WaveLab LE - Operation Manual

WaveLab LE - Operation Manual
Operation Manual
Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Sabine Pfeifer,
Benjamin Schütte
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 holders. For more
information, please visit www.steinberg.net/trademarks.
© Steinberg Media Technologies GmbH, 2013.
All rights reserved.
Release Date: June 18, 2013
Table of Contents
5
5
6
7
7
Introduction
The Help System
About the Program Versions
Typographical Conventions
How You Can Reach Us
8
8
8
9
9
13
Setting Up Your System
Connecting Audio
About Audio Cards and Background
Playback
About Latency
Defining VST Audio Connections
Remote Devices
19
19
20
22
27
27
28
29
WaveLab LE Concepts
General Editing Rules
Basic Window Handling
Selecting Audio
Sliders
Renaming Items in Tables
File Browser
Peak Files
30
30
31
33
34
38
39
41
41
48
49
52
Program Overview
Command Bars
Status Bar
Context Menus
Time Ruler and Level Ruler
Value Editing
Drag Operations
Undoing and Redoing
Zooming
Managing Tabs
Presets
Saving a Picture of the Active Window
53
53
53
56
58
58
59
59
61
File Operations
Recently Used Files
Save and Save As
File Renaming
Deleting Files
Special Menu
Temporary Files
Work Folders vs. Document Folders
Setting the Focus on the Current File
62
62
63
63
64
64
64
65
About Workspaces
Elements of a Workspace
Audio Files Workspace
Audio Montage Workspace
Podcast Workspace
Opening Files in a Workspace
Organizing Workspace Windows
About Tool Windows
68
68
73
73
74
74
75
76
Playback
Transport Bar
Playing Back Only One Channel
Starting Playback From the Ruler
Using the Play Tool
Playback Scrubbing
Scroll During Playback
About Playback in the Audio Montage
Workspace
77
77
81
Audio File Editing
Wave Window
File Handling in the Audio Files
Workspace
Changing the Audio Properties
Silence Generator Dialog
97
99
3
101
101
102
102
104
105
106
107
107
108
Offline Processing
Applying Processing
Gain Dialog
Normalize Level Dialog
Fades in Audio Files
Crossfades
Inverting the Audio Phase
Reversing Audio
DC Offset
Resample
109
109
110
112
112
113
136
137
137
Audio Montage
Basic Terminology
Montage Window
Signal Flow in the Audio Montage
Creating a New Audio Montage
Creating an Audio Montage from an
Audio File
Import Options for Audio Montages
Missing Files in Audio Montage Dialog
Assembling the Audio Montage
Rearranging Clips
Clip Editing
Track Activity Indicator
Envelopes for Clips
Fades and Crossfades in the Audio
Montage
About Cloning Audio Montages
Mixing Down - The Render Function
Notes Window
138
138
139
139
Recording
Setting Up the Recording Dialog
Dropping Markers During Recording
Recording Dialog
143
144
151
155
155
Master Section
Master Section Window
Rendering
About Monitoring Background Tasks
About Dropouts
114
115
116
120
122
129
129
132
157
157
158
160
164
165
165
165
166
166
167
168
Markers
Marker Types
Markers Window
About Creating Markers
Deleting Markers
Moving Markers
Navigating to Markers
Hiding Markers of a Certain Type
Renaming Markers
About Selecting Markers
Selecting the Audio Between Markers
Binding Markers to Clips in the Audio
Montage
168 How Marker Information is Stored
169 Importing Audio CD Tracks
169 Import Audio CD Dialog
171 Importing Audio CD Tracks
172
173
176
176
177
177
179
Podcasts
Podcast Workspace
Creating a Podcast
Setting Up a FTP for Podcast Publishing
Publishing a Podcast
FTP Site Dialog
Checking the Podcast
180 Customizing
180 Customizing the Wave Window and the
Montage Window
189 About Customizing Shortcuts
193 Configuring the Software
193 About Global Preferences
196 Audio File Editing Preferences Dialog
198 Plug-in Reference
198 Built-in Plug-ins
201 Steinberg VST 3 Plug-ins
213 Index
4
Introduction
The Help System
The detailed help system of WaveLab LE makes it easy to look up
interface features and get information from within the program.
Three main types of help are available:
•
The help provides detailed information on the features and
functionality of WaveLab LE. You can set bookmarks, and use the
search function and index to quickly find information.
•
“What’s This” tooltips give detailed information on the functionality
of a specific user interface element.
•
The status bar at the bottom of each workspace window gives
detailed information on menu items when moving the mouse over
an item.
•
In the Audio Montage workspace, the status bar shows what kind
of editing can be performed when using the mouse and modifier
keys.
Accessing the Help System
There are several ways of accessing the help system.
•
To open the WaveLab LE help, select Help > Contents.
•
To open the manual in PDF format, browse to the installation
folder. The documents are located in the Documentation folder.
•
To show tooltips, move the mouse over an interface icon.
•
To open the help for the active dialog, click the question mark icon
on the title bar (Windows) or in the dialog (Mac OS) to show the
Help button, and then click the Help button, or press [F1]
(Windows) or [Command]-[?] (Mac OS).
5
Introduction
About the Program Versions
•
To use the menu help, move the mouse over a menu item. The help
text is displayed on the status bar at the bottom of the workspace
window.
•
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 status bar at the bottom of the workspace
window.
•
To activate/deactivate the help texts on the status bar, select
Options (WaveLab menu on Mac) > Global preferences >
Display tab, and in the Workspaces section, select Display
status bar.
To open the “What’s This” help, you have the following possibilities:
•
In any workspace, press [Shift]-[F1], and move the mouse over an
interface item, or select Help > What is this?.
•
In a dialog, select the question mark icon on any title bar
(Windows) or in the dialog (Mac OS), and move the mouse over
an interface item or a menu option.
•
Some “What’s this” tooltips have a different background color to
indicate that a dedicated help topic is available in the WaveLab LE
help. Click the link in the tooltip to open the corresponding
information in the help.
About the Program Versions
The documentation covers two different operating systems, Windows
and Mac OS X. Some features and settings are specific to one of the
operation systems.
This is clearly stated in the applicable cases. If nothing else is said, all
descriptions and procedures in the documentation are valid for all
WaveLab LE versions for both Windows and Mac OS X.
The screenshots are taken from the English Windows version of
WaveLab LE.
6
Introduction
Typographical Conventions
Typographical Conventions
Many of the default key commands in WaveLab LE use modifier keys,
some of which are different depending on the operating system. For
example, the default key command for Undo is [Ctrl]-[Z] on Windows
and [Command]-[Z] on Mac OS X.
When key commands with modifier keys are described in this manual,
they are shown with the Windows modifier key first, in the following way:
•
[Win modifier key]/[Mac modifier key]-[key]
For example, [Ctrl]/[Command]-[Z] means “press [Ctrl] on Windows or
[Command] on Mac OS X, then press [Z]”.
Similarly, [Alt]/[Option]-[X] means “press [Alt] on Windows or [Option]
on Mac OS X, then press [X]”.
NOTE
This manual often refers to right-clicking, for example, to open context
menus. If you are using a Mac with a single-button mouse, hold down
[Ctrl] and click.
How You Can Reach Us
On the Help menu in WaveLab LE, 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 Audio
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.
About Audio Cards and Background
Playback
When you activate playback or recording in WaveLab LE, other
applications cannot access the audio card. Likewise, if another
application uses the audio card, WaveLab LE is unable to play back.
The Windows MME driver is an exception from this.
You can run WaveLab LE together with other applications and always
give the active application access to the audio card.
To do so, select Options > VST Audio Connections, and on the
Options tab, activate Release driver when WaveLab is in
background.
8
Setting Up Your System
About Latency
About 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 LE.
When working with WaveLab LE, the important issues are optimum and
stable playback and editing precision. You should not try to reach the
lowest possible latency figures.
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 VST Audio
Connections dialog, or increase the buffer size in the ASIO control
panel, specific to the audio card.
Defining VST Audio Connections
To be able to play back and record audio in WaveLab LE, you must
specify how the internal input and output channels in WaveLab LE 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.
9
Setting Up Your System
Defining VST Audio Connections
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.
In any workspace, except the Podcast workspace, select Options
> VST Audio Connections.
2.
From the Audio Device menu, select your ASIO driver.
The ASIO plug-ins tab and the Control panel button are activated.
3.
Optional: Click the Control panel button and make your settings.
4.
On the ASIO plug-ins tab, select the audio ports that are used for
recording and monitor input of the ASIO plug-ins.
5.
Click OK.
Selecting a Windows MME Driver
PROCEDURE
1.
In any workspace, except the Podcast workspace, select Options
> VST Audio Connections.
2.
From the Audio Device menu, select the Windows MME driver.
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.
5.
Click OK.
10
Setting Up Your System
Defining VST Audio Connections
VST Audio Connections Dialog
This dialog allows you to specify how the internal input and output
channels in WaveLab LE are connected to your sound card and which
device you want to use for audio playback and recording.
In any workspace, except the Podcast workspace, select Options >
VST Audio Connections.
Global Settings
Audio device
Here, 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.
11
Setting Up Your System
Defining VST Audio Connections
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.
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, certain 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 when WaveLab LE is in background
Closes the audio device when WaveLab LE is no longer the front
application. This allows other audio applications to use the same
audio device.
12
Setting Up Your System
Remote Devices
Remote Devices
You can use remote devices to remote-control WaveLab LE.
Several commands can be controlled with knobs and sliders of your
remote control device.
Remote Devices Dialog
This dialog allows you to select a device to remote-control WaveLab LE,
and see the control map of MIDI control devices.
In any workspace, except the Podcast workspace, select Options >
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.
13
Setting Up Your System
Remote Devices
WaveLab LE 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
This tab lets you use the MIDI Learn function to assign a control of a
MIDI remote control device to a function.
Emulate mouse wheel
If this option is activated, the AI knob acts as a mouse wheel in the
WaveLab LE user interface, except for plug-ins.
Edit focused numeric field
If this option is activated, the AI knob can be used to edit the
focused numeric field that you find in many WaveLab LE windows
and dialogs.
CC121 Advanced Integration Controller
You can use Steinberg's CC121 Advanced Integration Controller to
control WaveLab LE.
This section describes the WaveLab LE 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
LE 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 LE
audio montage. You can use the fader for the Master Section.
Fader
Controls the Master Section fader.
14
Setting Up Your System
Remote Devices
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]/[Option]. To move the cursor to the
previous/next region edge, hold [Shift]. To move the cursor to the
previous/next marker in the Audio Files workspace, hold
[Ctrl]/[Command].
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 LE navigation mode by
turning off the EQ TYPE button. In WaveLab LE navigation mode, you
get access to alternative functions, such as scrolling, zooming, and
switching between workspaces.
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.
15
Setting Up Your System
Remote Devices
EQ Type deactivated:
LOW ON
Opens the Audio Files workspace.
LOW-MID ON
Opens the Audio Montage workspace.
HIGH-MID ON
Opens the Batch Processors workspace.
HIGH ON
Opens the Control Window.
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 workspace or scrolls
vertically on the Audio Files workspace.
EQ-1 knob for the EQ Frequency (F)
Scrolls left/right on the overview timeline of the Audio Files
workspace.
EQ-2 knob for the EQ Frequency (F)
Horizontally zooms in/out on the overview timeline of the Audio
Files workspace.
EQ-3 knob for the EQ Frequency (F)
Vertically zooms in/out on the overview timeline of the Audio Files
workspace.
EQ-4 knob for the EQ Frequency (F)
Vertically scrolls on the overview timeline of the Audio Files
workspace.
16
Setting Up Your System
Remote Devices
Transport Section
In this section you can control the transport functions of WaveLab LE.
Previous button
Moves the cursor position to the beginning of the project.
Rewind button
Rewind
Forward button
Forward
Next button
Moves the cursor position to the end of the project.
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.
Record button
Press once to open the Recording window. Press again to start
the recording. Press a third time to stop recording. The recorded
file opens in the Audio Files workspace.
Function Section
In this section, you can adjust certain functions, such as fades and
envelope level, by using the VALUE knob.
VALUE knob/button
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 focused clip.
FUNCTION button 2
Adjusts the fade-out settings of the focused clip.
FUNCTION button 3
Adjusts the envelope level of the focused clip.
17
Setting Up Your System
Remote Devices
FUNCTION button 4
The element clicked last on the Edit > Nudge menu in the Audio
Montage workspace is assigned to this button.
AI Knob Section
WaveLab LE 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 3plug-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 LE.
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.
18
WaveLab LE Concepts
This chapter describes general concepts that you will use when
working with WaveLab LE. Getting accustomed with these procedures
allows you to work more effectively with the program.
General Editing Rules
The common editing operations can be used in 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.
RELATED LINKS:
“Global Preferences Dialog” on page 193
19
WaveLab LE Concepts
Basic Window Handling
Basic Window Handling
WaveLab LE follows the basic guidelines for the Windows/Mac OS
interface, which means that Windows/Mac OS standard procedures
apply.
Closing Windows
•
To close a tabbed window, click the “X” button of the
corresponding tab or press [Ctrl]/[Command]-[W].
•
To close a tabbed window without saving your changes, hold
[Ctrl]/[Command]-[Shift], and click the “X” button. This avoids
having to confirm a warning message whenever you want to close
an unsaved window.
•
To close all tabbed windows at once, right-click a tab, and select
Close all.
•
To close all tabbed windows but the selected tabbed window,
right-click a tab, and select Close all but this one.
•
To individually select the tabbed windows that you want to close,
right-click a tab, and select Select files to close. This opens the
Files to close dialog, where you can select the files that you want
to close.
RELATED LINKS:
“Files to Close Dialog” on page 49
“Managing Tabs” on page 48
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 cycle between all open files in a workspace, hold
[Ctrl]/[Command], and press [Tab] continuously.
•
To cycle back and forth between the last two active files, press
[Ctrl]/[Command]-[Tab]. Between each step you have to release
all keys.
•
To cycle backwards, press [Ctrl]/[Command]-[Shift]-[Tab].
20
WaveLab LE Concepts
Basic Window Handling
Window Switcher
The window switchers let you easily switch between workspaces,
create new workspaces, or open existing projects. There are two types
of window switchers: The central switcher bar and the floating window
switcher.
The floating window switcher behaves like the central switcher bar, but
takes less room and floats above other windows.
•
To activate/deactivate the central switcher bar, in the Audio Files
workspace or the Audio Montage workspace, select Workspace
> Command bars > Central switcher bar.
Using the Central Switcher Bar
You can use the central switcher bar to navigate through your
workspaces.
•
To copy a file from one workspace to another, drag it to the button
of the workspace that you want to open, wait until the workspace
becomes active, and release the file where you want.
•
To create a new file in any workspace, press [Ctrl]/[Command],
and click a workspace button.
•
To open the Open window to select a file, press [Shift], and click
a workspace button.
•
To display a menu listing the files that have recently been used in
a particular workspace, right-click any workspace icon.
•
To create a new file or open a file, right-click any workspace icon,
and select New or Open. While left-clicking activates a
workspace, right-clicking does not activate a workspace.
21
WaveLab LE Concepts
Selecting Audio
Customizing the Central Switcher Bar
You can customize the central switcher bar using the settings menu.
To open the settings menu, right-click an empty part of the central
switcher bar.
Hide
Hides the central switcher bar.
Fold
Minimizes the central switcher bar to a thin line. To unfold the bar,
click the thin line.
Left side/Top/Right side/Bottom
Determines the location of the central switcher bar.
Large/Medium/Small size
Determines the size of the central switcher bar.
Workspace buttons
Determines which workspace buttons are visible on the central
switcher bar.
Selecting Audio
Almost all types of editing and processing that you perform in WaveLab
LE 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.
22
WaveLab LE Concepts
Selecting Audio
Selecting a Range by Dragging
The standard way to select a range in a wave window is to click and
drag.
If you drag all the way to the left or right side of the window, it scrolls
automatically, allowing you to select larger sections than what can be
shown in the window. The speed of the scrolling depends on how far
from the window edge you are.
Audio Range Selection in an Audio File
You can edit, process, or play back selection of an audio file.
In the Audio Files workspace, select Edit > Select time range.
All
Selects the entire waveform.
Toggle
Toggles the current audio selection on/off.
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.
23
WaveLab LE Concepts
Selecting Audio
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 nearest
marker to the left 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.
Playback position => Selection start
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.
Playback position => Selection end
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 length
Doubles the length of the current selection range.
Halve length
Halves the length of the current selection range.
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.
Generic region
Selects the range between the two generic markers that
encompass the edit cursor.
24
WaveLab LE Concepts
Selecting Audio
Selecting in Stereo Files
If you are working on stereo material in the Audio Files workspace, 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, as indicated by the
pointer shape. The pointer shape indicates which channel will be
affected.
The following pointer shapes are available:
Pointer
Shape
Description
Clicking in the upper half of the left channel selects the left
channel.
Clicking in the middle area between the left and the right channel
selects both channels.
Clicking in the lower half of the right channel selects the right
channel.
Switching the Selection Between Channels
You can switch the selection that you have made for a channel to all
channels or switch the selection to the other channel.
PROCEDURE
1.
In the Audio Files workspace’s wave window, make a selection
range.
2.
Select Edit > Select time range, and select Extend to all
channels, Left channel only, or Right channel only, or press
[Tab] to cycle between the different channel selections.
Selecting in the Overview of the Audio Files Workspace
The selection ranges that you make in the overview of the Audio Files
workspace also apply to the main view.
PROCEDURE
•
In the Audio Files workspace’s wave window, hold down
[Ctrl]/[Command], and click and drag in the overview.
25
WaveLab LE Concepts
Selecting Audio
Moving a Selection Range
If a selection range is the right length, but at the wrong position, you can
move it.
PROCEDURE
1.
In the wave window, hold down [Ctrl]/[Command]-[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 without having to
make a new one.
There are several ways to extend/reduce the selection:
•
Make a selection 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]/[Command]+[Shift] and press the left/right cursor keys.
Deleting Selections
There are several options for deleting a selected time range.
Audio Files Workspace
The following options can be found on the Edit menu:
Trim
Removes the data outside the selection.
26
WaveLab LE Concepts
Sliders
Remove
Removes the selection. The audio to the right of the selection is
moved to the left to fill the gap.
Sliders
At various places in WaveLab LE, 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 (no
click is required). Hold [Ctrl]/[Command] while using the mouse
wheel to scroll faster. This modifier also applies to the zoom
wheels. To move the button of a slider, click and drag it.
•
To move the slider handle directly to a position, click the slider at
any position.
•
To move the slider handle in smaller steps, right-click or 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]/[Command]-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 Clips
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 [Arrow Up] or [Arrow
Down] instead of [Return]. This way you move the focus on the
previous/next item, while staying in the edit mode.
27
WaveLab LE Concepts
File Browser
File Browser
The File Browser window in the Audio Files workspace and the Audio
Montage workspace allows you to browse files directly from within
WaveLab LE. It can be very useful in speeding up the process of
auditioning sound files.
The File Browser window provides you with all the standard browsing
functions as well as additional controls to audition audio files and any
marker defined regions. You can use it to open or insert files or regions
of files by dragging them onto an open workspace.
You can also choose to only view certain types of files.
File Browser Window
In this window, you can browse files and open them in WaveLab LE.
In the Audio Files workspace or the Audio Montage workspace, select
Workspace > Specific tool windows > File Browser.
You can add your favorite folders to the left pane by dragging them from
the middle pane.
The following options are available in the File Browser windows:
Look in
Lets you select a file location to browse and lists the recently used
locations.
Back/Forward/Parent Directory
Let you navigate through the list and file hierarchy.
List View
Shows only the file name in the file list.
Detail View
Shows the file name, size, type, and modification date in the file list.
28
WaveLab LE Concepts
Peak Files
File name
Shows the file name of the selected file.
File format list
Lets you select which file format to display.
The following options are only available in the File Browser window in
the Audio Montage workspace:
Select Audio Files
Shows only audio files.
Select Audio Montages
Shows only audio montages.
Auto-Play mode
Starts playback automatically for the selected file.
Play selected audio file
Plays the selected audio file.
Peak Files
A peak file (extension “.gpk”) is automatically created by WaveLab LE
each time an audio file is modified or opened in WaveLab LE 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 stored in the same location as the audio file.
Rebuilding Peak Displays
Normally, peak files are automatically updated when the peak file’s date
is older than the audio file’s date. However, it can happen that the date
of the audio file is wrong and therefore not automatically updated. In this
case you can force a rebuild of the peak file.
PROCEDURE
•
In the Audio Files workspace, select View > Rebuild peak
display.
29
Program Overview
Command Bars
Commonly used tools, shortcuts, and commands are represented by
command buttons. Related buttons are grouped into various
Command bars.
Command bars in the Audio Files workspace
You can dock Command bars to any window edge or open them in a
separate window, and rearrange them freely. Each workspace has an
appropriate set of command bars that can be displayed. All the
commands that are represented by the command buttons are also
available on the menus.
Hiding and Showing Command Bars
You can hide command bars that are irrelevant for your project.
•
To view a list of available command bars, in the Audio Files
workspace or the Audio Montage workspace, right-click an empty
part of the top edge of the workspace, or select Workspace >
Command bars.
30
Program Overview
Status Bar
Docking Command Bars
Command bars can either be used as separate floating windows or
docked at the top, bottom, left, or right side of the workspace window.
•
To make a command bar floatable, right-click the bar, and select
Floatable. Then click the dots on the left side or the top of the
command bar to drag the bar to another location.
•
To dock a floating command bar, right-click the bar, and select
Floatable. Then click the dots on the left side of the command bar
to drag the bar to the top, bottom, left, or right side of the
workspace window.
Status Bar
The status bar at the bottom of the screen of the Audio Files workspace
and the Audio Montage workspace 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 Files workspace, it also displays the level.
Audio information at edit cursor
Displays the time at the position of the edit cursor. This information
changes when you reposition the cursor.
•
To define the cursor position, click the indicator to open the
Cursor position dialog.
•
To focus the cursor position, right-click the indicator.
Audio selection indicator (Audio Files workspace)
In the Audio Files workspace, this displays the length of the current
selection, or the total length of the audio file if no selection has
been made.
31
Program Overview
Status Bar
When you have zoomed in, you can right-click the indicator to
display the selected audio range, the focused 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, where you can make additional zoom
settings, click the indicator.
•
To open the Zoom factor dialog, where you can edit the zoom
factor, right-click the indicator.
Sampler key indicator (Audio Files workspace only)
Indicates the key of the current audio file (if defined). Click the
indicator to open the Sample Attributes window.
Audio properties indicator
In the Audio Files workspace, this displays the bit resolution 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 workspace, this displays the number of
audio channels and the sample rate of the audio montage. Click
the indicator to open the Audio Montage properties dialog.
Play through Master Section
If this button is activated, the audio is played through the Master
Section. If the button is deactivated, the Master Section is ignored.
Document button (drag and drop)
Allows you to drag the current file into another file, for example, an
audio file to the Audio Montage workspace. This is equivalent to
dragging the file tab.
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.
32
Program Overview
Context Menus
Context Menus
Throughout WaveLab LE, various context menus are available. These
menus group the commands and/or options that are specific to the
current working window.
The context menus appear when you right-click certain 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. Right-click 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 main menus, but
some commands are only available in context menus. When you search
for a function, right-click the current working window to check if it has a
context menu.
Context menu in the montage window
33
Program Overview
Time Ruler and Level Ruler
Time Ruler and Level Ruler
In the Audio Files workspace, you can display a time and a level ruler in
the wave window. In the Audio Montage workspace, you can display a
time ruler in the montage window.
You can also determine which time and level units the rulers show.
Level ruler
(Audio Files workspace only)
Time ruler
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 a list of frames per second for various SMPTE timecodes
and for CD resolution.
Clock
Displays time units.
Samples
Positions are shown 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
If this is selected, the ruler is linear relative to the meter position.
34
Program Overview
Time Ruler and Level Ruler
File size (Audio Files workspace only)
Shows positions in MegaBytes. Decimals represent KiloBytes.
Show grid (Audio Montage workspace only)
Displays vertical lines in the montage window, aligned with time
ruler marks.
Time format
Opens the Time format dialog, where you can 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 cursor position.
Set ruler’s origin to BWF reference (Audio Files workspace only)
If this option is activated, the first sample matches the BWF time
reference, provided that the time reference is available.
Level Ruler Menu (Audio Files workspace 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 32-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.
35
Program Overview
Time Ruler and Level Ruler
Time Format Dialog
In this dialog, you can customize the time format. The time format of the
ruler is also used in various time fields, for example, the status bar and
certain dialogs.
In the Audio Files workspace, depending on whether you want to set the
time format for the overview display or the main view display, select
View > Overview display > Time ruler > Time format or View >
Main view display > Time ruler > Time format.
In the Audio Montage workspace, select View > Time ruler > Time
format.
Timecode Tab
On this tab, you can configure the appearance of the Timecode option.
Frames per second
List of standard frame rates. From the drop-down menu, select
Other to enter a custom frame rate. You can also choose which
frames/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 hundredths of a frame to the time format.
Show units
Adds time units to the time format of the ruler.
36
Program Overview
Time Ruler and Level 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 that are used to
display times that are compatible with your sequencer.
Setting the Cursor Position
Many operations, such as playback and selection, depend on the
current cursor position. For example, playback often starts at the cursor
position. The current cursor position is indicated by a vertical flashing
line.
There are various ways to move the 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.
37
Program Overview
Value Editing
•
Click and drag in the time ruler.
•
Use the transport controls.
•
Select View > Move cursor to, and select an option.
•
Use the cursor keys.
•
Double-click a marker.
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 the Ticks per quarter note setting 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.
Value Editing
At various places in the program, numerical values can be edited by
using a combination of text fields and spin controls.
These values are sometimes composed of several parts, 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.
38
Program Overview
Drag Operations
•
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 spin 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 part of the value to another, press the [Left
Arrow] and [Right Arrow] keys.
Drag Operations
WaveLab LE makes much use of drag-and-drop techniques to perform
various operations, some of which cannot be performed otherwise.
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 including files, text, clips, items in a list, and markers.
NOTE
It is also possible to drag and drop files from WaveLab LE to Steinberg’s
Nuendo.
Drag objects within and between workspaces to perform the following
operations:
•
To dock a tool window, drag its title bar to any side of the
workspace, beside or above another tool window.
•
To move a command bar, drag the bar grip at the left-hand end of
a command bar and reposition it.
•
To reorder a tab within its own tabbed group, drag horizontally. To
move a tab to another workspace, drag vertically.
•
To drag any object to another workspace, use the Central
Switcher bar. Drag the object over the corresponding workspace
icon in the Central Switcher bar, wait until the new workspace
becomes active, and drag the tab in the target workspace.
39
Program Overview
Drag Operations
•
To open a file, drag a compatible file from the File Browser
window of WaveLab LE, from the file browser of the operation
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]/[Option], and release the mouse
button.
Dragging in the Audio Files Workspace and Audio Montage
Workspace
•
To insert an audio file in another audio file, drag the title bar tab or
document button of the file onto the waveform area of another file.
You can also drag an audio file directly from the File Browser
window, the file browser of your system, or from another
application into the Audio Files workspace.
•
To move a marker, drag it along the time ruler.
•
To create a copy of this marker, press [Shift], and drag it to another
position on the time ruler.
•
To delete a marker, drag it above the time ruler.
•
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 text that you
have selected in an external application onto the time ruler. The text
becomes the marker’s 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 [Options]-[Ctrl] (Mac), and release the mouse button.
40
Program Overview
Undoing and Redoing
Dragging in the Podcast Workspace
•
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
You can undo and redo as many steps as you like. The only limitation is
the available hard disk space.
By default, when undoing or redoing any operation in the Audio Files
workspace or the Audio Montage workspace, the zoom factor, cursor
position, scroll position, clip selection status, and time range are
restored to the state before the operation occured.
•
To undo a step, in the Audio Files workspace or Audio Montage
workspace, select Edit > Undo.
•
To redo a step, in the Audio Files workspace or Audio Montage
workspace, select Edit > Redo.
Zooming
There are several zooming functions in the Audio Files workspace and
Audio Montage workspace.
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 single
sample-accurate editing of waveforms.
41
Program Overview
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 scrollbars lets you adjust exactly which
section is shown. Check the ruler to see which part of the
waveform is currently shown in the display.
•
To optimize the vertical zoom of the waveform, press
[Ctrl]/[Command], click and hold the time ruler, and move 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 Files
Workspace Only)
•
You can have different zoom levels in the overview and main view
section. In the overview, a range indicator on the time ruler
indicates which section of the file is currently displayed in the main
view. The range indicator is only shown if the option Sync with
other view is deactivated.
•
To adjust the zoom level, drag the edges of the range indicator.
42
Program Overview
Zooming
•
To scroll in the main view, drag the range indicator.
Range indicator at the top of the overview display
•
To adjust the zoom level using the scrollbar, drag the edges of the
scrollbar.
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.
43
Program Overview
Zooming
Zooming Using the Magnifying Glass Tool
The Magnifying Glass tool is used to zoom in a specific section of the
waveform so that is occupies the entire wave window. This is only
available in the Audio Files workspace.
Using the Magnifying Glass 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.
2.
In the Audio Files workspace, activate the Magnifying Glass tool by
doing one of the following:
•
Click the Magnifying Glass icon.
•
Hold down [Ctrl]/[Command].
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 window.
Using the Magnifying Glass 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
Program Overview
Zooming
Zooming Using the Mouse
With the mouse, you can change the zoom factor by clicking and
dragging or by scrolling the mousewheel.
•
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.
•
To zoom horizontally using the mousewheel, press
[Ctrl]/[Command], point at a waveform, and move the
mousewheel.
•
To zoom vertically using the mousewheel, press [Shift], point at a
waveform, and move the mousewheel.
Audio Files Workspace 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 [Arrow Up] or [Arrow Down].
•
To zoom vertically in the active wave/montage window, hold [Shift],
and press [Arrow Up] or [Arrow Down].
•
To zoom vertically to fit the available height, press
[Ctrl]/[Command]-[Shift]-[Arrow Up].
•
To zoom out fully, press [Ctrl]/[Command]-[Arrow Down]. To zoom
in fully, press [Ctrl]/[Command]-[Arrow Up].
45
Program Overview
Zooming
Zoom Menu
The zoom menu allows you to quickly access various zoom settings.
In the Audio Files workspace or the Audio Montage workspace, select
View > Zoom.
View all
Zooms out as far as possible.
Zoom in on 1 minute/30 seconds/10 seconds/.../500 ms
Adjusts the zoom to display the selected time range.
Zoom in 1:1
Zooms in so that one pixel on the screen represents one sample.
Microscope
Zooms in as far as possible.
Zoom selection
Zooms the window so that the current selection occupies the
entire wave/montage window.
Zoom in on selected clips (Audio Montage workspace only)
Zooms in to display all selected clips in the wave/montage
window.
Zoom in audio
Zooms in in small steps.
Zoom out audio
Zooms out in small steps.
Edit
Opens the Zoom factor dialog, where you can edit the zoom
factor.
•
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.
46
Program Overview
Zooming
Reset vertical zoom to 1:1
Adjusts zoom to display audio levels up to 0 dB.
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 currently visible in the wave/montage window.
Optimize vertical zoom (Audio Files workspace only)
Zooms in to display all audio peaks in the wave window.
Zoom to -12 db/-24 db/.../-96 db
Adjusts the zoom to only display samples below the selected dB
value.
Zoom in vertically
Zooms in to show waveforms with a lower level.
Zoom out vertically
Zooms out to show waveforms with a higher level.
About Zooming in the Audio Montage Workspace
Zooming options in the Audio Montage workspace are almost similar to
those in the Audio Files workspace. However, there are additional
zooming options for tracks and the Zoom window for displaying a
close-up view of the beginning of the focused track.
Zoom Buttons in the Audio Montage Workspace
The zoom buttons in the Audio Montage workspace allow you to apply
zoom presets.
•
To only display the focused track, or also the tracks below and/or
above the focused track, click the corresponding buttons.
•
To set the zoom setting to fit the focused clips in 25 %, 50 %, or
100 % of the available space, click the corresponding buttons.
47
Program Overview
Managing Tabs
•
To select a certain area, click [Ctrl]/[Command], and drag the
rectangle over the tracks and clips that you want to zoom in.
Displaying More or Less Tracks
The number of tracks that are displayed in the Audio Montage
workspace can be changed with the magnification controls in the lower
right corner of the montage window.
•
To display more tracks, click the smaller magnifying glass icon.
•
To display less tracks, click the larger magnifying glass icon.
•
To make a single track fit the whole montage window, click the
numbered button to the left of a track, and select Zoom from the
pop-up menu. You can also right-click the lower area of a track,
and select Whole clip from the pop-up menu.
Managing Tabs
A tab is a container for a file in WaveLab LE. You can open several tabs,
but only one can be active at a time. The Tabs menu allows you to sort
and close tabs and navigate between the tabs.
Close/Close all but active/Close all
Closes the active tab, all tabs except the active tab, or all tabs.
Select files to close
Opens a dialog in which you can specify the files to be closed.
Sort
Lets you sort the tabs by name, date, or modification date. If
several tab groups exist, only the active tab group is sorted.
Activate next/previous
Selects the next/previous tab.
Pick list
Opens a list of all open tabs. To open a tab, double-click it.
48
Program Overview
Presets
Files to Close Dialog
In this dialog, you can specify which files you want to close.
In any workspace, except the Control Window workspace, select Tabs
> Select files to close.
Files list
Displays all open files. You can set a checkmark for the files that
you want to close. By default, only the active file will remain open
and all other files will be closed.
Select all
Select all files in the list.
Select none
Deselects all files in the list.
Close files
Closes the files.
Presets
You can create presets to save commonly used settings. WaveLab LE
provides a selection of 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.
49
Program Overview
Presets
Saving a Preset
Saved presets can be used to apply commonly used settings to dialogs
or plug-ins.
PROCEDURE
1.
Open the dialog that you want to use, and modify the parameters.
2.
Select the Preset menu, and select Save as.
3.
Optional: Click the folder icon, and select a name for a subfolder
in which you want to save the preset.
4.
Type in a name, and click Save.
Loading Presets
To apply a saved preset to a dialog or plug-in, you must load the preset.
PROCEDURE
•
Inside a dialog, click the Presets menu, and select the preset that
you want to apply to the dialog.
Modifying a Preset
You can modify a preset and save the changes.
PROCEDURE
1.
Open the dialog that you want to use, and load the preset that you
want to modify.
2.
Modify the parameters of the dialog.
3.
Click the Preset menu, and select Save.
50
Program Overview
Presets
Deleting a Preset
PROCEDURE
1.
Open the dialog that you want to use and select the preset that you
want to delete.
2.
Click the Presets menu, and select Organize presets.
3.
In the Explorer window, select the preset file that you want to
delete, and press [Delete].
Storing 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.
Storing Presets
PROCEDURE
1.
Open the dialog that you want to use, and make your settings.
2.
Click the Presets menu, and from the Store temporarily
submenu, select a slot.
Restoring Presets
PROCEDURE
1.
Open the dialog in which you have saved a preset.
2.
Click the Presets menu, and from the Restore submenu, select a
preset.
51
Program Overview
Saving a Picture of the Active Window
Saving a Picture of the Active Window
You can save a picture of the active window in the BMP, JPG/JPEG, or
PNG file format, or copy it to the clipboard.
NOTE
Plug-in windows are not included in the picture.
PROCEDURE
1.
Click in the window for which you want to save a picture.
For example, click in the wave window or the montage window.
2.
In the Audio Files workspace or the Audio Montage workspace,
select View > Save picture of active window.
The Save picture of active window dialog opens.
3.
4.
In the Save picture of active window dialog, you have the
following options:
•
To copy the picture to the clipboard, activate Copy to clipboard.
•
To save the picture in a specified file format, activate Save as file.
Optionally, you can activate Open picture after saving.
Click OK.
•
If you have activated Copy to clipboard, the picture is copied to
the clipboard.
•
If you have activated Save as file, the Save as dialog opens where
you can specify the file location, file format, and file name. Click
Save to confirm your settings.
If you have set the montage window as the active window, the resulting picture
could look like this.
52
File Operations
Recently Used Files
All files that you have recently used in WaveLab LE 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.
Setting the Number of Recently Used Files
PROCEDURE
1.
In any workspace, select Options (WaveLab menu on Mac) >
Global preferences > Display.
2.
In the Miscellaneous options section, set the maximum number
of items that you want to list in the following areas:
•
3.
Recent file menus
Click OK.
Save and Save As
•
When you save a file for the first time, it does not matter whether
you select Save or Save as.
•
Once a file has been saved, select File > Save, or press
[Ctrl]/[Command]-[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.
53
File Operations
Save and Save As
•
In the Audio Files workspace, all save operations except Save
Copy clear the undo history, which means that after saving you
cannot undo or redo.
About Tab Colors
Tab colors give information on whether a file is saved or not.
The following colors can be shown:
Orange
The file is saved.
Green (Audio Files workspace only)
The file uses a decoded file format and is saved.
Purple
A new file that is not empty but has not been saved yet. For
example, when creating a new file and pasting content into it.
Red
The file has been modified and changes have not been saved yet.
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 and the tab changes its color.
54
File Operations
Save and Save As
Save Multiple Files at Once
You can save some or all open files at once.
PROCEDURE
1.
In any workspace, except the Control Window, select File > Save
all.
2.
Select the files that you want to save.
3.
Click Save.
Reverting to Saved File
You can revert the file 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.
In any workspace, except the Control Window, select File >
Revert to saved.
2.
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
Backups are created automatically if a file with the same name already
exists.
For example, if you select Save As and specify a file name already used
in that folder, you will be asked if you want to back up the existing file
first. If you click Yes, the backup name will be the original name, with
“.bak” added at the end.
55
File Operations
File Renaming
About 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 referenced by audio montages, use the
Rename dialog. 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.
File Renaming
The Rename function allows you to rename a file and update all
references automatically. For example, if you rename an audio file named
“India” to “Sitar”, all currently open files that reference the file “India” are
updated to reference the file as “Sitar”.
Audio files, peak, and marker files are also renamed accordingly.
Renaming a File
PROCEDURE
1.
Select the file that you want to rename.
2.
In any workspace, except the Control Window, select File >
Rename.
3.
Enter the new name and/or a new file location.
4.
Select a file suffix from the drop-down list.
5.
Click OK.
56
File Operations
File Renaming
Rename File Dialog
In this dialog, you can choose a new file name, file extension, and folder
location for the active file.
In any workspace, except the Control Window, select File > Rename.
Name
Type in the new name.
File extension drop-down list
Select a case for the file extension.
Change folder
If this option is activated, you can change the folder location of the
file.
NOTE
This is only possible within the same drive partition.
Keep as default
If this option is activated, the same path is selected next time you
open the dialog. This is useful if you need to move several files
successively.
57
File Operations
Deleting Files
Deleting Files
You can delete the currently active file from within WaveLab LE.
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.
Select the file that you want to delete.
2.
In any workspace, except the Control Window, select File >
Delete.
3.
Click OK.
RESULT
The file, including it’s peak and marker files, is deleted.
Special Menu
From this menu you can select various file related options, for example,
you can add the active file to a Podcast.
In any workspace, except the Control Window, select File > Special.
Depending on the workspace, not all options are available.
Information
Displays information about the active file.
Add to Podcast
Adds the active file to a Podcast.
Reveal in Windows Explorer/Mac OS Finder
Opens the Windows Explorer/Mac OS Finder to show the location
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.
58
File Operations
Temporary Files
Create a file link on the desktop (Windows only)
Creates a file link on the desktop. The link opens the file with the
default application associated with the file type.
Temporary Files
Temporary files are used for certain operations, such as the undo/redo
functions. You can specify where WaveLab LE saves its temporary files.
For example, if your source files are located on the C: drive, you could
specify D:\temp and E:\temp as temporary folders. This improves the
performance and reduces disc fragmentation.
RELATED LINKS:
“Specifying Folders” on page 59
Work Folders vs. Document Folders
WaveLab LE distinguishes between two types of folders: work folders
and document folders.
In work folders, temporary files are stored. Document folders contain
WaveLab LE-specific files, such as wave files, audio montages, etc.
Specifying Folders
You can specify which folder should open when you perform any open
or save operation (document folder). You can also specify up to three
folders for temporary files (work folder).
PROCEDURE
1.
Open the workspace for which you want to specify document
folders.
2.
Select Options > Folders.
3.
Click the type of folder for which you want to specify a location.
4.
Specify a location in the Folder field.
59
File Operations
Work Folders vs. Document Folders
5.
Optional: Depending on the selected type of folder, you can make
additional settings.
6.
Click OK.
Folders Dialog
In this dialog, you can specify default document folders and work folders
for each workspace.
In any workspace, select Options > Folders.
In the list to the left, you specify the folder type that you want to make
settings for. The following options are available:
Folder for temporary files
Specify a folder for storing temporary files.
Cache folder
Activating Use cache folder for decoded files allows you to
specify a cache folder. The cache folder contains wave files that
are created when you are working with files in compressed file
formats, such as MP3 files. To prevent the cache folder to grow
indefinitely, WaveLab LE checks the date of each file in this folder
and deletes files that were created before a certain number of
days.
When 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.
60
File Operations
Setting the Focus on the Current File
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 currently 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/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 for a specific file type to use the same folder
for saving and for opening this type of file.
On opening the application, revert to this folder
Activate this option to restore a specific folder each time you open
WaveLab LE. This way changes to save/open folders are only
temporary and reset when you restart WaveLab LE.
Setting the Focus on the Current File
If you are editing inside a floating window or a tool window and want to
switch back the focus to a wave/montage window, you can use the Set
focus on current file option.
PROCEDURE
•
In any workspace, press [Win]/[Ctrl]-[ESC], to set the focus on the
wave/montage window.
61
About Workspaces
A workspace provides an editing and playback environment for a
particular audio file type. Each type of workspace has functions for its
specific file types.
In WaveLab LE, each file type has its own workspace designed for a
specific purpose:
•
Audio Files workspace for viewing and editing audio files.
•
Audio Montage workspace for assembling and editing audio
montages.
•
Podcast workspace for preparing and uploading Podcasts.
A workspace is highly customizable to match your workflow. A
workspace can appear as a simple window with a single menu or as a
sophisticated arrangement of command bars, tool windows, tab
groups, and active meters.
When a file is opened from a given workspace, it is added to the active
tab group of this workspace.
You can drag files between workspaces if their formats are compatible.
For example, you can drag an audio file from the Audio Files workspace
to the Audio Montage workspace by using its tab bar or its document
button.
Elements of a Workspace
The center of the workspace is about the data that you want to edit, and
all the menus, command bars, tool windows, controls, and tools to help
you with that.
Each workspace contains the following elements:
•
A menu bar. Each workspace has a different menu bar, but certain
menus are common for all workspaces and each menu can be
customized in various ways. The workspace menu has a submenu
to show/hide the available Command bars and tool windows.
62
About Workspaces
Audio Files Workspace
•
One or more Command bars with buttons for instant access to
functions. Command bars can be customized extensively.
•
Tab groups to host the files to edit. This is the central part of the
workspace. You can move a tab to another workspace, create a
new empty tab, display the file path, and access other functions by
right-clicking.
•
A set of Specific tool windows. Which tools are available
depends on the workspace. They can be activated/deactivated
individually.
•
A set of Shared tool windows. The shared tools vary according
to the workspace, and can be turned on or off individually. A shared
tool window is a global window that is located in one workspace
at a time.
Audio Files Workspace
This workspace provides tools and functions for sample-accurate audio
editing. It is the environment commonly known as an audio editor.
It 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.
Audio Montage Workspace
In this workspace, you assemble audio clips into a montage. You can
arrange, edit, and play back clips on both stereo or mono tracks.
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.
63
About Workspaces
Podcast Workspace
Podcast Workspace
In this workspace, you assemble, define, and publish your Podcast to
the internet.
RELATED LINKS:
“Podcasts” on page 172
Opening Files in a Workspace
You can open files in the workspace that you are working in and in any
other workspace, without having to switch workspaces first.
•
To open a file in a workspace, select File > Open. From the file
browser, select the workspace file that you want to open, and click
Open.
•
On the Central switcher bar, click a workspace icon, and select
Open. From the file browser, select the file that you want to open,
and click Open.
Organizing Workspace Windows
For working with several workspace windows, WaveLab LE offers
functions to organize the windows.
•
To lock a workspace layout, activate Workspace > Lock layout.
This prevents you from moving or closing tool windows.
•
To automatically move the shared tool windows to the newly
activated workspace, every time you switch between workspaces,
activate Workspace > Auto move shared tool windows.
•
To activate full screen view, select Workspace > Full screen
view.
•
To specify the workspace position on the screen, select
Workspace > Position on screen, and select an option.
•
To bring all workspace windows to front, select Workspace >
Bring all to front.
64
About Workspaces
About Tool Windows
•
To cascade all workspace windows, select Workspace >
Cascade all.
•
To switch between the previously selected workspace window
and the active workspace window, select Workspace > Switch to
previous workspace, or press [F5].
•
To close the active workspace, select Workspace > Close.
About Tool Windows
Throughout WaveLab LE 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. There are two types of tool windows
available:
•
Specific tool windows
•
Shared tool windows
The tool windows can be accessed via the Workspace menu.
Specific Tool Windows
Specific tool windows are windows that are specific to the current
workspace. The following specific tool windows are available:
Audio Files
workspace
Audio Montage
workspace
65
Podcast
workspace
About Workspaces
About Tool Windows
Shared Tool Windows
The difference between specific and shared tool windows is that there
can only be a single instance of a shared window in WaveLab LE. For
example, a single Master Section, or a single level meter.
When you open a shared tool window in another workspace it undocks
and moves from its original workspace, if this option is activated. An
empty tab container with a title bar remains in its previous workspace.
You can set the moving behavior by activating/deactivating Workspace
> Auto move shared tool windows.
A shared tool window, if docked, can only appear in a single workspace
at a time. To retrieve a shared tool window from another workspace,
click the tool window.
The following shared tool windows are available:
Audio Files workspace and Audio Montage workspace
Opening and Closing Tool Windows
You can close all tool windows you do not need for your project.
•
To open or close a specific tool window, select Workspace >
Specific tool windows, and select a tool window, or use the
Specific Tool Windows command bar.
•
To open or close a shared tool window, select Workspace >
Shared tool windows, and select a tool window, or use the
Shared Tool Windows command bar.
•
To close a tool window, move the mouse on the left side or the top
of the window, and on the toolbar that appears, click Close.
Tool Windows Command Bar
On the Specific Tool Windows and Shared Tool Windows command
bars you can quickly switch tool windows on and off, without having to
navigate through a menu.
To open or close the Shared Tool Windows command bar, select
Workspace > Command bars > Shared Tool Windows.
Shared Tool Windows command bar in the Audio Montage workspace
66
About Workspaces
About Tool Windows
To open or close the Specific Tool Windows command bar, select
Workspace > Command bars > Specific Tool Windows.
Specific Tool Windows command bar in the Audio Montage workspace
Docking and Undocking Tool Windows
Tool windows can be used as docked windows or as floating windows.
They can be freely dragged around and docked at various locations.
Command bars can also be freely moved around and docked along the
edges of most windows.
To dock/undock a tool window, use one of the following methods:
•
Double-click the title bar, located on the left or the top of the tool
window.
•
Click the double window icon at the top left corner of the window.
•
Drag the tool window title bar of a specific tool window. To dock
the tool window, drag it by its title bar to another position.
To prevent an undocked tool window from docking, use one of the
following methods:
•
Hold down [Ctrl]/[Command] before dragging the tool window.
•
Activate the Floating versus docking priority icon on the left or
the top of the tool window.
Differences Between Windows and Mac OS
Floating windows behave slightly different on Windows and Mac OS.
•
On Windows systems, a floating window is hidden when its
dependent workspace is minimized or covered by another window.
If WaveLab LE is not the active application, all its independent
floating windows are hidden.
•
On Mac OS X systems, a tool window is always on top of all other
windows and a floating window remains visible even if its
dependent workspace is not active or is minimized. If WaveLab LE
is not the active application, all its floating windows are hidden.
67
Playback
WaveLab LE offers numerous playback functions.
There are 4 playback modes available:
•
Traditional playback, with playback starting from the cursor
position and stopping anywhere when stopping playback.
•
Play range, where playback starts from a given point and stops at
another point of interest.
RELATED LINKS:
“Playback Shortcuts” on page 71
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.
In the Audio Files workspace or the Audio Montage workspace, select
Workspace > Command bars > Transport bar.
Transport bar in the Audio Files workspace
Transport bar in the Audio Montage workspace
Ranges
Lets you select one of the following ranges:
•
Selected time range
•
Marked region where edit cursor is located
Play range
Plays the selected range.
68
Playback
Transport Bar
Move cursor to previous/next anchor
Moves the edit cursor position to the previous/next anchor. To set
the type of anchor, right-click the next anchor button and select an
option from the menu. If you click during playback, playback
continues from the anchor position.
Move playback position backwards/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]/[Command], and click the Move playback position
backwards/forwards button.
Loop
Activates the loop mode. Right-click the loop button to select
whether to loopforever or only a few times.
Stop
Stops the audio being played. If playback is already stopped, the
edit cursor is moved to the previous start position.
Play
Starts playing 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
workspace during playback, for example.
The playback button when playing back in the active window (left) and when playing
in another window or workspace (right).
Record
Opens the Recording dialog.
Time display
Displays the edit cursor or playback position. Click to select
another time unit.
Fold bar
Minimizes the transport bar. To unfold the transport bar again, click
the thin line where the transport bar was located.
69
Playback
Transport Bar
Settings
Opens layout menu of the transport bar and lets you edit shortcuts
for the transport bar. You can also right-click the transport bar to
open this menu.
Transport Bar in the Podcast Workspace
In the Podcast workspace, 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 the Space bar during playback stops playback,
while pressing Enter during playback makes playback restart from the
last start position.
When loop is activated, the audio selection is looped, if available.
Otherwise, the region defined by loop markers is looped, if available. If
there are no selection ranges or loop markers, the entire file is looped.
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.
70
Playback
Transport Bar
Playing Back Audio Ranges
You can play back audio ranges using the Ranges options on the
transport bar.
PROCEDURE
1.
On the transport bar, select the type of range that you want to play
back.
2.
Position the edit cursor inside the range that you want to play back
or make a selection range.
3.
To play back the selected range, click the Play range button on the
transport bar or press [F6].
RESULT
The selected range is played back.
About Loops
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 empty. The vertical position of the selection range
is of no relevance for loop playback, only the left and right selection
boundaries matter.
Playback Shortcuts
In addition to the buttons on the transport bar, there are shortcuts that
can be used even when the wave window or montage window is not the
active window.
Space bar
Start/stop playback.
0 on numeric keypad.
Stop. If the program is stopped and you trigger Stop again, 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 the Stop button on the transport bar.
71
Playback
Transport Bar
Enter
Starts playback. If pressed during playback, playback restarts from
the previous start position. This is the same as clicking the Play
button on the transport bar.
[F6]
Starts playback of the selected range, depending on the selected
option in the Ranges section of the transport bar.
Transport Bar Settings
In the transport bar settings menu, you can customize the transport bar.
This is useful to optimize the transport bar according to the available
screen space.
To open the settings menu, right-click the transport bar, or click the
Settings button on the transport bar.
Hide
Hides the transport bar. To make it visible again, select
Workspace > Command bars > Transport bar.
Fold
Minimizes the transport bar. To unfold the transport bar again, click
the thin line where the transport bar was located.
Top/Bottom
Aligns the transport bar at the top/bottom of the wave window or
the montage window.
Large transport buttons/Small transport buttons
Determines the size of the transport bar buttons.
Align buttons left/Align buttons right/Center button
Moves the transport bar buttons to the corresponding position.
Edit shortcuts
Opens the Customize commands dialog, where you can edit the
shortcuts for the transport bar commands.
72
Playback
Playing Back Only One Channel
Playing Back Only One Channel
You can choose to play only the left or the right channel of an audio file
in the Audio Files workspace.
PROCEDURE
•
In the Audio Files workspace, select Options, and
activate/deactivate Play left channel and/or Play right channel.
Starting Playback From the Ruler
You can use the ruler to quickly jump to a position and start playback
from there.
•
Double-clicking the ruler starts playback from that position.
Playback continues until you click Stop or until the end of the audio
file or audio montage.
•
To set the playback position to a certain 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]/[Command]
and double-click a marker.
73
Playback
Using the Play Tool
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 Files workspace, select the Play tool from the Edit
tools command bar, or press and hold [Alt]/[Option].
2.
In the wave window, click at the position where you want playback
to start.
The cursor shape indicates whether the left (L), the right channel (R), or
both channels are played back.
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.
Playback Scrubbing
Playback scrubbing helps you find a certain position in an audio file, by
restarting playback repeatedly when you click and drag on the time ruler
during playback or use the Play tool.
Scrubbing Using the Play Tool
PROCEDURE
1.
In the Audio Files workspace, select the Play tool from the Edit
tools command bar, or press and hold [Alt]/[Option].
2.
Click in the wave window, or click and drag the time ruler.
If you click in the wave window, playback starts at the position where you
clicked. If you click and drag in the time ruler, the audio is played back
from the edit cursor position and a small section is looped once.
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Playback
Scroll During Playback
Scrubbing Using the Time Ruler
PROCEDURE
1.
Optional: In the Audio Files workspace, activate Options > Stop
after playback scrubbing, to stop playback after scrubbing.
The edit cursor then jumps back to the start position.
2.
Start playback.
3.
Click the time ruler and hold the mouse button pressed, and drag
left or right.
4.
When you are done scrubbing, release the mouse button.
Playback Scrubbing Preferences
You can define the behavior of the Play tool in the Audio file editing
preferences.
In the Audio Files workspace, select Options > Audio file editing
preferences > Editing tab.
•
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 drang on the time ruler with the Play
tool activated.
Scroll During Playback
You can determine how the view should be scrolled in Play mode.
In the Audio Files workspace or the Audio Montage workspace, select
View > Scroll during playback.
The following options are available:
Immobile view
Disables scrolling.
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Playback
About Playback in the Audio Montage Workspace
View follows cursor
The view automatically changes to keep the playback cursor visible.
About Playback in the Audio Montage
Workspace
Playback in the Audio Montage workspace works the same way as in the
Audio Files workspace. 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 menu in the track control area.
Click the number, and select Mute and/or Solo.
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 Audio Montage workspace, 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 focused clip.
•
To play back the clip with pre-roll, select Play focused clip with
pre-roll.
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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.
You can synchronize the waveform displays so that they display the
same part of the audio file, by clicking the Sync with other view button.
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Wave Window
Magnetic Bounds in Audio Files
Certain 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, when 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.
Magnetic Bounds Menu
On this menu, you can specify which positions should be magnetic.
When Snap to magnetic items is activated, items that you move snap
to these positions.
In the Audio Files workspace, select Options > Magnetic bounds.
You can let items snap to the following positions:
Start/End of file
Moved elements snap to the start/end of the file when they are
moved near these positions.
Time ruler marks
Moved elements snap to the time ruler grid when they are moved
near these positions.
Markers
Moved elements snap to marker positions when they are moved
near these positions.
Selection edges
Moved elements snap to the selection edges when they are moved
near these positions.
Cursor
Sets the edit cursor magnetic when moved near this position.
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Wave Window
Zero Crossing
A zero crossing is a point where the waveform crosses the zero level
axis.
If you cut out a portion of a wave and paste it in somewhere else, there
often is discontinuity where the two waves are joined. This discontinuity
results in a transient in the wave, which is perceived as a click or bump
in the sound.
To avoid this, you must make the splice at a zero crossing, especially if
you do not use crossfades.
If you activate Options > Snap selection to zero crossings, the
selections that you make are always adjusted so that they start and end
at the nearest zero crossing.
WaveLab LE can automatically search for zero crossings and extend the
selection outwards so that it begins and ends at a zero crossing. This
helps avoid clicks, pops, and bumps.
When you perform editing operations, such as cutting, pasting, or
dragging, make sure that the material is inserted at a zero crossing.
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Audio File Editing
Wave Window
Setting Up the Zero Crossing Detection
You can let selection edges automatically snap to the nearest zero
crossing point when making a selection. In the Audio file editing
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 Files workspace, select Options > Snap selection
to zero crossing.
2.
Select Options > Audio file editing preferences.
3.
On the Editing tab, fill out the Snap selection to zero crossing
options.
4.
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 Files workspace, position the cursor in the waveform.
2.
Select View > Move cursor to > Snap position.
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File Handling in the Audio Files Workspace
File Handling in the Audio Files
Workspace
About Mono/Stereo Handling
WaveLab LE 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 LE can open and save audio files in a number of file formats.
The following table gives you some basic information about the formats:
Format
Description
Wave (.wav)
The following bit resolutions are supported: 8 bit, 16 bit,
20 bit, 24 bit, and 32 bit (float)
AIFF (.aif, .aiff, .snd)
Audio Interchange File Format, a standard defined by
Apple Computers Inc.. The following bit resolutions are
supported: 8 bit, 16 bit, 20 bit, and 24 bit
MPEG-1 Layer 3
(.mp3, read only)
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. WaveLab LE can both open and save files in
this format.
This is available on Windows 32/64-bit systems and on
Mac 32-bit systems.
Original Sound
Quality (.osq)
This is the proprietary lossless compressed audio format of
WaveLab LE. By saving files in this format, you can save
considerable disk space without compromising audio
quality.
Ogg Vorbis (.ogg)
Ogg Vorbis is a compressed file format that is open,
patent-free, and creates very small audio files maintaining
comparatively high audio quality.
Windows Media
Audio (.wma, .asf)
Microsoft’s own compressed format. WaveLab LE 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.
FLAC (.fla)
Free Lossless Audio Codec (FLAC) is a codec which
allows digital audio to be losslessly compressed.
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Format
Description
Apple formats
(.aac, .m4a, .mp4,
.m4b, .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).
NOTE
The “$$$” file type is a temporary file format of WaveLab LE. In case you
experience a computer, crash you may restore some of your work by
opening any stray “$$$” files on your hard disk.
About 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 LE can handle 20-bit and 24-bit audio files. Any
processing or editing performed on the files is always done at full
resolution (32-bit float), even if your card does not support the full
resolution.
For playback, WaveLab LE 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.
In the Audio Files workspace, select File > New.
2.
In the dialog, specify the audio properties, and click OK.
Saving an Audio File
PROCEDURE
1.
2.
In the Audio Files workspace, do one of the following:
•
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.
In the Save Audio File dialog, specify a file name and location.
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3.
4.
Set up the available options:
•
Keep this format for next time
•
Save copy
•
Open standard file selector before this dialog
Click Save.
Saving in Another Format
You can change the file format, sampling frequency, bit resolution, and
stereo/mono status when saving.
PROCEDURE
1.
In the Audio Files workspace, select File > Save as.
2.
Specify the file name and location.
3.
Click in the Output Format field.
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.
In the Audio Files workspace, select File > Save as, and click the
Output Format field. This dialog can also be opened from various other
locations in WaveLab LE.
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File Handling in the Audio Files Workspace
Type
Select an audio file type. This affects the options available on the
Audio format menu.
File extension
Select a file extension compatible with the current file type.
Audio format
Select an audio format compatible with the current file type.
Channels
Specify the number of audio channels for the files to be created.
For multichannel audio montages, you can create multiple files.
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 to add limiting and dithering.
Bit resolution
Select a bit resolution for the audio file. This option is only available
for certain file types.
IMPORTANT
Reducing the bit resolution is only advised for simple conversions. For
professional results, it is recommended to add dithering in the Master
Section.
Meta-data
Lets you make meta-data settings that are saved with the file. This
option is only available for certain file types.
The following options are available:
•
When Do not save anything is selected, no meta-data are saved
with the file.
•
When Inherit from source file is selected, the meta-data of the
source file are used. If this option is selected and the source
meta-data is empty, the default meta-data will be used, if available.
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File Handling in the Audio Files Workspace
•
When selecting Specific to this configuration, you can edit the
meta-data, or replace it with a meta-data preset. To edit the
meta-data, open the meta-data pop-up menu again, and select
Edit.
About Changing the Format
When changing the sample rate, bit resolution, and number of channels
of an audio file, several operations are performed.
Property
Action
Sample rate
If a new sample rate is specified, a sample rate conversion is
performed.
Bit
resolution
If a different bit resolution is specified, the file is either “truncated”
down to 8 bits, or “padded” up to 24 bits. If you are converting to a
lower bit resolution, 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.
•
If you only want to change the bit resolution, you can do this
directly in the Edit > Audio properties dialog 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 dialog, but instead use plug-ins and functions of the
Master Section.
•
For the available compressed file formats (WMA, and Ogg Vorbis),
you can specify various options, such as bit rate and compression
method, and also enter text tags for the file.
Saving as OSQ File
OSQ (Original Sound Quality) is a lossless audio compression format,
which can significantly reduce the audio file size without affecting the
audio quality.
PROCEDURE
1.
In the Audio Files workspace, select File > Save as.
2.
Specify the file name and location.
3.
Click in the Output Format field.
4.
In the Audio File Format dialog, set the type to Original Sound
Quality (OSQ) and specify the properties.
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File Handling in the Audio Files Workspace
5.
Click OK.
6.
Click Save.
Saving a Selection as an Audio File
You can save a selection in the currently open audio file as a new audio
file.
PROCEDURE
1.
In the wave window, make a selection range.
2.
Select File > Export > Selected time range.
3.
Specify a file name, location, and output format.
4.
Click Save.
Saving Left/Right Channel as Audio File
You can save each channel individually into a separate file. Use this
option when you have been editing dual mono files, for example.
PROCEDURE
1.
In the Audio Files workspace, select File > Export > Left channel
or Right channel.
2.
Specify a file name, location, and output format.
3.
Click Save.
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File Handling in the Audio Files Workspace
Encoding Audio Files
Audio can be stored 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.
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, in the Audio Files workspace,
select File > Save as, click the Output Format field, select Ogg Vorbis
as type, click the Encoding field, and select Edit.
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.
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File Handling in the Audio Files Workspace
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, in the Audio
Files workspace, select File > Save as, click the Output Format field,
select Windows Media Audio (WMA) as type, click the Encoding field,
and select Edit.
Encoder
Lets you select the encoder.
Output sample rate
Lets you specify the output sample rate of the encoded file. The
higher the sample rate, the higher the quality, but the larger the
output file.
Output bit resolution
Lets you specify the output bit resolution of the encoded file. This
parameter is not available for all encoders.
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 (better, but twice as long)
If this option is activated, the encoding quality increases, but the
process takes twice as long.
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File Handling in the Audio Files Workspace
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 certain 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.
Optional: If you only want to use a certain time range of the audio
file, create a selection range in the wave window.
2.
In the Audio Files workspace, select File > Export > Create
audio montage from active file.
3.
Select whether to export the whole file or the selected time range.
4.
Optional: Decide if you want to perform any of the following marker
operations:
5.
•
Transcribe 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 Files workspace, 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, select
View > Move cursor to > Snap position.
The edit cursor snaps to the nearest zero crossing. This avoids glitches.
3.
Select File > Import and choose one of the following options:
•
Insert audio file at start
•
Insert audio file at end
•
Insert audio file at cursor position
When you select Insert audio file at cursor position, the audio file is
cut at the insert position. The part after the cut is moved to the right.
4.
Select the audio file that you want to insert, and click Open.
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Audio File Editing
File Handling in the Audio Files Workspace
Turning Selections Into New Files
You can turn selections into new files via dragging, or by using the Edit
menu.
Turning Selections Into New Files By Dragging
PROCEDURE
1.
In the Audio Files workspace, make a selection in the wave
window.
2.
Drag the selection to the WaveLab LE tab bar, and release the
mouse button.
RESULT
The selection appears in a new stereo window.
Turning Selections Into New Files Using the Menu
PROCEDURE
1.
In the Audio Files workspace, make a selection in the wave
window.
2.
Select Edit > Copy selection to new window > As is.
RESULT
The selection appears in a new stereo window.
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Audio File Editing
File Handling in the Audio Files Workspace
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 Selection From Stereo to Mono Using the Menu
PROCEDURE
1.
In the Audio Files workspace, make a stereo selection in the wave
window.
2.
Select one of the following options:.
•
To mix the left and right stereo channels when converting to mono,
select Edit > Copy selection to new window > Convert to Mono
(Mix).
•
To mix the left channel with the inverse of the right channel when
converting to mono, select Edit > Copy selection to new window
> Convert to Mono (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 appears in a new stereo window.
Converting From Stereo to Mono While Saving
PROCEDURE
1.
In the Audio Files workspace, select File > Save as.
2.
Click in the Output Format field.
The Audio File Format dialog opens.
3.
From the Channels menu, select one of the mono settings.
For example, when selecting Mono (Mix -3 dB), the resulting audio file is
attenuated by 3 dB. Because mixing two channels into mono can
introduce clipping. These two settings can be used to remedy this.
4.
Click OK.
5.
Click Save.
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Audio File Editing
File Handling in the Audio Files Workspace
Converting a Selection From Mono to Stereo
PROCEDURE
1.
In the Audio Files workspace, make a mono selection in the wave
window.
2.
Select Edit > Copy selection to new window > Convert to
Stereo.
RESULT
The selection appears in a new stereo window.
Swapping Channels in a Stereo File
You can move the audio in the left channel to the right channel, and vice
versa.
•
To swap the channels of the whole audio file in the Audio Files
workspace, select Edit > Swap stereo channels.
•
To swap only a selected range of the audio file, make a selection
range in the wave window, and select Edit > Swap stereo
channels.
Special Paste Operations
On the Paste special menu, you find additional paste options.
In the Audio Files workspace, select Edit > Paste special.
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.
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Audio File Editing
File Handling in the Audio Files Workspace
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 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.
Click in the middle of the selection.
3.
Drag to a position outside the selection in the same file, or to
another wave window.
4.
Release the mouse button.
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Audio File Editing
File Handling in the Audio Files Workspace
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.
•
Select Edit > Cut.
•
Press [Ctrl]/[Command]-[X].
•
Drag the selection onto the Cut icon.
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.
Select Edit > Paste or press [Ctrl]/[Command]-[V].
RESULT
The selection is removed from its original position and inserted where
you drop it.
NOTE
To completely undo a move between two files you must first undo the
paste in the destination window and then undo the cut 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.
Depending on whether you want to nudge the selection to the left
or to the right, select one of the following tools:
•
Select Edit > Tools > Nudge left, or click the Nudge left icon on
the toolbar.
•
Select Edit > Tools > Nudge right, or click the Nudge right icon
on the toolbar.
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File Handling in the Audio Files Workspace
3.
Click the selection.
Pressing [Shift] switches nudge left to nudge right and vice versa.
4.
To exit the nudge tool mode, click anywhere outside of the
selection.
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
Stereo/mono is handled as follows when you drag between files:
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.
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File Handling in the Audio Files Workspace
Copied section
Paste wave
Action
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 vice versa.
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 Audio Files workspace, make a selection.
2.
Use one of the following copy methods:
•
Select Edit > Copy.
•
Press [Ctrl]/[Command]-[C].
•
Drag the selection onto the Copy icon.
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Audio File Editing
Changing the Audio Properties
3.
4.
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.
Select Edit > Paste, or press [Ctrl]/[Command]-[V].
Copying Audio by Dragging
PREREQUISITE
Decide whether you want to use Snap selection to zero-crossing.
PROCEDURE
1.
In the Audio Files workspace, 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.
3.
Release the mouse button.
RESULT
The selection is inserted at the indicated point. The audio that previously
began at that point is moved to the right.
Information About the Active Audio File
You can open a dialog that shows the name, file location, size, date, and
file format of the active audio file.
PROCEDURE
•
In the Audio Files workspace, select File > Special >
Information.
Changing the Audio Properties
You can change the declared sample rate and sample accuracy 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:
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Audio File Editing
Changing the Audio Properties
•
If you change the sample rate, the file plays back at a new pitch.
•
If you change the bit resolution, the file is converted to the new
resolution the next time you save it.
NOTE
There is no undo for this. If you save with a lower bit resolution, the file
is converted permanently.
PROCEDURE
1.
In the Audio Files workspace, open an audio file.
2.
Select Edit > Audio properties.
3.
Specify a new Sample rate and/or Accuracy.
4.
Click OK.
Audio Properties Dialog
This dialog reports the audio properties of the active audio file. It allows
you to change the number of audio samples per second (sample rate)
and the accuracy of samples in the audio stream (bit rate).
In the Audio Files workspace, select Edit > Audio properties.
Channels
The number of audio channels (mono/stereo).
Sample rate
The number of audio samples per second.
Accuracy
The accuracy of samples in the audio stream.
98
Audio File Editing
Silence Generator Dialog
Silence Generator Dialog
This dialog allows you to insert silence or background noise in an audio
file.
In the Audio Files workspace, select Edit > Silence (advanced).
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/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.
Destination - Insert at cursor
Inserts the silent section at the cursor position.
Destination - 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.
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Audio File Editing
Silence Generator Dialog
Replacing a Selection with Silence
You can replace a section of an audio file with silence.
PROCEDURE
1.
In the Audio Files workspace, make a selection.
2.
Select Edit > Silence (advanced).
3.
Set the silence duration to As selection, and the destination to
Replace selection.
4.
Click Apply.
Inserting Silence
You can insert a specified length of silence at any position of the audio
file.
PROCEDURE
1.
In the Audio Files workspace, set the cursor where you want the
inserted silence to begin.
2.
Select Edit > Silence (advanced).
3.
Deactivate As selection, and specify the length.
4.
Set the destination to Insert at cursor.
5.
Click Apply.
Fast Muting a Selection
The Fast mute function replaces the selection with true silence without
needing to write any audio sample to the media.
PROCEDURE
•
In the Audio Files workspace, make a selection, and select Edit >
Fast mute.
100
Offline Processing
Offline processes are useful for a variety of editing purposes and
creative effects. For example, when the computer is too slow for
real-time processing or when the editing requires more than one pass.
After the processing the audio file is permanently altered.
Applying Processing
Processing can be applied to a selection or to a whole file. For certain
operations processing the entire file is necessary.
NOTE
If Process whole file if there is no selection is activated in the
Options > Audio file editing preferences > Editing tab, the whole file
is automatically processed if no selection exists.
PROCEDURE
1.
In the wave window, make a selection
2.
Select the type of processing that you want to apply from the
Process menu.
3.
If a dialog appears, make the settings.
4.
Click Apply to render the effect to file.
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Offline Processing
Gain Dialog
Gain Dialog
In this dialog, you can apply a gain to change the level of an audio file.
In the Audio Files workspace, select Process > Gain.
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 is when the gain is
raised to a point where distortion is added. While this is normally not
wanted, mild clipping can add some punch, for example, to accentuate
the attack of a drum sound.
Normalize Level Dialog
In this dialog, you can change the peak level of an audio file.
In the Audio Files workspace, select Process > Level Normalizer.
Peak level
Enter the peak level (in dB) that you want the audio selection to
have.
Stereo Link
Applies the gain to both channels.
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Offline Processing
Normalize Level Dialog
Mix to Mono
Mixes the left and the right channel. The resulting mono file will
have 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.
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 segment between selected points, select the
points, click the envelope curve between the points, 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 the segment between 2 points vertically, press
[Ctrl]/[Command], click the segment, and drag up or down.
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Offline Processing
Fades in Audio Files
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, or by using the Easy Fade function.
Creating a Fade-In and Fade-Out
PROCEDURE
1.
In the Audio Files workspace, make a selection.
2.
Depending whether you want to create a fade-in or a fade-out,
select one of the following:
3.
•
To create a fade-in, select Process > Fade-in.
•
To create a fade-out, select Process > Fade-out.
Select the type of fade that you want to create.
A graph in the waveform indicates the resulting shape.
Applying Easy Fades
The Easy Fade function allows you to quickly apply a default fade-in or
fade-out to an audio file.
The shape of the fade is governed by the default fade/crossfade setting
in the Options > Audio file editing preferences > Editing tab, in the
Default fade/crossfade section.
PROCEDURE
1.
2.
In the Audio Files workspace, 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.
Select Process > Easy Fade.
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Offline Processing
Crossfades
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 Audio Files workspace, select the section that you want to
fade-in.
2.
Select Edit > Copy, or press [Ctrl]/[Command]-C.
3.
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.
4.
Select Edit > Paste and crossfade, and select one of the
crossfade types.
5.
Play back the file and adjust the crossfade if necessary.
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 to 6 dB
and try again.
105
Offline Processing
Inverting the Audio Phase
Paste and Crossfade Options
These options allow you to select a crossfade type for pasting.
In the Audio Files workspace, select Edit > Paste and crossfade.
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 the square-root curve, the power of
the mix remains constant.
Inverting the Audio Phase
Inverting the phase turns the signal upside down. The most common use
for this function is to fix a stereo recording where one of the channels
has been recorded out of phase with the other.
PROCEDURE
1.
Optional: If you only want to invert the phase for a certain time
range of the audio file, create a selection range in the wave
window.
2.
In the Audio Files workspace, select Process > Invert phase.
An inverted phase is indicated by an icon in the wave window.
106
Offline Processing
Reversing Audio
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 certain time range of the
audio file, create a selection range in the wave window.
2.
In the Audio Files workspace, select Process > Reverse.
DC Offset
A DC offset is when there is too large a DC (direct current) component
in the signal. This most often appears due to mismatches between
various types of recording equipment.
A DC offset is problematic for the following reasons:
•
It affects where the zero crossing positions.
•
Certain processing options do not give optimal results when
performed on files with a DC offset.
Removing DC Offset
PROCEDURE
1.
In the Audio Files workspace, open the audio file that you want to
check for DC offset and fix.
2.
Select Process > Remove DC offset.
A dialog appears, stating the amount of DC offset in the audio file. You
can also create a selection range in the wave window and then select
this option, to only show the DC offset in the selection range.
NOTE
This function should be applied to whole files, since the problem is
normally present throughout the entire recording.
3.
Click OK to remove the DC offset.
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Offline Processing
Resample
Resample
You can change the sample rate of a recording. This is useful if the file
that you want to use in a certain audio system was recorded at a sample
rate that this system does not support.
Note the following:
•
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.
•
When 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.
Converting a Sample Rate
NOTE
Sample rate conversion is always applied to the entire file.
PROCEDURE
1.
In the Audio Files workspace, select Process > Resample.
2.
In the Sample Rate dialog, select a sample rate from the pop-up
menu.
3.
Click OK.
108
Audio Montage
The audio montage is a multitrack non-destructive editing environment,
which allows you to arrange, edit, play back, and record audio clips on
multiple tracks.
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 these can be readily
reversed. WaveLab LE provides comprehensive facilities for
non-destructive editing.
The audio montage is a great tool for mastering, multimedia work, radio
spot production, etc.
Basic Terminology
Audio montages can contain up to 2 stereo or mono audio tracks. You
can use them to structure the work graphically, but do not see them as
virtual tape tracks.
On an audio track, you can place any number of clips. These are
containers for the audio, and include a number of settings and functions
such as envelope 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 (allowing clips to play back
smaller sections of their source audio files). Any number of clips can
reference the same source file.
109
Audio Montage
Montage Window
Montage Window
The montage window in the Audio Montage workspace 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.
Track Control Area
The track control area offers several options regarding the track.
Track menu
Opens the track menu that contains track-related options.
Track gain sliders
Allows you to set the gain for the track.
110
Audio Montage
Montage Window
Track Menu
This menu contains all track-related options. In the Audio Montage
workspace, open the Track menu, or click the number button of a track.
Add stereo track
Adds a stereo track below the active track.
Add mono track
Adds a mono track below the active track.
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.
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.
111
Audio Montage
Signal Flow in the Audio Montage
Signal Flow in the Audio Montage
The audio signal flow goes through the various sections of WaveLab LE
in a certain way.
•
Read audio clip samples
•
Clip envelope
•
Clips are mixed into the track slot (for example, overlapping clips)
•
Track leveling
•
Each track is mixed into the stereo bus sent to the Master Section
Master Section:
•
Channels/sample rate might change at each plug-in slot
•
Master Section meters
•
Playback or file format rendering
Creating a New Audio Montage
You can add tracks and clips to your new audio montage.
PROCEDURE
1.
In the Audio Montage workspace, select File > New.
2.
In the Audio montage properties dialog, select a Sample rate.
The audio files that you want to use in the audio montage must have the
the sample rate that you select here.
3.
Click OK.
112
Audio Montage
Creating an Audio Montage from an Audio File
Audio Montage Properties Dialog
In this dialog, you can set the sample rate of the audio montage.
This dialog open when you create a new audio montage.
To change the settings for the currently opened audio montage, select
Edit > Audio montage properties.
Alternative Ways of Creating a New Audio Montage
There are several ways to create a new audio montage.
•
Convert wave files to an audio montage
•
File > Clone
•
Press [Ctrl]/[Option], and drag a montage tab on the tab bar
•
Double-click an empty section of the tab bar
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.
Optional: If you only want to use a certain time range of the audio
file, create a selection range in the wave window.
2.
In the Audio Files workspace, select File > Export > Create
audio montage from active file.
3.
Select whether to export the whole file or the selected time range.
113
Audio Montage
Import Options for Audio Montages
4.
5.
Optional: Decide if you want to perform any of the following marker
operations:
•
Transcribe markers
•
Split at generic region markers
Click OK.
Import Options for Audio Montages
You can import audio files and Audio CD tracks into your audio
montage.
In the Audio Montage workspace, select File > Import. The following
import options are available:
Insert audio files
Opens the file browser where you can select one or more audio
files to insert at the edit cursor position on the focused track.
Audio CD
Opens the Import Audio CD dialog where you can browse for
audio CD tracks to extract.
114
Audio Montage
Missing Files in Audio Montage Dialog
Missing Files in Audio Montage Dialog
This dialog opens when you open an audio montage, and some audio
files that the audio montage refers to could not be found. You can then
search for the files or select a replacement.
Missing files list
Lists the files that could not 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.
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 LE 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 Windows Explorer/Mac OS Finder.
115
Audio Montage
Assembling the Audio Montage
Assembling the Audio Montage
You assemble your audio montage by adding tracks and clips.
In the audio montage, only one track can be focused at a time. This
focused track has a different color for the header. Certain WaveLab LE
functions are always applied to the focused track.
About Tracks
Tracks are the structure used to organize clips. They 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.
•
In the Audio Montage workspace, click the number button of a
track to open the Track menu, and then select the type of track that
you want to add to your audio montage.
NOTE
By default, the new track is added below the focused track. If you want
to place it above the focused track, press [Ctrl]/[Command] when
adding the new track.
Moving Tracks in the Track View
You can change the order of the tracks in the montage window.
PROCEDURE
1.
In the Audio Montage workspace, click a track’s number button.
2.
Select Move track up/Move track down.
116
Audio Montage
Assembling the Audio Montage
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 workspace, click the number button of the
track that you want to remove.
2.
Select Remove 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. The waveform is marked with stripes to indicate that the
track is locked.
•
To unlock a track, click the locked track, and confirm the dialog, or
click the number button of the track, and deactivate Lock.
About 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, envelope 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. Since 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 see the clips of the active audio montage in the Clips window.
3 clips on a track
117
Audio Montage
Assembling the Audio Montage
Adding Audio Clips to the Audio Montage
You create clips by copying audio selections 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 from the Wave Window
PROCEDURE
1.
In the wave window of the Audio Files workspace, select the audio
section that you want the clip to refer to.
2.
Drag the selection on 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 From Open Wave Windows Using the Insert Menu
PREREQUISITE
In the Audio Files workspace, open the audio files that you want to insert
as clips.
PROCEDURE
1.
In the Audio Montage workspace, right-click an empty part of a track.
2.
From the pop-up menu, select the audio file that you want to insert
as clip.
Using Copy and Paste
PROCEDURE
1.
In the wave window of the Audio Files workspace, select the audio
section to which you want the clip to refer to.
2.
Select Edit > Copy, or press [Ctrl]/[Command]-[C].
3.
In the Audio Montage workspace, select the track where you want
to insert the clip.
The clip insert position is indicated by the edit cursor.
118
Audio Montage
Assembling the Audio Montage
4.
Select Edit > Paste, or press [Ctrl]/[Command]-[V].
5.
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 Windows Explorer/Mac OS
Finder.
PROCEDURE
1.
In the Audio Montage workspace, open the File Browser window.
2.
Select the audio files to which you want the clip to refer, and drag
them on a track, or double-click the file to insert it.
Dragging Regions From the File Browser Tool Window
If you have defined marker regions in an audio file, you can drag these
regions directly from the File Browser onto a track.
PROCEDURE
1.
In the Audio Montage workspace, open the File Browser window.
2.
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.
Importing Audio Files
PROCEDURE
1.
In the Audio Montage workspace, select the track on which you
want to put 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 audio files that you want to import as clips, and click
Open.
119
Audio Montage
Rearranging Clips
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.
Dragging Clips From the Clips Tool Window
You can add clips that are already used in the same audio montage.
PROCEDURE
1.
In the Audio Montage workspace, open the Clips window.
2.
Select one or several clips, and drag them to a track.
If you have selected a single audio file, select an insert option from the
pop-up menu.
Rearranging Clips
You can freely arrange clips in the montage window.
About Selected and Focused Clips
There is a distinction between selected and focused clips. Some editing
functions can only be processed on an individual clip or focused clip,
while others can be processed on multiple clips or selected clips.
•
A selected clip is a clip that you have selected using any of the
selecting clips procedures. Several clips can be selected at the
same time. This allows you to edit multiple clips at the same time
using functions such as copy, delete, move, etc. Selected clips
have a different background color. Right-clicking a clip opens the
Clip selection menu.
•
A focused clip is the clip that you selected, clicked, or edited last.
Only one clip can be focused at a time. By default, the focused clip
is distinguished by a highlighted name label. There are certain
functions that can only be processed on a focused clip.
Right-clicking a clip opens the Focused Clip menu. More options
for the focused clip are available in the Focused Clip window.
120
Audio Montage
Rearranging Clips
Magnetic Bounds in Audio Montages
Certain positions, such as markers or a clips start and end, are
magnetic.
When you move or resize, for example, 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 to what the clip snaps. This
makes it easier to position items accurately.
Selecting Clips
You can edit multiple selected clips at once.
•
To select a clip, click it. Selected clips are displayed in a different color.
•
To select multiple clips, [Ctrl]/[Command]-click in the bottom clip areas.
•
To select a range of clips, [Shift]-click them.
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 menu where you can edit the
fade-in.
2)
Any part of a clip: Opens the Focused clip menu where you can
edit the focused clip.
3)
Sustain section: Opens the Envelope menu where you can edit
the envelope.
4)
Fade-out section: Opens the Fade-out menu where you can edit
the fade-out.
121
Audio Montage
Clip Editing
Clip Editing
All currently used clips are displayed in the Clips window in the Audio
Montage workspace. In this window, you can edit and rearrange clips
and drag them in the audio montage.
The currently focused clip is highlighted in bold in the clips list.
RELATED LINKS:
“Clips Window” on page 122
Clips Window
This window contains a list of the clips that are placed in the currently
active audio montage together with additional information about the
clips.
In the Audio Montage workspace, select Workspace > Specific tool
windows > Clips.
Clip List
In the columns of the clip list, you can see the following settings for each
clip:
•
Name
•
Start and end time
•
Length
•
Comment
You can also play back a clip with or without pre-gap. The following
playback buttons are available:
Playback from start with a pre-roll.
-[Alt]/[Option]
Playback from start with a long pre-roll.
Playback from start.
122
Audio Montage
Clip Editing
Focused Clip Window
This window allows you to edit the focused clips using various tools. For
example, you can edit the cue points, envelope curves, fade-in/fade-out,
and colors of clips.
In the Audio Montage, select Workspace > Specific tool window >
Focused Clip.
Edit
Edit audio
Opens the clip’s source file in the related workspace.
Zoom
Adjusts the view to display mainly the focused clip.
Play focused clip
Plays the focused clip from start to end.
Play focused clip with pre-roll
Plays the focused clip with a pre-roll. The amount of pre-roll is
defined in the transport bar.
Split at cursor position
Splits the focused clip into two new clips, at the edit cursor or
playback cursor position.
Cut to clipboard
Cuts the focused clip to the clipboard.
Copy to clipboard
Copies the focused clip to the clipboard.
Delete clip
Deletes the focused clip.
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Audio Montage
Clip Editing
Shortcuts
Opens the Customize commands where you can define shortcuts
for all the commands that are found in the Focused clip window.
Cue Points
Cue point - Set at cursor
Sets the cue point at a fixed position from the start of the clip.
Cue point - Follows fade-in end point
Sets the cue point to be the fade-in end point.
Cue point - Follows fade-out start point
Sets the cue point to be the fade-out start point.
End cue point - Custom offset
Sets 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, the default gap defined in the Audio
Montage Preferences is used.
Envelope
Reset all
Resets the envelope to its neutral form.
Delete selected points
Deletes the selected envelope points.
Deselect
Resets the selection status of all envelope points.
Reset level to 0 dB
Replaces the segments between the fade-in and fade-out points
to a single neutral segment.
Reset selected points to 0 dB
Resets the selected points to their default level.
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Audio Montage
Clip Editing
Fade-in/Fade-out
Zoom
Adjusts the view to display mainly the fade-in/fade-out part of the
focused clip.
Linear
Changes level linearly.
Sinus (*)
Changes level according to a sine curve. When used in a
crossfade, the loudness (RMS) remains constant during the
transition.
Square-root (*)
Changes level according to the square-root curve. When used in
a crossfade, the loudness (RMS) remains constant during the
transition.
Sinusoid
Changes level according to the sine curve.
Logarithmic
Changes level logarithmically.
Exponential
Changes level exponentially.
Exponential+
Changes level strongly exponentialy.
Set time
Sets the clip fade-in/fade-out time to the specified value.
Colors
On this panel, you apply the custom colors that you have set in the
Audio Montage Colors dialog (Options > Colors).
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Audio Montage
Clip Editing
Re-ordering Clips in the Audio Montage By Dragging
In the Clips window, you can re-order clips by dragging them to another
position in the list.
PROCEDURE
1.
In the Audio Montage workspace, open the Clips 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.
About Moving and Crossfading Clips
You can let clips overlap other clips, move clips to another location, and
create crossfades between clips.
Moving Clips
NOTE
You cannot move mono clips to stereo tracks and vice versa.
PROCEDURE
1.
Select the clips that you want to move.
2.
Click the lower clip area, and move the clips in any direction.
While dragging, the info line displays the current start position of the clip
that you are dragging.
About 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 volume
envelope curves when you overlap clips.
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Audio Montage
Clip Editing
Duplicating Clips
NOTE
You cannot copy mono clips to stereo tracks and vice versa.
PROCEDURE
1.
In the Audio Montage workspace, select one or more clips.
2.
Click the upper clip area and drag the clips in any direction.
While you are dragging the clips, a dotted line indicates where the first
of the copied clips will be placed. The position is also indicated on the
info line.
Clip Resizing
In this context, resizing usually means moving the start and end points
of a clip so that more or less of the original audio file is revealed.
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]/[Option] when resizing, all selected clips are resized by
the same amount.
Deleting Clips
There are two principal ways to delete a clip:
•
Right-click a clip, and select Delete.
•
Select a clip, and press [Delete].
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Audio Montage
Clip Editing
About Clips and Cue Points
A cue point is a defined position marker that belongs to a clip. It may be
positioned within 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:
•
To set the cue point at a relevant position in the audio, and use it
to align the clip with other clips, etc.
•
To set the cue point before the start of a clip to position clips in a
row with pre-defined spaces.
•
To set the cue point at the fade-in or fade-out point of a clip,
making it easy 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.
Using Cue Points
You can add one cue point for each clip.
PROCEDURE
1.
In the Audio Montage workspace, click the clip position where you
want to set a cue point.
2.
Open the Focused clip window, and on the Cue points panel,
select one of the following options:
3.
•
Set at cursor
•
Set at default pregap position
Decide if you want to activate the following options:
•
Follows fade-in end point
•
Follows fade-out start point
•
End cue 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
workspace.
Instead of exact level readings the track activity indicator provides an
overview of which tracks are currently playing back audio at what
approximate level.
Envelopes for Clips
For clips in the audio montage, you can create envelopes for volume and
fades.
You can create an independent volume envelope curve to automate
volume, to create fades and crossfades, and to mute clip sections.
Edit the envelope settings in the Focused clip window, 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.
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Audio Montage
Envelopes for Clips
How the Envelope is Displayed
By default, all clips display a volume 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 volume envelope are by
default also reflected in the waveform.
Clip Envelope Editing
Curve points allow you to create volume 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 several 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]/[Option]-click and drag to create
a selection rectangle.
•
To move all selected points, click one of the selected points and
drag.
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Audio Montage
Envelopes for Clips
•
To raise or lower the value of two consecutive curve points,
[Ctrl]/[Command]-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 delimited by selected points.
•
To adjust the envelopes in all selected clips, hold down
[Alt]/[Option], and drag any envelope curve up or down. This is a
quick way to adjust the level or pan of several 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]/[Command]-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, then press
[Alt]/[Option], and edit the envelope with the mouse.
Resetting Curve Points
You can reset curve points to the default level.
•
To reset a single point to 0 dB, right-click the point, and select
Reset selected points to 0 dB.
•
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
Fades and Crossfades in the Audio Montage
Changing the Overall Volume Envelope of a Clip
The default envelope curve contains no volume envelope points. In this
condition, you can still use the curve to change the overall volume for a
clip.
PROCEDURE
1.
In the Audio Montage workspace, place the mouse cursor on the
envelope curve.
The mouse cursor takes on 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
volume.
Fades and Crossfades in the Audio
Montage
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 a fade-in and a fade-out junction point. 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 volume envelopes.
•
To create a fade-in, click the fade-in point at the beginning 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 move a fade-in/fade-out point vertically, press
[Ctrl]/[Command] while dragging.
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Audio Montage
Fades and Crossfades in the Audio Montage
•
To create a crossfade, move a clip onto another. A crossfade is
automatically created at the junction point.
The resulting linear 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, a label appears, showing the fade-in time in seconds
and milliseconds and the volume in dB.
Editing Fades Menu
In this menu, you can select various preset fade curves and other
fade-related options.
In the Audio Montage workspace, right-click the fade-in or fade-out
point to open the Fade-in/Fade-out menu. This menu is a subset of the
Focused clip window.
Fade-in region/Fade-out region
Adjusts the view to mainly display the fade-in/fade-out part of the
focused clip.
Linear
Changes level linearly.
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Audio Montage
Fades and Crossfades in the Audio Montage
Sinus (*)
Changes 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 level according to the square-root curve. When used in
a crossfade, the loudness (RMS) remains constant during the
transition.
Sinusoid
Changes level according to a half period part of the sine curve.
Logarithmic
Changes level logarithmically.
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Audio Montage
Fades and Crossfades in the Audio Montage
Exponential
Changes level exponentially.
Exponential+
Changes level strongly exponential.
Set fade-in time/Set fade-out time
Sets the fade-in time/fade-out time to the value that you have
specified in the Focused clip window on the Fade-in/Fade-out
panel.
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. In most cases, an unaltered linear
or sine crossfade produces the intended result. 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]/[Command], 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.
135
Audio Montage
About Cloning Audio Montages
•
When moving a clip with a defined fade curve so that it overlaps
the adjacent edge of another clip (without a defined fade), the
unmoved clip automatically gets the same fade shape as the
moved clip (but as a corresponding opposite fade), 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 at their adjacent
edges when creating a crossfade, this creates an asymmetrical
crossfade, based on the defined fade curves.
The Options menu provides additional options that affect crossfades.
About Cloning Audio Montages
When you clone an audio montage, you create a copy.
Clone copies the audio montage and lets the new clips reference to the
original audio files. 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 both audio montages.
Cloning Audio Montages
This creates a copy of the audio montage in which the new clips
reference to the original audio files.
PROCEDURE
•
In the Audio Montage workspace, select File > Clone, or press
[Ctrl]/[Command], drag a tab, and drop it on the tab bar.
RESULT
A copy of the audio montage opens in another tab.
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Audio Montage
Mixing Down - The Render Function
Mixing Down - The Render Function
The render function in the Master Section 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 151
Notes Window
This window allows you to keep notes about the current audio montage
session.
In the Audio Montage workspace, select Workspace > Specific tool
windows > Notes.
You can type into the window and use the standard HTML text editor
controls to format your text, add images, and lists. The notes are saved
with the audio montage file.
137
Recording
You can record audio in the Audio Files workspace and in the Audio
Montage workspace.
Setting Up the Recording Dialog
Before you start recording, set up the Recording dialog.
PROCEDURE
1.
In the Audio Files workspace or the Audio Montage workspace,
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 store 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 focused track of montage
6.
Select whether you want the Level or the Spectrum display.
7.
Click Record, to start recording.
The background of the Recording dialog turns red to indicate that you
are recording.
8.
Optional: You can pause the recording by clicking the Pause
button.
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Recording
Dropping Markers During Recording
9.
Optional: You can drop markers in the file during recording by
clicking the drop marker buttons.
10. When you have finished recording, click Stop.
11. Optional: If you want to record another take, click Record again.
Dropping Markers During Recording
When you are recording, you can click the marker buttons to add a
marker 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]/[Command]-M.
•
To drop numbered generic region start and end markers, click the
white buttons, or press [Ctrl]/[Command]-L/[Ctrl]/[Command]-R.
RESULT
The markers are 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.
In the Audio Files workspace or the Audio Montage workspace, click the
Record button or select Transport > Record.
139
Recording
Recording Dialog
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.
Settings
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.
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.
Where
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:
•
In a new audio file window.
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Recording
Recording Dialog
•
In an existing audio file is inserted at the edit cursor position (if
none exists, a new one is created).
•
In an existing audio montage is inserted at the edit cursor position
(if none exists, a new one is created).
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 is 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
dialog), 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.
Next marker name
Select a marker name from the list of recently used marker names.
141
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.
The meters in the Recording dialog are miniature versions of the Level,
Spectrum in the meter windows. Activate the meters, by activating the
Monitor checkbox.
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 clicking the Settings button, the Level/Pan
Meter Settings dialog opens.
Spectrum Meter
The Spectrum Meter 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.
142
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 master levels, and add effects.
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.
•
When using the Render function.
By default, the Master Section is active. You can turn it off for each file
individually by deactivating the Play through Master Section button at
the bottom of the wave/montage window.
To turn the Master Section off globally, deactivate the Playback goes
through Master Section button at the bottom right of the Master
Section.
143
Master Section
Master Section Window
Master Section Window
In this window you can apply effect plug-ins, adjust the master level, and
render the audio file or audio montage.
To open the Master Section window, in any workspace, select Global
> Master Section.
The Master Section consists of the Effects pane, and the Master Level
pane.
144
Master Section
Master Section Window
Signal Path
The two panes in the Master Section window correspond to the Master
Section’s processing blocks: Effects and Master Level.
The signal passes through these blocks from top to bottom, as shown
in the following figure:
In the Master Section, the signal goes through all plug-ins, even when
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.
When removing the bypass, the process signal is immediately available
without latency. This allows you to quickly switch between different
solo/mute settings.
Effects Pane
This pane in the Master Section allows you to add up to 3 effect
plug-ins in series, and manage them.
In the Audio Files workspace or the Audio Montage workspace, select
Workspace > Shared tool windows > Master Section.
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.
145
Master Section
Master Section Window
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 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.
Show one more slot
Makes one more slot visible.
Hide bottom slot
Hides the bottom slot.
Fold/unfold section
Expands or collapses the Effects pane.
Bypass during playback
Bypasses the plug-in during playback and optionally for a
rendering operation. The signal is still processed by the plug-in,
but is not injected in the audible stream.
Solo (bypass)
Bypasses all plug-ins except this one during playback.
Effect plug-in slot
Slot where you can insert an effect plug-in.
Presets menu
Lets you store and restore preset settings. The Presets menu
offers additional options to save and load default banks and
effects.
Plug-in visibility
Activates/deactivates the plug-in window.
Switch effect on/off
Excludes the plug-in from both playback and rendering, and
rearranges the bus without this effect.
146
Master Section
Master Section Window
Supported Effect Plug-in Formats
WaveLab LE supports different plug-in standards. WaveLab
LE-specific plug-ins, VST 2 plug-ins and VST 3 plug-ins.
WaveLab LE-specific Plug-ins
Some specific plug-ins are included in WaveLab LE, for example, the
Crystal 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 LE. Other plug-ins can be purchased separately from
Steinberg or other manufacturers, or in some cases downloaded from
the internet.
NOTE
If you have Cubase installed on your computer, you can use the effects
that are included with Cubase in WaveLab LE. See the Cubase
documentation for details.
Setting Up Effects
The number of effects available depends on which plug-ins 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, click its Switch effect on/off button. To
activate the effect, click again.
•
To remove an effect plug-in, click the slot, and select None.
•
To hide the control panel of an effect, click its Plug-in visibility
button.
•
To solo an effect, click the Solo button to the left of the effect slot.
This allows you to check the sound of that effect only. You can also
bypass effects in their control panels.
•
To change the order of the slots, and thus the order in which the
signal passes through the effects, click a slot, and drag it to a new
position.
147
Master Section
Master Section Window
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.
In the Master Section’s Effects pane, click an effect’s Plug-in visibility
button to open the corresponding plug-in window for the effect.
Effect Plug-in Presets
With WaveLab LE comes a number of factory presets for the included
effect plug-ins that you can select and use as is, or use 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 Preset button in its control panel
window. The available functions depend on the type of plug-in.
Presets for VST 3 Plug-ins
Applying and saving presets for WaveLab LE specific plug-ins works
exactly as with any other preset, apart from the fact that there are no
preset tabs or menu items as in dialogs. Instead, clicking the Preset
button opens a separate Preset dialog.
The options in this dialog are the same as for dialogs with Preset tabs.
The file format is compatible with Cubase.
Presets for VST 2 Plug-ins
VST 2 plug-ins have their own preset handling. When you click the
Preset 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
Load the default set of presets or saves the current set of presets
as the default bank.
148
Master Section
Master Section Window
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 currently loaded presets.
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.
Meters
The Master Section meters show the signal level of the signal.
Use these 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 lower the faders,
reset the clip indicators by clicking the Reset peaks button, or clicking the
values, and play back the section again until no clipping occurs.
149
Master Section
Master Section Window
Mono Button
The Mono button sums two channels to mono. The output level is
automatically reduced by -6 dB, to avoid clipping. The Mono button is
useful for checking mono compatibility of stereo mixes, etc.
If the Mono button is activated, the red indicator for the Master Level
pane is lit, even if the master level is not adjusted. This helps you avoid
accidentally leaving the Mono button activated.
Unlink Button
Determines whether the faders should be individually adjustable or
ganged.
If Unlink is deactivated, moving one fader also moves the other by the
same amount. Activating Unlink allows you to correct improper stereo
balancing by adjusting the channels’ levels individually.
•
If you offset the faders with Unlink activated and then deactivate
Unlink again, 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.
Master Section Tools
The tools and options at the bottom pane of the Master Section window
allow you to make various settings before rendering the file, make
bypass settings, and decide whether the playback goes through the
Master Section or not.
Bypass all effects
Bypasses any kind of processing in the effect panel during
playback, and optionally when rendering.
Reset all
Removes all the active effects from the effects slots and sets the
master output to 0 dB.
Setting menu
Opens the Master Section settings menu.
150
Master Section
Rendering
Render
Clicking opens the Render dialog. Right-clicking opens a menu
where you can select whether you want to open the Render
dialog, render using the last settings, or use in-place rendering.
Playback goes through Master Section
If this option is deactivated, the Master Section is ignored during
playback of any file, freeing up resources. However, rendering to
file is still possible. If playback is activated when you change this
option, it stops and restarts.
Rendering
By rendering the effects in the Master Section, they become a
permanent part of a file, rather than using them in real-time to test a set
of effects on a file. So instead of performing all processing in real-time
during playback, you can save the audio output to a file on disk.
This is done with the Render function of the Master Section.
Writing the outputs 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.
Rendering Files
PROCEDURE
1.
In the Master Section, make your settings.
2.
On the bottom of the Master Section, click the Render button.
3.
In the Render dialog, make your rendering settings.
4.
When you have set up the rendering process, click OK.
RESULT
The file is rendered.
NOTE
Several rendering operations can be run at the same time when using
different files.
151
Master Section
Rendering
In-Place Rendering
In the Audio Files workspace, you can process a section of an audio file
or the whole audio file directly from within a plug-in window, without any
intermediary step. 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.
When using this function, 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 plug-ins. 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 the
Render in place button, or press [Alt]/[Option]-[A].
Render Dialog
This dialog allows you to select what parts of an audio file to render, and
into which format.
To open the Render dialog, click the Render button in the Master
Section.
152
Master Section
Rendering
The following options are available for both rendering in the Audio Files
workspace and in the Audio Montage workspace:
Audio range - One region
Processes and renders a time range specified using region
markers. In the drop-down menu below this option, select the
region you want to render.
Create named files
If this option is activated, you can set name of the rendered file.
Otherwise, the file is named “untitled”.
Name
Enter a name for the rendered file. Clicking the arrow icon opens a
menu that offers you several automatic naming options.
Auto naming
When rendering multiple sources, you can activate this option to
add a numeric prefix to all rendered files.
Where
Select a folder where the file is rendered to.
File format
Opens the Audio File Format dialog, where you can select the file
format.
Copy markers
If this option is activated, markers included in the range to process
are copied to the rendered file.
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 have this option activated, because you do not
want to monitor this new file through the effects again when the effects
have been applied to a file.
No tail
If this option is activated, the audio tail produced by effects such
as reverbs is not included in the rendered file.
Some plug-ins do not provide a tail duration to WaveLab LE. 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. An
audio tail appears in this space.
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Master Section
Rendering
Upload to SoundCloud
If this option is activated, the rendered file is uploaded to
SoundCloud, after the rendering process is finished.
Bypass Master Section
If this option is activated, the plug-ins and gain of the Master
Section are bypassed when rendering.
Exclude bypassed plug-ins
If this option is activated, the plug-ins that are bypassed during
playback are not used for rendering.
This applies to the bypass states managed by WaveLab LE, not
any bypass state that is under the control of the plug-ins.
Open resulting audio file
If this option is activated, each rendered file is opened in a new
window.
Render Dialog in the Audio Files Workspace
The following options in the Render dialog are exclusive to the Audio
Files workspace:
Time range - Whole file
Processes and renders the whole audio range.
Time range - Selection
Processes and renders the selected audio range.
Process in place
If this option is activated, the rendered audio range replaces the
source audio range. Otherwise, a new file is created.
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Master Section
About Monitoring Background Tasks
Render Dialog in the Audio Montage Workspace
The following options in the Render dialog are exclusive to the Audio
Montage workspace:
Time range - Whole montage
Processes and renders the whole audio range.
About 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 provided buttons.
About Dropouts
A dropout most likely occurs when your computer does not have the
processing power to handle all effect processors you have inserted.
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 any effects.
Dropouts never occur when rendering to a file.
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Master Section
About Dropouts
•
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.
156
Markers
Markers allow you to save and name certain positions in a file. Markers
are useful for editing and playback, for example, to indicate cue points
or absolute time locations, to highlight problem sections, and to visually
separate tracks.
For example, markers can be used to:
•
Set the wave cursor to a specific position.
•
Select all audio between two positions.
NOTE
The functions in the Markers window of the Audio Files workspace and
the Audio Montage workspace are the same. However, the Markers
window of the Audio Montage workspace 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. They can be created during recording.
Region start and end markers
Define start and end points for generic regions. They can be
created during recording and are used in pairs.
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Markers
Markers Window
Markers Window
In this window, you can create, edit, and use markers while working on
an audio waveform or audio montage.
If the window is not already visible, do the following: In the Audio Files
workspace or the Audio Montage workspace, select Workspace >
Specific tool window > Markers.
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 directly
from the markers list.
Numbers
Clicking the number of a marker scrolls the waveform to reveal the
corresponding marker.
Playback triggers
The following playback buttons are available:
Playback from start with a pre-roll.
-[Alt]/[Option]
Playback from start with a long pre-roll.
Playback from start.
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 value.
Time
Shows the marker position on the time ruler. To change the time
position, double-click in the corresponding cell and enter a new
value.
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Markers
Markers Window
Length
Shows the time value from the marker start position until the
corresponding end.
•
To zoom on the region between a start and end marker, in the
Length column, click the corresponding cell.
•
To select the region between a start and end marker, in the Length
column, double-click the corresponding cell (Audio Files
workspace only).
Clip reference (Audio Montage workspace only)
A marker can be attached to the left or right edge of a clip, and to
its waveform. When such reference moves, the marker moves
along. The clip reference column shows the name of the clip.
Offset (Audio Montage workspace only)
Shows the distance between the marker and the reference point.
Insert Menu
On this menu, you can select the marker type that you want to insert at
the edit or playback cursor position.
Functions Menu
The options on this menu differ depending on the workspace. The
following options are available in the Audio Files workspace and the
Audio Montage workspace:
Select all
Selects all markers in the markers list.
Select in time range
Selects the markers located in the selection range in the wave
window (Audio Files workspace only).
Deselect all
Deselects all markers.
Delete selected markers
Deletes all markers that are selected.
Customize commands
Opens a dialog where you can customize marker-related menus
and shortcuts.
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Markers
About Creating Markers
The following options of the Functions menu are only available in the
Audio Montage workspace:
Bind selected marker to start of focused clip
Makes the marker’s position relative to the start of the focused clip.
When the start of this clip moves, the marker moves, too.
Bind selected marker to end of focused clip
Makes the marker’s position relative to the end of the focused clip.
When the end of this clip moves, the marker moves, too.
Detach selected marker from its associated clip
Makes the marker’s 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.
Filter Menu
Use the Filter menu to toggle 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 mark
a selection range, for example.
You can create specific markers if you already know what you want to
mark, or create generic markers. Creating markers is done in the same
way in the Audio Files workspace and the Audio Montage workspace.
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Markers
About Creating 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 Markers window, click a marker button, or select a marker
from the Insert menu.
•
In the Markers window, select Insert > Create/Name marker,
enter a name and select a marker type, and click Create or Create
and close.
•
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.
Create Marker Dialog
This dialog allows you to create and name a marker in stop mode and
during playback.
In the Markers window, select Insert > Create/Name marker.
Name
Lets you enter the name of the marker.
When clicking the icon to the right of the name field, a default
name is generated. To edit the default names, in the Markers
window, select Functions > Default names.
Type
Lets you select the type of marker.
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Markers
About Creating Markers
Toggle start/end markers
If this option is activated, and you create a region start or end
marker, the related end or start marker is created when you click
the Create or Create and close button again.
Create and close
Creates the defined markers and closes the dialog.
Create
Creates the defined markers while leaving the window open
allowing you to create more markers.
RELATED LINKS:
“Default Marker Names Dialog” on page 166
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 Markers window, click a marker pair button, or open the
Insert menu and select one of the marker pairs.
•
In the Markers window, select Insert > Create/Name region
from selection, enter a name for the start and end marker, select
a region type, and click Create or Create and close.
•
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 the time ruler, and select one of the marker pairs.
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Markers
About Creating Markers
Create Region Dialog
This dialog allows you to create and name a start and end marker from
a selection during stop mode and during playback.
In the Markers window, select Insert > Create/Name region from
selection.
Region name
Lets you enter the name of the start and end marker. If nothing is
entered, a generic name is created.
When clicking the icon to the right of the name field, a default
name is generated. To edit the default names, in the Markers
window, select Functions > Default names.
Set a different name for the closing marker
If this option is activated, you can enter a different name for the
closing marker. If this option is deactivated, the name of the start
marker is also used for the end marker.
Region type
Lets you select the type of region marker.
Create and close
Creates the defined markers and closes the dialog.
Create
Creates the defined markers and leaves the window open allowing
you to create more markers.
RELATED LINKS:
“Default Marker Names Dialog” on page 166
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Markers
Deleting Markers
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.
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
Individual markers can easily be deleted in the wave window.
•
In the wave/montage window, right-click a marker, and select
Delete.
•
Drag and drop a marker icon above 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 the Delete selected markers button, or select Functions >
Delete selected markers.
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Markers
Moving Markers
Moving Markers
You can adjust marker positions in the wave window and the montage
window.
PROCEDURE
1.
In the wave/montage window, drag a marker to a new position on
the time ruler.
If Magnetic bounds 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, on the View command bar,
click the Previous marker/Next marker button.
•
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 Certain 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.
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Markers
Renaming Markers
Renaming Markers
You can change the automatically generated 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 names.
Default Marker Names Dialog
In this dialog, you can specify the default marker names.
In the Markers window, select Functions > Default names.
Marker type
Lets you select the type of marker to which you want to assign a
default name.
Default name for this type of marker
Lets you specify the default name for the selected marker type.
About 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]/[Command] and [Shift] to select multiple markers.
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Markers
Selecting the Audio Between Markers
The marker icon changes its background, to indicate the selected
marker.
Selecting the Audio Between Markers
You can quickly 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.
•
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 activate the Markers window and display further information
about a certain marker, hold down [Alt]/[Option], and double-click
a marker.
167
Markers
Binding Markers to Clips in the Audio Montage
Binding Markers to Clips in the Audio
Montage
In the Audio Montage workspace, 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 in the audio montage or resized.
You can find the options regarding clips and markers in the Functions
menu of the Markers window, and when right-clicking a marker.
RELATED LINKS:
“Markers Window” on page 158
How Marker Information is Stored
WaveLab LE uses MRK files to have a file format independent way to
store information. However, to make marker information exchangeable
between applications to a certain extent, WaveLab LE also stores
optionally some information in the Wave headers.
This makes saving files quicker if only a marker settings has been
changed. However, this only applies when Write markers in WAV file
header is deactivated in the Audio File editing preferences on the File
tab. By default, both MRK files are created and information are stored in
the Wave headers.
•
When you open a file that includes markers that were added in
WaveLab LE, and markers that were added in another application,
all markers are displayed when reopening the file in WaveLab LE.
168
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 LE supports a large number of CD drives, there are
some restrictions you need to be aware of:
•
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 being copy protected.
Import Audio CD Dialog
In this dialog, you can import one or more tracks from an audio CD.
In any workspace, select File > Import > Audio CD.
Menus
Rename tracks - Name
Renames the tracks according to the selected renaming scheme.
169
Importing Audio CD Tracks
Import Audio CD Dialog
Actions Tab
Source
On a Windows system, select the CD drive from which you want
to import audio CD tracks. On a Mac OS system, select a file path.
Speed
Here, you select the writing speed. The highest speed depends on
the capabilities of your writing device and of the media 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 of the selected drive.
Track list
Shows the tracks on the CD.
Range - Start/Length
Use the Range Start and Length fields to define a start point and
length if you want to import only a section of a track.
Output - Where
Here, you define an output location.
Output - File Format
Here, you define an 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 LE 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.
170
Importing Audio CD Tracks
Importing Audio CD Tracks
Importing Audio CD Tracks
PROCEDURE
1.
Insert a CD into the CD-ROM/CD-R device.
2.
Select File > Import > Audio CD.
3.
In the Source section, select the drive from which you want to
read, as well as the read speed.
4.
In the track list, select the tracks that you want to import.
5.
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.
6.
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.
7.
In the Output section, click the file format field, and select a file
format for the imported audio files.
8.
Click Save.
RESULT
The tracks are retrieved.
171
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 certain 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 special feed
readers 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.
172
Podcasts
Podcast Workspace
Podcast Workspace
The Podcast workspace 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.
Episodes Menu
In the Episodes menu, you can create, delete, and move individual
Podcast episodes.
New
Adds a new untitled episode without any information present.
Duplicate selected
Adds a new episode, copying all the information from the existing
episode to the new one.
173
Podcasts
Podcast Workspace
Delete selected
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 item
list. Alternatively, use drag and drop.
Publish Menu
In the Publish menu, you can define where your Podcast is going to be
uploaded via FTP.
Update all items on FTP
Uploads/updates the XML Podcast file on the FTP server. It also
uploads all media files of the item, but only if they are not yet
available on the FTP server. This is the most common function to
upload and update your Podcast.
Update selected item on FTP
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 on FTP
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 on FTP
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.
View published Podcast
Opens your Podcast (via the URL specified in your FTP site
settings) using your default browser.
FTP site
Edit the FTP settings that are related to this Podcast.
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Podcasts
Podcast Workspace
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.
Internet link (URL)
The main link of the feed that the user sees. Use this to direct
people to a certain web site that is related to your feed. Clicking
the world icon opens the specified URL in your default internet
browser.
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 sunglasses icon opens the specified picture in your default
image viewer of your system.
Publication date and time
Sets the publication date and time of the feed or episode. Clicking
the Now button transfers current date and time of your system.
As most recent episode (only available for feeds)
If As most recent episode is activated, the date and time of the
most recent episode are automatically matched.
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 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 LE. 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.
175
Podcasts
Creating a Podcast
Creating a Podcast
There are several ways to create a new Podcast feed or episode.
•
To create a new podcast, in the Podcast workspace, select File >
New.
•
To create a new podcast from the selected audio file, in the Audio
Files workspace, select File > Export > Create Podcast from
active file.
•
To add an audio file to an existing podcast, in the Audio Files
workspace, select File > Special > Add to Podcast.
•
To add a new untitled episode to a podcast, in the Podcast
workspace, select Episodes > New.
•
To duplicate an episode, in the Podcast workspace, select
Episodes > Duplicate. This adds a new episode, and copies all
information from the existing episode to the new one.
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 workspace, select Publish > FTP site.
2.
Enter the following details:
3.
•
The log-in details for your FTP server.
•
The relative path and file name of the Podcast (extension .xml).
•
Your web site address including the path to the feed.
Click OK.
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Podcasts
Publishing a Podcast
Publishing a Podcast
You can upload a Podcast from within WaveLab LE directly to your FTP
server.
PREREQUISITE
Set up your FTP settings within WaveLab LE.
PROCEDURE
1.
2.
In the Podcast workspace, select the Publish menu, and select
one of the following options:
•
Update all items on FTP
•
Update selected item on FTP
•
Upload/Replace all items on FTP
•
Upload/Replace selected items on FTP
Check if the FTP settings are correct, and click OK.
RESULT
The Podcast is uploaded to your FTP site.
FTP Site Dialog
In the FTP site dialog, you can manage all required information for the
Podcast upload process.
In the Podcast workspace, select Publish > FTP site.
Host
The host name or IP address of the FTP server.
177
Podcasts
FTP Site Dialog
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 Site Dialog 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.
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Podcasts
Checking the Podcast
Checking the Podcast
After creating and publishing a Podcast, you can check if the upload
was successful.
•
To open your default internet browser and receive the Podcast that
you have just published from the internet, in the Podcast
workspace, select Publish > View published Podcast.
179
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 style the wave/montage window to your liking, by adjusting
colors of waveforms, background, cursor lines, etc., and changing the
look of the ruler and other window details. This helps you find your way
through the audio file or audio montage.
Customizing can be done in the following ways:
•
By changing the default style.
•
By assigning different styles, according to specific conditions. For
example, a certain file type or a certain file name.
Default colors are provided, but you can also define custom colors. You
can copy and paste colors to transfer colors between various parts of
the wave/montage.
Assigning Custom Colors to the Wave Window or the Montage
Window
PROCEDURE
1.
2.
Depending on whether you want to customize the colors of the
wave window or the montage window, do the following:
•
In the Audio Files workspace, select Options > Audio file editing
preferences, and select the Style tab.
•
In the Audio Montage workspace, select Options > Colors.
Select the part from the Parts list.
180
Customizing
Customizing the Wave Window and the Montage Window
3.
Specify a color using the color picker or the RGB fields.
4.
Click OK.
Assigning Custom Colors According to Conditions
You can have different color schemes automatically applied to different
clips, according to their names or properties of their audio files.
IMPORTANT
If you redefine colors, be careful not to choose colors that cause some
elements to disappear. For example, when having black marker lines on
a black background.
PROCEDURE
1.
2.
Depending on whether you want to customize the colors of the
wave window or the montage window, do one of the following:
•
In the Audio Files workspace, select Options > Audio file editing
preferences, and select the Style tab.
•
In the Audio Montage workspace, select Options > Color.
Depending on the workspace you are in, do one of the following:
•
In the Audio file editing preferences dialog, on the Style tab,
select one of the Conditional options from the menu at the top of
the dialog.
•
In the Audio montage colors dialog, 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.
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Customizing
Customizing the Wave Window and the Montage Window
•
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.
Audio Montage Colors Dialog
In this dialog, you can specify custom colors to clips and parts of a clip
in the montage window.
In the Audio Montage workspace, select Options > Colors.
Parts list
Shows parts that can be colorized. Click a part to edit the color.
Undo all
Undoes all changes that have been made since this dialog was
opened.
Undo
Undoes the last change.
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 lightness.
182
Customizing
Customizing the Wave Window and the Montage Window
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 certain 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
certain 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 having a sample rate within the specified range.
Bit resolution is in the range
If this option is activated, the color style is applied to clips
referencing a file having a bit resolution within the specified range.
Number of channels is
If this option is activated, the color style is applied to clips having
the specified number of channels.
Color Elements in the Audio Montage Workspace
You can assign custom colors to various elements of the Audio Montage
workspace.
In the Audio Montage workspace, select Options > Colors.
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Customizing
Customizing the Wave Window and 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.
Locked
The colors used for all fully locked clips.
Muted
The colors used for all muted clips.
Custom
These options correspond to the items on the color submenus.
These can be renamed, and you can also set up conditions 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 if the clip is selected.
Axis (level zero)
The color of the horizontal dotted line in the middle of a clip,
indicating 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.
184
Customizing
Customizing the Wave Window and the Montage Window
Channel separator (stereo clip)
The line dividing the two sides in a stereo clip.
Clip name
The name label of the clip.
Focused clip name
The name label of the focused clip.
Focused clip name background
The name label background of the focused clip.
Miscellaneous
Background top/bottom
The background colors of the track view for area 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.
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.
185
Customizing
Customizing the Wave Window and the Montage Window
Audio Files Colors Dialog
This tab in the Audio file editing preferences dialog allows you to
specify custom colors to parts of the wave window.
In the Audio Files workspace, select Options > Audio file editing
preferences, and select the Style tab.
Styles list
Lets you select the default style and conditional styles.
Parts list
Shows parts that can be colorized. Click a part to edit the color.
Hide (for certain parts only)
Hides the selected part.
Dotted line (for certain parts only)
Changes the line to a dotted line.
Transparency (for certain parts only)
Lets you edit the degree of transparency of the selected element.
Element size (for certain 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 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.
186
Customizing
Customizing the Wave Window and the Montage Window
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.
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 certain 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
certain keywords in their name. Separate keywords with a “;”
character.
Sample rate in the range
If this option is activated, the color style is applied to files having a
sample rate within the specified range.
Bit resolution is in the range
If this option is activated, the color style is applied to files having a
bit resolution within the specified range.
Number of channels is
If this option is activated, the color style is applied to files having
the specified number of channels.
Color Elements in the Audio Files Workspace
You can assign custom colors to various elements of the Audio Files
workspace. Depending on the selected element, additional settings can
be made for transparency, appearance, or whether a line should be
dotted, for example.
In the Audio Files workspace, select Options > Audio file editing
preferences, and select the Style tab.
187
Customizing
Customizing the Wave Window and the Montage Window
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.
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.
188
Customizing
About Customizing Shortcuts
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.
About Customizing Shortcuts
In WaveLab LE, 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 context, so you can reuse the
same shortcut combination in different workspaces. The exception is the
Master Section where all shortcuts are global to the application.
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 between
one to three keys that must be pressed in a certain order to invoke the
operation.
Editing Shortcuts
You can see the list of all shortcuts in the Customize commands
dialog, and edit and assign shortcuts in the Shortcut Definitions dialog.
NOTE
The Customize commands dialog provides a different command set
for each menu or dialog.
•
To open the Shortcut Definitions dialog, where you can edit the
shortcuts, double-click the shortcut text or its placeholder, or
select a command and click Edit shortcut.
189
Customizing
About Customizing Shortcuts
•
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 defaults use
the Reset button.
Defining Key Sequences
You can define key sequences for a keyboard.
PREREQUISITE
On Mac, commands for the main menus must be 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, the second
shortcut has no effect.
PROCEDURE
1.
In any workspace, select Options > Customize commands, or
select Customize commands when available in tool windows or
other places in WaveLab LE.
2.
In the customize 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 1st key stroke
field, and press the buttons that you want to use as the key
sequence.
4.
Optional: Define up to 4 key sequences for the command.
5.
Click OK.
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.
190
Customizing
About Customizing Shortcuts
Generating a List of All Shortcuts
You can generate an HTML file or print out a list that contains all
shortcuts for the active command set.
PREREQUISITE
When you want to print out the list, make sure a printer is connected to
your system.
PROCEDURE
1.
In any workspace, select Options > Customize commands, or
select Customize commands when available in tool windows or
other places in WaveLab LE.
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.
Customize Commands Dialog
This dialog allows you to customize your own shortcuts for WaveLab LE.
It shows a list of already assigned shortcuts for WaveLab LE commands
and menu options.
In any workspace, select Options > Customize commands, or select
Customize commands when available in tool windows or other places
in WaveLab LE.
Search by
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 by keyboard shortcut is selected, type “*”
to display all the commands already associated with a shortcut.
191
Customizing
About Customizing Shortcuts
Expand/Collapse
Expands/collapses the folder tree.
Commands list
Shows all commands and their shortcuts for the active command
set.
Reset
Resets the commands to the factory setting.
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 of the selected command.
Shortcut Definitions Dialog
This dialog allows you to define your own customized shortcuts for a
particular function. These custom shortcuts can speed up your workflow
in WaveLab LE.
In the Customize commands dialog, select a command, and click Edit
shortcut.
Key Sequence
1st key stroke
Lets you select the first key of an optional sequence of up to 4
keys. Set the focus in 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 have to be triggered to execute
the command. The command is only executed if this key event
happens after the first one.
Clear
Erases all key event fields.
192
Configuring the Software
You can configure WaveLab LE according to your needs.
About Global Preferences
Global preferences are preferences that apply throughout WaveLab
LE. Before starting to work with WaveLab LE, edit these preferences to
set up WaveLab LE according to your needs.
Global Preferences Dialog
This dialog allows you to view and change options that are common
throughout WaveLab LE.
In any workspace, select Options (WaveLab menu on Mac) > Global
preferences.
General Tab
This tab allows you to change the user interface language. You must
restart the application for changes to take effect.
Display Tab
This tab allows you change many aspects of the user interface that
apply across the whole application. These options provide useful
information and usability functions but can be deactivated to streamline
the interface.
Miscellaneous options
Maximum number of items in Recent File menus
Sets the maximum number of files that are listed in menus.
193
Configuring the Software
About Global Preferences
Show tips when mouse stays over buttons
If this option is activated, tooltips are displayed when you move the
mouse cursor over markers or command bar buttons.
When available, tips have a link to “What is this” information
If this option is activated, tooltips contain “What is this” information
if available.
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. When
deactivated, floating windows remain on top of other application
windows.
Workspaces
Tab Groups - Show tab if there is a single window
If this option is activated, the tabs are always visible, even if there
is only one active file.
Tab Groups - When closing the active tab
Determines the behavior of the program when closing the active
tab.
Display active file path in title bar
Displays the file path of the active file in the title bar of the
workspace.
Display status bar
If this option is activated, a status bar is displayed at the bottom of
each workspace. The status bar is used to show hints, for example,
when moving the mouse in a menu.
Options Tab
This tab allows you to control application-wide start-up options. You
can also reset the default message boxes.
Show logo screen on start-up
Determines whether the WaveLab LE logo is displayed during
initialization.
Reset default answers
Resets all message box options to their default settings. For
example, the “Do not show again” options are cleared.
194
Configuring the Software
About Global Preferences
Global Shortcuts Tab
This tab allows you edit key sequences for shortcuts that are available
across all workspaces.
Search by
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, you can use the wildcard characters “*”
and “?” for searching.
“*” substitutes zero or more characters, and “?” substitutes any
character.
For example, if Search by keyboard shortcut is selected, type “*”
to display all the 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 their default setting.
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
selected shortcut.
RELATED LINKS:
“About Customizing Shortcuts” on page 189
195
Configuring the Software
Audio File Editing Preferences Dialog
Audio File Editing Preferences Dialog
This dialog allows you to define settings for editing in the Audio Files
workspace. However, these settings also effect other parts of WaveLab
LE. You can choose defaults for editing and playback, adjust the visual
appearance of the waveform displays, and determine how WaveLab LE
works with audio and peak files.
In the Audio Files workspace, select Options > Audio file editing
preferences.
Editing Tab
Open new audio file windows with overview
If this option is activated and you open an audio file, the overview
is also displayed.
Overview: passive range indicator also covering 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, it is passive and cannot be modified.
Auto zoom for overviews
If this option is activated on opening a 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 how much time to display when opening an audio
file for the first time. WaveLab LE converts this time to the
appropriate zoom factor.
Whole audio file
If this option is activated, the horizontal zoom is set to display the
whole file.
Select all channels with the mouse
If this option is activated when 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].
196
Configuring the Software
Audio File Editing Preferences Dialog
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 there is not audio selection. 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.
Playback scrubbing - Sensitivity
Lets you set the micro audio loop duration that is performed when
you move the mouse cursor over the time ruler.
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.
Snap selection to zero-crossing - Scan range
Lets you define how far WaveLab LE can search a zero-crossing
point in the left and right direction.
Style Tab
This tab allows you to specify custom colors to parts of the wave
window.
197
Plug-in Reference
Steinberg created Virtual Studio Technology (VST) to allow effect
plug-ins to be integrated with audio editors, such as WaveLab LE. VST
uses Digital Signal Processing (DSP) to closely simulate the effects of
familiar recording studio hardware in software.
A vast number of plug-ins are available, from freeware to high-end
commercial products.
The order of processing is significant. You can change the order in
which effects are processed by moving the effect icons by dragging
them between slots. WaveLab LE provides slots for up to ten plug-ins.
Most plug-ins provide a custom GUI, often displaying controls similar to
the physical switches and knobs of audio hardware. Other plug-ins rely
on the host application for their UI.
Built-in Plug-ins
These plug-ins use a plug-in format of WaveLab LE, and cannot be
used with other applications.
•
WaveLab LE specific plug-ins can only be used in the Master
Section.
•
You can specify which plug-ins should be available in the Effects
pane of the Master Section by using the Plug-in settings dialog.
•
Only certain built-in plug-ins can be used as master effects when
a multichannel configuration is used in the audio montage. Note
that all channels in the Master Section are affected equally.
198
Plug-in Reference
Built-in Plug-ins
Crystal Resampler
This plug-in is a professional sample rate converter providing
exceptional transparency and preservation of the frequency content. It is
only available in the Master Section.
NOTE
This plug-in is very CPU consuming, especially in high quality modes.
Sample rate (6-384 kHz)
Defines the output sample rate while the input sample rate is
determined by the sample rate of the active audio file or audio
montage.
Leveler
This plug-in is useful for correcting an imbalance or adjusting levels
between stereo channels, or for mixing down to mono.
Volume Left/Volume Right (-48 dB to 12 dB)
Governs how much of the signal is included in the left and/or right
channel of the output bus.
Stereo Link (OFF or LINKED)
When set to LINKED, Volume Right delivers the gain that is set
for Volume Left.
Mix to Mono (OFF or ON)
When set to ON, a mono mix of the stereo channels is delivered to
the output bus.
199
Plug-in Reference
Built-in Plug-ins
Peak Master
This is a basic plug-in that minimizes peaks in your audio file, allowing a
louder mix without clipping. It is useful in taming dynamic instruments.
It is primarily used as a brickwall limiter. For example, you can limit audio
peaks without altering the rest of the audio signal. In this case, set Input
Gain to 0 dB and Out Ceiling to 0 dB, to achieve a clip-free audio signal.
When used in this way, Peak Master is an excellent plug-in to succeed
a resampler plug-in, and to proceed a dithering plug-in.
Input Gain
Values range from -12 dB to 24 dB.
Out Ceiling
This is the maximum level of the output signal. Values range from
-18 dB to 0 dB.
Softness
This governs the speed at which the signal becomes unaffected
after limiting has been triggered on some samples. Values range
from -5 to +5.
Silence
This plug-in provides a simple way of inserting a precise period of
silence at the start or at the end of an audio file. Use this plug-in to add
silence at the end of a file, so that the tail of a reverb plug-in does not
cut immediately at the end of the file.
Start
Use the slider to insert from 0 to 60,000 ms of silence at the start
of the file.
200
Plug-in Reference
Steinberg VST 3 Plug-ins
End
Use the slider to insert from 0 to 60,000 ms of silence at the end
of the file.
Stereo Expander
This plug-in is a stereo width enhancer that makes a stereo signal sound
wider. It gives better results from real stereo material, as opposed to
mono channels panned to different positions in the stereo image.
Width (0 to 100 %)
Higher values result in a greater stereo width. Usually, you set
Width to values between 0 % and 20 %. Higher values can be used
for special effects.
Steinberg VST 3 Plug-ins
In WaveLab LE there is no limitation to the use of VST plug-ins. They can
be used wherever plug-ins can be inserted.
•
You can specify which VST plug-ins should be available in the
Effects pane of the Master Section by using the Plug-in settings
dialog.
•
You can exclude VST plug-ins completely from WaveLab LE.
•
VST plug-ins have their own preset handling. You can save or load
effect programs (presets).
201
Plug-in Reference
Steinberg VST 3 Plug-ins
AutoPan
This plug-in is a simple auto-pan effect. It can use different waveforms
to modulate the left-right stereo position (pan), using manual modulation
speed settings.
Rate
Sets the auto-pan speed from 0.1 to 10, by rotating the knob by
dragging, or using the mouse wheel.
Width
Sets the depth of the auto-pan effect, that is, how far out to the
left/right speaker the sound should move, from 0 % to 100 %.
Waveform Shape selector
Allows you to select the modulation waveform. Sine produces a
smooth sweep. Triangle creates a ramp, that is, a sweep from one
speaker to the other and then a quick jump back.
Chorus
This plug-in is a single stage chorus effect. It works by doubling
whatever is sent into it with a slightly detuned version.
Rate
The sweep rate can be set with the Rate knob, without sync to
tempo.
Width
Determines the depth of the chorus effect. Higher settings
produce a more pronounced effect.
202
Plug-in Reference
Steinberg VST 3 Plug-ins
Spatial
Sets the stereo width of the effect. Turn clockwise for a wider
stereo effect.
Mix
Sets the level balance between the dry signal and the wet signal.
If Chorus is used as a send effect, this should be set to the
maximum value as you can control the dry/effect balance with the
send.
Waveform Shape selector
Allows you to select the modulation waveform, altering the
character of the chorus sweep. A sine and triangle waveform are
available.
Delay
Affects the frequency range of the modulation sweep by adjusting
the initial delay time.
Filter Lo/Hi
Allow you to roll off low and high frequencies of the effect signal.
Compressor
This plug-in reduces the dynamic range of the audio, making softer
sounds louder or louder sounds softer, or both.
Compressor features separate controls for threshold, ratio, attack, hold,
release, and make-up gain parameters. It also features a separate
display that graphically illustrates the compressor curve shaped
according to the Threshold and Ratio parameter settings. A Gain
Reduction meter shows the amount of gain reduction in dB, Soft
knee/Hard knee compression modes, and a program-dependent auto
feature for the Release parameter.
Threshold (-60 to 0 dB)
Determines the level where Compressor kicks in. Signal levels
above the set threshold are affected, but signal levels below are
not processed.
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Plug-in Reference
Steinberg VST 3 Plug-ins
Ratio (1:1 to 8:1)
Sets the amount of gain reduction applied to signals over the set
threshold. A ratio of 3:1 means that for every 3 dB the input level
increases, the output level increases by only 1 dB.
Soft Knee button
If this button is off, signals above the threshold are compressed
instantly according to the set ratio (hard knee). When Soft Knee
is activated, the onset of compression is more gradual, producing
a less drastic result.
Make-up (0 to 24 dB or Auto mode)
Compensates for output gain loss, caused by compression. If the
Auto button is activated, the knob becomes dark and the output is
automatically adjusted for gain loss.
Attack (0.1 to 100 ms)
Determines how fast Compressor responds to signals above the
set threshold. If the attack time is long, more of the early part of the
signal (attack) passes through unprocessed.
Hold (0 to 5000 ms)
Sets the time the applied compression affects the signal after
exceeding the threshold. Short hold times are useful for DJ-style
ducking, while longer hold times are required for music ducking, for
example, when working on a documentary film.
Release (10 to 1000 ms or Auto mode)
Sets the time after which the gain returns to the original level when
the signal drops below the threshold. If the Auto button is
activated, Compressor automatically finds an optimal release
setting that varies depending on the audio material.
Analysis (0 to 100) (Pure Peak to Pure RMS)
Determines whether the input signal is analyzed according to peak
or RMS values or a mixture of both. A value of 0 is pure peak and
100 pure RMS. RMS mode operates using the average power of
the audio signal as a basis, whereas Peak mode operates more on
peak levels. As a general guideline, RMS mode works better on
material with few transients such as vocals, and Peak mode works
better for percussive material with a lot of transient peaks.
Live button
When this button is activated, the look-ahead feature of
Compressor is disengaged. Look ahead produces more accurate
processing, but adds a certain amount of latency as a trade-off.
When Live mode is activated, there is no latency, which might be
better for live processing.
204
Plug-in Reference
Steinberg VST 3 Plug-ins
Steinberg Gate
Gating, or noise gating, silences audio signals below a set threshold. As
soon as the signal level exceeds the set threshold, the gate opens to let
the signal through.
Threshold (-60 to 0 dB)
Determines the level where Gate is activated. Signal levels above
the set threshold trigger the gate to open, and signal levels below
the set threshold close the gate.
State LED
Indicates whether the gate is open (LED lights up in green), closed
(LED lights up in red) or something in between (LED lights up in
yellow).
Filter buttons (LP, BP, and HP)
When the Side-Chain button is activated, you can use these
buttons to set the filter type to either low-pass, band-pass, or
high-pass.
Side-Chain button
(Below the Center knob.) Activates the side-chain filter. The input
signal can then be shaped according to set filter parameters.
Internal side-chaining can be useful for tailoring how the Gate
operates.
Center (50 to 20000 Hz)
When the Side-Chain button is activated, this sets the center
frequency of the filter.
Q-Factor (0.01 to 10000)
When the Side-Chain button is activated, this sets the resonance
of the filter.
Monitor button
Allows you to monitor the filtered signal.
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Attack (0.1 to 1000 ms)
Sets the time after which the gate opens after being triggered.
Deactivate the Live button to make sure that the gate is already
open when a signal above the threshold is played back. Gate
manages this by looking ahead in the audio material, checking for
signals loud enough to pass the gate.
Hold (0 to 2000 ms)
Determines how long the gate stays open after the signal drops
below the threshold.
Release (10 to 1000 ms or Auto mode)
Sets the time after which the gate closes (after the set hold time).
If the Auto button is activated, Gate will find an optimal release
setting, depending on the audio material.
Analysis (0 to 100) (Pure Peak to Pure RMS)
Determines whether the input signal is analyzed according to peak
or RMS values, or a mixture of both. A value of 0 is pure Peak and
100 pure RMS. RMS mode operates using the average power of
the audio signal as a basis, whereas Peak mode operates more on
peak levels. As a general guideline, RMS mode works better on
material with few transients such as vocals, and Peak mode better
for percussive material, with a lot of transient peaks.
Live button
When this button is activated, the look-ahead feature of Gate is
disengaged. Look ahead produces more accurate processing, but
adds a certain amount of latency as a trade-off. When Live mode
is activated, there is no latency, which is better for live processing.
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Steinberg VST 3 Plug-ins
Limiter
This plug-in is designed to ensure that the output level never exceeds a
set output level, to avoid clipping in following devices.
Limiter can adjust and optimize the Release parameter automatically
according to the audio material, or it can be set manually. Limiter also
features separate meters for the input, output and the amount of limiting
(middle meters).
Input (-24 to 24 dB)
Adjusts the input gain.
Output (-24 to 6 dB)
Determines the maximum output level.
Release (0.1 to 1000 ms or Auto mode)
Sets the amount of time it takes for the gain to return to its original
level. If the Auto button is activated, Limiter automatically finds an
optimal release setting that varies depending on the audio material.
RoomWorks SE
RoomWorks SE is a lite version of the RoomWorks plug-in. This plug-in
delivers high quality reverberation, but has fewer parameters and is less
CPU demanding than the full version.
Pre-Delay
Controls how much time passes before the reverb is applied. This
allows you to simulate larger spaces by increasing the time it takes
for first reflections to reach the listener.
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Reverb Time
Allows you to set the reverb time in seconds.
Diffusion
Affects the character of the reverb tail. Higher values lead to more
diffusion and a smoother sound, while lower values lead to a
clearer sound.
Hi Level
Affects the decay time of high frequencies. Normal room reverb
decays quicker in the high- and low-frequency range than in the
mid-range. Lowering the level percentage causes high frequencies
to decay quicker. Values above 100 % cause high frequencies to
decay more slowly than the mid-range frequencies.
Lo Level
Affects the decay time of low frequencies. Normal room reverb
decays quicker in the high- and low-frequency range than in the
mid-range. Lowering the level percentage causes low frequencies
to decay quicker. Values above 100 % cause low frequencies to
decay more slowly than the mid-range frequencies.
Mix
Determines the blend of dry (unprocessed) signal to wet
(processed) signal. When using RoomWorks SE inserted in an FX
channel, you most likely want to set this to 100 % or use the wet
only button.
StereoDelay
StereoDelay has two independent delay lines with freely specified delay
time settings.
Delay 1 & 2
This is where you specify the base note value for the delay time in
milliseconds.
Feedback 1 & 2
Set the number of repeats for each delay.
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Filter Lo 1 & 2
Affect the feedback loop of the effect signal and allow you to roll
off low frequencies up to 800 Hz. The buttons below the knobs
activate/deactivate the filter.
Filter Hi 1 & 2
Affect the feedback loop and allow you to roll off high frequencies
from 20 kHz down to 1.2 kHz. The buttons below the knobs
activate/deactivate the filter.
Pan 1 & 2
Set the stereo position for each delay.
Mix 1 & 2
Set the level balance between the dry signal and the wet signal. If
StereoDelay is used as a send effect, set these controls to the
maximum value (100 %) as you can control the dry/effect balance
with the send.
StereoEnhancer
This plug-in expands the stereo width of (stereo) audio material. It
cannot be used with mono files.
Width
Controls the width or depth of the stereo enhancement. Turn
clockwise to increase the enhancement.
Delay
Increases the amount of differences between left and right
channels to further increase the stereo effect.
Color
Generates additional differences between the channels to
increase the stereo enhancement.
Mono button
Switches the output to mono, to check for possible unwanted
coloring of the sound which sometimes can occur when enhancing
the stereo image.
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Steinberg VST 3 Plug-ins
StudioEQ
Studio EQ is a high-quality 4-band parametric stereo equalizer with two
fully parametric mid-range bands. The low and high bands can act as
either shelving filters (three types), or as a Peak (band-pass), or Cut
(low-pass/high-pass) filter.
Band 1 Gain (-20 to +24 dB)
Sets the amount of attenuation/boost for the low band.
Band 1 Inv button
Inverts the gain value of the filter. Use this button to filter out
unwanted noise. While looking for the frequency to omit, it
sometimes helps to boost it in the first place (set the filter to
positive gain). After you have found it, you can use the Inv button
to cancel it out.
Band 1 Freq (20 to 2000 Hz)
Sets the frequency of the low band.
Band 1 Q-Factor (0.5 to 10)
Controls the width or resonance of the low band.
Band 1 Filter mode
For the low band, you can select between three types of shelving
filters, a Peak (band-pass), and a Cut (lowpass/high-pass) filter.
When Cut mode is selected, the Gain parameter is fixed.
•
Shelf I adds resonance in the opposite gain direction slightly above
the set frequency.
•
Shelf II adds resonance in the gain direction at the set frequency.
•
Shelf III is a combination of Shelf I and II.
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Band 2 Gain (-20 to +24 dB)
Sets the amount of attenuation/boost for the mid 1 band.
Band 2 Inv button
Inverts the gain value of the filter. See also the description of the
Invert button for Band 1.
Band 2 Freq (20 to 20000 Hz)
Sets the center frequency of the mid 1 band.
Band 2 Q-Factor (0.5 to 10)
Sets the width of the mid 1 band: the higher this value, the
narrower the bandwidth.
Band 3 Gain (-20 to +24 dB)
Sets the amount of attenuation/boost for the mid 2 band.
Band 3 Inv button
Inverts the gain value of the filter. See also the description of the
Invert button for Band 1.
Band 3 Freq (20 to 20000 Hz)
Sets the center frequency of the mid 2 band.
Band 3 Q-Factor (0.5 to 10)
Sets the width of the mid 2 band: the higher this value, the
narrower the bandwidth.
Band 4 Inv button
Inverts the gain value of the filter. See also the description of the
Invert button for Band 1.
Band 4 Gain (-20 to +24 dB)
Sets the amount of attenuation/boost for the high band.
Band 4 Freq (200 to 20000 Hz)
Sets the frequency of the high band.
Band 4 Q-Factor (0.5 to 10)
Controls the width or resonance of the high band.
Band 4 Filter mode
For the high band, you can select between three types of shelving
filters, a Peak, and a Cut filter. When Cut mode is selected, the
Gain parameter is fixed.
•
Shelf I adds resonance in the opposite gain direction slightly below
the set frequency.
•
Shelf II adds resonance in the gain direction at the set frequency.
•
Shelf III is a combination of Shelf I and II.
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Output (-24 to +24 dB)
This knob on the top right of the plug-in panel allows you to adjust
the overall output level.
Auto Gain button
When this button is activated, the gain is automatically adjusted,
keeping the output level constant regardless of the EQ settings.
Spectrum button
Shows the spectrum before and after filtering.
Reset button
Resets the EQ settings.
Using Modifier Keys
When using the mouse to change the parameter settings, modifier keys
can be used. When no modifier key is pressed and you drag an EQ point
in the display, the Gain and Frequency parameters are adjusted
simultaneously.
[Shift]
When you keep the [Shift] key pressed and drag the mouse the
Q-factor of the corresponding EQ band is changed.
[Alt]/[Option]
When you keep the [Alt]/[Option] key pressed and drag the mouse
the frequency of the corresponding EQ band is changed.
[Ctrl]/[Command]
When you keep the [Ctrl]/[Command] key pressed and drag the
mouse the gain value of the corresponding EQ band is changed.
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Index
A
K
AIFF 81
Audio File Format 81, 83
Audio Files 81
Audio Montage 63, 109, 110, 112
Audio selection 22, 86, 90
Key commands 7, 189, 190
Latency 9
Limiter 207
Loop 71, 168
B
M
Backup 55
C
CC121 13, 14
CD import 169
Clipping 149
Clips 76, 109, 117, 118, 120, 122
Colors 54, 180, 182, 186
Command Bars 30, 66, 68
Compare 51
Compressor 203
Context menu 33
Convert 91, 108
Crossfades 105, 106, 132, 135
Cue-point 128
Customizing 49, 180, 189, 191,
192
D
DC Offset 107
Dock 31, 67
Drag-and-drop 39
E
Effects 145, 148
Envelope 129, 130
Equalizer 210
F
L
T
Magnetic bounds 78, 121
Marker 139, 157
Master Section 143
Meter 142
MIDI 13, 189
Monitor 155
Montage window 110, 180
MP2 81
MP3 81
MPEG 81
N
Undo 41
V
Value editing 38
VST 201
VST Audio Connections 8, 9, 11
W
Ogg 81, 87
Z
P
Zoom 41, 46
Pan 129
Peak 29, 200
Picture 52
Playback 68, 70, 74, 76
Plug-ins 147, 148, 198, 201
Podcast 64, 172, 173, 176
Preferences 193, 196
Presets 49
R
Import 114, 169
S
Help 5
U
O
I
H
Tabs 48, 54
Tool windows 65
Tracks 116
Transport bar 68
True Peaks 102
Wave window 180
WMA 81, 88
Workspace 62, 63, 64, 173
Normalize 102
Recently used files 53
Recording 138
Redo 41
Remote Devices 13, 14
Renaming 56, 166
Rendering 137, 151
Resample 108
Resampler 199
RF64 81
Ruler 34
Fades 104, 105, 132
File browser 28
FLAC 81
Focused clip 120, 123
FTP 176, 177
Full screen view 64
Shortcuts 189
Silence 99, 100, 200
Snapping 78, 79, 121
Switcher 21
Sample rate 108, 199
213
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