SoundPrepper Manual
Covers SoundPrepper 1.2.5 · Last reviewed
Overview
SoundPrepper is a utility for preparing production sound WAV/BWF assets for smooth post workflows: offloading, trimming, inspecting and editing metadata, validating timecode consistency, and performing common file operations (rename, split, combine, export reports) with an emphasis on safety and repeatability.
Key ideas
• A file is a WAV/BWF asset on disk.
• A take (or take group) may consist of multiple related files (for example: a poly file plus ISO siblings, or a merged ISO group).
• Metadata lives both in the filename and inside file headers/chunks (BEXT, iXML, LIST/INFO, and optional vendor chunks). SoundPrepper aims to keep these consistent.
Safety notes
SoundPrepper performs operations that can affect deliverables:
• Metadata edits write into the file header. Use backups and test on copies when building a new workflow.
• Timecode-related edits can change how DAWs and NLEs interpret sync. Be deliberate about "Keep Start TC" and frame rate changes.
• macOS file permissions are handled via security-scoped bookmarks and coordinated writes. If you move files or change volumes, you may be prompted again.
Choose the file operation deliberately
• New outputs: Convert Selected Files, Trim and Split & Combine offer destination-based workflows. Keep originals by choosing a separate destination/name.
• Source replacement: Convert source files (with backup), Back Up Sources and Join, and Back Up Sources and Assemble explicitly replace originals. Read their workflow chapters for backup, removal and recovery behavior.
• Where a conflict dialog offers Overwrite, it replaces the destination without the extra backup requested by Backup and Overwrite. Keep Both creates another name, Skip leaves that output unprocessed, and Cancel stops the operation. Availability depends on the tool.
• Rename validates its naming plan and blocks conflicts. Do not expect conversion-style Overwrite choices in Rename.
History and cancellation are operation-specific
Pending metadata edits require Save; direct generation/removal commands and LTC Apply write immediately. Use the relevant tool's completion result and Undo History to distinguish these actions.
Cancellation does not generally undo completed output files. Convert and recorder joining have different partial-failure limits from timecode assembly, which attempts rollback after source-replacement failure. Saving new Join/Assemble outputs has its own Undo behavior; do not assume every export has disk Undo.
Keep required sources and backup sets available for Undo/Redo. A metadata snapshot is not a complete audio-file backup, and a failed operation may not register the same history step as a successful one. If the app reports incomplete recovery, inspect the affected files and recover from backups before retrying.
Offload
The Offload window is used to copy, verify, or compare production sound between a source folder and one or two destination folders. It is designed for field-audio workflows where verified copies and a clear audit trail matter.
Open Offload… from the main window. Choose Single Source for Copy + Verify, Verify Only, or Compare Source. Choose Multiple Sources to copy and verify up to four source folders to one or two destinations. Offload uses the folders chosen in this window, not the Production Sound table selection.
Single Source workflow
1. Choose a source folder.
2. Choose Destination 1.
3. Optionally choose Destination 2 for a second destination.
4. Select an offload mode.
5. Select a routing preset.
6. Confirm or edit the Daily Name.
7. Click Scan to build the file list.
8. Click Offload to begin the run.
The file list shows every planned file along with its size, status for each destination, and any warning or error message.
Offload modes
The five numbered Preset slots are shared by Single Source and Multiple Sources:
• Command-click a slot to store the current destinations. In Single Source this also stores the mode and routing preset.
• Click a stored slot to recall it; an empty slot does nothing. Multiple Sources recalls destinations only, and storing there retains any previously stored Single Source mode/routing options.
• Option-click a stored slot to open Edit, where Save updates its name, Cancel closes without changes, and Remove empties the slot without changing the current Offload settings.
Quick presets do not store source folders, Daily names or the Multiple Sources layout, and recalling one does not start a run. If a destination is unavailable or a recalled Sound Devices routing preset is hidden, the app reports the problem and keeps the current configuration.
Source and destination selection (Single Source)
For Copy + Verify and Compare Source, the source is the folder you want to offload or compare from. This can be a recorder Daily folder or a supported Sound Devices card root.
Destination 1 is required. Destination 2 is optional. If Destination 2 is set, SoundPrepper can copy, verify, or compare a second destination in the same run.
Verification and reporting
During a run, SoundPrepper tracks progress overall and per file. Each file is given a status such as Pending, Copied, Verified, Skipped, Skipped (Verified), Not Verified, or Error.
At the end of a Copy + Verify or Verify Only run, SoundPrepper writes an offload manifest containing the planned file list and hashes, plus an offload report summarizing the result, warnings, errors, and per-file outcomes.
At the end of a Compare Source run, SoundPrepper writes compare-named report files. These provide an audit trail for the comparison but are kept separate from normal OffloadManifest_* files so they are not used by Verify Only scans.
Reports are stored in the configured reports folder inside the destination. If enabled in Offload Settings, reports can be saved to both destinations and revealed automatically when the run finishes.
Auto-import completed audio
When auto-import is enabled in Offload Settings, completed WAV/BWF copies at Destination 1 are automatically imported into Production in either Single Source or Multiple Sources mode. Each successful Destination 1 copy is eligible even when another file or destination fails. Cancel and Verify Only do not auto-import files.
If a Production import is already active, eligible Offload imports wait in its queue. Import Cancel clears requests that are still waiting as well as cancelling the active import.
Cancellation and recovery
In Single Source, use Cancel during a run. In Multiple Sources, a source row's Cancel stops that source; Cancel All stops the batch. Wait for cancellation to finish before disconnecting drives. Cancellation does not roll back files already completed, and Offload does not register an Undo step.
A batch that reaches processing produces combined reports with per-source outcomes, including cancellation and errors; a failure or cancellation during preflight may leave no run report. Report-writing failures are shown separately. Check both the final status and the report before treating a copy as complete.
Unfinished copies use temporary files. Delete temp files or Keep temp files in Offload Settings controls their handling after failure; retained temporary files are not verified final copies. Keep the sources available, resolve the reported problem, then scan and run again. Skip if verified identical can avoid recopying destinations whose hashes already match. No automatic full-batch rollback or resume is implied.
Existing file handling
If a file already exists at the destination during Copy + Verify, SoundPrepper follows the policy selected in Offload Settings.
Single Source workflow
1. Choose a source folder.
2. Choose Destination 1.
3. Optionally choose Destination 2 for a second destination.
4. Select an offload mode.
5. Select a routing preset.
6. Confirm or edit the Daily Name.
7. Click Scan to build the file list.
8. Click Offload to begin the run.
The file list shows every planned file along with its size, status for each destination, and any warning or error message.
Offload modes
Copy + Verify
Copies files to the selected destination folders and verifies them using SHA-256 checksum comparison. SoundPrepper computes the source hash during copy, verifies the copied destination file against that hash, and writes the hash into the offload manifest for future verification.
Verify Only
Does not copy anything. SoundPrepper reads an existing OffloadManifest_*.json from Destination 1 and verifies the files already stored on disk against the hashes in that manifest.
When Scan is clicked in Verify Only mode, SoundPrepper searches the configured reports folder in Destination 1 for usable OffloadManifest_*.json files. If multiple usable manifests are found, SoundPrepper shows a picker so you can choose which manifest to verify against. The selected manifest path is shown in the source summary row together with file count and total size.
Verify Only requires manifests that contain SHA-256 hashes. Older or invalid manifests without hashes are ignored because they cannot be used for checksum verification.
Compare Source
Does not copy anything and does not require a manifest. SoundPrepper scans the selected source, resolves the expected destination paths using the current routing preset and Daily Name, then compares the source files directly against Destination 1 and, if set, Destination 2.
Compare Source is read-only for audio files. It reports missing files, hash mismatches, and verified matches, but it does not copy, replace, rename, or create destination audio files. Compare reports are written as OffloadCompareManifest_* and OffloadCompareReport_* files so they do not appear as Verify Only manifests.
Multiple Sources workflow
1. Select Multiple Sources and choose between one and four source folders. Each source scans automatically; wait for scanning to finish.
2. Choose Destination 1 and optionally Destination 2.
3. Choose a destination layout and enter the relevant Daily names.
4. Review the file list and destination paths, then click Offload. The app checks all source and destination paths before copying.
5. Review each source's final status and use Show Reports to inspect the combined report.
Multiple Sources uses Copy + Verify, with source folder contents preserved under the chosen layout:
• Separate Daily folders uses the Daily Name beside each source to place its files under its own destination path.
• One shared Daily folder places all sources under Shared Daily Name, retaining their relative paths. Resolve colliding output paths before running; this layout does not automatically separate sources into source-name folders.
• Sibling audio folders takes the parent containing folders of audio, for example a transmitter root. Child folders containing audio are copied with their other files and subfolders. Files directly in the parent and folders without audio are excluded. Shared Daily Name is optional here: leave it empty to place those child folders directly in the destination.
Source and destination folders must not overlap. The batch preflight also rejects conflicting planned paths across sources; existing destination files follow the selected existing-file policy. If preflight fails, correct the reported paths or selections and start again.
Routing presets (Single Source)
Sound Devices-specific presets are hidden when Offload Settings → Hide Sound Devices routing presets is enabled. Turn that setting off to expose the presets grouped under Sound Devices only. Use Copy everything as-is for sources that do not follow those recorder layouts.
Copy everything as-is
Preserves the source folder structure under the destination Daily folder.
Flat into Daily
Places production-sound files directly inside the destination Daily folder. Subfolders are flattened according to the routing rules.
Split under Daily
Routes files into subfolders such as Daily/LR, Daily/ISO, and Daily/B1B2 based on filename suffixes. These presets are designed for production-sound workflows commonly associated with Sound Devices recorders and expect files to be classifiable as LR, ISO, or B1B2.
Daily inside roots
Routes files into root folders first, such as LR/Daily, ISO/Daily, and B1B2/Daily. These presets follow the same workflow assumptions and require files to be classifiable as LR, ISO, or B1B2.
Folder structure validation
For all routing presets except Copy everything as-is, SoundPrepper validates the source structure before starting. This validation is intentionally strict. If the selected source does not match the expected folder layout used by Sound Devices recorders, the run will not start. This helps prevent files from being routed into an incorrect destination structure.
Daily Name
Daily Name is a relative destination folder path. Use / for nested folders, for example Daily/26Y09M15. Do not use leading or trailing slashes, empty components, . or .., colons, or null characters. A name is required except for the optional Shared Daily Name in Sibling audio folders.
Right-click a Daily Name field to insert today's or yesterday's date at the text selection. In Single Source, when using a Sound Devices card root with a recorder Daily folder inside it, the destination Daily Name must differ from that recorder Daily name; alternatively select the recorder Daily folder itself as the source.
New Day folders
After choosing a destination, click New Day… beside it to create a day folder inside that selected destination. Review the day number, date and proposed folder name. Use Last Day reuses the last day name from the current window session. If the folder already exists, review and choose Use Existing Folder to select it without clearing its contents. Cancel closes the dialog without selecting a new destination.
The created or reused folder becomes that destination. Daily Name and routing rules still apply beneath it, so check the resulting path to avoid an unintended extra folder level. Offload Settings → New Day Naming… configures the prefix, numbering, date format, order, separator and month language in one pane.
New Day Naming has five named presets shared across Single Source and Multiple Sources and across app sessions:
• Click a stored preset to recall its naming formats; an empty preset does nothing.
• Command-click a preset to store the current naming settings.
• Option-click a stored preset to open Edit, where Save updates its name, Cancel closes without changes, and Remove empties the slot without changing the current naming settings.
These presets store naming formats only. They do not store destinations, the selected date, or a manually entered day number. Recalling a preset retains the current date and manual day number and recomputes automatic numbering for the current destination. Explicit preset stores, edits and removals persist even if you later cancel New Day.
Quick presets
The five numbered Preset slots are shared by Single Source and Multiple Sources:
• Command-click a slot to store the current destinations. In Single Source this also stores the mode and routing preset.
• Click a stored slot to recall it; an empty slot does nothing. Multiple Sources recalls destinations only, and storing there retains any previously stored Single Source mode/routing options.
• Option-click a stored slot to open Edit, where Save updates its name, Cancel closes without changes, and Remove empties the slot without changing the current Offload settings.
Quick presets do not store source folders, Daily names or the Multiple Sources layout, and recalling one does not start a run. If a destination is unavailable or a recalled Sound Devices routing preset is hidden, the app reports the problem and keeps the current configuration.
Source and destination selection (Single Source)
For Copy + Verify and Compare Source, the source is the folder you want to offload or compare from. This can be a recorder Daily folder or a supported Sound Devices card root.
Destination 1 is required. Destination 2 is optional. If Destination 2 is set, SoundPrepper can copy, verify, or compare a second destination in the same run.
Verification and reporting
During a run, SoundPrepper tracks progress overall and per file. Each file is given a status such as Pending, Copied, Verified, Skipped, Skipped (Verified), Not Verified, or Error.
At the end of a Copy + Verify or Verify Only run, SoundPrepper writes an offload manifest containing the planned file list and hashes, plus an offload report summarizing the result, warnings, errors, and per-file outcomes.
At the end of a Compare Source run, SoundPrepper writes compare-named report files. These provide an audit trail for the comparison but are kept separate from normal OffloadManifest_* files so they are not used by Verify Only scans.
Reports are stored in the configured reports folder inside the destination. If enabled in Offload Settings, reports can be saved to both destinations and revealed automatically when the run finishes.
Auto-import completed audio
When auto-import is enabled in Offload Settings, completed WAV/BWF copies at Destination 1 are automatically imported into Production in either Single Source or Multiple Sources mode. Each successful Destination 1 copy is eligible even when another file or destination fails. Cancel and Verify Only do not auto-import files.
If a Production import is already active, eligible Offload imports wait in its queue. Import Cancel clears requests that are still waiting as well as cancelling the active import.
Cancellation and recovery
In Single Source, use Cancel during a run. In Multiple Sources, a source row's Cancel stops that source; Cancel All stops the batch. Wait for cancellation to finish before disconnecting drives. Cancellation does not roll back files already completed, and Offload does not register an Undo step.
A batch that reaches processing produces combined reports with per-source outcomes, including cancellation and errors; a failure or cancellation during preflight may leave no run report. Report-writing failures are shown separately. Check both the final status and the report before treating a copy as complete.
Unfinished copies use temporary files. Delete temp files or Keep temp files in Offload Settings controls their handling after failure; retained temporary files are not verified final copies. Keep the sources available, resolve the reported problem, then scan and run again. Skip if verified identical can avoid recopying destinations whose hashes already match. No automatic full-batch rollback or resume is implied.
Existing file handling
If a file already exists at the destination during Copy + Verify, SoundPrepper follows the policy selected in Offload Settings.
Skip if verified identical
Computes hashes for the source and existing destination file. If they match, the copy is skipped and marked as verified. If they differ, SoundPrepper proceeds according to the copy flow and reports the outcome.
Fail if exists
Fails whenever a file already exists at the destination, even if the files are identical.
Rename new copy
Keeps the existing file and saves the incoming file with a new unique name, then verifies that new copy.
Replace if different
Computes hashes for the source and existing destination file. If they match, the copy is skipped. If they differ, SoundPrepper writes and verifies a temporary copy, then replaces the existing file.
Offload Settings
Offload Settings define the default behavior for future runs, including the default routing preset, LR / ISO / B1B2 folder names, existing file policy, temporary file failure policy, reports folder name, whether reports are saved to both destinations, whether reports are revealed on completion, whether recorder/settings sidecar files are skipped, and whether empty destination folders are skipped.
Notes
• Copy + Verify creates or updates destination files and verifies them against the source.
• Verify Only uses an existing hash manifest and does not require the source.
• Compare Source requires the source and compares it directly to the destination without copying files.
• Destination 2 is optional, but if used it participates in copy, verify, or compare runs.
• The Scan button refreshes the planned file list before starting.
• Offload is designed to produce both verified copies and a record of what happened during the run.The Main Window
SoundPrepper's main window brings together the Production Sound table, metadata editing, and trimming.
Top-row actions
• Import… adds audio files, folders, or a supported sound report.
• Offload… opens the copy and verification workflow.
• Create Report… opens sound-report export.
• Split & Combine… opens channel splitting and combining.
• Convert... opens conversion for selected Production Sound files.
Production Sound table
The table shows imported production files and take groups. Its selection determines which files the iXML and BEXT editors show.
Main tabs
• iXML contains production and timecode metadata, channel information, Save, Reset, and Rename…. More Info shows additional metadata, and Raw iXML… opens the raw iXML editor.
• BEXT contains Broadcast Wave metadata, with Save, Reset, Copy All, and Export… controls.
• Trim contains the Files to Trim table and the trimming controls. These source recordings are matched against Production Sound or an imported sound report.
Other windows and menus
• Timeline and Audio Preview provide separate views for arranging recordings by timecode and auditioning audio.
• Rename…, Raw iXML…, and RIFF… open separate windows. Raw iXML… and RIFF… are also available from the View menu.
• The Tools menu includes Create Report…, Split & Combine…, Join Recorder Segments…, Assemble Recordings by Timecode…, Convert Selected Files…, Set Start TC from LTC…, Markers Editor…, and waveform rebuilding.
• Settings… opens metadata, LTC, backup, and default-column preferences.
Selection and availability
Operations use the selection or inputs for their own workflow. For example, Convert and Split & Combine use selected Production Sound files, while Trim processes selected Files to Trim against its reference material. Check the selection and settings in the relevant window before starting.
Convert & Import
Import MP3, M4A and supported movie audio by converting them to Broadcast Wave (.wav) files. Existing WAV/BWF files use the normal import path without this conversion step. Movie compatibility depends on the container and codecs macOS can decode; a movie must contain decodable audio.
Choose the target table
• Use File → Import… (or the Production import action) to add the resulting WAV files to Production.
• Use File → Import to Trim… (or the Trim import action) to add them to Files to Trim.
• Select the media files through the relevant import action. When convertible media is found, the conversion window opens before import finishes.
Convert and import
1. Review the media files selected for conversion.
2. Choose the output bit depth, sample rate and metadata frame rate.
3. Decide whether to use creation time as Start TC / SSM.
4. Choose the destination folder for the converted Broadcast Wave files.
5. Click Convert and Import. After a successful conversion batch, the output files are imported into the table you chose.
Output settings
• Bit depth: 16-bit, 24-bit or 32-bit PCM. The default is 24-bit. This import workflow does not offer floating-point output.
• Sample rate: Preserve source (default), or 44.1, 48, 88.2, 96, 176.4 or 192 kHz.
• Frame rate: 23.976, 24, 25, 29.97, 29.97 DF, 30 or 30 DF; the default is 25. This sets the iXML timecode rate and drop-frame flag. It does not change audio duration or extraction timing.
• Dither: applies standard TPDF dither when producing 16-bit output. It does not apply to the other output bit depths.
Convert & Import does not provide the filename-suffix, normalization or individual channel-level controls available in the separate Convert Selected Files workflow.
Use creation time as Start TC / SSM
When enabled, SoundPrepper uses the embedded asset creation date when available, otherwise the filesystem creation date. Its local time of day supplies the sample-based Start TC / SSM timestamp written to BEXT and iXML. The selected frame rate controls timecode display, not the sample-based timestamp.
Creation time may describe an export or copied file rather than the original recording. Use this option only when that date is an appropriate timestamp source; it does not recover or verify recorded timecode. Conversion fails if this option is enabled and no creation date is available. When disabled, Start TC / SSM is not derived from creation time.
Movie audio
SoundPrepper extracts all decodable audio tracks into separate channels of one multichannel WAV; it does not sum them into a stereo mix or import the video. Relative audio-track start offsets are preserved. With Preserve source, a movie with different audio-track sample rates uses the highest source track rate for the output. Missing audio, unsupported decoding or unsupported channel configurations can prevent conversion.
Files and metadata
The default output name uses the source basename with a .wav extension, for example Interview.mp3 → Interview.wav. Conversion leaves the original MP3, M4A or movie unchanged.
Outputs receive newly generated BWF/iXML metadata, including new file identifiers and the chosen audio/timecode settings. Channel entries are created without source channel names or functions. Do not assume arbitrary source tags, recorded timecode or vendor metadata are transferred to the new WAV.
Existing files, cancellation and failures
If an output filename already exists, resolve the conflict with Overwrite, Backup and Overwrite, Keep Both, Skip or Cancel. Overwrite choices affect the destination WAV; choose Keep Both or Backup and Overwrite when the existing output must be retained.
Cancellation stops further work but does not undo completed conversions. A failed or cancelled current conversion attempts to remove its incomplete output. Completed WAVs may remain in the destination folder after cancellation or a partial failure, and automatic import does not finish in those cases. Read the conversion summary, inspect the destination folder, and manually import valid completed WAVs or retry the failed sources as appropriate.
Related workflows
Convert Selected Files
Use Tools → Convert Selected Files… to convert WAV/BWF files already selected in the Production sound table. For MP3, M4A or movie audio, use Convert & Import instead.
Selection and workflow
1. Select the Production rows to convert, then open Convert Selected Files….
2. Check the selected-file count. While the window is idle, it follows the current Production selection. A grouped ISO row includes its underlying files; duplicate paths are processed once.
3. Choose an output bit depth and/or sample rate.
4. Choose a destination folder and review the filename suffix, or enable Convert source files (with backup).
5. Review the available level-processing and dither options, then click Convert Selected or Back Up and Convert Sources.
The batch captures the selected files and settings when conversion starts. Opening the tool with a selection marked truncated/corrupt is blocked.
Bit depth and sample rate
• Preserve source format keeps each supported source's format: 16-bit PCM, 24-bit PCM, 32-bit PCM or 32-bit float. Alternatively, choose one of those four output formats explicitly.
• Sample rate: Preserve source, or 44.1, 48, 88.2, 96, 176.4 or 192 kHz.
• Both controls default to preserving the source. Choose an explicit format or sample rate to enable conversion; leaving both on Preserve does not start a copy operation.
• Choosing a sample rate performs audio resampling. This window does not offer a new frame-rate setting or the creation-time timestamp option from Convert & Import.
Limit peaks only and Normalize
These controls become available when the selection includes 32-bit float audio and an integer PCM output format is chosen. They are unavailable for Preserve source format or 32-bit float output. Once enabled, the chosen processing applies to the conversion batch, including other source formats in a mixed selection.
• Limit peaks only: scans the peak and reduces gain only when needed to meet the −0.5 dBFS ceiling. Quieter material is not boosted. This is a gain adjustment, not a dynamic compressor.
• Normalize: scans the peak and adjusts gain toward −0.5 dBFS, subject to the converter's gain cap.
• The two modes are mutually exclusive. With both off, no peak-based gain adjustment is requested; audio exceeding integer full scale can clip during conversion.
Adjust channels individually
Available when a multichannel file is selected and Limit peaks only or Normalize is enabled. With this option off, the highest peak in each file determines one gain applied equally to its channels. With it on, each channel gets its own gain, which can change the balance between channels. Linked processing is within each file, not across separate ISO files.
Dither
Dither adds standard TPDF dither for explicitly selected 16-bit PCM output and is enabled by default for that choice. It is unavailable for other output choices, including Preserve source format.
Destination and filename suffix
For separate outputs, choose a folder. The suffix is appended after the source basename and before its extension, with an underscore separator. The tool suggests a suffix from the selected format/rate; you can edit it or leave it empty to retain the original filename. An empty suffix does not prevent filename conflicts.
Existing outputs offer Overwrite, Backup and Overwrite, Keep Both, Skip or Cancel, with Apply to all for repeatable choices. If the output resolves to the source itself, plain Overwrite is rejected: choose Backup and Overwrite or Keep Both.
Convert source files (with backup)
This mode keeps each file in its original folder under the same filename. Destination and suffix controls are disabled, and the action becomes Back Up and Convert Sources.
Each original must be backed up before conversion. SoundPrepper writes a temporary conversion, validates it, then replaces that source through a coordinated atomic write. A backup or validation failure prevents replacement of that file. Backup storage follows the configured backup settings. Use separate outputs when you want the originals to remain at their current paths without replacement.
Metadata
Conversion rewrites audio and format information; Preserve source format is not a byte-for-byte copy. The conversion path carries readable top-level metadata chunks from RIFF/RF64/BW64 sources, updates applicable BWF/iXML conversion metadata and identifiers, and records conversion details in existing BEXT coding history. Do not assume every container or ancillary chunk layout has identical preservation support; keep backups for metadata-critical material.
Completion, cancellation and failures
The window shows per-file and overall progress, then converted/skipped/failed counts. Completed outputs are revealed in Finder; separate converted files are not automatically imported into Production.
Cancel stops further processing but does not undo completed conversions or earlier source replacements. Review the summary and any failure alert before retrying. For source conversion, recovery of an already replaced original uses its backup; cancellation is not a batch rollback.
Related workflows
The Production Sound Table
The table gives you a spreadsheet-like overview of imported files/takes.
Importing files
Common import paths:
• Drag-and-drop files or folders onto SoundPrepper.
• Use File → Import…
• Use Import… button
• Use keyboard shortcut CMD + I
On import, SoundPrepper evaluates:
• Audio format basics (WAV/BWF variants)
• Available metadata chunks
• Timecode/sample rate/frame rate stamps
• Sibling relationships (poly+ISO, merged ISO groups, etc.)
• Mismatch flags (table highlighting and tooltips when enabled)
While cloud downloading or scanning is pending, Production ignores another import request for the same file path. A failed or cancelled attempt clears that pending protection so the same path can be retried.
Selecting and multi-selecting
• Single selection: Editor shows that item.
• Multi-selection: When multiple files are selected, fields with differing values will display “Multiple values”, but can still be edited. Any change made will be applied to all selected files.
Sorting and customizing columns
• Columns can be shown/hidden and reordered.
• Sorting helps find inconsistencies quickly (scene/take duplicates, mismatched sample rates, etc.).
Row highlighting (mismatch / warnings)
SoundPrepper can visually flag rows (for example, red highlighting) when:
• Sibling metadata disagrees
• Filename-derived fields disagree with embedded metadata
• Fields changed from original values
Sibling metadata disagrees
For merged ISO sibling files, SoundPrepper compares a small set of metadata columns across all files in the sibling group. If one of these values differs between siblings, that column is shown in red in the Production Sound table.
This warning only highlights metadata differences between sibling files. It does not mean the file is damaged. It is intended to help you spot metadata that is inconsistent within the same ISO group.
The following columns can be highlighted in red:
• Scene
• Take
• Project
• Tape
• Notes
• Ubits
• UserInfo
This highlight can be disabled in the settings window.
Metadata Editor warnings and changed values
SoundPrepper also uses visual indicators in the Metadata Editor and More Info views. These are separate from the row highlighting used in the Production Sound table.
Some Metadata Editor values can turn red when SoundPrepper detects that related technical metadata does not agree. This does not necessarily mean the audio is damaged. It means that metadata values inside the file do not match and should be reviewed.
The following values can be shown in red:
On import, SoundPrepper evaluates:
• Audio format basics (WAV/BWF variants)
• Available metadata chunks
• Timecode/sample rate/frame rate stamps
• Sibling relationships (poly+ISO, merged ISO groups, etc.)
• Mismatch flags (table highlighting and tooltips when enabled)
While cloud downloading or scanning is pending, Production ignores another import request for the same file path. A failed or cancelled attempt clears that pending protection so the same path can be retried.
Selecting and multi-selecting
• Single selection: Editor shows that item.
• Multi-selection: When multiple files are selected, fields with differing values will display “Multiple values”, but can still be edited. Any change made will be applied to all selected files.
Sorting and customizing columns
• Columns can be shown/hidden and reordered.
• Sorting helps find inconsistencies quickly (scene/take duplicates, mismatched sample rates, etc.).
Row highlighting (mismatch / warnings)
SoundPrepper can visually flag rows (for example, red highlighting) when:
• Sibling metadata disagrees
• Filename-derived fields disagree with embedded metadata
• Fields changed from original values
Sibling metadata disagrees
For merged ISO sibling files, SoundPrepper compares a small set of metadata columns across all files in the sibling group. If one of these values differs between siblings, that column is shown in red in the Production Sound table.
This warning only highlights metadata differences between sibling files. It does not mean the file is damaged. It is intended to help you spot metadata that is inconsistent within the same ISO group.
The following columns can be highlighted in red:
• Scene
• Take
• Project
• Tape
• Notes
• Ubits
• UserInfo
This highlight can be disabled in the settings window.
Metadata Editor warnings and changed values
SoundPrepper also uses visual indicators in the Metadata Editor and More Info views. These are separate from the row highlighting used in the Production Sound table.
Some Metadata Editor values can turn red when SoundPrepper detects that related technical metadata does not agree. This does not necessarily mean the audio is damaged. It means that metadata values inside the file do not match and should be reviewed.
The following values can be shown in red:
Channels
When the channel count in metadata does not match the file header. For merged ISO rows, this can also indicate that the number of merged source files does not match the channel metadata count.
Sample Rate
When the file-header sample rate and iXML FILE_SAMPLE_RATE are both present and disagree. DIGITIZER_SAMPLE_RATE describes the recorder's digitizer rate and is not part of this warning.
Samples Since Midnight
When BEXT TimeReference and the iXML timestamp disagree after conversion to the same sample-rate domain, subject to the rounding tolerance and interpretation exception described in the Timecode section. Different raw sample counts do not necessarily mean different start times.
Bit Depth
When the bit depth stored in the file header does not match the iXML <AUDIO_BIT_DEPTH> value.
These warnings are shown for single-file inspection in the Metadata Editor. In multi-selection views, SoundPrepper usually shows a mixed-value state instead of a red mismatch warning.
Filename-derived fields disagree with embedded metadata
SoundPrepper checks whether the file name matches the Scene, Slate, and Take stored in the file’s embedded metadata. If they do not agree, the entire row can be highlighted in red in the Production Sound table.
This check is based on the file name itself, not on sibling files. It is intended to help you spot files whose name suggests a different Scene/Slate/Take than the metadata written inside the WAV file.
A row is only flagged when SoundPrepper has enough metadata to compare:
• Scene
• Take
If the expected Scene[/Slate]+Take pattern cannot be found in the file name, the row is marked as a mismatch.
This highlighting can be disabled in the Settings window.
Fields changed from original values
SoundPrepper tracks whether metadata has been edited since the file was loaded or last reset. This is different from a mismatch warning.
A changed value means the current metadata no longer matches the original baseline stored by SoundPrepper for that file.
Changed-from-original values are shown at the file level rather than as per-field red labels.
• In the Production Sound and Trimmable tables, files with unsaved changes have the entire row highlighted in orange.
• In the editor area, Save and Reset become available when the current file or selection contains unsaved changes.
Tooltips
Where available, SoundPrepper uses tooltips to provide more detail about row highlights, warnings, mismatches, mixed values, and unsaved changes. A tooltip explains why a row or field has been highlighted and what kind of inconsistency or edit has been detected. These indicators are intended to help review metadata and do not necessarily mean that the file is damaged.The Metadata Editor
The Metadata Editor is where you view and edit the metadata that SoundPrepper exposes from each file. It focuses on production metadata, technical metadata, and related file-set information, while preserving existing chunks and ancillary data whenever possible.
SoundPrepper's general rule is to preserve existing metadata structure where possible and only rewrite what is needed for the user's change.
What you can view and edit
In the main Metadata Editor, the editable fields include:
File metadata:
• Scene
• Take
• Project
• Tape
• Notes
• Circled
• Wild Track
• User Bits
• User Info
Technical metadata:
• Frame Rate
• Keep Start TC
• Start TC
• TC Sample Rate
This is shown as an editable control when Advanced Metadata Editing is enabled in Settings.
The main Metadata Editor also shows read-only technical values such as:
• File Name
• File UID
• Channels
• Sample Rate
• Bit Depth
• Duration
• Samples Since Midnight
Additional related fields are available in the More Info view, including:
• Current Name
• Original Name
• Parent Name
• Parent UID
• Family Name
• Family UID
• Total Files
• File Set Index
Batch editing
When multiple files are selected, SoundPrepper supports batch editing for many fields. If selected files do not share the same value, the field shows a mixed state such as Multiple values.
For editable text fields, entering a new value applies that value to the selected files.
For checkboxes such as Circled and Wild Track, a mixed selection is shown with a mixed checkbox state until you choose a new value.
Some fields remain constrained in batch editing:
• channel-dependent metadata must remain compatible with the selected files
• some technical and timecode-related edits are limited to avoid accidental sync problems
• mismatch warnings are suppressed in mixed state and replaced by mixed-value display
Saving changes
Edits are made in memory first and are not written to disk until you click Save.
• Save writes the modified metadata for the currently selected modified files.
• Reset discards unsaved changes for the currently selected modified files and restores their original loaded values.
SoundPrepper does not rely on an automatic save-or-discard prompt when switching selection in this workflow. Instead, unsaved files remain marked as modified until you explicitly save or reset them.
Metadata Utilities
Select the intended file or Production rows before opening a utility. Inspectors and batch Edit commands have different save behavior; check the active file and any grouped-file scope before applying changes.
BEXT
Open View → BEXT… to inspect and edit Broadcast Wave fields. Review the description, time reference and identity fields, then use Save to write edits. Update Description from iXML derives the description from metadata, while Generate UMID prepares a new identifier in this inspector. These inspector changes require Save. For grouped material, review the offered save scope before writing. Copy All and Export… provide ways to retain the displayed information.
Measure Loudness… in the BEXT inspector measures a PCM mix without modifying the source audio. Choose conventional speaker assignments for between 1 and 8 channels; mono and stereo files receive default assignments, while files with more channels require assignments before measurement. Supported sample rates are integer rates from 8 kHz through 192 kHz.
After measurement, Save Results stages integrated loudness, loudness range, true peak, maximum momentary loudness and maximum short-term loudness in that file's BEXT version 2 at hundredth precision. Results that could not be measured remain blank. LFE is excluded from loudness measurements but included in true peak. Use the inspector's Save afterward to write the staged BEXT values to disk.
Raw iXML and RIFF
Use View → Raw iXML… to inspect or edit the XML and Save to write it. Reset reloads the saved state. Preserve valid XML and review any scope offered for grouped files. Use View → RIFF… to inspect the file's chunk structure when investigating metadata; inspecting chunks is separate from editing their content.
Markers
Open Tools → Markers Editor… for the selected file. Review each marker's source, position/samples, label and notes. Edit the supported fields, then choose Save, Reset or Cancel. Successful marker saves register Edit Markers history; editing the displayed fields alone is not a disk save.
Artwork
Use Edit → Add Artwork…, choose an image and confirm Embed to write artwork into the selected files. View → Artwork Preview displays available artwork. Edit → Remove Artwork asks for confirmation before removal. Embedding/removal writes to disk through the command; no later Metadata Editor Save is required.
Generation and removal commands
The Production Edit commands Generate UMID, Generate minimal iXML and Update BEXT description from iXML write their changes directly. Generate minimal iXML targets files missing iXML; it does not replace an existing full iXML document. Grouped selections can expand to their underlying files.
Remove iXML Chunk, Remove BEXT Chunk, Remove Soundminer Chunks and Remove Pro Tools Chunks remove the named metadata after the offered confirmation. These are disk operations, not hiding columns. Read the confirmation and completion results. Removal does not promise a separate full-file backup; supported Undo uses captured metadata snapshots.
Pro Tools chunk removal is restricted to valid classic RIFF/WAVE files. It removes proprietary import/relink, region and cache information and can affect how Pro Tools recognizes the media. Close the files in Pro Tools before proceeding and retain a copy when that information matters.
Copy Filename to Channel Name
Edit → Copy Filename to Channel Name changes pending metadata for eligible mono files only: no grouped ISO rows, multichannel files or truncated files. Review the result and Save it.
The name is derived rather than copied verbatim: the extension and leading channel prefix are removed, recognized shared project/scene/family prefixes and trailing numeric suffixes may be removed, hyphens become spaces, and a trailing L/R designation is retained. A leading channel number supplies the channel index; otherwise it defaults to 1.
Related workflows
Find & Replace
Use Find & Replace to make the same metadata edit across multiple selected files at once. Open it from Edit > Find & Replace… or press Option-Command-F. The command works on the files currently selected in the Production Sound list; if nothing is selected, SoundPrepper shows a warning and does not apply any changes.
Choose the metadata field you want to edit, then enter the text to find and the replacement text. The available fields are Scene, Take, Project, Tape, Notes, User Info, and Channel info. For Channel info, SoundPrepper searches both the channel name and the channel function for each selected file.
Three search options are available:
• Case sensitive matches letter case exactly.
• Whole words only matches complete words.
• Use regex treats the Find text as a regular expression.
When Use regex is enabled, Whole words is turned off because the regular expression defines the match boundaries instead. In regular-expression mode, replacement text follows regex replacement rules. In normal text mode, replacement text is treated literally.
Click Replace to apply the change immediately to all selected files. SoundPrepper reports how many matches were replaced and how many files were changed.
The window also includes Normalize, which converts the selected field to sentence case across the current selection. This is useful for quickly cleaning up entries such as notes, project names, or channel labels.
Files to Trim
The Trim tab's Files to Trim table is a staging area for WAV files you want to process with SoundPrepper's trimming workflow. Import files here when they are source recordings that should be matched against Production Sound by timecode and overlap, then trimmed into new output files. You can add files with File > Import to Trim…, the Import… button in the tab, or by dragging WAV files or folders directly into the table.
The table supports multi-selection, sorting, column reordering, column resizing, and a header menu for showing or hiding columns. The available columns include a sortable Origination Date, which is blank when that metadata is missing. The default columns include file name, scene, take, tape, timecode, duration, frame rate, sample rate, bit depth, channel names, and channel functions. Imported folders are scanned recursively for WAV files.
While cloud downloading or scanning is pending, Files to Trim ignores another import request for the same file path. A failed or cancelled attempt clears that pending protection so the same path can be retried.
Right-click selected rows to open the context menu:
• Reveal in Finder shows the source files in Finder.
• Copy filename to channel name copies each selected file's filename into its channel-name metadata.
• Remove Selected from List removes the selected entries from the Files to Trim list only.
• Remove All from List clears the current list.
• Copy Selected to Production Table adds the selected files to the Production Sound table.
You can also press Delete or Forward Delete to remove selected rows from the Files to Trim list. Removing a file from this table does not delete it from disk.
While a trim run is in progress, the tab shows a progress bar and a Cancel button. The progress indicator reports completion percentage and updates to a cancelling state if you stop the run.
Trim workflow
1. Import reference takes into Production Sound, or import a supported sound report containing the timing needed for matching. Without a sound report, Production Sound must have a single Daily/Tape identity; this is not a requirement that every file be in the same disk folder.
2. Import the source recordings into Files to Trim. Check their timecode, duration and channel names.
3. Select the source rows to process. If no rows are selected, Trim uses all files in the Files to Trim list. Production references come from the eligible reference list, not only the selected Production row.
4. Open Settings… in the Trim tab to choose matching, naming and audio-processing options.
5. Click Trim. In Review Trim Settings, confirm the emphasized Files to trim count and the displayed destination. Use Choose Destination, Show, New Day, or Edit Settings… as needed, then choose Trim to start or Cancel to close the review.
6. Review any existing-file decisions, then check the completed outputs and TrimReport_<run ID>.csv in the destination.
If the app warns about unsaved Start TC changes, you can continue or cancel to save/reset those edits first. Resolve unintended timing edits before processing.
How matching works
SoundPrepper compares the source recording's timecode interval with Production takes and available sound-report entries. A source can produce more than one cut when it overlaps multiple eligible references. The cut uses the overlapping interval; it does not extend source audio that is unavailable. Very short overlaps are filtered out. Matching accounts for different sample-rate domains, but ordinary trimming keeps the source sample rate rather than resampling it.
Match channel names adds a filter for mono sources: the reference take must contain the source's channel name. Matching ignores letter case and surrounding whitespace. Missing channel names fail this filter; polyphonic sources are unaffected.
Align waveforms
This checks eligible mono source audio against the one physical Production channel with the same channel name. It requires equal sample rates and a unique, non-empty matching name. It does not use a mix channel automatically and cannot align against sound-report text.
Reliable timing evidence can adjust the cut, and reliable polarity evidence can invert polarity. The output duration stays unchanged. Ineligible or unreliable matches are trimmed normally; alignment is not guaranteed for every cut. Read the report for applied timing/polarity changes, inconclusive results and reasons alignment was not applied.
Trim Settings presets
Trim Settings has five persistent numbered presets:
• Click a stored preset to recall its settings; an empty preset does nothing.
• Command-click a preset to store the current Trim settings.
• Option-click a stored preset to open Edit, where Save updates its name, Cancel closes without changes, and Remove empties the slot without changing the current settings or imported files.
Presets store settings only, not imported files or the output destination. Saved choices that are unavailable for the current selection remain in the preset, but appear disabled and are ignored for that run until they become eligible again.
Review destination
Trim writes directly to the destination displayed in Review Trim Settings; there is no second destination chooser after you click Trim. The initial destination is the remembered folder when available, otherwise a unique Dailies folder. An explicitly chosen destination is remembered if you cancel Review Trim Settings or choose Edit Settings….
New Day creates or reuses the destination immediately, and that destination remains selected if you later cancel Trim. Trim uses the same five New Day naming presets as Offload.
Trim Settings: naming and folders
• Trimmed filename suffix: enter a suffix, or leave it empty to use the current channel name.
• Put trimmed files in Channel name subfolders: when a filename suffix is entered, that suffix names the subfolder for every output. Otherwise mono files use their channel names; unnamed and polyphonic files stay directly in the destination. Folder names are made filesystem-safe without changing channel metadata.
• Subfolder output is unavailable with Combine, because intermediate trims are temporary.
Combine with Production audio
Combine creates a polyphonic WAV for each matched Production take. It uses actual Production audio, not sound-report-only references. It is available only when the selected sources and their Production matches have compatible output sample rate, bit depth and PCM/float format.
Production channels come first and successfully trimmed channels are appended. Replace matching Production channels instead replaces the audio of the one Production channel with the same original trimmed channel name. Matching ignores case and surrounding whitespace and happens before adding a suffix. Missing or ambiguous Production names cause that trimmed channel to be appended. This replacement happens in the new combined output, not in the original Production recording.
• Combined filename suffix: appended to the Production filename; the default is _Combined. Include your own separator. A slash becomes an underscore.
• Trimmed channel suffix: appended exactly to non-empty trimmed channel names in the combined file's metadata, including any spaces or separator you enter.
• Don't add Trimmed channel suffix to replaced channels: omits that suffix for successful replacements; appended channels still receive it.
Trim Settings: channel FUNCTION
• Custom FUNCTION applies the entered FUNCTION to each trimmed channel. This includes trimmed channels appended to or replacing channels in a Combine output, and reused full-length source channels.
• Remove channel FUNCTION on trim removes FUNCTION metadata from trimmed channels. This setting has moved from Settings → Metadata into Trim Settings, while preserving your existing preference. When enabled, it takes precedence over Custom FUNCTION and disables that control without clearing its text.
Both FUNCTION controls require selected files in the Files to Trim table.
Combine writes its intermediate trims into a private per-run workspace rather than the selected output folder. The workspace is removed after success, cancellation or failure; it is not a recovery copy. The destination receives the final combined files and report.
Audio Processing
Convert to 24-bit applies to 32-bit float sources, not 32-bit integer PCM. Other sources keep their format. This option does not change sample rate.
• Limit peaks only reduces gain only when needed to meet the ceiling; it does not boost quiet audio.
• Normalize adjusts peak level toward the target and can raise quiet audio. Limit and Normalize are alternatives.
• Adjust channels individually processes channel levels separately and can change their relative balance. With it off, one gain is applied across channels. This option requires multichannel source material and an enabled level-processing mode.
These level controls belong to the float-to-24-bit conversion path. Conversion clips out-of-range values to prevent wraparound and replaces non-finite samples with silence.
Output metadata and source safety
Trim writes derived audio and updates its metadata for the new cut. Production or report metadata supplies take information, while source channel information is carried into the output; start time, duration and format fields are updated. iXML and BEXT are rewritten, so this is not a byte-for-byte metadata copy. The FUNCTION controls in Trim Settings determine how channel FUNCTION metadata is written.
Use a separate output folder to keep originals safe. Existing output names can offer Overwrite, Backup and Overwrite, Keep Both, Skip, and Cancel, with Apply to all where shown. Overwrite replaces the existing destination; Backup and Overwrite preserves it first. Keep Both creates another name. Cancelling an existing-file decision stops the run, not merely that file.
Cancellation and report interpretation
Use Cancel in the Trim tab and wait for the cancelling state to finish. Completed outputs can remain; cancellation is not a rollback of the entire run. Trim does not register a batch Undo step. Retain originals and any overwrite backups until you have reviewed the outputs.
The CSV report records the run settings, source/reference matches, output paths and outcomes, including Completed, Completed with warnings, Skipped, Failed, Cancelled and No match. It also records level-processing and waveform-alignment outcomes and, for Combine, combined outputs and intermediate cleanup. No match means no eligible cut was produced; Completed with warnings needs review even if an output exists. Check report-writing errors separately: completed audio does not prove the CSV was saved.
Related workflows
Renaming Files
SoundPrepper builds renamed file names from the fields and options shown directly in the Rename window.
The rename pattern and output controls include:
• Prefix
• Scene
• Take
• Take prefix
• Preserve Take prefix
• Suffix
• Part separator
• Spaces in output
• Periods in output
• Zero-pad scene
• Zero-pad take
In practice, SoundPrepper rebuilds the name around the Scene and Take values, with optional prefix and suffix text, and uses the separator, character-replacement, and padding rules shown in the Rename window.
Preserve Take prefix appears directly below Take prefix and is off by default. When enabled, it retains an identifiable prefix from the original filename, including its letter case, and disables the custom Take prefix field without discarding that field's value. If no identifiable original prefix exists, none is added.
Rename settings presets
Rename has five persistent settings presets:
• Click a stored preset to recall its settings.
• Command-click a preset to store the current settings.
• Option-click a stored preset to open Edit, where you can change its name or Remove it.
These presets recall settings only. Recalling a preset preserves the current manual filenames and selection; presets do not store manual filenames or selection. They do not store Stay on top, and Reset to Defaults does not remove them.
Depending on the Rename options, SoundPrepper can also preserve parts of the original file name:
• Preserve existing prefix
• Preserve existing suffix
• Preserve filename tail tokens
• Preserve channel suffix
• Preserve split-take letter
Preserve filename tail tokens controls tokens such as _ISO, _LR and _MIX.
Preserve channel suffix controls _L, _R, _CH3, _A1 and .A1, plus recognized numeric channel tails such as _01_02_03_06 in 001-001T01_01_02_03_06.wav. Complete recognized sequences retain their order and leading zeros, including when you enter a custom Suffix. Arbitrary trailing numbers are not always treated as channel suffixes; numeric context still determines whether a tail is recognized.
Preserve split-take letter is on by default. It retains a filename-only A–Z letter after a numeric Take, for example T01A. Turn it off to stop copying that filename-only letter. A letter that is actually part of the Take metadata remains in the rebuilt name. This option is independent of the other suffix-preservation controls, and ordinary filename validation and conflict checks still apply.
When renaming merged ISO groups, SoundPrepper applies the same naming logic to each constituent file and preserves distinguishing trailing tokens or numeric endings where needed so files do not collapse onto the same name.
Manual filenames and conflicts
Right-click a file row in the Rename preview and choose Manually rename. Edit New File Name for that row, including the file extension. The override applies to that individual file, including a constituent file shown for a merged ISO group.
The Status column reports invalid names and conflicts as you edit. A manual filename cannot be empty or whitespace-only, be just . or .., contain /, or contain a null character. Rename stays disabled while a manual filename is invalid.
Duplicate filename means more than one proposed rename targets the same destination. Conflicting filename means the destination already exists on disk. Resolve these conflicts by changing the naming options or entering a different manual filename before clicking Rename. The Rename window does not offer an overwrite choice for these conflicts.
To return a row to automatic naming, right-click it and choose the checked Manually rename option again. Reset to Defaults resets the naming preferences and clears all manual filename overrides.
To protect metadata integrity, SoundPrepper does not allow rename to proceed when unrelated metadata changes are still unsaved.
• Rename is allowed when only Scene and Take changes are pending. Renaming will also save these unsaved values
• Rename is blocked when other metadata is still unsaved, and the user is asked to Save or Reset those changes first.
The Rename window shows these options beside a live preview of the proposed filenames. Rename preferences are not a tab in the main Settings window.
Rename Undo and Backups
Renaming registers Rename File or Rename Files in Undo history for files that were moved. Undo moves those files back to their previous names; Redo reapplies the rename. This is separate from backup copies and remains available when Disable rename backups is enabled. Undo requires access to the files and cannot move a file back if its destination is already occupied.
With Disable rename backups turned off in Settings → Backups, SoundPrepper creates timestamped backup sets for the files being renamed before moving them. This includes the constituent files of merged ISO groups. If backup preparation fails, the rename does not proceed. Enabling Disable rename backups skips these normal backup copies.
Backup storage follows Settings → Backups → Backup location:
• Hidden beside source: <source folder>/.soundPrepper/Backups/<timestamp>/
• Visible beside source: <source folder>/Backups/<timestamp>/
• SoundPrepper Backups folder: a folder you choose, with backup sets organized separately for each source folder.
Use Settings → Backups to choose the destination, manage existing sets, and control whether session backups are kept on quit. See the Settings section for migration and cleanup choices.
Timeline
Use the Timeline button in the main window to view imported Production and Files to Trim recordings at their Start TC positions. Import those files first; an active sound report can supply reference placeholders, but placeholders are not audio.
Review and audition
1. Open Timeline and review the reference and source tracks. If duplicate recordings are reported, resolve them or deliberately choose to continue.
2. Click a clip to select it and inspect its Start TC. Use the transport or Space to audition while Timeline has focus and you are not editing text.
3. Use the ruler to position the playhead. Playback-channel choices in the track/clip menus control auditioning; they do not rewrite source audio.
Move and nudge
Drag selected clips horizontally to adjust their Start TC placement. Ordinary dragging uses frame resolution; Command-drag uses sample resolution. The comma/period keys nudge backward/forward one frame. Keypad −/+ also nudge one frame, or five with Shift. These changes affect timestamp metadata, not the recorded samples.
You can also enter a Start TC in the selected-clip field and press Return. Check the resulting position and selected clips before saving.
Pending versus saved changes
Moving, nudging or committing the Start TC field changes the in-memory metadata first. Save writes the selected modified files; Reset returns their pending edits to the saved state. The Save action processes selected dirty metadata, so review other pending edits on those files as well.
Pending Timeline edits and completed disk saves have distinct Undo history steps. Undoing a move is not a substitute for undoing an already completed save. Truncated/corrupt WAVs cannot be saved through this workflow. Review the save result before relying on the new timestamps in another application.
Playback
The Audio Preview window lets you quickly audition the currently selected audio file.
The window displays:
• a time counter
• a timeline ruler
• waveform tracks for each channel
• track headers with channel names
• transport controls for playback
When available, channel names are taken from embedded metadata. If no channel names are present, SoundPrepper uses default channel labels.
The Audio Preview window supports both polyphonic WAV files and split-mono file sets. For split-mono material, SoundPrepper combines the selected files into a single preview session so they can be reviewed together.
If the Audio Preview window is active, pressing the Space bar toggles playback. To avoid interfering with text entry, this shortcut is ignored while typing in a text field.
If enabled, SoundPrepper can also automatically start preview playback when the selection changes.
Playback stops automatically when the Audio Preview window is closed.
Playback controls
The Audio Preview window includes several control options below the waveform display.
Return on Stop
When enabled, Stop returns the playhead to the start. When disabled, playback resumes from the last stop position.
Autoplay on selection
When enabled, selecting a new file starts playback automatically while the Playback Preview window is open.
Stay on top
When enabled, the Playback Preview window stays above other windows.
Waveform zoom follows gain
When enabled, waveform height follows each channel's gain fader. Raising or lowering a channel's gain also changes the visual waveform scale for that channel.
Solo focus
When enabled, only soloed channels are shown. This makes it easier to focus on the channels currently being auditioned.
Solo and Mute buttons
Each channel row includes Solo and Mute buttons.
• Clicking Solo by itself solos that channel and clears any other solo selections.
• Clicking Mute by itself mutes that channel and clears any other mute selections.
• Shift-click Solo allows multiple channels to be soloed at the same time.
• Shift-click Mute allows multiple channels to be muted at the same time.
Pan and gain controls
Each channel row includes a Pan slider and a Gain slider.
• Pan adjusts the channel position between left and right.
• Gain adjusts the playback level for that channel.
Double-click behavior:
• Double-click the Pan slider to reset it to center.
• Double-click the Gain slider to reset it to its unity gain.
• Double-click the master gain control in the transport area to reset it to unity gain.
Where available, tooltips in the Playback Preview window provide a short explanation of these controls.
Horizontal Zoom and Fit
Open View → Audio Preview with an audio file selected. Use Zoom to inspect time detail and Fit to return to the full-file view. Horizontal zoom ranges from 1× to 32× and is separate from waveform height/gain.
With Audio Preview focused and no text entry or sheet active, T zooms in and R zooms out around the playhead. Panning/zooming changes the view, not audio or metadata.
Rebuild waveform caches
For a limited scope, select Production files and use the context-menu command Update Waveforms for Selected Files…. This starts a forced rebuild directly, including underlying files in grouped rows.
For all imported audio, use Tools → Waveforms: Rebuild for Imported Files…. In that command's dialog, choose Calculate Missing Only to keep existing caches, Recalculate (Clear & Rebuild) to regenerate them, or Cancel. Monitor the rebuild progress; cancellation may leave completed caches available while remaining files are unfinished. This repairs cached waveform displays, not corrupt source audio, and does not change Start TC or recorded samples.
See Settings → Waveforms for waveform cache storage and clearing the app cache. The selected-file and all-imported rebuild commands above remain available for rebuilding waveforms.Timecode, Sample Rate, Frame Rate, and “Keep Start TC”
Start TC, Frame Rate, and Samples Since Midnight
This is one of the most important areas in SoundPrepper, because it affects how timecode is displayed, interpreted, and written back to the file.
Key terms
Start TC: the human-readable start timecode shown in the app, such as HH:MM:SS:FF
Samples Since Midnight (SSM) / Time Reference: the underlying sample-based timestamp stored in BEXT and iXML
Frame Rate: the timecode counting rate, such as 23.976, 24, 25, 29.97, 29.97 DF, 30, or 30 DF
TC Sample Rate: the timestamp sample rate used for iXML time-reference calculations. This is mainly an advanced or repair-level field.
Keep Start TC: controls whether SoundPrepper keeps the displayed Start TC fixed when timecode-related metadata is changed
Keep Start TC = ON
Enable this when the displayed Start TC label is the value you intend to retain. Changing frame rate can then recalculate BEXT and iXML timestamps and change the recording’s placement.
When enabled, SoundPrepper preserves the visible Start TC and recalculates the underlying samples-since-midnight values as needed when you change:
• Frame Rate
• Start TC
• TC Sample Rate
This is the mode to use when the displayed start timecode is the value you want to keep stable.
Keep Start TC = OFF
With Keep Start TC disabled, changing Frame Rate preserves the existing BEXT and iXML sample timestamps. The displayed Start TC may change because those timestamps are interpreted at the new frame rate. This is useful when correcting frame-rate metadata while retaining the recording’s sample-based start position.
Since Version 1.2.4: Keep Start TC starts unchecked at each app launch. Earlier versions start with it enabled.
Important consistency rule
SoundPrepper checks both BEXT and iXML time-reference values.
BEXT TimeReference is counted at the file-header sample rate. The iXML HI/LO timestamp is counted at TIMESTAMP_SAMPLE_RATE. SoundPrepper converts the iXML value to the file's sample-rate domain before comparing the two, so their raw sample counts do not need to be identical.
When the rates differ, the comparison allows a one-sample rounding difference at the file rate; when the rates are the same, no difference is allowed. There is also an interpretation exception: if the raw iXML count equals BEXT TimeReference but TIMESTAMP_SAMPLE_RATE differs from the file rate, SoundPrepper does not flag that combination. This can occur when changing TC Sample Rate with Keep Start TC disabled.
If the required timestamp fields are available and a discrepancy remains outside those cases, the iXML editor shows a warning indicating that BEXT is used. Missing or unusable iXML timestamp fields do not produce this particular comparison warning.
When SoundPrepper rewrites timecode-related metadata, it aims to keep those values consistent after save.
Changing frame rate
Changing Frame Rate updates the timecode rate metadata used to interpret Start TC.
With Keep Start TC enabled, SoundPrepper recalculates the underlying timestamp values so the displayed Start TC remains the same.
With Keep Start TC disabled, the displayed Start TC may change to reflect the existing underlying timestamp values under the new frame-rate interpretation.
This is commonly used when:
• the recorder was set to the wrong frame rate
• post-production needs a different timecode interpretation for sync or conform
Changing TC Sample Rate
Changing TC Sample Rate changes the sample-rate basis used for iXML timestamp calculations.
With Keep Start TC enabled, SoundPrepper updates the iXML timestamp values from the BEXT reference so the displayed Start TC remains stable.
This control is intended mainly for advanced metadata repair workflows and is only directly editable when Advanced Metadata Editing is enabled in Settings.
Editing Start TC directly
The Edit TC button lets you enter a new Start TC value directly.
With Keep Start TC enabled, SoundPrepper recalculates the underlying time-reference values from the entered label.
This is the most direct way to correct an incorrect start timecode.
Important note about sample rate
The Sample Rate shown in the Metadata Editor is currently a displayed technical value with mismatch warnings. It is not the same thing as the editable TC Sample Rate, and it is not directly edited from this control in the current Metadata Editor workflow.
Set Start TC from LTC
Use Tools → Set Start TC from LTC… to decode recorded LTC audio and write a reviewed Start TC correction to selected Production files.
1. Select the files in Production, then open the command. Truncated/corrupt files are blocked.
2. Let the scan finish. SoundPrepper scans channels automatically and selects stable LTC; there is no mandatory channel-selection step.
3. Review the proposed Start TC results and changed/same/failed counts.
4. Choose Apply Changes to save applicable changes, or close the results without applying. To scan a different selection, use the scan-selected control after selecting those files.
Scanning alone does not save metadata. The scan range and Long scan/depth options are described in Settings. If LTC cannot be decoded reliably, review the failure result and scan settings rather than assuming a correction was made. Unchanged and failed results are not applied.
Before applying
Unsaved edits outside the Start TC-related fields block the entire apply request. Save or reset those other edits first, then scan/review again. Undo snapshots must be prepared before the writes begin; preparation failure prevents application.
After applying
Apply writes the decoded start timestamp, frame rate and timecode flag directly to disk. Check the completion result: individual writes may fail even if other files succeeded. Successfully saved files receive a Set Start TC from LTC Undo history step. The LTC audio itself is not removed or rewritten by this metadata correction.
Split & Combine
SoundPrepper includes a dedicated Split & Combine window for breaking out tracks from existing files and creating new poly files from mono material.
The available processing modes are:
• Break out Mix
• Break out ISO
• Split to Mono
• Combine to Poly
You can enable one or more of these options in the same processing run.
Selected inputs
The window follows the current selection in the Production Sound table and shows the number of selected files. A selected grouped row includes its explicit member files; separate, unselected mono files are not automatically added from disk. Process is disabled when nothing is selected. Choose the required operations and destinations, then click Process to capture the selection for that batch. Later selection changes do not change the running batch.
Break out Mix
Use Break out Mix to create mix-track outputs from material that contains LR or mix channels.
First and Last identify where the mix-channel pair is located in the source channel order:
• First uses the first two source channels as the mix pair.
• Last uses the last two source channels as the mix pair.
This selects the source channels to extract; it does not place the mix at the beginning or end of an output file. For split-mono sources, channel order is determined from channel indices or the ordered members of the selected group.
This is useful when a mix track needs to be separated for editorial or delivery.
Break out ISO
Use Break out ISO to extract ISO tracks into separate outputs. For sources containing both mix and ISO channels, the same First or Last choice identifies the mix pair to exclude, leaving the other channels for the ISO output.
This is intended for workflows where ISO material needs to be delivered separately from mix tracks.
Split to Mono
Use Split to Mono when you want one output file per channel.
SoundPrepper supports two mono suffix styles:
• _1, _2, _3…
• .A1, .A2, .A3…
This allows mono outputs to match different naming conventions.
Combine to Poly
Use Combine to Poly to create a new polyphonic WAV file from mono source files.
This is useful when you need to:
• recombine mono siblings into a poly file
• rebuild a poly file from split tracks
• control output track order
Routing Matrix
For more advanced routing, SoundPrepper includes a separate Routing Matrix window.
The Routing Matrix lets you:
• map input channels to output files
• control which channels are written to each output row
• use automatic or manual output suffixes
• set the output destination folder
This provides a more explicit routing workflow than the standard Split & Combine options. During processing, always-visible current-file and overall progress indicators use the same Process styling as Split & Combine. Processing behavior is otherwise unchanged.
Output naming
SoundPrepper uses predictable output naming based on the selected processing mode.
For mono outputs, the selected mono suffix style is used.
In the Routing Matrix, each output row can use either:
• an automatically derived suffix
• a manually entered suffix
Output location
Each processing mode has its own destination folder control.
You can also enable Open destination folder after processing to reveal the result when processing is complete.
Join Recorder Segments
Use Tools → Join Recorder Segments… to reconnect a recording split by the recorder into a base file and lettered continuation files.
Select and join
1. In the Production sound table, select the base file and its continuation files, for example Take.wav, TakeA.wav and TakeB.wav.
2. Choose Tools → Join Recorder Segments…. Multiple complete sets can be processed together.
3. Choose Save Joined File… (or Save Joined Files… for several sets), Back Up Sources and Join, or Cancel.
4. For a new output, choose an unused filename or destination folder. SoundPrepper checks the files again before writing.
5. After success, the joined output is added to Production. Source rows remain for Save Joined File; source-replacement mode replaces them with the joined output.
Which files qualify?
Each selected set must contain a base file and at least one lettered continuation in the same folder. Letter suffixes determine segment order, not table sorting. Supported naming also includes continuation letters inserted after a take number before a shared filename suffix. Ambiguous names, duplicate parts or unrelated selected files prevent joining.
The input containers must be RIFF or RF64 WAVE, with readable linear PCM audio and a usable start timestamp. All parts in a set must share sample rate, bit depth and integer/float sample format. Channel counts may differ. This command does not resample or convert bit depth.
Continuity
Each part must begin at the previous part's start sample plus its audio length. The planner accepts at most one continuation timestamp that is one sample late per set. That exception concatenates the existing audio frames without inserting a sample. Other gaps or overlaps are rejected with the expected and actual start values.
This workflow joins recorder continuations; use the separate Assemble Recordings by Timecode workflow when arranging recordings by their timestamps.
Channels
If every segment has usable channel identifiers, SoundPrepper matches channels by those identifiers, orders the output by channel ID and writes silence where a segment lacks an output channel. Channel names/functions come from the latest segment containing that channel.
If a complete identifier mapping is unavailable, the join uses physical channel positions and the largest channel count in the set. Missing higher-numbered channels are silent. In this fallback, existing channel metadata comes from the first segment; later-added channels use the first segment that provides their metadata.
Channel mapping can therefore change output channel order or count while retaining the existing audio samples. Check the resulting channel labels and layout when recorder track configurations changed between segments.
Metadata
The base segment is the general metadata master. Its existing BEXT is retained, and its iXML is rewritten where possible for the output filename and merged channel list. General metadata from later segments is not combined into the master.
The writer carries the master's readable ancillary chunks encountered before the audio data chunk, including LIST/INFO or vendor chunks in that position. It does not collect metadata after the data chunk or merge ancillary chunks from later segments. Keep the original segments or backups when those fields matter.
Save Joined File
Writes a new joined file without modifying the selected sources. For one set, the suggested name adds _Joined to the base filename. For multiple sets, the chosen folder receives each set's base filename. Existing destinations, duplicate output names and destinations matching a source are rejected; choose unused names or separate folders.
Back Up Sources and Join
Creates a backup set for each source folder and backs up the selected source files before writing. The joined recording replaces each set's base file, and the lettered continuation files are removed after the joined outputs have been written. This changes files on disk, not just table grouping.
Undo, Redo and failure recovery
After a successful join, Undo removes the newly saved joined outputs in Save Joined File mode. In source-replacement mode, it restores the original files from their backups. Redo reruns the join and checks the sources again; keep required source files and backups available.
A failure is not the same as a completed operation with Undo available. Saving new outputs attempts to remove outputs already created by that batch if writing fails. Source-replacement mode can leave earlier base files replaced or some continuations removed if a later step fails; automatic batch rollback is not provided. Read the error, inspect the affected folders and recover from the backup sets as needed.
Assemble Recordings by Timecode
Use Tools → Assemble Recordings by Timecode… to place separate stop/start recordings at their original timecode positions in one file. Gaps between recordings become silence on every channel.
Select and review
1. Select at least two physical mono or poly recordings in the Production sound table. Ungroup grouped split-mono rows first.
2. Choose Tools → Assemble Recordings by Timecode….
3. Review the chronological source list, take numbers, start timecodes, durations and silence before each recording. The summary also shows total output duration, total silence, estimated size and RIFF/RF64 output.
4. Choose Save Assembled File… or Back Up Sources and Assemble.
5. After success, the assembled audio is added to Production, and the audio and CSV report are revealed in Finder.
The review uses the selection passed to the command. To review a changed selection, invoke the command again. Files changed after review are rejected; review them again before exporting.
Eligibility
• Inputs must be supported RIFF/RF64 WAV files with packed 16-, 24- or 32-bit PCM, or 32-bit float audio.
• Sample rate, bit depth, integer/float format, channel count and WAV format/channel-layout details must match. No resampling, channel remapping or bit-depth conversion is performed.
• Each recording needs a usable start timestamp and the same valid recorded date. Recordings crossing midnight, out-of-day timestamps and selections spanning recorded dates are rejected.
• Recording metadata must match: project, scene, tape, notes, take type, user bits/info, frame rate and flag, speed/clock metadata, and circled/wild-track flags. Take numbers may differ.
• Where channel metadata exists, identities, names, functions and order must match and be complete. If every source lacks channel metadata, physical channel order is used.
• Duplicate sources, overlaps and unsupported or inconsistent WAV structures prevent assembly.
Use the reported mismatch to review the source files. Do not change genuine recording metadata merely to force unrelated recordings into one assembly.
Timing and audio
SoundPrepper sorts recordings by start timestamp. The output begins at the earliest recording's start and ends at the latest recording's end; it does not add silence from midnight to the first recording. Audio sample bytes are copied, and gaps are filled with silence. Overlapping recordings are not mixed or trimmed.
Use Join Recorder Segments for a recorder's base file and continuation parts. Timecode assembly does not require that naming pattern.
Save Assembled File
Writes new audio and a companion report while leaving sources unchanged. The suggested audio name ends in _AssembledByTC.wav. Sources may come from different folders.
Both destination paths must be unused and must not be source files. An existing audio file or assembly report blocks export. Large outputs use RF64 when required; check the estimated size and available destination space before proceeding.
Back Up Sources and Assemble
Requires all selected recordings in one folder. SoundPrepper backs up the sources, writes the assembly under the earliest recording's filename, then removes the other selected recordings. Production is updated to show the assembled file in their place.
The companion report must also be new. If it already exists, move or rename it before using this mode. Use Save Assembled File when you want the original recordings to remain at their existing paths.
Metadata and markers
The earliest recording supplies the take, start timestamp and general metadata. Its supported embedded metadata and markers are retained, including readable ancillary chunks after the audio data. Metadata and markers from later recordings are not merged into the output.
The assembly receives a new identity. Applicable BWF/iXML identity and filename fields are updated, obsolete iXML file-set/parent references are removed, and stored loudness values are cleared. Cached peak/waveform and derived metadata blocks are omitted because they describe the original shorter recording. Retain sources or backups when later recordings contain metadata or markers you need separately.
Assembly CSV
A report named <audio basename>.AssemblyReport.csv is saved beside the audio. It records the output identity, recorded date, sample rate, total audio/silence frames and metadata policy. Each source row includes its path, take, start timecode/sample, output offset, audio length, silence before it, ancillary metadata IDs and whether it is the metadata master.
Use the report to check placement and gaps. Listing a later source's metadata IDs does not mean those chunks were copied into the assembly.
Cancellation and recovery
Cancel or closing the window requests cancellation. During an active operation, closing waits for writing or recovery to finish. Before final publication, cancellation leaves no completed assembly; once publication has completed, use Undo to reverse a successful operation.
In source-replacement mode, a failure after publication triggers an attempt to restore sources and remove the new report. If restoration fails, an error identifies incomplete recovery and the backup set remains available. Check that error and the affected files before retrying.
Undo and Redo
After a successful Save Assembled File, Undo removes the new audio and CSV. After Back Up Sources and Assemble, Undo restores the original recordings and removes the report. Redo replans and reruns assembly, so the required sources and backups must remain available. Production rows are updated with the disk changes.
Import a Sound Report
Use File → Import… to open a supported CSV or XML sound report as trimming references. The file must use a report structure the parser recognizes; an arbitrary spreadsheet or XML document is not automatically a supported report.
Import and check
1. Save any pending Production edits before changing workflows. Importing a report clears the in-memory Production list and replaces the active report; it does not delete the audio files on disk.
2. Choose the CSV/XML report. If it has no declared frame rate, choose the correct rate in Choose Sound Report frame rate and click Import. Cancel leaves that import unfinished.
3. Check the imported filenames, start timecodes and durations. The report view activates Files to Trim and disables the Metadata Editor tab.
4. Import the source recordings through Import to Trim…, review Trim Settings, choose the output destination and run Trim.
Report-based matching
The report supplies reference filenames, start times and durations; it does not supply audio. Report rows without a usable start or positive duration cannot form trim references. Missing report sample-rate data can fall back to 48 kHz, so check the report's rate information rather than assuming every report describes 48 kHz material. The frame-rate prompt is needed to interpret timecode and calculate durations correctly.
Use the Files to Trim chapter for matching, output options and trim-result interpretation. A report reference shown in Timeline remains a placeholder until backed by actual audio.
Leave report mode
Use Close Report to clear the active report and return to Production, re-enabling the Metadata Editor. The Production list cleared during report import is not restored automatically; re-import the recordings you need.
Related workflows
Reports
SoundPrepper can generate CSV and PDF sound reports from the selected production files.
The report layout is configurable in the Create Report window. You can choose:
• the report format: CSV or PDF
• which files to include: All Files, Non-Circled Takes, Circled Takes, or Wild
• which columns to include in the report
• optional header and recording-information fields
Typical report contents
Depending on the selected columns and report settings, reports can include:
header information such as:
• Project
• Job
• Client
• Production Company
• Producer
• Director
• Date
• Location
• Folder
• Sound Mixer
• Boom Operator
• Comments
recording information such as:
• Roll
• Tape
• Recorder
• Media
• File Type
• Sample Rate
• Frame Rate
• Bit Depth
• Tone Level
• Mic
per-file report columns such as:
• File Name
• Scene
• Take
• Tape
• Channels
• Sample Rate
• Frame Rate
• Bit Depth
• Start TC
• Duration
• Wild
• Circled
• Notes
• Channel Names
CSV and PDF behavior
CSV and PDF exports use the same underlying file selection and column-selection model.
CSV exports a tabular sound report.
PDF exports a formatted printable report with a live preview in the Create Report window.
SoundPrepper also provides preview modes before export:
• a table preview for CSV
• a PDF preview for PDF output
Why reports matter
Reports are useful for:
• communicating production sound information to editorial
• documenting file metadata and take details
• delivering a consistent summary of the recorded material
The current Create Report workflow is focused on structured sound-report export. It is not primarily a separate "issues and warnings report" system.Settings
The Settings window controls metadata-writing preferences, LTC scanning, backup management, waveform caching, and default table visibility. Rename behavior is configured in the separate Rename window.
The standard Settings tabs are:
• Metadata
• LTC
• Default Columns
• Backups
• Waveforms
An additional Advanced tab is revealed when you hold Option while opening Settings. It contains experimental flags intended for testing.
Metadata
The Metadata tab contains metadata-writing and timecode-display preferences, including:
• Large-file container
• Drop-frame display mode
• BEXT description style
• BEXT loudness location
• Write minimal iXML when missing
• Enable Advanced Metadata Editing
• Disable mismatch highlighting columns
• Disable filename mismatch highlighting rows
These settings affect how SoundPrepper displays and writes metadata, and how metadata warnings are shown in the UI.
Drop-frame compatibility — Version 1.2.4
The Wave Agent choice is renamed Wave Agent (Legacy) to identify compatibility with classic Sound Devices Wave Agent. Its behavior is unchanged: it includes drop-frame formatting/parsing adjustments and a one-sample offset when setting timestamps. This is separate from Keep Start TC, which controls whether frame-rate edits retain the displayed label or preserve sample timestamps. The Legacy label does not establish compatibility with Wave Agent X.
LTC
The LTC tab controls how Set Start TC from LTC searches selected files:
• Long scan continues beyond the initial five-second scan when no readable LTC is found.
• Long scan depth sets the maximum number of seconds searched during that longer pass.
• Reset to Defaults restores the default LTC scan settings.
SoundPrepper scans every channel during the initial pass.
Default Columns
The Default Columns tab controls which columns are visible by default in:
• the Production Sound table
• the Files to Trim table
File Name is always visible. Each table has its own Reset to Defaults control. These settings do not control processing or export destinations.
Backups
Backup location controls where new backup sets are created:
• Hidden beside source stores sets in <source folder>/.soundPrepper/Backups/<timestamp>/.
• Visible beside source stores sets in <source folder>/Backups/<timestamp>/.
• SoundPrepper Backups folder uses a folder you choose and keeps each source folder's backup sets separate.
When changing the backup location, choose Change and Move Backups to move existing sets for the managed source, Change Without Moving Backups to leave those sets in place, or Cancel to keep the previous setting. If another source has backups in a different supported location, SoundPrepper can ask Move existing backups? before its next backup. In that later dialog, OK moves the existing sets; Cancel leaves them where they are and creates the new backup at the selected location.
Manage backups for… selects the source folder whose backups you want to inspect, reveal, or move to Trash. It does not import audio or change where future backups are stored. The managed source also follows the latest successfully imported audio file. The displayed destination identifies where new backups will be stored.
Other controls include:
• Disable rename backups skips the normal backup copies made before renaming. Rename Undo/Redo remains separate.
• Always keep backups on quit keeps the current session's backup sets without asking on quit.
• Backup count and total size across supported locations.
• Revealing existing backup folders in Finder.
• Moving backup sets older than 14 days to Trash while keeping the newest set.
• Moving all backup sets except the most recent one to Trash.
The legacy .SoundPrepperBackups conflict-protection folder is separate from these normal backup sets. The current Rename window blocks conflicting destinations rather than offering an overwrite choice.
Waveforms
The Waveforms tab controls where completed waveform caches are stored and provides controls for inspecting and clearing the app cache.
Cache location offers two choices:
• SoundPrepper cache folder (recommended) is the default. It stores waveform caches on this Mac in SoundPrepper's sandboxed Library/Caches folder.
• Next to audio files stores adjacent caches in .soundPrepper/waveforms within each audio file's folder when that destination is allowed.
Both destinations reuse completed, valid waveform caches between sessions. The source audio remains authoritative: missing, stale, or invalid caches regenerate as needed, and all waveform caches are disposable. The app cache distinguishes full source paths rather than relying only on filenames or embedded recording UIDs. File path, file size, and modification time validate reuse. Moving, renaming, or changing a recording can therefore cause regeneration; a cache does not follow a file by recording UID.
Next to audio files works automatically on writable internal disks and clearly identified external SSDs or hard drives. Detected cards and card readers, and unidentified external devices, use the app cache by default unless they are explicitly allowed under Manual drive exceptions. Read-only volumes and volumes with unknown writability always use the app cache and cannot be manually allowed. Capacity is not used to decide whether media is an SD card. SoundPrepper cache folder (recommended) always uses the app cache, including for explicitly allowed media.
Manual drive exceptions
Use Add Drive… to open Allow a Drive or SD Card, then choose a folder on a writable drive or SD card—including detected cards, card readers, and recorder-labelled media—to explicitly allow caches beside its audio. There is no additional confirmation dialog. Adding an exception requires a stable volume identifier. Use Remove to remove its exception. Exceptions are remembered across sessions by volume identity, not by volume name, so allowing one SD card does not allow a different card with the same label. Automatically recognized drives do not appear in this list.
Recorder volume names default to the app cache: Scorpio, 888 or 833 followed by SSD, SD1 or SD2; and names containing MixPre, 60_ or 61_. Matching ignores capitalization. For Scorpio, 888, and 833, only those exact combinations match after repeated and outer whitespace are ignored. These are actual volume labels, not folder names or audio filenames, and recorder-labelled SSDs default to protection too. The 60_ and 61_ patterns support established workflow labels; they are not a claim about factory naming across every Wisycom model. Any writable recorder-labelled volume may now be explicitly allowed under Manual drive exceptions.
Changes to Cache location or Manual drive exceptions apply to new waveform cache operations immediately; no restart is needed. A waveform build already in progress finishes at its original destination, and requests waiting for that build can use its completed cache. Existing caches are not moved or deleted, and waveforms already loaded in memory remain available.
The pane displays the number and total size of completed waveform cache files in the app cache. Refresh updates that display. Clear Waveform Cache removes only the completed waveform cache files counted in the app folder. It preserves source audio, backups, adjacent caches, symbolic links, subfolders, and temporary or incomplete writes. Clearing is refused while waveform cache writing is active; wait for writing to finish and try again. Missing waveforms regenerate as needed, and the app cache can grow again during use. Clearing the cache does not immediately blank a waveform that is already loaded in memory.
Advanced
Hold Option while opening Settings to reveal the Advanced tab. It contains experimental flags such as File Bytes Chunk Cache. These options are intended for testing and may require relaunching SoundPrepper.
File Integrity and Error Handling
SoundPrepper is designed around safe file handling:
• Coordinated writes to avoid partial updates
• Atomic write patterns where appropriate
• Clear errors when:
– WAV headers are invalid/truncated
– Chunk sizes don't match file size
– Permissions/bookmarks are missing or stale
Common import warning: truncated WAV / invalid RIFF
If a file claims a RIFF size larger than the actual file length, it may be truncated and unsafe to process until repaired or re-copied.
Keyboard Shortcuts
Global Menu Shortcuts
⌘ + HHide SoundPrepper
⌘ + ⌥ + HHide Others
⌘ + ,Settings
⌘ + QQuit
⌘ + IImport
⌘ + ⇧ + IImport to Trim
⌘ + WClose window
⌘ + ZUndo
⌘ + ⇧ + ZRedo
⌘ + ASelect All
⌘ + CCopy
⌘ + VPaste
⌘ + XCut
⌘ + ⌥ + FFind & Replace
⌘ + RReload
⌘ + ⌥ + PArtwork Preview
⌃ + ⌘ + FEnter / Exit Full Screen
⌘ + MMinimize
⌘ + ?Open manual
⌘ + ⇧ + /Help menu search (on layouts where ⌘ + ⇧ + / differs from ⌘ + ?)
Hold ⌥ while opening SettingsReveals the Advanced tab
Production Sound Table
Delete / Backspace / Forward DeleteRemove selected rows
SpaceToggle preview playback for current selection
Mouse click on the tableMakes the table first responder
Files to Trim Table
Delete / Backspace / Forward DeleteRemove selected rows
SpaceToggle preview playback for current selection
Mouse click on the tableMakes the table first responder
Timeline Keyboard Shortcuts
These work when the timeline has focus and you are not editing a text field.
SpacePlay / pause timeline
TZoom in
RZoom out
FFit full day
, (comma)Move selected clips (or playhead if no clips are selected) back 1 frame
. (period)Move selected clips (or playhead if no clips are selected) forward 1 frame
MMove selected clips (or playhead if no clips are selected) back 5 frames
Key right of PeriodMove selected clips (or playhead if no clips are selected) forward 5 frames
⌘ + ⇧ + DClear clip selection
Keypad −Nudge selected clip start TC by 1 frame earlier
Keypad +Nudge selected clip start TC by 1 frame later
⇧ + Keypad −Nudge selected clip start TC by 5 frames earlier
⇧ + Keypad +Nudge selected clip start TC by 5 frames later
LJump to previous clip edge
Ä or ' (US keyboard)Jump to next clip edge
QCenter playhead in view
Timeline Mouse Modifiers
⇧ + drag outside a clipBegin marquee selection
⇧ + ⌥ + drag outside a clipBegin additive marquee selection
⌃ + click on a clipMove clip start to current playhead position
⇧ + click on a clipAdd / remove clip from current selection
Click on a clipSelect only that clip
Double-click a clipSelect it and move playhead to clip start
⌘ + drag on a clipSample-resolution drag
⌘ + drag on the rulerFine-adjust playhead without frame snapping
⌥ + scrollZoom timeline horizontally
⇧ + ⌥ + scrollAdjust track height instead of scrolling / zooming
Audio Preview Keyboard
SpacePlay / pause preview
Audio Preview Mouse / Double-Click Behaviors
Double-click channel pan sliderReset pan
Double-click channel gain sliderReset gain to unity
Double-click master gain sliderReset master gain to unity
⇧ + click SoloAdditive solo toggle for that channel
Click SoloExclusive solo for that channel
⇧ + click MuteAdditive mute toggle for that channel
Click MuteExclusive mute for that channel
Undo
The following actions are undoable:
1. Saving metadata
• Undo restores the previous metadata chunks for the affected WAV files.
• Applies to normal metadata saves from the main metadata editor.
• Action name: Save Metadata
2. Resetting unsaved metadata edits
• Undo restores the metadata values that were present before Reset was clicked.
• Applies to one or more selected Production Sound files.
• Action name: Reset Metadata
3. Editing BEXT metadata
• Undo restores the previous BEXT chunk contents after a saved BEXT edit.
• Action name: Edit BEXT
4. Editing raw iXML
• Undo restores the previous iXML chunk contents after a saved raw iXML edit.
• Action name: Edit Raw iXML
5. Generating iXML
• Undo restores the previous metadata chunks for files where iXML was generated.
• Action name: Generate iXML
6. Generating UMIDs
• Undo restores the previous metadata chunks for files where UMIDs were generated.
• Action name: Generate UMID
7. Updating BEXT description from iXML
• Undo restores the previous metadata chunks after the description is updated from iXML.
• Action name: Update Description from iXML
8. Removing Soundminer chunks
• Undo restores removed Soundminer metadata chunks when the operation changed one or more files.
• Action name: Remove Soundminer chunk
9. Removing other RIFF and metadata chunks
• Undo restores removed chunks when the operation changed the file.
• This includes removals from the RIFF viewer and the dedicated Remove iXML Chunk and Remove BEXT Chunk commands.
• Action names include: Remove chunk, Remove iXML Chunk, and Remove BEXT Chunk
10. Production Sound list removals
• Undo restores removed files to the Production Sound list and restores selection where possible.
• Includes:
• Remove one production file
• Remove multiple production files
• Remove all production files
• Action names: Remove Production File, Remove Production Files, Remove All Production Files
11. Files to Trim list removals
• Undo restores removed files to the Files to Trim list and restores selection where possible.
• Includes:
• Remove one file to trim
• Remove multiple files to trim
• Remove all files to trim
• Action names: Remove Trim File, Remove Trim Files, Remove All Trim Files
12. Timeline start timecode edits
• Undo restores the previous start timecode for the affected clips/files.
• Includes:
• Nudging clips earlier or later
• Moving clips on the timeline
• Moving a clip to the playhead
• Direct start timecode changes
• Action names include: Nudge Clips, Move Clips, Move Clip To Playhead
13. Timeline start timecode reset
• Undo restores the start timecode values that were present before Reset.
• Action names: Reset Start TC, Reset Start TCs
14. Saving timeline start timecode changes
• Undo restores the previous on-disk metadata chunks after timeline start timecode changes are saved.
• Action name: Save Metadata
15. Find & Replace and Normalize Metadata
• Undo restores the selected metadata values changed by Find & Replace or Normalize.
• Action names: Find & Replace, Normalize Metadata
16. Set Start TC from LTC
• Undo restores the previous metadata chunks after detected LTC values are applied and saved.
• Action name: Set Start TC from LTC
17. Editing markers
• Undo restores the previous marker chunks after a saved Markers Editor change.
• Action name: Edit Markers
18. Adding or removing artwork
• Undo restores the previous embedded artwork chunks.
• Action names: Add Artwork, Remove Artwork
19. Grouping or ungrouping split-mono files
• Undo restores the previous Production Sound list grouping and selection.
• Action names: Group Split-Mono Files, Ungroup Split-Mono Files
20. Joining recorder segments
• Join Recorder Segments… → Save Joined File… (or Save Joined Files…) creates new output files and leaves the selected sources unchanged. Undo removes the new outputs and their Production Sound rows; Redo rereads the sources and recreates the outputs.
• Back Up Sources and Join backs up the selected sources, writes the joined base file, and removes the continuation segments. Undo restores the source files from those backups and updates the Production Sound list; Redo performs the join again.
• Action name: Join Recorder Segments
21. Renaming files
• Undo moves successfully renamed files back to their previous names; Redo reapplies the rename.
• Action names: Rename File, Rename Files
• Rename Undo is separate from normal backup copies and remains available when Disable rename backups is enabled.
• File access and an unoccupied destination are required.
22. Assembling recordings by timecode
• Save Assembled File… creates a new audio file and its report without changing the sources. Undo removes the new audio file and report and removes the output's Production Sound row; Redo rereads the sources and recreates the assembly.
• Back Up Sources and Assemble backs up the selected sources before replacing them with the assembled recording. Undo restores the source files, removes the generated report, and updates the Production Sound list; Redo assembles them again.
• Action name: Assemble Recordings by Timecode
Undo History
Open Edit → Undo History… to view the recorded history and current state. Selecting an earlier state performs the intervening Undo steps; selecting a later available state performs Redo steps. This changes files or list state as required by those operations, rather than merely showing a preview. Steps run in sequence, and the jump stops if a step does not complete.
Important Notes
Undo applies after an operation has registered an undo step. For metadata file writes, that usually means after the save or write operation completes successfully.
Typing into metadata fields is not generally a separate undo step by itself. The undoable operation is the save, reset, generated metadata write, chunk removal, list or grouping change, marker or artwork edit, LTC application, rename, recorder-segment join, timecode assembly, or timeline edit that the app records.
Redo of a join or assembly requires the source recordings to remain available. Undo of source replacement requires its backup files. Keep those files accessible while you need that history.
Undo may ask what to do if a file appears to have been modified outside SoundPrepper since the undo step was created. In that case, the user can choose whether to restore anyway, skip, or cancel.
Glossary
BWF: Broadcast Wave Format. An extension of WAV that includes metadata for professional audio.
BEXT: Broadcast Extension chunk.
iXML: XML metadata chunk commonly used in production sound.
SSM / Time Reference: Samples since midnight time stamp used for time reference.
Frame rate: Timecode frames per second (including DF/NDF variants).
Polyphonic / Poly: Interleaved multichannel WAV.
ISO: Isolated microphone channel file(s).
Change log
Recent customer-facing changes are listed below.
Version 1.2.5
• Production and Trim now ignore repeated imports of the same path while cloud downloading or scanning is pending, with retry available after failure or cancellation.
• Added Measure Loudness to the BEXT inspector for staging integrated loudness, loudness range, true peak, and maximum momentary and short-term values before saving.
• Added Preserve Take prefix and five saved Rename settings presets, while preserving current manual filenames and selection.
• Completed Destination 1 WAV/BWF offloads can now auto-import into Production, including partial successes, with queued requests managed by Import Cancel.
• Added a sortable Origination Date column to Files to Trim.
• Trim Settings, Offload, and New Day presets now use an Edit window with Save, Cancel, and Remove actions.
• Trim Review now includes destination selection, reveal, New Day controls, and a clearer Files to trim count without a second destination prompt.
• Trim now remembers explicitly chosen review destinations and shares Offload's New Day naming presets.
Version 1.2.4
• Added five saved presets to Trim Settings for quickly recalling your preferred configurations.
• Added Custom FUNCTION and Remove channel FUNCTION on trim controls to Trim Settings. Saved preset choices are retained when temporarily unavailable.
• Simplified Offload’s New Day naming into one pane and added five naming presets.
• Added waveform cache location and cleanup settings, with changes taking effect without restarting. Memory cards and recorder media are protected from adjacent cache writes by default.
• Added Preserve split-take letter to Rename, allowing filename-only letters to be omitted while retaining letters stored in Take metadata.
• Fixed Rename’s handling of long channel suffix sequences, preserving their order and leading zeros.
• Keep Start TC now defaults to off. Changing the frame rate preserves sample timestamps and may change the displayed Start TC. Enable Keep Start TC to retain the displayed timecode by recalculating timestamps.
• Renamed the legacy drop-frame compatibility option to Wave Agent (Legacy).
• Updated Routing Matrix with clearer current-file and overall progress displays and a Process button consistent with Split & Combine.
Version 1.2.3
• Zoom Audio Preview horizontally up to 32× to inspect waveform detail.
• Preview waveforms appear progressively, with an initial overview followed by more detail.
Version 1.2.2
• Added New Day… to Offload destinations, with configurable folder naming, day numbering, and date formats.
• Added shortcuts to insert today’s or yesterday’s date into Offload Daily Name fields.
• Added five Offload quick presets for destinations, with mode and routing settings included for Single Source.
• Added support for nested Daily folder paths and improved Offload destination controls.
• Updated Split & Combine and Routing Matrix to process the selected Production files, with floating, resizable utility windows.
• Preserved file and chunk selections when sorting tables.
• Fixed mono-file combining to retain the longest input’s full duration and pad shorter channels with silence.
Version 1.2.1
• Standardized duplicate filenames with consistent -02, -03, and subsequent suffixes across the app.
• Kept matching suffixes across split-channel sets and preserved channel identity when importing and recombining duplicate copies.
• Completed internal code cleanup while preserving existing functionality.
Version 1.2.0
• Missing source files remain listed with clear warnings.
• Added Assemble Recordings by Timecode to combine matching stop/start recordings with exact silence gaps, preserved WAV metadata, and a detailed source and gap report.
• Added Back Up Sources and Assemble to back up every source before saving the assembled recording under the earliest source filename and removing the remaining selected recordings.
• Added one-step Undo/Redo for Save Joined File and Save Assembled File, covering both disk and Production changes. Saved joined recordings are automatically imported into Production, with protection against destination filename collisions.
• Improved the Assemble review so each invocation starts from the current selection and closing clears the review. Streamlined shared Join/Assemble Undo handling, table updates, and audio buffering.
• Added source-file conversion with mandatory backups, preserved filenames, and validated atomic replacement.
Version 1.1.3
• Keep Audio Preview tracks synchronized during live solo changes.
• Harden trim alignment.
• Add CSV reports to trim operations.
• Add configurable backup storage and management.
• Add Backup and Overwrite conflict option.
• Update waveforms for selected production files.
• Stabilize Offload progress readout.
Version 1.1.2
• Skip redundant Trim + Combine intermediates.
• Clarify split-mono and recording segment terminology.
• Preserve Offload selections when reopening.
• Fix metadata save completion count.
• Add operation completion notifications.
• Fix Trim destination permission prompts.
• Added manual filename overrides to Rename.
• Keep waveform rebuild available from Audio Preview.
• Preserved existing report fields when files have no corresponding metadata.
• Prevented metadata editor caret jumps.
• Played soloed M/S Side recordings raw and centered.
Version 1.1.1
• Audio Preview now automatically pans named stereo pairs and decodes M/S recordings, with dedicated balance and width controls.
• Trim can optionally organize outputs into channel-name or suffix-based subfolders.
• Routing Matrix outputs now better preserve recorder file-set metadata.
• Preview restart and file-removal behavior have also been improved.
Version 1.1.0
• Added sample-accurate waveform alignment for Trim with phase inversion, multi-window analysis, cross-take consistency checks, detailed reporting, and conservative fallback.
• Added manual clip skipping, multi-selection, reset controls, skipped-clip indicators, and report totals to the Trim Timeline.
• Added channel-name matching, matching across folders with the same Tape name, and Copy Selected to Trim Table.
• Added a dedicated Trim Settings window and a settings review before processing.
• Added Trim Combine for merging trimmed channels with Production audio, including matching-channel replacement, configurable filename and channel suffixes, safe collision handling, recovery protection, temporary-workspace cleanup, and improved progress and cancellation.
• Preserved Production and Sound Report frame-rate metadata in Trim outputs.
• Added individual-channel level processing, TXT Trim reports, improved conflict handling, and more accurate preparation, alignment, processing, and cancellation feedback.
• Added native M4A, MP3, and supported movie-audio import with selectable bit depth, sample rate, frame rate, and drop-frame metadata.
• Added multitrack movie-audio extraction into multichannel BWF files with BEXT, iXML, and newly generated UMID metadata.
• Added creation-date Start TC for imported media and the Metadata Editor, honoring the configured Wave Agent one-sample convention.
• Improved the Set Start TC from LTC scan window, progress display, rescanning workflow, and settings.
• Added Remove Pro Tools Chunks while preserving standard and unrelated WAV metadata.
• Expanded RIFF Inspector diagnostics for Pro Tools, Avid, ADM, AXML, CHNA, and related metadata.
• Kept recognized BEXT track descriptions synchronized with iXML channel names and indices.
• Kept BEXT sFILENAME and dFILENAME values synchronized after Rename.
• Fixed iXML note and speed-note preservation, minimal iXML track generation, unrecognized BEXT Description updates, and multi-selection metadata editing.
• Added support for Silverstack ClipReport XML sound reports.
• Improved Offload source scanning, source reads, progress, remaining-time estimates, two-destination copying, folder memory, source clearing, and recorder-media ejection.
• Fixed Offload finalization so success is reported only when the verified final file exists.
• Expanded Merge Split Files support for recorder filenames with lettered continuation parts and the known persistent one-sample-late continuation timestamp.
• Added source backups, Undo, and Redo for split-file merging.
• Added Rename progress and fixed preservation of existing filename suffixes.
• Improved Scene/Slate sorting and grouped qualifying poly files by Tape in the Trim Timeline.
• Improved Timeline waveform rendering, zooming, scrolling, maximum-zoom reconstruction, and refresh after drag-and-drop imports.
• Moved import inspection and metadata preparation off the main thread and improved waveform scanning performance and progress.
• Improved Audio Preview and Timeline transport scheduling to avoid priority inversions.
• Improved cancellation across Trim, Convert, Offload, and other batch workflows.
• Allowed empty conversion suffixes while preventing source overwrites and resolving filename collisions.
• Improved utility-window sizing, control layouts, primary action buttons, responsiveness, stability, and metadata correctness.