Super Audio Center, LLC

3063 Sterling Circle East #5, Boulder, Colorado 80301, U.S.A.

USER GUIDE 2.1

 SONOMA iii
User Guide Version 2.1

Published by:
Super Audio Center, LLC
Copyright © 2005, Super Audio Center, LLC under license from Sony Corporation. All rights reserved.
This publication is protected by copyright and all rights are reserved. No part of it may be reproduced or transmitted
by any means or in any form, without prior written consent from Super Audio Center, LLC.
The information in this document has been carefully checked and is believed to be accurate. However, Super Audio
Center, LLC assumes no responsibility for any inaccuracies that may appear in this manual. In no event will Super
Audio Center, LLC be liable for direct, indirect, special, exemplary, incidental or consequential damages resulting
from any defect or omission in this manual, even if advised of the possibility of such damages. The material contained
herein is for informational purposes only.
DISCLAIMER:This document is a User Guide for a system under development. Although Super Audio Center, LLC
will endeavor to keep customers apprised of changes, all aspects of this specification are subject to
change without notice.
NOTE: The Sonoma logo is a registered trademark of Super Audio Center, LLC.

Revision History
Version Date Description
2.1 2005-09-01 Sonoma Ver. 2.1 released to field: first 32-track release.
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User Guide Version 2.1
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User Guide Version 2.1

GLOSSARY
ADC analogue to digital converter
CD compact disc
CD-ROM compact disc - read-only memory
DAC digital to analogue converter
DAW digital audio workstation
dB decibel
dBSACD decibel levels relative to a 0 dB threshold equal to -6 dB from the theoretical maximum DSD level
DC direct current
DEST destination EDL
DSD Direct Stream Digital
DSD-IFF Direct Stream Digital Interchange File Format
DSP digital signal processor
DST Direct Stream Transfer
DVD Digital Versatile Disc
EBU European Broadcast Union
EDL edit decision list
EQ equalization
EMID edit master identification code
FPGA field-programmable gate array
fps frames per second
Fs a sampling frequency of 44100 Hz
GUI graphical user interface
Hz hertz
IEC International Electrotechnical Commission
IEEE Institute of Electrical and Electronic Engineers
IEEE-1394 an IEEE serial bus technical specification commonly known as FireWire
I/O input/output
ITU International Telecommunications Union
kHz kilohertz
LFE low frequency effects (also known as .1 or sub-woofer) track
L/S loudspeaker
LTC longitudinal timecode
Max Peak maximum peak signal value
MB megabytes
MHz megahertz
ms milliseconds
NL nowline
NT Windows™ New Technology 32-bit operating system
NTFS Windows™ NT File System
OS operating system
PC personal computer
PCI peripheral component interconnect
PCM pulse code modulation
PSU power supply unit
RAM random access memory
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RMS root mean square

RTZ return-to-zero
s seconds
SA-CD Super Audio Compact Disc
SAM Source Audio Mapper
SCSI small computer system interface
SMPTE Society of Motion Picture and Television Engineers
SRC source EDL
sync synchronous/synchronization
TM TriMedia (a digital signal processing integrated circuit)
TMFn track mute flag, where n is either 1, 2, 3, or 4
UFID Unique File IDentifier
VITC vertical interval timecode
XP Windows™ eXPerience operating system
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User Guide Version 2.1

CONTENTS
GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . V
CONTENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VII
LIST OF FIGURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XXI

CHAPTER 1: INTRODUCTION
THE SONOMA HARDWARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Security Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Edit Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
LED Status Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Timecode Connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
PC Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Converters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
System Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
THE SONOMA SOFTWARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Launching Sonoma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
RECOMMENDATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
CONVENTIONS USED IN THIS USER GUIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

CHAPTER 2: SONOMA EDITOR WINDOW

MENUS AND TOOLBARS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Keyboard Shortcuts and Toolbar Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Debug Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Status Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
EDIT DECISION LISTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Opening an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
New EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
New/import sound files.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Saving an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Saving with the same filename . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Saving with a new filename. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Closing an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
INGREDIENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Edit Points and Fade Pivot Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Ingredient Gains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
viii CONTENTS

Offline Ingredients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
CONTROL PANELS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Processor status lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Monitor source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Mute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Track number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Track recording state. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Track lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Peak Level Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Expanded display mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Track height. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
OTHER EDL WINDOW ELEMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Nowline and Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Upper Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Lower Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
TIME DISPLAYS AND TIMECODE FORMATS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Nowline Position Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Record Time Remaining Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Timecode Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Timecode Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Editing Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

CHAPTER 3: RECORDING
BEFORE RECORDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
THE SYSTEM CONFIGURATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Set Recording Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Recording Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
File Naming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Recording into New Folders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Record Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Monitor Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Monitor Switching While Recording Track Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Monitor Switching While Recording Track Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
TRACK LOCK CONTROLS AND RECORD READY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
DISK ALLOCATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
STATUS BAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
FADE TYPES/LENGTHS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
ERROR PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
BASIC RECORDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
The Record Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Stopping Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Rolling Record. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
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Canceling a Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Monitor Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Mute All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
ADVANCED RECORDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Record to Destination EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Record Edit Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Recording Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Untriggered Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Triggered Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
AFTER RECORDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Punch Record Auto Clean-up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Last Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Undo Recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Discard Last Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Discard Source Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
THE TAKELIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

CHAPTER 4: PLAYBACK
SIMPLE PLAYBACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Play and Stop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Play Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Return To Zero, Rewind, Auto Rewind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
AUDITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Pre-roll Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Auditioning the Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Audition Up To Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Audition After Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Audition Around Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Auditioning Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Audition Up To Edit Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Audition After Edit Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Audition Around Edit Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Audition After Edit Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Audition Up To Edit Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Audition Around Edit Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Auditioning an Edit Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Audition Edit Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Audition Around Edit Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
BOTTLENECKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

CHAPTER 5: ANNEX METERING

DISPLAYING THE ANNEX METERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
THE ANNEX METERS WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Checkboxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
x CONTENTS

The V/H Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

The Preferences Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
The Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
The DC Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
The Audio Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
The 20 kHz - 50 kHz Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
The 50 kHz - 100 kHz Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
The Max. Peak Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
THE ANNEX METERING PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Meter Ranges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Zoom Around Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Metering Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Add EDL Metering Marks on Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Add Ingredient Metering Over Marks on Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Auto-Delete EDL Metering Marks on Transport Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Enable Peak Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Left-clicking in Meter Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Starting the Transport (Rec/Play) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
N seconds after a new peak is reached. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Display Orientation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Meter Toppers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Metering Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Refresh Frequency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Metering Decay Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Reset Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
MOVING/SCALING THE ANNEX METERS WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Moving. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Docking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

CHAPTER 6: SELECTING INGREDIENTS

Track-based Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Selecting Ingredients with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Deselect/Select All Ingredients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Selecting Ingredients with respect to the Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Select Under Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Select Before Nowline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Select After Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Toggle Selection Under Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Select Previous/Next Ingredient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Select Last Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

CHAPTER 7: NAVIGATING AN EDL

ZOOMING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Anchored Zooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Zoom Around Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
 SONOMA xi
User Guide Version 2.1

Zoom Around Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Zoom Around Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Zoom To Include Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Ingredient-based Zooms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Zoom Around Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Zoom Around All Ingredients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Zoom Around Edit Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Fixed Zooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Zoom To Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Zoom To Fixed Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
SCROLLING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Horizontal EDL Scrolling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Vertical EDL Scrolling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Previous Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Next Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Nowline At Left Of Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Nowline Centered in Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Nowline at Right of Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Move Nowline x Seconds to the Left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Move Nowline x Seconds to the Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
NAVIGATING WITH THE LOWER STRIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Changing the EDL bounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Locating the Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
NAVIGATING WITH THE NUMERIC KEYPAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

CHAPTER 8: MANIPULATING CURSORS

WORKING WITH THE NOWLINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Positioning the Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Move Nowline Before Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Move Nowline Before Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Move Nowline Before Selection to Fade-In Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Move Nowline Before Selection to Fade-In End . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Move Nowline After Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Move Nowline After Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Move Nowline After Selection to Fade-Out Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Move Nowline After Selection to Fade-Out End . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Nudging the Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Nudge Nowline Backward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Nudge Nowline Forward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Moving the Nowline to Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Move Nowline To Previous Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Move Nowline To Next Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
WORKING WITH THE EDIT CURSORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Placing the Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Toggling the Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Moving the Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
xii CONTENTS

Nudging the Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Nudge Edit Left Backward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Nudge Edit Left Forward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Nudge Edit Right Backward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Nudge Edit Right Forward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Crossed Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Moving the Nowline to an Edit Cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Move Nowline To Edit Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Move Nowline To Edit Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

CHAPTER 9: SELECTION-BASED EDITING

Clear/Cut Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Clear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Copy Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Copy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Copy After Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Paste Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Paste (overlay) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Paste After Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Paste Before Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Punch Paste Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Punch Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Punch After Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Punch Before Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Move Selection Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Move Selection After Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Move Selection Before Nowline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Nudge Selection Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Nudge Selection Backward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Nudge Selection Forward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Trim Selection Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Trim Edit Left to Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Trim Edit Right to Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Slice Selection Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Slice Selection at Nowline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Unslice Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

CHAPTER 10: REGION-BASED EDITING AND LINEAR EDITING

THE EDIT REGION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Cut Edit Region and Ripple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Cut Edit Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Cut Edit Region with Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Cut Edit Region and Ripple with Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Copy Edit Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Copy Edit Region with Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Insert Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
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Insert Time with Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

SOURCE AND DESTINATION EDLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Displaying the Source and Destination EDLs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Tiling the Source and Destination EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Aligning the Source and Destination EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Align At Edit Left . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Align At Edit Right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Align At Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Align At Boundaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
LINEAR EDIT COMMANDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
REPLACE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Replace with No Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Replace with 1 Source Edit Cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Replace with 2 Source Edit Cursors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Replace with 1 Destination Edit Cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Replace with 2 Destination Edit Cursors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Replace with 1 Source and 1 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Replace with 2 Source and 1 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Replace with 1 Source and 2 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
4-point Replace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
LAYER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Layer with No Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Layer with 1 Source Edit Cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Layer with 2 Source Edit Cursors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Layer with 1 Destination Edit Cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Layer with 2 Destination Edit Cursors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Layer with 1 Source and 1 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Layer with 2 Source and 1 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Layer with 1 Source and 2 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
4-point Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
INSERT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Insert with No Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Insert with 1 Source Edit Cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Insert with 2 Source Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Insert with 1 Destination Edit Cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Insert with 2 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Insert with 1 Source and 1 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Insert with 2 Source and 1 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Insert with 1 Source and 2 Destination Edit Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4-point Insert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
APPEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

CHAPTER 11: INGREDIENT EDIT CONTROL PANEL

Convention for Absolute Changes and Nudging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
NAVIGATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Changing the Current Ingredient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Ingredient Polarity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
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INGREDIENT EDIT POINTS SECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Trim versus Slip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Absolute changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Relative Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Keyboard Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
INGREDIENT GAIN SECTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Absolute Gain Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Relative Gain Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Interpolating Gains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Keyboard Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
INGREDIENT FADES SECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Fade Length. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Absolute Fade Length Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Relative Fade Length Change. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Keyboard Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Fade Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
ADDITIONAL INFORMATION SECTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Nudge Amounts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Track Number. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Rotate Selection Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Rotate Selection Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Clip Info. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

CHAPTER 12: SPLICES

THE SPLICE COMMAND AND SEQUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
MULTI-TRACK EDITS AND SYNC. GROUPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

CHAPTER 13: THE SPLICE EDITOR CONTROL PANEL

Current Edit and Current Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
EDL SPLICE EDIT MODE DISPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Audition Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Edit-Enable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Resetting the Audition and Edit Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Resetting the EDL Splice Edit Mode Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Exiting the Splice Editor Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Re-entering the Splice Editor Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
AUDITIONING SPLICES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Audition Command Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Audition Outgoing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Audition Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Audition Incoming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Audition Incoming Outtake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Audition Outgoing Outtake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Audition Keyboard Accelerators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Audition Outgoing Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
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Audition Incoming Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

SPLICE EDIT POINTS SECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Outgoing And Incoming Edit Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Splice Edit Point Keyboard Accelerators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Mid-point and Gap/Overlap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Splice Mid-point Keyboard Accelerators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Moving the Nowline to an Edit Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Sync. Constraints. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
SPLICE GAINS SECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Splice Gain Keyboard Accelerators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
SPLICE FADES SECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Fade Length. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Splice Fade Length Keyboard Accelerators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Fade Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
ADDITIONAL INFORMATION SECTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
PREVIOUS/NEXT TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
SOLO CHECKBOX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
PREVIOUS/NEXT EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
NUDGE AMOUNTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
UNSPLICE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

CHAPTER 14: UNDO/REDO

UNDO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
REDO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
UNDO OPTIMIZATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

CHAPTER 15: MARKS

THE MARK CONTROL PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
MARK LIST FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
EDL Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Authoring Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Ingredient Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Error Marks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Metering Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
ADD MARKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
EDL Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Authoring Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Auto-Naming Scheme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Spacing Between Authoring Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Illegal Authoring Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Ingredient Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Adding Text Information at Mark Creation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
MARK LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
TEXT INFORMATION BOX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
TRACK MUTE FLAGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
xvi CONTENTS

Setting Track Muting Flags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Restrictions On Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
AUTHORING MARK OFFSETS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
PREVIOUS/NEXT MARK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
SELECT IN EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
DELETE MARK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Selecting Marks for Deletion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Deleting Selected Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
CHANGING THE TYPE OF A MARK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
MOVE MARK TO NOWLINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
AUDITIONING AN AUTHORING MARK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
SYNC. INGREDIENT MARK TO NOWLINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
SAVE MARK LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Save Mark List To Text File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Save PQ List To Text File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
DELETE EDL METERING MARKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

CHAPTER 16: WAVEFORMS

INGREDIENT WAVEFORMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Make Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Increase Waveform Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Decrease Waveform Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Default Waveform Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Normalize Waveform Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Auto Normalize Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
METERING WAVEFORMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Metering Waveforms On/Off Toggle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Increase Metering Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Decrease Metering Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Metering Waveforms Considerations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Signal Headroom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

CHAPTER 17: SOURCE AUDIO MAPPER

THE MAP SOURCE AUDIO WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Audio Files Required By EDL Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Audio Files Available Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Show Online Files Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Filter Source Audio Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
File Length(s). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
File Name(s) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
File ID(s) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Change/Refresh Disk Selection(s) Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Alternate Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Automatically Open SAM Dialogue Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
 SONOMA xvii
User Guide Version 2.1

ASSOCIATED MAP SOURCE AUDIO WINDOWS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

OFFLINE INGREDIENTS WINDOW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
MISSING SOURCE FILES WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
SCANNING FOR AUDIO FILES WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
MAPPING COMPLETE WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

CHAPTER 18: TIMECODE

LTC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
THE TIMECODE TOOLBAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Incoming Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Calculate from Nowline Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Outgoing Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Calculate from Nowline Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Using Both Offsets in a Timecode Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Chase Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Auto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Auto, No Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
SONOMA IN TIMECODE CHASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
SONOMA AS TIMECODE SOURCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

CHAPTER 19: USER PREFERENCES

EDITING PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Editing Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Nudge Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Cross-fade Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Cross-fade Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Append Edit Gap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Max. Undo Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Undo Optimization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Punch Record Auto Cleanup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Jump and Center Nowline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Zoom Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Splice Editor Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Authoring Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
PLAYBACK PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Playback Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Ramp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Pre-roll/Post-roll Amounts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Alt SA-CD Audition Ramp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
RECORDING PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Recording Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Max Pre-allocated Recording Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
xviii CONTENTS

Recording Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Record Waveforms When Recording Channel Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Record Waveforms When Recording Channel Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
ERROR PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Stop On Data Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
While Playing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
While Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Stop On Other Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
While Playing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
While Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Auto Open The Source Audio Mapper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
WAVEFORM PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Metering Decay Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Signal Headroom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Height of Expanded Tracks (H). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Always Normalize Waveforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
WINDOW PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Linear Edit Tiling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Open EDL Window Maximized . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
TIME FORMAT PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
EDL Time Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Always Show Fade Lengths in Milliseconds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Pre-load Delay for Timecode Chase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Delay Before Auto-following Incoming Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
DSD-IFF PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Loudspeaker Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

CHAPTER 20: AUDIO/CLOCK SOURCE SWITCHING

SONOMA INTERNAL CLOCK, NO AUDIO INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
SONOMA OPTICAL CLOCK, OPTICAL AUDIO INPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
NO CLOCK, NO AUDIO INPUT (HW OFFLINE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

CHAPTER 21: RECOVERING FROM A SYSTEM CRASH

CHAPTER 22: CREATING AN SA-CD EDIT MASTER

THE EDIT MASTER STRUCTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
THE CREATE EDIT MASTER... COMMAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
THE META DATA PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Text Fields. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
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THE CONFIGURATION PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Loudspeaker Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Channel Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Muted Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
THE EXPORT EDIT MASTER PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Audio Source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Output Master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Export Edit Master Directly... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Always Capture Audio on Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Export Edit Master Directly + Always Capture ON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Export Edit Master Directly + Always Capture OFF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Capture Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Export Edit Master Directly OFF + Always Capture OFF + Save Intermediates OFF . . 193
Export Edit Master Directly OFF + Always Capture OFF + Save Intermediates ON . . . 193
Export Edit Master Directly OFF + Always Capture ON + Save Intermediates OFF . . . 193
Export Edit Master Directly OFF + Always Capture ON + Save Intermediates ON . . . . 194
Error Report Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
System Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Export Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
IMPORTANT CONSIDERATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
The Export EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Edit Master Track Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Mute Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
.ENV File Naming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Metering Overloads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Illegal Authoring Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Creating an Edit Master Tape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

QUICK REFERENCE GUIDE

xx CONTENTS
 SONOMA xxi
User Guide Version 2.1

LIST OF FIGURES
1 SCHEMATIC OF THE SONOMA EDIT CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2 TIMECODE CONNECTIONS FOR PC BACK PANEL AND PLUG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
3 OVERALL SONOMA SYSTEM CONFIGURATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
4 THE SONOMA EDITOR WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
5 MAIN AREA OF EDL WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
6 THE NEW EDL CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
7 THE OPEN CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
8 THE SAVE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
9 INGREDIENT FADE PIVOT MIN CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
10 INGREDIENT FADE PIVOT CENTER CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
11 INGREDIENT FADE PIVOT MAX CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
12 INGREDIENTS HAVING THE SAME EDIT POINTS BUT DIFFERENT FADE LENGTHS . . . . . . . . . . . . . . 14
13 SPLICE FADE PIVOT START CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
14 SPLICE FADE PIVOT CENTER CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
15 SPLICE FADE PIVOT END CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
16 AN INGREDIENT DISPLAYING NON-UNITY GAINS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
17 DISPLAY NON-UNITY GAINS CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
18 TRACK CONTROL PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
19 NOWLINE POSITION DISPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
20 RECORD TIME REMAINING DISPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
21 TIMECODE DISPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
22 THE SET RECORDING DIRECTORY CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
23 THE SET RECORDING DIRECTORY DIALOGUE WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
24 THE RECORD TRACK INPUT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
25 THE RECORD TRACK OUTPUT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
26 TRACK CONTROL PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
27 THE STATUS BAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
28 THE RECORD TRIGGER CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
29 THE STOP CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
30 THE PLAY CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
31 THE MONITOR INPUTS CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
32 THE MONITOR OUTPUTS CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
33 THE MUTE/UNMUTE ALL CONTROL BUTTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
34 THE TOGGLE TRIGGERED MODE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
35 THE UNDO CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
36 THE PLAY CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
37 THE STOP CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
38 THE RETURN-TO-ZERO CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
39 THE REWIND CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
40 THE AUTO REWIND CONTROL BUTTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
41 THE PRE-ROLL CONTROL BUTTONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
42 THE AUDITION UP TO NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
xxii LIST OF FIGURES

43 THE AUDITION UP TO EDIT LEFT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

44 THE AUDITION AFTER EDIT RIGHT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
45 THE SHOW NEXT BOTTLENECK CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
46 THE SHOW METERING DATA WINDOW CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
47 THE ANNEX METERS WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
48 THE ANNEX METERING PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
49 THE TRACK SELECTION CONTROL BUTTONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
50 DESELECT ALL CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
51 SELECT ALL CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
52 SELECT STARTING BEFORE NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
53 SELECT ENDING AFTER NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
54 SELECT UNDER NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
55 SELECT PREVIOUS INGREDIENT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
56 SELECT NEXT INGREDIENT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
57 TOGGLE SELECTION UNDER NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
58 ZOOM IN AROUND LEFT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
59 ZOOM OUT AROUND LEFT CONTROL BUTTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
60 ZOOM IN TO CENTER CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
61 ZOOM OUT AROUND CENTER CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
62 ZOOM IN AROUND RIGHT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
63 ZOOM OUT AROUND RIGHT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
64 ZOOM AROUND SELECTION CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
65 ZOOM AROUND ALL INGREDIENTS CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
66 ZOOM TO PRESETS CONTROL BUTTONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
67 ZOOM TO FIXED SIZE CONTROL BUTTONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
68 PREVIOUS PAGE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
69 NEXT PAGE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
70 NOWLINE AT LEFT OF WINDOW CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
71 NOWLINE CENTERED IN WINDOW CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
72 NOWLINE AT RIGHT OF WINDOW CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
73 NUMERIC KEYPAD NAVIGATION CONTROL BUTTONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
74 MOVE NOWLINE BEFORE SELECTION CONTROL BUTTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
75 MOVE NOWLINE AFTER SELECTION CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
76 NUDGE NOWLINE BACKWARD CONTROL BUTTONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
77 NUDGE NOWLINE FORWARD CONTROL BUTTONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
78 MOVE NOWLINE TO PREVIOUS MARK CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
79 MOVE NOWLINE TO NEXT MARK CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
80 THE EDIT CURSORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
81 SET EDIT RIGHT TO NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
82 SET EDIT LEFT TO NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
83 THE CUT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
84 THE COPY CONTROL BUTTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
85 THE COPY AFTER NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
86 THE PASTE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
87 THE PASTE AFTER NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
88 THE PASTE BEFORE NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
89 THE MOVE SELECTION AFTER NOWLINE CONTROL BUTTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
90 THE MOVE SELECTION BEFORE NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
91 THE NUDGE SELECTION BACKWARD CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
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92 THE NUDGE SELECTION FORWARD CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

93 THE TRIM EDIT LEFT TO NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
94 THE TRIM EDIT RIGHT TO NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
95 THE SLICE SELECTION AT NOWLINE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
96 THE CUT EDIT REGION AND RIPPLE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
97 THE COPY EDIT REGION CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
98 THE SOURCE EDL CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
99 THE DESTINATION EDL CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
100 THE REPLACE CONTROL BUTTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
101 THE LAYER CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
102 THE INSERT CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
103 THE APPEND CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
104 THE INGREDIENT EDIT CONTROL PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
105 THE SPLICE EDITOR CONTROL PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
106 THE EDL SPLICE EDIT MODE DISPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
107 THE UNDO CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
108 THE REDO CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
109 AN EXAMPLE OF MARKS IN AN EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
110 THE MARK CONTROL PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
111 THE TRACK MUTING FLAGS DIALOGUE BOX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
112 THE CHANGE MARK TYPE DIALOGUE BOX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
113 A PQ LIST TEXT FILE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
114 THE MAKE WAVEFORMS CONTROL BUTTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
115 THE INCREASE WAVEFORM SCALE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
116 THE DECREASE WAVEFORM SCALE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
117 THE DEFAULT WAVEFORM SCALE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
118 THE NORMALIZE WAVEFORM SCALE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
119 THE ON-THE-FLY METERING ON/OFF CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
120 THE INCREASE METERING SCALE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
121 THE DECREASE METERING SCALE CONTROL BUTTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
122 THE SOURCE AUDIO MAPPER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
123 THE OFFLINE INGREDIENTS WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
124 THE MISSING SOURCE FILES WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
125 THE MAPPING COMPLETE WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
126 THE SCANNING FOR AUDIO FILES WINDOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
127 THE TIMECODE TOOLBAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
128 THE EDITING PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
129 THE PLAYBACK PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
130 THE RECORDING PREFERENCES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
131 THE ERROR PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
132 THE WAVEFORM PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
133 THE WINDOW PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
134 THE TIME FORMAT PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
135 THE DSD-IFF PREFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
136 SA-CD PRODUCTION PROCESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
137 INTERLEAVE STRUCTURE OF AN EDIT MASTER FILE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
138 EDIT MASTER FILE STRUCTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
139 THE DSD-IFF META DATA PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
140 THE LOUDSPEAKER CONFIGURATION PANEL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
xxiv LIST OF FIGURES

141 THE EXPORT EDIT MASTER PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

 SONOMA 1
User Guide Version 2.1

Chapter 1: Introduction

The Sonoma Audio Workstation is a hardware/software system that provides powerful and flexible facilities for
the recording and editing of up to 32 tracks of Direct Stream Digital (DSD) audio.1 DSD is the audio encoding
format for Super Audio CD (SA-CD),2 and comprises a 1-bit Sigma-Delta Modulated signal that has a sampling
frequency of 2.8224 MHz, or 64 times the 44.1 kHz sampling frequency of conventional CD.

Note: except where indicated, all functional descriptions in this User Guide apply equally well to
8-track, 16-track, 24-track and 32-track Sonoma systems.

The Sonoma Hardware

The Sonoma application software has been designed to run on a standard personal computer (PC) running the
Windows™ XP operating system. To use the edit/record capabilities, one or more Sonoma Edit cards must be
installed in the PC along with the special security key that is needed to allow the Sonoma application software to
run. If you have been supplied with a turn-key Sonoma system, the necessary card(s) will have been pre-installed
in the supplied PC. If you have been supplied with cards for self-installation, the following sections explain how to
install them.

Security Key
The Sonoma software is protected by a hardware-based software protection system from Aladdin Knowledge
Systems called HASP HL. The HASP HL protection comes in the form of a small plug-in ‘security key’ that
must be inserted into an available USB port (USB 1.0 or USB 2.0) on your PC for the Sonoma application software
to work. It is not necessary for the security key to be inserted during software installation, but it must be present
constantly when running the Sonoma application software. If the presence of the key is not detected, you will
receive a warning message and be given an opportunity to save your work before the application closes itself. You
can re-insert the key to continue working (if it becomes accidentally dislodged, for example).

You will be provided with a security key at the time of purchase.

Edit Card
The Sonoma Edit card controls the transmission of DSD data to and from the PC’s hard-disks: it is the
record/playback engine. Although each Sonoma Edit card supports 8-tracks, each track supports two independent
audio streams and executes a 2-to-1 mix during playback while performing cross-fades at edit points. The Edit card
carries out this cross-fade activity. A schematic diagram is shown in Figure 1.
1. For more information on DSD, please see:
http://www.superaudiocd.philips.com/Assets/Downloadablefile/wp-2323.pdf
2. For more information on SA-CD, please see: http://www.superaudiocd.philips.com/ or
http://interprod5.imgusa.com/son-637/home.asp
2 CHAPTER 1
Introduction

In
Status LEDs Female Flexibus Connector
Timecode Connector (Top Connection)

Data In from ADC

Module Holder
Clk In from ADC Fiber-optic (not used)
Data Out to DAC connectors
Clk Out to DAC

PCI connector
PC mounting
bracket

Figure 1: Schematic of the Sonoma Edit Card

LED Status Indicators

When held vertically, and looked at with the fiber-optic connections facing you, there are four LEDs at the top of
the card that provide status information. From left to right, the four LEDs indicate:
• Locked to an External ADC Clock Signal
• Locked to the PC’s Internal Clock
• All systems operating correctly
• Card receiving valid LTC timecode

Depending on the configuration and system set-up you have, some of these LEDs will illuminate when the
Sonoma application software is launched and running.

Locked to an External ADC Clock Signal

This LED illuminates when the Audio/Clock Source Switching selection is set to Sonoma Optical Clock, Optical
Audio Input (see Chapter 20: Audio/Clock Source Switching) and a valid clock signal is received from an external
ADC. If you are working with a 16-, 24- or 32-track system, separate clock connections will need to be made for
each Edit card in order for the clocking scheme to operate properly, and for each card’s ‘Locked to an External
ADC Clock Signal LED’ to illuminate. If the clock signal is interrupted or the fiber is disconnected or the ADC is
switched off, the LED will extinguish.

This LED and the adjacent ‘Locked to the PC’s Internal Clock’ LED are mutually exclusive: ONLY one of them
can be illuminated at any particular time.

Locked to the PC’s Internal Clock

This LED illuminates when the Audio/Clock Source Switching selection is set to Sonoma Internal Clock, No
Audio Input (see Chapter 20: Audio/Clock Source Switching) and a valid clock signal is received from the PC’s
internal clock. This configuration should ONLY be used for editing situations on an 8-track system.

This LED and the adjacent ‘Locked to an External ADC Clock Signal’ LED are mutually exclusive: ONLY one of
them can be illuminated at any particular time.

All systems operating correctly

This LED illuminates when the Sonoma software has been launched and all system checks have indicated that the
Sonoma Edit card is operating properly.

Card receiving valid LTC timecode

This LED ONLY illuminates when the LTC timecode mini-DIN plug is inserted into the Timecode Connector
(see below) and the Sonoma card is receiving valid timecode at its input. Unlike the above indicators which change
 SONOMA 3
User Guide Version 2.1

for each Edit card in the system, the ‘Card receiving valid LTC timecode’ LED will only be illuminated on the
master Edit card (see Installation below) to which the LTC timecode connection is made.

Note: The Audio/Clock Source Switching selection is ‘sticky’ between sessions, i.e., the system
remembers your choice when you close Sonoma, and uses it the next time you re-launch the
application. Therefore, you need to pay attention to this parameter if you regularly switch
modes to avoid the card ‘locking’ in one mode when you are trying to operate it in the other (i.e.,
internal versus external clock).

Timecode Connector
The Sonoma system is compatible with the IEC-standard Longitudinal Timecode (LTC) system, and will also
support Vertical Interval Timecode (VITC) at a later date. It can both generate outgoing timecode and synchronize
to incoming timecode. Timecode connections are made via mini-DIN connectors and plugs (see Figure 2). There
is a female connector on the back panel of the Sonoma Edit card, and a male plug must be attached to allow
interfacing to external hardware. Details of the timecode modes can be found in Chapter 18: Timecode.

Back Panel Connector Mini-DIN Plug on cable

Figure 2: Timecode Connections for PC Back Panel and Plug

Timecode connections on external equipment are usually made using the industry-standard XLR3 connector.
Therefore, in order to make a timecode cable, the following pin arrangements should be followed:

Pin # on Connector Type

Mini-DIN on External Pin # on
Signal Connector Hardware Connector
Differential audio cable LTC input + 3 XLR Female 2
LTC input - 2 XLR Female 3
Ground 1 or 8 XLR Female 1
Differential audio cable LTC output + 5 XLR Male 2
LTC output - 4 XLR Male 3
Ground 1 or 8 XLR Male 1
Coaxial cable for video Video IN 6 BNC Hot
IN (for future use)
Ground 1 or 8 BNC Shield
Coaxial Cable for video Video OUT 7 BNC Hot
OUT (for future use)
Ground 1 or 8 BNC Shield

Table 1: Connection scheme for Timecode Cable

3. The name XLR derives from the original Cannon XLR series of connectors; XLR is not an abbreviation.
4 CHAPTER 1
Introduction

PC Configuration
If you are preparing your own PC for Sonoma use, it is recommended that it meets the following minimum
requirements:
• Windows™ XP Professional operating system
• 700 MHz, or faster, processor
• a minimum of 512 MB of RAM
• NTFS (preferably) or FAT-32 file system
• a hard-disk system capable of supporting data transfer rates of 1.6 MB/s per track and peak disk seek rates of
8 seeks/s per track
• 17”, or larger, monitor
• 1024 x 768, or greater, screen resolution
• 32-bit colors
• an available USB port
• a CD-ROM drive for software updates

Installation
To install the Sonoma Edit Cards and software, please follow these instructions:

1. Start up your PC and, after Windows™ has finished loading, insert the supplied Sonoma software disc into
your CD-ROM drive. A self-extracting installer should begin the installation process. If it does not, use File
Explorer to find and run the file setup.exe. Simply follow the instructions for loading the Sonoma
program onto your PC.

The application software will be placed in the directory: C:\Program Files\Sonoma\Sonoma v2.1
where v2.1 represents the latest version of the code. In addition, all documentation will be placed in
directory: C:\Program Files\Sonoma\Sonoma v2.1\HelpFiles.

2. As soon as the software is installed, shut down the PC and remove its power cable. Note: the PC keeps power
to the PCI bus unless it is physically unplugged.

3. Open the PC case. It is a good idea to wear a conductive wrist strap connected to the chassis while operating
inside the PC case. This is to avoid damaging internal PC components due to static electricity.

4. Determine which PCI slots to use for the installation. It is recommended to use the available PCI slots closest
to the PC’s power supply unit (PSU). Generally speaking, the board closest to the PSU should be considered
the master and will contain tracks 1-to-8, with each subsequent board containing the next highest 8 tracks as
the boards move away from the PSU.

5. Check again that you are well grounded. Touch the metal of the chassis before installing cards. Remove any
necessary cards or PCI bracket covers to enable the installation of the Sonoma Edit cards.

6. Insert the Edit cards in their respective slots by carefully pressing them into place. Take care to ensure that the
guides at the back edges of the cards engage properly in the appropriate guide holders – the cards should not
appear bent when the guide is in the appropriate holder. When the cards are in the right place, push them
firmly into the PCI connectors to ensure good connections, and then secure the cards to the chassis with the
bracket screws.

7. If everything is inserted properly, and all brackets are screwed in firmly, you can close up the PC and re-fit its
cover.

8. Re-attach the power cable and re-start the PC. XP will recognize that there is new hardware installed, and will
prompt you to accept unsigned drivers for the signal processing chips on the cards. There will be a prompt for
each Edit card you have installed. Click ‘Yes’ to the prompts. Installation of Sonoma is then complete, and
you should find a Sonoma icon on your PC’s desktop.
 SONOMA 5
User Guide Version 2.1

Converters
The analogue audio interface of the Sonoma system requires the use of external analogue-to-digital (ADC) and
digital-to-analogue converters (DAC). Eight tracks of ADC and DAC are supported per Edit card. The ADC and
DAC units connect to Sonoma via the fiber-optic connectors on the Edit cards. Clock and data signals for each set
of 8 tracks are carried in independent fibers for both ADC and DAC signals, as shown in Figure 1.

Note: The fiber connections need to be made for each card at all times. The only exception: an 8-track
system set to internal PC clock does not require the connection of an external ADC.

System Layout
Figure 3 shows the overall Sonoma system configuration and cabling (additional ADCs and DACs not shown).

Monitor
Keyboard
+ Mouse Ethernet

PC
Analogue Inputs Fiber-optic Cables Fiber-optic Cables Analogue Outputs
1 Data Data 1
...

...
In ADC Out Sonoma Edit In DAC Out
8 CLK CLK 8

Sonoma Edit

Sonoma Edit

PCI Bus

Figure 3: Overall Sonoma system configuration

The Sonoma Software

Launching Sonoma
The installation procedure will have placed an icon on your PC’s desktop called Sonoma Recorder, and an identically
named item will also appear in the Start Menu under Start>Programs>Sonoma.
6 CHAPTER 1
Introduction

To launch the program in Windows™:

Do one of the following:

• double click on the Sonoma Recorder icon on your desktop.
• select Start>Programs>Sonoma>Sonoma Recorder.
• select Start>Run, and then enter the following pathname (including the double quotation marks!):
“C:\Program Files\Sonoma\Sonoma v2.1\Sonoma.exe” and click OK.

A splash screen will appear that monitors the initialization of the software. When the initialization is complete, the
Sonoma splash screen will disappear and you can begin to work.

Recommendations
For optimum operation of Sonoma, it is recommended that you observe the following:

1. turn OFF all screen-savers and power-saving modes.

2. run no other applications concurrently with Sonoma.

3. use Sonoma in full-screen mode to maximize viewing area.

4. use the auto-hide function for the Windows™ Start bar.

5. (if using an 8-track Sonoma and mixer combination) ensure that hyper-threading is turned OFF on your PC.

Conventions used in this User Guide

The following conventions have been used throughout this User Guide:

1. all keyboard commands are indicated in bold type face, e.g., the keyboard command to copy is Ctrl+C.

2. when a compound keyboard command involving the Alt-key, Ctrl-key, Shift-key or some combination of
them appears such as Ctrl+Shift+R you need to depress all the keys simultaneously for the command to take
effect.

3. commands involving pull-down menus are given in the form Transport>Play. This should be interpreted as
click with the mouse on the Transport Menu (or use the equivalent keyboard command to open it), and then
scroll down to the Play function in the list of menu options and select it with a further left mouse-click.
 SONOMA 7
User Guide Version 2.1

Chapter 2: Sonoma Editor Window

The Sonoma work area is a single Editor Window that contains all the menus, toolbars and control buttons that
you will need to Create, Save, Record and Edit multi-track audio documents called Edit Decision Lists (EDLs).
The name of the currently active EDL is displayed in the Title Bar next to the word Sonoma. The Sonoma Editor
Window is shown in Figure 4 with all its toolbars and control buttons in view. As will be shown later, you have full
control of which toolbars/buttons/windows are in view, their locations, whether they are docked, and whether
they abut each other4. The Sonoma system saves your set-up when the application is closed and restores it the next
time you start Sonoma

A
B
C D E
F G

H I J
K

M N O

P Q R S T U

A Title Bar H Waveforms Toolbar O Record Toolbar

B Menu Bar I Selection Toolbar P System Status Indicator
C File Toolbar J Cursors Toolbar Q EDL File Location
D Undo Toolbar K Timecode Toolbar R Recording Directory Name
E Ingredient Edit Toolbar L Track Control Panel S Recording Format
F Navigation Toolbar M Transport Toolbar T Next Take Name
G Record Time Remaining Display N Nowline Position Display U Total Record Time Remaining on System

Figure 4: The Sonoma Editor Window

4. The toolbars in Figure 4 have been docked and separated in order to make labeling easier.
8 CHAPTER 2
Sonoma Editor Window

Menus and Toolbars

Menus
Most functions in the Sonoma application are accessible via the menus in the Menu Bar:

File Menu Creates, Opens, and Saves EDLs. The File Menu also provides a command for
exporting EDLs in SA-CD Edit Master file format.

Edit Menu Contains commands for Editing the selected ingredients in an EDL.

Navigation Menu Controls the Zooming and Scrolling of an EDL.

Selection Menu Selects and Deselects ingredients in an EDL.

Cursors Menu Controls the movement of the Nowline.

Marks Menu Controls the placement, type and labeling of Marks in an EDL.

Transport Menu Controls transport operation and Monitor Source switching.

Record Menu Configures the recording context and controls disk file handling/clean-up when a
recording has just been completed.

Waveforms Menu Controls the display of ingredient and metering waveforms in an EDL.

Audio/Clock Menu Controls the selection of the audio and clock sources from the available options.

Preferences Menu Manages all the User Preferences for various Sonoma system functions.

Window Menu Manages standard PC window arrangement of the open EDL Windows inside the
Sonoma Editor Window and the display of other system windows/toolbars such as
Nowline Position, the Timecode Toolbar and Status Bar.

Help Menu Shows the current version of the Sonoma application software. Note: there is no
online help function available via this menu at this time.

The menus can also be accessed via the following keyboard commands:

File Menu = Alt+F

Edit Menu = Alt+D
Navigation Menu = Alt+N
Selection Menu = Alt+S
Cursors Menu = Alt+U
Marks Menu = Alt+K
Transport Menu = Alt+T
Record Menu = Alt+R
Waveforms Menu = Alt+E
Preferences Menu = Alt+P
Window Menu = Alt+W

The underlined letters in the above list serve both as a reminder to the keyboard shortcut commands, and show the
way in which the Menu names are displayed in Sonoma. There are no shortcuts for Audio/Clock Menu and Help
Menu.
 SONOMA 9
User Guide Version 2.1

Keyboard Shortcuts and Toolbar Buttons

Menu commands usually have keyboard shortcuts (e.g., Ctrl+C = Copy selected ingredient), and most menus have
corresponding toolbars that contain control buttons for their commands. Some menus are linked to Control
Panels rather than toolbars. Control Panels are windows with more elaborate interfaces for complex operations.
When a menu has an associated toolbar or Control Panel, there is an item at the top of the menu for showing or
hiding it (e.g., File>File Toolbar). The Window Menu also includes a Toolbars item that shows and hides each
toolbar. In this menu you will also find items that let you Save and Restore a default toolbar configuration. The
default configuration is stored in your computer’s registry so that you can retrieve it again after you install new
versions of Sonoma (provided no changes have been made to the user interface!).

Toolbars can be floating windows or they may be docked to the top, bottom or sides of the Sonoma Editor
Window. To dock a toolbar, grab it by left-clicking in its Title Bar, and, with the left-mouse button still depressed,
drag the toolbar to the required position in the top, bottom or sides of the Sonoma Editor Window, then release
the mouse button. To undock a toolbar, left-click on the vertical line at the left edge of a horizontally docked
toolbar, or the horizontal line at the top of a vertically docked toolbar, and, with the left-mouse button still
depressed, drag the toolbar back into the main body of the Sonoma Editor Window. To abut docked toolbars,
simply ensure that the toolbars overlap slightly before releasing the mouse button; the system will then
automatically arrange the toolbars adjacent to each other. A floating toolbar can be closed by clicking on the [X] in
the top right hand corner of its Title Bar. Floating and docked toolbars can also be toggled ON and OFF via the
following keyboard commands:

File Toolbar = Ctrl+Alt+F

Ingredient Edit Toolbar = Ctrl+Alt+E
Undo Toolbar = Ctrl+Alt+U
Navigation Toolbar = Ctrl+Alt+N
Selection Toolbar = Ctrl+Alt+S
Cursors Toolbar = Ctrl+Alt+C
Transport Toolbar = Ctrl+Alt+T
Record Toolbar = Ctrl+Alt+R
Waveforms Toolbar = Ctrl+Alt+W
Timecode Toolbar = Ctrl+Alt+K

Note that the letters of some of the toolbars DO NOT match the letters used for the similarly named pull-down
menus!

Debug Toolbar

Note: Alt+Ctrl+D opens and closes a Debugging Toolbar. This toolbar should only be used under
the direction of a Super Audio Center, LLC field support engineer. If you open the Debug
Toolbar by accident, simply close and re-open the Sonoma application to disable the toolbar and
all of its tools.

Status Bar
The Status Bar is the text area located along the bottom of the Sonoma Editor Window. It shows the version of
the Sonoma application5, the name of the active EDL, the current recording directory, the recording format
(DSD-IFF = DSD Interchange File Format; DSD = old Sonoma proprietary format), the Next Take number and
the total amount of recording time left for the number of selected tracks. In addition, error messages are displayed
in the left side of the Status Bar.
5. The version number is only shown immediately after start-up, it disappears after you carry out any action.
10 CHAPTER 2
Sonoma Editor Window

Edit Decision Lists

Like most Digital Audio Workstations (DAWs), Sonoma uses a graphical representation of audio waveforms
onscreen to depict the sound files that make up a recording. The basis for all recording and editing within Sonoma
is the Edit Decision List (EDL) file. The EDL file is akin to a storyboard and graphically shows the order in which
recordings are played, how they cross-fade together, their playback levels, etc. Whereas it can mean a text list of
instructions in other DAWs, in Sonoma an EDL refers only to the graphical file that shows the edited audio
recordings. Complex EDLs can contain hundreds, or even thousands, of audio clips edited together.

Each EDL is a separate document and is displayed in its own window within the Sonoma Editor Window. You
can have many EDLs open at the same time, but all commands apply only to the topmost (i.e., active) EDL. The
main area of an EDL window contains a graphical representation of edited excerpts of sound files arranged along
a time axis. Strips above and below the EDL contain cursor information and editing controls.

A B C D E F G H

I J K L M

O P Q

A DSD-IFF Recording Format Indicator G Edit Right Cursor Position M Nowline Position
B Edit Left Cursor Icon H Edit Right Cursor Icon N Track/Ingredient Selected Indicator
C Edit Left Cursor Position I Track Selection Button O Leftmost Bound of EDL Window
D Source/Destination Buttons J Edit Left Cursor P Width of EDL Window
E Width of Edit Region K Edit Right Cursor Q Rightmost Bound of EDL Window
F Linear Editing Control Buttons L Mark Position

Figure 5: Main Area of EDL Window

An EDL can hold up to 12 hours of sound clips. Each snippet of sound is called an ingredient. The range of the
viewable EDL window is 23:30:00 to 12:30:00, however, the usable range in which you can work is from 00:00:00
to 12:00:00.

Within the EDL Window, the Nowline is a vertical black cursor with a green handle; it represents the current
position within an EDL and serves as a locator for editing functions. A pair of red edit cursors, called edit left and edit
right, are used for specifying an edit region. Marks in an EDL and its ingredients serve as event locators and can include
user annotations. EDL windows also contain a Control Panel area with tabs that can be clicked to select different
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panels for performing various tasks. (The Control Panels are not shown in Figure 5.) Each of these elements will
be described in greater detail in subsequent sections/chapters.

Opening an EDL
In order to do any Playback, Editing, or Recording, you must first open an EDL. There are three ways to open an
EDL from the File Menu:

New EDL
The New EDL command creates a new, empty EDL.

To open a new EDL:

Do one of the following:

• use the File>New EDL command
• use the Ctrl+N keyboard command
• click on the New EDL control button in the File Toolbar (see Figure 6)

Figure 6: The New EDL control button

New/import sound files...

The New/import sound files... command opens a list of selected sound files, and places them as ingredients in a new
EDL. By default, the New/import sound files... command restricts the choice of file types to *.dff and *.dsd, i.e.,
it attempts to find DSD-IFF (.dff)6 or Sonoma format (.dsd) files only.

To import sound files into a new EDL:

Do one of the following:

• use the File>New/import sound files... command and select one or more sound files
• use the Ctrl+Shift+N keyboard command and select one or more sound files

Open
The Open... command opens an existing EDL file, and displays its ingredients in the EDL Display Window. By
default, the Open... command restricts the choice of file types to *.edl, i.e., it attempts to find EDLs only. You can
change the search selection to look at all file types (*.*), if required, but Sonoma can only open files of type .edl.

When an EDL window is opened, it is maximized by default, but this is controlled via a User Preference. You can
change this behavior by setting or clearing the Open EDL window maximized checkbox in the Window User
Preferences (see Chapter 19: User Preferences for details).

When an EDL has been modified but not yet saved, an asterisk (*) is appended to its name in the Title Bar and in
the Window pull-down menu.
6. The DSD Interchange File Format (DSD-IFF) is a standardized data format for the interchange of DSD data. This format
has been described by Philips and Sony in the Direct Stream Digital Interchange File Format Version 1.5 © 2004 document
published by Philips Intellectual Property & Standards. DSD-IFF is the default file format for use within Sonoma.
Support is maintained for the original propriety Sonoma .dsd file format; however, its use is not encouraged.
12 CHAPTER 2
Sonoma Editor Window

To open an existing EDL:

Do one of the following:

• use the File>Open... command
• use the Ctrl+O keyboard command
• click on the Open control button in the File Toolbar (see Figure 7)

Figure 7: The Open control button

Saving an EDL
After you have finished Recording or Editing, you will need to save your work. There are a number of ways to do
this.

Saving with the same filename

If you are working in a file that has been previously saved, and you want to continue to save changes in the file with
the same EDL name, you can use the Save command.

To save an existing EDL:

Do one of the following:

• use the File>Save command
• use the Ctrl+S keyboard command
• click on the Save control button in the File Toolbar (see Figure 8)

Figure 8: The Save control button

Saving with a new filename

If you are saving an EDL for the first time, or you want to create a copy of an EDL with a new filename, you
should use the Save As... command. This will bring up a dialogue where you can specify the hard-disk, file
directory location and name for the EDL file.

To save an EDL as a new filename:

• use the File>Save As... command

Closing an EDL
If, after you have finished Recording or Editing, you decide that you DO NOT want to save the changes in your
work you can use the Close command to exit the EDL without saving. Close will leave the EDL in the state it was
when you opened it, so all subsequent editing changes you may have made will be discarded. If you use Close after
Recording some new material, the recording EDL will be discarded, but the underlying audio files will still exist on
your hard-disks, from where they can be later imported into a new EDL. You should only use the Close command
when you are sure that you do not want to save the changes in the EDL.
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To close an EDL without saving changes:

Do one of the following:

• use the File>Close command
• use the Alt+C keyboard command
• click on the [x] box in the top right hand corner of the EDL window (this is a standard Windows™ close file
command)

Ingredients
Ingredients represent audio recordings stored in disk files. They appear in the track rows as rectangles with outlines
around them that are ramped at either end to show their fade-in and fade-out times. Selected ingredients have bold
color, unselected ingredients have light color. The ingredient’s color identifies its source audio type as follows:
1. blue = mono DSD-IFF files (.dff)
2. purple = interleaved DSD-IFF files (.dff)
3. green = original Sonoma format DSD files (.dsd)

A waveform for the audio is drawn within the ingredient when an accompanying envelope file exists. (Envelope files are
normally created when the audio is recorded.) Waveforms at the default gain value are drawn in black, waveforms
of ingredients that have had gain changes are drawn in a dark color that contrasts the source audio color (see list
above).

Ingredients are created by Recording or by Importing sound files into an EDL. They can be Cut, Copied, and Pasted
within and between EDLs. They are edited using Menu Commands and the Ingredient Edit Control Panel. An
ingredient can specify a smaller part of an associated audio recording by means of edit points.

Edit Points and Fade Pivot Points

The size of an ingredient is determined by two edit points, called edit-in and edit-out. Fades are centered around the
edit points, so the actual length of an ingredient depends on both its edit points and fade lengths. When the EDL is
zoomed-in to a sufficiently small scale, edit points will appear as small dots in the center of the fade-in and fade-out
of each ingredient. Three ingredients are shown in Figure 9. All of them have the same edit points, but their fades are
progressively longer from top to bottom. Notice how the length of an ingredient changes as the fade length increases
while the edit points remain fixed at the same time location.

While the fade length is always applied symmetrically around the edit point, it is often useful to move the edit point at
the same time you change the fade length. For instance, you might want to lengthen the fade-in while keeping the
material at the beginning of the fade-in the same. In order to do this the edit point must move to the right by half
the change in fade length. Sonoma can perform this operation by ‘pinning’ one end of a fade and pivoting about that
fixed end. There are three options:
• pivot at the bottom of the fade
• pivot at the center of the fade (i.e., at the edit point)
• pivot at the top of the fade

To pivot at the bottom of the fade:

Do one of the following:
• use the Edit>Fade Pivots>Ingredient Fade Pivot Min command
• use the Shift+1 keyboard command
14 CHAPTER 2
Sonoma Editor Window

Figure 9: Ingredients having the same Edit Points but different Fade Lengths

• click on the Ingredient Fade Pivot Min control buttons in the Edit Toolbar (see Figure 10)

Figure 10: Ingredient Fade Pivot Min control button

To pivot at the center of the fade:

Do one of the following:
• use the Edit>Fade Pivots>Ingredient Fade Pivot Center command
• use the Shift+2 keyboard command
• click on the Ingredient Fade Pivot Center control buttons in the Edit Toolbar (see Figure 11)

Figure 11: Ingredient Fade Pivot Center control button

To pivot at the top of the fade:

Do one of the following:
• use the Edit>Fade Pivots>Ingredient Fade Pivot Max command
• use the Shift+3 keyboard command
• click on the Ingredient Fade Pivot Max control buttons in the Edit Toolbar (see Figure 12)

Figure 12: Ingredient Fade Pivot Max control button

The pivot point will be drawn as a red dot on all selected ingredients when you are zoomed-in to a sufficiently small
scale. When the pivot point is the fade bottom (i.e., the start of the fade-in or the end of the fade-out), changing the
fade length will not change the ‘effective’ length of an ingredient, though the edit point will move. The choice of pivot
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point is not an attribute of the fade itself. Whenever you perform a command that changes the fade length in the
Ingredient Editor (see Chapter 11: Ingredient Edit Control Panel), or move a fade with the trim to Nowline
command (see Chapter 9: Selection-based Editing), the currently specified pivot point will be used to compute the
change in the ingredient.

When two ingredients are spliced together, the transition between the incoming and outgoing ingredients involves a pair of
complimentary fades (see Chapter 12: Splices). When editing fades in the Splice Editor (see Chapter 13: The Splice
Editor Control Panel), it is useful to select the pivot points in a different manner. The options are:
• pivot at the start of the splice
• pivot at the center of the splice
• pivot at the top of the splice

To pivot at the start of the splice:

Do one of the following:
• use the Edit>Fade Pivots>Splice Fade Pivot Start command
• use the Ctrl+1 keyboard command
• click on the Splice Fade Pivot Start control buttons in the Edit Toolbar (see Figure 13)

Figure 13: Splice Fade Pivot Start control button

To pivot at the center of the splice:

Do one of the following:
• use the Edit>Fade Pivots>Splice Fade Pivot Center command
• use the Ctrl+2 keyboard command
• click on the Splice Fade Pivot Center control buttons in the Edit Toolbar (see Figure 14)

Figure 14: Splice Fade Pivot Center control button

To pivot at the end of the splice:

Do one of the following:
• use the Edit>Fade Pivots>Splice Fade Pivot End command
• use the Ctrl+3 keyboard command
• click on the Splice Fade Pivot End control buttons in the Edit Toolbar (see Figure 15)

Figure 15: Splice Fade Pivot End control button

Note: The Start/End fade specification imparts a complimentary behavior when the lengths of both
fades in a splice are changed in one step: the bottom of one fade and the top of the other will be
pinned.
16 CHAPTER 2
Sonoma Editor Window

Ingredient Gains
Every ingredient has a pair of gains defined for its edit points. By default these are unity (0 dB), but they can be set
between -100 dB and +6 dB. These gains impose a gain envelope that is composed with the fades when the
ingredient is auditioned. The gains are set using the Ingredient Editor Control Panel (see Chapter 11: Ingredient Edit
Control Panel for details). The appearance of ingredients in the EDL indicates the presence of non-unity gains in
two ways:
1. ingredient waveforms are usually drawn in black. When an ingredient has a non-unity gain, at either end, its
waveform will be drawn in a dark color that contrasts the ingredient’s source audio type color.
2. when the display non-unity gain curves function is selected, linear dB gain envelopes will be drawn across ingredients
with non-unity gains. The gain envelopes show the linear dB gain from -18 dB to +6 dB. Smaller values are
clipped to the bottom of the graphic scale. A horizontal white 0 dB reference line is also drawn wherever a
gain envelope appears.

As an example, Figure 16 shows an ingredient with an in gain of -25 dB and an out gain of +6 dB. Notice how values
below -18 dB are clipped.

Figure 16: An ingredient displaying Non-unity Gains

To display non-unity gains:

Do one of the following:
• use the Waveforms>Display Non-unity Gain Curves command
• click on the Display Non-unity Gain Curves control button in the Waveforms Toolbar (see Figure 17)

Figure 17: Display Non-unity Gains control button

Offline Ingredients
When Sonoma opens an EDL it assumes that the ingredients it contains refer to their original sound files. In some
cases, those files may not be in their original locations. Sonoma recognizes one of the most common cases – when
removable drives have been shuffled so that drive letters have changed. If this happens, Sonoma automatically
makes the appropriate substitution. In other cases, files may have been backed up and then restored to a different
level of the disk hierarchy, or they may even have been renamed. When this happens, an ingredient can be displayed
on the screen, it can be Selected, Moved, and Edited; but it cannot be played back. An ingredient is called offline when
it cannot be associated with a sound file. Offline ingredients are colored grey when they appear in an EDL. A utility
called the Source Audio Mapper provides the ability to map offline ingredients to sound files at different locations (see
Chapter 17: Source Audio Mapper).
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Marks
User-specified Marks can be placed in the timeline or inside ingredients. The system may also create Error Marks
while playing or recording. Marks are used for navigation, annotating events, and defining SA-CD authoring
locations. They are described fully in Chapter 15: Marks.

Control Panels
The area on the left side of an EDL consists of a set of Control Panels. Panels are selected by clicking on a tab, or
using the Tab or Shift+Tab keyboard commands to cycle through them.7 The Control Panels are:

Track Controls The Track Control Panel is used for recording and to control the appearance of the
ingredients in an EDL. You can bring up the Track Control Panel quickly by pressing
Ctrl+PageUp.

Ingredient Editor The Ingredient Editor Control Panel is used to edit single ingredients and groups of
ingredients in an EDL. You can bring up the Ingredient Editor Control Panel quickly
by pressing Ctrl+Alt+I. Chapter 11: Ingredient Edit Control Panel describes the
Ingredient Editor.

Mark Editor The Mark Editor Control Panel is used to create and display marks in an EDL. You
can bring up the Mark Editor Control Panel quickly by pressing Ctrl+Alt+M.
Chapter 15: Marks describes marks and the Mark Editor.

Splice Editor The Splice Editor Control Panel is used to adjust cross-fades between ingredients that
have been spliced together. You can bring up the Splice Editor Control Panel quickly
by pressing Ctrl+Alt+L. Chapter 13: The Splice Editor Control Panel describes the
Splice Editor.

HW Monitor The Hardware Monitor Control Panel displays real time information about the status
of the machine. You will normally not need to view this panel. It can be useful for
problem diagnosis under the direction of a field support engineer.

The Track Controls are used most of the time, so this panel is described fully in the next section. The other control
panels are used for special functions and are described in later chapters.

Track Controls
Each row of the EDL represents one audio track. The track rows are numbered from the top down, starting with
track 1. There are a number of indicators and controls for each track (see Figure 18).

Processor status lights

These lights indicate the presence of digital audio clock for input (red) and output (green). If all is well, there is one
red and one green light to the left of every track. If there is a hardware problem the status lights may be black or
may not appear at all. Should this happen, shutdown and re-boot your PC. If the problem persists, please contact
your Sonoma dealer.
7. The Tab and Shift+Tab keyboard commands work irrespective of the state of the transport; however, you cannot enter
the Splice Editor with the transport running. For this reason, the Splice Editor tab is skipped as you cycle right/left
through the panels with the Tab and Shift+Tab keyboard commands when the transport runs.
18 CHAPTER 2
Sonoma Editor Window

Figure 18: Track Control Panel

Monitor source
Each track's Monitor Source is either input or output (i.e., repro). The corresponding columns of buttons are
labeled I and O. Clicking on a monitor button sets a track's monitor to the corresponding source. Clicking on the
column heading sets all tracks to that source with the following constraints: if one or more track numbers are already
selected, only the selected tracks will switch when you click on the column header. If you Ctrl-click on the heading
when one or more track numbers are selected, only those tracks that are not selected will switch. You can also switch
the Monitor Source by using the commands and control buttons in the Transport Menu and Transport Toolbar
(see Chapter 3: Recording).

The Monitor Source may switch automatically during recording. You can control this behavior by selecting one of
the monitoring switching modes – see Chapter 3: Recording for details. Also, be aware that the Monitor Source is
locked to output and cannot be switched when you are creating an Edit Master file (see Chapter 22: Creating an
SA-CD Edit Master) or recording track outputs (see Chapter 3: Recording).

Mute
Each track can be muted and unmuted individually by clicking on its Mute button. The M column header toggles
the mute state of all the tracks whose track numbers are selected, or all the tracks if no track numbers are selected.
Ctrl-clicking the header toggles the mute on the track numbers that are not selected. You can also toggle muting by
using the commands or control buttons in the Transport Menu or Transport Toolbar (see Chapter 3: Recording).

Track number
The color of each track number box indicates whether it is selected or not. The I/O Monitor Switching commands
and some Edit commands are affected by the track selection state.

To select a track, click on its number box – the box will turn blue. Clicking on the box toggles that track’s selection
on and off. Other tracks are unaffected. To toggle all the tracks in the system on and off, click on the # track
number heading.

It is possible to define a subset of tracks, a track group, that can be selected independently. Tracks in the track group
appear with red track numbers, other tracks are displayed in black. To add or remove a track from the track group,
Ctrl-click the track number box. Adding or removing a track from the track group does not change the selection state
of the track.

To select the tracks in the track group, Ctrl-click on the # track number heading. (All other tracks will be deselected.)
Repeated Ctrl-clicks on the heading will toggle the members of the track group on and off. To set the track
selection to the compliment of the track group (i.e., the tracks that are not in the group), Alt-click on the # track
number heading. Repeated Alt-clicks on the heading will toggle this complementary set of tracks on and off.

Track recording state

The buttons labeled R and S stand for Record Ready and Record Safe. These buttons will appear only when a track
is unlocked (see the next control). Clicking on the column heading sets all the unlocked tracks to that recording
state. One of R and S is always steadily illuminated, but not both. One button may be illuminated while the other
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one blinks, indicating that the track has been armed for a transition. The transition occurs when the transport starts
moving (in untriggered recording mode) or when the Record Trigger is pressed (in triggered recording mode).
Chapter 3: Recording describes the entire recording process.

Track lock
When a track is locked it is impossible to record on it; its recording mode is forced to Safe and its Ready/Safe
buttons are hidden. The lock can only be changed when the transport is idle. Clicking on the lock icon toggles the
lock state of a track. Clicking on the column heading L first forces all the tracks into locked state (if necessary),
subsequent clicks toggles the lock state on all tracks. Locking tracks allows the system to assign the available disk
recording space only to those tracks that need to record.

Peak Level Meter

The peak signal at each track’s Monitor Source is displayed in a horizontal meter. The metering parameters (decay
time and headroom) can be adjusted in the Waveform Preferences. Headroom is measured in dB relative to
0 dB SACD. Since the SA-CD disc specifications define a 0 dB SACD level to be equal to 50% of the theoretical
DSD maximum, the metering range can extend up to +6 dB SACD. When the signal goes above the specified
threshold, the meter turns red. The metering data can also be displayed in the track rows during playback (see
Chapter 16: Waveforms).

The default value for headroom is 0 dB SACD, and you can specify values between -54 dB SACD and +6 dB SACD.
Users of the full DSD/SA-CD Annex meters (see Chapter 5: Annex Metering) can largely ignore the Peak Level
Meters in the Track Controls.

Recording Invalid DSD Data

Note: If Sonoma receives bad DSD data while recording, the affected tracks’ level meters will turn
magenta in color. This can also be an indication that the ADC is either not connected, not
powered up, or malfunctioning.

Expanded display mode

A recording is seldom a single contiguous audio file. EDLs typically contain ingredients that overlap in cross-fades.
Sonoma can display the ingredients within a track in two ways: overlapped or expanded modes. In overlapped mode,
all ingredients appear in the same row, so overlapping ingredients actually overlap. In expanded mode, the ingredients in
a track occupy two rows and are placed in the upper and lower rows alternately so that the overlapping material is
lined up on separate rows. The default display mode is overlapped. To switch modes for a single track, click on its
overlapping ingredient icon under the X column heading. Clicking on the X column heading itself toggles the
overlapped/expanded display mode on all tracks.

Track height
Regardless of the Expanded display mode setting, the height of ingredients (and the rows in which they appear) can
be large or small. Small is the default. To change the height, click on the ingredient icon under the H column
heading. Large track height is useful for viewing ingredient waveforms at a higher resolution. Clicking on the
H column heading toggles the height on all tracks. The default large track height setting is 72 pixels, and you can
choose values between 40 and 200 pixels via the Waveform Preferences.
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Sonoma Editor Window

Other EDL Window Elements

Timeline
The timeline is the row above the first track. A set of blue, pink, blue, and black lines at the top of the timeline shows
a time grid. The alternating lines mark durations of one hour, one minute, one second, and a fraction of a second.
The fractional scale depends on the timecode format you have selected. The smallest black dashes are 10 ms in length
when displaying millisecond timecode format, 16 samples for sample format (hex or decimal), and one frame length at
the appropriate rate for 24 fps, 25 fps, 29.97 fps, 30 fps and 75 fps formats. Depending on the amount of time
displayed in the EDL window, you may see all, or only some, of the dashed lines as the smaller scales only appear
as you zoom in.

Nowline and Edit Cursors

The Nowline is a vertical cursor that shows the current position within an EDL; it moves when the transport is
running. You can reposition the Nowline by clicking and dragging its handle, i.e., the small green triangle at the top
of the Nowline in the timeline. The position of the Nowline is displayed in the Nowline Position Display (if it is
visible).

Every EDL contains two edit cursors named edit left and edit right. The left/right edit cursors are drawn as solid red lines
and are topped with triangular handles for dragging. An edit cursor can be visible (on) or hidden (off) independent
of the state of the other cursor. The edit cursors can be toggled on and off using the Show/Hide items in the Cursors
Menu, or by Alt-clicking on the edit cursor icons that appear in the upper strip, above the timeline. The edit cursors are
explained in more detail in Chapter 8: Manipulating Cursors.

Upper Strip
The upper strip appears above the EDL’s timeline, it shows three timecode numbers. These numbers appear in the
current timecode format. The leftmost and rightmost numbers are the position of the edit cursors. The center number
is the width of the edit region they define. You can select either edit cursor’s timecode field (but not the region field8)
and change its value by typing into it. You can also Copy and Paste these timecodes to other timecode fields.

The edit cursors may be located outside the visible range of the EDL. If a cursor is not visible, an arrow on the left
or right of its timecode number shows in which direction the cursor can be found. Clicking on these arrows will
scroll the EDL so that the window is centered around the cursor.

The upper strip also contains controls for showing and hiding the edit cursors. Alt-clicking on the edit cursor’s icon will
toggle its display state. The strip also contains controls for linear editing – a pair of Source (SRC) and Destination
(DEST) buttons and, when the window is active, four buttons for the linear edit commands Replace, Layer, Insert,
and Append. Linear editing is described in Chapter 10: Region-based Editing and Linear Editing.

Lower Strip
The lower strip appears below the last visible track of the EDL and it shows three timecode numbers. These
numbers appear in the current timecode format. The leftmost and rightmost numbers are the visible bounds of the
EDL window. You can select any of these timecode fields and change their values by typing into them. You can
also Copy and Paste any of these timecodes to other timecode fields.

The number in the center is the width of the EDL window currently visible. You can change the zoom factor of
the EDL by clicking and editing this number. The Nowline may be located outside the visible range of the EDL. If
8. The edit region field is not editable as the system does not know whether to move the left, right or both edit cursors.
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the Nowline is not visible, an arrow on the left or right of the range field shows in which direction the Nowline can
be found. Clicking on these arrows will scroll the EDL so that the window is centered around the Nowline.

Time Displays and Timecode Formats

Time information is used throughout the Sonoma system to indicate positions and durations such as Nowline
Position, edit points, edit cursor locations, fade lengths, etc. Moreover, the time values can be presented in a number of
different, user-selectable formats. Sonoma can also chase external timecode information in order to run in
synchronism with external time-based utilities like mixing console automation.

Nowline Position Display

The Nowline Position Display shows the current position of the Nowline in the active EDL in the selected timecode
format. This window has a green time display as shown in Figure 19.

Figure 19: Nowline Position Display

To toggle the nowline position display:

• use the Window>Nowline Position command

Record Time Remaining Display

The Record Time Remaining Display shows how much time is left for the current recording based on the amount
of available disk space, the number of tracks in Record Ready, a user-specified maximum record time limit, and the
amount of time left in the EDL (i.e., 12 hours minus the Nowline position). This window has a red time display as
shown in Figure 20.

Figure 20: Record Time Remaining Display

To toggle the record time remaining display:

• use the Window>Record Time Remaining command

Note: When the amount of time left in the EDL is the limiting factor – 12:00:00.000 minus the
Nowline position – the Record Time Remaining Display will count down as the Nowline moves,
even if you are NOT actually recording!

Timecode Display
The third time display window is the Timecode Display, which is part of the Timecode Toolbar that is described
fully later. The Timecode Display shows the value of the incoming timecode that has been received from an external
Timecode source such as a studio master clock. It also shows the frame format on the right-hand side of the
window and has a yellow time display as shown in Figure 21.
22 CHAPTER 2
Sonoma Editor Window

Figure 21: Timecode Display

To toggle the timecode display:

Do one of the following:
• use the Window>Toolbars>Timecode command
• use the Ctrl+Alt+K keyboard command

Timecode Formats
There are eight timecode formats:

• Milliseconds (hours:minutes:seconds.milliseconds)
• 75 frames/second (hours:minutes:seconds:frames)
• 30 frames/second (hours:minutes:seconds:frames)
• 29.97 frames/second (hours:minutes:seconds:frames)
• 25 frames/second (hours:minutes:seconds:frames)
• 24 frames/second (hours:minutes:seconds:frames)
• Samples (44.1 kHz sample count)
• Samples (hex) (sample count in hexadecimal representation)

The timecode format can be changed in the following three ways:

• access the Time Format preferences by either clicking on the Preferences Menu or typing Alt+P, and scrolling
to the Time Format Preferences choice. A window will open containing a list of the eight timecode formats. The
required format is selected by means of a radio button.

• with the transport stopped, right clicking in either the Nowline Position Display or the Record Time
Remaining Display brings up a list of the time formats. Scroll to the required format and select it with a
left-click of the mouse.

• with the transport running, continued right mouse clicks in either the Nowline Position Display or the Record
Time Remaining Display windows will scroll through the timecode formats in the order listed above.

The selected timecode format is used everywhere timecode values are displayed. Wherever you enter a value expressed
in time units (e.g., in a Control Panel, Preference Window, or a Time Display) you must specify it in the chosen
timecode format. A timecode field can be selected by double clicking or clicking and dragging. You can Select, Copy,
and Paste timecodes between any timecode fields.

The rules for entering timecode values are quite simple. When a timecode field is selected, its value can be edited.
In the cases of samples and hex samples as the timecode format, the entered value over-writes the previous sample
count. In all other cases, the time values change from right to left, with the seconds field being the first to change.
To enter a fractional part such as milliseconds or frames, you must hit the decimal point key (.), and the fractional
part will become highlighted. Alternatively, you can double click on the part of the time field that you want to
change, e.g., only the hour field, and overtype just its value.

The Nowline Position Display itself accepts type in and paste in. The Nowline will move to the position you enter.
The color scheme of the timecode window and the function of the right mouse button depends on its state.
Normally, the window shows green numbers on a black background and a right mouse click brings up the timecode
format menu. To type into the window, click on it. The display changes to white-on-dark-blue, and the right mouse
button becomes inactive.
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Editing Timecode
A Timecode Editor is available when editing the following fields:

• Nowline Position Display

• Left/Right Edit Cursors
• Left/Right EDL Window Bounds and Width
• Edit Point Fields in the Ingredient and Splice Editors

The Timecode Editor is invoked by clicking on a timecode field. The NumPad *-key selects the Nowline
Position Display. Ctrl+NumPad * and Ctrl+Shift+NumPad * select the left and right edit cursor fields. When a
timecode field is selected its entire value is highlighted and becomes available for Copy/Paste or Editing. Editing
begins when a valid character is typed. It ends upon typing the Esc, Enter, NumPad +, or NumPad - keys.
Clicking elsewhere also terminates editing as if the Enter-key were pressed.

If you select a timecode field and begin typing, your numbers will be entered on top of the original value, starting
from the unit seconds position and shifting to the left. To clear the original value before typing, press the numeric
keypad NumPad *-key. The Backspace-key removes the most recent new digit and shifts your entry to the
right. To select and edit a single field, use the ← and → arrow keys or double click on the field. When a single field
is selected, you can use the ↑ and ↓ arrow keys to increment and decrement the field. When incrementing (or
decrementing), values are carried to (or borrowed from) the next field on the left.

When you have completed your entry, press Enter to accept the new value. Alternatively, press NumPad - or
NumPad + to subtract or add your entry from/to the field’s original value. Pressing the Esc-key will exit the
Timecode Editor without changing the timecode field, reverting it back to its original value.
24 CHAPTER 2
Sonoma Editor Window
 SONOMA 25
User Guide Version 2.1

Chapter 3: Recording

Recording is controlled from an active EDL window using the Track Lock/Unlock and Ready/Safe buttons and
the Transport Controls. Before you record, you must set the system’s Audio Routing, Monitor Switching, and file
naming behavior.

The result of recording is a set of new ingredients in an EDL along with new audio files on your system’s
hard-disk(s): one audio file for each recorded track.9 Each time recording starts is called a punch-in, and each time it
ends is called a punch-out. If there are multiple punch-in/punch-outs on a track during continuous recording, i.e., the
transport is not stopped during the punch transitions, many ingredients will appear on the track in the EDL, but the
audio for these ingredients will be recorded into a single audio file per track. New ingredients usually appear in the
active EDL that was used to control recording, but you can also direct the system to place the new ingredients into
some other EDL when recording completes (see the section Record to Destination EDL).

Recording within Sonoma is EDL-driven, and it is important to understand the distinction between the underlying
source audio files and their graphical representation within an EDL. When you move, delete, trim, or alter
ingredients within an EDL, NO changes are made to the source files. The EDL essentially acts like a ‘recipe’
describing how each audio clip should be replayed. As a result, you need to pay attention to the fact that Sonoma
needs to know where to save both the EDL and its source recordings. Since they should be considered as a project,
it is strongly recommended that they be saved in the same disk directory (which Sonoma will do by default). You
also need to be aware that as soon as a recording has been made you can remove some, or all, of the new ingredients
from the EDL, however, the corresponding source audio files will remain on the system’s hard-disk(s) and they can
be used later by importing them into a new EDL. For methods of permanently removing the source audio files,
please see the sections Discard Last Recording and Discard Source Audio.

Before Recording
The System Configuration
The system configuration includes the Recording Directory, Signal Routing, and Recording and Monitor Switching
modes.

Set Recording Directory

You must specify a Recording Directory and file hierarchy for an EDL before Sonoma allows you to record into
it. You do this using the Recording Directory dialogue window shown in Figure 22.
9. The recorded audio files will be in either .dff or .dsd format depending on the setting of Recording Format in the
Recording Preferences. It is strongly recommended to use the industry standard .dff format for compatibility with other
DSD-based recording systems.
26 CHAPTER 3
Recording

Figure 22: The Set Recording Directory dialogue window

To open the recording directory dialogue window:

Do one of the following:
• unlock a track for record – see Track Lock Controls and Record Ready below
• use the Record>Set Recording Directory... command
• use the Alt+R followed by S keyboard command
• click on the Set Recording Directory button in the Recording Toolbar (see Figure 23)

Figure 23: The Set Recording Directory control button

Recording Directory
The Recording Directory indicates which hard-disk and directory name to use for recording. The directory will be
automatically created if it does not already exist. Each EDL has its own current Recording Directory. Once you
have specified an EDL’s Recording Directory, the EDL will remember it. You can change the Recording
Directory between recordings if you are short of disk space and need to record to a different hard-disk, or if you
want to store material from different recordings into different folders.

To set the recording directory:

1. click in the Recording Directory text field of the Set Recording Directory dialogue window – see Figure 22

2. either directly enter a valid directory path, or click on the browse button [...] and locate the required directory

Note: Sonoma will NOT allow you to record into the root directory of a hard disk (e.g., D:), you must
specify a sub-directory (e.g., D:\My_Recordings) as shown in Figure 22. Sonoma issues an
error message if you try to record into the root of a disk.

File Naming
The Recording Directory dialogue also contains fields that are used to construct the names of newly recorded audio
files. The file names are created by concatenating:
• the File Prefix
• the File Number
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• the Track Number

• the file extension (i.e, .dff or .dsd depending on the Recording Format preference setting, see Chapter 19: User
Preferences).
As an example, the fifth recording on track 2 would have the following filename based on the information shown
in Figure 22: Take.5.Trk2.dff. The File Number is automatically incremented after each recording pass, i.e.,
after the transport returns to idle. Sonoma tries to begin numbering with the specified File Number, but if the
Recording Directory already contains audio files with the same prefix and higher File Numbers, Sonoma will select
the next largest unused number.

To set the file prefix:

1. click in the Folder/File Prefix text field of the Set Recording Directory dialogue window – see Figure 22

2. enter your chosen File Prefix name (e.g., song title, take identifier, etc.)

To set the file number:

1. click in the Next Folder/File Number number field of the Set Recording Directory dialogue window – see
Figure 22

2. enter an integer value

Recording into New Folders

When a new recording is made, the audio files are usually placed directly in the Recording Directory. You can
automatically create subfolders in the Recording Directory for each recording pass. When the Record into New
Folders checkbox is CHECKED, the new files will be placed in a subfolder that has the same name as the
Folder/File Prefix and the Next Folder/File Number10 of the files, e.g., Take1, Take2, Take3, etc. would be
the subfolders created with each recording based on the Recording Directory dialogue shown in Figure 22.

To enable recording into new folders:

• click in the Record into New Folders checkbox of the Set Recording Directory dialogue window – see
Figure 22 – until it is CHECKED
Record into New Folders is ENABLED by default.

A stereo recording using the information in Figure 22 would result in the following recording file structure:
D:>
My_Recordings>
Take1>
Take.1.Trk1.dff
Take.1.Trk2.dff
Take2>
Take.2.Trk1.dff
Take.2.Trk2.dff
Take3>
Take.3.Trk1.dff
Take.3.Trk2.dff

Record Signal Routing

Usually, you will want to record the track input coming from the ADCs. However, it is also possible to record the
track output of the EDL itself – this would include the rendering11 of overlapped ingredients on the same track.
Switching between the two modes is done using the Record Signal Routing controls. When you select Record
10. The Folder/File Prefix and Next Folder/File Number parameters are context dependent. When forming a file name, the
Folder/File Prefix relates to the prefix of the file name, while when creating new folders, it identifies the name of the folder
created. The same holds true for Next Folder/File Number.
11. Rendering in this context means the combining of two overlapped ingredients to form a single contiguous ingredient.
28 CHAPTER 3
Recording

Track Output, the I/O Monitoring (see Monitor Switching below) will be switched to output and locked. You
cannot change the monitoring while Record Track Output is selected.

To set the record signal routing to record track input:

Do one of the following:
• use the Record>Record Track Input command
• click on the Record Track Input button in the Transport Toolbar (see Figure 24)

Figure 24: The Record Track Input control button

To set the record signal routing to record track output:

Do one of the following:
• use the Record>Record Track Output command
• click on the Record Track Output button in the Transport Toolbar (see Figure 25)

Figure 25: The Record Track Output control button

Note: When recording track output, it is a good idea to specify a new Recording Directory so that the
rendered material is recorded in a separate, easily-identified location.

Monitor Switching
While making a recording, the Monitor Source (Input or Output) for a track can change when the transport Starts
and Stops, and when punch-ins and punch-outs occur. The behavior of Input/Output monitoring depends on the
Record Signal Routing.

Monitor Switching While Recording Track Input

There are three possible modes for Monitor Switching when recording from the track inputs:
1. Normal Monitor Switching
Selecting this mode has no immediate effect on the monitors. However, when the transport is running, all
Record Ready channels switch to monitor Input on punch-in, and then return to their previous state on punch-out.
The monitoring can also be changed manually by pressing the I/O buttons in the Track Panel while the
transport is running.

This is the default mode the first time that Sonoma is installed.
2. Auto Input Monitor Switching
Selecting this mode can have an immediate effect on the monitors. This mode forces all Record Ready channels
to monitor Input when the transport is stopped. During playback, all Record Ready channels switch to monitor
Output. At a punch-in, all Record Ready channels switch to monitor Input. If you punch-out, and stop the
transport, the monitor mode remains on Input; however, if you do not stop the transport on punch-out, the
monitor mode changes to Output until you hit STOP. The monitoring can also be changed manually by
pressing the I/O buttons in the Track Panel while the transport is running.
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3. No Monitor Switching (Manual)

When this mode is selected the input monitor state will not change during any of the recording transitions. You
can change the monitoring manually by pressing the I/O buttons in the Track Panel.

To set the monitor switching mode:

Do one of the following:
• use the Record>Normal Monitor Switching command
• use the Record>Auto Input Monitor Switching command
• use the Record>No Monitor Switching (Manual) command

Note: The Monitor Switching mode can only be changed when the transport is idle. Moreover,
Sonoma remembers your choice of Monitor Switching mode in your PC’s registry, and
continues to use the last mode you selected until you make a new choice.

Monitor Switching While Recording Track Output

When recording the track outputs, the monitor switching mode is ignored. When this routing is selected, all tracks
are forced to monitor Output and the monitor input buttons are disabled. It is not possible to manually switch
monitoring while Recording Track Output routing is selected.

Track Lock Controls and Record Ready

Sonoma is configured to prevent you accidentally recording on tracks and wasting system resources. Each track is
normally locked to prevent recording from taking place. So, before you can start a recording pass, you must unlock
each track that you intend to record on using the Lock Controls in the Track Control Panel. You can unlock tracks
individually or collectively. However, unlocking in itself is not enough to allow you to be able to record on those
tracks. Sonoma has a second control mechanism called Record Ready, and recording can only take place on tracks
that are unlocked and in Record Ready. Whether you put tracks in Record Ready immediately or dynamically later
on depends on whether you plan to do Basic Recording or Advanced Recording (see later for details).

To unlock tracks individually:

• click on the required tracks’ individual lock icons in the Track Control Panel (see Figure 26) – the lock icon will
change from black and closed to red and open and the Safe lights will appear in green

Figure 26: Track Control Panel

To unlock all tracks simultaneously:

• click on the L Track Lock column header in the Track Control Panel (see Figure 26) – all the lock icons will
change from black and closed to red and open and the Safe lights will appear in green
30 CHAPTER 3
Recording

To lock tracks individually:

• click on the required tracks’ individual lock icons in the Track Control Panel (see Figure 26) – the lock icon will
change from red and open to black and closed and the Safe lights will disappear

To lock all tracks simultaneously:

• click on the L Track Lock column header in the Track Control Panel (see Figure 26) – all the lock icons will
change from red and open to black and closed and the Safe lights will disappear

Note: You can only unlock/lock a track when the transport is stopped.

To put tracks into record ready individually:

• click on the required tracks’ individual Record Ready lamps in the Track Control Panel (see Figure 26) – each
lamp will change from grey to flashing red

To put all tracks into record ready simultaneously:

• click on the R Record Ready column header in the Track Control Panel (see Figure 26) – all the Record Ready
lamps will change from grey to flashing red

To make tracks safe individually:

• click on the required tracks’ individual Safe lamps in the Track Control Panel (see Figure 26) – each Record
Ready lamp will change to grey

To make all tracks safe simultaneously:

• click on the S Safe column header in the Track Control Panel (see Figure 26) – all the Record Ready lamps will
change to grey

Note: A track can only be armed for record, i.e., switched from Safe to Record Ready, if it is unlocked.

Disk Allocation
The Sonoma system automatically pre-allocates the free space of the Recording Directory’s hard-disk equally
among the unlocked tracks before recording actually begins. The allocation changes each time you lock or unlock
tracks, and when you switch between EDLs that have different sets of unlocked tracks. When a recording pass ends,
and the transport is stopped, the recorded files are truncated to the actual length of the recording, and new files are
pre-allocated to the unlocked tracks so the system is ready to record again. Therefore, you should expect to see the
Record Time Remaining and Time Left fields changing depending on the number of tracks you unlock for recording.

Status Bar
The right side of the status bar at the bottom of the Sonoma window (see Figure 27) can be used to check some of
the settings related to recording as it displays the EDL’s Recording Directory, the Recording Format (DSD-IFF or
DSD), the prefix and number of the next recording, and the total available recording time left (for the number of
unlocked tracks, or all tracks if none are unlocked). The Time Left field will count down while the transport is running
and recording. The Time Left display should not be confused with the Record Time Remaining clock display shown
in Figure 20. The Time Left field represents the total available capacity for a particular hard-disk and the number
of unlocked tracks.12
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Figure 27: The Status Bar

Note: Recording will automatically stop when the Record Time Remaining clock counts down to zero,
irrespective of how much more available disk capacity the system may have! When the Time
Left is less than the Maximum Recording Duration parameter, the Time Left and Record Time
Remaining displays will show the same value provided the amount of time left in the EDL is
NOT the limiting factor.

Fade Types/Lengths
Recording creates new ingredients in the EDL. These ingredients will have edit points corresponding to the times they
were punched-in and -out along with default fades. The default fade types and lengths are specified in the Editing
Preferences (see Chapter 19: User Preferences). You can freely change fade parameters at any time, but the default
values determine the fade parameters for all new recordings created in an EDL. Therefore, it is important to select
the fade type and length that is typical for the type of recording that you are doing in order to avoid having to
manually change every fade afterwards.

For details on how to set the default values, please see Chapter 19: User Preferences.

Error Preferences
If errors occur while recording, you may want to halt the machine for some or all of them, or carry on recording.
You use the Error Preferences to choose the appropriate behavior – please see Chapter 19: User Preferences for
details.

Basic Recording
For many applications, you can use the Basic Recording process to create your recordings. In Basic Recording, you
essentially follow these steps:
1. unlock all the tracks that will be recorded on
2. put all the tracks into Record Ready
3. use the Transport Controls to start and stop the recording process

Recording can be initiated with the transport idle or running, and at the end of the recording you can either make
the transport return to idle or continue to run (for a possible later punch-in).
12. The Record Time Remaining clock display, on the other hand, shows the minimum value of: available record time (for the
number of selected tracks), a user-specified Maximum Recording Duration parameter (set in the Recording Preferences –
see Chapter 19: User Preferences), and the amount of time left in the EDL.
32 CHAPTER 3
Recording

Transport Controls
The Record Trigger
When you have unlocked all the tracks you plan to record on, and put those tracks into Record Ready (see Track
Lock Controls and Record Ready above), you will be able to start Recording by pressing the Record key (see
Figure 28). The most basic type of Recording is as follows:

To carry out the simplest type of recording:

1. with all necessary tracks unlocked and in Record Ready and the transport idle, issue the Record command to
start recording (see below) – the transport will start and all tracks in Record Ready will begin recording (new
red ingredients will be painted in the EDL Display Window on those tracks).

2. to end recording, issue the Stop command (see below) – the transport will stop, the newly recorded ingredients
will be added to the EDL (their color will change from red to either blue or green13), and the system will
continue to “sit” in Record Ready mode for further Record commands.

3. when you no longer wish to do any further recording, Lock all the unlocked tracks.

To start recording:

Do one of the following:

• use the Transport>Record command
• use the Ctrl+R keyboard command
• click on the Record button in the Transport Toolbar (see Figure 28)

Figure 28: The Record Trigger control button

Stopping Recording
The Stop command stops both the recording function and forces the transport into the idle state.

To stop recording:

Do one of the following:

• use the Transport>Stop command
• use the Ctrl+Spacebar keyboard command
• click on the Stop button in the Transport Toolbar (see Figure 29)

Figure 29: The Stop control button

Rolling Record
Recording can also be initiated with the transport running, and it is also possible to stop recording without
returning the transport to idle. This can be convenient for adding new tracks to some previously recording backing
tracks: the previously recorded material can be played back, enabling the musicians to hear it, and the command to
13. This is determined by the choice of recording format: blue = DSD-IFF; green = Sonoma DSD format.
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User Guide Version 2.1

go into Record can be given at the point where the new tracks need to be added. An example of such a “rolling”
recording is as follows:

To carry out a rolling recording:

1. with all necessary tracks unlocked and in Record Ready issue the Play command (see below) to start the
transport running, – the transport will start and all tracks NOT in Record Ready will play back any previously
recorded material.

2. at the required location in the EDL, issue the Record command – Sonoma will punch-in all tracks in Record
Ready and begin recording on them (new red ingredients will be painted in the EDL Display Window on those
tracks).

3. to punch-out of Record mode, issue the Play command – Sonoma will punch-out all tracks in Record Ready and
stop recording on them (their ingredients will be change from red to blue or green), the transport will continue
to run, and you can continue to carry out punch-in/punch-out cycles using the Record and Play controls.

4. to stop the transport, issue the Stop command – if necessary, this causes all tracks to punch-out and stops the
transport.

5. when you no longer wish to do any further recording, Lock all the unlocked tracks.

To start the transport or punch-out of recording:

Do one of the following:

• use the Transport>Play command
• use the Ctrl+P keyboard command
• click on the Play button in the Transport Toolbar (see Figure 30)

Figure 30: The Play control button

Canceling a Recording
There may be times when you are either testing the system operation or completely dissatisfied with a recording
pass that you do NOT want to keep the recorded audio files. If you are 100% convinced of this fact, you can stop
the recording process and immediately discard the recorded audio files from your system’s hard-disks. You do this
using the Cancel Recording command.

To cancel recording:

Do one of the following:

• use the Transport>Cancel Recording command
• use the Ctrl+Alt+Shift+R keyboard command

Note: Use this command ONLY when you are convinced that you will never need the recorded
material, as it is NOT reversible via the Undo command!

Monitor Source
The Monitor Source controls allow you to switch between monitoring the inputs to or the outputs from the
Sonoma system. The commands switch only the selected tracks in the EDL (or all tracks if none are selected).
The corresponding control buttons (see Figures 31 and 32) on the Transport Toolbar show the current monitor
34 CHAPTER 3
Recording

state by appearing depressed. However, if some tracks are monitoring output and others are monitoring input then
neither button will appear depressed.

To monitor the inputs:

Do one of the following:
• click on the required tracks’ individual Input lamps in the Track Control Panel – each lamp will change from
grey to yellow
• Click on the I column header in the Track Control Panel – this puts all tracks into Input mode
• use the Transport>Monitor Inputs command – this puts all tracks into Input mode
• use the Alt+I keyboard command – this puts all tracks into Input mode
• use the Ctrl+I keyboard command (= Toggle Monitor Source) – this puts all tracks into Input mode
• click on the Monitor Inputs control button in the Transport Toolbar (see Figure 31) – this puts all tracks into
Input mode

Figure 31: The Monitor Inputs control button

To monitor the outputs:

Do one of the following:
• click on the required tracks’ individual Output lamps in the Track Control Panel – each lamp will change from
grey to blue
• Click on the O column header in the Track Control Panel – this puts all tracks into Output mode
• use the Transport>Monitor Outputs command – this puts all tracks into Output mode
• use the Alt+O keyboard command – this puts all tracks into Output mode
• use the Ctrl+I keyboard command (= Toggle Monitor Source) – this puts all tracks into Output mode
• click on the Monitor Outputs control button in the Transport Toolbar (see Figure 32) – this puts all tracks
into Output mode

Figure 32: The Monitor Outputs control button

Note: You cannot change the Monitor Source while you are recording track output.

Mute All
The Mute All command mutes or unmutes all the tracks in the system (unlike the M column header in the Track
Control Panel which affects only the selected tracks). If you engage the Mute All command, and then go into
Record mode, you will merely record silence. The Mute All command is a convenient way to cut the monitors
during a break in a recording session.

To toggle the mute all status:

Do one of the following:
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User Guide Version 2.1

• use the Transport>Mute All command

• use the Ctrl+M keyboard command
• click on the Mute/Unmute All control button in the Transport Toolbar (see Figure 33)

Figure 33: The Mute/Unmute All control button

Note: The Mute/Unmute All control button on the Transport Toolbar will appear depressed when all
the tracks are muted.

Advanced Recording
Record to Destination EDL
In some situations, it can be inconvenient to record new ingredients into the active EDL. To get around this
problem, Sonoma has a Record to Destination EDL function. When this is enabled, all new ingredients appear in
some other EDL. If you have already designated an EDL as a destination EDL (see the section Source and
Destination EDLs in Chapter 10: Region-based Editing and Linear Editing), the ingredients will appear in it. If there
is no destination EDL specified, Sonoma will open a new EDL and place the ingredients in it.

To toggle the record to destination EDL function:

• use the Record>Record To Destination EDL command – the pull-down menu item will appear
CHECKED when the function is enabled, and UNCHECKED when it is disabled

The default setting when Sonoma is first installed is DISABLED.

It is important to realize that when recording to a destination EDL, the new audio files will still be recorded into the
Recording Directory set for the active EDL.

Record Edit Region

The concept of edit regions is explained in Chapter 10: Region-based Editing and Linear Editing. When an edit region
has been defined using edit cursors, it can be convenient to perform an automatic recording within the defined region
on all the tracks that are in the Record Ready state. This is done using the Record Edit Region command. The way
Record Edit Region works is as follows:

1. operation begins with playback from the selected pre-roll value (P1, P2 or P3) preceding the edit left cursor that
defines the start of the edit region – there is no pre-roll if the region starts at 00:00:00.000

2. the Record Trigger is engaged when the transport reaches the edit left cursor – all tracks in Record Ready then
begin recording, and new ingredients are added to the active EDL; at the same time the Record Time Remaining
clock starts with the region length and counts down to 00:00:00.000

3. the Record Trigger is disengaged when the transport reaches the edit right cursor (the Record Time Remaining clock
will have reached 00:00:00.000) – all tracks that were in Record Ready then switch to the Safe state, and all new
ingredients change from red to blue or green in the EDL
36 CHAPTER 3
Recording

4. the transport continues in playback mode to a point equal to the pre-roll after the edit right cursor at which point
the transport is stopped

To record an edit region:

Do one of the following:

• use the Transport>Record Edit Region command
• use the Ctrl+Shift+R keyboard command

Note: The track selection state of the EDL has no effect, and the Recording Mode (see below) is
ignored. You should not try to change a track’s Ready/Safe status while recording an edit region.
All other controls that affect recording (Record Signal Routing, Monitor Switching, Record to
Destination EDL, Recording Directory) are used exactly as they are configured.

Recording Mode
All the above recording modes can be considered “static” with regard to the setting of the Record Ready state.
Prior to engaging the Record Trigger, all required tracks were put in the Record Ready state, and left that way until
recording was complete. It is possible to manipulate the Record Ready and Safe controls during the recording
process itself, allowing you to dynamically change which tracks are recorded on. Moreover, you have full control
of whether such changes should be immediate, or whether they are deferred. This is achieved through the choice
of recording mode: untriggered or triggered.

To set the recording mode:

Do one of the following:

• use the Record>Triggered Mode command – the menu item will appear CHECKED when in triggered mode
and UNCHECKED when in untriggered mode
• click on the Toggle Triggered Mode control button in the Record Toolbar (see Figure 34) – the button will
appear depressed when in triggered mode and “up” when in untriggered mode

Figure 34: The Toggle Triggered Mode control button

The default setting is triggered mode.

Untriggered Mode
In untriggered mode, you can immediately control punch-in and punch-out transitions by clicking on an unlocked track’s
Record Ready and Safe buttons. An untriggered recording can be convenient for over-dubbing a single track, and is
quite popular in the film world where dubbers are used to manipulating tracks’ Record Ready/Safe states directly.

To carry out an untriggered recording:

1. unlock all necessary tracks and use the Record Trigger to start the transport running – note that no recording
takes place

2. at the required location in the EDL, click on a track’s Record Ready button – the track’s Safe light (green) goes
off and its Record Ready light (red) comes on, the track immediately goes into Record mode, and a new red
ingredient begins to be painted in the EDL for that track

3. click more Record Ready buttons as required – those tracks will also immediately go into Record Mode
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4. to stop recording on a track, click on its Safe button – the track’s Record Ready light goes off and its Safe light
comes on, the track immediately goes into Safe mode, and recording stops on that track

5. you can continue to punch-in/-out on tracks by controlling their Record Ready/Safe buttons

6. use the Stop command to end recording and stop the transport – if you use the Play command, it will force a
punch-out on all tracks, and recording can only be resumed following a subsequent Record Trigger command

Triggered Mode
The untriggered mode is inconvenient if you want to punch-in/-out on a number of tracks simultaneously. In such
cases, it is better to use the triggered mode, which defers all changes of recording state until a further Record Trigger
command is given. Similarly, you can select the Safe mode on a number of tracks, and then force them to punch-out
simultaneously with subsequent trigger commands. In this way you can control punch-in/-out transitions for groups
of tracks while the transport is running.

To carry out a triggered recording:

1. unlock all necessary tracks and use Play to start the transport running – note that no recording takes place

2. prior to the punch-in point, click on the required tracks’ Record Ready buttons – the tracks’ Safe lights (green)
will remain lit, and the Record Ready lights (red) will flash, still no recording takes place on these tracks

3. at the punch-in point, issue the Record Trigger command – the tracks’ Safe lights (green) will turn off, and the
Record Ready lights will turn on continuously, the tracks immediately go into Record mode, and new red
ingredients begin to be painted in the EDL for each track

4. (optional) while recording continues, click more Record Ready or Safe buttons as required – tracks for which
the Record Ready buttons have been clicked will have their Record Ready lights flashing, while tracks for
which the Safe buttons have been clicked will have their Safe lights flashing

5. (optional) at the required point, issue the Record Trigger command – those tracks armed for Record Ready
will punch-in while those tracks armed for Safe will punch-out

6. you can continue to punch-in/-out on tracks by controlling their Record Ready/Safe buttons and issuing further
Record Trigger commands

7. use the Stop command to end recording and stop the transport – if you use the Play command, it will force a
punch-out on all tracks, and recording can only be resumed following a subsequent Record Trigger command

Note: Irrespective of Recording Mode, pressing the Play button will always punch-out on all recording
tracks and keep the transport running. Pressing the Stop button will always punch-out on all
recording tracks and stop the transport.

After Recording
When recording ends, the new ingredients are punched into either the original active EDL, or, if Record to Destination
EDL was selected, the destination EDL – in the latter case, the EDL Display Window continues to show the active
EDL when recording has finished. Overlapping ingredients in the active (or destination) EDL are trimmed at the
punch-in/-out points and the default cross-fade time (specified in the Edit Preferences, see Chapter 19: User
Preferences) is applied. This section explains some of the other options that become available to you after a
recording pass has completed.
38 CHAPTER 3
Recording

Punch Record Auto Clean-up

When you record over existing material in an EDL, there is the possibility that a punch-in or punch-out might occur
on top of an existing cross-fade. When this happens, a very small ingredient (a ‘stub’) might remain where a piece of
the original incoming ingredient preceded the punch-in (or a piece of the original outgoing ingredient followed the punch-out).
Whether these stubs continue to exist in the EDL after a punch-in/-out completes is controlled by the Punch Record
Auto Clean-up function in the Edit Preferences (see Chapter 19: User Preferences), which specifies the minimum
stub length. The default value is 200 ms. When this feature is enabled and recording leaves stubs, any stub smaller
than the minimum length will be automatically removed from the EDL. Punch Record Auto Clean-up is
ENABLED by default.

Last Recording
When a recording has completed, the new ingredients are automatically selected and they become the last recording in
that EDL. However, after a recording has been made, and the ingredient selection has changed, you can use the
Select Last Recording command to re-select the set of ingredients that was most recently recorded into the EDL.

To select the last recording:

• use the Selection>Select Last Recording command

EDLs will remember their last recording only as long they are Open. As soon as an EDL has been Saved, Closed,
and Opened again, it no longer knows about its last recording.

Undo Recordings
Each recording pass appears as an item in the EDL’s Undo list (see Chapter 14: Undo/Redo). Undoing a
recording will revert the EDL to its state immediately preceding the starting of the transport that initiated the
recording. The recorded ingredients will be removed from the EDL but the underlying audio files remain on the
system’s hard-disk(s). This is a ‘soft’ or non-destructive undo.

To undo a recording:

Do one of the following:

• use the Edit>Undo command
• use the Ctrl+Z keyboard command
• click on the Undo control button in the Undo Toolbar (see Figure 35)

Figure 35: The Undo control button

Discard Last Recording

When an EDL has a last recording, as explained above, the Delete Last Recording command becomes available. This
command performs a ‘hard’, i.e., destructive, delete: the ingredients comprising the last recording are removed from the
EDL and their underlying audio files are deleted from the system. This command is disabled as soon as another
undoable event has been performed after recording. You can also discard material later using the Discard Source
Audio command (see below).

To discard the last recording:

Do one of the following:

• use the Record>Delete Last Recording command
• use the Ctrl+Shift+Delete keyboard command
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Discard Source Audio

The Discard Source Audio command deletes the selected ingredients and discards the sound and waveform files that
relate to them. It can be used at any time, but use it with extreme caution as it is an undoable command that will
permanently remove files from the system and may result in offline ingredients (see the section Offline Ingredients in
Chapter 2: Sonoma Editor Window) in other EDLs.

To discard the last recording:

• use the Selection>Discard Source Audio command

The Takelist
Each time a recording is made, a special read-only EDL called a takelist is created. It will have a name that matches
the prefix and file number of the new audio file, e.g., Take.11.edl. The takelist is saved in the Recording
Directory – or a subfolder in that directory – along with the audio files that were recorded during that pass. The
takelist is a two-layered EDL. The background layer is a copy of the active EDL as it appeared just before the new
ingredients were pasted into it, the foreground layer contains the new ingredients only.

In normal circumstances, you will work with the active (or destination) EDL. However, in the rare cases when you
must open a takelist, you need to decide how to handle the foreground and background layers. A dialogue box will
offer these options:

• Load the foreground layer only the EDL will contain only the new material recorded during the
recording pass.

• Load the background only the EDL will contain the original background only. This is like undoing
the recording.

• Punch the foreground into the the EDL will contain the new material recorded during the recording
background and load pass punched into the original background.
40 CHAPTER 3
Recording
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Chapter 4: Playback

Playback always happens in the active EDL window. You can use the Transport Toolbar controls, the Transport
Menu commands, or the command keyboard accelerators to control playback.

Simple Playback
Play and Stop
The Play command is used to play back (i.e., listen to) audio that has already been recorded. Playback starts at the
current position of the Nowline and continues until a Stop command is given. When playback stops, the Nowline
remains at the last position played unless Auto Rewind (see below) is ON.

To start play:

Do one of the following:

• use the Transport>Play command
• use the Ctrl+P keyboard command
• (if the transport is stopped) use the Spacebar keyboard command (= Play/Stop Toggle)
• click on the Play control button in the Transport Toolbar (see Figure 36)

Figure 36: The Play control button

To stop play:

Do one of the following:

• use the Transport>Stop command
• use the Ctrl+Spacebar keyboard command
• (if the transport is moving) use the Spacebar keyboard command (= Play/Stop Toggle)
• click on the Stop control button in the Transport Toolbar (see Figure 37)

Figure 37: The Stop control button

42 CHAPTER 4
Playback

Play Selection
The Play command plays back the audio for all ingredients, whether they are selected, or not. It is possible to play
back only the audio in the selected ingredients. This is done using the Play Selection command.

To play selection:

Do one of the following:

• use the Transport>Play Selection command
• use the Shift+Spacebar keyboard command
• hold down the Shift-key while clicking on the Play control button in the Transport Toolbar (see Figure 36)

Note: The Play Selection command operates only on those ingredients that have been selected within the
EDL. It does not operate on the track number selections made in the Track Control Panel.

Return To Zero, Rewind, Auto Rewind

Sonoma contains several controls for re-positioning the Nowline. These are:
• Return To Zero (RTZ) – which scrolls the EDL to 00:00:00.000 and sets the Nowline there
• Rewind – which positions the Nowline to the position it occupied when the last Play command was given
• Auto Rewind – which automatically positions the Nowline to the position it occupied when the last Play
command was given.

To return to zero:
Do one of the following:
• use the Transport>Return To Zero command
• use the Shift+Home keyboard command14
• click on the RTZ control button in the Transport Toolbar (see Figure 38)

Figure 38: The Return-To-Zero control button

To rewind:
Do one of the following:
• use the Transport>Rewind command
• use the Home keyboard command
• click on the Rewind control button in the Transport Toolbar (see Figure 39)

Figure 39: The Rewind control button

14. The Home-key is usually found in a cluster of six keys that also includes Page Up, Page Down, Insert, Delete, and
End. The numeric keypad Home-key will not work for this shortcut nor the Rewind command shortcut.
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To auto rewind:
Do one of the following:
• check the Transport>Auto Rewind function
• click on the Auto control button in the Transport Toolbar (see Figure 40)

Figure 40: The Auto Rewind control button

Note: Once activated, Auto Rewind remains ON until you de-activate it!

Auditions
Auditions are more specialized versions of playback. They either involve playback up to, form or around a
specified location. The Nowline always returns to its original position after the audition has completed. The length
of the playback is determined by the selected value of pre-roll. For auditions up to/from a location, the playback
length equals the chosen pre-roll value. For auditions around a location, the playback length is twice the pre-roll
value.

Note: The audition commands do not work in regions where there is NO audio recorded! That is, you
CANNOT audition empty regions of an EDL.

Note: Auditions play back ALL tracks irrespective of the selections you have made within the EDL.
However, if you make selections using the track number boxes in the Track Control Panel, then
the Audition commands operate ONLY on those tracks that have blue (i.e., selected) track
numbers!

Pre-roll Selection
Sonoma allows you to change the length of the auditions. This is done using the pre-roll selection.

To select a value of pre-roll:

Do one of the following:
• use the Transport>Pre-roll Pn command, where n can be either 1, 2 or 3
• use the 1, 2 or 3 keyboard commands
• click on the P1, P2 or P3 control buttons in the Transport Toolbar (see Figure 41)

Figure 41: The Pre-roll control buttons

44 CHAPTER 4
Playback

The time values corresponding to the three pre-roll controls are user specifiable, and are set in the Playback
Preferences – for full details, please see Chapter 19: User Preferences. The default values of P1, P2 and P3 are 1 s,
2 s, and 3 s respectively, and the pre-roll can take values between 0.5 s and 60 s.

Note: The selected pre-roll intervals are also valid for the Splice Editor audition commands – for further
details, please see Chapter 13: The Splice Editor Control Panel.

Auditioning the Nowline

There are three commands for auditioning the audio in the vicinity of the current Nowline position. These are:

1. Audition up to Nowline
2. Audition after Nowline
3. Audition around Nowline

Audition Up To Nowline
An Audition up to Nowline automatically moves the ‘playback head’ backwards by the selected pre-roll amount,
engages Play on all channels (or only those which have their track numbers selected), Plays up to the Nowline position
and then Stops.

To audition up to nowline:
Do one of the following:
• use the Transport>Audition Up To Nowline command
• use the 7 keyboard command
• click on the Audition Up To Nowline control button in the Transport Toolbar (see Figure 42)

Figure 42: The Audition Up To Nowline control button

Audition After Nowline

Audition after Nowline begins playback at the current Nowline position and Plays the audio on all channels (or only
those which have their track numbers selected) for a duration equal to the chosen pre-roll.

To audition after nowline:

Do one of the following:
• use the Transport>Audition After Nowline command
• use the Ctrl+7 keyboard command
• hold down the Ctrl-key and click on the Audition Up To Nowline control button in the Transport Toolbar
(see Figure 42)

Audition Around Nowline

Audition Around Nowline can be thought of as a combination of the above two audition commands: the playback
begins at a time equal to the chosen pre-roll before the Nowline position and continues to a time equal to the chosen
pre-roll after the Nowline position.
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To audition around nowline:

Do one of the following:
• use the Transport>Audition Around Nowline command
• use the Alt+7 keyboard command
• hold down the Alt-key and click on the Audition Up To Nowline control button in the Transport Toolbar
(see Figure 42)

Auditioning Edit Cursors

Like the nowline case described above, there are identical commands for auditioning the audio in the vicinity of the
left and right edit cursors. However, the edit cursor auditions have a complementary nature, the ‘direct’ audition for
the left edit cursor is an audition up to the cursor whereas the ‘direct’ audition for the right edit cursor is an audition
from the cursor.

Audition Up To Edit Left

To audition up to edit left:

Do one of the following:
• use the Transport>Audition Up To Edit Left command
• use the 5 keyboard command
• click on the Audition Up To Edit Left control button in the Transport Toolbar (see Figure 43)

Figure 43: The Audition Up To Edit Left control button

Audition After Edit Left

To audition after edit left:

Do one of the following:
• use the Transport>Audition After Edit Left command
• use the Ctrl+5 keyboard command
• hold down the Ctrl-key and click on the Audition Up To Edit Left control button in the Transport Toolbar
(see Figure 43)

Audition Around Edit Left

To audition around edit left:

Do one of the following:
• use the Transport>Audition Around Edit Left command
• use the Alt+5 keyboard command
• hold down the Alt-key and click on the Audition Up To Edit Left control button in the Transport Toolbar
(see Figure 43)

Audition After Edit Right

To audition after edit right:

Do one of the following:
• use the Transport>Audition After Edit Right command
• use the 6 keyboard command
46 CHAPTER 4
Playback

• click on the Audition After Edit Right control button in the Transport Toolbar (see Figure 44)

Figure 44: The Audition After Edit Right control button

Audition Up To Edit Right

To audition up to edit right:

Do one of the following:
• use the Transport>Audition Up To Edit Right command
• use the Ctrl+6 keyboard command
• hold down the Ctrl-key and click on the Audition After Edit Right control button in the Transport Toolbar
(see Figure 44)

Audition Around Edit Right

To audition around edit right:

Do one of the following:
• use the Transport>Audition Around Edit Right command
• use the Alt+6 keyboard command
• hold down the Alt-key and click on the Audition After Edit Right control button in the Transport Toolbar
(see Figure 44)

Auditioning an Edit Region

The left and right edit cursors define an edit region between them. When there is only a left edit cursor the edit region
extends from the cursor to the end of the EDL. Similarly, when there is only a right edit cursor the edit region extends
from 00:00:00.000 to the cursor. There are two audition commands that operate on the edit region:

1. Audition Edit Region

2. Audition Around Edit Region

Audition Edit Region plays all the material in the defined edit region. Audition Around Edit Region is a ‘cut
audition’. It begins playing at a time equal to the pre-roll before the left edit cursor, plays up to edit left, then plays from
edit right for a time equal to the pre-roll. Sonoma inserts a cross-fade between the two elements using the default fade
settings. In this way, the material in the edit region is ‘cut’ from the audition.

Note: Audition Edit Region is the only audition command that does not make use of the chosen value
of pre-roll.

Audition Edit Region

To audition edit region:

Do one of the following:
• use the Transport>Audition Edit Region command
• use the - (i.e., Minus) keyboard command
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Audition Around Edit Region

To audition around edit region:

Do one of the following:
• use the Transport>Audition Around Edit Region command
• use the Shift+- (i.e., Shift+Minus) keyboard command

Bottlenecks
Real time playback is not possible when more than two ingredients overlap on the same track. This is called a
bottleneck. The system will halt with an error dialogue when it attempts to play across a bottleneck. In order to avoid
this situation, the user interface indicates when a bottleneck is present so that the user can correct the situation before
attempting to play.

The Transport Toolbar contains a bottleneck button. The button is a shortcut for the Transport>Show Next
Bottleneck command. This button and the menu command are only enabled when bottlenecks are present at, or to
the right of, the Nowline. In all other situations, the command and button appear greyed-out.

Figure 45: The Show Next Bottleneck control button

When there are bottlenecks at, or after, the Nowline, selecting the Show Next Bottleneck command will select the ‘first
offending ingredient(s)’ and move the Nowline to the start of the selected ingredient(s), indicating to the user where the
overlap problem begins. There may be other bottlenecks before the Nowline, or later in the EDL, but only the first
bottleneck that would be encountered while playing is shown.

Note: You need to fix all the bottlenecks at, or to the right of, the Nowline before Play can be resumed.
This can be done by either moving, trimming or deleting the problem ingredient(s). The methods
for doing this will become clear in later Chapters.
48 CHAPTER 4
Playback
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Chapter 5: Annex Metering

The Sonoma Edit card contains a special on-board Digital Signal Processor (DSP) that allows full multi-band
metering of the DSD audio data in accordance with the SA-CD technical specifications (so-called Annex
Metering15). The Annex Meters can be viewed individually or simultaneously, in horizontal or vertical orientations,
can be floated or docked, can be scaled in size, can be zoomed to calibrate converters, and have user-set overload
levels. The following sections will describe these features in detail.

Displaying the Annex Meters

The Annex Meters run in their own window. Like toolbars, the presence and position of the Annex Meters
Window forms part of the default EDL Window layout, and this information is saved when you close the Sonoma
application, and recalled each time Sonoma is started. So, if you close Sonoma with the meters displayed, they will
still be displayed the next time you start Sonoma. The display of the meters can be toggled when the transport is
idle or running.

To toggle the display of the annex meters:

Do one of the following:
• use the Window>Metering Display command
• use the Ctrl+Alt+Shift+M keyboard command
• click on the Show Metering Data Window control button in the Record Toolbar (see Figure 46)

Figure 46: The Show Metering Data Window control button

The Annex Meters Window

The Annex Meters Window (see Figure 47) is composed of three sections:
• a series of six checkboxes
• two buttons
• the meters themselves
15. The term Annex Metering derives from the fact that the DSD audio signal properties are defined in two Annexes of the
SA-CD System Description Part 2: Audio Specification.
50 CHAPTER 5
Annex Metering

Figure 47: The Annex Meters Window

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Checkboxes
There are six checkboxes in the top left hand corner of the window. The first five of these checkboxes control the
display of the five Annex Meters:
• DC
• Audio
• 20 kHz - 50 kHz
• 50 kHz - 100 kHz
• Max. Peak

To toggle the display of an annex meter:

• click in the meter’s checkbox until it is CHECKED (display) or UNCHECKED (do not display)

The default setting is for ALL FIVE meters to be DISPLAYED.

The sixth checkbox is labelled Cal. This is used for calibration mode, and causes the displayed meters to zoom to
the Zoom Around Levels set in the Annex Metering Preferences (see Zoom Around Level below). The range of
the meter will be determined by the +/- amount set in the Annex Metering Preferences (see below). This mode
can be very useful for aligning ADCs and consoles. For example, if you are calibrating with a -14 dB tone, you
would set the Audio Zoom Around Level to -14 dB, and assume you choose +/- 1 dB for the range. The meter
will then display -14 dB as its mid-point, with a range of -15 dB to -13 dB. Signal values below the Zoom Around
Level turn the meter bars green, signal values above the Zoom Around Level turn the meter bars red, while the
meter bars turn blue when the signal is within 0.02 dB of the Zoom Around Level value. In this way, it is very easy
to accurately calibrate converters even if you are viewing the screen from a distance.

To toggle the calibration mode:

• click in the Cal checkbox until it is CHECKED (enabled) or UNCHECKED (disabled)

The default setting is for calibration mode to be DISABLED.

Note: Peak-hold is turned OFF in the Calibration mode irrespective of the setting specified in the
Annex Metering Preferences (see below).

The V/H Button

The V/H Button is used to toggle between the Vertical and Horizontal display modes of the meters.

To toggle between the vertical and horizontal display modes:

• click the V/H button until the meters have the required orientation

The default setting is for the meters to appear in the VERTICAL display mode.

The Preferences Button

The Preferences Button controls the display of the Annex Metering Preferences Window (described in detail
below).

To display the annex metering preferences window:

• click the Preferences button
52 CHAPTER 5
Annex Metering

The Meters
The DC Meter
The DC Meter displays the level of DC component in the signal being metered. The SA-CD technical
specifications recommend that the DC level on an SA-CD disc be less than -50 dBSA-CD. For this reason, a red line
appears in the meter at -50 dBSA-CD. DC values that exceed -50 dBSA-CD will cause the meter bars to turn red. It is
strongly recommended that you attempt to keep the DC level below this threshold at all times. Values over
-50 dBSA-CD encountered when the transport is running will cause Metering Marks (see Chapter 15: Marks) to be
inserted into the EDL. The DC level is measured via a 0.1 Hz cut-off second-order low-pass filter.

The Audio Meter

The Audio Meter displays the signal level in the DC16 to 20 kHz band, as measured through a 20 kHz cut-off,
tenth-order Butterworth low-pass filter. This is the meter that you will typically use to determine the dynamics of
the signal that you are Recording/Playing. There are no limitations in the SA-CD technical specifications on the
signal level in the Audio band, however, warnings in the 20kHz-50kHz band are generated based on a comparison
with the Audio level. Valid peak signal levels should be set using the Max. Peak Meter (see below). Controls for
determining the Audio Meter display range can be found in the Annex Metering Preferences (described in the next
section).

The 20 kHz - 50 kHz Meter

The 20 kHz - 50 kHz Meter displays the signal component measured after a combination of a 20 kHz cut-off
tenth-order Butterworth high-pass filter and a 50 kHz cut-off fifth-order Butterworth low-pass filter. The SA-CD
technical specifications recommend that the signal level in this band be below -28 dBSA-CD when the Audio signal
level is lower than the 20 kHz - 50 kHz signal level. For this reason, the meter has a red line at -28 dBSA-CD.

Note: If the Audio signal level exceeds the 20 kHz - 50 kHz level, any signal value in the 20 kHz -
50 kHz range is allowed! Therefore, a signal level above -28 dBSA-CD will NOT automatically
cause the meter bars to turn red.

The 50 kHz - 100 kHz Meter

The 50 kHz - 100 kHz Meter displays the signal component measured after a combination of a 40 kHz cut-off
fifth-order Butterworth high-pass filter and a 100 kHz cut-off fifth-order Butterworth low-pass filter. The SA-CD
technical specifications demand that the signal level in this band be below -20 dBSA-CD at ALL times. SA-CD discs
CANNOT be made with 50 kHz - 100 kHz signal levels above -20 dBSA-CD. For this reason, there is a red line on
the meter at -20 dBSA-CD, and signals above this value turn the meter bars red.

The Max. Peak Meter

The Max. Peak Meter shows the signal value measured by a 28-tap first order moving average filter (essentially
equivalent to a 50 kHz bandwidth signal level measurement). The SA-CD technical specifications mandate that
Max. Peak values in excess of +3.1 dBSA-CD are prohibited, and discs CANNOT be made if this parameter is
exceeded. For this reason, there is a red line on the meter at +3.1 dBSA-CD, and signal levels exceeding this value
will cause the metering bars to turn red.

Note: This meter is extremely important for mastering engineers preparing Edit Masters for SA-CD
disc production.

16. The use of DC here is for convenience, as the DC component is removed and metered separately, however, the range is
from just above DC to 20 kHz.
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The Annex Metering Preferences

The Annex Metering Preferences Window (see Figure 48) contains number fields and checkboxes to control the
meter display ranges, Cal levels, Metering Marks, Peak Hold strategy, orientation, meter toppers and metering
dynamics.

Figure 48: The Annex Metering Preferences

Meter Ranges
The Meter Ranges area allows you to set parameters for the Audio and Max. Peak meters. There are four
parameters that govern the display:
• Max Max sets the largest value in dBSA-CD that the window will display.
• Over Over sets a threshold value (the red line) in dBSA-CD that indicates where the meter data will turn
from green (good) to red (bad). The Over value for Max. Peak cannot be changed, as it is fixed by
the SA-CD technical specifications.
• Warm Warm sets a threshold value in dBSA-CD above which the green display of the meter becomes more
intense. This can be used to show that the signal is getting close to the Over level, but is still valid.
• Min. Min sets the smallest value in dBSA-CD that the window will display.

To set a meter range:

• click in a number box for the required parameter and enter a value in dBSA-CD

The settings for the DC, 20 kHz - 50 kHz and 50 kHz - 100 kHz meters are all fixed, and CANNOT be changed.
The default values for each meter are shown in Figure 48 where the greyed out numbers show parameter values
that CANNOT be edited.
54 CHAPTER 5
Annex Metering

Zoom Around Level

The Zoom Around Level settings are used when the Cal checkbox is checked and the meter goes into Calibration
display mode. The mid-point of each meter will be the value appearing in the number field above each meter name,
and the range of each meter will be determined by the value in the number box above +/- dB.

To set a zoom around level (i.e., calibration level):

• click in a number box for the required meter and enter a value in dBSA-CD

To set the meter range for calibration mode:

• click in the +/- number box and enter a value in dB

Metering Marks
The Metering Marks section allows you to control the insertion of Metering Marks into the EDL. There are three
checkboxes which control the addition and auto-deletion of Metering Marks, and five checkboxes to control which
Meters are to be considered when inserting Metering Marks.

Add EDL Metering Marks on Playback

The Add EDL Metering Marks on Playback checkbox controls whether EDL Metering Marks are inserted into the
EDL when an overload is detected during Playback.

To toggle the addition of EDL metering marks on playback:

• click in the Add EDL Metering Marks... checkbox until it is CHECKED (enabled) or UNCHECKED
(disabled)

The default setting is for this checkbox to be UNCHECKED.

Add Ingredient Metering Over Marks on Record

The Add Ingredient Metering Over Marks on Record checkbox controls whether metering overloads detected
during Recording are marked in the EDL by Ingredient Marks. Ingredient Marks are stored inside EDLs for the
relevant ingredients so, if they are used in other EDLs (e.g., via Copying), you can immediately see that an overload
is present and correct for it, either via editing or changing level in the region of the overload.17

To toggle the addition of ingredient metering marks on record:

• click in the Add Ingredient Metering... checkbox until it is CHECKED (enabled) or UNCHECKED
(disabled)

The default setting is for this checkbox to be CHECKED.

Auto-Delete EDL Metering Marks on Transport Start

The Auto-Delete EDL Metering Marks on Transport Start checkbox controls whether EDL Metering Marks are
automatically deleted each time the transport is started. If the Add EDL Metering Marks on Playback checkbox is
CHECKED, EDL Metering Marks will be added to the EDL each time an overload is replayed. This can be
confusing if, for example, you are attempting to gain correct an overload region, and are repeatedly auditioning
around the overload: an EDL Metering Mark will be added for every pass that the signal gain is too high. With this
control activated, the EDL Metering Marks will be automatically erased at the start of each audition pass. In this
way, it will be easy to see when the correct gain point has been found for a particular overload.
17. If you use Import new sound files... to use an ingredient, in a new EDL, the Ingredient Marks will NOT appear.
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To toggle the automatic deletion of EDL metering marks on transport start:

• click in the Auto-Delete EDL Metering... checkbox until it is CHECKED (enabled) or UNCHECKED
(disabled)

The default setting is for this checkbox to be CHECKED.

Note: This control has no effect on Ingredient Metering Marks that are inserted during Recording. To
turn off the display of Ingredient Metering Marks, you need to use the Mark Filter controls in
the Mark Control Panel (see Chapter 15: Marks).

Enable Peak Hold

The Enable Peak Hold checkbox enables/disables the peak hold function of the meters. When enabled, the Reset
Peak Values When... controls also become active. The Reset Peak Values When... controls (described below) are:
• Left-clicking in Meter Area
• Starting the Transport (Rec/Play)
• N seconds after a new peak is reached

To toggle the enable peak hold control:

• click in the Enable Peak Hold checkbox until it is CHECKED (enabled) or UNCHECKED (disabled)

The default setting is for this checkbox to be CHECKED.

Left-clicking in Meter Area

The Left-clicking in Meter Area checkbox enables/disables the immediate resetting (i.e., momentary clearing of
the peak hold) of the meters by simply clicking with the left mouse button in the Annex Meters Window.

To toggle the clearing of peak hold via left-clicking in the meter window:
• click in the Left-clicking in Meter Area checkbox until it is CHECKED (enabled) or UNCHECKED
(disabled)

The default setting is for this checkbox to be CHECKED.

Starting the Transport (Rec/Play)

The Starting the Transport (Rec/Play) checkbox enables/disables the automatic resetting of the meters each time
the transport starts in either Playback or Record.

To toggle the automatic clearing of peak hold when starting the transport:
• click in the Starting the Transport (Rec/Play) checkbox until it is CHECKED (enabled) or
UNCHECKED (disabled)

The default setting is for this checkbox to be CHECKED.

N seconds after a new peak is reached

The N seconds after a new peak is reached checkbox enables/disables automatic resetting of the peak hold value
every N seconds. When the feature is enabled, the hold-time of the meter is set by the value in the adjacent number
field.

To toggle the automatic clearing of peak hold every N seconds:

• click in the N seconds after a new peak is reached checkbox until it is CHECKED (enabled) or
UNCHECKED (disabled)
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Annex Metering

To set the value of N:

• click in the number box next to the N seconds after a new peak is reached checkbox and enter a value in
seconds

The default setting is for the N seconds after a new peak is reached checkbox to be UNCHECKED, but, when
first enabled, the default hold time is 5 seconds.

Display Orientation
The Display Orientation section contains two radio buttons for controlling the orientation of the meters. The
choices are:
• display vertically
• display horizontally

To set the display orientation:

• click the radio button next to the required orientation

The default setting is VERTICAL.

Note: The V/H Button (see above) in the Annex Meters Window is linked to the Display Orientation
radio buttons and clicking on the V/H Button will cause changes to the radio button settings.

Meter Toppers
Meter Toppers are small numbers that appear just above (or, in horizontal mode, just to the right of) the peak value
of a meter display. The Meter Toppers radio buttons control whether these numbers display:
• the Track number
• the Peak Value of the signal being metered

To select the type of meter toppers:

• click the radio button next to the required type

The default setting is PEAK VALUE.

Note: The Meter Toppers are only displayed when Peak Hold is ENABLED, and the numbers hold
above the peak meter value with the default hold time.

Metering Dynamics
The Metering Dynamics number boxes control dynamic elements of the metering display.

Refresh Frequency
The Refresh Frequency essentially specifies the video refresh rate of the meter display. It is specified in video
frames per second (fps). Setting a small value will result in flickering of the meters, while setting a very large value
will unduly increase system resource usage.

To set the refresh frequency:

• click in the Refresh Frequency number box and enter a value in fps

The default setting is 30 fps.

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Metering Decay Time

The Metering Decay Time parameter specifies the time it takes for the peak value to fall by 6 dB in the display. The
meter is set to rise instantaneously so as not to miss any peak values, but an appropriate Metering Decay Time can
make the meter more pleasing to look at.

To set the metering decay time:

• click in the Metering Decay Time number box and enter a value in milliseconds

The default value is 100 ms.

Reset Defaults
Clicking on the Reset Defaults button simply restores the default values for all of the Metering Preferences.

Moving/Scaling the Annex Meters Window

You can move or scale the Annex Meters Window to suit the size of your display, the number of open windows,
personal preference, etc..

Moving

To move the annex meter window:

1. place the mouse in the title bar at the top of the window and left-click to ‘grab’ the window

2. with the mouse key held down, move the window to the required position

3. release the left-mouse button to ‘drop’ the window at its current position

It should be noted that the Annex Meters Window has been programmed to dock. Therefore, it may appear
difficult to move and place the window at will. This can be overcome as follows.

To move the annex meter window (overriding the docking behavior):

1. hold down the Ctrl-key, place the mouse in the title bar at the top of the window and left-click to ‘grab’ the
window

2. with both the Ctrl-key and mouse key held down, move the window to the required position

3. release the left-mouse button to ‘drop’ the window at its current position

4. release the Ctrl-key

Docking
Moving the window (without using the Ctrl-key) to the left/right or top/bottom edges of the EDL Window will
cause the Annex Meters Window to dock, i.e., lock its position within the EDL Window. The docked Meter Window
will show the same meters that were being displayed before the window was docked. The orientation will
automatically change to horizontal if the Annex Meters are docked at the top or bottom of the screen, and change to
vertical if docked at the left or right sides. The choice of which meters to display can be changed by clicking on the
checkboxes. using the procedures described earlier
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Annex Metering

To undock the annex meter window:

1. hold down the Ctrl-key, click on the line close to the X in the docked meter to ‘grab’ the window

2. with both the Ctrl-key and mouse key held down, move the window to the required position

3. release the left-mouse button to ‘drop’ the window at its current position

4. release the Ctrl-key

Scaling

To scale the annex meter window in one dimension:

1. click the mouse on one of the four sides of the meter window to ‘grab’ that side

2. with the mouse key held down, drag the side to the required position to make the window taller, shorter, wider
or narrower

3. release the left-mouse button to ‘drop’ the side at its current position

To scale the annex meter window in two dimensions:

1. click the mouse on one of the four corners of the meter window to ‘grab’ that corner

2. with the mouse key held down, drag the corner to the required position to resize the window in two directions
simultaneously

3. release the left-mouse button to ‘drop’ the corner at its current position

As you add/remove meters from the display – using the checkboxes – the remaining meters automatically scale
themselves to equally fit the size of the Annex Meters Window.

Note: If you make the Annex Meters Window small enough, at some point the Preferences, V/H
buttons and some of the checkboxes will disappear from view.
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Chapter 6: Selecting Ingredients

Many commands operate on one or more selected ingredients in the active EDL. Ingredients can be selected using the
mouse, Selection Menu commands, keyboard commands or the Selection Toolbar control buttons.

Track-based Selection
Just to the left of the EDL’s track rows is a column labeled T containing small rectangles. The coloring of the
rectangle indicates whether all (black), some (grey), or none (white) of the ingredients on that track are selected.
Clicking on any rectangle will alternately select or deselect all ingredients on that track. Clicking on the T column
heading will alternately select or deselect all ingredients in the EDL.

Unselected ingredients appear pale in color. When an ingredient is selected, its color changes to bold with a yellow
outline as shown in Figure 49. The color of an ingredient identifies its source audio type as defined in the Ingredients
section of Chapter 2: Sonoma Editor Window.

Figure 49: The Track Selection control buttons

The track-based selection controls are always visible except when you activate the Splice Editor at which time the
track selection buttons are replaced by special buttons for controlling the operation of the Splice Editor – for
details, please see Chapter 13: The Splice Editor Control Panel.

Selecting Ingredients with the Mouse

A single ingredient can be selected by left-clicking on it with the mouse. Clicking on an ingredient that is already
selected has no effect. To select multiple ingredients Ctrl-click on each additional ingredient. Ctrl-clicking on an
60 CHAPTER 6
Selecting Ingredients

already selected ingredient toggles its selection state. To clear the selection(s), click in a portion of a track row where
there is no ingredient.

Deselect/Select All Ingredients

The function Deselect All Ingredients clears any current selection so that no ingredients are selected. In contrast, the
function Select All Ingredients selects all the ingredients in the EDL.

To deselect all ingredients:

Do one of the following:

• use the Selection>Deselect All command
• use the Ctrl+D keyboard command
• click on the Deselect All control button in the Selection Toolbar (see Figure 50)

Figure 50: Deselect All control button

To select all ingredients:

Do one of the following:

• use the Selection>Select all command
• use the Ctrl+A keyboard command
• click on the Select All control button in the Selection Toolbar (see Figure 51)

Figure 51: Select All control button

Selecting Ingredients with respect to the Nowline

These commands clear the current selection (if any) and re-select ingredients according to their position in relation to
the Nowline. If one or more track numbers are selected (by clicking on the track number(s) in the Track Control Panel),
these commands will only choose ingredients on the selected tracks, otherwise all the ingredients in the EDL will be
considered.

Select Under Nowline

Select Ingredients Under Nowline selects only ingredients that intersect the Nowline, i.e., they begin before the Nowline
and end after it.

To select ingredients under nowline:

Do one of the following:

• use the Selection>Select Under Nowline command
• use the Ctrl+U keyboard command
• click on the Select Under Nowline control button in the Selection Toolbar (see Figure 52)
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Figure 52: Select Under Nowline control button

Select Before Nowline

The command Select Ingredients Starting Before Nowline selects all the ingredients with edit-in points located before
the Nowline: these ingredients do not have to intersect the Nowline at all.

To select ingredients starting before nowline:

Do one of the following:

• use the Selection>Select Starting Before Nowline command
• use the Ctrl+Shift+Y keyboard command
• click on the Select Starting Before Nowline control button in the Selection Toolbar (see Figure 53)

Figure 53: Select Starting Before Nowline control button

Select After Nowline

Select Ingredients After Nowline chooses all the ingredients with edit-out points located after the Nowline.

To select ingredients ending after nowline:

Do one of the following:

• use the Selection>Select Ending After Nowline command
• use the Ctrl+Y keyboard command
• click on the Select Ending After Nowline control button in the Selection Toolbar (see Figure 54)

Figure 54: Select Ending After Nowline control button

Toggle Selection Under Nowline

This control first adds all the unselected ingredients under the Nowline to the current set of selected ingredients (if
necessary). Repeated use of this control toggles the selection state of only those ingredients that intersect the Nowline.
Any other ingredients in the selection remain unchanged. The state of the track number selection has no effect.

To toggle the selection under nowline:

Do one of the following:

• use the Selection>Toggle Selection Under Nowline command
• use the Ctrl+Shift+U keyboard command
• click on the Toggle Selection Under Nowline control button in the Selection Toolbar (see Figure 55)
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Selecting Ingredients

Figure 55: Toggle Selection Under Nowline control button

Select Previous/Next Ingredient

You can step backwards or forwards through an EDL an ingredient at a time – selecting successive ingredients in
time-sorted order – by using the controls Select Previous Ingredient and Select Next Ingredient.

To select the previous ingredient:

Do one of the following:

• use the Selection>Select Previous Ingredient command
• use the Shift+, (i.e., Shift+comma) keyboard command
• click on the Select Previous Ingredient control button in the Selection Toolbar (see Figure 56)

Figure 56: Select Previous Ingredient control button

To select the next ingredient:

Do one of the following:

• use the Selection>Select Next Ingredient command
• use the Shift+. (i.e., Shift+period) keyboard command
• click on the Select Next Ingredient control button in the Selection Toolbar (see Figure 57)

Figure 57: Select Next Ingredient control button

Select Last Recording

This command can be used to show the most recently recorded ingredients in an EDL – see the section Last
Recording in Chapter 3: Recording for more details. It can only be invoked using the Selection>Select Last
Recording command, there is no equivalent keyboard command or control button.
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Chapter 7: Navigating an EDL

The Playback functions Return To Zero, Rewind and Auto Rewind (see Chapter 4: Playback) cause the current
EDL to scroll and ensure that the Nowline position is visible. This section describes additional Navigation
commands that control how much and which part (if any) of the current EDL is visible.

Zooming
Zoom commands change the horizontal scale of the active EDL window. They allow you to see more of the
material in an EDL (a zoom out) or a small section of an EDL in more detail (a zoom in). Sonoma supports three
kinds of zooming commands:
1. anchored zooms – where the EDL is zoomed in relation to a fixed point within the EDL.
2. ingredient-based zooms – where the EDL is zoomed to show the selected ingredient(s).
3. fixed zooms – where the EDL is zoomed to display a fixed amount of time.

Anchored Zooms
Zoom Around Left
The Zoom Around Left command fixes the left edge of the EDL window and changes the extent of the timescale
to show less (zoom in) or more (zoom out) of the EDL. You can think of this as the left edge being held fixed
while the right edge is pulled nearer to (in) or further from (out) the left edge. It is possible for the Nowline to
disappear from view when zooming in.

To zoom in around left:

Do one of the following:
• use the Navigation>Zoom In Around Left command
• use the Numpad 1 keyboard command18
• click on the Zoom In Around Left control button in the Navigation Toolbar (see Figure 58)

Figure 58: Zoom In Around Left control button

To zoom out around left:

Do one of the following:
• use the Navigation>Zoom Out Around Left command
• use the Numpad 7 keyboard command
18. Please note that the NumLock-key needs to be ON for the Numpad-key commands to work.
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Navigating an EDL

• click on the Zoom Out Around Left control button in the Navigation Toolbar (see Figure 59)

Figure 59: Zoom Out Around Left control button

Zoom Around Center

The Zoom Around Center command fixes the center of the EDL window and changes the extent of the timescale
to show less (zoom in) or more (zoom out) of the EDL. You can think of this as the center being held fixed while
both edges are pulled nearer to (in) or further from (out) the center. It is possible for the Nowline to disappear from
view when zooming in.

To zoom in to center:
Do one of the following:
• use the Navigation>Zoom In To Center command
• use the Numpad 2 keyboard command
• click on the Zoom In To Center control button in the Navigation Toolbar (see Figure 60)

Figure 60: Zoom In To Center control button

To zoom out around center:

Do one of the following:
• use the Navigation>Zoom Out From Center command
• use the Numpad 8 keyboard command
• click on the Zoom Out From Center control button in the Navigation Toolbar (see Figure 61)

Figure 61: Zoom Out Around Center control button

Zoom Around Right

The Zoom Around Right command fixes the right edge of the EDL window and changes the extent of the
timescale to show less (zoom in) or more (zoom out) of the EDL. You can think of this as the right edge being
held fixed while the left edge is pulled nearer to (in) or further from (out) the right edge. It is possible for the
Nowline to disappear from view when zooming in.

To zoom out around right:

Do one of the following:
• use the Navigation>Zoom In Around Right command
• use the Numpad 3 keyboard command
• click on the Zoom In Around Right control button in the Navigation Toolbar (see Figure 62)

Figure 62: Zoom In Around Right control button

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To zoom out around right:

Do one of the following:
• use the Navigation>Zoom Out Around Right command
• use the Numpad 9 keyboard command
• click on the Zoom Out Around Right control button in the Navigation Toolbar (see Figure 63)

Figure 63: Zoom Out Around Right control button

Zoom To Include Selection

The Zoom To Include Selection command extends the bounds of the EDL window (if necessary) to make all the
selected ingredients visible. If all the selected ingredients are to the left of the visible EDL window, the right edge of
the window is fixed and the left edge moves. Similarly, if all the selected ingredients are to the right of the visible
EDL window, the left edge of the window is fixed and the right edge moves. If the selected ingredients are outside
both edges of the visible EDL window, both edges will move.

This command is useful following Paste and Punch operations to make all the new material in the EDL visible.

To zoom to include selection:

Do one of the following:
• use the Navigation>Zoom In To Include Selection command
• use the Alt+Ctrl+A keyboard command

Ingredient-based Zooms
Zoom Around Selection
The Zoom Around Selection command changes the EDL window size so that the selected ingredients are centered
and occupy 90% of the EDL window.

To zoom around selection:

Do one of the following:
• use the Navigation>Zoom Around Selection command
• use the Alt+A keyboard command
• click on the Zoom Around Selection control button in the Navigation Toolbar (see Figure 64)

Figure 64: Zoom Around Selection control button

Zoom Around All Ingredients

The Zoom Around All Ingredients command changes the EDL window size so that all the ingredients in the EDL
are centered and occupy 90% of the EDL window.

To zoom around all ingredients:

Do one of the following:
• use the Navigation>Zoom Around All Ingredients command
• use the Alt+Shift+A keyboard command
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• click on the Zoom Around All Ingredients control button in the Navigation Toolbar (see Figure 65)

Figure 65: Zoom Around All Ingredients control button

Zoom Around Edit Region

When one or both edit cursors are on, they define an edit region (see the section The Edit Region in Chapter 10:
Region-based Editing and Linear Editing). The Zoom Around Edit Region command changes the EDL window
so that the defined edit region is centered and occupies 90% of the EDL window.

To zoom around edit region:

Do one of the following:
• use the Navigation>Zoom Around Edit Region command
• use the Alt+- (i.e., Alt+Minus) keyboard command

Fixed Zooms
The fixed zoom commands change the EDL display window to a predetermined size using the center as the anchor
point.

Zoom To Presets
There are four Zoom To Preset commands, one for each of the four preset window sizes P1 to P4. You can set
values for the four presets using the Editing Preferences (see Chapter 19: User Preferences for details). The
default values are P1 = 2 s, P2 = 5 s, P3 = 15 s and P4 = 25 s.

To zoom to presets:
Do one of the following:
• use the Navigation>Zoom To Preset n command (where n can be 1, 2, 3 or 4)
• use the Alt+NumPad n keyboard command (where n can be 1, 2, 3 or 4)
• click on the appropriate Zoom To Preset control button in the Navigation Toolbar (see Figure 66)

Figure 66: Zoom To Presets control buttons

Zoom To Fixed Size

There are three Zoom To Fixed Size commands. These sizes are locked, and cannot be changed by the user. They
are 1 minute, 1 hour and fullscale (i.e., display the entire viewable EDL window).

To zoom to fixed size:

Do one of the following:
• use the Navigation>Zoom To size command (where size can be 1 min, 1 hour or full-scale)
• use the Alt+M (1 min) or Alt+H (1 hour) keyboard commands – there is no Zoom To Full-scale equivalent
• click on the appropriate Zoom To size control button in the Navigation Toolbar (see Figure 67)

Figure 67: Zoom To Fixed Size control buttons

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Scrolling
Scrolling through an EDL is analogous to flipping through the pages of a book. The scroll commands allow you
to move the display window backwards or forwards over the EDL either a page (equal to the width of the display
window at the chosen zoom factor) at a time, or to bring a specified place to the center of the display window. In
addition, Sonoma supports horizontal and vertical scrolling using standard Windows™ scrollbars.

Horizontal EDL Scrolling

Below the Lower Strip in the EDL Display Window is a standard Windows™ horizontal scrollbar. The scrollbar
consists of three elements: a left arrow, a sliding bar and a right arrow. Each click directly on an arrow will move
the EDL display 1/10 of the display width in the left or right direction respectively. Alternatively, clicking in the
area between an arrow and the scrollbar will move the EDL display the full width of the display in either the left or
right direction. Finally, clicking on the scrollbar and dragging it to the left or right allows you to freely move the
display over the entire horizontal range of the EDL.

Vertical EDL Scrolling

To the rightside of the EDL Display Window is a standard Windows™ vertical scrollbar. The scrollbar consists of
three elements: an up arrow, a sliding bar and a down arrow. Each click directly on an arrow will move the EDL
display 1/10 of the display height in the up or down direction respectively. Alternatively, clicking in the area
between an arrow and the scrollbar will move the EDL display the full height of the display in either the up or
down direction. You can also use the PgUp and PgDown keys to achieve the same result. Finally, clicking on the
scrollbar and dragging it up or down allows you to freely move the display over the entire vertical range of the
EDL.

Previous Page
The Previous Page command scrolls the display window backwards so that it shows the section of the EDL that
immediately precedes what was being viewed. The amount that the EDL scrolls (a ‘page’) is determined by the
current extent of the display window, e.g., if the width of the window is equal to 5 minutes, each Previous Page
command will move the view of the EDL back 5 minutes.

To scroll to previous page:

Do one of the following:
• use the Navigation>Previous Page command
• use the Numpad 4 keyboard command
• click on the Previous Page control button in the Navigation Toolbar (see Figure 68)

Figure 68: Previous Page control button

Next Page
The Next Page command scrolls the display window forwards so that it shows the section of the EDL that
immediately follows what was being viewed. The amount that the EDL scrolls (a ‘page’) is determined by the
current extent of the display window, e.g., if the width of the window is equal to 5 minutes, each Next Page
command will move the view of the EDL forwards 5 minutes.
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Navigating an EDL

To scroll to next page:

Do one of the following:
• use the Navigation>Next Page command
• use the Numpad 6 keyboard command
• click on the Next Page control button in the Navigation Toolbar (see Figure 69)

Figure 69: Next Page control button

Nowline At Left Of Window

The Nowline At Left Of Window command scrolls the display window backwards or forwards so that the position
of the left edit cursor is located at the center of the EDL display window. The zoom factor, i.e., width of the display
window, is maintained.

To scroll nowline to left of EDL window:

Do one of the following:
• use the Navigation>NL At Left Of Window command
• use the Ctrl+Numpad 4 keyboard command
• click on the Nowline At Left Of Window control button in the Navigation Toolbar (see Figure 70)

Figure 70: Nowline at Left of Window control button

Nowline Centered in Window

The Nowline Centered In Window command scrolls the display window backwards or forwards so that the
position of the Nowline is located at the center of the EDL display window. The zoom factor, i.e., width of the
display window, is maintained.

To scroll nowline to center of EDL window:

Do one of the following:
• use the Navigation>NL Centered In Window command
• use the Numpad 5 keyboard command
• click on the Nowline Centered In Window control button in the Navigation Toolbar (see Figure 71)

Figure 71: Nowline Centered in Window control button

Nowline at Right of Window

The Nowline At Right Of Window command scrolls the display window backwards or forwards so that the
position of the right edit cursor is located at the center of the EDL display window. The zoom factor, i.e., width of
the display window, is maintained.
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To scroll nowline to right of EDL window:

Do one of the following:
• use the Navigation>NL At Right Of Window command
• use the Ctrl+Numpad 6 keyboard command
• click on the Nowline At Right Of Window control button in the Navigation Toolbar (see Figure 72)

Figure 72: Nowline at Right of Window control button

Move Nowline x Seconds to the Left

The Move Nowline x Seconds To The Left command moves the position of the Nowline a user specified number
of seconds (x) to the left. The value of x is specified in the Editing Preferences (see Chapter 19: User Preferences
for details), and the default value is 10 seconds. This command is also coupled to the Center After Jump control
of the Editing Preferences. When this control is ON (which is the default), the Move Nowline x Seconds To The
Left command will also cause a Nowline Centered In Window command to be issued simultaneously, resulting in
the Nowline position changing by x seconds to the left, and the EDL being scrolled so that the Nowline appears in
the center of the EDL Display Window.

To move the nowline x seconds to the left:

Do one of the following:
• use the Navigation>Move Nowline x Seconds To The Left command
• use the Alt+, (i.e., Alt+comma) keyboard command

Move Nowline x Seconds to the Right

The Move Nowline x Seconds To The Right command moves the position of the Nowline a user specified number
of seconds (x) to the right. The value of x is specified in the Editing Preferences (see Chapter 19: User Preferences
for details), and the default value is 10 seconds. This command is also coupled to the Center After Jump control
of the Editing Preferences. When this control is ON (which is the default), the Move Nowline x Seconds To The
Right command will also cause a Nowline Centered In Window command to be issued simultaneously, resulting in
the Nowline position changing by x seconds to the right, and the EDL being scrolled so that the Nowline appears in
the center of the EDL Display Window.

To move the nowline x seconds to the right:

Do one of the following:
• use the Navigation>Move Nowline x Seconds To The Right command
• use the Alt+. (i.e., Alt+period) keyboard command

Navigating with the Lower Strip

Changing the EDL bounds
The lower strip is described in Chapter 2: Sonoma Editor Window. Figure 5 shows the position of the left and right
bounds of the EDL window. You can click with the left mouse button on either bound to select it, and then either
Type or Paste a new timecode value for it using the rules described in the section Editing Timecode in Chapter 2:
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Navigating an EDL

Sonoma Editor Window. The selected EDL bound will acquire the newly entered value and the EDL display
window will zoom to conform to the new boundaries.

Locating the Nowline

Scroll and zoom operations can cause the Nowline to disappear from the EDL display window. When this happens
an arrow indicator appears to the left (<) or right (>) side of the Width of EDL Window parameter in the lower strip
(see Figure 5). The arrow indicates in which direction the Nowline is located in relation to the display window. You
could use the scroll or zoom commands to change the display in order to make the Nowline visible. However, a
convenient shortcut is to left-click with the mouse on the arrow indicator. This causes the window to scroll such
that the Nowline is centered in the display, and the prevailing zoom factor is maintained.

Navigating with the Numeric Keypad

The previous sections have shown that many of the Navigation commands have corresponding keyboard shortcuts
that make use of the numeric keypad. In order for the keyboard commands to take effect, you must ensure that
the NumLock-key is ON. The figure below shows how the relevant zoom and scroll commands map to the
numeric keypad:

7 8 9
Zoom Out Zoom Out Zoom Out
Around Left From Center Around Right

4 5 6
Previous Page Center Nowline Next Page
Nowline at Left Center Edit Left Nowline at Right
(with Ctrl-key) (with Ctrl-key) (with Ctrl-key)

Zoom to Preset 4 Center Edit Right

(with Alt-key) (with Ctrl+Shift-keys)

1 2 3
Zoom In Zoom In Zoom In
Around Left To Center Around Right
Zoom to Preset 1 Zoom to Preset 2 Zoom to Preset 3
(with Alt-key) (with Alt-key) (with Alt-key)

Figure 73: Numeric Keypad Navigation control buttons

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Chapter 8: Manipulating Cursors

There are three cursors in Sonoma that are used as the basis for almost all functions such as playback, record,
auditioning, slicing, trimming, slipping, copying, cutting, etc. The most commonly used is the Nowline, which
represents the current position in the EDL as indicated by the Nowline Position Display. Although its position
may be scrolled out of the current EDL display window (i.e., it is not in view), the Nowline is always ‘present’, and
cannot be hidden (i.e., removed permanently from view) by the user. In contrast, there are left and right edit cursors
that are used to define the edit region that is required for performing linear edits (please see Chapter 10: Region-based
Editing and Linear Editing). The edit cursors can be made ‘present’ or permanently hidden by the user.

The Nowline is a ‘running’ cursor and its position changes during play, record and audition. The edit cursors, on the
other hand, are static cursors and their positions do not change during such commands.

The locations of all cursors are restricted to the range 00:00:00.000 to 12:00:00.000.

The Cursors Menu and Cursors Toolbar contain commands and buttons for all aspects of cursor placement

Working with the Nowline

Positioning the Nowline
There are two general ways for you to directly position the Nowline.19 You can either ‘drag and drop’ the Nowline,
or you can directly specify its position by editing the Nowline Position Display.

To drag and drop the Nowline:

1. left-click with the mouse in the white region just above the topmost track in the display (this will usually be
Track 1) – the Nowline immediately moves to that position

2. you can continue to left-click in this region to change the Nowline position

3. alternatively, if you keep the left mouse-key depressed, you can drag the Nowline as you move the cursor to the
left or right – the Nowline’s position will become fixed when you let go of the left-mouse button

To directly specify the Nowline position:

• use the rules specified in Editing Timecode in Chapter 2: Sonoma Editor Window

Move Nowline Before Selection

There are three commands that move the Nowline to specific points at the start of the selected ingredient that begins
first in the EDL.

1. Move Nowline Before Selection

19. Here we ignore the Move Nowline commands that also move the Nowline but in an indirect way.
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2. Move Nowline Before Selection to Fade-In Start

3. Move Nowline Before Selection to Fade-In End

Move Nowline Before Selection

The Move Nowline Before Selection command moves the Nowline so that it appears at the edit-in point of the
selected ingredient that begins first in the EDL. The command also scrolls the EDL so that the Nowline appears in
the EDL display window. There is no change to the zoom factor.

To move nowline before selection:

Do one of the following:
• use the Cursors>Move Nowline Before Selection command
• use the Shift+9 keyboard command
• click on the Move Nowline Before Selection control button in the Cursors Toolbar (see Figure 74)

Figure 74: Move Nowline Before Selection control button

Move Nowline Before Selection to Fade-In Start

The Move Nowline Before Selection to Fade-In Start command moves the Nowline so that it appears at the start of
the fade-in of the selected ingredient that begins first in the EDL. The command also scrolls the EDL so that the
Nowline appears in the EDL display window. There is no change to the zoom factor.

To move nowline before selection to fade-in start:

Do one of the following:
• use the Cursors>Nowline To Fade-In Start command
• use the Ctrl+Shift+9 keyboard command
• hold down the Ctrl-key while clicking on the Move Nowline Before Selection control button in the Cursors
Toolbar (see Figure 74)

Move Nowline Before Selection to Fade-In End

The Move Nowline Before Selection to Fade-In End command moves the Nowline so that it appears at the end of
the fade-in of the selected ingredient that begins first in the EDL. The command also scrolls the EDL so that the
Nowline appears in the EDL display window. There is no change to the zoom factor.

To move nowline before selection to fade-in end:

Do one of the following:
• use the Cursors>Nowline To Fade-In End command
• use the Alt+Shift+9 keyboard command
• hold down the Alt-key while clicking on the Move Nowline Before Selection control button in the Cursors
Toolbar (see Figure 74)

Move Nowline After Selection

There are three commands that move the Nowline to specific points at the end of the selected ingredient that ends last
in the EDL.

1. Move Nowline After Selection

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2. Move Nowline After Selection to Fade-Out Start

3. Move Nowline After Selection to Fade-Out End

Move Nowline After Selection

The Move Nowline After Selection command moves the Nowline so that it appears at the edit-out point of the
selected ingredient that ends last in the EDL. The command also scrolls the EDL so that the Nowline appears in the
EDL display window. There is no change to the zoom factor.

To move nowline after selection:

Do one of the following:
• use the Cursors>Move Nowline After Selection command
• use the Shift+0 keyboard command
• click on the Move Nowline After Selection control button in the Cursors Toolbar (see Figure 75)

Figure 75: Move Nowline After Selection control button

Move Nowline After Selection to Fade-Out Start

The Move Nowline Before Selection to Fade-Out Start command moves the Nowline so that it appears at the start
of the fade-out of the selected ingredient that ends last in the EDL. The command also scrolls the EDL so that the
Nowline appears in the EDL display window. There is no change to the zoom factor.

To move nowline before selection to fade-out start:

Do one of the following:
• use the Cursors>Nowline To Fade-Out Start command
• use the Ctrl+Shift+0 keyboard command
• hold down the Ctrl-key while clicking on the Move Nowline After Selection control button in the Cursors
Toolbar (see Figure 75)

Move Nowline After Selection to Fade-Out End

The Move Nowline After Selection to Fade-Out End command moves the Nowline so that it appears at the end of
the fade-out of the selected ingredient that ends last in the EDL. The command also scrolls the EDL so that the
Nowline appears in the EDL display window. There is no change to the zoom factor.

To move nowline after selection to fade-out end:

Do one of the following:
• use the Cursors>Nowline To Fade-Out End command
• use the Alt+Shift+0 keyboard command
• hold down the Alt-key while clicking on the Move Nowline After Selection control button in the Cursors
Toolbar (see Figure 75)

Note: It may help to think of the Spacebar as an ingredient, then the placement of the left-hand Ctrl-
and Alt-keys correspond to the start and end of the fade-in of an ingredient, while the right-hand
Alt- and Ctrl-keys correspond to the start and end of the fade-out of an ingredient.
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Manipulating Cursors

Nudging the Nowline

The Nudge Nowline commands decrement (nudge backward) or increment (nudge forward) the Nowline position
by the user-specified nudge amount. The value of the nudge amount is set in the Editing Preferences (see Chapter 19:
User Preferences), and is given in the prevailing timecode format. The default value is 5 ms. The nudge amount can take
values between 1 sample and 12 hours. If the nudge amount is smaller than 1 frame in the specified timecode format, it
is possible for the nudge amount to appear as zero, even though it must be greater than or equal to 1 sample.
Changing the timecode format to ms or samples will display the actual value.

Nudge Nowline Backward

To nudge the nowline backward:

Do one of the following:
• use the Cursors>Nudge Nowline Backward command
• use the ← (left arrow-key) keyboard command
• click on the Nudge Nowline Backward control button in the Cursors Toolbar (see Figure 76)

Figure 76: Nudge Nowline Backward control buttons

Nudge Nowline Forward

To nudge the nowline forward:

Do one of the following:
• use the Cursors>Nudge Nowline Forward command
• use the → (right arrow-key) keyboard command
• click on the Nudge Nowline Forward control button in the Cursors Toolbar (see Figure 77)

Figure 77: Nudge Nowline Forward control buttons

Moving the Nowline to Marks

Marks are positions within an EDL indicating special events along an EDL's timeline or within its ingredients. They
are described fully in Chapter 15: Marks, but are mentioned here as they can be used for navigating the EDL.
Marks appear as small vertical lines in the timeline or inside ingredients.

Move Nowline To Previous Mark

The Move Nowline To Previous Mark command moves the Nowline backwards in the EDL to the first mark that
occurs before the current Nowline position. The EDL will scroll (if necessary) so that the Nowline appears in the
EDL display window. The zoom level will not be affected. The move command causes the mark to become
selected in the Mark Editor Control Panel as indicated by a blue background on its Mark Text (provided the Mark
Editor Control Panel is in view).

To move the nowline to the previous mark:

Do one of the following:
• use the Cursors>Move Nowline To Previous Mark command
• use the , (comma-key) keyboard command
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• click on the Move Nowline To Previous Mark control button in the Cursors Toolbar (see Figure 78)

Figure 78: Move Nowline To Previous Mark control button

Move Nowline To Next Mark

The Move Nowline To Next Mark command moves the Nowline forwards in the EDL to the first mark that occurs
after the current Nowline position. The EDL will scroll (if necessary) so that the Nowline appears in the EDL display
window. The zoom level will not be affected. The move command causes the mark to become selected in the
Mark Editor Control Panel as indicated by a blue background on its Mark Text (provided the Mark Editor Control
Panel is in view).

To move the nowline to the next mark:

Do one of the following:
• use the Cursors>Move Nowline To Next Mark command
• use the . (period-key) keyboard command
• click on the Move Nowline To Next Mark control button in the Cursors Toolbar (see Figure 79)

Figure 79: Move Nowline To Next Mark control button

Working with the Edit Cursors

The left and right edit cursors are shown in Figure 80. The cursors are red when they have been turned ON and are
grey when turned OFF. The following sections describe how to place, move and navigate with the edit cursors.

Figure 80: The Edit Cursors

Placing the Edit Cursors

To place the edit left cursor:

Do one of the following:
• first position the Nowline then use the Cursors>Set Edit Left To Nowline command
• first position the Nowline then use the F5 keyboard command
• first position the Nowline then click on the Edit Left Cursor icon in the upper strip (top left corner of Figure 80)
• click on the Set Edit Left To Nowline control button in the Cursors Toolbar (see Figure 81)
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Manipulating Cursors

Figure 81: Set Edit Left To Nowline control button

• with the edit left cursor already turned ON, edit its timecode value using the rules in section Editing Timecode of
Chapter 2: Sonoma Editor Window.

To place the edit right cursor:

Do one of the following:
• first position the Nowline then use the Cursors>Set Edit Right To Nowline command
• first position the Nowline then use the F6 keyboard command
• first position the Nowline then click on the Edit Right Cursor icon in the upper strip (top right corner of
Figure 80)
• click on the Set Edit Right To Nowline control button in the Cursors Toolbar (see Figure 82)

Figure 82: Set Edit Right To Nowline control button

• with the edit right cursor already turned ON, edit its timecode value using the rules in section Editing Timecode of
Chapter 2: Sonoma Editor Window.

Toggling the Edit Cursors

The display of the edit cursors can be toggled on and off using the Show/Hide toggle commands. If an edit cursor is
OFF, toggling its state will make it appear red (ON) in the EDL display window. If an edit cursor is ON, toggling its
state will make it appear grey (OFF) in the EDL display window.

To toggle the edit left cursor:

Do one of the following:
• use the Cursors>Show/Toggle Edit Left On/Off command
• use the Alt+F5 keyboard command
• holding down the Alt-key click on the Edit Left Cursor icon in the upper strip (top left corner of Figure 80)

To toggle the edit right cursor:

Do one of the following:
• use the Cursors>Show/Toggle Edit Right On/Off command
• use the Alt+F6 keyboard command
• holding down the Alt-key click on the Edit Right Cursor icon in the upper strip (top right corner of Figure 80)

Moving the Edit Cursors

The edit cursors can be moved and nudged in a similar way to the Nowline.

To drag and drop the edit left cursor:

• hold down the Ctrl-key and left-click with the mouse-key in the EDL’s timeline, then, with the mouse key still
depressed, you can drag the position of the edit left cursor backwards and forwards in the EDL. The edit cursor’s
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position will become fixed when you let go of the left-mouse button. This command will also turn the cursor
ON if it was in the OFF state.

To drag and drop the edit right cursor:

• hold down the Ctrl+Shift-keys and left-click with the mouse-key in the EDL’s timeline, then, with the mouse
key still depressed, you can drag the position of the edit right cursor backwards and forwards in the EDL. The
edit cursor’s position will become fixed when you let go of the left-mouse button. This command will also turn
the cursor ON if it was in the OFF state.

To drag and drop both edit cursors:

• hold down the Alt-key and left-click with the mouse-key in the EDL’s timeline, then, with the mouse key still
depressed, as you drag the position of the mouse to the left, the edit right cursor will stay fixed while the edit left
cursor’s position changes. Similarly, if you move the mouse to the right, the edit left cursor will stay fixed while the
edit right cursor’s position changes. The moving edit cursor’s position will become fixed when you let go of the
left-mouse button. This command will also turn the cursors ON if they were previously in the OFF state.

Nudging the Edit Cursors

The Nudge Edit Cursor commands decrement (nudge backward) or increment (nudge forward) the specified edit
cursor position by the user-specified nudge amount in the same way as described above for the Nowline.

Nudge Edit Left Backward

To nudge the edit left cursor backward:

Do one of the following:
• use the Cursors>Nudge Edit Left Backward command
• use the Ctrl+← (Ctrl+left arrow-key) keyboard command

Nudge Edit Left Forward

To nudge the edit left cursor forward:

Do one of the following:
• use the Cursors>Nudge Edit Left Forward command
• use the Ctrl+→ (Ctrl+right arrow-key) keyboard command

Nudge Edit Right Backward

To nudge the edit right cursor backward:

Do one of the following:
• use the Cursors>Nudge Edit Right Backward command
• use the Ctrl+Shift+← (Ctrl+Shift+left arrow-key) keyboard command

Nudge Edit Right Forward

To nudge the edit right cursor forward:

Do one of the following:
• use the Cursors>Nudge Edit Right Forward command
• use the Ctrl+Shift+→ (Ctrl+Shift+right arrow-key) keyboard command
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Manipulating Cursors

Crossed Cursors
You need to pay attention when moving the cursors. For example, if the edit left cursor is placed to the right of the
edit right cursor, the cursors become ‘crossed’. If you are dragging a single cursor or move a cursor to the Nowline
such that the cursors become crossed, the stationary cursor will be turned off. Dragging the moving cursor back
to ‘uncross’ the cursors will not cause the stationary cursor to be automatically turned back on! However, if you
hold the Alt-key while dragging a single cursor and crossing the other, the cursors will swap.

Moving the Nowline to an Edit Cursor

Move Nowline To Edit Left
The Move Nowline To Edit Left command moves the Nowline to the position of the edit left cursor. The EDL will
scroll (if necessary) so that the Nowline appears in the EDL display window. The zoom level will not be affected.

To move the nowline to the edit left cursor:

Do one of the following:
• use the Cursors>Move Nowline To Edit Left command
• use the Shift+F5 keyboard command
• hold down the Shift-key while clicking on the Edit Left Cursor icon in the upper strip (top left corner of
Figure 80)

Move Nowline To Edit Right

The Move Nowline To Edit Right command moves the Nowline to the position of the edit right cursor. The EDL will
scroll (if necessary) so that the Nowline appears in the EDL display window. The zoom level will not be affected.

To move the nowline to the edit right cursor:

Do one of the following:
• use the Cursors>Move Nowline To Edit Right command
• use the Shift+F6 keyboard command
• hold down the Shift-key while clicking on the Edit Right Cursor icon in the upper strip (top left corner of
Figure 80)
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Chapter 9: Selection-based Editing

Sonoma offers two different ways to perform audio edits. Selection-based editing (or object-based editing) is
described in this Chapter. Region-based editing, and its more elaborate form linear editing, is described fully in
Chapter 10: Region-based Editing and Linear Editing.

The Selection-based editing commands operate only on the ingredients that have been selected in the EDL. In this
case: the track selection is ignored! Some of these commands make use of the Nowline position, so it is important that
you understand how to control ingredient selection and how to move the Nowline – complete details are given in
Chapters 6, 7 and 8.

Many editing commands require that the Nowline intersects one or more selected ingredients. This means that the
Nowline must be between the edit points of the selected ingredient(s), including the portion between the edit-in point and
the end of the fade-in, and the start of the fade-out and the edit-out point.

Note: The Nowline does NOT intersect an ingredient if it is to the left of the edit-in point, or to the right
of the edit-out point, even though it still cuts across a portion of the fade.

The edit commands can be found in the Edit Menu and via the Edit Toolbar. You can also pop-up a sub-set of the
most common Edit Menu commands by clicking the right mouse button in any of the tracks within the EDL
window.

Clear/Cut Commands
The Clear and Cut commands remove the selected ingredients from the EDL. The difference in the commands is
that Cut places the deleted material on to the clipboard (a region of the computer’s memory) from where it can be
Pasted or Punched at some later time. The clipboard only contains a single item, so if you carry out two successive
Cut commands, the material that was cut first will be lost from the clipboard. Clear removes the selected items from
the EDL without putting them on the clipboard, and so no Paste or Punch is possible after Clear.

Note: The Clear and Cut commands only remove the selected material from the EDL, they do NOT
delete any recordings from your computer’s hard-disks. To remove material from the
hard-disks, you need to use the Discard Selection command (see Chapter 3: Recording).

Clear

To clear the selected ingredient(s):

Do one of the following:
• use the Edit>Clear command
• use the Shift+Delete keyboard command
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Selection-based Editing

Note: Selecting an ingredient and simply clicking on the Delete-key will NOT Clear the ingredient from
the EDL. This is to prevent accidental deletion of selected ingredients, particularly those that may
not be in view.

Cut

To cut the selected ingredient(s):

Do one of the following:
• use the Edit>Cut command
• use the Ctrl+X keyboard command
• click on the Cut control button in the Edit Toolbar (see Figure 83)

Figure 83: The Cut control button

Copy Commands
The Copy commands copy the selected ingredients to the clipboard from where they can be Pasted or Punched at
some later time. The Copy command operates on all the ingredients in the selection, whereas the Copy After
Nowline command copies only the selected ingredients that are to the right side of the Nowline. Selected ingredients
that intersect with the Nowline are also copied, but are trimmed (see later in this Chapter) so that all the material to
the left of the Nowline is excluded.

Copy

To copy the selected ingredient(s):

Do one of the following:
• use the Edit>Copy command
• use the Ctrl+C keyboard command
• click on the Copy control button in the Edit Toolbar (see Figure 84)

Figure 84: The Copy control button

Copy After Nowline

To copy after nowline:

Do one of the following:
• use the Edit>Copy After Nowline command
• use the Shift+[ keyboard command
• click on the Copy After Nowline control button in the Edit Toolbar (see Figure 85)

Figure 85: The Copy After Nowline control button

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Paste Commands
The Paste commands place the material from the clipboard into an EDL. The standard Paste command places the
material on the same tracks and at the same location from which they were originally cut or copied. So, care is needed
when operating within an EDL, as a Copy followed immediately by a Paste will create two copies of the selected
ingredients on top of each other, which may not be noticeable unless you are viewing in the Expanded Display Mode
(see Chapter 2: Sonoma Editor Window). Since no change of position takes place, trimming of the pasted material is
never needed.

There are also two other Paste commands that align the contents of the clipboard relative to the Nowline position.
The Paste After Nowline command aligns the pasted material so that the start of the leftmost ingredient appears at the
Nowline. Similarly, the Paste Before Nowline command aligns the pasted material so that the end of the rightmost
ingredient appears at the Nowline. In both cases, any pasted material that extends outside the EDL bounds of
00:00:00.000 to 12:00:00.000 is trimmed to remain within the bounds.

Paste (overlay)

To paste the clipboard contents:

Do one of the following:
• use the Edit>Paste command
• use the Ctrl+V keyboard command
• click on the Paste control button in the Edit Toolbar (see Figure 86)

Figure 86: The Paste control button

Paste After Nowline

To paste the clipboard contents after the nowline:

Do one of the following:
• use the Edit>Paste After Nowline command
• use the Ctrl+[ keyboard command
• click on the Paste After Nowline control button in the Edit Toolbar (see Figure 87)

Figure 87: The Paste After Nowline control button

Paste Before Nowline

To paste the clipboard contents before the nowline:

Do one of the following:
• use the Edit>Paste Before Nowline command
• use the Ctrl+] keyboard command
• click on the Paste Before Nowline control button in the Edit Toolbar (see Figure 88)

Figure 88: The Paste Before Nowline control button

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Punch Paste Commands

The Paste commands simply overlay the cut or copied material into an EDL. The newly pasted ingredients may overlap
the existing ingredients, but are not linked to them in any way. Punch Paste commands work by replacing any
material they overlap, and, in addition, the new material added to the EDL is locked to the existing ingredients by
means of splices (please see Chapter 12: Splices for full details). If the punched material does not overlap any existing
ingredients, no splicing takes place.

When you use Punch Paste, the following sequence of events is followed:
• Sonoma first determines whether the ingredients to be punched overlap existing material in the EDL.
• where an overlap exists, the existing material is trimmed on a track-by-track basis (according to which ingredients
were selected during the original Cut or Copy).
• The new material is inserted into the EDL so that it cross-fades with the existing material. Where the existing
material has had to be trimmed, the default fade length and fade type parameters are used which are specified in the
Edit Preferences (see Chapter 19: User Preferences).
• Finally, the overlapped sections are spliced, thus locking them together as though they were a single ingredient.

Like the standard Paste command, there are three versions of Punch Paste.

1. Punch Paste places the contents of the clipboard at the same position from where they were cut or copied.

2. Punch After Nowline aligns the pasted material so that the start of the leftmost ingredient appears at the Nowline.

3. Punch Before Nowline aligns the pasted material so that the end of the rightmost ingredient appears at the
Nowline.

If the Punch After Nowline/Punch Before Nowline commands cause any pasted material to extend beyond the
EDL bounds (00:00:00.000 to 12:00:00.000), it is automatically trimmed to remain within the bounds.

Punch Paste

To punch paste the clipboard contents:

Do one of the following:
• use the Edit>Punch Paste command
• use the Alt+V keyboard command
• hold down the Alt-key while clicking on the Paste control button in the Edit Toolbar (see Figure 86)

Punch After Nowline

To punch paste the clipboard contents after the nowline:

Do one of the following:
• use the Edit>Punch After Nowline command
• use the Alt+[ keyboard command
• hold down the Alt-key while clicking on the Paste After Nowline control button in the Edit Toolbar (see
Figure 87)

Punch Before Nowline

To punch paste the clipboard contents before the nowline:

Do one of the following:
• use the Edit>Punch Before Nowline command
• use the Alt+] keyboard command
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• hold down the Alt-key while clicking on the Paste Before Nowline control button in the Edit Toolbar (see
Figure 88)

Move Selection Commands

These commands move all the selected ingredients so that they appear either after the Nowline position or before it.
If the move would result in any part of the selected ingredients appearing outside the EDL bounds, then the move is
constrained so that the leftmost fade-in appears at 00:00:00.000 or the rightmost fade-out appears at 12:00:00.000.

Move Selection After Nowline

The Move Selection After Nowline command moves the selected ingredients so that the start of the selection aligns
with the Nowline. The command does NOT scroll the EDL in order for the Nowline to appear in the EDL display
window. There is no change to the zoom factor.

To move selection before nowline:

Do one of the following:
• use the Edit>Move Selection After Nowline command
• use the [ keyboard command
• click on the Move Selection After Nowline control button in the Edit Toolbar (see Figure 89)

Figure 89: The Move Selection After Nowline control button

Move Selection Before Nowline

The Move Selection Before Nowline command moves the selected ingredients so that the end of the selection aligns
with the Nowline. The command does NOT scroll the EDL in order for the Nowline to appear in the EDL display
window. There is no change to the zoom factor.

To move selection before nowline:

Do one of the following:
• use the Edit>Move Selection Before Nowline command
• use the ] keyboard command
• click on the Move Selection Before Nowline control button in the Edit Toolbar (see Figure 90)

Figure 90: The Move Selection Before Nowline control button

Nudge Selection Commands

The Nudge Selection commands move the selected ingredients backwards or forwards by the user-specified nudge
amount. The value of the nudge amount is set in the Editing Preferences (see Chapter 19: User Preferences), and is
given in the prevailing timecode format. The default value is 5 ms. The nudge amount can take values between 1 sample
and 12 hours. If the nudge amount is smaller than 1 frame in the specified timecode format, it is possible for the nudge
amount to appear as zero, even though it must be greater than or equal to 1 sample. Changing the timecode format to
ms or samples will display the actual value.
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Nudge Selection Backward

To nudge the nowline backward:

Do one of the following:
• use the Edit>Nudge Selection Backward command
• use the Alt+← (Alt+left arrow-key) keyboard command
• click on the Nudge Selection Backward control button in the Edit Toolbar (see Figure 91)

Figure 91: The Nudge Selection Backward control button

Nudge Selection Forward

To nudge the selection forward:

Do one of the following:
• use the Edit>Nudge Selection Forward command
• use the Alt+→ (Alt+right arrow-key) keyboard command
• click on the Nudge Selection Forward control button in the Edit Toolbar (see Figure 92)

Figure 92: The Nudge Selection Forward control button

Trim Selection Commands

The Trim commands are used to shorten or lengthen ingredients in relation to the Nowline position. This is achieved
by moving one of the edit points, thereby changing an ingredient’s length. Clearly, an ingredient can not be lengthened
beyond the limits of its underlying recording, and Sonoma warns of this with the message: Can’t trim beyond
start/end of Clip.

It is very unusual to request a Trim operation if the edit-in points (or edit-out points) of all the vertically selected
ingredients are not already aligned. If this is the case, Sonoma will ask if you really want to perform the Trim
operation.

Note: The choice of fade pivot points affects the result of this command. An ingredient will be trimmed so
that the selected fade pivot point aligns with the Nowline. See Chapter 2: Sonoma Editor Window
for more on fade pivot points.

Trim Edit Left to Nowline

The Trim Edit Left to Nowline command moves the edit-in points of all the selected ingredients (that intersect the
Nowline) to the Nowline. If no ingredient intersects the Nowline, the edit-in of the nearest selected ingredient to the right
of the Nowline is moved. Usually, no intersection of the Nowline and ingredient is a simple way to trim an ingredient
back out to the limit of its edit-in point. In the case that two ingredients are selected and overlap, only the ingredient
with the leftmost edit-in point will be trimmed.
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To trim the edit left to nowline:

Do one of the following:
• use the Edit>Trim Selection Left To Nowline command
• use the / keyboard command
• click on the Trim Selection Left To Nowline control button in the Edit Toolbar (see Figure 93)

Figure 93: The Trim Edit Left to Nowline control button

Trim Edit Right to Nowline

The Trim Selection Right to Nowline command moves the edit-out point of all the selected ingredients to the Nowline.

The Trim Edit Right to Nowline command moves the edit-out points of all the selected ingredients (that intersect the
Nowline) to the Nowline. If no ingredient intersects the Nowline, the edit-out of the nearest selected ingredient to the left
of the Nowline is moved. Usually, no intersection of the Nowline and ingredient is a simple way to trim an ingredient
back out to the limit of its edit-out point. In the case that two ingredients are selected and overlap, only the ingredient
with the rightmost edit-out point will be trimmed.

To trim the edit right to nowline:

Do one of the following:
• use the Edit>Trim Selection Right To Nowline command
• use the \ keyboard command
• click on the Trim Selection Right To Nowline control button in the Edit Toolbar (see Figure 94)

Figure 94: The Trim Edit Right to Nowline control button

Slice Selection Commands

Slice Selection at Nowline
The Slice Selection at Nowline command slices all selected ingredients into two parts at the position of the Nowline.
This command operates vertically through all selected ingredients that intersect the Nowline.

Any gain change across the original ingredient will be maintained across the two newly created ingredients following
the Slice command. When the gain-in and gain-out differ, the overall gain will be interpolated across the length of the
ingredient. The interpolation is linear in dB, so the interpolated gain for an ingredient with a gain-in of 0 dB and a
gain-out of -60 dB will yield a gain value of -30 dB at the ingredient’s mid-point. So, if you slice such an ingredient at its
mid-point, it will create one ingredient with a gain-in of 0 dB and a gain-out of -30 dB, and a second ingredient with a
gain-in of -30 dB and a gain-out of -60 dB.

Note: Slicing is NOT possible in an ingredient’s fade-in or fade-out. This holds whether the ingredient is in
isolation, or part of a cross-fade (either layered or spliced). The only times that it is possible to
slice through a cross-fade are when there is either an overlap or a gap in the fade, and the slice
happens outside the ingredients’ fades. Unfortunately, a problem exists in this version of Sonoma
whereby if you try to slice inside a splice, Sonoma will remove the splice even if it is unable to carry
out the slice. So, care needs to taken when using slice in the vicinity of splices.
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To slice the selection at the nowline:

Do one of the following:
• use the Edit>Slice Selection At Nowline command
• use the Shift+\ keyboard command
• click on the Slice Selection At Nowline control button in the Edit Toolbar (see Figure 95)

Figure 95: The Slice Selection at Nowline control button

Unslice Selection
The Unslice Selection command becomes available only after one, or more, ingredients have been sliced into smaller
parts. When available, the Unslice Selection command searches the selection for adjacent pairs of ingredient parts
that use the same underlying source audio files and whose edit-in and edit-out points align. It then replaces each such
pair with a single ingredient comprising both of the originals. Unslice is applied progressively from left-to-right, so
if there is a sequence of slices within the same source audio file they will all be combined into a single new ingredient.

To unslice the selection:

Do one of the following:
• use the Edit>Unslice Selection command
• use the Alt+Shift+\ keyboard command
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Chapter 10: Region-based Editing and Linear

Editing

Unlike Selection-based Editing, Region-based Editing ignores the ingredient selection in the EDL, and operates on
the audio contained in the edit region, i.e., the interval between the left and right edit cursors. When no selection is
made, the edit region applies across all tracks in the EDL; however, you can limit this to a specific track or tracks by
means of the track selection. Region-based Editing is convenient for working in EDLs which already contain many
splices (see Chapter 12: Splices), where having to unsplice material to use the Selection-based Editing controls would
be extremely cumbersome.

Linear Editing is a more elaborate form of Region-based Editing and is sometimes called 4-point editing, or
assembly editing. It involves taking material from a source EDL and assembling it in a destination EDL. When you
perform Linear Editing, you will need to designate source and destination EDLs and define edit regions in both. The
Linear Edit commands (Replace, Layer, Insert, and Append) move material from the source EDL’s edit region to the
destination EDL’s edit region.

The Edit Region

The edit cursors were defined in Chapter 8: Manipulating Cursors, and the region between them is called the edit
region. The size of the edit region is displayed in the middle of the upper strip of the EDL Window (see Figure 5).
When one or more tracks are in a track selection, the region relates only to the audio on the selected tracks. If there
are no tracks in a track selection then the region relates to all tracks. If only edit left is on, the edit region begins at edit
left and ends at the end of the last ingredient on the selected tracks (or all tracks if none are selected). If only edit right
is on, the region begins at the EDL origin and ends at edit right. If both cursors are off, the edit region consists of all
the ingredients on the selected tracks, beginning at the EDL origin and ending at the end of the last ingredient on the
selected tracks (or all tracks if none are selected).

As in the case of Selection-based Editing, the Edit Menu contains commands that operate on the edit region.

Cut Edit Region and Ripple

The Cut Edit Region and Ripple command slices the selected tracks (or all tracks if none are selected) at both
edit-left and edit right (or only edit-right if edit-left is OFF), removes the audio in the edit region, and slips the audio on the
right of the edit region to the left by an amount equal to the edit region. The audio that is Cut is placed on the clipboard
from where it can be Pasted or Punched at some later time. This slipping of the audio is termed ‘rippling’.

To cut the edit region and ripple:

Do one of the following:
• use the Edit>Cut Edit Region and Ripple command
• use the F9 keyboard command
• click on the Cut Edit Region and Ripple control button in the Edit Toolbar (see Figure 96)
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Figure 96: The Cut Edit Region and Ripple control button

Cut Edit Region

The Cut Edit Region command slices the selected tracks (or all tracks if none are selected) at both edit-left and edit
right (or only edit-right if edit-left is OFF), and removes the audio in the edit region. The audio that is Cut is placed on
the clipboard from where it can be Pasted or Punched at some later time.

To cut the edit region:

Do one of the following:
• use the Edit>Cut Edit Region command
• use the Alt+F9 keyboard command
• hold down the Alt-key while clicking on the Cut Edit Region and Ripple control button in the Edit Toolbar
(see Figure 96)

Cut Edit Region with Marks

The Cut Edit Region with Marks command slices the selected tracks (or all tracks if none are selected) at both
edit-left and edit right (or only edit-right if edit-left is OFF), and removes both the audio and any Marks in the edit region.
The audio and Marks that are Cut are placed on the clipboard from where they can be Pasted or Punched at some
later time.

To cut the edit region with marks:

Do one of the following:
• use the Edit>Cut Edit Region with Marks command
• use the Shift+Alt+F9 keyboard command
• hold down the Shift-key and Alt-key while clicking on the Cut Edit Region and Ripple control button in
the Edit Toolbar (see Figure 96)

Cut Edit Region and Ripple with Marks

The Cut Edit Region and Ripple with Marks command slices the selected tracks (or all tracks if none are selected)
at both edit-left and edit right (or only edit-right if edit-left is OFF), removes both the audio and any Marks in the edit
region, and slips both the audio and Marks on the right of the edit region to the left by an amount equal to the edit
region. The audio and Marks that are Cut are placed on the clipboard from where they can be Pasted or Punched at
some later time.

To cut the edit region and ripple with marks:

Do one of the following:
• use the Edit>Cut Edit Region and Ripple with Marks command
• use the Shift+F9 keyboard command
• hold down the Shift-key while clicking on the Cut Edit Region and Ripple control button in the Edit
Toolbar (see Figure 96)
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Copy Edit Region

The Copy Edit Region command copies the audio in the edit region on the selected tracks (or all tracks if none are
selected) and places the copied material on the clipboard from where it can be Pasted or Punched at some later time.

To copy the edit region:

Do one of the following:
• use the Edit>Copy Edit Region command
• use the F10 keyboard command
• click on the Copy Edit Region control button in the Edit Toolbar (see Figure 97)

Figure 97: The Copy Edit Region control button

Copy Edit Region with Marks

The Copy Edit Region with marks command copies both the audio and any Marks in the edit region on the selected
tracks (or all tracks if none are selected) and places the copied material on the clipboard from where it can be Pasted
or Punched at some later time.

To copy the edit region with marks:

Do one of the following:
• use the Edit>Copy Edit Region with Marks command
• use the Shift+F10 keyboard command
• hold down the Shift-key while clicking on the Copy Edit Region control button in the Edit Toolbar (see
Figure 97)

Insert Time
The Insert Time command slices the selected tracks (or all tracks if none are selected) at edit-left and slips (ripples)
the material on the right of the slice to the right by the length of the edit region. No operation takes place if you try
to Insert Time with only the edit right cursor active.

To insert time:
Do one of the following:
• use the Edit>Insert Time command
• use the F11 keyboard command

Insert Time with Marks

The Insert Time with Marks command slices the selected tracks (or all tracks if none are selected) at edit-left and
slips (ripples) the material and any Marks on the right of the slice to the right by the length of the edit region. No
operation takes place if you try to Insert Time with only the edit right cursor active.

To insert time with marks:

Do one of the following:
• use the Edit>Insert Time with Marks command
• use the Shift+F11 keyboard command
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Source and Destination EDLs

When EDLs are opened or created they have no special status. However, you can set one active EDL to be
classified as a source EDL, and another to be classified as a destination EDL. The source EDL status identifies an EDL
as being the source (provider) of data for Linear Editing operations. The destination EDL status identifies an EDL
as being the destination (recipient) of that data when the Linear Editing commands are issued. In this way, there is
a special relationship between source and destination EDLs.

Note: There can be only one source and one destination EDL at a time, and an EDL cannot be both a
source and a destination. When an EDL is saved, its source/destination designation is not
remembered.

To set the source EDL:

Do one of the following:
• use the Window>Source EDL command
• use the Shift+F7 keyboard command
• click on the SRC control button in the EDL’s upper strip (see Figure 98)

Figure 98: The Source EDL control button

To set the destination EDL:

Do one of the following:
• use the Window>Destination EDL command
• use the Shift+F8 keyboard command
• click on the DEST control button in the EDL’s upper strip (see Figure 99)

Figure 99: The Destination EDL control button

Note: All the above commands are toggles, and repeated issues of a command will toggle the source or
destination EDL status ON and OFF.

Displaying the Source and Destination EDLs

There are special commands to help you easily bring the source or destination EDL into view when working with
multiple EDLs. The command names are Bring Source to Front and Bring Destination to Front. When issued, the
relevant EDL replaces the displayed EDL as the currently active EDL in the EDL Display Window. Both of these
commands simply cause the relevant EDL to pop to the top of the display window and become active. They do
not cause any previously opened EDLs to be closed.
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To display the source EDL window:

Do one of the following:
• use the Window>Bring Source to Front command
• use the F7 keyboard command
• while holding down the Shift-key click on the SRC control button in the EDL’s upper strip (see Figure 98)

To display the destination EDL window:

Do one of the following:
• use the Window>Bring Destination to Front command
• use the F8 keyboard command
• while holding down the Shift-key click on the DEST control button in the EDL’s upper strip (see Figure 99)

Tiling the Source and Destination EDLs

It can also be convenient to view both source and destination EDLs simultaneously. The Tile Source/Destination
command causes both EDLs to be displayed one on top of the other, with each EDL taking up half the display
window area. The order in which the EDLs appear, i.e., which EDL is placed above the other, is controlled via the
Linear Edit Tiling control in the Window Preferences (see Chapter 19: User Preferences for more details).

To tile the source and destination EDL windows:

Do one of the following:
• use the Window>Tile Source/Destination command
• use the F12 keyboard command
• while holding down the Alt-key select an EDL in the Window Menu (the selected EDL becomes the source
EDL and the Tile command is then issued)20
• issue one of the Align Source and Destination EDL commands described below

Aligning the Source and Destination EDLs

The source and destination EDLs have independent control with regard to Nowline and edit cursor placement, and zoom
factor. These items can be set when working in the active EDL. However, when viewing tiled EDLs it can be
convenient to have a common framework for comparing them. To make this easy, Sonoma has four alignment
commands for tiled source and destination EDLs.

Note: The align commands will cause a Tile Source/Destination command to be issued if the EDLs
are not already tiled.

Align At Edit Left

The Align At Edit Left command causes the inactive window (source or destination) to change its zoom level so that
it displays the same width as the active window (destination or source), and scrolls the EDL so that its edit left cursor
aligns with the edit left cursor in the active window. The edit left cursors MUST be active in both EDLs for this
command to take effect. Under certain conditions it will be impossible for the inactive window to align exactly to
the active window due to the fact that the EDL Display Window range is limited to 23:30:00 to 12:30:00. An align
operation that requires zooming and scrolling outside of these limits will complete, but be constrained to the
Display Window limits.
20. This command only works if the EDL selected in the Window Menu is neither the active destination EDL nor the EDL
window that is currently active.
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To align the source and destination EDL windows at edit left:

Do one of the following:
• use the Window>Align At Edit Left command
• use the Ctrl+F12 keyboard command

Align At Edit Right

The Align At Edit Right command causes the inactive window (source or destination) to change its zoom level so that
it displays the same width as the active window (destination or source), and scrolls the EDL so that its edit right cursor
aligns with the edit right cursor in the active window. The edit right cursors MUST be active in both EDLs for this
command to take effect. Under certain conditions it will be impossible for the inactive window to align exactly to
the active window due to the fact that the EDL Display Window range is limited to 23:30:00 to 12:30:00. An align
operation that requires zooming and scrolling outside of these limits will complete, but be constrained to the
Display Window limits.

To align the source and destination EDL windows at edit right:

Do one of the following:
• use the Window>Align At Edit Right command
• use the Ctrl+Shift+F12 keyboard command

Align At Nowline
The Align At Nowline command causes the inactive window (source or destination) to change its zoom level so that it
displays the same width as the active window (destination or source), and scrolls the EDL so that its Nowline aligns
with the Nowline in the active window. This command can always take effect because the Nowlines in both EDLs
are always active. However, under certain conditions it will be impossible for the inactive window to align exactly
to the active window due to the fact that the EDL Display Window range is limited to 23:30:00 to 12:30:00. An
align operation that requires zooming and scrolling outside of these limits will complete, but be constrained to the
Display Window limits.

To align the source and destination EDL windows at the nowline:

Do one of the following:
• use the Window>Align At Nowline command
• use the Shift+F12 keyboard command

Align At Boundaries
The Align At Boundaries command causes the inactive window (source or destination) to change its zoom level so that
it displays the same width as the active window (destination or source), and scrolls the EDL so that its leftmost and
rightmost EDL window bounds align with the leftmost and rightmost EDL window bounds in the active window.
This command can always take effect because the leftmost and rightmost EDL window bounds in both EDLs are
constrained to the same limits.

To align the source and destination EDL windows at the window boundaries:
Do one of the following:
• use the Window>Align At Boundaries command
• use the Alt+Ctrl+F12 keyboard command
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Linear Edit Commands

Linear Editing is sometimes called 4-point editing, or assembly editing. It involves copying material from the edit
region in a source EDL (the source region) and assembling it in the edit region of a destination EDL (the destination region).
The source is left unchanged and the track selection of the source EDL determines which tracks in the destination EDL
will be affected. If there is no track selection, ALL tracks will be affected. Before you can perform Linear Editing in
Sonoma, you will need to designate source and destination EDLs, and define edit regions in both. The four Linear Edit
commands are:
• Replace
• Layer
• Insert
• Append

The commands are available in the Edit Menu, on the function keys F1 through F4, and via control buttons that
will dynamically appear in the upper strip of the source and destination EDLs. Each command/control button will only
be enabled when that type of edit is available. Depending on the number of edit cursors defined, you can perform
0-, 1-, 2-, 3-, or 4-point edits, and the function of some of the commands changes depending on the number of edit
cursors used to define the source and destination regions. The impact of the number of edit cursors used will be made clear
in the following sections.

It is also important to consider how the extent of the edit region (source or destination) changes for different numbers
of cursors:

# of Cursors Edit Region

None EDL origin to end of selection (end of last ingredient on last selected track)
Edit left edit left to end of selection
Edit Right EDL origin to edit right
Both edit left to edit right

Replace
The Replace command removes the destination region and replaces it with the material from the source region. The new
material is spliced to the original audio in the destination EDL using the default cross-fade settings. You can override
the splicing behavior by holding down the Alt-key when performing this command.

To issue the replace command:

Do one of the following:
• use the Edit>Replace command
• use the F1 keyboard command
• click on the Replace control button in the EDL’s upper strip (see Figure 100)

Figure 100: The Replace control button

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Replace with No Edit Cursors

When there are no source or destination edit cursors you will perform a 0-point Replace. This simply replaces all the
audio in the destination EDL with the entire audio from the source EDL.

Replace with 1 Source Edit Cursor

When there is only a single source edit cursor defined, the Replace command punches the material from the source region
into the same range of the destination EDL. If the edit left cursor is active, all the material after the cursor is punched
after the same position in the destination EDL. If the edit right cursor is active, all the material before the cursor is
punched before the same position in the destination EDL. No trimming is required in either case.

Replace with 2 Source Edit Cursors

When only the two source edit cursors are active, the Replace command punches the material from the source region into
the same range of the destination EDL. No trimming will be required in this case.

Replace with 1 Destination Edit Cursor

When there is only a single destination edit cursor defined, the Replace command punches the entire audio from the
source EDL into the destination EDL. If the edit left cursor is active, all the source EDL is punched after the destination edit
left cursor, and any audio that extends beyond 12:00:00.000 is trimmed. If the edit right cursor is active, all the source EDL
is punched before the destination edit right cursor, and any audio that extends before 00:00:00.000 is trimmed. In this case,
the material that appears in the destination region runs from the end of the source EDL backwards towards the origin.

Replace with 2 Destination Edit Cursors

When only the two destination edit cursors are defined, the Replace command creates a source region equal in size to the
destination region, but starting from the source EDL origin. It then Cuts the destination region and punches the audio from
the source region into the destination region. No trimming will be required in this case.

Replace with 1 Source and 1 Destination Edit Cursors

When there is a single edit cursor defined in both source and destination EDLs, the Replace command replaces the
destination region with the material in the source region. If both edit left cursors are active, the material after the destination
edit left cursor is Cut, and then the source region is punched after the destination edit left cursor and any audio that extends
beyond 12:00:00.000 is trimmed. If both edit right cursors are active, the material before the destination edit right cursor is
Cut, and then the source region is punched before the destination edit right cursor, and any audio that extends before
00:00:00.000 is trimmed. In this case, the material that appears in the destination EDL runs from the end of the source
region backwards towards the origin.

If source edit right and destination edit left cursors are on, the Replace command replaces the material after destination edit
left with the material that extends from the origin to source edit right, and any audio that extends beyond 12:00:00.000
is trimmed. If source edit left and destination edit right cursors are on, the Replace command replaces the material before
destination edit right with the material that extends backwards from the end of the selection to source edit left, and any
audio that extends before 00:00:00.000 is trimmed.

Replace with 2 Source and 1 Destination Edit Cursors

When both source edit cursors and a single destination edit cursor are defined, the Replace command replaces the
destination region with the material in the source region. If the destination edit left cursor is active, the material after the
cursor is Cut, then the source region is punched after the destination edit left cursor and any audio that extends beyond
12:00:00.000 is trimmed. If the destination edit right cursor is active, the material before the cursor is Cut, then the source
region is punched before the destination edit left cursor starting from the end of the source region and running backwards,
and any audio that extends before 00:00:00.000 is trimmed.

Replace with 1 Source and 2 Destination Edit Cursors

When a single source edit cursor and both destination edit cursors are defined, the Replace command replaces the
destination region with the material in the source region. If the source edit left cursor is active, the destination region is Cut, then
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the source region is trimmed to the same size as the destination region and punched after the destination edit left cursor. If the
source edit right cursor is active, the destination region is Cut, then the source region is trimmed backwards from source edit right
to the same size as the destination region and punched before the destination edit right cursor. Since the size of the region
punched into the destination EDL is controlled by the destination region, no trimming to fit to the EDL bounds is required
with this form of the Replace command

4-point Replace
When all four edit cursors are defined, the Replace command behaves slightly differently. Firstly, the destination region
is Cut, then the material from the source region is punched after destination edit left. If the source region is larger than the
destination region the material to the right side of destination edit right ripples to the right to make room for the source
region. Conversely, if the source region is smaller than the destination region the material to the right side of destination edit
right ripples to the left to join the material from the source region.

Note: In all the above cases, splicing will not take place at points where there is digital silence (i.e., a
region with no ingredient) being inserted into the destination region. For example, if the source audio
starts at 00:01:00.000, and the source region extends from 00:00:00.000 to 00:02:00.000, there is a
1 minute area of digital silence. This would not splice to the material in the destination EDL
following a Replace command.

Layer
The Layer command simply pastes the source region on top of the destination region. No splices are applied to the newly
layered material. Care needs to be taken when using the Layer command to avoid creating bottlenecks.

To issue the layer command:

Do one of the following:
• use the Edit>Layer command
• use the F2 keyboard command
• click on the Layer control button in the EDL’s upper strip (see Figure 101)

Figure 101: The Layer control button

Layer with No Edit Cursors

When there are no source or destination edit cursors you will perform a 0-point Layer. This simply copies all the audio
from the source EDL and pastes it on top of all the audio in the destination EDL.

Layer with 1 Source Edit Cursor

When there is only a single source edit cursor defined, the Layer command copies the material from the source region and
pastes it onto the same range of the destination EDL. If the edit left cursor is active, all the material after the cursor is
copied and pasted after the same position in the destination EDL. If the edit right cursor is active, all the material
before the cursor is copied and pasted before the same position in the destination EDL. No trimming is required in
either case.

Layer with 2 Source Edit Cursors

When only the two source edit cursors are active, the Layer command copies the material from the source region and
pastes it into the same range of the destination EDL. No trimming will be required in this case.
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Layer with 1 Destination Edit Cursor

When there is only a single destination edit cursor defined, the Layer command copies and pastes the entire audio from
the source EDL onto the destination region. If the edit left cursor is active, all the source EDL is copied and pasted after
the destination edit left cursor, and any audio that extends beyond 12:00:00.000 is trimmed. If the edit right cursor is active,
all the source EDL is copied and pasted before the destination edit right cursor, and any audio that extends before
00:00:00.000 is trimmed. In this case, the material that is layered on the destination region runs from the end of the
source EDL backwards towards the origin.

Layer with 2 Destination Edit Cursors

When only the two destination edit cursors are defined, the Layer command creates a source region equal in size to the
destination region, but starting from the source EDL origin. It then copies the material in the source region and pastes it
onto the material in the destination region. No trimming will be required in this case.

Layer with 1 Source and 1 Destination Edit Cursors

When there is a single edit cursor defined in both source and destination EDLs, the Layer command copies and pastes
the material in the source region on top of the destination region. If both edit left cursors are active, the material after the
source edit left cursor is copied and pasted on the material after the destination edit left cursor and any audio that extends
beyond 12:00:00.000 is trimmed. If both edit right cursors are active, the material before the source edit right cursor is
copied and pasted on the material before the destination edit right cursor, and any audio that extends before
00:00:00.000 is trimmed. In this case, the material that is layered on the destination region runs from the end of the
source region backwards towards the origin.

If source edit right and destination edit left cursors are on, the Layer command copies the material before source edit right
and pastes it on the material after destination edit left, and any audio that extends beyond 12:00:00.000 is trimmed. If
source edit left and destination edit right cursors are on, the Layer command copies the material after source edit left and
pastes it on the material before destination edit right with the material that is layered on the destination region running
from the end of the source region backwards towards the origin. Any audio that extends before 00:00:00.000 is
trimmed.

Layer with 2 Source and 1 Destination Edit Cursors

When both source edit cursors and a single destination edit cursor are defined, the Layer command copies and pastes the
material in the source region on to the material in the destination region. If the destination edit left cursor is active, the
material in the source region is layered after the destination edit left cursor and any audio that extends beyond 12:00:00.000
is trimmed. If the destination edit right cursor is active, the material in the source region is layered before the destination edit
right cursor starting from the end of the source region and running backwards, and any audio that extends before
00:00:00.000 is trimmed.

Layer with 1 Source and 2 Destination Edit Cursors

When a single source edit cursor and both destination edit cursors are defined, the Layer command copies a source region
equal in size to the destination region and pastes it on the destination region. If the source edit left cursor is active, the source
region is trimmed to be the same size as the destination region, it is then copied and pasted after the destination edit left
cursor. Similarly, if the source edit right cursor is active, the source region is trimmed to be the same size as the destination
region, it is then copied and pasted before the destination edit right cursor, starting from the end of the source region and
running backwards towards the origin. If the size of the destination region causes the source region to extend beyond the
EDL bounds, the source region is constrained to contain only the audio within the EDL bounds.

4-point Layer
When all four edit cursors are defined, the Layer command copies the material from the source region and pastes it on
to the material in the destination region. If the source region is larger than the destination region, the source region is trimmed
to be the same size as the destination region prior to pasting. If the source region is smaller than the destination region, the
material in the source region is pasted ‘as is’.
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Insert
The Insert command slices the destination EDL, inserts the material from the source region at the slice point, and
ripples either the preceding destination material to the left, or the following destination material to the right depending
on which edit cursors are active. The inserted source material is automatically spliced to the original audio in the
destination EDL using the default fade settings. You can override the splicing behavior by holding down the Alt-key
when performing this command.

To issue the insert command:

Do one of the following:
• use the Edit>Insert command
• use the F3 keyboard command
• click on the Insert control button in the EDL’s upper strip (see Figure 102)

Figure 102: The Insert control button

Insert with No Edit Cursors

The Insert command is only available when at least one destination edit cursor is available, therefore, the command is
unavailable when there are no edit cursors.

Insert with 1 Source Edit Cursor

The Insert command is only available when at least one destination edit cursor is available, therefore, the command is
unavailable when there is only a single source edit cursor active.

Insert with 2 Source Edit Cursors

The Insert command is only available when at least one destination edit cursor is available, therefore, the command is
unavailable when only the two source edit cursors are active.

Insert with 1 Destination Edit Cursor

When there is only a single destination edit cursor defined, the Insert command slices the destination EDL at the active
edit cursor and inserts (with splices) the entire audio from the source EDL into the destination EDL, rippling the
remaining destination material as needed. If the edit left cursor is active, all the source EDL is inserted after the destination
edit left cursor, the destination material to the right of the destination edit left cursor is rippled to the right, and any audio
that extends beyond 12:00:00.000 is trimmed. If the edit right cursor is active, all the source EDL is inserted before the
destination edit right cursor, the destination material to the left of the destination edit right cursor is rippled to the left, and
any audio that extends before 00:00:00.000 is trimmed. In this case, the material that is inserted before the destination
edit right cursor runs from the end of the source EDL backwards towards the origin.

Insert with 2 Destination Edit Cursors

When only the two destination edit cursors are defined, the Insert command creates a source region equal in size to the
destination region, but starting from the source EDL origin. It then slices the material at the destination edit left cursor and
inserts the material from the source region into the destination EDL, rippling the material after the destination edit left
cursor to the left and any audio that extends beyond 12:00:00.000 is trimmed.

Insert with 1 Source and 1 Destination Edit Cursors

When there is a single edit cursor defined in both source and destination EDLs, the Insert command slices the material
at the destination edit cursor and inserts the source region, rippling the remaining destination audio as needed. If both edit
left cursors are active, the material after the source edit left cursor is copied and inserted after the destination edit left cursor,
the destination material after the destination edit left cursor ripples to the right and any audio that extends beyond
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12:00:00.000 is trimmed. If both edit right cursors are active, the material before the source edit right cursor is copied and
inserted before the destination edit right cursor, the destination material before the destination edit right cursor ripples to the
left and any audio that extends before 00:00:00.000 is trimmed. In this case, the material that is inserted before the
destination edit right cursor runs from the end of the source region backwards towards the origin.

If source edit right and destination edit left cursors are on, the Insert command copies the material before source edit right
and inserts it after destination edit left, the destination material after the destination edit left cursor ripples to the right and
any audio that extends beyond 12:00:00.000 is trimmed. If source edit left and destination edit right cursors are on, the
Insert command copies the material after source edit left and inserts it before destination edit right with the material that
is inserted running from the end of the source region backwards towards the origin. The destination material before the
destination edit right cursor ripples to the left and any audio that extends before 00:00:00.000 is trimmed.

Insert with 2 Source and 1 Destination Edit Cursors

When both source edit cursors and a single destination edit cursor are defined, the Insert command copies the material in
the source region and inserts it at the destination cursor position, rippling the remaining destination material as needed. If
the destination edit left cursor is active, the material in the source region is inserted after the destination edit left cursor, the
destination material after the destination edit left cursor ripples to the right and any audio that extends beyond
12:00:00.000 is trimmed. If the destination edit right cursor is active, the material in the source region is inserted before the
destination edit right cursor starting from the end of the source region and running backwards, the destination material
before the destination edit right cursor ripples to the left and any audio that extends before 00:00:00.000 is trimmed.

Insert with 1 Source and 2 Destination Edit Cursors

When a single source edit cursor and both destination edit cursors are defined, the Insert command creates a source region
equal in size to the destination region and inserts it at the slice position, rippling the remaining destination material as
needed. If the source edit left cursor is active, the source region is trimmed to be the same size as the destination region, the
destination EDL is Cut at the destination edit left cursor, the source region is inserted, the destination material after the
destination edit left cursor ripples to the right and any audio that extends beyond 12:00:00.000 is trimmed. If the source
edit right cursor is active, the source region is trimmed backwards from the source edit right cursor to be the same size as the
destination region, the destination EDL is Cut at the destination edit right cursor, the source region is inserted, the destination
material before the destination edit right cursor ripples to the left and any audio that extends beyond 00:00:00.000 is
trimmed.

4-point Insert
When all four edit cursors are defined, the Insert command copies the material from the source region, slices the
destination EDL at the destination edit left cursor, inserts the source region, the destination material after the destination edit left
cursor ripples to the right and any audio that extends beyond 12:00:00.000 is trimmed.

Append
The Append command copies the contents of the source region, including any leading silence, and pastes it on the end
of the tracks in the destination EDL that correspond with the track selection in the source EDL, or all tracks if none are
selected. The source material is offset from the end of the destination material by an Append Edit Gap that is
specified in the Edit Preferences (please see Chapter 19: User Preferences for details). The default value of Append
Edit Gap is 0 s. The Append command is always available when there is audio in the source region, no matter how
many edit cursors define it. The presence of destination edit cursors has no influence.

To issue the append command:

Do one of the following:
• use the Edit>Append command
• use the F4 keyboard command
• click on the Append control button in the EDL’s upper strip (see Figure 103)
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Figure 103: The Append control button

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Chapter 11: Ingredient Edit Control Panel

The Ingredient Edit Control Panel is used to edit various parameters of the currently selected ingredient(s). When
more than one ingredient is selected, changes are made to the entire group of selected ingredients. Here selection
means the ingredient(s) chosen in the EDL, the track selection is ignored. The panel is divided into sections for
navigation, and controlling the edit points, gains, and fades of all the selected ingredients. Ingredients joined by Splices
(see Chapter 12: Splices) can also be edited using the Ingredient Edit Control Panel. However, the edit-in and
edit-out points can only be changed by as much as the underlying first and last ingredients in the spliced material allow,
and gain changes are computed over the entire length of the spliced material.

To open the ingredient edit control panel:

Do one of the following:
• use the Edit>Ingredient Edit Panel command
• use the Ctrl+Alt+I keyboard command
• use the Page Up or Page Down keys to scroll through the Control Panels to the Ingredient Edit Control
Panel
• click on the Ingredient tab in the Control Panels (see Figure 104)

Convention for Absolute Changes and Nudging

The Ingredient Edit Control Panel contains several number boxes for controlling various aspects of the ingredient,
e.g., edit points, gains, and fade lengths. You can type numerical values directly into these boxes to set specific values
(absolute changes). For these changes to take effect, you must either hit the Enter-key, or click in another
number box, or click anywhere in the EDL Display Window. If you hit the Esc-key after entering a new value, the
intended change will be cancelled.

Alternatively, there are - and + buttons which can be used to subtract or add an offset to the displayed value. Such
an offset is called a nudge, and there are two sections towards the bottom of the panel (described later) where the
nudge amounts for time and gain (dB) adjustments can be set.

Navigation
Changing the Current Ingredient
The Ingredient Edit Control Panel displays, one at a time, the ingredients in the current selection. If there is no
selection, the fields in the panel are blank. The ingredient shown in the panel is called the current ingredient. If more
than one ingredient is selected in the EDL, the four arrow-like transport buttons at the top of the panel can be used
to change the current ingredient. From left-to-right, the buttons cause the display to change to:
• the first ingredient
• the previous ingredient (in time-sorted order)
• the next ingredient
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Figure 104: The Ingredient Edit Control Panel

• the last ingredient

The previous ingredient/next ingredient buttons scroll continuously through the ingredients in the selection, i.e., from
last to first or from first to last, depending on the scrolling direction. The text between these buttons indicates how
many ingredients are in the selection, and which one is currently being viewed, e.g., ‘2 of 5’ indicates that the second
ingredient in a selection of five is being displayed.

Ingredient Polarity
In a perfect recording environment, the polarity of all connections and signals is maintained from end-to-end.
However, there can be times when either the polarity becomes inadvertently reversed due to mis-cabling, or you
want to change the polarity to compensate for polarity inversion elsewhere in the replay chain. This can be done
easily in Sonoma on an ingredient by ingredient basis. To reverse the existing polarity of the current ingredient, simply
check (or uncheck) the Invert Polarity checkbox. Changing the checkbox for one ingredient in a selection changes
the polarity of all ingredients selected in the EDL.

If you change the polarity of an ingredient, the polarity of its Ingredient Waveform (see Chapter 16: Waveforms for
details) is also reversed. This provides a visual confirmation that the polarity has been changed.
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Note: Polarity is an attribute of an ingredient within an EDL. Changing the polarity for an ingredient does
not affect its underlying audio clip. So, if you import the same ingredient into another EDL, it will
have its original polarity.

Ingredient Edit Points Section

The Ingredient Edit Points Section allows you to change the edit points for the selected ingredients, resulting in a
change of ingredient size (Trim) or ingredient position (Slip).

Trim versus Slip

You have a choice of two operations that can be performed on the edit-in or edit-out point(s):

Trim changes an ingredient’s size by moving one of its edit points while the other remains fixed. For
example, if the edit-in is trimmed, the ingredient’s starting position changes.

Slip changes an ingredient’s position by aligning one of its edit points to a new location in the EDL.
Both edit points change by the same amount, so the ingredient’s size remains the same.

You select which operation is used by means of the Trim/Slip radio buttons. The default setting is Slip.

When a Trim command is performed, the operation is first checked to ensure that the edit does not exceed the
length of the underlying audio; if it does, the ingredient is trimmed out to its maximum extent.

Absolute changes
The edit points can be set to absolute values by selecting the desired operation (Trim or Slip), clicking in the edit-in or
edit-out number boxes, typing in a value, and pressing the Enter-key. The result depends on the operation:

Absolute Trim either the edit-in or edit-out points of all ingredients are trimmed to the new value. This
command aligns the beginnings, or ends, of all the ingredients in the selection. If the
selection was not aligned to begin with, a warning dialogue is displayed before the operation
is performed.

Absolute Slip the current ingredient is slipped in the EDL so that the chosen edit point lies at the new position.
All the other ingredients in the selection are moved by the same relative amount.

You can also use the Nowline to effect Absolute Trim or Absolute Slip. First set the Nowline to the desired position
in the EDL, select Trim or Slip, and then click the NL button next to the edit point you want to change. The
selected edit point will assume the value of the Nowline position, as if you had entered that value directly and hit the
Enter-key.

Relative Changes
You can make relative changes to the edit points by selecting the desired operation (Trim or Slip), and then clicking
on the - or + buttons next to the number boxes. Each time you click on - or + the edit point value is decremented
or incremented by the chosen nudge amount (see below).

Relative Trim the nudge amount is subtracted/added to the edit-in or edit-out of each selected ingredient. This
results in the size of the selected ingredients decreasing or increasing while their positions
remain fixed in the EDL.
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Relative Slip the nudge amount is subtracted/added to both the edit points of all selected ingredients. This
results in the positions of the selected ingredients changing in the EDL.

Keyboard Commands
The following keyboard commands become active whenever there are one or more ingredients selected and the
Ingredient Edit Control Panel is open. These commands perform just like the buttons described above with the
effect of the operation depending on the current Trim/Slip radio button selection:

Edit-in Point - by nudge amount =A

Edit-in Point to Nowline =S
Edit-in Point + by nudge amount =D
Edit-out Point - by nudge amount =F
Edit-out Point to Nowline =G
Edit-out Point + by nudge amount =H

Ingredient Gain Section

The Ingredient Gain Section allows you to change the gain-in, gain-out or both for the selected ingredients.

Absolute Gain Change

An ingredient’s gain-in or gain-out can be set directly by entering numerical values in the appropriate box and pressing
the Enter-key. The gain-in or gain-out of all ingredients in the selection will assume the same gain value.

Relative Gain Change

You can make relative changes to the ingredient gains by means of the - or + buttons next to the number boxes. The
-/+ buttons subtract/add the dB nudge amount to each gain in the selection. To change both gains at the same time,
use the nudge buttons located between the two number boxes (under the word ‘Level’).

Interpolating Gains
When the gain-in and gain-out are different, the overall gain will be interpolated across the length of the ingredient.
The interpolation is linear in dB, so the interpolated gain for an ingredient with a gain-in of 0 dB and a gain-out of
-60 dB will yield a gain value of -30 dB at the ingredient’s mid-point.

Keyboard Commands
The gain controls are also accessible via keyboard commands that become active whenever there are one or more
ingredients selected and the Ingredient Edit Control Panel is open:

Fade-in Gain - by nudge amount = Shift+Z

Fade-in Gain + by nudge amount = Shift+X
Both Gains - by nudge amount = Shift+C
Both Gains + by nudge amount = Shift+V
Fade-out Gain - by nudge amount = Shift+B
Fade-out Gain + by nudge amount = Shift+B
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Ingredient Fades Section

The Ingredient Fades Section allows you to change the fade length and fade type parameters for each fade in the
selection.

Fade Length
The fade length number box displays fade time in the currently selected timecode display format. You can specify that the
fade length is always shown in milliseconds by setting the ‘Always Show Fade Lengths In Milliseconds’ checkbox in
the Time Format preferences (see Chapter 19: User Preferences for more details). The fade length is the time
between the start and end of the fade-in, or the start and end of the fade-out.

Absolute Fade Length Change

The fade-in or fade-out length can be set to an absolute value by typing numbers in the respective fade length box and
then pressing the Enter-key. The fade time will be set to this value for all the ingredients in the selection.

You can also use the Nowline to effect Absolute Fade Length Changes. First set the Nowline to the desired position
in the EDL, and then click the Fade to Nowline button (NL) next to the fade you want to change. The selected
fade length will decrease or increase relative to the difference between the currently selected fade pivot point and the
Nowline position. This command is only enabled when the Nowline is positioned on the free, i.e., non-pivot, end of
every fade in the selection. When the NL button is pressed, the free end of each fade is moved to the Nowline, or
as close to the Nowline as its underlying audio recording will allow. The fade’s pivot point will remain fixed.

Note: When the fade pivot is NOT the center, both the fade length and the position of the edit point will
change.

Relative Fade Length Change

You can make relative changes to the fade lengths by means of the - or + buttons next to the number boxes. The
-/+ buttons subtract/add the nudge amount to the fade lengths of all the selected ingredients.

Keyboard Commands
The fade length controls are also available via keyboard commands that are active whenever there are one or more
ingredients selected and the Ingredient Edit Control Panel is open:

Fade-in Length - by nudge amount =Z

Fade-in Length to Nowline =X
Fade-in Length + by nudge amount =C
Fade-out Length - by nudge amount =V
Fade-out Length to Nowline =B
Fade-out Length + by nudge amount =N

Note: All fade length commands check the change to ensure that the intended fade does not exceed the
length of the underlying audio. Note also that the effect of changing fade length depends on the
currently selected ingredient fade pivot points. See Chapter 2: Sonoma Editor Window for more on
fade pivot points.
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Fade Type
The fade type controls the shape that the fade will take. You set the fade type using the pull-down menu underneath
the fade-in controls. There are four fade types available:

• Linear
• Root Cosine
• Power N
• Cosine

The curves are named according to the way they shape the profile of the fade.

The Linear curve represents the fade as a straight line, attenuating the signal by 6dB at its mid-point. The Root
Cosine fade curve impresses a quarter cycle cosinusoidal amplitude on the fade. The Power N curves are
exponentials that attenuate by N dB at their mid-points. When Power N is selected, the number box to the right
of the fade type pull-down menu becomes active, and you use it to specify the required value of N. The cosine fade
curve impresses a half cycle cosinusoidal amplitude on the fade.

Additional Information Sections

Nudge Amounts
Relative changes can be made to the edit points, gains and fade lengths by means of the - or + buttons. The amount
by which a value changes each time a - or + button is clicked is termed the nudge amount. You set the nudge amount
value for edit points and fade lengths using the left-hand nudge amount box. The time value is shown in the active
timecode display format, and the field after the box takes the values msec, 75 fps, 30 fps, 29.97, 25 fps, 24 fps or count
accordingly. You set the nudge amount value for gains in the right-hand (dB) nudge amount box.

Note: The nudge amount for edit points and fade lengths may have been specified in a timecode format that is
finer than the one that is currently being displayed. For instance, you have entered a nudge amount
of 10 ms, while in millisecond timecode format, and then switched to 75 fps format. Since 10 ms is
smaller than a 75 fps frame, the nudge amount field will display as 00:00:00:00. For this reason, the
value is also shown below the nudge amount box in samples, which is the value Sonoma uses
internally to keep track of the nudge amount parameter. It should be emphasized that, because of
this, pressing the - or + buttons will have an effect on the ingredient you are editing, even though
this may not be visible because of the zoom level and/or timecode display format.

Track Number
The Track Number box shows the track number of the current ingredient. If you change the Track Number value and
press the Enter-key, all the selected ingredients will be moved to the specified track. Pressing the - or + buttons
decrements or increments the track number assignment of every selected ingredient by one, preserving the track number
offset between all the ingredients in the selection. If necessary, the track number assignment wraps around, i.e., the
highest numbered track becomes the lowest numbered track, and vice-versa.

It is also possible to change the track number assignments of selected ingredients without entering the Ingredient Edit
Control Panel by means of the Rotate Selection commands in the Selection pull-down menu. These commands
move the selected ingredients upwards or downwards one track at a time, with track numbers wrapping around as
necessary.
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Rotate Selection Up

To rotate the selected ingredient(s) upwards:

Do one of the following:
• use the Selection>Rotate Selection Up command
• use the Alt+UpArrow keyboard command

Rotate Selection Down

To rotate the selected ingredient(s) downwards:

Do one of the following:
• use the Selection>Rotate Selection Down command
• use the Alt+DownArrow keyboard command

Clip Info.
The Clip Info. section indicates the name and location (hard-disk identifier and path name) of the audio file
associated with the current ingredient. It also contains two subsidiary fields: length and offset. The length field shows the
entire length of the underlying audio clip for that ingredient (even if only a small part may be visible in the EDL).
The offset field is only relevant for audio files containing multiple punches that have been created without stopping
the transport. In such cases, all the underlying audio for the punched ingredients is placed into a single file. The offset
field then indicates the start position of the individual punches within the audio file.

You cannot edit any of the information in the Clip Info. section.
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Chapter 12: Splices

After you have created an edit involving two, or more, ingredients, you will often want to ‘lock’ them together so that
they are handled as a unit and the timing relationships between them are preserved. In the age of magnetic tape,
this was accomplished by using splicing tape to hold the pieces together. In Sonoma, the Splice command performs
the same function. Splices can join ingredients in two ways: horizontally along a single track, creating a sequence, and
vertically across multiple tracks creating a multi-track edit.

A splice locks down the transitions between ingredients, making it impossible to modify them with the normal Edit
Menu commands or the Ingredient Editor Control Panel. The Splice Editor Control Panel (described fully in the
next chapter) is used instead to edit splices.

Splices are created between ingredients that have been selected in the EDL, any track selections are ignored.

The Splice Command and Sequences

In its most basic form, a splice is a link between a pair of consecutive ingredients on the same track. The left-side
ingredient is called the outgoing ingredient and the right-side ingredient is called the incoming ingredient. When two or more
ingredients are spliced together, the result is a sequence: a group of consecutive ingredients on the same track that are held
together as if they were a single ingredient.

A sequence appears in an EDL as a single ingredient, its length being equal to the combined lengths of the ingredients it
contains. A small blue splice box appears within the ingredient at the location of each splice. The splice box occupies the
interval from the start of the outgoing fade-out to the end of the incoming fade-in.

To make a splice, select two or more consecutive ingredients on the same track and issue the Splice command.

To issue the splice command:

Do one of the following:
• use the Edit>Splice command
• use the Ctrl+L keyboard command

There are some restrictions: you cannot splice an ingredient that is wholly contained inside another ingredient, and you
cannot splice across a bottleneck (see Chapter 4: Playback for details). However, two consecutive ingredients with a gap
between them can be spliced together. In the world of recording tape you would have to make two splices to insert a
piece of blank leader tape to create a gap. In Sonoma, the gap is not represented as an ingredient, so there is only one
splice linking the outgoing and incoming ingredients.

When more than two ingredients are selected (on the same track or on many tracks), the Splice command causes
splices to be added between each legal pair of consecutive ingredients on a per-track basis. Wherever two or more
ingredients are spliced together, they will be replaced in the EDL by a single sequence with splice boxes showing where the
connections occur.

Any sequence can be extended by splicing it to its immediate predecessor or successor, which might be an ingredient or
another sequence.

Sequences behave just like ordinary ingredients when editing an EDL. When you select and move a sequence, all the
ingredients it contains will move by the same amount; when you Cut, Copy, or Delete a sequence, the corresponding
110 CHAPTER 12
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action is performed on all of its ingredients. Trimming and cross-fade operations on a sequence are constrained by the
lengths of its first and last ingredients. Slicing a sequence usually breaks it into two sequences. As is the case with slicing
a normal ingredient, it is not possible to slice a sequence in the fade-in of its first ingredient or in the fade-out of its last
ingredient (see Chapter 9: Selection-based Editing for more details). If a slice cuts an area of silence between two
spliced ingredients, the result is the same as unsplicing them (see below).

It is impossible to select a single ingredient once it belongs to a sequence. In order to select an ingredient separately, you
must unsplice the entire sequence, or selectively remove the splices to a particular ingredient using the Splice Editor
Control Panel (see next chapter).

The Unsplice command removes all the splices in the EDL selection, replacing the selected sequences in the EDL by
their constituent ingredients. You first need to make a selection before you can issue the Unslice command.

To issue the unsplice command:

Do one of the following:
• use the Edit>Unsplice command
• use the Alt+L keyboard command

Multi-track Edits and Sync. Groups

Splices and their resulting sequences are a form of horizontal organization, they join ingredients on the same track and
are easily recognized since they appear as single ingredients in an EDL. When splices on two or more different tracks
align vertically, it is assumed that the sequences containing them are also meant to stay synchronized in time. This is
called a multi-track edit, and it is an implied vertical grouping. Two splices are vertically aligned when their respective
outgoing edit-out points and incoming edit-in points are in exactly the same positions.

Multi-track edits are created when two, or more, splices align vertically at the time a splice command is performed.
You will usually create a multi-track edit by selecting ingredients both horizontally along a single track and vertically
across multiple tracks and then issuing a single Splice command. If you have two sequences on two tracks and their
splices are unaligned, slipping one sequence in time so that their splices become aligned will not create a multi-track edit.
To do so, you must align the splices, select the two sequences, and perform another Splice command – which can be
anywhere else in the sequence.21

Multi-track edits are not drawn in any special manner. When you see a set of sequences stacked such that their splice
boxes align, you can infer that this is a multi-track edit. When you click on one of the splice boxes in a multi-track edit the
Splice Editor Control Panel (see next chapter) will open all the splices in that multi-track edit.

Like the ingredients in a single sequence, the sequences in a multi-track edit behave as if splicing tape holds them together;
they must stay in sync. with each other when you Move, Trim, Copy, Cut, and Delete them. For this reason, the
sequences that contain a multi-track edit constitute a sync. group. The ingredients in a sync. group are always selected
together – if you click on one sequence in a sync. group, every member of the group is selected. Note that there must
be at least one multi-track edit, i.e., set of aligned splices, and hence at least two sequences on two different tracks, in a
sync. group. There may be more than one multi-track edit in the same sync. group, and there may also be other unaligned
splices in the sequences that make up the group. Sync. groups are not drawn in any special manner, but you can verify
the existence of a sync. group by observing that, when you click to select one sequence, all the members of the group
will select as well.
21. An example may help here. Assume you have four tracks of audio. If you select all four, and carry out Slice and Splice
commands, you will immediately create a multi-track edit across all tracks. On the other hand, if you first select tracks 1 and
2, splice them, then select tracks 3 and 4, keeping the Nowline in the same position, you will create a multi-track edit across all
four tracks the moment you splice tracks 3 and 4 together. Finally, if you have splices in tracks 1 + 2 and tracks 3 + 4, and
align them, you will not create a multi-track edit until you carry out a splice anywhere else in the sequences containing the
aligned splices. In this example, the two sequences remain independent until a Splice command is issued somewhere in either
of the two sequences. So, care is needed here if you do not want to create a multi-track edit.
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Just as it is impossible to select a single ingredient once it belongs to a sequence, it is impossible to select a single
sequence once it belongs to a sync. group. In order to select a sequence separately, either unsplice the entire sync. group, or
selectively remove a sequence’s aligned splices using the Splice Editor Control Panel (see next chapter).

Sync. groups are created and maintained automatically. Note that whenever you add a new splice, or move a sequence
containing a splice, the splice might align with a splice on another track, thereby creating a multi-track edit and possibly
a new sync. group.

Sync. groups grow by association with each other. If a sequence in one sync. group is spliced to a sequence in another sync.
group, or if a new multi-track edit joins two sequences in two different sync. groups, the two groups are joined together
into one larger sync. group.
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Chapter 13: The Splice Editor Control Panel

The Splice Editor Control Panel is used to edit various parameters of the currently selected splice(s). Here selection
means the splice(s) chosen in the EDL, the track selection is ignored. The panel is divided into sections for auditions,
navigation, and controlling the edit points, gains, and fades of all the selected splices.

To open the splice editor control panel:

Do one of the following while the transport is idle:
• click on a splice box in the EDL
• use the Edit>Splice Edit Panel command
• use the Ctrl+Alt+L keyboard command
• use the Page Up or Page Down keys to scroll through the Control Panels to the Splice Editor Control Panel
• click on the Splice tab in the Control Panels (see Figure 105)

The Splice Editor Control Panel displays data only when there is a current edit selected in the EDL. The data in the
window shows the parameters of the outgoing and incoming ingredients on the current track, which must be Edit-Enabled
(see below). The data in the panel is updated whenever the current track or current edit changes.

Splice edit commands are available only in the Splice Editor Control Panel. Commands are applied to the ingredients
in the current edit on a per-track basis. They may affect only the incoming or outgoing ingredients, or both. Only tracks
that are Edit-Enabled are changed. When necessary, the incoming ingredients may slip in time. Edit point trimming and
fade length changes are constrained by the lengths of all the involved ingredients, e.g., the outgoing edit point can be
trimmed only to the extent that all the outgoing ingredients can be trimmed by the same amount. The shortest outgoing
ingredient will limit the amount of trim that is possible in this case.

Current Edit and Current Track

The splice box you click on to open the Splice Editor Control Panel may be unaligned, or it may be part of a
collection of splices in a multi-track edit. In either case, it determines the current edit, which refers to either a single
unaligned splice or all the splices in one multi-track edit.

The Splice Editor Control Panel displays the parameters of only one splice. The track on which this splice occurs is
called the current track. When you select an edit by clicking on its splice box, the current track is set to the track of the
splice box you clicked. The Splice Editor Control Panel works like the Ingredient Edit Control Panel (see Chapter
11: Ingredient Edit Control Panel for details). If you have selected a multi-track edit, the splice on the current track is
displayed, but any changes will be applied to every splice in the current edit. You can change the current track, to view
other splices in the current edit, by clicking on another splice box in the same edit, or by using the navigation buttons at
the bottom of the Control Panel (see later in this chapter).

You can selectively apply changes to a subset of splices in the current edit using the Edit-Enable buttons, which are
explained below.
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Figure 105: The Splice Editor Control Panel

EDL Splice Edit Mode Display

When you are using the Splice Editor, the EDL is drawn in a special way to show the current edit (see Figure 106).
Initially, the window is zoomed to show the entire edit, plus a pre- and post-roll equal in length to the currently
selected pre-roll amount (P1, P2 or P3). Alternatively, you can use the Editing Preferences to set the Splice Editor
Zooming preference to specify a fixed zoom size for viewing edits (see Chapter 19: User Preferences for details).
The default setting is to use the pre-roll amount.

The EDL Splice Edit Mode Display ignores the ingredient selection, track display (T) and track height (H) settings;
instead, the EDL is drawn so that the tracks containing the current edit are large and all other tracks are small. The
EDL will zoom and scroll so that the current edit is centered in the window. The large tracks will show the ingredients
that make up each sequence in the current edit in expanded display mode so you can see the outgoing and incoming
ingredients which are hidden in the normal EDL display mode. The ingredients in the current edit are all selected. The
splice box for the current track is orange, while the other splice boxes in the edit will be yellow. The edit point and pivot
points for the fade in the current track appear as orange and red circles respectively – yellow and red for the other
tracks. The color of the ingredients themselves will be bold if the track is edit-enabled (see below) or light otherwise.
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Figure 106: The EDL Splice Edit Mode Display

When you exit the Splice Editor, the former ingredient selection, track display and track height display settings are
restored.

While working in the Splice Editor, you can only select splices by clicking on them, you cannot click on ingredients to
select them. Although you can not change the ingredient selection, or copy new material into the clipboard, you can
still use the Paste and Punch commands provided you already have audio on the clipboard. You can also use the
Linear Editing commands (see Chapter 10: Region-based Editing and Linear Editing).

When playing audio while in Splice Edit Mode, the EDL does not automatically scroll as the Nowline moves out of
the display window. It continues to show the area of the EDL in which you are working.

The EDL Splice Edit Mode Display window contains a special column of track controls that appear between the
EDL and the Splice Editor Control Panel. The column is labeled A for audition (see Figure 106), and it contains
controls for enabling the playback of each track and for enabling the editing of splices within the current edit.
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Audition Control
A small numbered button appears to the left of each track. It controls whether audio on a track is heard when one
of the Splice Editor audition commands is performed. Red numbers indicate tracks that will be played during an
audition, blue numbers indicate tracks that will not be played. The number box itself is the control button, and the
audition control status can be toggled between the enabled and disabled states.

To toggle the audition status of a track in the current edit:

• click on the number box in the A column adjacent to the required track

Whenever a new current edit is selected, the tracks in the current edit are enabled (red numbers), and all other tracks are
disabled (blue numbers).

Edit-Enable
The Edit-Enable control button is labeled E and only appears on tracks that are part of the current edit. Each time
the current edit changes, the EDL is redrawn, and all the tracks in the current edit have their Edit-Enable buttons
enabled (red). When working with multi-track edits, the Edit-Enable buttons control which tracks are affected by the
Splice commands. When an Edit-Enable button is disabled (blue), the ingredients comprising the splice on that track
will not be affected.

To toggle the edit-enable status of a track in the current edit:

• click on the E box adjacent to the required track

There are some important things to remember when working with the Edit-Enable buttons:

1. If you toggle the current track’s Edit-Enable button off, the next enabled track will become the current track. If
there is only one edit-enabled track, its Edit-Enable button cannot be toggled off.

2. When you change the current track, by clicking on a splice box, the new track has its edit-enable state forced on,
if necessary.

3. When a Splice Editor command moves only some of the incoming or outgoing edit points in a splice, by virtue of
some tracks being edit-disabled, the current edit is automatically split into two multi-track edits: one containing the
enabled tracks, the other the disabled tracks. The edit with the enabled tracks is reselected and becomes the
current edit.

Resetting the Audition and Edit Controls

To reset the audition and edit-enable controls:

• click on the A column header

When you click the A column header, the splice is re-centered in the window and the audition and edit-enable
controls are reset as if the current edit had been re-selected.

Resetting the EDL Splice Edit Mode Display

To reset the EDL splice edit mode display:

• click within the splice box of the current track in the current edit

Clicking within the splice box of the current track in the current edit will re-center the edit and restore the default zoom
level. Clicking in the splice box of another track in the current edit will have the same effect but will also make that
track the current track.
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Exiting the Splice Editor Control Panel

To exit the splice editor control panel:

Do one of the following:
• click in a blank area of the EDL (e.g., on the colorless part of the outgoing or incoming ingredient)
• use the Transport>Track Control Panel, or Window>Track Control Panel, or Edit>Ingredient Edit
Panel, or Marks>Mark Control Panel commands
• use the Ctrl+Page Up, or Ctrl+Alt+I, or Ctrl+Alt+M keyboard commands
• use the Page Up or Page Down keys to scroll to another Control Panel

When exiting the Splice Editor Control Panel it is important to remember that:

1. Selecting the Mark Editor Panel will leave you in Splice Edit mode.

2. When you leave the Splice Editor, the current edit is remembered.

Re-entering the Splice Editor Control Panel

To re-enter the splice editor control panel:

Do one of the following:
• use the Edit>Splice Edit Panel command
• use the Ctrl+Alt+L keyboard command
• use the Page Up or Page Down key to scroll through the Control Panels to the Splice Editor Control Panel
• click on the Splice tab in the Control Panels (see Figure 105)

Note: When you re-enter the Splice Editor, it will display the most recent edit provided that it has not
been deleted by unsplicing or by the deletion of all of its associated ingredients.

Auditioning Splices
The top of the Splice Editor Control Panel contains an array of five buttons for performing various audition
modes. The five modes are:

1. Audition Outgoing
2. Audition Edit
3. Audition Incoming
4. Audition Incoming Outtake
5. Audition Outgoing Outtake

These modes enable you to listen to the whole edit or either side separately, in addition to listening separately to the
outtakes on either side. Which tracks you will hear depends on the status of the audition controls: the numbered
track buttons in the A column on the left of the EDL. When auditioning the tracks containing the current edit, only
the audio that is actually spliced together is heard. Other ingredients in those tracks on either side of the sequence are
muted.
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Audition Command Buttons

When auditioning a splice, the playback range is controlled by the pre-roll/post-roll interval.

To select a value of pre-roll:

Do one of the following:
• use the Transport>Pre-roll Pn command, where n can be either 1, 2 or 3
• use the 1, 2 or 3 keyboard commands
• click on the P1, P2 or P3 control buttons in the Transport Toolbar (see Figure 41)
The time values corresponding to the three pre-roll controls are user specifiable, and are set in the Playback
Preferences (for full details, please see Chapter 19: User Preferences). The default values of P1, P2 and P3 are 1 s,
2 s, and 3 s respectively, and the pre-roll can take values between 0.5 s and 60 s.

Audition Outgoing
The Audition Outgoing command plays the outgoing ingredient from a position equal to the selected pre-roll before the
start of the splice through to the end of the splice.

To audition the outgoing take:

Do one of the following:
• click on the Outgoing button in the Splice Editor Control Panel
• use the E keyboard command

Audition Edit
The Audition Edit command plays the faded outgoing and incoming ingredients from a position equal to the selected
pre-roll before the start of the splice through to a position equal to the selected post-roll after the end of the splice.

To audition the edit:

Do one of the following:
• click on the Edit (both) button in the Splice Editor Control Panel
• use the R keyboard command

Audition Incoming
The Audition Incoming command plays the incoming ingredient from the start of the splice through to a position equal
to the selected post-roll after the end of the splice.

To audition the incoming take:

Do one of the following:
• click on the Incoming button in the Splice Editor Control Panel
• use the T keyboard command

Audition Incoming Outtake

The Audition Incoming Outtake command plays the incoming outtake from a position equal to the selected pre-roll
before the start of the splice through to the end of the splice.

To audition the incoming outtake:

Do one of the following:
• click on the Inc. Outtake button in the Splice Editor Control Panel
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• use the Y keyboard command

Audition Outgoing Outtake

The Audition Outgoing Outtake command plays the outgoing outtake from the start of the splice through to a position
equal to the selected post-roll after the end of the splice.

To audition the outgoing outtake:

Do one of the following:
• click on the Outg. Outtake button in the Splice Editor Control Panel
• use the W keyboard command

Note: If you hold down the Shift-key while pressing any of the audition buttons, the fades in the splice
will be ignored and a 2 ms linear amplitude fade will be substituted instead.

Audition Keyboard Accelerators

The Audition commands are also available via keyboard commands that are active whenever the Splice Editor
Control Panel is open and displaying a splice:

Audition Outgoing Outtake =W

Audition Outgoing =E
Audition Edit =R
Audition Incoming =T
Audition Incoming Outtake =Y

There are two additional Audition commands that can only be accessed via the keyboard:

Audition Outgoing material only =Q

Audition Incoming material only =U

Audition Outgoing Material

The Audition Outgoing Material command plays the outgoing ingredient and outgoing outtake from a position equal to
the selected pre-roll before the start of the splice through to a position equal to the selected post-roll after the end of
the splice.

Audition Incoming Material

The Audition Incoming Material command plays the incoming outtake and outgoing ingredient from a position equal to
the selected pre-roll before the start of the splice through to a position equal to the selected post-roll after the end of
the splice.

Note: Holding down the Shift-key while using the keyboard accelerators causes the fades in the splice
to be ignored and a 2 ms linear amplitude fade to be substituted instead.

Splice Edit Points Section

Editing a splice is very similar to working with an ingredient in the Ingredient Editor Control Panel. The main
difference being the Ingredient Editor acts upon the edit points and fade-in and fade-out of a single ingredient,
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whereas the Splice Editor modifies the edit-out and fade-out of the outgoing ingredient and the edit-in and fade-in of the
incoming ingredient.

As with the Ingredient Editor, wherever number boxes appear you can type numerical values directly into these
boxes to set specific values (absolute changes). For these changes to take effect, you must either hit the
Enter-key, or click in another number box, or click anywhere in the EDL Display Window. If you hit the
Esc-key after entering a new value, the intended change will be cancelled. The - or + buttons are used to change
values by a relative nudge amount that is specified in the Nudge Amount section at the bottom of the panel.

When more than one track is selected, a change to a splice parameter value is applied to the aligned ingredients on each
selected track on a track-by-track basis.

Outgoing And Incoming Edit Points

The positions of the outgoing or incoming edit points can be set to new absolute values by clicking in the Outgoing or
Incoming number boxes, entering numerical values and pressing the Enter-key. You can also use the Nowline to
effect an absolute change in position. First set the Nowline to the desired position in the EDL, and then click the
NL button next to the edit point you want to move to that position. The result will be the same as if you had entered
that value directly and hit the Enter-key.

Relative edit point changes can be made with the -/+ buttons. These subtract/add the specified time nudge amount to
the outgoing or incoming edit points.

It is important to realize that changing the outgoing edit point causes a trim of the outgoing ingredient and a slip of the
incoming ingredient by the same amount. Whereas a change to the incoming edit point causes a trim of the incoming
ingredient and also slips it by the same amount.

Note: It is possible to trim an edit point without slipping the spliced material. If you hold down the
Shift-key, while pressing one of the Outgoing or Incoming buttons, the trim is performed while
the audio stays ‘pinned’ in time, i.e., no rippling occurs.

Splice Edit Point Keyboard Accelerators

These commands are also accessible via keyboard accelerators that are active whenever the Splice Editor Control
Panel is being used.

Outgoing - by nudge amount =A

Outgoing to Nowline =S
Outgoing + by nudge amount =D
Incoming - by nudge amount =F
Incoming to Nowline =G
Incoming + by nudge amount =H

Outgoing - by nudge amount [ingredient pinned] = Shift+A

Outgoing to Nowline [ingredient pinned] = Shift+S
Outgoing + by nudge amount [ingredient pinned] = Shift+D
Incoming - by nudge amount [ingredient pinned] = Shift+F
Incoming to Nowline [ingredient pinned] = Shift+G
Incoming + by nudge amount [ingredient pinned] = Shift+H

Mid-point and Gap/Overlap

The Mid-point controls affect the mid-point of the selected splice(s). This means that you can move the edit points of
both the outgoing and incoming ingredients at the same time. You can move the splice to an absolute value by clicking in
the number box, entering a numeric value, and then pressing the Enter-key. Alternatively, you can place the
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Nowline where you want the center of the splice to appear, and then click on the NL button to issue the Mid-point
to Nowline command. Clicking on the -/+ buttons subtract/add the specified nudge amount to the Mid-point’s
position, resulting in a relative change in the splice’s location in the EDL.

The Gap/Overlap controls introduce a separation between the edit points of the outgoing and incoming ingredients. A
positive value in the number box indicates the presence of a Gap, i.e., a space between the edit points of the outgoing
and incoming ingredients. A negative value in the number box indicates the presence of an Overlap, i.e., the incoming
edit point appears before the outgoing edit point resulting in a section of the two ingredients overlapping. You can set an
absolute value for the Gap/Overlap by clicking in the number box, entering a signed numeric value, and then
pressing the Enter-key. Clicking on the -/+ buttons subtract/add the specified nudge amount to the Gap/Overlap
value, decreasing or increasing the Gap/Overlap size accordingly. A Gap/Overlap value of zero means that the edit
points of the outgoing and incoming ingredients are aligned (which is usually the case).

Splice Mid-point Keyboard Accelerators

The Mid-point commands are also accessible via keyboard accelerators that are active whenever the Splice Editor
Control Panel is being used:

Mid-point - by nudge amount =J

Mid-point to Nowline =K
Mid-point + by nudge amount =L

Moving the Nowline to an Edit Point

The NL buttons between the nudge buttons (- and +) provide a mechanism for moving the Nowline to either edit
point or the center of the splice.

To move the nowline to the outgoing edit point:

• hold down the Ctrl-key and click on the NL button under the word Outgoing in the Edit Points section

To move the nowline to the incoming edit point:

• hold down the Ctrl-key and click on the NL button under the word Incoming in the Edit Points section

To move the nowline to the center of the splice:

• hold down the Ctrl-key and click on the NL button under the word Midpoint in the Edit Points section

Note: The above three locations are identical unless there is a Gap/Overlap defined, as detailed above.

Sync. Constraints
Ingredients joined by splices, both horizontally and vertically, form a group (called a sync. group) that should maintain
synchronization during editing operations. However, there is a known bug in Sonoma at this time whereby vertical
sync. groups can be broken due to editing operations on other splices. An example will help explain the problem.

Assume you have an 8-track EDL with all tracks spliced together at two points. Between the points is a splice linking
only tracks 1 and 2. Editing commands that change the time relationship in the 2-track splice (e.g., slipping one side
relative to the other) should be illegal, as the 8-track splices that bound it “lock” all the tracks together.
Unfortunately, Sonoma allows such operations to take place at this time, and will break the vertical grouping in the
preceding or following splices. In a future release, editing commands that break the sync. groups will be automatically
greyed out. Therefore, it is very important to view the total EDL structure BEFORE manipulating splices that span
only a sub-set of all the tracks. If all your splices span all the tracks in the system, no breaking of sync. groups can
occur.
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Splice Gains Section

The values of the Outgoing or Incoming Gains can be set to new absolute values by clicking in the Outgoing or
Incoming number boxes, entering signed numerical values (between -90 and +6), and pressing the Enter-key.

Relative Gain changes can be made with the -/+ buttons. These subtract/add the specified dB nudge amount to
either the Outgoing or Incoming Gain or, if you use the Both -/+ buttons, both Gains equally.

Splice Gain Keyboard Accelerators

These commands are also accessible via keyboard accelerators that are active whenever the Splice Editor Control
Panel is being used:

Outgoing Gain - by nudge amount = Shift+Z

Outgoing Gain + by nudge amount = Shift+X
Both Gains - by nudge amount = Shift+C
Both Gains + by nudge amount = Shift+V
Incoming Gain - by nudge amount = Shift+B
Incoming Gain + by nudge amount = Shift+N

Splice Fades Section

The Splice Fades Section allows you to change the fade length and/or fade type for either the outgoing ingredient, the
incoming ingredient, or both. Whether each side of the fade is operated on individually or both sides simultaneously is
determined by a group of three radio buttons.

Fade Length
The fade length number box displays fade time in the currently selected timecode display format. You can specify that the
fade length is always shown in milliseconds by setting the ‘Always Show Fade Lengths In Milliseconds’ checkbox in
the Time Format preferences (see Chapter 19: User Preferences for more details). The fade length is the time
between the start and end of the outgoing fade-out, or the start and end of the incoming fade-in.

The outgoing fade-out or incoming fade-in lengths can be set to absolute values by typing numbers in their respective fade
length boxes and then pressing the Enter-key, provided the ‘Both’ radio button is OFF. It makes no difference
whether the ‘Outgoing’ or ‘Incoming’ radio button is ON, you can still independently set the fade length for either
the outgoing fade-out or incoming fade-in. However, when the ‘Both’ radio button is ON, a change in either fade length
will cause an identical change in the other fade length. A similar change will be made to one or both fade times for
all corresponding fades in the selection.

You can also use the Nowline to effect an absolute change in fade length. First, use the radio buttons to determine
whether the Move Fade to Nowline (NL) button will affect the outgoing fade-out, the incoming fade-in or both. Then,
set the Nowline to the desired position in the EDL, and click the NL button to change the chosen fade length(s). The
selected fade length will decrease or increase relative to the difference between the currently selected splice fade pivot
point and the Nowline position. This command is only enabled when the Nowline is positioned on the free, i.e.,
non-pivot, end of every fade in the current edit. When the NL button is clicked, the free end of each fade is moved
to the Nowline, or as close to the Nowline as its underlying audio recording will allow. The fade’s pivot point will
remain fixed.
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Note: When the fade pivot is not the center, both the fade length and the position of the edit point will
change.

You can make relative changes to the fade lengths by means of the - or + buttons below the number boxes. The -/+
buttons subtract/add the nudge amount to the fade lengths of all the selected ingredients as determined by the radio
button selection. Here the radio button selection uniquely determines whether the nudge buttons will affect the
outgoing fade-out, the incoming fade-in or both.

All fade length commands first check the change to ensure that the fade will not exceed the length of the clip or the
usable bounds of the EDL.

Splice Fade Length Keyboard Accelerators

These commands are also accessible via keyboard accelerators that are active whenever the Splice Editor Control
Panel is being used:

Outgoing Fade - by nudge amount =Z

Outgoing Fade + by nudge amount =X
Both Fades - by nudge amount =C
Both Fades + by nudge amount =V
Incoming Fade - by nudge amount =B
Incoming Fade + by nudge amount =N

Outgoing Fade to Nowline = Ctrl+X

Both Fades to Nowline = Ctrl+C
Incoming Fade to Nowline = Ctrl+V

Fade Type
The fade type controls the shape that the fade will take. You set the fade type using the pull-down menu next to the
fade length controls. The radio button selection determines whether the outgoing and incoming fade types will be
changed independently (‘Both’ radio is OFF) or jointly (‘Both’ radio is ON). There are four fade types available:

• Linear
• Root Cosine
• Power N
• Cosine

The curves are named according to the way they shape the profile of the fade.

The Linear curve represents the fade as a straight line, attenuating the signal by 6dB at its mid-point. The Root
Cosine fade curve impresses a quarter cycle cosinusoidal amplitude on the fade. The Power N curves are
exponentials that attenuate by N dB at their mid-points. When Power N is selected, the number box to the right
of the fade type pull-down menu becomes active, and you use it to specify the required value of N. The cosine fade
curve impresses a half cycle cosinusoidal amplitude on the fade.

Note: You cannot re-type or re-select an existing value to force a change of value after setting the
‘Both’ radio button ON. For example, if the outgoing fade-out has a fade length of 100 ms, and the
incoming fade-in has a fade length of 20 ms. Setting the ‘Both’ radio button ON, selecting the outgoing
fade length, clearing it with NumPad *, re-entering 100 ms, and pressing the Enter-key will
NOT cause both fade lengths to become 100 ms. Choosing any value other than 100 ms WILL
work, however.
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Additional Information Sections

Previous/Next Track
If the current edit is a multi-track edit, the two arrow-like transport buttons at the bottom left of the panel can be used
to change the current track. The left-hand button ‘<’ causes the display to change to the previous track and the
right-hand button ‘>’ causes the display to change to the next track. The previous track/next track buttons scroll
continuously through the tracks in the current edit, i.e., from last to first or from first to last, depending on the
scrolling direction. The text between these buttons indicates the number of the current track. Only tracks that are
edit-enabled will appear when you cycle through the current edit using the previous track/next track buttons. You
cannot directly edit the track number field, you MUST use the previous track/next track buttons. Each time the
current track changes, the data in the Splice Editor Control Panel updates to show the values of the new outgoing
fade-out/incoming fade-in pair.

Solo Checkbox
The Solo Checkbox serves two functions. Firstly, it enables the Audition button of the current track and disables the
Audition buttons of all other tracks. Therefore, the current track is soloed for any Audition commands. Secondly,
the Edit-Enable button is enabled for the current track and disabled for all other tracks. This means that any editing
changes to the splice will only be applied to the current track.

With the Solo Checkbox checked, every time you change the current track that track’s Audition and Edit-Enable
controls will be enabled, and all other tracks’ controls will be disabled.

To change the current track:

Do one of the following:
• click on another splice in the current edit
• use the -/+ buttons to scroll through the tracks
• click on the E Edit-Enable button in another track

Note: Clicking on the numbered Audition buttons in other tracks does NOT change the current track
but does add the selected track to the tracks that will be played when Audition commands are
issued.

To exit solo mode:

Do one of the following:
• uncheck the Solo Checkbox
• select another edit
• click on the A column header

Previous/Next Edit
If there is more than one splice in the EDL, the two arrow-like transport buttons under the word ‘Edit’ can be used
to change the current edit. The left-hand button ‘<’ causes the display to change to the previous splice and the
right-hand button ‘>’ causes the display to change to the next splice. An error message will appear in the lower strip
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when there is no previous or next splice to move to. Each time the current edit changes, the data in the Splice Editor
Control Panel updates to show the values of the new outgoing fade-out/incoming fade-in pair.

Nudge Amounts
Relative changes can be made to the edit points, gains and fade lengths by means of the - or + buttons. The amount
by which a value changes each time a - or + button is clicked is termed the nudge amount. You set the nudge amount
value for edit points and fade lengths using the left-hand nudge amount box. The time value is shown in the active
timecode display format, and the field after the box takes the values msec, 75 fps, 30 fps, 29.97, 25 fps, 24 fps or count
accordingly. You set the nudge amount value for gains in the right-hand (dB) nudge amount box.

Note: The nudge amount for edit points and fade lengths may have been specified in a timecode format that is
finer than the one that is currently being displayed. For instance, you have entered a nudge amount
of 10 ms, while in millisecond timecode format, and then switched to 75 fps format. Since 10 ms is
smaller than a 75 fps frame, the nudge amount field will display as 00:00:00:00. For this reason, the
value is also shown below the nudge amount box in samples, which is the value Sonoma uses
internally to keep track of the nudge amount parameter. It should be emphasized that, because of
this, pressing the - or + buttons will have an effect on the ingredient you are editing, even though
this may not be visible because of the zoom level and/or timecode display format.

Unsplice
The Unsplice button removes all the splices in the current selection. It operates only on Edit-Enabled tracks. If all
the tracks in the splice are Edit-Enabled, there will be no current splice when the command completes, and the number
fields in the Splice Editor Control Panel will appear empty. If some of the tracks in the splice were Edit-Disabled,
the ingredients in those tracks will remain in the current splice when the command completes, and the Splice Editor
Control Panel and EDL Window will display the smaller splice, which now contains fewer tracks.
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Chapter 14: Undo/Redo

Undo
Like most modern software packages, Sonoma has automated Undo capability that easily allows you to step back
through editing commands with which you may be unhappy, or in order to correct mistakes. To do this the
software saves the state of the EDL before and after each Edit command is performed, e.g., before and after Cut,
and stores these states in the Undo list. The Undo list can be viewed by clicking on the ∇ arrow on the right-side
of the Undo control button in the Undo Toolbar (see Figure 107). You can step back a command at a time by
issuing the Undo command, or step back several commands by scrolling through the Undo list and selecting a
specific Edit command. Undo restores the EDL to the most recent before-command state in the Undo list.

To undo sequentially:
Do one of the following:
• use the Edit>Undo command
• use the Ctrl+Z keyboard command
• click on the Undo control button in the Undo Toolbar (see Figure 107)

Figure 107: The Undo control button

To undo from a list:

• click on the ∇ arrow on the right-side of the Undo control button in the Undo Toolbar (see Figure 107) and
scroll to the required list item to select it

Redo
An associated function is called Redo. Redo allows you to step forward through commands that you have
previously undone. When you Undo a command it is transferred to the Redo list. The Redo list can be viewed by
clicking on the ∇ arrow on the right-side of the Redo control button in the Undo Toolbar (see Figure 108). As
with Undo, you can step forward a command at a time by issuing the Redo command, or step forward several
commands by scrolling through the Redo list and selecting a specific Edit command. Redo selects the most recent
after-command state on the Redo list.

To redo sequentially:
Do one of the following:
• use the Edit>Redo command
• use the Alt+Z keyboard command
• click on the Redo control button in the Undo Toolbar (see Figure 108)
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Figure 108: The Redo control button

To redo from a list:

• click on the ∇ arrow on the right-side of the Redo control button in the Undo Toolbar (see Figure 108) and
scroll to the required list item to select it

Note: Each time you perform an Edit command, it is added to the Undo list; however, the Redo list
remains empty until you perform an Undo.

In the Undo list, the most recently performed Edit command appears first, and the oldest Edit command appears
last. When you select a command on the Undo list, the EDL is restored to the state it was in before that command
was issued, and that command and all those above it are transferred to the Redo list where they appear in reverse
order, oldest command first. You can Redo a command, and all those above it, by selecting the required command
from the Redo list.

Only Edit commands are saved on the Undo list. Navigation, Selection and Cursor commands are not saved.
However, the collective effect of intermediate Navigation, Selection and Cursor commands is represented as the
difference between two consecutive entries on the Undo list. To Undo all the non-Edit actions since the last Edit
command, simply select the Edit command which is on the top of the Undo list.

Sonoma supports only single Undo and Redo lists per EDL22. This means that if you perform a number of Edit
commands, Undo some of them (creating a Redo list), and then issue a new Edit command, this newest command
is added to the top of the Undo list and the Redo list is cleared. This means you can not go back and later Redo
some of the commands that have been Undone after you have issued a new Edit command.

The Undo/Redo lists are temporal and only exist while an EDL is open. Their lengths are finite and are specified
by the Undo Levels field in the Editing Preferences (see Chapter 19: User Preferences for details). When the list
exceeds this length, the oldest commands are deleted. The default value is 1000, and the valid range is 40 to 4000.

Undo Optimization
Sonoma utilizes the Undo list to help it recover from a system failure or crash – see Chapter 21: Recovering from
a System Crash – but if mains power is suddenly lost, the computer’s operating system is unable to save the Undo
list from memory to hard-disk from where it can be recovered by Sonoma. In such a situation, Sonoma is unable
to perform Crash Recovery. For this reason, there is an Undo Optimization feature in the Editing Preferences (see
Chapter 19: User Preferences for full details). The user can chose between:
• Power fail recovery (stack on disk)
• Performance (stack in memory)

The Power fail recovery option saves the Undo list to hard-disk following every Edit command. This ensures the
presence of an Undo list (to aid recovery) if mains power is suddenly lost. The drawback here is that there is more
disk activity to continually write the before- and after-EDLs out to disk, and this can slow the system response time
as the EDLs get very large, i.e., contain many edits. The alternative is to use the Performance option. Here the
Undo list is only saved to memory. This results in slightly faster system performance, but at the risk that the Undo
list will be lost if mains power is interrupted. The default setting is Power fail recovery.

In general, the Power fail recovery mode should be used when carrying out Recording in order to provide a
recovery EDL for the partially recorded audio files. When Editing, if you tend to save your work on a regular basis,
22. When working with multiple EDLs, there will be separate Undo/Redo lists for each open EDL.
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it may be better to use the Performance option as you run the risk of only losing the data for the last few edits if a
power outage occurs (the exact number of edits would depend on how frequently you saved your work).
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Chapter 15: Marks

Marks are positions indicating events along an EDL's timeline or within its ingredients that are used for navigation and
annotation. A mark appears as a small vertical line in the timeline or inside an ingredient. Besides appearing
graphically in the EDL, marks are listed and manipulated in the Mark Control Panel which is described below.

Figure 109: An example of Marks in an EDL

All marks have a position and a type, and may contain optional text data in an Information Field. An EDL can
contain an essentially unlimited number of marks. Each EDL maintains its own list of marks. Marks are classified
according to whether the User or the Sonoma system created them, and whether they appear in the timeline or
within ingredients.

You can create User Marks while recording, playing or editing an EDL. There are three kinds of User Marks:
• EDL Marks
• SA-CD Authoring Marks
• Ingredient Marks

EDL and SA-CD Authoring Marks appear in the timeline, while Ingredient Marks appear inside ingredients. 23 Only
one User Mark of each type can appear at any given location, but, as will be shown below, it is possible to change
the mark type. The Information Field of a User Mark is an editable text field that can be used to describe the
nature of the mark.

The Sonoma application creates two kinds of marks automatically:

• Error Marks
• Metering Marks

Error Marks are automatically created when an error occurs during Recording or Playback. Error Marks are
read-only. Their positions cannot change and their information fields cannot be edited. Error Marks can be
deleted, and more than one Error Mark may appear at the same location.

Metering Marks are automatically inserted into the EDL when the Annex Meters (see Chapter 5: Annex Metering)
determine overload conditions. The addition of Metering Marks can be enabled/disabled by the user. Metering
Marks are inserted on a per-track basis, so it is possible to have more than one Metering Mark appear at a certain
23. The Ingredient Marks are actually stored inside the Takelists and EDLs, not in the source audio files themselves, so if you
use Import new sound files... to open an ingredient, the Ingredient Marks will not appear.
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location. Like Error Marks, they are read-only, and their information fields cannot be edited. There are user
controls for the display and deletion of Metering Marks.

The Mark Control Panel

The Mark Control Panel is used to view and edit all the marks in an EDL and its ingredients. The panel is divided
into a scrolling list of marks and sections for controlling the display of mark types, the addition, annotation,
deletion, and movement of marks.

To open the mark control panel:

Do one of the following:
• use the Marks>Mark Control Panel command
• use the Ctrl+Alt+M keyboard command
• use the Page Up or Page Down keys to scroll through the Control Panels to the Mark Control Panel
• click on the Mark tab in the Control Panels (see Figure 110)

Mark List Filter

The top left hand corner of the Mark Control Panel contains a number of check boxes under the label ‘Show’.
When checked, these boxes determine which types of marks are visible in the EDL and in the Mark Control Panel.
The types fall into two categories: User Marks and System-generated Marks. The User Marks are of types EDL,
Authoring and Ingredient, while the System-generated Marks are of type Error and Metering.

EDL Marks
EDL Marks are User Marks that appear in the EDL’s timeline. They can be thought of as place holders for
comments on the EDL. For example, the EDL Marks could represent the bar numbers of a classical-music score,
or the locations of good/bad pieces of audio, or mistakes/false takes, etc. They appear in the Mark List with type
EDL, and can be given accompanying text to help identify them. They are not locked to the underlying ingredients,
but can be copied and pasted when the ingredients are copied and pasted.

Authoring Marks
Authoring Marks are User Marks that appear in the EDL’s timeline. They are used to provide trackSA-CD24 and index
information for SA-CD authoring, and identify the starts and ends of pieces of music (tracksSA-CD) on an SA-CD
disc. They appear in the Mark List with type CD. There are three kinds of authoring marks:
• Start
• Index
• Stop

Ingredient Marks
Ingredient Marks are User Marks that represent positions within ingredients. They are locked to the underlying
ingredients and are copied/moved when the ingredients are copied/moved. When an ingredient is trimmed, some of its
24. In order to avoid confusion between an audio track and a piece of music on an SA-CD (also referred to as a track), we use
the term trackSA-CD to refer to the latter.
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Figure 110: The Mark Control Panel

Ingredient Marks may fall outside the display range for the ingredient. In such a case, those marks are not drawn. If
the ingredient bounds then change so that Ingredient Marks are again within the display range, they will reappear.
Ingredient Marks appear in the Mark List with type ING, and appear on a track-by-track basis.

Note: The Ingredient Marks are actually stored inside the Takelists and EDLs, not in the source audio
files themselves, so if you use Import new sound files... to open an ingredient, the Ingredient
Marks will not appear.

Error Marks
Error Marks are System-generated Marks. If Sonoma detects errors while Playing or Recording it will automatically
create Error Mark on a track-by-track basis. The text accompanying the Error Mark identifies the track and
describes the problem. You cannot edit the Information Field of an Error Mark. Error Marks appear in the Mark
List with type ERR. Playback errors appear in the EDL timeline. Recording errors appear inside ingredients.
Recording Error Marks behave like Ingredient Marks with respect to Moving, Trimming and Copying ingredients.
Error Marks cannot be Moved, but they can be Deleted. Multiple Error Marks (of differing types) can appear at
the same EDL location.
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Metering Marks
The Annex Meters are active even when they are not displayed on the screen. Their Preferences (see Chapter 5:
Annex Metering) enable/disable the addition of Metering Marks in the EDL whenever overload levels are
encountered. When the addition of Metering Marks is ON (the default setting), overloads will trigger EDL
Metering Marks during Playback (type EDL – OFF by default), and Ingredient Metering Marks during Record
(type ING – ON by default).

EDL Metering Marks indicate the positions of problems in the EDL, and could be generated, for example, by
increasing the ingredient’s gain too much prior to an Audition. Ingredient Metering Marks, on the other hand, are
created when the audio is being recorded, and are a function of the audio file. They ‘stick’ in the ingredient, and
identify areas of overloads in the source recording. These can be accounted for in the EDL, via a gain change, but,
as the source audio may be used in other EDLs, this type of ‘sticky’ Metering Mark ensures the user will be able to
identify problems in any EDL in which the audio is used. However, like conventional Ingredient Marks, a source
file opened with the New/import sound files... command will NOT contain the Ingredient Metering Marks.

The two Metering Marks checkboxes (see Figure 110) control the display of EDL and Ingredient Metering Marks
in an EDL. When checked, the corresponding Metering Mark will be displayed. As Metering Marks are inserted
on a per track basis, it is possible to have more than one mark appear at a given timecode location; however,
multiple copies of the same mark will not be inserted into the EDL (e.g., if you carry out several Audition passes
and have Auto-Delete EDL Metering Marks on Transport Start disabled [see Chapter 5: Annex Metering]).

When creating an SA-CD Edit Master file (see Chapter 22: Creating an SA-CD Edit Master), care should be taken
to ensure that no Annex D Metering Marks appear in the file.

To ensure no overloads exist in the Edit Master file:

Prior to exporting:

1. turn OFF the display of Ingredient Metering Marks

2. turn ON the display of EDL Metering Marks
3. use Ingredient Gain controls when auditioning the audio to remove any overloads

Add Marks
A group of five buttons under the word ‘Add’ provide on-screen access to the Add Mark commands. These
commands are also duplicated in the Marks Menu and via keyboard commands. When an Add Mark command is
triggered, a mark of the chosen type will be inserted at the current position of the Nowline.

EDL Marks

To add an EDL Mark:

Position the Nowline and do one of the following:
• use the Marks>Add EDL Mark command
• use the Enter keyboard command
• click on the Add EDL Mark button in the Mark Control Panel (see Figure 110)

Authoring Marks
For each trackSA-CD, the usual order of Authoring Marks is one Start Mark, followed by one or more optional Index
Marks, followed by an optional End Mark. While Index Marks and End Marks are mostly optional, an End Mark
must appear at the end of the last trackSA-CD to indicate the end of the disc. Only one Authoring Mark can occupy
a given location in the EDL.
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To add a Start Mark:

Position the Nowline and do one of the following:
• use the Marks>Add Start Mark command
• use the Shift+Enter keyboard command
• click on the Add Start Mark button in the Mark Control Panel (see Figure 110)

To add an End Mark:

Position the Nowline and do one of the following:
• use the Marks>Add End Mark command
• use the Ctrl+Enter keyboard command
• click on the Add End Mark button in the Mark Control Panel (see Figure 110)

To add an Index Mark:

Position the Nowline and do one of the following:
• use the Marks>Add Index Mark command
• use the Ctrl+Shift+Enter keyboard command
• click on the Add Index Mark button in the Mark Control Panel (see Figure 110)

Auto-Naming Scheme
Authoring Marks are automatically given a name that is dynamically numbered to show the ordering and grouping
of associated Start, Index, and End Marks. The numbering convention for Start Marks is to auto-number in
increasing order beginning with Start1, Start2, etc. End Marks are numbered to match the preceding Start
Mark.

Index Marks are auto-named and numbered to match the track SA-CD number that contains them, e.g.,
Index1.225, Index1.3, Index1.4 are the first three Index Marks that appear in TrackSA-CD 1, and are
automatically re-numbered when a new Index Mark is inserted. Index Mark numbers begin from 2 again following
each Start Mark.

Every time an Authoring Mark is Added, Deleted, or Moved, the numbering of all the following Authoring Marks
is updated as necessary.

Spacing Between Authoring Marks

Authoring Marks must correspond to a 1/75 s grid, and the marks are automatically rounded to the closest 1/75 s
boundary when they are created or moved. The SA-CD Scarlet Book defines certain minimum times between
Authoring Marks, those times being defined as follows:

1. Minimum time between two consecutive Start Marks = 1 second

2. Minimum time between a Start Mark and an End Mark = 1 second
3. Minimum time between two consecutive Index Marks = 1/75 second
4. Minimum time between a Start Mark and an Index Mark = 1/75 second
5. Minimum time between an Index Mark and an End Mark = 1/75 second

Several safeguards are in place to prevent the setting of illegal marks; however, these safeguards are not complete
at this time. The following responses can be expected in the cases identified:
25. The SA-CD Scarlet Book defines Index Point 1 to equal the Track Start, therefore, the first Index following a Track Start
appears as Index N.2, where N is the number of the TrackSA-CD.
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• Start Mark too close to another Start Mark

If you attempt to place two Start Marks closer than 1 second apart, you will see the following dialogue appear:
Track Start Mark not entered. Each track must be greater than or equal to one second in duration. [OK]

• Index Mark too close to a Start Mark

If you attempt to place an Index Mark closer than 1/75 second from a Start mark, you will see the following
dialogue appear:
An authoring mark of type Start already exists at this location. Change it to type Index? [Yes/No]

• Index Mark too close to another Index Mark

If you attempt to place two Index Marks closer than 1/75 second apart, the application will ignore the request
and do nothing.
• End Mark too close to a Start or Index Mark
The application will place the Mark in the EDL as a legal mark – This is a bug!

Illegal Authoring Marks

Since you can Add, Move, and Delete marks at will, as well as Move them through Edit commands, it is possible
that some authoring marks will appear in illegal positions. Marks are usually created to specify edit locations, so it
is important to retain them even though they might violate the ordering rules. An asterisk is added to the type field
of Illegal Authoring Marks, so they appear as type CD* rather than CD in the Mark List, and the mark changes
color in the EDL. Illegal Start Marks are still auto-numbered, but illegal Index and End Marks are not given
serialized names: they are simply named End or Index.

Here is a summary of Illegal Authoring Marks:

• Authoring Marks closer than the minimum times identified in Spacing Between Authoring Marks above.
• Any End or Index Mark preceding the first Start Mark
• Any End or Index Mark immediately following a legal End Mark
• Any End or Index Mark immediately following an Illegal Mark

Note: An SA-CD Edit Master file (see Chapter 22: Creating an SA-CD Edit Master) cannot be created
if it contains illegal Start Marks, however, the application will ignore illegal Index and End
Marks.

Ingredient Marks
The effect of the Add Ingredient Mark command depends on the state of the transport. When the transport is idle,
Ingredient Marks are created inside all selected ingredients that intersect the Nowline. When the transport is running,
Ingredient Marks are only created inside the new ingredients that are being created on tracks that are recording.

Only a single user-defined Ingredient Mark can appear at any given position in an ingredient. Adding further
Ingredient Marks at a position where an Ingredient Mark already exists has no effect.

To add an Ingredient Mark:

Position the Nowline and do one of the following:
• use the Marks>Add Ingredient Mark command
• use the Alt+Enter keyboard command
• click on the Add Ingredient Mark button in the Mark Control Panel (see Figure 110)
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Adding Text Information at Mark Creation

Accompanying text can be added to a mark at the time that it is created, both when the transport is stopped and
moving.

To add text to a mark:

• press the Insert-key to go to the mark’s Text Information Field
• enter the required mark text
• press the Enter-key to end text insertion or press the Esc-key to quit without saving the newly entered text

Note: Sonoma behaves slightly differently during the text entry process depending on whether the
Marks Control Panel is open, or not. If the Control Panel is open, the application remains in the
Marks Control Panel following text entry. If it is not open, the application will automatically
open the Marks Control Panel, allow you to enter your text, and then return the application to
the previously selected Control Panel when the Enter-key is pressed.

To add text to a mark at a later stage, or to edit the existing text for a mark, please see Text Information Box below.

Mark List
The scrolling Mark List displays all the marks of the types checked in the Mark List Filter, and comprises three
columns: Time, Type and Name/Info. The list is time-ordered under the Time column with the earliest mark
appearing first.26 The Type column indicates whether the mark is an EDL, SA-CD Authoring, Ingredient, Error or
Metering Mark. The Name/Info. column displays the name of the mark of a given Type, e.g., Index, along with
any auto-number suffix, e.g., Index3.2, and as much of the text contained in the Text Information Box for that
mark that can be displayed in the remaining space.

Selecting a single mark in the list will move the Nowline to that mark, scrolling the EDL if necessary so that it is
displayed in the EDL window.

To select a single mark:

Do one of the following:
• click on the required mark in the Mark List
• click on the Previous Mark (<) or Next Mark (>) buttons in the Mark Control Panel (see below for details)
to scroll to the required mark
• use the , (i.e., comma) [Previous Mark] or . (i.e., period) [Next Mark] keyboard commands to scroll to the
required mark

It is also possible to select more than one mark which can be convenient for deleting several marks at once.

To select a group of consecutive marks:

• first click on a mark then use Shift-click to select the last mark in the required consecutive group

To select a group of non-consecutive marks:

• first click on a mark then use Ctrl-clicks to select each required non-consecutive mark in the group
26. Re-ordering to see oldest mark first is not possible.
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Text Information Box

Just below the scrolling Mark List is the Text Information Box. When a single mark is selected, this area will
display the full text of the mark’s Text Information Field. If the selected mark is NOT an Error Mark, the text can
be edited.

To insert new text for a mark:

• press the Insert-key to go to the mark’s Text Information Field (or, if the Mark Control Panel is open, you
can directly click in the Text Information Field)
• enter the required mark text
• press the Enter-key to end text insertion or press the Esc-key to quit without saving the newly entered text

To edit existing text for a selected mark:

• click in the Text Information Box
• edit the mark text as needed
• press the Enter-key to end text editing or press the Esc-key to quit without changing the mark text

Note: You can edit the Text Information Box during Playback, but you will not be able to use the
Spacebar-key to stop the transport while adding/editing text. Either press the Enter-key to
close the Text Information Box and then press the Spacebar-key, or use the Stop button on the
Transport Toolbar. The Stop keyboard command (Ctrl+Spacebar) will NOT work in this
case.

Track Mute Flags

Below the Text Information Box is a field labelled ‘Track Mute’. This field identifies the presence of Start Marks
which have had one or more Track Mute Flags set, and indicates which tracks have been muted. The following
section will only be of interest to those users preparing SA-CD Edit Master files (see Chapter 22: Creating an
SA-CD Edit Master for details).

It is possible to combine different multi-channel surround mixes in the multi-channel area of an SA-CD disc, e.g.,
a compilation album could contain songs mixed in 4.0, 5.0 and 5.1 channel surround versions. In order to indicate
to the listener that not all songs use the highest number of audio tracks, the SA-CD Scarlet Book has defined four
Track Mute Flags – TMF1, TMF2, TMF3 and TMF4 – that can be used by player manufacturers to show when a
trackSA-CD contains only a sub-set of the audio tracks. Using our previous example, the highest number of audio
tracks is 5.1, so Track Mute Flags for Center and LFE would be needed to indicate the presence of a trackSA-CD
with a 4.0 mix. Track Mute Flags are not mandatory, but their presence can help to allay consumer fears that
nothing is wrong with their equipment, i.e., they are able to see that there should be no audio coming from a
particular speaker at a particular time.27

Setting Track Muting Flags

The Track Mute Flags are stored in the Start Marks of each EDL. When a Start Mark is created, all its Mute Flags
are initially set to OFF.

To set a track mute flag:

• Alt-click on a Start mark to open the Track Muting Flags dialogue box (see Figure 111)
27. This ability is dependent on the feature being implemented in a particular SA-CD player.
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• in Figure 111 check the box or boxes of the Track Mute Flags you want to set to ON and uncheck the ones
you want to reset to OFF

Figure 111: The Track Muting Flags dialogue box

The Track Mute Flags are defined as follows:

TMF1 = Mute front left and right tracks
TMF2 = Mute rear left and right tracks
TMF3 = Mute front center track
TMF4 = Mute LFE track

When a Start Mark has one or more muting flags set ON, a tilde (~) appears after the Start Mark’s name in the
Mark List, and the muted tracks are displayed in the Track Mute display area of the Marks Control Panel. The
information displayed in the Track Mute area is of the form F/R/C/LFE, and has the following meaning:
F = TMF1 = Front left and right tracks muted
R = TMF2 = Rear left and right tracks muted
C = TMF3 = Front center track muted
LFE = TMF4 = LFE track muted

Note: You must ensure that there is no audio (ingredient) in the EDL tracks that have Track Mute Flags
set for the durations of the tracksSA-CD in question, i.e., between contiguous Start and End
Marks or between two successive Start Marks.

Restrictions On Use
Although it may seem as if all audio tracks can be muted, the SA-CD Scarlet Book has placed restrictions on the use
of Track Mute Flags. These can be summarized as follows:

1. the front left and right audio tracks must always be available, i.e., TMF1 must NOT be set;

2. for multi-channel surround there must be at least three audio tracks available;

3. if the number of audio tracks in the multi-channel area of an SA-CD is equal to 6 and the LFE track is NOT
muted, there must be a minimum of four audio tracks available.

The Track Mute Flags must NOT be used for a stereo-only SA-CD, or the stereo area of a multi-channel SA-CD.

Authoring Mark Offsets

Next to the Track Mute display area is the ‘Offset’ display area. This is another feature that will only be of interest
to those users preparing SA-CD Edit Master files (see Chapter 22: Creating an SA-CD Edit Master for details).

When a consumer loads an SA-CD disc in his/her player, and instructs it to jump to a specific track, the player
needs some time to unmute itself before playing of the music can begin. The SA-CD Scarlet Book specifications
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state that all players must be fully unmuted within 50 ms. In order to avoid the start of the audio being masked by
the unmute characteristics of the player, Authoring Mark Offsets have been defined. During creation of the
SA-CD Edit Master file, from which an SA-CD disc will be authored, the Authoring Mark Offsets are subtracted
from the times of all the SA-CD Authoring marks. This causes the player to jump to a point just ahead of the Start
or Index Mark specified for the disc, thereby allowing the player to unmute fully before the music begins.

The value of Authoring Mark Offset must be specified in integer SA-CD frames, i.e., in units of 1/75 s, and can take
values of 0, 1, 2, 3, or 4 frames. The Default Start/Index Mark Offset parameter of the Editing Preferences (see
Chapter 19: User Preferences for details) determines the default value of Authoring Mark Offset to be used. You
can also specify in the Editing Preferences whether the Offset Field is editable, or not (i.e., it can be changed on a
track-by-track basis). The default values set an offset of 4 frames, and DO NOT allow the Offset Field to be
edited. The value of Authoring Mark Offset in use for the selected mark is displayed in the Offset box of the Mark
Control Panel.

The position of the Start and Index Marks in the EDL is not affected by the Authoring Mark Offset. It is only used
when Auditioning the mark as if played in an SA-CD player (see Auditioning an Authoring Mark below) and when
exporting the EDL to an SA-CD Edit Master file (see Chapter 22: Creating an SA-CD Edit Master).

Note: Since the definition of unmute time is not exact (it must be <50 ms), the current industry
practice is to set the Authoring Mark Offset equal to 4 frames, or 53.3 ms, as this ensures that
ALL players will have unmuted by the time the music starts. It is, therefore, strongly
recommended that you use the starting default value, and DO NOT allow editing of the
Authoring Mark Offset values. In this way, you can set the Start and Index Marks exactly where
you want them, and Sonoma will automatically compensate for the offsets when exporting the
SA-CD Edit Master file – the effect of the offsets can be determined with the Audition Mark
command.

Previous/Next Mark
The two arrow buttons next to the word ‘Select’ move the Nowline backwards or forwards to the next displayed
mark in an EDL and select it in the Mark List.

To select the previous mark in an EDL:

Do one of the following:
• use the Marks>Move Nowline to Previous Mark command
• use the , (i.e., comma) keyboard command
• click on the Previous Mark button (<) in the Mark Control Panel (see Figure 110)

To select the next mark in an EDL:

Do one of the following:
• use the Marks>Move Nowline to Next Mark command
• use the . (i.e., period) keyboard command
• click on the Next Mark button (>) in the Mark Control Panel (see Figure 110)

Select in EDL
The Select in EDL checkbox controls whether the selection of one or more Ingredient Marks in the Mark List will
cause the EDL selection to change so that the ingredients containing the selected marks are themselves selected. To
activate this feature, ensure that the checkbox is checked. The default value is for Select in EDL to be OFF.
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Delete Mark
The Delete Mark button deletes the selected mark(s). Marks can be selected individually, as a consecutive group,
or as a non-consecutive group.

Selecting Marks for Deletion

To select a single mark:

Do one of the following:
• click on the required mark in the Mark List
• click on the Previous Mark (<) or Next Mark (>) buttons in the Mark Control Panel (see above for details)
to scroll to the required mark
• use the , (i.e., comma) [Previous Mark] or . (i.e., period) [Next Mark] keyboard commands to scroll to the
required mark

To select a group of consecutive marks:

• first click on a mark then use Shift-click to select the last mark in the required consecutive group

To select a group of non-consecutive marks:

• first click on a mark then use Ctrl-clicks to select each required non-consecutive mark in the group

Deleting Selected Marks

To delete a selected mark or group of selected marks:

Do one of the following:
• use the Marks>Delete Marks command
• use the Delete-key keyboard command
• click on the Delete Mark button in the Mark Control Panel (see Figure 110)

When a mark is deleted, the Mark List does not reset to the top of the list, it maintains position, but with the
deleted mark removed from the list.

The Delete-key behaves differently when the Mark Editor Control Panel is not visible. In this case, pressing the
Delete-key will delete a mark only if there is just one mark selected and the Nowline is located at the mark. This
makes it easy to move the Nowline to a mark (by pressing the , and . keys) and then delete it without bringing up the
Mark Control Panel.

Note: When there is more than one type of mark at the same location, you can not be sure which mark
you are deleting. It is always safer to delete marks from the Mark Control Panel, where you can
verify the selected mark by looking at the Mark List.

Changing the Type of a Mark

The button labeled Change Type To... is enabled only when a single mark is selected in the Mark List. Pressing the
button brings up a dialogue showing the Type and Info. for the selected mark (see Figure 112). There is also a
pull-down menu containing a list of permitted conversion Types.
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Figure 112: The Change Mark Type dialogue box

To change the type of a mark:

1. select the mark to be changed using one of the techniques described above in Selecting Marks for Deletion
2. click the Change Type To... button to open the Change Mark Type dialogue
3. click the Change EDL Mark To pull-down
4. scroll to the required new Mark Type
5. press the Enter-key or use a left mouse-click to complete the selection

Note: The Change EDL Mark To box is initially blank, you need to click the down-arrow to bring up
the pull-down menu.

Pressing the Change button deletes the selected mark and adds a new mark of the specified Type, copying the Text
Information from the old mark to the new one. If the type is changed to Ingredient Mark and more than one
ingredient is selected, multiple Ingredient Marks will be added.

Depending on the pair of Mark Types involved, the Copy button may be active or inactive (greyed out). If active,
pressing the Copy button will add a new mark of the specified Type in the exact same location, copying the Text
Information from the old mark to the new one.

Clicking the Cancel button terminates the procedure without any changes to the Mark Type of the selected mark.

Move Mark to Nowline

The Move Mark to Nowline button is enabled when a single mark is selected in the Mark List. Its action is to move
the selected mark to the current position of the Nowline; however, Error Marks cannot be moved, and you cannot
move an Ingredient Mark beyond the bounds of the ingredient in which it appears.

To move a selected mark to the Nowline:

Do one of the following:
• use the Marks>Move Mark to Nowline command
• use the Shift+/ keyboard command
• click on the Move Mark to Nowline button in the Mark Control Panel (see Figure 110)

Auditioning an Authoring Mark

The Audition Mark command can be used to simulate the behavior of an SA-CD player. The command is enabled
when you have selected a single Start or Index Mark in the Mark List. The Audition Mark command causes the
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system to play a portion of the audio with a length equal to the currently selected pre-roll (please see Pre-roll
Selection in Chapter 4: Playback for details). The starting position will be equal to the mark’s actual position minus
its Authoring Mark Offset. By default, this command uses an unmute Ramp Time of 50 ms (equal to the longest
unmute ramp allowed by the SA-CD specifications), unless an alternative SA-CD Ramp Time has been specified in
the Playback Preferences (see Chapter 19: User Preferences for details).

To audition the selected authoring mark:

Do one of the following:
• use the Marks>Audition Mark command
• use the M keyboard command
• click on the Audition Mark button in the Mark Control Panel (see Figure 110)

Sync. Ingredient Mark to Nowline

The Sync. Ingredient Mark to Nowline button is enabled when a single Ingredient Mark is selected and at least the
ingredient that contains that mark is selected in the EDL. The command causes the selected ingredients in the EDL to
slip so that the selected Ingredient Mark appears at the Nowline.

To sync. an ingredient mark to the nowline:

Do one of the following:
• use the Marks>Sync. Mark To Nowline command
• use the Ctrl+Shift+/ keyboard command
• click on the Sync. Ingredient to Mark button in the Mark Control Panel (see Figure 110)

Save Mark List

The Mark List can be saved to a printable text file in two different formats. This feature is facilitated by two Save
commands that appear at the end of the Marks Menu.

Save Mark List To Text File

The Save Mark List To Text File command will produce a text file that contains a copy of the Mark List as it
appears in the Mark Panel. The current timecode format will be used and only the currently visible Mark Types (as
determined by the Mark List Filter) will be included. An example of such a text file looks like:
EDL : Example EDL
DATE : Tuesday, July 27, 2004

00:00:02.000 CD Start1 Song Title #1

00:00:08.600 CD Index1.1 First Index
00:00:17.760 CD Index1.2 Second Index
00:00:35.813 CD End1 End of Song

To save the mark list to a text file:

Do one of the following:
• use the Marks>Save Mark List To Text File command
• click on the Save Mark List... button in the Mark Control Panel (see Figure 110)

Save PQ List To Text File

The Save PQ List To Text File command produces a text file that is similar to a Sony DAQ-1000 PQ list used for
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Marks

CD production.28 Only valid Authoring Marks are used to produce this list: Ingredient Marks, EDL Marks, and
invalid Authoring Marks are ignored. Comments attached to Start marks will appear in the file, other comments on
Index and End marks will not appear. For best results, this command should be used on the export EDL that is
created after you perform the Create Edit Master... export command (see Chapter 22: Creating an SA-CD Edit
Master for details). An example of a ‘PQ’ text file is shown in Figure 113.

To save the PQ list to a text file:

• use the Marks>Save PQ List To Text File command

****************** SONY SONOMA **************

****************** SA-CD EDITING/MASTERING WORKSTATION *************
****************** SONOMA VERSION 2.0.1.14 **************
****************** DSDIFF VERSION 1.4.2.0 **************

EDL : Example EDL

Artist : Super Star
Title : The Greatest Hits of Super Star
EMID : 321-XYZ-123
Operator: Joe Employee

All Time Formats: 75fps

PQ Track/Index Information:
-----------------------------------------------------------------------------
T-X TITLE TRK NO OFFSET OFFSET OFFSET SA-CD
MUTE TIME TIME DURATION TIME
hh:mm:ss:ff hh:mm:ss:ff hh:mm:ss:ff mm:ss:ff
-----------------------------------------------------------------------------
1 Song Title #1

0 Pause -00:00:00:04
-00:00:00:04 00:00:02:00 00:00:00:00
1 Track 00:00:02:00
00:00:01:71 00:00:06:45 00:00:02:00
2 00:00:08:45
00:00:08:41 00:00:09:12 00:00:08:45
3 00:00:17:57
00:00:17:53 00:00:18:08 00:00:17:57
TOTAL: 00:00:35:65
-----------------------------------------------------------------------------
LeadOut 00:00:35:61 00:00:35:61 00:00:35:65
-----------------------------------------------------------------------------
Total 00:00:35:65

Figure 113: A PQ List Text File

Delete EDL Metering Marks

The Delete EDL Metering Marks button causes all the EDL Metering Marks in the EDL to be deleted.

To delete all the EDL metering marks in an EDL:

Do one of the following:
• use the Marks>Delete All EDL Metering Marks command
• click on the Delete EDL Metering Marks button in the Mark Control Panel (see Figure 110)
28. The Start/Index/Stop markers are not referred to as PQ points in the SA-CD Scarlet Book, but since the term ‘PQ’ to
refer to timecodes is so popular among professionals making CDs, it is used here as a form of shorthand.
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Chapter 16: Waveforms

Sonoma stores waveform data for each audio file it creates in a corresponding envelope file with a .env file
extension. When an ingredient references an audio file that has an associated .env file, Sonoma will draw the
waveform inside the ingredient.

Audio files that were created on other DSD recorders will not have associated envelope files that Sonoma can use.
In such cases, the audio can still be imported into Sonoma and associated envelope files created by using the Make
Waveforms command. Make Waveforms can also be used to replace missing or erased envelope files for audio
originally recorded with Sonoma.

It is currently impossible during Record to display the actual envelope file as it is being created. However, it is
possible to obtain a display of Input Monitor level as Recording takes place. This is achieved with the Metering
Waveforms commands.

Ingredient Waveforms
An Ingredient Waveform is a graphical representation of the instantaneous linear signal amplitude versus time.
Signal amplitude can be both positive and negative, therefore, the zero value is drawn in the center of the
waveform.

Make Waveforms
The Make Waveforms command will search the current selection for ingredients with missing envelope files and
create the Ingredient Waveforms for them. The envelope files are generated directly from the source audio files.

To make waveforms for the current selection:

Do one of the following:
• use the Waveforms>Make Waveforms command
• click on the Make Waveforms button in the Waveforms Control Panel (see Figure 114)

Figure 114: The Make Waveforms control button

Increase Waveform Scale

The Increase Waveform Scale command increases the vertical resolution of the Ingredient Waveforms and is akin
to a zooming in of the vertical waveform scale.
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To increase the waveform scale:

Do one of the following:
• use the Waveforms>Increase Waveform Scale command
• use the Alt+NumPad + (i.e., Alt+NumPad Plus) keyboard command
• click on the Make Waveforms button in the Waveforms Control Panel (see Figure 115)

Figure 115: The Increase Waveform Scale control button

Decrease Waveform Scale

The Decrease Waveform Scale command decreases the vertical resolution of the Ingredient Waveforms and is akin
to a zooming out of the vertical waveform scale.

To increase the waveform scale:

Do one of the following:
• use the Waveforms>Increase Waveform Scale command
• use the Alt+NumPad - (i.e., Alt+NumPad Minus) keyboard command
• click on the Make Waveforms button in the Waveforms Control Panel (see Figure 116)

Figure 116: The Decrease Waveform Scale control button

Default Waveform Scale

The Default Waveform Scale command restores the vertical resolution to its original state.

To increase the waveform scale:

Do one of the following:
• use the Waveforms>Increase Waveform Scale command
• use the Alt+NumPad 0 keyboard command
• click on the Make Waveforms button in the Waveforms Control Panel (see Figure 117)

Figure 117: The Default Waveform Scale control button

Normalize Waveform Scale

The Normalize Waveform Scale command causes the vertical resolution to be changed so that the largest
amplitude value currently in the EDL Display Window is drawn at the vertical limit of the track display, and all
other amplitude values are scaled accordingly.
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To increase the waveform scale:

Do one of the following:
• use the Waveforms>Increase Waveform Scale command
• use the Alt+NumPad . (i.e., Alt+NumPad Period) keyboard command
• click on the Make Waveforms button in the Waveforms Control Panel (see Figure 118)

Figure 118: The Normalize Waveform Scale control button

Auto Normalize Waveforms

The Normalize Waveform Scale command works only on the material that is shown in the EDL Display Window
at the time that the command is issued. Once normalized, you can scroll the EDL Display Window but the
waveform scale remains fixed until a new Normalize Waveform Scale command is issued. The Auto Normalize
Waveforms function, however, causes the waveform scale to be normalized each time the EDL Display Window
contents change. When the Auto Normalize Waveforms function is active, the waveform scaling commands
(Increase/Decrease/Default/Normalize) are disabled.

To activate auto normalize waveforms:

1. click the Preferences pull-down menu

2. scroll to Window Preferences and click it
3. check the Always normalize waveforms checkbox in the Window Preferences dialogue
4. click the OK button or Enter-key to activate the change

For full details on Window Preferences, please refer to Chapter 19: User Preferences.

Metering Waveforms
The Input Monitor Level Meter Data can be superimposed on the track rows of the EDL when the transport is
running in either Playback or Record. In contrast to the Ingredient Waveform, the Metering Waveforms are
rectified and shown in dB. Two signals are actually displayed, the instantaneous signal level and the most recent
peak (essentially: peak hold). A cyan-blue horizontal line represents the headroom level (see below). When the Meter
Data is below the headroom threshold, the instantaneous signal value is shown in green and the peak value is shown
in yellow. When the Meter Data is above the threshold, the instantaneous signal changes to dark-blue and the peak
value becomes red.

Metering Waveforms On/Off Toggle

The display of the Metering Waveforms is controlled by the Turn Metering On/Off toggle command.

To toggle the metering waveform display ON or OFF:

Do one of the following:
• use the Waveforms>Turn Metering On/Off command
• use the Ctrl+Shift+M keyboard command
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• click on the On-the-fly Metering On/Off button in the Waveforms Control Panel (see Figure 119)

Figure 119: The On-the-fly Metering On/Off control button

Increase Metering Scale

The Increase Metering Scale command increases the vertical resolution of the Metering Waveforms and is akin to
a zooming in of the vertical meter scale.

To increase the metering scale:

Do one of the following:
• use the Waveforms>Increase Metering Scale command
• use the Alt+NumPad * keyboard command
• click on the Increase Metering Scale button in the Waveforms Control Panel (see Figure 120)

Figure 120: The Increase Metering Scale control button

Decrease Metering Scale

The Decrease Metering Scale command decreases the vertical resolution of the Metering Waveforms and is akin to
a zooming out of the vertical meter scale.

To decrease the metering scale:

Do one of the following:
• use the Waveforms>Decrease Metering Scale command
• use the Alt+NumPad / keyboard command
• click on the Decrease Metering Scale button in the Waveforms Control Panel (see Figure 121)

Figure 121: The Decrease Metering Scale control button

Metering Waveforms Considerations

1. The Metering Scale is reset to its default value each time the Metering Waveforms are turned on.

2. If Metering Waveforms are ON while Recording, they will be drawn in place of the red ingredients that are
usually displayed while Recording is taking place. When Recording stops, the red ingredients will be drawn,
replacing the Metering Waveforms.

3. The Metering Waveforms are drawn directly to the display as a function of the Nowline being updated. This
means that they are lost immediately if you:
a. stop the transport
b. use a feature like zoom that causes the screen to be redrawn
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4. The Metering Waveforms can be a useful means of seeing the envelope of the signals that you are recording,
however, in terms of metering accuracy, it is recommended to use the far more powerful Annex Meters (see
Chapter 5: Annex Metering for details) to obtain a complete picture of signal level against time.

Signal Headroom
The Signal Headroom parameter sets the signal value that corresponds to the cyan-blue line in the Metering
Waveforms. You must specify the headroom value in the Waveform Preferences (see Chapter 19: User Preferences
for details). The headroom value is specified in dBSACD. The default value is 0 dBSACD.

Note: The Signal Headroom parameter also sets the point at which the Peak Level Meters in the Track
Control Panel turn from green to red.
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Chapter 17: Source Audio Mapper

The EDL keeps a record of the path names of the source audio files that make up a particular edited recording.
However, there are situations when one or more paths do not match with the EDL’s record. This can happen, for
example, when files are moved, erased, re-named, or restored to different hard-disks and/or directories. In such
cases, Sonoma can still open the EDL, but some or all of its ingredients will appear greyed out, and are termed offline.
It is still possible to continue editing such an EDL, but the audio cannot be auditioned until Sonoma has re-found
the paths to the source audio files. The tool that Sonoma uses to do this is called the Source Audio Mapper.

The Map Source Audio Window

The Source Audio Mapper (SAM) is a dialogue window composed of two panels and several controls/buttons as
shown in Figure 122.

To open the source audio mapper dialogue window:

• use the File>Map Source Audio... command

Audio Files Required By EDL Panel

The ‘Audio files required by EDL’ panel lists all the source audio files required by the active EDL. By default, only
those sound files that cannot be found are listed. However, you can use the Show Online Files button (see below)
to enable the display of all the files that make up the EDL. Missing audio files appear with a red question-mark
next to their names while mapped audio files appear with a blue arrow next to theirs.

Audio Files Available Panel

The ‘Available audio files on selected disk(s)’ panel displays all the source audio files that were found on the
scanned hard-disks (see Scanning for Audio Files Window below), and that meet the filtering requirements set by
the Filter Source Audio Controls (see below).

To map a single file:

1. left-click on a filename in the ‘Audio files required by EDL’ panel – it becomes highlighted

2. left-click on a filename in the ‘Available audio files on selected disk(s)’ panel – it becomes highlighted

3. if Sonoma considers the mapping to be OK, the red question-mark is replaced by a blue arrow next to the
filename selected in the ‘Audio files required by EDL’ panel, while the filename in the ‘Available audio files on
selected disk(s)’ panel remains highlighted

4. if Sonoma considers the mapping to be NOT OK, an ‘Are You Sure?’ dialogue window will appear, indicating
the reason why Sonoma things the mapping is inadvisable (e.g., file lengths do not match). You must then
click on ‘No’ to prevent the mapping taking place, or ‘Yes’ to force the mapping to take place. Once you click
‘Yes’ the red question-mark is replaced by a blue arrow next to the filename selected in the ‘Audio files
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Source Audio Mapper

Figure 122: The Source Audio Mapper

required by EDL’ panel, while the filename in the ‘Available audio files on selected disk(s)’ panel remains
highlighted

It is also possible to map the entire contents of one folder (directory) to the contents of another.

To map a folder:

1. left-click on a folder name in the ‘Audio files required by EDL’ panel – it becomes highlighted

2. left-click on a folder in the ‘Available audio files on selected disk(s)’ panel – it becomes highlighted

3. if Sonoma considers the mapping to be OK, the red question-marks are replaced by blue arrows next to the
filenames of the folder selected in the ‘Audio files required by EDL’ panel

4. if Sonoma considers the mapping to be NOT OK, the red question-marks are NOT replaced by blue arrows
next to the filenames of the folder selected in the ‘Audio files required by EDL’ panel – in such a case, you are
advised to map each file individually to determine which of the matching criteria are not being met for each file

Each time a new mapping is made, the ‘Audio files required by EDL’ panel is redrawn to show the location of the
newly mapped file.
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There can also be times when you want to Undo a mapping, e.g., to prevent a copy of an EDL on a new hard-disk
referring back to the original source files contained on a different hard-disk.

To Unmap a file or folder:

1. right-click on a file or folder name in the ‘Audio files required by EDL’ panel

2. red question-marks appear next to the selected filename(s) in the ‘Audio files required by EDL’ panel

3. when you click ‘OK’ to accept the unmapping, all affected ingredients will go offline and appear greyed-out in the
EDL

Mappings are not actually saved until the dialogue is closed by clicking on the ‘OK’ button. The EDL will then
remember the mapping when it is re-opened later. The Cancel button will close the dialogue window without
changing any file mappings.

Show Online Files Control

It is generally easier to work with the ‘Audio files required by EDL’ panel when it is configured to only show the
files which cannot be mapped. This is the default setting. However, you can also choose to see all the files required
by the EDL, causing the SAM to also display files for which a mapping is not needed.

To show only the unmapped files required by an EDL:

• click the Show Online Files (Show All) checkbox until the checkbox is CLEARED

To show all the mapped and unmapped files required by an EDL:

• click the Show Online Files (Show All) checkbox until the checkbox is CHECKED

Filter Source Audio Controls

The three Filter Source Audio Controls are provided to help you make the right mapping choices. They restrict the
list of ‘Available audio files on selected disk(s)’ to only those files that match the specified filtering requirement(s).

File Length(s)
This option restricts the display to available files that exactly match the length(s) of the required file(s). This option
is especially helpful when working with .dsd files.

File Name(s)
This option restricts the display to available files that exactly match the name(s) of the required file(s). This option
needs to be used with caution, as (a) filenames can be easily changed, so a filename that matches (unless unique)
may not be the correct file; and (b) many users use a generic file naming convention such as Take.n.dff, so it is the
directory name that is of key importance. The File Name(s) option can be used in conjunction with the File
Length(s) option to increase the chances of making a correct match.

File ID(s)
This option restricts the display to available files that exactly match the Unique File IDentifier(s) of the required
file(s). This option is only valid for .dff files CREATED on a Sonoma Workstation. Each time a .dff file is
made by Sonoma, a Unique File IDentifier (UFID) is written into its meta-data. The UFID has the following
structure:
Sonoma%UFID%xxxxxxxx-nn%mm
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Source Audio Mapper

where:
% = a delimiter
xxxxxxxx = a 32 byte Windows Globally Unique IDentifier
nn = the track number
mm = the number of tracks in the recording

If you are working with .dff files, it is strongly advised to filter by File ID(s) first, since the UFID uniquely identifies
a file. If no match can be found, it could be that the .dff files were not made on Sonoma, and so the File ID(s) box
should be unchecked, and you should filter by File Length(s) and/or File Name(s).

To activate a filter source audio control:

• click the appropriate filter checkbox until the checkbox is CHECKED

To de-activate a filter source audio control:

• click the appropriate filter checkbox until the checkbox is CLEARED

Change/Refresh Disk Selection(s) Control

In many cases, a single project will be contained on a single hard-disk. For example, if you think that all the files
you need for a project are contained on the D: disk, you may have chosen to select only D: in the Scanning for
Audio Files Window (see below). If you then proceed to work on a different project (stored on different
hard-disks), it may happen that the SAM can not find any of the files that the EDL needs. The Change/Refresh
Disk Selection(s) control allows you to re-specify the hard-disks that the SAM should search in order to locate
available audio files. Clicking this button opens the Scanning for Audio Files Window (described below).

Alternate Path
The Alternate Path window shows the path name of the mapping that has been made between the required file and
the available file.

Automatically Open SAM Dialogue Control

You can configure the Map Source Audio Window to open automatically whenever an EDL with offline ingredients is
opened.

To configure the map source audio window to open automatically:

Do one of the following:
• click in the ‘Automatically open this dialog...’ checkbox at the bottom of the Map Source Audio window until
the checkbox is CHECKED
• click in the ‘Auto open the source audio mapper...’ checkbox in the Error Preferences (see Chapter 19: User
Preferences for details) until the checkbox is CHECKED

Associated Map Source Audio Windows

Before the Map Source Audio dialogue window appears, you may see one or more of the following information
windows appear (this is especially true if automatic opening of the SAM is already set to ON).
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Offline Ingredients Window

The Offline Ingredients Window (see Figure 123) warns you that some of the ingredients for the named EDL cannot
be found in their original locations, and asks whether you want to invoke the SAM. You have two reply options:

1. Yes – starts the SAM

2. No – opens the EDL with offline ingredients

Clicking on the [X] in the top right-hand corner of the window cancels the action.

Figure 123: The Offline Ingredients Window

Missing Source Files Window

The Missing Source Files Window (see Figure 124) appears if the SAM is working with old data, and needs to
re-scan your computer system to update the source list. You must click ‘OK’ for this action to be carried out.
Clicking on the [X] in the top right-hand corner of the window cancels the action.

Figure 124: The Missing Source Files Window

Scanning for Audio Files Window

The Scanning for Audio Files Window (see Figure 125) is used to tell Sonoma on which of your computer’s
hard-disks it should search for the offline files. A list of drive letters will appear on the left-hand side of the
window. By default, none are selected.

To select a hard-disk for scanning:

1. identify the required hard-disks by their drive letters that appear in the ‘Drives:’ list

2. click on each required drive letter to include it in the scan – it will become highlighted

3. when you have finished selecting hard-disks to be scanned, click on the Start Scan button – you will then see
file names rapidly appearing and disappearing in the grey area above the Start Scan button as the search
progresses

If you determine that a drive has been mistakenly selected, or quickly realize that it does not contain the required
files, you can instruct Sonoma to skip that drive and continue searching on the next listed drive letter.
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Figure 125: The Scanning for Audio Files Window

To skip a scanned hard-disk:

• observe the drive letter and filenames that appear above the Start Scan button as the scan progresses then
click on the Skip This Drive button for each disk that you decide that you do not want to continue scanning

You can stop the entire process at any time by clicking on Cancel.

Note: You are strongly advised to avoid scanning the C: drive because (a) it is generally the location
of all the Windows operating system and user files, and (b) because it generally contains a very
large number of files and directories, thereby increasing the scan time. Care should also be taken
if the Sonoma system is attached to a network to avoid scanning very large network drives,
which again may contain many files and directories.

Mapping Complete Window

When the scanning process has finished, the Mapping Complete window (see Figure 126) may appear to inform
you that all of the offline ingredients have been successfully mapped. You are then asked whether you want Sonoma to
automatically return to the EDL view, or not. Clicking on ‘Yes’ will return you to the EDL view, and will close all
the SAM windows. Clicking on ‘No’ closes the Mapping Complete window, and returns you to the Map Source
Audio window (see Figure 122).

Figure 126: The Mapping Complete Window

If all the offline ingredients have not been mapped, the program automatically returns you to the Map Source Audio
window to show which files could not be mapped based on the filtering criteria.
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Chapter 18: Timecode

In the modern recording studio there will be many instances when you will require several different pieces of audio
equipment to work together, e.g., consoles, tape recorders, editors, etc. To ensure that they all operate in time with
each other, timecode is used to synchronize them. Sonoma has been designed to support both Timecode
Generation (Sonoma as Timecode Source) and Timecode Chase (Sonoma in Timecode Chase).

For now, Sonoma is only compatible with the industry-standard Longitudinal Timecode (LTC) format. In the near
future, support will also be added for Vertical Interval Timecode (VITC).

LTC
LTC is an IEC standard for timecode that has both SMPTE (60 Hz-based) and EBU (50 Hz-based)
implementations – Sonoma is compatible with both. The LTC datastream is an 80-bits/frame bi-phase coded
signal containing time and synchronization information. The bi-phase mark data structure allows the difference
between digital ‘zeroes’ (no mark) and digital ‘ones’ (mark) to be easily recognized since the presence of the mark
(an extra data transition) doubles the frequency of a ‘one’ relative to a ‘zero’.

LTC derives its name from the fact that, historically, it was recorded along the length (i.e., longitudinally) of audio
or video tape. This meant that the time value could only be determined when the tape was moving. With the
advent of digital recording systems, this no longer has to be the case, and Sonoma, like other digital recorders, can
output valid LTC data even while its nowline position is NOT changing.

The Timecode Toolbar

All timecode controls can be found in the Timecode Toolbar (see Figure 127).

Figure 127: The Timecode Toolbar

To display the timecode toolbar:

Do one of the following:
• use the Window>Toolbars>Timecode command
• use the Ctrl+Alt+K keyboard command

Monitor
The Monitor window shows the selected timecode format. At this time, LTC is the only available option; however,
VITC will be added in a future release.

Frame Rate
The Frame Rate pull-down tab is used to set the timecode frame rate. It controls the way timecode is either
generated or decoded, and is independent of the time format chosen for the Nowline Position Display. When
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Timecode

different formats are chosen for Frame Rate and Nowline Position Display, the selected frame rate value flashes in
the yellow Timecode Display.

When Sonoma is set to act as Timecode Source, this parameter determines the frame rate of the outgoing
timecode. When Sonoma is set to operate in Timecode Chase, it is the expected frame rate of the incoming
timecode. If the incoming timecode has a different rate to that selected, the yellow Timecode Display will show
constantly jumping timecode values – this is your indication that you need to either select a different frame rate on
Sonoma, or check the frame rate on the master timecode machine.

There are six choices for Frame Rate:

• 30 NDF = 30 fps, non-drop frame

• 30 DF = 30 fps, drop frame
• 29.97 NDF = 29.97 fps, non-drop frame
• 29.97 DF = 29.97 fps, drop frame
• 25 = 25 fps
• 24 = 24 fps

To select the timecode frame rate:

• click on the Frame Rate pull-down tab in Figure 127 and scroll to the required rate

Incoming Offset
The Incoming Offset parameter is only used when Sonoma is operating in Timecode Chase mode. It allows you to
specify a fixed offset between the incoming timecode value shown in the Timecode Display and the timecode value
shown in the Nowline Position Display. This can be convenient, for example, to offset the time values from a
24-hour system to the 12-hour display window of Sonoma.

To set the incoming offset:

1. click in the Incoming Offset number box – the entire value will become highlighted

2. (if required) press the NumPad * key to zero the current value – the hours, minutes and seconds fields will
become highlighted, new values entered start to fill from the seconds field and move to the left

3. to select the hours, minutes, seconds or sub-second fields directly either double-click on them or use the
← and → arrow keys to scroll through them – the chosen field will become highlighted

4. edit/over-type the existing value or use the ↑ and ↓ arrow keys to increment and decrement the field – the
↓ arrow key will count through negative values below zero

5. press the Enter-key or Numpad Enter-key to accept the new value; or press the Numpad - or Numpad +
keys to subtract or add your new entry from/to the field’s original value; or press the Esc-key to quit the
Incoming Offset number box without accepting your changes

Calculate from Nowline Position

To the right of the Incoming Offset number box is a button labelled ‘Calc. from NL’. This button enables the
Incoming Offset to be automatically determined based on the difference between the current values of the
incoming timecode and the nowline position. Best results will be obtained when the nowline position is fixed. If the
nowline is moving, the calculation is carried out correctly, but you will need to stop the Sonoma transport in order
to allow the offset to be applied. The incoming timecode can be fixed or changing, the correct offset is calculated
as soon as the ‘Calc. from NL’ button is depressed. The calculated offset is applied the next time Sonoma chases
the incoming timecode.
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To automatically calculate the incoming offset:

• position the nowline and set the incoming timecode then click on the Calc. from NL button to automatically
determine the Incoming Offset value

Outgoing Offset
The Outgoing Offset parameter is only used when Sonoma is operating in Timecode Source mode. It allows you
to specify a fixed offset that will be subtracted from/added to the timecode value shown in the Nowline Position
Display. This can be convenient, for example, to offset the time values in the 12-hour display window of Sonoma
for operation in a 24-hour system.

Note: The yellow Timecode Display will only show the offset timecode if you feed the timecode signal
back to Sonoma from your external device. Remember that the Timecode Display shows only
incoming timecode.

To set the outgoing offset:

1. click in the Outgoing Offset number box – the entire value will become highlighted

2. (if required) press the NumPad * key to zero the current value – the hours, minutes and seconds fields will
become highlighted, new values entered start to fill from the seconds field and move to the left

3. to select the hours, minutes, seconds or sub-second fields directly either double-click on them or use the
← and → arrow keys to scroll through them – the chosen field will become highlighted

4. edit/over-type the existing value or use the ↑ and ↓ arrow keys to increment and decrement the field – the
↓ arrow key will count through negative values below zero

5. press the Enter-key or Numpad Enter-key to accept the new value; or press the Numpad - or Numpad +
keys to subtract or add your new entry from/to the field’s original value; or press the Esc-key to quit the
Outgoing Offset number box without accepting your changes

Calculate from Nowline Position

To the right of the Outgoing Offset number box is a button labelled ‘Calc. from NL’. This button enables the
Outgoing Offset to be automatically determined based on the difference between the current value of the nowline
position and the incoming timecode. This function can only be used when Sonoma is part of a timecode chain
where you want to shift the incoming timecode that Sonoma is receiving from one device and output this shifted
value to the next device in the timecode chain. Best results will be obtained when the nowline position is fixed. If
the nowline is moving, the calculation is carried out correctly, but you will need to stop and re-start the Sonoma
transport in order to allow the offset to be applied. The incoming timecode can be fixed or changing, the correct
offset is calculated as soon as the ‘Calc. from NL’ button is depressed. The calculated offset is applied the next
time the Sonoma transport moves.

To automatically calculate the outgoing offset:

• position the nowline and set the incoming timecode then click on the Calc. from NL button to automatically
determine the Outgoing Offset value

Using Both Offsets in a Timecode Chain

Use of both the Incoming and Outgoing Offsets provides a convenient means of connecting Sonoma in a
timecode chain operating with timecode values greater than Sonoma’s 12-hour EDL window. For example, if you
need to synchronize with equipment using a timecode value of 15:00:00:00 (i.e., 15 hours), you could specify an
Incoming Offset of -9 hours, which would place the time at 06:00:00:00 in Sonoma, and an Outgoing Offset of
+9 hours to return the timecode to 15:00:00:00 for all subsequent devices in the chain.
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Chase Mode
The Chase Mode controls are only relevant when Sonoma is in Timecode Chase mode. These controls indicate the
way in which Sonoma should respond to changes in incoming timecode. There are four options:

• Off
• Auto
• Auto, No Break
• Manual

Off
When the Off radio button is selected, Sonoma will NOT chase the incoming timecode.

Auto
When the Auto radio button is selected, Sonoma will automatically chase valid incoming timecode. This means
that when the incoming timecode is changing at the appropriate rate, Sonoma will automatically engage the Play
command, and the transport will move. The nowline will jump to the value of the incoming timecode, and then the
Nowline Position Display will mimic the Timecode Display provided no Incoming Offset is specified. If the
incoming timecode stops for any reason, Sonoma will automatically stop the transport. The transport will begin
moving again as soon as the incoming timecode changes at the appropriate rate.

If you use the Stop command while Sonoma is chasing the incoming timecode, the transport will stop and the
Chase Mode will change to Off. If you use the Play command while the incoming timecode is stopped, the Chase
Mode will switch to Off. You can carry out punch-ins by using the Record Trigger while the transport is moving.
When recording, you must use the Play command to punch-out and leave the transport still chasing the incoming
timecode.

Auto, No Break
When the Auto, No Break radio button is selected, Sonoma will automatically chase valid incoming timecode, but,
unlike the Auto mode, it will NOT stop when the incoming timecode stops. You need to use the Stop command
to stop the transport. The Chase Mode does NOT change following a Stop command when Auto, No Break is
selected, however, if you issue a Play command while the incoming timecode is stopped then the mode changes to
Off.

You can carry out punch-ins by using the Record Trigger while the transport is moving. You must use the Play
command to punch-out and leave the transport still chasing the incoming timecode.

Manual
When the Manual radio button is selected, Sonoma will NOT automatically chase valid incoming timecode. You
must issue manual Record/Play/Stop commands to control the transport. When you issue Record or Play,
Sonoma then chases the incoming timecode. Since Play and Stop commands are expected in Manual mode, no
Chase Mode switching occurs in this case. If the Record or Play commands are issued when the incoming
timecode is NOT changing, a message is displayed on the screen to indicate the fact, and the transport does not
move. You will need to check the status of the incoming timecode in such cases.

Sonoma in Timecode Chase

To operate Sonoma in Timecode Chase, i.e., Sonoma responds to timecode from an external device, do the
following:

1. ensure all timecode cables are attached, and that the mini-DIN connector is plugged into the first Sonoma Edit
card in your PC, i.e., the Sonoma Edit card closest to the PCs power supply unit.
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2. choose the frame rate of the incoming timecode – this will likely be displayed on the device that is supplying
the timecode to Sonoma

3. (optional) set the required Incoming Offset

4. select the required Chase Mode

5. Sonoma will either automatically chase valid incoming timecode, or you will need to manually issue
Record/Play/Stop commands – when chasing the Nowline Position Display equals the Timecode Display
plus/minus the Incoming Offset

Sonoma as Timecode Source

To operate Sonoma as a Timecode Source, i.e., Sonoma generates timecode output for other external devices, do
the following:

1. ensure all timecode cables are attached, and that the mini-DIN connector is plugged into the first Sonoma Edit
card in your PC, i.e., the Sonoma Edit card closest to the PCs power supply unit.

2. choose the required frame rate

3. (optional) set the required Outgoing Offset

4. place nowline in EDL Display window

5. use Play/Record/Stop commands as needed – external device should display a received timecode value equal
to the Nowline Position Display plus/minus the Outgoing Offset
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Chapter 19: User Preferences

User Preferences enable customizing of certain editing parameters and control various display characteristics. The
preferences are grouped into the following nine categories:
• Editing
• Playback
• Recording
• Error
• Waveform
• Window
• Time Format
• DSD-IFF
• Metering

All the preferences are controlled via a multi-panel User Preferences dialogue window except for the Metering
Preferences which are handled via their own window, and are described fully in Chapter 5: Annex Metering. Each
panel is described in detail below, and is shown with its default settings. Any setting changes that you make are
saved when the Sonoma application is closed, and will be recalled the next time Sonoma is opened.

Editing Preferences
The Editing Preferences panel, shown in Figure 128, is used to set global values for various editing functions.

To open the editing preferences panel:

Do one of the following:
• use the Preferences>Editing Preferences... command
• use the Ctrl+Alt+P keyboard commands

Editing Defaults
Nudge Amount
The Nudge Amount is the amount of time that each Nudge command will move the position of the Nowline or
selected ingredients. The default value is 1 ms. The timecode format will depend on the setting in the Time Format
Preferences described later.

To set the nudge amount:

1. click in the Nudge Amount box – the entire value will become highlighted

2. (if required) press the NumPad * key to zero the current value – the seconds field will become highlighted
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Figure 128: The Editing Preferences

3. to select the hours, minutes, seconds or sub-second fields directly either double-click on them or use the
← and → arrow keys to scroll through them – the chosen field will become highlighted

4. edit/over-type the existing value or use the ↑ and ↓ arrow keys to increment and decrement the field

5. press the Enter-key to accept the new value; or press the Numpad - or Numpad + keys to subtract or add
your new entry from/to the field’s original value; or press the Esc-key to close the Editing Preferences panel
without accepting your changes

Cross-fade Length
The Cross-fade Length is the default fade length used when recording new ingredients into an EDL, or when punching
new ingredients into an existing EDL, or when applying the Slice command to selected ingredients. The default value
is 100 ms. The displayed value will change depending on the setting of the timecode format.

To set the cross-fade length:

• use the procedure described for Nudge Amount above

Cross-fade Type
The Cross-fade Type is the default fade type used when recording new ingredients into an EDL, or when punching new
ingredients into an existing EDL, or when applying the Slice command to selected ingredients. The default value is
Linear. When the fade type is set to Power N, the number box to the right of the pull-down menu becomes active,
and specifies the value of N. The default value of N is 3.
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To set the cross-fade type:

1. first click on the Cross-fade Type pull-down menu

2. scroll to the required Cross-fade Type – a type becomes highlighted as you move the mouse over it

3. when the required type is highlighted, click it to select it – it will appear in the menu window

4. (optional) when the choice is Power N, the adjacent number box becomes active – over-type the value and
press the Enter-key to set the amount in dB that the curve will be attenuated at its mid-point

Append Edit Gap

The Append Edit Gap is the amount of time (gap) between the existing material in an EDL and any new material
that is added to it via the Append command (see Chapter 10: Region-based Editing and Linear Editing). The
default value is 0 ms. The displayed value will change depending on the setting of the timecode format.

To set the cross-fade length:

• use the procedure described for Nudge Amount above

Max. Undo Levels

The Max. Undo Levels parameter controls the length of the Undo list. After the list has reached its maximum
length any new edit commands cause the oldest commands to be removed from the end of the list. The default
value is 1000.

To set the max. undo levels value:

• click in the Max Undo Levels field and edit/over-type the value

Undo Optimization
The Undo Optimization control allows the user to choose whether to optimize the Undo list for speed or safety.
There are two options:
• Power Fail Recovery
• Performance

Power Fail Recovery causes the EDL to be saved to disk after every edit command, Performance causes the EDL
to be saved only to memory after every edit command. Saving to memory can make the system perform slightly
faster, but Crash Recovery may be affected if power is suddenly lost and data can not be saved to disk. The default
setting is Power Fail Recovery.

To set the undo optimization strategy:

• click the radio button next to the desired strategy

Punch Record Auto Cleanup

The Punch Record Auto Cleanup checkbox enables the automatic removal of small ‘stubs’ that can remain
following a punch-in across an existing cross-fade (see Chapter 3: Recording).

To enable/disable punch record auto cleanup:

• click in the Enable stub cleanup checkbox until it is CHECKED (enable) or UNCHECKED (disable)

When the checkbox is CHECKED, the Min. Stub Length number field specifies the minimum size a stub must
have to avoid being automatically removed.
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To set the minimum allowed stub length:

• click in the Min Stub Length number field and enter a value in milliseconds – the value must be specified in
milliseconds irrespective of the chosen timecode format

The default values are Punch Record Auto Cleanup is ON, and the Min. Stub Length is 200 ms.

Jump and Center Nowline

The Jump and Center Nowline fields control how much (x seconds) the Nowline will move following a Move
Nowline x Seconds To The Left/Right command (see Chapter 7: Navigating an EDL) and whether a Nowline
Centered In Window command is executed simultaneously.

To set the jump amount:

• click in the Jump Amount field and use the procedure described for Nudge Amount above

The default value for Jump Amount is 10 s.

To enable/disable center after jump:

• click in the Center After Jump checkbox until it is CHECKED (enable) or UNCHECKED (disable)

The default value for Center After Jump is ON.

Zoom Presets
The Zoom Presets fields define the values of the four Zoom to Preset navigation commands (see Chapter 7:
Navigating an EDL). The default values are:
Preset 1 = 2 s
Preset 2 = 5 s
Preset 3 = 15 s
Preset 4 = 25 s

The displayed values will change depending on the setting of the timecode format.

To set the zoom preset values:

• click in the required Preset field and use the procedure described for Nudge Amount above

Splice Editor Zooming

The Splice Editor Zooming radio buttons determine whether a splice is zoomed to show the edit plus and minus
the active pre-roll value (see Chapter 13: The Splice Editor Control Panel) or a fixed range. If a fixed range is
selected, you must specify a value in the adjacent time field. The default value is to use the pre-roll. The displayed
value will change depending on the setting of the timecode format.

To set the splice editor zooming strategy:

• click the radio button next to the required strategy

To set the fixed range value:

• if you use the Fixed Range zooming strategy, click in the Fixed Range time field and use the procedure
described for Nudge Amount to set a time value
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Authoring Marks
The Authoring Marks preferences set the amount of offset that will be applied to Authoring Marks when creating
an Edit Master, and determine whether editing of individual offsets in an EDL is allowed. The Default Start/Index
Mark Offset field specifies the offset size in 75 fps frames. Valid values are 0, 1, 2, 3 or 4 frames. The default value
is 4 frames. The Enable Mark Offset Editing checkbox controls whether editing of the offset values for individual
Start or Index Marks is allowed (CHECKED), or not (UNCHECKED). The default value is for Mark Offset
Editing to be OFF.

Note: It is strongly recommended that Mark Offset Editing is NOT used, and that the Mark Offset
value of 4 frames is used at ALL times.

Playback Preferences
The Playback Preferences (see Figure 129) control how the Sonoma system will unmute/mute at the start/end of
playback, and the sizes of the three pre-roll settings.

To open the playback preferences panel:

• use the Preferences>Playback Preferences... command

Figure 129: The Playback Preferences

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User Preferences

Playback Defaults
Ramp
The Ramp sets the unmute ramp-up and muting ramp-down times that are used each time playback is started or
stopped. A Linear fade type is applied at both ramp-up and ramp-down. The default value is 10 ms. The displayed
value will change depending on the setting of the timecode format.

To set the ramp time:

• click in the Ramp time field and use the procedure described for Nudge Amount

Pre-roll/Post-roll Amounts
The Pre-roll/Post-roll Amounts are used in combination with the Audition commands. There are three
parameters, and their default values are:
P1 = 1 s
P2 = 2 s
P3 = 3 s

The displayed values will change depending on the setting of the timecode format.

To set a pre-/post-roll time:

• click in the required Pre-/Post-roll time field and use the procedure described for Nudge Amount

Alt SA-CD Audition Ramp

The Alt SA-CD Audition Ramp control contains two elements: a checkbox to enable the feature and a time-field
to define the duration of the playback ramp. This control is provided to allow the user to override the default
playback ramp time when using the Audition Authoring Mark command (see Chapter 15: Marks). The Alt SA-CD
Audition Ramp has a Linear fade type and can take values between 0 ms and 53 ms, i.e., between 0 and 4 frames (at
75 fps). The default setting is for Alt SA-CD Audition Ramp to be OFF. The displayed value will change
depending on the setting of the timecode format.

To enable/disable the alternative SA-CD audition ramp:

• click in the Alt SA-CD Audition Ramp checkbox until it is CHECKED (enable) or UNCHECKED
(disable)

To set SA-CD audition ramp time:

• (when the Alt SA-CD Audition Ramp checkbox is CHECKED) click in the Alt SA-CD Audition Ramp
time field and use the procedure described for Nudge Amount

Recording Preferences
The Recording Preferences (see Figure 130) specify parameters that control the maximum recording time, the
format of the recorded data, and whether waveforms are recorded in various situations.

To open the recording preferences panel:

• use the Preferences>Recording Preferences... command
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Figure 130: The Recording Preferences

Recording Defaults
Max Pre-allocated Recording Duration
Sonoma works on the principle of allocating hard-disk space to the source audio files before recording begins,
hence the term pre-allocation. The Max Pre-allocated Recording Duration parameter specifies the maximum amount
of continuous recording time before the system will automatically stop. The range for this parameter is 1 minute
to 720 minutes (or 12 hours, the maximum EDL size). Smaller values can result in slightly faster system operation,
as they require less system resources. The default value is 720 minutes.

To set the maximum pre-allocated recording duration:

• click in the Max Pre-allocated Recording Duration number field and enter a value in minutes – the value
must be specified in minutes irrespective of the chosen timecode format

Note: The actual amount of recording time achievable will depend on the number of tracks that are in
Record Ready and the amount of available hard-disk space.

Recording Format
The Recording Format radio buttons are used to select between the two source audio file formats that Sonoma
supports: SAW-DSD and DSD-IFF. SAW-DSD is an old, proprietary data format that Sonoma initially used, and
DSD-IFF is the industry standard interchange format for DSD files. It is strongly recommended to use
DSD-IFF, which is the default setting.
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To set the recording format:

• click the radio button next to the required format type

Note: You can freely combine SAW-DSD (green in color) and DSD-IFF (blue in color) ingredients in
the same EDL.

Waveforms
You will usually want to record waveforms for your ingredients as a visual aid for editing, etc. However, there may
be times when you have limited hard-disk capacity, and would prefer to restrict that hard-disk space for source
audio files only (remember: the .env files are normally stored on disk along with the source audio files). You can
control this feature for newly created files (record channel input) and for the “flattening” of existing files (record
channel output). The Waveforms section of the Recording Preferences contains two checkboxes to enable/disable
the recording of waveforms.

Record Waveforms When Recording Channel Input

To record waveforms when recording channel input:

• click the Record waveforms when recording channel input checkbox until it appears CHECKED

The default value is to record waveforms when recording channel input.

Record Waveforms When Recording Channel Output

To record waveforms when recording channel output:

• click the Record waveforms when recording channel output checkbox until it appears CHECKED

The default value is to record waveforms when recording channel output.

Error Preferences
Sonoma can automatically detect certain error conditions during both record and playback. The Error Preferences
(see Figure 131) are used to configure how the system behaves when an error is discovered.

To open the error preferences panel:

• use the Preferences>Error Preferences... command

Stop On Data Errors

Sonoma is programmed to detect bad data. Since the playback of bad DSD data can have unpredictable and
potentially damaging consequences for amplifiers and loudspeakers, Sonoma is set to always stop when data errors
are detected during playback. In this way, you can safely navigate around the bad area, and remove it from the
EDL. Sonoma can also stop when it encounters errors during Record; however, since you will generally want to
continue Recording at all costs, the default setting is NOT to stop on data errors during Record. If errors are
detected, a punch-out will be created immediately followed by a punch-in so that Recording can continue again as
quickly as possible. Error Marks will be placed in the EDL to show the position of the data errors.

While Playing
You cannot disable the Stop On Data Errors while Playing control.
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Figure 131: The Error Preferences

While Recording

To stop on data errors when recording:

• click the While Recording checkbox in the ‘Stop on data errors’ area until it appears CHECKED

The default setting is NOT to stop when errors are encountered during Record.

Stop On Other Errors

It is also possible for random errors to affect the operation of Sonoma. These errors can be caused by mis-timing
in the processors handling disk and memory transfers resulting in information arriving early or late. Such problems
may manifest themselves as ticking in the audio, or a hiccoughing effect where a frame of data gets repeated. Such
errors are very rare, but the user can decide whether playback and/or recording are stopped when the errors are
encountered via the two Stop On Other Errors checkboxes.

While Playing

To stop on other errors when playing:

• click the While Playing checkbox in the ‘Stop on other errors’ area until it appears CHECKED

The default setting is NOT to stop when other errors are encountered during Play.

While Recording

To stop on data errors when recording:

• click the While Recording checkbox in the ‘Stop on other errors’ area until it appears CHECKED
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The default setting is NOT to stop when other errors are encountered during Record.

Auto Open The Source Audio Mapper

There is a checkbox in the middle of the Error Preferences panel to enable/disable automatic opening of the
Source Audio Mapper when an EDL is opened that contains offline ingredients (see Chapter 17: Source Audio
Mapper).

To automatically open the Source Audio Mapper when an EDL containing offline ingredients is opened:
• click the Auto open the source audio mapper... checkbox until it appears CHECKED

The default setting is for automatic opening of the Source Audio Mapper to be ENABLED.

Waveform Preferences
The Waveform Preferences panel (see Figure 132) has controls for the decay time and headroom of the Peak Level
Meters in the Track Control Panel, the height of the EDL tracks when the H control is in expanded mode, and
whether waveforms are always normalized when they appear.

To open the waveform preferences panel:

• use the Preferences>Waveform Preferences... command

Figure 132: The Waveform Preferences

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Metering Decay Time

The Metering Decay Time parameter controls the time it takes the Peak Level Meters in the Track Control Panel
to drop by 6 dB. Smaller values result in highly responsive meters, but can make it difficult to see peak values,
while larger values result in sluggish meters that can miss dynamic detail.

To set the metering decay time:

• click in the Metering Decay Time number field and enter a value in milliseconds – the value must be
specified in milliseconds irrespective of the chosen timecode format

The default value is 100 ms.

Signal Headroom
The Signal Headroom parameter sets the point at which the Peak Level Meters in the Track Control Panel turn
from green to red, and where the colors of the Metering Waveforms turn from yellow and green to blue and red.
It is specified in dBSA-CD.

To set the signal headroom:

• click in the Signal headroom number field and enter a value in dBSA-CD

The default value is 0 dBSA-CD.

Height of Expanded Tracks (H)

The Height of Expanded Tracks (H) parameter sets the size that ingredients will be displayed when viewed in large
display mode. Values must be between 40 and 200 pixels.

To set the height of tracks in large display mode:

• click in the Height of tracks... number field and enter a value in pixels

The default value is 72 pixels.

Always Normalize Waveforms

The Always Normalize Waveforms checkbox is used to enable/disable the automatic normalization of waveforms
in an EDL.

To enable always normalize waveforms in an EDL:

• click the Always normalize waveforms checkbox until it appears CHECKED

The default setting is for Always Normalize Waveforms to be DISABLED.

Window Preferences
The Window Preferences (see Figure 133) control how windows within the Sonoma application will be displayed.

To open the window preferences panel:

• use the Preferences>Window Preferences... command
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Figure 133: The Window Preferences

Linear Edit Tiling

The Linear Edit Tiling radio buttons control the order in which source and destination EDLs will be tiled. There are
two options:
• tile with the source over the destination
• tile with the destination over the source

To set the linear edit tiling strategy:

• click the radio button next to the desired strategy

The default value is tile with source over destination.

Open EDL Window Maximized

The Open EDL Window Maximized checkbox controls whether an EDL Window is opened such that it
completely fills the space that the Sonoma Editor Window allows for it (i.e., maximized), or whether it opens as a
smaller window to allow multiple EDLs to be viewed simultaneously.

To enable the opening of EDL windows maximized:

• click the Open EDL window maximized checkbox until it appears CHECKED

The default setting is for EDL Windows to be maximized when they are opened.
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Time Format Preferences

The Time Format Preferences (see Figure 134) determine the timecode format, whether fade length values are always
displayed in ms timecode format, the pre-load delay for Timecode Chase and the delay before automatically following
incoming timecode.

To open the time format preferences panel:

• use the Preferences>Time Format Preferences... command

Figure 134: The Time Format Preferences

EDL Time Format

The EDL Time Format section contains ten radio buttons that enable selection of the EDL timecode format. The
options are:
• milliseconds • 75 fps (= SA-CD frames)
• 30 fps (non-drop frame) • 30 fps (drop frame)
• 29.97 fps (non-drop frame) • 29.97 fps (drop frame)
• 25 fps • 24 fps
• samples • hex samples (the sample count in hexadecimal notation)
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User Preferences

To set the required EDL time format:

• click the radio button next to the desired format

The default setting is milliseconds.

Note: The setting can also be changed by right mouse clicking in the Clock Displays within the EDL
window. Changing the timecode format can also affect the display of certain other User
Preferences such as fade length, Nudge Amount, etc.

Always Show Fade Lengths in Milliseconds

The Always Show Fade Lengths in Milliseconds checkbox enables/disables the ability to override the EDL Time
Format (i.e., timecode format) setting, and always display fade lengths in ms format.

To enable fade lengths to always be shown in milliseconds:

• click the Always Show Fade Lengths in Milliseconds checkbox until it appears CHECKED

The default setting is to display fade lengths in the selected EDL Time Format.

Pre-load Delay for Timecode Chase

The Pre-load Delay for Timecode Chase parameter sets a buffer time value which allows the Sonoma system to be
able to load the required audio data ahead of the moving nowline position as Sonoma chases the incoming timecode
(see Chapter 18: Timecode). Without this buffer, there is a danger that the hard-disk system will be unable to
provide sufficient data to Sonoma as it is needed. This will result in Disk Under-run system errors. The Pre-load
Delay for Timecode Chase parameter can take values between 0.5 and 2 seconds. If you make this value too small,
and Disk Under-run errors are triggered, simply increase the value until they disappear. The default value is 2
seconds.

Delay Before Auto-following Incoming Timecode

The Delay Before Auto-following Incoming Timecode parameter is used to set a delay time before Sonoma will
automatically start following the incoming timecode (see Chapter 18: Timecode). This parameter is most useful
when working with tape recorders that require a few seconds to go from rest to full-speed. Since the timecode data
is often recorded on the tape, the output timecode rate varies as the tape recorder gets up to speed. Without the
delay, Sonoma would try to chase this varying timecode. You should set this parameter according to the
characteristics of your tape recorder. The working range is 0 to 5 seconds, and the default value is 0.333 seconds.

DSD-IFF Preferences
The DSD-IFF Preferences (see Figure 135) set parameters that are needed during the creation of an Edit Master.

To open the DSD-IFF preferences panel:

• use the Preferences>DSD-IFF Preferences... command

Loudspeaker Configuration
The Loudspeaker Configuration section contains three radio buttons that control the default Loudspeaker
Configuration setting when creating an Edit Master. The options are:
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Figure 135: The DSD-IFF Preferences

• 6-Channel (5.1 – ITU-R BS.775 + LFE)29

• 5-Channel (ITU-R BS.775)
• 2-Channel

You should choose the setting that most closely matches your workflow, e.g., if you only work on stereo projects
then the 2-Channel radio button should be selected.

To set the default loudspeaker configuration:

• click the radio button next to the desired configuration

The default setting is 6-Channel.

Note: The value set in the DSD-IFF Preferences can be overridden by the Loudspeaker Configuration
panel of the Create Edit Master... command.

Operator
The Operator window is used to specify the name of an operator or studio that will be placed automatically into the
Edit Master file.
29. The ITU specification for multitrack speaker placement is discussed in Chapter 22: Creating an SA-CD Edit Master.
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User Preferences

To set a default operator name:

• click in the Operator window and enter your text

The default setting is for this field to be empty.

Note: Any text entered in this panel can be overridden in the Loudspeaker Configuration panel of the
Create Edit Master... command.
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Chapter 20: Audio/Clock Source Switching

For most situations, Sonoma should be operated as a complete system using its attendant ADCs and DACs, even
if the system is only used for editing. However, the system can be operated differently, and the Audio/Clock
pull-down menu is then used to help configure the system.

Sonoma remembers the Audio/Clock Source selection between sessions so that it does not have to be reset every
time Sonoma is started. When beginning a new session, it is advisable to check that the audio and clock sources
selected match those of the hardware you are using.

The three options that appear under the Audio/Clock pull-down menu are:
• Sonoma Internal Clock, No Audio Input
• Sonoma Optical Clock, Optical Audio Input
• No Clock, No Audio Input (HW Offline)

Sonoma Internal Clock, No Audio Input

Selection of the Sonoma Internal Clock, No Audio Input option should be made when Sonoma has no external
clock supplied. With this option selected, the internal clock generated by the Sonoma hardware is used for
synchronizing audio playback on the digital outputs. Selecting the internal clock will mute the recorder inputs and
no audio will be heard or recorded when monitoring input.

To select Sonoma internal clock, no audio input:

• use the Audio/Clock>Sonoma Internal Clock, No Audio Input command

Note: This option is only recommended in cases where you are editing using an 8-track Sonoma.

Sonoma Optical Clock, Optical Audio Input

Select Sonoma Optical Clock, Optical Audio Input when synchronizing Sonoma to a clock generated by an
external ADC with optical fiber clock connections to Sonoma. With this option selected, the clock received by the
Sonoma optical clock input is used for synchronizing audio recording and playback (in a 16-, 24- or 32-track
system, the external ADCs should also be locked to each other to prevent clock instabilities).

Selecting Sonoma Optical Clock will automatically route the digital audio on the Sonoma optical input(s) to the
Sonoma recorder inputs. This audio will be heard or recorded when monitoring the recorder inputs.

To select Sonoma optical clock, optical audio input:

• use the Audio/Clock>Sonoma Optical Clock, Optical Audio Input command

No Clock, No Audio Input (HW Offline)

The No Clock, No Audio Input (HW Offline) option only appears when the Sonoma application is unable to
detect the presence of a Sonoma Edit card. Editing functionality is still available, but no playback or recording
operations can be performed. You cannot choose this option, it is chosen automatically by the system.
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Chapter 21: Recovering from a System Crash

The Sonoma system has been designed and tested to be as reliable as possible, however, like all computer-based
systems, it is susceptible to power outages and random crashes. In order to prevent a loss of audio data and/or
unsaved EDL, a method of recovering from system failure has been built into Sonoma. The crash recovery
mechanism relies on the presence of the Undo stack (see Chapter 14: Undo/Redo) to be able to return to the state
just before the crash/power outage occurred.

When Sonoma is launched following a crash, the Crash Recovery routine attempts to recover all the EDLs that
were open prior to the crash; however, Crash Recovery can only recover EDLs for which an Undo stack existed.
Therefore, if you had an EDL open prior to a crash but had carried out no editing commands, i.e., the EDL was
unchanged, and so had no Undo stack, it would not be recovered when Sonoma is re-launched. Such an EDL
would have to be manually re-opened (no data has been lost in this case!).

Since Crash Recovery depends on the presence of the Undo stack, it is also affected by the Editing Preferences (see
Chapter 19: User Preferences) for Undo Optimization:
• Power fail recovery (stack on disk)
• Performance (stack in memory).

In the first case, the EDL and Undo stack are written to hard-disk after every editing command. This provides a
reliable mechanism for the Crash Recovery routine, since it guarantees that any editing command completed prior
to crashing can be recovered. A small drawback is that the additional disk activity needed to store the EDL and
Undo stack can result in slightly slower system performance, especially with many tracks, a large EDL and large
Undo stack. The second alternative is to store the EDL and Undo stack only in memory. This results in faster
system performance, but at the risk of losing the ability to recover in the case of a situation where the memory
contents can not be written to hard-disk such as total power outage or Operating System failure.

There is a difference between recovery following Editing and recovery following Record. In the editing case,
following Crash Recovery, all recovered EDLs are opened with the last active EDL appearing in the EDL Display
Window – all other recovered EDLs are available via the Window pull-down menu. You should check every
recovered EDL to see whether the editing you were carrying out has been recovered correctly. If so, you should
save the recovered EDL so as not to lose any editing that was being carried out. If you are unhappy with the
recovered EDL, you should close it without saving, and re-open the last saved version of the EDL before
continuing to edit.

Since you can only record into one file at a time, there can only be a single EDL that was active for Record at the
time of a crash. When Crash Recovery takes place following a Record pass, Sonoma recovers all the audio material
that had been saved to hard-disk prior to the crash and opens it into a new Untitled EDL. It does this as a safety
measure in case the Undo stack it finds is incomplete and there is a danger that punching the recorded material into
the last active EDL might do more harm than good. Once the material has been recovered into the new EDL, you
can analyze it and then you will need to either copy it to an existing EDL, or use the Save As command in the File
Menu to save the recording with a new file name.

Note: Due to the mechanism by which envelope files are created during recording, they cannot be
recovered following a system crash, and are discarded. Therefore, you will need to use the Make
Waveforms command on recovered recorded files.
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A further issue to consider is whether a crash has occurred due to a minor software problem or a catastrophic event
like a power outage. Understanding the differences will help you decide which of the Undo Optimization settings
to use. If a minor software problem causes the Sonoma application to close unexpectedly, the computer’s
operating system (OS) will generally do its best to save any data held in memory to temporary files on hard-disk. It
is these temporary files that Sonoma uses to recover EDLs and Undo stacks. If the files can be saved to disk, the
choice of Undo Optimization makes no difference to Crash Recovery. In cases of catastrophic failure like a sudden
power outage or OS failure, the OS is unable to save the memory contents to disk. The choice for ‘Power fail
recovery (stack on disk)’ as the Undo Optimization choice clearly pays benefits here, as all data up to the time of
the crash is already saved to disk.

In deciding which Undo Optimization strategy to use, you should bear the following in mind. A crash during
Record is most serious, as it could mean the loss of a once-in-a-lifetime-performance. For that reason, you are
strongly recommended to always use the Power fail recovery (stack on disk) option when recording.

During Editing, on the other hand, all the audio files are generally already recorded and a crash risks losing only the
most recent editing instructions, not the audio files themselves. If you are the type of person that regularly saves
the EDL to disk, for example, after every completed edit, you can chose the ‘Performance (stack in memory)’
option, as you run the risk of losing at most one or two completed edits. The use of a battery-powered
Uninterruptible Power Supply (UPS) to provide short-term power during sudden outages will be of enormous
benefit here, as it can enable you to close and save your work or the OS to save the memory contents to disk.
However, a UPS can not provide benefit in the case of an OS failure. If you prefer to not save your work very
regularly, you should choose the ‘Power fail recovery (stack on disk)’ option. In this way, the system will save your
work for you, at the cost of some minor slowing in system performance as the number of tracks and edits increases.

It should be noted, however, that crashes occur very rarely, and power outages almost never, and you should make
the best choice of Optimization based on the work you are undertaking, and your experience of failures with the
system. By default, the Undo Optimization Preference is set to Power fail recovery (stack on disk).

Note: The Crash Recovery mechanism relies on information that is stored in temporary files in the
user’s personal directory (on the C: drive) and in the temporary area of the hard-disk to which
the files are being recorded. Therefore, it is vitally important that the user who experiences a
crash is the first to re-use the system afterwards, so that Crash Recovery can take place and
complete fully. If this does not happen, and your PC contains several user accounts, another
user will be able to log-in without problems, but as soon as that person runs the Sonoma
application, Crash recovery will begin, but will be impaired by the fact that some of the files the
system requires are in another user’s directory.
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Chapter 22: Creating an SA-CD Edit Master

One of the motivations for using Sonoma is to create SA-CD discs. Sonoma is able to record and edit the DSD
audio that appears on an SA-CD disc, but, as Figure 136 shows, this is only part of the entire SA-CD production
process. In order to transfer a finished recording to the Authoring30 stage, the user needs to create a special file
called an Edit Master. This Chapter describes its features, how it is created, and how an Edit Master Tape31 is made
for transfer to the Authoring process.

RECORDING MIXING EDITING AUTHORING REPLICATION

SONOMA EDIT MASTER

TAPE

Figure 136: SA-CD Production Process

The Edit Master Structure

By now, it should be clear that an edited project contains many overlapping audio clips, with gain and cross-fade
values described by the EDL. In addition, the beginnings and endings of tracksSA-CD will have been identified
through the use of Authoring Marks. For inclusion on an SA-CD disc, the multiple overlapping ingredients need to
be ‘flattened’ into single ingredients per track. In addition, the data structure needs to change from a single (mono)
audio file per track to a single interleaved file for all the audio data (a requirement of the Authoring process). The
layout of a single track of an Edit Master is shown in Figure 137. In this example, there are three tracksSA-CD
beginning at TrackSA-CD Starts TS1, TS2 and TS3 and finishing at TrackSA-CD Ends TE1, TE2 and TE3. The final
End Mark is mandatory (and indicates the end of the disc), whereas the other End Marks are optional. If End
Marks are used, the space between adjacent End and Start Marks results in the display of Pause Time on an SA-CD
player (this time is usually displayed as a negative number of seconds and counts down to zero).

You will notice that the Edit Master’s ingredient begins at time 00:00:00.00 (HH:MM:SS.FF where FF = 75 frames per
second), and has a 2 second pre-roll and a 2 second post-roll. In addition, any Start Mark Offset is added to the
beginning of the file. In this example, an Offset of 4 frames was used, so the first Start Mark appears at 00:00:02.04
(= 2 seconds plus 4 frames) in the Edit Master file..

The Edit Master’s ingredient extends from 00:00:00.00 to the end of the post-roll, so contains all the material in the
rectangle drawn in Figure 137. The pre-roll and post-roll are either absolute silence (often called ‘digital black’) or
30. Authoring is where all the assets that go into making a disc (audio, text, etc.) are combined into a single file known as a
Cutting Master. The Cutting Master is essentially an image of the data that will be cut on to the disc during Replication.
31. At the time of writing, SA-CD authoring and replication facilities are set up to accept projects only on Sony AIT-1
high-capacity digital tape. You will need to add an AIT-compatible drive to your system if you intend to make Edit Masters.
184 CHAPTER 22
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TS1 TE1 TS2 TE2 TS3 TE3

Pre-roll Post-roll

00:00.00 00:02.04

Figure 137: Edit Master File Structure

room-tone (the silence of the acoustic in which the music was recorded). The envelope of the music is represented
by the shaded area within the two fades. If there is insufficient ‘silence’ in front of and behind the music, the create
Edit Master process will add the appropriate amount of ‘digital black’. If the audio in the source ingredients extends
before the first Start Mark and beyond the last End Mark, the pre- and post-rolls will be filled with that audio rather
than ‘silence’. Care should be taken to avoid this situation, as it can lead to strange behavior at the beginning and
end of the SA-CD disc. The ‘flattening’ of the overlapped ingredients is achieved by re-recording the entire EDL
into a single contiguous ingredient per track during the Edit Master creation process. This re-recording takes place
automatically without the user having to arm tracks, etc.

The Edit Master is a byte-interleaved file, and appears in the Sonoma EDL window with purple ingredients. The
interleaved structure is shown in Figure 138. This example shows the case of a two channel interleave, however,
Sonoma can create 2-channel, 5-channel and 6-channel interleaved files as determined via the Configuration Panel
(see below).

Ch. A Byte A-1 Byte A-2 Byte A-3 Byte A-4 Byte A-5

Ch. B Byte B-1 Byte B-2 Byte B-3 Byte B-4 Byte B-5

Edit
Byte A-1 Byte B-1 Byte A-2 Byte B-2 Byte A-3
Master

Figure 138: Interleave Structure of an Edit Master File

The Create Edit Master... Command

When all editing operations have been completed, and all required Start, Index and End Marks have been inserted
into the EDL, it will be possible to create the Edit Master file. The Create Edit Master... command causes a dialogue
window to appear. While this dialogue is in view, no other Sonoma action can be carried out. If you have
used the New/import sound files... command to open the audio files, Sonoma will prompt you to save the untitled
EDL created before letting you proceed to the Create Edit Master dialogue. This is because the Edit Master
creation process is EDL driven.
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To open the create edit master dialogue window:

Do one of the following:
• use the File>Create Edit Master... command
• use the Alt+F followed by E keyboard commands

The dialogue window is composed of three panels named: Meta Data, Configuration and Export. These control
various aspects of the create Edit Master process, and are described in detail below.

Note: You can quit the process at any time, without creating the Edit Master, by clicking on the Close
button in any of the three panels.

The Meta Data Panel

The Edit Master file contains associated data that can be used by other recording, editing or authoring systems to
determine information about it. You can add information to the associated data via the Meta Data Panel (see
Figure 139) which is divided into two sections: Comments and Text Fields. The Meta Data is stored separately for
each EDL, and can be freely edited at any time. It is only at the point when the Edit Master is created that the most
current data is written to the file. If you close the dialogue window prior to finishing the creation process, its most
recent data will be recalled the next time the Create Edit Master... command is issued for that particular EDL.

Comments
The Edit Master file is a special type of DSD-IFF file. The DSD-IFF specifications permit the following four types
of comments for an Edit Master:

• General (album) comment

• Channel comment
• Sound Source
• File History

With the exception of Sound Source (which is handled in the Text Fields section of this panel), this is where you
can enter information for all the comment types. You will need to specify which comment type you require via the
pull-down menu next to the Add button. The menu contains the following options:

General To insert general comments about the file.

File History/Remark To add information in the Remark section of the File History32 component of the Edit
Master DSD-IFF file.

All Channels To add comments that apply to all the audio channels in the Edit Master.

Channel n To add comments that are specific to Channel n, where n is an integer value between 1
and the highest numbered channel in the file (n can take the values 2, 5 or 6)
32. The File History also comprises information about the operator name, name of creating machine, etc. that is either set
automatically by Sonoma, or via the Text Fields section of the panel (see Text Fields below).
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Figure 139: The DSD-IFF Meta Data Panel

Note: When considering the Edit Master file, the term ‘channel’ is used, instead of track as Edit Masters
often contain multi-channel surround audio. A channel in the Edit Master file equates to a track
in an EDL. This should not be confused with the term trackSA-CD which refers to an individual
piece of music on an SA-CD disc defined by SA-CD Authoring Marks.

To add a new comment:

1. click on the pull-down menu and scroll to the required comment type – General is the default

2. click on the comment type to select it – it will appear highlighted in the menu window

3. click on the Add button to add a new comment of the selected type – the new comment will appear at the end
of the comment list and the cursor will appear in the text field which automatically becomes active

4. add your comment text by typing in the text field

5. when you have finished entering text, press the Enter-key or click in one of the other text fields to save the
new text to the comment list
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New comments are not given a time stamp when they are created. The time stamp will be set to the System Time
value when the Export button is clicked at the end of the create Edit Master process (see The Export Edit Master
Panel).

The DSD-IFF specification has strict rules about the handling of comments. As soon as comments have been
saved into an Edit Master file they cannot be erased or changed, they can only be added to. However, comments
added to the list that do not yet have a time stamp can be considered ‘active’. You can continue to edit their text
fields, or delete them entirely. When you press the Export button (see The Export Edit Master Panel for details),
the comments will be locked in the Edit Master file. If there were already comments in a file that you imported,
those are already locked and cannot be edited or deleted. If you find a mistake in such a comment, you will need
to add a new comment to draw attention to it.

To edit an ‘active’ comment:

1. click on the comment in the comment list to select it – it will become highlighted

2. click in the text field to edit its text information

3. when you have finished editing the text, press the Enter-key or click in another text field to save your changes

To delete an ‘active’ comment:

1. click on the comment in the comment list to select it – it will become highlighted

2. click on the Delete button in the Meta Data Panel – the selected comment and its text information will be
deleted

Text Fields
The lower half of the Meta Data Panel sets quite specific information about the Edit Master file. The options are:

Source This field should contain the original source format for the audio recording, and also contains
space for an optional text comment.

Artist This field should contain the name of the Artist that created the music.

Title This field should contain the Title of the project.

EMID The Edit Master IDentification (EMID) field should contain a value that uniquely identifies the
Edit Master. This will likely be an internal code of the mastering studio that created the Edit
Master, or will be set by the record label that owns the project.

Operator This field should contain the name of the person that created the Edit Master. A default value for
this field can be set in the DSD-IFF Preferences (see Chapter 19: User Preferences for details).

These fields are all optional, however, the Source field must contain a value and will default to DSD unless you
change it. Provided the information has not yet been saved to the Edit Master file, all the Text Fields can be
considered ‘active’ and can be edited at will.

To set the source field:

1. click on the Source pull-down menu and scroll to the required source type, which will become highlighted –
the options are: Unknown, DSD, Analog and PCM

2. click on the Source type to select it – it will appear highlighted in the Source pull-down menu window

3. (optional) click in the text field to the right of the Source menu and add your text comments – for example, if
the Source was analog, the comment could say ‘15 i.p.s., NAB, no Dolby’. Comment text cannot be added if
the Source is of type Unknown.
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4. when you have finished adding the text, press the Enter-key or press the Tab-key or click in another text
field to save your comments

To set the artist, title, EMID or operator fields:

1. click in the appropriate field and add your text – if you have set a default value for Operator, it will
automatically appear in the text field, but you can over-type it if required

2. when you have finished adding the text, press the Enter-key or press the Tab-key or click in another text
field to save the information

Note: The default Operator value will only automatically appear for EDLs that newly undertake the
create Edit Master process after the default value has been set. If you have issued a Create Edit
Master... command and clicked Cancel to exit the process, the existing Meta-data will be saved,
and a new default setting of Operator will NOT automatically over-write that saved value.

The Configuration Panel

The Configuration Panel specifies two pieces of information to the Edit Master: the number of audio channels to
appear in the Edit Master file, and their relationship to Sonoma’s track numbers. (see Figure 140)

Loudspeaker Configuration
There are three options for Loudspeaker Configuration:

• 6-Channel (5.1 – ITU-R BS.775 + LFE)

• 5-Channel (ITU-R BS.775)
• 2-Channel

The 2-Channel option is used for creating a stereo Edit Master, the other two options are used to create
multi-channel Edit Masters. SA-CD has been defined to be compatible with ITU33 Technical Recommendation
BS.775 with regard to speaker placement for multi-channel audio.

The ITU Recommendation specifies the following symmetric loudspeaker positions:

Center = 0°
Left/Right Front = ± 30°
Left/Right Rear = ±110°

Adherence to this speaker layout is strongly recommended to ensure consumers experience the multi-track mix
the way the artist or producer intended it.

The default setting for the Loudspeaker Configuration is set in the DSD-IFF Preferences (see Chapter 19: User
Preferences for details).

To set the loudspeaker configuration:

• click the radio button next to the required configuration setting
33. The International Telecommunications Union is an international standards organization within the United Nations.
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Figure 140: The Loudspeaker Configuration Panel

Channel Assignment
As soon as you have chosen the Loudspeaker Configuration, the number of pull-down menus in the center of the
dialogue window will change accordingly. These pull-down menus are used to assign the EDL track numbers to
explicit channel names in the Edit Master file. The DSD-IFF specification demands the following track
arrangement when the Loudspeaker Configuration is set to 6-Channel:
MLFT = multi-track left front
MRGT = multi-track right front
C = multi-track center front
LFE = multi-track low frequency enhancement
LS = multi-track left surround
RS = multi-track right surround

All the names remain the same when the Loudspeaker Configuration is set to 5-Channel; however, LFE is omitted.
In the case of 2-Channel, the pull-down menu names change to:
SLFT = stereo left front
SRGT = stereo right front
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To set the channel assignment:

Do one of the following:
• click the required channel’s pull-down menu and scroll to the appropriate EDL track number to select it – it
will then appear highlighted in the menu window
• click in the required channel’s menu window and type the number of the EDL track number – it will then
appear highlighted in the menu window

To navigate the channel assignment menu windows:

• use the Tab-key to move from left-to-right or use Shift+Tab to move from right-to-left – the next menu
window will become highlighted in each case and ready for the channel assignment to be changed

Muted Channels
Most modern music projects will map directly to one of the 2-, 5- or 6-Channel Loudspeaker Configurations.
However, there may be times when you need to create a multi-channel Edit Master containing fewer than
5-channels. In such cases, you need to fill out the Loudspeaker Configuration with Muted Channels to bring the
total number of channels up to 5 or 6 (the only values for multi-channel that the SA-CD specifications support).
For example, a 4.0 quadraphonic project would require that the center channel be muted to fit in a 5-Channel
Loudspeaker Configuration.

To set a channel’s assignment to a mute channel:

• click the required channel’s pull-down menu and scroll to the word Mute to select it – it will then appear
highlighted in the menu window

If a loudspeaker channel is assigned the value Mute, Sonoma will automatically insert absolute silence (‘digital
black’) in that channel.

Note: Using Muted Channels is not the same as setting the Track Mute Flags described in the Track
Mute Flags section of Chapter 15: Marks. A Muted Channel mutes the output of a loudspeaker
for an entire SA-CD, whereas Track Mute Flags are used to mute the output on a trackSA-CD by
trackSA-CD basis.

The Export Edit Master Panel

The Export Edit Master Panel (see Figure 141) provides options to control the nature of the Edit Master creation
process, and provides warnings of any error conditions that would prevent the process from completing.

Note: This is the only panel from which the Edit Master creation process can be activated!

Audio Source
At the top of the panel is a section to select the Audio Source. At this time, there is only one option: EDL Output.
This means that the contents of the currently active EDL constitute the material that will be turned into the Edit
Master file. In future versions of Sonoma other Audio Source possibilities may appear here, and will be selectable
through radio buttons.
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Figure 141: The Export Edit Master Panel

Output Master
The Output Master field is used to specify the name and location of the Edit Master file that will be created.
Sonoma will automatically suggest to record the Edit Master into a directory based on the current EDL name. The
new directory will be created within the current Recording Directory, and so will look like:
\<current path details>\Export-<EDL name>

where <current path details> represents the list of directories on the hard-disk that point to the
Recording Directory, and <EDL name> represents the name of the active EDL. For example, if the Recording
Directory is called My_Recordings, is located on the E: disk, and the current EDL is named UGuideEDL,
then the Edit Master will be found at the following location if the suggested Output Master details are accepted:
E:\My_Recordings\Export-UGuideEDL\UGuideEDL.dff

Alternatively, you can set your own path and filename details for the Output Master.

To set the Output Master details:

Do one of the following:
• click in the text-field containing the suggested Output Master path and filename and edit as required – Ctrl+Z
can be used to immediately Undo any editing mistakes
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• click on the Browse button [...] and locate the directory in which you want to save the Edit Master file. You can
also set its name by editing the default value that appears in the File Name box of the Save As dialogue
window which appears.

Export Edit Master Directly...

The Create Edit Master... command results in the creation of an interleaved DSD-IFF file as explained above in
The Edit Master Structure section. In early versions of the Sonoma application, the translation from mono files to
a single interleaved file was done in two stages. First, the audio was re-recorded (if needed) to ‘flatten’ it into a
single ingredient per track, then the data from all tracks was re-formatted into the single interleaved file structure. It
is now possible to carry out this step ‘directly’ by checking the Export Edit Master Directly to Multi-track
DSD-IFF checkbox. This is the default setting, and should be preferred at all times since it is the more efficient
option.

If the checkbox is empty, the old two-step process will be employed, and an additional dialogue section will appear.
This dialogue is described below in the section Capture Directory.

Always Capture Audio on Export

In most cases, the audio in the source EDL will be made up of various recordings cross-faded together, possibly
with gain changes to individual ingredients. To convert such an EDL into an Edit Master, Sonoma needs to re-record
the track outputs to ‘flatten’ the audio into a single ingredient per track. This process is called capture. Capture is also
required if there is insufficient audio before the first Start Mark or after the last End Mark, and some digital silence
needs to be edited into the file to create the required 2 second pre-roll and/or post-roll. Sonoma will prompt the user
to indicate why the capture step is required during the creation of the Edit Master.

However, there may be cases where the source audio is already ‘flattened’ into a single ingredient per track, and has
sufficient silence (or roomtone) in the pre- and post-rolls. In such a case, the audio can be exported directly, without
requiring a capture step (this can happen when editing has been completed elsewhere and the audio has been
imported for mark insertion). To do this, the Always Capture Audio on Export box should be unchecked.

Although the vast majority of exports will require capture automatically, the default setting is for Always Capture
Audio on Export to be ON by default. This ensures that the pre- and post-rolls will correctly contain silence. This
box should be unchecked only when you are sure that the material to be exported will not generate any
pre-/post-roll issues during playback in an SA-CD player.

The files and directories made under the various cases are now described.

Export Edit Master Directly + Always Capture ON

This combination of settings creates the ‘export’ directory named in the Output Master field. Within that directory
are:
<filename>.dff = the interleaved Edit Master file
<filename>.export.edl = export EDL for Edit Master file
<filename>.trkX.env = envelope file for Track X
Capture.N.edl = an intermediate EDL used to create the export EDL (can be ignored)
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Export Edit Master Directly + Always Capture OFF

This combination of settings creates the ‘export’ directory named in the Output Master field. Within that directory
are:
<filename>.dff = the interleaved Edit Master file
<filename>.export.edl = export EDL for Edit Master file
<filename>.trkX.env = envelope file for Track X (only created if the nature of the EDL
requires a capture, e.g., because it contains fades that must be ‘flattened’
or has insufficient pre- or post-roll.)
Capture.N.edl = an intermediate EDL used to create the export EDL (can be ignored)

Capture Directory
When the Export Edit Master Directly... checkbox is unchecked, two new fields will appear below the Always
Capture on Export checkbox. The first is a text field for the Capture Directory (there is also a browse button
alongside it). The second is a checkbox labelled Save Intermediate Files.

The Capture directory is where the intermediate, mono capture files will be placed prior to the interleaving process
that creates the interleaved .dff Edit Master file. By default, its path will be the same as for the directory that will
hold the Export directory, and the Capture directory name will take the form Capture.N, where N is an integer that
starts at 1 and increases with the number of captures made to the host directory. You can change the path and
filename in the same way as for the Output Master described above. The Save Intermediate Files checkbox
determines whether the mono capture files are saved at the end of the Edit Master creation process (which requires
extra disk space), or not. If, Export Edit Master Directly... is unchecked, the Save Intermediate Files feature is ON
by default.

Note: The use of the “Capture” method is NOT recommended, however, the options that become
available when it is used are described below for completeness.

Export Edit Master Directly OFF + Always Capture OFF + Save Intermediates OFF
This combination of settings creates the ‘export’ directory named in the Output Master field. Within that directory
are:
<filename>.dff = the interleaved Edit Master file
<filename>.export.edl = export EDL for Edit Master file
<filename>.trkX.env = envelope file for Track X (only if capture needed due to EDL)

Export Edit Master Directly OFF + Always Capture OFF + Save Intermediates ON
This combination of settings creates the ‘export’ directory named in the Output Master field. Within that directory
are:
<filename>.dff = the interleaved Edit Master file
<filename>.export.edl = export EDL for Edit Master file
<filename>.trkX.env = envelope file for Track X (only if capture needed due to EDL)

Export Edit Master Directly OFF + Always Capture ON + Save Intermediates OFF
This combination of settings creates the ‘export’ directory named in the Output Master field. Within that directory
are:
<filename>.dff = the interleaved Edit Master file
<filename>.export.edl = export EDL for Edit Master file
<filename>.chanX.env = envelope file for Track X
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Export Edit Master Directly OFF + Always Capture ON + Save Intermediates ON

This combination of settings creates the ‘export’ directory named in the Output Master field. Within that directory
are:
<filename>.dff = the interleaved Edit Master file
<filename>.export.edl = export EDL for Edit Master file
<filename>.trkX.env = envelope file for Track X

and also creates the ‘capture’ directory named in the Capture Directory field. Within that directory are:
Capture.N.trkX.dff = the ‘flattened’ mono file for Track X (filetype depends on Recording
Format Preference and can also be .dsd)
Capture.N.edl = EDL for mono capture files
Capture.N.trkX.env = envelope file for mono capture file in Track X

Error Report Box

The Edit Master is an extremely important file and has to meet strict rules about its form and content. Sonoma
carries out a number of checks on the source audio prior to beginning the Edit master creation process. If a
problem is found, it is reported in the Error Report Box. As the error messages can be quite detailed, this box is
furnished with a scrollbar. If Sonoma finds and reports any errors, the Create Edit Master... process will not be
able to be completed, and the Export Button (see below) will be greyed out.

System Time
The System Time represents the time stamp that will be given to any new comments appearing in the Meta Data
Panel that will be added to the DSD-IFF meta-data during the creation of the Edit Master. This field cannot be
edited.

Export Button
When all choices have been made, and all data entered, the creation process is finally activated by clicking on the
Export Button. If Sonoma has discovered any problems that would prevent export from happening, the button
will appear greyed out. The problems listed in the Error Report Box (see above) will first need to be satisfactorily
dealt with before the button becomes available again. Only then can the Edit Master creation process be started.

During Edit Master creation, an Export Progress window appears on the screen. This contains a Conversion
Progress counter to indicate the amount of progress that has been made in carrying out the action. A Cancel
button allows the creation process to be stopped at any time. When the process has completed, all the countdown
bars of the Conversion Progress counter will appear blue, and the Cancel button will change to OK. Clicking on
OK closes the Export Progress window and returns the user to the source EDL that was being exported.

Important Considerations
The Export EDL
The Create Edit Master... command is an EDL driven process. As soon as the Export Button has been clicked, a
new read-only EDL called an Export EDL is opened. This EDL will automatically be given the name <Current
EDL filename>.export.edl, and will be created in the Export directory. The audio that appears in the
source EDL will be copied into the Export EDL, then trimmed to the range defined by the first Start Mark and last
End Mark, and slipped so that the start of the Export EDL begins at 00:00:00.00.34 Behind the Export Progress
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window, you should then be able to see the audio being re-recorded into the Export EDL as the ‘flattening’ of the
audio into a single ingredient per track takes place.

When the create Edit Master process has completed, you should see the Export EDL appear briefly in the EDL
Display Window, before you are returned to the original source EDL. If you click the File Menu pull-down, you
will notice that the Export EDL is the most recently opened EDL, i.e., it will appear at position 1 in the list of
recently open EDLs. The Export EDL can be opened like any normal EDL. However, it is recommended to
consider the Export EDL as merely a stepping stone to the Edit Master file. Its main purpose is to show the
presence of Metering Marks generated during the export process. You should always have Metering Marks
inserted during Export, and you should check the Mark Control Panel of the Export EDL to ensure the
Edit Master is within the SA-CD specifications. However, due to the rules that define the Edit Master, the
Export EDL can appear either wrong or highly mis-leading, and should be ignored for all other purposes other
than checking Metering Marks. Some examples will highlight the issue.

Edit Master Track Mapping

No restriction is placed on the choice of which track in Sonoma corresponds to a particular loudspeaker channel in
an Edit Master file, all that is required is that the proper Channel Assignment is made (see The Configuration Panel
section above). However, when Sonoma imports an Edit Master .dff file it uses the following industry standard
mapping:
MLFT → Track 1
MRGT → Track 2
C → Track 3
LFE → Track 4
LS → Track 5
RS → Track 6
and for stereo:
SLFT → Track 1
SRGT → Track 2

This can lead to a difference in the way that Sonoma displays the export EDL versus the Edit Master file. For
example, if you export tracks 1 to 5 as a 5.0 multi-track project, the Export EDL will display in tracks 1 to 5,
whereas the Edit Master .dff file will import to tracks 1 to 3, 5 and 6.

Mute Tracks
If you use the Mute Track feature during export, the tracks that are muted will not be copied to the Export EDL,
whereas a silent track will become part of the Edit Master .dff file. So, if you export a 4.0 project, the Export EDL
will contain only four channels, whereas the Edit Master will either contain 5 channels with the center muted, or
6 channels with the center and LFE muted. In this case, the Export EDL is mis-leading about the content of the
Edit Master.

.ENV File Naming

There is a known problem with the naming of the .env files in the current Sonoma application. This can result in
some tracks appearing with blank envelopes, and others with the incorrect envelope data. This is because the
export EDL looks for .env files corresponding to its track numbers, the imported .dff file uses the Edit Master
Track Mapping and the .env file numbers are determined by the number of channels in the Loudspeaker
Configuration parameter. To avoid problems as much as possible do the following:
34. This will result in the first Start mark appearing at 00:00:02.04 when the default Offset of 4 frames is used, thereby ensuring
that, when the Offset is subtracted from the Start time during export, there will still be 2 seconds of pre-roll before the
adjusted Start mark.
196 CHAPTER 22
Creating an SA-CD Edit Master

To create a 2-Channel Edit Master:

• place the audio in tracks 1 and 2 of the source EDL – this will result in the .env files corresponding correctly
for both the export EDL and the imported .dff file

To create a 6-Channel Edit Master:

• place the audio in tracks 1 to 6 of the source EDL – this will result in the .env files corresponding correctly for
both the export EDL and the imported .dff file – this is also true when Muted Tracks are used

To create a 5-Channel Edit Master:

Do one of the following:
• use the 6-channel set-up with the LFE track muted
• place the audio in tracks 1 to 5 of the source EDL – the .env files will match for you to check the export EDL;
however, you will need to rename <filename>.trk5.env to <filename>.trk6.env and then rename
<filename>.trk4.env to <filename>.trk5.env in order to make the .env files match the Edit Master
Track Mapping.

Metering Overloads
Currently, overloads detected by the Annex Meters (see Chapter 5: Annex Metering) will NOT stop the create Edit
Master process from completing. However, it is strongly recommended to turn on the generation of Metering
Marks during the creation of the Edit Master file, and to check the Mark Control Panel in the Export EDL to
determine whether the Edit Master file is within specification.

To ensure no overloads exist in the Edit Master file:

Prior to exporting:

1. turn OFF the display of Ingredient Metering Marks

2. turn ON the display of EDL Metering Marks
3. use Ingredient Gain controls when auditioning the audio to remove any overloads

Note: You cannot use the Edit Master .dff file for this purpose, as the Metering Marks are stored only
in the Export EDL.

Illegal Authoring Marks

An SA-CD Edit Master file cannot be created if it contains illegal Start Marks, however, the application will ignore
illegal Index and End Marks (see Chapter 15: Marks for more details).

Creating an Edit Master Tape

As soon as an Edit Master file has been created and quality controlled, it is time to write it to an Edit Master Tape35
for transmission to an Authoring facility. At this time, the tape creation tools are not part of the Sonoma
application. However, a brief overview is now provided of the steps involved in creating a tape under
Windows XP.
1. at the completion of a project (all editing work done, Edit Master created and checked), Save all files
2. Close the Sonoma application
35. Interchange between SA-CD production facilities is currently based on the Sony AIT-1 digital tape format. This is NOT
included as standard with a Sonoma system, and must be purchased separately. Work is underway for interchange to be
based on the recordable DVD and Blu-Ray optical disc formats; however, they are NOT supported at all facilities at the
time of writing. This is something that needs to be checked with the vendors that you intend working with.
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3. click on the Windows Start button, and select Programs>Accessories>System Tools>Backup

4. the Backup Utility window will appear
5. click Backup
6. click on the directory name(s) and/or filename(s) to be saved
7. click Backup Destination: 8mm AIT
8. click Start Backup, this takes you to the Backup Job Information Window
9. enter text to identify your project and this tape
10. click Advanced, and set Verify to ON, set Compress if possible to OFF, and set Backup Type to NORMAL
11. click Start Backup
198 CHAPTER 22
Creating an SA-CD Edit Master
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QUICK REFERENCE GUIDE

Pull-down Menus Windows-type Commands

TO DISPLAY PRESS TO INVOKE PRESS
File Menu Alt+F New EDL Ctrl+N
Edit Menu Alt+D Import New Sound Files Ctrl+Shift+N
Navigation Menu Alt+N Open Ctrl+O
Selection Menu Alt+S Close Alt+C
Cursors Menu Alt+U Save Ctrl+S
Marks Menu Alt+K Exit Application Alt+F4
Transport Menu Alt+T Undo Ctrl+Z
Record Menu Alt+R Re-do Alt+Z
Waveforms Menu Alt+E Help About Sonoma Ctrl+Alt+H
Preferences Menu Alt+P Launch User Preferences Panel Ctrl+Alt+P
Window Menu Alt+W

Switching EDL Control Panels

Control Bar Toggles
TO GO TO PRESS
These commands toggle the various Toolbars ON and OFF.
Track Control Panel Ctrl+Page Up
TO TOGGLE PRESS Next Panel Tab

File Toolbar Ctrl+Alt+F Previous Panel Shift+Tab

Ingredient Edit Toolbar Ctrl+Alt+E Ingredient Edit Panel Ctrl+Alt+I

Undo Toolbar Ctrl+Alt+U Splice Edit Panel Ctrl+Alt+L

Navigation Toolbar Ctrl+Alt+N Mark Control Panel Ctrl+Alt+M

Selection Toolbar Ctrl+Alt+S

Cursors Toolbar Ctrl+Alt+C
Transport Toolbar Ctrl+Alt+T
Record Toolbar Ctrl+Alt+R
Monitoring
Waveforms Toolbar Ctrl+Alt+W
Timecode Toolbar Ctrl+Alt+K TO PRESS
Toggle I/O Monitor Ctrl+I

Debug Toolbar (DO NOT USE!)‡ Ctrl+Alt+D Monitor Input‡ Alt+I

Monitor Output‡ Alt+O
‡ the Debug Toolbar is intended for use by Sonoma software
developers only. Mute/Unmute All Ctrl+M

‡ applies only to selected tracks, or to all tracks if none are selected.

200 QUICK REFERENCE GUIDE
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Metering and Waveforms Selecting Ingredients

TO PRESS TO PRESS
Toggle Metering On/Off Ctrl+Shift+M Select All Ingredients Ctrl+A
Toggle Annex Meters On/Off Ctrl+Alt+Shift+M Deselect All Ingredients Ctrl+D
Decrease Metering Alt+NumPad / Select Under Nowline‡ Ctrl+U
Increase Metering Alt+NumPad * Toggle Selection Under Nowline Ctrl+Shift+U
Decrease Waveform Alt+NumPad Minus Select Starting Before Nowline‡ Ctrl+Shift+Y
Increase Waveform Alt+NumPad Plus Select Ending After Nowline‡ Ctrl+Y
Default Waveform Alt+NumPad 0 Select Previous Ingredient Shift+, (i.e., Shift+Comma)
Normalize Waveform Alt+NumPad . Select Next Ingredient Shift+. (i.e., Shift+Period)

‡ applies only to selected tracks, or to all tracks if none are

selected.

Play, Record and Audition

TO PRESS
Moving Selected Ingredients Vertically
RTZ (Return To Zero) Shift+Home
Rewind (return to start of play) Home TO PRESS
Play Ctrl+P Rotate Selection Up Alt+UpArrow
Stop Ctrl+Spacebar Rotate Selection Down Alt+DownArrow
Play/Stop Toggle Spacebar
Play Selection Shift+Spacebar
Audition To Edit Left‡ 5
Audition From Edit Right‡ 6
Select and Edit Timecode
Audition To Nowline 7
Audition From Edit Left‡ Ctrl+5 TO PRESS
‡ Select Nowline NumPad *
Audition To Edit Right Ctrl+6
Audition From Nowline Ctrl+7 Select Edit Left Ctrl+NumPad *
Audition Around Edit Left‡ Alt+5 Select Edit Right Ctrl+Shift+NumPad *
Audition Around Edit Right‡ Alt+6
Audition Around Nowline Alt+7
Audition Edit Region‡ - (i.e., Minus)
Audition Around Edit Region‡ Shift+- (i.e., Shift+Minus)
Zooming and Scrolling
Record Trigger Ctrl+R
Record Edit Region Ctrl+Shift+R TO PRESS
Cancel Recording Ctrl+Alt+Shift+R Zoom Around Selection Alt+A
Discard Last Recording Ctrl+Shift+Delete Zoom to Include Selection Alt+Ctrl+A
Preroll P1 1 Zoom Around Edit Region Alt+Minus
Preroll P2 2 Zoom Around All Alt+Shift+A
Preroll P3 3 Zoom to 1 Minute Alt+M
Zoom to 1 Minute Alt+M
‡ applies only to selected tracks, or to all tracks if none are
Scroll EDL Up 1 Page PgUp
selected.
Scroll EDL Down 1 Page PgDown
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Numeric Keypad Zooming and Scrolling Edit Cursors and Edit Region
TO PRESS
Show/Hide Edit Left Toggle Alt+F5
Show/Hide Edit Right Toggle Alt+F6
Set Edit Left to Nowline F5
Set Edit Right to Nowline F6
Move Nowline to Edit Left Shift+F5
Move Nowline to Edit Right Shift+F6
Cut/Ripple Edit Region‡ F9
Cut/Ripple Edit Region and Shift+F9
Marks‡
Cut Edit Region‡ Alt+F9
Cut Edit Region and Marks‡ Shift+Alt+F9
Copy Edit Region‡ F10
Copy Edit Region and Marks‡ Shift+F10
Insert Time‡ F11
Insert Time and Ripple Marks‡ Shift+F11
TO PRESS
Zoom to Preset 1 Alt+NumPad 1 ‡ applies only to selected tracks, or to all tracks if none are selected.
Zoom to Preset 2 Alt+NumPad 2
Zoom to Preset 3 Alt+NumPad 3
Zoom to Preset 4 Alt+NumPad 4
Center Nowline NumPad 5
Editing Ingredients: Cut, Copy, and Paste
Center Edit Left Ctrl+NumPad 5
Cut and Copy selected ingredient(s) from EDL to the Clipboard:
Center Edit Right Ctrl+Shift+NumPad 5
TO PRESS
Cut Ctrl+X
Copy Ctrl+C
Copy After Nowline Shift+[
Clear Shift+Delete
Moving Cursors
TO PRESS Paste and Punch from the Clipboard to the EDL:

Nudge Nowline Backward ←

TO PRESS
Nudge Nowline Forward →
Paste (overlay) Ctrl+V
Nudge Edit Left Backward Ctrl+←
Punch Paste Alt+V
Nudge Edit Left Forward Ctrl+→
Paste After Nowline Ctrl+[
Nudge Edit Right Backward Ctrl+Shift+←
Punch After Nowline Alt+[
Nudge Edit Right Forward Ctrl+Shift+→
Paste Before Nowline Ctrl+]
Move Nowline Before Selection Shift+9
Punch Before Nowline Alt+]
Before Selection/to fade-in start Ctrl + Shift+9
Before Selection/to fade-in end Alt + Shift+9
Move Nowline After Selection Shift+0
After Selection/to fade-out end Ctrl + Shift+0
After Selection/to fade-out start Alt +Shift+0
Move Nowline to Previous Mark , (i.e., Comma)
Move Nowline to Next Mark . (i.e., Period)
Move Nowline x secs to the Left Alt+, (i.e., Alt+Comma)
Move Nowline x secs to the Right Alt+. (i.e., Alt+Period)
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Editing Ingredients: Slip, Trim, and Splice Fade Pivots

Editing commands apply to the selected ingredients
TO SET PRESS
TO PRESS Ingredient Fade Pivot Min Shift+1

Move Selection After Nowline [ Ingredient Fade Pivot Center Shift+2

Move Selection Before Nowline ] Ingredient Fade Pivot Max Shift+3

Trim Left to Nowline / Splice Fade Pivot Start Ctrl+1

Trim Right to Nowline \ Splice Fade Pivot Center Ctrl+2

Slice At Nowline Shift+\ Splice Fade Pivot End Ctrl+3

Unslice Selection Alt+Shift+\

Nudge Selection Backward Alt+←
Nudge Selection Forward Alt+→
Splice Ctrl+L
The Mark Editor
Unsplice Alt+L
TO PRESS
Add EDL Mark Enter
Add Start Mark Shift+Enter
Add End Mark Ctrl+Enter
Linear Editing Commands
Add Index Mark Ctrl+Shift+Enter
TO PRESS Add Ingredient Mark Alt+Enter
Replace F1 Type in Mark Info Insert
Replace, no splicing Alt+F1 Move Mark to Nowline Shift+/
Layer F2 Sync Ingredient Mark to Nowline Ctrl+Shift+/
Insert F3 Delete Selected Marks Delete
Insert, no splicing Alt+F3 Audition Authoring Mark M
Append F4

Note: These commands apply only to the selected source tracks, or to

all source tracks if none are selected.

Ingredient Editing Accelerators

These accelerators are available only when one or more ingredients are
selected and the Ingredient Editor Control Panel is visible.

Linear Editing Window Management and TO PRESS

Navigation Edit-in Point - by nudge amount A
Edit-in Point to Nowline S
TO PRESS
Edit-in Point + by nudge amount D
Make Active EDL the Source Shift+F7
Edit-out Point - by nudge amount F
Make Active EDL the Destination Shift+F8
Edit-out Point to Nowline G
Bring Source To Front F7
Edit-out Point + by nudge H
Bring Destination To Front F8 amount
Tile Source/Dest F12
Align at Left Edit Ctrl+F12
Align at Right Edit Ctrl+Shift+F12
Align at Nowline Shift+F12
Align at Boundaries Alt+Ctrl+F12

Note: Holding the Alt-key down while selecting an open EDL from the
Window Menu makes that EDL the Source and performs the
Source/Destination tiling command (F12). However, this
command does not work if the EDL is the Destination, or already
has focus.
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TO TRIM PRESS TO PRESS

Fade-in Length - by nudge Z Audition Outgoing Around the Q
amount Edit
Fade-in Length to Nowline X Audition Outgoing Outtake W (or Shift+W to audition with
2 ms fade)
Fade-in Length + by nudge C
amount Audition Outgoing E (or Shift+E to audition with
2 ms fade)
Fade-out Length - by nudge V
amount Audition Edit R (or Shift+R to audition with
2 ms fade)
Fade-out Length to Nowline B
Audition Incoming T (or Shift+T to audition with
Fade-out Length + by nudge N 2 ms fade)
amount
Audition Incoming Outtake Y (or Shift+Y to audition with
2 ms fade)
Audition Incoming Around the U
TO ADJUST PRESS Edit

Fade-in Gain - by nudge amount Shift+Z

These edit point accelerators Trim the material in the splice. Holding the
Fade-in Gain + by nudge amount Shift+X Shift-key while trimming the incoming or outgoing edit points pins the
ingredient position (as shown in parentheses in the following table),
Both Gains - by nudge amount Shift+C
however, the mid-point cannot be pinned:
Both Gains + by nudge amount Shift+V
TO TRIM PRESS
Fade-out Gain - by nudge Shift+B
amount Outgoing - by nudge amount A (Shift+A = Outgoing - by nudge
amount [ingredient pinned])
Fade-out Gain + by nudge Shift+N
amount Outgoing to Nowline S (Shift+S = Outgoing to Nowline
[ingredient pinned])
Outgoing + by nudge amount D (Shift+D = Outgoing + by
nudge amount [ingredient
pinned])
Incoming - by nudge amount F (Shift+F = Incoming - by nudge
Splice Editor Modifiers and Accelerators amount [ingredient pinned])
The Nowline can be moved to the edit points in the splice using the Ctrl-key Incoming to Nowline G (Shift+G = Incoming to
and the NL buttons in the Splice Editor Control Panel: Nowline [ingredient pinned])
Incoming + by nudge amount H (Shift+H = Incoming + by
TO MOVE PRESS nudge amount [ingredient
Nowline to Outgoing Edit Point Ctrl+NL under Edit Point pinned])
Outgoing in Splice Window Midpoint - by nudge amount J
Nowline to Incoming Edit Point Ctrl+NL under Edit Point Midpoint to Nowline K
Incoming in Splice Window
Midpoint + by nudge amount L
Nowline to Midpoint Ctrl+NL under Edit Point
Midpoint in Splice Window

These accelerators modify the fade length, or, with the Shift-key held down,
Three groups of accelerators are available only when the Splice Editor
they adjust the gain, as shown in parentheses in the following table:3
Control Panel is selected.

The Audition Commands play between an edit point and a location that
TO MODIFY PRESS
precedes or follows it by the currently selected pre-roll time. The given fade Outgoing Fade Length (Gain) - Z (Shift+Z)
lengths are usually played, however, when you hold down the Shift-key a by nudge amount
2 ms linear fade is used instead (as shown in parentheses in the following
table): Outgoing Fade Length (Gain) + X (Shift+X)
by nudge amount
Both Fade Lengths (Gains) - by C (Shift+C)
nudge amount
Both Fade Lengths (Gains) + by V (Shift+V)
nudge amount
Incoming Fade Length (Gain) - B (Shift+B)
by nudge amount
Incoming Fade Length (Gain) + N (Shift+N)
by nudge amount