LFO. Selon le réglage choisi (Free/Sync), la fréquence est indiquée en Hertz ou en valeurs rythmiques (ces dernières lorsque la synchronisation du tempo du projet est active). La plage rythmique va de la quadruple-croche à 32 mesures. Les valeurs de triolet et pointées sont également disponibles. • Curseur(et affichage) WaveformShape : détermine la forme d’onde du LFO. Faites glisser le curseur de gauche à droite pour faire évoluer la forme d’onde vers une courbe triangulaire, en dents de scie,sinusoïdale, carrée et enfin rectangulaire, ce qui comprend également l’ensemble des variationsintermédiaires. Si le curseur est placé complètement à droite, le LFO génère des formes d’onde aléatoires. L’affichage graphique montre la forme d’onde actuelle du LFO. 512 Chapitre 15 Ultrabeat • Potentiomètre et champ Cycles : détermine le nombre de cycles de la forme d’onde du LFO. Consultez Utilisation du paramètre Cycles pour les formes d’onde des LFO d’Ultrabeat. • Potentiomètre et champ Ramp : contrôle le temps nécessaire à la modulation LFO pour effectuer un fondu entrant ou sortant. La valeur Ramp est indiquée en millisecondes dans le champ correspondant au paramètre. • Tournez le potentiomètre Ramp versla droite pour définir la durée d’attaque du LFO. • Tournez-le vers la gauche pour définir le temps de descente. • En position médiane, il n’a aucun effet sur le LFO. Utilisation des formes d’onde des LFO Ultrabeat Le curseur Waveform Shape vous permet de choisir différentes formes d’onde pour les deux LFO. Le tableau ci-dessous définit de quelle manière ces formes d’onde peuvent affecter vos sons. Les formes d’onde intermédiaires produisent des formes d’onde et des comportements hybrides. Waveform Commentaires Triangle Convient bien aux effets de vibrato Convient bien aux effets sonores d’hélicoptères et d’épées laser. Des modulations marquées de la hauteur tonale avec une onde en dents de scie génèrent des sons de type bulle. Des modulations marquées, en dents de scie, des paramètres de fréquence de coupure et de résonance des filtres passe-bas, créent des effets rythmiques. En dents de scie Idéal pour les modulations lisses et régulières. Sa position sur le curseur Waveform Shape vous permet de faire progressivement évoluer l’onde vers des formes carrées/rectangulaires et en dents de scie. Sinusoïdale Les ondes carrées/rectangulaires font varier régulièrement le signal LFO entre deux valeurs. La forme d’onde rectangulaire de droite évolue entre une valeur positive et zéro. La forme d’onde rectangulaire de gauche passe d’une valeur positive à une valeur négative, symétriques par rapport à zéro. Carré et Rectangle La forme d’onde à droite sur le curseur Waveform Shape génère des valeurs aléatoires. Une valeur aléatoire est déterminée à intervallesréguliers,selon la fréquence du LFO. L’expression Sample & Hold (S & H) fait référence à la prise d’échantillons d’un signal de bruit à intervallesréguliers. La valeur de ces échantillons est ensuite maintenue jusqu’à l’échantillonnage suivant. Astuce : une modulation aléatoire de hauteur tonale produit l’effet de génération demodèle de tonalité aléatoire, communément appelé « sample and hold ». Essayez cette modulation avec des notes très aiguës, à desfréquences et intensitéstrès élevées, vousreconnaîtrez cet effet sonore très populaire, présent dans des centaines films de science-fiction. Sample & Hold Chapitre 15 Ultrabeat 513 Utilisation du paramètre Cycles pour les formes d’onde des LFO d’Ultrabeat Normalement, un LFO oscille en permanence. Cependant, pour les signaux percussifs, il peut être intéressant de limiter les cycles du LFO (répétitions de toute la forme d’onde) à un nombre déterminé. Ultrabeat vous permet d’indiquer le nombre de cycles LFO dans le paramètre Cycles. Une fois ce nombre défini atteint, le LFO cesse d’osciller. Astuce : essayez des valeurs Cycles faibles, avec la source du LFO utilisée pour contrôler le volume (niveau) d’un oscillateur, ou des deux. Cela permet de créer des effets de claquements de mains et de roulement typiques. La plage de valeurs pour le paramètre Cycless’étend de 1 à 100. Tournez le potentiomètre complètement à droite pour choisir la valeur maximale et créer ainsi un nombre infini de cycles (comportement LFO standard). Une valeur de cycle de 1 permet au LFO de fonctionner comme un générateur d’enveloppe supplémentaire, mais simple. Le paramètre Cycles peut également déterminer si le LFO (forme d’onde) commence en partant du point initial zéro à chaque déclenchement de note ou s’il continue simplement à osciller. La valeur de cycles Infini force le LFO à osciller librement. Il n’est pas réinitialisé à chaque message de note MIDI entrante. Lorsque le paramètre Cycles est défini sur des valeurs inférieures à 100, le LFO est réinitialisé à chaque nouveau message de note MIDI entrante (réinitialisation à chaque nouvelle note). Le choix de déclencher un cycle LFO à partir du même point ou de laisser le LFO osciller librement, indépendamment de la phase n’est qu’une question de goût. La partie aléatoire dans la libre oscillation des LFO peut alourdir de nombreux sons. Toutefois, cela peut nuire à l’attaque des sons percussifs, ce qui n’est pas optimal pour un certain nombre de sons de batterie. Remarque : vous pouvez, bien sûr, tirer avantages des légères déviations de la phase LFO (avec la valeur Cycle définie sur Infini), en ajoutant un caractère analogique au son de batterie, par exemple. Présentation des enveloppes d’Ultrabeat (Env 1 à Env 4) Les générateurs d’enveloppe sont d’autres sources de modulation dont vous disposez dans le menu Mod. Remarque : pour en savoir plus sur l’expression « générateur d’enveloppe » et ses fonctionnalités de base, consultez Commandes d’enveloppe Attack, Decay, Sustain et Release (ADSR). 514 Chapitre 15 Ultrabeat Ultrabeat présente quatre générateurs d’enveloppe identiques par voix. Ils sont désignés par les abréviations Env 1 à Env 4. Outre son utilisation potentielle en tant que source de modulation (dans les menus Mod des différents paramètres de son), Env 4 dispose d’une connexion permanente avec le paramètre Volume voix. En d’autres termes, chaque son de batterie d’Ultrabeat dispose d’un générateur d’enveloppe de volume câblé en dur, à savoir Env 4. Le comportement par défaut des générateurs d’enveloppe est appelé mode enveloppe à déclenchement unique : lorsqu’on appuie sur une touche (message à chaque note), les enveloppes suivent leur cours, quelle que soit la durée pendant laquelle la touche est maintenue enfoncée. Ce réglage convient parfaitement aux signaux percussifs car il permet d’émuler le comportement naturel des instruments à percussion acoustiques. Dans des cas particuliers, par exemple pour des sons de cymbales tenus, vous pouvez activer le mode Sustain. Les enveloppes suivent alors la durée des notes jouées. Modification graphique des enveloppes d’Ultrabeat La zone d’affichage relative aux enveloppes d’Ultrabeat fournit un mode de conception d’enveloppes unique, incluant des courbes de Bézier dans lesquelles deux segments, l’attaque et la chute, constituent l’ensemble de l’enveloppe. Prise en main de la durée d’attaque Prise en main de la durée de chute Prise en main de la courbe de chute Prise en main de la courbe de chute Prise en main de la courbe d’attaque Prise en main de la courbe d’attaque Dans la représentation d’une enveloppe, vous pouvez distinguer plusieurs poignées (points de jonction) de deux tailles différentes. Les deux poignées les plus larges sur l’axe des abscisses (l’axe horizontal, ou l’axe du temps, en bas) contrôlent respectivement la durée d’attaque et le temps de chute. Une ligne verticale part de la première des deux poignées (attaque) et divise l’enveloppe en phases d’attaque et de chute. Les deux segments contiennent chacun deux petites poignées de courbe. Vous pouvez lesfaire glisser dans n’importe quelle direction afin de déformer le contour de l’enveloppe et de définir librement son amplitude. Chapitre 15 Ultrabeat 515 Vous pouvez également les faire glisser n’importe où sur la courbe elle-même afin de transformer l’enveloppe. Utilisation des paramètres d’enveloppe d’Ultrabeat Pour modifier les paramètres d’une enveloppe, vous devez d’abord sélectionner une des quatre enveloppes à l’aide des boutons 1 à 4. Les paramètres de l’enveloppe sélectionnée peuvent alors être modifiés dans la fenêtre d’affichage des enveloppes. Boutons 1 à 4 Défilement Zoom Boutons Zoom Prise en main de la durée de chute Bouton Sustain Menu Env mod Curseur Mod (via vel) Prise en main de la durée d’attaque • Boutons 1à 4 : permettent de sélectionner une des quatre enveloppes. Seule l’enveloppe sélectionnée peut être modifiée. Le contour du bouton correspondant à l’enveloppe choisie est mis en surbrillance et l’affichage de l’enveloppe est automatiquement mis à jour afin de refléter votre sélection. • Poignée Temps de montée : définit le temps que met l’enveloppe pour atteindre sa valeur maximale après avoir reçu un message de note. Cette période est appelée la phase d’attaque. • Poignée Temps de chute : détermine le temps que met l’enveloppe à redescendre vers une amplitude 0, après avoir atteintsa valeur maximale (définie dansla phase d’attaque). Remarque : vous pouvez librement modifier la durée et la forme de l’enveloppe dans la phase d’attaque ou de chute. Consultez Modification graphique des enveloppes d’Ultrabeat. • Champ de défilement Zoom : permet de redimensionner le contenu visible de la zone d’’affichage de l’enveloppe lorsque vous effectuez un glissement horizontal. • Menu de modulation Envelope : détermine la cible de modulation (soit la durée, soit la forme de la phase d’attaque ou de chute de l’enveloppe) par vélocité. Vous avez le choix entre Durée A, Forme A, Durée D et Forme D. • Curseur “Mod” (via vel) : détermine l’intensité de la modulation de vélocité de la cible spécifiée dans le menu de modulation Envelope. • Lorsque vous modulez la forme, l’enveloppe s’affaisse si les valeurs de vélocité sont faibles. Inversement, l’enveloppe se gonfle si les valeurs sont élevées. 516 Chapitre 15 Ultrabeat • Lorsque vous modulez la durée, l’augmentation des valeurs de vélocité conduit au raccourcissement de la longueur du segment considéré. Des valeurs de vélocité faibles, à l’inverse, augmentent la longueur du segment. • Bouton Sustain : lorsque ce bouton est activé, une poignée rouge (et une ligne verticale) s’affiche sur l’axe des abscisses. Vous pouvez déplacer la poignée horizontalement, mais uniquement au sein de la phase de chute de l’enveloppe. L’amplitude atteinte par l’enveloppe au niveau du point de jonction Sustain est prolongée jusqu’à ce que la note MIDI soit relâchée. Remarque : si le bouton Sustain n’est pas activé, l’enveloppe utilise le mode « one-shot » et la longueur de la note (commande de relâchement MIDI) n’est pas prise en compte. • Bouton Zoom (à adapter) : augmente la taille de l’enveloppe pour qu’elle remplisse toute la largeur de la zone d’affichage. Il vous est ainsi plus facile d’ajuster les points de jonction et les courbes. Remarque : lorsque la fonction Zoom est sélectionnée, la poignée de chute peut être déplacée complètement à droite de la zone d’affichage de l’enveloppe, afin d’augmenter le temps de chute. Lorsque vous relâchez le bouton de la souris, le graphique de l’enveloppe est automatiquement redimensionné en fonction de la zone d’affichage. • Boutons zoomA/D: affiche uniquement la phase d’attaque (A) ou de chute (D)sur toute la largeur de la zone d’affichage de l’enveloppe. Vous pouvez ainsi modifier les formes d’enveloppe plusfacilement et plus précisément (jusqu’à des valeurs en millisecondes). Chapitre 15 Ultrabeat 517 Affichage Modulation Target dans Ultrabeat LFOs and Envelopes L’interface utilisateur d’Ultrabeat comporte une fonction qui facilite la recherche des cibles de modulation des LFO et des enveloppes : il vous suffit de cliquer sur le champ numérique de la source de modulation souhaitée pour mettre en surbrillance toutes ses cibles. Cible de modulation sélectionnée pour l’enveloppe 1 Cliquez ici pour sélectionner toutes les cibles de modulation de l’enveloppe 1. Utilisation du séquenceur pas à pas d’Ultrabeat Ultrabeat intègre également un puissant séquenceur pas à pas, que vous pouvez utiliser pour créer des modèles et séquences rythmiques polyphoniques. Ce séquenceur affiche des commandes de style « défilement de LED» comme sur les boîtes à rythmes classiques, et reprend certaines des méthodes de création de séquences et de motifs utilisées avec ces appareils. Le séquenceur d’Ultrabeat développe lesfonctionnalités des boîtes à rythmes matérielles en recourant largement à des fonctionnalités d’automation et d’édition. Celles-ci vous permettent de faire varier, de façon précise, le timbre du son et les dynamiques globales, à tout endroit du motif. Le séquenceur joue un rôle important dans la mise en forme des rythmes et des sons que vous pouvez produire avec Ultrabeat. 518 Chapitre 15 Ultrabeat Le séquenceur pas à pas permet de combiner tous les sons Ultrabeat en motifs, selon les séquences des différentssons. Sa conception etson utilisation (entrée de programmation pas à pas) sont basées sur des séquenceurs et des boîtes à rythmes analogiques. Cependant, contrairement à ces prédécesseurs analogiques, Ultrabeat vous permet de programmer des changements automatiques pour presque tous les paramètres du synthétiseur. Selon vos goûts personnels et votre style de musique préféré, vous souhaiterez, pour la programmation de rythmes, contrôler Ultrabeat via le séquenceur pas à pas intégré ou à partir de MainStage. Il est également possible de combiner les deux séquenceurs. En effet, ils peuvent être activés en même temps. Dans ce cas, ils se synchronisent automatiquement. Logic Pro fait alors office d’horloge de référence et détermine le tempo du séquenceur pas à pas interne d’Ultrabeat. Si vous ne connaissez pas le concept de « séquencement pas à pas », la section suivante vous aidera à comprendre la conception du séquenceur pas à pas d’Ultrabeat. Fonctionnement des séquenceurs pas à pas Le principe de base au cœur des séquenceurs pas à pas analogiques est de configurer une progression de tensions de contrôle et de les « sortir » pas à pas, généralement dans un motif se répétant indéfiniment. Ce principe a permis de créer un certain nombre de styles musicaux électroniques dont l’attrait réside dansl’effet hypnotisant de la répétition des motifs. Au départ, trois tensions de contrôle étaient généralement créées par pas, permettant ainsi de gérer différents paramètres. En général, elles concernaient le contrôle de la tonalité (pitch), de l’amplitude et du timbre (cutoff) du son pour chaque pas. La surface de contrôle des séquenceurs analogiques présentait souvent trois rangées de potentiomètres ou de boutons alignés les uns au-dessus (ou à côté) des autres. Chaque rangée contenait généralement 8 ou 16 pas, ainsi qu’une sortie de tension de contrôle, reliée à une entrée de contrôle (pour un paramètre donné) sur un synthétiseur. Une impulsion de déclenchement définissait le tempo des pas. Un défilement à LED (succession de diodes électroluminescentes) indiquait le pas actuellement déclenché. Le concept de programmation à défilement à LED a, par la suite, été utilisé dansles boîtes à rythmes, dont les plus connues étaient les Roland de la série TR. L’introduction de la norme MIDI et l’utilisation croissante des ordinateurs personnels pour faire de la musique ont conduit à un rapide déclin du séquenceur pas à pas et des technologies associées. L’ordinateur personnel, bien plus puissant, permettait alors d’utiliser des concepts d’enregistrement et d’arrangement ne reposant passur le principe des pas et des motifs. Chapitre 15 Ultrabeat 519 Malgré ces avancées technologiques, les séquenceurs pas à pas n’ont toutefois pas totalement disparu. Les Groove Box matérielles ont connu un net regain de popularité ces dernières années et leur maniement intuitif en fait désormais un outil de programmation rythmique très apprécié. Le séquenceur pas à pas d’Ultrabeat associe les avantages et les principes de fonctionnement généraux de ses prédécesseurs analogiques à des options de contrôle beaucoup plusflexibles, portant ainsi la programmation rythmique moderne à un niveau jamais atteint. Présentation du séquenceur pas à pas d’Ultrabeat Le séquenceur pas à pas d’Ultrabeat contient une séquence pour chaque son d’un ensemble de batterie. Chaque séquence peut comprendre 32 pas. Un motif contient touteslesséquences d’un ensemble de batterie.Jusqu’à 24 motifs peuvent être enregistrés et rappelés avec chaque réglage d’Ultrabeat. Paramètres de Pattern Grille des pas Paramètres de Pattern Paramètres globaux Le séquenceur est divisé en trois sections. • Paramètres globaux : permettent au séquenceur pas à pas de contrôler la lecture, d’accéder à différents modes et de contrôler l’impression globale à la lecture . • Paramètres Pattern : permettent de contrôler la durée et la résolution du motif actuellementsélectionné. Vous pouvez également accentuer les différents pas du motif, pour chaque son de batterie. • Grille des pas : c’est ici que s’effectue le séquencement à proprement parler. Une séquence pouvant comporter jusqu’à 32 pas s’affiche pour le son actuellement sélectionné dans la section d’assignation. Vous pouvez ajouter, supprimer ou modifier des événements dans la grille. Remarque : un autre affichage vous permet de voir et de modifier simultanément les pas de tous les sons de batterie du motif. Consultez Affichage de Ultrabeat Step en plein écran. 520 Chapitre 15 Ultrabeat Utilisation des paramètres globaux du séquenceur Ultrabeat Les paramètres s’appliquant de manière globale à tous les patterns sont décrits ci-après. Bouton On/Off Bouton Transport Potentiomètre Swing Bouton Edit Mode • Bouton On/Off : active ou désactive le séquenceur pas à pas. • Bouton Edit Mode : permet de choisir entre le mode Voice et le mode Step. • Mode Voice (par défaut) : dans ce mode, la modification des paramètres d’un son de batterie définit les paramètres du son de batterie lui-même. • Mode Step : vous permet d’automatiser les paramètres d’un son d’un pas vers le suivant. Pour en savoir plus, consultez Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat. • Bouton Transport : lance et arrête le motif du séquenceur. Le séquenceur pas à pas est toujours synchronisé sur le tempo de l’application hôte. Remarque : si le bouton Transport est bleu, le séquenceur considère les notes MIDI entrantes (situées entre C1 et B0, soit Do1 et Si0) comme des informations d’interprétation. Pour en savoir plus, consultez Utilisation de MIDI pour contrôler le séquenceur d’Ultrabeat. • Potentiomètre Swing : détermine l’intensité du swing pour touslessons dont la fonction Swing est activée (consultez Utilisation de la fonction Swing d’Ultrabeat). Chapitre 15 Ultrabeat 521 Utilisation des paramètres de motif d’Ultrabeat Un motif contient tous les événements, stockés en séquences, des 25 sons. Tout en bas de la fenêtre Ultrabeat, vous pouvez sélectionner un des 24 motifs et définir les paramètres affectant de façon globale la totalité des sons du mélange. Barre de longueur Menu Pattern Champ Length Bouton d’activation Swing Curseur Accent Bouton d’activation/désactivation Accent Menu Resolution • Menu Pattern : il vous permet de choisir un pattern parmi les 24 disponibles. • Champ et barre Lenght : définit la durée du motif. Vous pouvez ajuster la longueur de la grille en déplaçant la valeur du paramètre Lenght ou la barre située sous les boutons Swing. • Menu Resolution : détermine la résolution du motif. Il définit l’unité métrique utilisée pour une mesure représentée par des pas distincts. Par exemple, si la résolution est de 1/8, chaque pas de la grille représente une croche. Si la durée du motif est de 32 pas, celui-ci s’exécute sur 4 mesures (le motif de 32 pas s’applique à l’intégralité de la grille et, par conséquent, à tous les sons de la même manière). Remarque : si vous utilisez conjointement les paramètres Length et Resolution, vous pouvez créer différents types de mesures. Par exemple, les valeurs Durée = 14 et Résolution = 1/16 donnent une mesure à 7/8, Durée = 12 et Résolution = 1/16 une mesure à 3/4, Durée = 20 et Résolution = 1/16 une mesure à 5/4. • Bouton et curseur Accent: permettent d’appuyer fortement ou d’accentuer certains pas. Consultez Utilisation des accentuations dans Ultrabeat. • Bouton Swing Enable : si ce bouton est activé, la grille du son actuellement sélectionné est jouée conformément au réglage du potentiomètre Swing. Consultez Utilisation de la fonction Swing d’Ultrabeat. Copie et réorganisation des motifs d’Ultrabeat Vous pouvez réorganiser les 24 motifs dans le menu Pattern à l’aide des commandes Copy et Paste. Pour copier un pattern à l’aide d’un menu contextuel 1 Sélectionnez un motif dans le menu Pattern. 522 Chapitre 15 Ultrabeat 2 Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris) sur le menu Pattern, puis choisissez Copy dans le menu contextuel. 3 Sélectionnez le motif cible dans le menu Pattern. 4 Cliquez tout en maintenant la touche Ctrl enfoncée sur le menu Pattern, puis choisissez Paste dans le menu contextuel. Vous pouvez également utiliser un raccourci clavier pour copier des motifs. Pour copier un motif via un raccourci clavier 1 Sélectionnez le motif musical souhaité dans le menu Pattern. 2 Appuyez sur Option, ouvrez le menu Pattern et sélectionnez un autre pattern Ultrabeat. Le pattern cible est alors remplacé. Remarque : n’oubliez pas que toutes les données de séquenceur présentes dans le motif cible sont remplacées. Si vous changez d’avis en cours de processus, sélectionnez le numéro du pattern source. Pour sélectionner un pattern 1 Sélectionnez le motif musical souhaité dans le menu Pattern. 2 Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris) sur le menu Pattern, puis choisissez Clear dans le menu contextuel. Utilisation de la fonction Swing d’Ultrabeat La fonction Swing modifie la distance entre les notes. Seuls les pas pairs sont affectés par le paramètre Swing. Les notes situées sur les pas impairs restent à leur place. Les battements affectés dépendent de la valeur du paramètre Resolution sélectionnée : par exemple, si le paramètre Resolution est défini sur 1/8 et Length sur 8, les notes des pas 1, 3, 5 et 7 représentent les noires de la mesure. Elles ne sont pas affectées par ces modifications. Seules les croches intermédiaires (pas 2, 4 et ainsi de suite) sont décalées par la fonction Swing. L’ampleur du décalage est fonction de l’intensité du swing (définie avec le potentiomètre Swing). Remarque : la fonction Swing n’est active que sur desrésolutions de grille de 1/8 (croche) et 1/16 (consultez Utilisation des paramètres de motif d’Ultrabeat). Pour utiliser la fonction Swing 1 Cliquez sur le bouton Swing Enable. Si ce bouton est activé, la grille du son actuellementsélectionné est jouée conformément au réglage du potentiomètre Swing. 2 Réglez le potentiomètre Swing. Chapitre 15 Ultrabeat 523 La fonction Swing n’est pas activée sison réglage estsur 0, c’est-à-dire si le potentiomètre est complètement à gauche. Tournez le potentiomètre vers la droite pour décaler les notes affectées vers la note suivante. Présentation de la grille des pas d’Ultrabeat La grille des pas affiche des pas de séquence sur deux rangées. Les pas présents dans ces rangées correspondent au son actuellement sélectionné dans la zone d’assignation. Si vous choisissez un autre son, l’affichage du séquenceur change afin de représenter les rangées du nouveau son sélectionné. La zone de la grille des pas contient deux rangées, comprenant chacune 32 champs(pas). Rangée Trigger Rangée Velocity/Gate • Rangée Trigger : cliquez sur l’un des boutons de cette rangée pour activer ou désactiver le son du battement correspondant. • Rangée Velocity/Gate : définit la longueur (temps de Gate) et la vélocité des pas entrés dansla rangée Trigger. Ces deux paramètressont représentéssousla forme d’une barre graphique unique. La hauteur de la barre représente la vélocité. Sa longueur, de gauche à droite, indique la durée de la note. Création et suppression de pas dans la rangée Trigger d’Ultrabeat La rangée Trigger comprend des boutons numérotés de 1 à 32, qui représentent les pas ou les battements de la séquence sélectionnée. Les événements de déclenchement de notes sont placés sur les pas correspondants. c’est ici que vous indiquez quand (sur quel battement) le son sélectionné doit être joué. Remarque : vous pouvez créer et supprimer des pas même si le séquenceur est activé. Pour créer un pas 1 Dans la section d’assignation, sélectionnez un son. 2 Cliquez sur le bouton On pour activer le séquenceur de pas. 524 Chapitre 15 Ultrabeat 3 Choisissez un motif, ainsi que la durée et la résolution. Pour en savoir plus, consultez Utilisation des paramètres de motif d’Ultrabeat. 4 Cliquez sur les boutons de votre choix (de 1 à 32) pour activer ou désactiver le son sélectionné sur le battement correspondant. Dans l’exemple précédent, il s’agit des pas 1 et 6. Remarque : un autre affichage vous permet de voir et de modifier simultanément les pas de tous les sons de batterie du motif. Consultez Affichage de Ultrabeat Step en plein écran. Pour supprimer un pas 1 Assurez-vous que le son concerné est sélectionné dans la section d’assignation. 2 Cliquez sur les boutons de votre choix (de 1 à 32) correspondant aux pas à supprimer. Remarque : effectuez un glissement horizontalsur les boutons pour activer ou désactiver rapidement les événements de déclenchement. Utilisation des commandes du menu contextuel Trigger d’Ultrabeat Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris) sur l’un des boutons de déclenchement pour ouvrir le menu contextuel Trigger. Ce menu propose les commandes suivantes : Copy, Paste et Clear • Copy : copie l’ensemble des déclencheurs activés (pas) dans le Presse-papiers. • Paste : colle l’ensemble des déclencheurs à partir du Presse-papiers. • Clear : désactive l’ensemble des déclencheurs activés. Commandes de création de battement • Add EveryDownbeat: ajoute des déclencheurs pour chaque tempsfort dansla séquence. La définition exacte des pas à frapper dépend de la résolution de la grille. Par exemple, si la résolution est de 1/16, Add Every Downbeat crée un déclencheur à chaque quatrième pas. Si le premier temps frappé est joué sur le pas 1, des événements de déclencheur sont alors définis pour les pas 5, 9, 13 et ainsi de suite. Cette commande n’affecte pasles événements de déclenchement déjà existants; elle ne fait qu’en ajouter. • Add Every Upbeat : ajoute des déclencheurs pour chaque temps dans la séquence. La définition exacte des pas à lever dépend de la résolution de la grille. Par exemple, si la résolution est de 1/16, « Add Every Upbeat » crée un déclencheur à chaque quatrième pas. Si le premier temps levé est joué sur le pas 3, des événements de déclencheur sont alors définis pour les pas 7, 11, 15 et ainsi de suite. Cette commande n’affecte pas les événements de déclencheur déjà existants ; elle ne fait qu’en ajouter. Chapitre 15 Ultrabeat 525 Commandes Alter, Reverse et Shift • Alter Existing Randomly : réorganise les pas de façon aléatoire, en gardant les mêmes numéros de déclencheurs activés. • Reverse Existing : inverse l’ordre des pas actuels. • Shift Left by 1 Step : décale tous les pas de la séquence d’un pas vers la gauche. • Shift Left by 1 Beat : décale tous les pas de la séquence d’un battement vers la gauche. Le nombre exact de pas inclus dans un battement dépend de la résolution actuelle de la grille. Par exemple, avec une résolution de 1/16, un battement équivaut à quatre pas ; avec une résolution de 1/8, un battement équivaut à deux pas et ainsi de suite. • Shift Left by 1/2 Beat : décale tous les pas de la séquence d’un demi-battement vers la gauche. Le nombre exact de pasinclus dans un demi battement dépend de la résolution actuelle de la grille. Par exemple, avec une résolution de 1/16, un battement équivaut à quatre pas, et donc un demi battement, à deux pas ; avec une résolution de 1/8, un battement équivaut à deux pas, et donc un demi, à un pas, etc. • Shift Right by 1 Step : décale tous les pas de la séquence d’un pas vers la droite. • Shift Right by 1 Beat : décale tous les pas de la séquence d’un battement vers la droite. Le nombre exact de pas inclus dans un battement dépend de la résolution actuelle de la grille. Par exemple, avec une résolution de 1/16, un battement équivaut à quatre pas ; avec une résolution de 1/8, un battement équivaut à deux pas et ainsi de suite. • Shift Right by 1/2 Beat : décale tous les pas de la séquence d’un demi-battement vers la gauche. Le nombre exact de pas inclus dans un demi battement dépend de la résolution actuelle de la grille. Par exemple, avec une résolution de 1/16, un battement équivaut à quatre pas, et donc un demi battement, à deux pas ; avec une résolution de 1/8, un battement équivaut à deux pas, et donc un demi, à un pas, etc. Commandes Create et Replace • Create & Replace Randomly : efface, puis crée aléatoirement des pas dans la séquence ; autrement dit, une toute nouvelle séquence est créée. Le nombre d’événements créés est fonction de la résolution de la grille. • Create & Replace Few : fonction similaire à « Create & Replace Randomly ». Toutefois, seulement quelques passont créés. Le nombre de pas créés est fonction de la résolution de la grille. • Create & Replace Some : fonction similaire à la précédente. Toutefois, un plus grand nombre de pas est créé. Le nombre de pas créés est fonction de la résolution de la grille. • Create & Replace Many : fonction similaire à la précédente. Toutefois, un grand nombre de pas est créé, remplissant ainsi le motif. 526 Chapitre 15 Ultrabeat Par exemple, commencez avec une séquence vide de 32 pas avec une résolution d’1/16. La fonction « Create & Replace Few » crée 4 pas ; « Create & Replace Some » 8 pas ; « Create & Replace Many » 16 pas. Réglage des longueurs et des vélocités dans la rangée Velocity/Gate d’Ultrabeat Cette rangée vous permet de définir la longueur (temps de Gate) et la vélocité des notes entrées dans la rangée de déclencheurs. Ces deux paramètres sont représentés sous la forme d’une barre graphique unique. La hauteur et la largeur de la barre représentent respectivement la vélocité et la durée de la note (temps de Gate). Pour changer la durée et la vélocité de chaque pas µ Effectuez un glissement vertical sur la barre bleue pour modifier la vélocité. µ Effectuez un glissement horizontal sur la barre bleue pour modifier la durée de la note (temps de Gate). La durée de gate est divisée en quatre parties égales. Il est ainsi plus facile de définir la durée rythmique précise des notes. Pour que l’enveloppe à déclenchement unique fonctionne avec le temps de Gate, il faut activer la fonction Gate au niveau du son lui-même (consultez Modification du mode mode Trigger dans Ultrabeat) ou utiliser les enveloppes en mode Sustain (consultez Utilisation des paramètres d’enveloppe d’Ultrabeat), en association avec des temps de chute rythmiquement utiles (courts). Pour réinitialiser toutes les valeurs de vélocité et de Gate aux paramètres par défaut µ Cliquez sur le bouton Reset situé à gauche de la rangée velocity/gate. Réglage de vélocité par défaut = 75 pour cent. Temps de Gate par défaut = les quatre sections sont actives. Utilisation des commandes du menu contextuel Velocity/Gate d’Ultrabeat Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris) sur l’un des pas dans la rangée velocity/gate pour ouvrir un menu contextuel. Ce menu propose les commandes suivantes : • Alter Vel(ocities) : modifie aléatoirement les valeurs de vélocité de l’ensemble des pas, en gardant les mêmes battements sélectionnés (la rangée de déclencheurs reste inchangée). Chapitre 15 Ultrabeat 527 • Alter Gate (Time) : modifie aléatoirement les durées de notes de l’ensemble des pas, en gardant les mêmes battementssélectionnés(la rangée de déclencheursreste inchangée). • Randomize Vel(ocities) : crée une valeur de vélocité aléatoire. • Randomize Gate (Time) : crée une valeur de gate aléatoire. Utilisation des accentuations dans Ultrabeat Pour chaque son de batterie, vous pouvez activer ou désactiver le réglage de l’accentuation. Vous pouvez, par exemple, activer l’accentuation des cymbales, mais désactiver celle de la grosse caisse. Pour activer des accentuations et réglage du niveau d’accentuation 1 Cliquez sur la LED bleue à droite du curseur Accent pour activer la fonction d’accentuation. 2 Déplacez le curseur Accent pour déterminer le volume global des accentuations programmées. Pour programmer une accentuation pour un pas donné µ Cliquez sur la LED bleue située au-dessus du pas de votre choix (pas 1 et 3 dans l’image). Le son correspondant à cet emplacement de pas est alors accentué (joué plus fort). Affichage de Ultrabeat Step en plein écran Cliquez sur le bouton Full View dans la partie inférieure droite d’Ultrabeat pour afficher une grande grille de séquenceur contenant les boutons de déclenchement. La grande grille affiche simultanément les 32 boutons de déclenchement pour les 25 sons de batterie. 528 Chapitre 15 Ultrabeat L’affichage plein écran permet d’avoir un aperçu du motif entier, et non simplement d’une séquence. Les événements de déclenchement sont affichés pour tous les sons. Ainsi, vous pouvez aisément arrêter les notes erronées, ce qui simplifie et accélère tout le processus de création du motif. Le son sélectionné est mis en surbrillance en gris dans le séquenceur de pas. Il est donc facile de définir la vélocité et le temps de Gate pour chaque pas, ou les décalages en mode Step (consultez Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat), pour l’ensemble des séquences/sons du motif. La grille, ainsi que les rangées Trigger et Gate/Length, sont affichées pour le son de batterie sélectionné. Il est alors facile de créer des événements de déclenchement dans la grille en plein écran, puis de définir des accentuations dans les rangées Gate/Length, par exemple. Automation des valeurs de paramètres dans le séquenceur de pas d’Ultrabeat Le bouton Edit Mode lance la fonction d’automation pas à pas Ultrabeat. Celle-ci permet de programmer des modifications de paramètre par pas, pour chaque son de batterie. Vous pouvez régler tous les paramètres pouvant être automatisés pour chaque pas, si vous le souhaitez. Chapitre 15 Ultrabeat 529 Les paramètres de son qui peuvent être automatisés incluent l’ensemble des fonctions de la section Synthesizer, hormis les menus (processus de modulation, etc.), les boutons (boutons de type d’oscillateur, boutons de la section trigger/group) et les paramètres Pan/Spread. Bouton Edit Mode Menu Offset Rangée Parameter Offset Lorsque vous lancez le mode Step, l’affichage de l’interface Ultrabeat est le suivant : • Des cadres jaunes entourent tous les paramètres de la section synthétiseur disponibles pour l’automation. Les paramètres ne pouvant être automatisés sont toujours visibles, mais désactivés. • La rangée Velocity/Gate dans la grille des pas affiche désormais la rangée (parameter) offset Astuce : lors de la création de décalages en mode Step, il est possible que vous décidiez de faire une modification rapide sur le son de batterie initial. Plutôt que de devoir basculer d’un mode à l’autre pour une simple modification, vous pouvez appuyer sur Option et Commande pour accéder temporairement au mode Voice dans Ultrabeat. 530 Chapitre 15 Ultrabeat Tous les paramètres que vous choisissez d’automatiser s’affichent dans le menu local situé en haut de la rangée (parameter) offset Cliquez sur l’en-tête de grille (à gauche de l’axe zéro) pour ouvrir le menu. Remarque : soyez attentif, car le simple fait de déplacer un élément de commande dans la section Synthesizer ajoute le paramètre au menu offset. Utilisation de la rangée (Parameter) Offset d’Ultrabeat Cette rangée vous permet d’afficher et de saisir des valeurs de décalage par pas pour chaque paramètre pouvant être automatisé de la section Synthesizer. La modification des paramètres peut être effectuée de trois façons : • en réglant directement les commandes dans la section Synthesizer ; • en modifiant les valeurs de décalage dans la rangée offset ; • à l’aide du menu contextuel (consultez Utilisation des commandes du menu contextuel Parameter Offset d’Ultrabeat). Remarque : lesréglages effectués dansla rangée offset concernent la valeur de paramètre actuelle. Les valeurs affichées dans la rangée offset sont soit ajoutées à la valeur de paramètre définie dans la section Synthesizer, soit soustraites. En d’autres termes, les décalages de paramètres augmentent ou diminuent (mais ne spécifient pas) une valeur absolue pour le paramètre. Pour créer un décalage de paramètres 1 Choisissez un son. 2 Cliquez sur un emplacement, dans la rangée (parameter) offset, correspondant au pas à modifier. 3 Effectuez les changements de paramètres souhaités dans la section Synthesizer. Vos modifications sont enregistrées sous la forme d’une valeur de décalage pour ce pas. 4 Répétez l’étape 3 avec chaque paramètre à modifier pour ce pas. Chapitre 15 Ultrabeat 531 Une fois le décalage créé, il est représenté de deux manières. • Une ligne jaune est ajoutée sur le paramètre pour indiquer l’écart (le décalage) entre le paramètre d’origine et le nouveau paramètre. • Dans la rangée (parameter) offset, le décalage par rapport au paramètre d’origine est représenté sous forme de ligne commençant au point 0 (ligne centrale horizontale). • La ligne est située au-dessus de la ligne centrale pour les décalages positifs. • Inversement, la ligne est située en dessous de la ligne centrale pour les décalages négatifs. Utilisation des commandes du menu contextuel Parameter Offset d’Ultrabeat Cliquez tout en maintenant la touche Ctrl enfoncée (ou cliquez avec le bouton droit de la souris)sur l’un des pas dansla rangée (parameter) offset pour ouvrir un menu contextuel. Choisissez l’une des commandes suivantes : • Alter : modifie aléatoirement les valeurs de paramètres (sélectionnées), pour tous les pas. • Randomize : crée une valeur aléatoire pour le paramètre sélectionné. Remarque : pensez à enregistrer votre séquence/motif avant d’utiliser l’une ou l’autre de ces commandes. • Supprimerl : supprime tous les pas pour le paramètre actuellement sélectionné. 532 Chapitre 15 Ultrabeat Mise en silence, mise en solo et réinitialisation des décalages de paramètres d’Ultrabeat La rangée (parameter) offset comporte les boutons M(ute), S(olo) et Reset. • M(ute) : désactive le son pour les décalages du paramètre sélectionné. Cela n’entraîne pas la suppression ou la réinitialisation des décalages existants. • S(olo) : vous permet d’entendre, de façon isolée, l’effet de vos décalagessur le paramètre sélectionné. • Reset : toutes les valeurs de décalage correspondant au paramètre sélectionné sont mises à 0 (aucun décalage). • Si vous cliquez de nouveau sur ce bouton, le paramètre estsupprimé du menu offset. Remarque : le bouton Reset situé à gauche de la rangée velocity/gate se transforme en bouton Delete lorsque vous cliquez une fois dessus. Ce bouton Delete a le même comportement que la commande Delete : il supprime tous les pas du paramètre sélectionné. Exportation des motifs Ultrabeat en tant que régions MIDI Les motifs programmés dans le séquenceur pas à pas interne d’Ultrabeat peuvent être exportés en tant que régions MIDI dans la zone Arrange de MainStage. Pour exporter un motif Ultrabeat dans la zone Arrange de MainStage 1 Choisissez le motif souhaité dans le menu Pattern d’Ultrabeat. 2 Sélectionnez la zone située à gauche de ce même menu. 3 Faites glisser le motif jusqu’à l’emplacement voulu sur la piste Ultrabeat correspondante. Chapitre 15 Ultrabeat 533 Une région est créée, contenant tous les événements MIDI, y compris les réglages Swing et Accent. Les accentuations sont interprétées comme des événements de pression polyphonique. Les événements d’automation de pas, créés en mode Step,sont également exportés dans la région MIDI. Remarque : pour éviter un double déclenchement lors de la lecture de la région MIDI exportée, vous pouvez désactiver le séquenceur interne d’Ultrabeat. Utilisation de MIDI pour contrôler le séquenceur d’Ultrabeat Le jeu du pattern peut être influencé par les notes MIDI entrantes. Vous pouvez ainsi interagir librement avec le séquenceur pas à pas et Ultrabeat peut alors parfaitement être utilisé comme instrument pour des performances en direct. Le mode de réaction d’Ultrabeat par rapport au contrôle MIDI est déterminé par les options des modes Pattern, Playback et Voice Mute sélectionnées. Bouton Pattern Mode Menu du mode de lecture Bouton Voice Mute Mode • Bouton Pattern Mode (On/Off) : s’il est activé, ce bouton vous permet de choisir et de lancer des motifs avec des messages de notes MIDI. Le bouton Transport devient bleu pour indiquer qu’Ultrabeat est désormais prêt à recevoir les commandes de contrôle entrées. • Les notes MIDI de C-1 à B0 (Do-1 à Si0) commutent entre les motifs: C-1 sélectionne le motif 1, C#-1 sélectionne le motif 2 et ainsi de suite jusqu’au motif 24, sélectionné lorsque la note MIDI B0 est reçue. • Menu du mode Playback : détermine le comportement de lecture au niveau des motifs face aux notes MIDI entrantes. Vous avez le choix entre les options suivantes : • One-Shot Trig(ger) : la réception d’une note MIDI lance le pattern. Il est alors joué une fois dans sa totalité, puis s’arrête. Si la note suivante est reçue avant la fin du motif, elle stoppe la lecture du premier et le second commence à être joué immédiatement. Il peut s’agir d’un motif différent ou du même, selon la note MIDI reçue. Les événements de note désactivée sont ignorés. • Sustain : la réception d’une note MIDI lance le motif. Il est alors joué en boucle indéfiniment, jusqu’à ce que la note MIDI correspondante soit relâchée (réception d’un événement de note désactivée). • Toggle : la réception d’une note MIDI lance le pattern. Il est alors joué en boucle indéfiniment jusqu’à ce que la note suivante soit reçue. S’il s’agit de la même note, le pattern s’arrête immédiatement. S’il s’agit d’une autre note, le séquenceur passe immédiatement au nouveau pattern. 534 Chapitre 15 Ultrabeat Remarque : le mode Toggle vous permet de changer de motif au milieu d’une mesure : le séquenceur garde le rythme etsaute automatiquement au battement correspondant dans le nouveau motif. Ce n’est pas le cas en mode One-Shot Trig. Celui-ci lance en effet le nouveau motif depuis le début dès qu’une note MIDI est jouée. • Toggle on Step 1 : le comportement est le même qu’en mode Toggle, sauf que l’arrêt du motif ou son changement ne se produit que lorsque le prochain battement 1 est atteint, c’est-à-dire au début du prochain cycle du motif en cours. • Bouton du mode Voice Mute : si ce bouton est activé et que vous jouez la note MIDI C1 (Do1) et au-dessus, le son correspondant est désactivé dans le mélangeur Ultrabeat. Une autre note MIDI de même hauteur tonale permet de rétablir le son. Ce mode convient parfaitement au réarrangement libre de motifs et/ou à la désactivation du son de certains éléments d’un motif sans avoir à les supprimer. Cela s’avère particulièrement utile dans le cadre de performances en direct ou de remixage. Par ailleurs, la totalité des options créatives concernant les changements de motifs (présentées dans cette rubrique) sont réalisées avec des messages de notes MIDI et peuvent donc facilement être enregistrées, modifiées, arrangées et automatisées dans MainStage. Guide d’initiation à Ultrabeat : introduction Les guides d’initiation d’Ultrabeat présentent certaines astuces spécifiques à la création de sons. Ils vous aideront à découvrir les vastes et complexes possibilités qui s’offrent à vous grâce à Ultrabeat. Vous découvrirez qu’il n’existe pratiquement aucun son de batterie électronique ne pouvant être créé aisément à l’aide d’Ultrabeat. Remarque : dans le dossier Settings > 03 Tutorial Settings d’Ultrabeat, vous trouverez un Tutorial Kit, c’est-à-dire un ensemble de batterie contenant tous les sons de batterie évoqués dans les guides d’initiation. Il comprend également un son de batterie appelé Standard Tut(orial), qui correspond à un jeu par défaut de paramètres neutresfournissant un très bon point de départ pour la plupart des exemples. Toutes les rubriques des guides d’initiation d’Ultrabeat sont listées ci-dessous : • Guide d’initiation à Ultrabeat : création de grosses caisses • Guide d’initiation à Ultrabeat : création de caisses claires • Guide d’initiation à Ultrabeat : créations de toms et de percussion tonale • Guide d’initiation à Ultrabeat : création de charlestons et de cymbales • Guide d’initiation à Ultrabeat : création de sons métalliques • Guide d’initiation à Ultrabeat : création de sons extrêmes • Guide d’initiation à Ultrabeat : programmation par blocs de construction Chapitre 15 Ultrabeat 535 Guide d’initiation à Ultrabeat : création de grosses caisses Lessons de grosse caisse créés électroniquementsont basés essentiellementsur un signal sinusoïdal de fréquence très grave. Pour programmer un son de grosse caisse dans Ultrabeat 1 Sélectionnez Settings > 03 Tutorial Settings > Tutorial Kit, puis Standard Tut dansla section d’assignation. Notez que l’oscillateur 1 est en mode Phase Oscillator. 2 Trouvez le pitch souhaité dans les octaves inférieures en écoutant en solo la grosse caisse avec d’autres éléments de tonalité importants du morceau (un son de basse ou de pad, par exemple). Faites glisser le curseur Pitch de l’oscillateur 1 pour régler la hauteur tonale. 3 Utilisez Env 4 pour mettre en forme le volume de la grosse caisse. Pour des battements plus lents, vous augmentez la phase de chute, alors que pour un tempo plus rapide, vous la raccourcissez. La phase d’attaque d’Env 4 doit être très courte dans tous les cas (0 dans la plupart des cas) ; sinon, le son perd de son caractère percussif et devient moins reconnaissable une fois mixé. Pour le moment, le son est encore très doux et rappelle un peu le célèbre son de grosse caisse de la boîte à rythmes Roland TR-808. Il lui manque encore une attaque clairement définie. Pour y remédier, contrôlez la tonalité (pitch) avec une enveloppe 1 Vérifiez qu’Env 1 est bien sélectionnée dans le menu Mod du paramètre Pitch de l’oscillateur 1. 2 Définissez le degré de modulation en faisant glisser le curseur Mod bleu d’environ 3 ou 4 octaves au-dessus de la hauteur tonale initiale. 536 Chapitre 15 Ultrabeat 3 Définissez la phase d’attaque dans Env 1 sur 0 en faisant glisser complètement à gauche le point de jonction figurant le plus à gauche sur l’axe des abscisses. 4 Modifiez la phase de chute en faisant glisser le point de jonction figurant le plus à droite sur l’axe des abscisses. Vous constaterez que plus les valeurs de chute sont élevées (en déplaçant la poignée de Bézier à droite), plus le son s’approche des toms synthétisés, tandis que des valeurs de chute plus faibles (déplacement vers la gauche) permettent d’obtenir l’aspect incisif recherché. 5 Modifiez de nouveau la modulation (le curseur bleu) du paramètre Pitch de l’oscillateur 1 (voir étape 2). L’interaction entre ce paramètre et la phase de chute de l’enveloppe permet diverses mises en forme du caractère percussif ou incisif du son de grosse caisse. Remarque : ce son de grosse caisse claire simple est appelé Kick 1 dans le kit d’initiation, avec la hauteur tonale C1 (Do1). Guide d’initiation à Ultrabeat : réduction de la tonalité Les sons de grosse caisse basés sur un signal sinusoïdal ont l’avantage de pouvoir être réglés précisément pour correspondre au morceau. Cependant, la présence d’une hauteur tonale reconnaissable n’est pastoujourssouhaitée. Ultrabeat propose diverses méthodes pour diminuer la tonalité d’un son. Il existe notamment un outil très performant: l’égaliseur deux bandes. Pour diminuer la tonalité à l’aide de l’égaliseur deux bandes 1 Pour la bande 1, sélectionnez le mode Shelving avec une fréquence de 80 Hz environ, une valeur Q élevée et une valeur Gain négative. 2 Pour la bande 2, sélectionnez le mode Peak avec une fréquence de 180 Hz environ, une valeur Q moyenne et une valeur Gain également négative. Chapitre 15 Ultrabeat 537 Sur le graphique de l’égaliseur, vous observez l’accentuation des fréquences proches de 80 Hz et l’atténuation des autres. 3 Modifiez la fréquence de la bande 2 (facilement reconnaissable dans la partie bleue sur le graphique de l’égaliseur) afin de régler la tonalité du son de grosse caisse. Une autre méthode pour diminuer la tonalité d’un son de batterie riche en harmoniques consiste à utiliser un filtre passe-bas. Dans l’exemple suivant, vous allez contrôler la fréquence de coupure du filtre via une enveloppe. Pour diminuer la tonalité à l’aide d’un filtre passe-bas 1 Chargez de nouveau le son de base Standard Tutorial, sélectionnez A#0 (La#0) comme hauteur tonale de base dans l’oscillateur 1 et modulez-la avec Env 1. 2 Augmentez la valeur du paramètre Saturation pour souligner les harmoniques du son de batterie. Notez que, lorsque le bouton de contournement du filtre est activé (flèche entre Osc 1 et le filtre), la sortie de l’oscillateur 1 est envoyée vers le filtre. 3 Définissez le type de filtre sur LP 24. 4 Définissez la valeur Cutoff sur 0,10. 5 Définissez Mod Source pour Cut sur Env 3. 6 Définissez Mod Amount pour Cut sur 0,60. 7 Définissez Resonance sur 0,30. 538 Chapitre 15 Ultrabeat 8 Définissez la durée d’attaque d’Env 3 sur 0. Utilisez le Decay time de l’Env 3 pour mettre en forme le son filtré de la grosse caisse. 9 Vous pouvez également choisir de contrôler avec une enveloppe la résonance du filtre. Veillez à n’utiliser qu’une seule enveloppe pour ce faire (dans ce cas, utilisez l’Env 2 comme source Mod pour Res.) Fixez l’ampleur de la modulation de la résonance (Mod de Res) autour de 0,80. Sélectionnez une valeur Decay time plus longue dans l’Env 2 que dans l’Env 3 et écoutez attentivement le son de grosse caisse obtenu qui devient plus lourd et atonal (à cause d’une plus grande résonance du filtre). Remarque : le son de caisse claire décrit dans l’exemple ci-dessus est appelé Kick 2 dans le kit d’initiation, avec la hauteur tonale C#1 (Do#1). Il comporte également un réglage EQ intéressant, comme décrit dans la rubrique suivante. Guide d’initiation à Ultrabeat : ajout de graves, d’attaque et de corps aux sons Essayez d’utiliser les options présentées dans cette rubrique afin d’ajouter des éléments « manquants » à vos sons. Ajout de grosse caisse claire à votre son Utilisez le son de grosse caisse filtré Kick 2 comme point de départ et essayez les autres paramètres disponibles dans Phase Oscillator. Vous pourrez alors observer, par exemple, que des valeurs de saturation élevées génèrent un son plusrond et plus grave. Le caractère du son utilisé pour cet exemple commence à se rapprocher de celui d’un son de TR-909. Amélioration des éléments transitoires d’attaque de votre son Pour que le son s’approche encore de celui d’une TR-909, utilisez le réglage d’égaliseur indiqué dans la figure suivante. Le point de pression dans les basses fréquences (situé à 60 Hz environ, dans la zone rouge sur le graphique de l’égaliseur), ainsi que l’impulsion ou l’impact puissant (dans la zone bleue, au-dessus de 460 Hz) d’un son de grosse caisse 909 sont renforcés. (Ce réglage de l’égaliseur est déjà effectué dans le Kick 2.) Chapitre 15 Ultrabeat 539 Utilisation d’enveloppes pour modifier la couleur de votre son Cet exemple utilise les quatre enveloppes. Prenez le temps d’essayer diverses formes d’enveloppe, sans modifier les réglages Attack et Decay. Déplacez les points de jonction de la phase de chute sur les différentes enveloppes pour vousfamiliariser avec les options permettant de mettre en forme le son. Commencez par la phase de chute de l’Env 4, qui contrôle à la fois le volume de l’oscillateur 1 et la résonance du filtre. Vous pouvez ainsi observer l’effet des modifications de la forme « ventrue » de l’enveloppe sur le caractère du son : net et court au départ, il devient rond et volumineux. Guide d’initiation à Ultrabeat : création de la grosse caisse Ultrabeat Vous pouvez créer dessons de grosse caisse claire uniques à Ultrabeat. Essayez de moduler la hauteur tonale avec un LFO, par exemple, plutôt qu’avec une enveloppe. Pour créer un son de grosse caisse modulé par LFO 1 Utilisez le son de base Standard Tutorial correspondant à la note A#0 (Pitch de l’oscillateur 1), puis sélectionnez LFO 1 comme source Mod dans la section Pitch d’Osc 1. 2 Réglez le degré de la modulation en faisant glisser le curseur Mod bleu vers la valeur A3 (La3). 3 Indiquez pour LFO 1 : un nombre de Cyclesréduit (entre 25 et 35), un Rate élevé (supérieur ou égal à 70 Hz) et une valeur moyenne de Decay (en réglant le potentiomètre Ramp sur -190 environ). 4 En modifiant la forme d’onde LFO, vous pouvez constater qu’il est possible de nuancer le caractère de l’attaque de la grosse caisse. 5 Modulez le paramètre Asym(metry) avec le même LFO et faites varier également les valeurs de Slope et de Saturation. Vous pouvez ainsi créer des sons de grosse caisse très différents avec un seul oscillateur, un LFO et une enveloppe (pour le volume). Le son peut prendre toutes les nuances de caractère, allant de doux à incisif, et vous pouvez choisir la hauteur tonale selon vos goûts. Remarque : le son de grosse caisse claire décrit est appelé Kick 3 dans le kit d’initiation, avec la hauteur tonale D1 (Ré1). Utilisez le second oscillateur (avec un réglage identique ou en mode Sample) ou le filtre associé au modulateur en anneau. Tout est possible, alors laissez libre cours à votre imagination et créez le prochain son de batterie à la mode. Remarque : voustrouverez une émulation de la légendaire grosse caisse 808 sousle nom Kick 4 dans le kit d’initiation, avec la hauteur tonale D#1 (Ré#1). Guide d’initiation à Ultrabeat : création de caisses claires Le son d’une caisse claire acoustique est constitué de deux composantes principales : le son de la partie tambour et le bourdonnement du timbre. Essayez de reproduire ce son dans Ultrabeat avec un seul oscillateur et le générateur de bruit. 540 Chapitre 15 Ultrabeat Pour créer un son de caisse claire basique 1 Chargez le son de base Standard Tutorial. Désactivez l’oscillateur 1 et activez l’oscillateur 2 (en mode Phase Oscillator). 2 Choisissez LFO 1 dans le menu Mod de la hauteur tonale de l’oscillateur 2. 3 Définissez la valeur tonale de cet oscillateur autour de G#2 (Sol#2) et la modulation (réglée avec le contrôle Mod bleu) sur 3 ou 4 octaves au-dessus. Vous avez modulé la hauteur tonale de l’oscillateur 2 au moyen d’un LFO à vibrations rapides, avec une valeur Ramp Decay moyenne. L’onde sinusoïdale (qui n’est pas particulièrement souhaitée pour un son de caisse claire, comparé à un son de grosse caisse) est ainsi supprimée. 4 Indiquez un Rate élevé pour LFO 1. Définissez le nombre de Cycles sur 20 et affectez la valeur -20 au paramètre Ramp. Définissez le paramètre Waveform du LFO sur une valeur avoisinant 0,58, ce qui correspond à une onde carrée. 5 À l’aide d’Env 1, contrôlez le volume de l’oscillateur 2 en affectant la plus petite valeur possible (-60 dB) à Vol, en sélectionnant Env 1 dans le menu local Mod et en réglant l’intensité de la modulation sur un point juste en dessous de sa valeur maximale. La figure ci-dessous montre les réglages relatifs à l’oscillateur 2 et à Env 1. 6 Modifiez les valeurs Slope et Asym pour donner un caractère plus ou moins électronique au son. 7 Activez le générateur de bruit et réglez son volume avec les mêmes réglages rapides d’enveloppe que ceux utilisés pour le volume de l’oscillateur 2. 8 Utilisez les paramètres de filtrage du générateur de bruit pour salir, épurer ou éclaircir le bruit composant le son de caisse claire. Sélectionnez un filtre de type LP et essayez une fréquence de filtre comprise entre 0,60 et 0,90. Effectuez ensuite la modulation avec LFO 1 (déjà utilisé pour contrôler la hauteur tonale de l’oscillateur 2). Remarque : le son de caisse claire est appelé Snare 1 dansle kit d’initiation, avec la hauteur tonale E1 (Mi1). Chapitre 15 Ultrabeat 541 Pour épurer le son de caisse claire en utilisant la synthèse FM 1 Activez le mode FM de l’oscillateur 1. Utilisez Env 1 pour contrôler le volume de l’oscillateur 1 également. 2 Pour l’oscillateur 1, choisissez une hauteur tonale située environ une octave en dessous de l’oscillateur 2. Évitez soigneusement les intervalles pairs entre les oscillateurs et désaccordez-les légèrement l’un par rapport à l’autre. Par exemple, essayez la hauteur tonale F#2 (Fa#2) pour Osc 2 et E1 (Mi1) pour Osc 1, puisréglez Osc 1 quelques centièmes plus haut, tout en maintenant la touche Maj enfoncée pendant que vous déplacez son curseur Pitch. 3 Jouez sur le niveau FM et ajoutez, selon vos goûts, un aspect plus « tonal » (niveau FM faible) ou « bruité » (niveau FM plus élevé). Essayez également de moduler le niveau FM avec un réglage rapide pour le LFO. Remarque : vous trouverez un exemple de son de caisse claire utilisant la FM dans le kit d’initiation, avec la hauteur tonale F1 (Fa1). Il s’intitule Snare 2. Un niveau FM plus élevé augmente considérablement le nombre d’harmoniques et accentue le caractère électronique du son. Si vous souhaitez obtenir un son plus acoustique, envoyez les sorties de l’oscillateur 1 (et, éventuellement, de l’oscillateur 2) vers le filtre principal. Pour commencer, utilisez ces réglages : mode LP 24 et Cutoff d’environ 0,60. Guide d’initiation à Ultrabeat : restitution de la caisse claire TR-808 Le célèbre son de la caisse claire 808 utilise deux filtres de résonance et un générateur de bruit, le signal transitant ensuite par un filtre passe-haut. Il est possible d’ajuster la combinaison des deux filtres et du volume du générateur de bruit. Ultrabeat ne permet pas de répliquer cette structure totalement. Pour cloner le son de la caisse claire 808 1 Chargez le son de base Standard Tutorial. Vous êtes maintenant prêt à reproduire les filtres de résonance de la 808 avec deux modulations de phase bien programmées. 2 Affectez-leur des valeurs de Slope légèrement différentes et désaccordez-les d’une octave quasiment. 3 Réglez les tonalités entre les oscillateurs de sorte à ce qu’elles diffèrent (E3, soit Mi3, et F2, soit Fa2, par exemple). 4 Contrôlez le volume de chaque oscillateur avec une enveloppe distincte. Réglez lestemps de chute de sorte que l’enveloppe de l’oscillateur accordé sur un son plus grave ait un temps de chute pluslong que le réglage d’enveloppe très punchy de l’oscillateur accordé sur un son plus aigu. 542 Chapitre 15 Ultrabeat 5 Envoyez la sortie de chacun des oscillateurs vers le filtre principal d’Ultrabeat et creusez le son avec un filtre passe-haut. Pour ce faire, activez le bouton de contournement du filtre pour les deux oscillateurs. Réglez le filtre sur HP 12, puis définissez la valeur de Cutoff sur approximativement 0,40 et la valeur de Resonance sur 0,70 environ. Vous venez d’émuler d’une façon très ingénieuse les deux filtres de résonance de la 808. En outre, en modifiant la hauteur tonale des oscillateurs, vous simulez le comportement du contrôle de Tone de la 808. Pour ajouter du bruit afin de compléter l’émulation 1 Activez le générateur de bruit et le mode passe-haut de son filtre (HP). 2 Définissez la valeur de Cutoff sur 0,65 environ et la valeur de Resonance sur 0,35, et augmentez la valeur du paramètre Dirt (autour de 0,06). Le générateur de bruit produit un son de caisse claire soutenu. Pour obtenir un son ressemblant à celui de la 808, le signal doit être mis en forme par sa propre enveloppe, indépendamment des phases de chute des deux oscillateurs. En modifiant le volume du générateur de bruit, vous pouvez reproduire le claquement de la 808. Remarque : la caisse claire 808 décrite est appelée Snare 3-808 dans le kit d’initiation, avec la hauteur tonale F#1 (Fa#1). Elle comporte également un réglage EQ intéressant. Guide d’initiation à Ultrabeat : modification des dynamiques avec la vélocité Utilisez les sons de caisse claire 808 du kit d’initiation pour étudier les possibilités offertes par Ultrabeat en matière de vélocité. Pour utiliser la modulation de vélocité 1 Sélectionnez le son Snare 3-808. 2 Ouvrez le menu local Via en dessous du potentiomètre Volume de l’oscillateur 1 et choisissez Vel. Un curseur apparaît sur la bague entourant le potentiomètre. Chapitre 15 Ultrabeat 543 3 Faites glisser le curseur dans le sens des aiguilles d’une montre. Lorsque vous le faites glisser, une info-bulle indique sa valeur. Déplacez le curseur sur 0 dB. 4 Répétez les étapes 2 à 3 pour l’oscillateur 2 et le générateur de bruit. Vous pouvez désormais jouer les sons dynamiquement en utilisant la vélocité. Pour augmenter la dynamique du jeu 1 Baissez les volumes individuels de chacun des oscillateurs et du générateur de bruit en utilisant les potentiomètres appropriés. Observez comment la bague Mod et les curseurs Via reviennent, eux aussi, en arrière. Modifiez les positions des curseurs Via, jusqu’à ce que les trois potentiomètres Volume aient le même aspect que sur la capture d’écran suivante : En utilisant des intensités différentes pour chaque potentiomètre Volume à cette étape, vous pouvez définir des réactions distinctes face à la vélocité pour chacune des composantes du son. 544 Chapitre 15 Ultrabeat 2 Augmentez la dynamique globale du son en réglant le potentiomètre Voice Volume comme suit : Vous disposez à présent d’un son de caisse claire type 808 particulièrement réactif à la vélocité. Comme vous le savez peut-être, une telle réactivité était impossible avec la 808 originale ; et même avec un échantillon de la 808, il est impossible de contrôler le volume des différentes composantes sonores de façon dynamique comme nous venons de le faire avec Ultrabeat. En effet, un échantillon permet simplement d’obtenir une copie du son dans sa globalité, mais pas de chacun de ses éléments constitutifs. Dans l’étape suivante, vous allez utiliser la vélocité pour contrôler le caractère du son (individuellement, pour chaque composante), ainsi que le volume, bien évidemment 3 Dans le menu local Saturation Mod de l’oscillateur 2, choisissez Max, puis Vel(ocity) dans le menu local Via correspondant. Chapitre 15 Ultrabeat 545 4 Définissez le contrôle supplémentaire comme illustré ci-dessous, afin de contrôler le caractère du son en fonction de la vélocité : 5 Répétez cette procédure pour les autres paramètres de l’oscillateur 2, ainsi que le pitch : 6 Modulez le générateur de bruit comme suit : • Paramètre Cut : indiquez Max pour la source de modulation, puis réglez le contrôle de modulation comme indiqué ci-après. • Paramètre Dirt : sélectionnez LFO 2 comme source de modulation, puis définissez le contrôle de modulation comme indiqué ci-après. Comme vous le souhaitiez, le son n’a désormais plus rien à voir avec celui de la caisse claire 808. Continuez à changer les valeurs de vélocité et déterminez les cas où il est opportun de s’en servir comme source de modulation directe ou indirecte, danssa forme positive ou négative. 546 Chapitre 15 Ultrabeat Remarque : le son de caisse claire de type 808 dynamique est appelé Snare 4-Vel dans le kit d’initiation, avec la hauteur tonale G1 (Sol1). Guide d’initiation à Ultrabeat : restitution de la caisse claire Kraftwerk Un autre son de caisse claire électronique classique est celui obtenu par un filtre passe-bas de synthétiseur analogique, très résonnant, qui se termine par un claquement caractéristique. Ce son est très utilisé chez Kraftwerk. Pour reproduire le son d’une caisse claire Kraftwerk avec Ultrabeat 1 Sélectionnez le son Snare 1. 2 Envoyez les signaux des deux oscillateurs et du générateur de bruit vers le filtre principal. 3 Modulez le Cutoff avec Env 1 (qui module déjà le volume du générateur de bruit). 4 Modulez la résonance du filtre avec Env 2. 5 Modifiez les paramètres mentionnés aux étapes 2 à 4 (notamment ceux des enveloppes) et utilisez l’égaliseur. Vous constaterez ainsi l’étendue des possibilités offertes par ces réglages élémentaires. Remarque : le son appelé Snare 5-KW dans le kit d’initiation, avec la hauteur tonale G#1 (Sol#1), est un exemple. Analysez ce son et comparez-le à votre création. Guide d’initiation à Ultrabeat : créations de toms et de percussion tonale Les sons de percussion tonals tels que les toms ou congas sont relativement faciles à émuler électroniquement à l’aide d’oscillateurs à ondes sinusoïdales ou triangulaires. Phase Oscillator d’Ultrabeat offre un large éventail de sons élémentaires pouvant servir de points de départ. Contrôlez le pitch des oscillateurs avec des enveloppes et utilisez les techniques de programmation expliquées dans les sections relatives à la grosse caisse et à la caisse claire pour modifier la tonalité. Vous devriez être en mesure de créer facilement une palette étendue de sons de toms ou assimilés. Remarque : les notes allant de A1 (La1) à B0 (Si0) dans le kit d’initiation correspondent aux sons de toms 808 typiques. Analysez ces sons et modifiez-les à votre convenance. Procédez à des essais avec le mode Model de l’oscillateur 2. Familiarisez-vous avec les effets de chacun des paramètres et créez vos propres sons de percussion (allant de sons de tablas à des sons de type verre à pied). Remarque : les sons de type tabla et verre correspondant aux notes C2 et C#2 (Do2 et Do#2) du kit d’initiation combinent le mode Model de l’oscillateur 2 et la FM. Ce sont également de bons exemples de l’usage complexe de la vélocité comme source de modulation. Chapitre 15 Ultrabeat 547 Guide d’initiation à Ultrabeat : création de charlestons et de cymbales La création des sons de charleston électroniques est facile avec Ultrabeat. Pour créer un son de charleston dans Ultrabeat 1 Chargez le son de base Standard Tutorial. 2 Désactivez l’oscillateur 1 et activez le générateur de bruit. 3 Dans le générateur de bruit, assurez-vous que le paramètre Cutoff est modulé par Env 1. La modulation est négative et le curseur Mod figure en dessous de la valeur de base du paramètre. 4 Préférez des valeurs decay faibles pour Env 1 et Env 4. 5 Définissez la durée d’attaque d’Env 4 sur 0. La durée d’attaque d’Env 1 doit être plutôt courte, mais pas égale à 0. Remarque : vous trouverez un son créé avec la même méthode dans le kit d’initiation. Il se nomme HiHat 1, avec la hauteur tonale F2 (Fa2). Vous pouvez également analyser le son Hihat 2, avec la hauteur tonale F#2 (Fa#2). Les sons de charleston et de cymbales sont très proches. La principale différence réside dans la longueur de leur temps de chute. Pour produire des sons de cymbales différents, il est essentiel d’affecter correctement les enveloppes. Sélectionnez les sons Cym 1 et Cym 2 dans le kit d’initiation et essayez différentes assignations d’enveloppe, ainsi que divers réglages relatifs aux paramètres Cutoff et Volume du générateur de bruit, du filtre principal, etc. Guide d’initiation à Ultrabeat : création de sons métalliques Si vous souhaitez créer des sons métalliques dans Ultrabeat, le modulateur en anneau et le mode Model de l’oscillateur conviennent parfaitement. 548 Chapitre 15 Ultrabeat Pour utiliser le modulateur en anneau 1 Chargez le son de base Standard Tutorial. 2 Activez un oscillateur en mode Phase Oscillator et un autre en mode Model. Définissez le pitch de chaque oscillateur au-dessus de C3 (Do3), de sorte qu’un léger intervalle de désaccord soit créé. 3 Dans le graphique Material Pad de l’oscillateur Model, choisissez un réglage incluant de nombreux sons dominants, comme illustré ci-après. 4 Affectez une valeur de -60 dB à chaque oscillateur et cliquez sur Ring mod pour activer le modulateur en anneau. Vous venez de créer un son semblable à celui d’une cloche. Vous pouvez le filtrer avec une valeur de résonance élevée, si nécessaire. Remarque : le même type de son, appelé Ring Bell, figure dans le kit d’initiation, avec la hauteur tonale A2 (La2). Guide d’initiation à Ultrabeat : création de sons extrêmes Ultrabeat présente des générateurs d’enveloppe extrêmement rapides et des LFO d’une puissance peu commune. Utilisez cessources de modulation pour réaliser des modulations extrêmes au niveau des paramètres d’oscillation et de filtrage. Pour créer des sons peu communs µ Essayez de moduler autant de cibles que possible. µ N’ayez pas peur d’utiliser des réglages extrêmes. µ Utilisez une enveloppe rapide pour que le filtre oscille par lui-même pendant une fraction de secondes. µ Utilisez quelques cycles LFO à une vitesse beaucoup plus élevée que les autres. µ Essayez le paramètre Dirt ou l’effet de grésillement. Chapitre 15 Ultrabeat 549 Guide d’initiation à Ultrabeat : programmation par blocs de construction Plus vous vous familiariserez avec la programmation de sons rythmiques, plus vous aurez tendance à penser directement en termes de blocs de construction. Autrement dit, vous intégrerez dèsle départ le fait que lessons de batterie sont généralement la combinaison de plusieurs éléments. Une foisla liste de ces éléments dressée, essayez d’émuler chaque composante contribuant au caractère du son, en vous servant des différents générateurs de sons disponibles dans Ultrabeat. En assignant des enveloppes d’amplitude dédiées à certaines composantes, vous pouvez contrôler séparément leur comportement dans le temps. Par exemple, vous pouvez émuler le fût d’une batterie avec l’oscillateur 1 ou le son de la baguette frappant la peau (transitoire) avec le générateur de bruit. Les sons dominants et harmoniques supplémentaires peuvent être fournis pas l’oscillateur 2 ou le modulateur en anneau. Lorsque vous êtes capable de penser la création de sons de batterie en termes de couches ou de blocs constitutifs, le rôle des commandes de volume au niveau des différents générateurs de son devient plus clair. Ce sont, en effet, les outils nécessaires à la combinaison, à l’équilibrage et au contrôle des différents blocs. 550 Chapitre 15 Ultrabeat Lesinstruments GarageBand sont automatiquement installés avec MainStage. L'utilisation des instruments de GarageBand est identique à celle des instruments de toute autre application. Le présent chapitre couvre les aspects suivants : • Fonctionnalités des instruments de GarageBand (p 552) • Base analogique GarageBand (p 553) • Mono analogique GarageBand (p 554) • Nappe analogique GarageBand (p 555) • Tourbillon analogique GarageBand (p 556) • Synchro analogique GarageBand (p 558) • Basse GarageBand (p 559) • Grandes orgues GarageBand (p 560) • Numérique de base GarageBand (p 561) • Digital Mono GarageBand (p 562) • Digital Stepper GarageBand (p 564) • Drum Kits GarageBand (p 565) • Electric Clav(inet) GarageBand (p 566) • Electric Piano GarageBand (p 566) • Guitar GarageBand (p 567) • Horns GarageBand (p 568) • Hybrid Basic GarageBand (p 569) • Hybrid Morph GarageBand (p 571) • Piano GarageBand (p 573) • Sound Effects GarageBand (p 574) • Strings GarageBand (p 575) 551 Instruments GarageBand 16 • Tonewheel Organ GarageBand (p 576) • Tuned Percussion GarageBand (p 577) • Voice GarageBand (p 578) • Woodwind GarageBand (p 579) Fonctionnalités des instruments de GarageBand Les instruments GarageBand sont en fait des versions consommant moins de ressources processeur (CPU) et de mémoire que les modules d’instruments MainStage équivalents. Les synthétiseurs GarageBand utilisent une version réduite de l’ES2. De même, les sons d’orgue sont générés par un EVB3 comportant moins de fonctions et les sons de piano électrique sont émulés par un instrument basé sur l’EVP88. D’autres sons, tels que les cordes, les cuivres, les batteries, etc. utilisent un lecteur d’échantillons simplifié basé sur le EXS24 mkII. L’interface de tous les instruments GarageBand est limitée à quelques paramètres clés, dont l’emploi est ainsi simplifié. Les paramètres disponibles ont été soigneusement sélectionnés en vue d’un impact et d’une flexibilité maximale, pour une création facile et rapide de sons fantastiques. Cesinstruments vous permettent d’importer facilement desfichiers de projets GarageBand dansMainStage Une fois votre projet GarageBand importé, vous pouvez accéder aux options avancées, telles que le séquencement, le mixage et le traitement d’effets dans MainStage. Si vous le souhaitez, vous pouvez également remplacer les instruments de votre projet GarageBand par n’importe quel instrument de MainStage. 552 Chapitre 16 Instruments GarageBand Base analogique GarageBand Le son Analogique de base est basé sur l’ES2. Il correspond au son d’un synthétiseur analogique simple, utile pour divers styles musicaux. • Curseur Volume : définit le niveau de volume global de l’instrument. • CurseurMix : détermine le niveau de mixage dessignaux des oscillateurs(leur balance). • Curseur Tuning : définit la tonalité générale de l’instrument. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. Chapitre 16 Instruments GarageBand 553 • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. Mono analogique GarageBand Ils’agit d’un son principal (lead) de synthétiseur analogique monophonique (qui reproduit une seule note à la fois), basé sur l’ES2. • Curseur Volume : définit le niveau de volume global de l’instrument. • CurseurGlide : détermine le temps nécessaire pour qu’une hauteur tonale soit remplacée par une autre (par un effet de glissement). • CurseurMix : détermine le niveau de mixage dessignaux des oscillateurs(leur balance). • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. 554 Chapitre 16 Instruments GarageBand • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Richness : détermine la complexité de la texture du son, de façon à enrichir ce dernier. Nappe analogique GarageBand La fonction Nappe analogique est basée sur l’ES2. Il correspond à une nappe de synthétiseur analogique aux sonorités chaudes, utile pour divers styles musicaux. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Modulation : accélère ou ralentit le mouvement de balayage de nappe. • Curseur Character : détermine si le son est doux ou aigu. Chapitre 16 Instruments GarageBand 555 • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Cutoff Envelope : détermine la force du mouvement de balayage. • Curseur Duration : détermine la durée du mouvement de balayage. • Curseur Animation : détermine l’effet de l’enveloppe sur le son de la nappe. Tourbillon analogique GarageBand L’instrument Tourbillon analogique est basé sur l’ES2. Il correspond à une nappe de synthétiseur analogique aux sonorités chaudes produisant un effet de chorus tourbillonnant. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Modulation : accélère ou ralentit le mouvement de balayage de nappe. 556 Chapitre 16 Instruments GarageBand • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 557 Synchro analogique GarageBand L’instrument Synchro analogique est basé sur l’ES2. Il émule les tons de synthétiseurs analogiques qui synchronisent deux oscillateurs pour produire leur son. L’instrument Synchro analogique est tout particulièrement utile pour générer lessons principaux (lead) très marqués des synthétiseurs analogiques. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Synchro : détermine la synchronisation (ou la perte de synchronisation) entre les deux oscillateurs et par conséquent, la rugosité du son. • Curseur Sync Modulation : détermine l’intensité de modulation de la synchronisation des deux oscillateurs, ce qui engendre des tonalités plus complexes (et plus dures). • Curseur Sync Envelope : détermine dans quelle mesure les paramètres de l’enveloppe influent sur le son. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. 558 Chapitre 16 Instruments GarageBand • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. Basse GarageBand L’instrument Basse est basé sur des échantillons. Il émule des basses électriques et acoustiques. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 559 Grandes orgues GarageBand L’instrument Grandes orgues est basé sur des échantillons. Il émule un orgue composé de tuyaux. • Curseur Volume : définit le niveau de volume global de l’instrument. • Menu local Registration : propose des registrations préréglées. Les registrations sont des combinaisons de différents réglages de jeux d’orgues (leviers) qui modifient la tonalité du son en activant ou désactivant certains tuyaux. Cela influe sur les harmoniques entendues lorsque vous appuyez sur une touche. • Boutons Bass : ces boutons vous permettent d’activer les tuyaux inférieurs (les basses), afin d’ajouter des harmoniques inférieures pour augmenter la richesse et la plénitude du son. Remarque : les boutons de basse ne sont pas disponibles dans toutes les registrations. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 560 Chapitre 16 Instruments GarageBand Numérique de base GarageBand L’instrument Numérique de base est basé sur l’ES2. Il correspond à un simple son de synthétiseur numérique, utile pour divers styles musicaux. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Mix : mixe deux tons. • Curseur Tuning : définit la tonalité générale de l’instrument. • CurseurHarmonics: augmente ou diminue le nombre d’harmoniques(sons dominants) présents dans le son. N’hésitez pas à expérimenter avec ce curseur car il peut modifier le son de façon spectaculaire ou subtile. • Curseur Timbre : change la couleur du son (de sombre à brillant). • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. Chapitre 16 Instruments GarageBand 561 • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Digital Mono GarageBand L’instrument Mono numérique est basé sur l’ES2. Il correspond au son principal (lead) d’un synthétiseur numérique monophonique. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Tuning : définit la tonalité générale de l’instrument. • CurseurHarmonics: épaissit (valeursupérieure) ou affine (valeur inférieure) légèrement le son. • Curseur Timbre : change la couleur du son (de sombre à brillant). • Curseur Timbre Envelope : modifie dynamiquement la couleur du son, en fonction de la force avec laquelle les touches du clavier sont frappées. • Les valeurs faibles ont peu d’effet sur la couleur du son, quelle que soit la force que vous appliquez aux touches du clavier. 562 Chapitre 16 Instruments GarageBand • Si vous sélectionnez des valeurs élevées, le son change sensiblement selon que le jeu est plus ou moins affirmé. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Richness : désaccorde légèrement les notes jouées les unes par rapport aux autres, de façon à épaissir un peu le son, en particulier lorsque des valeurs de paramètres élevées sont utilisées. • Curseur Distortion : déforme le son général, de façon à le rendre très désagréable et agressif. Important : utilisez le paramètre Distortion avec précaution car il peut augmenter considérablement le volume global de l’instrument, ce qui risque d’endommager vos haut-parleurs ou de nuire à votre audition. Chapitre 16 Instruments GarageBand 563 Digital Stepper GarageBand L’instrument Digital Stepper est basé sur l’ES2. Il s’agit d’un synthétiseur numérique pouvant passer par différents niveaux de tons afin de créer un motif rythmique. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Balance : définit l’équilibre entre un son plus dur et plus aigu (numérique) et un son plus chaud et plus doux (analogique). • Curseur Modulation : applique une modulation plus ou moins importante, afin de produire un son plus vif lorsque des réglages élevés sont utilisés. • CurseurHarmonics: épaissit (valeursupérieure) ou affine (valeur inférieure) légèrement le son. • Curseur Harmonics : rend les étapes tonales plus ou moins perceptibles, selon qu’elles sont larges ou petites. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Cutoff Steps: définit l’importance de la coupure appliquée à chaque étape. Une valeur élevée (étape large) accentue l’effet de coupure. 564 Chapitre 16 Instruments GarageBand • Curseur Duration : définit la longueur des étapes. Drum Kits GarageBand Les batteries sont basées sur des échantillons. Plusieurs émulations sont proposées, notamment les batteries rock, pop, jazz, électronique, orchestral et Latin. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 565 Electric Clav(inet) GarageBand Le son Clavicorde électrique est basé sur l’EVD6. Il émule le Clavinet Hohner D6. • Curseur Volume : définit le niveau de volume global de l’instrument. • CurseurDamper: modifie la tonalité du Clavinet, la rendant moinssoutenue et renforçant l’effet de « sonorité boisée », à mesure que vous progressez vers le réglage élevé. Electric Piano GarageBand Le son Piano électrique est basé sur l’EVP88. Il s’apparente au son des pianos électriques Fender Rhodes et Wurlitzer. • Curseur Volume : définit le niveau de volume global de l’instrument. • BoutonsModel : si voussélectionnez le bouton Tines, vous obtenez un son s’apparentant davantage à celui d’une cloche. • Curseur Decay : une valeur courte produit un son « pincé », alors qu’un réglage long maintient le son tant que les touches sont enfoncées. 566 Chapitre 16 Instruments GarageBand Guitar GarageBand Le son de guitare est basé sur des échantillons. Il émule différents sons de guitares acoustiques et électriques. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 567 Horns GarageBand L’instrument Horns est basé sur des échantillons. Il émule plusieurs sections de cuivres et de nombreux cuivres différents. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 568 Chapitre 16 Instruments GarageBand Hybrid Basic GarageBand L’instrument Hybrid Basic est un synthétiseur basé sur des échantillons permettant de créer des sons spectaculaires. • Curseur Volume : définit le niveau de volume global de l’instrument. • Menu local Waveform : choisissez le jeu d’échantillons utilisé pour générer le son du synthétiseur de base. • CurseurGlide : détermine le temps nécessaire pour qu’une hauteur tonale soit remplacée par une autre (par un effet de glissement). Chapitre 16 Instruments GarageBand 569 • Curseur Wheel to Vibrato : détermine la modulation de tonalité par la roulette de modulation de votre clavier. • Curseur Wheel to Cutoff : détermine la profondeur de la modulation de fréquence de coupure par la roulette de modulation de votre clavier. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Menu local Cutoff Type : vous permet de sélectionner une courbe parmi plusieurs courbes de filtre préréglées. Essayez-les et testez les paramètres Cutoff et Resonance. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Cutoff Attack : détermine la durée qui s’écoule avant que le paramètre Cutoff ait un effet sur le son. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 570 Chapitre 16 Instruments GarageBand Hybrid Morph GarageBand L’instrument Hybrid Morph est un synthétiseur basé sur des échantillons permettant de créer des sons spectaculaires. Il se distingue de l’instrument Hybrid Basic dans la mesure où chaque forme d’onde est basée sur deux couches d’échantillons. Son caractère sonore est donc différent. • Curseur Volume : définit le niveau de volume global de l’instrument. • Menu local Waveform : choisissez le jeu d’échantillons utilisé pour générer le son du synthétiseur de base. • Curseur Morph : contrôle les fondus entre les deux couches d’échantillons. Chapitre 16 Instruments GarageBand 571 • Curseur Morph Envelope : contrôle le paramètre Morph au fil du temps. Par exemple, si vous définissez le paramètre Morph sur B et le paramètre Morph Envelope sur « From A to B », la forme de l’onde du son se modifie de la valeur A à la valeur B selon les réglages d’enveloppe ADSR. Remarque : si vous réglez le paramètre Morph sur A et le paramètre Morph Envelope sur « From A to B », certains réglages ADSR n’entraîneront aucun son. Dans ce cas, vous pouvez obtenir des résultats intéressants en utilisant le contrôle de modulation afin de faire décaler la valeur du paramètre Morph lors de représentations en direct. • Curseur Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Menu local Cutoff Type : vous permet de sélectionner une courbe parmi plusieurs courbes de filtre préréglées. Essayez-les et testez les paramètres Cutoff et Resonance. • Curseur Resonance : amplifie la plage de fréquences autour du point déterminé par le paramètre Cutoff. • Curseur Cutoff Envelope : détermine la force de l’enveloppe appliquée au paramètre Cutoff. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Decay : maintient la partie harmonique du son (clarté) plus longtemps à des valeurs plus faibles. À des valeurs plus élevées, le niveau de soutien est atteint plus rapidement. • Curseur Sustain : détermine le niveau du son une foisla phase d’attaque et/ou de chute terminée. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 572 Chapitre 16 Instruments GarageBand Piano GarageBand L’instrument Piano est basé sur des échantillons. Il émule différentssons de piano classique et jazz. Il émule également plusieurs accordéons, un clavecin, et il propose de nombreux sons de nappe. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 573 Sound Effects GarageBand Les effets sonores sont basés sur des échantillons. Ils proposent de nombreux sons de la nature, des rires, des applaudissements, etc. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 574 Chapitre 16 Instruments GarageBand Strings GarageBand L’instruments Strings est basé sur des échantillons. Il émule plusieurs sections de cordes et de nombreux instruments à cordes différents, notamment des violons, des altos, des violoncelles, des harpes et plusieurs instruments traditionnels comme le sitar, le koto et la cithare. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 575 Tonewheel Organ GarageBand Le son Orgue à roues phoniques est basé sur l’EVB3. Il émule l’orgue Hammond B3 mais il peut également émuler les orgues Farfisa, Wurlitzer et d’autres orgues électriques. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Drawbars : augmente ou diminue le nombre de tons sinusoïdaux et d’harmoniques, pour un son plus épais (more) ou plus fin (less). • Curseur Percussion Level : ajoute un deuxième ou troisième harmonique au son, ce qui change à la fois la couleur et le timbre d l’instrument. • Curseur Percussion Time : maintient le deuxième ou le troisième harmonique lorsqu’il est définisur une valeur longue. Si voussélectionnez une valeur courte, les harmoniques sont entendues uniquement lors de la frappe initiale. • Curseur Click : introduit un clic dans la frappe. Sélectionnez un niveau élevé si vous souhaitez entendre distinctement ce son. • Curseur Distortion : rend le son grossier et bruyant. Ce paramètre est parfaitement adapté si vous souhaitez faire des reprises de Deep Purple ! 576 Chapitre 16 Instruments GarageBand • Boutons Rotary Speaker : choisissez l’un des trois effets de haut-parleur. • Chorale : donne un effet « tourbillonnant » au son. • Brake : donne initialement un effet « tourbillonnant » au son, puis ralentit. • Tremolo : fait « trembler » le son. Tuned Percussion GarageBand Le son de percussion syntonisée est basé sur des échantillons. Il émule un vibraphone, un xylophone, des timbales, des tambours d’acier et d’autres instruments de percussion syntonisée. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 577 Voice GarageBand Le son vocal est basé sur des échantillons. Il émule un chœur mixte. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. 578 Chapitre 16 Instruments GarageBand Woodwind GarageBand Le son des instruments à bois est basé sur des échantillons. Il émule le son d’instruments à vent comme des flûtes, des clarinettes, des saxophones et plusieurs autres instruments provenant de différentes cultures du monde. • Curseur Volume : définit le niveau de volume global de l’instrument. • Curseur Filter Cutoff : permet de faire passer un son amplifié (valeur haute) ou atténué (valeur basse) qui devient ainsi plus clair ou plus étouffé. • Curseur Attack : fait démarrer le son pluslentement ou plusrapidement. Avec un réglage rapide, le son semble provenir d’une touche de piano alors qu’avec un réglage lent, il s’apparente à la vibration d’une corde de violon sous un archet. • Curseur Release : détermine la durée de fondu sortant des notes une fois que vous avez relâché les touches du clavier. Chapitre 16 Instruments GarageBand 579 Si vous êtes un récent utilisateur de synthétiseurs, lisez cette annexe qui contient des informations importantes relatives aux synthétiseurs et des explications concernant la différence entre les synthétiseurs analogiques, numériques et analogiques virtuels. Vous y découvrirez les principaux termes relatifs aux synthétiseurs et les principes de fonctionnement de base dessynthétiseurs matériels et logiciels. Cette annexe ne contient pas d’informations scientifiques détaillées sur le fonctionnement et les théories mathématiques de la synthèse. Il s’agit d’un simple guide vous expliquant les éléments de base que vous devez connaître, ainsi que quelques informations complémentaires intéressantes. Prenez le temps de lire cette annexe attentivement, dans l’ordre, et n’hésitez pas à faire des expérimentations personnelles avec l’ES1, l’ES2 et les autres instruments MainStage. Visualiser et utiliser les paramètres et autres options affichées à l’écran vous permettra de mieux comprendre les aspects conceptuels et pratiques des synthétiseurs. Cet appendice traite des sujets suivants : • Principes de base du son (p 581) • Qu’est-ce qu’un synthétiseur ? (p 585) • Fonctionnement des synthétiseurs soustractifs (p 587) • Autres méthodes de synthèse (p 603) • Brève histoire du synthétiseur (p 608) Principes de base du son Avant de vous intéresser aux différents composants de génération sonore dont dispose un synthétiseur, il est important que vous compreniez le fonctionnement du son en lui-même. Techniquement, un son correspond à la conversion d’une énergie physique, par exemple un claquement de main, en une perturbation de la pression de l’air. Ce changement de pression est transmis dans l’air sous la forme d’une série de vibrations (onde sonore). Les vibrationssonores peuvent également être transmises par d’autres matériaux, par exemple un plancher ou un mur. 581 Notions élémentaires sur les synthétiseurs Anne xe Si les vibrations suivent un motif périodique, le son présente ce que l’on appelle une « forme d’onde ». La figure ci-dessus est un oscillogramme (représentation graphique) d’onde sinusoïdale, la forme d’onde la plus simple et la plus pure. Si les vibrations ne suivent pas de motif perceptible, le son est considéré comme un bruit. La répétition d’une forme d’onde, c’est-à-dire l’alternance de pics et de creux au niveau de l’oscillogramme, est appelée cycle. Le nombre de cycles par seconde détermine la hauteur tonale de base de la forme d’onde, communément appelée fréquence. La plupart des instruments MainStage disposent d’une commande Hz (Hertz) ou Frequency (Fréquence) qui détermine le nombre de cycles par seconde, et donc la hauteur tonale. Sons, sons dominants et sons partiels La fréquence d’un son est également appelé son fondamental. Les formes d’onde de tous les sons, excepté l’onde sinusoïdale de base, se composent d’un son fondamental et de nombreux autres sons de fréquence différente. Les sons non fondamentaux, quisont des nombres entiers multiples du son fondamental,sont appelés sons dominants ou harmoniques. Les sons non fondamentaux multipliés par des fractions (autres que des nombres entiers)sont appeléssons partiels. Un son divisé par la fréquence du son fondamental est appelé sous-harmonique. • Le son fondamental est appelé premier harmonique. Il est général plus fort (en volume) que les autres harmoniques. 582 Annexe Notions élémentaires sur les synthétiseurs • Un son joué à deux fois la fréquence du premier harmonique est appelé deuxième harmonique. • Un son joué à quatre fois la fréquence du premier harmonique est appelé quatrième harmonique, etc. Chacun de ces harmoniques dispose d’une qualité de timbre différente, par rapport au son fondamental. En général, les harmoniques pouvant être multipliés ou divisés par un nombre entier (par exemple les octaves, les harmoniques pairs ou impairs, etc.) sont plus « musicaux » ou harmonieux. Les sons ne pouvant être multipliés ou divisés par un nombre entier sont appelés sons dominants neutres ou inharmoniques ou sons partiels. Lorsque vous combinez plusieurs de ces sons inharmoniques, le résultat est généralement bruyant et peu agréable. Spectre de fréquences Un son fondamental, lorsqu’il est associé à des harmoniques de différents niveaux, est perçu par l’oreille comme un son. La hiérarchie (relation de niveau) entre ces éléments sonores change avec le temps (contrôlé par les enveloppes, sujet abordé plus loin dans cette annexe). La combinaison d’un grand nombre d’harmoniques est appelée spectre harmonique ou, plus couramment, spectre de fréquences. Le spectre de fréquences comprend tous les éléments sonores individuels d’un son. Il se visualise de bas en haut et de gauche à droite. Les niveaux respectifs des harmoniques se lisent verticalement ; les crêtes les plus élevées correspondant aux niveaux les plus élevés. Graphique spectral de la fréquence d’un son d’orgue L’illustration ci-contre présente la relation niveau-fréquence entre le son fondamental et les harmoniques, à un moment donné dansle temps. Cette relation évolue en permanence, ce qui entraîne également des variations continues au niveau du spectre de fréquences, et donc du son. Annexe Notions élémentaires sur les synthétiseurs 583 Autres propriétés de la forme d’onde Comme nousl’avons expliqué précédemment, une onde sonore est dotée d’une fréquence. Les autres propriétés des ondessonoresincluent l’amplitude, la longueur d’onde, la période et la phase. Amplitude Longeur d’onde • Amplitude : l’amplitude d’une forme d’onde indique l’importance du changement de pression d’air. Elle peut être mesurée en tant que distance verticale maximale à partir d’une pression zéro ou « silence » (affichage sous la forme d’une ligne horizontale à 0 dB dans l’illustration). En d’autres termes, l’amplitude est la distance entre l’axe horizontal et le haut de la crête ou le bas du creux de la forme d’onde. • Longueur d’onde : la longueur d’onde est la distance entre les différents cycles de la forme d’onde pour une fréquence donnée. Plusla fréquence est élevée, plusla longueur d’onde est courte. • Période : la période (d’onde) est le laps de temps nécessaire pour réaliser un cycle complet de forme d’onde. Plus la fréquence est élevée (rapide), plus la période est courte. • Phase : la phase compare le rythme des formes d’onde ; elle se mesure en degrés, de 0 à 360. Lorsque deux formes d’onde commencent en même temps, on dit qu’elles sont en phase ou en alignement de phase. Lorsqu’une forme d’onde est légèrement en retard par rapport à une autre, on dit qu’elles sont hors phase ou déphasées. Remarque : il est difficile de détecter une différence de phase constante sur l’ensemble de la durée de l’onde (période) ; toutefois, si la phase de l’une des formes d’onde change sur la durée, l’effet devient audible. C’est le cas pour les effets audio les plus courants, tels que le flanging et le décalage de phase. 584 Annexe Notions élémentaires sur les synthétiseurs Lorsque vous jouez avec un décalage de phase de deux sons identiques, certaines composantes de fréquence (les harmoniques) peuvents’annuler et générer des moments de silence. On parle alors d’annulation de phase, un phénomène qui se produit lorsque les mêmes fréquences se croisent, au même niveau. Phase : 180° Phase : 0° Théorème de Fourier et harmoniques « Chaque onde périodique peut être considérée comme la somme d’ondessinusoïdales ayant une longueur et amplitude d’onde données, les longueurs d’onde ayant des relations harmoniques (rapports de petits nombres) ». C’est ce que l’on appelle le Théorème de Fourier. Traduit en termes plus musicaux, cela signifie que tout son ayant une certaine hauteur tonale peut être considéré comme un mélange de sonssinusoïdaux. Ceux-ci étant composés du son fondamental et de ses harmoniques (sons dominants). Par exemple, l’oscillation de base (son fondamental ou premier harmonique) est un A (La) à 220 Hz. Le second harmonique a une fréquence double (440 Hz), le troisième oscille trois fois plus vite (660 Hz), les suivants quatre et cinq fois plus vite, et ainsi de suite. Qu’est-ce qu’un synthétiseur ? La synthèse sonore est la production électronique de son, qui commence par les propriétés de base du son, telles que les sons sinusoïdaux et autres ondes simples. Les synthétiseurs tirent leur nom du fait qu’ils imitent, ou synthétisent, une large gamme de sons : un autre instrument, une voix, un hélicoptère, une voiture ou encore un chien qui aboie. Les synthétiseurs peuvent également produire des sons qui n’existent pas à l’état naturel. Cette capacité à générer dessons qui ne peuvent pas être créés d’une autre façon fait du synthétiseur un outil musical unique. La forme de synthétiseur la plus simple pourrait être un générateur d’onde sinusoïdale basique, n’offrant que peu de contrôle sur la hauteur tonale. Malheureusement, un tel synthétiseur ne permettrait pas de synthétiser grand chose, à part une onde sinusoïdale. Annexe Notions élémentaires sur les synthétiseurs 585 Toutefois, combiner plusieurs générateurssinusoïdaux avec contrôle de la hauteur tonale peut produire des sons très utiles et intéressants. Dans un synthétiseur, le composant chargé de la génération du son est l’oscillateur. La plupart des oscillateurs de synthétiseur génèrent desformes d’onde trèsriches d’un point de vue harmonique, tels que les ondes en dents de scie, triangles, carrées et pulsées. Ces noms proviennent de la ressemblance entre l’objet et la forme de l’onde (onde en forme de dents de scie, de triangle, de carré, etc.). Pour plus d’informations sur les principales formes d’onde des synthétiseurs, consultez Oscillateurs. Pour transformer le son fondamental et les harmoniques associés en un son différent, conforme à vos souhaits, vous devez acheminer le signal provenant d’un composant (ou module) du synthétiseur vers un autre. Chaque module réalise une tâche différente, qui affecte le signal source. Dans un synthétiseur modulaire, le routage du signal s’effectue par un câblage physique qui relie les différents modules. Sur les synthétiseurs plus récents, cependant, le routage du signal entre les modules est précâblé à l’intérieur du système et peut être contrôlé à l’aide de commutateurs, de potentiomètres et autres commandes. Pour connaître les différents composants d’un synthétiseur et leur interaction afin de contrôler et de mettre en forme votre son, consultez Fonctionnement des synthétiseurs soustractifs. Les synthétiseurs existent depuis plus longtemps que vous ne l’imaginez certainement. Avant l’avènement des technologies numériques, tous les synthétiseurs électroniques étaient analogiques. Et avant même l’utilisation de l’électricité, il existait dessynthétiseurs mécaniques. Si vous souhaitez en savoir plus à ce sujet, consultez Brève histoire du synthétiseur. Analog Un synthétiseur analogique combine différents circuits commandés en tension (tels que les oscillateurs, les filtres et les amplificateurs) pour générer et mettre en forme les sons. En général, la tension requise est directement liée à la hauteur tonale de la forme d’onde (hauteurs tonales élevées, tensions élevées). numérique Dans un synthétiseur numérique, le flux du signal est numérique. Il s’agit de descriptions binaires du signal (une suite de 0 et de 1) qui passent d’un algorithme à un autre. Synthétiseurs hybrides analogiques et numériques Certains synthétiseurs sont équipés d’amplificateurs et d’oscillateurs numériques (qui génèrent les signaux envoyés aux filtres analogiques). Cette approche a pour principal avantage d’éviter toute dérive de la hauteur tonale, problème que l’on rencontre fréquemment sur les oscillateurs analogiques. 586 Annexe Notions élémentaires sur les synthétiseurs Analogique virtuel Un synthétiseur analogique virtuel est un synthétiseur numérique qui imite l’architecture, les fonctionnalités et reprend les particularités d’un synthétiseur analogique. Le comportement et les fonctionnalités des oscillateurs, filtres et autres modules présents dans un synthétiseur analogique sont émulés(imités) par des algorithmesinformatiques. L’ES1 est un exemple de synthétiseur analogique virtuel. Le cheminement du signal virtuel sur ce modèle est celle d’un synthétiseur analogique standard, mais tout le traitement du signal (oscillateurs virtuels, etc.) est réalisé par le processeur (CPU) de votre ordinateur. L’ES1 possède même certaines particularités intéressantes des circuits analogiques, qui peuvent parfois donner un joli son, tels que des niveaux d’oscillateur élevés saturant le filtre. Les phénomènes indésirables propres aux synthétiseurs analogiques, tels que leur tendance à se désaccorder complètement, ne sont pas simulés par les synthétiseurs virtuels. Les synthétiseurs analogiques virtuels ont également d’autres avantages par rapport à leurs homologues analogiques : ils sont totalement programmables (vous pouvez sauvegarder vosréglages de sons), ils peuvent être entièrement automatisés(vous pouvez enregistrer et lire les mouvements de l’équilibreur et des potentiomètres) et ils sont souvent multitimbre (vous pouvez jouer différents sons en même temps, sur des canaux d’instruments différents). D’autres aspects, tels que la polyphonie (capacité à jouer plusieurs notes en même temps) et la sensibilité à la vélocité, sont disponibles sur la plupart des synthétiseurs analogiques virtuels, mais rarement sur les synthétiseurs analogiques. Fonctionnement des synthétiseurs soustractifs Il existe de nombreuses approches dans la création de sons à l’aide d’un synthétiseur (consultez Autres méthodes de synthèse). Bien qu’il y ait beaucoup de différences entre les divers modèles de synthétiseur, la plupart disposent d’une architecture de base et d’un cheminement du signalsimilaires, fondéssur les principes de la synthèse soustractive. La légende voudrait que, lorsqu’il lui a été demandé comment il avait réussi à sculpter David dans un bloc de pierre, Michel-Ange ait répondu « J’ai simplement retiré tout ce qui ne ressemblait pas à David ». Par essence, c’est de cette façon que fonctionne la synthèse soustractive : vous filtrez (retirez) les portions du son que vous ne souhaitez pas entendre. En d’autrestermes, vous soustrayez certaines parties du spectre de fréquences, quise compose du son fondamental et des harmoniques associés. Annexe Notions élémentaires sur les synthétiseurs 587 L’approche soustractive de la synthèse suppose qu’un instrument acoustique peut être imité à l’aide d’un simple oscillateur, qui produit des formes d’onde offrant différents spectres de fréquences. Le signal est envoyé par l’oscillateur jusqu’à un filtre qui représente lesrésonances et pertes dues à la fréquence, au niveau du corps de l’instrument. Le signal filtré (ou non filtré) est mis en forme sur la durée par la section d’amplificateur du synthétiseur. Les caractéristiques spécifiques de l’instrument réel, en termes de timbre, d’intonation et de volume, peuvent en théorie être recréées en combinant ces composantes de manière à reproduire le comportement naturel de l’instrument que vous tentez d’émuler. Dans la réalité, cependant, les synthétiseurs soustractifs ne constituent pas l’outil idéal pour émuler desinstrumentsréels. Une clarinette synthétisée ne trompera jamais personne, d’autant plus qu’aujourd’hui, des échantillonneurs tels que l’EXS24 mkII ont à leur disposition des milliers de giga-octets de bibliothèques de sons. L’intérêt majeur d’un synthétiseur soustractif est qu’il offre une palette sonore unique et originale. Touslessynthétiseurs analogiques et analogiques virtuels utilisent la synthèse soustractive pour générer des sons. Présentation des composants d’un synthétiseur soustractif La panneau avant des synthétiseurs soustractifs contient divers modules de traitement et de génération de signalsimilaires, couplés à des modules de contrôle et de modulation. Les modules de traitement et de génération du signal fonctionnent généralement de gauche à droite, en reflet du cheminement du signal d’un synthétiseur réel. Synthétiseur de base Entrée Output Contrôle global Modulateur Oscillateur Filter Amplificateur 588 Annexe Notions élémentaires sur les synthétiseurs Composants de traitement et de génération du signal • Oscillateurs : ils génèrent le signal de base. Il s’agit généralement d’une forme d’onde riche en harmoniques(consultez Oscillateurs). De nombreux synthétiseurssont équipés de plusieurs oscillateurs. • Section Filter : sert à modifier le signal de base en filtrant (retirant) certaines portions du spectre de fréquences. De nombreux synthétiseurs disposent d’un filtre simple universel, qui s’applique à tous les signaux d’oscillateur. Les synthétiseurs multi-oscillateur peuvent contenir plusieursfiltres, ce qui permet de filtrer chaque signal d’oscillateur de manière différente (consultez Filtres). • Section Amplifier : sert à contrôler le niveau du signal sur la durée. L’amplificateur est équipé d’un module appelé enveloppe, qui se décompose en plusieurs éléments permettant de contrôler le niveau des différentes portions du son (début, milieu et fin). Les synthétiseurs simples possèdent généralement une seule enveloppe, qui sert à contrôler l’oscillateur (et le filtre) dans le temps. Les synthétiseurs plus complexes peuvent avoir plusieurs enveloppes (consultez Enveloppes de la section Amplifier). Composants de modulation et de contrôle • Modulateurs : servent à moduler les composants de traitement et de génération du signal. Ces modulations peuvent être automatiques (générées automatiquement par un composant du synthétiseur) ou manuelles (activées manuellement à l’aide de la roulette de modulation, par exemple). La plupart des synthétiseurs disposent d’un composant appelé oscillateur sub-audio ou LFO (Low Frequency Oscillator), qui produit une forme d’onde qui module le signal. Consultez Modulation. • Commandes globales : affectent les caractéristiques générales du son de votre synthétiseur, telles que la transition entre les notes, le Pitch Bend, la lecture monophonique ou polyphonique, et bien plus encore (consultez Commandes globales). Oscillateurs Le signal audio d’un synthétiseur est généré par l’oscillateur. Vous faites généralement votre choix parmi une sélection de formes d’onde contenant divers types et quantités d’harmoniques. La relation de niveau entre le son fondamental et les harmoniques, pour une forme d’onde donnée, est responsable de la couleur ou timbre de base du son. Principales formes d’onde d’un synthétiseur Les qualités des formes d’onde les plus courantes dans les synthétiseurs sont présentées ci-dessous. Annexe Notions élémentaires sur les synthétiseurs 589 Onde sinusoïdale L’onde sinusoïdale, nette et claire, contient uniquement le premier harmonique ; en d’autres termes, il s’agit du son fondamental. Utilisée seule, l’onde sinusoïdale permet de créer des sons purs, par exemple, un sifflement, le son d’un doigt mouillé sur le bord d’un verre, un diapason, etc. En dents de scie L’onde en dents de scie, claire et éclatante, contient aussi bien des harmoniques pairs que des harmoniques impairs. Elle est idéale pour créer des sons de cuivre, de pad, de nappe et de basse. Ondes carrées et pulsées L’onde carrée, au son creux et de bois, contient une large gamme d’harmoniquesimpairs. Elle est utile dans la création d’instruments à anche, de nappe et de basse. Elle peut également être utilisée pour émuler les grosses caisses, les congas, les toms et autres instruments de percussion. Elle estsouvent associée à une autre forme d’onde d’oscillateur, par exemple un bruit. 590 Annexe Notions élémentaires sur les synthétiseurs La forme d’onde carrée peut être modifiée su la plupart des synthétiseurs, pour que les cycles (ou impulsions) soient plus rectangulaires, grâce à une commande de modulation d’impulsions en durée (MID). Plus l’onde devient rectangulaire, plus le son est nasal. Avec ce type de modulation, l’onde carrée prend le nom d’onde pulsée et contient moins d’harmoniques. Elle peut être utilisée pour les sons de cuivre, de basse et d’instrument à anche. Consultez Modification de la forme d’onde. Onde triangulaire Tout comme l’onde carrée, l’onde triangulaire contient uniquement des harmoniques impairs. Les harmoniques hautes d’une onde triangulaire se déroulent plus rapidement que ceux d’une onde carrée, c’est pourquoi le son d’une onde triangulaire est plus doux. Elle est idéale pour créer des sons de flûte, de nappe et de chœurs vocaux. Bruit : rose/rouge, bleu, blanc Le bruit est utile car il permet d’imiter dessons de percussion, par exemple la caisse claire, ou encore le son du vent et des vagues. • Bruit blanc : forme d’onde de bruit la plus courante sur les synthétiseurs. Le bruit blanc contient, à plein niveau, toutes les fréquences situées autour d’une fréquence centrale. Annexe Notions élémentaires sur les synthétiseurs 591 • Bruit rose et bruit rouge : ces bruits contiennent également toutes les fréquences, mais pas à plein niveau sur l’ensemble du spectre. Le bruit rose diminue le niveau de 3 dB par octave (sur les fréquences élevées). Le bruit rouge diminue le niveau de 6 dB par octave. • Bruit bleu : opposé du bruit rose, ce bruit augmente de 3 dB le niveau de toutes les fréquences, dans les octaves hautes. Il existe des bruits d’autres couleurs, mais ils sont rares dans les synthétiseurs. Modification de la forme d’onde Il est possible de déformer les formes d’onde basiques afin de créer de nouvelles formes d’onde. Ceci permet d’obtenir un timbre ou une couleur tonale différent(e), pour une palette de sons plus large. Il existe de nombreuses méthodes pour modifier une forme d’onde. La plus évidente consiste à modifier la largeur d’impulsion d’une onde carrée, comme expliqué à la rubrique Principales formes d’onde d’un synthétiseur. Entre autres approches possibles, vous pouvez également modifier l’angle de phase, déplacer le point de départ du cycle de la forme d’onde ou simplement combiner plusieurs formes d’onde sur un synthétiseur multi-oscillateur. Lorsque vous faites appel à l’une des méthodes ci-dessus, la relation entre le son fondamental et les autres harmoniques change, altérant le spectre de fréquences et le son de base produit. 592 Annexe Notions élémentaires sur les synthétiseurs Filtres L’objectif du filtre, sur un synthétiseur soustractif, est de supprimer certaines portions du signal (spectre de fréquences) envoyées par les oscillateurs. Après avoir été filtrée, une onde en dents de scie éclatante donne un son adouci, chaud et sans aigus agressifs. Lessections de filtre de la plupart dessynthétiseurssoustractifs contiennent deux contrôles principaux appelés cutoff frequency (ou simplement cutoff) et resonance. Les paramètres de filtre peuvent également inclure les paramètres drive et slope. La section filtre de la plupart des synthétiseurs peut être modulées par des enveloppes, des oscillateurs sub-audio (LFO) ou d’autres commandes telles que la roulette de modulation. Types de filtre Il existe plusieurstypes de filtre. Chacun d’eux a un effet différentsur les diverses portions du spectre de fréquences : Passe-haut Refus de bande Lowpass • Filtre passe-bas : les basses fréquences sont transmises ; les hautes fréquences sont atténuées. • Filtre passe-haut : les hautes fréquences sont transmises ; les basses fréquences sont atténuées. • Filtre passe-bande : seules les fréquences d’une bande donnée sont transmises. • Filtre Band Reject (de réjection de bande) : seules les fréquences d’une bande donnée sont atténuées. • Filtre allpass : toutes les fréquences du spectre sont transmises, mais la phase de sortie est modifiée. Fréquence de coupure Le paramètre cutoff frequency, ou cutoff, détermine, comme son nom l’indique, l’endroit où le signal est coupé. Lessynthétiseurssimples disposent uniquement de filtres passe-bas. Par conséquent, si un signal contient des fréquences allant de 20 à 4 000 Hz et que la fréquence de coupure est définie sur 2 500 Hz, les fréquences supérieures à 2 500 Hz sont filtrées. Le filtre passe-bas laisse passer sans les altérer les fréquences inférieures au point de coupure (2 500 Hz). Annexe Notions élémentaires sur les synthétiseurs 593 L’illustration ci-dessous présente une onde en dents de scie (A = 220 Hz). Le filtre est ouvert, avec une valeur de coupure maximale. En d’autrestermes, le signal de cette forme d’onde n’est pas du tout filtré. L’illustration ci-dessous présente une onde en dents de scie avec un filtre de coupure défini sur environ 50 pour cent de sa valeur maximale. Ce réglage de filtre entraîne la suppression des hautesfréquences et un « adoucissement » des angles de l’onde en dents de scie, pour un résultat plus proche d’une onde sinusoïdale. D’un point de vue sonore, ce réglage adoucit le son et lui donne une tonalité moins cuivrée. Comme vous pouvez le voir dans cet exemple, l’utilisation de filtres pour découper des portions du spectre de fréquences entraîne une altération de la forme d’onde, et par là même du timbre sonore. 594 Annexe Notions élémentaires sur les synthétiseurs Resonance La commande de résonance accentue ou supprime les signaux situés autour de la fréquence de coupure. L’illustration ci-dessous présente une onde en dents de scie ES1, avec un réglage de résonance élevé et une fréquence de coupure de 600 Hz, soit environ 60 pour cent de la valeur maximale. Ce réglage de filtre de résonance permet d’obtenir dessignaux plus clairs et plus agressifs aux alentours de la fréquence de coupure. Les fréquences inférieures au point de coupure ne sont pas affectées. Une fois encore, l’utilisation d’un filtre de résonance résulte globalement en une modification de la forme de l’onde et, par conséquent, de son timbre. Un réglage de résonance très élevé peut être utilisé avec comme conséquence extrême l’oscillation du filtre, le résultat final étant la génération d’une onde sinusoïdale par le filtre. Drive Le paramètre de drive ajoute un certain degré de gain à la forme d’onde en entrée de filtre (commande de gain d’entrée), entraînant une surcharge du filtre et une déformation de la forme d’onde. Cette déformation change le timbre du son, le rendant plus agressif. Consultez Modification de la forme d’onde pour plus d’informations sur les déformations de forme d’onde. Annexe Notions élémentaires sur les synthétiseurs 595 L’illustration ci-dessous présente une onde en dents de scie non filtrée, avec un réglage de drive de 80 pour cent. Notez que les cycles de l’onde touchent le plancher et le plafond de la plage dynamique du filtre. inclinaison de filtre Comme expliqué précédemment, un filtre modifie le signal à la fréquence de coupure définie. Cette coupure n’est pas abrupte ; elle suit une pente donnée qui se mesure en décibels (dB) de réduction du gain par octave. En d’autres termes, vous pouvez définir le degré de pente au point de coupure, en spécifiant une pente plus ou moins importante. Fréquence de coupure 6 dB/Oct 12 dB/Oct 24 dB/Oct Enveloppes de la section Amplifier Le module amplificateur d’un synthétiseur est chargé de contrôler le niveau (ou intensité) du signal sur la durée. D’un point de vue musical, imaginez le son d’un violon qui augmente progressivement en intensité, jusqu’à atteindre son niveau maximum (crête), avec l’archet glissant sans effort sur la corde ; le son s’arrête ensuite abruptement lorsque l’archet est éloigné de la corde. En comparaison, vous obtenez un niveau maximum trèsrapide lorsque voustapez sur une caisse claire à l’aide de baguettes, sans portion de soutien. Le son s’arrête immédiatement (bien qu’il y ait un certain degré de chute, à savoir le temps mis pour redescendre depuis le niveau maximum). Comme vous pouvez le constater, ces deux sons ont des caractéristiques très différentes sur la durée. Les synthétiseurs sont capables d’imiter ces caractéristiques sonores en permettant de contrôler les différentes portions du niveau sonore, sur la durée (début, milieu et fin). Ce contrôle s’effectue à l’aide d’un composant appelé générateur d’enveloppe. 596 Annexe Notions élémentaires sur les synthétiseurs Commandes d’enveloppe Attack, Decay, Sustain et Release (ADSR) L’illustration ci-dessous est un oscillogramme de son de percussion, danslequel le niveau atteint immédiatement le haut de la plage, puis chute. Si vous dessiniez une ligne autour de la moitié supérieure de cet oscillogramme, cette ligne constituerait l’enveloppe du son : une représentation du niveau en fonction du temps. C’est ce que fait le générateur d’enveloppe pour définir la forme de l’enveloppe. Attack Decay Release Sustain Durée pendant laquelle la touche est maintenue enfoncée Le générateur d’enveloppe dispose généralement de quatre commandes,souvent appelées ADSR : l’attaque (Attack), la chute (Decay), le soutien (Sustain) et le relâchement (Release). • Attack : contrôle le temps nécessaire pour passer d’une amplitude de zéro à une amplitude maximale de 100 pour cent. • Decay : détermine le temps pour passer ensuite de l’amplitude maximale (100 pour cent) au niveau de soutien défini. • Sustain : définit le niveau d’amplitude maintenu lorsque la touche est tenue enfoncée. • Release : définit le temps nécessaire pour que le son passe du niveau de soutien défini à une amplitude de zéro, lorsque la touche est relâchée. Si vous relâchez une touche durant la phase d’attaque ou de chute, la phase de soutien est généralement ignorée. Un niveau de soutien nul (zéro) produira une enveloppe de type piano (ou percussion), sans maintien d’un niveau continu, même lorsque la touche est tenue enfoncée. Utilisation de l’enveloppe pour contrôler les filtres Les générateurs d’enveloppe ne se limitent pas à contrôler l’amplitude du signal. Ils peuvent également contrôler la montée et la descente de la fréquence de coupure du filtre ou moduler d’autres paramètres. En d’autres termes, les générateurs d’enveloppe peuvent être utilisés comme source de modulation ou, si vous préférez, comme « commande à distance » pour un paramètre donné. Cet aspect des synthétiseurs (la modulation) est abordé dans la rubrique suivante. Annexe Notions élémentaires sur les synthétiseurs 597 Modulation Sans modulation, lessonstendent à être ennuyeux et fatigants pour l’oreille. Ils paraissent égalementsynthétiques, moins naturels, en l’absence de tout type de modulation sonore. Le type de modulation le plus évident est le vibrato, qui est utilisé par les musiciens d’orchestre pour animer la hauteur tonale de leur instrument à cordes. Pour rendre un son plus intéressant, vous pouvez utiliser plusieurs commandes de synthétiseur afin de moduler les paramètres sonores de base. Routage des modulations De nombreux synthétiseurs, notamment les modèles ES1 et ES2, et l’échantillonneur EXS24 mkII, disposent d’un routeur de modulation. Ce routeur vous permet d’associer une ou plusieurs sources de modulation à une ou plusieurs cibles (ou destinations) de modulation. Par exemple, vous pouvez modifier des cibles de modulation, telles que la tonalité de l’oscillateur ou la fréquence de coupure du filtre, en utilisant les sources de modulation suivantes : • Modulation de vélocité : impact de votre jeu de clavier (plus dur ou plus doux). • Suivi clavier : votre position pour jouer sur le clavier. • Utilisation des commandes: celles-ci incluent la roulette de modulation, les contrôleurs de ruban ou les pédales associés à votre clavier. • Modulation automatique : vous pouvez utiliser les générateurs d’enveloppe ou les LFO pour moduler automatiquement les signaux. Routage de modulation sur les modèles ES1 et ES2 Les modèles ES1 et ES2 permettent de router facilement une commande (source de modulation) vers la section souhaitée du moteur de son (cible de modulation). Pour obtenir des détailssur l’utilisation desfonctions de modulation et des paramètres associés, consultez ES1 & Boutons Oscillator on/off. 598 Annexe Notions élémentaires sur les synthétiseurs Vous pouvez effectuer un routage de modulation sur l’ES1 en sélectionnant une cible de modulation dans la colonne de boutons de gauche ou de droite, dans la section Router. Utilisez la colonne de gauche pour définir une cible de modulation pouvant être contrôlée (en amplitude) via la roulette de modulation de votre clavier. La cible que vous choisissez dans la colonne de droite répondra de manière dynamique à la vélocité du clavier. L’amplitude (ou plage) de cette modulation est déterminée par les deux flèches situées sur les curseurs (Int via Whl et Int via Vel). La flèche supérieure détermine l’amplitude de modulation maximale et la flèche inférieure l’amplitude minimale. L’ES2 propose dix routages de modulation, présentés en colonnes. Bien que cela paraisse complexe au premier abord, ces colonnes de routage sont en fait assez similaires aux commandes de modulation de l’ES1. Pour information, le premier routage figure à gauche dans l’illustration ci-dessous : La cible de modulation est Pitch123. Cela signifie que la hauteur tonale (paramètre Frequency) des oscillateurs 1, 2 et 3 est affectée (par LFO2, la source de modulation). LFO2 est la source de modulation. Les deux flèchessituées à droite de la colonne indiquent l’amplitude de la modulation. Pour que la modulation soit plus intense, faites glisser vers le haut ou versle basla flèche supérieure, la flèche inférieure ou les deux, afin d’augmenter la plage de l’amplitude de modulation. La flèche supérieure détermine l’amplitude de modulation maximale et la flèche inférieure l’amplitude minimale. La commande Via correspond à ModWhl. L’amplitude de modulation (plage déterminée par les curseurs situés à droite du canal) est directement contrôlée par la roulette de modulation de votre clavier. Lorsque la roulette de modulation est au minimum, l’amplitude de modulation de la hauteur tonale de l’oscillateur est minime, voire inexistante. Lorsque vous montez la roulette de modulation vers le haut, la fréquence des trois oscillateurs est directement contrôlée par le LFO (oscillateur sub-audio), dans la plage définie par les curseurs. Annexe Notions élémentaires sur les synthétiseurs 599 Sources de modulation standard Cette section présente lessources de modulation généralement disponiblessur la plupart des synthétiseurs. Contrôleurs de modulation Les sources de modulation peuvent être, et c’est souvent le cas, déclenchées par une action de votre part, par exemple jouer une note sur le clavier ou actionner la roulette de modulation. C’est pourquoi la roulette de modulation, les rubans Pitch Bend, les pédaliers, le clavier et autres options d’entrée sont souvent appelés contrôleurs de modulation ou plus simplement contrôleurs. L’un des meilleurs exemples de contrôleur de modulation avec action est l’utilisation d’un claviersensible à la vélocité, configuré pour contrôler le filtre et les enveloppes de niveau. Plus vous appuyez fort sur les notes, plus le son est fort et éclatant. Consultez Utilisation d’enveloppes pour la modulation. Utilisation de l’oscillateur sub-audio (LFO) pour moduler les sons L’une des sources de modulation disponibles sur la grande majorité des synthétiseurs est l’oscillateur sub-audio ou LFO. Cet oscillateur est utilisé uniquement comme source de modulation et ne génère pas de signaux audibles faisant partie du son de votre synthétiseur, car les fréquences en sont trop basses. Toutefois, il peut affecter le signal principal en ajoutant un effet de vibrato, en filtrant les balayages, etc. Commandes LFO Le LFO dispose généralement des commandes suivantes : • Waveform : vous permet de choisir le type de forme d’onde souhaité (les ondes triangulaires et carréessont les plus courantes). Les ondestriangulairessont utiles pour les balayages de filtre (changements lents de la fréquence de coupure du filtre) ou imiter une sirène d’ambulance (changements lents de la fréquence de l’oscillateur). L’onde carrée est utilisée pour basculer rapidement entre deux hauteurs tonales différentes (vibratos ou changement d’octave, par exemple). • Frequency/Rate : détermine la vitesse des cycles de forme d’onde produits par le LFO. Les valeurs faibles définissent des pentes légères, facilitant la création de sons tels que les vagues de l’océan (lorsque le bruit blanc est choisi comme forme d’onde pour l’oscillateur principal). • Sync mode : vous permet de choisir une exécution libre (fréquence LFO définie par l’utilisateur) ou une synchronisation sur la source de tempo externe (par exemple, une application hôte). 600 Annexe Notions élémentaires sur les synthétiseurs Enveloppes LFO Sur certains synthétiseurs, le LFO peut également être contrôlé avec un générateur d’enveloppes. Cela peut notamment être utile lorsque, dans un son de section corde soutenu, un vibrato est introduit pendant environ une seconde dans la portion soutenue du son. Lorsque cet effet est appliqué automatiquement, vous avez la possibilité de garder vos deux mains sur le clavier. Sur certains synthétiseurs, un générateur d’enveloppes simple est inclus uniquement à cette fin. Souvent, cette enveloppe se compose uniquement d’un paramètre d’attaque ; parfois, elle contient aussi des options de chute ou de relâchement. Ces paramètres fonctionnent de la même façon que les paramètres de l’enveloppe d’amplitude (consultez Enveloppes de la section Amplifier), mais ils se limitent au contrôle des modulations LFO. Utilisation d’enveloppes pour la modulation Le générateur d’enveloppes principal du synthétiseur non seulement contrôle les niveaux sur la durée, mais il est souvent utilisé pour moduler d’autres paramètres sonores lorsque vous enfoncez ou relâchez les touches du clavier. La fonction la plus courante de la modulation Envelope est de contrôler les paramètres de résonance et de coupure du filtre avec les sources de modulations de vélocité ou de suivi clavier (consultez Routage des modulations). Commandes globales Cette section présente les commandes globales qui affectent le signal de sortie général de votre synthétiseur. La commande globale la plus évidente est la commande Level, qui permet de définir l’intensité générale de votre son. Pour plus d’informations sur la commande Level, consultez Enveloppes de la section Amplifier. Voici également d’autres commandes globales : • Glide (parfois appelée Portamento) : utilisée pour définir le temps mis par la hauteur tonale d’une note pour glisser jusqu’à la hauteur tonale d’une autre note, vers le haut ou versle bas. Cette commande est utile lorsque voussouhaitez émuler desinstruments à vent qui « glissent » d’une note à une autre, au lieu de passer sans transition d’une tonalité à la suivante. Annexe Notions élémentaires sur les synthétiseurs 601 • Bender/Bend Range : cette commande est généralement reliée physiquement à une roulette Pitch Bend située sur le clavier. Elle permet d’augmenter ou d’abaisser la hauteur tonale (fréquence de l’oscillateur) en déplaçant la roulette vers le haut ou vers le bas. Le paramètre Bender/Bend Range est généralement doté d’une limite supérieure et d’une limite inférieure d’une octave, mais est en règle générale défini sur trois demi-tons, vers le haut ou vers le bas. Ce réglage est idéal si vous souhaitez imiter les fluctuations de hauteur tonale faibles (ou extrêmes) caractéristiques de certains instruments, par exemple passer d’une note à une autre sur une trompette ou déformer les cordes lors d’un solo sur guitare. • Voices : les synthétiseurs ne peuvent produire qu’un nombre limité de notes simultanément. La capacité à produire simultanément plusieurs notes est appelée polyphonie (littéralement, « plusieurs voix »). Le paramètre Voices permet de définir le nombre maximal de notes pouvant être jouées simultanément. • Unison : commande utilisée pour « empiler » plusieurs voix ; le résultat obtenu (voix à l’unisson) étant entendu une octave plus haut que la fréquence de la note jouée. Lorsque vous jouez une note, deux voix sont utilisées ; c’est pourquoi la fonction d’unisson a deux effets : elle rend le son plus riche et plus plein et elle divise la polyphonie par deux. • Mode Trigger : ce mode détermine comment est gérée la polyphonie de l’instrument lorsque le nombre de notes jouées dépasse le nombre de voix disponibles. Le mode Trigger vous permet également d’attribuer un mode Legato. En bref, cette commande modifie la façon dont le synthétiseur répond à votre technique (jeu), une fonctionnalité précieuse lorsque vous émulez des instruments monophoniques, tels que la flûte, la clarinette et la trompette. Lorsque vous utilisez la commande Trigger Mode, si vous attribuez une priorité de dernière note, la note jouée est coupée en jouant la note suivante. • Last note priority : lorsque vous déclenchez de nouvelles notes alors que toutes les voix disponibles sont déjà jouées, le synthétiseur libère de la polyphonie (voix) en mettant fin aux notes jouées précédemment. Il s’agit du mode Trigger par défaut des synthétiseurs MainStage en mode monophonique. • First note priority : les notes jouées précédemment ne s’arrêtent pas. Avec ce mode, vous devez arrêter de jouer les notes précédentes pour pouvoir en jouer de nouvelles, lorsque vous avez atteint la limite de la polyphonie de l’instrument (nombre de voix). Remarque : le paramètre Trigger Mode vous permet également de définir des priorités pour les notes hautes ou basses, en mode monophonique (une voix à la fois), sur certains modèles de synthétiseur. Il existe de nombreuses autres commandes globales, qui varient en fonction du modèle de synthétiseur utilisé et qui ont une incidence sur votre son général. 602 Annexe Notions élémentaires sur les synthétiseurs Autres méthodes de synthèse Il existe de nombreuses méthodes pour créer des sons, qui font appel à des technologies et à des approches différentes en matière de synthèse. Cette section vous présente les principales méthodes utilisées et fait, le cas échéant, référence aux instruments MainStage appropriés. Nombre des méthodes présentées dans cette section intègrent plusieurs éléments de l’approche de synthèse soustractive expliquée précédemment. L’approche moderne la plus courante est basée sur l’échantillonnage d’instruments et de sons réels. Synthèse par échantillonnage La synthèse par échantillonnage, parfois appelée modulation par impulsion codée (MIC) ou échantillonnage etsynthèse (S&S, Sampling & Synthesis), se différencie principalement de la synthèse soustractive par le fait qu’elle utilise des échantillons au lieu des formes d’onde d’oscillateur. Les enregistrements échantillonnés de sons existants sont associés aux commandes du clavier. Généralement, chaque échantillon est associé à une note au centre de la plage du clavier, qui couvre environ cinq notes associées de manière unique à cet échantillon. Une plage de cinq notes et quelques est utilisée car les échantillons ont tendance à ne plus ressembler au son source s’ils sont joués plus de quelques notes au-dessus ou en dessous de la tonalité originale, du fait de la relation entre la hauteur tonale et la vitesse de lecture des échantillons. La hauteur tonale de chaque échantillon n’est pas modifiée par une commande de fréquence, contrairement à la forme d’onde de l’oscillateursur un synthétiseur qui n’utilise pas d’échantillonnage. Au lieu de cela, l’échantillon est joué (lu) plus rapidement ou plus doucement, afin d’en modifier la hauteur tonale, ce qui a une incidence sur le temps de lecture de l’échantillon. Par exemple, la lecture d’un échantillon joué à deux foissa vitesse initiale durera deux fois moins de temps. L’EXS24 mkII est un lecteur d’échantillons qui peut être utilisé comme synthétiseur avec échantillonnage, grâce à sa fonctionnalité de synthèse soustractive. Les instruments les plus répandus utilisant cette approche en matière de synthèse sont les suivants : Korg’s M1, O1/W et Triton ; instruments Roland JV/XP ; modèles Motif de Yamaha ; etc. Annexe Notions élémentaires sur les synthétiseurs 603 Synthèse par modulation de fréquence (FM) Pour résumer, la synthèse FM implique l’utilisation d’un oscillateur modulateur et d’un oscillateur porteur d’onde sinusoïdale. Le rôle de l’oscillateur modulateur (Modulator) est de moduler la fréquence de l’oscillateur porteur (Carrier) au sein du spectre audio, produisant ainsi de nouvelles harmoniques. Ces harmoniques sont connus sous le nom de bandes latérales. FM Oscillateur Modulator Oscillateur Carrier Forme d’onde résultante En règle générale, les synthétiseurs FM ne disposent pas d’un filtre. Vous pouvez générer des sons standards de synthétiseur soustractif via la synthèse FM, mais il est difficile de recréer le son d’un filtre de résonance de synthétiseur soustractif avec cette méthode. Cependant, la synthèse FM est très utile lorsque vous souhaitez créer des sons difficiles à obtenir avec les synthétiseurs soustractifs, notamment les sons de cloche, les tonalités métalliques et les fines sonorités d’un piano électrique. Autre atout de la synthèse FM, elle offre des sons de cuivre synthétique et de basse très dynamiques. MainStage dispose d’un seul synthétiseur FM, l’EFM1. Bien qu’il soit plutôt minimaliste, ce synthétiseur est capable de produire de nombreux sons FM standard, tels que ceux générés par la célèbre gamme de synthétiseurs DX de Yamaha (le DX7, commercialisé entre 1983 et 1986, reste le synthétiseur matériel professionnel le plus vendu au monde). L’ES2 propose également quelques techniques FM qui vous permettent de moduler un oscillateur avec un autre. Vous pouvez utiliser ces techniques FM pour combler partiellement l’écart qui sépare le son très numérique de la synthèse FM et le son analogique plus « gras » pour lequel est connu l’ES2. 604 Annexe Notions élémentaires sur les synthétiseurs Synthèse par modélisation des composantes Également appelée modélisation physique, cette méthode de synthèse fait appel à des modèles mathématiques pour émuler desinstruments de musique. Différents paramètres sont utilisés pour décrire les caractéristiques physiques d’un instrument, notamment le matériau de fabrication, ses dimensions et l’environnement dans lequel il est joué (eau, air, etc.). Tout aussi importante est la description de l’interaction entre le musicien et son instrument, par exemple s’il joue en pinçant ou en grattant des cordes, ou en les frottant avec un archet, en frappant l’instrument avec une ou plusieurs baguettes, en plaçant ses doigts sur des ouvertures, et ainsi de suite. Pour modéliser le son d’une percussion (tambour), par exemple, les aspects suivants doivent être pris en compte. Il est essentiel de connaître la façon dont la percussion est frappée, la force appliquée et avec quel accessoire (baguette en bois, mailloche, etc.). Les propriétés de la membrane ou peau du tambour peuvent inclure le matériau utilisé, sa rigidité, sa densité, son diamètre et la méthode de fixation au corps du tambour. Le volume du cylindre du tambour, son matériau et les caractéristiques de résonance de tous les éléments indiqués ci-dessus doivent être décrits de manière mathématique. Pour modéliser un violon, vous devez prendre en compte l’archet contre la corde, la largeur de l’archet et son matériau, la tension de l’archet, le matériau de fabrication de la corde, sa densité, sa tension, son comportement en matière de résonance et d’atténuation, le transfert des vibrations de la corde via le chevalet (matériau, taille et forme du chevalet), ainsi que les matériaux, la taille et les caractéristiques de résonance du corps du violon. Vous devez en outre tenir compte de l’environnement dans lequel le violon modélisé est joué, ainsi que le style de jeu (l’archet martèle/frappe les cordes ou glisse dessus). Le composant Scupture est un synthétiseur avec modélisation capable de reproduire de manière convaincante des instruments acoustiques (et électroniques). Il est également exceptionnellement bon dansla création de sons de nappe atmosphériques, en perpétuelle évolution. D’autres instruments proposent des techniques et des composants de modélisation physique, notamment les modèles Ultrabeat, EVP88, EVB3 et EVD6. Synthèse par table d’ondes, vecteurs et arithmétique linéaire (AL) La synthèse par table d’ondes utilise différentes formes d’onde dans un cycle unique, regroupées dans ce que l’on appelle une table d’ondes. Lorsque vous jouez une note sur votre clavier, une séquence d’ondes prédéterminée se déclenche. En général, la transition entre les formes d’onde n’est pas brutale, mais au contraire très douce, ce qui permet d’obtenir une forme d’onde en perpétuelle évolution. Vous pouvez aussi utiliser plusieurstables d’ondessimultanément,soit en lesjouant l’une aprèsl’autre,soit en lesfusionnant, afin d’obtenir desformes d’onde plus complexes d’un point de vue harmonique. Annexe Notions élémentaires sur les synthétiseurs 605 Une table d’ondes simple peut imiter la coupure de filtre avec une séquence de formes d’onde (son éclatant, moins éclatant, puis assourdi) qui reproduit la baisse de fréquence de coupure du filtre d’un synthétiseur soustractif. La synthèse par table d’ondes n’est pas particulièrement adaptée à l’émulation des instruments acoustiques. Par contre, elle est idéale pour la production de sons en constante évolution, de sons métalliques ou agressifs, de sons de cloche, de basses dynamiques et autres sonorités numériques. La synthèse par table d’ondes a été la technique phare des instruments PPG et Waldorf. L’ES2 propose également une fonctionnalité de table d’ondes. Lessynthétiseurs Roland LA (Linear Arithmetic, arithmétique linéaire - AL) tels que le D-50 fonctionnent suivant un principe similaire. Toutefois, sur ces synthétiseurs, le son est créé en combinant des phases d’attaque échantillonnées complexes et des phases de soutien ou de chute simples. Par essence, il s’agit d’une table d’ondes simple composée de deux échantillons. La différence entre les synthétiseurs AL et ceux à table d’ondes est que ces derniers ont été conçus pour créer des sons numériques nouveaux, originaux. Les concepteurs de synthétiseur AL, à l’inverse, souhaitaient imiter les instruments réels avec un minimum de mémoire. Pour ce faire, ils ont combiné des échantillons de la phase d’attaque (la portion cruciale d’un son) et des phases de chute et de soutien appropriées. La synthèse vectorielle, utilisée dans les circuits séquentiels du Prophet-VS et du Korg Wavestation, vous permet de parcourir des tables d’ondes et des séquences disposées sur une grille en deux dimensions (deux vecteurs différents ou, plus simplement, sur l’axe X ou Y). Le principal avantage de cette approche est que la balance (équilibre) entre les échantillons et les ondes est obtenue en temps réel, grâce à une manette. Vous pouvez également utiliser l’ES2 pour réaliser une synthèse vectorielle en modulant le paramètre Oscillator Mix (Triangle) avec l’enveloppe vectorielle (Vector Envelope). Synthèse additive La synthèse additive peut être considérée comme l’approche opposée à la synthèse soustractive. Pour obtenir des informations contextuelles en relation avec la synthèse additive, consultez le début de cette annexe, notamment la discussion sur la façon dont les sons correspondent à l’addition de différents harmoniques et sons sinusoïdaux. Pour résumer, vous partez de rien, puis vous créez progressivement un son en combinant des ondes sinusoïdales de différents niveaux et fréquences. Plus le nombre d’ondes sinusoïdales combinées est grand, plus celles-ci généreront des harmoniques. Sur la plupart des synthétiseurs additifs, chaque ensemble d’ondes sinusoïdales est visualisé et utilisé comme un oscillateur. 606 Annexe Notions élémentaires sur les synthétiseurs Suivant le degré de sophistication du synthétiseur additif que vous utilisez, vous disposez soit d’une commande d’enveloppe individuelle pour chaque onde sinusoïdale,soit d’une commande d’enveloppe unique pour un groupe d’ondes sinusoïdales; par exemple, une enveloppe pour chaque son et ses harmoniques ou une enveloppe pour tous les harmoniques pairs/impairs. MainStagene propose pas de véritable synthétiseur additif ; toutefois, certains aspects de la synthèse additive sont utilisés dans l’EVB3 et les autres orgues à tirettes. Sur l’EVB3, vous partez d’un son de base et lui ajoutez des harmoniques, afin de l’enrichir. La relation de niveau entre le son fondamental et chaque harmonique est déterminée par la façon dont vous actionnez la tirette (jusqu’où vous la tirez). Comme vous ne disposez pas d’une commande d’enveloppe pour chaque harmonique, l’EVB3 se limite à la reproduction des sons d’orgue. Resynthèse Vous pouvez analyser les composantes de fréquence d’un son enregistré, puisresynthétiser (reconstruire) une représentation du son à l’aide de techniques additives. En calculant la fréquence et l’amplitude de chaque harmonique dans le spectre de fréquences global du son, un système de resynthèse additive peut générer une série d’ondes sinusoïdales (avec des niveaux appropriés sur la durée) pour chaque harmonique. Une fois le son resynthétisé suivant cette méthode, vous pouvez ajuster la fréquence et l’amplitude de n’importe quel harmonique. En théorie, vous pourriez restructurer un son d’harmonique pour le rendre non harmonique, par exemple. Synthèse par distorsion de phase La synthèse par distorsion de phase crée différentes formes d’onde en modifiant l’angle de phase d’une onde sinusoïdale. En bref, vous pouvez déformer une onde sinusoïdale jusqu’à ce qu’elle se transforme en onde en dents de scie, en onde triangulaire, en onde carrée, etc. Le moteur du synthétiseur derrière la génération des formes d’onde observe en général la méthode soustractive standard. La synthèse par distorsion de phase a été commercialisée pour la première fois en 1984, sur les synthétiseurs Casio CZ. Synthèse granulaire Le premier principe de la synthèse granulaire est que le son peut être divisé en particules minuscules, appelées « grains ». Ces grains échantillonnés (de 10 à 50 ms de longueur, généralement) peuvent ensuite être réorganisés ou combinés à d’autres grains pour former des sons différents, créer de nouveaux timbres. Annexe Notions élémentaires sur les synthétiseurs 607 Par de nombreux aspects, cette approche est similaire à la synthèse par table d’ondes, mais à une échelle bien inférieure (plus de précision). Comme vous pouvez l’imaginer, cette méthode est idéale pour la création de sons en perpétuelle évolution et de tonalités uniques et originales. La synthèse granulaire présente toutefois l’inconvénient majeur d’être très gourmande en processeur, impossible à réaliser en temps réel jusqu’à une date relativement récente. Pour cette raison, elle était assez peu connue et utilisée dans quelques institutions académiques uniquement. Comme les ordinateurs actuels disposent d’une puissance de traitement suffisante, cette méthode de synthèse est désormais possible et un certain nombre de produits sont aujourd’hui disponibles dans le commerce. Brève histoire du synthétiseur Cet historique contient quelques-unes des principales avancées dans le domaine des synthétiseurs. Les précurseurs du synthétiseur Cela voussurprendra peut-être, maisles graines dessynthétiseurs électroniques modernes ont été plantées aux dernières années du 19e siècle. En 1896/1897, un inventeur américain du nom de Thaddeus Cahill déposait une demande de brevet pour protéger le principe de fonctionnement d’un instrument appelé Telharmonium ou Dynamophone. Pesant près de 200 tonnes, ce mastodonte électronique était alimenté par 12 générateurs électromagnétiques à vapeur. On pouvait en jouer en temps réel, à l’aide de touches sensibles à la vélocité et, fait incroyable, il était capable de générer plusieurssons différents simultanément. Le Telharmonium a été présenté au public lors d’une série de « concerts », en 1906. Baptisée « Telharmonie », cette musique était diffusée via le réseau de téléphone public, car aucun autre système de sonorisation n’existait à l’époque. En 1919, l’inventeur russe Leon Theremin mettait au point une approche radicalement différente. Baptisé d’après son inventeur, le Theremin monophonique était joué sans que le musicien touche l’instrument. Le système détectait la proximité des mains du joueur se déplaçant dans un champ électromagnétique situé entre deux antennes et utilisait cesinformations pour générer un son. Cette technique peu orthodoxe rendait le Theremin très difficile à manipuler. Ses sonorités étranges et envoûtantes (mais plutôt monotones) en ont fait l’instrument favori des bandes-son de beaucoup de films d’horreur. D’ailleurs, R. A. Moog, dont les synthétiseurs devaient plus tard être mondialement reconnus, a commencé à fabriquer des Theremins dès 19 ans. En Europe, le Français Maurice Martenot a conçu le système monophonique Ondes Martenot en 1928. La méthode de génération sonore de cet instrument était semblable à celle du Theremin, avec toutefois comme différence que, sur les premiers modèles, on en jouait en tirant un fil d’avant en arrière. 608 Annexe Notions élémentaires sur les synthétiseurs À Berlin, durant les années 1930, Friedrich Trautwein et Oskar Sala ont travaillé sur le Trautonium, un instrument dont l’on jouait en appuyant un fil d’acier sur une barre. Suivant les préférences du joueur, il offrait une variété infinie de tonalités (comme un instrument à cordes sans frette) ou des tonalités progressives similaires à celles d’un instrument à clavier. Sala a continué sesrecherchestout au long de sa vie, avec en apogée la création de son Mixturtrautonium à deux voix, en 1952. Il a signé avec cet instrument la bande-son de nombreux films documentaires, ainsi que la bande originale entière du chef d’œuvre d’Alfred Hitchcock « Les oiseaux ». Bien que ce film ne dispose pas d’une bande originale musicale conventionnelle, tousles cris d’oiseau et lessons de battements d’ailes du film ont été générés avec le Mixturtrautonium. Au Canada, Hugh Le Caine a commencé la mise au point de son Electronic Sackbut en 1945. La conception de cet instrument monophonique ressemblait à celle d’un synthétiseur, avec toutefois un clavier extrêmement expressif, qui répondait non seulement à la pression et à la vélocité des touches, mais également au mouvement latéral. Les instruments présentés ci-dessus étaient tous conçus pour être joués en temps réel. Assez tôt, cependant, des musiciens ont cherché à mettre au point desinstruments alliant des générateurs de sons électroniques à des séquenceurs. Le premier instrument de ce type a été présenté en 1929 par le duo français formé par Édouard Coupleux et Joseph Givelet, avec un instrument nommé « Automatically Operating Musical Instrument of the Electric Oscillation Type » (instrument musical automatique à oscillation électrique). Cet hybride alliait une génération sonore électronique à une commande mécanique à bande perforée. Son nom pompeux et compliqué a vite été raccourci et remplacé par celui d’« orgue Givelet-Coupleux » et l’on a parlé pour la première fois de synthétiseur. Le terme a été officialisé en 1956 avec les débuts du synthétiseur électronique RCA Mark I, mis au point par les ingénieurs américains Harry F. Olson et Herbert Belar. Son système de génération sonore à double voix se composait de 12 diapasons, stimulés électromagnétiquement. Pour l’époque, cet instrument offrait des options de traitement du signal relativement sophistiquées. Le signal de sortie du générateur sonore pouvait être contrôlé par des haut-parleurs et, de manière incroyable, enregistré sur deux disques! Un moteur unique alimentait les deux plateaux tournants et l’unité de commande du Mark 1. Le synthétiseur était contrôlé via les informations perforées sur la bande papier en rouleau, qui permettait une automation en continu de la hauteur tonale, du volume, du timbre et des enveloppes. Le système était aussi complexe qu’il y paraît, complexité qui rendait toute utilisation pratique utopique et toute spontanéité impossible. Premiers synthétiseurs commandés en tension À l’exception du Telharmonium, qui a été conçu avant l’invention de la valve thermionique, ces précurseurs dessynthétiseurs modernes étaient tous baséssur des circuitstubulaires. Ceci avait pour conséquence desinstruments encombrants et instables. Aprèsl’invention du transistor en 1947/48, il s’est passé peu de temps avant que des instruments plus robustes et plus compacts, donc plus portables, soient créés. Annexe Notions élémentaires sur les synthétiseurs 609 Fin 1963, l’innovateur américain R. A. (Bob) Moog rencontre le compositeur Herbert Deutsch, qui inspire Moog et l’incite à combiner un oscillateur commandé en tension et un module amplificateur à un clavier, en 1964. Il s’agit du premier prototype de synthétiseur commandé en tension . Cette collaboration avec le musicien allemand a également incité Moog à étendre sa gamme de modules et à les combiner pour créer des systèmes complets. Ce n’est toutefois pas avant 1967 que Moog appelle ce type de système combiné un synthétiseur. Ces réalisations se font connaître de bouche à oreille et Moog, toujours intéressé par l’opinion de ses clients, continue à ajouter des modules à sa gamme. Cependant, les instruments de Moog connaissent une vraie apogée avec la sortie du 33 tours « Switched-On Bach » de Wendy Carlos (1968). En effet, des synthétiseurs modulaires de Moog étaient enregistrés sur ce disque et il s’agissait, en outre, de l’un des premiers enregistrements commerciaux multipiste. Le succès de l’album fait connaître le synthétiseur au grand public et le nom Moog devientsynonyme de cet instrument. Espérant tirer parti de ces nouveaux sons et répéter le succès commercial de Wendy Carlos, de nombreux studios, producteurs et musiciens achètent alors des synthétiseurs modulaires Moog. En 1969, Moog employait près de 42 personnes et fabriquait deux ou trois systèmes modulaires complets par semaine sur son site de production. En parallèle, un ingénieur nommé Donald Buchla conçoit et met en œuvre le concept d’un synthétiseur modulaire commandé en tension. Celui-ci coïncide avec la version de Moog. Buchla crée également ses premiers instruments en étroite collaboration avec les utilisateurs. Pour la création de son premier synthétiseur, il s’inspire des compositeurs Morton Subotnik et Ramon Sender, du Tape Music Center de San Francisco. Bien qu’ayant commencé à travailler sur cet instrument en 1963, il ne rend publique sa découverte qu’en 1966. Par conception, les instruments de Buchla s’adressent principalement aux musiciens académiques et d’avant-garde ; ils n’ont donc jamais rencontré le succès et la reconnaissance publique des synthétiseurs Moog. Modèles compacts et bon marché Ces premiers synthétiseurs commandés en tension étaient modulaires ; un ou plusieurs châssis renfermait donc l’alimentation électrique et les modules. Les entrées et sorties des modules devaient être interconnectées par le biais d’un ensemble confus et complexe de câbles de raccordement pour que le synthétiseur puisse produire un son. Réaliser ces connexions correctement étaient un art en soi et le réglage des différents modules exigeait une expertise non négligeable. Moog a réalisé que ces synthétiseurs modulaires étaient trop complexes et trop onéreux pour le musicien moyen et étaient voués à l’échec commercial s’ils étaient vendus par le biais des détaillants d’instruments de musique traditionnels. En 1969, Moog collabore avec les ingénieurs Jim Scott, Bill Hemsath et Chad Hunt pour concevoir un synthétiseur compact, portable, abordable et facile à utiliser. Aprèsla mise au point de trois prototypes, le Minimoog Model D voit le jour en 1970. 610 Annexe Notions élémentaires sur les synthétiseurs Contrairement aux synthétiseurs modulaires précédents, il n’était pas nécessaire (ou possible) pour les utilisateurs de raccorder les modules à leur convenance,sur le Minimoog. En effet, les circuits de connexion des modules étaient mis en place de manière permanente en usine. Le type et le nombre de modules étaient également fixes. Ceci simplifiait grandement le processus de fabrication et avait permis de réduire nettement les coûts. Après une campagne marketing d’envergure, le lancement commercial du Minimoog a été un énorme succès. Sans modification de sa conception de base, 13 000 Minimoogs ont été vendus dans le monde jusqu’en 1981. Stockage et polyphonie Toutefois, les clients n’étaient encore pas totalement satisfaits. Bien que les musiciens n’aient plus à se débattre avec une multitude de câbles pour jouer du synthétiseur, ils devaient encore gérer de nombreux commutateurs et autres potentiomètres avant de pouvoir faire la moindre opération, même aussisimple que de passer d’un son à un autre. En outre, les claviéristes commençaient à s’ennuyer, à ne jouer que des mélodies monophoniques sur leurs synthétiseurs ; ils voulaient jouer des accords. Il existait bien dès 1970 des claviers double voix, composés de deux synthétiseurs monophoniques raccordés entre eux, mais les utilisateurs en voulaient davantage. Pour tenter de répondre à cette demande, deux écoles de pensée ont émergé dans la conception de synthétiseurs. La première approche consistait à associer dessynthétiseurs monophoniques indépendants à chaque touche du clavier. À cette fin, les concepteurs ont allié les principes des orgues électroniques à la technologie des synthétiseurs. Bien que l’instrument ainsi obtenu ait été totalement polyphonique (toutesles notes du clavier pouvaient être entenduessimultanément), il n’était pas aussi polyvalent qu’un synthétiseur traditionnel en matière d’options de contrôle. Le premier synthétiseur réellement polyphonique de cette conception était le Moog Polymoog, commercialisé en 1975. Mis au point principalement par David Luce, il était doté de 71 touches lestées sensibles à la vélocité. Dans la seconde approche à la génération de son polyphonique, un synthétiseur était affecté à une touche uniquement lorsque cette touche était enfoncée ; il s’agissait en réalité d’une semi-polyphonie. Dès 1973, la société américaine E-MU Systems a ainsi présenté son Modular Keyboard System Series 4050, un clavier numérique pouvant être connecté à dix synthétiseurs monophoniques au maximum, et donc offrir une polyphonie à dix voix. Les problèmes de cette approche étaient évidents : peu de personnes disposaient de dix synthétiseurs et le temps et les efforts nécessaires pour programmer les réglages afin d’obtenir un son nouveau étaient vraiment dissuasifs. La mémoire numérique n’existait pas encore et, une fois encore, l’évolution des synthétiseurs semi-polyphoniques exigeait des qualités que seuls les claviers numériques pouvaient offrir. Annexe Notions élémentaires sur les synthétiseurs 611 Ces mêmes qualités (technologies numériques) seraient nécessaires pour permettre aux synthétiseurs de stocker des sons. Sans l’aide de la technologie numérique, les premières tentatives de stockage de sons étaient plutôt complexes et encombrantes. Par exemple, un synthétiseur doté de fonctions de programmation analogiques exigeait une ligne spécifique contenant tous les éléments de contrôle de l’instrument, pour chaque emplacement mémoire ! Dans ce cas, un sélecteur permettait d’accéder à l’un des nombreux panneaux de commande identiques et le raccordait au générateur sonore. Le premier synthétiseur à disposer de ce type d’emplacements de stockage était le GX1, commercialisé par Yamaha en 1975. Les éléments de contrôle des emplacements de stockage du système étaient si petits qu’il fallait utiliser des tournevis de joaillier et des outils complexes (programmeurs et comparateurs) pour les régler. Ce n’est qu’en 1978 que le problème a été résolu de manière satisfaisante. Le synthétiseur polyphonique à cinq voix Prophet-5, commercialisé par la société américaine Sequential Circuits, était le premiersynthétiseur au monde à proposer un système de stockage global. Touslesréglages de ses cinq synthétiseurs monophoniquesintégrés étaientstockés dans des emplacements mémoire, 40 pour le premier modèle. En outre, ces cinq synthétiseurs partageaient une interface utilisateur unique, ce qui simplifiait grandement l’utilisation du système. Malgré un prix initial exorbitant, cet instrument s’est avéré extrêmement populaire et environ 8 000 exemplaires ont été fabriqués, jusqu’en 1985. Outre la polyphonie et la mémoire intégrées en numérique, le succès du Prophet-5 est dû à la qualité exceptionnelle de son système de génération sonore analogique. Synthétiseurs numériques Lessynthétiseurs numériques modernes, dotés d’une polyphonie variable, d’une mémoire et de systèmes de génération sonore entièrement numériques, observent pourtant encore l’approche semi-polyphonique. Le nombre de voix que ces instruments sont capables de générer, cependant, ne dépend plus du nombre de synthétiseurs monophoniquesintégrés. Aujourd’hui, la polyphonie dépend entièrement des capacités de performances des ordinateurs qui les alimentent. Les avancéesincroyables du monde numérique sont parfaitement illustrées dansl’exemple suivant. Le premier programme capable d’émuler une génération sonore en se reposant entièrement sur un ordinateur était Music I, créé par le programmeur américain Max Mathew. Inventé en 1957, il fonctionnait sur un ordinateur central universitaire, un IBM 704 au prix exorbitant. Ce programme, plutôt quelconque, avait pour seul avantage qu’il permettait de calculer une onde triangulaire, pas en temps réel malgré tout. 612 Annexe Notions élémentaires sur les synthétiseurs Ces médiocres performances de traitement en temps réel étaient la raison pour laquelle les premièrestechnologies numériques étaient utilisées uniquement à desfins de contrôle (et de stockage) sur les synthétiseurs grand public. Les circuits de commande numérique ont commencé à apparaître en 1971, sous la forme du séquenceur numérique intégré au synthétiseur modulaire Synthi 100 de la société britannique EMS ; synthétiseur par ailleurs similaire en tous points à un modèle analogique. Son prix élevé l’ayant éloigné du grand public, le séquenceur du Synthi 100 n’a été fabriqué qu’à 256 exemplaires. Les performances croissantes des processeurs ont par la suite rendu possible l’intégration de la technologie numérique à certains éléments du moteur de génération sonore lui-même. Le synthétiseur monophonique Harmonic Synthesizer, fabriqué par la société Rocky Mountain Instruments (RMI), a été le premier instrument à le faire. Ce synthétiseur disposait en effet de deux oscillateurs numériques, combinés à des circuits d’amplificateur et des filtres analogiques. Le Synclavier, créé en 1976 par la New England Digital Corporation (NED), a été le premier synthétiseur à utiliser une génération sonore entièrement numérique. Les instruments tels que le Synclavier étaient basés sur des processeurs spécialisés, qui devaient être mis au point par les fabricants eux-mêmes. Ce coût supplémentaire en matière de développement, répercuté sur le prix du Synclavier, en a fait un investissement que peu de personnes pouvaient se permettre. Une solution alternative consistait à utiliser des processeurs génériques, fabriqués par une société tierce. Ces processeurs, conçus spécialement pour les opérations de multiplication et d’accumulation (courantes dans les tâches de traitement audio) sont appelés processeurs de signal numérique (DSP). Le DPM-3 de Peavey, commercialisé en 1990, était le premier synthétiseur grand public entièrement basé sur un processeur DSP standard. Cet instrument polyphonique à 16 notes fonctionnait sur la base de trois DSP Motorola 56001. Il était également équipé d’un séquenceur intégré et appliquait le principale de la synthèse soustractive, sur des échantillons prédéfinis en usine et définissables par l’utilisateur. Une autre solution consistait à concevoir des synthétiseurs sous forme de périphériques informatiques, plutôt qu’en unité autonome. La popularité croissante des PC, dèsle début des années 1980, a rendu cette option commercialement viable. Passport Soundchaser et Syntauri alphaSyntauri sont deux exemples de ce concept. Ces deux systèmes étaient composés d’une carte processeur, à laquelle était associé un clavier musical standard. La carte processeur était insérée dans un ordinateur Apple II. Les synthétiseurs étaient programmés via le moniteur et le clavier Apple. Ces systèmes étaient polyphoniques et disposaient de séquenceurs, d’enveloppes et de formes d’onde programmables. Les cartes son d’aujourd’hui, devenues très courantes depuis 1989, suivent également ce concept. Annexe Notions élémentaires sur les synthétiseurs 613 Exploitant la puissance de traitement toujours croissante des ordinateurs actuels, le synthétiseur logiciel, qui s’exécute comme une application sur un ordinateur hôte, constitue l’étape suivante de l’évolution des synthétiseurs. La carte son intégrée est aujourd’hui requise uniquement pour l’entrée et la sortie audio. Les processus réels de génération sonore, de traitement des effets, d’enregistrement et de séquençage sont exécutés par l’unité centrale de votre ordinateur, grâce au logiciel MainStage et à sa collection d’instruments. 614 Annexe Notions élémentaires sur les synthétiseurs Guide du programme Printemps 2021 Guide du programme Développer en Swift | Printemps 2021 2 Développer en Swift Développer en Swift est une solution d’apprentissage du code destinée aux élèves à partir de la troisième. Le programme prépare les élèves à l’université ou à une carrière dans le développement d’apps à l’aide du langage de programmation Swift. Il est complété par une formation professionnelle en ligne gratuite pour le corps enseignant. Swift est conçu pour Mac, qui prend en charge les principaux langages de programmation, ce qui en fait un outil idéal pour l’enseignement et l’apprentissage du code. Lorsque les élèves passeront de Développer en Swift – Explorations ou Develop in Swift AP® CS Principles aux concepts plus avancés de Develop in Swift Fundamentals et Develop in Swift Data Collections, ils s’entraîneront à concevoir et à développer une app entièrement fonctionnelle tout droit sortie de leur imagination. Ils peuvent même obtenir des crédits AP® ou une certification reconnue par le secteur. Et pour la programmation en dehors de l'école, le manuel de conception d’app, le guide du Forum des jeunes créateurs d’apps et le club de programmation Swift aident les élèves à concevoir, à tester et à présenter leurs idées d'apps. Guide du programme Développer en Swift | Printemps 2021 3 Déroulé du programme pédagogique pour le lycée Explorations ou AP® CS Principles 180 heures Fundamentals 180 heures Data Collections 180 heures Les élèves découvrent les concepts informatiques essentiels qui leur serviront de base pour programmer en Swift. L’exploration du développement pour iOS leur permet de réfléchir à l’impact de l’informatique et des apps sur la société, l’économie et les cultures. Le cours AP® CS Principles approfondit le cours Develop in Swift Explorations afin de préparer les élèves à l’examen AP® Computer Science Principles. Les élèves acquièrent des compétences de base en développement d’apps iOS avec Swift. L’accent est mis sur l’étude des principaux concepts et techniques utilisés au quotidien par les programmeurs en Swift, ainsi que sur la maîtrise des éditeurs de code source et d’interface utilisateur de Xcode. Au terme de ce cours, les élèves sont capables de créer des apps iOS mettant en œuvre des pratiques standard, dont l’utilisation d’éléments d’interface issus de banques de ressources de conception, de techniques de disposition et d'interfaces de navigation courantes. Les élèves approfondissent les connaissances et les compétences en développement d’apps iOS abordées dans le cours Develop in Swift Fundamentals en créant des apps plus complexes et fonctionnelles. L’utilisation de données provenant d’un serveur et l’exploration de nouvelles API iOS leur permettent d’enrichir l’expérience de leurs apps, notamment grâce à l’affichage de collections de données volumineuses dans plusieurs formats. Unité 1 : Valeurs Épisode 1 : Le club TV Unité 2 : Algorithmes Épisode 2 : Le soir de la diffusion Unité 3 : Organisation des données Épisode 3 : Partage de photos Unité 4 : Développement d’apps Unité 1 : Découverte du développement d’apps Unité 2 : Présentation de UIKit Unité 3 : Navigation et flux opérationnels Unité 4 : Création d’une app Unité 1 : Tableaux et persistance Unité 2 : Utilisation du Web Unité 3 : Affichage de données avancé Unité 4 : Création d’une app Guide du programme Développer en Swift | Printemps 2021 4 Déroulé du programme pédagogique pour l’enseignement supérieur Explorations Un semestre Fundamentals Un semestre Data Collections Un semestre Les élèves découvrent les concepts informatiques essentiels qui leur serviront de base pour programmer en Swift. L’exploration du développement d’apps pour iOS leur permet de réfléchir à l’impact de l’informatique et des apps sur la société, l’économie et les cultures. Les élèves acquièrent des compétences de base en développement d’apps iOS avec Swift. L’accent est mis sur l’étude des principaux concepts et techniques utilisés au quotidien par les programmeurs en Swift, ainsi que sur la maîtrise des éditeurs de code source et d’interface utilisateur de Xcode. Au terme de ce cours, les élèves sont capables de créer des apps iOS mettant en œuvre des pratiques standard, dont l’utilisation d’éléments d’interface issus de banques de ressources de conception, de techniques de disposition et d'interfaces de navigation courantes. Les élèves approfondissent les connaissances et les compétences en développement d’apps iOS abordées dans le cours Develop in Swift Fundamentals en créant des apps plus complexes et fonctionnelles. L’utilisation de données provenant d’un serveur et l’exploration de nouvelles API iOS leur permettent d’enrichir l’expérience de leurs apps, notamment grâce à l’affichage de collections de données volumineuses dans plusieurs formats. Unité 1 : Valeurs Épisode 1 : Le club TV Unité 2 : Algorithmes Épisode 2 : Le soir de la diffusion Unité 3 : Organisation des données Épisode 3 : Partage de photos Unité 4 : Développement d’apps Unité 1 : Découverte du développement d’apps Unité 2 : Présentation de UIKit Unité 3 : Navigation et flux opérationnels Unité 4 : Création d’une app Unité 1 : Tableaux et persistance Unité 2 : Utilisation du Web Unité 3 : Affichage de données avancé Unité 4 : Création d’une app Guide du programme Développer en Swift | Printemps 2021 5 * Disponibles uniquement dans les cours Développer en Swift AP® CS Principles et Développer en Swift - Explorations. Principales caractéristiques Playgrounds Xcode Les élèves apprennent des concepts de programmation en écrivant du code au sein de playgrounds, des environnements interactifs qui leur permettent de tester leur code et de visualiser instantanément les résultats. Projets d’apps guidés À l’aide des fichiers de projets fournis, les élèves peuvent travailler sur des concepts clés sans avoir à concevoir une app de A à Z. Ils appliquent leurs connaissances en manipulant les images et vidéos associées à chaque projet. Instructions détaillées Des instructions détaillées assorties d’images et de vidéos guident les élèves tout au long des étapes de création d’une app dans Xcode. Épisodes Un monde connecté* Les épisodes illustrés Un monde connecté permettent aux élèves de découvrir les activités et les outils du quotidien, de la recherche sur le Web et de la photographie jusqu’aux interactions sur les médias sociaux, tout en explorant la technologie sous-jacente et leur impact sur la société. Guide du programme Développer en Swift | Printemps 2021 6 Unité 1 : Valeurs. Les élèves étudient les valeurs et leurs différentes formes, dont le texte et les nombres, des unités fondamentales du langage Swift qu’ils emploieront dans tout leur code. Ils apprennent à associer des noms et des valeurs à l’aide des variables. L’unité se termine par la conception d’un projet d’app permettant d’afficher une photo. Épisode 1 : Le club TV. Les élèves suivent l’histoire des membres d’un club TV qui se préparent à regarder la nouvelle saison de leur série préférée. Ils découvrent les liens qui existent entre les recherches sur le Web, la création de comptes en ligne et leurs données personnelles, et sont amenés à réfléchir à la confidentialité dans le cadre de l’utilisation des apps. Unité 2 : Algorithmes. Les élèves apprennent à encapsuler les tâches répétitives à l’aide de fonctions pour structurer leur code, découvrent comment représenter des décisions avec des instructions if/else, et étudient la façon dont les types permettent de distinguer différentes sortes de données en Swift. L’aboutissement du projet est une app QuestionBot qui répond aux questions saisies au clavier. Épisode 2 : Le soir de la diffusion. Dans cette suite de l’histoire du club TV, les membres regardent le premier épisode de la série en streaming tout en s’échangeant des SMS. Les élèves découvrent comment les données sont représentées au plus bas niveau à l’intérieur des appareils, et comment elles circulent sur Internet. Ils approfondissent également les thèmes de la sécurité et de la confidentialité des données. Unité 3 : Organisation des données. Les élèves découvrent comment créer des types personnalisés à l’aide de structures, regrouper de grandes quantités d’éléments au sein de tableaux et les traiter à l’aide de boucles. Ils apprennent également à représenter un ensemble de valeurs connexes avec les énumérations, avant de créer une app de jeu interactif avec des formes colorées dans le projet final de l’unité. Épisode 3 : Partage de photos. Dans ce dernier épisode de l’histoire du club TV, les membres partagent sur les médias sociaux les photos prises le soir de la diffusion. Les élèves étudient la numérisation des données analogiques et les calculs parallèles, ainsi que certaines conséquences du partage des données en ligne. Unité 4 : Développement d’apps. Les élèves approfondissent leurs connaissances de Xcode et d’Interface Builder au travers de projets guidés de création d’apps de A à Z. Ils découvrent comment ajouter des éléments d’interface à un écran, les relier au code et répondre aux évènements générés par les interactions de l’utilisateur ou de l’utilisatrice. Ils mettent en œuvre le processus de développement incrémentiel pour créer leurs apps par étapes, en testant systématiquement chaque partie. L’aboutissement de l’unité est une app éducative comprenant un mode flashcards et un mode quiz. Le programme pédagogique d'Apple consacré au développement d’apps débute par les guides Développer en Swift – Explorations et AP CS Principles pour aider les élèves à apprendre les concepts informatiques essentiels et à acquérir des bases solides de programmation en Swift. L’exploration du développement pour iOS leur permet de réfléchir à l’impact de l’informatique et des apps sur la société, l’économie et les cultures. Les leçons les guident dans le processus de conception de leur propre app, de la phase de brainstorming à celle d’évaluation, en passant par la planification et la création de prototypes. Même si les élèves devront approfondir leurs compétences pour convertir les prototypes en apps pleinement fonctionnelles, la conception d’une app est une compétence essentielle qui les encourage à apprendre à coder. Dans le cadre de son partenariat avec le College Board pour l’année scolaire 2021–2022, Apple a adapté le cours Explorations pour créer AP® CS Principles, dont le contenu vise à préparer les élèves à l’examen AP® Computer Science Principles. Télécharger : apple.co/developinswiftexplorations Télécharger : apple.co/developinswiftapcsp Développer en Swift – Explorations et AP® CS Principles Guide du programme Développer en Swift | Printemps 2021 7 Unité 1 : Découverte du développement d’apps. Les élèves découvrent les notions de base sur les données, les opérateurs et le flux de contrôle en Swift, ainsi que la documentation, le débogage, Xcode, la création et l’exécution d’une app, et Interface Builder. Ils appliquent ensuite ces connaissances dans un projet guidé intitulé Light, dont l’objectif est de créer une app de lampe torche simple. Unité 2 : Présentation de UIKit. Les élèves explorent les chaînes, les fonctions, les structures, les collections et les boucles en Swift. Ils découvrent également UIKit, c’est-à-dire les vues et commandes système constituant une interface utilisateur, et les méthodes d’affichage des données à l’aide de la fonctionnalité de mise en page automatique et des vues en pile. Ils mettent en pratique ces connaissances dans un projet guidé intitulé Apple Pie, dans lequel ils conçoivent une app de jeu consistant à faire deviner des mots. Unité 3 : Navigation et flux opérationnels. Les élèves découvrent comment concevoir des flux opérationnels simples et des hiérarchies de navigation à l’aide de contrôleurs de navigation, de contrôleurs de barre d’onglets et de « segues ». Ils examinent également deux outils puissants en Swift : les optionnels et les énumérations. Ils mettent en pratique ces connaissances dans un projet guidé intitulé Personality Quiz, un questionnaire personnalisé qui affiche une réponse humoristique. Unité 4 : Création d’une app. Les élèves étudient le cycle de conception d’une app et le mettent en œuvre pour créer leur propre app. Ils explorent les méthodes de développement et d’itération sur leurs concepts, avant de créer un prototype pouvant servir de démonstration convaincante et aboutir à une version 1.0 réussie. Les élèves acquièrent des compétences de base en développement d’apps iOS avec Swift. L’accent est mis sur l’étude des principaux concepts et techniques utilisés au quotidien par les programmeurs professionnels, ainsi que sur la maîtrise des éditeurs de code source et d’interface utilisateur de Xcode. Au terme de ce cours, les élèves sont capables de créer des apps iOS mettant en œuvre des pratiques standard, dont l’utilisation d’éléments d’interface issus de banques de ressources de conception, de techniques de disposition et d'interfaces de navigation courantes. Trois projets d’apps guidés aident les élèves à programmer une app en Xcode de A à Z grâce à des instructions pas à pas. Les playgrounds Xcode leur permettent d'apprendre les concepts de programmation essentiels dans un environnement interactif afin de tester leur code et de visualiser instantanément les résultats. Les élèves découvriront la conception d'apps à travers la réalisation du processus de conception de leur propre app, de la phase de brainstorming à celle d’évaluation, en passant par la planification et la création de prototypes. Télécharger : apple.co/developinswiftfundamentals Développer en Swift – Fundamentals Guide du programme Développer en Swift | Printemps 2021 8 Unité 1 : Tableaux et persistance. Les élèves apprennent à réaliser les vues défilantes, les vues en tableau et la conception d’écrans de saisie complexes. Ils découvrent également comment enregistrer des données, partager des données avec d’autres apps et exploiter les images de la photothèque d’un appareil. Ils mettent en œuvre leurs nouvelles compétences dans un projet guidé intitulé List. Cette app de suivi de tâches permet d’ajouter, de modifier et de supprimer des éléments au sein d’une interface basée sur des tableaux, couramment utilisée dans de nombreuses apps. Unité 2 : Utilisation du Web. Les élèves étudient les animations, la concurrence et l’utilisation des ressources du Web. Un projet d’application de leurs connaissances, intitulé Restaurant, les met au défi de créer une app de menu personnalisable qui affiche les plats disponibles à la carte d’un restaurant et permet de passer une commande. L’app est basée sur un service Web qui permet aux élèves de créer un menu à partir de leurs propres intitulés de plats et photos. Unité 3 : Affichage de données avancé. Les élèves apprennent à présenter des données au sein d’une disposition à deux dimensions hautement personnalisable, à l’aide de vues de collection. Ils découvrent également la puissance des éléments Swift génériques et mobilisent toutes leurs compétences pour créer une app qui gère un ensemble de données complexe et présente une interface personnalisable. Unité 4 : Création d’une app. Les élèves étudient le cycle de conception d’une app et le mettent en œuvre pour créer leur propre app. Ils explorent les méthodes de développement et d’itération sur leurs concepts, avant de créer un prototype pouvant servir de démonstration convaincante et aboutir à une version 1.0 réussie. Les élèves approfondissent les connaissances et les compétences en développement d’apps iOS abordées dans le cours Develop in Swift Fundamentals, en créant des apps plus complexes et fonctionnelles. L’utilisation de données provenant d’un serveur et l’exploration de nouvelles API iOS leur permettent d’enrichir l’expérience de leurs apps, notamment grâce à l’affichage de collections de données volumineuses dans plusieurs formats. Trois projets d'apps guidés aident les élèves à programmer une app en Xcode de A à Z grâce à des instructions pas à pas. Les playgrounds Xcode leur permettent d'apprendre les concepts de programmation essentiels dans un environnement interactif afin de tester leur code et de visualiser instantanément les résultats. Les élèves découvriront la conception d'apps à travers la réalisation du processus de conception de leur propre app, de la phase de brainstorming à celle d’évaluation, en passant par la planification et la création de prototypes. Télécharger : apple.co/developinswiftdatacollections Développer en Swift – Data Collections Guide du programme Développer en Swift | Printemps 2021 9 Formation professionnelle en ligne gratuite adaptée au rythme de chacun Le cours Développer en Swift – Explorations et Développer en Swift AP® CS Principles est disponible sur la plateforme Canvas d’Instructure. Assuré par des experts Apple, ce cours permet aux participants et participantes d’acquérir les connaissances fondamentales nécessaires à l’enseignement de Swift et de Xcode. C’est l’introduction idéale à l’enseignement du programme Développer en Swift dans tous les environnements pédagogiques. En savoir plus sur apple.co/developinswiftexplorationspl. Inviter un Apple Professional Learning Specialist dans votre école Pour celles et ceux qui souhaitent aller plus loin, les Apple Professional Learning Specialists organisent des formations sur plusieurs jours. Ces expériences d’apprentissage immersives et pratiques ont pour but d’aider le personnel enseignant à développer des méthodes pédagogiques innovantes impliquant les élèves. Pour en savoir plus sur l'offre Apple Professional Learning, contactez votre Apple Authorised Education Specialist. Enseigner le codage avec Apple L’enseignement de la programmation ne se limite pas à l’apprentissage du code. C’est aussi l’occasion de développer de nouvelles façons de réfléchir et de donner vie à ses idées. Apple dispose de ressources gratuites pour vous aider à inclure la programmation dans vos cours, que vous souhaitiez initier vos élèves à Swift ou finaliser leur préparation à la certification de développement avec Swift. Le programme Le code à la portée de tous présente le codage aux élèves grâce à un univers mêlant puzzles interactifs et personnages amusants disponible dans l'app Swift Playgrounds. Le programme Développer en Swift permet aux élèves de faire leurs premiers pas dans l’univers du développement d’apps en leur facilitant la conception et le développement d'une app entièrement fonctionnelle tout droit sortie de leur imagination. Apple soutient le personnel enseignant en proposant des offres de formation professionnelle pour vous aider à faire découvrir les offres Le code à la portée de tous et Développer en Swift aux élèves. Guide du programme Développer en Swift | Avril 2021 10 WITH SWIFT Associate Développement d’apps avec Swift (Associate) Les élèves de lycée ou les étudiants et étudiantes qui réussissent l’examen de certification Développement d’apps avec Swift (Associate) mesurent l’impact de l’informatique et des apps sur la société, l’économie et les cultures grâce à l’exploration du développement d’apps pour iOS. Cette certification est alignée sur le contenu du cours Développer en Swift – Explorations. Développement d’apps avec Swift (Certified User) En réussissant l’examen Développement d’apps avec Swift (Certified User), les élèves démontrent l’acquisition de compétences fondamentales en développement d’apps pour iOS en Swift. Ils maîtrisent les principaux concepts et techniques utilisés au quotidien par les professionnels pour programmer en Swift. Cette certification est alignée sur le contenu du cours Développer en Swift - Fundamentals. Certifications Développement d’apps avec Swift L’enseignement du développement d’apps avec Swift permet aux élèves de se préparer à une carrière dans le marché des apps, en obtenant une certification reconnue dans le milieu professionnel. Les certifications Développement d’apps avec Swift attestent la maîtrise des connaissances fondamentales de Swift, de Xcode et des outils de développement d’apps, abordées dans les cours gratuits Développer en Swift – Explorations et Développer en Swift - Fundamentals. La réussite à l’examen Développement d’apps avec Swift permet d’obtenir un badge numérique que les élèves peuvent intégrer à leur curriculum vitae, à leur book ou à leurs emails, ou partager sur les réseaux professionnels et sociaux. Pour en savoir plus : certiport.com/apple WITH SWIFT Certified User Guide du programme Développer en Swift | Avril 2021 11 Ressources supplémentaires Manuel de conception d’app Le manuel de conception d’app s’appuie sur l’étude du processus de conception pour enseigner aux élèves la conception d'apps, essentielle au développement des apps pour iOS. Les élèves réfléchissent à la relation entre le processus créatif et la programmation en Swift aux différents stades du cycle de développement afin de donner vie à leurs projets d’app. Télécharger : apple.co/developinswiftappdesignworkbook Guide du Forum des jeunes créateurs d’apps Célébrez l’ingéniosité des élèves en les encourageant à partager leurs créations à l’occasion d’évènements locaux, tels que des démonstrations ou des forums de présentation d’apps. Le Guide du Forum des jeunes créateurs d’apps fournit des informations pratiques qui vous aideront à organiser et à animer un évènement de présentation virtuel ou en présentiel. Télécharger : apple.co/developinswiftappshowcaseguide Club de programmation Swift Les clubs de programmation Swift offrent une approche ludique de la conception d’apps. Les activités sont axées sur l’apprentissage de concepts de programmation en Swift dans les playgrounds Xcode sur Mac. Les élèves travaillent en groupes pour créer des prototypes d’apps et réfléchissent à l’impact que la programmation peut avoir sur le monde qui les entoure. Télécharger : apple.co/swiftcodingclubxcode Guide du programme Développer en Swift | Avril 2021 12 AP est une marque déposée du College Board, utilisée avec son autorisation. Les fonctionnalités sont sujettes à modification. La disponibilité des fonctionnalités peut varier en fonction des zones géographiques et des langues. © 2021 Apple Inc. Tous droits réservés. Apple, le logo Apple, Mac, MacBook Air, Swift, le logo Swift, Swift Playgrounds et Xcode sont des marques d’Apple Inc., déposées aux États-Unis et dans d’autres pays. App Store est une marque de service d’Apple Inc., déposée aux États-Unis et dans d’autres pays. IOS est une marque ou une marque déposée de Cisco aux États-Unis et dans d’autres pays, utilisée ici sous licence. Les autres noms de produits et de sociétés mentionnés dans ce document appartiennent à leurs propriétaires respectifs. Les caractéristiques des produits sont susceptibles d’être modifiées sans préavis. Les informations contenues dans ce document sont fournies à titre indicatif uniquement ; Apple n’assume aucune responsabilité quant à leur utilisation. Avril 2021 Guide de démarrage Apple Business Manager Présentation Présentation Apple Business Manager est un portail web destiné aux administrateurs informatiques qui permet de déployer l’iPhone, l’iPad, l’iPod touch, l’Apple TV et le Mac depuis un même endroit. Apple Business Manager fonctionne en parfaite synergie avec votre solution de gestion des appareils mobiles (Mobile Device Management, MDM) et simplifie le déploiement automatisé des appareils, l’achat d’apps et la distribution de contenus, ainsi que la création d’identifiants Apple gérés pour les employés. Le Programme d’inscription des appareils (Device Enrolment Program, DEP) et le Programme d’achat en volume (Volume Purchase Program, VPP) sont désormais entièrement intégrés à Apple Business Manager. Les organisations disposent donc de tout ce dont elles ont besoin pour déployer des appareils Apple. La disponibilité de ces programmes prendra fin au 1er décembre 2019. Appareils Apple Business Manager offre plusieurs avantages aux organisations, notamment l’inscription automatisée des appareils, le déploiement simple et rapide des appareils Apple appartenant à l’entreprise et l’inscription à la solution MDM sans intervention sur les appareils ni préparation de ceux-ci. • Simplifiez les étapes de l’Assistant réglages pour optimiser le processus de configuration et vous assurer que les appareils des employés sont correctement configurés dès leur activation. Les équipes informatiques peuvent maintenant personnaliser davantage ce processus en proposant aux utilisateurs un texte de consentement, une image de marque personnalisée ou encore une méthode d’authentification moderne. • Augmentez le niveau de contrôle des appareils appartenant à l’organisation grâce à la supervision, qui propose des commandes de gestion de l’appareil supplémentaires indisponibles avec les autres modèles de déploiement, y compris l’irrévocabilité de la solution MDM. • Gérez plus facilement les serveurs MDM par défaut en paramétrant un serveur par défaut en fonction du type d’appareil. Enfin, vous pouvez désormais inscrire manuellement des iPhone, iPad et Apple TV à l’aide d’Apple Configurator 2, quelle que soit la manière dont vous les avez acquis. Contenu Apple Business Manager permet aux organisations de se procurer plus facilement des contenus en volume. Que vos employés utilisent des iPhone, des iPad ou des Mac, vous pouvez leur fournir des contenus de qualité prêts à l’emploi avec des options de distribution souples et sécurisées. • Achetez des apps, des livres et des apps personnalisées en volume, y compris les apps que vous avez développées en interne. Transférez facilement des licences d’applications d’un site à l’autre et partagez les licences entre acheteurs situés au même endroit. Consultez une liste consolidée de l’historique des achats, avec notamment le nombre actuel de licences utilisées avec la MDM. Apple Business Manager Octobre 2019 2 Table des matières Présentation Premiers pas Configuration Ressources Présentation • Distribuez les apps et les livres directement aux appareils gérés ou aux utilisateurs autorisés et vérifiez facilement quel contenu a été attribué à quel utilisateur ou appareil. Grâce à la distribution gérée, vous contrôlez tout le processus de distribution tout en restant entièrement propriétaire des apps. Et si une app n’est plus utilisée par un appareil ou un utilisateur, elle peut être révoquée et réattribuée à un autre appareil ou utilisateur au sein de votre organisation. • Plusieurs options de paiement sont disponibles, notamment par carte bancaire ou sur bon de commande. Les organisations peuvent acheter du crédit VPP (dans les pays où cela est proposé) d’un montant spécifique en devise locale auprès d’Apple ou d’un revendeur agréé Apple. Ce montant est transféré de manière électronique directement au titulaire du compte sous forme d’avoir. • Distribuez une app aux appareils ou utilisateurs dans tous les pays où l’app est disponible, pour une distribution internationale. Les développeurs peuvent proposer leurs apps dans plusieurs pays via le processus standard de publication sur l’App Store. Remarque : les achats de livres dans Apple Business Manager ne sont pas disponibles dans tous les pays et régions. Pour connaître les fonctionnalités et méthodes d’achat disponibles, consultez https://support.apple.com/HT207305/ Personnes Apple Business Manager permet aux organisations de créer et de gérer des comptes pour les employés, en mesure de s’intégrer à l’infrastructure existante et d’accéder aux apps Apple, aux services Apple et à Apple Business Manager. • Créez des identifiants Apple gérés pour que les employés collaborent dans les apps et les services Apple, et accèdent aux données de l’entreprise dans les apps gérées utilisant iCloud Drive. Ces comptes sont détenus et gérés par chaque organisation. • Associez Apple Business Manager avec Microsoft Azure Active Directory pour tirer parti de l’authentification fédérée. Les identifiants Apple gérés seront automatiquement créés à chaque fois qu’un employé se connectera pour la première fois avec ses identifiants sur un appareil Apple compatible. • Avec la nouvelle fonctionnalité d’inscription des utilisateurs disponible sous iOS 13, iPadOS et macOS Catalina, les appareils appartenant aux utilisateurs peuvent simultanément accueillir un identifiant Apple géré et un identifiant Apple personnel. Un identifiant Apple géré peut aussi être utilisé sur n’importe quel appareil en tant qu’identifiant Apple principal (et unique). Et après une première connexion à un appareil Apple avec un identifiant Apple géré, l’utilisateur pourra s’en servir pour accéder à iCloud sur le Web. • Vous pouvez désigner des rôles spécifiques dans les équipes informatiques de votre entreprise afin de gérer plus efficacement les appareils, les apps et les comptes intégrés à Apple Business Manager. Le rôle Administrateur permet par exemple d’accepter des conditions générales d’utilisation si cela est nécessaire, et de facilement transférer des responsabilités si un employé quitte l’organisation. Remarque : pour le moment, l’inscription des utilisateurs ne prend pas en charge iCloud Drive. iCloud Drive est compatible avec les appareils utilisant un identifiant Apple géré, lorsqu’il s’agit de l’unique identifiant Apple. Apple Business Manager Octobre 2019 3 Premiers pas Premiers pas Inscription à Apple Business Manager L’inscription est simple et ne prend que quelques minutes, vous pouvez donc démarrer rapidement avec Apple Business Manager. Toute entreprise est habilitée à participer, selon les conditions générales du service. Apple se réserve le droit de déterminer les conditions de participation au programme pour chaque entreprise. Pour commencer, veuillez compléter le processus d’inscription et fournir des informations sur votre entreprise, notamment la raison sociale, le numéro de téléphone et un numéro D-U-N-S valide. Les numéros D-U-N-S sont attribués aux entreprises officielles par Dun & Bradstreet (D&B) et conservés dans sa base de données. Cliquez ici pour rechercher un numéro D-U-N-S existant ou en obtenir un nouveau. Apple vérifie l’identité des candidats au programme dans la base de données D&B. Si les informations fournies ne correspondent pas aux informations contenues dans la base de données D&B, Apple vous en informe pour que vous puissiez les vérifier et les corriger. Si vous estimez que les renseignements fournis sont corrects, contactez Dun & Bradstreet afin de vous assurer que leur base de données est à jour. Vous devrez fournir une adresse e-mail associée à votre entreprise. Les adresses e-mail pour particuliers provenant de services tels que Gmail ou Yahoo ne sont pas acceptées. Le compte associé à cette adresse e-mail deviendra administrateur initial pour Apple Business Manager et ne pourra être associé à un identifiant Apple existant ni à d’autres services Apple. Indiquez un contact de validation qui pourra confirmer l’identité de l’administrateur initial et vérifier qu’il ou elle dispose de l’autorité nécessaire pour accepter les conditions générales d’Apple Business Manager au nom de votre entreprise. L’administrateur devra également accepter les conditions générales et configurer d’autres administrateurs afin de gérer le service pour le compte de votre entreprise. Apple vérifiera les informations fournies dans le formulaire d’inscription au programme. Lors du processus d’examen, votre contact de validation et vous pourriez être amenés à répondre à d’autres questions par téléphone ou par e-mail avant que l’inscription ne soit confirmée. Assurez-vous que les filtres de messagerie autorisent les e-mails provenant de tous les domaines apple.com. Répondez rapidement aux appels et aux e-mails afin que le processus d’inscription puisse progresser rapidement. Lorsque votre entreprise aura été approuvée, le contact de validation recevra un e-mail lui demandant de confirmer l’identité de l’administrateur initial ou de déléguer l’administration à quelqu’un d’autre. Après confirmation, l’administrateur devra créer l’identifiant Apple géré de l’administrateur initial et accepter le contrat et toute condition générale supplémentaire d’Apple Business Manager. Apple Business Manager Octobre 2019 4 Premiers pas Mise à niveau vers Apple Business Manager Si votre organisation utilise encore les anciens programmes DEP ou VPP, elle devra effectuer la mise à niveau vers Apple Business Manager avant le 1er décembre 2019. Pour plus d’informations, veuillez consulter support.apple.com/HT208817. Si votre entreprise est déjà inscrite aux programmes de déploiement Apple, vous pouvez passer à Apple Business Manager en vous connectant sur deploy.apple.com à l’aide de votre compte de responsable des programmes de déploiement Apple puis en suivant les instructions à l’écran. La mise à niveau ne prend que quelques minutes. Après la mise à niveau, vos comptes, serveurs MDM, appareils, jetons de serveur, commandes d’appareils et autres éléments seront associés à votre compte Apple Business Manager. Votre entreprise possède peut-être un ou plusieurs comptes VPP distincts. Si certains de vos acheteurs du programme VPP n’ont pas été inclus lors du passage à Apple Business Manager, découvrez comment les inviter dans Apple Business Manager sur la page suivante : support.apple.com/HT208817. Après être passé à Apple Business Manager, vous n’aurez plus accès au site des programmes de déploiement Apple. Apple Business Manager Octobre 2019 5 Configuration Configuration Maintenant que votre entreprise est inscrite à Apple Business Manager, vous pouvez ajouter d’autres comptes, saisir les informations d’achat et attribuer des rôles pour commencer à gérer les appareils et les contenus. Créer des administrateurs supplémentaires et attribuer des rôles Lors de la première connexion, l’administrateur initial recevra un message lui indiquant qu’un seul compte administrateur existe. Pour créer d’autres comptes administrateur : 1. Cliquez sur Comptes dans la barre latérale. 2. Cliquez sur Ajouter un nouveau compte, en haut de la fenêtre. 3. Saisissez les informations requises, notamment le prénom et le nom, l’identifiant Apple géré, le rôle d’administrateur et le site auquel il est rattaché, et l’adresse e-mail. 4. Si besoin, saisissez le deuxième prénom, qui est facultatif. 5. Cliquez sur Enregistrer en bas à droite de la fenêtre. Chaque compte Apple Business Manager dispose d’un ou de plusieurs rôles, qui définissent ce que l’utilisateur du compte est en mesure de faire. Par exemple, un même compte peut se voir attribuer à la fois les rôles de Gestionnaire d’appareils et de Gestionnaire de contenu. De plus, certains rôles peuvent gérer d’autres rôles. Par exemple, un compte disposant du rôle Gestionnaire de personnes peut agir sur un compte disposant du rôle Gestionnaire de contenu. De cette manière, le Gestionnaire de personnes pourra également acheter des apps et des livres. Il peut être judicieux de planifier l’attribution des rôles et de passer en revue les types de rôles avant de créer les comptes et d’attribuer les privilèges. Configurer l’authentification fédérée Vous pouvez utiliser l’authentification fédérée pour lier Apple Business Manager à votre instance de Microsoft Azure Active Directory (AD). Cela permettra à vos utilisateurs de se servir de leurs noms d’utilisateur et mots de passe Microsoft Azure AD en tant qu’identifiants Apple gérés. Ils pourront ainsi utiliser leur compte Microsoft Azure AD pour se connecter à un appareil Apple compatible, ainsi qu’à iCloud sur le Web. Pour commencer : 1. Connectez-vous à Apple Business Manager avec un compte ayant un rôle d’Administrateur ou de Gestionnaire de personnes. 2. Sous Réglages, accédez à Comptes et cliquez sur Modifier dans la section Authentification fédérée, puis cliquez sur Connexion. 3. Sélectionnez « Sign in to Microsoft Azure » (Se connecter à Microsoft Azure) et connectez-vous avec un compte Microsoft Azure AD ayant un rôle d’administrateur général, d’administrateur d’application ou d’administrateur d’application cloud. Apple Business Manager Octobre 2019 6 Configuration 4. Saisissez le nom de domaine que vous souhaitez utiliser. Il est uniquement possible de fédérer des domaines qui n’ont pas été revendiqués par d’autres organisations. 5. Sélectionnez Ouverture de la connexion Microsoft, et saisissez les informations d’un compte d’administrateur général, d’administrateur d’application ou d’administrateur d’application cloud de Microsoft Azure AD qui existe dans le domaine spécifié à l’étape précédente. Lorsque vous configurez l’authentification fédérée, Apple Business Manager lance une vérification pour s’assurer que le nom de domaine que vous avez ajouté n’est pas déjà associé à des identifiants Apple existants. Si l’identifiant Apple associé au domaine que vous souhaitez utiliser est déjà pris, vous pouvez faire une demande de récupération du nom d’utilisateur de l’identifiant Apple auprès de l’utilisateur concerné pour vous en servir au sein de votre organisation. Pour plus d’informations, consultez l’article support.apple.com/HT209349. Si vous utilisez des identifiants Apple gérés, vous pouvez les migrer vers l’authentification fédérée en modifiant les informations pour que le nom de domaine fédéré et le nom d’utilisateur correspondent. Si le domaine que vous souhaitez utiliser est déjà associé à des identifiants Apple gérés appartenant à une autre organisation, Apple mènera une enquête pour déterminer le propriétaire du domaine et vous informera de sa conclusion. Si plusieurs organisations peuvent prétendre à la propriété du domaine, aucune d’entre elles ne pourra le fédérer. Lorsque vous aurez réussi à vous connecter à un compte d’administrateur et que le processus de détection de conflits de noms d’utilisateur sera achevé, vous pourrez activer l’authentification fédérée de la manière suivante : 1. Connectez-vous à Apple Business Manager avec un compte ayant un rôle d’Administrateur ou de Gestionnaire de personnes. 2. Sélectionnez Réglages en bas de la barre latérale, sélectionnez Comptes, puis cliquez sur Modifier dans la section Authentification fédérée. 3. Activez l’authentification fédérée pour les domaines ayant été ajoutés à Apple Business Manager. Pour plus d’informations sur la configuration de l’authentification fédérée avec Microsoft Azure AD, consultez le Guide de l’utilisateur d’Apple Business Manager à l’adresse support.apple.com/guide/apple-business-manager. Saisir les informations d’achat Pour utiliser l’inscription automatisée des appareils, vous devrez passer en revue et mettre à jour les informations concernant la façon dont vous achetez les appareils. Sélectionnez Device Management Settings (Réglages de gestion des appareils), puis ajoutez votre numéro de client Apple ou identifiant de revendeur. Si votre entreprise achète directement auprès d’Apple et auprès d’un revendeur agréé Apple ou opérateur participant, vous devez saisir à la fois votre numéro de client Apple et l’identifiant de revendeur de votre revendeur. Apple Business Manager Octobre 2019 7 Configuration • Numéro de client Apple. Si vous achetez du matériel ou des logiciels directement auprès d’Apple, votre entreprise possède un numéro de compte. Ce numéro de compte est nécessaire pour associer vos commandes et appareils éligibles à Apple Business Manager. Si vous ne connaissez pas ce numéro, contactez votre responsable des achats ou votre service financier. Votre entreprise a peut-être plusieurs numéros de client Apple, que vous pourrez ajouter à Apple Business Manager une fois que vous aurez reçu l’approbation. • Identifiant de l’organisation. Une fois inscrit au programme, vous recevrez un identifiant d’organisation, que vous trouverez dans la section Réglages d’Apple Business Manager. Si vous achetez des appareils Apple auprès d’un revendeur agréé Apple ou d’un opérateur participant, vous devrez lui fournir ce numéro afin d’associer vos achats à Apple Business Manager. • Identifiant de revendeur. Si vous achetez du matériel ou des logiciels directement auprès d’un revendeur agréé Apple ou d’un opérateur participant, vous devrez fournir l’identifiant de revendeur de votre revendeur. Si vous ne connaissez pas ce numéro, contactez votre revendeur. Si vous faites vos achats auprès de plusieurs revendeurs, saisissez l’identifiant de revendeur de chacun d’eux. Vous devez également fournir votre identifiant d’organisation à votre revendeur afin qu’il puisse soumettre vos achats d’appareils. Le fait de fournir l’identifiant de revendeur seul ne suffit pas à inscrire vos appareils dans Apple Business Manager. • Apps et livres. Pour pouvoir acheter des apps et des livres, rendez-vous dans la section Apps et livres sous Réglages. Suivez les étapes pour accepter les conditions des Apps et livres et mettre à jour les informations de facturation. Vous pouvez également consulter votre historique d’achats et transférer les achats d’un site à un autre dans les réglages Apps et livres. Gérer l’attribution des appareils Apple Business Manager intègre toutes les fonctionnalités existantes du programme DEP. De plus, les serveurs MDM peuvent désormais être définis par défaut en fonction du type d’appareil, ce qui vous permet de paramétrer un serveur par défaut pour les Mac et un autre pour les iPhone et iPad. Lier votre solution MDM. Pour lier votre solution MDM, allez dans Réglages > Device Management Settings (Réglages de gestion des appareils), puis établissez une connexion vers votre ou vos serveurs MDM. Les serveurs répertoriés dans Apple Business Manager sont liés à vos serveurs MDM physiques. Vous pouvez ajouter des serveurs à tout moment. Ajoutez un nouveau serveur MDM en fournissant son nom et les informations d’autorisation. Apple doit connaître chaque serveur autorisé à gérer vos appareils. L’autorisation sécurisée d’un serveur MDM s’effectue via un processus de validation en deux étapes. Votre fournisseur de solution MDM peut vous donner des informations sur les conditions requises pour mettre en œuvre ce processus. Attribuer des appareils. Vous pouvez attribuer des appareils à vos serveurs par numéro de commande ou numéro de série. Seuls les appareils éligibles pouvant être attribués à votre serveur MDM apparaissent sur le site web du programme. Apple Business Manager Octobre 2019 8 Configuration Vous pouvez rechercher les commandes que vous avez passées directement auprès d’Apple depuis le 1er mars 2011, par numéro de commande ou de série. Si vous avez passé commande auprès d’un revendeur agréé Apple ou d’un opérateur participant, la période de recherches rétrospectives dépendra du revendeur. Votre commande est disponible dans Apple Business Manager 24 heures après son envoi par le revendeur. Vous pouvez également télécharger un fichier CSV (comma-separated value) contenant la liste complète des appareils associés à une ou plusieurs commandes spécifiques. Dans le fichier CSV, les appareils sont répertoriés par numéro de série. En saisissant « All Available » dans le champ des commandes, vous verrez s’afficher une liste de tous les appareils. En désignant un serveur MDM comme serveur par défaut, vous pouvez automatiquement lui attribuer les appareils nouvellement achetés. Les appareils achetés auprès de fournisseurs autres qu’Apple, un revendeur agréé Apple ou un opérateur participant peuvent tout de même être ajoutés à Apple Business Manager via Apple Configurator 2. Comme tous les appareils inscrits, les appareils inscrits manuellement que vous configurez font obligatoirement l’objet d’une supervision et d’une inscription à une solution MDM. L’utilisateur dispose toutefois d’une période d’inscription provisoire de 30 jours pour retirer l’appareil de l’inscription, de la supervision et de la MDM. Pour plus d’informations sur la méthode à suivre pour inscrire des appareils manuellement, consultez la page suivante : support.apple.com/guide/appleconfigurator-2/cad99bc2a859. Remarque : d’après les conditions du contrat, les appareils vendus, perdus, renvoyés au revendeur ou autrement retirés du service doivent être définitivement supprimés de la liste des appareils gérés de votre entreprise à l’aide d’Apple Business Manager. Toutefois, lorsqu’un appareil est supprimé, il ne peut être rajouté, à moins d’être manuellement inscrit via Apple Configurator 2 pour les appareils compatibles. Vérifier les attributions. Une fois vos serveurs MDM configurés et vos appareils attribués, vous pouvez vérifier plusieurs aspects de l’attribution des appareils, notamment : • La date d’attribution • Le numéro de commande • Le nom du serveur MDM auquel l’appareil est attribué • Le nombre total d’appareils, organisé par type d’appareils Acheter des contenus Apple Business Manager permet de faire des achats de manière simplifiée. Vous pouvez rechercher des contenus, spécifier la quantité que vous souhaitez acheter et finaliser rapidement la transaction avec un Crédit VPP ou une carte bancaire professionnelle. Apple Business Manager Octobre 2019 9 Configuration Rechercher une app ou un livre. Pour préciser votre recherche, sélectionnez le type de média : apps iOS et iPadOS, apps Mac ou livres. Cliquez sur le menu déroulant Catégorie pour rechercher des apps et des livres par catégorie. Les apps universelles conçues à la fois pour l’iPhone et l’iPad sont signalées par une icône particulière. Indiquer la quantité. Une fois que vous avez trouvé le contenu qui vous intéresse, sélectionnez son nom dans la liste des résultats, vérifiez les informations associées, puis saisissez la quantité que vous souhaitez acheter. Distribuer et télécharger des contenus Grâce à la distribution gérée, utilisez votre solution MDM ou Apple Configurator 2 pour gérer la distribution des apps et des livres. Lier votre solution MDM. Afin d’utiliser la solution MDM pour la distribution, vous devez, dans un premier temps, lier votre solution MDM à un site dans Apple Business Manager à l’aide d’un jeton sécurisé. Pour télécharger votre jeton, accédez à Réglages > Apps et livres, puis sélectionnez le jeton approprié en fonction du site. Chargez ce jeton sur votre serveur MDM pour établir la connexion. Remarque : les jetons sécurisés expirent au bout d’un an. Si vous utilisez Apple Configurator 2 pour gérer les appareils et les contenus, il vous suffit de vous connecter au compte de Gestionnaire de contenu qui convient via le menu Comptes. Avec iOS 10 et macOS Sierra et les versions ultérieures, vous pouvez économiser du temps et de la bande passante en préchargeant les apps pour tous vos déploiements via cette méthode. Une fois connecté à votre serveur MDM, vous disposez de différents moyens d’attribuer aux appareils et aux utilisateurs des apps et des livres (y compris les apps récemment attribuées et les mises à jour d’apps), même lorsque l’App Store est désactivé. Attribuer des apps à des appareils. Si vous souhaitez que votre entreprise conserve un contrôle total sur les appareils et les contenus gérés, ou s’il est compliqué d’obtenir un identifiant Apple pour tous les utilisateurs, vous pouvez attribuer des apps à des appareils directement à l’aide de votre solution MDM ou d’Apple Configurator 2. Dès qu’une app est attribuée à un appareil, elle est envoyée en mode push vers celui-ci par le biais de la solution MDM ou ajoutée via Apple Configurator 2. Aucune invitation n’est requise. Tous les utilisateurs de l’appareil ont accès à l’app concernée. Pour que des apps puissent être attribuées à des appareils, chaque appareil doit disposer d’une licence de distribution gérée. Attribuer des apps et des livres aux utilisateurs. Utilisez votre solution MDM pour inviter les utilisateurs par e-mail ou par notification push. Pour accepter l’invitation, les utilisateurs se connectent sur leur appareil en utilisant leur identifiant Apple personnel. Bien que votre entreprise puisse attribuer des apps et des livres à l’identifiant Apple d’un utilisateur, l’identifiant Apple reste totalement privé et n’est pas visible par l’administrateur. Lorsque les utilisateurs ont accepté l’invitation et les conditions générales, ils sont automatiquement connectés à votre serveur MDM et peuvent télécharger les apps et les livres qui leur ont été attribués. Vous pouvez également installer l’app en arrière-plan sur les appareils iOS et iPadOS supervisés. Les apps attribuées sont Apple Business Manager Octobre 2019 10 Configuration automatiquement disponibles au téléchargement sur tous les appareils de l’utilisateur, sans action de votre part ni frais supplémentaires. Pour attribuer des apps et des livres aux utilisateurs, vous devez disposer d’une licence de distribution gérée pour chaque utilisateur. Remarque : si vous avez déjà attribué des apps à des utilisateurs, votre solution MDM pourra effectuer une migration en arrière-plan pour passer d’un modèle d’attribution par utilisateur à un modèle d’attribution par appareil. L’appareil doit être inscrit auprès d’une solution MDM. Reportez-vous à la documentation de votre solution MDM pour obtenir de l’aide. Révoquer et réattribuer des apps. Lorsqu’un utilisateur ou un appareil n’a plus besoin des apps que vous lui avez attribuées, vous pouvez révoquer ces apps et les réattribuer à d’autres utilisateurs ou appareils. Si une app a été attribuée à un utilisateur, celui-ci aura la possibilité d’en acheter un exemplaire pour son usage personnel. Si l’app a été déployée en tant qu’app gérée via la MDM pour iOS ou iPadOS, l’administrateur a en outre la possibilité de supprimer immédiatement l’app ainsi que toutes les données associées. Dans ce cas, il est de bonne pratique d’en avertir l’utilisateur ou de lui accorder un délai avant de supprimer l’app de ses appareils. Une fois distribués, les livres restent la propriété de leur destinataire et ne peuvent être ni révoqués ni réassignés. Informations importantes sur l’attribution des apps Les administrateurs peuvent attribuer des apps dans tous les pays et régions où elles sont proposées sur l’App Store. Par exemple, une app achetée depuis un compte aux États-Unis peut être attribuée à des appareils ou à des utilisateurs en France dès lors que l’app est disponible via l’App Store français. Vous pouvez utiliser une solution MDM pour attribuer des apps uniquement à des utilisateurs détenant des appareils sous iOS 7 (ou version ultérieure) et macOS 10.9 (ou version ultérieure). L’attribution directe d’apps à des appareils, sans identifiant Apple, nécessite iOS 9 et macOS 10.10 (ou versions ultérieures). Acheter et distribuer des apps personnalisées Vous pouvez collaborer avec un développeur tiers pour créer des apps iOS et iPadOS uniques, adaptées à vos besoins professionnels, puis les distribuer à l’échelle de votre entreprise. Ces apps peuvent être proposées en parallèle des apps standard disponibles sur l’App Store, enrichissant ainsi l’utilisation de l’iPhone et de l’iPad. Que vous externalisiez le développement auprès d’un sous-traitant indépendant ou d’un développeur d’apps commerciales, ou que vous proposiez vos propres apps en interne, la distribution d’apps personnalisées via Apple Business Manager constitue la méthode de distribution la plus simple, pour vous ainsi que pour votre organisation. Les apps personnalisées, conçues pour votre entreprise, vous sont exclusivement réservées. Les autres entreprises ne peuvent ni les voir ni les télécharger, la transaction reste donc sécurisée et privée. Apple passe en revue les apps personnalisées avant qu’elles ne soient disponibles sur votre compte. Vous pouvez donc être sûr qu’elles ont été vérifiées sur le plan technique et qualitatif. Le tarif des apps personnalisées est fixé par le développeur. Ces apps peuvent être gratuites ou payantes. Généralement, les apps personnalisées intègrent l’image de marque de l’entreprise dans l’interface utilisateur ou contiennent des fonctions uniques pertinentes par rapport à un processus ou un workflow de l’entreprise. Les développeurs peuvent également ajouter une configuration spécifique pour Apple Business Manager Octobre 2019 11 Configuration votre environnement ou des fonctionnalités adaptées à un partenaire commercial, un revendeur ou une franchise. Travailler avec un développeur. Pour commencer, contactez un développeur. Les développeurs inscrits au programme pour développeurs Apple et qui ont accepté le dernier contrat de licence du programme peuvent soumettre des apps pour une distribution d’apps personnalisées via App Connect. Si votre développeur ou partenaire de référence n’est pas inscrit au programme pour développeurs Apple, renvoyez-le vers le site developer.apple.com/programs/ pour qu’il s’y inscrive. Lorsque le développeur a créé une app et vous a identifié comme l’acheteur autorisé, il peut vous l’offrir gracieusement ou décider d’un prix qui vous sera propre. Fournissez-lui soit votre identifiant d’organisation provenant d’Apple Business Manager ou l’identifiant Apple géré de votre administrateur. Travailler avec vos développeurs d’apps en interne. Pour distribuer une app développée en interne, suivez la même méthode que celle décrite ci-dessus pour distribuer une app personnalisée au sein de votre organisation. Cette procédure ne nécessite pas d’adhérer au programme pour développeurs en entreprise et vous permet de tirer parti des fonctionnalités proposées par l’App Store, comme l’allègement des apps, les statistiques d’utilisation, etc. En outre, sans adhésion au programme pour développeurs en entreprise, il ne sera pas nécessaire de mettre à jour et de modifier les certificats pour procéder à la distribution. Obtenir l’app personnalisée. Votre développeur devra associer l’app personnalisée à votre organisation et vous informer de sa disponibilité pour un téléchargement. Pour ce faire, le développeur devra utiliser votre identifiant d’organisation, que vous trouverez dans Réglages > Informations sur l’inscription. Lorsque vous vous connecterez à Apple Business Manager, vous verrez une section Apps personnalisées dans la barre latérale, sous Contenu. Les apps personnalisées sont disponibles uniquement pour les entreprises spécifiées par le développeur et ne sont pas visibles par les autres. Informations importantes concernant les apps personnalisées • Validation des apps. Chaque app personnalisée et chacune de ses versions (mises à jour) font l’objet d’un processus de validation chez Apple. Les apps personnalisées sont soumises aux mêmes critères d’évaluation que les apps de l’App Store. • Sécurité des apps. Si votre app contient des données professionnelles confidentielles, nous vous conseillons d’y inclure un mécanisme d’authentification. Les apps personnalisées ne sont pas sécurisées par Apple. La sécurité des données au sein de l’app incombe à son développeur. Apple recommande d’appliquer les bonnes pratiques iOS et iPadOS concernant les mécanismes d’authentification et de chiffrement intégrés aux apps. Pour plus d’informations sur les bonnes pratiques en matière de développement sécurisé, consultez les ressources pour développeurs. • Vérification des apps. Pour vérifier qu’une app personnalisée répond aux règles de validation, Apple doit se connecter et exécuter l’app. Adressez-vous à votre développeur ou partenaire pour déterminer comment répondre à cette exigence tout en respectant la confidentialité de vos données. Vous pouvez par exemple fournir des comptes de test ou des échantillons de données dépourvues de contenu sensible pour protéger la confidentialité de vos utilisateurs. Apple Business Manager Octobre 2019 12 Ressources Ressources Pour plus d’informations, consultez le Guide de l’utilisateur d’Apple Business Manager à l’adresse support.apple.com/guide/apple-business-manager. Explorez les ressources suivantes pour obtenir de plus amples informations sur Apple Business Manager : • Apple Business Manager : business.apple.com • Notes de version d’Apple Business Manager : https://support.apple.com/ HT208802 • Mise à niveau vers Apple Business Manager : support.apple.com/HT208817 • En savoir plus sur les identifiants Apple gérés : support.apple.com • En savoir plus sur Microsoft Azure AD • Ressources pour les équipes informatiques : www.apple.com/fr/business/it/ • Assistance aux entreprises : www.apple.com/fr/support/business Apple Business Manager Octobre 2019 13 © 2019 Apple Inc. Tous droits réservés. Apple, le logo Apple, Apple TV, iPad, iPhone, iTunes, Mac, macOS et Safari sont des marques d’Apple Inc., déposées aux États-Unis et dans d’autres pays. tvOS est une marque déposée d’Apple Inc. App Store, iCloud et iTunes Store sont des marques de service d’Apple Inc., déposées aux États-Unis et dans d’autres pays. IOS est une marque ou une marque déposée de Cisco aux États-Unis et dans d’autres pays, utilisée ici sous licence. Les autres noms de produits et de sociétés mentionnés dans ce document appartiennent à leurs propriétaires respectifs. Les caractéristiques des produits sont susceptibles d’être modifiées sans préavis. Octobre 2019 Impulse Response Utility User Manual Copyright © 2011 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 Impulse ResponseUtility 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 Internetsites, imagesshown in this manual may be slightly different from what you see on your screen. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com Apple, the Apple logo, Logic, and Mac are trademarks of Apple 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. Preface 5 An Introduction to Impulse Response Utility 5 About Impulse Response Utility 5 About the Impulse Response Utility Documentation 6 Additional Resources Chapter 1 7 Understanding Deconvolution and Impulse Responses 7 Impulse Response Recording: Transients Method 8 Impulse Response Recording: Sine Sweep Method Chapter 2 9 Setting Up Your Impulse Response Recording Environment 9 Ideal Impulse Response Recording Setup 11 Alternative Impulse Response Recording Setup 12 Speaker and Microphone Selection Suggestions 12 Speaker and Microphone Placement Suggestions Chapter 3 17 Creating Impulse Responses in Impulse Response Utility 18 Getting to Know the Interface 18 Understanding the Workflow 19 Creating Your Project 20 Assigning Input and Output Hardware 21 Configuring the Monitoring Parameters 22 Configuring the Sweep Generator 23 Recording Audio into Impulse Response Utility 26 Deconvolving Your Impulse Response 27 Editing Your Impulse Response 28 Auditioning Your Impulse Response 30 Creating a Space Designer Setting 31 Saving, Opening, and Reverting to Saved Projects Chapter 4 33 Recording Impulse Responses from Audio Equipment 33 Recording Impulse Responses from Guitar Speakers 34 Recording Impulse Responses from Hardware Devices 3 Contents Chapter 5 35 B-Format Surround Encoding 36 Advantages of B-Format Surround Encoding 36 Microphone Suggestions for B-Format Recording Appendix 39 Impulse Response Utility Tutorial 39 Creating a Five Channel Surround Impulse Response 40 Recording a Mono to Omni 5 Channel Impulse Response 4 Contents Impulse Response Utility is a multi-track audio recording and deconvolution application. It is designed to enable you to create your own impulse response filesfor Space Designer, a convolution-based reverb effect. Although Space Designer comes with plenty of great sounding Halls, Delays, and other Reverbs, you might want to create an impulse response of your own studio, kitchen, bathroom, or even teapot. This preface covers the following: • About Impulse Response Utility (p. 5) • About the Impulse Response Utility Documentation (p. 5) • Additional Resources (p. 6) About Impulse Response Utility Impulse Response Utility is designed to work seamlessly with Space Designer. You can record and edit impulse responses and create Space Designer files quickly and easily. All tools needed to master the complex process of creating an impulse response, such as a flexible sweep generator, powerful editing facilities, and one-click creation of Space Designer settings, are included. All you need is your Mac, Impulse Response Utility and, of course, an audio interface connected to speakers and microphones. About the Impulse Response Utility Documentation The Impulse Response Utility User Manual (this document) describes the Impulse Response Utility application only. For information about Space Designer, see the Logic Pro Effects manual. • Impulse Response Utility User Manual: This manual provides comprehensive instructions for using Impulse Response Utility to create your own mono, stereo, and surround impulse responses for the Space Designer convolution-based reverb effect. • Logic Pro Effects: This manual provides instructions for using the powerful collection of effects included with Logic Pro. 5 An Introduction to Impulse Response Utility Preface Additional Resources Along with the documentation that comes with Logic Pro, there are a variety of other resources you can use to find out more. Logic Pro Website For general information and updates, as well as the latest news on Logic Pro, go to: • http://www.apple.com/logicpro Apple Service and Support Websites For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support webpage. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles. • http://www.apple.com/support For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Impulse Response Utility, go to: • http://www.apple.com/support/logicpro For discussion forumsfor all Apple productsfrom around the world, where you can search for an answer, post your question, or answer other users’ questions, go to: • http://discussions.apple.com 6 Preface An Introduction to Impulse Response Utility Space Designer combines, or convolves, an impulse response of an acoustic space with an audio signal. The end result is that your audio is placed “inside” the acoustic space, represented by that impulse response. Think of an impulse response as the total echoes (reflections) in a given physicalspace, following an initialsignalspike. The impulse response file is simply an audio file recording made in a space that contains these echoes. There are two practical approaches to impulse response recording: the Transients and Sine Sweep methods. This chapter covers the following: • Impulse Response Recording: Transients Method (p. 7) • Impulse Response Recording: Sine Sweep Method (p. 8) Impulse Response Recording: Transients Method This method involves the recording of an impulse in a space, using a device such as a starter pistol. The gunshot is the impulse, and the audio file you record captures both the impulse (gunshot) and the room response. The advantage of this method isthat the recorded audio file can be used in Space Designer without any further processing. You can use Impulse Response Utility to record your starter pistol impulses, and then combine them into a Space Designer Impulse Response (.sdir) file (and Space Designer setting file). The disadvantage of this method is that it’s extremely difficult to make a perfect, undistorted recording of a starter pistol shot. This is due to the extremely loud nature of the initial transient of the shot. A further issue isthatstarter pistolshots contain very little high or bass frequency information—which, in turn, limits the usable frequency range of the convolved reverb. 7 UnderstandingDeconvolution and Impulse Responses 1 Impulse Response Recording: Sine Sweep Method This is the preferred method for creating impulse responses. It involves playing a broadband audio sine sweep into a space, and recording the sweep (and space) at optimal recording levels. A sine sweep that covers the entire audible frequency range is used, resulting in a broad-range, and often higher-quality, impulse response. The recorded sine sweep audio file cannot directly be used as an impulse response. The recorded file contains all the echoes and reflections—in other words, the response—of the space, stretched out over the length of the sine sweep. This is very different from the starter pistol approach, where the response is contained at the beginning of the file in an impulse. When you use a sine sweep, Impulse Response Utility uses a process called deconvolution to time align and level align all recorded reflections-that are present over the entire recorded sine sweep—into the very beginning of the file. This results in an impulse response that Space Designer can use to combine, or convolve, with your audio signal. Impulse Response Utility can then generate an .sdir setting from the impulse response. 8 Chapter 1 Understanding Deconvolution and Impulse Responses Prior to using Impulse Response Utility to create an impulse response, you need to set up your recording hardware—allowing playback and recording of the sine sweep that Impulse Response Utility will generate. The impulse response of a space is never just the space’s impulse response. The recorded impulse response is always the response of the complete system—in other words, every piece of equipment you use in the recording process. This includes, in signal-flow order: the digital-to-analog converter, the amplifier and speakers (or powered speakers), the room characteristics, the microphones, and finally the microphone pre-amp and analog-to-digital converter. So, before leaving your studio to do any location recording, you have to think about your equipment. These days, even budget converters offer acceptable quality, so your main concern will be your selection of speakers and microphones. This chapter covers the following: • Ideal Impulse Response Recording Setup (p. 9) • Alternative Impulse Response Recording Setup (p. 11) • Speaker and Microphone Selection Suggestions (p. 12) • Speaker and Microphone Placement Suggestions (p. 12) Ideal Impulse Response Recording Setup When making an Impulse Response recording, ideally you will have: • One speaker for each (speaker) location required by the chosen format, if you are going to be generating sine wave sweeps. As examples: If you are recording a true stereo impulse response, you will need two speakers; if you are recording a six channel surround impulse response, you will need six speakers, and so on. If you are not generating sine wave sweeps, you don’t need speakers to play them back (the sound is generated by the starter pistol). 9 Setting Up Your Impulse Response Recording Environment 2 Note: In many cases, it is sufficient to record one speaker position (but all microphone positions required by the chosen impulse response format), and create a mono/omni discrete impulse response. This will result in a less CPU-intensive impulse response in the required format. See Recording a Mono to Omni 5 Channel Impulse Response. • One or more microphones to record the resulting audio from each speaker (or your starter pistol) combined with its echo reflections. The number of microphones you will need depends on the chosen impulse response format. As examples; if you are recording a six channel surround impulse response, there are six microphone positions, so ideally you would have six microphones; if you are recording a six channel B-Format encoded impulse response—where only one microphone position and four tracks are required—you would need fewer microphones, and so on. See B-Format Surround Encoding for more information. • An audio interface that offers enough outputs to send a broadband audio sine sweep into each speaker (if using sine sweeps), and enough inputs to record the resulting audio from each position. Note: You may also need additional microphone pre-amplifiers if you find that your microphones can’t capture a strong enough signal, or your audio interface doesn’t offer enough mic pre-amp inputs. Example of speakers and microphones set up to capture a 5.1 multi-channel impulse response Computer Audio interface Surround microphone tree C L R Ls Rs 10 Chapter 2 Setting Up Your Impulse Response Recording Environment Alternative Impulse Response Recording Setup It is possible to make discrete multi-track impulse responses—even if you don’t have enough speakers or microphones. As you will only be recording one sine sweep at a time, you can set up as many speakers as you have, record them into Impulse Response Utility, then move the speakersto new positions, and repeat the process. To give you an example, imagine you only have a stereo pair of speakers, but want to create a quadraphonic impulse response, which requires the recording of four tracks in four different speaker positions. You could set up your pair of monitors, record their output, then move them to record the other pair of tracks in the other two speaker positions. This method of creating impulse responses is obviously more time-consuming, and not having all your speakers set up at once makes optimal monitor placement—relative to each other—difficult. With time and careful planning, however, you can still achieve the same results. You can also create multi-channel impulse responsesin Impulse Response Utility through use of the Mono to Omni Discrete impulse response format. This only requires the recording of one speaker by as many “channel” microphones as needed (for the chosen format). The resulting impulse response places a lower strain on your CPU. See Recording a Mono to Omni 5 Channel Impulse Response. If you have enough monitors, but not enough microphones, you can set up the required speakers, and move your available microphones between them. This makes optimal microphone placement—relative to other microphones—difficult, but you still have the advantage of optimalspeaker placement (and it’s considerably easier to move microphones than speakers). If your audio interface doesn’t have enough inputs and outputs—for the number of speakers and microphones you are using to create your impulse response—you can still set up all mics and speakers. As you record different tracks into Impulse Response Utility, you will need to disconnect/reconnect the speakers and microphones, in turn. A more detailed discussion of speakers and microphones that are suitable for creating impulse responses, as well as suggestions on speaker and microphone placement, is found in Speaker and Microphone Selection Suggestions and Speaker and Microphone Placement Suggestions. Chapter 2 Setting Up Your Impulse Response Recording Environment 11 Speaker and Microphone Selection Suggestions There are no rules as to which brand or make of microphone or speaker will result in the best impulse response. A general guideline is to use speakers and microphones with a flat response (in other words, the speakers and microphones should offer a very even signal at all frequencies). You can find microphones and speakers that offer relatively flat responses at nearly all budget levels. Tube microphones, which are generally valued for the tonal “color” that they add to the signal, are not necessarily the best choice for recording impulse responses. In general, microphones that work well as ambience mics are good candidates. Speaker and Microphone Placement Suggestions Where you place your speakers and microphones in the recording space will have a large impact on the specific echoes and reflections that your impulse response captures. It goes without saying that creativity is key, and experimentation the name of the game. There are, however, some general suggestions and guidelines that may help when you make your initial recordings. One general suggestion for placement in environments with hard floors, made from materials such as concrete: You may find that a “chirp” is recorded at the beginning of your impulse response. Thissound is actually the generated sine sweep resonating through the floor into the microphone stand, and then into microphone itself. The speed ofsound through floors and concrete material is much faster than through air, resulting in a pre-impulse response thatstarts before the impulse response you actually want to record. To circumvent this potential problem, you can use “studio” drum pedestals and specialized microphone mounts that have strong acoustic absorbers built into them. If you can’t transport pedestals, or afford expensive microphone mounts, try a thick carpet under the speakers and microphone stand(s). Below are some specific approaches for you to experiment with when creating impulse responses. Remember, these are just suggestions. There are no rules regarding how far the speakers need to be placed away from the microphone array, the best angles, ideal distances between speakers and microphones, and so on. You may want to try a number of different techniques and placements to find the ideal arrangement. Creating impulse responses is an art unto itself. The Virtual Listener Approach Thisis perhapsthe most common technique for placing speakers and microphones when creating impulse responses. The goal isto capture the effect of the echoes and reflections coming from all around the space—as heard at the listening position. In this approach, the speakers are set up at the edges of the room, and the microphone is placed in the listening position. 12 Chapter 2 Setting Up Your Impulse Response Recording Environment The resulting impulse response (when later used in Space Designer to add reverb to your signal) should sound like your audio is being played back from the various speaker locations in the “space.” This method doesn’t require multiple microphones; a single microphone can be turned toward each speaker in turn, and different audio recordings can be made from the same location. The image below illustrates the virtual listener approach to setting up five speakers (for a five channel surround impulse response), with one microphone placed centrally in the space. C L R Ls Surround Rs microphone tree This method can create the impression of the audio signal being completely immersed in the simulated space. Chapter 2 Setting Up Your Impulse Response Recording Environment 13 The Auralization Approach Another common strategy for placing speakers and microphones in a space uses the auralization approach. This technique attempts to capture the reflections from the performer’s perspective. Place one or more speakers at the performer’slocation (or another audio source) and place the microphone at the listening position. The resulting impulse response should sound like your audio is being played back from these specific speaker locations. For example, you can make a stereo impulse response of a particular stage using the auralization technique, and when you use the IR in Space Designer, your audio should sound like it is on that stage. The image below illustrates use of the auralization technique to set up your speakers and microphones for a true stereo impulse response. Stage Audience L R To capture a surround impulse response that represents being “in the audience” of a space, set up two speakers in the performer’s position as above, but place a surround array of microphones around the room. This can create a realistic feeling (and effect) of being “in the audience” when the performance is coming from in front of you. This can help to create a surround-like effect from a live stereo recording. 14 Chapter 2 Setting Up Your Impulse Response Recording Environment The Virtual Echo Chamber Approach A good alternative to the auralization approach is placement of your speakers and microphonesin a way that creates a virtualspace that resembles a physical echo chamber. To create this kind of impulse response, face the loudspeakers toward the corners, and the microphones toward the opposite corners. This is how microphones in a physical echo chamber would be placed. This eliminates a direct path from the speaker to the microphone, and captures more reflections. The image below illustrates how you could set up two speakers and two microphones to create a stereo impulse response, using this virtual echo chamber approach. L R The resulting impulse response allows you to mix the reverb into the dry signal, without any phase cancellation issues caused by early reflections or direct signals. This approach works particularly well if you want to keep your signal mostly dry, without any alteration or coloration from the reverb, but still want to add a high fidelity reverb tail to your audio. You can also use this method for surround or multi-channel reverbs. The main concept to remember is that the speakers should be pointing at the wall, to eliminate direct paths between microphones and speakers. The illustration below offers a possible layout for a five channel reverb chamber. The loudspeakers, placed in a circle, are directed at the walls, and the microphone array is in the center of the circle. Surround microphone tree C L R Ls Rs Chapter 2 Setting Up Your Impulse Response Recording Environment 15 This chapter coversthe creation of your own impulse responsesfor use in Space Designer. This chapter covers the following: • Getting to Know the Interface (p. 18) • Understanding the Workflow (p. 18) • Creating Your Project (p. 19) • Assigning Input and Output Hardware (p. 20) • Configuring the Monitoring Parameters (p. 21) • Configuring the Sweep Generator (p. 22) • Recording Audio into Impulse Response Utility (p. 23) • Deconvolving Your Impulse Response (p. 26) • Editing Your Impulse Response (p. 27) • Auditioning Your Impulse Response (p. 28) • Creating a Space Designer Setting (p. 30) • Saving, Opening, and Reverting to Saved Projects (p. 31) 17 Creating Impulse Responses in Impulse Response Utility 3 Getting to Know the Interface All parameters and functions that you need to create impulse responses are contained in a single screen. Monitor and Sweep Generator section Hardware I/O Assignment area Editing area Inputs/Track section The Impulse Response Utility interface is divided into four areas: • Hardware I/O Assignment area: Contains pop-up menus that enable selection of the audio input and output device. • Monitor and Sweep Generator section: Contains monitoring and sine sweep generation parameters, plus buttons to deconvolve your audio tracks into an impulse response, and to audition your IR. • Inputs/Track section: Lists all audio tracks used for your impulse response recordings. • Editing area: Displays the audio information of the currently selected audio track. Understanding the Workflow Creating an impulse response in Impulse ResponseUtility consists of the following stages: Stage 1: Creating a New Impulse Response Project Configure your Impulse Response Utility project for the number of tracks your impulse response format requires. Stage 2: Setting Impulse Response Utility Parameters Set the hardware I/O, monitor, and sweep parameters for your audio track recordings. 18 Chapter 3 Creating Impulse Responses in Impulse Response Utility Stage 3: Recording Use Impulse ResponseUtility to record the audio tracks needed for your impulse response. Stage 4: Deconvolving Your Audio Recordings Assuming you have recorded sine sweeps, click Deconvolve after all audio tracks have been recorded. Impulse Response Utility will generate an impulse response from your tracks. Stage 5: Editing and Auditioning Cut silent portions, apply fades, and so on, to optimize your impulse response. Stage 6: Creating a Space Designer Setting Click Create Space Designer Setting when finished with the steps above. This adds the newly created impulse response to your list of available Space Designer settings. Creating Your Project When you first open Impulse ResponseUtility, you will be presented with the New Impulse Response Project dialog. This is the first step in creating a new impulse response project. You can also create a new impulse response project by choosing File > New Project (or pressing Command-N). Impulse Response Utility offers formats ranging from conventional stereo impulse responses, true stereo (where each channel is processed discretely), quadraphonic formats, or five, six, or seven channel surround formats. These latter formats can be in either traditional multi-track, or B-Format encoding. See B-Format Surround Encoding for more information. You can also create multi-channel impulse responsesin Impulse ResponseUtility by using the Mono to Omni Discrete impulse response format. This only requires the recording of one speaker by as many “channel” microphones as needed (for the chosen format). The resulting impulse response places a lower strain on your CPU. See Recording a Mono to Omni 5 Channel Impulse Response. To create a new impulse response project 1 Choose an impulse response format from the Configuration pop-up menu. Chapter 3 Creating Impulse Responses in Impulse Response Utility 19 In the window below the Configuration pop-up menu, the dialog displays the number of speaker and microphone positions required by the selected format. 2 Click OK This exits the New Impulse Response Project dialog, and the required number of tracks (determined by the format you chose) are shown in the Inputs/Track section. Assigning Input and Output Hardware You need to set up the audio input and output device in the Hardware I/O Assignment area before you can use Impulse Response Utility. The audio input selection determines the audio device used to record audio tracks. The audio output selection determines the audio device used to monitor the recorded signal, and to play back the generated sine sweep. To select an audio input device µ In the Audio Input pop-up menu, choose an audio interface driver. To select an audio output device µ In the Audio Output pop-up menu, choose an audio interface driver. Note: Although the Hardware I/O Assignments area also displaysthe currentsample rate, you cannot change the sample rate of your impulse response project in Impulse Response Utility. If you want to record your audio tracks at a different sample rate, you will need to change it in the Audio MIDI Setup utility, or in the software for your audio interface (if applicable). Consult the documentation for your audio interface if you’re unsure. 20 Chapter 3 Creating Impulse Responses in Impulse Response Utility Configuring the Monitoring Parameters Once you have recorded sine sweep tracksinto Impulse ResponseUtility, you can monitor them through a stereo output of your choice. The monitor controls determine the monitor channel and level. You can also mute the monitor section. To select the stereo monitor output channels µ Choose the desired stereo output pair from the Monitor Channel menu. To adjust the output level of the monitored signal 1 Click inside the Monitor Level field. 2 Do one of the following: • Drag left (or down) to reduce the volume, or right (or up) to raise the volume. • Type a numeric value for the monitor level (any value above 0 dB will set the monitor level at 0 dB). Important: To avoid audio feedback when recording, be sure to mute the monitor output. To mute the monitor output µ Select the Monitor Mute checkbox or press the M key. Chapter 3 Creating Impulse Responses in Impulse Response Utility 21 Configuring the Sweep Generator The sweep generator produces a sine wave that sweeps smoothly from 20 Hz up to 20 kHz. The sweep generator parametersset the hardware output, volume, length, reverb time, and pre-roll of the sine sweep. • Sweep Channel pop-up menu: Choose the input channel that you want to use. • Test Tone pop-up menu: Choose a test tone frequency for the integrated, sustaining (in other words, non-sweeping)sine wave tone generator. Thisfacility helps you to calibrate your hardware outputs. Use thistest tone to ensure that your hardware output channel is connected properly, and that your speakers can reproduce the selected sine wave frequency. • On checkbox: Select to hear the test tone. • Sweep Level field: Sets the level of the test tone. • Sweep Length pop-up menu: Sets the sweep duration. Ideally, you want your sine wave to be short. This avoids artifactsin your recording due to air motion, rattling of interiors, and other ambient noise. Unfortunately, short sweeps may not yield high enough signal-to-noise ratios in some recording situations. If you find that the results obtained from recording with a 10-second sweep aren’t all you hoped for, try the 50-second sweep. There are three length options for the sine sweep: • 10s: A 10-second sine sweep • 50s: A 50-second sine sweep • Off: No sine wave sweep. Choose this setting if you are recording a starter pistol impulse. • Reverb Time field: Determines the maximum recording time for each track. In order to accurately capture the acoustic properties of a space, you should set a value that is long enough to capture the decay phase of all reverberations and echoes. 22 Chapter 3 Creating Impulse Responses in Impulse Response Utility If you are using the sweep generator, the reverb time will start when the sine sweep ends. If you have the Sweep Length set to Off (in order to record a starter pistol impulse response), the Reverb Time parameter determines the entire length of the recording. • Preroll checkbox: You want to be sure that any operator noise,such astyping, readjusting microphones, and so on, is not recorded. You can set a pre-roll for just this purpose; recording won’t start immediately, giving you time to finish typing, make last-minute mic corrections, and so on. The pre-roll length equals the time you set with the Reverb Length parameter. Recording Audio into Impulse Response Utility Once you have made hardware assignments and configured the monitor and sine sweep parameters, it’s time to start recording audio tracks. If you are using the sweep generator, you will hear the sine wave sweep up through its frequency range. Impulse Response Utility will record the result onto the selected audio track(s). If you have set the sweep generator to Off, click Record, and shoot your starter pistol. Impulse Response Utility will record the resulting impulse response onto the selected track. To select an audio track Do one of the following: µ Click in a track lane. µ Use the Up and Down Arrow keys to navigate through the track list. To record in Impulse Response Utility 1 Select an audio track in the Inputs/Track section. 2 Configure the audio track for recording. 3 Repeat this step for each track required by the chosen format. 4 Click the Sweep/Record button to begin recording. Chapter 3 Creating Impulse Responses in Impulse Response Utility 23 Configuring Audio Tracks for Recording The Inputs/Track section is automatically filled with the number of tracks required for the impulse response recording, based on your selections in the New Impulse Response Project dialog. Every track lane in the Inputs/Track section has a number of parameters. Some are automatically configured by Impulse Response Utility; others you will need to set before recording. Track Parameters • Speaker Position pop-up menu: Selects the speaker position label for the selected track. Both Impulse Response Utility and Space Designer use these labels to identify, and process, the audio files that comprise a multi-channel stereo or surround impulse response. Impulse Response Utility automatically sets the speaker position label for each track, but you can change these labels to any other position (available in the current impulse response format), if desired. • Mic Position pop-up menu: Selects the mic position label for the selected track. Both Impulse Response Utility and Space Designer use these labels to identify, and process, the audio files that comprise a multi-channel stereo or surround impulse response. Impulse Response Utility automatically sets the mic position label for each track, but you can change these labels to any other position (available in the current impulse response format), if desired. • Input pop-up menu: Sets the physical input for each track. Be sure to select the correct input before recording. • S[olo] button: Click to engage or disengage solo mode for the selected track. When the Solo button is engaged (yellow), the input signal is routed to the monitor section, and the input level is displayed in the VU meter (see “VU meter” below). Only one track can be soloed at a time. • R[ecord-Enable] button: Places the selected track into record-ready mode. The R button turns red when engaged. Clicking this button also activates the Solo button for the selected track, allowing you to monitor the input signal before recording. You can record-enable several tracks at once, for multi-channel recording. When you click Sweep/Record, a recording will be made on all record-enabled tracks. • L[ock] button: As soon as one track is locked, the sweep generator parameters are also locked. This ensures that any subsequent recordings will use identical sweep settings. This is necessary, as every track must use an identical sine sweep—in order to produce a phase coherent, accurate, multi-channel impulse response. 24 Chapter 3 Creating Impulse Responses in Impulse Response Utility • Peak field: Displays the peak level value in dB. If the level ever exceeds 0 dB, the peak value is held until cleared. Clicking the Peak column header resets the Peak readout for all tracks. • Level: Displays input meters for each track. These level meters always show the current level of the physical inputs. VU Meter Measures either the signal level present at the (soloed) track input, or the sweep generator output. During playback of recorded audio, the VU meter displaysthe level of the selected track. A status message below the VU meter shows its current operating mode. The VU meter scale ranges from 0% to 100%, with 100% equalling 0 dB. Making a Recording Once you have configured and record-enabled the desired tracks, click the Sweep/Record button. If you are using the sweep generator, the button shows “Sweep.” If you are not using the sweep generator (Sweep Length parameter is set to Off) the button shows “Record.” • Clicking Sweep automatically startsthe recording process and generatesthe sine sweep. The VU meter is automatically switched to display the sweep generator output. • Clicking Record automatically begins the recording process. Shoot your starter pistol and Impulse Response Utility will record the audio. Recording will continue until the entire sine sweep (if the sweep generator is being used) and Reverb Length time has elapsed. The recording automatically ends. You can abort the recording process by clicking the Sweep/Record button. Note: The Sweep/Record button is disabled if no track is record-enabled. Chapter 3 Creating Impulse Responses in Impulse Response Utility 25 Automatic Saving of Projects Impulse Response Utility records into your computer’s RAM, not to your hard disk. This means that nothing you have recorded is saved, until you save your project. For your convenience, Impulse Response Utility automatically saves your project to disk after every recording. If you haven’t saved your project, the Save dialog is opened, allowing you to name your project, and choose a hard disk location. If you have already saved your project, the save process happens automatically. See Saving, Opening, and Reverting to Saved Projects for more information. Deconvolving Your Impulse Response Deconvolution isthe process used to create impulse responsesfrom (recorded) broadband audio sine sweeps. If you use the sweep generator, you will need to deconvolve your audio recordings—in order to make them usable as an impulse response. To deconvolve your audio tracks Do one of the following: µ Click the Deconvolve button. µ Choose Edit > Deconvolve (or press Shift-Command-D). Following deconvolution, your audio tracks will be a single impulse response that you can audition, edit, and turn into an .sdir setting. Note: While it is possible to deconvolve each audio track once recorded, there’s really no point in working this way; it’s far more efficient to wait until all tracks are recorded, and then deconvolve them. 26 Chapter 3 Creating Impulse Responses in Impulse Response Utility Editing Your Impulse Response When you have finished recording your audio tracks, you may feel that they have superfluous silence at the beginning or end of the file, don’t fade out early enough, and so on. To address these minor issues, Impulse Response Utility allows you to cut, crop, and fade your audio files in the Editing area. To view an audio file in the Editing area µ Select the audio file. Your audio file will automatically appear in the Editing area. You can choose from three different display modes by clicking the buttons at the top of the Editing area: • Waveform button: Shows the recorded audio as a standard waveform. The horizontal axis displaysthe elapsed time. The vertical axis displaysthe audio level as a percentage. • Energy button: Shows the sound energy distribution over time. The horizontal axis displays the elapsed time. The vertical axis displays audio levels in dB. • Spectrogram button: Shows the frequency distribution over time. The horizontal axis displays the elapsed time. The vertical axis displays the frequencies, which are color-coded by dB range. The color legend in the upper-right corner of the Editing area indicates the color schema. These display modes allow you to effectively analyze your waveforms, making it easy to identify material you need to cut or crop, or that requires a fade. The Spectrogram mode, in particular—which simultaneously shows frequency, level, and time—allows for very detailed analysis of your audio. To select and play part of an audio file in the Editing area 1 Drag horizontally over the desired section. Chapter 3 Creating Impulse Responses in Impulse Response Utility 27 2 Audition yourselection by clicking the Play button. Click the Cycle button to continuously play back the selected track. Tip: Use the Space bar to toggle playback, or the C key to toggle cycle playback. To edit the selected part of an audio file µ Choose one of the editing operationsfrom the buttons at the top-left corner of the Editing area: • Crop button: If you make a selection that doesn’t extend to either the beginning or end of the audio, the left edit button activates the Crop function. Clicking this button will remove the audio to the right and left of your selection, without touching the selected audio. You can also choose Edit > Crop (or press Command-X) to crop. • Cut button: If you make a selection that extends to either the very beginning or very end of the audio, the left edit button activates the Cut function. Clicking this button will remove the selected audio, without touching the unselected audio. You can also choose Edit > Cut (or press Command-X) to cut. • Fade button: If you make a selection that includes either the very beginning or end of the audio, you can select the Fade function. Clicking this button creates a gradual fade over the length of the selection area. You can also choose Edit > Fade (or press Command-F) to fade. Note: In order to maintain phase coherency between all tracks of your impulse response, edits are performed across all tracks equally. To ensure that your impulse response cannot include tracksthat are not edited equally, you are prevented from recording further tracks once an edit has been made. Auditioning Your Impulse Response To really know how your impulse response will sound when used in Space Designer, you need to be able to listen to it in context. Impulse Response Utility includes an Audition window for just this purpose, where the loaded impulse response can convolve test audio files. The Audition window is divided into three sections: the Impulse Response area, the Monitor area, and the Audio Test Files area. 28 Chapter 3 Creating Impulse Responses in Impulse Response Utility The appearance of the Audition window changesslightly when using a B-Format impulse response. The B-Format Audition window removes the Output Channel parameter from the Track area and includes a Loudspeaker area: Audition B-Format Impulse Responses window Audition Impulse Responses window Impulse Response Utility allows up to five audio files to be loaded/used as sources when auditioning your impulse response. The Audition window also includes four test source files. To open the Audition window µ Click the Audition IR button. The Audition window will open. All editing functions are disabled while the Audition window is open. Audition Impulse Response Window Parameters • Enable checkbox: Enables or disablesindividual impulse response recordings. Use these boxes to select the specific file (or files) you want to audition. • Input IDlabel: Identifiesthe specific impulse response file by itsspeaker > mic positions. • Output Channel pop-upmenu (not available for B-Format Impulse Responses): Selectsthe physical output channel used for playback of the selected impulse response. • Mix field: Determines the ratio of dry test source signal to wet effect signal. Chapter 3 Creating Impulse Responses in Impulse Response Utility 29 • Monitor Level field: Sets the overall auditioning volume. • Test Audio File buttons: Plays one of the four included test source audio files. • Open buttons: Click to load an audio file for use as a test source. Any uncompressed audio file can be used. • Play buttons: Click to play the selected audio file through the enabled impulse response file (or files). Loudspeaker Area Parameters (B-Format Specific) • Number of Loudspeakers field: Determines the number of loudspeakers that Impulse Response Utility will decode the impulse response into. Click the arrows to increase or decrease the number of speakers, or double-click the number of speakers and type in a new value. • Loudspeaker Angle field: Allows you to configure the angle of each loudspeaker. The B-Format decoding takes this into account when re-creating the recorded space. • Output Channel pop-up menu: Sets the physical output channel for the selected loudspeaker. Creating a Space Designer Setting Once you are satisfied with your impulse response, the final step is to generate an .sdir file, and a plug-in setting. When done, your newly created impulse response can be used in Space Designer. To create a Space Designer setting Do one of the following: µ Click the Create Space Designer Setting button. µ Choose File > Create Space Designer Setting. Impulse Response Utility will generate an .sdir file of your impulse response and save it in the following directory: ~/Library/Application Support/Logic/Impulse Responses. A plug-in setting file for your impulse response is also generated and saved in the following directory: ~/Library/Application Support/Logic/Plug-In Settings/Space Designer. The next time you open Logic Pro, your newly created impulse response will be available to Space Designer. 30 Chapter 3 Creating Impulse Responses in Impulse Response Utility Saving, Opening, and Reverting to Saved Projects The Impulse Response Utility project file is a Mac OS X package file, that contains all files associated with the project. Saving Projects Impulse Response Utility automatically saves your project as soon as you record audio (see Automatic Saving of Projects). You can manually save your project at any time, however. You can also open a previously saved project, or revert the current project back to its last saved state. To save your project with its current name and location µ Choose File > Save Project (or use Command-S) to save your IR Project with its current name, in its current location. To save your project with a new name or location µ Choose File > Save As (or use Command-Shift-S). Opening Projects If you’d like to continue working on a previously saved project, you first need to open it. To open a project µ Choose File > Open Project (or press Command-O), then navigate to your project file. µ Choose File > Open Recent to open a hierarchical menu of recently opened project files. Reverting to Saved Projects If you are unhappy with the edits or recordings made in your current project—and you have saved the project—you can use the File > Revert to Saved command. This returns the project to its last saved state. Note: Once you use the Revert to Saved command, you will lose all unsaved changes. Chapter 3 Creating Impulse Responses in Impulse Response Utility 31 You aren’t limited to creating impulse responses from rooms and spaces. You can make an impulse response from any device that you can play a broadband sine sweep into (and record the results). Two examples are guitar speaker cabinets and hardware processing devices, such as tube equalizers and reverb effects units. This chapter covers the following: • Recording Impulse Responses from Guitar Speakers (p. 33) • Recording Impulse Responses from Hardware Devices (p. 34) Recording Impulse Responses from Guitar Speakers The sound of an electric guitar through a guitar amplifier is very heavily influenced by the frequency response and tonal color of the guitar speaker cabinet. If you make an impulse response from a guitar speaker cabinet, and then run a direct guitar amp signal through that impulse response in Space Designer (set to 100% wet), the direct signal will sound as if it was played through the speaker cabinet. You will still need a microphone and audio interface to create an impulse response from a guitar speaker cabinet, but you won’t need an additional monitor speaker for the sine sweep—you will play the broadband sine wave into the guitar amp/speaker itself. If your guitar amplifier has an effects return, you can use it to create the impulse response. If your guitar amp does not have an effects return, you can either use a “re-amp” box (that will raise the impedance of your audio interface’s line out to the level required by your guitar amplifier at its input), or you can use a line level amplifier in place of your guitar amplifier (to amplify the sine sweep through the guitar cabinet). 33 Recording Impulse Responses from Audio Equipment 4 You can experiment with microphone placement just as you would when miking a physical space, although the most common microphone placement is “close miking”—placing your microphone as near as one inch from the speaker itself. The illustration below shows how you might want to set up your guitar speaker cabinet when creating your impulse response. Guitar amplifier with microphone Audio interface Computer Recording Impulse Responses from Hardware Devices Imagine that you want to create an impulse response from your favorite tube microphone pre-amp, allowing you to use its unique color on your audio. This way, you can run a signal through this impulse response in Space Designer (set to 100% wet) and add the color of your microphone pre-amp to the signal. This scenario requires neither speakers nor microphones. You can simply connect the output from your audio interface to the input of your hardware device, and play the sine sweep through it. Connect the output of your hardware device to the input of your audio interface, and record it back into Impulse Response Utility. You can use this method to make impulse responses from classic hardware reverbs, multi-effects units, equalizers, and so on. You should take care when making impulse responses from hardware effects devices that include modulation effects. Modulations such as phasing, choruses, and so on, interfere with the sine sweep itself, which makes deconvolution difficult or impossible. This is also true for some reverbs, such as classic Lexicon hardware reverb devices, in which the reverb tails are modulated. In these cases, you may be better off sending a recorded impulse (such as a recorded spike or gunshot) through the hardware effects device, instead of a sine sweep. 34 Chapter 4 Recording Impulse Responses from Audio Equipment B-Format is a special way of encoding spatial information. It represents space using four audio streams: one to capture the sound pressure (W), and three to capture the X (front-to-back), Y (left-to-right), and Z (top-to-bottom) room coordinates. The following illustration shows you how these four audio streams interact with each other, to create a three-dimensional spatial image. Height Z Front X Right Y Z Y Left X Rear W Space Designer can decode and convolve these fourstreamsinto reverbs, in allsupported surround formats. Space Designer offers a comprehensive library of B-Format impulse responses that use all four streams (W, X, Y, and Z). As impulse responses do not make use of Z-axis information, Impulse Response Utility only records and encodes information from the W, X, and Y positions, saving CPU resources and disk space. Impulse Response Utility allows you to encode all supported surround impulse response formats in B-Format. This chapter covers the following: • Advantages of B-Format Surround Encoding (p. 36) • Microphone Suggestions for B-Format Recording (p. 36) 35 B-Format Surround Encoding 5 Advantages of B-Format Surround Encoding One advantage of the B-Format is that it can capture a surround image with fewer audio files. Normally, you need to record every speaker position from every microphone position, to correctly record surround information. With B-Format, these four (or three, in Impulse Response Utility) audio streams are all you need to capture audio from each speaker. As an example, imagine you are using a five channel setup, and want to use Impulse Response Utility to create a five channel impulse response. Using traditional methods, you would need to record all five speakers from all five microphone positions, resulting in 25 audio files. If you choose to create your project as a five channel B-Format impulse response, you will only need to record 15 audio files—three audio recordings (W, X, and Y) from each of the five speaker positions. As you can see, B-Format encoded surround impulse responses require far fewer audio files, which means they require less hard drive space, as well as needing less RAM and CPU cycles when decoded in Space Designer. A second advantage to B-Format encoding is phase coherency when using multiple microphones at once. Whenever you use multiple microphones, differences in the time it takes sound to reach each microphone can result in phase cancellations and phase shifts, which can affect the quality of your impulse response. As the point of reference is always the same when using B-Format encoding, there will be no phase issues, even when using multiple microphones to record your impulse response. Microphone Suggestions for B-Format Recording Perhaps the ultimate B-Format recording microphones are the SoundField single point source microphone series. These microphones contain all the capsules you will need to make a complete B-Format reference recording in one pass, and include hardware to send the separate axis streams to individual Impulse Response Utility tracks. You will only need to swivel the mic once toward each speaker position, and the mic and processing hardware does the rest. For those who can’t afford SoundField mics, Impulse ResponseUtility provides additional microphone optionsfor B-Format recording. Capturing the W (sound pressure) signal requires an omni-directional microphone. Capturing the X and Y axis signals requires a microphone with a figure-eight pattern (to capture signal from the front and back of the mic). Therefore, with two figure-eight patterned microphones—one pointed directly at the speaker source (X), and another positioned perpendicularly (Y)—and an omni-directional microphone for the sound pressure (W), you can record each speaker position in one pass. Be sure to arrange the microphones so that their capsules are as close as possible to each other—ideally, you want to have a single, tight point of reference for each speaker position. 36 Chapter 5 B-Format Surround Encoding You will need to swivel each of the figure-eight pattern microphones to each speaker position. The omni-directional microphone will not need to be swiveled, as it has a 360-degree capsule. Even if your budget is too limited for three separate microphones, you can still create B-Format impulse responses by recording each audio stream separately into Impulse ResponseUtility. All you need is a microphone that allows you to switch between omni-directional and figure-eight patterns. Many good microphones(at all budget levels) have this capability. You will need to do a significant amount of pattern-switching and microphone swiveling, but it can be done. Chapter 5 B-Format Surround Encoding 37 This appendix walks you through the complete process of creating an impulse response, from project start through to final Space Designer setting. For this tutorial, imagine that you have permission to record in a particularly good-sounding local concert hall. You have decided to record a discrete five channel surround impulse response, as you’ll probably never have this opportunity again. This appendix covers the following: • Creating a Five Channel Surround Impulse Response (p. 39) • Recording a Mono to Omni 5 Channel Impulse Response (p. 40) Creating a Five Channel Surround Impulse Response The stages outlined below should be followed when you want to create a discrete five channel surround impulse response. Stage 1: Microphone and Speaker Setup The first thing you’ll want to do is set up your speakers and microphones. Imagine you’ve decided to use the virtual listener approach—which requires five speakers and at least one microphone in the middle—which can be turned toward each speaker in turn. Ideally, you will have five identical, powered monitors. This will save you time when recording audio, and will allow you to see all speakers at once, to ensure they are each the same distance from the corners and walls, and so on. When all speakers have been positioned, you need to set up your microphone in the middle of the hall. Make sure everything is properly connected to your audio interface. Stage 2: Creating a New Project The next step is to open Impulse Response Utility and create a new five channel impulse response project. The New Impulse Response Project dialog informs you that this format requires five speaker positions and five mic positions. When you exit the dialog, 25 audio tracks will appear in the Inputs/Track section—one for each speaker position, from every microphone position. 39 Impulse Response Utility Tutorial A p pendix Stage 3: Configuring Impulse Response Utility Parameters Position your microphone toward the speaker you want to record (the left front speaker, for example). Set up the Monitor section, sweep generator, and input for the selected track. Stage 4: Recording Record-enable the selected track, and click the Sweep button. Impulse Response Utility will prompt you to name and save the new project after your first recording. Swivel the microphone to the second surround position, record-enable the track, and click the Sweep button. Once the recording has completed, the project will automatically be saved in the background. You may want to play back the track in the Editing area, just to double-check the recording. Repeat this process another 23 times, until you have recorded all 25 audio tracks needed to capture all possible microphone and speaker position combinations. Stage 5: Deconvolving Click the Deconvolve button after you have recorded (and checked) the audio files at each position. At this point, you should save the project. Stage 6: Editing and Auditioning If you have any unwanted silence at the beginning or end of your impulse response, use the Editing area to remove it. Use the Audition window to play some test material through your impulse response, to make sure that you’re satisfied with the result. If not, edit your impulse response further. If you still aren’t satisfied, go back to step 2 or 3, and start over. Stage 7: Creating a Space Designer Setting Once you are fully satisfied with your impulse response, you’re ready to click Create Space Designer Setting. Impulse ResponseUtility generatesthe .sdir and Space Designersettings files. Your new impulse response will be available the next time you open Space Designer. Recording a Mono to Omni 5 Channel Impulse Response The process in Creating a Five Channel Surround Impulse Response is an example of recording a true surround impulse response. In many cases, it is sufficient to record one speaker position, thus creating a mono/omni discrete impulse response. Mono/omni discrete impulse responses are not only easier and faster to record, but also place a lower strain on the CPU. To create a mono to Omni 5 Channel impulse response 1 Choose the Mono/Omni to 5 channel template in the New Projects dialog. You will see that mono/omni discrete projects only require one speaker. 2 Aim your speaker toward the ceiling or a back wall. 40 Appendix Impulse Response Utility Tutorial 3 Point your microphone to the first surround position: Front-Left, for example. 4 Record the sweep. 5 Repeat the process for all remaining microphone positions. Appendix Impulse Response Utility Tutorial 41