WaveLab Elements 9 – Operation Manual

WaveLab Elements 9 – Operation Manual
Operation Manual
Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht,
Sabine Pfeifer, Kevin Quarshie, 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, 2016.
All rights reserved.
Table of Contents
6
6
7
7
8
Introduction
Help System
About the Program Versions
Conventions
How You Can Reach Us
10
10
10
11
11
14
14
Setting Up Your System
Connecting Audio
Audio Cards and Background Playback
Latency
Defining VST Audio Connections
CD/DVD Recorders
Remote Devices
20
20
20
21
22
26
27
27
28
31
31
WaveLab Elements Concepts
General Editing Rules
Startup Dialog
Basic Window Handling
Selecting Audio
Sliders
Renaming Items in Tables
File Browser
Tab Groups
Peak Files
Companion Files
33
33
34
34
35
37
38
38
39
39
Workspace Window
Audio Editor
Audio Montage
Podcast Editor
File Tab
Info Tab
Tool Windows
Meter Windows
Slide-Out Windows
Docking and Undocking Tool Windows and
Meter Windows
Command Bar
Status Bar
Context Menus
Time Ruler and Level Ruler
Managing Tabs
Activating Full Screen Mode
41
42
43
44
48
49
3
50
50
51
51
53
53
59
Project Handling
Opening Files
Value Editing
Drag Operations
Undoing and Redoing Actions
Zooming
Presets
62
62
62
64
68
69
69
69
71
File Operations
Recently Used Files
Save and Save As
Templates
File Renaming
Deleting Files
Temporary Files
Work Folders vs. Document Folders
Setting the Focus on the Current File
72
72
83
84
84
85
86
Playback
Transport Bar
Starting Playback From the Ruler
Using the Play Tool
Playback Scrubbing
Scroll During Playback
Playback in the Audio Montage Window
87
87
90
101
120
121
124
126
Audio File Editing
Wave Window
Audio Editor Tabs
File Handling in the Audio Editor
Changing the Audio Properties
Meta-Data
Silence Generator Dialog
Waveform Restoration with the Pen Tool
127
127
136
Audio Analysis
Global Analysis
3D Frequency Analysis
139
139
139
140
141
142
143
144
144
145
147
148
Offline Processing
Applying Processing
Gain Dialog
Level Normalizer Dialog
Fades in Audio Files
Crossfades
Phase Inverting
Reversing Audio
DC Offset
Time Stretching
Pitch Shift
Resample
150
150
153
162
163
164
165
197
200
200
202
Audio Montage
Montage Window
Audio Montage Tabs
Signal Flow in the Audio Montage
Creating New Audio Montages
Audio Montage Duplicates
Creating an Audio Montage from an Audio
File
Import Options for Audio Montages
Missing Files in the Audio Montage Dialog
Assembling the Audio Montage
Rearranging Clips
Clip Editing
Track Activity Indicator
Envelopes for Clips
Fades and Crossfades in Audio Montages
Effects for Tracks, Clips, and the Montage
Output
About the CD Window
Mixing Down – The Render Function
Loudness Meta Normalizer
Notes Window
203
203
204
204
Recording
Setting Up the Recording Dialog
Dropping Markers During Recording
Recording Dialog
210
210
222
227
231
231
Master Section
Master Section Window
Rendering
Saving a Master Section Preset
Monitoring Background Tasks
Dropouts
165
166
167
172
175
180
181
184
188
232
233
235
236
237
237
238
238
238
239
239
240
240
Markers
Markers Window
About Creating Markers
Deleting Markers
Moving Markers
Navigating to Markers
Hiding Markers of a Specific Type
Converting Marker Types
Renaming Markers
Selecting Markers
Selecting the Audio Between Markers
Binding Markers to Clips in the Audio
Montage
How Marker Information is Saved
241
241
241
242
242
244
244
Metering
Metering Window
Meter Settings
Resetting the Meters
Level Meter
Spectroscope
Oscilloscope
246
246
248
248
250
254
Writing Operations
Write Audio CD Dialog
Erase Optical Media Dialog
About Writing Audio Montages
Data CD/DVD Projects
Audio CD Formats
258
258
259
267
Loops
Basic Looping
Refining Loops
Looping Audio Which Is Not Very Well
Suited for Looping
Sample Attributes
270
273
273
277
277
278
278
278
Importing Audio CD Tracks
Import Audio CD Dialog
Importing Audio CD Tracks
Searching Track Names on the Internet
Submitting Track Names to the Internet
Ultra-Safe Mode
Converting Audio CD Tracks to an Audio
Montage
280
280
WaveLab Exchange
WaveLab Elements as External Editor for
Cubase
Cubase as External Editor for
WaveLab Elements
281
4
283
283
288
288
289
289
289
291
Podcasts
Podcast Editor
Global Podcast Options
Creating a Podcast
Setting Up a FTP for Podcast Publishing
Publishing a Podcast
FTP Settings Dialog
Checking the Podcast
292
292
293
298
298
Customizing
Customizing the Wave Window and the
Montage Window
Customizing Shortcuts
Customizing Command Bars
Plug-in Organization
307
307
311
316
319
320
Configuring the Software
Global Preferences
Audio Files Preferences
Audio Montages Preferences
Settings Management
Multi-User Settings
321
321
339
357
364
364
Plug-in Reference
Built-in Plug-ins
Steinberg VST 3 Plug-ins
Sonnox Restoration Toolkit
Legacy Plug-ins
Dithering Plug-ins
366
Index
5
Introduction
Help System
The detailed help system of WaveLab Elements enables you to look up interface
features and get information from within the program.
Accessing the Help System
There are several ways of accessing the help system.
•
To open the WaveLab Elements help, select Help > Contents.
•
To open the manual in PDF format, select Help > PDF Documentation.
•
To show tooltips, move the mouse over an interface icon.
•
To open the help for an 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).
•
To use the menu help, move the mouse over a menu item.
•
To see information on what kind of editing can be performed when using the
mouse and modifier keys in the Audio Montage window, move the mouse
over the montage window. The help text is displayed on the info line at the
bottom of the window.
To open the “What’s This” help, you have the following possibilities:
•
In any window, press [Shift]-[F1] and move the mouse over an interface item,
or select Help > What’s This?.
•
In a dialog, select the question mark icon on any title bar (Windows) or in the
dialog (Mac OS), and move the mouse over an interface item or a menu
option.
•
Some “What’s this” tooltips include a link to a dedicated help topic.
RELATED LINKS
Info Line on page 173
6
Introduction
About the Program Versions
About the Program Versions
The documentation covers the operating systems Windows and Mac OS X.
Features and settings that are specific to one of these platforms are clearly
indicated. In all other cases, the descriptions and procedures in the documentation
are valid for Windows and Mac OS X.
Some points to consider:
•
The screenshots are taken from a Windows operating system.
•
Some functions that are available on the File menu on Windows operating
systems can be found in the program name menu on Mac OS X operating
systems.
Conventions
In our documentation, we use typographical elements and mark-ups to structure
information.
Typographical Elements
The following typographical elements mark the following purposes.
PREREQUISITE
Requires you to complete an action or to fulfill a condition before starting a
procedure.
PROCEDURE
Lists the steps that you must take to achieve a specific result.
IMPORTANT
Informs you about issues that might affect the system, the connected
hardware, or that might bring a risk of data loss.
NOTE
Informs you about issues that you should consider.
EXAMPLE
Provides you with an example.
RESULT
Shows the result of the procedure.
AFTER COMPLETING THIS TASK
Informs you about actions or tasks that you can undertake after completing
the procedure.
7
Introduction
How You Can Reach Us
RELATED LINKS
Lists related topics that you can find in this documentation.
Mark-Ups
Bold text indicates the name of a menu, option, function, dialog, window, etc.
EXAMPLE
To open the Layout Options pop-up menu, click Layout Options in the top right
corner of the Audio Editor.
If bold text is separated by a greater-than symbol, this indicates a sequence of
different menus to open.
EXAMPLE
Select File > Save As.
Key Commands
Many of the default key commands 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]
EXAMPLE
[Ctrl]/[Command]-[Z] signifies: press [Ctrl] on Windows or [Command] on Mac OS
X, then press [Z].
Similarly, [Alt]/[Option]-[X] signifies: press [Alt] on Windows or [Option] on Mac OS
X, then press [X].
How You Can Reach Us
On the Help menu in WaveLab Elements, you find items linking to additional
information.
8
Introduction
How You Can Reach Us
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.
9
Setting Up Your System
Before you start working, you need to make some settings.
IIMPORTANT
MPORTANT
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.
Audio Cards and Background Playback
When you activate playback or recording in WaveLab Elements, other applications
cannot access the audio card. Likewise, if another application uses the audio card,
WaveLab Elements is unable to play back. The Windows MME driver is an
exception from this.
You can run WaveLab Elements together with other applications and always give
the active application access to the audio card.
PROCEDURE
1.
Select File > Preferences > VST Audio Connections.
2.
Select the Options tab.
3.
Activate Release Driver.
4.
Do one of the following:
•
If you want to release the driver when WaveLab Elements is in the background,
activate When WaveLab Elements is in Background.
•
If you want to release the driver only when Cubase is in the foreground, activate
When Cubase is in Foreground.
10
Setting Up Your System
Latency
Latency
Latency is the delay between when audio is sent from the program and when you
actually hear it. While a very low latency can be crucial in a real-time DAW
application such as Steinberg Nuendo or Cubase, this is not strictly the case with
WaveLab Elements.
When working with WaveLab Elements, the important issues are optimum and
stable playback and editing precision.
The latency in an audio system depends on the audio hardware, its drivers, and
settings. In case of dropouts, crackles, or glitches during playback, raise the Buffer
Number setting on the Options tab in the VST Audio Connections, or increase
the buffer size in the ASIO control panel, specific to the audio card.
RELATED LINKS
VST Audio Connections Tab on page 12
Defining VST Audio Connections
To be able to play back and record audio in WaveLab Elements, you must specify
how the internal input and output channels in WaveLab Elements are connected to
your sound card and which device you intend to use for audio playback and
recording.
You can define the buffer settings for your device as well as set up connections to
external gear, such as external effects units. You should select at least two channels
for stereo playback and recording.
If you have no third-party audio card, you can select the Windows MME driver or
Built-in Audio (Mac) options. You can also use MME with most third party audio
cards, with the advantage that you can record and play at different sample rates.
However, Windows MME drivers do not allow audio monitoring in the Recording
dialog or multichannel operation, and other drivers generally offer better sound
quality and performance.
RELATED LINKS
VST Audio Connections Tab on page 12
Selecting an ASIO Driver
Audio Stream Input/Output (ASIO) is a computer device driver protocol for digital
audio specified by Steinberg. It provides a low-latency and high fidelity interface
between a software application and the soundcard of a computer.
PROCEDURE
1.
Select File > Preferences > VST Audio Connections.
2.
Open the Audio Device pop-up menu and select your ASIO driver.
The ASIO Plug-ins tab and the Control Panel button are activated.
11
Setting Up Your System
Defining VST Audio Connections
3.
Optional: Click Control Panel 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.
Selecting a Windows MME Driver
PROCEDURE
1.
Select File > Options > VST Audio Connections.
2.
Open the Audio Device pop-up menu and select Windows MME.
3.
On the Playback tab, select the audio ports that are used for playback.
4.
On the Recording tab, select the audio ports that used for recording and
monitor input.
VST Audio Connections Tab
This tab allows you to specify how the internal input and output channels in
WaveLab Elements are connected to your sound card and which device you want
to use for audio playback and recording.
•
To open the VST Audio Connections tab, select File > Options > VST
Audio Connections.
Global Settings
Audio Device
Allows you to select the audio device that you want to use for playback and
recording audio. If you do not have a third-party audio card, you can select the
Windows MME driver or Built-in Audio (Mac) options.
Control Panel
When you select an ASIO driver, the Control Panel button is activated. Click
the button to open the settings application of your sound card, which is
usually installed with the sound card. Depending on your sound card and
driver, this provides settings for buffer size, digital formats, additional I/O
connections, etc.
Refresh
This button causes audio devices to be evaluated again to reflect device
changes.
12
Setting Up Your System
Defining VST Audio Connections
Playback Tab
This tab allows you to select and name audio ports that are used for playback.
Recording Tab
This tab allows you to select and name your audio ports that are used for recording
and input monitoring. The inputs that you define here are then available in the
Recording dialog.
Options Tab
This tab allows you to specify the number of buffers and the control driver
functionality.
Buffer Number
Increasing this value improves the elasticity of audio streaming to avoid
dropouts.
MME Specific – Buffer Size
Increasing this value improves the elasticity of audio streaming to avoid
dropouts. This is only available when an MME driver is selected.
Initialize Streaming Engine at First Use
Initializes the audio streaming engine when playback or recording are used for
the first time. If this option is deactivated, the audio streaming engine is
initialized at program startup.
Reset Driver When Changing Sample Rate
Resets the driver when sample rate is changed. When playback or recording
must be set to a new sample rate, some audio device drivers must be fully
reset to work properly. This operation takes some time.
Perform Short Fade In/Out When Starting/Stopping Playback
Performs a short fade in when starting playback and a short fade out when
stopping playback. This avoids clicks that are caused by waveforms that are
not starting on a zero-crossing point.
13
Setting Up Your System
CD/DVD Recorders
Release Driver
Allows you to run WaveLab Elements together with other applications and
always give the active application access to the audio card.
•
If When WaveLab Elements is in Background is activated, the driver
is released when WaveLab Elements is in the background.
•
If When Cubase is in Foreground is activated, the driver is released
when Cubase is in the foreground.
CD/DVD Recorders
For general instructions on installing internal or connecting external recorders via
USB or Firewire, refer to the instruction manual for your computer or your recorder.
Make sure to have the latest firmware version installed on your recorder unit. For CD
recorders, the existing firmware must support disc-at-once mode. In addition,
running a unit with older firmware can prevent you from writing sub-index markers
into the tracks, for example.
Remote Devices
You can use remote devices to remote-control WaveLab Elements.
Several commands can be controlled with knobs and sliders of your remote control
device.
Remote Devices Tab
This tab allows you to select a device to remote-control WaveLab Elements, and
see the control map of MIDI control devices.
•
To open the Remote Devices tab, select File > Preferences > Remote
Devices.
14
Setting Up Your System
Remote Devices
Device Editing Tab
This tab lets you select a MIDI control device and see the control map.
Active
Activates the selected device and scans the MIDI ports.
In-Port/Out-Port
Select the MIDI input/output ports of the device that you want to use.
Name
Lets you enter a map name.
Expand/Collapse
Expands/collapses the folder tree of the control map.
WaveLab Elements Action List
This folder tree lists the parameters that you can remote-control. The top
folder represent contexts. The related parameters can only be controlled if the
context is active. For example, if an audio file is active.
A remote control can be used in several contexts if these are exclusive. For
example, parameters that can be used for an active audio file or an active
audio montage.
The Global folder contain the parameters that can always be controlled.
Options Tab
This tab lets you use the MIDI Learn function to assign a control of a MIDI remote
control device to a function.
15
Setting Up Your System
Remote Devices
Emulate Mouse Wheel
If this option is activated, the AI knob of Steinberg controllers acts as a mouse
wheel in the WaveLab Elements user interface, except for plug-ins.
Edit Focused Numeric Field
If this option is activated, the AI knob Steinberg controllers can be used to edit
the focused numeric field that you find in many WaveLab Elements windows
and dialogs.
CC121 Advanced Integration Controller
You can use Steinberg’s CC121 Advanced Integration Controller to control
WaveLab Elements.
This section describes the WaveLab Elements factory preset for the CC121. For
detailed information on how to use the controller, refer to the manual that came with
the CC121. Note that the CC121 was originally designed for Cubase. The
following mapping combines the WaveLab Elements functionality with the CC121
controls. The controls that are not listed in the following paragraph are not assigned
to a parameter.
Channel Section
You can use all controls of the CC121 channel section, except the fader, to control
the elements of the selected track in a WaveLab Elements audio montage. You can
use the fader for the Master Section.
Fader
Controls the Master Section fader.
PAN knob
Controls the gain of the selected track.
Mute
Mutes/Unmutes the selected track.
Solo
Activates/Deactivates solo for the selected track.
CHANNEL SELECT
Selects the previous/next track in the audio montage.
To move the cursor to the previous/next clip edge in the audio montage, hold
[Alt]/[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 Editor,
hold [Ctrl]/[Command].
EQ Section
With the EQ section you can easily control the Steinberg Studio EQ plug-in.
16
Setting Up Your System
Remote Devices
If the EQ TYPE button is activated on the CC121, you can adjust the parameters
of the focused Studio-EQ. All necessary EQ parameters, such as Q/F/G of each
band, EQ TYPE selection, and ALL BYPASS on/off can be set. You can switch to
WaveLab Elements navigation mode by turning off the EQ TYPE button. In
WaveLab Elements navigation mode, you get access to alternative functions, such
as scrolling, zooming, and switching between windows.
EQ TYPE activated:
Bandwidth knobs (Q)
Adjusts the Q (bandwidth) of each EQ band.
Frequency knobs (F)
Adjusts the center frequency of each EQ band.
Gain knobs (G)
Adjusts the gain of each EQ band.
ON
Activates/Deactivates the EQ bands.
ALL BYPASS
Activates/Deactivates bypass for all plug-ins in the Master Section.
EQ TYPE deactivated:
LOW ON
Opens the Audio Editor.
LOW-MID ON
Opens the Audio Montage window.
HIGH ON
Opens the preferences tab.
EQ-1 knob for the EQ Gain (G)
Scrolls left/right on the timeline.
EQ-2 knob for the EQ Gain (G)
Adjusts the horizontal zoom on the timeline.
EQ-3 knob for the EQ Gain (G)
Adjusts the vertical zoom on the timeline.
EQ-4 knob for the EQ Gain (G)
Scrolls tracks on the Audio Montage window or scrolls vertically on the
Audio Editor.
EQ-1 knob for the EQ Frequency (F)
Scrolls left/right on the overview timeline of the Audio Editor.
17
Setting Up Your System
Remote Devices
EQ-2 knob for the EQ Frequency (F)
Horizontally zooms in/out on the overview timeline of the Audio Editor.
EQ-3 knob for the EQ Frequency (F)
Vertically zooms in/out on the overview timeline of the Audio Editor.
EQ-4 knob for the EQ Frequency (F)
Vertically scrolls on the overview timeline of the Audio Editor.
Transport Section
In this section you can control the transport functions of WaveLab Elements.
Previous button
Moves the cursor position to the left.
Rewind button
Moves the edit cursor position to the left.
Forward button
Moves the edit cursor position to the right.
Next button
Moves the cursor position to the right.
Cycle button
Activates/Deactivates Cycle mode.
Stop button
Stops playback. Press again to move the cursor to the previous start position.
Press a third time to move the cursor to the beginning of the project.
Play button
Starts playback.
Record button
Press once to open the Recording dialog. Press again to start the recording.
Press a third time to stop recording. The recorded file opens in the Audio
Editor.
Function Section
In this section, you can adjust functions, such as fades and envelope level, by using
the VALUE knob.
VALUE knob
Rotate this knob to adjust the assigned function. Press the knob to reset the
parameter to its default value.
18
Setting Up Your System
Remote Devices
FUNCTION button 1
Adjusts the fade in settings of the active clip.
FUNCTION button 2
Adjusts the fade out settings of the active clip.
FUNCTION button 3
Adjusts the envelope level of the active clip.
FUNCTION button 4
The element clicked last in the Nudge section of the Edit tab in the Audio
Montage window is assigned to this button.
AI Knob Section
WaveLab Elements can be controlled with the AI knob of Steinberg’s CC121,
CI2+, and CMC-AI controllers. With the AI knob, you can control the parameter that
the mouse points to.
NOTE
The AI knob only works on parameters that are automatable.
In this section you can control parameters via the AI knob.
AI KNOB
Controls the VST 3 plug-in parameters, emulates the mouse wheel, for
example, for scrolling, and lets you edit a focused numeric field. To control a
parameter with the AI knob, move the mouse cursor over the parameter that
you want to control, and move the AI knob. You can activate/deactivate the
emulation of the mouse wheel and the editing of the focused numeric field in
the Options tab.
LOCK
When the mouse cursor points to a parameter, press LOCK to control this
parameter regardless of the position of the mouse cursor.
CUBASE READY Indicator
The CUBASE READY indicator has no function in WaveLab Elements.
Foot Switch Section
The foot switch has the same function as [Shift]. Press and hold the foot switch
while turning the AI knob to fine tune parameters.
19
WaveLab Elements Concepts
This chapter describes general concepts that you will use when working with
WaveLab Elements. Getting accustomed with these procedures allows you to work
more effectively with the program.
General Editing Rules
The common editing operations apply to any Steinberg product.
•
To select and move interface items, and to select ranges, click and drag with
the mouse.
•
Use the keys of your computer keyboard to enter numeric values and text, to
navigate lists and other selectable interface items, and to control the transport
functions.
•
Common operations like cut, copy, paste, or the selection of multiple items
can be performed using standard keyboard shortcuts.
NOTE
The behavior of your product is also governed by your preference settings.
Startup Dialog
When WaveLab Elements starts, the Startup dialog opens where you can select
which file or template you want to open.
20
WaveLab Elements Concepts
Basic Window Handling
Create
Empty Window
Creates an empty WaveLab Elements window.
Templates
Allows you to open a template in a new project.
Open
Last Files
Opens the files that you last used in WaveLab Elements.
Recent Files
Allows you to open a recently used file.
Browse
Allows you to select the files that you want to open.
Use as Default (Do Not Show This Dialog Again)
If this option is activated, the option that you select is used from now on and
the startup screen does not open anymore. To display the Startup dialog,
even if this option has been activated, press [Ctrl]/[Command] when starting
WaveLab Elements.
Basic Window Handling
WaveLab Elements follows the basic guidelines for the Windows/Mac OS
interface, which means that Windows/Mac OS standard procedures apply.
21
WaveLab Elements Concepts
Selecting Audio
Closing Windows
•
To close a file tab, click the X button of the corresponding tab or press
[Ctrl]/[Command]-[W].
•
To close a file tab without saving your changes, hold [Ctrl]/[Command]-[Shift],
and click the X button of the tab. This avoids having to confirm a warning
message whenever you want to close an unsaved tab.
•
To close all file tabs but the selected file tab, right-click a file tab and select
Close All But This.
Switching Between Files
You can have multiple files open and switch between them.
•
To bring a file to the front, click the corresponding tab.
•
To cycle between the files, 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].
•
To toggle between the active file and the last edited file, press [F5].
Selecting Audio
Almost all types of editing and processing that you perform in WaveLab Elements
operate on the audio selection. There are numerous ways to make an audio
selection.
•
To select the whole audio file, double-click it. If the audio file contains markers,
triple-click it.
Selecting a Range by Dragging
The standard way to select a range in the wave window is to click and drag.
If you drag all the way to the left or right side of the wave window, it scrolls
automatically, allowing you to select larger sections than what can be shown in the
wave window. The speed of the scrolling depends on how far from the wave
window edge you are.
22
WaveLab Elements Concepts
Selecting Audio
Audio Range Selection in an Audio File
You can edit, process, or play back selections of an audio file.
•
To access the audio range selection options, in the Audio Editor, select the
Edit tab.
The following selection options are available in the Time Selection section:
All
Selects the entire waveform.
Toggle
Toggles the selection range on/off.
Extend
Opens a menu where you can select the following options:
•
Extend to Start of File extends the selection to the start of the audio
file. If there is no selection, a selection is created from the edit cursor
position.
•
Extend to End of File extends the selection to the end of the audio file.
If there is no selection, a selection is created from the edit cursor
position.
•
Extend to Previous Marker extends the left edge of the selection to the
nearest marker to the left or the start of the audio file. If there is no
selection, a selection is extended until the edit cursor position.
•
Extend to Next Marker extends the right edge of the selection to the
nearest marker to the right or the end of the audio file. If there is no
selection, a selection is extended until the next marker position.
•
Extend to Cursor extends the selection to the edit cursor position.
•
From Start of File Until Cursor selects the range between the start of
the audio file and the edit cursor position.
•
From Cursor to End of File selects the range between the edit cursor
position and the end of the audio file.
•
From Cursor to Previous Marker selects the range between the edit
cursor position and the previous marker or the start of the audio file.
•
From Cursor to Next Marker selects the range between the edit
cursor position and the next marker or the end of the audio file.
•
From Playback Position to End of Audio File creates a selection
range from the playback position to the end of the audio file. If no
playback is taking place, the position of the edit cursor is used.
•
From Playback Position to Start of Audio File creates a selection
range from the playback position to start of the audio file. If no playback
is taking place, the position of the edit cursor is used.
•
Double Selection Length doubles the length of the current selection
range.
23
WaveLab Elements Concepts
Selecting Audio
•
Halve Selection Length halves the length of the current selection
range.
Channels
Opens are menu where you can select the following options:
•
Extend to All Channels extends the current selection range to all
channels.
•
Left Channel Only reduces the current selection range to the left
channel only.
•
Right Channel Only reduces the current selection range to the right
channel only.
Regions
Opens are menu where you can select the following options:
•
Loop Region selects the range between the two loop markers that
encompass the edit cursor.
•
Generic Region selects the range between the two generic markers
that encompass the edit cursor.
Selecting in Stereo Files
If you are working on stereo material in the Audio Editor, you can apply an operation
to one channel only or to the entire stereo material.
Which channel is selected when you click and drag in the wave window depends
on where you position the mouse cursor. The pointer shape indicates which channel
will be affected.
The following pointer shapes are available:
Select left channel
Clicking in the upper half of the left channel selects the left channel.
Select both channels
Clicking in the middle area between the left and the right channel selects both
channels.
Select right channel
Clicking in the lower half of the right channel selects the right channel.
24
WaveLab Elements Concepts
Selecting Audio
Switching the Selection Between Channels
You can switch the channel selection that you have made for a channel to all
channels or switch the selection to the other channel.
PROCEDURE
1.
In the wave window of the Audio Editor, select a range.
2.
Select the Edit tab.
3.
In the Time Selection section, click Channels and select one of the following
options:
•
Extend to All Channels
•
Left Channel Only
•
Right Channel Only
You can press [Tab] to switch between the different channel selections.
Selecting in the Overview of the Audio Editor
The ranges that you select in the overview of the Audio Editor also apply to the main
view.
PROCEDURE
•
In the wave window of the Audio Editor, hold down [Ctrl]/[Command] and
click and drag in the overview.
Moving a Selection Range
If a selection range has the correct length, but the wrong position, you can move it.
PROCEDURE
1.
In the wave window, hold down [Ctrl]/[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.
There are several ways to extend/reduce the selection:
•
Select a range, [Shift]-click outside the selection range, and drag to the
left/right, or click and drag the edges of the selection range to the left/right.
25
WaveLab Elements Concepts
Sliders
•
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 range.
Audio Editor
The following options can be found on the Edit tab in the Cutting section.
Crop
Removes the data outside the selection.
Delete
Removes the selection. The audio to the right of the selection is moved to the
left to fill the gap.
Sliders
At various places in WaveLab Elements, slider controls are available to change
parameters. There are a number of ways to change the value of a slider.
•
Position the mouse over the slider and use the mouse wheel without clicking.
Hold [Ctrl]/[Command] while using the mouse wheel to scroll faster. This
modifier also applies to the zoom wheels. To move a slider, click and drag it.
•
To move the slider handle to a position, click the slider at any position.
•
To move the slider handle in smaller steps, right-click or click below the
handle. Keep the mouse button pressed to automatically step to the next
value.
•
To reset the slider to the default value, if available, [Ctrl]/[Command]-click the
slider, or click using the third mouse button, or double-click the handle.
26
WaveLab Elements Concepts
Renaming Items in Tables
Renaming Items in Tables
You can rename items in tables in the Markers window, and in the CD window.
•
To rename an item, double-click it or select it, and press [Return], and enter
the new name.
•
To rename the previous/next item, press [Up Arrow] or [Down Arrow]. This
way you move the focus on the previous/next item, while staying in the edit
mode.
File Browser
The File Browser window allows you to browse files from within
WaveLab Elements. The Auto Play Mode is useful for speeding up the process of
auditioning sound files.
The File Browser window provides you with all the standard browsing functions. It
features additional controls to audition audio files and any marker defined regions.
You can use it to open or insert files by dragging them to another location.
You can also choose to only view specific file types.
File Browser Window
In this window, you can browse files and open them in WaveLab Elements.
•
To open the File Browser window, select Tool Windows > File Browser.
Back/Forward/Parent Directory
Allows you to navigate through the list and file hierarchy.
Location
This menu lets you select a file location to browse and lists the recently used
locations.
27
WaveLab Elements Concepts
Tab Groups
Auto-Play Mode
Automatically starts playback of the selected file.
Play Selected Audio File
Plays the selected audio file.
Search
If this button is activated, you can enter text in the search field.
File format list
Allows you to select which file format to display.
Folder tree
Shows the folders that are available on your computer.
Favorite folders
You can add your favorite folders by dragging them from the folder tree.
File list
Shows the file name, size, type, modification date, and other information about
the file.
Create Folder
Allows you to create a new folder. Right-click in the file list and select Create
Folder.
Audio Regions
If the selected file contains region markers, the regions are displayed in the
Audio Regions section. You can drag regions onto a track.
Tab Groups
With tab groups, you can view the content of different files, tool windows, or meters
at the same time, without having to navigate through different windows. Each tab
group has its own content and tab bar.
You can have two file tab groups.
28
WaveLab Elements Concepts
Tab Groups
Empty File Tab Groups
File Tab Groups with Audio Montages
29
WaveLab Elements Concepts
Tab Groups
Creating File Tab Groups
PROCEDURE
1.
In the top right of a file tab window, open the Tab Group pop-up menu.
2.
Select Create a Tab Group (Split Vertically) or Create a Tab Group (Split
Horizontally).
Creating File Tab Groups in Empty Tab Groups
PROCEDURE
•
In the top right of an empty file tab group, click Create a Tab Group (Split
Vertically) or Create a Tab Group (Split Horizontally).
Using Tab Groups
The Tab Group button in the top right of each tab window allows you to maximize,
move, and close tab groups. Tabs are used differently depending on the type of
window.
Tool Window Tab Groups
•
To hide a tool window tab group, open the Tool Window Tab Group Options
pop-up menu and select Hide All.
•
To reorder tabs in a tab group, drag the tab horizontally to a new position on
the tab bar.
•
To dock the tab group to another location, open the Tool Window Tab Group
Options pop-up menu and select Dock Tab Group Elsewhere. Now you can
select where to dock the tab group.
•
To close a file tab group, click the Tab Group button and select Hide All.
•
To reorder tabs in a tab group, drag the tab horizontally to a new position on
the tab bar.
•
To move a tab to another project, drag the tab to another project.
File Tab Groups
30
WaveLab Elements Concepts
Peak Files
•
To paste the content of a tab into an audio file, drag the tab onto the
waveform. The tab is inserted at the cursor position.
•
To maximize the active file tab group, open the File Tab Group Options
pop-up menu, and select Hide Other File Tab Groups.
To show all file tab groups, open the File Tab Group Options pop-up menu,
and select Show Other File Tab Groups.
You can also double-click the file tab header of a tab group to show/hide
other file tab groups.
Peak Files
A peak file (extension .gpk) is automatically created by WaveLab Elements each
time an audio file is modified or opened in WaveLab Elements for the first time. The
peak file contains information about the waveform and determines how it is drawn
in the wave window or the montage window.
Peak files speed up the time it takes to draw the corresponding waveform. By
default, the peak file is saved in the same location as the audio file.
Rebuilding Peak Displays
Normally, peak files are automatically updated when the date of the peak file is older
than the date of the audio file. However, it can happen that the date of the audio file
is not automatically updated. In this case you can force a rebuild of the peak file.
PROCEDURE
1.
In the Audio Editor, select the View tab.
2.
In the Peaks section, click Rebuild Files.
Companion Files
Companion files (extension .vs) contain Master Section presets and view settings
for audio files. If this feature is activated when you save a file, the settings are
recreated the next time that you load the file.
Companion files are only available in the Audio Editor.
The following view settings are included in companion files:
•
Window size and position
•
Zoom level
•
Scroll position
31
WaveLab Elements Concepts
Companion Files
Storing Companion Files in Another Location
By default, companion files are saved in the same location as the audio file.
However, you can select another file location.
PROCEDURE
1.
Select File > Preferences > Folders.
2.
Click Companion Files and specify another file location.
32
Workspace Window
The Workspace window provides an editing and playback environment for each
particular file type. Each environment allows functions according to the specific
purpose of each file type.
•
Audio Editor for viewing and editing audio files.
•
Audio Montage window for assembling and editing audio montages.
•
Podcast Editor for preparing and uploading podcasts.
The Workspace window is highly customizable to match your workflow.
Elements of the Workspace Window
The Workspace window contains the following elements:
•
A menu bar
•
Tab groups to host the files to edit. You can move the content of a tab to
another tab, create a new empty tab, display the file path, and access other
functions by right-clicking.
•
A set of tool windows. Which tools are available depends on the file type you
are working on. The tool windows can be activated/deactivated individually.
Audio Editor
The Audio Editor provides tools and functions for sample-accurate audio editing,
high-quality analysis, and processing.
The Audio Editor includes various metering tools.
The wave window gives you a graphical representation of the audio file and allows
you to view, play back, and edit the file.
RELATED LINKS
Audio File Editing on page 87
33
Workspace Window
Audio Montage
Audio Montage
In the Audio Montage window, you assemble audio clips into a montage. You can
arrange, edit, and play back clips on both stereo or mono tracks.
Features include both track- and clip-based effects, volume and pan automation,
and wide-ranging fade and crossfade functions.
You can place any number of clips on an audio track. A clip contains a reference to
a source audio file on your hard disk, as well as start and end positions in the file.
The montage window gives you a graphical representation of clips on tracks. In it
you can view, play back, and edit the tracks and clips.
RELATED LINKS
Audio Montage on page 150
Podcast Editor
In the Podcast Editor, you assemble, define, and publish your podcast to the
Internet.
RELATED LINKS
Podcasts on page 283
34
Workspace Window
File Tab
File Tab
The File tab is the control center of WaveLab Elements. Here, you can save, open,
render, import, and export files. It also gives you detailed information about your files
and allows you to set up the WaveLab Elements preferences.
Info
Provides information about the active file and allows you to edit the audio
properties of audio files and audio montages.
New
Allows you to create audio files, audio montages, or podcasts. You can create
new files or use a template.
Open
Allows you to open audio files, audio montages, or podcasts.
You can also open files that you have previously copied to the clipboard in the
File Explorer/Mac OS Finder.
Import
Allows you to open different file formats. The following formats are supported:
•
Audio File to Montage
•
Unknown Audio
You can also import audio CD tracks from an audio CD.
35
Workspace Window
File Tab
Save As
Allows you to save the active file or the project. You can specify the name, file
format, and location. You can also save a copy of the active file.
Save All
Allows you to save all changed files of your project at once. The file list gives
you an overview of all files that have been changed.
You can use the filter to show all changed files, only audio files, or only audio
montages.
Export
Allows you to render the active file and upload the audio file to SoundCloud.
Preferences
Allows you to view and change the preferences of WaveLab Elements. You
can set up the preferences for the following parts of WaveLab Elements:
•
Global
•
VST Audio Connections
•
Shortcuts
•
Plug-ins
•
Remote Devices
•
Folders
•
Audio Files
•
Audio Montages
Tools
•
Data CD/DVD
•
Batch Conversion
RELATED LINKS
Info Tab on page 37
Configuring the Software on page 307
36
Workspace Window
Info Tab
Info Tab
The Info tab provides information about the active file and allows you to edit the
audio properties of audio files and audio montages.
•
To open the Info tab, select the File tab, and click Info.
Depending on the selected file, different information and options are available.
Name
Displays the name, file extension, and file location of the active file. You can
edit these attributes.
File Properties
Displays the size, date, and file format of the active file.
Audio Properties
For audio files, this displays the bit resolution, channels, and sample rate of
the active file.
For audio montages, this displays the mode, channels, and sample rate of the
active file.
You can edit these attributes.
Sample Attributes (audio files only)
Displays the musical attributes tune, key range, and velocity range.
37
Workspace Window
Tool Windows
Meta-Data
Displays the meta data of the active file.
Copy to Clipboard
Opens a menu from which you can select which information about the active
file you want to copy to the clipboard.
Reveal in File Explorer/Mac OS Finder
Opens the File Explorer/Mac OS Finder to show the location of the active file.
Delete
Deletes the active file.
Tool Windows
Throughout WaveLab Elements there are various tool windows available that allow
you to view, analyze, and edit the active file.
Generally, the content of a tool window is synchronized with the active file, with the
exception of the audio meters which displays the audio file being played back. Tool
windows can be docked and undocked, and saved in your custom layouts. Some
tool windows are only available for specific file types.
The tool windows can be accessed via the Tool Windows menu.
Opening and Closing Tool Windows
You can close all tool windows that you do not need for your project.
•
To open a tool window, select Tool Windows and select a tool window.
•
To close a docked tool window, right-click the tool window tab and select
Hide.
•
To close an undocked tool window, click its X button.
Meter Windows
WaveLab Elements contains a variety of audio meters that you can use for
monitoring and analyzing audio. Meters can be used to monitor audio during
playback, rendering, and recording. Furthermore, you can use them to analyze audio
sections when playback is stopped.
The meter windows can be accessed via the Meters menu.
38
Workspace Window
Slide-Out Windows
Opening and Closing Meter Windows
You can close all meter windows you do not need for your project.
•
To open a meter window, select Meters and select a meter window.
•
To close a docked meter window, right-click the meter window tab and select
Hide.
•
To close an undocked meter window, click its X button.
Slide-Out Windows
Slide-out windows are hidden in the frame of the Workspace window. When you
hover the mouse pointer over the window name, the window slides out. It is hidden
again, when you click anywhere else.
Slide-out window tab
An open slide-out window
Docking and Undocking Tool Windows and Meter
Windows
Tool windows and meter windows can be used as docked windows, as floating
windows, or as a slide-out window. You can freely drag around the windows and
dock them at various locations.
•
To undock a tool window or meter window, drag the corresponding tab to
another position.
Now the tool window or meter window is a floating window which can be
freely moved.
•
To dock a tool window or meter window, click and hold the caption bar or click
the Options button on the right of the caption bar and select Dock Tab
Group Elsewhere.
39
Workspace Window
Docking and Undocking Tool Windows and Meter Windows
Yellow symbols indicate locations for docked windows, pink symbols indicate
locations for slide-out windows. Drag the window to one of the locations.
•
To dock a floating tool window or meter window at its last docked position,
click the Options
button on the right of the caption bar and select Dock
to Last Place Again.
RELATED LINKS
Slide-Out Windows on page 39
Setting the Transparency for Floating Windows
You can make the tool windows and meter windows become transparent if they are
not the active window. For this, specify the transparency value in the global
preferences and activate the transparency for each window individually.
•
To specify the transparency value, select File > Preferences > Global, and
select the Display tab. In the Tool Windows section, specify the value in the
Window Transparency field.
•
To activate the transparency for a tool window or meter window, click the Tab
Group button at the top right of the window, and select Auto Transparency.
RELATED LINKS
Global Preferences on page 307
40
Workspace Window
Command Bar
Hiding the Caption Bar in Floating Meter Windows
To save screen space, the caption bar of floating meter windows can automatically
be hidden if the window is not the active window. This can be set individually for
each floating window.
PROCEDURE
1.
In a floating meter window, click the Options
window.
2.
Select Auto Caption Bar.
button at the top right of the
Command Bar
The command bar of file windows allows you to create, open, and save files, and
undo/redo changes. You can also use the text field to quickly find and access open
files, and to trigger keywords.
New
Allows you to create an audio file, audio montage, or podcast. You can create
new files or use a template.
Open
Allows you to open an audio file, audio montage, or podcast.
Save
Saves the active file.
Save As
Allows you to save the active file. You can specify the name, file format, and
location. You can also save a copy of the active file.
Trigger Cubase Update
Updates the Cubase project if the active file was opened via the Edit in
WaveLab option.
Undo
Allows you to undo changes.
41
Workspace Window
Status Bar
Redo
Allows you to redo changes that were undone.
Navigate Backwards/Navigate Forwards
In the Audio Editor and Audio Montage window, this allows you to navigate
to the previous/next cursor position, zoom factor, or selection range without
undoing/redoing the edit operation.
Customize Command Bar
Allows you to select the buttons that you want to display on the command bar.
Maximize Window
Maximizes the window. To restore the window size, click the button again.
Layout Options
Allows you to determine the position of the command bar and transport bar.
RELATED LINKS
WaveLab Exchange on page 280
Status Bar
The status bar at the bottom of the screen of the Audio Editor and the Audio
Montage window shows information about the active window using the units
specified in the rulers.
The information displayed on the status bar is updated depending on the cursor
position and on the audio selection that you have made.
Time/Level (dB)
Displays the time of the audio file at the mouse cursor position. In the Audio
Editor, it also displays the level.
Audio Information at Edit Cursor
Displays the time at the position of the edit cursor. This information changes
if you reposition the cursor.
•
To define the cursor position, click the Audio Information at Edit
Cursor field to open the Cursor Position dialog.
•
To focus the cursor position, right-click the Audio Information at Edit
Cursor field.
42
Workspace Window
Context Menus
Audio Selection Indicator (Audio Editor)/Audio Range Indicator (Audio
Montage)
In the Audio Editor, this displays the length of the current selection, or the
total length of the audio file if no selection has been made.
In the Audio Montage window, this displays the length of the audio selection
if a clip is selected, or the size of the audio montage.
If you have zoomed in, you can right-click the indicator to display the selected
audio range, the active clip, or the whole file. Left-click the indicator to open
the Audio Range dialog, where you can define or refine a selection.
Zoom Indicator
Displays the current zoom factor.
•
To open a pop-up menu, that allows you to make additional zoom
settings, click the indicator.
•
To open the Zoom Factor dialog, that allows you to edit the zoom
factor, right-click the indicator.
Sampler Key Indicator (Audio Editor only)
Indicates the key of the current audio file (if defined). Click the indicator to
open the Sample Attributes window.
Audio Properties Indicator
In the Audio Editor, 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 window, 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.
Bypass Master Section
If this button is activated, the Master Section is bypassed. If the button is
deactivated, the audio is played through the Master Section.
Background Information
The status bar shows the progress of some background operations, such as
rendering an effect. The operation can be paused or canceled using the
provided buttons.
Context Menus
Throughout WaveLab Elements, various context menus are available. These menus
group the commands and/or options that are specific to the active window.
The context menus appear if you right-click specific areas and are useful for
speeding up your workflow.
43
Workspace Window
Time Ruler and Level Ruler
For example, right-click a file tab to open a context menu with some relevant file
options. Right-clicking the ruler of the waveform window brings up the Time Ruler
context menu that allows you to access a number of options for changing the time
ruler display format.
You can find most context menu commands in the tabs, in the file window and in the
main menus, but some commands are only available in context menus. If you search
for a function, right-click the current working window to check if it has a context
menu.
Context menu in the montage window
Time Ruler and Level Ruler
In the Audio Editor, you can display a time and a level ruler in the wave window. In
the Audio Montage window, you can display a time ruler in the montage window.
You can also determine which time and level units the rulers show.
Time Ruler
Level Ruler (Audio Editor only)
44
Workspace Window
Time Ruler and Level 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 frames per second for various SMPTE timecode types and for CD
resolution.
You can specify the timecode type in the Time Format dialog.
Clock
Displays time units.
Samples
Displays positions as number of samples. The number of samples per second
depends on the sample rate of the audio file. For example, at 44.1 kHz, there
are 44100 samples per second.
Bars and Beats
Displays bars and beats.
File Size (Audio Editor only)
Displays positions in megabytes. Decimals represent kilobytes.
Show grid (Audio Montage window only)
Displays vertical lines in the montage window, aligned with time ruler marks.
Time Format
Opens the Time Format dialog, that allows you to edit the appearance of the
time ruler formats.
Save Current Settings as Default
If this option is activated, the time ruler uses the current time format in all new
wave windows or montage windows.
Set Ruler’s Origin to Start of File
If this option is activated, the ruler’s zero position is set to the beginning of the
first sample.
Set Ruler’s Origin at Cursor
If this option is activated, the ruler’s zero position is set to the current edit
cursor position.
Set Ruler’s Origin to BWF Reference (Audio Editor only)
If this option is activated, the first sample matches the BWF time reference,
provided that the time reference is available.
45
Workspace Window
Time Ruler and Level Ruler
RELATED LINKS
Time Format Dialog on page 47
Level Ruler Menu (Audio Editor only)
dB
Sets the level format to decibels.
+-100 %
Sets the level format to percentage.
Normalized +1/-1
Sets the level format to a ruler gradation corresponding to 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.
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.
46
Workspace Window
Time Ruler and Level Ruler
Setting the Edit Cursor Position
Many operations, such as playback and selection, depend on the current edit cursor
position. For example, playback often starts at the edit cursor position. The current
edit cursor position is indicated by a vertical flashing line.
There are various ways to move the edit cursor:
•
Click somewhere in the wave window, the montage window, or the time ruler.
If you have made a selection, click the time ruler to prevent deselecting.
•
Click and drag in the time ruler.
•
Use the transport controls.
•
In the Audio Editor and Audio Montage window, select the View tab and use
the options in the Cursor section.
•
Use the cursor keys.
•
Double-click a marker.
Time Format Dialog
In this dialog, you can customize the time format of the ruler. The time format of the
ruler is also used in various time fields, for example, the status bar and some dialogs.
•
To open the Time Format dialog, right-click the ruler in the Audio Editor or
Audio Montage window, and select Time Format.
In the Audio Editor, you can set different time formats for the overview display
and the main display.
Timecode Tab
On this tab, you can configure the appearance of the Timecode option.
Frames per Second
Lists standard frame rates. From the pop-up menu, select Other to enter a
custom frame rate. You can also choose which frames or units are displayed.
47
Workspace Window
Managing Tabs
Show Absolute Frames
Shows the time format as a number of frames, without other time elements.
Show Quarter Frames
Adds the quarter frame number to the time format.
Show Hundredth Frames
Adds the number of a hundredth of a frame to the time format.
Show Units
Adds time units to the time format of the ruler.
Clock Tab
On this tab, you can configure the appearance of the Clock option.
Show Units
Adds time units to the time format of the ruler.
Compact
Shows the time without unit indicators.
Meter Tab
On this tab, you can configure the appearance of the Bars and Beats option.
Time Signature
Lets you edit the time signature used to display the time represented as a
musical notation.
Tempo
Lets you edit the tempo used to display the time represented as a musical
notation.
Ticks per Quarter Note
Lets you edit the number of ticks per quarter note. These are used to display
times that are compatible with your sequencer.
Managing Tabs
A tab is a container for a file in WaveLab Elements. You can open several tabs, but
only one can be active at a time. The Tabs context menu offer tab related options.
File Tabs
The following options are available when you right-click a file tab.
48
Workspace Window
Activating Full Screen Mode
Add to
Allows you to add the active file to another editor.
Close
Closes the active tab.
Close All But This
Closes all files but the active file.
Info
Displays information about the active file.
Reveal in File Explorer/Mac OS Finder
Opens the File Explorer/Mac OS Finder to show the location of the file.
Copy to Clipboard
Opens a menu, from which you can select which information about the file you
want to copy to the clipboard.
Recent Files
Allows you to open recently used files.
Activating Full Screen Mode
PROCEDURE
•
Select Workspace > Full Screen.
49
Project Handling
Opening Files
PROCEDURE
1.
Select File > Open.
2.
Select the file type that you want to open.
For example, Audio File.
3.
From the file browser, select the file that you want to open.
4.
Click Open.
Opening Files from the Clipboard
You can open files in WaveLab Elements that you have previously copied to the
clipboard in the File Explorer/Mac OS Finder.
PROCEDURE
1.
In the File Explorer/Mac OS Finder, copy the files that you want to open to the
clipboard.
2.
In WaveLab Elements, select File > Open.
3.
Click Open Files from Clipboard.
RESULT
The files open in new file tabs.
Automatically Opening Files in a Dedicated Tab Group
You can specify a precedented file type for each tab group. Files that open after
rendering, audio files that you open from an audio montage, or files that you open
via the File Explorer/Mac OS Finder are automatically opened in the corresponding
tab group for this file type.
•
To specify a precedented file type for a tab group, click File Tab Group
at the header of a tab group, and select a file type.
Options
50
Project Handling
Value Editing
Value Editing
At various places in the program, numerical values can be edited by using a
combination of text fields and knobs.
Values are sometimes composed of several elements, for example, 12 mn 30 sec
120 ms. Each value can be edited by using any of the following methods:
•
To change a value, click in a value field and type a new value, or click the small
arrows in the value field.
•
To change the value by one unit at a time, press the [Left Arrow] and [Right
Arrow] keys.
•
To change the value by several units, press the [Page Up] and [Page Down]
keys.
•
To change the value using the mouse wheel, position the mouse cursor over
a value, and use the mouse wheel, or use the AI knob of your MIDI controller.
•
To change the value with the mouse, click a value and drag the mouse up or
down.
•
To jump to the maximum and minimum values, press the [Home] and [End]
keys.
•
To move from one element of the value to another, press the [Left Arrow] and
[Right Arrow] keys.
Drag Operations
WaveLab Elements makes much use of drag-and-drop techniques to perform
various operations, some of which can only be performed this way. These are
referred to as drag operations in this documentation.
•
To drag an object, click and hold with the mouse when positioned on the
object and drag it. Drop the object by releasing the button.
Many types of objects can be dragged between different source and destination
locations, for example, files, text, clips, items in a list, and markers.
51
Project Handling
Drag Operations
NOTE
It is also possible to drag and drop files from WaveLab Elements to Steinberg’s
Nuendo.
•
To reorder a tab within its own tabbed group, drag horizontally. To move a tab
to another window, drag vertically.
•
To open a file, drag it from the File Browser window of WaveLab Elements,
from the file browser of your operating system, or from another application to
the tab bar.
•
To create a copy of a file, drag its tab vertically to another position of the tab
bar, then press [Ctrl]/[Command], and release the mouse button.
•
You can dock and undock tool windows and meter windows via dragging.
RELATED LINKS
Docking and Undocking Tool Windows and Meter Windows on page 39
Dragging in the Audio Editor and Audio Montage Window
•
To insert an audio file in another audio file, drag the title bar of the file onto the
waveform of another file. You can also drag an audio file from the File
Browser window, the file browser of your operating system, or from another
application into the Audio Editor.
•
To move a marker, drag it to another position on the time ruler.
•
To create a copy of a marker, press [Shift], and drag it to another position on
the time ruler.
•
To delete a marker, drag it upwards outside the time ruler.
•
To copy an audio selection, drag a selected region of audio onto the waveform
area of the same file or another file.
•
To change the extent of a selection range, position the edit cursor at the
start/end of the selection range, and drag to the left or right.
•
To move the edit cursor without losing the current selection, and to snap it to
an anchor, press [Shift], and move the mouse near the audio file/montage
cursor. The mouse cursor shape changes and you can drag the cursor left and
right.
•
To move the edit cursor without changing or losing the current selection,
press [Shift], click the edit cursor, and drag it to another position.
•
To scroll the waveform horizontally, click the bar above the time ruler and drag
left or right. You can also click anywhere on the waveform using the 3rd
mouse button, and drag left or right.
•
To create a generic marker from a selected text, drop the text that you have
selected in an external application onto the time ruler. The text becomes the
marker name.
52
Project Handling
Undoing and Redoing Actions
•
To create a stereo copy of a mono file, or a mixed copy of a stereo file, drag a
tab to another position of the tab bar, press [Ctrl]-[Alt] (Windows) or
[Option]-[Ctrl] (Mac), and release the mouse button.
Dragging in the Podcast Window
•
To reorder episodes in the episodes list, drag them to another position.
Dragging in the Master Section
•
To change the order of processing, drag effects between different effects
slots.
Undoing and Redoing Actions
You can undo and redo as many steps as you like. The only limitation is the available
hard disk space.
When undoing or redoing any operation in the Audio Editor or the Audio Montage
window, the zoom factor, cursor position, scroll position, clip selection status, and
time range are restored to the state before the operation.
•
To undo or redo a step, click Undo
Editor or Audio Montage window.
or Redo
in the title bar of the Audio
Navigating Backwards and Forwards
In audio files and audio montages, you can navigate to the previous/next cursor
position, zoom factor, and selection range without undoing/redoing the edit
operation.
PROCEDURE
1.
In the Audio Editor or Audio Montage window, select the View tab.
2.
In the Navigate section, click Backwards or Forwards.
Zooming
Horizontal Zooming
•
When you zoom out as far as possible, the entire file fits in the window.
53
Project Handling
Zooming
•
When you zoom in as far as possible, each sample occupies several pixels on
the screen. This allows for sample-accurate editing of waveforms.
•
When you zoom out as far as possible, the height of the wave fits in the
window.
•
As you progressively zoom in, the display only shows a part of the total height.
The vertical scrollbar lets you adjust exactly which section is shown. Check
the ruler to see which part of the waveform is shown in the display.
•
To optimize the vertical zoom of the waveform, press [Ctrl]/[Command], the
time ruler, keep the mouse button pressed, and drag the mouse up or down.
•
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.
Vertical Zooming
High Zoom Level
Zooming in the Overview and Main View Sections (Audio Editor Only)
•
You can have different zoom levels in the overview and in the main view
section. In the overview, a range indicator on the time ruler indicates which
section of the file is displayed in the main view.
•
To adjust the zoom level, drag the edges of the range indicator.
•
To scroll in the main view, drag the range indicator. The range indicator is
located at the top of the overview display.
•
To adjust the zoom level using the scrollbar, drag the edges of the scrollbar.
54
Project Handling
Zooming
Zooming Using the Zoom Controls
Both the main view and the overview have horizontal and vertical zoom controls.
•
To zoom horizontally, click the Horizontal Zoom control, and drag left or right,
or use the mouse wheel.
•
To zoom vertically, click the Vertical Zoom control, and drag up or down, or
use the mouse wheel.
•
To fully zoom-out, double-click the zoom controls.
Zooming Using the Zoom Tool
The Zoom tool is used to zoom in a specific section of the waveform so that it
occupies the entire wave window. This is only available in the Audio Editor.
Using the Zoom Tool in the Main View
The selection that you make in the main view of the wave window is magnified and
fills up the entire main view.
PROCEDURE
1.
In the Audio Editor, select the View tab.
2.
In the Tools section, click Zoom
3.
In the main view of the wave window, click and drag left or right, and release
the mouse button.
.
The selected part of the wave now occupies the entire main view.
55
Project Handling
Zooming
Using the Zoom Tool in the Overview
The selection that you make in the overview of the wave window is displayed in the
main view.
PROCEDURE
•
In the overview of the wave window, click and drag left or right, and release
the mouse button.
RESULT
The selected range of the waveform is shown in the main view.
Zooming Using the Mouse
With the mouse, you can change the zoom factor by clicking and dragging or by
using the mouse wheel.
•
To zoom horizontally, in the wave window or the montage window, position
the mouse cursor over the time ruler, click, and drag up or down.
•
To zoom horizontally while maintaining the cursor position, position the mouse
cursor over the time ruler, press [Shift], and drag up or down.
For this, you can also use the mouse wheel. Press [Ctrl]/[Command]-[Shift],
point at a waveform, and use the mouse wheel.
•
To zoom horizontally around the mouse cursor position using the mouse
wheel, press [Ctrl]/[Command], point at a waveform, and use the mouse
wheel.
•
To zoom horizontally around the edit cursor position, press
[Ctrl]/[Command]-[Shift], point at a waveform, and use the mouse wheel.
•
To zoom vertically using the mouse wheel, press [Shift], point at a waveform,
and use the mouse wheel.
Audio Editor Only
•
To zoom vertically, in the wave window, position the mouse cursor over the
level ruler, click, and drag left or right.
•
To reset the vertical zoom to 0 dB, double-click the level ruler.
•
To set the vertical zoom to the best value, that is, the current minimum and
maximum displayed samples, make sure that the level ruler is set to 0 dB, and
double-click the level ruler.
56
Project Handling
Zooming
Zooming Using the Keyboard
A quick way to zoom the active wave or montage window is to use the arrow keys
on the computer keyboard.
•
To zoom horizontally in the active wave window or montage window, press
[Up Arrow] or [Down Arrow].
•
To zoom vertically in the active wave/montage window, hold [Shift], and press
[Up Arrow] or [Down Arrow].
•
To zoom vertically to fit the available height, press
[Ctrl]/[Command]-[Shift]-[Up Arrow].
•
To zoom out fully, press [Ctrl]/[Command]-[Down Arrow].
•
To zoom in fully, press [Ctrl]/[Command]-[Up Arrow].
NOTE
You can increase or decrease the zoom steps with the Interval for Zoom Key
Command option. You can set this option in the Global Preferences on the
Options tab.
RELATED LINKS
Global Preferences on page 307
Zoom Options
The zoom options allow you to quickly access various zoom settings.
The zoom options are available in the Audio Editor and the Audio Montage
window on the View tab in the Zoom section.
Time
Opens a pop-up menu that allows you to adjust the zoom to display the
selected time range. Zoom in 1:1 zooms in so that one pixel on the screen
represents one sample.
To edit the zoom factor, click Edit Zoom Factor. This opens the Zoom Factor
dialog, where you can edit the following settings:
•
Set Time Range allows you to specify the time range that you want to
display.
•
Samples per Screen Point allows you to specify how many audio
samples are summarized in each screen point.
•
Screen Points per Sample allows you to specify how many screen
points are used to represent a single audio sample.
Zoom
Activates the Zoom tool that allows you to define a time range that is zoomed
in.
57
Project Handling
Zooming
Zoom Selection
Zooms the window so that the current selection occupies the entire montage
window.
Display Whole Clip (Audio Montage window only)
Adjusts the view to display the active clip.
Microscope
Zooms in as far as possible.
Zoom in Audio (10x)/Zoom out Audio (10x)
Zooms in/out in big steps.
Zoom in Audio/Zoom out Audio
Zooms in/out in small steps.
Level
Adjusts the zoom to only display samples below the selected dB value.
Optimize Vertical Zoom (Audio Editor only)
Changes the vertical zoom factor so that the peaks are clearly visible. This
adjustment is done according to the section of the wave that is visible in the
wave/montage window.
Reset Zoom to 0 dB
Adjusts the zoom to display audio levels up to 0 dB.
Zoom in Vertically/Zoom out Vertically
Zooms in/out to show waveforms with a lower/higher level.
Zooming in the Audio Montage
Zooming options in the Audio Montage window are almost similar to those in the
Audio Editor. However, there are additional zooming options for tracks.
Zoom Buttons in the Audio Montage
The zoom buttons in the Audio Montage window allow you to apply zoom presets.
•
To only display the selected track, or also the tracks below and/or above the
selected track, click the corresponding buttons.
58
Project Handling
Presets
•
To set the zoom setting to fit the active clips in 25 %, 50 %, or 100 % of the
available space, click the corresponding buttons.
•
To select a specific area, click [Ctrl]/[Command], and drag the rectangle over
the tracks and clips that you want to zoom in on.
Displaying More or Less Tracks
The number of tracks that are displayed in the Audio Montage window can be
changed with the zoom controls in the lower right corner of the montage window.
•
To display more tracks, click the smaller magnifying glass icon.
•
To display fewer tracks, click the larger magnifying glass icon.
•
To make a single track fit the whole montage window, click the numbered
button in the track control area, and select Zoom from the pop-up menu.
You can also right-click the lower area of a track, and select Display Whole
Clip from the pop-up menu.
Presets
You can create presets to save commonly used settings. WaveLab Elements
provides a selection of factory presets that can be used by most dialogs.
You can save customized presets. The next time that you load the program, the
presets are available.
Presets are saved as single files and can be organized in subfolders. The root folder
of the preset is different for each type of preset and cannot be changed.
59
Project Handling
Presets
Saving a Preset
PROCEDURE
1.
Open the dialog that you want to use and modify the parameters.
2.
Open the Presets pop-up menu and select Save As.
3.
Optional: Click the folder icon and enter a name for the subfolder that you
want to use as the location for this preset.
4.
Type in a name.
5.
Click Save.
Loading Presets
To apply a saved preset or a factory preset to a dialog or plug-in, you must load the
preset.
PROCEDURE
1.
In the dialog, open the Presets pop-up menu.
2.
Select the preset that you want to apply.
Modifying a Preset
You can modify a preset and save the changes.
PROCEDURE
1.
Open the dialog that you want to use.
2.
Load the preset that you want to modify.
3.
Modify the parameters of the dialog.
4.
Open the Presets pop-up menu and select Save.
Deleting a Preset
PROCEDURE
1.
Open the dialog that you want to use.
2.
Select the preset that you want to delete.
3.
Open the Presets pop-up menu and select Organize Presets.
4.
In the File Explorer/Mac OS Finder, select the preset file that you want to
delete, and press [Delete].
60
Project Handling
Presets
Saving and Restoring Temporary Presets
Some dialogs allow you to save and load up to 5 temporary presets. This is useful
if you want to quickly test and compare different settings.
Saving Presets Temporarily
PROCEDURE
1.
Open the dialog that you want to use and make your settings.
2.
Open the Presets pop-up menu.
3.
From the Store Temporarily submenu, select a slot.
Restoring Temporary Presets
PROCEDURE
1.
Open the dialog in which you have saved a preset.
2.
Open the Presets pop-up menu.
3.
From the Restore submenu, select a preset.
61
File Operations
Recently Used Files
All files that you have recently used in WaveLab Elements are saved in a list. This
helps you to gain fast access to recent projects. You can open recently used files
via the File menu.
Setting the Number of Recently Used Files to Display
PROCEDURE
1.
Select File > Preferences > Global.
2.
In the Global Preferences window, select the Display tab.
3.
In the History section, set the maximum number of items to be listed on the
Recent File menu.
Save and Save As
•
Once a file has been saved, select File > Save, or press
[Ctrl]/[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.
NOTE
In the Audio Editor, all save operations except Save Copy clear the undo history,
which means that after saving you cannot undo or redo.
Tab Colors
The line above tabs gives information on whether a file is saved or not, and whether
the file has been rendered in Cubase.
62
File Operations
Save and Save As
White
The file is not modified.
Green (Audio Editor only)
The file uses a decoded file format and is saved.
Red
The file has been modified and changes have not been saved yet.
Yellow
The file has been rendered in Cubase.
Unsaved Changes Indicator
When you have made changes to a file, an asterisk is displayed next to the file name
until you save the file.
Saving Multiple Files at Once
You can save some or all open files at once.
PROCEDURE
1.
Open the File window and click Save All.
2.
Select the files that you want to save.
3.
Click Save.
Saving a Copy of a File
You can save copies of files that you are working on.
PROCEDURE
1.
Select File > Save As.
2.
Specify a name and location.
3.
Right-click Save and select Save Copy.
63
File Operations
Templates
Reverting to Saved File
You can revert the file that you are working on back to its last saved state. This
undoes all the changes made to the file since it was last saved.
PROCEDURE
1.
Select File > Open.
2.
Select the file type that you want to open.
3.
Click Revert to Saved File.
4.
In the warning dialog, click Yes to revert to the last saved state.
RESULT
The last saved version of the file is loaded from disk.
Automatic Backups
You can automatically create backups of your files.
For example, if you select Save As and specify a file name that is already used in
that folder, you will be asked if you want to replace the existing file or replace the
existing file and rename the old file. If you click Replace and Keep Old, the backup
name of the audio file that is replaced will be the original name, with .bak added at
the end.
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 that are referenced by audio montages, rename the audio
files in the Info window of the Audio Editor. All clip references are updated
automatically.
•
If the audio montage contains clips that refer to untitled audio files, save these
audio files before saving the audio montage.
RELATED LINKS
Renaming Files on page 68
Templates
You can save file settings that you regularly use as templates. Templates are useful
when creating new audio files, audio montages, or podcasts.
64
File Operations
Templates
Templates Tab
This tab shows all templates, and allows you to create and open templates.
•
To open the Templates tab, select File > New, select a file type, and click
Templates.
List of the available templates
Lists all saved templates.
Add Template
Allows you to add a new template or update an existing template.
Use Template Name as Default File Name
If this option is activated and you click Add Template, a new file is created
and uses the name of the template. If this option is deactivated, the name of
the new file is “untitled”.
Explore
Opens the folder where the template files are located. Here, you can rename
and delete templates.
Creating a Template
You can create a template from an active audio montage, audio file, or podcast and
use it as a basis for newly created files.
PREREQUISITE
Select the file that you want to base your template on.
PROCEDURE
1.
Select File > New.
2.
Select the file type for which you want to create a template.
3.
Click Templates.
4.
In the Templates tab, do one of the following.
•
To create a new template, click Add Template, make your settings, and click
Create.
•
To update an existing template, click Add Template, enter the name of the
template that you want to update, and click Create.
65
File Operations
Templates
5.
Optional: If you want to use the template name as the default file name,
activate Use Template Name as Default File Name.
6.
When saving or updating an audio file template or an audio montage template,
you can make additional settings.
•
When saving an audio file template, the Audio File Template dialog opens.
Here, you can select whether WaveLab Elements should attach an audio file
format.
•
When saving an audio montage template, the Audio Montage Template
dialog opens. Here, you can select whether to include track plug-ins, clips,
and/or markers. Also select whether WaveLab Elements should attach an
audio file format.
Audio File Templates
The Audio File Template dialog displays the audio properties of the audio file
template that you are creating. You can also specify whether to always associate a
specific audio file configuration with optional meta-data when creating an audio file
template or not.
•
To open the Audio File Template dialog, select File > New, click Audio File,
and click Templates. In the Templates tab, click Add Template.
Attach Audio File Format
If this option is activated, whenever you open the Render or Save As dialogs,
the audio file configuration specified below is proposed by default.
Template Name
Allows you to enter a name for the template.
Audio Montage Templates
In the Audio Montage Template dialog, you can set various options when creating
an audio montage template.
•
To open the Audio Montage Template dialog, select File > New, click
Audio Montage, and click Templates. In the Templates tab, click Add
Template.
66
File Operations
Templates
Include Clips
If this option is activated, clips are saved in the template.
Include Track and Master Plug-ins
If this option is activated, track plug-ins and master plug-ins are saved in the
template.
Include Markers
If this option is activated, markers are saved in the template.
Attach Audio File Format
If this option is activated, whenever you open the Render dialog, the audio file
configuration specified below is proposed by default.
Template Name
Allows you to enter a name for the template.
Creating a File From a Template
You can create a file from a template to use its settings.
PROCEDURE
1.
Select File > New.
2.
Select the file type that you want to create.
3.
Click Templates.
4.
From the list of the available templates, select the template that you want to
take as the basis of the new file.
67
File Operations
File Renaming
Deleting Templates
PROCEDURE
1.
Select File > New.
2.
Select the file type for which you want to delete templates.
3.
Click Templates.
4.
Click Explore.
5.
In the File Explorer/Mac OS Finder, delete the templates.
Renaming Templates
PROCEDURE
1.
Select File > New.
2.
Select the file type for which you want to rename templates.
3.
Click Templates.
4.
Click Explore.
5.
In the File Explorer/Mac OS Finder, rename the templates.
File Renaming
You can rename a file and update all references automatically. For example, if you
rename an audio file named India to Sitar, all open files that reference the file
India are updated to reference the file as Sitar.
Audio files, peak files, and marker files are also renamed accordingly.
Renaming Files
PREREQUISITE
If you want to rename a file that is referenced by other files, open the files that
reference the file that you are about to rename in WaveLab Elements.
PROCEDURE
1.
Open the file that you want to rename.
2.
Select the File tab.
3.
Click Info.
4.
In the Name section, enter the new name and/or a new file location.
68
File Operations
Deleting Files
5.
Select a file suffix from the drop-down list.
6.
Click Apply Changes.
Deleting Files
You can delete the active file from within WaveLab Elements.
PREREQUISITE
The file that you want to delete is not copied to the clipboard, is not pasted into
another file that is open, and is not open in another application.
PROCEDURE
1.
Open the file that you want to delete.
2.
Select the File tab.
3.
Click Info.
4.
Click Delete.
5.
Click OK.
RESULT
The file, including its peak and marker files, is deleted.
Temporary Files
Temporary files are used for specific operations, such as the undo/redo functions.
You can specify where WaveLab Elements 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 70
Work Folders vs. Document Folders
WaveLab Elements distinguishes between two types of folders: work folders and
document folders.
•
In work folders, temporary files are saved.
69
File Operations
Work Folders vs. Document Folders
•
Document folders contain WaveLab Elements-specific files, such as audio
files, audio montages, etc.
Specifying Folders
You can specify which document folder should open when you perform an open or
save operation. You can also specify up to three work folders for temporary files.
PROCEDURE
1.
Open the file for which you want to specify folders.
2.
Select File > Preferences > Folders.
3.
On the Folders tab, click the type of folder for which you want to specify a
location.
4.
Specify a location in the Folder field.
5.
Optional: Depending on the selected type of folder, you can make additional
settings.
Folders Tab
On this tab, you can specify default document folders and work folders for each file
type.
•
To open the Folders tab, select File > Preferences > Folders.
In the list on the left, you specify the folder type that you want to make settings for.
Folder for Temporary Files
Specify a folder for saving temporary files.
Companion Files
Specify a folder for saving companion files, that is, Master Section presets
and view settings for audio files.
70
File Operations
Setting the Focus on the Current File
Cache Folder
Activate Use Cache Folder for Decoded Files to specify a cache folder. The
cache folder contains wave files that are created when you are working with
files in compressed file formats, such as MP3 files. To prevent the cache
folder from growing indefinitely, WaveLab Elements checks the date of each
file in this folder and deletes files that were created before a specific number
of days.
If Use Cache Folder for Decoded Files is deactivated, the compressed files
are decoded each time they are opened.
Audio File – Open Folder/Save Folder
The default open and save folders for audio files.
Audio Montage – Open Folder/Save Folder
The default open and save folders for audio montage files.
Depending on the selected item, different settings are available on the right side of
the dialog.
Current Folder
In this field, the folder that is used as default is displayed. You can click the
folder button to the right to navigate to a folder, or to create a new folder.
Keep Last Used
Uses the last folder for saving or opening files of the selected type.
Change When Save Folder Changes/Change When Open Folder Changes
Updates the default open folder when you change the default save folder, and
vice versa. Activate this option for both the save folder and the open folder if
you want a specific file type to use the same folder for saving and for opening
this type of file.
On Opening the Application, Revert to This Folder
Activate this option to restore a specific folder each time you open
WaveLab Elements. This way, any changes to save/open folders are only
temporary and are reset when you restart WaveLab Elements.
Setting the Focus on the Current File
If you are editing inside a floating window or a tool window and you want to switch
the focus back to a wave/montage window, you can use the Set Focus on Current
File option.
PROCEDURE
•
In any window, press [Ctrl]/[Command]-[F12], to set the focus on the
wave/montage window.
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Playback
Transport Bar
With this command bar you can control playback of an audio file or audio montage,
navigate between various positions in an audio file or audio montage, and open the
Recording dialog.
The transport bar is available in the Audio Editor and in the Audio Montage
window.
By default, the extended transport bar options are hidden.
•
To activate the extended transport bar, click Extend Transport Bar on the
transport bar.
Presets
Lets you save and apply presets.
Perform Pre-Roll/Perform Post-Roll
Activates pre-roll or post-roll for the commands Play from Anchor, Play until
Anchor, and Play Audio Range.
Right-click the button to select the pre-roll or post-roll length and to specify
to which commands you want to apply pre-roll/post-roll to. To edit the
pre-roll/post-roll times, select Edit Pre-Roll and Post-Roll Times.
Play Audio Range
Plays the selected audio range. Post-roll and Pre-roll settings are taken into
account. Right-click the button to open a menu with related options and auto
selection modes.
•
If Auto Select Range is activated, the range is automatically selected
according to the editing actions.
•
If Auto Replay While Editing is activated, playback is automatically
restarted when you hold down the mouse button while editing ranges,
and use the shortcuts to trigger playback. This is useful to find a loop,
for example.
This option works even if the automated selection mode is deactivated.
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Playback
Transport Bar
•
If Solo Track When Editing is activated and you keep the mouse button
pressed when editing ranges in the montage window, the track is
soloed when you start playback using the shortcuts for Play Audio
Range, Play from Anchor, or Play until Anchor. This option is only
available in the Audio Montage window.
You can select different audio ranges for playback:
•
Time Selection
•
Region between Marker Pairs
•
Clip (audio montage only)
•
Crossfade (audio montage only)
•
Fade In (audio montage only)
•
Fade Out (audio montage only)
Play until Anchor/Play from Anchor
Plays until or from anchor. Pre-roll and post-roll settings are taken into
account. Right-click the button to open a menu with related options and auto
selection modes.
•
If Auto Select Anchor is activated, the anchor is automatically selected
according to the editing actions.
•
If Auto Replay While Editing is activated, playback is automatically
restarted when you hold down the mouse button while editing anchors,
and use the shortcuts to trigger playback. This is useful to find a loop,
for example.
This option works even when the automated selection mode is
deactivated.
•
If Solo Track When Editing is activated and you keep the mouse button
pressed when editing anchors in the montage window, the track is
soloed when you start playback using the shortcuts for Play Audio
Range, Play from Anchor, or Play until Anchor. This option is only
available in the Audio Montage window.
You can select which anchor to use as reference for the commands Play from
Anchor and Play until Anchor. When there are multiple possibilities, for
example, multiple markers, the last selected item is used as a reference
anchor or, if no item was selected, the closest item near the edit cursor
position is used.
You can select one of the following anchors:
•
Edit Cursor
•
Start of File
•
Start of Selected Time Range
•
End of Selected Time Range
•
Any Marker
•
Region Start Marker
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Playback
Transport Bar
•
Region End Marker
•
Clip Start (audio montage only)
•
Clip End (audio montage only)
•
Selected Envelope Point in Active Clip (audio montage only)
When an anchor is detected, for example, a region marker pair, this is
indicated by a green anchor marker.
Move Cursor to Start of File/Move Cursor to End of File
Moves the edit cursor to the start/end of the file.
Move Playback Position Backwards/Move Playback Position Forwards
Moves the edit cursor position to the left/right. If you click during playback,
playback jumps to the new edit cursor position.
To move the edit cursor to the start/end of the file, press [Ctrl]/[Command],
and click the Move Playback Position Backwards/Forwards button.
Navigation anchors allow you to move the edit cursor to specific positions in
the audio file or audio montage. Right-click the Move Playback Position
Backwards/Forwards buttons to open the Navigation Anchors pop-up
menu. Here, you can set the type of navigation anchor. If you click during
playback, playback continues from the anchor position.
Loop
Activates the loop mode. Right-click the loop button to select whether to loop
continuously or only a few times.
Stop Playback
Stops playback. If playback is already stopped, the edit cursor is moved to the
previous start position. Right-click the button to open the Move Cursor Back
to Start Position pop-up menu.
•
If After Standard Playback is activated, the edit cursor jumps back to
the start position when regular playback stops.
•
If After Automated Playback is activated, the edit cursor jumps back
to the start position when playback stops after the Play from Anchor,
Play until Anchor, or Play Audio Range options.
Start Playback from Cursor
Starts playing back the active audio file or audio montage from the edit cursor
position.
If the audio being played back is not the active audio file, the Play button has
a different color. This happens if you switch to another file window during
playback, for example.
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Playback
Transport Bar
The playback button when playing back in the active window (left) and when
playing in another window (right).
You can also start playback from the last stop position. Right-click the button
to open the Lead Sequence pop-up menu.
•
If you select Start, playback starts from the cursor position.
•
If you select Resume from Last Interruption, playback starts from the
last stop position.
Record
Opens the Recording dialog.
Time Display
Displays the edit cursor or playback position. Click to select another time unit.
Transport Bar in the Podcast Editor
In the Podcast Editor, a simplified transport bar allows you to play back the
selected podcast episode.
Play Button
Clicking the Play button on the transport bar starts playing back the active audio file
or audio montage from the edit cursor position.
You can also use the Space bar or the [Enter] key on your keyboard to start
playback. Pressing [Space] during playback stops playback, pressing [Enter] during
playback makes playback restart from the last start position.
If the Loop button is activated, the audio selection is looped, if available. Otherwise,
the region defined by loop markers is looped. If there are no selection ranges or loop
markers, the entire file is looped.
The standard play command is not influenced by the Play Audio Range, Play from
Anchor, and Play until Anchor options.
Stop Button
The result of clicking the Stop button or on the transport bar or [0] on your numeric
keypad depends on the current situation.
•
If you trigger Stop in stop mode, the edit cursor moves either to the previous
playback start marker, or to the selection start (whatever is closer), until the
start of the file is reached.
•
If there is no selection or if the edit cursor is positioned to the left of the
selection, it is moved to the beginning of the file instead.
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Playback
Transport Bar
Playing Back Audio Ranges
You can play back audio ranges using the Play Audio Range options on the
transport bar.
PROCEDURE
1.
On the transport bar, right-click Play Audio Range and select the range type
that you want to play back.
2.
Optional: Activate Perform Pre-Roll and/or Perform Post-Roll.
3.
Position the edit cursor inside the range that you want to play back or make a
selection range.
This selected range and, if activated, the pre-roll and post-roll times are displayed on
the time ruler.
4.
To play back the selected range, click Play Audio Range on the transport bar
or press [F6].
RESULT
The selected range is played back. Pre-roll and post-roll settings are taken into
account. If the Loop mode is active, pre-roll is used before the first loop only, and
post-roll is only used after the last loop.
Playing Back From an Anchor or Until an Anchor
You can play back audio from an anchor or until a specified anchor using the Play
from Anchor or Play until Anchor options on the transport bar.
PROCEDURE
1.
On the transport bar, right-click Play from Anchor or Play until Anchor, and
select an anchor type.
2.
Depending on the selected anchor type, position the edit cursor in the wave
window or montage window inside the range that you want to play back.
For example, if you have selected Region Start Marker, click somewhere in the area
of the region marker pair from which you want to play back from/to. The green anchor
marker jumps to the selected anchor.
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Playback
Transport Bar
3.
Optional: Activate Perform Pre-Roll and/or Perform Post-Roll.
4.
To play back from the anchor marker, click the Play From Anchor button on
the transport bar or press [F7]. To play back until the anchor marker, click the
Play Until Anchor button on the transport bar or press [F8].
RESULT
Playback starts from the anchor or stops at the anchor. Pre-roll and post-roll
settings are taken into account.
“Play From Anchor” and “Play Until Anchor” Functions
You can play back audio from an anchor or until an anchor using the Play from
Anchor or Play until Anchor functions on the transport bar. These playback
functions behave differently depending on the pre-roll and post-roll settings.
Play from Anchor
•
If post-roll is activated, playback starts at the anchor position and stops
after the post-roll time. If no post-roll is selected, playback continues
until the end of the audio file or audio montage.
•
If pre-roll is activated, playback starts from the selected anchor, minus
the pre-roll time.
•
If pre-roll and post-roll are activated, playback starts from the selected
anchor, minus the pre-roll time and stops after the anchor point plus the
post roll time.
•
If the loop mode is activated, the pre-roll and post-roll settings are taken
into account. This way you can play a loop around the edit cursor
position, without having to make further range settings.
Play until Anchor
•
Playback starts from the cursor, and stops at the selected anchor. If the
cursor is beyond the selected anchor, playback starts at the selected
anchor. If pre-roll is activated, it is taken into account.
•
If pre-roll is activated, playback starts from the selected anchor minus
the pre-roll time, until the selected anchor.
•
If no anchor is selected, Play until Anchor is deactivated.
•
The loop settings have no effect.
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Playback
Transport Bar
Using the Auto Selection Mode
You can use the auto selection mode in combination with the playback shortcuts to
play back audio ranges or anchors. This makes it easy to monitor your editing
actions.
PROCEDURE
1.
On the transport bar, right-click the Play Until Anchor button and activate
Auto Select Anchor.
2.
Right-click the Play Audio Range button and activate Auto Select Range.
3.
In the wave window or the montage window, do one of the following:
•
Make a selection range.
•
Click inside the area of a marker pair.
•
Click a fade in, fade out, or crossfade.
•
Click anywhere in the wave/montage window.
•
Drag a marker.
Depending on your action, the most appropriate range, or anchor, is selected. For
example, if you click inside a marker pair, this region is selected as playback range.
The time ruler shows the selected range or anchor.
NOTE
In Auto Select Anchor and Auto Select Range mode, you can still change some
range and anchor options on the transport bar to play a different range/anchor.
However, the range/anchor are reselected when you start editing again with the
mouse.
4.
Use the playback shortcuts to start playback.
•
To play back the selected audio range, press [F6].
•
To play back from an anchor, press [F7].
•
To play back until an anchor, press [F8].
RESULT
The selection range is played back, or play back starts from the anchor or stops at
the anchor. Pre-roll and post-roll settings are taken into account.
NOTE
A selection range has priority over any other range. To allow other ranges to be
auto-selected, deselect the selection range.
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Playback
Transport Bar
Using Auto Replay While Editing
You can automatically re-trigger playback while editing audio with the mouse. This
is useful if you want to monitor the adjustment of a selection boundary, for example.
PROCEDURE
1.
On the transport bar, right-click the Play Until Anchor button and activate
Auto Replay While Editing.
2.
In the wave window or the montage window, make a selection range and keep
the mouse button pressed.
3.
Start playback by using one of the following shortcuts:
4.
•
To play back the selected audio range, press [F6].
•
To play back from an anchor, press [F7].
•
To play back until an anchor, press [F8].
Drag the cursor to the right or left.
The selection range is adjusted and played back until you release the mouse button.
When playback ends, the new selection range is played back.
Skipping Sections During Playback
You can automatically skip a selected audio range during playback. This way, you
can audition what the material would sound like without specific sections.
PROCEDURE
1.
On the transport bar, activate Skip Range
.
2.
Activate Perform Pre-Roll and Perform Post-Roll.
3.
If you want to use the Play Audio Range function, activate one of the Ranges
modes.
4.
Depending on the Ranges mode, do one of the following:
•
If you have activated Time Selection, make an audio selection in the wave
window.
•
If you have activated Region Between Marker Pairs, click between a marker
pair.
The audio range that will be skipped is displayed on the time ruler along with the
pre-roll and post-roll times.
5.
Select Play Audio Range, or press [F6].
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Playback
Transport Bar
RESULT
The selected range is skipped during playback.
You can also use the factory preset for skipping selections during playback.
Activate Skip Range, make an audio selection, and press [Shift]-[F6].
NOTE
This mode also works with the Start Playback from Cursor button if there is a time
selection or if exclusion start and end markers are set. In this case, the pre-roll and
post-roll times are ignored.
Loop Playback
Loop points are updated continuously during playback. If you change the loop start
or end during playback, the loop changes. This way, you can audition selection
points for rhythmic material.
If you loop a section in an audio montage, playback loops within the boundaries of
the current selection range. This selection range may be on any track, even if it is
empty. The vertical position of the selection range is of no relevance for loop
playback, only the left and right selection boundaries matter.
Pre-Roll and Post-Roll
You can start playback slightly before a specific position (pre-roll) and stop
playback slightly after another position (post-roll). This gives you a brief context if
you are auditioning a clip, for example.
The position can be an anchor or the start or end of a range. The pre-roll and
post-roll times are displayed in the time ruler.
To activate pre-roll and/or post-roll, activate Perform Post-Roll and Perform
Pre-Roll on the transport bar.
When right-clicking the pre-roll or post-roll button on the transport bar, you can
select a pre-roll/post-roll time. Here, you can also select a play option for the
pre-roll/post-roll, and you can open the Pre-Roll and Post-Roll Times dialog.
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Playback
Transport Bar
Pre-Roll and Post-Roll Times Dialog
This dialog allows you to define a short, an average, and a long pre-roll and post-roll
time. These settings are global to WaveLab Elements.
•
To open the Pre-Roll and Post-Roll Times dialog, right-click the pre-roll or
post-roll button on the transport bar, and select Edit Pre-Roll and Post-Roll
Times.
Playback Shortcuts
In addition to the buttons on the transport bar, there are shortcuts to control the
playback.
Space bar
Start/Stop playback. This shortcut can be used even when the wave window
or montage window is not the active window.
0 on numeric keypad
Stops playback. If the playback is stopped and you press this shortcut, the
edit cursor moves either to the previous playback start marker, or to the
selection start (whatever is closer), until the start of the file is reached. This is
the same as clicking Stop on the transport bar. This shortcut can be used
even if the wave window or montage window is not the active window.
Enter
Starts playback. If pressed during playback, playback restarts from the
previous start position. This is the same as clicking Start Playback from
Cursor on the transport bar.
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Playback
Transport Bar
[F6]
Starts playback of the selected range, depending on the selected option in
the Ranges section of the transport bar.
[F7]
Starts playback from the selected anchor, depending on the selected option
in the Anchors section of the transport bar.
[F8]
Starts playback until the selected anchor, depending on the selected option
in the Anchors section of the transport bar.
Save Transport Bar Preset Dialog
In this dialog, you can save a transport bar setup as preset.
•
To open the Save Transport Bar Preset dialog, click the Presets field on the
transport bar, and select Save As.
Path
Opens the root folder of the preset in the File Explorer/Mac OS Finder. Here,
you can create subfolders for your presets.
Presets list
Lists all existing presets.
Name
Lets you specify a name for your preset.
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Playback
Starting Playback From the Ruler
When a Preset Is Selected
This lets you assign a customized playback command to a shortcut. For
example, you can set a shortcut to play a range with a short pre-roll/post-roll,
and another shortcut to play a range without a pre-roll/post-roll.
When Playback Stops, Restore Previous Transport Settings
If this option is activated, the settings are restored to as they were before
playback start. This is useful to trigger a special play task, and automatically
switch back to the standard settings as soon as playback is finished.
Changing the Position of the Transport Bar
You can position the transport bar at the top, middle, or bottom of the file window.
PROCEDURE
1.
In the title bar of the Audio Editor or Audio Montage window, click Layout
Options.
2.
In the Transport Bar section, select whether to position the transport bar at
the Top, Middle, or Bottom.
Hiding the Transport Bar
PROCEDURE
1.
In the title bar of the Audio Editor or Audio Montage window, click Layout
Options.
2.
In the Transport Bar section, select Hidden.
Starting Playback From the Ruler
You can use the ruler to jump to a position and start playback from there.
•
Double-clicking the ruler starts playback from that position. Playback
continues until you click Stop Playback or until the end of the audio file or
audio montage.
•
To set the playback position to a specific position, click the ruler during
playback. This also applies for clicking the time rulers of another audio file or
audio montage, which allows you to quickly switch playback between audio
files or audio montages.
•
To start playback from a marker position, press [Ctrl]/[Command] and
double-click the marker.
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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 Editor, select the Edit tab.
2.
In the Tools section, select the Play tool, or press and hold [Alt]/[Option].
3.
In the wave window, click at the position where you want playback to start.
The cursor shape indicates whether the left (L) or the right (R) channel is played back.
Using the Play tool in the middle of the channels plays back both channels.
RESULT
Playback continues for as long as you keep the mouse button pressed, or until the
audio file ends. After playback has stopped, the cursor is moved to the playback
start position.
Playback Scrubbing
Playback scrubbing helps you find a specific position in an audio file, by restarting
playback repeatedly when you click and drag on the time ruler during playback or
when using the Play tool.
Scrubbing Using the Play Tool
PROCEDURE
1.
In the Audio Editor, select the Edit tab.
2.
In the Tools section, select the Play tool, or press and hold [Alt]/[Option].
3.
Click in the wave window.
Playback starts at the position where you clicked.
RELATED LINKS
Playback Scrubbing Preferences on page 85
Scrubbing Using the Time Ruler
PROCEDURE
1.
Start playback.
2.
Click the time ruler and hold the mouse button pressed, and drag left or right.
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Playback
Scroll During Playback
3.
When you are done scrubbing, release the mouse button.
The audio is played back from the edit cursor position and a small section is looped
once.
Playback Scrubbing Preferences
You can define the behavior of the Play tool in the Audio Files Preferences.
Select File > Preferences > Audio Files. The following options are available in the
Playback Scrubbing section.
•
If Restrict to Play Tool is activated, scrubbing is not available when you click
and drag on the time ruler during playback.
•
The Sensitivity setting determines the length of the audio loop that is played
once when click and drag on the time ruler with the Play tool.
Scroll During Playback
You can determine how the view should be scrolled in Play mode.
•
To set the scroll mode, open the Audio Editor or the Audio Montage
window, select the View tab, and activate one of the options in the Playback
section.
Steady View
Disables scrolling.
View Follows Cursor
The view automatically scrolls to keep the playback cursor visible.
Scroll View
Scrolls the view to keep the playback cursor centered.
NOTE
If you get dropouts during playback, activate Steady View.
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Playback
Playback in the Audio Montage Window
Playback in the Audio Montage Window
Playback in the Audio Montage window works the same way as in the Audio
Editor. However, there are some things to note.
Mute and Solo Tracks
You can mute or solo tracks in an audio montage by using the corresponding
buttons in the track control area.
•
When a track is muted, the mute button is yellow.
•
When a track is soloed, the solo button is red.
•
Solo can only be activated for one track at a time. However, you can unmute
other tracks when Solo is active if you want to listen to a combination of
tracks.
RELATED LINKS
Track Control Area on page 151
Playing Back Individual Clips
You can play back an individual clip on a track. Overlapping clips or clips on other
tracks are muted.
PROCEDURE
1.
In the montage window, right-click the lower part of the clip that you want to
play back.
2.
On the menu, select one of the following play options:
•
To play back the clip, select Play Clip.
•
To play back the clip with pre-roll, select Play Clip with Pre-Roll.
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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 Sync with Other View.
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Audio File Editing
Wave Window
Magnetic Bounds in Audio Files
Some positions, such as markers or selection edges, can be defined as magnetic.
Dragged elements can snap to these positions. This makes it easier to position
items accurately.
For example, if you move a marker and it gets close to one of the magnetic bounds,
the marker snaps to this position. A label is displayed, indicating the snap position.
To place the cursor at a magnetic position, click the time line and keep the mouse
button pressed. When you now move the cursor, it jumps to the next magnetic
bound.
Magnets Menu
On this pop-up menu, you can specify which positions should be magnetic. If Snap
to Magnets is activated, items that you move snap to these positions.
•
To open the Magnets pop-up menu, select the Edit tab in the Audio Editor,
and click Magnets.
You can let items snap to the following positions:
Start of File/End of File
Elements snap to the start/end of the file when they are moved near these
positions.
Time Ruler Marks
Elements snap to the time ruler grid when they are moved near these
positions.
Markers
Elements snap to marker positions when they are moved near these positions.
Selection Edges
Elements snap to the selection edges when they are moved near these
positions.
Cursor
Elements snap to the edit cursor when they are moved near the cursor.
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Audio File Editing
Wave Window
Zero Crossing
A zero crossing is a point where the waveform crosses the zero level axis. When you
perform editing operations, such as cutting, pasting, or dragging, make sure that the
material is inserted at a zero crossing.
If you do not perform these operations at zero crossings, this can result in
discontinuities in the wave, which are perceived as clicks or pops in the sound.
Activate Zero-Crossing on the Edit tab of the Audio Editor to make sure that the
selections that you make are always adjusted so that they start and end at the
nearest zero crossing.
Setting Up the Zero Crossing Detection
You can let selection edges automatically snap to the nearest zero crossing point.
In the Audio Files Preferences dialog, you can specify whether to allow snap at
high zoom factors, and specify the scan range for the zero crossing detection.
PROCEDURE
1.
In the Audio Editor, select the Edit tab.
2.
In the Snapping section, activate Zero-Crossing.
3.
Select File > Preferences > Audio Files.
4.
In the Audio Files Preferences tab, select the Editing tab.
5.
Make your settings in the Snap Selection to Zero-Crossing section.
6.
Click OK.
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Audio File Editing
Audio Editor Tabs
Moving the Cursor Position to the Closest Zero Crossing
You can automatically move the cursor position to the closest zero crossing.
PROCEDURE
1.
In the Audio Editor, select the View tab.
2.
In the Cursor section, click Snap to Zero-Crossing.
Audio Editor Tabs
The tabs in the Audio Editor give you access to the tools and options you need to
edit audio files.
View Tab
Navigate
Backwards/Forwards
Navigates to the previous/next cursor position, zoom factor, and selection
range.
Zoom
Time
Opens a pop-up menu that allows you to adjust the zoom to display the
selected time range. Zoom in 1:1 zooms in so that one pixel on the screen
represents one sample.
To edit the zoom factor, click Edit Zoom Factor. This opens the Zoom Factor
dialog, where you can edit the following settings:
•
Set Time Range allows you to specify the time range that you want to
display.
•
Samples per Screen Point allows you to specify how many audio
samples are summarized in each screen point.
•
Screen Points per Sample allows you to specify how many screen
points are used to represent a single audio sample.
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Audio File Editing
Audio Editor Tabs
Zoom
Activates the Zoom tool that allows you to define a time range that is zoomed
in.
Zoom Selection
Zooms the window so that the current selection occupies the entire montage
window.
Microscope
Zooms in as far as possible.
Zoom in Audio (10x)/Zoom out Audio (10x)
Zooms in/out in big steps.
View All
Zooms out as far as possible.
Zoom in Audio/Zoom out Audio
Zooms in/out in small steps.
Level
Adjusts the zoom to only display samples below the selected dB value.
Optimize Vertical Zoom
Changes the vertical zoom factor so that the peaks are clearly visible. This
adjustment is done according to the section of the wave that is visible in the
wave/montage window.
Reset Zoom to 0 dB
Adjusts the zoom to display audio levels up to 0 dB.
Zoom in Vertically/Zoom out Vertically
Zooms in/out to show waveforms with a lower/higher level.
Cursor
Move Cursor to Start of File/Move Cursor to End of File
Moves the cursor to the start/end of the file.
Previous Marker/Next Marker
Moves the cursor to the previous/next marker.
Start of Selection/End of Selection
Moves the cursor to the start/end of the selected time range.
Previous Region Edge/Next Region Edge
Moves the cursor to the previous/next region edge.
Snap to Zero-Crossing
Moves the edit cursor to the nearest zero crossing point.
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Audio File Editing
Audio Editor Tabs
Edit Cursor Position
Opens the Cursor Position dialog where you can edit the cursor position.
Scroll
Start/End
Displays the start/end of the audio without moving the cursor.
Start of Selection/End of Selection
Displays the start/end of the audio selection without moving the cursor.
Cursor
Displays the cursor position.
Playback
Steady View
Deactivates scrolling.
View Follows Cursor
Automatically scrolls the view to keep the playback cursor visible.
Scroll View
Scrolls the view to keep the playback cursor centered.
Analysis
3D Frequency Analysis
Opens the 3D Frequency Analysis dialog where you can define which
frequency range is analyzed and modify the appearance of the graph for the
3D frequency analysis.
Peaks
Rebuild Peak Display
Normally, peak files are automatically updated when the date of the peak file
is older than the date of the audio file. However, it can happen that the date
of the audio file is wrong and therefore not automatically updated. In this
option allows you to rebuild the peak file.
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Audio File Editing
Audio Editor Tabs
Edit Tab
Tools
Time Selection
Tool that allows you to select a time range.
Pen
Tool that allows you to redraw the waveform in the wave window. This can be
used to quickly repair waveform errors.
Play
Tool that allows you to play back the audio file at the position where you click.
Time Selection
Extend
This pop-up menu contains various options for creating or extending selection
ranges.
Toggle
Toggles the current audio selection.
All
Selects the entire waveform.
Channels
This pop-up menu allows you to change the channel selection.
•
Extend to All Channels extends the current selection range to all
channels.
•
Left Channel Only reduces the current selection range to the left
channel only.
•
Right Channel Only reduces the current selection range to the right
channel only.
Regions
This pop-up menu allows you to select a range between two markers.
•
Loop Region selects the range between the two loop markers that
encompass the edit cursor.
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•
Generic Region selects the range between the two generic markers
that encompass the edit cursor.
Clipboard
Cut
Cuts the active clip to the clipboard.
Copy
Copies the active clip to the clipboard.
Paste
Pastes the clipboard content.
Right-click Paste to open a pop-up menu that allows you to select a paste
type.
•
Overwrite replaces the audio at the paste position.
•
Append adds the pasted audio after the end of the file.
•
Prepend adds the pasted audio before the beginning of the file.
•
Multiple Copies opens a dialog in which you can enter the number of
copies that you want to create.
•
Mix blends two files into each other, starting at the selection or, if there
is no selection, at the cursor position.
If you select Mix, a dialog opens, allowing you to specify the gain 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.
Paste and Crossfade
Pastes the clipboard content and creates a crossfade.
Right-click Paste and Crossfade to open a pop-up menu that allows you to
select a crossfade type for pasting.
•
Linear (Equal Gain) changes the level linearly.
•
Sinus (Equal Power) changes the level according to a sine curve, the
power of the mix remains constant.
•
Square-Root (Equal Power) changes the level according to a
square-root curve, the power of the mix remains constant.
Cutting
Crop
Deletes the data outside the selection.
Delete
Deletes the selection. The audio to the right of the selection is moved to the
left to fill the gap.
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Mute Selection
Replaces the audio selection with silence.
Silence Generator
Opens the Silence Generator dialog that allows you to insert silence or
background noise in an audio file.
Swap Stereo Channels
Moves the audio in the left channel to the right channel, and vice versa.
Nudge
Nudge Left
Nudges the audio selection to the left.
Nudge Right
Nudges the audio selection to the right.
Snapping
Zero-Crossing
If this option is activated, the start and the end of a selected range always
snap to a zero-crossing point of the waveform.
Snap to Magnets
If this option is activated, moved elements such as clip edges, time selection
edges, cursor, and markers snap to the magnets that are activated on the
Magnets pop-up menu.
Insert Tab
Markers
Marker Name
Lets you enter the name of the start and end marker. If nothing is entered, a
generic name is used.
To edit the default names, open the Markers window, and select Functions
> Default Marker Names.
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Different Name for End Marker
If this option is activated, you can enter a different name for the end marker.
If this option is deactivated, the name of the start marker is also used for the
end marker.
Create Marker
Allows you to create markers and marker pairs at the edit cursor position.
Audio File
At Start
Allows you to insert an audio file at the start of the active audio file.
At End
Allows you to insert an audio file at the end of the active audio file.
At Cursor
Allows you to insert an audio file at the cursor position.
Process Tab
Level
Gain
Opens the Gain dialog where you can apply a gain to change the level of an
audio file.
Envelope
Opens the Envelope dialog where you can create a level envelope which can
be applied to a selected range or a entire audio file.
This is useful if you want to even out loud and quiet parts or create a
sophisticated fade in/fade out, for example.
Remove DC Offset
DC offset in a file affects the loudness. Remove DC Offset sets the DC offset
to zero.
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Normalizing
Level
Opens the Level Normalizer dialog where you can change the peak level of
an audio file.
Fading
Fade In/Fade Out
Allows you to apply a fade in or fade out. Right-click the button to open the
Curve pop-up menu.
Curve
Allows you to select preset fade curves.
•
Linear changes the level linearly.
•
Sinus (*) changes the level according to a sine curve. When used in a
crossfade, the loudness (RMS) remains constant during the transition.
•
Square-Root (*) changes the level according to a square-root curve.
When used in a crossfade, the loudness (RMS) remains constant
during the transition.
•
Sinusoid changes the level according to a sine curve.
•
Logarithmic changes the level according to a logarithmic curve.
•
Exponential changes the level according to an exponential curve.
•
Exponential+ changes the level according to a more pronounced
exponential curve.
Time & Pitch
Time Stretching
Opens the Time Stretching dialog where you can change the duration of an
audio selection.
Pitch Shifting
Opens the Pitch Shifting dialog where can change the pitch of your audio.
Resample
Opens the Sample Rate dialog where you can change the sample rate of
your audio.
Pitch Bend
Opens the Pitch Bend dialog where you can gradually change the pitch of
your audio using an envelope curve.
Reverse
Creates a backwards-tape effect.
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Correct
Error Correction
Lets you select the default error correction method.
•
Linear Interpolation draws a straight line between the first and the last
selected samples.
•
Optimal for Small Clicks – 1 ms is optimal to remove clicks smaller
than 1 ms.
•
Optimal for Common Clicks – 3 ms is optimal to remove clicks smaller
than 3 ms.
•
Waveform Replacement – 500 ms replaces the corrupt samples with
the best match detected in the material up to 500 milliseconds to the
left/right.
•
Waveform Replacement – 4 s replaces the corrupt samples with the
best match detected in the material up to 4 seconds to the left/right.
•
Waveform Replacement – Left 6 s replaces the corrupt samples with
the best match detected in the material up to 6 seconds to the left.
•
Waveform Replacement – Right 6 s replaces the corrupt samples with
the best match detected in the material up to 6 seconds to the right.
Loop
Tweaker
Opens the Loop Tweaker dialog where you can adjust the loop start and end
points, and crossfade the loop boundaries.
Tone Uniformizer
Opens the Loop Tone Uniformizer dialog where you can create loops from
sounds that are not optimal for looping.
Analysis
Global Analysis
Opens the Global Analysis dialog where you can analyze peaks, loudness,
pitch, DC offset, and errors in the audio file.
Other
Invert Phase
Turns the signal upside down.
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Render Tab
Source
The Source pop-up menu allows you to select which part of the audio file you want
to process. The following options are available:
Whole File
Processes and renders the whole audio range.
Specific Region
Processes and renders a specific audio range to an independent file.
Specify the region to process on the pop-up menu.
Result
In Place
If this option is activated, the rendered audio range replaces the source audio
range.
Unnamed File
If this option is activated, the rendered file is named untitled.
Named File
If this option is activated, you can specify a name for the rendered file.
Output
Name
Allows you to enter a name for the rendered file. Clicking the arrow icon opens
a pop-up menu that offers you several naming options.
Location
Allows you to select a destination folder for the rendered files.
Format
Opens a pop-up menu where you can select a file format.
Options
Depending on the selected source, different options are available.
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Bypass Master Section
If this option is activated, the plug-ins and gain of the Master Section are
bypassed when rendering.
Exclude Master Section Bypassed Plug-ins
If this option is activated, the plug-ins that are bypassed in the Master
Section during playback are not used for rendering.
No Reverb Tail
If this option is activated, the audio tail produced by effects such as reverb is
not included in the rendered file.
Some plug-ins do not transfer information on the tail duration to WaveLab. In
this case, this option has no effect. For such plug-ins, you can add the
Silence plug-in to add extra samples at the end of the file.
Copy Markers
If this option is activated, the markers that are included in the range to process
are copied to the rendered file.
Skip Exclusion Region
If this option is activated, muted audio ranges are skipped and not included in
the result.
Open Resulting Audio File
If this option is activated, every rendered file is opened in a new window.
Bypass Master Section on Resulting Audio File
If this option is activated, playback of the resulting audio file bypasses the
entire Master Section. This setting can be toggled by clicking the button at
the bottom right of the wave window or montage window.
NOTE
It is recommended to activate this option, because this way, you do not
monitor new files through the effects that have already been applied to them.
Upload to SoundCloud
If this option is activated, the rendered file is uploaded to SoundCloud.
Render
Start
Starts the rendering process.
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File Handling in the Audio Editor
Mono/Stereo Handling
WaveLab Elements is very flexible in its handling of stereo. All editing operations
can be performed on either one channel or on both.
Supported File Formats
WaveLab Elements can open and save audio files in a number of file formats.
Wave (.wav)
The following bit resolutions are supported: 8 bit, 16 bit, 20 bit, 24 bit, and
32 bit (float).
WavPack (.wv/.wvc)
This file format allows digital audio to be losslessly compressed, including
32 bit float audio files.
AIFF (.aif, .aiff, .snd)
Audio Interchange File Format, a standard defined by Apple Computers Inc.
The following bit resolutions are supported: 8 bit, 16 bit, 20 bit, and 24 bit.
MPEG-1 Layer 3 (.mp3)
The most common audio compression format. The major advantage of MPEG
compression is that the file size is significantly reduced, while there is little
degradation of sound quality.
NOTE
When you open an MPEG compressed file in WaveLab Elements, the file is
converted to a temporary wave file. On saving, the temporary wave file is
converted back to MP3.
MPEG-1 Layer 2 (.mp2, .mpa, .mpg, .mus)
MP2 (sometimes referred to as “Musicam files”) is a common file format in the
broadcast industry.
Original Sound Quality (.osq, read only)
This is the proprietary lossless compressed audio format of
WaveLab Elements.
Sound Designer II (.sd2)
This audio file format is used by Digidesign applications (such as Pro Tools).
The following bit resolutions are supported: 8 bit, 16 bit, and 24 bit.
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U-LAW (.ulaw, .vox)
This is an audio encoding and compression technique supported by
Windows and Web phones, using 8 bit resolution. The U.S. telephone system
uses U-law encoding for digitization.
A-LAW (.alaw, .vox)
This is an audio encoding and compression technique for telephony, using
8-bit resolution. The EU telephone system uses A-law encoding for
digitization.
Sun/Java (.snd, .au)
This is an audio file format used on Sun and NeXT computers. The following
bit resolutions are supported: 8 bit, 16 bit, and 24 bit.
ADPCM – Microsoft/Dialogic (.vox)
This is a format commonly used for games and telephony applications. It
offers a lower bit rate than linear PCM and therefore requires less storage
space/bandwidth.
Ogg Vorbis (.ogg)
Ogg Vorbis is a compressed file format that is open, patent-free, and which
creates very small audio files maintaining comparatively high audio quality.
Text/Excel (.txt)
This is a text representation of a waveform. By saving an audio file as a text file
and then opening it in a spreadsheet application such as Excel, you can view
it in textual, decimal form, and edit the sample values. When you open a text
file representing a waveform in WaveLab Elements, it is decoded and opened
as an audio file. These files are not compressed in any way, so they can
become very large.
When using 32-bit float files, the .txt format is not 100 % lossless. This is
because it is not possible to express a binary floating point value in textual
decimal form without some precision loss.
Windows Media Audio (.wma, .asf)
Microsoft’s own compressed format. WaveLab Elements lets you
import/export audio in this format (Windows only). To import/export audio in
WMA surround format, Windows Media Player 9 or later must be installed on
your system.
Ensoniq Paris (.paf)
Used by the Ensoniq Paris™ system. The following bit resolutions are
supported: 16 bit and 24 bit.
FLAC (.flac)
Free Lossless Audio Codec (FLAC) is a codec which allows digital audio to
be losslessly compressed.
Apple formats (.caf, .3gp, .3g2, .caf)
If Quicktime is installed on your system, these formats are available (read-only
and only on 32-bit Windows or Mac systems).
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AAC (.aac)
Advanced Audio Coding (AAC) is a codec that allows lossy compression and
encoding scheme for digital audio.
NOTE
The “$$$” file type is a temporary file format of WaveLab Elements. If you
experience a computer crash, you may restore some of your work by opening any
“$$$” files on your hard disk.
20-bit, 24-bit, and 32-bit Float Files
You do not need a 20-bit or 24-bit audio card to take advantage of the fact that
WaveLab Elements can handle 20-bit and 24-bit audio files. Any processing or
editing performed on the files is always done at full resolution (32-bit float), even if
your card does not support the full resolution.
For playback, WaveLab Elements automatically adapts to the card that you have
installed.
Creating a New Audio File
You can create an empty audio file, to assemble material from other audio files, for
example.
PROCEDURE
1.
Select File > New.
2.
Click Audio File > Custom.
3.
Specify the audio properties and click Create.
Saving an Audio File
PROCEDURE
1.
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.
2.
In the Save As window, specify a file name and location.
3.
Click Save.
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Saving in Another Format
You can change the file format, sampling frequency, bit resolution, and stereo/mono
status when saving.
PROCEDURE
1.
Select File > Save As.
2.
In the Save As window, specify a file name and location.
3.
Click in the Format field and select Edit.
4.
In the Audio File Format dialog, set the file format and specify the properties.
5.
Click OK.
6.
Click Save.
RESULT
A new file is created. The original file is not affected by the operation.
Audio File Format Dialog
In this dialog, you can change various file settings when saving.
•
To open the Audio File Format dialog, select File > Export, and select
Render. Then activate Named File, click in the Format field, and select Edit
Single Format.
This dialog can also be opened from various other locations in WaveLab Elements.
Type
Select an audio file type. This affects which options are available on the Audio
Format menu.
File Extension
Select a file extension that is compatible with the current file type.
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Audio Format
Select an audio format that is compatible with the current file type.
Channels
Specify the number of audio channels for the files to be created.
Sample Rate
Select a sample rate for the audio file. If you change this setting, a sample rate
conversion takes place.
IMPORTANT
Use this only for simple conversions. For professional results, use the
Resample plug-in and add limiting and dithering.
Bit Resolution
Select a bit resolution for the audio file. This option is only available for
specific 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 some file types.
•
If Do Not Save Anything is selected, no meta-data are saved with the
file.
•
If Inherit from Source File is selected, the meta-data of the source file
are used. If the source meta-data is empty, the default meta-data is
used, if available.
•
If selecting Specific to This Configuration is selected, 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.
Changing the Format
When changing the sample rate, bit resolution, and number of channels of an audio
file, several operations are performed.
Sample Rate
If a new sample rate is specified, a sample rate conversion is performed.
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Bit Resolution
If a different bit resolution is specified, the file is either truncated down to 8
bits, or padded up to 64 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.
NOTE
•
If you only want to change the bit resolution, you can do this in the Audio
Properties section of the Info window instead, and then save the audio file.
•
For high quality mastering purposes, it is not recommended to change the
sample rate and number of channels using the Audio Properties section, but
instead use plug-ins and functions of the Master Section.
Saving a Selection as an Audio File
You can save a selection in the open audio file as a new audio file.
PROCEDURE
1.
In the wave window, make a selection range.
2.
In the Audio Editor, select the Render tab.
3.
In the Source section, open the pop-up menu and select Selected Audio
Range.
4.
In the Output section, specify a file name and location.
5.
Open the Format menu and select Edit Single Format.
6.
In the Audio File Format dialog, specify the output format and click OK.
7.
In the Render section, click Start.
Saving Left/Right Channel as Audio File
You can save each channel individually into a separate file. Use this option when
editing dual mono files, for example.
PROCEDURE
1.
In the Audio Editor, select the Render tab.
2.
In the Output section, specify a file name and location.
3.
Open the Format menu and select Edit Single Format.
4.
In the Audio File Format dialog, open the Channels pop-up menu, and
select Left Channel or Right Channel.
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5.
Make additional output settings and click OK.
6.
In the Render section, click Start.
Encoding Audio Files
Audio can be saved in different formats. The process of converting audio to another
format is called encoding. When saving audio files, you can specify various
encoding options for some file formats.
MP3 Encoding Dialog
You can edit the encoding options when you save an MP3 audio file.
You can open the MP3 Encoding dialog from most places where you can select an
output file format. For example, open an audio file, select File > Save As, click in
the Format field, and select Edit. In the Audio File Format dialog, select MPEG-1
Layer 3 (MP3) as type, click the Encoding field, and select Edit.
Encoder
Lets you select the encoder (Fraunhofer or Lame).
Constant/Variable Bit Rate
The bit rate is related to the quantity of data used to encode the audio signal.
The higher the value, the better the quality, but the larger the output file. If you
choose Variable Bit Rate, the rate changes, according to the complexity of
the audio material.
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Highest Quality (Slowest)/Fastest
Select the quality that you want to achieve. The higher the quality, the more
resources and time are required to analyze and compress the audio signal.
NOTE
Highest Quality (Slowest) can require a specific sample rate for the audio
file. If this is the case and the sample rate is different from the input sample
rate, a message is displayed.
When you use the Lame encoder, you can make additional settings on the
Advanced tab.
Allow Intensity Stereo Coding
Decreases the bit rate by reorganizing the intensity information between the
channels.
Specify as Original Recording
Marks the encoded file as the original recording.
Write Private Bit
This is a custom flag.
Write Copyright Flag
Marks the encoded file as copyright protected.
Write Check-Sum
Allows other applications to check the integrity of the file.
Create Long Frames
Saves space by writing fewer headers in the file (not compatible with all
decoders).
MPEG-1 Layer 2 Encoding Dialog
You can edit the encoding options when you save an MPEG-1 Layer 2 (MP2) audio
file.
You can open the MPEG-1 Layer 2 Encoding dialog from most places where you
can select an output file format. For example, open an audio file, select File > Save
As, click in the Format field, and select Edit. In the Audio File Format dialog, select
MPEG-1 Layer 2 as type, click the Encoding field, and select Edit.
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Bit Rate
Determines the bit rate. The bit rate is related to the quantity of data that is
used to encode the audio signal. The higher the value, the better the quality,
but the larger the output file.
Stereo Encoding
In Standard mode, the encoder does not use the correlation between
channels. However, the encoder can take space from a channel that is easy
to encode and use it for a complicated channel.
In Joint mode, the encoder uses the existing correlations between the two
channels to increase the ratio quality/space.
In Dual mode, both channels are independently encoded. This mode is
recommended for signals with independent channels.
Specify as Original Recording
Marks the encoded file as the original recording.
Write Private Bit
This is a custom flag.
Write Copyright Flag
Marks the encoded file as copyright protected.
Write Check-Sum
Allows other applications to check the integrity of the file.
Encode Peaks (Ancillary Data)
This must be activated for compatibility with specific systems, for example,
DIGAS.
FLAC Encoding Dialog
You can edit the encoding options when you save a FLAC audio file.
You can open the FLAC Encoding dialog from most places where you can select
an output file format. For example, open an audio file, select File > Save As, click
in the Format field, and select Edit. In the Audio File Format dialog, select FLAC
as type, click the Encoding field, and select Edit.
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Compression Level
Lets you specify the compression level. The more compression, the slower the
encoding.
Ogg Vorbis Dialog
You can edit the encoding options when you save an Ogg Vorbis audio file.
You can open the Ogg Vorbis dialog from most places where you can select an
output file format. For example, open an audio file, select File > Save As, click in
the Format field, and select Edit. In the Audio File Format dialog, select Ogg
Vorbis as type, click the Encoding field, and select Edit.
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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Windows Media Audio Encoding Dialog
You can edit the encoding options when you save a Windows Media Audio (WMA)
audio file. This dialog is only available in on Windows systems.
You can open the Windows Media Audio dialog from most places where you can
select an output file format. For example, open an audio file, select File > Save As,
click in the Format field, and select Edit. In the Audio File Format dialog, select
Windows Media Audio (WMA) as type, click the Encoding field, and select Edit.
Encoder
Sets the encoder.
Output Sample Rate
Sets the output sample rate of the encoded file. The higher the sample rate,
the higher the quality, but the larger the output file.
Output Bit Resolution
Sets 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
If this option is activated, the encoding quality increases, but the process
takes twice as long.
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Constrained Bit Rate
This option is available when the VBR and Two-Pass Encoding options are
activated. This is used to maintain the bit rate within limits to avoid peaks. This
is recommended for media, such as CD or DVD.
Creating an Audio Montage from an Audio File
You can export audio files to an audio montage, including all markers that you have
set in the audio file.
PROCEDURE
1.
In the Audio Editor, open the audio file that you want export to an audio
montage.
2.
Optional: If you want to use a specific time range of the audio file, create a
selection range in the wave window.
3.
Select File > New.
4.
Select Audio Montage > From Current File.
5.
In the From Current Audio File section, click Insert Audio File in New
Montage.
6.
Click Create.
7.
In the Create Audio Montage from Audio File dialog, select whether to
import the whole file or the selected audio range.
8.
Optional: Decide if you want to perform any of the following marker
operations:
9.
•
Import Markers
•
Split at Generic Region Markers
Click OK.
Inserting Audio Files into Another Audio File
You can assemble an audio file from several audio files.
PROCEDURE
1.
In the Audio Editor, open the audio file in which you want to insert another
audio file.
2.
If you want to insert an audio file at the edit cursor position, make sure that
Snap to Magnets is activated, and that Cursor is activated on the Magnet
pop-up menu.
The edit cursor snaps to the nearest zero crossing. This avoids glitches.
3.
Select the Insert tab.
4.
In the Audio File section, select one of the following insert options:
•
At Start
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•
At End
•
At Cursor
If you select At Cursor, the audio file is cut at the insert position. The part after the
cut is moved to the right.
5.
On the pop-up menu, select the audio file that you want to insert.
RELATED LINKS
Magnetic Bounds in Audio Files on page 88
Turning Selections Into New Files
You can turn selections into new files via drag and drop or by using the Render tab
in the Audio Editor.
Turning Selections Into New Files By Dragging
PROCEDURE
1.
Make a selection in the wave window.
2.
Drag the selection to the tab bar above the wave window and release the
mouse button.
RESULT
The selection opens in a new stereo window.
Turning Selections Into New Files Using the Menu
PROCEDURE
1.
Make a selection in the wave window.
2.
Right-click the selection and select Copy Selection to New Window.
3.
From the submenu, select one of the following options:
•
Exact Copy
•
Stereo Version
•
Mono Mixdown
•
Mono Mixdown (Subtract Right Channel from Left Channel)
RESULT
The selection opens in a new stereo or mono window.
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Special File Format Dialog
When opening files via the Unknown Audio option, you can specify how to
interpret the format of the audio file that you want to open.
•
To open the Special File Format dialog, select File > Import, click
Unknown Audio, and select the file that you want to open.
Sample Format
Specifies the binary representation of the samples in the file.
Byte Order
Specifies the order in which bytes should be interpreted. This only applies for
16 bit or more.
Channels
Specifies the number of audio channels in the audio file.
Data to Ignore (Number of Bytes)
Specifies how many bytes at the start and end of the audio file are ignored.
Sample Rate
Specifies the sample rate of the audio file.
File Extension
Specifies the default file name extension for the audio file. When the file
selector opens after closing this dialog, only the file with this extension is
displayed.
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File Handling in the Audio Editor
Converting From Stereo to Mono and From Mono to Stereo
You can convert audio files from mono to stereo and from stereo to mono.
Converting a mono file into a stereo file produces an audio file that contains the
same material in both channels, for example for further processing into real stereo.
Converting a stereo file into a mono file mixes the stereo channels to a mono
channel.
Converting a Selection From Stereo to Mono
PROCEDURE
1.
Make a stereo selection in the wave window.
2.
Select File > New.
3.
Select Audio File > From Current File.
4.
Select one of the following options:
•
To mix the left and right stereo channels when converting to mono, click Mono
Mixdown.
•
To mix the left channel with the inverse of the right channel when converting to
mono, click Mono Mixdown (Subtract Right Channel from Left Channel).
The resulting mono wave contains the difference between the channels. For
example, this allows you to verify that a wave file really is a true stereo file rather
than a mono file converted to stereo format.
RESULT
The selection opens in a new mono window.
Converting From Stereo to Mono While Saving
PROCEDURE
1.
Make a stereo selection in the wave window.
2.
Select File > Save As.
3.
In the Save As window, specify a file name and location.
4.
Click in the Format field and select Edit.
5.
In the Audio File Format dialog, open the Channels menu and select one of
the mono settings.
For example, when selecting Mono (Mix -3 dB), the resulting audio file is attenuated
by 3 dB.
6.
Click OK.
7.
Click Save.
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Audio File Editing
File Handling in the Audio Editor
Converting a Selection From Mono to Stereo
PROCEDURE
1.
Make a mono selection in the wave window.
2.
Select File > New.
3.
Select Audio File > From Current File.
4.
Click Stereo Version.
5.
Click Create.
RESULT
The selection opens in a new stereo window.
Swapping Channels in a Stereo File
You can swap the two channels in an audio file, that is, you can move the audio in
the left channel to the right channel, and the audio in the right channel to the left
channel.
•
To swap the channels of the whole audio file in the Audio Editor, select the
Edit tab, and in the Cutting section, click Swap Stereo Channels.
•
To swap the channels only a selected range of the audio file, make a selection
range in the wave window, select the Edit tab, and in the Cutting section,
click Swap Stereo Channels.
Special Paste Options
On the Paste pop-up menu in the Audio Editor, you find additional paste options.
•
To access the special paste option, open the Audio Editor, select the Edit
tab, and in the Clipboard section, right-click Paste.
Overwrite
Overwrites data in the destination file, rather than moving data to make room
for the inserted audio. How much is overwritten depends on the selection in
the destination file:
•
If there is no selection in the destination file, a section with the same
length as the pasted selection is overwritten.
•
If there is a selection in the destination file, the pasted selection
replaces that selection.
Append
Adds the pasted audio after the end of the file.
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File Handling in the Audio Editor
Prepend
Adds the pasted audio before the beginning of the file.
Multiple Copies
Opens a dialog in which you can enter the number of copies that you want to
create.
Mix
Blends two files into each other, starting at the selection or, if there is no
selection, at the cursor position.
•
When you select the Mix option, a dialog opens, allowing you to specify
the gain for the audio on the clipboard and at the destination.
•
All the data on the clipboard is always mixed in, regardless of the length
of the selection.
Moving Audio
You can rearrange the order of the audio in a file by dragging, and cutting and
pasting.
Moving Audio by Dragging
PREREQUISITE
Decide whether you want to use Snap Selection to Zero-Crossing.
PROCEDURE
1.
In the wave window, make a selection.
2.
Drag the selection to a position outside the selection in the same file, or to
another wave window.
RESULT
The selection is removed from its original position and inserted where you drop it.
NOTE
To undo a move between two files you must first undo the paste in the destination
window and then undo the cut operation in the source window.
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Audio File Editing
File Handling in the Audio Editor
Moving Audio Using Cut and Paste
PREREQUISITE
Decide whether you want to use Snap Selection to Zero-Crossing.
PROCEDURE
1.
In the wave window, make a selection.
2.
Use one of the following copy methods:
3.
4.
•
In the Audio Editor, select the Edit tab, and click Cut.
•
Press [Ctrl]/[Command]-[X].
Select how you want to insert the selection:
•
If you want to insert the audio, click once at the position in the same file or in
another file.
•
If you want to replace a section of audio, select it.
To paste the selection, do one of the following:
•
In the Audio Editor, select the Edit tab, and click Paste.
•
Press [Ctrl]/[Command]-[V].
RESULT
The selection is removed from its original position and inserted where you drop it.
NOTE
To undo a move between two files you must first undo the paste in the destination
window and then undo the cut operation in the source window.
Moving Audio by Nudging
The nudge left/right tools can be used to move the audio in small steps within a file.
PROCEDURE
1.
In the wave window, make a selection.
2.
In the Audio Editor, select the Edit tab.
3.
In the Nudge section, click Nudge Left or Nudge Right.
RESULT
The audio is moved one pixel. Exactly how much this is depends on how far you are
zoomed in. For example, if the status bar displays x1:256, the selection is moved
256 samples. The moved section overwrites the audio at that position.
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Audio File Editing
File Handling in the Audio Editor
Copying Audio
You can copy sections of audio within the same file or between audio files.
Stereo/Mono Handling
When you drag or copy stereo or mono files to other locations, the target location
determines how the files are inserted.
Stereo/Mono is handled as follows when you drag between files:
Dragged section
Drop wave
Action
Stereo
Stereo
The dragged audio is always inserted into both
channels.
Stereo
Mono
Only the left channel is inserted.
Mono
Stereo
What happens depends on the vertical drop position.
This is indicated by the cursor shape. The selection
can be inserted into only one of the channels, or the
same material can be inserted into both channels.
Stereo/Mono is handled as follows when you copy and paste files:
Copied section
Paste wave Action
Stereo
Stereo
If the wave cursor extends across both channels of the
destination file, the material is inserted into both
channels.
Stereo
Stereo
If the wave cursor is only in one channel, the audio is
only pasted in that channel. Material from the left
channel is pasted in the left channel and material from
the right channel is pasted in the right channel.
Stereo
Mono
Only the left channel is pasted.
Mono
Stereo
What happens depends on whether the wave cursor
is in one channel or both. The audio is either pasted in
one of the channels, or the same material is inserted
into both channels.
Sample Rate Conflicts
If you copy or move audio from one window to another, and the sample rates of the
two files are not the same, the copied/moved sound plays back at the wrong pitch
(speed). The program warns you if this is about to happen.
While mixing sample rates can be used as an effect, it is most often not intended.
There are two ways to get around this:
•
Convert the sample rate of the source file to the same rate as the destination
file before editing.
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Audio File Editing
Changing the Audio Properties
•
Convert the sample rate of the destination file to the same rate as the source
file before adding the audio.
Copying Audio Using Copy and Paste
PREREQUISITE
Decide whether you want to use Snap Selection to Zero-Crossing.
PROCEDURE
1.
In the wave window, make a selection.
2.
Use one of the following copy methods:
3.
4.
•
In the Audio Editor, select the Edit tab, and click Copy.
•
Press [Ctrl]/[Command]-[C].
Select how you want to insert the selection:
•
If you want to insert the audio, click once at the position in the same file or in
another file.
•
If you want to replace a section of audio, select it.
To paste the selection, do one of the following:
•
In the Audio Editor, select the Edit tab, and click Paste.
•
Press [Ctrl]/[Command]-[V].
Copying Audio by Dragging
PREREQUISITE
Decide whether you want to use Snap Selection to Zero-Crossing.
PROCEDURE
1.
In the wave window, make a selection.
2.
Click the middle of the selection, and drag it to a position outside the selection
in the same file, or to another wave window.
RESULT
The selection is inserted at the indicated point. The audio that previously began at
that point is moved to the right.
Changing the Audio Properties
You can change the sample rate and bit resolution of audio files.
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Audio File Editing
Meta-Data
Changing these values does not process the audio file in any way (in contrast to
using Save As). However, the following rules apply:
•
If you change the sample rate, the file plays back at a new pitch.
•
If you change the 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 a file with a lower bit resolution, the file is
converted permanently.
PROCEDURE
1.
In the Audio Editor, open an audio file.
2.
Select the File tab.
3.
Click Info.
4.
In the Audio Properties section, specify a new Sample Rate and/or Bit
Resolution.
5.
Click Apply Changes.
RELATED LINKS
Info Tab on page 37
Meta-Data
Meta-data consists of attributes that describe the audio contents, for example, the
title of the track, the author, or the date the track was recorded. Depending on the
file format of the selected audio file, this data varies.
When opening an audio file or audio montage, the meta-data found in the file is
loaded. You can create different meta-data presets for audio files and audio
montages. When creating a new file from a template, this file can inherit the
meta-data of the preset, if available.
A preview of the meta-data is displayed in the Meta-Data window. To view the
complete meta-data of a file and to be able to edit the meta-data, select Tool
Windows > Meta-Data and click the Edit button.
Not all file formats can save meta-data. Depending on the output file format, all
meta-data or only part of the meta-data is saved in an audio file. The following file
formats can contain meta-data:
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Audio File Editing
Meta-Data
•
.wav
•
.mp3
•
.ogg
•
.wma
•
.flac
For MP3, the following meta-data types are available:
•
ID3 v1 and ID3 v2, including picture support
For WAV, the following meta-data types are available:
•
RIFF
•
BWF
•
BWF markers
•
CART (AES standard, dedicated to broadcast needs)
•
ID3, including picture support
When saving or recording an audio file in the Audio File Format dialog, you can
specify whether not to use any meta-data, inherit the meta-data from the source file,
or edit the meta-data of the file.
Meta-data can be entered manually or generated automatically.
The following options can be generated automatically:
•
Time markers (CART tab)
•
USID (BWF, Basics tab)
(*) These options cause a file analysis while the file is written, which means that the
file writing process can take longer.
WaveLab Elements includes several meta-data presets. They are used as examples
and can be customized to your needs. You can load meta-data presets from the
Meta-Data Presets pop-up menu in the Audio File Format dialog, or from the
Meta-Data dialog.
RELATED LINKS
Audio File Format Dialog on page 104
Meta-Data Dialog
This dialog allows you to define the meta-data to be embedded in your audio file.
•
To open the Meta-Data dialog, open the Meta-Data window and click Edit.
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Audio File Editing
Meta-Data
Depending on the file type, the meta-data is handled differently.
Meta-Data dialog for WAV files
When opening the Meta-Data dialog for files in the Audio Editor, you can edit the
meta-data that is saved in the audio file. This meta-data is saved to disk later.
When opening the Meta-Data dialog for files in the Audio Montage window, you
can edit the meta-data for the audio files that are created when rendering the audio
montage. If you render to WAV or MP3 formats, the meta-data will be associated to
these files.
Meta-Data Presets
In the Meta-Data dialog, you can save meta-data presets and apply these presets
to other files. Meta-data presets can be applied to WAV, MP3, and AAC files.
The Use as Default for New .wav Files option allows you to define a set of
meta-data as default.
When you create a new file, and do not add any meta-data, this default meta-data
is applied to the file when saving it. For example, you can save or record WAV files
with BWF meta-data and automatically add a Unique Material Identifier.
To edit the default meta-data preset, select Load Default, and edit the preset.
CART and Markers
WaveLab Elements reads the CART markers, if any, and merges them with the
existing markers of the file.
The CART standard can contain up to 8 markers. WaveLab Elements saves them if
their names conform to the CART standard.
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Audio File Editing
Silence Generator Dialog
If Generate Time Markers is activated in the CART tab of the Meta-Data dialog,
the markers are generated if at least one CART text field has content. Otherwise,
the CART data is meant to be unused.
To be able to merge the CART markers with the markers of a file when rendering a
file, the option Copy Markers must be activated in the Render dialog.
Silence Generator Dialog
This dialog allows you to insert silence or background noise in an audio file.
•
To open the Silence Generator dialog, select the Edit tab in the Audio
Editor, and click Silence Generator.
Silence Duration
As Selection uses the duration of the active audio selection as the duration
of the silent section. Specify the duration of the silent section in the value field
below.
Edges
Fade In/Fade Out performs a crossfade at the start and end of the silent
section for smoother transitions. Specify the fade time in the value field below.
Destination
•
Replace Selection replaces the current audio selection with the silent
section.
•
Insert at Cursor inserts the silent section at the cursor position.
•
From End of File Until Cursor extends the audio file with silence up to
the cursor position. Activating this option also defines the silence
duration and ignores the Silence Duration setting.
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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 Editor, make a selection.
2.
Select the Edit tab.
3.
In the Cutting section, click Silence Generator.
4.
Set the silence duration to As Selection, and the destination to Replace
Selection.
5.
Click Apply.
Inserting Silence
You can insert a specified length of silence at any position of the audio file.
PROCEDURE
1.
In the Audio Editor, set the cursor where you want the inserted silence to
begin.
2.
Select the Edit tab.
3.
In the Cutting section, click Silence Generator.
4.
Deactivate As Selection, and specify the length.
5.
Set the destination to Insert at Cursor.
6.
Click Apply.
Muting a Selection
The Mute Selection function replaces the selection with true silence.
PROCEDURE
1.
In the wave window of the Audio Editor, make a selection.
2.
Select the Edit tab.
3.
In the Cutting section, click Mute Selection.
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Audio File Editing
Waveform Restoration with the Pen Tool
Waveform Restoration with the Pen Tool
The Pen tool allows you to redraw the waveform in the wave window. This can be
used to quickly repair waveform errors. The Pen tool can be used if the zoom
resolution is set to 1:8 (one pixel on the screen equals 8 samples) or higher.
•
To redraw the waveform, select the Pen tool on the Edit tab of the Audio
Editor, click in the waveform, and draw the new waveform.
•
To redraw the waveform of both channels at once, press [Shift] during the
drawing process.
126
Audio Analysis
WaveLab Elements provides you with a comprehensive set of tools for analyzing
your audio and for detecting any errors.
For example, you can use the suite of audio meters or the 3D Frequency Analysis.
There are also several tools that help you examine any sample of your audio for
errors or anomalies.
Global Analysis
In WaveLab Elements you can perform advanced analysis on your audio to identify
areas with specific properties. This helps you find problem areas such as glitches
or clipped samples. You can also check general information, such as the pitch of a
sound.
If you analyze a section of an audio file, WaveLab Elements scans the section or the
audio file and extracts information which is displayed in the dialog.
WaveLab Elements also marks sections of the file that meet specific
characteristics, for example, sections that are very loud or almost silent. You can
then browse between these points, set markers, or zoom in on markers. On most of
the tabs, you find settings that determine exactly how the analysis is performed.
Each tab focuses on a particular analysis area.
You perform the global analysis in the Global Analysis dialog. This dialog consists
of the following tabs that provide different analysis types:
•
The Peaks tab lets you find individual samples with very high values.
•
The Loudness tab lets you find sections with high intensity.
•
The Pitch tab lets you find the exact pitch of a sound or section.
•
The Extra tab provides information about DC offsets and the significant bit
resolution.
•
The Errors tab lets you find glitches and sections where the audio has been
clipped.
Most of the analysis types provide a number of positions in the file that indicate
peaks, glitches, etc. These points are called “hot points”.
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Audio Analysis
Global Analysis
Opening the Global Analysis Dialog
The Global Analysis dialog provides various analysis options.
PROCEDURE
1.
In the wave window, select a range in the audio file that you want to analyze.
If you want to analyze the entire file, press [Ctrl]/[Command]-[A]. If Process Whole
File If There Is No Selection is activated in the Audio Files Preferences, the whole
file is analyzed automatically provided that no selection has been made.
2.
In the Audio Editor, select the Analyze tab.
3.
In the Tools section, click Global Analysis.
4.
Optional: Click Open New Global Analysis Dialog at the top of the
Global Analysis dialog to open another Global Analysis dialog.
Choosing the Analysis Type
Several types of analysis can be performed. Each of them takes some time, so make
sure that only the types that you need are included in the analysis.
Select the analysis types in the Global Analysis dialog by activating them in the
corresponding tabs.
•
To include the peaks analysis, select the Peaks tab and activate Find Peaks.
•
To include the loudness analysis, select the Loudness tab and activate
Analyze Loudness.
•
To include the pitch analysis, select the Pitch tab and activate Find Average
Pitch.
•
To include the extra analysis, select the Extra tab and activate Find DC
Offset.
•
To include the errors analysis, select the Errors tab and activate Find
Possible Glitches and Find Clipped Samples.
Global Analysis – Peaks Tab
On this tab, you can make settings that help you find digital peak values in the audio,
that is, single samples with very high values.
•
In the Global Analysis dialog, select the Peaks tab.
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Audio Analysis
Global Analysis
Find Peaks
Enables peak analysis.
Digital
Displays the highest peak in the analyzed section. When you click this value,
the number of peaks that are detected in the selection is shown in the
Number of Hot Points section in the lower left corner of the dialog. You can
use the hot points to move the cursor between the peaks.
At Cursor
Displays the level at the current audio file cursor position at the time of the
analysis.
Maximum Number of Peaks to Report
Restricts the number of reported peaks. For example, setting this to 1 reports
only the highest peak.
Minimum Time Between 2 Peaks
Controls the distance between peaks, so they do not appear too close to
each other. For example, setting this to 1 s ensures that there is always at
least one second between reported peaks.
Results of the Analysis
The Find Peaks fields show the highest peak in the analyzed section and the level
of the sample at the wave cursor position at the time of the analysis.
Global Analysis – Loudness Tab
On this tab, you can make settings that help you find sections that are perceived by
the human ear as louder or weaker in volume. To find sections that the ear perceives
as significant in volume, you must look at a longer section of audio.
•
In the Global Analysis dialog, select the Loudness tab.
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Audio Analysis
Global Analysis
Loudness Settings
Analyze Loudness
Enables RMS loudness analysis.
Average
Displays the overall loudness of the analyzed selection.
Maximum
Displays the level of the loudest section in the analyzed selection. Clicking this
value displays the number of loud sections detected within the selection in the
Number of Hot Points section in the lower left corner of the dialog.
Minimum
Displays the level of the quietest section in the analyzed selection. Clicking
this value displays the number of weak sections that are detected within the
selection in the Number of Hot Points section in the lower left corner of the
dialog. This provides adequate information about the signal-to-noise ratio
(SNR) of the audio material.
Around Cursor
Displays the loudness at the audio file cursor position at the time of the
analysis.
Resolution
The length of audio to be measured and averaged. If this value is lowered,
short passages of loud/weak audio are detected. If the value is raised, the
sound must be loud/weak for a longer period to result in a hot point.
Threshold (for the Average)
Ensures that the average value is calculated correctly for recordings with
pauses. The value that you set here determines a threshold below which any
detected audio is considered to be silence, and is therefore excluded from
average value calculations.
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Audio Analysis
Global Analysis
Maximum Number of Loudness Points to Report
Restricts the number of reported hot points. The highest points are reported.
For example, setting this to 1 reports only the loudest section or one of the
sections with the same highest value.
Minimum Time between 2 Points
Controls the distance between points, so they do not appear too close to
each other. For example, setting this to 1 s ensures that there is always at
least one second between reported points.
Global Analysis – Pitch Tab
On this tab, you can make settings that help you finding the average pitch of an
audio section.
•
In the Global Analysis dialog, select the Pitch tab.
Settings on this tab allow you to gather information for pitch shifting, for example, to
get one sound in tune with another. The display shows the pitch for each channel,
in Hertz (Hz) and as semitones and cents (hundredths of a semitone). Because the
display shows an overall value for the entire analyzed section, the hot point controls
in the lower section of the dialog are not used on this tab.
Usage guidelines for the Pitch tab:
•
The result is an average value for the whole selection.
•
The method only works on monophonic material, not on chords or harmonies.
•
The algorithm assumes that the analyzed section has a reasonably stable
pitch.
•
The material must be relatively well isolated from other sounds.
•
It is preferable to analyze the sustain portion of a sound rather than the attack.
The pitch is usually not stable during the attack.
•
Some synthetic sounds may have a weak fundamental (first harmonic) which
can irritate the algorithm.
Global Analysis – Extra Tab
This tab shows the average DC Offset of the analyzed section and the Apparent
Bit Resolution.
•
In the Global Analysis dialog, select the Extra tab.
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Audio Analysis
Global Analysis
The Apparent Bit Resolution attempts to detect the actual resolution in the audio.
This is useful, for example, if you want to check, whether a 24-bit file really uses 24
bits or if it was actually recorded with 16-bit resolution and then expanded to 24
bits.
Errors Detection
You can detect errors, such as glitches and sections where the audio has clipped.
Glitches
•
These are disruptions in the audio. Glitches may occur after problematic
digital transfers, after careless editing, etc. They manifest themselves as
“clicks” or “pops” in the audio.
Clipping
•
A digital system has a finite number of levels that it can represent properly.
When recorded sound levels are too high or when the system cannot handle
levels that have been raised by digital processing, hard clipping occurs that
you can hear as strong distortion.
A sine waveform before clipping and after.
Result of the Analysis
This reports the number of glitches and clipping instances that have been detected.
Global Analysis – Errors Tab
This tab helps you find glitches and sections where the audio has clipped.
•
In the Global Analysis dialog, select the Errors tab.
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Global Analysis
Maximum Number of Error Points to Report
Allows you to restrict the reported numbers of hot points.
Minimum Time between 2 Points to Report
Controls the distance between points, so they do not appear too close to
each other. For example, setting this to 1 s ensures that there is always at
least one second between reported points.
Find Possible Glitches
Enables glitch analysis.
•
Threshold sets the value at which a change in level is considered to be
a glitch. The higher the value, the less sensitive the detection.
•
Sensitivity is a length value that represents the length of time in which
the waveform must exceed the threshold to be reported as a glitch. The
higher the value, the less sensitive the detection.
•
Output Format displays the number of clipping occurrences that are
detected by the analysis. Clicking this value displays the number of clips
in the Number of Hot Points section in the lower left corner of the
dialog.
NOTE
Make sure that the points that are detected by the algorithm are real glitches.
Zoom in and play back to check whether the detected points really indicate a
problem.
Find Clipped Samples
Enables clipping analysis.
•
Threshold checks for a number of consecutive samples at full value, to
determine whether clipping has occurred. The Threshold setting
determines the exact number of these consecutive samples that must
occur for the program to report clipping.
•
Output Format displays the number of clipping occurrences that are
detected by the analysis. Clicking this value displays the number of clips
in the Number of Hot Points section in the lower left corner of the
dialog.
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Audio Analysis
Global Analysis
Performing a Global Analysis
PREREQUISITE
In the Audio Editor, select the Analyze tab, click Global Analysis, and select the
tab that you want to include in the analysis.
PROCEDURE
1.
In the Global Analysis dialog, set up the parameters.
Most of the tabs have settings that determine how the analysis should be performed.
2.
If the Peak or Loudness tab is selected, move the cursor to the position that
you want to analyze.
The Peak and Loudness tabs report values for the position of the cursor.
3.
Click Analyze.
Results of the Global Analysis
Depending on the analysis type, one or several values are returned for the analyzed
audio.
For the Pitch and Extra analyses, only one value is returned. The other analysis
types provide a number of positions in the file that indicate peaks, glitches, etc.
These points are called hot points.
Checking the Results of the Global Analysis
The results of the global analysis are marked with hot points. You can browse
through these points to see the results of the analysis.
PREREQUISITE
In the Audio Editor, select the Analyze tab, click Global Analysis, and perform the
analysis.
PROCEDURE
1.
In the Global Analysis dialog, click the tab that represents the values that you
want to check.
2.
Check the display for maximum/minimum values in the entire analyzed section.
3.
Decide which of these values you want to browse.
4.
Click the value.
5.
Check the Number of Hot Points value at the bottom of the dialog.
The value shows the number of positions that were detected by the analysis.
6.
Use the scrollbar below the Number of Hot Points value to browse between
the detected positions.
The edit cursor shows the position in the wave window.
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Audio Analysis
Global Analysis
7.
To browse another property, click the corresponding tab, and then the value
button.
NOTE
The result of the analysis is saved until you close the dialog or click Analyze again.
RELATED LINKS
Performing a Global Analysis on page 134
Creating Markers at Hot Points
Creating markers at hot points simplifies browsing the results of the global analysis.
PREREQUISITE
In the Audio Editor, select the Analyze tab, click Global Analysis, and perform the
analysis.
PROCEDURE
1.
In the Global Analysis dialog, select the analysis type for which you want to
create markers at hot points.
You can add markers for only one channel at a time.
2.
Click the Create Markers at Hot Points button.
Temporary markers are added at all hot points.
RESULT
The markers are named using the following principle: “Hot point number (Channel)”.
For example, a marker at the third hot point in the left channel would be labeled “3
(L)”.
RELATED LINKS
Performing a Global Analysis on page 134
135
Audio Analysis
3D Frequency Analysis
Focusing Hot Points
After a global analysis, you can focus the display on a specific hot point.
PREREQUISITE
In the Audio Editor, select the Analyze tab, click Global Analysis, and perform the
analysis.
PROCEDURE
1.
Use the Number of Hot Points scroll bar to move the position indicator to
the position in which you are.
2.
Click Focus.
The wave window zooms in on the selected point. The Global Analysis dialog is
reduced to the bottom part.
3.
To return to the full view of the Global Analysis dialog, click Focus again.
3D Frequency Analysis
Using the 3D Frequency Analysis, you can view an audio file in the frequency
domain.
Use the 3D Frequency Analysis for the following:
•
Viewing the frequency spectrum distribution in a mix
•
Identifying which frequencies can be reduced or boosted as a basis for
equalizing
•
Viewing parts of the frequency spectrum that are occupied by a background
noise that you want to filter out
A wave display (time domain) informs you about the start and end of a sound in a
file, but lacks information about the timbral contents of the file that a frequency
graph (frequency domain) provides. The graph that is used in WaveLab Elements is
often referred to as an FFT (Fast Fourier Transform) plot. If you select a stereo
recording, a mix of the two channels is analyzed.
The wheel control allows you to view the frequency spectrum from different angles.
For example, you can open several 3D Frequency Analysis windows, each with a
different perspective. This allows you to get a better view of an otherwise crowded
graph.
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Audio Analysis
3D Frequency Analysis
Creating a Graph for 3D Frequency Analysis
The length of the selected audio affects the accuracy of the analysis. For short
selections, the result is more detailed. Consider making a separate analysis of the
attack in which the most drastic variations occur.
PROCEDURE
1.
In the wave window, select the section of the file that you want to analyze.
If you make no selection, the whole audio file is analyzed.
2.
In the Audio Editor, select the View tab.
3.
In the Analysis section, click 3D Frequency Analysis.
The audio is analyzed.
4.
To edit the analysis parameters, click 3D Analysis Options.
5.
Adjust the parameters and click OK.
The audio is re-analyzed.
3D Analysis Options
In the options dialog of the 3D Frequency Analysis dialog, you can define which
frequency range is analyzed and modify the appearance of the graph for the 3D
frequency analysis.
•
In the 3D Frequency Analysis dialog, click the 3D Analysis Options button.
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Audio Analysis
3D Frequency Analysis
Top/Bottom Frequency
Specifies the highest/lowest frequency of the range.
Logarithmic Ruler (Octaves)
Divides the frequency ruler in equally spaced octaves.
Amplitude
Select whether you want the peaks to be proportional to their amplitude
(Linear) or to their power (Logarithmic with Decibel Scale).
Colors
Defines the color scheme of the graph.
Background
Defines the background color.
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Offline Processing
Offline processes are useful for a variety of editing purposes and creative effects,
for example, if the computer is too slow for real-time processing or if the editing
requires more than one pass.
After the processing the audio file is permanently altered.
Applying Processing
Processing can be applied to a selection or to a whole file. For some operations
processing the entire file is necessary.
NOTE
If Process Whole File If There Is No Selection is activated in the Editing tab of
the Audio Files Preferences, the whole file is automatically processed if no
selection exists.
PROCEDURE
1.
In the wave window, make a selection.
2.
In the Audio Editor, select the Process tab.
3.
Select the type of processing that you want to apply.
4.
If a dialog opens, make the settings and click Apply to render the effect to file.
Gain Dialog
In this dialog, you can apply a gain to change the level of an audio file.
•
To open the Gain dialog, select the Process tab in the Audio Editor, and
click Gain in the Level section.
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Offline Processing
Level Normalizer Dialog
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 intended, mild clipping
can add some punch, for example, to accentuate the attack of a drum sound.
Level Normalizer Dialog
In this dialog, you can change the peak level of an audio file.
•
To open the Level Normalizer dialog, select the Process tab in the Audio
Editor, and click Level in the Normalizing section.
Peak Level
Enter the peak level (in dB) that you want the audio selection to have.
Stereo Link
Applies the gain to both channels.
Mix to Mono
Mixes the left and the right channel. The resulting mono file has the specified
peak level. This ensures a mix without clipping.
Find Current Peak Value
Creates a report on the peak level of the current audio selection or the whole
audio file if there is no selection.
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Offline Processing
Fades in Audio Files
Basic Envelope Operations
By adding points to the envelope curve you can create an envelope curve that
changes the volume of the material over time. When you point the mouse in the
display or move a point, the current position and level change is shown in the field
above the display.
•
To add a point, double click the envelope curve.
•
To select a point, click it.
•
To select several points, click and drag the selection rectangle.
•
To move a point, click and drag it. If more than one point is selected, all points
are moved.
•
To move the whole curve up or down, click the envelope curve, and drag up
or down.
•
To move the curve segments vertically, click the curve and drag up or down.
•
To move two points horizontally, press [Shift], click the curve segment
between two points, and drag left or right.
•
To move two points vertically, press [Ctrl]/[Command], click the curve
segment between two points, and drag up or down.
Fades in Audio Files
A fade in is a gradual increase in level and a fade out is a gradual decrease in level.
You can create fades by selecting an individual fading type for each fade in/fade
out.
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Offline Processing
Crossfades
Creating a Fade In and Fade Out
PROCEDURE
1.
In the wave window, make a selection.
2.
In the Audio Editor, select the Process tab.
3.
Depending whether you want to create a fade in or a fade out, select one of
the following options in the Fading section:
•
To apply the default fade type, click the Fade In or Fade Out icon.
•
To select another fade type, click Fade In or Fade Out below the fade icon.
From the pop-up menu, select the type of fade that you want to create.
Crossfades
A crossfade is a gradual fade between two sounds, where one is faded in and the
other faded out. You can automatically create a crossfade when pasting an audio
section into another.
Creating Crossfades
The material that you want to crossfade can either be in two different sections of the
same audio file or in two different audio files.
PROCEDURE
1.
In the wave window, select the section that you want to fade in.
2.
Select the Edit tab.
3.
In the Clipboard section, click Copy.
4.
Select the section that you want to fade out.
The length of this selection determines the length of the actual crossfade (check the
length on the status bar). The section can be within the selected audio file or in
another wave window. However, the selection must not be longer than the selection
that you just copied.
5.
Select the Edit tab.
6.
Depending whether you want to create a fade in or a fade out, select one of
the following options in the Clipboard section:
•
To apply the default crossfade type, click the Paste and Crossfade icon.
•
To select another crossfade type, click Paste and Crossfade below the
crossfade icon. From the pop-up menu, select the type of crossfade that you
want to create.
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Offline Processing
Phase Inverting
RESULT
The crossfade is created. Any material that originally appeared after the selection in
the file into which you paste, is moved so that it now appears after the pasted
material.
Any excess material in the copied selection appears after the fade at full level.
NOTE
If both files already have full level sections in the crossfade area (for example, if you
have normalized both files), clipping and distortion might occur. If this happens,
reduce the amplitude of both files by 3 dB to 6 dB and try again.
AFTER COMPLETING THIS TASK
Play back the file and adjust the crossfade if necessary.
Paste and Crossfade Options
These options allow you to select a crossfade type for pasting.
•
Select the Edit tab in the Audio Editor, and click Paste and Crossfade in the
Clipboard section.
Linear (Equal Gain)
Level changes linearly.
Sinus (Equal Power)
Level changes according to a sine curve, the power of the mix remains
constant.
Square-Root (Equal Power)
Level changes according to a square-root curve, the power of the mix remains
constant.
Phase Inverting
Inverting the phase turns the signal upside down. The most common use for this
function is to fix a stereo recording if one of the channels has been recorded out of
phase with the other.
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Offline Processing
Reversing Audio
Inverting the Audio Phase
PROCEDURE
1.
Optional: If you only want to invert the phase for a specific time range of the
audio file, create a selection range in the wave window.
2.
In the Audio Editor, select the Process tab.
3.
In the Other section, click Invert Phase.
Reversing Audio
You can reverse an audio file or a part of an audio file as if playing a tape backwards.
PROCEDURE
1.
Optional: If you only want to reverse a specific time range of the audio file,
create a selection range in the wave window.
2.
In the Audio Editor, select the Process tab.
3.
In the Time & Pitch section, click Reverse.
DC Offset
A DC offset is when there is a too large 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 the zero crossing position.
•
Some processing options do not give optimal results when performed on files
with a DC offset.
Removing DC Offset
PROCEDURE
1.
In the Audio Editor, open the audio file that you want to check for DC offset
and that you want to fix.
2.
Select the Process tab.
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Offline Processing
Time Stretching
3.
In the Level section, click Remove DC Offset.
A dialog opens, stating the amount of DC offset in the audio file. You can also create
a selection range in the wave window and select this option to only show the DC
offset in the selection range.
NOTE
This function should be applied to whole files, because the problem is normally
present throughout the entire recording.
4.
Click OK to remove the DC offset.
Time Stretching
Time stretching is an operation that allows you to change the length of a recording
without affecting its pitch.
With time stretching you can make audio material longer or shorter. This function is
most often used to make a section of audio fit in with some other material. You
select the material to be stretched and use the options in the Time Stretching
dialog to find a stretch factor. This is done by specifying a length or a tempo,
according to what the situation requires.
Time Stretching Dialog
In this dialog, you can change the duration of an audio selection, usually without
changing its pitch. You can stretch a selection to a specified duration (in minutes,
seconds, and milliseconds), tempo (in bpm), or stretch factor (as percentage).
•
To open the Time Stretching dialog, select the Process tab in the Audio
Editor, and click Time Stretching in the Time & Pitch section.
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Offline Processing
Time Stretching
Source (Audio Selection)
Duration
If Edit Tempo is activated, you can change the tempo of the audio source.
The number of bars and beats and the stretch factor is updated automatically.
If Edit Bars is activated, you can set the number of bars and beats and the
signature for the audio source. The source tempo and according the stretch
factor is automatically updated.
Result
Target Duration
If this option is activated, the audio source changes its duration.
Target Tempo
If this option is activated, the audio source changes its tempo. For this to work,
you must specify the original tempo or the number of bars and beats.
Target Stretch Factor
Indicates how much the audio duration changes. This parameter is
automatically updated when you edit the other parameters, but you can also
activate this option to edit it manually.
Reset
Resets the stretch factor to 100 %, that is no stretch.
Method
Preserve Pitch
If this option is activated, the pitch of the audio material is not affected when
you apply time stretch. If this option is deactivated, the pitch changes
proportionally with the time stretch ratio.
Quality pop-up menu
Select whether you want to use the Standard Quality or the Quick Process.
Time Stretching Limitations
Time stretch is a complicated Digital Signal Processing (DSP) operation, that
always affects the sound quality to some extent.
•
For speech, stretch factors within a ±30 % range provide good results.
•
For composite music, try to limit the range to ±10 %.
•
For sensitive material, like solo piano, try to limit the range to ±3 %.
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Offline Processing
Pitch Shift
ZTX Time Stretching Processor
The ZTX engine is a high quality time stretcher. It produces the best quality results
possible, but takes longer to process.
Pitch Shift
Pitch shift allows you to detect and to change the pitch of a sound, with or without
affecting its length. This is useful for fixing an off-key vocal note in a live recording,
or for tuning the pitch of a kick drum sample to fit a particular song, for example.
Pitch Shifting Dialog
In this dialog, you can change the pitch of a sound.
•
To open the Pitch Shifting dialog, select the Process tab in the Audio
Editor, and click Pitch Shifting in the Time & Pitch section.
Semitones
Specifies the amount of pitch change in semitones.
Cents
Specifies the amount of pitch change in cents.
Find Current Pitch of Audio Selection
Analyzes the pitch of the selected audio and displays it below this button.
According to the current pitch, compute the required shift to match the key
hereafter
Click to adjust Amount of Pitch parameters automatically, based on the
detected pitch and the pitch specified in the value field below this button.
Pitch field
Specifies the resulting pitch.
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Offline Processing
Resample
Length Preservation
Specifies how the length of the selection is affected by the operation:
•
A setting of 100 means that the length of the audio remains unchanged.
•
A setting of 0 means that the program behaves like a tape recorder,
when the speed of its tape is changed. For example, if you raise the
pitch by one octave, the audio is half as long.
•
Intermediate values give results in between these two extremes.
For large transposition values, the lower this setting, the better the quality of
the effect.
Quality pop-up menu
Select whether you want to use the Standard Quality or the Quick Process.
Correct Formants
If this option is activated, changing the pitch of vocal material gives a more
realistic result. When processing non-vocal material leave this option
deactivated, because it uses a slightly slower processing algorithm.
NOTE
This algorithm might cause a noticeable increase in signal level.
Resample
You can change the sample rate of a recording. This is useful if the file that you want
to use in an audio system was recorded at a sample rate that this system does not
support.
NOTE
•
Sample rate conversion from a low frequency upwards does not improve the
sound quality. The high frequencies that were lost cannot be restored by a
conversion.
•
If you resample to a lower frequency, high frequency material is lost.
Therefore, converting down and then up again leads to a degradation in
sound quality.
NOTE
Using the Resampler plug-in in the quality mode High to change the sample rate
results in the same quality as when using the Resample option in the Audio Editor.
However, that is only the case if the sample rate in the Sample Rate dialog exists
in the values of the Resampler Sample Rate pop-up menu. If you choose a custom
sample rate, another algorithm is used, which results in a lower quality of what the
Resampler can achieve.
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Offline Processing
Resample
Converting a Sample Rate
NOTE
Sample rate conversion is always applied to the entire file.
PROCEDURE
1.
In the Audio Editor, select the Process tab.
2.
In the Time & Pitch section, click Resample.
3.
In the Sample Rate dialog, select a sample rate from the pop-up menu.
4.
Click OK.
149
Audio Montage
The audio montage is a multitrack non-destructive editing environment that allows
you to arrange, edit, play back, and record audio clips.
Non-destructive means that when you delete or change a part of an audio file, the
audio is not deleted or permanently changed. Instead, a set of pointers keeps track
of all the edits, so that these can be readily reversed.
The non-destructive editing functions include both track- and clip-based effects,
volume and pan automation, as well as wide-ranging fade and crossfade functions.
The audio montage is a great tool for audio CD creation, mastering, multimedia
work, radio spot production, etc.
Basic Terminology
Audio montages can contain up to 3 stereo or mono audio tracks. You can use them
to structure your work graphically.
On an audio track, you can place any number of clips. Clips are containers for the
audio, and include a number of settings and functions such as volume and pan
curves, fades, etc.
A clip contains a reference to a source audio file on your hard disk, as well as start
and end positions in the file, which means that clips can play back sections of the
source audio files. Any number of clips can reference the same source file.
Montage Window
The montage window is where you assemble your audio montage. This is where you
view, play back, and edit audio montages.
The montage window gives you a graphical representation of the tracks and clips.
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Audio Montage
Montage Window
Track Control Area
The track control area offers several options regarding the track.
Fold/Unfold Track
Folds/Unfolds the track.
Mute
Mutes the track.
Solo
Solos the track.
FX
Opens the Effects pop-up menu where you can select effects for the track.
A blue icon indicates that a track has track effects.
Track number button
Opens the track menu that contains track-related options.
Track Name
Opens the Track Name dialog where you can enter a name for the track.
Track Pop-up Menu
This pop-up menu contains all track-related options.
•
To open the Track pop-up menu, click the number button of a track in the
track control area.
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Audio Montage
Montage Window
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.
Route to Master Section
Routes the audio signal of the active track to the Master Section input.
Route to Master Section and Upper Track
Routes the audio signal of the active track to the Master Section input and
to the modulation input of the Ducker clip plug-in.
Route to Upper Track Only
Routes the audio signal of the active track to the modulation input of the
Ducker clip plug-in.
Lock
If this option is activated, you cannot edit the track.
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Audio Montage
Audio Montage Tabs
Zoom
Shows the active track in the full available height.
Color
Opens a submenu where you can select a color for the active track.
RELATED LINKS
Ducker on page 322
Audio Montage Tabs
The tabs in the Audio Montage window give you access to the tools and options
you need for editing audio montages. For example, you can edit the envelope curves
and fades in clips, make zoom settings, analyze the audio, and render the audio
montage.
View Tab
Navigate
Backwards/Forwards
Navigates to the previous/next cursor position, zoom factor, and selection
range.
Zoom
Zoom
Activates the Zoom tool that allows you to define a time range that is zoomed
in.
Time
Opens a pop-up menu that allows you to adjust the zoom to display the
selected time range. Zoom in 1:1 zooms in so that one pixel on the screen
represents one sample.
To edit the zoom factor, click Edit Zoom Factor. This opens the Zoom Factor
dialog, where you can edit the following settings:
•
Set Time Range allows you to specify the time range that you want to
display.
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Audio Montage
Audio Montage Tabs
•
Samples per Screen Point allows you to specify how many audio
samples are summarized in each screen point.
•
Screen Points per Sample allows you to specify how many screen
points are used to represent a single audio sample.
Zoom Selection
Zooms the window so that the current selection occupies the entire montage
window.
Microscope
Zooms in as far as possible.
View All
Zooms out as far as possible.
Display Whole Clip
Adjusts the view to display the active clip.
Zoom in Audio (10x)/Zoom out Audio (10x)
Zooms in/out in big steps.
Zoom in Audio/Zoom out Audio
Zooms in/out in small steps.
Zoom in Vertically/Zoom out Vertically
Zooms in/out to show waveforms with a lower/higher level.
Level
Adjusts the zoom to only display samples below the selected dB value.
Reset Zoom to 0 dB
Adjusts the zoom to display audio levels up to 0 dB.
Cursor
Move Cursor to Start of File/Move Cursor to End of File
Moves the cursor to the start/end of the file.
Previous Marker/Next Marker
Moves the cursor to the previous/next marker.
Start of Selection/End of Selection
Moves the cursor to the start/end of the selected time range.
Previous Region Edge/Next Region Edge
Moves the cursor to the previous/next region edge.
Edit Cursor Position
Opens the Cursor Position dialog where you can edit the cursor position.
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Audio Montage
Audio Montage Tabs
Previous Clip Edge/Next Clip Edge
Moves the cursor to the previous/next clip edge.
Scroll
Start/End
Displays the start/end of the audio without moving the cursor.
Start of Selection/End of Selection
Displays the start/end of the audio selection without moving the cursor.
Cursor
Displays the cursor position.
Playback
Steady View
Deactivates scrolling.
View Follows Cursor
Automatically scrolls the view to keep the playback cursor visible.
Scroll View
Scrolls the view to keep the playback cursor centered.
Clip
Color
Allows you to apply a color to the active clip.
Tracks
Display More Tracks/Display Fewer Tracks
Allows you to change the number of tracks that are displayed in the montage
window.
Focus on Previous Track/Focus on Next Track
Sets the focus on the previous/next track.
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Audio Montage Tabs
Edit Tab
Source
Edit Source
Opens source file of the clip in the Audio Editor.
Edit Cubase Project
Opens the Cubase project relating to the clip.
Clipboard
Cut
Cuts the active clip to the clipboard.
Copy
Copies the active clip to the clipboard.
Paste
Pastes the clipboard content.
Split
Split at Silences
Splits the files so that each non-silent section becomes a separate region. If
you select this option, you can specify the minimum region duration, the
minimum duration of a silent section, and the signal level that should be
considered as silence.
Removal
Delete Selected Range
Deletes the part of the clip that lies inside the selection range on the selected
track and moves the right section of the clip to the left to fill the gap.
Ripple
None
Deactivates the auto-shift function.
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Audio Montage
Audio Montage Tabs
Track
If this option is activated and you move a clip horizontally, all clips on the
selected track that are located to the right of the edited clip are also moved.
This option also applies when moving or resizing clips, and when inserting or
pasting more than one clip at the same time.
Global
If this option is activated and you move a clip horizontally, all clips on all tracks
that are located to the right of the edited clip are also moved. This option is
taken into account when moving or resizing clips, and when inserting or
pasting more than one clip at the same time.
Snapping
Snap to Magnets
If this option is activated, moved elements such as clip edges, time selection
edges, cursor, and markers snap to the magnets that are activated on the
Magnets pop-up menu.
Magnets
This pop-up menu allows you to select which items should be magnetic.
Clip
Mute
Mutes the active clip.
Cue Point
This pop-up menu allows you to make cue point settings.
•
Set at Cursor sets the cue point to a fixed position from the start of the
clip.
•
Set at Default Gap Position sets the cue point before the start of the
clip, at a distance governed by the default pre-gap position.
•
Follows Fade In End Point sets the cue point to the fade in end point.
•
Follows Fade Out Start Point sets the cue point to the fade out start
point.
•
If Custom Cue End is activated, you can set the end cue point at a
custom position from the end of the clip. This option allows you to edit
the gap individually for each clip.
If this option is deactivated, a 2 seconds default gap is used.
•
End Offset opens the End Cue Point Offset dialog that allows you to
set the end cue point at a custom position from the end of the clip.
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Audio Montage
Audio Montage Tabs
Insert Tab
Markers
Marker Name
Lets you enter the name of the start and end marker. If nothing is entered, a
generic name is used.
To edit the default names, open the Markers window, and select Functions
> Default Marker Names.
Different Name for End Marker
If this option is activated, you can enter a different name for the end marker.
If this option is deactivated, the name of the start marker is also used for the
end marker.
Create Marker
Allows you to create markers and marker pairs at the edit cursor position.
Import
Audio Files
Allows you to select one or more audio files to insert at the edit cursor position
on the selected track.
Fade Tab
Edit
Fade In/Fade Out
Allows you to switch between the fade in and the fade out settings.
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Audio Montage
Audio Montage Tabs
Zoom
Zoom to Fade Range
Adjusts the view to display the fade in/fade out part of the active clip.
Shape
Curve
Allows you to select preset fade curves.
•
Linear changes the level linearly.
•
Sinus (*) changes the level according to a sine curve. When used in a
crossfade, the loudness (RMS) remains constant during the transition.
•
Square-Root (*) changes the level according to a square-root curve.
When used in a crossfade, the loudness (RMS) remains constant
during the transition.
•
Sinusoid changes the level according to a sine curve.
•
Logarithmic changes the level according to a logarithmic curve.
•
Exponential changes the level according to an exponential curve.
•
Exponential+ changes the level according to a more pronounced
exponential curve.
Time
Fade Time
Allows you to specify a fade in/fade out time for the clip.
Apply Fade Time
Applies the specified clip fade in/fade out time.
Options
Overlaps
This pop-up menu allows you to set the automatic crossfading behavior.
•
If No Automatic Crossfading is activated, no automatic crossfading is
performed when clips overlap.
•
If Free Overlaps is activated, automatic crossfades are created when a
clip overlaps another clip on the same track. The length of the overlap
determines the length of the crossfade.
Create Default Fades in New Clips
If this option is activated, all new clips get the default fade in and fade out
shape and length. For clips that are created by splitting a clip, only the default
fade time is used.
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Audio Montage
Audio Montage Tabs
Envelope Tab
Selector
Envelope Type
Sets the type of the envelope. Depending on the selected type, different
options are available.
Pan Law
Lets you select a pan mode. This option is only available if the Pan envelope
type is selected.
Zoom
Zoom to Envelope Range
Adjusts the view to display the active envelope of the active clip.
Level
Reset All
Resets the envelope to its neutral form.
Reset to 0 dB
Replaces the segments between the fade in and fade out points with a single
neutral segment.
Render Tab
Source
Whole Montage
Processes and renders the whole audio range.
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Audio Montage
Audio Montage Tabs
Specific Region
Processes and renders a specific audio range to an independent file.
Specify the region to process on the pop-up menu.
Result
CD
Allows you to burn a CD from the audio montage.
Unnamed File
If this option is activated, the rendered file is named untitled.
Named File
If this option is activated, you can specify a name for the rendered file.
Output
Name
Allows you to enter a name for the rendered file. Clicking the arrow icon opens
a pop-up menu that offers you several naming options.
Location
Allows you to select a destination folder for the rendered files.
Format
Opens a pop-up menu where you can select a file format.
Options
Depending on the selected source, different options are available.
Bypass Master Section
If this option is activated, the plug-ins and gain of the Master Section are
bypassed when rendering.
Exclude Master Section Bypassed Plug-ins
If this option is activated, the plug-ins that are bypassed in the Master
Section during playback are not used for rendering.
No Reverb Tail
If this option is activated, the audio tail produced by effects such as reverb is
not included in the rendered file.
Some plug-ins do not transfer information on the tail duration to WaveLab. In
this case, this option has no effect. For such plug-ins, you can add the
Silence plug-in to add extra samples at the end of the file.
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Signal Flow in the Audio Montage
Copy Markers
If this option is activated, the markers that are included in the range to process
are copied to the rendered file.
Open Resulting Audio File
If this option is activated, every rendered file is opened in a new window.
Bypass Master Section on Resulting Audio File
If this option is activated, playback of the resulting audio file bypasses the
entire Master Section. This setting can be toggled by clicking the button at
the bottom right of the wave window or montage window.
NOTE
It is recommended to activate this option, because this way, you do not
monitor new files through the effects that have already been applied to them.
Upload to SoundCloud
If this option is activated, the rendered file is uploaded to SoundCloud.
Render
Start
Starts the rendering process.
Signal Flow in the Audio Montage
The audio signal flow passes through the various sections of WaveLab Elements in
a certain way.
1)
The audio samples are read.
2)
Clip envelope
3)
Clip effects
4)
Clip pan
5)
Individual clip gain (CD window)
6)
Clips are mixed into the track slot (for example, overlapping clips).
7)
Track effects
8)
Track level settings
9)
Each track is mixed into a stereo bus.
10) The stereo channel is processed through the plug-ins of the montage output.
11) The stereo bus is sent to the Master Section input.
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Audio Montage
Creating New Audio Montages
Signal Flow in the Master Section
1)
Channels/sample rate can change at each plug-in slot.
2)
Master Section meters
3)
Final Effect/Dithering pane in the Master Section
4)
Independent meters
5)
Playback or file format rendering
Creating New Audio Montages
PROCEDURE
1.
Select File > New.
2.
Select Audio Montage > Custom.
3.
Specify the audio properties and click Create.
Audio Montage Properties
You can set the sample rate of the audio montage.
You can set the sample rate when you create a new audio montage.
•
To change the sample rate for the selected audio montage, select the File tab
and click Info, or click the Audio Montage Properties button at the bottom
right of the montage window.
Alternative Ways of Creating New Audio Montages
There are several ways to create a new audio montage.
•
Import audio CD tracks to an audio montage
•
Convert wave files to an audio montage
•
Press [Ctrl]/[Option] and drag a montage tab on the tab bar.
•
Double-click an empty section of the tab bar
RELATED LINKS
Audio Montage Duplicates on page 164
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Audio Montage
Audio Montage Duplicates
Audio Montage Duplicates
Empty (With Same Properties)
Creates a new audio montage with the channel settings and sample rate of
the original audio montage, without any clips.
Exact Duplicate (Using the Same Audio Files)
Creates an exact duplicate of the original audio montage and lets the new
clips reference to the original audio files. The duplicated audio montage uses
the channel settings and sample rate of the original audio montage.
This is useful if you want to create several versions of the audio montage, for
example, to experiment with variations. However, any processing or editing
that you apply to the actual audio files are reflected in all audio montages.
You can also press [Ctrl]/[Command], drag a tab, and drop it on the tab bar
to create a exact duplicate of an audio montage.
RELATED LINKS
Duplicating Audio Montages on page 164
Duplicating Audio Montages
PROCEDURE
1.
Open the audio montage that you want to duplicate.
2.
In the Audio Montage window, select the File tab.
3.
Select New > Audio Montage > From Current File.
4.
In the From Current Audio Montage section, select one of the following:
5.
•
Empty (With Same Properties)
•
Exact Duplicate (Using the Same Audio Files)
Click Create.
RESULT
A duplicate of the audio montage opens in another tab.
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Audio Montage
Creating an Audio Montage from an Audio File
Creating an Audio Montage from an Audio File
You can export audio files to an audio montage, including all markers that you have
set in the audio file.
PROCEDURE
1.
In the Audio Editor, open the audio file that you want export to an audio
montage.
2.
Optional: If you want to use a specific time range of the audio file, create a
selection range in the wave window.
3.
Select File > New.
4.
Select Audio Montage > From Current File.
5.
In the From Current Audio File section, click Insert Audio File in New
Montage.
6.
Click Create.
7.
In the Create Audio Montage from Audio File dialog, select whether to
import the whole file or the selected audio range.
8.
Optional: Decide if you want to perform any of the following marker
operations:
9.
•
Import Markers
•
Split at Generic Region Markers
Click OK.
Import Options for Audio Montages
You can import audio files and Audio CD tracks into your audio montage.
The following import options are available via the Import section on the Insert tab
of the Audio Montage window:
•
To import audio files, click Audio Files and select the audio files that you want
to import at the edit cursor position on the selected track.
If you import a single audio file, the Paste pop-up menu opens. Here, you can
specify how the clip should be inserted, whether existing clips should be
affected, etc.
If you import multiple audio files, the Insert Audio Files dialog opens. Here,
you can specify where to insert the files.
To access the following import options, select File > Import.
•
To import audio files, click Audio Files to Montage, select the audio files that
you want to import, and click Import.
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Audio Montage
Missing Files in the Audio Montage Dialog
•
To open audio files that have an unknown format, click Unknown Audio. Via
the Special File Format dialog, you can specify how to interpret the format
of the audio file that you want to open.
•
To import CD tracks from an audio CD, click Audio CD. Via the Import Audio
CD dialog, browse for the audio CD tracks to extract.
RELATED LINKS
Mismatched Sample Rates When Inserting Audio Files on page 171
Missing Files in the Audio Montage Dialog
This dialog opens when you open an audio montage, and some audio files that the
audio montage refers to cannot be found. You can then search for the files or select
a replacement.
Missing Original Files
Lists the files that cannot be found. Each file can be replaced by an existing
file. To search replacements for multiple files, select the files and specify a
new path in the Where to Search field.
A file with a green checkmark is associated with a valid replacement. A file
with a red checkmark is not yet associated with a valid replacement, but there
are possible replacement candidates available at the bottom of this dialog.
Find Files with the Same Name
Instructs WaveLab Elements to find all files with the same name in the folder
specified in the Where to Search field.
Replace Selected Files With
Replaces the missing files with a single specific file.
Reset
Removes all possible replacements for the selected missing files.
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Audio Montage
Assembling the Audio Montage
Where to Search
Lets you specify a location for searching files. Click Find Files with the Same
Name to start the search.
Replacement List
Lists the files that can be used as a replacement. You can also drag a file into
the list from the File Explorer/Mac OS Finder.
Assembling the Audio Montage
You assemble your audio montage by adding tracks and clips.
In the audio montage, only one track can be selected at a time. This selected track
has a different color for the track control area. Some WaveLab Elements functions
are always applied to the selected track.
Tracks
Tracks are the structure used to organize clips. The tracks can be mono or stereo
audio tracks.
•
Audio tracks allow you to add clips to an audio montage.
Adding Tracks
You can add stereo tracks and mono tracks.
PROCEDURE
1.
In the Audio Montage window, click the number button of a track to open the
Track pop-up menu.
2.
Select the track type that you want to add to your audio montage.
RESULT
The new track is added below the selected track. If you want to place it above the
selected track, press [Ctrl]/[Command] when adding the new track.
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Audio Montage
Assembling the Audio Montage
Moving Tracks in the Track View
You can change the order of the tracks in the montage window.
PROCEDURE
1.
In the Audio Montage window, click the number button of a track.
2.
On the pop-up menu, select Move Track Up or Move Track Down.
Removing Tracks
Removing a track with clips also removes the clips. However, the audio files to
which the clips refer are not affected.
PROCEDURE
1.
In the Audio Montage window, click the number button of the track that you
want to remove.
2.
On the pop-up menu, select Remove Track.
Folding and Unfolding Tracks
To save screen space, you can fold tracks that do not need to be visible.
•
To fold a track, click the arrow button at the top left corner of the track control
area.
•
To unfold a folded track, click the button again, or double-click anywhere on
the folded track.
Locking and Unlocking Tracks
You can lock tracks to prevent them from being accidentally moved, edited, or
deleted.
•
To lock a track, click the number button of the track and activate Lock.
•
To unlock a track, click the locked track, or click the number button of the
track, and deactivate Lock.
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Audio Montage
Assembling the Audio Montage
Clips
A clip contains a reference to a source audio file on your hard disk as well as start
and end positions in the file, volume and pan curves, fades, etc. This allows clips to
play back smaller sections of their source audio files.
Any number of clips can reference the same source file. Because a clip only
references to the original source file, it contains no audio data. Any number of clips
can reference the same source file.
You can also use envelopes and effects on clips.
You can see the clips of the active audio montage in the CD window.
3 clips on a track
Adding Audio Clips to the Audio Montage
You create clips by inserting audio into the audio montage. There are several ways
to do this.
NOTE
You cannot add a mono clip to a stereo track or vice versa.
Dragging Audio from the Wave Window
PROCEDURE
1.
In the wave window of the Audio Editor, select the audio section that you
want the clip to refer to.
2.
Drag the selection onto a track of the audio montage.
If you want to add the whole audio file, drag the tab on a track.
RESULT
A clip is created, named after the original file.
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Audio Montage
Assembling the Audio Montage
Inserting Audio from Open Wave Windows Using the Insert Menu
PROCEDURE
1.
In the montage window, right-click an empty area of a track.
2.
From the pop-up menu, select the audio file that you want to insert as clip.
Inserting Audio Using Copy and Paste
PROCEDURE
1.
In the wave window of the Audio Editor, select the audio section to which you
want the clip to refer to.
2.
Select the Edit tab and click Copy, or press [Ctrl]/[Command]-[C].
3.
In the montage window, select the track where you want to insert the clip.
The clip insert position is indicated by the edit cursor.
4.
Select the Edit tab and click Paste, or press [Ctrl]/[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 File Explorer/Mac OS Finder.
PROCEDURE
1.
Select Tool Windows > File Browser.
2.
In the File Browser window, select the audio files to which you want the clip
to refer, and drag them on a track.
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Audio Montage
Assembling the Audio Montage
Dragging Regions From the File Browser Tool Window
If you have defined marker regions in an audio file, you can drag these regions from
the File Browser window onto a track.
PROCEDURE
1.
Select Tool Windows > File Browser.
2.
In the File Browser window, select the audio file to which you want the clip
to refer.
On the right side of the File Browser window, a list shows the available audio regions
of the selected file.
3.
Drag any region to the track.
RELATED LINKS
File Browser Window on page 27
Importing Audio Files
PROCEDURE
1.
In the montage window, select the track on which you want to insert the clip.
The clip insert position is indicated by the edit cursor.
2.
Right-click an empty area on the track, and select Insert Audio Files from the
pop-up menu.
Copying Clips From Another Audio Montage
If you have opened more than one audio montage, you can copy clips from one
audio montage to another, either by using drag and drop or by using copy and
paste.
Mismatched Sample Rates When Inserting Audio Files
When inserting audio files with a different sample rate than the sample rates of the
audio montage, WaveLab Elements can create and use resampled versions of the
files.
The resampled file versions are created in the Data subfolder. The name of the file
is the name of the original file name with the new sample rate as suffix. If the
resampled file already exists, it is not recreated. However, you can also activate the
option Recreate Resampled Files in the Mismatched Sample Rates dialog.
This creates a 32-bit float file without any dithering process.
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Audio Montage
Rearranging Clips
Mismatched Sample Rates Dialog
This dialog opens when you insert an audio file with a different sample rate than the
sample rate of the audio montage. It allows you to create a resampled copy of the
audio file.
Recreate Resampled Files
If this option is activated and a resampled file exists, it is recreated. Otherwise,
the existing version is used. Activate this option if the original audio file has
been modified and you want to recreate its resampled version.
Rearranging Clips
You can freely arrange clips in the montage window.
Selected and Active Clips
There is a distinction between selected and active clips. Some editing functions can
only be processed on an individual clip or active 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 Region menu.
•
An active clip is the clip that you selected, clicked, or edited last. Only one clip
can be active at a time. By default, the active clip is distinguished by a
highlighted name label. Some functions can only be processed on a active
clip. Right-clicking a clip opens the Active Clip menu.
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Audio Montage
Rearranging Clips
Info Line
The info line at the bottom of the Audio Montage window shows what happens
when you click the mouse button with or without modifier keys, depending on the
cursor position.
The following symbols are used on the info line:
Single-click
Indicates what happens when you click.
Double-click
Indicates what happens when you double-click.
Right-click
Indicates that you can right-click to display a menu. The name of the menu is
displayed to the right of the symbol.
[Ctrl]/[Command]-click
Indicates that you can [Ctrl]/[Command]-click for an additional function.
[Alt]/[Option]-click
Indicates that you can [Alt]/[Option]-click for an additional function.
[Shift]-click
Indicates that you can [Shift]-click for an additional function.
Drag up/down
Indicates what happens when you click and drag up or down.
Drag left/right
Indicates what happens when you click and drag left or right.
Drag in any direction
Indicates what happens when you click and drag an item in any direction
within the audio montage.
Drag out of the audio montage
Indicates what happens when you click and drag an item out of the audio
montage.
Moving/Resizing clips or changing envelope values
This indicates that you are moving or resizing clips, or changing envelope
values, for example.
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Audio Montage
Rearranging Clips
Combined modifier keys
Indicates that you can use combined modifier keys.
Magnetic Bounds in Audio Montages
Some positions, such as markers or the start and end of a clip, can be defined as
magnetic. Dragged elements can snap to these positions. This makes it easier to
position items accurately.
For example, when you move or resize a clip, and its edges or its cue point get close
to one of the magnetic bounds, the clip snaps to this position. A label is displayed,
indicating the snap position.
To place the cursor at a magnetic position, click the time line and hold the mouse
button pressed. When you now move the cursor vertically, the cursor jumps to the
next magnetic bound.
Activating Snapping to Magnets
To make use of the magnetic bounds function, Snap to Magnets must be activated.
PROCEDURE
1.
In the Audio Montage window, select the Edit tab.
2.
In the Snapping section, activate Snap to Magnets.
Selecting Clips
You can edit multiple selected clips at once.
•
To select a clip, click it. Selected clips are displayed in a different color.
•
To select multiple clips, [Ctrl]/[Command]-click the lower 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.
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Audio Montage
Clip Editing
1)
Fade in section
Opens the Fade In pop-up menu where you can edit the fade in.
2)
Any area of a clip
Opens the Active Clip pop-up menu where you can edit the active clip.
3)
Sustain section
Opens the Envelope pop-up menu where you can edit the envelope.
4)
Fade out section
Opens the Fade Out pop-up menu where you can edit the fade out.
Clip Editing
All clips are displayed in the CD window. In this window, you can edit and rearrange
clips and drag them into the audio montage.
The active clip is highlighted in the clips list.
RELATED LINKS
CD Window on page 198
Reordering Clips in Audio Montages By Dragging
In the CD window, you can re-order clips by dragging them to another position in
the list.
PROCEDURE
1.
Open the CD window.
2.
In the clip list, drag a clip to another position in the list.
You can move more than one clip at the same time, by selecting multiple clips and
dragging them. If more than one clip is selected, all clips between the leftmost
selected clip and the rightmost selected clips are moved.
RELATED LINKS
CD Window on page 198
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Audio Montage
Clip Editing
Moving and Crossfading Clips
You can let clips overlap other clips, move them, and create crossfades between
clips.
Moving Clips
NOTE
The channel configuration of the clip must match the destination track.
PROCEDURE
1.
In the montage window, select the clips that you want to move.
2.
Click the clip area, and drag the clips in any direction.
While dragging, the info line displays the current start position of the clip.
Overlapping Clips
You can move clips so that they overlap each other.
Note the following:
•
The tracks in the audio montage are polyphonic, which means that each track
can play back several overlapping clips at the same time. Overlapping clips
are transparent, allowing you to see the underlying clips and their waveforms.
•
There are crossfading options that automatically adjust the level envelope
curves when you overlap clips.
Options for Moving and Crossfading Clips
There are several options that help you when moving and crossfading clips.
Ripple
The ripple options are available in the Edit tab of the Audio Montage window.
Track
If this option is activated and you move a clip horizontally, all clips on the
selected track that are located to the right of the edited clip are also moved.
This option also applies when moving or resizing clips, and when inserting or
pasting more than one clip at the same time.
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Audio Montage
Clip Editing
Global
If this option is activated and you move a clip horizontally, all clips on all tracks
that are located to the right of the edited clip are also moved. This option is
taken into account when moving or resizing clips, and when inserting or
pasting more than one clip at the same time.
Crossfading
The following crossfading options are available in the Fade tab of the Audio
Montage window in the Options section.
Overlaps
This pop-up menu allows you to set the automatic crossfading behavior.
•
If No Automatic Crossfading is activated, no automatic crossfading is
performed when clips overlap.
•
If Free Overlaps is activated, automatic crossfades are created when a
clip overlaps another clip on the same track. The length of the overlap
determines the length of the crossfade.
Options
•
If Create Default Fades in New Clips is activated, all new clips get the
default fade in and fade out shape and length. For clips that are created
by splitting a clip, only the default fade time is used.
Duplicating Clips
NOTE
The channel configuration of the clip must match the destination track.
PROCEDURE
1.
In the montage window, select one or more clips.
2.
Click the upper clip area and drag the clips in any direction.
While you are dragging, a dotted line indicates where the first of the copied clips will
be placed. The position is also indicated on the info line.
The ripple settings are taken into account.
Duplicating with Ripple
If you duplicate more than one clip, the ripple settings affect the result.
The following options are available on the Edit tab, in the Ripple section:
•
If Track is activated and you move a clip horizontally, all clips on the selected
track that are located to the right of the edited clip are also moved.
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Audio Montage
Clip Editing
•
If Group is activated and you move a clip a clip horizontally, all clips on all
tracks that are located to the right of the edited clip are also moved.
Clip Resizing
In this context, resizing usually means moving the start and end points of a clip. This
reveals more or less of the original audio file.
To resize a clip, click the left or right edge of the clip, and move the start or end point
to the left or to the right. You cannot drag the edge of a clip past the start or end
point of the audio file it refers to.
If you press [Alt]/[Option] when resizing, all selected clips are resized by the same
amount.
RELATED LINKS
Options for Moving and Crossfading Clips on page 176
Splitting Clips
PREREQUISITE
Decide whether you want to automatically create crossfades between the left and
right clip. To activate/deactivate this option, select the Fade tab, click Options in
the Options section, and activate/deactivate Create Default Fades in New Clips.
PROCEDURE
1.
In the montage window, click the position where you want to split the clip.
2.
Position the mouse cursor on the edit cursor position in the top clip area.
The cursor becomes a pair of scissors.
3.
Double-click.
RESULT
The clip is split in two. The two clips have the same name and settings. Envelopes
and fades are converted so that the two clips play back as if they were still one clip.
To split clips on all tracks, select the Edit tab, right-click Split Clip in the Split
section, and select Split Clips on All Tracks.
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Audio Montage
Clip Editing
RELATED LINKS
Split Clip at Silences Dialog on page 179
Split Clip at Silences Dialog
You can remove silent clip parts and create a new clip at the cut position.
•
To open the Split Clip at Silences dialog, select the Edit tab in the Audio
Montage window, and click Split at Silences in the Split section.
Minimum Clip Length
Sets the minimum length of the resulting regions after splitting. Non-silent
sections shorter than this length are not split.
Minimum Silence between Regions
Sets the minimum length of a silent region. Silent regions shorter than this
length will not create split regions.
Silence Is Defined as a Signal Below (RMS)
Allows you to set the threshold level for silence detection. Levels below this
value are considered silent.
Automatic Level Detection (Two-Stage Analysis, Slower)
If this option is activated, the file is analyzed and automatically split where
WaveLab Elements detects silence. The file is read twice.
Separate Resulting Clips by a Fixed Gap
If this option is activated, the resulting clips are separated from each other
using the default gap. If this option is deactivated, the gaps between the
resulting clips are determined by the length of the removed silence.
Deleting Clips
•
Right-click a clip and select Delete.
•
Select a clip and press [Delete].
Clips and Cue Points
A cue point is a defined position marker that belongs to a clip. It may be positioned
inside or outside the clip. Cue points are displayed as dotted vertical lines.
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Audio Montage
Track Activity Indicator
When you move a clip, its cue point is magnetic to any edges, markers, or positions.
There are several uses for this:
•
Set the cue point at a relevant position in the audio to align the clip with other
clips, etc.
•
Set the cue point before the start of a clip to position clips in a row with
pre-defined spaces.
•
Set the cue point at the fade in or fade out point of a clip to maintain defined
fade lengths when crossfading.
NOTE
Each clip can only have one cue point. If you select another cue point insert option,
the cue point is moved to a new position.
Adding Cue Points
You can add one cue point for each clip.
PROCEDURE
1.
In the audio montage, click the clip position where you want to set a cue point.
2.
Select the Edit tab.
3.
In the Clip section, open the Cue Point pop-up menu.
4.
Select one of the following options:
5.
•
Set at Cursor
•
Set at Default Gap Position
•
Follows Fade In End Point
•
Follows Fade Out Start Point
Optional: Select Custom Cue End and specify a custom cue end point.
Track Activity Indicator
The track activity indicator shows the volume level for audio tracks. It is located on
the right side of the track control area in the Audio Montage window.
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Audio Montage
Envelopes for Clips
The track activity indicator provides an overview of which tracks are playing back
audio at what approximate level.
Envelopes for Clips
For clips in the audio montage, you can create envelopes for level and fades, and
for panning.
You can create an independent level envelope curve to automate level, to create
fades and crossfades, and to mute clip sections.
You can also draw pan envelopes to automate pan settings for clips. For mono clips,
pan governs the left/right position in the stereo field. For stereo clips, pan sets the
left/right balance.
Edit the envelope settings in the Envelope tab, or by right-clicking an envelope
curve. The settings menu is different, depending on whether you click the fade in
part, the fade out part, or the sustain part.
How Envelopes are Displayed
By default, all clips display a level envelope curve. You can view the envelope as
three separate envelopes: the fade in part, the sustain part, and the fade out part.
The points on the left and right side of the curve are the fade in and fade out junction
points that separate the fade parts from the sustain part.
The envelope curve indicates if points, fade ins, or fade outs have been defined. In
addition to the curve, changes in the level envelope are also reflected in the
waveform.
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Audio Montage
Envelopes for Clips
Selecting Envelopes
You can select volume/fade envelopes and pan envelopes.
PROCEDURE
1.
In the montage window, select a clip.
2.
Select the Envelope tab.
3.
In the Selector section, open the Envelope Type pop-up menu, and select
which envelope to edit.
Hiding Envelope Curves
All clips display envelopes by default. You can hide these envelopes. However,
hidden envelopes are still active.
PROCEDURE
1.
In the montage window, select a clip.
2.
Select the Envelope tab.
3.
In the Selector section, open the Envelope Type pop-up menu, and select
Hide All.
Clip Envelope Editing
Curve points allow you to create volume curves, pan curves, and fade curves for a
clip. You can edit the envelope curve by adding and moving curve points.
Editing Curve Points
Many of the editing operations that are commonly used in the context of your
computer operating system can be applied when editing curve points. On top of
these, a number of specific procedures apply.
•
To add a curve point, double-click the envelope curve.
•
To delete a curve point, double-click the curve point. The curve point between
the sustain and fade parts of the envelope cannot be deleted.
•
To delete multiple curve points, select the curve points that you want to
delete, right-click one of the points, and select Delete Selected Points.
•
To select a range of points, [Alt]/[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 limited 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 multiple clips at the same time and also to adjust both sides of a stereo
envelope simultaneously.
•
To move a fade in/fade out point vertically, [Ctrl]/[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, press [Alt]/[Option], and edit the
envelope with the mouse.
Resetting Curve Points
You can reset curve points to the default level 0 dB.
•
To reset a single point to 0 dB, select the point, right-click it, and select Reset
Selected Points.
•
To reset the whole envelope curve to default, right-click the envelope curve,
and select Reset Level to 0 dB.
Changing Overall Level Envelopes of Clips
The default envelope curve contains no level envelope points, but you can use it to
change the overall level for a clip.
PROCEDURE
1.
In the montage window, place the mouse cursor on the envelope curve.
The mouse cursor takes the shape of a circle with two arrows that point up and down.
2.
Click and drag the curve up or down to change the clip envelope level.
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Audio Montage
Fades and Crossfades in Audio Montages
Pan Modes
The power of the sum of the channels drops by about 3 dB if a signal is panned hard
left or right, compared to the same signal being panned center. This can be
compensated with pan modes.
Experiment with the modes to hear which fits best. The pan modes can be set for
tracks, clips, and the montage output.
•
To set the pan modes for clips, use the Pan Law pop-up menu in the
Envelope tab, or use the Pan Law pop-up menu and knob in the Effects
window.
•
To set the pan modes for tracks and the montage output, use the Pan Law
pop-up menu and knob in the Effects window.
The following pan modes are available:
Channel Damp (0 dB/Mute)
This mode does not compensate for power loss at all. If a signal is panned
hard left or right, the power of the sum of the channels drops by 3 dB.
Constant Power (+3 dB/Mute)
This is the default mode. Regardless of the pan position, the power of the sum
of the channels remains constant.
Channel Boost (+4.5 dB/Mute)
If this mode is selected and a signal is panned hard left or right, the power of
the sum of the channels is higher than with a signal-panned center.
Channel Boost (+6 dB/Mute)
If this mode is selected and a signal is panned hard left or right, the power of
the sum of the channels is higher than with a signal-panned center. This is the
same as the previous option, but with even greater power boost.
Modulating Audio With Other Audio
You can use the audio signal of one track to modulate the compression factor of
another track. The signal of the upper audio track (clip) is usually called the carrier
signal, because it contains the audio to be transmitted.
The Ducker clip plug-in is used for this purpose as it lowers the volume of one
signal whenever another signal is present.
Fades and Crossfades in Audio Montages
A fade in is a gradual increase in level and a fade out is a gradual decrease in level.
A crossfade is a gradual fade between two sounds, where one is faded in and the
other faded out.
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Fades and Crossfades in Audio Montages
Creating Fades
By default, all clips display fade in and fade out junction points. These can be
dragged horizontally to create a fade in or fade out for a clip.
You can add envelope points to a fade just as with level envelopes.
•
To create a fade in, click the fade in point at the start of a clip, and drag it to
the right.
•
To create a fade out, click the fade out point at the end of a clip, and drag it
to the left.
•
To create a fade in or fade out at a specific time position, use set Apply Fade
Time option in the Fade tab. Enter the time value in the time field and click
Apply Fade Time.
•
To move a fade in/fade out point vertically, press [Ctrl]/[Command] while
dragging.
•
To create a crossfade, move a clip on another. A crossfade is automatically
created at the junction point.
The resulting fade in/fade out curve is displayed in the clip, and the fade is also
reflected in the waveform. If you position the mouse over the fade in point, the fade
in time is displayed in seconds and milliseconds and the volume in dB.
Fade In and Fade Out Menus
In this menu, you can select various preset fade curves and other fade-related
options.
•
To open the Fade In or Fade Out pop-up menu, right-click the fade in or fade
out points.
Zoom to Fade In Range/Zoom to Fade Out Range
Adjusts the view to mainly display the fade in/fade out part of the active clip.
Paste
Replaces the fade in/fade out shape and length with the shape and length that
was copied to the clipboard.
Linear
Changes the level linearly.
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Fades and Crossfades in Audio Montages
Sinus (*)
Changes the level according to the first quarter period of the sine curve.
When used in a crossfade, the loudness (RMS) remains constant during the
transition.
Square-root (*)
Changes the level according to the square-root curve. When used in a
crossfade, the loudness (RMS) remains constant during the transition.
Sinusoid
Changes the level according to a half period part of the sine curve.
Logarithmic
Changes the level logarithmically.
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Fades and Crossfades in Audio Montages
Exponential
Changes the level exponentially.
Exponential+
Changes the level strongly exponential.
Applying Default Fades to New Clips
All new clips that are imported or recorded in the audio montage get the default fade
in and fade out shape and length if Create Default Fades in New Clips is active.
In this case, the default crossfade shapes are used. This also applies to clips that
are created by splitting clips.
PROCEDURE
1.
Open an audio montage and select the Fade tab.
2.
In the Options section, open the Options pop-up menu.
3.
Activate Create Default Fades in New Clips.
Crossfade Editing
You can create crossfades with independent shapes and lengths for the fade in and
fade out curves.
The default automatic crossfade is linear. It uses the same shape and fade lengths
for fade in and fade out. The following rules apply:
•
A crossfade includes fade in and fade out.
•
You can edit the fade in and fade out curves in crossfades in the same way
as fades.
•
To resize the crossfade time symmetrically, press [Shift], click the crossfade
area, and drag left and right.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output
•
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.
•
When moving a clip with a defined fade curve so that it overlaps another clip
without a defined fade, the unmoved clip automatically gets the same fade
shape as the moved clip, with amplitude compensation. This only applies if the
fade out length of the unmoved clip is set to zero.
•
If both clips have different defined fade curves, an asymmetrical crossfade is
created.
RELATED LINKS
Options for Moving and Crossfading Clips on page 176
Effects for Tracks, Clips, and the Montage Output
You can add VST effect plug-ins to individual clips, tracks, or the output of an audio
montage. Clip effects affect individual clips only, track effects affect all clips on a
track, and the montage output affects the whole audio montage.
Only VST 2 and VST 3 plug-ins can be used in the audio montage. Each clip, audio
track, and the montage output can be independently processed by up to 2 VST
effect plug-ins.
Effects are configured as follows:
•
As inserts, where the entire audio is processed by the effects.
•
As send effects (split mode), where the balance between the unprocessed
sound and the effect send level can be controlled by effect envelope curves
(clip effects and specific VST 2 plug-ins only).
An icon in front of a clip name indicates that effects are applied to a clip.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output
Hovering over a clip name shows the effects that are used for the clip.
NOTE
•
Only clip effects for clips that are active at the current playback position
consume CPU power. Track and montage output effects are always active.
•
The first time that you play an audio montage after is has been opened or
copied, the program has to load all effects into memory. If you have many
effects, this can result in a short silence before the playback starts.
•
Effects that are used for tracks must support stereo audio, even if the audio
track is mono.
Montage Output Effects
You can add montage output effects to an audio montage. While the Master
Section is shared among all audio montages, the montage output effects are local
to each montage. This allows you to have a fully embedded project, without needing
to use the Master Section.
The montage output effects are located at the output of the audio montage.
NOTE
If you want to use a dithering plug-in, place it in the montage output.
Effects Window
In this window, you can add effect plug-ins to tracks, clips, and the master output,
and edit pan and gain settings.
•
To open the Effects window, open an audio montage and select Tool
Windows > Effects.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output
Menu
Clip Effects
Displays the plug-ins of the active clip.
Track Effects
Displays the plug-ins of the active track.
Output Effects
Displays the plug-ins of the montage output.
Add Slot
Adds a slot into which an audio plug-in can be inserted.
Remove Selected Plug-ins
Removes the selected plug-ins.
Copy
Copies the selected plug-in and its settings to the clipboard.
Copy All
Copies the settings of all plug-ins to the clipboard.
Paste (Insert)
Inserts the plug-in that was copied to the clipboard before the first selected
slot. If no slot is selected, the plug-in is inserted at the end of the plug-in list.
Paste (Replace)
Replaces the selected plug-in with the plug-in that was copied to the
clipboard. If no slot has been added, a new slot is created.
Close All Windows
Closes all plug-in windows that relate to this audio montage.
Plug-in Map
Opens the Plug-in Map dialog that displays all plug-ins that are used in the
audio montage and the clips and tracks that are using them.
Customize Command Bar
Opens the Customize Commands dialog which contains options to hide or
show specific command bar buttons.
Effects List
The effects list displays the effect plug-ins of the selected track, clip, or montage
output. In the list, you can replace effect plug-ins, change the effect order, and edit
the Tail of effects.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output
Plug-in window icon
Opens the plug-in window.
Effect Name
Clicking an effect name opens the Plug-ins menu where you can select a new
effect. The checkbox allows you to activate/deactivate the clips.
Preset
Shows the preset that is used by the plug-in. If no preset is used, this field is
empty.
Latency
Shows the latency in the audio path. Plug-ins with latency cannot be used for
adjusting the send level.
Tail (clip effects only)
Some effects, such as reverb and delay, produce audio tails. This means that
the effect sound continues after the clip sound ends. For example, if you add
echo to a clip without specifying a tail value, the echo effect is muted as soon
as the clip ends. Set the tail length so that the effect is allowed to decay
naturally. If you add another plug-in to the clip that also produces a tail, there
is no need to set a separate tail value for this plug-in, unless you want the
decay to sum up. The overall tail length for the clip is the sum of the tail of each
plug-in. The maximum tail setting is 30 seconds.
Gain/Pan Section
In this section, you can edit Gain and Pan settings for each clip and track.
Global Gain Section
In this section, you can set the global gain for the active audio montage. This gain
can be applied before or after the montage output, depending on the setting of the
pre/post button on the left of this section. Pre is the default setting.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output
RELATED LINKS
Pan Modes on page 184
Adding Effects to a Track, a Clip, or to the Montage Output
You can add effect plug-ins to every track and clip of the audio montage, and to the
output of the audio montage.
Adding Effects Via the Effects Window
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select the Clip, Track, or Montage section.
4.
Click Add Slot.
5.
In the Effect Name column, select the added slot.
6.
Select a plug-in.
RESULT
The selected effect opens in a window.
NOTE
You can add effects during playback. However, if you add an effect with a latency
larger than zero, it is better to stop and restart playback to avoid timing
discrepancies. In addition, a small number of VST plug-ins may change its latency
depending on the parameter settings. If that is the case, make sure to stop and
restart playback after the latency is changed.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output
Additional Ways of Adding Effects
•
To add an effect to a track, click the FX button in the track control area, select
Add Effect, and select an effect from the menu.
•
To add an effect to a clip in the montage window, right-click the clip name,
select Add Effect, and select an effect from the menu.
Removing Effects from Tracks, Clips, or the Montage Output
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select the Clip section, Track section, or Output
section.
4.
Click the effect that you want to remove, and select Remove Plug-in.
RESULT
The effect is removed from the slot.
Copying Effect Settings to Tracks, Clips, or the Montage Output
You can copy the effect and its settings of a track, a clip, or the montage output to
other tracks, clips, or the montage output of the same or another audio montage.
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select the effect from which you want to copy the
settings.
4.
Select Menu > Copy.
5.
Decide whether you want to paste the effect settings to a new slot or replace
an existing effect.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output
•
To paste the effect settings to a new slot, add a new slot, and select Menu >
Paste (Insert).
•
To replace an existing effect, select the effect, and select Menu > Paste
(Replace).
Undoing Effect Changes
You can undo/redo changes to the effect settings. However, WaveLab Elements
only registers the changes when the Effects window loses focus.
PROCEDURE
1.
In the plug-in window, click another window to lose focus of the plug-in in
which you want to undo the settings.
2.
Go back to the plug-in in which you want to undo the settings.
3.
On the command bar, click Undo or Redo.
Setting Pan and Gain for Effects
You can set the Pan and the Gain of the effects for each clip and track individually.
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select a clip or track.
4.
Adjust the Pan and the Gain using the controls on the left of the Effects
window.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output
Setting the Global Gain for Effects
You can set a global gain for the montage output effects of your audio montage and
apply it before or after the montage output effects.
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select Output.
4.
Adjust the global gain using the fader on the left of the Effects window.
5.
Click the pre/post button to apply the global gain before
montage output effects.
or after
the
If you use a dithering plug-in, set the gain to be pre-master.
Plug-in Window
In this window, you can display the effect plug-ins that are used for a track, clip, or
the montage output.
Single plug-in window
When you add a new effect plug-in to a track, a clip, or the montage output, the
plug-in window opens automatically. In the plug-in window, the effects are
displayed in a plug-in chain by default. To change the processing order of the
effects, you can drag each effect to a new position in the chain.
Opening the Plug-in Window
You can open the plug-in window from different locations.
•
To open the plug-in window from the Effects window, in the effects list, click
the plug-in window icon to the left of a plug-in.
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Audio Montage
Effects for Tracks, Clips, and the Montage Output
•
To open the plug-in window for a clip from the montage window, right-click a
clip, and select Edit Plug-ins. You can also right-click the clip name and
select a plug-in.
•
To open the plug-in window for a track, click the FX button in the track control
area.
Adding Effects From Within the Plug-in Window
Effects that are added to a clip, track, or the montage output in the Effects window
are automatically displayed in the plug-in window. However, you can also add
effects to a track or a clip from within the plug-in window.
PROCEDURE
1.
Open the plug-in window for the clip, track, or montage output to which you
want to add an effect.
2.
In the plug-in window, click the Add Plug-in button.
3.
Select an effect from the menu.
The effect is added at the end of the plug-in chain.
4.
Optional: If you want to move the added effect in the plug-in chain, drag it to
another position.
Changing Effects From Within the Plug-in Window
PROCEDURE
1.
Open the plug-in window for the clip, track, or montage output for which you
want to change an effect.
2.
Click the plug-in menu icon, and select a new effect from the menu.
3.
Optional: If you want to move the changed effect in a plug-in chain window,
drag it to another position.
196
Audio Montage
About the CD Window
Switching Between Track, Clip, and Montage Output Effects in Plug-in
Windows
In the plug-in window, you can switch between the effect chains of clips, tracks, and
the montage output.
•
To skip through the clip and track effects of the active audio montage, use the
left and right arrow icons.
•
When using one plug-in window for both clips and tracks of an audio
montage, you can switch between the plug-ins of the active clip or the track
that contains the active clip by clicking the Show Clip Plug-ins or Show
Track Plug-ins icons.
•
To lock a plug-in window, activate Lock Window. If this option is activated,
and you select another track or clip, another plug-in window opens. If this
option is deactivated, and you select another track or clip, the effects are
displayed in the same plug-in window.
Closing All Plug-in Windows
PROCEDURE
1.
Open an audio montage.
2.
Select Tool Windows > Effects.
3.
In the Effects window, select Menu > Close All Windows.
About the CD Window
The CD window displays the clips of the active audio montage, and lets you write
the audio montage to an audio CD.
NOTE
Each clip in the audio montage corresponds to a CD track in the CD window.
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Audio Montage
About the CD Window
You can also adjust pauses between clips, check the conformity to the Red Book
standards, add and edit CD-Text, and add UPC/EAN and ISRC codes. When
selecting a clip in the montage window, the corresponding clip is highlighted in the
CD window.
You can reorder CD tracks in the CD track list using drag and drop.
CD Window
In this window, you can create an audio CD.
•
To open the CD window, open an audio montage and select Tool Windows
> CD.
Track List
From Start with Pre-Roll
Plays back the corresponding track from the start with a pre-roll.
You can also press [Alt]/[Option] and click
track from the start with a short pre-roll.
to play back the corresponding
From Start
Plays back the corresponding track from the start.
You can also hold [Ctrl]/[Command] and double-click a CD track start marker
triangle to start playback from the marker position.
Name
Shows the track name. To change the name, double-click in the
corresponding cell, and enter a new value.
FX
Displays whether the corresponding clip uses effects.
Pause
Shows the pause between two tracks.
Start
Shows the start position of the track.
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Audio Montage
About the CD Window
End
Shows the end position of the track.
Length
Shows the time value from the CD track start position to the corresponding
end or splice marker.
Gain
Lets you set the gain for the clip.
ISRC
Lets you enter an ISRC code. To change the code, double-click the
corresponding cell, and enter a new value.
CD-Text
Lets you specify the CD-Text. To change the CD-Text, double-click the
corresponding cell, and enter a new value.
Comment
Allows you to enter a comment. To enter a comment, double-click a cell.
CD Menu
Write Audio CD
Opens a dialog that allows you to write a CD.
Check CD Conformity
Verifies that the settings for the audio montage are in accordance with the
Red Book standard.
Adjust Pauses between Clips
Opens a dialog where you can adjust the pauses between clips. The following
options are available:
•
Set Specific Pause Time
•
Round Existing Pauses to Closest Second
Edit CD-Text
Opens the CD-Text Editor that allows you to enter descriptive text for the
tracks that are written on CD.
Assign UPC/EAN Code
Opens a dialog where you can assign a UPC/EAN code to a clip.
Select Menu
This menu allows you to select clips. The following options are available:
•
Select All Clips
•
Select Clips Located Before the Cursor (on Selected track)
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Audio Montage
Mixing Down – The Render Function
•
Select Clips Located After the Cursor (on Selected Track)
•
Deselect All Clips
Creating Audio CD Tracks From Clips
You can use the Check CD conformity option to check whether the audio montage
is ready for writing to audio CD.
PROCEDURE
1.
Make sure that the audio montage contains the material that you want on the
audio CD.
CD tracks must have a length of at least 4 seconds.
2.
Audition the tracks in the CD window, and make corrections if necessary.
3.
In the CD window, select CD > Check CD Conformity.
•
If a warning message appears, make corrections and check the CD conformity
again.
•
If no warning message appears, the audio montage is ready to be written to an
audio CD.
Mixing Down – The Render Function
The Render function allows you to mix down the whole audio montage or a region
of it to a single audio file.
A mixdown is necessary to produce an audio file from the audio montage.
RELATED LINKS
Rendering on page 222
Loudness Meta Normalizer
This tool is a key mastering component to ensure that all songs get the same
loudness and to prevent clipping. It allows you to adjust the loudness of each clip
in the audio montage so that they all have the same loudness. It is also possible to
adjust the loudness of the audio montage mixdown as well as the loudness at the
Master Section output.
This tool operates on gains. It does not affect the underlying audio files or use any
audio compressor.
If it is not possible to modify the loudness of a particular clip without clipping, the
level of the other clips is reduced so that all clips still achieve the same loudness.
This does not happen if the Ignore Peaks option on the Peaks pop-up menu in the
Loudness Meta Normalizer dialog is selected.
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Audio Montage
Loudness Meta Normalizer
To avoid clipping at the Master Section stage, you can limit the mixdown output of
the audio montage before it goes into the Master Section and/or the Master
Section output.
NOTE
•
The audio path in the audio montage uses 32-bit floating point processing.
You can therefore overload it, for example, use levels above 0 dB in clips,
without causing clipping in the signal path. The only section of the audio path
that can introduce clipping is the output of the Master Section or the output
of the audio montage. Both of these issues can also be solved by the
Loudness Meta Normalizer.
•
Because loudness requires several seconds of audio to be correctly
calculated, this tool should not be used for very short clips (under 3 seconds).
Loudness Meta Normalizer Dialog
In this dialog, you can adjust the loudness of each clip in the audio montage so that
they get the same loudness. You can also adjust the whole output.
•
To open the Loudness Meta Normalizer dialog, select the Process tab in
the Audio Montage window, and click Meta Normalizer in the Loudness
section.
Clips, Master Section Output, and Audio Montage Output
•
If Clips is activated, the gain settings of all clips in the audio montage are
adjusted individually so that all clips play back at equal loudness.
•
If Audio Montage Output is activated, the gain setting of the audio montage
is modified so that the audio montage mixdown matches a specific loudness.
•
If Master Section Output is activated, the Master Section gain is adjusted
so that the audio montage mixdown that is processed through all Master
Section plug-ins matches a specific loudness. The audio montage itself is not
modified by this operation.
The following options are available for the gain settings of clips, the audio montage
output, and the Master Section output.
Match loudness menu
Select whether the audio montage output should match a specific loudness.
The following options are available:
•
Do Not Change Loudness
•
Match Loudest Clip
•
Match Loudness of Active Clip
•
Equalize Peak Levels
The highest peak is used as reference.
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Audio Montage
Notes Window
Peaks menu
Select whether WaveLab Elements should limit the sample values (digital
peaks), or ignore the peaks.
Maximum Peak
Determines the maximum peak value that must not be exceeded.
Force Equal Loudness
If Limit True Peaks or Limit Digital Peaks is selected, some clip might not
reach the required gain for the reference loudness. In that case, activate
Force Equal Loudness to reduce the loudness of the clip that is used as a
reference to achieve equal loudness across all clips.
Additional Options
Exclude Audio Montage Effects
If this option is activated, audio montage effects are not taken into account
when you use the Loudness Meta Normalizer for processing.
Only Selected Clips
If this option is activated, only the selected clips are processed with the
Loudness Meta Normalizer.
Notes Window
This window allows you to enter notes about the current audio montage session.
•
To open the Notes window, open an audio montage and select Tool
Windows > Notes.
You can enter the text directly in this window and use the standard HTML text editor
controls to format the text, and to add images and lists. The notes are saved with
the audio montage.
202
Recording
You can record audio in the Audio Editor and in the Audio Montage window.
Setting Up the Recording Dialog
Before you start recording, set up the Recording dialog.
PROCEDURE
1.
In the Audio Editor or the Audio Montage window, click the Record button,
or press [*] on the numeric key pad.
2.
In the File to Create section, open the pop-up menu, and select whether you
want to record a named file or a temporary file.
3.
In the File to Create section, select a file name and the location where you
want to save your file.
4.
Select the audio format by doing one of the following:
5.
•
Click the down arrow button to select a preset audio format.
•
Click the audio format text to open the Audio File Format dialog, select the
format, and click OK.
Select whether you want to record to an audio file or an audio montage track,
by selecting one of the following options:
•
Create New Audio File Window
•
Add to Active Audio File
•
Add to Selected Track of Montage
6.
Select whether you want the Level or the Spectrum display.
7.
Optional: Make further settings in the Options section, and on the Options
and Values tabs.
8.
Click Record to start recording.
If you have selected one of the Auto-start options, the recording goes into Pause
mode until the specified Auto-start criteria are met.
The background of the Recording dialog turns red to indicate that you are recording.
9.
Optional: Pause the recording by clicking the Pause button.
10.
Optional: Drop markers during recording by clicking the drop marker buttons.
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Recording
Dropping Markers During Recording
11.
When you have finished recording, click Stop.
12.
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 markers to the
recorded file.
PROCEDURE
1.
Open the Recording dialog.
2.
Make your settings and start recording.
3.
Select the type of marker that you want to drop.
•
To drop a numbered generic marker, click the yellow marker button, or press
[Ctrl]/[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.
•
To open the Recording dialog, open the Audio Editor or the Audio Montage
window, and on the transport bar, click Record.
Main Buttons
Record
Starts recording. Depending on the recording options, the Pause mode is
activated.
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Recording
Recording Dialog
Pause
Pauses recording.
Stop
Stops recording.
Discard
Stops recording and deletes anything recorded so far.
Method Tab
On this tab, you can define options for starting, stopping, and pausing the recording
automatically. You can select an input device and choose to start a recording at a
specific time or stop if after a specific duration.
File to Create
Specify whether you want to record a temporary file to be saved later, or
record to a file with a specific name and location.
Auto Number From
If this option is activated and you record multiple files, increasing numbers are
added to the file names of the files.
Name
The name of the file to be written, without the path. When typing, all files in
the selected folder that start with the same letters are displayed. To display all
files in the selected folder, click the list icon.
Location
Specifies the folder where you want to save the recording.
Audio File Format
Opens the Audio File Format dialog, where you can specify the file format.
Location of the Recording
Specifies where the audio is recorded:
•
If Create New Audio File Window is selected, the audio is recorded in
a new audio file window.
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Recording
Recording Dialog
•
If Add to Active Audio File is selected, the audio is recorded in the
active audio file window at the edit cursor position (if no audio file
window exists, a new one is created).
•
If Add to Selected Track of Montage is selected, the audio is recorded
in an existing audio montage at the edit cursor position (if no audio
montage exists, a new one is created).
Auto-Start if Sound Detected
If this option is activated, recording starts when the audio input level exceeds
the threshold level specified on the Values tab.
Auto-Start at given Time
If this option is activated, recording starts at a specified time. Specify the time
on the Values tab.
Auto-Stop after given Duration
If this option is activated, recording stops automatically after the duration
specified on the Values tab.
Auto-Stop if Silence
If this option is activated, recording automatically stops when the audio input
level drops below a specified threshold level and stays there for a specific
amount of time. Specify the level and the duration on the Values tab.
Auto-Pause if Silence
If this option is activated, recording automatically pauses when the audio input
level drops below a specified threshold level and stays there for a specific
amount of time. Specify the level and the duration on the Values tab.
Options Tab
On this tab, you can make additional settings for the recording process.
Activate Monitoring When Opening Record Window
If this option is activated, the meters are activated when the Recording dialog
opens. If this option is deactivated, the meters and the audio thru are
displayed when pressing Record or activating Monitor.
Stop Playback When Monitoring or Recording
If this option is activated, playback stops before monitoring or recording
starts.
Add Markers when Inserting Recording in Audio File
If this option is activated and a recording is inserted into an audio file, markers
are added encompassing the new samples.
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Recording
Recording Dialog
After Recording, Move Edit Cursor at the End
If this option is activated, the edit cursor is moved to the end of the recording.
Values Tab
On this tab, you can define values for the various recording options.
Auto-Start on Sound – Threshold (RMS)
Specify the sound level that will trigger recording.
Auto-Start on Sound – Record Previous Samples
Allows you to include a short section of audio before the start point, to capture
attacks, for example. It is only relevant if Auto-Start if Sound Detected is
activated.
Silence Detection – Threshold (RMS)/Silence Duration Required
The threshold value used for the options Auto-Stop if Silence and
Auto-Create Markers at Silence Points. It is used in conjunction with the
Silence Duration Required setting, so that recording is stopped or a marker
is added if the input level stays below the threshold value for the specified
duration.
Recording Programming – Start
Determines the time at which recording starts when the option Auto-Start at
Specific Time is activated.
Recording Programming – On Tomorrow
If this option is activated, you can specify a time on the next day (starting
midnight).
Recording Programming – Duration
Determines the length of the recording if Auto-Stop after Specific Duration
is activated.
Pause Memory
This is a safety buffer when you are using the Pause button. When you
resume recording, this buffer is used to restore the last short section of audio
before you deactivated the Pause button. This way, you can resume
recording even if you deactivated the Pause button a bit too late.
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Recording
Recording Dialog
Meter Display
Level/Spectrum
Specifies which meter to display.
Settings
Opens the Level/Pan Meter Settings dialog, where you can customize the
meter settings.
Reset
Resets the peak values.
Monitor
If this option is activated, the audio input is also sent to the output ports (not
available if Windows MME drivers are used).
Mix with Playback
If this option is activated and the same audio ports are selected for monitoring
and for playback (in the VST Audio Connections tab), the signals are mixed.
If this is not activated, the monitoring signal has priority.
This allows you to toggle between the auditioning of the recorded signal and
the playback signal, and to have full control over the monitor outputs.
Marker
Allows you to set markers during the recording.
Next Marker Name
Edit the name of the next marker to insert.
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 Meter and
Spectrometer windows. Activate the meters by activating the Monitor
checkbox.This is done automatically if Activate Monitoring when Opening Record
Window is activated on the Options tab in the Recording dialog.
To reset the meters, click the Reset button.
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Recording
Recording Dialog
Level Meter
In the Level Meter, horizontal bars show the peak level (outer bars) and average
loudness (VU, inner bars) of each channel. Values are also shown numerically.
When you click the Settings button, the Level/Pan Meter Settings dialog opens.
Spectrometer
The Spectrometer shows a bar diagram, providing a continuous graphical
representation of the frequency spectrum. From the Settings pop-up menu you can
choose whether to restrict to high audio levels, or to include medium or low audio
levels.
Disk Capacity Indicator
This indicator at the bottom of the Recording dialog indicates the approximate
amount of available disk space on the hard disk specified in the File to Create
section, or the hard disk that you have selected for temporary files.
NOTE
When there is less than 30 seconds of available hard disk space left, the disk
capacity indication is displayed in red.
209
Master Section
The Master Section is the final block in the signal path before the audio is sent to
the audio hardware, to an audio file, or to the audio meters. This is where you adjust
the master levels, add effects, resample, and apply dithering.
The settings and effects in the Master Section are taken into account in the
following cases:
•
When playing back an audio file in the wave window.
•
When playing back an audio montage. Note that the Master Section effects
are global for all clips and tracks in an audio montage.
•
When using the Render function.
•
When writing a CD from an audio montage.
By default, the Master Section is active. You can turn it off for each file individually
by deactivating the Bypass Master Section button at the bottom of the
wave/montage window.
To turn the Master Section off globally, deactivate the Bypass Master Section
button at the top left of the Master Section.
Master Section Window
In this window, you can apply effect plug-ins, adjust the master level, apply
dithering, and render the audio file or audio montage.
•
To open the Master Section window, select Tool Windows > Master
Section.
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Master Section
Master Section Window
The Master Section consists of the following panes:
•
Effects
•
Resampling
•
Master Level
•
Final Effect/Dithering
Signal Path
The panes in the Master Section window correspond to the processing blocks of
the Master Section.
The signal passes through these blocks from top to bottom:
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Master Section
Master Section Window
In the Master Section, the signal passes all plug-ins, even if some plug-ins are
soloed. However, the sound is not affected by this because the muted plug-ins are
bypassed from the playback process stream.
Master Section Tools
The tools and options at the top of the Master Section window allow you to make
various settings before rendering the file, make bypass settings, and decide
whether the playback signal passes the Master Section.
Bypass Master Section
If this option is deactivated, the Master Section is ignored during playback.
However, rendering to file is still possible. If playback is activated when you
change this option, it stops and restarts.
Presets
Lets you save and recall Master Section presets. The Presets menu offers
additional options to save and load default banks and effects.
Reset Master Section
Removes all active effects from the slots and sets the master output to 0 dB.
Settings
Opens the Settings pop-up menu, where you can make settings for the
Master Section.
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Master Section
Master Section Window
Settings Pop-up Menu
Hide Plug-in Windows when Master Section is not Visible
If this option is activated, plug-in windows are hidden when the Master
Section is not visible.
Show Plug-in Controls in the Plug-in Window
If this option is activated, the plug-in controls are displayed in plug-in
windows.
Use Plug-in Chain Window
Shows all open plug-ins in the plug-in window as tabs, which allows you to
quickly switch between the plug-ins.
Plug-in Windows Move with Master Section
If this option is activated, the plug-in windows are also moved when you move
the floating Master Section.
Restore Last Configuration at Next Start-Up
If this option is activated, the plug-in configuration and fader positions in the
Master Section are restored at the next WaveLab Elements start.
Section Visibility
Allows you to show or hide the Master Section sections.
Rearrange
Rearranges the Master Section according to the sample rate and channel
configuration of the active audio file. The internal bus of the Master Section
and any active plug-ins are configured accordingly.
This operation is performed automatically before playback or rendering. It is
sometimes helpful to manually rearrange the Master Section, because some
plug-ins do not accept a mono or stereo signal as input, or a given sample
rate. In that case, clicking the button informs you about any problems, before
playback or rendering.
This operation has no effect if playback is already in progress or if there is no
active audio file.
RELATED LINKS
Final Effect/Dithering Pane on page 220
Effects Pane
This pane in the Master Section allows you to add up to 5 effect plug-ins in series,
and manage them.
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Master Section
Master Section Window
Fold/Unfold Pane
Expands or collapses the pane.
Bypass All Effects
Bypasses any effect processing during playback and optionally when
rendering.
Add Effect
Allows you to add an effect to an empty effect slot.
Effect plug-in name
Once you have added a plug-in to a slot, you can click the plug-in name to
open and close the corresponding plug-in window.
Presets pop-up menu
Lets you save and recall preset settings. The Presets pop-up menu offers
additional options to save and load default banks and effects.
Effect Options pop-up menu
Allows you to load another effect to the effect slot. Furthermore, the following
options are available:
•
Remove Plug-in removes the effect from the slot.
•
Shift All Plug-ins Down/Shift All Plug-ins Up allows you to move the
effects to another position.
•
If Active is activated, the effect is active. If Active is deactivated, the
effect is excluded from playback and rendering.
Solo (Bypass)
Soloes the plug-in.
Bypass Processing
Bypasses the plug-in during playback and optionally during rendering. The
signal is still processed by the plug-in, but is not injected in the audible
stream.
Supported Effect Plug-in Formats
WaveLab Elements supports different plug-in standards:
WaveLab Elements-specific plug-ins, VST 2 plug-ins, and VST 3 plug-ins.
WaveLab Elements-specific Plug-ins
Some specific plug-ins are included in WaveLab Elements, for example, the
Resampler plug-in.
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Master Section
Master Section Window
VST Plug-ins
Steinberg’s VST plug-in format is supported by a lot of programs and plug-in
manufacturers. You find a number of VST plug-ins included with
WaveLab Elements. Other plug-ins can be purchased separately from Steinberg or
other manufacturers.
Setting Up Effects
The number of available effects depends on the number and format of the plug-ins
that you have installed.
•
To select an effect plug-in for a slot, click the slot, and select an effect from
the pop-up menu. When you have selected an effect, it is automatically
activated, and its control panel opens.
•
To turn off an effect, right-click the slot, and deactivate Active. To activate the
effect, activate Active again.
•
To remove an effect plug-in, right-click the slot and select Remove Plug-in
from the pop-up menu.
•
To show/hide a plug-in window, click the effect slot.
•
To solo an effect, click its Solo (Bypass) button. This allows you to check the
sound of that effect only. You can also bypass effects via their control panels.
•
To change the order of the slots, that is, the order in which the signal passes
through the effects, click a slot, and drag it to a new position.
Master Section Plug-in Window
In the plug-in windows of the Master Section, you can make settings for a Master
Section effect plug-in.
•
To show/hide a plug-in window, click the effect slot.
Bypass Processing
If this option is activated, this plug-in is bypassed during playback, and
optionally for a rendering operation. To deactivate an effect when rendering,
right-click an effect slot, and deactivate Active in the Effects pane of the
Master Section.
Bypass Modes
Right-click Bypass Processing to open the Bypass Modes pop-up menu.
Here, you can select Bypass Effect or Bypass Source Signal.
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Master Section
Master Section Window
Solo (Bypass)
Soloes the plug-in.
Render in Place
Processes the audio in place. Bypassed plug-ins are excluded and the
rendered audio is crossfaded at boundaries.
Switch Effect On/Off
If you deactivate a plug-in, it is excluded from both playback and rendering.
Presets
Opens a menu to save/load presets for this plug-in.
Effect Plug-in Presets
With WaveLab Elements comes a number of factory presets for the included effect
plug-ins. You can use them as they are or as a starting point for your own settings.
Third-party plug-ins can provide their own factory presets. To access the presets
for an effect, click the Presets button in its control panel window or the Presets
button for its effect slot. The available functions depend on the type of plug-in.
Presets for VST 2 Plug-ins
VST 2 plug-ins have their own preset handling.
When you click the Presets button for this type of effect, a pop-up menu with the
following options opens:
Load/Save Bank
Loads and saves complete sets of presets. The file format is compatible with
Cubase.
Load/Save Default Bank
Loads the default set of presets or saves the current set of presets as the
default bank.
Load/Save Effect
Loads or saves a preset. This is also compatible with Cubase.
Edit Name of Current Program
Allows you to define a name for the preset.
Preset List
Allows you to select one of the loaded presets.
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Master Section
Master Section Window
Resampling Pane
This pane in the Master Section allows you to resample the signal. With the
Resampling plug-in, you can check the peaks before the master gain and meters,
and before limiting and dithering.
You can select one of the common sample rate values or create custom sample rate
values via the Customize Sample Rate Menu dialog.
Fold/Unfold Pane
Expands or collapses the pane.
Off
Deactivates the resampling effect.
Use Preferred Sample Rate
If this option is activated, resampling matches the sample rate that is specified
as the preferred sample rate on the VST Audio Connections tab.
NOTE
The sample rate is used for playback only. This allows you to play back sample
rates that your audio device does not support.
Sample Rate menu
Allows you to select a sample rate. You can select one of the common sample
rates or click Customize to open the Customize Sample Rate Menu dialog,
where you can specify custom sample rates. The selected sample rate is used
for playback and rendering.
RELATED LINKS
VST Audio Connections Tab on page 12
Customize Sample Rate Menu on page 217
Customize Sample Rate Menu
The Customize Sample Rate Menu dialog allows you to customize the available
sample rate values for the sample rate pop-up menu of the Resampling pane. You
can add common sample rate values to the menu or create custom sample rates.
•
To open the Customize Sample Rate Menu dialog, open the Resampling
pane in the Master Section window, click the sample rate, and select
Customize.
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Master Section
Master Section Window
Add Common Sample Rate to Menu
Adds the selected sample rate to the sample rate pop-up menu.
Remove Sample Rate from Menu
Removes the selected sample rate from the sample rate pop-up menu.
Add Custom Sample Rate
Opens the Custom Sample Rate dialog, where you can specify custom
sample rate values.
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.
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Master Section
Master Section Window
•
To lock the faders, activate Lock Faders below the fader section.
Locked faders cannot be changed with the mouse. Other editing methods, for
example via remote control or shortcut, are still possible.
Meters
The Master Section meters show the signal level of the signal before dithering or
any other plug-in that you have applied post-master fader.
Use these meters to get an overview of the signal levels. The numeric fields above
the faders show the peak levels for each channel. The peak indicators turn red
whenever the signal clips. If this happens, you should do the following:
•
Lower the faders.
•
Right-click the clip indicators and select Reset Peaks to reset the clip
indicators.
•
Play back the section again until no clipping occurs.
Mixing Stereo Channels into Mono Channels
The Mix to Mono option on the Audio Channel Monitoring pop-up menu allows
you to transform the left and right channels of a stereo track into two mono
channels. In this case, the output level is automatically reduced by -6 dB to avoid
clipping. The Mix to Mono option is useful for checking the mono compatibility of
stereo mixes, etc.
NOTE
If Mix to Mono is activated, the indicator for the Master Level pane is lit, even if the
master level is not adjusted. This helps you avoid accidentally leaving Mix to Mono
activated.
Unlink Faders Button
Determines whether you can adjust the faders individually or together.
If Unlink Faders is deactivated, moving one fader also moves the other by the same
amount. Activating Unlink Faders allows you to correct improper stereo balancing
by adjusting the level of the channels individually.
If you offset the faders with Unlink Faders activated and then deactivate Unlink
Faders, you can adjust the overall level without changing the level offset between
the channels.
Fader offsets are not preserved at the end of the range of movement or once the
mouse button is released.
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Master Section
Master Section Window
Final Effect/Dithering Pane
This pane in the Master Section allows you to add a final effect and dithering to the
signal before it is sent to the audio hardware or saved as a file on disk.
Fold/Unfold Pane
Expands or collapses the pane.
Bypass All Effects
Bypasses the effects in the Final Effect/Dithering pane.
Presets pop-up menu
Lets you save and recall preset settings. The Presets pop-up menu offers
additional options to save and load default banks and effects.
Effect Options pop-up menu
Allows you to load another effect to the effect slot. Furthermore, the following
options are available:
•
Remove Plug-in removes the effect from the slot.
•
If Active is activated, the effect is active. If Active is deactivated, the
effect is excluded from playback and rendering.
Bypass Processing
Bypasses the plug-in during playback and optionally during rendering. The
signal is still processed by the plug-in, but is not injected in the audible
stream.
Dithering
Dithering is the technique of adding small quantities of noise to a signal to reduce
the audibility of low level distortion in a digital recording. A small amount of random
noise is added to the analog signal before the sampling stage, reducing the effect
of quantization errors.
By adding a special kind of noise at an extremely low level, the quantization errors
are minimized. The added noise can be perceived as a very low-level quiescent hiss
added to the recording. However, this is hardly noticeable and preferred to the
distortion that occurs otherwise. The Noise Shaping options allow you to filter this
noise to a frequency area less sensitive to the human ear.
In WaveLab Elements, dithering is applied when reducing the number of bits in a
recording, for example, when moving from 24 to 16 bits, and when applying
processing.
220
Master Section
Master Section Window
NOTE
Dithering should always be applied after the output bus fader stage, and after any
kind of audio process.
RELATED LINKS
Internal Dithering on page 364
Dithering Plug-ins
WaveLab Elements comes with an internal dithering plug-in. However, you can also
add other dithering plug-ins.
•
To select and activate a dithering plug-in in the Master Section, click the
plug-in slot in the Final Effect/Dithering pane, and select one of the options
from the pop-up menu.
•
To deactivate the dithering plug-in, open the Final Effect/Dithering pop-up
menu, and select Remove Plug-in.
RELATED LINKS
Internal Dithering on page 364
Adding Other Plug-ins to the Final Effect/Dithering Pane
If you want to use another dithering plug-in than the internal dithering, you can add
it to the Final Effect/Dithering pane.
NOTE
The meters in the Master Section monitor the signal before the Final
Effect/Dithering pane. To avoid clipping, check the level/pan meter and adjust the
output level of the plug-in, if available.
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the Organize tab.
3.
Locate the plug-in that you want to add to the Final Effect/Dithering pane in
the list, and activate the checkbox in the Final column for the plug-in.
RESULT
The plug-in is available via the pop-up menu in the Final Effect/Dithering pane,
and can be inserted after the Master Level faders. The plug-in is still available for
selection as a regular pre-master effect if the corresponding entry in the Effect
column in the Plug-ins Preferences is activated.
221
Master Section
Rendering
When to Apply Dithering
The basic rule is that you should apply dithering when converting an audio file to a
lower resolution. For example, preparing a 24-bit file for mastering to CD, that uses
16-bit format.
However, even if you are playing back or rendering a 16-bit or 24-bit file to the same
resolution, you need to apply dithering if you are using any real-time processing in
WaveLab Elements. The reason for this is that WaveLab Elements works with an
internal resolution of 32 bit (floating point) for supreme audio quality. This means
that as soon as you perform any kind of processing, the audio data is treated at this
high resolution instead of the original 16 bit or 24 bit, thus making dithering
necessary.
Examples of real-time processing include level adjustments, effects, mixing of two
or more clips in an audio montage, etc. The only time when a 16-bit file is played
back at 16-bit resolution is if you play it without any fades or effects, and with the
Master Level faders set to 0.00 (no level adjustment – master level indicator turned
off).
Rendering
By rendering the effects using the Render function in the Master Section, they
become a permanent part of a file. So instead of performing all processing in
real-time during playback, you can save the audio output to a file on disk.
Writing the output of the Master Section to a file on disk allows you to apply
Master Section processing to an audio file, or mix down an audio montage to an
audio file.
There are several uses for rendering:
•
Mix down a complete audio montage to an audio file.
•
Process a file and save a file to a new audio file, including Master Section
effects, dithering, and other settings. You can choose the format of the new
audio file, which allows you to create an MP3 file and add effects at the same
time, for example.
•
Process one or more regions of an audio file in place or to new files.
Rendering Files
PREREQUISITE
Set up your audio file or audio montage.
PROCEDURE
1.
In the Master Section, make your settings.
2.
On the bottom of the Master Section, click Render.
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Master Section
Rendering
3.
Make your rendering settings.
4.
In the Result section, activate Named File.
5.
Click the Format field and select Edit Format.
6.
Make your settings in the Audio File Format dialog and click OK.
7.
When you have set up the rendering process, click Start.
RESULT
The file is rendered.
NOTE
Several rendering operations can be performed at the same time when using
different files.
RELATED LINKS
Audio File Format Dialog on page 104
Creating Audio File Format Presets on page 223
Creating Audio File Format Presets
PROCEDURE
1.
In the Audio File Format dialog, specify the audio file format.
2.
Open the Presets pop-up menu and select Save As.
3.
Enter a name for the preset and click Save.
RELATED LINKS
Audio File Format Dialog on page 104
In-Place Rendering
In the Audio Editor, you can process a section of an audio file or the whole audio
file. This is a quick way to process several audio sections in an audio file, or test the
effect of different plug-ins on an audio file.
You can select the Render in Place function in the following places:
•
On the Render tab of the Audio Editor
•
In the Master Section, in the context menu of the Render button
•
In the command bar of a plug-in window
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Master Section
Rendering
When selecting Render in Place via the Render tab, you can make additional
render settings on the Options pop-up menu. When selecting Render in Place via
the Master Section or a plug-in window, the following render settings are always
active:
•
Fade in/out at boundaries
•
Exclude bypassed plug-ins
NOTE
Once an audio section has been processed, there is no automatic bypass of
plug-ins or the Master Section.
An example for using in-place rendering:
Let’s say that you are restoring a file and have 3 favorite plug-ins, for example, 3
DeClicker 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 Render in Place,
or press [Alt]/[Option]-[A].
RELATED LINKS
Render Tab on page 99
Rendering an Audio Selection In-Place
You can render the plug-ins of a section of an audio file or the whole audio file.
PREREQUISITE
In the Audio Editor, open the audio file that you want to render, and set up the
Master Section.
PROCEDURE
1.
Optional: If you only want to use some plug-ins of the Master Section, solo
the plug-ins that you want to use.
2.
In the wave window, select the audio section that you want to process.
3.
Select the Render tab.
4.
In the Source section, open the Source pop-up menu and select Selected
Audio Range.
5.
In the Result section, activate In Place.
6.
In the Options section, open the pop-up menu and make render settings.
7.
In the Render section, click Start.
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Master Section
Rendering
RESULT
The audio section or the audio file is processed.
Render Tab
This tab allows you to select which parts of an audio file to render, and into which
format.
•
To open the Render tab, click Render at the bottom of the Master Section.
The following options are available for rendering audio files and audio montages.
Part
•
Selected Audio Range processes and renders the selected audio
range.
•
Specific Region processes and renders an audio range that is
specified using region markers. In the pop-up menu next to this option,
select the region that you want to render.
In Place
If this option is activated, the rendered audio range replaces the source audio
range.
Unnamed File
If this option is activated, the file is named untitled.
Named File
If this option is activated, you can specify a name for the rendered file.
Name
Enter a name for the rendered file. Clicking the arrow icon opens a menu that
offers you several automatic naming options.
Scheme
Allows you to automatically create file names according to custom variables,
text snippets, or auto variables. For example, when rendering multiple
sources, you can activate this option to add a numeric prefix to all rendered
files.
Location
Select a folder for the rendered file.
225
Master Section
Rendering
Format
Opens the Multi Audio File Format dialog, where you can select the file
format.
Bypass Master Section
If this option is activated, the plug-ins and gain of the Master Section are
bypassed when rendering.
Exclude Master Section Bypassed Plug-ins
If this option is activated, the plug-ins that are bypassed during playback are
not used for rendering.
NOTE
This applies to the bypass states managed by WaveLab Elements, not any
bypass state that is under the control of the plug-ins.
No Reverb Tail
If this option is activated, the audio tail produced by effects such as reverb is
not included in the rendered file.
Some plug-ins do not provide a tail duration to WaveLab Elements. In this
case, this option has no effect. For such plug-ins, you could add the Silence
plug-in to add extra samples at the end of the file.
Copy Markers
If this option is activated, markers that are included in the range to process
are copied to the rendered file.
Bypass Master Section on Resulting Audio File
If this option is activated, playback of the resulting audio file bypasses the
entire Master Section after rendering. This setting can be toggled by clicking
on the button at the bottom right of the wave window or montage window.
NOTE
It is recommended to activate this option, because you do not want to monitor
this new file through the effects again when the effects have been applied to
a file.
Export to SoundCloud
If this option is activated, the rendered file is uploaded to SoundCloud, after
the rendering process is finished.
Render Tab for Audio Files
The following options on the Render tab are exclusive to rendering audio files.
Part
Whole File processes and renders the whole file.
226
Master Section
Saving a Master Section Preset
In Place
If this option is activated, the rendered audio range replaces the source audio
range.
Render Tab for Audio Montages
The following option on the Render tab is exclusive to rendering audio montages.
Part
Whole Montage processes and renders the whole audio montage.
Saving a Master Section Preset
You can save all settings that are made in the Master Section as a preset. This
includes which processors are used, which settings are made for each one of them,
and the dithering options.
PROCEDURE
1.
Set up the Master Section.
2.
Click Presets at the top of the Master Section, and select Save As.
3.
Optional: In the Save Master Section Preset dialog, click the path name,
enter a name, and click OK to create a new subfolder in the Master Section
preset folder.
4.
Enter a name for the preset in the Name field.
5.
Select the options that you want save in the preset.
6.
Click Save.
Save Master Section Preset Dialog
In this dialog, you can save a Master Section setup as preset and define which
parts of the current Master Section you want to include in the preset.
•
To open the Save Master Section Preset dialog, click Presets at the top of
the Master Section, and select Save As.
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Master Section
Saving a Master Section Preset
Location
Opens the root folder of the preset in the File Explorer/Mac OS Finder. Here,
you can create subfolders in which presets can be saved.
Presets list
Lists all existing presets.
Name
Lets you specify the name of the preset to save.
Save Effects Plug-ins
If this option is activated, the effect plug-ins are saved with the preset.
Save Resampling Settings
If this option is activated, the resampling settings are saved with the preset.
Save Master Level Settings
If this option is activated, the master level settings are saved with the preset.
Save Final Effect/Dithering Plug-in
If this option is activated, the final effect/dithering plug-in is saved with the
preset.
Exclude Locked Plug-ins
If this option is activated, locked plug-ins are not saved as part of the Master
Section preset.
Loading a Master Section Preset
You can load a previously saved Master Section preset, a temporarily saved
Master Section preset, or import WaveLab Elements 4/5/6 presets.
Open the Presets pop-up menu at the top of the Master Section window.
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Master Section
Saving a Master Section Preset
•
To load a preset that has been previously saved in the Presets\Master
Section folder, select a preset from the Presets pop-up menu.
•
To load a preset from any location, select Load Preset, select a preset, and
click Open.
•
To load a temporarily saved preset, open the Restore submenu, and select a
preset.
•
To import a WaveLab Elements 4/5/6 preset, select Load WaveLab
Elements 4/5/6 Preset, select a preset, and click Open.
Load Master Section Preset Dialog
In this dialog, you can specify which parts of a saved Master Section preset to load
when opening it.
•
To open the Load Master Section Preset dialog, click Presets at the top of
the Master Section, and select Load Preset.
This dialog only opens if it is activated on the Presets menu of the Master Section.
Open the Presets menu at the top of the Master Section, and activate Open
Options Dialog when Selecting Preset.
Now, when restoring a temporarily saved preset or opening a saved preset a dialog
with the following options opens:
Name
Displays the name of the preset.
Load/Replace Effect Plug-ins
If this option is activated, the active effect plug-ins are removed, and any new
plug-ins are inserted from the top slot.
Insert Effect Plug-ins from Focused Slot (Keep Existing Plug-ins)
If this option is activated, the current effect plug-ins are kept, and any new
plug-ins are inserted from the top slot.
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Master Section
Saving a Master Section Preset
Load/Replace Resampling Settings
If this option is activated, the current resampling settings are reset, and any
new settings are loaded.
Load/Reset Master Level Settings
If this option is activated, the current Master Level settings are reset, and any
new settings are loaded.
Load/Replace Final Effect/Dithering Plug-in
If this option is activated, the current final effect/dithering plug-in is removed,
and the new plug-in is loaded.
Open Plug-in Windows
If this option is activated, the plug-in window opens when you load a new
Master Section preset.
Master Section Presets Pop-up Menu
This pop-up menu offers several options for saving, managing, and restoring
Master Section presets.
•
To open the Presets pop-up menu, click the presets pane at the top of the
Master Section.
Save
Saves the changes you have made to an existing preset.
Save As
Opens a dialog where you can specify a name and a location for the preset.
Organize Presets
Opens the Preset folder of the Master Section, where you can rename or
delete presets.
Load Preset
Allows you to load a Master Section preset via the File Explorer/Mac OS
Finder. For example, this is useful if you want to load a preset that is provided
by another source and not located in your default root folder.
Open Options Dialog when Selecting Preset
If this option is activated, a dialog opens that allows you to choose how to load
the preset you select.
Store Temporarily
Lets you select one of the slots to temporarily save a preset.
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Master Section
Monitoring Background Tasks
Restore
Lets you restore a previously saved preset.
List of saved presets
Lists the presets that are saved in the Presets folder of the Master Section.
Monitoring Background Tasks
When rendering, you can monitor the process, and pause or cancel tasks.
A status bar below the wave window and the montage window shows the progress
of the current rendering process. You can cancel or pause the rendering with the
corresponding buttons.
RELATED LINKS
Global Preferences on page 307
Dropouts
A dropout most likely occurs when your computer does not have the processing
power to handle all used effect processors.
To avoid dropouts, try the following:
•
Use fewer effects.
•
Consider rendering the processing rather than running it in real-time. Then
master from the processed file without applying effects. Dropouts never occur
when rendering to a file.
•
Do not process any files in the background.
•
If neither of the above helps, check the audio card preference settings. You
might need to adjust the audio buffer settings. If a dropout occurs during a
real-time mastering process we recommend that you re-master. Stop
playback, click the dropout indicator to reset it, and try again.
231
Markers
Markers allow you to save and name specific positions in a file. Markers are useful
for editing and playback.
For example, markers can be used for the following:
•
Indicate cue points or absolute time locations.
•
Highlight problem sections.
•
Visually separate tracks.
•
Set the wave cursor to a specific position.
•
Select all audio between two positions.
•
Loop sections in an audio file.
There is no limit to the amount of markers that you can have in a file.
NOTE
The functions in the Markers window are the same for audio files and audio
montages. However, the Markers window for audio montages offers additional
options regarding clips.
Marker Types
The following marker types are available:
Generic markers
Allow you to locate positions and select all the audio between two points, for
example. Generic markers can be created during recording.
Region start and end markers
Define start and end points for generic regions. Region start and end markers
can be created during recording and are used in pairs.
Loop start and end markers
Are used to define loop points and are required to access loop editing
functions on the Process tab of the Audio Editor. Loop start and end markers
are connected to the Loop mode when playing back audio. These markers are
useful for editing and creating loops before transferring a sound to a sampler.
Loop markers are used in pairs.
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Markers
Markers Window
Markers Window
In this window, you can create, edit, and use markers while working on an audio file
or audio montage.
•
To open the Markers window, open an audio file or audio montage and select
Tool Windows > Markers.
Markers List
The Markers window contains a list of all markers of the active file along with their
details and controls. You can create and edit markers from the markers list.
Marker numbers
Clicking the number of a marker scrolls the waveform to reveal the
corresponding marker.
From Start with Pre-Roll ( )
Plays back the audio from the marker position with a pre-roll.
You can also press [Alt]/[Option] and click
position with a short pre-roll.
to play back from the marker
From Start ( )
Plays back the audio from the marker position.
Marker type
Shows the marker type. To change the marker type, click the marker icon and
select another marker type from the pop-up list.
Name
Shows the marker name. To change the name, double-click in the
corresponding cell and enter a new name.
Time
Shows the marker position on the time ruler. To change the position,
double-click in the corresponding cell and enter a new value.
Length
Shows the time between the marker start position and the corresponding end
marker.
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Markers
Markers Window
•
To zoom in on the region between a start and end marker, click the
corresponding cell in the Length column.
•
To select the region between a start and end marker, double-click the
corresponding cell in the Length column. This function is only available
for markers in the Audio Editor.
Lock
Allows you to lock markers. Locking markers prevents them from being
accidentally dragged to a new position in the wave window or the montage
window. To lock a marker, activate the corresponding checkbox.
Clip Reference (only available for markers in the Audio Montage window)
A marker can be attached to the left or right edge of a clip, and to its
waveform. When you move a clip, the corresponding marker moves along.
The clip reference column shows the name of the clip.
Offset (only available for markers in the Audio Montage window)
Shows the distance between the marker and the reference point.
Functions Menu
Depending on whether the Audio Editor or the Audio Montage window is open,
different options are available. The following options are available for audio files and
audio montages:
Select All
Selects all markers in the markers list.
Deselect All
Deselects all markers.
Delete Selected Markers
Deletes all markers that are selected.
Default Marker Names
Opens the Default Marker Names dialog, where you can select default
marker names for each marker type.
Lock Selected Marker
Locks the selected marker. If this option is activated, the marker cannot be
moved or deleted.
Customize Command Bar
Opens a dialog where you can customize marker-related menus and
shortcuts.
The following options of the Functions menu are only available for audio files:
Select in Time Range
Selects the markers located in the selection range in the wave window.
234
Markers
About Creating Markers
The following options of the Functions menu are only available for audio montages:
Bind Selected Markers to Start of Active Clip
Makes the marker position relative to the start of the active clip. When the start
of this clip moves, the marker moves, too.
Bind Selected Markers to End of Active Clip
Makes the marker position relative to the end of the active clip. When the end
of this clip moves, the marker moves, too.
Detach Selected Markers from Their Associated Clip
Makes the marker position relative to the start of the audio montage.
Full Clip Attachment
Attaches markers to a clip so that they are copied or deleted when the clip is
copied or deleted.
Customize Command Bar
Opens the Customize Commands dialog which contains options to hide or
show specific command bar buttons.
Filter Menu
Use the Filter menu to determine which types of markers are displayed in the
markers list and on the timeline.
About Creating Markers
Markers can be created during playback or in stop mode. You can 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
You can create markers in the wave window and montage window in stop mode or
during playback.
PROCEDURE
1.
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.
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Markers
Deleting Markers
2.
Do one of the following:
•
In the Audio Editor or Audio Montage window, select the Insert tab, and click
a marker icon in the Markers section.
•
Right-click the upper part of the time ruler, and select a marker from the context
menu.
•
Press [Insert]/[M]. This creates a generic marker.
Creating Markers at Selection Start and End
You can mark a selection for looping or review, for example.
PROCEDURE
1.
In the wave window, create a selection range.
2.
Do one of the following:
•
In the Audio Editor or the Audio Montage window, select the Insert tab and
select a marker pair in the Markers section.
•
In the wave window, make a selection range, right-click it, and select one of the
marker pairs.
•
In the wave window or the montage window, create a selection range,
right-click above the time ruler, and select one of the marker pairs.
Duplicating Markers
This is a quick way to create a marker from an existing marker.
PROCEDURE
•
In the wave window or the montage window, hold down [Shift], click a marker,
and drag.
Deleting Markers
Markers can be deleted in the wave window or the montage window, and in the
Markers window.
Deleting Markers in the Wave/Montage Window
•
In the wave/montage window, right-click a marker and select Delete.
•
Drag and drop a marker icon upwards outside the time ruler.
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Markers
Moving Markers
Deleting Markers in the Markers Window
This is useful if your project has many markers or if the marker that you want to
delete is not visible in the wave/montage window.
PROCEDURE
1.
In the Markers window, select one or several markers.
You can also select Functions > Select All.
2.
Click Delete Selected Markers
Markers.
, or select Functions > Delete Selected
Moving Markers
You can adjust marker positions in the wave window and the montage window.
PROCEDURE
•
In the wave/montage window, drag a marker to a new position on the time
ruler.
If Snap to Magnets is activated, the marker snaps to the cursor position, or the
beginning/end of a selection or waveform.
Navigating to Markers
You can jump to the previous or next marker using the corresponding marker
buttons.
•
To jump to the previous/next marker, select the View tab, and, in the Cursor
section, click Previous Marker/Next Marker.
•
To set the wave cursor to a marker position, in the wave window or the
montage window, double-click a marker triangle.
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Markers
Hiding Markers of a Specific Type
Hiding Markers of a Specific Type
For a better overview, you can hide marker types.
PROCEDURE
1.
In the Markers window, select Filter.
2.
Deactivate the marker type that you want to hide.
You can make the markers visible again by activating the corresponding marker type.
Converting Marker Types
You can convert markers of a specific type to another type.
Converting the Type of a Single Marker
PROCEDURE
1.
In the Markers window, click the marker icon that you want to convert.
2.
Select a new marker type from the list.
Renaming Markers
You can change the names of markers.
•
To rename a marker in the wave window or the montage window, right-click
a marker, select Rename, and enter a new name.
•
To rename markers in the Markers window, double-click a marker name in the
Name column, and enter a new name.
•
To edit the default names, in the Markers window, select Functions >
Default Marker Names.
Default Marker Names Dialog
In this dialog, you can specify the default marker names.
•
To open the Default Marker Names dialog, open the Markers window and
select Functions > Default Marker Names.
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Markers
Selecting Markers
Marker type
Lets you select the type of marker for which you want to specify the default
name.
Default Name for This Marker Type
Lets you specify the default name for the selected marker type.
Selecting Markers
There are several ways to select markers.
•
In the wave window or the montage window, click a marker.
•
In the Markers window, click in a cell. The corresponding marker is selected.
•
Use [Ctrl]/[Command] and [Shift] to select multiple markers.
The marker icon changes its background to indicate the selected marker.
Selecting the Audio Between Markers
You can select the audio between two adjacent markers or between any two
markers. This allows you to select a section that has been marked.
•
To select the audio between two adjacent markers, double-click between two
adjacent markers in the wave window or the montage window.
•
To select several regions between two adjacent markers, double-click
between two adjacent markers, and after the second click, drag to select the
adjacent regions.
•
To select the audio between a region marker pair, hold down [Shift], and
double-click a region marker.
•
To extend the selection until the end of a marker region, in the wave/montage
window, hold down [Shift], and double-click in the marker region that you
want to select.
239
Markers
Binding Markers to Clips in the Audio Montage
•
To open the Markers window and display further information about a specific
marker, hold down [Alt]/[Option], and double-click a marker.
Binding Markers to Clips in the Audio Montage
In the Audio Montage window, you can bind markers to clips. By doing this, the
marker remains in the same position relative to the clip start/end, even if the clip is
moved or resized in the audio montage.
You can find the options regarding binding clips and markers on the Functions
menu of the Markers window, and when right-clicking a marker.
When a marker is bound to a clip element, its name is preceded by a blue character.
RELATED LINKS
Markers Window on page 233
How Marker Information is Saved
WaveLab Elements uses MRK files as a way to save information that is independent
of the file format. However, to make marker information exchangeable between
applications, WaveLab Elements also saves some information in the Wave headers.
This makes saving files quicker if only a marker setting was changed. However, this
only applies if Write Markers in WAV File Header is deactivated in the Audio Files
Preferences on the File tab. By default, MRK files are created and information are
saved in the Wave headers.
•
When you import a file for the first time, any loop points are imported and
displayed as loop markers.
•
When you save a file in the Wave format, the loop points are saved both as
part of the actual file and in the MRK file.
•
When you open a file that includes markers that were added in
WaveLab Elements, and markers that were added in another application, all
markers are displayed in WaveLab Elements.
240
Metering
WaveLab Elements contains a variety of audio meters that you can use for
monitoring and analyzing audio. Meters can be used to monitor audio during
playback, rendering, and recording. Furthermore, you can use them to analyze audio
sections when playback is stopped.
Metering Window
There can only be one instance of each audio meter.
The axis of most audio meters can be rotated, to view the graphics horizontally or
vertically. For some meters, you can also style and customize parameters via a
settings dialog.
RELATED LINKS
Docking and Undocking Tool Windows and Meter Windows on page 39
Meter Settings
You can set up most meters in the corresponding settings dialogs. For example, you
can adjust the behavior, scale, and color of the meters.
•
To open the settings dialog for a meter, select Functions > Settings.
•
To check the results after changing the settings without closing the settings
dialog, click Apply.
•
To close the settings dialog and discard any changes that you have made,
even if you have clicked the Apply button before, click Cancel.
241
Metering
Resetting the Meters
Resetting the Meters
You can reset the display of some meters, for example, the Level Meter.
PROCEDURE
•
In the meter window, click Reset
, or select Functions > Reset.
RESULT
All values and numerical indicators of the meter are reset.
Level Meter
The Level Meter displays the peak and average loudness/decibel levels of your
audio file.
•
To open the Level Meter, select Meters > Level Meter.
The Level Meter shows the peak level and the average loudness in the following
way:
•
The peak level meters display the peak levels of each channel, graphically and
numerically.
•
The VU meters measure the average loudness (RMS) of each channel. These
meters have a built-in inertia, evening out loudness variations over a
user-defined time span. If you are monitoring playback or the audio input, you
can see two vertical lines following each VU meter bar. These lines indicate
the average of the most recent minimum RMS values (left line) and the
average of the most recent maximum RMS values (right line). To the left, the
difference between the minimum and maximum average values is displayed.
This gives you an overview of the dynamic range of the audio material.
•
The maximum peak and loudness values are displayed to the right of the meter
bars. The numbers in brackets to the right of the maximum peak values
indicate the number of times that clipping occurs (0 dB signal peaks). Values
between 1 and 2 are acceptable, but if you get a larger number, you should
lower the master level to avoid digital distortion.
242
Metering
Level Meter
•
Recording levels should be set so that they only rarely clip. If the master level
is set too high, the sound quality and frequency response are compromised
at high recording levels, with unwanted clipping effects. If the level is set too
low, noise levels can be high relative to the main sound being recorded.
Level Meter Settings
In the Level Meter Settings dialog, you can adjust the behavior, scale, and color of
the meters.
•
To open the Level Meter Settings dialog, open the Level Meter window, and
select Functions > Settings.
Peak Meter Section
Ballistics – Release Rate
Determines how fast the peak level meter falls after a peak.
Ballistics – Peak Hold Time
Determines how long a peak value is displayed. The peak can be displayed as
a line or a number. If the meter's height is too narrow, only the line is displayed.
Top/Middle/Low Zone
The color buttons allow you to select colors for the low, middle, and top zones
of the level meter. You can define the range for the top and middle zones by
changing the corresponding values.
VU Meter (Loudness) Section
VU Meter (Loudness)
Activates/Deactivates the VU meter.
Ballistics – Resolution
Sets the time that is used to determine the loudness. The smaller this value,
the more the VU meter behaves like the peak meter.
Ballistics – Range Inertia
Sets the time that is used to determine the recent minimum and maximum
value lines, and therefore determines how quickly these respond to changes
in loudness.
Global Colors Section
In this section, you select colors for the meter background, marks (scale units), and
grid lines.
243
Metering
Spectroscope
Global Range (Peak and VU Meter) Section
In this section, you specify the minimum and maximum values of the displayed level
range.
Spectroscope
The Spectroscope shows a graphical representation of the frequency spectrum,
analyzed into 60 separate frequency bands, represented as vertical bars.
•
To open the Spectroscope, select Meters > Spectroscope.
Peak levels are shown as a horizontal lines above the corresponding bands,
indicating recent peak/maximum values. The Spectroscope offers a quick
spectrum overview. For a more detailed analysis of the audio spectrum, use the
Spectrometer.
On the Functions menu, you can specify whether only high audio levels are
displayed, or whether medium and low levels are also shown.
Oscilloscope
The Oscilloscope offers a highly magnified view of the waveform around the
playback cursor position.
•
To open the Oscilloscope, select Meters > Oscilloscope.
244
Metering
Oscilloscope
If you are analyzing stereo audio, the Oscilloscope normally shows the separate
levels of the two channels. However, if you activate Show Sum and Subtraction
on the Functions menu, the upper half of the Oscilloscope shows the mix of the
two channels and the lower half shows the subtraction.
Oscilloscope Settings
In the Oscilloscope Settings dialog, you can adjust the display colors, and
activate/deactivate Auto-Zoom. When Auto-Zoom is activated, the display is
optimized so that the highest level reaches the top of the display at all times and
even small signals are visible.
•
To open the Oscilloscope Settings dialog, open the Oscilloscope window,
and select Functions > Settings.
245
Writing Operations
This chapter describes the CD/DVD writing processes in WaveLab Elements. This
chapter assumes that the preparations have been completed, and that you are
ready to run the actual writing process.
Write Audio CD Dialog
In this dialog, you can write your audio montage to an audio CD.
•
When you want to write audio montages to an audio CD, open the CD
window, and select Functions > Write Audio CD.
Device
Allows you to select the disc writer that you want to use.
NOTE
On the Mac, insert a medium in the drive after opening WaveLab Elements.
Otherwise, the drive is under the control of the operating system and is not
available for WaveLab Elements.
246
Writing Operations
Write Audio CD Dialog
Refresh
Scans the system for connected optical devices. This is done automatically
when this dialog opens. Click the update icon after you insert a new blank
media to update the Speed menu.
NOTE
On the Mac, insert a medium in the drive after opening WaveLab Elements.
Otherwise, the drive is under the control of the operating system and is not
available for WaveLab Elements.
Eject Optical Medium
Ejects the optical medium present in the selected drive.
Information about Selected Device
Opens the Device Information dialog that shows information about the
selected device.
Erase Optical Disc
Erases the optical disc present in the selected drive, provided it is a rewritable
medium.
Bypass Master Section
If this option is activated, the audio signal is not processed through the
Master Section before being written to the medium.
Speed
Allows you to select the writing speed. The highest speed depends on the
capabilities of your writing device and of the medium present in the device.
Copies
Allows you to enter the number of copies that you want to write.
Test Only, Do Not Write
If this option is activated, clicking OK initiates a simulation of writing the CD.
If this test is passed, the real write operation will succeed. If the test fails, try
again at a lower writing speed.
Render to Temporary File before Writing
If this option is activated, a disk image is created before writing, which
eliminates the risk of buffer underruns. This is useful if your project uses many
audio plug-ins while writing. It is activated automatically when writing multiple
copies. While this option makes the writing operation longer, it allows you to
select an higher writing speed.
CD-Extra Compatible (New Session Possible)
If this option is activated, the resulting audio CD is compatible with the
CD-Extra format.
Eject after Completion
If this option is activated, the medium is ejected after the writing operation.
247
Writing Operations
Erase Optical Media Dialog
Erase Optical Media Dialog
In this dialog, you can quickly or fully erase an optical disc before writing.
•
To open the Erase Optical Media dialog, open the Write Audio CD dialog
and click the garbage icon.
Quick Erase
Erases the table of contents of the disc.
Full Erase
Erases all parts of the disc.
Force Erasing Even If a Disk Appears to Be Blank
If this option is activated, the disc is erased, even if it is declared as blank. Use
this option to make sure that discs that were partially or minimally erased are
fully erased.
About Writing Audio Montages
You can write audio montages to an audio CD.
Writing an Audio Montage to an Audio CD
PREREQUISITE
Set up your audio montage and make your CD writing settings in the Global
Preferences.
NOTE
On the Mac, insert a media in the drive after opening WaveLab Elements.
Otherwise, the drive is under the control of the operating system and is not available
for WaveLab Elements.
PROCEDURE
1.
Optional: In the CD window, select Functions > Check CD Conformity to
check that all settings conform to the Red Book standard.
2.
Insert an empty CD into your drive.
248
Writing Operations
About Writing Audio Montages
3.
In the CD window, select Functions > Write Audio CD.
4.
From the Device pop-up menu, select the writing device that you want to use.
5.
If you want to bypass the Master Section, activate Bypass Master Section.
6.
Select the writing speed from the Speed pop-up menu.
7.
Select the number of copies that you want to write.
When you want to write more than one copy, it is recommended to activate Render
to Temporary File before Writing.
8.
9.
Optional: Activate one or several of the following options:
•
Activate Test Only, Do Not Write if you want to test if the writing operation
would be successful.
•
Activate Render to Temporary File before Writing if your audio montage uses
many plug-ins. This way, the audio data is sent to the CD writer fast enough.
•
Activate CD-Extra Compatible (New Session Possible) if you want the
resulting audio CD to be compatible with the CD-Extra format.
•
Activate Eject after Completion if you want the disc to be automatically
ejected after the writing operation.
Click OK.
RESULT
The writing operation starts.
RELATED LINKS
Write Audio CD Dialog on page 246
CD-Text
CD-Text is an extension of the Red Book Compact Disc standard and allows you
to save text information such as title, songwriter, composer, and disc ID on an audio
CD.
The text data is then displayed by CD players that support the CD-Text format. The
CD-Text can also be included in the audio CD report.
CD-Text Editor Dialog
In this dialog, you can specify information such as track title, performer, and
songwriter, that is written onto the CD as CD-Text.
You can add information about the disc itself and each individual track. This
information is entered in the text fields that scroll horizontally. There is one pane of
fields for the disc itself and a pane for each track.
•
To open the CD-Text Editor dialog, in the CD window, select the track for
which you want to edit the CD-Text, and select Functions > Edit CD-Text.
249
Writing Operations
Data CD/DVD Projects
Copy CD Track Marker Name
Copies the name of the CD track marker to this field.
Copy CD Track Start Marker Name to All CD Track Titles
Copies the name of each CD track start marker to the title field of each CD
track.
Copy Text to All Following Tracks
Copies the text to all tracks that are located after the current one.
Scrollbar
Allows you to navigate across all CD-Texts. The first position corresponds to
the whole CD, other positions to individual tracks.
Language
Here, select how characters should be encoded on the CD.
NOTE
If a character is not CD-Text compatible, it is displayed as a ? character.
Restrict to ASCII
To ensure the maximum compatibility with CD players, it is recommended to
restrict the characters to ASCII when using the Western European option. If
this option is activated, and you type a non-compatible character, a ?
character is displayed.
Enable CD-Text Writing
If this option is activated, the CD-Text is written onto the CD.
Data CD/DVD Projects
A data CD/DVD project can be used to compile and write a data-only CD, DVD,
Blu-ray, or to write to ISO image. You can enter a name for your disc and change
the disc file structure before writing your data to a CD, DVD, Blu-ray, or ISO image.
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Writing Operations
Data CD/DVD Projects
Creating a Data CD/DVD Project
A data CD/DVD project can be used to compile and write a data-only CD, DVD,
Blu-ray, or to write to ISO image.
PROCEDURE
1.
Select File > Tools > Data CD/DVD.
2.
Add files to the project, using one of the following methods:
3.
•
Drag the files from the WaveLab Elements File Browser window or from the
File Explorer/Mac OS Finder into the Data CD/DVD window.
•
Drag an audio file or audio montage tab into the Data CD/DVD window.
•
Right-click a file tab, and select Add to > Data CD/DVD.
Optional: Click New Folder
by dragging.
, specify a folder name, and arrange the files
Writing a Data CD/DVD Project
PREREQUISITE
Open the Data CD/DVD dialog, and add the files that you want to write to a data
CD/DVD.
PROCEDURE
1.
Click Write Data CD/DVD
2.
Select a writing device.
3.
.
•
If you select ISO Image, specify a file name and file location.
•
If you select a CD/DVD writer, specify the writing speed and make further
settings.
Click OK.
Data CD/DVD Dialog
In this dialog, you can create a data CD/DVD project, and write it to a CD, DVD,
Blu-ray, or an ISO image.
•
To open the Data CD/DVD dialog, select File > Tools > Data CD/DVD.
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Writing Operations
Data CD/DVD Projects
Media
Allows you to select the media type you want to write. If the media size that
you want to use is not listed, select the media type that offers the size closest
to your requirements.
Volume Name
Allows you to specify the volume name of the CD/DVD.
Open File Explorer/Mac OS Finder
Opens the File Explorer/Mac OS Finder to show the location of the selected
file.
Remove Selected Files and Folders
Removes the selected files and folders from the CD/DVD project.
New Folder
Creates a folder. You can also create sub-folders.
Write Data CD/DVD
Opens the Write Data CD/DVD dialog from which you can write the media.
Data CD/DVD list
Shows the contents of the CD/DVD project, and the size creation date, and
number of files.
Available space on media
Indicates how much space is used on the media. The Total Size of the data
CD/DVD project is shown below the data CD/DVD list.
Reset
Removes all files from the data CD/DVD project.
Write Data CD/DVD Dialog
In this dialog, you can write a data CD/DVD project to a CD/DVD or an ISO file.
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Writing Operations
Data CD/DVD Projects
•
To open the Write Data CD/DVD dialog, open the Data CD/DVD dialog and
click Write Data CD/DVD.
Device
Allows you to select the disc writer that you want to use or select ISO Image
to write a file on the hard drive. Writing an ISO image creates a copy of a
future optical medium.
NOTE
On the Mac, open WaveLab Elements without a media in the drive.
Otherwise, the drive is under the control of the operating system and is not
available for WaveLab Elements.
Refresh
Scans the system for connected optical devices. This is done automatically,
when this dialog opens. Click the update icon after you insert a new blank
media, to update the speed menu.
Eject Optical Medium
Ejects the optical medium present in the selected drive.
Device Information
Opens the Device Information dialog that shows information about the
selected device.
Erase Optical Medium/ISO Image
Erases the optical medium present in the selected drive, provided it is a
rewritable media. If ISO Image is selected, clicking the button deletes the
existing ISO file.
ISO File Name
If ISO Image is selected in the Device menu, specify the file name and file
location of the ISO file in the text field.
Speed
Allows you to select the writing speed. The highest speed depends on the
capabilities of your writing device and of the medium present in the device.
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Writing Operations
Audio CD Formats
Test Only, Do Not Write
If this option is activated, clicking OK initiates a simulation of writing the CD.
If this test is passed, the real write operation will succeed. If the test fails, try
again at a lower writing speed.
Create CD-Extra Session
If this option is activated, the data is written in a new session, after the audio
tracks. This creates a CD Extra, also known as Enhanced CD and CD Plus.
For this to work, the CD in the drive must have audio tracks on it, written with
the CD Extra option. Otherwise the operation fails.
Verify After Write
If this option is activated, the data on the medium is automatically verified after
the writing process.
Eject Before Verifying
If this option is activated, the disc is ejected and retracted before the
verification process, to force the drive out of the write state.
NOTE
This is only possible if the disc can be retracted automatically.
Eject After Completion
If this option is activated, the disc is ejected after the writing operation.
Audio CD Formats
This chapter provides you with background information on the CD format, to help
you better understand how to create your own CDs.
Basic CD Formats
There are a number of different formats for the contents of a CD disc. For example,
audio CDs, CD-ROMS, and CD-I. These are all slightly different.
The audio CD specification is called Red Book. It is this standard to which
WaveLab Elements conforms.
NOTE
Red Book CD is not a real file format. All the audio on the CD is saved in one big
file. This is different from hard disks, for example, where each file is saved
separately. Keep in mind that all the audio is in fact one long stream of digital data.
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Writing Operations
Audio CD Formats
CD-Extra Support
CD-Extra is a format that allows for the writing of both audio and data on a single
CD, just like Mixed Mode CDs. When writing an audio CD, you can prepare it for
CD-Extra support (also known as Enhanced CD or CD Plus).
The difference is that when Mixed Mode CDs are written with the audio placed on
the last tracks of the CD, for CDs in the CD-Extra format the audio is contained in
the first tracks of the CD, and the data follows subsequently.
All features of the Red Book audio CD are possible with CD-Extra, unlike with Mixed
Mode CDs. After an audio CD has been written with CD-Extra support, the data can
be added to the CD in a separate session, by creating and writing a data CD
project.
NOTE
Some computer CD drives may not recognize CDs in the CD-Extra format.
Types of Events on an Audio CD
There are three types of events that can be used to specify various sections of audio
on the CD.
Track start
There can be up to 99 tracks on one CD. Each is identified by its start point
only.
Track sub-index
On advanced CD players, a track can be divided into sub-indexes (sometimes
called only indexes). These are used to identify important positions within a
track. There can be 98 sub-indexes in each track. However, because it is
difficult and time-consuming to search for and locate to a sub-index, many CD
players ignore this information.
Pause
A pause is added before each track. Pauses can be of variable lengths. Some
CD players indicate the pauses between tracks on their displays.
Frames, Positions, Small Frames, and Bits
The data on an audio CD is divided into frames.
A frame consists of 588 stereo samples. 75 frames make up one second of audio.
This is because 75 x 588 = 44100, and because the sampling frequency of the CD
format is 44100 Hz (samples per second), this equals one second of audio. When
you specify positions on the CD, in WaveLab Elements, you do it in the format
mm:ss:ff (minutes:seconds:frames). The frame values go from 0 to 74, because
there are 75 frames to a second.
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Writing Operations
Audio CD Formats
Technically, there is no way to specify something smaller than a frame on a CD. One
effect of this is that if the sample length of a track on the CD does not equal a
perfect number of frames, some blank audio must be added at the end. Another
effect of this is that when you play the CD, you can never locate to anything closer
than a frame. If you need some data in the middle of a frame, you still have to read
the whole frame. Again, this is unlike a hard disk, where you can retrieve any byte
on the disk, without reading the surrounding data.
But frames are not the smallest block of data on a CD. There is also something
called “small frames”. A small frame is a container of 588 bits. 98 small frames
together make up one regular frame. In each small frame there is only room for six
stereo samples, which means that a lot of space is left for data other than the actual
audio. There is information for encoding, laser synchronization, error correction, and
the PQ data to identify the track boundaries. This PQ data is of major importance to
anyone who wants to create their own CD, and handled effortless in
WaveLab Elements.
ISRC Codes
International Standard Recording Code (ISRC) is an identification that is only used
on CDs intended for commercial distribution. WaveLab Elements allows you to
specify an ISRC code for each audio track. These codes are provided by your
publisher or clients.
The ISRC code is structured as follows:
•
Country Code (2 ASCII characters)
•
Owner Code (3 ASCII characters or digits)
•
Recording Year (2 digits or ASCII characters)
•
Serial Number (5 digits or ASCII characters)
The groups of characters are often presented with hyphens to make them easier to
read, but hyphens are not part of the code.
UPC/EAN Codes
UPC/EAN code – the Universal Product Code/European Article Number, is a
catalog number for an item (such as a CD) intended for commercial distribution. On
a CD, the code is also called the Media Catalog Number and there is one such code
per disc. These codes are provided by your publisher or clients.
UPC is a 12-digit barcode widely used in the USA and Canada. EAN-13 is a
13-digit barcoding standard (12 + a checksum digit) defined by the GS1 standards
organization. EAN is now renamed as International Article Number, but the
abbreviation has been retained.
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Writing Operations
Audio CD Formats
Pre-Emphasis
CD pre-emphasis refers to process designed to increase, within a band of
frequencies, the magnitude of some (usually higher) frequencies compared to the
magnitude of other (usually lower) frequencies in order to improve the overall
signal-to-noise ratio by lowering the frequencies during reproduction.
Pre-emphasis is commonly used in telecommunications, digital audio recording,
record cutting and in FM broadcasting transmissions. The presence of
pre-emphasis on a track is sometimes indicated by a checkmark in the
column on the Import Audio CD dialog.
Pre-Emphasis
Disc-At-Once – Writing CD-Rs for Duplication Into Real CDs
WaveLab Elements only writes audio CDs in Disc-at-Once mode.
•
If you want to create a CD-R to use as a master for a real CD production, you
must write the CD-R in Disc-At-Once mode. In this mode, the entire disc is
written in one pass. There are other ways of writing a CD, namely
Track-At-Once and Multi-Session. If you use these writing formats, the link
blocks created to link the various recording passes together will be
recognized as uncorrectable errors when you try to master from the CD-R.
These links can also result in clicks when playing back the CD.
•
Disc-At-Once mode provides more flexibility when specifying pause lengths
between tracks.
•
Disc-At-Once is the only mode that supports sub-indexes.
Writing On The Fly vs. CD Images
WaveLab Elements writes a CD on the fly, that is, it does not create a CD image
before writing. This method makes writing CDs/DVDs faster and requires less disc
space. However, you can also create an image prior to writing a CD/DVD.
257
Loops
This chapter describes various operations that are related to looping. Looping is
used to simulate the infinite or at least very long sustain of many instrumental
sounds. WaveLab Elements has tools for creating smooth loops, even for the most
complex types of sounds.
Basic Looping
Looping a sound allows you to repeat a section of the sample indefinitely in order
to create a sustain of unlimited length. Instrumental sounds in samplers rely on
looping organ sounds, for example.
In WaveLab Elements, loops are defined by loop markers. Loop markers are added,
moved, and edited just as any other type of marker.
To ensure that you find a good loop point, note the following:
•
A long loop usually sounds the most natural. However, if the sound does not
have a stable section in the middle (an even sustain part), it might be hard to
find a good long loop.
For example, a piano note which decays continuously is hard to loop because
the start point of the loop is louder than the end point. A flute is much simpler,
because the sound in the sustain section is very stable.
•
A loop should start shortly after the attack, that is, when the sound has
stabilized to a sustaining note.
•
If you set up a long loop, it should end as late as possible but before the sound
starts decaying to silence.
•
Short loops are difficult to position within the sound. Try to position them near
the end.
NOTE
More information about looping in general, and the exact capabilities of your
sampler in particular can be found in the manual of the sampler.
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Loops
Refining Loops
Creating a Basic Loop
PROCEDURE
1.
In the Audio Editor, select the audio section that you want to loop.
2.
Right-click above the ruler and select Create Loop from Selection.
3.
On the transport bar, activate Loop.
4.
Play back the loop and adjust the position of the markers to change the loop.
AFTER COMPLETING THIS TASK
Creating a loop this way does not necessarily lead to good loops, because clicks
or abrupt changes in timbre at the turning point can occur.
We suggest that you use this method for setting up the basic length of the loop and
then use the Loop Tweaker and Loop Tone Uniformizer for optimizing.
Refining Loops
The Loop Tweaker tool allows you to refine a region of audio for seamless looping.
Use the Loop Tweaker to tweak an existing loop selection so that it loops perfectly
or use it to create a loop from material which is not perfectly suited to create a loop.
You can automatically detect loop points by scanning the area between two loop
markers. You can specify parameters that determine how accurate the program
should be when suggesting loop points.
If the automatic search for loop points is not successful, you can process the
waveform to allow for smoother loops by crossfading areas of the waveform close
to the loop start and end points.
To use the Loop Tweaker, you must first define a loop using a pair of loop markers.
Loop Points Adjustment Tab
Use the Loop Points Adjustments tab in the Loop Tweaker dialog to manually
refine a loop selection by dragging the waveform to the left/right or by using the
automatic search buttons to find the nearest suitable loop point. The aim is to align
the waveforms so that they meet at a zero-crossing point where the waveforms
match as closely as possible. When you adjust your loop start and end points in the
dialog, the start and end loop markers in the main waveform window adjust
accordingly. Note that this movement may not be visible depending on how much
you move the markers and on the zoom factor that you have selected.
It may be helpful to activate Loop on the transport bar during playback so that you
can hear the difference when you adjust the loop markers. If you are not using a
crossfade or post-crossfade, you do not have to click Apply when tweaking loop
points. You can also leave this dialog open and manually adjust the position of the
markers in the main waveform windows.
259
Loops
Refining Loops
Crossfade Tab
This tab allows you to apply a crossfade between the audio at the end of a loop and
the audio at the beginning of the loop. This can be useful to smooth the transition
between the end of a loop and its beginning, especially when you use material that
is not perfectly suited to create a loop. Use the envelope drag points or value sliders
to adjust the crossfade envelope. Click Apply to create the crossfade.
Post-Crossfade Tab
This tab allows you to apply a cross fade at the end of the loop by mixing a copy of
the loop back into the audio. Use the envelope drag points or value sliders to adjust
the crossfade envelope. Click Apply to create the post crossfade.
Post-crossfading means crossfading the loop back into the audio after the end of
the loop so that there is not glitch when playback continues after the loop. This is
done by mixing a copy of the loop back into the audio.
Refining Loops
You can refine loops using the Loop Tweaker tool.
PREREQUISITE
Set up a basic loop.
PROCEDURE
1.
In the Audio Editor, select the loop that you want to refine by clicking
between its loop start and loop end marker.
2.
Select the Process tab.
3.
In the Loop section, click Tweaker.
4.
In the Loop Tweaker dialog, refine your loop.
5.
Click Apply.
Moving Loop Points Manually
If your loop still has glitches or bumps at the transition points, you can use the Loop
Tweaker tool to move the points in small steps to remove the glitch.
This is similar to moving the loop points in the wave display, but with a visual
feedback to facilitate finding good loop points.
There are two ways of moving the loop points manually on the Loop Points
Adjustment tab in the Loop Tweaker dialog:
•
Drag the waveform to the left and right.
•
Use the green arrows below the waveform to nudge the audio to the left and
right. Each click moves the loop point by a single sample.
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Loops
Refining Loops
The following applies when moving the loop points manually:
•
To move the end point to a later or earlier position, move the left part of the
display.
•
To move the start point to a later or earlier position, move the right part of the
display.
•
To move the start and end points simultaneously, activate Link Start and End
Points. This way, when adjusting a loop point, the length of the loop stays the
same, but the entire loop is moved.
•
You can also adjust the loop markers in the wave window.
Automatically Detecting Good Loop Points
The Loop Tweaker tool can automatically search for good loop points.
PROCEDURE
1.
In the Audio Editor, select the loop that you want to refine by clicking
between its loop start and loop end marker.
2.
Select the Process tab.
3.
In the Loop section, click Tweaker.
4.
In the Loop Tweaker dialog, on the Loop Points Adjustment tab, make sure
that Link Start and End Points is deactivated.
5.
In the Automatic Search section, specify the Aimed Correspondence and
the Search Accuracy.
6.
Click the yellow arrow buttons to start the automatic search for a good loop
point.
WaveLab Elements scans from the current point forwards or backwards, until it finds
a point that matches. You can stop at any time by clicking the right mouse button. The
program then jumps back to the best found match.
7.
Check the loop by playing it back.
8.
Optional: If you think there might be a better loop point, continue with the
search.
261
Loops
Refining Loops
Temporarily Saving Loop Points
Temporarily saving and restoring loop points allows you to compare different loop
settings.
PREREQUISITE
Set up a basic loop and open the Loop Tweaker tool.
NOTE
•
There are five slots for temporarily saving loop points for each wave window
and montage window. If you have several sets of loops in your file, you must
be careful to not recall the wrong set.
•
Only loop positions are temporarily saved.
PROCEDURE
1.
On the Loop Points Adjustment tab, in the Temporary Memories section,
click M.
2.
Select one of the five memory slots.
Crossfades in Loops
Crossfading is useful to create smooth transitions between the end of a loop and
its beginning, especially when using material that is not perfectly suited to create a
loop.
Sometimes it is impossible to find a loop that does not cause any glitches. This is
especially true for stereo material, where you might be able to find a perfect
candidate for only one channel.
In this case crossfading smears the material around the end loop point so that it
loops perfectly. This is achieved by mixing material from before the loop start with
material that is located before the loop end.
NOTE
This technique alters the waveform and therefore changes the sound.
Creating a Crossfade
PROCEDURE
1.
In the Audio Editor, create as good a loop as you can.
2.
Select the Process tab.
3.
In the Loop section, click Tweaker.
262
Loops
Refining Loops
4.
In the Loop Tweaker dialog, decide if you want to create a crossfade or a
post-crossfade:
•
If you want to create a crossfade, click the Crossfade tab.
•
If you want to create a post-crossfade, click the Post-Crossfade tab.
5.
Make sure that Crossfade Audio at End of Loop with Audio before Loop
(Crossfade tab) or Crossfade Audio after Loop with Audio of Loop Start
(Post-Crossfade tab) is activated.
6.
Specify the length for the crossfade either by dragging the length handle or
by adjusting the Length value below the graph.
7.
Specify the crossfade shape by dragging the shape handle or by adjusting the
Shape (from Equal Gain to Equal Power) value.
8.
Click Apply.
The sound is processed. Each time that you click Apply, the previous loop process is
automatically undone. This allows you to try out different settings quickly.
NOTE
Do not move the loop points after you have performed a crossfade. The waveform has
been processed specifically for the current loop settings.
AFTER COMPLETING THIS TASK
•
You can check the crossfade visually by opening the Loop Points
Adjustment tab and activating Display Processed Audio. If this is activated,
the display shows a preview of the crossfaded waveform. If this option is
deactivated, the display shows the original waveform. Switching back and
forth allows you to compare the two.
Post-Crossfades
Post-crossfading means crossfading the loop back into the audio after the end of
the loop so that there is not glitch when playback continues after the loop. This is
done by mixing a copy of the loop back into the audio.
The post-crossfade can be set up on the Post-Crossfade tab of the Loop Tweaker
dialog.
The post-crossfade analyzes the part of the waveform that occurs just after the loop
start and processes a specific area that begins at the end of the loop. The length
parameter adjusts the size of this area. Everything else is identical with regular
crossfading.
Loop Tweaker
This dialog allows you to adjust the loop start and end points, and crossfade the
loop boundaries. The loop start and end points are specified with the loop start and
end markers.
263
Loops
Refining Loops
If more than one loop marker pair is available in the audio file, click in the area
between a loop marker pair to tweak the corresponding start and end points.
•
To open the Loop Tweaker dialog, open the Audio Editor, select the
Process tab, and in the Loop section, select Tweaker.
Loop Points Adjustment Tab
The top of this dialog shows the beginning and the end of the waveform between
the loop markers. The bottom of this dialog offers the following options:
Loop End – Inner Arrows
Move the loop end points to the left/right.
Loop End – Outer Arrows
Invokes an automatic search for the nearest good loop point to the left/right
of the loop end point and moves the end point to that position.
Loop Start – Inner Arrows
Moves the loop start points to the left/right.
Loop Start – Outer Arrows
Invokes an automatic search for the nearest good loop point to the left/right
of the loop start point, and moves the start point to that position.
Stereo Merge
If this option is activated for a stereo file, the two waveforms are overlaid,
otherwise they are shown in two separate sections.
264
Loops
Refining Loops
Overlap
If this option is activated, the waveforms of both halves are continued in the
other half. This shows how the waveform looks like right before and after the
loop.
Display Processed Audio
If this option is activated, the display shows a preview of the waveform after
crossfading. If this option is deactivated, you see what the waveform looks like
without crossfading. This option only makes sense after you have applied a
crossfade.
Automatic Vertical Zooming
If this option is activated, the vertical magnification is adjusted so that the
waveform always fills the entire display vertically.
Zoom
Sets the zoom factor.
Current Correspondence
Indicates how well the waveforms near the loop points match one another.
The left value estimates the similarity across several wave cycles, while the
right value estimates the similarity of the few samples near the loop points.
The higher the values, the better the match.
Aimed Correspondence (0-1000)
Sets up the automatic search for good loop points. This defines how well the
found section must resemble the section to which it is compared, in order to
be considered a match. The higher the value, the more precise the
resemblance must be. A value of 1000 requires a 100 % perfect match.
Search Accuracy
Determines how many samples should be taken into account by the auto-find
analysis. Higher values result in greater accuracy, but also in longer
processing times.
Link Start and End Points
If this option is activated, both the start and end points move simultaneously
when you adjust the loop points manually. That is, the loop length stays exactly
the same and the entire loop moves.
Temporary Memories
Allows you to save up to five different sets of loop points which you can later
recall. This allows you to try out different loop settings. To save a set, click this
button, then on one of the buttons 1-5.
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Loops
Refining Loops
Crossfade Tab
Crossfade Audio at End of Loop with Audio before Loop
To enable crossfading, activate this checkbox. The crossfade is applied when
you click Apply.
Length
Determines the length of the crossfade. Generally, you want the crossfade to
be as short as possible, with an acceptable result.
NOTE
•
Using a long crossfade smoothens the loop. However, more of the
waveform is processed, which changes its character.
•
A shorter crossfade affects the sound less, but the loop is not as smooth.
Shape (from Equal Gain to Equal Power)
Determines the shape of the crossfade. Use low values for simple sounds and
high values for complex sounds.
266
Loops
Looping Audio Which Is Not Very Well Suited for Looping
Post-Crossfade Tab
Crossfade Audio after Loop with Audio of Loop Start
To enable crossfading, activate this checkbox. The crossfade is applied when
you click Apply.
Length
Determines the length of the crossfade. Generally, you want the
post-crossfade to be as short as possible, with an acceptable result.
NOTE
•
Using a long post-crossfade smoothens the loop. However, more of the
waveform is processed, which changes its character.
•
A shorter post-crossfade affects the sound less, but the loop is not as
smooth.
Shape (from Equal Gain to Equal Power)
Determines the shape of the post-crossfade. Use low values for simple
sounds and high values for complex sounds.
Looping Audio Which Is Not Very Well Suited for
Looping
Sounds that constantly decay in level or continuously change in timbre are difficult
to loop. The Loop Tone Uniformizer allows you to create loops from these kind of
sounds.
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Loops
Looping Audio Which Is Not Very Well Suited for Looping
The Loop Tone Uniformizer applies processing to the sound that evens out
changes in level and timbral characteristics in order for a sound to loop properly.
For example, this is useful for creating looped samples for a softsynth or hardware
sampler.
The Loop Tone Uniformizer includes a crossfade option allowing you to fade in
the original sound into the processed sections when playback approaches the loop
start.
To use the Loop Tone Uniformizer, you must have created a loop by setting a pair
of loop markers. The original length of the loop is not changed.
Looping Seemingly Unloopable Audio
PROCEDURE
1.
In the Audio Editor, set up a basic loop.
2.
Select the Process tab.
3.
In the Loop section, click Tone Uniformizer.
4.
In the Loop Tone Uniformizer dialog, make sure that either Slice Mixing
and/or Chorus Smoothing is activated and make the settings.
5.
Optional: Select the Pre-Crossfade tab, and set up a crossfade.
6.
Click Apply.
The sound is processed. Each time that you click Apply, a new loop is defined. This
allows you to try out different settings quickly.
NOTE
Do not move the loop points after you have performed a crossfade. The waveform has
been processed specifically for the current loop settings.
AFTER COMPLETING THIS TASK
After using the Loop Tone Uniformizer, the transition between the end of the loop
and the end of the file might not sound very natural. This can be fixed by creating a
post-crossfade using the Loop Tweaker.
Loop Tone Uniformizer
This dialog allows you to create sounds that loop from audio which is not very well
suited for looping. These are normally sounds that constantly decay in level or
continuously change in timbre.
•
To open the Loop Tone Uniformizer dialog, open the Audio Editor, select
the Process tab, and in the Loop section, select Tone Uniformizer.
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Loops
Looping Audio Which Is Not Very Well Suited for Looping
Uniformizers Tab
This tab allows you to specify the methods that are used to even out the sound that
you want to loop.
Slice Mixing
Cuts the loop in slices, which are then mixed together to uniformize the sound.
For slice mixing, you need to determine the number of slices. Only
experimentation can tell how many slices are needed, but generally, the more
slices you have, the more natural the sound. However, the program puts a
restriction on the number of slices, so that each one is never shorter than
20 ms.
For example, if you specify eight slices, the loop is cut up into eight sections
of equal length. These sections are then overlapped and mixed together as
one sound which is repeated eight times. This new piece of audio replaces all
audio inside the loop so that no harmonic cancellation due to phase offsets
occurs.
Slice Mixing – Number of Slices
The more slices you use, the more the sound changes.
Chorus Smoothing
This processor uses a phase vocoding method to filter the harmonics. This
method is recommended for looping ensemble and choir sounds and can
drastically change the timbre.
Chorus Smoothing – Timbre
Governs the amount by which the timbral characteristics of the sample should
be evened out. The higher the value, the more pronounced the effect.
Chorus Smoothing – Chorusing
Determines the depth of the chorus effect.
Chorus Smoothing – Enhance Warmth
Creates a smoother, warmer sounding effect.
Chorus Smoothing – Stereo Expansion
Increases the width of the sample in the stereo sound image.
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Loops
Sample Attributes
Pre-Crossfade Tab
This tab allows you to crossfade the end of the loop with the start of the newly
processed section so that the transition into the looped section is smoother during
playback. Use the envelope drag points or value sliders to adjust the crossfade.
You need to use this feature because the Loop Tone Uniformizer changes the
timbre only inside the loop. This means that the transition into the loop is not as
smooth as expected unless you apply crossfading.
Crossfade Audio before Loop with Audio of End of Loop
Enables crossfading, which is applied when you click Apply.
Length
Determines the length of the crossfade. Generally, you want the
post-crossfade to be as short as possible, with an acceptable result:
NOTE
•
A long crossfade produces a smoother loop. However, more of the
waveform is processed, which changes its character.
•
A shorter crossfade affects the sound less, but the loop is not as smooth.
Shape (from Equal Gain to Equal Power)
Determines the shape of the crossfade. Use low values for simple sounds and
high values for complex sounds.
Sample Attributes
Sample attributes allow you to define settings for an audio sample before loading it
into a hardware or software sampler.
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Loops
Sample Attributes
Sample attributes do not process the sample, they just provide the file properties
that the receiving sampler can use. This includes information about the pitch of the
sample, which can be detected automatically, the key range that the sample should
span, and the velocity range to occupy. For WAV and AIFF files, this information is
saved in the header of the file. By default, there are no sample attributes in an audio
file.
NOTE
Depending on your sampler and the protocol that you use for communicating, the
sample attributes may not be supported.
Editing Sample Attributes
PROCEDURE
1.
Open the Audio Editor.
2.
Select Tool Windows > Sample Attributes.
3.
In the Sample Attributes window, click Create.
4.
Optional: If you want to automatically detect the pitch of an audio selection,
select an audio range, and select Detect from Audio Selection.
5.
Specify the sample attributes.
6.
Save the audio file to save the sample attributes settings in the audio file.
The sample attribute is only saved in WAV and AIFF files.
Sample Attributes Window
In this window, you can create sample attributes for an audio sample.
•
To open the Sample Attributes window, open the Audio Editor and select
Tool Windows > Sample Attributes.
Create/Remove
Creates/Removes sample attributes for the active audio file.
Tune – Key
Specifies which key plays back the sound at its basic pitch.
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Loops
Sample Attributes
Tune – Detune
Specifies whether the sample should be played back at a slightly different
pitch. The range is ±50 % of a semitone, which translates into a quarter tone
in each direction.
Detect from Audio Selection
Detects the pitch from an audio selection. Make sure that the audio selection
contains a clearly defined pitch.
Key Range – High/Low
Specifies the key range for the sample if the sample is part of a multi-sample
key map.
Velocity Range – High/Low
Specifies the velocity range for the sample if the sample is part of a
multi-sample key map with velocity-switchable samples.
272
Importing Audio CD Tracks
You can read audio tracks from regular CDs and save them as a digital copy in any
audio format on your hard disk.
Although WaveLab Elements supports a large number of CD drives, there are some
restrictions you need to be aware of:
•
There are a number of different protocols for retrieving audio from a
CD-ROM/CD-R drive. WaveLab Elements supports as many of these
methods as possible, but there are no guarantees that it works with any
particular drive. This applies for CD-Text and ISRC.
•
Observe and respect any copyright notices on the CDs from which you are
importing tracks.
When importing tracks, they are named “Track XX” by default, where XX is a
number starting at 01. The numbering scheme can be changed.
NOTE
Importing audio CD tracks is technically more complicated than reading files from
a CD-ROM or hard disk, because audio sectors can be hard to detect. Some CDs
which do not conform completely to the CD standard may cause problems,
especially when they are copy protected.
Import Audio CD Dialog
In this dialog, you can import one or more tracks from an audio CD.
•
To open the Import Audio CD dialog, select File > Import, and click Audio
CD.
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Importing Audio CD Tracks
Import Audio CD Dialog
Functions Menu
CD Info
Displays the CD length and the UPC/EAN code, if available.
Extract ISRC Codes
Reads the ISRC codes and displays them in the track list. Depending on your
CD drive, this can take a while.
Examine CD-Text
Opens the CD-Text dialog where you can view the CD-Text. Not all CD drives
support CD-Text.
Extract CD-Text
Extracts the CD-Text and displays a summary in the track list.
Rename Tracks Menu
Name
Renames the tracks according to the selected renaming scheme.
Search Track Names on the Internet (FreeDb)
Searches track names from an Internet database. If the album is found, the CD
track list is updated.
Submit Track Names to the Internet (FreeDb)
Submits the information about the audio CD to the FreeDb database of CD
information.
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Importing Audio CD Tracks
Import Audio CD Dialog
Convert Menu
Convert All Tracks to Audio Montage
Extracts all audio CD tracks and uses them to create an audio montage.
Convert Selected Tracks to Audio Montage
Extracts the selected audio CD tracks and uses them to create an audio
montage.
Actions Tab
Source
Select the CD drive from which you want to import audio CD tracks.
Speed
Allows you to set the writing speed. The highest speed depends on your
writing device and on of the 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 from the selected drive.
Track List
Shows the tracks on the CD.
Range – Start/Length
If you want to import only a section of a track, use the Start and Length fields
to define a start point and length.
Output – Location
Allows you to set the output location.
Output – File Format
Allows you to set the output file format.
Select All
Selects all CD tracks in the track list.
Play
Plays back the selected CD track.
Options Tab
Trim Silence
If this option is activated, silence between imported tracks is removed. Only
digital silence is removed, that is, samples with a zero level.
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Importing Audio CD Tracks
Import Audio CD Dialog
Automatically Refresh on CD Change
If this option is activated, WaveLab Elements checks for the presence of a
new CD in the drive several times a second. If a new CD is found, the track
list display is refreshed.
Automatically Extract ISRC Codes
If this option is activated, ISRC codes are automatically extracted when a CD
is inserted.
Automatically Extract CD-Text
If this option is activated, CD-Text is automatically extracted when a CD is
inserted.
Automatically Search Track Names on the Internet
If this option is activated, track names are automatically searched on the
Internet when a CD is inserted.
Grab Pause before First Track (If Available)
If this option is activated, when a section of audio is located before the first
track, it is extracted together with the first track. This way, you can import
hidden bonus tracks.
Use a Japanese CD-Text Decoder
If this option is activated, CD-Text is interpreted as Japanese the next time it
is extracted.
Create Peak File
If this option is activated, a peak file is created together with the rendered files.
Show Times with CD Frame Units
If this option is activated, times are shown in CD frame units. There are 75 CD
frames per second.
Play through Master Section
If this button is activated, the Master Section is ignored. If the button is
deactivated, the audio is played through the Master Section.
Convert Titles and CD-Text to Meta-Data
If this option is activated when importing tracks into an audio format
supporting meta-data (for example, MP3 and WMA), the titles of the tracks
and the CD-Text are automatically added to the file header.
Ultra-Safe Mode (Slow)
If this option is activated, each CD track is read several times until the same
result is found (checksums are used). Specify the number of times that a track
must be read with the same result before it is saved to disk.
Real Audio Before and After Tracks
You can ensure that tracks are imported in their entirety by defining how much
audio should be read before and after each CD track.
276
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.
3.
Click Import Audio CD.
4.
In the Import Audio CD dialog, in the Source section, select the drive from
which you want to read, and specify the read speed.
5.
Optional: Rename the files and adjust the numbering scheme.
The tracks must have unique names if you want to import them all.
6.
Optional: On the Options tab, in the Read Audio Before and After Tracks
section, define how much audio should be read before and after each CD
track.
7.
In the track list, select the tracks that you want to import.
8.
Optional: If you have only selected one file, in the Range section, you can
define a Start and Length, to import just a part of the track.
9.
In the Output section, click the folder icon, and select an output location.
You can also drag one or more CD tracks onto an audio montage track.
10.
In the Output section, click the file format field, and select a file format for the
imported audio files.
11.
Click Save.
RESULT
The tracks are imported to the specified location.
Searching Track Names on the Internet
You can search for information about your CDs using the FreeDb database of CD
information.
PREREQUISITE
You must be connected to the Internet to use the FreeDb function.
PROCEDURE
1.
Insert a CD into the CD-ROM/CD-R device.
2.
Select File > Import.
3.
Click Import Audio CD.
4.
In the Import Audio CD dialog, select Rename Tracks > Search Track
Names on the Internet (FreeDb).
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Importing Audio CD Tracks
Submitting Track Names to the Internet
Submitting Track Names to the Internet
You can submit information about an audio CD to the FreeDb database of CD
information.
PREREQUISITE
You must be connected to the Internet to use the FreeDb function.
PROCEDURE
1.
Insert a CD into the CD-ROM/CD-R device.
2.
Select File > Import.
3.
Click Import Audio CD.
4.
In the Import Audio CD dialog, rename each track.
5.
Select Rename Tracks > Submit Track Names to the Internet (FreeDb).
6.
In the Submit CD Information dialog, fill out the text fields and enter an
E-Mail address.
NOTE
An E-Mail address is required to report submission errors. It will not be saved.
The FreeDb database does not offer the possibility to enter different artists or genres
for individual tracks. If the artists differ from track to track, you can write the track title
in the following way:
Title/Artist
7.
Click OK.
Ultra-Safe Mode
Sometimes, a small bit of a CD track is not properly retrieved which results in
unpleasant clicks and pops in the audio. This depends on the quality of your CD
drive. To solve this issue, you can activate the Ultra-Safe Mode in the Import
Audio CD dialog options.
If this option is activated, you can specify how many times each CD track must be
read with the same result, before it is saved to disk.
Converting Audio CD Tracks to an Audio Montage
PROCEDURE
1.
Insert a CD into the CD-ROM/CD-R device.
2.
Select File > Import.
278
Importing Audio CD Tracks
Converting Audio CD Tracks to an Audio Montage
3.
Click Import Audio CD.
4.
Optional: In the Import Audio CD dialog, on the Options tab, select which
information you want to extract from the Audio CD when converting.
5.
Decide whether to convert only selected tracks or all tracks.
•
To convert only selected tracks, select Convert > Convert Selected Tracks
to Audio Montage.
•
To convert all tracks, select Convert > Convert All Tracks to Audio Montage.
RESULT
When the conversion is finished, the imported files open in the Audio Montage
window.
279
WaveLab Exchange
You can use WaveLab Elements as an external editor for Cubase and vice versa.
IIMPORTANT
MPORTANT
•
WaveLab Exchange is only available for Cubase Pro 8.5.10 or higher and
Cubase Artist 8.5.10 or higher.
•
WaveLab Exchange supports the file formats Wave and Wave 64.
WaveLab Elements as External Editor for Cubase
You can open Cubase events in WaveLab Elements. This allows you to use the
editing capabilities of WaveLab Elements and apply them to Cubase events.
For example, the following editing options are exclusively available in
WaveLab Elements:
•
Audio error correction
•
Independent channel editing and processing
•
Analysis meters, global analysis (EBU R-128 recommendation), and 3D
frequency analysis
•
Sonnox restoration toolkit (DeBuzzer, DeClicker, DeNoiser)
•
MasterRig
Editing Cubase Audio Events in WaveLab Elements
PREREQUISITE
Open your Cubase project in Cubase.
PROCEDURE
1.
In the Cubase Project window, select the audio event that you want to edit in
WaveLab Elements.
You can also select only a part of the audio event with the Object Selection tool.
2.
Select Audio > Edit in WaveLab.
280
WaveLab Exchange
Cubase as External Editor for WaveLab Elements
3.
In WaveLab Elements, edit the audio event.
4.
When you have finished the editing, click Trigger Cubase Update on the
command bar.
RESULT
The changes to the audio event are applied to the Cubase project.
Cubase as External Editor for WaveLab Elements
When you are working on an audio file or clip in WaveLab Elements, you can open
the project of the audio file in Cubase. This allows you to correct issues that you
have identified during mixing and correct these issues in the audio file in Cubase.
When you then export the audio file in Cubase, and you use the same file name, the
audio file or clip is automatically updated in WaveLab Elements.
Preparing the Cubase Project for WaveLab Exchange
PROCEDURE
1.
In Cubase, open the project that you want to prepare for WaveLab Exchange.
2.
Select File > Export > Audio Mixdown.
3.
In the Export Audio Mixdown dialog, specify a file name and path.
4.
In the File Format pop-up menu, select Wave File or Wave 64 File.
5.
Activate Insert iXML Chunk.
6.
Click Export.
Editing the Audio File in Cubase
PREREQUISITE
The Cubase project is prepared for WaveLab Exchange.
PROCEDURE
1.
In WaveLab Elements, open the audio file in the Audio Editor.
A yellow line above the file tab indicates that the file has been rendered in Cubase.
2.
Select the Edit tab.
3.
In the Source section, click Edit Project.
The Cubase project that contains the audio file opens.
4.
In Cubase, edit the audio file.
5.
Select File > Export > Audio Mixdown.
281
WaveLab Exchange
Cubase as External Editor for WaveLab Elements
6.
In the Export Audio Mixdown dialog, activate Insert iXML Chunk.
IMPORTANT
Do not change the file name and path.
7.
Click Export.
RELATED LINKS
Preparing the Cubase Project for WaveLab Exchange on page 281
Tab Colors on page 62
282
Podcasts
Podcasting is a method of distributing multimedia files over the Internet, for
example, for playback on mobile devices and personal computers.
A podcast can be downloaded automatically, using software that is capable of
reading RSS feeds. RSS (Really Simple Syndication) is a standard for distributing
news and other information via the Internet. An RSS news feed sends short
messages on a specific topic from a specific web site. In order to read the
messages, the user employs a program that has the ability to monitor multiple feeds
and automatically download new messages on a regular basis. This can be 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.
Podcast Editor
The Podcast Editor is divided into two panes. The upper pane shows the
information for the feed or an episode, depending on the item that is selected in the
list below. This is where you can add files, Internet links, or textual information to the
podcast feed and its episodes. The lower pane shows an item list of the basic feed
and all episodes that are included in the podcast.
283
Podcasts
Podcast Editor
Episode Section
In the Episode section, you can create, delete, and move individual podcast
episodes.
New
Adds a new untitled episode.
Duplicate
Adds a new episode, copying all the information from the existing episode to
the new one.
Delete
Deletes the selected episode. Alternatively, you can exclude an Episode from
the podcast by deactivating the Enabled box.
Cut/Copy/Paste
Cuts, copies, and pastes the selected episode.
Move Up/Move Down
Moves the selected episode one position up or down in the list. Alternatively,
use drag and drop.
284
Podcasts
Podcast Editor
FTP Section
In the FTP section, you can define where your podcast is going to be uploaded via
FTP.
Update All Items
Uploads/updates the XML podcast file on the FTP server. It also uploads all
associated media files, but only if they are not yet available on the FTP server.
This is the most common function to upload and update your podcast.
Update Selected Item
Uploads/updates the XML podcast file on the FTP server. It also uploads the
media file of the selected item in the list, but only if it is not yet available on the
FTP server.
Upload/Replace All Items
This is the same as above, but it always uploads/replaces all of the media files
belonging to the item. This is useful if you have changed the audio data, for
example.
Upload/Replace Selected Items
This is the same as above, but it always uploads/replaces the media file of the
selected item in the list. This is useful if you have changed the audio data, for
example.
FTP Settings
Opens the FTP Settings dialog, which allows you to edit the FTP settings that
are related to this podcast.
Podcast Section
View Published Podcast
Opens your podcast (via the URL that is specified in your FTP site settings)
using your default browser.
View XML Source Code
Opens an XML editor to display the source code of the podcast.
Global Options
Edit the automatic picture resizing, set a time offset with Greenwich Mean
Time, and specify the path of the HTML editor.
Main Tab
On the Main tab, you can assign parameters to your podcast. The available
parameters change, depending on whether you select a feed or an episode. Field
labels in bold letters mark fields that are mandatory to fill.
Title
Sets the title of the feed, for example, the topic of your podcast.
285
Podcasts
Podcast Editor
Description
Gives space for a further description of the feed content.
Import HTML File (only available for episodes)
Lets you browse for an HTML document that replaces the description.
Internet Link (URL)
The main link of the feed that the user sees. Use this to direct people to a web
site that is related to your feed. Clicking the world icon opens the specified
URL in your default Internet browser.
Audio File (only available for episodes)
This sets the path to the audio file that you want to add to the episode. The
audio file can be of any file type that is supported by the media reader of your
browser. An MP3 file provides best compatibility. Click the icon to list the
audio files that are already open in WaveLab Elements. Select one for your
episode.
Alternatively, you can drag the list icon of an audio file into the audio file pane.
Click the play icon to open the specified file in the default media player or
viewer of your system, for previewing or checking purposes.
Picture (only available for feeds)
According to the RSS standard, this picture may not be larger than 144 x 400
pixels, so the picture is automatically resized. Clicking the picture icon
opens the specified picture in your default image viewer of your system.
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 this option is activated, the date and time of the most recent episode are
automatically matched.
Extra Tab
On the Extra tab, you can assign parameters to your podcast. The available
parameters change, depending on whether you select a feed or an episode.
The following parameters are available for a feed:
•
Webmaster (Email Address)
•
Editor (Email Address)
•
Copyright
•
Category
•
Related Domain (URL)
•
Language
•
Frequency of Updates
286
Podcasts
Podcast Editor
•
Skip Hours (0 to 23, Comma Separated)
•
Time to Live (Number of Minutes)
The following parameters are available for an episode:
•
Author (Email Address)
•
Comments (URL)
•
Category
•
Related Domain (URL)
•
Title
•
Original Domain (URL)
iTunes Tab
On the iTunes tab, you can activate the iTunes extension that allows you to specify
additional feed and episode information. The available parameters change,
depending on whether you select a feed or an episode.
The following parameters are available for a feed:
•
Subtitle
•
Summary
•
Categories
•
Keywords (Comma Separated)
•
Author
•
Owner Name
•
Picture
•
New URL of Feed
•
Hide in iTunes
•
Explicit Material
The following parameters are available for an episode:
•
Subtitle
•
Summary
•
Keywords (comma separated)
•
Author
•
Duration
•
Hide in iTunes
•
Explicit material
287
Podcasts
Global Podcast Options
Global Podcast Options
Some additional options are valid for all Podcast Editor tabs.
•
To open the Global Podcast Options dialog, open the Podcast Editor,
select the Edit tab, and click Global Options.
Automatic Picture Resizing (Not for iTunes)
Defines what to do if specified pictures exceed the maximum size allowed by
the RSS standard. If pictures need resizing, the original images on your hard
disk is not modified.
Time Offset with GMT (Greenwich Mean Time)
The displayed dates and times are local. If your system is properly set up,
WaveLab Elements automatically adjusts the time offset in relation to GMT.
However, if you want to have time and date relative to a different time zone,
adjust the value with this option.
HTML Editor
Sets the path to the external HTML editor that is launched when you click the
button in the Import HTML File section.
pen
Creating a Podcast
There are several ways to create a new podcast feed or episode.
•
To create a new podcast, select File > New and click Create Podcast.
•
To add a new untitled episode to a podcast, in the Podcast Editor, select the
Edit tab, and click New.
•
To add an audio file to the selected episode, select the Main tab, click in the
Audio File field, and select Select File Using Standard Selector. Select the
audio file in the file browser and click Open.
You can also drag an audio file from the File Browser window to the Audio
File field.
•
To duplicate the selected episode, select the Edit tab, and click Duplicate.
This adds a new episode, and copies all information from the existing episode
to the new one.
288
Podcasts
Setting Up a FTP for Podcast Publishing
Setting Up a FTP for Podcast Publishing
To be able to upload a podcast to your FTP server, you must enter the FTP server
details first.
PROCEDURE
1.
In the Podcast Editor, select the Edit tab.
2.
In the Podcast section, click FTP Settings.
3.
In the FTP Settings dialog, enter the following details:
4.
•
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.
Publishing a Podcast
You can upload a podcast from within WaveLab Elements to your FTP server.
PREREQUISITE
Set up your FTP settings within WaveLab Elements.
PROCEDURE
1.
In the Podcast Editor, select the Edit tab.
2.
In the FTP section, select one of the following options:
3.
•
Update All Items
•
Update Selected Item
•
Upload/Replace All Items
•
Upload/Replace Selected Items
In the FTP Settings dialog, check if the FTP settings are correct, and click
OK.
RESULT
The podcast is uploaded to your FTP site.
FTP Settings Dialog
In the FTP Settings dialog, you can manage all required information for the podcast
upload process.
289
Podcasts
FTP Settings Dialog
•
To open the FTP Settings dialog, open the Podcast Editor, select the Edit
tab, and click FTP Settings.
Host
The host name or IP address of the FTP server.
User Name
The login name to your FTP server.
Password
The password to the login.
Use Passive Mode
Keep this activated and only change this if you experience problems with the
FTP connection.
Feed File Name (with Path)
The podcast file name that is displayed on your FTP server (extension .xml),
including the relative path. File name and path are part of the final public
Internet address of the podcast, so you may want to avoid long names.
Associated Web Site (URL)
Your own web site address including the path to the feed.
FTP Settings Example
•
Your FTP host address is “ftp.MyPage.com”, your public web site address is
“www.MyPage.com”.
•
The feed file name setting is “podcasts/fantastic-cast.xml”, the associated
web site setting is “www.MyPage.com/podcasts”.
290
Podcasts
Checking the Podcast
•
The media files of the podcast will be uploaded to the FTP server at
“ftp.MyPage.com/podcasts”.
•
The podcast file itself and the Internet address to be distributed will be found
at “www.MyPage.com/podcasts/fantastic-cast.xml”.
Each podcast saves its own complete FTP site information. It is also possible to
save and recall FTP site presets using the Preset functions at the bottom of the
dialog.
Checking the Podcast
After creating and publishing a podcast, you can check if the upload was
successful.
•
To visualize the contents of the feed XML file in your default XML editor, open
the Podcast Editor, select the Edit tab, and click View XML Source Code.
•
To open your default Internet browser and receive the podcast that you have
just published from the Internet, open the Podcast Editor, select the Edit tab,
and click View Published Podcast.
291
Customizing
Customizing means making settings so that the program behaves and looks the way
that you want it to.
Customizing the Wave Window and the Montage
Window
You can set up the wave/montage window by adjusting colors of waveforms,
background, cursor lines, etc., and changing the look of the ruler and other window
details.
Customizing can be done in the following ways:
•
By changing the default style.
•
By assigning different styles, according to specific conditions. For example, a
specific file type or a specific file name.
Assigning Custom Colors to the Wave Window or the Montage
Window
PROCEDURE
1.
Depending on whether you want to customize the colors of the wave window
or the montage window, do the following:
•
For the wave window, select File > Preferences > Audio Files and select the
Style tab.
•
For the montage window, select File > Preferences > Audio Montages and
select the Style tab.
2.
Select the part that you want to color from the Parts list.
3.
Specify a color using the color picker or the RGB fields.
292
Customizing
Customizing Shortcuts
Assigning Custom Colors According to Conditions
You can apply different color schemes automatically to different clips, according to
their names or the properties of their audio files.
MPORTANT
IIMPORTANT
If you redefine colors, be careful not to choose colors that cause other elements to
disappear.
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:
•
For the wave window, select File > Preferences > Audio Files and select the
Style tab.
•
For the montage window, select File > Preferences > Audio Montages and
select the Style tab.
Do one of the following:
•
In the Audio Files Preferences, select one of the Conditional options from the
pop-up menu at the top of the dialog.
•
In the Audio Montages Preferences, in the Parts list, select one of the
Custom entries.
3.
Specify a color using the color picker or the RGB fields.
4.
In the This Style Is Used If These Conditions Apply section, specify the
conditions.
5.
Click OK.
Copying Color Settings
You can copy the color settings of one part, or all parts of a custom color schema.
•
To copy a color setting, select the part from which you want to copy the color,
and select Copy Color. Then select the part to which you want to copy the
color, and select Paste.
•
To copy all color settings of a custom color setting, drag the name of a custom
color setting onto another custom color name, and click OK.
Customizing Shortcuts
In WaveLab Elements, you can control many functions via shortcuts to speed up
your workflow. You can edit existing shortcuts, and create new shortcuts.
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Customizing Shortcuts
Most shortcuts are restricted to a specific editor, which means that you can reuse
the same shortcut combination in different editors. The exception is the Master
Section where all shortcuts are global to the application.
The shortcuts in the Navigation (Numeric Pad) and View and Navigation sections
on the Shortcuts tab are dedicated to navigating through WaveLab Elements.
Shortcuts that cannot be edited are grayed out. The shortcuts that you created are
displayed in blue in the editor.
You can create a new shortcut by specifying a key sequence of up to four keys that
must be pressed in a specific order to invoke the operation.
RELATED LINKS
Shortcuts Tab on page 296
Indexed Key Commands
Indexed key commands allow you to quickly jump to specific locations in your
project, for example, to a specific marker or Master Section slot.
The available indexed key commands are listed on the Shortcuts tab, in the
Navigation (Numeric Pad) section.
•
To trigger an index key command, type the number of the item that you want
to jump to and press the corresponding key on your keyboard.
EXAMPLE
If you want to jump to the 5th marker in your file window, press [5] on your keyboard
and then press [M].
If you want to jump to the 10th file tab, press [10] on your keyboard and then press
[F].
RELATED LINKS
Shortcuts Tab on page 296
Editing Shortcuts
You can see the list of all shortcuts in the Shortcuts tab, and edit and assign
shortcuts on the Shortcut Definitions dialog.
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Customizing
Customizing Shortcuts
The Shortcuts tab provides a different command set for each menu or dialog.
•
To open the Shortcut Definitions dialog, select File > Preferences >
Shortcuts, select a command, and click Edit Shortcut.
•
You can define one key shortcut per command. Each shortcut can be a
sequence of up to four keystrokes.
•
To reset some or all types of shortcuts to their factory default use the Reset
button.
Defining Key Sequences
You can define key sequences for a keyboard.
PREREQUISITE
On a Mac, commands for the main menus must consist of a single key command.
When using multiple key stroke commands, make sure that the key commands do
not interfere with each other. For example, when you have one shortcut [Shift]+L, M
and define another to be [Shift]+L, this second shortcut has no effect.
PROCEDURE
1.
Select File > Preferences > Shortcuts.
2.
In the commands list, select the command for which you want to define a key
sequence, and click Edit Shortcut, or double-click the Key Sequence
column of the corresponding command.
3.
In the Shortcut Definitions dialog, click in the Key Stroke fields and press
the buttons that you want to use as the key sequence.
4.
Click OK.
RESULT
When you now press the keys/buttons specified in the dialog, the corresponding
operation is performed. The key strokes must be executed one after the other.
RELATED LINKS
Remote Devices Tab on page 14
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Customizing
Customizing Shortcuts
Generating a List of All Shortcuts
You can generate an HTML file or print out a list that contains all shortcuts.
PREREQUISITE
If you want to print out the list, make sure a printer is connected to your system.
PROCEDURE
1.
Select File > Preferences > Shortcuts.
2.
Click Summary, and select one of the following options:
•
To open the Print Preview dialog, from which you can print out the list of all
shortcuts, select Print Preview. For Print Preview to be available, a printer
must be connected.
•
To open the list of all shortcuts in the HTML file format in the standard browser,
select HTML Report.
Shortcuts Tab
This tab allows you to customize your own shortcuts for WaveLab Elements. It
shows a list of the assigned shortcuts for WaveLab Elements commands and menu
options.
•
To open the Shortcuts tab, select File > Preferences > Shortcuts.
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Customizing
Customizing Shortcuts
Search pop-up menu
Allows you to select the part of the commands list in which the search is
performed.
Search field
Allows you to search for a command.
Use Wildcards
If this option is activated, the wildcard characters “*” and “?” can be used.
“*” substitutes zero or more characters, and “?” substitutes any character.
For example, if Search Keyboard Shortcut is selected, type “*” to display all
commands that are already associated with a shortcut.
Expand/Collapse
Expands/Collapses the folder tree.
Commands list
Shows all commands and their shortcuts.
Reset
Resets the commands to the factory settings.
Summary
Opens a menu from which you can generate a list of all commands and their
shortcuts, either in HTML or as a print out.
Edit Shortcut
Opens the Shortcut Definitions dialog where you can edit the shortcuts for
the selected command.
Shortcut Definitions Dialog
This dialog allows you to define your own customized shortcuts for a particular
function.
•
To open the Shortcut Definitions dialog, select File > Preferences >
Shortcuts, select a command, and click Edit Shortcut.
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Customizing
Customizing Command Bars
Key Sequence
1st Key Stroke
Lets you select the first key of a sequence that can consist of up to four keys.
Set the focus to the key stroke field, then press the key combination. If nothing
is displayed, a key is not allowed in this context.
2nd/3rd/4th Key Stroke (optional)
Lets you select additional keys that must be used to execute the command.
The command is only executed if this key event happens after the first one.
Clear
Erases all key event fields.
Customizing Command Bars
You can hide or show individual command bar buttons. This way you can customize
command bars by removing unwanted commands.
PROCEDURE
1.
In a tool window, open the menu and select Customize Command Bar.
2.
To show a specific command on the command bar, activate the checkbox in
the Bar column for the corresponding command.
3.
Click OK.
Plug-in Organization
WaveLab Elements comes with various plug-ins, and additional plug-ins can be
added. To retain an overview over the plug-ins that are relevant to your project, you
can organize your plug-ins in groups.
On the Organize tab of the Plug-ins Preferences, you can specify how your
plug-ins appear on menus in the program. In the plug-ins list, you find subfolders
representing groups of plug-ins.
Initially, plug-ins are categorized by vendor, category, favorite plug-ins, and recently
used plug-ins.
If the 32-bit and 64-bit versions of WaveLab Elements are used on the same
system, their settings are shared. An exception to this rule are the following options
in the Plug-ins Preferences:
•
Additional VST Plug-in Folders
•
Ignore Plug-ins Located in the following Subfolders
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Customizing
Plug-in Organization
This is because 32-bit plug-ins cannot be used in WaveLab Elements 64 bit and
vice versa.
RELATED LINKS
Plug-ins Preferences on page 302
Deactivating Plug-ins
:PVDBOEFBDUJWBUFQMVHJOT5IJTJTVTFGVMJGZPVEPOPUXBOUUPVTFQBSUJDVMBS
QMVHJOTJO8BWF-BC&MFNFOUT
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the Organize tab.
3.
In the plug-ins list, navigate to the plug-in that you want to deactivate.
4.
Deactivate the checkbox in for the plug-in. When selecting multiple plug-ins,
you can deactivate all of them with a single click.
•
To deactivate the plug-in on the plug-in selection menus, deactivate the
checkbox in the Effect column.
•
To deactivate the plug-in on the Final Effect/Dithering panel of the Master
Section, deactivate the checkbox in the Final column.
•
To deactivate the plug-in on the Playback-Processing panel of the Master
Section, deactivate the checkbox in the Play column.
•
To deactivate a clip plug-in when a clip is not streamed, deactivate the
checkbox in the Dyn column.
This allows you to save DSP power when using hardware plug-ins.
Adding Plug-ins to the Favorites Menu
You can add plug-ins that you are using regularly to the Favorites menu of the
plug-in selection menu.
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the Organize tab.
3.
In the plug-ins list, navigate to the plug-in that you want to add to the favorites.
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Customizing
Plug-in Organization
4.
Activate the checkbox for the corresponding plug-in in the Favorites
column.
NOTE
If the Favorites menu is empty, it does not appear in plug-in selection menus.
Customizing Plug-in Groups
You can customize the appearance and sorting of plug-ins on the Organize tab of
the Plug-ins Preferences.
•
To update the tree, click the Show Changes button.
•
The category labels that are used to create the hierarchy are supplied by the
plug-in manufacturers. To change the category name, navigate to the
Category Renaming table, click in the Original column, and select the
category that you want to rename. Then click in the Modified column, and
enter a new name.
•
To change the sorting of plug-in groups, select whether to sort by category
or by vendor in the sorting menu of the Customize section. If a plug-in does
not publish a vendor name or category, the name of the enclosing plug-in
folder on disc is used as vendor name or category if it is not the VST plug-in
root folder.
•
To group all plug-ins that start with the same prefix in one submenu, activate
Create Submenus Based on Prefixes, and specify the number of plug-ins
that must start with the same prefix. Only if this number is reached, a submenu
is created.
•
To group plug-ins in a single submenu if their number is below a specified
value, activate Compress Hierarchy, and specify the threshold. A tree is
flattened to a single submenu if the number is below the threshold. This
prevents too small submenus.
•
To activate the Recently Used category, activate Submenu with Recently
Used Plug-ins, and specify the maximum number of recently used plug-ins
that should be displayed in this category.
•
You can make the Recently Used category global to all places or individual
for each context, for example, for the Master Section, audio montage track,
or audio montage clip. To make the Recently Used category individual for
each context, activate Independent Recently Used Plug-ins Menus.
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Customizing
Plug-in Organization
Adding Additional VST Plug-ins
You can specify folders where additional VST plug-ins can be found. This is useful
if you are using third-party VST plug-ins that you do not want to save in the standard
VST folder.
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the General tab.
3.
In the Additional VST Plug-in Folder (WaveLab Specific) section, click the
folder icon, and navigate to the folder that contains the VST plug-ins that you
want to add.
Excluding Plug-ins
You can specify a list of plug-ins that WaveLab Elements does not open.
PROCEDURE
1.
Select File > Preferences > Plug-ins.
2.
Select the General tab.
3.
In the Do Not Load the Following Plug-ins section, type in the name of the
plug-in that you do not want to open:
•
Enter the exact file name, without path and without file extension.
•
Enter one name per line.
•
If you put “*” in front of the name, any plug-in that contains the name is ignored.
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Customizing
Plug-in Organization
Replacing Missing Plug-ins
When you open an audio montage and some plug-ins for tracks or clips are missing,
you can select plug-ins to replace the missing plug-ins.
PROCEDURE
1.
In the Missing Plug-ins dialog, click the Replacement column, and select a
replacement for the plug-in displayed in the Original column.
2.
If you want to use the new plug-in from now on, activate Save Replacements
as Default.
3.
Click OK.
Plug-ins Preferences
On this tab, you can access a number of options for managing your VST plug-ins.
You can specify where WaveLab Elements should search for your VST plug-ins and
which ones it should ignore. It also allows you to choose how your VST plug-in
controls respond to mouse actions and how frequently graphics are updated.
If you use your own file structure to organize and save VST plug-ins, this dialog
allows you to gain full control over which plug-ins are loaded and which are ignored.
This is useful if you want to deactivate a particular plug-in or if you want to ignore
plug-ins that you never want to use with WaveLab Elements.
•
To open the plug-in preferences, select File > Preferences > Plug-ins.
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Customizing
Plug-in Organization
General Tab
Search Standard VST Plug-in Shared Folders
If this option is activated, WaveLab Elements searches for VST plug-ins in the
default VST plug-in folders.
Information About the Searched Folders
Click on the info icon to see in which folders WaveLab Elements searched for
plug-ins when it was launched. If you cannot find a plug-in in
WaveLab Elements, this helps you to determine whether you have specified
the correct folder, for example.
Additional VST Plug-in Folders (WaveLab Elements Specific)
Lets you specify additional folders where VST plug-ins can be found.
Ignore Plug-ins Located in the following Subfolders (Separate Folder Names
with a Semicolon)
Lets you specify folder names that WaveLab Elements skips when searching
for VST plug-ins.
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Customizing
Plug-in Organization
Do Not Load the following Plug-ins
Lets you specify plug-ins that WaveLab Elements does not open. Enter the
file names, without path and without file extension. Write each plug-in on a
new line.
If you put the character * in front of the name, any plug-in that contains the
name is ignored.
Force Plug-in Detection at Next Launch
Analyzes the plug-ins when launching WaveLab Elements the next time. To
reduce the start time of WaveLab Elements, the plug-ins are not analyzed
every time WaveLab Elements is started. However, WaveLab Elements
keeps a list of plug-ins and updates this automatically when a date or size
change is detected.
Keep Plug-ins in Memory until WaveLab Elements Quits
If this option is activated, the plug-ins are kept in memory even when they are
no longer used. This results in a faster reopening of plug-ins. However, if you
use many plug-ins, too much memory could be used after a specific time,
which slows down the application.
Faster Graphics Refreshing (Consumes More Computer Power)
Refreshes the graphics of VST plug-ins more quickly.
VST Plug-in Knobs
Lets you set the mode for using knobs in plug-ins. You can set the mode to
Circular, Circular Mode (Relative Movement), and Linear.
Organize Tab
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Customizing
Plug-in Organization
Plug-ins list
Displays the hierarchy of the plug-ins in WaveLab Elements. Here, you can
specify whether a plug-in is available on the plug-in selection menus and/or
the Final Effect/Dithering panel and Playback-Processing panel of the
Master Section.
You can add plug-ins to the Favorites list, create shortcuts for plug-ins,
specify custom categories, and decide whether to use the generic user
interface or the plug-in specific user interface.
Expand/Collapse
Expands/collapses the folder tree.
Search field
Allows you to filter the plug-ins list for names.
•
Click in the search field, and enter the text that you want to search for.
•
To switch the focus from the search field to the plug-ins list, press
[Down Arrow].
•
To switch the focus from the plug-ins list to the search field, press
[Ctrl]/[Command]-[F].
Only Show New Plug-ins
If this option is activated, only the recently detected plug-ins are displayed.
Remove “New” Status
Resets the “new” status of the recently detected plug-ins.
Show Changes
Refreshes the plug-in tree according to the current settings.
Sorting
Determines how the plug-ins are sorted. The other parameters act on that
hierarchy.
Compress Hierarchy
Merges all items into a single submenu if a submenu and all its submenus
contain less than a specific number of plug-ins (Threshold).
The Threshold value determines the minimum number of items that are
needed to compress the hierarchy.
Create Submenus Based on Prefixes
Creates a submenu that is labeled as the prefix if several items in a submenu
start with the same prefix.
The Threshold value determines the minimum number of items that must start
with the same prefix that are needed to create submenus that are labeled as
the prefix.
Merge Single Submenus
Merges submenus that contain another submenu with only a single item in it.
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Customizing
Plug-in Organization
Category Renaming
The category labels used to create the hierarchy are supplied by the plug-in
manufacturers. In this section, you can change the category name. This can
also be useful to merge two categories into one, by renaming these two
categories with the same name.
Submenu with Recently Used Plug-ins
If this option is activated, the Recently Used submenu is shown.
The Maximum Size value determines the maximum number of plug-ins on the
Recently Used submenu.
The Independent Recently Used Plug-ins Menu option determines whether
the Recently Used submenu is global to all places where plug-ins can be
selected, or if it is local to each context.
Ignored Plug-ins
Opens the Ignored Plug-ins dialog, where you can plug-ins which were not
loaded. This dialog lets you instruct WaveLab Elements to rescan these
plug-ins at the next launch. This is faster than a full rescan.
Number of Plug-ins
Shows the number of plug-ins that are available in WaveLab Elements.
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Configuring the Software
You can configure WaveLab Elements according to your needs.
NOTE
The settings that you make in the preferences are applied when you switch to
another WaveLab Elements window.
Global Preferences
Global preferences are preferences that apply throughout WaveLab Elements.
Before you start working with WaveLab Elements, it is recommended to edit these
preferences to configure WaveLab Elements according to your needs.
•
To open the global preferences, select File > Preferences > Global.
General Tab
This tab allows you to change the location of settings files and the user interface
language. You must restart the application for changes to take effect.
General
Language
Allows you to select the user interface language.
Setting Location
Common for All Users
Shares the preferences settings with all users on this computer.
Independent for Each User
Lets each user on this computer make their own preferences settings.
Application Folder (Portable Installation)
Saves settings in the application directory. Use this option to install the
application on a portable device.
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Configuring the Software
Global Preferences
Specific Folder
Allows you to save the settings in a specified folder.
Open Setting Folder
Opens the folder that is used to save settings. This way you know where the
settings are saved and you can back up the settings.
Synchronization Settings
Master Folder
Lets you specify where the preference settings are saved.
Synchronize at Every Launch
If this option is activated, the settings are synchronized whenever
WaveLab Elements is launched.
Synchronize at Next Launch
If this option is activated, the settings are synchronized the next time that
WaveLab Elements is launched.
Preferences Handling
Determines how to synchronize the preferences, that is, all settings except the
presets. You can either ignore or mirror the preferences.
Preset Handling
Determines how to synchronize the presets that are saved in the master
folder. The following options are available:
•
If Ignore Presets is activated, the presets are not synchronized.
•
If Mirror Presets is activated, the presets are restored from the master
folder, regardless of their time stamp. Any additional local presets are
deleted.
•
If Import New Presets is activated, the presets in the master folder that
are unavailable on the computer are imported.
•
If Update Old Presets is activated, existing presets are overwritten if a
newer version is found in the master folder.
Ignore the following Preset Folders (Separate Them with a Semicolon)
Lets you specify which preset folders you want to ignore when synchronizing
the settings. For example, to ignore the VST Audio Connections settings, add
"VST Audio Connections" to the field.
Update Master
If you click this button, the settings that were used when launching
WaveLab Elements are used to update the master folder.
NOTE
This procedure should only be run by the system administrator if multiple
WaveLab Elements workstations are used.
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Configuring the Software
Global Preferences
Display Tab
This tab allows you to change many aspects of the user interface that apply across
the whole application. These options provide information and usability functions but
can be deactivated to streamline the interface.
Theme
Theme
Allows you to switch between the WaveLab Elements color schemes.
Miscellaneous Options
Use the System File Selector to Open Files
If this option is activated, the standard file selector opens when you select the
Save As option.
Open Quick File Selector When Saving Files
If this option is activated and you save a file via the save shortcut, a dialog
opens instead of the File tab.
Show WaveLab Elements Logo on Startup
Determines whether the WaveLab Elements logo is displayed during
initialization.
Show Tooltips
If this option is activated, tooltips are displayed when you move the mouse
cursor over markers or command bar buttons.
Hide Top Level Windows When the Application Is Not Active (Windows only)
If this option is activated, all floating windows are automatically hidden when
another application becomes active. If this option is deactivated, floating
windows remain on top of other application windows.
History
Maximum Number of Items in Recent File Menus
Sets the maximum number of files that are listed in recent file menus.
Formats Tab
This tab allows you to adjust settings for some of the audio formats and units that
WaveLab Elements uses.
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Configuring the Software
Global Preferences
Formats
Use AES17 Standard for RMS Values
Determines how RMS values are reported.
•
If this option is activated, the displayed level for a full scale sine audio
file is 0 dB. This follows the AES17 standard.
•
If this option is deactivated, the displayed level for a full scale sine audio
file is -3 dB.
Pitch of A3 (Used in Frequency To Note Conversions)
Sets the reference pitch in WaveLab Elements. The frequency-to-note
conversions take this pitch into account.
MIDI Note Display
The options in this section allow you to choose whether to display the different key
values in WaveLab Elements with the pitch or the MIDI note number of the key. In
musical notation, keys are denoted according to their pitch. For example, C3 means
the note C in the third octave.
Each key corresponds to a MIDI note number from 0 to 127. For example, key C3
corresponds to the MIDI note number 48. MIDI note numbers make it possible for
samplers to automatically map samples to the correct keys.
Numeric Style
Determines the format for MIDI notes that are displayed as numbers.
Middle C (Note #60)
Determines the key convention for the MIDI note range (0-127).
Display
Determines how MIDI notes are displayed throughout the application.
CD Writing Tab
This tab allows you to set a number of parameters for CD writing.
CD Writing
Use Burnproof
Fixes possible buffer underrun errors automatically, provided that the CD
writer supports this technology.
Allow Disc Overflow
Allows WaveLab Elements to attempt writing more data (max. 2 minutes) than
the official capacity of the disc.
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Configuring the Software
Audio Files Preferences
Maximum Audio CD Size
Allows you to specify the maximum length for a CD. A warning message will
appear if the project exceeds this length. The standard maximum length is 74
minutes.
Options Tab
This tab allows you to control application-wide start-up options. You can also reset
the default message boxes.
Alternative External File Browser
Allows you to specify an alternative external file browser that opens when you
use the Reveal Folder in File Explorer/Mac OS Finder or Reveal Files in
File Explorer/Mac OS Finder options in WaveLab Elements.
If the application needs a special command line formatting, you can specify it
in the Command Line field. Use %1 as a placeholder for the file or folder to
which you want to browse.
Reset Default Answers
Resets all message box options to their default settings. For example, all “Do
not show again” options are deactivated.
Audio Files Preferences
This dialog allows you to define settings for editing in the Audio Editor. However,
these settings also effect other parts of WaveLab Elements. You can choose
defaults for editing and playback, adjust the visual appearance of the waveform
displays, and determine how WaveLab Elements works with audio and peak files.
•
To open the Audio Files Preferences dialog, select File > Preferences >
Audio Files.
Editing Tab
Display
Save View Settings in Companion File
If this option is activated, zoom settings, ruler settings, and optionally the
Master Section preset that is associated with the audio file are saved in a
companion file. if the audio file is reopened, these settings are used. Deleting
a companion file does not alter the audio contents.
Save in an Independent Folder
If this option is activated, the companion file is not saved in the same folder as
the related audio file but in a folder that you can specify.
311
Configuring the Software
Audio Files Preferences
Edit
Opens the Folders dialog that allows you to specify where to save the
companion files.
Show Overview when Opening new Audio Files
If this option is activated and you open an audio file, the overview is also
displayed. If this option is deactivated, only the main view is displayed.
Overview: Passive Range Indicator Also Covers the Waveform
If this option is activated, the range indicator that is displayed in the time ruler
of the overview also covers the waveform area. Unlike the time ruler indicator,
the range indicator is passive and cannot be modified.
Analog Waveform Emulation at Sample Level Zooming
If this option is activated and a waveform is zoomed at the sample level in the
timeline, an analog emulation of the waveform is displayed.
Auto-Zoom for Overviews
If this option is activated and you open an audio file, the zoom of the overview
is set to display the whole file.
Display File Extension on Tabs
If this option is activated, tabs display file names with their extension. For
example, “piano.mp3” instead of “piano”.
Number of Seconds to Display on Opening
Lets you specify the time range to display when opening an audio file for the
first time. WaveLab Elements converts this time range to the appropriate
zoom factor.
Whole Audio File
If this option is activated, the horizontal zoom is set to display the whole file.
Editing
Select All Channels with the Mouse
If this option is activated and you select a range with the mouse in a stereo
file, both channels are selected. To select the channels individually, press
[Shift] while selecting. To switch from one channel selection to the other,
press [Tab].
Process Whole File If There is No Selection
If this option is activated and a process is to be applied to an audio file, the
whole file is processed if no audio is selected. In the same situation, if the
option is deactivated, a warning appears.
Playback Scrubbing
Restrict to Play Tool
If this option is activated, this function only works if the Play Tool is used.
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Configuring the Software
Audio Files Preferences
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.
Scan Range
Lets you define how far WaveLab Elements searches a zero-crossing point in
the left and right direction.
File Tab
Default Sample Rate for Files without Header
Lets you specify the sample rate of audio files that do not have a header
describing this property.
Create Peak Files in an Independent Folder
If this option is activated, peak files are not saved in the same folder as the
related audio file. To specify the folder location, click Edit.
Style Tab
This tab allows you to specify custom colors for parts of the wave window.
Styles
Lets you select the default style and conditional styles.
Parts
Shows parts that can be colorized. Click a part to edit the color.
Hide (for specific parts only)
Hides the selected part.
Dotted Line (for specific parts only)
Changes the line to a dotted line.
Transparency (for specific parts only)
Lets you edit the degree of transparency of the selected element.
Element Size (for specific parts only)
Lets you edit the size of the selected element.
313
Configuring the Software
Audio Files Preferences
Change Both Channels
Allows you to make separate color settings for the left and the right side of a
stereo file. If this option is activated, settings for the left side of a file are
automatically mirrored on the right side, and vice versa.
Change Both Main View and Overview
Allows you to make separate color settings for the main view and the
overview. If this option is activated, settings for the main view are automatically
mirrored on the overview, and vice versa.
Color Picker
Lets you select the color for the selected part. Click the surrounding circle to
select the hue. Click in the triangle to adjust the saturation and lightness.
Red/Green/Blue
Lets you specify the red, green, and blue components of the RGB color
spectrum.
Copy Color
Copies the current color to the clipboard.
Paste
Pastes the color from the clipboard.
This Style Is Used If These Conditions Apply
Lets you define conditions under which a specific color style is applied.
File Extension Is Any Of
If this option is activated, the color style is applied to files with the specified
extension. Separate extensions with a “;” character.
Name Contains Any of These Keywords
If this option is activated, the color style is applied to files with specific
keywords in their name. Separate keywords with a “;” character.
Sample Rate Is in the Range
If this option is activated, the color style is applied to files that have a sample
rate within the specified range.
Bit Resolution Is in the Range
If this option is activated, the color style is applied to files that have a bit
resolution within the specified range.
Number of Channels Is
If this option is activated, the color style is applied to files that have the
specified number of channels.
314
Configuring the Software
Audio Files Preferences
Color Elements in the Audio Editor
You can assign custom colors to various elements of the Audio Editor. Depending
on the selected element, additional settings can be made for transparency,
appearance, or whether a line should be dotted, for example.
Left/Right Channel
Waveform
The waveform color.
Waveform (Selected)
The waveform color of the selected part of the waveform.
Waveform Outline
The outline color of the waveform.
Waveform Outline (Selected)
The outline color of the selected part of the waveform.
Background Top
The color of the background top.
Background Top (Selected)
The color of the selected part of the background top.
Background Bottom
The color of the background bottom.
Background Bottom (Selected)
The color of the selected part of the background bottom.
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.
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Configuring the Software
Audio Montages Preferences
Cursor (Play)
The color of the cursor during playback.
Marker Line
The color of the marker lines and an optional transparency.
End of File Indicator
The color of the end of the file indicator.
Time Ruler Style
The color of the time ruler and its style.
Time Ruler Font
The color of the font on the time ruler and the font size.
Level Ruler Style
The color of the level ruler, its style, and transparency.
Level Ruler Font
The color of the font on the level ruler and the font size.
Audio Montages Preferences
This dialog allows you to set up general parameters for all audio montages or for the
active audio montage only.
•
To open the Audio Montages Preferences tab, select File > Preferences
> Audio Montages.
Style Tab
This tab allows you to specify custom colors to clips and parts of a clip in the
montage window.
Parts
Shows parts that can be colorized. Click a part to edit the color.
Checkbox
Allows you to select multiple parts to colorize multiple parts at the same time.
Undo
Undoes the last change.
Redo
Allows you to redo changes that were undone.
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Configuring the Software
Audio Montages Preferences
Hide
Hides the selected part.
Change Both Channels
It is possible to make separate color settings for the left and the right side of
stereo clips. If this option is activated, settings for the left side of a clip are
automatically mirrored on the right side, and vice versa.
Color Picker
Lets you select the color for the selected part. Click the surrounding circle to
select the hue. Click in the triangle to adjust the saturation and brightness.
Red/Green/Blue
Lets you specify the red, green, and blue components of the RGB color
spectrum.
Copy Color
Copies the current color to the clipboard.
Paste
Pastes the color from the clipboard.
This Style Is Used If These Conditions Apply
Lets you define conditions under which a specific color style is applied.
File Extension Is Any Of
If this option is activated, the color style is applied to clips referencing a file
with the specified extension. Separate extensions with a “;” character.
Name Contains Any of These Keywords
If this option is activated, the color style is applied to clips with specific
keywords in their name. Separate keywords with a “;” character.
Sample Rate Is in the Range
If this option is activated, the color style is applied to clips referencing a file
that has a sample rate within the specified range.
Bit Resolution Is in the Range
If this option is activated, the color style is applied to clips referencing a file
that has a bit resolution within the specified range.
Number of Channels Is
If this option is activated, the color style is applied to clips that have the
specified number of channels.
Color Elements in the Audio Montage
You can assign custom colors to various elements of the montage window.
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Configuring the Software
Audio Montages Preferences
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 fully locked clips.
Muted
The colors used for muted clips.
Custom
These options correspond to the items on the color submenus. You can set
up conditions in the This Style Is Used If These Conditions Apply section
for when these should be automatically applied.
The following color elements are available:
Background Top/Bottom
The background colors of the clip. The resulting display backgrounds are
gradient fades from the top colors to the bottom colors.
Waveform (Normal/Selected)
The waveform color for selected and unselected clips.
Waveform Outline (Normal/Selected)
The color of the waveform outline for selected and unselected clips.
Edge
The left and right edge of the clip.
Edge (Selected)
The left and right edge of a selected clip.
Axis (Level Zero)
The color of the horizontal dotted line in the middle of a clip, indicating the zero
level.
Axis (Half Level)
The color of the horizontal dotted lines halfway up and down from the middle
of a clip, indicating 50 % level.
Channel Separator (Stereo Clip)
The line dividing the two sides in a stereo clip.
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Configuring the Software
Settings Management
Clip Name
The name label of the clip.
Active Clip Name
The name label of the active clip.
Active Clip Name Background
The name label background of the active clip.
Miscellaneous
Background Top/Bottom
The background colors of the track view for areas without a clip.
Background (Selected Range) Top/Bottom
The background colors in selected ranges.
Cursor (Edit)/Cursor (Edit, No Focus)/Cursor (Playback)
The color of the corresponding cursor.
Marker Line
The color of the marker lines in the audio montage.
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.
Settings Management
You can make some reference settings available to other WaveLab Elements
installations. These settings can then be used by other WaveLab Elements
workstations to keep the settings synchronized on several computers.
PROCEDURE
1.
Select File > Preferences > Global.
2.
Select the General tab.
3.
In the Setting Location section, specify where to save the settings.
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Configuring the Software
Multi-User Settings
Multi-User Settings
If you use multiple WaveLab Elements stations in your studio or in your school, for
administration, etc., you can set up one WaveLab Elements station to be the master
station. The shared preferences and presets of this station can then be used by
other slave stations.
These settings can be saved on the local network, for example.
If the administrator updates these settings, the different WaveLab Elements
stations can synchronize with the master settings. You can also use this feature for
individual computers to back up a reference setting and revert to this if necessary.
The settings in the General tab of the Global Preferences dialog are not
synchronized. These are saved for each user in the startup.ini (Windows) or
startup.plist (Mac).
IIMPORTANT
MPORTANT
Settings cannot be synchronized between PC and Mac.
Setting Up a Multi-User Setup
You can use the settings that you have made on a master WaveLab Elements
station for other slave WaveLab Elements stations.
PROCEDURE
1.
Set up a WaveLab Elements station with all settings and presets that you
want to use on other WaveLab Elements stations.
2.
Assign read-only access to the settings folder of the master
WaveLab Elements station.
3.
Open WaveLab Elements on another station for which you want to use the
master settings.
4.
Select File > Preferences > Global.
5.
Select the General tab.
6.
In the Synchronization Settings section, set up the Master Folder, specify
when the settings should be synchronized, and specify whether to include the
preferences and/or presets.
7.
Close WaveLab Elements.
8.
Copy the startup.ini (Windows) or startup.plist (Mac) of the slave
WaveLab Elements station to the settings folder of the other slave
WaveLab Elements stations.
RESULT
All slave WaveLab Elements stations use the settings of the master
WaveLab Elements station.
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Plug-in Reference
Steinberg created Virtual Studio Technology (VST) to allow effect plug-ins to be
integrated with audio editors, such as WaveLab Elements. 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 Elements 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 the plug-in format of WaveLab Elements, and cannot be used
with other applications.
•
WaveLab Elements specific plug-ins can only be used in the Master Section.
However, some WaveLab Elements effects are also included as VST
plug-ins, available as track or clip effects in audio montages.
•
You can specify which plug-ins should be available on the Effects pane and
the Final Effect/Dithering pane of the Master Section by using the Plug-in
Settings dialog.
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.
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Plug-in Reference
Built-in Plug-ins
Output Sample Rate
Defines the output sample rate while the input sample rate is determined by
the sample rate of the active audio file or audio montage.
Quality
Defines the quality of the algorithm that is used (Preview (Fast) or Standard).
Ducker
This plug-in lets you control (modulate) the volume of clips placed on a track with
the signal of one or more clips placed on the next adjacent track below it. The
Ducker plug-in can only be used as a clip effect in the audio montage.
It uses the Route to options that can be found on the Track menu. You can use
mono or stereo tracks for both the modulating and the upper track.
Threshold
Sets the loudness threshold that triggers the Ducker. Clips on the modulator
track with levels above the threshold will cause the level of a clip on the upper
track to be lowered.
Damping
Sets the amount of level reduction that is applied to the clip on the upper
track.
Fall Time
Sets the time it takes for the level to change from 0 dB to the set damping
level.
Hold Time
When the modulating signal falls below the set threshold, this setting
determines how long the level will stay reduced before it starts rising to normal
level again.
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Plug-in Reference
Built-in Plug-ins
Rise Time
Sets the time after which the reduced level rises to the normal level when the
modulating signal falls below the set threshold (after the Hold Time).
Mix Mode
If this is activated, the Ducker outputs a mix of the two tracks. This is only
useful if the Route to Upper Track Only option has been activated for the
modulating track. Then this feature can be used for processing several clips
through the same plug-in chain if more plug-ins have been assigned after the
Ducker on the upper track.
Note that the mixed output is controlled by the upper track. If this is not playing
a clip, both of the tracks will be silent.
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
If this option is activated, Volume Right delivers the gain that is set for
Volume Left.
Mix to Mono
If this option is activated, a mono mix of the stereo channels is delivered to the
output bus.
MasterRig
MasterRig allows you to master audio material in an intuitive and creative way. It
offers high-class sound quality, accuracy, flexibility, and control.
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Plug-in Reference
Built-in Plug-ins
Main Layout
Module Chain
The module chain contains the mastering modules. You can add up to 5 modules.
The following settings are available for each module:
Bypass
Bypasses the module. This allows you to compare the sound of the
unprocessed signal to that of the processed signal.
Solo
Solos the module. Only one module can be soloed at a time.
Remove
Removes the module from the module chain.
Spectrum Display
The spectrum display in the upper half of the panel is where you set the width of the
frequency bands. The vertical value scale to the left shows the gain level of each
frequency band. The horizontal scale shows the frequency range.
•
To define the frequency range of the different frequency bands, use the
handles at the sides of each frequency band.
•
To attenuate or boost the output level of each frequency band by ±15 dB, use
the handles on top of each frequency band.
Settings
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Plug-in Reference
Built-in Plug-ins
Parameter Linking
Links the parameters of the same type in all bands in a module. This allows
you to edit parameter values of all bands in a module simultaneously. Two link
modes are available: Absolute and Relative.
•
If Absolute Mode is activated and you edit a parameter value in one
band, the corresponding parameter values in the other bands are set to
the same value.
•
If Relative Mode is activated and you edit a parameter value in one
band, the corresponding parameter values in the other bands keep their
relation.
Auto Listen for Filters
If this option is activated and you edit a parameter of a module, the
corresponding filter or band is soloed. This allows you to locate unwanted
frequencies in your audio and helps you to focus on a particular band or filter.
Once you stop editing the parameter, Solo is deactivated.
Undo/Redo
Undoes/Redoes the last operation.
Input/Output Meter
The input/output meter provides a combined peak level, with peak-hold functionality
and RMS meter. Between the meters for input and output is the gain reduction
meter for the Limiter.
The maximum values for input/output peak level, RMS, and gain reduction are
displayed above the meter display. To reset all maximum values, click any of the
values.
Modules
Modules allow you to create a mastering chain. Some modules can be used only
once and some in two instances in the module chain. You can rearrange modules
in the module chain to change the processing order.
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Plug-in Reference
Built-in Plug-ins
•
To add a module to the module chain, click Add Module in the modules
section and click a module.
•
To remove a module, click the corresponding Remove button.
•
To bypass a module, click the corresponding Bypass button.
•
To solo a module, click the corresponding Solo button.
•
To change the order of the modules, drag a module to another position in the
module chain.
Limiter
The Limiter module makes sure that the output level never exceeds a set output
level, to avoid clipping in following devices.
Band Settings
On/Off
Activates/Deactivates the corresponding section.
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Plug-in Reference
Built-in Plug-ins
Harmonics
If the Harmonics section is activated, the Limiter module starts limiting the signal
softly. At the same time, harmonics are generated, adding a warm, tube-like
characteristic to the audio material.
Drive
Allows you to adjust the amount of gain boost for the signal to raise the
amount of soft-clipping.
Gain
Sets the amount of attenuation.
Brickwall
Due to its fast attack time, Brickwall Limiter can reduce even short audio level
peaks without creating audible artifacts. The limiting amount is displayed between
the input and the output meter.
Release
Sets the time after which the gain returns to the original level when the signal
drops below the threshold. If Auto Release is activated, the plug-in
automatically finds the best release setting for the audio material.
Output
Sets the output level.
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Plug-in Reference
Built-in Plug-ins
Maximizer
Maximizer raises the loudness of audio material without the risk of clipping. The
limiting amount is displayed between the input and the output meter.
Optimize
Determines the loudness of the signal.
Output
Sets the output level.
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Plug-in Reference
Built-in Plug-ins
Compressor
The Compressor module allows a signal to be split into two frequency bands. You
can specify the level, bandwidth, and compressor characteristics for each band.
Band Settings
On/Off
Activates/Deactivates the corresponding section.
Soloing Frequency Bands
To solo a frequency band, activate the S button in each section. Only one
band can be soloed at a time.
Add/Remove Band
Allow you to add and remove bands.
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Plug-in Reference
Built-in Plug-ins
Standard
Allows you to create smooth compression effects.
THRESH (-60 to 0 dB)
Signal levels above the set threshold trigger the compressor.
ATT (0.1 to 100 ms)
Determines how fast the compressor responds. If the attack time is long, more
of the initial part of the signal passes through unprocessed.
REL (10 to 1000 ms)
Sets the time after which the gain returns to its original level. If Auto Release
is activated, the plug-in automatically finds a suitable release setting for the
audio.
Ratio
Sets the amount of gain reduction applied to signal above the set threshold.
Mix
Sets the level balance between the dry signal and the wet signal.
Compressor curve display
Graphically illustrates the compressor curve that is shaped according to the
Threshold and Ratio parameter settings.
Output
Sets the output gain.
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Plug-in Reference
Built-in Plug-ins
Tube
This versatile compressor with integrated tube-simulation allows you to produce
smooth and warm compression effects.
Input
In combination with the Output setting, this parameter determines the
compression amount. The higher the input gain setting and the lower the
output gain setting, the more compression is applied.
ATT (0.1 to 100 ms)
Determines how fast the compressor responds. If the attack time is long, more
of the initial part of the signal passes through unprocessed.
REL (10 to 1000 ms)
Sets the time after which the gain returns to its original level. If Auto Release
is activated, the plug-in automatically finds the best release setting for the
audio.
Drive
Controls the amount of tube saturation.
Mix
Sets the level balance between the dry signal and the wet signal.
Output
Sets the output gain.
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Plug-in Reference
Built-in Plug-ins
Equalizer
The Equalizer module is a high-quality 4-band parametric stereo equalizer with 4
fully parametric mid-range bands. The low band can act as either shelving filter, as
peak filter (band-pass), or as cut filter (low-pass, band 1 only).
Band Settings
On/Off
Activates/Deactivates the corresponding section.
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Plug-in Reference
Built-in Plug-ins
Equalizer Section
Type
You can choose between the EQ types Low Shelf, Peak, High Shelf, and
Notch. For band 1, you can also select the types Cut 12, Cut 24, and Cut 48.
•
Low Shelf boosts or attenuates frequencies below the cutoff frequency
by the specified amount.
•
High Shelf boosts or attenuates frequencies above the cutoff
frequency by the specified amount.
•
Peak boosts or attenuates frequencies at the set frequency value with
a bell shaped filter.
•
Notch boosts or attenuates frequencies at the set frequency value with
a very narrow filter.
•
Cut attenuates frequencies below the set frequency. You can choose
between different slopes: 12 dB, 24 dB, or 48 dB per octave.
FREQ (20 to 20000 Hz)
Sets the frequency of the corresponding band.
Q
Controls the width of the corresponding band.
Gain (-15 to +15 dB)
Sets the amount of attenuation/boost for the corresponding band.
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Plug-in Reference
Built-in Plug-ins
Saturator
The Saturator module allows you to simulate the sound of analog tubes, and the
saturation and compression effect when recording on analog tape machines.
Band Settings
On/Off
Activates/Deactivates the corresponding section.
Soloing Frequency Bands
To solo a frequency band, activate the S button in each section. Only one
band can be soloed at a time.
Add/Remove Band
Allow you to add and remove bands.
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Plug-in Reference
Built-in Plug-ins
Saturator Section
Tape/Tube
Allows you to switch between tube saturation and tape saturation.
•
Tube saturation simulates the saturation of analog tube compressors.
•
Tape saturation simulates the saturation and compression effect of
analog tape machine recordings.
Drive
Controls the amount of saturation.
Mix
Sets the level balance between the dry signal and the wet signal.
Output
Sets the output gain.
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Plug-in Reference
Built-in Plug-ins
Imager
The Imager module allows you to expand or reduce the stereo width of your audio
in up to two bands. This way you can independently adjust the stereo image in
defined frequency domains.
Band Settings
On/Off
Activates/Deactivates the corresponding section.
Soloing Frequency Bands
To solo a frequency band, activate the S button in each section. Only one
band can be soloed at a time.
Add/Remove Band
Allow you to add and remove bands.
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Plug-in Reference
Built-in Plug-ins
Imager Section
Width
Allows you to control the stereo width per band.
Pan
Allows you to pan the signal left/right.
Output
Sets the output level for each band.
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.
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Plug-in Reference
Built-in Plug-ins
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.
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
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.
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Plug-in Reference
Steinberg VST 3 Plug-ins
Steinberg VST 3 Plug-ins
In WaveLab Elements 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
and Final Effect/Dithering pane of the Master Section by using the Plug-in
Settings dialog.
•
VST plug-ins have their own preset handling. You can save or load effect
programs (presets).
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.
Sync
Activates/Deactivates tempo sync.
Width
Sets the depth of the auto-pan effect, that is, how far out to the left/right
speaker the sound should move.
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.
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Plug-in Reference
Steinberg VST 3 Plug-ins
Brickwall Limiter
Brickwall Limiter ensures that the output level never exceeds a set limit.
Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks
without creating audible artifacts. However, this plug-in creates a latency of 1ms.
Brickwall Limiter features separate meters for input, output, and the amount of
limiting. Position this plug-in at the end of the signal chain, before dithering.
Threshold (-20 to 0 dB)
Determines the level where the limiter kicks in. Only signal levels above the
set threshold are processed.
Release
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, the plug-in
automatically finds the best release setting for the audio material.
Link
If this button is activated, Brickwall Limiter uses the channel with the highest
level to analyze the input signal. If the button is deactivated, each channel is
analyzed separately.
Detect Intersample Clipping
If this option is activated, Brickwall Limiter detects and limits signal levels
between two samples to prevent distortion when converting digital signals
into analog signals.
NOTE
Brickwall Limiter is designed for the reduction of occasional peaks in the signal. If
the Gain Reduction meter indicates constant limiting, try raising the threshold or
lowering the overall level of the input signal.
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Plug-in Reference
Steinberg VST 3 Plug-ins
Channel Extractor
This plug-in allows you to only keep the left or the right channel of a stereo stream.
Channel
Lets you select whether to keep the left or the right channel of the stereo
stream.
Chorus
This plug-in is a single-stage chorus effect. It works by doubling the audio that is
sent into it with a slightly detuned version.
Rate
If tempo sync is deactivated, this sets the sweep rate.
Sync
Activates/Deactivates tempo sync.
Width
Sets the depth of the chorus effect. Higher settings produce a more
pronounced effect.
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 the effect
is used as a send effect, set this parameter 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 a triangle waveform are available.
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Plug-in Reference
Steinberg VST 3 Plug-ins
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.
NOTE
If side-chaining is supported, the modulation can also be controlled from another
signal source via the side-chain input. If the side-chain signal exceeds the threshold,
the modulation is controlled by the side-chain signal’s envelope. For a description
of how to set up side-chain routing, see the Operation Manual.
Compressor
This plug-in reduces the dynamic range of the audio, making softer sounds louder
or louder sounds softer, or both.
Compressor features a separate display that graphically illustrates the compressor
curve shaped according to the Threshold and Ratio parameter settings.
Compressor also features a Gain Reduction meter that 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 the compressor kicks in. Only signal levels above
the set threshold are processed.
Ratio
Sets the amount of gain reduction applied to signals above the set threshold.
A ratio of 3:1 means that for every 3 dB the input level increases, the output
level increases by 1 dB.
Soft Knee
If this button is deactivated, signals above the threshold are compressed
instantly according to the set ratio (hard knee). If Soft Knee is activated, the
onset of compression is more gradual, producing a less drastic result.
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Plug-in Reference
Steinberg VST 3 Plug-ins
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 the compressor responds to signals above the set
threshold. If the attack time is long, more of the early part of the signal 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 its original level when the signal
drops below the threshold. If the Auto button is activated, the plug-in
automatically finds the best release setting for the audio material.
Analysis (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
If this button is activated, the look-ahead feature of the effect is deactivated.
Look-ahead produces more accurate processing, but adds a specific amount
of latency as a trade-off. If Live mode is activated, there is no latency, which
is better for live processing.
Distortion
Distortion adds crunch to your tracks.
Boost
Increases the distortion amount.
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Feedback
Feeds part of the output signal back to the effect input. Higher settings
increase the distortion effect.
Tone
Lets you select a frequency range to which to apply the distortion effect.
Spatial
Changes the distortion characteristics of the left and right channels, thus
creating a stereo effect.
Output
Sets the output level.
Gate
Gating, or noise gating, silences audio signals below a set threshold. As soon as
the signal level exceeds the threshold, the gate opens to let the signal through.
Threshold (-60 to 0 dB)
Determines the level where the 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 in an intermediate state (LED lights up in yellow).
Filter buttons (LP, BP, and HP)
If the Side-Chain button is activated, you can use these buttons to set the
filter type to low-pass, band-pass, or high-pass.
Side-Chain
Activates the internal side-chain filter. The input signal can then be shaped
according to the filter parameters. Internal side-chaining is useful for tailoring
how the gate operates.
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Center (50 to 20000 Hz)
If the Side-Chain button is activated, this sets the center frequency of the
filter.
Q-Factor
If the Side-Chain button is activated, this sets the resonance or width of the
filter.
Monitor
Allows you to monitor the filtered signal.
Attack (0.1 to 1000 ms)
Sets the time after which the gate opens when it is triggered.
NOTE
Deactivate the Live button to make sure that the gate is already open when a
signal above the threshold is played back.
Hold (0 to 2000 ms)
Determines how long the gate remains open after the signal drops below the
threshold level.
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 automatically finds the best release setting for the
audio material.
Analysis (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
If this button is activated, the look-ahead feature of the effect is deactivated.
Look-ahead produces more accurate processing, but adds a specific amount
of latency as a trade-off. If Live mode is activated, there is no latency, which
is better for live processing.
Limiter
This plug-in is designed to ensure that the output level never exceeds a set output
level, to avoid clipping in following devices.
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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)
Sets the input gain.
Output (-24 to 6 dB)
Sets the maximum output level.
Release (0.1 to 1000 ms or Auto mode)
Sets the time after which the gain returns to its original level. If the Auto button
is activated, the plug-in automatically finds the best release setting for the
audio material.
Maximizer
This plug-in raises the loudness of audio material without the risk of clipping.
Output (-24 to 6 dB)
Sets the maximum output level.
Optimize
Determines the loudness of the signal.
Soft Clip
If this button is activated, Maximizer starts limiting or clipping the signal softly.
At the same time, harmonics are generated, adding a warm, tube-like
characteristic to the audio material.
MonoDelay
This is a mono delay effect that can either be tempo-based or use freely specified
delay time settings.
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Delay
If tempo sync is activated, this sets the base note value for the delay. If tempo
sync is deactivated, the delay time can be set freely in milliseconds.
Sync
Activates/Deactivates tempo sync.
Feedback
Sets the number of repeats for the delay.
Filter Lo
Affects the feedback loop of the effect signal and allows you to roll off low
frequencies. The button below the knob activates/deactivates the filter.
Filter Hi
Affects the feedback loop of the effect signal and allows you to roll off high
frequencies. The button below the knob activates/deactivates the filter.
Mix
Sets the level balance between the dry signal and the wet signal. If the effect
is used as a send effect, set this parameter to the maximum value as you can
control the dry/effect balance with the send.
RoomWorks SE
RoomWorks SE is a smaller 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
Determines how much time passes before the reverb is applied. This allows
you to simulate larger rooms by increasing the time it takes for the 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 the 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 the 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
Sets the level balance between the dry signal and the wet signal. When using
RoomWorks SE inserted in an FX channel, you most likely want to set this to
100 %.
StereoDelay
StereoDelay has two independent delay lines with freely specified delay time
settings.
Delay
If tempo sync is activated, this sets the base note value for the delay. If tempo
sync is deactivated, the delay time can be set freely in milliseconds.
Feedback
Set the number of repeats for each delay.
Filter Lo
Affects the feedback loop of the effect signal and allows you to roll off low
frequencies. The button below the knob activates/deactivates the filter.
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Filter Hi
Affects the feedback loop of the effect signal and allows you to roll off high
frequencies. The button below the knob activates/deactivates the filter.
Pan
Set the stereo position for each delay.
Mix
Sets the level balance between the dry signal and the wet signal. If the effect
is used as a send effect, set this parameter to the maximum value 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 the left and right channels to
further increase the stereo effect.
Color
Generates additional differences between the channels to increase the stereo
enhancement.
Mono
Switches the output to mono, to check for possible unwanted coloring of the
sound which sometimes can occur when enhancing the stereo image.
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 peak filter (band-pass), or as cut filter
(low-pass/high-pass).
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Gain (-20 to +24 dB)
Sets the amount of attenuation/boost for the corresponding band.
Inv
Inverts the gain value of the filter. Use this button to filter out unwanted noise.
When 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 the frequency
of the noise, you can use the Inv button to cancel it out.
Freq (20 to 20000 Hz)
Sets the frequency of the corresponding band. You can set the frequency
either in Hz or as a note value. If you enter a note value, the frequency is
automatically changed to Hz. For example, a note value of A3 sets the
frequency to 440 Hz. When you enter a note value, you can also enter a cent
offset. For example, enter A5 -23 or C4 +49.
NOTE
Ensure that you enter a space between the note and the cent offset. Only in
this case, the cent offsets are taken into account.
Q-Factor
Controls the width, or resonance, of the corresponding band.
Filter mode
For the low and high band, you can choose between three types of shelving
filters, a peak filter (band-pass), and a cut filter (lowpass/high-pass). If 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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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
If this button is activated, the gain is automatically adjusted, keeping the
output level constant regardless of the EQ settings.
Spectrum
Shows the spectrum before and after filtering.
Reset
Resets the EQ settings.
Tube Compressor
This versatile compressor with integrated tube-simulation allows you to achieve
smooth and warm compression effects. The VU meter shows the amount of gain
reduction. Tube Compressor features an internal side-chain section that lets you
filter the trigger signal.
Drive (1.0 to 6.0)
Controls the amount of tube saturation.
Input
Determines the compression amount. The higher the input gain, the more
compression is applied.
Limit
Increases the ratio of the compressor for a limiting effect.
Output (-12 to 12 dB)
Sets the output gain.
Attack (0.1 to 100 ms)
Determines how fast the compressor responds. If the attack time is long, more
of the initial part of the signal passes through unprocessed.
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Release (10 to 1000 ms or Auto mode)
Sets the time after which the gain returns to its original level. If the Auto button
is activated, the plug-in automatically finds the best release setting for the
audio material.
Mix
Adjusts the mix between dry signal and wet signal preserving the transients
of the input signal.
In/Out Meters
Show the highest peaks of all available input and output channels.
VU Meter
Shows the amount of gain reduction.
Side-Chain
Activates the internal side-chain filter. The input signal can then be shaped
according to the filter parameters. Internal side-chaining is useful for tailoring
how the gate operates.
Filter buttons (LP, BP, and HP)
If the Side-Chain button is activated, you can use these buttons to set the
filter type to low-pass, band-pass, or high-pass.
Side-chain section
Center (50 to 20000 Hz)
If the Side-Chain button is activated, this sets the center frequency of the
filter.
Q-Factor
If the Side-Chain button is activated, this sets the resonance or width of the
filter.
Monitor
Allows you to monitor the filtered signal.
VintageCompressor
VintageCompressor is modeled after vintage type compressors.
This compressor features separate controls for Input and Output gain, Attack, and
Release. In addition, there is a Punch mode which preserves the attack phase of
the signal and a program-dependent Auto feature for the Release parameter.
Input
Determines the compression amount. The higher the input gain, the more
compression is applied.
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Output (-48 to 24 dB)
Sets the output gain.
Attack (0.1 to 100 ms)
Determines how fast the compressor responds. If the attack time is long, more
of the initial part of the signal passes through unprocessed.
Punch
If this is activated, the early attack phase of the signal is preserved, retaining
the original punch in the audio material, even with short Attack settings.
Release (10 to 1000 ms or Auto mode)
Sets the time after which the gain returns to its original level. If the Auto button
is activated, the plug-in automatically finds the best release setting for the
audio material.
VU Meter
Shows the amount of gain reduction.
In/Out Meters
Show the highest peaks of all available input and output channels.
VSTDynamics
VSTDynamics is an advanced dynamics processor. It combines three separate
processors: Gate, Compressor, and Limiter, covering a variety of dynamic
processing functions.
The window is divided into three sections, containing controls and meters for each
processor. Activate the individual processors using the buttons Gate,
Compressor, and Limiter at the bottom of the plug-in panel.
Gate Section
Gating, or noise gating, is a method of dynamic processing that silences audio
signals below a set threshold. As soon as the signal level exceeds the threshold, the
gate opens to let the signal through. The Gate trigger input can also be filtered
using an internal side-chain signal.
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The following parameters are available:
Threshold (-60 to 0 dB)
Determines the level where the 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 in an intermediate state (LED lights up in yellow).
Side-Chain
Activates the internal side-chain filter. The input signal can then be shaped
according to the filter parameters. Internal side-chaining is useful for tailoring
how the gate operates.
Filter buttons (LP, BP, and HP)
If the Side-Chain button is activated, you can use these buttons to set the
filter type to low-pass, band-pass, or high-pass.
Center (50 to 20000 Hz)
If the Side-Chain button is activated, this sets the center frequency of the
filter.
Q-Factor
If the Side-Chain button is activated, this sets the resonance or width of the
filter.
Monitor
Allows you to monitor the filtered signal.
Attack (0.1 to 100 ms)
Determines how fast the compressor responds to signals above the set
threshold. If the attack time is long, more of the early part of the signal passes
through unprocessed.
Hold (0 to 2000 ms)
Determines how long the gate remains open after the signal drops below the
threshold level.
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, the plug-in automatically finds the best release setting for
the audio material.
Range
Adjusts the attenuation of the gate when it is shut. If Range is set to minus
infinite , the gate is completely shut. The higher the value, the higher the
level of the signal that passes through the shut gate.
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Input Gain Meter
Shows the input gain.
Compressor Section
The compressor reduces the dynamic range of the audio, making softer sounds
louder or louder sounds softer, or both. The compressor features a separate display
that graphically illustrates the compressor curve shaped according to your settings.
Threshold (-60 to 0 dB)
Determines the level where the compressor kicks in. Only signal levels above
the set threshold are processed.
Ratio
Sets the amount of gain reduction applied to signals above the set threshold.
A ratio of 3:1 means that for every 3 dB the input level increases, the output
level increases by 1 dB.
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 the 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.
Release (10 to 1000 ms or Auto mode)
Sets the time after which the gain returns to its original level when the signal
drops below the threshold. If the Auto button is activated, the plug-in
automatically finds the best release setting for the audio material.
Graphical display
Use the graphical display to graphically set the threshold and ratio values. To
the left and right of the graphical display, you find two meters that show the
amount of gain reduction in dB.
Limiter Section
The limiter ensures that the output level never exceeds a set threshold, to avoid
clipping in following devices. Conventional limiters usually require very accurate
setting up of the attack and release parameters to prevent the output level from
going beyond the set threshold level. The limiter adjusts and optimizes these
parameters automatically according to the audio material.
Output (-24 to 6 dB)
Sets the maximum output level.
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Soft Clip
If this button is activated, the signal is limited when the signal level exceeds
-6 dB. At the same time, harmonics are generated, adding a warm, tube-like
characteristic to the audio material.
Release (10 to 1000 ms or Auto mode)
Sets the time after which the gain returns to its original level. If the Auto button
is activated, the plug-in automatically finds the best release setting for the
audio material.
Meters
The three meters show the input gain (IN), the gain reduction (GR) and the
output gain (OUT).
Module Configuration Button
Using the Module Configuration button in the bottom right corner of the plug-in
panel, you can set the signal flow order for the three processors. Changing the
order of the processors can produce different results, and the available options
allow you to quickly compare what works best for a given situation. Simply click the
Module Configuration button to change to a different configuration. There are
three routing options:
•
C-G-L (Compressor-Gate-Limit)
•
G-C-L (Gate-Compressor-Limit)
•
C-L-G (Compressor-Limit-Gate)
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Sonnox Restoration Toolkit
Sonnox Restoration Toolkit
The Sonnox Restoration Toolkit consists of the De-Clicker, De-Noiser, and
De-Buzzer tools. The tools are for restoring old material, removing clicks, pops,
buzzes, and background noise that can occur in new recordings.
Sonnox DeBuzzer
Sonnox DeBuzzer allows you to remove hum and buzz noises from audio material.
Sonnox Menu Options button
Opens a menu where you can select the following options:
•
Duration of the input/output meter clip lights hold (indefinitely, 2 s, 5 s)
•
Knob behavior
•
Information about the version number and build date
Input Level meter
This meter is designed to give exactly 1 dB per LED for the top 18 dB of
dynamic range, and 2 dB per LED thereafter. This gives a clear and intuitive
impression of the working headroom.
Trim Input Level
Allows you to adjust the input signal level by up to ±12 dB.
Frequency Knob and touch pad (Hz)
The DeBuzzer has an active frequency range for the buzz fundamental of
between 20 and 440 Hz. In Auto mode, this knob sets the frequency from
which the buzz detection circuit starts to hunt for buzz components. In Freeze
mode, this knob sets the exact frequency of the buzz fundamental. The knob
is graduated around the circumference, and clicking on any labeled
graduation sets the frequency to that graduation.
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Fine Adjust button
Enables fine tuning of the buzz frequency control. The graduations around the
circumference of the frequency knob re-draw to a finer scale, and scrolling the
touch pad enables very quick fine tuning of a hunt frequency. Scrolling past
an end-stop continues to scroll the frequency and the marked graduations
re-draw appropriately.
Fine Adjust mode forces Freeze, so that the selected frequency can be
specified exactly, without the Auto circuitry hunting for a stronger
fundamental. If entering Fine Adjust mode from Auto, the Freeze button
flashes and the plug-in reverts to Auto when Fine Adjust mode is exited.
Tone On button
Enables an audible tone generator, which can be used to aid location of the
buzz fundamental. While the Tone button is on, a touch pad opens above the
button and becomes a Tone level control. It defaults to -18 dB, and has a
range of -6 dB to -96 dB.
Sensitivity knob and touch pad (%)
Controls the sensitivity of the buzz detection circuit. Fully sensitive might allow
the detection circuit to lock to inaudible and possibly undesirable frequencies.
Stronger buzzes, which typically would be removed first, require a less
sensitive setting.
Hum/Buzz Mode button
Control switches between Hum mode and Buzz mode. In Hum mode the
bandwidth limit for harmonic removal is 0 to 800 Hz. In Buzz mode the
bandwidth limit for harmonic removal is 0 to 4000 Hz. Hum mode is less
damaging, and should be used when possible.
Enable button
Enables the buzz removal processing. It allows glitch-less comparisons with
and without the buzz removal. When Enable is deactivated, the buzz
detection circuit is still enabled and the Detect display still shows the degree
of buzz detection.
Reduction display
Indicates the level of audio that is being removed from the signal.
Attenuation knob and touch pad (dB)
Determine the level of attenuation that the buzz removal circuit apply, up to a
maximum of 96 dB. Generally this should be set so that the buzz is just
inaudible. Excessive use of attenuation can degrade the signal unnecessarily.
Auto button
Enables Auto mode for the buzz detection circuit. In this mode the buzz
detection is continually calculated and a slow drift in the buzz fundamental
frequency automatically follows. This mode is useful for material with a
time-varying buzz component. In this mode the removal filters follow the
detected frequency.
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Freeze button
Enables Freeze mode for the buzz detection circuit. In this mode the buzz
fundamental is fixed to the frequency shown in the touch pad window. This
mode is useful for material with fluctuating buzz level, but with a constant buzz
frequency. In this instance, Auto mode would suffer when the buzz level drops
and would typically re-hunt for a different buzz fundamental. In this mode the
removal filters follow the nominal frequency.
Detect display
Indicates the degree of detection that the buzz detection circuit has achieved.
Output Level meter (dB)
This meter is designed to give exactly 1 dB per LED for the top 18 dB of
dynamic range, and 2 dB per LED thereafter. There is a peak-hold feature that
holds the highest peak, helping to give a better impression of the working
dynamic range.
Trim Output Level
Allows you to reduce the output level by up to 12 dB. Dithering is applied after
output gain control, so it may be necessary to reduce this value by a small
amount to avoid clipping.
Using the Sonnox DeBuzzer
•
Find the nominal frequency. Start with Sensitivity and Attenuation controls
at the default positions (90 % and -48 dB).
•
If you know the rough frequency of the nominal, select that frequency using
either the knob or by typing into the touch pad.
•
In Auto mode, allow the detector time to drift towards the actual fundamental.
The Detect display indicates confidence of hum detection. Auto mode should
be used if the fundamental drifts over time.
•
Freeze mode should be used to select a specific frequency that might be
variable in strength. Fine Adjust (which forces Freeze mode) can be used to
increase the resolution of selecting the fundamental.
•
If you are still having difficulty finding the fundamental, use the Tone control.
•
The Hum mode removes harmonics up to 800 Hz. If you can hear harmonics
that are higher in frequency, select Buzz mode, which removes harmonics up
to 4000 Hz. If there are no harmonics above 800 Hz, be sure to use Hum
mode to preserve as much original audio as possible.
•
In order to cause as little damage to the audio as possible, back off the
attenuation until you can just hear the buzz, then increase it until the buzz is
inaudible.
•
Then reduce the sensitivity until the buzz is inaudible.
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Sonnox DeClicker
Sonnox DeClicker allows you to remove clicks from audio material.
Sonnox Menu Options Button
Opens a menu where you can select the following options:
•
Duration of the input/output meter clip lights hold (indefinitely, 2s, 5s)
•
Information about the version number and build date
Input Level Meter
Gives exactly 1 dB per LED for the top 18 dB of dynamic range, and 2 dB per
LED thereafter. This gives a clear and intuitive impression of the working
headroom.
Trim Input Level
Allows you to adjust the input signal level by up to ±12 dB.
Sensitivity Fader and Touch Pad (%) (DePop, DeClick, DeCrackle)
Controls the sensitivity of the detection circuits. Fully sensitive might allow the
detection circuit to react to low level signals and possibly mis-classify
programme as pops or clicks. Stronger pops and clicks require a less
sensitive setting.
In Button (DePop, DeClick, DeCrackle)
Enables the pop, click or crackle removal processing. When In is deactivated,
the pop, click, or crackle detection circuit is still enabled and the detect
display still shows the degree of event detection.
Detect Meter Display (DePop, DeClick, DeCrackle)
Combines two indications. The main rising column indicates the sum of the
energy of events that have been detected. With the In button de-selected (i.e.
the repair circuit disabled), this column is colored orange/red. With the repair
circuit active the column is colored blue. The bottom segment of the meter is
an indication of each individual detected event.
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Output Level Meter (dB)
Gives exactly 1 dB per LED for the top 18 dB of dynamic range, and 2 dB per
LED thereafter. There is a peak-hold feature that holds the highest peak,
helping to give a better impression of the working dynamic range.
Trim Output Level
Allows you to reduce the output level by up to 12 dB. Dithering is applied after
output gain control, so it can be necessary to reduce this value by a small
amount to avoid clipping.
Using the Sonnox DeClicker
•
We recommend repair the larger and more energetic events first.
•
If there are large displacement events in the programme material, enable the
DePop section and raise the sensitivity fader until the largest events are
detected and repaired.
•
For clicks, enable that section and raise the sensitivity fader until they are
detected and repaired.
•
Finally, if there is crackle left, enable that section and raise its fader to remove
the crackle.
•
There is necessarily some degree of overlap in the detection circuits of clicks
and crackle. Decreasing the DeClick sensitivity can increase the apparent
detection of crackle and increasing the DeClick sensitivity can indicate less
crackle. Best results are likely if the two controls are balanced.
Sonnox DeNoiser
Sonnox DeNoiser removes wide-band noise from audio material.
Sonnox Menu Options button
Opens a menu where you can select the following options:
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•
Duration of the input/output meter clip lights hold (indefinitely, 2 s, 5 s)
•
Knob behavior
•
Information about the version number and build date
Graphical display
Shows the real-time frequency/gain curve of the program material. It is
graduated from 0 to 20 kHz and from 0 to -144 dB. The yellow line is the
calculated noise spectrum level, and in Adapt mode continually follows the
noise in real time. Everything below this contour is assumed to be noise, and
everything above the line is program signal.
Input Level meter
This meter is designed to give exactly 1 dB per LED for the top 18 dB of
dynamic range, and 2 dB per LED thereafter. This gives a clear and intuitive
impression of the working headroom.
Trim Input Level
Allows you to adjust the input signal level by up to ±12 dB.
Sensitivity fader and Trim touch pad (dB)
The sensitivity fader defaults to 0.0 dB, which is the midpoint of its travel. It
adjusts the sensitivity of the noise detection circuit, and the visible effect of
this is to move the yellow noise contour line up and down. The sensitivity level
can be changed by up to ±18 dB.
To reduce the sensitivity and make the DeNoiser less reactive to the noise
component, move the fader down. The noise contour displaces downwards,
showing less noise component in the detection circuit. If the sensitivity is set
too low, little noise reduction occurs.
To increase the sensitivity and make the DeNoiser more reactive to the noise
component, move the fader up. The noise contour displaces upwards,
showing more noise component in the detection circuit. The default setting is
for the noise contour to lie just below the peaks of the signal. Making the
detection circuit more sensitive to noise decreases the signal component,
possibly pushing the contour up towards the peaks of the signal. In this case,
it is likely that processing artifacts are heard, as the noise removal circuit acts
on the signal component as well as the noise component.
Adapt button
Enables Adapt mode for the noise detection circuit. In this mode the noise
fingerprint is continually calculated and updated. This mode is useful for
material with a time-varying noise component.
Freeze button
Enables Freeze mode for the noise detection circuit. In this mode the noise
fingerprint is calculated. This mode is useful for material with a constant noise
component, and would typically be sampled when the signal is absent and
only the noise component is present.
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In button
Enables the noise removal processing. It allows glitch-less comparisons with
and without the noise reduction. When In is deactivated, the noise detection
circuit is still enabled and the graphical display still shows the real-time
frequency display and the noise contour line.
HF Limit knob and touch pad (Hz)
Displays and controls the frequency beyond which the attenuation is applied
nondynamically. Scrolling the frequency down from the default of 22 kHz
shows a red region in the frequency display that has a fixed attenuation. To
the left of the HF Limit line the noise removal circuit behaves as normal. To the
right the signal is attenuated by a fixed amount set by the attenuation fader.
This mode is useful for band-limited program material.
A good example is a low bitrate encoded signal, which might be band limited
to 12 kHz. Due to the sharp discontinuity, the noise removal circuit can
introduce audible artifacts around the band limit, and setting the HF Limit
frequency slightly lower than the band limit removes those artifacts.
Attenuation fader and touch pad (dB)
Determine the level of attenuation that the noise removal circuit applies in the
range 0 to -18 dB. Generally this should be set so that the noise reduction is
pleasing. Excessive use of attenuation can degrade the signal unnecessarily.
Output Level meter (dB)
This meter is designed to give exactly 1 dB per LED for the top 18 dB of
dynamic range, and 2 dB per LED thereafter. There is a peak-hold feature that
holds the highest peak, helping to give a better impression of the working
dynamic range.
Trim Output Level
Allows you to reduce the output level by up to 12 dB. Dithering is applied after
output gain control, so it can be necessary to reduce this value by a small
amount to avoid clipping.
Using the Sonnox DeNoiser
•
Start with Sensitivity and Attenuation controls at the default positions
(0.0 dB and -4.5 dB).
•
Select Adapt mode if the noise varies in time. Select Freeze for a defined and
static noise fingerprint.
•
Adjust the Sensitivity to find the correct balance between being too low (not
enough noise is removed) and too high (too much signal is removed).
•
Adjust the Attenuation to find the most pleasing audio. Too much attenuation
can impair the audio, either by reducing brightness or by introducing low-level
distortion.
363
Plug-in Reference
Legacy Plug-ins
You might be working with bandwidth-limited material, possibly as a result of
sample rate conversion or lossy compression (for example, limited at around
10 kHz). If you experience distortion around the limit try reducing the HF Limit
control. Adjust until it lies just to the lower frequency side of the limit (around 9.5 kHz
in our example).
Legacy Plug-ins
Under Windows, a set of plug-ins is provided for compatibility with audio projects
that referenced these effects when using earlier versions of WaveLab Elements. An
audio montage which referenced these plug-ins would otherwise require
cumbersome user intervention to open, for example.
Their use with new audio projects is not recommended and they are not
documented.
Dithering Plug-ins
Dithering plug-ins add small quantities of noise to a signal to reduce the audibility
of low level distortion in a digital recording. A small amount of random noise is
added to the analog signal before the sampling stage, reducing the effect of
quantization errors.
Internal Dithering
This is a built-in plug-in that provides a simple way of adding a small amount of noise
to the rendered signal to improve the apparent signal-to-noise ratio of the output.
The following parameters are available when selecting Internal Dithering.
Noise Type
Sets the noise type for adding to the signal.
•
In No Noise mode, no dithering is applied.
•
The Noise Type 1 mode is the most all-round method.
•
The Noise Type 2 mode emphasizes higher frequencies more than
Noise Type 1.
364
Plug-in Reference
Dithering Plug-ins
Noise Shaping
Increases the apparent signal to noise ratio by altering the spectrum of the
low-level audio signal which results from lowering the number of bits. The
higher the number you select here, the more the noise is moved out of the
ear’s mid-range.
Bit Resolution
Allows you to specify the intended bit resolution for the final audio, after
dithering, regardless of whether you want to render the settings or play back
in real-time.
Dithering changes the sample resolution, but not the sample size. For
example, when dithering 24 bit to 16 bit, the file will still be 24 bit in size,
although only 16 bits of information will have significance. When rendering to
a 16-bit file, specify the file resolution to avoid wasting space.
365
Index
A
Envelope 181, 182
Equalizer 349
AAC 101
Active clip 172
AIFF 101
Analysis 127, 136, 241, 244
Attributes 121, 122, 270
Audio file format 101, 104, 114
Audio files 101
Audio Montage 34, 150, 162
Audio selection 22, 106, 113, 224
F
Fades 141, 142, 184
File browser 27
Final effects 220
FLAC 101, 109
FTP 289
G
Group 28, 300
B
Backup 64
BWF 121
H
C
I
Help 6
ID3 121
Image 248, 250, 257
Import 165, 273
ISO 257
ISRC 256
CART 121, 123
CC121 14, 16
CD 14, 197, 254
CD import 273
CD writing 197
CD-Text 249
Clipping 200, 218
Clips 86, 150, 169, 172, 175, 188
Colors 62, 63, 292, 313
Command bars 72
Compare 61
Compressor 342, 352, 353
Context menu 43
Control window 28
Convert 115, 148, 238, 278
Correction 147
Crossfades 142, 143, 184, 187, 262, 263
Cue point 179
Customizing 59, 292, 293, 297, 298, 300
K
Key commands 293, 295
L
Latency 11
Level Meter 242
Limiter 345
Loop 80, 240, 258, 267
Loudness 129, 200
M
Magnetic bounds 88, 174
Marker 123, 135, 204, 232
Master Section 210
Master Section presets 227
Meta-data 121
Meter 208, 241, 242, 244
MIDI 14, 293
Monitor 231
Montage Output 189
Montage window 150, 292
MP2 101, 108
MP3 101, 107
MPEG 101
D
Data CD/DVD 250, 251
DC offset 144
DDP 248
Dither 220, 222, 364
Drag-and-drop 51
DVD 250
E
EBU R-128 129, 200
Editor 283
Effects 188, 189, 213, 216
N
Normalize 140, 200
366
Index
O
WMA 101, 111
Writing operations 246, 248, 249, 250, 254
Ogg 101, 110
Oscilloscope 244
Z
P
Zoom 53, 57
ZTX 147
Pan 181, 184
Peak 31, 337
Picture 121
Pitch 131, 147
Playback 72, 75, 86
Plug-ins 188, 189, 195, 214, 216, 298, 300, 321, 339,
364
Podcast 34, 283, 288
Post-roll 80, 81
Preferences 307, 311, 316
Pre-roll 80, 81
Presets 59, 82, 123, 320
R
Recently used files 62
Recording 203
Redo 53
Remote Devices 14, 16
Renaming 68, 238
Rendering 200, 222
Resample 148
Resampler 321
Restoration 126, 357
Ruler 44
S
Sample rate 148, 149, 171, 321
Shortcuts 293, 294
Silence 124, 125, 179, 338
Snapping 88, 89, 174
Sonnox 357
Spectroscope 244
Splitting 178
T
Tab groups 28, 30
Tabs 30, 48, 62
Template 64
Time stretching 145, 147
Tool windows 38
Tracks 167
Transport bar 72
True peaks 128, 140, 200, 242
U
Undo 53
UPC/EAN 256
V
Value editing 51
VST 339, 353
VST Audio Connections 10, 11, 12
W
Wave window 292
Waveform 126
WavPack 101
367
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