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Tracktion 4 Reference Manual
31
Make mono: Use this option to convert a stereo audio le into a mono le. You can opt to merge the
two stereo channels together, or to disregard either the left or right channels. This option is not avail-
able when working with mono les (Fig. 1.9.6).
Change sample rate: If you wish to have Tracktion convert the sample rate of an audio le to a differ-
ent rate, you can use this option (Fig. 1.9.7).
Change bit depth: This option allows you to alter the bit depth of the audio le (Fig. 1.9.8).
Reverse: This option can be used to reverse the audio le. Reversed audio les are literally played
backwards. There are no options available for this operation (Fig. 1.9.9).
Figure 1.9.6
Figure 1.9.8 Figure 1.9.9Figure 1.9.7
- REFERENCE MANUAL 1
- Tracktion 4 Reference Manual 2
- Table of Contents 3
- Introduction 5
- Figure I.2.1 6
- Sample Resolution (Bit Depth) 7
- Introduction 3: MIDI Basics 9
- Chapter 1: The Projects Page 11
- 1.1 : An Overview 12
- Figure 1.1.2 13
- Figure 1.1.3 13
- Figure 1.1.4 14
- Figure 1.2.1 16
- Figure 1.2.2 16
- Figure 1.2.3 17
- Figure 1.2.5 18
- Figure 1.2.4 18
- 1.3 : The Items List 19
- 1.4 : The Control Panel 20
- Figure 1.4.3 21
- Figure 1.4.4 22
- 1.5 : The Clipboard Panel 23
- 1.6 : The Search Tool 24
- 1.7 : Template Projects 25
- 1.8 : Edit Properties 26
- Figure 1.8.3 27
- 1.9 : Audio Item Properties 28
- Figure 1.9.3 29
- The Basic Editing Options 30
- Figure 1.9.6 31
- 1.10 : MIDI Item Properties 32
- 1.11 : Movie Item Properties 33
- Chapter 2: The Settings Page 34
- 2.1 : Audio I/O 35
- PC And ASIO Drivers 37
- Mac And CoreAudio Drivers 37
- Input Device Properties 37
- Figure 2.1.3 39
- Output Device Properties 40
- 2.2 : MIDI I/O 41
- MIDI Input Device Properties 42
- MIDI Output Device Properties 43
- 2.3 : User Interface 44
- Using The Colour Editor 47
- Figure 2.3.3 48
- 2.4 : Plug-Ins 49
- 2.5 : Loop Settings 50
- 2.6 : File Settings 52
- 2.7 : Key-Mappings 53
- 2.8 : Control Surfaces 54
- Custom Controllers 55
- Figure 2.8.3 56
- Figure 2.8.4 56
- Figure 2.8.5 56
- Figure 2.8.6 57
- Figure 2.8.7 58
- Chapter 3: The Edit Page 59
- 3.1 : An Overview 60
- Figure 3.1.3 61
- Figure 3.1.4 61
- Figure 3.1.5 62
- Figure 3.1.6 62
- Figure 3.1.7 62
- Figure 3.1.8 63
- Figure 3.1.9 63
- 3.2 : The Quick Find Panel 64
- Figure 3.2.4 65
- The Loops Mode 66
- The Markers Mode 67
- The Clipboard Mode 67
- 3.3 : Working With Tracks 68
- Folder Tracks 69
- Figure 3.3.3 70
- Figure 3.3.4 70
- Figure 3.3.5 71
- Figure 3.3.6 71
- Figure 3.3.7 72
- Figure 3.3.8 72
- The Track Properties 73
- Figure 3.3.10 74
- Figure 3.3.11 74
- Folder Track Properties 75
- 3.4 : The Filter Section 76
- The Right-Click Options 77
- The Mute / Solo Buttons 78
- The Volume / Pan Filter 79
- Figure 3.4.8 80
- The Level Meter Filter 81
- The 4-Band Equaliser 82
- The Tracktion Sampler 83
- The Aux Send / Return Filters 85
- The ReWire Filter 86
- Figure 3.4.22 87
- 3.5 : The Control Section 88
- Figure 3.5.3Figure 3.5.2 90
- 3.6 : The Transport Section 91
- The Master Filter Section 92
- Figure 3.6.2 93
- Figure 3.6.3 93
- Chapter 4: Working With Clips 95
- 4.1 : An Overview Clips 96
- The Clip Tools 97
- 4.2 : Working With Clips 98
- Selecting Multiple Clips 100
- 4.3 : MIDI and MIDI Clips 101
- Figure 4.3.2 102
- Figure 4.3.3 102
- Figure 4.3.4 102
- Figure 4.3.5 103
- Figure 4.3.8 104
- Figure 4.3.6 104
- Figure 4.3.7 104
- The MIDI Clip Properties 105
- Figure 4.3.11 106
- Figure 4.3.12 107
- Figure 4.3.13 107
- Figure 4.3.14 107
- Figure 4.3.15 108
- Figure 4.3.16 109
- 4.4 : The MIDI Editor 110
- Figure 4.4.2 111
- Figure 4.4.3 111
- The Velocity Editor 112
- Editing Controller Events 113
- Step Entry 114
- Figure 4.5.1 115
- Figure 4.5.2 116
- 4.6 : Audio Clips 117
- Figure 4.6.2 118
- Figure 4.6.5 119
- Figure 4.6.3 119
- Figure 4.6.4 119
- Figure 4.6.7 120
- Figure 4.6.6 120
- Figure 4.6.8 121
- 4.7 : Looping Clips 122
- Looping MIDI Clips 123
- Figure 4.7.4 124
- Figure 4.7.5 125
- Figure 4.7.7 125
- Figure 4.7.6 125
- Figure 4.7.8 126
- Chapter 5: Recording 127
- Figure 5.2.1 129
- Figure 5.2.3 129
- Figure 5.2.2 129
- Normal Recording Mode 130
- Punched Recording Mode 131
- Looped Recording Mode 131
- Step Recording Mode 132
- And Snap To Grid 133
- Signatures 134
- Figure 6.2.2 135
- Figure 6.2.3 136
- Figure 6.2.4 137
- Figure 6.2.5 137
- Figure 6.3.1 138
- Figure 6.3.2 138
- Figure 6.3.3 139
- Figure 6.3.4 139
- Figure 6.4.1 140
- Figure 6.5.1 141
- Working With MIDI Clock 142
- Working With MIDI Timecode 142
- MIDI Machine Control (MMC) 143
- Figure 6.7.2 144
- Figure 6.7.1 144
- Chapter Contents 145
- Figure 7.2.1 146
- 7.3 : Mix Automation 147
- Figure 7.3.2 148
- Figure 7.3.3 148
- Figure 7.3.4 Figure 7.3.5 148
- Figure 7.3.6 148
- Figure 7.3.7 148
- Figure 7.3.8 149
- Figure 7.3.9 149
- Figure 7.3.10 150
- Figure 7.3.11 151
- Figure 7.3.13 152
- Figure 7.3.12 152
- Figure 7.3.14 153
- Figure 7.3.15 153
- Figure 7.3.16 154
- The Automation Button Options 155
- 7.4 : Using Control Surfaces 156
- Figure 7.4.1 157
- Figure 7.4.2 157
- Figure 7.4.3 158
- Figure 7.4.4 158
- Figure 7.4.5 159
- Figure 7.4.6 160
- Figure 7.4.7 161
- Figure 7.4.8 161
- Figure 7.4.9 162
- Figure 7.4.10 163
- Figure 7.4.11 164
- Figure 7.4.12 165
- Figure 7.4.13 165
- Using The Mackie C4 166
- Using the Remote SL 169
- And Rendering 172
- Figure 8.1.1 173
- Figure 8.1.2 174
- 8.2 : Exporting Audio 175
- Figure 8.2.2 177
- 8.3 : Exporting MIDI 178
- Rendering Tracks 179
- Freezing Tracks 180
- Figure 8.5.1 181
- Figure 8.5.2 181
- Figure 8.6.1 182
- Chapter 9: Rack Filters 183
- Figure 9.1.2 184
- The Rack Filter Editor 185
- Figure 9.2.2 186
- Figure 9.2.3 186
- Building A Rack By Hand 188
- Figure 9.3.3 189
- Figure 9.3.4 189
- Figure 9.3.5 190
- Figure 9.4.1 190
- Figure 9.4.2 191
- Figure 9.4.3 191
- The Track Spanning Approach 192
- The Modular Approach 193
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