WaveLab Elements 9.5.20 - Operation Manual

Operation Manual
Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin
Schütte, Marita Sladek
This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number
of images in this document, it is not possible to include text descriptions of images.
The information in this document is subject to change without notice and does not represent a commitment on
the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License
Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No
part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose,
without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product
described herein may print one copy of this document for their personal use.
All product and company names are ™ or ® trademarks of their respective owners. For more information, please
visit www.steinberg.net/trademarks.
© Steinberg Media Technologies GmbH, 2018.
All rights reserved.
WaveLab Elements_9.5.20_en-US_2018-02-21
Table of Contents
5
5
5
5
6
7
WaveLab Elements Introduction
Platform-Independent Documentation
Help System
Conventions
Key Commands
How You Can Reach Us
8
8
8
8
9
11
11
Setting Up Your System
Connecting the Equipment
Audio Cards and Background Playback
Latency
Defining Audio Connections
CD/DVD Recorders
Remote Devices
16
16
16
17
17
21
21
21
22
24
25
25
WaveLab Elements Concepts
General Editing Rules
Startup Dialog
Basic Window Handling
Selecting Audio
Sliders
Renaming Items in Tables
File Browser
Tab Groups
Peak Files
Companion Files
Processing Precision
26
26
26
27
27
28
30
30
30
31
32
33
34
35
38
39
39
Workspace Window
Audio Editor
Audio Montage
Podcast Editor
File Tab
Info Tab
Tool Windows
Meter Windows
Slide-Out Windows
Docking and Undocking Tool Windows and
Meter Windows
Command Bar
Status Bar
Context Menus
Time Ruler and Level Ruler
Managing Tabs
Activating Full Screen Mode
Resetting the Default Workspace Layout
40
40
41
41
42
42
Project Handling
Opening Files
Value Editing
Drag Operations
Undoing and Redoing Actions
Zooming
3
47
Presets
50
50
51
53
56
57
57
58
59
60
60
File Operations
Recently Used Files
Save and Save As
Templates
File Renaming
Deleting Files
Temporary Files
Work Folders vs. Document Folders
Exporting to SoundCloud
Copying Audio Information to the Clipboard
Setting the Focus on the Current File
61
61
70
70
71
71
72
Playback
Transport Bar
Starting Playback From the Ruler
Using the Play Tool
Playback Scrubbing
Scroll During Playback
Playback in the Audio Montage Window
73
73
76
83
101
102
104
106
107
Audio File Editing
Wave Window
Audio Editor Tabs
File Handling in the Audio Editor
Changing the Audio Properties
Metadata
Silence Generator Dialog
Bleep Censor
Waveform Restoration with the Pen Tool
108
108
115
Audio Analysis
Global Analysis
3D Frequency Analysis
118
118
120
120
121
121
122
123
124
124
125
125
127
128
Offline Processing
Process Tab
Applying Processing
Gain Dialog
Level Normalizer Dialog
Envelope Dialog
Fades in Audio Files
Crossfades
Phase Inverting
Reversing Audio
DC Offset
Time Stretching
Pitch Shift
Resample
129
129
131
Audio Montage
Montage Window
Audio Montage Tabs
Table of Contents
138
139
139
140
141
141
142
147
149
154
154
157
160
168
170
170
171
Signal Path in the Audio Montage
Creating New Audio Montages
Audio Montage Duplicates
Creating an Audio Montage from an Audio File
Import Options for Audio Montages
Missing Files Dialog
Assembling the Audio Montage
Rearranging Clips
Clip Editing
Track Activity Indicator
Envelopes for Clips
Fades and Crossfades in Audio Montages
Effects for Tracks, Clips, and the Montage
Output
CD Window
Mixing Down – The Render Function
Loudness Meta Normalizer
Notes Window
173
173
174
174
Recording
Setting Up the Recording Dialog
Dropping Markers During Recording
Recording Dialog
179
179
179
188
192
195
195
Master Section
Bypassing the Master Section
Master Section Window
Rendering
Saving Master Section Presets
Monitoring Background Tasks
Dropouts
196
196
196
199
200
200
200
200
201
201
201
202
202
202
Markers
Marker Types
Markers Window
About Creating Markers
Deleting Markers
Moving Markers
Navigating to Markers
Hiding Markers of a Specific Type
Converting Marker Types
Renaming Markers
Selecting Markers
Selecting the Audio Between Markers
Binding Markers to Clips in the Audio Montage
How Marker Information is Saved
204
204
204
204
204
206
206
Metering
Meter Windows
Meter Settings
Resetting the Meters
Level Meter
Spectroscope
Oscilloscope
208
208
209
210
212
215
Writing Operations
Write Audio CD Dialog
Erase Optical Media Dialog
About Writing Audio Montages
Data CD/DVD Projects
Audio CD Formats
218
218
219
226
Loops
Basic Looping
About Refining Loops
Looping Audio Which Is Not Very Well Suited
for Looping
228
Sample Attributes
230
230
233
234
234
234
235
Importing Audio CD Tracks
Import Audio CD Dialog
Importing Audio CD Tracks
Searching Track Names on the Internet
Submitting Track Names to the Internet
Ultra-Safe Mode
Converting Audio CD Tracks to an Audio
Montage
236
236
WaveLab Exchange
WaveLab Elements as External Editor for
Cubase/Nuendo
Cubase/Nuendo as External Editor for WaveLab
Elements
237
238
238
242
242
243
243
243
244
Podcasts
Podcast Editor
Global Podcast Options
Creating a Podcast
Setting Up a FTP for Podcast Publishing
Publishing Podcasts
FTP Settings Dialog
Checking the Podcast
245
245
Customizing
Customizing the Wave Window and the
Montage Window
Customizing Shortcuts
Customizing Command Bars
Plug-in Organization
Touch Bar (macOS only)
246
250
250
257
258
258
262
266
269
4
269
Configuring WaveLab Elements
Global Preferences
Audio Files Preferences
Audio Montages Preferences
Synchronizing WaveLab Elements Settings on
Several Computers
Multi-User Settings
271
Index
WaveLab Elements
Introduction
Platform-Independent Documentation
The documentation applies to the operating systems Windows and macOS.
Features and settings that are specific to one of these platforms are clearly indicated. In all other
cases, the descriptions and procedures in the documentation are valid for Windows and macOS.
Some points to consider:
●
The screenshots are taken from Windows.
●
Some functions that are available on the File menu on Windows can be found in the
program name menu on macOS.
Help System
There are several ways of accessing the help system. The documentation is available online and
most of it can be downloaded in PDF format from steinberg.help.
●
To visit steinberg.help, enter steinberg.help in the address bar of your web browser or
open WaveLab Elements and select Help > steinberg.help.
●
To show tooltips, move the mouse over an interface icon.
●
To open the help for an active dialog on steinberg.help, click the question mark icon on the
title bar (Windows) or in the dialog (macOS) to show the Help button, and then click the
Help button, or press F1 (Windows) or Cmd-? (macOS).
●
To use the menu help, move the mouse over a menu item.
●
To see information on what kind of editing can be performed when using the mouse and
modifier keys in the Audio Montage window, move the mouse over the montage window.
The help text is displayed on the info line at the bottom of the window.
To open the “What’s This” help, you have the following possibilities:
●
In any window, press Shift-F1 and move the mouse over an interface item, or select Help >
What’s This?.
●
In a dialog, select the question mark icon on any title bar (Windows) or in the dialog
(macOS), and move the mouse over an interface item or a menu option.
●
Some “What’s this” tooltips include a link to a dedicated help topic.
RELATED LINKS
Info Line on page 147
Conventions
In our documentation, we use typographical and markup elements to structure information.
5
WaveLab Elements Introduction
Key Commands Typographical Elements
The following typographical elements mark the following purposes.
PREREQUISITE
Requires you to complete an action or to fulfill a condition before starting a
procedure.
PROCEDURE
Lists the steps that you must take to achieve a specific result.
IMPORTANT
Informs you about issues that might affect the system, the connected hardware, or
that might bring a risk of data loss.
NOTE
Informs you about issues that you should consider.
EXAMPLE
Provides you with an example.
RESULT
Shows the result of the procedure.
AFTER COMPLETING THIS TASK
Informs you about actions or tasks that you can perform after completing the
procedure.
RELATED LINKS
Lists related topics that you can find in this documentation.
Markup
Bold text indicates the name of a menu, option, function, dialog, window, etc.
EXAMPLE
To open the Metadata dialog, open the Metadata window and click Edit.
If bold text is separated by a greater-than symbol, this indicates a sequence of different menus
to open.
EXAMPLE
Select File > Open.
Key Commands
Many of the default key commands, also known as keyboard shortcuts, use modifier keys, some
of which are different depending on the operating system.
When key commands with modifier keys are described in this manual, they are shown with the
Windows modifier key first followed by the macOS and the key:
●
Windows modifier key/macOS modifier key-Z
EXAMPLE
Ctrl/Cmd-Z means: press Ctrl on Windows or Cmd on macOS, then press Z.
6
WaveLab Elements Introduction
How You Can Reach Us How You Can Reach Us
On the Help menu in WaveLab Elements, you find items linking to additional information.
The menu contains links to various Steinberg web pages. Selecting a menu item automatically
launches your browser and opens the page. On these pages, you can find support and
compatibility information, answers to frequently asked questions, information about updates
and other Steinberg products, etc. This requires that you have a web browser installed on your
computer, and a working Internet connection.
7
Setting Up Your System
Before you start working, you need to make some settings.
IMPORTANT
Make sure that all equipment is turned off before making any connections.
Connecting the Equipment
Your system setup depends on many different factors, for example, the kind of project that you
want to create, the external equipment that you want to use, or the computer hardware available
to you.
Audio Cards and Background Playback
When you activate playback or recording in WaveLab Elements, other applications cannot access
the audio card. Likewise, if another application uses the audio card, WaveLab Elements is unable
to play back. The Windows MME driver is an exception from this.
You can run WaveLab Elements together with other applications and always give the active
application access to the audio card.
PROCEDURE
1.
Select File > Preferences > Audio Connections.
2.
Select the Options tab.
3.
Activate Release Driver.
4.
Do one of the following:
●
If you want to release the driver when WaveLab Elements is in the background,
activate When WaveLab Elements is in Background.
●
If you want to release the driver only when Cubase is in the foreground, activate
When Cubase is in Foreground.
Latency
Latency is the delay between when audio is sent from the program and when you actually hear it.
While a very low latency can be crucial in a real-time DAW application such as Steinberg Nuendo
or Cubase, this is not strictly the case with WaveLab Elements.
When working with WaveLab Elements, the important issues are optimum and stable playback
and editing precision.
The latency in an audio system depends on the audio hardware, its drivers, and settings. In
case of dropouts, crackles, or glitches during playback, raise the Buffer Number setting on the
8
Setting Up Your System
Defining Audio Connections Options tab in the Audio Connections, or increase the buffer size in the ASIO control panel,
specific to the audio card.
RELATED LINKS
Audio Connections Tab on page 9
Defining Audio Connections
To be able to play back and record audio in WaveLab Elements, you must specify how the internal
input and output channels in WaveLab Elements are connected to your sound card and which
device you intend to use for audio playback and recording.
You can define the buffer settings for your device as well as set up connections to external gear,
such as external effects units. You should select at least two channels for stereo playback and
recording.
If you have no third-party audio card, you can select the Windows MME driver or Built-in Audio
(Mac) options. You can also use MME with most third party audio cards, with the advantage that
you can record and play at different sample rates. However, Windows MME drivers do not allow
audio monitoring in the Recording dialog or multichannel operation, and other drivers generally
offer better sound quality and performance.
RELATED LINKS
Audio Connections Tab on page 9
Selecting an ASIO Driver
Audio Stream Input/Output (ASIO) is a computer device driver protocol for digital audio specified
by Steinberg. It provides a low-latency and high fidelity interface between a software application
and the soundcard of a computer.
PROCEDURE
1.
Select File > Preferences > Audio Connections.
2.
Open the Audio Device pop-up menu and select your ASIO driver.
The ASIO Plug-ins tab and the Control Panel button are activated.
3.
Optional: Click Control Panel and make your settings.
Selecting a Windows MME Driver
PROCEDURE
1.
Select File > Options > Audio Connections.
2.
Open the Audio Device pop-up menu and select Windows MME.
3.
On the Playback tab, select the audio ports that are used for playback.
4.
On the Recording tab, select the audio ports that used for recording and monitor input.
Audio Connections Tab
This tab allows you to specify how the internal input and output channels in WaveLab Elements
are connected to your sound card and which device you want to use for audio playback and
recording.
●
To open the Audio Connections tab, select File > Preferences > Audio Connections.
9
Setting Up Your System
Defining Audio Connections Global Settings
Audio Device
Allows you to select the audio device that you want to use for playback and recording
audio. If you do not have a third-party audio card, you can select the Windows MME
driver or Built-in Audio (Mac) options.
Control Panel
When you select an ASIO driver, the Control Panel button is activated. Click the
button to open the settings application of your sound card, which is usually installed
with the sound card. Depending on your sound card and driver, this provides
settings for buffer size, digital formats, additional I/O connections, etc.
Refresh
This button causes audio devices to be evaluated again to reflect device changes.
Playback Tab
This tab allows you to select and name audio ports that are used for playback.
Recording Tab
This tab allows you to select and name your audio ports that are used for recording and input
monitoring. The inputs that you define here are then available in the Recording dialog.
Options Tab
This tab allows you to specify the number of buffers and the control driver functionality.
Buffer Number
Increasing this value improves the elasticity of audio streaming to avoid dropouts.
MME Specific – Buffer Size
Increasing this value improves the elasticity of audio streaming to avoid dropouts.
This is only available when an MME driver is selected.
Initialize Streaming Engine at First Use
Initializes the audio streaming engine when playback or recording are used for the
first time. If this option is deactivated, the audio streaming engine is initialized at
program startup.
10
Setting Up Your System
CD/DVD Recorders Reset Driver When Changing Sample Rate
Resets the driver when sample rate is changed. When playback or recording must
be set to a new sample rate, some audio device drivers must be fully reset to work
properly. This operation takes some time.
Perform Short Fade In/Out When Starting/Stopping Playback
Performs a short fade in when starting playback and a short fade out when stopping
playback. This avoids clicks that are caused by waveforms that are not starting on a
zero-crossing point.
Release Driver
Allows you to run WaveLab Elements together with other applications and always
give the active application access to the audio card.
●
If When WaveLab Elements is in Background is activated, the driver is
released when WaveLab Elements is in the background.
●
If When Cubase/Nuendo is in Foreground is activated, the driver is released
when Cubase/Nuendo is in the foreground.
CD/DVD Recorders
For general instructions on installing internal or connecting external recorders via USB or
Firewire, refer to the instruction manual for your computer or your recorder.
Make sure to have the latest firmware version installed on your recorder unit. For CD recorders,
the existing firmware must support disc-at-once mode. In addition, running a unit with older
firmware can prevent you from writing sub-index markers into the tracks, for example.
Remote Devices
You can use remote devices to remote-control WaveLab Elements.
Several commands can be controlled with knobs and sliders of your remote control device.
Remote Devices Tab
This tab allows you to select a device to remote-control WaveLab Elements, and see the control
map of MIDI control devices.
●
To open the Remote Devices tab, select File > Preferences > Remote Devices.
11
Setting Up Your System
Remote Devices Device Editing Tab
This tab lets you select a MIDI control device and see the control map.
Active
Activates the selected device and scans the MIDI ports.
In-Port/Out-Port
Select the MIDI input/output ports of the device that you want to use.
Name
Lets you enter a map name.
Expand/Collapse
Expands/collapses the folder tree of the control map.
WaveLab Elements Action List
This folder tree lists the parameters that you can remote-control. The top folder
represent contexts. The related parameters can only be controlled if the context is
active. For example, if an audio file is active.
A remote control can be used in several contexts if these are exclusive. For example,
parameters that can be used for an active audio file or an active audio montage.
The Global folder contain the parameters that can always be controlled.
Options Tab
Emulate Mouse Wheel
If this option is activated, the AI knob of Steinberg controllers acts as a mouse wheel
in the WaveLab Elements user interface, except for plug-ins.
Edit Focused Numeric Field
If this option is activated, the AI knob Steinberg controllers can be used to edit the
focused numeric field that you find in many WaveLab Elements windows and dialogs.
12
Setting Up Your System
Remote Devices CC121 Advanced Integration Controller
You can use Steinberg’s CC121 Advanced Integration Controller to control WaveLab Elements.
This section describes the WaveLab Elements factory preset for the CC121. For detailed
information on how to use the controller, refer to the manual that came with the CC121. Note
that the CC121 was originally designed for Cubase. The following mapping combines the
WaveLab Elements functionality with the CC121 controls. The controls that are not listed in the
following paragraph are not assigned to a parameter.
Channel Section
You can use all controls of the CC121 channel section, except the fader, to control the elements
of the selected track in a WaveLab Elements audio montage. You can use the fader for the
Master Section.
Fader
Controls the Master Section fader.
PAN knob
Controls the gain of the selected track.
Mute
Mutes/Unmutes the selected track.
Solo
Activates/Deactivates solo for the selected track.
CHANNEL SELECT
Selects the previous/next track in the audio montage.
To move the cursor to the previous/next clip edge in the audio montage, hold Alt. To
move the cursor to the previous/next region edge, hold Shift. To move the cursor to
the previous/next marker in the Audio Editor, hold Ctrl/Cmd.
EQ Section
With the EQ section you can easily control the Steinberg Studio EQ plug-in.
If the EQ TYPE button is activated on the CC121, you can adjust the parameters of the focused
Studio-EQ. All necessary EQ parameters, such as Q/F/G of each band, EQ TYPE selection, and
ALL BYPASS on/off can be set. You can switch to WaveLab Elements navigation mode by turning
off the EQ TYPE button. In WaveLab Elements navigation mode, you get access to alternative
functions, such as scrolling, zooming, and switching between windows.
EQ TYPE activated:
Bandwidth knobs (Q)
Adjusts the Q (bandwidth) of each EQ band.
Frequency knobs (F)
Adjusts the center frequency of each EQ band.
Gain knobs (G)
Adjusts the gain of each EQ band.
ON
Activates/Deactivates the EQ bands.
ALL BYPASS
Activates/Deactivates bypass for all plug-ins in the Master Section.
EQ TYPE deactivated:
13
Setting Up Your System
Remote Devices LOW ON
Opens the Audio Editor.
LOW-MID ON
Opens the Audio Montage window.
HIGH ON
Opens the preferences tab.
EQ-1 knob for the EQ Gain (G)
Scrolls left/right on the timeline.
EQ-2 knob for the EQ Gain (G)
Adjusts the horizontal zoom on the timeline.
EQ-3 knob for the EQ Gain (G)
Adjusts the vertical zoom on the timeline.
EQ-4 knob for the EQ Gain (G)
Scrolls tracks on the Audio Montage window or scrolls vertically on the Audio
Editor.
EQ-1 knob for the EQ Frequency (F)
Scrolls left/right on the overview timeline of the Audio Editor.
EQ-2 knob for the EQ Frequency (F)
Horizontally zooms in/out on the overview timeline of the Audio Editor.
EQ-3 knob for the EQ Frequency (F)
Vertically zooms in/out on the overview timeline of the Audio Editor.
EQ-4 knob for the EQ Frequency (F)
Vertically scrolls on the overview timeline of the Audio Editor.
Transport Section
In this section you can control the transport functions of WaveLab Elements.
Previous button
Moves the cursor position to the left.
Rewind button
Moves the edit cursor position to the left.
Forward button
Moves the edit cursor position to the right.
Next button
Moves the cursor position to the right.
Cycle button
Activates/Deactivates Cycle mode.
Stop button
Stops playback. Press again to move the cursor to the previous start position. Press a
third time to move the cursor to the beginning of the project.
Play button
Starts playback.
14
Setting Up Your System
Remote Devices Record button
Press once to open the Recording dialog. Press again to start the recording. Press a
third time to stop recording. The recorded file opens in the Audio Editor.
Function Section
In this section, you can adjust functions, such as fades and envelope level, by using the VALUE
knob.
VALUE knob
Rotate this knob to adjust the assigned function. Press the knob to reset the
parameter to its default value.
FUNCTION button 1
Adjusts the fade in settings of the active clip.
FUNCTION button 2
Adjusts the fade out settings of the active clip.
FUNCTION button 3
Adjusts the envelope level of the active clip.
FUNCTION button 4
The element clicked last in the Nudge section of the Edit tab in the Audio Montage
window is assigned to this button.
AI Knob Section
WaveLab Elements can be controlled with the AI knob of Steinberg’s CC121, CI2+, and CMC-AI
controllers. With the AI knob, you can control the parameter that the mouse points to.
NOTE
The AI knob only works on parameters that are automatable.
In this section you can control parameters via the AI knob.
AI KNOB
Controls the VST 3 plug-in parameters, emulates the mouse wheel, for example, for
scrolling, and lets you edit a focused numeric field. To control a parameter with the
AI knob, move the mouse cursor over the parameter that you want to control, and
move the AI knob. You can activate/deactivate the emulation of the mouse wheel
and the editing of the focused numeric field in the Options tab.
LOCK
When the mouse cursor points to a parameter, press LOCK to control this parameter
regardless of the position of the mouse cursor.
CUBASE READY Indicator
The CUBASE READY indicator has no function in WaveLab Elements.
Foot Switch Section
The foot switch has the same function as Shift. Press and hold the foot switch while turning the
AI knob to fine tune parameters.
15
WaveLab Elements Concepts
This chapter describes general concepts that you will use when working with WaveLab Elements.
Getting accustomed with these procedures allows you to work more effectively with the
program.
General Editing Rules
The common editing operations apply to any Steinberg product.
●
To select and move interface items, and to select ranges, click and drag with the mouse.
●
Use the keys of your computer keyboard to enter numeric values and text, to navigate lists
and other selectable interface items, and to control the transport functions.
●
Common operations like cut, copy, paste, or the selection of multiple items can be
performed using standard keyboard shortcuts.
NOTE
The behavior of your product is also governed by your preference settings.
Startup Dialog
When WaveLab Elements starts, the Startup dialog opens where you can select which file or
template you want to open.
16
WaveLab Elements Concepts
Basic Window Handling Create
Empty Window
Creates an empty WaveLab Elements window.
Templates
Allows you to open a template in a new project.
Open
Last Files
Opens the files that you last used in WaveLab Elements.
Recent File
Allows you to open a recently used file.
Browse
Allows you to select the files that you want to open.
Use as Default (Do Not Show This Dialog Again)
If this option is activated, the option that you select is used from now on and the
startup screen does not open anymore. To display the Startup dialog, even if this
option has been activated, press Ctrl/Cmd when starting WaveLab Elements.
Basic Window Handling
WaveLab Elements follows the basic guidelines for the Windows/macOS interface, which means
that Windows/macOS standard procedures apply.
Closing Windows
●
To close a file tab, click the X button of the corresponding tab or press Ctrl/Cmd-W.
●
To close a file tab without saving your changes, hold Ctrl/Cmd-Shift, and click the X button
of the tab. This avoids having to confirm a warning message whenever you want to close
an unsaved tab.
●
To close all file tabs but the selected file tab, right-click a file tab and select Close All But
This.
Switching Between Files
You can have multiple files open and switch between them.
●
To bring a file to the front, click the corresponding tab.
●
To switch between the files, hold Ctrl/Cmd, and press Tab continuously.
●
To switch back and forth between the last two active files, press Ctrl/Cmd-Tab. Between
each step you have to release all keys.
●
To switch backwards, press Ctrl/Cmd-Shift-Tab.
●
To toggle between the active file and the last edited file, press F5.
Selecting Audio
Almost all types of editing and processing that you perform in WaveLab Elements operate on the
audio selection. There are numerous ways to make an audio selection.
●
To select the whole audio file, double-click it. If the audio file contains markers, triple-click
it.
17
WaveLab Elements Concepts
Selecting Audio Selecting a Range by Dragging
The standard way to select a range in the wave window is to click and drag.
If you drag all the way to the left or right side of the wave window, it scrolls automatically,
allowing you to select larger sections than what can be shown in the wave window. The speed of
the scrolling depends on how far from the wave window edge you are.
Audio Range Selection in an Audio File
You can edit, process, or play back selections of an audio file.
●
To access the audio range selection options, in the Audio Editor, select the Edit tab.
The following selection options are available in the Time Selection section:
All
Selects the entire waveform.
Toggle
Toggles the selection range on/off.
Extend
Opens a menu where you can select the following options:
●
Extend to Start of File extends the selection to the start of the audio file. If
there is no selection, a selection is created from the edit cursor position.
●
Extend to End of File extends the selection to the end of the audio file. If
there is no selection, a selection is created from the edit cursor position.
●
Extend to Previous Marker extends the left edge of the selection to the
nearest marker to the left or the start of the audio file. If there is no selection,
a selection is extended until the edit cursor position.
●
Extend to Next Marker extends the right edge of the selection to the nearest
marker to the right or the end of the audio file. If there is no selection, a
selection is extended until the next marker position.
●
Extend to Cursor extends the selection to the edit cursor position.
●
From Start of File Until Cursor selects the range between the start of the
audio file and the edit cursor position.
●
From Cursor to End of File selects the range between the edit cursor position
and the end of the audio file.
●
From Cursor to Previous Marker selects the range between the edit cursor
position and the previous marker or the start of the audio file.
●
From Cursor to Next Marker selects the range between the edit cursor
position and the next marker or the end of the audio file.
●
From Playback Position to End of File creates a selection range from the
playback position to the end of the audio file. If no playback is taking place, the
position of the edit cursor is used.
●
From Playback Position to Start of File creates a selection range from the
playback position to start of the audio file. If no playback is taking place, the
position of the edit cursor is used.
●
Double Selection Length doubles the length of the current selection range.
●
Halve Selection Length halves the length of the current selection range.
Channels
Opens a menu where you can select the following options:
●
Extend to All Channels extends the current selection range to all channels.
18
WaveLab Elements Concepts
Selecting Audio ●
Left Channel Only reduces the current selection range to the left channel
only.
●
Right Channel Only reduces the current selection range to the right channel
only.
Regions
Opens a menu where you can select the following options:
●
Loop Region selects the range between the two loop markers that encompass
the edit cursor.
●
Generic Region selects the range between the two generic markers that
encompass the edit cursor.
Selecting in Stereo Files
If you are working on stereo material in the Audio Editor, you can apply an operation to one
channel only or to the entire stereo material.
Which channel is selected when you click and drag in the wave window depends on where you
position the mouse cursor. The pointer shape indicates which channel will be affected.
The following pointer shapes are available:
Select left channel
Clicking in the upper half of the left channel selects the left channel.
Select both channels
Clicking in the middle area between the left and the right channel selects both
channels.
Select right channel
Clicking in the lower half of the right channel selects the right channel.
Switching the Selection Between Channels
You can switch the channel selection that you have made for a channel to all channels or switch
the selection to the other channel.
PROCEDURE
1.
In the wave window of the Audio Editor, select a range.
2.
Select the Edit tab.
3.
In the Time Selection section, click Channels and select one of the following options:
●
Extend to All Channels
●
Left Channel Only
●
Right Channel Only
You can press Tab to switch between the different channel selections.
19
WaveLab Elements Concepts
Selecting Audio Selecting in the Overview of the Audio Editor
The ranges that you select in the overview of the Audio Editor also apply to the main view.
PROCEDURE
●
In the wave window of the Audio Editor, hold down Ctrl/Cmd and click and drag in the
overview.
Moving a Selection Range
If a selection range has the correct length, but the wrong position, you can move it.
PROCEDURE
1.
In the wave window, hold down Ctrl/Cmd-Shift.
2.
Click in the middle of the selection and drag to the left/right.
Extending and Reducing the Selection
You can resize a selection range in the wave window.
There are several ways to extend/reduce the selection:
●
Select a range, Shift-click outside the selection range, and drag to the left/right, or click
and drag the edges of the selection range to the left/right.
●
To extend the selection to the previous/next boundary (marker or start/end of file), press
Shift and double-click the non-selected area between the boundaries.
Extending and Reducing the Selection Using the Cursor Keys
●
To move the start/end of a selection in the wave window to the left/right, hold down Shift
and press the left/right cursor keys. To move it in bigger steps, press the Page Up/Page
Down keys.
●
To extend a selection to the previous/next boundary in the wave window (marker or start/
end of the audio file), hold down Ctrl/Cmd+Shift and press the left/right cursor keys.
Deleting Selections
There are several options for deleting a selected range.
Audio Editor
The following options can be found on the Edit tab in the Cutting section.
Crop
Removes the data outside the selection.
Delete
Removes the selection. The audio to the right of the selection is moved to the left to
fill the gap.
Audio Montage Window
The following option can be found on the Edit tab in the Removal section.
Delete Selected Clip
Deletes the selected clip.
20
WaveLab Elements Concepts
Sliders Sliders
At various places in WaveLab Elements, slider controls are available to change parameters. There
are a number of ways to change the value of a slider.
●
Position the mouse over the slider and use the mouse wheel without clicking. Hold Ctrl/
Cmd while using the mouse wheel to scroll faster. This modifier also applies to the zoom
wheels. To move a slider, click and drag it.
●
To move the slider handle to a position, click the slider at any position.
●
To move the slider handle in smaller steps, right-click or click below the handle. Keep the
mouse button pressed to automatically step to the next value.
●
To reset the slider to the default value, if available, Ctrl/Cmd-click the slider, or click using
the third mouse button, or double-click the handle.
Renaming Items in Tables
You can rename items in tables in the Markers window, and in the CD window.
●
To rename an item, double-click it or select it, and press Return, and enter the new name.
●
To rename the previous/next item, press Up Arrow or Down Arrow. This way you move
the focus on the previous/next item, while staying in the edit mode.
File Browser
The File Browser window allows you to browse files from within WaveLab Elements. The Auto
Play Mode is useful for speeding up the process of auditioning sound files.
The File Browser window provides you with all the standard browsing functions. It features
additional controls to audition audio files and any marker defined regions. You can use it to open
or insert files by dragging them to another location.
You can also choose to only view specific file types.
File Browser Window
In this window, you can browse files and open them in WaveLab Elements.
●
To open the File Browser window, select Tool Windows > File Browser.
Back/Forward/Parent Directory
Allows you to navigate through the list and file hierarchy.
21
WaveLab Elements Concepts
Tab Groups Location
This menu allows you to select a file location to browse and lists the recently used
locations.
Auto-Play Mode
Automatically starts playback of the selected file.
Play Selected Audio File
Plays the selected audio file.
Search
If this button is activated, you can enter text in the search field.
File type list
Allows you to select which file type and file format to display.
Folder tree
Shows the folders that are available on your computer.
Favorite folders
You can add your favorite folders by dragging them from the folder tree. Each file
type has its own favorite folder.
File list
Shows the following information about each file:
●
Name shows the name of the audio file.
●
Size shows the size of the audio file.
●
Type shows the file type of the audio file.
●
Date Modified shows the date on which the audio file was last saved.
●
Sample Rate shows the sample rate in Hz.
●
Bits shows the bit depth in bits. “32F” means 32-bit float and “64F” means 64bit float.
●
Bit Rate shows the bit rate in kbps.
●
Length shows the length of the audio file.
●
Channels shows the number of channels.
Create Folder
Allows you to create a new folder. Right-click in the file list and select Create Folder.
Audio Regions
If the selected file contains region markers, the regions are displayed in the Audio
Regions section. You can drag regions onto a track.
RELATED LINKS
Folders Tab on page 58
Tab Groups
With tab groups, you can view the content of different files, tool windows, or meters at the same
time, without having to navigate through different windows. Each tab group has its own content
and tab bar.
You can have two file tab groups.
22
WaveLab Elements Concepts
Tab Groups Empty File Tab Groups
File Tab Groups with Audio Montages
Creating File Tab Groups
PROCEDURE
1.
In the top right of a file tab window, open the Tab Group pop-up menu.
2.
Select Create a Tab Group (Split Vertically) or Create a Tab Group (Split Horizontally).
23
WaveLab Elements Concepts
Peak Files Creating File Tab Groups in Empty Tab Groups
PROCEDURE
●
In the top right of an empty file tab group, click Create a Tab Group (Split Vertically) or
Create a Tab Group (Split Horizontally).
Using Tab Groups
The Tab Group button in the top right of each tab window allows you to maximize, move, and
close tab groups. Tabs are used differently depending on the type of window.
Tool Window Tab Groups
●
To hide a tool window tab group, open the Tool Window Tab Group Options pop-up
menu and select Hide All.
●
To reorder tabs in a tab group, drag the tab horizontally to a new position on the tab bar.
●
To dock the tab group to another location, open the Tool Window Tab Group Options
pop-up menu and select Dock Tab Group Elsewhere. Now you can select where to dock
the tab group.
File Tab Groups
●
To close a file tab group, click the Tab Group button and select Hide All.
●
To reorder tabs in a tab group, drag the tab horizontally to a new position on the tab bar.
●
To move a tab to another project, drag the tab to another project.
●
To paste the content of a tab into an audio file, drag the tab onto the waveform. The tab is
inserted at the cursor position.
●
To maximize the active file tab group, open the File Tab Group Options pop-up menu, and
select Hide Other File Tab Groups.
To show all file tab groups, open the File Tab Group Options pop-up menu, and select
Show Other File Tab Groups.
You can also double-click the file tab header of a tab group to show/hide other file tab
groups.
Peak Files
A peak file (extension .gpk) is automatically created by WaveLab Elements each time an
audio file is modified or opened in WaveLab Elements for the first time. The peak file contains
information about the waveform and determines how it is drawn in the wave window or the
montage window.
Peak files speed up the time it takes to draw the corresponding waveform. By default, the peak
file is saved in the same location as the audio file.
Rebuilding Peak Displays
Normally, peak files are automatically updated when the date of the peak file is older than the
date of the audio file. However, it can happen that the date of the audio file is not automatically
updated. In this case you can force a rebuild of the peak file.
PROCEDURE
1.
In the Audio Editor, select the View tab.
2.
In the Peaks section, click Rebuild Display.
24
WaveLab Elements Concepts
Companion Files Companion Files
Companion files (extension .vs) contain Master Section presets and view settings for audio
files. If this feature is activated when you save a file, the settings are recreated the next time that
you load the file.
Companion files are only available in the Audio Editor.
The following view settings are included in companion files:
●
Window size and position
●
Zoom level
●
Scroll position
Storing Companion Files in Another Location
By default, companion files are saved in the same location as the audio file. However, you can
select another file location.
PROCEDURE
1.
Select File > Preferences > Folders.
2.
Click Companion Files and specify another file location.
Processing Precision
WaveLab Elements can load audio samples in many formats but processes them internally as 64bit float samples.
Mixing inside WaveLab Elements is also done in 64-bit float. 32-bit PCM samples can be
transferred to 64-bit float and back.
Plug-ins are processed in 64-bit float by default. You can also set the plug-in processing to 32-bit
float.
You can set up the processing precision for plug-ins and for temporary files in the Audio tab of
the Global Preferences.
NOTE
Processing in 64-bit float means double precision but slightly longer process time than 32-bit
float.
Temporary files in 64-bit float have double precision but take longer to read and write than 32-bit
float and their file size is twice as big.
RELATED LINKS
Temporary Files on page 57
Audio Tab on page 260
25
Workspace Window
The Workspace window provides an editing and playback environment for each particular file
type. Each environment contains functions that are tailored to the specific purpose of each file
type.
●
Audio Editor for viewing and editing audio files.
●
Audio Montage window for assembling and editing audio montages.
●
Podcast Editor for preparing and uploading podcasts.
The Workspace window is highly customizable to match your workflow.
Elements of the Workspace Window
The Workspace window contains the following elements:
●
A menu bar
●
Tab groups to host the files to edit. You can move the content of a tab to another tab,
create a new empty tab, display the file path, and access other functions by right-clicking.
●
A set of tool windows. Which tools are available depends on the file type you are working
on. The tool windows can be activated/deactivated individually.
Audio Editor
The Audio Editor provides tools and functions for sample-accurate audio editing, high-quality
analysis, and processing.
The Audio Editor includes various metering tools.
The wave window gives you a graphical representation of the audio file and allows you to view,
play back, and edit the file.
RELATED LINKS
Audio File Editing on page 73
Audio Montage
In the Audio Montage, you assemble audio clips into a montage. You can arrange, edit, and play
back clips on both stereo or mono tracks.
Features include both track- and clip-based effects, volume and pan automation, and wideranging fade and crossfade functions.
You can place any number of clips on an audio track. A clip contains a reference to a source audio
file on your hard disk, as well as start and end positions in the file.
The montage window gives you a graphical representation of clips on tracks. In it you can view,
play back, and edit the tracks and clips.
26
Workspace Window
Podcast Editor RELATED LINKS
Audio Montage on page 129
Podcast Editor
In the Podcast Editor, you assemble, define, and publish your podcast to the Internet.
RELATED LINKS
Podcasts on page 238
File Tab
The File tab is the control center of WaveLab Elements. Here, you can save, open, render, import,
and export files. It also gives you detailed information about your files and allows you to set up
the WaveLab Elements preferences.
Info
Provides information about the active file and allows you to edit the audio properties
of audio files and audio montages.
New
Allows you to create audio files, audio montages, or podcasts. You can create new
files or use a template.
Open
Allows you to open audio files, audio montages, or podcasts.
You can also open files that you have previously copied to the clipboard in the File
Explorer/macOS Finder.
Import
Allows you to open different file formats. The following formats are supported:
●
Audio File to Montage
●
Unknown Audio
27
Workspace Window
Info Tab You can also import audio CD tracks from an audio CD.
Save As
Allows you to save the active file or the project. You can specify the name, file format,
and location. You can also save a copy of the active file.
Save All
Allows you to save all changed files of your project at once. The file list gives you an
overview of all files that have been changed.
You can use the filter to show all changed files, only audio files, or only audio
montages.
Export
Allows you to render the active file and upload the audio file to SoundCloud.
Preferences
Allows you to view and change the preferences of WaveLab Elements. You can set up
the preferences for the following parts of WaveLab Elements:
●
Global
●
Audio Connections
●
Shortcuts
●
Plug-ins
●
Remote Devices
●
Folders
●
Audio Files
●
Audio Montages
Tools
Allows you to access the following tools:
●
Data CD/DVD
●
Batch Conversion
RELATED LINKS
Info Tab on page 28
Configuring WaveLab Elements on page 258
Info Tab
The Info tab provides information about the active file and allows you to edit the audio
properties of audio files and audio montages.
●
To open the Info tab, select the File tab, and click Info.
28
Workspace Window
Info Tab Depending on the selected file, different information and options are available.
Name
Displays the name, file extension, and file location of the active file. You can edit
these attributes.
File Properties
Displays the size, date, and file format of the active file.
Audio Properties
For audio files, this displays the sample precision, channels, and sample rate of the
active file.
For audio montages, this displays the mode, channels, and sample rate of the active
file.
You can edit these attributes.
Sample Attributes (audio files only)
Displays the musical attributes tune, key range, and velocity range.
Metadata
Displays the metadata of the active file.
Copy to Clipboard
Opens a menu from which you can select which information about the active file you
want to copy to the clipboard.
Reveal in File Explorer/macOS Finder
Opens the File Explorer/macOS Finder to show the location of the active file.
Delete
Deletes the active file.
29
Workspace Window
Tool Windows Tool Windows
Throughout WaveLab Elements there are various tool windows available that allow you to view,
analyze, and edit the active file.
Generally, the content of a tool window is synchronized with the active file, with the exception of
the audio meters which displays the audio file being played back. Tool windows can be docked
and undocked, and saved in your custom layouts. Some tool windows are only available for
specific file types.
The tool windows can be accessed via the Tool Windows menu.
Opening and Closing Tool Windows
You can close all tool windows that you do not need for your project.
●
To open a tool window, select Tool Windows and select a tool window.
●
To close a docked tool window, right-click the tool window tab and select Hide.
●
To close an undocked tool window, click its X button.
Meter Windows
WaveLab Elements contains a variety of audio meters that you can use for monitoring and
analyzing audio. Meters can be used to monitor audio during playback, rendering, and
recording. Furthermore, you can use them to analyze audio sections when playback is stopped.
The meter windows can be accessed via the Meters menu.
Opening and Closing Meter Windows
You can close all meter windows you do not need for your project.
●
To open a meter window, select Meters and select a meter window.
●
To close a docked meter window, right-click the meter window tab and select Hide.
●
To close an undocked meter window, click its X button.
Slide-Out Windows
Slide-out windows are hidden in the frame of the Workspace window. When you hover the
mouse pointer over the window name, the window slides out. It is hidden again, when you click
anywhere else.
Slide-out window tab
30
Workspace Window
Docking and Undocking Tool Windows and Meter Windows An open slide-out window
Docking and Undocking Tool Windows and Meter Windows
Tool windows and meter windows can be used as docked windows, as floating windows, or as a
slide-out window. You can freely drag around the windows and dock them at various locations.
●
To undock a tool window or meter window, drag the corresponding tab to another
position.
Now the tool window or meter window is a floating window which can be freely moved.
●
To dock a tool window or meter window, click and hold the caption bar or click the Options
button on the right of the caption bar and select Dock Tab Group Elsewhere.
Yellow symbols indicate locations for docked windows, pink symbols indicate locations for
slide-out windows. Drag the window to one of the locations.
●
To dock a floating tool window or meter window at its last docked position, click the
Options
button on the right of the caption bar and select Dock to Last Place Again.
31
Workspace Window
Command Bar RELATED LINKS
Slide-Out Windows on page 30
Hiding the Caption Bar in Floating Meter Windows
To save screen space, the caption bar of floating meter windows can automatically be hidden if
the window is not the active window. This can be set individually for each floating window.
PROCEDURE
1.
In a floating meter window, click the Options button at the top right of the window.
2.
Select Auto Caption Bar.
Command Bar
The command bar of file windows allows you to create, open, and save files, and undo/redo
changes. You can also use the text field to quickly find and access open files, and to trigger
keywords.
New
Allows you to create an audio file, audio montage, or podcast. You can create new
files or use a template.
Open
Allows you to open an audio file, audio montage, or podcast.
Save
Saves the active file.
Save As
Allows you to save the active file. You can specify the name, file format, and location.
You can also save a copy of the active file.
Trigger Cubase Update
Updates the Cubase project if the active file was opened via the Edit in WaveLab
option.
32
Workspace Window
Status Bar Undo
Allows you to undo changes.
Redo
Allows you to redo changes that were undone.
Navigate Backwards/Navigate Forwards
In the Audio Editor and Audio Montage window, this allows you to navigate to the
previous/next cursor position, zoom factor, or selection range without undoing/
redoing the edit operation.
Customize Command Bar
Allows you to select the buttons that you want to display on the command bar.
Maximize Window
Maximizes the window. To restore the window size, click the button again.
Layout Options
Allows you to determine the position of the command bar and transport bar.
RELATED LINKS
WaveLab Exchange on page 236
Status Bar
The status bar at the bottom of the screen of the Audio Editor and the Audio Montage window
shows information about the active window using the units specified in the rulers.
The information displayed on the status bar is updated depending on the cursor position and on
the audio selection that you have made.
Time/Level (dB)
Displays the time of the audio file at the mouse cursor position. In the Audio Editor,
it also displays the level.
The value in brackets shows the time from the edit cursor position to the mouse
cursor position.
Audio Information at Edit Cursor
Displays the time at the position of the edit cursor. This information changes if you
reposition the cursor.
●
To define the cursor position, click the Audio Information at Edit Cursor field
to open the Cursor Position dialog.
●
To focus the cursor position, right-click the Audio Information at Edit Cursor
field.
Audio Selection Indicator (Audio Editor)/Audio Range Indicator (Audio Montage)
In the Audio Editor, this displays the length of the current selection, or the total
length of the audio file if no selection has been made.
In the Audio Montage window, this displays the length of the audio selection if a clip
is selected, or the size of the audio montage.
33
Workspace Window
Context Menus If you have zoomed in, you can right-click the indicator to display the selected audio
range, the active clip, or the whole file. Left-click the indicator to open the Audio
Range dialog, where you can define or refine a selection.
Zoom Indicator
Displays the current zoom factor.
●
To open a pop-up menu, that allows you to make additional zoom settings,
click the indicator.
●
To open the Zoom Factor dialog, that allows you to edit the zoom factor, rightclick the indicator.
Sampler Key Indicator (Audio Editor only)
Indicates the key of the current audio file (if defined). Click the indicator to open the
Sample Attributes window.
Audio File Properties/Audio Montage Properties
In the Audio Editor, this displays the sample precision and the sample rate. It also
indicates whether the audio file is mono or stereo. Click the indicator to open the
Audio Properties dialog.
In the Audio Montage window, this displays the sample rate of the audio montage.
Click the indicator to open the Sample Rate dialog.
Bypass Master Section
If this option is deactivated, the Master Section is ignored during playback.
However, rendering still takes all plug-ins into account.
Background Information
The status bar shows the progress of some background operations, such as
rendering an effect. The operation can be paused or canceled using the provided
buttons.
Context Menus
Throughout WaveLab Elements, various context menus are available. These menus group the
commands and/or options that are specific to the active window.
The context menus appear if you right-click specific areas and are useful for speeding up your
workflow.
For example, right-click a file tab to open a context menu with some relevant file options. Rightclicking the ruler of the waveform window brings up the Time Ruler context menu that allows
you to access a number of options for changing the time ruler display format.
You can find most context menu commands in the tabs, in the file window and in the main
menus, but some commands are only available in context menus. If you search for a function,
right-click the current working window to check if it has a context menu.
34
Workspace Window
Time Ruler and Level Ruler Context menu in the montage window
Time Ruler and Level Ruler
In the Audio Editor, you can display a time and a level ruler in the wave window. In the Audio
Montage window, you can display a time ruler in the montage window.
You can also determine which time and level units the rulers show.
Time Ruler
Level Ruler (Audio Editor only)
Time Ruler and Level Ruler Options
You can specify the time and level (amplitude) formats for each ruler in each wave window and
the time formats for each ruler in the montage window separately by right-clicking the ruler and
selecting a format from the pop-up menu.
Time Ruler Menu
Timecode
Displays frames per second for various SMPTE timecode types and for CD resolution.
You can specify the timecode type in the Time Format dialog.
Clock
Displays time units.
35
Workspace Window
Time Ruler and Level Ruler Samples
Displays positions as number of samples. The number of samples per second
depends on the sample rate of the audio file. For example, at 44.1 kHz, there are
44100 samples per second.
Bars and Beats
Displays bars and beats.
File Size (Audio Editor only)
Displays positions in megabytes. Decimals represent kilobytes.
Show grid (Audio Montage window only)
Displays vertical lines in the montage window, aligned with time ruler marks.
Time Format
Opens the Time Format dialog, that allows you to edit the appearance of the time
ruler formats.
Save Current Settings as Default
If this option is activated, the time ruler uses the current time format in all new wave
windows or montage windows.
Set Ruler’s Origin to Start of File
If this option is activated, the ruler’s zero position is set to the beginning of the first
sample.
Set Ruler’s Origin at Cursor
If this option is activated, the ruler’s zero position is set to the current edit cursor
position.
RELATED LINKS
Time Format Dialog on page 37
Level Ruler Menu (Audio Editor only)
dB
Sets the level format to decibels.
+-100 %
Sets the level format to percentage.
Normalized +1/-1
Sets the level format to a ruler gradation corresponding to 64-bit float audio.
16-bit Range
Sets the level format to a ruler gradation corresponding to 16-bit audio.
24-bit Range
Sets the level format to a ruler gradation corresponding to 24-bit audio.
Save Current Settings as Default
If this option is activated, the level ruler uses the current level format in all new wave
windows.
36
Workspace Window
Time Ruler and Level Ruler Working With a Meter-Based Display
If your working material is tempo-based, you can select the meter format (bars, beats, and ticks)
for the ruler legend. This makes it easier to find musically related cutting points.
PROCEDURE
1.
In the wave window or the montage window, right-click the time ruler, and select Bars and
Beats.
2.
Right-click the time ruler, and select Time Format.
3.
On the Meter tab, set the Time Signature and Tempo to values that match your audio file.
4.
Set Ticks per Quarter Note to a number that you feel comfortable with.
For example, this can be the same value that is used by your MIDI sequencer.
5.
Click OK.
Setting the Edit Cursor Position
Many operations, such as playback and selection, depend on the current edit cursor position.
For example, playback often starts at the edit cursor position. The current edit cursor position is
indicated by a vertical flashing line.
There are various ways to move the edit cursor:
●
Click somewhere in the wave window, the montage window, or the time ruler. If you have
made a selection, click the time ruler to prevent deselecting.
●
Click and drag in the time ruler.
●
Use the transport controls.
●
In the Audio Editor and Audio Montage window, select the View tab and use the options
in the Cursor section.
●
Use the cursor keys.
●
Double-click a marker.
Time Format Dialog
In this dialog, you can customize the time format of the ruler. The time format of the ruler is also
used in various time fields, for example, the status bar and some dialogs.
●
To open the Time Format dialog, right-click the ruler in the Audio Editor or Audio
Montage window, and select Time Format.
In the Audio Editor, you can set different time formats for the overview display and the
main display.
37
Workspace Window
Managing Tabs Timecode Tab
On this tab, you can configure the appearance of the Timecode.
Frames per Second
Lists standard frame rates. From the pop-up menu, select Other to enter a custom
frame rate. You can also choose which frames or units are displayed.
Show Absolute Frames
Shows the time format as a number of frames, without other time elements.
Show Quarter Frames
Adds the quarter frame number to the time format.
Show Hundredth Frames
Adds the number of a hundredth of a frame to the time format.
Show Units
Adds time units to the time format of the ruler.
Clock Tab
On this tab, you can configure the appearance of the Clock option.
Show Units
Adds time units to the time format of the ruler.
Compact
Shows the time without unit indicators.
Meter Tab
On this tab, you can configure the appearance of the Bars and Beats option.
Time Signature
Lets you edit the time signature used to display the time represented as a musical
notation.
Tempo
Lets you edit the tempo used to display the time represented as a musical notation.
Ticks per Quarter Note
Lets you edit the number of ticks per quarter note. These are used to display times
that are compatible with your sequencer.
Managing Tabs
A tab is a container for a file in WaveLab Elements. You can open several tabs, but only one can
be active at a time. The Tabs context menu offer tab related options.
File Tabs
The following options are available when you right-click a file tab.
Add to
Allows you to add the active file to another editor.
Close
Closes the active tab.
38
Workspace Window
Activating Full Screen Mode Close All But This
Closes all files but the active file.
Close All Audio Files
Closes all audio files.
Info
Displays information about the active file.
Reveal in File Explorer/macOS Finder
Opens the File Explorer/macOS Finder to show the location of the file.
Copy to Clipboard
Opens a menu, from which you can select which information about the file you want
to copy to the clipboard.
Recent Files
Allows you to open recently used files.
Activating Full Screen Mode
PROCEDURE
●
Select Workspace > Full Screen.
Resetting the Default Workspace Layout
PROCEDURE
●
Select Workspace > Reset Default Layout.
39
Project Handling
Opening Files
PROCEDURE
1.
Select File > Open.
2.
Select the file type that you want to open.
For example, Audio File.
3.
From the file browser, select the file that you want to open.
4.
Click Open.
Opening Files from the Clipboard
You can open files in WaveLab Elements that you have previously copied to the clipboard in the
File Explorer/macOS Finder.
PROCEDURE
1.
In the File Explorer/macOS Finder, copy the files that you want to open to the clipboard.
2.
In WaveLab Elements, select File > Open.
3.
Click Open Files from Clipboard.
RESULT
The files open in new file tabs.
Automatically Opening Files in a Dedicated Tab Group
You can specify a precedented file type for each tab group. Files that open after rendering, audio
files that you open from an audio montage, or files that you open via the File Explorer/macOS
Finder are automatically opened in the corresponding tab group for this file type.
●
To specify a precedented file type for a tab group, click File Tab Group Options at the
header of a tab group, and select a file type.
40
Project Handling
Value Editing Value Editing
At various places in the program, numerical values can be edited by using a combination of text
fields and knobs.
Values are sometimes composed of several elements, for example, 12 mn 30 sec 120 ms. Each
value can be edited by using any of the following methods:
●
To change a value, click in a value field and type a new value, or click the small arrows in
the value field.
●
To change the value by one unit at a time, press the Left Arrow and Right Arrow keys.
●
To change the value by several units, press the Page Up and Page Down keys.
●
To change the value using the mouse wheel, position the mouse cursor over a value, and
use the mouse wheel, or use the AI knob of your MIDI controller.
●
To change the value with the mouse, click a value and drag the mouse up or down.
●
To jump to the maximum and minimum values, press the Home and End keys.
●
To move from one element of the value to another, press the Left Arrow and Right Arrow
keys.
Drag Operations
WaveLab Elements makes much use of drag-and-drop techniques to perform various operations,
some of which can only be performed this way. These are referred to as drag operations in this
documentation.
●
To drag an object, click and hold with the mouse when positioned on the object and drag
it. Drop the object by releasing the button.
Many types of objects can be dragged between different source and destination locations, for
example, files, text, clips, items in a list, and markers.
NOTE
It is also possible to drag and drop files from WaveLab Elements to Steinberg’s Nuendo.
●
To reorder a tab within its own tabbed group, drag horizontally. To move a tab to another
window, drag vertically.
●
To open a file, drag it from the File Browser window of WaveLab Elements, from the file
browser of your operating system, or from another application to the tab bar.
●
To create a copy of a file, drag its tab vertically to another position of the tab bar, then
press Ctrl/Cmd, and release the mouse button.
●
You can dock and undock tool windows and meter windows via dragging.
RELATED LINKS
Docking and Undocking Tool Windows and Meter Windows on page 31
Dragging in the Audio Editor and Audio Montage Window
●
To insert an audio file in another audio file, drag the title bar of the file onto the waveform
of another file. You can also drag an audio file from the File Browser window, the file
browser of your operating system, or from another application into the Audio Editor.
●
To move a marker, drag it to another position on the time ruler.
●
To create a copy of a marker, press Shift, and drag it to another position on the time ruler.
●
To delete a marker, drag it upwards outside the time ruler.
41
Project Handling
Undoing and Redoing Actions ●
To copy an audio selection, drag a selected region of audio onto the waveform area of the
same file or another file.
●
To change the extent of a selection range, position the edit cursor at the start/end of the
selection range, and drag to the left or right.
●
To move the edit cursor without losing the current selection, and to snap it to an anchor,
press Shift, and move the mouse near the audio file/montage cursor. The mouse cursor
shape changes and you can drag the cursor left and right.
●
To move the edit cursor without changing or losing the current selection, press Shift, click
the edit cursor, and drag it to another position.
●
To scroll the waveform horizontally, click the bar above the time ruler and drag left or
right. You can also click anywhere on the waveform using the 3rd mouse button, and drag
left or right.
●
To create a generic marker from a selected text, drop the text that you have selected in an
external application onto the time ruler. The text becomes the marker name.
●
To create a stereo copy of a mono file, or a mixed copy of a stereo file, drag a tab to
another position of the tab bar, press Ctrl-Alt (Windows) or Option-Ctrl (Mac), and release
the mouse button.
Dragging in the Podcast Window
●
To reorder episodes in the episodes list, drag them to another position.
Dragging in the Master Section
●
To change the order of processing, drag effects between different effects slots.
Undoing and Redoing Actions
You can undo and redo as many steps as you like. The only limitation is the available hard disk
space.
When undoing or redoing any operation in the Audio Editor or the Audio Montage window, the
zoom factor, cursor position, scroll position, clip selection status, and time range are restored to
the state before the operation.
●
To undo or redo a step, click Undo
Audio Montage window.
or Redo
in the title bar of the Audio Editor or
Navigating Backwards and Forwards
In audio files and audio montages, you can navigate to the previous/next cursor position, zoom
factor, and selection range without undoing/redoing the edit operation.
●
To navigate backwards or forwards, click Navigate Backwards
or Navigate Forwards
in the title bar of the Audio Editor or Audio Montage window.
Zooming
Horizontal Zooming
●
When you zoom out as far as possible, the entire file fits in the window.
●
When you zoom in as far as possible, each sample occupies several pixels on the screen.
This allows for sample-accurate editing of waveforms.
42
Project Handling
Zooming Vertical Zooming
●
When you zoom out as far as possible, the height of the wave fits in the window.
●
As you progressively zoom in, the display only shows a part of the total height. The vertical
scrollbar lets you adjust exactly which section is shown. Check the ruler to see which part
of the waveform is shown in the display.
●
To optimize the vertical zoom of the waveform, press Ctrl/Cmd, the time ruler, keep the
mouse button pressed, and drag the mouse up or down.
High Zoom Level
●
When the zooming level is very high, each sample is shown with a step and a bullet. The
steps show the real digitized state, while the bullets make it easier to see the samples,
especially for zeroed samples.
●
The curve also represents an estimation of the analog reconstructed signal to give hints on
true peaks.
Zooming in the Overview and Main View Sections (Audio Editor Only)
●
You can have different zoom levels in the overview and in the main view section. In the
overview, a range indicator on the time ruler indicates which section of the file is displayed
in the main view.
●
To adjust the zoom level, drag the edges of the range indicator.
●
To scroll in the main view, drag the range indicator. The range indicator is located at the
top of the overview display.
●
To adjust the zoom level using the scrollbar, drag the edges of the scrollbar.
43
Project Handling
Zooming Zooming Using the Zoom Controls
Both the main view and the overview have horizontal and vertical zoom controls.
●
To zoom horizontally, click the Horizontal Zoom control, and drag left or right, or use the
mouse wheel.
●
To zoom vertically, click the Vertical Zoom control, and drag up or down, or use the
mouse wheel.
●
To fully zoom-out, double-click the zoom controls.
Zooming Using the Zoom Tool
The Zoom tool is used to zoom in a specific section of the waveform so that it occupies the entire
wave window. This is only available in the Audio Editor.
Using the Zoom Tool in the Main View
The selection that you make in the main view of the wave window is magnified and fills up the
entire main view.
PROCEDURE
1.
In the Audio Editor, select the View tab.
2.
In the Zoom section, click Zoom.
3.
In the main view of the wave window, click and drag left or right, and release the mouse
button.
The selected part of the wave now occupies the entire main view.
Using the Zoom Tool in the Overview
The selection that you make in the overview of the wave window is displayed in the main view.
PROCEDURE
●
In the overview of the wave window, click and drag left or right, and release the mouse
button.
RESULT
The selected range of the waveform is shown in the main view.
44
Project Handling
Zooming Zooming Using the Mouse
With the mouse, you can change the zoom factor by clicking and dragging or by using the mouse
wheel.
●
To zoom horizontally, in the wave window or the montage window, position the mouse
cursor over the time ruler, click, and drag up or down.
●
To zoom horizontally while maintaining the cursor position, position the mouse cursor
over the time ruler, press Shift, and drag up or down.
For this, you can also use the mouse wheel. Press Ctrl/Cmd-Shift, point at a waveform,
and use the mouse wheel.
●
To zoom horizontally around the mouse cursor position using the mouse wheel, press
Ctrl/Cmd, point at a waveform, and use the mouse wheel.
●
To zoom horizontally around the edit cursor position, press Ctrl/Cmd-Shift, point at a
waveform, and use the mouse wheel.
●
To zoom vertically using the mouse wheel, press Shift, point at a waveform, and use the
mouse wheel.
Audio Editor Only
●
To zoom vertically, in the wave window, position the mouse cursor over the level ruler,
click, and drag left or right.
●
To reset the vertical zoom to 0 dB, double-click the level ruler.
●
To set the vertical zoom to the best value, that is, the current minimum and maximum
displayed samples, make sure that the level ruler is set to 0 dB, and double-click the level
ruler.
Zooming Using the Keyboard
A quick way to zoom the active wave or montage window is to use the arrow keys on the
computer keyboard.
●
To zoom horizontally in the active wave window or montage window, press Up Arrow or
Down Arrow.
●
To zoom vertically in the active wave/montage window, hold Shift, and press Up Arrow or
Down Arrow.
●
To zoom vertically to fit the available height, press Ctrl/Cmd-Shift-Up Arrow.
●
To zoom out fully, press Ctrl/Cmd-Down Arrow.
●
To zoom in fully, press Ctrl/Cmd-Up Arrow.
RELATED LINKS
Global Preferences on page 258
Zoom Options
The zoom options allow you to quickly access various zoom settings.
The zoom options are available in the Audio Editor and the Audio Montage window on the View
tab in the Zoom section.
Time
Opens a pop-up menu that allows you to adjust the zoom to display the selected time
range. Zoom in 1:1 zooms in so that one pixel on the screen represents one sample.
To edit the zoom factor, click Edit Zoom Factor. This opens the Zoom Factor dialog,
where you can edit the following settings:
45
Project Handling
Zooming ●
Set Time Range allows you to specify the time range that you want to display.
●
Samples per Screen Point allows you to specify how many audio samples are
summarized in each screen point.
●
Screen Points per Sample allows you to specify how many screen points are
used to represent a single audio sample.
Zoom
Activates the Zoom tool that allows you to define a time range that is zoomed in.
Zoom Selection
Zooms the window so that the current selection occupies the entire montage
window.
Display Whole Clip (Audio Montage window only)
Adjusts the view to display the active clip.
View All
Displays the entire audio range.
Microscope
Zooms in as far as possible.
Zoom in Audio (10x)/Zoom out Audio (10x)
Zooms in/out in big steps.
Zoom in Audio/Zoom out Audio
Zooms in/out in small steps.
Level
Adjusts the zoom to only display samples below the selected dB value.
Optimize Vertical Zoom (Audio Editor only)
Changes the vertical zoom factor so that the peaks are clearly visible. This
adjustment is done according to the section of the wave that is visible in the wave/
montage window.
Reset Zoom to 0 dB
Adjusts the zoom to display audio levels up to 0 dB.
Zoom in Vertically/Zoom out Vertically
Zooms in/out to show waveforms with a lower/higher level.
Zooming in Audio Montages
Zooming options in the Audio Montage window are almost similar to those in the Audio Editor.
However, there are additional zooming options for tracks.
Zoom Buttons in the Audio Montage
The zoom buttons in the Audio Montage window allow you to apply zoom presets.
●
To only display the selected track, or also the tracks below and/or above the selected track,
click the corresponding buttons.
46
Project Handling
Presets ●
To set the zoom setting to fit the active clips in 25 %, 50 %, or 100 % of the available space,
click the corresponding buttons.
●
To select a specific area, click Ctrl/Cmd, and drag the rectangle over the tracks and clips
that you want to zoom in on.
Displaying More or Less Tracks
The number of tracks that are displayed in the Audio Montage window can be changed with the
zoom controls in the lower right corner of the montage window.
●
To display more tracks, click the smaller magnifying glass icon.
●
To display fewer tracks, click the larger magnifying glass icon.
●
To make a single track fit the whole montage window, click the numbered button in the
track control area, and select Zoom from the pop-up menu.
You can also right-click the lower area of a track, and select Display Whole Clip from the
pop-up menu.
Presets
You can create presets to save commonly used settings. WaveLab Elements provides a selection
of factory presets that can be used by most dialogs.
You can save customized presets. The next time that you load the program, the presets are
available.
Presets are saved as single files and can be organized in subfolders. The root folder of the preset
is different for each type of preset and cannot be changed.
Saving a Preset
PROCEDURE
1.
Open the dialog that you want to use and modify the parameters.
47
Project Handling
Presets 2.
Open the Presets pop-up menu and select Save As.
3.
Optional: Click the folder icon and enter a name for the subfolder that you want to use as
the location for this preset.
4.
Type in a name.
5.
Click Save.
Loading Presets
To apply a saved preset or a factory preset to a dialog or plug-in, you must load the preset.
PROCEDURE
1.
In the dialog, open the Presets pop-up menu.
2.
Select the preset that you want to apply.
Modifying a Preset
You can modify a preset and save the changes.
PROCEDURE
1.
Open the dialog that you want to use.
2.
Load the preset that you want to modify.
3.
Modify the parameters of the dialog.
4.
Open the Presets pop-up menu and select Save.
Deleting a Preset
PROCEDURE
1.
Open the dialog that you want to use.
2.
Select the preset that you want to delete.
3.
Open the Presets pop-up menu and select Organize Presets.
4.
In the File Explorer/macOS Finder, select the preset file that you want to delete, and press
Delete.
Saving and Restoring Temporary Presets
Some dialogs allow you to save and load up to 5 temporary presets. This is useful if you want to
quickly test and compare different settings.
Saving Presets Temporarily
PROCEDURE
1.
Open the dialog that you want to use and make your settings.
2.
Open the Presets pop-up menu.
3.
From the Store Temporarily submenu, select a slot.
48
Project Handling
Presets Restoring Temporary Presets
PROCEDURE
1.
Open the dialog in which you have saved a preset.
2.
Open the Presets pop-up menu.
3.
From the Restore submenu, select a preset.
49
File Operations
Recently Used Files
All files that you have recently used in WaveLab Elements are saved in a list. This helps you to
gain fast access to recent projects. You can open recently used files via the File menu.
Opening Recently Used Files
PROCEDURE
1.
Select File > Open.
2.
Select the file type that you want to open.
3.
Click Recent Files.
4.
Optional: Use the search field to enter the name of the file that you are looking for.
5.
Select the file that you want to open.
6.
Click Open.
Recent Files Tab
This tab allows you to view and manage all the files that you have recently used in WaveLab
Elements. You can search for files, open multiple files at once, and remove individual files or files
that cannot be located.
●
To open the Recent Files tab, select File > Open, select one of the file types, and click
Recent Files.
Only Show Files Created by WaveLab Elements
Only shows the files that have not been opened since they were created by WaveLab
Elements. For example, a file that is rendered has this status until it is opened.
Search field
Lets you search for text in the Name or Path column, depending on which column is
selected.
Remove Non-Existing Files
Removes those files from the list that cannot be located on the medium.
Remove Selected Files
Removes all selected files from the list.
50
File Operations
Save and Save As Open
Opens the selected files.
Filtering Recently Used Files by Name
The search field in the Recent Files tab allows you to filter the files list by name.
●
To specify whether the Name or the Path column is used, click the Name or Path column
header.
●
To search for a file, enter the text that you want to search for in the search field.
●
To switch the focus from the search field to the list of recently used files, press Down
Arrow.
●
To switch the focus from the list of recently used files to the search field, press Ctrl/Cmd-F.
Setting the Number of Recently Used Files to Display
PROCEDURE
1.
Select File > Preferences > Global.
2.
In the Global Preferences window, select the Display tab.
3.
In the History section, set the maximum number of items to be listed on the Recent File
menu.
Save and Save As
●
Once a file has been saved, select File > Save, or press Ctrl/Cmd-S to update the file and
make the changes permanent.
●
If you want to specify a new name, location, and/or file format, select File > Save As.
NOTE
In the Audio Editor, all save operations except Save Copy clear the undo history, which means
that after saving you cannot undo or redo.
Tab Colors
The colored tab corner gives information on whether a file is saved or not, and whether the file
has been rendered in Cubase.
White
The file is not modified.
Green (Audio Editor only)
The file uses a decoded file format and is saved.
Red
The file has been modified and changes have not been saved yet.
Yellow
The file has been rendered in Cubase.
51
File Operations
Save and Save As Unsaved Changes Indicator
When you have made changes to a file, an asterisk is displayed next to the file name until you
save the file.
Saving Multiple Files at Once
You can save some or all open files at once.
PROCEDURE
1.
Open the File window and click Save All.
2.
Select the files that you want to save.
3.
Click Save.
Saving Copies of Files
You can save copies of files that you are working on.
PROCEDURE
1.
Select File > Save As.
2.
Specify a name and location.
3.
Right-click Save and select Save Copy.
Reverting to Saved File
You can revert the file that you are working on back to its last saved state. This undoes all the
changes made to the file since it was last saved.
PROCEDURE
1.
Select File > Open.
2.
Select the file type that you want to open.
3.
Click Revert to Saved File.
4.
In the warning dialog, click Yes to revert to the last saved state.
RESULT
The last saved version of the file is loaded from disk.
Automatic Backups
You can automatically create backups of your files.
For example, if you select Save As and specify a file name that is already used in that folder, you
will be asked if you want to replace the existing file or replace the existing file and rename the
old file. If you click Replace and Keep Old, the backup name of the audio file that is replaced will
be the original name, with .bak added at the end.
52
File Operations
Templates Saving Audio Montages
The saving operations for audio montages are the same as for audio files. However, there are
things to note when saving audio montages.
●
Audio montage files only contain references to audio files. If you want to rename audio
files that are referenced by audio montages, rename the audio files in the Info window of
the Audio Editor. All clip references are updated automatically.
●
If the audio montage contains clips that refer to untitled audio files, save these audio files
before saving the audio montage.
RELATED LINKS
Renaming Files on page 57
Save and Save As on page 51
Templates
You can save file settings that you regularly use as templates. Templates are useful when
creating new audio files, audio montages, or podcasts.
Templates Tab
This tab shows all templates, and allows you to create and open templates.
●
To open the Templates tab, select File > New, select a file type, and click Templates.
List of the available templates
Lists all saved templates.
Add Template
Allows you to add a new template or update an existing template.
Explore
Opens the folder where the template files are located. Here, you can rename and
delete templates.
Use Template Name as Default File Name
If this option is activated and you click Add Template, a new file is created and uses
the name of the template. If this option is deactivated, the name of the new file is
“untitled”.
Creating Templates
You can create a template from an active audio montage, audio file, or podcast and use it as a
basis for newly created files.
PREREQUISITE
Select the file that you want to base your template on.
53
File Operations
Templates PROCEDURE
1.
Select File > New.
2.
Select the file type for which you want to create a template.
3.
Click Templates.
4.
In the Templates tab, do one of the following.
●
To create a new template, click Add Template, make your settings, and click Create.
●
To update an existing template, click Add Template, enter the name of the template
that you want to update, and click Create.
5.
Optional: If you want to use the template name as the default file name, activate Use
Template Name as Default File Name.
6.
When saving or updating an audio file template or an audio montage template, you can
make additional settings.
●
When saving an audio file template, the Audio File Template dialog opens. Here,
you can select whether WaveLab Elements should attach an audio file format.
●
When saving an audio montage template, the Audio Montage Template dialog
opens. Here, you can select whether to include track plug-ins, clips, and/or markers.
Also select whether WaveLab Elements should attach an audio file format.
Audio File Template Dialog
The Audio File Template dialog displays the audio properties of the audio file template that you
are creating. You can also specify whether to always associate a specific audio file configuration
with optional metadata when creating an audio file template or not.
●
To open the Audio File Template dialog, select File > New, click Audio File, and click
Templates. In the Templates tab, click Add Template.
Attach Audio File Format
If this option is activated, whenever you open the Render or Save As dialogs, the
audio file configuration specified below is proposed by default.
Template Name
Allows you to enter a name for the template.
Audio Montage Template Dialog
In the Audio Montage Template dialog, you can set various options when creating an audio
montage template.
●
To open the Audio Montage Template dialog, select File > New, click Audio Montage,
and click Templates. In the Templates tab, click Add Template.
54
File Operations
Templates Include Clips
If this option is activated, clips are saved in the template.
Include Track and Master Plug-ins
If this option is activated, track plug-ins and master plug-ins are saved in the
template.
Include Markers
If this option is activated, markers are saved in the template.
Attach Audio File Format
If this option is activated, whenever you open the Render dialog, the audio file
configuration specified below is proposed by default.
Template Name
Allows you to enter a name for the template.
Creating Files From Templates
You can create a file from a template to use its settings.
PROCEDURE
1.
Select File > New.
2.
Select the file type that you want to create.
3.
Click Templates.
4.
From the list of the available templates, select the template that you want to take as the
basis of the new file.
Deleting Templates
PROCEDURE
1.
Select File > New.
2.
Select the file type for which you want to delete templates.
3.
Click Templates.
4.
Click Explore.
55
File Operations
File Renaming 5.
In the File Explorer/macOS Finder, delete the templates.
Renaming Templates
PROCEDURE
1.
Select File > New.
2.
Select the file type for which you want to rename templates.
3.
Click Templates.
4.
Click Explore.
5.
In the File Explorer/macOS Finder, rename the templates.
Setting Templates as Default
You can set a template as the default template that opens when you click New on the command
bar.
PROCEDURE
1.
Select File > New.
2.
Select the file type that you want to open.
3.
Select Templates.
4.
Right-click a template and select Set as Default.
RELATED LINKS
Command Bar on page 32
Defining Shortcuts for Templates
You can define key sequences and keywords for templates. This allows you to quickly open a
template.
PROCEDURE
1.
Select File > New.
2.
Select the file type that you want to open.
3.
Select Templates.
4.
Right-click a template and select Define Shortcut.
5.
In the Shortcut Definitions dialog, edit the shortcut for the selected template.
6.
Click OK.
File Renaming
You can rename a file and update all references automatically. For example, if you rename an
audio file named India to Sitar, all open files that reference the file India are updated to
reference the file as Sitar.
Audio files, peak files, and marker files are also renamed accordingly.
56
File Operations
Deleting Files Renaming Files
PREREQUISITE
If you want to rename a file that is referenced by other files, open the files that reference the file
that you are about to rename in WaveLab Elements.
PROCEDURE
1.
Open the file that you want to rename.
2.
Select the File tab.
3.
Click Info.
4.
In the Name section, enter the new name and/or a new file location.
5.
Select a file suffix from the pop-up menu.
6.
Click Apply Changes.
Deleting Files
You can delete the active file from within WaveLab Elements.
PREREQUISITE
The file that you want to delete is not copied to the clipboard, is not pasted into another file that
is open, and is not open in another application.
PROCEDURE
1.
Open the file that you want to delete.
2.
Select the File tab.
3.
Click Info.
4.
Click Delete.
5.
Click OK.
RESULT
The file, including its peak and marker files, is deleted.
Temporary Files
WaveLab Elements creates temporary files to store intermediary results of the audio file
processing and for the undo/redo functions. You can specify where WaveLab Elements saves its
temporary files and the processing precision of temporary files.
By default, WaveLab Elements creates temporary files in 32-bit float. Use the 64 bit float option if
you want to create 64-bit float audio files or 32-bit PCM files.
NOTE
Temporary files in 64-bit float have double precision but take longer to read and write than 32-bit
float and their file size is twice as big.
You can change the processing precision of temporary files with the Processing Precision
option. You can set this option in the Global Preferences on the Audio tab.
57
File Operations
Work Folders vs. Document Folders RELATED LINKS
Specifying Folders on page 58
Audio Tab on page 260
Work Folders vs. Document Folders
WaveLab Elements distinguishes between two types of folders: work folders and document
folders.
●
In work folders, temporary files are saved.
●
Document folders contain WaveLab Elements-specific files, such as audio files, audio
montages, etc.
Specifying Folders
You can specify which document folder should open when you perform an open or save
operation. You can also specify up to three work folders for temporary files.
PROCEDURE
1.
Open the file for which you want to specify folders.
2.
Select File > Preferences > Folders.
3.
On the Folders tab, click the type of folder for which you want to specify a location.
4.
Specify a location in the Folder field.
5.
Optional: Depending on the selected type of folder, you can make additional settings.
Folders Tab
On this tab, you can specify default document folders and work folders for each file type.
●
To open the Folders tab, select File > Preferences > Folders.
In the list on the left, you specify the folder type that you want to make settings for.
Folder for Temporary Files
Specify a folder for saving temporary files.
Companion Files
Specify a folder for saving companion files, that is, Master Section presets and view
settings for audio files.
Cache Folder
Activate Use Cache Folder for Decoded Files to specify a cache folder. The cache
folder contains wave files that are created when you are working with files in
58
File Operations
Exporting to SoundCloud compressed file formats, such as MP3 files. To prevent the cache folder from
growing indefinitely, WaveLab Elements checks the date of each file in this folder and
deletes files that were created before a specific number of days. You can specify the
number of days with the Delete Files Older Than option.
If Use Cache Folder for Decoded Files is deactivated, the compressed files are
decoded each time they are opened.
Audio File – Open Folder/Save Folder
The default open and save folders for audio files.
Audio Montage – Open Folder/Save Folder
The default open and save folders for audio montage files.
Depending on the selected item, different settings are available on the right side of the dialog.
Current Folder
In this field, the folder that is used as default is displayed. You can click the folder
button to the right to navigate to a folder, or to create a new folder.
Keep Last Used
Uses the last folder for saving or opening files of the selected type.
Change When Save Folder Changes/Change When Open Folder Changes
Updates the default open folder when you change the default save folder, and vice
versa. Activate this option for both the save folder and the open folder if you want a
specific file type to use the same folder for saving and for opening this type of file.
Use for File Browser
In the File Browser, the folder does not change when you switch between file types
by default.
If you activate Use for File Browser and deactivate Keep Last Used, the folder
location that you have selected in the Current Folder field of each file type is
displayed when you switch between file types in the File Browser.
If you activate Use for File Browser and Keep Last Used, the folder that you have
selected in the Current Folder field of each file type is displayed when you select
a file type for the first time. When you then browse to another folder in the File
Browser, the Keep Last Used behavior is used. That is, the last used folder for this
file type is displayed when you select the file type.
You can make these settings for each file type independently.
On Reopening the Application, Revert to This Folder
Activate this option to restore a specific folder each time you open WaveLab
Elements. This way, any changes to save/open folders are only temporary and are
reset when you restart WaveLab Elements.
Exporting to SoundCloud
SoundCloud is an online platform for uploading and sharing your audio recordings. You can
export an audio file from WaveLab Elements to your SoundCloud account.
If you do not have a SoundCloud account, visit www.soundcloud.com to register.
PROCEDURE
1.
Select File > Export.
2.
Click Export to SoundCloud.
3.
Once you have logged in to your SoundCloud account, the file upload starts.
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File Operations
Copying Audio Information to the Clipboard AFTER COMPLETING THIS TASK
After uploading the audio file, you can edit the privacy settings and add metadata in SoundCloud.
Copying Audio Information to the Clipboard
You can copy information about the name and location of the selected audio file, including any
selection information and cursor position. This information can be pasted into an external text
application.
This is useful if you need accurate file path/selection information when writing a script, for
example.
PROCEDURE
1.
Click the File tab.
2.
Click Info.
3.
Click Copy to Clipboard and select the information that you want to copy to the clipboard.
Setting the Focus on the Current File
If you are editing inside a floating window or a tool window and you want to switch the focus
back to a wave/montage window, you can use the Set Focus on Current File option.
PROCEDURE
●
In any window, press Ctrl/Cmd-F12, to set the focus on the wave/montage window.
60
Playback
This chapter describes the methods for controlling playback and transport functions.
Transport Bar
With this command bar you can control playback of an audio file or audio montage, navigate
between various positions in an audio file or audio montage, and open the Recording dialog.
The transport bar is available in the Audio Editor and in the Audio Montage window.
By default, the extended transport bar options are hidden.
●
To activate the extended transport bar, click Extend Transport Bar on the transport bar.
Presets
Allows you to save and apply presets.
Perform Pre-Roll/Perform Post-Roll
Activates pre-roll or post-roll for the commands Play from Anchor, Play until
Anchor, and Play Audio Range.
Right-click the button to select the pre-roll or post-roll length and to specify to which
commands you want to apply pre-roll/post-roll to. To edit the pre-roll/post-roll times,
select Edit Pre-Roll and Post-Roll Times.
Play Audio Range
Plays the selected audio range. Post-roll and pre-roll settings are taken into account.
Right-click the button to open a menu with related options and auto selection
modes.
●
If Auto Select Range is activated, the range is automatically selected
according to the editing actions.
●
If Auto Replay While Editing is activated, playback is automatically restarted
when you hold down the mouse button while editing ranges, and use the
shortcuts to trigger playback. This is useful to find a loop, for example.
This option works even if the automated selection mode is deactivated.
●
If Solo Track When Editing is activated and you keep the mouse button
pressed when editing ranges in the montage window, the track is soloed
when you start playback using the shortcuts for Play Audio Range, Play
from Anchor, or Play until Anchor. This option is only available in the Audio
Montage window.
You can select different audio ranges for playback:
●
Time Selection
●
Region between Marker Pairs
●
Clip (audio montage only)
61
Playback
Transport Bar ●
Crossfade (audio montage only)
●
Fade In (audio montage only)
●
Fade Out (audio montage only)
Play until Anchor/Play from Anchor
Plays until or from anchor. Pre-roll and post-roll settings are taken into account.
Right-click the button to open a menu with related options and auto selection
modes.
●
If Auto Select Anchor is activated, the anchor is automatically selected
according to the editing actions.
●
If Auto Replay While Editing is activated, playback is automatically restarted
when you hold down the mouse button while editing anchors, and use the
shortcuts to trigger playback. This is useful to find a loop, for example.
This option works even when the automated selection mode is deactivated.
●
If Solo Track When Editing is activated and you keep the mouse button
pressed when editing anchors in the montage window, the track is soloed
when you start playback using the shortcuts for Play Audio Range, Play
from Anchor, or Play until Anchor. This option is only available in the Audio
Montage window.
You can select which anchor to use as reference for the commands Play from
Anchor and Play until Anchor. When there are multiple possibilities, for example,
multiple markers, the last selected item is used as a reference anchor or, if no item
was selected, the closest item near the edit cursor position is used.
You can select one of the following anchors:
●
Edit Cursor
●
Start of File
●
Start of Selected Time Range
●
End of Selected Time Range
●
Any Marker
●
Region Start Marker
●
Region End Marker
●
Clip Start (audio montage only)
●
Clip End (audio montage only)
●
Selected Envelope Point in Active Clip (audio montage only)
When an anchor is detected, for example, a region marker pair, this is indicated by a
green anchor marker.
Move Cursor to Start of File/Move Cursor to End of File
Moves the edit cursor to the start/end of the file.
Move Playback Position Backwards/Move Playback Position Forwards
Moves the edit cursor position to the left/right. If you click during playback, playback
jumps to the new edit cursor position.
To move the edit cursor to the start/end of the file, press Ctrl/Cmd, and click the
Move Playback Position Backwards/Move Playback Position Forwards buttons.
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Playback
Transport Bar Navigation anchors allow you to move the edit cursor to specific positions in the
audio file or audio montage. Right-click the Move Playback Position Backwards/
Move Playback Position Forwards buttons to open the Navigation Anchors
pop-up menu. Here, you can set the type of navigation anchor. If you click during
playback, playback continues from the anchor position.
Loop
Activates the loop mode. Right-click the loop button to select whether to loop
continuously or only a few times.
Stop Playback
Stops playback. If playback is already stopped, the edit cursor is moved to the
previous start position. Right-click the button to open the Move Cursor Back to
Start Position pop-up menu.
●
If After Standard Playback is activated, the edit cursor jumps back to the
start position when regular playback stops.
●
If After Automated Playback is activated, the edit cursor jumps back to the
start position when playback stops after the Play from Anchor, Play until
Anchor, or Play Audio Range options.
Start Playback from Edit Cursor
Starts playing back the active audio file or audio montage from the edit cursor
position.
If the audio being played back is not the active audio file, the Play button has a
different color. This happens if you switch to another file window during playback,
for example.
The playback button when playing back in the active window (left) and when playing
in another window (right).
You can also start playback from the last stop position. Right-click the button to open
the Lead Sequence pop-up menu.
●
If you select Start, playback starts from the cursor position.
●
If you select Resume from Last Interruption, playback starts from the last
stop position.
Record
Opens the Recording dialog.
Time Display
Displays the edit cursor or playback position. Click to select another time unit.
Transport Bar in the Podcast Editor
In the Podcast Editor, a simplified transport bar allows you to play back the selected podcast
episode.
Play Button
Clicking the Play button on the transport bar starts playing back the active audio file or audio
montage from the edit cursor position.
You can also use the Space bar or the Enter key on your keyboard to start playback. Pressing
Space during playback stops playback, pressing Enter during playback makes playback restart
from the last start position.
63
Playback
Transport Bar If the Loop button is activated, the audio selection is looped, if available. Otherwise, the region
defined by loop markers is looped. If there are no selection ranges or loop markers, the entire
file is looped.
The standard play command is not influenced by the Play Audio Range, Play from Anchor, and
Play until Anchor options.
Stop Button
The result of clicking the Stop button or on the transport bar or 0 on your numeric keypad
depends on the current situation.
●
If you trigger Stop in stop mode, the edit cursor moves either to the previous playback
start marker, or to the selection start (whatever is closer), until the start of the file is
reached.
●
If there is no selection or if the edit cursor is positioned to the left of the selection, it is
moved to the beginning of the file instead.
Playing Back Audio Ranges
You can play back audio ranges using the Play Audio Range options on the transport bar.
PROCEDURE
1.
On the transport bar, right-click Play Audio Range and select the range type that you want
to play back.
2.
Optional: Activate Perform Pre-Roll and/or Perform Post-Roll.
3.
Position the edit cursor inside the range that you want to play back or make a selection
range.
This selected range and, if activated, the pre-roll and post-roll times are displayed on the
time ruler.
4.
To play back the selected range, click Play Audio Range on the transport bar or press F6.
RESULT
The selected range is played back. Pre-roll and post-roll settings are taken into account. If the
Loop mode is active, pre-roll is used before the first loop only, and post-roll is only used after the
last loop.
Playing Back From an Anchor or Until an Anchor
You can play back audio from an anchor or until a specified anchor using the Play from Anchor
or Play until Anchor options on the transport bar.
PROCEDURE
1.
On the transport bar, right-click Play from Anchor or Play until Anchor, and select an
anchor type.
2.
Depending on the selected anchor type, position the edit cursor in the wave window or
montage window inside the range that you want to play back.
64
Playback
Transport Bar For example, if you have selected Region Start Marker, click somewhere in the area of the
region marker pair from which you want to play back from/to. The green anchor marker
jumps to the selected anchor.
3.
Optional: Activate Perform Pre-Roll and/or Perform Post-Roll.
4.
To play back from the anchor marker, click the Play From Anchor button on the transport
bar or press F7. To play back until the anchor marker, click the Play Until Anchor button
on the transport bar or press F8.
RESULT
Playback starts from the anchor or stops at the anchor. Pre-roll and post-roll settings are taken
into account.
“Play From Anchor” and “Play Until Anchor” Functions
You can play back audio from an anchor or until an anchor using the Play from Anchor or
Play until Anchor functions on the transport bar. These playback functions behave differently
depending on the pre-roll and post-roll settings.
Play from Anchor
●
If post-roll is activated, playback starts at the anchor position and stops after
the post-roll time. If no post-roll is selected, playback continues until the end
of the audio file or audio montage.
●
If pre-roll is activated, playback starts from the selected anchor, minus the preroll time.
●
If pre-roll and post-roll are activated, playback starts from the selected anchor,
minus the pre-roll time and stops after the anchor point plus the post roll time.
●
If the loop mode is activated, the pre-roll and post-roll settings are taken into
account. This way you can play a loop around the edit cursor position, without
having to make further range settings.
Play until Anchor
●
Playback starts from the cursor, and stops at the selected anchor. If the cursor
is beyond the selected anchor, playback starts at the selected anchor. If preroll is activated, it is taken into account.
●
If pre-roll is activated, playback starts from the selected anchor minus the preroll time, until the selected anchor.
●
If no anchor is selected, Play until Anchor is deactivated.
●
The loop settings have no effect.
Using the Auto Selection Mode
You can use the auto selection mode in combination with the playback shortcuts to play back
audio ranges or anchors. This makes it easy to monitor your editing actions.
PROCEDURE
1.
On the transport bar, right-click the Play From Anchor or Play Until Anchor button and
activate Auto Select Anchor.
2.
Right-click the Play Audio Range button and activate Auto Select Range.
65
Playback
Transport Bar 3.
In the wave window or the montage window, do one of the following:
●
Make a selection range.
●
Click inside the area of a marker pair.
●
Click a fade in, fade out, or crossfade.
●
Click anywhere in the wave/montage window.
●
Drag a marker.
Depending on your action, the most appropriate range, or anchor, is selected. For
example, if you click inside a marker pair, this region is selected as playback range.
The time ruler shows the selected range or anchor.
NOTE
In Auto Select Anchor and Auto Select Range mode, you can still change some range
and anchor options on the transport bar to play a different range/anchor. However, the
range/anchor are reselected when you start editing again with the mouse.
4.
Use the playback shortcuts to start playback.
●
To play back the selected audio range, press F6.
●
To play back from an anchor, press F7.
●
To play back until an anchor, press F8.
RESULT
The selection range is played back, or play back starts from the anchor or stops at the anchor.
Pre-roll and post-roll settings are taken into account.
NOTE
A selection range has priority over any other range. To allow other ranges to be auto-selected,
deselect the selection range.
Using Auto Replay While Editing
You can automatically re-trigger playback while editing audio with the mouse. This is useful if you
want to monitor the adjustment of a selection boundary, for example.
PROCEDURE
1.
On the transport bar, right-click the Play From Anchor or Play Until Anchor button and
activate Auto Replay While Editing.
2.
In the wave window or the montage window, make a selection range and keep the mouse
button pressed.
3.
Start playback by using one of the following shortcuts:
4.
●
To play back the selected audio range, press F6.
●
To play back from an anchor, press F7.
●
To play back until an anchor, press F8.
Drag the cursor to the right or left.
The selection range is adjusted and played back until you release the mouse button. When
playback ends, the new selection range is played back.
66
Playback
Transport Bar Skipping Sections During Playback
You can automatically skip a selected audio range during playback. This way, you can audition
what the material would sound like without specific sections.
PROCEDURE
1.
On the transport bar, activate Skip Range.
2.
Activate Perform Pre-Roll and Perform Post-Roll.
3.
If you want to use the Play Audio Range function, activate one of the Ranges modes.
4.
Depending on the Ranges mode, do one of the following:
●
If you have activated Time Selection, make an audio selection in the wave window.
●
If you have activated Region Between Marker Pairs, click between a marker pair.
The audio range that will be skipped is displayed on the time ruler along with the pre-roll
and post-roll times.
5.
Select Play Audio Range, or press F6.
RESULT
The selected range is skipped during playback.
You can also use the factory preset for skipping selections during playback. Activate Skip Range,
make an audio selection, and press Shift-F6.
NOTE
This mode also works with the Start Playback from Edit Cursor button if there is a time
selection or if exclusion start and end markers are set. In this case, the pre-roll and post-roll
times are ignored.
Loop Playback
Loop points are updated continuously during playback. If you change the loop start or end
during playback, the loop changes. This way, you can audition selection points for rhythmic
material.
If you loop a section in an audio montage, playback loops within the boundaries of the current
selection range. This selection range may be on any track, even if it is empty. The vertical position
of the selection range is of no relevance for loop playback, only the left and right selection
boundaries matter.
Pre-Roll and Post-Roll
You can start playback slightly before a specific position (pre-roll) and stop playback slightly
after another position (post-roll). This gives you a brief context if you are auditioning a clip, for
example.
The position can be an anchor or the start or end of a range. The pre-roll and post-roll times are
displayed in the time ruler.
67
Playback
Transport Bar To activate pre-roll and/or post-roll, activate Perform Post-Roll and Perform Pre-Roll on the
transport bar.
When right-clicking the pre-roll or post-roll button on the transport bar, you can select a pre-roll/
post-roll time. Here, you can also select a play option for the pre-roll/post-roll, and you can open
the Pre-Roll and Post-Roll Times dialog.
Pre-Roll and Post-Roll Times Dialog
This dialog allows you to define a short, an average, and a long pre-roll and post-roll time. These
settings are global to WaveLab Elements.
●
To open the Pre-Roll and Post-Roll Times dialog, right-click the pre-roll or post-roll button
on the transport bar, and select Edit Pre-Roll and Post-Roll Times.
Playback Shortcuts
In addition to the buttons on the transport bar, there are shortcuts to control the playback.
Space bar
Start/Stop playback. This shortcut can be used even when the wave window or
montage window is not the active window.
0 on numeric keypad
Stops playback. If the playback is stopped and you press this shortcut, the edit
cursor moves either to the previous playback start marker, or to the selection start
(whatever is closer), until the start of the file is reached. This is the same as clicking
Stop on the transport bar. This shortcut can be used even if the wave window or
montage window is not the active window.
Enter
Starts playback. If pressed during playback, playback restarts from the previous
start position. This is the same as clicking Start Playback from Edit Cursor on the
transport bar.
68
Playback
Transport Bar Alt-Space
Starts playback from the mouse cursor position.
F6
Starts playback of the selected range, depending on the selected option in the
Ranges section of the transport bar.
F7
Starts playback from the selected anchor, depending on the selected option in the
Anchors section of the transport bar.
F8
Starts playback until the selected anchor, depending on the selected option in the
Anchors section of the transport bar.
Save Transport Bar Preset Dialog
In this dialog, you can save a transport bar setup as preset.
●
To open the Save Transport Bar Preset dialog, click the Presets field on the transport bar,
and select Save As.
Path
Opens the root folder of the preset in the File Explorer/macOS Finder. Here, you can
create subfolders for your presets.
Presets list
Lists all existing presets.
Name
Lets you specify a name for your preset.
When a Preset Is Selected
This lets you assign a customized playback command to a shortcut. For example, you
can set a shortcut to play a range with a short pre-roll/post-roll, and another shortcut
to play a range without a pre-roll/post-roll.
69
Playback
Starting Playback From the Ruler When Playback Stops, Restore Previous Transport Settings
If this option is activated, the settings are restored to as they were before playback
start. This is useful to trigger a special play task, and automatically switch back to the
standard settings as soon as playback is finished.
Changing the Position of the Transport Bar
You can position the transport bar at the top, middle, or bottom of the file window.
PROCEDURE
1.
In the title bar of the Audio Editor or Audio Montage window, click Layout Options
2.
In the Transport Bar section, select whether to position the transport bar at the Top,
Middle, or Bottom.
.
Hiding the Transport Bar
PROCEDURE
1.
In the title bar of the Audio Editor or Audio Montage window, click Layout Options.
2.
In the Transport Bar section, select Hidden.
Starting Playback From the Ruler
You can use the ruler to jump to a position and start playback from there.
●
Double-clicking the ruler starts playback from that position. Playback continues until you
click Stop Playback or until the end of the audio file or audio montage.
●
To set the playback position to a specific position, click the ruler during playback. This also
applies for clicking the time rulers of another audio file or audio montage, which allows
you to quickly switch playback between audio files or audio montages.
●
To start playback from a marker position, press Ctrl/Cmd and double-click the marker.
Using the Play Tool
This tool allows you to play back from any position on one or both stereo channels.
PROCEDURE
1.
In the Audio Editor, select the Edit tab.
2.
In the Tools section, select the Play tool, or press and hold Alt.
3.
In the wave window, click at the position where you want playback to start.
The cursor shape indicates whether the left (L) or the right (R) channel is played back.
Using the Play tool in the middle of the channels plays back both channels.
RESULT
Playback continues for as long as you keep the mouse button pressed, or until the audio file
ends. After playback has stopped, the cursor is moved to the playback start position.
70
Playback
Playback Scrubbing Playback Scrubbing
Playback scrubbing helps you find a specific position in an audio file, by restarting playback
repeatedly when you click and drag on the time ruler during playback or when using the Play
tool.
Scrubbing Using the Play Tool
PROCEDURE
1.
In the Audio Editor, select the Edit tab.
2.
In the Tools section, select the Play tool, or press and hold Alt.
3.
Click in the wave window.
Playback starts at the position where you clicked.
RELATED LINKS
Playback Scrubbing Preferences on page 71
Scrubbing Using the Time Ruler
PROCEDURE
1.
Start playback.
2.
Click the time ruler and hold the mouse button pressed, and drag left or right.
3.
When you are done scrubbing, release the mouse button.
The audio is played back from the edit cursor position and a small section is looped once.
Playback Scrubbing Preferences
You can define the behavior of the Play tool in the Audio Files Preferences.
Select File > Preferences > Audio Files. The following options are available in the Playback
Scrubbing section.
●
If Restrict to Play Tool is activated, scrubbing is not available when you click and drag on
the time ruler during playback.
●
The Sensitivity setting determines the length of the audio loop that is played once when
click and drag on the time ruler with the Play tool.
Scroll During Playback
You can determine how the view should be scrolled in Play mode.
●
To set the scroll mode, open the Audio Editor or the Audio Montage window, select the
View tab, and activate one of the options in the Playback section.
Static View
Disables scrolling.
View Follows Cursor
The view automatically scrolls to keep the playback cursor visible.
71
Playback
Playback in the Audio Montage Window Scroll View
Scrolls the view to keep the playback cursor centered.
NOTE
If you get dropouts during playback, activate Static View.
Playback in the Audio Montage Window
Playback in the Audio Montage window works the same way as in the Audio Editor. However,
there are some things to note.
Mute and Solo Tracks
You can mute or solo tracks in an audio montage by using the corresponding buttons in the track
control area.
●
When a track is muted, the mute button is yellow.
●
When a track is soloed, the solo button is red.
●
Solo can only be activated for one track at a time. However, you can unmute other tracks
when Solo is active if you want to listen to a combination of tracks.
RELATED LINKS
Track Control Area on page 130
Playing Back Individual Clips
You can play back an individual clip on a track. Overlapping clips or clips on other tracks are
muted.
PROCEDURE
1.
In the montage window, right-click the lower part of the clip that you want to play back.
2.
On the menu, select one of the following play options:
●
To play back the clip, select Play Clip.
●
To play back the clip with pre-roll, select Play Clip with Pre-Roll.
72
Audio File Editing
Audio file editing refers to opening, editing, and saving audio files.
Wave Window
The wave window displays audio files graphically. Here, you view, play back, and edit individual
audio files.
The wave window consists of two displays. You can use one display as an overview to navigate
through the project and the other as the main view for editing.
73
Audio File Editing
Wave Window You can synchronize the waveform displays so that they display the same part of the audio file,
by clicking Sync with Other View.
Spectrogram
The Spectrogram allows you to view the level intensity of each area in the frequency spectrum.
You can use the WaveLab Elements editing tools to edit the spectrogram.
74
Audio File Editing
Wave Window Magnetic Bounds in Audio Files
Some positions, such as markers or selection edges, can be defined as magnetic. Dragged
elements can snap to these positions. This makes it easier to position items accurately.
For example, if you move a marker and it gets close to one of the magnetic bounds, the marker
snaps to this position. A label is displayed, indicating the snap position.
To place the cursor at a magnetic position, click the time line and keep the mouse button
pressed. When you now move the cursor, it jumps to the next magnetic bound.
Magnets Menu
On this pop-up menu, you can specify which positions should be magnetic. If Snap to Magnets is
activated, items that you move snap to these positions.
●
To open the Magnets pop-up menu, select the Edit tab in the Audio Editor, and click
Magnets in the Snapping section.
You can let items snap to the following positions:
Start of File/End of File
Elements snap to the start/end of the file when they are moved near these positions.
Time Ruler Marks
Elements snap to the time ruler grid when they are moved near these positions.
Markers
Elements snap to marker positions when they are moved near these positions.
Selection Edges
Elements snap to the selection edges when they are moved near these positions.
Cursor
Elements snap to the edit cursor when they are moved near the cursor.
Zero Crossing
A zero crossing is a point where the waveform crosses the zero level axis. When you perform
editing operations, such as cutting, pasting, or dragging, make sure that the material is inserted
at a zero crossing.
If you do not perform these operations at zero crossings, this can result in discontinuities in the
wave, which are perceived as clicks or pops in the sound.
75
Audio File Editing
Audio Editor Tabs Activate Zero-Crossing on the Edit tab of the Audio Editor to make sure that the selections that
you make are always adjusted so that they start and end at the nearest zero crossing.
Setting Up the Zero Crossing Detection
You can let selection edges automatically snap to the nearest zero crossing point. In the Audio
Files Preferences dialog, you can specify whether to allow snap at high zoom factors, and
specify the scan range for the zero crossing detection.
PROCEDURE
1.
In the Audio Editor, select the Edit tab.
2.
In the Snapping section, activate Zero-Crossing.
3.
Select File > Preferences > Audio Files.
4.
In the Audio Files Preferences tab, select the Editing tab.
5.
Make your settings in the Snap Selection to Zero-Crossing section.
6.
Click OK.
Moving the Cursor Position to the Closest Zero Crossing
You can automatically move the cursor position to the closest zero crossing.
PROCEDURE
1.
In the Audio Editor, select the View tab.
2.
In the Cursor section, click Snap to Zero-Crossing.
Audio Editor Tabs
The tabs in the Audio Editor give you access to the tools and options you need to edit audio files.
View Tab
Navigate
Backwards/Forwards
Navigates to the previous/next cursor position, zoom factor, and selection range.
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Audio File Editing
Audio Editor Tabs Zoom
Time
Opens a pop-up menu that allows you to adjust the zoom to display the selected time
range. Zoom in 1:1 zooms in so that one pixel on the screen represents one sample.
To edit the zoom factor, click Edit Zoom Factor. This opens the Zoom Factor dialog,
where you can edit the following settings:
●
Set Time Range allows you to specify the time range that you want to display.
●
Samples per Screen Point allows you to specify how many audio samples are
summarized in each screen point.
●
Screen Points per Sample allows you to specify how many screen points are
used to represent a single audio sample.
Zoom
Activates the Zoom tool that allows you to define a time range that is zoomed in.
Zoom Selection
Zooms the window so that the current selection occupies the entire montage
window.
Microscope
Zooms in as far as possible.
Zoom in Audio (10x)/Zoom out Audio (10x)
Zooms in/out in big steps.
View All
Zooms out as far as possible.
Zoom in Audio/Zoom out Audio
Zooms in/out in small steps.
Level
Adjusts the zoom to only display samples below the selected dB value.
Optimize Vertical Zoom
Changes the vertical zoom factor so that the peaks are clearly visible. This
adjustment is done according to the section of the wave that is visible in the wave/
montage window.
Reset Zoom to 0 dB
Adjusts the zoom to display audio levels up to 0 dB.
Zoom in Vertically/Zoom out Vertically
Zooms in/out to show waveforms with a lower/higher level.
Cursor
Move Cursor to Start of File/Move Cursor to End of File
Moves the cursor to the start/end of the file.
Previous Marker/Next Marker
Moves the cursor to the previous/next marker.
Start of Selection/End of Selection
Moves the cursor to the start/end of the selected time range.
Previous Region Edge/Next Region Edge
Moves the cursor to the previous/next region edge.
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Audio File Editing
Audio Editor Tabs Snap to Zero-Crossing
Moves the edit cursor to the nearest zero crossing point.
Edit Cursor Position
Opens the Cursor Position dialog where you can edit the cursor position.
Scroll
Start/End
Displays the start/end of the audio without moving the cursor.
Start of Selection/End of Selection
Displays the start/end of the audio selection without moving the cursor.
Cursor
Displays the cursor position.
Playback
Static View
Deactivates scrolling.
View Follows Cursor
Automatically scrolls the view to keep the playback cursor visible.
Scroll View
Scrolls the view to keep the playback cursor centered.
Analysis
3D Frequency Analysis
Opens the 3D Frequency Analysis dialog where you can define which frequency
range is analyzed and modify the appearance of the graph for the 3D frequency
analysis.
Peaks
Rebuild Peak Display
Normally, peak files are automatically updated when the date of the peak file is older
than the date of the audio file. However, it can happen that the date of the audio
file is wrong and therefore not automatically updated. In this option allows you to
rebuild the peak file.
Edit Tab
Tools
Time Selection
Tool that allows you to select a time range.
Pen
Tool that allows you to redraw the waveform in the wave window. This can be used
to quickly repair waveform errors.
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Audio File Editing
Audio Editor Tabs Play
Tool that allows you to play back the audio file at the position where you click.
Time Selection
Extend
This pop-up menu contains various options for creating or extending selection
ranges.
Toggle
Toggles the current audio selection.
All
Selects the entire waveform.
Channels
This pop-up menu allows you to change the channel selection.
●
Extend to All Channels extends the current selection range to all channels.
●
Left Channel Only reduces the current selection range to the left channel
only.
●
Right Channel Only reduces the current selection range to the right channel
only.
Regions
This pop-up menu allows you to select a range between two markers.
●
Loop Region selects the range between the two loop markers that encompass
the edit cursor.
●
Generic Region selects the range between the two generic markers that
encompass the edit cursor.
Clipboard
Cut
Cuts the active clip to the clipboard.
Copy
Copies the active clip to the clipboard.
Paste
Pastes the clipboard content.
Right-click Paste to open a pop-up menu that allows you to select a paste type.
●
Overwrite replaces the audio at the paste position.
●
Append adds the pasted audio after the end of the file.
●
Prepend adds the pasted audio before the beginning of the file.
●
Multiple Copies opens a dialog in which you can enter the number of copies
that you want to create.
●
Mix blends two files into each other, starting at the selection or, if there is no
selection, at the cursor position.
If you select Mix, a dialog opens, allowing you to specify the gain and phase
for the audio on the clipboard and at the destination. The clipboard data is
always mixed in, regardless of the length of the selection.
Paste and Crossfade
Pastes the clipboard content and creates a crossfade.
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Audio File Editing
Audio Editor Tabs Right-click Paste and Crossfade to open a pop-up menu that allows you to select a
crossfade type for pasting.
●
Linear (Equal Gain) changes the level linearly.
●
Sinus (Equal Power) changes the level according to a sine curve, the power of
the mix remains constant.
●
Square-Root (Equal Power) changes the level according to a square-root
curve, the power of the mix remains constant.
Cutting
Crop
Deletes the data outside the selection.
Delete
Deletes the selection. The audio to the right of the selection is moved to the left to fill
the gap.
Swap Stereo Channels
Moves the audio in the left channel to the right channel, and vice versa.
Nudge
Nudge Left
Nudges the audio selection to the left.
Nudge Right
Nudges the audio selection to the right.
Snapping
Zero-Crossing
If this option is activated, the start and the end of a selected range always snap to a
zero-crossing point of the waveform.
Snap to Magnets
If this option is activated, moved elements such as clip edges, time selection edges,
cursor, and markers snap to the magnets that are activated on the Magnets pop-up
menu.
Insert Tab
Markers
Marker Name
Allows you to enter the name of the start and end marker. If nothing is entered, a
generic name is used.
To edit the default names, open the Markers window, and select Functions >
Default Marker Names.
Different Name for End Marker
If this option is activated, you can enter a different name for the end marker.
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Audio File Editing
Audio Editor Tabs If this option is deactivated, the name of the start marker is also used for the end
marker.
Create Marker
Allows you to create markers and marker pairs at the edit cursor position.
Audio File
At Start
Allows you to insert an audio file at the start of the active audio file.
At End
Allows you to insert an audio file at the end of the active audio file.
At Cursor
Allows you to insert an audio file at the cursor position.
Signal
Mute Selection
Replaces the audio selection with silence.
Silence Generator
Opens the Silence Generator dialog that allows you to insert silence or background
noise in an audio file.
Bleep Censor
Opens the Bleep Censor dialog that allows you to replace a part in an audio file with
a tone to cover a swear word, for example.
RELATED LINKS
Silence Generator Dialog on page 104
Bleep Censor on page 106
Process Tab
This tab provides access to the offline processing tools.
RELATED LINKS
Offline Processing on page 118
Render Tab
Source
The Source pop-up menu allows you to select which part of the audio file you want to process.
The following options are available:
Whole File
Processes and renders the whole audio range.
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Audio File Editing
Audio Editor Tabs Specific Region
Processes and renders a specific audio range to an independent file.
Specify the region to process on the pop-up menu.
Result
In Place
If this option is activated, the rendered audio range replaces the source audio range.
Unnamed File
If this option is activated, a temporary untitled file is rendered.
Named File
If this option is activated, you can specify a name for the rendered file.
Output
Name
Allows you to enter a name for the rendered file. Clicking the arrow icon opens a
pop-up menu that offers you several naming options.
Location
Allows you to select a destination folder for the rendered files.
Format
Opens a pop-up menu where you can select a file format.
Options
Depending on the selected source, different options are available.
Bypass Master Section
If this option is activated, the plug-ins and gain of the Master Section are bypassed
when rendering.
Auto Save Master Section Preset
If this option is activated, the Master Section preset is automatically saved in the
companion file of the audio file when you render the file. You can load the Master
Section preset via the Load Master Section Preset option in the lower right corner
of the wave window.
No Reverb Tail
If this option is activated, the audio tail produced by effects such as reverb is not
included in the rendered file.
Some plug-ins do not transfer information on the tail duration to WaveLab. In this
case, this option has no effect. For such plug-ins, you can add the Silence plug-in to
add extra samples at the end of the file.
Copy Markers
If this option is activated, the markers that are included in the range to process are
copied to the rendered file.
Skip Exclusion Region
If this option is activated, muted audio ranges are skipped and not included in the
result.
Open Resulting Audio File
If this option is activated, every rendered file is opened in a new window.
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Audio File Editing
File Handling in the Audio Editor Bypass Master Section on Resulting Audio File
If this option is activated, playback of the resulting audio file bypasses the entire
Master Section. This setting can be toggled by clicking the button at the bottom
right of the wave window or montage window.
NOTE
It is recommended to activate this option, because this way, you do not monitor new
files through the effects that have already been applied to them.
Upload to SoundCloud
If this option is activated, the rendered file is uploaded to SoundCloud.
Render
Start
Starts the rendering process.
RELATED LINKS
Companion Files on page 25
File Handling in the Audio Editor
Mono/Stereo Handling
WaveLab Elements is very flexible in its handling of stereo. All editing operations can be
performed on either one channel or on both.
Supported File Formats
WaveLab Elements can open and save audio files in a number of file formats.
Wave (.wav)
The following sample precisions are supported: 8 bit, 16 bit, 20 bit, 24 bit, 32 bit float,
and 64 bit float.
WavPack (.wv/.wvc)
This file format allows digital audio to be losslessly compressed, including 32 bit float
audio files.
AIFF (.aif, .aiff, .snd)
Audio Interchange File Format, a standard defined by Apple Computers Inc. The
following sample precisions are supported: 8 bit, 16 bit, 20 bit, and 24 bit.
MPEG-1 Layer 3 (.mp3)
The most common audio compression format. The major advantage of MPEG
compression is that the file size is significantly reduced, while there is little
degradation of sound quality.
NOTE
When you open an MPEG compressed file in WaveLab Elements, the file is converted
to a temporary wave file. On saving, the temporary wave file is converted back to
MP3.
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Audio File Editing
File Handling in the Audio Editor MPEG-1 Layer 2 (.mp2, .mpa, .mpg, .mus)
MP2 (sometimes referred to as “Musicam files”) is a common file format in the
broadcast industry.
Original Sound Quality (.osq, read-only)
This is the proprietary lossless compressed audio format of WaveLab.
Sound Designer II (.sd2)
This audio file format is used by Digidesign applications (such as Pro Tools). The
following sample precisions are supported: 8 bit, 16 bit, and 24 bit.
U-LAW (.ulaw, .vox)
This is an audio encoding and compression technique supported by Windows and
Web phones, using 8 bit precision. The U.S. telephone system uses U-law encoding
for digitization.
A-LAW (.alaw, .vox)
This is an audio encoding and compression technique for telephony, using 8-bit
precision. The EU telephone system uses A-law encoding for digitization.
Sun/Java (.snd, .au)
This is an audio file format used on Sun and NeXT computers. The following sample
precisions are supported: 8 bit, 16 bit, and 24 bit.
ADPCM – Microsoft/Dialogic (.vox)
This is a format commonly used for games and telephony applications. It offers a
lower bit rate than linear PCM and therefore requires less storage space/bandwidth.
Ogg Vorbis (.ogg)
Ogg Vorbis is a compressed file format that is open, patent-free, and which creates
very small audio files maintaining comparatively high audio quality.
Text/Excel (.txt)
This is a text representation of a waveform. By saving an audio file as a text file and
then opening it in a spreadsheet application such as Excel, you can view it in textual,
decimal form, and edit the sample values. When you open a text file representing
a waveform in WaveLab Elements, it is decoded and opened as an audio file. These
files are not compressed in any way, so they can become very large.
When using 64-bit float files, the .txt format is not 100 % lossless. This is because it is
not possible to express a binary floating point value in textual decimal form without
some precision loss.
Windows Media Audio (.wma, .asf)
Microsoft’s own compressed format. WaveLab Elements lets you import/export audio
in this format (Windows only). To import/export audio in WMA surround format,
Windows Media Player 9 or later must be installed on your system.
Ensoniq Paris (.paf)
Used by the Ensoniq Paris™ system. The following sample precisions are supported:
16 bit and 24 bit.
FLAC (.flac)
Free Lossless Audio Codec (FLAC) is a codec which allows digital audio to be losslessly
compressed.
Apple formats (.caf, .3gp, .3g2, .caf)
If Quicktime is installed on your system, these formats are available (read-only and
only on 32-bit Windows or Mac systems).
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Audio File Editing
File Handling in the Audio Editor AAC (.aac)
Advanced Audio Coding (AAC) is a codec that allows lossy compression and encoding
scheme for digital audio.
NOTE
The “$$$” file type is a temporary file format of WaveLab Elements. If you experience a computer
crash, you may restore some of your work by opening any “$$$” files on your hard disk.
20-bit, 24-bit, and 32-bit Float Files
You do not need a 20-bit or 24-bit audio card to take advantage of the fact that WaveLab
Elements can handle 20-bit and 24-bit audio files. Any processing or editing performed on the
files is always done at full precision (64-bit float), even if your card does not support the full
precision.
For playback, WaveLab Elements automatically adapts to the card that you have installed.
Creating a New Audio File
You can create an empty audio file, to assemble material from other audio files, for example.
PROCEDURE
1.
Select File > New.
2.
Click Audio File > Custom.
3.
Specify the audio properties and click Create.
Audio Properties
You can define the channels, the sample rate, and the sample precision of the audio file.
You can set these properties when you create a new audio file.
●
To change the properties for the selected audio file, select the File tab and click Info, or
click the Audio Properties button at the bottom right of the wave window.
Channels
Allows you to select the number of audio channels.
Sample Rate
Allows you to select the number of audio samples per second.
Sample Precision
Allows you to select the accuracy of samples in the audio stream.
Saving an Audio File
PROCEDURE
1.
Do one of the following:
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Audio File Editing
File Handling in the Audio Editor ●
To save an audio file that has never been saved before, select File > Save As.
●
To save an audio file that has been saved before, click the Save button, or select
File > Save.
2.
In the Save As window, specify a file name and location.
3.
Click Save.
Saving in Another Format
You can change the file format, sampling frequency, sample precision, and stereo/mono status
when saving.
PROCEDURE
1.
Select File > Save As.
2.
In the Save As window, specify a file name and location.
3.
Click in the Format field and select Edit.
4.
In the Audio File Format dialog, set the file format and specify the properties.
5.
Click OK.
6.
Click Save.
RESULT
A new file is created. The original file is not affected by the operation.
Audio File Format Dialog
In this dialog, you can change various file settings when saving.
●
To open the Audio File Format dialog, select File > Export, and select Render. Then
activate Named File, click in the Format field, and select Edit.
This dialog can also be opened from various other locations in WaveLab Elements.
Type
Select an audio file type. This affects which options are available on the Audio
Format menu.
File Extension
Select a file extension that is compatible with the current file type.
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Audio File Editing
File Handling in the Audio Editor Audio Format
Select an audio format that is compatible with the current file type.
Channels
Specify the number of audio channels for the files to be created.
Sample Rate
Select a sample rate for the audio file. If you change this setting, a sample rate
conversion takes place.
IMPORTANT
Use this only for simple conversions. For professional results, use the Resample
plug-in and add limiting and dithering.
Sample Precision
Select a sample precision for the audio file. This option is only available for specific
file types.
IMPORTANT
Reducing the sample precision is only advised for simple conversions. For
professional results, it is recommended to add dithering in the Master Section.
Metadata
Lets you make metadata settings that are saved with the file. This option is only
available for some file types.
●
If Do Not Save Anything is selected, no metadata are saved with the file.
●
If Inherit from Source File is selected, the metadata of the source file
are used. If the source metadata is empty, the default metadata is used, if
available.
●
If selecting Specific to This Configuration is selected, you can edit the
metadata, or replace it with a metadata preset. To edit the metadata, open the
metadata pop-up menu again, and select Edit.
Changing the Format
When changing the sample rate, sample precision, and number of channels of an audio file,
several operations are performed.
Sample Rate
If a new sample rate is specified, a sample rate conversion is performed.
Sample Precision
If a different sample precision is specified, the file is either truncated down to 8
bits, or padded up to 64 bits. If you are converting to a lower sample precision, you
should consider adding dithering.
Mono/Stereo
If the file is converted from mono to stereo, the same material is used in both
channels. If the conversion is from stereo to mono, a mix of the two channels is
created.
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Audio File Editing
File Handling in the Audio Editor NOTE
●
If you only want to change the sample precision, you can do this in the Audio Properties
section of the Info window instead, and then save the audio file.
●
For high quality mastering purposes, it is not recommended to change the sample rate
and number of channels using the Audio Properties section, but instead use plug-ins and
functions of the Master Section.
Saving a Selection as an Audio File
You can save a selection in the open audio file as a new audio file.
PROCEDURE
1.
In the wave window, make a selection range.
2.
In the Audio Editor, select the Render tab.
3.
In the Source section, open the pop-up menu and select Selected Audio Range.
4.
In the Output section, specify a file name and location.
5.
Open the Format menu and select Edit Single Format.
6.
In the Audio File Format dialog, specify the output format and click OK.
7.
In the Render section, click Start.
Saving Left/Right Channel as Audio File
You can save each channel individually into a separate file. Use this option when editing dual
mono files, for example.
PROCEDURE
1.
In the Audio Editor, select the Render tab.
2.
In the Output section, specify a file name and location.
3.
Open the Format menu and select Edit Single Format.
4.
In the Audio File Format dialog, open the Channels pop-up menu, and select Left
Channel or Right Channel.
5.
Make additional output settings and click OK.
6.
In the Render section, click Start.
Encoding Audio Files
Audio can be saved in different formats. The process of converting audio to another format is
called encoding. When saving audio files, you can specify various encoding options for some file
formats.
MP3 Encoding Dialog
You can edit the encoding options when you save an MP3 audio file.
You can open the MP3 Encoding dialog from most places where you can select an output file
format. For example, open an audio file, select File > Save As, click in the Format field, and select
Edit. In the Audio File Format dialog, select MPEG-1 Layer 3 (MP3) as type, click the Encoding
field, and select Edit.
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Audio File Editing
File Handling in the Audio Editor Encoder
Lets you select the encoder (Fraunhofer or Lame).
Constant/Variable Bit Rate
The bit rate is related to the quantity of data used to encode the audio signal. The
higher the value, the better the quality, but the larger the output file. If you choose
Variable Bit Rate, the rate changes, according to the complexity of the audio
material.
Highest Quality (Slowest)/Fastest
Select the quality that you want to achieve. The higher the quality, the more
resources and time are required to analyze and compress the audio signal.
NOTE
Highest Quality (Slowest) can require a specific sample rate for the audio file. If this
is the case and the sample rate is different from the input sample rate, a message is
displayed.
When you use the Lame encoder, you can make additional settings on the Advanced tab.
Add File Length and Playback Position Information to VBR Header
Adds additional data to the VBR header that allows the playback device to estimate
the length of the MP3 file and to jump to any time position inside the MP3 file. This
option is available for the Fraunhofer encoder only.
Embed Ancillary Data for Time and Delay Compensation
Embeds ancillary data so that the decoded file will exactly match the duration of the
original file. This option is available for the Fraunhofer encoder only.
Allow Intensity Stereo Coding
Decreases the bit rate by reorganizing the intensity information between the
channels.
Specify as Original Recording
Marks the encoded file as the original recording.
Write Private Bit
This is a custom flag.
Write Copyright Flag
Marks the encoded file as copyright-protected.
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Audio File Editing
File Handling in the Audio Editor Write Check-Sum
Allows other applications to check the integrity of the file.
Create Long Frames
Saves space by writing fewer headers in the file (not compatible with all decoders).
AAC Encoding Dialog
You can edit the encoding options when you save an AAC audio file.
You can open the AAC Encoding dialog from most places where you can select an output file
format. For example, open an audio file, select File > Save As, click in the Format field, and select
Edit. In the Audio File Format dialog, select AAC (Advanced Audio Coding) as type, click the
Encoding field, and select Edit.
Container
Specifies the container for the AAC file. A container is a file format that can contain
compressed audio data and metadata.
●
MPEG-4 (recommended format for iTunes)
●
3GPP (3rd Generation Partnership Project)
●
ADIF (Audio Data Interchange Format)
●
ADTS (Audio Data Transport Stream)
●
ADTS (with CRC)
●
LATM LOAS (Low Overhead Audio Stream)
Audio Compression Method
Lets you select the audio compression method.
●
LC (Low Complexity, iTunes standard)
●
HE (High Efficiency)
●
HE v2 (High Efficiency, Parametric Stereo)
●
HD 16 bit (Lossless)
●
HD 24 bit (Lossless)
LC (Low Complexity) does not mean lower quality, but less compression attempts. It
is used for best audio quality.
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Audio File Editing
File Handling in the Audio Editor HE (High Efficiency) is an extension of Low Complexity AAC (AAC LC) and is optimized
for low-bit-rate applications, for example, streaming audio.
HE v2 enhances the compression efficiency of stereo signals. HE formats provide
extremely compressed audio files with a high quality sound.
HD is an extension to the MPEG-4 standard and allows lossless audio compression
that is scalable to lossy compression. This means that the decoding can be lossless
or lossy, depending on the decoder settings. However, the file size is larger than with
the other compression methods.
Constant/Variable Bit Rate
The bit rate is related to the quantity of data that is used to encode the audio signal.
The higher the value, the better the quality, but the larger the output file. If you
choose Variable Bit Rate, the rate changes over time according to the complexity of
the audio material.
Quality
Select the quality that you want to achieve. The higher the quality, the more
resources and time are required to analyze and compress the audio signal.
NOTE
Highest Quality can require a particular sample rate for the audio file.
MPEG-1 Layer 2 Encoding Dialog
You can edit the encoding options when you save an MPEG-1 Layer 2 (MP2) audio file.
You can open the MPEG-1 Layer 2 Encoding dialog from most places where you can select an
output file format. For example, open an audio file, select File > Save As, click in the Format
field, and select Edit. In the Audio File Format dialog, select MPEG-1 Layer 2 as type, click the
Encoding field, and select Edit.
Bit Rate
Determines the bit rate. The bit rate is related to the quantity of data that is used to
encode the audio signal. The higher the value, the better the quality, but the larger
the output file.
Stereo Encoding
In Standard mode, the encoder does not use the correlation between channels.
However, the encoder can take space from a channel that is easy to encode and use
it for a complicated channel.
In Joint mode, the encoder uses the existing correlations between the two channels
to increase the ratio quality/space.
In Dual mode, both channels are independently encoded. This mode is
recommended for signals with independent channels.
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Audio File Editing
File Handling in the Audio Editor Specify as Original Recording
Marks the encoded file as the original recording.
Write Private Bit
This is a custom flag.
Write Copyright Flag
Marks the encoded file as copyright-protected.
Write Check-Sum
Allows other applications to check the integrity of the file.
Encode Peaks (Ancillary Data)
This must be activated for compatibility with specific systems, for example, DIGAS.
FLAC Encoding Dialog
You can edit the encoding options when you save a FLAC audio file.
You can open the FLAC Encoding dialog from most places where you can select an output file
format. For example, open an audio file, select File > Save As, click in the Format field, and select
Edit. In the Audio File Format dialog, select FLAC as type, click the Encoding field, and select
Edit.
Compression Level
Lets you specify the compression level. The more compression, the slower the
encoding.
Ogg Vorbis Dialog
You can edit the encoding options when you save an Ogg Vorbis audio file.
You can open the Ogg Vorbis dialog from most places where you can select an output file
format. For example, open an audio file, select File > Save As, click in the Format field, and select
Edit. In the Audio File Format dialog, select Ogg Vorbis as type, click the Encoding field, and
select Edit.
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Audio File Editing
File Handling in the Audio Editor Average Bit Rate
If this option is activated, the average bit rate in the file remains constant during
encoding. Because the file size is proportional to time, the localization of a given
point is easier, but it can result in a lower quality compared to the Variable Bit Rate
option.
Variable Bit Rate
If this option is activated, the bit rate in the file will vary during encoding, depending
on the complexity of the material. This can give a better quality/size ratio in the
resulting file.
In the Quality field, select the quality. Lower quality settings result in smaller files.
Windows Media Audio Encoding Dialog
You can edit the encoding options when you save a Windows Media Audio (WMA) audio file. This
dialog is only available in on Windows systems.
You can open the Windows Media Audio dialog from most places where you can select an
output file format. For example, open an audio file, select File > Save As, click in the Format field,
and select Edit. In the Audio File Format dialog, select Windows Media Audio (WMA) as type,
click the Encoding field, and select Edit.
Encoder
Sets the encoder.
Output Sample Rate
Sets the output sample rate of the encoded file. The higher the sample rate, the
higher the quality, but the larger the output file.
Output Sample Precision
Sets the output sample precision of the encoded file. This parameter is not available
for all encoders.
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Audio File Editing
File Handling in the Audio Editor Channels and Bit Rate
The available items here depend on the selected encoding method and the output
sample rate.
VBR (Variable Bit Rate)
If this option is activated, the bit rate in the file will vary during the encoding,
depending on the complexity of the material. This can produce a better quality/size
ratio in the output file.
In the Quality field, select the quality. Lower quality settings result in smaller files.
Two-Pass Encoding
If this option is activated, the encoding quality increases, but the process takes twice
as long.
Constrained Bit Rate
This option is available when the VBR and Two-Pass Encoding options are
activated. This is used to maintain the bit rate within limits to avoid peaks. This is
recommended for media, such as CD or DVD.
Creating an Audio Montage from an Audio File
You can export audio files to an audio montage, including all markers that you have set in the
audio file.
PROCEDURE
1.
In the Audio Editor, open the audio file that you want export to an audio montage.
2.
Optional: If you want to use a specific time range of the audio file, create a selection range
in the wave window.
3.
Select File > New.
4.
Select Audio Montage > From Current File.
5.
In the From Current Audio File section, click Insert Audio File in New Montage.
6.
Click Create.
7.
In the Create Audio Montage from Audio File dialog, select whether to import the whole
file or the selected audio range.
8.
Optional: Decide if you want to perform any of the following marker operations:
9.
●
Import Markers
●
Split at Generic Region Markers
Click OK.
Inserting Audio Files into Another Audio File
You can assemble an audio file from several audio files.
PROCEDURE
1.
In the Audio Editor, open the audio file in which you want to insert another audio file.
2.
If you want to insert an audio file at the edit cursor position, make sure that Snap to
Magnets is activated, and that Cursor is activated on the Magnet pop-up menu.
The edit cursor snaps to the nearest zero crossing. This avoids glitches.
3.
Select the Insert tab.
4.
In the Audio File section, select one of the following insert options:
●
At Start
94
Audio File Editing
File Handling in the Audio Editor ●
At End
●
At Cursor
If you select At Cursor, the audio file is cut at the insert position. The part after the cut is
moved to the right.
5.
On the pop-up menu, select the audio file that you want to insert.
RELATED LINKS
Magnetic Bounds in Audio Files on page 75
Turning Selections Into New Files
You can turn selections into new files via drag and drop or by using the Render tab in the Audio
Editor.
Turning Selections Into New Files By Dragging
PROCEDURE
1.
Make a selection in the wave window.
2.
Drag the selection to the tab bar above the wave window and release the mouse button.
RESULT
The selection opens in a new stereo window.
Turning Selections Into New Files Using the Menu
PROCEDURE
1.
Make a selection in the wave window.
2.
Right-click the selection and select Copy Selection to New Window.
3.
From the submenu, select one of the following options:
●
Duplicate
●
Stereo Version
●
Mono Mixdown
●
Mono Mixdown (Subtract Right Channel from Left Channel)
RESULT
The selection opens in a new stereo or mono window.
Special File Format Dialog
When opening files via the Unknown Audio option, you can specify how to interpret the format
of the audio file that you want to open.
●
To open the Special File Format dialog, select File > Import, click Unknown Audio, and
select the file that you want to open.
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Audio File Editing
File Handling in the Audio Editor Sample Format
Specifies the binary representation of the samples in the file.
Byte Order
Specifies the order in which bytes should be interpreted. This only applies for 16 bit
or more.
Channels
Specifies the number of audio channels in the audio file.
Data to Ignore (Number of Bytes)
Specifies how many bytes at the start and end of the audio file are ignored.
Sample Rate
Specifies the sample rate of the audio file.
File Extension
Specifies the default file name extension for the audio file. When the file selector
opens after closing this dialog, only the file with this extension is displayed.
Converting From Stereo to Mono and From Mono to Stereo
You can convert audio files from mono to stereo and from stereo to mono. Converting a mono
file into a stereo file produces an audio file that contains the same material in both channels, for
example for further processing into real stereo. Converting a stereo file into a mono file mixes
the stereo channels to a mono channel.
Converting a Selection From Stereo to Mono
PROCEDURE
1.
Make a stereo selection in the wave window.
2.
Select File > New.
3.
Select Audio File > From Current File.
4.
Select one of the following options:
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Audio File Editing
File Handling in the Audio Editor ●
To mix the left and right stereo channels when converting to mono, click Mono
Mixdown.
●
To mix the left channel with the inverse of the right channel when converting to
mono, click Mono Mixdown (Subtract Right Channel from Left Channel).
The resulting mono wave contains the difference between the channels. For
example, this allows you to verify that a wave file really is a true stereo file rather
than a mono file converted to stereo format.
RESULT
The selection opens in a new mono window.
Converting From Stereo to Mono While Saving
PROCEDURE
1.
Make a stereo selection in the wave window.
2.
Select File > Save As.
3.
In the Save As window, specify a file name and location.
4.
Click in the Format field and select Edit.
5.
In the Audio File Format dialog, open the Channels menu and select one of the mono
settings.
For example, when selecting Mono (Mix -3 dB), the resulting audio file is attenuated by 3
dB.
6.
Click OK.
7.
Click Save.
Converting a Selection From Mono to Stereo
PROCEDURE
1.
Make a mono selection in the wave window.
2.
Select File > New.
3.
Select Audio File > From Current File.
4.
Click Stereo Version.
5.
Click Create.
RESULT
The selection opens in a new stereo window.
Swapping Channels in a Stereo File
You can swap the two channels in an audio file, that is, you can move the audio in the left
channel to the right channel, and the audio in the right channel to the left channel.
●
To swap the channels of the whole audio file in the Audio Editor, select the Edit tab, and in
the Cutting section, click Swap Stereo Channels.
●
To swap the channels only a selected range of the audio file, make a selection range in the
wave window, select the Edit tab, and in the Cutting section, click Swap Stereo Channels.
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Audio File Editing
File Handling in the Audio Editor Special Paste Options
On the Paste pop-up menu in the Audio Editor, you find additional paste options.
●
To access the special paste option, open the Audio Editor, select the Edit tab, and in the
Clipboard section, right-click Paste.
Overwrite
Overwrites data in the destination file, rather than moving data to make room for the
inserted audio. How much is overwritten depends on the selection in the destination
file:
●
If there is no selection in the destination file, a section with the same length as
the pasted selection is overwritten.
●
If there is a selection in the destination file, the pasted selection replaces that
selection.
Append
Adds the pasted audio after the end of the file.
Prepend
Adds the pasted audio before the beginning of the file.
Multiple Copies
Opens a dialog in which you can enter the number of copies that you want to create.
Mix
Blends two files into each other, starting at the selection or, if there is no selection, at
the cursor position.
●
When you select the Mix option, a dialog opens, allowing you to specify the
gain for the audio on the clipboard and at the destination.
●
All the data on the clipboard is always mixed in, regardless of the length of the
selection.
Moving Audio
You can rearrange the order of the audio in a file by dragging, and cutting and pasting.
Moving Audio by Dragging
PREREQUISITE
Decide whether you want to use Snap Selection to Zero-Crossing.
PROCEDURE
1.
In the wave window, make a selection.
2.
Drag the selection to a position outside the selection in the same file, or to another wave
window.
RESULT
The selection is removed from its original position and inserted where you drop it.
NOTE
To undo a move between two files you must first undo the paste in the destination window and
then undo the cut operation in the source window.
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Audio File Editing
File Handling in the Audio Editor Moving Audio Using Cut and Paste
PREREQUISITE
Decide whether you want to use Snap Selection to Zero-Crossing.
PROCEDURE
1.
In the wave window, make a selection.
2.
Use one of the following copy methods:
3.
4.
●
In the Audio Editor, select the Edit tab, and click Cut.
●
Press Ctrl/Cmd-X.
Select how you want to insert the selection:
●
If you want to insert the audio, click once at the position in the same file or in
another file.
●
If you want to replace a section of audio, select it.
To paste the selection, do one of the following:
●
In the Audio Editor, select the Edit tab, and click Paste.
●
Press Ctrl/Cmd-V.
RESULT
The selection is removed from its original position and inserted where you drop it.
NOTE
To undo a move between two files you must first undo the paste in the destination window and
then undo the cut operation in the source window.
Moving Audio by Nudging
The nudge left/right tools can be used to move the audio in small steps within a file.
PROCEDURE
1.
In the wave window, make a selection.
2.
In the Audio Editor, select the Edit tab.
3.
In the Nudge section, click Nudge Left or Nudge Right.
RESULT
The audio is moved one pixel. Exactly how much this is depends on how far you are zoomed in.
For example, if the status bar displays x1:256, the selection is moved 256 samples. The moved
section overwrites the audio at that position.
Copying Audio
You can copy sections of audio within the same file or between audio files.
Stereo/Mono Handling
When you drag or copy stereo or mono files to other locations, the target location determines
how the files are inserted.
Stereo/Mono is handled as follows when you drag between files:
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Audio File Editing
File Handling in the Audio Editor Dragged section
Drop wave
Action
Stereo
Stereo
The dragged audio is always inserted into both channels.
Stereo
Mono
Only the left channel is inserted.
Mono
Stereo
What happens depends on the vertical drop position.
This is indicated by the cursor shape. The selection can
be inserted into only one of the channels, or the same
material can be inserted into both channels.
Stereo/Mono is handled as follows when you copy and paste files:
Copied section
Paste wave
Action
Stereo
Stereo
If the wave cursor extends across both channels of
the destination file, the material is inserted into both
channels.
Stereo
Stereo
If the wave cursor is only in one channel, the audio is only
pasted in that channel. Material from the left channel is
pasted in the left channel and material from the right
channel is pasted in the right channel.
Stereo
Mono
Only the left channel is pasted.
Mono
Stereo
What happens depends on whether the wave cursor is in
one channel or both. The audio is either pasted in one of
the channels, or the same material is inserted into both
channels.
Sample Rate Conflicts
If you copy or move audio from one window to another, and the sample rates of the two files
are not the same, the copied/moved sound plays back at the wrong pitch (speed). The program
warns you if this is about to happen.
While mixing sample rates can be used as an effect, it is most often not intended. There are two
ways to get around this:
●
Convert the sample rate of the source file to the same rate as the destination file before
editing.
●
Convert the sample rate of the destination file to the same rate as the source file before
adding the audio.
Copying Audio Using Copy and Paste
PREREQUISITE
Decide whether you want to use Snap Selection to Zero-Crossing.
PROCEDURE
1.
In the wave window, make a selection.
2.
Use one of the following copy methods:
●
In the Audio Editor, select the Edit tab, and click Copy.
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Audio File Editing
Changing the Audio Properties ●
3.
4.
Press Ctrl/Cmd-C.
Select how you want to insert the selection:
●
If you want to insert the audio, click once at the position in the same file or in
another file.
●
If you want to replace a section of audio, select it.
To paste the selection, do one of the following:
●
In the Audio Editor, select the Edit tab, and click Paste.
●
Press Ctrl/Cmd-V.
Copying Audio by Dragging
PREREQUISITE
Decide whether you want to use Snap Selection to Zero-Crossing.
PROCEDURE
1.
In the wave window, make a selection.
2.
Click the middle of the selection, and drag it to a position outside the selection in the same
file, or to another wave window.
RESULT
The selection is inserted at the indicated point. The audio that previously began at that point is
moved to the right.
Changing the Audio Properties
You can change the sample rate and sample precision of audio files.
Changing these values does not process the audio file in any way (in contrast to using Save As).
However, the following rules apply:
●
If you change the sample rate, the file plays back at a new pitch.
●
If you change the sample precision, the file is converted to the new precision the next time
you save it.
NOTE
There is no undo for this. If you save a file with a lower sample precision, the file is converted
permanently.
PROCEDURE
1.
In the Audio Editor, open an audio file.
2.
Select the File tab.
3.
Click Info.
4.
In the Audio Properties section, specify a new Sample Rate and/or Sample Precision.
5.
Click Apply Changes.
RELATED LINKS
Info Tab on page 28
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Audio File Editing
Metadata Metadata
Metadata consists of attributes that describe the audio contents, for example, the title of the
track, the author, or the date the track was recorded. Depending on the file format of the
selected audio file, this data varies.
When opening an audio file or audio montage, the metadata found in the file is loaded. You can
create different metadata presets for audio files and audio montages. When creating a new file
from a template, this file can inherit the metadata of the preset, if available.
A preview of the metadata is displayed in the Metadata window. To view the complete metadata
of a file and to be able to edit the metadata, select Tool Windows > Metadata and click the Edit
button.
Not all file formats can save metadata. Depending on the output file format, all metadata or only
part of the metadata is saved in an audio file. The following file formats can contain metadata:
●
.wav
●
.mp3
●
.ogg
●
.wma
●
.flac
●
.aac
For MP3, the following metadata types are available:
●
ID3 v1 and ID3 v2, including picture support
AAC is used for MPEG-4 (iTunes compatible) and 3GPP containers.
NOTE
●
AAC is not ID3v2 compatible. However, in WaveLab Elements it uses the same editor.
●
The metadata codes that are followed by an “(i)” indicate the iTunes compatible fields.
Lyrics and pictures are also iTunes compatible.
For WAV, the following metadata types are available:
●
RIFF
●
BWF
●
BWF markers
●
CART (AES standard, dedicated to broadcast needs)
●
ID3, including picture support
When saving or recording an audio file in the Audio File Format dialog, you can specify whether
not to use any metadata, inherit the metadata from the source file, or edit the metadata of the
file.
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Audio File Editing
Metadata Metadata can be entered manually or generated automatically.
The following options can be generated automatically:
●
Time markers (CART tab)
●
USID (BWF, Basics tab)
(*) These options cause a file analysis while the file is written, which means that the file writing
process can take longer.
WaveLab Elements includes several metadata presets. They are used as examples and can be
customized to your needs. You can load metadata presets from the Metadata Presets pop-up
menu in the Audio File Format dialog, or from the Metadata dialog.
RELATED LINKS
Audio File Format Dialog on page 86
Metadata Dialog
This dialog allows you to define the metadata to be embedded in your audio file.
●
To open the Metadata dialog, open the Metadata window and click Edit.
Depending on the file type, the metadata is handled differently.
Metadata dialog for WAV files
When opening the Metadata dialog for files in the Audio Editor, you can edit the metadata that
is saved in the audio file. This metadata is saved to disk later.
When opening the Metadata dialog for files in the Audio Montage window, you can edit the
metadata for the audio files that are created when rendering the audio montage. If you render to
WAV or MP3 formats, the metadata will be associated to these files.
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Audio File Editing
Silence Generator Dialog Metadata Presets
In the Metadata dialog, you can save metadata presets and apply these presets to other files.
Metadata presets can be applied to WAV, MP3, and AAC files.
The Use as Default for New .wav Files option allows you to define a set of metadata as default.
When you create a new file, and do not add any metadata, this default metadata is applied to
the file when saving or rendering it. For example, you can save or record WAV files with BWF
metadata and automatically add a Unique Material Identifier.
To edit the default metadata preset, select Load Default, and edit the preset.
CART and Markers
WaveLab Elements reads the CART markers, if any, and merges them with the existing markers
of the file.
The CART standard can contain up to 8 markers. WaveLab Elements saves them if their names
conform to the CART standard.
If Generate Time Markers is activated in the CART tab of the Metadata dialog, the markers are
generated if at least one CART text field has content. Otherwise, the CART data is meant to be
unused.
To be able to merge the CART markers with the markers of a file when rendering a file, the
option Copy Markers must be activated in the Render dialog.
Silence Generator Dialog
This dialog allows you to insert silence or background noise in an audio file.
●
To open the Silence Generator dialog, select the Insert tab in the Audio Editor, and click
Silence Generator.
Type of Silence
●
True Silence allows you to insert digital silence.
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Audio File Editing
Silence Generator Dialog ●
Background Noise (File Will Be Looped If Needed) allows you to select an
audio file containing ambient noise.
Gain to Apply to This File lowers or raises the gain of the background noise.
Silence Duration
As Selection uses the duration of the active audio selection as the duration of the
silent section. Specify the duration of the silent section in the value field below.
Edges
Fade In/Fade Out performs a crossfade at the start and end of the silent section for
smoother transitions. Specify the fade time in the value field below.
Destination
●
Replace Selection replaces the current audio selection with the silent section.
●
Insert at Cursor inserts the silent section at the cursor position.
●
From End of File Until Cursor extends the audio file with silence up to the
cursor position. Activating this option also defines the silence duration and
ignores the Silence Duration setting.
True Silence vs. Background Noise
Recordings can sound unnatural when you insert true silence. This is particularly true for voice
recordings and field recordings, where a natural background noise is often present. To produce
more natural results, you can insert a file with background noise.
The file that you specify must have the same properties (stereo/mono, sample rate, etc.) as the
file in which you want to insert the silence. The file can be any length – if the silence region is
longer than the file, the file is looped.
Replacing a Selection with Silence
You can replace a section of an audio file with silence.
PROCEDURE
1.
In the Audio Editor, make a selection.
2.
Select the Insert tab.
3.
In the Signal section, click Silence Generator.
4.
Set the silence duration to As Selection, and the destination to Replace Selection.
5.
Click Apply.
Inserting Silence
You can insert a specified length of silence at any position of the audio file.
PROCEDURE
1.
In the Audio Editor, set the cursor where you want the inserted silence to begin.
2.
Select the Insert tab.
3.
In the Signal section, click Silence Generator.
4.
Deactivate As Selection, and specify the length.
5.
Set the destination to Insert at Cursor.
6.
Click Apply.
105
Audio File Editing
Bleep Censor Muting a Selection
The Mute Selection function replaces the selection with true silence.
PROCEDURE
1.
In the wave window of the Audio Editor, make a selection.
2.
Select the Insert tab.
3.
In the Signal section, click Mute Selection.
Bleep Censor
The bleep censor allows you to replace a part in an audio file with a tone to cover a swear word,
for example.
Bleep Censor Dialog
The Bleep Censor dialog allows you to define the bleep censor tone.
●
To open the Bleep Censor dialog, select the Insert tab in the Audio Editor, and click Bleep
Censor in the Signal section.
Frequency
Allows you to specify the frequency of the bleep censor tone.
Level
Allows you to specify the level of the bleep censor tone.
Crossfading
If this option is activated, WaveLab Elements creates a crossfade at the start and
the end of the bleep censor region for a smoother transition. You can specify the
crossfade time.
Presets
This pop-up menu allows you to save and restore bleep censor presets.
Replacing Audio with Tone
PROCEDURE
1.
In the Audio Editor, make a selection.
2.
Select the Insert tab.
3.
In the Signal section, click Bleep Censor.
4.
In the Bleep Censor dialog, specify the frequency and the level of the bleep censor tone.
5.
Optional: Activate Crossfading and specify the crossfade time.
106
Audio File Editing
Waveform Restoration with the Pen Tool This creates a crossfade at the start and the end of the bleep censor region.
6.
Click Apply.
Waveform Restoration with the Pen Tool
The Pen tool allows you to redraw the waveform in the wave window. This can be used to quickly
repair waveform errors. The Pen tool can be used if the zoom resolution is set to 1:8 (one pixel
on the screen equals 8 samples) or higher.
●
To redraw the waveform, select the Pen tool on the Edit tab of the Audio Editor, click in
the waveform, and draw the new waveform.
●
To redraw the waveform of both channels at once, press Shift during the drawing process.
107
Audio Analysis
WaveLab Elements provides you with a comprehensive set of tools for analyzing your audio and
for detecting any errors.
For example, you can use the suite of audio meters or the 3D Frequency Analysis. There are also
several tools that help you examine any sample of your audio for errors or anomalies.
Global Analysis
In WaveLab Elements, you can perform advanced analysis on your audio to identify areas with
specific properties. This helps you find problem areas such as glitches or clipped samples. You
can also check general information, such as the pitch of a sound.
If you analyze a section of an audio file, WaveLab Elements scans the section or the audio file
and extracts information which is displayed in the dialog. WaveLab Elements also marks sections
of the file that meet specific characteristics, for example, sections that are very loud or almost
silent. You can then browse between these points, set markers, or zoom in on markers. On most
of the tabs, you find settings that determine exactly how the analysis is performed. Each tab
focuses on a particular analysis area.
You perform the global analysis in the Global Analysis dialog. This dialog consists of the
following tabs that provide different analysis types:
●
The Peaks tab allows you to find individual samples with very high values.
●
The Loudness tab allows you to find sections with high intensity.
●
The Pitch tab allows you to find the exact pitch of a sound or section.
●
The Extra tab provides information about DC offsets and the significant sample precision.
●
The Errors tab allows you to find glitches and sections where the audio has been clipped.
Most of the analysis types provide a number of positions in the file that indicate peaks, glitches,
etc. These points are called “hot points”.
Opening the Global Analysis Dialog
The Global Analysis dialog provides various analysis options.
PROCEDURE
1.
In the wave window, select a range in the audio file that you want to analyze.
If you want to analyze the entire file, press Ctrl/Cmd-A. If Process Whole File If There
Is No Selection is activated in the Audio Files Preferences, the whole file is analyzed
automatically provided that no selection has been made.
2.
In the Audio Editor, select the Process tab.
3.
In the Analysis section, click Global Analysis.
4.
Optional: Click Open New Global Analysis Dialog at the top of the Global Analysis dialog
to open another Global Analysis dialog.
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Audio Analysis
Global Analysis Choosing the Analysis Type
Several types of analysis can be performed. Each of them takes some time, so make sure that
only the types that you need are included in the analysis.
Select the analysis types in the Global Analysis dialog by activating them in the corresponding
tabs.
●
To include the peaks analysis, select the Peaks tab and activate Find Peaks.
●
To include the loudness analysis, select the Loudness tab and activate Analyze Loudness.
●
To include the pitch analysis, select the Pitch tab and activate Find Average Pitch.
●
To include the extra analysis, select the Extra tab and activate Find DC Offset.
●
To include the error analysis, select the Errors tab and activate Find Possible Glitches and
Find Clipped Samples.
Global Analysis – Peaks Tab
On this tab, you can make settings that help you find digital peak values in the audio, that is,
single samples with very high values.
●
In the Global Analysis dialog, select the Peaks tab.
Find Peaks
Enables peak analysis.
Digital
Displays the highest peak in the analyzed section. When you click this value, the
number of peaks that are detected in the selection is shown in the Number of Hot
Points section in the lower left corner of the dialog. You can use the hot points to
move the cursor between the peaks.
At Cursor
Displays the level at the current audio file cursor position at the time of the analysis.
Maximum Number of Peaks to Report
Restricts the number of reported peaks. For example, setting this to 1 reports only
the highest peak.
Minimum Time between 2 Peaks
Controls the distance between peaks, so they do not appear too close to each other.
For example, setting this to 1 s ensures that there is always at least one second
between reported peaks.
109
Audio Analysis
Global Analysis Results of the Analysis
The Find Peaks fields show the highest peak in the analyzed section and the level of the sample
at the wave cursor position at the time of the analysis.
Global Analysis – Loudness Tab
On this tab, you can make settings that help you find sections that are perceived by the human
ear as louder or weaker in volume. To find sections that the ear perceives as significant in
volume, you must look at a longer section of audio.
●
In the Global Analysis dialog, select the Loudness tab.
Loudness Settings
Analyze Loudness
Enables RMS loudness analysis.
Average
Displays the overall loudness of the analyzed selection.
Maximum
Displays the level of the loudest section in the analyzed selection. Clicking this value
displays the number of loud sections detected within the selection in the Number of
Hot Points section in the lower left corner of the dialog.
Minimum
Displays the level of the quietest section in the analyzed selection. Clicking this value
displays the number of weak sections that are detected within the selection in the
Number of Hot Points section in the lower left corner of the dialog. This provides
adequate information about the signal-to-noise ratio (SNR) of the audio material.
Around Cursor
Displays the loudness at the audio file cursor position at the time of the analysis.
Resolution
The length of audio to be measured and averaged. If this value is lowered, short
passages of loud/weak audio are detected. If the value is raised, the sound must be
loud/weak for a longer period to result in a hot point.
110
Audio Analysis
Global Analysis Threshold (for the Average)
Ensures that the average value is calculated correctly for recordings with pauses. The
value that you set here determines a threshold below which any detected audio is
considered to be silence, and is therefore excluded from average value calculations.
Maximum Number of Loudness Points to Report
Restricts the number of reported hot points. The highest points are reported. For
example, setting this to 1 reports only the loudest section or one of the sections with
the same highest value.
Minimum Time between 2 Points
Controls the distance between points, so they do not appear too close to each other.
For example, setting this to 1 s ensures that there is always at least one second
between reported points.
Global Analysis – Pitch Tab
On this tab, you can make settings that help you find the average pitch of an audio section.
●
In the Global Analysis dialog, select the Pitch tab.
Settings on this tab allow you to gather information for pitch shifting, for example, to get one
sound in tune with another. The display shows the pitch for each channel, in Hertz (Hz) and as
semitones and cents (hundredths of a semitone). Because the display shows an overall value for
the entire analyzed section, the hot point controls in the lower section of the dialog are not used
on this tab.
Usage guidelines for the Pitch tab:
●
The result is an average value for the whole selection.
●
The method only works on monophonic material, not on chords or harmonies.
●
The algorithm assumes that the analyzed section has a reasonably stable pitch.
●
The material must be relatively well isolated from other sounds.
●
It is preferable to analyze the sustain portion of a sound rather than the attack. The pitch is
usually not stable during the attack.
●
Some synthetic sounds may have a weak fundamental (first harmonic) which can irritate
the algorithm.
Global Analysis – Extra Tab
This tab shows the average DC Offset of the analyzed section and the Apparent Sample
Precision.
●
In the Global Analysis dialog, select the Extra tab.
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Audio Analysis
Global Analysis The Apparent Sample Precision attempts to detect the actual precision in the audio. This is
useful, for example, if you want to check, whether a 24-bit file really uses 24 bits or if it was
actually recorded with 16-bit precision and then expanded to 24 bits.
Global Analysis – Errors Tab
This tab helps you find glitches and sections where the audio has clipped.
●
In the Global Analysis dialog, select the Errors tab.
Maximum Number of Error Points to Report
Allows you to restrict the reported numbers of hot points.
Minimum Time between 2 Points to Report
Controls the distance between points, so they do not appear too close to each other.
For example, setting this to 1 s ensures that there is always at least one second
between reported points.
Find Possible Glitches
Enables glitch analysis.
●
Threshold sets the value at which a change in level is considered to be a
glitch. The higher the value, the less sensitive the detection.
●
Sensitivity is a length value that represents the length of time in which the
waveform must exceed the threshold to be reported as a glitch. The higher the
value, the less sensitive the detection.
●
Output Format displays the number of clipping occurrences that are detected
by the analysis. Clicking this value displays the number of clips in the Number
of Hot Points section in the lower left corner of the dialog.
NOTE
Make sure that the points that are detected by the algorithm are real glitches. Zoom
in and play back to check whether the detected points really indicate a problem.
Find Clipped Samples
Enables clipping analysis.
●
Threshold checks for a number of consecutive samples at full value to
determine whether clipping has occurred. The Threshold setting determines
the exact number of these consecutive samples that must occur for the
program to report clipping.
●
Output Format displays the number of clipping occurrences that are detected
by the analysis. Clicking this value displays the number of clips in the Number
of Hot Points section in the lower left corner of the dialog.
112
Audio Analysis
Global Analysis Error Detection
You can detect errors, such as glitches and sections where the audio has clipped.
Glitches
●
These are disruptions in the audio. Glitches may occur after problematic digital transfers,
after careless editing, etc. They manifest themselves as “clicks” or “pops” in the audio.
Clipping
●
A digital system has a finite number of levels that it can represent properly. When
recorded sound levels are too high or when the system cannot handle levels that have
been raised by digital processing, hard clipping occurs that you can hear as strong
distortion.
A sine waveform before clipping and after.
Result of the Analysis
This reports the number of glitches and clipping instances that have been detected.
Performing a Global Analysis
PREREQUISITE
In the Audio Editor, select the Analyze tab, click Global Analysis, and select the tab that you
want to include in the analysis.
PROCEDURE
1.
In the Global Analysis dialog, set up the parameters.
Most of the tabs have settings that determine how the analysis should be performed.
2.
If the Peak or Loudness tab is selected, move the cursor to the position that you want to
analyze.
The Peak and Loudness tabs report values for the position of the cursor.
3.
Click Analyze.
Results of the Global Analysis
Depending on the analysis type, one or several values are returned for the analyzed audio.
For the Pitch and Extra analyses, only one value is returned. The other analysis types provide
a number of positions in the file that indicate peaks, glitches, etc. These points are called hot
points.
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Audio Analysis
Global Analysis Checking the Results of the Global Analysis
The results of the global analysis are marked with hot points. You can browse through these
points to see the results of the analysis.
PREREQUISITE
In the Audio Editor, select the Analyze tab, click Global Analysis, and perform the analysis.
PROCEDURE
1.
In the Global Analysis dialog, click the tab that represents the values that you want to
check.
2.
Check the display for maximum/minimum values in the entire analyzed section.
3.
Decide which of these values you want to check.
4.
Click the value.
5.
Check the Number of Hot Points value at the bottom of the dialog.
The value shows the number of positions that were detected by the analysis.
6.
Use the scrollbar below the Number of Hot Points value to browse between the detected
positions.
The edit cursor shows the position in the wave window.
7.
To browse another property, click the corresponding tab, and then the value button.
NOTE
The result of the analysis is saved until you close the dialog or click Analyze again.
RELATED LINKS
Performing a Global Analysis on page 113
Creating Markers at Hot Points
Creating markers at hot points simplifies browsing the results of the global analysis.
PREREQUISITE
In the Audio Editor, select the Analyze tab, click Global Analysis, and perform the analysis.
PROCEDURE
1.
In the Global Analysis dialog, select the analysis type for which you want to create
markers at hot points.
You can add markers for only one channel at a time.
2.
Click the Create Markers at Hot Points button.
Temporary markers are added at all hot points.
RESULT
The markers are named using the following principle: “Hot point number (Channel)”. For
example, a marker at the third hot point in the left channel would be labeled “3 (L)”.
RELATED LINKS
Performing a Global Analysis on page 113
114
Audio Analysis
3D Frequency Analysis Focusing Hot Points
After a global analysis, you can focus the display on a specific hot point.
PREREQUISITE
In the Audio Editor, select the Analyze tab, click Global Analysis, and perform the analysis.
PROCEDURE
1.
Use the Number of Hot Points scroll bar to move the position indicator to the position in
which you are.
2.
Click Focus.
The wave window zooms in on the selected point. The Global Analysis dialog is reduced to
the bottom part.
3.
To return to the full view of the Global Analysis dialog, click Focus again.
3D Frequency Analysis
Using the 3D Frequency Analysis, you can view an audio file in the frequency domain.
Use the 3D Frequency Analysis for the following:
●
Viewing the frequency spectrum distribution in a mix
●
Identifying which frequencies can be reduced or boosted as a basis for equalizing
●
Viewing parts of the frequency spectrum that are occupied by a background noise that you
want to filter out
A wave display (time domain) informs you about the start and end of a sound in a file, but lacks
information about the timbral contents of the file that a frequency graph (frequency domain)
provides. The graph that is used in WaveLab Elements is often referred to as an FFT (Fast Fourier
Transform) plot. If you select a stereo recording, a mix of the two channels is analyzed.
The wheel control allows you to view the frequency spectrum from different angles. For example,
you can open several 3D Frequency Analysis windows, each with a different perspective. This
allows you to get a better view of an otherwise crowded graph.
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Audio Analysis
3D Frequency Analysis Creating a Graph for 3D Frequency Analysis
The length of the selected audio affects the accuracy of the analysis. For short selections, the
result is more detailed. Consider making a separate analysis of the attack in which the most
drastic variations occur.
PROCEDURE
1.
In the wave window, select the section of the file that you want to analyze.
If you make no selection, the whole audio file is analyzed.
2.
In the Audio Editor, select the View tab.
3.
In the Analysis section, click 3D Frequency Analysis.
4.
To edit the analysis parameters, click 3D Analysis Options.
5.
Adjust the parameters and click OK.
The audio is re-analyzed.
3D Analysis Options
In the options dialog of the 3D Frequency Analysis dialog, you can define which frequency
range is analyzed and modify the appearance of the graph for the 3D frequency analysis.
●
In the 3D Frequency Analysis dialog, click the 3D Analysis Options button.
Top/Bottom Frequency
Specifies the highest/lowest frequency of the range.
Logarithmic Ruler (Octaves)
Divides the frequency ruler in equally spaced octaves.
Amplitude
Select whether you want the peaks to be proportional to their amplitude (Linear) or
to their power (Logarithmic with Decibel Scale).
116
Audio Analysis
3D Frequency Analysis Colors
Defines the color scheme of the graph.
Background
Defines the background color.
117
Offline Processing
Offline processes are useful for a variety of editing purposes and creative effects, for example, if
the computer is too slow for real-time processing or if the editing requires more than one pass.
After the processing, the audio file is permanently altered.
Process Tab
Level
Gain
Opens the Gain dialog where you can apply a gain to change the level of an audio
file.
Envelope
Opens the Envelope dialog where you can create a level envelope which can be
applied to a selected range or an entire audio file.
This is useful if you want to even out loud and quiet parts or create a sophisticated
fade in/fade out, for example.
Remove DC Offset
DC offset in a file affects the loudness. Remove DC Offset sets the DC offset to zero.
Normalizing
Level
Opens the Level Normalizer dialog where you can change the peak level of an audio
file.
Fading
Fade In/Fade Out
Allows you to apply a fade in or fade out. Right-click the button to open the Curve
pop-up menu.
Curve
Allows you to select preset fade curves.
●
Linear changes the level linearly.
●
Sinus (*) changes the level according to a sine curve. When used in a
crossfade, the loudness (RMS) remains constant during the transition.
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Offline Processing
Process Tab ●
Square-Root (*) changes the level according to a square-root curve. When
used in a crossfade, the loudness (RMS) remains constant during the
transition.
●
Sinusoid changes the level according to a sine curve.
●
Logarithmic changes the level according to a logarithmic curve.
●
Exponential changes the level according to an exponential curve.
●
Exponential+ changes the level according to a more pronounced exponential
curve.
Time & Pitch
Time Stretching
Opens the Time Stretching dialog where you can change the duration of an audio
selection.
Pitch Shifting
Opens the Pitch Shifting dialog where can change the pitch of your audio.
Resample
Opens the Sample Rate dialog where you can change the sample rate of your audio.
Pitch Bend
Opens the Pitch Bend dialog where you can gradually change the pitch of your
audio using an envelope curve.
Reverse
Creates a backwards-tape effect.
Correct
Error Correction
Lets you select the default error correction method.
●
Linear Interpolation draws a straight line between the first and the last
selected samples.
●
Optimal for Small Clicks – 1 ms is optimal to remove clicks smaller than 1 ms.
●
Optimal for Common Clicks – 3 ms is optimal to remove clicks smaller than 3
ms.
●
Waveform Replacement – 500 ms replaces the corrupt samples with the best
match detected in the material up to 500 milliseconds to the left/right.
●
Waveform Replacement – 4 s replaces the corrupt samples with the best
match detected in the material up to 4 seconds to the left/right.
●
Waveform Replacement – Left 6 s replaces the corrupt samples with the best
match detected in the material up to 6 seconds to the left.
●
Waveform Replacement – Right 6 s replaces the corrupt samples with the
best match detected in the material up to 6 seconds to the right.
Loop
Tweaker
Opens the Loop Tweaker dialog where you can adjust the loop start and end points,
and crossfade the loop boundaries.
Tone Uniformizer
Opens the Loop Tone Uniformizer dialog where you can create loops from sounds
that are not optimal for looping.
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Offline Processing
Applying Processing Analysis
Global Analysis
Opens the Global Analysis dialog where you can analyze peaks, loudness, pitch, DC
offset, and errors in the audio file.
Other
Invert Phase
Turns the signal upside down.
Applying Processing
Processing can be applied to a selection or to a whole file. For some operations processing the
entire file is necessary.
NOTE
If Process Whole File If There Is No Selection is activated in the Editing tab of the Audio Files
Preferences, the whole file is automatically processed if no selection exists.
PROCEDURE
1.
In the wave window, make a selection.
2.
In the Audio Editor, select the Process tab.
3.
Select the type of processing that you want to apply.
4.
If a dialog opens, make the settings and click Apply to render the effect to file.
Gain Dialog
In this dialog, you can apply a gain to change the level of an audio file.
●
To open the Gain dialog, select the Process tab in the Audio Editor, and click Gain in the
Level section.
Click Find Current Peak Level to obtain a report on the peak level of the audio selection, or
the whole file if there is no selection. This is useful if you want to calculate how much you can
increase the overall gain of a file without clipping (exceeding 0 dB), for example.
This processor also lets you add clipping. Clipping happens when the gain is raised to a point
where distortion is added. While this is normally not intended, mild clipping can add some
punch, for example, to accentuate the attack of a drum sound.
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Offline Processing
Level Normalizer Dialog Level Normalizer Dialog
In this dialog, you can change the peak level of an audio file.
●
To open the Level Normalizer dialog, select the Process tab in the Audio Editor, and click
Level in the Normalizing section.
Peak Level
Enter the peak level (in dB) that you want the audio selection to have.
Stereo Link
Applies the gain to both channels.
Mix to Mono
Mixes the left and the right channel. The resulting mono file has the specified peak
level. This ensures a mix without clipping.
Find Current Peak Value
Creates a report on the peak level of the current audio selection or the whole audio
file if there is no selection.
Envelope Dialog
In this dialog, you can create a level envelope which can be applied to a selected range or
a whole audio file. This is useful if you want to even-out loud and quiet parts or create a
sophisticated fade in or fade out, for example.
●
To open the Envelope dialog, select the Process tab in the Audio Editor, and click
Envelope in the Level section.
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Offline Processing
Fades in Audio Files The dialog shows a waveform with an envelope curve (initially a straight line). A vertical ruler
displays the level in dB, and the horizontal ruler displays the timeline.
The following options are available:
●
Undo/Redo the Last Operation
●
Deselect the Envelope Points
●
Delete the Selected Envelope Points
●
Reset the Selected Envelope Points
●
Reset the Whole Envelope
●
Flip the Envelope Around the Horizontal Axis
●
Reverse the Envelope Time Sequence
●
Toggle the Envelope Smoothing
Basic Envelope Operations
By adding points to the envelope curve, you can create an envelope curve that changes the
volume of the material over time. When you point the mouse in the display or move a point, the
current position and level change is shown in the field above the display.
●
To add a point, double click the envelope curve.
●
To select a point, click it.
●
To select several points, click and drag the selection rectangle.
●
To move a point, click and drag it. If more than one point is selected, all points are moved.
●
To move the whole curve up or down, click the envelope curve, and drag up or down.
●
To move the curve segments vertically, click the curve and drag up or down.
●
To move two points horizontally, press Shift, click the curve segment between two points,
and drag left or right.
●
To move two points vertically, press Ctrl/Cmd, click the curve segment between two
points, and drag up or down.
Fades in Audio Files
A fade in is a gradual increase in level and a fade out is a gradual decrease in level.
You can create fades by selecting an individual fading type for each fade in/fade out.
122
Offline Processing
Crossfades Creating a Fade In and Fade Out
PROCEDURE
1.
In the wave window, make a selection.
2.
In the Audio Editor, select the Process tab.
3.
Depending whether you want to create a fade in or a fade out, select one of the following
options in the Fading section:
●
To apply the default fade type, click the Fade In or Fade Out icon.
●
To select another fade type, click Fade In or Fade Out below the fade icon. From the
pop-up menu, select the type of fade that you want to create.
Applying Easy Fades
The Easy Fade function allows you to quickly apply a default fade in or fade out to an audio file
via shortcut.
The shape of the fade is governed by the Fade In and Fade Out settings in the Fading section of
the Process tab.
PROCEDURE
1.
2.
In the Audio Editor, make one of the following selections:
●
From the start of the audio file to where you want the fade in to end.
●
From the position where you want the fade out to start to the end of the audio file.
Click Ctrl/Cmd-D.
Crossfades
A crossfade is a gradual fade between two sounds, where one is faded in and the other faded
out. You can automatically create a crossfade when pasting an audio section into another.
Creating Crossfades
The material that you want to crossfade can either be in two different sections of the same audio
file or in two different audio files.
PROCEDURE
1.
In the wave window, select the section that you want to fade in.
2.
Select the Edit tab.
3.
In the Clipboard section, click Copy.
4.
Select the section that you want to fade out.
The length of this selection determines the length of the actual crossfade (check the length
on the status bar). The section can be within the selected audio file or in another wave
window. However, the selection must not be longer than the selection that you just copied.
5.
Depending whether you want to create a fade in or a fade out, select one of the following
options in the Clipboard section:
●
To apply the default crossfade type, click the Paste and Crossfade icon.
●
To select another crossfade type, click Paste and Crossfade below the crossfade
icon. From the pop-up menu, select the type of crossfade that you want to create.
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Offline Processing
Phase Inverting RESULT
The crossfade is created. Any material that originally appeared after the selection in the file into
which you paste, is moved so that it now appears after the pasted material.
Any excess material in the copied selection appears after the fade at full level.
NOTE
If both files already have full level sections in the crossfade area (for example, if you have
normalized both files), clipping and distortion might occur. If this happens, reduce the amplitude
of both files by 3 dB to 6 dB and try again.
AFTER COMPLETING THIS TASK
Play back the file and adjust the crossfade if necessary.
Paste and Crossfade Options
These options allow you to select a crossfade type for pasting.
●
Select the Edit tab in the Audio Editor, and click Paste and Crossfade in the Clipboard
section.
Linear (Equal Gain)
Level changes linearly.
Sinus (Equal Power)
Level changes according to a sine curve, the power of the mix remains constant.
Square-Root (Equal Power)
Level changes according to a square-root curve, the power of the mix remains
constant.
Phase Inverting
Inverting the phase turns the signal upside down. The most common use for this function is to
fix a stereo recording if one of the channels has been recorded out of phase with the other.
Inverting the Audio Phase
PROCEDURE
1.
Optional: If you only want to invert the phase for a specific time range of the audio file,
create a selection range in the wave window.
2.
In the Audio Editor, select the Process tab.
3.
In the Other section, click Invert Phase.
Reversing Audio
You can reverse an audio file or a part of an audio file as if playing a tape backwards.
PROCEDURE
1.
Optional: If you only want to reverse a specific time range of the audio file, create a
selection range in the wave window.
2.
In the Audio Editor, select the Process tab.
3.
In the Time & Pitch section, click Reverse.
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Offline Processing
DC Offset DC Offset
DC offset means that there is a too large DC (direct current) component in the signal. This most
often occurs due to mismatches between various types of recording equipment.
A DC offset is problematic for the following reasons:
●
It affects the zero crossing position.
●
Some processing options do not give optimal results when performed on files with a DC
offset.
Removing DC Offset
PROCEDURE
1.
In the Audio Editor, open the audio file that you want to check for DC offset and that you
want to fix.
2.
Select the Process tab.
3.
In the Level section, click Remove DC Offset.
A dialog opens, stating the amount of DC offset in the audio file. You can also create a
selection range in the wave window and select this option to only show the DC offset in the
selection range.
NOTE
This function should be applied to whole files, because the problem is normally present
throughout the entire recording.
4.
Click OK to remove the DC offset.
Time Stretching
Time stretching is an operation that allows you to change the length of a recording without
affecting its pitch.
With time stretching, you can make audio material longer or shorter. This function is most often
used to make a section of audio fit in with some other material. You select the material to be
stretched and use the options in the Time Stretching dialog to find a stretch factor. This is done
by specifying a length or a tempo, according to what the situation requires.
Time Stretching Dialog
In this dialog, you can change the duration of an audio selection, usually without changing its
pitch. You can stretch a selection to a specified duration (in minutes, seconds, and milliseconds),
tempo (in bpm), or stretch factor (as percentage).
●
To open the Time Stretching dialog, select the Process tab in the Audio Editor and click
Time Stretching in the Time & Pitch section.
125
Offline Processing
Time Stretching Source (Audio Selection)
Duration
If Edit Tempo is activated, you can change the tempo of the audio source. The
number of bars and beats and the stretch factor is updated automatically.
If Edit Bars is activated, you can set the number of bars and beats and the signature
for the audio source. The source tempo and according to the stretch factor is
automatically updated.
Result
Target Duration
If this option is activated, the audio source changes its duration.
Target Tempo
If this option is activated, the audio source changes its tempo. For this to work, you
must specify the original tempo or the number of bars and beats.
Target Stretch Factor
Indicates how much the audio duration changes. This parameter is automatically
updated when you edit the other parameters, but you can also activate this option to
edit it manually.
Reset
Resets the stretch factor to 100 %, that is, no stretch.
Method
Preserve Pitch
If this option is activated, the pitch of the audio material is not affected when you
apply time stretch. If this option is deactivated, the pitch changes proportionally with
the time stretch ratio.
Quality pop-up menu
Select whether you want to use the Standard Quality or the Quick Process.
Time Stretching Limitations
Time stretch is a complicated Digital Signal Processing (DSP) operation, that always affects the
sound quality to some extent.
●
For speech, stretch factors within a ±30 % range provide good results.
●
For composite music, try to limit the range to ±10 %.
●
For sensitive material, like solo piano, try to limit the range to ±3 %.
126
Offline Processing
Pitch Shift ZTX Time Stretching Processor
WaveLab Elements uses the ZTX technology for high quality time stretching.
Pitch Shift
Pitch shift allows you to detect and to change the pitch of a sound, with or without affecting its
length. This is useful for fixing an off-key vocal note in a live recording, or for tuning the pitch of a
kick drum sample to fit a particular song, for example.
Pitch Shifting Dialog
In this dialog, you can change the pitch of a sound.
●
To open the Pitch Shifting dialog, select the Process tab in the Audio Editor, and click
Pitch Shifting in the Time & Pitch section.
Semitones
Specifies the amount of pitch change in semitones.
Cents
Specifies the amount of pitch change in cents.
Find Current Pitch of Audio Selection
Analyzes the pitch of the selected audio and displays it below this button.
According to the current pitch, compute the required shift to match the key hereafter
Click to adjust Amount of Pitch parameters automatically, based on the detected
pitch and the pitch specified in the value field below this button.
Pitch field
Specifies the resulting pitch.
Length Preservation
Specifies how the length of the selection is affected by the operation:
●
A setting of 100 means that the length of the audio remains unchanged.
●
A setting of 0 means that the program behaves like a tape recorder, when the
speed of its tape is changed. For example, if you raise the pitch by one octave,
the audio is half as long.
●
Intermediate values give results in between these two extremes.
For large transposition values, the lower this setting, the better the quality of the
effect.
127
Offline Processing
Resample Quality pop-up menu
Select whether you want to use the Standard Quality or the Quick Process.
Correct Formants
If this option is activated, changing the pitch of vocal material gives a more realistic
result. When processing non-vocal material, leave this option deactivated, because it
uses a slightly slower processing algorithm.
NOTE
This algorithm might cause a noticeable increase in signal level.
Resample
You can change the sample rate of a recording. This is useful if the file that you want to use in an
audio system was recorded at a sample rate that this system does not support.
NOTE
●
Sample rate conversion from a low frequency upwards does not improve the sound
quality. The high frequencies that were lost cannot be restored by a conversion.
●
If you resample to a lower frequency, high frequency material is lost. Therefore,
converting down and then up again leads to a degradation in sound quality.
NOTE
Using the Resampler plug-in in the quality mode High changes the sample rate results in the
same quality as when using the Resample option in the Audio Editor. However, that is only the
case if the sample rate in the Sample Rate dialog exists in the values of the Resampler Sample
Rate pop-up menu. If you choose a custom sample rate, another algorithm is used, which results
in a lower quality of what the Resampler can achieve.
Converting a Sample Rate
NOTE
Sample rate conversion is always applied to the entire file.
PROCEDURE
1.
In the Audio Editor, select the Process tab.
2.
In the Time & Pitch section, click Resample.
3.
In the Sample Rate dialog, select a sample rate from the pop-up menu.
4.
Click OK.
128
Audio Montage
The audio montage is a multitrack non-destructive editing environment that allows you to
arrange, edit, play back, and record audio clips.
Non-destructive means that when you delete or change a part of an audio file, the audio is not
deleted or permanently changed. Instead, a set of pointers keeps track of all the edits, so that
these can be readily reversed.
The non-destructive editing functions include both track- and clip-based effects, volume and pan
automation, as well as wide-ranging fade and crossfade functions.
The audio montage is a great tool for audio CD creation, mastering, multimedia work, radio spot
production, etc.
Basic Terminology
Audio montages can contain up to 3 stereo or mono audio tracks. You can use them to structure
your work graphically.
On an audio track, you can place any number of clips. Clips are containers for the audio, and
include a number of settings and functions such as volume and pan curves, fades, etc.
A clip contains a reference to a source audio file on your hard disk, as well as start and end
positions in the file, which means that clips can play back sections of the source audio files. Any
number of clips can reference the same source file.
Montage Window
The montage window is where you assemble your audio montage. This is where you view, play
back, and edit audio montages.
The montage window gives you a graphical representation of the tracks and clips.
129
Audio Montage
Montage Window Track Control Area
The track control area offers several options regarding the track.
Fold/Unfold Track
Folds/Unfolds the track.
Mute
Mutes the track.
Solo
Solos the track.
FX
Opens the Effects pop-up menu where you can select effects for the track. A blue
icon indicates that a track has track effects.
Track number button
Opens the track menu that contains track-related options.
Track Name
Opens the Track Name dialog where you can enter a name for the track.
Track Pop-up Menu
This pop-up menu contains all track-related options.
●
To open the Track pop-up menu, click the number button of a track in the track control
area.
Add Stereo Track
Adds a stereo track below the active track.
Add Mono Track
Adds a mono track below the active track.
130
Audio Montage
Audio Montage Tabs Move Track Up
Moves the track one position up in the track list.
Move Track Down
Moves the track one position down in the track list.
Remove Track
Deletes the active track.
Mute
Mutes the active track.
Solo
Solos the active track.
Route to Master Section
Routes the audio signal of the active track to the Master Section input.
Route to Master Section and Upper Track
Routes the audio signal of the active track to the Master Section input and to the
modulation input of the Ducker clip plug-in.
Route to Upper Track Only
Routes the audio signal of the active track to the modulation input of the Ducker clip
plug-in.
Lock
If this option is activated, you cannot edit the track.
Zoom
Shows the active track in the full available height.
Color
Opens a submenu where you can select a color for the active track.
Audio Montage Tabs
The tabs in the Audio Montage window give you access to the tools and options you need for
editing audio montages. For example, you can edit the envelope curves and fades in clips, make
zoom settings, analyze the audio, and render the audio montage.
View Tab
Navigate
Backwards/Forwards
Navigates to the previous/next cursor position, zoom factor, and selection range.
Zoom
Zoom
Activates the Zoom tool that allows you to define a time range that is zoomed in.
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Audio Montage
Audio Montage Tabs Time
Opens a pop-up menu that allows you to adjust the zoom to display the selected time
range. Zoom in 1:1 zooms in so that one pixel on the screen represents one sample.
To edit the zoom factor, click Edit Zoom Factor. This opens the Zoom Factor dialog,
where you can edit the following settings:
●
Set Time Range allows you to specify the time range that you want to display.
●
Samples per Screen Point allows you to specify how many audio samples are
summarized in each screen point.
●
Screen Points per Sample allows you to specify how many screen points are
used to represent a single audio sample.
Zoom Selection
Zooms the window so that the current selection occupies the entire montage
window.
Microscope
Zooms in as far as possible.
View All
Zooms out as far as possible.
Display Whole Clip
Adjusts the view to display the active clip.
Zoom in Audio (10x)/Zoom out Audio (10x)
Zooms in/out in big steps.
Zoom in Audio/Zoom out Audio
Zooms in/out in small steps.
Zoom in Vertically/Zoom out Vertically
Zooms in/out to show waveforms with a lower/higher level.
Level
Adjusts the zoom to only display samples below the selected dB value.
Reset Zoom to 0 dB
Adjusts the zoom to display audio levels up to 0 dB.
Cursor
Move Cursor to Start of File/Move Cursor to End of File
Moves the cursor to the start/end of the file.
Previous Marker/Next Marker
Moves the cursor to the previous/next marker.
Start of Selection/End of Selection
Moves the cursor to the start/end of the selected time range.
Previous Region Edge/Next Region Edge
Moves the cursor to the previous/next region edge.
Edit Cursor Position
Opens the Cursor Position dialog where you can edit the cursor position.
Previous Clip Edge/Next Clip Edge
Moves the cursor to the previous/next clip edge.
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Audio Montage
Audio Montage Tabs Scroll
Start/End
Displays the start/end of the audio without moving the cursor.
Start of Selection/End of Selection
Displays the start/end of the audio selection without moving the cursor.
Cursor
Displays the cursor position.
Playback
Static View
Deactivates scrolling.
View Follows Cursor
Automatically scrolls the view to keep the playback cursor visible.
Scroll View
Scrolls the view to keep the playback cursor centered.
Clip
Color
Allows you to apply a color to the active clip.
Tracks
Display More Tracks/Display Fewer Tracks
Allows you to change the number of tracks that are displayed in the montage
window.
Focus on Previous Track/Focus on Next Track
Sets the focus on the previous/next track.
Edit Tab
Source
Edit Source
Opens source file of the clip in the Audio Editor.
Edit Cubase Project
Opens the Cubase project relating to the clip.
Clipboard
Cut
Cuts the active clip to the clipboard.
Copy
Copies the active clip to the clipboard.
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Audio Montage Tabs Paste
Pastes the clipboard content.
Split
Split at Silences
Splits the files so that each non-silent section becomes a separate region. If you
select this option, you can specify the minimum region duration, the minimum
duration of a silent section, and the signal level that should be considered as silence.
Removal
Delete Selected Clips
Deletes the part of the clip that lies inside the selection range on the selected track
and moves the right section of the clip to the left to fill the gap.
If there is no selection range, the selected clip is deleted.
Ripple
None
Deactivates the auto-shift function.
Track
If this option is activated and you move a clip horizontally, all clips on the selected
track that are located to the right of the edited clip are also moved. This option also
applies when moving or resizing clips, and when inserting or pasting more than one
clip at the same time.
Global
If this option is activated and you move a clip horizontally, all clips on all tracks that
are located to the right of the edited clip are also moved. This option is taken into
account when moving or resizing clips, and when inserting or pasting more than one
clip at the same time.
Snapping
Snap to Magnets
If this option is activated, moved elements such as clip edges, time selection edges,
cursor, and markers snap to the magnets that are activated on the Magnets pop-up
menu.
Magnets
This pop-up menu allows you to select which items should be magnetic.
Clip
Mute
Mutes the active clip.
Cue Point
This pop-up menu allows you to make cue point settings.
●
Set at Cursor sets the cue point to a fixed position from the start of the clip.
●
Set at Default Gap Position sets the cue point before the start of the clip, at a
distance governed by the default pre-gap position.
●
Follows Fade In End Point sets the cue point to the fade in end point.
●
Follows Fade Out Start Point sets the cue point to the fade out start point.
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Audio Montage
Audio Montage Tabs ●
If Custom Cue End is activated, you can set the end cue point at a custom
position from the end of the clip. This option allows you to edit the gap
individually for each clip.
If this option is deactivated, a 2 seconds default gap is used.
●
End Offset opens the End Cue Point Offset dialog that allows you to set the
end cue point at a custom position from the end of the clip.
Insert Tab
Markers
Marker Name
Allows you to enter the name of the start and end marker. If nothing is entered, a
generic name is used.
To edit the default names, open the Markers window, and select Functions >
Default Marker Names.
Different Name for End Marker
If this option is activated, you can enter a different name for the end marker.
If this option is deactivated, the name of the start marker is also used for the end
marker.
Create Marker
Allows you to create markers and marker pairs at the edit cursor position.
Import
Audio Files
Allows you to select one or more audio files to insert at the edit cursor position on
the selected track.
Fade Tab
Edit
Fade In/Fade Out
Allows you to switch between the fade in and the fade out settings.
Zoom
Zoom to Fade Range
Adjusts the view to display the fade in/fade out part of the active clip.
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Audio Montage
Audio Montage Tabs Shape
Curve
Allows you to select preset fade curves.
●
Linear changes the level linearly.
●
Sinus (*) changes the level according to a sine curve. When used in a
crossfade, the loudness (RMS) remains constant during the transition.
●
Square-Root (*) changes the level according to a square-root curve. When
used in a crossfade, the loudness (RMS) remains constant during the
transition.
●
Sinusoid changes the level according to a sine curve.
●
Logarithmic changes the level according to a logarithmic curve.
●
Exponential changes the level according to an exponential curve.
●
Exponential+ changes the level according to a more pronounced exponential
curve.
Time
Fade Time
Allows you to specify a fade in/fade out time for the clip.
Apply Fade Time
Applies the specified clip fade in/fade out time.
Options
Overlaps
This pop-up menu allows you to set the automatic crossfading behavior.
●
If No Automatic Crossfading is activated, no automatic crossfading is
performed when clips overlap.
●
If Free Overlaps is activated, automatic crossfades are created when a clip
overlaps another clip on the same track. The length of the overlap determines
the length of the crossfade.
Create Default Fades in New Clips
If this option is activated, all new clips get the default fade in and fade out shape and
length. For clips that are created by splitting a clip, only the default fade time is used.
Envelope Tab
Selector
Envelope Type
Sets the type of the envelope. Depending on the selected type, different options are
available.
Pan Law
Lets you select a pan mode. This option is only available if the Pan envelope type is
selected.
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Audio Montage
Audio Montage Tabs Zoom
Zoom to Envelope Range
Adjusts the view to display the active envelope of the active clip.
Level
Reset All
Resets the envelope to its neutral form.
Reset to 0 dB
Replaces the segments between the fade in and fade out points with a single neutral
segment.
Render Tab
Source
Whole Montage
Processes and renders the whole audio range.
Specific Region
Processes and renders a specific audio range to an independent file.
Specify the region to process on the pop-up menu.
Result
CD
Allows you to burn a CD from the audio montage.
Unnamed File
If this option is activated, a temporary untitled file is rendered.
Named File
If this option is activated, you can specify a name for the rendered file.
Output
Name
Allows you to enter a name for the rendered file. Clicking the arrow icon opens a
pop-up menu that offers you several naming options.
Location
Allows you to select a destination folder for the rendered files.
Format
Opens a pop-up menu where you can select a file format.
Options
Depending on the selected source, different options are available.
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Audio Montage
Signal Path in the Audio Montage Bypass Master Section
If this option is activated, the plug-ins and gain of the Master Section are bypassed
when rendering.
Auto Save Master Section Preset
If this option is activated, the Master Section preset is automatically saved in the
audio montage when you render the file. You can load the Master Section preset
via the Load Master Section Preset option in the lower right corner of the montage
window.
No Reverb Tail
If this option is activated, the audio tail produced by effects such as reverb is not
included in the rendered file.
Some plug-ins do not transfer information on the tail duration to WaveLab. In this
case, this option has no effect. For such plug-ins, you can add the Silence plug-in to
add extra samples at the end of the file.
Copy Markers
If this option is activated, the markers that are included in the range to process are
copied to the rendered file.
Open Resulting Audio File
If this option is activated, every rendered file is opened in a new window.
Bypass Master Section on Resulting Audio File
If this option is activated, playback of the resulting audio file bypasses the entire
Master Section. This setting can be toggled by clicking the button at the bottom
right of the wave window or montage window.
NOTE
It is recommended to activate this option, because this way, you do not monitor new
files through the effects that have already been applied to them.
Upload to SoundCloud
If this option is activated, the rendered file is uploaded to SoundCloud.
Render
Start
Starts the rendering process.
Signal Path in the Audio Montage
The audio signal passes through the various sections of WaveLab Elements in a certain way.
1.
The audio samples are read.
2.
Clip envelope
3.
Clip effects
4.
Clip pan
5.
Individual clip gain (CD window)
6.
Clips are mixed into the track slot (for example, overlapping clips).
7.
Track effects
8.
Track level settings
9.
Each track is mixed into a stereo bus.
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Audio Montage
Creating New Audio Montages 10.
The stereo channel is processed through the plug-ins of the montage output.
11.
The stereo bus is sent to the Master Section input.
Signal Path in the Master Section
1.
Channels/Sample rate can change at each plug-in slot.
2.
Master Section meters
3.
Final Effect/Dithering pane in the Master Section
4.
Independent meters
5.
Playback or file format rendering
Creating New Audio Montages
PROCEDURE
1.
Select File > New.
2.
Select Audio Montage > Custom.
3.
Specify the audio properties and click Create.
Audio Montage Properties
You can set the sample rate of the audio montage.
You can set the sample rate when you create a new audio montage.
●
To change the sample rate for the selected audio montage, select the File tab and click
Info, or click the Audio Montage Properties button at the bottom right of the montage
window.
Alternative Ways of Creating New Audio Montages
There are several ways to create a new audio montage.
●
Import audio CD tracks to an audio montage
●
Convert wave files to an audio montage
●
Duplicating audio montages
●
Press Ctrl/Option and drag a montage tab on the tab bar.
RELATED LINKS
Audio Montage Duplicates on page 139
Audio Montage Duplicates
You can create duplicates of audio montages.
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Audio Montage
Creating an Audio Montage from an Audio File Empty (With Same Properties)
Creates a new audio montage with the channel settings and sample rate of the
original audio montage, without any clips.
Exact Duplicate (Using the Same Audio Files)
Creates an exact duplicate of the original audio montage and lets the new clips
reference to the original audio files. The duplicated audio montage uses the channel
settings and sample rate of the original audio montage.
This is useful if you want to create several versions of the audio montage, for
example, to experiment with variations. However, any processing or editing that you
apply to the actual audio files are reflected in all audio montages.
You can also press Ctrl/Cmd, drag a tab, and drop it on the tab bar to create a exact
duplicate of an audio montage.
RELATED LINKS
Duplicating Audio Montages on page 140
Duplicating Audio Montages
PROCEDURE
1.
Open the audio montage that you want to duplicate.
2.
In the Audio Montage window, select the File tab.
3.
Select New > Audio Montage > From Current File.
4.
In the From Current Audio Montage section, select one of the following:
5.
●
Empty (With Same Properties)
●
Exact Duplicate (Using the Same Audio Files)
Click Create.
RESULT
A duplicate of the audio montage opens in another tab.
Creating an Audio Montage from an Audio File
You can export audio files to an audio montage, including all markers that you have set in the
audio file.
PROCEDURE
1.
In the Audio Editor, open the audio file that you want export to an audio montage.
2.
Optional: If you want to use a specific time range of the audio file, create a selection range
in the wave window.
3.
Select File > New.
4.
Select Audio Montage > From Current File.
5.
In the From Current Audio File section, click Insert Audio File in New Montage.
6.
Click Create.
7.
In the Create Audio Montage from Audio File dialog, select whether to import the whole
file or the selected audio range.
8.
Optional: Decide if you want to perform any of the following marker operations:
●
Import Markers
●
Split at Generic Region Markers
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Audio Montage
Import Options for Audio Montages 9.
Click OK.
Import Options for Audio Montages
You can import audio files and Audio CD tracks into your audio montage.
The following import options are available via the Import section on the Insert tab of the Audio
Montage window:
●
To import audio files, click Audio Files and select the audio files that you want to import at
the edit cursor position on the selected track.
If you import a single audio file, the Paste pop-up menu opens. Here, you can specify how
the clip should be inserted, whether existing clips should be affected, etc.
If you import multiple audio files, the Insert Audio Files dialog opens. Here, you can
specify where to insert the files.
To access the following import options, select File > Import.
●
To import audio files, click Audio File to Montage, select the audio files that you want to
import, and click Import.
●
To open audio files that have an unknown format, click Unknown Audio. Via the Special
File Format dialog, you can specify how to interpret the format of the audio file that you
want to open.
●
To import CD tracks from an audio CD, click Audio CD. Via the Import Audio CD dialog,
browse for the audio CD tracks to extract.
RELATED LINKS
Mismatched Sample Rates When Inserting Audio Files on page 146
Missing Files Dialog
This dialog opens when you open an audio montage, and some audio files that the audio
montage refers to cannot be found. You can then search for the files or select a replacement.
Missing Original Files
Lists the files that cannot be found. Each file can be replaced by an existing file. To
search replacements for multiple files, select the files and specify a new path in the
Where to Search field.
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Audio Montage
Assembling the Audio Montage A file with a green checkmark is associated with a valid replacement. A file with a
red checkmark is not yet associated with a valid replacement, but there are possible
replacement candidates available at the bottom of this dialog.
Find Files with the Same Name
Instructs WaveLab Elements to find all files with the same name in the folder
specified in the Where to Search field.
Replace Selected Files With
Replaces the missing files with a single specific file.
Reset
Removes all possible replacements for the selected missing files.
Where to Search
Lets you specify a location for searching files. Click Find Files with the Same Name
to start the search.
Replacement List
Lists the files that can be used as a replacement. You can also drag a file into the list
from the File Explorer/macOS Finder.
Assembling the Audio Montage
You assemble your audio montage by adding tracks and clips.
In the audio montage, only one track can be selected at a time. This selected track has a different
color for the track control area. Some WaveLab Elements functions are always applied to the
selected track.
Tracks
Tracks are the structure used to organize clips. The tracks can be mono or stereo audio tracks.
Audio tracks allow you to add clips to an audio montage.
Adding Tracks
You can add stereo tracks and mono tracks.
PROCEDURE
1.
In the Audio Montage window, click the number button of a track to open the Track popup menu.
2.
Select the track type that you want to add to your audio montage.
RESULT
The new track is added below the selected track. If you want to place it above the selected track,
press Ctrl/Cmd when adding the new track.
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Audio Montage
Assembling the Audio Montage Moving Tracks in the Track View
You can change the order of the tracks in the montage window.
PROCEDURE
1.
In the Audio Montage window, click the number button of a track.
2.
On the pop-up menu, select Move Track Up or Move Track Down.
Removing Tracks
Removing a track with clips also removes the clips. However, the audio files to which the clips
refer are not affected.
PROCEDURE
1.
In the Audio Montage window, click the number button of the track that you want to
remove.
2.
On the pop-up menu, select Remove Track.
Folding and Unfolding Tracks
To save screen space, you can fold tracks that do not need to be visible.
●
To fold a track, click the arrow button at the top left corner of the track control area.
●
To unfold a folded track, click the button again, or double-click anywhere on the folded
track.
Locking and Unlocking Tracks
You can lock tracks to prevent them from being accidentally moved, edited, or deleted.
●
To lock a track, click the number button of the track and activate Lock.
●
To unlock a track, click the locked track, or click the number button of the track, and
deactivate Lock.
Clips
A clip contains a reference to a source audio file on your hard disk as well as start and end
positions in the file, volume and pan curves, fades, etc. This allows clips to play back smaller
sections of their source audio files.
Any number of clips can reference the same source file. Because a clip only references to the
original source file, it contains no audio data. Any number of clips can reference the same source
file.
You can also use envelopes and effects on clips.
You can see the clips of the active audio montage in the CD window.
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Audio Montage
Assembling the Audio Montage 3 clips on a track
Adding Audio Clips to the Audio Montage
You create clips by inserting audio into the audio montage. There are several ways to do this.
NOTE
You cannot add a mono clip to a stereo track or vice versa.
Dragging Audio from the Wave Window
PROCEDURE
1.
In the wave window of the Audio Editor, select the audio section that you want the clip to
refer to.
2.
Drag the selection onto a track of the audio montage.
If you want to add the whole audio file, drag the tab on a track.
RESULT
A clip is created, named after the original file.
Inserting Audio from Open Wave Windows Using the Insert Menu
PROCEDURE
1.
In the montage window, right-click an empty area of a track.
2.
From the pop-up menu, select the audio file that you want to insert as clip.
Inserting Audio Using Copy and Paste
PROCEDURE
1.
In the wave window of the Audio Editor, select the audio section to which you want the
clip to refer to.
2.
Select the Edit tab and click Copy, or press Ctrl/Cmd-C.
3.
In the montage window, select the track where you want to insert the clip.
The clip insert position is indicated by the edit cursor.
4.
Select the Edit tab and click Paste, or press Ctrl/Cmd-V.
5.
Select an insert option from the pop-up menu.
Inserting Audio from the File Explorer/macOS Finder Using Copy and Paste
PROCEDURE
1.
In the File Explorer/macOS Finder, select an audio file and press Ctrl/Cmd-C.
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Audio Montage
Assembling the Audio Montage 2.
In the montage window, select the track where you want to insert the clip.
The clip insert position is indicated by the edit cursor.
3.
Select the Edit tab and click Paste, or press Ctrl/Cmd-V.
4.
Select an insert option from the pop-up menu.
Dragging Audio Files From the File Browser Tool Window
NOTE
The following can also be done from the File Explorer/macOS Finder.
PROCEDURE
1.
Select Tool Windows > File Browser.
2.
In the File Browser window, select the audio files to which you want the clip to refer, and
drag them on a track.
Dragging Regions From the File Browser Tool Window
If you have defined marker regions in an audio file, you can drag these regions from the File
Browser window onto a track.
PROCEDURE
1.
Select Tool Windows > File Browser.
2.
In the File Browser window, select the audio file to which you want the clip to refer.
On the right side of the File Browser window, a list shows the available audio regions of
the selected file.
3.
Drag any region to the track.
RELATED LINKS
File Browser Window on page 21
Importing Audio Files
PROCEDURE
1.
In the montage window, select the track on which you want to insert the clip.
The clip insert position is indicated by the edit cursor.
2.
Right-click an empty area on the track, and select Insert Audio Files from the pop-up
menu.
3.
Select the files that you want to insert.
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Audio Montage
Assembling the Audio Montage Copying Clips From Another Audio Montage
If you have opened more than one audio montage, you can copy clips from one audio montage
to another, either by using drag and drop or by using copy and paste.
Mismatched Sample Rates When Inserting Audio Files
When inserting audio files with a different sample rate than the sample rates of the audio
montage, WaveLab Elements can create and use resampled versions of the files.
The resampled file versions are created in the Data subfolder. The name of the file is the name
of the original file name with the new sample rate as suffix. If the resampled file already exists,
it is not recreated. However, you can also activate the option Recreate Resampled Files in the
Mismatched Sample Rates dialog.
This creates a 32-bit float file without any dithering process.
Mismatched Sample Rates Dialog
This dialog opens when you insert an audio file with a different sample rate than the sample rate
of the audio montage. It allows you to create a resampled copy of the audio file.
Recreate Resampled Files
If this option is activated and a resampled file exists, it is recreated. Otherwise,
the existing version is used. Activate this option if the original audio file has been
modified and you want to recreate its resampled version.
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Audio Montage
Rearranging Clips Rearranging Clips
You can freely arrange clips in the montage window.
Active Clips
An active clip is the clip that you selected, clicked, or edited last. Only one clip can be active at a
time. By default, the active clip is distinguished by a highlighted name label. Some functions can
only be processed on a active clip. Right-clicking a clip opens the Active Clip menu.
Info Line
The info line at the bottom of the Audio Montage window shows what happens when you click
the mouse button with or without modifier keys, depending on the cursor position.
The following symbols are used on the info line:
Single-click
Indicates what happens when you click.
Double-click
Indicates what happens when you double-click.
Right-click
Indicates that you can right-click to display a menu. The name of the menu is
displayed to the right of the symbol.
Ctrl/Cmd-click
Indicates that you can Ctrl/Cmd-click for an additional function.
Alt-click
Indicates that you can Alt-click for an additional function.
Shift-click
Indicates that you can Shift-click for an additional function.
Drag up/down
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Audio Montage
Rearranging Clips Indicates what happens when you click and drag up or down.
Drag left/right
Indicates what happens when you click and drag left or right.
Drag in any direction
Indicates what happens when you click and drag an item in any direction within the
audio montage.
Drag out of the audio montage
Indicates what happens when you click and drag an item out of the audio montage.
Moving/Resizing clips or changing envelope values
This indicates that you are moving or resizing clips, or changing envelope values, for
example.
Combined modifier keys
Indicates that you can use combined modifier keys.
Magnetic Bounds in Audio Montages
Some positions, such as markers or the start and end of a clip, can be defined as magnetic.
Dragged elements can snap to these positions. This makes it easier to position items accurately.
For example, when you move or resize a clip, and its edges or its cue point get close to one of the
magnetic bounds, the clip snaps to this position. A label is displayed, indicating the snap position.
To place the cursor at a magnetic position, click the time line and hold the mouse button
pressed. When you now move the cursor vertically, the cursor jumps to the next magnetic
bound.
Activating Snapping to Magnets
To make use of the magnetic bounds function, Snap to Magnets must be activated.
PROCEDURE
1.
In the Audio Montage window, select the Edit tab.
2.
In the Snapping section, activate Snap to Magnets.
Selecting Clips
You can edit multiple selected clips at once.
●
To select a clip, click it. Selected clips are displayed in a different color.
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Audio Montage
Clip Editing ●
To select multiple clips, Ctrl/Cmd-click the clips.
Clip Context Menus
Many editing functions for clips can be accessed via the clip context menus. Depending on where
you right-click the clip, different context menus are available.
1
Fade in section
Opens the Fade In pop-up menu where you can edit the fade in.
2
Any area of a clip
Opens the Active Clip pop-up menu where you can edit the active clip.
3
Sustain section
Opens the Envelope pop-up menu where you can edit the envelope.
4
Fade out section
Opens the Fade Out pop-up menu where you can edit the fade out.
Clip Editing
All clips are displayed in the CD window. In this window, you can edit and rearrange clips and
drag them into the audio montage.
The active clip is highlighted in the clips list.
RELATED LINKS
CD Window on page 168
Reordering Clips in Audio Montages By Dragging
In the CD window, you can re-order clips by dragging them to another position in the list.
PROCEDURE
1.
Open the CD window.
2.
In the clip list, drag a clip to another position in the list.
You can move more than one clip at the same time, by selecting multiple clips and
dragging them. If more than one clip is selected, all clips between the leftmost selected
clip and the rightmost selected clips are moved.
RELATED LINKS
CD Window on page 168
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Audio Montage
Clip Editing Moving and Crossfading Clips
You can let clips overlap other clips, move them, and create crossfades between clips.
Moving Clips
NOTE
The channel configuration of the clip must match the destination track.
PROCEDURE
1.
In the montage window, select the clips that you want to move.
2.
Click the clip area, and drag the clips in any direction.
While dragging, the info line displays the current start position of the clip.
Overlapping Clips
You can move clips so that they overlap each other.
Note the following:
●
The tracks in the audio montage are polyphonic, which means that each track can play
back several overlapping clips at the same time. Overlapping clips are transparent,
allowing you to see the underlying clips and their waveforms.
●
There are crossfading options that automatically adjust the level envelope curves when
you overlap clips.
Options for Moving and Crossfading Clips
There are several options that help you when moving and crossfading clips.
Ripple
The ripple options are available in the Edit tab of the Audio Montage window.
Track
If this option is activated and you move a clip horizontally, all clips on the selected
track that are located to the right of the edited clip are also moved. This option also
applies when moving or resizing clips, and when inserting or pasting more than one
clip at the same time.
Global
If this option is activated and you move a clip horizontally, all clips on all tracks that
are located to the right of the edited clip are also moved. This option is taken into
account when moving or resizing clips, and when inserting or pasting more than one
clip at the same time.
Crossfading
The following crossfading options are available in the Fade tab of the Audio Montage window in
the Options section.
Overlaps
This pop-up menu allows you to set the automatic crossfading behavior.
●
If No Automatic Crossfading is activated, no automatic crossfading is
performed when clips overlap.
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Audio Montage
Clip Editing ●
If Free Overlaps is activated, automatic crossfades are created when a clip
overlaps another clip on the same track. The length of the overlap determines
the length of the crossfade.
Options
●
If Create Default Fades in New Clips is activated, all new clips get the default
fade in and fade out shape and length. For clips that are created by splitting a
clip, only the default fade time is used.
Duplicating Clips
NOTE
The channel configuration of the clip must match the destination track.
PROCEDURE
1.
In the montage window, select one or more clips.
2.
Click the upper clip area and drag the clips in any direction.
While you are dragging, a dotted line indicates where the first of the copied clips will be
placed. The position is also indicated on the info line.
The ripple settings are taken into account.
Duplicating with Ripple
If you duplicate more than one clip, the ripple settings affect the result.
The following options are available on the Edit tab, in the Ripple section:
●
If Track is activated and you move a clip horizontally, all clips on the selected track that are
located to the right of the edited clip are also moved.
●
If Global is activated and you move a clip horizontally, all clips on all tracks that are located
to the right of the edited clip are also moved.
Clip Resizing
In this context, resizing usually means moving the start and end points of a clip. This reveals
more or less of the original audio file.
To resize a clip, click the left or right edge of the clip, and move the start or end point to the left
or to the right. You cannot drag the edge of a clip past the start or end point of the audio file it
refers to.
If you press Alt when resizing, all selected clips are resized by the same amount.
RELATED LINKS
Options for Moving and Crossfading Clips on page 150
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Audio Montage
Clip Editing Splitting Clips
PREREQUISITE
Decide whether you want to automatically create crossfades between the left and right clip. To
activate/deactivate this option, select the Fade tab, click Options in the Options section, and
activate/deactivate Create Default Fades in New Clips.
PROCEDURE
1.
In the montage window, click the position where you want to split the clip.
2.
Position the mouse cursor on the edit cursor position in the top clip area.
The cursor becomes a pair of scissors.
3.
Double-click.
RESULT
The clip is split in two. The two clips have the same name and settings. Envelopes and fades are
converted so that the two clips play back as if they were still one clip.
To split clips on all tracks, select the Edit tab, right-click Split Clip in the Split section, and select
Split Clips on All Tracks.
RELATED LINKS
Split Clip at Silences Dialog on page 152
Split Clip at Silences Dialog
You can remove silent clip parts and create a new clip at the cut position.
●
To open the Split Clip at Silences dialog, select the Edit tab in the Audio Montage
window, and click Split at Silences in the Split section.
Minimum Clip Length
Sets the minimum length of the resulting regions after splitting. Non-silent sections
shorter than this length are not split.
Minimum Silence between Regions
Sets the minimum length of a silent region. Silent regions shorter than this length
will not create split regions.
Silence Is Defined as a Signal Below (RMS)
Allows you to set the threshold level for silence detection. Levels below this value are
considered silent.
Automatic Level Detection (Two-Stage Analysis, Slower)
If this option is activated, the file is analyzed and automatically split where WaveLab
Elements detects silence. The file is read twice.
Separate Resulting Clips by a Fixed Gap
If this option is activated, the resulting clips are separated from each other using the
default gap. If this option is deactivated, the gaps between the resulting clips are
determined by the length of the removed silence.
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Audio Montage
Clip Editing Deleting Clips
●
Right-click a clip and select Delete.
●
Select a clip and press Delete.
Clips and Cue Points
A cue point is a defined position marker that belongs to a clip. It may be positioned inside or
outside the clip. Cue points are displayed as dotted vertical lines.
When you move a clip, its cue point is magnetic to any edges, markers, or positions. There are
several uses for this:
●
Set the cue point at a relevant position in the audio to align the clip with other clips, etc.
●
Set the cue point before the start of a clip to position clips in a row with pre-defined
spaces.
●
Set the cue point at the fade in or fade out point of a clip to maintain defined fade lengths
when crossfading.
NOTE
Each clip can only have one cue point. If you select another cue point insert option, the cue point
is moved to a new position.
Adding Cue Points
You can add one cue point for each clip.
PROCEDURE
1.
In the audio montage, click the clip position where you want to set a cue point.
2.
Select the Edit tab.
3.
In the Clip section, open the Cue Point pop-up menu.
4.
Select one of the following options:
5.
●
Set at Cursor
●
Set at Default Gap Position
●
Follows Fade In End Point
●
Follows Fade Out Start Point
Optional: Select Custom Cue End and specify a custom cue end point.
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Audio Montage
Track Activity Indicator Track Activity Indicator
The track activity indicator shows the volume level for audio tracks. It is located on the right side
of the track control area in the Audio Montage window.
The track activity indicator provides an overview of which tracks are playing back audio at what
approximate level.
Envelopes for Clips
For clips in the audio montage, you can create envelopes for level and fades, and for panning.
You can create an independent level envelope curve to automate level, to create fades and
crossfades, and to mute clip sections.
You can also draw pan envelopes to automate pan settings for clips. For mono clips, pan governs
the left/right position in the stereo field. For stereo clips, pan sets the left/right balance.
Edit the envelope settings in the Envelope tab, or by right-clicking an envelope curve. The
settings menu is different, depending on whether you click the fade in part, the fade out part, or
the sustain part.
How Envelopes are Displayed
By default, all clips display a level envelope curve. You can view the envelope as three separate
envelopes: the fade in part, the sustain part, and the fade out part.
The points on the left and right side of the curve are the fade in and fade out junction points that
separate the fade parts from the sustain part.
The envelope curve indicates if points, fade ins, or fade outs have been defined. In addition to the
curve, changes in the level envelope are also reflected in the waveform.
Selecting Envelopes
You can select volume/fade envelopes and pan envelopes.
PROCEDURE
1.
In the montage window, select a clip.
2.
Select the Envelope tab.
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Audio Montage
Envelopes for Clips 3.
In the Selector section, open the Envelope Type pop-up menu, and select which envelope
to edit.
Hiding Envelope Curves
All clips display envelopes by default. You can hide these envelopes. However, hidden envelopes
are still active.
PROCEDURE
1.
In the montage window, select a clip.
2.
Select the Envelope tab.
3.
In the Selector section, open the Envelope Type pop-up menu, and select Hide All.
Clip Envelope Editing
Curve points allow you to create volume curves, pan curves, and fade curves for a clip. You can
edit the envelope curve by adding and moving curve points.
Editing Curve Points
Many of the editing operations that are commonly used in the context of your computer
operating system can be applied when editing curve points. On top of these, a number of specific
procedures apply.
●
To add a curve point, double-click the envelope curve.
●
To delete a curve point, double-click the curve point. The curve point between the sustain
and fade parts of the envelope cannot be deleted.
●
To delete multiple curve points, select the curve points that you want to delete, right-click
one of the points, and select Delete Selected Points.
●
To select a range of points, Alt-click and drag to create a selection rectangle.
●
To move all selected points, click one of the selected points and drag.
●
To raise or lower the value of two consecutive curve points, Ctrl/Cmd-click the segment
between the points and drag up or down.
●
To change the time position of two consecutive curve points, Shift-click the segment
between the points and drag left or right.
●
To raise or lower the entire envelope curve, make sure that no curve point is selected,
click the envelope curve, and drag up or down. Do not drag a segment that is limited by
selected points.
●
To adjust the envelopes in all selected clips, hold down Alt, and drag any envelope curve
up or down. This is a quick way to adjust the level or pan of multiple clips at the same time
and also to adjust both sides of a stereo envelope simultaneously.
●
To move a fade in/fade out point vertically, Ctrl/Cmd-click and drag the fade point.
●
To change the level or the fade in/out time of multiple envelopes at the same time, select
the clips that you want to edit, press Alt, and edit the envelope with the mouse.
Resetting Curve Points
You can reset curve points to the default level 0 dB.
●
To reset a single point to 0 dB, select the point, right-click it, and select Reset Selected
Points.
●
To reset the whole envelope curve to default, right-click the envelope curve, and select
Reset Level to 0 dB.
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Audio Montage
Envelopes for Clips Changing Overall Level Envelopes of Clips
The default envelope curve contains no level envelope points, but you can use it to change the
overall level for a clip.
PROCEDURE
1.
In the montage window, place the mouse cursor on the envelope curve.
The mouse cursor takes the shape of a circle with two arrows that point up and down.
2.
Click and drag the curve up or down to change the clip envelope level.
Pan Modes
The power of the sum of the channels drops by about 3 dB if a signal is panned hard left or right,
compared to the same signal being panned center. This can be compensated with pan modes.
Experiment with the modes to hear which fits best. The pan modes can be set for tracks, clips,
and the montage output.
●
To set the pan modes for clips, use the Pan Law pop-up menu in the Envelope tab, or use
the Pan Law pop-up menu and knob in the Effects window.
●
To set the pan modes for tracks and the montage output, use the Pan Law pop-up menu
and knob in the Effects window.
The following pan modes are available:
Channel Damp (0 dB/Mute)
This mode does not compensate for power loss at all. If a signal is panned hard left
or right, the power of the sum of the channels drops by 3 dB.
Constant Power (+3 dB/Mute)
This is the default mode. Regardless of the pan position, the power of the sum of the
channels remains constant.
Channel Boost (+4.5 dB/Mute)
If this mode is selected and a signal is panned hard left or right, the power of the
sum of the channels is higher than with a signal-panned center.
Channel Boost (+6 dB/Mute)
If this mode is selected and a signal is panned hard left or right, the power of the
sum of the channels is higher than with a signal-panned center. This is the same as
the previous option, but with even greater power boost.
Modulating Audio With Other Audio
You can use the audio signal of one track to modulate the compression factor of another track.
The signal of the upper audio track (clip) is usually called the carrier signal, because it contains
the audio to be transmitted.
The Ducker clip plug-in is used for this purpose as it lowers the volume of one signal whenever
another signal is present.
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Audio Montage
Fades and Crossfades in Audio Montages Fades and Crossfades in Audio Montages
A fade in is a gradual increase in level and a fade out is a gradual decrease in level. A crossfade is
a gradual fade between two sounds, where one is faded in and the other faded out.
Creating Fades
By default, all clips display fade in and fade out junction points. These can be dragged
horizontally to create a fade in or fade out for a clip.
You can add envelope points to a fade just as with level envelopes.
●
To create a fade in, click the fade in point at the start of a clip, and drag it to the right.
●
To create a fade out, click the fade out point at the end of a clip, and drag it to the left.
●
To create a fade in or fade out at a specific time position, use set Apply Fade Time option
in the Fade tab. Enter the time value in the time field and click Apply Fade Time.
●
To move a fade in/fade out point vertically, press Ctrl/Cmd while dragging.
●
To create a crossfade, move a clip on another. A crossfade is automatically created at the
junction point.
The resulting fade in/fade out curve is displayed in the clip, and the fade is also reflected in
the waveform. If you position the mouse over the fade in point, the fade in time is displayed in
seconds and milliseconds and the volume in dB.
Fade In and Fade Out Menus
In this menu, you can select various preset fade curves and other fade-related options.
●
To open the Fade In or Fade Out pop-up menu, right-click the fade in or fade out points.
Zoom to Fade In Range/Zoom to Fade Out Range
Adjusts the view to mainly display the fade in/fade out part of the active clip.
Paste
Replaces the fade in/fade out shape and length with the shape and length that was
copied to the clipboard.
Linear
Changes the level linearly.
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Audio Montage
Fades and Crossfades in Audio Montages Sinus (*)
Changes the level according to the first quarter period of the sine curve. When used
in a crossfade, the loudness (RMS) remains constant during the transition.
Square-root (*)
Changes the level according to the square-root curve. When used in a crossfade, the
loudness (RMS) remains constant during the transition.
Sinusoid
Changes the level according to a half period part of the sine curve.
Logarithmic
Changes the level logarithmically.
Exponential
Changes the level exponentially.
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Audio Montage
Fades and Crossfades in Audio Montages Exponential+
Changes the level strongly exponential.
Applying Default Fades to New Clips
All new clips that are imported or recorded in the audio montage get the default fade in and fade
out shape and length if Create Default Fades in New Clips is active. In this case, the default
crossfade shapes are used. This also applies to clips that are created by splitting clips.
PROCEDURE
1.
Open an audio montage and select the Fade tab.
2.
In the Options section, open the Options pop-up menu.
3.
Activate Create Default Fades in New Clips.
Crossfade Editing
You can create crossfades with independent shapes and lengths for the fade in and fade out
curves.
The default automatic crossfade is linear. It uses the same shape and fade lengths for fade in and
fade out. The following rules apply:
●
A crossfade includes fade in and fade out.
●
You can edit the fade in and fade out curves in crossfades in the same way as fades.
●
To resize the crossfade time symmetrically, press Shift, click the crossfade area, and drag
left and right.
●
To move the crossfade region while keeping its length, press Ctrl/Cmd, click the crossfade
area, and drag left and right.
●
When you move a clip so that it overlaps another clip to create a crossfade, and neither clip
has a defined fade in the overlap, a default crossfade is created.
●
When moving a clip with a defined fade curve so that it overlaps another clip without a
defined fade, the unmoved clip automatically gets the same fade shape as the moved clip,
with amplitude compensation. This only applies if the fade out length of the unmoved clip
is set to zero.
●
If both clips have different defined fade curves, an asymmetrical crossfade is created.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output RELATED LINKS
Options for Moving and Crossfading Clips on page 150
Effects for Tracks, Clips, and the Montage Output
You can add VST effect plug-ins to individual clips, tracks, or the output of an audio montage. Clip
effects affect individual clips only, track effects affect all clips on a track, and the montage output
affects the whole audio montage.
Only VST 2 and VST 3 plug-ins can be used in the audio montage. Each clip, audio track, and the
montage output can be independently processed by up to 2 VST effect plug-ins.
Effects are configured as follows:
●
As inserts, where the entire audio is processed by the effects.
●
As send effects (split mode), where the balance between the unprocessed sound and the
effect send level can be controlled by effect envelope curves (clip effects and specific VST 2
plug-ins only).
An icon in front of a clip name indicates that effects are applied to a clip.
Hovering over a clip name shows the effects that are used for the clip.
NOTE
●
Only clip effects for clips that are active at the current playback position consume CPU
power. Track and montage output effects are always active.
●
The first time that you play an audio montage after is has been opened or copied, the
program has to load all effects into memory. If you have many effects, this can result in a
short silence before the playback starts.
●
Effects that are used for tracks must support stereo audio, even if the audio track is mono.
Montage Output Effects
You can add montage output effects to an audio montage. While the Master Section is shared
among all audio montages, the montage output effects are local to each montage. This allows
you to have a fully embedded project, without needing to use the Master Section.
The montage output effects are located at the output of the audio montage.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output NOTE
If you want to use a dithering plug-in, place it in the montage output.
Effects Window
In this window, you can add effect plug-ins to tracks, clips, and the master output, and edit pan
and gain settings.
●
To open the Effects window, open an audio montage and select Tool Windows > Effects.
Menu
Clip Effects
Displays the plug-ins of the active clip.
Track Effects
Displays the plug-ins of the active track.
Output Effects
Displays the plug-ins of the montage output.
Add Slot
Adds a slot into which an audio plug-in can be inserted.
Remove Selected Plug-ins
Removes the selected plug-ins.
Copy
Copies the selected plug-in and its settings to the clipboard.
Copy All
Copies the settings of all plug-ins to the clipboard.
Paste (Insert)
Inserts the plug-in that was copied to the clipboard before the first selected slot. If no
slot is selected, the plug-in is inserted at the end of the plug-in list.
Paste (Replace)
Replaces the selected plug-in with the plug-in that was copied to the clipboard. If no
slot has been added, a new slot is created.
Close All Windows
Closes all plug-in windows that relate to this audio montage.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output Plug-in Map
Opens the Plug-in Map dialog that displays all plug-ins that are used in the audio
montage and the clips and tracks that are using them.
Customize Command Bar
Opens the Customize Commands dialog which contains options to hide or show
specific command bar buttons.
Effects List
The effects list displays the effect plug-ins of the selected track, clip, or montage output. In the
list, you can replace effect plug-ins, change the effect order, and edit the Tail of effects.
Plug-in window icon
Opens the plug-in window.
Effect Name
Clicking an effect name opens the Plug-ins menu where you can select a new effect.
The checkbox allows you to activate/deactivate the clips.
Preset
Shows the preset that is used by the plug-in. If no preset is used, this field is empty.
Latency
Shows the latency in the audio path. Plug-ins with latency cannot be used for
adjusting the send level.
Tail (clip effects only)
Some effects, such as reverb and delay, produce audio tails. This means that the
effect sound continues after the clip sound ends. For example, if you add echo to a
clip without specifying a tail value, the echo effect is muted as soon as the clip ends.
Set the tail length so that the effect is allowed to decay naturally. If you add another
plug-in to the clip that also produces a tail, there is no need to set a separate tail
value for this plug-in, unless you want the decay to sum up. The overall tail length for
the clip is the sum of the tail of each plug-in. The maximum tail setting is 30 seconds.
Gain/Pan Section
In this section, you can edit Gain and Pan settings for each clip and track.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output Global Gain Section
In this section, you can set the global gain for the active audio montage. This gain can be applied
before or after the montage output, depending on the setting of the pre/post button on the left
of this section. Pre is the default setting.
RELATED LINKS
Pan Modes on page 156
Adding Effects to a Track, a Clip, or to the Montage Output
You can add effect plug-ins to every track and clip of the audio montage, and to the output of the
audio montage.
Adding Effects Via the Effects Window
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select the Clip, Track, or Output section.
4.
Click Add Slot.
5.
In the Effect Name column, select the added slot.
6.
Select a plug-in.
RESULT
The selected effect opens in a window.
NOTE
You can add effects during playback. However, if you add an effect with a latency larger than
zero, it is better to stop and restart playback to avoid timing discrepancies. In addition, a small
number of VST plug-ins may change its latency depending on the parameter settings. If that is
the case, make sure to stop and restart playback after the latency is changed.
Additional Ways of Adding Effects
●
To add an effect to a track, click the FX button in the track control area, select Add Effect,
and select an effect from the menu.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output ●
●
To add an effect to a clip in the montage window, right-click the clip name, select Add
Effect, and select an effect from the menu.
●
Removing Effects from Tracks, Clips, or the Montage Output
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select the Clip section, Track section, or Output section.
4.
Click the effect that you want to remove, and select Remove Plug-in.
RESULT
The effect is removed from the slot.
Copying Effect Settings to Tracks, Clips, or the Montage Output
You can copy the effect and its settings of a track, a clip, or the montage output to other tracks,
clips, or the montage output of the same or another audio montage.
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select the effect from which you want to copy the settings.
4.
Select Menu > Copy.
5.
Decide whether you want to paste the effect settings to a new slot or replace an existing
effect.
●
To paste the effect settings to a new slot, add a new slot, and select Menu > Paste
(Insert).
●
To replace an existing effect, select the effect, and select Menu > Paste (Replace).
Undoing Effect Changes
You can undo/redo changes to the effect settings. However, WaveLab Elements only registers the
changes when the Effects window loses focus.
PROCEDURE
1.
In the plug-in window, click another window to lose focus of the plug-in in which you want
to undo the settings.
2.
Go back to the plug-in in which you want to undo the settings.
3.
On the command bar, click Undo or Redo.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output Setting Pan and Gain for Effects
You can set the Pan and the Gain of the effects for each clip and track individually.
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select a clip or track.
4.
Adjust the Pan and the Gain using the controls on the left of the Effects window.
For clips, the Gain is applied post-effect.
Setting the Global Gain for Effects
You can set a global gain for the montage output effects of your audio montage and apply it
before or after the montage output effects.
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select Output.
4.
Adjust the global gain using the fader on the left of the Effects window.
5.
Click the pre/post button to apply the global gain before or after the montage output
effects.
Global gain before montage output effects
Global gain after montage output effects
If you use a dithering plug-in, set the gain to be pre-master.
165
Audio Montage
Effects for Tracks, Clips, and the Montage Output Plug-in Window
In this window, you can display the effect plug-ins that are used for a track, clip, or the montage
output.
Single plug-in window
When you add a new effect plug-in to a track, a clip, or the montage output, the plug-in window
opens automatically. In the plug-in window, the effects are displayed in a plug-in chain by
default. To change the processing order of the effects, you can drag each effect to a new position
in the chain.
Opening the Plug-in Window
You can open the plug-in window from different locations.
●
To open the plug-in window from the Effects window, in the effects list, click the plug-in
window icon to the left of a plug-in.
●
To open the plug-in window for a clip from the montage window, right-click a clip, and
select Edit Plug-ins. You can also right-click the clip name and select a plug-in.
●
To open the plug-in window for a track, click the FX button in the track control area.
Adding Effects From Within the Plug-in Window
Effects that are added to a clip, track, or the montage output in the Effects window are
automatically displayed in the plug-in window. However, you can also add effects to a track or a
clip from within the plug-in window.
PROCEDURE
1.
Open the plug-in window for the clip, track, or montage output to which you want to add
an effect.
2.
In the plug-in window, click the Add Plug-in button.
3.
Select an effect from the menu.
The effect is added at the end of the plug-in chain.
4.
Optional: If you want to move the added effect in the plug-in chain, drag it to another
position.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output Changing Effects From Within the Plug-in Window
PROCEDURE
1.
Open the plug-in window for the clip, track, or montage output for which you want to
change an effect.
2.
Click the plug-in menu icon, and select a new effect from the menu.
3.
Optional: If you want to move the changed effect in a plug-in chain window, drag it to
another position.
Switching Between Track, Clip, and Montage Output Effects in Plug-in Windows
In the plug-in window, you can switch between the effect chains of clips, tracks, and the montage
output.
●
To skip through the clip and track effects of the active audio montage, use the left and
right arrow icons.
●
When using one plug-in window for both clips and tracks of an audio montage, you can
switch between the plug-ins of the active clip or the track that contains the active clip by
clicking the Show Clip Plug-ins or Show Track Plug-ins icons.
●
To lock a plug-in window, activate Lock Window. If this option is activated, and you select
another track or clip, another plug-in window opens. If this option is deactivated, and you
select another track or clip, the effects are displayed in the same plug-in window.
Closing All Plug-in Windows
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select Menu > Close All Windows.
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Audio Montage
CD Window CD Window
The CD window displays the clips of the active audio montage, and lets you write the audio
montage to an audio CD.
NOTE
Each clip in the audio montage corresponds to a CD track in the CD window.
You can also adjust pauses between clips, check the conformity to the Red Book standards,
add and edit CD-Text, and add UPC/EAN and ISRC codes. When selecting a clip in the montage
window, the corresponding clip is highlighted in the CD window.
●
To open the CD window, open an audio montage and select Tool Windows > CD.
Track List
Play Pre-Roll
Plays back the corresponding track from the start with a pre-roll.
You can also press Alt and click Play Pre-Roll to play back the corresponding track
from the start with a short pre-roll.
Play
Plays back the corresponding track from the start.
You can also hold Ctrl/Cmd and double-click a CD track start marker triangle to start
playback from the marker position.
Name
Shows the track name. To change the name, double-click in the corresponding cell,
and enter a new value.
FX
Displays whether the corresponding clip uses effects.
Pause
Shows the pause between two tracks.
Start
Shows the start position of the track.
End
Shows the end position of the track.
Length
Shows the time value from the CD track start position to the corresponding end or
splice marker.
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Audio Montage
CD Window Pre-Gain
Lets you set the pre-effect gain for the clip.
Post-Gain
Lets you set the post-effect gain for the clip.
ISRC
Lets you enter an ISRC code. To change the code, double-click the corresponding cell,
and enter a new value.
CD-Text
Lets you specify the CD-Text. To change the CD-Text, double-click the corresponding
cell, and enter a new value.
Comment
Allows you to enter a comment. To enter a comment, double-click a cell.
CD Menu
Write Audio CD
Opens a dialog that allows you to write a CD.
Check CD Conformity
Verifies that the settings for the audio montage are in accordance with the Red Book
standard.
Adjust Pauses between Clips
Opens a dialog where you can adjust the pauses between clips. The following
options are available:
●
Set Specific Pause Time
●
Round Existing Pauses to Closest Second
Edit CD-Text
Opens the CD-Text Editor that allows you to enter descriptive text for the tracks that
are written on CD.
Assign UPC/EAN Code
Opens a dialog where you can assign a UPC/EAN code to a clip.
Select Menu
This menu allows you to select clips. The following options are available:
●
Select All Clips
●
Select Clips Located Before the Cursor (on Selected track)
●
Select Clips Located After the Cursor (on Selected Track)
●
Deselect All Clips
Creating Audio CD Tracks From Clips
You can use the Check CD conformity option to check whether the audio montage is ready for
writing to audio CD.
PROCEDURE
1.
Make sure that the audio montage contains the material that you want on the audio CD.
CD tracks must have a length of at least 4 seconds.
2.
Audition the tracks in the CD window, and make corrections if necessary.
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Audio Montage
Mixing Down – The Render Function 3.
In the CD window, select CD > Check CD Conformity.
●
If a warning message appears, make corrections and check the CD conformity
again.
●
If no warning message appears, the audio montage is ready to be written to an
audio CD.
Mixing Down – The Render Function
The Render function allows you to mix down the whole audio montage or a region of it to a
single audio file.
A mixdown is necessary to produce an audio file from the audio montage.
RELATED LINKS
Rendering on page 188
Loudness Meta Normalizer
This tool is a key mastering component to ensure that all songs get the same loudness and to
prevent clipping. It allows you to adjust the loudness of each clip in the audio montage so that
they all have the same loudness. It is also possible to adjust the loudness of the audio montage
mixdown as well as the loudness at the Master Section output.
This tool operates on gains. It does not affect the underlying audio files or use any audio
compressor.
If it is not possible to modify the loudness of a particular clip without clipping, the level of the
other clips is reduced so that all clips still achieve the same loudness. This does not happen if the
Ignore Peaks option on the Peaks pop-up menu in the Loudness Meta Normalizer dialog is
selected.
To avoid clipping at the Master Section stage, you can limit the mixdown output of the audio
montage before it goes into the Master Section and/or the Master Section output.
NOTE
●
The audio path in the audio montage uses 64-bit floating point processing. You can
therefore overload it, for example, use levels above 0 dB in clips, without causing clipping
in the signal path. The only section of the audio path that can introduce clipping is the
output of the Master Section or the output of the audio montage. Both of these issues
can also be solved by the Loudness Meta Normalizer.
●
Because loudness requires several seconds of audio to be correctly calculated, this tool
should not be used for very short clips (under 3 seconds).
Loudness Meta Normalizer Dialog
In this dialog, you can adjust the loudness of each clip in the audio montage so that they get the
same loudness. You can also adjust the whole output.
●
To open the Loudness Meta Normalizer dialog, select the Process tab in the Audio
Montage window, and click Meta Normalizer in the Loudness section.
Clips, Master Section Output, and Audio Montage Output
●
If Clips is activated, the gain settings of all clips in the audio montage are adjusted
individually so that all clips play back at equal loudness.
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Audio Montage
Notes Window ●
If Audio Montage Output is activated, the gain setting of the audio montage is modified
so that the audio montage mixdown matches a specific loudness.
●
If Master Section Output is activated, the Master Section gain is adjusted so that the
audio montage mixdown that is processed through all Master Section plug-ins matches a
specific loudness. The audio montage itself is not modified by this operation.
The following options are available for the gain settings of clips, the audio montage output, and
the Master Section output.
Match loudness menu
Select whether the audio montage output should match a specific loudness. The
following options are available:
●
Do Not Change Loudness
●
Match Loudest Clip
●
Match Loudness of Active Clip
●
Equalize Peak Levels
The highest peak is used as reference.
Peaks menu
Select whether WaveLab Elements should limit the sample values (digital peaks), or
ignore the peaks.
Maximum Peak
Determines the maximum peak value that must not be exceeded.
Force Equal Loudness
If Limit True Peaks or Limit Digital Peaks is selected, some clip might not reach
the required gain for the reference loudness. In that case, activate Force Equal
Loudness to reduce the loudness of the clip that is used as a reference to achieve
equal loudness across all clips.
Additional Options
Exclude Audio Montage Effects
If this option is activated, audio montage effects are not taken into account when
you use the Loudness Meta Normalizer.
This option also affects the Pre-Gain and Post-Gain options in the CD window.
●
If Exclude Audio Montage Effects is activated, the Loudness Meta Normalizer
changes the Pre-Gain value of the clips.
●
If Exclude Audio Montage Effects is deactivated, the Loudness Meta
Normalizer changes the Post-Gain value of the clips.
Only Selected Clips
If this option is activated, only the selected clips are processed with the Loudness
Meta Normalizer.
Notes Window
This window allows you to enter notes about the current audio montage session.
●
To open the Notes window, open an audio montage and select Tool Windows > Notes.
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Audio Montage
Notes Window You can enter the text directly in this window and use the standard HTML text editor controls to
format the text, and to add images and lists. The notes are saved with the audio montage.
172
Recording
You can record audio in the Audio Editor and in the Audio Montage window.
Setting Up the Recording Dialog
Before you start recording, set up the Recording dialog.
PROCEDURE
1.
In the Audio Editor or the Audio Montage window, click the Record button, or press * on
the numeric key pad.
2.
In the File to Create section, open the pop-up menu, and select whether you want to
record a named file or a temporary file.
3.
In the File to Create section, select a file name and the location where you want to save
your file.
4.
Select the audio format by doing one of the following:
5.
●
Click the down arrow button to select a preset audio format.
●
Click the audio format text to open the Audio File Format dialog, select the format,
and click OK.
Select whether you want to record to an audio file or an audio montage track, by selecting
one of the following options:
●
Create New Audio File Window
●
Add to Active Audio File
●
Add to Selected Track of Montage
6.
Select whether you want the Level or the Spectrum display.
7.
Optional: Make further settings in the Options section, and on the Options and Values
tabs.
8.
Click Record to start recording.
If you have selected one of the Auto-start options, the recording goes into Pause mode
until the specified Auto-start criteria are met.
The background of the Recording dialog turns red to indicate that you are recording.
9.
Optional: Pause the recording by clicking the Pause button.
10.
Optional: Drop markers during recording by clicking the drop marker buttons.
11.
When you have finished recording, click Stop.
12.
Optional: If you want to record another take, click Record again.
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Recording
Dropping Markers During Recording Dropping Markers During Recording
When you are recording, you can click the marker buttons to add markers to the recorded file.
PROCEDURE
1.
Open the Recording dialog.
2.
Make your settings and start recording.
3.
Select the type of marker that you want to drop.
●
To drop a numbered generic marker, click the yellow marker button, or press Ctrl/
Cmd-M.
●
To drop numbered generic region start and end markers, click the white buttons, or
press Ctrl/Cmd-L/Ctrl/Cmd-R.
RESULT
A marker is dropped each time that you click the marker button.
NOTE
If you insert two or more region start markers in a row with no region end markers in between,
only the last of these start markers is kept. The same applies for region end markers.
Recording Dialog
In this dialog, you can make recording settings and start recording an audio file.
●
To open the Recording dialog, open the Audio Editor or the Audio Montage window, and
on the transport bar, click Record.
Main Buttons
Record
Starts recording. Depending on the recording options, the Pause mode is activated.
Pause
Pauses recording.
Stop
Stops recording.
Discard
Stops recording and deletes anything recorded so far.
Method Tab
On this tab, you can define options for starting, stopping, and pausing the recording
automatically. You can select an input device and choose to start a recording at a specific time or
stop if after a specific duration.
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Recording
Recording Dialog File to Create
Specify whether you want to record a temporary file to be saved later, or record to a
file with a specific name and location.
Auto Number From
If this option is activated and you record multiple files, increasing numbers are
added to the file names of the files.
Name
The name of the file to be written, without the path. When typing, all files in the
selected folder that start with the same letters are displayed. To display all files in the
selected folder, click the list icon.
Location
Specifies the folder where you want to save the recording.
Audio File Format
Opens the Audio File Format dialog, where you can specify the file format.
Location of the Recording
Specifies where the audio is recorded:
●
If Create New Audio File Window is selected, the audio is recorded in a new
audio file window.
●
If Add to Active Audio File is selected, the audio is recorded in the active
audio file window at the edit cursor position (if no audio file window exists, a
new one is created).
●
If Add to Selected Track of Montage is selected, the audio is recorded in an
existing audio montage at the edit cursor position (if no audio montage exists,
a new one is created).
Auto-Start if Sound Detected
If this option is activated, recording starts when the audio input level exceeds the
threshold level specified on the Values tab.
Auto-Start at given Time
If this option is activated, recording starts at a specified time. Specify the time on the
Values tab.
Auto-Stop after given Duration
If this option is activated, recording stops automatically after the duration specified
on the Values tab.
Auto-Stop if Silence
If this option is activated, recording automatically stops when the audio input level
drops below a specified threshold level and stays there for a specific amount of time.
Specify the level and the duration on the Values tab.
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Recording
Recording Dialog Auto-Pause if Silence
If this option is activated, recording automatically pauses when the audio input level
drops below a specified threshold level and stays there for a specific amount of time.
Specify the level and the duration on the Values tab.
Options Tab
On this tab, you can make additional settings for the recording process.
Activate Monitoring When Opening Record Window
If this option is activated, the meters are activated when the Recording dialog opens.
If this option is deactivated, the meters and the audio thru are displayed when
pressing Record or activating Monitor.
Stop Playback When Monitoring or Recording
If this option is activated, playback stops before monitoring or recording starts.
Add Markers when Inserting Recording in Audio File
If this option is activated and a recording is inserted into an audio file, markers are
added encompassing the new samples.
After Recording, Move Edit Cursor at the End
If this option is activated, the edit cursor is moved to the end of the recording.
Values Tab
On this tab, you can define values for the various recording options.
Auto-Start on Sound – Threshold (RMS)
Specify the sound level that will trigger recording.
Auto-Start on Sound – Record Previous Samples
Allows you to include a short section of audio before the start point, to capture
attacks, for example. It is only relevant if Auto-Start if Sound Detected is activated.
Silence Detection – Threshold (RMS)/Silence Duration Required
The threshold value used for the options Auto-Stop if Silence and Auto-Create
Markers at Silence Points. It is used in conjunction with the Silence Duration
Required setting, so that recording is stopped or a marker is added if the input level
stays below the threshold value for the specified duration.
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Recording
Recording Dialog Recording Programming – Start
Determines the time at which recording starts when the option Auto-Start at
Specific Time is activated.
Recording Programming – On Tomorrow
If this option is activated, you can specify a time on the next day (starting midnight).
Recording Programming – Duration
Determines the length of the recording if Auto-Stop after Specific Duration is
activated.
Pause Memory
This is a safety buffer when you are using the Pause button. When you resume
recording, this buffer is used to restore the last short section of audio before you
deactivated the Pause button. This way, you can resume recording even if you
deactivated the Pause button a bit too late.
Meter Display
Level/Spectrum
Specifies which meter to display.
Settings
Opens the Level/Pan Meter Settings dialog, where you can customize the meter
settings.
Reset
Resets the peak values.
Monitor
If this option is activated, the audio input is also sent to the output ports (not
available if Windows MME drivers are used).
Mix with Playback
If this option is activated and the same audio ports are selected for monitoring and
for playback (in the VST Audio Connections tab), the signals are mixed. If this is not
activated, the monitoring signal has priority.
This allows you to toggle between the auditioning of the recorded signal and the
playback signal, and to have full control over the monitor outputs.
Marker
Allows you to set markers during the recording.
Next Marker Name
Edit the name of the next marker to insert.
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Recording
Recording Dialog Meter Display
In the lower part of the Recording dialog, you find a meter display. This is useful for checking the
input level and the frequency spectrum of the input signal.
You can activate the meters by activating the Monitor checkbox.This is done automatically if
Activate Monitoring when Opening Record Window is activated on the Options tab in the
Recording dialog.
To reset the meters, click the Reset button.
Level Meter
In the Level Meter, horizontal bars show the peak level (outer bars) and average loudness (VU,
inner bars) of each channel. Values are also shown numerically. When you click the Settings
button, the Level/Pan Meter Settings dialog opens.
Spectrometer
The Spectrometer shows a bar diagram, providing a continuous graphical representation of the
frequency spectrum. From the Settings pop-up menu you can choose whether to restrict to high
audio levels, or to include medium or low audio levels.
Disk Capacity Indicator
This indicator at the bottom of the Recording dialog indicates the approximate amount of
available disk space on the hard disk specified in the File to Create section, or the hard disk that
you have selected for temporary files.
NOTE
When there is less than 30 seconds of available hard disk space left, the disk capacity indication is
displayed in red.
178
Master Section
The Master Section is the final block in the signal path before the audio is sent to the audio
hardware, to an audio file, or to the audio meters. This is where you adjust the master levels, add
effects, resample, and apply dithering.
The settings and effects in the Master Section are taken into account in the following cases:
●
When playing back an audio file in the wave window.
●
When playing back an audio montage.
Note that the Master Section effects are global for all clips and tracks in an audio
montage.
●
When using the Render function.
●
When writing a CD from an audio montage.
Bypassing the Master Section
By default, the Master Section is active. You can bypass it for each file individually or globally. If
the Master Section is bypassed, only the Playback Processing pane of the Master Section is
active during playback.
●
To bypass the Master Section for individual audio files or audio montages, activate the
Bypass Master Section button at the bottom of the wave/montage window.
●
To bypass the Master Section globally, activate the Bypass Master Section button at the
top left of the Master Section.
Master Section Window
In this window, you can apply effect plug-ins, adjust the master level, apply dithering, and render
the audio file or audio montage.
●
To open the Master Section window, select Tool Windows > Master Section.
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Master Section
Master Section Window The Master Section consists of the following panes:
●
Effects
●
Resampling
●
Master Level
●
Final Effect/Dithering
Signal Path
The panes in the Master Section window correspond to the processing blocks of the Master
Section.
The signal passes through these blocks from top to bottom:
1.
Audio from WaveLab Elements
2.
Effects
Reordering the effect slots affects the signal path.
3.
Resampling
4.
Master Level
5.
Final Effect/Dithering
The meters in the Meter windows monitor the signal between the Final Effect/Dithering
pane and the audio hardware or file on disk.
6.
Audio hardware or file on disk
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Master Section
Master Section Window In the Master Section, the signal passes all plug-ins, even if some plug-ins are soloed. However,
the sound is not affected by this because the muted plug-ins are bypassed from the playback
process stream.
Master Section Tools
The tools and options at the top of the Master Section window allow you to make various
settings before rendering the file, make bypass settings, and decide whether the playback signal
passes the Master Section.
Bypass Master Section
If this option is deactivated, the Master Section is ignored during playback.
However, rendering to file still takes into account all plug-ins.
Presets
Lets you save and recall Master Section presets. The Presets menu offers additional
options to save and load default banks and effects.
Reset Master Section
Removes all active effects from the slots and sets the master output to 0 dB.
Settings
Opens the Settings pop-up menu, where you can make settings for the Master
Section.
Settings Pop-up Menu
Hide Plug-in Windows when Master Section is not Visible
If this option is activated, plug-in windows are hidden when the Master Section is
not visible.
Show Plug-in Controls in the Plug-in Window
If this option is activated, the plug-in controls are displayed in plug-in windows.
Use Plug-in Chain Window
Shows all open plug-ins in the plug-in window as tabs, which allows you to quickly
switch between the plug-ins.
Plug-in Windows Move with Master Section
If this option is activated, the plug-in windows are also moved when you move the
floating Master Section.
Restore Last Configuration at Next Start-Up
If this option is activated, the plug-in configuration and fader positions in the Master
Section are restored at the next WaveLab Elements start.
Section Visibility
Allows you to show or hide the Master Section sections.
Rearrange
Rearranges the Master Section according to the sample rate and channel
configuration of the active audio file. The internal bus of the Master Section and any
active plug-ins are configured accordingly.
This operation is performed automatically before playback or rendering. It is
sometimes helpful to manually rearrange the Master Section, because some
plug-ins do not accept a mono or stereo signal as input, or a given sample rate. In
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Master Section
Master Section Window that case, clicking the button informs you about any problems, before playback or
rendering.
This operation has no effect if playback is already in progress or if there is no active
audio file.
RELATED LINKS
Final Effect/Dithering Pane on page 186
Effects Pane
This pane in the Master Section allows you to add up to 5 effect plug-ins in series, and manage
them.
Fold/Unfold Pane
Expands or collapses the pane.
Bypass All Effects
Bypasses any effect processing during playback and optionally when rendering.
Add Effect
Allows you to add an effect to an empty effect slot.
Effect plug-in name
Once you have added a plug-in to a slot, you can click the plug-in name to open and
close the corresponding plug-in window.
Presets pop-up menu
Lets you save and recall preset settings. The Presets pop-up menu offers additional
options to save and load default banks and effects.
Effect Options pop-up menu
Allows you to load another effect to the effect slot. Furthermore, the following
options are available:
●
Remove Plug-in removes the effect from the slot.
●
Shift All Plug-ins Down/Shift All Plug-ins Up allows you to move the effects
to another position.
●
If Active is activated, the effect is active. If Active is deactivated, the effect is
excluded from playback and rendering.
Solo (Bypass)
Soloes the plug-in.
Bypass Processing
Bypasses the plug-in during playback and optionally during rendering. The signal is
still processed by the plug-in, but is not injected in the audible stream.
Supported Effect Plug-in Formats
WaveLab Elements supports WaveLab Elements-specific plug-ins, VST 2 plug-ins, and VST 3 plugins.
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Master Section
Master Section Window WaveLab Elements-specific Plug-ins
Some specific plug-ins are included in WaveLab Elements, for example, the Resampler plug-in.
VST Plug-ins
Steinberg’s VST plug-in format is supported by a lot of programs and plug-in manufacturers. You
find a number of VST plug-ins included with WaveLab Elements. Other plug-ins can be purchased
separately from Steinberg or other manufacturers.
Setting Up Effects
The number of available effects depends on the number and format of the plug-ins that you have
installed.
●
To select an effect plug-in for a slot, click the slot, and select an effect from the pop-up
menu. When you have selected an effect, it is automatically activated, and its control panel
opens.
●
To turn off an effect, right-click the slot, and deactivate Active. To activate the effect,
activate Active again.
●
To remove an effect plug-in, right-click the slot and select Remove Plug-in from the popup menu.
●
To show/hide a plug-in window, click the effect slot.
●
To solo an effect, click its Solo (Bypass) button. This allows you to check the sound of that
effect only. You can also bypass effects via their control panels.
●
To change the order of the slots, that is, the order in which the signal passes through the
effects, click a slot, and drag it to a new position.
Master Section Plug-in Window
In the plug-in windows of the Master Section, you can make settings for a Master Section effect
plug-in.
●
To show a plug-in window, click the effect slot.
Bypass Processing
If this option is activated, this plug-in is bypassed during playback, and optionally for
a rendering operation. To deactivate an effect when rendering, right-click an effect
slot, and deactivate Active in the Effects pane of the Master Section.
Bypass Modes
Right-click Bypass Processing to open the Bypass Modes pop-up menu. Here, you
can select Bypass Effect or Bypass Source Signal.
Solo (Bypass)
Soloes the plug-in.
Render in Place
Processes the audio in place. Bypassed plug-ins are excluded and the rendered audio
is crossfaded at boundaries.
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Master Section
Master Section Window Switch Effect On/Off
If you deactivate a plug-in, it is excluded from both playback and rendering.
Presets
Opens a menu to save/load presets for this plug-in.
Effect Plug-in Presets
With WaveLab Elements comes a number of factory presets for the included effect plug-ins. You
can use them as they are or as a starting point for your own settings.
Third-party plug-ins can provide their own factory presets. To access the presets for an effect,
click the Presets button in its control panel window or the Presets button for its effect slot. The
available functions depend on the type of plug-in.
Presets for VST 2 Plug-ins
VST 2 plug-ins have their own preset handling.
When you click the Presets button for this type of effect, a pop-up menu with the following
options opens:
Load/Save Bank
Loads and saves complete sets of presets. The file format is compatible with Cubase.
Load/Save Default Bank
Loads the default set of presets or saves the current set of presets as the default
bank.
Load/Save Effect
Loads or saves a preset. This is also compatible with Cubase.
Edit Name of Current Program
Allows you to define a name for the preset.
Preset List
Allows you to select one of the loaded presets.
Resampling Pane
This pane in the Master Section allows you to resample the signal. With the Resampling plug-in,
you can check the peaks before the master gain and meters, and before limiting and dithering.
Fold/Unfold Pane
Expands or collapses the pane.
Off
Deactivates the resampling effect.
Use Preferred Sample Rate
If this option is activated, resampling matches the sample rate that is specified as the
preferred sample rate on the Audio Connections tab.
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Master Section
Master Section Window NOTE
The sample rate is used for playback only. This allows you to play back sample rates
that your audio device does not support.
Sample Rate menu
Allows you to select a sample rate.
RELATED LINKS
Audio Connections Tab on page 9
Master Level Pane
This pane in the Master Section allows you to control the master level of the active audio file.
Faders
The faders in the Master Level pane govern the final output level. Use the faders to optimize the
level of the signal that is sent to the audio hardware.
NOTE
It is important to avoid clipping, especially when mastering. Clipping is indicated by the clip
indicators of the Master Section.
●
To lock the faders, activate Lock Faders below the fader section.
Locked faders cannot be changed with the mouse. Other editing methods, for example via
remote control or shortcut, are still possible.
Meters
The Master Section meters show the signal level of the signal before dithering or any other
plug-in that you have applied post-master fader.
Use these meters to get an overview of the signal levels. The numeric fields above the faders
show the peak levels for each channel. The peak indicators turn red whenever the signal clips. If
this happens, you should do the following:
●
Lower the faders.
●
Right-click the clip indicators and select Reset Peaks to reset the clip indicators.
●
Play back the section again until no clipping occurs.
Mixing Stereo Channels into Mono Channels
The Mix to Mono option on the Audio Channel Monitoring pop-up menu allows you to
transform the left and right channels of a stereo track into two mono channels. In this case, the
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Master Section
Master Section Window output level is automatically reduced by -6 dB to avoid clipping. The Mix to Mono option is useful
for checking the mono compatibility of stereo mixes, etc.
NOTE
If Mix to Mono is activated, the indicator for the Master Level pane is lit, even if the master level
is not adjusted. This helps you avoid accidentally leaving Mix to Mono activated.
Unlink Faders
Determines whether you can adjust the faders individually or together.
If Unlink Faders is deactivated, moving one fader also moves the other by the same amount.
Activating Unlink Faders allows you to correct improper stereo balancing by adjusting the level
of the channels individually.
If you offset the faders with Unlink Faders activated and then deactivate Unlink Faders, you can
adjust the overall level without changing the level offset between the channels.
Fader offsets are not preserved at the end of the range of movement or once the mouse button
is released.
Final Effect/Dithering Pane
This pane in the Master Section allows you to add a final effect and dithering to the signal
before it is sent to the audio hardware or saved as a file on disk.
Fold/Unfold Pane
Expands or collapses the pane.
Bypass All Effects
Bypasses the effects in the Final Effect/Dithering pane.
Presets pop-up menu
Lets you save and recall preset settings. The Presets pop-up menu offers additional
options to save and load default banks and effects.
Effect Options pop-up menu
Allows you to load another effect to the effect slot. Furthermore, the following
options are available:
●
Remove Plug-in removes the effect from the slot.
●
Shift All Plug-ins Down/Shift All Plug-ins Up allows you to move the effects
to another position.
●
If Active is activated, the effect is active. If Active is deactivated, the effect is
excluded from playback and rendering.
Bypass Processing
Bypasses the plug-in during playback and optionally during rendering. The signal is
still processed by the plug-in, but is not injected in the audible stream.
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Master Section
Master Section Window Dithering
Dithering is the technique of adding small quantities of noise to a signal to reduce the audibility
of low level distortion in a digital recording. A small amount of random noise is added to the
analog signal before the sampling stage, reducing the effect of quantization errors.
By adding a special kind of noise at an extremely low level, the quantization errors are
minimized. The added noise can be perceived as a very low-level quiescent hiss added to
the recording. However, this is hardly noticeable and preferred to the distortion that occurs
otherwise. The Noise Shaping options allow you to filter this noise to a frequency area less
sensitive to the human ear.
In WaveLab Elements, dithering is applied when reducing the number of bits in a recording, for
example, when moving from 24 to 16 bits, and when applying processing.
NOTE
Dithering should always be applied after the output bus fader stage, and after any kind of audio
process.
Dithering Plug-ins
WaveLab Elements comes with an internal dithering plug-in. However, you can also add other
dithering plug-ins.
●
To select and activate a dithering plug-in in the Master Section, click the plug-in slot in the
Final Effect/Dithering pane, and select one of the options from the pop-up menu.
●
To deactivate the dithering plug-in, open the Final Effect/Dithering pop-up menu, and
select Remove Plug-in.
Adding Other Plug-ins to the Final Effect/Dithering Pane
If you want to use another dithering plug-in than the internal dithering, you can add it to the
Final Effect/Dithering pane.
NOTE
The meters in the Master Section monitor the signal before the Final Effect/Dithering pane. To
avoid clipping, check the level/pan meter and adjust the output level of the plug-in, if available.
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the Organize tab.
3.
Locate the plug-in that you want to add to the Final Effect/Dithering pane in the list, and
activate the checkbox in the Final column for the plug-in.
RESULT
The plug-in is available via the pop-up menu in the Final Effect/Dithering pane, and can be
inserted after the Master Level faders. The plug-in is still available for selection as a regular
pre-master effect if the corresponding entry in the Effect column in the Plug-ins Preferences is
activated.
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Master Section
Rendering When to Apply Dithering
The basic rule is that you should apply dithering when converting an audio file to a lower
precision. For example, preparing a 24-bit file for mastering to CD, that uses 16-bit format.
However, even if you are playing back or rendering a 16-bit or 24-bit file to the same precision,
you need to apply dithering if you are using any real-time processing in WaveLab Elements. The
reason for this is that WaveLab Elements works with an internal precision of 64 bit (floating point)
for supreme audio quality. This means that as soon as you perform any kind of processing, the
audio data is treated at this high precision instead of the original 16 bit or 24 bit, thus making
dithering necessary.
Examples of real-time processing include level adjustments, effects, mixing of two or more clips
in an audio montage, etc. The only time when a 16-bit file is played back at 16-bit precision is if
you play it without any fades or effects, and with the Master Level faders set to 0.00 (no level
adjustment – master level indicator turned off).
Rendering
By rendering the effects using the Render function in the Master Section, they become a
permanent part of a file. So instead of performing all processing in real-time during playback,
you can save the audio output to a file on disk.
Writing the output of the Master Section to a file on disk allows you to apply Master Section
processing to an audio file, or mix down an audio montage to an audio file.
There are several uses for rendering:
●
Mix down a complete audio montage to an audio file.
●
Process a file and save a file to a new audio file, including Master Section effects,
dithering, and other settings. You can choose the format of the new audio file, which
allows you to create an MP3 file and add effects at the same time, for example.
●
Process one or more regions of an audio file in place or to new files.
Rendering Files
PREREQUISITE
Set up your audio file or audio montage.
PROCEDURE
1.
In the Master Section, make your settings.
2.
On the bottom of the Master Section, click Render.
3.
Make your rendering settings.
4.
In the Result section, activate Named File.
5.
Click the Format field and select Edit Format.
6.
Make your settings in the Audio File Format dialog and click OK.
7.
When you have set up the rendering process, click Start.
RESULT
The file is rendered.
NOTE
Several rendering operations can be performed at the same time when using different files.
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Master Section
Rendering RELATED LINKS
Audio File Format Dialog on page 86
Creating Audio File Format Presets on page 189
Creating Audio File Format Presets
PROCEDURE
1.
In the Audio File Format dialog, specify the audio file format.
2.
Open the Presets pop-up menu and select Save As.
3.
Enter a name for the preset and click Save.
RELATED LINKS
Audio File Format Dialog on page 86
In-Place Rendering
In the Audio Editor, you can process a section of an audio file or the whole audio file. This is a
quick way to process several audio sections in an audio file, or test the effect of different plug-ins
on an audio file.
You can select the Render in Place function in the following places:
●
On the Render tab of the Audio Editor
●
In the Master Section, in the context menu of the Render button
●
In the command bar of a plug-in window
When selecting Render in Place via the Render tab, you can make additional render settings on
the Options pop-up menu. When selecting Render in Place via the Master Section or a plug-in
window, the following render settings are always active:
●
Fade in/out at boundaries
●
Exclude bypassed plug-ins
NOTE
Once an audio section has been processed, there is no automatic bypass of plug-ins or the
Master Section.
An example for using in-place rendering:
Let’s say that you are restoring a file and have 3 favorite plug-ins, for example, 3 DeClicker plugins. Now you want to use the one that gives the best results.
1.
Load all 3 plug-ins in the Master Section.
2.
Select a region, solo plug-in #1, and play the region.
3.
Solo plug-in #2, and play the region.
4.
Solo plug-in #3, and play the region.
5.
Solo the plug-in that you think sounded the best, and click Render in Place, or press Alt-A.
RELATED LINKS
Render Tab on page 190
189
Master Section
Rendering Rendering an Audio Selection In-Place
You can render the plug-ins of a section of an audio file or the whole audio file.
PREREQUISITE
In the Audio Editor, open the audio file that you want to render, and set up the Master Section.
PROCEDURE
1.
Optional: If you only want to use some plug-ins of the Master Section, solo the plug-ins
that you want to use.
2.
In the wave window, select the audio section that you want to process.
3.
Select the Render tab.
4.
In the Source section, open the Source pop-up menu and select Selected Audio Range.
5.
In the Result section, activate In Place.
6.
In the Options section, open the pop-up menu and make render settings.
7.
In the Render section, click Start.
RESULT
The audio section or the audio file is processed.
Render Tab
This tab allows you to select which parts of an audio file to render, and into which format.
●
To open the Render tab, click Render at the bottom of the Master Section.
The following options are available for rendering audio files and audio montages.
Part
●
Selected Audio Range processes and renders the selected audio range.
●
Specific Region processes and renders an audio range that is specified using
region markers. In the pop-up menu next to this option, select the region that
you want to render.
In Place
If this option is activated, the rendered audio range replaces the source audio range.
Unnamed File
If this option is activated, the file is named untitled.
Named File
If this option is activated, you can specify a name for the rendered file.
Name
Enter a name for the rendered file. Clicking the arrow icon opens a menu that offers
you several automatic naming options.
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Master Section
Rendering Location
Select a folder for the rendered file.
Format
Opens the Multi Audio File Format dialog, where you can select the file format.
Bypass Master Section
If this option is activated, the plug-ins and gain of the Master Section are bypassed
when rendering.
Auto Save Master Section Preset
If this option is activated, the Master Section preset is automatically saved in the
audio file or audio montage when you render the file. You can load the Master
Section preset via the Load Master Section Preset option in the lower right corner
of the wave window or the montage window.
Fade In/Out at Boundaries
If this option is activated, a fade is performed at the audio range boundaries when a
new file is created, or a crossfade with the audio neighborhood is created if the audio
range is processed in place.
No Reverb Tail
If this option is activated, the audio tail produced by effects such as reverb is not
included in the rendered file.
Some plug-ins do not provide a tail duration to WaveLab Elements. In this case, this
option has no effect. For such plug-ins, you could add the Silence plug-in to add
extra samples at the end of the file.
Copy Markers
If this option is activated, markers that are included in the range to process are
copied to the rendered file.
Skip Exclusion Regions
If this option is activated, audio ranges that are marked as muted are skipped and
not included in the result.
Open Resulting Audio File
If this option is activated, the rendered files are opened in a new file group.
Bypass Master Section on Resulting Audio File
If this option is activated, playback of the resulting audio file bypasses the entire
Master Section after rendering. This setting can be toggled by clicking on the button
at the bottom right of the wave window or montage window.
NOTE
It is recommended to activate this option, because you do not need to monitor this
new file through the effects again when the effects have been applied to a file.
Export to SoundCloud
If this option is activated, the rendered file is uploaded to SoundCloud after the
rendering process is finished.
Render Tab for Audio Files
The following options on the Render tab are exclusive to rendering audio files.
Part
Whole File processes and renders the whole file.
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Master Section
Saving Master Section Presets In Place
If this option is activated, the rendered audio range replaces the source audio range.
Render Tab for Audio Montages
The following option on the Render tab is exclusive to rendering audio montages.
Part
Whole Montage processes and renders the whole audio montage.
Saving Master Section Presets
You can save all settings that are made in the Master Section as a preset. This includes which
processors are used, which settings are made for each one of them, and the dithering options.
PROCEDURE
1.
Set up the Master Section.
2.
Click Presets at the top of the Master Section, and select Save As.
3.
Optional: In the Save Master Section Preset dialog, click the path name, enter a name,
and click OK to create a new subfolder in the Master Section preset folder.
4.
Enter a name for the preset in the Name field.
5.
Select the options that you want save in the preset.
6.
Click Save.
Save Master Section Preset Dialog
In this dialog, you can save a Master Section setup as preset and define which parts of the
current Master Section you want to include in the preset.
●
To open the Save Master Section Preset dialog, click Presets at the top of the Master
Section, and select Save As.
Location
Opens the root folder of the preset in the File Explorer/macOS Finder. Here, you can
create subfolders in which presets can be saved.
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Master Section
Saving Master Section Presets Presets list
Lists all existing presets.
Name
Lets you specify the name of the preset to save.
Save Effects Plug-ins
If this option is activated, the effect plug-ins are saved with the preset.
Save Resampling Settings
If this option is activated, the resampling settings are saved with the preset.
Save Master Level Settings
If this option is activated, the master level settings are saved with the preset.
Save Final Effect/Dithering Plug-in
If this option is activated, the final effect/dithering plug-in is saved with the preset.
Exclude Locked Plug-ins
If this option is activated, locked plug-ins are not saved as part of the Master Section
preset.
Loading Master Section Presets
You can load a previously saved Master Section preset, a temporarily saved Master Section
preset, or import WaveLab Elements 4/5/6 presets.
Open the Presets pop-up menu at the top of the Master Section window.
●
To load a preset that has been previously saved in the Presets\Master Section folder,
select a preset from the Presets pop-up menu.
●
To load a preset from any location, select Load Preset, select a preset, and click Open.
●
To load a temporarily saved preset, open the Restore submenu, and select a preset.
●
To import a WaveLab Elements 4/5/6 preset, select Load WaveLab Elements 4/5/6 Preset,
select a preset, and click Open.
Load Master Section Preset Dialog
In this dialog, you can specify which parts of a saved Master Section preset to load when
opening it.
●
To open the Load Master Section Preset dialog, click Presets at the top of the Master
Section, and select Load Preset.
This dialog only opens if it is activated on the Presets menu of the Master Section. Open the
Presets menu at the top of the Master Section, and activate Open Options Dialog when
Selecting Preset.
193
Master Section
Saving Master Section Presets Now, when restoring a temporarily saved preset or opening a saved preset a dialog with the
following options opens:
Name
Displays the name of the preset.
Load/Replace Effect Plug-ins
If this option is activated, the active effect plug-ins are removed, and any new plugins are inserted from the top slot.
Insert Effect Plug-ins from Focused Slot (Keep Existing Plug-ins)
If this option is activated, the current effect plug-ins are kept, and any new plug-ins
are inserted from the top slot.
Load/Replace Resampling Settings
If this option is activated, the current resampling settings are reset, and any new
settings are loaded.
Load/Reset Master Level Settings
If this option is activated, the current Master Level settings are reset, and any new
settings are loaded.
Load/Replace Final Effect/Dithering Plug-in
If this option is activated, the current final effect/dithering plug-in is removed, and
the new plug-in is loaded.
Open Plug-in Windows
If this option is activated, the plug-in window opens when you load a new Master
Section preset.
Master Section Presets Pop-up Menu
This pop-up menu offers several options for saving, managing, and restoring Master Section
presets.
●
To open the Presets pop-up menu, click the presets pane at the top of the Master
Section.
Save
Saves the changes you have made to an existing preset.
194
Master Section
Monitoring Background Tasks Save As
Opens a dialog where you can specify a name and a location for the preset.
Organize Presets
Opens the Preset folder of the Master Section, where you can rename or delete
presets.
Load Preset
Allows you to load a Master Section preset via the File Explorer/macOS Finder. For
example, this is useful if you want to load a preset that is provided by another source
and not located in your default root folder.
Open Options Dialog when Selecting Preset
If this option is activated, a dialog opens that allows you to choose how to load the
preset you select.
Store Temporarily
Lets you select one of the slots to temporarily save a preset.
Restore
Lets you restore a previously saved preset.
List of saved presets
Lists the presets that are saved in the Presets folder of the Master Section.
Monitoring Background Tasks
When rendering, you can monitor the process, and pause or cancel tasks.
A status bar below the wave window and the montage window shows the progress of the current
rendering process. You can cancel or pause the rendering with the corresponding buttons.
RELATED LINKS
Global Preferences on page 258
Dropouts
A dropout most likely occurs when your computer does not have the processing power to handle
all used effect processors.
To avoid dropouts, try the following:
●
Use fewer effects.
●
Consider rendering the processing rather than running it in real time. Then master from
the processed file without applying effects. Dropouts never occur when rendering to a file.
●
Do not process any files in the background.
●
If neither of the above helps, check the audio card preference settings. You might need to
adjust the audio buffer settings. If a dropout occurs during a real-time mastering process
we recommend that you re-master. Stop playback, click the dropout indicator to reset it,
and try again.
195
Markers
Markers allow you to save and name specific positions in a file. Markers are useful for editing and
playback.
For example, markers can be used for the following:
●
Indicate cue points or absolute time locations.
●
Highlight problem sections.
●
Visually separate tracks.
●
Set the wave cursor to a specific position.
●
Select all audio between two positions.
●
Loop sections in an audio file.
There is no limit to the amount of markers that you can have in a file.
NOTE
The functions in the Markers window are the same for audio files and audio montages.
However, the Markers window for audio montages offers additional options regarding clips.
Marker Types
The following marker types are available:
Generic markers
Allow you to locate positions and select all the audio between two points, for
example. Generic markers can be created during recording.
Region start and end markers
Define start and end points for generic regions. Region start and end markers can be
created during recording and are used in pairs.
Loop start and end markers
Are used to define loop points and are required to access loop editing functions on
the Process tab of the Audio Editor. Loop start and end markers are connected to
the Loop mode when playing back audio. These markers are useful for editing and
creating loops before transferring a sound to a sampler. Loop markers are used in
pairs.
Markers Window
In this window, you can create, edit, and use markers while working on an audio file or audio
montage.
●
To open the Markers window, open an audio file or audio montage and select Tool
Windows > Markers.
196
Markers
Markers Window Markers List
The Markers window contains a list of all markers of the active file along with their details and
controls. You can create and edit markers from the markers list.
Marker numbers
Clicking the number of a marker scrolls the waveform to reveal the corresponding
marker.
Play Pre-Roll
Plays back the audio from the marker position with a pre-roll.
You can also press Alt and click Play Pre-Roll to play back from the marker position
with a short pre-roll.
Play
Plays back the audio from the marker position.
Marker type
Shows the marker type. To change the marker type, click the marker icon and select
another marker type from the pop-up list.
Name
Shows the marker name. To change the name, double-click in the corresponding cell
and enter a new name.
Time
Shows the marker position on the time ruler. To change the position, double-click in
the corresponding cell and enter a new value.
Length
Shows the time between the marker start position and the corresponding end
marker.
●
To zoom in on the region between a start and end marker, click the
corresponding cell in the Length column.
●
To select the region between a start and end marker, double-click the
corresponding cell in the Length column. This function is only available for
markers in the Audio Editor.
Lock
Allows you to lock markers. Locking markers prevents them from being accidentally
dragged to a new position in the wave window or the montage window. To lock a
marker, activate the corresponding checkbox.
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Markers
Markers Window Clip Reference (only available for markers in the Audio Montage window)
A marker can be attached to the left or right edge of a clip, and to its waveform.
When you move a clip, the corresponding marker moves along. The clip reference
column shows the name of the clip.
Offset (only available for markers in the Audio Montage window)
Shows the distance between the marker and the reference point.
Functions Menu
Depending on whether the Audio Editor or the Audio Montage window is open, different
options are available. The following options are available for audio files and audio montages:
Select All
Selects all markers in the markers list.
Invert Selection States
Inverts the selection status of all markers.
Deselect All
Deselects all markers.
Delete Selected Markers
Deletes all markers that are selected.
Default Marker Names
Opens the Default Marker Names dialog, where you can select default marker
names for each marker type.
Lock Selected Marker
Locks the selected marker. If this option is activated, the marker cannot be moved or
deleted.
Customize Command Bar
Opens a dialog where you can customize marker-related menus and shortcuts.
The following options of the Functions menu are only available for audio files:
Select in Time Range
Selects the markers located in the selection range in the wave window.
The following options of the Functions menu are only available for audio montages:
Bind Selected Markers to Start of Active Clip
Makes the marker position relative to the start of the active clip. When the start of
this clip moves, the marker moves, too.
Bind Selected Markers to End of Active Clip
Makes the marker position relative to the end of the active clip. When the end of this
clip moves, the marker moves, too.
Detach Selected Markers from Their Associated Clip
Makes the marker position relative to the start of the audio montage.
Full Clip Attachment
Attaches markers to a clip so that they are copied or deleted when the clip is copied
or deleted.
Customize Command Bar
Opens the Customize Commands dialog which contains options to hide or show
specific command bar buttons.
198
Markers
About Creating Markers Filter Menu
Use the Filter menu to determine which types of markers are displayed in the markers list and
on the timeline.
About Creating Markers
Markers can be created during playback or in stop mode. You can create specific markers if you
already know what you want to mark, or create generic markers.
Creating Markers
You can create markers in the wave window and montage window in stop mode or during
playback.
PROCEDURE
1.
2.
Do one of the following:
●
Start playback.
●
In the wave/montage window, set the cursor to the position where you want to
insert the marker.
Do one of the following:
●
In the Audio Editor or Audio Montage window, select the Insert tab, and click a
marker icon in the Markers section.
●
Right-click the upper part of the time ruler, and select a marker from the context
menu.
●
Press Insert/M. This creates a generic marker.
Creating Markers at Selection Start and End
You can mark a selection for looping or review, for example.
PROCEDURE
1.
In the wave window, create a selection range.
2.
Do one of the following:
●
In the Audio Editor or the Audio Montage window, select the Insert tab and select
a marker pair in the Markers section.
●
In the wave window, make a selection range, right-click it, and select one of the
marker pairs.
●
In the wave window or the montage window, create a selection range, right-click
above the time ruler, and select one of the marker pairs.
Duplicating Markers
This is a quick way to create a marker from an existing marker.
PROCEDURE
●
In the wave window or the montage window, hold down Shift, click a marker, and drag.
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Markers
Deleting Markers Deleting Markers
Markers can be deleted in the wave window or the montage window, and in the Markers
window.
Deleting Markers in the Wave/Montage Window
●
In the wave/montage window, right-click a marker and select Delete.
●
Drag and drop a marker icon upwards outside the time ruler.
Deleting Markers in the Markers Window
This is useful if your project has many markers or if the marker that you want to delete is not
visible in the wave/montage window.
PROCEDURE
1.
In the Markers window, select one or several markers.
You can also select Functions > Select All.
2.
Click Delete Selected Markers or select Functions > Delete Selected Markers.
Moving Markers
You can adjust marker positions in the wave window and the montage window.
PROCEDURE
●
In the wave/montage window, drag a marker to a new position on the time ruler.
If Snap to Magnets is activated, the marker snaps to the cursor position, or the
beginning/end of a selection or waveform.
Navigating to Markers
You can jump to the previous or next marker using the corresponding marker buttons.
●
To jump to the previous/next marker, select the View tab, and, in the Cursor section, click
Previous Marker/Next Marker.
●
To set the wave cursor to a marker position, in the wave window or the montage window,
double-click a marker triangle.
Hiding Markers of a Specific Type
For a better overview, you can hide marker types.
PROCEDURE
1.
In the Markers window, select Filter.
2.
Deactivate the marker type that you want to hide.
You can make the markers visible again by activating the corresponding marker type.
200
Markers
Converting Marker Types Converting Marker Types
You can convert markers of a specific type to another type.
Converting the Type of a Single Marker
PROCEDURE
1.
In the Markers window, click the marker icon that you want to convert.
2.
Select a new marker type from the list.
Renaming Markers
You can change the names of markers.
●
To rename a marker in the wave window or the montage window, right-click a marker,
select Rename, and enter a new name.
●
To rename markers in the Markers window, double-click a marker name in the Name
column, and enter a new name.
●
To edit the default names, in the Markers window, select Functions > Default Marker
Names.
Default Marker Names Dialog
In this dialog, you can specify the default marker names.
●
To open the Default Marker Names dialog, open the Markers window and select
Functions > Default Marker Names.
Marker type
Lets you select the type of marker for which you want to specify the default name.
Default Name for This Marker Type
Lets you specify the default name for the selected marker type.
Selecting Markers
There are several ways to select markers.
●
In the wave window or the montage window, click a marker.
●
In the Markers window, click in a cell. The corresponding marker is selected.
●
Use Ctrl/Cmd and Shift to select multiple markers.
The marker icon changes its background to indicate the selected marker.
201
Markers
Selecting the Audio Between Markers Selecting the Audio Between Markers
You can select the audio between two adjacent markers or between any two markers. This allows
you to select a section that has been marked.
●
To select the audio between two adjacent markers, double-click between two adjacent
markers in the wave window or the montage window.
●
To select several regions between two adjacent markers, double-click between two
adjacent markers, and after the second click, drag to select the adjacent regions.
●
To select the audio between a region marker pair, hold down Shift, and double-click a
region marker.
●
To extend the selection until the end of a marker region, in the wave/montage window,
hold down Shift, and double-click in the marker region that you want to select.
●
To open the Markers window and display further information about a specific marker,
hold down Alt, and double-click a marker.
Binding Markers to Clips in the Audio Montage
In the Audio Montage window, you can bind markers to clips. By doing this, the marker remains
in the same position relative to the clip start/end, even if the clip is moved or resized in the audio
montage.
You can find the options regarding binding clips and markers on the Functions menu of the
Markers window, and when right-clicking a marker.
When a marker is bound to a clip element, its name is preceded by a blue character.
RELATED LINKS
Markers Window on page 196
How Marker Information is Saved
WaveLab Elements uses MRK files as a way to save information that is independent of the file
format. However, to make marker information exchangeable between applications, WaveLab
Elements also saves some information in the Wave headers.
This makes saving files quicker if only a marker setting was changed. However, this only applies
if Write Markers in WAV File Header is deactivated in the Audio Files Preferences on the File
tab. By default, MRK files are created and information are saved in the Wave headers.
●
When you import a file for the first time, any loop points are imported and displayed as
loop markers.
●
When you save a file in the Wave format, the loop points are saved both as part of the
actual file and in the MRK file.
202
Markers
How Marker Information is Saved ●
When you open a file that includes markers that were added in WaveLab Elements, and
markers that were added in another application, all markers are displayed in WaveLab
Elements.
203
Metering
WaveLab Elements contains a variety of audio meters that you can use for monitoring and
analyzing audio. Meters can be used to monitor audio during playback, rendering, and
recording. Furthermore, you can use them to analyze audio sections when playback is stopped.
Meter Windows
There can only be one instance of each audio meter.
The axis of most audio meters can be rotated, to view the graphics horizontally or vertically. For
some meters, you can also style and customize parameters via a settings dialog.
RELATED LINKS
Docking and Undocking Tool Windows and Meter Windows on page 31
Meter Settings
You can set up most meters in the corresponding settings dialogs. For example, you can adjust
the behavior, scale, and color of the meters.
●
To open the settings dialog for a meter, select Functions > Settings.
●
To check the results after changing the settings without closing the settings dialog, click
Apply.
●
To close the settings dialog and discard any changes that you have made, even if you have
clicked the Apply button before, click Cancel.
Resetting the Meters
You can reset the display of some meters, for example, the Level Meter.
PROCEDURE
●
In the meter window, click Reset, or select Functions > Reset.
RESULT
All values and numerical indicators of the meter are reset.
Level Meter
The Level Meter displays the peak and average loudness/decibel levels of your audio file.
●
To open the Level Meter, select Meters > Level Meter.
204
Metering
Level Meter Level Meters
The Level Meter shows the peak level and the average loudness in the following way:
●
The peak level meters display the peak levels of each channel, graphically and numerically.
●
The VU meters measure the average loudness (RMS) of each channel. These meters have
a built-in inertia, evening out loudness variations over a user-defined time span. If you are
monitoring playback or the audio input, you can see two vertical lines following each VU
meter bar. These lines indicate the average of the most recent minimum RMS values (left
line) and the average of the most recent maximum RMS values (right line). To the left, the
difference between the minimum and maximum average values is displayed. This gives
you an overview of the dynamic range of the audio material.
●
The maximum peak and loudness values are displayed to the right of the meter bars. The
numbers in brackets to the right of the maximum peak values indicate the number of
times that clipping occurs (0 dB signal peaks). Values between 1 and 2 are acceptable, but
if you get a larger number, you should lower the master level to avoid digital distortion.
●
Recording levels should be set so that they only rarely clip. If the master level is set too
high, the sound quality and frequency response are compromised at high recording levels,
with unwanted clipping effects. If the level is set too low, noise levels can be high relative
to the main sound being recorded.
Level Meter Settings
In the Level Meter Settings dialog, you can adjust the behavior, scale, and color of the meters.
●
To open the Level Meter Settings dialog, open the Level Meter window, and select
Functions > Settings.
Peak Meter Section
Ballistics – Release Rate
Determines how fast the peak level meter falls after a peak.
Ballistics – Peak Hold Time
Determines how long a peak value is displayed. The peak can be displayed as a line
or a number. If the meter's height is too narrow, only the line is displayed.
Top/Middle/Low Zone
The color buttons allow you to select colors for the low, middle, and top zones of the
level meter. You can define the range for the top and middle zones by changing the
corresponding values.
VU Meter (Loudness) Section
VU Meter (Loudness)
Activates/Deactivates the VU meter.
205
Metering
Spectroscope Ballistics – Resolution
Sets the time that is used to determine the loudness. The smaller this value, the
more the VU meter behaves like the peak meter.
Ballistics – Range Inertia
Sets the time that is used to determine the recent minimum and maximum value
lines, and therefore determines how quickly these respond to changes in loudness.
Global Colors Section
In this section, you select colors for the meter background, marks (scale units), and grid lines.
Global Range (Peak and VU Meter) Section
In this section, you specify the minimum and maximum values of the displayed level range.
Spectroscope
The Spectroscope shows a graphical representation of the frequency spectrum, analyzed into 60
separate frequency bands, represented as vertical bars.
●
To open the Spectroscope, select Meters > Spectroscope.
Peak levels are shown as a horizontal lines above the corresponding bands, indicating recent
peak/maximum values. The Spectroscope offers a quick spectrum overview. For a more detailed
analysis of the audio spectrum, use the Spectrometer.
On the Functions menu, you can specify whether only high audio levels are displayed, or
whether medium and low levels are also shown.
Oscilloscope
The Oscilloscope offers a highly magnified view of the waveform around the playback cursor
position.
●
To open the Oscilloscope, select Meters > Oscilloscope.
206
Metering
Oscilloscope If you are analyzing stereo audio, the Oscilloscope normally shows the separate levels of the
two channels. However, if you activate Show Sum and Subtraction on the Functions menu, the
upper half of the Oscilloscope shows the mix of the two channels and the lower half shows the
subtraction.
Oscilloscope Settings
In the Oscilloscope Settings dialog, you can adjust the display colors, and activate/deactivate
Auto-Zoom. When Auto-Zoom is activated, the display is optimized so that the highest level
reaches the top of the display at all times and even small signals are visible.
●
To open the Oscilloscope Settings dialog, open the Oscilloscope window, and select
Functions > Settings.
207
Writing Operations
To start the CD/DVD writing process, you must have completed all CD/DVD writing preparations.
Write Audio CD Dialog
In this dialog, you can write your audio montage to an audio CD.
●
When you want to write audio montages to an audio CD, open the CD window, and select
Functions > Write Audio CD.
Device
Allows you to select the disc writer that you want to use.
NOTE
On the Mac, insert a medium in the drive after opening WaveLab Elements.
Otherwise, the drive is under the control of the operating system and is not available
for WaveLab Elements.
Refresh
Scans the system for connected optical devices. This is done automatically when this
dialog opens. Click the update icon after you insert a new blank medium to update
the Speed menu.
NOTE
On the Mac, insert a medium in the drive after opening WaveLab Elements.
Otherwise, the drive is under the control of the operating system and is not available
for WaveLab Elements.
Eject Optical Medium
Ejects the optical medium present in the selected drive.
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Erase Optical Media Dialog Device Information
Opens the Device Information dialog that shows information about the selected
device.
Erase Optical Disc
Erases the optical disc present in the selected drive, provided it is a rewritable
medium.
Bypass Master Section
If this option is activated, the audio signal is not processed through the Master
Section before being written to the medium.
Speed
Allows you to select the writing speed. The highest speed depends on the capabilities
of your writing device and the medium present in the device.
Copies
Allows you to enter the number of copies that you want to write.
Test Only, Do Not Write
If this option is activated, clicking OK initiates a simulation of writing the CD. If this
test is passed, the real write operation will succeed. If the test fails, try again at a
lower writing speed.
Render to Temporary File before Writing
If this option is activated, a disk image is created before writing, which eliminates the
risk of buffer underruns. This is useful if your project uses many audio plug-ins while
writing. It is activated automatically when writing multiple copies. While this option
makes the writing operation longer, it allows you to select an higher writing speed.
CD-Extra Compatible (New Session Possible)
If this option is activated, the resulting audio CD is compatible with the CD-Extra
format.
Eject after Completion
If this option is activated, the medium is ejected after the writing operation.
Erase Optical Media Dialog
In this dialog, you can quickly or fully erase an optical disc before writing.
●
To open the Erase Optical Media dialog, open the Write Audio CD dialog and click the
garbage icon.
Quick Erase
Erases the table of contents of the disc.
Full Erase
Erases all parts of the disc.
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Writing Operations
About Writing Audio Montages Force Erasing Even If a Disk Appears to Be Blank
If this option is activated, the disc is erased, even if it is declared as blank. Use this
option to make sure that discs that were partially or minimally erased are fully
erased.
About Writing Audio Montages
You can write audio montages to an audio CD.
Writing an Audio Montage to an Audio CD
PREREQUISITE
Set up your audio montage and make your CD writing settings in the Global Preferences.
NOTE
On Mac, insert a medium in the drive after opening WaveLab Elements. Otherwise, the drive is
under the control of the operating system and is not available for WaveLab Elements.
PROCEDURE
1.
Optional: In the CD window, select Functions > Check CD Conformity to check that all
settings conform to the Red Book standard.
2.
Insert an empty CD into your drive.
3.
In the CD window, select Functions > Write Audio CD.
4.
From the Device pop-up menu, select the writing device that you want to use.
5.
If you want to bypass the Master Section, activate Bypass Master Section.
6.
Select the writing speed from the Speed pop-up menu.
7.
Select the number of copies that you want to write.
When you want to write more than one copy, it is recommended to activate Render to
Temporary File before Writing.
8.
9.
Optional: Activate one or several of the following options:
●
Activate Test Only, Do Not Write if you want to test if the writing operation would
be successful.
●
Activate Render to Temporary File before Writing if your audio montage uses
many plug-ins. This way, the audio data is sent to the CD writer fast enough.
●
Activate CD-Extra Compatible (New Session Possible) if you want the resulting
audio CD to be compatible with the CD-Extra format.
●
Activate Eject after Completion if you want the disc to be automatically ejected
after the writing operation.
Click OK.
RESULT
The writing operation starts.
RELATED LINKS
Write Audio CD Dialog on page 208
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Writing Operations
About Writing Audio Montages CD-Text
CD-Text is an extension of the Red Book Compact Disc standard and allows you to save text
information such as title, songwriter, composer, and disc ID on an audio CD.
The text data is then displayed by CD players that support the CD-Text format. The CD-Text can
also be included in the audio CD report.
CD-Text Editor Dialog
In this dialog, you can specify information such as track title, performer, and songwriter, that is
written onto the CD as CD-Text.
You can add information about the disc itself and each individual track. This information is
entered in the text fields that scroll horizontally. There is one pane of fields for the disc itself and
a pane for each track.
●
To open the CD-Text Editor dialog, in the CD window, select the track for which you want
to edit the CD-Text, and select Functions > Edit CD-Text.
Copy CD Track Marker Name
Copies the name of the CD track marker to this field.
Copy CD Track Start Marker Name to All CD Track Titles
Copies the name of each CD track start marker to the title field of each CD track.
Copy Text to All Following Tracks
Copies the text to all tracks that are located after the current one.
Scrollbar
Allows you to navigate across all CD-Texts. The first position corresponds to the
whole CD, other positions to individual tracks.
Language
Here, select how characters should be encoded on the CD.
NOTE
If a character is not CD-Text compatible, it is displayed as a ? character.
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Writing Operations
Data CD/DVD Projects Restrict to ASCII
To ensure the maximum compatibility with CD players, it is recommended to restrict
the characters to ASCII when using the Western European option. If this option is
activated, and you type a non-compatible character, a ? character is displayed.
Enable CD-Text Writing
If this option is activated, the CD-Text is written onto the CD.
Data CD/DVD Projects
A data CD/DVD project can be used to compile and write a data-only CD, DVD, Blu-ray, or to
write to ISO image. You can enter a name for your disc and change the disc file structure before
writing your data to a CD, DVD, Blu-ray, or ISO image.
Creating a Data CD/DVD Project
A data CD/DVD project can be used to compile and write a data-only CD, DVD, Blu-ray, or to write
to ISO image.
PROCEDURE
1.
Select File > Tools > Data CD/DVD.
2.
Add files to the project, using one of the following methods:
3.
●
Drag the files from the WaveLab Elements File Browser window or from the File
Explorer/macOS Finder into the Data CD/DVD window.
●
Drag an audio file or audio montage tab into the Data CD/DVD window.
●
Right-click a file tab, and select Add to > Data CD/DVD.
Optional: Click New Folder, specify a folder name, and arrange the files by dragging.
Writing a Data CD/DVD Project
PREREQUISITE
Open the Data CD/DVD dialog, and add the files that you want to write to a data CD/DVD.
PROCEDURE
1.
Click Write Data CD/DVD.
2.
Select a writing device.
3.
●
If you select ISO Image, specify a file name and file location.
●
If you select a CD/DVD writer, specify the writing speed and make further settings.
Click OK.
Data CD/DVD Dialog
In this dialog, you can create a data CD/DVD project, and write it to a CD, DVD, Blu-ray, or an ISO
image.
●
To open the Data CD/DVD dialog, select File > Tools > Data CD/DVD.
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Writing Operations
Data CD/DVD Projects Media
Allows you to select the media type you want to write. If the media size that you
want to use is not listed, select the media type that offers the size closest to your
requirements.
Volume Name
Allows you to specify the volume name of the CD/DVD.
Open File Explorer/macOS Finder
Opens the File Explorer/macOS Finder to show the location of the selected file.
Remove Selected Files and Folders
Removes the selected files and folders from the CD/DVD project.
New Folder
Creates a folder. You can also create sub-folders.
Write Data CD/DVD
Opens the Write Data CD/DVD dialog from which you can write the medium.
Data CD/DVD list
Shows the contents of the CD/DVD project, and the size creation date, and number of
files.
Available space on media
Indicates how much space is used on the media. The Total Size of the data CD/DVD
project is shown below the data CD/DVD list.
Reset
Removes all files from the data CD/DVD project.
Write Data CD/DVD Dialog
In this dialog, you can write a data CD/DVD project to a CD/DVD or an ISO file.
●
To open the Write Data CD/DVD dialog, open the Data CD/DVD dialog and click Write
Data CD/DVD.
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Writing Operations
Data CD/DVD Projects Device
Allows you to select the disc writer that you want to use or select ISO Image to
write a file on the hard drive. Writing an ISO image creates a copy of a future optical
medium.
NOTE
On the Mac, open WaveLab Elements without a medium in the drive. Otherwise, the
drive is under the control of the operating system and is not available for WaveLab
Elements.
Refresh
Scans the system for connected optical devices. This is done automatically, when this
dialog opens. Click the update icon after you insert a new blank medium, to update
the speed menu.
Eject Optical Medium
Ejects the optical medium present in the selected drive.
Device Information
Opens the Device Information dialog that shows information about the selected
device.
Erase Optical Medium/ISO Image
Erases the optical medium present in the selected drive, provided it is a rewritable
medium. If ISO Image is selected, clicking the button deletes the existing ISO file.
ISO File Name
If ISO Image is selected in the Device menu, specify the file name and file location of
the ISO file in the text field.
Speed
Allows you to select the writing speed. The highest speed depends on the capabilities
of your writing device and the medium present in the device.
Test Only, Do Not Write
If this option is activated, clicking OK initiates a simulation of writing the CD. If this
test is passed, the real write operation will succeed. If the test fails, try again at a
lower writing speed.
Create CD-Extra Session
If this option is activated, the data is written in a new session, after the audio tracks.
This creates a CD Extra, also known as Enhanced CD and CD Plus. For this to work,
the CD in the drive must have audio tracks on it, written with the CD Extra option.
Otherwise the operation fails.
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Writing Operations
Audio CD Formats Verify After Write
If this option is activated, the data on the medium is automatically verified after the
writing process.
Eject Before Verifying
If this option is activated, the disc is ejected and retracted before the verification
process, to force the drive out of the write state.
NOTE
This is only possible if the disc can be retracted automatically.
Eject After Completion
If this option is activated, the disc is ejected after the writing operation.
Audio CD Formats
This chapter provides you with background information on the CD format, to help you better
understand how to create your own CDs.
Basic CD Formats
There are a number of different formats for the contents of a CD disc. For example, audio CDs,
CD-ROMS, and CD-I. These are all slightly different.
The audio CD specification is called Red Book. It is this standard to which WaveLab Elements
conforms.
NOTE
Red Book CD is not a real file format. All the audio on the CD is saved in one big file. This is
different from hard disks, for example, where each file is saved separately. Keep in mind that all
the audio is in fact one long stream of digital data.
CD-Extra Support
CD-Extra is a format that allows for the writing of both audio and data on a single CD, just like
Mixed Mode CDs. When writing an audio CD, you can prepare it for CD-Extra support (also known
as Enhanced CD or CD Plus).
The difference is that when Mixed Mode CDs are written with the audio placed on the last tracks
of the CD, for CDs in the CD-Extra format the audio is contained in the first tracks of the CD, and
the data follows subsequently.
All features of the Red Book audio CD are possible with CD-Extra, unlike with Mixed Mode CDs.
After an audio CD has been written with CD-Extra support, the data can be added to the CD in a
separate session, by creating and writing a data CD project.
NOTE
Some computer CD drives may not recognize CDs in the CD-Extra format.
Types of Events on an Audio CD
There are three types of events that can be used to specify various sections of audio on the CD.
Track start
There can be up to 99 tracks on one CD. Each is identified by its start point only.
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Audio CD Formats Track sub-index
On advanced CD players, a track can be divided into sub-indexes (sometimes called
only indexes). These are used to identify important positions within a track. There
can be 98 sub-indexes in each track. However, because it is difficult and timeconsuming to search for and locate to a sub-index, many CD players ignore this
information.
Pause
A pause is added before each track. Pauses can be of variable lengths. Some CD
players indicate the pauses between tracks on their displays.
Frames, Positions, Small Frames, and Bits
The data on an audio CD is divided into frames.
A frame consists of 588 stereo samples. 75 frames make up one second of audio. This is because
75 x 588 = 44100, and because the sampling frequency of the CD format is 44100 Hz (samples
per second), this equals one second of audio. When you specify positions on the CD, in WaveLab
Elements, you do it in the format mm:ss:ff (minutes:seconds:frames). The frame values go from 0
to 74, because there are 75 frames to a second.
Technically, there is no way to specify something smaller than a frame on a CD. One effect of this
is that if the sample length of a track on the CD does not equal a perfect number of frames, some
blank audio must be added at the end. Another effect of this is that when you play the CD, you
can never locate to anything closer than a frame. If you need some data in the middle of a frame,
you still have to read the whole frame. Again, this is unlike a hard disk, where you can retrieve
any byte on the disk, without reading the surrounding data.
But frames are not the smallest block of data on a CD. There is also something called “small
frames”. A small frame is a container of 588 bits. 98 small frames together make up one regular
frame. In each small frame there is only room for six stereo samples, which means that a lot
of space is left for data other than the actual audio. There is information for encoding, laser
synchronization, error correction, and the PQ data to identify the track boundaries. This PQ data
is of major importance to anyone who wants to create their own CD, and handled effortless in
WaveLab Elements.
ISRC Codes
International Standard Recording Code (ISRC) is an identification that is only used on CDs
intended for commercial distribution. WaveLab Elements allows you to specify an ISRC code for
each audio track. These codes are provided by your publisher or clients.
The ISRC code is structured as follows:
●
Country Code (2 ASCII characters)
●
Owner Code (3 ASCII characters or digits)
●
Recording Year (2 digits or ASCII characters)
●
Serial Number (5 digits or ASCII characters)
The groups of characters are often presented with hyphens to make them easier to read, but
hyphens are not part of the code.
UPC/EAN Codes
UPC/EAN code – the Universal Product Code/European Article Number, is a catalog number for
an item (such as a CD) intended for commercial distribution. On a CD, the code is also called the
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Audio CD Formats Media Catalog Number and there is one such code per disc. These codes are provided by your
publisher or clients.
UPC is a 12-digit barcode widely used in the USA and Canada. EAN-13 is a 13-digit barcoding
standard (12 + a checksum digit) defined by the GS1 standards organization. EAN is now
renamed as International Article Number, but the abbreviation has been retained.
Pre-Emphasis
CD pre-emphasis refers to process designed to increase, within a band of frequencies, the
magnitude of some (usually higher) frequencies compared to the magnitude of other (usually
lower) frequencies in order to improve the overall signal-to-noise ratio by lowering the
frequencies during reproduction.
Pre-emphasis is commonly used in telecommunications, digital audio recording, record cutting
and in FM broadcasting transmissions. The presence of pre-emphasis on a track is sometimes
indicated by a checkmark in the Pre-Emphasis
column on the Import Audio CD dialog.
Disc-At-Once – Writing CD-Rs for Duplication Into Real CDs
WaveLab Elements only writes audio CDs in Disc-at-Once mode.
●
If you want to create a CD-R to use as a master for a real CD production, you must write
the CD-R in Disc-At-Once mode. In this mode, the entire disc is written in one pass. There
are other ways of writing a CD, namely Track-At-Once and Multi-Session. If you use these
writing formats, the link blocks created to link the various recording passes together will
be recognized as uncorrectable errors when you try to master from the CD-R. These links
can also result in clicks when playing back the CD.
●
Disc-At-Once mode provides more flexibility when specifying pause lengths between
tracks.
●
Disc-At-Once is the only mode that supports sub-indexes.
Writing On The Fly vs. CD Images
WaveLab Elements writes a CD on the fly, that is, it does not create a CD image before writing.
This method makes writing CDs/DVDs faster and requires less disc space. However, you can also
create an image prior to writing a CD/DVD.
217
Loops
This chapter describes various operations that are related to looping. Looping is used to simulate
the infinite or at least very long sustain of many instrumental sounds. WaveLab Elements has
tools for creating smooth loops, even for the most complex types of sounds.
Basic Looping
Looping a sound allows you to repeat a section of the sample indefinitely in order to create a
sustain of unlimited length. Instrumental sounds in samplers rely on looping organ sounds, for
example.
In WaveLab Elements, loops are defined by loop markers. Loop markers are added, moved, and
edited just as any other type of marker.
To ensure that you find a good loop point, note the following:
●
A long loop usually sounds the most natural. However, if the sound does not have a stable
section in the middle (an even sustain part), it might be hard to find a good long loop.
For example, a piano note which decays continuously is hard to loop because the start
point of the loop is louder than the end point. A flute is much simpler, because the sound
in the sustain section is very stable.
●
A loop should start shortly after the attack, that is, when the sound has stabilized to a
sustaining note.
●
If you set up a long loop, it should end as late as possible but before the sound starts
decaying to silence.
●
Short loops are difficult to position within the sound. Try to position them near the end.
NOTE
More information about looping in general, and the exact capabilities of your sampler in
particular can be found in the manual of the sampler.
Creating a Basic Loop
PROCEDURE
1.
In the Audio Editor, select the audio section that you want to loop.
2.
Right-click above the ruler and select Create Loop from Selection.
3.
On the transport bar, activate Loop.
4.
Play back the loop and adjust the position of the markers to change the loop.
AFTER COMPLETING THIS TASK
Creating a loop this way does not necessarily lead to good loops, because clicks or abrupt
changes in timbre at the turning point can occur.
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Loops
About Refining Loops We suggest that you use this method for setting up the basic length of the loop and then use the
Loop Tweaker and Loop Tone Uniformizer for optimizing.
About Refining Loops
The Loop Tweaker tool allows you to refine a region of audio for seamless looping. Use the Loop
Tweaker to tweak an existing loop selection so that it loops perfectly or use it to create a loop
from material which is not perfectly suited to create a loop.
You can automatically detect loop points by scanning the area between two loop markers. You
can specify parameters that determine how accurate the program should be when suggesting
loop points.
If the automatic search for loop points is not successful, you can process the waveform to allow
for smoother loops by crossfading areas of the waveform close to the loop start and end points.
To use the Loop Tweaker, you must first define a loop using a pair of loop markers.
Loop Points Adjustment Tab
Use the Loop Points Adjustments tab in the Loop Tweaker dialog to manually refine a loop
selection by dragging the waveform to the left/right or by using the automatic search buttons
to find the nearest suitable loop point. The aim is to align the waveforms so that they meet at
a zero-crossing point where the waveforms match as closely as possible. When you adjust your
loop start and end points in the dialog, the start and end loop markers in the main waveform
window adjust accordingly. Note that this movement may not be visible depending on how much
you move the markers and on the zoom factor that you have selected.
It may be helpful to activate Loop on the transport bar during playback so that you can hear the
difference when you adjust the loop markers. If you are not using a crossfade or post-crossfade,
you do not have to click Apply when tweaking loop points. You can also leave this dialog open
and manually adjust the position of the markers in the main waveform windows.
Crossfade Tab
This tab allows you to apply a crossfade between the audio at the end of a loop and the audio at
the beginning of the loop. This can be useful to smooth the transition between the end of a loop
and its beginning, especially when you use material that is not perfectly suited to create a loop.
Use the envelope drag points or value sliders to adjust the crossfade envelope. Click Apply to
create the crossfade.
Post-Crossfade Tab
This tab allows you to apply a crossfade at the end of the loop by mixing a copy of the loop back
into the audio. Use the envelope drag points or value sliders to adjust the crossfade envelope.
Click Apply to create the post crossfade.
Post-crossfading means crossfading the loop back into the audio after the end of the loop so that
there is not glitch when playback continues after the loop. This is done by mixing a copy of the
loop back into the audio.
Refining Loops
You can refine loops using the Loop Tweaker tool.
PREREQUISITE
Set up a basic loop.
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Loops
About Refining Loops PROCEDURE
1.
In the Audio Editor, select the loop that you want to refine by clicking between its loop
start and loop end marker.
2.
Select the Process tab.
3.
In the Loop section, click Tweaker.
4.
In the Loop Tweaker dialog, refine your loop.
5.
Click Apply.
Moving Loop Points Manually
If your loop still has glitches or bumps at the transition points, you can use the Loop Tweaker
tool to move the points in small steps to remove the glitch.
This is similar to moving the loop points in the wave display, but with a visual feedback to
facilitate finding good loop points.
There are two ways of moving the loop points manually on the Loop Points Adjustment tab in
the Loop Tweaker dialog:
●
Drag the waveform to the left and right.
●
Use the green arrows below the waveform to nudge the audio to the left and right. Each
click moves the loop point by a single sample.
The following applies when moving the loop points manually:
●
To move the end point to a later or earlier position, move the left part of the display.
●
To move the start point to a later or earlier position, move the right part of the display.
●
To move the start and end points simultaneously, activate Link Start and End Points. This
way, when adjusting a loop point, the length of the loop stays the same, but the entire
loop is moved.
●
You can also adjust the loop markers in the wave window.
Automatically Detecting Good Loop Points
The Loop Tweaker tool can automatically search for good loop points.
PROCEDURE
1.
In the Audio Editor, select the loop that you want to refine by clicking between its loop
start and loop end marker.
2.
Select the Process tab.
3.
In the Loop section, click Tweaker.
4.
In the Loop Tweaker dialog, on the Loop Points Adjustment tab, make sure that Link
Start and End Points is deactivated.
5.
In the Automatic Search section, specify the Aimed Correspondence and the Search
Accuracy.
6.
Click the yellow arrow buttons to start the automatic search for a good loop point.
WaveLab Elements scans from the current point forwards or backwards, until it finds
a point that matches. You can stop at any time by clicking the right mouse button. The
program then jumps back to the best found match.
7.
Check the loop by playing it back.
8.
Optional: If you think there might be a better loop point, continue with the search.
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Loops
About Refining Loops Temporarily Saving Loop Points
Temporarily saving and restoring loop points allows you to compare different loop settings.
PREREQUISITE
Set up a basic loop and open the Loop Tweaker tool.
NOTE
●
There are five slots for temporarily saving loop points for each wave window and montage
window. If you have several sets of loops in your file, you must be careful to not recall the
wrong set.
●
Only loop positions are temporarily saved.
PROCEDURE
1.
On the Loop Points Adjustment tab, in the Temporary Memories section, click M.
2.
Select one of the five memory slots.
Crossfades in Loops
Crossfading is useful to create smooth transitions between the end of a loop and its beginning,
especially when using material that is not perfectly suited to create a loop.
Sometimes it is impossible to find a loop that does not cause any glitches. This is especially true
for stereo material, where you might be able to find a perfect candidate for only one channel.
In this case crossfading smears the material around the end loop point so that it loops perfectly.
This is achieved by mixing material from before the loop start with material that is located before
the loop end.
NOTE
This technique alters the waveform and therefore changes the sound.
Creating a Crossfade
PROCEDURE
1.
In the Audio Editor, create as good a loop as you can.
2.
Select the Process tab.
3.
In the Loop section, click Tweaker.
4.
In the Loop Tweaker dialog, decide if you want to create a crossfade or a post-crossfade:
●
If you want to create a crossfade, click the Crossfade tab.
●
If you want to create a post-crossfade, click the Post-Crossfade tab.
5.
Make sure that Crossfade Audio at End of Loop with Audio before Loop (Crossfade
tab) or Crossfade Audio after Loop with Audio of Loop Start (Post-Crossfade tab) is
activated.
6.
Specify the length for the crossfade either by dragging the length handle or by adjusting
the Length value below the graph.
7.
Specify the crossfade shape by dragging the shape handle or by adjusting the Shape
(from Equal Gain to Equal Power) value.
8.
Click Apply.
The sound is processed. Each time that you click Apply, the previous loop process is
automatically undone. This allows you to try out different settings quickly.
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Loops
About Refining Loops NOTE
Do not move the loop points after you have performed a crossfade. The waveform has
been processed specifically for the current loop settings.
AFTER COMPLETING THIS TASK
●
You can check the crossfade visually by opening the Loop Points Adjustment tab and
activating Display Processed Audio. If this is activated, the display shows a preview of
the crossfaded waveform. If this option is deactivated, the display shows the original
waveform. Switching back and forth allows you to compare the two.
Post-Crossfades
Post-crossfading means crossfading the loop back into the audio after the end of the loop so that
there is not glitch when playback continues after the loop. This is done by mixing a copy of the
loop back into the audio.
The post-crossfade can be set up on the Post-Crossfade tab of the Loop Tweaker dialog.
The post-crossfade analyzes the part of the waveform that occurs just after the loop start and
processes a specific area that begins at the end of the loop. The length parameter adjusts the
size of this area. Everything else is identical with regular crossfading.
Loop Tweaker
This dialog allows you to adjust the loop start and end points, and crossfade the loop boundaries.
The loop start and end points are specified with the loop start and end markers.
If more than one loop marker pair is available in the audio file, click in the area between a loop
marker pair to tweak the corresponding start and end points.
●
To open the Loop Tweaker dialog, open the Audio Editor, select the Process tab, and in
the Loop section, select Tweaker.
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Loops
About Refining Loops Loop Points Adjustment Tab
The top of this dialog shows the beginning and the end of the waveform between the loop
markers. The bottom of this dialog offers the following options:
Loop End – Inner Arrows
Move the loop end points to the left/right.
Loop End – Outer Arrows
Invokes an automatic search for the nearest good loop point to the left/right of the
loop end point and moves the end point to that position.
Loop Start – Inner Arrows
Moves the loop start points to the left/right.
Loop Start – Outer Arrows
Invokes an automatic search for the nearest good loop point to the left/right of the
loop start point, and moves the start point to that position.
Stereo Merge
If this option is activated for a stereo file, the two waveforms are overlaid, otherwise
they are shown in two separate sections.
Overlap
If this option is activated, the waveforms of both halves are continued in the other
half. This shows how the waveform looks like right before and after the loop.
Display Processed Audio
If this option is activated, the display shows a preview of the waveform after
crossfading. If this option is deactivated, you see what the waveform looks like
without crossfading. This option only makes sense after you have applied a
crossfade.
Automatic Vertical Zooming
If this option is activated, the vertical magnification is adjusted so that the waveform
always fills the entire display vertically.
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Loops
About Refining Loops Zoom
Sets the zoom factor.
Current Correspondence
Indicates how well the waveforms near the loop points match one another. The
left value estimates the similarity across several wave cycles, while the right value
estimates the similarity of the few samples near the loop points. The higher the
values, the better the match.
Aimed Correspondence (0-1000)
Sets up the automatic search for good loop points. This defines how well the found
section must resemble the section to which it is compared, in order to be considered
a match. The higher the value, the more precise the resemblance must be. A value of
1000 requires a 100 % perfect match.
Search Accuracy
Determines how many samples should be taken into account by the auto-find
analysis. Higher values result in greater accuracy, but also in longer processing
times.
Link Start and End Points
If this option is activated, both the start and end points move simultaneously when
you adjust the loop points manually. That is, the loop length stays exactly the same
and the entire loop moves.
Temporary Memories
Allows you to save up to five different sets of loop points which you can later recall.
This allows you to try out different loop settings. To save a set, click this button, then
on one of the buttons 1-5.
Crossfade Tab
Crossfade Audio at End of Loop with Audio before Loop
To enable crossfading, activate this checkbox. The crossfade is applied when you
click Apply.
224
Loops
About Refining Loops Length
Determines the length of the crossfade. Generally, you want the crossfade to be as
short as possible, with an acceptable result.
NOTE
●
Using a long crossfade smoothens the loop. However, more of the waveform
is processed, which changes its character.
●
A shorter crossfade affects the sound less, but the loop is not as smooth.
Shape (from Equal Gain to Equal Power)
Determines the shape of the crossfade. Use low values for simple sounds and high
values for complex sounds.
Post-Crossfade Tab
Crossfade Audio after Loop with Audio of Loop Start
To enable crossfading, activate this checkbox. The crossfade is applied when you
click Apply.
Length
Determines the length of the crossfade. Generally, you want the post-crossfade to be
as short as possible, with an acceptable result.
NOTE
●
Using a long post-crossfade smoothens the loop. However, more of the
waveform is processed, which changes its character.
●
A shorter post-crossfade affects the sound less, but the loop is not as smooth.
Shape (from Equal Gain to Equal Power)
Determines the shape of the post-crossfade. Use low values for simple sounds and
high values for complex sounds.
225
Loops
Looping Audio Which Is Not Very Well Suited for Looping Looping Audio Which Is Not Very Well Suited for Looping
Sounds that constantly decay in level or continuously change in timbre are difficult to loop. The
Loop Tone Uniformizer allows you to create loops from these kind of sounds.
The Loop Tone Uniformizer applies processing to the sound that evens out changes in level
and timbral characteristics in order for a sound to loop properly. For example, this is useful for
creating looped samples for a softsynth or hardware sampler.
The Loop Tone Uniformizer includes a crossfade option allowing you to fade in the original
sound into the processed sections when playback approaches the loop start.
To use the Loop Tone Uniformizer, you must have created a loop by setting a pair of loop
markers. The original length of the loop is not changed.
Looping Seemingly Unloopable Audio
PROCEDURE
1.
In the Audio Editor, set up a basic loop.
2.
Select the Process tab.
3.
In the Loop section, click Tone Uniformizer.
4.
In the Loop Tone Uniformizer dialog, make sure that either Slice Mixing and/or Chorus
Smoothing is activated and make the settings.
5.
Optional: Select the Pre-Crossfade tab, and set up a crossfade.
6.
Click Apply.
The sound is processed. Each time that you click Apply, a new loop is defined. This allows
you to try out different settings quickly.
NOTE
Do not move the loop points after you have performed a crossfade. The waveform has
been processed specifically for the current loop settings.
AFTER COMPLETING THIS TASK
After using the Loop Tone Uniformizer, the transition between the end of the loop and the end
of the file might not sound very natural. This can be fixed by creating a post-crossfade using the
Loop Tweaker.
Loop Tone Uniformizer
This dialog allows you to create sounds that loop from audio which is not very well suited for
looping. These are normally sounds that constantly decay in level or continuously change in
timbre.
●
To open the Loop Tone Uniformizer dialog, open the Audio Editor, select the Process
tab, and in the Loop section, select Tone Uniformizer.
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Loops
Looping Audio Which Is Not Very Well Suited for Looping Uniformizers Tab
This tab allows you to specify the methods that are used to even out the sound that you want to
loop.
Slice Mixing
Cuts the loop in slices, which are then mixed together to uniformize the sound.
For slice mixing, you need to determine the number of slices. Only experimentation
can tell how many slices are needed, but generally, the more slices you have, the
more natural the sound. However, the program puts a restriction on the number of
slices, so that each one is never shorter than 20 ms.
For example, if you specify eight slices, the loop is cut up into eight sections of equal
length. These sections are then overlapped and mixed together as one sound which
is repeated eight times. This new piece of audio replaces all audio inside the loop so
that no harmonic cancellation due to phase offsets occurs.
Slice Mixing – Number of Slices
The more slices you use, the more the sound changes.
Chorus Smoothing
This processor uses a phase vocoding method to filter the harmonics. This method
is recommended for looping ensemble and choir sounds and can drastically change
the timbre.
Chorus Smoothing – Timbre
Governs the amount by which the timbral characteristics of the sample should be
evened out. The higher the value, the more pronounced the effect.
Chorus Smoothing – Chorusing
Determines the depth of the chorus effect.
Chorus Smoothing – Enhance Warmth
Creates a smoother, warmer sounding effect.
Chorus Smoothing – Stereo Expansion
Increases the width of the sample in the stereo sound image.
227
Loops
Sample Attributes Pre-Crossfade Tab
This tab allows you to crossfade the end of the loop with the start of the newly processed section
so that the transition into the looped section is smoother during playback. Use the envelope drag
points or value sliders to adjust the crossfade.
You need to use this feature because the Loop Tone Uniformizer changes the timbre only inside
the loop. This means that the transition into the loop is not as smooth as expected unless you
apply crossfading.
Crossfade Audio before Loop with Audio of End of Loop
Enables crossfading, which is applied when you click Apply.
Length
Determines the length of the crossfade. Generally, you want the post-crossfade to be
as short as possible, with an acceptable result.
●
A long crossfade produces a smoother loop. However, more of the waveform
is processed, which changes its character.
●
A shorter crossfade affects the sound less, but the loop is not as smooth.
Shape (from Equal Gain to Equal Power)
Determines the shape of the crossfade. Use low values for simple sounds and high
values for complex sounds.
Sample Attributes
Sample attributes allow you to define settings for an audio sample before loading it into a
hardware or software sampler.
Sample attributes do not process the sample, they just provide the file properties that the
receiving sampler can use. This includes information about the pitch of the sample, which can
be detected automatically, the key range that the sample should span, and the velocity range
to occupy. For WAV and AIFF files, this information is saved in the header of the file. By default,
there are no sample attributes in an audio file.
NOTE
Depending on your sampler and the protocol that you use for communicating, the sample
attributes may not be supported.
228
Loops
Sample Attributes Editing Sample Attributes
PROCEDURE
1.
Open the Audio Editor.
2.
Select Tool Windows > Sample Attributes.
3.
In the Sample Attributes window, click Create.
4.
Optional: If you want to automatically detect the pitch of an audio selection, select an
audio range, and select Detect from Audio Selection.
5.
Specify the sample attributes.
6.
Save the audio file to save the sample attributes settings in the audio file.
The sample attribute is only saved in WAV and AIFF files.
Sample Attributes Window
In this window, you can create sample attributes for an audio sample.
●
To open the Sample Attributes window, open the Audio Editor and select Tool
Windows > Sample Attributes.
Create/Remove
Creates/Removes sample attributes for the active audio file.
Tune – Key
Specifies which key plays back the sound at its basic pitch.
Tune – Detune
Specifies whether the sample should be played back at a slightly different pitch. The
range is ±50 % of a semitone, which translates into a quarter tone in each direction.
Detect from Audio Selection
Detects the pitch from an audio selection. Make sure that the audio selection
contains a clearly defined pitch.
Key Range – High/Low
Specifies the key range for the sample if the sample is part of a multi-sample key
map.
Velocity Range – High/Low
Specifies the velocity range for the sample if the sample is part of a multi-sample key
map with velocity-switchable samples.
229
Importing Audio CD Tracks
You can read audio tracks from regular CDs and save them as a digital copy in any audio format
on your hard disk.
Although WaveLab Elements supports a large number of CD drives, there are some restrictions
you need to be aware of:
●
There are a number of different protocols for retrieving audio from a CD-ROM/CD-R drive.
WaveLab Elements supports as many of these methods as possible, but there are no
guarantees that it works with any particular drive. This applies for CD-Text and ISRC.
●
Observe and respect any copyright notices on the CDs from which you are importing
tracks.
When importing tracks, they are named “Track XX” by default, where XX is a number starting at
01. The numbering scheme can be changed.
NOTE
Importing audio CD tracks is technically more complicated than reading files from a CD-ROM
or hard disk, because audio sectors can be hard to detect. Some CDs which do not conform
completely to the CD standard may cause problems, especially when they are copy protected.
Import Audio CD Dialog
In this dialog, you can import one or more tracks from an audio CD.
●
To open the Import Audio CD dialog, select File > Import, and click Audio CD.
230
Importing Audio CD Tracks
Import Audio CD Dialog Functions Menu
CD Info
Displays the CD length and the UPC/EAN code, if available.
Extract ISRC Codes
Reads the ISRC codes and displays them in the track list. Depending on your CD
drive, this can take a while.
Examine CD-Text
Opens the CD-Text dialog where you can view the CD-Text. Not all CD drives support
CD-Text.
Extract CD-Text
Extracts the CD-Text and displays a summary in the track list.
Rename Tracks Menu
Name
Renames the tracks according to the selected renaming scheme.
Search Track Names on the Internet (FreeDb)
Searches track names from an Internet database. If the album is found, the CD track
list is updated.
Submit Track Names to the Internet (FreeDb)
Submits the information about the audio CD to the FreeDb database of CD
information.
Convert Menu
Convert All Tracks to Audio Montage
Extracts all audio CD tracks and uses them to create an audio montage.
231
Importing Audio CD Tracks
Import Audio CD Dialog Convert Selected Tracks to Audio Montage
Extracts the selected audio CD tracks and uses them to create an audio montage.
Actions Tab
Source
Select the CD drive from which you want to import audio CD tracks.
Speed
Allows you to set the writing speed. The highest speed depends on your writing
device and on of the medium present in the device.
Refresh
If you insert a CD while the Import Audio CD dialog is open, you need to click this
button to show the contents of that CD in the list.
Eject Optical Medium
Ejects the medium from the selected drive.
Track List
Shows the tracks on the CD.
Range – Start/Length
If you want to import only a section of a track, use the Start and Length fields to
define a start point and length.
Output – Location
Allows you to set the output location.
Output – File Format
Allows you to set the output file format.
Select All
Selects all CD tracks in the track list.
Play
Plays back the selected CD track.
Options Tab
Trim Silence
If this option is activated, silence between imported tracks is removed. Only digital
silence is removed, that is, samples with a zero level.
Automatically Refresh on CD Change
If this option is activated, WaveLab Elements checks for the presence of a new CD
in the drive several times a second. If a new CD is found, the track list display is
refreshed.
Automatically Extract ISRC Codes
If this option is activated, ISRC codes are automatically extracted when a CD is
inserted.
Automatically Extract CD-Text
If this option is activated, CD-Text is automatically extracted when a CD is inserted.
Automatically Search Track Names on the Internet
If this option is activated, track names are automatically searched on the Internet
when a CD is inserted.
232
Importing Audio CD Tracks
Importing Audio CD Tracks Grab Pause before First Track (If Available)
If this option is activated, when a section of audio is located before the first track, it is
extracted together with the first track. This way, you can import hidden bonus tracks.
Use a Japanese CD-Text Decoder
If this option is activated, CD-Text is interpreted as Japanese the next time it is
extracted.
Create Peak File
If this option is activated, a peak file is created together with the rendered files.
Show Times with CD Frame Units
If this option is activated, times are shown in CD frame units. There are 75 CD frames
per second.
Play through Master Section
If this button is activated, the Master Section is ignored. If the button is deactivated,
the audio is played through the Master Section.
Convert Titles and CD-Text to Metadata
If this option is activated when importing tracks into an audio format supporting
metadata (for example, MP3 and WMA), the titles of the tracks and the CD-Text are
automatically added to the file header.
Ultra-Safe Mode (Slow)
If this option is activated, each CD track is read several times until the same result is
found (checksums are used). Specify the number of times that a track must be read
with the same result before it is saved to disk.
Real Audio Before and After Tracks
You can ensure that tracks are imported in their entirety by defining how much audio
should be read before and after each CD track.
Importing Audio CD Tracks
PROCEDURE
1.
Insert a CD into the CD-ROM/CD-R device.
2.
Select File > Import.
3.
Click Import Audio CD.
4.
In the Import Audio CD dialog, in the Source section, select the drive from which you
want to read, and specify the read speed.
5.
Optional: Rename the files and adjust the numbering scheme.
The tracks must have unique names if you want to import them all.
6.
Optional: On the Options tab, in the Read Audio Before and After Tracks section, define
how much audio should be read before and after each CD track.
7.
In the track list, select the tracks that you want to import.
8.
Optional: If you have only selected one file, in the Range section, you can define a Start
and Length, to import just a part of the track.
9.
In the Output section, click the folder icon, and select an output location.
You can also drag one or more CD tracks onto an audio montage track.
10.
In the Output section, click the file format field, and select a file format for the imported
audio files.
11.
Click Save.
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Importing Audio CD Tracks
Searching Track Names on the Internet RESULT
The tracks are imported to the specified location.
Searching Track Names on the Internet
You can search for information about your CDs using the FreeDb database of CD information.
PREREQUISITE
You must be connected to the Internet to use the FreeDb function.
PROCEDURE
1.
Insert a CD into the CD-ROM/CD-R device.
2.
Select File > Import.
3.
Click Import Audio CD.
4.
In the Import Audio CD dialog, select Rename Tracks > Search Track Names on the
Internet (FreeDb).
Submitting Track Names to the Internet
You can submit information about an audio CD to the FreeDb database of CD information.
PREREQUISITE
You must be connected to the Internet to use the FreeDb function.
PROCEDURE
1.
Insert a CD into the CD-ROM/CD-R device.
2.
Select File > Import.
3.
Click Import Audio CD.
4.
In the Import Audio CD dialog, rename each track.
5.
Select Rename Tracks > Submit Track Names to the Internet (FreeDb).
6.
In the Submit CD Information dialog, fill out the text fields and enter an e-mail address.
NOTE
An e-mail address is required to report submission errors. It will not be saved.
The FreeDb database does not offer the possibility to enter different artists or genres for
individual tracks. If the artists differ from track to track, you can write the track title in the
following way: Title/Artist
7.
Click OK.
Ultra-Safe Mode
Sometimes, a small bit of a CD track is not properly retrieved which results in unpleasant clicks
and pops in the audio. This depends on the quality of your CD drive. To solve this issue, you can
activate the Ultra-Safe Mode in the Import Audio CD dialog options.
If this option is activated, you can specify how many times each CD track must be read with the
same result, before it is saved to disk.
234
Importing Audio CD Tracks
Converting Audio CD Tracks to an Audio Montage Converting Audio CD Tracks to an Audio Montage
PROCEDURE
1.
Insert a CD into the CD-ROM/CD-R device.
2.
Select File > Import.
3.
Click Import Audio CD.
4.
Optional: In the Import Audio CD dialog, on the Options tab, select which information
you want to extract from the Audio CD when converting.
5.
Decide whether to convert only selected tracks or all tracks.
●
To convert only selected tracks, select Convert > Convert Selected Tracks to Audio
Montage.
●
To convert all tracks, select Convert > Convert All Tracks to Audio Montage.
RESULT
When the conversion is finished, the imported files open in the Audio Montage window.
235
WaveLab Exchange
You can use WaveLab Elements as an external editor for Cubase Pro, Cubase Artist, and Nuendo,
and vice versa.
IMPORTANT
●
WaveLab Exchange is only available for Cubase Pro 8.5.10 or higher, Cubase Artist 8.5.10
or higher, and Nuendo 7.1.20 or higher.
●
WaveLab Exchange supports the file format Wave.
WaveLab Elements as External Editor for Cubase/Nuendo
You can open Cubase/Nuendo events in WaveLab Elements. This allows you to use the editing
capabilities of WaveLab Elements and apply them to Cubase/Nuendo events.
For example, the following editing options are exclusively available in WaveLab Elements:
●
Audio error correction
●
Independent channel editing and processing
●
Analysis meters, global analysis (EBU R-128 recommendation), and 3D frequency analysis
●
RestoreRig
●
MasterRig
Editing Cubase/Nuendo Audio Events in WaveLab Elements
PREREQUISITE
Open your Cubase/Nuendo project in Cubase/Nuendo.
PROCEDURE
1.
In the Cubase/Nuendo Project window, select the audio event that you want to edit in
WaveLab Elements.
You can also select only a part of the audio event with the Object Selection tool.
2.
Select Audio > Edit in WaveLab.
3.
In WaveLab Elements, edit the audio event.
4.
When you have finished the editing, click Trigger Cubase/Nuendo Update on the
command bar.
RESULT
The changes to the audio event are applied to the Cubase/Nuendo project.
236
WaveLab Exchange
Cubase/Nuendo as External Editor for WaveLab Elements Cubase/Nuendo as External Editor for WaveLab Elements
When you are working on an audio file or clip in WaveLab Elements, you can open the project of
the audio file in Cubase/Nuendo. This allows you to correct issues that you have identified during
mixing and correct these issues in the audio file in Cubase/Nuendo.
When you then export the audio file in Cubase/Nuendo, and you use the same file name, the
audio file or clip is automatically updated in WaveLab Elements.
Preparing the Cubase/Nuendo Project for WaveLab Exchange
PROCEDURE
1.
In Cubase/Nuendo, open the project that you want to prepare for WaveLab Exchange.
2.
Select File > Export > Audio Mixdown.
3.
In the Export Audio Mixdown dialog, specify a file name and path.
4.
In the File Format pop-up menu, select Wave File or Wave 64 File.
5.
Activate Insert iXML Chunk.
6.
Click Export.
Editing the Audio File in Cubase/Nuendo
PREREQUISITE
The Cubase/Nuendo project is prepared for WaveLab Exchange.
PROCEDURE
1.
In WaveLab Elements, open the audio file in the Audio Editor.
A yellow line above the file tab indicates that the file has been rendered in
Cubase/Nuendo.
2.
Select the Edit tab.
3.
In the Source section, click Edit Project.
The Cubase/Nuendo project that contains the audio file opens.
4.
In Cubase/Nuendo, edit the audio file.
5.
Select File > Export > Audio Mixdown.
6.
In the Export Audio Mixdown dialog, activate Insert iXML Chunk.
IMPORTANT
Do not change the file name and path.
7.
Click Export.
RELATED LINKS
Preparing the Cubase/Nuendo Project for WaveLab Exchange on page 237
Tab Colors on page 51
237
Podcasts
Podcasting is a method of distributing multimedia files over the Internet, for example, for
playback on mobile devices and personal computers.
A podcast can be downloaded automatically, using software that is capable of reading RSS feeds.
RSS (Really Simple Syndication) is a standard for distributing news and other information via the
Internet. An RSS news feed sends short messages on a specific topic from a specific web site. In
order to read the messages, the user employs a program that has the ability to monitor multiple
feeds and automatically download new messages on a regular basis. This can be a special feed
reader or an Internet browser, for example.
A podcast is an RSS feed including data content, such as audio or video files. This can be a
show of which new episodes are released regularly. The file formats .mp4a, .mp3, and .ogg are
commonly used for podcasts.
Podcast Editor
The Podcast Editor is divided into two panes. The upper pane shows the information for the feed
or an episode, depending on the item that is selected in the list below. This is where you can add
files, Internet links, or textual information to the podcast feed and its episodes. The lower pane
shows an item list of the basic feed and all episodes that are included in the podcast.
238
Podcasts
Podcast Editor Episode Section
In the Episode section, you can create, delete, and move individual podcast episodes.
New
Adds a new untitled episode.
Duplicate
Adds a new episode, copying all the information from the existing episode to the
new one.
Delete
Deletes the selected episode. Alternatively, you can exclude an episode from the
podcast by deactivating the Enabled box.
Cut/Copy/Paste
Cuts, copies, and pastes the selected episode.
Move Up/Move Down
Moves the selected episode one position up or down in the list. Alternatively, use
drag and drop.
FTP Section
In the FTP section, you can define where your podcast is going to be uploaded via FTP.
Update All Items
Uploads/updates the XML podcast file on the FTP server. It also uploads all
associated media files, but only if they are not yet available on the FTP server. This is
the most common function to upload and update your podcast.
239
Podcasts
Podcast Editor Update Selected Item
Uploads/updates the XML podcast file on the FTP server. It also uploads the media
file of the selected item in the list, but only if it is not yet available on the FTP server.
Upload/Replace All Items
This is the same as above, but it always uploads/replaces all of the media files
belonging to the item. This is useful if you have changed the audio data, for example.
Upload/Replace Selected Items
This is the same as above, but it always uploads/replaces the media file of the
selected item in the list. This is useful if you have changed the audio data, for
example.
FTP Settings
Opens the FTP Settings dialog, which allows you to edit the FTP settings that are
related to this podcast.
Podcast Section
View Published Podcast
Opens your podcast (via the URL that is specified in your FTP site settings) using your
default browser.
View XML Source Code
Opens an XML editor to display the source code of the podcast.
Global Options
Edit the automatic picture resizing, set a time offset with Greenwich Mean Time, and
specify the path of the HTML editor.
Main Tab
On the Main tab, you can assign parameters to your podcast. The available parameters change,
depending on whether you select a feed or an episode. Field labels in bold letters mark fields that
are mandatory to fill.
Title
Sets the title of the feed, for example, the topic of your podcast.
Description
Gives space for a further description of the feed content.
Import HTML File (only available for episodes)
Lets you browse for an HTML document that replaces the description.
Internet Link (URL)
The main link of the feed that the user sees. Use this to direct people to a web site
that is related to your feed. Clicking the world icon opens the specified URL in your
default Internet browser.
Audio File (only available for episodes)
This sets the path to the audio file that you want to add to the episode. The audio
file can be of any file type that is supported by the media reader of your browser.
An MP3 file provides best compatibility. Click the icon to list the audio files that are
already open in WaveLab Elements. Select one for your episode.
Alternatively, you can drag the list icon of an audio file into the audio file pane. Click
the play icon to open the specified file in the default media player or viewer of your
system, for previewing or checking purposes.
240
Podcasts
Podcast Editor Picture (only available for feeds)
According to the RSS standard, this picture may not be larger than 144 x 400 pixels,
so the picture is automatically resized. Clicking the picture icon opens the specified
picture in your default image viewer of your system.
Picture icon
Publication Date and Time
Sets the publication date and time of the feed or episode. Clicking the Now button
transfers the current date and time of your system.
As Most Recent Episode (only available for feeds)
If this option is activated, the date and time of the most recent episode are
automatically matched.
Extra Tab
On the Extra tab, you can assign parameters to your podcast. The available parameters change,
depending on whether you select a feed or an episode.
The following parameters are available for a feed:
●
Webmaster (E-Mail Address)
●
Editor (E-Mail Address)
●
Copyright
●
Category
●
Related Domain (URL)
●
Language
●
Frequency of Updates
●
Skip Hours (0 to 23, Comma Separated)
●
Time to Live (Number of Minutes)
The following parameters are available for an episode:
●
Author (Email Address)
●
Comments (URL)
●
Category
●
Related Domain (URL)
●
Title
●
Original Domain (URL)
iTunes Tab
On the iTunes tab, you can activate the iTunes extension that allows you to specify additional
feed and episode information. The available parameters change, depending on whether you
select a feed or an episode.
The following parameters are available for a feed:
●
Subtitle
●
Summary
●
Categories
●
Keywords (Comma Separated)
●
Author
●
Owner Name
241
Podcasts
Global Podcast Options ●
Picture
●
New URL of Feed
●
Hide in iTunes
●
Explicit Material
The following parameters are available for an episode:
●
Subtitle
●
Summary
●
Keywords (comma separated)
●
Author
●
Duration
●
Hide in iTunes
●
Explicit material
Global Podcast Options
Some additional options are valid for all Podcast Editor tabs.
●
To open the Global Podcast Options dialog, open the Podcast Editor, select the Edit tab,
and click Global Options.
Automatic Picture Resizing (Not for iTunes)
Defines what to do if specified pictures exceed the maximum size allowed by the RSS
standard. If pictures need resizing, the original images on your hard disk are not
modified.
Time Offset with GMT (Greenwich Mean Time)
The displayed dates and times are local. If your system is properly set up, WaveLab
Elements automatically adjusts the time offset in relation to GMT. However, if you
want to have time and date relative to a different time zone, adjust the value with
this option.
HTML Editor
Sets the path to the external HTML editor that is launched when you click the pen
button in the Import HTML File section.
Creating a Podcast
There are several ways to create a new podcast feed or episode.
●
To create a new podcast, select File > New and click Create Podcast.
●
To add a new untitled episode to a podcast, in the Podcast Editor, select the Edit tab, and
click New.
●
To add an audio file to the selected episode, select the Main tab, click in the Audio File
field, and select Select File Using Standard Selector. Select the audio file in the file
browser and click Open.
You can also drag an audio file from the File Browser window to the Audio File field.
●
To duplicate the selected episode, select the Edit tab, and click Duplicate. This adds a new
episode, and copies all information from the existing episode to the new one.
242
Podcasts
Setting Up a FTP for Podcast Publishing Setting Up a FTP for Podcast Publishing
To be able to upload a podcast to your FTP server, you must enter the FTP server details first.
PROCEDURE
1.
In the Podcast Editor, select the Edit tab.
2.
In the Podcast section, click FTP Settings.
3.
In the FTP Settings dialog, enter the following details:
●
The log-in details for your FTP server.
●
The relative path and file name of the podcast (extension .xml).
●
4.
Your web site address including the path to the feed.
Click OK.
Publishing Podcasts
You can upload a podcast from within WaveLab Elements to your FTP server.
PREREQUISITE
Set up your FTP settings within WaveLab Elements.
PROCEDURE
1.
In the Podcast Editor, select the Edit tab.
2.
In the FTP section, select one of the following options:
3.
●
Update All Items
●
Update Selected Item
●
Upload/Replace All Items
●
Upload/Replace Selected Items
In the FTP Settings dialog, check if the FTP settings are correct, and click OK.
RESULT
The podcast is uploaded to your FTP site.
FTP Settings Dialog
In the FTP Settings dialog, you can manage all required information for the podcast upload
process.
●
To open the FTP Settings dialog, open the Podcast Editor, select the Edit tab, and click
FTP Settings.
243
Podcasts
Checking the Podcast Host
The host name or IP address of the FTP server.
User Name
The login name to your FTP server.
Password
The password to the login.
Use Passive Mode
Keep this activated and only change this if you experience problems with the FTP
connection.
Feed File Name (with Path)
The podcast file name that is displayed on your FTP server (extension .xml),
including the relative path. File name and path are part of the final public Internet
address of the podcast, so you may want to avoid long names.
Associated Web Site (URL)
Your own web site address including the path to the feed.
FTP Settings Example
●
Your FTP host address is “ftp.MyPage.com”, your public web site address is
“www.MyPage.com”.
●
The feed file name setting is “podcasts/fantastic-cast.xml”, the associated web site setting
is “www.MyPage.com/podcasts”.
●
The media files of the podcast will be uploaded to the FTP server at “ftp.MyPage.com/
podcasts”.
●
The podcast file itself and the Internet address to be distributed will be found at
“www.MyPage.com/podcasts/fantastic-cast.xml”.
Each podcast saves its own complete FTP site information. It is also possible to save and recall
FTP site presets using the Preset functions at the bottom of the dialog.
Checking the Podcast
After creating and publishing a podcast, you can check if the upload was successful.
●
To visualize the contents of the feed XML file in your default XML editor, open the Podcast
Editor, select the Edit tab, and click View XML Source Code.
●
To open your default Internet browser and receive the podcast that you have just
published from the Internet, open the Podcast Editor, select the Edit tab, and click View
Published Podcast.
244
Customizing
Customizing means making settings so that the program behaves and looks the way that you
want it to.
Customizing the Wave Window and the Montage Window
You can set up the wave/montage window by adjusting colors of waveforms, background, cursor
lines, etc., and changing the look of the ruler and other window details.
Customizing can be done in the following ways:
●
By changing the default style.
●
By assigning different styles, according to specific conditions. For example, a specific file
type or a specific file name.
Assigning Custom Colors to the Wave Window or the Montage
Window
PROCEDURE
1.
Depending on whether you want to customize the colors of the wave window or the
montage window, do the following:
●
For the wave window, select File > Preferences > Audio Files and select the Style
tab.
●
For the montage window, select File > Preferences > Audio Montages and select
the Style tab.
2.
Select the part that you want to color from the Parts list.
3.
Specify a color using the color picker or the RGB fields.
Assigning Custom Colors According to Conditions
You can apply different color schemes automatically to different clips, according to their names
or the properties of their audio files.
IMPORTANT
If you redefine colors, be careful not to choose colors that cause other elements to disappear.
PROCEDURE
1.
Depending on whether you want to customize the colors of the wave window or the
montage window, do one of the following:
●
For the wave window, select File > Preferences > Audio Files and select the Style
tab.
245
Customizing
Customizing Shortcuts ●
2.
For the montage window, select File > Preferences > Audio Montages and select
the Style tab.
Do one of the following:
●
In the Audio Files Preferences, select one of the Conditional options from the popup menu at the top of the dialog.
●
In the Audio Montages Preferences, in the Parts list, select one of the Custom
entries.
3.
Specify a color using the color picker or the RGB fields.
4.
In the This Style Is Used If These Conditions Apply section, specify the conditions.
5.
Click OK.
Copying Color Settings
You can copy the color settings of one part, or all parts of a custom color schema.
●
To copy a color setting, select the part from which you want to copy the color, and select
Copy Color. Then select the part to which you want to copy the color, and select Paste.
●
To copy all color settings of a custom color setting, drag the name of a custom color
setting onto another custom color name, and click OK.
Customizing Shortcuts
In WaveLab Elements, you can control many functions via shortcuts to speed up your workflow.
You can edit existing shortcuts and create new shortcuts.
Most shortcuts are restricted to a specific editor, which means that you can reuse the same
shortcut combination in different editors. The exception is the Master Section where all
shortcuts are global to the application.
The shortcuts in the Navigation (Numeric Pad) and View and Navigation sections on the
Shortcuts tab are dedicated to navigating through WaveLab Elements.
Shortcuts that cannot be edited are grayed out. The shortcuts that you created are displayed in
blue in the editor.
You can create a new shortcut by specifying a key sequence of up to four keys that must be
pressed in a specific order to invoke the operation.
RELATED LINKS
Shortcuts Tab on page 248
Indexed Key Commands
Indexed key commands allow you to quickly jump to specific locations in your project, for
example, to a specific marker or Master Section slot.
The available indexed key commands are listed on the Shortcuts tab, in the Navigation
(Numeric Pad) section.
246
Customizing
Customizing Shortcuts ●
To trigger an index key command, type the number of the item that you want to jump to
and press the corresponding key on your keyboard.
EXAMPLE
If you want to jump to the 5th marker in your file window, press 5 on your keyboard and then
press M.
If you want to jump to the 10th file tab, press 10 on your keyboard and then press F.
RELATED LINKS
Shortcuts Tab on page 248
Editing Shortcuts
You can see the list of all shortcuts in the Shortcuts tab, and edit and define shortcuts on the
Shortcut Definitions dialog.
The Shortcuts tab provides a different command set for each menu or dialog.
●
To open the Shortcut Definitions dialog, select File > Preferences > Shortcuts, select a
command, and click Edit Shortcut.
●
You can define one key shortcut per command. Each shortcut can be a sequence of up to
four keystrokes.
●
To reset some or all types of shortcuts to their factory default use the Reset button.
Defining Key Sequences
You can define key sequences for a keyboard.
PREREQUISITE
On a Mac, commands for the main menus must consist of a single key command.
When using multiple key stroke commands, make sure that the key commands do not interfere
with each other. For example, when you have one shortcut Shift+L, M and define another to be
Shift+L, this second shortcut has no effect.
PROCEDURE
1.
Select File > Preferences > Shortcuts.
2.
In the commands list, select the command for which you want to define a key sequence,
and click Edit Shortcut, or double-click the Key Sequence column of the corresponding
command.
3.
In the Shortcut Definitions dialog, click in the Key Stroke fields and press the buttons
that you want to use as the key sequence.
4.
Click OK.
247
Customizing
Customizing Shortcuts RESULT
When you now press the keys/buttons specified in the dialog, the corresponding operation is
performed. The key strokes must be executed one after the other.
RELATED LINKS
Remote Devices Tab on page 11
Generating a List of All Shortcuts
You can generate an HTML file or print out a list that contains all shortcuts.
PREREQUISITE
If you want to print out the list, make sure a printer is connected to your system.
PROCEDURE
1.
Select File > Preferences > Shortcuts.
2.
Click Summary, and select one of the following options:
●
To open the Print Preview dialog, from which you can print out the list of all
shortcuts, select Print Preview. For Print Preview to be available, a printer must be
connected.
●
To open the list of all shortcuts in the HTML file format in the standard browser,
select HTML Report.
Shortcuts Tab
This tab allows you to customize your own shortcuts for WaveLab Elements. It shows a list of the
assigned shortcuts for WaveLab Elements commands and menu options.
●
To open the Shortcuts tab, select File > Preferences > Shortcuts.
248
Customizing
Customizing Shortcuts Search pop-up menu
Allows you to select the part of the commands list in which the search is performed.
Search field
Allows you to search for a command.
Use Wildcards
If this option is activated, the wildcard characters “*” and “?” can be used.
“*” substitutes zero or more characters, and “?” substitutes any character.
For example, if Search Keyboard Shortcut is selected, type “*” to display all
commands that are already associated with a shortcut.
Expand/Collapse
Expands/Collapses the folder tree.
Commands list
Shows all commands and their shortcuts.
Reset
Resets the commands to the factory settings.
Summary
Opens a menu from which you can generate a list of all commands and their
shortcuts, either in HTML or as a print out.
Edit Shortcut
Opens the Shortcut Definitions dialog where you can edit the shortcuts for the
selected command.
249
Customizing
Customizing Command Bars Shortcut Definitions Dialog
This dialog allows you to define your own customized shortcuts for a particular function.
●
To open the Shortcut Definitions dialog, select File > Preferences > Shortcuts, select a
command, and click Edit Shortcut.
Key Sequence
1st Key Stroke
Lets you select the first key of a sequence that can consist of up to four keys. Set the
focus to the key stroke field, then press the key combination. If nothing is displayed,
a key is not allowed in this context.
2nd/3rd/4th Key Stroke (optional)
Lets you select additional keys that must be used to execute the command. The
command is only executed if this key event happens after the first one.
Clear
Erases all key event fields.
Customizing Command Bars
You can hide or show individual command bar buttons. This way you can customize command
bars by removing unwanted commands.
PROCEDURE
1.
In a tool window, open the menu and select Customize Command Bar.
2.
To show a specific command on the command bar, activate the checkbox in the Bar
column for the corresponding command.
3.
Click OK.
Plug-in Organization
WaveLab Elements comes with various plug-ins, and additional plug-ins can be added. To retain
an overview over the plug-ins that are relevant to your project, you can organize your plug-ins in
groups.
On the Organize tab of the Plug-ins Preferences, you can specify how your plug-ins appear on
menus in the program. In the plug-ins list, you find subfolders representing groups of plug-ins.
Initially, plug-ins are categorized by vendor, category, favorite plug-ins, and recently used plugins.
250
Customizing
Plug-in Organization If the 32-bit and 64-bit versions of WaveLab Elements are used on the same system, their settings
are shared. An exception to this rule are the following options in the Plug-ins Preferences:
●
Additional VST Plug-in Folders
●
Ignore Plug-ins Located in the following Subfolders
This is because 32-bit plug-ins cannot be used in WaveLab Elements 64 bit and vice versa.
RELATED LINKS
Plug-ins Preferences on page 253
Deactivating Plug-ins
You can deactivate plug-ins. This is useful if you do not want to use particular plug-ins in
WaveLab Elements.
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the Organize tab.
3.
In the plug-ins list, navigate to the plug-in that you want to deactivate.
4.
Deactivate the checkbox in for the plug-in. When selecting multiple plug-ins, you can
deactivate all of them with a single click.
●
To deactivate the plug-in on the plug-in selection menus, deactivate the checkbox in
the Effect column.
●
To deactivate the plug-in on the Final Effect/Dithering panel of the Master
Section, deactivate the checkbox in the Final column.
●
To deactivate the plug-in on the Playback-Processing panel of the Master Section,
deactivate the checkbox in the Play column.
●
To deactivate a clip plug-in when a clip is not streamed, deactivate the checkbox in
the Dyn column.
This allows you to save DSP power when using hardware plug-ins.
Adding Plug-ins to the Favorites Menu
You can add plug-ins that you are using regularly to the Favorites menu of the plug-in selection
menu.
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the Organize tab.
3.
In the plug-ins list, navigate to the plug-in that you want to add to the favorites.
4.
Activate the checkbox for the corresponding plug-in in the Favorites column.
Favorites
NOTE
If the Favorites menu is empty, it does not appear in plug-in selection menus.
251
Customizing
Plug-in Organization Customizing Plug-in Groups
You can customize the appearance and sorting of plug-ins on the Organize tab of the Plug-ins
preferences.
●
To update the tree, click the Show Changes button.
●
The category labels that are used to create the hierarchy are supplied by the plug-in
manufacturers. To change the category name, navigate to the Category Renaming table,
click in the Original column, and select the category that you want to rename. Then click in
the Modified column, and enter a new name.
●
To change the sorting of plug-in groups, select whether to sort by category or by vendor
in the sorting menu of the Customize section. If a plug-in does not publish a vendor name
or category, the name of the enclosing plug-in folder on disc is used as vendor name or
category if it is not the VST plug-in root folder.
●
To group all plug-ins that start with the same prefix in one submenu, activate Create
Submenus Based on Prefixes, and specify the number of plug-ins that must start with the
same prefix. Only if this number is reached, a submenu is created.
●
To group plug-ins in a single submenu if their number is below a specified value, activate
Compress Hierarchy, and specify the threshold. A tree is flattened to a single submenu if
the number is below the threshold. This prevents too small submenus.
●
To activate the Recently Used category, activate Submenu with Recently Used Plug-ins,
and specify the maximum number of recently used plug-ins that should be displayed in
this category.
●
You can make the Recently Used category global to all places or individual for each
context, for example, for the Master Section, audio montage track, or audio montage clip.
To make the Recently Used category individual for each context, activate Independent
Recently Used Plug-ins Menus.
RELATED LINKS
Plug-ins Preferences on page 253
Adding Additional VST Plug-ins
You can specify folders where additional VST plug-ins can be found. This is useful if you are using
third-party VST plug-ins that you do not want to save in the standard VST folder.
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the General tab.
3.
In the Additional VST Plug-in Folder (WaveLab Specific) section, click the folder icon, and
navigate to the folder that contains the VST plug-ins that you want to add.
Excluding Plug-ins
You can specify a list of plug-ins that WaveLab Elements does not open.
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the General tab.
252
Customizing
Plug-in Organization 3.
In the Do Not Load the Following Plug-ins section, type in the name of the plug-in that
you do not want to open:
●
Enter the exact file name, without path and without file extension.
●
Enter one name per line.
●
If you put “*” in front of the name, any plug-in that contains the name is ignored.
Replacing Missing Plug-ins
When you open an audio montage and some plug-ins for tracks or clips are missing, you can
select plug-ins to replace the missing plug-ins.
PROCEDURE
1.
In the Missing Plug-ins dialog, click the Replacement column, and select a replacement
for the plug-in displayed in the Original column.
2.
If you want to use the new plug-in from now on, activate Save Replacements as Default.
3.
Click OK.
Plug-ins Preferences
On this tab, you can access a number of options for managing your VST plug-ins.
You can specify where WaveLab Elements should search for your VST plug-ins and which ones
it should ignore. It also allows you to choose how your VST plug-in controls respond to mouse
actions and how frequently graphics are updated.
If you use your own file structure to organize and save VST plug-ins, this dialog allows you to gain
full control over which plug-ins are loaded and which are ignored. This is useful if you want to
deactivate a particular plug-in or if you want to ignore plug-ins that you never want to use with
WaveLab Elements.
●
To open the Plug-ins Preferences, select File > Preferences > Plug-ins.
253
Customizing
Plug-in Organization General Tab
Search Standard VST Plug-in Shared Folders
If this option is activated, WaveLab Elements searches for VST plug-ins in the default
VST plug-in folders.
Information About the Searched Folders
Click on the info icon to see in which folders WaveLab Elements searched for plug-ins
when it was launched. If you cannot find a plug-in in WaveLab Elements, this helps
you to determine whether you have specified the correct folder, for example.
Additional VST Plug-in Folders (WaveLab Elements Specific)
Lets you specify additional folders where VST plug-ins can be found.
Ignore Plug-ins Located in the following Subfolders (Separate Folder Names with a
Semicolon)
Lets you specify folder names that WaveLab Elements skips when searching for VST
plug-ins.
Do Not Load the following Plug-ins
Lets you specify plug-ins that WaveLab Elements does not open. Enter the file names,
without path and without file extension. Write each plug-in on a new line.
254
Customizing
Plug-in Organization If you put the character * in front of the name, any plug-in that contains the name is
ignored.
Force Plug-in Detection at Next Launch
Analyzes the plug-ins when launching WaveLab Elements the next time. To reduce
the start time of WaveLab Elements, the plug-ins are not analyzed every time
WaveLab Elements is started. However, WaveLab Elements keeps a list of plug-ins
and updates this automatically when a date or size change is detected.
Keep Plug-ins in Memory until WaveLab Elements Quits
If this option is activated, the plug-ins are kept in memory even when they are no
longer used. This results in a faster reopening of plug-ins. However, if you use many
plug-ins, too much memory could be used after a specific time, which slows down
the application.
Faster Graphics Refreshing (Consumes More Computer Power)
Refreshes the graphics of VST plug-ins more quickly.
VST Plug-in Knobs
Lets you set the mode for using knobs in plug-ins. You can set the mode to Circular,
Circular Mode (Relative Movement), and Linear.
Organize Tab
Plug-ins list
Displays the hierarchy of the plug-ins in WaveLab Elements. Here, you can specify
whether a plug-in is available on the plug-in selection menus and/or the Final Effect/
Dithering panel and Playback-Processing panel of the Master Section.
You can add plug-ins to the Favorites list, create shortcuts for plug-ins, specify
custom categories, and decide whether to use the generic user interface or the plugin specific user interface.
The Precision column displays the processing precision of each plug-in. 64-bit
float plug-ins are capable of double precision processing. In other effects menus
255
Customizing
Plug-in Organization throughout WaveLab Elements, plug-ins that are capable of double precision
processing are marked with “64 F” for 64-bit float.
NOTE
Processing in 64-bit float means double precision but slightly longer process time
than 32-bit float.
Expand/Collapse
Expands/Collapses the folder tree.
Search field
Allows you to filter the plug-ins list for names.
●
Click in the search field, and enter the text that you want to search for.
●
To switch the focus from the search field to the plug-ins list, press Down
Arrow.
●
To switch the focus from the plug-ins list to the search field, press Ctrl/Cmd-F.
Filter menu
Allows you to only display plug-ins that have certain properties.
●
Show All Plug-ins displays all plug-ins.
●
Show New Plug-ins only displays recently detected plug-ins.
●
Show 32-bit float Plug-ins only displays plug-ins that are capable of 32-bit
float processing.
●
Show 64-bit float Plug-ins only displays plug-ins that are capable of 64-bit
float processing.
●
Show Plug-ins with a Custom Category only displays plug-ins that have a
custom category.
●
Show Plug-ins without a Custom Category only displays plug-ins that do not
have a custom category.
Remove “New” Status
Resets the “new” status of the recently detected plug-ins.
Show Changes
Refreshes the plug-in tree according to the current settings.
Sorting
Determines how the plug-ins are sorted. The other parameters act on that hierarchy.
Compress Hierarchy
Merges all items into a single submenu if a submenu and all its submenus contain
less than a specific number of plug-ins (Threshold).
The Threshold value determines the minimum number of items that are needed to
compress the hierarchy.
Create Submenus Based on Prefixes
Creates a submenu that is labeled as the prefix if several items in a submenu start
with the same prefix.
The Threshold value determines the minimum number of items that must start with
the same prefix that are needed to create submenus that are labeled as the prefix.
256
Customizing
Touch Bar (macOS only) Merge Single Submenus
Merges submenus that contain another submenu with only a single item in it.
Category Renaming
The category labels used to create the hierarchy are supplied by the plug-in
manufacturers. In this section, you can change the category name. This can also be
useful to merge two categories into one, by renaming these two categories with the
same name.
Submenu with Recently Used Plug-ins
If this option is activated, the Recently Used submenu is shown.
The Maximum Size value determines the maximum number of plug-ins on the
Recently Used submenu.
The Independent Recently Used Plug-ins Menu option determines whether the
Recently Used submenu is global to all places where plug-ins can be selected, or if it
is local to each context.
Ignored Plug-ins
Opens the Ignored Plug-ins dialog, where you can see plug-ins which were not
loaded. This dialog lets you instruct WaveLab Elements to rescan these plug-ins at
the next launch. This is faster than a full rescan.
Number of Plug-ins
Shows the number of plug-ins that are available in WaveLab Elements.
Touch Bar (macOS only)
The Touch Bar at the top of your keyboard gives you shortcuts to the WaveLab Elements
functions. The Touch Bar changes automatically based on where you are in WaveLab Elements
and offers a subset of the available options. You can customize the Touch Bar according to your
needs.
NOTE
The Touch Bar is only available on certain Apple products.
Customizing the Touch Bar (macOS only)
●
To open the Touch Bar customization window, select WaveLab Elements 9.5 > Customize
Touch Bar.
●
To add an option to the Touch Bar, use your cursor to drag your favorite options from the
customization window down into the Touch Bar.
When you are done, tap Done in the Touch Bar or click Done on the screen.
●
To rearrange options within the Touch Bar, drag them to the left or right.
●
To remove options from the Touch Bar, drag them up and out of the Touch Bar.
257
Configuring WaveLab
Elements
You can configure WaveLab Elements according to your needs.
NOTE
The settings that you make in the preferences are applied when you switch to another WaveLab
Elements window.
Global Preferences
Global Preferences are preferences that apply throughout WaveLab Elements. Before you start
working with WaveLab Elements, it is recommended to edit these preferences according to your
needs.
●
To open the Global Preferences, select File > Preferences > Global.
General Tab
This tab allows you to change the location of settings files and the user interface language. You
must restart the application for changes to take effect.
General
Language
Allows you to select the user interface language.
Setting Location
Common for All Users
Shares the preferences settings with all users on this computer.
Independent for Each User
Lets each user on this computer make their own preferences settings.
Application Folder (Portable Installation)
Saves settings in the application directory. Use this option to install the application
on a portable device.
Specific Folder
Allows you to save the settings in a specified folder.
Open Setting Folder
Opens the folder that is used to save settings. This way you know where the settings
are saved and you can back up the settings.
258
Configuring WaveLab Elements
Global Preferences Synchronization Settings
Master Folder
Lets you specify where the preference settings are saved.
Synchronize at Every Launch
If this option is activated, the settings are synchronized whenever WaveLab Elements
is launched.
Synchronize at Next Launch
If this option is activated, the settings are synchronized the next time that WaveLab
Elements is launched.
Preferences Handling
Determines how to synchronize the preferences, that is, all settings except the
presets. You can either ignore or mirror the preferences.
Preset Handling
Determines how to synchronize the presets that are saved in the master folder. The
following options are available:
●
If Ignore Presets is activated, the presets are not synchronized.
●
If Mirror Presets is activated, the presets are restored from the master folder,
regardless of their time stamp. Any additional local presets are deleted.
●
If Import New Presets is activated, the presets in the master folder that are
unavailable on the computer are imported.
●
If Update Old Presets is activated, existing presets are overwritten if a newer
version is found in the master folder.
Ignore the following Preset Folders (Separate Them with a Semicolon)
Lets you specify which preset folders you want to ignore when synchronizing
the settings. For example, to ignore the Audio Connections settings, add "Audio
Connections" to the field.
Update Master
If you click this button, the settings that were used when launching WaveLab
Elements are used to update the master folder.
NOTE
This procedure should only be run by the system administrator if multiple WaveLab
Elements workstations are used.
Display Tab
This tab allows you to change many aspects of the user interface that apply across the whole
application. These options provide information and usability functions but can be deactivated to
streamline the interface.
Theme
Theme
Allows you to switch between the WaveLab Elements color schemes.
259
Configuring WaveLab Elements
Global Preferences Miscellaneous Options
Show Application in High DPI (Windows only)
If this option is activated and your display supports high resolution, WaveLab
Elements is displayed in high resolution. If your display does not support high
resolution, this option will be ignored.
NOTE
Plug-in windows are not displayed in high-resolution. If plug-in windows appear too
small, deactivate Show Application in High DPI.
Use the System File Selector to Open Files
If this option is activated, the standard file selector opens when you select the Save
As option.
Open Quick File Selector When Saving Files
If this option is activated and you save a file via the save shortcut, a dialog opens
instead of the File tab.
Show WaveLab Elements Logo on Startup
Determines whether the WaveLab Elements logo is displayed during initialization.
Show Tooltips
If this option is activated, tooltips are displayed when you move the mouse cursor
over markers or command bar buttons.
Hide Top Level Windows When the Application Is Not Active (Windows only)
If this option is activated, all floating windows are automatically hidden when
another application becomes active. If this option is deactivated, floating windows
remain on top of other application windows.
History
Maximum Number of Items in Recent File Menus
Sets the maximum number of files that are listed in recent file menus.
Audio Tab
Processing Precision
Plug-in Processing allows you to select the processing precision for plug-ins.
●
If you select 64 bit float and a plug-in is capable of processing 64-bit samples,
processing takes place in lossless 64 bit.
If a plug-in is only capable of handling 32-bit samples, WaveLab Elements
converts all 64-bit float samples to 32-bit float before sending them to the
plug-in. After the plug-in processing is completed, WaveLab Elements converts
the 32-bit float samples back to 64-bit float without loss.
●
If you select 32 bit float, WaveLab Elements converts all 64-bit float samples to
32-bit float before sending them to the plug-in. After the plug-in processing is
completed, WaveLab Elements converts the 32-bit float samples back to 64-bit
float without loss.
In the plug-in menus, the “32F” and “64F” indicators next to the plug-in name show
whether a plug-in is capable of 32-bit float or 64-bit float.
260
Configuring WaveLab Elements
Global Preferences NOTE
Processing in 64-bit float means double precision but slightly longer process time
than 32-bit float.
Temporary Files allows you to select the precision of temporary files that WaveLab
Elements creates when processing audio.
By default, WaveLab Elements creates temporary files in 32-bit float. Use the 64 bit
float option if you want to create 64-bit float audio files or 32-bit PCM files.
NOTE
Temporary files in 64-bit float have double precision but take longer to read and
write than 32-bit float and their file size is twice as big.
RELATED LINKS
Temporary Files on page 57
Formats Tab
This tab allows you to adjust settings for some of the audio formats and units that WaveLab
Elements uses.
Formats
Use AES17 Standard for RMS Values
Determines how RMS values are reported.
●
If this option is activated, the displayed level for a full scale sine audio file is 0
dB. This follows the AES17 standard.
●
If this option is deactivated, the displayed level for a full scale sine audio file is
-3 dB.
Pitch of A3 (Used in Frequency To Note Conversions)
Sets the reference pitch in WaveLab Elements. The frequency-to-note conversions
take this pitch into account.
Create Windows-Compatible File Names (macOS only)
Some characters in file names, for example, | and \, are not supported by
Windows. If this option is activated and you save a file, WaveLab Elements converts
unsupported characters to characters that are supported by Windows.
MIDI Note Display
The options in this section allow you to choose whether to display the different key values in
WaveLab Elements with the pitch or the MIDI note number of the key. In musical notation, keys
are denoted according to their pitch. For example, C3 means the note C in the third octave.
Each key corresponds to a MIDI note number from 0 to 127. For example, key C3 corresponds
to the MIDI note number 48. MIDI note numbers make it possible for samplers to automatically
map samples to the correct keys.
Numeric Style
Determines the format for MIDI notes that are displayed as numbers.
Middle C (Note #60)
Determines the key convention for the MIDI note range (0-127).
261
Configuring WaveLab Elements
Audio Files Preferences Display
Determines how MIDI notes are displayed throughout the application.
CD Writing Tab
This tab allows you to set a number of parameters for CD writing.
CD Writing
Use Burnproof
Fixes possible buffer underrun errors automatically, provided that the CD writer
supports this technology.
Allow Disc Overflow
Allows WaveLab Elements to attempt writing more data (max. 2 minutes) than the
official capacity of the disc.
Maximum Audio CD Size
Allows you to specify the maximum length for a CD. A warning message will appear if
the project exceeds this length. The standard maximum length is 74 minutes.
Options Tab
This tab allows you to control application-wide start-up options. You can also reset the default
message boxes.
Alternative External File Browser
Allows you to specify an alternative external file browser that opens when you use
the Reveal Folder in File Explorer/macOS Finder or Reveal Files in File Explorer/
macOS Finder options in WaveLab Elements.
If the application needs a special command line formatting, you can specify it in the
Command Line field. Use %1 as a placeholder for the file or folder to which you want
to browse.
Reset Default Answers
Resets all message box options to their default settings. For example, all “Do not
show again” options are deactivated.
Audio Files Preferences
This dialog allows you to define settings for editing in the Audio Editor. However, these settings
also effect other parts of WaveLab Elements. You can choose defaults for editing and playback,
adjust the visual appearance of the waveform displays, and determine how WaveLab Elements
works with audio and peak files.
●
To open the Audio Files Preferences dialog, select File > Preferences > Audio Files.
Editing Tab
Display
Save View Settings in Companion File
If this option is activated, zoom settings, ruler settings, and optionally the Master
Section preset that is associated with the audio file are saved in a companion file. if
the audio file is reopened, these settings are used. Deleting a companion file does
not alter the audio contents.
262
Configuring WaveLab Elements
Audio Files Preferences Save in an Independent Folder
If this option is activated, the companion file is not saved in the same folder as the
related audio file but in a folder that you can specify.
Edit
Opens the Folders dialog that allows you to specify where to save the companion
files.
Show Overview when Opening new Audio Files
If this option is activated and you open an audio file, the overview is also displayed. If
this option is deactivated, only the main view is displayed.
Overview: Passive Range Indicator Also Covers the Waveform
If this option is activated, the range indicator that is displayed in the time ruler of the
overview also covers the waveform area. Unlike the time ruler indicator, the range
indicator is passive and cannot be modified.
Analog Waveform Emulation at Sample Level Zooming
If this option is activated and a waveform is zoomed at the sample level in the
timeline, an analog emulation of the waveform is displayed.
Auto-Zoom for Overviews
If this option is activated and you open an audio file, the zoom of the overview is set
to display the whole file.
Display File Extension on Tabs
If this option is activated, tabs display file names with their extension. For example,
“piano.mp3” instead of “piano”.
Number of Seconds to Display on Opening
Lets you specify the time range to display when opening an audio file for the first
time. WaveLab Elements converts this time range to the appropriate zoom factor.
Whole Audio File
If this option is activated, the horizontal zoom is set to display the whole file.
Editing
Select All Channels with the Mouse
If this option is activated and you select a range with the mouse in a stereo file, both
channels are selected. To select the channels individually, press Shift while selecting.
To switch from one channel selection to the other, press Tab.
Process Whole File If There is No Selection
If this option is activated and a process is to be applied to an audio file, the whole file
is processed if no audio is selected. In the same situation, if the option is deactivated,
a warning appears.
Playback Scrubbing
Restrict to Play Tool
If this option is activated, this function only works if the Play Tool is used.
Sensitivity
Lets you set the micro audio loop duration that is performed when you move the
mouse cursor over the time ruler.
263
Configuring WaveLab Elements
Audio Files Preferences Snap Selection to Zero-Crossing
Do Not Snap at High Zoom Factors
If this option is activated, snapping does not occur if the waveform is displayed at a
high zoom factor.
Scan Range
Lets you define how far WaveLab Elements searches a zero-crossing point in the left
and right direction.
File Tab
Default Sample Rate for Files without Header
Lets you specify the sample rate of audio files that do not have a header describing
this property.
Create Peak Files in an Independent Folder
If this option is activated, peak files are not saved in the same folder as the related
audio file. To specify the folder location, click Edit.
Style Tab
This tab allows you to specify custom colors for parts of the wave window.
Styles
Lets you select the default style and conditional styles.
Parts
Shows parts that can be colorized. Click a part to edit the color.
Hide (for specific parts only)
Hides the selected part.
Dotted Line (for specific parts only)
Changes the line to a dotted line.
Transparency (for specific parts only)
Lets you edit the degree of transparency of the selected element.
Element Size (for specific parts only)
Lets you edit the size of the selected element.
Change Both Channels
Allows you to make separate color settings for the left and the right side of a stereo
file. If this option is activated, settings for the left side of a file are automatically
mirrored on the right side, and vice versa.
Change Both Main View and Overview
Allows you to make separate color settings for the main view and the overview. If
this option is activated, settings for the main view are automatically mirrored on the
overview, and vice versa.
Color Picker
Lets you select the color for the selected part. Click the surrounding circle to select
the hue. Click in the triangle to adjust the saturation and lightness.
Red/Green/Blue
Lets you specify the red, green, and blue components of the RGB color spectrum.
264
Configuring WaveLab Elements
Audio Files Preferences Copy Color
Copies the current color to the clipboard.
Paste
Pastes the color from the clipboard.
This Style Is Used If These Conditions Apply
Lets you define conditions under which a specific color style is applied.
File Extension Is Any Of
If this option is activated, the color style is applied to files with the specified
extension. Separate extensions with a “;” character.
Name Contains Any of These Keywords
If this option is activated, the color style is applied to files with specific keywords in
their name. Separate keywords with a “;” character.
Sample Rate Is in the Range
If this option is activated, the color style is applied to files that have a sample rate
within the specified range.
Sample Precision Is in the Range
If this option is activated, the color style is applied to files that have a sample
precision within the specified range.
Number of Channels Is
If this option is activated, the color style is applied to files that have the specified
number of channels.
Color Elements in the Audio Editor
You can assign custom colors to various elements of the Audio Editor. Depending on the
selected element, additional settings can be made for transparency, appearance, or whether a
line should be dotted, for example.
Left/Right Channel
Waveform
The waveform color.
Waveform (Selected)
The waveform color of the selected part of the waveform.
Waveform Outline
The outline color of the waveform.
Waveform Outline (Selected)
The outline color of the selected part of the waveform.
Background Top
The color of the background top.
Background Top (Selected)
The color of the selected part of the background top.
Background Bottom
The color of the background bottom.
Background Bottom (Selected)
The color of the selected part of the background bottom.
265
Configuring WaveLab Elements
Audio Montages Preferences Waveform Main Axis
The color of the waveform main axis and its style.
Waveform 50 % Axis
The color of the waveform 50 % axis and its style.
Waveform Elements
Channel Separator
The color of the channel separator line.
Cursor (Edit)
The color of the edit cursor, its width, and transparency.
Cursor (Edit, No Focus)
The color of the edit cursor for a file that does not have the focus.
Cursor (Play)
The color of the cursor during playback.
Marker Line
The color of the marker lines and an optional transparency.
End of File Indicator
The color of the end of the file indicator.
Time Ruler Style
The color of the time ruler and its style.
Time Ruler Font
The color of the font on the time ruler and the font size.
Level Ruler Style
The color of the level ruler, its style, and transparency.
Level Ruler Font
The color of the font on the level ruler and the font size.
Audio Montages Preferences
This dialog allows you to set up general parameters for all audio montages or for the active
audio montage only.
●
To open the Audio Montages Preferences tab, select File > Preferences > Audio
Montages.
Style Tab
This tab allows you to specify custom colors to clips and parts of a clip in the montage window.
Parts
Shows parts that can be colorized. Click a part to edit the color.
Checkbox
Allows you to select multiple parts to colorize multiple parts at the same time.
Undo
Undoes the last change.
266
Configuring WaveLab Elements
Audio Montages Preferences Redo
Allows you to redo changes that were undone.
Hide
Hides the selected part.
Change Both Channels
It is possible to make separate color settings for the left and the right side of stereo
clips. If this option is activated, settings for the left side of a clip are automatically
mirrored on the right side, and vice versa.
Color Picker
Lets you select the color for the selected part. Click the surrounding circle to select
the hue. Click in the triangle to adjust the saturation and brightness.
Red/Green/Blue
Lets you specify the red, green, and blue components of the RGB color spectrum.
Copy Color
Copies the current color to the clipboard.
Paste
Pastes the color from the clipboard.
This Style Is Used If These Conditions Apply
Lets you define conditions under which a specific color style is applied.
File Extension Is Any Of
If this option is activated, the color style is applied to clips referencing a file with the
specified extension. Separate extensions with a “;” character.
Name Contains Any of These Keywords
If this option is activated, the color style is applied to clips with specific keywords in
their name. Separate keywords with a “;” character.
Sample Rate Is in the Range
If this option is activated, the color style is applied to clips referencing a file that has
a sample rate within the specified range.
Sample Precision Is in the Range
If this option is activated, the color style is applied to clips referencing a file that has
a sample precision within the specified range.
Number of Channels Is
If this option is activated, the color style is applied to clips that have the specified
number of channels.
Color Elements in the Audio Montage
You can assign custom colors to various elements of the montage window.
Clip Colors
The following clip types are available:
Crossfade Region
Allows you to set the background color for overlapping clip sections.
Default
The default colors, used for clips for which you have not selected any specific color.
267
Configuring WaveLab Elements
Audio Montages Preferences Locked
The colors used for fully locked clips.
Muted
The colors used for muted clips.
Custom
These options correspond to the items on the color submenus. You can set up
conditions in the This Style Is Used If These Conditions Apply section for when
these should be automatically applied.
The following color elements are available:
Background Top/Bottom
The background colors of the clip. The resulting display backgrounds are gradient
fades from the top colors to the bottom colors.
Waveform (Normal/Selected)
The waveform color for selected and unselected clips.
Waveform Outline (Normal/Selected)
The color of the waveform outline for selected and unselected clips.
Edge
The left and right edge of the clip.
Edge (Selected)
The left and right edge of a selected clip.
Axis (Level Zero)
The color of the horizontal dotted line in the middle of a clip, indicating the zero level.
Axis (Half Level)
The color of the horizontal dotted lines halfway up and down from the middle of a
clip, indicating 50 % level.
Channel Separator (Stereo Clip)
The line dividing the two sides in a stereo clip.
Clip Name
The name label of the clip.
Active Clip Name
The name label of the active clip.
Active Clip Name Background
The name label background of the active clip.
Miscellaneous
Background Top/Bottom
The background colors of the track view for areas without a clip.
Background (Selected Range) Top/Bottom
The background colors in selected ranges.
Cursor (Edit)/Cursor (Edit, No Focus)/Cursor (Playback)
The color of the corresponding cursor.
Marker Line
The color of the marker lines in the audio montage.
268
Configuring WaveLab Elements
Synchronizing WaveLab Elements Settings on Several Computers Cue Point Line/End Cue Point Line
The color of the vertical dotted cue point lines and end cue point lines.
Time Grid Lines
The color of the time grid if activated in the menu of the time ruler.
Synchronizing WaveLab Elements Settings on Several
Computers
You can make some reference settings available to other WaveLab Elements installations.
These settings can then be used by other WaveLab Elements workstations to keep the settings
synchronized on several computers.
PROCEDURE
1.
Select File > Preferences > Global.
2.
Select the General tab.
3.
In the Setting Location section, specify where to save the settings.
Multi-User Settings
If you use multiple WaveLab Elements stations in your studio or in your school, for
administration, etc., you can set up one WaveLab Elements station to be the master station. The
shared preferences and presets of this station can then be used by other slave stations.
These settings can be saved on the local network, for example.
If the administrator updates these settings, the different WaveLab Elements stations can
synchronize with the master settings. You can also use this feature for individual computers to
back up a reference setting and revert to this if necessary.
The settings in the General tab of the Global Preferences dialog are not synchronized. These
are saved for each user in the startup.ini (Windows) or startup.plist (Mac).
IMPORTANT
Settings cannot be synchronized between PC and Mac.
Setting Up a Multi-User Setup
You can use the settings that you have made on a master WaveLab Elements station for other
slave WaveLab Elements stations.
PROCEDURE
1.
Set up a WaveLab Elements station with all settings and presets that you want to use on
other WaveLab Elements stations.
2.
Assign read-only access to the settings folder of the master WaveLab Elements station.
3.
Open WaveLab Elements on another station for which you want to use the master settings.
4.
Select File > Preferences > Global.
5.
Select the General tab.
6.
In the Synchronization Settings section, set up the Master Folder, specify when the
settings should be synchronized, and specify whether to include the preferences and/or
presets.
7.
Close WaveLab Elements.
269
Configuring WaveLab Elements
Multi-User Settings 8.
Copy the startup.ini (Windows) or startup.plist (Mac) of the slave WaveLab
Elements station to the settings folder of the other slave WaveLab Elements stations.
RESULT
All slave WaveLab Elements stations use the settings of the master WaveLab Elements station.
270
Index
A
Fades 122
Preferences 262
Saving 85
Saving in another format 86
Templates 54
Audio montage window 131
Edit tab 133
Envelope tab 136
Fade tab 135
Insert tab 135
Render tab 137
View tab 131
Audio montages 26, 129
Assembling 142
Colors 266
Creating 139
Creating from audio file 94, 140
Crossfades 157
Duplicates 139
Fades 157
Preferences 266
Properties 139
Signal path 138
Templates 54
Window 129
Audio properties
Changing 101
Info tab 28
Audio ranges
Playing back 64
AAC
Encoding 90
Metadata presets 104
AIFF 83
Sample attributes 228
Analysis
3D frequency analysis 115
Audio analysis 108
Global analysis 108
Metering 204
Spectroscope 206
Type 109
Anchor
Play from anchor 65
Play until anchor 65
Playing back 64
ASIO
Driver 9
Attributes
Metadata 102
Metadata dialog 103
Sample attributes 228
Audio
Analyzing 108
Copying 99
Moving 98
Reversing 124
Selecting 17
Audio analysis 108
Audio cards 8
Audio CD
Importing audio CD tracks 230
Audio Connections 8
Defining 9
Tab 9
Audio Editor 26, 76
Colors 265
Edit tab 78
Insert tab 80
Process tab 81, 118
Render tab 81
Spectrogram 74
View tab 76
Wave window 73
Audio file formats 83
Changing 87
Dialog 86
Audio files
Creating 85
B
Background noise
Inserting 104
True silence vs. background noise 105
Background tasks
Dropouts 195
Monitoring 195
Backups
Automatic backups 52
Bleep censor 106
BWF
Metadata 102
C
CART
Markers 104
Metadata 102
271
Index
CC121
Controls 13
Remote devices 11
CD
Audio CD formats 215
Basic CD formats 215
Data CD 212
Information 234
Recorders 11
Window 168
Writing operations 208
CD-Extra 215
CD-Text 211
Editor 211
Clip
Context menu 149
Clip effects
Adding 163
Removing 164
Clip envelopes 154
Display 154
Editing 155
Editing curve points 155
Hiding 155
Resetting curve points 155
Selecting 154
Clipping
Detecting 113
Loudness Meta Normalizer 170
Master level 185
Clips 143
Adding audio clips to audio montages 144
Audio montage 129
Crossfading 150
Cue points 153
Deleting 153
Duplicating 151
Editing 149
Effects 160
Moving 150
Overlapping 150
Playing back 72
Rearranging 147
Reordering 149
Resizing 151
Selecting 148
Split at silences 152
Splitting 152
Colors
Audio Editor 265
Audio montages 266
Montage window 245
Tabs 51
Wave window 245, 264
Command bar 32
Command bars
Customizing 250
Companion files 25
Configuring
WaveLab 258
Context menus 34
Control Window
Tab groups 22
Converting
Audio CD tracks to audio montage 235
Marker types 201
Mono to stereo 96
Resample 128
Sample rate 128
Stereo to mono 96
Copying
Audio information to clipboard 60
Files 52
Correction
Pitch shift 127
Crossfades 123
Creating 123
In audio montages 157
In loops 221
Paste and crossfade options 124
Post-crossfades 222
Crossfades in clips
Editing 159
Cubase
WaveLab Exchange 236
Cue points
Adding 153
Clips 153
Cursor
Cursor position indicator 147
Setting the position 37
Customizing 245
Command bars 250
Montage window 245
Plug-in groups 250, 252
Presets 47
Shortcuts 246
Wave window 245
D
Data and audio 215
Data CD/DVD
Creating 212
Dialog 212
Projects 212
Writing 212
DC offset 125
Global analysis 111
Removing 125
Digital Signal Processing 126
Disc-at-Once 217
Disk capacity indicator 178
Dithering 187
Master Section 186
Plug-ins 187
When to apply 188
Document folders 58
Double precision
Processing precision 260
Temporary files 57
Drag operations 41
Driver
ASIO 9
Windows MME 9
Dropouts 195
272
Index
DSP 126
Ducking 156
DVD
Data DVD 212
Recorders 11
Writing operations 208
File browser 21
File formats
AIFF 83
Changing 87
FLAC 83
MP2 83
MP3 83
MPEG 83
OGG 83
Special file formats 95
Unknown file formats 95
WavPack 83
WMA 83
File tab 27
File tab groups 22
Creating 23
Using 24
Files
Copy 52
Deleting 57
Focus 60
Opening 40
Operations 50
Recently used 50
Renaming 56
Rendering 188
Switching between files 17
Temporary 57
Final effect
Master Section 186
FLAC 83
Encoding 92
Float files 85
Focus 60
Folders 58
Specifying 58
Tab 58
FreeDb 234
FTP 243
Podcast publishing 243
Full screen
Activating 39
E
EBU R-128
Defining loudness reference 261
Effects
Adding 163
Clip effects 160
Dropouts 195
Effects window 161
Final effect 186
Gain 165
Master Section 182
Montage output 160
Montage output effects 160
Panning 165
Presets 184
Removing 164
Track effects 160
Undoing changes 164
Window 161
Encoding
AAC 90
Audio files 88
FLAC 92
MP2 91
MP3 88
OGG 92
WMA 93
Envelope
Dialog 121
For clips 154
Operations 122
Equipment
Connecting 8
Errors
Global analysis 112
Exchange
WaveLab Exchange 236
External editor
Cubase as external editor for WaveLab 237
Nuendo as external editor for WaveLab 237
WaveLab Exchange 236
External gear
Tab 9
G
Gain
Dialog 120
Effects 165
Global gain for effects 165
Glitches
Detecting 113
Global analysis 108
Errors tab 112
Extra tab 111
Loudness tab 110
Peaks tab 109
Performing 113
Pitch tab 111
Results 114
Type 109
GPK
Peak files 24
F
Fades
Creating fade ins and fade outs 123
Crossfades 123
Easy Fades 123
In audio files 122
In audio montages 157
Fades in clips
Creating 157
Default fades in new clips 159
273
Index
Groups
Plug-in groups 252
Tab groups 22
Loudness
Global analysis 110
Reference 261
Loudness Meta Normalizer 170
Dialog 170
H
M
Help 5
Hot points
Focusing 115
Markers 114
Magnetic bounds
Audio montages 148
In audio files 75
Marker types 196
Converting 201
Markers 196
Binding to clips 202
CART 104
Converting marker types 201
Creating 199
Deleting 200
Duplicating 199
Hiding 200
Hot points 114
Moving 200
Navigating to 200
Recording 174
Renaming 201
Selecting 201
Types 196
Window 196
Master level
Master Section 185
Master Section 179
Dithering 187
Effects pane 182
Loading Master Section presets 193
Master Level pane 185
Plug-in window 183
Render tab 190
Rendering 188
Resampling pane 184
Saving Master Section presets 192
Settings 181
Signal path 180
Supported effect plug-in formats 182
Tools 181
Window 179
Master Section presets
Companion files 25
Loading 193
Saving 192
Metadata 102
Dialog 103
Presets 104
Meter windows 30
Docking and undocking 31
Opening and closing 30
Metering 204
Windows 204
Meters 178
Format 37
Level Meter 204
Oscilloscope 206
Resetting 204
I
ID3
Metadata 102
Image
Data CD/DVD 212
Importing
Audio CD tracks 230
Audio montage import options 141
In-place rendering 189
Audio selection 190
Info line 147
Info tab 28
ISRC 216
iXML
WaveLab Exchange 237, 237
K
Key commands
Customizing 246
Indexed 246
Key sequences 247
Key sequences 247
L
Latency 8
Left/Right
Master level 185
Level
Master level 185
Level Meter 204
Settings 205
Level Normalizer
Dialog 121
Level ruler 35
Loop Tone Uniformizer 226
Loop Tweaker 222
Loops 218, 226
Creating 218
Crossfades 221
Detecting automatically 220
Loop Tone Uniformizer 226
Loop Tweaker 222
Looping seemingly unloopable audio 226
Moving manually 220
Playback 67
Post-crossfades 222
Refining 219
274
Index
P
Settings 204
Spectroscope 206
Mid/Side
Master level 185
Missing files
Dialog 141
Missing plug-ins
Replacing 253
Mixdown 170
Loudness Meta Normalizer 170
Monitoring
Background tasks 195
Mono
Handling 83, 99
To stereo 96
Montage output effects 160
Adding 163
Removing 164
Montage window
Colors 245
Customizing 245
Mouse position indicator 147
Moving audio 98
MP2 83
Encoding 91
MP3 83
Encoding 88
Metadata presets 104
MPEG
MP2 83, 91
MP3 83, 88
Multi computer setup 269
Multi-user settings 269
Mute
Tracks 72
Pan
Clip envelopes 154
Effects 165
Modes 156
Peak files 24
Rebuilding 24
Peaks
Global analysis 109
Pen tool 107
Phase inverting 124
Pitch 111
Global analysis 111
Shift 127
Play tool
Using 70
Playback 61
Audio ranges 64
Clips 72
From an anchor or until an anchor 64
In background 8
In the Audio Montage window 72
Loops 67
Play button 63
Post-roll 67
Pre-roll 67
Scroll 71
Scrubbing 71
Shortcuts 68
Starting from ruler 70
Stop button 64
Transport bar 61
Using the Play tool 70
Plug-in window 166
Adding effects 166
Changing effects 167
Closing all plug-in windows 167
Master Section 183
Opening 166
Switching between effects 167
Plug-ins
Adding to favorites 251
Adding VST plug-ins 252
Clip effects 160
Customizing plug-in groups 252
Deactivating 251
Effect presets 184
Effects window 161
Excluding 252
Groups 250
Master Section 182
Montage output 160
Montage output effects 160
Organization 250
Preferences 253
Replacing missing plug-ins 253
Track effects 160
Podcast Editor 27, 238
Podcasts 238
Checking 244
Creating 242
Editor 238
N
Noise
Shaping 187
Silence Generator 104
Normalizing
Level Normalizer 121
Loudness Meta Normalizer 170
Notes window 171
Nudging
Moving audio 99
Nuendo
WaveLab Exchange 236
O
Offline processing 118
Applying 120
OGG 83
Encoding 92
Oscilloscope 206
Settings 207
275
Index
FTP settings 243
Options 242
Publishing 243
Post-roll 67
Dialog 68
Pre-emphasis 217
Pre-roll 67
Dialog 68
Preferences
Audio files 262
Audio montages 266
Global 258
Plug-ins 253
Presets 47
Audio file format 189
Deleting 48
Loading 48
Metadata 104
Modifying 48
Saving 47
Temporary 48
Transport bar 69
Processing precision 25
Preferences 260
Properties
Audio montage 139
Audio properties 28
Options 35
Time ruler 35
S
Sample attributes 228
Editing 229
Window 229
Sample precision 25
Sample rate
Conflicts 100
Converting 128
Mismatched when inserting audio files 146
Resample 128
Saving
Master Section presets 192
Multiple files 52
Scrolling
During playback 71
Scrubbing 71
Preferences 71
Using the Play tool 71
Using the time ruler 71
Selection
Deleting 20
Extending and reducing 20
Moving 20
Muting 106
Replacing with silence 105
Shortcuts
Customizing 246
Editing 247
List 248
Playback 68
Tab 248
Signal path
Audio montage 138
Silence
Generator 104
Inserting 105
Replacing a selection with silence 105
Split clip at silences 152
True silence 104
True silence vs. background noise 105
Slide-out windows 30
Sliders 21
Snapping 75, 148
Zero crossing 75
Solo
Tracks 72
SoundCloud 59
Spectrogram
Display 74
Spectroscope 206
Splitting
Clips 152
Status bar 33
Stereo
Handling 83, 99
To mono 96
Stop button 64
Synchronizing
Settings 269
R
Recent Files tab 50
Recording 173
Dialog 174
Disk capacity indicator 178
Markers 174
Setting up 173
Tab 9
Red Book standard
Basic CD formats 215
CD-Extra 215
CD-Text 211
Redo 42
Remote devices
CC121 11, 13
Tab 11
Renaming
Files 56
Markers 201
Rendering 170
Dropouts 195
Files 188
In-place 189
Master Section 188
Resample
Master Section 184
Resampler 128
Restoration
Waveform 107
Reversing audio 124
Ripple 151
Ruler
Level ruler 35
Meter format 37
276
Index
System
Setting up 8
UPC/EAN 216
V
T
Volume level
Track activity indicator 154
VS
Companion files 25
VST plug-ins
Adding 252
VU meter
Settings 205
Tab groups 22
Creating 23
Using 24
Tabs
Colors 51
Spectrogram 74
Unsaved changes indicator 52
Using tab groups 24
Templates 53
Audio file templates 54
Audio montage templates 54
Creating 53
Default 56
Deleting 55
Renaming 56
Tab 53
Tempo
Meter format 37
Temporary files 57
Time format
Dialog 37
Time ruler 35
Menu 35
Time stretching 125
Dialog 125
Digital Signal Processing (DSP) 126
Limitations 126
ZTX 127
Tool windows 30
Docking and undocking 31
Opening and closing 30
Tab groups 24
Touch Bar 257
Track activity indicator 154
Track effects
Adding 163
Removing 164
Tracks 142
Adding 142
Assembling the audio montage 142
Displaying more or less 47
Effects 160
Folding and unfolding 143
Locking and unlocking 143
Moving in the track view 143
Mute 72
Removing 143
Solo 72
Transport bar 61
Hiding 70
Play button 63
Position 70
Presets 69
Stop button 64
W
WAV
Metadata presets 104
Wave window 73
Colors 245
Customizing 245
Spectrogram 74
Waveform
Restoration 107
WaveLab
Configuring 258
Synchronizing settings 269
WaveLab Exchange 236
WavPack 83
Windows
Handling 17
Windows Media Audio
Encoding 93
Windows MME
Driver 9
WMA 83
Encoding 93
Work folders 58
Workspace
Elements 26
Slide-out windows 30
Window 26
Workspace layout
Resetting 39
Writing operations 208
Audio CD formats 215
CD-Text 211
Data CD/DVD projects 212
Writing audio montages 210
Writing audio montages to audio CD 210
Z
Zero crossing 75
Zoom 42
Audio montage 46
Options 45
using the keyboard 45
using the mouse 45
Zoom controls 44
Zoom tool 44
ZTX
Time stretching 127
U
Undo 42
277
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